(415) 927-0912 rich@sigsart.com

Illustration, Art, Music, & Fun.

There is a wide variety of art I’ve created in my 31 years as a full time illustrator, from cartoons to abstract, all in ink and watercolor. These include business illustrations, editorial art, pieces done to celebrate special milestones in people’s lives, art celebrating music, and my own form of Pop Art.

Drawing , painting, and music is what resonated with me from an early age, and, happily, that’s what I continue to pursue.  I’ve been blessed to be able to do this.  Here are some samples I’d like to share.   Thanks for viewing them.  Enjoy!

Click Here To See My Art!

The Different Aspects of My Art

Business Art

Corte_Madera_Square_map1

It’s always fun to work with a business and create an image that is fun, colorful, and shows off an aspect that the owner wishes to advertise.  Since I’ve always been a big fan of the marriage between words and images, I don’t feel that commercial art is of a lower form than a Pollock abstract.  Over the years, I’ve had the pleasure of creating all sorts of images for all kinds of businesses which use them for cards, print ads, T-shirts, and on their websites.

Personalized Art

Dad 90th

Art that celebrates marriage, anniversaries, big birthdays, posthumous tributes,  and poetry is often done for people who “have everything.”  This is one thing they don’t have: a custom piece of art that is all about them.  I consider it an honor to create this work.

Jazz Art

HPrecordLabelJam

I’ve been a big fan of America’s Classical Music since I was a toddler (thanks, Dad). It was a natural idea to combine my love for jazz with my love for visual art.  Many of these pieces were created for my own pleasure, listening to music as I painted.  Also, I’ve created some 15 posters for music festivals which include, the Telluride Jazz and Blues, Sonoma Jazz, 4 for the Birmingham (England) Jazz Festival, and the San Francisco Blues Fest.  The biggest compliment I’ve gotten is that viewers say that they “can hear the music” when they see the art.

Pop Art

Presenting Betty Boop

As a child of the 1950s, it was inevitable that cartoon images, ad images, and various American ad jingles bound about in my sub-conscious mind.  These pieces are a by-product of those  indelible impressions.

Abstract Art

red abstract dec 05

I began to do these after seeing a Richard Diebenkorn show in 2000. Abstract art demands such a different approach to art from anything else I create. It is refreshing for me. Whereas everything else I do begins with drawing and concept, the abstracts begin with neither–they simply evolve. Many decisions go into their creation. Some using intellect. Others using gut instincts. For some reason, I’ve used Payne’s Gray as the major color for most of them.


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Speak with Rich Today!

If you love Rich’s work or would like to enlist his services, you can call him at (415) 927-0912 or click below to use the contact form.

Contact Rich!

See What Rich’s Clients Say

Rich has been co-designing and solely executing all of Lang’s unconventional greeting cards from the beginning (1991). Besides his more obvious virtues - artistry, creativity, wittiness and humor – Rich is a mensch. It has been my great pleasure working with him, putting our heads together and coming up with cards that are always (read mostly) received with cheery approval.

Mark Zimmelman, owner of the Lang Estate and Antique Jewelry Store in S.F.

Thank you Rich Sigberman for the wonderful painting you did for Bread & Roses. The posters made from the painting were distributed to the 100 facilities where we bring free, live entertainment throughout the Bay Area. Thousands of people agree that Rich’s use of humor and lively colors in his painting convey the joyful feeling that our music brings to the clients we serve. We love the way he brought it all together: geography (having both Bay bridges) entertainment (jugglers, musicians, dancers) and clients (children, seniors, handicapped).

Carolyn Gauthier, Director of Events, Bread and Roses

It is my pleasure to recommend the artwork of Richard Sigberman. Rich was the most imaginative artist I ever worked with. His has a special ability to grasp the essence of a story and illustrate it in a way that was illuminating but not obvious.

The Peninsula Times Tribune

I rely on Rich for the creative interpretation. He’s terrific at that kind of brainstorming, and he usually gives me a range of options from serious to humorous, and in several styles. He’s always met my deadlines, and many times, he’s beaten the deadline significantly.

Hewlett-Packard Company


My Recent Blog Entries

Johnny Winter, R.I.P.

This one will be slight digression from my usual writings about my art.  Today’s newspaper had an obituary on Johnny Winter, the great slide-playing guitarist, blues man, and Texas albino.   Can you imagine what it must have been like to grow up a cross-eyed (no less!) albino in a rural part of Texas?

