Chalk Illustrated - Issue 4 - Spring 2012 by Kerry Kistler

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Chalk ILLUSTRATED

Using Chalk Art for Ministry, Education & Fun! Issue 4 Spring 2012

This Issue:

ALSO: Chalk Almost Vanished pg. 7 k How Our C Challenge alle of Cross-Cultural Chalking pg. 17 k The Challe Easter A Audio Dramas pg. 19 k 3E Tomb: mb b Variations on a Theme pg. 20 k The Tomb ster AND AN Mother's Day Trickartoons pg. 22 k Easter

Matt Bowman

The Features, Stories & Columns Inside This Issue.

3 4 6 7 11 12 15 16 17 18 19 20 22 24 25 26 228

Letters & E-mail: Frames, Hose & Fiber Optics Extras: Meet Pat Holt, Contest Survey Results Hot Coffee: Meet My Buddy Bagly Cover Artist: Matt Bowman—How Our Chalk Almost Vanished Chalk on Sheets: Pull Outs Step-By-Step Studios: Holy Week Montage Taming Hidden Pictures: When a Lamb Became a Lion By All Means!: Visible Invisibles My Tuppence Worth: The Challenge of Cross-Cultural Chalking Chalk Be Nimble: Chalkin' For Children Oddio Re-Cordings: 3 Easter Audio Dramas Background Checks: The Tomb—Variations on a Theme Lightning Cartoons: Egg to Lion & Flower to Mother In the Workshop: A Persistent Quest Not "Easel-ly" Won Sparrows Nest: The Potter's House The Chalk Vault: Christian Artist 1969, 1 & 2 Ads: LeGrand Prix Easel, Ordering Chalk Illustrated print edition

25 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 © 2012, and may not be reproduced for commercial purposes. It may be shared freely but not sold.

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LETTERS

E-MAIL

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

other, opposite corners the hinges had removable pins. This way I could take the frame apart to carry it using less room. Ren Dueck [Ren, please send some photos of this for the next issue.]

HAT A GREAT mailbag full of letters! This first whole page is a collection of tips and hints sent in by readers. Send your questions or tips to ChalkIllustrated@gmail.com, and we'll include them in the Summer issue.

Faux Frame

Mike Morris was asking re. a frame for the LeGrand easel. I've been thinking of making one but until then I'm using 2" black duct tape, putting it around the edges of the paper as a frame. It strengthens the paper, making it much easier to handle and looks quite a bit like a frame. Shirley Frye [Great idea! I've seen duct tape in lots of colors, including a wood-shade brown.]

Vacuum "Hose"

I love the last edition of CI !!! And my friend Treva called me when she rec'd her birthday subscription and her world

stopped. She loves it too. You're doing a great job and you are putting a lot of work & research etc. into it. It's fabulous!! Also, thanks much, for posting the ad for my easel. I sold it to Elva Hurst who saw it in your great magazine! Here are two helpful hints for readers: 1. When you want to clean out your chalk tray, put a stocking foot over the end of your vacuum hose with a rubber band and you won't lose all your chalk. 2. Have a small container of talcum powder or cornstarch on your chalk shelf, rub your chalk hand (left one for lefties) into the powder and your hands won't get half as dirty doing that. It helps much! Catherine Patnovic [Great ideas! It's such a pain digging chalk out of the shop vac. See page 6 for my approach to using talcum powder.]

Fiber Optics

Print Edition

On a very happy note, I received the printed edition of CI—love it, just love it, as much or more than the e-mail version : ) Thank you so very much! I thought Rick Lenski's "Santa to Nativity" is such a clever idea, and plan to share it with kids this season! Pat Holt [Thanks, Pat. We now have around 20 subscribers to the print version of CI. See the back cover for ordering at my cost.]

Travel Frame

In one issue of The Christian Artist I provided information regarding my easel which I have used for over 40 years. It was very simple to build. I had a metal shop make my boxes and then added legs and lighting. It all folds up into the boxes, not including the frame. I purchased a large frame and cut the corners and put a hinge on each corner. On two opposite corners the hinges had fixed pins. On the

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I was looking at our 2' laser light Christmas tree and thought it would be neat to take fiber optics behind bogus paper and fix them through tiny holes in the sky area to create twinkling stars. Our tree has small colored and white gels which rotate to make the fiber ends "twinkle". There is an interesting site at FiberopticProducts.com which has kits for learning about fiber optics. Another interesting site to check out is EliminatorLighting. com. It would be nice if someone could figure out a way to make this work. Also, this may not be too practical, but I could also see fiber optics being used to create a fire/sparks effect too. Flash paper is short duration and this could go as long as one wanted. Shirley Frye [Thanks for emailing twice with fun ideas!]

This 16:00 dramatized Easter audio story is available on CD. See page 19 for info.

Meet See The Light's Pat Holt ACK IN SEPTEMBER of 2011, I B began exchanging

emails with Pat Holt of See the Light. She has a heart for the ministries of chalk artists, which shows in this e-mail which I received:

EE THE LIGHT came to be because many, many years ago I saw a chalk artist draw and tell a Bible story. I was sitting on the edge of my seat in an elementary school chapel, and at the conclusion of the story, he went to the back of his easel, and—suddenly—I saw something I'd never seen before appear on the easel...I know now it was a black light picture. I never forgot it, prayed much, and thought this would be a wonderful way to tell Bible stories to this generation of children in a way that is new, fresh and unique. I believed we need a change from having animated Bible stories. See the Light utilizes chalk art, music and radio-style dramatic enactments to share familiar Bible stories with children and viewers of all ages. Telling Bible stories with chalk art/black light crosses all cultural barriers and these DVDs also have a Spanish track. My vision is that they will be translated into many languages. I believe wholeheartedly in this approach of telling the Good

News of Jesus Christ to children across the globe. We're all serving the Lord together, and I would like to assist you in any way to inspire the next generation of chalk artists :) Have you ever thought of doing a give-a-way? If so, I'd be happy to donate copies of each of our DVDs to you and your readers. JOYfully, because of HIS love, Pat Holt Pat has made possible the two contests we have held, and there are more give-a-ways to come—including the story sound tracks on CD. Here is one way we can give back to Pat: Send me your ideas of how STL could spread these resources to Spanish-speaking communities and throughout Latin America, and I will forward them on to her. Please see what else Pat's company has to offer online at SeeTheLightShine.com, and support them as you are able by purchasing something from their product line. The winners of this issue's contest for The Crossmaker DVD is David Brown from North Carolina and Kyle Kendrick, a 15 year old home school student from California. Congrats! The DVDs are on their way. Oh, the preselected # was 233.

Survey Results from the Contest Comments:

HE CONTEST ENTRY FORM for the Crossmaker DVD contained a short 3-question* survey which had 87 subscriber-respondents. The survey form also had a field for comments. Surprisingly, over 40 of you took the time to leave comments! Thank you! These comments are presented here to help you feel more connected to your chalk art family. I have not included all of the praise which CI received but left enough for one reason: To encourage you to participate in Chalk Illustrated by submitting content. Why? Nearly 300 subscribers are reading this publication—and getting help—so it is NOT a waste of your time to send in tips, hints, photos, ideas, questions, web gems—whatever you like. I consider all of you my family—we each have chalk in our DNA and I want to help you succeed in your efforts with chalk art. Won't you join me?

