DFO 163210/83

1. HI SON! HOW YA DOING? IT'S BEEN A FEW YEARS SINCE I MADE YOU A TAPE! I think the last time was way down yonder where I bawled you out for something! I guess you never forgot that! Well, I hope these little talks will be a little more pleasant, because these are not for the purpose of bawling you out, but for just giving you real close guidance & I hope a little inspiration & supervision on some of these monumental art projects we've got coming up now!—Especially on this "Heaven's Girl" project!

2. SHE'D MAKE A GREAT COMIC CHARACTER & I'M EXPECTING TO DO IT IN COMICBOOK STYLE IF WE CAN, EVENTUALLY. It's going to be a monumental project because it has to do with her & her supernatural experiences & acts & actions, etc.‚ during that particularly troublesome period in the future, the Great Tribulation! I got this in a picture at night & it was quite striking & shocking, the miracles she was able to do, sort of like Wonder Woman!—Only it was all for the Lord & in the defense of His people & herself‚ amazing things like you see in the sci-fi movies where they point their finger & zap or freeze or evaporate or burn up or whatever!

3. IT WAS REALLY A SHOCKER & IT WAS SO IMPRESSIVE & SO REAL & SUCH AN AMAZING THING, I REALISE HOW IMPORTANT IT IS & THAT HE REALLY WANTS ME TO PRESENT THIS TO OUR FOLKS TO ENCOURAGE THEM ABOUT THE TRIBULATION PERIOD! I'm sending you a list of supernatural events & so-called miracles of the Bible that somebody got out of the back of some old Bibles, lists of them, because that will be sort of your guide to start picturing her in these various situations doing these same things!—The same things that occurred back there! If they happened then, they can happen now!—And they're certainly going to happen during that trying time when they're more needed than ever! As you know‚ He's shown us that He's going to give us amazing supernatural miraculous protection & powers for our protection & for speed & deliverance & overcoming our enemies & all that!

4. SO HERE SHE IS, SHE'S THE STAR OF THE SHOW, THE LEADER! She is going to be a consistent character if you know what I mean, such as a comicbook or comicstrip character, & that's going to be a big order! But I know another character that you have pictured very frequently in your art which has been quite consistent & he always looks the same from any angle no matter what he's doing!—Me!—So I know you can do it! You've just gotta get the first original right & that's what we've gotta work on first. So I'm going to describe her to you like I saw her! Are you ready?

5. SHE WAS NOT A GREAT BIG BRAWNY WOMAN LIKE WONDER WOMAN, neither was she blonde or black-haired, but she was in–between‚ brown-haired, maybe with even a little hint of auburn.—Maybe just a tinge here or there, a bright sparkle or shine or something. Her hair was quite long, I would say it reached down below her derriere, & oddly enough she wore it in a big long single braid like a long whip, & when she was in action it was flying around & whipping around really dramatically, if you can picture that! It was always flying around because she was always in action & fighting or doing whatever she was doing.

6. IN THIS FIRST PICTURE I GOT‚ SHE WAS FIGHTING WITH THE DEVIL, & the first picture I need right now is to go with this first Letter about her, a full-page cover of the GN! You're going to be a little bit limited on size on some of these‚ Son, so if you prefer to draw'm in big size—which I think is sometimes easier for you artists—we can always shoot'm down photographically. I hope you're not going to be disappointed or reluctant to undertake some rather humble tasks or some rather small pictures & a few very tiny illustrations for that little magazine on occasions when it refers to her, because we're going to need some! So you can try your hand at the first full-page size, 9 x 13 cm image area, & if you want to draw it bigger, we could shoot it down from any size.

7. ACTUALLY, OUR OTHER ARTIST DRAWS THEM IN BIGGER SIZE, especially these really good things that we're going to make posters of, etc., & as you've noticed we have taken views from the poster & reduced them to that size to show'm in the little Magazine just in black–&-white before the poster comes out. So we'll use'm probably for both, because if they're really good enough, I can foresee not only a full comicstrip comicbook story about her, but also a poster!

8. SO THAT'S ANOTHER THING YOU'RE GOING TO HAVE TO LEARN, to be willing to have your gorgeous, monumental‚ beautiful masterpieces shot down frequently to microscopic size to be used in a little magazine as prep for what's coming! And I can foresee a Supergirl poster—sort of a collage of one central big figure & the others blended around it like we've done before!

9. BY THE WAY, HOW ARE YOU COMING ALONG ON YOUR HEAVEN POSTER? My idea was to speed up one to follow up the other we're getting out now & have a real quickie in a nice big poster. I know the Family has already got those calendar pictures, & they've probably got'm at your house like at our house‚ scattered all over the place in odds & ends of places & in single spots & all that sort of thing where their combined effect is sort of diluted by being spread out too thin!—Whereas if we could put'm together in one of these great big giant posters, it would be beautiful! We're also going to re-do that Endtime poster that Zeb did, & I think even outsiders would be really fascinated by that! We're going to have enough of these Heavenly City posters to give out to friends & put up on the post office wall or in the City Hall or signboards or wherever they can get away with it, in full glorious colour! Won't that be terrific? That should inspire you! PTL!

10. LET THE WORLD SEE THE GREATEST ART MASTERPIECES ON EARTH! They're the greatest because we have the greatest artists & we've got the greatest subjects, so they've gotta be the greatest, right? They're the most thrilling, inspiring & encouraging! They've had enough of Hell, let's give'm all the Heaven we can! OK? So those are some ideas we have in mind!

11. OUR OTHER ARTIST IS GETTING TO REALLY BE GOOD AT HIS COLOUR, & HE'S REALLY GETTING TO BE AN EXPERT AT HIS DRAWING TOO! He's using the air brush system in colour. I don't know if you've ever used that, but maybe he can give you a few pointers on how he does it. He's found this air brush system to be the easiest, quickest, fastest & best way to do the colouring on these pictures that are already drawn. Instead of painting or colouring by crayon or brush or anything, this beats it all, because it blends better & you can shade better. It's almost like spray–painting a car! You just have to do a little masking & use masking tape in some cases so you don't get it where it shouldn't go!

12. WE'VE GOT FIVE OF THE COLOUR PICTURES DONE FOR THE BOTTOM OF THE POSTER, THEN THERE'S THIS BIG ONE CLEAR ACROSS THE TOP OF THE POSTER OF THE WHOLE PLACE!—Well‚ one corner with all the buildings & everything there. You'll be thrilled when you see it & I think you're going to really appreciate it! Of course I know every artist figures he could have done better, & maybe you could have on some things, but the best ability is availability! He's been doing so well because I keep a constant watch over his shoulder, so to speak, & give him continual guidance. I make him tapes like this & tell him about his latest rough sketch that he's sent me & what to do & how to do this, that & the other!—And of course I've given him a little extra inspiration & encouragement & that's probably one reason he's done so well‚ & I'm hoping you'll do the same. Amen? I hope you're encouraged already! Hallelujah!

13. THAT'S SOMETHING THAT YOU DIDN'T GET MUCH OF, SON‚ YOU'VE REALLY BEEN NEGLECTED & I'M SORRY. But you've been so damn far away it's been difficult to be in touch with you, & this sort of thing requires almost constant communication! So now that you're a little bit closer I think we're going to be able to do better. GBY! I'm sorry we've had to neglect you so many years, but you've been busy, you've been getting a lot done‚ & it was good, very good!

14. YOU'RE GOING TO HAVE TO FINISH UP THIS SLIDE PROJECT FIRST ON "SPACE STORY" AS SOON AS YOU CAN WHEN I'M NOT KEEPING YOU BUSY ON SOMETHING ELSE!—But it's pretty important & that's one of Maria's pets, as you know, so to keep her happy you're going to have to keep that going‚ & a lot of other people happy too! They're really going to be tremendously used. But as I said before, you can't please the church people, & don't try to please them because it's impossible! But don't go to the opposite extreme either! We've got to stay within certain limits of propriety, as they call it.—At least if they look no more nude than the famous classical art masterpieces‚ which are usually very tastefully & artfully done, they can stand a little nudity.

15. I LOVE YOUR LATEST PIX FOR THE SLIDE SHOW & I'VE GOT'M HERE! I'm sorry I took so long coming back at you with'm, but I wanted time to really study'm & to give you this information also about Heaven's Girl! And that is the one project I'm going to ask you to drop everything right now for to make me a rough sketch! Now don't wait till you've got a number of rough sketches done, just send me one real quick as I'm trying to describe her to you.

16. SHE WASN'T A GREAT BIG RAW BONEY TEXAS-OKLAHOMAN LIKE WONDER WOMAN! Have you ever seen the size of her compared to some of those guys? She really is tremendous! But this is a little girl, believe it or not. Size has nothing to do with it‚ her powers are supernatural & miraculous!—Not muscle & brawn & not even just brains, but by the Spirit! Got the point? She's got these marvellous powers to do these amazing things by the Spirit, & not by her size or necessarily even her looks. She's very simple & rather ordinary. I want the folks to identify with her, that she's not that much different from them that they couldn't do the same things!

17. SHE'S JUST AN ORDINARY LITTLE GIRL WHO HAS SPECIAL GIFTS & POWERS & IS REALLY IN TUNE & IN TOUCH & IS ABLE TO DO TREMENDOUS THINGS, "GREAT & MIGHTY THINGS THAT YOU KNOW NOT OF!" (Jer.33:3) "Greater things than these shall ye do!" (Jn.14:12) Well, where are they? Let me see'm! That's going to be your job, let's see'm! Show me! Okay? Good idea? Hallelujah! Isn't that terrific! We want to see'm! Where are these "great & mighty things that ye know not of"? Where are these "greater things than these ye shall do"? Let's see'm! Let's show'm, shall we? Okay!

18. THIS FIRST PIC I'VE GOT TO HAVE IS FOR THE COVER OF THIS ARTICLE THAT NEEDS TO COME OUT IN ONE OF THE NEXT ISSUES! GN14 is already done & is probably being mailed out right now, & of course that's resuming the same line of the Heaven art. In fact, GN15 is a commentary now on the colour art, which I think you'll find fascinating! It's like a running commentary & critique on these pictures that sort of explains'm & helps them to understand them & how they developed, also the characteristics of that place & those people & my idea of it! I think you'll really enjoy it & it will be good prep for what you're doing!

19. BECAUSE ACTUALLY THIS GIRL IS GOING TO BE LIKE ONE OF THEM THEN, ONLY LIVING NOW! Get what I mean?—But she's not an angel! She's an angel, all right, but she's a little ordinary human being, a little girl!—Pretty small at that, not unusually big–bosomed. I want you to show as much as you can‚ by the way, but not really voluptuous & gigantic like some of these & even like some of those that you've drawn before which are tremendous & beautiful! But I don't want them to think that she's some kind of an exception in size or in looks, but pretty plain‚ pretty simple, pretty small & looks like just a poor weak little ordinary girl. But that was almost the most distinctive feature about her, that long pony tail braid! Can you picture that?—I know you can! God bless you! Aren't we going to have fun? Hallelujah! Praise God!

20. IN THIS FIRST PICTURE SHE WAS SORT OF CROUCHED DOWN ALMOST IN A WRESTLER POSITION OR A SWORDSMAN'S POSITION, & SHE'S GOT A SWORD! She's railing at the enemy & she's really sort of in a challenging position. Why don't we make her right-handed? Of course, if you prefer left-handed I don't care, but normally most people are right-handed. I don't know in how many of these she's going to use a sword, but in this first one, the best way I can think to sort of mock it up would be this way.

21. THE ENEMY IS SORT OF RECOILING LIKE HE'S FALLING OVER BACKWARD WITH MAYBE HIS OWN SWORD KNOCKED OUT OF HIS HAND‚ & he looks like a handsome Devil. You know what I mean? You've done a lot of these before, but we're just going to make'm consistent, a consistent character who's going to be showing up in different situations & different postures & expressions & all kinds of things. Think you can do it?—I know you can! GBY!

22. WELL, SHE'S KIND OF CROUCHED DOWN THERE & SHE'S GOT A SMALL ROUND SHIELD ON HER LEFT ARM, & A DOUBLE-EDGED SWORD IN HER RIGHT HAND, KIND OF SYMBOLIC OF THE WORD!—Not too big a sword, Son, because she's just a little girl! I'd say she looks like she's about 20, somewhere around there. The teenagers could even identify with her—she could be a teenager or in her 20s.

23. THE CLOTHING‚ THAT'S ANOTHER THING!—None of this Super Woman stuff, you know, of bra & panties. That's the modern idea in most of these sci-fi movies. But she's wearing a cute little loose see-through white gown, sort of like the ones they wear in Heaven, & I've described them quite a bit, only hers is not going to be supernatural or sparkling. I'll tell you, in one of those pictures that you just did of the two girls sitting there with Jesus, her gown looked just almost exactly like that one on the right, very short‚ a real mini! It's like the top part of a Grecian gown, very loose-fitting with just two straps over the shoulders & just enough to hide a little & just enough to pass & get by. It's a little tiny short skirt with sort of a little cord around her waist, just like you've drawn in this other picture. Isn't that funny? My eyes just fell on that just then & that's it!

24. I LIKE THAT FACE TOO BECAUSE SHE'S SORT OF PLAIN, NOT EXTRA SUPER BEAUTIFUL OR ANYTHING. And remember, I don't like these heavy-jowled women. Heaven's Girl is very small-featured & has a small delicate fragile little chin. Everything about her is small; she's very small, tiny & delicate. On her I wouldn't want the bosoms quite so big‚ I'd have them quite small, like Maria's. Hers are big enough! Hallelujah!—But not big & floppy or even robust like those on this girl you've drawn, not nearly that big, just small like she's almost a budding teenager.—Small & firm, no overlap at all, if you know what I mean.

25. I WANT TO MAKE HER LOOK REAL YOUNG SO EVEN THE TEENAGERS CAN IDENTIFY WITH HER! Because I'll tell you‚ some of those folks at that time are going to be teenagers, our teenagers, & I want to encourage them to know that they're going to be able to have these powers & amazing deliverances & protection & all that & they can do it! If she can do it, anybody can do it! Got the idea?

26. SO SHE'S SMALL, DELICATE & PRETTY, BUT NOT VOLUPTUOUSLY BEAUTIFUL. I'd say maybe she had sandals on, although I don't really remember the feet. But you could put sandals on her, or even sometimes have her barefooted. Where we are, we run around barefoot most of the time, & if she wears that little clothes‚ it must be pretty warm! I wouldn't say she particularly needs any jewelry, I never noticed any. I only had this one flash of her, just one picture, & that's what I'm having to go by. I'm expecting to get more‚ but that's what we've got to go by right now & I need it right away for this article for this next issue. We've already finished 15‚ believe it or not, & she's going to be the theme of 16! So that's going to give you plenty of time to start working on it & work her over! Wait till you see her!

27. OKAY, IS THAT ENOUGH TO GIVE YOU AN IDEA TO GET STARTED ON? I like this face of her, your one of Him & her with the armour between them‚ that's beautifully Oriental & we need some Orientals, of course, like I've said. But when I saw her, she was not necessarily Oriental. Well, in this picture that I was talking about, the one on the right, she looks a little Eurasian. Have you seen any videos on some of these people? We've got quite a few that are Eurasian & you can't really pin'm down to what they are. And that would be good because then the Asians could identify with her as much as the others. Make it sort of indefinable where they can't really tell whether she's European or Asian, but she looks a little Eurasian. Would that be a good combo? Good idea? Okay!

28. ALL RIGHT‚ THERE IT IS, BOY! TAKE IT AWAY!—AND DON'T FORGET TO BRING IT BACK! I'd like to see at least one sketch in the next mail from there, & if you could have any more just very rough outline sketches by that time, well fine. Now don't work yourself to a frazzle, take it easy, relax, think, pray, close your eyes & expect to see visions. Amen? Hallelujah! I got a Scripture for you!: "Your young men shall see visions!" (Joel 2:28.) There you are! You got it! He's gonna give you visions! You have to have visions to draw'm! I mean, you always get visions, right? For everything you draw you get visions! You've gotta see it first before you can draw it, so what's new about that?

29. YOU'VE BEEN HAVING VISIONS FOR YEARS & YOUR DRAWINGS ARE VISIONS OF LOVELINESS‚ GORGEOUS! I love'm & I always did! When you started hiding those gorgeous female figures, my heart sank! I thought, "Oh no, what's happening!" Well‚ we've got to hide them a little bit within the realm of propriety & decency. They already accuse us of pornography & whatnot, well, maybe they think so sometimes. But on these, you've got this little dress on her, it's skimpy, but it's nothing skimpier than a bikini & I think it's pretty‚ sort of semi-Grecian, white, loose-fitting & sort of blouse it a little bit. Depending on her position you can sometimes have her lovely little bosoms showing through very pert & pretty!

30. DON'T BE AFRAID OF NIPPLES! You can at least show that they're there underneath. … (Maria: If this is going to be used all over the World we've really gotta be a little careful.) But make it very obvious & make her form very very clear, that beautiful way that you can draw!

31. OH, I FORGOT TO TELL YOU THE POSITIONS! She was not only kind of crouched, but as you looked at the picture, she would be on your left & he on your right. Savvy? He's recoiling backward like he's falling over, like she's maybe just made a swipe at him with that sword & she's at the end of her stroke. In other words, her right arm would be sort of crossing her body like she just finished the swipe & knocked him over. She's got on this little skimpy dress & all she's got is this sword & this little tiny round shield. The only thing she had on her head, it's funny, but I wouldn't call it a big helmet. You see her forehead a little with a sort of a band around it & a top on it, almost like a round bowl turned upside–down, just on the top of her head so it doesn't hide her hair‚ or much of it‚ & then this great big long braided pony tail whipping around like it's really lashing around!

32. OKAY, THAT'S YOUR FIRST ASSIGNMENT, & BESIDES THAT I'M SENDING THESE OTHER PIX BACK FOR YOU TO FINISH UP FOR MARIA'S SLIDE PROJECT! I know you've got a lot of work to do, especially in colour, but we're going to have to kind of stick these in as we go because I need this one right now as we're already working on the text as you'll see, because we'll mail you copies. So when you get it, read it & get inspired & just ask the Lord for the picture & draw it!—But don't finish it! Just draw two or three little prospective rough sketches so I can just get a little idea of the size & shape & expression & the motions & the posture & all that sort of thing.

33. WE'RE GOING TO HAVE TO FIGURE OUT EITHER A FASTER WAY TO DO THE INKING OR DO WITHOUT INKING or I don't know what, because that's the thing that always takes so much time! For awhile there we just had our artist doing them in a certain kind of pencil which was so strong that we were able to use it without inking. But I don't know‚ you'll have to advise me on that, what you think you can do, even if you have to draw the original in ink! I think I could trust you to draw an original in ink, Boy, an ink sketch‚ so you wouldn't have to go back over it all the time. But that's up to you! You're the artist, you're the doctor, I'm just your counsellor.

34. THAT'S ONE REASON I'VE BEEN USING OUR OTHER ARTIST FOR SO MANY OF THESE—BECAUSE HE'S REALLY FAST! He may not be the greatest in the World, but he's gonna be one of'm, & he's really fast! I mean, he could draw me a sketch right now just like that just for a sample‚ just a rough sketch. He could even do it without inking if necessary. But lately because of the poster & it's importance & all that, he has been inking. So think about that too, some way we can speed'm up, because we're going to have to have a lot of these & this thing's gotta really roll if we're going to get enough of it done to be of any help before it all happens!

35. ALL RIGHT? OKAY? ARE YOU READY? GET SET...GO! Hallelujah! TYL! Lord bless him & keep him & give him real inspiration, Lord, real vision like You promised, & encouragement‚ excitement & real insight into the way You want these pictures to come out! Help him to be able to draw this one personality consistently, Lord, in different positions & different situations so that they can easily identify her & know that that's the one, & so they'll be a great inspiration, blessing & encouragement to the rest of the folks‚ in Jesus' name. Give him strength & also give him protection, Lord. Bless & keep all of them & all of us to finish Your job, this job, before we have to go, in Jesus' name, amen!

36. THIS ONE PIC HERE IS A GOOD FULL-FACE, I LIKE THAT! The profile on the Eurasian in that other one is nice but it's a little too Asian & I don't like heavy jowls. She needs very delicate, fragile–looking little jowls. Maybe you could give me one profile of her, but this one of her in action is not going to be either profile or full–face‚ it's sort of at an angle. What do you call that?—Half-face? Three-quarter?—Because she's looking toward our right & him & sort of down. She's in the upper left & he's in lower right part of the picture.

37. IF YOU CAN DO THAT BETTER IN HORIZONTAL, THAT'S OKAY, YOU'VE GOT MORE ROOM. Because with two figures, of course, the horizontal would give you a little more room. And we can use'm horizontal, some of them, especially if they're full-page covers like this is going to be. We're going to need this pretty quick, but don't kill yourself! Take it easy! Wait for inspiration, get the vision & stay calm! We don't want your hand shaking, don't want to make you nervous, so take it easy! "His yoke is easy & His burden is light." (Mt.11:30.) I don't want you to push too hard or rush too hard, but we'll be needing them quick, as soon as you can. All right! There it is! GBY!

38. I DON'T KNOW THAT SHE NEEDS ANY JEWELRY‚ BUT WHAT ABOUT A HEART LOCKET AROUND HER NECK?—And maybe a heart ring. I like those upper arm bands you draw sometimes too, so maybe she could have an upper arm band with a heart on it. Her left arm's going to be pretty hidden behind that shield, but it could be on her upper right arm. How's that? That's our symbol & she can have that right on her neck too‚ & maybe one up there on that helmet. I think that's about all the accessories she needs. Just have an ordinary gold cord tied around her waist, like one of these curtain ties or something, sort of braided rope around her waist if it shows at all. And of course the two ends would be hanging down right in the middle in front of her pum. Make the gown thin enough you can see her navel. Amen? We want to see as much of her as possible.

39. YOU CAN DRAW THE DEVIL WITH A BLACK CAPE, HANDSOME WITH HORNS. We've got to stick to the stereotype to a certain extent so people will recognise & identify him, even though I don't believe the Devil has horns, not really. But if you don't put'm on him, they won't recognise who he is. They don't have to be very big horns, just big enough to be seen. The way you usually draw him is fine with me, I'm sure I'll be satisfied, & he's sort of staggering back from her hard blow. He's not down yet but at least it's driving him backwards.

40. ALL RIGHT, SON, GOD BLESS YOU! IF THERE'S ANYTHING YOU NEED, ANY EQUIPMENT OR MATERIALS FOR THIS‚ PLEASE BE SURE TO GET IT & WE'LL PAY FOR IT! It's important & the future of the World hangs on it! This is going to be something to inspire the whole World, we hope, so it's very important that you have everything you need. I hope you're comfortable & Have a nice quiet little corner where you can work with good light.

