Sentences with phrase «chalk stick figure»

The chalk men are their secret code; little chalk stick figures they leave for one another as messages only they can understand.

Not exact matches

Think sidewalk chalk drawings, only instead of chalk, kids use glow sticks to create designs, patterns, messages and figures.

In C. J. Tudor's thriller The Chalk Man, twelve - year - old Eddie and his friends create a secret language using stick figures drawn with cChalk Man, twelve - year - old Eddie and his friends create a secret language using stick figures drawn with chalkchalk.

The Puerto Rico - based artists have studied the ephemeral nature of collective drawing with monumental sticks of chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2015).