Nth example of why a comic page drawn comic is not finished, as only three posts ago we talked about how the comic book artist working thinking playback . Let's see some pages of DAREDEVIL: BORN AGAIN (1986, Miller and Mazzucchelli) as Mazzucchelli deliver them to the press, comparing with the work already colored by Christie Scheele and finally published. If you click on the images, extending all the many details that I will comment. On the top, you can see the marks Mazzucchelli drew with red marker to show how color should be added to the American flag tattooed on the face of Nuke, the crazy super soldier Kingpin used for his purposes in the last two episodes of the saga. The annotations in the original page (look in the side margins) would not be if it were a painting or work to be exposed, because they would be in a museum or gallery and would not be good (unless the intention of the work beyond that). But here is a work intended to be exposed, since these statements are directed only to the printers and will not in the comic book published. The comics are made to be played, so what matters is the comic published cartoonist, not the cleanliness or "visible" from the original page. Published comics really is finished work. In other words, comics reproduced the work is technically not the original drawing. Unlike what happens in painting, sculpture, etc.
More examples of the same:
"REMOVE RED LINES" indicates the entry in the side of the page. It refers to the red marks who drew Mazzucchelli to indicate the boundaries of the flag tattooed on the face of Nuke. Being in a color that was not the line of black ink, the printer had it sucked for these brands do not come out red pen. What I had to leave were the stars and stripes on his face. Now page as published, with colors of Christie "Max" Scheele:
Another different example just below. I've always been attracted much attention this page BORN AGAIN, and I mean the fact that the mark of the triangular composition (first bullet) to appear in print. I always wondered if it was a mistake printing, ie, a mark made Mazzucchelli only to compose the picture you printed out by accident. No, judging by the words he made with blue pen (the blue pencil not played out in a "pen" or photolith black line) on the side of the page:
"Please make sure that the triangle is clearly visible. Add white . Mazzucchelli is worried that the line of the triangle did not look enough at the time of printing the comic. Again, you have to worry about what can be drawn form, and anticipate how it will published. On page published indeed, he could see perfectly the triangle "divine"
can also see how when it comes to color, as requested, left blank the line in areas spanning the "negative" the black shapes, to stand out clearly and not be disguised with color.
And since we are on the same page, another curiosity that can comment here is how Mazzucchelli hit a photocopy of the bullet from the nurse Sicario (third bullet) that appears in the flashback of Ben Urich, to avoid repeating the same pattern and that was exactly the same pages that had already appeared earlier, when they occurred the facts now remembered.
In other words, again we have here an original blobs, indications, clippings pasted over (a cut that is not "original" but a photocopy of a bullet), etc. Something that would not normally be for a painting or drawing truly "original" intended to be exhibited in a museum or gallery. Because repeat the truism, in the comic is drawn to playing, and everything you draw is designed to be viewed not in the original drawing but in the comic reproduced. 
By the way, without the color would have the "same" effect in this comic Right? Without the true recital of color (colors listed to print: color was not direct, but above, the traditional color comic book until then) they offered in BORN AGAIN Christie Scheele and Richmond Lewis, the work would be "the same." Richmond Lewis, of course, only colored a number (DD No 228, March 1986) "disguised" under the false signature of Mazzucchelli, he would not tell the editor, Ralph Macchio, the color was not going to tell him in reality but Richmond Lewis, his partner did not want to have to convince him, without any prior experience in the comic book, the artist-painter among other things, could do it perfectly. As he told Mazzucchelli, when printed out the comic Jim Shooter, Marvel's editor in chief, as taught in the office as an example of a good comic book coloring, Richmond Lewis was responsible in 1987, and officially recognized, the colors of BATMAN: YEAR ONE ( Miller and Mazzucchelli). A true recital of color, despite the limitations of the different colors of the comic book, because Scheele and Lewis outdid their best to keep up the work of Miller and Mazzucchelli. For example, here below, Christie Scheele colors: red expressive that Ben Urich, separating him from the figures in the background and exaggerated expression of horror, a red intensity of which increases from the first bullet the third (attention also to the yellow of his eyes rolling in the third bullet). Or the contrast of the same red with blue twilight scene that takes place elsewhere in the city, in the hospital where the nurse Sicaria do their "work" or the blues that highlight the shadow produced by the fingers Matt Murdock on the sheets, last bullet, suggesting along with the rest of the yellow cartoon sun rays are directly over the body of Matt, an enlightenment that has everything to do with his "rebirth"
Because, as we know, before a generalized direct color and print quality, color in the comic "narrative was not," was merely "decorative" ... and "added nothing." ---- (source of images of original pages: Comic Art Fans )
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