Chalk Illustrated - Issue 2 - Fall 2011 by Kerry Kistler

Chalk .com

ILLUSTRATED

Using Chalk Art for Ministry, Education & Fun!

Flinging Chalk for the Fallidays Issue 2 Fall 2011

This Issue:

Wanted* ALSO: Commemoration in Chalk pg. 6 k 9/11 Com lk or or Treat! pg. 12 k Chalk il So Solutions for Autumn pg. 18 k Stencil do Trick Cartooning pg. 21 k How to d Sheet Sheets, et Big Harvest pg. 25 k Big She

Brent Pickens (*for Effective Ministry)

The Features, Stories & Columns Inside This Issue.

14 19

3 Coffee with Kerry: That Elusive Quality 4 Letters & E-mail: A Cornucopia of Comments 5,20 Hot Coffee: Online CI Issue + Adding Humor With Trickartoons 6 Cruising the Internet: Glen West Featured at 9/11 Commemoration 7 Cover Artist: Brent Pickens—My Journey Down Chalk's Dusty Path 111 Sparrows Nest: Daylight Fluorescents for Children's Ministries 112 Ren's Faire: Chalk or Treat 13 My Tuppence Worth: See The Light Shine Training 14 `Step-By-Step Studios: Why Not a Drawbridge 17 In the Workshop: Got Easel? (and Adding Fire) 17 Best of the Chalk Loft: Adding Fire to Drawings 18 Taming Hidden Pictures: Stencil Solutions for Autumn 19 Oddio Re-Cordings: Vintage Albums for the Fallidays 21 Lightning Cartoons: How to do Trick Cartooning 24 Chalk Be Nimble: What Sealo Taught Me About Showmanship 25 Chalk on Sheets: Big Sheets, Big Harvest 26 The Chalk Vault: Christian Artist 1968, 1 & 2 27 By All Means!: Reaching Souls Through Entertainment 28 Ads: LeGrand Prix Easel, Ordering Chalk Illustrated print edition

Chalk Illustrated is an e-zine designed and produced to educate, edify and unify the chalk art community worldwide. It is published on a quarterly basis (as time allows), and the e-version is distributed to subscribers without cost. A print version is also available at our cost ($6.25 per issue, postage paid, or $25 for an annual subscription (see back cover for details). Your articles and idea submissions are always welcome—every effort will be made to include your material. Subscriptions, donations and submissions may be made through the official web site at www.ChalkIllustrated.com. All correspondence should be directed to the editor, Kerry Kistler, at ChalkIllustrated@gmail.com. Advertising rates are free—contact the editor for details. The entire contents of this publication is protected by copyright © 2011, and may not be reproduced for commercial purposes. It may be shared freely but not sold.

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 2

The editor spills some ink – and a drop orr two tw of coffee.

That

Elusive Quality OR MANY YEARS—before I ever picked up a stick of chalk—I was a performing magician. There is a quip among those who practice sleight of hand and illusion: “It ain’t the trick–it’s the magician.” This means that a GOOD magician can take a second-rate trick and still captivate an audience with an enchanting presentation. And I believe a chalk artist—even one with second-rate art skills—can both captivate and enchant any audience. What shall we call this elusive quality? Perhaps “flair” or “showmanship” or “stagecraft.” But for those who chafe at mixing pseudo-showbiz terms with ministry, let’s try this one: “charisma.” In his book The Laws of Charisma, Kurt Mortensen presents some ideas worth considering: “Charisma is the ability to…persuade others to believe you, trust in you and want to be influenced by you.” When we present our chalk programs, isn't that what we want: an audience that believes what we are saying, trusts our message, and is influenced to act upon it! Mortensen offers seven key insights into developing charismatic qualities.

2. Know Your Purpose. "Ask yourself: ‘What is my destiny? Where do my interests, gifts and talents lie? People with a purpose ooze charisma and naturally draw others to them. Their purpose inspires others.”

3. Live With Integrity. "Integrity is consistency between your professed values and your actions. What do you really believe in? And what are you willing to stand up for?” This will enhance your ability to influence others.

“

I have known people who hated watching chalk artists. Should we be offended...or should we listen?

4. Tap Your Creativity. "Creativity is the ability to solve a problem by combining old ideas, new ideas and imagination. Inspiring those around you to feel more creative opens the door to new solutions.” This is the spirit of Chalk Illustrated. 5. Establish Focus. "You cannot influence others if you can’t stay focused. Do I confuse being busy with getting things done? Am I clear about exactly what I need to achieve?”

6. Listen. "When you listen well, you discover everything you need to know to help, change or influence, inspire, motivate and gain trust. People feel more respected and valued when you listen to what they have to say.”

7. Motivate. "Charismatic people not only motivate others, they help others motivate themselves, aiding them in visualizing goals and inspiring them to feel they can achieve those goals.”

I have known people who hated watching chalk artists. Should we be offended by them or should we listen to them? Perhaps the problem does not rest with them. We may love chalk art, but that is not enough. We must somehow “package” our earnest chalk art zeal, and then hand-deliver it with captivating appeal. Star Trek’s Will Riker once said, “Flair is what marks the difference between artistry and mere competence.” Whatever you want to call it— flair, showmanship, stagecraft or charisma, let’s go beyond mere competence in our chalk work. Let’s dare to flair. To paraphrase that old magician’s quip, “It ain’t the drawing–it’s the chalk artist.”

”

1. Find Your Passion. "Passion is critical to influencing others and transmitting charisma.” This should be easy for chalk artists. We already sense a Spirit-driven, heart-felt passion for using chalk to communicate spiritual truth to people. This is essential.

(For more on this topic, see pages 24 and 27.)

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 3

Kerry

LETTERS

E-MAIL

Your open forum Y f to t communicate, i t commentt & critique. iti

Trick Cartoons “Great issue! I really enjoyed reading it. I think I mentioned to you before that I am not a chalk artist, but I do use the trick/ lightning cartoons. I can't wait for the Ed Harris books! I might be willing to be a contributor to that section as well. I'd love to share how I, a non-artist, developed a way to use cartoons in my ministry! Thanks again! It was a great issue! In Jesus," Brett Belleque [Brett, plese share your thoughts on this topic! It would make a great article.]

a i p o c u n r A Co s t n e m m o of C

Opportunities

HANK YOU FOR the emails and other feedback on the first issue of Chalk Illustrated. We want to know how this publication can be improved, so please, let us hear from you today!

Printed issues “I think it is so awesome, what you are doing with Chalk Illustrated. I think we sometimes take for granted the hard work, and sorry to hear you may not be doing the printed issues. I will look at buying some of the issues if I can send checks

efforts, as I know He will. Thank you for promoting Chalk Art and showing that it is still an effective and beautiful way to share the gospel.” Del Wilson President, FCM

in the mail. Will look forward to the next issue." Patty Vineyard [Patty, the price for printed issues was based on having at least 40 print subscribers. So far there are 5. I will fulfill these one-year subscriptions but will need to discon-

tinue that version beginning with the Summer 2012 issue unless readers show more interest in printed copies. And, yes, you may send checks—see the back cover for details.]

