April M. Rimpo Art: 2016

Monday, November 28, 2016

"Nighttime Glitter" 5"X7" fluid acrylic

Nighttime Glitter by April M Rimpo

Nighttime Glitter

7" X 5" fluid acrylic

mounted on 2" deep wood cradle with a cherry-stain finish

This summer my husband and I went to Europe and visited Paris, among several other great cities. We were somehow unaware that the Eiffel Tower was lit up each evening with shimmering lights that filled the sky.

We saw this on our first night in Paris. It was a rainy evening, but it didn't matter. If anything the rain amplified the beautiful lights.

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.

Wednesday, November 16, 2016

Contemporary Landscapes Solo Exhibit

Opening Reception of April's solo exhibit, Contemporary Landscapes

Having an solo art exhibit is always a great experience, but when the exhibit is held at such a beautiful venue as the Columbia Art Center in the Long Reach Village Center in Columbia, Maryland the exhibit is elevated to another level. Everyone who attended the reception who had never been to the Art Center before commented on this beautiful venue.

When the venue is this wonderful it allows the artwork to really sing. The comments and questions I received about my art told me my goal to transport people into the scenes and make them feel like they were there was working. Many of the paintings are gallery wrapped*, where the painting continues around the edge and it is presented without a frame. To quote a friend of mine, this approach "makes the paintings feel more like a part of the room than a part of the wall." I think this allows you to experience the art more intimately, which is why I love this presentation style.

Traffic Jam was sold during the Opening Reception

Three days after the Opening Reception, the Art Center held an event with Stephen Acker, former Senior Music Program Advisor for the National Gallery of Art, who spoke about the art of Modigliani and the music of Ravel. This program was a partnership between the Columbia Art Center and the Candlelight Concert Society, who are sponsoring a concert with the Modigliani Quartet on November 20th at the Smith Theatre, Horowitz Center. The quartet will be performing pieces by Mozart, Brahms, and Ravel. If you want to learn more about this concert or buy tickets go to the Candlelight Concert Society's website.

A second reception was held after the Revealing Ravel and Modigliani program, where the audience was able to not only interact with Stephen Acker, but also talk to me about my artwork. Many thanks to the Columbia Art Center for this great opportunity to hear this program and to meet these music and art lovers.

Here are a couple more images taken after installation so you can see a little more of the artwork. To see the whole exhibit, visit the Columbia Art Center. Contemporary Landscapes is on display through December 4th. Hours, address and directions can be found here.

*Gallery wrapped paper
Since I work on watercolor paper and wrap it around stretcher bars, the artists in the crowd were full of questions about my process as well. Once gallery wrapped I varnished the pieces to protect the paper from the elements.

Thursday, November 3, 2016

Raising funds for Make-A-Wish Mid-Atlantic

Yesterday I participated in a special event held at Re/MAX Advantage of Baltimore. Artwork by me and two other artists were on display. A percentage of the sales were donated to Make-A-Wish Mid-Atlantic foundation. Four of my paintings were sold allowing me to donate nearly $1000 to Make-A-Wish Mid-Atlantic. I'll let the photographs do the talking.

The Artists and our host Alex Karavasilis

Guests Arriving

Some of the Guests

Speaker from Make-A-Wish Mid-Atlantic

April with buyer of
"Arriving at Kensington"

A Great Jazz Trio

Videographer Capturing the Action

Buyer of "Aerial Bikes II" with April

Having replaced the paintings that sold, I have 14 paintings or giclee prints of my artwork at Re/MAX Advantage. They are open from 10AM to 5PM, Monday through Friday. If you're interested in seeing my work, stop by and tell them you are there to see April Rimpo's artwork. In addition you will find brochures about my artwork and giclees.

Copyright April M 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.
#HoCoArts #aprilmrimpoart

Wednesday, November 2, 2016

"Glacial River" 40" X 36" fluid acrylic

Glacial River by April M Rimpo

Glacial River

Fluid Acrylic

40" X 36" Gallery Wrapped*

$2875

Available at HorseSpirit Arts Gallery

Phone: 410-461- 4505
Email: info@HorseSpiritArtsGallery.com
Open: Open 6 days a week, check their website for hours

Inspired by the small towns in Norway and the fantastic countryside. Glacial River highlights this village sitting along the banks of a glacial river. These rivers are fed by the glaciers making the water a grayish blue. I was told the gray tints were the result of the tiny stone debris in the water because of the pounding of these fast moving rivers over rock. I haven't researched to confirm this, but it is quite believable since the glacial rivers were ferocious in their strength. The white caps shown in the paper are the result of the fast moving water. For those wondering, there is no waterfall, just the love of drips in my paintings.

If you have ever been to Scandinavia you may have noticed that the majority of houses are painted either red or gold. Roofs are often red as well. So you are not seeing artistic license in this village scene, the houses are true to their original colors.

I not only loved the beauty of these villages, but also the majesty of the surrounding mountains and this fantastic river. If you have ever been to Scandinavia, I hope my painting brings back great memories of these pristine countries.

* The image wraps around the edge of the painting, so a frame is not required.

Copyright April M 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.
#HoCoArts #aprilmrimpoart #norwaypics

Saturday, October 29, 2016

"Traffic Jam" 8" X 16" fluid acrylic SOLD

Traffic Jam by April M Rimpo

Traffic Jam

Fluid Acrylic

8: X 16"

SOLD

Traffic Jam is another one of those scene that I just had to paint. The combination of the shadowed versus light areas on the hillside and the light on the ferries was mesmerizing.

The title Traffic Jam is a bit tongue in cheek since this small town on the fjord had essentially no car traffic, but lots of ferry boat traffic. Two huge ships docked in this tiny town made me laugh, but also demonstrated how popular the tours on the fjords are. There may not be a lot of residents but there are a lot of people who want to see the pristine countryside. This was a truly beautiful place with wonderful views everywhere you looked.

You can see more "Traffic Jam" paintings at these links:

Traffic Jam at the Concert - Concert goes waiting on the ticket takers
Rush Hour - Enjoy the view when trying to get home
Traffic Jam III - Cyclists backed up at a crossing
Full to the Limit - An overloaded canal
Thoroughfare - Amsterdam: More bikes and trikes than you can believe
Traffic Jam II - No spot at the port for the incoming boat
Country Tour - Cars waiting on a bike race
Trapped - Traffic congestion in a tunnel

Since I'm often asked about my painting process and the pigments that I use I thought I'd include that information in this post. I started by using bubble wrap to dab various soft acrylic colors throughout the tree and grass areas. This adds a lot of texture to the painting.

The Golden Soft and Medium tube acrylics (dabbed on using small bubble wrap):

Diarylide Yellow (OPEN)

Manganese Blue (hue)

Titan Buff

Naples Yellow

N8 Neutral Gray

Pyrrole Red Dark

Leaf Green

Cadmium Red Light (hue)

Cobalt Blue

Quinacridone Burnt Orange

Phthalo Blue

Indigo

Once dry I use fluid acrylics for the balance of the painting. Building color through wet-into-wet application and later I layer more colors to provide depth.

Daniel Smith Quinacridone Coral watercolor mixed with Golden Fluid Matte Medium

Golden fluid acrylic – Cobalt Turquois

Davinci fluid acrylics:

Quinacridone Gold
Cadmium Red Medium (hue)
Leaf Green
Dioxazine Purple
Phthalo Blue
Cobalt Blue

Contact April here

Wednesday, October 12, 2016

"Country II" 12" X 14" fluid acrylic

Country II by April M Rimpo

Country II

12" X 14" fluid acrylic

$395

Available for Purchase Now

I live in an area with a few farms and some new housing developments. Before the developments take over the remaining farms, I periodically take photographs of the farms. They are so tied to nature and the environment I hope they don't all disappear. These farms definitely are part of what drew my husband and I to live in this area.

Often I spend a lot of time planning out a painting and deciding on the color scheme that will convey what I feel about a place. However, this painting was spur of the moment. I had printed out the photograph some time ago. I found it when rummaging through a pile of similar photos on my studio desk. I happened to also have one of my "paper gallery wrapped canvases"* sitting on my desk so I decided to go with the flow, grabbed the "canvas", and started to paint. I really had no plan when I started.

I put some random patterning on the tree and grass areas to get some texture on the paper. The patterns are done using household items with interesting raised areas and soft acrylic paint. Once the patterning was almost dry, I started with my fluid acrylics. Because they were a little damp, the color from the soft acrylic bled slightly, integrating the colors.

I was feeling inspired by some oil paintings I had seen recently and decided to start with blues on the barn, coming back in with the reds once the blues had dried. I'm a bit impatient and spontaneous once I start painting, so although my initial thought was to let the blue dry thoroughly, I didn't. Much like the background patterns, a little color blending occurred. This means the edges are NOT all hard and I ended up with a touch of purple on a barn that still appears weathered red. My spontaneity paid off.

The trees were also painted quickly by applying the lighter yellows and leaf green and then adding in phthalo blue here and there while the paint was wet in order to create shadows and shape to the trees. By this point I wasn't really paying much attention to the photograph, just adding tree shapes and colors that I felt created a vibrant interesting scene.

I had masked off parts of the horse to remind me not to paint over him with the trees. I have to do little tricks like this because when I am "in the painting zone" I can easily forget important things like the horse and before I know it the horse is gone.

