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In a little greater than a decade, Joost Grootens has become known as probably the most strikingly fashioned designers of his technology. His Amsterdam-based mostly studio is answerable for the design of greater than 100 books, but his recognition rests on a handful of striking atlases, essentially the most fresh of which is Malkit Shoshan’s Atlas of the conflict: Israel-Palestine.


These beautifully produced collections of maps and diagrams interpret and display complex guidance with a readability and visible flair that reinvents and reinvigorates the kind. ‘It’s a false impression that something which is complex should also look complicated,’ says Grootens, who studied architectural design earlier than moving sideways into ebook design, a container during which he’s become quietly a hit. along the manner he has been festooned with awards: two Gold Medals within the ‘most beneficial booklet Design from in all places the realm’ competitors in Leipzig, the Dutch Design Award for graphic Design, the purple Dot: Grand Prix editorial design, a D&advert ‘yellow pencil’ in 2010 and in 2009 the Rotterdam Design Prize, whose judges accompanied that: ‘In visualising statistics he has breathed new existence into the tradition of visual information developed within the Twenties and 1930s by means of Gerd Arntz and Willem Sandberg.’

His coming near near monograph, I swear i exploit no artwork at all (010 Publishers, 2010), describes Grootens’ method and procedures in element, arguing lucidly that the digitisation of counsel has enabled the broadcast book to boost in new and more meaningful methods. (The title comes from Shakespeare’s Hamlet – it’s the response given by way of Polonius when Gertrude asks him for ‘greater be counted, with much less artwork’.)

though lots of Grootens’ productions, similar to his e-book about jewellery designer Ted Noten and an H. N. Werkman monograph, employ designated indexes, diagrams, maps and other photo gadgets, it’s a group of 5 atlases for 010 that most desirable demonstrates the intensive method of his studio. The Atlas of the conflict turned into preceded via the Limes Atlas and the Metropolitan World Atlas (each in 2005), the Vinex Atlas (2008) and the Atlas Nieuwe Hollandse Waterlinie (2009), also published in English as Atlas of the new Dutch Water Defence Line.EYE78_joostgrootens_03

The atlases absorb a disproportionate quantity of the studio’s time – Grootens likens them to ‘formula 1 racing automobiles’ in evaluation to the ‘household hatchbacks’ of his other work – however they're removed from flashy. Grootens’ atlases have a sobriety and typographic sensitivity that units them other than both usual map layout and contemporary Dutch design, wherein he is whatever thing of an outsider.


Grootens became born in Breda in 1971, and grew up in the small city of Oss within the south of Holland. As a youngster Grootens had ambitions to be a painter. When he changed into sixteen, he sent a fan letter to Willem De Kooning. ‘i used to be from the provinces,’ he says. ‘Being artistic intended being an artist. I by no means realised there were such things as designers.’ He went to Amsterdam’s Gerrit Rietveld Academy to study exceptional artwork, but after simply a couple of days there he stopped painting and transferred to architectural design. however then, all through 5 years of look at at the Rietveld, Grootens slowly realised that ‘the representation of architecture itself fascinated me greater than buildings’.

As a part of his course, he spent nine months as an intern within the London workplace of Chora, working on analysis into ‘city dynamics’, and struck up a friendship with main Raoul Bunschoten and his wife, architectural photographer Hélène Binet, best familiar for her images of work via Peter Zumthor and Zaha Hadid. This made a large affect on Grootens, providing an ambiance by which he encountered ‘each ends of architectural representation’.

‘Hadid found the ideal photographer in Binet,’ he says, ‘bringing the photos of her structures returned to the language of her sketches. The constructions are pretty much just like the automobile for Hélène to make the pictures seem like her long-established sketches.’ Grootens is currently finishing the design of a monograph about Binet for writer Phaidon.

just before he left for his London internship, Frans Bevers, one in all Grootens’ teachers at Rietveld had confirmed him the chances of multimedia: ‘i used to be in reality eager about Macromedia Director,’ says Grootens. ‘At Raoul’s workplace i was doing every little thing through hand once more, however all over my 9 months of no longer touching any computers i assumed a whole lot about multimedia.’

On his return to Amsterdam he bought a new computing device and immersed himself within the know-how, studying to use Director and Photoshop and crafting a final-yr diploma challenge that used sound, animation and coloration, graduating in 1995. The younger Grootens became excited via the chances of illustration: ‘How can you translate architectural drawings or concepts into interactive animations and multimedia?’

although Grootens had been some of the first in his department to work with a computer, these had been early days for architectural multimedia. ‘The photo design departments were the first to undertake computer systems thoroughly. Architectural and product design adopted later … partly because of the processor velocity of the computer systems in these days. Rendering 3D photos took perpetually and even then didn’t look any decent.’ His leading hobby turned into in discovering new ways to characterize architecture ‘beyond the building, the use, its context.’