Chalk=Effective “Chalk Illustrated is beautiful! You have done an outstanding job putting this magazine together. Excellent work, this will be a late night read for me. I will be praying that this gets out to many people and that God blesses your

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"Thanks for a great edition. I especially was interested in the hand dipped colored bulbs. I have one of David LeGrand's easels and light bar and the coating on the bulbs is discoloring, especially the blue coating from leaving it on too long. I've been doing chalk art off and on for special occasions during most of my 45 years in ministry as a pastor and a missionary. Most of the time it was with makeshift equipment and learning on the run. In the last few years, after finally getting a good and practical easel, I have had increasing opportunities to minister with chalk art. I finally took lessons with Matt Letters \ next page Î

Letters \ continued

Bowman at David LeGrand's seminar in Winston-Salem two years ago at age 67. So we look forward to many more years of opportunity, if Ding Teuling is a role model of longevity. May the Lord continue to bless your ministries." Bob Gerhart Drawing for Life

Just Jumped In "Thank you so much for the resources that you have provided free of charge. In some of the material you have provided at Chalk Illustrated, you encouraged those of us who desire to serve the Lord through this

medium to just go ahead and use what we have for the Lord. I have used your stencils to create a chalk drawing for a local event and just jumped in. I hope to gather more materials and more skill and continue to work, but I was encouraged by all of the resources that you have provided. Thanks so much." Nora Carter

Excellent Way "I'm too old to travel, but would like to teach my manner of presentation to younger people as it is such an excellent way in which to minister." Ken Thoreson

people can imagine. May God bless you so greatly as you labor for Him! In Christ," Brent Pickens

Very Sweet "I would like to congratulate you on Chalk Illustrated and the other bold causes that you have taken on for the benefit of those of us who find our ministry in, and make our living with, chalk. Evangelists have almost become extinct in many denominations, as you know. My wife Cheryl and I raised our five kids on the road over most of the last 32 years travel-

ing with a kids' crusade program: illusion, chalk art, ventriloquism, clowning, puppetry, and a large robot, and yes, with a circus theme. It hasn't been an easy life, but in hindsight it seems very sweet. I won't even try to begin to enumerate the trials, tribulations, and transitions. Through all of it we have learned to know God's voice and depend upon Him in a deeper way than most

[Be sure to read the cover article on Brent and his family in this issue of Chalk Illustrated, pp. 7-10]

Easel for Sale! "Thanks for your information. If you know of anyone looking for a flight easel complete with lightbox built by Dan Ondra, I have one available for $875.00 in excellent condition. Thank you!" Cathy Patnovic [If you are interested, in this easel, contact Cathy's through her website at CathyPatnovic.com]

How can my friend see a sample issue of CI? “Is there any way to read Chalk Illustrated online without actually downloading the magazine to a computer? It would be nice if prospective subscribers could see a sample issue without actually subscribing first.”

Q: Warm-ups from the Editor

BOVE IS A sample spread from the ChalkIllustrated.com website homepage. Anyone will be able to expand the layout and browse the entire sample magazine page-by-page.

Yes. Now when you send a friend to the ChalkIllustrated.com website, they will find a FULL sample issue on the homepage which can be browsed like a regular magazine. I am now using a service from www.Issuu.com which embeds and allows anyone to read a full issue without first subscribing to Chalk Illustrated. I may also make all future issues readable on the Secret Download Page. However, people must still subscribe at ChalkIllustrated.com to access the Secret Page (and all of the FREE bonus material located there).

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 5

Scenic Stops Found on the Information Superhighway.

by L. B. Whyde, NewarkAdvocate.com

Glen West Featured at 9/11 Commemoration HEATH -- Mention Sept. 11, 2001, and everyone can remember exactly where they were and what they were doing that fateful day. Sunday was a day for remembering again. The choices for commemorating the 10th anniversary of 9/11 ranged from countless television specials to a call for observing a period of silence at 1 p.m. Sunday. In Licking County, churches took the lead, offering a number of commemoration and observance services throughout the day. The congregation at Newark Baptist Temple in Heath packed the house to witness one of the Photo by Michael Lehmkule more unusual presentations: a chance to watch Glen West work his magic with his "chalk talk." Using special chalk, West employed a black light to reveal a hidden picture within another illustration. West started with a drawing of lower Manhattan Island in the daylight under bright blue skies. For 30 minutes, West added details to the picture such as the Twin Towers, the Statue of Liberty and a bridge. For the final touches, he added smoke and flames to the towers. The black light not only revealed a nightscape of the city minus the two towers, but also the addition of a brightly lit cross in the clouds overlooking the city. The finished picture brought quiet gasps of surprise, and as Licking County Christian Academy Science Teacher Ellen Chancey said, left "not a dry eye Photo by Jason Lenhart in the house." "He outdid himself this time," Chancey said. "Everything he does gives a gospel message." Associated with the school for the past 22 years where West had been an administrator, Chancey has seen many of West's chalk talks, but nothing to compare to Sunday's presentation. "He compared our liberty as a country to the liberty we have in Christ," Chancey said. "How (West) tied the event to the need of a savior -- that touched me." A member of the congregation since 1998, Beverly Merick, of Nashport, previously has seen only one of West's chalk talk presentations. She knew there was going to be a hidden picture but still was impressed with the final results. "It was very touching that he gave the true meaning of life," Merick said. "That Christ died on the cross for us and that He is always there for us." Josh Black, of Granville, brought Jennifer Goodwin, of Newark, to see the chalk talk. This was the first time for Goodwin to see West and his magic. She was not aware of the hidden picture that would be revealed and was speechless upon seeing the final masterpiece. "There are no words for it," Photo by Glen West Goodwin said. "It was fitting for the occasion." L.B. Whyde can be reached at lwhyde@newarkadvocate.com. Reprinted by permission. Submit YOUR press coverage to ChalkIllustrated.com

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3UHVHQWLQJ Ć WKH Ć &RYHU Ć $UWLVW Introducing another neighbor from our chalk art community. This chalk picture by Brent is titled, "What Lies Ahead?" The photo at bottom proves that Brent had a bent for performing from a very tender age.

ver the laststt thirty-two ye years ears have of our travels,, I have encountered numerous children who attended [our] camps. Many of them are now pastors, pastors’ wives, or church staff ministers. They usually tell me, “I remember the night you drew XYZ. That’s the night I was saved,” or “that’s the night I surrendered to preach the gospel.” These testimonies are precious to us. —Brent Pickens

by Brent Pickens

verything that is done...is done by hope. No man would sow a grain of corn if he hoped not it would grow. —Martin Luther

Y FIRST EXPOSURE to gospel g p chalk art was as a child attending ng the First Church of the Nazarene ene in Searcy, Arkansas, during the middle to late 1960’s. We had suffered through a sack ck lunch then treated to ice cream, m, but the best treat of all that day ay was the evangelist. None of us knew what was coming, but it was a life-changing event for me. The Most Amazing Person The evangelist* performed a few illusions as Bible object lessonss and then began to draw. On the newsprint rint of his smaller easel, he seemed to draw the face of Christ effortlessly—almost mirroring the Warner Sallman print of Christ hanging

behind him in the choir loft. On his larger easel (probably with w bogus paper), he presented a large landscape. About a dozen of the older o children responded to an invitation and were taken aside inv for fo prayer with the evangelist. The Th following day, Sunday, he drew a picture of the Devil rundr ning ni across a bridge just before it exploded. The man was the most mo amazing person that any of Pickens \ next page Î *If any of you have a clue who this Nazarene chalk art evangelist was, I’d like to have it for my records and my own satisfaction. At that time, he appeared to be in his forties, his wife was confined to a wheelchair, and I believe they were living in Illinois.

