What makes your Impire? Darth Vader!
Catching Elephant is a theme by Andy Taylor
Support this geeky art print Kickstarter project called O R I G I N Series now!
Thank you!
-The Ninjabot Crew
New Image From “Justice League: The Flashpoint Paradox” Released By DC Comics
http://www.toonzone.net/forums/dc-animation-forum/298864-justice-league-flashpoint-paradox-animated-feature-news-discussion-thread-spoilers-10.html#post4109435
Incredible Hulk #314, page 18 by John Byrne & Bob Wiacek.
Sensational She-Hulk #45, page 2 by John Byrne. 1992.
X-Men: The Hidden Years #3, page 22 by John Byrne & Tom Palmer. 2000.
dave cockrum at the height of his powers in 1976. it’s a shame this piece was only published real tiny in a MARVEL COMICS letter page
A page from FANTASTIC FOUR ANNUAL #1 by Jack Kirby and Steve Ditko. This story was an expanded retelling of an encounter that was first published in AMAZING SPIDER-MAN #1, so some of these panel compositions have Kirby mimicking Ditko’s layouts.
This hardware store carries Batman.
“I remember the straw that broke the camel’s back. I had drawn a double-page spread in one of the Strange Tales sequences featuring Nick Fury on trial by Baron Strucker and the agents of HYDRA. I had something like a hundred figures in the background, all individual figures. I wrote a note to the colorist, Stan Goldberg, saying, “Stan, color all these men individually.” Stan would probably put a sheet of blue over the whole thing, and that seemed criminal, because—although it might look good—after all I had done all that work putting in all those figures, I didn’t want them all obliterated.
I took the story up to Marvel, and Stan looked at it and said, “I’ve had it, Steranko. Do it yourself. Take it away. I never want to see you again; just take the stuff away and color it yourself.” So I started coloring all my material at that time, at $2.00 per page; later it went to $3 per page. I could only color about ten pages a day, so you can see I was losing a lot of money. I could have just been penciling for two or three times as much; but the strip emerged a more perfect marriage of concepts as a result. So I was willing to take less money, by using that time to color and thereby make the story come out better.”
—Jim Steranko to George Olshevsky, 1977
