In digital photography, computer-generated imagery, colorimetry, a grayscale or greyscale image is one in which the value of each pixel is a single sample representing only an amount of light, that is, it carries only intensity information. Grayscale images, a kind of black-and-white or gray monochrome, are composed of shades of gray; the contrast ranges from black at the weakest intensity to white at the strongest. Grayscale images are distinct from one-bit bi-tonal black-and-white images which, in the context of computer imaging, are images with only two colors: black and white. Grayscale images have many shades of gray in between. Grayscale images can be the result of measuring the intensity of light at each pixel according to a particular weighted combination of frequencies, in such cases they are monochromatic proper when only a single frequency is captured; the frequencies can in principle be from anywhere in the electromagnetic spectrum. A colorimetric grayscale image is an image that has a defined grayscale colorspace, which maps the stored numeric sample values to the achromatic channel of a standard colorspace, which itself is based on measured properties of human vision.
If the original color image has no defined colorspace, or if the grayscale image is not intended to have the same human-perceived achromatic intensity as the color image there is no unique mapping from such a color image to a grayscale image. The intensity of a pixel is expressed within a given range between a minimum and a maximum, inclusive; this range is represented in an abstract way as a range from 0 and 1, with any fractional values in between. This notation is used in academic papers, but this does not define what "black" or "white" is in terms of colorimetry. Sometimes the scale is reversed, as in printing where the numeric intensity denotes how much ink is employed in halftoning, with 0% representing the paper white and 100% being a solid black. In computing, although the grayscale can be computed through rational numbers, image pixels are quantized to store them as unsigned integers, to reduce the required storage and computation; some early grayscale monitors can only display up to sixteen different shades, which would be stored in binary form using 4-bits.
But today grayscale images intended for visual display are stored with 8 bits per sampled pixel. This pixel depth allows 256 different intensities to be recorded, simplifies computation as each pixel sample can be accessed individually as one full byte. However, if these intensities were spaced in proportion to the amount of physical light they represent at that pixel, the differences between adjacent dark shades could be quite noticeable as banding artifacts, while many of the lighter shades would be "wasted" by encoding a lot of perceptually-indistinguishable increments. Therefore, the shades are instead spread out evenly on a gamma-compressed nonlinear scale, which better approximates uniform perceptual increments for both dark and light shades making these 256 shades enough to avoid noticeable increments. Technical uses require more levels, to make full use of the sensor accuracy and to reduce rounding errors in computations. Sixteen bits per sample is a convenient choice for such uses, as computers manage 16-bit words efficiently.
The TIFF and PNG image file formats support 16-bit grayscale natively, although browsers and many imaging programs tend to ignore the low order 8 bits of each pixel. Internally for computation and working storage, image processing software uses integer or floating-point numbers of size 16 or 32 bits. Conversion of an arbitrary color image to grayscale is not unique in general. A common strategy is to use the principles of photometry or, more broadly, colorimetry to calculate the grayscale values so as to have the same luminance as the original color image. In addition to the same luminance, this method ensures that both images will have the same absolute luminance when displayed, as can be measured by instruments in its SI units of candelas per square meter, in any given area of the image, given equal whitepoints. Luminance itself is defined using a standard model of human vision, so preserving the luminance in the grayscale image preserves other perceptual lightness measures, such as L*, determined by the linear luminance Y itself which we will refer to here as Ylinear to avoid any ambiguity.
To convert a color from a colorspace based on a typical gamma-compressed RGB color model to a grayscale representation of its luminance, the gamma compression function must first be removed via gamma expansion to transform the image to a linear RGB colorspace, so that the appropriate weighted sum can be applied to the linear color components ( R l i n e a r, G l i n
Biblioteca Nacional de España
The Biblioteca Nacional de España is a major public library, the largest in Spain, one of the largest in the world. It is located on the Paseo de Recoletos; the library was founded by King Philip V in 1712 as the Palace Public Library. The Royal Letters Patent that he granted, the predecessor of the current legal deposit requirement, made it mandatory for printers to submit a copy of every book printed in Spain to the library. In 1836, the library's status as Crown property was revoked and ownership was transferred to the Ministry of Governance. At the same time, it was renamed the Biblioteca Nacional. During the 19th century, confiscations and donations enabled the Biblioteca Nacional to acquire the majority of the antique and valuable books that it holds. In 1892 the building was used to host the Historical American Exposition. On March 16, 1896, the Biblioteca Nacional opened to the public in the same building in which it is housed and included a vast Reading Room on the main floor designed to hold 320 readers.
