DVD "OIL PAINTING WITH CALCITE SUN OIL"
FOR TODAY'S ADVANCED AND PROFESSIONAL PAINTERS
WHO PAINT IN MODERN STYLES OR OLD MASTER STYLES


Learn the Methods and Materials used by REMBRANDT, RUBENS, VELAZQUEZ,
VAN EYCK and other great Old Masters.
The live action teaches how to prepare your own SUPERIOR OIL used by the
Old Masters, plus preparation and use of the Emulsions, plus much more.
NTSC, COLOR, 85 MIN.[revised edition], ENGLISH, -R DISC
The Calcium Carbonate used in the CSO mixture is important.
For the finest quality I recommend KREMER PIGMENTS  
they have an office in New York City and offices worldwide
SEE THE LINK BELOW
http://www.kremer-pigmente.de/shopint/index.php?cat=010504&lang=ENG&product=58000

The SUPERIOR OIL of the Old Masters is :
UNREFINED COLD PRESSED FLAX OIL
that has been organically cleansed of its mucilage and slowly Sun
Thickened

I created the term "SUPERIOR LINSEED/FLAX OIL", out of
necessity,
to avoid confusing it with industrial processed 'linseed oils' or
mediums used by artists today.


The importance of the SUPERIOR LINSEED/FLAX OIL used by
the Old Masters
is supported by TWO IRREFUTABLE FACTS that are
documented by clear EVIDENCE
which CANNOT be denied, disproved or misrepresented by any well
paid Scientist, Media Advertising Director, Attorney, or other
controlled employees of Linseed oil manufacturers, oil paint
makers, and sellers.

THE FIRST IRREFUTABLE FACT ARE THE 600 YEAR OLD OIL
PAINTINGS
PAINTED BY THE VAN EYCK BROTHERS WHICH ARE IN AN
EXCELLENT STATE OF PRESERVATION.

THE SECOND IRREFUTABLE FACT IS THAT THE VAN EYCK
PAINTINGS WERE NOT PAINTED
WITH MODERN INDUSTRIAL, CAUSTIC CHEMICAL CLEANSED,
BOILED LINSEED OIL
USED BY ARTISTS TODAY AND SINCE THE 19TH CENTURY
INDUSTRIAL ERA.
but were painted with
THE UNREFINED SUPERIOR FLAX OIL DESCRIBED IN MY
BOOK AND ON MY WEBSITE.

My patent was approved by the US Patent nd TradeMark Office in November 2006.  
See patent #  7141109
Copyright
2000-2013 by Louis
R. Velasquez ,
All rights are reserved on all
text and images on this entire
website, and may not be used
without the written permission
of the author. The name,
"Calcite Sun Oil" is Trade Mark
protected with the U.S. Govt.
Note: My family records show I
am NOT related to the famous
master, Diego Velazquez.
1943: Born and raised in Porterville, California
1961: Painted the large oil painting on canvas, "The Stagecoach at Porterville, 1861", now in the collection of
the Porterville Historical Museum
1964-1967: US Army. Germany.
Paratrooper, Military Police. Traveled throughout Europe/ studied major museum collections.
1968-1975: Police Officer, City of San Diego, California
1975-1989: Investigator, County of San Diego, California
2000-2005: High School Art teacher, Chula Vista, California
2005: Retired
My BA Degree in Art, and my California Teaching Credential are from San Diego State University
Since 1968 I have made many trips to Europe for art studies
At age 12, I studied books by the noted American artist, Mr. Frederic Taubes, whom I was fortunate to have
met when I was 15. He was knowledgeable in many methods and materials of the Old and Modern masters,
and I consider him my teacher.
"The Stagecoach at Porterville,1861" , 6FT X 12FT, oil on stretched canvas. An original concept I painted in celebration of the Centennial of Porterville. In 1965 the "Porterville Historical
Museum" acquired it for the permanent collection. I painted this painting in 1961 at age 17, when a senior at Porterville Union High School
.

LEARN HOW TO OIL PAINT   USING METHODS AND MATERIALS OF THE OLD MASTERS
visit : WWW.BUDDYBURRO.COM
CLICK    
HERE
You can write to me with questions. I answer all letters. velapress@aol.com

"Achieve the paint quality of the Old Masters with Safety and Permanence"
'The Rebirth of the Old Masters' Superior Oil
MAKES POSSIBLE THE ELIMINATION OF SOLVENTS, RESINS,
VARNISHES AND DRIERS
SCIENTIFIC STUDIES SINCE 1988 SHOW REMBRANDT AND VELAZQUEZ USED SIMPLE ADDITIVES
Velazquez' paintings
were studied by the Prado Museum. Results published in 1992 show he added large amounts of Calcium Carbonate ( Calcite, Chalk)) to ALL his colors not just the White, and in
all layers of his paintings. This addition gives the paint great translucency, body and sumptuous textures not achieved by other means. Calcium Carbonate has a cement-like quality that improves
adhesion to the support. Also, his paint includes an addition of a protein which creates an Emulsion. This protein additive gives great control to the viscous leveling linseed oil, allowing a great variety of
application methods and visual effects.
Rembrandt's paintings were scientifically examined by the National Gallery London. Results published in 1988 show he used Calcium Carbonate and a protein additive to create an Emulsion that in
turn allows the extraordinary ' paint quality' that is a trademark of his work. Rembrandt did NOT use resins but his followers and students did. The protein additive replaces the resin and is superior to it
because it becomes one with the oil ageing together, while the resins simply co mingle and age at different rates.

The " WONDER MEDIUM" of  two EXTRAORDINARY EMULSIONS
Contemporary artists and those of past centuries have studied the paintings of the Van Eycks. Numerous Old and Modern books give uncounted Emulsion or Medium recipes, each with FAULTY
complex mixtures of solvents,varnishes, balsams, resins, water and other ingredients.
These FAILED MIXTURES have been TRIED and REPEATED by each subsequent generation ...and today...various websites continue the FAILURES.
I developed two SAFE and PERMANENT Emulsions, using two SIMPLE ancient time-tested ingredients available to the Van Eycks, Velazquez and Rembrandt:
The specific MIXING method, the specific  RATIO of the  mixtures,  and ESPECIALLY the specific  APPLICATION procedures ARE IMPORTANT TO THEIR SUCCESS. Lack of this information leads to
failure.  The EMULSIONS are the * paint thinner * They insure adhesion of layers * They eliminate wrinkling * They allow painting of micro-fine details * They allow the creation of Impasto *They eliminate
drip and spread *They control the behavior of the viscous oil *They have no toxic fumes, or objectionable odors,and are 100% safe. They are simple to make, easily and quickly made.
IMPORTANT LINKs
My website is dedicated to teaching, and the sharing of knowledge about oil painting.It gives me great pleasure to share with you
a website that is dedicated to same ideals I have, the sharing of knowledge, and as ONLY the Internet can do for us.

Danny Van Ryswyk, has created a website that deserving special recognition,and I am certain those who visit his two websites will gain
much.  
I think it best to let his two sites speak for themselves and you will see how eloquently they do that.

http://www.flickr.com/photos/nightf3v3r/sets/532828/
and you can visit his artwork at:  www.dannyvanryswyk.com  

AN INVALUABLE REFERENCE BOOK ON THE WEB REGARDING LAVENDER AND SPIKE WAS SHARED WITH ME BY MY FRIEND,
MARSHA PIPER.
COPY THE ENTIRE URL and see Pages  564 - 568  MARSHA'S COMMENTS ON USING CSO IS ON THE TESTIMONIALS PAGE.

http://books.google.com/books?id=u6VAAAAAIAAJ&pg=PA567&lpg=PA567&dq=lavender+spike+oil&source=web&ots=
Ms_C50PmbC&sig=PWqt0P9G2I-LwB1x_rzpMWg2on4&hl=en&sa=X&oi=book_result&resnum=9&ct=result#PPA567,M1

WARNING- NOTICE : USE OF ALLBACK LINSEED OIL
FOR FINE ART OIL PAINTING IS NOT RECOMMENDED
UNTIL THE COMPANY DISCLOSES TO THE PUBLIC,
THE TEMPERATURE THEIR " PURIFIED" OIL  IS HEATED TO

I DO NOT RECOMMEND  SWEDISH ALLBACK LINSEED OIL WHICH IS MAINLY PROCESSED  FOR
PAINTING HOUSES.
THE REASON IS BECAUSE ALLBACK,  REFUSES TO DISCLOSE THE TEMPERATURE THEIR "PURIFIED"
OIL IS HEATED TO.
The ALLBACK website sells 2 types of Linseed Oil:  One is labeled as  BOILED and the other as
PURIFIED.
Academic sources report Linseed oil BOILS at 343 Degrees Centigrade, but begins to DECOMPOSE at
230-236 Degrees Centigrade.

