Call for Entries: UKCPS 25th Annual Exhibition 2026 - at the Mall Galleries.

Next year will be the 25th Annual Exhibition of the United Kingdom Coloured Pencil Society - which will be held at the Mall Galleries in March 2026.

Below you can find out how to enter. The closing date for entries is 25th January 2025.

My post covers

• coloured pencils as a medium
• the UKCPS Annual Exhibition at the Mall Galleries 
• the Call for Entries
• what you can and cannot enter
• what subjects I suggest you focus on re entries (ie avoid "same old same old"!
• how to enter
• Practical matters
• images 
• framing 
• delivery
• for international artists: Regulations re VAT, Customs and money laundering 

Coloured pencils are a very contemporary art medium

In the last 25 years, the use of coloured pencils has become very sophisticated.  

There are now many professional coloured pencil artists - working on different subject matter and producing some amazing artwork using a variety of techniques and finish. I now encounter coloured pencil artwork:

• across many other exhibitions at the Mall Galleries and elsewhere 
• in art competitions - used by artists who win major art prizes eg Curtis Holder who won the Portrait Artist of the Year using coloured pencils (see Curtis Holder wins Portrait Artist of the Year (Series 7 Autumn 2020) and PAOTY Commission: Curtis Holder draws Carlos Acosta
• in the botanical artworld - all the time - CP is used extensively because of its scope for amazing control of tone and colour
• by wildlife artists - for reasons similar to the botanical artists

PAOTY Commission 2020: Carlos Acosta by Curtis Holder
(courtesy of Curis Holder)

I was once a member of UKCPS (I adore dry media and drawing) - and I used to exhibit in its annual exhibitions. This was one of my two exhibits selected for the UKCPS exhibition in 2010 (I like abstracting plants!)

Not Quite White
7.5" x 11.5", coloured pencils on Arches HP
copyright Katherine Tyrrell

The Silver 25th Anniversary Exhibition in 2026 

at the Mall Galleries

To celebrate its 25th anniversary, UKCPS has hired the Mall Galleries for their exhibition from 17 - 21 March at the Mall Galleries. 

This is a first for the society. It's been very good at holding its annual exhibition in different parts of the country. However, like a number of the more niche art societies, it wants to celebrate a very special annual exhibition by holding it where the major national art societies exhibit - at the Mall Galleries.

The entry to the Mall Galleries in The Mall

UKCPS Silver Exhibition - Call for Entries

This is an open exhibition; submission is open to all living artists, aged 18 or over. The artist must demonstrate compositional and drawing skills and the ability to use colour pencil.

There is a PDF explaining the Call for Entries and how to enter for this exhibition

This is the webpage which does the same thing.

What follows is my version of it, with notes and tips and recommendations. My version does not include all you need to know so make sure you read ALL of the Call for Entries and Terms and Conditions.

Who can Enter

Any artist working with coloured pencils - over the age of 18 years, living anywhere in the world

What you can enter

Drawing Monet in coloured pencils

One my favourite occupations used to be drawing oil paintings by past masters - in coloured pencil.  

Morning on the Seine early in morning light - a copy of Monet's work in coloured pencils

copyright Katherine Tyrrell

One such was "Morning on the Seine" by Claude Monet - in a different colourway - which I drew some years ago. It's prompted me to think I should do more. I know I always learned a huge amount each and every time I copied a painting by an old Master.  

I think the last time this drawing was posted on this blog was back in 2013!

However, for those contemplating the benefits of copying paintings, it's VERY important to remember there's a lot of difference between 

• copying somebody who's out of copyright (like Monet) and 
• copying an image by an artist or photographer whose work is covered by copyright 
• see Copyright Infringement and "Fair Use" - Basics for Art and Artists

Morning on the Seine by Claude Monet

Monet's "Mornings on the Seine" is a series of 21 canvases painted in 1896 and 1897.

Monet often painted the River Seine and its river banks, near his home in Giverny, His aim was to capture the fleeting effects of dawn light on the River Seine n France - and create another series of paintings!

• He painted the same scene at different stages of sunrise and in a variety of weather conditions.
• He often painted from his specially equipped boat which he used as a floating studio. 
• Working from before dawn his aim was to record the subtle changes in color and atmosphere as the sun rose
• Monet often painted emphasising misty, blue, green, pink and purple tones.

Having patiently scouted out views along the river, Monet then painted the pictures from a boat that he had converted into a floating studio. For an extended period he rose by dawn in order to paint the changing effects of light as the sun came up. He then lined up the canvases on easels in his studio to complete them together as a series. Fifteen were shown at the Galerie Georges Petit in 1898. Metropolitan Museum of Art

You can see some of the paintings below. They're all called Morning on the Seine near Giverny 

• Metropolitan Museum of Art  (New York, USA)
• White House Historical Association (Washington DC) - a gift to the White House in memory of John F Kennedy
• Museum of Fine Arts, Boston (Boston MA)
• North Carolina Art Museum (North Carolina) 
• The National Museum of Western Art (Tokyo, Japan - not currently on display)

Review: The 7th Derwent Art Prize (2024) Exhibition

This is a summary of my thoughts about the Derwent Art Prize Exhibition at gallery@OXO. This is in addition to:

• my review of the prizewinners - see Derwent Art Prize Exhibition 2024 - Prizewinners
• my Making A Mark Facebook Page Album of views of the exhibition - The Derwent Art Prize 2024

The aim of the Derwent Art Prize Exhibition is to 

• reward excellence by showcasing the very best artworks made in pencil by artists from around the world.
• showcase c.80 artworks in an exhibition.

The Prize invites artists to submit the very best 2D and 3D artworks created in any pencil, including colour, water soluble, pastel, graphite and charcoal pencils.

This year, the Judges shortlisted just 68 artworks, however 2 artworks did not make it on to the walls because they got stuck in Customs! See the end for tips for getting your work through Customs

I'm writing this post essentially for all those who might like to submit artwork to the next Derwent Art Prize because, although you can see the images online, you cannot see how they are presented. 

That said, judgement is always on the basis of the digital image of the art.

Artwork at the entrance
varying sizes, subjects and presentation

My perspective on the Derwent Art Prize Exhibition 2024

First off, the main point I want to emphasise is that there is a lot of exceptionally good artwork in this exhibition. I'm guessing that the reputation of the Prize - and the fact it's still going - means that this prize attracts many more professional artists these days as well as young / aspiring / emerging artists.