41. REMEMBER, DAYLIGHT'S THE BEST LIGHT FOR YOU! It's better that you don't work too much at night because artificial light is not very good for your eyes & it's not good for your work either‚ I guess you know that. So try to do your work in the daytime. There's plenty of daylight hours to do your work, & then knock off & rest, rest your eyes & your body after the light fades, take a swim or do something else. Have fun! Eat dinner & relax, watch TV or video, whatever, & do something else. You need the recreation, you need the change‚ you need the rest.

42. COME SIX O'CLOCK, I USUALLY KNOCK OFF & THAT'S IT, UNLESS IT'S SOME EMERGENCY. I try to get up early in the morning to catch the daylight, & I try to hardly ever study or have to read by artificial light. I use a nice bright window over my left shoulder. (Maria: The rest of us do though! Not everybody can quit!) Well, some of them have a sort of a different schedule than me. You know, there are morning people in the World, afternoon people, night people... (Maria: And 24-hour-a-day people!) I guess she's one of the 24-hour people!—Ha!

43. BUT BROTHER, LET ME TELL YOU‚ EYES ARE PRECIOUS‚ PRICELESS, ESPECIALLY YOUR EYES, SON! That is your life & your life's work, your calling & your gift, & I want you to take good care of'm! Is that clear? So really please take good care of your eyes. I'd rather you wouldn't try to do your work at night unless it's an emergency.

44. BY THE WAY, YOU DON'T EVEN NEED ANY BACKGROUND, THEY CAN IMAGINE THE BACKGROUND!—Unless you feel like putting something in the background there. Remember, it's in today's World so to speak, & it's now, in a way‚ or it's going to be soon! So in this case I think it's enough just to draw the figures, you don't have to have any background, maybe just the ground they're standing on. Okey-doke? All right! GBY! I'll be looking for'm soon! GBY! ILY! Bye-bye!

45. HI SON, HOW YA DOING? THESE PICTURES YOU SENT ARE BEAUTIFUL, JUST GORGEOUS, & THANK YOU ESPECIALLY FOR THAT GORGEOUS PAINTING! That was absolutely beautiful! I think we'll have to make her one of Heaven Girl's helpers! She looks like she'd make a good helper, right?—Terrific! It's just absolutely a masterpiece‚ just beautiful! I've sent her to our photographer to get colour-photoed because I thought maybe you folks there would appreciate getting back some colour prints of it so you can still have her around!—And I'm going to hang her on my wall when we get the prints made!

46. I THINK SHE'D MAKE A GOOD ONE OF HER HELPERS, LIKE HER GUARDIAN ANGEL OR SOMETHING! Next time‚ however, because of the popular conception, when we start using that helper in the series I'd make her wings white, or at least light-coloured. Dark-winged angels sometimes have a bad reputation, if you know what I mean! But she's really beautiful!

47. SHALL I READ YOU WHAT THE FOLKS HERE SAID ABOUT YOUR HEAVEN'S GIRL? One said: "It's beautiful! More interesting than anything you've ever drawn!" Another said: "It's gorgeous! Really fine features!" Another one: "It's beautiful!" Another one: "I think she's exciting!—Looks like an Oriental Maria!" Another says: "She's beautiful!" Of course, they all kept saying she's beautiful!

48. THEY SAID SHE LOOKED A LITTLE SERIOUS IN SOME POSES—WELL, SHE'S SUPPOSED TO BE VERY SERIOUS! How would you look if you were fighting the Devil?! They seem to think that our folks should always be happy no matter what! Well, we're happy, but we have some battles sometimes & we can't always be grinning from ear-to-ear! I told you deliberately to give her a pretty fierce fighting expression on some of those, like she's angry! She can't just be going around grinning all the time!

49. OUR LITTLE KIDS REMARKED ON HER GORGEOUS BRAID! They liked that hair & it's really beautiful. Somebody else said: "She looks like a little sprite!—Dainty little figure, really sexy!" Then the chief lady in the house said: "Beautiful, just according to the way you described her, he did very well!" How's that? That ought to encourage you, Boy!—Ha!

50. YOU CAN GO RIGHT AHEAD & FINISH THE PICTURE OF THE FIGHT AS IS & WE NEED THAT AS SOON AS POSSIBLE‚ SO PUT THAT TOP PRIORITY!—Because Heaven's Girl is going to be the theme of GN 16 & the cover picture of the book, therefore she's probably also going to be the inside picture as well & we may even do a close-up on her, even the one of the fight, in order to get some different pictures out of it. We found we can get a lot of different pictures out of one picture sometimes!

51. IF YOU TAKE THE PRESENT "HEAVENLY COLOUR" SERIES IN GN 15 WHERE WE'RE DEALING WITH THE COLOUR ART OF THE BIG POSTER, in order to help people see what I'm talking about in the critique & explanation, we're inserting a lot of full–page close-up shots out of the big picture of the various things I'm talking about, almost every other page as near the related text as possible so they can read the text while they're looking at the picture!—And they have come out just beautifully! It's terrific! It's amazing what you don't even see in the big picture when you zoom in for a close-up! It's amazing the detail in his art that can stand those intense magnifications, zooming in for close-ups like that‚ he's really done well!

52. SO YOU'VE GOT A GOOD PROTÉGÉ THERE, SON, FOLLOWING IN YOUR FOOTSTEPS, GOD BLESS YOU, & HE'S REALLY DOING WELL! It would be nice if you'd drop him a note sometime & encourage him about his art & maybe even give him a few little tips or something, I'm sure he'll appreciate it, because he's not proud! He takes instruction very well & even correction extremely well, & once in a great while if I get a little impatient‚ he takes that well too!—Ha!

53. ABOUT THE ONLY TIME I'VE HAD TO BAWL HIM OUT WAS AFTER I'D FINALISED A PICTURE & APPROVED OF IT & IT WAS SUPPOSED TO BE DONE JUST THAT WAY & HE DECIDED TO CHANGE SOMETHING IN IT!—And he made a change I didn't like! So that was a little bit rough! Well, the worst I did to him was I made him change it back again, so that wasn't too bad. But I think he felt kind of bad because I had to scold him a little bit. So once we get it the way we want it & we agree on it, Son, once it's approved & finalised, please don't come back with some change that we didn't really agree on! Whenever you've got a question, don't hesitate to ask! It's worth it, Son! We're putting just about everything we've got into this, including you & me & a lot of people & tremendous pubs as well as a lot of money & the whole World, so it's important to ask!

54. SO PLEASE GO AHEAD & FINISH THE FIGHT PICTURE JUST AS IS‚ LET'S NOT CHANGE ANYTHING! If you wanted to put a sandal on her, I guess that wouldn't be too difficult, just one sandal there‚ & I liked your sandals very much. I liked also in some cases how you wound the straps up the leg over the calf almost as far as the knee, like you did on the painting. That's beautiful, really beautiful! Do you want to try? I think it would look good. Some people go for leather!—Ha! Well, we can't wait for any further approval except final approval, so go ahead & try it & if for some reason I don't like it‚ well, thank God, in yours we can cut-&-paste because it's not colour.

55. THE NEW COLOUR METHOD WE'RE USING IS TWICE AS FAST AS THE OLD OVERLAYS. Remember how you used to have to do those things by hand? I think you did some for our first ones way back yonder.—My goodness, ten years ago! Think of that!—Way back in London‚ wasn't it? Remember what a job that was? Well, they no longer do it by hand, they have a special laser machine using a laser beam. They put it on this big drum, even big posters in colour! I don't know how it's done & I can't explain it, but it goes over the surface & picks up the colours & somehow or another it makes the overlays automatically in just a few minutes. It costs half as much as the old hand method & is twice as fast!

56. SO ON ANY OF YOUR COLOUR STUFF—& YOU WILL BE DOING SOME COLOUR—YOU MUST REMEMBER NOT TO HAVE ANY DIFFERENCES IN THE SURFACE OF THE PAPER. In other words, it's even difficult to use white-out & go over it because it could make a difference in the surface. And if you can imagine‚ this laser beam picks up the difference in the colours & it can even detect cracks or scratches. Definitely it messes it up if you use a stick-on or a paste-on correction, because you'll see a nice black line all the way around it. It brings right out the fact that it's got something stuck on.

57. SO IN ANY OF YOUR COLOUR WORK‚ ONCE YOU'VE GOT IT THERE'S NO GOING BACK! Once you've started colour you've passed the point of no return, because with this new laser method you cannot erase‚ white-out, cut-&-paste or stick on or anything like that that disturbs the level of the surface. But you can add a little something here or there to the original & draw more lines if you need to, as long as it will conform to what you're colouring & how you're colouring. But once the final is inked & you're actually colouring, you can't make any further colour corrections to it except to draw additional lines, because of this new laser method. And you have to be very careful if you try to white-out anything & draw a line over it or something, because it seems to cause some kind of difficulties.

58. WE'RE LEARNING OURSELVES ON THIS BECAUSE IT'S ENTIRELY NEW & WE'VE NEVER DONE THIS BEFORE! But thank God, we've got a printer who can help us! In fact, we're using about 3 or 4 printers! We're pubbing so much stuff we've got something going at every place nearly all the time! I guess we put out more pubs than almost any little tiny outfit ever heard of before! We're one of the smallest publishing houses that ever put out so many pubs & we really churn'm out! They may not be perfect, but we get'm out! Hallelujah? TYJ!

59. SO ANYHOW‚ WE'RE PROBABLY GOING TO USE THESE DRAWINGS IN BLACK-&–WHITE, BUT I'M ALSO DREAMING OF COLOUR KOMIX! Did you know the cheapest printing & the biggest bargain Ho ever got was your 16-page "Green Door" colour Komic! Remember that one? Of course‚ you've got to order in big quantities of 20, 30, 40, 50,000! I think their minimum is even 20,000 & some of them wouldn't even take less than 50,000! But that's how these comic outfits can manage to produce those things so cheap & ship'm all over the World, because they're so cheap in large quantities!

60. THEY HAVE PRESSES NOW, SON, WHICH CAN RUN A WHOLE COMICBOOK ON ONE SHEET OF PAPER‚ PRINTING IT IN COLOUR ON BOTH SIDES AT THE SAME TIME, ON THE SAME RUN! They've developed these because there's such a tremendous demand for the comics. Therefore they've really got it down cheap‚ & that was the cheapest thing Ho ever did & the biggest bargain he ever got! That's the only thing we really didn't lose money on! The rest of the stuff was a catastrophe because nobody wanted it, & after the crisis that had just passed, the RNR, nobody could afford it! They weren't buying in quantities any more & sharing any more, things sort of blew up, so he got stuck with all these huge orders that we had to pay for & finally had to give away!

61. SOME OF THAT STUFF WE EVEN HAD TO PAY THE POSTAGE ON! They wouldn't even take the stuff free & pay the postage! We had to give it away & the rascals wouldn't even take it till we offered to pay the postage! And even after I offered to pay the postage on some of those—even books—we had hardly any takers! So you know what I did? I guess you probably read about it. (No.892.) I just said, "Well, okay, we're going to ship'm to you anyhow postage-paid & it's going to be on your conscience what you do with'm!"—Ha! So we just sent'm out anyhow.

62. I MEAN, SOME OF THEM DIDN'T EVEN WANT'M POSTAGE-PAID, CAN YOU IMAGINE THAT? I don't know what the Hell was wrong with them! Of course some of those people were in pretty bad shape then & it was a combination of circumstances. I think if it had happened today things would have gone a lot better because we're a lot better organised & we've got lots better channels & are set up better financially & everything. But that just hit us at a bad time when we hit an all-time low financially & so did they‚ so it was really tough!

63. BUT ALL THAT TO SAY THIS, THAT THAT COLOUR COMIC WAS THE CHEAPEST & BIGGEST BARGAIN WE GOT, & you can get that down to a 16-page colour Komic for only a few cents! I think it was 14, 15 or 16 cents apiece, only a penny a page in colour!—But we had to get it in tens of thousands in quantity. So that was the cheapest thing he ever got pubbed & the one thing that really went like hotcakes! We never had to give those away free, they really ate'm up! So I'm looking forward to the day when we can colour'm! Meanwhile, we've been in a tight spot financially because of the situation some were in, so that's really set us back a bit for a few months! But when we finally catch up I think we're going to be able to do a little more, God willing, if we don't do anything else but do like some of these comicbooks do & put on a colour cover‚ even if the inside's black-&-white!

64. THE THING ABOUT THESE COLOUR PUBS‚ THEY'RE FINE FOR US BUT THE PEOPLE OUT IN THE BOONIES CAN'T AFFORD TO GET'M DUPED IN COLOUR FOR DISTRIBUTION! So we have to get the whole thing done in one place & then we've got to ship'm out in big shipments to different places. We may be able to organise that in the future. We haven't got it set up yet but there's a possibility. Now that we're much better organised & we've got a lot better leadership everywhere & a little more money than we used to have then, I think there's a distinct possibility we might be able to do some in colour, if nothing else but to put colour covers on'm & do whole komicbooks!

65. NOW FOR ACTUAL MASS DISTRIBUTION, OF COURSE, WE CAN'T GO ANY FURTHER THAN THE USUAL LITTLE BLACK–&-WHITE 4-PAGERS, because they just can't afford to get'm reprinted out yonder in any larger size or more pages or greater quantity, so we've got to stick to the little 4-page komix for them, for distribution. But if we start with that which is least, maybe He can trust us a little later with that which is most! (Lk.16:10.) We started with a 4-page black–&-white that they can easily reprint & distribute, so maybe He'll trust us & them with something a little bit bigger that we can get printed in quantities of tens of thousands & ship to'm!—Maybe not for general distribution, but special gifts to special persons or friends or at least for Members, for special uses, loaning out & that sort of thing. They can't reproduce'm in colour, but they could start a library of them‚ a komicbook library! How's that sound?

66. THE REASON I'M TELLING YOU THIS IS SO YOU CAN PREPARE YOUR SKETCHES WITH THE IDEA IN MIND OF POSSIBLE FUTURE COLOURING!—And that runs into a problem, because we have recommended that we've got three colours to play with in black-&-white—black, white & grey!—Black, white & shading! And you know what we discovered on this poster?

67. BY THE WAY, I HOPE YOU GOT YOUR COLOUR PHOTOS!—AREN'T THEY BEAUTIFUL? Wow! Didn't our photographer do a great job on the photowork? He's never done it before & he's just absolutely learned from scratch! I encouraged him & pushed him along & said I used to do it myself. I did colour photography years ago, taught by a guy from Technicolour! I did colour slides, by the way‚ & it was more complicated then than it is now! They used to have three washes then, one for each colour, now they've just got two washes for three colours! I don't know how they do it. And they could only get about 15 prints out of a wash, these two washes, & he's found he can go up to 25 or more! He always thinks of innovative, inventive ideas to save time & money & materials & new methods & everything! He's really an inventor! He's terrific!—A genius! TTL!

68. I HOPE I'M NOT TALKING TOO FAST FOR YOU OR ANYTHING, but I'm trying to talk fast to get across as much as I can in the little time I've got to talk to you!—And this is important for you to remember! By the way, in the next mail I'm sending you a transcript of my last tape so you won't forget all the details! It's going to be one of the Letters, so you'll enjoy it! I'm sorry it takes a little time, but it does! Everything takes time & a lot of work! I just finished proofreading it last night & it's gone to processing now!

69. THE PROBLEM WE HIT WAS THIS: OUR ARTIST WENT TO ALL THE TROUBLE ON THE FIRST FIVE PICTURES OF SHADING THEM WITH LETRATONE—ALL THAT PAPER DOLL WORK! I mean, it's terrible! You know what a mess that is, you've done it! It's nerve-wracking & enough to drive you up the wall! I've never actually done much of that but they have & I know it must be tedious!—Especially on little tiny finite pictures like some of these in these scenes of so many people, etc. So he did all that Letratone on those first five for the sake of the black-&-whites, then you know what we found out?

70. WE FINALLY GOT TO THE LAST ONE, THE FRONT VIEW—I think it was after he got it coloured & we'd made a lot of changes in the colour copy & added new things & revisions, etc.—& I said, "Why don't you just shoot that colour one for the one we're going to pub in black-&–white in the GN? Why not just shoot that from the colour to save time & not wait to correct the black-&-white & see what happens." Well, the first experiment was horrible, especially on Xerox it was all blotchy & black. So I said, "Why don't you try screening it?" So they tried screening the next Xerox & it came out beautiful!—Just gorgeous!

71. THE BLACK–&-WHITE PRINT BROUGHT OUT ALL THE BEAUTIFUL SHADING & CONTRAST OF THE COLOUR PRINT ITSELF WITHOUT HAVING ANY LETRATONE SHADING AT ALL! How about that? We could do that with yours too, but the trouble is, colour is really slow & we're going to need some of these pictures a lot faster than that & we can't wait for you to paint'm all! But what I was going to suggest is to try to make your sketches so that you can get as much contrast as possible without a lot of extra Letratone shading. The Letratone shading will just be extra work, because then you've gotta use your original sketch without the Letratone for colour. So the less tone you have to do, the easier it's going to be for your colour work. Then finally if we do any black-&-whites from the colour‚ they come out better than the Letratone shading.

72. WE JUST DON'T HAVE TIME FOR YOU TO PAINT EVERYTHING RIGHT NOW, WE'RE IN A HURRY, so you're going to have to try to stick to black-&-white, but stick to a black-&-white that's going to be easily colourable. However, don't let your black-&-white lose too much contrast by leaving too much white for future colour‚ give it some contrast at least. You can do a little line work or a little scribble or something to kind of shade a few parts here & there just like you did in the sketch you sent me of the fight. It's real good. And I would say even this light sketch you did, even the Xerox that I got has quite a bit of contrast in it! That pencil you used looks to me like you must have almost inked the heads & faces! I hope we're going to be able to figure out some way to always use dark pencil like that so you don't have to go back over it & ink it! That's what our other artist did on some of his & you've seen'm & they came out pretty good!

73. WELL LISTEN, WHY DON'T WE TRY IT! You know how long inking takes—it takes two or three times as long as it does to draw the original sketch! Remember how much time it used to take you to do all that inking? It really is a bore & it's such a waste of your time when you've got such talent & creativity in these original sketches! Why don't you trust the Lord & just go ahead & sketch it? I like this first draft here which you say was your first try! Brother, when you've got inspiration like that, what's the use of doing it over again? I told you in my note I could trust you to do the first draft in ink! You're good enough to do it, I mean it! Well, at least you can do it in that dark pencil, because that even came out good in the Xerox, which is saying something! Those Xeroxes don't always come out so good!

74. OKAY, I LIKE YOUR SKETCH JUST LIKE IT IS, IN FACT, I COULD USE IT ALMOST LIKE IT IS WITHOUT ANY ADDITIONS!—But if you want to, go ahead & put the sandal on her & let's wind the straps up her leg like you did on the painting.—Just to the knee, Son, that's where they usually wear'm, not clear up to her pum! So this picture is good as is, just finish it up & send it in the next mail! Good boy!—I mean finished for final approval so we can shoot it & use it in this upcoming pub, Book 16, of which she will be the theme & lead subject & in the first Letters & the pictures‚ etc. There will probably be several Letters on her, & therefore we'll need several sketches, but I think we can get enough out of what you've already sent me & what you're working on.

75. I'D LIKE TO SEE HOW THEY COME OUT WITHOUT HAVING TO RE–INK! Let's try! It sure came out good even on the Xerox. It's beautiful! I'll bet you didn't know you could do that!—Ha! Well, our other artist didn't know he could do it either, but he finally did at my urging. We've just gotta get out of this boring, time-consuming, energy-consuming‚ nerve-wracking re-inking! It just takes too much time & too much trouble! We've gotta figure out some better, faster method. So he tried & he tried different pencils & he finally came up with some good ones that really did the trick!

76. EVEN THAT PENCIL SHADING IS GOING TO BE A LITTLE TIME-CONSUMING UNLESS YOU CAN DO IT REAL EASY & REAL FAST—maybe like I used to do when I was a kid by laying my pencil on one side! You know what I mean?—Not with the point but with the side of the lead. Maybe you could do it real quick like that without too much trouble just to give her skin a little more tan tone, because she ought to look at least a little tan. I think you got the colour of her hair just perfect, it's neither platinum blonde nor is it black. That picture you made of her helper with the wings—you didn't know you were doing it but you did—the colour of her beautiful auburn hair is just gorgeous! So if you can make her hair auburn in black-&-white, great! And you can eventually maybe colour it auburn. It looks great in the ones we have here.

77. IN THE FIGHT PICTURE HER HAIR IS JUST RIGHT, but in the close-ups it's not dark enough because these are just sketches & not finished. If you want to tone the skin a little bit without too much trouble, okay, but let's not do anything that's going to be too time-consuming & nerve–wracking & take too much of your time & strength. Time is short & the days are evil & we've gotta get this job done before the Lord comes! So let's do the best we can to cut it short. Do whatever you can to make it as simple & easy as possible.

78. I DON'T KNOW HOW MANY BOSSES EVER TOLD ANYBODY TO PLEASE TRY TO BE EASY ON YOURSELF & DON'T WORK TOO HARD, BUT I MEAN IT! Do it the easiest, quickest‚ fastest, simplest way you can & let that become a characteristic of these pictures so that's what they'll expect!—They won't expect anything fancier or with more fine work than that. The main idea of Komix art is speed, because you have to do a lot of'm, & these komix artists do one every day! Think of that! They do a whole strip every day. Of course, they may not do'm exactly that way, but they pub'm every day, so they've gotta be pretty fast! So if you're going to do these komix, you're going to have to really speed it up now a lot faster than we used to do before, & one way to do it, of course, is to cut out that inking if we can.

79. SO JUST DO WHATEVER YOU CAN WITH YOUR PENCIL, INCLUDING SHADING, AS LONG AS IT'S FAST & EASY & COMES OUT DARK ENOUGH THAT WE'LL BE ABLE TO PRINT IT! Okey-doke? That way you'll also cut out inking‚ you'll cut out Letratone & you'll leave the picture ready for colour & save yourself all that inking & letratone, which is about 4/5 of the work! This way you'll get it done five times as fast & it will be all ready for colour!—If we go colour, which I hope to do eventually, & for some of these we'll go colour right away! We're going to make a colour poster of her as soon as we can! So do it right, Boy, do it well! Really ask God for guidance & vision & skill & speed!

80. REMEMBER, THIS IS SORT OF A SYMBOLIC PICTURE TO SORT OF GIVE A THEME OF THE IDEA, BUT NORMALLY SHE'S GOING TO BE QUITE NORMAL! She's not going to be carrying around a sword & a shield or wearing a helmet all the time. Savvy? I'm sure I can use this bust portrait you labeled No.2 right away on this new series of Letters that are coming out on her & the art for her which we need to illustrate. I would say you could go ahead & finish her as she is‚ but get these points: In this case she would have no helmet, just her hair, & a little more delicate chin. The chins you put on the other two were perfect & I especially liked the chin on No. 3—a very small, petite chin. I don't care for those heavy jowls or big chins, remember that.

