Chalk Illustrated - Issue 3 - Winter 2011 by Kerry Kistler

Chalk .com

ILLUSTRATED

Using Chalk Art for Ministry, Education & Fun!

n Chalk!

The Herald Angels j h Sing!

ZZZZZZZZ Issue 3 Winter 2011

This Issue:

Glori Kohlmann ALSO: n to Nativity N TricKartoon pg. 6 k Santa Nine Chris Christmas ris Audio Stories pg. 10 k Nin Nativity t Sky Sk k Angels pg. 17 k N Valentine's Valentine l e'' Idea: God's Love Letter pg. 22 k Valentine' Secrets of Ultra-Bright Black Light pg. 24 k Sec Morning Glory Inspirations

The Features, Stories & Columns Inside This Issue.

3 4 5 6 7 10

Coffee with Kerry: Which Path to Bethlehem? Letters & E-mail: Chalking Stuffers—Questions, Comments & More Chalk on Sheets: Overlays Lightning Cartoons: How to do Trick Cartooning Cover Artist: Glori Kohlmann—Glory in Excelsis Deo! Oddio Re-Cordings: Vintage Christmas Story Albums

12,18 Hot Coffee: Taking a Dip in a Pool of Light + Christmas Stencils

13 12 114 117 19 20 21 22 23 24 225 26 226 28

Chalked & Amazed: Glori Podcast & Updating Chalker Database Step-By-Step Studios: Glori-ous Nativity Taming Hidden Pictures: Angels from the Realms of Glori My Tuppence Worth: Challenge Yourself in 2012 By All Means!: Seasons in Chalk Sparrows Nest: Christmas in Black Light Chalk Be Nimble: Valentine's Idea—God's Love Letter Cruising the Internet: Dwight Haynes—Where Love Leads In the Workshop: Secrets of Ultra-Bright Black Light Best of the Chalk Loft: Ice Cap VHO Ballast The Chalk Vault: Christian Artist 1968, 3 & 4 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 Ch 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 (U.S.—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 © 2011-12, and may not be reproduced for commercial purposes. It may be shared freely but not sold.

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 2

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

which path to

Bethlehem ARTOONIST Bill Watterson is both very witty AND deeply philosophical, and it shows in his work. In the forward to The Complete Calvin and Hobbes, Mr. Watterson makes an insightful observation that is relevant to chalk artists:

"I don't think paintings do such a good job of storytelling. Even the wonderful old master illustrations of Biblical events can be fairly perplexing if you don't already know the stories. A single picture can't show the passage of time, so all you can depict is a dramatic moment that has to stand for the whole. Symbols…and certain conventions have to suffice to get the meaning across."

by adding hidden pictures. Crafting a picture-within-a-picture is an excellent strategy for expanding the "Iconic Moment." But we should strive to do more than just drop a generic black light portrait of Jesus in the clouds. Sanctified Scenics ought to break the single picture barrier while still making logical sense. For example, I draw a mountain scene which expands the thought of the "valley of the shadow of death" from Psalm 23. The hidden picture shows the Good Shepherd, holding a lamb. Logical.

2. SYMBOLIC MONTAGE & STILL-LIFE The late comedian George Carlin caustically mocked people who found value in symbols, calling them "symbol-minded." He seemed to think that people p p who respected p symbols like the American Flag were simple-minded idiots. Watterson understood the importance of using "symbols and conventions" to convey meaning—Jesus did too. Montage drawings generally fall into this category since they lean heavily on symbolic imagery. Gary Means draws a large portrait of Christ surrounded by the symbolic objects Jesus represents such as a loaf of bread, grape vine, etc. Still-life drawings also fit here. David Teuling's classic "Christ the Potter" juxtaposes symbol with substance—a broken clay pot is drawn on a potter's wheel, and the hidden picture reveals Jesus repairing the pot. Genius.

“

...all you can depict is a dramatic

Watterson is correct. Nearly all Bible stories have what I call an "Iconic Moment" or "Holy Highlight" which represents the sacred essence of the story. For example, I asked my son (a university art student) to describe what quintessential image represents the story of Samson. Stop for a second and, in your mind, try to frame the entire story with a single chalk snapshot. After a thoughtful moment, he said, "Probably getting his hair cut or pushing over the temple pillars." That was also my answer—maybe yours too. Happily, chalkers are not limited to driving their message home via one, single avenue. We have other scenic routes we can follow in our quest to deliver meaningful chalk art. Here are three familiar paths:

moment that has to stand for the whole.

3. PROGRESSIVE or EVOLVING

These are perhaps the hardest to achieve and therefore the rarest seen. Mr. Watterson said, "A single picture can't show the passage of time…" This is where chalkers have a clear advantage. With careful planning we CAN show the passage of time. In this technique, a central object (or person) remains constant while the background setting changes. I'll never forget watching Gary Means do his Noah drawing 35 years ago. In sync with the dramatized Bible story, he "built" the ark in the middle of a landscape—this remained the only constant element in the drawing—then a storm wiped out the background, replacing it with an ocean. Finally, the sky cleared, the ark came to rest on a different landscape, and the animals emptied out under a colorful rainbow. Stunning.

”

1. SANCTIFIED SCENIC-SCAPE This is where the majority of us begin our journey with chalk. If we struggle to produce satisfying human figures, we default to pretty scenics—be they desert, ocean, mountain, stream or holy-land. Then we try to sanctify those scenics

Christmas Makes it Easy! The story of Christmas is so rich in symbol and imagery that it can be delivered visually in a multitude of ways and STILL be universally understood. Multiple concepts exist and they ALL WORK—angels and shepherds, the reluctant inn keeper, the wise men on a quest, winter scenes with churches, the nativity itself, and more. This Christmas, will you travel to Bethlehem on one of the three familiar chalk paths, or will you discover a NEW path all your own? Happy trails & Merry Christmas!

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 3

Kerry

LETTERS

E-MAIL

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

s r e f f u t S g n C halki

Drawing Frame Do you know of anyone who has put a wooden frame on top of the LeGrand Easel? I like the wooden frame look so much better than just the binder clips. I am not construction inclined. Looking for some advice. Mike Morris [Can anyone advise Mike on this?]

Hard Chalk

Contest Winner There was a great response to the contest for the DVDs donated by See the Light—thanks to all 70 who participated in the drawing. The winner was Chris Phillips from Florida—who actually guessed the preselected number of 117! Second place was Mike Morris from Arkansas who guessed 114. DVDs are in the mail. Look for another DVD giveaway contest in January 2012.

black lights—it was a disappointment. I really do welcome any ideas you have about this. I know we will one day be amazed at what was accomplished for the Kingdom of God through our drawings. Blessings, Cindy White

FEW LETTERS have come in with specific questions regarding lighting, drawing board frames and chalk. If you have advice, please send it in to ChalkIllustrated@gmail.com, and we'll share your ideas in the Spring issue.

India Electricity For years I dreamed of learning chalk art because it seems such an effective tool for sharing the gospel. I'm so glad to know that others are using this ministry also. Our meeting with the Indian church, could not have been any better! My husband appealed to them to remember their home land and all the people there who have yet to even hear the name of Jesus. One of their

members gave his life to serve in a remote mountainous region of southern India to bring the gospel to people who have literally never heard of Christ. The following Sunday the church collected $700.00 to be sent for needs in this ministry. My husband and I were urged to come to India and serve in this remote area, so we are praying about that. The leader of the ministry in India was almost insistent that I

bring the chalk art to India when (and if) we go. If you have any suggestions about this, I will be glad to hear them. I have been to India before and blew out 3 black lights while there, although I had purchased a "special" converter from our local electrical store. So we hauled this huge easel all over India, on and off trains, taxis, planes, etc. with all the black light prepared drawings just riding along. We tried in vain to locate other

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 4

Do you sell chalk? How can I soften the very hard chalk that just glides over the paper? Also, price reduced: Great Ondra Flight Easel complete with light hood and travel bag. Only $850.00. Contact Cathy at: cathypatnovic.com. Thanks, Cathy Patnovic [Cathy, No, I don't sell any chalk products. Matt Bowman at EternityArts.com manufactures/sells all of our chalk. The story of how Matt got into the chalk business will be featured in the next issue. The hard chalk issue can be helped by lightly spraying water on it just before a program. You might also try sanding through the shell— that has worked for me at times. Other ideas out there?]

Hanging Your Fears Out to Dry with Large Format Chalking. Baubles Christmas ry of The real sto d the ehin Christmas b birth, st's ri glitter: Ch cond death and se on wn coming. Dra t ee black bed sh al. ic rt e turned v

Overlays

vent curling and also firm enough to take layers of paint. I use white, medium weight, rubberized curtain lining because this works the best for my purposes. v Heavy calico, light canvas or heavy cotton fabric is also good. Wash and iron it thoroughly first, as it is inclined to shrink when painted on. v Any unpainted white fabric will show up as blue under black light, so it needs to be painted with several coats of solid white. Use white artists’ gesso, or regular household water-based acrylic paint and allow to dry between each coat. v To get the outer edges of the overlay to blend in with the black canvas, I paint various tones of grey towards the edges—either clouds or a misty haze radiating out from the central white area. v For waterfalls, I cut the edges of the overlay to look Close-up of overlay. like rugged, rocky cliffs which look like rock silhouettes by the waterfall. v To preserve the black light picture, lightly spray the entire overlay with by hairs pray. Allow to dry between coats. v Then roll it up around a cardboard cylinder, starting at the bottom, with the picture to the inside, label it carefully “top” and add the title of the picture—or store N OVERLAY IS A separate piece it flat with nothing on top. of white fabric that is attached to the canvas in a desired area. It is v To attach the overlay painted white in the centre often to the canvas, first check with grey and black around the edges to it is level, then pin it on, match the black canvas on which it lies. In using long, straight pins the centre is a pre-drawn, “hidden" black with white or black beaded light picture. One advantage of an overlay is that heads (dressmaker’s pins). I have tried other methods like double-sided tape, it can be removed and used over and over again Velcro dots, etc but pinning seems to work best. You may need a helper to in different contexts. It can also be drawn in lay the fabric smoothly and pass the pins through both the greater detail than a presentation picture. canvas and the overlay.

Charline Bainbridge

SOME GUIDELINES

v Overlays are good to use for misty, cloudy or waterfall scenes, which all require a white background. v The fabric needs to be heavy enough to pre-

Charline Bainbridge, a chalk artist from Australia, passed away in 2005. Her surviving husband, Garth, has given permission to share her writings with the subscribers of Chalk Illustrated. A cover article about Charline is being planned for the future.

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 5

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

Santa to Nativity SIMPLER VERSION of this trickartoon was first published in The Christian Conjurer magazine (Nov/Dec 1995). It is expanded here with a new 2nd phase and kids' lesson to share while you draw: When it comes to Christmas I think every child knows about a very famous person who has a red hat, white whiskers and says "Ho, ho, ho!" [point to first sketch] That's right, Santa! Most people only think of Santa as the person who brings toys to children at Christmas time [turn over sketch and add the parts in red to create a rocket]. Toys like dolls, games and model trains or rockets— like this one flying through the clouds! Sadly, many people have forgotten that Santa was a real person born about 1750 years ago and named Saint Nicholas. That's where we get "Saint Nick," and did you know that the word "santa" means "saint" in Spanish? Legend says that Saint Nicholas did give presents to children living around his vil-

A 1.

lage, but the most important thing about Saint Nicholas was the fact that he was a Christian and loved Jesus. In fact, history says that he was thrown into prison for a while because of his beliefs in Jesus. So, you can imagine that the most important part of Christmas for Saint Nicholas was celebrating the birth of Jesus. You do remember the details of the Christmas story, don't you? There were angels in the clouds that announced his birth [turn the drawing over again and add the angel's face and halo]. And there was Mary [add the red lines on the left to form Mary praying] and her husband, Joseph [add the red lines on the right to form Joseph]. And remember how they laid baby Jesus in a manger in the stable? [Add the manger as shown.] So, this year, when you think of Santa, remember that, to him, the most important part of Christmas was to remember the greatest gift of all—the gift of Jesus to the world! [Point to finished drawing.]

Illustrations Ill t t by b Jeremy J Kistler K tl

by Rick Lenski

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 6

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Gloryinspirations & Days of Creation chalk art testimony by Glori Kohlmann, President, Morning Glory Inspirations, Inc.

Introducing another neighbor from our chalk art community.

HEN I WAS about 3 years old, I looked that beige manila drawing paper and I began to produce volumes of drawdown at my black patent Mary-Jane ings with pencil and crayon. shoes and I grew up in a close family with a very different said to myhistory than most! My grandfather was a silent movie self, “Why can’t I ever producer in the 20s who later became the manager have white shoes?” So and administrator of my grandmother's dance studio. I got a piece of white (If you are curious, you can go to www.normanstudios. chalk and I colored org.) That property is where I grew up. (Much to our them entirely white. It great surprise, it is new being developed into a musewasn’t exactly what I um. It is quite an incredible feeling to visit the humble wanted, but momenhomestead and see everything new again!) tarily, I realized in my Going off to college, relieved to study art rather than little mind that I had dance, I was able to come more into my own and acthe power of choice quire a BFA in Fine Art. I married Jim a few years after and could think on graduation. I did mostly freelance work and mission’s my own…with chalk in art throughout the raising of our two sons. After they TTo llearn hhow tto create t thi this Nativity N ti it drawing d i bby Gl Glori,i see pages 14 14-16 16 hand!! were old enough to drive, I began to get back to my for Step-by-Step instructions. To see a short video demo, scroll to the It wasn’t long before middle of Glori's web site home page at www.gloryinspirations.com. art…it was then that a friend at church gave me a Ding I found myself drawTeuling brochure…and off I went! ing on the blank pages inside book covers. It was I had never seen or heard of chalk-art—ever. When I got to class I did not my grandmother who began to supply me with Glori \ next page Î

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 7

ME UNDERSTAND: “Some people will not get saved unless they can see a n representation of My Face.” So I prore cceeded to draw a profile of Jesus— and everyone liked it. But, most of a all, I LIKED DOING IT…and it was sort a of silly for me to worry about those other voices since what I saw was so Godly and powerful under the lights.

