What’s especially ironic about this piece was that it was a piece with a World War II patriotic retro-kitsch motif based on the loud, kitschy, big-time phony WWII-era posters on the bus shelters and subway billboards being used to advertise a recent Disney special-effex blockbuster, the infamous Ben Affleck masterwork Pearl Harbor that came out early that summer… a good three months before the real, live, non-ironic, mindless patriotic kitsch seizure following 9/11.
On the purely non-issue-oriented side, a design and technical epic Win. The layout, pose and color came out a perfect match — I was able to find a high-res scan of the original WWII piece to point-sample my colors from — and it was also the first time I made serious use of top-highlight and middletone shadow hatching effects, drawn on a sheet of tracing paper with a dark graphite stick, scanned as a separate layer and dropped over the main drawing in Illustrator. I’d been kicking the idea around for a while, playing with it just a bit, but decided to try it whole hog after seeing Van Gogh’s La Meridienne at the Musèe d’Orsay a few months before.
High-res jpg image, 1.8mb
One happy accident here was, during the initial sketching, finding out how easily my rat could be made to look like Williams with some extra whiskers, a little shock of hair here and there, and a bowtie. I wish now that I’d saved that issue of the Washington Post Sunday Magazine with the cover story on Williams — while he was running for re-election, I think — and the photo the Post used was one of him when he was about three years old, wearing an outfit almost identical to the suits we saw him in while he was Control Board honcho and, later, mayor: that dull-assed gray thing with a plain white or light-blue shirt and that friggin’ bowtie. So, apart from being a soulless Ivy League technocrat and servant of oligarchs, Anthony Williams really did look like his momma dressed him.
Seeing as how the newly-named Lamppost Liberation Front (our regular flypasting posse) were going to go big-time for a big-time event, the event and the mood called not just for a single poster, but a series, a complete iconography that signified concerned groups from all backgrounds uniting for social/economic justice, and all that other good stuff. Once again, I went for an image that everybody knows, usually used to symbolize humanity in some noble, artistic fashion or other. Also once again, I’m far from the first to rip off DaVinci’s famous Vitruvian drawing for analogy or satire, but everybody here thought the context was quite “fresh”.
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