PRICE $150. Contact Sudi to purchase.
MEDIUM Open Edition Giclée
IMAGE SIZE 11”" x 14.375””
PAPER SIZE 16” x 20”
This image started out with completely different colors, but as I worked on it, it became an egret fishing at night with silent brackish water swirling around him.
Often when I’m working on an art piece, I feel the sensations of the image as if I were there. That happened here---the smell of the salt water, the barely perceptible swish of the egret’s legs moving through the water, the nighttime sounds of an estuary.
I’m still completely enamored with the Japanese art print style of
the Edo Period (1600’s-1800’s more or less). I still very much like a strong, non-literal design style that is quite graphic, plus I looooove decorative elements. That means doing things like turning water into a decorative pattern like you see here. Instead of literal stars in a moonlight sky, I have a vertical panel with star-like icons in a floating pattern to suggest stars in a decorative way. It’s just the way I roll, design-wise.
Beneath the image on the print, I’ve added my own hand-embossed chop of my bird logo. Something about the detail and surprise of an embossed logo like that just makes me happy.
Moonlight Egret is an open edition giclée, which is a very high quality digital print done with archival inks on archival paper. Very similar in quaiity to my serigraphs. If you are interested in this print, let me know!
PRICE $275. Contact Sudi to purchase.
MEDIUM Limited Edition Giclée
IMAGE SIZE 13.875" x 18.125”
PAPER SIZE 18” x 22.5
SIGNED/NUMBERED 225
ARTIST PROOFS 25
PRINTER'S PROOFS 0
TOTAL EDITION SIZE 250
After many years, I am back to creating my art prints again. When doing my personal art (as opposed to doing a project for a client) I always want to pursue a Japanese woodblock-inspired look. So this is like a second generation of my Japanese-ish style….many years later. This is the first image in a new collection called “Aspects of Water”. This one is “Pond” and I also have sketches for “Rain”, “Clouds”, “Snow” etc. on the drawing board. In getting back to my art prints, I’ve realized I want to incorporate a lot of what I’ve been doing art and design-wise in the intervening years. Texture is one of the things that I’ve always loved. I also want to have very strong decorative elements. Here, it’s the swirly water pattern—-the water is not literal, but is instead very design-y—- which is what appeals to me. Same thing with the vertical panel with flowers—-design-y. To my eye, I will add a panel like that because I like the balance of the print better with it than without it. Plus I’m very fond of pattern. I’m also hand embossing my round bird logo beneath the image. I love for people to be surprised by something like an embossed logo. My next prints may evolve in style a bit, but this one is the starting point!
Pond is a limited edition giclée, which is a very high quality digital print done with archival inks on archival paper. Very similar in quaiity to my serigraphs. If you are interested in this print, let me know!
PRICE Contact Sudi for availability and price.
MEDIUM Silkscreen, Gold Foil Stamping and Embossing
IMAGE SIZE 11.25" x 14.5"
PAPER SIZE 20.25" x 24"
SIGNED/NUMBERED 250
ARTIST PROOFS 25
PRINTER'S PROOFS 0
UNSIGNED 425
PUBLISHER'S SAMPLES 0
TOTAL EDITION SIZE 700
I have always loved seeing persimmon trees in fall and winter. Love the fact that there are no leaves on the trees--just the bright orange fruit-- it's a very graphic look and I'm a sucker for that. I'm attracted to things that appear to be well designed and persimmon trees strike me that way.
This is one of the first prints that I published with foil stamping and embossing. I first became intrigued with the contrast of matte inks with the shiny foil when I was in the printmaking studio in art school where I spent many happy hours. Persimmons has gold foil stamping. On this and many of my limited edition prints, I have usually added a small embossed artist's chop down by where I sign the print. The Persimmons has a grasshopper on it. I like adding these embossed images because they are a little surprise for the collector. Sort of like opening a window on an Advent calendar--just a little surprise for the collector.
PRICE Contact Sudi for availability and price.