In 1931 the Reading Room was reorganised, providing it with a major collection of reference works, the General Reading Room was created to cater for students and general readers. During the Spanish Civil War close to 500,000 volumes were collected by the Confiscation Committee and stored in the Biblioteca Nacional to safeguard works of art and books held until in religious establishments and private houses. During the 20th century numerous modifications were made to the building to adapt its rooms and repositories to its expanding collections, to the growing volume of material received following the modification to the Legal Deposit requirement in 1958, to the numerous works purchased by the library. Among this building work, some of the most noteworthy changes were the alterations made in 1955 to triple the capacity of the library's repositories, those started in 1986 and completed in 2000, which led to the creation of the new building in Alcalá de Henares and complete remodelling of the building on Paseo de Recoletos, Madrid.
In 1986, when Spain's main bibliographic institutions - the National Newspaper Library, the Spanish Bibliographic Institute and the Centre for Documentary and Bibliographic Treasures - were incorporated into the Biblioteca Nacional, the library was established as the State Repository of Spain's Cultural Memory, making all of Spain's bibliographic output on any media available to the Spanish Library System and national and international researchers and cultural and educational institutions. In 1990 it was made an Autonomous Entity attached to the Ministry of Culture; the Madrid premises are shared with the National Archaeological Museum. The Biblioteca Nacional is Spain's highest library institution and is head of the Spanish Library System; as the country's national library, it is the centre responsible for identifying, preserving and disseminating information about Spain's documentary heritage, it aspires to be an essential point of reference for research into Spanish culture. In accordance with its Articles of Association, passed by Royal Decree 1581/1991 of October 31, 1991, its principal functions are to: Compile and conserve bibliographic archives produced in any language of the Spanish state, or any other language, for the purposes of research and information.
Promote research through the study and reproduction of its bibliographic archive. Disseminate information on Spain's bibliographic output based on the entries received through the legal deposit requirement; the library's collection consists of more than 26,000,000 items, including 15,000,000 books and other printed materials, 4,500,000 graphic materials, 600,000 sound recordings, 510,000 music scores, more than 500,000 microforms, 500,000 maps, 143,000 newspapers and serials, 90,000 audiovisuals, 90,000 electronic documents, 30,000 manuscripts. The current director of the Biblioteca Nacional is Ana Santos Aramburo, appointed in 2013. Former directors include her predecessors Glòria Pérez-Salmerón and Milagros del Corral as well as historian Juan Pablo Fusi and author Rosa Regàs. Given its role as the legal deposit for the whole of Spain, since 1991 it has kept most of the overflowing collection at a secondary site in Alcalá de Henares, near Madrid; the Biblioteca Nacional provides access to its collections through the following library services: Guidance and general information on the institution and other libraries.
Bibliographic information about its collection and those held by other libraries or library systems. Access to its automated catalogue, which contains close to 3,000,000 bibliographic records encompassing all of its collections. Archive consultation in the library's reading rooms. Interlibrary loans. Archive reproduction. Biblioteca Digital Hispánica, digital library launched in 2008 by the Biblioteca Nacional de España List of libraries in Spain Media related to Biblioteca Nacional de España at Wikimedia Commons Official site Official web catalog
Mark Waid is an American comic book writer, known for his work on titles for DC Comics such as The Flash, Kingdom Come and Superman: Birthright, for his work on Captain America, Fantastic Four, Daredevil for Marvel Comics. From August 2007 to December 2010, Waid served as Editor-in-Chief, Chief Creative Officer of Boom! Studios, where he wrote titles such as Irredeemable and The Traveler. Waid was born in Alabama, he has stated that his comics work was influenced by Adventure Comics #369–370, the two-part "Legion of Super-Heroes" story by Jim Shooter and Mort Weisinger that introduced the villain Mordru, was "a blueprint for everything I write." Waid entered the comics field during the mid-1980s as an editor and writer on Fantagraphics Books' comic book fan magazine, Amazing Heroes. Waid's first comic book story "The Puzzle of the Purloined Fortress", an eight-page Superman story, was published in Action Comics #572. In 1987, Waid was hired as an editor for DC Comics where he worked on such titles as Action Comics, Doom Patrol, Inc.
