David/ Portrait of Bella
In Part 2 David talks about the essential painting problem from its inception—trying to give the illusion of form on a flat surface. He also talks about the inventions that changed painting forever and turned it from a problem solving discipline into an activity of self-expression.
David thinks of painting human form topographically, judging what is higher or lower as it comes out of the canvas, rather than trying to match color or value. This is a significant departure from the common way of seeing portrait painting, which is usually obsessed with resemblance.
He shows how conserving color is the way to make skin color look convincing. He utilizes air color to get the non-color in the skin, which is what gives the illusion of a breathing human being. This is quite different from painting skin uniformly, like that of a manikin, a problem that plagues portraiture.
With David’s keen observation, you will delight in how thick paint and descriptive brushstrokes go from abstract pieces of paint to suddenly becoming the model with a startlingly real likeness. This is the magic of painting and the power of capturing structure rather than resemblance.
Fear, according to David, is the biggest hurdle to overcome in learning to paint. You will benefit from the fearless wealth of insights gained by a lifetime of studying what painting is.