Setting Up a Non-Profit !" Has Come mmanuel

Glori \ continued

"I took the chalk, and the SECOND MY CHALK TOUCHED THE PAPER I FELT THE LORD MAKE ME UNDERSTAND: 'Some people will not get saved unless they can see a representation of My Face.' So I proceeded to draw a profile of Jesus..."

have anything to work with. And so I had to begin to equip myself…I didn’t even have a black light! There I was, and the lights were off and our famous Master Ding was instructing in the UV colors and demonstrating his incredible talents. I was profoundly affected by what I saw. Everyone began to work—and I just sat there looking around saying to myself…I am not going to get my money’s worth this week, unless I try this!! As if God read my thoughts, Ding called me up to his easel and handed me a piece of invisible chalk— k— he said “DRAW”. I had come to Christ in 1970, and it was now ow 1997. As a FORMER Catholic, I was afraid that at if I drew pictures of Jesus people would expect ct them to cry or that they would worship them!!! !!! I did not want any part of that! Can you imaggine my dilemma? Here was my history on onee hand and a master artist on the other. But I respect my teachers—especially this one—so I "Emmanuel H obeyed. as Come!" [black light, de tail on cover] I took the chalk, and the SECOND MY CHALK K TOUCHED THE PAPER I FELT THE LORD MAKE

hlmann

tructor - Glori Ko

pirations, Inc. Ins

I spent the rest of the week learning as much as I could… went home and promptly got a and then a t lawyer and applied for the 501c3 status llawye sso I could raise money. I could NOT affford this myself, and at the time, I was not in a church that cared about chalk n art. (If you are IN a church that approves, a yyou can use their c3 with permission to rraise money for your ministry.) But it has been worth every dime to get myself pob ssitioned to do the ministry. It took about two years

Days of Creation! ince I began raising funds and doing chalk art presentations, I developed a chalk-art workshop series called “Days of Creation—Drawing with Light and Color” based on Genesis 1:131. It is a basic drawing course that can be done all year or used as a summer program—where every picture lights up! We had a children’s church ministry triple in size during an arts program last summer. I'll be sending a full article and photos about this program for a future issue of Chalk Illustrated.

S with UV on of Lighter 2011. ti a re C : 1 m Day ent Sample, Sum Days of Creation

Stud

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 8

of practice to really become acquainted enough with the medium um that I could draw anything needed. ed. With our church’s help, I purchased ed Dan Ondra's Flight Easel that I can an set up by myself and manage. e. Over the years, I have gone to 14 4 chalk art seminars. One was too a Dan Ondra seminar that wass especially helpful because theyy "The Cross" taught the practical side of doing this ministry on a day to day basis and also pictures that do not require UV light. (Dan also created and manages my web site.) You can go to my website at www.gloryinspirations.com and view various chalk art pictures at the tabs: UV Hidden I and UV Hidden I I. I have many others not pictured there as well. Many are my own design, and you can buy the instructional DVDs (produced by David LeGrand) from my website. Some are traditional designs that I learned at the Teuling seminars.

See The Light

"All in all, chalk art is a journey of becoming closer to Jesus yourself. The closer you are, the more powerful your art will be. It's not about how good you are—it's about how much you love God and want the world to hear about Him."

My involvement with See The Light came in the midst of my chaplain work, arts-in-healthcare programs, and doing presentation for churches, schools, hospitals, women’s ministry, missions, etc.!! I dedicated that next season of my life to helping make their dream happen. I was very grateful to be a part of a growing concept of outreach with the arts. I felt that the Gospel stories written by Pat Holt (owner of See the Light) were anointed and greatly inspired, and I committed myself to a season of travel despite the physical efforts it demanded [more below]. I still do chaplain work on-call and live, fine art pictures in a lobby once a week! If you go to my website you will also see my fine art and the Women Who Pray series—read those stories at http://gloryinspirations.com/prints.html All in all, chalk art is a journey of becoming closer to Jesus yourself. The closer you are, the more powerful your art will be. It's not about how good you are—it's about how much you love God and want the world to hear about Him. People are literally mesmerized by watching an artist draw live with Gospel music.

See The Light Shine!

e the Light, fro m the DVD "T

t was in November 2008 that I was found by a retired profesfessional couple in California who had a vision of producing Bible ible stories illustrated by a chalk-artist. They fasted and prayed for for 6 months and decided to call for the art services of MGI, Inc.— c.— — they shared their vision and offered me the position of helping ng create the foundation for their ministry called “See the Light— t— Drawing Children to Him”. n I traveled over 20,000 miles and did chalk-art and illustration work for 6 DVDs from 2008-2010!! See 3 of them that havee been released with my work at: www.seethelightshine.com. There is also a set of drawing lessons for children on other DVDs as another part of their mission. If you have any questions or need help/consultation, please call me at 407-880-4470 or e-mail mgi.inc@integrity.com.

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 9

he Gift of Love

" Artist - Glori Ko

hlmann

Oddio cordings

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

Sound track Ideas:

Free DownLoads

Vintage Christmas

Story Albums by Kerry Kistler

The Small One by Charles Tazewell 1947, Decca Records, Narrated by Bing Crosby BOY NAMED PABLO must take Small One, an undersized matty-tailed, APabloLITTLE scrawny but lovable donkey to the market and sell it for one piece of silver. has no success until one gentle and weary-faced buyer comes along. Bing Crosby needed little urging to narrate this tale as it had long held a special place in his affections. Disney animated this tale in 1978. See pp. 12-13 for some design ideas. From KiddieRecords.com (2009 collection) Run time: 12:58

The Littlest Angel by Charles Tazewell 1945, Decca, Told by Loretta Young

HE LITTLEST ANGEL was first aired on radio in the early 40s and since then has seen many incarnations including books, recordings and television. It is the heartwarming tale of an irrepressible child who must adapt to life in heaven. When the baby Jesus is born, the mischievous angel learns the timeless lesson of giving. Originally released on a set of 3, 78 rpm records, it has been edited into one track. From ErnieNotBert.blogspot.com (December 2006) Run time: 16:34

The Story of Jesus (part 1) 1950, Capitol Records, Narrated by Claude Rains

OD HAD GIVEN the world the first Christmas." So ends this faithful retelling of Jesus' birth which mixes narration and sound effects with classic Christmas hymns. The album actually contains six stories from the life of Christ, so this portion is really too short for a chalk drawing unless it is combined with other music or narration. From KiddieRecords.com (2006 collection) Run time: 3:32

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HRISTMAS IS coming soon—one of the busiest times of the year for chalk artists. Are you are still trying to develop a new program for this season? Perhaps you need completely different material for completely different venues. Whatever the case, save some prep time by selecting from these nine Christmas story albums to help you get started (or just for your listening pleasure). Each recording may be freely downloaded in mp3 format from the Secret Page at ChalkIllustrated.com.