For me, the appeal of the exhibition is that:

• it often presents novel perspectives on the very ordinary 
• as well as extraordinary insights into the very unusual. 
• ALL delivered while demonstrating an exceptional degree of technical accomplishment.

Essentially, it's NOT artwork which is technically good but actually dull - as much hyperealistic artwork can be.

Nor is it exciting concepts which are then delivered by people lacking in skills associated with creating art - which is the sort of art I hate.

To get selected, the artwork has to move mind or spirit AND also be executed by somebody who demonstrates they're very good at wielding the media used for pencil art.

For me, it has come on a lot since the very first exhibition - which I remember really well because it demonstrated news of thinking and recording in pencil media.

I'd just like to see some 3D artwork next time!

PS There are emphatically no cats, dogs or horses or any other sort of animal mammal in this exhibition! There is one very dead bird.... (Just saying....)

The exhibition demonstrates a wide diversity in terms of

• styles
• subject matter
• size
• age of the artist
• country where the artist lives

It is truly international - with over 6,000 entries by 2,324 artists from 77 countries. 

That means it's getting an entry way bigger than most of the prominent open art exhibitions of national art societies!  One might be tempted to ask what is this art competition offering that other open exhibitions are not. My answer would be "big cash prizes". Any time you have an art competition with very significant cash prizes you get a lot of entries.

Derwent Art Prize Exhibition 2024 - Prizewinners

Yesterday, I visited The Derwent Art Prize 2024 Exhibition at gallery@oxo in London and this post is a review of the exhibition and the competition.

the Derwent Art Prize is now very much an international prize and one seen as prestigious to the careers of young up and coming illustrators. (from my review of the 2020 Exhibition)

This is my first post about the Derwent Art Prize - focusing on the prizewinners. 

My second will come shortly and will focus on the exhibition. 

I'll also be uploading my photos of the exhibition to a folder on my Facebook Page

The Derwent Art Prize - the competition

What's remarkable about this art competition is that:

• It has more entries than most national art societies: This competition received more than 6,000 entries 
• It attracts entries from a very large number of countries: entries were received from 77 countries,
• 68 artworks - of a very high standard - were selected for The Derwent Art Prize Exhibition 
• Five artists received over £13,000 in prizes at the opening, on Wednesday 3 April 2024. (see below)

At the end of this post you can see my posts reviewing previous exhibitions.

The exhibition is free to visit at gallery@oxo, London

• from 11am to 6pm, from 4th April to 13th April, and 
• from 11am to 2pm on the closing day, 14th April 2024, 
• with daily artist demonstrations.

Derwent Art Prize 2024: Prizewinners

Three of the prizewinners

The shortlist and winners were chosen by an international panel of art professionals: 

• Sergio Gomez, Miami-based artist and gallery director; 
• Curtis Holder, London-based artist; 
• Valérie Sonnier, artist and professor, Ecole des Beaux-Arts, Paris; and 
• Helen Waters, Director, Cristea Roberts, London.

First Prize (£4,000 and a year's supply of Derwent Art Products)

This was awarded to June Collier for Hetty in Hospital 1.

FIRST PRIZE
June Collier Hetty in hospital - 2020
oil paint and pencil on canvas - 80cm x 65cm

All four selectors were profoundly moved by the depth of sensibility displayed in this work, stirring profound emotion.

21st UKCPS Annual Open Exhibition 2022

The 21st Annual Open International Exhibition (2022) of the UK Coloured Pencil Society is now online. 

It's particularly interesting for me as I was one of the Judges this year in terms of reducing 250 images from coloured pencil artists from aropund the world to the 83 images in the exhibition which can now be viewed online. All we get as Judges was the digital image (online), the unframed dimensions and a spreadsheet to include our marked for each work. The other Judges were

• Richard Rees PPS - President of the Pastel Society
• Nuala Henry - UK Marketing Manager, Hahnemuehle

Alyssa Tidwell - Editor of International Artist magazine was the Judge making the awards

YOU too can be a Judge and VOTE for the image you think deserves the People's Choice Award. All you need to do is:

• click the images to see a larger version of each image
• complete the form on The People's Choice Award Page - and then click the submit button

The 21st UKCPS Annual Open Exhibition Award Winners

Links in the artists' names below go to their websites where you can see more of their art.

Best Picture in Show 

Best Picture in Show - Black Sea by Megan Seiter (Pic No. 241)

Megan Seiter is an American artist specializing in colored pencil still life drawings. Originally from Rhode Island, she received her BFA from Maryland Institute College of Art, and in 2009 moved to California. Megan has shown her work internationally, in galleries and juried exhibitions hosted by the International Guild of Realism, American Women Artists, the Colored Pencil Society of America, and the UK Colored Pencil Society, among others.

This for me was the standout drawing in the show in terms of its HUGE impact and technical proficiency. I remember looking at it very, very closely to check it wasn't a photograph!

Reserve Best in Show

Review of a critique of an art society exhibition

What happens when somebody reviews an art society exhibition as if it was a "proper art exhibition" i.e. using the same sort of criteria as might be used for any other sort of art exhibition in the area?

This post is generic in nature - in terms of conclusions - but does take one example to highlight the sort of issues that can arise.

Brea Gallery shows off what the Colored Pencil Society of America can do is a magazine review of the 27th Annual International Exhibition of the Colored Pencil Society of America at the City of Brea Art Gallery, 1 Civic Center, Brea, CA (July 31–September 13, 2019).

It's written by a chap who has written for the Orange County Weekly for the last 8 years as its art critic.

I supposed the best way of summarising his review is he's called it as he sees it.

That's not the way some of colored pencil artists see it who have responded by commenting on his review - worth a read!

They diverge between those that

• welcome a contribution to the ongoing debate about the use of photographs by CP artists
• one lady who is not averse to slinging insults around - not realising that Google picks up on comments as well as websites and that her name is now forever irretrievably associated with her comments!
• some who criticise the reviewer for not understanding the medium of colored pencils. For example.....

Mr Barton, You should be ashamed of yourself, given the ignorant nonsense you’ve written here about this medium, these artists, and art in general, frankly. Did you interview a single artist, or even leaf through a copy of “Colored Pencil” magazine? Your level of ignorance is astounding.

I do remember another CPSA exhibition where the independent Juror did provide feedback afterwards about the show as a whole - and mentioned a lot of aspects highlighted in this review. It didn't go down well that time either. However it does say something about the extent to which coloured pencil artwork has moved on in the last decade or so if the same sort of comments are still being made by independent individuals who have studied the artwork.