Legion of Super-Heroes, Secret Origins, Wonder Woman, as well as various one-shots including Batman: Gotham by Gaslight. With Gotham by Gaslight, in tandem with writer Brian Augustyn, Waid co-created DC's "Elseworlds" franchise. In 1989 Waid left editorial work for freelance writing assignments, he worked for DC's short-lived Impact Comics line where he wrote The Comet and scripted dialogue for Legend of the Shield. In 1992 Waid began the assignment which would bring him to wider recognition in the comics industry, when he was hired to write The Flash by editor Brian Augustyn. Waid stayed on the title for an eight-year run, he wrote a Metamorpho limited series in 1993 and created the Impulse character in The Flash #92. Impulse was launched into his own series in April 1995 by artist Humberto Ramos. In November of that same year and Howard Porter collaborated on the Underworld Unleashed limited series, which served as the center of a company-wide crossover storyline, his first major project for Marvel Comics was as one of the writers of the "Age of Apocalypse" crossover.
He co-created the Onslaught character for the X-Men line. Marvel editors Ralph Macchio and Mark Gruenwald hired him as Gruenwald's successor as writer of Captain America, during which Waid was paired with artist Ron Garney. Waid and Garney garnered critical praise for their run on the title, remaining on it until the title was relaunched with a different creative team as part of the 1996–1997 "Heroes Reborn" storyline. Rob Liefeld offered Waid the opportunity to script Captain America over plots and artwork by his studio, but Waid declined; that storyline ran a full year, after which Waid and Garney returned to the title for another relaunched series, Captain America volume 3, issues #1–23. Waid wrote the short-lived spin-off series Captain America: Sentinel of Liberty from 1998–1999, having written 10 of the 12 issues. In 1996, Waid and artist Alex Ross produced the graphic novel Kingdom Come; this story, set in the future of the DC Universe, depicted the fate of Superman, Wonder Woman, other heroes as the world around them changed.
It was written in reaction to the "gritty" comics of the 1980s and 1990s. DC Comics writer and executive Paul Levitz observed that "Waid's deep knowledge of the heroes' pasts served them well, Ross' unique painted art style made a powerful statement about the reality of the world they built." Many of the ideas introduced in Kingdom Come were integrated into the present-day DC Universe, Waid himself wrote a follow-up to the series, The Kingdom. Waid and writer Grant Morrison collaborated on a number of projects that would reestablish DC's Justice League to prominence. Waid's contributions included JLA: Year One, as well as work on the ongoing series; the two writers developed the concept of Hypertime to explain problems with continuity in the DC Universe. Waid collaborated with artists Bryan Hitch and Paul Neary on JLA and the JLA: Heaven's Ladder one-shot. In 2000, Waid wrote a series named Empire with Barry Kitson, whose protagonist was a Doctor Doom-like supervillain named Golgoth who had defeated all superheroes and conquered the world.
The series was published by Gorilla Comics, a company formed by Waid, Kurt Busiek and several others, but the company folded after only two issues were published. Empire was completed under the DC Comics label in 2003 and 2004. Waid wrote the first year of Crossgen's Ruse series. Waid began an acclaimed run as writer of Marvel's Fantastic Four in 2002 with his former Flash artist Mike Wieringo, with Marvel releasing their debut issue, Fantastic Four vol. 3 #60 at the promotional price of 9 cents U. S. By June 2003, Marvel publisher Bill Jemas tried to convince Waid to abandon his "high-adventure" approach to the series, making the book into, in Waid's words, "a wacky suburban dramedy where Reed's a nutty professor who creates amazing but impractical inventions, Sue's the office-temp breadwinner, the cranky neighbor is their new'arch-enemy,' etc." Waid, who felt that this was too much of a departure from what he had been hired to write declined. After some discussion with editor Tom Brevoort, Waid found a way to make the requested changes, but by the decision had been made to fire Waid and Wieringo from the series.
