Excerpts from a 1991 Aviation Art Magazine interview by A.R. Ligon

Why Do You Paint Aviation subjects, particularly military aircraft?
     I suppose my fascination with high-performance aircraft comes from childhood. It's a topic of almost universal interest among young men. To an adult, this probably takes on the added symbology of freedom.

In what way?
     There is, of course, the symbolic freedom of flight itself. On a higher level, though, the military aircraft I select celebrate American achievements in leading-edge technology. These achievements really stand, I think, as monuments to the mind of the individual in a free enterprise system. I view my subjects as the tools of ingenuity man uses in his right to self-defense and as a celebration of freedom.

The military seems to be quite removed from the subjects most artists choose, as does the philosophy you just described; have you received any criticism for your choice in subject matter?
     Yes, it's true that many artists are hostile to the military and defense in general. It seems contradictory to me that while they may support freedom of expression, they don't support the men, women, and hardware that defend the very freedom they depend on.  In fact, one artist told me that I should paint fire trucks and ambulances, because they save lives instead of taking lives.

And your response?
    I explained to him that these weapons function as deterrents against aggression, and thereby prevent war. A few seconds of war could claim far more lives than any fire truck or ambulance could ever save. Therefore, the aircraft I depict actually save lives, as long as an aggressor believes America is willing to defend itself and oppose tyranny.
    Hussein counted on pacifism to sanction his aggression against the people of Kuwait, just as some artists count on pacifism to defend their freedoms. In this way, pacifism breeds war. If these artists support tyranny and oppression, I wish they would come right out and say it.
     I don't know how many people caught the scene in the "Give Peace a Chance" music video where the attack on Pearl Harbor was used to defend pacifism, but that is a perfect example of the level many people subscribe to and support.

Have you received support from the Air Force community?
     I must say the US Air Force has been very, very supportive of my work, especially Colonel Thomas Hornung and Lt. Col. Joe Rinella from the Office of the Secretary of the Air Force, Office of Public Affairs, Western Region. Also, Colonel Mike Edwards from Maxwell AFB has lent me considerable support. On The Last Hot Flight and Final Ascent, my two SR-71 commemorative prints, I was fortunate enough to have the flight crew of the last official SR mission, Lt. Col. Ed Yeilding and Lt. Col. J.T. Vida, sign 350 of each for a limited edition series. While I haven't had the opportunity to meet Lt. Col. Vida, I was able to meet Lt. Col..Yeilding, which was very exciting. He's one of the finest men I've ever met. It is a very good feeling to see the enthusiasm of all the members of the armed forces. They risk their lives to defend my freedom every day.

What do you think people that admire your art feel when they view your work?
     I believe the viewer participates by relating to the depiction, and in some sense imagines the experience. I took this approach while developing Power. I wanted to depict an image that compelled the viewer as a participant. An adult might be interested in the shock wave or rooster tail on the water, but somewhere that kid in all of us says "Wow, what a fun ride that would be!"

I understand that your main painting tool is the airbrush. Do you use it for the entire painting ?
     Yes. I'll use an airbrush to spray various inks and paints onto hot press illustration board. Sometimes I'll add texture to an area with a colored pencil.

How did you learn to airbrush?
     Believe it or not, I learned airbrush technique by painting T-shirts in Myrtle Beach, South Carolina, during the summers from 1981 through 1989. Of course, during this period I was attempting to pursue a career as an illustrator. I completed my Master's degree in 1984, but things didn't really start to happen until I won first place in the National Airbrush Excellence Competition in 1988. That year I got a great New York agent to represent me.

Is that when "Power" was conceived?
     Actually, I never intended to print "Power." The initial motivating factor was the unfair and biased treatment given to the B-1B by its critics. The concept of "Power" was developed from a conversation I had with my uncle, Carrol Ligon, who witnessed the shockwave effect in Vietnam where he flew F-100s.

How are your ideas for paintings developed?
     Mostly from an examination of the plane and its particular mission. Then I try to imagine the most dramatic situation that the aircraft could experience in a realistic portrayal.

