Tips from Jesse Hammさんのイラストまとめ

Accordingly, here's Norman Thelwell contrasting a grey mass of detail with white space, to isolate and draw attention to the speaking figures.

Here too: her eyes and boots look brown, but red is the only color used. The fewer colors you can use, the more unified and easily readable.

Don't underestimate the role of value (dark & light) in how colors appear. The outfit here reads as violet, despite only being red + grey.

Richard Corben was less experimental, using undergrounds instead to create sci-fi & horror with an explicitness forbidden to most comics.

@Yawgmothx Jon Bogdanove's work at Marvel in the '80s shows that Shooter appreciated good, simple, expressive cartooning like Henderson's.

Other exceptions:
WHITE BOY: thoughtfully poetic
POLLY AND HER PALS: quirky and inventive
KINDER KIDS: ditto

Notable exceptions to this approach:
LITTLE NEMO: opened up sumptuous vistas.
KRAZY KAT: unconventional formatting
GASOLINE ALLEY: ditto

Frazetta groups most of the dark at the bottom, a band of grey along the top, with a path (see arrow) of darks & lights to the focal point.

Squint and compare these compositions. The Frazetta (capeless) groups darks/greys/lights simply, and centers attention on the hero figure.

To show what I mean:
(1) would be ideal for lefties.
Righties should flip it (2), or
(if working on paper) turn it (3) to find a good curve.