I felt after the Watchmen I had hit on a way of colouring that suited me, so it was very much in light of what I had learnt on Watchmen that I came to the Killing Joke. I was going for mood more than any naturalistic colour sensibilities, In comic strips comparisons, film making process is more often cited than any other form of image making, so the use of particular colour hues you can see in the movies that are dictated by a light source was always an approach I had taken since well before the Watchmen with any colour strip work.
The major difference was it was a type of full colour process called Blue line colouring, as opposed to the very limited colouring process we had on the original run of the Watchmen which was hand separation’s making the overlays for the cmyk colour printing plates.
This type of colouring gave a great opportunity to use different processes to making colour, so it was airbrush or paint brush washes and coloured pencil in places, which gives the opportunity to add texture to surfaces.
I have been asked what my favourite panel is and it is the panel were the Joker appears at Barbara Gordons door holding a gun, this for me is the perfect “before image” as from here on in the DC universe the Joker grew into the mature catergory of villain, never to be a “cartoon” villain every again. I had not seen such a chilling depiction of violence in the Bat universe up to that point, but as in so much that Alan Moore gave to comic storytelling, from that point on it is a reassessment of what makes the strongest presentation of “comic violence” and its question of being appropriate for what particular story you are trying to tell.