Lullaby of Christmas by Charles Tazewell 1949, Decca Records, Narrated by Gregory Peck

HE PLOT IS SIMPLE and touching—the tale of a little mute boy who strives to express his feelings about the breathtaking wonder of the world. Because of his speech impediment, he is unable to convey his thoughts to his fellow human beings. Finally, on Christmas, a miracle occurs—and the full power of expression is granted to him. Gregory Peck said: "This is the holiday drama I've always hoped to find." From KiddieRecords.com (More Classics collection) Run time: 19:17

Story of the Nativity 1950, Columbia Records, Narrated by Gene Autry

HIS RETELLING OF the classic Christmas story is delivered in a slightly different format. "Uncle Gene" tells the story amid two young children asking lots of questions, which he patiently stops to answer—a wonderful format for younger children. The production also includes music, choir and Gene Autry singing Silent Night. I have mixed the original two record set (four sides) into one track. From KiddieRecords.com (2006 collection) Run time: 11:37

The Boy Who Sang for the King 1951, RCA Victor, by Frank Tashlin, Told by Dennis Day UPON A TIME there was a little boy who wanted to sing more than OandNCEanything else in the world. He was a very poor little boy with ragged clothes barely enough to eat. One night he had a vision which told him that someday he would sing for the King. Doubted by all, the little boy never wavered in his faith. Dennis Day sings Ave Maria as the closing piece. From KiddieRecords.com (More Classics collection) Run time: 11:06

Why the Chimes Rang by Raymond Alden 1947, RCA Victor, Narrated by Ted Malone

HE CHIMES RANG as the little brother placed Pedro's piece of silver on the altar, and an angel appeared and said, "They rang because of the love and unselfish sacrifice of a little boy." A tender, poignant, beautiful tale that conveys the spirit of Christmas giving. With organ accompaniment by Dick Leibert. I have mixed the original two record set (four sides) into one track. From KiddieRecords.com (2005 collection) Run time: 13:26

The First Christmas by John Richards 1949, RCA Victor, Narrated & Sung by Perry Como "Hi boys and girls, I'm gonna tell you the most wonderful story in the whole world, the story of the First Christmas! Now suppose you make beClieveHARMING! this is many, many years ago—a long time before you were born! You're standing on a hillside, near a little town in Palestine. Something very special will happen in this town tonight! For this is the little town of Bethlehem!" From KiddieRecords.com (More Classics collection) Run time: 8:09

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 11

by Dr. Seuss and told by Boris Karloff. 1966 Run time: 21:41 from ChildrensRecordsAndMore. blogspot.com.

ECAUSE I know some of you are booked in secular venues for Christmas shows, this classic story might come in handy. I grew up watching this animated jewel on TV every December, and it's still a favorite with my children today. This album version is pretty much taken from the cartoon sound track, including the songs we all know and love such as "You're a Mean One, Mr. Grinch" sung by Thurl Ravenscroft. The Grinch is posted on YouTube if you want images to help develop a drawing.

Warm-ups from the Editor

Taking a Dip in a Pool of Light bby Kerry K K Kistler i tl y chalk drawings tend to be heavily influenced by classical animation. My goal is not to create cartoonish looking chalk art, rather, it is to create vibrant and unique pictures that have punch and depth. There are a couple of techniques used in animation background art that help me do this: Framing, and Pools of Light.

Co. Brent &

Framing When designing my chalk pictures, I sometimes think of myself as an animation director searching for a unique way to "frame the shot." Looking at a scene from a bird's-eye perspective, or a low worm's-eye view, can add unexpected visual interest. Also, shooting a scene through surrounding buildings, trees or objects can help frame the main subject providing additional depth.

Pool of Light Oswald Iten, (a Swiss film scholar and animator), said, "Note that Disney's 1940s and 1950s [animation] backgrounds almost always have a strong pool of light and some very dark receding areas with little detail that provide the picture with a sense of depth."

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We have the ability to pull our viewers into our drawings using this powerful technique. A background artist with Lightbox Animation Studio made this observation: "Pool of Light is a technique for directing the viewer's attention to the area on the screen in which the major action will take place. Essentially you can create a pool of light effect by graduating the colors from lighter and more vivid towards the darker and less saturated in the outer areas. The viewer will be more likely to focus their attention on the area that…has a pool of light effect. This is where the main action will happen." Some of my best inspiration for chalk ideas comes from watching animated movies on my laptop and taking frame captures of creative backgrounds. I'll be sharing the best of this collection with you in future issues. To get started, these five images are taken from Disney's The Small One (read about the audio version in Oddio Recordings, page 10). As you study these backgrounds, note the use of framing, color, perspective, and pools of light. Now try to imagine how you might place Joseph, Mary and a donkey in each scene. I'm not trying to "de-stable-ize" Christmas—just trying to "frame the shot" in a new and unexpected way.

www.ChalkedAndAmazed.com

chalked & amazed

TThe he Int Inte Internet te Podcast Designed Exclusively for Chalk Artists.

Just in case you missed the first issue of Chalk lk Illustrated, there was information regarding a podcast interview of Glori Kohlmann by Dr. Rick Hoonea. Since she is the subject of our cover article this his time, you might enjoy listening to the 30 minute interview at BlogTalkRadio.com/chalkart.

Did you know there was an extensive listing of ch chalk halk lk artist web sites on Chalked & Amazed? Is yourr site site listed there? When you visit the site you will find a link

near the top of the page called CHALKERS. Click there and the page will jump to the beginning of a long sidebar-listing of chalk artists. Currently there are nearly 90 web sites listed! Check to make sure yyour site is there too. If the address is there nott th no the e (or is incorrect), drop me a note chalkillustrated@gmail.com and I'll get at ch cha a things thin th ings gs fixed up. To include your State (and Country), drop me an e-mail. W While I'm on the subject of web ssites, does your web site have a page pag pa g of Resource Links or Links of Interest? If so, would you please conInt sider adding ChalkIllustrated.com to sid your links page? I appreciate you takyo ing the time to help get the word out. in

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

Glori-ous Nativity F YOU LIKED the Christmas chalk drawing by Glori Kohlmann (on page 7), here is a special treat— Glori has graciously agreed to share the basic steps for you to create the drawing yourself. Consider purchasing Glori's DVD which contains over 40 minutes of teaching detail (produced by Alpha Arts). You will find the section on creating the hidden picture especially helpful since there was not space to cover that material in this column. In this issue, Glori has also shared her method for creating the Nativity Sky Angels which this drawing showcases. Be sure to read Taming Hidden Pictures (page 17) to see the basics, but know that the DVD covers the entire process in very thoughtful detail. To purchase Glori's DVD titled Nativity (from which these frame captures are taken), visit her web site at gloryinspirations.com/form.html The current price is $20 plus shipping.

This pre-drawing is done ahead of time on sanded paper toned with White and patches of Blue. The hidden picture is already drawn on the heavy coating of White. I use a stencil-type tracing guide to draw a light outline of the people and animals which will be rendered as silhouettes.

by Glori Kohlmann

This is a nighttime scene using a palette of nighttime colors of Blues and Purples. Use Blue and Turquoise to lay in a series of low hills and block in shapes that suggest distant buildings.

