See the original blog post about this project to learn more of the story behind why I'm colouring this issue.
It's important to me that I'm keeping the storytelling as clear as possible, keeping certain elements very distinct from each other. Every time that Doc Strange appears in this book, for example, his colours will always be the richest and purest on the page. The interior of his Sanctum Sanctorum, for example, will be left in very muted tones (like I've done with a lot of the other Doc Strange colouring commissions I've done), which totally works with the artwork (which will be made even clearer in upcoming pages).
I'm also not wanting to rely too much on effects and other Photoshop tweaks. For example, while I did colour-hold the lineart inside the crystal ball (using a couple of different colour grads, in fact) and added a couple of small white glows on it (to heighten the sense of it being translucent), I decided against colour-holding the smoke. I figured the reflected light from the ball would give it enough of an otherworldly feel that it would work out just fine being left as black lines.
Also, I'm trying to not put white highlights on Doc's clothing, as it isn't really spandex. The cape is a heavy cloth, and shouldn't be too shiny. I will make his blues shinier (especially the lighter blue pattern) as that is most likely silk, and does have some cool reflective qualities, but I'm still going to go easy on it.
I am doing a simple colour pattern on the text boxes, just to give it a slight texture. Not too much, however, as I still want the text inside to be clear and legible. I've read too many books where a colour pattern was used in text boxes and it interfered with being able to read the story.
This book was written by Marv Wolfman, with artwork by Gene Colan and Tom Palmer, and lettering by John Costanza.