On, March 12th, 2004, I received an e-mail from a person stating that she had visited my web art gallery and had found my eclectic body of colored pencil art that I have there in its own display area which has been online since 1999. She said that she greatly admired the work there and that she was a student of, The Universi-ty of New Mexico, and that she was working towards her, Masters Degree in Art Education, and that she would like to use me as an example to show her students what a person could accomplish as a self learned artist. I am slightly delighted to describe and explain as best I can and as briefly as I can the events surround-ing my progression as not only an artist, but in particular as a colored pencil artist here in, The United States Of America.

My inclination to draw and scribble began fairly early, I would say as early as around the age of eight years old, and the reason I say this are

because of one weekend that I had spent at one of my, Grand Motherʼs house in, Jackson, Nebraska. While there for something to do I was coloring with some crayons in one of the few coloring books that she kept there for all of us children to play with and I was frustrated that I was having trouble staying within the lines on the particular page that I was filling in... or trying to anyway and had called to her to come and help me with the problem. She came to me and got down on the floor next to me and after I explained what it was that I had called her there about told me as she picked up a blank piece of paper that was also laying somewhere amidst all the other stuff and said that if I was having a difficult time staying within the boarders of the pre-made colored pencil book that I should maybe try drawing shapes and lines of my own therefore eliminating the frustration of having to do so and in short showed me what she meant in doing so. From that point on I had decided that she was right and that it was a much more pleasurable experience creating my own boundaries when creating art and color design than it was to try and stay perfectly within the lines and shape of a pre-printed coloring book page. That to me was a kind of gift, in that she had set me free of the constrictions that are a natural inclination when trying to fill in the design and shapes in a coloring book and freed me from the frustration I was experiencing in doing so and also in doing so fed my desire to make some-thing with drawing instruments in a free style manner. As years passed I more and more took to drawing with number 2 pencils and eventually as I was attending elementary school had developed a strong ability to make interesting art with a certain form of flare and style. While in the fifth grade the teacher there decided to give us all a project wherein all of us were allowed to draw or paint something along a few topics of subject matter. The subject matter that I decided to use were a pair of colorful love birds and I did them with water color markers; the render was selected as one of the best and was to be displayed at the state capitol of, Iowa, in, DesMoines. I cannot tell you the length of time that it hung there but that was a pretty good feeling that I

A short biography of the colored pencil art world of, Jerry Baker.

“Coloredpencilguy”

All throughout this document there are hyperlink url s̓ associated with some of the information references that I make within it.

Just be forewarned that if you do not have a ready online connection active that those links will start your web browser and will try to go to the web link associated with the reference.

I hope that you have patience to read all through this little bio as a lot of the informa-tion contained throughout it has helped me an incredible amount as I hope that it will you in your effort to accomplish something of yourself where giving is all what it is all about because of what you get back in return.

Jerry Baker, J. Baker CP Studio 1997Wheatridge, Colorado

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could actually create something and it be used as a reference to myself and my talent. I only drew off and on for many years until around the end of my, Jr. High School years, and from that point I had by then become in-terested in art and the some of the people around me there that were and some still are local artists in the, Sioux City, Iowa, area. Two artistʼs of particular note were, Paul Chelstad, and, Marvel K. Cox, whom shared a rather large loft studio in a really old building in the lower down town area where I was a welcome guest for a number of years there and saw what they were doing and learned a little and a lot in many ways from them as work-ing active artistʼs. Paul Chelstad, in fact gave me my first full set of, 48 Prismacolor, pencils telling me that he was so impressed with my graphite renders on typing paper that he wished to see works from that point done in color and so then from that point on I used colored pen-cil and graphite mixed together on better host medium as I developed a greater knowledge of the proper tools and methods of producing art for both show and sale. I made a number of drawings that are not in my personal collection anymore since they mostly found themselves given as gifts and or lost.

Trials and tribulations haunted me around the 1970ʼs and that forced me to travel around the country sort of in an effort to find myself and then I returned nearly ten years or so down the line only to join the, U.S. Army, wherein during that period of time I managed to pick up pencils again and drew a few renders for the local, Fort Stewart Army Post Newspaper. I did a cover or two for them before I got out of the, Army. I again dropped the inclination to work art for a while once again while I found employment and the means by which to gain materials with which to work with. I progressed finally with the addition of the newest brand of colored pencils then; Derwent Studio. I had decided that since the job climate there at that time was really too stagnant for me to gain very quick ground and gathered all my essentials and headed off to, California. I drew out of my back-pack on bristol and some, Letramax illustration board I picked up from an art store there and as time passed met a girl there and we even-tually married and have a son as a result. During my four years that I was married to her there in, Los Angeles, CA., I produced a number of artworks that are either in the hands of people that I gave them away to as gifts or for a little money; when we divorced I traveled back to my origin in, Sioux City, Iowa, and spent another two years there trying to decide which direction I wanted to continue on from that point. I one day decided to try to attend art school and work my way through that to gain academic credibility and go for a visual arts degree. My target was, The Art Institute of Seattle, but on the way I stopped in, Denver, Colorado, where I talked to some-one at that school about grants and what it would take to attend there whereupon they convinced me to go to their school instead of the one in, Seattle, WA.. I studied the availability of jobs and how easy it would be to make a start here in, Denver, for around a month and went about doing it. In the process of starting out I completed a number of colored pencil artworks which are online to see and a couple that have gained me small acclaim. After six months or so I was robbed of my property in a burglary and had to start all over again and since I did not have renters insurance to replace

This is the studio that I was allowed to visit any time that I wanted to back around, 1978, where my friends worked out all of their art and creations. Paul Chelstad, primarily created large panels using acrylics and, Marvel Cox painted in many medium and has been well known as a long time local, Sioux City, artist and teacher.

The building that this studio was in is now renovated and was called, “The Call Terminal Building”, built sometime around the, 1850ʼs. It is located down on the lower end of west fourth street in, Sioux City, and was one of the oldest buildings in the area. I had many good times there and saw a lot of art work pass through as well. Life was a lot more laid back and a lot less stressful.

