"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

Available through my website 

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.

Post Updated Sept 8, 2020

Interested in April's artwork or taking one of her classes? Consider becoming a Studio Friend by signing up for her twice-monthly email. April segments her newsletter so you can select topics you'd like to hear about when you sign up. For those who Select the General Interest topic you will receive emails about twice-monthly. If you are only interested in classes, then the emails will be much less frequent discussing upcoming classes and how to register. Thank you for your support of April M Rimpo Art. Oh, and please be sure to click on the link in a second email to verify your interest in joining my newsletter. Without the verification you will be left in a limbo state where you will not receive my emails and I can't complete the verification on your behalf. If you receive a response that you are already subscribed, email me to confirm and I can send you a different link to update your profile and get the verification email resent to you.

Contact April and see more of her art on her website

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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.

How Long Did It Take? - Answers to Consider

Metal Flashing Detail from By the Old Mill © 2019 April M Rimpo

Artists are often asked "How long did it take you to paint this?" Granted some take longer than others depending on a myriad of factors:

• Even if you are working from your own source photos, there is often research needed about your subject to be able to create a good design.
• Deciding on a color scheme - Color could be driven by the emotion you want to portray or could be influenced by a client's preferences. 
• The amount of detail in the painting - applies to both realistic and non-objective work where details may be more in the realm of textures needed to communicate the thoughts and feelings behind the work.
• In representational painting - the variety of materials you're simulating in your painting - such as metal, brick, cement, wood, glass, undergrowth in woods, rusted tools, a snarl of fallen trees, water, vines, a sprinkling of fallen leaves, pottery, delicate crystal, various types of fruit, clothes, crocheted items, intricate fabrics. The list is endless all requiring different approaches to creating them. 
• How you plan to present the work - framed, gallery wrapped, varnished all require different considerations even before you start the painting.

Detail - Vines growing on brick,
and reflections in windows
© 2019 April M Rimpo

As a result, when asked this question, I may answer with a little bit about the process I used to create the painting, since I suspect that might be more what the person is curious about.  I don't mean a technical description full of words that are understood only by artists, but a more general description.  

I may also talk about the inspiration and what I had to do to be sure the story or emotion of the moment was captured in the painting.

I recently finished a painting with many details and a variety of materials simulated in the painting. As a result, this painting took much longer than many of my paintings, but is that really want you want to learn about the painting?  I don't think so. Much of the time was spent figuring out how to represent each of the materials. 

I've included some detail images of my painting, By the Old Mill, to let you see up close how different each of these sections are. Perhaps less obvious is how different the painting application is to create the look of metal versus brick and vines, water, detailed branches and the illusion of distant undergrowth in the wood.

Detail from By the Old Mill - A Snarl of Branches and Water © 2019 April M Rimpo

Detail - The Illusion of undergrowth in the woods 
© 2019 April M Rimpo

Those who read my newsletter got a sneak peek at the whole painting, but I'm not sharing it widely since I plan to include this painting in an upcoming feature of my work.

If you'd like to learn more, just ask.  

Interested in April's artwork or taking one of her classes? Consider becoming a Studio Friend by signing up for her twice-monthly email. April segments her newsletter so you can select topics you'd like to hear about when you sign up. For those who Select the General Interest topic you will receive emails about twice-monthly. If you are only interested in classes, then the emails will be much less frequent discussing upcoming classes and how to register. Select as many topics as sound of interest. Thank you for your support of April M Rimpo Art.

Contact April and see more of her art on her website

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.

Creative ART Coaching - How did we get here?

Elaine Weiner-Reed and I met nearly 20 years ago in an art workshop sponsored by the Laurel Art Guild and taught by Joe Mayer. He was a very well known and accomplished artist in Maryland. I don't recall the exact title of his workshop, but in essence his workshop was about finding your artistic voice. He had images of a wide variety of famous artists posted on the wall. He had us decide which of these images spoke to us the most and told us to think about why. He, of course, gave a great deal of other input that day. We were to do a painting from our own reference material in a style consistent with the image we selected.

Elaine and I were sitting near each other and interacted a little during the day. By the end of class I remember Elaine looking at my painting and commenting that I should definitely pursue that direction in my art because she loved the result. 

It turns out that Elaine and I supported the same customer in our day jobs, but we didn't discuss that at that first meeting, nor did we have any interaction with each other in a business relationship.  Our only continuing connection was through the Baltimore Watercolor Society, since we were both members.  Even that connection was fairly superficial, but I knew I really enjoyed her company from the beginning. It wasn't until about 5 years ago that we reconnected and became friends. 

At that time I had retired to pursue my art full time and she was planning to do the same. We spoke one day at an exhibit reception and discovered our common backgrounds and paths forward. We started to meet with each other periodically and a great camaraderie began.

Our paths into art and our direction in our work are extremely different but we are equally driven by our new art career paths and give ourselves wholeheartedly into this adventure. 

Our endeavors overlap in our desire to share our art and expertise through our blogs. We've both participated in numerous National, International, and solo exhibitions. I spent the first four years in my full time art career refining my skills by painting five days per week, spending countless hours reading art marketing and business blogs, attending art business webinars, and participating in a two year Art Business Academy lead by Jason Horejs of RedDotBlog. Apparently the results of this hard work were noticed.

Over time organizations have reached out to me to give presentations on a variety of art business topics. I recognized that the time spent preparing to do a better job on the business-side of an art career positioned me to help other artists.  I designed a few two-hour presentations and full day course, which has morphed itself into a course with three, half-day sessions. 

Elaine has been called a critical thinker, problem-solver, and "idea person." One of her strengths lies in helping others discern and fine-tune their unique voice, personal style, and creative vision. Elaine is a contributing author for the creative living-focused blog Live An Artful Life, her art-related blog posts include a three-part piece From Artist to Art to Art Shows, Building Bridges with Art, and Risking Everything For A Great Painting. She has participated in over thirty five International and National exhibitions.

Elaine and I have grown to understand that bringing our vision and expertise together results in a partnership that is greater than the individual pieces. Our different perspectives on art and the horizons that can be achieved allow us to offer a unique experience. We are now offering Creative ART Coaching.

Creative ART Coaching with Elaine Weiner-Reed and April Rimpo is designed to be an  interactive session focused on helping serious artists looking to bring their art and their art business to a new level.

If you feel stuck in achieving your professional goals, whether it is increasing your exposure through shows and exhibitions, planning a solo exhibition, building a portfolio, finding a gallery, or understanding what people mean when they say they are looking for "a consistent body of work," our goal is to provide you with insights on how to get beyond your current hurdles.

Our first Creative ART Coaching session is scheduled for May 15, from 1 - 3:30PM Eastern Time. This session will be held at Slayton House, 10400 Cross Fox Lane, Columbia, MD 21044, in the Bill White Conference Room. Click here learn more about our coaching session.

More information about these coaching sessions will be announced through my email newsletter. Sign-up here. April segments her newsletter so you can select topics you'd like to hear about when you sign up. For the Creative ART Coaching session, select Interested in Creative Coaching.

Contact April or see more of her art on her website

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.

Fluid Acrylic and Watercolor Workshops held in October

Sharing Fish Tales by April M Rimpo - SOLD

When I teach I like to vary the lessons to keep my classes interesting. Sharing Fish Tales was a new lesson in my last Fun with Fluid Acrylics workshop held at the Columbia Art Center.  This was my practice painting before the class so I knew how to go about teaching each step of the process.  It's important to me to have a well planned class to be sure we can cover all the material. I am delighted that I just sold this painting, which brought back great memories from the purchaser's childhood. I do love when my work touches someone this way. 

This 2-Day workshop was packed with three lessons that build upon each other.  In other words, skills learned in the first lesson were used in the second, then techniques from the second were reused in different ways in the third lesson.

I always bring along examples of my work where I have used the techniques in similar ways but with different subject matter to allow everyone to see some options of where they might go with what they are learning.

A few samples of the paintings generated by the students.

I also taught a couple Nighttime Landscapes in Watercolor classes this fall. Like the Fun with Fluid Acrylics class I had done research before the class to try to optimize the chances of success of the student's paintings.  In this case the research was related to what pigments would work best for nighttime landscapes. I identified some blue orange complements that looked like they would work to create dramatic night skies in a blog post by Jane Blundell. If you follow that link you will see Jane Blundell was not investigating night skies but her color studies allowed me to identify a few blends that would get dark enough when blended properly.  When I received the tubes of painting I tried mixes of each complement to see which gave me the rich darks I wanted and allowed me to create some nice muted browns and greens for the landscape.  I ended up with 4 pigments to use for the paintings which I recommended to the students. I also let them bring their own pigments if they didn't want to buy and recommended single pigment paints since they are less prone to getting "muddy" - a term artists use when the paints mix to dull colors that are no longer luminous.

I was thrilled by the results from both of these classes. The students brought their own references for the nighttime class with Baltimore Watercolor Society; I love the variety of sites. Here are a few images of their work for you to enjoy.