MEDIUM Silkscreen, Silver Foil Stamping and Embossing
IMAGE SIZE 14.5" x 11.25"
PAPER SIZE 20.25" x 24"
SIGNED/NUMBERED 250
ARTIST PROOFS 25
PRINTER'S PROOFS 10
PUBLISHER'S SAMPLES 0
TOTAL EDITION SIZE 285
Winter Apples was a follow-up print to Persimmons. I started to think of them as a suite of the 4 seasons except I haven't yet done spring and summer. I remember exactly when I was inspired to do this image. On a winter day, I was driving towards Mt. Tam in Marin County, California, when I saw an apple orchard. There had been enough rain of late that the ground was dark and damp. The tree trunks were almost black because of the moisture and the colors of the leaves and apples were a beautiful contrast to the dark ground and trunks. The whole thing was very striking to me. I added the snow because I like the looks of it, number one, but somehow the idea of falling snow added a sense of silence and peacefulness to the piece.
The Winter Apples has an embossed artist's chop of a goose on it and has silver foil stamping.
PRICE Contact Sudi for availability.
MEDIUM Silkscreen with Metallic Silver Ink.
IMAGE SIZE
PAPER SIZE
SIGNED/NUMBERED
ARTIST PROOFS
PRINTER'S PROOFS
PUBLISHER'S SAMPLES
TOTAL EDITION SIZE
We published the Egret image as both a limited edition serigraph---which is basically sold out---and as an open edition poster. However, I occasionally have this print available to sell.
My friend, Michael Patrick Cronan, whose design work I loved, asked me to do an illustration for a printing company called Interprint. I think he said I could do anything with birds. THIS was the kind of assignment I was made for since I've been a birdwatcher most of my life.
Egrets and herons are beautiful birds, to my way of thinking. One of the most astounding birdwatching episodes I have had was far up the northern California coast, on a camping trip with my aunt and uncle. As I was sitting up on a bluff overlooking the river early one morning, a huge great blue heron slowly flew by at eye height--it seemed like a dream. It was ...wonderful. I've never forgotten it.
At any rate, being able to do an egret print was an homage to that bird. I've got rain falling in this print, as I've done in another print. I guess I like the added atmospheric quality of rain or snow in my images. I tend to actually feel the sensation of the rain or the snow as I am creating the image.
PRICE Contact Sudi for price.
MEDIUM Silkscreen, Gold Foil Stamping and Embossing
IMAGE SIZE 16.5" x 17.25"
PAPER SIZE 24" x 25.5"
SIGNED/NUMBERED 190
ARTIST PROOFS 12
PRINTER'S PROOFS 6
PUBLISHER'S SAMPLES 20
TOTAL EDITION SIZE 228
A really full Camellia bush---I liked the denseness of the shrub. Leaves and flowers all tightly packed together. One thing I haven't really mentioned yet is how I really prefer close-up, tight crops of images. I'm not likely to ever do a long-distance view of a landscape. I like the simple boldness of objects up close enhanced by the perfect crop. To me, the tight crops helps to make it more of a design of shapes and angles and positions, positive and negative space. Writing this explains (at least to me!) why I've always felt I was a designer of art prints rather than an artist of art prints. Fine difference maybe, but it makes sense to me.
The Camellia is one of the few images we produced as both a limited edition serigraph and as a lithographic poster. The limited edition has an embossed bee artist's chop by my signature.
PRICE Contact Sudi for price.
MEDIUM Giclée
IMAGE SIZE 12.75" x 16.25" *
PAPER SIZE 17" x 20.25" *
SIGNED/NUMBERED 350
ARTIST PROOFS 25
PRINTER'S PROOFS 0
* As a gliclée, we can print custom sizes.
A client with stores in Okinawa hired me to do several images for them and Plum Blossoms was one of them. This was printed as a giclée, a print made by a very high quality digital printing process.
PRICE Contact Sudi for price.
