‘Casanova Shadows’ is almost entirely hand-drawn, making only limited use of the sort of graphic software that is commonly part of the process of comic creation today. The effect of this is to create a very distinctive style and one, arguably, which is more resonant of the historical past in which the story is set. What is also unusual is that the artwork is the product of a single artist. It is quite common in the industry to have as many as four specialist artists working on any particular creation: penciller, inker, colourist and letterer. In the case of ‘Casanova Shadows’, all of these roles have been carried out by Kev. Needless to say, this has been an intensely time-consuming process and is the reason why 80% of the novel is in black and white. Nonetheless, in the prologue and two nightmare sequences (one that includes the whole of Chapter 6 ‘Falling’) Kev has taken the opportunity to use colour (an opportunity because those sections in some sense lie outside the present-day narrative of the story as a whole which means the use of colour 
shouldn’t seem inconsistent with the dominant use of black and white everywhere else). Most of the colour images on the home page come from those sections of the novel.
‘Casanova in Paris: The Shadows of the King’ is now freely available here.
27 long form articles on Casanova’s life and times are freely available here.
#behindthescenes #blackandwhite #colour #artwork #graphicnovel #casanova