The resulting fan backlash led to Wieringo's reinstatement on the title by that September. Waid and Wieringo completed their run on Fantastic Four with issue #524, by which time the relaunched series had returned to its original numbering. In 2003 Waid wrote the origin of the "modern" Superman with Superman: Birthrig
Americans are nationals and citizens of the United States of America. Although nationals and citizens make up the majority of Americans, some dual citizens and permanent residents may claim American nationality; the United States is home to people of many different ethnic origins. As a result, American culture and law does not equate nationality with race or ethnicity, but with citizenship and permanent allegiance. English-speakers, speakers of many other languages use the term "American" to mean people of the United States; the word "American" can refer to people from the Americas in general. The majority of Americans or their ancestors immigrated to America or are descended from people who were brought as slaves within the past five centuries, with the exception of the Native American population and people from Hawaii, Puerto Rico and the Philippine Islands, who became American through expansion of the country in the 19th century, additionally America expanded into American Samoa, the U. S. Virgin Islands and Northern Mariana Islands in the 20th century.
Despite its multi-ethnic composition, the culture of the United States held in common by most Americans can be referred to as mainstream American culture, a Western culture derived from the traditions of Northern and Western European colonists and immigrants. It includes influences of African-American culture. Westward expansion integrated the Creoles and Cajuns of Louisiana and the Hispanos of the Southwest and brought close contact with the culture of Mexico. Large-scale immigration in the late 19th and early 20th centuries from Southern and Eastern Europe introduced a variety of elements. Immigration from Asia and Latin America has had impact. A cultural melting pot, or pluralistic salad bowl, describes the way in which generations of Americans have celebrated and exchanged distinctive cultural characteristics. In addition to the United States and people of American descent can be found internationally; as many as seven million Americans are estimated to be living abroad, make up the American diaspora.
The United States of America is a diverse country and ethnically. Six races are recognized by the U. S. Census Bureau for statistical purposes: White, American Indian and Alaska Native, Black or African American, Native Hawaiian and Other Pacific Islander, people of two or more races. "Some other race" is an option in the census and other surveys. The United States Census Bureau classifies Americans as "Hispanic or Latino" and "Not Hispanic or Latino", which identifies Hispanic and Latino Americans as a racially diverse ethnicity that comprises the largest minority group in the nation. People of European descent, or White Americans, constitute the majority of the 308 million people living in the United States, with 72.4% of the population in the 2010 United States Census. They are considered people who trace their ancestry to the original peoples of Europe, the Middle East, North Africa. Of those reporting to be White American, 7,487,133 reported to be Multiracial. Additionally, there are Latinos.
Non-Hispanic Whites are the majority in 46 states. There are four minority-majority states: California, New Mexico, Hawaii. In addition, the District of Columbia has a non-white majority; the state with the highest percentage of non-Hispanic White Americans is Maine. The largest continental ancestral group of Americans are that of Europeans who have origins in any of the original peoples of Europe; this includes people via African, North American, Central American or South American and Oceanian nations that have a large European descended population. The Spanish were some of the first Europeans to establish a continuous presence in what is now the United States in 1565. Martín de Argüelles born 1566, San Agustín, La Florida a part of New Spain, was the first person of European descent born in what is now the United States. Twenty-one years Virginia Dare born 1587 Roanoke Island in present-day North Carolina, was the first child born in the original Thirteen Colonies to English parents. In the 2017 American Community Survey, German Americans, Irish Americans, English Americans and Italian Americans were the four largest self-reported European ancestry groups in the United States forming 35.1% of the total population.
