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X-Men art

@xmen.art

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X-Men artwork from all times:
👀 Recommended now📕“Classic X-Men 1975” the book - affiliate link ⬇️

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Juggernaut vs Colossus by the great @danielwarrenart and fanart colours by me a few years ago.
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#xmen #marvel #comics #ComicArt #marvelcomics
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All comic colour posts are for recreational purposes and commissions and future work is closed by @xmen.art

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29 minutes ago

JIM LEE WAS DRAWING WITH HIS INKER IN MIND

Scott Williams didn’t simply adapt his inks to Jim Lee’s pencils. According to Williams, the influence also travelled in the opposite direction.

In his October 15, 2020 interview with SYFY WIRE, discussing their partnership and X-Men years, Williams explained that he already had an established inking style when Lee entered the business. Lee began incorporating marks into his pencils that anticipated Williams’s treatment:

“He kind of penciled to my strengths.”

Williams said some of those marks were not originally native to Lee’s style: Lee included them because he knew what his collaborator would do. Over time, Williams also adapted to Lee, learning to embrace more spontaneity and less rigid precision. by @xmen.art

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19 hours ago

sketch cards for Topps Marvel Neon 2026 set by @dexterweeart

#topps #toppsneon #sketchcard #sketchcardartist by @xmen.art

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3 days ago

Today’s X-Men Art Fact: Jim Starlin Gave Corsair His Mustache

When Dave Cockrum designed Corsair, the future leader of the Starjammers originally had no mustache. After seeing the design, fellow Marvel artist Jim Starlin told him: “Oh, he looks just like Star-Lord.” Cockrum’s practical response was simply: “So I put a mustache on Corsair.”

The altered design debuted in a brief appearance in X-Men #104, cover-dated April 1977; Corsair and the complete Starjammers were properly introduced in #107. Cockrum had originally devised the group for a separate space-adventure series before incorporating them into the X-Men’s Shi’ar storyline. by @xmen.art

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4 days ago

MAGNETO: END OF DAYS

Marvel has announced Magneto: End of Days, an eight-issue prestige series written by Brian Michael Bendis, with art by Andrea Sorrentino and colors by Dave Stewart. Each issue will explore a different moment in Magneto’s past, present or possible future, building a visual portrait of a character whose identity has constantly shifted throughout more than sixty years of publication.

Sorrentino admits that taking on such an iconic figure has been both exciting and intimidating, but Magneto’s artistic history has encouraged him to “experiment with layouts and find new ways to show his powers and personality on the page.” These first unlettered pages already show that approach: stark compositions, heavy shadows and magnetic fields used as part of the storytelling itself rather than as conventional effects.

The first issue arrives on February 3, 2027. Art shown in carousel order:

1. Variant cover by Alex Maleev
2. Variant cover by Netho Diaz
3. Variant cover by Jerome Opeña
4–5. Interior art by Andrea Sorrentino, colored by Dave Stewart

Source: Marvel Comics announcement, October 10, 2026; David Brooke, “Marvel reveals new ‘Magneto: End of Days’ covers and artwork,” AIPT, October 10, 2026.

#Magneto #XMenArt #AndreaSorrentino #MarvelComics #ComicBookArt by @xmen.art

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5 days ago

That time I threw down some fanart colours on this beautiful #magik by the great @matteoscalera just for fun.
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#xmen #comics #ComicArt #marvel
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All comic colour posts are for recreational purposes and commissions and future work is closed. by @xmen.art

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7 days ago

Today’s X-Men publishing-history fact

Kitty Pryde was not originally conceived simply as one new X-Man. John Byrne’s 1978 concept sheet proposed “Ariel” as the first member of a secondary X-Men-in-training team.

Editor Roger Stern recalled that Jim Shooter wanted the series to recover its original school premise, which no longer fitted an adult team containing characters such as Storm, Cyclops and Wolverine. Byrne therefore envisioned Kitty as the beginning of a younger trainee group and placed her in a version of the original X-Men uniform.