Interestingly, some of those who commented got stuck on some of the earlier comments and appear to have completely missed the last paragraph.

For the future, the process of work such as this needs to be demystified. Art historians and critics, including myself, usually do little to shed light on how work is created, focusing mostly on the materials used or the feelings we have when looking at it. Focusing solely on the ideas is a primarily selfish, insular thing satisfying only the person writing about it, when opening up the hard work, the blood, sweat and tears behind the art should be our goal.

Images (in cropped format)
of some of the artworks
winning awards in the exhibition

You can see more photos of the prizewinners on Facebook and more of the pics in the rest of the exhibition on the Brea Gallery Instagram account

A Making A Mark perspective

I'm really not having a go at CPSA or its members in particular here. The issues for me are essentially generic - other than to highlight that it's interesting that some common criticisms from an independent perspective of this type of artwork are still the same as they were more than a decade ago.

My reason for commenting is more about the need for artists to understand that if and when you put your art "out there" - via an exhibition or a website - then

• people will make their own assessment and think what they think 
• sometimes they will say what they think - and 
• sometimes they will maybe even WRITE what they think.

Here's my take on it.

Bixby Bridge, Highway 1 and Big Little Lies

We've started to watch Big Little Lies - and I love the opening sequence which includes the Bixby Bridge. I'm afraid I bounce up and down at the beginning of every episode as the Bixby Bridge comes into view, all the while exclaiming "I've been there - that's Bixby Bridge. I stopped there. I drew that!"

Maritime Inversion, - Bixby Bridge, Big Sur
8" x 12", coloured pencils on Arches
copyright Katherine Tyrrell

In July 2006 - on a trip around California, Arizona and New Mexico, my third 'big trip' involved flying to San Francisco, picking up a Chrysler PT Cruiser and then, after a short stop in Monterey, driving at a fairly leisurely pace all the down Highway 1 - the Pacific Coast Highway - from San Francisco to San Diego - all on my own! Something in excess of 550 miles.

This road is almost next to the coast and it follows the coastline - with views of the Pacific Ocean en route - almost all the way down

I'd planned to sketch the views from the Highway as I progressed - and post about my travels in my sketchbook blog "Travels with my Sketchbook".

What I hadn't planned on was the marine inversion due to the heatwave which was taking place inland. Having experienced the 100 degree heat while crossing deserts earlier in the trip, I'd looked forward to it being cooler - but would have preferred cooler with more sun!

Which explains why my sketch (below) and then the more developed drawing above both feature the low-lying cloud of a marine inversion - where the cold sea meets the very hot land.

Bixby Bridge, Pacific Coast Highway
8" x 10", Pen and sepia ink and coloured pencils in Moleskine sketchbook
4.50pm on 28 July 2006

You can see what the weather was like in the layby where I parked just north of the bridge - grey, grey and more grey!

This is the Bixby Bridge - as seen in the opening credits of Big Little Lies

Below is the rest of my third "big trip"

Road Trip #3 - Pacific Coast Highway Trip from San Francisco to San Diego

San Francisco to San Diego along the Pacific Coast Highway (26th July - 30th July 2006)
(link goes to a Google Map)

On this trip I found out that the marine inversions on the coast tend to accompany very high temperatures inland!

• Tuesday 25th July - "a rest day" ie unpacking / washing / drying / repacking plus last minute bookings for Road Trip #2 - the Pacific Coast Highway Trip from San Francisco to San Diego!
• Wednesday 26th July - "Driving Highway 1 - the Pacific Coast Highway" Road Trip #2 from San Francisco to San Diego involves flying from San Diego to San Francisco; then oicking up a car and driving down to Monterey armed with Ed Terpening's guide to plein air painting spots ("The best spots painting tour") and dinner in Pacific Grove (3 sketches)
• Thursday 27th July - "Carmel by the Sea - and a marine inversion" (4 sketches) with a description of what it feels like when it's more than 50 degrees cooler than the weather experienced on Monday!
• Friday 28th July - "The greatest meeting of land and water in the world" Point Lobos State Reserve (sketch and photos)
• Friday 28th July - "Driving down big Sur - at last" the drive along the Pacific Coast Highway down Big Sur (1 sketches plus photo)
• Saturday 29th July - "The best breakfast of the trip - at the Big Sky cafe!" San Luis Obispo to Ventura (2 sketches plus photos)
• Sunday 30th July - "The end of my drive down Highway 1 and the start of concretefreewayville" - Back to Louise in Santee via Brunch in Malibu and crossing LA by freeway (2 sketches)
• Tuesday 1st August - "Flying home and some reflections" on artwork produced and travelling in the USA - after trying to work out on Monday what went home and what went on to New England.

As well as sketching details, my posts also include details of

• routes I travelled
• places I stayed and/or visited
• descriptions of places where I ate meals (which often became the subjects for sketches)
• PLUS places to buy art supplies .

What's been the best road trip + sketching that you've done? Answers to my Facebook Page

Alan Woollett named Master Artist for 'Birds in Art' 2019

Alan Woollett

British coloured pencil artist Alan Woollett will be the 2019 Master Artist at the 44th annual “Birds in Art” exhibition at the Leigh Yawkey Woodson Art Museum in USA in the Autumn.  The annual exhibition is one of the premier international exhibitions of bird artwork - and attracts entrants from around the world.

Alan's name will be joining this list of Master Wildlife Artists previously honoured in this way.

Features of his artwork include:

• he's passionate about conveying the beauty of birds and the complexities and simplicity of these amazing creatures. 
• his artwork conveys the joys of observing, drawing, and appreciating nature.
• his compositions are always unusual. I find he has a way of revealing new ways of looking at birds or enabling you to notice something you've not noticed before
• his bird are often given a context which means they don't jump out at you but cleave to their camouflage
• he draws in graphite and/or coloured pencil - and has transitioned from graphite to coloured pencil over time

In terms of "Birds in Art"

Birds in Art is an international juried exhibition organized annually by the Woodson Art Museum.

• Alan demonstrated persistence and submitted artwork for the annual exhibition five times before he was successful in 2011 with a graphite work and attended the exhibition.

“When I initially scanned the galleries, I knew I’d have to step it up even more, if I hoped to return.”

• Woollett’s first colored-pencil work to be exhibited in “Birds in Art,” “Northern Mockingbird,” was acquired by the Woodson Art Museum in 2013, which he described as “a great feeling and an honor.” 

