“Don’t Toss Your Pencil Under the Fridge”: An Interview with Tinus Horn

Portrait artist, caricaturist, and recent workshop facilitator at The Deckle Edge in South Africa

We recently had the joy of hosting a watercolour portrait workshop at The Deckle Edge with none other than Tinus Horn—a seasoned South African portrait artist known for his expressive oil and watercolour works, lightning-fast caricatures, and no-nonsense approach to painting. Whether he’s sketching 100 faces at a wedding or guiding students through live model sessions, Tinus brings humour, honesty, and heaps of insight to the creative process.

In this interview, we chat to Tinus about his favourite art supplies (from The Deckle Edge), how he gets past creative blocks, and why you should probably paint the dog—even if it doesn’t go quite as planned. If you’re an artist looking to improve your portrait skills or just starting out with oil or watercolour painting, this is for you.

1. Tinus, when did you first fall in love with making art—and what kept you coming back to it?

I have a story for you. I was about three. My mom always drew the same stick man, with a hat and a pipe, and I wanted to give it a shot. My drawing didn’t look anything like my mom’s. I threw a tantrum… and my pencil. It skidded across the floor and ended up under the fridge. I don’t know if I ever got the hang of the stick man, but after retrieving the pencil I never let go of it.

2. You work in both oil and watercolour, which are so different in feel and flow. What does each medium offer you creatively?

Watercolour is my secret garden. I wander in, and discover something magical every time. I allow the water and the paint and the paper to guide me. The beauty… well, it happens or it doesn’t. I sniggered when I watched clips from my Deckle Edge workshop. Someone asked me a question about my process. I replied: “I don’t know what I’m doing.” It’s true.

Oil offers more control, and I sometimes have to remind my inner critic to leave the room. Paintings come alive when I stop thinking and just go for it.

3. For artists trying to decide between oil or watercolour, how would you describe the strengths of each?

Don’t choose, just paint. Make stuff. And draw, draw, draw. You might like one medium more than the other, but you won’t know until you’ve tried both.

4. What would you say to someone who’s nervous about starting portrait painting?

The first message I convey to my students is this: Do it for the joy. It’s fun. It’s going to get better. Don’t judge. Don’t toss your pencil under the fridge. And if you do, go fetch it.

5. When working from a reference or live model, what do you look for first? Is it shape, expression, light?

First shapes, then shapes. Then, finally, shapes. If you get those right, the rest will follow.Got to mention here: working from life is challenging, but you learn so much faster than when you work from photos. Do both, but working from life is a must.

6. Your caricatures are full of character and charm. What have they taught you about observation and exaggeration that helps your other work too

It’s been huge. I draw a face in three minutes. I did 100 at a recent wedding. It sharpens my senses. One tiny drawback: I have to keep the caricature instincts at bay when I paint portraits.

7. In your recent workshop at The Deckle Edge, what did you hope people would walk away with?

I want students to let go of the fear of failure. What is failure? You do it for yourself. If you enjoyed the challenge… success! And, again, keep doing it and you’ll get better quicker than you think.

8. What’s one simple exercise you’d recommend to help someone improve their portrait skills at home?

This works: Bribe a family member or a friend to sit for you. Set your alarm for ten minutes. No pencil allowed… just water, paint and paper. A5 is a good size. You HAVE to stop when time’s up, and move on to the next painting. Paint the family. Paint the neighbours. Paint the dog. Paint the goldfish.

9. What’s your go-to palette when painting skin tones in watercolour or oil?

Here’s one of my mantras: there is no such thing as skin tones. Paint what you see. I’m a firm believer in using versions of the three primaries, red, yellow, blue for everything. Great recent development from Winsor & Newton: Cadmium-Free yellow and cadmium-free red. Non-toxic, and cheaper. Phthalo and/or cerulean blue, Alizarin crimson, Yellow ochre, all six, or any red-yellow-blue combination.

10. Are there any common mistakes you see people making with portraits—and how can they fix them

The most common mistake is painting features instead of shapes. Squint to blur the details. It’s like magic. I can write a whole chapter on this. It’s a big, big deal.

11. What are your favourite brushes and why? Do you have any must-haves you always get from The Deckle Edge?

Watercolour: Chinese bamboo brushes are a must have. Tremendously versatile, last long, and the part I like most: you never feel you have total control.

Not too fussy about brushes for oils, but here’s a good rule of thumb: Buy the best brushes you can afford. If anyone wondered, I get all my supplies from The Deckle Edge.

12. Is there a particular paper or canvas that gives you the best results?

Fabriano Artistico, cold pressed, for watercolour. I stretch my own canvas. Cotton, tight weave.

13. Are there any art supplies you wish more people would try out for portraits?

Mixed media! Pen and ink, watercolour, gouache, soft pastels, oil pastels. You’ll rediscover the creative child you once were, baking mud pies in your backyard.

14. How do you stay loose and confident in your lines—especially when working live or under time pressure

The live caricatures have made me oblivious of crowds and forced me to speed up. Confidence comes from painting and drawing a lot.

15. What do you do when a painting doesn’t go the way you’d hoped? Any tips on pushing through creative blocks?

With watercolour, I often wonder: How am I gonna save this thing? I take up the struggle. I give it my best shot. And then I let go – and I keep it.

With oils I’m more ruthless. Scrape it off and start again.

16. What does your daily or weekly art practice look like—do you have routines or is it more spontaneous?

I draw most days of the week, but I don’t have a routine.

17. Has your South African background or landscape influenced your style or subject matter in any way?

I love the people I meet here. I love Africa and it loves me back.

18. What’s one piece of advice you wish someone had given you early in your art journey?

Don’t judge and keep at it.

Tinus reminds us that art isn’t about chasing perfection—it’s about showing up, paying attention, and letting the process teach you. Whether you’re working in watercolour, oil, or exploring caricature drawing, his advice is clear: don’t overthink, don’t judge, and just keep painting. Practice is what builds confidence, and joy is what keeps you going.

You’ll find many of Tinus’s favourite tools—like Fabriano Artistico cold-pressed paper, Chinese bamboo brushes, and Winsor & Newton’s cadmium-free watercolours—right here at The Deckle Edge art supply store in Cape Town. And if you ever get the chance to join one of his workshops, we highly recommend it. Just keep your pencil out from under the fridge.