Don't start painting until everything is within arm's reach. Once your hands have paint on them, you don't want to be searching for a brush or a rag. Treat this like surgery prep — everything laid out, clean, ready. Check off each item below as you gather it.
Alex Ross paints with GOUACHE, not oil. Gouache is opaque watercolour — it dries matte and flat, creating the clean printed look of his work. Get a professional set with at least: Permanent White, Cadmium Yellow, Yellow Ochre, Cadmium Red, Alizarin Crimson, Ultramarine Blue, Cerulean Blue, Viridian Green, Burnt Sienna, Burnt Umber, Ivory Black, and any bright secondary colours.
You will use enormous amounts of white. Gouache white is opaque and mixable. Buy an extra large tube. Like sunscreen — you always need more than you think.
Soft watercolour brushes. Kolinsky sable or quality synthetic. Gouache requires softer brushes than oil. The brush should hold a lot of water and release it smoothly. Like a fountain pen — steady, controlled flow.
For washes and large flat areas — skies, backgrounds, costume flat areas. Soft. Even. No streaks.
Gouache mixes on white. Unlike oil, you need to see the mix against white because gouache dries slightly darker than it appears wet.
Alex Ross paints on cold-press illustration board. Smooth but with enough tooth to hold gouache. NOT watercolour paper (too textured). The surface should feel like smooth cardstock — firm, flat, slightly absorbent.
Gouache uses water, not turpentine. One jar for rinsing, one for clean mixing water. Change frequently — dirty water dulls colours.
Gouache dries fast. Keep a spray bottle to mist the palette and keep mixes workable. Paper towels for blotting brushes.
Alex Ross works from live photo reference. Photograph yourself or a friend in dramatic lighting. Print it large. Ross photographs his models in costume poses.
Upload your photo. Click Alex Ross. Heroic upward light, vivid colour, painted realism. Place next to your board.
A4 PDF with your ticks. Save it, share it, or print it.
Easel or table? An easel is ideal — it keeps the canvas at eye level and lets you step back easily. But a table works fine if you prop the canvas at a slight angle.
Lighting is critical for Caravaggio. You need strong directional light from upper left — dramatic but not extreme. Alex Ross uses heroic, upward-angled lighting that makes figures look monumental. Like looking up at a statue lit by the sun — a desk lamp, clamp light, or single window with all other curtains closed. Keep the room well-lit so you can judge colour accurately. The drama is in the painting, not the studio. You are recreating Alex Ross's actual studio: strong directional light like museum spot lighting. If you can see a clear directional shadow — dramatic but not extreme, you have the right setup.
How to hold your brush. Not squeezed tight like a pen. Grip it in the middle of the handle — like holding a conductor's baton. For bold strokes, move your whole arm from the shoulder. Your wrist does detail work. Your shoulder does confidence. If your hand cramps, you are gripping too hard. Relax. The brush does the work, not your muscles.
Lighting. Natural daylight from a window is best. If painting at night, use a daylight-balanced bulb (5000-6500K) positioned to your left. Never paint under warm yellow tungsten light — it shifts all your colour decisions warm, and the painting looks wrong in daylight.
Your device. Place your phone or tablet where you can see the VOLUX reference. Prop it 30-60cm from your painting spot, screen facing you.
Choose only one master — Nature.
Attributed to Rembrandt van RijnEach step expands when you tap it. Take as long as you need, and move on only when you're satisfied with your work.