Think All Canvas is the Same? Robert Jones Didn't Either.

Robert Phillip Jones, born in 1950 on the Isle of Wight, has spent the last decade painting seriously after a lifetime of artistic interest. His background includes political work, chairing a housing association, and volunteering for the NHS. He has been a member of the National Association of Painters in Acrylic since 2015, and is an admin and moderator of Painters Online, the UK's largest artist forum. He brings a wealth of life experience and a thoughtful eye to every brushstroke.

First impressions

Robert began with a trial pack containing both 20mm stretched and 40mm box canvases. On arrival he was immediately struck by the build quality and the tightness of the stretch, describing them as tight as a drum.

The 100% Polyester PET surface, woven from polyethylene terephthalate, presented an unexpected delight: regular but not overly uniform, offering tooth without roughness.

"I found it excellent - tight as a drum, tough terylene composition... a pleasure to paint on."

Painting on it

Robert used oil paints across several ACF canvases. His first canvas received an underpainting in Indian red followed by thin layers of Viridian, Mars Orange, Naples Yellow and more. He noted how well the surface took oil without excessive absorption.

"The paint isn't just slipping and sliding... it's showing up well, better than expected."

He later compared the surface favourably with linen, appreciating its ability to hold detail without distraction from a pronounced weave.

On construction and durability

What set ACF apart for Robert was not only the surface but the construction.

"These are just about the best constructed surfaces you can buy."

He praised the structural integrity, noting that the canvas did not sag, dent, or warp. Even with pressure applied, or paint applied thickly, the tension held.

Compared with traditional canvases

Robert has long been sceptical of mass-produced cotton duck, citing its tendency to warp, sag, and mark easily.

"Cotton duck... degrades, tears easily, and shows every single handling error."

He elaborated in response to our comparison video:

"Not often you see a video for a product which is as effective as this one and explores its strengths so convincingly."

His reaction to the flaws of standard canvases, the cut corners, the dentable surface, the poor expansion key design, reinforced his appreciation of the approach.

Later tests

As he worked through more canvases, Robert became more vocal. He painted a second oil work with a Flemish white underpainting and additional use of Cass Art and Rublev oils, and praised the way the canvas handled tone and texture.

"This product is a big step forward... a surface which is robust; which has grip and tooth without a massively intrusive weave."

That last phrase is worth sitting with, because it is the whole problem in one line. Grip and tooth, without an intrusive weave. Those two things pull against each other, and getting both is what took us years.

His verdict

"I hope artists will explore them with their best paint and best brushes, because those deserve no less than the best of surfaces."

You can follow Robert's paintings and his own account of the process at wightpaint.blogspot.com.

The canvases Robert tested

Both are 100% Polyester PET in warp and weft, pre-coated with our own gesso, ready to paint.

Also worth a look: the oak floating frame sets, canvas and frame together.

Read next

• Does paint stick to polyester canvas? The tooth problem Robert describes, and how it gets solved.
• Why Polyester PET is the best artist canvas material. What the conservation literature says.
• Marion Dutton of MazArt Studio. Another artist, in her own words.