81. I THINK YOU HAVE A SPECIAL PREFERENCE FOR BIG CHINS‚ SON!—Ha! Maybe you like heavy-jawed girls, they look strong & tough & like real fighters, but this is just a little girl, she's quite diminutive & very petite & very fragile-looking, actually, & small & delicate. So if it's not too late to trim that chin down a little bit like the one in No. 3, I like that one best. The one in No. 4 was good, but in your No. 2 her chin is a little heavy, a little big, so try to trim it down a little bit.

82. I WOULD ALSO SUGGEST GIVING HER A SLIGHTLY SHORTER NECK AFTER THIS because she has a rather long neck in all of these pictures. We'll still use these as is, because it would be difficult to shorten these necks—you'd have to lower the head or raise the body or something—but I suggest a little shorter neck after this. That neck looks beautiful, nice & long & slim, but it's a little longer than I would say is necessary. But maybe you could shorten it by cut & paste!

83. NOW ON HER CLOTHING, THAT'S GOING TO BE ONE STANDARD PECULIARITY OF HERS & I THINK WE CAN GET AWAY WITH IT. We can't always get away with helmets & armour & swords & shields except in some symbolic cases, but I think her dress is going to be pretty standard, kind of like her uniform, one of her distinguishing & identifying features. I like the idea of a very thin strap‚ like part of the material itself, just over her right shoulder, then coming down on her right side so that you see the top of her right bosom, but the edge of the material just barely goes over the nipple. You can see the whole top of her bosom & the material comes down in a curve from the shoulder & curves down almost level with the nipple & then just goes out like it just kind of got caught on the nipple & then pulling down toward that rope around her waist with even a little tension there instead of a blouse effect.

84. THE SKIRT CAN BE SORT OF LOOSE, BUT I WOULD SAY TO BRING OUT THE BEAUTIES OF HER BOSOMS—which are small enough as it is—& to show the nipples protruding‚ that you need to have a little tension between the nipples & the rope around her waist so you'll see the stretch lines of the material running from her nipple direct to the belt. Then the material, since it will just have the one strap over the right shoulder‚ should come down in a curve just about below that heart & then just barely over the other nipple, & then from there curving around underneath her arm, below the armpit. The strap is on her right, our left—right? Ha! How confusing can I be? When I speak of her right, I'm talking about her right shoulder.

85. WELL, LET'S AT LEAST TRY IT THIS TIME ON HER RIGHT SHOULDER, THEN MAYBE NEXT TIME WE'LL LIKE IT ON HER LEFT SHOULDER! Since she's right-handed & right–armed & uses her sword with her right hand, she might prefer to have it draped over her left shoulder. Maybe she just turns it around & puts the strap on the other side sometimes! I don't know whether they'd ever even notice the difference‚ but some will!

86. TECHI STUDIES EVERY DETAIL & SHE COMES UP WITH SOME AMAZING THINGS THAT SHE NOTICES THAT I NEVER EVEN SAW AT ALL! She'll say, "What's he doing with that, Daddy? How come that's that way, Daddy?" So if you haven't got any other critics around, try the kids, they'll tell you the truth! They won't try to be nice about it or spare your feelings! Try it on the kids! Now that's a fact! Don't let them handle the originals‚ but try some of the Xeroxes on the local yokels there, your family & your children‚ & see what their reaction is! You'll be surprised & amazed at some of the things they come up with!

87. AND AFTER ALL, THAT'S WHO WE'RE REALLY DESIGNING THESE FOR MOST OF ALL—WE WANT TO REALLY REACH … OUR TEENAGERS MAINLY! And of course if you please them, you're going to please the old folks too! So remember in your art & the whole project that that's who we're aiming at mostly, … the teenagers & the ones that are going to be teenagers when it happens! They're the ones that need the inspiration, the encouragement & it'll kind of smooth away their fears & worries about that time. So we're really trying to aim at the kids & the children & the teenagers.

88. SO THE LEFT SIDE OF HER GARMENT JUST BARELY GOES OVER HER LEFT NIPPLE, & let's not make them absolutely invisible, but semi-see–through so that you can very distinctly see her nipple protruding. Although you don't actually see the nipple, you can tell it's protruding underneath the garment & you see stretch lines from the nipple going down in two or three different directions almost like folds in the material down to her waistline. Then that garment should curve around after just passing over the nipple & run underneath her left arm or armpit, whatever comes out naturally. The way mine wound up here, judging about where her arm would have been & her side, I'd say it comes around two or three inches below the armpit. Wouldn't that be about natural?

89. I WOULD SAY FROM NOW ON, BECAUSE SHE'S IN PRETTY WILD ACTION AS YOU SAW IN THAT FIGHT PICTURE, NOT ONLY THE PONY TAIL'S WHIPPIN' AROUND BUT THE HEART TOO‚ so you don't want that chain so long it's going to be floppin' up & hittin' her in the eye or the face! We usually like to wear hearts down at the cleavage to try to draw attention to it, but she doesn't need attention there. You can see it all! You know what I mean? So let's have that heart a little higher, I'd say just below the little indentation between the collar bone.

90. I ALWAYS THOUGHT CHOKERS WERE BEAUTIFUL! Maybe we can try a choker on her this time. Just leave the heart like it is on the fight picture, because after all, she can change chains if she wants to for variety! We used to decide on the length of Maria's chain according to the cut of the dress, how deep the neckline was! I always liked it as low as possible in her case to draw attention to her cute little bosoms‚ attract their attention to look way down deep. But in this girl's case you don't have to look way down deep or behind anything, you can see it all more or less!

91. SO ON THIS PARTICULAR PICTURE THAT YOU'RE GOING TO REVISE A LITTLE BIT, LET'S PULL THAT HEART RIGHT UP TIGHT AROUND HER NECK! When I was a little kid I used to love those chokers women used to wear, they were really pretty. So in that case, maybe you can make a little heavier chain around her neck, something like a curb-link gold chain‚ if that wouldn't look too expensive. Most of the women used to wear just a little kind of a fancy cloth band or a little embroidered cloth band anywhere from about half-an-inch to an inch wide. Then there was always some little ornament right on the front, a little brooch or cameo‚ or in this case it could be this little heart.

92. YOU'RE THE DOCTOR, YOU'RE THE ARTIST, SON, SO DRAW WHAT YOU THINK LOOKS PRETTY & LET'S TRY A CHOKER WITH A HEART RIGHT THERE!—Not too fancy, though—she's not supposed to be rich, & not look like it's too much jewelry. We don't want her gingerbready, but something simple. And if you want to stick to that little tiny fine chain, okay, but I'm afraid it would get broken in fights. At that length it's going to slap her in the face & maybe sock her in the eye, so let's get it up tight. Let's try it at least this time & see if we like it. Okay?

93. THE BODICE OF THE LITTLE DRESS FROM THE SHOULDER STRAP DOWN TO THE ROPE AT THE WAIST SHOULD BE PRETTY TIGHT.—By tight, I don't mean skintight, but that it comes over the nipples & then it's pulled tight right down to the rope at the waist with those stretch lines. And I love the size of her bosoms, they're just perfect, just almost like a teenager! In fact, they're just the size of my favourite woman here‚ they're just perfect, just like hers exactly & I love that! I like'm bigger, smaller or not at all, I like'm all! But this is the size I think she should have, so stick with it!

94. ALL RIGHT, THAT'S ABOUT ALL I'VE GOT TO SAY ON THAT PICTURE‚ & THE FIGHT PIC IS OKAY, JUST FINISH IT & PUT ON THE SANDAL & THE STRAPS. You wouldn't see the other sandal but you'd see the straps on her left leg. But I think you should finish this close-up bust down to the rope around her waist with maybe a little suggestion of the skirt coming out from underneath the rope, you know, not more than maybe a centimeter. We can't have it too long or it would be too long for the page. Of course, we could always shoot it down, but the less we have to shoot things up & down the better. I like as much facsimile work as we can, especially using Xerox, etc., it saves a lot of time & trouble of having to go through photo & be reduced or blown-up.

95. REMEMBER, OUR IMAGE AREA FOR THE GN WHERE WE'RE GOING TO USE MOST OF'M IS ONLY 13 CM. LONG & 9 WIDE, so on any close–ups where you can draw that size without too much trouble like you did this one, try to stick within those limits if you can, then we can use them immediately without any photowork. Whereas on large pictures like the fight picture, of course you can't draw'm that small, it's very difficult at least, & it's better that you draw them big like that & they'll go better for posters. Savvy?

96. SO WE'VE GOT ROOM IF YOU WANT TO FINISH OUT HER ARMS, BUT YOU DON'T HAVE TO. It might be better to just leave'm as they are‚ just fading off. Because if you measure from her right nipple to the outside part of her left arm, you've got 8 centimeters already, so you can't go but one more centimeter out. But I don't think you'd have to because her arms would come within those limits if you want to for any reason bring her arms on down so you could show that amulet on her left arm above the elbow. On the fight picture she's got it in on the right but she can change it, right? That would be a nice chance to show it there.

97. WATCH YOUR MEASUREMENTS! I'd rather her right arm line wouldn't come right down & hit the nipple. If the right arm line comes down at all, it should come out just beyond the nipple. And if you bring her left arm down, you may want to bring the right one down, but try to keep within your 9 centimeters, at least on this one for now. Okay? That way you can bring her left arm down & show the amulet there, which would be pretty with the heart on it. The heart shouldn't necessarily be facing right toward it, but a little bit towards the side, & then you could draw her armpit. Women's armpits are quite exciting, especially when they've got their arms stretched out! I used to go to some churches that didn't even believe in short-sleeved dresses!—And a dress with nothing but straps, that was absolutely naked & scandalous! So I like'm naked & scandalous!—Ha! Hallelujah! Amen?

98. I LOVED HER FACE, THEY ALL LIKED IT VERY MUCH & SHE'S JUST GOT THAT TOUCH OF EURASIA THAT WE NEEDED so that she doesn't look too Nordic or too Western. Just make that hair a little darker in the black-&-white so it looks like it might be auburn‚ like you did in the fight picture & a little bit more like you did in No. 4. It'll have a darker tint to it but with some light shading I think she'll be just perfect. Okay?

99. ALL RIGHT‚ IN THE NEXT MAIL FROM YOU FOLKS I EXPECT TO SEE THE FIGHT PICTURE FINISHED & I EXPECT TO SEE THE REVISED ROUGH SKETCH OF THE PORTRAIT, because I'll need to check that again before you finish it. Okey-doke?—And any others you want to send me of course! I'm always open to one & all & the more the merrier! So GBY! I think that's about it. I don't know why these tapes always wind up to about an hour‚ but I'll tell you, it's important that we make it right‚ amen? The better we make it the better they'll love it & the more encouraging it'll be & the more beautiful it'll be & the more inspiring it'll be & I think you'll love it too!

100. AMEN, LORD, BLESS HIM & KEEP HIM & GIVE HIM STRENGTH & WISDOM & SKILL & VISION & INSPIRATION, COURAGE & REAL INSIGHT INTO WHAT YOU WANT, LORD‚ to please Thee & glorify Thee in every way for Thy glory to encourage Thy children & feed Thy sheep & inspire them, in Jesus' name, amen! God bless you, Son! ILY! And thanks a lot! You've done a beautiful job! I'm just thrilled with these pictures & thank you for that gorgeous painting! I think that is absolutely the most beautiful personal gift I ever received in my whole life! I don't think I ever received such a beautiful actual original art painting like that as a personal gift ever before! So thank you for being willing to sacrifice & give it to me! I'm going to get it framed & hang it on my wall! I'm telling you, I can hardly wait to get some glass over it to protect it.

101. INCIDENTALLY, FOR THE SAKE OF ANY FUTURE COLOURING & FOR THE PHOTOWORK & ALL THE REST, maybe our other artist could write a note & give you advice on what kind of paper to use normally which goes best for colour & photowork, etc.—Although you've probably had enough experience along this line & you may already know, I don't know. But check with them just to be sure before you go too far with too many pictures which we may want to colour. Keep that in mind, Son, that you're drawing with the future eventual hope that maybe you're going to be able to colour these & use'm in colour, & I know we're going to use some of them & we're going to use some of them in colour right away! I want to see a poster of her as soon as possible!

102. SO DO YOUR BEST ON THESE FIRST SKETCHES & WE'LL MAKE A KIND OF A COLLAGE POSTER! I like that idea of one big central figure with just smaller ones surrounding. I don't like them too much all the same size because then it's too much of a mess & kind of confusing. I like it better in some that you made where the central figure was quite large & then the ones around in different poses & positions were smaller, like close–ups, heads & I started to say bosoms—I mean busts! You know what I mean when I say a bust, don't you? I'm not just talking about a bosom! A bust is usually from just below the armpits up‚ which includes the bosom.—Which I guess is where they got the name bust! They made sure they always got the busts on'm, from just below the bust to the top of the head.

103. SO THAT'S WHAT I WOULD ENVISION, ONE BIG FIGURE OF HER FULL-LENGTH, head to toe, & just in her simple little robe standing there—no weapons, no other clothing but that little simple dress, no helmet, no other ornaments except her little choker & her amulet, & I don't know what we might put in her hand. We might put a Letter in her hand!

104. AND I WOULD LIKE TO SEE A FULL-FACE ON YOUR NEXT TEST SKETCH! If you have time after you complete the fight picture & the bust, throw me in a full–face & see what you can do on that. She could be smiling but not too big, just sweet & pleasant.—Not a grin, but a pleasant smile, looking happy. This is the way I'd like to see the central figure on the poster, the big full figure surrounded by heads of her in different expressions—I started to say bosoms again—busts—& maybe a few in action, etc.—And that would be colour! We'll take our best ones & put'm on the poster!

105. DO IT WHATEVER SIZE IS CONVENIENT FOR YOU TO DRAW YOUR ORIGINAL SKETCH. They can enlarge it in colour on the machinery they have there to almost any size so you don't have to worry about that, or we can even shoot it down. But there's a certain size that that laser machine prefers, & your original should be that size. So you'd better consult with our other artist on that & find out exactly what those dimensions are. I've forgotten, I'm sorry, but I can't remember everything! So ask him & make sure & make your original the right size so that the laser machine can read the colours, etc.

106. THAT'S SOMETHING TO AIM FOR AS SOON AS WE CAN BECAUSE I'D LIKE TO SEE A NICE BIG POSTER OF HER AS SOON AS POSSIBLE! Don't get into that yet, but be thinking about it & if you have time in your spare time you might draw some sketches. But right now I need this fight picture right away & I need her bust right away‚ so send me the finished fight picture & the final bust for approval, the final trial sketch with these revisions. What do we call it?—The semi. That's what we call it in our text. The rough sketch is like a rough draft‚ the next sketch with the revisions, changes & corrections we call a semi, & if I okay the semi‚ then you do the finished final product of the semi. Sometimes the semi is so perfect & so good I don't need to make any changes at all & that's it, the semi turns into the final product, the final print-out so to speak. Okay? All right Son, hope you got all that! God bless & keep you & keep your art & keep your heart! ILY! Thanks a lot! Bye-bye!

107. (TO EMAN'S SHEPHERDS:) I HOPE I DON'T TALK TOO FAST FOR YOU SOMETIMES! I think you guys are living wonders the way you learn to speak another language! You need to understand these things too, because you folks are going to sort of act as Eman's monitors. I've found that I have to have a monitor over some of these artists, their guardian angels to sort of keep a watch on them & an eye on their work to be sure they're going in the right direction & that they're obeying & doing what they're told to do.

108. ARTISTS ARE NATURALLY INSPIRATIONAL PEOPLE WHO GO BY INSPIRATION & EMOTION & THEY HAVE TO BE VISIONARY, ETC. So they're apt to sometimes get inspirations like some of our musicians—you know how hard they are to handle—& they go right ahead with what they feel like they want to do without consultation or without permission & just go ahead & do it anyhow‚ even sometimes when they've been told not to.

109. SO I'VE REALLY HAD TO CLAMP DOWN ON'M SOMETIMES, as you know, & really sock it to'm to get them to stay within certain guidelines & limitations. So I want you to keep a close watch over his shoulder at the progress of his art, & I hope he doesn't resent that in any way, because you need to do that. Maybe he ought to hear this part of the tape too so he'll know that you're not just being nosey!

110. (TO EMAN:) YOU'RE CERTAINLY DRAWING SOME BEAUTIFUL PICTURES‚ SON, & everybody's been very pleased with your first picture, the Fight picture. You were really inspired, you really hit it right on that one & it is really good. And if you could sort of follow that model, that face, you're going to be catching it. I'm going to tell you what you did right first, good news first!—Ha! There's really not any bad news, just a few little minor adjustments.

111. THAT GIRL IS REALLY ALMOST IDEAL.—She's small, diminutive, petite, her face is small, her chin & jowl is small‚ her head is small. About the only thing I might have corrected, if we'd had time, would have been her legs, which for the size of her body are a little long. That could have been shortened & in future pictures you can if they're full-lengthers. The same is true with the ones you just sent, the new full-figure.

112. FOR THE SIZE OF GIRL WE WANT, SHE NEEDS TO BE A LITTLE SMALLER & A LITTLE SHORTER, SO TRY TO KEEP THAT IN MIND. You don't have to go to the opposite extreme & make her look like she's walking around on stubs or some kind of a dwarf, but for example, I would say on your Fight girl that you could have almost cut off her foot just below the heel & not had her foot perhaps so long & you might have just about gotten it, or even at the ankle. Experiment with this & see what you think. But for such a small girl‚ even above the knee the leg is a little bit long, don't you think? She's pretty short, pretty small.

113. I WANT HER TO BE FAIRLY SMALL—THAT'S MORE IN KEEPING ESPECIALLY WITH THE EAST. They're not tall people, they run pretty short, & in order for her not to look too Nordic‚ we want to keep the length of the legs & the size of the body, even the size of the head smaller. Nordics tend to have longer faces, higher foreheads & heavier chins & we've got to try to get away from all three in order for her to look a little bit more Eastern & relate a little bit more to the East.

114. WE DON'T WANT HER TO LOOK OUTRIGHT ORIENTAL, but she needs to be at least small with delicate features & diminutive, petite, so that she doesn't look too Nordic. We're going to have to really sort of work at this for awhile until we get her just about right, & once you've got it, then we can forge ahead. I hope you don't mind my making some suggestions & corrections, etc. So that's one thing, don't make her legs too long, don't make her too tall‚ keep her pretty small & the neck not too long.

115. ON YOUR FULL–FACE FULL–FIGURE THAT YOU JUST SENT, YOU DID SHORTEN THE NECK & THAT'S A LITTLE BETTER. You almost got it too short‚ but it's better than too long. But then her legs are quite long for the small girl we want. I noticed in a lot of the art of you artists that you tend to kind of lean toward big girls with big long bodies, big jaws & very big bosoms—which is fine, except that this is not a big girl! Savvy? I think maybe you artists all have a tendency to like big women for some reason. I don't know just what the point is, but Queen Rachel-size & some like that. They're beautiful & I like big women too, big or small, but for this girl that's too big & too masculine. Big women have a tendency to be a little masculine, you know, tall, broad-shouldered, big bosoms, heavy jaws & that sort of thing. They tend to be a bit masculine-looking & often even tend in personality to be masculine, that large–size woman.

116. WE WANT THIS GIRL TO BE VERY SMALL, PETITE, SORT OF FRENCH-LIKE. Now there's a good example for you. They're dark usually, darker than others. They're a little Latin looking because of the Latin-Roman influence. They have a little Latin appearance, & that Latin appearance borders on the Oriental. Especially the Latin Americans, since there's so much Indian mixed in, have a tendency to even look more Oriental than the French or the Italians. But frankly‚ that delicate, feminine, petite, small, almost fragile look‚ this is one thing that makes the Latin women & the French women & even Italian women so attractive.—Because they are so feminine & so delicate & really have those small extremely feminine characteristics.

117. SO THAT'S WHAT SHE NEEDS TO BE, SHE NEEDS TO BE PRETTY SMALL, SON, WHICH IS ALSO IN KEEPING WITH BOTH LATINS & THE ORIENTALS. The big, broad-shouldered, big-busted, long-legged women with the heavy jowls & the high foreheads, those are typical Nordic characteristics & they're just not going to suit her personality & the way I saw her. I hope you don't mind my just being quite frank & blunt about it, but if we're going to get it right, these are the things that we have to have. OK? Keep trying!

118. YOU'RE ON THE RIGHT TRACK ON THAT FIRST ONE, BUT ON YOUR NEXT ONE, NO.2, SHE'S A BIT BIG & it almost seems like her bosoms grew a little bit since the last picture!—Ha! Her neck could be a little bit shorter, so what I did was I just took my pen & drew a neckline about where I thought that choker ought to be & how much you ought to shorten her neck, & you can take a pair of scissors & do this. Cut off a slice of neck just below the choker there, just about as wide as that choker, & then you move the head & choker down to the torso & you've got about the right length neck. Otherwise it's a bit too long. And I'll show you by something else too.

119. OF COURSE, I DON'T REALLY KNOW MUCH ABOUT ART, BUT I KNOW A LITTLE‚ & I LEARNED A LITTLE. I learned my colour photography from Bob Costa of Technicolour & I learned what little art I know when I was a teenager from Roger Lightbourne who later went into movie art also. In fact, I think he went into Technicolour too. He was a portrait photographer of very excellent portraits, & since they didn't have colour photography when he first started, he had to colour his own. They used to call'm tinted photographs. And his colouring & everything was so good & he was such an expert at it‚ he finally went into colour movies—not colouring the movies but just because he was an artist & knew his colour & makeup & things like that so that he was very useful to the movie industry.

120. ANYWAY, I LEARNED A LITTLE BIT FROM HIM, & something rather funny that I remember was a rule he taught me about the ideal proportion of the woman & the height of the bosom‚—the bosom level on a torso or a bust. Now I don't know whether they use this same rule now or not, maybe you never heard it, but I think if you'll try it—especially for this little girl—it's going to work! And believe it or not, you did it almost exactly on that first picture, in fact even less.

121. HE SAID THE DISTANCE FROM THE TOP OF THE FOREHEAD TO THE BOTTOM OF THE CHIN—IN OTHER WORDS THE LENGTH OF THE FACE—SHOULD BE ALMOST EQUAL TO THE DISTANCE FROM THE NIPPLE TO THE CHIN. Maybe you never heard that rule before, & this would account for perhaps the elongated neck of some of your women & the fact that sometimes the head looks a little bit small for the body. Now I'm not trying to criticise your art‚ Son! As far as I'm concerned, regardless of proportions, your art has been gorgeous, beautiful! But for this girl we've gotta get it trimmed down & get away from these big women‚ because our Heaven's Girl is not a big woman, she's very small.