Nighttime Landscapes - Student work

Closer View of Student Work

Interested in April's classes? Consider becoming a Studio Friend by signing up for her twice-monthly email. April segments her newsletter so you can select topics you'd like to hear about when you sign up. For those who include a selection of General Interest you will receive emails about twice-monthly. If you are only interested in classes, then the emails will be much less frequent discussing upcoming classes and how to register.  Thank you for your interest.

Contact April and see more of her art on her website

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.

Amazing Transformation Is Well Underway at HorseSpirit Arts Gallery

Many of the artists at HorseSpirit Arts Gallery and their family members have been helping Robin Holliday and her husband Max Crownover clean and paint HorseSpirit Art Gallery's new location at Savage Mills in the Cotton Shed Building. What a great way to build comradery while helping transform this wonderful building into a gorgeous gallery.

Here I wanted to share several before and after photographs of HorseSpirit Arts Gallery's new home. The work isn't done, but what has been accomplished in one week is astonishing to me. Next up floors.

One of the changes I love, other than the overall increase of light in the space, is how the neutral walls that replaced the red walls really make the brick accents sing. In the after pictures you will see a lot of furniture that also got a fresh coat of painting. Once arranged with the loving skill of Robin Holliday this place will sing right along with the brick walls.

BEFORE	AFTER
	Our Champion Gallerist, Robin Holliday, Keeping the Enthusiasm Going for All of Us.

Contact April and see more of her art on her website

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? Interested in her classes? Consider becoming a Studio Friend 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.

Student Work from Night Landscape Workshop

Last Saturday I taught a "Night Landscape" workshop for a watercolor group that meets monthly for a one-day workshop.  When their normal instructor was not available they invited me to teach. It was great interacting with the eleven artists who came out on a rainy day to enjoy a day of art. 

I was definitely stretching their comfort zone by having them work with saturated paint (where there is a much more paint and less water) and stressing to put down the paint and don't touch it, let the paint do the work. Several commented that they wanted to loosen up and they found this process liberating. Other struggled with not working back into wet areas.


I wanted to show some of their results here. When I took these photos the skies were done but most still needed to add one more layer to the lower portion of the landscape to shift the grassy area from daylight to night.  

Some had incorporated the house, barn and figures and others had not. 

 As you can see most have a mask over the moon, allowing them to paint the sky without having to work around the moon.  Once the mask is gone they'll have a bright moon that they can subdue with a gray wash to create a few indications where the craters are on the surface.

Some even finished the trees.

It is always fascinating to see the results when a group of artists work from the same reference photo to see how they interpret the scene. 

I'll be teaching another session of this workshop for the Baltimore Watercolor Society on Saturday, October 27th. 

You can learn more and sign up for the workshop here.

Click here to Contact April 

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.

An Adventure in Raleigh: Touring Art Galleries

This adventure started when a friend of mine told me about a gallery in Raleigh, North Carolina where she thought I might be able to have a solo exhibit. It is 311 Gallery at 311 W. Martin Street. I looked up their website and discovered they hold several national exhibits each year; one of these is a Landscape and Seascape exhibit. Although my friend reached out to the owner to direct him to my website, I thought it might be a good idea to apply for this exhibit to see whether my art was selected and how it would do in the show.

City Reflections II, Tenement, and Fresh Fruit to Go by April M Rimpo

City Reflections II by April M Rimpo

My painting City Reflections II was selected by the panel of jurors and will be on display from September 6 - 29th at 311 Gallery. I wanted very much to attend the reception for this exhibit and meet the owner, however the reception is the evening of September 7th. I am teaching a class on September 8th here in Maryland so the timing doesn't work. Another option was to either deliver the art or pick it up from the venue at the end of the exhibit.  I opted to deliver the art, so my husband and I drove to Raleigh last week. 

Before leaving, I researched other galleries in Raleigh and came up with a list of three galleries, in addition to 311 Gallery, that I wanted to visit. Much to my delight, when I delivered my work, the owner of 311 Gallery offered me a map of galleries in Raleigh and suggested four others he thought I should check out that were in the same downtown area.  The three I had selected were included in his recommendations.  Considering that I started with a list I found on the internet of over a dozen galleries, I was proud that my own selection overlapped with his.

My husband and I spent the rest of the day wandering from gallery to gallery. My goal was to try to get a feel for each gallery to see if I was interested in any of them as a possible representative of my art. For most, I introduced myself as an artist who had delivered a painting to 311 Gallery's Landscape exhibition and that I was just interested in seeing more art in Raleigh.  I said nothing about being interested in representation. I wanted to see how they treated me and others who wandered into the galleries and also spend some time seeing how the art in the gallery correlated to mine.  

