Hi-Fi’s Brian & Kristy Miller to appear at Phoenix Comic Fest 2018

Hi-Fi colour design founders Brian & Kristy Miller will be appearing at Phoenix Comic fest 2018.

Dates: Thursday, May 24th – Sunday, May 27th

Location: Booth 769


Brian & Kristy Miller are the founders of digital color studio Hi-Fi Colour Design. The team at Hi-Fi colors comics like Doctor Who, Supergirl, Harley Quinn, Batman VS. Superman, SpongeBob, and more. As the authors of several art-instruction books including; Hi-Fi Color for Comics, the creative duo is also focused on art education. They created Hi-Fi Academy as an outreach program where they visit schools and art galleries to share comic art education with the public. Hi-Fi Academy also offers three-day workshops for aspiring creators who want learn professional skills fast. In addition to his work coloring comics, Brian is also a respected illustrator known for his work for Star Wars, The X-Files, and Doctor Who as well as his pop culture and gallery artwork.

Available at Phoenix Comic Fest

Femme Magnifique: Brian & Kristy will have a limited copies available



Hi-Fi Color for Comics: Learn how to color with step-by-step tutorials from the pro’s at Hi-Fi



Officially Licensed STAR WARS artwork by Oktopolis Illustrator Brian Miller


Lady Death: Hellraiders #1: Retro Edition featuring cover art by Brian Miller

Screen Shot 2018-05-19 at 4.34.51 PM

Discover the Art of STAR WARS at Phoenix Comicon

Phoenix Comicon will be celebrating STAR WARS in 2016 with official Star Wars artists and a special panel devoted to all things Star Wars.

ART OF STAR WARS panel at Phoenix Comicon

With so many comic book artists who have contributed to the Star Wars Universe, we discuss Star Wars with the people who helped create the comic books based on the series of films that we love so much.

  • Friday 1:30-2:30PM
  • Room: North 121B
  • Guest Panelists: Star Wars illustrator Brian Miller and others TBA.

Katie Cook: Writer & Artist — Find her in Artist Alley: AA1522 — STAR WARS CELEBRATION ARTIST!

Katie Cook is the illustrator of Star Wars: ABC-3PO, a clever new book by Calliope Glass and Caitlin Kennedy with illustrations by Katie Cook, takes readers young and old on an A-to-Z exploration of the characters, creatures, and Unkar Plutts of a galaxy far, far away. Katie is also the illustrator for several Star Wars Celebration exclusive lithographs and the artist behind the official STAR WARS “stickers” on Facebook. Meet Katie and see all of her Star Wars art in Artist Alley at Phoenix Comicon.

Joe Corroney: Artist — Find him in Artist Alley: AA1610 — STAR WARS CELEBRATION ARTIST!

Joe Corroney has been providing Lucasfilm with official Star Wars artwork for books, games, trading cards, comic books, posters and magazines since 1997. Joe’s Star Wars art can be seen at Disney’s Wonderground Gallery as well as in official traveling Star Wars exhibits around the globe. You will also see Joe’s art featured in Star Wars Insider magazine and on official Star Wars book covers as well as other collectable Star Wars items. Discover all of Joe’s Star Wars and sci-fi artwork in Artist Alley at Phoenix Comicon.

Brian Miller: Artist — Find him in Artist Alley: AA1608 — STAR WARS CELEBRATION ARTIST!

Brian Miller creates limited edition screen prints for the Star Wars collectables & fine art markets working with Lucasfilm, ACME Archives, Dark Ink Art, and others to take memorable Star Wars characters from the screen and bring them to your home. Best known for his pop-culture propaganda series of Star Wars screen prints Brian is also creating original illustrations for Star Wars books. Visit Brian in Artist Alley to experience his unique take on the Star Wars universe at Phoenix Comicon.

Mike Mayhew: Artist — Find him in Artist Alley: AA1501

Mike Mayhew adapted George Lucas’ original 1974 draft “The Star Wars” for an eight issue comic series from Dark Horse Comics. “The Star Wars” became a #1 New York Times best selling graphic novel and won a Diamond Gem award for “2013 Licensed Book of the Year.” Currently, Mike is illustrating covers for Marvel Comics. Find Mike in Artist Alley at Phoenix Comicon.