INDUSTRIAL LINSEED OIL, called BOILED, KETTLE, LEADED, WITH or WITHOUT METALLIC DRIERS ARE
MADE BY MANY COUNTRIES WORLDWIDE. THESE INDUSTRIAL OILS SERVE AN IMPORTANT PURPOSE
FOR INDUSTRIAL USES, BUT NOT FOR FINE ART OIL PAINTING. THEY ARE EXCELLENT FOR PAINTING
HOUSES AND PRESERVING WOOD, AND HAVE A LIFE EXPECTANCY OF APPROXIMATELY 50 YEARS.  
AS A HOUSE PAINT OR PRESERVATIVE, IT IS SUPERIOR TO ACRYLIC PAINTS IN MANY WAYS.
HOWEVER, HIGH HEATED AND CHEMICALLY CLEANSED OR BOILED INDUSTRIAL LINSEED OIL IS NOT
ADEQUATE FOR FINE ART PAINTINGS WHICH ARE EXPECTED TO LAST FOR CENTURIES.
SEE tests and photos of Swedish ALLBACK LINSEED OIL , click on the  UNREFINED
FLAX OIL tab /
SEE  DETAILS ON THE TAB: " WASHING LINSEED OIL"

WARNING !.. french chalk!!! ..not the same as " chalk from champagne france !

AS THE PATENT HOLDER OF "CALCITE SUN OIL" MIXTURE, I RECOMMEND  ONLY CALCIUM CARBONATE  that is true..CHALK FROM
CHAMPAGNE FRANCE for making CSO.

The  German based company, KREMER-PIGMENTE  KREMER sells this chalk and has worldwide distribution . Look at their URL for a site
nearest you. http://kremer-pigmente.de/en/Laeden/Distributors-worldwide KREMER'S ID # for this item is # 58000 and is listed as: Chalk from
Champagne, France.  It is Calcium Carbonate.

IN THE PAST, I used to purchase my CHALK FROM CHAMPAGNE FRANCE/ CALCIUM CARBONATE  from SINOPIA, a Fine Art Supply store in
San Francisco, California. As of this writing, December 2008, they no longer carry this item. They do list an item they call FRENCH CHALK.
Several respected Academic sources state that the term, FRENCH CHALK is a common name used to describe TALC, and TALC is hydrated
magnesium silicate with the chemical formula H2Mg3(SiO3)4 or Mg3Si4O10(OH)2.
GO TO   http://en.wikipedia.org/wiki/Talc  to read the hazard FRENCH CHALK/TALC  may present to humans and use it at your own risk.

Sinopia states their FRENCH CHALK is not a TALC, but is a CALCIUM CARBONATE.  I purchased their FRENCH CHALK, and found it to be
inferior for making "CALCITE SUN OIL" as per my patented formula because their FRENCH CHALK lacks the great adhesiveness of the
CHALK FROM CHAMPAGNE FRANCE CALCIUM CARBONATE, and it separates while in storage from the oil. Therefore, I do not recommend
the item named FRENCH CHALK. For other Fine Art Supplies, SINOPIA remains an excellent source and it has always been one of my favorite
art supply stores. I hope SINOPIA will carry Chalk from Champagne France, in the future.
TEN BENEFITS of “ CALCITE SUN OIL”   

DRYING is accelerated without driers -  
ADHESION, without drips and beading
BLENDING is facilitated -
TRANSLUCENCY is increased
BODY of Impasto or Glazes -
COLOR DEPTH and LUSTER is increased
MICRO-FINE LINES and DETAILS are allowed
THIXOTROPIC quality is promoted
SUEDE EFFECT of Tube Oil Paints is eliminated
WRINKLING of impasto is eliminated
" CALCITE SUN OIL" (CSO)

IS A REVOLUTIONARY NEW GRINDING
OIL,BASED ON
ANCIENT KNOWLEDGE
CSO is a Grinding Oil, NOT a paint medium.
Use with Tube oil paints, or to Hand Grind your oil paints.
CSO is a carefully measured gel-like substance
made from two safe and tested ancient
artist's materials; Calcium Carbonate powder,
and, the
SUPERIOR LINSEED/FLAX OIL
of the Old Masters

PROFESSIONAL ACADEMIC TERMINOLOGY IN FINE ART PAINTING
The Art of Painting is noble and deserving of respect. Slang terms have no place in naming the mixtures of ingredients the Master painters used in
painting their Masterpieces. The Old Masters used various Ochres and Umbers.  We call them, ‘Earths” ......  not, Dirt, nor Mud, nor Muck.

The name, ‘Calcite Sun Oil”, honors its archival ingredients. As others experiment with mixtures like CSO, they use slang terms such as, ‘ GUNK‘, ‘GOOP’,
and ‘PUTTY’’.  These slang terms denigrate Painting. GUNK collects in auto radiators, GOOP is sticky like a glue,
and PUTTY is used by plumbers as a water sealant. The word PUTTY has a negative reference in describing the Masters' work.

WINDOW PUTTY, is a mixture of boiled leaded linseed oil mixed with calcium carbonate. It has a life span of under 50 years .
Modern mixtures use silicone. = 'SILLY PUTTY', is sometimes known as SILICONE BOUNCING PUTTY. = 'GOOFY PUTT
Y :Read the entire article and see how to make it. http://www.
worsleyschoolnet/science/files/silly/putty.html =  'GOOP PUTTY:
:See the recipe to make it= http://www.worsleyschool.net/science/files/goop/page.html
'SLIMY PUTTY' View a video on making :  http://www.wonderhowto.com/how-to/video/how-to-make-slimy-silly-putty-with-glue-and-borax-130536

In 2004, I sent Tad Spurgeon a copy of my 2004 published book describing my development of ‘ Calcite Sun Oil’, the two Emulsions, and the new methods
I developed in cleansing the Unrefined Cold Pressed Flax oil as I identified the Superior oil of the Old Masters. I did this because his website showed he
knew nothing about these Revolutionary new developments I was working on, and I saw he was still using Solvents, Resins and Varnishes.  In 2004 I also
sent copies of my book to others I thought needed some guidance.
Three years later—in 2007 – Tad began his experiments into the knowledge published in my 2004 book. I believe my book has inspired many artists to
learn this revolutionary new yet ancient information. The formulas and application methods described in my book, website and now DVD’S  make it
possible for all oil painters today to, "Achieve the Old Masters' Paint Quality" with SAFETY and PERMANENCE"
MY BIOGRAPHY AND ARTWORKS
LINKS AND IMPORTANT ISSUES REGARDING OIL PAINTING   SCROLL DOWN FOR MORE
1. HOME PAGE. An introduction to CALCITE SUN OIL
2. BOOK CONTENTS =TO LOOK INSIDE THE NEW BOOK, GO TO AMAZON.COM..click on LOOK INSIDE
3. PAINTINGS  My paintings FOR SALE.     'TRIANGULARISM" and  El Greco.  Frederic Taubes, an American Master.   
The beauty of an Emulsion, see photo
4. UNREFINED FLAX OIL Additional information on cleansing the unrefined flax oil WARNING: Swedish Allback Linseed oil
5. WASHING LINSEED OIL  Cleansing the unrefined Flax oil of mucilage.  Photos of mucilage how it browns and darkens oil paint.
6. The VAN EYCK SECRET Rembrandt did NOT use Burnt Plate Oil. RUBENS' Thixotropic Method of Oil Painting ESPESO= The NEW oil out medium
7. AGUADO : Louis paints with CSO/AGUADO..AGUADO is ideal for large sized paintings. Fast, Efficient, Powerful.
8. CSO EGG TEMPERA and CSO CASEIN TEMPERA FAST DRYING archival mediums for under painting of oil painting.
9. HAZARDOUS ITEMS Common HAZARDOUS ingredients. Which colors are safe? CSO INSTRUCCION EN CASTELLANO
10. TESTIMONIALS Professional artists speak about CSO.
11. BLOG & FAQ'S DIEGO VELAZQUEZ' working method , askmaurice.org - paints with CSO/EMULSIONS, CSO-FIXATIVE a safe method of FIXING
a charcoal drawing without aerosol sprays
12. STUDY WITH LOUIS:ON HOLD please bare with me
DEGRADED LINSEED OIL
CARELESSNESS AND IGNORANCE AND MORE

Many websites and books on oil painting promote use of DEGRADED
Linseed oil.

THEY IGNORE THE SAFE HEATING TEMPERATURE OF THE OIL.

The oil begins DECOMPOSING at 230 degrees Centigrade [Celsius].

Modern Stand Linseed oil is cooked to 288 degrees Centigrade

Burnt Plate Oil is the most decomposed of all , reaching above 400 C.

Many websites "experiment" with time proven FAILED methods of
processing the oil and continue repeating the failures.
They ignore the basic fundamental rule: DO NOT OVER HEAT THE OIL.

Their mixtures to create 'painting mediums', oil varnishes, and other  
experiments include a dash of this, a bit of that, some of that, shake and
bake ..and hope for the best.

