Magazine Articles

The Cattle Portrait in Soft Pastel 

In this step-by-step demonstration I share lots of tips and advice on painting with soft pastels and how to push the colour boundaries to make your cattle portrait come alive.   

Available in Issue 23  of the South African Artist magazine.   







My gratitude goes to Skye Kennedy of the Italian Artshop for her gracious sponsoring of the publishing of this pastel demo. 




A Rocky Landscape in Oils 

In this step-by-step demonstration I give advice on the colour mixes, how to use a limited palette, the advantage of starting with a monochromatic and transparent underpainting, and how to create atmospheric perspective in a rocky landscape and mountain scene.  I also provide art tips on how to create a good painting in general.  

Available in Issue 14 of the South African Artist magazine.












Maroger versus Alkyd Medium in Oil Painting  

A guest article for Oldmastersmaroger.com.

I am excited so say that my blog article on Maroger medium vs alkyd medium is featured by Oldmastersmaroger.com as a guest post on their website.  Hopefully this would provide some valuable feedback about this exquisite medium to other artists - after all, much of the joy of art comes from sharing our knowledge and experience with fellow painters.  Some of you are familiar with the works of master artists David Leffel, Sherrie McGraw and Gregg Kreutz, artists whose teachings lie very close to my heart - their testimonials on the maroger medium are featured on the website.  It is therefore a tremendous privilege for me to have this article featured there.  I am so glad that this oil painting medium of the old masters is available to artists outside of the USA.  

Follow the link to the article on their website:   http://www.oldmastersmaroger.com/blog/-guest-post-maroger-vs-alkyd-medium/





Or you can read the full article below:


Maroger vs alkyd medium


I had just a little bit of maroger medium left in my old tube so I started using alkyd medium again. Being a quick drying medium, it does have its advantages, but I got so used to what the maroger medium can do that I now find it frustrating to work with an alkyd medium. The traditional turps/linseed mixtures together with the alkyd mediums leave me with a really bad headache and sinusitis after a painting session.  I need for the paint to stay workable for as long as possible and still be able to do transparent applications as well as impasto work all in one session.  With an alkyd medium the paint becomes tacky soon after you've applied it.  The maroger medium on the other hand allows me to continue manipulating the paint hours after I have laid it down and also allows me to do beautiful glaze work as well as impasto work that retains brushmarks.  Transparent pigments really come to life with this medium.  I can even oil out the next day without lifting the paint layer underneath, something that is not possible with any other kind of medium.  The only problem is that once you get used to the maroger medium, you become totally addicted to what it can do, so going back to my old paint mediums just isn’t as much fun as it used to be.

People often ask me where I heard about it and where they can buy it.  I noticed it on the palettes of my three online mentors David Leffel, Sherrie McGraw and Jackie Kamin - it is the only medium they use and the recipe was passed on from David Leffel to oldmastersmaroger.com - you can read about it in the discussion forum with Oldmastersmaroger.com on Wetcanvas.  Maroger is an old medium, but a word of caution though, there are many versions on the market made from different recipes - many of them end up with disastrous results on the canvas - so if you want to use this medium make sure you buy it from someone who knows what the difference is between a superb maroger and a rip-off version because making this stuff takes a lot of skill - a good maroger has a pleasant smell.  Leffel’s recipe has been used by him and his students for many years and his earliest of works done with this medium are still as beautiful and vibrant as the day they were painted - he has even used it as a varnish to protect some of his paintings - read more about it on Wetcanvas.  I use the Flemish formula manufactured by Oldmastersmaroger.com and you can buy it directly from them.  You can also read about this medium on Sherrie McGraw’s website under paint materials at www.sherriemcgraw.com.