Dean Motter is an illustrator, designer and writer who has worked for many years in Canada (Toronto) and the United States (New York City and Atlanta). He is best known for his album cover designs, two of which won Juno Awards. He is also the creator and designer of Mister X, one of the most influential "new-wave" comics of the 1980s. Early career Dean Motter showed interest in drawing from an early age, and his parents, both artists themselves, encouraged his endeavors. He initially attended college for fine arts, but lost interest and segued into music. In the late 1970s, Motter edited and art directed Andromeda, a Canadian comic book series which adapted the works of major science–fiction authors such as Arthur C. Clarke and A. E. van Vogt. During that time Motter and collaborator Ken Steacy created The Sacred & The Profane (published in Star Reach), which Archie Goodwin referred to as "the first true graphic novel" in the contemporary comics medium. He also collaborated on the design for Marshall McLuhan's posthumous book Laws of Media and illustrated several educational children's books. Motter achieved recognition for his album cover design during his tenure as art director for CBS Records Canada, and later with his own studios, Diagram Studios and (following the closure of Diagram) Modern Imageworks. His record jackets and promotional graphics (for acts such as The Nylons, Triumph, Loverboy, Honeymoon Suite, The Diodes, Liona Boyd, The Irish Rovers and Jane Siberry) have won several awards. Motter has been nominated for a Juno Award six times, and won twice. He won a Juno Award in 1983 for "Best Album Graphics" for his work on the Anvil album Metal on Metal. The following year, he again won the "Best Album Graphics" award for his work on the Seamless album by The Nylons, along with Jeff Jackson and Deborah Samuel. In 1988, he co-wrote and illustrated Shattered Visage for DC Comics based on Patrick McGoohan's 1960s British television series The Prisoner. The following year he created the logo and basic cover design for DC's Piranha Press imprint. Later years Dean relocated in New York City in 1990 where he served as art director and senior designer for Byron Preiss Visual Publications (for whom he also edited a line of Philip Marlowe graphic novels.) In 1993, he joined the staff at DC Comics where he oversaw the corporate and licensing designs for