* I stretch watercolor paper, generally Arches 140 lb cold press paper, over a stretcher bar and staple it to the back. To stretch the paper I wet the paper first, just like you would do when stretching a sheet and stapling it to a painting board. You let it dry thoroughly before painting. (Note: I usually create the painting first and then stretch it over the stretcher bars, but occasionally I stretch the paper first.)

Other rural landscape paintings by April can be seen at the links below.

Demo on Fluid Acrylics: Similarities and Differences from Watercolor

Village in Watercolor by April M Rimpo

Village in Fluid Acrylic by April M Rimpo

Above you can see the same scene done in watercolor and in fluid acrylic. The watercolor version was created in preparation for a demonstration to a watercolor club on the similarities and differences between painting in fluid acrylic versus watercolor. I started the fluid acrylic painting at home leaving the darker passages unpainted (e.g., the darkest foliage behind the house and the shadow on the houses). When I arrived at the demo, the foreground grass was a single wash with no shading to indicate some textures in the grass. The unfinished areas allowed me to demonstrate some differences in using fluid acrylic compared to watercolor.

I used colors that had the same pigments in them for both paintings. I saved darker passages to demonstrate because I wanted to show two differences in the mediums.

The dark trees behind the house were painted quite differently. For the fluid acrylic version, I first applied a very wet yellow mix, followed immediately with phthalo blue to shift it to a variety of greens as the phthalo ran and mixed. While that was happening on the paper, I added dabs of dioxazine purple to increase the dark. The puddle of paint was very wet so I moved some of the wet paint around to other places on the painting. When the puddle was less wet, I lifted out some of the dark to reveal the golden hues that I applied first. They were still there underneath the darker mixes allowing me to reveal some highlights in the greens. To demonstrate the point that acrylic is more forgiving about applying complementary colors next to each other, I added a couple dabs of quinacridone gold right next to a purple spot in the trees. They nestled in next to each other without creating a muted, muddy blend which would have been likely in watercolor. All of this happened in a very short period of time (at most 10 minutes) since I wanted to work with wet into wet paint to stress how quickly you could work with a variety of colors in the same area and achieve a variety of darks and lights at the same time.

The second characteristic of fluid acrylic that differs from watercolor is how the paints don't fade. To do this I created the very dark shadows on the houses using a variety of pigments and let them blend on the paper giving depth to the darks. I shifted the darks to a dark green to create the darks under the bush, working around the lighter colors that I had painted before hand.

I did not take the time during the demonstration to go back and create a middle value passage to blend from the dark shadows on the bush to the light flowers at the top, but I do plan to do that before I declare the painting complete. I will also add a few darks in the background trees to create a little more depth and distinction between the trees, much like I did in the watercolor painting.

Other similarities and differences were discussed using other paintings to highlight these characteristics. Separate from this demo painting I showed how to create some interesting organic textures with fluid acrylic, which would be quite difficult to do in watercolor. I also demonstrated creating drips using fluid acrylic, just like you can do in watercolor.

Sunday, October 9, 2016

Featured Art - Tapestry at the Mall series

Tapestry at the Mall series by April M Rimpo

Prints from April's
Tapestry at the Mall series

14" X 10" on watercolor paper

Available here in April's Store

I've completed 5 paintings from my Tapestry at the Mall series, but expect to do more in the future. I tend to start a series and then pick it up again once I am ready to resume the theme. All of these are paintings are done with fluid acrylic on watercolor paper that is stretched to create gallery wrapped images. Since the painting wraps around the edge they are perfect for hanging without a frame. Five of them are 18" X 12" pieces and one is 20" X 16". I was inspired to create these as I sat at the mall watching the people go by. It was fun to imagine their stories and to capture my feelings and thoughts about them.

The one shown in the upper left is titled "Fashion" since the woman is so dressed up and wearing colors that just sing to me.

The upper middle painting is titled "Family Day" in which I could only wonder if the young girl had just come from a dance recital and they are at the mall to celebrate.

The upper right piece is titled "Happiness" since these two appeared to be best of friends enjoying a day together sharing stories and laughter.

"Elegance" is the painting in the lower left. Here these woman carry themselves with such elegance and beauty that I had to paint them. This original has found a new home, but prints are available.

Lower middle is "Reading and Learning" where the father appears focused on his mobile phone while his daughter looks into each shop they pass taking it all in.

"Aren't you Coming" is the larger piece which is like a stop action view as this little boy first realizes his mother is not following him, then stops and peers back several times before starting to run back to her.

Part of April's Tapestry at the Mall Series
on display at RE/MAX Advantage

Above you can see three of them as canvas prints hanging at RE/MAX Advantage. These giclee prints are printed on canvas using archival materials designed to not fade or yellow for over 25 years. The prints are 36" X 24" compared to the originals where are 18" X 12". The printer I use has a very high resolution camera for scanning allowing me to print, without degradation, up to 3 to 4 times the size of the original painting.