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 14

This close-up shows how Fluoro Yellow may be added to the buildings to simulate lit windows. Also, draw a series of shrubbish-looking olive trees using Brown & Black for the trunks and Green for the foliage. Use Fluoro Green for highlights. Try to give the trees variety in shape and size so they don't look uniform. Lay in some Light Blue over the foreground adding Fluoro Green patches here and there to suggest star light on the grass. Use Purple to outline the silhouettes of the figures and animals, then fill them in quickly. This is where the faint outlines will come in handy.

Smooth out the color in the figures with your fingertips. In my grouping, there are shepherds, a cow, donkey, camel and sheep. But you may simplify the group to fit your experience level and speed. Don't allow yourself to labor over this area too long or you may lose the attention of your audience. Use some Fluoro Violet to accent and highlight the figures and animals in order to help separate them from each other. This will help give some depth to the group.

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 15

Use Purple to add a rocky foreground - add Blue to the rocks as well as to rough up the ground around the stable. Add a few touches of Fluoro Green to the rocky area. Dark Blue can add a suggestion of grass. Add a simple roof and outline the building, as shown, using Purple. To draw thin "holy land" trees, use Dark Green. Add touches of brown for the trunks, and accent with Fluoro Violet for highlights on the edges facing the stable. Loosely sketch in some grass & brush at base of the trees for a more natural look. Be sure to make the trees different sizes to add variety. Here is a close up of the hidden picture area inside the stable. The DVD gives full instructions on how to draw the entire hidden picture. You can also see how the Fluoro Violet highlights on the figures and animals create a nice reflective glow.

Creating the Nativity Sky Angels and star are also fully described in the DVD. A short video of me creating this drawing for a crowd of children may be viewed on the home page of my web site: gloryinspirations.com

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 16

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

Angels from the Realms of Glori by Gloria Kohlmann Step One 3 Take white fluoro chalk and make a large central cross. 3 Next, make a long X over the middle. 3 Now draw two ovals on each side of the star line. 3 Add more chalk to the oval facee line and rub a circle around it to create a halo effect. You can do thiss more than once.

N THE ORIGINAL 9 page booklet (shown below) this technique is taught to children using regular fluorescent chalks on blue construction paper. For our purposes (creating a hidden picture), invisible fluorescents would be used. Thus, for clarity, these reprinted instructions are edited to reflect that application.

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Step Two 3 Draw curved lines for the outstretched arms as shown. 3 Add vertical curved lines above for wings. 3 Draw dashes down the sides (in a curved design to symbolize feathers).

AVE YOU E EVER needed to create a whole sky full of angels as part of a hidden drawing but weren't sure how to pull it off? Glori Kohlmann has come to the rescue once again. Last time in this column, we indicated that Glori's DVD on using stencils to create hidden drawings would be featured in this issue. But then I saw her 9 page guide* showing how to create charming, stylized Nativity Sky Angels with incredible ease (shown above). With Christmas around the corner, it seemed like the best pick for this issue—especially since it expands on the Nativity drawing which Glori shares in the Step-by-Step column (see pages 14-16). To download the complete 9 page PDF booklet—which includes additional details on the process—be sure to visit the See The Light website at www.seethelightshine.com, click on the Fun Stuff tab and explore the Downloads area. *[The booklet design was produced by Nicole Molin at Park-

H Step Three 3 Draw curved lines coming down from each hand for sleeves. 3 Add dashes for the feathers (because angels are transparent).. 3 Draw tunic as shown with an X-shaped sash over the bodice. 3 Add little U shapes for the feet on bottom of hems. Nativity Angels \ next page Î

ing Lot Productions for See The Light. Used with permission.]

CHALKK ILL LLUSTRATED WINTER 2011 ISSUE 3 PAGE 17

Nativity Angels \ continued

Step Four 3 Lightly add fluoro white chalk, filling in the whole angel design by rubbing more white chalk inside the angels.

Warm-ups from the Editor

Step Five 3 Add more fluoro white chalk as you wish. 3 Then add the invisible blue, gold and pink rays inside the white rays wherever you wish, or as shown.

If you are familiar with using stencils to create hidden pictures you may be interested in using the more realistic looking angel design pictured above. It, along with the classic Nativity scene below, were both designed by Gene Granata, owner of MasterpiecePumpkins.com, a rich resource for all kinds of thematic stencil designs. Contact Gene at Gene@ masterpiecepumkins.com for pricing.

Step Six 3 Add dot stars with any invisible color.

Step Seven 3 This is the appearance under full black light. 3 Step & repeat the angel design as many times as you wish to create a heavenly host filling the sky. 3 Consider proper perspective and make the closer angels larger and distant angels smaller.

CHALKK ILL LLUSTRATED WINTER 2011 ISSUE 3 PAGE 18

Inspiration & Insight from the Easel of Jim Pence.

Challenge Yourself in 2012 ’VE FOUND THAT it’s it’ very easy to t stagnate t t as a chalk artist. Because I travel a lot, many—if not most— of my speaking engagements every year are at new places. Since my new audiences have never seen me draw before, it’s easy to fall into the pattern of doing the same drawings over and over rather than developing something new. This approach has its pros and cons. On the one hand, I have a handful of drawings—my old stand-bys— that I have become very proficient at. After all, I practice them a lot! On the other hand, I don’t improve in my art because I’m not doing anything new. I’m not challenging myself. It hasn’t always been that way. Years ago, when I was pastor of Fellowship Bible Church in Greenville, Texas, I challenged myself a lot—especially around Christmas time. Normally, I would draw about nine or ten times a year in my church. I always did a picture on 5th Sunday evenings, and also every day for VBS. And every year I did a Christmas chalk drawing. I determined early on never to do the same Christmas drawing twice. It was a lot of fun to see what different themes I could develop each year as Christmas rolled around. Over the years, I did everything from a poinsettia still-life to several variations on the shepherd/wise men/angels in the sky theme. I also experimented with different black light drawings. My simplest was a Star of

Bethlehem against a dark sky (under regular light), that morphed into a cross under black light. I liked this one because I could draw the black light picture while the audience watched. [Just draw the star in regular white chalk, then go back over it and draw the cross with white or blue-white fluorescent.] My most complex black light was a huge manger scene drawn on a double-wide easel, with Mary and the baby Jesus, shepherds, a wise man, and a modern-day businessman in a suit with the Dallas skyline in the background (left). Fifteen years of pasOD HAS toring a church provided given us a me with a lot of opportalent, but it tunities to grow as an remains our artist. Now that I am responsibility freelancing, I have to to improve intentionally challenge that talent for myself. If you find yourself His glory. stagnating or in a rut, BBusinessman usinessman i att the the manger man ange gerr bl blac black ackk liligh light ghtt dr draw drawing. awing here are some suggestions for helping yourself grow as an artist:

1. Commit to developing a certain number of new drawings every year. Even if it’s only one, you will benefit from the experience.

2. Study another medium and then see if you can take what you learn there and incorporate it into your chalk art.

3. Go to a stock photo Web site (e.g. www.istockphoto.com) and select a reference photo. See if you can render it in lecturer’s chalk. God has given us a talent, but it remains our responsibility to improve that talent for His glory.

