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Bart in Chalk Talk Performance
CHALK TALK
AND CRAYON
PRESENTATION
A Handbook of Practice and Performance in
Pictorial Expression of Ideas.
by
CHARLES L. BARTHOLOMEW
an
D
ILLUSTRATED
with drczvings by Clare Br'iggs, Sidney Smith, John T.
McCiitcheon, Fontaine Fox, Neysa McMein, Edward
Marshall, Alton Packard, Winsor McCay, "Hap" Had-
ley, Frank Wing, J. W. Bengough, and many other
users of the crayon in public presentation.
an
n
Chicago
FREDERICK J. DRAKE AND CO.
Publishers
P
COPYRIGHT, 1922
By
BART.,
C. L. Bartholomew
Acknowledgement is Hereby Made to the Federal Schools, Inc.,
Minneapolis, for the Privilege of Reproducing from the Course in
Illustrating and Cartooning, Chalk Talk Stunts and Illustrations
from Contributors and Students, Making Use of Drawing in Crayon
Presentation.
Printed in
The United States of America
This little book is fondly dedicated
to the memory of my son
ROBERT H. BARTHOLOMEW
^hose alert mind first conceived distribution of chalk
talk stunts and programs commercially
for general use.
PREFACE
The speaker along any line who uses a story, re-
lates an anecdote or describes a scene, is in reality
drawing a picture with words before his audience.
The use of illustrations is not confined to enter-
tainment. The appeal through the eye is uni-
versal. The lecturer who presents facts in picture
most pleasingly conveys information to others.
The teacher who can visualize ideas is the one
whose lessons will be most enduring, as well as
most attractive.
The reformer or evangelist who can present
truths in picture most quickly attracts attention
and most convincingly arrives at conclusions.
One need not be an artist to convey ideas pic-
torially. The simple diagrammatic picturing of
ideas constituted the printed language of many
primitive peoples.
The lecturer, teacher, reformer or promoter of
thought along any line, whether in business, edu-
cation or entertainment, will do well to get the
habit of carrying a piece of crayon before his
audience, if it is for no other purpose than focusing
attention in the introduction of his subject. Some
of the simplest conventional chalk talk stunts will
bring surprising results in awakening and center-
ing interest. The fact that one does not draw is
no reason for not availing himself of chalk talk.
Anyone who will try can diagram ideas.
For the one who enjoys pictures and likes to
experiment in making them in an amateur way, or
for the beginner in cartoon work or illustration of
any kind, the chalk talk furnishes the medium for
expression which gives him experience in what
people are interested in and laugh at. By actually
drawing out illustrations of ideas before an audi-
ence he gets first-hand knowledge of what brings
results. There is no inspiration like the applause
of an audience. It stimulates originality. Well
known newspaper writers and cartoonists find
public presentation invaluable in gaining them
direct contact with their readers.
The mission of this booklet is to place
in the possession of thinking men and women a
medium of exchange of thought and conveyance
of ideas. It is prepared not merely to stimulate
interest, but to actually start one in crayon pres-
entation, with the conviction that once started,
the use of the crayon in public speaking will be
found an ever increasing asset.
Table of Contents
Chapter Page
I. Chalk Talk Possibilities 13
II. Chalk Talk Development 33
III. Chalk Talk Practice 49
IV. Chalk Talk Equipment 59
V. First Performance 79
VI. Chalk Talk Classification 89
VII. Ten Standard Stunts 103
VIII. Chalk Talk Achievement 125
IX. How to Succeed in Chalk Talk 149
CHALK TALK AND CRAYON
PRESENTATION
Chapter I
CHALK TALK POSSIBILITIES
The term "chalk talk" has been made to cover
any use of the crayon in public.
Very often the chalk does all of the talking.
It is not an essential of chalk talk that the per-
former use spoken language.
Text Figure 1
•Oh Min" by Sidney Smith
Drawing for entertainment is sometimes done
to musical accompaniment. Lettered titles at the
14 CRAYON PRESENTATION
end of the drawing act are effective. Sidney
Smith's "Oh Min!" and Clare Briggs' "Skinnay,
C'mon Over!" plainly lettered above the picture
is enough said.
The combination of drawing and speaking is
much easier than ordinary public speaking. The
ambitious chalk talker with a knack for picturing
what he is talking about, has unlimited oppor-
tunities for the use of his ability.
A well thought out line of talk on any subject,
illustrated now and then by a simple drawing, is
often quite as effective as continuous rapid fire
drawing and speaking.
With ability in either public speaking or pictur-
ing ideas, the other may be acquired very quickly.
The sign painter, card writer, architectural or
mechanical draftsman can make use of his crayon
at once by memorizing a few sentences to fit in
with simplest picture diagrams.
On the other hand, the individual whose train-
ing has brought spoken language into play in his
daily vocation, such as the salesman, the teacher
or the student with class room recitation, can
memorize outlines to be drawn to illustrate his
remarks.
For the average beginner, there is a fascination
about pictorial expression of ideas. In no other
way can one so readily develop ability in ex-
pressing himself as by use of the crayon in
public. Chalk talk teaches originality.
Who Can Succeed? It is not for the highly
trained draftsman or orator that crayon presenta-
CHALK TALK POSSIBILITIES
15
tion is best adapted. The person who can tell an
audience something simply, and picture it quickly,
is most likely to win applause.
Text Figure 2
Briggs and "Skinnay."
To begin with, at least, the chalk talker should
not strive for the spectacular in either picture or
language. Rather let him go about crayon pres-
entation in an easy natural manner, with no
straining for effect. By easy gradations he will
proceed from this line of conversational explana-
tion of casual illustrations to studied picturing.
16 CRAYON PRESENTATION
Text Figure 3
Clare Briggs' Feller Who Needs a Friend
CHALK TALK POSSIBILITIES
n
with elaborate color effects and spectacular light-
ing.
No matter how expert one becomes with the
crayon or how cleverly he can apply colors, he
will always find use for the little diagrammatic
drawings, made plain by a few words or sen-
tences. The entertainer who best pleases people
Text Figure 4
Sidney Smith Portrait of Self and Pitcher Evolution
is the one who uses trick drawings with quick
transformations, and surprising climaxes that take
the audience unawares. Such evolutions must be
carefully studied out in advance, word accompani-
ments memorized, and picture presentation fixed
in mind by practice, so that one can do the stunt
in public in the most casual manner. Going over
a stunt time and again in rehearsal makes clever
public presentation possible for one who has never
previously attempted chalk talk.
18
CRAYON PRESENTATION
Chalk talk has a broader application than enter-
tainment. Neither is it limited to education in
schools and colleges.
i
Text Figure 5
Match-stick Men by John H. Patterson
Reprodoiced by Courtesy of System Magazine
John H. Patterson, founder of the National
Cash Register Company, says: "Business is only
a form of teaching."
CHALK TALK POSSIBILITIES
19
"You teach people to desire your product.
That is selling.
"You teach workmen how to make the right
product. That is manufacturing.
"You teach others to co-operate with you.
That is organization.
Text Figure 6
John H. Patterson Using Chalk Talk in Business Application
Reproduced by Courtesy of System Jklagazine
"To succeed in business it is necessary to
make the other man see things as you see them.
"I hold," says Mr. Patterson, "that one cannot
rely on speech alone to make himself understood.
20
CRAYON PRESENTATION
Diagrams are more convincing than words, and
pictures are more convincing than diagrams.
"A few lines makes a picture — a picture gets
your idea across. I have often heard a speaker
ask: 'Do you see the point?'
"He wants to know if the hearer actually
has the point in eye as well as in mind, that he
understands it well enough to make a mental
picture.
"Well, then, why not draw the picture?
"Instead of asking if the point is seen, why
not draw the point so that it cannot help being
seen?
Prosperity
Thinking Burdened with detsuU
Text Figure 7
Characters Used by John H. Patterson in Business Chalk Talk
Reproduced by Courtesy of System Magazine
"The ideal presentation of a subject is one in
which every subdivision is pictured, and the
words are used only to connect them.
"I early found that in dealing with men, a
picture was worth more than anything I could
CHALK TALK POSSIBILITIES
21
say. Very few people understand words. You
cannot convince a man if he is thinking about
something, different from what you are thinking
about, and it is right there that the spoken words
fail."
Text Figure 8
Replica of Store Interior Used in Business Chalk Talk by John H.
Patterson
Reproduced by Courtesy of System :Maga2ine
The picture brings the speaker and the listener
together. Pictures drawn to word accompani-
ment, that is, chalk talk, is therefore of highest
efficiency in business.
The young banker with a message or with a
knack for entertainment soon holds an enviable
place among his business associates.
22 CRAYON PRESENTATION
Insurance men find chalk talk assists them in
organizing their sales force, and the salesmen
in turn find pencil diagraming of facts and
statistics bring home truths that result in in-
creased sales.
Text Figure 9
Dr. Geo. S. Monson Using Chalk Talk WitKi Stereopticon In Clinical
Demonstration
In the dental and medical professions, special-
ists along various lines use the crayon in clinical
demonstrations, and in lectures before gatherings
of members of their professions. The lecturer
proficient in crayon presentation always attracts
attention to the theories he has to expound, and
is consequently in greater demand.
Business men engaged in manufacturing and
merchandising find unusual use for chalk talk in
CHALK TALK POSSIBILITIES
organization, manufacturing, salesmanship, and
advertising. The hardware merchant with ability
in chalk talk makes a real sensation in a con-
vention of members of the same kind of business.
Charles P. Plumb, Farm
Betterment Cartoonist
Dr. George S. Monson,
Dental Specialist
Reproduced by courtesy of the Federal Schools, Inc.
Along lines of agriculture the chalk talk has
an especial appeal. There is a place for a lec-
turer on farm betterment with the agricultural
association of every state in the union.
In every high school and college, the chalk
talk entertainer finds himself in demand. Cov-
eted places as glee club entertainers are filled
by chalk talk performers.
Teachers in every branch from kindergarten
to university specialists, find the crayon helpful,
Y. M. and Y. W. C. A. directors, Sunday School
superintendents, temperance workers, evangelists,
and ministers, make use of chalk talk to greatest
advantage.
There is an ever-increasing use of crayon pres-
entation by ministers. Rev. Branford Clarke, of
24
CRAYON PRESENTATION
the Pillar of Fire Church in Brooklyn, effectively
uses painting in oil to illustrate his sermons.
Rev. Phillips E. Osgood of St. Mark's Episcopal
Church, of Minneapolis, is a trained draftsman,
using his ability in cover designs for church pub-
lications and in illustrating lesson series. He says
his art training has been most helpful in word
picturing in preaching. He uses chalk talk con-
tinuously in Sunday School work and before Len-
Text Figure 10
Rev. Branford Clarke of the Pillar of Fire Cliurcii, Brooi<lyn
ten classes. In the national convention of his
denomination he is in demand for serious pictorial
presentation before the great children's rallies.
His father. Rev. Geo. E. Osgood, for nearly half
a century rector of Grace Church at Attleboro,
Mass., was one of the earliest users of the crayon.
In England, a drawing, act is quite as common
as the song and dance. The modem vaudeville
manager is keenly alive to the interest in pictures
CHALK TALK POSSIBILITIES
25
drawn before an audience. This kind of enter-
tainment calls for special training. Attractive
pictures drawn to musical accompaniment, with
decorative use of colored lights, calls for no
word accompaniment. Clever drawings of his-
::u^ ■
c^^
Text Figure 11
Edward Marshall's Stage Portraiture of Abraham Lincoln
Reproduced by courtesy of the Federal Schools, Inc.
toric characters in bold black and white contrasts,
or against strong color backgrounds and under
special lightings, win the approbation of the
audience, and have a tendency to raise the
standard of entertainment in the vaudeville house
26
CRAYON PRESENTATION
where shown. ,Big portraits of Washington and
Lincoln invariably call out spontaneous applause.
Illustrated monologue, when bright with pic-
tures quickly drawn, always is acceptable. Short
cuts to unexpected results invariably bring ap-
plause. Quick picturing of well-known comic
characters are hilariously received. Sharp, clean.
Sid Smith Pictures his Famous Character, Andy Gump
black and white outlines depicting action and
caricaturing types are always interesting.
The picturing of an individual from - their
number always tickles the fancy of the audience.
Especially is this true when the subject chosen
is a conspicuous figure in a box or front seat
plainly visible to the remainder of the audience.
CHALK TALK POSSIBILITIES
27
Picturing a striking hat or a bald head or the
selection of two young people seated together
is the cause of especial merriment.
Andy and Min and Little Chester in Earty Stages of Their Devel-
opment by Sidney Smith.
28 CRAYON PRESENTATION
Drawing of an educational nature also appeals.
Modeling in clay or plasticine and landscape
presentations in harmonious blending of rich
color calls forth surprised admiration of a public,
always appreciative of skill and dexterity, es-
pecially if beauty in form or color is presented.
Set numbers with special costuming of artist
and model work out well, but call for scenic
effects, stage settings and ingenious lighting de-
vices. These, however, sometimes bring high
prices and less real skill on the part of the en-
tertainer than actual drawing.
