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.
The primary colour. Must be matte, not gloss. Matte black reads like shadow. Banksy rarely uses colour — the power is in the black-and-white graphic impact. Like a political poster. Like a photograph. Like a shadow on a wall.
One accent colour. Red is Banksy's most common secondary — a red balloon, a red heart, a red flower. Used sparingly for maximum contrast against the black-and-white. Like one drop of blood on snow.
For painting a white base on dark surfaces. Also for touching up bleeds and fixing stencil edges with a small brush.
The most important tool. For cutting stencils. Must be razor sharp — dull blades tear instead of cutting, ruining detail. Change the blade every 15 minutes of cutting. Hold like a pen, cut toward you, rotate the paper not the knife. Like surgery — precision, sharp tools, clean cuts.
Protects your table. The mat heals after cuts so it stays flat. Without it, you will destroy your table and dull your blade on hard surfaces. Like a surgeon's operating table — a clean protected surface for precision work.
For the stencil itself. Thick cardstock (200-300gsm) or clear acetate. Cardstock is easier to cut. Acetate is reusable and you can see through it for alignment. Start with cardstock.
Banksy paints on walls. You can paint on large paper, plywood, cardboard, or canvas. The surface should be flat and large enough for the full stencil plus margin. For practice, use large sheets of thick paper taped to a board.
For holding the stencil flat against the surface while spraying. Masking tape at the corners, or light spray adhesive on the back of the stencil. The stencil must be flush — any gap between stencil and surface causes paint to bleed underneath.
For protecting the area around your work from overspray. Spray paint drifts. Cover everything within a metre of your surface.
Spray paint fumes are toxic. Wear a proper mask. Not a cloth mask — a respirator with VOC cartridges. Or work entirely outdoors. This is not optional. Your lungs matter more than any painting.
Upload your photo. Click Banksy. High-contrast stencil reduction, stark black-and-white. Print it — you will use it as the actual stencil cutting guide.
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 bright even light — you need to see fine stencil cuts clearly. Good overhead lighting. A desk lamp helps when cutting small details — a desk lamp, clamp light, or single window with all other curtains closed. Keep the room bright and well-ventilated. Spray paint fumes require fresh air flow. Open windows or work outdoors. You are recreating Banksy's actual studio: bright ventilated workspace — open windows for spray paint fumes. If you can see a even bright light — you need to see every stencil cut clearly, 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.