The drawing of a 'Pipeline Wave' started with Billabong as a commission for their 2009 Pipeline Masters campaign. My 'Pipeline Wave' drawing later became the start of my 'Waterworks Collection' for gallery prints.

Because I went to Chouinard, which then became CalArts, I became a multi-discipline artist - it wasn't just about painting, it was about media and performance.

In 2008, 'Surfer's Journal' published 'The Next Wave' image with an article.

In 2009, I began creating 'Waterworks' with the new vernacular coming from the 'Signs of Life' work in Las Vegas.

In this century of hyper-postmodern ideals, with the digital future, we're segmented into different people, places, and things in a constant state of change.

I look at graphic design as communication, meaning that the work has to have a vibe to connect to the viewer or perceiver. I make a black and white drawing and then add color digitally, bringing in a contemporary pattern to the composition to create a vibrance.

In teaching color, you teach people how to look something and see the tone in it and break it down to be able to paint it and reproduce that color. But then, I'm psychedelic, so I look at color differently. I like colors that are in contrast with one another, so that they flicker back and forth.

I'm working on my own work, my own publishing company.

In 1970, I was turning 29 years old, just 4 years out of art school. I had created a black and white drawing style mascot portrait called 'Johnny.' I made a poster for it and sent it around the world to corporate art departments.

In 1971, I put together the 'Johnny Face' drawing as a concept, with the words as part of an image in a circle. Combining my abstract drawing with the headline 'Crazy World Ain't It' created an emblem and became a button.