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ILLUSTRATED

Using Chalk Art for Ministry, Education & Fun!

On Thanksgiving Day we acknowledge our dependence.

Wil iam Jennings Bryan Issue 10 Fall 2013

This Issue:

ALSO: k Bus Tours to a Chalk Art Theatre pg. 9 k Lighting for Your Sheet Easel pg. 19 k Johnny Appleseed Audio Story pg. 24 k To Talk or Not to Talk pg. 26 k Raiders of the Lost Art (new column) pg. 27


Chalk Palette White

Black

Pale Yellow

Yellow

Yellow-Orange

Orange

Red-Orange

Coral

Dark Red Orange

Red

Carnation

Magenta

Light Mauve

Red Violet

Burgundy

Eggplant

Blue

Violet

Periwinkle

Liliac

Wedgewood

Light Blue

Blue

Dark Blue

Turquoise

Blue-Green

Moss Green

Sage Green

Yellow Green

Green

Aqua

Forest Green

Dark Green

Light Peach

Tan

Dull Peach

Light Brown

Brown

Dark Brown

Charcoal

Gray

ETERNITY ARTS | Boyne City, Michigan | 49712 | 231-582-4800 Chalk Illustrated  Fall 2013  Issue 10  Page 2 www.eternityarts.com


contents The Features, Stories & Columns Inside This Issue.

4 Coffee with Kerry: MagiChalk 5 Letters & E-mail: Cheating, Goose Bumps Timing Technique, more 7 Fishing Reports: Challenges in Chalk Ministry, Chalkin' USA 2013 7 9 Farm Fresh Chalk Ideas: Chalk Art Attraction "Draws" Bus Tours 11 Cover Artist: Richard Hight Shines His Light 16 Step-By-Step Studios: Thanksgiving 19 Chalk on Sheets: Lighting for Your Sheet Easel 20 Taming Hidden Pictures: Thanksgiving & More! 9 20 Bowman on Target: Brightness of Invisible Chalk, Does it Fade, more 21 Background Checks: An Autumn Palette 19 23 Chalk Be Nimble: Drawing Kids to Christ, Patnovic's Pointers 24 Oddio Recordings: Johnny Appleseed, Veterans Day, Sower & Seeds 25 Lightning Cartoons: Apple to Snake, Angel of Light to Devil 26 My Tuppence Worth: To Talk or Not to Talk? 27 Raiders of the Lost Art: It Happened One Thanksgiving — Frank Beard 29 In the Workshop: The Easel by Dan Ondra 27 31 Nub Tub: Parable of the Sower, Harvest Chalk Illustrated is a magazine designed and produced to educate, edify and unify the chalk art community worldwide. It is published on a quarterly basis (as time allows). Both PDF download and printed versions are available. Each printed issue may be purchased for $6.95 US with free shipping anywhere in the US (international orders please e-mail for actual postage charges). Each PDF (download) issue may be purchased for $3.95 US. Annual subscriptions (4 issues) to the PDF version are $15.95, and printed subscriptions are $27.95 with free shipping in the US. Subscriptions, donations and advertising may be made through the official web site at www.ChalkIllustrated.com. To order, visit the web site and click on the Subscribe & Shop tab where you will find more details. We accept checks, credit/debit cards and PayPal. You may also make donations to help with this ministry, to: Kerry Kistler,1445 E. Division, Springfield, MO 65803. All correspondence should be directed to the editor, Kerry Kistler, at ChalkIllustrated@gmail.com or call 417.894.3455 or 3458. Your articles and idea submissions are always welcome—every effort will be made to include your material. The entire contents of this publication is protected by copyright © 2013 and may not be reproduced without permission. Article reprints are generally allowed upon request.

Chalk Illustrated  Fall 2013  Issue 10  Page 3


•COFFEE•WITH•KERRY• The editor spills some ink – and a drop or two of coffee.

MagiChalk [Editors note: This article is reprinted from the May/June 2013 issue of The Voice magazine, official publication of the Fellowship of Christian Magicians.]

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HO CAN FORGET the Masked Magician? Back in the late 90s he appeared in four TV specials on the Fox Network exposing many trade secrets behind dozens of magic illusions—many of which were still being used on stages across America. During our touring days, it was not uncommon for some smirking spoiler to corner me after a show and make a snarky comment about the Masked Magician BEFORE and triumphantly proclaim with a wink that they knew how our illusions worked. They were usually wrong. But, there is one routine in my bag of tricks that never fails to enchant and mesmerize the audience, and no one ever says "I know how you did that." It isn't exactly self-working, but at least I'll never have to worry about exposure by the Masked Magician, or tough angles, or difficult sleights, or exposing methods, or dropping gimmicks, although I do sometimes drop sticks of chalk. That's right. People actually view my performance at the chalk easel as the REAL magic show. One day I figured out that my magic routines were the appetizer, and my chalk art was the main course—complete with loud gasps and standing ovations. And I'm not even that good. Seriously, I am not being modest, humble or ridiculous. If I HAD to hide one big secret about chalk art, it is this: you don't have to be a virtuoso artist to "chalk and amaze" an audience. This truth was proven to me again recently while watching "speed painter" D. Westry on YouTube. Speed painters and chalk artists are considered kissing cousins, because our only major difference is the medium we throw on the canvas—their pigments are wet and ours are dry, and more than a few performers have mastered both. True, speed painters don't have the element of surprise that chalkers enjoy with black

light and hidden pictures. But many of them employ a secret weapon that works just as well. Curious? I was watching D. Westry's act in a talent contest on a TV talk show. In 90 seconds he created a large, sketchy painting that looked like a deformed vegetable. I'm not taking anything away from D. Westry—he's a very talented performer. But even the show's host later quipped, "I gotta say, I thought [the painting] was a weird potato...I think that's amazing!" What amazed the host? At the last second, Westry turned the painting upside down, and a portrait of the talk show host was clearly recognized. It took only a beat to sink in, and then the audience burst into a thirty-second standing ovation. Magical?? You be the judge, but I can't remember ever seeing a magician get that kind of response using a $10,000 stage illusion! Oh, and Westry even won the Grand Prize trip to Costa Rica with that simple potato-portrait. Astonishing, if not magical. Now, try to imagine the power chalk art can have when sharing the gospel message—or ANY message for that matter. To repeat: You don't have to be a virtuoso artist to "chalk and amaze" an audience. If you have a solid grasp of stage craft and showmanship, I invite you beginners to give it a try, even if it means doAFTER ing a little pre-show work like tracing faint guidelines to follow. And please don't howl, "That's cheating!" A few spectators will always assume there is some trick to it. I've actually had a few teens come up to me after a show and ask if I use a special HD smart board technology that simulates live drawing—as if there MUST be some sort of digital "iChalk" magic behind it all. Apparently, actual live drawing seems impossibly hand-crank to some people. I ask these doubting Thomases to reach out and touch the chalky surface of the drawing with their own fingers. Then I watch their expressions change, assured they will never yell out, "I know how you did that!" Seriously, how is that NOT magical?

Chalk Illustrated  Fall 2013  Issue 10  Page 4

Kerry


LETTERS

E-MAIL

Your open forum to communicate, comment & critique. Timing Technique?

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E APPRECIATE YOUR notes of encouragement, ideas, news, tips and chalk-related questions. Send all this and more to ChalkIllustrated@ gmail.com, and we'll include as many notes as possible in the next issue.

We only received a few letters since the last issue, but several chalk artists have sent in reports about what they are currently doing with chalk. See the new column called Fishing Reports for more.

I Cheat a Lot

I am passionate about getting the message across, but often find that I’m pulled in so many directions that I don’t get to spend the intense practice time that I’d like in order to be REALLY good at the artwork, so I cheat a lot. I am not able to do this full time, so although this is a ministry, it’s one of several that vie for my time. The days I can make “Chalk Art Play Days” are like heaven, but all too few. Also, I love upbeat music and tend not to use a lot of hymns although I grew up on hymns and can sing probably half the hymn book from memory. Donna Holloway

Goose Bumps

Once, while in Costa Rica, I was asked to

draw at the end of an evangelistic outreach week where we ministered to the children. It was a very hot night in a large cement block church. I had one plug so I used it to plug in my black light. I taped my drawing paper up on the cement praying it would hold. My husband held a light to the drawing as I drew and someone else played the music. When it came time to show the hidden picture I held the black light next to my skirt and turned it on. Then, slowly I raised it up to reveal the face of Christ in black-light chalk. I will never forget the goose bumps I felt that night when the entire church stood and erupted in ‘Hallelujah’s and Praise the Lord’s! That was a God-given moment for me. All the years of trials, joys, experiences I’d been through melted into one grand AMEN to my Father in Heaven! Just one of the many wonderful stories I have to share. Terre K Ritchie Executive Director CBH Ministries

How do you keep your timing on time? What I mean is that there are timing issues with a CT: length of drawing time, syncing with music or story telling, ending at an allotted time. We joked at putting my phone on vibrate and having my husband call it. I tried a timer in my chalk tray but would forget to start it or, if I did, I'd forget to check it. I have tried a "10 fingers visual" from the back of the room. We discussed a yellow then red light for 10 and 5 min marks but people would see it too. When I used background music I tried putting a certain song at the 20 or 25 minute mark. Mostly I just practice being 25 min long plus closing music and lights. Nancy Anderson [This is a good question that I will pose in the next contest that we run. Subscribers, feel free to send in your answers now.]