With the same time and effort expended in
preparation on the part of the performer, as
devoted to acrobatic and musical numbers, draw-
ing, acts can be made head liners. The trouble
is people of real ability in drawing are not pro-
fessional entertainers. The professional enter-
tainers know what the public expects in the
way of an act in vaudeville, but too often they
have not given sufficient practice to the actual
drawing. An entertainer with clever monologue
and pleasing personality can use the simplest
of drawing if each sketch carries a catchy idea,
and does not make any pretension to artistic
effects. Quick snappy sketches worked in as a
by-play to monologue are often most effective..
As prominent an entertainer as Edward Mar-
shall has gone through an entire Orpheum
season with as simple stunts as the "soldier, door,
dog." On other tours he has used elaborate set-
tings and large color drawings to musical
accompaniments, with no greater success.
CHALK TALK POSSIBILITIES
29
Neysa McMein, the cover designer for popular
magazines, made replicas of her artistic drawings
of pretty girls such as appear on the Saturday
Evening Post, for entertainment of soldier audi-
ences in France. She found it possible to get
artistic effects with the big inch-square colored
crayons. To be sure of proportions, she planned
SJPCOTTD
COMPLETE srurrp
AS" OJsiGiffALLr z>oiaf
Text Figure 12
Simplest Chalk Talk Stunts— "Soldier-door-dog" in Three Lines
Reproduced by courtesy of the Federal Schools, Inc.
her picture very carefully, spotting in location
of features and proportions in advance. She
took the same pains in preparation of these
hasty presentations as in drawing the pastels
for reproduction. She says results with the lec-
ture crayon are very satisfactory.
Professional entertainment is not necessarily
the ultimate outcome of chalk talk practice.
However, out of those who are making use of
it in school, college and community chalk talk
are to come the entertainers of the future. It
30
CRAYON PRESENTATION
is reasonable that the young fellow who goes
out with his college glee club will gain experi-
ence that applies on the vaudeville circuit. The
college boy with a liking for drawing, who goes
out with the chautauqua organization, is a nat-
Mlss Neysa McMefn, Who Draws Replicas of Her Famous Cover
Designs In Crayon Presentation
Reproduced b\' courtesy of tlie Federal .^'chools. Inc.
ural understudy to the "talent," who does the
chalk talk act. The Y. M. C. A. secretary,
minister or evangelist who uses drawing acts,
may have a message of permanent interest, and
become the big attraction of a big chautauqua
with good financial returns for ideas cleverly
presented.
CHALK TALK
DEVELOPMENT
How Can I Most Quickly and Most In-
geniously Picture An Idea?
That Is the Problem In the Development
of Original Crayon Presentation.
Real Development in Chalk Talk Re-
quires Mental Drill as Well as Training of
the Hand and Eye.
Reproduced by courtesy of the Federal Schools, Inc.
Text Figure 13
Sunflower
Reproduced by courtesy of the Federal Schools, Inc.
Chapter II
CHALK TALK DEVELOPMENT
There is no limit to the improvement that
can be made by practice and actual experience
before an audience. Every new attempt adds
valuable experience, and the preparation for the
use of each new stunt stimulates originality and
leads to further perfecting in this fascinating art
of pictorial expression.
Edward Marshall's Good and Bad Egg
Reproduced by courtesy of the ^Federal Schools, Inc.
It is not the intention in this booklet to ar-
range a series of stunts nor to outline a program,
but rather to indicate possibilities along various
lines, that the reader may select the development
that interests him most. Detailed numbers and
complete programs may be obtained later that
can readily be adapted to individual requirements,
or the ambitious entertainer may originate his
own pictures and word accompaniments following
34
CRAYON PRESENTATION
/dp
Sunflower Development
Reproduced by courtesy of the Federal Schools, Inc.
suggestions of the Ten Standard Stunts outlined
in a later chapter.
With a real desire to make use of simpiy-
drawn pictures, material is available for an
immediate start. Anyone can show the ''soldier
going through a door followed by a dog, in
three lines." The simple expression outlines of
the "good and bad egg" number or the "right
angle introduction" can be easily acquired by
the novice in drawing. Construction of a figure
from an oval, a triangle, a curve, an angle and
CHALK TALK DEVELOPMENT
25
Reproduced by courtesy of the Federal Schools, Inc.
two parallel lines, as in Bengough's operatic
singer, is easy of accomplishment. John H.
Patterson's match-stick men can be made to
picture any situation. .Note how Mr. Bengough
illustrates a "four-act drama depicting the hero
in a single line."
An audience does not demand a work of art
^om a chalk talker. It cares much more for a
quick succession of ideas plainly presented in bold
simple lines. The two faces with a single profile
is capable of a hundred variations. Faces from
letters of the alphabet, animals and people devel-
86
CRAYON PRESENTATION
oped from words, transformations from fruit or
vegetables to the person or creature who devours
them, are the simplest of entertainment stunts,
and yet the most effective.
It takes a mechanical turn of mind rather than
an artistic temperament to develop a turn-over
number like the Soldier-Professor; a punster
rather than a cartoonist to work out plays on
Two Profiles In Single Outline
Reproduced by courtesy of the Federal Schools, Inc.
words like the Pear-Parent creation, and in-
genuity rather than art to create ambidextrous
drawings like the loving cup.
By trying over and over, these things grow
easy. One becomes expert before he is scarcely
aware of it. By actual performance, new ideas
are suggested. First success stimulates new
interest; soon one is relying on things of his own
invention rather than stereotyped numbers which
paved the way to first success, and so without
realizing just how it came about, he is soon an
original producer.
CHALK TALK DEVELOPMENT
37
Practical development in use of the crayon is
well worth the effort. Make the start with assur-
Expresslon Studies
Eeproduced by courtesy of the Federal Schools, Inc.
ance that a little drawing is appreciated. The
speaker with a crayon is always welcome. The
entertainer with a pictured verse or story is
38 CRAYON PRESENTATION
always in demand, and the educator who visual-
izes truths becomes a leader in his profession.
This is no theory or supposition of possibilities,
but a demonstrated fact. It is a new develop-
ment in education. It not only can be done, but
it has been accomplished; not once or twice, here
Five Dots Placed at Random Progressive Development
Reproduced by courtesy of the Federal Schools, Inc.
and there, but continuously everywhere. Specific
examples of these successes are given later.
How shall the beginning chalk talker prepare
himself for an early appearance?
Outlined in these pages are ten standard stunts,
examples of ten kinds of drawings that it is pos-
sible for the beginner to quickly learn to do with
sufficient skill to entertain an audience.
CHALK TALK DEVELOPMENT
39
These are not offered as a consecutive set of
numbers for a finished program, but are given as
examples of the variety offered in basic chalk
talk stunts. If they are to be grouped for crayon
presentation, they must be referred to as a sym-
posium of differing examples of transitions, devel-
^i^
Five Dots Development
Reproduced by courtesy of the Federal Schools, Inc.
opments, evolutions, etc. With this kind of an
explanation, they might be used in entertainment.
A better idea, however, would be to take one
line and develop it with original creations. For
instance, work out the general plan of creating
people and animals from the fruits and vegetables
which go to make up their chief article of diet.
40
CRAYON PRESENTATION
Or develop match-stick men, geometric figures,
and transformation of words and letters into
faces, people and animals.
A series of quick transformations, turn-over
numbers, and evolutions founded upon the ele-
ment of surprise, is another possibility.
A sermon might be preached on the experiences
of' the good and the bad egg, referring to the
tendency to sin in following a line with a down-
ward tendency as exemplified in the bad egg, and
John M. Baer Lemon Development
the Uplifting and cheerful expression that follows
the upward turn toward better things pictured in
the smile of the good egg. For diagramatic
presentation, the old proverb "Straight is the line
of duty, curved is the line of beauty," has possi-
bilities, because it is easy to picture with your
match-stick men the remainder of the adage,
"Follow the one and you shall see the other fol-
lowing after thee." Perhaps, however, no single
idea is more often presented, than the evolution
of the pretty girl from the egg, as in the evolution
of the chicken.
CHALK TALK DEVELOPMENT 41
The foregoing is offered in all seriousness, for
the purpose of stimulating original development
on the part of the reader. It is quite within the
range of possibilities that though he follow not
a one of the detailed drawing acts of this book,
Ernest Fielding Chicl<en Development
Reproduced by courtesy of the Federal Schools, Inc.
they may suggest something else entirely new
and different.
Real development in chalk talk means mental
drill as well as training of the hand and eye.
How can I most quickly, most ingeniously picture
an idea?
That is the problem, rather than how much art
can I display.
What method shall I pursue to keep the audi-
ence thinking along one line while I am develop-
ing a totally different conclusion to the picture
that I am drawing before them?
Some new answer to questions like these may
make its user famous.
How can a few colors be combined to suggest
a landscape or marine?
With how few black marks can a portrait or
caricature be presented?
42
CRAYON PRESENTATION
What blending of tones, outlining of form or
picturing of facts is going to interest, instruct or
amuse ?
These are the questions that the thinker along
new lines in crayon presentation must answer.
Development in chalk talk is not merely a ques-
tion of training the eye and hand, but of thinking
out the plot and planning the act to be presented
in picture language.
John M. Baer Egg-head Development
Crudeness of execution can always be forgiven
if there is a definite plan back of it. Practice
will rapidly smoothen out the crudities of draw-
ing, but no amount of good drawing will hold an
audience for long if there be no point nor plot
underlying the act.
Brightness and brevity are first requisites of
chalk talk. Following, successful first appear-
ances, attempts may be made in the more pre-
tentious phases of the art calling for more skill
in picture making. It is possible to make real
CHALK TALK DEVELOPMENT 43
pictures, while the audience waits and watches,
but it must be borne in mind that the audience is
not greatly interested in merely watching one
draw. It is in the result that the interest is cen-
tered. The wise performer will not too long
postpone the final consummation. No result,,
however striking, warrants the risk of tiring an
S. S. Henry Landscape
audience. A landscape or marine, a striking por-
trayal of a well-known character, or a telling car-
toon may be incorporated at some one point in
a program, but a series of such acts, taking con-
siderable time in their development, cannot fail to
weary an audience.
None should be attempted until after long prac-
tice has made facility in execution certain. A
44
CRAYON PRESENTATION
part of this practice should be with the idea of
concealing final results to as great an extent as
possible. When an audience has a definite idea
of what the finished picture is to be, it loses in-
terest. Interest may be stimulated by leaving
the crowning effect or climax until the last.
Practice of details is of greatest importance.
Only by practice can the chalk talk performer
have the requisite assurance before an audience.
Five Dot Action Study by Ted Nelson
Practice Exercises
Reproduced by courtesy of the Federal Schools, Inc.
Edward Marshari Action Study
Reproduced by courtesy of the Fe-ieral Schools, Inc.
Action Development by Edward Marshall
f;f^Z^i
Ted Nelson Five-dot Practice Exercises
Reproduced by courtesy of the Federal Schools, In\.
TUW, Ri^HTANQLE
G
CHALKTALK
PRACTICE
How Much Practice Am I Willing to Put
On a Few Selected Stunts?
On the Answer to This Question Depends
the Beginning Chalk Talker's Successful
"First Appearance."
"Well Begun Is Half Done"-The Right
Angle Introduction Starts One Right.
V
/\
Chapter III
CHALK TALK PRACTICE
There is so much of interest in the practice of
the outlines of idea-expressing pictures, that we
may well consider how best to go about this
preparation for chalk talk.
Text Figure 14
The Practice Board
Practice on rough sheets of print paper or
American White, held upright on a smooth draw-
ing surface, the same proportion as you are to
use in public presentation. A piece of composi-
tion board, 12x18, is ideal for the purpose. (See
Fig. 14.) The space around a picture has as
much to do with placement as the picture itself.
The proper location of drawings on the sheet
makes for the symmetrical effect of the finished
50
CRAYON PRESENTATION
result. Be sure of this in some way. The inter-
secting lines may be drawn in practice to help
locate the two faces of the Right Angle Intro-
duction.
M
\ c
CLOOf^
Y
s
)?
/
%
\
Text Figure 15
Figure Placement
It is easy to think of the noses of the two faces,
which constitute this number, as the central points
on the two halves of the sheet. Some such fixing
of points, as indicated in Figure 15, in each pic-
ture drawn enables the chalk talk performer to
fix in mind proportions and placement. Some
chalk talkers faintly trace what they are to draw
on the sheets in advance, or indicate by dots
location of essential proportions. It is not wise
to form this habit.
It is not difficult to memorize word accompani-
ment and picture outlines together. The act of
drawing and reciting simultaneously makes each
easier. Once fixed in mind, the combination is
not easily forgotten.
CHALK TALK PRACTICE
u
The memory should not be taxed with details.
The big forms and masses should be the main
study. In drawing the two faces representing
Joy and Gloom, let us start at A, Text Figure 16,
Text Figure 16
Right and Wrong Angle Practice Exercises
where the crayon first comes in contact with the
paper in the first drawing of the Right-Angle In-
troduction. Note the distance to the edge of the
paper, also to the top, being sure to leave room
for the radiating lines about the head of the joy-
ful countenance and the gloom cloud over the
Wronor Angle countenance.
