Windy Corner, Niton Undercliff by Robert Jones, Napa

Lovely scene Robert! I so miss the Island we sold our holiday flat at Ventnor!

Another of your very interesting compositions Robert, and expertly done. I always use Pthalo Blue whenever I think that I can get away with it, but generally a bit stronger than on this painting. Caution is the keyword of course.

I diluted it in fear, Alan! And regretted it - this was quarter Imperial,so fairly big, really: but I could have gone to town on half Imperial: I wish I had more room to experiment with colour, and big washes. I think these powerful colours, though, can be diluted to the nth degree: they&#39;re not the threat that some think them. I do get a bit fed up with the ubiquitous French Ultramarine, and the pallid Hue colours .... most of which are versions of very diluted Pthalo anyway, so why not use the real thing and water it down to your preference? <br /><br />Anyway: don&#39;t be afraid of Pthalo/Winsor Blue: just get to familiarize yourself with it, because it can be pallid and dull rather than overpowering - and to be quite honest, it&#39;s not exactly a visual thrill here, if I&#39;m being quite honest.

Painted expertly and great scene Robert

I totally agree Robert, and it sometimes pays off to be bold and experiment. The great watercolour artist Rowland Hilder used Pthalo Blue, and used it stronger than anyone else I know and look at his results, striking and powerful. I think that you mentioned Hilder yourself in your recent forum blog.

Whatever the colours used Robert, this works very well. I occasionally use Pthalo Blue for a brighter sky and also mixed with Burnt Sienna to get a good rich summer greenvs? I particularly like the background hill with the rugged texture you have created. I note from your details that you are a fellow 1950 baby. One good thing is I&#39;m expecting my first pension cheque in a few days, might treat myself to a few arty goodies!

That pthalo blue gives this beautiful clear greens, just the right strength I think for this painting as the foreground is quite dark. The green lifts it a treat.

The idea is fine but I&#39;d look at it compositionally...I&#39;d be inclined to alter the balance between the trees and move the hills away from the centre...masking off the left side will create a different dynamic. I&#39;d dump the large rock in foreground as it&#39;s very dominant. Lastly, alter the tonal range of hills to make them recede. Apart from all that, it&#39;s an interesting idea.

Roger - yes, I agree the composition needs something doing with it: two trees on the left, two on the right, to start with: too evenly balanced. In reality, you can hardly see the cliff in the distance because there&#39;s a tangle of wood and brier in the way. I&#39;ll be trying out a few more variations before getting the oils out.

This is excellent, Robert! Full of movement and energy, with great use of shapes.

Just a quick one Robert, I didn&#39;t feel this was worth putting on the Forum, but would be interested in more info if you have it.<br />My posting last night, Tixall Gatehouse, I don&#39;t know if you saw it?, anyway Carole S asked me about the medium that I often use called PLAKA and I gave her a reply with some info, but I don&#39;t know much about it other than I like it!<br />Perhaps you could have a look at my reply and advise me further. Thanks, Alan B