1. Please tell us a little about yourself.
I am a freelance graphic designer.
2. Which piece in your gallery is your favorite?
My favorite piece is my Cerebus: High Society cover recreation that Gerhard did for me. Gerhard is one of the nicest people I have ever talked to (Dave Sim is also a very nice person by the way), and I had the pleasure to finally meet him in person at the 2015 Calgary Expo (where he handed me my second commission, the street scene from Cerebus: Melmoth). The HS cover piece came about one day when I was looking at his website and I thought I should ask him for a commission… but what. Then I thought about one of my favorite posters - the High Society poster that went to retailers announcing the book… and I figured the worst thing he could do was say no. So I asked for the piece, recreated on Bainbridge 172 art board, to the size of the original piece (give or take) and to my amazement he said sure. I was almost expecting a line for line recreation but he surprised me by, as he put it, fixing it. He added things that were not in the original and he even gave me the prelim pencil drawing as part of the deal which is fantastic because you can see where he worked out all of the perspective. Truly an amazing piece.
3. How long have you been collecting comic art and what prompted you to start?
I had collected a few pieces back in the early 1990s, the first pieces I ever got were from Cerebus (issue 50 page 4 and 5 plus two covers from High Society), I saw the pages hanging up in a comic shop and that’s when the bug first bit me, then I started looking online and got the covers. I also picked up a great Mignola Phantom Stranger cover around that time and, unfortunately, I had to sell them to pay some bills… a move I have regretted ever since. I only started collecting original art again about 4 years ago. Interestingly enough it was a Cerebus page again.
As to what prompted me to start, I find that there is just something about being able to see the pencil marks on a page underneath the inks, it give you a sense of where it could have gone. Until IDW started doing their artist’s editions that was something only the original art owner was privy to.
4. How do you display/store your collection at home?
Almost every piece I have is framed and hanging on my walls (aside from some convention sketches and a couple of pages yet to be framed). I’m not one who buys artwork just to throw it into a portfolio and then shelve it. I like the idea of seeing it every day. That makes me happy.
5. What are your top five most wanted original pages or commissions?
My most wanted pieces are all from Cerebus (go figure) and they are as follows:
1 - Cerebus #88 cover. This is my single favourite cover from the entire run. Just the look of grim determination on his face, the composition, combined with Gerhard’s amazing detail and paints. This, to me, sums up the character. I think people bandy about the word "grail" too much, especially when it comes to original art. In the same way an artist can only have one “masterpiece” (the single piece that is the turning point from apprentice to master) I am of the opinion that since there was only one grail, according to legend (and Indiana Jones), then there is only one grail piece - this is my grail. I’ve already talked to the owner of this piece, and hopefully he will keep me in mind when and if he decides to sell it - I think I have a chance once hell freezes over.
2-3-4 - Cerebus #74, #75, #76. The Synchronicity triptych is amazing. It was around this time that I started reading the book. This cover series comes at a very crucial period within the story and the mood established within these three covers is nothing short of amazing. And the dialogue within the issues itself is some of the best written.
5 - Cerebus (AGAIN!). This cover is from the first issue of Cerebus that I ever picked up.
Honourable mention goes to the second page of the Cerebus "Selling Insurance" story. I have the splash, having the punchline would be nice.
View Dean Reeves's Gallery