Library | NorthStar Watermedia Society

NorthStar Watermedia Society has a library of DVDs available to its members. The 90+ DVDs are videos of original artist demos at NSWS meetings and events. In most cases, there are at least two videos of the same demonstration. There is also a written description of the demonstration which will be provided to you when you borrow the DVD. The DVD Library is available at the monthly meeting so you can look through the DVDs and borrow them. DVDs may be taken out for a one month time period, basically from one NSWS meeting to the next. If members are unable to return the item at the next meeting they should return it by mail to the address on the DVD.

Abnet, Edie Ab-103-1, Iris Ab-103-2, Iris Demo Desc: Edie works quickly on two separate panels with irises. Laying color down, then softening, moving around with a wide flat brush. Finally, she outlines the irises.

Abnet, Edie Ab-103-3, Demo (2/2013) Demo Desc: Edie showed her approach to two subjects: horses and crows. Though she has a phobia for horseback riding, she loves painting horses and considers them “landscape.” She began by brushing in a wash of intense color over her drawing. After letting that layer dry she painted heavy dark areas with sedimentary colors combining opacity with translucency.

Andrews, Don An130-1, Beach/Figures Demo Desc: Don works on capturing the light and focusing on the main characters. Using a wide brush, he starts with a multiple colored wash over the page, carving out his figures. Don mixes his colors on the page, calling the process “gradation”.

Blain, Judy Bl-180-1, Landscape Bl-180-2, Landscape Demo Desc: Judy paints primarily with flat brushes. This painting is done without a line drawing. She uses lots of pigment, bold and bright. She gives direction with her paint strokes and adds texture with spatters.

Burridge, Robert Bu-190, Abstract Bu-191, Classic Demo Desc: Robert paints a series of three paintings. He moves rapidly; his painting style is energetic.

Castagnet, Alvaro Ca-210-1, Cityscape Ca-210-2, Cityscape Demo Desc: Castagnet begins by painting in the sky and buildings in bold colors, broad strokes, using a large squirrel brush. He says he paints with four values: light to dark. If you have never seen him paint, you won’t be disappointed.

Cutts, Bonnie Cu-240-1, Golden Paints (12/2013) Cu-240-2, Golden Paints (12/2013) Demo Desc: (12/2013) Bonnie demonstrates and explaines the many gels, mediums and paints offered by Golden. She applies the products to various grounds or surfaces and gives tips about their use.

deRuyter, Calvin De-270, Tomatoes Demo Desc: Calvin paints directly from the tube on 300# cold press Kilamanjaro paper. Cal does an underpainting of red for the background and blue for the shadow areas of the tomatoes. He is able to paint many layers of color without ending up with muddy work!

Also see, deRuyter and Voigt VodR-1210-1, VodR-1210-2, Demo Desc: NorthStar members Susan Voigt and Calvin deRuyter demonstrate their experimental approaches to watercolor on alternative surfaces. Susan, who considers herself a “layerist,” shows her approach to painting on canvas board, stretched canvas, and clay board using watercolors, acrylics, casein, and gouache. Among other treatments, Calvin explains how artists can avoid using glass in framing by applying Dorland’s wax medium, an archival product, to the finished painting. He applies the wax carefully using a car-wax applicator, giving at least two coats, allowing the wax to dry for a week, and buffing it to a shine using a soft cloth.

Diederich, Ellen Di-285, Building/Flower Demo Desc: Ellen uses a 1″ flat brush, putting one color down, then dropping in other colors. This piece ends as a warmly colored painting of a building with vines/flowers covering a walkway.

Evansen, Andy Ev-340-1, Cityscape Ev-340-2, Cityscape Demo Desc: Evansen does not worry about detail in early stages of this painting. He lays in washes of colors to get the impression of shapes. He uses colors a bit darker, knowing they will be lighter when they dry.

