|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
The SUPERIOR OIL of the Old Masters is :
UNREFINED COLD PRESSED FLAX OIL
that has been organically cleansed of its mucilage and slowly Sun
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 FLAX SEED OIL [ Linseed] used by
the Old Masters
is supported by TWO IRREFUTABLE FACTS that are documented by
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 patent was approved by the US Patent nd TradeMark Office in November 2006. See patent #
THE FINEST RAW OIL FOR ARTISTS
IS LABELED FLAX OIL- NOT LINSEED OIL:
If the label says FLAX OIL or FLAX SEED OIL..it is THE oil the Old Masters
used. BUT, it has to be cleansed of its mucilage. This easy 10 day process
is described in my book and DVD.I have used BARLEANS flax seed oil for
many years . It is high quality. There are other sellers of FLAX OIL.
DO NOT buy FLAX OIL containing any anti-oxidant additives. It stops the oil
from hardening. Simply, it will not dry. Commom anti-oxidants are vitamin E
or C or Rosemary or tocopherols or polypherols.
IF THE OIL IS LABELED LINSEED OIL. It is NOT the oil the Old Masters
used. LINSEED OIL and FLAX SEED OIL are pressed fropm the same
seed--the FLAX SEED. There are NO 'lin seeds " in nature. FLAX OIL is
pressed cold and without any solvents or extra heat or lye caustic
chemicals. Humans can safely eat FLAX SEED OIL. It is the oil of the Old
Masters. IF the oil ia labeled LINSEED OIL, it has been pressed and
exposed to caustic lye chemicals or solvents. HUMANS cannot safely eat
PLEASE NOTE: The only exception to this is [possibly]--OLD HOLLAND
UNREFINED COLD PRESSED LINSEED OIL from Holland.
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.
LEARN HOW TO OIL PAINT
USING METHODS AND MATERIALS OF THE OLD MASTERS
visit : WWW.BUDDYBURRO.COM
You can write to me with questions. I answer all letters. email@example.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.
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
I think it best to let his two sites speak for themselves and you will see how eloquently they do that.
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,
COPY THE ENTIRE URL and see Pages 564 - 568 MARSHA'S COMMENTS ON USING CSO IS ON THE TESTIMONIALS PAGE.
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
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
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
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 PUTTY :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
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.
|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 ..
TANIA wrote me this kind letter recently about CSO:
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
-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 !
|MY WEBSITE page " TESTIMONIALS" ...has some letters I have received from artists across the USA and the world.
|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
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.
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
|EMAIL : CONTACT
I respond to ALL letters
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
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
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.-
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 !!!!!!!!!!!!!!!!!!!!!!!!!!!!
|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
|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
PAINT THE LION
PAINTING LIVE ON
YOUTUBE : click
|PETER LANKAS is a talented Fine
Artist and valued Art teacher in
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
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 finely designed portrait is by Fine Artist
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
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
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
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
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.
|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
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
|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
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.
PAINTING TO YOUR
LEFT-- WITH THE ONE
TO YOUR RIGHT
TO YOUR LEFT is the
finished painting 4
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
|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
|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
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
I repainted the right half of the
background black. I believe it
allows the Lion to assume
OK..I wasnot ever satisfied
with the Lion's mouth-
so--today--I repainted that
mouth. --Now--I think I am
|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:
|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
BOOK PROMOTION : 1 FREE DVD
Buy the Professional level book seen here --
either Kindle or Print editions - from
ONLY if sold by Amazon ...., not other book
sellers that list with Amazon selling new and
And I will send 1 FREE DVD : OIL PAINTING
WITH CALCITE SUN OIL
PLEASE CONTACT ME AT firstname.lastname@example.org
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 :
[ 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
"HOW TO OIL PAINT WITH YOUR FINGERS"
This video teaches you how to use your
fingers to get the wonderful effects seen in
Old and Modern Master paintings
of Rembrandt , Titian, El Greco,
Velazquez, Van Gogh ..and others
CLICK ... HERE
DIEGO RIVERA -- THOMAS HART
IT HAS BEEN WRITTEN THAT THE GREATEST ARTIST AMERICA HAS
PRODUCED IS...DIEGO RIVERA.
The word AMERICA is used as meaning the TWO AMERICAN
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
I ALSO RECOMMEND THE DVD that covers his life and body of work.
SEE IT HERE
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 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 OIL OUT: 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. FINAL OIL OUT: 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 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
4. 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
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
10. I do not use any metallic driers, nor solvents to aid drying!!
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 .
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.
MEET Mr DANIEL TAVENIER and his wife CAROLIEN
IF YOU MET REMBRANDT, WHAT WOULD YOU SAY TO
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
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
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
|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
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.
SEPT 2014 UPDATE
Tim Jenison and I had a civil discussion about his movie: Go to
www.essentialvermeer.com CLICK on the BLOG- then on the section: "FROM A
PAINTERS POINT OF VIEW". Then scroll way way down to Tim and I. You will enjoy
the conversation. Here is your own chance to ask Tim some questions.
He is a Gentleman.
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
MY NEW YOUTUBE VIDEO EXPLAINS HOW VERMEER PAINTED
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