WILLIAM HARRIS III ;
Is one of those very talented
contemporary artists using the
methods and materials of the great
Old Masters. See his fine paintings at
his website.  
http://www.williamharrisart.com/
You will be amazed at his
expressive use of all those
elements that create great
artwork. He has given me
permission to use a recent
portrait painting.  This
painting makes you think of
the meaning as you see the
words worked into the design.
JORDI IGLESIAS MONFORTE
lives in Reus , Spain. His use of CSO and the making of his own  
superior oil of the Old Masters, caused him to name it:  ' EL ACEITE
BENDITO"" this translates as: The Blessed Oil".
Mr. Iglesias-Monforte studied at the Universidad de Bellas Artes, in
Barcelona, near the fine museums and the center of the Modernist work
of GAUDI in architecture. He has a broad knowledge of European Art
from its early Gothic to the present. He has a special interest in Color
and Value with all their nuances of relationships.
The painting to your left is an example of his fine portraiture work
remminicent of Velazquez,Titian, and other great Baroque painters.

There we now have, The BLESSED OIL, in the VATICAN, and as other
fine talented creative painters spread the word --I predict that one DAY..
I may not be here to see it -but ONE day,
the CSO METHOD will be taught at every university,
college and art school, oil painting class across the globe,
TANIA DIBBS is a Nationally recognized painter.
If you LOVE the great painters TURNER and
MONET...you will LOVE the great emotional
expression of her paintings of nature. SEE her
wonderful paintings at her website ..
www.taniadibbs.com.
TANIA wrote me this kind letter recently about CSO:
-------  "Louis
I have had a wonderful time watching your video.
Your CSO has changed my artistic life! I am really
enjoying it and thankful that you have put so much
time into this exploration. Thank you again for all you
have done. You have no idea how inspiring this has
all been.
-Tania " -   www.taniadibbs.com

YOUTUBE has a fabulously inspiring video on Tania.  
It takes you into her studio- watch her paint- hear her
speak about choices, motivation, passion for art. It is
a great video !
CLICK  
 HERE
http://www.youtube.com/watch?v=EOwIkE6kxMY
MY WEBSITE page " TESTIMONIALS" ...has some letters I have received from artists across the USA and the world.
RIC HATCHER resides in Perth
Australia. After Ric bought my book, we
became fast friends via the internet.
Later, with his wife Veronica and son
Dylan, they toured the USA and
stopped to spend 3 days with me and
my family. Besides painting, Ric and I
found out we both loved the music of
BOB DYLAN and that we both have
extensive collections of Dylan's music.
Ric's very fine work can be seen on his
website:
His very sensitive and mystical portrait
of his son  Dylan is titled, " DYLAN IN
THE MOONLIGHT". Ric's love of the Old
Masters, especially that of Velazquez,
shows lessons he has learned and this
portrait brings to mind the extraordinary
work of Velazquez.. SEE Ric's website
...  http://www.rics-art.com/main/
ANOTHER SUCCESS 'CSO' STORY

Mr. Purcell Spence resides in La Guitardiere
S.W., France. He does not  have a website as
yet. Here you can see his ' Free Interpretation' of
a painting by Henri Regnault,
a tremendous talent who died at age 28.
The world has lost a great artist.  
Mr Spence recently wrote me a letter  about CSO:
" Louis, Your method is brilliant, I'm finding that
adding chalk to the tube paint and CSO mix gives
a really thick creamy paint, I use it a lot. Thanks
for your research and book."
I am always overjoyed when I read letters like Mr.
Spence's. It makes all the endless testing,
experiments, research and work worthwhile.
One day soon I WILL get back to my own painting.

A resident of PUERTO RICO, Rene Benvenutti has been a
student of the Old Masters since youth. Trained Classically,
he has studied the materials and methods of the great
painters. Now, with his discovery of CSO ... he calls it.." una
MARAVILLA!" Rene's need for a Spanish Translation of the
CSO information, inspired me to post a FREE course in
Spanish giving ALL the basic information, since neither my
books or DVDs are in Spanish. Here is the wonderful letter I
received from Rene: ( translation follows the original
Spanish)
" Louis, Te tengo que decir que CSO es sencillamente
maravilloso. El crecimiento tecnico en lo que se refiere al
conocimiento de estos materiales simplemtente mirando tus dvd a
sido abismal. Este aceite ciertamente es el santo grial de la pintura al
oleo, es una maravilla. Independientemente de que a sido espesado
al sol, la capacidad de mantener la pincelada es absoluta, el secado
impresionante y el brillo y terminado simplemente majistral. Tengo
que decirte que este aceite es una maravilla de la naturaleza. El
chalk de champagne es inigualable no altera el croma
significativamente, incluso con adiciones sustanciales del mismo a
los pigmentos. La formula para la tempera es genial. No sabes
cuanto me esta ayudando en el proceso tecnico. Es una maravilla.
Me permite pintar con unos tiempos de secado casi istantaneos.
Puedo superponer pinceladas sobre pinceladas sin que se destruyan
las capas inferiores y sirve de base para la pintura final en aceite de
forma increible."
-Rene Benvenutti

ENGLISH TRANSLATION:
LouisI have to tell you CSO is simply
marvelous. The technical growth of in which is referred
understanding the materials just by watching the DVDS is profound.
This oil is certainly the holy grail of oil painting, it is a marvel.
Independent of its sun thickening, its ability to maintain brushworkis
absolute, the drying is very impressive, and its shine and finish are
magestic. I have to tell you that this oil is a marvel of nature. The chalk
is unequaled, as it does not significantly alter the chroma, even with
substantial additions to the pigments. The formula for the Temera is
genius. You have no idea how much it is helping me with the
technical procedures. It is a marvel. It allows me to paint with almost
instant drying times. I can overlay paint on top of paint without
disrupting the lower layers and it serves as the base for oil painting in
an incredible manner."
Rene's SELF PORTRAIT IN CSO is to the right,
See more of his very fine work at:
http://picasaweb.google.com/rbenvenutti/Pinturas?authkey=Gv1sRgCMTx0a27s9iZ8QE&feat=directlink#5511647092992794034
EOIN LLEWELLYN, a young Irish Lad
living in Germany, also a great admirer of
Velazquez, and like Ric Hatcher, he has
learned many lessons from the Great
Velazquez. . Eoin's work is extraordinary
in every sense of that word. View his
website to see his wonderful artworks in
many media. This painting is Titled Death
in Monte Carlo, and was painted with the
CSO method. Eoin has exhibited in many
countries and his work is in important
collections.
Please visit his site. You are in for a great
surprise.  Eoin is an extraordinary talent,
and I predict he will become an important
Artist on an International level.

http://www.llewellyn.ie/

CLICK   
HERE
to see a fantastic video of Eoin being
Interviewed by an IMPORTANT GERMAN  
critic.  It is 30 minutes - well worth the view
- and in English

My meeting of the famous Rembrandt Expert,  Prof. Dr. ERNST VAN DE WETERING,
DEPARTMENT HEAD OF THE REMBRANDT RESEARCH PROJECT is related above
JEAN FREDERIC COVIAUX is an extraordinary painter. His stunning
painting is below. Oil on copper 20x19 cm (7,87 x 7,48 inches) 2010

Dear Louis,
I have just finished  new  portraits with the CSO method.
It is very great. Thank you! Now I couldn't paint with anything else.
Thank you, Jean-Frédéric Coviaux, France
Louis' comment: Jean paints in a realistic manner that grabs your
attention and holds you spellbound as you see things we often ignore. His
realism is poetic, sobering, and will cause you to rethink what realism in
painting is. I predict his work will be much valued in years to come.
Look him up on Google to see more of his work in Europe.
STEWARD WAN from HONG KONG  has a Masters
Degree in Sculpture but also uses CSO. This informative
photo of him in his studio shows the high quality of his art.
He will soon emigrate to San Francisco California. I hope
to meet him in person one day.
When he has his new website, I will post it.
EMAIL : CONTACT
velapress@aol.com
I respond to ALL letter
s
RENE'S painting using the PINE
TREE TAR RESIN as described
on my site.
TITLE: Infame Sortilegio Oil on
Canvas , 36"X36"
A portrait of the painter , Dafne
Elvira. [ UPPER RIGHT] RENE'S
classical traing and love of the Old
Masters and use of PTTR and
CSO. are combined with his
personal intuitive DESIGn and
COLOr to create a magical piece
of art.I will paste a larger image of
this painting on the page THE
VAN EYCK SECRET , where the
RUBENS study is  available to
view.
Francis O'NEILL , a fine young
artist from Oxford England is an
Art Instructor and an
exceptionally creative artist that
recognizes the importance of
CSO. His website shows his
fine paintings, books and
videos.
See: www.francisoneill.net/artist/

Francis has great appreciation
for the technical procedures of
the Great Masters, and uses
them to express his views of
our modern world. I predict
Francis will achieve important
recognition in future years.
His portrait of Dorothy is
dramatically designed.