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 7

Pickens \ continued d

When the Lord appeared under the black light, one boy was taken and the other left behind. We were mortified! I wanted to get saved all over again that night.

us had ever witnessed. The next summer another family revival rolled around, and I was excited. The pastor explained that the chalk artist had left evangelism for a while due to "Season of Refreshing" his wife's health, and that the new evangelist had object lessons, puppets, a plastic dummy, and hand-painted flannel graph. But no chalk art. Winning My First Chalk Drawing Later that summer, er, my grandparents called to tell me that the greatest miracle man they had ever er witnessed was hold-ing a children’s cru-sade at their church h in North Little Rock. k. His name was Charles es J. Aaron. I was unable ble to attend that week eek because of the distance, but a few weeks eeks later Brother Aaron held c. 1977 meetings in a town just down the road from m us. I was there! He had d two professional ventriloquist dummies that he had built himself, a rolling magician’s table upon which he worked his gospel object lessons, and a large, velvet-covered chalk art easel. The easel strongly resembled the one Dr. George Sweeting once sold blueprints for in the 1950s and 60s. I went every night, sat on the front row, and took as many visitors as I could. I won second place in the visitors contest and got “first” choice of the week’s chalk drawings. (First place was a plastic ventriloquist’s dummy.) “The Rapture of the Church” featured two country boys, resembling Tom Sawyer and Huckleberry

Finn with straw hats and bare feet, sitting on a boat dock with fishing poles. When the Lord appeared under the black light, one boy was taken and the other left behind. We were mortified! I wanted to get saved all over again that night. Several of us begged for that drawing, but it had been promised to the pastor’s family ahead of time. So I selected “Fishers of Men,” took my picture home, and practiced it over and over with cheap pastels until I made it resemble what Brother Aaron had done – Broth and got exiled to the garage any further experiments. for a Books to the Rescue! Boo For the next couple of years, I attended any yea Charles Aaron meeting Ch within driving distance. w He is a genius, a bit of H an introvert, and rather a ssecretive about the ttools and methods he employs. But I asked questions generous with anand, with me, he was very v helpful books and literaswers—directing me to h ture. He referred me to the Seymour School for Visual and Performing Arts in Little Rock (where I later studied), and even agreed to build me a

"Peace Be Still"

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professional ven-triloquist’s dummyy (figure, if you pre-fer). It took sixteen months for him to complete the figure and for me to save the money to payy for it. I practiced hard on my chalk draw-ing, often disap-pointed with the results because I knew so little about the materials I was using. I bought books by Sweeting, Smith, Zwall, and several others. I still lacked basic art knowledge, but I could copy some of the imagess in George Sweeting’s How w 7 c. 197 to be a Chalk Artist so itt provided the first few chalkk drawings that I presented in n public. It wasn’t until I bought ht You Can Be a Chalk Artist by Art Barr, that I actually began gan to produce simple works off art that satisfied me. It helped d me fill in the basic information gaps and offered simpler (often silhouilhouetted) drawings. I used many any of these my first few years out on the road, along with others ers that I developed using the same me techniques. Camps, Crusades, a Wife & Kids By 1977 I was traveling the th state t t with ith a fivefi night Kids’ Crusade that featured puppets,

ventriloquism, illusions, chalk drawing, and a large talking & walking robot. By 1979 I was covering the four or five states surrounding Arkansas and had branched out into preaching Children’s Camps for several denominations. This was the most satisfying thing I had ever done. At that time, children came to exp camp expectantly—knowing that this sp was a special time for God to work in their hearts. Over the last thirtyyea of our travel, I have entwo years counter numerous children who countered attend attended those camps. Many of them are pastors, pastors’ wives, ch or church staff ministers. They usua tell me, “I remember the usually nigh you drew XYZ. That’s the night nigh I was saved,” or “that’s the night nig I surrendered to preach night the gospel.” These testimonies ar precious to us. are In 1983, I met my wife in a S Sunday School class. We had a attended the same college a c couple of years earlier, but w an upper classman and, she was I thought, way out oof my league. By 1984, I was t li full-time, f ll ti traveling crossing the nation multiple times and occasionally making a mission trip overseas. We married that year and, for twenty-seven years now, Cheryl has added a great deal to our programs—especially with her music, clowning, and puppetry skills. As our five children were born, they became a part of our programs. I usually let them choose from week to week the level of involvement they wanted to contribute, but they were all a blessbles ing. Training, an Easel & a Video o My method and nd d

"Peace Be Still" black light (detail on cover)

Pickens \ next page Î

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 9

I practiced hard on my chalk drawing, often disappointed with the results because I knew so little about the materials I was using...but I could copy some of the images...

Pickens \ continued

Like many of you, I have chalk dust in my veins. I hope to continue proclaiming the gospel with chalk as long as I have breath—and, perhaps, longer.

approach to chalkk art changed entirely in 1986 afterr attending a Teuling Chalk Seminar att the Tarrant Baptistt Encampment in Texas. My drawings are now quick, nott the standard twelve to fifteen minutes that many artists do. I primarily workk for children, so I typically draw with music for five to seven minutes before giving the invitation. I found the Teulings’ invisible black light chalk to be superior to the he chalk and wax crayons that I had purchased sed from the Shannon Lumi-nous Company in n California, and from Mr. Balda in Illinoiss in earlier years. I was as also able to purchase se one of David Teuleuling’s wonderful easels, sels, which I have used now for over twenty years. ars. I am deeply appreciative iative of their contributions ns to my development. In 1992 we had d the pleasure of making a capsulated “how to” video on chalk art, entitled “Drawing Kids to Christ.” It was one of seven volumes in a variety arts children’s ministry library that was distributed to Bible colleges and ministry schools worldwide. Katrina & Cancer—It's All His At different stages of our lives, we periodically left the road to be on staff at larger churches or to serve with other ministries. 2004, when our oldest daughter was dealing with cancer, was one of those times. We moved to the Mississippi Gulf Coast and, living one block off the beach, experienced Hurricane Katrina’s destruction of our home, possessions, vehicles, and place of ministry. Several miles away, our current year’s kid’s crusade equipment was stored on the north wall of our church building. Though the church was heavily damaged, the north hallway withstood the storm. Our daughter had been declared “cancer free” so, with nothing to our names but that crusade equipment and a used church van, we moved back to Arkansas and (as always) back to evangelism. Life has taken us many miles—con-

ducting stateside meetings in fortytwo states—and down varied avenues, with chalk art playing its own important role. It eventually led me to college degrees in art, the production of fine art pastel and oil paintings, and marketing my art through gallery representation. But I have greatly reduced my production of secular paintings; I truly believe that this gift—with which God has allowed me to minister—is allowe My time is His, and my His. M family members are His. Like fami many of you, I have chalk man dust in my veins. I hope to dus continue proclaiming the con gospel with chalk as long go as I have breath—and, perhaps, longer. As I watch h my youngest son, Asa, sit m . o C and draw for hours on a & t Bren eend, I am hopeful that this ministry of chalk art th will continue into future generations. And I hope to contribute to the success of those of chalk art minwilling to take on the challenge cha istry while I have time and strength to give. Once again in children’s ministry, Brent is currently based out of a church in southern Colorado. You may contact him through his web site at BrentPickensMinistries.org

