Expressive Clown Girl: Adventures with Watercolor Pigment Sticks
From Purple to Black: Continuing My Pigment Stick Journey
Remember that Imperial Purple pigment stick I played with in my last post? Well, I had such a blast that I couldn't wait to grab another one from the birthday gift set my husband gave me. This time, I reached for Daniel Smith Lamp Black to create something completely different—a slightly melancholy clown girl doll that would let me explore the dramatic contrast between black, white, and just a touch of red.
There's something so freeing about diving into new techniques that make you think, "Oh, this is the new way I want to paint all the time!" Don't you just love that feeling? That sudden spark of artistic excitement that makes you wonder why you haven't been painting this way forever!
Going Straight to Paper: The Joy of Skipping the Sketch
For this piece, I deliberately avoided any preliminary pencil sketch. I wanted this painting to feel fluid, expressive, and completely intuitive—just me, the pigment stick, some cold press watercolor paper, and wherever the creative current took us.
I started by dipping the Lamp Black pigment stick into my water container to activate it, then went straight in with those swirly collar ruffs that would frame the face. Working on 140-pound cold press paper (rather than the hot press I used in my previous video) gave the pigment stick more texture to grab onto, creating these wonderful dry-brush skips that added character to every mark.
Finding Form Through Fluidity
One thing I've always loved about watercolor is how it straddles the line between control and beautiful chaos. The wet pigment stick technique amplifies this quality—you're essentially drawing and painting simultaneously!
Here's how the process unfolded:
I placed the main black lines where the darkest values would naturally occur
Used a wet brush to pull the pigment into surrounding areas for mid-tones
Created form by dragging pigment from one area to another (like from the hair onto the forehead)
Used curved brushstrokes to follow the natural planes of the face
This approach creates such a beautiful dance between structure and fluidity. The initial lines maintain their character while also bleeding just enough to create softness where needed.
The Paper Makes a Difference!
I noticed something fascinating about working with cold press versus hot press paper with these pigment sticks. The cold press paper, with its subtle texture, grabbed onto the pigment differently. The stick seemed to dry out faster than when I used Imperial Purple on hot press in my previous painting.
Was it the different pigment? The different paper? Maybe both? It's these little discoveries that make art-making such an adventure—and gives me the perfect excuse to keep exploring and creating more studies!
The Magic of Just Two Colors
While I could have kept this entire piece in dramatic black and white, I knew from the beginning that I wanted to introduce one additional color for maximum impact—cadmium red hue.
When working with such limited colors, placement becomes everything. I deliberately chose to add red to:
Her hair (applied with creamy consistency)
The pompoms on her hat (bold accents)
Her cheeks and lips (lighter, more transparent washes)
The tip of her nose (just a little dot!)
The trick with limited color palettes is restraint. It was tempting to add more red throughout the painting, but I knew that would diminish its impact. Instead, I focused on creating a visual pathway that draws your eye through the composition.
Embracing the Bleed: When "Mistakes" Become Magic
One of my favorite moments in this painting process happened when I added the red to areas where the black was still slightly damp. The colors bled together slightly, creating these beautiful transitions that softened edges and added depth.
For her lips, I initially applied the red too boldly, but instead of panicking, I just grabbed a damp brush, lifted some pigment, and voilà—instant highlights that gave dimension and a touch of realism!
These "happy accidents" are what make watercolor such a joy. Rather than fighting against the medium's natural tendencies, I find it's always better to embrace them and see where they lead.
Balancing Values for Maximum Impact
When working with high-contrast subjects like this clown girl against white paper, value control becomes crucial. I made sure to include:
Areas of pure, stark white (parts of her face)
Deep, rich blacks (in her hair and some defining lines)
A full range of grays created by diluting the black pigment
Strategic pops of red for visual interest
This range of values gives the painting depth and keeps it from feeling flat, despite the minimal color palette. I even returned to certain areas, like her hair, to deepen the color with additional layers when I felt the contrast needed strengthening.
Playing with Edges: Hard and Soft
Notice how I didn't outline every feature with hard black lines? Instead, I chose where to place my defining lines strategically:
Hard lines for the eye creases and tear details
Soft transitions for her cheeks and forehead
A broken line for the mouth placement (but no outline for the lips themselves)
By varying my edge treatment, I created a more sophisticated look that maintains expressiveness without becoming cartoonish. This approach also helps direct the viewer's eye to the most important features.
Want to Try This Technique?
If you're inspired to grab a watercolor pigment stick and play, here are my quick tips:
Start with simple subjects that don't require precise rendering
Remember to re-wet your stick frequently as it dries out
Use curved strokes to suggest rounded forms
Pull pigment from one area to another to create seamless transitions
Introduce limited additional colors for maximum impact
Don't be afraid of the bleed—it often creates the most beautiful effects!
Most importantly, approach it with a spirit of play and discovery. There's no "wrong" way to use these versatile tools!
What's Next on My Pigment Stick Journey?
I'm completely hooked on watercolor pigment sticks now, and I can't wait to try more colors from my set. I'm already wondering: How would a sepia tone work for vintage-inspired portraits? Or perhaps a rich blue for moody landscapes?
Have you tried watercolor pigment sticks yet? Or do you have another art supply sitting unused in your collection that might deserve a second look? I'd love to hear about your creative experiments in the comments below!
Until next time, happy painting!