Copyright April M Rimpo

Visit April's website www.amrart.org
Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Friday, May 19, 2017

Paintings at New Masters Art Gallery

New Masters Art Gallery is an exciting new gallery in Rockville, Maryland located in Artists & Makers 2 Studios at 12276 Wilkins Ave, Rockville, Maryland.  It is located on the top floor of Artists & Makers 2, with a beautifully lit, spacious gallery that supports 36 artists in the Metro DC area.  

During May 2017, April M Rimpo's paintings will be featured  along with four other artists in an exhibition called "Visual Envelopes."  Each artist brings their own view of the world to this exhibit. Below are images of April's paintings included in this exhibition; each with a link to assist you with your purchase if you see that piece that just calls out your name.

Just in time for #BikeMonth, April has several paintings with bicycles and cyclists in them.  In addition to loving to paint bicycles, April loves to share moments in time, often expressed through dramatic lighting. Madison Square Fountain is an example, as is Aglow, and Street in Sololá,                                                                        Enjoy!


Madison Square Fountain

Madison Square Fountain - $615 - Watercolor framed with a white mat
Available for purchase by clicking here




Morning in Provence
On Duty
On Duty - $450 - Fluid Acrylic gallery wrapped
Available for purchase by clicking here



Morning in Provence - $795 - Watercolor framed with a white mat

Available for purchase by clicking here



City
Plant Your Bike Here


City- $250 - Mixed Media gallery wrapped
Available for purchase by clicking here





Plant Your Bike Here - $195 - Fluid Acrylic mounted on deep wood panel
Available for purchase by clicking here


Cycling
Race

Cycling - $375 - Fluid Acrylic gallery wrapped
Available for purchase by clicking here


Race - $540 - Fluid Acrylic varnished and framed
Available for purchase by clicking here








Aglow
Ready to Roll
Ready to Roll - $995 - Watercolor and Gouache framed with a white mat
Available for purchase by clicking here

Aglow - $375 - Fluid Acrylic and Watercolor framed with a white mat
Available for purchase by clicking here




Street in Sololá
Fruit Vendors
Fruit Vendors - $975 - Watercolor framed with a white mat
Available for purchase by clicking here


Street in Sololá - $790 - Watercolor framed with a white mat
Available for purchase by clicking here





Full to the Limit

Full to the Limit - $650 - Fluid Acrylic varnished and framed
Available for purchase by clicking here



The other artists included in "Visual Envelopes" are Catherine Nickle, Brian Fisher, Jennifer Rutherford, and Galina Kolosovskaya. 

The Opening reception is on Friday, May 5, from 6 - 9 PM. 
Video of the exhibit



Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.


Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Visual Envelopes: an exhibition by a collection of five artists


Sunday, May 14, 2017

"They're Everywhere" 30" X 24" Fluid Acrylic by April M. Rimpo

They're Everywhere by April M Rimpo


They're Everywhere
Fluid Acrylic
30" X 24" image
$1725


Two of my favorite things combine in They're Everywhere: the colors of pigeons and painting with drips and splatters to create the illusion of a rocky cliff.

I know, so many people think pigeons are pests but I love their iridescent colors. I'm also amazed that no matter where I travel I see pigeons. I've done paintings of pigeons in Italy, Seattle, New Jersey, and now Colorado. 

They're Everywhere was particularly fun because of the way I created the background of this painting. I started by spraying water on the paper letting the water run in all directions, making rivers of water the went across and down the page, weaving a random pattern on the page. I then dropped on color, either with a brush or by using a pipette, and tipped the paper to make the colors blend randomly following the path of the water. I also added some splatters here and there that became the shadowed spots on the cliffs.  After drying I continued painting to refine the cliffs, but many of the random cracks in the rocks and shadows were already established from the first wet-into-wet wash.

I've included a video of me creating this painting; a time lapse over a week of painting. Enjoy!  I'd love to hear your feedback.




Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Thursday, May 4, 2017

"Freight Yard", 24" X 45" gallery wrapped acrylic and watercolor

Freight Yard by April M Rimpo
Freight Yard
acrylic and watercolor
24" X 45" varnished gallery wrapped paper
$2595

AVAILABLE FOR PURCHASE HERE



I am not sure what draws me to industrial scenes,  but it is probably the colors and the structure of the equipment.  I didn't want the blue crane to blend in with the sky so I decided to use a golden, gray colored sky.  I love to use red and orange with blue to create tension with this red based analog color scheme. By using very dark values I accentuated the structure of the equipment and the train rail. Contrasting the geometric shapes of the freight yard with the soft sky and wet runs at the bottom of the painting provided an interesting balance between industrial and organic.

Freight Yard is included in North Light Books' AcrylicWorks 4: Captivating Color, best of acrylics. Read the press release for the book here. Below is an image of the cover and page 31, where my painting is included.


April's other industrial paintings include:
To see a sample of my prints check my store.

Friday, April 28, 2017

"Champagne for Lunch" 20" X 36" watercolor


Champagne for Lunch by April M Rimpo
Champagne for Lunch
Watercolor
20 X 36" image
29" X 44" with white mat and golden metal frame

Lunch with Champagne or Champagne for Lunch: I keep changing my mind what to call this painting. It must have something to do with how much Champagne you want to drink. Regardless which title, this painting is a celebration of light: direct light from the windows, the glow of chandeliers, the reflections on champagne bottles, reflections on the interior windows, and the shadowed area through the distant door that hides mysteries of more amazing art sequestered in the restaurant at Musee D'Orsay. It's a wonderful place to enjoy the amazing art on display, including sculpture and ornate murals on the walls and ceiling. This restaurant hummed with activity and definitely hit the spot from a culinary perspective as well.  Of course what else would you expect in Paris.  

This painting was selected to be included in Splash 19, what I consider nirvana in the watercolor world. I was one of 126 artists selected for the publications from a field of over 1700. I feel giddy, like maybe I've been drinking too much Champagne.

Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

#hocoarts #amrart #aprilrmpo #hocoartist #Paris #museedorsay #Splash19

Wednesday, April 19, 2017

"Fruit Vendors", 22" X 19" watercolor

Fruit Vendors by April M. Rimpo


Fruit Vendors is based on a photograph taken in Antigua, Guatemala. This painting is intended to capture part of everyday life in Guatemala.  It was morning and these women were setting up their stand for the day.  They were located near a church which was visited by tourists and locals and both appeared to be their clientele. In the background were buildings and people who were at a level above the vendors, that I felt would detract from the vendors and their fruit.
Fruit Vendors
Watercolor
22" X 19" image
28" X 25" brushed silver frame
$975


I started with a design that had very little in the background, but as the painting developed I decided I needed to have more to balance with the front of the painting. My first revision was to add some plants to the background on the left side.  I placed them all at about the same height because I thought the umbrella should be the only item that went to the top of the painting.  However as the painting progressed I felt the woman on the right was off by herself with only a few items of fruit in front of her. There was a large empty gap between the fruit and her that went up to the umbrella.  So I decided to add a few plants on her side of the painting.  This proved to be not enough.  The top still felt quite empty and really needed something dark in the upper left quadrant of the painting.

I decided to research plants native to Guatemala.  I found one called “Heliconia Wagneriana” that had dark stems, long leaves, and great blossoms that had the same reddish orange I used in several other place within the painting.  These plants grow from 5 to 15 feet tall, so they were a good candidate to fill the space.  I found a few different photographs of this plant then drew it to fill in the space that I thought would balance the design. I think the addition of this plant did the trick.  What do you think?  I'd love to hear from you. 

To see other work by April visit her website at http://www.rimpo.org/april/  where you can shop for card or prints.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.
 