However, the English Americans and British Americans demography is considered a serious under-count as they tend to self-report and identify as "Americans" due to the length of time they have inhabited America. This is over-represented in the Upland South, a region, settled by the British. Overall, as the largest group, European Americans have the lowest poverty rate and the second highest educational attainment levels, median household income, median personal income of any racial demographic in the nation. According to the American Jewish Archives and the Arab American National Museum, some of the first Middle Easterners and North Africans arrived in the Americas between the late 15th and mid-16th centuries. Many were fleeing ethnic or ethnoreligious persecution during the Spanish Inquisition, a few were taken to the Americas as slaves. In 2014, The United States Census Bureau began finalizing the ethnic classification of MENA populations. According to the Arab American Institute, Arab
Super Dinosaur is an American comic book series published by Image Comics' Skybound imprint beginning in 2011. The comic was created by writer Robert Kirkman and artist Jason Howard, who had worked together on Image's The Astounding Wolf-Man; the idea for Super Dinosaur originated two years prior to the series debut. Jason Howard drew a picture of a Tyrannosaurus with a cape for his then-five-year-old son. Howard shared the sketch with Robert Kirkman, who suggested the dinosaur's natural small arms could control larger robotic ones. "It was that goofy visual, the beginning of the concept," Kirkman told USA Today. Both Kirkman and Howard wanted to create a comic that they could read with their children and enjoy together. Kirkman described Super Dinosaur as "a Pixar movie on paper... I want it to be a true all-ages book in that it's appropriate for kids young enough but still able to read, it's still something that my fan base will enjoy." Scientists Doctor Dynamo and Max Maximus discovered a hole in the Earth that led to Inner Earth, a place where dinosaurs live.
In addition to dinosaurs, Inner Earth is home to DynOre, a valuable deposit of solar power contained in a rock. While conducting experiments there, Maximus genetically altered a Tyrannosaurus, with which he tried to take over the world. Doctor Dynamo and his son, stopped him and formed a team with the Super Dinosaur to protect Inner Earth from Maximus; as Kirkman explains: Heroes Derek Dynamo: 10-year-old son of Doctor Dynamo. Derek is a fun-loving, enthusiastic boy who possesses genius-level intelligence and has decided to use it to fight crime alongside his friend and partner, Super Dinosaur. At the start of the series, Derek is shown living with his father and Super Dinosaur at a secret military installation called the Dynamo Dome, shown inventing various combat devices to be used against rogues such as the evil Doctor Maximus; when crime-fighting, Derek uses a variety of technical inventions, such as wrist-mounted battle gauntlets, mechanical exoskeletons, a transforming robot called Wheels.
Little has been shown of Derek's past, but what is known is that Derek was badly injured in a fight with Max Maximus, an injury so bad that some of his memories were lost those of his mother. Derek is cocky and sore loser, but he is honourable and kind. Due to his need to see what The Exile looked like, he had indirectly set himself up for capture; when The Exile took over Earth Corps HQ, he hacked into the systems and kidnapped Derek with the hopes of presenting him to his people, as proof that life exists on Outer Earth. Super Dinosaur: genetically altered Tyrannosaurus rex. Referred to as SD, Super Dinosaur was created several years prior when Doctor Dynamo and Doctor Maximus first discovered the Inner Earth, a prehistoric land inhabited by ancient dinosaurs and found underneath the Earth's crust. Without Dynamo's knowledge, Maximus took an unhatched T-Rex egg back to the surface to study, went about experimenting on the egg which contain a fetal Super Dinosaur. In addition to increasing his intelligence, Maximus limited Super Dinosaur's size to make him more manageable.
For Maximus, Super Dinosaur proved too intelligent, turned against him in order to fight evil with the Dynamos. When fighting super-villains, Super Dinosaur wears several types of mechanical harnesses that act as exoskeletons which he operates with miniature control pads customized for his limited reach. Super Dinosaur enjoys playing video-games and using slang introduced to him by Derek when relaxing at the Dynamo Dome. Doctor Dexter Dynamo: Derek's father and scientist. Prior to the start of the series, he was involved in an industrial explosion caused by Maximus which left his intelligence stunted to the point where Derek oversees the majority of his work. Maximus not only limited Dynamo's intelligence, but erased the memories of his missing wife, from both Derek and Dynamo's minds, as well as capturing her to use as leverage. Doctor Dynamo agrees to aid Maximus in his escape from prison under the condition that Maximus release Julianna. General Casey: Military administrator to the Dynamos and their super-heroic activities.