Brent Asa

Lindy

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 10

Cheryl

Lauren

Finding Great Value in the Little Things by Jackie Gillespie

Daylight Fluorescent Pictures for Children's Ministries there is something to the fact that it is drawn in front of the audience, and the surprise factor as the blacklight highlights the message. Whatever the reason, it has been successful in presenting the Gospel in a different way. Also, it is very useful to draw outdoors, even when we cannot und to darken an area. Especially effective is the addition of pink (red) fluok backgro d with c la b a n ance nts o h e c n s e e rescent chalk to a cross scene or any theme where you might want r , " o d lu e light f So Lov Using day rawing "For God to accentuate the blood of Christ, or gold fluoro chalk for highlights yd present m the conclusion. on mountains, mountain etc. t at blackligh The more I work with the daylight fluorescents, the more I enjoy creating and pushing myself to see what else the Lord will direct me to do. I believe the sky is the limit and we are just scratching the surface as far as what might be crescr UR MINISTRY, Y, SparY Sparngs i ated with a combination of invisible fluorescent and at h t ble ation i row Ministries, es, is s i daylight fluorescent chalks. Basically, this method d v e in the cre ly h t predominately r is simply drawing what you would normally draw Fo ar , from , are cle by directed towards rds m in a black light picture. But, rather than white on i h od of rld o o t children. Although we are re s w r white, this would be in the negative on a black w e e of th eing und re made; asked to share with adultss covered surface, much like the black sheets that co a ,b t , n a o e and senior adults, it is pris h l t e s Mrs. Mr Suzie Zoerman, Matt Bowman, and others a hings l power they use. t marily a children’s oriented e use h t rna so that e t ministry. Which creates a e s Richard and I work together to sync the light Ri hi ity: able. n i dilemma at times—kids aree v i s show with the drawing, especially when the mud and re inexcu :20 getting savvier when it comes es sic compliments the picture at different times. com a ns 1 a to hiding a black light picture. re. m Until we get to the end, the lights help to complete o R We have tried several different rent the story a and the black light is the conclusion. ways to hide an invisible picture with Is there a limit when incorporating daylight fluodifferent clouds or objects at different rescents with lecturers' chalk? I don't res locations, but the greatest successs we have think so, and cannot wait to see how my had is in using daylight fluorescentt chalks. fellow chalk artists use it to present the Gospel! In one of our programs, we use all da daylight What a Gospel and what a medium to share it with! fluorescent pictures, and the kids love it. We draw the picture in front of them and at the Learn more about Jackie & Richard Gillespie and end of the presentation Richard brings up Sparrow Chalk Art Ministries at SparrowChalkArt.com or e-mail them at sparrowchalkart@yahoo.com the blacklight and they go crazy. I suppose

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Building B ildi ld tthe h K Kingdom i d Through Th h Chalk Ch lk Ch k Art A t with itth Ren R Dueck. D k

his column is extracted from Ren's book, Everyything You Want to Know About Christian Chalk Art Drawing. More from this book will be featured red in future issues (with with permission).

k l a Chor t a e Tr AVE YOU EVER SEEN a group of people on the street, on the beach, or in a park gathered around some one, watching them do something? You ev even want to go over and see what's going on, don't you? Yes, and you can do the same tthing with your chalk art. Pick P your spot, but be careful not to stop traffic tra affic or interrupt business. You could get more attention than you want. So find a m nice where there is room for a group ni ce spot s to t stop and watch you draw. Yo You can start with making a few cartoons or o character drawings. As the group gets bigger you can talk as you draw. If you bi draw and then talk when the picture is completed, your audience may leave. They want to see your drawing but they are not really inter-

ested iin hearing a message. That is unless you als also so make your message attention getand ting an nd challenging. You can draw, talk a draw, talk, draw, talk more, and so on. little, d dra If you are able to change your picture as the story de develops you will be very successful. Your au audience will keep asking for more.

Takke Advantage of Take a Ro Roving Holiday Crowd! M Most of us have our garage full of tthin things we don't know what to do with. Well, Art and Thelma Layne have We cl cleaned out their garage. A rug is on tthe floor to make it very comfortable. Drawings which Art has prepared D with special black light highlights are wi around all aro oun on the walls and on the garage door. A All sides of the garage door are sealed room can be made dark at any time. so the ro colored lights and black lights are poThen ccolo sitioned so each picture can be highlighted. A wire is strung across each wall with curtains placed so each picture can be shown separately. Starting in one corner, and going around the room, Art tells the story of creation and on through the Bible presenting the plan of salvation. So, who comes to see this artistic display? Well, Art and Thelma make it a special treat with the kids and parents to see their garage at Halloween. These roving crowds listen to a short story/message highlighting the pictures before they get their treat. In your garage, living room or in your front yard, you can make a draw-ing using special lighting g effects at Halloween. Pres-ent a short story and then n give out treats.

Ren Du Dueck was the editor-in-chief of The Christian Artist Newsletter for over 16 years (see pg 26). Ren currently works in real estate and resides in Redding, California.

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Inspiration & Insight from the Easel of Jim Pence.

"See The Light" Art Training Chalking Behind Bars Part II If you enjoyed the article "Chalking Behind Bars" in my last column, here is an excerpt from the second part of that story: hen the chaplain and I crossed the grounds of the prison yesterday, we were greeted by big smiles. "It's the chalk artist," said the lieutenant. He nudged the sergeant, who was standing beside him. “You have to see one of his drawings. They’re amazing.” This is the fifth time I've been at this particular prison over the last several years. Because of that, a lot of the staff members look forward to my chalk drawings as much as the inmates do. The first day that I was there, one staff member came in especially to see my drawing. She didn't even have to work that day, but she'd heard about the chalk art and wanted to make sure she saw one of the drawings. One year even the warden himself came to see me draw. And as busy as the warden was, it was a great compliment for him to take the time to come by the chapel.

Read the rest at: SeeTheLightShine. com. Click on the Artist Blog tab and scroll down to the May 17, 2011 post.

HERE IS A new Ch Christian i i start-up company you should know about. The mission of See The Light is to provide quality art training resources to Christian youth— especially the home school market. One area the directors wisely decided to feature is chalk art. I am privileged to be a part of this new training curriculum, along with my fellow chalker Gloria Kohlmann. The core of the training material is a series of DVDs which cover basic art techniques using a variety of mediums. If you know of a young, aspiring artist I hope you will check out the resources they offer. Since Chalk Illustrated is primarily focused on gospel chalk art, here are a few of the FREE chalk related components that may be of special interest to you: 1. When you visit the site, click on the Artist Blog tab. Once there, click on the red blog titles to read/watch. The photos at right explain some of the FREE chalk training resources you will find there. 2. To view a FREE chalk training video by Gloria, click the Fun Stuff tab (on the home page) and you will be able to access a Chalk-It-Easy lesson called Jesus Loves You. Check back often to see updated, chalk-related resources on SeeTheLightShine.com.

ULY 26, 2011. How to Draw a Mountain in Chalk— Part 1. This article is illustrated with 7 step-by-step photos. Also, July 27, 2011. How to Draw a Mountain in Chalk— Part II, is an actual training video (3:47).

ugust 4, 2011. How to Draw a Stormy Sea. This is an actual training video (7:35).

ee a part of Gloria Kohlmann's Chalk-It-Easy video training series. This one is titled Jesus Loves You (21:38).

James H. Pence is a chalk artist, a singer, and a published author with seven books to his credit.. You can learn more aboutt James Pence at his site: JamesPence.com.

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 13

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

Why Not a Drawbridge? E HAVE ALL SEEN lots of "Cross-as-Bridge-toHeaven" chalk drawings. I like the basic concept but wanted to explore a slightly different path. With a bit of inspiration, it is always possible to find a variation on a theme. My inspiration for this drawing came from a 1983 animated video game called Dragon's Lair. As the game opens, Dirk the Daring starts to cross a drawbridge and falls through. The camera angle changes to a low "moat-view" looking up at the bottom of the drawbridge (screen shot above). Viola! There was my variation—make the drawbridge a cross and the castle door a cross-shaped opening into heaven. In the moat, filled with fire, is an angry serpent watching yet another soul cross the bridge into eternal safety. This drawing could be the perfect solution for those "Hallelujah" parties this October! th

When developing a new drawing, I always spend several hours designing a reference guide. To illustrate how my "ideal" usually evolves over time, here is a picture of my original design. The following photos were taken during a program ten years later.

by Kerry Kistler

Begin by laying in a wall with Blue. Then, using proper perspective, dash in loose lines with Turquoise to suggest large stone blocks. Soften the lines by quickly swirling your hand over them.

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 14

The left edge of the wall needed a bit of adjusting to enhance the dramatic perspective. Add Fluoro Yellow highlights to the block joints and continue by filling the moat with fire. Extend this up the side of the wall where it fades into Fluoro Orange. Insert a rock ledge with Red Orange (Rust), black and highlights of Fluoro Yellow. Lay in the basic serpent body shape using Red. Over the years this snake somehow grew in size from the original design. But, in retrospect, I think the earlier dimensions and shape are better and feel more balanced.