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Title: “Untitled” © Jerry Baker 1995

the items that I lost it was really apparent to me at that point that attending collage was out of my reach in a realistic manner and decided to continue on anyway going about it in what would be termed as, “the hard way”, and eventually after I had recovered my losses and gained better employment I built up my art tools and pre-pared to finally begin to submit my examples of art for competition and show for sale and the like. In, 1994, it came to my attention that there was to be an art convention held at the, Denver Center for the Performing Arts, and that there was a going to be a couple of workshops conducting colored pencil and art marketing by two very well known and established artists by the names of, David Dooley, and, Sandra Angelo. I was very surprised to see that this was even happening since it was a rare thing to even see colored pencil art done on a professional level in public back then and wanted to attend very badly at that point. I think it was something like, $120.00 for both workshops and I paid the fee and attended it. David Dooley, did a class on metal and glass in colored pencil and, Sandra Angelo, gave a secondary class on art marketing and it was during her class that I found myself setting next to the then, President for the local, CPSA District Chapter 206 (now defunct). Her name is, Sherry Lacy, and she upon asking me to show her the few examples that I had with me to her, told me of, The Colored Pencil Society Of America, and that she was the president and that if I would like she would send me information about the, CPSA, and information about joining it. It wasnʼt two months after joining the local district chapter I was elected as, Vice President and Treasur-er and also in, 1994, was selected from my first time entries of color slides for that yearʼs annual international colored pencil art event. That work found its way into the very first publication that I had ever contributed to as the result of being selected by jury into that years event. It is on page 104 of the book produced by, Vera Curnow, (Founder of the, CPSA 1990), titled, “Creative Colored Pencil - A Step-By-Step Guide and Showcase”, published by, Rockport Publishers (1995).

This point in time was very important for me in that it

greatly enhanced my coming out as a self learned colored pencil artist, I had not only accomplished my initial goal but also attained a certain status level right from the start. This brought on all that I had learned on my own over the years leading up to that point. I had developed a strong degree of understanding marketing and presentation skills from life as well as

from the art magazines such as, “Artistʼs Magazine”, and, “American Artist Magazine”, which are always full of tips and instruction for be-ginning and experienced artists. Soon afterwards I would get a real taste of what it is like to orga-nize local sponsored events in and around the, Denver LoDo, area.

Drawing on the floor or my lap was the main method of creating what I had done in the

beginning.

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Shortly thereafter I had managed to acquire the drafting table of my dreams, I had searched for many years for a table of its type and later designed a set of custom colored pencil holder panels that 36” in length and are 10” wide by 1” thick. They hold a total of 1,728 pencils and graphite medium.

During this point in time I was also beginning to show my colored pencil artworks around in the local, Denver, area coop-galleries by using the film slides and photos of my work to apply for entry to many of the open events. This is, “key”, to self promotion in the sense that in order for an emerging artist to make themselves known to the public at large and in general and to expose their talents to a broad audience affording availability to a number of factors required to accomplish the forward progression upward to the levels that artists are at-tempting to attain by schooling and or doing it at all. Prospective clients such as collectors, vendors and busi-ness persons involved in seeking out work and possible new fresh talent frequent events of this type to discover individuals whom might fit the category they are seeking to fill. This process is very difficult at times since it involves a lot of time, effort and money. Unless an art-ist first starting out has a lot of family support financially he or she, “has to have” employment. They, “must”, have a means by which to support and suffice their means. That means that a regular job is absolutely necessary in order for this to work in a positive manner and still be able to exist like any other normal human being in life. Of course if one can manage to find a job as an intern in whatever facet of the graphics industry they may find employment in thatʼs an even better avenue to take advantage of however these forms of opportunity are rare and very hard to find and waiting for that chance to surface can ultimately destroy all kinds of things

This is another photo of what my drawing environment

looked like in, 1980. A couple of sets of pencils and an old pine drawing board which was a part of an antique oak drafting table.

“Searching The Underground” (Above) Neon PrismacolorStolen after a local art event.

“Cozmic Owl” (Center) One of my earliest works recorded since stepping up from typing paper medium to real bristol to work on. This work is made of graphite and, Berol, colored pencil and was ex-changed in kind for another artists artwork whom was attending

a local art graphics collage here in, Denver.

“I Donʼt Know” (Right) One of the first colored pencil works that I had ever completed on dark or black host medium. Back during its time of emergence drawing on black

paper was a big deal and something sort of new. This work is owned by, Adam Pinson of the, U.K..

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along the way to whatever end the artist may desire to find as a life long endeavor; if youʼre not living at home and have the full financial support of your family you will “not” be able to pay the rent, feed yourself or pay the normal bills associated with maintaining normalcy in today s̓ ideal living space. This can be one of the hardest aspects to coming out in a professional light to accept because all the artist wants to do are seek out and make money with their art. If you cannot accept the fact that you, “have to obtain gainful employment”, to support and suffice your means as an, “active artist”, then you might as well hang back and use whatever pocket change you can scrape together for lottery scratch tickets... the odds are pretty much the same.

Please keep in mind that this only my reflection on how to conduct a persons life are my own but are a truth that you reading this need to seriously consider. I make this claim basically due to the fact that I have witnessed a number of talented people that have not yet developed that form of thickness to their skin to be able to endure the pains of reality and in doing so succumb to that and fail in their self development as a productive artist and ultimately never come to be. As you reading this are in school you are very fortunate, listen to what your teachers tell you they wonʼt lie either. Enough of that. I had come to, Denver, Colorado, with serious intensions of attending, The Art Institute of Colorado, which is one of many located all around the, U.S.A., that did not materialize due to a burglary while I was at work so I had to then make a decision wether or not to continue towards my goal and that s̓ where all of what I have described paid off. After a few thinking sessions I then decided to continue on considering the fact that even if I wasnʼt going to be able to re-build my possessions and pay for my keep “and” work my way through a two year course in visual communications and stay within the boundaries of reality with regards to repaying the student loans associated with doing so, so I went about creating my form of art and exercising self promotion by taking advantage of the art venues that support creative talent no matter what ground you stand upon as long as you met the requirements that they place in prospectuses announcing current events. The timing at the time, (which could be any time), was right for the emergence of the colored pencil medium, (1994), since the, CPSA, had just begun its role as a spear head heralding the formality of the colored pencil medium being utilized for more than a practice medium towards the fine arts category. I think that the most important thing to becoming recognized in what you do artistically are the development of your own per-sonal style and technique although inspiration comes from what we all see and experience and the desire to ac-complish the same levels of what we each deem as perfection from each of our own ideal perspectives of what that might entail. If you can understand where I am coming from then you could then take “any” workshop or class, conform to whatever standards and guidelines the instructor may have to adhere to and still walk away with all of the important aspects of what that is supposed to achieve by happening and maintain your own Individualistic original style and flare that cuts you apart from all the rest. Focusing too hard on attaining a style or technique that you find most appealing in another artistʼs works will depress and discourage you to the point of not wanting to do it at all since you know that the people that look at your art arenʼt thinking that it looks anything at all like, Beverly Doolittleʼs, fine art but that is what, “you”, are trying to accomplish. Iʼm not saying that you shouldnʼt aspire to any one degree but a person like, Beverly Doolittle, performs her skill in a natural way... It comes natural to her to produce fine art at the quality level that she does and she has had extensive training in a number of areas, there are other artist s̓ work that are close to similar but nothing really actually compares in a true sense and are exactly why her style and technique are significantly her own and to an experienced eye recognizable upon sight as well. Another important aspect to becoming successful and gaining any form of notoriety is to maintain a con-sistent identity. In other words once you emerge as whomever you decide to come out as, wether it are simply your natural family name, or a pseudonym, ( a fictitious name reference), which are legal in the art world. If you change your identity too many times too often people overall will not know whom you are when mentioned and your art and yourself associated with it wonʼt automatically come to mind to someone whom has never seen or known you from a personal stand point of view. I guess it all depends upon how small you want your world and boundaries to be. So, “think”, about that seriously before working your art out in the public eye, it s̓ more important than an e-mail address.