MEDIUM Silkscreen and Embossing
IMAGE SIZE 7" x 5"
PAPER SIZE 12" x 12"
SIGNED/NUMBERED 350
ARTIST PROOFS 35
PRINTER'S PROOFS 6
PUBLISHER'S SAMPLES 0
TOTAL EDITION SIZE 391
I was preparing for a show at Malke-Sage Gallery in Palo Alto. Bob Blackman, the gallery owner, asked me to design a bowling shirt for opening night and said I could do whatever I wanted. I ended up drawing this sketch of a cat and my publishing partner said the cat had a look on his face like he just pooped in somebody's sock drawer. Bad Kitty!! He named him Oscar. There's an embossed mouse artist's chop in the print down by where I sign my name.
PRICE Contact Sudi for price.
MEDIUM Silkscreen, Silver Foil Stamping and Embossing
IMAGE SIZE 11.25" x 16.75"
PAPER SIZE 18" x 23"
SIGNED/NUMBERED 250
ARTIST PROOFS 25
PRINTER'S PROOFS 0
UNSIGNED 700
PUBLISHER'S SAMPLES 0
TOTAL EDITION SIZE 975
A bird taking a bath. Love those feathers all fluffed up and that flubbery sound when they flap their wings in the water. I got an early start on enjoying this as I was quite enamored with the birds in our birdbath and I drank out of the birdbath myself. Seemed like a good idea at the time. (It wasn't.)
Anyway, that was the basic inspiration for this image. The other thing that I was playing with was the contrast of the flat color of the serigraph inks printing against the shiny foil stamping of the rain.
PRICE Contact Sudi for price.
MEDIUM Silkscreen
IMAGE SIZE 12.25" x 10.75"
PAPER SIZE 20" x 19
SIGNED/NUMBERED 250
ARTIST PROOFS 25
PRINTER'S PROOFS 5
PUBLISHER'S SAMPLES 20
TOTAL EDITION SIZE 300
This is one of those prints from which I actually get sensation. A good frame of reference for what I'm talking about is : I was looking at a book of Japanese art prints from the 1700's and there was an image of a village on a lake. Snow was falling at dusk. I could smell the meals cooking and hear the muffled sound that snow creates and the lapping of the water on the shore. Voices talking in the distance. A feeling of contentment. From looking at that one image. I thought: wow--the artist did a great job of creating a whole universe when he did this piece a few centuries ago. I think I was feeling what he was feeling.
Not to equate myself with that skill particularly. I mention it because I got the sensation of summer heat rising from the ground and the soft buzzing of bees. A slight breeze. Peaceful. That's part of what I was thinking of when I created the image.
PRICE Contact Sudi for price.
MEDIUM Silkscreen
IMAGE SIZE 18.5" x 11"
PAPER SIZE 20.25" x 24"
SIGNED/NUMBERED 200
ARTIST PROOFS 25
PRINTER'S PROOFS 25
PUBLISHER'S SAMPLES 25
TOTAL EDITION SIZE 275
This was the first print our publishing company did. Our client was the American Lung Association and we showed it at the El Paseo de Saratoga Art and Wine Festival (in San Jose, CA).
This print, more than most of my other vintage prints, has an Arts and Crafts movement feel to it. All the print styles I've done are related style-wise---to my way of thinking. Although the Beaujolais Nouveau has more of a medieval woodblock look, most of the vintage art prints I've done have a Japanese woodblock print look. The actual Arts and Crafts movement style, was itself influenced by both medieval art and Japanese architecture and design. For me, to design in these related styles is sort of like playing different chords of the same musical scale.
PRICE Contact Sudi for price.
MEDIUM Silkscreen
IMAGE SIZE 10" x 4.25"
PAPER SIZE 26" x 17.5"
SIGNED/NUMBERED 50
ARTIST PROOFS 25
PRINTER'S PROOFS 0
UNSIGNED 200
PUBLISHER'S SAMPLES 0
TOTAL EDITION SIZE 275
I had seen a greylag goose floating around in the water. It was so extremely serene to me and very inspirational in its exquisite quietness. Especially the graceful way his head and neck arced down towards the water. This is really the simplest print I ever did. I think this one and the Persimmons are two of my favorites. I guess it's no coincidence that they are both clean and simple designs.
Incidentally, it was very difficult to get the printing registration of that green eye to be in exactly the right spot as we were printing. Drove the printer crazy!
PRICE Contact Sudi for price.
MEDIUM Silkscreen
IMAGE SIZE 12" x 6.5"
PAPER SIZE 24" x 18"
SIGNED/NUMBERED 500
ARTIST PROOFS 25
PRINTER'S PROOFS 5
Duck Pond was one of my earlier prints, super simple. I had originally done this image as a moving announcement for the advertising agency for whom I was working at the time. Several ducks swimming out of the frame. Just sort of playful.
Clearly this is very simple image. In looking at it now, I can see was enamored with the idea of the negative space of the "pond" almost as much as the idea of the swimming ducks. (Negative space is the space around all of the objects in the piece--the place where there is nothing.) Actually, this print was done before most of my Japanese looking imagery.
PRICE $175.
MEDIUM Now available as Open Edition Giclée, signed by me. Lithograph is sold out.
IMAGE SIZE 19.5” x 14.75”
PAPER SIZE 24” x 20”
The Monterey Bay Aquarium commissioned me for this print. At the time I was living about 40 minutes away on the Capitola River (Creek?) in Capitola, which is just south of Santa Cruz, CA. I must say that the bird watching from my perch by the window was excellent. One of my prize sightings was a flock of cedar waxwings. They look like birds designed by a graphic designer. (So do rufous-sided towhees, now that I think of it...)
The funnest part about this project was that I got to hang out at the aquarium early in the day before it opened. I wandered around and took a ton of pictures. Research scientists in scuba gear would wander by and I was star struck. In high school before I realized I was an artist, I thought I might major in marine biology in college. (Good thing I didn't though, because I don't think I would make a very good scientist. I have said many times that I don't care how things work, I just care if they look good. NOT a good attitude for a scientist.) They said the kelp forest exhibit was a major part of their aquarium and that the kelp forests off of the Monterey coast are rich with all sorts of aquatic life. So, kelp and its denizens became my focus. Since I also wanted to choose something that would fit in with my Japanese sensibilities and that maybe people would actually want to hang in their homes, I chose s starry rockfish. Plus, I just liked the design of them.
Let me now officially go on the record that trying to make kelp look esthetic was one of the more difficult projects I'd ever encountered. (I don't like drawing lettuce either.)
I have a very design-y style, rather than a literal style. I took the idea of water and instead of showing maybe a sense of wavy water covering everything I turned the water concept into a Japanese-style icon and then floated it throughout my image. Someone once asked me why I had those 2 little rows of checks along the edges--one vertical and one horizontal. I just covered them up with my hands and said: because the print looks better with them. Brilliant, Watson!
The open edition solid color lithograph of this print has sold out, so I have produced the image as an open edition giclée, which is a very high quality digital print with archival inks on archival paper. Quality is superb and looks just as good as my solid color lithographs and serigraphs.
I’ve also added my hand-embossed round bird logo beneath the image.
PRICE Contact Sudi for price.
MEDIUM 8 Solid-Color
Lithograph, Gold Foil
Stamping and Embossing
IMAGE SIZE 21" x 15.25"
PAPER SIZE 30" x 21"
Sprint commissioned me to do a poster showing "competition". That's where the 2 ducks chasing a dragonfly idea came from. Fortunately, my client at Sprint, Tom Bestor, loved the idea.
I guess I really haven't yet talked much about my main inspiration of Japanese woodblock prints from Edo period Japan. (Edo is the former name of Tokyo and the Edo period was from about 1650 to 1800.) Duck and Dragonfly is a good example of how I translated that design sensibility into my art.
The vertical lines symbolized Japanese screens. I depicted water as a series of horizontal lines. Negative space also figures greatly in this piece.
I guess I should also say something about the printing. When we published them, these vintage prints were pretty hard (and expensive) to do compared to what was available on the market. There weren't many, if any, publishers who produced prints this same way.
Without getting too technical, most of the posters I've published utilize the lithographic printing process. However, this 4-ink process was NOT how I printed most of my vintage lithographs. Duck & Dragonfly, for example, was printed with 8 specially mixed inks. And I have to say, making a foil stamping die as large as we did for this image and having it line up with the artwork for the entire print run was a crazy undertaking technically. The print also has an embossed artist's dragonfly chop down in the area where I sign my name. Duck & Dragonfly has been my best selling open edition print.