Evansen, Andy Ev-341-1, Seascape Demo Desc: . Recently back from a painting experience in Grand Marais where “the weather was terrible except for one day” Andy chose to paint from a photo he took there on a day when waves were at a record high. Andy comments that he is a “value painter” rather than a “color painter” Andy concentrates on connecting big shapes in his first wash. He started with a wash of the sky combining cerulean with warmer neutral shades, then washing big shapes into the background and foreground.

Femrite, Nels Fe-380-1, Fabriano paper Demo Desc: Nels starts with an underpainting, and finishes in a very gestural painterly manner.

Femrite, Nels Fe-381-1 Fe-381-2 Demo: Nels presented a demo in the Silverwood sheltered picnic area. Using photos of oil paintings by Paul Strisek, he showed how a watercolorist can borrow an excellent composition from an outstanding artist and practice quick studies of landscapes. Nels completed three of these large studies on Canson Mixed Media 90 pound paper. {SIDE NOTE: Nels Femrite led a four-hour plein air workshop at Silverwood Park on July 17. Eleven members enjoyed a perfect summer day painting en plein air. Nels began the workshop demonstrating his approach to painting a lakeside scene. He first made a quick value sketch (using Payne’s grey) of the scene he intended to paint.}

Fertig, Lisa (Also see Hammond.) FL/Ha–506, Critique (9/2012) Demo Desc: (Fertig/Hammon Critique – 9/2012) We all have been there — thinking we have ruined a painting beyond repair. If you’re one of us, please bring one such painting to the meeting and Lisa or Marie will try to salvage it. (See more description under Hammond.)

Francese, Frank FrF-450-1, Houses FrF-450-2, Houses FrF-450-3, Houses FrF-450-4, Houses Demo Desc: Frank paints his brightly colored houses/cityscapes quickly and with broad strokes. He likes “juicy” colored, strong valued painting. His goal is to direct the eye in the painting by use of the light source.

Francesconi, Tom FrT-445-1, Portrait FrT-445-2, Portrait FrT-445-3, Portrait Demo Desc: Tom gives a detailed description of designing backgrounds, beginning with painting a figure of a man. He emphasizes working with values and developing effective washes.

Grastorf, Jean Gr-480, Pouring Demo Desc: Jean draws, masks, pours onto stretched Arches 104# cold press paper, using three transparent, staining colors. She demos the steps in pouring colors, saving colors, and further pouring and layering. She describes the differences in pours done with watercolor vs. liquid acrylics.

Graves, Richard Gr-481, Caribbean Demo Desc: Dick demonstrates the balance and dominance in his work. Balance is about individual items in the painting. Dominance considers principles of design. The center of interest, for Dick, is getting the viewer’s eye into the painting.

Green, Dick Gr-484-1, Landscape Gr-484-2, Landscape Demo Desc: Dick starts by wetting, stretching and drying his paper before he starts to paint. Using a wide Hake brush, he paints the sky. He applies red between the blue at the top and the lower yellow so he doesn’t end up with green. He continues with the trees, grasses, using hard and soft edges, and cool and warm colors.

Grow, Lana Gr-491-1 Demo Desc: Lana began with a slide show. She showed how she stains tissue paper with acrylic paint to create interesting colors and textures for her collages. She also demonstrated how she creates “crystalline” papers using gesso and paints for unique color combinations and designs. These papers are collaged onto Strathmore illustration board. She strives to entreat the viewer and loves to incorporate something “quirky” in each painting.

Hammond, Marie Ha-505-1, Ha-505-2, Demo Desc: Marie stresses the importance of sketching. She shares with the audience her sketched scenes and her work with silk screen. (Also see Fertig.) FL/Ha–506, Critique (9/2012) Demo Desc: (Fertig/Hammond Critique – 9/2012) We all have been there — thinking we have ruined a painting beyond repair. If you’re one of us, please bring one such painting to the meeting and Lisa or Marie will try to salvage it. The two of us (Lisa and Marie) have been painting together for quite some time. We value the critiques of each other’s work and feel free to make any suggestions or comments. At times we’ve even commented, “Maybe we should burn it” with no hard feelings. Most of the time, though, we ask each other “What do I do now?” So we will endeavor to change and attempt to improve upon any paintings put in front of us and, we hope the audience will participate with comments and suggestions. We promise not to burn any of your paintings.

