Discovering the Magic of Watercolor Pigment Sticks: My Iris Painting Journey
Finding Treasure in My Art Supply Stash
Have you ever received an art supply that seemed perfect but then sat unused because you weren't quite sure how to incorporate it into your style? That was exactly my experience with a Daniel Smith Imperial Purple watercolor pigment stick my husband gifted me for my birthday a couple of years ago.
"One day, the time will come," I told myself as I tucked it into a little box beside my desk. And finally, that day arrived! I decided to test this beautiful tool alongside a new camera setup, choosing to paint an iris—the perfect subject for this rich purple pigment.
Why Irises Are Perfect Practice Subjects
I often reach for iris flowers when trying new techniques, and for good reason:
Their distinctive ruffled petals create natural visual interest
The shapes allow for both precise and loose interpretation
They invite experimentation with wet-on-wet techniques
They're forgiving subjects that remain recognizable even with expressive treatment
Plus, painting an iris with Imperial Purple just felt right—like the pigment and subject were made for each other!
The Pigment Stick Technique
Rather than using the stick dry as I'd seen others do, I discovered a technique that worked beautifully for my painting style:
Wet the tip of the pigment stick in water
Draw directly onto hot press watercolor paper
Re-wet frequently as the surface dries out
Allow the lines to maintain their character while also blending slightly with additional watercolor washes
The hot press Arches 140lb block paper I used was perfect for this technique—smooth enough for the pigment stick to glide while still accepting water beautifully.
Building the Flower Petal by Petal
Without any pencil sketch, I started with what I consider the anchor of any iris—that prominent front lower petal. This becomes my reference point for placing all other elements.
I love how the wet pigment stick creates these wonderfully expressive, varied lines. Some stay bold and pronounced while others soften and blend when I add watercolor washes. This creates a beautiful tension between structure and fluidity.
My Limited Color Palette
Though Imperial Purple was the star, I kept to my usual approach of using a limited palette:
Daniel Smith Imperial Purple (both stick and pan form)
French Ultramarine
Permanent Alizarin Crimson
Cadmium Yellow Hue
The Imperial Purple itself is a fascinating color that naturally granulates and splits, revealing hints of pink and blue as it dries. When you're working with such an interesting primary color, you don't need many others!
Creating Depth Through Value and Lost Edges
To create a sense of light and dimension, I paid careful attention to value relationships:
Right-side petals received lighter washes
Left-side petals incorporated more French Ultramarine for shadow
Some edges remained defined with bold pigment stick lines
Other edges were left "lost" where petals meet, letting the brain fill in the gaps
I love this dance between defined and undefined areas—it's what gives watercolor its magical quality and keeps viewers engaged as their eyes complete the story.
Movement Matters: Painting From the Shoulder
If you watched my video, you might have noticed that most of my mark-making comes from my elbow and shoulder rather than just my wrist. This approach:
Keeps lines looser and more expressive
Prevents my hand from resting on (and smudging) the wet paper
Creates more natural, flowing strokes that suggest the curves of petals
Think of painting as a physical dance—your whole arm participates in creating those expressive marks!
The Finishing Touches
For the stem and bud, I maintained consistency by using the same wet pigment stick drawing technique. Rather than introducing a new green pigment that might feel disconnected from the flower, I mixed my own using the Cadmium Yellow Hue and French Ultramarine.
This approach created a softened, natural green that blended harmoniously with the purples in the flower. In nature, greens are rarely pure and vibrant—they contain hints of blue, yellow, and even red, which is why I added a touch of red for visual interest in the stem.
What I Learned
This simple study taught me so much about integrating new tools into my existing practice:
Sometimes the perfect use for a tool reveals itself through experimentation
Wet pigment sticks offer a beautiful middle ground between drawing and painting
Hot press paper is ideal for techniques that require both line work and blending
Letting parts of initial lines remain visible adds beautiful structure to loose watercolors
Your Turn!
Do you have an art supply sitting unused in your stash? I'd love to hear about it! Sometimes the most intimidating tools become our favorites once we find our own unique way to use them.
Has this inspired you to try watercolor pigment sticks? Or perhaps to pull out that lonely art supply you've been saving for "someday"? That someday might be today!
Happy painting!