Photo Set

supervillain:

The Island (2005), dir. Michael Bay. 

Source: supervillain
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lovejapanese80s:

マッドマックス2 バイオレンス・シール

Source: momi6.momi3.net
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francavillarts:

SO LONG, JIM…
Thanks for everything.

FF

Source: francavillarts
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80s-90s-stuff:

80s Masters of the Universe movie concept art for Skeletor by art director William Stout

80s-90s-stuff:

80s Masters of the Universe movie concept art for Skeletor by art director William Stout

Source: 80s-90s-stuff
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jthenr-comics-vault:

Darkseid by Carlos Pacheco & JG Jones

(via jthenr-comics-vault)

Source: jthenr-comics-vault
Photo Set

brianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3

I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment

Bill Sienkiewicz, interviewed by Comic Book Resources

(via brettpunk)

Source: comicartistevolution
Photo Set

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.

(via brettpunk)

Source: comicartistevolution
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mendelpalace:

I love how the cover to the Japanese instruction manual for the Virtual Boy is so mundane. Like it’s for some piece of cyberpunk future tech, No joy, only malaise of the future.

mendelpalace:

I love how the cover to the Japanese instruction manual for the Virtual Boy is so mundane. Like it’s for some piece of cyberpunk future tech, No joy, only malaise of the future.

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happyitemroom:

foam on a wave

(from Hellboy: The Third Wish by Mike Mignola + Dave Stewart)

(via jzaag)

Source: happyitemroom