Challenge yourself to become a better chalk artist in 2012. James H. (Jim) Pence (www.jamespence.com) is a chalkartist and freelance writer who lives near Dallas, Texas. His most recent book is The Encounter which he ghost-wrote forr bestselling author Stephen Arterburn. Jim also blogs about chalk art twice weekly for See the Light (www.seethelightshine.com/blog).

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 19

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

ITH TWELVE IDEAS for major events and seasons of the year, you can use your imagination to make each illustration a personal insight on each subject. Be creative! Don't jjust copy a scene but let it be the catalyst to your own inspiration of the Lord. Do a practice scene using the suggested color keys, then do another painting using your own reference photos and a color composition. You will have a different "feeling" in your personal work, because you have selected those elements that express yyou. You will illustrate a scene better if you experience it in person. The season of the year, time of day, weather conditions, will add to the mood of the scene.

The Light in the Darkness Christmas time! The greatest gift of our father—thee light has come to a sin darkened world—the hope in n a manger. Christmas is a great subject for the chalkk artist. The scene is rendered in blues. The only lightt comes from the windows. It is very low key in col-or to suggest a frigid winter's night. The horse and d sleigh may require a reference photo. To emphasizee the Christmas story, the nativity needs to be a part rt of the scene—it is in the large stained glass window w in front of the church. A good lesson to give is how itt takes light to reveal the beauty of the stained glass— — let Jesus' light shine from you. Gary Means and his wife, Marty, travel full-time ministering with chalk art. They aree based in Baden, PA and hold annual chalkk training workshops.

Above b is a chalk h lk instruction t t page taken from Seasons in Chalk (cover top left). This article was adapted from the 14page booklet with permission and may be purchased from Gary for $12 +$3 s/h. Send a check to: Gary Means, 121 Heath Drive, Baden, PA 15005

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 20

Finding Great Value in the Little Things by Jackie Gillespie

ICHARD AND I just love when the holidays roll around. Not just for the usual reasons, but (along with Easter) what better occasion to share Christ? From birth to the cross! It is always a blessing to present the Love of God to children and their parents in the visual form that only black light chalk art is able to offer. We have several pictures that we present during the Thanksgiving and Christmas seasons—one of which is a Christmas card of sorts. We draw a scene of Wisemen with Bethlehem in the distance, and in the black light we turn the star into a cross. In preparation, the most difficult part of the presentation is the music accompaniment, which (to me) takes as long as developing the picture. We add a strobe light to the back of the board, in line with the star in the drawing, and turn it on at the conclusion of the presentation. It seems that this little touch helps make it a special conclusion. In our performances, we keep trying several different ways to add a little something here and there

My Dad told me onncce that it was not aabboout ut how good an artist I was, bbuut what tthhe Holy Spirit lets people see.

"The Way in A Manger" presentation before the black light.

Christmas in Black Light "The Way in A Manger" with black light and enhanced strobe effect.

to always keep the group guessing. This is especially important when you work with children as they seem to have a more critical eye than adults sometimes. It is challenging but fun, and it keeps us searching and trying different ways to make each event unique. As a little note, one of the most powerful conversions we ever witnessed was because of a Christmas picture. What drew the man to the Lord, he told us, was the little face of Jesus in the star. I admitted to him that I did not draw the Lord’s face in the star. Turning the black light on again, sure enough, there was Jesus’ face in the crosshatching of the star. My Dad told me once that it was not about how good an artist I was, but what the Holy Spirit lets people see. That is why we believe that the most important part of this ministry is prayer (both ours and that of our prayer warriors)— because Jesus is the Reason for the Season. God Bless and Happy Fall and Wonderful Christmas!

Learn more about Jackie & Richard Gillespie and Sparrow Chalk Art Ministries at SparrowChalkArt.com or sparrowchalkart@yahoo.com

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 21

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

by Art Barr AVE YOU EVER ER said, "I just cannnot draw; why, hy, I couldn't even ven draw a straight line"? If so, soo, take heart! It isn't necessary cesssary to draw a straight line ine to use chalk drawing in yourr ministry. miinistry. What is necessary is that you have a desire to do it. Chalk drawing is a fascinating i ti way to t communicate spiritual truth. Though children especially love to see someone do it, it is an effective tool in the hands of the Holy Spirit for working with any age group. I have seen people of all ages influenced for Christ through the use of chalk talks and illustrated hymns in my own ministry. One night a junior-age boy and a woman in her sixties both received Christ following an illustrated message. I do chalk programs for young people and adults as well as for children, but sometimes a message given to boys and girls will get through to grown-ups, too. For example, I went into a home one afternoon to do a program for a children's Bible club. The hostess and her husband became interested and attended the special meetings we were having that night. Both were saved and the whole family is now active in a local church. Recently I was drawing in a city park for a group of children. A woman in the crowd couldn't communicate in English, but she saw the picture and responded to receive Christ. One of her children interpreted while the personal worker showed her how she could become a Christian. Afterward she enrolled in a Bible study course prepared in her language. Not long ago, I had a telephone call from a young man who is now a full-time Christian worker with a well-known missionary organization. He reminded me that over twenty years ago, as a child, he had invited the Lord Jesus into his life at the close of my chalk-drawn message at a youth camp in Nebraska. He could even tell me the picture I had drawn. Everyone enjoys watching an artist draw. But you say, "I'm no artist." You don't have to be. Once you've made the decision to try chalk drawing, the battle is half won. The rest will

be easier than you thinkand the rewards will be worth your effort.

HIS chalk idea for Valentine's Day is taken from the book You Can Be a Chalk Artist by Art Barr. Used with permission.

VALENTINE'S DAY IDEA V Tr TTry using this simple drawing & llesson e for a Valentine's day lesson. good Sharing the goo od news of salvation is one important of the most import ta privileges of the Chrissimple, easy-to-do chalk talk to ti life. tian lif Use U this thi sim i teach Christians how important it is to tell others about God's love. Simply draw a plain envelope. All you need is a sheet of newsprint and black chalk. The lesson is based on a rather sad story of two lovers who were separated by many miles. One day the young lady received a letter from the man whom she loved. He asked her to marry him. But because he couldn't bear to have her reject him, he made a very strange request. He asked her to reply only if her answer was "yes." If he didn't hear from her he would know that she didn't want to marry him. Since she loved him very much, her response was immediate. When she had finished her letter to him, her younger brother offered to mail it for her since it was raining outside and he had to go out anyway. She never heard from her lover again. Years later she learned the reason. Her unmailed letter was found in an old coat pocket. The family was moving and when the attic was being cleaned out, the old coat and the letter were discovered. Her brother hadn't intended to be cruel, he had just forgotten to put that important letter in the mail. The Bible contains the good news of God's love and His offer of salvation to all who will receive it (John 3:16). It is His love letter to the world. God has entrusted this message to believers. When Christians neglect to share the wonderful message of good news with others, it's like carrying around a love letter intended for someone else instead of delivering it.

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 22

Scenic Stops Found on the Information Superhighway.

Where Love Leads h Haynes by Dwight r required them to depend completely on the Father's care.