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Many years ago I did chalk art presentations on a weekly basis. After many years of not doing chalk I did a presentation at my church a couple of years ago. I am now interested in doing chalk again. I would like to do 3- 4 presentations per year, maybe for women ministries meetings. Nancy ? I'm a clown and do the very simple drawings at this time. Lin Snyder I have a great desire to learn how to do chalk drawings. Deloris Poling Please keep issues coming; I enjoy them immensely. Cindy White I'd like to add chalk to my

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gospel magic program. I've done a little and supported one of the open air campaigners years back. Rick Young I'm new to this. I've done some of the [trick] cartoon drawings. I am really interested in learning more about how to get started, and about supplies. Beth Mattinson I do chalk art in The Jr. Church each month. We do programs on a Love Offering basis. We would love to do a lot more programs. So many churches don't do Sunday evening services any longer and are struggling. Patricia Vinyard I have equipment and have attended conferences but have not done any illustrat-

ing for several years. I'd like to get back into it. Charlene Hunt I currently do about 4-5 chalk talks a year. I don't set a fee but do accept an offering if given to me. Since many are for my own church it is part of my ministry at the church so no honorarium is given. Nancy Anderson Just 2 more weeks to go to my 4 day crash chalk course with Eris Gillis in Sydney, Australia!! Paul Long, New Zealand [Be looking for Paul's report in the Summer issue of Chalk Illustrated.} I have done chalk talks in the past using pastels and am just getting started in chalk. These DVD's would be a great help. Jay Summerlin Favorite part of the magazine: Step-by-Step Studios. Sherry Beeson I love Chalk Illustrated! Thank you, keep up the good work. Elva Hurst

2* 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Topics You Would Like to See ...in the pages of Chalk Illustrated:

Beginners tutorials/getting started (11) New/different picture ideas (8) Drawings/stories for children/VBS (8) Hidden drawing (easy) & black light techniques (7) Tips on chalking on bed sheets (5) Different holidays/occasions/stories (4) Techniques, tips and secrets (4) Gospel/Salvation/Faith/Repentance (2) Skies, water (waves)/nature/flowers (2) Writing chalk messages/scripting (2) Jesus being our first love (2) Putting together a picture design (2) Personal experiences with chalk talks for the public The bookkeeping end of chalk art ministry Recommitting to chalk art ministry Alternative paper options/supply sources

We are considering teaching chalk drawing to the Crosswalk Program at our church (activities for after school kids from Jr. High to High School). We have just initiated where we can have a darkened room and hope to start within the next few weeks with an introductory regular presentation to gauge interest. Danni Geisler

17. A smaller easel for teaching 18. Teaching kids through chalk drawing 19. Booking programs/how to advertise 20. Missionary chalk presentations 21. Comedy drawing w/ stories 22. Cartoons and joke art 23. Step-by-step drawing 24. Jesus at the Door 25. Special effects 26. DVD options 27. Stewardship 28. More Bible stories 29. Dogs and Horses 30. Drawing people

I love this magazine. I can't afford to attend any formal classes and Chalk Illustrated helps to give me ideas. I haven't done a chalk talk in quite a while, but hopefully I can get back into it. Thanks again. Gloria McLain This is an area I want to build into my ministry. Curt Patty

Do you charge a set fee for programs or accept a free-will offering?

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I am a 15 year old home school student involved in Speech and Debate. I am presenting a speech about the Gospel in the Stars and I'm using a black light picture at the end of the speech. I have only presented it 3 times so far. Kyle Kendrick I've been in seminary for the past four years so haven't done much chalk art, however I love what you are doing and look forward to getting back into it once I finish school. Keep up the great work! Matthew Ballmann I really enjoy the magazine! Please keep working on getting the vintage books online. Mark Thomas [More soon at GoldenChalkClassics.blogspot.com.] I am so grateful for fellow chalk artists. I have a passion for Christ and a love for chalk art and a deep desire to witness to others. Jennifer Cade I love your publication. It is a great inspiration to my work. It has helped me show Christ to many others. Lorie Hurst I am new to this art form, always having admired the first Bill Gothard Chalk Talk I saw as a young adult. I will be giving a chalk talk to a senior group in March, and am so thankful for Chalk Illustrated! Lorraine Ford I am currently doing other things but want very much to start back into the black light chalk shows and have See Comments \ next page Î

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Comments \ continued

one planned in the Spring for a Pregnancy Crisis Center. I would like to teach children how to do this kind of art. Vail Carruth I have just started on a large sheet easel for outdoors and arena venues and can always use ideas. I normally do picture-in-a picture with black light and design my own pictures. I don't use picture ideas, just "ideas" ideas. Linda Schiro I pastor a church and usually do a presentation 4 or 5 times a year. I am available for some outside meetings and have begun sending out a brochure to advertise that fact. Nobody around here

really understands what a chalk talk is until they see one. Gary Palmer I use chalk art for Sunday School bulletin boards and for 9x3 foot church banners in our auditorium. D. Reddick As a missionary printer I found that chalk art became a support ministry to fall back on. Having fewer meetings than needed to raise my monthly missionary support, the chalk art offerings became too important, so I cut back on the chalk art meetings. The Lord reminded me that I had forgotten the importance of viewing it as a ministry. Richard Vance

Warm-ups from the Editor

Meet My Buddy, Bagly

S I NEAR the last moments of talking, just before I actually pick up the chalk to draw, I build a bit of tension by inserting one of those unexpected movements. I have a cloth bubblegum bag (the type with a drawstring) filled with baby powder resting on my chalk tray. I pick this up and begin to knead it between my hands. This serves both a practical and a showmanship purpose. First, it coats your hands with

I know this is one of my callings from the Lord. I'm a mural artist and I realize that I'm only His paint brush. This summer we plan to convert one of our barns into an art studio so that I will have a large space to practice my chalk presentations. Being an innkeeper for our B&B and running an alpaca farm keeps me busy also. Check out our website: www.charlestonfarmbba. com. Thanks for your ministry and God bless! Teresa Ehalt I am home schooled and I like to draw dogs and horses. Noemi Macavei-Katocz I am using the material in our home schooling. Sara Macavei-Katocz

Love the magazine, e-zine. I really just need to get up the courage to do my first chalk presentation. This is something the Lord has put on my heart for the last couple of years and he is using you to inch me closer to taking the plunge. Kelly Mowery Just starting and will use this as a missionary in Guatemala. Jim Neubert I'm very happy to learn more about chalk art. Mats Rydin, Sweden I hope to increase my chalk art performances in the community. Jill McFarlen

powder making them easier to wash when you’re done drawing. Second, a misty fog of powder will waft about you and look very mysterious, adding to the mood. It’s like a poor man’s fog machine. Third, this simple movement is a nonverbal cue to the audience that things are about to change - that you are about to get down to business. It’s rather like watching a gymnast chalk up their hands before beginning a routine. Fourth, it can also be a cue to the person running the house/platform lights. If you are using an inhouse sound tech and he’s slow on the play button, you can always grab the bag and continue to powder up until he starts the music. If he’s asleep at the switch, you can throw Bagly at him without fear of injury (okay, I’m kidding - a little). Fifth, I sometimes pick up Bagly in the middle of my drawing and powder up again if my arm needs a short rest, or just for effect. Sixth, you will find that squeezing Bagly also helps with stress. This humble little bag is a powerful prop. Many people have asked me about Bagly after my shows.

This idea is reprinted from Chalk Art & Showmanship by Kerry Kistler.

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3UHVHQWLQJ Ć WKH Ć &RYHU Ć $UWLVW Introducing another neighbor from our chalk art community.

Imagine taking the "chalk" out of "chalk artist"... Chalk Illustrated: Matt, start by telling us about your first exposure to chalk art. chal Mat Bowman: I was introduced Matt to chalk art in the 1980s when I saw Bill Gothard draw. I thought it wo would be an excellent way to share the Gospel in the neighborhood th Bible club that my sister and I B had started. I had a great desire h to t tell people about Christ and ssaw chalk art as a tool to convey the message to the hearts of people.