In combat against The Exile, he is shown to use a power-suit and "Gun-Hammer", an energy-rifle that can transform into a gravity-hammer. Battle Shock: General Casey's impulsive son. A young boy, about the same age as Derek, who attempted to capture a destitute Squidious single-handedly with stolen military equipment, he was grounded by Casey. Wheels: a robot created by Derek that he uses as an impromptu transportation device. Can transform into a skateboard, hover-board and underwater diving motor; the Kingstons: A family of mechanics who moved into the Dynamo's headquarters to provide technical support. Bruce: Husband to Sarah and father to Erin and Erica. Sarah: Wife to Bruce and mother to Erin and Erica. Erin: A charismatic and curious girl who makes quick friends with Derek upon the Kingston's arrival to the Dynamo Dome, she is fascinated by all the amazing technology created by Doctor Dynamo and Derek and responds to her family's move much more positiv
Mark Millar is a Scottish comic book writer, best known for his work on The Authority, The Ultimates, Marvel Knights Spider-Man, Ultimate Fantastic Four, Civil War, Kingsman: The Secret Service, Chrononauts and Kick-Ass, the latter seven of which have been, or are planned to be, adapted into feature films. His DC Comics work includes Superman: Red Son. At Marvel Comics he created The Ultimates, selected by Time magazine as the comic book of the decade, described by screenwriter Zak Penn as a major inspiration for The Avengers movie. Millar created Wolverine: Old Man Logan and Civil War, Marvel's two biggest-selling graphic novels. Civil War was the basis for the Captain America: Civil War film and Old Man Logan was the inspiration for Fox's Logan film. Millar has been an executive producer on all of his films, for four years worked as a creative consultant to Fox Studios on their Marvel slate of films. In 2017, Netflix bought Millar's comic line, which Millar and his wife Lucy will continue to run.
Millar was born 24 December 1969 in Scotland. His parents were born in Coatbridge, Millar spent the first half of his life in the town's Townhead area, attending St Ambrose High, he has four older brothers, one older sister, who are 22, 20, 18, 16 and 14 years older than him, respectively. His brother Bobby, who today works at a special needs school, introduced him to comics at age 4 while attending university by taking him to shops and purchasing them for him. Still learning to read, Millar's first comic was the seminal The Amazing Spider-Man #121, which featured the death of Gwen Stacy, he purchased a Superman comic that day as well. Black and white reprinted comics purchased by his brothers for him would follow, cementing his interest in the medium so much that Millar drew a spider web across his face with indelible marker that his parents were unable to scrub off in time for his First Communion photo a week later. Millar has named Alan Moore and Frank Miller as the two biggest influences on his career, characterizing them as "my Mum and Dad."
Other writers he names as influences include Grant Morrison, Peter Milligan, Warren Ellis and Garth Ennis. More recent writers that have impressed him include Scott Snyder. Millar's mother died of a heart attack at age 64, when Millar was 14, his father died four years aged 65. Although Millar enjoyed drawing comics, he was not permitted to go to art school because his family frowned upon such endeavours as a waste of time for the academic Millar, who studied subjects like chemistry and advanced maths, he planned to be a doctor, subsequently decided that becoming an economist would be a viable alternate plan, but decided that he "couldn't quite hack it" in that occupation. He attended Glasgow University to study politics and economics, but dropped out after his father's death left him without the money to pay his living expenses; when Millar was 18, he interviewed writer Grant Morrison, doing his first major American work on Animal Man, for a fanzine. When he told Morrison that he wanted to be both a writer and an artist, Morrison suggested that he focus on one of those career paths, as it was hard to be successful at both, which Millar cites as the best advice he has received.
