.This page is pretty near finished to ink stage. What's happening in panel 2 is that Uccello (right) is backing towards the wall and his foot hits the armour - drawing it to Rocco's attention. I probably need to tweak the position of the armour parts in the main panel. I may also add an inset in that panel showing the detail of the foot hitting the armour.
I was please with the drawing of the collapsed stool, both as an aesthetic image, and also because the legs pointing in towards Uccello support the idea of the aggression towards him, and also acts as an obstacle were Uccello to try to make a run for it. It was actual quite difficult and time-consuming to draw the stool and arrange it against the tiled floor: there are so many compositional tangents to be avoided! However I am realising that page 17 show3s the stool upright. I think when I drew this page (a couple of weeks ago), I had in mind that Uccello would sit on the box (shown here bottom left). The box was seen in page 13, with Uccello standing on it for height - it hasn't just materialised for this scene! I do like the stool on this page. On the other hand, the stool will look better than the box in the next page, so I'll need to sleep on this.
In some scenes of the room there is a large board against the wall on the right (in this panel). That would add some visual interest, but I quite like the blank wall - it keeps the focus on the figures and Uccello being 9literally) back against the wall. Hopefully the colour and a bit of texture will add just enough visual interest. Possibly some horizontal lines drawn on the back wall with perspective effect pointing toward the characters' eye level would help. However, in plot terms, it's the 'still nothing on the walls' situation fuelling the patron's annoyance, and thus Rocco's intervention.
The armour here was drawn before the armoured Uccello on page 17. They are based on the same reference image, but page 17 is more resolved. I have a recurring theme of subjectivity and the partialility of perception, that fits well with the 'Eyes of the Artist' theme - in fact it's a key reason I chose it. On that basis I think the armour works as it is here; firstly because it's in the foreground, and therefore an out of focus, photographic depth of field effect applies; secondly, because although it comes to their attention at this moment, they haven't really examined it, whereas on the next page Uccello has put it on and Rocco has watched him, so it makes sense for it be more resolved.
I still need to complete the armour item in the centre foreground (breastplate) which I pasted from an earlier drawing, and add the dropped paper in panels 2 and 3.
All original Images copyright Graham Johnstone, or, where applicable, their respective creators.