I got to see him perform twice, both times at Albany State University in New York, the first time being so memorable that 45 years later, it’s still vivid.  I watched the entire concert from a platform that held a spotlight, high above the stage (the “theater” was a converted gymnasium), and Johnny was dressed from his neck down to his feet in a flowing black robe that contrasted sharply with his skin and long white hair.   He slinked around on the stage all night, playing his beautifully fluid slide guitar, and looking like some avenging angel.    The fact that I had ingested a small amount of a hallucinogen didn’t hurt, either.  He was great!

Not long after that, I purchased his “Second Winter” album, at least in part based on the fabulous cover photography.   It’s still the only “double album” I know of that had only 3 sides of lp, with one remaining blank!

A few years ago, I happened to hear an interview with him, and was struck by how soft-spoken and modest he seemed.  He stuck to his roots, played the blues and rock n’ roll ’til the end.

R.I.P., Johnny Winter!

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children’s book testimonial

Roberta 15 The feirce wind blew steadily all nightYour illustrations have that unique quality that makes the viewer want to look and look and look…a Very Good thing for little ones.  Slow down and give in to the mystery..this they will do with The Littlest Raindrop.. .they will fall into your illustrations….and will want to come back to them over and over…Guaranteed.

 

Beautifully done, Rich.

I forgot, this was why I did the blog on my children’s book art in the first place!

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Children’s Book Illustration

The Littlest Rain Drop

Everyone felt that something was coming

My art is such a natural for children’s books, that I sometimes forget to focus on that.  Right now, I’m doing clean up and touch up work on Roberta Murphy Nowlin’s, “the Littlest Rain Drop”, which is a lovely story and parable.   There are lots of different personalities pictured on those raindrops, none of whom quite know what’s going on throughout the story.

I’ve also illustrated, “Vinny , the Repo Elf” for Muriel Anderson Ballard, and did storyboards and a finished piece for Alisa Clancy’s , “Jack, the Bear” , which deserved to see the light of day.

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a testimonial to share

I received this testimonial recently, and it’s too good to not share:

“There are lots of artists who can draw pretty pictures, but it’s rare indeed to fin an artist who can listen to me talk about myself and my business and the way I want my clients to FEEL when they work with me.  you allowed me to free-associate with words and images, and from that stream of consciousness you have created an image that perfectly captures, not just the work I do, but WHY I do this particular work.  With warmth, humor, and humanity”.

For me, these are qualities that I take for granted, so I consider myself lucky that, not only did Elizabeth “get it”, but that she took the time to put it into words.  It seems to me that the above describes why I do what my work, and consider my illustrations to be collaborations between me and my clients.

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words and pictures integrated as tightly as can be

words and pictures

I’ve always been interested in not only combining words and pictures, which illustration essentially is, but finding ways to integrated the two as integrally as possible.   Here is one such case, where the nose and eye of this woman becomes the “S” in the word “surly”……in doing illustrations for my friend’s journal pages and poems, I was given the freedom to experiment in this manner of combining words and images, and experimented with layouts too.  The final results being the most original work I’ve done, inspired by wonderful, highly personal poems.   letter integrated with illustration

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Cleaning it up in Photoshop

detail after cleaning

While I’m far from expert at Photoshop, and still much prefer to do it all by hand, there is one feature that I’ve found to be invaluable for cleaning up the art, which is the clone stamp tool…..here are two details one before and one after cleaning up….since I am able to enlarge a given image some 500% on the screen and do the cleaning up on a pixel by pixel level,  I can truly clean the art, and overall it appears far sharper to the eye, even if some of what I’ve done is so miniscule as to easily be overlooked…..the work is slow, and sometimes tedious, but worth it.

before cleaning

before cleaning

 

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Going back in time

About 5 years ago, I was privileged with the task of taking some 35 of Val’s journal poems, and illustrating them.  Since she is open to ideas and loves cartoon art, it was a creative marriage made in heaven, and I did some of my best work.  Not only was her writing inspiring in its cadence, style, and content, but I found interesting ways to integrate words and pictures, sometimes turning a letter of a word into a small illustration.

Since then, the art stayed here, as Val busied herself with lots of other activities, but recently she asked me to resurrect them, and get them ready for reproduction.  When I got a larger scanner, I was in business.  Each page was scanned at 300 dpi, and then I went in on each page, enlarging them on the monitor some 400%, and getting rid of any stray pencil marks, dirt, or paint that went over a line.   Moreover, I was seeing the art a bit differently, and began to change some of the values of the art, knocking back details that I felt competed with the words.  Overall, what I may have sacrificed in sharp contrast was more than made up for in subtlety and new clarity.

While I thought I was merely going to scan and clean up the art, what I didn’t take into account was that 5 years later, I had changed enough so that I wanted to change the art too.  Also, in going back to it, I remembered what fine work the collaboration is, and I’m really happy that it’s finally going to see the light of day.