122. SO IF YOU WANT TO ABANDON THAT RULE ON YOUR OTHER WOMEN & OTHER ART, THAT'S UP TO YOU! Any other women that you create, that's your business! But this one that I'm trying to create or get you to create, that's gotta be my business & I've gotta try to help you to get it right, the way I saw it. After all, you didn't see it, I did! You did see it in a way in this first Fight picture, you were really inspired. And on the Guardian Angel painting you really caught the face beautifully. The body for the Guardian Angel isn't too big, but for Heaven's girl‚ the Guardian Angel body is too large & the legs too long. For the Guardian Angel it's fine, she looks beautiful!

123. IN YOUR SKETCH THE LENGTH OF THE FACE FROM HAIRLINE TO THE POINT OF THE CHIN IS 3-1/2 CENTIMETERS. Then your body gets pretty big when you go from 3-1/2 centimeters of face to 4-1/2 centimeters from point of chin to nipple. Get it? You must have seen her or you couldn't have painted her, so maybe that's the size of head & face she had, & she just had an unusually big body for the size of her head & face. But on Heaven's Girl we're going to have to get that body down to fit her face, & I would like for you to use that rule as much as you can.

124. NOW ON YOUR FULL-FACE, FULL-FIGURE PICTURE, THE UPPER HALF OF HER BODY IS FINE. It's fairly small. It seemed to me that her forearms were a little bit long, but of course they're in keeping with those very long legs. But we want to try to get away from these very long legs. This full-figure that you sketched is beautiful, body beautiful & everything, but I'd say she should be almost a foot shorter. Try to get those legs down, Son!

125. I KNOW THAT LONG LEGS ARE VERY POPULAR, PARTICULARLY IN STYLE & FASHION MODELS & PICTURES. In fact, a lot of them when they draw'm, have almost unearthly long legs, as I guess you've noticed in newspaper pictures‚ etc. They seem to really tend that way for their models—tall, long & slim. They almost insist on fashion models being very tall with very long legs—but that's not our girl! Got it? She's not very tall! She's unusually short if anything, & doesn't have long legs.

126. ON YOUR FULL-FIGURE SKETCH, I WOULD SAY THAT THE SIZE OF HER LEGS & HIPS IS JUST PERFECT & her upper arms are just perfect‚ her shoulders are perfect, the little gown is perfect, you got it all just perfect. I'm sorry I have to harp on the things that we need to sort of modify, I ought to tell you all the wonderful things first! The rope tie is perfect. Of course that particular front pose is a little bit formal, but in some situations perhaps it would be, almost sort of like a fashion model posing. She's a little less formal normally & not so much posing—unless here in this case she was going to meet the king perhaps. She's not only got a sceptre but a scroll around it, it looks like, & maybe it was a formal presentation. So maybe you're right to have her looking a little bit formal.

127. AS I SAY‚ THE SHOULDERS ARE PERFECT, the dress is just right, the robe right, the amulet right, the hips & all right, upper legs fine except they need to be a little shorter. I'd say beginning from about the end of the tassel hanging down, her knee shouldn't have been very much further down than that. My conception of her would be that the top of her knee would have only begun about a centimeter below the tip of that tassel. Now that might be extreme, but I would have moved it up almost a centimeter.—And of course then her lower legs probably another centimeter shorter, & that would make her a foot shorter in appearance.

128. BY THE WAY, THOSE LEGGINGS ARE GETTING TO LOOK A LITTLE MORE LIKE LEGGINGS THERE THAN JUST STRAPS, IF YOU KNOW WHAT I MEAN. If you'll look at the left leg of your Guardian Angel, on that you've actually got only two criss-crosses of straps. On the right leg it looks like you've got more. But I like the fewer criss-crosses & a little narrower bands. Don't change this one—it's not worth the trouble & they probably won't even notice the difference—but I'm just mentioning it as we go, to try to get something a little more delicate next time.

129. WHAT I HAD ENVISIONED WAS STRAPS ABOUT THE SIZE OF THE STRAPS ON HER SANDALS RUNNING UP HER LEG. Normally these come, as you've got'm here, from the heel, up around the back of the ankle just like you've got'm, but without those extra bottom bands & without the extra heavy top bands. What they should do is come up from the heel, cross behind the ankle, come around the front & cross each other once, go around behind the calf & cross each other again‚ come around in front of the shin & cross each other the second time, then go around behind the top of the calf & cross each other on the back of the top of the calf‚ below the knee‚ right about where you've got the top of it right now, & then bring them around straight & tie'm in a bow in front. That gives a more feminine look.

130. THE WAY THEY ARE, THEY LOOK A LITTLE BIT MORE LIKE LEGGINGS—SOMETHING THEY USED TO WEAR IN THE ARMY FOR LEG PROTECTION! Well, if she's in a fight she may need it, but they need to look a little bit more delicate & feminine‚ with straps no wider than the straps on her sandals. In fact, the straps around her legs shouldn't look any wider than the straps on her sandals & should look like they're virtually the same thing & a continuation of the same thing. Got that?

131. SEE, ONCE WE GET THIS DOWN TO A STANDARD, THEN I WON'T HAVE TO BE SENDING TAPES TO YOU ABOUT EVERY LITTLE THING! But all these little details are important in our first characterisation, because even if you can't always get the face exactly the same, people will recognise her by her apparel, by her sandals, by her sandal ribbons that go up her leg & tie in front.

132. LEAVE'M THE WAY THEY ARE NOW BECAUSE I DON'T WANT YOU TO HAVE TO RE-WORK TOO MANY THINGS, BUT THE NEXT TIME YOU DRAW HER, TRY THE SMALLER RIBBONS. They're leather but more like thongs instead of heavy wide leather straps. Maybe I shouldn't have used the word straps, because they're almost more like thongs. A thong is a round leather rope-like cord or string. But it would almost be better if they were strings or round than to have them like wide heavy leather straps. Because she's petite, she's delicate & anything you make too big & heavy that she wears, is sort of out of proportion to her size & style. I hope you don't mind my telling you all this, but we've gotta get these things together‚ you & me, & to think alike if we're going to get her the way I envision her & get our minds & hearts & visions together! Amen? Okay!

133. SO ON THAT FRONT VIEW, HER FULL-FIGURE, FROM NOW ON SHE'S GOING TO HAVE TO BE SHORTER. I would say that you had the figure almost exactly right on the Fight picture, except the legs got a little bit long, almost the length of her foot too long. But don't change the Fight picture. Don't change these pictures, we don't have time! I had to give another artist a little talk on that this morning when he went ahead without consultation & tried to re-draw & re-paint one whole picture because he wasn't satisfied with it, & spent some time working on that when he should have been working on something else! We just haven't got time for perfectionism‚ Son!

134. NOW WE'VE GOT TO GET THE FIRST CONCEPT RIGHT, THAT'S WHY I'M BEING SO PARTICULAR ABOUT IT, but once we get her right, from then on you can copy her without any problem. I really liked your first girl in the Fight picture the best of any of them, except the leg was a little long.—And the same on the full-figure girl, the legs were a little long too.

135. THE ONLY THING I WOULD SAY ON BOTH THE HALF–FIGURE & FULL-FIGURE ABOUT THE TUNIC, IS I THINK SOMEBODY GOT YOU SO SCARED OUT OF NUDITY THAT YOU'RE AFRAID OF NIPPLES NOW! On anything that see-through, at least the protrusion of the nipple should show. In other words, anything that's as semisee-through as that little dress, you should be able to see the nipple somewhat protruding or pushing the material outward. I don't want her bosoms to look like they're nippleless—the same on both your full-figure & your half-figure‚ so give it a little more nipple.

136. I KNOW YOU KNOW HOW TO DO IT, SON, I'VE SEEN IT ON A LOT OF YOUR PICTURES! Of course, you're probably more used to drawing with totally nude bosoms & that's fine, I'd love to have her that way all the time. But for the sake of the general public & a certain amount of even the law in some places, we've got to hide it a little bit. So as long as it looks like there's a piece of cloth over'm, I think we can still see that the nipples are still there. So make'm look a little as if slightly protruding, pushing the cloth out a little bit more than the rest of the bosom. Okay? I took your full-figure & all I did was draw a little curved line right where the bottom of each nipple should have been & that sort of brought it out, like a little shadow under the nipple.—Just a slight tiny light curve line. You know how to draw better than I do, Son, so why should I tell you?

137. ON THE HALF-FIGURE NO.2 I DREW A LITTLE LINE ACROSS HER JAW TO SORT OF THIN IT OUT A LITTLE BIT. I've noticed, not only you, Son, but Jac's done the same thing. I've looked over a lot of the pictures of girls in our artwork & they seem to tend toward big round jaws. Now why, I don't know, but her face & her jaw is more what they call aquiline‚ a little more delicate with small chin. I would say that the point of the chin on No.2 is fine, but the jaw is too round & heavy. So on my little picture I'm sending you, I took a red line with my pen & I just cut off part of her jaw & ran it more straight across from her chin & it looked more like what I'd like to see, somewhat similar to your first picture & a little bit more like No.3, where she has a small diminutive chin.

138. YOU COULDN'T REALLY SAY THAT NO.2 & NO.3 ARE THE SAME GIRL FOR THE REASON THAT NO.2 HAS A MUCH BIGGER CHIN. No.3 has a much smaller chin & that's the way I like it. That's more like the first picture you drew, the Fight picture. I would relate that face of No.3 to her face in the Fight picture, I would say they look similar, & I would say even No.4 looking the other way looks similar, but not No.2. No.2 was larger & more finished‚ so we may use it anyhow‚ but on the other hand, No. 3 & 4 look more like the original—your first Fight picture. I hate to keep calling it the Fight picture, let's call it the original. I hope you don't mind me making these suggestions, but once we get her right, I think you'll really have it. And I know you can do it because you've done it already. In the first picture & No.3 & No.4 you've got her! You've got her 3/4-face & you've got her in two profiles.

139. YOU'VE GOT HER 3/4 FACE IN NO.2 EVEN, BUT YOU JUST NEED TO WHITTLE OFF THAT CHIN SOME MORE & SHORTEN THE NECK & LIFT THE BOSOMS A LITTLE. When you get'm too chesty, they begin to look too big for her. The bosoms are fine as far as size is concerned there, & I think you'll reach the right measurement of proportion of length of face to length from chin to nipple when you shorten that neck. I think it's actually going to bring it down to just about the right size. See, her face is about 4–1/4 centimeters long from hairline to tip of chin, & right now your nipple is about 4-3/4 centimeters below her chin. So by cutting off at least a 1/4-of-a-centimeter of that neck you'll bring it down within proper range. You can do paper doll work‚ you know what I mean? Try her head down that low & see what you think! I think you'll like it better & she won't look like such a tall girl.

140. NOW ON THE FRONT VIEW, FULL-FIGURE, FULL-FACE‚ YOU'VE GOT THE NECK A LOT SHORTER, ALMOST TOO SHORT‚ BUT YOU DID GET IT SHORTER. It's better. I think perhaps if her chin had been just above the choker or just barely touching the choker instead of hanging down over the heart, it would have been a little better length of neck. We've got to strike a happy medium between a long neck & too short a neck. We don't want her to look like Crystal in the Lamont story! (No.818) So keep trying! If at first you don't succeed, keep trying until we've got her just about the way I think she ought to look. Hope you don't mind my giving you all these suggestions, but we've gotta do it to get'm right.

141. SHE WAS A LITTLE TOO TALL IN THE FULL-FIGURE PICTURE & IN PROPORTION TO THE LENGTH OF HER LEGS, OF COURSE HER ARMS ARE FINE. But if her legs are shorter, her forearms ought to be a little shorter too. The top of her body was perfect in that picture. If you'd measure from that very long face, hairline to the tip of her chin, it's almost 4-1/2 centimeters, whereas from the tip of her chin to the top of her nipple you've got only 4 centimeters. You've got almost the right proportion, except the problem is that her hairline is too high, giving her kind of a long‚ egg-shaped head. And anywhere in the Orient or Latin American countries, high foreheads are just not the style. They have fairly low foreheads & an early hairline, therefore their faces seem to be a little rounder.

142. I TOOK MY PEN & I BROUGHT HER HAIRLINE DOWN A LITTLE LESS THAN A CENTIMETER FROM HER EYEBROWS. Then of course to get it in proper proportion, I had to cut off the top of her head about where her hairline is now. Then I got the face down to where it's not so long, forehead not so high & more in proportion to the Latin-Oriental look with the rounder face & lower hairline. Her tiny little chin there is almost perfect, & I like her eyes, mouth, everything. See, I'm not talking about all the good things! If I don't mention it, it means it's good‚ I'm just talking about the things that need changing.

143. NOW SINCE THAT'S STILL IN THE ROUGH SKETCH STAGE, I THINK YOU CAN STILL CHANGE THAT & bring down that hairline & forehead & make the face shorter. That makes it also a little more round, & take off the top of her head completely. The top of her head ought to be about where her hairline is now & her hairline about 1/2–centimeter below that. Try it!—I think you'll like it!

144. BY THE WAY, I THINK WE'VE SOLVED THE INKING PROBLEM, & I guess that's why you sent me both the original & the Xerox of the Fight picture—or was that why? Now I realise that the Xerox doesn't pick up all your perfectionism & fine-line shading & all the tiny infinitesimal little details & perfections of your original sketch, but did you lay'm down side–by-side & notice what the Xerox did for your pencil sketch?—It inked it in one flash! In about two or three seconds it inked the whole thing. It inked it! It brought out good strong heavy black contrast, & that's what it takes for printing, Son!

145. NOW IF YOU WANT TO GO INTO THE ART WORLD & RUN YOUR OWN EXHIBIT & try to crash the masterpieces with the masters & go to Paris with the critics & all the rest, well, you can draw'm any way you want to & you can spend days‚ weeks & years doing it to get masterpieces that they will all agree are masterpieces, with all the infinite fine-line work & all the rest. But that's not our business right now. We're not usually in the business of creating masterpieces.

146. WHEN WE GO TO COLOUR IT'S A LITTLE BIT DIFFERENT. We put in an awful lot of detail & an awful lot of work & we almost try to strive for perfectionism in our colour posters. I mean, we're going in whole hog on a thing like that & it's costing a lot of money & it's a lot of work! Do you know how long it took us to do that Heaven poster from the first time I drew the first little rough sketch until now when he's finishing it? Maybe this is going to disappoint & discourage you & make you figure you'll never get anything done! But that colour poster is going to go into maybe 100,000 copies & maybe more & be circulated around the World & maybe millions of people will see it! I mean, if only ten people see each poster we've got a million people seeing it right then!

147. SO ON THE COLOUR POSTER‚ NATURALLY WE'RE GOING TO SPEND MORE TIME, MORE PERFECTION, MORE DETAIL & TRY TO GET IT JUST ALMOST PERFECT, JUST RIGHT. We've been over some of these pictures time & time & time again & made corrections, corrections, corrections on this colour poster, so on colour posters it will be another story. And like I said, if some of your sketches are so good, I would say you're going to be able to use those originals for a colour poster. Then of course you can take your original sketch & paint it & we'll be really particular to get it just right & all that.

148. BUT RIGHT NOW FOR THESE, YOU'RE GOING TO HAVE TO BE A "CARTOON" ARTIST—I hate to use that word—& a comic strip artist has to do simple line sketches with as little detail as possible & a lot of repetitive sketches. In fact‚ they probably just keep in store various poses & facial expressions & positions & all the anatomical parts & legs & arms & whatnot so they can use the identical same one over again in certain positions & situations. That's probably why they can do so many & do'm so fast & draw at least three or four pictures a day to keep up a comic strip.

149. THAT IS WHAT WE'VE GOTTA AIM FOR ON THIS KOMICBOOK CHARACTER. She's not comical, but that's the name they call these books whether we like it or not, so we sort of have to stick with the stereotyped word. You're going to have to be drawing an awful lot of pictures of this girl, so you don't want'm too perfect & you don't want too much finework & fine shading & fine-lining, you want simple line outlined pictures. Try to get away from shading as much as you can & try to keep from too much detail, because you want something you can draw quickly, something I don't think you've ever done!

150. YOU'RE A PERFECTIONIST, SON‚ & IT REMAINS TO BE SEEN WHETHER YOU CAN TURN INTO A CARTOON ARTIST OR NOT! You have drawn some real cute little cartoons before, even comical cartoons, I know, I remember. They were simple little outlined line figures, actual cartoons, so I know you can do it. You've sorta got to strike the happy medium between the cartoon & the painting so that you get a figure‚ an outline, a girl, her shape, her size, her proportions, her dress, her accessories‚ etc., almost absolutely standard, so that even if the face doesn't always look exactly the same, people notice bodies & dress sometimes even more & they'll know she's the same one because of the way she's dressed.

151. TAKE THE FACE ON YOUR ANGEL, THAT COMES CLOSER TO OUR GIRL'S FACE THAN NO.2—SMALL CHIN‚ BEAUTIFUL EYES, GORGEOUS! And the hair, if it were braided, would be just almost perfect—length & everything. That Guardian Angel is such a good characterisation that I'm tempted to continue it in the series‚ because I can see you can draw it, at least you painted it. I don't know whether you can draw it simply or not, & draw repeated representations of her in various poses & positions & expressions, etc., but in order to do so, in order to have a comic strip & a comic book, you've really gotta draw a lot of'm!

152. I KNOW IT'S GOING TO HURT YOUR PERFECTIONIST ARTISTIC SOUL TO TURN INTO A CARTOON ARTIST, BUT THAT'S WHAT WE NEED! And for God's sake, if you don't want to do it, tell me now! Okay? You'd better think & pray about it & if you don't want the assignment, well, you'd better tell me now before I have to waste my breath any further & I can start telling somebody else. I know you're an artist & a real painter too & a perfectionist, & you draw the most gorgeous gals I think I've ever seen, but on this series we have to have speed! We want to get this job done before the Lord comes! In fact, we want to get it out before the Tribulation! Maybe we've only got two or three years yet, who knows, & I don't want it to take us two or three years to do it! I'd like to see us aim at trying to finish this series or at least get it well on its way inside of a year!

153. NOW GUESS HOW LONG IT TOOK US TO DO THE COLOUR POSTER FROM THE TIME I DREW THE FIRST ROUGH SKETCHES? When we started, we weren't planning to have a colour poster‚ we weren't even planning to have a poster, much less colour! I was just drawing some little one-page GN sketches to illustrate some Letters we were getting on Heaven. So in order to have a front cover picture for each one‚ I started making some little sketches of what I thought it ought to look like for our other dear artist, & that's from whence it grew! His drawings, of course, are so much better than mine—mine look like little kids' drawings alongside of his—but he gets the point, he gets the situation, he gets the positions & the proportions, etc., of my rough sketch, & then he really does the artist's job like you do. Follow me?

154. SO WE REALLY DIDN'T START OUT TO DO A COLOUR POSTER! Like the guy that said, "This is a non-profit organisation—however I didn't plan it that way!" Well, in this case it has become a prophet organisation—the poster grew to prophetic proportions compared to the little tiny rough sketches I started out with! So guess how long it's taken from those first rough sketches & working on it almost constantly with only a few lapses where he had to do some other sketches in between? Guess how long it's taken us to get that from its first rough sketches to today's completion?—Six months!—Six months‚ boy, to really do a masterpiece in both poster size & colour & everything, as well as detail! You're going to be shocked with its detail! If you've got a top picture, that'll give you a little idea of the detail!

155. NOW THE REASON FOR THAT WAS BECAUSE LITTLE KIDS STUDY THEM‚ SO & WE HAD TO HAVE EVERY LITTLE INFINITESIMAL DETAIL IN THERE FINISHED TO MAKE IT REALLY LOOK REALISTIC & to coincide or co-relate with the reality, as well as Scriptural descriptions & measurements & scale & all the rest. To get a little idea of how much territory that top picture covers, take a look at that Crystal Building & guess how tall that is, considering the picture's drawn to scale. I'll give you a hint, the Wall is about 200 feet tall, & by actual scale measurement is about two centimeters high in the picture. So now measure your Crystal Building & you've got almost 10 centimeters! In other words, the Wall is about two centimeters tall or about 100 feet to the centimeter, so that makes the Crystal Building 1000 feet tall!

156. CAN YOU THINK OF ANY BUILDING THAT YOU KNOW OF & HAVE HEARD OF & SEEN LOTS OF PICTURES OF THAT IS 1000 FEET TALL? What building has been the tallest building in the World for a long time & which most people are familiar with‚ I think it's 1100 feet, something like that?—That Crystal Building is about the height of the Empire State Building! Do you remember that? Don't you remember when King Kong climbed it?—That's the height of that Crystal Building! Now you get a little idea of how tall it is! Isn't that something? No wonder the people are just little specks down below!

157. YOU CAN'T ACTUALLY USE THE SCALE LIKE A MAP, because due to perspective your scale dwindles as you go into the distance, so you've sorta got to measure from the front & take some set distance into the picture. I was going sort of by a happy mean or medium there on that. In fact, because of that, your Crystal Building is actually more than a thousand feet tall because it's further than the Wall. And guess what that makes the height of my Mansion? Can you recognise my Mansion up there in the sky?—It's the three-domed palace!—And wouldn't it be funny if I got there & found out He made it just the way I liked it?

158. DO YOU REALISE APPROXIMATELY HOW HIGH THAT IS FROM THE GROUND?—IT'S CLOSE TO A COUPLE THOUSAND FEET! I mean, it's up there, Boy‚ so you'd better know how to fly! I figured we'd better put railings there not only to show that that was the end of the garden, to kind of make some kind of definitive line, but I thought the babies & the little kids may be like fledglings & maybe they haven't really learned how to fly yet! They could tumble off there & flutter, they wouldn't fall real hard, but they could flutter down to the ground like a fledgling.

159. HAVE YOU EVER SEEN A LITTLE BABY BIRD FALL OUT OF THE NEST, LITTLE FLEDGLINGS WHEN THEY'RE ABOUT ALMOST READY TO FLY? Their parents will actually push'm out because they have to learn to fly! They don't know how to fly already, they have to try their wings, so they kind of flutter & fluster around & tumble down to the ground. Then they'll sit there for a few moments perfectly still, sort of stunned & shaking their head & stretching their wings a little bit more & then just sort of hop around a little bit because they're not used to flying at all.

160. THE PARENTS WILL COME DOWN & ACTUALLY GIVE'M A SHOVE TO SORT OF SCARE'M, to make'm first of all run, & then they just automatically start flappin' their wings & try to fly to get away from their parents. Their parents come down & even peck at'm to make'm move‚ to make'm go! And in running from their parents, God has put in them the natural instinct to flap those wings, so they begin to flutter along the ground. When I was a kid I used to watch'm by the hour! In fact, we sometimes found'm & couldn't find the parents, so we tried to feed'm & keep'm alive & everything‚ so I learned a lot about birds in those days.

