Oil Painting with 'Calcite Sun Oil'

"OIL PAINTING with "CALCITE SUN OIL":
Safety and Permanence
without Hazardous Solvents, Resins, Varnishes, and Driers
a revolutionary method of oil painting based on ancient knowledge
by Louis R. Velasquez
"Achieve the paint quality of the Old Masters with Safety and Permanence"
________________________________________________________________________
A BOOK For PROFESSIONAL and ADVANCED OIL PAINTERS
ONE SPECIAL CHAPTER FOR BEGINNERS IS INCLUDED
Price of the book is $25.00 US$ -.Overseas is $32 US$, as shipping is higher
Cash, Check, PayPal , Money Orders accepted
131 pages / double sided, no illustrations, 8.25" X 11", Soft Cover, 'Perfect' binding
Includes USPO priority shipment anywhere in the USA.

Please contact me at velapress@aol.com.
IF YOU DO NOT RECEIVE A RESPONSE, PLEASE TRY AGAIN. I CHECK MY MAIL DAILY

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 -
rests 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, nor with synthetic alkyd resins!.

NOTE: The SUPERIOR OIL CAN NOT be used PURE to thin paint as it will cause dripping and sagging.
Use it to make " calcite Sun Oil" and the " Viscous Emulsion".
My formula for 'Calcite Sun Oil" was Patented by the US Patent and TradeMark Office in November 2006. patent # 7141109

"CALCITE SUN OIL", SAMPLE PACKAGE, PRICE IS $20.00
PLEASE NOTE THIS IS A SEPARATE PURCHASE FROM THE BOOK
THE BOOK CAN BE SENT WORLDWIDE BUT, SHIPMENT OF THE SAMPLES IS ONLY WITHIN THE USA

The required SUPERIOR LINSEED/FLAX OIL is not available in Art Stores.
It must be processed at home and 30 days of summer sun and heat are needed to process it correctly.
To those who buy the book, I offer the “Calcite Sun Oil” SAMPLE PACKAGE. Shipping restrictions, cause me to offer it ONLY
to those who reside in the continental United States. My materials are guaranteed to be the materials listed in my book. My
supplies are limited and may not be available.

The “Calcite Sun Oil” SAMPLE PACKAGE includes THREE ITEMS for the Price of $20.00 ( the book is sold separately)
with Ground POSTAGE included. The photo includes a ruler for understanding the accurate sizes of the items.
The THREE items are small, but will allow you to start using the methods in the book. The Three Items are:
* 2 fluid ounces of the SUPERIOR LINSEED/FLAX OIL: Sun Thickened, Unrefined, Cold Pressed Linseed oil
* 2 ounces of ready mixed ‘Calcite Sun Oil’, per my formula
* 2 ounces of Calcium Carbonate powder, “ Chalk from Champagne, France”.

A Sun Thickened linseed oil is offered online, but their product description is brief and important details are missing. Is their
linseed oil UNREFINED and COLD PRESSED? Was the oil ORGANICALLY CLEANSED? I do not know the answers,
therefore, I cannot recommend their product. Those interested can view that oil at http://www.williamsburgoilpaint.bizland.
com/index.htm Their ONE ITEM is $12 for 2 fluid ounces with $14 for Ground shipping , for a TOTAL of $26.00

WARNING: A major Art materials company sells low-cost ‘Sun Thickened Linseed Oil” in Art Stores.
The oil is not recommended. It is made from Alkali REFINED linseed oil, causing it to be a very slow drying oil.
It will not provide the results described in my book.

NOTE: Neither Linseed oil or Calcium Carbonate powder are toxic or hazardous. Either could be an irritant to some people
and to some who are allergic to various substances. Please check with your doctor if you have a medical condition that
prohibits you from using these materials, and use at your own risk. Use a dust mask when handling any fine powders from
any source or composition. Always supervise children when they use any art materials. Use at your own discretion.I accept
no responsibility of those who use these products. ALL PURCHASES ARE FINAL . NO REFUNDS

MY BIOGRAPHY:
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. 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.

GUIDE TO THIS WEBSITE
CLICK ON THE SEVEN 'HOT" BUTTONS AT THE TOP OF EACH PAGE

1. HOME PAGE. This is the page you are on now

2. PAINTINGS : SEE my paintings made with 'Calcite Sun Oil". READ about 'TRIANGULARISM" , a style I
developed based on the work of El Greco. SEE the ART of 20th century master, Frederic Taubes, my
teacher. SEE NEVER A BEFORE SEEN PHOTO OF THE BEAUTY OF AN EMULSION

3. BOOK - RESINS : The Table of Contents of the book . The book now explains why Maroger's claim
of rediscovering the Van Eyck medium, failed. Photos show adverse effects of Resins.

4. HAZARDOUS ITEMS: A review of common HAZARDOUS ingredients used today in Oil Painting.
These can ALL be discarded, as they are not necessary for Mastery of the Oil Painting medium.

5. TESTIMONIALS: Professional artists speak in their own words, about 'Calcite Sun Oil/ Emulsions.
Follow the link to James Taylors website, www.jamestaylorstudio.com . See his fine artwork, and
photos of his sun box made for sun thickening his oil.

6. WASHING LINSEED OIL: SAFE methods on cleansing the oil are given, including the method used
by VELAZQUEZ. Photos of mucilage PROVE how it browns and darkens oil paint.

7. The VAN EYCK SECRET: A review of the facts. DEBUNKING the theory, that Rembrandt used Burnt
Plate Oil, as a painting medium.

'The Rebirth of the Old Masters' Superior Oil '

" CALCITE SUN OIL" (CSO)
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;

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

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 used by the world’s Master painters to paint 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 similar concept mixtures,
they use slang terms such as, ‘ Gunk‘, ‘Goo’, ‘Goup’, and ‘Putty’’. These slang terms denigrate Painting.;
Gunk collects in auto radiators, Goo,and Goup are sticky like a glue, and Putty is used by plumbers.

The ‘Calcite Sun Oil/ Emulsions” method of Oil Painting,
is based on the ancient knowledge of the Old Masters, and gains recognition daily,
as one of the most important developments in Oil Painting since the 19th century.

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

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 an ' oil out' in preparation for the next
layer, which will be in brighter color. Again, the application is
only applied with the bare hand and in a special way.

It is my belief that the famous ' lost secret medium' of the
Van Eycks, is in fact comprised of TWO 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 truly
control the paint, much superior to the solvent-resin method.
This is all described clearly in my book.

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.

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.