The proposed junior team did not materialise: Kitty debuted by herself in X-Men #129, published January 10, 1980, and eventually joined the senior team.

#xmen by @xmen.art

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8 days ago

Classic #xmen blue by @brettbooth_comicart , inks by @steve_lachowski , and fanart colours by me(Aug 2025)
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#marvel #comics #ComicArt #marvelcomics
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All comic colour posts are for recreational purposes and commissions and future work is closed. by @xmen.art

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10 days ago

JIM LEE’S WORKOUT CLOTHES BECAME X-MEN CANON

Some of Jim Lee’s most enduring X-Men designs were not superhero uniforms at all.

The basketball sequence in X-Men #4, cover-dated January 1992, dressed the team in distinctive workout clothes: Rogue’s green-and-yellow aerobics outfit, Wolverine’s cropped training gear and casual looks for Gambit and Jubilee. Lee plotted and pencilled the issue, Scott Williams inked it and Joe Rosas supplied the colours; John Byrne wrote the script.

Those seemingly disposable outfits were subsequently adapted for X-Men: The Animated Series, including “Out of the Past,” and then revived more than thirty years after the comic in X-Men ’97. Several appear during the basketball sequence in “To Me, My X-Men,” transforming minor visual details from Lee’s comic into part of the franchise’s nostalgic vocabulary.

#xmen by @xmen.art

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10 days ago

X-Men All Stars by Dragonslayer9000 (a remake of Joe Madureira’s artwork for PizzaHut )

#xmen #marvel by @xmen.art

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11 days ago

Today’s X-Men art fact: Tom Palmer effectively redrew much of X-Men #64 while inking Don Heck’s pencils.

The 1970 issue—best known for introducing Sunfire—temporarily interrupted Neal Adams’s celebrated run. Although Don Heck received the pencilling credit, Palmer later explained that he quickly repencilled much of the anatomy, fabric folds and faces before applying the finished inks, trying to preserve what he called the established “X-Men look.”

This explains why X-Men #64 can resemble the surrounding Adams issues more closely than Heck’s other work. Palmer provided the visual bridge: Heck’s layouts remained underneath, but Palmer reshaped much of what readers actually saw.

It is a striking example of how misleading the traditional penciller/inker division can be. An inker could become an uncredited finishing artist—and quietly maintain a series’ visual continuity when its principal artist was absent.

Sources: Tom Palmer career interview⁠

#xmen #sunfire #tompalmer by @xmen.art

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12 days ago

WHEN DAVE COCKRUM TURNED THE DC LEGION INTO THE IMPERIAL GUARD

When Chris Claremont and Dave Cockrum needed a large alien force for X-Men #107, Cockrum returned to familiar visual territory. Before joining Marvel, he had helped redefine DC’s Legion of Super-Heroes through bold new costumes, and the original Shi’ar Imperial Guard was conceived as an affectionate set of counterparts.

Placed side by side, the connections are unmistakable. Gladiator reflects Superboy; Oracle echoes Saturn Girl; Fang corresponds to Timber Wolf; Smasher to Ultra Boy; Mentor to Brainiac 5; and Starbolt to Sun Boy. Cockrum borrowed their basic powers and recognizable visual cues, then redressed them as the imposing protectors of an alien throne. The Legion’s youthful superhero aesthetic became more ceremonial and militarized without losing the clarity of the original silhouettes.

Cockrum was apparently never concerned that DC might object. He later recalled showing the designs to Legion writer Paul Levitz, who responded: “Geez, these costumes are better than the ones the Legionnaires are wearing.”

The comparison says a great deal about Cockrum’s ability as a costume designer. These characters were intentionally recognizable as analogues, yet the Imperial Guard immediately looked at home within the Shi’ar Empire and became a lasting part of the X-Men’s visual world.

📖 You can find many other behind-the-scenes stories from the early Claremont era in Classic X-Men 1975, the book. Link in bio!

#DaveCockrum #ImperialGuard #LegionOfSuperHeroes XMenArt ClassicXMen by @xmen.art

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13 days ago