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These artworks are way old! They are from, 1978, and are a few of the remaining original works that I managed to gather enough smarts to photograph during that period of time.The black and white samples, (Top two), are done on typing paper since to me back then that was a lot better than ordinary paper. The colored sample done in, 1980, is one of “the first” renders that I had

done utilizing a small set of, Berol Verithin, pencils just before I was given a set of, Derwent Studio, colored pencils, all of these works included #2 lead in them. The render to the left was done on some form of 100% cot-ton rag watercolor

paper; something that, Paul, had laying around that he told me to try drawing on.

These works are... “I know...”, really kind of weird but I had the inclination to draw them never-the-less. No titles, I still donʼt like titling my art most of the time since they are mainly borne out of a feeling more than a thought conception plus I re-ally like to think that observers should be able to walk up to or by anything that I have created and not have their mind pointed in “any” direction other than what they are inspired to think no matter what it is they perceive any of it to be. I “want” them to

This is one of the only watercolor paintings that I have complet-ed in my history as an artist. There will be many more to come in the near future. I did it on a whim and as an experiment into a different medium. It no longer exists here in the, U.S.A., and is owned by, Adam Pinsonʼs, wife, Karen Pinson of the, U.K.. Adam Pinson, is also a self learned artist and has been a great friend and huge inspiration to me since we met although he would argue that “I” am an inspiration, not him. The simple title of this work is,: “Cross Roads”. 24” x 31”

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have that total freedom and to feel completely in control of that aspect of viewing this form of freestyle, free form art. It has no conceptional preconceived meaning and therefore no one should have to have their head pointed in any one direction regarding any of it. No lines, no boundaries, all freedom; negativity is ok as long as it is truly what the viewer is seeing and feeling, that is if they are at all. I have stood and watched people view my artwork without them realizing that I was in their midst and you can learn a great deal from doing it. People will tend to react and reflect a lot differently if they know that you are somewhere in the same area. You can get a true opinion that way as well which is seriously important if you are at all concerned about just what people are “really” thinking and get a much better grip on self direction with regards to how and what it is that you make. Please be careful however not to insult your prospective clients in doing something like that simply due to the fact that they may become insulted and might not wish to return again at the announcement of any future events if they know that you might lurk instead of actively participating, in fact they might wind up thinking you a slight bit weird for that reason so utilize a tact of that nature wisely and it will pay off in bigger ways that you might have considered, oh yeah, by all means maintain a thick skin as I have already stated, people tend to say and reflect a fair amount differently than if they knew you were around.

This small artwork to the left is a beautiful little work and is along the special class in that it is one of the very few that didnʼt get photo-graphed or slided just prior to my coming out as a competition and show artist in, 1994. It is a part of a small series that I rendered on black, Letramax Il-lustration Board, both out of my back-pack when I first made a raw start here in, Denver, Colorado, and at the first apartment location that I had here in, 1989. Mind you the, Colored Pencil Society Of America, had not yet been established until, 1990, so I was doing something pretty cool considering the host medium and the raw fact that it was and still

is very original art. However... All of that wasnʼt new at all, I just hadnʼt realized out my own ignorance that illustrators had been doing the same thing for many years. Grass roots are bliss so to speak ehh? In fact the render just to the right was started and completed all out of my back-pack in one of, Denverʼs, city parks while hanging around between time at work until I got my feet on solid ground which didnʼt take too long, its really easy to start here if you try real hard. These were all experiments in one form or another and I have always had a great time listening to what others have had to say with regards to them, this work is titled, “Cozmic Roses”, and is owned by a friend in, Sioux City, Iowa.

The piece to the left was an experiment on 100% rice paper, one of two in fact that exist. It is very fragile and not an advisable host medium to use for colored pencil. It is owned by the, Marvel K. Cox, estate also in , Sioux City. Both of these friends had always wanted one of my works for years and so I sent them to them so that they could finally have something that I made in a frame and all. Marvelʼs paintings are wonderful and large, I

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own two small samples. This work was done on, Letramax Illustration Board/SuperBlack/Double-Thick. I have since upgraded the host medium to more ar-chival grade paper such as, Letramax 6000. Anyway, this is a minds eye view of a local state fishing pond and what are unique about it is that you could never have seen the lake from the perspective that it is rendered from. Done with, Derwent Water-Soluble, pencil and, Derwent Studio, pencils which are a chalk base pencil a lot harder than something like wax based, Prismacolor pencils. I used to go there with my, Mongoose Amplifier, moun-tain bike and so it is also depicted within it.

The work to the right is a part of a small collection all ren-dered on the super black paper and all the same size. At this point in time I needed to hurry up and complete some work for upcoming local events as well as the annual international CPSA event and so they are all something like, 13” x 9.5”, in size all drawn with, Prismacolor pencil. This work is titled,: “Cozmic Spidie”.

The work below is titled,: “Dormant Stillife” , and was done with, Derwent Studio, exclusively and is owned by one of my former employers, Gerald Davis, whom also with his wife, Mary Davis, owns a number of others that

I had available for sale. I found that these particular works were very popular in that the size afforded a minimum price and the framing wasnʼt all that expensive either so they were all around a cool project, also the shipping was a lot less for them to ship off to competitions. I have found that working on dark or black host medium very rewarding and a challenge as well. However I want to tell you that after working on a dark medium it will affect your perspective and composition capabilities slightly so donʼt do it for a lengthy period of time without going back to white. If you have always drawn on white host medium I would suggest that you give a dark medium a try as it is really a good exercise in contrast regarding

line and color. Lighting takes on a whole new perspective and meaning.

The work to the right was accepted in one of the, CPSA In-ternational events and is titled,: “Eyes in the Forest”. There are three sets of eyes placed within it all sort of hidden in amidst the details. It is owned by, Mary Davis. It is one of my favorite works and has both imaginary objects and from life objects throughout it. Done with, Prismacolor, and, Derwent Water-Soluble, pencil. If you have noticed that these all have a 1” boarder around the content I will explain in the next page or two. As time passed I began to discover a number of things associated with technique as

The title of it is,: “My Bike at Ward Road Pond”, Size unframed: 24” x 24”.

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well as method and I also thought of a few things that seriously helped not only to ensure a clean render but also greatly improved the quality of the finished product. One of the best things or habits that I developed as you may have noticed are the one inch or so boarder that most all of the most recent works have. I do this depend-ing on the size of the render and host medium with, PostIt®, note pad paper. I start out making certain that the pre-cut paper stock is as square as I can get the art supplier to do it and then once I get it all back to the studio I scribe hairline fine graphite lines at least one inch around the edges of the paper placing one against the edge of the other in succes-sion all around the boarder. After I have that complete I use some scotch tape over each split all around and I carefully line the clean edges of these pieces of tape perfectly with the inside edge and then burnish them all down with my thumbnail which eliminates any chance of them ever coming apart or causing the sharp clean edges to look crooked or offset in any one place so you, “must”, be extra careful to line every, PostIt®, note exactly and the same goes for the scotch tape pieces or it will look like crap at “the” wrong time since

they wonʼt be coming off until the drawing/painting is completed. After I have that all done and am satisfied with that stage I then bend all the loose hanging remaining parts of the, PostIt®, notes over towards the backside and make certain that the bends are all firmly bend on around with care to thoroughly press the note paper tightly and closely over the host medium edge and then after going com-pletely around one time I then secure them to the backside again with a piece of scotch tape so that they are all almost air tight and secured to the host medium. In doing so you will end up after the drawing/painting is completed a pristine edge with clean sharp edges all around your render/painting. One more word of advice if you implement this tact, ensure that once you take off the, PostIt®, note paper that you are very careful not to touch or brush against the pencil pigment edges that are the

working edges of your finished art because depending upon how heavily you layered or burnished you lead pigment onto the host surface it can have little areas wherein the lead is a slight bit crumbly and you can cause major damage to your hard work at that point until you closely examine it all around the drawing/painting. If you should discover that there are in fact soft edges to your working area you should first take something like a brand new watercolor paint brush or a clean new make-up brush and brush it inwards away from the clean pristine white boarder and then detail it extremely carefully at the places that need it; fixative are the next and last stage, a very “light coat” of, UV Resistant Acrylic spray will ensure that, that wonderful moment you spent

This colored pencil work was the first of two that were done with, Bruynzeel design Fullcolor, colored pencil.

Its title: “ Denver Rio”.

This is the second of the two done with the, Bruynzeel, wax based pencils which both sold online upon completion together.

Its title: “ Cherrelyn Trolly”

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in awe of the stark difference in how your artwork overall looked will stay that way for the entire duration of its existence. Man-o-man the improvement in the overall quality and appearance is dramatic. If you use nothing but, PostIt®, brand note pads the adhesive on them will not yellow or leave “any” residue on the host medium even after a number of years stashed in a protective wrap of acid free wrapping paper that you can obtain at most any art supply store.I have pre-prepared paper medium that has been stashed away all cut to size and ready for use for more than six years and it is still in the very same condition that it was the day that I sat there and prepared each one for storage and later use. It is a bit tedious and time consuming but more than worth the outcome and result, I like doing a bunch all in one or two settings and that way I donʼt have to mess with it again for quite some time.

This work, in its original form has a one inch boarder all around it but is cropped off in this photo representa-tion of it. It is located right downtown here in, Denver, Colorado, and is one of the only renders of a building structure from life that I have completed and placed out in the public eye.This technique of masking off the outer edges of the work area also suffices an easy means by which to take slides of the finished artwork and ensure bear perfect cropping without hav-ing to ever mess around with cropping tape on the processed slide film and that saves a lot of time and trouble when you get to that point where you have a deadline to meet for slide submittals for competition. I am chronically at the last second when it comes to that and this little trick even though it is time consum-ing and a lot of trouble to implement really pays off in the long run in multiple ways. It especially looks great if you use it with a dark host medium.

This work to the right is the second work that I have produced utilizing the, 100% rice fiber paper. The ap-pearance of it in most any lighted area on a wall has the look of snow flakes falling from the fibers that the paper is made of, however it is very sensi-tive to pressure and is not an advisable host medium to use for colored pencil or hard drawing tools. This was done with, Dewent Studio and Prismacolor with a touch of, Derwent Water

This artwork is a rendition of the, Denver Union Station, train station which is a historic landmark done exclusively with, Derwent Studio, pencil. Titled: “Denver Union Station”This work is owned by the curator of the, Sloan Gallery.

Mina Litinsky

The, 1950 Buick, was rendered from a photo of, Walt Disneyʼs, personal car.

This work sold at the, Channel 6 PBS Art Auction 2003.

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soluble pencil used for the leaves on the trees. The work that you see here to the left is the first of its kind that I have created and it is done utilizing a host medium called, clayboard. It was an experiment in using a wash as a base to then draw on top of. This is a “very powerful” medium to use in that not only can you layer very well onto it but you can also scrape away layers and overlay as well as inlay with it.This particular work has gained me much to my surprise a number of acclaims. In, 1997 on a whim I decided to enter it in the, Artistʼs Magazine Competition, in the, “Experimental Category”, some of you know what that famous competition is and about... It scored in the, “Top Ten”, class in the experimental category for that year and is noted as such in the, December 1997, issue of,

The Artistʼs Magazine. In, 2002, again it was selected for publication by, Janie Gildow, for use in her new book which recently was released. The book titled, “Colored Pencil Explorations”, is based upon instruction utilizing mixed medium with the colored pencil medium and is an excellent descriptive instructional book with some of the very finest colored pencil artistʼs of this century. I am privileged and very proud to have been able to partic-ipate in something of its nature created by one of the very best still life artists I have ever known. I have taken, Janie Gildowʼs, colored pencil workshop and can tell you that until you have actually looked upon one of her original colored pencil artworks you are still lacking the thrill of seeing an artwork so finely accomplished and executed. She is truly an amazing fine artist and a real sweet lady too.Her colored pencil workshops are one not to miss out on if ever you get a chance. I have taken many workshops conducted by the very best in the country relating to the colored pencil art medium and will list them

at some point in this document. To see some examples of her work and gain information click on the image if you are connected to the web and they will take you to the referenced locations so that you can see what I mean. I will also include a number of excellent

Title of this work.: “The Bondage of Reflective Retrospective Contemplation”©1997 Jerry Baker, Owned by, Mrs.. Mary Davis.

This work premiered at the now defunct, “Planet Off Gallery”Owned by, Amber Tripodi

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resource locations for more info., regarding colored pencil art and the artist s̓ that use it to create with.Now for a short description and sample image of what I was referring to regarding masking off the outer edges of the drawing area so that you end up after all the erasing and stuff and still have a perfectly clean outer boarder surround-ing your work. I have circled some of the specific areas where you should place tape as precisely as you can get it onto the, PostIt Notes®, at the very edges. It is super important not to allow the tape to hang out over the edges or you will find out why I say that it is super important not to. It takes a little while doing it and you will get the hang of it and it wonʼt be too hard to do.I really feel that this technique is so impor-tant that I just had to make a short issue of

it as it will make a sheer difference in how your colored pencil artworks turn out at completion time and make it a lot easier to slide for competitions.I never used to do this and as soon as I started to do it things overall went a lot smoother and the quality jumped to a newer higher level.The photo below is what I have on the big table at the moment and you can see thatI have gone to a lot of trouble at times andam very serious about this method of preserving the outer edges and leaving apristine boarder all around the work area.

The next thing that I would like to tell youabout are seeing opportunity and taking advantage of it.As time passes I make artworks and show them, enter them into competitions and ultimately sell them to whomever may desire to have any of it, however there will always be a few that just donʼt quite get the passing viewers to do more than admire them or pick them up and then put them back down but not really wish to walk off with them.These are not a total loss... The whole ideal and concept behind being and becoming a working artist is the market and promote

Here you can see that I have gone all around the entire backside and taped down the joins at all of the, PostIt Note®, edges. It is way important that you firmly crease and flatten the notes securely and then burnish them on all surfaces even where they over-lap, if you make certain to do that they will never allow any dirt, pencil pigment crumbles or eraser to get under them and ruin your efforts. A big pain but it works.

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your art “and” yourself. A real life opportunity just happened a few months back wherein I was offered the opportunity to donate any number of my work to a local, PBS Television Broadcasting Station, Channel 6, to be exact. Every year they have a huge art and items auction to help generate money towards programming and other costs associated with bringing really great television to the general public at large. Last year and one other year I did the same thing but what I am getting at are the fact that this is a unique opportunity to not only expose yourself, contribute to the general overall community and get your artwork out there in front of a mass audience no matter how long it is in the publicʼs eye during the bid-ding event.

You get good exposure a good feeling about yourself and others recognize that and the more that you do it, “wisely”, the more they will accept you in many types of public events that involve a lot of people not just a handful at a local gallery event.You therefore can cover mas-sive ground in a relatively short time span gaining the publics knowledge as to whom you are, what your art looks like and this is “very important” to becoming known and goes hand-in-hand with the earlier claim that I made regarding deciding your artistic image and sticking to it. After so long of a time you will find that people will tend to more or less sometimes recognize your work on sight before they ever even see the signa-ture... :) When that happens and you notice it, you will have established your identity in the public s̓ eye where you live and show your art. That is a way cool feeling to know that you are recognized on sight.

The title of this work is. : “Extraterrestrial Visitations” Mixed medium colored pencil and 14k Gold leaf. 22” x 33”

Watercolor 100% Cotton Rag, © Jerry Baker

These two very small artworks were only tiny experiments... Yet “another”, opportunity that I discovered could make even the smallest things that you do count in many ways. Always Remember... That regardless of how popular you are or want to be that the fact that you are doing what you do at all is a fact and a reality that nobody can take away or dismiss as non-valid. Always have your sights set and go for it for yourself and you will hardly ever become disappointed because you have already gotten out of it what you need, the rest is gratuity. Anyway... these small artworks, miniatures, I found are a very popular item with friends and other people that may have wanted something of you and they pass that along.

“Everything Holds Value”

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Make every effort outside of school and your life to attend all the local coop gallery events and get to know and be known to as many associates in that field as you can, that will lead to further learning, opportunities and information that you might not have access to in any other way. If you use or are contemplating working with a computer that can and will speed up and extend your boundaries in an unlimited manner. There are no end to the possibilities of self promotion and information doing it. It “is” time consuming especially if you have no knowledge of computer use or graphics. Most any computer will suffice however I strongly suggest, Apple Computer, as one of the best hardware and software combinations that you could invest in. A serious, PC, workstation is also just as proficient and powerful, Apple, just does it a slight bit better in my opinion.

The photo to the right is of a portrait that I won in, 1998; the portrait was created by, Bernard Poulin, currently, Advisor At Large, for the, CPSA, whom lives in, Canada, and is one of the best colored pen-cil portrait artists I have ever met much less taken a workshop class by. I bought five raffle tickets by se-lecting pixel numbers of the painting online. It is the first of many paintings that he has donated towards the, ASTM D6901, testing for the colored pencil me-dium to qualify it as a permanent fine arts medium and we have all but accomplished the task, you can find out more about it at the, CPSA, website.

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On this page I want to point you to places and people/artistʼs and other stuff that have been an additional help, inspiration and virtual guides for me over the past twenty years. If ever you get to, Denver, Colorado, I would highly suggest that you visit any of these locations and see what they have happening, you are sure to be pleased with what you find. There are a few gallery locations that I will mention in text that do not exist any longer but have served as a jump-ing off point for me and others in way bigger ways than most people think about.I have been working with computer arts for a solid six years and as I have already men- tioned these machines are a seri-ously valuable asset and tool but as I was coming up at the beginning of my official immergence in, 1994, I made all of my announce-ments and invita- tions ect., by hand with dry, Letraset®, lettering, pen and ink and whatever else I could find to do it with. Knowing how to do all of that from scratch is very important and you should pay attention in school when you are being lead through that aspect of art design, it pays off.

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Angelo, Sandra McFallExploring Colored Pencil, Davis Publ. 2000 (hardbound)Create with Colored Pencil on Wood, Walnut Hollow Publ., 1997Colored Pencils, Walter Foster Publ. 1994 (paperback)

Averill, Pat, Sylvester Hickman and Debra K. YaunColored Pencil Step by Step, Walter Foster Publ, 2003 (paperback)

Averill, Pat, Barbara Benedetti Newton, and Debra K. YaunWatercolor Pencil Step by Step, Walter Foster Publ, 2004, 64 pages (paperback) Walter Foster Artist's Library Series

Birker, StefanDrawing & Painting with Colored Pencils, Stirling Publ. Co., 1993 (paperback)

Borgeson, BetColored Pencil for the Serious Beginner, Watson-Guptill Publ.,1998Basic Colored Pencil Techniques, F&W Publ., ISBN-0-89134-736-4, 1997

(paperback)The Colored Pencil: Key Concepts for Handling the Medium, BOI Publ., 144 pp, ISBN-0-8230-0749-9, 1995 (paperback)Colored Pencil Fast Techniques, Watson-Guptill Publ., 143 pp, 1988

(hardbound)Color Drawing Workshop, Watson-Guptill Publ., 142 pp, 1984The Colored Pencil, 1983 (hardbound), revised 1993 (hardbound)

CPSA, compiled by Vera CurnowThe Best of Colored Pencil 5, Rockport Publ., 1999The Best of Colored Pencil 4, Rockport Publ., 1997The Best of Colored Pencil 3, Rockport Publ., 1995The Best of Colored Pencil 2, Rockport Publ., 1994The Best of Colored Pencil, Rockport Publ., 1993

Curnow, VeraCreative Colored Pencil: The Step-By-Step Guide & Showcase, Rockport Publ., 1995Creative Colored Pencil Landscapes, Rockport Publ., 1996Creative Colored Pencil Portraits and Self Portraits, Rockport Publ., 1996

Deaton, James and Jennifer CarderAirbrush and Colored Pencil Techniques, Atlantic Digital Publ., 1993

Doyle, Michael E.Color Drawing, 1980 and 1983

Gildow, JanieColored Pencil Explorations, North Light, 2002

Gildow, Janie and Barbara NewtonColored Pencil Solution Book, North Light, 2000

Greene, GaryCreating Textures in Colored Pencil, F&W Publ, 1996Creating Radiant Flowers in Colored Pencil, F & W Publ., 1997Flower Photos for Painters, F&W Publ., 1998Painting with Water-Soluble Colored Pencils, F&W Publ., 1999

Hammond, LeePortraits in Colored Pencil, F&W Publ., 1997Drawing in Color: Birds, F&W Publ., 2001Drawing in Color: Flowers and Nature, F&W Publ., 2000Drawing in Color: People and Portraits, F&W Publ., 2000How to Draw Portraits in Colored Pencil from Photogaphs, F&W Publ, 2000.

��������������������

(compiled by the Colored Pencil Society of America - www.cpsa.org)

Holt, RodColored Pencils Workstation, 1994

Hutton-Jamieson, IainColored Pencil Drawing Techniques, 1986 and 1999.

Ikuta, TakakoWaratte (“Smile,” English translation). 2003. Shinpusha Press, Japan

Johnson, CathyWatercolor Pencil Magic, F&W Publ., 1999.

Kullberg, AnnColored Pencil Portraits Step by Step, F&W Publ., 1999Capturing Soft Realism in Colored Pencil, F&W Publ., 2002

Martin, JudyThe Encyclopedia of Colored Pencil Techniques,1997Dynamic Color Drawing, North Light, 1989

Masaru, TorinoIntroduction to Colored Pencil Drawing, Graphic-Sha, 1992

Nelson, Bill Finishing the Hat, 1986.

Parramon, Jose M.How to Paint with Colored Pencils, 1988

Poulin, BernardThe Complete Colored Pencil Book, 1992; rev. 1995Le crayon de couleur, 1994Colored Pencil Techniques, 4 workbook set, North Light Books, 1989

Ross, Sueellen and Jennifore LeporePaint Radiant Realism with Watercolor, Ink and Colored Pencil,F&W Publ., 1999.

Sanchez, IsidroColored Pencils: The Materials, Techniques & Exercises to TeachYourself to Draw with Colored Pencils, 1991

Strother, Jane and Hazel HarrisonThe Colored Pencil Artist’s Pocket Palette: F&W Publ., 1994.

Warr, MichaelColored Pencils for All, David & Charles Publ., 1996

Wise, MorrellDrawing with Colored Pencils, Walter Foster Publ., 1985 and 1991.Prismacolor Your World, Berol Corp, 1982.

Wood, MichaelDrawing Basics: An Artist's Guide to Mastering the Medium, Watson-Guptill, 2000

Yaun, Debra K.Colored Pencil - Project Book for Beginners, Walter Foster Publ., 2003Colored Pencil - A Complete Kit for Beginners, Walter Foster Publ., 2003

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This is borrowed colored pencil information from the, CPSA Website.

cpworlds.id2 5/11/04, 11:00 AM16

��������������������������������The Artist’s Magazine

2004 - Feb - Paint Flowers. Features 4 artists, includes Barbara Edidin, p. 35-36. - Feb - Society Spotlight. Top winners of 11th International, p. 14.2003 - Mar - The Perfect Partner by Janie Gildow, p. 522002 - Oct - Crash Course in Colored Pencil by Vera Curnow, p. 652002 - Aug - Showstoppers. Featuring Jill Kline & Thomas M. Thayer, Jr.2002 - Feb - The Need for Speed by Thomas M. Thayer, Jr., p. 422001 - Nov - Art Clinic. Critique of Allison Fagan’s “Turkey Lurkey” by Vera

Curnow2001 - Oct - The Power of Ingenuity by Kathleen Dunphy2001 - Sep - Keeping a Creative Flow . Features Vera Curnow2001 - Jan - The Values of Simplicity by Joe Bascom2000 - Sep - Painting With a Pencil by Sandra Angelo. Featured artist Helen

Jennings1999 - July - Issuing an Invitation by Jennifer Printy1999 - May - Lightening the Load by Lee Hammond1999 - Mar - Redefining the limits of Colored Pencil by Greg Schaber. Features

artwork of Vera Curnow, Maggie Toole, Brenda Woggan, Bonnie Auten and Robert Guthrie

1999 - Art Clinic "Bringing Credibility to Realism" by Gary Greene. Artwork of George Hoffman

1998 - May - Harmonizing the Still Life by Judy Johnson. Features artwork of Jill Kline

1998 - Mar - Tap into the Energy of Reflections by Barbara Newton1997 - Jun - Making Your Point with CP, Gary Greene1997 - Jan - A New Look at Grisaille, Allan Servoss1996 - Capturing the Perfect Color, Janie Gildow1996 - July - Pencilling the Perfect Pet, Susan Y. West1996 - Apr - Closing the Circle on Realism, Maggie Toole1995 - Feb - Mastering Colored Pencil--It's Elementary, Nikki Fay1995 - May - Building Texture into Wood. D. Dooley, by Sandra Angelo1994 - Jan - Not to be Missed Media. Marty Munson1994 - May - Unleash the Potential of Colored Pencils - July - Painting with Colored Pencils1993 - May - Pencil-Perfect Renderings, A.J. Massey & S. Angelo1992 - Feb -Technqiues for Using Colored Pencils, Barbara Edidin - Nov - New Depths in Colored Pencils, Barbara Edidin1991 - July - Colored Pencil: Secrets of Modern Masters, Sandra Angelo - Oct - The Basics of Value1989 - Feb - A New Surface for Colored Pencil, R.Gluthrie - Apr - Sharpen up on Colored Pencils, Iain Hutton-Jamieson - Apr - The Range of Colored Pencil, Lisa Carpenter - Aug - Experiments in Colored Pencil, Cathy Johnson - Nov - A Painterly Approach to Pencil1988 - Mar - Portraiture in Colored Pencil, Bernard Poulin1987 - May - Drawing with Colored Pencil, Bill Tilton1986 - Oct - Illustrating with Colored Pencil, Bebe Raupe. Artist: David Sheldon.1984 - May/June - Colored Pencil Techniques: Tone, Texture & Control

American Artist Magazine2004 - Apr - Expressive Color, Adjoining Contrasts Features AnneFinucane.2004 - Mar - CPSA: Colored Pencil Society Achievements, p. 54-55.2003 - Feb - Colored Pencil Plus. Features artwork from first Explore

This! Exhibition in West Bend, WI.2003 - Feb - Modern Drawing. Includes some 100% cp.2002 - Dec - James Mateer featured2002 - Nov - Jeffrey Smart Baisden featured.2001 - Aug - Drawing Backwards Features Thomas M. Thayer, Jr.2001 - Jul - Online Learning by Kathleen Baxter. Features Bet Borgeson

1999 - Jun - Accentuate the Positive; Accentuate the Negative, by E. Lynne Moss. Features artwork of Gail Collier.