Mark Brooks: Artist — Find him in Artist Alley: AA1601

Mark Brooks currently the interior illustrator for the new Star Wars Han Solo series and just completed a successful run as the cover artist for the Star Wars/Darth Vader crossover, Vader Down. He was also the cover artist for Star Wars Kanan, the Last Padawan. “Stay on Target” and don’t miss Mark in Artist Alley at Phoenix Comicon.

Spencer Brinkerhoff: Artist — Find him in Artist Alley: AA1106

Spencer started his work in the Star Wars universe when he was invited participate in the Star Wars celebration art show in Japan. He has since created officially licensed art for the Star Wars shop, the on demand print company Zazzle, LEGO, Star Wars Insider, and continued work at the Celebration events.  In addition to these projects Spencer has also invented an in-camera special effect that adds laser beams to your photos called LightSticks. Use the Force to connect with Spencer in Artist Alley at Phoenix Comicon.

Ron Marz: Writer — Find him in Artist Alley: AA1605

Ron Marz has been writing comics for more than two decades including Star Wars comics like: Star Wars: Empire, Star Wars: Darth Maul, Star Wars Tales, Jango Fett, & Luke Skywalker, Last Hope for the Galaxy. Find Ron in Artist Alley at Phoenix Comicon.

Art Adams: Artist — Find him in Artist Alley: AA1531

Arthur Adams is an award-winning artist who became an immediate fan favorite with his cover art for the Classic Star Wars: A New Hope series published by Dark Horse Comics as well as contributing to the Rogue Squadron handbook. Discover the amazing work of Art Adams in Artist Alley at Phoenix Comicon.


Bios courtesy of Phoenix Comicon, Wookiepedia, & Wikipedia.

20+ Amazing Comic Book Creators all in One Place!

Phoenix Comicon is June 2-5 this year and if you love comic books you are in for a treat. Artist Alley is always packed with talent and this year you will be able to find over 20 of your favorite artist all in one place, Artist Alley aisle 1600. It’s like a Who’s Who of comic book creators! Don’t believe us, just check out the list below and then make Artist Alley aisle 1600 your destination at Phoenix Comicon 2016!

Mark Brooks 1601

He’s currently the interior illustrator for the new Star Wars Han Solo series and just completed a successful run as the cover artist for the Star Wars/Darth Vader crossover, Vader Down. He was also the cover artist for Ant-Man and Star Wars Kanan, the Last Padawan. Prior to this, he completed an acclaimed run as cover artist for Deadpool and Fearless Defenders as well as a successful arc on the popular series X-Men Legacy.

Ron Marz 1605

Ron Marz has been writing comics for more than two decades, starting his career with a lengthy run on Silver Surfer for Marvel. Since then, he has worked for virtually every major publisher and compiled a long list of credits, including stints on Thor for Marvel, Green Lantern and Superboy for DC, Star Wars and Conan for Dark Horse, and as a staff writer for CrossGen Comics.

Jamal Igle 1606

A recipient of the 2011 Inkpot Award for outstanding achievement in Comic Art, Jamal Igle is the writer/artist/Creator of Molly Danger for Action Lab Entertainment. Jamal’s detailed pencils have graced books as varied as The Narrative of the life of Frederick Douglas, the all ages action miniseries “Race Against Time” as well as mainstream hits such as G.I.Joe, Iron Man, Spider- Man and Green Lantern. Jamal has served as the series artist for Firestorm the Nuclear Man, Nightwing and Tangent: Superman’s Reign, Superman, Supergirl and Zatanna for DC Comics, Noble Causes for Image Comics and a four issue run on New Warriors for Marvel Comics.

Stan Sakai 1607

Usagi Yojimbo, first published in 1984, continues to this day. It progresses with Stan Sakai as the lone author and nearly sole artist Tom Luth serves as the main colorist on the series, and Sergio Aragonés has made two small contributions to the series: the story “Broken Ritual” is based on an idea by Aragonés, and he served as a guest inker for the black-and-white version of the story “Return to Adachi Plain” that is featured in the Volume 11 trade paperback edition of Usagi Yojimbo). He also created a futuristic spin off series Space Usagi. His favorite movie is Satomi Hakkenden (1959). The Japanese American National Museum in Los Angeles’s Little Tokyo presented an exhibit entitled “Year of the Rabbit: Stan Sakai’s Usagi Yojimbo” from July 9 through October 30, 2011.