The first line in face No. 1 is from A to C. The
point C is just below the center of the left half
of the sheet. The Right Angle is completed by
extending the line to B, without raising crayon
from paper. The Wrong Angle is next drawn
in one stroke from D to F, then to E. The point
F is in the center of the right half of sheet. In
each picture produced, the final result is effected
52 CRAYON PRESENTATION
by the first point of contact of crayon to the
paper.
A good practice exercise preparatory to using
the Right Angle Introduction is shown in Figure
17. It is a good plan to think of the smile when
drawing the up-turned angle and of a scowl when
drawing the wrong angle. Addition of eyebrows
and cheek lines as shown in Figure 18, heighten
the smiling and scowling expressions. Outlining
Vx^ x\ v/ ^\ x^ /v
^^ /''^ N/ •^ '>^^ x\
N/ XN N/ y^ S/ X^
Text Figure 17
Smile and Scowl Practice Exercises
of heads complete the two expression studies.
The conclusion arrived at is self evident. Good
cheer follows in the wake of the right angle,
while gloom overshadows the wrong angle.
Plays on words may be made in connection
with application of color. Reference can be made
to the chalk talk performance brightening up as
yellow hair is drawn on the right-angle face. As
red is applied to cheeks, comment may be made
about the affair taking on an entirely different
complexioru With shading of the gloom cloud in
CHALK TALK PRACTICE
blue, it is natural to say everyone is blue when
old wrong angle puts in an appearance. A run-
ning comment of this nature, and application of
colors with word accompaniment adds greatly to
the picture presentation.
0"=^ «
'A^
^cJZ-^
Text Figure 18
"T Eyebrow and Nose Line Expression Studies
In a similar manner to the preparation of the
right-angle introduction there can be worked up
picture and patter for a series of consecutive
stunts. It is usually most effective to have at
least three of a general nature in sequence. In
Chapter VII from the ten standard stunts, may
be selected the material for several different pro-
grams. In preparation for public performance, it
Julian Brazelton Illustrating "Keep Away From Tobacco."
Reproduced by courtesy of the Federal Schools, Inc.
is well to drill on related stunts, one after the
other, in the order they are to come in the pro-
gram being rehearsed.
If this is made up of puns and plays on words,
simple evolutions from letters and words, pictures
developed from geometric figures, they should be
64
CRAYON PRESENTATION
practiced upon in groups of stunts of similar
nature. These groups constitute parts which go
to make up a complete program.
The most quoted stunt is the very simple one
of the soldier going through a door followed by
a dog, in three lines, see Figure 19. This is a
stunt most everyone has seen, but it is accepted
Text Figure 19
Soldier-door-dog Stunt
Reproduced by courtesy of the Federal Schools, Inc.
as a traditional number. Thomas Nast used it
after the Civil War, Edward Marshall after the
World War, and with the establishment of world
peace it is equally applicable. It may be used as
a chalk talk stunt out of antiquity, and followed
by a few equally simple numbers.
The practice in drawing these simple outlines
should be accompanied by recitation aloud of the
words explaining them. In no other manner can
a beginning performer hope to be at ease in the
CHALK TALK PRACTICE
56
double concentration required in simultaneously
speaking and drawing.
Only when the patter runs glibly from, the
tongue without mental effort can the artist con-
centrate his attention on the drawing of the pic-
ture. While it is good practice to study out
little drawing acts on a pad with a soft pencil,
and also to recite the patter aloud while walking,
the rehearsal that really counts is the simultaneous
Hollis Clark in Holiday CtiaJk Talk
Reproduced by courtesy of the Federal Schools, Inc.
drawing and reciting of the exact word and pic-
ture combination to be used before the audience.
This cannot be done too many times, and every
time the effort should be to further simplify the
number.
In chalk talk it is the idea that counts. Good
ideas quickly depicted with the fewest possible
lines insure a successful first performance. In
the right angle introduction, for example, the
success of the number depends entirely upon
elimination of every word and line possible. It
will be found by the beginning entertainer that
he has no time for elaborating the faces in public,
so in practice he must not do so, or he will find
himself involved in a long drawn-out act before
56 CRAYON PRESENTATION
an audience whose chief interest is the result, not
the rendition. Confidence, too, comes with fam-
iliarity with the act to be performed.
A gymnast in vaudeville, a sleight-of-hand en-
tertainer, or a vaudeville performer of any kind
takes no chances. Skill of hand, sureness of eye,
and deftness of muscle come by practice. Talent,
personality and ability are discounted by careful
preparation.
Sidney Smith's Chester in Crayon Outline
Every audience expects to be bored during the
introductory remarks. The entertainer who really
does something first crack out of the box is at
once appreciated. This has a reaction on the
performer. Once he gets a laugh, a hand of ap-
plause or a ripple of merriment, he gains con-
fidence in himself. The audience realizes its part
in the game being played, and comes back again
and again with applause at every opportunity, all
because of a first hit made through a careful
working out of the stunts in practice.
CHALK TALK
EQUIPMENT
A Two-board Outfit Leaves One Draw-
ing Exposed While a Second Is Being Made^
Have Paper Fit Board Snugly, So It Can
Be Stretched Smooth for the Drawing Act,
and Used Sheets Quickly Removed.
Supports for Practice Board
In chalk talk practice, a drawing board held firmly in an upright
position is an essential.
The plain supports, Illustrated above, allow room for crayoj.
beneath and in front of drawing surface, making colors readily
accessible in practice.
Reproduced by courtesy of the 'Federal Schools, Inc.
Foldj
ConPfiicrvf
PERPENDICULAR SUPPORT
Chapter IV
CHALK TALK PAPERS, CRAYON AND
EQUIPMENT.
To the uninitiated, information on necessary
materials and equipment for drawing before an
audience is of first importance.
Four sizes of crayon are available for chalk
talk. First the small round pastel sticks, with
Text Figure 20
Bart Tray System
wax in their composition; second, the half-inch
square sticks, three inches long; third, the inch-
square sticks, the same length and lastly, the
two-inch square blocks, six inches long.
The small crayons are good for preliminary
practice. They come in boxes of various assort-
ments and are valuable for experimentation and
preliminary practice on small sheets.
The half-inch square sticks are preferred by
many vaudeville performers where clean-cut out-
lines are the requirement, rather than tones and
60 CRAYON PRESENTATION
masses of color. Cartoonists and sketch men
who find the inch-square size cumbersome get
good results with the little half-inch size. One
reason for this is that such artists are used to
drawing with a point.
The inch-square sticks are more commonly
used. They do not break or crumble under
pressure and are admirably adapted to quickly
laying on tones of color. The lines drawn with
the end of these big sticks are not too broad
for best view of an audience somewhat removed
from the picture.
With familiarity in their use the crayon artist
discovers that he can break-in one of these larger
sticks to his individual use. He uses the broad
flat side of the stick in laying on tone, the flat
end for wide marks of black or solid color and for
thinner lines, the tapering point obtained after he
has worn the stick down to a point. Sticks
thus worn into use may be retained for the par-
ticular stunt for which they have been prepared.
The sight of each one of them suggests the use
to which it is to be put.
Crayon in this size seems to gain a more com-
pact strength in the blocky forms they take on
with wear and certainly do not break under
pressure as do the more brittle half-inch square
pieces, which seem to be more porous on their
surface. Even when worn to half-inch size with
cylindrical form they retain strength and firmness
which cause them to be treasured by their users.
The two-inch square blocks of color are used
by Chautauqua performers who draw on large
CHALK TALK EQUIPMENT
61
expanses of heavy paper in the big tents and
pavilions, where very large audiences congregate.
For the use in ordinary chalk talk they are
ATTACH Your
Board to anv
Table with
QUILTiNq FRAME
CLAr^PS.
The Support-s FOi.DE.O
Text Figure 22
Construction of Plain Supports and Stationary Board
Reproduced hy courtesy of the Federal Schools, Inc.
cumbersome and may be left out of consideration,
unless the artist has a special stunt calling for
quick application of color over large surface.
62
CRAYON PRESENTATION
Crayon may be very conveniently arranged in
a set of trays, with one tray for each stunt, for
rapid-fire work before an audience. Each tray
is labeled and contains just the colors needed
for the stunt at hand. The tray for the Right
Text Figure 23
The Turn-over Board and Combination Supports
Reproduced by courtesy of the Federal Schools, Inc.
Angle stunt is shown in Fig. 20. The blue
stick holds the first compartment on the left
with the flesh tone for faces, orange for hair of
smiling face, white for high lighting and red for
cheeks, in order named. In case of blue and
green, both being used in the same tray, blue
CHALK TALK EQUIPMENT 6|
should be in a compartment to the left and green
to the right to avoid confusion.
The trays are simply partitioned boxes. The
name of the stunt should be printed on the front
of the box and the color of each crayon on the
bottom of the compartment devoted to it. The
various trays of a program may be stacked in a
double pile in a box as shown at left of page 57.
Text Figure 24
Frank Wing Using Combination Supports
The tray contsiining crayon for stunt number
1, the Right Angle Introduction for instance, is
on the top of first pile to the left, the tray for
last stunt or final numbers is at bottom of the
last pile to right. The intervening numbers of
the program will be represented by trays in reg-
ular order in the box, from left to right, back
and forth on the two piles.
By this arrangement there is never any con-
fusion as to what comes next. All the colors
64
CRAYON PRESENTATION
needed for a program or set of stunts are packed
in their place ready for use as needed.
The working out of a program becomes in this
way as nearly automatic as possible. A rehearsal
may be gone through just before a performance
by simply handling the trays one after another
Text Figure 25
Bart Table Stand in Use by Illustrator
and wiping off the colors with a soft cloth, that
they may be clean and ready for use.
This inspection of colors reminds the performer
of the order of stunts and the detail of their ex-
ecution. The handling of the crayon recalls the
use to be made of them without mental efforl".
The act presents itself to the vision of the per-
former, the colors for each number are in place
CHALK TALK EQUIPMENT 65
and in mind to be picked up automatically in
public performance.
A stick of black lays at hand outside the tray.
The box containing trays should be on a small
table to the left of drawing board where each tray
as needed may be quickly picked up and placed
ready for next act.
Text Figure 26
Lawrence Moen Using Table Stand in Crayon Presentation
The removal of the used tray and the stepping
to one side for the new one gives the audience
an unobstructed view of the completed drawing
before it is removed. This act of changing of
trays between numbers gives opportunity for
applause. It is good "stage business."
In practice and performance of chalk talk close
proximity of crayon to the drawing board is of
first importance. A small table placed to left o£
66
CRAYON PRESENTATION
the board is a necessity with whatever kind of
easel, table or drawing board support adopted.
This is your base of supplies. In case of a
Text Figure 27
Clare Briggs Using Bart Easel
board supported above an ordinary table as in
Figure 21, you have a place for crayons just
beneath your board. With this arrangement the
performer transfers the tray of crayons for the
next number from the tray system over to a
position directly under his drawing board where
he can reach them quickly as needed. When
CHALK TALK EQUIPMENT 67
the number is completed he replaces the tray of
used crayon on the small table holding the tray
system and selects the tray for the next number
of his program. It is well in preparation for a
Text Figure 28
Construction of Bart Combination Drawing Table
program to work in this manner keeping the
crayon for each stunt in a separate tray. The
result is an automatic development of a set pro-
gram that leaves no uncertainty when before an
audience.
The detail of the board supports for this kind
of equipment is shown in Figure 22. This sup-
port and the one for a revolving boaKd, Figure
23, has been patented by the author, but the
68
CRAYON PRESENTATION
privilege of constructing one for individual use
of the reader is cheerfully extended. They are
technically referred to as plain and combination
supports. By reversing the revolving supports
on table they can be used for illustrative drawing
as shown in Figure 24.
The combination feature provides not only this
possibility, but also the locking in place of the
crossbar into the uprights of Figure 23, providing
the means of reversing the board for trick draw-
ings and turn-over pictures.
Text Figure 29 Text Figure 30
Ray Handy Using Roll Board in Chalk Talk Entertainment
In spite of the fact that the author has devised
and patented collapsible easels and various
devices for combined use in chalk-talk and
illustrating, the old "plain supports" still fill the
chalk talk requirement most satisfactorily. They
are recommended for early use in practice and
public presentation. A little familiarity with the
CHALK TALK EQUIPMENT 69
use of carpenter's tools will enable the beginning"
artist to set up his own outfit for immediate use.
It is important that the beginning performer
work out for himself or secure a practical board
support to be used in practice as well as in
Simple Shaded Lighting for Chalk Talk Board
public performance, and always make use of
crayon paper and equipment in practice just as
he expects to in performance. By doing this he
does mechanically many acts that would other-
wise distract attention from drawing or speaking.
Board sizes should be made to conform to the
70
CRAYON PRESENTATION
Standard size of print paper; 24x36, 30x44 and
36x48, so that the edge of the paper comes just
to the edge of the board allowing free removal of
used sheets. Clamps and clips recommended will
not attach paper and stretch it tightly across the
drawing board unless the paper exactly fits the
board. When thus arrane:ed there is no hitch
Text Figure 31
Roll Board Construction
when working before an audience, especially if
the performer has used the same crayon and
equipment in practicing for the performance.
By use of both plain and combination supports
a two-board equipment is provided (see page 57).
The large board should be 36x48 and may be
arranged very satisfactorily with a piece of
"compo" board from the local lumber yard. The
smaller board should be 24x36. Reference to
CHALK TALK EQUIPMENT
71
Figures 22 and 23 shows that the large board is
fastened in place by the simple device of screwing
up of step-bolts at the bottom and quilting-frame
Viiiit.ifi'f
Text Figure 32
Construction of Bart Table Stand
clamps at the bottom, while the small board is
swiveled in place by a bolt and thumb-nut, ob-
tainable at any hardware store. Because of this
swiveling arrangement it is best to use a firm
but thin drawing board for the smaller revolving
equipment. To allow the board to turn over
freely, the paper should be attached by means
of spring clips or clamps that do not extend
beyond the back surface of the drawing board
as such projection interferes with the revolution,
of the board.
72
CRAYON PRESENTATION
In Figure 25 is shown the Bart table stand
which combines the use for chalk talk with the
requirement of a swiveling board support for
commercial design and illustrative draftsmanship.
A board support of this nature is in general use
Text Figure 33
Combination Drawing Table in Use in lliustration
by professional artists. While- there are patents
on the upright locking device and the system of
notches by means of which the board is held at
varying angles there is nothing to prevent the
reader from constructing, for his own use, one
CHALK TALK EQUIPMENT
73
of these simple triangular hinged supports, so
valuable in any kind of drawing. Figure 32
shows this form of support in chalk talk use.
For the entertainer or artist appearing con-
tinuously in entertainment, the easel which sets
up directly on the floor after the plan of Figure
27 is most convenient as it is usually difficult to
quickly find a table to which to attach supports
on arrival in the ordinary places of entertain,
ment.
Text Figure 34
Ray Handy in Duluth Chalk Talk
A combination equipment is available, covering
all the above requirements in the Bart table,
shown in Figure 28. While not collapsible it
folds for carrying and is thus available for local
chalk talk uses.
Chalk talk paper commonly used is either
white or gray. The gray tint allows of use of
lighter colors of chalk. It has a rough surface
and may be worked upon for combination of
colors and blending effects for more elaborate
74
CRAYON PRESENTATION
crayon presentation. Packard and other enter-
tainers, however, find shade cloth, such as roll
curtains are made from, an excellent substitute.
This shade cloth is treated to a coat of whiting,
after which powdered lamp black is rubbed into
Text Figure 35
Detail of Lighting with Extension Cord
the surface with a school eraser until it becomes
the gray tone desired. Whiting and lamp black
may be purchased in pound containers at any
paint supply store. The shade cloth thus treated
may be used over and over again and recoated
as needed. It provides an excellent drawing sur-
face for all numbers requiring dark backgrounds
and blending and modeling of colors in picture
presentation. A second drawing may be made
by erasing the first just as in black-board work.
CHALK TALK EQUIPMENT 75
Tooth print, a rough surface newspaper print
paper, is commonly used for practice and public
performance. Its lightness of weight not only
reduces the cost of individual sheets but makes
possible easy conveyance of the greatest number
of pieces.
In practice use may be made of both sides of
the sheet by facing used sides together, as re-
moved from the drawing board. By neatly piling
up in this way, so that the used sheets can be
replaced on the board, a second use can be made
of all practice paper. Only every other sheet
will be drawn upon the second time through, but
by keeping up the process of facing used sides
together as the sheets are removed from the
board there will be no drawing surface wasted.
It takes time to care for paper in this way in
practice, but the economy makes it worth while
in these times of high cost of paper.
Sheets may be fastened to the board at the
top by means of ordinary quilting-frame clamps
and with large spring clips at the bottom, as
illustrated in Figure 21. To remove used sheets,
loosen the clip at lower left hand comer with
your left hand, seizing the paper with the right
and jerking upward with a free swinging motion
that breaks it from the other three fasteners.
The drawing surface must be specially lighted
for the best presentation of color drawings. The
device shown in Figure 21 is practical in con-
nection with the plain supports. It will be
observed that the construction of these supports
sets the board back four inches from the front of
76 CRAYON PRESENTATION
the table allowing space for chalk below the
board and directly in front of the drawing sur-
face. The lighting of his board is worthy of
individual consideration on the part of each
performer and must be adapted to his equipment.
Footlights in the theaters throw the light from
below where it should come from one side or
from above. The spotlight is always very dis-
tracting to work under and should not be used
except for a short vaudeville act. Most theaters
have drop lights which may be lowered just
above and in front of the drawing surface.
The average chalk talker must, however, pro-
vide his own lighting. A bracket clamped in a
position on side and just in front of board or the
floor, some distance in front and to one side,
gets the desired result of screening the light
from the audience and reflecting it upon the
picture being drawn by the chalk talker.
Many chalk-talk performers use tightly
stretched canvas fastened to a collapsible frame
in the place of a drawing board. A roll board
has come into very general use by many enter-
tainers. With the folding easel or supports it
makes an ideal outfit as the paper may be
smoothly protected, and the board, paper, and
supports rolled together into compact form for
carrying. This is illustrated in Figure 30, which
shows Ray Handy carrying his outfit under his
arm after a performance. Figure 29 pictures the
cartoonist using a turn-over board in a Duluth
chalk talk. Figure 31 illustrates roll board con-
struction.
CHALK TALK
PERFORMANCE
In the First Performance, Early Assur-
ance That the Audience is "With You"
Means Everything to the Beginner.
A Good Introduction Accomplishes This
In the First Five Minutes. Play Safe In
First Public Performance By Using the
"Right Angle Introduction," Word For
Word.
Set Up Your Board in an Out-Door Studio Wfiere You Can Practice
Drawing and Speal<ing Just as You Expect to Use Them in Per-
mance.
Chapter V.
FIRST PERFORMANCE
In making a start in chalk talk, the performer,
crayon in hand, stands with expanse of white
paper, before an expectant audience — What pos-
sibilities !
Upon the result of this first appearance depends,
to a large extent, his whole success in chalk talk.
Definite, conclusive success in first tryout depends
entirely upon careful preparation of a few simple
numbers.
With successful consummation of the beginning
program before an audience comes a brightening
up of the whole situation — hard work is forgotten,
undreamed-of possibilities open up, and the novice
continues the work with a zest hardly imaginable
during the early practice.
Particular care must be taken to have a bright
introduction. A good start with a laugh and a
hand of applause is half the battle. It gives the
entertainer assurance and makes an audience com-
fortable.
Drawing with the lecture crayon while the
audience waits and watches is very different from
any other kind of draftsmanship. In actual per-
formance the chalk talker realizes that special
preparedness in conveying definite ideas in the
shortest possible time is what counts.
It is not the act of drawing, no matter how
clever, that wins favor with an audience. The
80 CRAYON PRESENTATION
audience is not interested in merely watching one
draw. The result is what counts.
It is this very fact that furnishes the oppor-
tunity to the novice. He can quickly acquire the
knowledge necessary to give his first fifteen or
twenty minute program. If he will concentrate
on a good introduction and a half dozen simple
stunts, he can go before an audience with assur-
ance of success.
Text Figure 36
Right Angle Smile
So important is a catchy introduction that a
detailed outline of this opening number will be
helpful. In practice exercises the detail of draw-
ing the pictures for the right angle introduction
was elaborated. We will now consider a word
accompaniment for actual performance.
The prelude to the introduction is an obvious
bid for applause, but it must be borne in mind
that the audience welcomes the opportunity to
share in a performance. The introductory re-
CHALK TALK PERFORMANCE 81
marks on stepping before an audience run as
follows :
"It takes more than one to do anything that
is worth while.
"I am here this evening on the express under-
standing that YOU are to be responsible for
one-half of this performance.
"If it is a success, the credit is MINE. If it
is a failure, YOU are to blame for it. (Pause.)
Text Figure 37
Wrong Angle Scowl
"To show you YOUR part in the work we
have before us, I am going to use a little plain
geometry."
As the right angle is drawn, the comment
should be made:
"This is the RIGHT ANGLE!"
Quickly stepping to the other side of the
board, the performer says as he outlines the
iown-turned mouth:
"And this is the WRONG ANGLE!"
82 CRAYON PRESENTATION
Now there is nothing on the drawing board
but the two bent lines of the two faces to be
developed, and nothing funny has been said.
The simple announcement has been made of what
has been drawn as it was drawn, and yet the
spirit of anticipation stirs the audience, and a
ripple of merriment runs over the room, so ready
are people to be amused.
After quickly drawing the cloud of GLOOM
in blue, the same color may be spread on the
cheeks of the wrong angle face with the com-
ment :
"I dwell first on the wrong angle." Suiting
action to the words, the scowling face is next
drawn, and turning from the wrong angle face
with the comment: "The only thing to do with
a face like that is to forget it as quickly as pos-
sible," the performer says, as he draws the
orange hair over the right angle smile:
"But when THIS FACE puts in an appearance
in any social gathering, things begin to brighten
up, and the whole affair takes on an entirely
different complexion."
The cheeks are colored red as the word "com-
plexion" is used, and the performer continues:
"When the right angle puts in an appearance
on the face of an audience, the cartoonist works
more willingly and cheerfully and is willing to
stay right with you until the janitor locks the
door for the night.
"Then your part in this chalk talk is very
simple :
CHALK TALK PERFORMANCE
83
**Just smile a smile, and as you smile, another
smiles.
And soon there's miles and miles of smiles,
And life's worth while, if YOU but SMILE!"
It has been said that a good beginning in per-
formance is half the battle. There is nothing in
the foregoing word accompaniment but what any-
one can quickly memorize to recite while drawing
the simple outlines of Figure 16.
Vmaud/
7f0.2,
Text Figure 38
Carey Orr Optical Illusion
The Right Angle Introduction has been given
thus in detail on the theory that well begun is
half done. It is adaptable to any line of chalk talk
which may be used by any performer. If faithfully
followed, he will be well on his way toward a suc-
cessful performance.
For first performance, choose quick, catchy
trick drawings and master the few stunts to be
presented, leaving experimentation in variety of
84 CRAYON PRESENTATION
possibilities until after acquiring knowledge, from
actual experience of what an audience is inter-
ested in and laughs at.
The audience is the beginning chalk talker's
school, and he should go to it early if he would
save himself waste of much time and effort.
There are things to be learned from an audience
that can be brought home to the chalk talker in
no other way. One of these is that a bold, strong
outline worked out with snap and dash by the
rankest amateur is more effective than a faint or
indefinite drawing, though of real artistic merit,
hesitatingly elaborated. Landscapes and preten-
tious color blendings which seem just the thing
in advance, prove much too elaborate and tedious
when attempted in platform work. The wise
beginner will, then, omit any attempt at exhibi-
tion of skillful drawing or artistic showing of
landscapes, pretty girl heads or elaborate por-
trayals, until after a first tryout. He must learn
the demand of an audience by working before it.
In this way as in no other will he learn what to
work for and what to leave out. From the
"Standard Stunts" he may select the simple,
quick transformations and evolutions best adapted
to his individual requirements, and from this safe
beginning build up an individual program, orig-
inating and elaborating in the light of experience.
An audience sees a picture very differently
from a distance of fifty feet from that seen by the
artist three feet from the board. A picture
properly drawn for view from the longer distance
CHALK TALK PERFORMANCE 85
will look much better to the audience than to the
performer.
The performer must bear in mind that it is
the big shapes and main proportions that catch
the eye of the audience. It is well to go to a
distance of twenty-five or thirty feet for a look
<3a.
Two HEARXS
THAT BEAT —
AS OWE
Two S0UL6
"WITH "BUI A
S. S. Henry Two Hearts Stunt
at practice drawings, that all unnecessary detail
and confusing combinations may be omitted in
making the drawing before an audience. It is
surprising how much can be left out of a picture
and still have it quite as good from the view the
audience gets of it. The best chalk entertainer
is the one who leaves out every superfluous detail.
The better the drawing, the more satisfactory
the result, of course, and there will be plenty of
opportunity to use expert drawing later as the
ambitious entertainer progresses. There is a
limitless field for display of artistic ability, and
originality may be given widest range after a
little platform experience, but to avoid relearning
much and avoiding blunders that might prove
disastrous, the beginning performer is cautioned
to stick to tried and tested forms of presentation.
86 CRAYON PRESENTATION
The "Standard Stunts" of a later chapter furnish
this short cut to chalk talk presentation.
One of the first requisites of good platform
appearance is assurance. Confidence comes with
familiarity with just the stunts one is to do, and
the words he is to recite in stepping out before
his first audience. It is quite possible to confuse
one's self by undertaking too great a variety of
drawings.
For the first performance, then, let the beginner
learn where every line and spot of color is to go,
and thoroughly memorize the words that are to
be said while drawing each picture. Once he
has done this, he can go before a gathering of
people, large or small, with a confidence which
sets them at their ease, ready to settle down to
a good time, and everything will take on a sur-
prisingly cozy and comfortable air, which will
insure a kindly reception of individual numbers.
No doubt the first audience sitting out there
awaiting your appearance thinks nothing unusual
is going to happen. In fact, they rather antici-
pate being bored by a long rambling introduction.