Mr. Ruben Franco is a true gentleman, a scholar and a Fine painter dedicated to
the Methods and Materials of the Old Masters. He has said, " ...it makes me happy
to see the extraordinary results in my work due to your formula of CSO."
His large colorful paintings adorn many public buildings and private homes here in
the USA and Mexico.
A resident of Guadalajara Mexico, he is currently working on a commission of 40
large paintings as you see here.

His website ... www.rubenfrancoart.com
shows his Fine paintings and there you can click on the Youtube video where you
can see him painting , applying the colorful touches on the Grisaille as many great
Masters have done before.

It is an honor to have met Mr. Franco through the website here on the wonderful
method of CSO.
I am happy to have met him in person and value his friendship

WATCH RUBEN PAINT
Observe how he underpaints his glowing color with Old Masters' GRAY GRISAILLE
He speaks in Spanish but there are SUB-TITLES in English
CLICK ON THIS 6 MINUTE YOUTUBE VIDEO
CLICK --
HERE

DVD- "THE NEW MILK OIL PAINT AND THE VAN EYCK SECRET MEDIUM"
THIS IS THE ADVANCED VERSION
-R DISC, NTSC, COLOR, ENGLISH, 90 MINUTES,  
For advanced painters interested in the new " MILK OIL PAINT" ,medium, and the details of the Secret Medium of the
VAN EYCKS.
DVD CONTENTS:
1. Milk Oil Paint  2. CSO-CASEIN TEMPERA PAINT  3. UNDERPAINTING WITH CASEIN TEMPERA  4. VAN EYCK
SECRET MEDIUM  5. DETAILED TECHNICAL INFORMATION  6. ADDITIONAL TECHNICAL INFORMATION
DVD- OIL PAINTING RUBENS ,
-R DISC, ENGLISH, NTSC, 85 MINUTES  
WARNING:  My site, Books and DVDS focus on SAFETY FOR ARTISTS.
However, Rubens' paintings are  so important that I felt obligated to study his methods and materials in depth.
THIE RUBENS DVD CONTAINS USE OF HAZARDOUS MATERIALS and demonstrates RUBENS' use of
HAZARDOUS MATERIALS.
THIS DVD is not for children nor amateurs. It is STRICTLY an academic research project to preserve RUBENS'
knowledge for advanced artists who are interested in better understanding his methods and materials. The DVD
has live demonstration on FOUR recipes , using PINE TREE TAR RESIN - , two are NON HAZARDOUS and TWO
ARE HAZARDOUS. In addition, instruction on the CASEIN TEMPERA medium of painting is included.-  
  
EMULSIONS:
The Emulsions have VERY important uses and functions. Note that the emulsion 'oil out ' is applied ONLY with the  bare hand. My book will guide you on the CORRECT
application method and the correct ratio mixtures.  The Emulsion MUST be applied correctly, IF it is NOT applied correctly, the Emulsion "oil out" will fail.
The book explains how to easily make and use the two Emulsions. Each emulsion has a purpose.  The Emulsion is truly a WONDER MEDIUM.
It is safe, easy to make in 5 minutes.
( note: the superior oil will dry within 30 hours without use of any driers, solvents, resins or varnishes)  

Many artists are concerned with FAST DRYING. Titian and the old masters solved this problem by working on several paintings at once.
On day one you can start a painting and work all day on it.
On day two you start another painting and work all day on it.
On day three you start the third painting and work all day on it.
On day four, you work on the first painting, and so on.
The superior oil I describe dries within 30 hours if thin paint is used.
So, if you use paint with more impasto, the extra day of drying allows it to set  and be ready for a next layer.

WARNING - WARNING - ON THE OIL YOU USE
The Old Masters did not have to deal with a very important evil --
additives of ANTIOXIDANTS -to their oil by well meaning manufacturers.
THIS FROM WIKIPEDIA:
http://en.wikipedia.org/wiki/Antioxidants
An antioxidant is a molecule capable of slowing or preventing the oxidation of other molecules.
Oxidation is a chemical reaction that transfers electrons from a substance to an oxidizing agent.
Antioxidants terminate these chain reactions by removing free radical intermediates, and inhibit other oxidation reactions by being oxidized themselves. As a result, antioxidants are often reducing agents
such as thiols, ascorbic acid or polyphenols
TOCOPHEROLS , or, VITAMIN E
are frequently and commonly added to the UNREFINED, COLD PRESSED FLAX OIL....to keep it from ' SPOILING", or becoming ' RANCID". Meaning...to keep its taste SWEET ...  not ACIDIC.
IF YOU WILL EAT THE OIL AS A HEALTH BENEFIT..
the added TOCOPHEROLS, VITAMIN E and other 'HEALTH" additives are just fine.
BUT PAINTERS DO NOT WANT those additives. THEY WILL SLOW DOWN THE DRYING [ OXIDATION}
of the oil..from one day to up to 5 days.
SO.  BE CAREFUL--- READ THE VERY FINE PRINT.
The FRONT label will say all the right things... UNREFINED, COLD PRESSED, RAW, REFRIGERATED, NO HEXANE,
FILTERED TO REMOVE BACTERIA, ETC....but the back side label in very fine print may say..  
"TOCOPHEROLS ADDED TO IMPROVE FLAVOR AND EXTEND SHELF LIFE".
ANTIOXIDANTS ARE DESIGNED TO STOP THE FLAX OIL FROM ABSORBING OXYGEN. FLAX OIL CAN ONLY DRY , meaning, OXIDIZE, .. by INTAKING OXYGEN.
Artists frequently write to me about which brand to buy. I recommend BARLEANS. I HAVE USED BARLEANS FOR YEARS WITHOUT ANY DRYING/OXIDATION PROBLEMS. THen one year I  tried the
brand 'EFA'...and missed reading the very fine print. IT LED TO A DISASTER.
BE CAREFUL !!!!!!!!!!!!!!!!!!!!!!!!!!!!
.
MY WEBSITE HAS THREE PRIMARY OBJECTIVES:
1. SAFETY FOR THE HEALTH OF THE OIL PAINTER
2. PERMANENCE OF THE OIL PAINTING
3.TEACHING OIL PAINTERS AND TEMPERA PAINTERS TO UNDERSTAND THEIR CRAFT
Since 2000 I have achieved these objectives by discovering mixtures and procedures in the development of a safe method of oil painting, and now, egg tempera painting,  allowing elimination of hazardous
materials. The CSO METHOD and the rebirth of the SUPERIOR oil of the Old Masters is far superior to the currently taught  resin-solvent-varnish-drier method. I am happy to have the free time to have
corresponded one-on-one with artists all over the globe.
HISTORY OF THE ‘CALCITE SUN OIL/EMULSIONS'  METHOD OF OIL PAINTING [CSO].
2000: After 40 years of oil painting with Solvents, resins, varnishes, driers and alkali refined linseed oil I began this work which resulted in the creation of the Calcite Sun Oil / Emulsions method of oil painting [
abbreviated as CSO]. Over the next few years I made additional discoveries and developments which I have shared with artists across the globe.