When looking for a gallery, I want one that has a variety of art where I believe my art is within the boundaries of what they have selected to represent. In other words, consistent with the other work while not being so similar that it would compete directly with art that gallery already carries. I also pay attention to media. Some galleries prefer a specific medium, such as oil paintings, and nothing else. Since I do watercolor and acrylic paintings, it is likely they will not be interested in my art, although that alone would not rule them out as a gallery to approach.  I also pay attention to how the artwork is priced and whether they only carry local artists' work or only nationally known art.

One of these galleries rose to the top as one I should definitely reach out to for representation. They were busy that day taking down a show to install another pop-up event that would occur the next night. Although they were very busy, the owner took time to talk to me and describe the upcoming event.  She even talked to us about the hanging system she uses to hang work in her gallery, which has 15 foot tall ceilings.  I was pleasantly surprised that she stopped what she was doing when she was so busying preparing for the next day. That demonstrated to me that anyone who visits her gallery is no doubt treated with genuine interest and welcomed. 

One, which was my favorite when I researched their website, was disappointing based on its size, presentation of the art, and my overall reaction of the space. It was in what appeared to be a historic house, but smelled quite musty and damp.  

The one I had not found myself is in the process of working with a potential buyer; the owner is planning to retire as gallery owner and focus on producing her art and teaching workshops in Europe. I also received some input on the health of the art market in Raleigh, which was great to learn and consider before approaching a gallery for representation.

The nicest surprise during my tour was when I stopped at the Artspace Gallery, where there are a large number of studio artists.  As I was wandering the halls I saw the work of Ryan Fox, who is a fellow watercolor artist that I have come to know through Facebook.  We often have work selected for the same national exhibitions and both know each other's work. I immediately hunted for his studio and found him working there.  We had a great time visiting, since we had never actually met face-to-face.  My sweet husband wandered down the hall to kill time while Ryan and I talked.  I also had a nice conversation with another artist that I didn't know, who was in her gallery waiting for a canvas to dry and contemplating her next steps.  She and I chatted for some time about art, national exhibits, and her art. Although I am not sure whether a gallery like Artscape is the right answer since I am not local, the great experience made me include them as a place I needed to understand better. They do have a membership that includes remote artists that I need to understand.

All in all it was a very helpful trip that gave me lots to think about. I'm waiting to hear from a galleries I approach in Annapolis just before heading out on this trip, so the result from that gallery will determine what I do with the Raleigh galleries.  I only want to add one more gallery at this time and Annapolis, being closest, is my first choice. The close proximity will make delivery simpler.

A wonderful post script to my trip to Raleigh. I found out that my painting, City Reflections II, received the Second Place Award in 311 Gallery's Landscape and Seascape Exhibit. My thanks to the jurors of selection and awards.

Click here to Contact April 

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.

Night Scenes by April Rimpo

Nighttime Stroll 30" X 24" Fluid Acrylic
by April M Rimpo

I've started a series of night scenes and wanted to share not only the paintings but a little bit about the pigments I used to accomplish these.

Nighttime Stroll

Fluid Acrylic

30" X 24" *

Quiet Times 11" X 14" Watercolor by April  Rimpo

Quiet Times

Watercolor

11" X 14" *

I often find it is best to experiment with color before starting a painting where I want something different.  In this case, the colors that work best for nighttime scenes are still luminous and not what artists call muddy.  Muddy colors are dull and lifeless.

In the fluid acrylic painting, Nighttime Stroll, I started with pale pastel color in the underpainting that I know would work well for the pale blossoms on the trees and also lend a glow to the rest of the surroundings.  The dark sky was worked second to get an idea of the value range from the lightest areas by the street lights to the darkest areas of the sky. At the very end I wet the entire surface and applied one final coat of the grayed blend of blue I was using in the sky over the entire surface (except by tree near the light) to add continuity and to shroud it all in night. The blend was primarily Indigo with touches of Permanent Alizarin Red, and Yellow Ochre to gray it.  These three colors have recently found there way into several of my fluid acrylic paintings, a new favorite triad of color for me.

Quite Time is watercolor and required a different set of pigments. This time a different triad of Daniel Smith Indanthrone Blue, Permanent Orange, and Hansa Yellow Medium. These were a new combination for me that I found through some research in a blog by Jane Blundell (https://janeblundellart.blogspot.com/search?q=mixing), where she presents complements that make a good "black" and perfect neutral blends.  I chose this particular triad also because it supports not only the dark sky but also a great set of greens that I knew I needed for the foreground. I love how three pigments can be used to create such a wide variety of colors.

