Yesterday, some of the artists who worked on THE SANDMAN shared their first memory of THE SANDMAN. In today’s installment of the 25 Days of Sandman we asked the artists to share their favorite panel from this monumental series and to describe what it means to them. Some chose their own art while others spoke reverently of their peers.
Take a look at the gallery above and match the artwork with the description from the artist.
Do you have your own favorite moment from THE SANDMAN? Can you pinpoint one panel or page from the entire series? If so, please share it in the comments below and come back tomorrow as we hear more from these exceptionally talented artists.
In the meantime, let’s find out what their favorite panels are:
“I think it is the large panel in August when we see the Emperor August's Dream. Because he was a person of great power in his waking life, I drew him in all the other sequences from a low eye level, so that the reader is constantly looking up at him, as it were. In that panel where Morpheus is addressing him in a dream, his position is switched. It's now The Sandman who has the power and the reader looks down at Augustus sitting on his couch, his feet dangling over the side. Suddenly he's powerless, almost like he's a little child.” - Bryan Talbot
“My favorite panel of Sandman has to be the first panel because of the glorious gorgeous story that it started. To pick a favourite of the other would be like picking a favourite child. It's just not done, is it?” - Lovern Kindzierski
“I'm not sure I could pick a panel, but I particularly liked P. Craig Russell's issue number 50, the design and elegance of the layouts suited the character and the literary ambition of the words very well.” - Dave McKean
“It's a tossup between panel 5 on page 19 and panel 7 on page 22 in "The Golden Boy". Death and Dream and become so iconic so quickly, and I desperately wanted to do them justice. These two panels are where I feel I came the closest. But if I had to only pick one it would be Sandman in that tiny lower left panel on page 22 with his subtle smile. That illustrates the entire experience perfectly to me.” - Mike Allred
“Sandman #19, pg # 9, panel 3: Because in my mind, for this particular take on the Shakespeare play, in the totally amoral world of faerie, Oberon and the maniacal Puck were or had been lovers. And this was my signifier of that.” - Charles Vess
“Favorite panel of my own, the near full page shot of Morpheus and the King on the flying carpet descending into the marketplace. Favorite panel of all the other artists? Very hard to choose but I particularly like the gallery piece by Craig Hamilton and Tony Harris. Does that count? If not, the Frank Quitley's tree panel with the leopard in it from The Endless volume. That's quite a distinctive tree. I like trees and this one's a beaut.” - P. Craig Russell
"The panel where Urania Blackwell's face falls into her pasta. Saddest thing. Breaks your hear, that story. Mostly because poor Urania never really got to learn to love all she had going for her. All she could do was think about what she didn't have. If I had her powers I'd be seeing the world! Instead, she cloistered herself. Lots of people do that,t hey miss their potential, ignore their gifts, just want to be like everyone else." --Colleen Doran
“I can’t pinpoint a single panel. However, I have only one original page left (Issue 42, page 9?). Morpheus is standing in the rain, brooding on the hurt of lost love. The quiet melancholy is what draws me. Also, by this issue, I feel that I had gained more confidence in inking over Jill’s pencils. The inking had started to become more comfortable and fluid, less labored.” - Vince Locke
“(eeeeerrrrr, I dunno. What of my own or the whole series?) If it's my own panel I still think Rose stood in the shadows talking to the cat is kinda cute.” - Dean Ormston
“There's one panel I did the inks over Kelley Jones's pencils of Sandman's profile. Just enjoyed the process and Kelley's interpretation of the character.” - George Pratt