Millar's first job as a comic book writer came when he was still in high school, writing Trident's Saviour with Daniel Vallely providing art. Saviour combined elements of religion and superhero action. During the 1990s, Millar worked on titles such as Sonic the Comic and Crisis. In 1993, Grant Morrison and John Smith created a controversial eight-week run on 2000 AD called The Summer Offensive, it was during this run that Morrison wrote their first major story together, Big Dave. Millar's British work brought him to the attention of DC Comics, in 1994 he started working on his first American comic, Swamp Thing; the first four issues of Millar's run were co-written by Grant Morrison, allowing Millar to settle into the title. Although his work brought some critical acclaim to the ailing title, the book's sales were still low enough to warrant cancellation by the publisher. From there, Millar spent time working on various DC titles co-writing with or under the patronage of Morrison as in the cases of his work on JLA, The Flash and Aztek: The Ultimate Man, working on unsuccessful pitches for the publisher.
In 2000, Millar replaced Warren Ellis on The Authority for DC's Wildstorm imprint. Millar announced his resignation from DC in 2001, though his miniseries Superman: Red Son was printed in 2003. In 2001, Millar launched Ultimate X-Men for Marvel Comics' Ultimate Marvel imprint; the following year he collaborated with illustrator Bryan Hitch on The Ultimates, the Ultimate imprint's equivalent of The Avengers. Millar's work on The Ultimates was adapted into two Marvel Animated Features and the subsequent 2012 Hollywood box office smash The Avengers In 2006, joined by artist Steve McNiven, began writing the Marvel miniseries Civil War, the book formed the basis for the film Captain America: Civil War. In 2009 Millar wrote the "Old Man Logan" storyline which appeared in the Wolverine series and was set in a possible future, this book was adapted by 20th Century Fox in 2017's film Logan. In 2004, Millar launched a creator-owned line called Millarworld that published independently owned comic-books, with ownership split 50/50 between Millar and the collaborating artist.
The first book under the Millarworld brand was Wanted, which subsequently became a Hollywood film in 2008 starring Angelina Jolie and Morgan Freeman. Millar created and wrote Kick-Ass in 2008, adapted into another Hollywood fi
Ryan Ottley is an American comic book artist. He is best known for work on Image Comics' Invincible. Ryan Ottley is best known for his work on Invincible written by Robert Kirkman and published by Image comics. Ottley was discovered by Kirkman on the Penciljack.com forums in late 2003 and offered him the job of illustrating Invincible starting with Issue 8. Ottley worked 14 years on the series as the artist for 127 issues of the 144 Issue run. In an interview with comic book website Project Fanboy, Ottley discussed how he got into the comic book industry after being fired from his previous employer as a warehouse worker. Ottley decided now was a great time to try to get into comics again and began building exposure for his work on the internet through the websites digitalwebbing.com and penciljack.com. The artist appeared in several issues of Digital Webbing Presents. Robert Kirkman saw posts from Ottley on the Penciljack website, searched for other work by the artist and contacted him about a position drawing for the Image Comics' title Invincible.
Ottley penciled the first five issues Kirkman and Todd McFarlane's Haunt, an ongoing series which debuted October 7, 2009. Ottley indicated on the letters page of issue # 5. In 2012, Ottley was one of several artists to illustrate a variant cover for Robert Kirkman's The Walking Dead #100, released July 11 at the San Diego Comic-Con. In 2018 Marvel relaunched a new volume of The Amazing Spider-Man, with Ottley as artist; the Amazing Spider-Man vol. 5 Free Comic Book Day 2018 #1 #1-5,#11-13,#22 Grizzly Shark #2 Haunt Invincible #8-144 Solution Squad #1 Superman/Batman Annual #1 Tales of Army of Darkness The Walking Dead #75 The Amazing Spider-Man vol. 5 #8 #14 The flash #35 Head Lopper #7 Justice League of America Rebirth #1 Manifest Destiny #1 Murder Falcon #4 Robin: Son of Batman #10 The Walking Dead #100 #150 Ryan Ottley at the Grand Comics Database Official website Ryan Ottley at the Comic Book DB Ryan Ottley at DeviantArt Now Quasi-Defunct Official Site