Robert Phillip Jones – NAPA, Isle of Wight Artist, POL Admin and Moderator
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. A member of the National Association of Painters in Acrylic since 2015, as well as and an admin and moderator of the UKs top artist forum Painters Online Robert brings a wealth of life experience and a thoughtful eye to every brushstroke.
Initial Impressions: Robert began testing ACF canvases with a trial pack, including both 20mm stretched and 40mm box canvases. Upon arrival, he was immediately impressed by the build quality and tightness of the stretch, describing them as "tight as a drum." The 100% PET surface, made 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 Experience: 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, making for a satisfying painting process:
"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 just 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 didn’t sag, dent, or warp. Even with pressure applied or paint applied thickly, the tension held perfectly.
Comparison with Traditional Canvases: Robert has long been sceptical of mass-produced cotton duck canvases, citing their tendency to warp, sag, and mark easily:
"Cotton duck... degrades, tears easily, and shows every single handling error."
He further elaborated in response to ACF’s 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 (cut corners, dentable surface, poor expansion key design) reinforced his appreciation of ACF’s meticulous approach.
Watch video HERE
Subsequent Tests and Continued Praise: As he tested further canvasses, Robert became more vocal about their benefits. He painted a second oil work with a Flemish white underpainting and additional use of Cass Arts and Rublev oils. Again, he 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."
Final Verdict: Robert's journey with ACF canvasses reflects a thoughtful artist finding a material that not only meets but exceeds expectations. The surface, build, and tone-handling capability all contributed to his growing endorsement:
"I hope artists will explore them with their best paint and best brushes, because those deserve no less than the best of surfaces."
For any artist seeking quality, longevity, and performance, Robert’s experience is clear: ACF canvasses deliver.
View Roberts paintings and journey: wightpaint.blogspot.com
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