I added a fourth color for the light sky areas (Daniel Smith Magnesium Blue). How I decided to use this particular color is a story for another blog post. 

* Both paintings will be varnished and framed. 

Click here to Contact April

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.

My Fundraiser to support Recovery of HorseSpirit Arts Gallery

"Glacial River" This painting is a witness
 to the flood that survived.

The flood that occurred in Ellicott City on May 27, 2018 came less than two years after the flood in 2016. The town had rebuilt with businesses reopening between October 2016 through as recently as the last 2 or 3 months. Now the town is torn asunder again. It is so sad to see.  Sadly, one man died when helping with a rescue during the flood. My heart goes out to his family and friends.  

Many of you have asked the status of HorseSpirit Arts Gallery, where you know I have artwork along with 45+ other artists.  HorseSpirit is at the bottom of a steep hill of a historic mill town, Ellicott City.  They had water rise 6 to 7 feet on the first floor, resulting in 95% of the artwork on that floor destroyed. There was some leakage on the 2nd and 3rd floors, but I am not aware of any damage to artwork on those floors. 

I was very lucky with only one of my five paintings on the first floor floated away and one other that dipped 2" into the rising rain water. I got back the painting that has 2" of the bottom in water and was delighted that it was easy to clean. Although it had been gallery wrapped, I removed the stretcher bars, since they looked saturated in water, and removed the paper that wrapped around the sides. The surface of the painting was fine since it has several coats of acrylic varnish. One other painting got wet enough to require the mat and backboard be replaced, but the painting is fine. My other 20 framed paintings and bin work were on higher floors and survived without harm.  

Currently HorseSpirit Arts Gallery is closed. The wonderful owners have worked with the county and gotten access to their business a few times. They have removed all the artwork from the store and returned it to the 45+ artists. The owners are amazing people and have worked tirelessly to assess the damage, retrieve the art, and keep us well informed. The artists and many of their customers have reached out to them saying we will stay when they return. The owners have started to research a new location (outside the floodplain) to reopen their business.

Fundraiser
I've decided to place my paintings that were in HorseSpirit Arts Gallery in my online store on my website so I can sell theses paintings and provide the gallery owners their commission on my sales. My goal is to help offset costs the owners incur as a result of this flood. 

Here is how this is going to work.

1. To see the items in my online galleries go to my website and browse the nine galleries on the Art page: 

• Landscapes
• Street/City Scenes
• Seascapes
• Figure/Portrait
• Cyclists
• Birds/Animals
• Floral
• Still Life
• Transporation

2. When you purchase items that include "Supporting HorseSpirit Arts Gallery" in the description, I will donate the commission normally earned by the gallery to the wonderful, kind owners of the gallery. 

  
3. You can also ensure I provide the commission to the HorseSpirit owners on items you purchase that do NOT include "Supporting HorseSpirit Arts Gallery" in the description. All you have to do is add a note during Checkout in the Comments section, stating you are a HorseSpirit Customer. 

Be assured, I will absorb the transaction fee charged by the payment collection service on your purchase, it will not impact the commission paid to the HorseSpirit Arts Gallery owners.

Background on this recent flood and Old Ellicott City

Ellicott City and a few other towns in the area were extremely unlucky to have a cool front hit a warm front that hovered over the the cities. The water dumped from the sky at extremely high rates. I've heard varying reports with some as high as 10 - 12 inches of rainfall in a 2 hour period.   

Historic Ellicott City is nestled among 7 rolling hills with several small creeks and rivers converging on the town. Unfortunately, when water falls this fast it runs down the paved roads and flows into Main Street where many small businesses and homes exist.  Many of the homes are on floors above first story businesses, so those people's homes remained dry, although they were displaced from their homes because of street damage and the lack of electricity. 

In addition, many of the cars parked along Main Street were washed away by the high waters, crashing into each other and the buildings. The most astounding picture I saw that demonstrated the power of water, showed two cars standing on end leaning against a power pole and a building. The door out of the building required people to walk under the canopy made by the cars.

Everyone in this area is rooting for the best for the families and business owners of Old Ellicott City who are suffering through this ordeal. 

There are many efforts underway, trying to help all impacted by the flood. I'm hoping my fundraiser will help out HorseSpirit Arts Gallery in a significant way.

Click here to Contact April

Please consider joining April's friends and collectors by signing up for her twice-monthly email. You will learn more about April's art inspirations, tips about her painting process, or art business tidbits. April also shares when her art is in exhibits and where. 

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.