Hartleib, CeCeile Ha-510-1 Ha-510-2 Demo Desc: Wet in Wet” painting demonstration. Using a photo of a brilliant sunset, CeCeile departed from Atelier which does not permit photos. She had stapled a sheet of 300 pound Arches cold press paper to stretcher bars so that she could wet the front and back thoroughly. Then she brushed in a large yellow area, followed by cadmium red, a spray of water, then ultramarine blue. She prefers a limited palette because this unifies the painting. Going back in with each of the colors, she defined the clouds and brilliant sunset, lifting here and there with a dry brush.

Haverty, Grace Ha-515-1 Demo Desc: Grace Haverty wowed us with her fresh and juicy flower painting. “I paint from the gut,” she said, “No formulas.” Her creative energy was apparent as she moved around the painting, touching her brush just right, releasing saturated color. The result? A bright and loose floral.

Iverson, Blake Iv-558-1 Meeting Discussion: Copyright Law. Considered “a lawyer for creatives,” Blake Iverson kept his audience entertained and informed. He explained the ins and outs of copyright protection, including how to register, the importance of contracts, the meaning of derivative works, patents and trademarks. Iverson answered many specific questions from the audience regarding their art.

Knutson, Karen Kn-682-1, Semi-Abstract Kn-682-2, Semi-Abstract Kn-682-3, Semi-Abstract Demo Desc: Karen lays down light primary colors, leaving white pathways. She then sprinkles the damp paper with salt. After drying the under-painting, she draws, placing the center of interest in the light area. Then she does negative painting so that the subject stands out.

Larson, Jeanne La-710-1, La-710-2, Demo Desc: Jeanne enjoys painting North Shore scenes, particularly water, and shows how to use a sketchbook for a realistic approach to flowing water.

Lew, Doug Le-725-1, Motion Le-725-2, Motion Demo Desc: Doug paints from drawings he has done of ice skaters in motion. He wets the paper with a sponge and applies glycerin to that the paint will not dry too quickly. He decides where the colors go and where to leave whites in order to create motion.

Lipelt, Greg Li-730-1, Portrait (3/2011) Li-730-2, Portrait (3/2011) Demo Desc: (3/2011) There are many approaches to portrait painting and many esthetic value systems underlying those approaches. These may range from highly detailed portraits to portraits that are primarily about values or portraits that are very serious paintings. Do you know what unconscious “software” is behind your way of working? Greg believes that simpler is better, and that portraits can be stronger by aggressive editing, simplifying and leaving more out.

McNulty, Shawn Mc-755, Acrylic Abstraction (3/2013) Demo Desc: (3/2013) “My work is dependent on design fundamentals: form, color, and composition. My style explores the relationship between manmade structures and the natural world, the idea of recognizable shapes and structures living within irrational thoughts and emotions. I begin a new piece very spontaneously and become more detailed as the composition starts to show itself. The first layers are the most erratic and freeform….” Shawn

NSWS-NATIONAL Watercolor Society Nat-810

Otis, Michaelin Ot-875, Painting People Demo Desc: Michaelin demonstrates painting a black man. She begins by coating watercolor board with gesso, giving the final painting texture.

Pettis, Mary Pe-910-1, Oil Demo Desc: Oil painter, Mary Pettis, showed us how to make a great start by “painting from the inside-out. . She mixed her paints and jumped right in with large shapes and lines. She begins each painting with a clear concept, artistic intent, or message.