2000: My identification of the superior UNREFINED FLAX OIL used by the Old Masters. This very important development is named ‘ The Rebirth of the Old Masters’ Superior Oil’.This extraordinary oil is the
foundation of the ‘Calcite Sun Oil’ method of Oil Painting and without it, the CSO method could not exist.
2000-2009 : Sustained research with creation of several new cleansing methods of cleansing the UNREFINED FLAX OIL, with my identification of Psyllium Husk as an important ingredient for mucilage
removal.
2000: Creation of ‘ Calcite Sun Oil’, a modern grinding oil, based on published reports of scientific examination of microscopic sized paint samples of Rembrandt's and Velazquez' paintings by important
scholars - with my creation of three additional mixture variations.
2000: Creation of two Emulsions used in conjunction with CSO; the ‘Viscous emulsion’ , and the ‘ Non viscous emulsion’. Including my discovery of the crucial application method of the two emulsions
and their uses in oil painting, which I believe to be part of the lost Van Eyck method. The two emulsions used with CSO allows the artist of today to achieve the paint quality and permanence of the Old
Masters with complete control and safety.
2004 : Published and sold across the globe, the first edition of my book containing the CSO/EMULSIONS method of oil painting. The first book to be published with ratio mixtures of calcium carbonate
powder and oil as an oil painting method.
2004: Applied for a provisional patent with the US Patent Office for CSO, with approval in 2006.
2005: Establishment of the CALCITE SUN OIL website.
2008: Published the current revised edition of my book, sold globally though online bookstores.
2009: Developed the ‘CSO-FIXATIVE’ method of fixing a charcoal drawing without aerosol sprays
2009: Developed the ‘ CSO/AGUADO’ method , the first expansion of the original CSO/EMULSIONS method of oil painting, allowing artists to work on large sized paintings with speed and efficiency.These
advancements are described in my book and on this website.
2009: Developed the "CSO-EGG TEMPERA" medium. A fast drying medium for under painting of oil paints.
2010 : Developed CSO-EGG GESSO" . A cold gesso using basic archival ancient artists materials = wood, egg, chalk
2010: Published the book: CSO-EGG TEMPERA, and the two DVD's OIL PAINTING WITH CALCITE SUN OIL, and, CSO-EGG TEMPERA PAINTING
2010: Developed CSO-CASEIN TEMPERA . A NEW look at an ancient medium
2010: Posted my research on RUBENS' THIXOTROPIC METHOD and his use of CHALK, EMULSIONS, and PINE TREE TAR
2010: Development of a thixotropic new OIL OUT medium, named 'ESPESO'
2011: CREATION of a NEW MILK OIL PAINT for Art School Classes . New mixtures and new application procedures.  SEE THE DVD: Oil Painting with MILK
Safety for New Painters and School Art Classes  ALSO THE NEW 2011  DVD: THE NEW MILK OIL PAINT AND THE VAN EYCK SECRET MEDIUM
2012- Publication of the book " OIL PAINTING LESSONS WITH REMBRANDT AND CALCITE SUN OIL"", a collection of all my studies,
2013: Published the BEGINNERS BOOK : Velasquez' Safe Oil Painting' for Beginners and Art Teachers"
I have summarized my accomplishments because there are two persons on the web who in late 2006 began to experiment with mixtures of calcium carbonate and oil.
One of these has embarrassed HIMSELF by name calling and insinuating I am lying regarding my warnings of NOT TO USE ALLBACK swedish linseed oil for fine art painting. The behavior of this one person
is unfortunate .... and exposes him as being very jealous of my accomplishments. True academics do not engage in name calling ... but engage in civil dialogue to question decisions by others. I will continue to
work with truth and integrity for the safety of the artists and permanence of the artworks and I am always willing to assist artists and to explain my postings by responding to email inquiries. My studies of Allback
Linseed oil posted on my site explain why I warn fine artists of using this oil. My discoveries and contributions to oil painting are supported by dated publications, dated applications and approval of a US patent,
several registered US letters, and testimonials from artists across the globe. ======
You may contact me at Email: VELAPRESS@AOL.COM
DVD- " TEMPERA PAINTING WITH CSO-EGG TEMPERA
THE FIRST IMPROVEMENT IN EGG TEMPERA IN 600 YEARS
CENNINO CENNINI WROTE HIS BOOK IN THE EARLY 1400'S . NOW ARTISTS CAN PAINT WITH FULL IMPASTO IN
A MORE DIRECT MANNER WHILE ALSO PAINTING THINLY AS IN THE RENNAISSANCE METHOD  ---   -R DISC,
NTSC, COLOR, ENGLISH, 56 MINUTES
PLEASE SEE : WWW.ASKMAURICE.COM  for a full length discussion about using CSO-EGG TEMPERA PAINT
SAFE OIL PAINTING WITHOUT HAZARDOUS SOLVENTS
RESINS VARNISHES AND DRIERS
'CALCITE SUN OIL PAINT'
also-- Casein Tempera - Egg Tempera - and the new Milk Oil Paint
CALCITE SUN OIL
FIRST ERNST VAN DE WETERING ... NOW FREDERIC TAUBES , the GREAT AMERICAN PAINTER and ART EDUCATOR
Dear readers, Many know my book is dedicated to the great American Artist, Mr. Frederic Taubes [ 1900-1981]. In 1957, at age 13 I began to study his books
on Oil Painting and other paint media, with information on Aesthetics and much more. Mr. Taubes instilled a great respect for the Great Old Masters, as he too
was their student. My book and DVDS are a testament to the highest regard I have for Mr. Taubes as an Artist and as a Teacher. Were it not for the influence
and wisdom I received from Mr. Taubes in my formative years, this book of mine, would not exist, and I proudly say,  HE IS MY TEACHER.
Recently, I received this touching letter From Mr. Timothy Taubes, who is Mr. Frederic Taubes’ grandson.
Please visit the website dedicated to the art and life of Mr. Frederic Taubes at:  www.frederictaubes.com   , and drop a note to  Mr. Timothy Taubes.

Louis! What an amazing book!
I cannot think of any other book that deals with the subject of painting mediums in such a comprehensive manner. And the dedication to Frederic Taubes is
truly heartfelt. Your book is an important link in a tradition more than half a millenium in the making. In your dedication you say, "I wish I could visit with him
today." BUT YOU DO!!! You commune with him on a daily basis. Last August I took my kids to Italy. In Venice, we went to the scuola San Rocco to see the
magnificent Tintorettos. We gaped in awe and read from Frederic's book, The Illustrated Guide to the Great Art in Europe, AND HE WAS THERE WITH US!
If there is a rebirth after death, it is because the living are the vessel from which values are passed from generation to generation.
All the best, Tim Taubes
WATCH LOUIS
PAINT  THE LION
PAINTING LIVE ON
YOUTUBE : click
 
HERE
PETER LANKAS is a talented Fine
Artist and valued Art teacher in
Australia.
CLICK below to see the exciting
new VIDEO where Peter is in his
studio- note that the video begins
with him mixing up a batch of CSO.
The video is excellent and portrays
a dedicated hard working artist. To
the right one sees  a painting with
the initial GRISAILLE black and
white  design as used by many Old
Masters. The other photo shows
how Peter applied color in the
ALLA PRIMA / DIRECT method.

The photos and the video give us
an excellent lesson in the Fine Art
of Painting
-
CLICK   
 HERE
to view the short video
DVD: "OIL PAINTING WITH MILK: Safety for new painters and School Art Classes"   
THIS DVD IS USED WITH THE NEW BOOK FOR BEGINNERS AND ART TEACHERS
THIS VIDEO IS NOW VIEWABLE FOR FREE ON YOUTUBE : CLICK HERE
THIN WASHES DRY IN 5 MINUTES. IMPASTO DRIES IN 1 HOUR.
THE TERM.... "OIL OUT" .. is abbreviated for... " OIL rubbed in and oil wiped OUT" :
This term defines a VERY important oil painting procedure by guiding artists in a specific GOAL ORIENTED AND INSTRUCTIVE procedure.
The term ' OIL OUT"  tells the artist that for the EMULSION OIL OUT to be effective, the Emulsion must BE APPLIED CORRECTLY-- OR--IT FAILS.  SEE THE DVD to see
exactly how to correctly apply the OIL OUT to create the IDEAL condition for the subsequent oil paint application to achieve the Old Masters paint effects..

SOME misguided English speaking artists use the English word COUCH. In English, a COUCH is a SOFA.  FRENCH artists call the OIL OUT a  'COUCHE' ( phonetically
pronounced, koo-shay). This translates as ' A THIN FILM OF OIL OR PAINT". Other equally misguided English speaking artists use the word CUSHION. A CUSHION is a
PILLOW.  NEITHER 'couch' nor, ' cushion' are INSTRUCTIVE NOR GOAL ORIENTED.  This leads to a common problem  AN INAPPROPRIATELY APPLIED " OIL OUT" will
FAIL to achieve the desired effect.  The Emulsion OIL OUT must be applied with the bare hand only- NEVER WITH A BRUSH- then rubbed, then wiped. Read my book
to understand why JACQUES MAROGER'S emulsion formula FAILED !
The finely designed portrait is by Fine Artist
EWAN McCLURE,
see more of his fine work at his website:
ewanmcclure.wordpress.com CLICK
HERE
NOTICE the DESIGN of the painting, where
he contrasts GEOMETRIC shapes like the
horizontal windows and the wonderfully
arranged papers and books on the
DIAGONAL table with the ORGANIC free
flowing shapes of the person and the robe.
The dark chair behind the portrait torso
provides a 3D effect and a sense of deep
space.
HERE IS WHAT EWAN SAYS ABOUT CSO:
"A portrait of Dr Ruth Page, painted from life
using CSO. I loved the wonderful handling
properties, with the emulsion oil-out between
sessions keeping the colors saturated and
the paint flowing."
HOW TO APPLY AN "OIL OUT" IS DESCRIBED IN DETAIL IN MY BOOK-
-AND DEMONSTRATED IN MY DVDS
HERE IS MY NEWEST PAINTING.. THE " OIL OUT" IS IMPORTANT TO ITS SUCCESS
TITLE: MARIPPOSAS HERMOSAS [ BEAUTIFUL
BUTTERFLIES ]
SIZE: 30" X 24" ON  1/2 " PLYWOOD  
TRUE GESSO APPLICATION [ CHALK AND HIDE GLUE ]

PREPARATION: The board was given two coats of  HIDE GLUE, then after
they dried, it was given two coats TRUE GESSO. After the gesso dried , it was
sealed with two coats of non fat milk.

