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Maybe you're not even in a position to really judge how good your kid is at that endeavor.

Adrian Tomine

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Adrian Tomine
Age: 50
Born: 1974
Born: May 31
Cartoonist
Comics Artist
Illustrator
Novelist
Sacramento
California
Judging
Position
Maybe
Kids
Even
Really
Good
Endeavor
Judge

More quotes by Adrian Tomine

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I think most cartoonists are solitary, lonely kids who use their work as a way to try to connect with the world. If I had any other skills that were more performative - if I could have been a musician or an actor - I'm sure I would have pursued that instead in order to get that instant feedback and to hear applause.
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There are some people who may not like precision in their art. They may like it to be grittier and more gestural, more of a direct expression in the way that a painter would put his strokes on canvas.
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I wanted all the responsibility to rest on the content of the story. I tried to make the visual style almost invisible.
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I guess there's just a part of me that's not very enthusiastic about finding myself ten years from now halfway through a story that may or may not be any good.
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It's important to make a distinction between becoming more precise and becoming better.
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I wanted to try to create characters that happen to be Asian but who are pretty different from those we generally see in our culture, in our commercial culture.
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Underground and alternative comics existed in a vacuum for years, where money really wasn't an issue. No one would get into doing a black-and-white comic because they thought it might be a route to riches.
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The experience of reading a comic should not be the time it takes to turn each page.
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When email and the Internet came along, I never publish an email address. I just stuck with this P.O. Box address.
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One of the by-products of being allowed to start my professional career prematurely is that the evolution of my work is really evident.
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That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto, whereas the graphic novel is now being held up as something to aspire to and as something that's respectable for adults to read.
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I think when I finally got it in my head that I was going to do the story, I wanted to avoid doing what I thought people wanted me to do.
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If you're changing diapers and going to the playground, any ambitions of being a cool guy have to fly out the window.
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I started publishing my comic while I was still living with my parents.
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I get the impression from some people that unless they get direct access to characters' thoughts and realizations, either through thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.
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I was just a guy who did adult or alternative comic books. And then suddenly to be, like, a New Yorker cover artist was a different thing.
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I was very aware of the fact that there are a lot of comics out there that I love, because I've grown up my whole life reading comics and I know every little nuance of the language and all the implications.
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For a stretch of time, I got really caught up in the idea that what people liked about my work was that I was a young guy who was trying to be cool by writing about young people and a certain kind of Bay Area culture that I was tangentially a part of.
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I get nervous about the effect that the high speed of everything will have on creativity. It's already sad for me to see that a lot of young aspiring cartoonists are putting stuff on the web, doing animation on the computer rather than making zines or mini-comics, which seem to be going the way of the dinosaur.
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I think a lot of the bells and whistles that become available to you would be impossible to resist for some people, so it's just never going to be a real stand-in version of your comic. People will have to take advantage of the ability to have sound, or zoom in and out, whatever it is.
Adrian Tomine