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.
For all lit flesh. Michelangelo's Sistine colours are vivid and bright — revealed after restoration. Heavy white use in the terracotta skin mixes.
Warm earth base for all skin tones. The foundation of the terracotta colour that defines the Sistine Chapel flesh.
More red than Rembrandt. Michelangelo's flesh runs hotter — terracotta, like sun-warmed clay tiles on a Roman roof. A generous amount mixed into every skin tone.
For the warmest terracotta passages. Mixed with Yellow Ochre and White for the sun-struck planes of the face. Like the colour of roof tiles in Italian sunshine.
Mid-shadow skin tone. Between the warm lit terracotta and the cool dark umber. Like the colour of wet terracotta pottery.
Deep warm shadow. The transition zone before the cool ultramarine takes over. Like dark chocolate or espresso.
The cool shadow colour. Michelangelo's signature: terracotta warm lights transitioning to ultramarine blue-grey shadows. Like the blue of a late Italian afternoon shadow.
For the verdaccio underpainting — the green base under skin. Standard Italian Renaissance technique. Creates cool translucency in shadow areas.
For the violet tones visible in the restored Sistine colours. Cool accents in drapery and the deepest shadow transitions. Like the colour of a thunderstorm sky.
Stiffer than Leonardo's soft brushes. Michelangelo's approach is sculptural and confident. Hog bristle. The brush should push paint around with authority — like a chisel shaping clay. Not gentle. Decisive.
For eyes, nostrils, and the finest anatomical detail. Michelangelo rendered individual muscles. The small brush follows contours like a pencil tracing anatomy.
For mixing. Keep the terracotta and ultramarine mixes separate and clean. These two colour families are the pillars of the painting.
Fine-weave linen or smooth cotton. Smoother surface helps with precise anatomical rendering. Michelangelo painted every muscle — you need a surface that allows precision without fighting you.
For layered application. Michelangelo worked in stages — like fresco giornate (day sections). Liquin lets each layer dry fast so you can work on top.
Standard supplies. Keep brushes clean between the warm terracotta mixes and cool ultramarine mixes — contamination kills the temperature contrast.
A basic anatomy chart or Gray's Anatomy book. Michelangelo studied real cadavers. Understanding where the cheekbone sits, where the jaw muscle attaches, where the brow ridge protrudes — this knowledge shows in every stroke.
Upload your photo. Click Michelangelo. Sculptural overhead light, terracotta-to-ultramarine shift. Place next to your canvas.
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 overhead light — directly above and slightly forward. Like sunlight coming through a high window in a church. This top-down lighting creates deep shadows under the brow, under the nose, under the chin — the same lighting that falls on the Sistine Chapel ceiling from the side windows — a desk lamp, clamp light, or single window with all other curtains closed. Turn off side lights. You want primarily overhead illumination. Some ambient is fine — Michelangelo's lighting is not as extreme as Caravaggio's. You are recreating Michelangelo's actual studio: overhead light like a church interior. If you can see a strong shadow under your chin and nose from the overhead angle, 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.