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Friday, June 20, 2014

Pouring Paint

Back to the Barn, watercolor by April M Rimpo
Harder Times 19” X 15” watercolor by April M Rimpo
In the past I've done a couple paintings where I poured the watercolor paint to minimize the amount of time a brush actually touches the paper.  This approach to watercolor is unpredictable and definitely for those who are willing to let the painting tell them what to do next, but can result in the most amazing glowing paintings.  I love to watch the paint flow and respond as needed, so this technique is great for me.

This week I took a workshop from Linda Baker, who uses pouring in all her work.  I decided it was time to take a class from an expert since my previous forays into this technique had been based on reading books and trying it on my own.  I've included images in this post of one older poured painting and the one I created this week.

Although both exhibit beautiful blends of color, the new painting Harder Times glows more than Back to the Barn.  Partially this is due to the pigment choices.  Linda Baker is an amazing teacher and filled my head with so much great information I'm sure my work will take another step up as a result of this workshop.   Since this approach is so compatible with my painting style I'm sure I'll use it in much of my work.  I even plan to give it a whirl when I use fluid acrylics.  I'll let you know how that turns out.


  1. Great critique of Linda Baker's workshop. I found her utterly amazing...shares so much knowledge...and such a wonderful personality. I had not tried it previous to taking her workshop, so my first result turned out rather like a wood block print with an overall brown tone. I tried it again at home with the same subject and got a much better result. You are right...paintings done in this manner have a wonderful glow from within. You achieved great results with your piece.

    1. Thanks, Johanna. With only 3 pours the pieces did look a bit like wood block prints. I had to go back and add gradation with a brush. I asked Linda how she achieved soft edges in some areas of her paintings. She said lots and lots of layers with just slivers of additional masking between each. I was very gentle with my additions, trying to brush in one direction to avoid scuffing up the paper. It seemed to work well.


I look forward to hearing from you. - April

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