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| OIL PAINTING WITH CALCITE SUN OIL SAFETY and PERMANENCE Without Hazardous Solvents, Resins,Varnishes and Driers BOOK DESCRIPTION Full color glossy Soft Cover, Perfect binding, 131 pages, double sided, 8.25" X 11", no illustrations, no index. FROM BOOKSTORES AND ONLINE BOOKSTORES Retail List Price is $30.00 . Some offer discounts. PLEASE SEE MY NEW WEBSITE OFFERING MY PAINTINGS FOR SALE www.louisvelasquezart.com |
| TABLE OF CONTENTS OF THE BOOK THE FIRST PAGE OF EACH CHAPTER Plus a brief comment on each chapter. |
| CHAPTER ONE: The two important advancements for Oil Painting I developed describes how CALCITE SUN OIL was developed and the REBIRTH OF THE OLD MASTERS' SUPERIOR OIL .A SUMMARY for oil painting in using CSO makes it easy to understand this very simple method, plus information on avoiding the THREE MOST COMMON ERRORS. |
| CHAPTER THREE: Instructions on HOW TO REMOVE THE MUCILAGE from the UNREFINED FLAX OIL. The difference between LINSEED OIL and FLAX OIL. How the Old Masters cleansed their oil with a historical account. Includes several new methods I developed or improved, including the VEL-TAUB METHOD, the PACHECO METHOD from the 17th century, the PSYLLIUM HUSK-ALCOHOL method I created, the CROCK-POT method I developed to accelerate the cleansing with powders. Includes an IN DEPTH REVIEW of cleansing the oil. |
| CHAPTER FIVE: CALCITE SUN OIL [ CSO] is fully described. The ten benefits of using CALCITE SUN OIL are explained . Information on how to make the SUN THICKENED OIL is described. The important VEL-TAUB METHOD of cleansing the oil is explained and instructions on how to make the CSO. |
| CHAPTER SEVEN: TUBE PAINTS AND HAND GROUND PAINTS is described. How CSO is used with both types of paint. The benefits of Hand Ground oil paint...so easy to make. Description and importance of the GRINDING TABLE used by all the Old Masters. |
| CHAPTER NINE: The 5 STEP PAINTING METHOD is gleaned from my 50 years of oil painting experience. In short it is P_D_U_O_F which stands for PREPARE- DRAW- UNDER PAINT - OVER PAINT - FINISH. This 5 step method allows a person to follow LOGIC, but my view is that artists should not be tied to SPECIFIC ways to paint and I encourage EXPERIMENTATION with the manner of paint application. |
| CHAPTER ELEVEN: Studio practices that assist the painter. Lots of common sense information designed to make life in the studio easier. There are several topics covered her. Please see the TABLE OF CONTENTS ABOVE for the complete list. Important topics such as DRYING TIMES, ISOLATING THE SUPPORT, FOUR PRACTICAL WAYS TO PAINT A PICTURE, are given. |
THANK YOU FOR TAKING THE TIME TO READ ABOUT MY BOOK. I believe it is the FIRST BOOK of its kind, in that it promotes SAFETY AND PERMANENCE in Oil Painting, while using the METHODS, MATERIALS and TECHNIQUES of the greatest Old Masters of Europe. I know other artists are FOLLOWING my efforts and I support their work.I wish I had my book when in 1958 as a youngster of 13, I began to Oil Paint by reading the books of FREDERIC TAUBES. See his work at www.frederictaubes.com. IF YOU CANNOT AFFORD THE BOOK, CALL YOUR PUBLIC LIBRARY and ask them to obtain a copy, that way you and others can share the WONDERFUL KNOWLEDGE it contains, and am confident this VERY SIMPLE METHOD of oil painting WILL CHANGE YOUR WAY OF THINKING. Please write to me with all your questions. I answer all emails. CONTACT ME AT : velapress@aol.com Thank you, Louis R. Velasquez SEE MY PAINTINGS AT .. www.buddyburro.com |
CALCITE SUN OIL BOOK Review the first page of each chapter, with a brief comment UPDATES AND NEW DEVELOPMENTS NOT IN THE BOOK WILL BE ON THIS PAGE I will continue to improve the knowledge and will keep you informed here. |
DATE: March 23, 2010 / UPDATED 4/25/2011
My new Book, 'EGG TEMPERA, CSO-EGG TEMPERA, ANCIENT AND NEW"
and 3 new DVD's are on Amazon. In fairness to those who purchased my OIL PAINTING WITH
CALCITE SUN OIL BOOK ( published Oct. 2008 by Wordclay), - before todays date- and to
those who will continue to buy it in the future, I have here all the updates since it was originally
published in 2004 ( privately). This information is included in the new EGG TEMPERA book. I
will TRY to update all new knowledge on this page. I assure all of you--I am not perfect- so
forgive my TYPOS and other errors. They are not done intentionally.
TABLE OF CONTENTS
1. PSYLLIUM-ALCOHOL OIL CLEANSING METHOD
2. AGUADO
3. HOT PLATE OIL
4. UMBER OIL and ‘HALF-WHITE’ PAINT FOR UNDERPAINTING
5. YELLOW OIL and WHITE OIL
6. EMULSIONS
7. PACHECO’S METHOD OF CLEANSING THE OIL: UPDATES
8. HAND GRINDING OIL PAINT
9. BLEACHING THE OIL WITH A DEHYDRATOR
10. NON ABSORBENT GROUND FOR OIL PAINTING
11. SHOULD THE GESSO BE SEALED
12. GLAIR; PRE-PACKAGED EGG WHITE IS NOT GOOD
13. FIXATIVE FOR CHARCOAL DRAWING WITHOUT AEROSOL SPRAYS
14. REMBRANDT DID NOT ADD BURNT PLATE OIL TO HIS PAINT MEDIUM
15. TECHNIQUE OF VELAZQUEZ, 17TH CENTURY
16. DECOMPOSITION OF OIL BY HIGH TEMPERATURE HEATING
17. BENTONITE SHOULD NOT BE ADDED TO OIL PAINT
18. DEFINING ‘PAINT QUALITY’
19. WAITING FOR OIL PAINT TO DRY
20. RUBENS’ MEDIUM vs. MAROGER’S MEGUILP MEDIUM
21. SIR A. H. CHURCH vs. MAROGER’S MEGUILP MEDIUM
22. FREDERIC TAUBES, COPAL PAINTING MEDIUM
23. FAT ON LEAN
1. THE PSYLLIUM-ALCOHOL METHOD- UPDATE ON CLEANSING THE OIL
A summer of tests demonstrated the need for allowing the mixture to remain STANDING STILL
in the sun with ventilation for 8 to 10 days . This allows the mucilage to drop and rest on the
GEL which was made by mixing the husk and the alcohol. This can also be done indoors. [
This updates page 21 of the October edition ].
INGREDIENTS and MATERIALS
[ A TYPO was on the ratio of materials-it is now corrected - the TYPO also exists on the EGG
TEMPERA BOOK- but cannot be corrected]
PLEASE USE THIS FORMULA:
16 fluid ounces of unrefined flax oil .
3 fluid ounce of either 80 proof or 100 proof alcoholic liquor. Do not use Denatured alcohol, as
it is highly dangerous.
2 ounces by VOLUME of dry Psyllium Husk Powder. The husk is sold POWDERED or
WHOLE HUSK. Either one is usable. The powdered form gels faster.
PLEASE NOTE= The ratios given are GENERAL measurements to be used as a GUIDE- you
do not need a science laboratory to make the measurements-- be an artist- use common
sense- ALL the given VARIATIONS will...ALL WORK WELL-- please do not get RIGID on the
measurements. To make things easier-- instead of ounces, use the easy measurement of ...
PARTS...whether it is a spoon or a cup ... This will help because EUROPEAN and AMERICAN
measurements are very different.
INSTRUCTIONS
FIRST: Mix the husk and the alcoholic liquor so it forms a GEL. The husk will not absorb the
Alcohol content of the liquor. So you will still see liquid in the mix. DO NOT discard this, it is
important. The husk will absorb the water content of the liquor. This is what is meant by
‘gelling’. Stir together and allow to stand a few minutes until it gels so there are no pockets of
dry husk.
My tests showed use of DRY husk as described in my book causes loss of good oil by allowing
the husk to absorb too much oil. Use of DAMP husk as is done with pre mixing it with the
alcoholic liquor, allows the husk to absorb the water in the liquor and prevents its absorption of
oil. The alcoholic content is the catalyst that causes the mucilage to separate from the oil, as is
learned from the PACHECO METHOD.
SECOND: Once the husk and alcohol gel, add the oil. They need to be mixed thoroughly. This
can be done either by vigorous shaking by hand in the jar, or an electric blender can be used.
The blender makes the mixing effortless and fast. Five minutes of the blender at a low speed is
sufficient. High speeds cause lots of froth to enter the oil.
THIRD: The mixture is poured into an 8 to 10 inch wide bowl so the mixture is about 2 inches in
height. This bowl is placed outdoors in the sun, covered with a glass pane so no moisture gets
in. Put spacers under the glass so there is ventilation. Within one day of summer heat the oil
will become transparent as the gel drops but it is not enough time for all the mucilage to drop.
The most important development I learned is that this must be allowed to remain completely
still for between 8 and 10 days, with more in cold weather.
If the oil is thicker than 2 to 3 inches, it takes longer.
FOURTH: DO NOT STIR NOR MOVE THE OIL FOR THE ENTIRE PERIOD
Do not let moisture enter the oil.
FIFTH: After the days pass, the oil is poured into a filter funnel made by inserting a small ball of
natural, not synthetic, cotton ball into the narrow part of the funnel. Do not compact it so tight
that the oil will not pass. Do this filtering at mid day when the oil is warm. A second filtering of
the oil with a new clean cotton ball may help but I only filter my oil once.
SIXTH: This is the cleansed oil. It will be transparent in cool or hot temperatures while
mucilage filled oil becomes hazy in cool temperatures but transparent in hot temperatures. The
10 days of sun helped bleach the oil a bit. This cleansed oil is now ready to be Sun Thickened
as described in my book. The advantage of cleansing the oil outdoors in hot summer direct
sun is the ten day period begins the thickening and bleaching. If done indoors the oil will be a
bright yellow, but this is harmless because the damaging mucilage has been removed. It will
easily bleach.
NOTES: The cleansing procedure can be done indoors. Use a dry, well ventilated room.
My tests using a hot plate to heat the oil did not work well. The heat cooked the husk and
caused it to float. The goal is for the gel to drop and for the mucilage to drop and stick to the gel.
2. AGUADO
This powerful expansion of CSO was developed in July 2009
This expansion of the Calcite Sun Oil/ Emulsions method complements it and gives the painter
increased speed for painting large sized paintings. It can be used effectively for small sized
paintings as well, and provides the PLEIN AIRE painter a simple effortless procedure. It does
NOT eliminate the use of the CSO/EMULSIONS method as I will explain later.
CSO/EMULSIONS and the CSO/AGUADO methods can reach their full potential ONLY if the
SUPERIOR LINSEED/FLAX OIL of the Old Masters is used.
WHAT IS AGUADO?
It is an "OIL OUT" mixture. It is NOT a painting medium nor a paint thinner. As an oil out the
AGUADO allows the paint to glide effortlessly on the surface of the support, and stays as
placed.