I tried to add visual interest to the snake by giving it a writhing appearance. Breaking the snake out of the frame while twisting the head back towards the (eventual) doorway creates tension, movement and focus. Add highlights to the body and back with Fluoro Yellow. Create the snake's underbelly with large, flat patches of Fluoro Green. Then add dimension detail with overlapping segment lines using Black Alphacolor Char-Kole pastel. Use Floro Yellow for the snake's mouth. Drawbridge \ next page Î

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 15

Drawbridge \ continued

Add more detail to the head including Fluoro Green for the eye and Fluoro White for the fangs & tongue. Use black and Fluoro Red for details as shown. Throw a few flames on top of the snake for added depth. Observing proper perspective, lay in the basic cross shape with Fluoro Yellow. Create futher depth by adding thickness to the cross with Purple. I'm still not sure if I like this thinner cross or the thicker style in my original design. In either case, I do not believe it is necessary to show the whole cross for viewers to "get it." Add board lines on the cross if desired. Draw the cross-shaped door using Fluoro White. Finally, draw a small person on the bridge, entering at the foot of the cross. These last two photos are from different programs and reflect a few subtle differences in detail such as the rocky ledge, moat color and snake underbelly lines. Here is the Black Light view. An added special fire effect can be achieved using magicians flash cord (see page 17). A few seconds of this fire effect may be viewed on my promo video at 1:42. See the download page of ChalkIllustrated.com

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 16

in the Project Ideas Especially for the Do-It-Your-Selfer.

by Kerry Kistler

Got Easel?

EVER LET THE lack of an easel keep you from chalking. This photo was sent in by reader Mats Rydin of Sweden. When it seemed impossible for him to purchase a chalk easel manufactured in the United States, he forged ahead with a set of plans by George Vogrin (available through EternityArts.com) and began building. Mats is still hoping to tackle the light hood some day soon.

www.TheChalkLoft.heavenforum.com

Best of the cHALK lOFT Highlights from the On-line Chalk Art Forum.

MATT BOWMAN taught me a drawing about Elijah and the prophets of Baal. Just before the blacklight is turned on showing fire from the altar, he used flash paper to cause a brief flash of fire. I tried the flash paper wrapped around a model rocketry nichrome wire. When a small electric current flows through the nichrome wire it heats up and ignites the flash paper. It is pretty neat!

You mentioned in one of your posts that you have a simple device for adding real fire to your picture. Could you from GlassWarePro.com explain that a bit? Thanks, Jay Hi Jay, I picked up a 48" piece of aluminum U-Channel at a Ace or True Value hardware Illustration 1 (illus 1). It has a base 1/2" wide and walls 3/4" high. The thickness of the aluminum is about 1/16". You can probably find it at your local hardware store. Lay this on your chalk tray, toward the paper, open side up. I temporarily stick mine in place with two marble-sized balls of reusable putty (such as used for hanging posters on a wall). Inside the full length of channel lay a long piece of flash cord (illus 2). This is heavy string that is specially treated with chemicals that make it burn VERY fast. You can find and purchase it through magic or theatrical shops. Leave a short tail sticking out of one end of the channel, and when Illustration 2 you need the fire reach into your photo from StevensMagic.com chalk tray where you have secreted a lighter. Light the tail and conceal the lighter while the flames burn across the base of the drawing. Ditch the lighter back into the tray when reaching for the next stick of chalk. Here is what it looks like in action in a drawing called The Drawbridge —with only my red lights on. The flame goes about 18" high (illus 3). Test the position of the flame because this technique has been known to catch the bottom edge of Illustration 3 the paper on fire. Have fun, but, caution is advised—some venues have a strict "no pyro" rule. Kerry

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 17

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

Stencil Solutions for Autumn Free Down Load

byy Kerry Kistler

The issue is mine. I struggle with three basic shortages when trying to freehand hidden pixs: time, patience and talent. So, my reliance on using stencils is simply a practical one. Or a crutch, perhaps, but I would rather walk with a crutch than not at all. If you are not familiar with using the stencil technique be aware of two important points: The main reason for using stencils is to aid in blocking in the basic image and colors. For these basics, take a look at my little booklet Creating Hidden Pictures the Sneaky E-Z Way which I featured in this column last issue. It also has two Thanksgiving ideas. You may download it freely from ChalkIllustrated.com. The stencil is only a start. After the stencil is taken down, the tweaking and finessing begins. I often spend twice as much time on the detail phase as I do on the stencil phase. Gloria Kohlmann offers a helpful DVD on the stencil method which will be featured in this column next issue. For those who understand and use stencils to create hidden drawings, enjoy these Fall & Harvest ideas.

MasterpiecePumpkins.com is a rich resource for all kinds of thematic stencil designs. Although they are intended for fancy pumpkin carving, the designs could certainly be used for hidden drawing purposes too. The Autumn Scenes (2003 Pattern Set) contains 10 Fall patterns—two sample designs are shown to the right. Current price: $8.95

CHALK ILLUSTRATED FALLL 2011 ISSUE 2 PAGE 18 8

e Gran ata

by Gen

S I HAVE written elsewhere, I have a love/hate relationship with hidden pictures. The reasons are more pragmatic than dramatic. I have no philosophical opposition to anyone who prefers to completely freehand a hidden picture (that's how all the old-timers did it, and I say God bless them, every one).

Design s

his free Pilgrim stencil was designed by Jay Ball of PumpkinGlow.com, a site dedicated to intricate pumpkin carving. This PDF file may be downloaded from that site or from ChalkIllustrated.com.

Oddio cordings

Stories St i & Songs S from f Vintage Vi t Records R d and d Old-Time Old Ti Radio. R di

Sound track Ideas: Vintage Albums for

Falliday Events by Kerry Kistler

The First Thanksgiving by Mary Curtiss 1962, Soc. for Visual Ed., Narrated by Maurice Copeland

STORY ABOUT Squanto, a Pawtuxet man who was kidnapped by Europeans in 1614. His path crosses with Pilgrims from the Mayflower who are having great difficulty surviving in America. Squanto shares knowledge to help the Pilgrims survive and has much to do with their success in establishing Plymouth CColony. This story is from a filmstrip record with the "beeps" edited out. From ErnieNotBert.blogspot.com (November 2009) Run time: 13:38

Little Johnny Pilgrim & Guffy the Goofy Gobbler 1950, Columbia Records, sung by Gene Autry

WO CHARMING kid songs by Gene Autry. Little Johnny Pilgrim says: "Harvest time set hearts aglow, with food in every hand. And since God had made it so, a feast of Thanks was planned." Guffy the Goofy Gobbler tells about a simple yet clever turkey: "But Guffy didn't mind at all, that he kept gettin' thinner. For when Thanksgivin' came they picked the fat ones out for dinner." From KiddieRecords.com (Feb. 2009 collection) Run times: 2:37 and 2:39

NE OF THE MOST daunting elements we face when preparing new chalk drawings is the sound track. But, we also know that when we chalk for children, it is a huge time-saver to find and use prerecorded stories. One of the best sources available for all kinds of wonderful children's stories

and songs is vintage record albums from the 1940s and 50s. Old radio shows and filmstrip productions also fit in this category. You might sample some of these old recordings and dismiss them as quaint-sounding or out-of-date relics. But I believe that most children are very forgiving and don't mind the old-school

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 19

Free Downs Load music, dramatization and production values—especially if the story is a good one. Actually, many kids like the "retro" sound of a past era and will listen with genuine interest. If you still need some more good reasons to give old recordings a try, how about the FREE price tag, or the advantage of having NO copyright issues to deal with? There are some sparkly gems out there in the public domain. Why not explore them? Each recording featured in this column may be downloaded in mp3 format from ChalkIllustrated.com. Watch this column next Vintage Albums \ next page Î

