In this second session, you will see oil paint mimic the lighted skin of a fleshy, human figure. This demonstration is an impressively rich and lighted painting that contains more subtlety than you are likely to see in any other film of an artist painting a figure in oil.
David feels that the first day’s efforts simply become an underpainting for the second, possibly due to the natural saponification of the paint—the tendency of oil to become more transparent with time. This effect is seen in how lit up the painting seems to become as he continues to make the painting brighter and more airy the second day. The illusion is remarkably real, and is achieved with thick, juicy brushstrokes and an abundance of non-color.
David puts more color in the extremities and the chest near the base of the neck as these are bloodier places that also tend to get more sun. These more saturated areas make the rest of the skin appear to have more color without putting in too much color.
A lot of patience is required to build up the light in the way David does in this film, which seems to give the painting a real quality and a sense of form in air. Although he has emphasized the figure, he explains the importance of the background in how it gives drama to the light.
This film is one of the most compelling examples of creating the illusion of a real human figure on a flat surface.