161. ANYHOW, I DIDN'T INTEND TO GIVE YOU A FLYING LESSON, BUT IT'S POSSIBLE THAT THEY'VE GOTTA LEARN TO FLY. Who knows? And of course the people on the ground that may be coming in from the outside, the Outside World, they can't fly, they're not supernatural. They are now immortal, they have immortal bodies that are not going to die & they will live forever on the New Earth, on the outside, but they don't have those supernatural powers & characteristics that we have of being able to fly & appear & disappear & walk through walls & stuff like that. So they're still pretty human & they can't fly, they've still gotta walk. That's why we've gotta have Flying Saucer Rides & Boat Rides & all that sort of thing for'm. I think even we'll enjoy those, even if we can fly! You may think I'm crazy, but it's fun!

162. SO THERE'S A FEW LITTLE DETAILS I DIDN'T INTEND TO TALK ABOUT THAT HAVEN'T GOT ANYTHING TO DO WITH ART, BUT THAT'LL GIVE YOU SOME IDEA OF THE DETAIL & THE GIGANTIC PROPORTIONS OF THAT ONE LITTLE PICTURE THAT HE DREW, that top picture of one little corner of the City, how tremendous it is & what a big job it was & how much detail he had to put into it. All those streets & roadways & trees & grass & flowers & people & buildings & everything you can imagine is in that picture, inside & out!—As well as Jesus & the headlines & the flyers & all the rest! You can study that thing by the hour & not see it all, much less visit it & see it all in one day!

163. THOSE WORLD FAIRS WERE FAMOUS FOR THE FACT THAT YOU NEVER COULD SEE ONE ALL IN ONE DAY. You couldn't "do the Fair in a day" as they used to say‚ you had to come back. We lived at the New York World's Fair for six months of one Summer & six months of the other Summer & we never saw it all! Of course, we were pretty busy too. But they said it was impossible for anybody to ever see the whole Fair in the length of time it was open. Nobody could see every exhibit & every demonstration & listen to every lecture. They estimated one time that it would take you several years to really see everything & hear everything & watch all the demonstrations & hear all the lectures, but you never could possibly see the whole Fair, it was just too much! Well, that's sort of like what we've got, a Heavenly Fair! This is my Fairground Corner, my Disneyland. Well, it's not Disneyland‚ it's Davidland!—Ha!

164. SO THAT'LL GIVE YOU AN IDEA OF HOW HARD HE WORKED ON THAT, SON, & WHAT A TREMENDOUS JOB IT WAS & ALL THE INFINITE DETAIL. Even today at the last minute I scanned & scoured that picture & I still found a few little trees that he hadn't coloured & a couple of boats that he'd missed, little tiny things that even though he's the artist & he just pores over that thing constantly, a few little things he missed. I don't know, maybe he just hadn't quite finished before the photographer had to shoot it.

165. SO I LIKE THE FACE ON YOUR GUARDIAN ANGEL PAINTING, IT'S REAL CUTE & I'D SAY IT'S ALMOST PERFECT FOR HER. It's got a nice tiny chin, small face, but as far as I'm concerned‚ the body is too big for Heaven's Girl. Maybe you like girls with big bodies & big ... I refuse to use the word "boobs"!—I love the word "bosom," it sounds nice & soft! I don't see how you ever can keep your mind on your art! I like'm nice & soft & squeezy! My favourite custom when I kiss the girls, I not only use my mouth, I use both hands! I figure that's what they're for‚ so why not enjoy'm?—And they seem to enjoy it too for some reason or other, they practically line up for it! So that's what God made'm for, amen? I kiss them sometimes too, you know, & I say, "Well, if you think I seem to like this too much, remember, this is the first thing in life I ever wanted!" And like I joked the other day: We spend nine months of our life getting out & the rest of our life trying to get back in! Well, I'm sorry, I have to be a little funny once in awhile—I'm just made that way!

166. BUT ANYHOW, BIG BOSOMS ARE FINE FOR OTHER GIRLS, BUT NOT THIS GIRL! She's just a young budding teenager! I was almost going to say you could use that little 13–year-old girl you had there until recently for a model, but now I understand she's gone, so you can't. I don't know whether you have any more around young enough with budding bosoms or breasts. I like to call them bosoms or breasts. I don't like that word "bust" too much unless it's used to indicate the head & shoulders & bosoms. Well, I like'm all, big or little, but the kind I want for her has gotta be just like those of a full-blown teenager.—And you got'm right! I've got no criticism of your bosoms at all‚ except that I want the nipples to show a little bit more through those see-through gowns.

167. NOW DON'T GO TO THE OPPOSITE EXTREME & HAVE'M STICKING OUT THERE WHERE YOU CAN SEE THE WHOLE THING, INCLUDING THE AURA! The aura is that sort of reddish-brown circle surrounding the nipple‚ & we shouldn't be able to see that through her dress. But you should be able to see at least something sticking out underneath there, like something's protruding. That is part of her anatomy & should be there & you should be able to see it through that little thin see-through gown—but not too much now! We don't want to get in trouble …, so watch it!

168. FRANKLY, I THINK YOUR GUARDIAN ANGEL'S ARMS & SHOULDERS & HANDS ARE NICE & DAINTY & more fitting to her face & head & more fitting to the girl we want even than the rest of her body. So I like that. Her shoulders are small & her arms are not too long or big or muscular. If you just cover up the rest of her body & just show her head, neck, shoulders & arms, you'd have it! So let's maybe even use the top of that for her in some instances with the rest of her smaller body‚ etc.

169. I LOVE YOUR PAINTING & I'VE GOT IT HANGING UP ON MY WALL NOW. I've just gotta try to buy a frame for it because I want to try to really protect it. I'm afraid somebody will touch it or it will start flaking or something in this funny climate. You've got to watch out for mold & mildew & everything in the Tropix & you don't dare leave anything put away. I guess you've already found out what happens to your leather shoes if you stick'm in the bottom of a dark closet, & you'd better watch your clothes too.

170. ONE OF OUR BOYS TOOK HIS NICE WOOLLEN SUIT OUT OF THE CLOSET THE OTHER DAY & YOU COULD SEE THROUGH IT!—Several holes‚ where either the moths or the roaches had eaten holes through it because he'd had it hanging in the back of a dark closet in storage too long. So watch your clothes & don't let'm hang in the back in the dark where there's not much air or light. And watch your shoes, anything leather. Plastics it doesn't seem to affect. The plastics or the plastic clothes, they don't seem to like that—nothing likes that. No kind of insect or germ will eat that junk, they know better‚ but they love leather! That's organic material.

171. YOU CAN GROW A WHOLE GARDEN OF MOLD & MILDEW RIGHT ON YOUR SHOES!—Or you can find your wool suit full of holes because they love to chew on wool & cotton both. They won't touch your synthetic material, but they will really chew on the wool & the cotton, both the moths & the roaches & God knows what! So watch that stuff too. Goodness, I don't know why I always wind up giving lessons on how to survive in the Tropix, but I guess that's just part of me!

172. ALL RIGHT, I THINK YOU'RE GETTING A LITTLE IDEA OF WHAT WE WANT, ANYHOW! Have you got your David Poster there? I want you to look at that. There aren't very many girls on it. You remember the picture you drew of Maria in the arms of the Lion?—That cute little one? Well, there you've got a nice cute little face, plain, simple, cute little chin. In fact‚ if you want to know what Maria's favourite picture of me & her is, that's it!—You drew it. That's her favourite picture, isn't it, Maria? (Maria: Yes, Sir!) From all the pictures you ever drew of her with me, that's her favourite picture. She was disappointed they didn't put it on her poster, but anyhow, there it is! That face is similar—small, delicate, petite, almost fragile-looking.

173. THE GIRLS YOU PUT ON BOTH SIDES OF MERLIN DOWN ON THE BOTTOM OF THAT ONE‚ one of them looked like Queen Rachel, & that is not our girl! In fact, she's no longer our girl. The other one on my right looks a little more like her, in fact, it looks a little like Maria‚ a bit busty, but a little smaller face & more diminutive, petite, fragile, delicate & feminine. I hope you get what I'm driving at.

174. OKAY, LOOK AT YOUR MARIA POSTER—DO YOU WANT TO KNOW WHAT FACES HERE I REALLY LIKE BEST? I like'm all, but do you want to know which faces I like the best for Heaven's Girl? Well, the one in the upper left corner of the Queen, the chin is too big for her. The FFer, the chin is too big. The third one where I'm whispering to her, now you've got it‚ a nice small chin, nice simple plain little girl with very simple lines. It's pretty easy to draw that kind of face, in fact you drew it! I think Jac kind of touched it up a little bit, I don't know what he did to it, but anyhow‚ that's more the size & shape of the face. Also the fourth picture there, the Mother, that's more like it too—small, delicate, small chin. The next picture of the Fighter looks just like Queen Rachel, & that is not our girl. The next picture, the Word Giver, the jaw & chin are too big & the nose a little too long too. Heaven's Girl's nose is kind of cute & small.

175. LET'S GO AROUND THE MARIA POSTER CLOCKWISE, NEXT PICTURE WHERE SHE'S WRITING—NOT THE BIRD BUT THE OTHER ONE—THE JAW IS TOO BIG. Can you get what I'm talking about? Next picture where I'm whispering in her ear‚ there the chin is almost small enough but not quite, & the face is almost too old. Next picture down, the Leader, her chin & jaw are too big & the forehead is too high. The Comforter—heavy jaw again. Take a look at Aphrodite, she's almost perfect! Just beautiful!—Small, sensitive‚ delicate, petite & feminine. I just don't think heavy-jawed, heavy-jowled girls are going to fit this Girl. I don't say I don't like'm, I like'm all, but for this Girl I prefer a small, delicate, almost French look‚ like she's sort of a cross between a Latin, French & Oriental girl.

176. NOW TAKE THE CENTRAL PICTURE OF THE SHEPHERDESS—IT'S CLOSE! In fact, that's one reason we picked that picture, we liked it best. I think, if I'm not mistaken, that dear Jac had to cut down on the jaw a little bit on that one & change the face from your original because I wanted it to look more like Maria. Maria has a very tiny little feminine delicate beautiful, almost transparent beauty to her face. So that's closer to it.

177. THE CARTOON OF HEIDI IS CUTE & IS CLOSE‚ BUT EVEN THERE THE CHIN IS A LITTLE TOO BIG OR PROTRUDING. The Intercessor is close, I'd say‚ but the chin is a little too long. The Prophetess is very close, & I won't go into the Robot! The Lover, for the size of her face, the chin is still too big. You could trim it way down quite a bit yet. On the Healer, the shoulders & arms are not bad, but the breasts are a little large. The chin is good, especially if you finished off the lower lip, then you'd notice that the chin is really small. All right‚ are you beginning to get the idea of what I'm driving at?

178. NOW HOW WOULD YOU LIKE ME TO MENTION A FEW GIRLS YOU KNOW THAT YOU MIGHT EVEN BE ABLE TO USE FOR SAMPLES? There's a lot more to the Girl than the face, but her face is the most attractive, & that's the most attractive part about any girl as far as I'm concerned. Bodies come & go & they've all got bodies, & regardless of sizes & shapes they're all very lovable. But the face is what really turns you on, honestly. Some guys may think it's other parts, but they get kind of used to those. My Mother said, "Don't worry about that, Son, they all come with standard equipment! What you want is a gal with character. Beauty's only skin deep, but real beauty is a lot deeper than that‚ a matter of the heart." And that comes out in the expression on their face.

179. HAVE YOU SEEN ANY PICTURES IN THE MAG OF CHARITY IN THE PHILIPPINES? Take a look at one of her pictures.—Nice little delicate chin, low hairline, very feminine, small face, beautiful big eyes, & again she has that touch of the Oriental—& you know what?—Jewish! She may not know it but I can tell by looking at her. Maybe you're going to say, "Aha‚ I thought so! He's getting around to that, he wants her to look like she's Jewish!" Okay, all right! You have that good combination in the Jewish girls, they're Oriental. And yet the Eurasian Jews‚ they're Eurasian, part-&-part‚ half-&-half. You see what I'm driving at? Are you getting the point? Let me see if I can think of anybody you may know.

180. IT WOULDN'T FIT FAITH BECAUSE HER JAW'S A BIT TOO BIG. She's very Nordic, half-Swede, & her forehead is too high for this Girl. She's fine for herself‚ but her forehead's too high, face too long & the chin too big for Heaven's Girl. You know Joan well—there's a face that the chin is nice, the eyes are big & mystical, but the nose a bit long for this little Girl, & forehead a bit high for her. Let's see if I can find any more girls you might know.

181. MWM'S RACHEL'S ALMOST TOO NORDIC. The forehead's a little bit too high, the chin a little bit too long‚ eyes not quite Oriental enough. She's beautiful, though, bosoms almost perfect for this size Girl, & size & shape of the body I'd say are almost absolutely ideal for her. You could use her for a body model, I'm sure you wouldn't mind that! Just keep your mind on your art, Son‚ because I'm afraid you might get a little distracted. Well, I don't mind if you take a sex break once in awhile. She's got a gorgeous body, very well-proportioned, small, petite, very feminine, bosoms teenage–size, just almost perfect for the job. It's nice if you've got a local model.

182. THE FACE IS VERY CLOSE, JUST DON'T MAKE THE HAIRLINE QUITE SO HIGH OR THE CHIN QUITE SO LONG. She's very close. I'd say you could almost use even her face for a model, but you'd have to make the eyes a little bigger & more Oriental & more mystical. She's got a gorgeous mouth, beautiful teeth & her body as far as I've seen from all the pictures I've had—& I've had quite a few including some dances & whatnot—is very beautiful. There's a good example, I'd say she'd make a very good model.

[...]

184. WINDY IS SWEET & BEAUTIFUL, BUT SHE'S A LITTLE BIGGER, ISN'T SHE? And the bosoms are a little larger, aren't they?—You oughtta know! Her bosoms are a little larger than our Girl. Marianne, of course, is gorgeous but she's much more mature, which shows in her wisdom & all the rest. This Girl is virtually a teenager. Well, those are the ones that come close. Kristina's beautiful but too tall for this Girl. Have you folks got a picture of Charity around? If you can find one, she comes close.

185. AND DIDN'T YOU EVER SEE MARIA IN PERSON SOMETIME?—I'M SURE YOU DID. Well, you know what she looks like! Her bosoms are just perfect for this girl & body too. If you could use her for a model, you'd have it! I don't think she'll ever be anything but a teenager! She looks like a teenager & she acts like one too. And let me tell you, she loves like one also! Hallelujah! TYJ!

186. WELL‚ IS THAT ENOUGH? DO YOU THINK I'VE GIVEN YOU ENOUGH IDEAS THERE THAT YOU CAN GET ON THE TRACK I'M ON, TO TRY TO AIM AT THAT? In the next mail I expect to see some more sketches with these adjustments. I like the ones you did of the heads‚ but take No.2 & cut down on her neck & cut down on her jaw & I think you'll have it. If you just cut out that piece of neck & drop the neck & choker down to what's left of the torso, about where the shoulderline meets the neck, I think you'll have it. Try it anyhow. I don't know if I'll like it till I see it. I figure I could do some paperdoll work & try it, but you're the artist so you ought to do it.—That's not my job! Okay?

187. AND LET'S SEE THOSE NIPPLES A LITTLE BIT, SOME LITTLE TRACE OF A NIPPLE UNDER THERE ON BOTH SIDES. We should see that something's sort of sticking out there & it's not a perfectly round sphere alone. It's round underneath but it's not round in front. In other words, I want to see some revised sketches of what you've already done, including that one & the full-figure front–face one. Leave her neck like it is & her upper body is fine, but as long as we're going to try to use this one, why not just take off the legs you've got there, make'm shorter & rewind those laces. Maybe I should call them laces so you won't get the idea I mean heavy straps.

188. I THINK YOU'RE GOING TO HAVE TROUBLE SHORTENING THE RIGHT FOREARM, BUT THE LEFT FOREARM WILL THEN DEFINITELY BE TOO LONG & I think you can shorten that one‚ can't you? So try again on that. And let's have another touch of nipple, otherwise the tunic is just beautiful. Don't you like that style to be a kind of a standard uniform for her? Isn't that beautiful? And then of course lower the top of her head & her hairline, face a little rounder & head not so long, & let's see how we like that. I think I'll like it better. Okey-doke?

189. AND DON'T FORGET, I THINK THE XEROX HAS SOLVED YOUR INKING PROBLEM. I know you may not like that & it won't do justice to all your fine-line work & shading & delicate intricate little details‚ some of them may fade completely out of the picture, but when it comes to saving two or three days of inking & all that time & trouble & nerve-wracking work & your eyes, Son, we can stand it! We can stand at least in the black-&-white to lose a little detail on the Xerox if it can ink the picture in three seconds!

190. I'M GOING TO USE THAT XEROX THAT YOU SENT ME! That's what I'm going to use for the picture, at least in the GN. Now if we go to a big poster—which we probably will eventually‚ & maybe even a colour poster—then we can fiddle around with it more & try to bring out more detail & do other things, but right now we haven't got time! Did you know that the next issue is waiting on these pictures? Book 16 is her theme issue! Book 15 is done, we've closed the book! But Book 16, we've got virtually all the text done, it is full, we're just waiting on your pictures & Jac's pictures‚ the ones which he's doing on some of the articles.

191. BUT I'M LEAVING HER UP TO YOU—SHE'S ALL YOURS, SON! She's going to be your creation, your Girl‚ your ministry & your job! You're going to make her or break her, so watch your step! That's why I'm being so particular on getting her started right, to get her started off on the right foot—in fact both right feet—no, she's not going to have two left feet or right feet, but you know what I mean! Anyhow, if we get her started right & you get these first pictures right, then I know you'll be able to carry it on.

192. I KNOW THIS IS KIND OF A NEW STYLE OF DOING THINGS FOR YOU WHEN YOU'RE USED TO YOUR OLD SLOW PERFECTIONISM, BUT IF WE'RE GOING TO GET THIS JOB DONE, YOU'RE GOING TO HAVE TO MOVE FAST, cut it short, make'm simpler‚ do'm just almost like your rough sketches, real quick little sketches. I know you can do'm pretty quick in your rough sketches, they don't take you very long, & we can use'm. If you make your rough sketches with a heavy dark pencil, that may be all you need. Then when we Xerox'm, that'll bring out the blacks & the contrast & make it dark enough & heavy enough & bright enough also with enough contrast that they'll be perfect for printing. Got it? Okay‚ there you are! Take it away!—But send it back in the next mail when you've got enough to make it worthwhile to send a few. I don't want to rush you, take your time in one way, but don't take too much time. If they're not done soon I'm apt to be impatient, but I'll just have to wait! I'll wait for you, Son. You do such beautiful work it's worth waiting for.

193. LORD BLESS & HELP YOU & GIVE YOU WISDOM & SKILL & VISION & INSPIRATION & A STEADY HAND & REAL GUIDANCE IN THIS JOB SO THAT YOU CAN MAKE HER REALLY WHAT SHE SHOULD BE, the way I saw her & the way the Lord wants her to be, to be a great inspiration & blessing to many!—In Jesus' name, amen. Amen? Do your best, Son, I know you can! Keep trying! And thanks a lot for that gorgeous painting, I really appreciate that. That was a real sacrifice too, I know, for the rest of you guys who gave it up‚ but I don't think Eman ever gave me one like that! Ahem!—So it's about time! I think the only one I ever saw was the one that you did of Jesus. Well, that was nice & I love Jesus, but I'm particularly fond of your girls! But you haven't got time for any more paintings now—not unless I tell you we're going to go to colour on a poster or something, then I'll let you paint! But right now we've got to work on this girl & do as many of those as you can to get us rolling, because as I say, we're waiting on some of them right now.

194. THE FIGHT PICTURE'S FINISHED‚ DON'T DO ANY MORE ON THAT, & I'M GOING TO USE THE XEROX YOU SENT ME, THAT'S SUFFICIENT. I'm sorry if it cut off a little of his robe on the bottom, that's too bad‚ but we have pretty small pages anyhow. You may not even recognise it when it gets reduced to that page size, but that's part of the sacrifice we have to make for speed & size in this particular Magazine. So there you are, God bless you! I love you!—And the rest of you folks too!

195. (TO EMAN'S SHEPHERDESS:) I LOVE YOU, HONEY! I LOVE YOUR MATURITY! xxxx! In fact, if you weren't mature & wise‚ you wouldn't be running that outfit. You've got to have an older head to do it—but your body looks as beautiful as ever! ILY! And I'll never forget the time we were together. I've got a picture of that yet—in my head, not on my camera! I'll never forget you. I was looking up at you & you were so beautiful, like a dream! So I thank you again & I hope it won't be long before we can do it again! I'm kind of getting old here, but when we get to the Millennium, no problem! I'm going to really make up for lost time when we get there. I'll bet they're going to be standing in line! Hallelujah! Thank God for our kind of Heaven! God bless you! I love our kind of church, don't you? You ought to see when we have meetings! Whew! Wow! It is really beautiful! ILY! God bless you & thanks a lot for everything!

196. BY THE WAY, YOU KNOW WHAT JAC DOES ON SOME OF THESE?—He takes Xeroxes & he works on them for modifications instead of on the original. And on the big poster he actually even got some copies printed so he could practice on them, because it's a little hard to practice on your original sometimes.

197. I'M SENDING YOU A BEAUTIFUL COLOUR PHOTO OF YOUR GUARDIAN ANGEL‚ & do you know what our photographer did with a filter?—He made her a little bit more gold-coloured & the background a light powder blue, & it really enhanced the colour. It is just absolutely gorgeous against that nice light blue background! So you'll have that one for a model. Okay? All righty! GBY!

198. MY GOODNESS, HOW LONG DID I TALK! IT'S IMPOSSIBLE! HOW COULD I TALK FOR TWO HOURS! Well, praise the Lord anyhow! Maybe we got a few more good lessons & at least now maybe you know what I want. And when I get your next pictures, let's hope they really do the job. At least you'll know what I don't want, & if there's anything wrong, I'll tell you. You don't have to worry about that, if there's anything wrong, I'll let you know! I'm not going to be too delicate about this, because we've gotta get it right. But I love your art, Son, it's just gorgeous & I know you can do it if you just take these suggestions & really try to follow through.

199. I'M SORRY THAT THESE XEROXES MAY NOT MAKE THE MOST GORGEOUS PICTURES LIKE ORIGINALS, but if we can ink the thing in three seconds instead of three days, it's worth it!—And that does away with your Letratoning & everything. Letratoning & inking used to take you at least two or three days, right?—Now, forget it! Xerox it & you've got it made! And that's enough for this character & the kind of material we're going to use her in. See‚ you just can't be too perfectionist, we're short on time! Amen? GBY! ILY!

