Adobe® Illustrator ® CS5
La Comedie des Arts
by Emmanuel Romeuf
Emmanuel Romeuf lives and works in Paris, and takes his inspiration
from great artists of the past such as René Magritte. In the past year
his work has included aspects of typographic design, illustration,
photography, and set design.
His designs are characterized by a quirky humor and playfulness but
with truly amazing and thoughtful detail. His pieces can be found
worldwide—from conceptual editorial illustration and cover art to
original posters and apparel design.
Where I work
My desk is a big glass table, and on it I have my iMac with tablet, two
containers full of pencils, a big Mickey Mouse lollipop, the famous
poster of Bob Dylan by Milton Glaser, a prism, a phone, and usual things.
Around me is a set of signed silk-screen prints from the French comics
artist and illustrator Blexbolex. There’s a deep green wall, lots of plants,
and many graphic and art history books, comics, novels, and old
illustrated children’s books. I have a collection of small plastic dogs, a
collection of New Age vinyls, various graphic materials and many
different types of media.
I like to
“Giacomolook to theMarcelfor ideas. Jérome Bosch,
Duchamp, Salvador Dali,
Stéphane Mallarmé, Boris Vian, André Masson,
and Walter Gropius are among my influences.
I suppose that our perception of the world depends
on the times, but even today, their work makes us
travel, discover, think, understand, extrapolate,
and maybe look at things a little bit differently.
How I work
Generally, creating an artwork for me is solving a problem. I mean, if you
manage to express what you intend at the very beginning, the execution
stage will be easier. So I always start projects with a pen, writing words
and drawing little ugly thumbnails. The first drafts need to be quickly
drawn to keep the intention. I turn the question around and around, and
I look what ideas or thumbnails are opposite. This step is really exciting.
Making choices is as challenging as making a drawing. You not only
design a beautiful picture but a space where you can express yourself
and develop a message. I like to discuss my ideas with other people at
this point. We talk and bounce around our differing points of view.
When I’ve decided on what to do, I proceed to crafting a better rough.
Now I try to think about the layout, the details, and the colors. My
roughs are often drawn in black and white and I don’t spend too much
time at this stage; I simply make notes about my color intentions.
Next I start to create the artwork on the computer, sometimes using a
scan of the rough, sometimes not. I always feel free to respect or ignore
the details drawn on the rough; it’s really all about the feeling.
When I get stuck during a project, I go over to the library just near of my
home. I like to roam around in the shelves looking for an unexpected
idea. Most of the time, my ideas don’t come from design books, but
from science or history books.
Adobe Illustrator CS5 How-To Guide
“ To make my picture, I worked
in the style of a contemporary
artist who is designing an art
installation—using real objects
I thought of my idea like I was
staging symbols, trying to be
enigmatic, digging deep into
different kinds of art.
On a sheet of paper, with a black
pen, I began the project by trying
different layouts for my artwork.
Only the intention and overall
layout is important at this stage.
Adobe Illustrator CS5 How-To Guide
In Illustrator, I started by drawing the wood
frames and the bucket with basic shapes. I
added a warm, light background color because
I wanted my drawing to be warm-hearted and
welcoming. This helped me choose the other
colors of the artwork as I went, making it easier
to develop my palette.
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