For issue #3, I’ll be posting my rough layouts along with each page. Since the writer, Mike Barr, and I were working “Marvel Style” (in that he gave me a fairly fleshed out plot outline as opposed to a finished script, writing the dialogue and captions to my penciled pages) I suggested possible dialogue to go along with my staging, anticipating that Mike, or the editor, Bob Schreck, would ask for changes in my layouts before I went into the tight pencils. This sort of back and forth was how we work in the animation biz; I had been trained to accept that as a normal part of the collaborative process.
Using Burovik’s lit pipe as the primary light source was a bit of a cheat, but added drama.
I like to study the cinematography of movies, especially black and white films. It is especially instructive to observe how they light night scenes, such as scenes in a bedroom with the lights off. They frequently have to get pretty abstract, since the whole point of being in a bedroom with the lights off is that it be dark enough for one to go to sleep, hence too dark to photograph. Another interesting example is the darkened room penetrated by someone bearing a single light source such as a lantern or candle. Frequently the supposed light source is the dimmest part of the image, which irritates me on aesthetic grounds. A good director/cinematographer team will plan their mis-en-scene to avoid that sort of thing.
This is page 5 for "The Mark" issue 3, volume 2, otherwise known as "The Mark In America", published by Dark Horse Comics in January 1994. Written by Mike Barr, Drawn by Brad Rader
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