If you would like to see the painting, you can stop by RE/MAX Advantage Realty, 729 East Pratt Street, Suite 100, Baltimore MD 21202, and say you are there to see April Rimpo's artwork. All purchases are made through April, so contact me if you have questions or would like to meet at RE/MAX.

Friday, October 7, 2016

"Simple Life" 12" X 24" fluid acrylic gallery wrapped

Simple Life by April M Rimpo

Simple Life

Fluid Acrylic, gallery wrapped and varnised

12" X 24"

Available to purchase at HorseSpirit Arts Gallery
info@horsespiritartsgallery.com

410-461-3505

Simple Life is a tribute to the simplicity of life in Norway. This home stood on the edge of a fjord with no other sign of life for miles and no obvious entry or exit other than the water. I had to celebrate this way of life with a painting in happy hues.

Complementary color schemes really make me smile and I hope they do the same for you. This painting include two complements: yellow-green/purple and teal blue/orange. Complementary colors are pigments that are opposite each other on a color wheel. I've used http://paletton.com/ to illustrate what I mean.

The first color scheme shows purple as the primary and a yellow green for the complementary color. Since the paletton.com site is intended to help website designers identify color schemes, the square on the right shows lighter and darker versions of the purple and green hues. You will hear me refer to these variations in darkness as the value of the hue.

The secondary color scheme is teal blue and orange; it is show at left. Although I used less of this second color scheme, it appears at the focal point to contrast the house with the background immediately behind it. The purple yellow-green scheme is more prevalent in the painting.

By using two complementary color schemes this painting really pops with color. Let me know what you think.

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.

Wednesday, October 5, 2016

Studio - Inspiring to work in

New Flooring and Cleared out Space for Future Teaching Area

Painting Table Next to Arcadia Doors for Natural Light
Plus New LED lighting Above Table

There is nothing like a new environment to get your juices flowing. Last month we finally had the very old wall-to-wall carpeting removed from our basement, which is where my studio is located. We decided to replace the carpet with vinyl flooring, since occasionally this area gets wet when it rains very hard. The vinyl will hold up better and be easier to clean when paint drips.

Before getting the new floor we decided to get rid of the pool table that used to fill much of the open space shown in the top photograph. I've been wanted to teach some classes but despite having the entire basement primarily dedicated to my studio, the pool table filled the space where I can now setup tables. Once I finish defining my class syllabus I should be in business.

As you can see in the second photograph my painting table is next to a set of arcadia doors, so I get natural light. That natural light is augmented by LED lighting above and behind my painting table that is rate the same degrees kelvin as sunlight. The extra lighting helps out on cloudy days. I have a nice tilting table where I paint plus a side cart where the paint, pallette, variety of brushes, spray bottle with water, and rinsing water sit. Behind me (on the left side of this picture) is my desk and computer where I play music while I paint.

Area to Display Finished Painting

When I'm sitting at my painting table and looking straight ahead there is a sitting area with some of my paintings on display. This will work well when I hold an open studio.

My painting table sits in the corner of an L-shaped room. Looking to my right at the far end of the long side of the L-shape is a painting storage area, in the rack on the right.

Painting Storage Area

There is an additional painting storage area under the stairwell that comes from the main floor of our home down to the basement. My husband installed some lights under the stair well that are triggered by motion detectors. This allows me to easily locate painting in this space. Before installing these lights the overhead lights were blocked by the stairs. I had to carry a flash light to try to read the painting labels when searching for a painting.

I can display additional paintings along the walls and in a book shelf that is perfect for some small paintings and for paint storage.

Storage Under Stairwell

Storage and Display for Small Paintings

More Display Areas

Related post: What a Difference Lighting Can Make

Wednesday, September 21, 2016

"Floral Wonderland" 8"X10" Fluid Acrylic

Floral Wonderland by April M Rimpo

8" X 10" Fluid Acrylic on Canvas

SOLD

This lovely garden could have been anywhere, but it happened to be located in the Buckingham Palace Gardens. I was so drawn to these flowers while photographing them, I missed the Buckingham guard riding their horses along the road in the background. I didn't notice them until I was home and started to work through the design of the painting.

Since the color combinations the gardener selected is what drew me to the scene, I decided to discard the men on their horses and focus on the color. To recreate the thrill I felt looking at this garden, I used triad leaf green, cobalt violet, and cadmium red light(hue) for the lighter shades; and a dark triad of a blend of Quinacridone Burnt Orange and Phthalo Blue for the dark green, Dioxazine Purple for the dark purple, and Permanent Alizarin Red for the dark red. A few touches of Quinacridone gold complement the lavender and purple hues.

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