Northern Mockingbird by Alan Woollett

• Selected for inclusion in “Birds in Art” seven times, he travelled from England to Wausau, Wisconsin (inbetween Minnepolis and Lake Michigan) to attend the exhibition opening again in 2012 and 2015. 

“Seeing my work in the ‘Birds in Art’ exhibition alongside that of so many great artists never ceases to make me smile. It is really such an honor.”

The 2019 “Birds in Art” exhibition, on view September 7 through December 1, will feature

• a selection of Woollett’s artwork 
• more than 100 original paintings, sculptures, and graphics created within the last three years by artists from throughout the world. 
• The exhibition’s full-color catalogue, featuring an essay about the 2019 Master Artist, will be available for purchase in September at the Woodson Art Museum.

Submissions for the exhibition can still be made. The Online submission and postmark deadline  for entries is April 22, 2019. This is the prospectus for the exhibition.

About Alan Woollett

• Born in 1964 in Chatham, Kent, England, he now lives and works in Maidstone, Kent, England, with his wife, two children, and two springer spaniels.
• He became interested in birds while birdwatching in his back garden as a young boy. 
• His childhood drawing pursuits and an “I-Spy Birds” book given to him by his mother ingrained an interest that was to lie dormant until many years later. 
• He studied graphic design at the Kent Institute of Art and Design, now called the University for the Creative Arts. His two years as a student there “reignited my passion for art, drawing, and the natural world,” 
• In 1993 he received an OND, Ordinary National Diploma, in graphic design and illustration. 
• Since graduation he has concentrated on bird and wildlife art. 
• He further developed his skills drawing with graphite “whilst seriously harboring a desire to paint birds in watercolor,” he said. 
• A local naturalist and illustrator taught him how to use a paintbrush, and he focused on honing his painting skills during the next few years as a stay-at-home parent of his two children.
• Gradually, he transitioned to working in colored pencil, after initially using them to add fine details to his paintings and then using them more extensively to complete his drawings. 

“I had always felt much more comfortable with a pencil in hand than a paintbrush"

• In 2000, Alan won the prestigious, ‘Bird Artist of the Year’ award for the year 2000, which is awarded by Birdwatch Magazine, for his pencil drawing of a heron. 
• In 2016, he won the Earth’s Beautiful Creatures Award, 2016 at the “Wildlife Artist of the Year,” exhibition run by the David Shephard Foundation (see Wildlife Artist of the Year 2016 - The Awards).
• In 2017, his book “Bird Art,” was published by Search Press Limited. (See my blog post Review: Bird Art by Alan Woollett). 
• You can also read An interview with Alan Woollett on the Jackson's Art Blog, which followed publication of his book. 
• Alan - whose work also features in my book Sketching 365 - creates his art in his studio at the bottom of his garden at his home in Kent. 

Alan Woollett working in his studio in Maidstone

“I’m still taking in the fact that my work is deemed worthy of being exhibited alongside that of such esteemed and talented artists. It’s such a huge honor and one that has me still pinching myself most mornings when I sit to draw in my humble little studio.” 

Alan Woollett’s artwork has been featured in exhibitions throughout England, including 

• “National Exhibition of Wildlife Art” at the Gordale Garden Centre, Burton, South Wirral; 
• seasonal exhibitions at Francis Iles Galleries in Rochester, Kent; 
• Annual Exhibitions of the “United Kingdom Colored Pencil Society” at Menier Gallery in London. 

His awards include 

• Earth’s Beautiful Creatures Award, 2016, “Wildlife Artist of the Year,” from Mall Galleries in London (see the top photo) and 
• Bird Artist of the Year, 2000, by “Birdwatch Magazine.”

Alan does not have a website but does have a Facebook Page where you can see his artwork and contact him if interested in making a purchase. You can also follow him on Twitter @awoollett

He is also represented by the Francis Iles Gallery in Rochester in Kent - who take his artwork to Art Fairs in the UK.

Drawings by Alan Woollett at the Works on paper Fair in 2017

Jeff George's new Pencil Storage

This is about a new pencil storage system for his art studio - devised by Jeff George CPSA, one of the the USA's leading coloured pencil artists.

Like others, he got inspiration for a new system when viewing what was on offer in IKEA.

If you're not a coloured pencil artist you need to understand that pencil artists have a habit of acquiring a huge number of pencils - plus back-ups for if they run out - but they present a real problem when it comes to storage.

I got inspired to revise my studio pencil storage system while recently walking through an Ikea store. Meet Skadis. My new pencil storage system with removable metal trays.Square metal cups and other attachable containers were also an option for this system, but I opted for the trays.

The trays hold the pencils and hook onto the peg board

I have labeled and lined each of the 20 trays, and will install small rubber picture frame bumpers (or felt) on the tray bottoms. (Note: I modified the welded hooks on two of the trays to be able to hang 7 trays to a panel instead of the normal 6.)

The trays shown contain the largest set of each brand listed. Luminance 76 set used 2 trays. Prismacolor 150 set used 4 trays etc. The brands I use the most are on the bottom half. (The Lightfast trays at the top are empty placeholders as I await Derwent's release of a larger set.)

Three Skadis peg boards and 20 Trays

The hundreds of extra replacement pencils which I have are organized and tucked away nearby, ready to quickly replace any of these pencils as they wear down. The goal is to always keep a full set available in the trays.

I'm happy with my solution. It was low cost, fits an out of view nook of my studio, and I can change out brands, and add more if I need to. Cheers.

However the system Jeff has come up with could actually be used for other art materials (tubes / jars of paint etc). What I like about it is that it both allows for simple and accessible storage - with everything sorted - and the storage doubles up as the container when the pencils are in use. They just unhook from the peg board.

About Skadis

I'm not sure of the dimensions of Jeff's system but took a look at the IKEA UK site - and there are lots of options for useful ways to store art media "stuff"

• Skadis is pegboard by IKEA.  It costs £31.50 for a 76 x 56 cm (various sizes are available ) steel board with Epoxy/polyester powder coating
• The trays cost £3 each. They're also made of steel with Epoxy/polyester powder coating and hook on to the peg board.
• There are lots of options for various ways to store "stuff" on the peg board

PS. My new Raskog kitchen trolley  from IKEA is about to be made up for for storing my tubs of coloured pencils - so they can be wheeled around!

