10 Questions with Emanuel Santos
London-based freelance illustrator Emanuel Santos's work is full of bold, colourful and expressive linework which is full of movement – even when tackling subjects like economics or healthcare. Many of his images exude a cinematic feel – similar to the work of Chris Ware and Charles Burns; capturing the everyday life of somewhat ordinary people in extraordinary situations, and this unique approach has been called on by clients such as Monocle, The Sunday Times, The Economist and The Big Issue.
Could you define the approach or philosophy of your work, i.e. what sort of visual language are you looking to create?
I think you can communicate a lot with just a line - so tight, but expressive linework is at the heart of my practice. I'm sure this is directly influenced by all the cartoons and comics I consumed as a kid (and even now!) I like to depict things that people will find relatable, so naturally the drawn figure is prominent and placed in narratively familiar situations. Even when things get a bit more abstract, I'm hoping people will be able to see themselves in the idea.
Which piece of work or project have you learned the most from and why?
I've illustrated a number of covers for the Money supplement of the FT Weekend paper since last year which has been a great development opportunity. While I find finance interesting I appreciate many may find it a bit dry, so these commissions are a great exercise in translating text into visuals that are both focused and accessible. The tight deadlines mean that I've also had to get really fast at drawing and problem solving. These are exactly the skills I need to develop and maintain to do my job so I'm very grateful for every cover I get to do.
Can you tell us a little bit about your research methods; what do you find most useful when beginning a project and why?
I start by reading the text if it's available. Afterwards I find the most useful research is practical - I just start scribbling thumbnails in my notebook. If it's an editorial project, I try and represent the most important word or two of the article with a single motif, that is then punctuated by whatever else is in the illustration which is representing the text at large. I also have folders of saved illustrations on Instagram which I browse throughout the process. I try to make sure I'm looking at illustrations/photos that are topically unrelated to whatever I'm working on though as I don't want to do anything derivative.
Which illustrator alive or dead do you most admire and why?
Of live illustrators, I think Patrick Leger makes the most stunning illustrations. His compositions are obviously inspired by film but he jacks them up to 11 by doing things that I imagine would be hard, if not impossible to physically do with a camera. Of dead illustrators, I've recently been admiring the work of Harry Beckhoff. His figures are full of character and can tell stories so elegantly.
What is one part of your working process that you do well, something you could improve and something you wish you never had to do again?
I'm super cautious of becoming complacent in any area of my work but I would like to think that my figures have attained decent gesture. I think a lot about that when sketching and am pretty satisfied with my results most of the time. I could always improve the drama of my compositions, which is something I'm actively taking steps to improve these days. In Andrew Loomis' book Creative Illustration, there's a great bit about how transformative it is for a scene and its narrative if you just shift the camera up or down. Everything gets a bit harder to draw but the difference it makes is insane. I hope I never have to get into an awkward discussion about image copyright with a private client again. Always write a contract!
In Andrew Loomis' book Creative Illustration, there's a great bit about how transformative it is for a scene and its narrative if you just shift the camera up or down. Everything gets a bit harder to draw but the difference it makes is insane.
What do you think are the important questions to ask specifically in relation to illustration and the onset of AI?
I don't think I have anything particularly original to add to the AI discussion, but I think image makers should remember to ask themselves what it is they set out to communicate and how can they do that in a way that is personal to them.
What is your favorite film poster and what film do you wish you could have done the poster for?
Drew Struzan's poster for The Thing (1982) is iconic and is the first thing I think of when I think of movie posters. It's hard to pick one film that would've been fun to do a poster for, but maybe it would be for something kind of low key like Girlfriends (1978).
What film do you recommend to others most often and why?
Probably Before Sunrise (1994). It's such a great example of a film where nothing really happens - my favourite kind of film. A lot of Richard Linklater's movies fall into that category. He's one of my favourites.
What object from a film do you wish you could own and why?
Having the encased T-800 arm from Terminator 2 (1991) would be very awesome. Wouldn't be able to do anything with it, but it would be cool to look at.
The great film critic Roger Ebert described film as an 'empathy machine' suggesting it is a way for us to connect fully with lives and experiences of others that we will never ourselves live. With this in mind, what film have you watched that has had the greatest impact on you emotionally and tell us why if you can?
I watched The Banshees of Inisherin (2022) a few years ago expecting a kind of quirky comedy but ended up finding the whole thing profoundly sad. I don't really relate to either character but the realisation that nothing was worth it and they would both end up alone hit me really hard for some reason. I watched it a second time and it hit me just as hard in all the same places. I think it's one of the best films I've seen but I don't know if I'll watch it a third time!
Emanuel illustrated 'The Sphere of Influence' an article about 20th Century Women in Issue 11 of Beneficial Shock! See more of his work here www.emanuelsillustration.com