Q. R.

Red River 18th National Juried Exhibition 2011 Red-1005-1 Red-1005-2 Red River 19th National Juried Exhibition 2012 Red-1006-1 Red-1006-2

Rogers, Deborah Voyda Ro-1030, Tempera (1/2011) Demo Desc: (1/2011) Deborah told us about her recent month in Florence, Italy, where she studied at the Accademia D’Arte. The course introduced her to the use of egg tempera which was the painting technique used by artists from 1300 to 1500. Rogers showed us the painstaking technique of grinding pigment added to egg yolk with a lead crystal instrument know as a “muller.”

Rogers, Janet Ro-1035, Portrait of a Woman Ro-1035-1, Ro-1035-2, Ro-1035-3, Ro-1035-4, Demo Desc: Janet likes Ebony pencils for drawing and sketching. She paints the shadow shapes of the face in colors of the same value, drawing circles where she wants to save whites of the paper. To make subtle color changes, she throws paint into already very wet painted areas.

Salminen, John Sa-1052-2, Abstraction Demo Desc: The DVD starts with a very advanced abstract watercolor which John has already worked on. He adds lines to enhance the painting. Using collage shapes, he determines what he might add to create visual tie-ins. John says there should be no recognizable shapes in the design.

Salminen, John Sa-1053-1, Pier (10/2013) Sa-1053-2, Pier (10/2013) Demo Desc: (10/2013) John’s goal in the demo was to bridge the gap between abstraction and realism. Salminen began by creating an abstract white shape. He then surrounded the white area with a light-value wash stating that “In order for luminous whites to glow, they should be surrounded by a light value.” He then determines whether the dominant colors should be warm or cool.

Schlicting, Michael Sch-1065-1, Acrylic Sch-1065-2, Acrylic Sch-1065-3, Acrylic Demo Desc: Michael’s demo starts out with random color surfaces and then paints over it loosely in contrasting bold colors. He uses tape to mask off areas, glazing over the whole painting.

Schulze, Marianne Sch-1068-1, Abstracts Sch-1068-2, Abstracts Demo Desc: Marianne will show us how to use different materials as a resist to block out color or paint from the watercolor paper or board.

Smith, David Sm-1070-1, Oriental (9/2013) Sm-1070-2, Oriental (9/2013) Demo Desc: (9/2013) David explained the necessary supplies: Shuen paper and special inks which can be purchased through Oriental Art Supply, brushes which can be inexpensive but able to hold moisture. Loading the brush carefully and controlling the amount of water are paramount. The brush is held vertically and placed deliberately. Strokes are laid down quickly and can’t be corrected.

Spohn, Carol Sp-1078-1, Batik (3/2013) Sp-1078-2, Batik (3/2013) Sp-1078-3, Batik (3/2013) Demo Desc: (3/2013) Carol demonstrated how to create a watercolor batik using her step-by-step method. Supplies required for this process include Ginwashi rice paper, transparent watercolor paints (she uses Mission Gold), waterproof black pens, brushes, wax paper, an iron, electric fry pan, canning wax, newspaper, and water soluble crayons.

Straube, Bob St-1080, Winter Demo Desc: Bob uses masking fluid liberally in areas of snow and birch trees. He paints this piece without a drawing on the paper.

Tanabe, Keiko Ta-1110-1, Subtle Washes (10/2012) Ta-1110-2, Subtle Washes (10/2012) Demo Desc: (10/2012) Keiko Tanabe demonstrates her use of subtle washes and minimal detail. We are fortunate to host Tanabe for our fall workshop as well as our monthly demo. Tanabe creates a powerful sense of time and place suggesting deep, moody shadows on streets, buildings, cars, and figures that seem to dissolve into the air and light around them.

Transparent Watercolor Society of America TWSA 2010 TWSA 2012 TWSA 2013 These are DVD’s of the Transparent Watercolor Society of America exhibitions.

