![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Sven de Rennes: An Illustration History
Jan. 28th, 2010 12:08 pmIt’s not the first time that I feature Sven de Rennes on my LiveJournal, but the last time I did, I noticed an interested for his artwork that I haven’t noticed before: many of my friends, authors, pointed out that the paintings were really short stories themselves, and they wouldn’t mind to have them as covers for their books. And actually Sven is not new to the cover art world, he did many cover for LGBT publishers in France, pity that the books weren’t translated into English or Italian, so I haven’t had the chance to read it.
Cover Art for Une Histoire Simple by Roger Vhere
When I approached Sven to plan this post, I asked him if he was still interested in doing cover art, and he told me “sure!”, so friends, if you have in mind something, and you like Sven’s work, and you want to contact him, he is open to your proposal… yes, yes, I’m a matchmaker, but I do that only in the name of Art and to bring good works on the cover of the books I love.
And now I will let Sven speak for himself!
“I’ve worked as an illustrator under the nom de plume “Sven de Rennes” since March 2002.
Ever since I was a little boy, I thought drawing was a magical power, the way to show others what I imagined or what I had in mind. My goal was to manage to represent all this in the most realistic way possible.
After studying at the art college of Rennes II (Bretagne, France), I became interested in science-fiction and fantasy universes; I was fascinated by the creation or distant worlds, unreal moods, bright cities...
It was in 2002 that I decided to “come out” and took an interest in the gay world. I like playing with erotic situations, sometimes soft, sometimes not so subtle, always trying to incorporate a bit of humour, tenderness and feeling in the bonds between my characters.
Notre cabane, loin du monde
As time passes, my subjects evolve, but I know I want to explore and deepen more and more the backgrounds, lights, staging, and, most of all, the mood.
In any case, I hope my illustrations arouse your imagination, send you dreaming, and let you escape for a while. That’s what they’re here for.
A lot of people ask me how I work. I'll try to take you briefly through some of the secrets of my trade, with an illustration I called "Le Ménestrel" (The minstrel).
Step 1: Sketches
The ideas for my drawings come from everywhere. They can come from my everyday life, from a sight I saw, a photograph I liked on the Net, a friend, someone I meet, or just some daydreaming I fell like putting on paper.
For "Le Ménestrel", I aimed to create a tender, both magical and private universe; some sort of a hijacked medieval tale... I started out with the idea of a cloister, full of life, with green everywhere, its fountain, and also shades and lights playing here and there.
I always take in consideration the context of my pictures, not just the background. I really wanted people to feel the whistling of the wind in the leaves, the soft rustling of the water flowing into the pond. Thus, I didn't hesitate to blend in numerous details, to make the drawing more lively, not forgetting to center the tableau on our two lovebirds and their little courting session.
Step 2: The original drawing
The last sketch done, I now have a precise version of what I want the end result to be. That's when I start the creation of the final drawing.
( Step 2 )
I don't use a tablet and I always work with my own hands on Canson 224g/m² A3 paper, with my pencils, eraser and pens.
Drawing and Laying-out require great focus. The gesture has to be precise yet dynamic, and I willingly confess it is a balance I still have a hard time to find.
Step 3: Colorization
This is it, the original drawing is done and inked up, at last I can scan it and start the numerical colouring, which I do with Adobe Photoshop.
( Step 3 )
I already had a clear idea of the colours and the atmosphere I wanted to give this artwork the moment I started the preparatory sketches. There can be a playful side in the colouring, the creation of textures or effects often requires an elaborate strategy as a means to an end. I apply the colours, lightings, shadows and textures, and sculpt the shapes step by step while revelling in the sight of the picture emerging to life under my gaze.
Step 4: Finalization
The artwork is almost done, I've applied all the colours, textures, shading and I've worked the shapes, the only thing left is what I call the "Finishing Touch". This is when I tune the colours to give the illustration a "mood", a coherent set of colours.
For "le Ménestrel", I wanted yellow tones, maybe even golden nuances, in order to find both the spirits of a summer evening and of an old piece of time-faded parchment.
I hope these short explanations brought you some new clues about the way I work. Please do not hesitate to ask questions if you feel like it, I'd be glad to answer them.
Sven”
Here is some example of Sven de Rennes' work as Illustrator
( Illustrations )
Visit Sven at his website to see more of his wonderful works:
http://www.svenderennes.com/
And here is Sven's previous work as cover artist:
( Cover Arts )
More Artists at my website: http://www.elisarolle.com/, My Ramblings/Art
Cover Art for Une Histoire Simple by Roger Vhere
When I approached Sven to plan this post, I asked him if he was still interested in doing cover art, and he told me “sure!”, so friends, if you have in mind something, and you like Sven’s work, and you want to contact him, he is open to your proposal… yes, yes, I’m a matchmaker, but I do that only in the name of Art and to bring good works on the cover of the books I love.
And now I will let Sven speak for himself!
“I’ve worked as an illustrator under the nom de plume “Sven de Rennes” since March 2002. Ever since I was a little boy, I thought drawing was a magical power, the way to show others what I imagined or what I had in mind. My goal was to manage to represent all this in the most realistic way possible.
After studying at the art college of Rennes II (Bretagne, France), I became interested in science-fiction and fantasy universes; I was fascinated by the creation or distant worlds, unreal moods, bright cities...