CI: Did you already have an interest in art and then decide to pursue formal chalk training of some kind?

n packing Matt Bowma of Eternity r another orde lk. a Arts pastel ch

Matt: I had little litt art talent, but it looked so easy that I decided to find a chal chalk art class and become a chalk artist. My dad, Phil, offered me m a choice between a fishing trip to Canada or a chalk art clas class with Ding and David Teuling. I chose the chalk art class and attended with my dad. But, after the first day in class we both realized our lack of art talent was too much and we asked for our money back.

The Amazing Story of How Our Chalk Almost CI: I’m guessing Ding didn’t let you off the hook that easy.

An Interview with Matt Bowman

Matt: Correct. After some discussion and tears, we agreed to stay and learn what we could. I had promised to draw for a Vacation Bible School at our church when we returned. So, I determined to not give up and spent the next several years perfecting my chalk art skills one stroke at a time. Ding had taught me to observe my surroundings and examine the artistry of our Creator.

CI: Any other chalk teachers along the way or did you simply learn by doing? Matt: In the early years I would learn one or two drawings Bowman \ next page Î

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Bowman \ continued

sition from being a distributor of chalk to a manufacturer.

a year, practicing them em over and over again in the churches where my family mily ministered as we traveled. ed. And many people helped ed me along the way, includding lessons from Wanda da Cumings Vincent, Esther er Frye, and Dan Ondra. a. Each of these instructors rs gave me the instruction n and encouragement I needed to go forward.

CI: Besides ministering with your family, wheree else did chalk take you in those early years? Matt: In 1995 I was asked sked to organize a chalk training program and teach chalk art to young people in the Advanced Training Institute, and I began to help other people learn chalk art using a method that worked for me. Lots of encouragement and step-by-step instruction became my teaching methods. That same year, after a trip to Taiwan, Bill Gothard asked me to move to Chicago to begin a chalk art course for home school families. With so many home schoolers in the ATI home school program, I was able to teach and expose thousands to the ministry of Gospel chalk art.

CI: When did you decide to become a distributor of chalk; how did that happen?

“

Matt: In 2005, Dixon Prang sales reps told me that there would be a sale on w ttheir chalk. This was oodd since it had never happened ben fore. Dixon has been fo making art supplies m since 1795 and they si Most of my draw were the world’s only we ings are now created on Queen producer of lecturer’s pr bed sheets. chalk for Gospel chalk ch artists. I was stunned art to learn that they had decided to run a sale in order to liquidate their inventory—they were ceasing production of lecturer’s chalk altogether! I realized immediately that this would be the death of chalk art, as we knew it.

I realized immediately that this would be the death of chalk art, as we knew it.

CI: How did you respond to this shocking news? Matt: I contacted Dixon and learned that they had 4300 cases of chalk to sell out—that’s almost 310,000 sticks of chalk! I already had sixty-day terms and free shipping with Dixon, so I swallowed hard and committed to buy it all. I had no money, but knew if I had sixty days, I would have to find it somewhere. I also tried opening further negotiations with Dixon by offering several hundred thousand dollars for the chalk formulas and production information. Sadly, they were not interested in selling since their recipes pes and manufacturing process had been trade secrets for years. year . e them

Matt: During my time with ATI, I sold chalk to the students and, as a result, ATI became the largest distributor of lecturer’s chalk in the nation. Then, in 2000, I bought out thee ATI chalk inventory and easels, and returned home me to Michigan to launch h ouse" Eternity Arts and Eterni-assic "Lighth cl e th f o n tyArts.com to sell mateMy versio rials to the chalk artistss I had trained. That mod-est chalk inventory keptt getting moved around— — first in my parent's baseement, then to a garage, a friend’s place, a semi trailailer, back to another garage ge and, finally, to a building ing in 2006. But that inventory tory was tiny compared to what was coming.

”

CI: Something BIG was brewing! Describe your tranCHALKK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 8

CI: So, your first order of bu business was to buy the existing stock…and figure ex ou out how to manufacture it later. M Matt: Exactly. I asked Dixon how much space D iit would take to store 4300 cases of chalk but the rep didn’t know. A week later a 48’ semi truck pulled up to our driveway and told me they had a delivery for me. I said, “How much

is in there?” The driver said, “Son, this whole truckload is yours!”” Thankfully, we had a neighbor with a hi-loo d forklift that helped, and it still took us about 2 fe, hours to unload. My wife, nKatie, and I had just finuse ished building our house alk that year, so the chalk -car was packed in the 3-car —15’ garage, floor to ceiling—15’ ter. high—all that next winter.

CI: The cost for you, personally, to “stand inn the gap” for the chalk art community must have seemed eemed staggering. Matt: Yes, and buying the chalk inventory was just the beginning. We had been saving and planning to live our marriage debt free, and built our house that way. However, when the need for preserving the chalk ministry came, we decided to mortgage our home in order to have the money to buy the chalk. What we did not know at the time was that it would cost well over half a million dollars to get into full chalk production over the next three years.

Ma Matt: I just started piecing together every bit of information I could get inf my hands on. It was like m putting together a jigsaw pu puzzle in the dark! All p that winter (2005-2006) th I worked with chemists around the country geta ting ideas and tips. Everyone I contacted gave me a piece here and a piece there to the larger puzid" a fr A t o zle, but no one had all N e g "B alk. sheet drawin ch y g m in f the pieces. Some ideas k o a e m tl n The ti when I bega o tt o m for the process proved y m became to be a huge waste of money and failed immediately. We started with the easiest color—white—which took over 100 tries to get right. rig Even then, it took the next two years to perfect. Once we had the basics figured out for the white, we thought colored chalk would be easy to make. Big surprise. Since lecturer’s chalk is so soft, extremely pigmented, rich and bold, no two recipes are alike. The whole process and chemistry changes from batch to batch. For example, the formula for red chalk took me four years to discover and I’m still working to perfect it. Believe it or not, something as simple as the black took two years to figure out.

CI: With over 4,300 cases of chalk in your inventory, why did you decide to begin manufacturing right away?

“

...it would cost [us] well over half a million dollars to get into full chalk production...

Matt: Two main factors pushed us into manufacturing almost immediately. When the inventory arrived, we found that we had a very wide range ange of quantities of each color! olor! We had 3 pallets of yellowoworange and only 8 boxess of magenta. In other words, rds, we had enough yellowoworange to last a hundred red years, but less than a ...918, 919, 920... year’s supply of magenta. ta. now I know why it's And we had no idea how ow called Eternity Chalk. to make more when it did run out.

”

CI: Without having thee formulas or manufactur-ing methods, how didd you know where to start?

We thought colo red chalk would be easy to make. Big Su rprise!