200. (TO EMAN'S OVERSEERS:) GOD BLESS HIM, I HOPE HE TOOK THAT WELL! Let's hope he can take these instructions & these corrections. Of course it must really hurt him when he's such a perfectionist & a real artist with those gorgeous paintings & all, to have them brought down to this level, but if we're going to do this job that we're trying to do with the Girl, we're going to have to do it.

201. SORRY TO HAVE TO TAKE SO MUCH OF YOUR TIME, but if you'll listen to this tape & what I'm trying to tell him, you'll have a better idea of what I want him to do so you can hang over his shoulder & try to keep an eye on him to make sure he's going the right direction. And don't be afraid to tell him if you see something you don't like or you don't think is right, it's better to catch it. Better a fence at the top than a hospital at the bottom! A stitch in time saves nine—& even more than that in art! I've had to lecture our other Creations Overseer on this to really ride Jac's case & make sure that he does it right & to keep an eye on him so he doesn't go astray.

202. NOW YOU KEEP AN EYE ON EMAN! He shouldn't have to worry about your walking in there frequently to take a look, he shouldn't resent that at all! Just tell him I told you to, if he doesn't like it. Just say‚ "Well, Dad told me to keep an eye on you & keep an eye on your art to see if it's going right, two heads are better than one!"—In fact three or more! Have other people look at it too. Make frequent visits in there & see how he's getting along. Don't make it so much that it makes him nervous, but go in there & look. You at least ought to be able to look a few times a day & see how he's getting along & see what it looks like & how it's going. If there's any suggestions you have‚ any modification you think ought to be made, anything you don't think is just right‚ well tell him! Okay? Keep an eye on him! I want you to watch it & watch that art.

203. I'M SORRY TO HAVE TO WORRY YOU WITH THIS, BUT NOW THIS IS PART OF YOUR JOB, your new job, & it's one of the most important jobs you have now! What you're doing along this line is going to increase‚ whereas what you have been doing may decrease, in fact it's already decreased, you've been cut in half or more! You were cut in half once & cut in half again‚ so that's really being cut down! We're cutting down on that whole radio program & going more & more to this.

204. SO IF YOU CAN KEEP AN EYE ON HIM & GUIDE HIM RIGHT & KEEP HIM IN THE RIGHT SPIRIT & EVERYTHING, YOU'RE GOING TO BE REALLY ACCOMPLISHING A BIG JOB, & IT'S IMPORTANT. So just remember, this isn't just part of your job, this isn't just some little extra job that got shoved off on you, but it could be your principal job! And the time may come when you won't have any other job but watching him & taking care of him & keeping an eye on his art. So remember, it's that important. Amen? Okay! GBY!

205. I'M NOT SAYING THE TIME IS COMING THAT EVERYBODY ELSE WILL BE GONE, BUT IT COULD BE!—Especially if we get trimmed down on income. I warned some, & you'll get the talk sooner or later‚ that we may have to abandon radio entirely eventually. We found out it's costing us more than lit, can you imagine that?—More than pubs! I mean, radio & everything connected with it has been eating up over 1/3 of our income, whereas all the pubs & all the rest we do & the millions of copies of pages, etc., only costs about a fourth of our income.

206. SO WE'RE REALLY SURVEYING & ANALYSING & EVALUATING NOW AS TO WHETHER RADIO'S REALLY WORTH IT, IT'S THAT SERIOUS. And who knows? If we figure it's not & that we've got to cut down & maybe even eliminate, when you get to where you've got more babies than you know how to take care of, it's time to stop having babies, if you know what I mean! Maybe we already reaped the harvest. We've been on several years some places & two or three years most places. So it's time to take care of the babies & not just leave them wandering around in the street without anybody to take care of them. And if it takes abandoning sowing any more seed in order to harvest the crop, we're going to do it! It's that serious.

207. SO SOME OF YOUR FOLKS WHO HAVE OTHER TALENTS MAY FIND THEY'RE GOING TO COME IN REAL HANDY!—Ha! Don't tell'm that, don't scare'm, they'll get the word on that in something that I talked about the other night. But we're really clampin' down & we're only going to continue to support those ministries that really pay off, that are profitable & fruitful. I'm not talking about financially, but you know how I mean!—In souls! So there's no use going on & putting out more money on something that pays less, when we could put out less on something that pays more! Amen? Okay!

208. FRANKLY, NOBODY'S EVER GOING TO CONVINCE ME THAT ANYTHING CAN PAY OFF BETTER THAN LIT & THE PERSONAL APPROACH. We had to go to radio to try to harvest what we couldn't reach any other way, but now that we have & now that we've got more than we know what to do with & take care of, we just may have to cut down. So PTL anyhow! Amen? Maybe radio's had its day. Maybe follow-up is the thing now, the main thing that's needed. So keep that in mind. And working with Eman, you're working with lit & you're working with the future & the future program. So he may turn out to be your biggest job, taking care of him, keeping him happy & keeping him in line.

209. HIS ART IS PRICELESS! HE'S GOT A REAL GIFT, A REAL TALENT‚ HE'S INSPIRED, but we've gotta make sure his inspiration's coming from the right Source & with the right guidelines constantly. So you're going to have to hang over his shoulder & keep an eye on his art & keep watching. Be sweet about giving him your corrections, be nice about it, smile! You can see how I tried to give him some of these suggestions without being too hard on him. Try to be encouraging‚ try to say nice things, compliment him first before you criticise him. Give him the good news first before you tell him the bad news. Amen? Okay! GBY!

210. I'VE GOTTA STOP, I'VE JUST KEPT YOU TOO LONG! GBY! ILY! Thanks a lot! Hope I haven't bored you to death, but that was pretty necessary & I trust these tapes from now on won't have to be so long. We're just sort of getting started right now & they'll kind of dwindle down, I hope, as he begins to get the know-how & get the point. ILY! GBY! Thanks for your patience! GBAKY, in Jesus' name, amen. Bye-bye!

211. WELL‚ I GUESS YOU GOT MY LETTER ABOUT SPEED!—I know it's a little difficult to do, but if we're going to do this job it's gotta be done quickly, otherwise we'll never get it done! I got your revisions & we've all been looking at them & discussing them. In your new one with the paper in her hand & her left arm out of sight, you really got that body & garment & size & shape & everything just perfect!

212. I WOULD SAY THAT YOU'RE MAKING HER PONYTAIL A LITTLE TOO LONG ON ALL OF THESE THOUGH. Normally it wouldn't reach clear down to her knees‚ it would more likely be about as long as her hiney. It looks a little fantastically long the way you have it now. I'm sorry I didn't catch that even on the one with the scroll in her arm‚ because that ponytail also reached almost down to her knees. I'm sorry I didn't specify the exact length, but it shouldn't be quite so long.

213. SO I WOULD SUGGEST IN THE ONE WITH JUST THE PAPER IN HER HAND IN WHICH THE BODY & EVERYTHING LOOKED JUST ABOUT PERFECT, THAT YOU SHORTEN THE PONYTAIL THERE TOO SOMEHOW. When I first glanced at that I thought maybe she had a whip in her other hand, & some other people did too, because it was so long & her other hand was out of sight. You'll have to cut off quite a bit of it to get it as short as it should be.

214. SEE WHERE THE POINT OF HER SKIRT FLARES OUT IN FRONT OF HER THERE NEAREST TO THE PONYTAIL?—That actually is about as long as it ought to be. In other words, if it's hanging straight down behind it would come down to just the bottom of her derriere only. As long as it is here, it would be as long as her knees, & that is a bit too long for her. I know I did see it swishing & slashing around, but it wasn't that long, so we'll have to shorten her ponytail.

215. NOW ON THE FACES, EVERYBODY LIKED THE FIGHT FACE THE BEST OF ALL! Can you transfer that kind of a face, or similar, looking various directions & in various poses & situations?—Because the faces on these other two are completely different, as you probably can see. I guess you were trying these different faces on me to see which one I liked best‚ but we still liked the Fight one the best of all so try to get your faces a little more like that. These others, like your new one with the whiplash ponytail, it still looks a little too much like the wrong Rachel, if you know what I mean.

216. HER HAIR WAS NOT QUITE THAT DARK, & MAYBE I GAVE YOU THE WRONG IDEA WHEN I SAID AUBURN HAIR. In black-&–white it would of course look fairly dark, but in this one she looks almost like she has black hair. Also in the half-figure‚ her gown is perfect, her size is perfect, everything is beautiful but her hair's a little dark. I wouldn't make it quite so dark in any of these, but give it more like a brown or a brownish-red shading. It's not platinum blonde, but it is slightly on the blonde side so try to hit that if you can.

217. YOU GOT THE BODY DOWN TO PERFECTION NOW, IT'S JUST FINE‚ PERFECT! I liked it on the first one, in fact we liked the face, body & everything the best on the first one, & on this last one the face & body were fine. I like the strings or ties or straps on the sandals better on your last one, the one with the paper in her hand & whiplash ponytail, & everything about her—size, body‚ shape—is just right as far as I can see.—As was the first one you drew, the Fight picture, except that the legs seemed to be a little long, at least that one leg.

218. SO THE BODY'S FINE, YOU'RE JUST GOING TO HAVE TO DO A LITTLE EXPERIMENTING ON THE FACES & TRY TO CAPTURE THAT FIRST LITTLE FACE AGAIN. In this last picture the size of the face is fine. I realise she was looking very serious & her eyes are very penetrating‚ but maybe I would have liked her better if she was smiling a little bit more in this particular case when she's not fighting. So try that same face with a little smile.

219. HER EYES IN THE FIGHT PICTURE WERE NOT QUITE AS BIG AS IN THIS LAST PICTURE, although I'll grant you that they are much more hypnotic‚ they're more beautiful & they're more penetrating. They seem to be bigger & of course much more intense in a way, like she's really looking right through you. But I would say that her nose is a little bit larger than the Fight one‚ a little wider, heavier, perhaps even longer. She was very tiny, petite & diminutive. I know she looks a little more Oriental, maybe even a little more Jewish, but we wanted to make her more all-round, sort of Eurasian, but not too Asian & not too European either.

220. IT'S A PRETTY TOUGH ORDER, SON, BUT WE'RE GOING TO HAVE TO TRY! This is a new thing for you, I'm sure, but you've done it before, you did it on me, so I know you can do it if you just keep trying & experimenting. Try some more heads & faces & try to hit that same little girl you got in the first one, because I think you were really inspired on that one. You really got the right size girl‚ face, expression, everything! That's a beauty & we're going to use it.

221. CAN I BE REAL FRANK WITH YOU? The one with the scroll in her hand, I thought her body & everything was fine, & the latest full-length is far better, but nobody really cared for that face. It's a nice face, it would be good for something, but for her, none of them liked it as well as the Fight picture. You've gotta try to capture that same face if you can somehow. It's got very fine features, very delicate. I think the lips on these others are a little bit thick‚ & I'll grant you that looks perhaps more Oriental.

222. YOU'RE GETTING TO A BETTER SIZE & SHAPE MOUTH ON THE LAST ONE with just the paper in her hand. In this particular situation I think she might have smiled a little bit, but maybe she's preaching. I think, however, that you could make the nose a little smaller, more aquiline, not as broad & not quite as long maybe. Try it. Experiment with it anyhow.

223. WHAT JAC DOES ON THESE IS HE MAKES A NUMBER OF COPIES OF THE SAME PICTURE SO HE CAN TRY DIFFERENT THINGS ON DIFFERENT PICTURES. Instead of trying to re-draw the whole thing, he just runs off a bunch of Xeroxes of each one, & then he tries his revisions on different Xeroxes. I know you're probably not used to working with Xeroxes, but that's what we're going to have to do in this case if we're going to move it along. So don't try to re-work your original until you have run off a number of Xeroxes, & then work on those faces on the Xeroxes. Then if you get it down to where it's just right & you like it & we like it, then you can go back to the original & change the face if necessary.

224. ALTHOUGH ON MOST OF THESE, TO AVOID INKING WE'RE PROBABLY GOING TO XEROX THEM, BECAUSE THE XEROX ACTUALLY DOES THE INKING FOR YOU! Remember what I said about the difference between your pencilled original of the Fight picture & then the Xerox?—The Xerox came out much better, darker & is better photographically for printing. So it's just like getting it inked in three seconds by the Xerox. So try that, make several Xerox copies & work on the Xeroxes just for experimental purposes.

225. HER FACE ON THAT LAST ONE WAS CLOSE, if the hair maybe had been lighter, but the eyes seem to be bigger or something‚ & maybe the nose, compared to the Fight picture. You've got the body fine, why don't you just go ahead & try a few more heads & faces to see if you can sort of hit it more like that Fight picture? Her face should be quite small with aquiline features, small mouth, & I would say maybe a little smaller eyes than that last picture.

226. I LIKE HER EYES‚ THEY'RE BEAUTIFUL, they're very intense, but I don't know, they all liked that Fight picture! Isn't that funny? It was probably not even as fancy & maybe the eyes weren't as beautiful, they were kind of squinty because she was intensely fighting. Maybe when she opens them & relaxes afterward she might look more like this last one.

227. SO THE MAIN TRICK THAT YOU'RE GOING TO HAVE TO DO, ONCE WE GET A FACE WE LIKE, LIKE THE FIGHT PICTURE, IS TO TRY TO REPEAT THAT. Because the greatest trick of the comic artists & comicstrip artists‚ of course, is drawing the same character, the same face over & over again in a lot of different poses & expressions & positions, yet still recognisable as the same face. Now that's something you're going to have to work on & really try to do your best to repeat the face.

228. WHY DON'T YOU TAKE THAT FIGHT FACE—JUST THE HEAD & FACE, THAT'S ALL WE NEED—& SHOW HER IN DIFFERENT POSITIONS & EXPRESSIONS, ETC. We hope to show that most of the time she's happy or smiling or slightly smiling or pleasant-looking, not always fighting‚ not always too intense or too belligerent. So try to keep her happy in most of her expressions—not necessarily grinning from ear to ear‚ but pleasant-looking.—Sort of like the one in the last picture with the paper in her hand & the whiplash ponytail, although that was a pretty intense look too‚ almost like she's challenging. Well, in some cases she would be, so the expression is fine for certain situations.

229. IN LOOKING AT YOUR LAST PICTURE WITH THE PAPER IN HER HAND, I LIKE THE CHIN JUST FINE, BUT I THINK YOU COULD MAKE HER JAW A LITTLE NARROWER. Her left jaw, on our right‚ is perfect, it kind of goes in a little bit, showing it's rather a narrow face & narrow jaw, but on the right jaw you're tending towards those jowls again. See that little tiny very small mark beneath the right-hand corner of her mouth where you sort of went in a little bit with her chin? If you'd kept that line going so that it sort of went concave, sort of went inward like her left jaw is, her chin & jaw would have looked narrower. I think that's the problem, we need to narrow down the face, because that's the way it looks in the Fight picture‚ a fairly small narrow face. Whereas in nearly all these others that you've drawn she still has quite a jaw on her.

230. I'M SORRY TO BE SO PARTICULAR, BUT WE'RE CREATING A CHARACTER! Once we get her started & you've got the right viewpoint of her, then we'll be ready to go, but we've gotta try to get it just about right. I think that's the problem with that face there, you should have gone in a little more on that right jaw, on our left. When I'm talking about her, I'm talking about her directions. Her left jaw's perfect but the right jaw is still hanging out a little bit too much, it's not thin enough. She had a very small, delicate face.

231. I DON'T THINK YOU'RE ACCUSTOMED TO DRAWING YOUR WOMEN THAT WAY‚ in fact in a lot of your former faces I've noticed you have a special liking for the rather heavy-jowled gals, & that may be your personal preference. But this gal's got to have a pretty small chin, narrow face, narrow jaws, very small‚ very delicate, very fine face. So I think if you'd have gone on in with that line on the chin, curved it inward just a little bit & back out to her right jaw‚ it would have probably done it & taken away some of that heavy look, as well as diminishing the nose a little bit.

232. I REALISE THESE ARE JUST VERY TINY INFINITESIMAL TECHNICALITIES, SON, BUT IF WE'RE GOING TO GET IT RIGHT, WE'VE GOT TO GET IT RIGHT!—And in this case, nothing short of right is right! You're going to have to try to hit these little touch-ups until you get it to where I think it's just about the way I saw her & I would imagine her. OK?

233. SINCE THEY SAY THAT YOU CAN DO YOUR ORIGINAL SKETCHES FASTER THAN TO TRY TO REVAMP THESE, MAYBE THAT'S WHAT WE OUGHT TO DO!—Draw me a few more heads & faces of her according to these instructions, having her facing in different directions, etc. That's a real trick of the comicstrip artists, where they've gotta really draw that face in different directions & different poses from different angles & yet make it all look like the same face. So how about that?

234. AS WE ALL SAY, YOU WERE INSPIRED ON THAT FIRST ONE, ON THE FIGHT PICTURE, & THAT'S TERRIFIC! On these others, they're okay‚ & for anybody else they might have been all right, but they look too different from her‚ particularly the one with the scroll. Even the half-figure looks pretty different from her‚ even with your final touch-up. The body, neck, everything else is perfect, you've just gotta work on the face somehow to try to make it look the same. Even if you can't get it exactly like the Fight picture, if you could manage to draw the same face in different poses & it's recognisable as the same face, that would be a help.

235. SO THAT'S IT, THAT'S MY SUGGESTION, TRY TO DRAW US A FEW MORE FACES. Since you're so fast with original sketches, maybe you can draw me two or three faces right away & mail'm off! Okay?—And get a few Xeroxes of each of these others. You've got her dress down okay & I wouldn't work any more on the one with the scroll in her hand because that face is not it. You were getting closer on the half-figure & you're much closer on the latest full-figure face, just narrow down that jaw. But the first one you did is still the best one on the face, so try to use that as your model if you can‚ okay? And see if you can get her in several different poses & positions & make'm look alike.

236. AND DON'T MIND THE FOLKS THERE LOOKING OVER YOUR SHOULDER! This is one thing that helps Jac on his art, he's got a lot of kibitzers who keep telling him how to do it! They may make you nervous, but they don't have to be hanging over your shoulder all the time. So it pays to consult with them & ask them, "What do you think about this? What do you think about that? Am I getting close to it here?"—Because sometimes you're so close to it‚ you can't see the forest for the trees, & to get somebody else's opinion on it is good. Because they're the ones that are going to have to make the final decisions when they see her, a lot of other people besides us, & they're going to be the judges. So you're going to have to start getting used to judges right now, including me!

237. I'M SORRY, SON, I KNOW THIS IS A TOUGH ASSIGNMENT, BUT IF WE CAN EVER REALLY GET IT, I THINK WE CAN REALLY ROLL IT! I just know you can do it if you try & really ask the Lord for inspiration & guidance. You've done it on the body, that's done, that's terrific! You can get that in any position & they'll recognise it as a body, & her body too with that general same-style uniform & sandals & ties & all that. But do shorten that whiplash, will you?—So that even if it was hanging down straight it wouldn't hang down further than the bottom of her derriere.

238. LORD BLESS & HELP HIM & GIVE HIM REAL GRACE TO TAKE THESE INSTRUCTIONS‚ & REAL INSPIRATION, LORD, & VISION TO CARRY'M OUT! Give him the strength for the task & joy in his work, that he's creating something here that is going to really be a tremendous blessing all over the World if we can just get it right!—In Jesus' name‚ amen!

(To Eman's Shepherds:)

239. I'M JUST ABSOLUTELY THRILLED TO PIECES WITH EMAN'S NEW HEAVEN GIRL! We love her! I had a feeling when we heard he got sick, that the Lord was really trying to humble him & really trying to get him down to where he'd really look to the Lord & really get inspired. Because I was about to tell you that I was almost ready to give up with all those other pictures he sent, he just couldn't seem to hack it, couldn't seem to get it. I was just going to, well, sort of turn him over to Jac & his overseer to see if they could get anything out of him, because it looked like he just wasn't doing it, just wasn't getting it.

240. I PRAYED DESPERATELY JUST A COUPLE DAYS AGO in the early morning about what to do & told the Lord if he didn't get it pretty soon I was just going to turn him over to them, because I couldn't waste my time any more with long tapes to him trying to encourage & inspire him & guide him‚ etc., because he just didn't seem to have it, he just wasn't getting it.

241. SO WHEN I HEARD HE WAS SICK, THEN I KNEW THE LORD WAS DEALING WITH HIM & MAYBE SOMETHING WAS HAPPENING. I thought well, maybe he's really going to get it, maybe the Lord's going to get through to him! There must be some reason he's sick, maybe he's still going to come through, & then these pictures came! What a miracle, huh? Isn't that wonderful how the Lord works? I'll tell you, the Lord can solve every problem! He has got it now, he has got her! She's just beautiful! She couldn't be better! She's better even than all I hoped. She's terrific! TTL!

242. APPARENTLY WHEN HE'S WEAK‚ THEN HE'S STRONG! Then he's really dependent on the Lord & the Lord really came through. I mean‚ she has got it! She's not only beautiful, pretty‚ petite & small & young & all the things we asked for, a little bit Oriental, a little Jewish, all of that, but she's got a strong face‚ real character, real spirit & admirable looking, not one of those cute little models or just one of those pretty little sexy dames. This girl's got character, she's got a strong face! She's beautiful & sexy & Jewish & all the rest‚ but she's got real character!

243. AND ISN'T THAT SOMETHING?—HE USED MY OWN GRANDDAUGHTER MENE FOR A MODEL OF HER FACE! How about that? She probably was praying for him & inspired him. I believe it! After I heard that, I looked at some of these pictures & thought, "Well, there is a little trace of her there too, that's true." And of course she does look a little Jewish, because she is! If you can remember Aaron, except for the fact he was so blond, he was a Jewish Swede! So she's got part of that too, you know. She's that mixture, just that kind of mixture. I don't know why I never thought about her, it shows it was the Lord‚ a miracle! I suggested maybe Heidi or Rachel or different ones, & I didn't think about her. In fact, I didn't even really realise she was there, isn't that funny? She has got it! It was the Lord! It was a miracle!

244. BUT IF THAT'S MENE & HE TOOK THESE FROM MENE'S HEAD & FACE, HE'S GOT IT! SHE'S GOT IT! What better example could you have than her? She's my own granddaughter! Maybe she'll be the one, who knows? It's possible. It's terrific! The mail came right as I was going to dinner last night so I hadn't even had time to open it. Maria told me there were some sketches from Eman & my heart sank, I thought, "Not another bunch like that‚ I almost hate to show them." But I thought, "Well‚ I'll show them to the folks at the table." I always like to take stuff down & show it around to the Family & get their opinion on it. But I was so fed-up & disgusted & my heart sank, I almost decided not to show'm because I was afraid it might discourage them.