On commencement, Grootens had at the beginning meant to take a Masters diploma at the Architectural association in London (the place Bunschoten taught), however two things changed his mind: ‘i used to be definitely disenchanted by using the attitude of the students at the time because ‘design’ became a unclean notice for them; it become all about analysis and about theory. i believed here's not the kind of environment I wish to be in – I want to design. conception is nice nonetheless it handiest turns into significant if an architect is in a position to translate it into structure.’

The different influencing element was that the mid-Nineties have been a increase time for Dutch design and architecture: ‘The word Dutch in reality meant something then. It became very convenient to get commissions.’ His first tasks included office interiors, a ladies’s reformatory courtyard and collaborations with architects MVRDV on the Dutch pavilion for Expo 2000 in Hanover. For Grootens, there became little incentive to do a masters when he could study through client work.

Yet he resisted many contemporary trends, and retains a distaste for definite stylistic tics of the Nineties. He says: ‘I hate layering. You’re fooling your self in case you do it. Superimposing image information on to something else is in response to the false impression that visual complexity can visualise a plurality of which means.’ Grootens did admire projects equivalent to Mediamatic’s doors of belief CD-ROM, and Max Kisman’s work for VPRO, but he became in no way chiefly attracted to online game-like projects comparable to Myst. ‘After just a few years this grew to be an issue,’ he says. ‘I didn’t like playing, studying or the use of multimedia but i was designing it.’

His interactive work grew to be extra sober and straightforward. ‘the first factor to move become sound, after which the colorings grew to be greater monochrome.’ In 1997, he made an interactive piece for Chora’s exhibition ‘Liminal bodies’, held in a storefront gallery in ny. ‘We went to see writer Duncan McCorquodale of Black Dog Publishing in London, and he observed “I cannot submit a CD-ROM, you have to design a book round it.”’ Grootens spent a 12 months making the ebook, Metaspaces: ‘I discovered that the rest i attempted to pursue in multimedia I might do, might be improved, in a book.’

If his ordinary career trajectory – from paintings to multimedia by way of structure and eventually to e-book design – partially explains the sheer originality of Grootens’ vision, it’s his knowing of content material that determines the form, seem and consider of each undertaking. The layered, expressive forms of the decade in which he graduated have little appeal for him, neither is he in thrall to average booklet design. He admires the ‘gratifying lightness’ of Cornel Windlin’s images books, the architectural monographs of Reynoud Homan and Lars Müller’s quest to make what he calls a ‘visual reader’.

lower back to first principlesSometimes he appears to have reinvented the sort of his atlases, indexes and all, from first concepts, however with an acute sensibility to the materiality of the e-book, using steel and fluorescent inks on mild, nearly transparent paper. He explains that when he made his first atlas (De grote / the large / der grosse KAN Atlas, 010 Publishers, 2003) he appeared at the medium from a technical standpoint: ‘010’s Peter de wintry weather, on seeing the authors’ materials, came up with the conception of constructing it into an atlas,’ says Grootens. In a quest to discover why ancient atlases seem more desirable than new ones, he sought out historic copies of the Bosatlas (the elementary school atlas in Holland) and made a major discovery. ‘I bought three diverse editions of the Bosatlas, one in CMYK and two older variations in twelve and ten colors. I studied these books in aspect. I found that the atlases became gruesome within the Nineteen Seventies after they went from twelve solid colorations to CMYK.’

by analyzing the main points he discovered genuine guidance on the use of colours within the older maps. though Grootens admits that it could be impossible to go again to printing in twelve shades: ‘My publishers would kill me!’ although this close examination of old maps and atlases impressed Grootens to delivery the usage of distinct inks, together with fluorescent and metal, and judge his special colors carefully in relation to the paper for each and every book.

for instance, the maps of the Limes Atlas deal with the history of the Dutch landscape, the colours displaying the transition between water to swamp to polder, from blue to eco-friendly. Grootens explains: ‘I made a household of patterns with blue and eco-friendly dots that illustrate this transition. after which there become the limes itself, the Northern border of the Roman empire, and in later instances the invisible remains of the buildings, ships, and many others., as almost all these have been sunken into the land / swamp […] to provide this a different presence on the web page I used a steel ink, gold. Flipping the web page the gold becomes greater seen or now not. it is as if you flip it on or off.

