I posted to epitasis-l about this frame after I inked it. It caused me a lot of trouble, as I need to work on drawing hands, and in this frame (indeed the whole of Ted & Fred) the characters' hands play a big role. 
After several attempts, I finally used myself as a model with the help of a digital camera. This gave me a very helpful visual reference. I made two prints. One as is, and the other significantly lightened. I used a brush-marker to sketch the lines I'd make in the frame onto the lighter printout. With two visual references I went back to the bristol board and pencilled and inked the frame in one sitting. My plan for finishing Ted & Fred, since the bristol is so old, is to forego the watercolor greywash I'd done with the first page (first two pages on the Web version), but instead to scan the inked artwork and apply the «color» digitally.
This is my first attempt, using Photoshop (not true actually—my first attempt was in xRes, but I wasn't able to get a smooth enough natural brush). I used a very large brush with 10% opacity, black foreground color, and «wet edges.» I went over the areas again and again to build up dark areas. Then, since I wasn't satisfied with the results, I applied a watercolor filter to the layer with the greywash. I'm still not happy with the results. The tones are still far too reminiscent of amateur airbrush work. I'll try this again with Painter and show the results here. Starting with Painter, I've learned one important thing: Painter is much slower than Photoshop. Working with this huge file in Painter has started to remind me of the days when I was experimenting with comics coloration using Aldus Photostyler in Windows 3.1 emulation in OS/2 an a 66mHz 486 with 20MB of RAM. It was a process of «hit paint bucket tool, go upstairs and make a sandwich. Check back every twenty minutes until the operation is finished.» It was brutal. Since I'm not immediately in a position to upgrade my hardware, I'll copy each frame out to a separate file, work on that frame, and paste it back into the master document when I'm done. Painter is seeming a lot more peppy now that I'm working with 5 MB files instead of 140MB files. Interestingly, I had a much more difficult job with getting a watercolor effect in Painter than in Photoshop. A very odd thing. Of course, Photoshop doesn't even attempt many of the exotic brushes and effects that Painter is so good at, but a simple greywash proved to be difficult and unsatisfactory.
There is a lot more detail in this version, but I spent quite a bit more time with it. Did I overwork it? Perhaps. It seems too easy to blame the software for my inability to use it to a satisfactory finish. One possibility I'm working with is the «dry» command in Painter. One of the difficulties I encountered was the too-easy blending of tones to match. If I tell Painter to «dry» after each brushstroke, then the new layer washes over and darkens rather than creating an even tone. I also think the paper texture may be a bit strong here. So here I went again, this time using the «dry» command in Painter. The results are a little better, I think. I mapped the keystroke for «dry» onto a button on my digitizer stylus to make it not so awkward.
I think I'm going to run with this frame, although I do have a few reservations. (The word «interrupt» was removed and placed on another layer. I rotated it a few degrees to make it appear more level.)