The result was a thicker ink coverage for a richer looking print--more similar to serigraphs, actually. The foil stamping and embossing added to the richness of the overall print.
PRICE $175.
MEDIUM Now available as Open Edition Giclée, signed by me. LIthograph is sold out.
IMAGE SIZE 24.25” x 13.25”
PAPER SIZE 28” x 18”
This print has been very popular and has sold out in the lithograph version with foil stamping. The good news is that I have now published it as an open edition giclée. (For those who aren’t familiar with the term, a giclée is a very high quality digital print with archival inks on archival paper.) The color and quality is even better than the original lithograph, although it doesn’t have foil on it. but, I’ve added my own hand-embossed round bird logo beneath the image area.
This image was inspired by my brother's cat, Delbert, who was playing in my brother's front yard. Delbert was famous in some parts; I think he had quite a hat collection. Cats, when they are almost ready to pounce, get puffy cheeks---getting ready to wrap their whiskers around their prey.
I did this print around the same time I did the Duck & Dragonfly. I again used the vertical lines to connote Japanese screens where one piece of art would often span across 3 or more separate screens.
PRICE $60. Contact Sudi to purchase.
MEDIUM 5 Solid-Color Lithograph with Silver Metallic Ink
IMAGE SIZE 20.5 x 33
PAPER SIZE 24 x 36
We published the Egret image as both a limited edition serigraph---which is basically sold out---and as an open edition poster. This is the open edition poster.
My friend, Michael Patrick Cronan, whose design work I loved, asked me to do an illustration for a printing company called Interprint. I think he said I could do anything with birds. THIS was the kind of assignment I was made for since I've been a birdwatcher most of my life.
Egrets and herons are beautiful birds, to my way of thinking. One of the most astounding birdwatching episodes I have had was far up the northern California coast, on a camping trip with my aunt and uncle. As I was sitting up on a bluff overlooking the river early one morning, a huge great blue heron slowly flew by at eye height--it seemed like a dream. It was ...wonderful. I've never forgotten it.
At any rate, being able to do an egret print was an homage to that bird. I've got rain falling in this print, as I've done in another print. I guess I like the added atmospheric quality of rain or snow in my images. I tend to actually feel the sensation of the rain or the snow as I am creating the image.
PRICE $60. Contact Sudi to purchase.
MEDIUM 10 Solid-Color Lithograph
IMAGE SIZE 18.25" x 17"
PAPER SIZE 24" x 24"
I was asked to design a print for an AIDS fundraising event. My concept for this was the idea of blossoms blooming in the winter snow--the idea of hope in the middle of the bleak days of winter. My writer friend, Tom Bestor, wrote a lovely line or two, which was to go on the print. I'm not sure what ever happened to the AIDS event, but I published the print anyway.
I was living in Capitola, California at the time. I regularly went on long walks along the Santa Cruz coast and walked past a flowering quince shrub every day. Liked the way it looked---a nicely designed shrub.
There's something about the hushed quality of a winter day with snow gently and quietly falling that I just love. I remember seeing an Edo-period Japanese woodblock print of a lakeside village at dusk with lights on in the windows and snow falling. And I totally got the sensation of the temperature, the smells, the breeze. That has always been one of my inspirations for using snow in some of my prints.
This is a 10-color print. And that's a lot of ink colors for a lithographic poster!
PRICE $50. Contact Sudi to purchase.
MEDIUM 6 Solid-Color Lithograph
IMAGE SIZE 19" x 19.5"
PAPER SIZE 24" x 26"
This was the second print I was commissioned to do for the Monterey Bay Aquarium. (Also see Kelp Forest.)
I've been a bird watching since high school when my mother introduced me to it. She was a talented artist and we often took off on painting and bird watching excursions--even on school days! We'd have our painting kits plus our binoculars, bird books and our picnic lunch.
