1. This is the front cover of the Penguin Graphic Classics Les Misérables that I illustrated. (Just the cover. Not the insides. You’re on your own there.) But this is just the front! It’s a full wraparound (with a very, very thick spine and french flaps). Will post the full thing when I get a physical copy. The book is on sale Feb 2015. 

    View the others in the Penguin Graphic Classics here. AD Paul Buckley. 


  2. Hey cool! The Library of Congress acquired this piece and one of my sketchbooks several years ago. This year, the also acquired several spreads from This One Summer. :-)


    Wonderful original art by Jillian Tamaki at the Library of Congress!


  3. Finally finished this weird-ass mini-quilt. Just don’t ask me what it is or what it’s for.


  4. Sketchbook: Trying to learn something… but what?


  5. killed sketches


  6. Criterion Collection cover for Sundays and Cybèlea very beautiful and disturbing French new wave classic.

    AD Eric Skillman


  7. Riker’s Island (variation)


  8. Today’s NYT Op-Ed about a woman’s account of the living conditions on Riker’s Island (an NYC prison). Thanks AD Matt Dorfman.


  9. ORIGINAL ART AT SAN DIEGO COMIC-CON. Yep! The Beguiling, Canada’s the world’s favourite comic shop, is now handling the sale of selected pieces of This One Summer original art. From the press release:

    The Beguiling will be debuting more than two-dozen gorgeous pages from This One Summer as part of its offerings at Comic-Con 2014 at booth #1629, a small corner of publisher Drawn & Quarterly’s booth, from Thursday July 24 through Sunday July 27 (no preview night this year). 

    More info here. All unsold pieces will appear in their online store. If you are not going to SDCC and would like to inquire, email mail@beguiling.com.

    More photos of original art here were previously posted here.


  10. lil unused horse


  11. stuffbrawl said: Did you ever get negative comments about your artwork? If so, how did you grow a thicker skin?

    I don’t have a thick skin.


  12. tentativelytitled said: Hi Jillian, One of the things I admire the most about your work (specifically comic work) is how you arrange textures,line drawings, tonal work and black spotting together so well. In comics, it's very rare to see someone pull off all those things together on one one page and you do it beautifully. So my question is, if it isn't too much, how do you approach a page with such a range of options to choose from and make it not look chaotic?Does it come naturally? Or do you have to fight with it?


    The long, unsatisfying answer is, of course, draw lots of lots of comic pages then eventually some of them stop looking like poop.

    Shorter answers include:

    - always thumbnail (if it doesn’t work as a thumbnail, it won’t work at full-size, blah, blah, blah)

    - thumbnail as a spread, if it’s a book

    - view the page and spread as a whole, not just individual panels

    -here is the tonal study assignment that I link to every few years. Markers are currently not in vogue, but I do think they can be helpful if you’re trying to learn to use tone more effectively. Hope it’s helpful for some of you.

    Also, some people asked about the size of the This One Summer original art I posted a few days ago. The paper you see is 11x17, generally. It’s at about 115% of the final print size.


  13. Sketchbook


  14. Sketchbook: collage


  15. I had to take some photos of some This One Summer original pages so I thought I’d share them here.

    A little status update on the book: the book is available in FrenchItalian, and, soon, Spanish! And you can read the New York Times review here.

    Thanks again so much to everyone who has come out to our events, including the recent signing in LA. It means a lot. <3

    (You can click on the images for a slightly enlarged view)