brianmichaelbendis:

Incredible Hulk Annual #5 cover recreation by Art Adams

brianmichaelbendis:

Buzz Aldrin has the infinity gauntlet

brianmichaelbendis:

Buzz Aldrin has the infinity gauntlet

comicblah:

Nightcrawler by George Perez #BAMPF!

comicblah:

Nightcrawler by George Perez #BAMPF!

marvelfanfare:

Oh yeah!!!!
bendiswordsforpictures:

Psylocke redesign sketches by Art Adams, circa 1987.

bendiswordsforpictures:

Psylocke redesign sketches by Art Adams, circa 1987.

(via themarvelageofcomics)

Starriors #1-4 (1984) by Bill Sienkiewicz.

astonishingx:

Shadowcat and Lockheed by Mike McKone. Colors by Brian Reber

(via marvel1980s)

CAP’S KOOKY QUARTET

fuckyearogue:

Rogue commission by Jim Cheung for NYCC 2013.

fuckyearogue:

Rogue commission by Jim Cheung for NYCC 2013.

(via x-meninyourface)

brianmichaelbendis:

This is the pencils/inks for the Original Costume variant cover for the Captain Britain Omnibus hardcover, drawn by Alan Davis.

brianmichaelbendis:

This is the pencils/inks for the Original Costume variant cover for the Captain Britain Omnibus hardcover, drawn by Alan Davis.

fredhembeck:

Fantastic Four #4 was the first Marvel Comic I ever bought—and was probably the one purchase that most changed my life. For better or worse, depending on how you look at it, y’know? Here’s my redo of the 1962 Jack Kirby/Sol Brodsky original.

fredhembeck:

Fantastic Four #4 was the first Marvel Comic I ever bought—and was probably the one purchase that most changed my life. For better or worse, depending on how you look at it, y’know? Here’s my redo of the 1962 Jack Kirby/Sol Brodsky original.

(via themarvelageofcomics)

brianmichaelbendis:

1984 - Cloak & Dagger Portfolio Part #1

(via themarvelageofcomics)

brianmichaelbendis:

Bill Sienkiewicz 1986: Elektra: Assassin #2

Sienkiewicz found working with Frank Miller to be a much more rewarding, collaborative experience than his previous engagements. He liked how Miller “wrote from his gut.”

In this interview, he likens working with Frank Miller to two jazz musicians riffing off one another:

It worked like this: I would get the script from Frank, read it, laugh out loud through the whole thing, and make notes. Unlike other writers, who give every nuance and shade of every element in every frame, Frank would give a panel description along the lines of:” Panel 6: Garrett’s reconstruction.” and off I would run. After I did my twisted take on it, Frank would occasionally rewrite to incorporate my slant on things, or he would get inspired to go in a different direction altogether. It was like jazz. Frank and I riffed off each other. For example, the character of Garrett in Elektra: Assassin was supposed to be killed at the end of the second issue. When Frank saw what I came up with, he decided Garrett was too good visually to die just yet. Thing is, Frank’s writing really inspired me to play and to take chances, so if he felt he got anything decent from me, it was as a result of getting gold from him. Frank’s keen on letting creative collaborations breathe. That’s part of his brilliance. I can’t say enough good things about the guy himself, and his work. He’s like a brother.

kristaferanka:

Pre-SDCC Commission: Emma Frost White Queen
this’ll be the second white queen I’ve done for patloika. coincidently the first one i did for him was my very first con commission ever.

kristaferanka:

Pre-SDCC Commission: Emma Frost White Queen

this’ll be the second white queen I’ve done for patloika. coincidently the first one i did for him was my very first con commission ever.