About Jeff George

Jeff studied at the Otis Art Institute and School of Design. He retired recently and moved from California to Las Vegas, Nevada. In 2002, he joined the Colored Pencil Society of America and since then he's been very busy winning prizes almost every year including the following top prizes

• 2008 - Empty Nest
• 2009 - Life and Death
• 2015 - What So Proudly We Hailed

His work has also been featured in several art publications in the USA.

The 4th Derwent Art Prize 2018 - Call for Entries

This is about the Call for Entries from international artists for The 4th Derwent Art Prize. 

The Prize aims to reward excellence by showcasing the very best 2D & 3D artworks created in created with any pencil or coloured pencil as well as water soluble, pastel, graphite and charcoal by British and International artists.

The prizes total £12,500 and the deadline for entry is 8th May 2018 (5pm GMT)

This is a digest of

• who can enter, 
• what you can enter and 
• how the process works 
• with an overview of the timeline of dates. 

The Exhibition

Approximately 80 drawings will be selected for exhibition at the Mall Galleries.

• The exhibition will be held between from 18th – 23rd September 2018. 
• All artists selected for exhibition will be invited to the Private View and Prize Giving on the evening of Tuesday 18th September 2018.
• The exhibition will then tour to a number of venues throughout the UK - which means that all work submitted to the competition for exhibition must be available until 31st January 2019.

View of part of the Third Derwent Art Prize Exhibition

The Prizes

The Prize Fund is divided as follows:

• First Prize £6,000
• Second Prize £3,000
• Third Prize £1,500
• People’s Choice Award – Exhibition £750
• Young Artist Award – For artists under 25 years £750
• Coloured Pencil Award for Excellence – £500

The Selectors

A gallery curator, a leading artist and an art critic comprise the independent selection panel who decided which work gets selected for exhibition and which work gets prizes.

They are:

• Gill Saunders, Head Prints within the Word and Image Department at the V&A. I know her from two of her books which I've got Picturing Plants:An Analytical History of Botanical Illustrations (1995) and Recording Britain (2011)
• Clare Woods - a painter who trained as a sculptor and is essentially concerned with sculpting an image in paint, and expressing the strangeness of an object.  (This seems like a very odd choice for a competition involving dry media. Is it too much to ask that this competition is judged by a well-regarded practitioner who specialises in drawing! There are after all quite a few of them!!!)
• Chris Sharratt - a freelance arts writer based in Glasgow who is currently the Editor of the A-N website but has also written for a number of publications

I very much hope that this year the organisers actually check that the judges have both read and understand the conditions of entry! (i.e. no making up their own version of entry requirements and terms and conditions!) I don't enjoy highlighting Judges who very clearly breach the rules of the competition. See Derwent Art Prize 2014 - ineligible drawing wins first prize?

How to Enter

The official websites / pages of information

This is the website https://www.derwent-artprize.com/ (which has now addressed the major omission which I identified last time I wrote this blog post in 2016)
This is the Facebook Page https://www.facebook.com/DerwentArtPrize - which is never very active.
This is the Twitter account @DerwentPencils which is quite active.
You can see the Derwent Art Range on the sponsor's website.

You can download catalogues from previous competitions to see the sort of work that gets selected

If intending to submit an entry do make sure you read carefully

• the Rules and Guidelines
• the Terms and Conditions
• the answers to the Frequently Asked Questions

This is the Online Entry Form

The competition and exhibition organisers are Parker Harris. Further enquiries about the competition should be addressed to Parker Harris, on: derwent@parkerharris.co.uk or Tel. + 44 (0) 1372 462190 - but do look at the FAQs first!

Who can enter?

The Prize is open to all British and international artists (as defined by the rules)

• Nationality:  The eligible geographical regions / countries are: 
• Europe, 
• North America,
• South America, 
• Africa, 
• Asia (participating countries: China, Hong Kong, Japan, Singapore, Taiwan, South Korea, India, Pakistan, Indonesia, Malaysia, Philippines, Sri Lanka, Taiwan and Thailand), 
• The Middle East (participating countries: United Arab Emirates, Saudi Arabia, Qatar, Israel, Kuwait, Jordan, Egypt, Bahrain, Oman, Jordan) and 
• Oceania (Australia, New Zealand). 
• Who else can enter: 
• Previous prizewinners can enter
• A third party agency (such as a gallery) can enter work but there are significant conditions that must be met (i.e. the third party must confirm the conditions stated point 7 of the Terms & Conditions.)
• Age: 
• All entrants must be over the age of 18 years old on 1st June 2018. 
• You also have to be alive!

Eligible artwork

Eligible media

Review: Bird Art by Alan Woollett

a new book about drawing birds

If you want to learn how to draw birds - in graphite or coloured pencils - then 'Bird Art' a new book by renowned bird artist Alan Woollett, was designed for you!

One of the well known 'secrets' of wildlife art is that birds sell fast! Twitchers not only like to 'collect' birds via their binoculars, they also like to have birds on the walls in their homes.

This may well be the reason why more than a few artists have dedicated themselves to drawing and painting birds - and all the ones I know are also fabulous artists too! Most paint and a few draw.

One such bird artist - who draws in graphite and coloured pencil - is Alan Woollett. Alan wins awards for his bird art; has his drawings selected for international exhibitions of bird art; teaches internationally, and even manages to sell his drawings before he's even finished them. In other words, he knows a few things about how to draw birds!

(Follow him on Facebook at Alan Woollett Art - he doesn't have a website and on Twitter @awoollett)

Wildlife Artist of the Year - Earth's Beautiful Creatures Category Winner
Maribou Portrait by Alan Woollett ( Maidstone , Kent)
(coloured pencil on Fabriano Artistico)

Not the prettiest bird in the room - but very striking and caught my eye from the other side of the room. Wildlife Artist of the Year 2016 - The Awards

Alan has an amazing talent for making a very striking image. I suspect this talent has been hard won. He lives near Maidstone and trained at the Kent Institute of Art and Design and has been a professional artist for a long time. He's always focused on wildlife art and for the last few years has been drawing in his studio at the bottom of his garden.

Latterly he's also been writing his new book about how to draw birds. This is as much about Composition and Colour as it is about the overall approach from beginning to end that he uses and the stages of his drawing process.

"In essence I want to show you how my pictures are conceived" AW

UKCPS 2015 Annual Exhibition - R.K. Burt Paper Award for Best Still Life
Birds Nest Study by Alan Woollett
coloured pencil, 36cm x 27cm

What I like about the book

Coloured Pencil Junkie - I need more greens!