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Abstract watercolor art

a work in progress

a work in progress

It’s like working backwards: to have a mat and frame but no piece of art to go with it yet. And , that’s how this was created. It’s a little more structured than many of the abstracts I’ve done, and it’s not yet finished, but close enough to show. It grew and developed, and seems to be anchored by those rays emanating from that….thing.
The Payne’s gray color emulates the tonal palette of black and white photography, which was my big influence in this case, from watching 1930s movies on TV as a child.

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If I’m influencing young minds, does that make me an elder?

The Schulz museum is a great place, incredibly well thought out and put together.  My time there was nice , I was treated well, and I may have influenced a young life or two.  One young woman watched me paint for about an hour!  So, I did my demos, fielded some questions, and that was that. This Friday, I’ll go to Hall Middle School to talk about a career as an artist to impressionable young peop…le.  It would behoove me to give some thought to what I’m going to say and how I’ll say it.  Basically, I think, my message will be “to make art a career, you have to want to do your art more than you want to do anything else”, and “take some business courses too”….I think those are two good pieces of advice, especially the second one. Currently working on an abstract, a bit more structured than ones I’ve done in the past, will take a shot of it soon…..as usually, the major color in it is Payne’s gray
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The Ketubah: Not Just for Jewish Wedding Ceremonies Anymore

Garden Ketubah

Garden Ketubah

I know what you are thinking:  “Ketubah—it must be something like a tuba, right?” Well, you couldn’t be further from the truth.  A Ketubah (sometimes known as Ketuba without the ‘h’) is best known as a Jewish Wedding Contract.  It is a marriage contract that goes about 2000 years, essentially providing economic protection for the bride.  This fact alone makes a Ketubah “progressive.”  While photographs, invitations, and music might help you remember your wedding day, a Ketubah reminds you of the love and promises you have with one another.

A Ketubah Overview

A Ketubah (which is Hebrew for “marriage contract” and traditionally part of a Jewish Wedding Ceremony) is done in calligraphy and surrounded by decorative art that is as beautiful as the artist, or artists, can make it.  No matter how detailed and lovely the art may be, without the calligraphy, the Ketubah is merely ornamental, but with words, it is a contract between man and wife and should be taken seriously.

While there is a traditional Ketubah Text that you can use, the Ketubot (plural) I create normally have Texts that evolve to become the couple’s wedding vows.   In a short ceremony that precedes the normal marriage ceremony, the Ketubah text is carefully reviewed by both bride and groom and signed by the two people getting married, the officiate, and two witnesses.  I love this moment. Watching two individuals sign a Ketubah (they are usually nervous because they don’t want to mess up the art) and pledge themselves to one another through a contract creates a unique, warm, and lifelong memory.

Interfaith Ketubah combining Irish, Hawaiian, and Jewish cultures with a water theme.

Interfaith Ketubah combining Irish, Hawaiian, and Jewish cultures with a water theme.

The Ketubah Process

I usually meet with the prospective bride and groom 3-6 months prior to the wedding date.  Starting early provides us with plenty of time to help the bride and groom determine what is most important to them and identify what will and won’t be included in this art.  At our first meeting, I will show a few past pieces, ask some open-ended questions, and do a bit of sketching.  I then make a copy of the sketch for them to take home and review.

At our next meeting, we really begin to design the art, which includes the Ketubah’s overall shape, where the calligraphy will go, the content for the art and text (which is often quite personal), and the color scheme.  It’s most rewarding for me to witness their growing excitement as this piece, which is all about them, takes life.  Also, the couple will decide what is not important enough to include.  It is fascinating to watch this negotiation, which is always done with love.  To me, this is what a Ketubah is all about—distilling this couple’s love on to a 30” x 22” piece of watercolor paper.

Throughout the whole process, I take photos of the Ketubah in its various stages and send them to the couple.  This allows them to see its progress, and, most importantly, to refine and revise it along the way.  If they wish to come over to view its progress in person, they are welcome to do so at any time.  After my part is nearly or completely finished, I hand the art over to the calligrapher.  The calligrapher then scribes the couple’s chosen Text (which is often done in Hebrew and English) on the Ketubah.

You don’t have to be Jewish to have your own Ketubah

Most of the Ketubot I’ve done are Interfaith, meaning one person in the couple is Jewish and the other is not.  A good Ketubah illustrator can combine a couple’s different cultures or origins through the use of symbolism, color scheme, and Text and create a piece of art that truly reflects their everlasting union.   To me, a Ketubah is about two people’s love and not their religion, and I consider it an honor to create a Ketubah and to work with those couples in a “rarified state” leading up to their wedding day.

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