Chalk Talk Made

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JUN.;*60
CHALK
EASY
<$K
In writing this book the author had ia his of beipfolucss to the beginner.
mind
constantly
tfec
good
if
subject for Easter.
You
IWera
you want them. Color the background so
cam use only a portico of the

as to
Icxn the
lily wiiite.
Ulks
signify purity.
CHALK TALK
MADE EASY
Crayon and Blackboard Drawing Simplified
Complete Course of Self Instruction with over 300 Sketches by the Author
WILLIAM ALLEN BIXLER

'The Riley
Artist"
THE WARNER PRESS

ANDERSON, INDIANA
1955
Twenty-third Printing
Copyright,
1932
by
William AllenBbder
in
USA
ffcalfc talt-mg ii
iêd to be an artist to use the crayon successfully. an art in itself, aad by 2 little practice any speaker cam increase bis ability 100 per cent.
&>es act
One
THE COVER
William A. Brxler, the artist-author, has produced at his easel a crayon sketch of the boy Christ kneeling on the seashore, his face toward the rising sun, imploring his heavenly Father for assistance to prepare himself for his lifework, unmindful of the cross reflected in the shadow on the sand.
Mr. Bixler, a devout father, has always shown a keen interest and young people. He has written hundreds of articles and nature stories for publication and is also the author of books having a large circulation. For years he has demonstrated the use of crayon at religious and social gatherings.
in children
The title of "Riley Artist" was given Mr, Bixler for his work in connection with paintings of James Whitcomb Ri ley's "Old Swiromin* Hole" and the life-size bronze statue of Riley erected in Greenfield, Ind,, in 1918. It was in iyi2 that Mr. Bixler produced a painting in oil of the famous spot for
the poet Riley. Then a committee of Greenfield citizens determined to erect a bronze statue in honor of Mr. Riley and they retained Mr. Bixler to make oil paintings of the "Old Swimmin* Hole" for schools throughout the Union that would contribute toward the monument fund. Daring the following six years over 5,000 canvases of the noted spot were produced for that purpose by Mr. Bixler, the "Riley Artist,"
The Anderson (Ind.) HeriLJ, November 26 1918, said of Mr. Bixler: "Without any question, Mr. Bixler has more pointings hanging in the schools of the United States than any
S
other living artist."
The Long Beach (Calif.) Telegram, 1927, says: 'The outstanding feature of Mr. Bixler's program is his drawing. In a few moments he transforms a blank canvas into a charming landscape. Mr. Bixler is an artist of national fame, known particularly for his painting of the 'Old Swimmin* Hole*.**
THE PUBLISHERS
CONTENTS
Page
Where
to Find Necessary Information
11
Chalk Talk Made Easy
An
Introduction
13
Chalk Pictures Appeal to All Ages
17
How to Make a Drawing Board

Crayons and Color
Hints for Beginners
20
26
32
Learning to
Draw
36
.
How
to Begin
40 46
You Can Do
It
How
to Prepare
Your Program.
52
Record of Ideas and Colors
58
Colors and Their Meaning
66
72
Crayon
in the
Sunday School
Scrapbook of Illustrations
Is
86
What
Meant by
Perspective..
92
98
104
114
,
How
to Print Correctly
Symbols and Their Meaning
Drawing
the
Human
Form....
Proper Proportions of the

Chaflc Talk
Human Body
118
122
Used
in
Teaching
LIST
OF ILLUSTRATIONS
3
,
Horn of Plenty, Easter Lilies
and Winter
Winter Moonligfit
4 6
15
Bit of Seashore
Squirrel.....
The Fox
Jets,
by Wade Smith. Easels and lighting Equipment. Drawing Board

First Practice Lines
,
16 19
21
22 23 25 27
Circles, Ovals, lines
Practice Lines
House, Geese, Dog, Chirk, Boj Different Kinds of Trees

Circles, Ovals,
29
31
How
Squares Animals.... to Enlarge a Picture
33
35
Practice Sketches
Essentials Only Marks That Signify Action and Suggestion
37
Simple Figures Representing People

Bird and Animal Studies.
39
41
Wolf, Rabbit, Frog, and Rat Studies Sheep, Goat, Dog, and Wolf. Birds, Dog, Hen, and Lamb Butterfly, Bird, and Flowers Flowers and Leaves Grapes and Flowers Studies in Tree Foliage.
Tropical
43 45
47
49
51
53 55
,..
Trees
57
Tree Trunks and Grain Held Bethlehem, Joppa, and Ancient Jerusalem
Angels
9
59
61
fa
10
CHALK TALK MADE BASY
and Moon Faces.... ............... .. - ............. Surprise Sketches . ---------- . ....... - .................... ---Trick Letter Sketches Acrostics.- ............ ... ........................ and Sketches Religious Silhouettes Moose, Sheep, Ship, Rain. ........ . ...................... Post and Tree, Quiet Waters and Waterfall. ____ ........ ...
---
65 67 69
71
Expressions with Hands Hands in Action ~ ....................... - ........ ~..............................
................... . ............................ . .....
Hands in Many Hands and Fist
Positions..... . ............ . ........ ....... ................ ....

______ ........... - ................................ .... ........... .
73 75 77 79
81
. ---------- . ............. . 83 Types of Feet and Shoes ....... . .................... --.. ................ ----------- 85 Eyes .. ................. -------- ... ........ -----Noses ................ . .................... - .......... -~ .............. - ................ 87
89
Faces
Severity, Grief, Sneer, Fright, Stupidity-----------------
91
Perspective
Perspective
Vanishing Points ______________________________________ . 93 Horizon --------------- ,----------- ................ ------- 95

.
. .
........................ 97 Perspective Comparative Objects Faces Smile, Laugh, Surprise, and Anger. ------- . .......... .. 99 Faces Anger, Frigjht, Seriousness (Unde Sam) ............. ...101
Alphabets __________. Feminine Faces ..,.
____-_________. _______________ .......... ____103

----------- ..... . .......................... . ...............
105
Symbols Syn&ols Symbols

Faces
Crosses and Crosses
Grdes .............................................. 107

11
............................................................ ....109
....... _________ ...... ............... . ........... ___ ___ .....1
General
Contempt, Pleased, Smile, Reverie, Sanctimony ______ 113 Front View ................................ 114 Proportions of the Head
Proportions of the Head Side View ....... ... .......................... 115 Head Studies Front and Profile Views____ ............... __________ 117
Egg-Shape Faces
------ ......... ................................................ 1
19
Name
Faces,
Moon
Angle
Faces, Lemon, Right and Wrong __ _____________________________ . ___________________ 121

....
Children's Faces
.......... . ...... . .......................................
_123
125
Winter Sketches
Toni-Ofcr Stunts
.... ..................... ____________ ...........................
._... .................
............. . ........... . ..........
___ 127
Good Night and dosing
Numbers..... ..........
....... . ........ .....128
WHERE TO FIND NECESSARY INFORMATION

Drauing Beard
details
of
how
for permanent use in a classroom ar to make acd how to use, pages 20
home
and 22.
Folding Combination Bvard anJ Easel different kinds for different purposes, illustrated and explained on page 21,
Crayons
what kind to
use,
what to
call
for,
and where
to
purchase, page 26.
Colors what kind to use, and where to use them, pages 58 to 64.
Paper proper page 26.
color,
sizes,
kind,
and where
to
purchase,
Tools and Equipment

raluable hints on 40 to 46.
other than
how
to protect clothing
already mentioned; also and hands, pages
Lighting Equipment,
sions, illustrations
when needed
and
sketch,
for sped a! work and page 21.
occa-
Blending Colors
to soften tones
and blend,
also to tint the
entire picture, pages

First
26 and 28.
characters
Practice Sketches form, page 39.
representing
the
human
drawing for the beginner, pages 23, 25, Simplified Sketches 27, 29, 31, 35, and 37.
Sketches of tke Eye, page 85; Ear, page 89;
Kc>se
t
page 87;
and Mouth, page 87.
Hands
in
Many Shapes*
taBe program. Practice these
very necessary part of your chaOcmuch. Pages 75, 77, 79, and 81
.
12
CHALK TALK MADE EASY

valuable suggestions
Planning a Program
on how
to select
and what to select from the many sketches in mis book, pages 52 to 58.
Suggested Program
Surprise
for different occasions, pages 56
and 58.
and Turn-Over Pictures the most interesting of any kind of sketches before the public. Pages 65 and 127.
Enlarging a Picture to Any She how to copy and enlarge its principles by a simple process, pages 32 and 33.
Lettering how to make different styles of lettering correctly, and the principles, pages 98 to 103.
Sunday -School Program
what to use in planning a picture before your class. Sketches and hints on your program, pages 72 to 86.
Religions Programs for young people's and general church services, there is a wealth of material in chapters "Symbols and Their Meaning" and "Crayon in the Sunday School." There is much material in these chapters for Easter or
Christmas programs.
Smiles
ter
an/ Frowns ami Different Facial Expressions in chap"Drawing the Human Form" and in many sketches
this
throughout
book.
Closing or Good-Night
Numbers
page 128.

AN INTRODUCTION
and nation, find in pictures attention and rivets interest. Through the open eye, which is said to be the open window of the soul, principles of right and spiritual truth enter. Chalk talk is nothing more nor less than the cpiick manipuevery young, OLD universal language
3L
and
of
tribe
that
arrests
lation, or execution
which
of crayon sketches, pictures, diagrams illustrate to the observer the points which die speaker
or
wishes to convey.
While many of *hose who follow comrnercial, professional, educational, religious, and social chalk talk seek primarily to entertain, yet most of them use the same tactics to impress
serious
and wholesome problems.
secret in chalk talk lies in the fact that the audience sees the picture grow by every line, their curiosity is aroused and they are constantly held in expectation till the
final
The main
result,
Many persons have held back from using the chalk and crayon because they have not known that the principles are within their very grasp, and principally for that reason the author desires to inspire each and every person who is interested, to develop tins art
This book is not purposely intended for any particular vocation or class of people; bit there seems to be a great need of it among Sunday-school teachers and workers with young
13
14
for chalk talk affords many opportunities of impresspeople, truth. The worker among young the youth with lessons of ing will find herein a world of undeveloped resources in
people
his vocation.
Any
person
who
It
desires to develop his ability as a chalk
talker will find here the
development
explains principles simplifies that any person, whether he necessary details in such a way has any inclination or qualifications along the line of drawing
cream of principles necessary for such and all the
cr not, can make use of this undeveloped power in teaching, or as an entertaining feature, and can by a little practice start
chaik talking himself.
come to him who desires to apply himself to work, just the same as it has come to others, if he will go at it with a determination to succeed and a willingness to and then practice some more. No matter what your practice
Success will
this
vocation or present pursuit
may
be, there is
some use
to
which
you can put your crayon to advantage. It can be more easily adapted to certain callings than to others but no matter what line of endeavor you follow or how crude your first attempts may be, the main item of success is to make a beginning not next year, or next month, or next week, but now. The book in your hand will not only help you get started, but it may be the first foundation stone in a successful chalk talk career.
;
sketches are put in this book for use. If practiced carethey wili surprise the diligent student with their practical value. They have come from observation, public entertainers, friends, books, magazines, years of study and experience, and from chalk talkers' demonstratioris.
fully,
The
I have drawn nearly all the illustratioes myself, to assist fee student in securing the desired results. The greater part of these sketches and ideas are not original with me. I have
selected
many of them from

of them.
there over a period of years

<rf caosfc
a colledioci gathered here and and have forgotten the true source

In
ideas
my
and
from various sources, especially from some splendid books on ait and chalk talking by the following authors: B. J. Griswold, H. T. Bailey, R. F. Y. Pierce, Ella N. Wood, Florence H. Darnell, Charles H. C. Bartholomew, Manuel Rosenberg, Edna A. Foster,
Matthews, Wade and others.
Anderson, lad.
years of practice and study, practical working sketches
hare absorbed many
Smith, Harian Taibell, Chas. Lederer,
WILOAM ALLEN
BOCLEX
16

