Pages in progress - 20 and 21 (post 2)

This is the only two page spread in the story. More correctly, it's a panel that is the full width of the two pages: this aspect ratio reflecting the paintings the story is about. 

After Uccello being stuck at the studies stage, and then released by Rocco's intervention (putting him into the armour, and -figuratively - into the battle), he finally pulls his work together into a single scene.

The photo of Uccello's painting won't actually be in the scene, though elements of it (as seen on earlier pages) will be at various stages of drawing. I pasted it in here to get the dimensions right, and to help me compose the figures sensitively, in relation to it. I spend some time on arranging the figures, to get some variety in the poses and  composition, without obscuring key details of the painting. I managed to place the centre right figure tidily between horse coming from each direction - it looks as he if is organising the battle, or conducting an orchestra. Putting him at the centre of the battle like this demonstrates his change - Rocco's intervention has moved him from a cautious distance to being (figuratively and compositionally) in the centre of the battle.

I'll recreate Uccello's picture as a drawing at different stages. I plan to use part pencil and part ink effects, and have thew drawings more developed towards the right - so it reads, and seems to develop with time, left to right in comic tradition.

The bottom panel on the left hand page will use the same shot, with the patron entering the door, and Uccello sleeping on the floor. There are a few reasons for this choice: it means the figures are not obscuring the (now largely complete) painting; the comic probably needs the closure of seeing the finished composition; and also we get to see the patron's shock at the sleeping Uccello, before he sees the completed drawing.

I haven't fully worked out the panel (s) on the right yet, but making it a single panel would create a pleasingly symmetrical page design. It will show Uccello waking up, as the patron Salimbini looks at the painting, and Rocco gives Uccello a conspiratorial wink or tip of the hat (Rocco's gamble has paid off).