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MARTÍN MORAZZO: The Ice Cream Man and his truck were the only designs we made before having the final scripts! had a sharp idea of what he wanted: a handsome guy in his 40s, blonde with blue eyes, but, most importantly, he had to express goodness and trust! thought it would be great if we gave him and his truck a 1950s look, so there we went!
I used some '50s actors as reference, some pictures of old ice cream trucks, and the designs came out really easy!
Or, I dunno, maybe all of these things just live in a kind of harmonic order—the cheery, joy-bringing stuff, and the unfortunate sorrowful stuff, all as one.
And there, on the side of the road, will be the Ice Cream Man, serving as a connector between each story.
MATTER: I recently attended Rose City Comic Con in Portland, Oregon, and in one of the panels about the Fine Print Crew (those on the inside cover of a comic book), letterer Ariana Maher described her relationship with her colorist as deeply interconnected.
Chris, would you say that’s true for you and, if so or if not, why? Everyone is playing off each other, but I'm not sure I would say I'm more deeply connected to the letterer over the artist in general, to be honest, or not more so than anyone else involved anyway, but there are definitely moments when I've felt a nice syncing of the two.
But maybe I've just been spoilt with amazing letterers and really taken it for granted [laughs].