Until the Journey's End

Dwight Haynes has written and released two collections of Good News Chalk Talks. The above Christmas drawing is from the collection called "Drawing Out The Word." In these presentations Dwight uses the following format: During the drawing, he plays recorded songs (titles in red) and then speaks a few words of application between the songs. This program is titled "Where Love Leads." UR HEARTS STIR to carols, candle lights and nativities as we try to imagine what it must have been like that night when Jesus came to earth. After 2000 years, we're still celebrating!

How Great Our Joy Let earth receive her king! Prophets had said, "Behold, a virgin shall conceive and shall bring forth a son." Now this was about to become reality to a young, engaged Jewish couple whose hearts prepared Him room.

God's Love Will Show Us the Way Mary and Joseph knew the 85 mile trip from their Nazareth home would not end with a welcome in Bethlehem. They began a dangerous journey that

Mary and Joseph ascended that last dusty hill into Bethlehem to greet crowded sstreets, a filled inn, and an innkeeper who would turn away the Kings. King of Kings

time. God's love has led you here today.

Love Calls You Home Love called from the manger. Years later it spoke from a cross when Jesus gave His life, a gift beyond what we could imagine or deserve. His resurrection was love's greatest victory. And soon this conquering Savior will return to call believers home forever.

If Only Only Mary and Joseph waited and prepared. The stable wasn't their plan, but they had learned that when you trust God, you may witness some amazing surprises.

Expecting A Miracle The long wait was over. In the skies overhead, a choir of angels announced the Savior's birth with a concert of praise, a royal declaration of hope for man.

Birthday of A King The Good news of Messiah's birth went first to local shepherds. Then a star proclaimed it to scholars in a distant land. Both came to Jesus to worship.

Keep the Promise Perhaps, like Mary and Joseph, you anticipate the wonder of Christ's birth. Maybe you come to find the holiness of His presence or have searched for a long

Each of Dwight's chalk talk collections are 50page paperback books featuring 25 color plates of chalk drawings and their accompanying messages. The current price for each collection is $10. For more information or to place an order for one or both books visit ChalkTalks.net.

Rev. Dwight D. Haynes is a master chalk-artist and biblical evangelist. Dwight has utilized God’s ministry gifts since 1994 as a Gospel Chalk Artist, serving professionally as a missionary to extended-care facility residents, as senior pastor of churches in Virginia and North Carolina, and as an international evangelist. His wife and two beautiful daughters serve alongside him to inspire and relate God’s love to many. Visit Dwight's web site at ChalkTalks.net

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 23

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

Kistler

HIS YEAR, give your chalk art ministry a Christmas gift that will give back to your audiences all year long—ultra bright black light!

of Ultra-Bright Black Light VER THE YEARS, I have had to wrestle with venues that were not darkened properly. There have been churches with huge skylights, floor to ceiling stained glass, and hosts that “forgot” to cover the windows, causing my fluorescent and hidden drawing effects to glow anemically (if at all). Once I was in a new facility which had auditorium lights that could not be shut off completely, only dimmed—a current trend in safety lighting for public buildings. For decades, ambient light issues have plagued chalkers everywhere. But a few years ago I discovered a fairly simple solution that solves most of these problems for a modest cost.

THE SCIENCE OF UV First, it might be helpful to take a quick look at the science behind black light. The Wildfire Report (a FREE 56 page download from WildFireFX. com) is packed with info. Here is a brief excerpt:

“Long wave UV, or UV-A, is the kind used in entertainment applications [such as bowling alleys, amusement parks, mini golf, and chalk art]. This is what's known as ‘black’ light. ‘Black’ because you can’t see it. In comparison to short-wave or medium-wave UV, long-wave UV is pretty safe. This range is defined by the wavelengths between 315 and 400nm. For best results, the [lamp] should peak at 365-368nm. Many so-called black lights aren't really black lights at all. For example, there is the muchtouted UV LED in recent years. Most UV LED's produce light at 385nm to 400nm…but still fall short of the 365nm ‘sweet spot.’ The biggest problem with…LED fixtures is that invisible fluorescent materials don't respond well, if at all. To get the best results for all UV sensitive materials, use a [lamp] peaking at 365nm.” True. I have experimented with UV LED flashlights thinking they might be an alternative for

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 24

people who end up with one of my drawings and want to view the hidden picture. These LED flashlights are a useless waste of money when it comes to making our fluorescent and invisible chalks glow. Only one or two of the fluorescent colors react (poorly) and not one of the invisible colors respond at all. As technology improves this may change, but those are the current limitations.

STEPS TO BOOSTING BLACK LIGHT If you want your black light bulb to create brilliant glowing effects, there are three factors to consider. The first factor is to make sure you are using a quality lamp that has a more reactive fluorescent material in the phosphor coating. Not all bulbs are created equal. There are a few brands that produce better results. More on this in a moment. The second factor is to use lamps that have a smaller diameter. This may seem counter-intuitive but a fatter tube does NOT produce more output. With a smaller diameter tube the fluorescent material is closer to the center of the tube and will fluoresce more brightly. Most 2' and 4' black light lamps have a diameter of T12. Avoid these and look for the skinnier black light tubes which have T8 in their number. The third factor in producing the brightest output possible is using a very high output (VHO) Illustration Ill t t 1 electronic ballast. This type of ballast ensures a smooth, noise-and-flicker-free output with an instant start. Perhaps the best ballast in this class is the Ice Cap (model 430-008). Used extensively in the aquarium industry, this ballast is known to double the output of fluorescent lamps by over driving them—a 30 watt lamp will produce nearly 60 watts. According to WildFireFX.com tech support, they use IceCap ballasts in all their black light fixtures, so I trust their research in this area. There is a small downside: according to Wild Fire, over driving a tube will shorten its life by about 30%. Some cheap Chinese brands will burn out more quickly because not

www.TheChalkLoft.heavenforum.com

Best of the cHALK lOFT Highlights from m the the On-line On-li line Chalk Chalk lk Art A t Forum. F

HE ABOVE ARTICLE was written two years ago and posted on both the Chalk Loft and Chalked & Amazed as a free download resource. Here is what Jackie Gillespie (Sparrow's Nest columnist) had to say: ust wanted to drop a note about what a difference the IceCap ballast makes to light a black light picture. After reading the download of "Squeezing Ultra-Blacklight From Under Your Hood", we purchased an IceCap ballast from Aquasythe and the T-5 lights from Matt Bowman at Eternity

all lamps can handle a VHO ballast very well. So, pay a bit more and stick with quality bulbs such as the Wildfire SableLux (48” from WildfireFX.com or Blacklight.com), Damar (36” from Blacklight.com or Lightbulbsdirect.com), Ushio (24” from WildfireFX.com or Blacklight.com), Sankyo Denki (36” from Techwest.com). Of course, suppliers change their product lineup all the time, so check online by brand name or search for F32T8BLB (48”), F30T8BLB (36”) or F20T8BLB (24”).