Chalk Appraisal

We have a Howard Ellis drawing from one of his chalk talks titled Come and See. It comes from the passage in John detailing the calling of the disciples. "Come and See" was part of that dialogue. This is an actual chalk talk drawing in pastel with fixative to preserve it. It has had a rough life as it was stolen from my Dad's office and later recovered Chalk drawing by the police and by Howard Ellis returned to him,

Chalk Illustrated  Fall 2013  Issue 10  Page 5

so there is some slight damage to the edges. Dad also has several woodcut and linoleum cut prints that were given to him by Ellis in exchange for a script Dad wrote for Ellis's felt board talk about the Last Supper. I remember, as a child, seeing Ellis do the Last Supper chalk talk. Do you have any leads for me on getting these art pieces appraised for insurance purposes? Lynn [Readers, please send your answers to Chalk Illustrated and I will forward them to Lynn.] Letters \ next page 


Letters \ continued

Thinking About It

I took a first time look at your e-zine, Chalk Illustrated. WOW! I'm so impressed with the whole thing. I've had an interest in creative communication, graphic arts, computer animations and things related to these fields for years. I was greatly blown away with the layout, the colorfulness and the material within. What a great job! I've played with chalk talk some—the Tarbell and Ed Harris cartoon type, but nothing close to the magnitude of what you do. Now, I'm thinking about it. I do hope your publication continues for a long time and gathers a tremendous amount of readership (perhaps, it already has). Again, thanks so much for writing and sharing. SamThreadgill [Your kind words about Chalk Illustrated are much appreciated. My degree was in graphic design and commercial

art, so I'm doing the best I know with the skills and time I have. After 2 years, we currently we have over 500 subscribers with about 70 of them paid—I'd like to get both numbers up. Each issue does have a column about trick cartoons ala Harris and Tarbell. There might be some helpful stuff there for you.]

annual rubber ducky races. This year it was “Specquackular.” I decided to try a design for that and came up with a sketch using the theme word in the design. But when I arrived at noon I found out you can’t use words in the design! Oh no! What to do now? I decided to just do the drawing as I planned it but without words (which could only be added outside the 42” box, photo 2). This information was not posted on the website nor any of the rules. I began the task in the heat of the day armed with two garden kneelers, a golf umbrella, 3 bottles of chilled water on frozen gel packs, a water sprayer to cool my face, a sun hat, a cooling wet microfiber neck scarf, gloves to protect my hands on the hot asphalt with the fingers cut out so it wasn’t too hot, a few tools (x-acto knife, blenders, etc.). I worked as fast as I could knowing I only

People's Choice!

I used chalk in a different way recently. I entered Renton River Days sidewalk chalk competition for the 2nd time. I also entered in 2007 (photo 1) and won the People’s Choice Award. It was a last minute decision back then so I used a chalk art picture of a lighthouse and sunset. Unfortunately, you can’t bring your own chalk to the competition but they had the basics. I discovered that there is a category for drawing a picture depicting the theme of RRDays. I think it is always a theme relating to their

Once upon a Circus!

• Original Circus Music for Variety Performers

“I REALL love this C Y D!” ~ Rand Christensey n

• A Fusion of Hymns with Circus Tunes

• Available in High-Quality CD or MP3 Download

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Photo 1

Photo 2

had 3 hours. I took a 5-minute break at each hour and completed it in 2 hours 15 minutes! There are 1st, 2nd, 3rd, and Honorable Mention awards in the pro category, and although I did not win any of those, I was tied for the Theme Award and the judges had to go back and discuss it. I was sure the other one would win as it was very good, so I was thrilled to hear my name announced as the winner! Besides the joy of persevering and winning, I took home a $50 prize! Next year, if I can, I will try a design in the general art category,

Chalk Illustrated  Fall 2013  Issue 10  Page 6

but it was really fun drawing ducks from my ducky collection. I am thinking of drawing a flying eagle catching a fish in its talons or one against the sky with clouds and the sun coming out from behind. Well, I have a year to think about it. Your fellow chalk artist, Nancy Anderson

Great Winter Issue

Another volume with LOADS of exciting info & ideas. Loved Rod Snow's demonstrations. He's such a dear guy, and when I am in his class we always have sooooo much fun. Cathy Patnovic


Z fishing reports

"I Will Make You Fishers of Men" OU ARE INVITED to send in stories related to your chalk work. If you have a ministry newsletter or a chalk blog, send us the Yhighlights, and we will share them with hundreds of other chalk

artists. What you submit need not be a full-length article, but photos are always a nice addition and helps us keep the "illustrated" in Chalk Illustrated. Send it all to chalkillustrated@gmail.com.

Excerpts from their June newsletter:

Challenges in Chalk Ministry By Tracy Snyder

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James teaches basic chalk to the next generation of chalk artists.

ple we would be ministering with and wondered...how will this be received? I reminded him that as long as he takes to his own heart the message and shares only what the Lord has given to him to share, then it is of no concern "what people think". Our goal is to please God not man. James has prayed for many years to be able to lay down the contracting tools and be able to support our family solely through ministry. At this point, we are still very dependent on the construction income—as it is about half of our income. For about the past 12 months, contracting has been especially lean, though we needed every last job. Though the cost of living has gone up considerably in the past 20+ years, in the past dozen years we have seen a plateau in honorariums given to the ministry—some have even decreased from years past. . .which leaves us more dependent on the construction income and gifts from friends of the ministry. We live on a frugal budget, and don't complain because we try to follow Paul's example: "I rejoiced greatly in the Lord that at last you renewed your concern for me. Indeed, you were concerned, but you had no opportunity to show it. I am not saying this because I am in need, for I have learned to be content whatever the circumstances. I know what it is to be in need, and I know what it is to have plenty. I have learned the secret of being content in any and every situation, whether well fed or hungry, whether living in plenty or in want. I can do all this through him who gives me strength." [Phil 4:10-14] We praise God for those He puts in our lives as they send us into the world both through prayer and financial support. Visit us at:

his ministry has always been a hit-and-run adventure. We walk through the doors the Lord has opened to us, minister for a brief moment in time and then are off towards the next door. Once in a blue moon the Lord allows us to make friends that stay connected and share how the Lord uses Chalk Talk to help them in their walk, but for the most part, we are a flash in time. One recent Sunday, we had opportunity to share in a worship service and God spoke powerfully to at least one through the message He gave James to share. How do we know? Because the person came up to us after and shared with us. We came home—exhausted—knowing that the Lord does use us, when we yield to Him. James had been wrestling for days with the Lord over the message, Our signature Lighthouse drawing. knowing some of the peo-

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www.SnyderChalkTalk.com Fishing Reports continued on next page 


