Overtime: Danny Askar
Danny Askar is a long-time friend and collaborator through Fifty-Nine Parks. He's an integral part of what makes the printed component of that series and the stand alone Baseline Review stories tick. As a self-employed printer he's an inspiration. Both for his craft and his approach to running his shop. Danny was kind enough to share a look behind the curtain earlier this month. We're excited to share that conversation with y'all!
How did you get into screen printing? Was the goal to become a professional printer from the outset?
It was never a conscious goal of mine to become a printer. I went to college for graphic design, and my focus at that time was on web design and programming. The first jobs I had after I graduated were freelance web development gigs. It was good work for the type of brain I have, but I didn’t like the way that everything I made felt disposable—just a bunch of ones and zeroes floating in a crowded world of other ones and zeroes; websites becoming obsolete within a year or two of being made.
I have a background in music, so when I wasn’t working, I was playing in bands with my friends. I would often find myself taking on graphic design duties for things like posters, album covers, merch, etc. One of my musician friends was also doing a lot of poster illustration work at the time, and he had casually mentioned wanting to start screen printing some of his stuff. I barely even knew what it was at the time, but it sounded like a good way to take art and design to a level that I hadn’t yet explored. I have always been interested in the way things work, and have always had a desire to learn and do things myself, so I knew I could figure it out one way or another.
I ended up taking a couple of courses in screen printing at a local community college that happened to have a really good program. From there, I started printing a few things of my own as well as my friend’s, and word sort of got out that I could print.
It took a while for me to enjoy the process of printing for others. It was really stressful at first (it still can be!), and I was always worried I’d mess something up (I still am!), but I liked learning and improving with every job I did; building upon my skill set, progressively improving quality with every job I did.
I also liked the way that the posters I was printing were making people happy—not just the people I was working for, but the people that were ultimately buying the posters. Being a producer of printed artwork satisfied my hunger to bring physical goods to life that people would cherish, possibly keep forever, and maybe even hand down to loved ones. Some of the things I’ve printed will outlive me, and that’s a pretty cool realization. It’s sort of what has kept me going all these years.
What is something you look forward to everyday when you step into your studio?
I don’t think I approach my work with sunshine and rainbows like other people might. I am wired in a way where I am conscious of the fact that, when working on something for someone else, expectations have been set, and any number of things can go wrong, causing the project to diverge away from those expectations. It used to stress me out, but I’ve learned to always be ready and treat these challenges like solving a puzzle. Now, when I step into my studio, I look forward to finding out what those things might be and how I might solve them. Solving them is what keeps me going; like checking off boxes on a list.
Basketball isn’t really your thing. Has working on this series of stories piqued your curiosity about hoops? Have any of our long rants about the beauty of the game—and its rich history—had any impact?
It’s true, basketball isn’t my thing. However, there is real passion behind the Baseline Review—not just conceptually, but in the research, the writing, the illustration, and the design. It’s easy for me to find an appreciation and a respect for work that has been done with that level of care, and I think that feeling will always transcend the subject matter, regardless of what it may be.
"I have enjoyed learning about each player and what makes them human. I think that the celebrity aspect of a sports figure can create a wall between them and the rest of society. So, it’s been nice to read about what made them feel vulnerable or intimidated, and how those things played a role in making them the legends they would become."
More to the question, I have enjoyed learning about each player and what makes them human. I think that the celebrity aspect of a sports figure can create a wall between them and the rest of society. So, it’s been nice to read about what made them feel vulnerable or intimidated, and how those things played a role in making them the legends they would become.
To our knowledge double sided screen printed publications like the Baseline Review aren’t a common thing. Without a blueprint to work from, what are some of the challenges with printing stories for the Baseline Review?
Printing double-sided requires everything to be registered (lined up) on both sides of the paper, so that the front lines up with the back. This isn’t an area where screen printing naturally shines, so a lot more care goes into making that work. The Baseline Review’s layouts contain lots of small type, so it’s important that it print as sharply as possible, and as consistently as possible. There is a lot less margin for error when it comes to printing large blocks of small type. If done improperly, it could become difficult for a reader to stay focused or feel comfortable while reading.
We admire your attention to detail in your work. The love of your craft is evident in every step of the process. Even the way you pack your prints for shipping is something we admire. Where does this desire to nail the smallest of details come from?
Being a one-man show, I have learned over time where I should and should not speed up or cut corners. Reprinting a job that wasn’t done right or wasn’t carefully packed could put me behind many days or even weeks, and that’s time that I have likely already booked for printing something else. So, I have to be smart about the way I work. If I spend an extra hour on something to make sure that it is done right, I see that as an investment in my future to ensure that I have done everything I possibly can to avoid losing time later. Along with that comes the ability to say that I am dedicated to quality in a very serious way, and that’s how I prefer to be known.
You’ve made a career working for yourself in a demanding, sometimes unpredictable and unforgiving medium. What is one piece of advice you’d share with other creative people who want to go after their dreams—even if the path is filled with obstacles?
My advice would be to listen to yourself at every step of the way. Know who you are and know what you are willing to do; know your strengths and weaknesses. Dreams are what start a person on a path, but the path itself is going to be full of very real moments and very tough decisions. This is where some people might give up, and I think that happens because they find that their dreams aren’t what they imagined them to be. That’s why it’s important to be as real with yourself as possible. You shouldn’t feel intimidated, but you should know what you’re up against so that you can be prepared to face the challenges ahead.
Who is in your all-time starting five for inspiring figures in the creative realm?
You saved the hardest question for last! So much of my inspiration comes from the creation of music rather than visual art. So, I’d probably choose Frank Zappa, because he never stopped writing, learning, and evolving throughout his life; David Byrne, because he has a beautiful way of looking at the world; Yoko Shimomura (video game composer), because of her ability to find inspiration in the mundane; Trent Reznor, because he knows how to turn emotion into a sprawling landscape of sound; and Nile Rodgers, because the man can produce a hit.
Thank you for the interview, and for having me be a part of The Baseline Review’s creation!
Follow Danny
@ohdanielsan