Thanksgiving Songs That Tickle 1975, Michael Brent Publ., by Roberts, Piller & Katz ERE'S A FUN little Thanksgiving record that has lots of traditional songs with the words changed to make them Thanksgiving friendly. For example, It's HThanksgiving is sung to O Susannah. Okay, some of these silly songs are clearly for the small fry, but how many Thanksgiving records exist? There are 16 songs including, The Mayflower and The Pilgrim Song. From ChildrensRecordsAndMore.blogspot.com (Nov. 2007) Run time total: 28:34

Ichabod - The Legend of Sleepy Hollow 1949, Decca, by Washington Irving. Told by Bing Crosby

F YOU SHOULD snag a non-church booking this Fall, like a library, scouting or school show, here's Disney's retelling of the classic Halloween tale by Washington Irving. It's got humor, songs, chills, and it's all delivered with the velvet narration of Bing Crosby. Watch the YouTube posting of this featurette for some possible picture ideas. Contact us for hidden picture stencil ideas. From KiddieRecords.com (Oct. 2005 collection) Run time: 13:10

Vintage Albums \ continued

time for nine charming Christmas story albums! HIS COLUMN will continue to feature old story albums for your consideration, and you are encouraged to develop drawings to go with them. If you do, be sure to send photos of your new designs, and they will be shared in this column.

OMETIMES IT IS necessary to "pad" a program in order to fit a requested time length. However, an audience can spot sagging filler a mile away, so strive to develop meaningful material that is both relevant to the theme AND really worth watching. Remember that not every moment of your program needs to be a serious Bible lesson. Some of it can be just for laughs while still leading up to a deeper message. One idea worth exploring is to introduce your chalk drawings with humorous trick cartoons. For instance, suppose you selected one of the Warm-ups from the Editor above story albums as a sound track—perhaps The First Thanksgiving (about Squanto and the Pilgrims). Seize the moment and have some fun with your audience. Throw in a Thanksgiving joke or two while drawing the turkey (at left): Trickart "What would you get if you crossed a turoon desi gns by key with a baked fruit dessert? Peach gobEd Harr is bler! Do you know why the Pilgrims ate turkey on Thanksgiving? They couldn't fit a moose in the oven! And why did the Pilgrim's pants keep falling down? The buckle was on his hat." Then segue into the story of Squanto and how he negotiated a peace treaty between the Pilgrims and a nearby tribe of native Americans. This opens up a natural door to begin the recorded story and start a full chalk drawing. By carefully packaging a multi-phased routine like this, you will add a richer, fuller dimension to your programs.

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 20

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

How to Do Trick Cartooning by Alisa Linn RICK CARTOONING IS an incredibly easy and fun method that captures kids’ attention, betters behavior, and helps them remember Biblical truths for a long, long time. We use trick cartooning in all of our crusade services and about twice a month in a regular children’s church setting.

T "PICTURE THIS!" is an e-book collection of 12 trick cartoon Bible lessons by Gary & Alisa Linn and is available through their web site: ChildrensMinistry.org/estore Here is a sample titled...

ONLY A BOY NAMED DAVID 1 Samuel 16:1-13; 17:1-20,40-49

ow many of you remember a story about a young boy who was not afraid to kill a giant when all the armies of Israel were afraid? What was his name? David. That's right (begin drawing sling shot). David was the youngest of eight boys. His older brothers were soldiers in Israel's army. David wasn't old enough to be a soldier. He stayed close to home, out in the fields taking care of his father's sheep. But David spent that time alone in the fields drawing close to God by singing to God, worshipping Him and thanking Him. David was, and still is, known for all the songs he wrote from his times with God. We find many of them in the book of Psalms (show sling shot). See David\ next page Î

During a recent crusade, the pastor’s wife made this statement after an evening service. "I was just intrigued by what you were drawing. Suddenly, I made myself stop watching you and look around the room. There was absolutely no movement in the room and the only sound was the sound of your voice. Everyone was mesmerized! I can’t believe that something so simple could be so effective!"

If you are an artist who can draw freehand, you can do trick cartooning on any type of paper or even a chalkboard; if you are not an artist, you will need to use newsprint paper. The two common sizes of newsprint pads are 18x24 inches and 2x3 feet. Obviously, the larger your group, the larger the pad that you will want to use. In a regular classroom setting, we usually use the smaller pad. In a large children’s church of 100 kids or more, and in a sanctuary service, we always use the larger pad. Tripod easels and newsprint pads are easily found at office supply or art stores. The hand held easels can be found at art and hobby stores. Other equipment includes a widetipped marker or chalk, and if you are not an artist, you will want a pencil, copier transparency, and access to a copy machine and overhead projector.

What equipment is needed?

Preparation is minimal.

How effective is it at capturing kids’ attention?

There is the common tripod-type easel or a hand held easel which looks similar to an oversized artist palette except with large clips on the top. The type of easel you want to use depends on your setting. In a typical classroom, the tripod easel is fine. If you’re going to be moving from room to room to teach, or teaching in an outdoor setting such as a park outreach or Backyard Bible Club, the hand held easel will work better.

Put the cartooning master from your trick cartooning book on the copy machine and print the image onto a copier transparency (you must use a copier transparency—write-on transparencies will melt).

Put your transparency master on the overhead projector and shine the image as large as possible onto the newsprint pad. Using your pencil, lightly

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 21

See Cartooning \ next page Î

Cartooning \ continued

trace over the outline of the cartoon that is shining on your pad of paper. It is very important to check your lines in the lighting of the place in which you will be doing your presentation. For example, if doing your presentation outside, your lines may be too obvious and need to be lightened with an eraser. In a sanctuary lighted with cam lights, your lines may be almost invisible and need to be darkened with your pencil.

During your presentation… David \ continued

Why was David not afraid, though he was just a young boy with a sling shot, to go out and kill a 9 ft. tall giant armed with a sword, spear, shield, and full body armor? Because he had the mind of Christ. David had spent so much time drawing close to God every day -- by singing songs to Him, worshipping God for what He is like, and thanking God for what He had done -- that he knew the sling shot would kill the giant! David knew that the sling shot was God's plan. Why? Because he had the mind of Christ (point to sling shot again). Here we have the sling shot (draw throne while continuing story).

Though the story of David and Goliath is a famous one, David's career as a famous person did not end there. Remember I said he was one of 8 brothers. King Saul had See David\ next page Î

tion will help them see the optical illusion as the bunny first, instead of seeing the duck first. Then, during the rest of the optical illusion presentation, I also run my hand across the drawing (pointing with my index finger) in the direction of whichever animal I am referring to. For example, whenever I mention the duck during the rest of that presentation, I run my finger across the picture from right to left, from neck to beak, showing the children which way to look at the picture without verbally telling them. The same goes for the rabbit; when I mention the rabbit during the rest of that presentation, I run my finger across the drawing in the opposite direction, from left to right, from the tip of the ears to the nose, so the children know w which way to look hich hi ch w