Friday, April 14, 2017

"Ready to Roll", 22" X 22" and "Delivery Trike", 19.5" X 27.5"

Delivery Trike by April M. Rimpo
Delivery Trike
watercolor
19.5" X 27.5" image
27" X 35" brushed silver framed

$1250



On Exhibit at Laurel Art Guild's 48th Annual Open Juried Exhibition from
March 10 - 31. The Opening Reception will be held March 12, from 2 - 4 PM.

Delivery Trike is part of my bicycle series, although in this case an adult size tricycle.  I had seen this trike at a park at least 15 years ago and immediately thought there would someday be a painting. I’m not sure if it is something about the geometric contrast between the wheels and spokes with the overgrown plants behind the trike, or the contrast with the bright linear rectangles of the crates on the back platform.  Regardless of the original attraction I think it is both of these characteristics that continued to summon me to the original photograph. 
I remember being amused by the thought of a large delivery tricycle and thought others would equally be amused.  It felt like a throw-back to another era and  the overgrown plants behind the trike told me it had not been used for a long time.  It now felt more like a decoration, but I believe at one time it was a very useful vehicle. I hope my rendition will make people think back to earlier times when our ingenuity brought about vehicles like this to help us do our work and the elegance of such solutions.

Other bicycle paintings can be seen in these blog posts:


Prints are available in my online shop.

One other bicycle painting that I have not described in a blog is shown below.  Ready to Roll was a playful piece where geometric squares and triangles were played against the circular wheels of the bike and curve of the handle bars.
Ready to Roll by April M. Rimpo
 


Ready to Roll
watercolor and gouache
22" X 22" image
28" X 28" brushed silver frame
$995










Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Wednesday, March 29, 2017

Creating a Light "Netting" Under-Painting

A textured first wash can create great interest in a painting and provide a cohesive color palette. My time-lapse video shows the creation of what I call a "netting" background which, in this case, begins to form the crevices in a cliff.

I hope you don't find the video too confusing, because it is 
upside-down, with the top of the painting
at the bottom. 

I started by spraying the watercolor paper with water, letting it run sideways, in the direction of the crevices. Next I used a large round paint brush to dab in dilute fluid acrylic but realized that this 35" X 29" sheet of paper would dry too much at the bottom if I didn't switch to a pipette for applying the paint. Since the paint was a bit more saturated with pigment compared to what I used with
the brush, I sprayed the paint with water to reduce the intensity and to help it run across the paper. At the end I splattered more paint to create some darker splotches on the cliffs. Since the paper was quite wet, many of the splotches seemed to melt into the background, which was fine at this very early stage of the painting. There are plenty of opportunities to add more drips and drops of paint to the surface creating pock-holes and crevices in the rocks.

Here is an image of the first wash after it was fully dry. You can see it is quite pale, but does develop a varied background upon which to work the cliff wall. 

In other paintings, where I want a more distinctive background, I use stronger pigment to water mixtures so the netting effect is much more pronounced and still quite obvious in the final painting. You can see an example of that in my painting, Race.

Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Rimpo 2017 All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Thursday, March 23, 2017

"Shopping Day" 6" X 6" Fluid Acrylic on Aquabord

Shopping Day by April M Rimpo
Shopping Day
Fluid Acryic on Aquabord
6" X 6" image in 6.5" X 6.5" Navy Blue Frame with Gold Stripe
$95



Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Sunday, March 19, 2017

"Summer Breezes" 11" X 14" watercolor and fluid acrylic

Summer Breezes by April M Rimpo
Summer Breezes
Watercolor and Fluid Acrylic
Brushed Silver Frame


Recently included in April's solo exhibit "Contemporary Landscapes" at Columbia Art Center you can now find this painting at HorseSpirt Arts Gallery in Historic Ellicott City, Maryland. 

You might have noticed that Summer Breezes was done in watercolor and fluid acrylic. It started in watercolor only and matured quickly. The result looked too washed out for my liking and sat in my studio for months. Recently, I pulled it out of a stack of unfinished paintings and decided to work on it some more. 

