Let's see here. Well, I colour-held the image of Dracula in the crystal ball a dark red. You know. Because of being a vampire and all. So it wouldn't be too entirely alien to the green interior that I had established inside the crystal ball, I added some blood-spatter-style painting in there as well.
I cast even more blue light from the window onto the wall behind Wong on that second panel than I had previously - I really needed him to separate from the wall, and so I increased the contrast between him and the wall. I still wanted the interior of the room to be muted, so kept it from being a pure blue light.
Now, pursuant to my keeping special effects to a minimum, and having just put in a big glow effect on the Eye of Agamotto, I decided against any sort of glow FX on Wong in the fourth panel. I figured a hand-rendered yellow paintjob surrounding him would serve the same purpose, and would still leave the lineart on him nice and clear. I'm not normally a fan of this method (it always looks like backlighting to me, rather than an actual glow) but, as I didn't distort the lineart surrounding the figure, I think the point gets across alright while still looking nice.
This book was written by Marv Wolfman, with artwork by Gene Colan and Tom Palmer, and lettering by John Costanza.
See the original blog post about this project to learn more of the story behind why I'm colouring this issue.