Q and A with Jonny Hannah
In the second of the series of artist chats, I ask Jonny Hannah about his studio practice and what makes him tick as printmaker
Mr Hannah, good to see you. Can you tell us what a typical day look like for you?
Go to my shed for most of it & make stuff. Could be a painting, could be working on separations for a new print. Could be a book cover for the British Library. It’s often up in the air til I open the shed door. It’s good to go for a bike ride too – I have several routes, so I’m not very adventurous & don’t go that far. And of course at least one trip to Lidl, which is just over our back garden wall. And music most of the day too – very, very important. Playing records in my shed is a must… Richard Dawson & Charles Aznavour are tops for now.
So, this shed of yours, is it big? How does it affect your work?
I’m restricted by size inside the shed (it’s 8 x 6 feet, or thereabouts). But if it’s not raining, I work on bigger stuff next to it in the garden, cutting up bits of wood & hammering them together. But it’s the solitude that’s important. Society is brilliant, but so is being on your tod. Then it’s always nice to leave the workspace, and something half unfinished, so you know you’re going back there soon-ish.
Do you follow any set routines? I always have a coffee (and a nurse of the cat) at 10:30am. If I miss that I’m all over the place.
I Play vinyl. I select a few records from the house every morning then play them. Or, I might also watch a film whilst working. But not a film with subtitles, or I’d never get any work done. The other, fortnightly routine, is to tidy it up. It get’s messy easy, & I love being messy – organised chaos. And of course trips inside the house for coffee is important.
What role has printmaking had in the development of your studio practice?
It has made me create in ‘layers’. When I paint, I often use limited colour & apply them one at a time, much like doing a screen print. And when I draw - brush & ink, pencil, marker pen, oil pastel, I’m conscious to make it high contrast, so should I need to expose it to a screen, it won’t cause any problems. Draw like you mean it.
Who are your biggest printmaking influences?
Ben Shahn, David Stone Martin, Antonio Frasconi… the great American trilogy. DSM wasn’t a printmaker, but his graphic work was always designed in layers, so he sort of was. Instagram’s great for discovering folks too. Like John Pedder is great… he just does it. And Melvyn Evans is always a treat to look at.
When beginning a new print what's the first thing you do? Can you describe the process.
A scribble or two in a sketchbook, then I try to get it on paper/drafting film asap, before the idea goes stale. If I have too many in-between sessions, it’ll die. Energy is all. Sometimes I then scan the drawing in & print it onto acetate. I’ve even been known to set up a four colour print in photoshop, then adding bits to the acetate once the printer has spat it out.
That energy, keeping an idea alive...does this mean that a lot of what you do is spontaneous? How long would you typically spend on a new print?
As little time as possible. Get the idea, get on to a screen (or possibly cut the lino/wood), print it. Then I might need to add to it, an extra colour perhaps. Each leaves me a with the tiniest dissatisfaction, which is why I then do the next one.
What are you listening to at the moment? gave me a musical recommendation, what should I check out?
Hank Williams, Gerry Mulligan, Brel, The Postmen, The Damned, The Skids, Johnny Thunders, The Unthanks, Slim Gaillard, Aznavour & Richard Dawson… a small selection, but never, ever Zep or Floyd…
Thanks Jonny, speak soon!