wife in Louisville, Kentucky, said that their pastor was interested in us coming for ministry there as well. Also, a missionary friend recommended us to Child Evangelism Fellowship missionaries reaching out in Chinese churches in Albuquerque, New Mexico, who eventually invited us to share in their dual-church Friday night service. Appointments were coming in, so the trip planning continued. Covering territory from Virginia, to Oklahoma, to New Mexico, to MichiHappy Haynes: Dwight, gan’s Upper Peninsula took some fun Sara, Keli & Marshmallow thinking for a camper and a family of four. First of all, a Toyota 22RE four cylinder engine has a comfort zone for daily mileage—slower speeds, Fishing Reports \ continued frequent stops for gasoline, and not wearing out the drivers. So, I planned 6850 Miles in 42 Days! on making 300 miles per day, with only a few mad runs for mileage between the southwest and northeast destinations. With this in mind, the trip lines meandered across the atlas on the red and gray roads, the old highways and by-ways of America. Once I had the route planned, with departure dates set, a North Carolina church called to schedule two evangelistic services for E PULLED IN the driveway on July 8th in our 1986 their Upward Soccer and Awana awards nights. So, we worked Toyota Dolphin, micro-mini RV, and looked at each that right into the front of the schedule and added a transother across the front seat and said, “It seems more Great-Smokey-Mountain route to our already circuitous USA trip. like two days than two months!” What a blessing to see Then, an Ohio pastor invited us to share with his congregation God put together a ministry trip of 25 chalk-art services in which extended the end of our trip through the weekend of July places we had never been for people who, for the most part, 7th. Our schedule was complete, and the route penciled in with had never seen chalk-art or met our family. All along the plenty of slack in the travel time between engagements (so we 6850 mile trek, Good News Chalk Talks were well received thought). with invitations to return for more ministries in the future. Each service and its people uniquely responded to the chalk One year before we left in May 2013, a church-planter art ministry. This was the first time the North Carolina church headed for Menominee, had had an evangelist come Michigan, in the Upper Pento share the gospel with the insula on the western side many unchurched parents of Lake Michigan, asked us and children attending each to plan to come for his onenight of awards. We camped year anniversary on the last in their parking lot for those weekend in June of 2014. two nights and then headed So, our minds and prayers west through the mountains began on how God might of North Carolina, Tennessee, use us in other places along and back roads to Louisville, the way. Then, I received an Kentucky. Throughout our e-mail from a New Mexico two months of travel and Curious Crowd at the Albuquerque friend who said that a camp ministry, we stayed in the Chinese Baptist Church, New Mexico on the Navajo Nation resRV in Walmart parking lots, ervation near Gallup, New church lots, and home driveMexico, might enjoy our ways. We did have the comministry for children’s camps in June of 2014. We sent out fort of staying in several homes along the way and taking care information and received positive feedback, and the planof laundry needs. ning began. My sister in Edmond, Oklahoma, said that she Keli Ann, our 12-year-old daughter assisted in a 10 minute would tell pastors in that area about us. This resulted in a “teaser” drawing for the morning service in Louisville, KY, and pastor in Davenport, Oklahoma, inviting us to share somethe evening chalk-art service was well attended. We camped time in June. Some dear friends and former professor and Fishing Reports | continued on page 30 

Each service and

Chalkin’ usa 2013 By Dwight Haynes

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Chalk Illustrated  Fall 2013  Issue 10  Page 8

its people uniquely responded to the chalk art ministry.


Farm Fresh Chalk Ideas from Elva’s Barnyard Art Studio & Gallery · ElvasChalkArt.com The First Time in History?

Chalk Art Attraction “Draws” Bus Tours By Elva Hurst

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You may remember the famous line from the movie Field of Dreams, "If you build it, they will come." Elva Hurst describes how this came true in her own life with the world's first Barnyard Art Studio, Gallery & Chalk Art Theatre.

HORTLY AFTER I started doing Chalk Talks in 1991, others started asking me if I would show them how to do Chalk Talks. So during the baby’s nap time I endeavored to share with others what I had learned about chalk art, primarily from William Allen Bixler’s book “Chalk Talk made Easy” and a few of Gary Means' workshops that I attended in Pittsburgh, Pennsylvania. Holding classes in the basement of our musty, plastered, poorly lit 1859 farm house was Main entrance to the Barnyard Art Studio. not pleasant, but I made do for 10 years. Many years later, after the children were in school, I included other art lessons; teaching from the kitchen table. One day during a prayer walk in the “back 40” I walked down the field lane, enjoying the view of the farm buildings when an idea lit my mind… I could have an art studio in the barn; perhaps I could call it “The Barnyard Art Studio & Gallery”.

My husband and children helped me clean out the decades of collected junk, tobacco lathes, pigeon and rat dirt. We scrubbed, stained and varnished old barn beams and hard wood floors, cut in large windows, and eventually added a loft to the fifty by twenty foot room. That year, I hosted an open house with an art & craft show. A local farm newspaper wrote an article that brought many students that are still with me today. Although teaching art classes was not my ultimate goal, I knew there was more—which became evident when I did a chalk talk for the soldiers’ wives at Fort Meade, MD. In closing, I casually mentioned, “If you ever travel to Lancaster, PA you are invited to stop by—my studio is open to the public.” To my surprise, they called several months later and arranged for a visit and chalk talk at my

Chalk Illustrated  Fall 2013  Issue 10  Page 9

Bus Tours continued on next page 


A Red Ha t group comes to visit. Bus Tours | continued

studio. Fifty four people were to arrive in a motor coach. I scurried to gather chairs and set up my chalk easel in the corner of the studio. From the window I watched the big bus chug up my farm lane. The cows and horses stopped their grazing and watched too, as . .. y a w the bus passed a e from far m co " by their passh li g The "En ture. My heart skipped a beat. I prayed, “Lord, bring more buses and I’ll chalk and preach to every one of them.” The Fort Meade group enjoyed the visit so much, they spread word of the Barnyard Art Studio. I promptly printed an advertisement about Chalk Talk entertainment and sent it to a half dozen tour organizations. There was little to no response, so I continued to focus on art classes. The pieces didn’t move into place until five years later, when I did a chalk talk for a private group at a tourist restaurant. The staff noticed and told the CEO—who called for a meeting and asked me to do a chalk talk just for them and the staff so they could see what this is. They wanted me to write a chalk talk to entertain the tourists, dinner theatre style. I invited them to come to the studio for the meeting, and among the group was a representative from Brunswick Tours. She fell in love with the barn and chalk talk and asked to include a stop for the buses during the visits to nearby historic Lititz. The pieces of the dream began to fall into place. Today we arrange 6-12 buses a month with over 100 booked already for 2014. The buses come from all over the north and south east, even the mid west and Canada, full of people of all faiths or no faiths. All hear the gospel through my testimony which I always share before I draw. Many, if not most, have never seen a chalk talk, and they are very pleased to experience this old but new (to them) art form.

I marvel how art has provided such an open door of evangelism through entertainment. I’m so thankful for all who have inspired me along the way. Chalk artist James & Tracy Snyder stand by me with their thumbs up—urging me on with positive words of encouragement. The art of Gary Means of Pittsburgh, PA inspires me to keep chalking. Through the stories of God’s provision in Chalk Illustrated, I am reminded again and again of God’s faithfulness to his children. Praise the Lord! Elva Hurst lives and chalks in Pennsylvania where she is a home school mom of 4 children. She also teaches art and has developed a line of products reflecting her talents in art and writing. Learn more at ElvasChalkArt.com. Listen to an interview with Elva at www.ChalkedAndAmazed.com.

Be the first to own the newest Chalk Talk DVD by Elva! In this unique and inspirational DVD you will enjoy a touching presentation of the true meaning of Christmas as well as an inside peek at what it is like to have an art studio in a working barn! Order your copy today for only $15.00! To place your order: - Call 717.626.6582 - Mail your payment to 1519 Brunnerville Rd. Lititz, PA 17543 - or visit elvaschalkart.com

Order today and experience the Christmas story like you never have before!

...and the local Pennsylvania Dutch stop in too.

Chalk Illustrated  Fall 2013  Issue 10  Page 10


Presenting • the • Cover • Artist! Introducing another neighbor from our chalk art community.

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ICHARD HIGHT and I spent some time getting to know each other over coffee about a year ago, and I was pleasantly surprised. Despite his stunning accomplishments as a public speaker and chalk artist, his ego was no where to be found. I continue to be impressed by his humble, unassuming style—not to mention his skill at the chalk easel. Read on to discover more about this ambassador of chalk art.

Richard Hight Shines his Light

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ICHARD HIGHT HAS performed in front of millions of people during his career. He has shared his chalk art with high profile celebrities, top ranking military generals, television evangelists, and members of Congress. He has also done his drawings for Sunday School classes of a dozen, or with two or three struggling students. “Whatever

the size of the audience,” he says, “there is something that I want to get out. My art is a wonderful way for me to express myself— sometimes without words.” An entertaining, talented speaker, Richard would tell you that words have not always been so easy for him because of a condition

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Hight \ next page 


Richard Hight \ continued

that he calls “the gift of dyslexia.” He recalls, “I studied, but school was hard for me. Then when I began to realize my gift for art, a whole new world opened up.” He began chalking. He had never seen it done before, but he found it empowering and effective. And he began to receive affirmation from friends and teachers and others in authority. An ordained minister, Richard says he likes to remind himself of God’s promise that He has good plans and that He will direct the steps of those who will follow. After high school, this budding artist enrolled in the Colorado Institute of Art. Upon earning his degree, he attended Moody Bible Institute. At Moody, Richard was told that Chancellor Dr. George Sweeting had once done chalk art. He went to the library and unearthed an old tape of Dr. Sweeting chalking. Intrigued by what he saw, Richard made an appointment to speak with the Chancellor and show him some of his work. He was given 30 minutes. That meeting was pivotal. Not only did

That meeting was

pivotal. Not only did he receive hearty encouragement, he also was advised to contact Ding Teuling, chalk icon...

The World in His Hands

Richard, above, in front of a drawing he performed at a summer youth camp.

Corporate events, like the one below, are part of Richard's clientele as a performer, entertainer and speaker.

he receive hearty encouragement, he also was advised to contact Ding Teuling, chalk icon and the grandfather of chalk. He connected with the chalk great and participated in a summer workshop, where he was introduced to various elements—style, techniques, materials, etc. The rest, as they say, is history. In the ensuing years, Richard has worked as an illustrator, with advertising agencies, publishing houses, and Moody Press. He has now been “on the road” for over a decade, drawing, speaking, and inspiring. Making almost 200 appearances each year, the list of notables with whom he has entertained and/or ministered, is lengthy. A sampling of the famous that have requested his services include Reverend Billy Graham, Reverend Franklin Graham, Michael W. Smith, T. D. Jakes, Amy Grant, Steven Curtis Chapman, and many, many more. To say that his choice of “canvas” is unusual is to understate. Through trial and error, this world-traveled performer has found that Walmart special bed sheets fill the bill nicely. “I use two identical 6’x8’ sheets, sometimes larger, sometimes smaller, in a darker color--black, navy, charcoal,” he explains. “I stretch the top one tightly across a wooden frame and loosely secure the one behind. Word to the wise: always have an extra set.” The client provides the supplies. Without exception, the client retains the original piece. Occasionally, the drawing is sold in a fund raiser auction, but usually it is kept and enjoyed by those who issued the invitation. In addition to the visual, music is an integral part of the experience Richard provides. The performance is timed and

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of interest--landscapes, animals, eagles, history, famous people, Jesus--and that paintings, photos, articles, etc., are filed individually in binders by topic. A life-long conviction for this uniquely skilled artist is to be who you are. His sage advice to beginners is, “Learn from the best and then develop your own style and identity. Never be a copy. The world clamors for the original.” For those who hope to build a career out of their artistic interest and skill, Richard has these instructions: gain an understanding of marketing and business. “To do this full-time, you must understand business. Otherwise, it’s a hobby,” he declares. He also emphasizes the importance of being willing to take risks. “You have to be ready to get out of your comfort zone. I have driven through small towns, stopped, taken my easel out of the car, and with the radio blaring, started to draw,” he relates. I have also set up in front of Walmart. Just don’t block the door. To get gigs, I have volunteered to draw for a special event at no charge. And I have called performing arts centers and

I draw first so

choreographed to “sync” with the accompanying music. “I have a wide selection and use all types,” he volunteers, “from country rock to Americana to Civil War era music, and everything in between.” Richard so connects with his audience that he allows them to dictate what he draws and what music to choose. “I feel their energy, their mood, their curiosity, and base my decision on those important cues,” he reveals. “I’m careful to align the last song and the message. For instance, if I’m drawing the cross, the final song will be about the cross. Currently, my most requested chalk drawing is an eagle in flight with an American flag background [see last issue]. Of course, in this instance, I use music that has a patriotic theme. There is so much rousing patriotic music available.” He discloses that he does a very light, very minimal pencil pre-draw to serve as a guide. He also has a small picture of what he is drawing beside his chalks so that he can steal quick glances and be reminded of the shape, features, etc. With a mischievous glint in his eye (that his mother and teachers must surely have seen numerous times), he confesses, “I like to keep them guessing about what the picture will be until late in the development of the drawing, near the finale. Then, when the music stops and the last stroke is made, I am ready to address the audience. I draw first so that I capture their attention and earn their respect. Then I am able to speak into their lives.” When asked where he gets his ideas for his creativity, Richard responds, “Everywhere. Pictures in magazines, greeting cards, bumper stickers, tee shirts, corporate logos, photographs, cartoons.” He adds that he is always searching for information on subjects

A drawing, above, celebrating Resurrection Sunday.

that I capture their attention and earn their respect. Then I am able to speak into their lives.

An art performance, below, at a university event.

Chalk Illustrated  Fall 2013  Issue 10  Page 13

Richard Hight \ next page 


Richard Hight \ continued

A rendering, above left, promoting reading at a library show.

of your drawing? Can they cover your hotel? Can they compensate you for travel expenses? Can they get you some media coverage? Any time you can get in front of an audience, you gain.” As he gazes into the future and considers what he might do in the next season of his life, Richard mentions that he has a desire to teach. “I’ve done a little teaching and enjoyed it. Some of what I’ve learned I would like to share with students. Besides teaching them the elements of art, I would like to help prepare them for some of the bumps and bruises they will suffer along the way. I’ve had my share of them, but I’ve always known that, according to His word, God will make all things work together for my good. Whatever the future holds, that bedrock truth will stand.

entertainment venues to offer my services. You have to build a reputation.” An art auction performance He also reached out to churches. “I have called piece, above right, for a nonchurches to see if they could use me in the profit fund raiser. Wednesday night service or in Bible School, or wherever,” he details. “Just start drawing in front of people. It will grow from there.” He is Richard hanging out with a now in great demand class of elementary students, at churches all over the below, following a public school country. He mentions assembly. that his preference would be to work with Visit non profits, but because of limwww.VisualMpactMinistries.com ited budgets, he intersperses corporate engagements so that he can afford to continue to work with the churches, ministries, and missions. Richard cautions not to be discouraged if there is no money to pay for your services. “Always seek out the decision maker. Hopefully, there will be something in the budget to financially bless you. But if not, there may be other benefits. Can they provide a video

His preference

would be to work with nonprofits, but because of limited budgets, he intersperses corporate engagements so that he can afford to continue to work with the churches and ministries and missions.

Chalk Illustrated  Fall 2013  Issue 10  Page 14


This is a reduced version of Richard's current promotional poster. Are you using posters as a marketing technique?

Chalk Illustrated  Fall 2013  Issue 10  Page 15


Step-by-Step Studios Exploring the Creative Chalk Art Process via Storyboards.

n

an ohlm

B

K i r o l yG

Thanksgiving

P

ERHAPS YOU HAVEN'T seen too many Thanksgiving chalk art pictures because it is typically an American holiday—unlike other celebrations mentioned in the Bible enjoyed by all Christians. Have you had a request for this seasonal theme, but had no design—or time to dream up an idea? This mountain wilderness scene typifies the fact that the Pilgrims came to a wilderness—though beautiful, it was full of dangers. In this one, Glori Kohlmann takes you step-by-step to create this wonderful vista that you can use along with music about giving thanks to the Lord. As a reminder that all bounty comes from the Lord, and in keeping with our heritage, the black light hidden image is creatively instructed for you on the DVD from which these frames were captured. The DVD (produced by ChalkMart.com) is 45 minutes long and is available for $20.00 from Glori at www.GloryInspirations.com. Let us worship the Lord in thanksgiving for all He has done.

Begin by creating this pre-toned background before your program. I use Peach and Blue to create soft clouds. The hidden picture (shown later) is also pre-drawn. When it is done, keep your black light on, and turn your regular lights on low. This will allow you to add cloud shading in and around the hidden drawing without disturbing it. The distant hills are made using Blue with Peach highlights. Add touches of Sage Green to help it look tree covered. Move forward and create another line of hills using Dark Blue. Use Fluorescent Blue for the center water area.

Chalk Illustrated  Fall 2013  Issue 10  Page 16


Move forward with a third layer of hills using a mixture of Turquoise, Black and Green. Cut this layer into the center lake and smudge the edges straight down over the Fluorescent Blue to simulate soft reflections in the water.

Adding trees should be done quickly so you don't lose the audience. Use the sharp edge of Dark Green to create a jagged tree line along the tops of the nearest ridge. Move forward with Yellow Green and Dark Blue to create random, interspersed pine trees on both sides of the lake.

Add some fall color by drawing some trees and bushes among the pines using Red Orange and Orange. Highlight these with some Yellow Orange. Make the foreground look like bumpy terrain using Tan.

Use some Light Peach for highlights over the bumpy ground, and create some larger rocks on each side of the extreme foreground using Black for a. . .boulder look. Some Dull Peach will work for highlights. Now dash in a few large pines with your Black. Keep the branches uneven and natural looking. Thanksgiving \ next page 

Chalk Illustrated  Fall 2013  Issue 10  Page 17


Thanksgiving \ continued

Finish off the large pine trees by adding some Light Brown highlights on the trunks and dashes of Green over the Black boughs. Add some scrubby grass around the base of the large pines using Black or Dark Green, and dash in a few small birch trees using White.

Touch up the lake by adding a Fluorescent Violet highlight down the center of the water using horizontal strokes. You may want to add another tall black pine, on either side in close-up, for added depth.

Here is the hidden picture under black light. Notice that I don't really use Fluorescent chalk to create highlights throughout the drawing - I limit my use to the lake. This helps put most of the focus on the hidden drawing.

This close-up of the hidden drawing shows more detail. Of course, the use of food spilling out of the "horn of plenty" is typical, but I also add the spiritual images of the cross, a candle and praying hands giving thanks. The teaching video gives complete details on creating this hidden drawing.

Chalk Illustrated  Fall 2013  Issue 10  Page 18


Hanging Your Fears Out to Dry with Large Format Chalking.

Fighting Lighting? SuZie Has Some Advice.

Lighting for Your Sheet Easel

L

IGHTS, AND THE MONEY you spend on them, can vary widely. If you're doing chalk in a third world country or just beginning, I suggest you keep it simple. There will be times you will just have the natural light in the room, and with God in it, it will work! Natural light, in many Photo 1 venues, can suffice. Using a black light would be the next consideration. I use a black light cannon (photo 1) placed on the floor about 6 feet in front of the easel. When I got my first one, they were about three times the current price. The current $200.00 to $250.00 price tag for 400 watts, seems pretty reasonable now. The only drawback to this type of black light is that it takes a few minutes to warm up so it's best to turn it on when you start your picture. I use a metal oven filter placed over the light so my fluorescents or hidden picture are not seen before I am ready. Your lighting needs depend on how dark your performance room gets. I do many programs in the state prison system where they are not permitted to turn out all the lights. There, it is necessary for me to get as much power as possible if I want

One of my drawings that is popular when presented...

Photo 2

to do black light pictures. You can begin with a fluorescent black light tube. If you are working on top of a paper easel, they work very well. You can find them for $12.00 to $25.00 at your large home improvement and hardware stores. If you are working with a large sheet easel, I've seen artists attach them to stands that they place on both sides of the easel. When you get past simple, it's nice to have your own white lights and colored gels to work with so you don't have to count on what's available. I've seen some really nice set ups in lighting magazines—unfortunately prices can run into the thousands of dollars. My husband rigged up a light box within a case that sits on the floor and gives me two white lights, a blue, and a red (photo 2). The biggest drawback is that if it's an older building, or I don't do a careful light check, I may blow a fuse. That's not good in the middle of a program, so if you can get some electrical expertise, I highly recommend it! A light box from a professionally built easel, like a LeGrand could work if you take the size in consideration. SuZie & Bob Zoerman have a thriving ministry using both chalk art and illusion. They live in Grand Rapids, Michigan but have taken their ministry abroad to India many times. They can be found online at: www.MagicBob.org.

...during missions trips in India. (black light)

Chalk Illustrated  Fall 2013  Issue 10  Page 19


Taming Hidden Pictures Mastering Those Invisible Pictures Without a Whip & Chair.

1

stencils for this season:

B wman • O N

T A R G E T •

By Matt Bowman

After purchasing some invisible chalks from Q: Eternity Arts, I compared it to some sticks made by Teuling years ago, and Ding's seemed

brighter. I've heard that raw pigments today are not as bright as they were decades ago. True?

Thanksgiving & More!!

SHOULD get a booking this season to do ItheFa YOU Harvest Banquet, why not try presenting story of the Sower & the Seeds (see the Nub Tub and Oddio Recordings for ideas). One possible image for the hidden drawing could be this hand casting seed, 1, designed by AaronWilson.org for the Scatter Evangelism Conference. You could also use a traditional approach with a drawing like Gloria Kohlmann's found in the Step-by-Step column (pp. 16-18). If you like the hidden picture of a cornucopia but you're not up to free handing it, try this gobo design, 2, from Rosco.com, or 3, a cake stencil found on ebay. Another hidden picture image for Thanksgiving is the Praying Hands idea by Albrecht Dürer, 4. This gobo design was found at InternetApollo.com. Apollo also offers the Yankee Doodle design, 5, which could be used in a Veteran's Day program this November 11th. Since none of these designs is available in actual stencil form (except #3, which is a very small 6"), they are all available as bonus PDF downloads from the Secret Download page at ChalkIllustrated. com.

5

2

Free DownLoads

3

Yes. Since we began our black light chalk in 2006, we A: have had to double our pigment levels! As we have run out of our old, dimmer sticks, we are replacing them

with the brighter ones. It costs more, so we had to raise the price by .50 cents a stick last year to make up for it. What we have now is pretty nice and bright. I use it myself. Ding Teuling will tell you the pigments have become weaker over the last few years. Color sometimes changes as well. In the case of the pigments, older is better. Pre year 2000 sticks are really nice. If you find someone who is getting rid of some old black light chalk, buy it! You will be very glad you did. Meanwhile, we will keep trying to make our product as bright as we can as we go along.

Will you ever be able to create a fluoresQ: cent chalk that looks truly red under both regular AND black light? A:

At this time the industry does not have the raw materials to make such a product — to my knowledge. They have something close, but the cost is out of reach for us “poor artists”. We did make an attempt once, but it required so much pigment to achieve the desired color that the chemistry would not cooperate, and the resulting sticks were just too fragile for practical use.

Will the fluorescent properties of invisible Q: chalk fade over time so that hidden pictures will no longer glow under black light? A:

4

Black light and florescent pigments do fade over time. Don’t leave the black light on them for months. Store your chalk in a dry, dark place. Avoid prolonged exposure to the sun or black light. I tell people to show the black light drawings to their friends, but not to leave it on for weeks at a time. I have seen people put the black light on a drawing for a year, and after that amount of 24/7 exposure, the drawing is almost completely faded out and gone. Matt Bowman operates EternityArts. com, a ministry that conducts chalk classes and manufactures materials for Gospel chalk artists around the world. Send your questions for Matt c/o chalkillustrated@gmail.com

Chalk Illustrated  Fall 2013  Issue 10  Page 20


Background Checks

Secrets of Animation Background Art

1

an Autumn Palette by Kerry Kistler

I

HAVE DISCOVERED that very few animated productions are set in the fall season—which is curious since if offers such an appropriate opportunity to go bold with color. A few animated movies have transitional autumnal moments, such as Bambi or Fantasia, but, as a rule, they are usually very short segments that mostly show swirling leaves being blown about. This movie is an exception to the rule. Disney released the Fox & the Hound 2 in 2006 and nearly every scene is set against lush, fall colors. These backgrounds are the work of Disney background team Silvana Ambar, Sunny Apinchapong, Kinman Chan, Robert Schaefer and Jeff Richards. If you need to design a chalk drawing for a fall or harvest event, there are some things we can learn from these masters of background art.

2

Observations & Ideas

1

These backgrounds show a thoughtful use of fall colors— bright but not garish, rich but balanced with neutrals. Notice the use of fences throughout these backgrounds. It seems to be a favorite motif with Disney background artists. Why not? It's a simple way to add visual interest to a scene and infuse them with a "human presence" without adding people. You will also notice the regular use of "pool of light."

3

2

Another way to "humanize" a scene (without actually drawing people) is to add a road or pathway. It's a powerful way to invite viewers into the scene. And, how about that big patch of grass in the lower left? It takes up 20% of the drawing but doesn't dominate. Instead, it balances the large tree nicely. Autumn Palette \ next page 

Chalk Illustrated  Fall 2013  Issue 10  Page 21

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Autumn Palette \ continued

3

5

What a charming scene—rich colors, a rustic fence and the traditional pool of light which automatically draws your eye to the area around the cabin. Even though we know the distant hills are covered with trees, there is not a spot of green on them—it's all mauves, lavenders and pink. Have you noticed that many of these backgrounds have a single large tree dominating the composition like an anchor? And you don't see much of their crowns, as they are all cropped fairly low. Note: the next time you automatically reach for your brown chalk to draw a tree trunk, consider these trees. They have more gray in them than brown.

4

The colors here are more subdued but still within the autumnal palette. Dimension is added by the careful use of three clear planes—distant, middle and foreground. Notice the patch of leaves in the bottom left corner. The blurry, soft focus adds automatic depth. It's a technique I should use more often.

5

The dramatic perspective of the rail fence draws the viewer into the scene and also acts as a framing device while taking up nearly 1/3 of the foreground! There is also a nice variety of fall colors featured in this scene. Note the use of light colored tree trunks in the distance. Again, all tree trunks do not need to be brown or grey. How about that pink sky?

6 6

Again, a tree to the left is used as a framing device to add depth to the scene, and notice that it has the darkest value (along with the shrub) of the entire scene. This is known as "atmospheric perspective" and is a simple technique used to add realistic depth. The lane winding its way into the picture also helps convey depth. Notice the lavenders and purples used in the distant hills You could use this scene for a harvest theme, or the distant barn could be replaced by a country church.

7

7

This decaying hollow log is one of those iconic images you will find in many of Disney's older animated films. If you were presenting something like an Aesop Fable chalk drawing to a group of children, the log could be used as a nice setting for some animal character. Also note how the distant trees are rendered in a soft-focus manner. This adds depth and helps keep the focus on the foreground subject. Adding small twigs entering from the side of a picture is a nice way to add easy detail to a drawing.

8

8

The dramatic perspective of this road and fence are strong elements inviting the viewer into the scene. The very subdued lighting around the edges and foreground create several pools of light which lead us forward. This technique is used so often because it works so well in directing viewer attention to the main subject. In this case, the focus at the end of the road is a county fair, but this could be changed to a country church, covered bridge or a person walking toward the celestial city (rendered as a hidden picture). Finally, note the variety of colors used in this drawing. I would not have thought of drawing pink hills—but I will now.

Chalk Illustrated  Fall 2013  Issue 10  Page 22


Chalk Be Nimble

Creative Chalking Concepts for Children of All Ages.

How I Got Started in the Chalk Art Ministry

done with ld normally be

oss wou

(the cr Law & Grace

k).

black light chal

Drawing Kids to Christ By Cathy Patnovic

I had no clue as

W

AY BACK IN the late 70's God did a marvelous thing in my life. He delivered me from drug & alcohol addiction and set me on a totally different course. Shortly after my deliverance, I was employed as a school nurse for a Christian school. During this time I also attended the Basic Youth Seminar in Ocean Grove, N.J., where I saw Bill Gothard draw a chalk art picture and present the Gospel. Right then and there I told the Lord that I would love to learn to do that even though I have no art background whatsoever. I had no clue as to where and how to learn

+

Patnovic’s Pointers

Protecting Your Hidden Drawings During Transit

F

chalk art, since that was before the internet. I felt a very strong urge or calling to pursue this and started to pray about it as to how and where I could learn this. After 4 years of praying, I was to meet a parent in the lobby of the church where all the tracts and brochures were displayed. While waiting there, I found ONE flyer of a Christian Camp in Michigan which advertised chalk art classes on the back of the folder. I wasted no time in contacting the camp and signed up for my first class. That ONE flyer was one of several hundred taken back to the church by the mother of the thendirector of Maranatha Bible Camp in Muskegon, Michigan. However, that ONE flyer which was left there was, obviously, for me. It was there that I met the master of chalk art— Ding Teuling. Not only was Ding the master of chalk art, he was/is a very godly man, sort of a father to me and would not permit me to get discouraged. He insisted that anyone can learn to draw and he kept encouraging me in his own loving way. I started off by "DRAWING KIDS TO CHRIST". It was a nonthreatening environment for me. As time went on, gradually more and more adults started to invite me. Now I draw more for adults, but still do children's programs as well. I am still not a REAL artist, but rather an ARTIST I.T.M... (in the making). However, I feel very strongly called to present the gospel and what a wonderful avenue to use chalk to tell the story of Jesus and His love. This is my story, this is my song, praising my Savior all the day long.

OR THOSE WHO need to travel with several prepared black light pictures, a sheet of smooth white paper does a fine job protecting the black light pictures. I just purchased a 48" x 200' roll from Amazon. Wax paper also works, but that is narrow and needs to be taped together. Do not use plastic — the static will take the chalk off the bogus paper. When I went to Ecuador in the summer of 2012, I had 15 prepped pictures, very tightly rolled up together in a tube, and all were just fine.

to where and how to learn chalk art, and that was before the internet.

Cathy Patnovic was born in the Netherlands and came to the US at age 20 where she pursued a nursing career. Her life’s story (marked by addiction and deliverance) has been dramatized on the “Unshackled” radio program. She now draws people to Christ through her chalk art ministry based in Delaware. Visit Cathy’s site at www.CathyPatnovic.com.

Chalk Illustrated  Fall 2013  Issue 10  Page 23


Oddio Re�cordings �

Stories & Songs from Vintage Records and Old-Time Radio. This bonus content is freely available to paid subscribers of Chalk Illustrated.

Chalk Art Audio:

oh, the Lord is good to me, &

So I Thank The Lord

By Kerry Kistler

1Johnny Appleseed

Free DownLoads

from Disney's "Melody Time"

1949, RCA Victor (3 - 78rpm disc set), All Voices by Dennis Day

A GREAT story to present during Harvest season! This has to be Wof JohnHAT the most overtly "Christian" Disney story ever produced and is a retelling Chapman with narration like this: "John surely loved the apple tree,

'course there was something else that Johnny loved, and that was his Bible... the Word of God. He never failed when his work was through to sit and read a verse or two." Wow! And there is a lot more. NOTE: During this era (1949) it was acceptable to use phrases like "heathen injuns." This would cause some real problems today, so I have provided the full version plus a "cleaned up", edited version. Listen to both, then you decide. From KiddieRecords.com Run times: 19:14 & 15:57

2 History of Veterans Day

2009, History Channel, History of the Holidays Series

NOVEMBER 11, 1918, an armistice, or temporary cessation of hostilities, O"theNwasGreat declared between the Allied nations and Germany in WWI, then known as War." Commemorated as Armistice Day the following year, November

11th became a legal federal holiday in the US in 1938. After World War II and the Korean War, Armistice Day became Veterans Day, a holiday dedicated to American veterans of all wars. Sound track from www.History.com Run time: 3:28

3 4

Parable of the Sower

from the Gospels

1970, The Bible in Living Sound, Volume 5, Saved!

FULLY DRAMATIZED. From www.BibleInLivingSound.org. Run time: 7:08

PLUS

The Sower & the Seed

from the Gospels

1980, Nest Entertainment, from disc 12 of a 36 disc set.

FULLY DRAMATIZED. CD set is out of print. Run Time (5 segments): 20:05 [All BLS on this page ©® 2012 Sentinel Recordings, PO Box 234, Nordland, WA 98358-0234. Leal V. Grunke, Producer.]

Chalk Illustrated  Fall 2013  Issue 10  Page 24

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Parable of Sower 13 versions of the story!

1989-1997, Faith Comes by Hearing HIS STORY OF the Sower is presented in 13 word-for-word readings because it can be found in the 3 synoptic gospels, and each of these is read in 4 different translations: KJV, NRSV, CEV and NIV. Plus there is a bonus version for kids from the Kidz Bible (based on the English Standard). From www.FaithComesByHearing.com All versions, plus the song "You Planted Your Word", in one zip file. Run times from 2:00 to 3:30.

T


q

L i ghtn i ng Cartoons ! Adding Laughter to Your Program With TricKartoons.

Arty & Nub

Hi Gang! Arty and Nub here! Dave Winchell shares a gospel application based on an Ed harris design. the Apple Harvest season provides a natural tie-in to use it. Also, Halloween can be a thorny issue in the church but John Balda & Gary Means share a clever idea.

Angel Contreras

Sin Enters the World By Dave Winchell INCE THE TIME you were small, you have heard the story of Sto have Adam and Eve—the first two people God created and on the earth charge over all the animals and life He made. You probably

know they were given a beautiful place to live, called the Garden of Eden. There God made them comfortable and supplied all they would need for survival. He created them to love and to worship Him. There was only one rule God gave them and it was to never eat of the fruit of the Tree of Knowledge of Good and Evil. We don’t know what the fruit of that tree looked like, it might have looked like this. We don’t know what it tasted like or looked like or even how it smelled. What we do know is it was not to be eaten. However, as Eve strolled through the Garden by herself one day, Satan came to her in the form of a snake. He told her the reason God did not want her to eat of it was because then she would be as smart as God Himself. Even though this was a lie, she believed the serpent, ate of the fruit and then convinced Adam he should do the same. They did not get any smarter, but instead became aware of their sin. Now if I asked you what the first sin was, what would your answer be? (You may want to give children a chance to respond. Most may answer, they stole the fruit. But, the real answer is they disobeyed.) They disobeyed God, and in our own lives usually sin is preceded by disobedience to God, or our parents, or someone else. Doing what is right is really easier than doing evil. Doing right brings rewards. Doing wrong brings consequences. Remember this, wrong is wrong even when everybody’s doing it, and right is right when nobody’s doing it. Your sin, like Adam and Eve’s will always be found out. For a while you may be able to hide it from others, but you never hide it for even a moment from God. Learn from Adam and Eve’s mistakes. Do what is right and God will be pleased with what you do.

Sin Entered the World is reprinted with permission from book #2 of Amazing Trick ChalkTalk Stunts © 2001 by Dave Winchell. To purchase, visit www.ChildrensMinistry.org/estore/ dave-winchells-cartooning-ebooks.

Angel of Light to Devil By John Balda & Gary Means OOKING FOR AN idea that Lpromoting will tie in to Halloween without its darker overtones?

How about reminding your audience that the Bible says the Devil was originally a brilliant angel named Lucifer. But through his pride he fell into sin and God cast him from heaven...

...and he was transformed into the devil, also know as Satan. Hell will be his eternal home...

...but for now, he deceives the world by coming as an angel of light — which means that he always tries to make evil things seem good and innocent. Be careful to know the truth by studying the Bible. Original design by John Balda from an unknown source. Application idea by Gary Means from the Christian Conjurer, August 1980.

Chalk Illustrated  Fall 2013  Issue 10  Page 25


My Tuppence Worth Inspiration & Insight from the Easel of Jim Pence.

Getting Started in Chalk Art: Part 5

T

To Talk or Not to Talk?

draw twice a day, for morning and evening chapel. I’d always used music for my chalk drawings, but decided that I’d like to try doing chalk-talks in the mornings. I discovered that I can either draw a good picture or say something intelligent, but I can’t do them both at the same time. On the one hand, if I focused on what I was drawing, I forgot I was supposed to be speaking. On the other hand, if I got involved with my “talk”, I’d forget to draw. I decided after that week to abandon the idea of doing chalk-talks. PROS: • If you can talk and draw at the same time, you can tailor every message to the specific needs of your audience. • You don’t need to worry about special sound or recording equipment. • You don’t need to worry about forgetting to bring your CD and having no background music while you’re drawing.

HE USE OF CHALK to communicate a message goes all the way back to the late 1800s. Back in those days, people called it “chalk talk.” That was because most chalk drawings were done either on blackboards with white chalk or white paper with black chalk. Most of the time, the artists didn’t draw what we would consider “artistic” CONS: pictures (e.g. landscapes, seascapes, still life); • Unless you are a very engaging speaker, rather, they would do line art—more like a caryour audience might become bored. toon. • If you talk and draw simultaneously, your And as the artists drew, they would talk. back will be to your audience while you are Chalk-talk artists communicated their messpeaking to them. Not the best position for sage at the same time they drew their piceffective communication. ture. And often, at the end of the picture there • You won’t have the built-in time constraint would be some sort of surprise that delivered that comes with a recorded sound track. Thus, the “punch line”. Sometimes they would turn you will need to watch your time closely so the picture upside down and it would be a that you don’t ramble and go over your allotcompletely different drawing. Other times, ted speaking time. Some churches don’t mind through clever manipulation of the lines, they if you go over, but others do. Always be conwould change the picture into something difsiderate of your audience. ferent right before the audience’s eyes. RECOMMENDATION: As you begin your journey as a chalk artist, Talking while you draw can still be a very you will have to make a decision. Will you talk effective means of communication. However, when you draw? Or will you use some other unless you are naturally gifted at talking and medium (recorded music, etc.) to get the point A 1922 book by Charles Bartholomew is drawing simultaneously, I suggest that you typical of the era when "chalk talk" meant across as you focus on your picture? You’ll presenting quick line drawings while lecturing write out your message in advance and memhave to decide which option is best for you. To or entertaining. orize it (or at least the basic outline points). help you make that decision, I’ll share a few If you don’t have to think so much about what you’re saying, lessons I’ve learned over thirty-five years of doing chalk art. you should be able to stay focused on both the drawing and Simplified, the main options are: your message. 1. Talking while you draw Next time, we’ll consider the other four options for getting 2. Having someone else talk while you draw. your chalk art message across. Until then, keep drawing. 3. Recording your talk in advance and drawing to it. And remember, have fun! 4. Drawing to live music (instrumental, vocal, or both). 5. Drawing to recorded music (instrumental, vocal, or both). James H. (Jim) Pence is a published author, singer, speaker, Let’s consider the pros and cons of just the first method: performance chalk artist, and he teaches karate, writing and art to home schoolers. James also blogs for SeeTheLightShine. 1. Talking while you draw com. This article was originally posted there on October 18, I’ve only tried it a few times, and most of the time it hasn’t 2011. Used with permission. Visit JamesPence.com. gone well. One summer I was at a youth camp and had to

Chalk Illustrated  Fall 2013  Issue 10  Page 26


LOST ART The Search for Legendary Chalkers Frank Beard & the Birth of Chalk Talk: Part 1

It Happened One Thanksgiving By Kerry Kistler

Chalk Talk may have jumped quickly from the sanctuary to the Chautauqua Circuit, then to vaudeville and beyond, but its roots can be traced to the Methodist church — and a singular individual — Mr. Thomas Francis (Frank) Beard. Here's how it began nearly 140 Thanksgivings ago.

W

HERE DID THE TERM "Chalk Talk" originate? Here is what Wikipedia says: "A chalk talk is a monologue presen-

tation done while the speaker draws. It is usually done with chalk, hard crayon, or pastel. Because of an article in the Deseret News published on September 17, 1895, the roots of chalk talks can be traced to the Methodist church — and a singular individual — Mr. Frank Beard (1842-1905). Today chalk talks are still regularly used as a method of preaching scripture visually by evangelists that have artistic ability." [emphasis mine]

Shortly after Mr. Beard's death in 1905, a 1906 issue of The Christian Advocate published a tribute to Frank Beard. Here is an excerpt which describes how Frank fell into the work and ministry of chalk talk. It started, first, with him falling in love with Helen Goodwin (afterward Mrs. Beard), the daughter of a Methodist preacher:

"The youthful patriot, after being repeatedly rejected by the recruiting officers, because of deafness, accompanied the Seventh Ohio Volunteers as an army artist. His wartime cartoons in Harper's Weekly were very effective.

When the civil war was over, Beard drifted back to New York City...and there occurred the two most important events of his life: his marriage to Miss Goodwin and his conversion. And it was a good, old-fashioned conversion, too, one of the kind that turns a man square around; one that converted the reckless, self-willed soldier boy into one of the most forceful preachers of righteousness that this country has known the last quarter of a century. To Dr. A. D. Vail, of the Methodist Episcopal Church, belongs the credit of having set Frank Beard at his chalk talk work, though the name [chalk talk] was of Beard's choosing. The same energy that had driven him into the army set him as vigorously at church work, and the crayons that aforetime had illuminated Painesville cows were now applied to Sunday school blackboards. The interest in these pictures grew so rapidly that Dr. Vail suggested to the Sunday School artist that he should give a church chalk talk to a larger and paying audience. I have heard Beard more than once speak of the trepidation which preceded the first public exhibition of his talents in that line, it was set for Thanksgiving night, and Thanksgiving eve was devoted to a private rehearsal at home. The blackboard was set up in the kitchen, and the kitchen chairs were arranged for an audience, which was small in number...being only three, namely, his mother-in-law, his wife and the Thanksgiving turkey, which was given a separate chair to help swell the audience. Before these three was given the first chalk talk, 'and never since,' said Beard, 'have I ever had as appreciative an audience, or one that averaged as high in intelligence.'"

The Thanksgiving

turkey...was given a separate chair to help swell the audience.

In a 1895 interview with Frank G. Carpenter, Mr. Beard describes the event in his own words:

“It is now more than twenty years since I gave my first talk of this kind. I was a young artist of New York, and had just gotten married. My wife was an enthusiastic churchgoer and a great deal of our courtship was carried on in going to and from the Methodist church. The result was that I struck a revival and became converted. This occurred shortly after I was married, and like other enthusiastic young Christians, I wanted to do all I could for the church. I was on hand at all the meetings, and I took part in all the church work. Now, our church, like many others in the United States, was very hard up. We were always needing money for something, and we tried to supply this by means of entertainments and socials. Soon after I joined the church the young people gave an exhibition, and the ladies suggested that I draw some pictures as a part of it. I consented, but I felt that the standing-up before an audience and sketching without saying anything in illustration of the pictures would be a very silly thing. So I concluded to make a short talk and draw the sketches in illustration of it. I wrote out my story and rehearsed it half a dozen times beforehand. The entertainment was for a Thanksgiving celebration, and one re-

Chalk Illustrated  Fall 2013  Issue 10  Page 27

Frank Beard \ next page 


Frank Beard \ continued

In keeping with our Harvest theme: "Sowing & Reaping" by Frank Beard from the Ram's Horn.

wrote, and I soon found that I was making more at my chalk talks than at my newspaper work. I then charged $40, then $50, and so on, until I now get what is considered a very good price.” From these humble beginnings, two branches of "chalk talk" were formed. First, the chalk talker, who performed and entertained using humorous "lightning cartoons stunts" in both ministry and secular venues. Later, a second branch developed, the gospel chalk artist, who (typically) drew scenic landscapes or Bible scenes in (mostly) ministry settings. Certainly, there was cross-over at times, but the second group owes a debt of gratitude to the founder of the first — Frank Beard, the father of chalk talk.

19 05

hearsal took place at home, my wife, my mother-in-law and the turkey, which we tied up in a chair, forming the audience. Well, my wife survived, my mother-in-law did not die while I was talking, and the turkey was not spoiled. The exhibition came off in the church, and it was a great success. Other churches heard of it, and I had applications to repeat it again and again. At first I was flattered and readily consented. I never thought of charging for it until the demands became so numerous that I was unable to fill them. It was taking much of my energy and lots of my time. To put a stop to it my wife suggested that I charge so much for each entertainment. So, when the next application came, I replied that I could oblige them, but that it would cost $30. To my surprise they accepted my offer by return mail. It was so with nearly everyone who

rd Frank Bea

2 184

Chalk Illustrated  Fall 2013  Issue 10  Page 28


in the Project Ideas Especially for the Do-It-Your-Selfer. others from the same mistakes. Each artist discovers new ideas for equipment. Some insist their prototype A book of design ideas for is best yet rarely are two easels exactpractice and portable easels. ly alike. Some merit can be found in almost every design, if you look hard enough. Since some artists sell plans and easels, only basic plans are presented here. This book is not meant to be a machinist hand book, carpentry guide or electrical wiring course. Instead it is a review of unique ideas for chalk easels. HAVE BEEN AT war with my equipI wish I could call this book, "Easels ment since my first drawing. Many Made Easy", but there is nothing easy of my easels seemed as if they were about making a sturdy, lightweight, by Dan Ondra trying to run away from me as I drew portable easel with conventional tools on them. One would begin to sway and and a limited budget. The best we can rock so wildly, I could hardly draw on it hope for is to share practical designs The first edition of The Easel by Dan Ondra was released in 1995 with 34 pages, and the print edition sold for $17.77. This as it went by. I needed a special sound that have been effectively used over year, an updated e-book edition, expanded to 49 pages, was system just to drown out its groans the last 60 years. The pages is this released and is available for $5.00 from www.DanOndra.com. and squeaks. book present designs for practice eaAnother easel attacked me in the middle of my presentation sels, tabletop easels, portable easels, bedsheet easels, large by dropping a screen on my head. I wrestled it to the floor format easels and light hoods. Most are tested patterns. Othjust in time for an overhead glue bar to stick in my hair. I ers are new, fresh ideas. pulled long and hard to remove that bar. This produced a Mohawk hair style for the rest of the event. Dan Ondra has been teaching and writing about chalk art I must confess, I have often spent time praying for protecfor over 25 years. He lives in Maryland and may be reached tion from my equipment. I have greatly enjoyed the stories of at mail@danondra.com. Some of his chalk books have been those miraculously delivered from their easel designs. Some updated for 2013 with new material and are available at designs make us wish US patents were easier to get, to protect www.DanOndra.com.

The Easel By Dan Ondra

I

1 Copyright © Dan Ondra 2013 

Sample pages from The Easel by Dan Ondra. Most easel designs do not show construction schematics, but a few do.

• A Ding Teuling easel (with patented legs) that packs into two wooden travel boxes, plus the easel back. • Designed for a person between 5'6" and 6' tall. • Includes a control box for white, colored, and black lights, plus a mahogany frame. • Bonus! There is a set-up to hang a sheet easel in front of the paper easel for a beginning picture (the sheet easel set up needs some minor repair). • It is available to see in Lancaster, Pennsylvania. Too heavy and thus too expensive to ship - must be picked up. • Retail over $1,200. For sale for $600. • Call or e-mail any questions: SuZie@MagicBob.org or call (616) 975-9988

Chalk Illustrated  Fall 2013  Issue 10  Page 29

FOR SALE:


Fishing Reports \ continued from pg. 8

lies enjoyed the fellowship. We then traveled north through Phoenix overlooking a beautiful lake behind where two of our rear tires explodthe church sitting almost on top of a ed from the 110+ degree heat. Be1940’s era bomb shelter. So, Keli Ann tween the two flat tire experiences, and I ventured in with our lantern for we met four pastors, one of which a peek back in time. When we parted is planning to book us for ministry this second venue, the pastor invited in Alabama in the future! So, God us back with great enthusiasm for showed us His working all things chalk-art ministry! Street Ministry at Menominee together for good once again. We Travel in the United States of Amerrejoiced in His provision and made ica affords daily wonders of history, Grace Brethren Church, Michigan write photo cut line to go here a beeline for our next engagement natural and human. We met Alvin in northern Michigan. On the way York’s grandson at his old homewe just happened to take a peek at the Grand Canyon, drive place in Kentucky, saw Abraham Lincoln’s birthplace, and now through several canyons around Monument Valley, drive to traveled up the tram to the top of the St. Louis Arch—650 feet 10,500 feet above sea level over the Colorado Rockies, glance in the air above a flooded Mississippi River! at Mount Rushmore, see fireworks at Crazy Horse, and stay in Our next ministry took us to Davenport, Oklahoma, and the only two Flintstone Campgrounds in the world--all in a yet another pastor who had never seen chalk-art used as a week’s travel. tool for the Lord’s work. That church building was overflowWe arrived at our church-planter friend’s home and got right ing with enthusiastic worshippers and guests for the day. My to work with street ministry sister Jane, who lives in Edthat evening near the local mond, Oklahoma, arranged annual Christian festival. this meeting, and the pastor The church is in a storeenthusiastically embraced front with a nice big winchalk-art evangelism and our dow, so I set up the easel family. After a few days visiton the street in front of the ing my sister and her family, window and talked to passwe were off to Albuquerque, ers-by as I illustrated the New Mexico, where we shared Gospel. The pastor reported the Gospel with the combined seeing people around the youth and adults from two corner reading the tract Chinese churches on a Friday and invitation material that evening. Here we spent two Whispering Cedars Camp, Vanderwagen, New Mexico his son and I were handing nights in the home of our out that evening. The next Chinese-American hosts, an morning I did a chalk-talk amazing family of four chilfor the morning service and counseled one Hispanic lady for dren who blessed us greatly and sent us on our way to Gallup, baptism, reading key passages to her from her Spanish-EngNew Mexico. lish Bible. After the service, three individuals were baptized in Over the course of the next week, we shared the Gospel and Lake Michigan, just across the street from the church. They taught the Bible in two Navajo Nation mission churches and just dripped dry in the breeze while we all talked and enjoyed a Bible camp in the middle of the reservation area. A number the afternoon. of children responded to the Gospel at that camp. We did a I did one more gospel chalk talk near the beach area that series of drawings on Psalm 23 and gave the pictures to the Monday, and we headed south on campers by drawing names at the Wednesday for our last appointlast service of the week. The Native Fulfilling the Great Commission as a family. ment in Minford, Ohio. We arrived American children were especially safe in Virginia on the following intrigued with the art and asked me Monday, July 8th. We know the to incorporate their southwestern red Lord gave us every appointment mesas into the pictures, so I did just for His purpose in His time. Most that! of the people we met and places Leaving New Mexico, we traveled we ministered experienced chalk to Tucson, Arizona, on an unplanned art ministry for the first time, and excursion to meet some stateside we have standing invitations to missionary friends from Southeast return. Asia. This was a blessing, as Brother Visit us at: John and I serve on a mission board www.ChalkTalks.net of directors together, and our fami-

Chalk Illustrated  Fall 2013  Issue 10  Page 30


rted Chalk Bit o s s As

Nub Tub Se s lect nd Odds & E

Craig Dormanen, "I was asked to come up with a drawing while a pastor spoke on the parable of the seeds during a 100th anniversary of a very large retirement facility in Minneapolis. I drew countless sunflowers in backlight that took approximately 2-3 hours. In hind-sight, I would have varied the heights of some sunflowers more. It was a little unnerving as I didn't get a chance to speak with the pastor giving the message until just before we went on, and I was given a fairly loose time to complete the drawing--and this was the first time I had drawn this one in public." Visit www.ChalkManArt.com. m

s the ram (read ig b m a " "Autumn ichael Irving. M down) by

ide

same ups

m

o logspot.c at: See more vingAmbigrams.b r MichaelI Tom Ammons (left) created this Parable of the Sower. "You may recognize the black light. It is a mirror image of a pic from a previous issue of CI." www.DrawingForChrist.com.

l

Parable of the Sower black light image. By Tom Ammons.

k Ophir Odal, (center right) our friend in the Philippines, interprets the Parable of the Sower. Visit his site at www.DrawingLifetoJesus.blogspot.com.

Richard Hight (above right) next to his unique Harvest drawing. Showing Jesus with a sickle in his hand reminds us of the harvest at the end of the age. See more at www.VisualMpactMinistries.com.

k

l Todd Hatchett (left) illustrates "The Parable of the Seeds". He is on staff at a Baptist camp www.CampJoy.org.

James Snyder's "Parable of the Sower". www.SnyderChalkTalk.com.

k

Chalk Illustrated  Fall 2013  Issue 10  Page 31


LeGrand Prix . t a e r t r o t trea ourself today.}

at y { No tricks. Tre

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For Complete Details: www.ChalkMart.com or call 336-725-2041 • Hand Crafted in the USA.

Chalk Illustrated  Fall 2013  Issue 10  Page 32


Chalk Illustrated - Issue 10 - Fall 2013