I'm a coloured pencil junkie and every now and again I place a big pencil order. Very often it's associated with working on artwork when I become concerned that I've run out of a colour or I'm down to my last one and it's getting very short. There again there's the ones I've never used and wished I had which I find when start looking at the complete list of colours!

This is my pencil order which arrived from Pencils4artists this morning which was rather later than I was expecting - and two days after the artwork got handed in!

Nevertheless - like all true coloured pencil junkies - I lined up my pencils in order of colour and took a photo!  Not least because it helps me to remember that I have had that pencil before and this is what it looks like!  It also helps me gauge the differences between the different manufacturers colours when you mix them in this way.

[Note: It's a BIG photo so if you're interested right click and open in a new tab and you should be able to see them up close!]

My new pencils

Above are the colours and below is a list of what I ordered.

The list is not in the same order as the picture - and I've ordered two of some colours. However the list is in the order of colours and manufacturer's numbers.

These artists' coloured pencils come from three manufacturers:

• Faber-Castell Polychromos (oil based), 
• Lyra Rembrandt Polycolour (also oil based and work extremely well with Polychromos).
• Caran d'Ache Pablos (which are water resistant - and produce the only decent variations on olive)

You can read more about the individual manufacturers and their ranges on my Coloured Pencils - Brands and Manufacturers page on my website which provides an index of reputable coloured pencils and product reviews

BLUES

Lyra Rembrandt Polycolor Pencils

Colour 044 Light Cobalt Blue
Colour 047 Light Blue
Colour 046 Sky Blue
Colour 054 Aquamarine

Faber Castell Polychromos Colour Pencils

Colour 157 Dark Indigo
Colour 149 Bluish Turquoise

GREENS

Lyra Rembrandt Polycolor Pencils

Colour 055 Night Green
Colour 058 Sea Green
Colour 059 Hookers Green
Colour 062 True Green
Colour 063 Emerald Green
Colour 065 Juniper Green
Colour 067 Sap Green
Colour 068 Moss Green
Colour 070 Apple Green
Colour 071 Light Green
Colour 072 Green Grey
Colour 074 Cedar Green

Faber Castell Polychromos Colour Pencils

Colour 158 Deep Cobalt Green
Colour 163 Emerald Green
Colour 159 Hooker's Green
Colour 165 Juniper Green
Colour 173 Olive Green Yellowish
Colour 171 Light Green
Colour 166 Grass Green
Colour 112 Leaf Green
Colour 266 Permanent Green
Colour 167 Permanent Green Olive
Colour 267 Pine Green
Colour 168 Earth Green Yellowish
Colour 172 Earth Green
Colour 170 May Green
Colour 174 Chromium Green Opaque
Colour 230 Yellow Green
Colour 470 Spring Green
Colour 231 Lime Green

Caran D'Ache Pablo Water Resistant Coloured Pencils

Colour 015 Olive Yellow
Colour 016 Khaki Green
Colour 225 Moss Green
Colour 018 Olive Grey
Colour 039 Olive Brown
Colour 019 Olive Black

YELLOWS

Lyra Rembrandt Polycolor Pencils

Colour 008 Canary Yellow
Colour 009 Orange Yellow
Colour 085 Light ochre

Faber Castell Polychromos Colour Pencils

Colour 107 Cadmium Yellow
Colour 108 Dark Cadmium Yellow
Colour 109 Dark Chrome Yellow
Colour 268 Green Gold

UKCPS 15th Annual Exhibition 2016 - review and prizewinners

Ann Swan UKCPS SBA GM was awarded the top prize at the 15th Annual Exhibition of the United Kingdom Coloured Pencil Society last night.

I went to the preview and prizegiving last night. I personally love using coloured pencils so it's always special to see what work they have in their exhibition.

The Exhibition

This year the exhibition is on both floors at the Menier Gallery at 51 Southwark Street, London SE1 1RU. It opens to the public  every day - between 11am and 6pm - until 3pm on 13th May (but closed on Sunday 8th May).  There are also demonstrations and workshops on most days (details below).

This year:

• There's been a noticeable change in the range of subject matter tackled by artists. There's less photorealistic work and evidence of a greater range of artistic expression and more creative work in terms of selection of subject matters, design and composition and overall presentation.
• The standard of work on show has generally improved
• The presentation and hang is much improved. Hanging the works in their categories of entry creates a better unity and context within the exhibition and also shows individual works to best effect. I loved the two rows of portraits downstairs which were staring at one another!
• While much of the pricing of work in the show is very realistic, I was absolutely amazed by some of the prices which I would characterise as 'ambitious'. As always the price asked is not always the same as the price achieved. Some made me wonder if:
• certain artists are unfamiliar with prices charged for works on paper by celebrated artists for works on paper. (see yesterday's post for an example of the pricing of a Wolf Kahn drawing)
• whether or not artists had previously sold at this level; and/or 
• whether they thought this was the right point at which to pitch within the context of 'London pricing'.  (In which case I'd suggest visits to a few more galleries in London!)
• The answer is often provided by the website, where the artist lives and an artist's past track record. I may go back towards the end of the exhibition to take a look at what has sold....

The exhibition is celebrating its 15th anniversary this year and has made a significant effort. Some of the past winners are on show again and for many this would be a good enough reason on its own to visit the exhibition.

A poster print has also been made that includes images of past winners of prizes in the first 15 years of the exhibition.

Past Winners of the first 15 years of the UKCPS Annual Exhibition

I very much liked the catalogue also. Works are listed with an image as well as the name of the artist, title and price. However this year I can't find the images in the Picasa folder which has been used in the past - so you only get to see the images in the exhibition or catalogue and not online.  (Note: I was rather surprised to see the names of the prize sponsors omitted from the catalogue. I'm sure they've been included in the past)

The labels in the exhibition are much more informative than a lot you get in exhibitions of this sort. These state precisely - where the artist has provided the information - the brands of pencils and paper used which I'm sure will be very helpful for the students of coloured pencil art who will doubtless visit the show.

The Judge for the Prizes was Henri Price who is an independent Retail Adviser - a good person to know for all those seeking representation for their artwork within the commercial sector!

I'm assuming the prizewinners will be listed in due course on the website - in the meantime I'm listing them below.

I'm not sure I agree with which works won particular prizes - there again prizegiving is so often such a personal choice when you have just one judge for the prizes!

Having said that this is more about outstanding works which didn't win a prize!  One of them is getting a blog post to itself next week!

Prizewinners

The prize, title of the piece and the winners are noted in the captions underneath the images.

