| The Crossing artist Daniel Panero. |
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Andrew Ardizzi: It's been nearly two years since we checked in with you, your first interview with Dino having appeared on our blog way back in February 2011. A lot has happened in our neck of the woods since then, but how have you been? What have you been up to?
Daniel
Panero Bertucci: I have been busy with work obligations and working on new
pages whenever I get the chance to do so. I have also been following with
interest the CFC news and updates through the newsletter and social media. It’s
a great way to keep us connected and reach out to the readers!
AA: When you and Dino chatted, it
came at a time when we had released the first issue of The Crossing several
months before, while the second issue was still about eight months away from
being finished. Looking back almost three years later on that first book, what
are your thoughts on yours and Dino's entries in issue one?
DPB: I
enjoyed the opportunity of creating environments and characters for which there
had been no previous visual reference. Being from Spain, I liked the fact that
the action took place in Castile, but at the same time, that put some pressure
on me because I wanted to be up to the task of representing the setting
accurately. I had to do some research on the historic period, which is
something that I kept doing for the previous stories and also those I am
currently working on. As I am getting more familiar with the time period, it
becomes easier for me to create a coherent, realistic universe. Overall,
although there are things that I would have done differently now, I am pleased
with my work on the first book, also because it marked my first collaboration
with Dino and with CFC. On a different note, I must mention Mae Hao´s superb
coloring work.
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| The Crossing #1 cover by Alisson Borges. |
DPB: I
like the fact that the story is set centuries ago. I think that setting and the
action in the past worked very well with these kinds of stories and the fantasy
genre in general. For me, it was important to convey the action in a realistic
and believable way, so that the reader would be as involved reading these
stories as when he or she deals with the adult versions of the characters.
AA: One of the touches that leaps
out on the second page of Magic 101 is the smaller inset panel of a
stoic Natanael that gives way as the scene pulls back to reveal Natanael is
hanging on every word of his teacher's lesson. It's very simple, but nicely
nuanced because it hits home with who the character is. How did you go about
composing that page? I feel it's very readable, in that it's easy for your eye
to follow the smaller panel to the shot of Natanael sitting at his desk, then
following his gaze to Ilonus.
DPB: Thank
you. I just followed the indications on Dino´s script regarding the character´s
attitude. And as for the composition goes, I opted for a larger panel so
that I would be able to include a detailed background and a greater number of
characters. This big panel allows me to introduce many new characters to the
reader for the first time. I like doing panels like this once in a while.
They're both fun to draw and help to highlight some key moments in the
story.





