SIMPLE INSTALLATION & AMAZING RESULTS I purchased an IceCap 430-008 [Illus. 1] from Advanced Aquatics in Schaumburg, IL for about $170 and replaced the standard ballast in my LeGrand Easel light hood. The Ice Cap ballast is larger, but there is still adequate room beneath the reflector to install it using several pop rivets. The wiring schematic, which comes with the ballast, is designed for two or more bulbs. However, since the LeGrand light hood contains only one 36” lamp, Ice Cap tech support gave me these directions which work perfectly: 2 red wires to one end of bulb, 2 blue wires to the opposite end. Cap off the yellow wires (do not tie together). Connect the black, white and ground per instructions and bypass any starter since it won’t be needed. Be aware that the increased output may not be that noticeable when looking at the lamp itself because black light waves are not seen by the human eye. The real test of brightness is not the visible output of the fixture, but the output of the fluorescing object—in our case, the chalk. The difference was obvious after I installed the Ice Cap ballast. A moderate amount of ambient light is no longer a hand-wringing frustration for me. In fact, if anything, the ultra-bright output of my black light is almost too much! Now, when I flip on my black light, the invisible picture can be seen faintly, even under three 150 watt white bulbs in my hood! It is difficult to have the hidden picture slowly emerge in the controlled manner I prefer, though this is a small sacrifice. The benefit is that the hidden picture WILL be seen in nearly all lighting conditions.

Arts. My husband installed it a few nights ago and we tried out the lights after he finished a black light picture. I had all the lights on in our living room and the picture really popped! The quality was unbelievable. We are so excited because we know (like a lot of you) that there are times when you cannot get a room completely dark or you are limited to outdoor presentations. We are very impressed and believe it is worth the investment of the ballast and the smaller black lights. We are inspired and are looking to put in a LED light bar for our colored lights when we can. I believe that if the LED light bar does as great as the new ballast, it will certainly add another dimension to our events. Thanks for the information, Bro. Kerry! Jackie & Richard Gillespie [Posted February, 2010]

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 25

CRACKING OPEN THE Rediscovering the Chalk Archives of “The Christian Artist.”

The Christian Artist Sep. & Dec. 1968 (vol. 2, #3 & #4) Original archive courtesy off Avonelle Slagle

September 1968 S Te Testimony & Autobiogra raphy by Art Layne " "During the two years there, 1700 ccolored pictures were sketched and given away with approximately that same number personally led to a decision for the Lord." pg. 1

Chalk Talk in School Ch

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Draw Men to Christ by Ken Mead "I have found that art can be a great drawing appeal to get folks where they can hear the Gospel." pg. 7

Meet the Saints by Lloyd Baker "There was a large cavity where there should have been a funnybone. A month later 'Meet the Saints' was finished...a collection of 60 cartoons." pg. 8

by DeWayne Flohr "When the black light was turned on, it was simply delightful to watch the expressions on their faces as their [Christmas] tree lit up." pg. 2 SEE THE REPRINT OF THIS ARTICLE ON NEXT PAGE.

Clouds by Jerry Zwall n order to make material from The Christian Artist archives more accessible, this column features brief extracts from the newsletter's articles to help you decide what to read, download or print. This time, Chalk Illustrated subscribers are offered an additional 14 pages of supplementary material. From these pages, we will also select and reprint one standout article.

Former editor Ren Dueck deserves our gratitude and thanks for producing these issues and allowing their reproduction as a bonus feature of Chalk Illustrated.

"Keep in mind perspective - larger on top, smaller near the horizon." pg. 3

Abased and Abounding by Art Layne "We are convinced that the traveling chalk artist should fully understand Philippians 4:12-13." pg. 4

Reflections by Art Layne "In this quietness I've been studying reflections. The water is almost like glass..." pg. 5

Making Use of One's Talents by Art Layne "Sit down sometime and make a list of ways in which you can use drawing or art work in the service of the Lord." pg. 6

December 1968 Dedicated Hands by Jerry Zwall "Is it asking too much that you dedicate your hands to Him? Many have, by giving The Christian Artist \ next page Î

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 PAGE 26

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The Christian Artist \ continued

out the Gospel of Salvation through Chalk Talks." pg. 1

Keep Christ in Christmas by Ellen Waer General announcement about an art competition. pg. 2

Christian Artists' Workshop by Violet Whittaker "Friday night is the Colorama when approximately 20 artists will be drawing simultaneously for an audience." pg. 3

Chalk Talk to Goblins by Joe Beck "Being fascinated with the black light drawing, a group of eight girls stopped for the third time to see the display. They wanted to see other pictures..." pg. 3

Hands Poem by Ruth Zwall A poem about using our hands in service to the Lord. pg. 2

Frames by Ren Dueck "The frame is a very important item in the climax of showing your completed chalk drawing." pg. 5

Illustrating the Point

Tour Through the Bible

by Warren Hume "A chalk talk doesn't have to be elaborate, fancy or complicated." pg. 4

by Jerry Zwall "The Holy Spirit guides us through the most beautiful buildings ever built." pg. 6

{()()()()()()()()()()()()()( {()()() {{() (() —™—™—™—™—™—™—™—™—™—™—™—™—™—] )()() {()()()()()()()()()()()()()( —™—™—™—™—™—™—™—™—™—™—™—™—™— (()()( )({( CHALK-TALK IN SCHOOL or

How to Light Kids Up Like a Christmas Tree by DeWayne Flohr RECEIVED A PHONE call from my daughter's First Grade teacher one day last November. It seems that during "Show-and-Tell" time that morning, my daughter told the class all about a Chalk Talk that I had given in my church the day before. The teacher wasn't familiar with the concept of Chalk Talks and so, after trying to explain what chalk-talking is, she asked if I would consider visiting her class in December to present one to the children. Of course I was delighted. When some of the other teachers heard about it, they asked if I would consider giving one before the entire student body. Naturally, I jumped at the op-

portunity to present Christ in this way. However, I felt that I owed somthing extra to the First Grade (after all, they had prior claim). So I arranged to have a special program for them first. On a very Christmassy piece of paper, I sketched a large Christmas tree in fluorescent green chalk. Then I allowed each of the children to come up to the tree and "hang" his own artistic ornament with fluorescent chalk. They did a beautiful job! When the black light was turned on, it was simply delightful to watch the expressions on their faces as their tree "lit up". I am now the hero of that First Grade class. Reprinted with permission from The Christian Artist, September 1968.

CHALK ILLUSTRATED WINTER 2011 ISSUE 3 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.

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g not included.

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"In my many years of conducting chalk-art seminars I have seen thousands of easels; both home-made and manufactured models. The current model produced by David LeGrand is the nicest one I have ever seen. The workmanship...is superb. Of all the models I have ever seen, this is the 'best buy'...the price is modest for a product of this quality." -Rev. Ding Teuling

Ordering the Print Version of Chalk Illustrated UBSCRIPTIONS FOR THE e-version of Chalk Illustrated are FREE, but a full-color print version is also available. Each printed issue may be purchased at 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 subscription (4 issues) for $25. To order, visit ChalkIllustrated.com and click on the

PARTICIPATION page where you will find both a downloadable order blank (for sending checks), and an online order form (for using credit cards and PayPal). You may also mail a donation, in any amount to help with this ministry, to: Kerry Kistler 1722 N. Waverly Ave., Springfield, MO 65803. Thank you for supporting Chalk Illustrated!

CHALK ILLUSTRATED Â&#x152; WINTER 2011 Â&#x152; ISSUE 3 Â&#x152; PAGE 28