The AGUADO mixture is made of 1 fluid ounce of the fast drying Superior oil with 1+1/2
VOLUME ounces of Calcium Carbonate Chalk from Champagne France. It can be ground on a
grinding table . Adding chalk and oil in a jar and stirring causes lumps but is easier. Keep the
jar capped when not in use.
THE TWO OIL OUT METHODS : AGUADO and EMULSIONS
The Flemish paintings by the Van Eycks and others were generally - not always- of small size
and on wood panels. The smooth wood support and the method used allowed micro-fine lines
with great details in the photo realistic effects. The CSO/EMULSIONS method can duplicate
those effects and the wonderful paint quality. This is done without any use of Driers, Varnishes,
Resins or Solvents. It depends in great part on the SUPERIOR oil described in my book to
make the two Emulsions. The two EMULSIONS I developed are truly a 'Wonder Medium", and
are an integral part of the method. HOWEVER- the two emulsions MUST be applied in a
special way. This application method takes time to get it right. This application method is ideal
for smaller easel paintings up to 24" X 30" , but if an artist is faced with a 6 foot tall canvas, the
task is daunting.
The huge Baroque paintings of Rubens required an easier method. These are the reasons for
the development of the CSO/AGUADO method - Speed, Efficiency and Ease. My development of
AGUADO occurred through normal evolution of time and need. Only by using the perfected
CSO/Emulsions method over several years while experiencing its specific requirements and
needs, was it then possible to understand the need for expansion, then to think, test, and
develop.
AGUADO , A HISTORY OF ITS DEVELOPMENT
The CSO/ AGUADO method could not have been developed without first developing the
CALCITE SUN OIL/ EMULSIONS mixtures, the development of its application methods, and
proving its value by actual painting.
Through my book I have met many fine painters across the globe.
One being Mr. MAURICIO FERNANDEZ- GUTTIEREZ whose fine paintings can be seen at :
www.mauriciogallery.com . He brought up one very good question about the CSO/EMULSIONS
method. He asked how it would be used in large mural sized paintings he enjoyed painting,
since he found application of the Emulsion ‘oil out‘ to be slow.
My first thought was knowing the Old Masters had workshops with working students to do the
menial labor. The Master was in the business of earning money and teaching, not applying ‘oil
outs‘. Students helped them complete commissions. I recognized the huge difference in SIZE
between the small paintings of the 15th century, and those HUGE paintings of the BAROQUE
17th century.
This led me to develop an expansion of my original ‘oil out’ method because the Emulsion
must be applied correctly because it contains egg Glair, and the application takes time.
Yet, the original CSO/EMULSIONS method is a method of perfection, allowing one to paint like
the Van Eycks with the finest details and control of the paint not equaled by solvents and resins.
AGUADO FOR LARGE PAINTINGS
AGUADO can be used to paint large and small paintings and can be used depending on the
style of the artist. The difference between AGUADO and an EMULSION is AGUADO has no egg
and the viscous flowing sun oil will not retain micro-fine lines or details, but the artist makes
the ‘oil out’ choice as not all styles require that.
1. PREPARATION OF THE SUPPORT: The support, whatever you paint on, MUST BE SEALED,
MADE COMPLETELY NON ABSORBENT. There are several ways to isolate the priming ground.
My book gives several.
2. DRAWING: Drawing can be done wet or dry. VELAZQUEZ did not draw with pencil, charcoal,
nor ink but VAN EYCK made highly detailed drawings before applying the paint. Velazquez drew
with his paint as he pain tined, using a medium dark paint . After Rubens met Velazquez in
1628 Velazquez switched to light colored pale grounds like Rubens used. After draw-painting
his dark image, Velazquez scratched guiding lines into the wet dark paint and it left a faint white
line. They served him as a guide. These were easily covered up but 350 years later the
translucency of the paint allows us to see the white scratch lines.
3. AGUADO : The word, " AGUADO" is Spanish for ' THIN" , as when a liquid mixture is very
loose and thinned. Its opposite is " THICK" like a thick sauce. Phonetically it is pronounced in
English as : AH-GOO-WAW-DOH… with accent on the WAW.
"AGUADO" RECIPE
USING the superior oil , GRIND the chalk with the oil RATIO:
1 fluid ounce oil, with, 1+½ weight ounces of chalk.
APPLY it to the support with a stiff bristle brush.
WIPE IT DOWN evenly to an ultra thin film, removing all excess with a rag until it becomes
transparent and colorless. The chalk causes the fluid viscous oil to remain where it is placed
while the oil allows the paint to flow on the surface.
To those of you who have my book [ October 2008 edition] on page 53 under the heading
ADDITIONAL INFORMATION, you will note it says " The Calcium Carbonate, like the egg, adds
body and provides stability to the paint, preventing sagging or dripping". The next paragraph
describes how to use CSO as an OIL OUT. When I wrote this, my experiments had proven what
I wrote, but I had not envisioned at that time, this expanded use of this mixture now named,
"AGUADO".
This use of AGUADO is a wonderful expansion of the CSO/EMULSIONS method.
IT DOES NOT ELIMINATE the use of the VISCOUS or the NON VISCOUS EMULSIONS,
because it cannot allow micro-fine lines and details but rather COMPLIMENTS and EXPANDS
the CSO METHOD, making it more versatile.
-copyright 2009 Louis R. Velasquez , made public July 4, 2009
PAINTING A PORTRAIT WITH CSO/AGUADO METHOD
My website has color photos illustrating the comments below.
Even without the photos, there is instructional value in explaining how I paint with the
CSO/AGUADO and the CSO/EMULSIONS. NOTE: The under paintings were in oil, not an egg
tempera which requires different procedures.
SUPPORT
12 INCH x 12 INCH, 1/2 inch birch plywood. Traditional Rabbit skin glue size, and traditional
Rabbit skin glue gesso made with Calcium Carbonate. One coat of Size, Two thin coats of
gesso. One thin gray coat of Size to seal the ABSORBENT gesso, to render it NON-
ABSORBENT. IT is VERY important to isolate the gesso so it will NOT remove oil from the paint.
There is NO NEED to create a MECHANICAL LOCK. If your eyes could for a moment see at the
microscopic level, you would see the gesso is full of
cavities. A layer of glue does not fill those cavities as liquids conform to the shape of their
surface.
UNDER DRAW
VELAZQUEZ did not under draw with a pencil. He drew with the dark paint as he painted. I drew
the image with pencil. I did not fix it knowing it would smudge. I mixed a little VENETIAN RED
TUBE PAINT with the AGUADO, to give it a warm color on the GRAY gesso. I brushed the
AGUADO mixture on the surface with a wide thick bristle brush. I used a rag to wipe it evenly
and ultra thin. Excess was removed. This took seconds. INTO THIS wet paint film, I continued
the next step.
UNDERPAINT: I believe in leaving BLACK to the finish stage. In the under painting stage, one
gets all the darks one needs by mixing BURNT UMBER and ULTRAMARINE BLUE in equal
amounts. AS with the CSO method, one mixes 50/50 of the CSO with the tube paint. THIS
creates a viscous sticky paint. A BRISTLE BRUSH is needed to under paint as it easily moves
the viscous paint. The viscous paint blends extraordinarily easy, yet the CSO mixture keeps all
brush marks reasonably sharp if not blended. I used this dark paint to define the image and
some shadows.
I mixed what I call a HALF-WHITE. This is a mixture of Titanium Dioxide WHITE TUBE OIL
PAINT with enough BURNT UMBER to about a level 3 on a VALUE scale [ PURE WHITE is 1
and PURE BLACK is 10]. This HALF-WHITE keeps the white value in check and eliminates the
CHALKY white effect. WITH THIS half white I painted into the wet paint and created what is
known by many names: DEAD COLOR/ MONOTONE/ GRISAILLE. VAN EYCK would have made
a detailed pencil drawing and would have carefully INKED it. I paint with loose gestures.
USING VELAZQUEZ scratching technique, I used the brush end to scratch a DOVE into the dark
wet paint. The gray toned gesso shows through. Over paints will completely cover up the lines,
until hundreds of years later, as the oil paint becomes more translucent and the lines will peek
through thin paint.
I used two brushes. One a 1/4 inch bristle and the other a thin fine sable. I only use natural hair
brushes called ‘rounds’. I usually break off the handles to shorten the brush the length of a
pencil because it gives me more control. The lines of the feather were scratched into the wet
paint. Light colored paint applied with the thin sable brush are visible. The under painting stage
is easily done. It is smooth, fast, unhindered. Very little blending is required because the bristle
brush easily blends the viscous CSO PAINT. THIXOTROPY is a wonderful quality because the
fine wet LIGHT COLORED paint lines are painted ON TOP OF the wet DARK PAINT LAYERS.
They blend as one wishes. LINES and brush marks are at your command. You can leave them
sharp or blend them smooth. This stage was completed in one hour.
OVER PAINT THE NEXT DAY
The paint from the previous day was dry. This FANTASTIC fast drying quality is one of the
benefits of the SUPERIOR OIL of the OLD MASTERS . I use no driers or additives to my oil. It
certainly helps to paint with UMBER and ULTRAMARINE BLUE in the lower stages as these
colors are fast drying colors. MIXING the umber with the white helps dry the white paint, known
to be always a slow drying color in tube paint.
THE CSO METHOD ignores the FAT ON LEAN principle because no solvents are used. EACH
OF THE TUBE COLORS was mixed with CSO.
Before painting again, I applied the AGUADO and wiped evenly. THE OIL OUT APPLICATION IS
EASY AND FAST. In one and a half hours I completed the Over paint color stage .
THE FINISH STAGE
It has been said, “Anyone can start a painting, but only a master can finish one”. This is the
hardest yet most rewarding part of painting. To finish one, you must live with the painting,
seeing it everyday under normal family conditions, and hearing the comments of others. Most
important is seeing ALL THE BAD THINGS I DO NOT LIKE in the painting. Also, IN MY sleep I
solution the difficulties of the painting. I am never in a hurry to FINISH the painting. This stage is
where the glazes, the fine details, the corrections are slowly made. It is seemingly never
ending. DURING this stage I RECOMMEND switching to the VISCOUS EMULSION as the OIL
OUT MEDIUM. THE AGUADO is 98% TRANSPARENT. THE VISCOUS EMULSION is 100%
TRANSPARENT.
*****
THE LION AND THE BIRD
This is another example of how I painted a painting. The under paintings here in this painting
are in OIL. If any egg tempera is used as an under painting it must be made non-absorbent by
different procedures. One can under paint with Acrylics and over paint with oils without any
additional precautions other than an ‘oil out’.
DAY ONE
1/2 inch birch plywood. Sealed with one coat of clear Rabbit Skin Glue. Two thin coats of
Traditional coat of clear Rabbit Skin Glue to isolate the gesso. NO UNDERDRAWING. Oil out
with AGUADO. Tube paint mixed with CSO 50/50. The image was painted in one color,
Venetian Red. . Scratch marks to define vague areas serve as an invisible drawing that will be
covered.
DAY TWO, NEXT DAY
The paint was dry. You are ready for the next layer when a vigorous oil out application of the
AGUADO with a bristle brush and wiping off of excess AGUADO will not smear the under paint
layer from yesterday. I do not use BLACK in any under layers. I use PURE BLACK only in the
FINISH STAGE. I make a DARK color by mixing equal amounts of BURNT UMBER and
ULTRAMARINE BLUE tube paint. IT is mixed 50/50 with CSO. This gives the weak soft tube
paint a luster and hardness in drying and the CSO gives it the requisite VISCOSITY to allow
THIXOTROPIC applications of WET paint on top of WET PAINT.
