I have become S.H.I.E.L.D.’s newest Agent! #AgentsOfSHIELD

I have become S.H.I.E.L.D.’s newest Agent! #AgentsOfSHIELD


The Unwritten 29


The Unwritten 29

"Porque se eu soubesse, ele se tornaria uma pessoa. Talvez ele tenha uma família, amigos. Pessoas que se preocupam com ele. Alguém com uma vida. Que ele não poderia ser o que preciso que seja. O que a cidade precisa que ele seja. Só o que importa é o Arqueiro, o homem por baixo do capuz não importa."

— Quentin Lance - Arrow S02E19: “The Man Under the Hood”


kezdarksun perguntou: Loved your end credit sequence. Fit the movie so well. What was your influence(s) for the design?


Thank you.  My primary influences for my work on #CaptainAmericaTheWinterSoldier were:

1: Saul Bass. The graphic sensibilities of Saul Bass are legendary in his poster designs and title sequences for Hitchcock, Kubrick, Scorsese and more. I was influenced by his strong bold shapes and minimalist approach in detail for maximum effect of communication.

2: Jim Steranko. Steranko  is a master at his craft of storytelling and he has been a personal mentor to me since 1995 when I met him in my very formative years of beginning in comics and working on the first KABUKI volume.  He’d call me in the middle of the night and we would talk all night about storytelling.  He created legendary images for both Captain America comics and Nick Fury Agent of Shield.  His bold graphic approach was influential to me as a kid, and in working on KABUKI, and here on the film in which some of my play on the black and white contrasts are an ode to the op art and graphic designs that Steranko brought to both Captain America and Shield, and it made sense to try to bring an element of this to the film that involved them both.

3: Maurice Binder.  Not as conscious of an influence, but perhaps an unconscious influence to just about anyone making film titles, after the appearance of his work in James Bond.  He brought a very graphic approach to the Spy Thriller, and with this film being something of a Spy-type thriller, I imagine his work is an influence to some degree just by virtue of growing up in the world that his work already existed in. 

That said, here is a bit of the history of how I came to be involved in the making of the film, and how it came together:

I created the artwork & design sequence for the film’s Main On End Titles and credits working with Sarofsky design studio. I’m told that my official credits on the film for the main titles are: Lead Artist, Design & Concept.

It punctuates the film, and I really hope you enjoy it. I may not be able to show my actual art drawings for it on here until after the Blu Ray is out. But I literally did hundreds of pencil and ink drawings & designs for it, and was so happy to be able to work with designer Erin Sarofsky who I met in Barcelona when we both spoke at OFFFest last year. She was contacted to offer some pitches with her design studio for the film, and she asked me if I wanted to include my version of an art pitch for it too. Magically the film board chose the pitch that I sent the art designs for out of the many to choose from and we were able to work together on it. 

The behind the scenes story is that the pitch had to be turned in immediately. I started drawing it on Thanksgiving night on a 12 hour flt to an island in the Pacific. Did the rest of the drawings on the beach and in the jungle in the Pacific, took photos of that from my phone and emailed to Erin Sarofsky. She designed the type and movement sequence and sent to Marvel film board. They selected it out of the many pitches they had.

With the green light to create the real thing, I flew to Chicago to work at Sarofsky studios to draw more on it as amazing computer artists, turned my drawings into 3D and made it move. Really happy to see it come to fruition and looking forward to seeing the entire film intact with the full titles at an advance screening soon.

I really hope you enjoy the result. It is an amazing film, and I was able to work with some wonderful and talented people.




THE AVENGERS #1.5 (Dec. 1999)
Art by Bruce Timm
Words by Roger Stern

Doom with that Cobra level mask technology


(via superhodie)