So the lifetime legacy I have is that any trip, walk or commute is a bird watching opportunity as far as I'm concerned. I used to commute from Oakland to Palo Alto, California for a few years and my favorite part was driving across the Dumbarton Bridge in the south bay. I'm not sure what birds are still there now, but I used to regularly see in the shallow waters black necked stilts, the occasional oystercatcher, phalaropes and....American avocets!!
At the aquarium, there is a Monterey shore bird exhibit. As with the Kelp Forest print, I was able to spend hours there before the aquarium was open each day to study my subjects.
PRICE $125. Contact Sudi to purchase.
MEDIUM 6 Solid-Color Lithograph
IMAGE SIZE 14" x 23.5"
PAPER SIZE 14.5" x 24"
I did this print during a period where I was particularly enamored with a woodblock style generated in Medieval days in contrast to the Japanese Edo period woodblock style I often explore. This is why this piece looks so different from my Japanese-style prints.
I love Medieval woodblock prints--the bold and rustic strokes of the lines and the very graphic style of the art. Medieval woodblocks were one of the prime inspirations for the Arts and Crafts movement. (So was Japanese architecture and design--the Arts and Crafts movement was a very eclectic design style.) My affinity for Medieval woodblocks, Japanese woodblocks and the Arts and Crafts movement is no coincidence.
The Pebble Beach Inn commissioned me to do a print for their art and wine festival. The Medieval woodblock style was a natural for the botanical subject of a grape vine.
Beaujolais Nouveau is a 6-color lithographic print printed at my high school friend's print shop, Digital Engraving, in San Francisco. We were mixing inks right up until we were on press, which was sort of hair-raising, but it turned out fine. We printed on a 1-color press for technical reasons (such as, it was the only press he had which could print as big as I needed).
PRICE $60. Contact Sudi to purchase.
MEDIUM 7 Solid-Color Lithograph, Gold Foil Stamping
IMAGE SIZE 20" x 21"
PAPER SIZE 24" x 36"
A really full Camellia bush---I liked the denseness of the shrub. Leaves and flowers all tightly packed together. One thing I haven't really mentioned yet is how I really prefer close-up, tight crops of images. I'm not likely to ever do a long-distance view of a landscape. I like the simple boldness of objects up close enhanced by the perfect crop. To me, the tight crops helps to make it more of a design of shapes and angles and positions, positive and negative space. Writing this explains (at least to me!) why I've always felt I was a designer of art prints rather than an artist of art prints. Fine difference maybe, but it makes sense to me.
The Camellia is one of the few images we produced as both a limited edition serigraph and as a lithographic poster. The lithograph seen here has a pale pink flower and border area.
PRICE $40. Contact Sudi to purchase.
MEDIUM 6 Solid-Color Lithograph
IMAGE SIZE 18.5" x 23.5"
PAPER SIZE 24" x 30"
I always design with negative space in mind. (Negative space is the space around all of the objects in the piece--the place where there is nothing.) In many cases, I spend as much time working out how the negative space looks as I do with the actual objects in the print. I'll do tiny little shifts in the position of the angle of a leaf or a blade of grass until I hear a little "ding". This is when the piece just feels "right" and balanced. Anyway, this is one of those pieces where I particularly remember working with the negative space.
PRICE $50. Contact Sudi to purchase.
MEDIUM 5 Solid-Color Lithograph and Matte Silver Foil Stamping
IMAGE SIZE 5.25" x 15.5"
PAPER SIZE 15" x 21"
IBM Corporation in the San Jose, CA hills, commissioned me to do a print as a gift for the IBM employees. My client pretty much gave me free rein to come up with an idea. It was spring when I visited the IBM headquarters. Happily, the surrounding hills were covered with California poppies at the time. This was a no-brainer--poppies would be the main subject matter! The skinny horizontal lines with triangles I added because the tiles in the courtyard had triangular tiles. I added the grasshoppers because...I could. And, the design would look empty without them. Theoutline around the flowers and the little triangles in the horizontal bars are done in a matte silver foil stamp.
As a side note, I recently visited the Antelope Valley Poppy Reserve in the high desert in California. You arrive there and climb a hill and you see poppies for miles and miles in every direction. Amazingly beautiful. Plus, I saw my first horned lark while I was there.
