Swarte is another champion of the ligne clair practice; that is the use of clear line and limited and often literal palette. I noticed his makes use of the isometric perspective, which has drawn me due to my own recent endevours for my final major project. Joost has also designed architecture and furnature, which is evident in the draugstmanship present. Ligne clair is an exorcise in clarity (it's in the name), it allows for large amounts of content whilst avoiding 'visual noise.'
Martin Handford
Made famous for 'Where's Wally?' practices an intense version of ligne claire, chracters are distinct even when rendered at a small scale and even when using a very limited palette. The aesthetic is seemingly used toungue-in-cheak, Handford teases the viewer with repeated colours and simple patterns to make it difficult to actually find Wally. I would certainly like to make use of simple characters in my Hyde Park Picture House project, perhaps from a range of eras to illustrate the history of the building. The 'Where's Wally?' format of alarge-scale book with tear-out pages is certainly applicable to my own project, with additional activities relating to finding hidden objects etc.
Peter van Dongen
Van Dongen has prodcued his own graphic novels as well as responding to editorial briefs. Ligne claire seems like an extremely verstile aesthetic, and may adopt a variety of tones, making it perfect for editorial work. The use of colour and composition may create tension, while the consistent art makes it easy for the viewer to absorb the information at a glance, the depth of detail draws the viewer in further to notice smaller details and implied narratives.
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