FIRST PHOTO: DRAWING: Vine charcoal was used to draw the image. It was
FIXED [ sealed ] with non fat milk to stop smudging of charcoal.

SECOND PHOTO= UNDER DRAWING: I used a cotton ball dipped in MILK OIL
PAINT to apply and smear the darker value of black - a brush dipped in the
thin MILK OIL PAINT was used to draw/ paint, outlines and lettering.

THIRD PHOTO= TEXTURE IN THE UNDER PAINTING: Using the methods
described in my DVD  on MILK OIL PAINT, I created a thick impasto MILK OIL
PAINT.  I applied it with a palette knife- very sloppy and rough on purpose.
MILK OIL PAINT impasto dries in ONE HOUR- thin washes dry in 5 minutes.

FOURTH PHOTO: OIL SEALANT = Once the MILK OIL PAINT is dry -
in one hour- SUPERIOR SUN THICKENED FLAX OIL was impregnated into the
MILK OIL PAINT. I rubbed it in well. After an hour, I removed all excess oil. A
palette knife is a good tool for removing excess oil. I then rubbed in some
burnt sienna tube oil paint by hand as the IMPRIMATURA.
It was allowed to dry overnight- the SUPERIOR SUN THICKENED FLAX OIL  
and how to process your own is described in my book and DVDS.
NOTE: Had I chosen to, I could have applied a MILK OIL PAINT thin wash of
color as the Imprimatura. It would have dried in 5 minutes, then After the
IMPREGNATION of the Sun Oil, I could have IMMEDIATELY begun the FULL
COLOR OVER PAINT step. This would allow me to complete the multi-layered
painting in one 6 hour period.

REMAINING PHOTOS = OIL OUT AND FULL COLOR- ALLA PRIMA
The OIL OUT is important and must be applied correctly-
HOW TO MAKE the VISCOUS EMULSION is described in my book and
demonstrated in my DVD ' OIL PAINTING WITH CALCITE SUN OIL. IT takes 5
Minutes to make. The Tube oil paints were ground with CSO [ CALCITE SUN
OIL] - it takes 3 minutes to mix the CSO  from the superior sun oil and calcium
carbonate chalk.

NEXT PHOTO; FULL COLOR ALLA PRIMA:  Detailed photo.
The CSO oil paint on the VISCOUS EMULSION .."OIL OUT" gives painters
100% control of the paint--IMPASTO-GLAZES- MICRO FINE LINES and
DETAILS - SCUMBLES - All are equally possible and have the same
appearance of REMBRANDT'S and RUBENS' paint surface. Science proves
they used these very same materials in CSO and OIL OUT.

MY PAINTING STYLE IS NOT--photo realism. I am a REALIST
EXPRESSIONIST. I do not copy photos, nor even try to achieve photo realist
imagery. I rarely blend. I prefer the paint appearance of LATE Rembrandt, El
Greco, Hals and others who paint realism with impressionist touches ALLA
PRIMA
TIME THIS PAINTING TOOK:
DRAWING- 1 hour
UNDERPAINTING - 2 hours
OVERPAINT IN COLOR- 3 HOURS

TOTAL TIME== 6 hours.
My next step is to LIVE with the painting. I watch TV, read, eat and give the
painting glances. I am a strict critic of my work. When I decide on portions that I
do not like --I CHANGE the painting. I may do this many times over the next few
weeks. At some point I STOP and I give the finished painting an ULTRA THIN
film of the VISCOUS EMULSION. This film is the FINAL "VARNISH" LAYER-

- I do NOT use any synthetic or natural RESIN VARNISHES. They become
yellow, brittle, and eventually must be replaced.
A NOTE TO ARTISTS
Sometimes I will need to remove examples of paintings as I
need to give others a chance to be viewed. I do not do this for
other reasons. I wish I had a separate web page just for the
great artists I have met over the years from around the globe,
that are now painting safely without hazardous materials.

I will say I have met mostly 99% fine people, but I have met that
1% of artists who have learned much from my books, DVDS
and website-yet on their own website- refuse to share this
important knowledge with others. Some have blatantly told me
they wish they could keep the knowledge to themselves...to
eliminate the ' competition'.

I MYSELF do not agree with that mind set. I use the royalties
from my sales of books and DVDS to pay expenses as I share
FREE copies of my new DVD on MILK OIL PAINT.  
Thank you- Louis
NEW METHOD: AIR PUMP OIL
BLEACH and THICKEN THE OIL IN 10 to 15  DAYS
 
SCROLL DOWN--to see how to thicken the oil using an
aquarium air pump

IMPORTANT:
IF YOUR OIL WILL NOT THICKEN AFTER TEN DAYS
OF AIR PUMP EXPOSURE-YOUR OIL HAS ANTIOXIDANTS!!  
ANTIOXIDANTS STOP OIL FROM THICKENING AND DRYING.
Read the label. Antioxidants are Vitamins E and C and Tocopherols,
Polypherols, Rosemary etc. Dont buy PET oils
The photo below shows 4 samples- one at 5 days, 10, 15 and 18 days.  
My set up has the pump, 6 feet of tubing, a clear glass jar. The LID has 3
holes. One for the air tube and 2 holes to allow air circulation.  I made
CSO with each oil sample and mixed the CSO with tube oil paints., to
make CSO-OIL PAINT.

The tube oil paint mixed with chalk and the 10 to 18 day oil dried within 5
to 14 hours [ thin paint- 4 different colors]. There was no evidence of
wrinkling. I stopped the testing at 18 days because the oil began to
FROTH UP in the jar.

NOTE: Paint made by use of dry powders dries under 5 hours- but
impasto wrinkles due to the super fast surface drying- to prevent
wrinkling of impasto- mix some 'glair-oil emulsion' into the paint as
REMBRANDT did.

IMPORTANT UPDATE:
An artist in Florida wrote to say they had very humid and muggy
weather-and his oil would not DRY FAST. Then I in San Diego was
processing the AIR PUMP OIL. My oil was transparent and beautiful. IT
BEGAN TO RAIN!--My oil was outside and it became cloudy . This is a
sign of moisture in the oil. My jar was under a roof--but the DAMP AIR
was being pumped through the oil.  I THEN REPEATED the psyllium
Alcohol cleanse to remove the moisture- the oil became clear again- but
the lack of WARM AIR AND SUNLIGHT is not helping the oil to polymerize.
SO-we must do the AIR PUMP procedure in WARM DRY AIR AND
WEATHER!
SAMPSON AND THE LION
OIL ON  CANVAS
48" X 36"
Originally "FINISHED" in
October 2011--It underwent
three revisions of the back
ground and foreground colors
-The LION and the person
were not touched. They
remained original as initially
finished.

FINISHING a painting is the
most difficult part of making a
painting. I usually place
the ' finished' painting on a wall
so I can look at it  and live with
it. This allows me to see the
corrections and improvements I
would like to make. This also
allows me to note disturbing
areas that must be changed.

Now, July 30th 2012 , 8 months
after it was originally 'finished'
I am satisfied with this painting.

It will be listed on my website
page PAINTINGS for sale.
COMPARE THE
PAINTING TO YOUR
LEFT-- WITH THE ONE
TO YOUR RIGHT

TO YOUR LEFT is the
finished painting 4
weeks ago.
TO YOUR RIGHT
Today 8/3/12 - is the
completed painting with
a few changes= the sky
now has a moon-like
image and there is a
second butterfly at the
base of the cactus.

This new photo was
taken as the sunlight
shone in from the
window, highlighting the
second butterfly.
CHRISTINE AERFELDT..see:   www.aerfeldt.com
Chris lives in France and wrote to tell me of her use of CSO/Emulsions. She cited
the value of the solvent free method to protect her health. SEE HER ABSOLUTELY
BEAUTIFUL PAINTINGS on her website. I promise you will return again and again to
study them.
MORE FINE ARTISTS USING 'CSO/EMULSIONS'
I am running out of room, so, I may not be showing more images.
9/5/2012= FINALLY...I think this painting is finished. You can see the moon-like blue sphere..in a
setting reddish sky... with pale moon light on the cactus.... the previous photo of the sunlight
striking the lower butterfly, inspired me to paint that as part of the finished painting. It was a
magical sunlight..mush as what Rembrandt used in many of his paintings.

These photos demonstrate how difficult finishing a painting can be.
The Masters were known to repeatedly over paint parts of their older paintings.
Rembrandt over painted one of his painting that was ten years old.

Rubens completely over painted and enlarged the canvas of his huge painting of the Magi visiting
the Christ child 20 years after it was originally finished.
9/5/2012= ALMOST one year
after " finishing" the Lion
painting, I repainted the
background again.

I find a conflict as to how
MODERN to make the image.
On the one hand I aim for Van
Gogh's freedom, yet after I've
aimed at it, I am not fully
satisfied.

I repainted the right half of the
background black. I believe it
allows the Lion to assume
more importance.

________________________

9/14/2012
OK..I wasnot ever satisfied
with the Lion's mouth-
so--today--I repainted that
mouth. --Now--I think I am
finished??
VIEW THE YOUTUBE VIDEO TO SEE MORE ABOUT THE METHOD OF
THICKENING THE OIL WITH THE AIR PUMP--CLICK
 HERE  
PLEASE SEE THIS VIDEO ON HOW
LINSEED OIL IS A FIRE HAZARD=
iN OVER
50 YEARS OIL PAINTING, IVE NOT HAD A
PROBLEM==THIS WILL SCARE YOU CLICK
:
HERE
PROFESSIONAL LEVEL BOOK
AVAILABLE ON AMAZON  IN PRINT OR KINDLE
TO LOOK INSIDE
... click  HERE   
DAVID HOCKNEY'S BOOK, " SECRET KNOWLEDGE" HAS
INVESTIGATED IN DEPTH THE
USE OF MIRRORS AND LENSES by some
of
THE OLD MASTERS
SEE MY NEW YOUTUBE VIDEO ON THIS SUBJECT
It is controversial but I believe David Hockney's belief that many of the Old Masters [ but NOT ALL OF THEM ] used
Mirrors, Lenses, the Camera Lucida, the Camara Obscura and any other means to TRACE an image of PROJECTED
NATURE [ portraits by Van Eyck and Massacio- landscape by Canaletto- Figures by Caravaggio ] was a common
practice...to save time

AND TO GET RESULTS not possible BY ANY OTHER MEANS.
PLEASE SEE MY YOUTUBE VIDEO...  
here
Grandma Moses,began to paint at age 81. Died age 101.
She could not draw well. So she would CUT OUT PHOTOS from magazines---move them around on the canvas to get a
nice design composition.....tape them down.... use a TRANSFER PAPER... then would transfer the image by outlining.
THEN  would ' COLOR IN" with oil paint the TRACED IMAGE. Its basically the same as  a childs coloring book, and what
VERMEER DID... but VERMEER had no modern photos to trace, so he projected the impages with a lens.
  
THE BOOK FOR ADVANCED
AND PROFESSIONAL
ARTISTS
BOOK PROMOTION  :  1 FREE DVD
Buy the Professional level book  seen here --
either Kindle or Print editions - from
AMAZON.COM  =
ONLY if sold by Amazon ...., not other book
sellers that list with Amazon selling new and
used books.   
And I will send 1 FREE DVD : OIL PAINTING
WITH CALCITE SUN OIL
PLEASE CONTACT ME AT velapress@aol.com
IF I DO NOT RESPOND in one day--please
resend your message [ cyberspace and spam
settings eat emails at times]
IN THE SUBJECT BOX of your Email type :  
FREE DVD  
[ note- If the message box says RE: or is blank
, I will not open it.  
SCAN YOUR PURCHASE order and attach it to
the Email - I need your currect address ,
PLEASE DOUBLE CHECK it for accuracy. Ill
send the DVD ...ASAP   FIRST CLASS US MAIL  
PROF. DR. ERNST VAN DE WETERING is the head of the famous REMBRANDT RESEARCH PROJECT of  THE NETHERLANDS.
I met him in person after a lecture he gave on Rembrandt, at the Los Angeles Getty Museum on October 27, 2011.  
I walked up to him and said , " MY NAME is Louis Velasquez, I'd like to shake your hand."  
HE instantly smiled broadly and his face lit up as he said, " OHHH ...THE MAN OF THE BINDING MEDIUM!"
We shook hands briskly and briefly spoke.  .. It was an honor to have met him and I am happy he knows about 'CALCITE SUN OIL".
PLEASE SEE THE UPDATED INFORMATION ON THE AIR PUMP OIL  HERE

SEE MY NEW
YOUTUBE VIDEO  
"HOW TO OIL PAINT WITH
YOUR FINGERS"
This video teaches you how to
use your fingers to get the
wonderful effects seen in the
Old and Modern Master
paintings
of Rembrandt , Titian, El Greco,
Velazquez, Van Gogh ..and
others
CLICK ...  HERE

DIEGO RIVERA  -- THOMAS HART
BENTON
IT HAS BEEN WRITTEN THAT THE GREATEST ARTIST AMERICA HAS
PRODUCED IS...DIEGO RIVERA.
The word AMERICA is used as meaning the TWO AMERICAN
CONTINENTS
Recently I have been researching an artist born and raised in
MISSOURI who I consider the equal of DIEGO RIVERA.
That great muralist is THOMAS HART BENTON.

He published two books. One is titled 'AN ARTIST IN AMERICA" and
the other is titled
'AN AMERICAN IN ART'. It is this second book that I
strongly recommend for all artists to read. It is an autobiographical
account of his TECHNICAL METHODS AND MATERIALS to include
his account of HOW HE PERSONALLY DEALT with the influences of
MODERN EUROPEAN ART, the 1913 ARMORY SHOW and a host of
issues that every artist today can RELATE TO. If you have ever felt
LOST in all the ISMS of the past century--this book is for you. This
book is extremely rare. I hope one day it will be REPRINTED for all
artists to read. Whether ior not you agree with BENTON'S philosophy
is immaterial.
I ALSO RECOMMEND THE DVD  that covers his life and body of work.  
SEE IT
   HERE
TON VAN STEENBERGEN
This Fine painter lives in the Netherlands. Using
modern technology he has produced a fine book
of his FINEST paintings. I am moved by the
ABSTRACT DESIGN that the REALISM is placed
upon. See the white bird below.

Go to this link and once there you can PREVIEW
the entire book.. Click
HERE  

TON's website is : www.tonvansteenbergen.nl
click  
HERE
CORINNE COSTELLO

A Fine Artist from Australia's Island of
TASMANIA. Corinne is a successful
painter with an impressive Formal
education and has traveled widely to
other countries .. in search of
experiences ...that are embodied in
her paintings.

Her paintings are very large and the
photo to your right, does not do her
work justice. As she says, she uses
many many soft glazes to achieve her
effects. I see her work as very mystical,
but, sometimes, she also does paint in
high realism. Like all  creative
artists--she and we- are always
exploring the boundaries of our work.

This painting is a fusion of calligraphic,
and soft veils of colors. In some way, I
think of Rembrandt's 'lines' that are
detected in some of his creative work.
I will soon place her website here
IMPORTANT INFORMATION ON VARIOUS TOPICS

1. The emulsion "oil out" must be applied ONLY BY HAND !--never with a brush--and it must be
wiped down to remove all excess--then rubbed in BY HAND!--or it will FAIL!

2. IF using the ' viscous emulsion' as the FINAL  'varnish' for a completed oil painting--to
equalize the entire surface--IT MUST BE APPLIED  as an "OIL OUT" --again---wipe off all
excess--then rub into an ULTRA THIN film. IF you do not do this--you will have discolored areas.
SEE my photo on my website showing the viscous emulsion in a jar. NOTE how the ultra thin
area is COLORLESS and how the thick emulsion is yellowish.

3 I used BARLEANS flax seed oi for many years ---BUT I am going to switch to KREMERS
LINSEED OIL. I am trusting the Kremer's brand more. Also I recommend Kremers for the finest
Calcium Carbonate Chalk from Champagne France--here are the links:

http://shop.kremerpigments.com/en/fillers-
und-building-materials/colorless-und-colored-mineral-
fillers/carbonated--chalk--marble-and-others/chalk-from-champagne-58000:.html

http://shop.kremerpigments.com/en/mediums--
binders-und-glues/linseed-oil--cold-pressed--from-sweden-73020:.html

Please NOTE: this oil is mechanically filtered of PARTICULATE [ pieces of husk]
but still conains mucilage and still must be cleansed. This oil has been cold pressed from
UNROASTED SEEDS

4. The FIRST STEP in preparing canvas or wood--is to apply two liberal coats of HIDE GLUE
or--acrylic varnish [ its a glue]--THEN apply the gesso--NOTE: ALL gessos are absorbent and
must be sealed with two coats of HIDE GLUE  before oil painting..or--if using acrylic gesso--use
acrylic varnish / gloss or matte
5. SEE MY THREE YOUTUBE VIDEOS ON " AIR PUMP OIL" --know the issues involved!!!
type in...CSO VELASQUEZ
HOW FAST WILL MY LINSEED/FLAX  OIL DRY?
THE WEATHER IMPACTS THE DRYING OF OIL PAINT

In October, 2013, a friend residing in Oregon worked with me in comparing the drying of
our CSO OIL PAINTS. I will in the near future make a VIDEO for Youtube, showing the
facts learned, and  with photos.
Oregon, during these tests was heavily raining. My home in San Diego, was warm and
sunny in the day but moist and cool Fall weather in the evening. I had no rain, but I live
five miles from the Pacific ocean, and each day we have a heavy marine layer. This
burns off and then we have sun. Besides the weather, there are other factors that will
impact the drying to either slow it down or accelerate it. I will list them later.

