The New Yorker [May 14 – 2018] Joost Swarte
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The New Yorker Magazine
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Swarte is something of a polymath, whose work spans graphic design, cartooning, and architecture. We recently sat down the with the artist to discuss his art, as well as the broader theme of innovation, which he defines as “solving puzzles using unexpected means.”
“Drawing spots is trying to catch a meaning in a simple image, telling a whole story in a pictogram. The task is to make simple images but load them with meaning. It’s close to poetry!
I love to show how things work, how a window can be opened, how a table is constructed. A lot of that comes through while drawing. I’m always analyzing objects, observing human behavior, and reconstructing what I find as I work on the page.
Drawing comes first for me; architecture is really something I got to do later. But you’re right that there are similarities: in both lies the fun of analyzing a problem and resolving it in an elegant manner.
The ligne claire, or “clear line,” is a drawing language, in which forms are represented by drawing the outlines in an evenly thick line. The reader understands this language and transforms the outlines into three-dimensional forms. It started with Hergé, in the fifties, but has since been inherited by quite a few Dutch, French, and Belgian artists.”
Behalve striptekenaar is hij ook illustrator, architect, letterontwerper, grafisch vormgever en ontwerper van glas-in-loodramen.
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The New Yorker [May 14 – 2018] Joost Swarte
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