1999 - Sep - Pop Art by Sandra Angelo. Features art of Steve Miller1999 - Jan - Colored Pencil Landscapes by Peggy Arenz. Artist: Don Pearson1998 - Dec - The Coming of Age of Colored Pencils, by Linda Price. Features

Award Winnrs of 6th Annual CPSA Exhibition.1998 - Aug - Bright Lights, Big Signs by Donald Miller. Features art of Charles Biddle.1998 - Feb - Miniature Pleasures with Colored Pencils, by Ralph Romano1997 - Jul - Using French Gray to Enrich C.P. Paintings by Sandra Angelo Artist - Barbara Newton1996 - Nov - Unusual Combinations: Gold Leaf, Colored Pencil, Slate. Karen Haber1994 - Mar - Colored Pencil Artists Get It Together1993 - Feb - Using Colored Pencil on a Colored Ground, Bill Nelson Mar - Water Soluble Colored Pencils: Bridging the Gap Between Drawing & Painting Jul - The Colored Pencil, A Decade Later1992 - Oct - Combining Oil pastels with Colored Pencil1989 - Dec - Applying Colored Pencil over Acrylic Wash, D. Dooley1987 - Apr - Further Techniques for Using Colored Pencil1985 - Aug - Drawing Still Lifes with Colored Pencils1982 - Aug - Colored Pencil Article

Step by Step Graphics2001 - Nov/Dec - Colorfast Colored Pencils, Rhonda Farfan, p. 311992 - Mar/Apr - Problem Solving with Colored Pencil1989 - July - Glazing with Colored Pencils, Thacher Freund1985 - Premier Edition - Painting with Colored Pencil

Inksmith/Daniel Smith1989 - Sept/Oct - The Prismacolor Pencil and its Ancestors, Carmi Weingrod

International Artist Magazine2004 - Dec/Jan - Award Winners, 2003 11th Ann’l Exhibition2003 - Feb/Mar - Award Winners, 2002 10th Ann’l Exhibition2002 - Oct/Nov - Competition. Still Life - Janie Gildow, Honorable Mention.2002 - Dec/Jan - Award Winners, 2001 9th Annual Exhibition, p. 24-25.2001 - Oct/Nov - Master Painters: Canada - Sam Hamilton artwork featured, p. 942001 - Oct/Nov - Competition - Still Life - Featured artwork - Cecile Baird, p. 102001 - Jun/Jul - Master Painters: Kristy Kutch artwork featured, p. 282001 - Feb/Mar - Drawing on the Mind, Fernando Allevi (Argentina), p. 782001 - Dec/Jan - Prize Winner Showcase, 3 Winners - 2000 8th Exhibition, p. 122001 - Dec/Jan - Mountains and Valleys, Barbara Benedetti Newton, p. 362000 - Oct/Nov - Master Painters: Janie Gildow artwork featured, p. 682000 - Jun/Jul - Master Painters: Vera Curnow artwork featured, p. 892000 - Feb/Mar - Master Painters: Jill Kline artwork featured, p. 772000 - Dec/Jan - Master Painters: Joe Bascom artwork featured, p. 742000 - Dec/Jan - Prize Winner Showcase, 4 Winners -1999 7th Exhibition, p. 12-13.

Art Business News2000 - Oct - Penciling Your Way to Profits by Vanessa Silberman. Features Vera

Curnow, Joe Bascom, Pat Averill, Cira Cosentino, Goodman, JeanStephans and Carol Calabro. Cover: Joe Bascom

Art Materials Retailer2001 - Fall - Left-handed Pencils and Other Dry Media, Claudia Myers (with

contribution by Rhonda Farfan)

Getting Started in Art (F & W Publications)

2001 - Winter - A Trick of Texture by Barbara Newton2001 - Winter - Dark Secrets by Vera Curnow

(compiled by the Colored Pencil Society of America - www.cpsa.org)�������������������������������������

This is borrowed colored pencil information from the, CPSA Website.

cpworlds.id2 5/11/04, 11:00 AM17

This is a listing of some of the places and people that have become virtual inspiration for my design work and style in a digital sense and as well in a conceptual sense too...

Eyeball Design Web Design and Photoshop Tutorial Site

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On this page I am going to list a number of colored pencil workshops. The list isnʼt all that long and I want to share with you the fact that I gave at-tending colored pencil workshops a great deal of thought before ever actually paying for and attend-ing any of those that I have.The reason that I gave it a heck of a lot of thought wasnʼt because I didnʼt think that they would be a worth while thing to take advantage of or that I didnʼt have the money to spend on them, it was because I was concerned how doing so would affect my originality and my own personal style and self developed character or as many call it, my hand or “the artists hand”. But after thinking it over a few times I decided that I wasnʼt so absorbent of another artists technique or methods anyway and that I could in fact take it in as very good sound ad-vice without really actually feeling that I needed to emulate everything they did simply because I paid money to and really wanted to see what they had to offer and teach.

I will list these in sort of a random fashion and there wonʼt be any web references to them but you can certainly get that information from the, CPSA website, and the links or e-mail associated there regarding most any of the artists that I am about to mention.

• David Dooley “Glass & Metal”

• Sandra Angelo “Art Marketing”

• Jane Wikstrand “Vertical Line Technique”

• Ann Kullberg “Portrait Drawing & Composition”

• Vera Curnow “Free Style Mixed Medium, and, Solvents”

• Gary Greene “Metals, Technique, Composition”

• Janie Gildow “Still Life, Technique, Composition”

• Bernard A. Poulin “Portrait, Composition, Light”

• Barbara K. Jenkins “Still Life, Landscape, Technique, Composition, Color”

Thatʼs pretty much all of them however I have sat through demonstration sessions with a few others as well like, Michael Burrows, our current district chapter president elect. I have learned a heck of a lot by being there and becoming friends with whom I meet and get acquainted with and the most im-portant aspect of interactively learning from those that are around you are to have something to share and exchange in return.Other artists will not on a normal basis share with you experiences, tricks, skills or methods just out of the blue, you have to have something with which they can find value in that “they” might wish to know about and then everything sort of plays a natural chain of events. Positive attitude and a knowledgeable background with work to back up your existence will attain you everything without really actually thinking about it.Please donʼt take me wrong... I am not trying to tell you how you or anyone should actually conduct yourself but there are a lot of younger artists and aspiring artists that wonder a “lot” about how best to conduct one self and how best to gain attention in order to learn in a more positive way to move forward with what their ideals are regarding doing art at all in the first place. Sharing ones knowl-edge can be a slippery rock as well so by all means chose your friends wisely and make friends for the reason of real friendship... Those are the keys to a positive co-existence with most any given art based environment. Never.... expect that just because you hang around that, that will get you something, that doesnʼt work.Being this way and thinking along these lines has afforded me all kinds of very good friendships and that in turn makes all the effort of participation more than worth it.

cpworlds.id2 5/11/04, 11:01 AM19

The remainder of this document of sorts will consist mainly of a few examples of what my hand done work looked like back before I had access to or owned a computer to do layout and design for announcements and poster art for events. I have organized six or seven local, “Open”, and, “Exclusive”, colored pencil art events and as well two, international formal colored pencil events with magazine ads, a flown in and returned work-shop artist of notable stature and acclaim.