The dark paint, is thin and with a bristle brush and on the AGUADO oil out it glides effortlessly
on the surface. NOTE: I now have the THREE important tones. The pale gray from the toned
gesso (as Rubens did], The mid tone of the Venetian Red. and the DARK tone. The Light gray
values of the Grisaille are important to give a Three-D effect.
INTO this wet surface I began to paint in some local color, the tan of the lion, the blue of the
back ground, and some GRISAILLE in the bird and areas of the lion. I do not use PURE WHITE
because it dries too slow. I make a 'half-white" which is a mix of Burnt Umber and White. I use
Titanium Dioxide.
* The umber accelerates the drying of the white and any raised impasto
* The lowered value of the half-white keeps the VALUES in check., and increases color variety.
THIS was allowed to dry over night
DAY THREE : NEXT DAY
The paint was dry and I applied the AGUADO OIL OUT. ALL colors except BLACK were mixed
with CSO. The painting progressed with some details and improvement of textures, etc.
DAY FOUR : NEXT DAY
The next day the paint was dry. Oil out with AGUADO. All colors mixed with CSO.
PURE BLACK WAS USED FOR THE FIRST TIME. The painting is 90% finished.
As time permits, the next steps will be to continue the color development.
DAY FIVE: I did no work on the painting.
DAY SIX:
I saw the surface sheen had diminished , so I applied an AGUADO coat on the entire surface,
making it as thin as possible. I later saw that this final ultra-thin AGUADO
clear coat had dried to a diminished sheen. This told me that a painting made with the
AGUADO 'OIL OUT" throughout its various layers, still required an ultra-thin coat of the
VISCOUS EMULSION as a final permanent layer.
COMMENTS
The FINAL ultra thin ' oil out' with the VISCOUS EMULSION on the dry finished painting is a
PERMANENT LAYER of the painting. DO NOT CONFUSE it with removable resin varnishes of
dammar that become yellow and last only 40 years and require removal and replacement. THE
VISCOUS EMULSION oil out film is part of the ACTUAL PAINTING. It is PERMANENT. IT DRIES
to a crystal NON YELLOWING FILM, as all thin films of flax/linseed oil will, when exposed to
sunny rooms.
IN normal light the EMULSION and the AGUADO are INVISIBLE. WHERE the AGUADO is
subdued in sheen, THE VISCOUS EMULSION dries to a HARD, 100% crystal clear satin sheen
that fully shows the depth and luster of the CSO PAINT.
I recommend a FINAL ultra-thin layer of the VISCOUS EMULSION should be applied.
AGUADO FAQ AND ANSWERS
THE AGUADO MIXTURE IS REALLY BUT A THINNED CSO ... CONTAINING ONLY THE
SUPERIOR OIL AND A SMALL AMOUNT OF CHALK ...THEREFORE, IT IS FULLY COMPATIBLE
WITH THE TWO EMULSIONS
EMULSIONS AND AGUADO CAN BE USED IN THE SAME PAINTING
THE AGUADO MIXTURE IS 98% TRANSPARENT
THE EMULSIONS ARE 100% TRANSPARENT
USE THE EMULSIONS AS THE OIL OUT ON VERY FINE DETAILED WORK AND ON THE FINAL
FINISH LAYERS
ADDING EMULSION TO THICK PAINT WILL PREVENT WRINKLING
ADDING AGUADO TO THICK IMPASTO MAY CAUSE WRINKLING.
EMULSION CAN THIN THE PAINT
AGUADO CANNOT BE USED TO THIN PAINT
EMULSION ALLOWS MICRO-FINE DETAILS
AGUADO DOES NOT ALLOW MICRO-FINE DETAILS
*****
3. "HOTPLATE OIL" - MAKING FAST DRYING OIL IN WINTER
Oil is made faster drying by Light, Heat, Oxygen, Additives such as Umber, and TIME.
PROCEDURE:
1. Use only UNREFINED food grade cold pressed FLAX OIL. This is not sold in Art Stores. It is
available online or in health food stores. I use BARLEANS brand. They sell a regular flax oil and
one labeled, " Highest Lignans". DO NOT BUY 'HIGHEST LIGNANS" it is dark oil filled with
added ingredients for health consumption.
2. FIRST you must cleanse the oil by using the updated PSYLLIUM-ALCOHOL method. Do this
indoors if needed. Outside is better as ultra violet rays impact drying..
3. Once cleansed and filtered, place the oil in an 8 inch wide or wider opaque white baking dish
without a top. The oil should not be thicker than 2 inches or the moisture will not effectively
evaporate. Do this outside and far away from any open flame heat source. Do not do this in a
closed garage where a gas pilot light is located. Leave the container uncovered, but placed in a
place where NO MOISTURE will enter the oil.
4. Place the baking dish on an electric stove - do not use an open flame- SET THE
TEMPERATURE TO 115 Fahrenheit, and no higher. Place an oven thermometer in the oil to
check the accuracy of the settings and dials on the electrical hotplate. Allow the oil to remain on
the hotplate for 11- 20 days or longer. This will be equivalent to outdoor heat. The oil must be
stirred a couple of times daily for about 15 to 30 seconds.
CONCLUSION
The white container is an aid in bouncing the light, even if located in an enclosed area like a
covered outdoor patio. If you want your oil to be more viscous, it can be left for a longer period.
My 11 day test period resulted in a beautiful, crystal clear, medium viscous, fast drying oil [ dry
in 30 hours]. A UV mercury lamp may be beneficial to bleach the oil.
The difference with it and my 30 day sun thickened in hot summer oil, is the HOTPLATE OIL is
YELLOW and not bleached. Though the HOTPLATE OIL is yellowish in concentration of a 4 inch
wide jar, when it is thinly applied, it is colorless and crystal clear.
To retain the degree of viscosity, keep it capped. To increase the viscosity, leave the cap off, but
keep the oil in a dry warm well ventilated room. Place the jar in a sunny window and over time it
will bleach some. In summer, place the jar in direct sun to bleach it more.
Please read the essay on the yellow color of the oil. It is harmless under specific conditions.
*****
4. "UMBER OIL" and “ HALF-WHITE“ FOR UNDERPAINTING
Frans Hals' virtuosity of oil paint application is unexcelled by any other painter with possibly his
only equal being Rubens. The beauty of color, and paint textures in Hals' work is amazing. In
Hals' own words, he began his painting in a "DEAD COLOR". This means he used muted
colors in his UNDER PAINTNG, as a foundation for the colorful OVER PAINTING. Hals' term,
"dead coloring' is also called ' monotone', or 'grisaille'.
Use of 'dead coloring' was an expanded development over the method used by the Flemish
painters such as the Van Eyck brothers. The early Flemish masters made an elaborate ink
outline drawing on a pure white gesso priming. Their oil colors were applied thinly on the
drawing, creating jewel-like colors due to the 'inner light' from the gesso. The method was
slow, restricted, laborious, and most paintings were relatively small. Hals' method was
developed by the 16th century Italians such as Tintoretto and Titan who did away with the
intricate under drawing.
Titian recognized the importance of using a white under painting to give his colors that jewel-
like appearance. Thus was born use of the 'dead coloring' method. This method allowed the
painter to apply pure white paint at any stage and layer of the painting, not just in the bottom
gesso priming. Titian's method allowed him to paint massively large paintings with great
speed. The drawing of the design composition was made with oil paint, muted "dead colored'
value tones, and was part of the painting process.
One important requirement for PERMANENCE in oil painting of layers is that the bottom layers
must be fast drying. Top layers must be slower drying, with the admonition to not paint fast
drying layers on top of semi-dry, slow drying layers. This brings up the subject of UMBER OIL. I
did not invent this. In Frederic Taubes' book of mid 20th century, he gives instructions on this
concept. It is easy to make but requires a bit of caution.
PROCEDURE: Add a bit less than a level teaspoon, of dry umber powder [ burnt or raw umber ]
to a quart of sun oil. Shake. It is ready to use immediately. The oil will turn very dark - as seen in
concentration - but when thinly applied, it is transparent but ' muted'. This muted tone is not a
disadvantage in creating the 'dead coloring' stage. Use this umber oil to create AGUADO for an
'oil out', and to make a muted CSO - for under painting. Its advantage is that it will accelerate
the drying of the paint.
HALF-WHITE FOR UNDERPAINTIN: Before using slow drying white paint in the under painting,
mix some burnt umber to it. I call this a HALF- WHITE, but it does not use 50/50 of umber and
white. Just a 5% of umber to the amount of the white will greatly increase the drying.
5. YELLOW LINSEED OIL IS NOT AN ISSUE
Normally I sun my oil from early May though August. It has been hot enough in the past to
create wonderful fast drying sun oil. The Sun oil exposed outdoors for 30 days results in a
beautiful, water clear viscous fast drying sun oil that is the foundation of the ‘ Calcite Sun Oil
method of oil painting, which allows elimination of solvents, resins and driers. ALL because of
the superior properties of that sun oil, an oil that disappeared at the onset of the 19th century.
This year I sunned oil longer than my May through August hot summer dates. I sunned oil into
September and October. Finally I stopping due to cool, cold very moist nights. In the early
morning I found thick water dew on the glass plate covering my otherwise exposed containers
of oil. WORSE yet, the underside of the glass panes were covered with heavy moisture of
condensation. I live 5 miles from the ocean. Even in hot August, I get a layer of marine air that
will not burn off until 10am. Then it is hot until 4 pm. But my heat is not HOT like in Texas. When
its 80F in San Diego, it is hot.
Then in October an artist ordered some oil. I sent him the final batch from October because it
was clear and beautiful. He wrote back saying the oil was not drying within the 30 hours
expected. There is an old saying in Spanish, “ No hay mal, que por bien no venga”. Translated
loosely it says that no matter how bad, things are, something good will come of it. And it proved
to be so.
I concluded the late date sun oil never got enough heat, and was doubly exposed to too much
moisture at night causing the oil’s natural moisture content not to evaporate. The result is a
slow drying oil, though bleached clear, and somewhat polymerized from exposure to some
daily low heat sun and oxygen for 30 days.
THE LESSON LEARNED: To effectively make sun oil, one must have hot sun and the least
amount of moisture in the air.
GOOD NEWS THAT DEVELOPED
A contemporary artist is experimenting with using demonstrated that linseed [ flax] oil can be
bleached in total darkness, and the degree of bleaching is equivalent to sun bleaching as well
as dry fast. This causes one to rethink the forces and factors applying to bleaching. Much more
is yet to be learned on that.
The yellowing of linseed oil is of two kinds. The yellow one sees in the fresh liquid oil, and the
yellowing caused by aging over hundreds of years, called ‘ secondary yellowing’. The Van Eyck’
s 600 year old oil paintings were painted with FLAX [ linseed] oil, and they are bright and clear
in the whites and all colors. No yellowing is noted.
But, WHITE is not always brilliant white.. I saw a Rubens painting and the white paint was
brilliantly white — until I put the museum guide printed on white bright paper, next to it. In
comparison, Rubens’ white was dull. BUT, his use of darks made his white appear brilliantly
white. All the old Masters used BLACK, and the Impressionists’ paintings which use no black
paint, always lack that depth and contrast.
The real culprit of loss of color brilliance and darkening, yellowing and browning, comes from
using linseed [ flax] oil that has NOT BEEN CLEANSED of its mucilage. Photos on my website
clearly demonstrate this.
The yellowing and browning from decomposed mucilage is IR-REVERSIBLE.