‘The Limes Atlas is about the tension between this blue becoming green and the gold, which on occasion lights up and different times dissolves. All different counsel is done in black. and i added a varnish that covers the maps and seals it off as if it were covered by using a sheet of glass. the edges of the paper that one touches when leafing throughout the e-book are unvarnished and here the texture, the total tactility of the paper, can also be skilled. finding the appropriate kind of blue became out to be difficult and within the end this became mixed on the press. I don’t like blues that are too blue, especially when making an atlas in regards to the Netherlands with the entire water – you promptly emerge as with a book that is just too blue. i am nevertheless not too chuffed with the blue in Limes Atlas. It is just too potent, too darkish. For Vinex Atlas and Atlas of the brand new Dutch Water Defence Line I found a plenty nicer blue. Which is greater a lightweight grey with a little of blue.’

Grootens continually makes one or two 70 x 100cm verify prints, on which he can put many diversifications of patterns and ink mixes, attempting out distinct papers. He likes to make use of skinny paper, too. the place some designers be anxious about show-through, Grootens waxes lyrical a couple of transparency that makes the booklet’s structural gadget seen and tangible, with features that ‘shimmer via on the next web page.’ He designs his books as physical interfaces, always when you consider that the manner his special inks reflect mild returned to the reader.

For Limes Atlas he wanted ‘a paper that become somewhat tough’ to make the metal ink seem like galvanised steel, and selected Eurobulk Matt, which he also used for the Metropolitan World Atlas. For Atlas of the conflict he tested seven or eight distinct paper stocks earlier than picking Gardapat Kiara for the maps and diagrams and Royal Print Matt for the lexicon at the conclusion.

Grootens additionally thinks carefully concerning the measurement and weight of each and every ebook, and the style it lies in the consumer’s fingers. ‘A reader at all times holds the cowl,’ he writes in his monograph. ‘I frequently use a fabric that has a certain texture and i use embossing or foil blocking off.’

As a picture designer, Grootens is self-taught, notwithstanding hardly ‘feral’ (to use Steven Heller’s term). ‘i used to be discovering whereas doing,’ he says. ‘the primary few years of doing books turned into my practising, being very insecure about everything.’ despite the fact he credit Hans Oldewarris and Peter de winter of publishers 010 with in reality educating him the trade, and regards each and every e-book as part of a continuous educational manner: ‘I set to work with lots of fantastic authors. i used to be also studying about typography, inks, all these things …’ each and every atlas, he facets out, is a three-means collaboration with the printers (Lecturis) and 010.

His methods are labour-intensive, occupying the time of a cautiously picked team of workers of five: a full-time assistant, two half-time designers and two interns. The studio operates 4 days a week, Monday to Thursday; Fridays are for admin, and studying, look at and reflection. ‘The fantastic element in case you’re self-taught is that you simply’re never comprehensive. in case you’re taught in a school at some factor you get a diploma and also you cease thinking about it.’

however Grootens also teaches one day per week, and has taught constantly for the previous thirteen years – eight of them at Design Academy Eindhoven, where he was currently appointed head of the new department of guidance Design at Design Academy Eindhoven’s grasp path.

His studio takes on interns six months at a time and pays them according to the guidelines of the BNO (the Dutch design association). ‘I tend to go for people with a very good sensitivity for typography,’ he says. ‘The different issues i will be able to teach them, but the typography they have to deliver themselves – some type of precision and experience for detail.’ He notes, with enjoyment, that he often takes on Swiss or German interns. ‘The German guys also have the potential of being less opinionated. no longer like the Dutch – in case you ask them some thing they at all times get a hold of a different answer to you as a result of they birth considering. every so often I want them to just do it!’

There’s no formula to his atlas design: Grootens’ strategies trade from assignment to assignment, and during the design and construction method. ‘It’s a relentless discussion from the primary moments to the final moments, greater like parallel approaches than a series of steps. however what they do commonly confronts the author with new insights or new chances and that they delivery to rethink their contents. So they need to do things again and again once again.’

The Atlas of the conflict has had a prolonged gestation period, and book changed into delayed when Grootens made a thorough exchange to its layout. After a year’s work on the project he went on break and chanced upon an ancient Hachette e-book Bleu. This impressed him to make the atlas smaller.

‘A heavy theme doesn’t always should have a large heavy e-book. One has a totally distinct journey with a e-book if its size is close to the hand; you are more likely to study a smaller e-book up shut,’ he says. ‘So they redid all the maps and all of the typography!’

The robust character evident in Grootens’ work can lead some observers to consider of him as a designer-author, but he is short to make clear the bounds of his involvement, as shaper and catalyst for every booklet’s content. In I swear i take advantage of no art at all, he writes: ‘Narrative, the artist’s main forex, is on occasion now not satisfactory in this period of assistance weight problems. With complex content, where modifications are measured in hues of grey, in decimals, or with assistance brimming with skills and conditions, devices corresponding to visual rhyme, zooming-in, montage and layering don’t suffice. The reader wants to be in a position to survey and inspect the tips. This comes with chronology, overview, completeness and juxtaposition.’

In conversation, he warms to the discipline. ‘i like narrative and that i want to read it but not make it – I make equipment with counsel that americans can use. In effect that’s what the author and that i do, it’s a ‘half-product’. They make half a issue after which someone else could make their own narrative with it.’

He compares this method to the non-linear literature of Julian Barnes’s A background of the world in 10½ Chapters or David Mitchell’s Ghostwritten or Cloud Atlas, which exhibit the equal pursuits from diverse viewpoints.

‘To me as an architect these books believe spatial. The coherence between the pieces is greater essential than the individual items, extra city design than architecture. most of the atlases exhibit the identical component a couple of times in a unique way. With the Vinex Atlas it’s images, maps, data and text – the four facets. With the Metropolitan World Atlas it's a map and its facts.’

There are parallels to this strategy in modern technological culture, from desktop video games, via songs that you can mix on-line, to iPod and iPhone apps: many designers now make programmes or experiences which are deliberately ‘unfinished’. Yet few designers feel this fashion within the medium of the broadcast book. asked even if he might circulation into web page design, Grootens replies by using asserting that the Metropolitan World Atlas is essentially like a website, in content and design. ‘It’s my conception about what a site may well be – pretty much a software for a site.’

He every so often proposes that the books he’s commissioned to design should be whatever other than a ebook – a domain and a print-on-demand publication, for instance. ‘I’m the first to question even if or now not to make it a e-book.’ but so far that has not ever came about; his consumers want books.

the important thing to the effectiveness of Grootens’ atlases may additionally lie of their cool detachment; he serves the content supplied via his collaborators with a level of disinterest that potential his design is the servant of both author and reader. Rick Poynor, the most effective graphic design professional on the Rotterdam jury that unanimously awarded Grootens the 2009 prize says: ‘Grootens’ work doesn’t seem specially Dutch, however it owes a great deal to the national lifestyle of incredible typography and quality printing, and it comes from a culture that has lengthy valued the social function of design.’

And like many Dutch practitioners past and existing, Grootens has found a picture medium that demands a essential dialogue between customer and clothier: ‘I should question my creator about their methods. I’m no longer into the content material all of the time however i will speak concerning the methodology. It’s somewhat a susceptible place, as a result of I should believe the author, that some thing they are saying is correct,’ he says.

‘You must discover together what’s feasible. and often I’ll say ´I don’t think it’s viable to place that a great deal tips in a map.’ And a a little effective-headed creator will say ´it's, I are aware of it is. I comprehend it’s possible. You just need to do it.’ These are the comments I need to work with!’

Smaller, shorter kinds?once I inform Grootens a couple of contemporary D&advert forum through which gasoline’s Damon Murray remarked that the genuine publication is a really ‘developed medium’ in comparison to sites and apps, he concurs instantly: ‘fully. A booklet is each essential and complicated. simple in its physical straightforwardness. and complicated, since it has a heritage.’

but can the publication form Boost additional? Grootens believes that the web offers new roles for the publication: ‘On the one hand it will also be more specific as one of the vital things it had to do during the past at the moment are accomplished stronger on the internet. The architectural monograph is a extremely interesting case. These was once ‘pimped-up’ business brochures however these days this assistance will also be discovered on web sites.’

This, in flip, he argues, gives new alternatives for the printed e-book. ‘The monograph as publication can become extra significant,’ he says. ‘it might take care of the manner or reflect upon theoretical considerations.’ but can common booklet design learn from the cyber web and from hand held gadgets such because the iPhone and the iPad? Grootens has no doubts that it may possibly. ‘there are lots of new methods of organising assistance developed in digital media in the past decade. fundamental things – just like the thumbnail images you see getting used in virtually each e-book design at the present time.’

Conversely, he believes that there is expertise in making use of the atlas methodology he has developed to non-topographic content. ‘i would like to are trying making an structure or design monograph or a ebook on a set of a museum in the sort of an atlas: impartial, similar, and with photograph translations of records, etc.’

He looks ahead to a time when manual projects, reminiscent of facts visualisation and visible indexes could be accomplished by means of computers running open-supply application: ‘it is ridiculous that we're so stylish on Adobe!’ usually, he doesn’t want to do this to retailer labour, but as a way to locate new diversifications and new techniques of featuring the information.

but with reference to the form of the publication, Grootens believes that new know-how will motivate us to make smaller, slimmer volumes in the future. ‘it's so handy to make a publication with a lot of pages,’ he says. ‘it is like making a seven-minute pop music; to make a brief one is much tougher.’

First posted in Eye no. seventy eight vol. 20.


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