I decided that the first thing I would try was adding a very dilute layer of acrylic over the sky and water. I wanted to see whether bumping up the color intensity of the painting would speak to me. Well it worked. A combination of Cerulean blue and a cobalt violet blend I had been using for another painting made things start happening, so I immediately added some Cadmium Orange (hue) in the water reflections to make those more intense as well.

Those changes were enough so I printed out a new copy of my photo reference and went to work adding in details and intensifying the value contrast throughout the painting. There is nothing like a change in value to add dimension to a painting.

I also pushed the color in a few areas to add life and to provide more color balance throughout the piece. It is surprising how sometimes it only takes a couple hours to really turn around a painting.

Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Rimpo 2016 All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Saturday, March 18, 2017

"Sunset" 6" X 6" Fluid Acrylic on Aquabord

Sunset by April M Rimpo

Sunset
Fluid Acrylic on Aquabord
6" X 6" image in 6.5" X 6.5" Golden Frame
$100


Working on Aquabord requires a few different techniques compared to working on canvas or watercolor paper. One of the primary differences is the tendency of Aquabord to bubble when first applying paint.  By applying water to the Aquabord before you apply paint and letting it sit for about 4 minutes, most, but not all, of the bubbles dissipate. By letting the first layer dry and then adding additional layers of acrylic you can cover the bubbles, if you don't want that texture in your painting. I've found it can be a bit easier when using fluid acrylic, as compared to watercolor.  

When using watercolor you have to be very careful NOT to lift earlier layers of paint when applying another layer.  This doesn't happen with fluid acrylic, because once dry, acrylic paint doesn't move or lift.  You could scratch off the acrylic, but it would cause some damage to the surface and probably look like a flaw. If you need to recover some white when using fluid acrylic on Aquabord, use white paint.

Do you have experience working with Aquabord and have any tips on things you found work well with this painting platform?

Aquabord™ is a Trademark of Ampersand™

Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

"Cycling" and "Race": Different approaches to showing their movement

Cycling 14" X 11" Fluid Acrylic
by April M Rimpo




         Cycling
Fluid Acrylic
14" X 11" gallery wrapped and varnish
$375
Available For Purchase 









Race 18" X 12" Fluid Acrylic
by April M Rimpo



Race
Fluid Acrylic
18" X 12" gallery wrapped and varnish
$540
 Available For Purchase 



Wondering how these paintings evolved? Sometimes you can't really tell when you look at a finished painting where is started from.  I think Cycling falls in that category, while Race is much more obvious. Let take a look.

First I created the backgrounds for the two paintings by spraying water and applying fluid acrylic paint until I had the "netting" background I like to use when painting high energy paintings. My cyclist paintings are nearly always in this category because they are so active when they flying by.
Cycling Underpainting & Drawing
Race Underpainting





















You can barely see the warm underpainting that was the beginning of Cycling in the final piece. It evolved through a variety of stages eventually ending up with a fairly dark background of purple, burnt orange, and dark greens to represent the natural treed background. A lighter swath of mostly pale greens and yellows for the grasses by the road that are lit by the sun. Only the drips that cross the road remain from the underpainting.
Race at start of demo

On the contrary, I decided to start by painting the woman in "Race" allowing some of the underpainting to come through providing the illusion of shadows on her body. I so liked this appearance I shared the painting at the stage shown at left with some artist friends to get their feedback. They all felt the simplicity was perfect and that I should not develop the background further. My sixth sense had told me the same thing, so it was nice to get validation of those thoughts before I went further. 

I continued to work on Race as part of a demo in a gallery where I had a solo show on exhibit.  The images below show me completing some details in the bike and reinforcing parts of her form to get to the final version shown above.



My thanks to Mala Sarkar Sehgal for taking these photos while I worked. 

Refining the bicycle
Nearing the end of the demo




Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.
Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

#hocoarts  #hocoartist #touchstonewdc #bicycles #fluidacrylic

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