The yellowing caused by the oil’s fatty acid content IS REVERSIBLE as Rubens’ wrote.
The famous Levison scientific study of the 20th century, and the knowledge of Rubens of the
17th century result in the same findings. CLEANSED Linseed oil yellows in darkness and
moisture, and CLEANSED linseed oil will bleach crystal clear in warm sunny sunlight filled
rooms. It is that simple IF the oil has had its mucilage removed first.
MORE GOOD NEWS RESULTING FROM COLD WET SUMMER
Because I had this slow drying BLEACHED WHITE SUN OIL on my hands, I decided to try to
evaporate its moisture, then to test it. I placed it uncovered in a white opaque corning baking
dish, with the oil about 2 inches thick, on an electric hotplate. I set the temperature at 200F.
Four hours later it had turned completely bright yellow. It went from the sun bleached clear to
the bright yellow. But, this yellow is a beautiful highly transparent crystalline yellow. It is not the
yellow orange color of the UNCLEANSED unrefined oil nor that dark yellow linseed oil in art
stores. The clarity and beauty of this HOTPLATE OIL is sparkling. I decided the yellowing was
caused because the temperature was too high.
Here is how to check whether the oil is clear and not yellow for painting: Place UNCLEANSED
OIL in a clear glass jar, and if one shakes it, the gravity will soon regroup it together. One sees
the strong yellow color remains on the glass, until it finally regroups. This HOTPLATE, heated
sun oil leaves NO YELLOW on the glass walls as it drips down. The glass is completely crystal
clear and colorless.
My discovery was how the heated oil had turned bright yellow in the jar when seen in
concentration, BUT it was perfectly crystal clear and colorless when thin. This thinness is how it
is used in oil painting.
WHITE LINSEED OIL
Some artists are experimenting with creating a clear white Linseed oil.
Whether one calls it 'No-Sun Oil" or ' Un-Sun Oil', or, 'Shade Tthickened Oil", this method is to
place the oil in a lead tray. After a period of time, the oil becomes cloudy then over more time, it
settles if a solvent is added to cause separation of its components. Over some lengthy period
of time , this oil then clears almost colorless.
I BELIEVE THIS PROCESS IS DESTRUCTIVE TO THE OIL.
I see a chemical reaction of the oil and the lead. The lead LEACHES important fatty acids from
the oil ,and PERMANENTLY REMOVING them. The leaching separates the oil’s fatty acids by
chemical reaction but they remain in suspension. Subsequent addition of the solvent causes
the precipitation drop of these very important fatty acids. The persons doing this believe they
have improved the oil but they have damaged it.
In essence, the stable molecular strength of the oil is changed to its detriment. The fatty acids
of linseed oil are many, and science shows the NORMAL yellowing of linseed oil is caused by
two of them, the Linolenic and Linoleic fatty acids. These fatty acids serve an important function
to the stability and permanence of the oil.
They give the oil great long term endurance, strength, and pliability, in other words ARCHIVAL
PERMANENCE. Removing these important fatty acids in order to permanently create a light
colored oil so as to delete a yellow that NORMALLY WILL BLEACH with sunlight is not wise.
The Old Masters’ sun thickened linseed oil is sun bleached beautifully and water clear, but the
fatty acids are NOT REMOVED. They remain to protect the oil and are simply bleached by
sunlight. This is proven by removing this clear oil from the sun, it soon reverts to a yellowish
tinge, pale and not as dark as the uncleansed oil filled with mucilage. Storage in the dark will
deepen the yellow more. Exposure to a light filled room will again bleach the oil just as
RUBENS knew it would. Rubens used safe oil that will yellow in the dark because of its content
of the fatty acids. Rubens’ paintings are amongst the best preserved in history.
The fatty acids of the linseed [ flax] oil are reported by academic sources.
Linseed oil is a ‘drying oil‘, meaning it hardens upon exposure to oxygen. The oil is a mixture of
triglycerides with fatty acids. Flax/ Linseed oil has numerous fatty acids.
• The saturated acids palmitic acid (about 7%) and stearic acid (3.4-4.6%),
• The monounsaturated oleic acid (18.5-22.6%),
• The doubly unsaturated linoleic acid (14.2-17%),
• The triply unsaturated omega-3 fatty acid α-linolenic acid (51.9-55.2%).[2]
The unsaturated esters of linseed oil allows polymerization [ thickening] reactions upon
exposure to oxygen. This polymerization causes the molecules to cross and results in the oil
changing into a hard pliable rubbery material. We can say it ’dries’, but it oxidizes and cures, it
does not do this through evaporation. Science demonstrates how important the Fatty Acids be
not removed , altered, nor impacted by any treatment to cleanse the mucilage filled raw oil.
Modern treatments with caustic lye chemicals damage the oil.
MY CONCLUSION:
The Old Masters and science have adequately proven that though Linseed [flax]
oil is yellow, it is nothing to fear, fret over or worry about. It is easily and normally
bleached by a sunny room. The wonderfully preserved Van Eyck paintings and
those of Velazquez, Rembrandt, Rubens and others who all used linseed [ flax] oil
as their predominant oil, prove the durability, pliability, and permanence of
cleansed flax [ linseed] oil is the real goal.
Use of destructive methods to LEACH OUT and remove its important constituents to make
white oil are injurious. The experimentalists who do this ignore science. They are grouped with
those PhD academics who ‘suggest’ that Rembrandt used degraded, uncleansed Burnt Plate
Oil in his oil paint. Included are those who advocate use of Burnt Plate Oil in their UNENDING
formulations of best forgotten painting mediums. They are as misguided as those Varnish
makers of copal and Amber, who make and sell boiled degraded oil in their varnishes.
A DEEP YELLOW LINSEED/FLAX OIL IS OF TWO KINDS.
1. An archival oil = Unrefined cold pressed Flax/ Linseed oil that has not yet been cleansed of
its damaging mucilage. This deep color is reversible by non destructive means.
2. A decomposed degraded oil = Heated at unsafe temperatures above 230 degrees Celsius.
This damage is irreversible.
A COLORLESS LINSEED/FLAX OIL IS ONE OF TWO KINDS.
1. An archival oil = An oil containing its numerous fatty acids ,temporarily bleached of its yellow
coloring by certain non invasive nor destructive environmental conditions such as sunlight, low
humidity and warm oxygen. Under ideal conditions, this clear colorless condition remains
constant.
2. A decomposed degraded oil= An oil with permanent removal of its important fatty acids
caused by exterior human processing, be it by caustic lye chemicals or use of metallic salts
such as lead to leach the fatty acids causing the yellowing to be permanently removed from the
oil. This is a permanently irreversible degraded oil.
*****
6. EMULSIONS
Both emulsions, the VISCOUS EMULSION and the NON VISCOUS EMULSION play a crucial
part in the CSO METHOD. My published book states it must be kept refrigerated because egg
will spoil. Yet, experience shows that over weeks, it will spoil even when refrigerated. The Old
Masters did not have refrigerators and use of egg led to a name called PUTRIDO in the Italian
language. In Spanish [ my first language as a child ] the word PODRIDO is similar and means
rotten or spoiled and we all know the odor of rotten eggs.
Regardless of the vinegar added, the egg eventually goes bad with an odor. Science tells us
vinegar contains ascetic acid and it impacts the Albumen which is Protein. Therefore, I do NOT
recommend adding vinegar to the emulsion for oil painting, but with the new CSO-EGG
TEMPERA medium and gesso that will be covered with oil paints, it is needed in the mixture
with the chalk.
One problem I see with refrigeration of an egg emulsion is the closed jar creates a certain
amount of condensation of water. I do not think this is helpful or desirable. Certainly the Old
Masters did not have to deal with this factor. Possibly the best approach is to make the
emulsion fresh for use, keep it capped tightly when not used and let it sit in a cool room at
room temperature, discarding it after a couple of days. Always use a new unused jar for new
egg emulsion mixtures. Experts say no matter how much soap and water used to wash out a
used jar, it contaminates new mixtures.
Two things are happening chemically to the emulsion mixture. One is the sun oil is very acidic.
The other is the glair is very complex in its structure as is the oil. Over time you will see a
phenomenon. The oil will darken, as some of it separates and sits on the floor of the jar. YET.
The emulsion that is fully emulsified and seen clinging to the walls of the jar remain fully
transparent when thin, or when thick it is opaque with a clean pale white color. When used as
an "oil out', the thinness of the emulsion is clear and as transparent as crystal glass. This
transparency remains constant and there is no change over the years. It may be best to make
the emulsions fresh every few days, and not let the water condensation impact the
effectiveness.
*****
7. PACHECO’S METHOD OF CLEANSING OIL: UPDATES
In 2008 I conducted extensive tests on the method described by Francisco Pacheco in his
published book of 1649. As you know Pacheco was the teacher of the great master Velazquez.
My book contains all the test results of Pacheco’s method up to date of my revised publication
of October 2008.With recent tests in 2009, I believe I now understand Pacheco’s method better.
To summarize his method: Pacheco said to use one pound of Linseed oil. A pound in his day
is equal to our 16 fluid ounces. To this is added 3 ounces of ‘aguardiente lo que se llama ‘de
cabeza’. This phrase in Spanish means it is alcohol spirits.
PACHECO’S ALCOHOL FOR CLEANSING OIL
The answer to the alcoholic content of Pacheco’s liquor used as the cleanser for his unrefined
Flax oil is found in this internet source. http://en.wikipedia.org/wiki/Brandy
The topic is the Distillation of Brandy, a drink common to Pacheco’s day. Pacheco wrote we
should use ‘ aguardiente lo que se llama ‘ de cabeza’. The Spanish word, ‘aguardiente’
translates literally as ‘burning water’ meaning an alcoholic spirit. The article describes how
wine has 12% alcohol and the rest being water. When it is heated this distillation creates a
liquid called ‘ low wine’ having an increase of alcohol to about 30%. A second distillation
results in the ‘ head’ which Pacheco called, ‘ de cabeza’ which also means ‘head’. This first
liquid is described in the article as being about 1% and has about 83% alcohol. This liquid has
a bad odor and is discarded by Brandy makers. There then is Pacheco’s liquor: 83% ethanol.
This powerful liquor is not sold in stores. I discourage everyone from using denatured alcohol
because of its extreme danger to human health. So, what do we do?
This is an idea I have not yet tried but will in the future:
Take 6 empty glasses and put 4 ounces of 80 proof Brandy in each. This means the liquor has
40% alcohol and 60 % water. Place a teaspoon of psyllium husk in each glass with the liquor.
The husk will not absorb the alcohol, but it will absorb the water. After waiting several minutes,
pour the remaining liquid [ alcohol] from each glass into one glass. Use a strainer to allow
separation.. You should have the equivalent of 60 % water and 240 % alcohol = 20% water and
80% alcohol.
Pacheco said to add 2 ounces of ‘ alhucema o espliego en grano’ which is Spanish for the
Lavender plant’s flower bud. He specifically said “ en grano” which is in granular form. Tests
made with the liquid known as Spike, which is the solvent in the flower bud does not work. After
tests in 2009, I now believe that the Lavender flower bud must be used DRY and not fresh cut. If
it is used FRESH cut from the plant, it works, but an additional step not mentioned by Pacheco
is that of manually separating the mucilage and the flower buds from the oil. This is extra and
tedious work.
By using the flower buds DRY, the dry husks ABSORB the water and the mucilage from the
alcohol and oil mixture. Of course the alcohol is the catalyst that causes the mucilage to
separate from the oil, and alcohol with exposure to oxygen dissipates.