CHALK PICTURES APPEAL TO ALL AGES
Chalk picture programs are more often given for the benefit of the older people, but young folks and children seem to enjoy them with even greater interest.
that the little illustrating, almost breathless, his eye following every move of the hand. At the *amp time the older person will display no less interest and will sit perfectly still with eyes,
I
have found, while doing public

will
sit
child
ears,
and mouth open
taking in the entire situation.
older person may look on the drawing in a critical way, whereas the child will take in the entire picture. What the drawing lacks, the child s imagination will supply; in fact, the
f
The
one of his greatest assets. This is demonstrated by the broomstick he uses for a horse and his scares of other make-believe ways of amusement.
child's imagination is
In order to see a demonstration of the creative powers of the child, watch the little girl as she plays with her doll. That the doll has life and is her very own child, and that she as the doll's mother bears the same relationship toward it as her own mother bears toward her, goes without question; the domestic interests of her father's family are lived out in her
own little creative mind and life. The development of a picture stimulates
tite creative imagination in the child's mina. As the different marks are made, the child is eagerly awaiting every movement to see if the picture will develop into what he thought it would be when
finished.
1?
IS

therefore made on the child's mind, as or blackboard. If each mark representing as the picture is story is briefly expkined
;
The impression is H as on the paper

a.
character in your made, by the time the drawing is complete the impression is mind of the child and even if the drawindelibly fbced on the be ever so crude, the creative imagination of the child's
ing
mind
is satisfied. It is
for this reason that the person
who
uses
the chalk need not try to draw perfectly, from an artistic a child's mind toward the creative, and you standpoint. Direct him that which will be of greater help and a hive
you
given
to larger incentive
work than any other one
thing.
The strongest impressions on a child's mind are made through the eye and the imagination. The chalk talk will not only appeal, but will shape the imaginations into realities. Since the child's mind is active and restless, the merest suggestion produces an effect; and whether this effect bad, it rests with the chalk talker.
It is necessary, then, that
is
good or
our drawings represent in a general
way what we are trying to picture. Only essentials should be drawn, and the lines should be done with a firm, confident hand, even though they are mere outlines of crude objects.
With
all
the child's imagination
in a straight line that
he might be able to see which represents a man; but a body,
head, arms, and le^ will enable the child more easily to recognize the object, and he will be better pleased. Also, the child
can visualize the running or walking position when we draw die figure inclined forward and the legs bent at the knee ; and the features of the face can be made to express the emotions.
A gpod-naiured or jolly countenance can easily be expressed by curving Use corners of the mouth up; the man with the sour lode, or "down kt the mouth," is shown by having the comers of the mouth turned down.
The
essential of a girl or
woman
is
a dress.
Each object
rii3t it
should have the general features so plainly drawn
will
CHALK PICTURES APPBAL To ALL AGES
Wade Smith's style of illustration c Sun<ixy-5cboo} Icssoo. duccd bf permission of Sunday School Tunes Company. (Copyrighted.) See pge 39 for otber
20

title
not be necessary to place a intended to be.
underneath telling what
it is
We should let every line and curve count for something that
is
essential to die picture ; but

little.
we
are
more
likely to
draw too
much than too
HOW TO MAKE A DRAWING BOARD

There are a number of ways in which you can make drawing board or easel to hold your drawings.
a
For home practice nothing is better than a drawing board of convenient size made of matched lumber. It is better to have it a little larger than necessary than too small. It should be almost exactly the size of the paper used. It should not be less than 24x36 indies; even a larger board is better for general public work.
perfectly smooth, and cleats on the back to hold should be fastened with screws from the bade. Any little unevenness or crack will show on your picture, especially if the defect comes in a place where a solid mark is to be made.
It
must be
it
fiat
good drawing board may be made of smooth
builders*
board, or wallboard, as some call it Any lumber company or rm handling building materials can supply this for you. Do not get a pebbled or rough surface. The only objection to builders' board is that there is a possibility of warping; but this can be overcome by giving both sides a coat or paint or shellac before the atmospheric elements start the warping
process.
can make a portable work easel, such as chalk talkers of strong canvas or ID-ounce duck for the background, with a cfcrke to stretch it perfectly tigfrt each way. portable casd thai can easily be carried where wanted and erected in
use, out
You
Hera*
To MAKE A DRAWING BOARD
Two different kinds of e*>tl$. You can see by these diagrams how the portable kind, and trc tbcy are constructed. Both o these arc constructed for convenience. The sketches below show * special lighting attachment.
22
a few minutes and placed in the proper position before the audience, is what is employed by all the chalk talkers who in public. Nearly every person following this line of appear his own individual republic work has an easel made to suit
ATTACHED
TO
BOAR.O
A
if
good boar<i for a permanent place. Your crayon will work better ycm keep several sheets of paper on the board all the time.
cpirements. Diagrams the accompanying pages,
of
how
these are
made
are
shown on
Almost anything that is perfectly smooth will answer the purpose, if the paper can be firmly held down by thumbtacks or the kind of clamps used on quilting frames.
How To MAKE A
DEAWIKG
BQAJU>
Tbese practice sketcte lock simple auJ are simple, bit dicy should be practiced until ytm îe able to make uniform iines in iay directioo
700 wiih.
24
If you have a blackboard available, use it to practice on, and even use it for demonstration purposes. Very good results may be obtained 00 a blackboard with colored crayons or
chalk.
than
it
Hie proper method of application is somewhat different when white paper is used, yet the same results may be
obtained.
Whatever you use, whether blackboard or paper, should be placed as nearly perpendicular as possible when
you are working on it
Ihe advantage
folded
If
is
in
having a board or easel that can be
the convenience in
it
moving
it
you intend to use
regularly at
one
from place to place. place, such as in your
church, Sunday-school room, classroom, or home, the most convenient and economical board is one made of lumber or
boBders* board in such a way that it can be hung on the wall at a convenient height for use. Even if your board or wall space is a little uneven, the results on this account will be partially overcome by placing several sheets of paper on Ac beard at a time, even though the top sheet is the only ooe then being used.
experienced chalk talkers use a rough-surfaced newsprint paper. Sheets are often fastened to the board at the
Usually,
top by means of ordinary qufltmg-frame clamps, and with large spring dips at the bottom. To remove sheets, the dip at tower left comer is loosened with the left hand, and with the
right
hand the
sheet
is
seized
swinging motion that breaks
it
A good praice to follow is paper on the board at a time. If clamps are not available to hold Ac paper in position, drive a few small nails through the top of the paper to hold it firmly to the easel. If you wish
carefully pull the sheet from the nails that hold it at the top, then drop It on the floor behind you. In nearly every case there is someone who will want the drawings.
and jerked upward with a free, from the fasteners at the top. to have ten or twenty sheets of
to preserve the drawings for someone in the audience, first loosen the damp which holds the sheets at the bottom and
How To MAKE A
DRAWING BOARD
Practice maVinff cirdcs with a pencil. Start at the bottom and move to the left; tben up and arcamd to the starting point. Follow die catrM- movement with the chalk, and draw ovals the same way as aides. ID large hearts, shields, and objects where both sides are uniform, use a piece of chalk in each hand and move both hands at the same time. This is good practice. It is well to practice straight lines a great deal.
T^^g
26
CRAYONS AND COLOR

For many years the blackboard was largely used by speakers, and is thus employed to a large extent today; but the crayon and piper have proved to be better, and are now almost who have anything to do along universally employed by people the line of chalk talking. The white paper makes a good background for any color of crayon, and the audience is served better than they could possibly be by the blackboard.
in erasing, for the used sheet of paper can
In using paper for illustrating, one has no waste of time be loosened and it is out of the way. passed bade over the top, where
It is also an advantage to the artist when he wishes to produce a picture that will show upside down as well as right si<ie up; the sheets of paper may be taken off the board and held in any position desired. Since the light background yields to different types and classes of illustration, paper has many decided advantages over the blackboard.
Ordinary newsprint paper, such as all printing offices carry, and on which their newspapers are printed, is the best and most economical. The size depends on your individual needs. Certain grades of book paper will do equally well, but the paper must have a mat or eggshell finish, for glossy book
papers are useless.
for practice work.
Lecturers' crayons are of different sizes, but the
tical size is
Ordinary newspaper stock
is
the best
nude
in
most pracone inch square by three inches long. These are nearly all the colors and can be secured in mo^t
stationery stores. They are nothing more than colored chalk, but trie size of each piece permits it to be used in many ways
to get different results.
The
corners
may be
used to make
nartow
to
and with the flat surface the shading tnd tinting purposes.
lines,
colors will yield
AJQ effective
way of blending
is
other surfaces desiring shade
to use a
colors for backgrounds or chamois skin or a
CRAYONS AND COLOE
chalk.
practice on, esdier with pencil, pen, or only the fewer the better to convey the idea. then the other sketches. You will convince yourself that it is not half so hard as you thought it was. Draw each several will times. It picture help you to draw the next ooe better.
These are good sketches to
Draw essential lines Make the houses first,
CHALK TALK MADE R\SY

bunch of good cotton. After the chalk has been applied to the chamois or cotton it can easily be rubbed on the paper. There is no end to the possibilities of blending colors in this manner. very light tint of any color may be obtained by
applying a
sroall
circular motion should the paper. a uniform shade.
amount of chalk and rubbing it well into be used in order to insure
Yellow, red, and blue are called the primary colors.
With
the addition of white and black, every color and shade may be made from these by properly mixing. The primary colors or shades must be true to nature; they are then called orthochromatic, because the mixture will yield perfect tones.
Orange, violet, and green are the secondary colors, for blue mixed with yellow makes green; red and blue make violet; red and yellow make orange. Brown, gray, tan, and the countless other shades are a mixture of different colors.
are called warm colors ; also orange, which the result of mixing these two colors. Red is the warmest color. Green and violet are cold colors, but blue is the coldest.
Red and yellow
is
that the
is to have distance, it is well to bear in mind colors suggest nearness, or the foreground, and the cold shades give distance.
If a
picture
warm
Where amlight is indicated, the coloring must be warm; although there may be green foliage, it may have the yellow shades predominating, and in shadow the colder colors should be more prooounced. The seasons of the year have their
predominating colors which give them their peculiar settings.
The
show
foliage,
colors of spring are light blue sky, pale, yellow-green and the colors of twigs, limbs, and trunks of trees red, purple, and brown,
In summer the sky is not such a deep blue, yellows are more prominent, the foliage greens are deeper, and more dark blues are used to deepen the shadows, Prussian blue is the base of
CRAYONS AND COLOR
how they jre made. Each reprea different type of tree. Try to make your copy as near like the picture in the bock as you can. If you do not get it quite right, try it again. When you get so dot you can make these well with tfe pencil, you will have no difBcuhy witfa your chalk or cntyoa.
See the different kinds of trees and
sents
30
CHALK TALK MABE EASY
and ultramarine blue is the base of grays. This must be borne in mind when mixing to get some particular shade.
greens,
is a hazy blue with tinges of yellow and in foliage are inclined toward olive. The Greens purple.
In
autumn the sky
browns and ocher predominate, and die frost turns the foliage to gold, orange, yellow, and red; but the bright colors in nature are short-lived and change rapidly.
In winter the sky
distances.
is
Browns and blacks
light gray, with deeper grays in are in evidence, and the snow
gives blue and purplish shadows. For hazy days, gray must be used to soften the colors of the whole picture; for rainy in evidence. days, a bluish tint must be
In using colored chalk in your drawings, the effect is sometimes disappointing when viewed under artificial light. Yellows tend to disappear or show as white. Orange is often substituted
for yellow at an evening performance used.
when white paper

is
is
good way to
test colors
under
artificial
light
to view
your drawing from the rear of the building and see what
happens to your colored drawings on the stage or platform. Colors viewed in daylight often appear quite different under
other kinds of illumination.
For the best

contrasts
effect,
the chalk talker should strive for strong

colors.
Strong higb lights and shadows what please the average audience. For instance, a moonlight scene, in which the shadows are broad strokes of black, will make a pleasing impression on the audience when the artist finishes his picture with yellow high lights of ripples on the water and ligpts shining from windows.
are
and bright
When subdued outlines are desired, a good-sized cotton will help to blend the colors.
wad
of
CRAYONS AXD COLOR
*, with yw p&ial in hasd, you can make a cat from a perhaps &<# as good as tfce picture above at fast, but if yc-u a few tim times yen can. Then frooa die 0rai mainr the pig and try biincy. The triinglc, sqiaare, tad oval lock more diffoilt, bat try
circle
tibem
and see
fec?w c*sy ijsef arc.
32
HINTS FOR BEGINNERS

It is always interesting to watch different individuals in an audience when a chalk drawing is being made. The thing that interests them is that they do not know what is going to
be made, and it is a good plan to foster that curiosity. The chalk talker should stand aside occasionally as if to scrutinize the picture, but with the main object of giving the audience
a
good
look.
Any drawing should be practiced several times with pencil and paper or with the crayon before it is offered to the public Until you get used to appearing before the public, or if you are not sure of being able to produce the picture in a satisfactory
manner, carefully trace the picture with a pencil beforehand. Light pencil lines may be seen by yourself but not by your audience. The heavy lines of your crayon may be placed directly over the pencil marks, and you will be able to make better speed, as well as draw the picture more perfectly. The crayon drawing should always be made with plain, distinct strokes, and only lines that mean something should be made.
Remember, one is not required to be an artist in order to use the material in this book effectively and profitably. The amateur has been kept in mind constantly. The name of the book itself is intended to convey the idea that anyone with ordinary intelligence can apply these methods with profit and
satisfaction.
The
in this
best
way
to begin
is
to try to imitate
some
picture
book or some face or object pictured elsewhere. Try to duplicate every line as nearly as possible, for there is a reason why every mark is placed where it is. If you wish to enlarge a picture, first with a rule and pencil draw light lines each way across it, covering the entire picture with small squares of
equal size
say one-fourth inch.
Then
if
you want to increase
your drawing three times in height or width, or nine times the size of the original, rule your paper in the same manner
HINTS FOR BEONNEIS

is
33
your picture, only with squares three- fourths inch instead
on 'one-fourth. (See diagram below.)
By carefully noting the position of each square you cam reproduce the copy ia the larger form with considerable degree
ab*>ve.
by die enlirge iay p:ctuie to any by th;< ncth'Xi that the large billboards Et-jJ the text f :r the full irftnr.aicn page 32.
It
is
are
painted
34
of accuracy. Practice copying pictures, diagrams, and letters of the alphabet until you become familiar with making your without lines where you want them- Then try copying ofihand guide lines. Make good enlarged copies of the pictures and
book as you go along. have yon practiced sufficiently so you can draw your into your drawings some of your objects, then you should put own ideas and be original.
sketches in this
When
Still
to your own work. You will soon find by applying thoughts that come to you while working that you have some-
use the ideas pictured in this book and apply and adapt
them
thing just as original and practical as the figures and illustrations in mis book. Apply ideas and illustrations from almost
every
known
suggestion there,
source, taking them from a thought here and a and in the finished product they will become
your own.
Much depends on constant practice if you would succeed in chalk talk as a teacher, Sunday-school worker, young people's leader, or an entertainer; yet by practicing the lessons and drawing over and over the characters in this book, or the
pictures apt that
you adapt from various sources, you will become so you can adapt any new thought in your own easy
manner.
draw a
say, "I just cannot draw ; why, I couldn't line." It is not straight necessary to draw a straigjht line when you begin, but it is necessary to have an earnest
I
have heard people
desire to succeed, or line of endeavor.
you will not progress very far in any
that,
a person decides, "I am going to succeed" in this or and persistently continues to apply himself, the battle is the same as won the rest is easy.
When
HINTS FOR B HUNKERS
cireftuty how the hues are made #n tiicsc pictures, tnJ draw pencil sketches as near like the copy as you can. Practice makes perfect. The secood attercpt will be easier and the results better thw* the fat.
Watch
jrtHii
36
LEARNING TO
DRAW
The only way to learn how to draw is by drawing, and then by drawing some more. Begin by deciding what you want to mike; then try to make your marks with a whole-arm movement in full, free lines, avoiding the making of sketchy lines or strokes with no purpose in view.
Practice making your strokes firmly; hold the crayon between the thumb and first two fingers, so that you can control your every move.
With everything in readiness, your paper held firmly in place and your crayon ready, begin your practice of horizontal lines. Stand nearly at arm's length from your paper or blackboard. Start making a horizontal chalk line at a point
opposite
the left shoulder; throw the weight of the body on the left foot; and, placing the piece of chalk on tibe board, keeping
the wrist and

right
arm
fairly rigid,
by swaying the body until the weight
draw your chalk toward the rests on the right
foot Practice this movement repeatedly, until you can make

straight lines to suit you.
To draw vertical lines, start at a point opposite the right shoulder and about as high as the top of your head; use the whole-arm movement, bearing down firmly, and come downward witih uniform speed to the end of the stroke.
Practice these lines again and again; you will soon see that the technique of making straigjht lines consists almost wholly in getting control of your muscles and nerves. Practice alone
will enable
you to succeed.
should also practice drawing circles. Face the blackboard, stand dose enough to that you can easily reach the surface with the chalk at arm's length up, down, and sideways. You should stand firmly and with the shoulder in a
fixed position; swing the stiff arm around and keep rite crayon on the surface of the paper or board. Practice this movement
until
You
you can make a
Fairly accurate circle. In
making a small
LEARNING TO
DRAW
1. The sJbmtkg marks suggest rain wben iJbe *wKfrfU is seen. 2. So the simple marks suggest water with the saflbott, 3 znd 4. Inarticm and actioo. 6 and 7. Difeesst effects caused by sources of light
38
circle, start at the bottom and move the chalk to the left, then up and around to starting point. You should practice circles and straight lines until you can make them confidently, accurately, and quickly. Daily practice of five minutes will
bring marvelous
results.
drawing, even though it be somewhat inaccurate, will hold the attention of the audience or class and be more satisfactory if it is made freely, rapidly, and accurately, than if made in a doubtful movement.
is not the intention of this book to go into the prinof drawing, such as the horizon line, ground line, point of sight, vision line, perspective, vanishing point, observation point, and shading. However, a general knowledge of all these must be obtained before one can enter into the making of pictures that may truly be classed as works of art.
It
ciples
In another chapter the principles of perspective are given Each picture, even the crudest sketch, must incorporate some of these principles, to look at all right When the elementary steps of design and drawing in this book have been mastered, the worker who is interested will take up the subject further in order to master these principles.
briefly.
few marks with a pencil or crayon, put in the right place, immediately give the appearance of distance; but it is necessary to know how to make the right marks and lines to accomplish this. By carefully noticing the various sketches in this book you will readily understand what this means. Observe
the sketches and
how
simply the lines
drawing make
in almost any publication the picture.
and see
Whenever you see simple sketches, try to copy them, making the marks as nearly as possible like the original. By dose observation you can see the marks have been the
why
positions they
occupy,
and. you
will
acquire
much definite knowledge of drawing and design. Here are a few points that will help you in planning your
given almost unconsciously
pictures:
LEARNING TO DRAW
These
figures.
These
figures are used as the simplest way of representing human great deal cf expression may be* hid from suds figures. are very easy to make. Take your pencil, pen, or challc and
try these figures
starting at the top
row Try every ooe aH the way
down. See page
19
also.
40

panel picture, whether upright or horizontal,
is
generally
more pleasing than a square one. There is a center of interest in every well-composed picture, whether it be of a human figure, a group of animals, a cabin, beat, windmill, mountain peak, waterfall, road or tree; and
this center
of die picture.
of interest should never be in the exact center Some artists prefer it above the center and to
one side
that the eye
preferably the upper left, as tie theory is advanced first falls there from the habit of looking there
to read a page.
when beginning
This center of interest need not be the largest object in the picture, but its color or the leading lines should draw attention
to it
Often a boat
is
or
some clouds
in the sky
the center of interest in a water picture, may help to make a perfect balance.
figure in action always attracts attention; even a few flying birds in the sky add interest, but these should not be placed mechanically that is, not two or three in a straight line. Three birds are better than two, or any odd number better
than an even.
HOW TO
At
this
BEGIN
have
own individual life you may never do much with crayon or rhaflr. You may be at a loss just how to get started and where to begin. The simple fact that you are reading Cbdk Talk Made Easy proves your interest in the subject; and where there is interest, there may
point in your
tried to
be developed an
ability to
succeed in this work.
It
is
now
you to obtain your training by following a plan you may map cot fee yourself, to fit your own individual case and cir-
up
to
cumstances
in. life.
just where shall I the great essential is the
"But
meager and limited in the various articles eventually needed, but what you get should be of the best Poor materials and
begin?" you ask. In the first place, proper equipment It may be ever so
HOW
TO BEC3N
Good
draw tbcsc
wdl to be aHe to practice i*ird ao<3 a&imal studies. It is studies, as tlicy will conse in hansiy soiDeday. The cirdct
we
always interesting.
42
|uipment will have a tendency to handicap you in the begindetermination to ning, and this alone may discourage you. succeed, even against all obstacles, will surmount a lack of
proper necessities.
drawing board or easel must be provided according to one of the plans given in the chapter on "How to Make a Drawing Board." Then get a cood assortment of lecturer's crayons size 1x3 inches, a yardstick, and a soft cloth. The doth is very useful in wiping the hands when soiled with the crayon. Many chalk talkers have a thin slip-on coat or a painter's smock, for the protection of their clothing while using the chalk.
Gloves tend to destroy a person's sense of touch, so are used by very few artists. When working with the bare chalk, it is wise to prepare by putting talcum powder on the hands in advance. This ai<k in removal of dialk from the hands with soap afterwards. Some artists use cold cream on their hands before starting, and then use more cold cream in removing chalk from the hands.
final
cleanup
is
and water.
in a
made with soap
Always put a sheet of paper on the floor if you are working home or where there is a carpet or rugs, for chalk dust is hard to remove from carpets.
It
work with good tools and equipment, hit to do good work with poor tools.
has been said that any person should be able to do good

it
takes an artist
Get a good supply of paper from a newspaper shop, so that you can fill hundreds of sheets wife just practice marks of
jets,
daffodils,
feet,
moon
faces, smiles,
trees,
frowns, noses, eyes, ears,
houses, and everything else illustrated in this book. That is why the pictures were put in this book for your practice. There are none that are too difficult By trying the easiest and simplest first and then going step by step, the drawings and stunts are easy ind can be mastered if you but try. Tnere is not an object pictured
hands,
dogs,
cats,
How
TO BEGIN
43
Some good a&inuJ

.
It
will help
you
poses. It is wrfl to kpow bow to in drawing mare diffirjlt objects.
drxw
11
44
here but can be used at some time to advantage. So practice ail of them.
come you have mastered the principles in numbered among America's chalk artists, and you can look back upon this book as the starting point or to success, mis little volume will have as ft
If in years to
this
book and
are
stcppingstone and accomplished its mission

tion.
shall
be repaid for
its
prepara-
"What can I get out of this book on chalk talk and blackboard drawing?" should be the big question in your mind. The answer will depen'd altogether on how you apply the book to yourself and yourself to the book. You can get a great deal of satisfaction and pleasure to yourself, and you can start out in public demonstration after a little practice, by using some of the suggestions and adapting new applications until you have selected your own individual program.
This book will help you find yourself. You will soon decide for yourself which pictures are practical by the way they appeal to the public In persona! presentation you will develop some
individual characteristics that will be your very own. Everyone
docs
this.
Your Program/' are many be able to adapt many pictures and subjects to your various needs. Make use of the enlarging process in chapter on "Hints for Beginners," and the tracing
In the chapter,
to Prepare
"How
suggestions,
and you
will soon
of the drawings in the same chapter on explained

sketches which at
If
find
first
all
your
may seem
difficult
you want a
it
religious or temperance here, Several programs may be built
program, you will around the chapter,
"Symbols and Their Meaning/' and also "Crayon in the Sunday School." Some of the simple surprise and turnover stunts are always in place. They may be used in almost any program and adapted to suit the occasion. (See page 127.)
Chalk talk
interest
is and always will be something that holds the of almost any land of audience. 'Hie interest lies
How
TO BEGIN
45
More
animtl studies
not * bin! sobbed in the
lot.
46

of what
in the fact that the spectator is kept in anticipation the next move will bring.
Your first attempts at chalk talk may be crude, but by using number of the stunts in this book you will find it interesting;
and experience will develop your capabilities. What you need is the experience of making some of the
before such friendly simplest drawings
audiences as await
get your prepar-
you
in your
own community. You should
before church, school, and social organizaatory experience tions made up of people you know the best and who are interested in you. This is the only way to learn. You will
expand naturally. Your field is as large as you make it. The now. first and most important step is to make a beginning
once.
Before you close this book make up your mind to start at Get your materials as soon as possible and begin not next week, but at once at least plan now and prepare at the earliest possible moment. The book hi your hand is full of
is
gold nuggets and
worth a great deal to you. Whether you
are a blacksmith, fanner, factory worker, clerk, stenographer, day laborer, teacher, preacher man or woman boy or girl
in
whatever pursuit, Chalk Talk
Made Easy
is
an open door of
opportunity for your future.
YOU CAN DO
IT
To be able to do freehand drawing on a blackboard or with crayons on paper should interest every teacher or speaker in public, whether his message is religious, educational, or social. The ability to use chalk talk in making a point dear,
or to impress a lesson on the audience, is invaluable. One speaker said: "A piece of chalk is worth more than a lot of
talk""
Many
in
teachers and speakers would like to use illustrations coooedioQ with their messages, bat they do not know where
You GIN Do
IT
47
Kid studies may be used "m mtay ways. Miay different kinds of birds are mentioned in die Bible. Adapt some cf these sketches to
Bible lettoni.
48
CHALK
TALK:
MADE EASY
the whole thing seems a great big something that to begin should tackle; but if the truth were only "natural-born artists" are few and far between. The artists" "natural-born known, a practical chalk talker comes only by having an ability of intense desire to do it, a willingness to start, a determination
and a doggedness to overcome obstacles. In to succeed in any line of endeavor. But if a person once starts to draw, he will find every step an easy one and full of interest.
to accomplish it, fact, it takes that
much
In this book there are
many simple
sketches intended to
aid by giving suggestions and by furnishing the necessary prinwill enable any person with ordinary ability to ciples that
draw
for pleasure or profit.
persons have neither the time nor inclination to take in drawing, as most courses cover so many phases of the subject that the information and knowledge wanted would not justify such a great expenditure of time
Many
up a complete course
and money. This book
not a complete treatise on the subject of drawif any person will take the time to study and in put practice the information herein given, he can make a success insofar as he applies his natural ability and adaptais
ing or art; but
bility.
The important step is to begin now. All who will apply themselves will find a pathway lined with interest, pleasure,
and
real usefulness.
The writer has especially seen the need of chalk and crayon in connection with Sunday-school and young people's work, since there are so many ways of illustraapplying diagrams,
and die Hkf to every lesson. There is nothing like a crayon drawing to impress a point in the lesson to the class.
tions,
In connection with Sunday-school work, with a little practice the average teacher can drawdevelop and may? use of ings with results decidedly beneficial, both to the teacher and
cMk
You CAN Do
IT
By ^sir;g diileresi c^srs of chali yaj can malty pictures of flowers in colon, "*h;rii are great! * needed to a^d rarifitf to jtmr chalk ttik. lo Christ's paxables he often szxr.tioced flowers of the field.
CHALK TALK
the class.
MAM
EASY
Too much
stress
should not be put on the chalk
be employed so freely that they becocne drawings, as they be used onJy for a direct and distinct should chalk formal; the result The truths aad points of the lesson should be bcougjht out sc siaih a way that the drawing clinches the point and
my
kings home the message.

a drawing should be made so very, very clever and artistic that the audience wonld be impressed mainly by its beauty, it would little lasting benefit would result merely have framed eoteztuncicct But if the drawing impresses the
If
my
will
trait
the chalk-talk drawing upca the minds of the hearers, have accomplished its purpose.
the use of die crayon will take
To karc
more work and
for seise than for others; bat the better acquainted persistence cat is wkh the rudiments of drawing, and die more practice
ose has*
be the
&e nrc
confidence
he
will have
and die
better will
results.
sult
When interest ukes hold of any person, When practice brings one to the place
prim
practice will re-
ke can do it feat
is
where be knows and confidence confidence; knowledge gives
cf
If
importance to anyone appearing before the public
you have a desire to do chalk work (and you no doubt
have, or you would not be reading this book), you can if ymsi desire is strong
do
it
Hie study's
final success
interest; but the greatest
depends on practice, of these is interest.
ability,
and
Too great haste to reap the fruit of success, even before the seed of practice has been sown and the plant cultivated, will be fatal ID advancement in this line of endeavor, as in any
other business of
life.
You CAN Do
IT
variety.
By using your colored chili TOUT pktures o flowers need not bcfc danker shade of ifae same color where shiffcms are Use
needed, oo both learcs ai>d Sowers.
CHALK TAIK MADE EASY
HOW TO
If
PREPARE YOUR PROGRAM
a difficult picture before your produce quite it carefully with a lead penal sketch to time ttice, take your in at home. Follow the instructions given SMS kt t Ijght of use the on by enlarging chapter, "Hints for Beginners," the sryaret When peedl drawings are completed, arrange in which you order and rotation the in ease] siieets on rotar a dean sheet of paper on top to cse them, but
you wish
to
intend place detect the pencil sketches. so that 220 or*e in your audience will When you get ready to produce your picture while you are remarks, casually turn this sheet over giving your preliminary tU tap of f<Mr easel, or pull it off. This can easily be done, sheets to the board or ruiis *fcich hold a> the
aiiOulJ
your clasps be u^J across the top only.
The pencil lines will aa as a guide to you. Take your time and carefully draw each line or mark with your crayon without the wiser, for these faint lines anyone io your audience being will not be visible to them.
follow while is a good one for a beginner to confidence and will be a great help in it for gives learning, oa the first few programs. Mtke your crayon lines pitting inn i*d quite heavy. Even with black crayon the marks will not be too heavy for the most distant eyes in your audience. a steady oerve. Draw your lines slowly and well, btit
This plan
with decision, pausing now and then to make some remark; and while doing so, step aside so that the audience can see *hit you are doing. The sketching process may be used to demonadvantageously ia acy program. It will enable you strate tauch more speed before your audience, since no great airjoti33l of fi*' will be required for thinking out details.
Keep
Toe patience of an audience should never be tared on account of loog, drawn-out pictures. Simple lines each having
a
place and meaning
axe
what
will
make you
successful in
How
TO PMPAJLE You* PROGRAM
Practice
miking tbese
ficnrers.
Tbcy tie
is
pktarcs arc Deeded. Their practice
sf to nske tai bene5cIL
irften
34
CHALK TALK MADS EASY
is another great essential if you would become Preparedness a successful chalk talker. Yen should practice on eadb drawbecame so familiar with its formation that you ing until you can evec&itlly fce locking in another direction and drawing
a successful it tbe saiise time. Don't think you can become chalk talker in a few hours, or a day it requires practice, the faunc as asy other line of art. hare more talent to chalk than to talk, or rice
Possibly you
who is qualified to do both well is the fellow most successful; however, many artists never issuiUy left entirely to the individual to overcome speak * word. It is his shortcomings, and he can qualify as a first-class chalk talker if he is sincere and earnest in his endeavor. The writer
versa.
The
artist
uho
is
has in
mind
a clever d>*EV talker
who
talks incessantly
so
audience tires of it. They want to sec what fee is doing more than they want to hear what he has to say, when the talk is just "talk," especially
Baicfa so thit the
If is
yosir
wodc.
and practice into necessary that you put earnest study It would be foolish to attempt complete chalk-
talk programs or platform work unless you feel capable of making good This confidence comes by careful preparation.
a public performance; wait ia attempting and feel assured of a sucself<onfidence you possess cessful ttitdteitftking Practice your program in the presence of your horse folks or friendsthis will give you confidence
siot
Do
be hasty
until
tfeeo
Yoy may
ence. If
appear before dubs or social gatherings or your class. or may cot hive experienced being before an audi-
diaBc-taflc
you have, you will find it a great advantage in your work; btst if you have not there is no need of having stage fright, if you keep your nerve and think of wfaat you are doing and saying. Just "be yourself"; or, in other words, show socae individuality and originality. By so Joing, you will rmkr a better impression on the audience and cOQSGtjuoafy hdp to make your pcrformance a success. Do
not try to see
how
fast
develop with
practice.
Make
you can talk and chalk. Speed will it a point to speak fluently. Give
TO PREPARE YOUR PROGRAM
55
e?S, PV^
ft
me
Studies in foliage.
Note curfuJly bcrw the high ligbta *&d nude. The high hghis arc the white p*p. Tuo nuny marks
spoil
the simplicity cf the picture.
56
the

alienee time
to comprehend what 7012 say and do. Take or get confused. time, $o you will not lose self-control
ywr
Cn:deness of execution will be forgiven bj the audience of your picif there is i definite plan, or point, or plot back ire necessary in chalk-talk work. After and ture.
brevity Snap have been made, work calling for more successful attempts * tire of mere skill should be tried An audience will soon wall talker chalk wise a but produce some short,
drawing;
saappy, pointed trick or ssirprise sketch, should be resorted to occasioncade marine, landscape, portrait, or cartoon tilv. A
sketches.
carefully
should not be put on during the first part of the program, but saved for near the end. Even then this should not be attempted ro insure confidence in ur-tii you have had practice sufficient should be with the this practice your exeoirion; and part cf ;dea of concealing the final result, at least until the last few seconds before its completion,
the final you am keep jour audience guessing what interest will become more intense. their to be, going Likewise, if the nature of your sketch remains unknown until reveal it to the audience as a crowning climax, they will you Le all the mere highly pleased. Practice is of the greatest
If
result is
importance in success; so practice, practice, practice. A "good-night stant" is good to use in winding up your program. The safest way, as a rule, is to dose with a note of
good
cheer.
la csakzog your start io chalk talking, you will find an abandiace of criteria! in this bock, both in suggestions and drawings, to start you out Practice the sketches which appeal
most to you. Make them over and over, until you can make them while only half thinking what you are doing; then start oat. The best work possible should be thrown into the dose
of your program.
The
i
successful chalk talker
is
always on the alert for
new
Jess.
He
trains himself to grasp ideas
from daily happenings.
TO PXEPAKE YOUR PROGRAM
57
nude and
tr epical trees. The lower picture is easily eil. In case this is desired yields to a mcrcnlight sJsject cover entire surface frit with blue-gray chalk, Head with cotton, then use light yellow fcr irc^n arJ reSfct;ms o-n wifer and bbdc *
In
tr^plol sketches use
f *>r
trees
on

newspaper
stories
and cartoons, and the national holidays,
plications for new ideas, verses, etc. It is well to keep your programs seasonable. If you are scheduled to give a chalk talk on Labor Day, Lincoln's birthday, New Year's, or Christmas, work in drawings that are timely. When you happen into a town, try to learn what has been going ca. Hake the audience feel that you are interested in &eu town, and try to produce something that will interest
He
searches
them, After you have practiced your programs until you can handle diem with accuracy and freedom, break in by giving a perfomance at some local dub, school entertainment, public meeting, young people's meeting, Sunday school, or luncheon. After a few performances you will naturally acquire the knack
of entertaining. Do not expect any great financial returns at first When your work has earned you a reputation you will be in a position to
JQOT own price for your services. Experience, even at a considerable cost of time and money, is more valuable to you tbaa to receive pay for your services. However, do not refuse
set
if SQUJCone wants to help you out in a financial way. One way of cbing after YOU get started is to plan an entertainment and invite everybody; then let the audience contribute whatever
they
fed
like giving.
can make a saiccess of this art if you will go into it with the detenmcatioQ to succeed. Just keep everlastingly at it, and eventually yoci wiU- be rewarded for keeping up your
You
A RECOID OF IDEAS AND COLOR

item of great value to anyone ^ho works along the of dbaDc talking or small is a public illustrating notebook in which rough sketches may be made of ail posters or pictures one sees along the way or finds in
liaes
An
RECORD OF IDEAS AND COLORS
59
Note
point.
The white paper
the simple hiaes for tree folaage atad tiee tnmks. Get this foirrji the h:gh lights in bods upper *nd
lower pictures.
60
books,
CHAUC TALK MADE EASY

magazines,
or
papers.
Many
splendid
suggestions
for iilostratians rnay
be found in places here and there, even
when a person is not looking for ideas. To coaW 4 success of any venture one cmst apply himself to the task; the more be is interested in his work, the he will have in it Thought produces greater the stress an idea will present itself and, if not jotted nuny thought; down, nsay slip away from the mind forever.
author has gathered thoughts and ideas while riding read or in street cars, while sitting in church or at the along a pdblk gathering, era a walk in the country, or while lying
Use
in
bed
at
eight
it
In nuking notes
is
well to jot
down any
original idea
itself $agge$t;oa which presents aioid is dwelling on die incident.
at that time,
or while the
modern advertising on billboards contains the bulletin of fbest art; also, the color schemes are well very worthy of notice.
Soffie of the
making joor sketches, a notation of colors used is in your design telpful if you desire to use colored crayons
In
cr are planning a poster for a special occasion. Ycu cannot use just any colors and put two
side
artist
of them
bp side
and produce a harmonious picture effect The knows the harmony of color and uses the proper com-
bJjQAtior.s
sivfce
to produce a pleasing effect It is well to take of pleasant color combinations and study them. r By obsm iag the colors Q nature you will find harmony. Most of Nataire's colors are pleasing in their soft, mellow
tosses.
The most brilliant smnsets are short-lived. The sun's which ire responsible for me brilliant shades of yellow, rays orange, and red also cast a harmonious shade over the landtill ill is agjow with the beautiful harmony. Even shadows "m the water harmonize; the sea, deep-blue under tbe rays cf die noonday sun, loses its deep blues and greens,
scape
to a certain extent,
while
tiie
sunset
glow
continues.
A RECORD OF
IDEAS AHI> GOLOBS
ai#bt c^cct oo fee gray paper or by fert

oszdinei in bb<i. tioos CM houses
perspective,
pkfeirr
is
seoiretJ cs^ber
og y ur piper wish
Use
tnd
liît, light ydloTr for star, isf lights froca wiodows. The simple
daOk, tbm mdong gfof od

rcflec-
fcgr
fcarUiS *
Una
give
CHAJ K TALK MADE EASY

bright colors of springtime anJ summer the deepthe brilliant green grass and foliage, and the blossoms and Holers present an entirely different color
The
blue
sky,
hanuosy
frosts
frcrs that of the hize of autumn days, when the hare turned the leaves to amber and gold, and the en a mere somber shade. foliage and grass have taken
sonset,
But the bright autumn colors compare with the brilliant in that they are short-lived and changes rapidly
take place.
The winter landscape presents an altogether different value in color schemes. Even the deep greens of the evergreen harmonize with the drab tree trunks and seemingly dead
foliage
and branches, and the snow adds a
finish to the picture.
This is an age of color, and more brilliant tints and shades are used than formerly. This is exemplified in almost every phase of business and life. It is therefore cjuite in keeping with nxxiem tiroes to use brighter colors in chalk work; but by tfec proper application and correct combinations of colors better and more pleasing efects are obtained.
Some very
pleasing color combinations are as follows:

blade,
Brown, orange,
Qrtnge, gray, black. Gray, red, blade, yellow. Green, purple, blue, yellow, black. Qricge, bloc, dull green, brown, white. Bri^jt yellow, deep blue, dark gray blue, black. Tan, puipk, blue, dark browo, black.
Ugfct blue, deep blue, white, blade, orange, tan. fellow, orange, blue, deep blue, blade. Deep green, bright green, browa, lavender, cream.
E>0 IOBQQ
blue,
Daxk
deep blue, white, blade, orange,

ligjit
tan.
Lavender, deep green,
green,
bright yellow, white,
Wade. There
is
120
fixed
rule
to
govern the coloring of yoar
A RECORD OF
IDEAS
AND COLORS
Here arc several good xkctcbci for piactke. All these are subjects and should be <irawn sercral ti** It is a gfxsd idea to these slcetefccs wiî peocil fet aod tfctn wili crsjoo.
tood draw
t?4

You may
use a combination of colors which will
drifting*.
help to emphasize jour sketch. Ulicn lettering is used with a drawing, it is well to use certain colors fcr certain words. See chapter on "Colors and " in this bock. A few suggestions are here TlseJr Meaa;ogf
given.
Trast and !*re: Pink, blended down to lighter shade. Truth: Blue, blended down to lighter shade. joj: Gc!d or cringe, blended down to lighter shade. Purity. Shejld be white. This may be obtained by making letters in catLne and using some color on the ground outside and surrounding the strokes of the letters.
1
Danger; Red,
Hatred, fartnval,
red,
n,
wickedness; Yellow, green, brown,
and bkck.
If tyre will permit, an elaborate drawing nay be produced *;th ordinary assorted colored school crayons or chalk. These crajons may be purchased at any stationer's or school
supply
SEE
PAGE
65
Carefully draw the first picture aod compare the figures with trouble tr.d triads cf life. If we ]ock at failure that is all we can see. Every$yr,g looks dark aci2 g2oc*z?, but rciDcmber every shadow ios a l^grk
ktod
!:gbt
$fee
A
JESI
fey
if; so when we feel disojuraged we should look up toward the Hien cocplete the face on the side toward tbe light, Bock oat rsc lice, nd Ssdsh the picture. good stem against tbe mac cl cigarettes. Begin witb C, dien
fSse I
fdltwr w:!b
ad
reêctive fslices
as to
being careful to place *fcr" in tieir proper, mike die skall face; &en follow with tfee
tibe
(be
wcrd and
tfee
CEid witfc
cocirdicg
ccotoar cf
the cigarette; and make the smoke top otic head and ending at the
Sejc cf the fag.

!ss?w
Eacpfessices of tbe face are bat the csanipalatioos cf marks. ^snpte iises dsaoge tfee expression. Hais is the simplest rf facial expftaion. It looici easf and it is to make. TaJce
peiaal
Note form
your
md
a paece of paper and try it First
easy
mate
ere,
me,
aad
aaoctlt; tiien tiie naarts
OQ
&e
cirde, then tbe cheeks see bow &is

tiie
tfce expcesitoo..
A RECORD
OF IDEAS AND COLCHIS
65
0,0
FAITH
HOPE
See explanation at bottom of p*g<r 64.
COLORS AND THEIR MEANING

Colored craicns may be used to a decided dÎk-tilk Tvcrk. since each of the different colors meaning, established by cocsunt use throughout It 2S -aeli thai tve jnderstand something about
nsear.ing before attempting to
advantage in has a deiinite

the centuries.
color
and
its
make
color drawings.
in the Bible referring to
"There are a
number of passages
coJcr: 2(ô, the f.*e$ of history contain many references to to?ors aivj tfccir meaning. The old masters demonstrated their
kroÎeJcc cf color
art treasures,
in
their
work which we
prize today as
Da
or,
of the
J
ha%c flayed quite an important part in many past. They are represented by black white and zre identified with gcxxl and evil.
ir.d nicrht
rtjpon$ cf the
and in many countries al^-vays represented pursty, cf tec*y white signifies divine perfection. The Jewish high :n Moses* time wore white robes. In many of the pries*'!
Whire has
rei:giowr fi^tivitzes in which girls or virgins play an important part, v.hits is always worn, Christ's raiment at the time of his
is described as "white as the light"; also, appeared to jchn on the Isle of Patinos, even his fire inii hair were "white like woo!." John also tlescribed the great multitudes in heaven as being dothcd in wJiite, and the r-rJJs of Christ representing the church, âs dressed in
trar*sfigur2iicn
TV hen
ftc
white.
Artists cf medieval times always painted God in white, as Miry at the annunciation and Jesus at the resurrection. Th.se ssire artists sometimes Christ as
**d5 as the Virgin
poi traced
H-e^nng 2 bkck robe daring the period of his teniptation. J&sl says, "All faces shall gather Uackncss" meaning terror, cr fright. The third horse which John saw in his vision was
feladi
md
ss ssid t3 represent famine. vf the foreign countries, brown is the color of Ir H tne color of the barren eArth, of dead trees.
it
COLORS AND THEIE MEANING
67
LETTER OBJECTS
In cadi of the above the kttcr cr the %uic is m&dc cinrfally pieced in tibe contct potiticm, tod tbcrs the rest cf drawr. This is good practice tad m3ways
first,
beicg
tJjc
picture

and withered leaves; and since it is a mixture of orange, white tad bkck, it has been closely associated with black as a symbol of suering and sorrow. It was the one color worn by the Quakers as i protest against world liness and show. Brown tnd gray form the principal garb worn in monasteries as a sign of humility and penitence*
The bke sky ha* always stood for truth. In the Old Testament a number of references are made to the word "sapand blue has phire" (blue) in connection with God himself, say a person i* always been associated with tnieness, "true blue." It is said that the flower called the forget-me-not was thus named because of its color, as a symbol of constancy. Painters in olden times gave Christ and the Virgin Mary
We
blue
Blue
a
is
also called a cold color.
gloomy
For Instance, people with disposition have the "blues."
As 2Jhe earth is clothed in its splendid garb of green leaves and grass, green has been accepted as symbolizing fertility, fniitlulness, and prosperity. David declares of the righteous: *He shall be like a tree planted by the rivers of water ... his leaf also shall not wither; and whatsoever he doeth shall
T
The rnartyrs were often painted with green palms in their hands, representing victory over death. Spring celebrates her victory over winter by appearing in a garment of green
foliage,
Evergreens are the symbol of immortality. Green has also another meaning, being used to designate dishonesty and signify any destructive or malicious force. Shakespeare, in the Alerckant of Venice, speaks of "greeneyed f eafoaisy*" and a common expression is "green with envy.**
represeRtiQg
life.
;
In Qnecta] countries yellow was dosely associated with the sun ted its worshipers. It was the royal color of China, Gold is
also tibe
symbol of the son. Yellow is the nearest color to gold; therefore the? both have tfie same meaning.
COLORS AND THEIR MEANING
Fust nuie the iketdj of the body of n*n* titin^ in tbe then tbe sbainf tbe cross. Build a story srouad cadi of die other

The streets of the New Jerusalem are pure gold, according jdirA desaiption as the? appeared to him while he "was in the Spirit" an the Isle of Patecs. He aJso said, "The city
to
was
p-iire
gold, like unto glass* '; that is to say, like yellow
is#t.
The yrifow fields of coin and grain represent the wisdom cf God. The paintings of the old casters gave Jacob a yellow robe because of his wisdom in obeying the angels. The cpposite meaning is often used when describing a dishonest person: "He is yellow/* Aitists have often pictured Jodas as rearing robes of dirty yellow.
as erar-ge is the color that most nearly represents was extensively used by the fire worshipers. It sigrJfcts wi&iora. The limited lamp held in the hand is a symbol &i human knowledge. Fire on the hearth is referred to as a symbol of hospitality, and the orange-colored flame is the
lire,
it
symbol of the Spirit. God manifested himself to Moses in the burning famish. He went before the Israelites in a pillar of nre by night He descended on Mount Sinai in ire., and his divice presence was likewise made manifest in the Tabernacle
sn the wilderness.
cost
that
The Spirit's comiag on the Day of Pentewas also represented as "cloven tongues like as of fire" "sat upon cadi of them."
fire, syisboliied by the orange color, though it is a servant, is a bad master and very destructive in its
Yet
good
anciîolltd
ii>
attributed to Satan,
Orange and blade are the colors generally and orange and blade tie colors common various venomous reptiles and insects,
state.
the countries of the earth. Hie robes wcra by high priests at times were red, and the color of a ojdsrmfs rafce is bright red. Red is more often symbolically osd in Ktentorc than any other color. In the Old Testament red is referred to as representing 10?e> stud some of the old in art painted a red robe on Mary Magdalene.
all
has stood
Life in the blood, IOTC in fpi
whose symbol
is
red, signifies love.
Red
COLOHS AND
TIU.IR
MEANING
71
at
is
These pzctoes arc calieJ sjlfcoiiettes. They .give the e&ect ef }o c^feos vhxda are between ya z*i the light. This kicJ df dtawiag
always
72
the Madonna, a!nio?t without exception, are red pictares of and blue, for love anJ tmth. Red also has an opposite meanIn his vision on the Isle of ing, representing war and crime. Fatoras, John saw the red horse of war foDowed by the black
horse of famine. The red dragon, also seen by John, represented evi!, war, and crime, Violet and purple are often used synonymously. Purple is a i&t store of red and blue. Violet is a bluish purple, and is the color cf flowers by thai: name. Since violet is a mixture of red arid blue, or love and truth, it represents the color of the So*a and the Father. Old masters gave Jesus a violet robe, to suggest his perfect union with God; they also portrayed the na*rtyrs -is clotlied in îok-t during their martyrdom, but in uhste after being received in heaven. Purple has always been the color of garments and robes worn by sovereigns on roya! occa&otiSs. Violet is also the symbol of sorrow, sadness, and racanaiag. Not the mourning of those who have no hope, but the mourning of those who "endure as seeing Him who is invisible/" Vloltt also represents the day as it draws to an end, as the purple shades of evening.
CRAYON IN THE SUNDAY SCHOOL

Keeping junior and intermediate children busy and their minds Qcoipied often taxes the ingenuity of the teacher to the izzEit. There is nothing that can yield such results as the crayon to this case. The teacher, when he finds that something must be dc&e to roncentr&te the thoughts of the boys and girls, can resort to the use of the chalk, i supply of which should always be kept ready at hand, A number of little "stunts" should be practiced over and over beforehand for emergencies. A few suggestive ideas will be given here that nay help the teacher who can make
original
applications of them,
With your
left
chalk i3fc make a large capital J at the upper corner of ycur paper, and ask what boy it was who had
CRAYON
*N
THI SUNDAY SCHOOL
73
few sirê
iJIuitraticns
iîtlv.
Esp!a;ntd ;n the
test, S
rasj to cake, but page 8C.
ircpiessave
if

a coal of many colors,, or what bey was sold into Egypt As soon as Joseph's name is mentioned, make the other letters cf the caaae in a line below the rst one on the sheet. Now ask the dzss to name some good trait of character Joseph had that begins with the letter J. The word "just" could be used. Ask what other trait he had which begins with O. "Obedient" can be iêd for the second letter. Then sincere, earnest, l^tient, and honest, thus.
O
S
ust
bedient
incere
E amest P atient
H
Then rum
to
onest
class, preferably the one who is least "Therms, hew would you like to live so thit your name would stand for some splendid things? Let us see what the name Thomas might stand for."
one of the
attentive,
and
tsk,
rutfaful
H O
A
S
The
teacher can
ones*
rderly
aaly mbitious
teady
that
comment on what m splendid record would be for anyone and remark that he feds sure Thongs will measure up to every bit of it Thus a lesson
be taught to the pupils.
ited
that
will
number
apt teacher will adapt an uniim of such ideas to fit the occasion.
An
Another idea nay be adapted to suit almost any Bible story or incident Draw t picture of a boat to represent the ark and ask the class what person or incident in the Bible it suggest*. The answer is, "Noah." A basket in some bushes:
"*."
F0!e with serpent: "Israelites in the wilderness."
CRAYON IN THE SUNDAY SCHOOL
d;e**
bands uui sitsi*
them
just 33 zxax like
&e
in itoo&t every liap^s, Griginil is
fcpc.
Tr
76
Socr.e
lamps: "Parable of the Ten Virgins." Broom: "The Parable of the Lost Coin." An apple: "The Garden of Eden." Dove: "The Flood/* Raven: "Elijah." Tables of stone:
"Moses." Sling: "David." Star:
"Bethlehem Babe." Cross:
*Tbe
To
conduct this with interest
let
the class choose sides; then
ask each sI3e a question. If answered correctly, it gives the side one point to their credit If one side fails to answer a
cpestiofi,
let the other side try it
There are many ways in which crayon pictures or words be varied for people of different ages, and for different caajr occasions. For instance, a sketch of a fish net may be used in finding out how many of the pupils know which of Christ's disciples were fishermen; or a tent will bring up the subject of Paul and his trade.
Nanses of Bible characters may be
made
into an acrostic, as:
D A
anie!
raos
N
I
ahum
saiah
zakiel
E L
aban
Who
Here
were they? Tell about them.

is
another acrostic:
heerful
onest
H
R
I
cpentaut ndustrious ubmissive

nithfol
T
!
nnocent
ffectionafe
oble
C&AY0N
IN THE
SUNDAY SCHOOL
77
to 207
Note the shaded e&ect of the fist. The same slasd&qg coy be o tfy rest wiili ôod cffcrt. A tinniir tfjilnnefltt m creoc let* cxog is strcn^tfaeccd 100 per cent by the dditioo of a wdl-irockcd-

a good pcint about keeping a secret when but indicate it thus: (1). But if we tell it to another perscn, that makes two ones (11), or eleven. From this may be explained why so many secrets leak out when
T*# ili;r>tril
one knows
it,
we
told. Bait this
truths to
same rale holds good when we tell the gospel someone (I) ; die good news is so good that it soon
is
spreads to sccnecne else (11).
Also
God
sonaethmg, as (1).
We
axe as nothing (0)
when compared to hiro; but if we place God first in our lives, if we get on the right side of God (10), he magnifies us and we multiply him. If we place ourselves first, let us
see
what the
result will
be (01
).
our will and God's will run parallel (=), there is equality and harmony; bat when our will runs contrary to God's will, then come the crosses (+) of life,
When
fay
There are several good object lessons that may be learned considering light The Bible says, "Ye are the ligfrt of
world.**
are as die candle, lamp, or electric globe. these can ignite itself we cannot light ourselves spirltodJy. When the candle is lit, or as soon as the electric current begins to flow through the light bulb, it begins to
&e
We
Not one of
shine. Lxffioediaiely upon being lighted we shine for Christ, for he is the power within that causes us to shine. The Bible
does not say we are to "make our light shine"; but simply to "let it shine."
we
are
The candle or
shine that others
electric
globe shines for others;

blessed.
we
arc to
may be
ing up
its
own
The lamp
ia
is
constantly giv-
life in service to others;
self to serve others.
One lamp
so we must sacrifice working order can give
it shines light to hundreds and lose none of its brightness jsst as brightly in cellar, parlor, polpit, or out of doors.
The moon
is
also spoken of as a source of light, yet
like the cold incandescent
lamp, has
no
it too, light within itself. It
merely takes tie
ligjit tfaat
tad speeds
it
oo
its
k receives from the great source way, to be a blessing to others.
LV THf Sl'NJiAY
SCHOOL
No part of ske hsiaaan fonn is used in il3iistr2t:oa Gre thaa the band, and csa these four pages of hir-d dliistratitsns ynu will fed hands In almost any position- Practice aU csif tfeetn, te they will be
A
At
pi;t^re of a tret
first
the tree
is
and a post may snuli and slender; bat
useful to nan. It tves&ttiiy giQ"* to be ar.d of incre servile. (Sec page 73.)
be made side by side. it has life and will gets larger and sturdier
is krge and solid and the forces of nature and dead, supports it begins to decay, and destructive %ork upon it their begin in a few years rots off And falls to earth. The difference between the ro is: one is alive, and the other is dead.
The
pest,,
when put
into the
it
ground,
i fence. B*t
is
The varied characteristics of life and its laws may be likened to the forces of good and evil exemplified by those which make fcr good or ill in the tree and post.
Set sketch on page 73; then go on with this lesson. First draw the quiet, slow-moving, deep river, with the
sailboat, and td! of the silent but powerful waters that flow OQ through the ages to bless generations of men. Then tell about g&i&g into the woods and hearing falling waters. Comthe mighty, silent river, and pare the noisy little stream with minds who cause trouble and agitacoiEpaxe people *aith small
tion
kind,,
community
sensible.
v*ith
people
who
are noble, charitable,
and
is
Here
another
as
a pupil to
assist you.
him
to
draw
called the "Golden Rule." Ask Give him the piece of chalk and ask straight a line as he can, from left to right
little sfcact
across the board.
Now azk, "Is that straight?" It will more than likely be ciooked in places. Now tell him that you will fasten a string across tfce bcird with a tack at each end, as a guide for his hand.
ask him to draw a perfectly straight lice, using the string as a guide fear his hand. Of course, the string gives, and tfce line is is crooked as erer.
Now
QLAYON
IN THE
SUNDAY SCHOOL
expressed by the hanJ to as re&i an octet 5 by aaj otiacr body. Here is the shaded &L Xotc the ki$h shadow. Try diis sliadiag en ^se cf tbc other
is
Action
part cf
tfcc
CHALK TALK MAOE EASY
Now
take a yardstick, or straightedge,
and draw a perfectly
straight lm<e.
lesson:
We
we
all
want to
we do
on
not want to irake crocked

is
live perfectly straigbt lives; work of it If we
depend
ourselves,
the string
are likely to have crooked lives. Following like trying to follow someone else who is as
weak and
straight
faulty as ourselves.
There
is
a ride that will keep us
we
call
it
the Golden Rule,
became
it
is
so good
xcd
it
is
as valuable as gold.
Now
ask the pupil to draw lines

parallel lines
;
These axe
we
on both sides of the rule. should draw the lines for others
as we would draw them for ourselves parallel lines, (See Matthew 7:12.) Build a very proitable lesson around this by getting the class to find the verse in their Bibles. Get them to commit die verse to memory.
In jeans of Sunday-school work I hare found that some lessees yield to an illustration well, bat others do not. In
standing before an audience of old and young, I have found the piece of chalk interest was that as soon as I picked np
arotised;
and
as trie different
marks and
lines
were made,
every pair of eyes followed each move. Regardless of what %as said, the lesson brought out by the chalk was what impressed the minds of the audience. I know this to be true,
&od again boys and girls have reminded me of some r picture I had made years before. I have found, therefore, that the result of the chalk is successful and lasting.
for time
diagram
In work among children and young people, in school, Sunday school, young people's meetings, dubs, entertainments, and Ixwnes, the opportunities of impressing good seed thoughts wife chalk woe never better. A great many illustrations and
pictures
snj be
applied and adapted to good advantage.
CILAYON IN THE SUNDAY SCHOOL
The bare
foot
is
If tbe foot or
shoe
xmxdy drawn in pohik picture*, but xt is iffipoctwt. a awkwwra appeajis imptupqlj dbnra, it ghw
nce to the whole

It is not necessary to produce a work of ait in order to be appreciated, for even the cartoonists and comic strip artists of today use illustrations that appeal to the common
day could understand. He talked of the lilies, ravens, sparrows, chickens, vineyards, cornfields, and fishermen; of money, children, and rrany other things about which the had
definite
their
people and are full of human interest. The comiHon things of life, which have always interested tfae masses* are what made the teachings of Jesus of Nazareth so gripping. He gave word pictures of the commonplace things about him and drew from them lessons that the people of his
knowledge.
level
He
talked
o^n
md
in their
own
people people oo realm of understanding. Even

to
the
common
understand his teachings, as well as the older people. The children can understand them now. AH the use of a piece of chalk. The chalk can be made to impress indelibly each incident of a lesson in a way that will help these lessons may be impressed CHI the minds of children by build character and a foundation for a useful life.
the children
could
Here are a few more
acrostics that arc interesting:
***
Word
of
God
1
BOOK OF BOOKS NSPIRED OF GOD
BLESSED TRUTH L AMP OF LIFE E TERNAL WORD

Good metro
Wi
ELL
AND
ILLINGLY FIH
HAT YOU HAVE
CEAYON
IN
THE SUNDAY SCHOOL
The
eve h the scJcx to ifce face, and of 35 îiifi^ 8Bit be c*redram-n. Still there is asotfcfng difficult alxît oraviag it. You put nsudi prartice cci c^'cs.
86

t\e
Though
shouM
suffer
HATRED
SORROWS
Let
INJUSTICE
SICKNESS TROUBLES
*
JESUS
shine forth in the midst of triak
Matt. 7:7
KNOCK
PERSISTENTLY
ASK SEEK
R EGULARLY
ARDENTLY
Y EARNINGLY
f
HONORABLE
USEFUL
BE
MEEK
BENEFICENT
LOVING
EARNEST
A SOLAPBOOK OF ILLUSTHATIONS
One
do dbalk wodc
of the handiest things for any person who wishes to is * icrap bat, scmpbook, or fife of some sort For macf jcars I Jiave had sodh a collection, to wiikfa
mauay sketches and designs arc juided f
nn tfrnc to time. Many
A SOIAPBOOK
OF ILLUSTRATIONS
*-
Tbc curves &f the nse is well as the eye, cus an4 n*D?iis must be oxefolly drawn. Try drmwiag seffic types of BOMS ytm set rvcty ij, which sre not shcnrn herr.
SS
of the sketches in this book arc drawn from this collection. It either the kind for is well to have envelopes of uniform size, No. A box large as use or 10). (known legal catalogs enough to permit these envelopes to stand on edge is the
handiest.
The envelopes
are used to classify the different kinds of
as flowers, birds, buildings, landscapes, and clippings, such a magazine or newspeople. Whenever an illustration from
be dipped, so much the better; but where this is be made of such impossible, an outline on thin paper may be useful. If a sheet of carbon portions of it as promise to paper is available, lay it under the illustration and on a sheet
paper
of piper to take the transfer, and by a pointed instrument or pencil trace the outlines. Where carbon paper is cot available, cover a space en a sheet of paper with lead pencil mark-
on
using a flat portion of lead; this will serve as carbon and will transfer quite plainly. A paatagraph is a handy instnarent fcr copying sketches in any proportionate size.
ings,
With such a collection of material, any person will soon have a wealth of illustrative matter from which chalk pictures may be adapted. It is well also to make pencil sketches of chalk talks used in your own public work and mark on these the date and where used. This is valuable for reference.
Occasionally the representation of an eye, or hand, or some other detail of the human figure seems almost a necessity in bkdkbcard teaching and sketching. Such details are difficult unless yet! hive a good collection of hands, feet, and
eyes,
such like from which you can select a sketch that is suitable. It wouk! be well to practice cm these, as a hand or eye without the pfOpcr sbape and effect appears awkward. Almost everyone knows cow they should lock to be natural, and if they are made iiacorrectly they will be very noticeable; however, after i little practice in producing a good sketch tfee job is easy. Hie sketches of the hand and other parts of the human figure gm'R in thn hook are very valuable.
OF
The ear is like the C and S (rercEsed) .lad cans! !>e There are ntany shapes of LTS, A^cJ sudi Fntctcc s.bjclc be given the
eax.

ITjiic
art'
seme
lessens that will net yield to illustration very
well, b~t with a little thought seine suitable sketch, i critic cr outline will suggest itself to your mind.
diagram,
Take, for instance, the story of Christmas a sketch similar the one given in this book may be made before the class such a way thut ft will impress some truths on the minds of the jcuth ir* a manner that will never be forgotten. Ht-re B i sketch of Bethlehem. (See page 61.) In order to nuke a njght scene yen should cover with a bluish gray the entire portion of the sheet of paper which your picture will occupy. Rub the chalk on chamois or cotton and apply the color to the paper with a circular motion in such a way that the entire surface will be covered with gray. Then with a bLck crayon draw the hill country and the old-fashioned vilall the while lage with flat-roofed houses of stcne telling of the Eastern custom of caring for flocks of sheep in the cptn country and on the hillsides, and how the shepherds were watching over their flocks by night when the angel of
ti;
the Lord appeared and brought the glad tidings to the shepherds. Locate a particular spot where the Christ child ky and above it make the star and also the rays of ligjit in yel-
low, and some spots of dim light coining from the windows. Make these also in yellow or light orange.
Such a picture has great possibilities. It impresses on the minds of the audience the nature of that hilly country. Hie ancient dwellings and the sur of Bethlehem are made more vivid than they could possibly be by a fully colored printed picture. The mere fact that the audience has seen it produced, together îth the story, makes it doubly interesting and deeply the thought on their minds, A impresses photograph or finely
yield so much; it cannot follow the sinfoIwEg truth, as Joes the chalk, from the first mark representing the hills, tktn houses, and finally the star.
pnnted picture cannot
The simple
story,
frcni the
%bi
that shines
our hearts,
prophecy of the star to the is full' of interest, and any
A SCRAPBOGK OF
ILLUST&AIJONS
91
iJtme in tbe various faczs. Hiis is good practice vracic, xod you will always find ôod use for knowledge ol how to produce the multittidc
tfae
These are called egg-shapes!
feces,
inJ
tfee
coetocr
is
praoidH
of fxcUl erpreasiocs.
CHALK TALK MADE EAS*

teacher should easily see how the chalk can help in teaching the simple truths. The high lights, or reflection of the moon
en the
roofs of the buildings, can
to tbe scene
be made to add interest by touching up with yellow, only it should be
used sparingly.
The Bethlehem scene is only one of hundreds of such lesions in the Bible that yield to illustration. There is scarcely a Sunday-school lesson, or any subject one desires to dwell
upon, bat that
outline,
may be adapted
to
some
scene, diagram, or
in fact there are several

if
Suggestions and outlines of subjects would fill many bodes; books of this kind on die market, one desires such material, but to have a knowledge such as
this
book imparts
is
since you learn to adapt your
worth far more to you than outlines, o^n ideas and designs to your
drawing,
WHAT
IS
MEANT BY PERSPECTIVE
The meaning of the word "perspective" is given as the "art cr science of representing, on a surface, objects as they actually appear to the eye."
Sometimes
a very
few
lines or
size of certain objects, will give the effect of distance,
marks, or the position and without
which the picture would appear flat la order to become a successful chalk talker, blackboard illustrator, cr even an occasional oser of the chalk, we must of necessity know a few of the technical terms and uadcrstand them.
As you stand on the beach looking far out to sea over the blue watets, jour eyes come to a point where the sky and water meet we call this line the horizon. The effect is die
acae when looking oat over a
plain, desert, or prairie.
Is
MIANT BY
PERSPECTIVE
itioc of pjcrspcctivc the simplest knpvn. Eed DOC in the text sad rtudj it cat fat: yoiirsdf. Thu tftet you oa * Bee t the &OM as it is be difficult, becrase piam
Here
is
etpijMioo
wQ

The horizon line must appear in every out-of-door picture, or usy picture where the artist wishes to indicate distance. The true horizon usually appears at the level of the eye from
where
*fcere the person is standing. There is no set rule as to just this line shall appear in the picture ; it is usually either
i little
above or a
little
below the center. Look carefully over
the sketches in this chapter.
somewhere on the horizon, and
All parallel lines that recede from us converge at a point this is known as the vanishing point, cr point of sight. For instance, standing on a rail-
rails
road track and looking as far as the eyes can see, Ac two approach each other. The eHect Is noted when standing in the middle of a long street. Trees or telephone poles, when standing in a long row, seem gradually to diminish in size
as they
point.)
go farther away from The point of sight is
us. (See the illustrations cm this usually about five feet above the
ground, and every level line points toward a spot level with your eye.
has been said about perspective, the have become somewhat bewildered, and the whole subject may seem complicated. This is the way one writer explains perspective: "All level lines leading away from the observer vanish at a point on the horizon which is Sevel with the eye of the observer." This is an almost infallible rale If memorized and put to practice it will banish all doubts and fears.
Considering
all that
student
may
at first
will notice that lines on the building (page 93) lead the vanishing point, and even the doors, windows, and chimney point to the same spot If you were standing in a street locking down the rows of tall buildings, and you wanted to malce a sketch of the scene, all lines, such as rows of windows, doors, and cornice would extend to this same
to
You
point.
the rutunl
There are a number of variations between what is called vanishing point and the accidental vanishing
point,
Is
MEANT
BY PERSPECTIVE
(H) la the Fomt refened

horircn
perspective to
Lice, as
sketches dbcree signifies Hofizoa. (V) ball* Sow* to in tlus dupêr. In Skctdb No, 1 ti co the tcpc ia No. 2. Th:s anartgnoent tlocc
tibe
tfec
96
CHALK TALK MADE EASV
but these cannct be explained here. The simplest perspective iljjstratsan is the drawing of tlii boxes in this chapter. Study this sketch thoroughly, and you \vil3 find the rales of perspective really easy.
largely brought by Perspective in landscape which they are indicated. Often parative objects and the size in a sailboat in the distance, tven though ;t be but a ir.ere nurk,
is
about
com-
and puts the finishing touch to the picture, are looking miles away into the distance.
it
appears that you
There are t* o distance points one at the right side, and the other at ;he Jeff of the vanishing point, or point of sight. Ail lines which do net converge at the point of sight do so
the distance points, or at the vanishing points fixed position of the object
a!
by the
The place where we stand is called the station point, and is not within the picture, but at s&di a point where the picture
ran be viewed to good advantage. It is similar to the distance points, in that they are entirely out of the picture, yet control
the perspective,
The lower edge

vjrfacc
It is
of the picture, or more positive position, or the objects stand, is called the ground line. represented by a straight line parallel with the horizon.
on which
There arc also other terms, such as the perspective pkne, which is the distance between the horizon and groond line; the certraJ visual ray, which is the line from the station point to die point of sight, and other technical terms, a knowledge of which is absolutely necessary in the study of professional art. Any person wishing to learn more of this interesting subject will
If is
find instructive material in the libraries.
the object of this book to give only die limited amount of socfe InfcsniutiQa necessary to enable the chalk talker to snake drawings above the novice class. By carefully examining the illustrations in this chapter this whole subject will be easifr understood.
WHAT
Is
MEANT
ay
L<^^
Tfee ccmpantrre sazc cf objects asa! the arc wiaat gives proper pcnpccdvc to tins
few
siirply pl*ccd line?
98
HOW TO
It is
PRINT CORRECTLY
to see how few people there are, even surprising well educated and well read, who know are %ho these amcflg ho*A to print letters properly. This is attributed to a lack of attention. Any person who desires to print some words on the board occasionally with a. picture or diagram should know hew to make Otters correctly. This is especially the case if
the driving
is
being done before a class of sharp-eyed pupils.

little
it
Most of us pay very
attention to the individual letters
^hen we
read: for
in
many
whole alphabet
capitals
would be a anJ small
real task to
make
the
letters correctly.
times one sees along the roadways or in villages trail! signs made by amateurs, in which the letter S is made backwards, cr some other letter or figure is made incorrectly.
Many
is
in such a case many people are conscious that something wrong, althouî they cannot say just what it is. The Rausan letters, the type of letters used in our ordinary reading, have whit are called a shaded line and a
Even
iight line.
At
first
sight
it
may
seeta
that the shading
is
a purpose. But we should bear in mind irregular, or without that in olden times reed pens were used in making letters,
because before movable type and the printing press were invented all printing was done by hand. The vocation of a scribe was considered a profession, and the workman who was good at hand lettering was in demand. As the reed, or flat-pointed
pen made of bamboo- like grass, was drawn downward, the was heavy; and when moved upward, it was light, similar tx> ti*e effect obtained with the use of a pen. The Roman style of letter was fashioned by custom, and for centuries it has been made in the same v*-ay.
stroke
Take for instance such capitals as A, K, M, N, U, V, W, X, *nd V: you can see that capital A, for instance, begins with an upward stroke (light), followed by a downward stroke fe accounting for the light and shaded lines in (heavy)
How
TO PKNT GORXECTLY
Make ycur cmrks

further alcmg you
Tfcc fcrwrr lines so g ike expreiisi^ tbe !>etter io dalle as neaxly is jx^s:Hc lij&e tbr crjruJ. m-ill loum rac^c about facal
little
Co
fetter.
CHALK TALK MADB EASY

Capitals
the su&e
M, N, L\ V, and
to
saira principle.
They seem
have bean started
at
follow this the open
aid.
The
"bold face."
blade Gothic style of letter is what printers term It has heavy strokes throughout, and the strokes
are uniform in thickness.
for light pencil lines
In outlining your drawing for a printed line, always make guide lines so that all letters will be of
letters
uniform height. Crude

pi&s
size,
nxch
easier than perfect letters
made uniform in height will with no uniformity ie

styles are
Styles of type
change with the times; new
always
being
plain denoonstrative work,
Irregular cr freakish letters should be avoided; Inters that anyone can read are the best to use in
n**ade.
An ornamental initial, a colored line underneath a word, or different colors of crayons are often
is well to spend considerable time practicing the It proper shapes of letters, until a fairly accurate knowledge is obtained of any particular style of lettering.
employed for emphasis.
Words
sn which
small
letters
ire
used are more easily
read than words composed entirely of capital letters, and with a little practice they can be made quite easily.
By
little
stody cf advertisements one can see
how
the
different styles of type are employed, Some are wide, and are called "eateEiied." Others are narrow, and are called "con-
densed"; the
letters ire
latter are
used
when a
considerable
amount of
wording must be placed
in a given line. Tlie heavy-stroked
more
generally used for emphasis.
ordinary amount of white space should be around any Hat of lettering, as crowding destroys tfee effectiveness of the wo&iiag, regardless of where it is.
In
An
making
capital letters all the letters are
of about the
except
M, and W, which
are wider,
and
and
J,
HOW
TO P&INT GOUIECILY
101
Too ma&j iixxs wiil ruin * dsaik-telk pkfcure. The right lioe la the ri^bt place is *2J ippcwtast Practsir Uode Saisa astiJ yi3ia cto cai him well. You will find his pktsre ilways A pcpiiUr nucibcr k;
102
which are narrower. Hie horizontal line in B, E, F, H, P, and R should be a little above center, so as to keep the letters from appearing top-heavy. Letters ordinarily should be about the same distance apart; but when such letters as A, V, L and Y appear in a word such as "VAINLY," in order to give an appearance of uniformity, less space should be between die V and A, and L and Y. Where two letters with
full stroke sades, as
HI
or
MN
appear side by
side,
little
more space should be allowed than with such letters as CG, O and S. Capital O, C, G, and Q should be made a little taller than the straight letters (the extension to be both 00
top and bottom), as they will appear to the eye to be shorter when made the exact height ox other letters. The space between words should be about the same as the width of an ordinary letter. Try to keep the perpendicular lines the same
angle, as nothing
is
so noticeable as
some
letters
leaning one
way and others leaning another. With a little care the average person will make very good success with lettering. A few alphabets are here given, so that you can get a
general idea of the shape and contour of the letters. It is well to oote carefully the heavy and light strokes of the different letters QQ page 103.
ABCDEFCHI JKLMN
OPQRSTUVWXYZ
abcdefghijklmnopqrs t u v w x y z
Bold Ficc type.
How
TO PRINT CGRAECTLV
ABCDEFGHI JKLMNOPQR
STUVWXYZ
12345678906?$ abcdefghi jklm nopqrstuvwxyz
type.
ABCDEFGH JKL MNOPQRSTUVW

I
XYZ1234567890
abcdefghi jklmn opqrstuvwxyz
type.
104
SYMBOLS AND THEIR .MEANING

There are quite a number of symbols used in architectural in church and cathedral architecture, that design, especially have a definite meaning. knowledge of these is a great
help in crayon drawing. The next you visit a fine church ballding take note of the symbols described in this chapter and see how many of them are used. You will find more used in the designs of the large ait-glass windows and gables than in any other
Hw
part of the building.
The symbol of
beta
the cross in
its
i*sed in geometrical
acd
multiplicity of variations has architectural design throughout
the ages, even before the Christian Era. In the later centuries there was an opportunity of elaborating on the variations in designing coats of arms, ornamental title pages of books, and initial letters, before the art of printing came into general use.
stencil borders, linoleum, oilcloth,
la the present century designers of doth prints, wallpaper, and so on, have employed unending variations of the standard designs of the
cross,
cirde, square, triangle, and rectangle. The numerals used in this dupter refer to corresponding numbered illustrations, which should be referred to at the time of reading the order that you may firmly establish in text, your mind the identity of each symbol (These begin on 107.)
page
cross (1), with foozr equal arms, is supposed to hive originated in Eden, where four rivers flowed in different
directions,
The Greek
watering the whole earth.

Era,
It
was a symbol of
religion
teg before the Christian
The circle (2) is t symbol of eternity, as it has no beginning or end; tad the cross within the circle (3 and 4) sigisifies a very Christianity bocEded or surrounded fay eternity beu&iful synsbol both in meaning and design. Every one of the sy!Bix>!$ has its meaning and tfae various combinations
tie
mirvdous
in their construction
and
interpretation.
SYMBOLS AND THEIR
105
There
is
m*
ft3 of the variety of
of feair dressing good practice
make a wcd^
is
c!
1
difference
feoubiz* facet. The acaay oesi the Maoe saodd.
A
it
to sketcfi frc*B
livisii! niisdfeli.
Try
it,
Yowll
irttrrestiisjg.
106
The Latm cross (5) has a short upper arm and a longer lower aim. This is the type of cross upon which Christ was crucified. Ever since his time the Latin cross has symbolized as such until Christianity, although it was not universally used the reign of Constantine, in the fourth century. Constantine, a pagan, had very little use for Christianity, amd added much
to the persecutions of the early Christians, until he had an experience that influenced not only his life but that of his mother,
it the In the sky he saw a krge, Naming cross, with an Inscription in Greek, that was for him what the handwriting on the wall was for Belshazzar. Since Constant? ne's time the cross has been a universal symbol of Christianity.
and they both embraced

universal religion of the
Roman Empire.
Christianity.|
Then he made
In design, sometimes the arms of the cross are pointed, indicating thorns (6). This signifies suffering and sorrow.
The white lily always represents purity, and the fleur-de-lis (7) design in its various forms represents the lily. The lilyblossam design (S) on the arms of the cross is a symbol of
purity.
jewels were used on the arms of the cross (9) to denote

value, or priceless treasure.
tedded
times been
made
cross (10) represents life. The form has someto resemble a blossom, as well as the bud.
The
Spirit,
tration),
number 29 and 30 both in text and illusmeaning the Trinity, or the Father, Son, and Holy ccisbines the symbol of Christianity with the Deity.
trefoil (see
:Jte
page.
Symbols
la
tfeSs
chapter
Is
material for several program*.

. S. Christianity value 2a - Christiani-Christianity--life n. Christianity--trinity 12. Saint Andrew's cross 13. Tan cross Egyptian 14* ind ** Mato CT 1$. Christianity light
L Gttwk
and
i.
ercos
Christianity
*
4,
L^^'
etemaS
| J**to
I* I,
_
auflesiitg
313
Cbriftlaisltf
JSSE^^" ^ CbriBttanStr fiurity
SYMBOLS AND THEII MEANING
107
Ij
6n
Cnpis
f7eurtte-tis
<V
T^L Cross
Ctw&s
See
p!ir.::;m t! bottora of page 106.
IDS
CHAJLK TALK
Saint
MADE EASY
X,
signify-
The
Andrew's
cross (12) is like the letter
that Apostle. ing the form of death suffered by The Tats cross (13), so naised from its resemblance to the
Gredc
Era.
letter
a religioiss
emblem
T, was more commonly Egyptian. It was used as in India and China before the Christian
The Maltese
cross
(14)
was used
in various forms; but
authorities tell us that the true Maltese cross is a white cross
with eight points, oa a blade background. It is an emblem of of Malta. The comchivalry and knighthood of the Knights cross (15) is also jEoaly ised character termed the Maltese an ensblem of knighthood.
symbol of
cross with the points burning with flame (16) is a of the attributes of Chrislight, or ra&er, that one
tianity is light.
Upon
a shield (17), which symbolizes faith, the cross rep-
resents the connecting link
between
God and man.
Planted upoo a threefold base (18), it is called the Cross of Calvary. The base signifies faith, hope, and love. Faith holds the cross (Christianity), hope underlies faith, and lore is the foundation of all.
The
cross
it
is
dominion ;
also signifies that Christianity is
sometimes placed on a globe (19) to indicate above the world.
variety of combinations used
Besides the variations mentioned, there has been an endless in designs, such as numbers
r
20
21, 22, 23, 24, 25,
and
26, explanations of
which are
given below.
Explanation of sketch on opposite page. font symbols Good tor Church. Sunday School or Younfi People's
17. Christianity
1&
If.
,
Cnm * Ca>rary O^to^-domlzu^

Pmtn*rcfa: extra
faith
23. Christianity croostet 24. Jenmlran cross C 25-
S^
In
tisc
EnSaSS
28-
5" ^ 22 JSSl."?? CtetotkuHiy~43o8*w!s
Haw
of Castle Arch
Church, Norfolk,
SVMBGIS AND THfIR
109
See crpiaiuttioo al bottacc ol ptgt 1CS,
UG
With
CHALK TALK ^fADE EASY

the symbols here represented all the attributes of its phases are exemplified; therefore, these
Christianity in all
significations
aad meanings lend beauty, knowledge,

design.
and
character to architectural
trations
on page 111
number
referring to the illusof added variations will be
By
found.
An entire chalk-talk program for many occasions may be worked out en "The Significance of the Cross," by simply using the suggestions and illustrations in this chapter and enlarging on the various phases. Additional material for the talk may be secured from reference books in any library.
as
few songs appropriate for the occasion may be sung, such at the Cross," "The Old Rugged Cross/* and many others on the subject of the cross.
"Down
Aside from the cross there are

of which axe here given.
many
other symbols,
some
Since eternity is symbolized by a perfect circle, the four Gospels and their writers Matthew, Mark, Luke, and John are symbolized by four interlaced circles (27). A later form of these four circles has them merged into one figure (28),
called the quatrrfoil.
acter of the Trinity
Three interlaced cirdes (29) represent the eternal charFather, Son, and Holy Spirit This design was afterward changed into the trefoil (30). The triangle (3!) is also a symbol of the same the Trinity also
of sketch
27
on opposite page.
40.
and 28. The four Gospeh 29 and 30. The Trinity

31.
The
Trinity
536. 3P*-5!Z~ Guidance $1, Menage

Si.
,
and 42. Peace 42%. Hope ** Bâroily wisdom 44. Sin

41
45. 46. 47.
Victory
Hate
Purity
Reward
Just iHTwiaTOrnt 37, JudiWeiBt ght
Holy Spirit 48.011*1*
49.
Law
SYMBOLS ANB THEIR MEANING
in
''//&'-
\JL,
t&
''//:'
/r
See explanation
bctiom of page 110.

denoting threefold unity. Hie triangle in mind, and body.
modem
times sig-
nifies soul,
coming through These symbols arc but a few of those adopted and used throughout the centuries. Other symbols will present thanselves to die studious worker who desires to get truths to the minds of all ages, as well as to make the chalk talk interesting 6 and instructive.
Other symbols are the flag (32), for victory; the shepherd's crook (33), for guidance; arrow (34), for a message; a spear (35), for hate, anger, and malice; the sword (36), for just punishment; the scales (37), for judgment; the lamp (38), for intellectual light; the cup (39), for suffering; the crown (40), for victory; the olive branch (41), for peace; palms (42), also for peace; anchor (42%), for hope; die star (43), for heavenly wisdom; the black heart (44), for sin, and the white heart (45), for purity; a cluster of grapes (46), for reward the dove (47) for the Holy Spirit ; and the ship (48), for the church. In this case the water represents the world* Law is symbolized by the tables of stone (49) ; and blessing by die rays of light (50) the clouds.
; ,
Htrt
^*.c
t>
the irorkinj^s arcuisd the eyes, cnse, and ooasrii. C.'nscr$ alwjtys tiaro up when sniJsr.^ anJ down whtn anpry or Much pwnire should be ptit >n face? 01 the aiêresst r
114
PEOPOBTIO>J{
HEAD
WITH TOP or EAR
TO CHIK.
[
l
.
tbc proportions of the bead pictured above, and the one oo the opposite page. Read carefully, acd draw often enough to get the proper proportions in your mbd.
DRAWING THE HUMAN FORM

Leamiog
to
draw the human form, or any part of
it,
is
necessity for the ciuik talker. The reader will easily tell thai ifcis book is not intended to be a complete treatise on art, and
especially on die drawing of the human figure; bat the suggestbos given in the difoeci sketdbes wiU be of great value to the interested chalk-talk enthusiast. The simplest forms
in representing action are the jets
on page
39.
The O-shaped
DRAWING THE HUMAN FORM
115
la drawing sketch or outooc bea*k, it is not ccccsjAiy to so strictly to these propcrticcs, but a carefully drawn laai alwm * a isArk of knowledge and talent This chapter should be read otztcraJI?.
circle for the head,
connected to the
legs,
am be made to express
z surprising multiplicity of bodilj actions.
Figures representing the human form are made by cartoonartists, and chalk talkers In all sorts of shapes; but ic cartoon drawing, the body from the top of iibe head to the
ists,
bottom of the feet should not be

correct
less
than ire heads. The

six
human
figure,
however,
is
from
and one-half
to
eight heads in height.
The drawing
at top
of this page shows a oocmal head.
You
will see die correct proportions of the face
eyes, nose, ears,
CHALK TAI,K MADE EASY

mouth, etc. and the normal view of the body gives a good idea of the tcrrect location of the various portions of the
body,
Manv of the sketches In this bock will present to the 'line* necessary to express the different emotions.
you
It is very nfces&iry for the dia!k-ta!k student to be able to erent types of individuals by portray cuke correctly the di& the shapes cf the heaS, as shown on page 117.
It Is said that the shape of every normal head designates the type cf character of the individual and classifies him as ane of the six distinct types shown on this plate. You will
find a head shaped like an inverted pear large at the top and tapering gradually to the chin. This type yields more to the cDiTiic iigiire than any of the ether types shown.
The opposite type narrow at the top of the head and wide toward the chin, usually denotes good nature.
face is the jolly fat man, who is seldom out of with the *aor!d. This face will yield more to the expressions of laughter than any other type.
The round
sorts
long, sliiB face is the one usually selected to denote scriciis-minded philosopher, teacher, preacher type, aJtfccugh it may be used to typify the sort of person who is
The
the
usually out cf sorts with the world.
The squire head generally denotes a practical or typical businessman. In cartoons it indicates a m^n of affairs. The
oval type, balanced,
common -sensed, having
a normal degree
ability.
of humor, represents idealism and executive
In profile vitws we again end different types dearly distinguishable by the distinct shapes and contours of the faces.
(See same
nt type is not stupid by any means, yet is always himself into trodble bf his habit of getting acting first and tMnking afterward. Hie concave profile is tfae opposite to
tlais,
The
indicating habits of thought
and concentration. The
THE
HUMAN
F0f*M
11?
It
is
s*iJJ
of
Ac
types
tiut 90 per shown here.
uxl rw*l
carefttlly tfee
cent t4 she n^r.TÎ be/.!i c*rae ursJcr vn It is well to make 2 carefLjl stasly of these daapJrr, "Drawing the Human Faros."
IB
shows determination and stick-to-Itiveness. through whatever he sets hb head on.
He
usually carries
The straight type is the good businessman and executive, calm in temperament, with a mind capable of weighing facts. Firmness and power are indicated in the square chin.
writers,
istic
The convex-concave type often includes clergymen, actors, and artists. The strong nose and chin indicate idealtemperament and a
man
given to thought and intro-
spection.
tat
type denotes strong thinking power, and carrying projects through to their conclusion. This is the type of person who is always getting into hot water, from which he lades the
The ccncave-ccnvex
weakness
in
raking decisions
resolution to extricate himself.

It is well to note carefully the simplicity of the lines in the face denoting emotion. The turning up of the corners of the mouth is a fcig start toward a smile, while being "down in the
mouth" brings
the opposite effect. In fact, expressions arc but a trkk of line arrangement, as you will notice in the different sketches in this book.
PROPER PROPORTIONS OF THE

In making an ideal
natural.
HUMAN BODY
human igure
is
tions that should be followed in order to
there are certain proporhave the picture seem
The following
to chin,
the front view of the ideal man's
igure:
Top of head
one head.
Chin to breastbone, ooe head. Breastbone to navel, one head.

Nftvel to center, erne head.
Center to fust above kneecap, one head. Jaat above top of kneecap to beginning of
calf,
one head.
PROPER PROPORTIONS OF THE
HUMAN BODY
119
The simplest shape cf the front \iew cf die face may be omitted widsc^l destroying good effox The
to the expression of fright
is the era, htii standlssg
120

calf,
Froia thence to base of
one head.
From base of
calf to sols of
foot one head.
Total, eight heads.
The foot is one-sixth the length of the figure. The hand is three-fourths the length of the head. The ankle is one-fourth of a head across. The calf is a little ccore than half a head across. The knee at both top and bottom is half a head wide. The thigh at the widest point is three-fourths of a head
width.
in
The The
waist
is
one and one- fourth heads wide.
shoulders are two heads wide.

is
He neck
half a head high,

divisions in the height of an ideal same as those of an iaeal
The comparative
figure are substantially the
woman's man, but
the widths are considerably different.
The foot, ankle, calf, knee, as those of the man.
and thighs axe nearly the same
The hip is two heads across. The waist is one and one-eighth heads wide. Hie shoulders are one and one-half heads across. The neck is half a head wide.
The front head is egg-shaped, the smaller end being at the base. Please note carefully the proportions of the head on page 114 The eye is divided into three equal parts, of which the pupil is the central one. The eyes are the width of
one eye apart; the
is
a.
ear
is
as long as the nose;
and the mouth
little
wider
tfean the eye.
The center of a baby's figure is at the navel. A child of about t&ree years is usually five heads high; the upper part of its figure is three heads, the lower part two. A child of six yens is six heads high.
OF THF
HUMAN
BDI*Y
faces.
tfce tigbt.
three upptri figures are btit s-isple uur.ijruiaL'Qn i/f nacses aa-d the perpendicular line in the moras face OB i the .im cce to it, Tbe ^g It is die lame fare the lower left are whit arc termed tise Rigfct andl Wroog
The
Note the eêct cf
22
CHALK TALK USED IN TEACHING

Scientists claim that
mind
for any length of time
nothing which completely occupies the is ever forgotten.
You can remember incidents and pictures seen in childhood, or something illustrated In connection with what has occupied your attention for some time, and these scenes are never forgotten.
that are
Through the eye, our mind is said to receive impressions more lasting than those received through any of our uher senses.
Pictures may be ever so beautiful, and yet not give a lasting impression; but an appeal to both the eye and the ear marks the highest development in the methods of teaching truth.
chalk-talk method of teaching is lasting and impressive. speaker or teacher may stand before his class or audience and use the most eloquent words, and still his hearers may not be interested. He may resort to a graphic word picture, and he will detect an increased amount of attention; but let him pick up a piece of chalk, and everybody is interested, for the audience expects him to do something. When is
The
curiosity
added to interest, the minds of those in the audience become active and ready for the impression that the speaker has within his power to make on them,
Every line made by the chalk, therefore, is full of interest; ABd every chalk talker knows the value of just such a situation and makes use of it. That is just the reason that at this point so many chalk talkers make what are called surprise pictjres.
If the audience is disappointed in its expectation, the speaker h2$ lost a point; bat if the chalk is used to portray and fulfill the meaning of the word bom the picture, message and illustration hive 0iaJe the point, and a ksting impression has
made.
CHALK TAIK USFO

CJtttdrens
IN
Children
esacticcs tad ciparactmitici aa the opc&several ôod di:!'Jren'& poses. Skstch tfacn try to sketch scene living
ow
depict
their
gnarn.n<*f.
Here ire
CHALK TALK: MADE EASY

e'se while watching People may seem to forget everything a speaker draw a picture; but they will never completely formade. The young, as well as the old, can get the point if well read pictures ; in fact, pictures are a universal language. They are lie the smile which can be understood by human minds
of diHereat nationalities. The modern moving picture has demonstrated this fact in getting information and facts to immigrant population when attempts through unknown lan-
guages were mtile.
Any person telling a story or describing a scene is in reality drawing a word picture for his hearers; and the more realistic the description, die more perfectly the picture is impressed on
the mind, especially
when
dulk
picture
is
included.
Weil
do
remember
certain teachers,
Sunday school, who
both in public school and knew the art of picturing scenes and
incidents so vividly that the deep impressions they made in my childish mind are just as fresh as if they were received but
yesterday.
Teaching by such methods is an art alniost as old as the It was the one great method used by Christ, who was acknowledged by the learned people of his day to be the Great Teacher. Men of his own time were compelled to admit the power of his teaching; even the chief priests adhistory of man.
mitted that
"never
man
spake like this man."
Christ's parables were word pictures of the most vivid clearThe stories of the Good Samaritan and the Prodigal Son are k&dwn to almost every intelligent person. They are picness.
tured in the mind's gallery In as graphed or painted tSere,
realistic
fashion as
if
photo-
Christ's parables of the Lost Lamb, the Lost Coin, the Sower, the Fig Tree, and the Vineyard are illustrations that are vivid and realistic When he gave the word picture of tbe shepherd leaving the ninety-nine sheep, which were safe in the fold, and going out into the night to ind the erne that bad
TALK USID
IN
TEACH:NC
125
Either erne cf these will rnakg a good program, Tbe beanry cf a SBCTF picture of the picture is the paper. If you -sise save it for near the dosr.
rjûr-ber
Is
tiiii
CD your dxadk-talk tbat tiie praiaisieat pin as t mimber on your
26

was
he demonstrated a panorama of was a common occupation in
lost, strayed away and vivid realism. Shepherding
those days, and nearly everyone knew of it. Many people of the same kind so nowadays would not understand a story chalk and draw a the use were to if die but well; speaker sketch of the sheepfold, of the shepherd going to hunt the lost sheep, and the finding of the lamb, the lesson would be real just as
and his methods, are well worthy must have been an interesting talker, in his original and winning way. He used words and illustrations that the people could understand in order to get the message to them, as, for Instance, asking the woman of Samaria for a drink of water and then telling her about the living water.
Christ's life as a teacher,
of emulation.
He
It was while Peter and James were fishing that Jesus called them to be fishers of men; and after the five thousand had been fed, Jesus declared himself to be the bread of life. Also, when the people were all thinking of die Passover and fee slain lamb, Christ told his disciples that his own body would be broken and his blood spilled for the sins of the world.
The great reason for Christ's words making such a lasting impression upon both old and young was his tactful method, as well as the accompanying spirit of simplicity.
It
behooves
all
who wish
same
to strive to apply the
tactics
to impress truth on their hearers and methods as those of the
Great Teacher; and by the wise use of the crayon, they can
make
lasting impressions
on the
hearers.
Any blackboard or crayon picture that you are able to malr< if it does not have a lesson in it if it does not impress some truth or cause someone to mink differently or more nobly
misses tbc mark; and misses
it badly. But when the chalk accompanies and impresses your point it acts as a climax and rivets the lesson on the minds of the hearers.
CHALK TALK Usi&
i:;
TEACHING
127
TURNOVER STUNTS
dark of
6,
tfac
1.
Ssmshme.
2.
Sbasi*m.
5.
3.
moon.
4.
The two-faced nan.
U&t
fsd
sad
Two
Mtndy
of a kind.
COOO
NIGHT
STUNT
Thar air a number ei "Good Nigh* stunts, of whkfa ooly arc here gr^co. x <M can cisily Aciapt i^pof own IFOCD sfeddk,
'
116311

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,

3 1148 00868 7212

subject for Easter.

you want them. Color the background so

cam use only a portico of the

WILLIAM ALLEN BIXLER

THE WARNER PRESS

other living artist."

to Find Necessary Information

Chalk Talk Made Easy

Chalk Pictures Appeal to All Ages

How to Make a Drawing Board

Record of Ideas and Colors

Colors and Their Meaning

Symbols and Their Meaning

Proper Proportions of the

Horn of Plenty, Easter Lilies

by Wade Smith. Easels and lighting Equipment. Drawing Board

Circles, Ovals, lines

House, Geese, Dog, Chirk, Boj Different Kinds of Trees

Squares Animals.... to Enlarge a Picture

Essentials Only Marks That Signify Action and Suggestion

Simple Figures Representing People

CHALK TALK MADE BASY

Expressions with Hands Hands in Action ~ ....................... - ........ ~..............................

................... . ............................ . .....

Hands in Many Hands and Fist

Positions..... . ............ . ........ ....... ................ ....

Vanishing Points ______________________________________ . 93 Horizon --------------- ,----------- ................ ------- 95

Alphabets __________. Feminine Faces ..,.

____-_________. _______________ .......... ____103

Symbols Syn&ols Symbols

Crosses and Crosses

Grdes .............................................. 107

------ ......... ................................................ 1

Faces, Lemon, Right and Wrong __ _____________________________ . ___________________ 121

.......... . ...... . .......................................

.... ..................... ____________ ...........................

............. . ........... . ..........

Good Night and dosing

....... . ........ .....128

WHERE TO FIND NECESSARY INFORMATION

for permanent use in a classroom ar to make acd how to use, pages 20

purchase, page 26.

Paper proper page 26.

Tools and Equipment

already mentioned; also and hands, pages

for sped a! work and page 21.

also to tint the

entire picture, pages

Practice Sketches form, page 39.

and Mouth, page 87.

taBe program. Practice these

CHALK TALK MADE EASY

Sunday -School Program

CHALK TALK MADE EASY

and wholesome problems.

CHALK TALK MADE EASY

desires to develop his ability as a chalk

talker will find here the

cream of principles necessary for such and all the

vocation or present pursuit

many of them from

there over a period of years

-_. _______ .......... 103

Faces, Lemon, Right and Wrong _________ . _ 121