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.
McFarlane uses extreme amounts of black ink. Dense, absolute black. For massive shadow areas that swallow the figure. Like liquid night.
For corrections, highlights, and the signature thin white lines that break up shadow masses. Essential for web-like detail lines.
Two nibs: the 22B for bold thick lines, the 102 for ultra-fine detail. McFarlane alternates between massive bold strokes and impossibly fine hatching — often in the same panel. Like using both a sword and a scalpel.
For filling the massive black areas. McFarlane's drawings are 60-70% black. The brush fills faster than a pen. Load heavily. Cover boldly.
The finest line you can draw. For the web-like network of lines in shadow transitions. Like spider silk made of ink.
Same as Jim Lee — smooth Bristol that handles both heavy ink fills and ultra-fine detail lines without bleeding.
2B for underdrawing. Kneaded eraser. Ruler for architectural elements. McFarlane's compositions include gothic architecture, chains, webs — many need straight edges.
For cleaning nibs and brushes. Ink dries on tools fast.
Upload your photo. Click McFarlane. Gothic shadow, extreme black, web-like detail. 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 dim dramatic lighting — McFarlane's work thrives in shadow. A single desk lamp casting harsh angular light. Like a horror movie set — a desk lamp, clamp light, or single window with all other curtains closed. Keep the room dark enough to feel the mood. McFarlane draws darkness — let the room match. You are recreating McFarlane's actual studio: harsh angular desk lamp light. If you can see a dramatic angular shadows on the wall, 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.