The ultimate collection by one of the most recognized talents in graphic novels: includes over a decade of comics and illustrations by the still-under-30 Adrian Tomine, from Pulse to The New Yorker and Esquire, collected together for the first time in one sharply-designed book.
Scrapbook is the first comprehensive Adrian Tomnie collection. here you'll find the complete run of strips which was originally published in Tower Records' PulseMagazine which Adrian started when he was only 17, along with comics originally published in Details and a host of other magazines of the past decade. A large section of Scrapbook is dedicated to Tomine's extensive illustration and design work, featuring his best material over the years from virtually every major publication in America including The New Yorker, Details, Esquire, and the late JFK Jr.-edited George. Tomines' art has also graced popular album covers and posters for bands such as The Eels and Weezer and posters and its' all included here in this beautifully packaged book.
Content makes it worthwhile I should say up front that I am very biased in favor of Tomine; he is one of my favorite modern comic artists, and in my opinion one of the very best. But when I saw the title "Scrapbook," I was hesitant; I usually avoid such books from even some of my absolute favorite artists, because most consists of drawings and art only - there is typically very little to "read," if that makes sense - without getting a long rant about the various functions of comics. However, I was pleasantly suprised to find that this contains a lot of work with text; it is a book you can "read" just as much as you "look," and it just goes to show how artists like Tomine are revolutionizing terms like "comics," "literature," and even "text." It shows that he isn't just an artist that employs text, nor a writer who can draw - he is a comic artist, meaning he creates moments, stories, and ideas into the one comic medium, which consists of both text and art. If you have never read his title Optic Nerve, get that first (collected under the titles Sleepwalk And Other Stories, and Summer Blonde); however, if you've already read those and are hungry for more while anxiously awaiting the next issue of Optic Nerve (which is usually a year or more between issues), then it will be worth it, I promise.
Collection, not an Introduction I am interested in Tomine's work as I have seen examples everywhere, so I got this book. It did confirm works that I suspected were his, such as the Weezer Posters, areas that I knew his work before like the New Yorker Illustrations, and describe the origin of some of his more reproduced works. That said, I would not recomend it as a way to get into the more personal work of Tomine. The best parts of the book are a collection of pre-Optic Nerve comics, one of which occurs twice, the second time naming names.
Fans should be pleased Great collection of stuff. It displays the diffrent types of his work from the serious comics, the cartoony stuff, posters ect...a fan of his art work would be pleased. The color and line of his work is as beautiful as ever.....and the black and white stuff...bla bla
An interesting collection I've been an avid reader of Adrian's stuff for years and purchased this collection a few weeks ago. It is quite interesting to see how his artwork/storylines have changed over the tears, as well as see some items that I've never even heard of (album cover and magazine pieces, for example). I think the 32 stories collection is better if you wanted an intro collection, but I think this is quite worthwhile.
Adrian is one of the best, most poignant if that is the best word, storyteller and artists around today.
Perhaps the most interesting illustrator today This is the best book present I've ever received. Whenever I come across AT's work in the New Yorker, I take a second, third, fourth look. There's definitely a pop sensibility in all his drawings, which I find appealing. The NY illustrations have been getting a little worn around the edges. AT's work brings back some of that edge that makes the NY still interesting--if only for the original art. (Someone dump their poetry editor!) That he could marry bright scenes and clean lines with his often alienated characters is a testament to his skill. Anomie has rarely been so colorful or so curious.
Anything Goes Trivia
Megaton Man
Tailipoe
Trevor