Hi-Fi/Oktopolis — Brian & Kristy Miller 1608

Brian & Kristy Miller are the founders of digital color studio Hi-Fi Colour Design. The team at Hi-Fi colors comics like Doctor Who, Supergirl, Harley Quinn, Batman VS. Superman, SpongeBob, and more. As the authors of several art-instruction books including; Hi-Fi Color for Comics, the creative duo is also focused on art education. They created Hi-Fi Academy as an outreach program where they visit schools and art galleries to share comic art education with the public. Hi-Fi Academy also offers three-day workshops for aspiring creators who want learn professional skills fast. In addition to his work coloring comics, Brian is also a respected illustrator known for his Oktopolis artwork for Star Wars, The X-Files, and Doctor Who as well as his pop culture and gallery artwork.

Norm Rapmund 1609

Norm has continued to make his mark on a variety of DC titles including, 3-year run doing Finishes over Dan Jurgens on “Booster Gold,” “Time Masters: Vanishing Point,” “DC Comics: The New 52,” “Teen Titans,” “The Ravagers,” “Nightwing,” and “Batman/Superman.” Currently Norm is doing the inking on DC’s “New 52: The Flash.”

Joe Corroney 1610

Joe Corroney has been providing Lucasfilm with official Star Wars artwork for books, games, trading cards, comic books, posters and magazines since 1997. Other comic books he’s illustrated include Star Trek, GI Joe, Fallen Angel, 24: Nightfall, Doctor WHO, Angel and Spike Vs. Dracula for IDW Publishing, Buckaroo Banzai, Kolchak The Night Stalkerand The Phantom for Moonstone Books and Crimson Dynamo for Marvel Comics. Currently, he’s providing cover art for IDW’s new True Blood series and BOOM! Studios’ Farscape comic books, developing his creator owned comic book series, Death Avenger and continuing to create new Star Wars artwork for Lucasfilm.

Todd Nauck 1611

Todd Nauck is a well known artist of the comic book industry and works regularly for Marvel, DC, and ImageComics with credits including Amazing Spider-ManFriendly Neighborhood Spider-ManTeen Titans Go, and Young Justice, as well as countless others. Nauck is the artist of the best selling comic book, Amazing Spider-Man #583: the Spider-Man/Barack Obama Team-Up.

Phil Hester 1612

Phillip Hester has been writing and drawing comics for nearly three decades, beginning while still a student at the University of Iowa. After a period of toiling in the world of black and white indie comics, he broke into the mainstream with a long run as artist of DC’s Swamp Thing with writer Mark Millar. At nearly the same time he wrote and drew the Eisner Award nominated series The Wretch. In 2001 Phil drew Kevin Smith’s revival of Green Arrow with long time inker Ande Parks, also for DC. He wrote the original graphic novel The Coffin with artist Mike Huddleston, which was optioned for a feature film by James Cameron. At Image Comics he created Firebreather with artist Andy Kuhn, which became an Emmy-winning animated television feature for Cartoon Network.

Dan Jurgens 1613

Jurgens began his career with DC Comics as artist on THE WARLORD. Shortly after, he created, wrote and drew BOOSTER GOLD for DC. He continued with stints on FLASH GORDON, GREEN ARROW, and THE JUSTICE LEAGUE OF AMERICA. Most notably, he logged a ten-year run as writer/artist on SUPERMAN, including the best-selling Death of Superman for which he won the National Cartoonists Society Award for Best in Comic Book Division. Jurgens followed up with the mega-hit crossover ZERO HOUR, which redefined the DC Universe.

John Layman 1616

John Layman is the creator, writer and letterer of CHEW, the New York Times best-selling, Harvey Award and multi-Eisner Award winning cannibal cop comedy series from Image Comics. Layman was an editor for WildStorm Production and has written or lettered for every major publisher in comics for the last decade and a half. His current projects include Mars Attacks and Judge Dredd Vs. Aliens Vs. Predator. He’s written Detective Comics, Batman Eternal, Cyclops, Godzilla, Thundercats, Gambit, Scarface, Red Sonja, Marvel Zombies Vs. Army of Darkness, House of M: Fantastic Four, the Marvel Identity Wars Annuals, Stephen Colbert’s Tek Jansen… and a whole lotta other stuff.