My knowledge of Pacheco's method led me to create the use of PSYLLIUM HUSK because
Psyllium Husk does not contain any SOLVENT as the Lavender flower does. The Psyllium -
Alcohol method is fully described in my book. It is completely safe and works magnificently.
Just be sure to allow the mixture to stand in the sun for at least 8 days to 10 days without
moving, then filter carefully. The resultant oil is transparent beyond belief.
8. HAND GRINDING PAINT
My book describes how to hand grind oil paint. For daily use, a simple palette knife and
grinding table [ a glazed floor tile] is sufficient. There are many important benefits to hand
grinding. One is that you control the oil and you do not add stabilizers as the tube paint makers
do. All tube paints bought at the art store have the very slow drying alkali refined oil. You can
use the faster drying sun thickened superior oil instead. In my book I describe how to use the
CSO to grind the dry pigments in. It can be work because one is adding
dry powder to a perfectly mixed CSO. Here is a better and easier way. Use the AGUADO mixture
to grind your dry pigments. Be careful to not add too much of the AGUADO. Use only the amount
needed to create the paint. You can add dry chalk to this paint and regrind it to make it with
more body, or, add small amounts of CSO. The key is to experience an INTIMATE relationship
with your materials. Only by experience will you be able to use the CSO method to its full
potential.
*****
9. BLEACHING LINSEED OIL WITH A FOOD DEHYDRATOR
A person I know has made startling findings by bleaching linseed oil with a dehydrator.
Experiments are being continued to determine if an equally efficient polymerized linseed oil can
be processed indoors without use of the sun's rays and heat. If this were possible, the oil could
be made indoors all year, whether winter or summer. It has been proven the oil can be
bleached in the total darkness of the dehydrator.
This is an important observation that questions the results of the famous Levison study :
http://cool.conservation-us.org/coolaic/jaic/articles/jaic24-02-002.html
Mr. Levison demonstrated that if linseed oil paint is kept in darkness, it will yellow and if
brought out to the sun light, the yellow is bleached. Mr. Levison concluded that it is the sun light
that bleaches the yellow from the oil. These new findings seem to disprove Mr. Levisons'
findings, and bring up the question of whether dry heat and ventilation as being possibly the
main causes of the bleaching of the oil.
I too am conducting my own testing with a dehydrator to be able to observe results.. My initial
research into dehydration of oil shows an early 20thcentury ( 1930's) experiment found
described in Kurt Whelte’s book. A German scientist worked on dehydrating the very slow
drying castor oil. No final results are given in Whelte’s book. This was a dangerous period
between two world wars. Maybe the production cost was prohibitive,
or, war destruction ended the experiment, or it was unsuccessful.
Any person, trying any of these experiments with a dehydrator, or, any others described
anywhere on my website or in my book are doing so at their own risk. Do not conduct any of
these tests or experiments without assuming full responsibility for your own safety. Never heat
linseed/flax oil near an open flame or in a closed room inhabited by humans or pets.
DEHYDRATOR OIL CONCLUSIONS
My testing of the use of a Dehydrator to create an equivalent substitute for traditional Sun
Thickened Linseed/ Flax Oil has come to an end. Experiments by others may result in a
successful result. I give my deep thanks to my friend, Mr. J.L. for providing me with his
experiments. His testing inspired me greatly and were a source of much stimulation. I hope
one day the superior oil of the Old Masters will be found in every Art Store. I know only too well
the hardships faced by many artists residing in cold climates in acquiring the Superior oil of the
Old Masters.
My experiences I encountered as I tested a dehydrator.
1. The temperature settings on the exterior dials were not accurate. I used TWO oven
thermometers to determine the accurate degree of heat inside the dehydrator.
2. My first tests were first made at 180F [ the dial read 155F ]. In my last tests I lowered the
temperature to 115F [ the dial read at 95F]. Perhaps expensive units are more accurate. I used
a low cost unit.
3. I placed 8 small jars in the dehydrator. Some had 1 inch of oil, others had 2 inches of oil.
4. As the days passed, I removed a jar with 2 inches of oil every 5 days, up until 20 days. None
of these samples became pale bleached. None became viscous. All were as slow drying as
before being placed in the dehydrator.
5. As the time passed the 20 day mark, the oil in the jar with one inch of oil became darker
yellow, and on cooling, became excessively viscous and not usable.
6. At no time did I stir the oil in the jars. When outdoor sun thickening is done, daily stirring is
required for two good reasons. One is to introduce oxygen into the oil and the other is to prevent
the top layer from skinning. In outdoor sun thickening, the color becomes more pale at about 2
weeks, and at 3 weeks the viscosity is noted as increasing. At 4 weeks the oil is pale white and
viscous. I use a 30 day limit of time but if a more viscous oil is wanted, it can be left out longer.
Temperature variables impact the result. I did not stir the oil in the dehydrator because I wanted
to observe what happened as it remained unstirred. I was watching for some thickening. None
happened. This indicated there was no polymerization occurring. This is perplexing because
the oil was receiving sufficient constant heat and oxygen.
7. In the second tests I lowered the temperature to 115F to keep the oil from darkening. I
placed small containers with 1/4 oil thickness. In 4 days, the oil was bleached, it was viscous
and it was a good drying oil.
Coincidentally, at that period of time, I received a letter from an artist in Barcelona Spain. He
told me that he altered my instructions of procedures, and used a magnification type of glass
cover. He said that he had an extremely hot summer, and that he put his oil in the tray under the
glass at 1/2 inch thickness. With this unorthodox method, his sun oil was bleached pure white
and viscous within 5 to 7 days.
In my previous testing of an accelerated polymerization outdoors, where oil on a cookie try with
a thickness of 1/8 to 1/4 inch has resulted in bleached, viscous oil within 5 days= it has proven
to wrinkle badly when used to make oil paint.
My friend in Spain had written to tell me his sun thickened oil that he processed all summer
had become unusable because of the very thick viscousity in the jars while in storage.
IN CONTRAST: My sun oil, made by traditional methods, remains in storage for years without
any change [ I keep small samples].
CONCLUSION:
My recent study of Sir A. H. Church’s book [ see entry below] has given me the answer on WHY
the oil can be bleached in the dark. Although he does not refer to use of a dehydrator, the
conditions he describes are like those of a dehydrator i.e. HOT AIR.
On page 56 of his book, Sir Church states a linseed oil exposed to a direct stream of heated
oxygen results in a pale fast drying oil that dries throughout, without a skin on the surface.
If any person is going to experiment they must be aware of a few issues. One is how the oil will
stand up under storage condition and how it behaves in practical applications. I wish all artists
good luck , and invite email inquiries as to more details of the experiments I have conducted. In
no way do my results criticize nor demean the results of others. I hope others will succeed.
*****
10. NON-ABSORBENT GROUND FOR OIL PAINTING
It is imperative that before applying oil paint, that the ground layer is completely Non-Absorbent.
Many books and teachers say it must be ‘ slightly absorbent”, and they cite the reason as being
that the oil paint needs a ‘ mechanical lock’ to adhere permanently. They further cite that the
‘slightly absorbent’ gesso layer will suck out “just enough of the oil” from the paint above it, to
lock it all together.
Not only is it impossible to accurately regulate “the degree of oil absorption but this is contrary
to what conservationists have found on investigating the work of the Old
Masters. Science shows that the gesso layer of the Old Masters is preserved perfectly white,
indicating no absorption of the oil from the paint above it. Common sense will tell you why it is
necessary to completely seal the gesso from the oil paint. An artist spends time to correctly
grind the oil and pigment together. Correctly grinding insures the dry pigment is fully bound by
the oil. Any removal of the oil by an absorbent ground is contrary to the effort to bind the dry
pigment particles correctly. Any absorbency of oil from oil paint by an absorbent ground leads to
dry sunken spots in the paint. It is true that dry sunken spots can have other causes, but this is
one that is avoidable.
Many modern painters and their collectors prefer a dry matte finish on their paintings. This is
understandable because a shiny gloss finish on a painting is visually disturbing. Yet, all the
Old Masters’ paintings are ... shiny. That is because OIL is shiny. A healthy oil painting is ..shiny.
One problem that can be avoided is to not use high gloss resin varnishes that only make the
problem worse. The ‘Calcite Sun Oil/ Emulsions method does not have the appearance of the
high gloss resin varnishes. A properly made CSO painting dries with a SATIN finish, shiny, but
not overly glossy.
11. SHOULD THE GESSO BE SEALED?
Egg Tempera should not painted on Acrylic Gesso as they are not compatible. Oil paints can
be painted on top of Acrylic Gesso or on Traditional Glue Gesso.
All Gesso grounds are highly absorbent. Egg tempera paint needs the Traditional Gesso to be
absorbent. Oils should not be painted on any absorbent gesso or the oil gets absorbed from
the oil paint. If painting on gesso with oils, the gesso must be made non absorbent.
Acrylic gesso can be sealed by one coat of acrylic varnish, either gloss or matte, diluted with up
to 25% water. Give it one application and do not rub the brush over and over the surface or the
continued brushing creates scabs. It can also be sealed by one coat of Non-Fat milk bought at
the grocery store. This dries slower and should be allowed to dry in a dry room at room
temperature for several hours.
For oil paints, Traditional Glue Gesso is sealed by applying one coat of the same hot rabbit
skin glue the gesso was made with. Apply a thin coat to the dry gesso surface.
CSO-EGG GESSO is not sealed if Egg Tempera will be applied, but is sealed if oil paints will
be applied. It is not sealed the same as traditional glue gesso is. For sealing CSO-EGG
GESSO the procedure of IMREGNATION is used and is explained elsewhere.
PROPERLY SEALING THE GESSO
Acrylic gesso is highly absorbent and can be sealed by a coat of acrylic varnish, either gloss or
matte diluted with up to 25% water. Give it one application and do not rub the brush over and
over the surface as continued brushing creates scabs. It can also be sealed by one coat of
Non-Fat milk bought at the grocery store. This dries slower and should be allowed to dry in a
dry room at room temperature for several hours.
Traditional gesso is highly absorbent and the way to seal it is to apply one coat of the same
rabbit skin glue [ heated] to the dry gesso surface.
FACTS TO KNOW
1. Non-Fat Milk applied to Hide Glue Gesso, will lift it.
2. EGG TEMPERA PAINT is lifted by either milk or egg.
3. MILK PAINT is not lifted by either milk or egg.
4. EGG-OIL EMULSION does not lift hide glue.
5. Hide Glue will isolate bare untreated wood or cloth.
6. Hide Glue mixed with any powder will not seal wood or cloth.
6. ‘Calcite Sun Oil’ will not lift milk paint or egg paint, and can be rubbed on .
7. Emulsions of ‘oil and milk’ or ‘oil and egg’ will not lift milk paint. But, they will lift an egg
tempera.
*****
12. GLAIR : PRE-PACKAGED EGG WHITES NOT GOOD
Glair is important to the CSO mixture because the two EMULUSIONS are made with it. It is easy
to make glair but it takes 5 minutes to beat the egg whites and about 10 to 20 minutes to allow
a complete distillation of the liquid glair from the froth. This has caused several persons to ask
if pre-packaged egg whites purchased at the grocery store is a good substitute. ON the surface
one would say "yes". But, research of the ready made egg whites shows the manufacturers
must follow laws and regulations to insure health and safety for consumers. This requires
them to heat and pasteurize the egg whites for several minutes at specific temperatures. This
causes destruction of natural components of this wonder ingredient. Therefore....I recommend
NOT using ready made egg whites.