245. BUT FINALLY MARIA PEEKED AT THEM & SHE WHISPERED, "I THINK HE'S GOT IT!" So I pulled them out & I looked at that first one & I said, "That's it! He has got her!" And then as I went through them I just oohed & aahed & I just nearly whooped & hollered. And I passed them around to the Family & they ohed & ahed & oohed & oh, were shouting & praising the Lord! The said, "He's got her! That's it! She's it! It's wonderful!" PTL?

246. I WAS JUST ABOUT TO TURN HIM OVER COMPLETELY TO JAC & see if Jac could get anything out of him, because Jac's had a lot of experience in working with me. That was such a wise letter he wrote Eman, so sweet!—Encouraging, but a little delicate reproof here & there, just what Eman needed & just the right things to say, & that letter really encouraged me. I almost didn't read it because it was so long & I have so much to read, & I asked Maria, "Did you read it? Is it OK?"—Because I thought it was just going to be some art tips. I never realised the depth of it & the spiritual sensitivity & meaning & all. The Lord had really given Jac just the right things to say to him to really help him, help him spiritually, as well as on his art. So I finally read it & I was just absolutely thrilled with it! ("Artist to Artist" No. )

247. I SAID, "I'M GOING TO PUBLISH THAT, BECAUSE IT'S TERRIFIC!" I had'm change the format for the GN & it's going to be in it! It's going to be in this next issue, because the theme of Book 16 is going to be the Girl. You're going to be surprised, a lot of these tapes to you are going to be in there, the transcripts, & I think they will be fascinating for the rest of the folks, to everybody.

248. THEY'RE HEARING IT IN ACTION, WHAT'S REALLY HAPPENING, & seeing how we deal with these things & problems & whatnot. They're sort of watching the—I hate that word evolution—but the evolution of our art & of our artists, their spiritual progress & all the rest. This is a tremendous testimony about Eman & how he got sick & then really got desperate & got through to the Lord & God inspired him & he's got it! It was a miracle! A miracle! Because he tried in his own strength, in his own flesh & even with all my instructions & everything else, & he still couldn't get it. The Lord just had to give it to him‚ that's all!

249. PLEASE TELL MENE I LOVE HER! Okay?—And that I'm really really looking forward to the time when I'll be able to see her & we'll be able to meet again after all these years. I haven't seen her since she was a little tiny girl. It's kind of hard to be a grandfather & not really be able to see your grandchildren‚ so will you please tell her I missed her? And tell her if she'd write me more often I'd answer her back.

250. I LOVE HER LITTLE LOVE LETTERS, just tell her please not to make them too long. One page is about all I have time to read, & if you realise how many thousands of pages I have to read & hundreds of notes, you'd understand why I try to limit everybody's reports to one page. You'd be surprised how Maria has to edit a lot of stuff for me, because I'm a very slow reader, very thorough‚ I practically memorise everything I read, so a lot of times she has to chop it up & just give me the paragraphs that she feels I have to read. So I've tried to limit everybody's reports to just one page, & lately around the house, I've cut down their pages to little note pages, those little things that come on scratch pads about four inches square!

251. I BELIEVE IF IT'S IMPORTANT ENOUGH FOR ME TO GET IT & READ IT, IT'S IMPORTANT ENOUGH FOR ME TO ANSWER IT. So I may not put much of an answer on your notes, but I put a little scribble here & there, that's the way I answer mail. I send your letter back to you with my little notations on it. I started doing that years ago & it saves a lot of time. Then you know I got it & you know I read it & you know I love you. And if there's an answer, it's there.

252. SO PLEASE TELL HER TO KEEP'M SHORT & THAT I LOVE HER, & if there's anything at all she needs, please let me know, if any of you need for that matter. After all‚ you're all my family. Of course tell also Army that I love her too. After all, she's my granddaughter too, they all are. Okay? But after all, Mene probably feels that sometimes I've neglected her. She knows I'm her real Grandfather & therefore she may have a little feeling there that I haven't paid enough attention to her, & I probably haven't. Lord forgive me! Well‚ please give her a special hug & kiss for me & tell her I love her & that I haven't forgotten her. I really want to do anything I can for her, & Army too, all of them.

253. TELL EMAN THAT I THINK MENE'S FACE IS JUST IDEAL! If he got these heads from her, that's fine. I haven't seen her for a long time & don't know about the rest of her body, if it's developed enough yet, but she's getting there! Maybe if she's not quite well enough developed yet, he could use Mene's head on Rachel's body! So that sounds great, that's wonderful! Well, send me all the pictures you get, I love'm!

254. ON THAT "SPACE STORY" SLIDE SHOW QUESTION YOU HAD‚ I THINK YOUR IDEA WAS GREAT! You wanted to know if he should go ahead & colour them without inking. Well, we have found if they go ahead & colour them, they will even make beautiful black-&-white prints if you screen the colour. I just got an inspiration one day & I suggested it to them because the Xeroxes of some of the art was so blotchy & blurred it was horrible. I said, "Try screening it!" And it came out beautifully!—Especially the colour pictures, those which are already coloured which they screened & photoed in black-&–white to be shot down to the small mag.

255. THEREFORE WHAT I'M TELLING YOU IS THAT HE CAN GO AHEAD & COLOUR HIS "SPACE STORY" SLIDES, because they can then be shot afterwards in black-&-white so we can use'm in our paper pubs. When they're screened, the colour comes out beautifully—not in colour, but in black-&-white without shading. So in other words, the effect is the same in a screened black-&-white shot of a colour picture, it helps in the shading, definitions & clarity & all that. I'm talking mostly now about photowork or colour paintings.

256. SO TELL HIM TO GO AHEAD WITH THE COLOUR ON THOSE SLIDES WITHOUT INKING. These charcoals came out beautifully on the Xerox, good enough to go for printing. In other words, it's just like they're inked in a flash! And Jac has taken some of his & actually coloured them & they came out beautifully. In other words‚ the Xerox did the linework, the inking, & then he coloured it & that was it. So he can experiment with different things like that & write Jac about those things, but those are just a few ideas.

257. WE'VE FOUND THAT THE MORE OPINIONS WE GET & the more people that see it & give us their opinion on it the better, they've had a lot of good suggestions on the big poster. And just like Jac said, he began to feel like it wasn't even his any more! Ha! It isn't! It's ours! We all had a big hand in it. So two or three or ten or a dozen or three dozen heads are better than one!

258. THE AIRBRUSH IS A SKILL THAT TAKES A LITTLE TIME to learn & it takes a lot of equipment & you've gotta know what you're doing & how to do it. So he mustn't get into that yet at all until Jac sends him instructions on how to do it. Jac has a whole big instruction book on how to do airbrush colourwork with illustrations, pictures, photos, everything, & I told him to edit it into an article we can publish for all the artists. But I don't want Eman to get into that or colour at all, for that matter, until we get this Girl rolling. In fact‚ as far as I'm concerned, she's more important than the slides. Heaven's Girl has top priority & he can colour the slides in his spare time. And he'd also better wait till he gets Jac's instructions & this book on airbrushing, because it will save him a lot of time. It's a far superior method to his old stroke method with ordinary brushes.

259. SO YOU TELL HIM TO WAIT ON THE COLOURING. I told Jac not to even send him the book yet because I don't want him to even read it‚ I don't want him to waste his time reading about something he's not going to do for awhile. In the meantime, if he's finished with the black–&-whites, the thing for us to do is get good black-&-white copies of all that so we can use'm in our paper pubs. And be sure he has sent us all of those copies. Okay, you'd better get Eman now & then continue the tape.

260. HI SON! PTL! HALLELUJAH! TYJ! YOU'VE FINALLY GOT HER! Brother, you have really got her! This is it! She is it! I saw these pictures for the first time last night at the dinner table, our mail had just arrived just before dinner, so I pulled them out at the dinner table & because of some of our past experiments, we were having so much trouble with it‚ I just didn't know whether I should show them. I hadn't seen them yet myself & I didn't know whether I should show them to the Family! But Maria whispered to me: "I think he's got her! I think you ought to show'm." So I pulled'm out & there she was!

261. I MEAN, YOU GOT IT, BOY, YOU GOT HER! IT'S TERRIFIC! Beautiful! Wonderful! You got everything we wanted & more! She's even better! Like the old poem,

"Better than all my hopes

And better than all my fears!

You made a bridge of my broken works

And a rainbow of my tears!"

She's terrific, she's beautiful, but she's still small & simple & childlike & she's just got everything, all the features we wanted. She's got the beauty as well as sexiness & the slight Oriental cast. She's got the small features, a tiny girl, she's girlish, & yet she's got a strong face. There's really character in her face!

262. YOU MUST HAVE REALLY GOTTEN DESPERATE WHEN YOU WERE SICK & REALLY GOT THROUGH TO THE LORD! See, that's what counts. When you're weak, then you're strong, because His strength was then made perfect in your weakness. (2Cor.12:9) When you got really desperate in prayer, then the Lord gave it to you. Isn't that wonderful? And I don't know whose inspiration it was to use Mene, but that was absolutely miraculous! That was a masterstroke of genius & a miracle of God‚ because if that's who you're using, it's perfect!

263. I DON'T KNOW WHY I NEVER THOUGHT ABOUT HER! I think it's because I didn't have her picture here. But for facial characteristics & that slight Jewish cast ... you know she is part Jewish, after all, she's my granddaughter! God bless her! I'm sorry I've kind of had to neglect her for the rest of the folks but I still love her & I'm still her granddaddy, & if there's anything she needs, all she has to do is tell me! That's a special message from me!—And a special good hug & kiss from me!

264. SO THE HEAD & THE FACE ARE TERRIFIC, SHE'S GOT IT & YOU'VE GOT IT! She may not be quite far enough along in her body yet, so probably the best combination is Mene's head & face & MWM's Rachel's body! Isn't that terrific? That's just amazing! Isn't that just like the Lord to give an answer like that? Give Rachel an extra good hug & kiss for me too! Tell her I love her. Thanks a lot for yielding her body as a living sacrifice, she can use that Scripture. (Rom.12:1-2) Tell her for me, will you? Tell her if she yields her body as a living sacrifice for the Lord, that's her reasonable service, God promises that then ye shall know what is that good & acceptable will of God! That's a good Scripture for Mene too, because her head's part of her body! I haven't seen a picture of her for a long time, I don't know how much the rest of her body's developed or whether you can use that for modeling or not‚ but anyhow, send me pictures of all of them, both of them, all of both of them, & I can judge better from that.

265. BUT YOU'VE GOT THE HEAD & FACE, BOY!—And you already had the body, so I don't think we're going to have any problems from here on. I think we're rollin'! You got her! Hallelujah! Now just keep practicing different poses & different angles of the face. I tell you, they're inspired, Son! I mean, it was the Lord! It was a gift! You really got it, now keep it up! Now you know what's the first requirement‚ you've gotta get it from the Lord! You've really gotta keep close to the Lord & really get desperate in prayer & ask God to really help you envision her, & it certainly was an inspiration to use Mene, because she's got that look. Now as I look at them, now that they've told me you used her to help you‚ I can see a little bit of her in these faces. I can see her. I can recognise her face in that girl.

266. WHO KNOWS? MAYBE SHE'S GONNA BE HER!—How do you know? She's just about the right age!—And who better as a teenager than Aaron's own daughter, my own granddaughter! Now don't let that go to her head, but dear Mother Eve who was with her so long & had her with her so long, she really felt she was anointed & inspired & had a great ministry ahead. So maybe it's going to go far beyond the radio. If she keeps humble the Lord may really use her! PTL!

267. WELL, IT COULD BE ANYONE, SHE REPRESENTS ALL OF US! Believe it or not‚ I could even see Techi in this face! They're all from the same source, me & the Lord! I set Techi on my lap last night & I said‚ "Look at her! Look at these pictures & then look at Techi & can't you see her face in there too?" So here they are, they're both my grandchildren.

268. I'LL TELL YOU, SON, I AM SO THRILLED! I must have to confess, I was almost ready to give up‚ because although you had really improved the body & everything, the tunic & accessories & all that were just fine, I have no further improvements on that, but you hadn't quite gotten her face. Now as they come along & as I get your pictures I may have suggestions here & there, of course. I give those suggestions to Jac all the time on his, so you have to be willing to accept those on yours too, because two heads are better than one. In fact‚ I pass them around & show them to the whole bunch! Because I like to get a lot of opinions, I like to get their reaction & you're going to have a lot of art critics. You probably never had so many before! Your art was never appreciated so much before this.

269. SO LOOK ON IT THAT WAY, IT'S ART APPRECIATION, not criticism, just loving suggestions. So if you're willing to be humble enough to take'm & to take it & any slight adjustments or suggestions or revisions, you're going to make it. I believe it! Because these are just perfect, they're beautiful! When they look enough alike, you know, to have the related identity, this was so important. I said that the toughest job of all for what they call cartoon or comicstrip artists‚ is to get'm all to look alike, like the same person, & you have really done the job! TTL!

270. AND WHAT BETTER WAY TO DO IT THAN TO USE HER FACE, BECAUSE THEN YOU KNOW YOU'RE GOING TO GET'M ALL RIGHT! Maybe you can save time & just take pictures of her. Maybe you can dress her up like this. Well, you've got people there that know how to make dresses & costumes, haven't you? Why not get her dressed up like this, then even if she's not fully developed, you can develop her with your pen, or your charcoal rather.

271. I'LL TELL YOU‚ THAT CHARCOAL REALLY DOES IT! It's so much better! And then the Xeroxes are even better. I mean, they bring out the sharp contrast & everything. I know some of the fine delicate work fades out on the Xerox, but these are perfect for black-&-white printing & you can save the delicate originals for colouring‚ eventually. Because I think we're going to have a lot more colour, God willing, if we keep going.—At least a poster. I'd like to have a poster of her, wouldn't you? We could almost already have a poster with the Fight picture in the middle & all these heads around it. Ha! Wouldn't that be terrific? HAL!

272. BUT LISTEN, I JUST COMMANDED YOUR OVERSEERS NOT TO LET YOU GET INTO COLOUR YET! I'm sorry! And the Girl has top priority even over the slides. You're not ready for colour on that because Jac is working on a whole class for you on airbrushing‚ & he's got a whole book on it. I guess you got his letter by now, wasn't that a beautiful letter? It was terrific! See, he understands you better than I do, because he's an artist. He knows what you can take & what you can't take. So I think it would be almost better for him to make you these tapes than me, because he understands art & he understands me. He knows what I expect & how to deal with me & he knows the art, & I think you guys could really hit it off! So I'm going to have Jac contacting you more! I think we're going to make a terrific team, amen? Hallelujah!

273. I'M REALLY EXCITED ABOUT HER! I really am! I love her! She's beautiful! … I would say by having Mene help you on the poses & positions & expressions, that she is your ideal model. And as I say, if the body isn't quite developed enough yet‚ you could use Rachel for the body. Actually for body positions, etc., Mene might not be as tall as Rachel yet, but you could sort of enlarge in your art. You could get different positions & angles a little bit even from her body, & then in your art you could sort of enlarge certain parts, etc.‚ so that you could sort of blow up her body a little bit to where it's Rachel's size. So you might even be able to use Mene's body for a model as well & develop her! Amen? Okay! …

274. I LOVE YOU, SON, GOD BLESS YOU‚ & I'M SO THRILLED! I showed'm to the Family & they were absolutely flipped! They all shouted & said, "This is it! This is her! Oh! Ah!"—And they praised the Lord & everything else, it was just terrific! I mean, we had a shoutin' time last night! It was just really wonderful!

275. NOW IF YOU CAN STICK TO THE SPIRIT, BOY, STAY CLOSE TO THE LORD & KEEP DESPERATE & REALLY ASK THE LORD TO HELP YOU on this & keep using her for your model, I think you've got it! Who knows?—She may be the one! I'm sure she'll be one of them, right? And Army too! And Rachel too! And Techi too! All of us!—Only of course I can't look that pretty. Ha!

276. WE'RE ROLLIN'! WE'RE OVER THE HUMP! That was the main thing. Now once you've got her, now you've just got to practice different poses, positions, expressions, situations, etc. And you know how you could start that? Take that list of miracles or anything else you dream up. You know, zappin', zippin', freezin', burnin'‚ whatever, you know what I mean, dealing with her enemies.

277. NOW I'LL TELL YOU SOMETHING I NEVER EVEN TOLD IN THE DREAM THAT MIGHT BE REALLY THRILLING FOR YOU TO TRY!: It was the strangest thing‚ I almost hesitated to tell the folks because it was so odd. It's true she was sort of fighting her enemies, & I thought they'd understand that Fight picture better as an opener. But it was the strangest thing, she was like they had put her in a dungeon or something with a huge round stone about a foot thick & about two meters wide flat over the entrance.—I mean a dungeon down below like Daniel in the lion's den, & the stone caps it.—A huge big stone like the kind they used to roll across the entrances of tombs. You've seen some on pictures of Jesus' tomb, "roll ye away the stone" & all that sort of thing. Well, it's like that, only this tomb door was flat on the ground, it was just a hole in the ground, ground level.

278. THEY'D THROWN HER IN THIS HOLE & PUT THIS BIG STONE CAP ON TOP OF IT, & she was rising out of the hole lifting this stone off on her back just with ease, just lifted it right off! She was still in a kind of a crouched position & like she was standing on maybe the steps leading down into the hole or something, just straining mightily to lift the stone right on her back. I mean, an impossible thing! A stone that size, two meters wide & a foot thick would weigh tons! But she was just pushing it right off! Now isn't that a picture? Try that one! Try it‚ Boy! Hallelujah!

279. LISTEN, GET ONE OF YOUR DRESSMAKERS THERE TO MAKE THAT LITTLE TUNIC OUT OF CHIFFON or something pretty & see-through. You know, one of those scarves the girls used to wear in dancing that had those sparkles on it would just be beautiful for that, that looks like those robes that we saw in Heaven. If you could find one of those white scarves that has those sparkles on it—it doesn't have to have sparkles but any kind of a thin, sort of see-through material that they could fashion into that tunic she wears so that you could put it on her for her modeling. And find something like that rope tie. You can get those rope ties sometimes in a drapery shop‚ they're for curtains. When it comes to colour, that will probably be gold, but right now it's all going to be black-&-white, Son, don't rush the colour. Colour will come in due season, both to finish the slides & to make a poster of her, etc. I mean this, whole project is endless, we're not going to be finished till the Lord comes, & we're going to keep right on working till He comes too, amen? All righty!

280. BUT IF YOU HAVE A GOOD DRESSMAKER YOU COULD HAVE HER MAKE THAT LITTLE TUNIC. You kind of keep an eye on it & make sure they get it right & the right length & just one shoulder strap & the big kind of a rope tie. I think it would be handy sometimes for some of the poses to have the gown & she could slip it on & you might get an idea of the way it's going to blow or something like that. We found on some of our dances it was nice to have a fan blowing to make the dress sort of blow, & it really makes it revealing & brings out the body lines.

281. SO IF YOU NEED IT, GO AHEAD!—The gown, the rope tie, the neck piece & I don't know if you can find an amulet like that or not, but if you can find one, we'll pay for it. You present us with the bill for all these extras‚ will you? I mean it! Anything extra you have to buy or you have to get, let us know in advance & we'll send you the money, but that's slow. Just go ahead & get it & we'll reimburse you & try to make sure you get it right away.—Anything you need at all. Don't worry about the colour & the airbrush, he's sending you a whole class on it, a whole book on it with pictures, photos, illustrations & all of his advice on it‚ & you can write him & have him explain anything else that you need to know.

282. SO I THINK YOU'VE GOT IT! You just need more poses, more expressions. Just keep on. The more you draw her, the more you'll get in the habit. Multiplication is the name of the game! In this you're going to have to draw a lot of expressions & poses & positions & situations‚ & maybe the next one can be her lifting away the stone. She didn't roll it away‚ she just lifted it right off! She was under it, see, inside the hole, & she was coming up with the stone on her back. You know, like you've seen these pictures of Atlas holding up the World.—It reminded me of that. She was coming up out of the hole lifting this big round huge rock that would have weighed tons! It was flat, about a foot thick & about two meters wide. And it was a rough stone‚ it wasn't perfectly round, it was sort of rough hewn around the edges. So that could be your next project. Is that something to inspire you? Okay! There you go! That's your next assignment, as well as to keep on making more faces. The more you do, the better I like'm.

283. ALL RIGHT, SON, GOD BLESS YOU FOR DOING SUCH A GOOD JOB! See how fast you can work when you've got the inspiration & when you hear from the Lord? That was the answer! Well, I'm just so thrilled & excited & encouraged, I can't say enough! I knew you could do it & I knew the Lord could do it if you'd just get ahold of Him, or He could get ahold of you‚ & get ahold of your pen or that charcoal pencil or whatever it is. I knew that He could do it & you could do it if you could just get together. Amen? Now stay together!

284. STAY CLOSE TO THE LORD, SON, & KEEP HUMBLE & KEEP IN THE SPIRIT. Every time you go to pick up that pencil & look at that piece of paper, pray! Pray first! Don't depend on your own understanding. "In all your ways acknowledge Him & He shall direct thy" pens & pencils! Amen? (Pr.3:5:6.) Remember that! Don't you face a blank piece of paper after this with that pencil in your hand without praying & asking the Lord to guide you, & I know He will!

285. YOU'LL BE AMAZED IF YOU'LL JUST PRAY! I've gotten more answers just by praying! Sometimes I wasn't even realising I was praying, I was just puzzled & wanting to know how to do it, & I get a picture just as clear as anything!—And that's the answer! And He can do the same with you as He does with me‚ He's no respecter of persons. (Acts 10:34) "If any man lack wisdom, let him ask of God that giveth to all men liberally & upbraideth not. But let him ask in faith‚ nothing wavering. For he that wavereth is as the sands of the sea, & let not that man think that he shall receive anything of the Lord!" (Jam.1:5-7) So don't forget that verse too. If you lack wisdom just ask the Lord. And of course we always lack wisdom‚ so always ask the Lord! Right?

286. NOW DON'T YOU PICK UP THAT PEN & LOOK AT THAT PAPER UNLESS YOU ASK THE LORD! And then as you draw every stroke, really be leaning on the Lord, looking to the Lord for exactly how to do it. Don't depend on your art talent, any more, Son! God's got a lot more art talent than you've got or have ever had! He's a greater Artist than you'll ever be, don't forget that! And if He inspires you & He guides your pen & He puts the picture on your paper, it's going to be the greatest! It'll be God's masterpiece then!

287. WHEN I STARTED OUT IN THIS WORK I WAS DESPERATE & A FAILURE & IT CAME TO THAT, THAT I HAD TO TRUST THE LORD! And you know what the Lord told me? He said, "If you're willing to give Me all the credit & just say 'The Lord hath sent me,' there is no limit to what you're going to be able to do!" Have you got that point? If you're willing to let God get the credit & say‚ "This is the Lord's picture, God drew it!"—"Not I but Christ Who liveth in me. ... For ye shall have that mind in you which is also in Christ Jesus!" (Gal.2:20, Ph.2:5.) Hallelujah! TYJ! (Tongues.) "God is going to anoint this service & David thy father to do His work!" Hallelujah! TYJ! PTL!