Experience of that nature are very important to forward progression regarding promoting the medium that you might work with as well as the experience of organizing a team effort interacting with fellow artists and gallery owners as well as being responsible for how the events go and also for assigning tasks and obligations to other volunteers whom offer their own time to assist in all matters having to do with organizing a published local or national or international art event.Knowing and learning how to create attention gathering artwork and or graphic illustration are another key ele-ment to the success of organizing any form of art event. Teamwork amidst your peers and volunteer members of your group are in a large part one of the most important aspects of a group effort to consolidate all of this energy all into one location at a specified date and time. That does not always happen exactly as planned and you have to be ready to pick up the slack where others fail for whatever reason to follow through with their own commitment.Once the ball gets rolling in a serious way it might even be of a counter productive nature at some point after getting things going due to magazine ad costs and materials and effort to discontinue which would not be a good thing, if you have these possibilities in mind at the start you will be ready in the event that things or other people involved fall out. You might already know full and well that most planned efforts never go exactly the way that you plan no matter how thoroughly you think and work things out in advance.

I have even had an instance happen wherein a few of the initial volunteers fell through for whatever reasons and I had to carry the ball on practically alone, (accomplished the goal), even sold some artwork “and” returned the workshop instructor safely and on time and then, someone..., wrote and called the, National District Chapter Development Director, for the, CPSA, and complained that, “I”, was doing everything myself! So you have to also be ready for some unfair and disappointing let downs as well and still be capable and ready to continue on in your capacity and perform the duties of which you volunteered yourself to perform and be responsible about and for.Aside from the negative things that can happen during the organization of any significant art event subject to the public eye and opinion doing work like that is a very rewarding experience at the same time. It will get your feet wet conducting business affairs normally done seemingly behind t h e scenes by someone you in the past may never have seen

playing the role of organizer and promoter.Never be afraid to ask questions or for help from others whom might not state it right out up front but would jump at the chance to help and play an active role in the event they are a part of.

Sandra Angelo, gives a really great workshop regarding art marketing and self promotion and has materials that one can obtain both online and through mail order that instruct methods in various situations. Gary Greene, also has excellent video taped collections of his mar-keting skills and art methods that he utilizes to work his skills out and has become very successful at doing. I would openly suggest and recommend “any” of the workshop events that I have denoted as attending

myself, they are, “all”, on the top level of excellence.

cpworlds.id2 5/11/04, 11:01 AM20

This page I want to sort of show and tell you what things were like before I got either of my Macʼs and had to accomplish announcements and flyers and mailings all with a, SmithCarona Typewriter, and Letraset Dry Let-tering, which you can get at most art supply or office supply stores anyplace.

The text hopefully wonʼt block all of this out too much and you should still be able to get close up and see the detail similarities in these two illustration documents. I made this for a local event that was open to interna-tional entries where we had invited, Vera Curnow (Founder of the, CPSA 1990), to come and judge and do a workshop using mixed medium with colored pencil and solvents.A few days before the actual event was to take place we as a chapter decided it best to have some form of display for the front door entry way so that people that came to the show could have some indication of what the event was about reflecting upon the snail mailers we also made and mailed out to all the guests. I put this together with the materials that I mentioned and also scanned a handful of, Bruynzeel, pencils to use as a back-ground then took the collected artwork and pencils to a local, KINKOS, print shop where they in turn scanned the pencils and photocopied the graphic illustration on top of the scanned pencils and generated a large 24” x 34” poster which I mounted on 1/4 inch thick foam core.

This cost us around, $65.00, total to accomplish which is a slight bit pricey but without a computer or other graphics tools it was still a great deal since we really felt that we should have it there.

This is only one example that I have made for a show

event and have made many. Lots of the old school

graphic Illustrators and print shop people would have

said that this was excellent training for any artists

working out their talents to earn a skill trade in

graphic illustration and poster art design, and they

are correct. The computer has made everything

very slick and well a heck of a lot quicker to make

things of this nature and it is a lot less expensive

that way as well.

If you have the opportunity to work out cre-

ations along these lines I would strongly sug-

gest that you give hand made articles of this

sort a real try simply to get the feel of what

it takes to produce something with your

hands rather than taking advantage of

computer generated graphics totally. It

helps develop your skills in a manual

sense and prepares you for what it

takes to do so in that manner.

cpworlds.id2 5/11/04, 11:02 AM21

cpworlds.id2 5/11/04, 11:02 AM22

This is actually all I want to take time to make for this, but these last two examples were both hand made with the exception of the graphic illustration below. It is the very first computer generated artwork that I had ever utilized for its purpose and added a little type on top for description of course.

From that point on I have utilized computers mainly but owe a lot to having to do everything manu-ally the hard way so-to-speak. It is one of first few, Bryce 3D, renders that at that time I was still only taking screen captures from a demo version. <Big grin...> Please feel free to comment and ask questions with e-mail if you like and if you find this helpful in any way I am extensively experienced in the computer arts as you might well have noticed from looking at my website, which by-the-way is still more of a personal art site than a serious business oriented information site. I am about to change that aspect fairly soon. I can do something like this for CG art as well and am happy to have contributed to this effort. If you disagree with any of this please let me know that as well!

Produced by, Jerry Baker J. Baker Studio 4703 w. 52nd Ave., #201 Denver, Colorado 80212-4069 jbakerstudio@earthlink.net

As of, April 30th, 2004, I was accepted at this technical collage to take parts of a, Visual Communications, class course.

cpworlds.id2 5/11/04, 11:02 AM23

This is a hand made notice announcement, one of the first I had cre-ated for a show event to the now defunct, Asylum Gallery.Lenny, as we all called him is no longer with us as he has passed on due to a physical ailment. He was very instrumental in showcasing many local artists and was a very loved individual in those circles. He afforded many young and talented artists to immerge and begin their clime to more prolific status in the art community here in, Denver, Colorado, for many years. We all that knew him miss him very much.

cpworlds.id2 5/11/04, 11:02 AM24