Page 2: I tried to pack in as much stuff into the backgrounds to establish that a circus is overwhelming visually, and also I wanted to give Clark some good screen time with his pals before Superman has to stop the rampaging elephant.
Page 6: Another tight page. Byrne used to complain that I didn't leave enough dead space for balloons, and hated to cover up art. I just never was comfortable with leaving blank space like some artists, though I would try to. I just would invariably start filling in some detail anyways. But to this day I try to do those no-panel border panels when I expect a lot of dialogue.
I hate drawing really tiny figures, and that is to the detriment of this page. It feels crowded to me. At this stage, I used to draw my layouts on a sheet of tracing paper, which I finished with a sharpie marker before I light-boxed onto the final paper. My problem was that I often drew the panels far beyond the panel borders on the rough, and tried to squeeze much of that onto the finish, whether it fit or not. In a few issue, I was influenced by a new studio-mate, Pat Broderick, to draw my layouts really small, and then use a projector called an art-o-graph to enlarge them onto the finished board.
I am always concerned about moving my "camera" around to give the page some variety, but these crowd scenes are always tough. I like the reader to have the sense of the other people in the room, so there's hardly ever any one-on-one panels here. Again, because of the larger paper size, I was able to cram an awful lot of panels in.
To see the complete feature on Jerry Ordway's art, with many more images and comments, get a copy of Rough Stuff#2 from TwoMorrows!
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