Then you paint "photo realistically"?
     I want to go beyond the capability of the photograph to capture an image not easily accessible, if not impossible, to the camera. So it's not just photo realism. Most paintings and photographs depict the airplane just hanging there - no action. That's fine for a large lumbering aircraft. But certain planes utilize speed and I want to convey that fact.

You have been painting aviation art for less than two years now. How does it differ from other art?
    The first thing I noticed was the high degree of accuracy its audience demands. A painting is faulty if a number or marking is incorrect or any control surface is improperly set. Aviation art audiences are very particular. Such a strong technical treatment or assessment of aviation paintings by the audience probably reflects that aviation art should be regarded as illustration rather than fine art, where aesthetics is the primary concern.

So you don't consider aviation art as fine art? ·
     No, I don't, at least in the traditional sense. I can't say that it falls completely in the category of illustration either, but rather somewhere in between.
    Many would disagree with me on this, especially those publishers who try to promote highly priced editions on the fine art market. These publishers are-quick to point to sold-out editions in an attempt to legitimize public acceptance of their editions as fine art.
    However, consider the facts: Rarely do you see these limited editions sell out within the first year of publication; there are very few exceptions. Then, of course, try to imagine an aviation painting displayed alongside paintings of Sargent or Renoir! It doesn't work.
     That's why I price my lithographs at an affordable price, so as to appeal to the person, who may or may not be a collector of aviation art, who shares my enthusiasm of the excitement of flight.

How do you start a painting ? Do you paint the plane first?
     Always. Since the plane is the subject, I concentrate on the best angle, lighting, markings, etc. to present that particular subject matter in the most favorable view. I have an idea of the environment around the aircraft during this time, but it is not until the eleventh hour. I put off making those decisions until the last possible moment since I want to give as much consideration as I can to all elements of the painting. Ultimately, I attempt to assign equal attention to every square inch of the painting.

Who inspires you?
     I derive inspiration from Super Realist painters such as Paul Sarkisian and late nineteenth century American trompe l'oeil illusionist William Michael Harnett. It's ironic that their style and subject matter received little acceptance as fine art.

Why do you paint?
     If you have a choice of careers, naturally you select the one that you feel allows for the greatest degree of contentment, gratification, and happiness. Once I discovered art in college, I realized its provision for happiness. I don't even consider it to be work. The moment it becomes work I'll move on to another vocation. I'd love to compose classica lmusic, forinstance.
     For now, though; I am very satisfied with continuing my series on military aviation.. It's my way of participating in what I consider a worthwhile and honorable endeavor, along with the men and women who build, maintain, and fly these beautiful machines. And I think there are many out there who share that view.

Are you still getting hate mail?
     (Laughing) You remember that? Well, I've gotten a few letters from people who don't seem to appreciate my portrayal of technology. The last communication of this type that I received was a full page ad of Power torn out of a magazine, with the word "Obscene" scrawled across it:

What was your response?
     Well, I wrote back and said that I admired her for passing a moral judgment because nothing, in-my mind, can degenerate a person or a culture more quickly than the precept of "moral agnosticism;' of never distinguishing good from evil. I then demonstrated that real obscenity it placing a higher value on water, fish, and snow than on mankind. I never heard from her again.

So you don't necessarily paint what society wants ?
     First, I don't like the word "society." It is inaccurate, misleading, and potentially dangerous. A society is a group of separate individuals, it cannot think, act, or want. I don't trade with "society;" I trade with individuals.
     Secondly, I paint for myself. You see, I don't paint so I can have customers; I have customers so I can paint.

This interview is going to be published in a magazine along with many other aviation artists. What do you think about your work being held up against others?
     I welcome it. I believe that competition improves us all. I don't agree with the premise that another person's skills and expertise are a threat to me. Quite the contrary, I derive a benefit from them.

Really? How so?
     In two ways: First, I derive the same benefit that you do, which is, other artists enrich my life with their imagination, perspectives, creativity, and talent. However, as an artist I derive the additional benefit of a subjective avenue in which I can judge my own progress as an artist. I am not "competition sensitive; I seek it out.

A few Veteran aviation artists have complained about the new influx of young aviation artists who have recently come onto the scene. How do you feel about that?
     Are they complaining that they are losing old customers, or that the quality of the new work outshines their own?

