Adrian Tomine Quotes

I've always published a range of responses to my work in the letters section of my comic book.
If anything, I feel a bit of pressure to write about less disenfranchised people, because I'd probably sell more books that way and would've already had some hot property that I could've sold to Hollywood.
In general, daily strips were just a regular part of my childhood. So even if I wasn't a huge fan of most of those strips, I still read them religiously every morning while I ate my cereal.
It's a strange thing to be a so-called alternative cartoonist, because in the early part of my career, I was really tethered to the superhero world.
It's absolutely chilling to think that I've been working on a comic-book series called 'Optic Nerve' since I was sixteen.
Most normal boys, as they're growing up, they - in order to become attractive, they might, you know, get good at sports or join a rock band or develop good social skills, and for some reason, I thought that drawing comic books might be my route.
Most of my work - including everything from my own comics to the covers I've drawn for 'The New Yorker' - is the result of taking some personal experience or observation and then fictionalizing it to a degree.
My 20s were peaceful, privileged, but still I felt the desire to write angsty dramas.
My early comics are really reflective of being kind of a befuddled, single loser in the Bay Area, and I think having kids has been by far the most profound impact on me as a person and as an artist.
My responsibility is to present things in a way that is realistic and true to the multifaceted world I've known... This is how I think the world is, not how it should be.
New York is a brutally expensive place to live, and the kind of person who might have the dedication and esoteric taste to make the comics that I would really love is finding it more relaxing to live elsewhere.
Ninety percent of the time when I'm working, there's this very palpable sensation that I'm doing everything wrong and should just give up.
On a very basic, concrete level, there have been times when my work, regardless of the content, has harmed relationships because I made that work such a primary priority in my life.
Readers often bring a different set of criteria to the work based on the format.
The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.
The basic work schedule for me is whenever I'm not doing anything more important, like taking care of my kids or something. So, it's most of the day, five days a week, most evenings and sometimes on the weekends.
The comics work is very slow, and it basically involves working for sometimes years in isolation and not knowing how the work is going to be received.
The most impactful comics that I've read are the ones where the artists swung for the bleachers and tried to immerse you in their world.
The story entitled 'Good-Bye' is probably Tatsumi's most well-known work, and I think it's a good representation of many of Tatsumi's skills and stylistic tendencies.
The type of cartooning that I think is generally referred to as 'alternative' or 'underground' is usually - the distinction is usually in terms of whether it's made by one person, the entire thing is done by one hand or more of a production line process, which is how the comics that we grew up reading were made.
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AuthorName
Adrian Tomine
Profession
Cartoonist
BirthDate
31 May, 1974
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