Notes: The
final panel on this page contains one of two uses of zip-o-tone in Cautious
Fuzz. (For those of you who don't know, "zip-o-tone" is clear plastic
strips that have a toned pattern on them—often a gray-scale dot pattern—and
are sticky on one side. You lay the sheet over a section of a drawing,
use an x-acto blade to cut out sections, and press the remainder down so
it lends precise tone and texture to the drawing.) As you might guess from
my extreme use of cross-hatching in the book, at this phase of my artistic
development I was VERY interested in using black and white patters to create
the feeling of texture and color. I'd have used A LOT more zip-o-tone if
I could have, but it's pretty expensive ... at least it seemed to be to
someone fresh out of college with a job that just barely paid the bills.
Anyway, the tone allowed me to make Bonzo's jacket seem uniformly dark
without making it a solid black mass.
The only other
thing I have to say about this page is that I am horrified by how poorly
the "grab" sequence works in panel #4. I got it all backwards. Adler is
supposed to be grabbing the alien's gun-toting wrist then pulling it up
out of the frame. It reads just the opposite because I made the starting
position the most solid. It sure looks to me like Adler snatched down and
grabbed the alien's raised wrist, ending up with it pointing toward his
own belly. This is an important difference, don't you think?
On the other
hand, I DO like Adler's action pose in the final panel. It really does
feel to me like he's pivoting on his heel and kicking HARD into Bonzo's
... ummm ... groin. Ouch!!
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