Why I’m Sticking with Analogue Art

Analogue creative (to go old school and create with your hands) can sometimes be perceived as having limitations. It is more labour intensive and the creative process may take longer when compared to it’s younger digital cousin - who is seen as faster, more precise and possesses the all important ‘undo’ function. 

Have computers have robbed us of the feeling that we’re actually making things? Is there still a place for analogue creative in today’s unstoppable tech hungry world? Oskar illustration certainly thinks so. It prides itself on championing artists who are keeping the more traditional craft skills alive. 

Fresh off the back of delivering the Fenwick advent calendars and numerous Christmas themed product illustrations Oskar illustration caught up with its 2023 Artist in Residence, Rob Draper about his creative journey, his views on digital vs analogue and why he’s chosen to stick with analogue art instead of jumping on the digital revolution bus. 

Oskar illustration present to you, the words and works of the talented Mr Draper. 

Oi!> Hello Rob. Could you share an abridged history of your journey working in analogue? 

Rob> As a child, art and creating felt like a great escape. I caught the first wave of graffiti art in the UK which gave me confidence, a social life and adventures. I went to art college for six years and ended up with qualifications in art, graphic design and then a degree in visual communication. I always wanted to be an artist but people like me didn’t become artists so it made much more economic sense at the time to pursue a career in graphic design so I did that, I have done pretty much most roles within design from designer, magazine designer, art director, creative director yet over time through all the roles I had, art crept in somewhere or another. A few years ago the company I worked for relocated and I was made redundant from my role as an art director so it felt like it was finally time to pursue this path. The initial plan was to be a designer using hand lettering but I am fascinated by experimenting and so again, gradually art, experimenting and curiosity has crept in. 

Oi!> In your opinion, what do you feel analogue has over digital? 

Rob> They both have pros and cons and I try and use them together as much as possible. Digital work over time has become reliant on better and better software and hardware giving incredible results and things I could have not dreamed of early in my career but analogue work has flaws, imperfections and a charm that the perfection of digital approaches can lose that I try to explore and embrace.

Oi!> What challenges does analogue pose over digital? 

Rob> It can be a slower process, its not ‘click of a button’ done. Ink bleeds, paint comes out wrong, certain pens won’t go over certain paint, things that are meant to stick don’t - there is so much more experimentation, imperfection and ultimately (and sometimes frustratingly) no Command Z and multiple ‘undos’. Often during the process as works develop so do the outcomes, sometimes the end result can be exactly as you imagined it and sometimes it can be a case of trusting the process and seeing the work develop into a completely different direction. 

Oi!> Are you able to achieve the same outcome? 

Rob> Often not, But there is a harmony of using them together well. Analogue imperfections can rarely be exactly replicated digitally without losing authenticity. 

Oi!> Does analogue take longer than digital? 

Rob> Yes, often these processes take longer but its distinctive and therein lies the charm. It’s not an immediate process but hopefully, when it is presented whether that be through personal or commercial works, highlighting the process, there is an understanding and appreciation of that by the audience. The process becomes as integral as the end result. 

Oi!> Why do you choose to share your creative experiments on social media? 

Rob> It started as an online ‘diary’ that I would hopefully make connections over, I live in a fairly quiet place so I knew that I was not going to get work in this area unless I tried a different approach. That has changed over time and now I think it's because the process feels like it can be as important as the result. Trying different routes, making mistakes, staying curious and experimenting, you would never get any of that back story if I just posted ‘finished’ images. 

Oi!> Are you in any way driven by nostalgia in using analogue and conversely, retreating from a digital present that makes everything easier? 

Rob> Likely, I think as an artist or designer you have to try and follow your heart and where that takes you. Many years ago, during my six years at art college and then university I continually experimented, often making a mess but trying different things, materials, tools, thought processes. After many years working within an increasingly immediate, digital world along with nostalgia there is definitely a curiosity of whether there is still a place for these processes in both my personal and commercial work.

Oi!> Do you feel a sense of loyalty to your analogue history/experiences? 

Rob> I feel a sense of loyalty to try and make work I enjoy, that keeps me interested and curious, to try new things and push myself in different directions. I also feel a sense of loyalty in commercial work to respond to the brief in the most distinctive, creative way I can and it’s really rewarding when that connects to anyone else and people appreciate that. 

Oi!> What are some of the more unusual mediums you've illustrated on? 

Rob> Napkins, erasers, food, train windows, car bonnets and bottles. It started as self initiated projects drawing on Starbucks cups in the very early days of embarking on a freelance career and seeing that go viral it gave me both the confidence and motivation to explore that further and further. 

Once there's a concept there, either in my mind or from a client it, it’s then a case of juggling a series of different challenges - what materials can be used on the said surface, how much detail you can realistically apply to the surface and also what is the message we’re trying to present. Earliest in my career this was easier because I could just show the end result but, over time, I started to challenge myself by including the process into timelapse’s which creates a whole other set of dynamics i.e. finding the right angles, keeping yourself out the shot to not obscure the artwork creation, not moving the piece too much so the viewer can follow the process. 

Oi!> Is there a medium you’d love to experiment with but haven’t as yet? 

Rob> I would like to continue using the same tools, adding to those, tweaking those and at some point it would be great to explore full music videos or large analogue installations into an art gallery. 

To see more of Rob’s work, go here.