It is up to you to surprise them. That is what
the right angle introduction is for. It is planned
to enlist the immediate co-operation, and by so
doing, the interest of the audience.
After this a succession of quick evolutions,
transformations and stunts in which the audience
takes part, holds their interest. Then an unex-
pected ending of the program, while they are
interested and waiting for more, and the first
performance is a success.
CHALK TALK
CLASSIFICATION
Trick Drawings Dexterous Drawings Sentiment
Stunts — Illustrations and Portrayals — Crayon Cartoons
Alton Packard's Vanity Fair
Reproduced by courtesy of the Federal Schools, Inc.
A CHURCH CHALK TALKER
Rev. Phillips E. Osgood, of St. Mark's Episcopal
Church, Minneapolis, in chalk talk illustration of
"Superstitions."
Reverend Osgood uses chalk talk before chil-
dren's Lenten classes and in Sunday School illus-
tration. His large colored drawings before na-
tional gatherings of his denomniation are of high
artistic merit as well as being of special interest
to his audiences.
His crayon presentation and chalk talk has
brought this leader of his denomination into great
demand for addresses before great rallies of chil-
dren. As high as 3,000 children have gathered
for a single performance.
Chapter VI
CHALK TALK CLASSIFICATION
Chalk talk stunts may be arranged under five
main classifications.
First — Trick Drawings, which are planned to
surprise by unexpected development.
Second — Dexterous Drawings, prepared to ex-
cite admiration by the skill and dexterity of the
performer.
Third — Sentiment Stunts, to awaken cherished
memories or stir emotion.
Fourth — Illustrations and Portrayals, to present
a scene, illustrate a narrative or portray people.
Fifth — Crayon Cartoons, to picture an idea,
impress a truth or mould opinion.
TRICK DRAWINGS
One can learn to do trick drawings just as one
learns to do slight of hand. They are often no
more than the clever combination of lines to
picture a play or words. The fact that they are
not really drawings or in any sense works of
art, makes them not a whit less interesting. For
the average beginner, trick drawings are the open
sesame to chalk talk and the artist desirous of
using his ability in crayon presentation makes
a mistake if he deludes himself with the idea that
90
CRAYON PRESENTATION
this simplest use of the crayon is unworthy of
his effort. Some of the best entertainers are
effective because they confine themselves to quick
production of rapid-fire climaxes, only possible
by means of trick drawings.
Under the classification of trick drawings come
all transformations, in which a drawing of one
object is changed to something entirely different
as in the cherry cocktail where the glass of liquor
is transformed into the too frequent imbiber.
f^^sJ
Text Figure 39
Frank King Cherry Cocktail
Letters of the alphabet are changed into people,
words into animals and geometric figures com-
bined to take on human form. Fruits and
vegetables are transformed into people and an-
imals that are wont to eat them, and a pretty
girl evolved from an egg. Evolutions and trans-
formations without end may be worked out by
the inventive chalk talker.
A picture completed in one position, by in-
genius construction, may represent something
entirely different when reversed. Such drawings
are known as "turnovers" and require a revers-
ible board for their most satisfactory presentation.
CHALK TALK CLASSIFICATION
91
Under this group may be classed the develop-
ment of two faces from one profile, as in the old
professor whose profile slightly modified and
DrvjrzopimnT
OLDNSNfOR
fscorrj) DSVFIOPHUNT
Text Figure 40
Soldier Professor Turn-over
Young m^h roRACX'ioif
92
CRAYON PRESENTATION
turned up side-down develops into that of the
youthful soldier.
Text Figure 41
Uncle Sam's Folks, by Alton Packard
Reproduced by courtesy of the Federal Schools, Inc.
The list of trick drawings would include, if
amplified, most of the popular chalk talk stunts
in general use. The foregoing give a basis upon
which the ingenious user of the crayon may build
original numbers.
1
t
5=
Text Figure 42
Gettin] a Man's Number
CHALK TALK CLASSIFICATION 93
DEXTEROUS DRAWINGS
The skilled draftsman may win applause by
various forms of quickly-drawn pictures. This
takes intensive drill upon speedy rendering of
clever picturings. Alton Packard's types in
Uncle Sam's Folks and Edward Marshall's Indian
head are examples of real skill in picture presenta-
tion.
Text Figure 43
Edward Marshall Indian from Artist's Original
Smoke pictures drawn by vaudeville and lyceum
entertainers by erasure of the soot from a white
enamel surface and rag pictures made up of pieces
of colored cloth excite the admiration of the aud-
ience because of the unusual in their execution.
A direct use of art principles is employed in
drawing landscapes and marines, employing per-
94
CRAYON PRESENTATION
spective and correct construction to carefully
planned and quickly executed picturing of attrac-
tive scenes and well-drawn heads and dashing
figures.
Text Figure 44
The Springtime Reminiscent Scene by Alton Packard
Reproduced by courtesy of the .Federal Schools, Inc.
Some artists have the knack of drawing ambi-
dexterously. The knack of using right and left
hand simultaneously can be acquired. This ability
exhibited before an audience invariably brings
applause.
SENTIMENT STUNTS
There is no more telling use of the crayon in
public presentation than the color elaboration of
scenes from boyhood or early associations that
through awakening of memory stir the emotions.
Alton Packard is a master at picturing reminis-
CHALK TALK CLASSIFICATION
95
cent scenes as illustrated in his picture of spring
time.
Text Figure 45
Sidney Smith's Brool<lyn Bridge
Other entertainers illustrate popular songs or
make elaborate drawings in colors to musical
accompaniment under the play of colored light-
ings of the vaudeville houses.
Drawing of scenes or landscapes to suggest
old associations or stir remembrance may be ef-
fectively done to piano or song accompaniment.
96 CRAYON PRESENTATION
While in trick drawings the object is rapid-fire
presentation of simple drawn numbers, in stunts
of sentiment, careful preparation must be made
of one drawing, and interest centered on its pro-
duction through a considerable period of time.
Only by careful study of the subject can the
beginning chalk talker hope for success in this
advanced use of chalk talk art.
ILLUSTRATIONS AND PORTRAYALS
The portraying of historic characters such as
Lincoln and Washington is a legitimate field for
the crayon entertainer. Life-size portrayals of
such characters elicit applause when completed
in strong colorings under brilliant spotlighting.
J. W. Bengough, the Canadian caricaturist,
through a long public career, had a happy faculty
of picturing prominent people in correct likeness.
Thomas Nast, following the Civil war, enter-
tained vast audiences with his striking cartoons
and caricatures. Packard's portrayals of people
and scenes are examples of well-drawn color pro-
ductions of never-failing interest.
The lecture crayons are capable of harmonious
blending and brilliant contrasts. The color artist
who will put his best into crayon presentation
can in a very brief interval present striking pic-
tures for the approval of an audience. Before
essaying it, however, the beginner in art adapta-
tion to chalk talk should study the rudiments of
color composition or content himself with a quick
copy of some simple scenic effect or striking
portrait.
CHALK TALK CLASSIFICATION
97
CRAYON CARTOONS
Under this class come many introductions
and final numbers. The right angle introduction
and similar preludes to chalk talk performance
cartoon the idea of the success sure to follow a
cheerful reception of the entertainer's efforts and
the depressing effect of a gloomy expression on
the face of an audience.
"Hap" Hadley in His Act for Greenwich Village Follies
The speaker who pictures the effect of the
right and wrong ways of doing things, or disas-
trous results of any form of government or
administration of affairs, is a cartoonist pure and
simple. By ingeniously arranged figures, humor-
ously presented, he can show the tax-payer,
broken down under too heavy burdens, the voter,
coaxed into action by a much desired bait, or the
deteriorating effect of intemperance, greed or
dissipation.
98
CRAYON PRESENTATION
The reformer as well as the entertainer finds
good use for the cartoon in picturing an idea.
The educator, business organizer or salesman can
each present his views most effectively through
comic presentation, while the reformer or politi-
cian can often win allegiance to his cause by
humor, where fierce denunciation would fail.
The Sea of Life by Rev. Branford Clarke
Serious pictorial presentation in times of great
social or political upheaval has always proven
most effective in moulding public opinion. The
cartoons of a Nast or a Raemakers are quite as
forceful as the editorials of a Greeley or the ser-
mons of a Beecher.
Under the heading of Chalk Cartoons come
the business comparisons of John H. Patterson.
J. W. Bengough's pronouncement in picture on
single tax and temperance, which followed earlier
efforts as an entertainer, were cartoons of high
order; Carter Beard's chalk talks were sermons
CHALK TALK CLASSIFICATION 9&
in picture, and the lecture illustrations of Alton
Packard often take on the element of editoral
comment.
For the trained cartoonist there is a wonderful
opportunity in the chautauqua and lyceum field.
Alvan C, or as he is better known, "Hap" Hadley,
has carried this a step further in his clever pictur-
ing of notable comic characters of the Sunday
supplements, in his act with the Greenwich Vil-
lage Follies. Mr. Hadley started entertainment
work in Oklahoma as a Bart chalk talker. His
comics appear in the New York Sunday supple-
ments.
During a long career in every section of the
United States, Mr. Packard has appeared in lec-
ture courses and lyceum entertainment and before
vast audiences in chautauqua tents and pavilions.
In crayon cartoons is possible the acme of
achievement for the chalk talker. They not only
entertain but instruct. Very often they combine
the elements of all five classifications and call for
the best ability of the trained artist.
The cartoon is but a means of expression. The
crayon cartoonist conveys to an audience the
results of observation, and pictures conclusions
arrived at by keen thinking. The message he
brings is strikingly presented.
As a preacher or orator trains himself in rhet-
oric and elocution for public speaking, so the
crayon cartoonist trains for pictorial presentation
of ideas by practice in what is most effective in.
drawing for chalk talk.
Leading to this most general use of the crayon
in public, defined under the heading crayon car-
100 CRAYON PRESENTATION
toons of our fifth classification, come the other
four uses of the crayon in public, previously out-
lined. Any one of them may be employed in
cartoon production.
One need not be a skilled draftsman or trained
artist to picture ideas through cartoons. Mr.
Patterson's match-stick men are employed in yet
simpler form by many Sunday School workers
and Bible teachers in diagrammatic presentation
of lesson truths and they may be utilized by any
educator to visualize a situation.
The crayon cartoon is for everyone, from the
most skilled cartoonist to the beginning chalk
talker. Anyone can picture ideas by cartoon
methods in his own individual way if he will but
try. Once started, training leads to more elabor-
ate drawings. The chalk talker must train
himself in public presentation. The fact that he
can do this ever so crudely in chalk talk and still
satisfy his audience gives him the chance at
pictorial expression through crayon presentation
not afforded by any other form of illustration. It
also incites him to originality as does no other
form of drawing or writing, as he has inspiration
afforded by contact with his audience.
He learns first hand what people like, what
they are interested in and what they laugh at.
It is the best possible school in originality. Let
the beginning artist resolve that he will, by sys-
tematic training, advance from simple outlines
to more skilled draftsmanship and his chalk talk
may lead to highest forms of pictorial and literary
expression.
TEN STANDARD
STUNTS
A^K
/''^^A ^tA JVo ^^ 'N^ •
Sid Smith Alphabetic Faces
Chapter VII
TEN STANDARD STUNTS
There is an infinite variety in the way various
ideas may be simply pictured. Each performer
modifies a stunt to his own interpretation of it.
In this way the same stunt appears almost totally
different in the hands of different chalk talkers.
Text Figure 46
Sidney Smith Presentation of Soldier-door-dog
For this reason, standard stunts are available and
may be adapted to individual use with the assur-
ance that they will appear new with the new
mode of presentation.
STUNT NO. 1 — Simplest Line Drawing
Soldier — ^Door — Dog in Three Lines
Thomas Nast and a host of followers have,
through succeeding generations of chalk talkers.
104 CRAYON PRESENTATION
given the Soldier-Door-Dog in three lines as
shown in Figure 19. Sidney Smith found a new
way of picturing the door in one line with three
right angles in it as in A, Figure 46, and his in-
terpretation of the Soldier-Door-Dog drawing
complete appears as in Figure 46-B.
In drawing this stunt, the announcement is
made: "The simplest of all chalk drawings is
about to be drawn, the picture of a soldier going
A* 2TO.Q. ^B
Text Figure 47
Bengough Geometric Figure Development
through a door, followed by a dog, in three lines.
'The door !' " As the word door is said, the rec-
tangle A, Figure 46, is outlned in one mark.
"The soldier!" With the word soldier, the bay-
onet is drawn. "The dog!" As the word dog
is used, the curved tail of the dog is shown. By
way of apology for so simple a stunt the comment
may be made: "That stunt is so simple it's
almost simple. It is really used as a prelude to
something a little more modern."
TEN STANDARD STUNTS
105
STUNT NO. 2 — Geometric Figures
The Operatic Singer. By J. W. Bengough
The human figure may be produced from
geometric figures. Note the oval, square, tri-
Text Figure 49
John M. Baer Transforms the Square into Honest Uncle Sam,
Fig. 48, and the Bulldog into the Politician, Fig. 49
angle, curve, right angle, and two straight lines
of A, Figure 47. From geometric figures set
down in the above order, J. W. Bengough quickly
constructs the operatic singer of B, Figure 47.