*****
13. FIXING CHARCOAL DRAWINGS SAFELY WITHOUT AEROSOL SPRAYS
The paintings of the great 17th century Flemish painter Peter Paul Rubens, leave me in awe.
Study of the originals reveal a masterly method of oil painting. Many times he began with a vine
charcoal drawing , then with a wash of oil paint he glazed the darks. On this he
painted a grisaille with thick viscous paint then over layered it with a variety of finishing touches
using thin and thick paint. In the very large paintings of several feet in size, he casually left the
charcoal drawing visible in the finished painting. The drawing has a beauty of its own, showing
Rubens' vast power as a draughtsman.
Had he not fixed them, they would have smudged and the dark charcoal dirties the oil. Today
we have spray aerosols. We spray the drawing with Fixative but the aerosol cans create a
HAZARDOUS environment for the breathing of artists. The repugnant odor itself is reason not to
use the aerosols as headaches are common from the mist.
The only safe solution I knew of was non-fat milk which is pure casein and has been used for
centuries. The drawing on the canvas or panel is placed on the floor, and a FINE MIST
SPRAYER filled with the non-fat skim milk is sprayed over the support. It lands on the charcoal
and fixes the grains of dust. But the results were never entirely as successful as the clear fixed
charcoal drawings I would see in RUBENS’ paintings.
The question I always asked myself was... HOW DID RUBENS FIX HIS DRAWING?
It certainly could not have been a studio secret! I felt it must have been commonly known by all
artists of his time. Yet, I have never seen it described in any ancient manuscript or any modern
book.
One day, in July 2009, I came upon a METHOD so simple, it must have been the one used by
RUBENS and others prior to the modern Fixative aerosol spray cans. The answer came to me
in a flash as one day as I sat looking at a charcoal drawing. Testing my hypothesis, proved its
ease and efficiency. Now, artists around the globe can discard the hazardous and unsafe
aerosol spray cans. Teachers in closed studios no longer need to expose their students to
toxic spray mists.
THE CSO-FIXATIVE METHOD
1. The panel is placed flat on a table.
2. A THIN cloth is placed carefully on top of the drawing . I recommend a thin bed sheet.
Do not nail the cloth down as it must be removed almost immediately.
3. A second person can help keep the cloth taunt.
4. Use hot Rabbit skin glue. I recommend use of a wide flat brush. It can be used to douse the
cloth and it can spread the glue easily. The bare hand is also effective and it spreads the glue
easily. Pressure can be applied and it does not disturb the drawing. Use RSG on traditional
gesso, not on acrylic gesso. For acrylic gesso use non-fat milk or acrylic varnish to seal the
gesso
5. It is important to keep the cloth from wrinkling as the glue is spread evenly.
6. As soon as the surface is covered with the glue, remove the wet cloth as carefully and as
soon as possible. Try not to smudge the wet drawing.
*****
14. REMBRANDT DID NOT ADD BURNT PLATE OIL TO HIS MEDIUM
Recently the theory was published ‘proposing’ Rembrandt ‘could have’ added Burnt Plate oil to
his painting medium. The theory does not say he actually did this. In the theory, the
investigators cited recent scientific investigations regarding Rembrandt’s pastose paint had
resulted in differing conclusions. Therefore I think, if others can guess, why not them also. In
the proposed theory, because Rembrandt was also an etcher, he ‘could have’ added his
etching ink’s oil , burnt plate oil being a basic ingredient of printing ink, to produce his unique
range of impasto effects in painting. The tests in support of this theory were made,
photographed and published. The raw linseed was heated until it ignited spontaneously. The
oil became thick and viscous. The oil in one test was heated to 388 degrees Celsius, the other
was 425 degrees Celsius.
It is an interesting theory, but I believe it is not accurate for several reasons. Modern science
says linseed oil heated above 230-236 degrees Celsius is degraded oil. Therefore the
experiments where the oil was heated far past that level would indicate an untrustworthy
proposal and theory. When heated excessively, linseed oil is decomposed, degraded,
carbonized and prematurely aged with a shortened lifespan. Had Rembrandt used that burnt
oil, his paintings would not be here today. That is a fact NO oil painter should ignore. The Old
Masters did not ignore that basic rule.
MY REBUTTALS OF THE THEORY
The first rebuttal is the scientific paper :
WEBSITE: http://www.si.edu/MCI/downloads/articles/Tusoma_paper.pdf
Title: “The Influence of Lead ions on the drying of oils”
Authors: Charles S. Tumosa; PhD, and Marion F. Mecklenburg; PhD,
[See page 41, 3rd paragraph, left side for their Quote]:
… Linseed Oil starts to decompose in the 230-236 degrees Centigrade."
The second rebuttal is based is my own testing of Burnt Plate Oil. It is extremely slow drying
and this is an unnecessary hindrance to painting, and there are better options in choices of oil.
Unrefined, organically cleansed, flax oil that has been sun thickened, will dry naturally within 30
hours, compared to 5 days drying needed for Burnt Plate Oil. My
tests also show the films of Burnt Plate Oil become brittle over time, as the high heat has
caused loss of the natural pliability of the oil.
REMEMBER the disaster of MEGUILP?
Meguilp is linseed oil BOILED with lead, then mixed with a soft resin solvent varnish. Artists
believed it was " THe secret medium of the Old Masters". The artists that used MEGUILP
argued that their paintings "looked just fine, 20 years after being finished". BUT we know that
40 years later the paintings cracked and became dark. In the published theory the investigators
commented on how well the paintings looked …now.
THE OLD MASTERS' THERMOMETER
Even the Old Masters knew NOT TO OVER HEAT their oil, and lacking modern thermometers....
they used a feather, which they inserted into the oil as it was being heated, once the correct
SAFE temperature was reached, the quill would burn black, and the heat removed.Professor
Ernst Van De Wetering's recent DVD on Rembrandt shows this ancient procedure, and shows
the quill becomes black at a SAFE temperature of 200 degrees Centigrade.
REMBRANDT WAS CREATIVE
I will be the first to say that Rembrandt’s inventive, creative approach to his use of materials in
oil painting makes the possibility of Rembrandt having made a ONE TIME ‘experiment “ a
possibility. Rembrandt was the first of the Old Masters to apply his paint in thick, high impasto
by using a palette knife. My tests of BPO, convinced me Rembrandt WOULD NOT have used
his etching oil as his grinding oil for oil painting.
RESEARCH ON BURNT PLATE OIL [BPO]
I offer the following research on the Burnt Plate Oil I purchased from a local Art store. For
privacy, I must leave out the names of the company representatives I spoke with. In fact, I was
told by one contact person , that they were not allowed to give out information on their suppliers.
It was only through perseverance and reaching a person in a higher position and after
explaining the purpose of my inquiry, I was able to get the leads I needed. I was asked not to
divulge the information.
BPO is designed for the industrial commercial Printing industry, and is used in the fine arts of
Etching, and Lithography. BPO can be bought in various degrees of viscosity from thin to thick.
Various blacks and colors can be mixed with these BPO varieties for desired colorist effects.
The Art store I purchased the BPO from informed me that they do not MANUFACTURE the BPO
but buy it from a SUPPLIER, and only resell it. I was given the names of two Suppliers, from
which they purchase the BPO. Price considerations
cause this art store to buy the #00 (very low viscosity) and the #3 ( medium viscosity) from one
supplier, and the #8 ( very viscous) from another.
I had a lengthy conversation with the representative of the supplier of the #00 and the #3 BPO.
In brief he stated (paraphrased): We do not manufacture this product. We buy it from the
manufacturer and re-sell it, but I do not have their name. We don’t call it Burnt Plate Oil, we call
it dark bodied Litho oil. Though we do not make it, I can answer some of your questions. The oil
used is linseed oil. I do not know if it is refined oil or not.
Alkali refinement removes all the fatty acids by treating the oil with a caustic chemical called
Sodium Hydroxide. After it removes the fatty acids, the chemical is washed out. This lightens
the color and removes the impurities from the oil. The oil is boiled under a nitrogen blanket to
keep oxygen out. The longer it boils, the darker and thicker it gets.
Another representative informed me of the following (paraphrased) : Burnt Plate Oil and Litho
Varnish are actually exactly the same product. We do not manufacture the BPO. We buy it from
a supplier and re-sell it. They do not have solvents or driers mixed into them. I do not know
what method of refining of the linseed oil is involved. Linseed oil is boiled and then at the end
of the process an ignition source is added to the varnish kettle to flash
off (or burn) the light ends. The light ends are the naturally occurring solvents in the linseed oil.
The difference between raw linseed and bodied linseed (which is what burnt plate oil and litho
varnish are) is the removal of the solvents – and the fact that by cooking the material for longer
periods of time, the resulting oil gains body ( viscosity). As the body of an oil increases the oil
tends to darken. Varnish kettles accommodate approximately 20-30 drums of 55 gallons each.
*****
15. TECHNIQUE OF DIEGO VELAZQUEZ ( 1599- 1661)
I receive lots of mail from artists around the world ...who are passionate about Velazquez'
paintings. I know why too. I have seen the original Velazquez paintings in most major
museums, but in Madrid Spain, at the Prado Museum, you see the finest of the finest.
Jacques Maroger had erroneously thought the ' translucent material ' he saw in Velazquez'
paintings was WAX. He said the same about Rembrandt’s paintings also. Maroger was never
so wrong as with these two grossly inaccurate guesses. What we learned from science ,
published since 1988, is both of these great masters added calcium carbonate to their oil
paint. This wonderful natural inert colorless material is 98% translucent in oil...causing
Maroger to think it was wax. Velazquez and Rembrandt added this calcium carbonate for
several reasons, not only to create lifelike translucent paint. My book goes into great detail on
this topic, and also includes a ten page essay on Maroger's failure.
Recently I began a study opening a new awareness of Velazquez' working method. Recent
studies of Caravaggio’s work shows a similar use of this method. In brief, it involves the use of
scoring thin lines into the wet monotone and the grisaille. We know Rembrandt scored his
paint, clearly leaving the scratches incisions in the wet paint to add texture and to create a light
colored line in the final effect. Velazquez made his scoring less obvious and did them for
different reasons than Rembrandt.
Recently while in Madrid I studied the great paintings in the Prado as I have done many times
before yet I will admit I did not see what I now know about Velazquez’ method of painting. One
painting shows the hoof of a horse which reveals the thin mechanical line under drawing
scratches Velazquez made into the wet monotone grisaille. This and other scratch lines are
clearly visible. They served him well because Velazquez did not under draw with charcoal, nor
pencil nor ink and learned to paint on dark colored grounds. Velazquez painted directly onto the
canvas possibly because of the dark grounds. In 1628, Rubens spent six months in Madrid
and counseled Velazquez to switch to light colored grounds because they would make the
paint more lively and bright. On his light colored grounds, Velazquez painted his monotone with
a dark colored paint and into the wet paint he clarified the image by scoring into the wet paint.
The scratching allowed him to see the fine white line of the ground and served him as a guide.
During his lifetime, most of the lines were invisible because Velazquez covered them with
opaque over paints. Its also true like Rembrandt he too left some of the light colored scoring
lines visible to add a light 'halo' to dark forms. With the passage of time, oil paint becomes
translucent and together with his use of light colored grounds, we now see the scratch marks
used by Velazquez.