CI: What was the second factor that pushed you into full production? Matt: In the spring of 2006 (less than a year after buying the Dixon inventory), I got a call from the Tiger Woods Foundation requesting a quote on some chalk and custom packaging. I gave them a quote and was told it was too high, so I spent the next few weeks negotiating a deal with the Foundation. They could get an inferior chalk a bit cheaper from China, but not as fast as I could make better stuff here. The Foundation was looking d for f the chalk to be packaged and put in p an a activity set for children to use outdoors. d The Th event would be at all al 4,011 Target stores Bowman \ next page Î B

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pra prayer, ay and He brought key people across my path as peeo well. weel Plus He provided the support and understandsu up ing in ng of my dear wife Katie who wh had to do without me w . Yeah, yeah.. ed much of the time during m eck have you ch ds the thousands of hours th t your han ought of work, experiments and o ? And you thith this y Smurf-bo drawing w messy! study. s stuff was r face... Back in the 70s when Dude, you black light chalk was no longer being made, chalk. It's ork making w t a ! it rd a o h Ding Teuling stepped d My crew body's got to e m so t u b up to the plate and , a dirty job bought it to make for b That himself and others. Th ha was part of his calling from God. If he had not done do it, most—if not all of d us—would doing it today. The preservaany us would not be here doin tion of chalk art was my part for this day, just like colDing’s was in the 70s. If it were not for the Gospel chalk art ministry and the winning of the lost, I would not have wasted my time in this endeavor. than It is also why I believe God saw fit to preserve it in start this way.

in America for the “Kids dss Night Out” event. The purchasing agent n nt for the Tiger Woods d ds event told me that they heey would have to get the th he chalk in 8 weeks and an nd would need 100,000 000 packages of chalk—which hich would have more than n depleted my entire inventory! ntory! At that time, the only color c I really knew how to make m was white, but the foundaundation told me they did d not care what colors were in in the set as long as there was w a white in each one! What hat are the chances of group buying chalk sets and not caring what ors they got?

CI: I’d say very slim indeed. So, with less two months to go, you had to gear up and cranking out thousands of sticks of chalk.

Matt: Right. And this type of chalk is next to impossible to automate. Every stick is still handmade. It is a process that takes a lot of time and makes an incredible amount of mess. Of course, since we were just getting stared in this chalk making venture, we had very little equipment. The packager, forklift, and piles of tools had to be purchased in time and be operational immediately. One bright ray—as soon as I signed the contract with 8 weeks to deliver the chalk, the foundation agreed to pay for it up front! I went to work with a friend around the clock for 8 weeks to make the deadline, and the pressure was on. We spent the first 4 weeks making the chalk but then ran into an unexpected problem—when we got done we realized the chalk was not drying. We then had to go to work on a new way to dry it and fast! We had 4 weeks left to dry and package it. The Lord made a way and we finished with 2 days to spare! That is how the Lord got us started in the chalkmaking business with no equipmentt to start and no money.

CI: Amazing story! We came veryy close to the demise of chalk art— without a supply of lecturer’s chalk, game over. Then God breathed new w life into it through you. How does it feel to be a part of this historic, resurrection story? Matt: Humbling. God gave me the formulas and processes through

CI: Are there actually enough Gospel chalk artists to keep you in business? I know of only several hundred chalkers who are more-or-less active. How can we help Eternity Arts survive and thrive? Matt: Since taking on this huge chalk making process and great expense, it has been obvious why Dixon got rid of it in the first place: the set up is huge, the ingredients are only available in large quantities, and sales were only to a small minority market of Gospel chalk artists. Thankfully, God has opened other uses and markets for Eternity Chalk such as the recent popularity of the 3D street painters as well as many industrial uses. Without these growing markets we would probably go out of business, so pray for them to continue expanding. God is using them to help support my true calling: Gospel chalk artists. And believe me, every stick of chalk ordered by Gospel chalkers is extremely important too. It is my prayer that chalk artists everywhere will take the tools God has given—and preserved— and reach the world as I am trying to do with Eternity Arts. Matt resides in Michigan, with his wife, Kathleen and his children. He preaches and draws in church revivals and meetings for as many as 20,000 people. He has taught hundreds in effective chalk art. Many of his students work with chalk art full time. He also operates Eternity Arts, a ministry that holds classes and manufactures materials for Gospel chalk artists around the world. Visit Matt’s personal site at ChalkEvangelist.com

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Pul l Ou ts

Hanging anging Your Fears Out to Dry with Large Format Chalking.

Charline Bainbridge

HIS IS THE second article extracted from the 71 page book called The Chalk Art Instruction Handbook by Charline Bainbridge, an Aussie chalker who passed away in 2005. Her surviving husband, Garth, has given permission to share her writings with the readers of Chalk Illustrated. A cover article about Charline is planned for the near future.

PULL-OUT IS A piece of light fabric which is hidden in a zippered pouch that has been sewn into a regular sized black canvas [sheet]. At the end of a presentation, you open the zipper and pull the fabric out through the zipper opening to give a 3-D effect to a drawing. Some examples are the “‘water of life” pouring out of a clay jar held by the hands of Christ, the “robe of righteousness” draped over the shoulders of the unworthy, repentant sinner or the stream of Christ’s cleansing blood flowing from the foot of the cross.

For the robe of righteousness, look for a pure white or silvery-

Hints & Techniques for Pull-Outs

Stitch

The

pull-out will emerge from a HORIZONTAL slit in the canvas, so plan your drawing to allow for an EXACT match, especially a water level or where hands you draw will hold it.

white fabric which is shiny and falls naturally into drapes.

When

buying pull-out material to represent water or blood, be sure it is long enough to reach the floor of the stage and drape onto it for a metre or so. In this way it will represent the all-inclusiveness of the message, as if going beyond the frame of the picture to reach everyone in the audience.

If possible, buy a zipper that can be sewn in “invisibly” (i.e. with no stitching visible on the right side of the fabric), because this allows the effect to be a surprise for the viewers.

Cut your canvas 4 cm wider than needed, to allow for a seam 1 ½ cm wide on each side of the zipper.

the seam closed all the way along, except for the place where the zipper will be inserted.

From a separate piece of black fabric, measure and cut out two pieces of material for a pocket 30 - 40 cm square and sew 2 sides closed as per diagram below.

Pull Outs \ continued on page 24 Î

Bear in mind that the fabric will fall vertically, so the entire design of your drawing must allow for this “flow.” Place the zipper opening near any of the ‘Golden Mean’ focal points.

The fabric representing water should be

fairly crease-resistant, lightweight and shiny – I find silver or blue voile to be the best.

For the cleansing blood, choose material that is shiny, deep red and lightweight.

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 11

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

Holy Week Montage

by Matt Bowman

HIS DRAWING BY Matt Bowman is a nice composition to try out for Holy Week since it shows elements of both the crucifixion and resurrection. It is one of eight bed sheet creations featured on Matt's 6 DVD series called Bed Sheet Chalk Art. Matt has kindly allowed us to share the basic steps with you here to encourage you to try it out this Easter. Taken from disc 6, this 12 minute drawing is proceeded by a 40 minute sermon which you could adapt or replace with your own Good Friday/Easter message. Although this drawing is done on a 6'x8' bedsheet, you could also do it on bogus paper, toned with a coating of black chalk rubbed in well. And because the sheet is so large, Matt's easel actually rotates so he can reach the entire drawing surface (explained in disc 1). Please consider purchasing Matt's DVD series titled Bed Sheet Chalk Art (from which these frame captures are taken), available at ChalkMart.com. p The T current price is $97.95.

I begin with the sheet in a vertical position and lay in patches of Magenta and White. This will become the sky and distant cross part of the montage. Using Yellow, I loosely outline the head. I do use some very faint guidelines to help with positioning and perspective. The patch of Red Orange marks are the scourge marks. Loose wood grain forms the top of the cross with Light Brown. Use White with varied pressure to draw the sign which was fixed to the cross.

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 12

I spin the sheet 90° counterclockwise so the drawing will actually be in the upside down position. This allows me to work on the cross-beam of the cross.