Needless to say, it is important to know both your lesson (script) and your drawing very well. During your presentation, you are actually doing 3 things at once— teaching, drawing, and focusing on your audience’s response. If you don’t know either the picture or your script well, in your attempt to recall the details, you will appear distracted and be unable to focus intently on the children’s response. It is an innate characteristic in children to take advantage of your being distracted. Also, you lose your authority in speaking to an audience if you are not well prepared. There are a couple of slight differences in presentation with the optical illusion style cartoons (used in the Switchable Sketchables). With the regular trick cartoons, the 2-step drawing is a matter of suspense, as the kids don’t know what you are going to Illustration 1 Design by Ed Harris draw. With the optical illusions, the whole picture is drawn immeatt the optical illusion to see the rabbit. It diately so you should state first which of reinforces in their minds the characterthe 2 pictures you want the kids to see. istic of the animal I am talking about as It is the power of suggestion, or a matter well as assisting the children in knowing of misdirection as a magician would use. how to look at the optical illusion. For example, when I begin to draw the For a successful presentation… Bunny to Duck optical illusion (illus. 1), There are a few key items to keep in I will state, “I’m going to draw for you a mind for a successful presentation. Be picture of a bunny.” Why? Because I am sure your easel is in clear view of your telling the children what I want them to whole audience. Most cartoonings consee and hopefully, the power of sugges-

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 22

David \ continued

sist of two pictures. Draw the most significant parts of each picture last. For example, when drawing a cartoon person, I always draw the facial features last. Whatever parts of your picture give away what the picture is, draw last. Remember, the suspense is an essential part of keeping the children’s attention and bettering behavior. Next, be sure to make eye contact when each picture is done. When the first picture is completed, you will be completing your first main point. At this time, step away from your easel and make eye contact with the children as you make that main point. Stepping away from the he easel e se also ensures that ea

Design by Ed Harris

everyone can see the picture. In a fanshaped sanctuary especially, someone’s view will always be blocked while you are drawing. In an outdoor setting where the children are surrounding you, you will need to turn to the left and right to ensure that everyone can see the completed picture. The same action should take place when the second or final drawing is

completed. Move away from the drawing and make eye contact while explaining your last main point. The eye contact gives you increased authority as you speak. It also helps you discern whether or not the children clearly understand your main point, so you can explain it more thoroughly if there seems to be any confusion.

Want to make them remember for a lifetime? It’s possible. A few years back, we were doing a kids’ crusade at a relatives’ church. My husband’s cousins were watching me prepare the cartooning for that night. They asked if I remembered them coming to a single service at a church; they had driven in for the day just to watch that service. They said, "Remember when you did that cartooning of a fish to a man?" I said, "I have that cartooning (illus. 2), but I don’t think I ever did it." They said, "Yes, you did." They went on to explain to me not only the progression of the picture, but the entire application as well. After recounting the story to Gary, we figured out that it was 8 years earlier when the girls saw that cartooning. If, by using such an easy and effective method as trick cartooning can cause our kids to rememIllustration 2 ber Biblical truths 8 years later, we are accomplishing the whole goal of our ministry! © by Alisa Linn. Reprinted with p permission. o Alisa and Gary Linn are the founders and owners of Children’s Ministry Today: www.childrensministry.org. Questions or comments may be directed to: info@childrensministry.org

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 23

disobeyed God, and God told Samuel, the prophet, to go anoint someone new to be king. The anointing was a ceremony to show people that God had chosen that person to do a special work for Him. God told Samuel that He had chosen someone to be king who had a heart that was after His own heart, or in other words, someone who had the mind of Christ. God told Samuel to invite the family of Jesse to a feast. Samuel looked at each of Jesse's 7 other sons. They looked like fine brave men, but God said they were not the ones. Samuel discovered that the person God had chosen to be king had not even been invited to the feast! He was still out in the fields. Samuel said, "Send for him!" When David entered the room, God said, "Anoint him; he is the one" (flip picture).

Here we have the throne. Why did God chose David to be king? He was the baby of the family! His family didn't even invite him to the feast! God chose David to be king because of all the time he had spent with God, drawing close to Him by thanking Him, worshipping Him, and singing to Him. When we take time to draw close to God by singing to Him, worshipping Him for what He is like, and thanking Him for what He has done, we will each become a person who can do great things for God—like King David did, because we have the mind of Christ!

Chalk Be Nimble CCreative tti Ch Chalking h lk lki Concepts C t for f Children Child h ld off All ll Ages. A

What Sealo Taught Me About Showmanship n my collection of magic memorabilia, I have a couple of autographed souvenir postcards—“pitch cards” as they are known in the sideshow business. On the front of each card is the picture of sideshow performer Stanley Berent (aka Sealo). He was one of those unfortunate victims of a birth defect which left him with flipper-like hands growing directly from his shoulders—he had no arms. Imagine the difficulty of performing the simplest of tasks—tying your shoes or driving a car. If any person had a reason to be hard and bitter Photo inscribed: at life, it was Sealo. "To Kerry, a swell fellow. Sealo" Yet, Sealo was the consummate showman. I was only 14 as I stood in that sideshow tent watchECAUSE ing Sealo perform, but he defined the word “showman” for Sealo me that day. As Sealo began his pitch the delivery seemed left such new and fresh even though he had delivered it a thousand a profound times before in a thousand different cities. He was smilimpression on ing, joking, winking, laughing, and animated as he went my life as a through his spiel. He demonstrated how he youngster, this shaved, shuffled cards, chopped wood, and story earned more. He knew how to entertain and if he a spot in hated his job you would never have known the "Chalk it.

Be Nimble" column. It is also meant to expand on the editorial found on page 3.

Kerry Kistler

somewhat “medicated” when he pitched his act that day. How much more should we, being filled with the Holy Spirit, captivate a crowd with the showmanship of a Sealo for the glory of God? Use your craft to show your excitement about Jesus and how much you love Him!

One last word about Sealo

After watching the sideshow acts that day back in 1976, I left the tent with the rest of the crowd. But, for some reason, I turned around and went back in looking for Sealo. I snuck around a canvas flap where they kept the Headless Woman illusion—I was one of those snoopy kids who always wanted to look behind the curtain. SURPRISE! I caught Sealo answering nature’s call, right there in the sawdust. Uh, don't ask. After his initial surprise wore off and I had apologized a dozen times, Sealo befriended me. He should have kicked me out on my ear but he forgave quickly. Then he showed me around backstage (woo hoo!). He autographed and gave mee twoo oof his pitch cards which he normally sold for $1 each. He answered the unthinking questions of an immature kid with smiles and a wink. When I finally left, he reached out one of his “flippers” and gave me a hearty A Glaring Contrast handshake. By way of contrast, there was another Here’s the point: Your showmanperformer in the sideshow that day—a huship shouldn’t stop when the show is man blockhead & fire eater. He was much finished. All of your interaction with younger than Sealo but acted years older. people following a program will be From strictly a showmanship point of view, remembered. Don’t have a perforthe second performer projected a real roadmance victory during the show and weariness and boredom in both his body then drop the ball while packing up language and monotone delivery. The conyour gear to leave. Let the people trast between Sealo and the fire eater was so help where they can and continue Photo inscribed: "To Kerry glaring that, even after several decades, the to win their hearts. After all, you are so you won't forget Sealo." chasm between the two has stuck with me. Christ’s ambassador on and off the One was captivating to watch; the other was just a hack— platform. This, too, is showmanship–it is letting going through the motions—and it showed. Jesus’ love show through you as His servant. Years later, someone told me that Sealo had been a heavy What could be more fun and fulfilling? drinker, which may be true. It is possible that Sealo was Reprinted from my booklet Chalk Art & Showmanship

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 24

Hanging Your Fears Out to Dry with SuZie Zoerman

Big Sheets,

I am the True Vine...

Big Harvest

'VE NEVER READ anything specifically about chalking on sheets and many have asked me for information. What I learned about working on sheets came first hand from artist Merry Greiger, or by trial and error. I've come to really appreciate using sheets as I can do almost anything on sheets that I could do on paper, but it can be done bigger and brighter. It's a big tool for a big mission field, especially t season, in a third-world country! this harves

Your Oversized Canvas: Sheets

During

Let's talk about the sheets. My preference is for black or navy blue sheets, though I was happy to locate just a couple of blue violet ones that matched other elements of our program. I have never found more. I may dye my blue ones black when they fade, as black gives me the greatest contrast. Most purple sheets are redder and affect the color of the chalk. The same is true of burgundy or green but I have used those colors when doing weddings with those colors. Sheets need to be at least 200-thread count or it will not hold the chalk. My preference is between 200 and 250- thread count, since a higher thread count means the sheets will be too soft for the chalk.

