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"OIL PAINTING with "CALCITE SUN OIL": Safety and Permanence without Hazardous Solvents, Resins, Varnishes, and Driers A Revolutionary Book by Louis R. Velasquez Written For PROFESSIONAL and ADVANCED OIL PAINTERS -- ONE CHAPTER FOR BEGINNERS IS INCLUDED 131 pages / double sided, no illustrations, 8.25" X 11", Soft Cover, 'Perfect' binding ISBN -978-1-6048-1354-8 LCNN - 2008939691 ORIGINALLY PUBLISHED PRIVATELY IN 2004 REVISED EDITION PUBLISHED OCT. 2008 by WORDCLAY PUBLISHING CO. ARTISTS AROUND THE GLOBE HAVE BOUGHT THE BOOK AND ARE USING THE CSO/EMULSIONS METHOD OF OIL PAINTING. Australia, China, Canada, South America, Mexico, ALL of Europe, and the USA ! THE REVOLUTION OF SOLVENT FREE OIL PAINTING IS HAPPENING NOW ! READ THE REVIEWS ON AMAZON.COM "If you are serious about painting in oils, this is a must have for your bookshelf." --Maurice Garson , www.askmaurice.org |
The 'SUPERIOR LINSEED/FLAX OIL' of the Old Masters IS : UNREFINED COLD PRESSED LINSEED/FLAX OIL that has been organically cleansed and slowly Sun Thickened My work, is documented in my book, and supported by my PATENT of my formulations of "Calcite Sun Oil".My development of mixtures and application methods of TWO Emulsions -rest on the SUPERIOR LINSEED/FLAX OIL used by the VAN EYCKS and other Old Master painters 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 This evidence 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 : 600 YEAR OLD MASTERPIECES : The finest preserved oil paintings of history, painted by the VAN EYCK brothers of the late 14th and early 15th century of Northern Europe, which can be seen in museums today, almost 600 years later. THE SECOND IRREFUTABLE FACT: UNREFINED FLAX OIL : The Van Eyck paintings were painted with UNREFINED COLD PRESSED LINSEED/FLAX OIL , organically cleansed and then SLOWLY Sun Thickened by exposure to the heat of summer sun and ventilation for a period of weeks until the required viscosity was achieved. THEY WERE NOT painted with chemically altered modern day ALKALI REFINED LINSEED OIL!. My formula for 'Calcite Sun Oil" was Patented by the US Patent and TradeMark Office in November 2006. patent # 7141109 |
| Copyright 2004-2007 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", 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, in the collection of the "Porterville Historical Museum": I painted this painting in 1961 at age 17, when a senior at Porterville Union High School. A photo-mechanical full color print of this painting is available. FULL PRICE including shipping is $60 US It will be sent rolled in a tube via USPO Priority mail. The overall size counting the white margins is , 12 1/2 inches X 22 inches. The ACTUAL IMAGE size is 9 3/4 inches X 20 inches. An original pencil drawing , called a 'remarque' , of one of the horses heads, placed in the lower margin, can be added for additional $30.00, I can also add a complimentary hand printed personal dedication in the lower margin. |
A second website shows a history of my paintings from 1958 to the present. Also, many recent paintings made with the CSO / Emulsions method are shown there. See them at: www.buddyburro.com HERE ARE TWO RECENT CSO/EMULSIONS PAINTINGS : STEP BY STEP |
| GUIDE TO THIS WEBSITE 1. HOME PAGE. The page you are on now 2. PAINTINGS : My paintings made with 'Calcite Sun Oil". 'TRIANGULARISM" and El Greco. Frederic Taubes. PHOTO OF THE BEAUTY OF AN EMULSION 3. BOOK - RESINS : The Table of Contents of the book .Adverse effects of Resins. 4. HAZARDOUS ITEMS: A review of common HAZARDOUS ingredients 5. TESTIMONIALS: Professional artists speak about the 'Calcite Sun Oil/ Emulsions Method. 6. WASHING LINSEED OIL: Cleansing the oil. Photos of mucilage PROVE how it browns and darkens oil paint. 7. The VAN EYCK SECRET: A review of the facts. REMBRANDT did NOT use Burnt Plate Oil. 8. CSO-MILK = A new fast method to cleanse the unrefined flax/linseed oil / photos of Swedish Allback Linseed oil |