It was in 2002 that I decided to “come out” and took an interest in the gay world. I like playing with erotic situations, sometimes soft, sometimes not so subtle, always trying to incorporate a bit of humour, tenderness and feeling in the bonds between my characters.
Notre cabane, loin du monde
As time passes, my subjects evolve, but I know I want to explore and deepen more and more the backgrounds, lights, staging, and, most of all, the mood.
In any case, I hope my illustrations arouse your imagination, send you dreaming, and let you escape for a while. That’s what they’re here for.
A lot of people ask me how I work. I'll try to take you briefly through some of the secrets of my trade, with an illustration I called "Le Ménestrel" (The minstrel).
Step 1: Sketches
The ideas for my drawings come from everywhere. They can come from my everyday life, from a sight I saw, a photograph I liked on the Net, a friend, someone I meet, or just some daydreaming I fell like putting on paper. For "Le Ménestrel", I aimed to create a tender, both magical and private universe; some sort of a hijacked medieval tale... I started out with the idea of a cloister, full of life, with green everywhere, its fountain, and also shades and lights playing here and there.
I always take in consideration the context of my pictures, not just the background. I really wanted people to feel the whistling of the wind in the leaves, the soft rustling of the water flowing into the pond. Thus, I didn't hesitate to blend in numerous details, to make the drawing more lively, not forgetting to center the tableau on our two lovebirds and their little courting session.
Step 2: The original drawing
The last sketch done, I now have a precise version of what I want the end result to be. That's when I start the creation of the final drawing.
( Step 2 )
I don't use a tablet and I always work with my own hands on Canson 224g/m² A3 paper, with my pencils, eraser and pens.
Drawing and Laying-out require great focus. The gesture has to be precise yet dynamic, and I willingly confess it is a balance I still have a hard time to find.
Step 3: Colorization
This is it, the original drawing is done and inked up, at last I can scan it and start the numerical colouring, which I do with Adobe Photoshop.
( Step 3 )
I already had a clear idea of the colours and the atmosphere I wanted to give this artwork the moment I started the preparatory sketches. There can be a playful side in the colouring, the creation of textures or effects often requires an elaborate strategy as a means to an end. I apply the colours, lightings, shadows and textures, and sculpt the shapes step by step while revelling in the sight of the picture emerging to life under my gaze.
Step 4: Finalization
The artwork is almost done, I've applied all the colours, textures, shading and I've worked the shapes, the only thing left is what I call the "Finishing Touch". This is when I tune the colours to give the illustration a "mood", a coherent set of colours.
For "le Ménestrel", I wanted yellow tones, maybe even golden nuances, in order to find both the spirits of a summer evening and of an old piece of time-faded parchment.
I hope these short explanations brought you some new clues about the way I work. Please do not hesitate to ask questions if you feel like it, I'd be glad to answer them.
Sven”
Here is some example of Sven de Rennes' work as Illustrator
( Illustrations )
Visit Sven at his website to see more of his wonderful works:
http://www.svenderennes.com/
And here is Sven's previous work as cover artist:
( Cover Arts )
More Artists at my website: http://www.elisarolle.com/, My Ramblings/Art
Cowboys and Gay Romance are quite a popular pair, and it has also almost always an angst feeling. This story is about a ranch in Montana and two cowboys who are grieving for the loss of the same man. Simon was Dylan's brother and Wade's lover; it was Dylan who introduced Simon to Wade and doing that it made of Wade an happy man and of himself a desperate one. Dylan was in love with Wade but Wade has never seen in him as nothing more than a friend. And when Wade found his happiness with Simon, Dylan was able to accept it since he loved Simon as much as he loved Wade if not more. But then Simon died in a car accident while driving with Dylan, and Dylan had not the courage to stay and see the sorrow in Wade's eyes, he dreaded the question, why did Simon die and did you not? To not loose also the best friend after losing the brother, Dylan severed any contact, loosing in this way also his family. 
Cowboys and Gay Romance are quite a popular pair, and it has also almost always an angst feeling. This story is about a ranch in Montana and two cowboys who are grieving for the loss of the same man. Simon was Dylan's brother and Wade's lover; it was Dylan who introduced Simon to Wade and doing that it made of Wade an happy man and of himself a desperate one. Dylan was in love with Wade but Wade has never seen in him as nothing more than a friend. And when Wade found his happiness with Simon, Dylan was able to accept it since he loved Simon as much as he loved Wade if not more. But then Simon died in a car accident while driving with Dylan, and Dylan had not the courage to stay and see the sorrow in Wade's eyes, he dreaded the question, why did Simon die and did you not? To not loose also the best friend after losing the brother, Dylan severed any contact, loosing in this way also his family. 
The Wedding Planner is a bit more on the usual trend of G.A. Hauser’s previous Gay Romance, where women have not exactly an exemplar role, but at least they manage to redeem a bit in the end. 
Loosely connected to The Vampire and the Man-Eater, Jordon is friend of Brock Harris and colleague of Adrian, Brock's best friend, and to The Kiss, Jordon is first cousin with Claire and Scott.
The Wedding Planner is a bit more on the usual trend of G.A. Hauser’s previous Gay Romance, where women have not exactly an exemplar role, but at least they manage to redeem a bit in the end. 
Loosely connected to The Vampire and the Man-Eater, Jordon is friend of Brock Harris and colleague of Adrian, Brock's best friend, and to The Kiss, Jordon is first cousin with Claire and Scott.