阿德里安·托明

    阿德里安·托明是美国当代漫画家。他最出名的是他的连环画系列视觉神经和他的插图在纽约客。

阿德里安·托明(Adrian Tomine)名言

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.

当我第一次开始画“光学神经”的最早版本时,我什至没有约会。 我还没有任何形式的恋爱关系,所以在某种程度上,我几乎在写科幻小说。

阿德里安·托明

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.

我一直喜欢以漫画书“小册子”的形式连续出版作品,然后以书本形式收集作品的传统,所以我一直坚持下去。

阿德里安·托明

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.

在工作的90%的时间里,都有一种非常明显的感觉,我做错了所有事情,应该放弃。

阿德里安·托明

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.

漫画的工作非常缓慢,基本上涉及到有时孤立地工作数年,并且不知道作品的接收方式。

阿德里安·托明

I think the response I get to one 'New Yorker' cover outweighs five books that I publish.

我认为我对《纽约客》封面的反应超过了我出版的五本书。

阿德里安·托明

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.

我有时是漫画家,并且有观众,并且我有时是插画家,并且有观众。

阿德里安·托明

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.

负责《纽约客》封面的美术编辑是弗朗索瓦斯·穆利(Francoise Mouly)。 她对漫画家的怪癖和个性非常熟悉,因此与她一起工作非常容易。

阿德里安·托明

For a lot of the time I was in Berkeley, I was single. I was living in a kind of collegiate apartment by myself - it was like a protracted summer vacation. So at least in hindsight, I have gloomy emotions attached to Berkeley, whereas I started coming to New York because I was dating someone, and it was very exciting and romantic.

在伯克利的很多时候,我都是单身。 我自己一个人住在一间大学公寓里,就像一个旷日持久的暑假。 因此,至少在事后看来,我对伯克利怀有悲观的情绪,而我因为与某人约会而开始来纽约,那是非常令人兴奋和浪漫的。

阿德里安·托明