Tom Raney 1617

Tom’s drawn X-Men, revamped Stormwatch, and the Outsiders, co-created Threshold, and Mutant X.  He’s also drawn Thor, Avengers Academy, the Hulk, Warlock & the Infinity Watch, Infinite Crisis, Batman-Superman, Future’s End, and many more.  Recently, along with Greg Pak he’s contributed Phantom Limb Ghost Puncher to the Broken Frontier anthology!

David Baron 1718

A 20 year vet of comics, with first published work being done at the age of 15 for Image Comics while working at InColor. He has been a top colour artist for DC Comics for the last 15 years with highlights including 52, Planetary, The Authority, JLA, Detective Comics, Batman Beyond, and Green Lantern just to name a few.

Tone Rodriguez 1619

After high school He worked many jobs, and enjoying many of them, But didn’t find himself enjoying them as much as working as a comic book artist. VIOLENT MESSIAHS for IMAGE COMICS was released in 2000. And was soon  followed up with the book’s second volume VM-LAMENTING PAIN and then John Carpenters & Kurt Russell’s SNAKE PLISSKIN CHRONICLES, at this point it was clear that he had found his calling.

Stephane Roux 1621

Stéphane Roux’ has worked on such titles as Witchblade: Blood Oath, scripted by Jean-Marc Lofficier, as well as Sibilla (scripted by Jean-Marc Lainé) and Strangers in the Semic pocket and comics publications.

His longest cover assignment was on Birds of Prey (issues #104 to 127), with notable covers on various titles including Countdown to Final Crisis, Savage She-Hulk, X-Men: Worlds Apart, and The Amazing Spider-Man Extra#2. He has been working on the DC comics series Zatanna, written by Paul Dini, and Star Wars: Agent of the Empire, written by John Ostrander.[1] He is doing covers, fill-ins and short stories for all the majors comic-book companies. He did the poster for New York Comic Con 2013. He recently worked on a Batman: Legends of the Dark Knight story (issue # 41) written by Ray Fawkes. He also drew a Batman: Black and White story, written by Paul Dini called “Role Models”, in the Batman Black and White issue # 3, Jan 2014.

Ben Templesmith 1623

As a creator, his most notable works have been 30 Days of Night (which spawned a major motion picture) and Fell. His other projects include the critically acclaimed serial Wormwood: Gentleman Corpse, as well as Welcome to Hoxford, The Squidder and Singularity 7, all of which he also wrote.

Shannon Denton 1624

Shannon is currently working with Alan Tudyk, Nathan Fillion and PJ Haarsma on their sci-fi epic SPECTRUM and overseeing production of the comic. In comics he’s drawn everything from Spawn to Star Wars to Deadpool to Superman. In animation, he has worked on shows ranging from X-Men, Spider-Man, Captain America, The Avengers, and Silver Surfer (which received an Annie nomination), as well as Dan Dare, Danny Phantom, Teen Titans, He-Man, Teenage Mutant Ninja Turtles, Ben 10, Transformers, Justice League and more.

Basil Gogos 1625

Basil Gogos’ Famous Monsters cover art featured most of the classic horror characters such as The Phantom of the Opera, Frankenstein’s monster, Dracula, The Wolf Man, The Mummy, King Kong, Godzilla and The Creature from the Black Lagoon and popular horror actors like Boris Karloff, Bela Lugosi, Vincent Price, Lon Chaney, Christopher Lee and Peter Cushing. Gogos often captured his subjects in an array of vivid colors using a technique in which the artist imagined the character bathed in colors from multiple light sources. He enjoyed painting monsters more than most of his more conventional assignments because of the freedom he was given and because of the challenge of painting such unusual characters which he endeavoured to portray as both frightening and sympathetic.

Tony Parker 1627

Tony Parker is an Eisner nominated artist, illustrator and college professor. He has worked for nearly every major US comic company (Marvel, DC, Dark Horse, Image, BOOM!, IDW, and Aspen), as well as Nike, Games Workshop, and private corporate clients. He has done comic work for Mass Effect, Godzilla, Conan, and Warhammer (Fantasy and 40K). He dislikes talking about himself in the third person, but if he put it in the first person, it would make it look like the book or website did all these things.

Marv Wolfman 1628

In 1985, Wolfman and Pérez launched Crisis on Infinite Earths, a 12-issue limited series celebrating DC’s 50th anniversary. Featuring a cast of thousands and a timeline that ranged from the beginning of the universe to the end of time, it killed scores of characters, integrated a number of heroes from other companies to DC continuity, and re-wrote 50 years of DC universe history in order to streamline it.

