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
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-
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.
I asked students to select a limited
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,
Students apply media, techniques, and
processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks.