Grey Morning, Undercliff

Grey Morning, Undercliff

Looks super, Robert. I love that ominous atmosphere and the suggestion of an incoming squall.

Superb Robert a wealth of experience in your wonderful galleries gifted quality images great achievement

Now that's what I call a stormy sky Robert and I like the shafts of sunlight.

Well of course I would like this one Robert, not just for the great atmospheric sky which I always love to see, but also the general composition which works beautifully.

Lovely, dirty, menacing sky. Beautiful light coming through the clouds and great texture on the rocks. Well done with watercolours Robert!

If this is a dirty painting....I love dirty! Powerful sky and great treatment of the cliff/rocks.

I like the glistening sparkling sunlight treatment on the water combined with the chiariscuro and accentuated by the sunbeams and dark clouds which is a recipe for an atmospheric painting.

And the light comes shining through.

I've really enjoyed looking at this Robert - especially that sky.

Great light effect, and those grasses are flying in the wind before the storm. Judging by the depth in your darks and the patches of washed-out (?) light on the rocks, the paper seems to agree with you, Robert ?

I wouldn't like to be out in those boats with the approaching storm! A great atmosphere created with lovely dark tones and a super palette. I also like the shafts of sunlight hitting the water which add to the drama of the scene.

Grey skies but shafts of light filtering through. Don't envy them in those yachts ! Great composition.

Actually, I've had more trouble with this paper than with any other I've ever used, but that was largely because I didn't treat it properly to start with: I've found that it responds to wet in wet, and really, seriously needs to be stretched - or it buckles like a good 'un. Being lazy (and disliking the taste of gummed paper strip!) I'm not at all keen on stretching paper: but if you don't you just can't work with this.

Get a heavier paper Robert, Fabriano 300lb/640gsm. Very good to work on, no stretching or gumming!

Ps bit pricey though but worth it.

I agree with Carole, Fabriano Artistico 300lb and no problems, never use anything else, worth the extra cash. I used to use nothing but Arches but that's now my second choice.

I hate the gummed stuff too. If I'm working wet in wet straight away, I soak the paper and then transfer it while it is still very wet to a sheet of hard acrylic (I think thats what its called, hard see-through plastic). The back of the paper creates a sort of vacuum with the plastic sheet, and stays put as long as it is wet/damp. Of course the paper will shrink as its drying, you can continue to spray the back and the plastic sheet to gain more time. Otherwise, if I want more flexibility wet/dry, I attach the soaked paper to those lightweight stretchers used in oil painting, stapling it all the way round, and then leave to dry. When dry, the surface is then as tight as a drum, and will take any amount of water you throw at it without buckling. Added advantage is that the stretchers are very light, easy to slant your work in all directions if you want fusion.

Yup, heavier paper is on my &quot;to get&quot; list. I found my latest more straightforward because I did stretch the paper with some care, but it&#39;s a bit of a fag, to be quite honest (and it doesn&#39;t always work, however careful you are). <br /><br />

Good work Robert <br />love the sky ,light and atmospheric feel <br />I applaud you for experimenting .<br />The painting is well drawn. As Van Gogh said Drawing is the key to everything.<br />It is hard being an artist we have many failures before success .I have rooms full of duds!<br />

Hang on Studio Wall

One of my "dirty" pictures - grey and threatening morning, (fool)hardy yachtsmen abroad, sun glinting through heavy cloud. I shall get off this watercolour kick eventually, but still experimenting with the Fabriano 140lb.

About the Artist
Robert Jones, NAPA

Born November 18th 1950. Former party political agent, former chairman of housing association. Has worked as a volunteer with the NHS since 2000, painting seriously for the last ten years, sporadically for the last 50. Member, National Association of Painters in Acrylic from October 2015

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