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The website of the National Acrylic Painters’ Association.  A non-profit making group organised by artists for artists
National Acrylic Painters’ Association
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Robert Phillip Jones Isle of Wight
I   began   using   acrylics,   specifically   the   Cryla   brand   from Daler   Rowney   (probably   just   Rowney   at   that   time)   in around   1970   or   even   a   little   earlier   –   the   inspiration   was John   Bratby’s   paintings,   which   achieved   a   sharpness   I was   finding   it   very   difficult   to   match   in   oil,   which   was then my main medium.  I’ve   continued   to   use   them   alongside   oil   and   watercolour –   I   still   use   Cryla,   and   have   added   other   brands,   from Winsor   and   Newton’s   artists’   acrylic   to   Chromacolour.         I painted   as   a   compulsion   rather   than   a   career   for   many years   –   it   was   a   bit   too   intense   to   describe   it   as   a   hobby   but   sold   very   little;   most   of   my   career   was   spent   working for   a   political   party,   and   then   in   housing.      It   wasn’t   until   I had   to   retire   on   medical   grounds   from   full-time   work   that I   began   making   a   conscious   effort   to   market   my   artwork.     I   am   in   fact   quite   appallingly   bad   at   selling   myself,   but have   sustained   a   reasonable   flow   of   sales   over   the   last   ten years   or   so,   and   have   written   about   painting   in   oils   and acrylics.  I   have   a   regular   article   in   a   monthly   online   art   magazine, am   invited   to   contribute   to   bonus   features   in   The   Artist and   Leisure   Painter   magazines’   online   newsletter   and   am a    regular    contributor    to    their    gallery    and    forum,    have published   an   e-book   on   oil   painting,   and   will   have   an article published in Leisure Painter “soon” (they tell me).  I   use   acrylics   in   the   way   that   most   suits   me,   which   is generally   landscape   painting,   exploiting   the   transparency of    the    paint    for    extensive    glazing    over    solid    areas    of colour.      I’m   not   particularly   interested   –   as   yet   –   in   the more    exotic    mediums,    eg    interference    medium,    glass beads   etc,   but   prefer   to   explore   the   possibilities   of   the paint   alone,   with   water   or   the   simpler   painting   mediums.     I    don’t    think    I’ve    even    begun    to    exploit    all    of    the possibilities   there   –   and   for   the   time   being   anyway   my interest   lies   in   keeping   the   process   simple   to   achieve   a result   which   may   not   be   simple   at   all,      rather   than   in   the various additives. Similarly, I’ve not explored interactive acrylics – because the speed of drying is a positive advantage so far as I’m concerned, and I can’t immediately see why I’d want to make acrylic paint behave more like oil (oil is, after all, perfectly good at doing that on its own).  This may have more to do with the economics of the enterprise than with any innate conservatism on my part – even so, these bells and whistles weren’t available when I started using acrylics, and perhaps I’ve just got used to doing without them.