"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: Velazquez' paintings were studied by the Prado Museum. Science shows 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 proteinacious 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, proving he used Calcium Carbonate and a proteinacious additive to create an Emulsion that in turn allows the creation of the thick highly textured impasto applications observed in his later paintings. The " WONDER MEDIUM" of the two 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. PHOTOGRAPHS SHOWING THE WONDEROUS TRANSPARENCY OF THE EMULSION ARE ON THE TAB TITLED " PAINTINGS". CAUTION: SOME WEBSITES SHOW INEFFECTIVE METHODS OF ADDING AND MIXING EGG , or, CALCIUM CARBONATE POWDER WITH OIL PAINT. |
| ATTENTION ARTISTS 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. A young man residing in Amsterdam in the The Netherlands, named 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 Mr. Van Ryswyk has not yet tried the "Calcite Sun Oil/ Emulsions" method. He is an excellent painter using the 'resin-solvent based method' and he has excellent credentials. 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&sour ce=web&ots=Ms_C50PmbC&sig=PWqt0P9G2I-LwB1x_rzpMWg2on4&hl=en&sa=X&oi=book_result&resnu m=9&ct=result#PPA567,M1 |
EMULSIONS -THE WONDER MEDIUM : SEE A NEVER BEFORE SEEN PHOTO OF THE BEAUTY AND CLARITY OF AN EMULSION ON THE ' PAINTINGS' PAGE . SCROLL DOWN TO THE BOTTOM THE VAN EYCKS I believe the famous ' lost secret medium' of the Van Eycks, is in fact comprised of TWO SEPARATE STEPS. The first step is to use the correct medium mixture. The second step is to apply that medium correctly. I believe I am the first person to make this statement, and I make it based on my own formulations of two Emulsions and in my creation of an application method that allows artists to fully control the paint, much superior to the solvent-resin method. This is all described clearly in my book. |
| The Book is AVAILABLE worldwide from ONLINE BOOKSTORES and from THIS WEBSITE. Some online sellers offer discounted prices. www.amazon.com ; www.barnesandnoble.com The ISBN -978-1-6048-1354-8 The LCNN - 2008939691 CONTACT ME AT: velapress@aol.com I will answer all questions on Calcite Sun Oil |
| PORTRAIT OF VALENTINA 1/2 inch Birch Plywood 30" X 40" 1. The wood was given two thin coats of acrylic gesso 2. Vine Charcoal was used to draw the design. Do not use DARK charcoals as oil paint becomes translucent over time, and very dark marks will become visible through the paint layer. 3. The drawing was 'fixed' so it would not smudge. My book gives several methods of fixing the drawing with safety- no solvent based fixatives with strong odors are used |
4. The fixative is allowed to dry. Then the entire surface is isolated and made NON-ABSORBENT, with a safe method. Many of Rubens' paintings were prepared like this. He sometimes applied a grayish glue coat over his drawing to make the support non-absorbent. |
5. The 'viscous Emulsion " is applied. The Emulsions have VERY important uses and functions. Note that the emulsion 'oil out'it is applied ONLY with the bare hand. My book will guide you on the CORRECT application method. 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. |
6. The underpainting can be done in various ways. One way is to use gray values only and this is called a 'grisaille'. Another way is to use muted colors. My book explains other ways to underpaint in preparation for the final overpaint in full colors. The Old Masters used the underpainting stage wisely. They called it a ' monotone' or a ' dead coloring'. The underpainting stage allows the artist to focus on VALUES ( light and dark tones), textures, and importantly, the Design composition. |
7. After the underpainting dried ( note: the superior oil will dry within 30 hours without use of any driers, solvents, resins or varnishes) I then applied the Viscous Emulsion ' oil out' in preparation for the next layer, which will be in brighter color. The oil out is only applied in a special way for it to succeed. |
8. Using a variety of brushes, the palette knife, and my fingers, I applied the paint onto the wet Emulsion film. I worked on details and color accuracy. 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. The next photo shows a closeup detail of the face . The last photo shows the painting almost completed. After this, my next step is to place it in my living room where I can see it daily. During the following days, I will constantly look at it and evaluate it. This stage allows me to see the parts I like, the parts I really like, and the parts I do not like at all. The next step will be to make the necessary changes. Sometimes several major changes are required. |
| PORTRAIT OF NICO 24" X 30 " , 1/2 inch birch plywood. First I made the vine charcoal drawing. Then I gave it a coat of fixative. Then I sealed the entire surface with a safe no- solvent isolation liquid that doubled as an ochre imprimatura... as described in my book. THen I applied an UMBER OIL coat, leaving it dark in some areas that will be shadows |
Then I applied the emulsion oil out. Then began color development as the next three photos show. This easy three step method took 6 days with only 3 days of actual painting |
THE CALCITE SUN OIL / EMULSIONS METHOD of Oil Painting gives the artist complete SAFETY, complete PERMANENCE and complete CONTROL of the paint, whether thin glazes, or thick impasto. This method is made possible by the SUPERIOR OIL of the Old Masters, its mixture to make CALCITE SUN OIL.. and its mixture to make the two EMULSIONS. Three simple ingredients, known to have been used by Velazquez and Rembrandt are used. The specific measurement ratios, and the specific application methods I created allow us to create the sumptuous ' paint quality' of the Old Masters. The term PAINT QUALITY, is defined by Frederic Taubes in his books. In brief, it is the APPEARANCE of the paint itself, whether used in fine details, or broad strokes, thin or thick. It is a QUALITY that once you see it, you will know what it is and it will inspire you to become a finer painter., regardless of whether you paint ' realistically' or "non-objectively". |
WARNING- NOTICE I DO NOT RECOMMEND LINSEED OILS FROM NORDIC COUNTRIES, IF THOSE ARE MAINLY PROCESSED AND TREATED FOR PAINTING HOUSES. THE REASON IS BECAUSE THEY REFUSE TO SAY AT WHAT TEMPERATURE THEIR OIL IS HEATED TO. Academic sources report Linseed oil BOILS at 343 Degrees Centigrade, but begins to DECOMPOSE at 230-236 Degrees Centigrade. THE NORDIC LINSEED OIL IS EXCELLENT FOR PAINTING HOUSES AND PRESERVING WOOD, AND HAS A LIFE EXPECTANCY - 50 YEARS. AS A HOUSE PAINT, IT IS SUPERIOR TO ACRYLIC PAINTS IN MANY WAYS. THAT INDUSTRIAL LINSEED OIL HOUSE PAINTING BINDER IS NOT ADEQUATE FOR FINE ART PAINTINGS WHICH ARE EXPECTED TO LAST FOR CENTURIES. The ALLBACK website sells 2 types of Linseed OIl: One is labeled as BOILED and Fine Artists must completely avoid it. ALLBACK labels the other as PURIFIED. This is the oil some websites recommend-- but these sites carelessly ignore the issue of the heating temperature. To see my recent tests of Swedish ALLBACK LINSEED OIL , click on the 'CSO-MILK' tab SEE THE DETAILS OF MY WARNING ON THE TAB: " WASHING LINSEED OIL" |
WARNING ! AS THE PATENT HOLDER OF THE "CALCITE SUN OIL" MIXTURE DESCRIBED HERE, 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. |
| JOIN THE NON-SOLVENT OIL PAINTING REVOLUTION ART TEACHERS can now make oil painting COMPLETELY SAFE Three ancient , archival materials used by Rembrandt , Velazquez, and other Old Masters are the key to eliminating hazardous materials. You can now safeguard the health of your students. JOIN this important movement in Oil Painting . You can share this knowledge with someone who paints with oils, whether students, spouses, children , friends, or family. READ THE REVIEWS ON AMAZON.COM |
THE 'CALCITE SUN OIL'/EMULSIONS method of Oil Painting is on YOUTUBE JUST COPY and PASTE THIS URL TO YOUR BROWSER http://www.youtube.com/watch?v=ljy1rULu7sg |
| Naturalpigments company ( http://naturalpigments.com/ ) Has announced their new Calcite Oil Painting Mediums: Impasto Medium and Velázquez Medium. Details are on their website. I cannot yet endorse their product as I have not tested it. THEIR ADVERTISEMENT MAKES THESE CLAIMS ( in brief) : Their Impasto Medium is formulated with: finely ground calcite, silica and bentonite in bodied linseed oil. Their Velázquez Medium is formulated with: finely ground calcite in bodied linseed oil. No additives such as stearates, solvents, driers or resins whether natural or synthetic. MY COMMENTS - According to Wikepedia, http://en.wikipedia.org/wiki/Bentonite BENTONITE is an absorbent clay, of two main types ( sodium and Calcium)with several industrial uses such as a water leak sealant and other uses. SILICA is found in sand and quartz and also has many industrial uses such as the manufacture of glass and other uses. Reading Wikepedia for yourself gives a better understanding of what these two ingredients may or may not do for your oil paint. COMPARING NATURALPIGMENTS NEW CALCITE PRODUCTS .... with ....‘CALCITE SUN OIL’ 1. 'CALCITE SUN OIL' uses the SUPERIOR FAST DRYING oil of the Old Masters , not SLOW DRYING alkali refined linseed oil. I have no data on how hot the Naturalpigments 'bodied oil' they claim to use, is heated to. Linseed oil degrades at 230 degrees C. My website explains this. 2. BENTONITE absorbs water and expands. I caution against use of adding Bentonite to oil paint for this reason. Currently , Bentonite is used as a water leak sealant. In dry form, a rock of bentonite immediately becomes sludge when exposed to water, and increases its size as it expands by absorbing water. Science tells us linseed oil paint, will absorb and release oxygen throughout its lifespan of hundreds of years. Oxygen contains moisture with its amount varying according to geographical region. As the oil itself cures, will the bentonite continue to absorb moisture and swell up, expanding while the now immobile oil paint is exposed to cracking? Science has NOT found Bentonite in the Old Masters' paintings, to my knowledge, and there IS NO benefit gained by adding Bentonite to oil paint, considering the risks I pointed out. Bentonite cannot be considered an INERT substance. 3. SILICA: Powdered glass is silica and was an inert ingredient used by many Old Masters, notably by the 16th century Italians, such as Titian. Smalt was also used by Rembrandt and other masters. It was thought that powdered leaded glass could be used as a drier. Others thought the glass added sparkle to the paint. This COMPLETELY INERT additive causes the oil paint film no damage or risk. THE ADVANCEMENT OF CALCIUM CARBONATE POWDER IN OIL PAINTING When I published my book in 2004, I knew that given time, artists around the world would see the benefits of the ‘Calcite Sun Oil/ Emulsions’ method of oil painting. And, that the word would filter onto the doorsteps of Art material manufacturers. That time has arrived and I am happy to see it happening. Yet, we still need manufacturers to produce the SUPERIOR UNREFINED oil, described in my book . I see this new Calcite Medium by NATURALPIGMENTS as a positive step forward. I encourage artists to try out the new product. BUT, I encourage artists to COMPARE them to the SUPERIOR QUALITIES of ' CALCITE SUN OIL. Only by comparing both will artists understand the vast difference between mixtures using ALKALI REFINED BODIED OIL... and.. the SUPERIOR QUALITIES OF THE SUN THICKENED OIL PROCESSED FROM UNREFINED FLAX OIL, as described in my book and website. PATENTS IN THE REAL WORLD A patent by the US Government is only given after scrutiny. A patent is not easy to obtain nor easy to defend in court. I received my patent in November 2006. Those wishing to read the complete details of my patent may go to this site. http://patimg1.uspto.gov/.piw?Docid=7141109&idkey=NONE My patent number is: 7141109. A certain software ( free download) must be downloaded to see the documents. See their HELP button. MY BOOK AND PATENT DESCRIBE 4 UNIQUE FORMULAS FOR MIXING CALCIUM CARBONATE POWDER WITH LINSEED/FLAX OIL POSTED= 5/6/09 |
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
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
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
ADEQUATE 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 painter 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. WINDOW PUTTY, is a mixture of boiled leaded linseed oil mixed with calcium carbonate. It has a life span of under 50 years as the photo shows. 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/ |
| MY BIOGRAPHY AND ARTWORKS |
| The page titled CSO-MILK explains the new method of cleansing the oil of its mucilage |
| This is the FOREWORD of the book. The First chapter can be read at Amazon. Through these pages you will journey to the studios of Rembrandt and Velazquez. There, you will learn how they used three simple ingredients to create the marvelous effects we admire in their remarkably well preserved Masterpieces. The days of Rembrandt and Velazquez are gone, but 20th century discoveries by modern science have revealed the lost knowledge of these Old Masters. You will learn how the 21st century ‘Calcite Sun Oil/ Emulsions Method of Oil Painting‘, uses the very same three ingredients used by Rembrandt and Velazquez, each of which are non-toxic, archival permanent, and safe for humans. The ‘Calcite Sun Oil/ Emulsions Method’ teaches you to process, mix and apply these ingredients in duplicating the extraordinary effects of the Old Masters with Safety and Permanence, as you discard all hazardous solvents, resins, varnishes and driers. For the first time in modern art history the elimination of the hazardous ingredients that caused so many artists to be come ill, makes the art studio safe. Now, artists previously warned by doctors not to expose themselves to unhealthy Oil Painting materials, can return to their studios with confidence. Professional and fine artists around the world are now using the wonderful knowledge in this book. Their Testimonials describe their own personal experiences, much better than I could write or say. The ‘Calcite Sun Oil/ Emulsions Method of Oil Painting‘ is rapidly gaining recognition as one of the most important developments in oil painting since the 18th century, and closure of the Old Masters’ studios. This book is an educational journey to the past, to the present, and opens the doors to an exciting trip to the future. Today, with the ‘Calcite Sun Oil/ Emulsions Method of Oil Painting, you begin your journey on a high level of mastery and understanding never experienced before. - Louis R. Velasquez |
SOME ARTISTS, even Prominent Artists , tell others to use the oil paint straight from the tube, and thereby they will AUTOMATICALLY avoid all hazardous resins, varnishes driers and solvents. ITS TRUE....BUT AT GREAT LOSS..... THIS IS THE RESULT OF USING OIL PAINT FROM THE TUBE WITHOUT ANY ADDITIVES * Tube paint dries comparatively soft * Loss of beautiful color depth and luster * Poor blending ;[ comparative ] * No Thixotropy at all - limited to wet in wet and overpaint corrections * No Micro-Fine details AT ALL * Extremely slow drying , even though the manufacturers may add minor amounts of driers * Suede effect is disturbing. This is caused by the slow drying thin oil and the aluminum sterate additive used by the manufacturer to prevent oil pigment separation- and to insure long shelf life. |
| PLEASE SEE THE PAGE TITLED: BLOG and FAQ'S It contains two excellent essays by knowledgeable artists. One is on the MAROGER'S MEDIUM The other is on SAFETY OF OIL PAINT COLORS. See the list of SAFE and HAZARDOUS colors. |