of the still life, using their sticks as brushes. Groans and giggles ensued until they realized that I was serious when I started the timer for their first drawing.

A Different View

After five minutes I had students set the wet drawing on the drying rack and move clockwise to another view of the still life they were working on, or to another set-up to do another timed drawing. By this time they were focused and learning to manipulate their drawing sticks. The room was silent except for the scratching of branches on paper.

When students had each completed
five drawings, I asked them to select
their best two and place them in the
hall for a class critique. They mar-
veled at the expressiveness of the lines
drawn. This was especially important
for students who were very literal in
their drawings and had difficulty loos-
ening up.

Following Up

Modified forms of the original stick painting experience were used as classroom warm-ups for several more classes, with marvelous results. Students found a renewed interest in their work and in the subject matter.

Finishing Touches

I asked students to select a limited
color palette—warm,
cool, or complemen-
tary—and use a flat
brush to add touches
of color to complete
their paintings. They were asked to
consider using color in the background
as well to unify the work. Because of
the limited time left in the block, I did
not have to worry that their paintings
would be overworked.
The room was silent
except for the scratching
of branches on paper.

Linda Bartholomeo is a K– 12 art coordinator for Watertown Schools in Watertown, Connecticut.

NATIONAL STANDARD Students apply media, techniques, and processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks.