Omaha daily bee., 1896-03-08
HOW TO DO 1T.

HOW TO DO 1T.
then showed him what | meant, and, be-
ing a bright, intelligent fellow. he immedi-
ately caught my idea. The result was a de-
cided success. My friend drew and colored
the pictures before the eyes of his audience,
being careful to go over the ground rapidly,
to make himself Ineligible and introduce as
many palpable hits as possible. To see the
parts of the pictures start from the charcoal
as he moved 1t rapidly over a large sheet of
paper, to see apparently unrelated parts easily
and dexteriously connected, to make a sym
metrical whole, to have sprung upon them
additional lines, after the drawing seemed
complete. giving 1t by an unexpected turn a
new significance and character very different,
perhaps, from that 1t at first had, proved a
source of such unfailing and rare new pleas
ure to the audience, from the hushed expec-
fancy Of the beginning to the uproarious APP
plause at the end of the entertainment, that
doubt II one there wished himself away
or gave a thought TO the resorts he usually
frequented in search of amusement.
The secret Of the whole affair is as simple
as II Is effective. 1t consists In having the
outlines of the pictures drawn upon the paper
with a hard lead pencil. At night, by arti-
fetal light, or even by daylight, the penciling
entirely disappears at a little distance, but to
one standing nedr enough it can be seen
with ease and the comparatively faint gray
lines followed by heavy dark ones from a
stick Of charcoal or a crayon. The trick,
though explained to an audience after the
performance, does not seem to make 1t less
Interesting or lessen their enjoyment.
A BOY CAN GIVE THE LECTURE.
Such an entertainment is especially adapted
to schools, particularly Sunday schools, being
in every way unexceptionable and giving
opportunity for very effective work In teach
ing facts and morals. A few plain direc-
items and a skeleton OF such a lecture will
make 1t possible for any person Of ordinary
education and intelligence. however nnac-
quainted with drawing, to give a very en-
joyable chalS-talk.
brownish-yellow wrapping paper, the exact
number to he regulated by the number of
pictures you expect to draw and the size
by the number OF your audience or their
distance from you. In making your drawing,
ordinary sheets OF about thirty by fifty or
sixty Inches Will do very well, though smaller
ones will answer for a single class or a
limited audience. OF whom none are more
distant than fifteen or twenty feet, The
paper should be moderately heavy, so that
II will bear handling without tearing. Such
paper can be had in New York for about Z
cents a pound, Provide yourself with a
dozen or so French sticks of charcoal. such
as are used by artists In sketching, and a
box Of such colored chalks or chalk crayons
as are used In drawing upon blackboards.
You viii also require a frame. or stretcher.
covered With canvas or heavy muslin, OF
the same size as the paper upon which you
Aat fRAfAn ~ 'f'
this frame. After the outlines are drawn
with a hard pencil upon the sheets, they
must be collected in the order in which the
pictures drawn upon them are to follow
each other In your lecture. securely tackled
10 the frame, and the frame firmly fastened
to the easel. AS each picture Is completed
IL Is loosed from the lower tacks and thrown
over the frame. A small stand or table
should be at hand to hold the chalks apd
crayons.
The drawings may be enlarged from the
originals given In the present article or any
others by means OF a pantograph, a cheaI
Instrument made for the purpose TO be boughi
at art emporiums. BE careful in drawing tC
first go over the outlines Of distant points OF
your picture, as the feet and head, keeping
your audience In doubt as long az possible
how the parts are to be Joined. Rub your
coiored chalk upon the places you intend shat
be colored, with the side rather than tn,
point Of the crayon, Dnd blend where blend
Ing seems necessary, with a wad OF cotton Of
a piece OF chamois skin. Be firm and quick
but not hasty with your drawing. and re
member that, though It looks very rough ant
unfinished to you, distance lends sufficien
enchantment TO make II appear much bette
10 the spectators. Draw with great broa'
lines; they can scarcely be too broad. !
gives much more vigor and a better effect 4
the work. Suppose you call your ieeiur'
TRANSFORMATIONS"
THE HEATHEN cHINEE.
You may begin BY saying 1t is Away