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Back around '78-'79 i was putting together a comic book portfolio while going to art school, but then around '80 i switched over to putting together an illustration portfolio, but then again i ended-up in the animation biz in '82. There were a few fun pages in that old comics portfolio, so ....
i did a whole issue of this story - started back in early '77, before art school and when Dave Cockram was on X-Men ... but then Byrne came along and was way better than me, so no point trying out for that series. Some of the pages remained in my attempted portfolio. This page was finished-up after Byrne had taken up the X-Men art job and shows his influence and the influence of Perez as well.
pencil on approx 11 x 17 in bristol paper
fancy colours in Krita
cyclops belongs to the mouse
i did a whole issue of this story - started back in early '77, before art school and when Dave Cockram was on X-Men ... but then Byrne came along and was way better than me, so no point trying out for that series. Some of the pages remained in my attempted portfolio. This page was finished-up after Byrne had taken up the X-Men art job and shows his influence and the influence of Perez as well.
pencil on approx 11 x 17 in bristol paper
fancy colours in Krita
cyclops belongs to the mouse
Category All / All
Species Unspecified / Any
Size 1518 x 2160px
File Size 2.49 MB
Listed in Folders
The big comics companies were still using the same colour printing tech as in the 1950s there were occasional experiments by Steranko, some covers used finer half-tones to create gradients, but it was still primitive stuff for the most part, and few "colorists" who did more than note a standard screen tone number for magenta/cyan/yellow/black are fills.
That advancement came in the underground comics - such as Rich Corbin's work with colour seperations for printing using finer dot matrices. The Big Comics publishers didn't start to adopt/adapt that tech until they were forced to by the better look of the small press comix.
That advancement came in the underground comics - such as Rich Corbin's work with colour seperations for printing using finer dot matrices. The Big Comics publishers didn't start to adopt/adapt that tech until they were forced to by the better look of the small press comix.
Let's just say that i was around when there a big argument about placing the Earth in this orbit. i remember when dirt was the new best thing (according to the Plants) - and then sliced bread was the new best thing (according to the Humans). i have seen civilizations struggle forth, rise in the sun, and crumble to dust, and for the dust to be forgotten.
But i am but a pup compared to the true tall dudes of long lived time.
And indeed, forsooth, oh youngling, as you say "I mean your style was always a gorgeous butt".
But i am but a pup compared to the true tall dudes of long lived time.
And indeed, forsooth, oh youngling, as you say "I mean your style was always a gorgeous butt".
Cyke just walking up and punching that dude even though he could more easily (and with much more power!) just blast him from a distance. With master strategies like that, it's no wonder they made him the leader ;) Well this was quite interesting to see! Do you have any more drawings of DC/Marvel (or Valiant, Gold Key, etc.) characters tucked away somewhere?
Comics tend to solve complex problems with simple violent solutions. In this story the enemy is an old X_Men villain "Masternind" - an Evil Mutant follower of Magneto - who can cause hallucinations in this story he has tech that amplifies his powers and so he takes out each of the X-Men by sending them into nightmares that seem like reality. Cyclops hallucination story starts when he stops Mastermind by punching him. Cyclops hallucination then continues for a life time where he was married to Jean, they had children, and then he accidentally killed them all by an out-of-control optic laser blast. So going to a colour ink on white paper panel signaled the start for each X_Man's nightmare hallucination.
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