George Perez 1629

George Perez started drawing at the age of five and is known for his work on various titles, including AvengersTeen Titans and Wonder Woman. Pérez came to prominence when he started illustrating Marvel’s The Avengers he started with vol. 1 #141. In the 1970s, Pérez illustrated several other Marvel books, including Creatures on the Loose featuring the Man-Wolf, Inhumans, and Fantastic Four.



Bio excerpts courtesy Phoenix Comicon and/or Wikipedia.

Find out more about "Licensed Art!"

Spotting art in the wild on a Superhero Safari: How Licensed Art works.

Our favorite superheroes are everywhere these days. From the big screen and video games, to action figures and children’s books, our favorite caped wonders have escaped the confines of the local comic book store and have found themselves in almost every aspect of the media.

Just some of the Marvel books from HiFi available now.

A collection of just some of the Marvel books painted by Hi-Fi.

One of the most important markets that comic book characters have remained strong in is actually so subtle that it’s easy to miss if you’re not looking for it. Enter the world of Licensed Art.

What exactly is Licensed Art and why is it important in relation to comic books? Before we get into that, I’ll explain how the employee relationship works in the comic book industry.

In the world of professional production art, the way things work is pretty straightforward. There is an employer/employee work relationship where an employer will pay an employee to create art. This art is then used in a final product that it was intended for. For example, when comic book veterans Ian Churchill, Norm Rapmund, and the team of Color Artists at Hi-Fi create artwork for “The Ravagers” from DC Comics, the nature of the art being produced under the legal definition of Work-For-Hire is typically (but not necessarily always) intended for limited publication in comic book form. That is, the artists can expect to see their work reproduced in the monthly comic, later on in a collected Trade Paperback version, as well as in Digital Comic versions.

Marvel Super Heroes 3D Activity Center

Marvel Super Heroes 3D Activity Center, with box art created by Hi-Fi Artists. One neat thing about working on Licensed Art projects is that you never know where you'll see your artwork pop up next!

Most work contracts for big league companies such as DC Comics and Marvel are catch-all contracts, meaning that under the explicit language of the contract the art becomes the property of the company that has ordered it, and they have complete reproduction rights on it. So if one day we see a t-shirt with a scene from an issue of “The Ravagers” for sale, it is, without divulging the details of the contracts, most likely within the rights of DC Comics to do so and profit from that.

With that profit comes a cost. The old saying, “You have to spend money in order to make money” is reversed in this case; when you make money, you have to spend money. This is called a Royalty Payment. Royalty Payments ensure that there is a quid-pro-quo (this for that) arrangement when something is reused for profit. For example, if an art team is paid $X for the original production art for a comic book, and the company produces from that art a pair of shoes with the artwork printed on the sides, it’s only fair that the art team is given a portion of that profit as well. Typically, Royalty Payments are a very low percentage, and only kick in after a certain profit ceiling has been reached. Regarding Royalty Payments, a contract will typically explain that once a certain amount of money has been made from the new product produced from the old art, then the art team will get a fraction of a percent of the profit made from each new sale.

This is a wonderful setup for artists, but it can backfire on the company in some situations, specifically where the products being made are created with little profit, or even being offered “at cost” in value markets.

In comes Licensed Art. In essence, all art in the comic industry is licensed. What we refer to with this term, however, is when art is produced for the company who has complete, carte blanche rights to its use from there on, and may sell the rights to that art to other companies for the creation of new products.

Licensed Art is vital because it permits comic book companies to use, distribute, and reuse artwork while keeping a budget.

As artists, of course we want to ensure our own financial safety by making as much money as possible, so in the production of Licensed Art we are typically paid slightly more up front. Think of it as a Royalty Payment in advance.

This allows for a new market of low-profit, high distribution products to be created and to then saturate the market.

Coloring books, greeting cards, stickers, school supplies, lunch boxes, Frisbees, shoes, the list goes on. All of these products you can find at the local department store, supermarket, dollar store, and even the corner gas station. These things are all great, but even mighty companies like DC Comics and Marvel aren’t big enough to have their own footwear division, Frisbee factories, etc.

Art from various sources has been used on this neat movie projector!

Art from different sources has been assembled together on this cool movie projector, included with an activity book! Here you see Captain America on the projector (Left), along side the original painted artwork (Right).