Mosty the loss of business to them
     Then the quality of the new artist must play some part, or are they saying that aviation art buyers have no taste?

It's hard to say. Well, what is your favorite aviation painting?
     I like Barrie Clark's painting "Spitfire!"

Why?
     Because that piece approaches becoming fine art as aviation art can be. It's the only painting I know in aviation art where technical accuracy is ignored in favor of aesthetics.

Any others?
     There are others that I also admire very much, such as Attila Hejja, although I wouldn't classify Attila as an "aviation artist; he's more of an aerospace illustrator.

Attila's work is exceptional in that he combines high-technology subjects with the style of the old masters. I find it quite moving. That's why I published his masterpiece "Cape Winds" from the NASA art collection. The pieces he's coming out with in the next few months are even more spectacular.

What do you think about "borrowing" ideas from another artist?
     I think it is wrong, and self-destructive, to acquire a value from another without compensation.

But you just said that you derive a benefit from other artists.
     That's right. And they derive a benefit from me, whether they realize it or not.

You seem to be constantly invoking philosophy in your answers. Why is that?
     Philosophy is a method by which I gain a sense of order. You know, everyone has a philosophy, principles which they adhere to and look to for guidance in their lives. It's a question of whether or not you define those principles and test them against reality.

So what is your philosophy?
     How long do you have?

Well, just give us your basic belief.
     OK. Basically I agree with the philosophy of Aristotle, the Enlightenment, and the founding fathers of the United States. I think that reality is objective, or independent of man's wishes or thoughts. I think that an individual has the right to exist for his own benefit and should not be forced to live for the sake of others. That integrity and rationality are the standards of action, and productivity and creativity are the goals of a rational man.

Tell me about your latest work on the 50th anniversary of Pearl Harbor.
     Pearl Harbor 0755...While the Giant Slept is by far, my most ambitious piece, and I consider it my best in terms of accuracy. I spent over a year of research alone and many hours interviewing Pearl Harbor survivors in order to ensure that this will be the definitive Pearl Harbor lithograph.

Describe the painting and its significance.
     The painting depicts the opening moment of the attack on the Naval Air Station on Ford Island. I took the perspective of what the first pilot, Commander Taka-hashi, saw as he rolled in at 0753 on 7 December 1941. His Val bomber has, of course, the correct markings.
     Every detail as it existed at this moment had to be researched, verified, and laid in. In a painting such as this, small details were considered of utmost importance- where vehicles and planes were parked, which hangar doors were open and how wide. The shadows and lighting were determined by a helicopter trip at 0753 over Ford Island.
     It should be accurate down to the last bush. You can even see the seams in the poured concrete. The toughest part is researching from scratch. If you rely on other people's research, you inherit their mistakes. For example, the maps showing the position of the ships almost never have the avocet correct.
     Hopefully, when it is completed, it will be the best historical painting on the Pearl Harbor attack.

It sounds as if it was more of a research project than a painting. What sources did you trust?
    Photographs. The Japanese, in their vanity I suppose, took some incredible shots during the attack. That really helps in positions of planes on the ground and hangar door positions which, besides personnel and automobiles, are things that change the most.
    Also, the photos helped to determine such things as whether the paving had been completed on the seaplane parking area on the southwest side of the island.
    The hardest part was determining color selection from black-and-white photos.
    Michael Wenger, author of Pearl Harbor: The Way It Was, provided the set-up for this painting and generously supplied documents, photos, maps, and his time to ensure accuracy.
    I would also like to thank several others for their courtesy assistance on this painting. Captain Jack Gallant, USN, was a great help to me in Hawaii. I also would like to salute Lt. Col. Joe Rinella, USAFR, for his unique insight, inspiration, and vision. He's a great American in the truest sense, and I'm grateful to know him.

It sounds as if you received support from just about every direction: Air Force, Navy, Veterans, and historical experts.
    That's right.

Why?
    Because the effort going into this work is probably ten times that of other paintings. And since the printing will be more costly, I feel the final product will be more valued.

Well thank you for your time, Dru. I look forward to our next interview.
    Thank you very much. I'd like to thank Challenge Publications and, in particular, Pam Borrajo, for providing such a great publication in which to promote aviation artists and their work.