16. DECOMPOSITION OF OIL BY HIGH TEMPERATURE HEATING
Artists are generally uninformed about the linseed oils they purchase at the Art Store.
This list explains the impact of high heat on the lifespan of the oil. The Old Masters learned
important facts through much and long trial and error and passed their knowledge through oral
tradition. Without any thermometers, or scientific equipment, they learned there was a SAFE
temperature the oil could be heated to, and that passing that level caused the oil irreparable
damage.
200 Degrees Centigrade = The Old Masters use of a goose quill to indicate safe heating
230-236 Degrees Centigrade = DECOMPOSITION of the oil with a reduced lifespan
300 Degrees Centigrade = Bodied, Stand Linseed Oil, heated without Oxygen
300 Degrees Centigrade = Oil smokes and produces toxic Carbon Monoxide and Acrolein
343 Degrees Centigrade + = Oil begins to boil
343 Degrees Centigrade + = Oil Ignites
380- 425 Degrees Centigrade= Burnt Plate Oil also called Lithographers oil
Scientific document informing of the danger of high heat
Website: http://www.si.edu/MCI/downloads/articles/Tusoma_paper.pdf
Title: “The Influence of Lead ions on the drying of oils”
Authors: Charles S. Tumosa; PhD, and Marion F. Mecklenburg; PhD
Summary: See page 41, 3rd paragraph, left side for their Quote
"… Linseed Oil starts to decompose in the 230-236 degrees Centigrade."
****
17. BENTONITE SHOULD NOT BE ADDED TO OIL PAINT
In 2009 a company began production of a new line of paint mediums containing calcite. One is
called an impasto medium and the other is given the name of the famous artist Velazquez. I
believe my research in my book has created interest in a calcium carbonate medium, but I
cannot endorse their product for several reasons.
Their impasto medium is advertised as a mixture of a finely ground calcite plus some silica
and bentonite mixed with a bodied linseed oil. The other medium with the name of Velasquez
is advertised as a mixture of finely ground calcite in a bodied linseed oil.
The company states the mediums contain no stearates, solvents, driers or resins . I know
marketing advertising say positive things to mitigate questionable ingredients
My first objection is the use of the oil used. The term ‘bodied’ means the oil was thickened. A
more accurate term to describe thickened linseed oil is ’polymerized’. Since they do not
OPENLY claim to use a food grade unrefined flax oil cleansed by non caustic chemical means,
and do not say the oil was ‘ bodied’ by long exposure to the sun, I can confidently assume the
thickened bodied oil they use is the normal industrial alkali refined ‘stand linseed oil’. The
properties of this ‘ bodied’ industrial oil is well described in my book and I do not recommed its
use. I consider all alkali refined industrial linseed oils whether bodied or not, to be an inferior
oil when compared to the superior qualities of the oil used by the Old Masters.
Artists should know the quality of the oil they use
'Calcite Sun Oil' uses the oil used by the Old Masters. This oil is food grade, unrefined flax seed
oil, organically cleansed without caustic chemicals such as sodium hydroxide/lye, and then
sun thickened for a minimum of 30 days of summer heat and direct sun rays.
Industrial alkali refined linseed oil is frequently heated to unsafe temperatures, although
published reports differ as to the degree. One should ask hard questions and expect honest
answers from the manufacturers.
The list below shows the issues artists should be aware of when asking questions about the
‘bodied’ linseed oil.
200 Degrees Centigrade = The Old Masters use of a goose quill to indicate safe heating
230-236 Degrees Centigrade = DECOMPOSITION of the oil with a reduced lifespan
300 Degrees Centigrade = Bodied, Stand Linseed Oil, heated without Oxygen
300 Degrees Centigrade = Oil smokes and produces toxic Carbon Monoxide and Acrolein
343 Degrees Centigrade + = Oil begins to boil
343 Degrees Centigrade + = Oil Ignites
380- 425 Degrees Centigrade= Burnt Plate Oil also called Lithographers oil
My second objection is based on science and chemistry. 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. Researching for yourself gives a better
understanding of what these two ingredients may or may not do for your oil paint.
I object to adding Bentonite to oil paint because it absorbs water and expands. If you place a
hard dry rock of bentonite in water, it immediately becomes sludge and expands and increases
its size. 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.
I have no objection to adding silica to oil paint. Powdered glass is silica and was an inert
ingredient used by many Old Masters, notably by Titian and Smalt was used by Rembrandt and
other masters who believed powdered leaded glass could be used as a drier. Others thought
the glass added sparkle to the paint [ it does not] . Silica as an additive causes the oil paint film
no damage or risk.
18. DEFINING ‘PAINT QUALITY’
The Term, “ Paint Quality” was first defined and published in the early 20th century by the noted
American Artist and Art Educator, Frederic Taubes who pioneered a specific method of using
copal resin in his paint medium. Paint Quality is the APPEARANCE of the paint itself, whether
fine details or broad strokes, thin washes or thick impasto paint. Taubes commented on one
masterful painting by Giovanni Bellini, in which Taubes said the unique beauty of Bellini’s paint
is caused in great part by the oil used by the artist. I agree with Taubes. Once you see the
beauty of Paint Quality, 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".
19. WAITING FOR OIL PAINT TO DRY
Many artists do not like waiting for oil paints to dry and add driers to the paint. This is a poor
choice because driers shorten the lifespan of oil paint, cause it to darken and become brittle.
Titian and the old masters solved the ‘ slow drying” problem by working on several
paintings at once. Following their method, you can paint every single day.
On day one, start the first painting and work all day on it and set it aside.
On day two, start the second painting and work all day on it and set it aside.
On day three, start the third painting and work all day on it and set it aside.
On day four, work on the first painting, the next day on the second painting, and so on.
The superior oil of the Old Masters described in my book dries within 30 hours if thin paint is
used. So, if you use thicker paint with more impasto, the extra day of drying allows it to set and
be ready for a next layer. Mixing umber in small amounts with slow dying colors also helps
accelerate drying.
20. RUBENS’ MEDIUM vs. MAROGER’S MEGUILP MEDIUM
Peter Paul Rubens was born in 1577 and died in 1640.
Jacques Maroger was born in 1884 and died in 1962.
Rubens is famous for the masterpieces he painted.
Maroger is infamous for promoting a failed paint medium known as Meguilp.
Rubens’ oil paintings are among the best preservation in art history.
Marogers’ Meguilp medium used in oil paintings are amongst the worst.
The question is why did one artist succeed and the other failed?
The answer is rooted in the oil each used, the additives to the oil, the paint, and the method of
application.
THE OIL:
Rubens used a fast drying oil, cleansed oil without damage to its molecular structure, sun
thickened linseed/ flax oil polymerized by safe temperatures of summer sun heat.
Maroger used a slow drying oil, alkali refined chemically cleansed, polymerized and
decomposed by high temperature artificial heating. Linseed oil decomposes at 230-236
degrees centigrade with a decreased life span.
THE ADDITIVES
Rubens used soft natural balsams that dissolve in oil without heating. No added driers are
needed with the naturally fast drying polymerized oil. Lead is not added to the oil as the main oil
paint used by Rubens was lead white.
Maroger used hard mastic rocks dissolved by volatile turpentine in order to mix it with the oil
which he then heated together with lead driers to create his Meguilp medium. In some of his
Meguilp formulas Maroger added wax, believing it was used by Rembrandt and Velazquez.
Science shows it was not wax but calcium carbonate in Rembrandts and Velazquez paint..
THE PAINT
Rubens hand made a fast drying paint, with superior oil and additives, and dry pigments.
Maroger bought ready made slow drying tube paints containing slow drying industrial oil, driers
and fillers.
THE APPLICATION METHOD
Rubens painted in three ways depending on his need. His single step method was an alla
prima operation allowed by the thixotropic property of his paint. His two step method used a
fast drying thin umber image, over painted with an alla prima paint application. His three step
method was use of an intermediary grisaille. Rubens did this without changing his paint, just
adapting his application method.
Maroger’s application was impacted by the inferiority of his oil, paint additives and paint.
SKILL
Rubens’ virtuosity of paint manipulation and application is unmatched by anyone, including
Velazquez of Hals. Maroger’s application is mediocre, as he painted with small delicate
applications of paint.
.
COMMENTS ON MAROGERS MEGUILP
Maroger almost rediscovered the Van Eyck EMULSION medium in 1931, but failed due to the
industrial oil he used. He then abandoned the Emulsion formula and focused on Meguilp.
Maroger might have succeeded in achieving something close to Rubens’ medium but again,
the industrial oil he used prevented it. Maroger spent his life trying to figure out the medium of
the Old Masters and formulated six different forms of a Meguilp.
Lance Mayer and Gay Myers detailed their study of Maroger’s interaction with noted American
Artists, John Curry, Reginald Marsh, Frederic Taubes, and others. Taubes, a student of Old
Master paint mediums was critical of Maroger from the beginning, and the others became
disgusted over the poor results of Marogers formulations. The study is online at : http://cool.
conservation-us.org/jaic/articles/jaic41-01-003.html
21. SIR A. H. CHURCH vs. MAROGER’S MEGUILP MEDIUM
The above essay of Rubens and Maroger requires added information to help guide the painter
of today, make an educated decision in regards to the safety and permanence of the oil
painting medium. I use the knowledge of Sir A.H. Church for this explanation.
A few years ago, the San Diego Museum of Art, located near my home in California had an
exceptional exhibit in which I saw the paintings by Sir Arthur Herbert Church. The exhibit
included work by many painters not just his, but his stood out for the exceptional preservation of
his paint.
To recap, Rubens was born in 1577, and Maroger was born in 1884.
Sir A.H. Church was born in 1834. He was a distinguished painter and an art educator and
author of the highest rank. His book, The chemistry of paints and painting - Church, A. H. (Arthur
Herbert), 1834-1915, is a must read for today’s oil painters.
A link to the book is on the exceptional website by my friend, Danny Van Ryswyk: http://www.
flickr.com/photos/nightf3v3r/sets/532828/
Mr. Van Ryswyk is an exceptional artist and his website includes links to many more books of
great interest, but this one by Sir A.H. Church is very important. Following are brief but important
excerpts from Sir A.H. Church’s book I use to reflect on the Maroger’s Meguilp medium, but first
some personal comments of mine.
Sir A. H. Church’s book is easy to read. In the beginning pages it says he was a “sometimes
professor of chemistry”, at the Royal Academy of Arts in London, England.
One interesting comment he wrote was Titian did well without modern chemistry. Mr. Church
tells how Titian and the Old Masters controlled the ingredients of their paint, while artists in our
modern society, buy them, “ready made“. This creates the need for trust by the modern artist
the materials are made correctly, a trust which is often violated by the manufacturers. Like with
modern ‘fast food restaurants’ we never really know what we are eating, and government must
step in to protect the consumer. So are our art materials today, but not in Titian’s day. Sir A. H.
Church gives great importance to Titian’s control of his materials as being one reason for their
permanence over the past 500 years.
Maroger is a youngster compared to Titian. By the time he began to publish claims in 1931, of
having discovered the lost mediums of the Old Masters, Sir A.H. Church was already dead.
Somehow, Maroger ignored the astute writings of Sir A.H. Church.
Sir A. H. Church’s book is titled: “The Chemistry of Paints and Painting”. I read the 4th Edition
published in 1915, wich contains the Preface of the 1st Edition dated 1890.
The book contains much information on the cleansing of the pressed oil, including harmful
methods used in commerce of his day and of ours in the 21st century.
He gives authoritative explanations in Chemistry of how the oil oxidizes [ dries] and many ways
to increase that drying for purposes of painters.
Page 53: “As equally efficient dryers may be prepared without the employment of lead
compounds, it seems desirable that they should be rejected.
Mr. Church explains how the key to understanding how to make linseed oil fast drying is to
understand the three stages of oxidation which he describes in detail.
PERIOD ONE: Absorption of oxygen and Oxidation [ drying] is very slow.
PERIOD TWO: Absorption of oxygen becomes very rapid and oxidation [ drying] becomes very
rapid.
PERIOD THREE: Absorption of oxygen becomes slow, the oil oxidizes and hardens
Mr. Church gives the ‘agents’ that cause oxidation of the oil.
HEAT: Either artificial fire heat or natural sun heat will increase oxidation. He warns that older
kettle open air heating by varnish makers made the oil brown and decomposed by heating
above 200C. Modern science says the oil begins decomposition at above 230C.
AIR: Air/ oxygen is required for the oil to oxidize [ dry]. The oxidation can be accelerated by use
of hot air. Without oxygen the oil will not oxidize at all.
LIGHT: The ultra violet rays of the sun increases the rate of oxidation. Experiments with modern
mercury lamps are promising. AUTHOR’S NOTE: In 2010, manufacturers are producing
‘wands’ to kill bacteria and germs on frequently used appliances such as computers. The
advertising says they project a UV light and 99% of germs are destroyed. Testing is needed to
determine the value of this in accelerating the drying of the oil.
ADDITIVES: A number of ‘accelerator’ additives that can be added to the oil are named. Mr.
Church rejects use of Lead and states Manganese is safer for the oil.
Page 54: He describes the agents that cause an increase in the oil’s absorption of oxygen,
which leads to faster drying. They are heat, air, light and additives. He recommends use of
Manganese instead of lead compounds, to be used in borate form and gives a recipe for
making a fast drying oil called, “ manganese oil‘, which can be made thin and limpid or thick
and viscous. This is similar to the ‘Umber Oil’ I mention in this book.
Page 59: “The superiority of ... the manganese over the … lead compounds is so decided that
all descriptions of older … methods will de omitted.”
I am grateful to Sir A. H. Church for the knowledge he has recorded and shared with oil
painters. It is based on intimate knowledge and academic study and is far superior to the book
written by Maroger with its guesswork and erroneous statements.
Another very important 21st century study of great worth also impacting Maroger’s Meguilp
medium is by two Ph.D. scientists. In brief it states when linseed oil is heated to 230 degrees
centigrade, it begins to decompose, meaning the life span is shortened.
See it at : www.si.edu/MCI/downloads/articles/Tusoma _paper.pdf
Again, I extend my gratitude to Mr. Van Ryswyk and his excellent website for having the link
posted there.
22. FREDERIC TAUBES' COPAL PAINTING MEDIUM [ 1900-1981]
In 1957 as a 13 year old, I discovered the wisdom of Frederic Taubes and bought his books.
He wrote over 20 books on painting, and aesthetics. His use of Copal resin as a mixture of
paint medium did not change much over the years. However, he originally recommended use
of Dammar resin in creating his medium, only later he discredited it because it created a weak
paint film. He also wrote cold pressed linseed oil was not commercially available [ in the
1950's] and recommended use of alkali refined linseed stand oil. He even stated that industrial
stand linseed oil, made by heating without oxygen, was superior to sun thickened linseed oil .
He claimed it was produced by the Dutch masters of the 17th century. This is not true as the
17th century did not have this technology. The Dutch heated their oil in an open container with
oxygen at a very low heat, to remove the moisture and to thicken the oil, or they brought Sun
Thickened oil from Italy. In fact, the 17th century Stand oil term is derived from oil that is left to
'stand still'. Modern 'stand oil' is OIL COOKED at over 500 degrees F.[equal to 260 C.]. Linseed
oil begins decomposition at 230C..
Like his contemporary Jacques Maroger, Taubes relied on slow dry alkali refined industrial oil.
Its low cost and ample availability allowed his TAUBES painting mediums to be mass
produced. Taubes' book, 'Studio Secrets', [ 4th Edition, 1946], gives the formulas for his FOUR
copal painting mediums beginning on page 33.
1. Copal Formula One: Copal Concentrate. A thick honey-like mixture of Copal and Stand oil,
used to ' condition' tube paint to make it more flowing.
2. Copal Formula Two: A Painting medium. Containing Copal, Stand linseed oil [ thick], linseed
Oil [ thin], Turpentine. This was later made as " Heavy' or ' Thin'.
3. Copal Formula Three: A thick final picture copal varnish of copal and turpentine.
4. Copal Formula Four: A thin copal varnish of copal and turpentine, used as an imprimatura, to
aid adhesion of layers, and to renew sunken oil spots between layers.
Sometimes the mixtures contained Petroleum Distillate as well as Turpentine.
Like Maroger, Taubes continued to ' improve' his mediums. But unlike Maroger, Taubes'
mediums were not made with black burnt oil, lead, nor wax, nor soft mastic resin.
CSO and TAUBES COPAL MEDIUMS
I never knew Taubes would influence me in my creation of the CSO oil painting method nor
was it done purposefully. Yet, the similarities of an oil painter's NEEDS are the same between
Taubes and CSO. In oil painting, some procedures are NEEDED and the successful paint
medium must meet the need. TAUBES mediums met those needs and CSO also meets those
needs .
SIMILARITIES AND DIFFERENCES BETWEEN TAUBES AND CSO
CSO uses the fast drying natural oil of the Old Masters.
TAUBES copal mediums used slow drying industrial decomposed oil.
CSO uses the egg-oil emulsions to improve adhesion between paint layers.
CSO Emulsions lubricate the surface for easy paint application and blending.
CSO Emulsions contain no solvent that disrupts lower layers of paint
TAUBES used his copal varnish to allow adhesion by softening the hard paint layer and to stop
beading of the new paint layer.
TAUBES solvent content blurred new under paint layers and Taubes recommended letting the
layer dry first.
TAUBES solvent content did not lubricate the surface for easier application or blending.
CSO uses a mixture of Calcium Carbonate to create a thick honey-like gel to ' condition' the
tube oil paint.
Calcium carbonate mixtures with sun oil were used by Rembrandt and Velazquez and no
resins were found in their paint.
TAUBES uses a mixture of copal resin and Stand linseed oil to create a honey-like gel
to ' condition' the tube oil paint.
TAUBES scoffed at the suggestion Rembrandt might have added Calcium Carbonate to his
paint to create thick impasto.He died in 1981 and in 1988, science published reports
Rembrandt's paint contained calcium carbonate.
23. FAT ON LEAN
“Fat on Lean', is given by oil painting instructors as a cardinal rule one must never violate. With
the ‘Calcite Sun Oil’ method of oil painting, this rule is NOT IMPORTANT and need not be
followed. The reason is because no solvents are used with CSO.
When mixing solvents with oil paint, this rule must be followed.
When volatile solvents, evaporative liquids such as turpentine are added to oil paint, the paint
becomes LEAN. This lean condition accelerates the drying of the oil paint. IF a layer of FASTER
DRYING paint containing solvent is applied on top of a dried layer of SLOWER DRYING paint
that has no solvents, the two different drying rates will cause the upper paint film to crack.
With CSO, all the paint is FAT.
The ONE rule with CSO that must be followed is, 'PAINT SLOWER DRYING PAINT ON FASTER
DRYING PAINT". This is very easy to do. When using the SUPERIOR oil described in my book
and website, the oil dries within 30 hours without any drying additives of any kind. This means
that YESTERDAY'S paint application is one day into drying stage. This means that TODAY'S
paint application, on YESTERDAY'S paint is by nature’s rule, a SLOWER DRYING paint.
Still, one must learn which colors dry slower or faster than others. UMBER is such a very fast
drying color, and mixing just a bit of it with other colors increases the drying rate. If you under
paint in grays [ monotones, muted color, grisaille] then adding umbers to
all the colors in the under paint layer will insure a faster drying paint.
OIL OUT with the CSO / Emulsions is easy. As soon as yesterday’s paint layer is TACKY DRY, it
can be given an ultra thin film ‘oil out’, and a new layer of paint can
be then applied. Applying the 'oil out' correctly is crucial for success.
*****
MY GRATITUDE TO EACH OF YOU
The Old Masters’ ancient knowledge was gathered through oral tradition over hundreds of
years. Some knowledge was guarded in secret to eliminate competition and much has been
lost. My work as a painter and author is to learn for myself and to share with others what I have
found to be useful. Letters I have received from around the world attest to the success of my
research.
Thank you for the kind letters I have received over the years. I hope there will be many more.
-Louis R. Velasquez
| CHAPTER TWO: This chapter defines and identifies the superior oil of the Old Masters. It provides information on the problems the Old Masters had with their oil and how it affected their oil paint, with a historical background of sun thickening the oil, and information on todays chemically refined industrial linseed oil. |
| CHAPTER FOUR: Information on CALCIUM CARBONATE POWDER, and how I used modern science to guide me in formulation CSO. My discovery of use of GLAIR as the ideal substance to create a very simple EMULSION. A discussion of HAZARDOUS ingredients used in oil painting. |
CHAPTER SIX: The wonder medium of the EGG OIL EMULSIONS is given full coverage. A historical recount of the VAN EYCKS is given as well as describing the experiments I made to achieve the creation of two EXTRAORDINARY emulsions. The very important development and importance of the CORRECT APPLICATION of the emulsions is given. The VASARI account about the VAN EYCKS is given with a series of questions and answers. My ten page study of JACQUES MAROGER'S 1931 EMULSION recipe, and why it failed is given. MAROGER would have suceeded had he used the SUPERIOR OIL of the OLD MASTERS!! He failed because he used INDUSTRIAL ALKALI REFINED LINSEED OIL. Its deficiencies kept him guessing as he sought answers ..in vain.. |
CHAPTER EIGHT: The different painting methods one can use. Information on how to correctly THIN THE oil paint. The CORRECT way to apply a glaze!! How to duplicate Rembrandt's WHITE IMPASTO paint with our modern materials without Lead White. The resin effect briefly described. How to paint MICRO FINE DETAILS like the VAN EYCKS. The SUPERIORITY of the EMULSIONS over the use of RESINS. |
| CHAPTER TEN: A full description of the mythical RESIN EFFECT. Plus information that is contained in my USA PATENT which gives alternate mixtures of mixing door to more experimentation. |
| CHAPTER TWELVE: OIL PAINTING FOR THE BEGINNER is the tit;e of this last chapter. My book is of a high academic level, designed for professional and seriously dedicated oil painting students. YET!, The facts in this book can be applied to teaching children, and hobbyists and beginners, how to oil paint SAFELY.. WITHOUT USE OF ANY HAZARDOUS SOLVENTS, RESINS, VARNISHES or TOXIC DRIERS. THIS chapter can be adapted by any teacher and oil painting can be made easy and safe and the paintings will be permanent |
| BIBLIOGRAPHY AND BACK COVER: The information in my book, my discoveries and new information I have developed for oil painting is supported by a profound academic background. The Bibliography given here is but a very small sample of the numerous sources I have used in over 50 years of study. The BACK COVER gives TESTIMONIALS from several FINE ARTISTS. More TESTIMONIALS can be seen on my website. |
| UPDATES NOT IN THE BOOK WILL BE ADDED HERE ON THIS SIDE |