Derwent Award for Best in Show
AND Lyra Rembrandt Prize for Best in Flower/Fruit or Vegetable
Larger than Life -  Nectarines (£850) by Ann Swan
Faber Castell Polychromos, Prismacolor Premier, Tombow Irojiten
and Caran d'Ache Luminance on Fabriano Classico 5 (300gms)

This is another one in Ann Swan's new series of oversized drawings of plants, fruits and vegetables.  All drawings in the 'Larger than Life' series are at least three times larger than life size.

She gets the intensity of colour by using a little bit of liquid paraffin wax with her pencils. Ann will be demonstrating her techniques and providing tips at a workshop on Wednesday 11th May.  There are just two places remaining!

Here's a view of some of the other entries in this category

Some of the other works in the Flowers, Fruit and Vegetables Category

Jeff George wins top prize at CPSA Annual International Exhibition 2015

The 23rd Annual International Exhibition of the Coloured Pencil Society of America is currently on display at Oglethorpe University Museum in Atlanta, Georgia - until 23rd August 2015.

Every year this exhibition comprises artwork drawn using 100% colored pencil and is based in a gallery in a different part of the USA.

I liked the way CPSA announced their prizewinners on the CPSA facebook page - giving each a proper introduction to members.  The prizes were split between"

• 8 still lifes (50% of the total)
• 4 human portraits and 2 animal portraits
• 2 works which are figurative urban landscapes - but with a concept

Below you'll find:

• a list of the prizewinners - with links to their websites embedded in their names. The link in this bullet point is to the website where you can see the images for all prizewinners.
• a list of the coloured pencil artists selected for the exhibition. I've taken the list and then organised by country and state - illustrating the main areas where coloured pencil is strong.

Thanks to Shawn Falchetti CPSA for permission to use his photographs of the exhibition and some of the artists.

The 2016 Exhibition will be in Tacoma, Washington.

The Prizewinners Page on the CPSA website

The prizewinners were announced at the Annual Convention Banquet and are as follows

CPSA Best Of Show And Cippy Award ($5,000) 

• Jeff George, CPSA (CA) "What So Proudly We Hailed" - 20 X 16 Inches (see above)

Jeff George has won the top award of at least two other occasions that I can think of and has been a regular prizewinner for as long as I have been covering this exhibition - which is nearly 10 years!

For the uninitiated, 'What so proudly we hailed' is a line from the Star Spangled Banner, which celebrated its 200th anniversary in 2014 and became the national anthem of the USA in 1931.

Oh say can you see by the dawn's early light,What so proudly we hailed at the twilight's last gleaming,Whose broad stripes and bright stars through the perilous fight,O'er the ramparts we watched, were so gallantly streaming?And the rockets' red glare, the bombs bursting in air,Gave proof through the night that our flag was still there;O say does that star-spangled banner yet wave,O'er the land of the free and the home of the brave?

CPSA District Chapters Award For Exceptional Achievement ($2,000)

• Arlene Steinberg, CPSA, CPX (NY) - "In The Beginning" - 15 X 21 Inches

In the Beginning by Arlene Steinberg
coloured pencil, 15 x 21 inches

The Cretacolor Award For Exceptional Merit ($1,000)

• Jonavon Herr (OH)- "Threads Of Time" - 7 X 7 Inches

The Derwent/Conté À Paris - Colart Americas Award For Exceptional Merit ($1,000)

• Jesse Lane (TX) - "Gravity" - 18 X 29 Inches - you can see a much larger image of the artwork  on his website (click the link in the title)

Gravity by Jesse Lane
coloured pencil, 18 x 29 inches

The Dixon Ticonderoga Award For Exceptional Merit ($1,000)

• Rhonda Nass, CPSA (Wi) - "God's Will, Finding Your Niche In Him" -12 X 14 Inches

Award For Outstanding Achievement ($800)

• Tracy Frein (Il) - "Kit" - 23 X 17.75 Inches
• Elizabeth Patterson, CPSA (Ca) - "Rue De Rivoli, Paris" - 18 X 28 Inches
• Amol Saraf (India) - "Cuteness At Its Best" - 12 X 19 Inches

Award For Distinction ($600)

• Suzanne Marcil, CPSA (Fl) - "My Sister's Crystal" - 20 X 16 Inches
• Bonnie Sheckter (Canada)- "Second Thoughts" - 19 X 16.75 Inches
• John Ursillo, CPSA (Wa) - "Hydrangea-Scape #2: Last Blush" - 24 X 24 Inches - the stpry of how he came to produce this artwork is on its page on his website. Click the link in the title to have a cler look and read all about it.
• Ranjini Venkatachari, CPSA, CPX (Ca) - "Genealogy" - 12 X 12 Inches

"Hydrangea-Scape #2: Last Blush" by John Ursillo is the large painting in the middle
Coloured Pencil on Ampersand Gesso Board

(UK artists should note that Ampersand Boards - such as the one used above - are now available in the UK)

Award For Excellence ($400)

• Joan Gelblat, CPSA (Ga) - "Reflections At The End Of The Day" - 18.75 X 24.75 Inches
• Sharon S Kow (Malaysia) - "Contemplation" - 22 X 15 Inches
• Eileen Nistler, CPSA, CPX (Wy) - "Aunt Clara's Collection 3" - 16 X 22 Inches
• Lynda Schumacher, CPSA (Mi) - "A Quiet Eye" - 7 X 5 Inches

Analysis of Size of Prizewinners Artwork

 

Selected Artists

Below is a list of the artwork and artists selected for the exhibition - from all over the USA and countries and continents - organised by the location of the artist.

This provides something of an indication where coloured pencil art and CPSA branches are active within the USA as the numbers being selected do not correlate with the population of those states.

