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.
Jim Lee uses traditional India ink applied with dip pens and brushes. It dries permanently waterproof and deep black. Like liquid obsidian. Do NOT use fountain pen ink — it is not waterproof and will bleed.
For corrections and white highlights over dry black ink. Essential for fixing mistakes and adding specular highlights. Like liquid paper but better.
The classic comic book nib. Flexible — press harder for thick lines, light touch for thin. Like a calligraphy pen. Hold at 45 degrees to the paper. Dip only the tip — not the whole nib. Wipe excess on the jar edge.
For filling large black areas and bold expressive lines. A brush gives you thick-to-thin variation in one stroke — like a martial arts sword slash. Quick, confident, one motion.
For mechanical details, cross-hatching in tight areas, and consistent-width lines. Hold upright like a writing pen. Even speed, even pressure. Like drawing with a needle.
For quick bold outlines and expressive thick lines. Like a felt-tip marker but with brush flexibility. Good for hair and dramatic shadow edges.
Standard comic book art paper. Smooth vellum surface — not rough plate. The smooth surface lets the nib glide and prevents ink bleeding into the fibres. Heavy enough that ink does not buckle the paper.
For the underdrawing. Light lines that erase cleanly after inking. Non-photo blue pencil is even better — it does not reproduce when scanned.
For architectural lines and smooth curves. Comic ink work alternates between freehand energy and mechanical precision.
For wiping nibs and brushes. Ink dries on the nib — wipe frequently or the line quality degrades.
Upload your photo. Click Jim Lee. Dynamic cross-hatching, bold shadows, graphic energy. 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 bright overhead light — you need to see every ink line clearly. Like a drafting table lamp — a desk lamp, clamp light, or single window with all other curtains closed. Keep the room well-lit. Ink work requires precision — every line is permanent. You are recreating Jim Lee's actual studio: bright even studio light. If you can see a even bright light across your paper — no shadows on the drawing surface, 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.