Undis, Pat Un-1160-1, Figure (2/2012) Un-1160-2, Figure (2/2102) Demo Desc: (2/2012) “Alla Prima – Direct and Quick People” Demo. Pat’s newest painting rush is alla prima–direct and quick. “There is an exciting challenge to race the light and get it down on the spot,” she says.

Voigt, Susan Vo-1205, Mixed media abstract Demo Desc: Susan uses acrylic paints, which can be lifted and changed even after it has dried. She uses a “stay-wet” palate so that the paints stay wet and “juicy” for weeks. She does three paintings in this video. Also see Voigt and deRuyter, VodR-1210-1, VodR-1210-2, Demo Desc: NorthStar members Susan Voigt and Calvin deRuyter demonstrate their experimental approaches to watercolor on alternative surfaces. Susan, who considers herself a “layerist,” shows her approach to painting on canvas board, stretched canvas, and clay board using watercolors, acrylics, casein, and gouache. Among other treatments, Calvin explains how artists can avoid using glass in framing by applying Dorland’s wax medium, an archival product, to the finished painting. He applies the wax carefully using a car-wax applicator, giving at least two coats, allowing the wax to dry for a week, and buffing it to a shine using a soft cloth.

Wallake, Jan Fabian Wa-1255, Pouring glazes Demo Desc: Jan begins by spraying the paper with water. She pours glazes onto the wet areas, drying between pours. Then, develops her painting, continually using the spray bottle to keep the paper wet.

Westerman, Arne We-1260-1, Man in Doorway We-1260-2, Man in Doorway We-1260-2, Man in Doorway Demo Desc: Arne paints on “washable” papers such as Yupo and Fabriano. He always prepares a thumbnail sketch before he does a color sketch, giving him a better chance of success with the final painting.

Wetzel, Frank We-1265-1, Landscape/Cityscape We-1265-2, , Landscape/Cityscape Demo Desc: Franks explains how he plans his compositions and sketches. He describes his paintings as poster-like, where he is not fussy about values, but may get fussy about details. His technique for darkening cool colors is to add black. To darken warm colors, he adds sepia.

Wiegardt, Eric Wi-1270-1, Abstract Wi-1270-2, Abstract Demo Desc: Eric’s demo is of an abstract, impressionistic watercolor of a boat, — loose, wet into wet look. Eric uses fresh paints, loading his brush with several colors at once. After laying down the big shapes, he puts in the detail with a squirrel hair mob brush.

Wiemer, Dan Wi-1275-1, Fall, 2011, (9/2011) Wi-1275-2, Fall, 2011, (9/2011) Demo Desc: (9/2011) Dan’s spontaneous and energetic style of painting and “demo-ing” will keep you on the edge of your seat and inspire you to explore new boundaries. He will focus on a more stylized painting approach using both watercolor and acrylics.

Wiemer, Dan Wi-1276-1, Wi-1276-2, Demo Desc: Dan paints with both acrylic and watercolor, and emphasizes painting shapes and burying edges. Use of Friskit to give a woodblock look to paintings.

Wiemer, Dan Wi-1277-2, Landscape and Water Demo Desc: Dan paints quickly and boldly, adding action lines in his paintings, in both the sky and the foreground. He saves whites and punches with bright colors.

Worm, Kate Wo-1280-1, Still life – watercolor and gouache Wo-1280-2, Still life – watercolor and gouache Demo Desc: Kate uses her paints right out of the tubes. With an abstract design as her goal, she rolls color on the paper with a brayer, creating an under-painting. Then she draws and paints a still life over the brayed area.

Zeller, Frank Ze-1555-1, Ze-1555-2, Ze-1556-1, Ze-1556-2, Ze-1557, Demo Demo Desc: Frank Zeller demonstrated an approach to painting figures in the style of Christopher Schink. Frank first showed how he uses cut paper in three values – black, white and grey – to position the shapes of the figure. Using a photo of a violin player, he stylized the form by rearranging shapes, repositioning the figure, and exaggerating movement.