...you are the Branches. Prepping/Washing

The sheets need to be washed first to get the sizing out, or you will have trouble washing the first drawing out. I wash my sheets in cold water as they hold up better and I usually don't have any trouble getting the chalk out. The hardest colors to remove are red and black, though black will be ignored on most stages. When necessary, I use an extra wash booster like OxyWash. You may simply buy matefulness. it u fr r rial, but I like to work on a 5'x7' rial u o y of the source r e b or 6'x9' easel—the sheets fit the m e m re easel and are already hemmed. ea Sometimes it is hard to find So twin, queen, or king sheets that tw are not in a set, but Wal-mart, a K-mart, and JC Penny still offer that option. At a conference a few years ago, I met Ben Glen, an excellent motivational speaker, and learned that he doesn't wash his sheets—the chalk stays better, but he only uses a sheet once (he does bigger events and leaves the picture as a part of le price). He covers his sheets with the package price chalk and uses them much like the paper except he doesn't use invisibles and rarely uses fluorescents. It is still very effective, and works for him! More on easels for sheets later.

SuZie & Bob Zoerman have a thriving ministry using both chalk art and illusion. They live in Grand Rapids, MI and can be found online at MagicBob.org

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 25

CRACKING C CRACK CRAC RACK CK OPEN N THE RRediscovering Rediscove di er the Chalk Archives of “The Christian Artist.”

The Christian Artist March & June 1968 (vol. 2, #1 & 2) M

Original archive courtesy of Avonelle Slagle

March 1968 C Christ Speaks Through Art by Kenneth Mead "Christ still speaks through art as we enter through the eye gate to reach the soul for Christ." pg. 2

Free Down Load

n order to make material from The Christian Artist archives more accessible, this column will feature brief extracts from every article to aid you in determining what to download and/or print. This supplementary material offers Chalk Illustrated subscribers an additional 18 pages. We will also reprint one standout article in each issue. Former editor Ren Dueck deserves our gratitude and thanks for producing these issues and allowing their reproduction as a bonus feature of Chalk Illustrated.

very successfully and is a further attraction-after the picture is drawn, there are different stages of action as the speaker adds various points to his message." pg. 5

Book Reviews Hymns Illustrated with Chalk by Harry Githens

Ho I Started to Draw How With Chalk by Jerry Zwall "I consider my years of chalk talking unsurpassed by any other thrill in the sphere of Christian service." pg. 3

Another Great Session of the Christian Artist's Workshop pg. 4

Chalk Talk Sermonettes by L. James Kindig

International Children's Art Talent Contest by Dorothy C. Haskin "Development of art talent has been added to World Vision International's program for children." pg. 7

Your Chalk Can Talk

Suggestions in Drawing Mountains by Art Layne

by Jerry Zwall A brief review of the book by Zwall pg. 8

"Leonard DaVinci said, 'Perspective is the rudder and bridle of painting, both depth and range.'" pg. 4

How to Draw Trees

Lighting and Controls of the Chalk Easel

by Jerry Zwall "It is very important to study and have a good knowledge of tree shapes." pg. 9

by Art Layne "Animated chalk artistry has been used

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 26

The Christian Artist \ next page Î

The Christian Artist \ continued d

Chalk and It's Usage

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by Art Layne "Too much time spent on a picture takes away from the Bible message." pg. 9

Art and Music by Thelma Lane pg. 10

Question & Answer Clinic

June 1968

The Real Purpose of Christian Art by Kenneth Daniels "The Christian artist needs to demonstrate a purposefulness in all his work...the purpose of illustrating a lesson or a spiritual truth." pg. 1

1. Is there a listing of chalk artists? 2. Where is Phil Saint? 3. What is standard for fees for services? pg. 10

The Illustrated Bible Story by Gary Means "As the story progresses, I change the picture by erasing portions, adding additional details...keeping with the story line as closely as possible." p. 11

Reaching Souls Through Entertainment by Gary Means "Even in pure entertainment situations...chalk artists can introduce God's Word and present the Good News in very unusual ways." ways. pg. 1 SEE THE REPRINT PRINTT OFF THIS THI HISS ARTICLE A TICL BELOW. AR

“That Some Might be Saved”—Ideas from Chalker Gary Means.

Reaching Souls Thru Entertainment ANY TIMES I have presented programs of Inspirational Chalk to groups that ordinarily you would not think of as being interested in the things of God. Civic groups, lodges, social events and banquets are increasingly contacting me to present devotional pictures instead of a more light or entertaining selection from my Travelog series. Of course, there are people who see me in a church and later invite me to another group, and are in a position to select the devotional pictures. Many times comments and remarks about the devotional pictures far outnumber interest in the travel illustrations. This proves but one thing to me—God works in mysterious ways, His wonders to perform. Even in pure entertainment situations, witness to God's mar-

Don't Use Wallpaper by Danny Long "I received several spankings for drawing [on the] wallpaper!" pg. 2

How to Make Flannelgraph Backgrounds by Violet Slocum "I find that the easiest, most practical and durable medium is a Sketcho oil crayon." pg. 3

Questions & Answers Clinic 1. What size drawing for a group of 500 people? pg. 3

Start Now in Chalk Artistry by Art Layne "This speeds up your drawing time and consequently holds the attention of the audience." pg. 4

Artist Tips by Jerry Zwall 1. Paper 2. Telescoping Easel Legs pg. 6

velous world, grace and His overwhelming power throughout the universe can be brought out in a picture in so many ways. I feel our county is the greatest mission field in the world. As chalk artists we can introduce God's Word and present the Good News in very unusual ways. People everywhere are searching for answers and direction for their lives, and when presenting a program with the direction of the Holy Spirit, God will work through the drawing using symbols of Christ, the Cross, Water of Life, and the Door. Reprinted with permission from The Christian Artist, June 1968.

Gary Means and his wife, Marty, travel full-time ministering with chalk art. They are based in Baden, PA and hold annual chalk training workshops. Gary does not have a web site but sometimes answers his e-mail.

CHALK ILLUSTRATED FALL 2011 ISSUE 2 PAGE 27

Chalk Art Supplies & Stuff All the Gear, Gadgets, Equipment & Training You Will Need.

The LeGrand-Prix The Most Precision-Engineered & Built Chalk Easel on the Planet.

(Pumpkin not

included.)

! " # $ # % '( )) * $ + , % , '/ " # 0 " 1 " 2 344 # ) 5 6

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price

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Ordering O d the th Print P t Version V of Chalk Illustrated UBSCRIPTIONS FOR THE e-version of Chalk Illustrated are FREE, but I have found a company to also produce a 28 page, full-color & bound (saddle stitched) version. Each printed issue is available BELOW my cost of $4.50 printing + 1.75 shipping anywhere in the US (foreign orders please e-mail for actual postage charges). You may

also place a yearly ea subscription (4 issues) for $25. Please note that this price was calculated on a print-run of 40 copies, but because only five people have ordered the print edition, it will be discontinued in 2012 unless greater interest emerges. To order, visit ChalkIllustrated.com and click on the PARTICIPATION page where you will find an appropriate form. Credit cards and PayPal are both accepted, but having a PayPal account is not necessary to place an order. You may also mail a check to Kerry Kistler, 1722 N. Waverly Ave., Springfield, MO 65803.

CHALK ILLUSTRATED Â&#x152; FALL 2011 Â&#x152; ISSUE 2 Â&#x152; PAGE 28