[Fred le mallrat]

Extrait de la newsletter de Tom Brevoort

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	This is a copy of a penciled Neal Adams page from X-MEN #62. It’s a pretty typical Neal page for the era—hyper-realistic, loose in some places, tight in others. And dramatic as hell.

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	Here’s that same page inked by Tom Palmer. Anyplace where Neal was loose and unspecific, Palmer tightened things up, solidifying the drawing. Tom also chose to apply zip-a-tone to that close-up of Magneto’s face in the final panel, something that Adams hadn’t specified. (For those unfamiliar, in those pre-computer days, the way you would get grey tones in comic books was through the use to zip-a-tone, plastic sticky-backed transparent sheets with a dot pattern on them that would need to be cut out with an X-Acto knife and applied to the desired areas. Using zip would allow artists to increase the number of colors and tones they could get on a finished page.)

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	And here’s the page in the printed book. Tom Palmer also provided the coloring for this issue, which is a lot more sophisticated than much of what was being done in that discipline at the time—a lot of comic book was still being colored in what we call the “sky-blue-grass-green” approach to coloring. But here, Palmer uses subtle monochromes to heighten the drama of the images. It’s a more painterly way of thinking about a comic book page, and it was a way of thinking that began to spread throughout the industry. By coloring as well as inking the book, Palmer had a far greater degree of control over the final product than most people took at that time.