The Old Fashioned Way

Back

19.09.17

Another selection of creative news ...
The Splash

mario macilau

The extraordinary, everyday ...
People

The Goldloxe Effect

Creating in the shadows ...
People

Mark Denton Esq.

We sat down with Mark Denton Esq. Ad Man Extraordinaire ...
People

12.09.17

Dive into another round-up of creative thoughts and news ...
The Splash

Empty spaces to extraordinary experiences

Museum and interior design practice Casson Mann talk about how they create world-class innovative and engaging experiences.
People

The Old Fashioned Way

“You never have to backup a sketch book, and a pencil will never run out of batteries …”
People

05.09.17

A Tuesday treat! A round-up of creative news from across Europe ...
The Splash

Faces In Focus

Making change through photography, the latest Faces In Focus exhibition opens on August 31st ...
People

29.08.17

From Game Of Thrones to Prince, and everything in between ...
The Splash

Vivienne Brophy

Vivienne Brophy defines future practitioners as Head of Architecture at University College Dublin ...
People

Denim & Steel

'Denim & Steel Interactive' create intuitive, strategy-led software and technology. We sat down with founders Todd Sieling and Tylor Sherman in their studio in our SODA x VANCOUVER series ...
People

21.08.17

We've got some interesting news for you ...
The Splash

PHOTO SERIES 2

Our monthly series showcasing ongoing work from photographers and artists around the globe ... this month we're delighted to introduce Aidan O'neill and his Swaziland story ...
Projects

01.08.17

Our latest creative news round-up .....
The Splash

Kauri multimedia: the storytellers

The Award Winning filmmakers tell us their story ...
People

25.07.17

The best subway ever and other musings on the latest creative news ...
The Splash

18.07.17

All is not as it appears, or is it? The modern traveller, vegetable material & a graduate making it easy to understand the complex things in life ...
The Splash

The New Beautiful

Flora Mclean shares her thoughts and experiences of arts education and the role of the educator ...
Opinions

Steven Learner

The founder of the Collective Design Fair shares his insight into the design industry ...
People

the perfect equilibrium

Rethinking creative strategies to balance profit with consumer wellbeing ...
Opinions

11.07.17

Game, Set, Splash! A Wimbledon Special ...
The Splash

04.07.17

Check out another offering of creative news in this weeks' SPLASH!
The Splash

SODA x SODA

That name sounds familiar! Rob Fiehn sits down with architectural studio SODA to find out about their Soho beginnings and how they're searching out interesting new projects.
People

The Enduring Allure Of Indigo

Jenny Balfour Paul shares what makes the power and draw of natural indigo so enduring and what we can learn from its rich and magical history ...
People

27.06.17

Apple Sneakers? That's all! Enjoy!
The Splash

13.06.17

Another round-up of creative news ...
The Splash

06.06.17

Ease into the new week with a new Splash!
The Splash

PHOTO SERIES 1

Introducing a new series showcasing ongoing work from photographers and artists around the globe.
Projects

A Dancer's View

Retired Royal Ballet dancer turned photographer Andre Uspenski launches his first exhibition, 'A Dancer's View'.
People

IN REVIEW : MAKERS HOUSE

Makers House : 'Inspiration & Process' was a unique collaboration between Burberry and the Henry Moore Foundation ...
Opinions

HOLOGRAM OF CONSCIOUSNESS

Chelsea Jade Campbell talks DNA repair, interactive nail polish and the future of experiential branding ...
Opinions

Dean Di Simone

Tokyobike’s Dean Di Simone on the state of branding ...
People

TAKESHI MIYAKAWA

We chat to the NYC based designer about his practice, wax chandeliers & chairs having conversations ...
People

Stevie Wong

Stevie Wong and his observations of the film industry ...
People

loading...

The Old Fashioned Way

Drew Millward likes to draw ‘the old fashioned way’, using pencils, pens and his love for the craft of illustration. His website proudly bears the subheading, "Custom Hand Drawn Illustration For The Modern World". While he uses digital technology to speed up his process, it’s his rule never to draw anything that he couldn’t replicate by hand. He was born in Coventry, studied in Leeds and now lives in a quarry in the Aire Valley where he enjoys creating work for an ever growing international client base.

How did your interest in and appreciation of hand-drawn illustration begin? 

A lot of my early influences were really rooted in the hand drawn aesthetic seen in Sendak, Small Films and Scary. Over the past few years I've realised how much of an impact those early influences have had on me. When I started making work myself, it was simply through necessity that it took the form of hand-drawn work. Initially I started making posters for gigs I was putting on with my friends, so they went from a hand drawn image, straight into a photocopier, a lot of the time. 

Where do you think the balance should be between drawing by hand and using digital tools?

Digital technology is a brilliant tool. It streamlines workflow, it can speed up a process and it can make your life a bit easier, but, like anything else, you only get out of it what you put in. If you can't draw or design without it, no amount of machinery and software is going to solve that. I always liken it to learning to play the piano, and then switching to a synthesiser, you still need those early foundations to build on. 

In my work, the two disciplines are reliant on each other. Although I draw more and more using my Cintiq, I can't ever really escape from starting with a pencil and some paper and I try not to do anything digitally that I couldn't replicate by hand. 

‘Craft’ and ‘authenticity’ have all been buzzwords over the past few years. Might we see a counter-trend where everybody wants digital soon?

It's almost impossible to say. Trends and fashions are fickle. The ebbs and flows that we see happening are usually caused by oversaturation of a particular style. The swing towards 'hand drawn' work was very clearly a reaction to the overuse of digital imagery. For a time, work that was very clearly the product of Adobe Illustrator, or other vector packages, was everywhere. Gleaming, shiny, clean and, when done poorly (and there were some people who used that aesthetic incredibly well), entirely soulless. There is always something to kick against. For a number of years, colleges and universities were churning out graduates who were making work very reminiscent of David Shrigley. I think there is a move slightly away from that, and people are looking toward work that is rooted more in the traditional 'craft' of image making. 

Do you feel that clients and companies need to be educated about the benefits of hand-drawn illustration versus digital? Or do people come to you already knowing that they want a hand-drawn illustration in your ‘style’?

I'm not really sure it's the client's job to know about these things, that's why they are hiring an illustrator/artist/designer. It's up to the individual to assess what the final outcome will be, and work with the skills they have to reach the best conclusion. Digital work has become an increasingly large part of my process, but I use it to speed up my work process, not to create things that I couldn’t otherwise create by hand. 

Why will hand drawn illustration always have a place in the world, no matter how technology develops? 

Because you never have to backup a sketch book, a pencil will never run out of batteries and you can always carry both of those things with you at all times. 

soda-s
  • Drew was Interviewed by Alex Mills
Further Reading:
fullscreen
close