Alabama

• Carrie Alderfer Contemplation

Arizona

• Jane McCreary, CPSA Red Cholla Blossoms
• Helen Rowles CPSA After the Show

California

• Mikela Cameron, CPSA. My Dog Has Fleas
• J.Y. Chang, CPSA, CPX The Blind Date
• Jeff George, CPSA What So Proudly We Hailed
• Denise Howard, CPSA, CPX Happy
• Buena Johnson, CPSA Do You Remember?
• Elizabeth Patterson, CPSA Rue de Rivoli, Paris
• Paula Pertile Fried Egg on Sourdough Toast
• Mike Purdy Table for Two
• Aura Skugariene CPX Dualism of Two
• Ranjini Venkatachari , CPSA , CPX Genealogy
• Phillip Zubiate III Vegas Neon Duck

CANADA

• Bonnie Sheckter Second Thoughts

Colorado

• Dorothy DePaulo, CPSA, CPX Sibling Rivalry
• Sandra Hunter, CPSA Metamorphosis of the Common Blue Morpho

Connecticutt

• Rita Paradis, CPSA Interplay
• Lauren Tyrell Angus

Florida

Jeffrey Baisden

•  Jeffrey Baisden, CPSA Upward Nobility
• Anda Chance, CPSA Denizen of the Subway
• Kathi Darby Uncertain Future
• Christine Flanagan Sun Shadowed
• Sharon Hester On Guard
• Hanneke Jevons Horsepower
• Marilyn Jones Summer Sass
• Julie Karner Macaw's Glare
• Suzanne Marcil, CPSA My Sister's Crystal
• Mari K Moehl, CPSA Feeding Frenzy
• Glinda Pennock Nickolas
• Nancy Rhoads Sign of the Times
• Mona Weidner Opal's Room

Georgia

• Susan Calderon Shades
• Philip Carpenter Shears 2
• Joan Gelblat, CPSA Reflections at the End of the Day
• Kim Hamby, CPSA In a New Light

GREECE

• Maria Villioti Contrasts

Illinois

• Jeanne Bogar Beach Boys
• Kate Brown There Is a Self Portrait in My Mother's Wedding Ring
• Gail Collier, CPSA Moving Toward Red
• Tracy Frein Kit

Indiana

• Pamela Clements Road Warrior

INDIA

• Amol Saraf Cuteness at It's Best

Kansas

• Charlotte Hastings Where's the Ducks?

Kentucky

• Vanessa Lawrence A Love Story

At the exhibition

Massachusetts

• Katherine Clericuzio This Bud's for You
• Deborah Friedman, CPSA Angle of Repose

MALAYSIA

• Sharon Kow Contemplation

Maryland

• Mary Geissenhainer CPSA On the Banks of Otter Pond

Michigan

• Wendy Mersman Can I Have Two?
• Agnieszka Przyborowski Reflections
• Lynda Schumacher, CPSA A Quiet Eye
• Rita Mach Skoczen, CPSA Quilt 2
• Paul Van Heest, CPSA Big Read

Minnesota

• David Hart Rehearsal

Missouri

• Sandy Brooks Night Flight
• Susie Tenzer Selfie

North Carolina

• Christina Hildreth Keel-billed Toucan—Who's Watching Who?
• Donna Slade, CPSA Softtouch Reflections

New Jersey

• Gwynn Di Pilla Beach Bikes
• Anzhelika Doliba The Plaza and Fountain at Sister Cities Park, Philadelphia
• Andrea Placer, CPSA Fancy Funghi
• Jennifer Tabor LaVeglio Grumpilicious

Nevada

• Dennis Angel View of the Grand Canal
• Anna Hammer Beautiful Mind
• Holly Siniscal, CPSA Shadow Abby

Nw York

• Caryn Coville Bird's Eye View
• Carol Maltby,CPSA Nathan
• Arlene Steinberg CPSA, CPX In the Beginning

Ohio

• Cecile Baird, CPSA Light Up Your Life
• Kathy Cox Lauder's Lemons
• Catherine Fithian Pink Hydrangea
• Sharon Frank Mazgaj, CPSA Shiny Things 2
• Marsha Gilger, CPSA Road Art
• Jonavon Herr Threads of Time
• Mary Hobbs, CPSA, CPX Blue
• Margaret (Margi) Hopkins, CPSA Departing
• Kendra Lapolla Helen
• Amy Lindenberger, CPSA, CPX Glorious Profusion
• John Middick Intensity
• Michael Paolercio 324
• John Smolko, CPSA, CPX Benj, No. 2 (Franklin Trustee)
• Rosemary Tope White Hibiscus

Benj No. 2 (Franklin Trustee) by John Smolko
You can see another large coloured pencil drawing of Benj
in my book "Drawing 365: Tips and Techniques to Build Your Confidence and Skills"

 Oregon

• Teresa Allen, CPSA Time to Shine
• Pat Averill, CPSA Just Hangin' Around
• Kelly Collins Mussel Beach
• Julie Fulkerson Horse of Kings
• Donna Graham Rhoddies
• Donald Griffith Time on My Hand
• CJ Worlein, CPSA Stephanie
• Denise Zanetta Twisted Flights of Fancy

Pennsylvania

• Shawn Falchetti, CPSA Daybreak
• Jeffrey Green Carol, Prayer Series 1
• Linda Killingsworth Yum, Buns
• Mary Beth Lesko Uncle Fritzo's Hairpiece

South Carolina

• Gretchen Parker, CPSA Meet Market
• Faith Wheeler, CPSA Rick and Rock

Tennessee

• Dena Whitener, CPSA A Feather's Not a Bird

Tanja Gant

Texas

• Helen Bailey, CPSA The Pause That Refreshes
• Tanja Gant, CPSA, CPX See No Evil
• Lori Garner, CPSA, CPX Mourning Light
• Jesse Lane Gravity
• Lisa Mills, CPSA Wren in Rome…
• Irma Murray Birthday Boy

Utah

• Nichole Taylor Blood, Sweat & Tears

Virginia

• Alisha Brown Pink Spring Kaleidoscope
• Jennifer Carpenter End of Time Flies
• Sherry Smith Peachy Keen

Washington

• Mike Flynn Pride of Moscow
• Shirley Stallings, CPSA What?!
• John Ursillo, CPSA Hydrangea-scape #2: Last Blush

Wisconsin 

• Jody Beighley Wisconsin River Camp
• Dava Dahlgran, CPSA, CPX The Bike at Dublin Bay
• Nichole Linzmeier Not Just Ivory
• Rhonda Nass, CPSA God's Will, Finding Your Niche in Him

Wyoming

• Eileen Nistler, CPSA,CPX Aunt Clara's Collection 3

Links:

• CPSA Facebook Page
• 2014: Scott Krohn wins CPSA's 22nd International Exhibition
• 2013: Review: CPSA 21st International Exhibition 2013 in California
• 2012: CPSA 20th International Exhibition 2012 - Selected artists
• 2010: CPSA 18th Annual Exhibition: selected artists and work
• 2009: 17th Annual CPSA International Exhibition 2009 - successful entries
•  2007: CPSA award winners announced - does size matter?
• 2006: CPSA entries to the 2006 annual exhibition