* Signed Limited Edition of 75 (for each size)
* Framed Giclée Print
* Printed on Hahnemühle acid-free paper, using UV tolerant museum-grade inks.
* Hand Signed by the artist, Hugh Syme
In the summer of 1977, Hugh Syme, his friend Josh Onderisin, and photographer Yosh Inouye were stopped at US border. They were driving from Toronto (with a huge chair stuffed into the car) to shoot the fifth Rush album cover.
“We had to explain what we were doing,” says Hugh. “We called it a student university assignment, as opposed to a commercial venture, because it would’ve involved H2 visas.”
The three men arrived at the site of a recently bulldozed warehouse in Buffalo, New York. Hugh envisaged a cover in which a dethroned king sits amid the crumbling ruins of his castle. But the king is actually a marionette. His strings dangle from the sky like jellyfish tentacles. This monarch has been abandoned by his puppeteer.
Josh, the skinniest person Hugh knew, modeled as the puppet. Hugh applied Sculpey, a soft polymer clay, to Josh’s kneecap to make it look like a ball-and-socket joint.
“The way that the wrists and the neck seem disjointed from the body, like that of a marionette, was accomplished through re-touching,” reveals Hugh. “I used bleach and dyes to separate the hand and the wrist. I also retouched his lips, eyes, and eyebrows on the dye transfer.”
Hugh added the skyline of modern Toronto to the photo through emulsion stripping. (The smokestack represents the industrial revolution.)
“You have to go in and bleach and dye the line out and put new dye in to repair the marriage. It was all done on prints that were worth $750 each, so there’s no Command Z.”
Hugh’s final step was to add an illustration of puppet strings to the front-cover photograph.
“That was the album where I think Hugh really came into his own,” says Geddy Lee. “It powerfully conveyed the message of that record and the title track.”