Her original concern was that her oil paints , using the various oils I sent to her, were
slow in drying. This included AIR PUMP OIL and TRADITIONAL OLD MASTER SUN
THICKENED LINSEED FLAX OIL.  I then made new tests to determine the drying for
this time of year, FALL.. For the past twelve years, in using traditional “Sun Thickened
Flax Linseed Oil”, I had no drying issues – except—I would notice a variance of about 6
hours. The CSO oil paint would dry within 24 to 32 hours.  I know now, it is due to the
weather conditions.

Here are the variables:
1.        Different colors dry at different rates. Umber is the fastest drying color and if
mixed with other colors, it accelerates their drying also.
2.        White oil paint today, is normally ground in either Safflower, Poppy or Walnut oils.
They do this to insure the white is not yellow. This is a ‘marketing’ tool and nothing
more. These three oils dry very, very, slowly.
3.        Thin oil paint layers, dry much faster than thick oil paint impasto layers.
4.        DRY heat accelerates drying.
5.        All dry air, cold warm or hot, is beneficial to the drying.
6.        Humid moist air—either hot muggy summers in Florida or, wet rainy weather in
Oregon, will substantially slow down the drying.
7.        ANY oil containing antioxidants, will slowly dry. Heath food FLAX OIL is the one
most likely to have antioxidants added. BE CAREFUL. READ THE LABELS. Common
antioxidants are Vitamin E or Rosemary, Tocopherols, Polypherols, and others.
8.        Moving air –like a fan in the room or wind outside—accelerates the drying.
Stagnant air, even in a dry room, slows down drying.
9.        Forced air heaters in a home help drying—but steam heaters slow down the
drying.
10.        I do not use any metallic driers, nor solvents to aid drying!!

CONCLUSIONS
YES. Her cold rainy wet air slowed down her oil paints drying. My paints in my  drier
air dried tacky dry at 34 hours. This was faster than hers .

HISTORICAL FACTS
Over a year ago, I happened to read the autobiography of Elizabeth Vigee LeBruen,
the great French painter of the 1800s. In her bio story- we have an authentic  eye-
witness statement about how the weather will slow down the drying of her oil paint.
I paraphrase: “Here in wet cold damp foggy London, my oil paintings will not dry fast.
I must keep them in front of the fireplace the whole night long. In Paris, I have no
problem with drying.”

DRY PIGMENT HAND GRINDING DRYING RESULTS
This being FALL weather,
I also made tests of mixing DRY PIGMENT powders with the
oil and chalk. These proved to be the drying oil paints.
They dried in under 13 hours, in my Fall weather conditions. My test began at midnight.
The air was moist and cool. My cars had condensation
all over them. I had no heater, nor fan on in my house.
The conclusion: Hand ground oil paint [ 13 hours to dry] will dry much faster than tube
oil paints [ 34 hours to dry].
IN my SUMMER tests earlier this year =my dry pigment paint dried  in under 5 hours
for some colors.

COMPARING DIFFERENT OILS: SAFFLOWER, LINSEED, WALNUT
My tests with tube oil paints I bought at the art store was of white titanium dioxide paint
only. I bought 4 tubes. Two were ground in Linseed, one in walnut and one in safflower.
IT IS CLEAR, that the one with Safflower oil and the one with walnut oil, have a drying
agent added by the manufacturer. The Safflower  tube oil paint and the Walnut tube oil
paint dried as fast or faster than the high quality linseed oil tube paints [ Talens and Old
Holland brands]. My hand ground dry pigment oil paint, ground with walnut oil, never
dried, even days after all the samples dried.

SEE MY YOUTBE VIDEOS: TYPE IN:  CSO VELAZQUEZ
There are three short videos on the fabulous new AIR PUMP OIL.
PAUL TORRES is new to CSO
His Art has unique qualities that
resemble in technique - the early
Flemish Masters  in that they have
lots of minute details. My small
photo gives no idea of how detailed
his work is in the original.
He paints modern day subjects with
a tendency towards surrealism.
PAUL's weebsite is
www.paul-torres.com
There you will see his original
concepts on a variety of subjects,
and have a better view of his oeuvre
LEANDRO CASSIANO
resides in Norway. He
recently bought my book. I
was humbled by his review. I
responded saying that I am
happy to help all artists. I
respond to all Emails and try
to answer all questions
honestly with integrity.
Leandros painting to the
right is a CLASSIC study in
the Old Master's GRISAILLE
method. Not always used, but
when it was..it divided the
labor of DESIGN and
COLOR. One of the most
important lessons that must
be learned is that all
COLORS have a specific
VALUE of gray. The grisaille
method makes it easy to
achieve balance in VALUES
and to design the painting.
Leandro does not yet have a
website.
 
MEET Mr DANIEL TAVENIER and his wife CAROLIEN

IF YOU MET REMBRANDT, WHAT WOULD YOU SAY TO
HIM?
Of course Rembrandt ONLY spoke DUTCH. I recently met Mr Daniel TAVENIER and
his wife Carolien. They live in Holland, not far from where Rembrandt was born. They
have sent me many photos of their very professional paintings. Some photos are of
the pressing of flax linseed oil in an ancient Dutch Windmill. I felt transported to the
time of Rembtrandt, and felt HE was leading me through the process of pressing the
oil.
SO , If you did get to speak with Rembrandt,, please watch this culturally very
IMPORTANT video to hear what his native language would sound like.
This video is all in DUTCH, and that makes it all the more important. It is easy to
follow along and understanding the events.
I AM grateful and honored to have met such professional artists living in the Land of
Rembrandt.
PLEASE click on the link to see this facinating video
  HERE  
THE BOOK FOR BEGINNERS AND
ART SCHOOL TEACHERS
Available on AMAZON
Please go to the KINDLE STORE and click on
LOOK INSIDE to review the contents.

Here is the link  
 HERE

It includes a FREE one hour long VIDEO
Accessible on YOUTUBE
Please  CLICK   
 HELP

or on youtube type in
CSO VELASQUEZ BEGINNES BOOK OIL
PAINTING
COMING SOON:: A NEW SUPPLIER OF THE
SUPERIOR OIL OF THE OLD MASTERS

For artists who want the very best archival oil for oil painting.
TENNYSON OILS will be on the market this Fall, 2014.
Michael and Skyla Tennyson produce the Superior Oil of the Old Masters,
equal to my own oils.  
Years ago I predicted someone would produce this fine oil for the general
public. It's time is now.  I have tested their product and recommend it.
I have no propriety interest in their business and I support their efforts as a
mentor.  

COMING SOON
You may read about their products and contact them
at their  WEBSITE [ UNDER CONSTRUCTION]
www.tennysonoils.com   click on
OILS
PLEASE SEE MY PAGE: STUDY WITH LOUIS for details on my DVDS

"TIM'S VERMEER" : A 2013 FILM by Tim Jenison
In my opinion, the movie is NOT an academic documentary ,because it lacks
transparency as to the complete methods used.
In my opinion it is simply ENTERTAIMENT in the tradition
of Tinsel Hollywood  and Glitzy Las Vegas smoke and mirrors

TO THOSE WHO THINK  vermeer used tim's device:  I ask you a few questions:
Do you think the dark clouds stood still  for Vermeer as he painted the ' View of Delft"??
Do you think he waited day after
day. For those clouds to cone back ...in the EXACT
same position? What did he do when the ship he was
" copy color match painting" ..
suddenly lifted anchor , filled the sails, and floated away? What did he do when the
brilliant shafts of light moved across the buildigs
... sometimes placing a steeple in
deep dark shadow then to instantly be illuminated in brilliant lighting? Can you honestly
believe any artist can paint the living changing lighting in the scene of DELFT  with a
gadget?   Well. It cannot be done.
But VERMEER did it...but not with Tim's gadget.

FRANK COVINO'S "CONTROLLED PALETTE" IS HOW THE OLD MASTERS  
JUDGED THE GRADATIONS OF LIGHT VALUES AND COLORS
.
SEE this YOUTUBE  video: Titled "Sherry Hunting Studio: Frank Covino Workshop :
FRANK COVINO  EXPLAINS HIS CONTROLLED PALETTE AT 03:29  OF THE VIDEO  
CLICK
  COVINO

MY NEW YOUTUBE VIDEO EXPLAINS HOW VERMEER
USED THE CAMARA OBSCUra .. click here
--    VERMEER

PLEASE READ AN EXCELLENT TIMELESS ESSAY BY FRANK COVINO
ON MY MENU [ above] ---CLICK ON my page ... STUDY WITH LOUIS
TO LOCATE ALL MY BRIEF VIDEOS ON YOUTUBE, ...TYPE IN ....  CSO VELASQUEZ