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Trial order from ACF canvases
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Posted
I like what you’ve done so far… it has a warmth about it…and an interesting composition with the high eye level.
I would have to kill off the blue sky if it was mine though… I’d be looking for something more dramatic! That would obviously change the colours on the landscape…
But that’s me…I rarely paint blue skies unless I absolutely have to… but you handle them well!
The last time as I recall is when I did a watercolour of Luxor Temple, which I have visited - that was a vibrant ultramarine blue sky which I actually liked!
Purely for interest, I’ve managed to find it on my gallery! Turner Blue handmade paper 11x15in.
Now that’s what you call an intense blue!
Edited
by Alan Bickley
Posted
Love that blue! And yes, you're right - I do like blue, but this was an early pass with Rublev Ultramarine Red Shade, a GREAT deal stronger than I'd anticipated; I have toned it down, but am nowhere near finished with it yet - I do work in stages and layers, rarely just charge in - often wish I could do that, but.... I don't know, I love to tweak; stopping, I hope, before Tweak turns inexorably to Fiddle.
Thanks for the comments - I am finding the balance a little difficult, to be honest: but I'll get somewhere, sooner or later - where that somewhere is I'm not sure, but it's great fun to be working on an unfamiliar surface, with some unfamiliar paint (Nicosia Green Earth, anyone? Fabulous for glazes).
Posted
Norette, where I get what from, the materials? The tones arise in this case from the underlying sketch and wash in Indian red.
If you meant the materials - apart from ACF canvas, direct from the maker, the paints I've used in this one so far are from The Supreme Paint Company (Rublev Nicosia Green Earth, French Ultramarine Red Shade; Michael Harding Yellow Ochre); Cass Arts (Naples Yellow, Viridian, and Cobalt Teal - own brand), and Grantham's Art Discount (Daler Rowney Artists' quality Mars Orange, and Indian Red). Not all of these colours have been used in the preliminary WIP - just the blue, the Naples, the Ochre, and the Viridian, on an Indian Red base).
I've moved on from there - the Cobalt Teal gives a real kick in the darker foliage - wouldn't work too well unmixed in this one.
As you'll see, I cast my art-buying favours widely - trying to go where the best quality can be found.
Posted
Another question I missed, from Carol. Oil-primed canvas - it's a very long time since I had any, and probably it would have been primed with a lead white; almost impossible to get in the UK now. The advantage of oil priming is the ease with which the paint goes on, and the fact that the white priming was less starkly and intimidatingly white than acrylic "gesso". I saw some oil-primed canvas on the Jacksons' website, I think - though it may have been on another - and I have a yen to try it again, even though I suspect they'll use a Titanium or possibly Lithopone base rather than lead.
I have a distant but happy memory of the paint just gliding over the priming; whereas, I have had to fight with oil on acrylic to get enough spread - you probably know the feeling - you approach the canvas with a lightly loaded brush, to make your initial marks, apply the paint, and it's as if an unseen hand grips your wrist and lets you know that's as far as you're going unless you mix Turps or oil with it: you just grind to a halt, and have to go back and get more paint or medium.
Posted
Quickly - others can (and will, the beasts!) judge my results, but - this was an entirely pleasant experience. The surface works extremely well, the weave isn't intrusive but nor is it too slick; it holds the paint and doesn't suck it of all its oil.
I don't want the 'gallery' canvases, those also known as box-canvases - I think they're a gimmick whoever makes them. But the regular canvas is a quality product, and in due course I'll post my finished Meisterwerk.
Today, I worked on an 8" by 10" canvas board - don't really know if it's worked: too soon to know, but - the canvas was better than the (very good) Winsor and Newton canvas-covered board. . So - maybe try it? I think you'll enjoy it - and encourage a new company at the same time: what could be better?
Posted
Hi Robert, I have just seen your mention of my canvas - I appreciate the review and honesty! I have 2 new items I would like to send over.
The 20mm Stretch Canvas you used here was on our standard 100% PET fabric of 260gsm.
I have upgraded the 20mm Stretch Canvas now as it has our proprietary coating on that is applied during manufacture.
The 40mm Box Canvas range (Not a gimmick here) has a thicker 300gsm 100% PET with our proprietary too.
The 'scientist artist' who helped develop these coatings is a very successful oil artist who makes his own oil paints through the 
methods of the old masters. The 'gesso' we use has its roots based on this.
He has also told me about the oil gesso - and has said that the coatings we have developed now are well-suited for oils.
I have dropped you an SMS, I look forward to your thoughts on my updated products.
Again, thank you for sharing your views.
Graham
www.acfcanvasses.com
methods of the old masters. The 'gesso' we use has its roots based on this.
He has also told me about the oil gesso - and has said that the coatings we have developed now are well-suited for oils.
I have dropped you an SMS, I look forward to your thoughts on my updated products.
Again, thank you for sharing your views.
Graham
www.acfcanvasses.com
Posted
Graham - I got the SMS, but receive them like a phone call from BT, if that makes any sense - they don't come over as text; I think you know my email address, it's best to use that.
I'm about to embark on a new painting on my other ACF canvas - and am havering about the medium: shall I use oil, or acrylic...? It can take me a hugely long time to make my mind up.
Alan, I haven't looked at Graham's website for a day or three, but he was offering a sample purchase: as we all react to surfaces in our own individual way, I don't know if it'll suit you, but little would be lost by trying a few. And back to Graham - the gimmick element of the so-called gallery canvases (I've no idea why they're called that, it doesn't make much sense to me) derives from my strong dislike of the practice some have of painting the edges as if it were part of the painting: it's not a look I've ever liked. The canvases themselves are not gimmicks, it's the use to which some put them. They do have an extra strength and rigidity, of course.
The other issue is the claim that some make about not needing to frame them - which misses the point about framing: we do it to protect the painting and display it, yes; but we also do it to focus the eye. Not all of my stuff is framed, but it would be if I were more liable to splashing the cash; and of course, you CAN frame deep edge canvases, with the right equipment; it's much better to do so than to paint the edges - all of this in my opinion, of course.
Posted
Thanks Robert, I’ll have a look and see if that offer is still available, I’m always interested in trying out something that is new, to me anyway!
I don’t want to miss out on anything, that’s never a good thing!
Update: yes, they still do trial canvases at a discounted price, albeit they still aren’t cheap. But as we all know, quality doesn’t come cheap so I’m still interested in trying the surface out.
I’m not against hanging some cradled canvases without frames, but undoubtedly they do generally look visually more appealing when framed… provided that it’s a sympathetic frame for the image, and not distract in any way!
If you are hanging them unframed, keep the edges white, or off-white…(as you’ve rightly said), either leave them as is, providing you haven’t splattered paint on them, which I invariably do, so use an acrylic white gesso!
Never, under any circumstances, should you continue your image around the edges! So many amateur artists do, but don’t!
Edited
by Alan Bickley