I wanted to keep this page much brighter than the previous sequence - while full of angst and pathos (oh, Harold - don't you see where this conversation is going?), it is much lighter in tone than the previous one. For transition, I kept the hallway (and Harold in it) much cooler, more blue, than the rest of the page. Presumably the office has better lighting. Or Aurora just gives off a glow. I blame the pink sweater.
Initially, I had wanted to keep Harold's clothing in warm tones, but too much orange and brown together started to give me 70's flashbacks, so I gave him a dash of colour. Well, being Harold, who doesn't know much about matching colours all that well, I went with green pants. I actually think he's colour-blind, but that's another conversation.
Colour holds were kept to the text on Aurora's book being white, as well as the white 'motion lines' in the third panel. When there is enough contrast for them to work, I love using white for motion lines. They seem to jump away from the page as something not physically there (which they aren't), and seem to imply motion more than black or other dark colours.
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.