Editing Chris Ware (section)

==Style==
Ware's art reflects early 20th-century American styles of cartooning and [[graphic design]], shifting through formats from traditional comic panels to faux advertisements and cut-out toys. Stylistic influences include advertising graphics from that same era; newspaper strip cartoonists [[Winsor McCay]] (''[[Little Nemo in Slumberland]]'') and [[Frank King (cartoonist)|Frank King]] (''[[Gasoline Alley (comic strip)|Gasoline Alley]]'');<ref>Raeburn (2004)</ref> [[Charles Schulz]]'s post-WWII strip ''[[Peanuts]]'' and the cover designs of ragtime-era sheet music. Ware has spoken about finding inspiration in the work of artist [[Joseph Cornell]]<ref>[http://www.randomhouse.com/pantheon/graphicnovels/warekiddprint.html Pantheon Graphic Novels<!-- Bot generated title -->] {{webarchive |url=https://web.archive.org/web/20090205180103/http://www.randomhouse.com/pantheon/graphicnovels/warekiddprint.html |date=February 5, 2009 }}</ref> and cites [[Richard McGuire]]'s strip ''[[Here (comics)|Here]]'' as a major influence on his use of non-linear narratives.<ref>{{cite journal|last=Ware|first=Chris|title=Richard McGuire and 'Here'|journal=Comic Art|volume=8|date=Summer 2006}}</ref> Ware has said of his own style:<blockquote>I arrived at my way of "working" as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I "draw", which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world. I figured out this way of working by learning from and looking at artists I admired and whom I thought came closest to getting at what seemed to me to be the "essence" of comics, which is fundamentally the weird process of reading pictures, not just looking at them. I see the black outlines of cartoons as visual approximations of the way we remember general ideas, and I try to use naturalistic color underneath them to simultaneously suggest a perceptual experience, which I think is more or less the way we actually experience the world as adults; we don't really "see" anymore after a certain age, we spend our time naming and categorizing and identifying and figuring how everything all fits together. Unfortunately, as a result, I guess sometimes readers get a chilled or antiseptic sensation from it, which is certainly not intentional, and is something I admit as a failure, but is also something I can't completely change at the moment.<ref>[https://www.pbs.org/pov/pov2006/tintinandi/sfartists_ware.html Chris Ware - On Cartooning | PBS]</ref></blockquote>

Although his precise, geometrical layouts may appear to some to be computer-generated, Ware works almost exclusively with manual drawing tools such as paper and ink, rulers and T-squares. He does, however, sometimes use photocopies and transparencies, and he employs a computer to color his strips.