Use Light Brown for the front surface of the cross, Brown on the end of the cross-beam, and Light Blue for the reflected highlights on the (eventual) bottom of the cross-beam. Don't worry about detail for these areas. Loose and sketchy works just fine. Save your time for the face, hands and body areas. Here I have started to lay in some of the body and hand elements using Light Brown and Dull Peach. This is another area where those faint guidelines come in "handy" (pun intended). Note also the White spike located where the wrist would be. Also add some Light Blue reflected highlights on the vertical beam of the cross. I rotate the sheet 90° counter-clockwise and use Yellow to add the tomb area of the montage. I silhouette a distant hill with an "Easter Sunrise" and show light bursting out from around the large grave stone. Add the distant cross on the Magenta sky with Black. Holy Week Montage \ next page Î

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 13

Holy Week Montage \ continued

I again rotate the sheet 90° counter-clockwise; the drawing is now in the normal position. Use Light Brown and Dull Peach for the chest and shoulder areas, and loosely sketch in the far hand with Dull Peach. Add a highlight along the top of the cross-beam. Also add some "blood" on the arm and brow using Red Orange. Rendering the face is perhaps the most difficult part but, with a bit of practice, it's not too hard. Use Light Brown for the skin undertone and Light Peach for the highlight areas on the brow, cheek and nose. You may need to use your black to define some of the shadow areas of the face. Outline the profile with Yellow. I Rotate the sheet 45° counter-clockwise to enhance the "halo effect" around the head using Yellow. I use a blender to soften the halo glow. The drawing is finished - see the first photo for the completed look. Drawing time: approx. 12 minutes. Here is a close up of the face. As you can see, it is not highly detailed - even the crown of thorns is only suggested. If you are interested in learning sheet drawing, I hope you will consider investing in my 6 DVD set "Bed Sheet Chalk Art" available at ChalkMart.com.

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 14

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

by Kerry Kistler

N THE LAST ISSUE, a Christmas idea was shared from Gary Means' booklet Seasons In Chalk. I wanted to present one more idea from that collection—with a twist. In the introduction Gary said, "Use your imagination to make each illustration a personal insight on each subject. Be creative! Don't just copy a scene but let it be the catalyst to your own inspiration of the Lord." Here are my results of Gary's exhortation. This Easter drawing (at left) from Gary's book is titled Worthy is the Lamb. Off in the distance you can see the open tomb (inside white circle). I liked the overall composition but wanted to make the open tomb more prominent and also add a hidden picture somehow. The chalk drawing (bottom left) was my solution. It moves the tomb forward, enlarging the door and creating a logical white space for a hidden drawing. So, what picture appearing in the open doorway of a tomb would make sense? An angel? A portrait of Jesus? I decided on a lion. Yes, a lion. I did not have a photo of the black light version of this drawing, so I inserted a picture of the lion I used to suggest the hidden picture. But why a lion? Jesus is given many names or titles given to us in the Bible. They are descriptive of His character and work. Two of them are the names of animals— animals completely opposite of each other and yet they come together so beautifully in Him. In many places of the Bible, Jesus is described or presented as a lamb. John the Baptist declared, "Behold, the Lamb of God, which takes away the sin of the world." Revelation 13:8 describes Jesus as the "Lamb, slain from the foundation of the world." Isaiah prophesied in 53:7 that the Messiah would be led as a lamb to the slaughter. And there are many more. Jesus is also described as a lion—Rev. 5 refers to Him as the Lion of the Tribe of Judah. And on the third day He came forth from the tomb as a victorious lion! Satan's defeat was accomplished with a roar. Jesus was the perfect example of BOTH the meek Lamb of sacrifice AND the mighty Lion of victory. These two images come together and shine forth in the events of his death and

When a Lamb Became a Lion

The top photo is a chalk instruction page taken from Seasons in Chalkk (with permission) permission). The 14 page booklet may be purchased from Gary for $12 +$3 s/h. Send a check to: Gary Means, 121 Heath Drive, Baden, PA 15005

Lamb Became a Lion \ next page Î

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 15

Lamb Became a Lion \ continued

resurrection. Easter is a day to celebrate "When a Lamb became a Lion!" The stencil design I used for the hidden picture is shown below (center), but a bit of research has turned up four other lion designs that would also work. In fact, check out the trick cartoon on page 22 and imagine how it might be used as an introduction to this drawing. Above all, as Gary reminds us, "Be creative! Don't just copy a scene, but let it be the catalyst to your own inspiration..."

SignMountain.com

Logo for Lamb & Lion Ministries

SignMountain.com

From unknown clip art collection

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

Visible Invisibles Chalk Illustrator's Guide to Using Fluorescents & Black Light

T IS BEST to tone the whole sheet [of paper] to suggest the composition is all sky or perhaps suggesting water at the bottom of the sheet. A scene may also take on the appearance of a waterfall or snowscape, as the audience will view it before you actually begin the finished painting. One interesting point here is that the pre-prepared scene [of the entire sheet under regular light] may suggest a scene that has nothing to do with the final subject you are presenting. This only adds to

Dynamis89 from DeviantArt.com

the surprise that using invisible fluorescents provides. Obviously, to hide an object will require it to be primarily in the sky or other prepared areas, which means this area will have to remain white. This restricts you to the type of composition you can use. Ordinarily, about 2/3 of the composition will be sky or some other "blank area" to accommodate the hidden effect. Depending on how large the [hidden] picture is, will determine how much of an area of blank white space there will be. This excerpt was adapted from Visible Invisibles, (with permission). The 19 page booklet may be purchased from Gary for $5 +$3 s/h. Send a check to: Gary Means, 121 Heath Drive, Baden, PA 15005

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 16

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.

Inspiration & Insight from the Easel of Jim Pence.

The Challenge of Cross-Cultural Chalking

I went online and found a free online audio Bible in Chinese, and hoped WONDERFUL THING ABOUT chalk art is that it might be the answer. I could use instrumental music and dub Chithat it can transcend cultural and lannese Scripture readings over it. Unfortunately, there were two problems with guage barriers. Nevertheless, you face this. One, I had absolutelyy no knowledge g of Chinese, so there would be unique challenges when you “chalk” y no way for me to edit the before a group of people Scriptures and pull in sewho do not speak your lected verses. I would have language. Although my to insert an entire chapter. ministry is primarily in The other problem is that the United States, several a portion of the congregatimes over the nearly 34 tion spoke Mandarin, and years that I’ve been chalkthe other portion spoke ing, I’ve had the opportuCantonese. Doing a sound nity to do cross-cultural track in two languages just chalk artistry. wouldn't work. However, none of these The other problem was has been as challenging the message itself. The as my recent visit to a Chipastor originally requested nese church in Dallas. that I write out a script that I had spoken at this we could both work from. church once before to their That way he would know English-speaking congreexactly what I was going to gation and was well resay and could be prepared ceived. So, late last year I Jillian, ffrom a Chi Chinese CChurch M wife if & I with i h friends, f i d PPastor JJoshh LLam & wife, if Jilli h h iin DDallas. ll for that in advance. Unforreceived an invitation to My tunately, even though I'm a writer, it's very difficult for me to work from a speak to their Chinese speaking congregation. script. I speak extemporaneously and rarely use notes. The pastor told me that he wanted the service to So as time for the program drew near, I faced the daunting challenge of be evangelistic because they expected quite a few putting together an evangelistic chalk art program that would communicate visitors for their Chinese New Year celebration. the gospel clearly and engage the audience. What did I do? He told me that the majority of the congregaFirst, I decided to use a very simple gospel drawing. I have a lot of drawtion understood no English at all. And, although ings that are based on biblical themes, Bible stories, and so on, but in the a few of the members spoke some English, most interest of clear communication I chose the simplest story of all: the cruciof it was limited to what they did in their busifixion and resurrection of Christ. ness or work. Thus I couldn't necessarily expect So I planned a drawing of Jerusalem and Calvary. The black light picture them to understand what I was saying. was of a sunrise behind the crosses with Jesus standing in the middle of the This presented a problem for me, because I sky, arms outstretched, and the empty tomb on the right side of the picture. rely heavily on music to help communicate my For the music, I chose to use two classical pieces: Finlandia, by Jean Sibelmessage. Over the years I've discovered that the ius; and Gustav Holst's Jupiter (from The Planets). I selected those two pieces songs I choose to draw to are every bit as imbecause both have dramatic, engaging melodies. However, in each there is portant as the picture itself. I always choose my also a brief section or movement that has been used as a Christian hymn. accompaniment music carefully so that the lyrA portion of Finlandia was used for the hymn We Rest on Thee, and Holst’s ics will emphasize the message of the drawing. Jupiter provided the melody for O God Beyond All Praising. But I didn't have any Chinese songs that I could plug in. Cross-Cultural Chalking \ next page Î

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 17

Cross-Cultural \ continued

they were all in Mandarin. I did have fun trying to “read” I knew that the people in the Chinese characters as the congregation would the lyrics were projected on probably not recognize the screen. I managed to the hymn tunes—even stumble my way through my many English-speaking three-minute introduction, Christians are unfamiliar feeling very self-conscious with them—but the music as I did. set a worshipful tone, to But once I began to draw, which I choreographed I relaxed, remembering that my drawing. During the God the Holy Spirit was the two portions where hymn one who ultimately had to tunes were playing, I fospeak to hearts. cused on drawing Calvary After my part was finished, and the three crosses. Finally, the pastor and My presentation was based on this design, drawn by David Teuling called Calvary (a teach- the pastor gave his message. And eight people respondI worked out a solution ing DVD is available from ChalkMart.com). My hidden picture was an original risen Christ. ed to his invitation. to the script-or-no-script Chinese New Year was a growing experience for me. But it was the start question. I took a simple theme (John 3:16) and of a new life for eight people in that congregation. gave a very brief, two to three minute introducI’m supposed to go back there this coming September. tion to the drawing, which he translated line by And I can’t wait! line. Then, after I finished the picture, the pastor followed up with a 20-minute gospel message. James H. (Jim) Pence (www.jamespence.com) is a chalk-artist and How did the service go? freelance writer who lives near Dallas, Texas. His most recent book I was more than a little nervous at the start is The Encounter which he ghost-wrote for bestselling author and felt a little strange during the song service. I Stephen Arterburn. Jim also blogs about chalk art twice weekly for didn’t know any of the song tunes and, of course, See the Light (www.seethelightshine.com/blog).

Chalk Be Nimble

Creative Creativ Creati tive Chalkin Chalk Chalking h lk king ing Concepts Con ncepts t for f Children Child h ld dre en n off All ll Ages. Ages

by Merry Grieger

Chalkin' for Children

ARGETING CHILDREN, and reaching that target, is very ry different from targeting adults. You are dealing with h short attention spans, a natural need to wiggle, uncon-trollable curiosity and little, if any, Bible knowledge. Lovelyy landscapes and inspirational music, especially instrumental,l,, did not enable me to reach the little ones in many places thee Lord was calling me. I also did not have the gift of preaching g and was not blessed with the deep spiritual insights that seem m to accompany the beautiful pictures that reflect the beauty of God's world. But the Lord equips us in the area He wants us to be. The Lord d has blessed many good people with the ability to write stories att a child's level and others to make music that reaches these eagerr young minds. Others have the ability to combine these resources, add a visual dimension and present the total package to children in a way that grabs and holds their attention. This enables the children to understand,

enjoy and remember the lesson you are trying to teach. My first experience with chalk art came when Sallman drew his face of Christ at Austin Messiah Evangelical Church in Chicago, Illinois. I was four years old. I don't remember anything he said, but it must have been about Jesus because that is what the picture said to me. wor o The words you say will most likely be forgotte but if your picture can tell the story, ten, th story will be remembered because the an W. Sallm the th picture will be remembered. Since children are not miniature adults, the ch methods and techniques used to m reach adults do not reach children. re A child's attention span, if you get it in the first place, is much shorter. In today's "Sesame Street" world, children respond to bright, snapch py, py repetitive sounds and simple eye ey catching illustrations. Merry Grieger has Merr led l many workshops on presenting chalk art for children. This article is excerpted from her workshop notes, "Chalkin' for Children." Merry lives in Minnesota.

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 18

Oddio 5Hýcordings ý

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 DownLoad

3 Easter Dramas by Kerry Kistler

EEaster: The Story from Mark 15-166 22008, Faith Comes By Hearing, Audio Story

AKEN FR FROM THE New Testament book of Mark, this realistic audio dioo rec recording cordding was produced using multiple character voices, musical backgrounds and soundd effects, adding excitement and emotion to the Scriptures. This short program was designed to help people engage in the Bible and hear the Easter story in a dramatic, audio format. From FaithComesByHearing.com (Easter Story Podcast) Run time: 9:05

2 TThe Crossmaker

by Pat Holt 22010, See The Light, Music by Breathing Room

OMINIC, THE SON of a carpenter, finds himself drawn into the unforgettable DChrist’sOMINIC trial of the man called Jesus. This amazing adventure takes Dominic from crucifixion to a place of redemption, and a face-to-face meeting with

tthe risen Christ. Bonus audio story: Hear the dramatic story Jesus Loves the CChildren plus 11 inspiring songs by Breathing Room. Special CI pricing: $5.00*. From SeeTheLightShine.com (Use discount code CI) Run time: 16:00

TThe Real Story of Easter John 18-20

11989, The World's Greatest Stories, Told by George Sarris

HE REA REAL STORY of Easter is a powerful dramatic portrayal of the actual Tdirectly, eye-witness account of the crucifixion and resurrection of Jesus Christ, taken word for word, from the Gospel of John (NIV or KJV). Employing the art o a storyteller, actor George W. Sarris uses simply his voice, carefully selected of music and sound effects. Four other stories are included (Christmas, etc.) $7.95 m From WorldsGreatestStories.com (Vol. 2: The Life of Christ) Run time: 22:33 (NIV)

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 19

OOD FRIDAY DAY AND Easter will be here before you know it, and if you are still looking for a great audio drama to draw along with, look no further! There are very few Easter recordings in the public domain, so only the first story is a FREE mp3 download. To help you decide whether you should purchase the other two recordings, samples are posted via links on the Secret Download Page at ChalkIllustrated.com. *Note that Pat Holt is offering The Crossmaker at a 50% discount to Chalk Illustrated subscribers. The CD also includes a second story called Jesus Loves the Children plus 11 songs.

Secrets of Animation Background Art

the Tomb: Variations on a Theme by b Kerry Kistler l

1 Co. Brent &

ACKGROUND ARTISTS ARE the unsung heros of the animation world. While voice talent and key animators get most of the spotlight, the names of background artists are often lost in obscurity. But they are more than "set designers" for a cartoon-based theatrical play. Their contributions to animated films are crucial to the tone and emotional flavor of the story. I wish I could tell you the name(s) of the background artists featured in this issue, but they are not named in the credits of this NEST Entertainment production. As I said—unsung heros.

What is NEST?

Rather than fully explain here, check out NestEntertainment.com for more information. Over the years, they have produced dozens of animated Bible stories which are currently available on DVD, and they are full of drawing ideas for chalk artists with mental blocks. The backgrounds shown here are from their 1988

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 20

production He Is Risen. Consider purchasing the DVD since there are many more background ideas than can be presented here.

Observations & Ideas

Let's compare each of these backgrounds for design ideas. In each case, these concepts could be rendered as-is or Biblical figures could be added if your skills permit.

This crucifixion scene is simple enough for any beginner to try. The sky has no complicated clouds and the rocks could be simplified further (note the subtle skull design created by small caves). The crosses and people are distant enough that simple dark silhouettes would work.

This closed tomb is framed by a heavy tree in the foreground which adds depth. The pool of light in front of the door draws the eye to that area. This background (and 3-6) do not show a sky. We sometimes think a sky is required, but that's not so—good news for chalkers who don't want to create invisible pictures in the clouds.

This night scene shows the sleeping soldiers but they are not necessary. Note the dark blue and violet hues, in the foreground trees and rocks, which suggest cast moonlight. A warmer splash of light falls on the rocks of the tomb—not true to nature, but it creates contrast, depth and focus.

This background is the same as the previous but suggests a possible scenario. At the moment of Jesus' Resurrection inside the tomb, rays of light leak out around the stone, piercing the darkness. This suggests the resurrection without the need to render the figure of Jesus or an angel. Use fluoro white for the light.

Finally, the tomb is open, and although the scene is lit in daylight, it could be rendered as a night scene. This would give the necessary contrast to fill the open doorway with fluoro white—or perhaps a glowing silhouette figure of Jesus.

This background scene is perhaps the most interesting because of the bird's-eye perspective of the tomb. Framing the open door with tree branches adds a nice touch and gives the viewer a sense of watching from a hidden vantage point. Again, the door could be filled with fluoro white or you could show a disciple peering into the empty tomb. What else could you place in the warm pool of light outside the open tomb?

These comparisons show how background artists work hard to create unique "shots" when framing the same scene over and over again for the same movie. Give one of these designs a try or combine several ideas to create an original composition.

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 21

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

Arty A rty & Nub Nu ub

Hi Gang! Arty and Nub here! have we got a deal for you in this issue! TWO trick cartoons for the price of one— something for Easter and another for Mother's Day. So, grab a chunk of chalk and let's get started!

Angel Con Contreras ntreras tre

Easter Egg to Lion Based on a concept by Ralph Dewey* Illustrations by Jeremy Kistler

EASTER HAS A lot of traditions and symbols, for instance, the Easter Egg. How did eggs come to be used on Easter Sunday? [Draw the first sketch.] An egg seems to be only a lifeless object; it does not move nor eat nor breathe. Yet if properly cared for, it changes into an active little body, a chick, that has life and feeling and power to grow. Jesus' body, like the egg, was lifeless in death. It neither moved nor breathed nor ate. But after three days it arose from the dead, full of life and activity [continue adding to egg as seen in sketch 2]. Hens' eggs are used in preference to other eggs on Easter, because it takes three weeks for hens' eggs to hatch into lively little chicks, and these three weeks spent

*Inspiredd bby a concept from f Dewey's Easy Gospell Chalk h lk Talks T lk bby RRalph l h DDewey. Th The application l is new, with i h some hi history ffrom HHarlan l TTa Tarbell's book Chalk Talks for Sunday School.

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 22

in the shell are a sign of the three days that Christ's body lay in the tomb. Of course, Easter is a celebration of Jesus rising from the dead with new life—we call that resurrection [continue adding to sketch as seen in 3]. It took real courage for Jesus to go to the cross and die for us. And when I think of courage, I think of a particular animal. What is it? That's right, a lion. A lion is regarded as the King of Beasts—full of strength and power and courage. Jesus is referred to as a lion in Revelation 5 because of His power, courage and victory over Satan [turn over finished drawing]. Jesus was the lion who beat Satan by coming back from the dead and this is why there is Easter. Maybe the best symbol for Easter would be the lion!

Flower to Mother Idea and routine by Greg Lichi*

Illustrations by Jeremy Kistler

OW MANY OF YOU know what today is? That’s right, it's Mother’s Day! Not everyone has a mom at home. Some of us live with our dads or our grandparents. Some of us are in foster care, and some of us are adopted. No matter what your situation, the qualities we’re going to talk about today can apply to whomever takes care of you. Today is the day we honor the best qualities about mothers. Our mothers are always special to us, and today is the one particular day of the year that we have set aside to honor our mothers, their love for us, and our love for them. Maybe you have a card or a flower, or some other gift to give your mother today [draw lines to make the Flower]. I think of flowers on Mother’s Day. In fact, this flower reminds me of my mother. No, it doesn’t really look like her, does it? But there are things about a flower that compare to Mother. How would you compare this flower to your mother? (You might receive several answers to this question, including things such as: it’s pretty, it smells nice, it looks toward the sun, it is pleasing, etc. Build your presentation using these responses, if you wish.) Mothers are like flowers—they come in all sizes, shapes and colors. It doesn’t matter what a mother looks like on the outside, because when she smiles at her child, her true beauty shines through. The Bible tells us that her beauty comes from her inner self, from the unfading, or never-ending beauty of a gentle spirit. 1 Peter 3:3&4 says, “Your beauty should not come from outward adornment, such as braided hair and the wearing of gold jewelry and fine clothes. Instead, it should be that of your inner self, the unfading beauty of a gentle and quiet spirit, which is of great worth in God's sight.” (NIV). A Godly woman is full of His love and grace, making her beautiful [continue adding to flower as seen in sketch 2]. A flower is also known for its sweet scent. A flower smells good! The Bible tells us that God enjoys the sweet scent of our prayers, that they are like incense to Him. Revelation 5:8 says, “And when he had taken it, the four living creatures and the twenty-four elders fell down before the Lamb. Each one had a harp and they were holding golden bowls full of incense, which are the prayers of the saints.” (NIV) In other words, a Godly mother spends time in prayer, talking to God and hearing from Him, too! Finally, a flower grows best when it has water and sun. A mother is like this, too. Instead of being nourished by water, a Godly mother feeds herself on the Word of God, becoming well-trained in it and spiritually mature. Hebrews 5:14 says, “But solid food is for the mature, who by constant use have trained themselves to distinguish good from evil.” (NIV) She reads the Bible and pays attention to what it says. She listens to God’s Spirit, too, as it says in John 10:27, “My sheep listen to my voice; I know them, and they follow me.” (NIV) This is like a beautiful flower basking in the sunlight! Scripture tells us that a Godly mother watches over all the details of the household in order to take care of us. (She watches over the affairs of her household and does not eat the bread of idleness.” Proverb 31:27, NIV) Your mother watches over you to keep you safe, cares for you when you’re not feeling well, provides for you to keep you clothed and fed, and hopes for you, that your future will be the best! [Turn completed drawing over to reveal the picture of Mom.] For all the wonderful qualities she has, and for the many marvelous things she has done, we remember Mother on her special day. Let’s be sure to bless Mother today, and to thank God for blessing us with such an amazing person.

*Flower to Mother, is reprinted here courtesy of Greg Lichi © Copyright 2007. This and other trick cartoon resources may be purchased from ChildrensMinistry.org/estore/ which is owned by Gary & Alisa Linn.

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 23

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

A Persistent Quest not "Easel-ly" Won y Photo b

ennson

Ove Rub

T SOUNDS INCREDIBLE, but it's true. It has been approximately one year since I started building my chalk art easel. I had begun the project long before that—probably the summer of 2010 or 2009—when I discovered chalk art on the internet. I was intrigued and ordered the construction plans for an easel called How to Construct a Portable Chalk Art Easel designed by George Vogrin (available from www.EternityArts. com). The U.S. technical words were difficult to translate but I finally figured things out and made some modifications (A). I also found an aluminum storage box (B) which I converted into a light hood. It should protect the lights in the box when I transport the hood and the easel. It doesn't look as nice as I wish but it should be very practical indeed. I've installed 9 bulbs: 3 white, 2 red, 2 blue, 2 yellow and 2 black lights. A friend of mine, Ove Rubensson, welded together the support arms which hold the hood in place. I am very grateful to Ove, who will soon turn 80 years and has helped me tremendously with this project. I am also grateful for the support of Kerry Kistler and Matthew Bowman for answering questions along the way. And above all, I am grateful to God who gave me the grace to be able to start this.

eden

din - Sw y R s t a M

Pull Outs \ continued from page 11

Turn right side out. Then sew each side

of A to each side of the seam allowance, like a garment pocket. (opening E is so you can insert the pullout fabric from the back of the canvas, before your presentation, without opening the zip).

Now

sew in the zip according to its instructions.

Sew

Velcro around the canvas with the inserted pocket, as per instructions in module 2. Stretch tightly and attach to the frame, but allow it to be slightly looser in the zipper area, so you can more easily open the zipper.

Safety pin one end of the pull-out fabric to the inside of the pocket so it doesn’t come out completely when it is pulled.

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 SPRING 2012 ISSUE 4 PAGE 24

Finding Great Value in the Little Things by Jackie Gillespie

The Potter's House

HERE ARE SEVERAL pictures that I share for more mature audiences—one of which is the Potter’s House. Nothing seems to touch the heart like seeing broken pots transform into new ones by the touch of the Master’s Hands. It is one of those pictures that takes a lot of time in set-up, but the Lord has used it over a and nd d over again to move hearts closer to Him. m.. I havee used, as a guide, Mrs. Darlene Thiesies'' drawing d g showing broken pots, shards, etc., with a blazing g furnace (I use daylight fluorescent chalk), k), and I use an invisible picture of Jesus making g the thee pots whole again. The truth is, everyone has been there: ree: broken, thrown out, and useless to evv-eryone but the Lord. The connection too the picture for me is the fire. Everydayy we are placed in a pressure cooker and d

without the grace of God, we would be with discarded. dis This is one of the most difficult drawings I present. I do not know d if i it is the subject matter or if the more detailed picture is the chalm lenge, but it never fails to minister to le me. me Whenever I draw, I pray that the Lord Lord o will bless me with His presence— especially espeecia in the preparation time. I sometimes feel I go through the furnace to sometim some develop a new picture. A furnace of much prayer, lispict tening to a lot of music, and trying to visualize the group that I am going to be ministering too and asking the Lord to cleanse me and make my heart right before I go to an event. I have learned that if the picture does not speak to my heart, it will not speak to others. The hardest part of a presentation is the preparation, prayer, theme, music, effects, etc. The crazy thing is that it is also the most rewarding part. Just being alone with the Lord while drawing, I ask that His hands are on mine and that I will draw His Art!

I have learned that if the picture does not speak to my heart, it will not speak to others.

I ask that His hands are on mine and that I will draw His Art!

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

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 25

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

The Christian Artist March & June 1969 (vol. 3, #1 & #2) M March 1969

Original archive courtesy off Avonelle Slagle

Chalking in the Orient C b Art Layne by ""[The missionary] said, 'Oh, the international i language of chalk and music.' It is quite true, that pictures are easily read regardless of the tongue of the individual." pg. 1

Th Man With the The Consecrated Car Co

Free Down Load

from Baptist Examiner "He couldn't speak before a crowd; he couldn't teach a class. But when he came to Sunday school, he brought the folks 'en masse.'" pg. 2

Chalk Talks in the Jungle by Travis Gowan

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 16 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.

Value of a Picture File by William Haburn & Vi Whittaker

"Whenever we attempt to draw something unfamiliar, it is convenient to be able to look at a picture and study it so that it can be drawn accurately." pg. 4

Visualized Songs by Marjorie Nordwall "As the child sings the song, the teacher fits the proper piece of armor on the boy. The songs are planned to carry out the theme of the Bible lesson." pg. 6

Wait Patiently for Him by Marjorie Nordwall "My enthusiasm was...flattened out like a punctured balloon, and I gave up. A few months later something wonderful happened. The Lord took over, and without myy help, the first door." pg. 6 p, opened p

O Optivox Visual Aid V Easel E b Marvin Elliott by ""With this easel I can wwalk into a small or llarge meeting and set iit up in a few minutes aand begin to draw." ppg. 7 "So the easel was put up, plugged into the running Landrover for electricity, the word was spread that an artist...was present, and in a few moments practically the entire village was crowded about." pg. 3

I International Children's Art Talent Contest by Dorothy C. Haskin "There was a pensiveness to 'Best of Show' from Vietnam." pg. 8

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 26

June 1969 Biola Christian Artists' Workshop by Ren Dueck

Perspective by Kenneth Daniels

"There is one simple principle which relates all concepts of perspective and that is that objects appear to diminish in size as they recede into the distance." pg. 4

"Many with a desire to learn how to use chalk as a medium were shown how to draw simple gospel illustrations and other techniques to make a complete colored picture." pg. 2, 3

C. A. Workshop at Western Baptist Bible College by Ellen Waer "Approximately 400 people braved the wind and rain to see the Colorama with 19 artists drawing simultaneously." pg. 5

100% Communication in Your Sunday School Class by Jerry Zwall "The means of a simple CHALK TALK has proven to be the answer to the problem. Sketching...is NOT as difficult as you might think." pg. 6 SEE REPRINT INT BELOW.

Learn To be a Chalk Artist by Ding Teuling A full page ad for the Ding Teuling Evangelistic Association workshop training. pg. 7

Echoes From 1968 by Art Layne "The Lord opened doors in 12 states and six countries to present the chalk art gospel ng hi ac te g in ul Ding Te by chalk circa 1969. artistry e Fre and Down music." pg. 8 Load

From "Your Chalk Can Talk"

by Jerry Zwall

100% Communication in Your Sunday School Class

EACHER, DO YOU have a struggle holding the attention of your class? Are they restless and missing the lesson you are so anxious to get across to them? Do you leave the class with a defeated attitude? May I suggest something that will help bring about successful communication? The means of a simple CHALK TALK has proven to be the answer to the problem. Sketching a simple line drawing or a diagram, is NOT as difficult as you might think. I have found that all eyes and ears are ready the moment I make my first line on the paper. Not only children but adults also will be eager to know what the next line will be. Anything created before their eyes is fascinating. A piece of black chalk and a few sheets of newsprint paper are what you need. You must search around for some simple pictures in books and magazines, that will go along with your lesson. Check my book Your Chalk Can Talk for something that will fit the need. I would advise you to keep a file of picture clippings according to subject.

1 2 3 4

Here is a simple but powerful message on John 11:25: Begin by drawing a cylinder (fig. 1). Up to this point the class is unaware of the outcome and their interest is very keen. They are now ready for a word from you. With a few strokes draw in the rest (fig. 2). Now ask, "How many of you ever had a shot?" Now you have captured their interest. Talk about serum and its importance. I usually tell a story of a young girl that was dying. Serum was rushed to her. Seeing the serum, knowing about it, or even knowing what it will do will not cure the disease. Now write in the word LIFE—red chalk would be good (fig. 3). Tell about the Blood of Jesus. While you do this, make the post to form the cross (fig. 4). Finish the story about how the serum was APPLIED to the girl and she was cured. Tell of the disease of sin which can be cured by believing IN the Blood of Jesus. Close with John 11:25 and ask the class if all have received the medicine of Calvary. This, my friend, is the GREATEST subject on earth given in a SIMPLE CHALK TALK. [Reprinted from The Christian Artist, June 1969. Originally from Your Chalk Can Talk].

CHALK ILLUSTRATED SPRING 2012 ISSUE 4 PAGE 27

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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 SPRING 2012 ISSUE 4 PAGE 28