288. YOU'RE GOING TO FEEL A REAL ANOINTING, SON, I MEAN IT! You're going to feel like He's just got ahold of that pen! It's not your hand but His hand! I mean it! Hallelujah! TYL! The Lord is going to anoint you! He's going to take ahold of that pen & just guide your hand. You're going to feel inspiration just like I do, there's no difference! God's no respecter of persons! I mean‚ He needs you to do this art! I need you to do this art! The World needs you to do this art! So it's important enough, so why shouldn't He inspire you & guide you & give you the visions & the pictures? Right? So expect it!—And don't go without it!

289. DON'T DO LIKE SAUL WHO WENT AHEAD & SACRIFICED WITHOUT THE PROPHET & WITHOUT THE LORD & GOD BLEW ON IT & destroyed the whole thing! I mean‚ if you do it in your own strength, your own talent, your own wisdom, your own pride, your own knowledge, it will come to nought! But if you depend on the Lord, "in all your ways acknowledge Him, He shall direct thy" pens & pencils! It says "paths" in the Scripture, but it's the same thing. Amen?

290. EXPECT IT! EVERY TIME YOU SIT DOWN AT THAT ART TABLE, PRAY FIRST & ASK GOD TO ANOINT YOU, INSPIRE YOU, give you the vision, give you the skill, the accuracy, like you're almost tracing what you see! He could put that image right there on the paper for you & all you have to do is trace it! Ha! Hallelujah? He's given you a cute little image right there in your house that you can trace too! GBH! That's just wonderful! I'm just thrilled about it!

291. PLEASE TELL MENE‚ WILL YOU? WILL YOU ALL TELL HER HOW THRILLED I AM ABOUT IT? TELL HER THIS IS THE GREATEST GIFT SHE'S GIVEN US YET! This is the greatest thing she's done for the Lord yet, & her face is going to be a blessing to millions if she'll just stay close to the Lord! You'd better tell her to pray too, or the Devil can slip in & try to throw you a mickey! Any time before any modelling session you guys pray & ask the Lord to have His way & give her the right expression & the right position & the right spirit! It's the Spirit that shines through! You take a look at this girl's face & you can see the Spirit, just like people see Him in us & they don't know what it is. She's got it! She ought to have, it runs in her family! Hallelujah!

292. SO YOU JUST REALLY PRAY TOGETHER BEFORE YOU DO ANY SKETCHING or modelling or anything & make sure that you're in the right spirit & you really look to the Lord & really ask for His divine inspiration in her poses, in her positions & her expressions. She has got to ask the Lord to give her real anointing for that. And then you ask the Lord to anoint your pen as you draw. Amen? Got it? I don't think you can take much more today except go back to your drawing board & ask the Lord to help you, & maybe you can draw that lifting away the stone!—Can't call it rolling away the stone, but lifting away the stone. Amen? I know you can do it now‚ I've seen it! Behold, mine eyes have seen the glory of the Lord & now thy servant can go on in peace! Hallelujah? God bless you, Son!

293. LORD BLESS HIM & STRENGTHEN HIM & KEEP HIM & protect his eyes & his fingers & help him to take good care of them & not take chances with them or strain them, Lord, or work in the dark or bad light or anything, or not use them too long, to rest them & get his exercise & everything to preserve his good health so he will really be able to do a good job for You, Lord. We know he can do it with Thy help & Thy inspiration, Lord.

294. WE'RE NO LONGER DEPENDING ON EMAN‚ we're no longer depending on his wonderful art talent, Lord‚ we found out that's not enough, it's not going to do it. But he's got to have You & he's got to have Thy Spirit to inspire him & anoint him & guide him & envision him, Lord, that he can't do it without You. Help him to remember that every minute, he cannot do it without You. Without You he's nothing!—Like You said, "Without Me ye are nothing." (Jn.15:5.) So we have to be dwelling in Thee, Lord, & in the Vine, one of the branches, & then we can produce the beautiful leaves & the beautiful fruit that we need to produce. We can't do it cut off or separated from the Vine.

295. HELP HIM TO REALISE THAT‚ LORD, HE'S GOT TO STAY CLOSE TO THEE & PRAY & ASK THEE FOR EVERY MOVE & EVERY LINE & everything as he goes along, to get Thy divine anointing, to get Thy picture, Lord‚ so it'll be Your picture & Your Girl & Your scenes & Your body & all glory to God!—Not just to Eman. But Lord, he'll certainly get his crown & he'll get the credit he deserves for being a yielded humble brush in the hand of the Lord, a yielded pen or pencil in Thy hands. TYL!—A yielded tool for Jesus!—In Jesus' name we ask for Thy glory & for the sake of the whole World‚ Lord‚ who are going to see these pictures, that they be an inspiration to them & a blessing & encouragement & really set'm on fire for You, Jesus!—That if this little girl can do it, they can do it! If just a little nobody like her can do it, they can do it, & they're gonna do it, Lord, when the time comes. They'll have power for the hour just like her!—In Jesus' name, amen! PTL? Okay, Son! God bless you!

296. NOW DON'T EXPECT SUCH LONG TALKS FROM ME ANY MORE‚ I've got you rolling & the Lord's got you rolling now & I won't have to give you these pep talks! You're started, you're pepped enough, just keep going.—And for any details, write Jac. And of course if you need a word from me‚ you can always get it. So God bless you, I love you & I'm expecting great things of you & the Lord! Amen?

297. YOU KNOW, I GUESS I MADE A MISTAKE TOO: I was really kind of leaning & expecting & depending a little too much on your talent, & the Lord had to show me that you weren't enough, that you didn't have enough talent to do it, that He had to do it. Amen? Now you just keep that in mind. Tell the Lord, "Lord, I can't do it, You've gotta do it. So here, guide my pen or my pencil‚ guide Mene's expressions & her positions, her posing."—So that it doesn't even look like posing, you know? I mean these look so natural, they don't even look like they were posed! It's terrific! So God bless her, give her my love! Give her a good hug & kiss from me & tell her I really love her. Hallelujah! TYJ! GBY! What more can I say?

298. I LOVE YOU & THANKS SO MUCH, SON! THANKS FOR YIELDING YOURSELF TO THE LORD‚ & YOUR TALENT & YOUR LIFE! And God is going to greatly multiply your gift & He's going to greatly inspire you & you're going to have one terrific crown if you'll stick with it! Amen? Stay in the Spirit, stick with it, keep trying & I know the Lord will come through. He never fails!—In Jesus' name, amen. God bless you all! ILY!

299. (TO EMAN'S SHEPHERDS:) WE REALLY LOVE YOU & ALL THE GREAT TREMENDOUS JOB YOU'VE DONE. You've handled almost the impossible. You've done so many big jobs, you may think this is a little one, but it's a big one & it may be the most important job you ever had! So stick to it & stay in prayer because only the Lord can do it. Amen? ILY! GBY!

300. I'M NOTHING WITHOUT THE LORD! If I don't get it from the Lord‚ I haven't got anything. I don't even know how I'm going to get this story or if there's ever going to be any story. I finally got so desperate I said, "Eman, you draw the pictures & I'll just write the stories about the pictures!" But he had to get inspired & draw the right pictures first!

301. OKAY, GIVE HIM A CHANCE TO DRAW THIS NEW PICTURE I just assigned him too, as well as as many other heads as possible in different poses & positions & expressions, etc., so that he'll get practice at it. By all means, have him take his Sunday off. Everybody needs a day off—but me! Ha! I don't know one day from the other. But he needs it off to get fellowship & rest & prayer & exercise & whatever else he needs‚ inspiration‚ reading, especially the new stuff that's coming out. We're sending you rush copies of the latest fresh wine & I hope it inspires you & encourages you. So be sure he takes his day off.

302. OF COURSE IF SOME SUDDEN INSPIRATION HITS HIM, IF THE SPIRIT COMES‚ TELL HIM TO ROLL IT, but not during inspiration meetings, not during fellowship. He's got to be in fellowship with both you folks & the Lord & we have to stick together. I gave a little talk last night on that here, so you'll be getting that pretty soon. We need each other as well as the Lord‚ & He likes it when we gather together, He's always there. Amen? GBY! ILY! You won't have to be putting up with big long tapes from me much any more because I think we've done it, I think we've got it started. PTL! And if there's anything you need to know, don't hesitate to ask! I mean it! It's important! Do it! The Lord says, "Call & I will answer!" (Jer.33:3.)—So you call & we'll answer! God bless you all! Thanks a lot!

303. BYE BYE SON‚ ILY! YOU'RE DOING TERRIFIC NOW THAT YOU'VE GOT THE LORD IN THOSE FINGERS & IN YOUR HEART & MIND, YOU'RE REALLY INSPIRED! Imagine that, Mene, my own granddaughter! "A little child shall lead them!" (Isa.11:6.) TYJ! PTL! God bless her & keep her, Lord, & keep her inspired! Help them to take good care of her too, in Jesus' name!—Amen. PTL! She's coming!—And so's the Tribulation!—Are you ready?

304. I LIKED YOUR NEW PIX! They may not be perfect & exactly right, but it's very difficult to draw the same character in all these different poses & expressions‚ etc., & I think you did real well. They're good enough, in fact they're beautiful! You got the idea very well. Frankly, these rough sketches are plenty good enough for us to use in the GN as is, except for your millstone pic.

305. THE MILLSTONE IS FINE & THE GIRL IS FINE, BUT THAT SOFT CHARCOAL MESSED UP THE GROUND SO THAT YOU CAN'T EVEN TELL THERE'S A HOLE THERE! There was supposed to be a rectangular hole that looked just about like a dug grave, about like it was six feet long, three feet wide & maybe six feet deep, something like that. It looked sort of like she was standing on steps that were coming up out of it.

306. SO THE TOP PART IS FINE & THE GIRL'S ALL FINE, YOU JUST NEED TO MAKE THE HOLE, BECAUSE I CAN'T EVEN SEE A HOLE THERE! The fact that the ground is messy doesn't matter, but you need to make the hole very clear to look like a grave. It should extend left to right like she's coming up out of the grave lifting off that stone, like they'd buried her alive. Maybe that's what it was about, they had buried her alive!—Had put her in that empty grave & put that stone cap on top of her tomb!

307. MAYBE SHE'S JUST RISING MIRACULOUSLY & SHE DOESN'T EVEN HAVE TO STAND ON ANY STEPS OR ANYTHING! It would be a little difficult to make it look like steps in a grave anyway. I want to make it look like a fresh-dug grave & it should be fairly easy to correct that picture. You don't have to re-draw the whole thing‚ the ground, nothing, just draw heavy lines to show that there's a grave dug there & she's throwing off the big tombstone & rising out of the grave! Your picture looks like a millstone‚ & that's what it looked like, isn't that funny?—Like a big rough round millstone. So those are fine if you'll just correct that grave, in fact, not correct it, but draw it because I can't see any!

308. I THOUGHT IT WAS A GREAT IDEA ONE OF YOUR OVERSEERS HAD TO ADD LITTLE HEART EARRINGS!—BEAUTIFUL! The more IDs we have to make her uniform & accessories standard & identifiable & related, the more they'll recognise her as the same character.—Because it is very difficult to draw all those faces to look exactly alike.

309. AS YOU PRACTICE & GET USED TO DRAWING HER WITH DIFFERENT EXPRESSIONS & FACES, ETC., THAT WE APPROVE OF, YOU CAN EVEN USE THOSE AS COPIES TO TRACE OR XEROX FOR FUTURE ONES so they'll be really exactly the same in any position or situation & all that sort of thing. If the face is facing the same way with the correct expression for that situation, you can use it. I imagine these comic artists probably have a whole raft of faces to copy in these different positions & expressions, & that's probably how they get by with making them so identical. So you'll have to have a whole set of face references like that to go by to copy her face in different positions & expressions according to the situation, & I think that will solve the problem very easily as you build up a repertoire.

310. SO I WAS DELIGHTED WITH YOUR THREE NEW PICTURES, & THAT GRAVE IS THE ONLY CORRECTION THAT WE REALLY NEED. We've gotta have it because we've gotta see that hole in the ground that she's coming out of. Just make it look like an open grave that was dug & that they tried to apparently bury her alive in‚ & she just came up lifting up the stone! Isn't that amazing? It's really thrilling! That's another thing the Lord's just given us on that‚ so praise the Lord! I haven't gotten the story yet‚ so I guess we're not ready for it.—Ha! Maybe when I'm ready for it He'll give me a few more dreams or something.

311. ON YOUR NOTE I CALLED IT A DUNGEON HOLE, BUT IT JUST DAWNED ON ME WHAT IT REALLY IS! I never really got the point until just now that what it really looks like is an open grave. The way they normally dig graves, they're about six feet long, three feet wide & six feet deep. You can't see the bottom of course—you can't be expected to see that—but you should be able to at least tell it's a rectangular hole in the ground‚ 6 x 3, in proportion to her size. So you could easily draw that on the ground there & at least show the line of one corner opposite going down inside with a little shading or something to show it's a grave. I'm sure you'll know how to do it, that's a very simple thing, & then it's quite useable just like it is.

312. ACTUALLY, I FAILED TO TELL YOU THAT IN THE DREAM SHE WAS FACING US, SO THAT'S MY FAULT. Isn't that funny how I forget those little things & then you don't get the point because you didn't see it. That's why it's so important for me to draw some sketches sometimes with positioning. Nevertheless it's just fine, we're just getting a side view instead of a front view. Now I don't want you drawing another millstone picture just because I said that, because that's sufficient! Amen?—Okay! We don't want to waste time on pictures that are just duplicates when we'll only be able to use one anyhow. So it's perfectly all right & if I had seen her from the side‚ that's just the way it would look. She looks terrific!

313. I'M WAITING TO SEE THOSE MODEL PHOTOS! I'm really going to look forward to that because I haven't seen Mene for a long time for one thing, & I'm also very curious to see if it's going to help our art any. Her face already has helped our art & we'll see about Rachel too. I'm sure it will help, because from all the pictures I've see of her, she's got it! So PTL! I was very happy to hear that Simon was thrilled about finally getting his characters, at least two characters now, for his drama series.

314. THAT BLACK-&–WHITE PRINT WE MADE OF THE GUARDIAN ANGEL JUST CAME OUT GORGEOUS! Once they're coloured, you photo the colour & you don't have to do any black-&-white shading, nothing! Once it's coloured it's gorgeous! So the best thing in the World for you to do with these is keep'm pretty much line drawings as much as you can.

315. AND PLEASE TRY TO GET RID OF THOSE SHADOWS UNDER THE CHIN. They're not necessary & the little kids wonder what they are & what's the matter with her throat‚ they just don't understand that. I know that shadows are necessary in some places, like the shadow of her skirt down below her crotch & all that sort of thing, but most of the time they're not necessary. So please eliminate those unnecessary shadows because they're just going to interfere with your final colouring, & probably a lot of these are going to get coloured when we make a poster.

316. WE'VE GOT ENOUGH FOR A POSTER RIGHT NOW!—A BEAUTIFUL POSTER! And if you weren't so busy doing these line drawings, you could start colouring! Maybe you could colour in your spare time, I'm sure you'd love that, but first you've got to get the instructions from Jac. As soon as he gets through with a few of the illustrations he's working on, maybe he can go to work on that airbrush lesson. He can send you the book, but I'd also like him to condense a lesson from the book to be pubbed for all of our artists, because others of them may want to do some colouring & might do some good work we'd like to pub. Now that we've found a place where we can get them printed in colour pretty cheap, I think we ought to do more!—Especially posters which are more permanent & hang on the wall. Many more people see them & have lots longer to study them, so it will be a longer-lifed influence.

317. SO I'M ALL FOR COLOUR! IT JUST DID A HEAVEN OF GOOD FOR OUR HEAVENLY POSTER! It sure makes a difference to see that colour, it really kind of puts you in the picture & almost makes it 3-D. So I think colour on a small scale for an occasional poster would be a very good idea. After all, if the Devil can afford it for his & lots of'm, surely the Lord can afford a few for us. We'll see how the Family likes it, & if they appreciate it maybe they'll give enough to pay for a few more. Maybe we can tell'm: "Would you like to see Heaven's Girl in colour? All right then‚ send us the do-re-mi to pay for it!" We're not asking to make any money, we're just asking to pay expenses.—And it's all for their benefit, so I don't see why not!—At least those that can afford to help, God bless'm! Everybody can afford a little something.

318. I CAN SEE YOU'VE STARTED ON YOUR MIRACLE SERIES & THAT FIRST ONE THERE, NO.2, IS A BEAUTIFUL PICTURE OF HER! They weren't stapled together in this order, but I guess you wanted to put the prettiest one on top. You put No.1 on the bottom because it had a muddy bottom, but it's beautiful & we can use it just like it is. The stone is a little larger than the one I saw. I told you it was about a foot thick & about two meters wide‚ whereas that stone looks almost three meters wide in comparison to her size. But that's okay, it's not that much difference. We can't be absolutely perfect so that's close enough. It looks even more miraculous because it's so big & heavy.

319. THE FULL–FACE PICTURE OF HER TALKING TO US & LOOKING RIGHT AT US LOOKS LIKE SHE'S PREACHING OR TEACHING OR PLEADING OR APPEALING, or it can be used for an invitation, whatever. It's really beautiful!—Real sweet with beautiful eyes & good gesture & perfect on the toga. I keep wanting to call it something, what was the other word we used for it her little smock, frock or whatever? It's sort of a little bit like a Roman toga but different.—Her tunic! And the choker, the amulet, the belt & everything are just fine, except that I think the idea for heart earrings would be just beautiful as another identifying accessory.

320. SO AS I STARTED TO SAY, I CAN SEE YOU STARTED ON THE MIRACLE SERIES & SHE'S PRAYING FOR A MAN. It's beautiful, just perfect! My only suggestion would be to move her braid to the right side of her face so we can see it better. Otherwise her hair looks short, making her look a little masculine. So God bless you, you're really getting those look-alike appearances, poses‚ situations & expressions! You really hit it! I mean, it's just wonderful! GBY! You're inspired now! TYL! You're on the right track going the right direction & we're going to get to Heaven with Heaven's Girl!

321. SO I WANT YOU TO CONTINUE YOUR MIRACLE SERIES NOW. I don't have to tell you every single picture to draw, because I want you to go ahead from your list of miracles of the Bible & get situations from that for her to be involved in. That's a big assignment if you draw'm all! I didn't exactly count'm, but I think there're somewhere around maybe two or three hundred different miracles in the Bible‚ so you've got plenty to do! If you draw them all, we've got the series—all I'll have to do is write the story! Ha!

322. I TOLD YOU, YOU'RE GOING TO HAVE TO PROBABLY DRAW THOSE PICTURES NOW TO INSPIRE ME SO I'LL BE INSPIRED TO WRITE THE STORY! I'll write the story around your pictures! I mean it! Why not? Your pictures now are inspiring me to write about it, to really describe what she's doing, etc. Just what style I'm going to use‚ I don't know yet, but I want you to go ahead with these miracle pictures & have a few more ready for the next mail. Just go right ahead in each of these miracle situations & sketch'm just like you've been doing, & be sure not to put any unnecessary shadows or shading that would interfere with your eventual colourwork. We'll probably pick out the best ones for posters, so let's make'm with as much strong black & line drawings & contrast as possible, eliminating any unnecessary frills whatsoever.

323. YOUR IDEA HERE OF THE HEALING PICTURE IS PERFECT! You don't have to waste time on background, nothing, just a simple line drawing that's quick & easy to draw. It just shows she's sitting on something‚ maybe the ground or a rock or we know not what, it doesn't matter. We want to get the central idea of the picture, the theme of the picture‚ so I think it's better to have her in a simple outstanding contrasty line drawing like this with even her subject that she's praying for slightly indefinite. You can tell it's a man, he has a moustache, fairly long hair & all that‚ & that's all you need to know, no greater detail than that.—No more, nothing more. No background. In fact, I think the whole theme of the picture stands out better without background. Why waste time on a lot of background? You can imagine your background. Just like when you're hearing a radio drama, you can imagine the situation, you visualise it, & it sure saves a lot of time & work. Righto?

324. JUST LIKE ON RADIO PROGRAMS WHERE THERE'S TALK OR READING, I NEVER CARED FOR MUSICAL BACKGROUND—I ALWAYS THOUGHT IT DISTRACTED FROM THE WORDS. I like it in-between & there may be a few rare exceptions where the music fades in or fades out or something, superimposed as background for what's being said‚ but I always felt in every sample or example I ever heard that background music distracts from the talk, especially if it's the Word. Now if it's just a little background mood music behind some kind of narration a little bit, maybe even if it needs sound effects or something, there are always exceptions & variations depending on the situation.

325. BUT I THINK ON THESE PICTURES SHE NEEDS TO BE THE CENTRAL FIGURE, CENTRAL THEME, of whatever action she's up to‚ & whoever else happens to be involved that needs to be shown at all, & we don't need any background.—Only whatever's absolutely essential. You had to draw a little grass or something under her there or she'd have looked like she was sitting in mid-air, so you're doing just the right thing as far as I'm concerned with the absolute minimum of picture.

326. BUT WHAT YOU DO DRAW NEEDS TO BE STRONG LINE DRAWINGS‚ STRONG CONTRAST, GOOD & BLACK so you don't have to ink it & we can ink it with a Xerox, & only the absolute minimum of needed characters‚ figure, etc., just to show what she's doing, the minimum.—Strong line drawings, strong contrast & no more in the picture than is absolutely necessary.—No background at all unless it's essential to the story or something, & I hardly think it will be in almost any of these pictures. So that's what we want.

327. NOW THAT'S A TYPICAL COMIC-STYLE COMICSTRIP ARTISTRY! If you'll notice comicstrips, nearly all of them are nothing but simple line drawings with virtually no background unless it's essential to the story. So stick to that simple type of drawing. For example, this preaching or appealing picture here, just her figure facing us‚ hands outstretched in sort of an invitation, she's offering something, her message apparently, & no background is necessary at all, nothing. We don't have time for frills—she's our frill! That's enough! Right? Okay? All right! Hallelujah!

328. SO I WANT YOU TO GO RIGHT AHEAD WITH THE MIRACLE SERIES, her in all of those different situations doing those different supernatural things, etc., & you've got it! All you need to do is keep rolling. And make'm simple, make'm quick, make'm easy & all the things I've said. I love you! You've got it, it's terrific, you just need to roll! Amen? Lord bless & keep'm & continue to bless & inspire & help them with all this important work to be a blessing to the whole World!—In Jesus' name, amen!

Copyright (c) 1998 by The Family

Copyright (c) 1998 by The Family