106
CRAYON PRESENTATION
This geometric evolution is one from the
"Simplest Line Series" of the famous Canadian
cartoonist and chalk talker. On page 101 is a
direct reproduction from the Bengough crayon,
and shows the real skill of the cartoonist quite as
fully as a more elaborate production.
Text Figure 50
Andy Gump in Cfialk Taik
STUNT NO, 3 — Letter Transformation
AlpFiabetic Faces
The rapid-fire drawing of similar combinations
of lines and figures to picture people and animals
in caricature, works out well as a section in a
chalk talk program.
The chalk talk entertainer can develop for
himself faces from the various letters of the
alphabet. Almost every chalk talker using this
stunt has his own code.
TEN STANDARD STUNTS
107
The faces from letters shown on page 102 are
the ones used by Sidney Smith, who makes quite
a feature of this stunt by calling on someone
from his audience to come up on the platform
and outline a letter from which he afterwards
evolves a comic face.
Text Figure 51
Sidney Smitli Develops Min from Letter
Other entertainers put the letters down from
the suggestion of the audience. Sometimes three
letters are set down as called for and the faces
worked out in rapid succession. An underlying
flesh tone beneath the letters helps in producing
the faces later.
STUNT NO. 4 — Turn -over Transformations
Coon — Moon Faces
The development of two faces with one profile
furnishes the basis for interesting chalk talk de-
108
CRAYON PRESENTATION
velopment. The "Dark of the Moon" stunt
shown in Figure 52, from the Federal School
Course in Illustrating and Cartooning, is an ex-
I —
Text Figure 52
Dark of the Moon Stunt from
the Federal School Course
Reproduced by courtesy of the (Federal Schools, Inc.
Text Figure 53
Harold Liscombe Development
jsEci^uir
Text Figure 54
Ted Nelson Turn-over
cellent example of this form of reversible profiles.
With this as a suggestion, students of the course
submit original developments from which has
TEN STANDARD STUNTS
109
been selected the very direct and simply-drawn
coon-moon stunt, by Harold Liscombe, of Tor-
onto, of Figure 53.
Using a front view instead of a profile, Ensign
Ted Nelson produced The Naval Recruit, Figure
54. In Figure 55, he is shown in the act of draw-
ing this number in connection with his duties as
a recruiting officer.
STUNT NO. 5 — Fruit and Vegetable Transformations
The Pear — Parent Number
Text Figure 55
Ensign Ted Nelson Using Chalk Talk in Naval Enlistments
Another number selected from the "We Are
What We Eat" program of the Federal School
Course is the evolution of the Parent from the
Pear, Figure 56. In this series, the underlying
idea is the evolution of people and animals from
-3 „ Text Figure 56
^ear Parent Stunt from Federal Schools Course In Illustrating
and Cartooning "
TEN STANDARD STUNTS
111
the fruit and vegetable that goes to make up their
chief article of diet.
The combination of picture and verse is a feat-
ure of this series. The idea is adaptable to a
serious turn in connection with orcharding and
phases of horticultural development. For a pro-
gram to be used in rural districts and farm bet-
terment cartoons it is a most interesting theme.
Simple stunts may be developed along this line
by the reader for individual programs.
STUNT NO. 6— Indian Head
Dexterous Drawing. By Edward Marshall
Text Figure 57
Edward Marshall in His Famous Color Vaudeville Production of
the Indian Head.
Reproduced by courtesy of the Federal Schools, Inc.
112
CRAYON PRESENTATION
Working with colored crayon to the beat of
tom-toms, Edward Marshall produces an Indian
head, using something over 700 lines in 70 sec-
onds. See Figure 43.
Colored lighting and music may be improvised
in amateur presentation of similar drawings of
picturesque types of people with national airs for
accompaniment. Mr. Marshall is shown in his
act in Figure 57.
STUNT NO. 7— Patriotic Number
Eagle — Uncle Sam Evolution
^:TmSA6Z£-mULrTVPICAL QFAMIRICA
Text Figure 58A
From drawings of birds and animals may be
evolved human characteristics and vice versa.
The Uncle Sam head from the outlines of the
TEN STANDARD STT'NTS
113
eagle, Figure 58, were first produced by a Fed-
eral School student, Lynn C. Rose, published
originally in the Bart Patriotic Program, widely
Co2^J?LzrT£iD ^TOTiT
Text Figure 58B
distributed during the World War under Y. M. C.
A. and U. S, Government committees on pub-
licity and entertainment.
114
CRAYON PRESENTATION
Hon. John M. Baer, the Congressman cartoon-
ist, used this development in patriotic chalk talk
in soldier addresses and entertainment in Wash-
ington, where his chalk talks were in great de-
mand. His interpretation of this stunt is simpler
of execution, showing small head of eagle quickly
developed into Uncle Sam.
STUNT NO. 8 — Ambidexterous Development
The Loving Cup
Text Figure 59
Two Faces Developed from Outline Ambidextrously Drawn
Keproduced by courtesy of the Federal Schools, Inc.
TEN STANDARD STUNTS
115
The person who can use either hand with equal
facility is spoken of as being ambidexterous.
Ambidexterous drawing, or the use of both hands
simultaneously, is used by comparatively few
draftsmen. Anyone can train his left hand to
draw the reverse of the line being sketched with
the right. On this possibility are founded a few
ambidexterous chalk talk stunts, such as the Lov-
ing Cup of Figure 59. The stem of the cup is
GOOD I^IGHT
KUKBER.
Owe Dia^w^ine
OOMPLCTED
Text Figure 59A
Ambidexterous Number from Outline of Candle Stick
Reproduced by courtesy of the Federal Schools, Inc.
drawn in such a manner as to outline two profiles
simultaneously. Their development into faces
follows the completion of the loving cup proper,
which can be made to appear to be the main
feature of the number, until the moment when
the faces are unexpectedly developed. By using
a candlestick instead of a loving cup, a good-
116
CRAYON PRESENTATION
night number may be evolved from the faces of a
young man and young woman, see Figure 59A.
STUNT NO. 9— Chalk Talk Portrayal
3^
Text Figure 60
Bart Portrait by Wing.
The portraying of an individual from the audi-
ence is a phase of crayon presentation that will
be worked out in about as many ways as there
are entertainers.
Two examples are here given. The first, Fig-
ure 60, is a realistic caricature of the author by
Frank Wing. It is only a slight exaggeration of
main characteristics.
TEN STANDARD STUNTS
117
Text Figure 61
Sid Smith Chalk Talk Caricature
Reproduced by courtesy of the Federal Schools, Inc.
lia CRAYON PRESENTATION
The Other is a very broad caricature by Sidney
Smith of an individual from his audience, at a
Rotarian Club banquet, Figure 61. Mr, Smith is
very successful in greatly exaggerating some
striking attribute of a selected character. In this
case, the tall pompadour came in for special at-
tention. It may, in another case, be a very bald
head or red hair or big glasses or long legs. The
artist makes small pencil sketches in advance,
which he follows in working out the big cari-
cature before his audience.
STUNT NO. 10 — Picture and Verse Combination
Woman, Lovely Woman
The drawing of a picture to recited verse or
solo accompaniment may be made very effective.
Such drawing to vocal accompaniment of popular
songs may be accomplished by the same person
if the performer is gifted with a good voice and
musical training. If not, he must call a second
party into the act.
The chief feature, however, is the picture pres-
entation. The drawing should possess some ele-
ment of humor, surprise or attractiveness. Just
drawing an illustration of the lines is not sufn-
cient.
The "Woman, Lovely Woman" example from
the author's individual repertoire is here shown,
with the proviso that it is not to be used in public
presentation without special arrangements. Text
Figure 62A shows original figure of Robinson
Crusoe, which is gradually transformed into the
lady in the completed development.
TEN STANDARD STUNTS
119
Its reason for success is the
unexpected development of a
lady at the seashore from Rob-
inson Crusoe, and the timely
application of topical verses to
woman's prominence in affairs.
The recitation of the seventeen
verses allows time for trans-
formation and coloring of pic-
ture.
Text Figure 62
WOMAN, LOVELY WOMAN
Oh, Woman, Lovely Woman,
Since first this world began
You have ruled it most adroitly,
Through your humble servant, man.
120 CRAYON PRESENTATION
A captain may capture a city —
A king be placed on the throne,
But we know the one who will rule it
Is the woman who stayed at home.
A mayor may be elected,
A governor come to the chair,
A president be selected,
And nobody seems to care.
But the country never is easy
Until someone out of the throng,
Answers the fateful question,
"To what church does his wife belong?"
Mere man may pay for the groceries
From out a fat check book,
But we know the one we must look to for meals
Is, after all, the cook.
The question is often put to you,
"Did William write the Shakespeare play?"
I hardly think Bacon did it.
But Mrs. Shakespeare may.
Higher critics have revealed to us
A thing hitherto kept dark.
While old Noah doubtless built it,
Mrs. Noah governed the ark.
When to future generations
The story they come to tell,
'Twill be Mrs. McGinty sought the watery depths
In her spacious diving bell.
TEN STANDARD STUNTS 321
D. A. R.'s will tell the story
Twenty-two ten, or there about.
How Paulina Revere roused the natives
In her electric runabout.
The boy stood on the burning deck,
Did you ever hear such rot?
From most recent information
'Twas his sister who got so hot.
Here I am giving a chalk talk
And hoping to make a hit,
But I know if I gain my purpose.
It's through the women back of it.
Now we come to old Crusoe,
The hero of this tale,
And the telling of the story
Fairly makes one quail.
A desert island's nothing.
But think of the fateful plot.
How very, very lonesome.
Where woman speaketh not.
It really is too much to believe.
We scarcely can take it in.
I've thought it over carefully.
It couldn't have been a him.
I never liked the Adam story.
It more reasonable seemed to me,
That Eve was first in the garden
And Adam shook the apple tree.
122
CRAYON PRESENTATION
And when youVe scanned this closely,
You'll find beyond a doubt.
Robinson Crusoe was a woman,
Who in search of a man set out!
Bart and His Illustration of Woman Lovely Woman.
CHALK TALK
ACHIEVEMENT
In No Other Field Can Artist or Enter-
tainer so Quickly Arrive at Individual At-
tainment as Through Use of the Crayon
Before An Audience.
"Hap" Hadley and Happy Hooligan One of the Popular Comic
Characters Produced in His Drawing Act in Musical Comedy.
^x^; ^^jr;.j>^
'^
>^*^
r
John T. McCutcheon Characters
Chapter VIII
CHALK TALK ACHIEVEMENT
Achievement in chalk talk began in America
with Thomas Nast, in the United States, and
J. W. Bengough in Canada. The chalk talks
given by them w^ere the big picture shows of
their day and they played to packed houses.
c?^xWi-«*.- .-..—,.«, -, — V
M hin ^^ 1
^/^//^/^
Text Figure 64
"Drawing a House" Stunt by Thomas Nast
Nast Sketch of himself reproduced from Albert Bigelow Paine's
book 'Thomas Xast. His Period and His Pictures." Courtesy of
the Pearson Publishing Co.
One evening as Thomas Nast looked out over
an audience that taxed the capacity of the audit-
orium where he was appearing, an introduction,
often used by him later, flashed into his mind.
Stepping to the board he roughly sketched a little
building and looking out over the audience once
more, remarked:
"Who says I can't draw a house?"
12Q CRAYON PRESENTATION
There was a big demand for the crayon draw-
ings of Nast and Bengough. At the end of their
performances their drawings were bid in by mem-
bers of their audiences at prices ranging as high
as seventy-five or eighty dollars.
Text Figure 65
J. W. Bengough
Their ability to draw portraits and illustrations
before an audience was regarded as phenomenal
and it was not until vaudeville houses began to
put on entertainment programs that chalk talk
performances became at all general. Carter Beard
and a few other lecturers appeared in Lyceum
tours, delighting school children by drawing in
school sessions with blackboard presentation.
CHALK TALK ACHIEVEMENT 127
Mr. Bengough had a fine tenor voice and sang
accompaniments to his illustrations. As a young
man, comic presentation and telling caricatures
of prominent people kept him in demand for fre-
Text Figure 67
Altoji Packard
Reproduced by courtesy of the Federal Schools, Inc.
quent tours on both sides of the line. Later he
developed forceful cartoons of serious import.
They were drawn large in color and for a long
period set the standard of artistic merit in chalk
talk production.
Alton Packard cartoon comedies next came into
prominence. Nor does he confine himself to the
128 CRAYON PRESENTATION
humorous in chalk talk. His serious crayoti pres-
entation is of inspiring value. Mr. Packard makes
a profession of entertainment. He appears con-
tinuously, returning season after season to the
same Lyceum courses in the winter and Chau-
tauquas in the summer. Spring finds him filling
early Chautauqua programs in the South. He
Text Figure 68
John T. McCutcheon
travels North with the warm weather, covering
engagements from coast to coast and in the fall
starts the rounds once more in Lyceum lecture
courses.
Packard's crayon drawing is of highest order.
He works on three big screens with eight-foot
square expanse of drawing surface, under his own
lighting equipment, cleverly arranged for most
CHALK TALK ACHIEVEMENT
129
telling effect. His brilliant color productions are
drawn on the heavy prepared cloth, described in
a previous chapter. These highly finished land-
scapes and reminiscent scenes take considerable
time in their development, a rapid fire patter per-
tinent to the subject being kept up meanwhile.
The completed picture appears artistically draped
and specially lighted.
Text Figure 69
Frank King
Reproduced by courtesy of the Federal Schools, Inc.
On the other easels are heavy rolls of rough
surface print paper, upon which black and white
sketches of types are rapidly drawn one after
the other. The large size of the sheets used and
the triple board arrangement allow the audience
a continuous view of the Packard productions.
130 CRAYON PRESENTATION
In Chicago Sidney Smith, Clare Briggs, Carey
Orr, Frank King and John T. McCutcheon have
been in demand for chalk talk performance, be-
cause of the popularity of their cartoons and
comics. Mr. McCutcheon has filled entertain-
ment dates with regular booking agencies, prov-
ing very popular before college audiences and in
Text Figure 70
Sidney Smith
Reproduced by courtesy of the Federal Schools, Inc.
lecture courses in the territory where his car-
toons are followed.
Clare Briggs and Sidney Smith frequently ap-
peared together before Mr, Briggs took up his
residence in New York. "The Sunken Ship" was
produced by these two humorists. Mr. Smith
drew a golden frame, announcing, "My friend,
CHALK TALK ACHIEVEMENT
131
Mr. Briggs, is as famous as a marine painter as
cartoonist, only it is not generally known. He
will now produce his famous painting, the sunken
ship, in one line." Mr. Briggs smeared a little
blue crayon across the center of the space within
the frame, made a wavy line across the top of the
Text Figure 71
Crayon Drawing of Andy by Sid, Smith
blue tone, bowed and retired. Mr. Smith an-
nouncing: "Gentlemen, ladies, you have before
you the masterpiece, 'The Sunken Ship.' The
ship has sunk completely out of sight, therefore
you don't see it."
Another famous simplest line drawing is Carey
Orr's family of four in one line. Readers of
132 CRAYON PRESENTATION
newspapers are very much interested in seeing
the popular cartoonists and watching the produc-
tion of their favorite characters. Since Mr.
Briggs has been syndicating his cartoons through
the New York Tribune he has made extended
tours of the West, thus keeping in touch with
Text Figure 72
Clare Briggs
Reproduced by couTtesy of the Federal Schools, Inc.
his old constituency. Sidney Smith has appeared
in vaudeville houses in cities where the Gumps
are especially popular, the audiences taking
great delight in seeing Andy appear in the orig-
inal under the artist's crayon.
Mr. Smith works on heavy gray matts, making
use of white and light colors in his crayon pro-
ductions. He works on long upright panels, three
feet in width, giving room for leaving several
drawings before removing the sheets.
These artists are in demand as after-dinner
speakers and before club organizations, both in
CHALK TALK ACHIEVEMENT 133
Chicago and the cities they visit in entertainment
work.
Among the younger cartoonists using chalk
talk is Chas. P. Plumb, who started daily car-
toon work on the Drover's Journal and in Com
belt dailies. He later syndicated his cartoons
Text Figure 73
Charles Plumb
Reproduced by courtesy of the Federal Schools, Inc.
through the Illinois Agricultural Association and
is now carrying on farm betterment cartooning
and illustration with the National Farm Bureaus.
After leaving the University of Missouri, where
he illustrated college publications, Young Plumb
went out as property man with a Chautauqua
crew. One afternoon the regular performer failed
to put in an appearance, having missed the train
at the previous stop. Rigging up an easel from
the lid of a rough box from the furniture store,
the crew man went on with an original chalk
talk. It so happened that the manager of the
educational department for Redpath's was in the
134
CRAYON PRESENTATION
audience and offered the youthful cartoonist a
position giving preludes the following season.
Crayon presentation has been one of the big
factors in the young cartoonist's rapid advance-
ment. It has helped win him distinction as an
authority in farm betterment. His cartoons have
been widely distributed and reproduced in lead-
ing national reviews. Country Gentleman re-
cently called on him for a cartoon illustration.
Text Figure 74
( [ Fontaine Fox
Reproduced by courtesy of the Federal Schools, Inc.
- Fontaine Fox characters in real life appear in
' the movies in the Toonerville Trolley. The orig-
. inator of this unique idea is represented before
'big audiences by his characters, which also ap-
' pear in his humorous cartoons. Geo. McManus
appears in person, presenting by means of chalk
talk the comic characters of his Bringing Up
Father feature.
Winsor McCay was regularly employed as a
chalk talk entertainer on the Keith Circuit and in
Text Figure 75
Fontaine Fox Characters
Reproduced by courtesy of the Federal Schools, Inc.
136
CRAYON PRESENTATION
New York and Chicago vaudeville when he hit
upon the invention of animating drawings. It
was in connection with vaudeville work that his
famous animated cartoon, "Gertie," was created.
This was not Mr. McCay's first movie production,
as he had previously animated little Nemo and
Text Figure 76
Winsor McCay
Reproduced by courtesy of the Federal Schools, Inc.
Other juvenile characters from his colored supple-
ment pages in New York dailies. It was in the
Gertie stunt, in which the artist appeared in per-
son, that the possibilities of animated cartoons for
entertainm(;nt in movie houses was first brought
to the notice of managers and a new use of draw-
ing created.
In larger towns and cities not only cartoonists
and newspaper illustrators appear in chalk talk
but writers make use of it as well. In Philadel-
phia, J. A. Cunningham appears in illustrated lee-
CHALK TALK ACHIEVEMENT 137
tures in connection with his humorous writing
and illustration. In Duluth, Ray Handy, for-
merly cartoonist, now business manager of the
News-Tribune, appears occasionally before civic
organizations and local entertainments with his
crayon cartoons. In St. Paul, Frank Wing,
Windsor McCay's Gertie Figure, First Animated Cartoon
Reproduced by courtesy of the Federal Schools, Inc.
sketch man for the St. Paul Dispatch, occasionally
appears, and Arthur McCoy, illustrator for the
Pioneer Press, is equipped for public presenta-
tion, while Thomas Kelly, of the Minneapolis
Journal, makes frequent appearances in both
cities. Perry Carter, cartoonist for the Minne-
apolis Tribune, left that position for lyceum and
entertainment work.
The writer has all his life made a special study
of crayon presentation, making a start in chalk
talk performance when a school boy. As first
138
CRAYON PRESENTATION
page cartoonist on the Minneapolis Journal, there
was a continuous demand for school, college, and
Y. M. C. A, appearances and numerous short
trips into surrounding states were made to fill
lecture dates and Chautauqua engagements. It
has been a great pleasure to initiate others into
chalk talk performance. Among the first of these
was R. C. Bowman, nationally known as cartoon-
Geo. S. Monson in Landscape Presentation
ist of the Minneapolis Tribune. Although on
rival papers, we frequently appeared together,
making the most of the supposed rivalry between
our cartoon mascots, the dog and gopher, which
appeared in our cartoons. A four-round prize
fight on the sections down the length of a long
drawing board especially pleased our audiences.
W. A. Frisbie, well known editor and humorous
writer acting as referee for one of these events.
CHALK TALK ACHIEVEMENT
139:
capped the climax by declaring the event "a
draw." Seconds were usually selected from the
audience, whose duties it was to fan the contest-
ants in their corners between rounds.
Profiles of each other were drawn from shad-
ows cast on the drawing board by the spot light
or some reflector. Bowman's profile was easily
Perry Carter and One of His Characters
Reproduced by courtesy of the Federal Schools, Inc.
converted into a good likeness of Bryan, while
mine was made over by Bowman into a caricature
of President McKinley.
We would prevail upon the local minister or
school superintendent to come on the platform
and hold a wadded newspaper to cast a shadow
which was quickly outlined by one of us while
the other traced the outline of the gentleman
holding the object. Some tough character was
likely to evolve from the shadow of the news-
140
CRAYON PRESENTATION
paper, probably a prize fighter, whereupon we
would unfold the paper and call attention to the
fact that it was a sporting page and caution our
, host against keeping such literature in his church
Text Figure 77
Bart in Y. M. C. A. Performance
or school. At other times one of us would unfold
the paper containing our rival's cartoon and ex-
plain the unfortunate affair as having happened
because of taking the wrong newspaper.
In a Y. M. C. A. entertainment, during the
war, Hugh Hutton, one of my later day stu-
dents, was given a farewell rehearsal, on his de-
parture for France. A prelude to this event was
given by six young ladies of the Y. W. C. A., each
CHALK TALK ACHIEVEMENT
141
of whom had prepared one of the Basic Num-
bers for the occasion. The Government Commit-
tee on Publicity later distributed Bart Patriotic
Programs for use of camp entertainers in the
Text Figure 78
Bart In Outdoor Chalk Talk
United States and overseas, supplying the basis
for programs used by many performers who had
to fit into the work on short notice.
Young Hutton, holding a position as telegraph
editor and cartoonist on the Nebraska State Jour-
nal, at Lincoln, and giving occasional chalk talks,
fitted into overseas programs on ten days' notice.
An early enlistment in Minnesota had resulted in
the loss of a leg in the service, but he followed
his regiment, the First Minnesota Field Artillery,
into Germany notwithstanding.
142
CRAYON PRESENTATION
• On the trip over he gave the Saturday evening
program on board ship, carrying Y. M. C. A.
canteeners, Red Cross workers and professional
entertainers and theatrical producers. In Liver-
pool he appeared before a gathering of seven
Text Figure 79
Hugh Hutton in Overseas Entertainment
nationalities, as his chalk talk was the only lan-
guage everyone could understand.
So successful was the young entertainer in
London hospitals, the "Eagle Hut" on the Strand
and in France and Germany, that he was given
opportunity to tour the British Isles for an En-
glish booking agency. One of his overseas stunts
CHALK TALK ACHIEVEMENT
143
was the drawing of the picture of a vessel coming
into New York harbor to song accompaniment,
Homeward Bound, by members of the concert
company with whom he was touring. Soon after.
Hutton
Text Figure SO
in Chalk Talk Entertainment
however, general orders were issued forbidding
reference to homegoing.
In a demonstration of his Lincoln drawing for
one of the leading American Chautauquas, his
draftsmanship was highly commended. This
drawing is produced by erasure of black charcoal
with which the rough ingrain wall paper upon
which the portrait is being made is coated. Wall-
144
CRAYON PRESENTATION
paper cleaner is used to get the high lighting for
the result desired.
Carl Nelson, superintendent of schools at
Moulton, Iowa, uses chalk talk entertainment in
Chautauqua during summer vacations and in con-
nection with school work during the school year.
He finds the crayon a splendid adjunct of public
Text Figure 81
Overseas Stunt by Hugh Hutton
speaking and predicts greater use of it in educa-
tion as well as entertainment. During his col-
lege course at Lawrence University, Young Nel-
son spent vacation in Chautauqua performance,
gradually rising from $25 a week and expenses
to over $100 per week and an ever growing de-
mand for his connection with Chautauqua organi-
zations.
CHALK TALK ACHIE\'EMENT
145
J. Allen Troke, a minister of Clarkfield, Minn.,
appeared in his first chalk talk at Hayfield, Iowa,
in December of 1915. Le»s than five years later
he had made the transition to lecture work,
broadening his sphere of influence and netting an
income of $125 per week.
Text Figure 82
Hutton's LJncoIn for Crayon Vaudeville
Reproduced by courtesy of the Federal Schools, Inc.
Fred W. Park is making interesting use of the
crayon in Y. M. C. A. educational work in the
Oregon Institute of Technology at Portland.
John M. Baer, cartoonist for LABOR in Wash-
ington, for two years the cartoonist congressman
from North Dakota, made his entry into prac-
146
CRAYON PRESENTATION
tical politics with his chalk talk ability, and to
use his own terms literally "drew his way into
Congress."
Text Figure 83
Rev. J. Allan Troke
Reproduced by courtesy of the Federal Schools, Inc.
J. M. Baer. Cartoonist-Congressman
HO W TO SUCCEED
IN CHALK TALK
Through chalk talk and crayon presentation, there
is opportunit}' for you to win distinction in your
present vocation, and lay the basis for highest suc-
cess in a broader field.
F\?iCft FIRST,'
v\C
Edward Marshall in Patriotic Vaudeville
Reproduced by courtesy of the Federal Schools, Inc.
Carl Nelson, Chautauqua
Entertainer
Hap Hadley Sketch Artist
in Musical Comedy
Edwin Bloom, Cardwriter Who Finds Chalk Talk Makes Life More
Worth Living
Chapter IX
HOW TO SUCCEED IN CHALK TALK
AND CRAYON PRESENTATION
Editor's Note. — The preceding chapters in this book hav©
been written in an impersonal way, for the general reader.
In this final chapter I am going to talk to you, who are in-
terested in making actual use of chalk talk and crayon pres-
entation, in the first person. It has been my privilege to
write, rewrite and revise, over and over, twelve text-books
on Illustrating and Applied Cartooning, for the Federal
Schools, Inc., Minneapolis, conducting correspondence
courses of drawing. I believe one reason tor their great suc-
cess is the fact that I talk straight at the students. So I
will follow the same plan with you. — Bart.
Success can come to you in chalk talk and
crayon presentation just as it has come to
others, if you will but make a try at it.
To best outline what I expect of you, I must
first tell of my work in directing correspondence
study that students may make a practical use of
their ability in drawing. In editing the Course
in Illustrating and Cartooning, I outline studies
to be followed by the student, and in the lesson
criticism which I conduct in connection with
trained specialists in various lines of draftsman-
ship, I suggest practice exercises that lead by
progressive steps to skilled development.
The success of hundreds of students all over
the world in making practical application of
their drawing by this method, causes me to
believe that one can say more in print and
say it better than in spoken language. I find
I am able to tell students in printed text and
150 CRAYON PRESENTATION
typewritten pages of letters, essential facts, and
by continuous co-operation bring them into the
desired use of their ability in drawing. In this
I am aided by examples from leading illus-
trators and cartoonists, and contributions by
authorities on basic draftsmanship. We of the
faculty of the Federal Schools have come to
believe that the logical way of teaching draw-
ing is by means of illustrations and carefully
written text explaining them. Results justify
these conclusions.
. .After all, it is up to the student to train him-
self by following a plan which he maps out for
himself, or which is outlined for him by some
one who has been over the same ground and
who can bring the experience of leaders in the
profession to the aid of the beginner. It is
logical that a student of draftmanship can be
best told how to go about his drawing by show-
ing him the standard productions of the best
artists in a similar line of work. What is yet
more important is to suggest methods by which
he can himself originate.
Another element that enters into home
study by correspondence, that I believe to be
most essential, is the inspiration which a con-
scientious instructor can give students who be-
lieve in him. Over and over again have I had
young fellows tell me: "I accomplished thus
and so because you gave me the confidence to
undertake it."
One woman writes: "The interest you have
manifested in my work has been a great in-
HOW TO SUCCEED IN CHALK TALK 15i:
spiration, because you know it seems to bring'
out the best in one, to have somebody show
they believe in your ability and success, which
causes you to push on and attain your aim and
ambition."
Nobody dreamed of the possibilities of chalk
talk development through printed direction
until the Bart system of charts, pictures and
word accompaniment was distributed. I simply
had confidence that others could do what I had
been able to accomplish before an audience, and
provided definite stunts, which I had found
successful. In sending out my system of chalk
talk origination and Basic Numbers for practice
and public performance, I never overlook the
opportunity of inspiring the novice with con-
fidence in his ability to do things which so many
others, no better qualified, have accomplished.
Now to come to the case in point: what can
you get out of this booklet on chalk talk and
crayon presentation?
My hope is that it will start you in public
presentation at once, and that once started you
will, by the suggestions offered, work out for
yourself an individual use of chalk talk. Into
its pages I have endeavored to condense sug-
gestions on every use of the crayon, with
examples of the work of many leading enter-
tainers.
It has been compiled to suggest rather than
to instruct in detail. The Chalk Talk Classi-
fication of Chapter VI and the Ten Standard
Stunts of Chapter VIII are to help you select
152 CRAYON PRESENTATION
the kind of chalk talk you want to do. The
drawing of the right Angle Introduction stunt
is given in detail in Chapter III and the word
accompaniment in Chapter V.
Take this introduction for a beginning, build-
ing up your own program from the simplest of
the Ten Standard stunts, working out the kind
of a program that appeals to you most.
Put in as much as you can of your own as
soon as possible, but in the beginning be con-
tent to use drawings and word accompaniment
in the simplest and briefest form.
Select, for instance, the alphabetic faces, and
follow them up with a few simple line stunts,
beginning with the soldier-door-dog and ending
with Mr. Bengough's operatic singer, from the
oval, square, triangle, etc. In doing this, dwell
upon the suggestive quality of lines. Then
allow your audience to take a hand once more
by calling someone from their number to place
five dots at random on the board, assuring
them you will draw a figure in action with his
head on one of the dots, his hands on two
others, and his feet on the remaining two, as
indicated in Figure 84. You will need a little
preliminary practice to do this quickly.
A drawing in colors of the Indian head after
the Edward Marshall suggestion may have
musical accompaniment, or you may perhaps
evolve Uncle Sam from the eagle in a patriotic
number, or perhaps, if proficient in portraiture,
you may undertake a head of Lincoln or Wash-
ington.
HOW TO SUCCEED IN CHALK TALK
153
One turnover may be undertaken. The coon-
moon face, Figure 53, is a good one with which
to start. The reversible feature should be kept
as a surprise. If using but one turnover number,
the sheet may be torn from the board and held
upside down before the audience, until you equip
yourself with a reversible board.
3—
=T.-.2
Text Figure 84
Ted Neison Five Dot Cfialk Talk Stunt
Reproduced by courtesy of the Federal Schools, Inc.
The quick evolution of a good night number
from the candle stick as shown in Figure 59A,
may give you quite as satisfactory results.
It is not my purpose to bind you to any set
program or stereotyped numbers, but rather to
give you the suggestion for your own develop-
154 CRAYON PRESENTATION
ment. Practice will make easy the simple draw-
ing requirements, and a tryout before an audience
will give you the test of your efficiency and
show you what to omit and what to develop.
From the numbers included in this booklet
may be built up for yourself a program similar
to the Little Program of simple numbers of
Division Three of the Course in Illustrating and
Cartooning.
Not long since, I received a letter from C.
Vance Thompson, of Princeton, W. Va., which
read: "Division Three was a Godsend in my
case, in this way: Late one evening I received
a request for a chalk talk. I marshalled my
meagre supply of numbers, but found them lack-
ing the particular stunts needed. At 9:00 o'clock
I received Division Three. By 10:00 o'clock I
had incorporated new stunts, and by 4:00 P. M.
had whipped the program into shape. At 8:00
P. M. I presented my act to the assembled
teachers of Marshall county."
Percy Hoffstrom writes: "The first program
I gave was before an audience of 600 at the
Seattle Press Club. Since then I have per-
formed at political meetings, local movie houses,
and entertainments of various kinds."
Ivan Zengler used the chalk talk of the course
to establish him in a musical chalk talk act with
the Kenton Revue, upon completing Division
Three. After a year's experience in vaudeville,
he returned home to finish his correspondence
training in drawing for reproduction.
These instances of the use others are makinsf
HOW TO SUCCEED IN CHALK TALK 155
of the Bart Chalk Talk System are quoted in this
chapter on "How to Succeed" as examples of the
varied uses to which chalk talk is being adapted
by different students.
No matter what your vocation or present pur-
suit, there is some immediate use to which you
can put your crayon. Of course, there are certain
callings where chalk talk is especially adaptable.
In high schools and colleges everywhere students
are learning the technicalities of drawing for
reproduction, making application by drawing
the cartoons and illustrations for school pub-
lications. There are a still greater number mak-
ing an early use of drawing in chalk talk and
crayon entertainments. The instructor capable
of pointing the way to young high school and
college students is a better teacher. We have
many such teachers as students of Illustrating
and Cartooning.
J. P. Carson, of the University of Georgia Glee
Club, toured the state in chalk talk with only a
few days preparation. Prof. Samuel C. Hamm, of
De Pauw University, has the course for training
students under his charge for glee club work. He
is adept himself in pen cartoons and drawing for
reproduction. Frederick M. Lobdell, president of
the Indian School at Chin Lee, Ariz., is in great
demand in the state because of his ability in chalk
talk presentation.
Edwin Bloom, a professional window trimmer
in Valley City, N. D., finds chalk talk "the means
of getting more out of life in a community." Big
offers in cardwriting from larger cities do not
156 CRAYON PRESENTATION
tempt young Bloom, as he says he would not
give up the opportunity of meeting people in a
business way in the actual selling of goods. The
chalk talk, he says, carries the same thing a step
further, as public appearance with his crayon
gives him the chance of meeting and making the
acquaintance of the largest number of people in
community work. As he says, the use of chalk
talk helps one to get the most out of life.
Chas. F. Wantz, a young banker, of York, Neb.,
who studied drawing under my direction in the
Federal School course, writes: "Since entering
the ministry, which call I answered rather unex-
pectedly, I desire to thank you for your part in
getting me interested in chalk talk, for I assure
you it is a great asset to my sermon work. I am
much more efficient because of this talent which
you helped me find and develop."
Levi Gitchell, another business man of Neb-
raska, uses chalk talk as an interesting side issue,
touring towns of Nebraska and neighboring states.
Wilbur H. Giddings, of Americus, Ga., made a
start as crew boy for the Redpath Chautauquas
and soon fitted into showcard work in the adver-
tising department, and chalk talks for the
children's hour.
W. M. Sullivan, a Montana insurance man,
makes use of chalk talk in organization of sales-
men, and appearance before conventions.
Dr. E. V. Edmonds, a veterinarian of Mount
Vernon, Wash,, feels that his business success
and acquaintanceship has been materially assisted
by crayon presentation.
HOW TO SUCCEED IN CHALK TALK 157
Dr. J. W. Crawford, a dentist of Frederick,
Wis., uses the crayon to great advantage in
clinical demonstrations and in illustrated addresses
before dental conventions.
These are but a few illustrations of the varied
uses to which the crayon is being adapted in
entertainment, education and business. The chalk
talkers are not different in general ability from
yourself. Specific instances have been quoted
from various professions to show how general is
the modern use of crayon in community life all
over the country.
In none of these cases were the chalk talkers
gifted artists or experienced entertainers. They
simply took advantage of the modern system of
acquiring the basis of crayon presentation, and
built up for themselves an individual program
which brought them distinction and remuneration.
What they have accomplished has been dupli-
cated by many others all over the United States,
with scattering cases of unusual achievement in
various quarters of the English speaking world,
in Australia, New Zealand, Canada and the vari-
ous island possessions of the United States and
Great Britain.
From this group are being developed the lec-
turers, entertainers and gifted specialists in edu-
cation and business.
In a previous chapter was told the story of
Hugh Hutton, who fitted quickly into overseas
entertainment because of basic chalk talk train-
ing in connection with his high school course and
beginning newspaper work. An account also
158 CRAYON PRESENTATION
was given of how Charles Plumb advanced to a
position among the American cartoonists from
a beginning in chalk talk, and still uses illustra-
tion in lectures for farm betterment in connection
with syndicating of cartoons for the National
Farm Bureau. There are opportunities for a
cartoonist on rural subjects with agricultural as-
sociations in every state in the Union. How
Congressman Baer made his way from cartoonist
to a place in the House of Representatives by
means of chalk talk in a political campaign is an
interesting episode in the history of chalk talk
and crayon presentation.
These striking instances of chalk talk develop-
ment are coming from among the beginning
users of the crayon, quite as frequently as from
trained artists. You may have every other quality
for success excepting practical application of
drawing to the particular thing you are doing or
are most interested in. Special training in draw-
ing, development in self-expression, and origin-
ality will follow the beginning in chalk talk.
We will take it for granted that you will not be
satisfied with your first crude attempts at draw-
ing. That is a good indication, and you will have
plenty of opportunity to improve your draftman-
ship as you proceed with your chalk talk.
There will be times when the word accompani-
ment you improvise will seem inadequate. There
are available definite stunts, numbers and pro-
grams if you feel the need of them later. What
you need right now is the experience of using the
HOW TO SUCCEED IN CHALK TALK 159
simplest kind of stunts before a friendly audience.
Such audiences are awaiting you in your home
community. You would not find them available
in the big art centers. Prepare yourself in con-
nection with school, business or social organiza-
tions made up of people whom you know best
and who are most interested in you. and be ready
when the big opportunity comes to you, just as
were Hugh Hutton, Charles Plumb and John M.
Baer.
As I said in an early chapter, with successful
consummation of the beginning program before
an audience comes a brightening up of the whole
situation. No matter what development you con-
template or what course of training you may have
in mind as valuable or necessary for the ideal
result, take my word for it and make an early
appearance with material at hand. After this
practical start you will know better what the
requirements really are. The biggest item for
your success in Chalk Talk and Crayon Presenta-
tion is to make a beginning, not next month or
next year, but now. The little book in your hand
will help you do this.
FOR CHALK TALK MATERIALS AND EQUIPMENT, ART
GOODS OF ANY KIND— STUNTS AND PROGRAMS, WITH
WORD- ACCOMPANIMENT.
Address BART SUPPLIES
7 South Sixth street, Minneapolis, Minn.
Price List On Request
The Federal School Course
in
Illustrating and Cartooning
By Correspondence Study, is the ideal method
of learning how to make practical application
of your ability and liking for drawing.
Let Us Tell You About It:
You would highly prize the opportunity
to call upon leading cartoonists and illustrators in
their studios and to view latest examples of their
work. You can accomplish the same result by
sending for the Federal School Catalogue, "THE
ROAD TO BIGGER THINGS."
If interested in developing yourself in drawing
for newspaper or magazine illustration, cartoons,
comics, animated art, chalk talking or card writing,
write today for this prospectus of possibilities in
every phase of free hand drawing — ^It costs you
nothing but the asking.
FEDERAL SCHOOLS, INC.
61 Federal Schools Building— 323-329 HFTH AVENUE, SOUTH
MINNEAPOLIS, :: :: MINNESOTA
University of California
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