American - Cartoonist | May 31, 1974 -
I'm not the best person to analyze any kind of evolution in my work, but I do feel like it's been an ongoing struggle to basically teach myself how to tell the kinds of stories that interest me in comics form.
Adrian Tomine
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When I first started drawing the earliest incarnation of 'Optic Nerve,' I hadn't even been on a date; I hadn't had a romantic relationship of any kind yet, so in a way, I was almost writing science fiction.
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I've always liked the tradition of publishing work serially in the comic-book 'pamphlet' format and then collecting that work in book form, so I've just stuck with it.
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There's never been a moment where I sat down at my drawing board and thought, 'I'm a pro!'
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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.
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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.
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I think the response I get to one 'New Yorker' cover outweighs five books that I publish.
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I'm sometimes a cartoonist, and there's an audience for that, and I'm sometimes an illustrator, and there's an audience for that.
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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.
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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.
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I was just taking my sketchbook to Kinko's and making photocopies and hand-assembling them - folding them over and stapling them.
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I've always published a range of responses to my work in the letters section of my comic book.
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