Because they’re produced in such high quantities to be offered at such a low price, it would be nearly impossible for the company to recover any profit if Royalty Payments were a consideration with these products. The idea here is to respond to consumer demand, by offering these things. There isn’t always a lot of money for a company to make, but the tradeoff in having “The Mighty Avengers” coloring and activity books in the dollar store is that a consumer demand has been met, the company has “broken even” on the sale of the product, and now there is a happy child with a coloring book, who in ten years may remember how cool he thought “Spider-Man” was, growing up, and that may lead to him visiting his local comic book store and catching up with his old friend Peter Parker.

Hi-Fi Artists are responsible for much of the Licensed Art you may see from Marvel today, with much more to come.

The Mighty Avengers Look and Find

The Mighty Avengers Look and Find, featuring Licensed Art from Hi-Fi Artists.

We illustrate and paint Marvel characters for children’s books, activity and coloring sets, and many other products. As Marvel and its parent company Disney brainstorm to create new products, many times our art will be reused. For example, I recently saw a page I had painted for “The Courageous Captain America: An Origin Story,” where Captain America is running to battle in World War II reused as the image on an audio button for “The Mighty Avengers: Play-a-Sound” book and more Hi-Fi artwork can be seen on the cover of “The Mighty Avengers: Look and Find” both of which are published by Publications International.

HiFi painted artwork used beautifully along the margins of a children's activity book.

Hi-Fi painted artwork used beautifully along the margins of a children's activity book. Youngsters couldn't ask for better reference! This Captain America image is very popular.

The art keeps coming back in different products, and that’s great news. Marvel and others are pleased with the work we’ve done and is continuing to reuse much of it as Licensed Art. I even saw an activity book where some of Hi-Fi Creative Director Brian Miller’s paintings for the protective sleeve covers of the Marvel Origin Story books were re-purposed into face masks. What a cool added value for the activity book, to be able to pop out a die-cut mask and wear it to become your favorite Avenger!

There are many teams producing Licensed Art for the comic book industry, but much like every product, there is a dwindling contingency that is American-made. Because of economic hardships, following the example of what happened with the 1980s Cartoon and Animation Industry, many companies have opted to look to the artists of Asia to produce comic book art. Though they’re very talented, because of lower standards of living they accept a lower rate of payment. The comic book industry has pushed and tugged towards this end, but American artists are pulling it back. Hi-Fi Colour Design, despite the British “u” in Colour is an American-based company and many Hi-Fi Artists and colleagues live and work in America.

Veteran comic book penciler and Pittsburgh’s own Pat Olliffe produces much of the preliminary pencil work that we use as the framework to what we do. Brian and Kristy Miller have the heart of Kansas City and the hip-factor of Arizona. They manage these large projects as well as provide art from the Hi-Fi Mothership in Arizona. Hi-Fi Artists like “yours truly” provide art from around the nation. Some pages that I painted in “The Incredible Hulk: An Origin Story” were painted on an 18-hour bus ride to New Orleans. A battle between Iron Man and Hawkeye in “Hawkeye Joins The Mighty Avengers” was painted at the same table in the family home where my whole family encouraged me to draw when I was a child.

The Mighty Avengers Play-A-Sound Book

The Mighty Avengers Play-A-Sound Book. I was pleasantly surprised when I first saw artwork I had painted for another book now appearing on one of the sound effect buttons on this. Neat!

I believe that these are only possibilities for the American artist. We’re free to be mobile, and not confined to a studio in . The office of Hi-Fi is virtual, and the work week of the Hi-Fi Artist is flexible. Our art can and has been made from our homes, coffee shops, libraries, and even in unexpected places like on interstate bus rides. With the advent of Tablet computing, and great how-to books such as How to Paint Comic Books with the iPad I can’t wait to hear about what interesting new places people will create artwork from.

We’re all very proud to serve you in bringing your favorite characters to you. From the Color Art found in the pages of DC Comics’ “Green Lantern Annual #1” at your local comic shop, to Marvel children’s books found at the book store and on iTunes, to anywhere else the art may appear.

Keep your eyes open for more Marvel art from Hi-Fi Artists in the near future!

Matthew Swift is a Painter and Color Artist with comic book color studio Hi-Fi Colour Design.  Hi-Fi provides color and paint services for publishers like DC, Disney, Image, Marvel, and more.  You can follow Hi-Fi on Twitter at: and see more comic book art on Hi-Fi’s Facebook page at: