RESEARCH AND DEVELOPMENT OF THE CSO-EGG TEMPERA MEDIUM I thank readers for their patience as I developed this medium and gesso. Below are the steps leading to the development beginning in Dec. 2009. I studied the past to develop an effective FAST DRYING modern medium using ancient archival materials. My research sought out information on cave paintings far older than those of the Renaissance. Some cave paintings have been tested to be 40,000 years old. The oldest binders of paint are MILK, EGG, GLUE, and natural tree exudates such as GUMS and RESINS, as well as GLUES from boiling animal skins. Any sticky substance, that can be mixed with powders creates a PAINT and can be applied to a wall or almost any surface. Because oil paints dry relatively slowly, Renaissance artists of the 14th through the 16th centuries sought a faster drying medium. Egg tempera is the fastest drying ancient medium but Realism is difficult to obtain with egg tempera. Some artists of the period combined egg and oil into am Emulsion, or, underpainted in egg and overpainted in oils. Modern artists of today have the same needs and concerns. The real issue of any paint is its PERMANENCE. Unfortunately, I was informed by an expert [see below] that modern science has done little to analyze the binders used in the Cave paintings. The few published results are debatable or inconclusive. Some contemporary artists have made many tests with a variety of binders. I do not have faith in test results or theories from recent testing of a few years time. No one knows the changing conditions of these caves over a 40,000 year time period. Yet, modern theories are interesting. One artist believes human urine was one possible binder. Another artist believes cave water rich in calcium carbonate was also used. Historians tell us the cave painting were not done by one artist but evolved over thousands of years with frequent over paints on existing paintings. This leads us to believe the binders were of many kinds. 40,000 years is quite a long time to try to reconstruct any paint layer. We do know LIMESTONE CAVES are calcium carbonate. The CSO oil painting method uses calcium carbonate powder as an important component that guarantees permanence. My previous creation and formulation of CALCITE SUN OIL, provided me with new ideas as I experimented in developing a FAST DRYING UNDERPAINTING MEDIUM FOR OIL PAINTING. This led to a new gesso procedure and formula. READ BELOW FOR RESEARCH INFORMATION ON PREHISTORIC CAVE ART ************************************************************************************************************ ‘CSO-EGG GESSO’ - A NEW GESSO DO NOT USE ACRYLIC GESSO WITH THE CSO-EGG TEMPERA MEDIUM Like most oil painters I have used acrylic gesso because it is convenient. It is not GENUINE traditional gesso like that of the Old Masters that has proven archival for more than 600 years. We do not know the permanence of ACRYLIC gesso. But it is inexpensive and convenient and it can be applied to walls, canvas and wood panels. Acrylic gesso is made of modern synthetic white glue mixed with one or more of a variety of dry powders such as marble dust. It dries by evaporation and when dry can be brilliantly white. I did not make traditional Gesso panels like the Old Masters until late in life. Many recipes can be found and they vary little. Basically it is a hot animal skin glue mixed with Calcium Carbonate Chalk, or Gypsum. The 15 century master Cennini gave detailed instructions on how to gesso a wood panel. Later artists made changes to his recipe. Cennini’s procedure was labor and time consuming. One reason was because he did not have modern flat plywood like we do, nor did he have electric planers to smooth out the wood surface. Even with modern materials, my gesso panels have not turned out perfectly. I cut corners to speed up the finish. My research found the scientific analysis of one Rembrandt painting on wood. He first applied a glue to seal the wood again the oil paint. He then applied ONE thin gesso layer to cover the brown wood and to create a brilliant white surface. He then applied a single thin coat of oil paint made of some black some lead white and umber [ umber accelerates the drying]. This pale translucent warm gray oil layer was applied thinly. It served as a sealant to the very thin white very absorbent gesso. On this simple preparation, Rembrandt painted that painting. One thing you frequently see in Old Master paintings, IF they used a thin gesso, is the grain of the wood. I believed that if Rembrandt could deviate from Cennini’s laborious multi layered gesso panels, I could too. As much as I dislike applying the gesso, I dislike the dry powder dust from sanding even more. So I do not sand. Therefore I settle for a mildly textured gesso as the primer coat for my oil paintings. Development of the CSO-EGG TEMPERA medium led me to develop the CSO- EGG GESSO, based on egg and not glue. Years ago, an experienced masonry worker taught me how to apply stucco on my home so it would be permanent. The first requirement is to create a waterproof barrier so moisture will not enter the home. Second, a wire mesh is attached , so the wet stucco has a place to grab onto. The first coat of the stucco is made very very thick and it is applied roughly with a trowel. On drying, it cracks, splits and breaks. The next coat of plaster is almost as thick and is called the ‘ scratch’ coat. It too is applied with a trowel but it is made more smooth and level. While this coat is wet, it is scratched with a tool that looks like a comb to create ridges that will hold the next coat. After the ‘scratch’ coat dries a thinner stucco is applied smoothly. When it dries, a liquid thin layer of fine stucco is brushed on with a wide bristle brush. ************************************************************ FINAL COAT OF ANY OIL PAINTING [ this is a permanent layer - not a removable film like a resin varnish] Once the Oil Painting is completed. Allow it to dry a week. For a more matte surface, apply a very thin coat of the well beaten WHOLE EGG [ yolk and clear] with vinegar For a Satin finish, apply a coat of GLAIR, with no vinegar mixed. For a more shiny surface, apply a coat of YOLK mixed with vinegar as directed above. The use of EGG or EGG GLAIR AS A FINAL VARNISH ON OIL PAINTINGS is not new. It has been used throughout history. The 17th century DeMayerne manuscript gives contradictory opinions of the use of GLAIR as a FINAL COAT of an oil painting. These contradictory opinions leave us without a guide to make a solid decision. Modern science states that all VARNISHES discolor, whether synthetic or natural substances. RESINS become YELLOW and crack and are high glossy, while EGG dries with a soft satin finish and becomes cool in tone. Both remain transparent and not opaque. One can also 'oil out' the entire surface with the VISCOUS EMULSION. This is my favorite method. I routinely apply an ultra thin, well rubbed in application of the VISCOUS EMULSION [ described in my book] on my dried finished oil paintings. DISCLAIMER . Please experiment with this information at your own choice and risk. These materials of EGG, and SUN OIL and CALCIUM CARBONATE have been proven to be archival, dating back centuries. I developed these new methods from practical work and researching and learning from the past. EGG is just as durable a binder as the GLUE used in traditional gesso mixtures. Milk [ casein] is another binder that is equally as durable if not more durable than either EGGS or HIDE GLUE. The chalk/ Calcium Carbonate is compatible with mixing with the egg just as chalk is with flax oil. Chalk is powdered LIMESTONE. In its natural setting, it is durable and permanent. Mixing two durable permanent materials results in another new mixture. The chalk is completely bound by the egg creating a hard sticky durable mixture. It is interesting to note that a chicken EGG YOLK AND WHITE, is surrounded by a shell made of pure CALCIUM CARBONATE. An interesting thought came to me about why Renaissance artists may have chosen GLUE instead of EGGS for making their GESSO. Could it be that EGGS, being an important food item was more valued than cheap boiled animal hides.. as well as being more scarce?? ************************************************************************************************************ RESEARCH LEADING TO THE DEVELOPMENT OF THE “CSO-EGG TEMPERA” MEDIUM THE CAVE PAINTINGS OF ALTAMIRA AND LASCAUX AND THEIR IMPACT ON MODERN OIL PAINTING In Spain one finds the cave paintings of Altamira http://www.thenagain. info/Webchron/World/Altamira.html and nor far away, those of Lascaux in France http://www.lascaux.culture.fr/#/en/00.xml. Scientists estimate them to be between 15,000 and 40,000 years old and older. The 600 year old Van Eyck paintings pale in comparison in regards to age. The paint is made of colored natural earth pigments but the binders used are unknown or the results of tests are debatable or inconclusive. My research shows very little has been done by modern scientists to determine the binders used and the reasons given are many. We do know the most common ancient paint binders are egg, milk, glues, oils, gums and resins and any sticky substance, or mixtures of these simple ingredients. However, no synthetic acrylics, liquin, nor modern alkali refined linseed oil, nor mixtures of synthetic mediums were ever used in the cave paintings. The permanence is remarkable and adding to the great state of conservation of this paint is the SUPPORT used, being Limestone caves. Limestone is Calcium Carbonate in rigid form. The Calcite Sun Oil method of oil painting uses three ancient simple materials = flax oil, egg, calcium carbonate , which were also the same three archival ingredients used by Rembrandt, Velazquez and others. Discovered in the early 20th century, the cave paintings were made famous in this modern era. The stable paintings were protected by the natural conditions of the caves...and the darkness with its protection from ultraviolet sunrays. Once discovered, throngs of humans entered the caves and without knowing, added moisture from their respiration along with artificial lighting. These changes in the natural equilibrium of the caves caused fungi to grow and crumble the paint. Now the caves are closed to the general public. Many lessons can be learned from this. Permanent paint binder and materials is one, and the importance of conservation is another, each with complexities. Science gives us some answers. Before the perfected oil painting method of the Van Eyck’s in the late 1300's, the binding medium most used was egg. Today the Egg Tempera method is revived and taught exactly as used in the early Italian Renaissance. I have never painted with egg tempera. I do have the book from the highly regarded American painter, Ms. Koo Schadler http://www. kooschadler.com/thebook.htm. I recommend her book to those who wish to learn this beautiful archival method. Compared to her knowledge on this archival medium, I know very little and I would never argue with her on this subject. But I do know the basics. It is these basics that I write about here. The cave painters of old, did not employ the refined Renaissance technique taught in Ms. Schadler’s book. Anyone who has left egg yolk on a plate after breakfast, and has returned hours later to wash it off the non absorbent glass plate, must scrub hard. Adding hot water only increases the resistance of its removal. The extremely strong adhesion of the yolk is extraordinary. Not only that, but it dries hard within minutes, though time is required for final curing. The yolk and the egg clear are both very complex. In the Calcite Sun Oil method of oil painting, I found the NON VISCOUS limpid thin egg white, once converted to GLAIR, to be ideal for mixing with VISCOUS thick sun thickened flax oil into an extraordinary “wonder” emulsion. Yes, I did test the yolk and found it to be not advantageous for mixing with sun oil as sun oil is sufficiently viscous. The egg yolk contains a great amount of egg oil, and the egg clear hardly none. The refined method of egg tempera painting used in the Renaissance used the yolk - or- the entire egg. If the entire egg was used, no additional water additive was required. If only the yolk was used, an equal amount of water was added to liquefy the thick fast drying viscous yolk. One other requirement is needed. An ABSORBENT ground is a requirement. Acrylic gesso is not usable. An absorbent gesso made of calcium carbonate or calcium sulfate mixed with weak hide glue is required. The egg will sink into this absorbent ground and become immovable. These are the basics of the use of egg tempera. Do not forget the real meaning of the word ' Tempera". It is an Italian/Latin word meaning the mixing of a liquid [ any liquid] with a dry substance to create a paint. Egg tempera painted on top of dry oil paint is NOT permanent. Egg painted INTO a wet film of oil paint is permanent. A mixture of wet egg and wet oil emulsify together becoming one inseparable substance called an EMULSION and it is permanent. This knowledge allows artists today, to know they can create a permanent paint film when using egg and oil. ************************************************************************************************************ RESEARCH OF CAVE ART : PART TWO In December 2009 during my research of the binders used by ancient humans, I received this letter from Dr. Paul Bahn,an expert in ancient cave art. I enclose his letter and subsequent communications for the purpose of educational advancement. {LETTER FROM DR. PAUL BAHN } Dear Mr Velasquez, the best way to answer your question is to send you the relevant text from my 1997 book "Journey Through the Ice Age" (Weidenfeld & Nicolson: London / Univ. of California Press: Berkeley), together with the relevant references -- as far as I am aware, nothing new has been published on this subject since then. Best wishes, Paul Bahn. [ From Dr. Bahn’s Book:] A different problem is the binding medium used. In the past it was often assumed that some form of fatty animal product was used for the purpose; however, a series of 205 experiments in two caves was carried out by Claude Couraud, involving a variety of pigments and binding substances (including fish glue, Arabic gum, gelatin, egg white, bovine blood, and urine), and a range of wall- types and degrees of humidity. Observation of the results and deteriorations over three years led him to the conclusion that fatty and organic substances were totally unsuitable binding agents, and fail to adhere well to humid walls. In fact, the only substance which seemed to be good at fixing and preserving the pigments on the rockface was water -- especially cave-water, which is rich in calcium carbonate, and which was probably used at Lascaux [49]. It was also found that pigments adhered better if they had been finely ground. In 1978, Cabrera Garrido's analyses at Altamira led him to suggest the possible use here of powdered fossil amber as a binder. [50] However, in some Ariège caves, recent analyses of paints, using gas chromatography and mass spectrometry, have detected traces of what are thought to be oils of animal or plant origin, presumably used as a binder [51]. On portable art from Enlène and in parietal figures at Trois Frères it seems to be a plant oil, whereas parietal figures at Fontanet seem to contain an animal oil. Other sites such as the Réseau Clastres have no trace of any binder, as at Lascaux. [49] Couraud 1982, p. 4; and in Leroi-Gourhan & Allain 1979, pp. 162- 4. Couraud's experiments thus confirmed the opinions of Rottländer (1965), and have recently found support in experiments by Vaquero (1995: 72-75).[50] Cabrera Garrido 1978.[51] Pepe et al 1991. [REFERENCES] CABRERA GARRIDO, J. M. 1978. Les matériaux des peintures de la grotte d'Altamira. Actes de la 5e réunion triennale de l'ICOM, Zagreb, pp. 1-9. COURAUD, C. 1982. Techniques de peintures préhistoriques: xpériences. Information Couleur 19, 3-6. LEROI-GOURHAN, Arl. & ALLAIN, J. (eds) 1979. Lascaux Inconnu. XIIe Suppl. à Gallia Préhistoire. C. N. R. S.: Paris. PEPE, C. et al 1991. Le liant des peintures préhistoriques ariégeoises. C.r. Acad. Sc. Paris 312, série II, 929-34. ROTTLÄNDER, R. 1965. Zur Frage des Pigmentbinders der Franko-Kantabrischen Höhlenmalereien. Fundamenta Reihe A, Band 2, 340-44. VAQUERO TURCIOS, J. 1995. Maestros Subterraneos. Celeste: Madrid. RESEARCH OF CAVE ART : PART THREE I responded to Dr. Bahn’s letter with comments and questions. Here is that communication with his responses. Again, the purpose is for educational advancement. Dear Mr Velasquez, thanks for your comments. It is a shame that you cannot read the references I sent you, as they are the only ones available – but presumably you can get hold of them and have them translated, if they are of such interest to you. My responses to your comments are below. Best wishes, Paul Bahn. LV=DEAR DR. BAHN, THANK YOU FOR THE VERY FINE RESPONSE. I WILL TRY TO OBTAIN YOUR BOOK. IT IS MY INTEREST AS A PAINTER THAT LED ME TO RESEARCH AND TEST INGREDIENTS FOR PAINTING. THE CAVE PAINTINGS ARE OF GREAT INTEREST, NOT ONLY FOR THEIR GREAT AESTHETIC BEAUTY, BUT ALSO FOR THEIR REMARKABLE PRESERVATION. I READ WITH INTEREST YOUR OWN ACADEMIC RESULTS THAT YOU PROVIDED ME.. AND I WILL POSSIBLY NOT BE ABLE TO READ THE WORKS OF OTHER AUTHORS EXCEPT FOR THE SPANISH LANGUAGE ONE. HERE I PASTE THE GIST OF YOUR OWN PUBLICATION, WITH MY COMMENTS. PB=A different problem is the binding medium used. LV=WHY IS THIS A PROBLEM WITH TODAY’S IMPROVED ANALYTICAL INSTRUMENTS? ONE WOULD THINK EACH PAINTING, IN EACH CAVE COULD BE TESTED FOR THE BINDER USED ON THAT ONE PARTICULAR WORK-- JUST AS IT IS DONE WITH SAY...12 OR 30 REMBRANDT PAINTINGS. PB= There are actually several problems here. For a start, when cave art was first discovered, and for most of the 20th century, the only way to do pigment analysis was pretty crude, through chemical reaction, requiring sizeable samples, so it was unthinkable to damage figures in this way. Since the 1980s we have had the new techniques available -- spectrometry, even scanning, etc -- which require pinpricks of material, or even no material at all -- BUT these techniques are very expensive in terms of employing the scientists to undertake them, the lab time, the analyses, etc -- and the vast majority of archaeologists, prehistorians and cave-art specialists are not scientists but closer to art historians, and such analyses, while of some interest to them, are not often a high priority, especially in view of the cost. Testing “each painting in each cave” as you propose would be astronomical in cost -- but of course if you, or someone like you, were to offer a huge grant for this, you would be welcomed with open arms! In the past it was often assumed that some form of fatty animal product was used for the purpose; LV=THIS IS DISTRESSING, TO ASSUME. ..ACADEMICS SHOULD NOT BE ASSUMING.HOPEFULLY EACH SEPARATE IMAGE CAN BE TESTED AND DETERMINED AS TO BINDER AND PIGMENTS USED PB=Archaeology, prehistory, and even much of recent history, are made up of assumptions because our data are so incomplete. Voltaire said “all of our ancient history is accepted fiction”, and he was right. But in this case the assumption was not plucked out of thin air, but was based on what was known of modern rock artists such as Bushmen and Aborigines, who do indeed use fatty substances -- so it seemed a valid proposition that Stone Age people, tackling similar problems with a similar technology, would likely have done the same. And we had no way of checking the Ice Age pigments. however, a series of 205 experiments in two caves was carried out by Claude Couraud, involving a variety of pigments and binding substances (including fish glue, arabic gum, gelatin, egg white, bovine blood, and urine), and a range of wall- types and degrees of humidity. LV= I DO RESPECT THE DEDICATION AND HARD WORK TO DO SO MANY EXPERIMENTS WITH TODAY’S KNOWN BINDERS BUT IT WOULD HAVE BEEN JUST AS EASY AND MORE ACCURATE TO TAKE PARTICLES OF PAINT FROM EACH IMAGE IN EVERY CAVE, AND CATALOGUE THE RESULTS FOR FUTURE ARTISTIC STUDY. THE PROBLEM WITH CONTEMPORARY TESTING AND EXPERIMENTS ARE THE NUMEROUS VARIABLES THAT CANNOT BE EVEN DUPLICATED AS BEING IDENTICAL TO THE CONDITIONS OF THE DATE THEY WERE PAINTED. PB= In Couraud’s day the new techniques were not yet available and, even if they had been, the cost of analysing “each image in every cave” would have been prohibitive. Observation of the results and deteriorations over three years led him to the conclusion that fatty and organic substances were totally unsuitable binding agents, and fail to adhere well to humid walls. LV= I HAVE NOT VISITED THE ACTUAL CAVES. MY BELIEF WAS THAT THEY WERE SEALED, NOT HUMID, COMPLETELY DRY, AND THAT THIS CONDITION WAS ONE REASON THEY WERE IN SUCH GREAT STATE OF PRESERVATION. I AM ALSO UNDER THE BELIEF IT WAS HUMAN INTERVENTION, HUMAN BREATH, CARBON DIOXIDE AND SWEATING THAT CAUSED A HUMID CONDITION IN THE CAVES THAT CAUSED FUNGI AND OTHER MICRO ORGANISMS TO GROW, FLOURISH AND DESTROY THE PAINT.--LEADING TO CLOSURE. THEREFORE THE COMMENT OF ' HUMID ' WALLS..IS NOT UNDERSTANDABLE. AGAIN. ONE DOES NOT KNOW THE CONDITIONS OF THE CAVE WALLS WHEN THE ART WAS PAINTED. IN ADDITION-THREE YEARS OF STUDY IS A VERY INSUFFICIENT PERIOD. PB= You are completely wrong on this point. The vast majority of limestone caves are in fact very humid -- they are, after all, filled with stalagmites and stalactites which were mostly present at the time of Ice Age decoration, and which have continued to form ever since. This varies enormously from cave to cave, and even within single caves where you can find dry areas next to very wet areas. Moreover, in many cases you can see how the paint -- now sealed under a calcite film – ran or became blurred because the wall was so wet when it was first applied. We now have a vast literature on caves and it is realised that an undisturbed cave is like a living, breathing entity, with its humidity changing with the seasons and over the years, quite naturally. What has preserved cave art is not dryness but simply the equilibrium of undisturbed caves. Human visits have indeed damaged the art in many cases, but this has happened through disruption of the natural equilibrium and of air circulation -- until Lascaux in the 1960s, nobody had really realised this point, so new entrances were punched into the caves, and sediments removed,so that as many tourists as possible could be crammed in. Visits by large numbers of humans cause massive changes in temperature and humidity, as well as all kinds of pollution, and this is what has caused the damage. The fundamental point is that it was equilibrium which preserved the art, not dryness at all. In fact, the only substance which seemed to be good at fixing and preserving the pigments on the rockface was water -- especially cave-water, which is rich in calcium carbonate, and which was probably used at Lascaux [49]. LV=I NOTE THE USE OF THE WORD ' PROBABLY' IN YOUR PUBLICATION HERE. THIS WORD SHOULD BE OUTLAWED WHEN IDENTIFYING THE INGREDIENTS OF THE PAINT. IT IS A WORD USED BY ACADEMICS, AND I MEAN NO DISRESPECT... TO DESCRIBE INFORMATION THAT THEY DO NOT KNOW . THE PROBLEM IS THAT USING THIS WORD CAUSES NO ASSISTANCE IN RESEARCHING THE TRUTH OF THE MATTER. YET. I CAN SEE A GREAT INTEREST IN THE STATEMENT THAT POSSIBLY ONLY CAVE WATER WAS USED AS THE BINDER. IT MAKES ONE THINK OF THE ITALIAN RENAISSANCE METHOD OF ' FRESCO' , THE APPLICATION OF ' WATER COLORS' ONTO A DAMP LIME PLASTERED WALL. I FIND THIS TO BE OF GREAT INTEREST. PB= Archaeology and prehistory are filled with words like “probably” and “seems” because we are acutely conscious of the fragility of most of our assumptions and deductions, and that a single new piece of solid evidence -- e.g. from a pigment analysis -- could cause things to change. It was also found that pigments adhered better if they had been finely ground. LV= YES OF COURSE-LIKE WATER COLOR PIGMENTS KIDS USE IN SCHOOL TODAY PB= In 1978, Cabrera Garrido's analyses at Altamira led him to suggest the possible use here of powdered fossil amber as a binder. [50] LV= ONE WONDERS IF IN 1978 THE STATE OF INSTRUMENTATION WAS NOT SUFFICIENT TO DETECT GROUND UP RESINS PB= However, in some Ariege caves, recent analyses of paints, using gas chromatography and mass spectrometry, have detected traces of what are thought to be oils of animal or plant origin, presumably used as a binder LV= THIS IS AN INTERESTING CONTRADICTION OF THE STUDY ABOVE WHERE 205 EXPERIMENTS BY COURAUD DETERMINED THESE BINDERS WERE NOT THOUGHT TO HAVE BEEN OF SUFFICIENT DURABILITY. AGAIN. THIS CONFUSION/ CONTRADICTION OF INFORMATION IS NOT HELPFUL PB= Indeed, but even with the latest gadgetry available the boffins [ slang for scientists] were totally unable to identify more exactly the material detected. [51]. On portable art from Enlene and in parietal figures at Trois Freres it seems to be a plant oil, whereas parietal figures at Fontanet seem to contain an animal oil. Other sites such as the Reseau Clastres have no trace of any binder, as at Lascaux LV= THIS INFORMATION LEAVES ONE WITHOUT A STRONG FOUNDATION ON WHICH TO BELIEVE HOW CAN THE SCIENTISTS USE THE WORD..' SEEMS TO BE'... ONE WOULD THINK THE EXACT TRUTH COULD BE DETERMINED. PB= It will doubtless require more sophisticated equipment than is available now, or perhaps even DNA analysis -- but, as I have said, all this costs a lot of money.[49] Couraud 1982, p. 4; and in Leroi-Gourhan & Allain 1979, pp. 162-4.Couraud's experiments thus confirmed the opinions of Rottlander (1965), and have recently found support in experiments by Vaquero (1995: 72-75). LV= THANK YOU FOR YOUR ASSISTANCE SINCERELY , LOUIS R. VELASQUEZ ************************************************************************************************************ |
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'CSO-EGG TEMPERA" EGG TEMPERA PAINTING Before the Van Eycks' perfected the oil paint medium, they and all the painters painted with EGG TEMPERA. They drew a careful ink drawing on a brilliant white gesso board and then applied thin layers of transparent egg tempera paint. The egg tempera paint dries instantly. Blending is not allowed. All blending is done with thin hatching strokes in a variety of value changes. This method is also painstaking, and paintings are normally small [ exceptions to everything exist]. Since the Medieval and Renaissance periods -- among many, this has been and continues to be today -- the ONLY WAY to paint with egg tempera. OIL PAINTING In the 14th- 15th Century, Jan Van Eyck and the Flemish masters perfected a method of oil painting where they layered thin transparent glazes of color on a careful constructed ink outline drawing made on a PURE WHITE GESSO board. This brilliant white gesso gave the thin color glazes an inner light that gave the appearance of jewels. This method was slow and painstaking. The Flemish oil method arrived in Italy where Titian and other masters MODIFIED the method to allow larger sized paintings and faster finishing. To do this they painted with an OPAQUE GRISAILLE, using brilliant white paint to create the under painting. They then applied thin color glazes on top of th thick brilliant white under painting areas. By doing this, they achieved the same vibrant transparent jewel-like colors as Jan Van Eyck and the Flemish masters. MY 21ST CENTURY EGG TEMPERA DEVELOPMENT I added chalk --not to the yolk- but to the egg white and I created an opaque egg tempera that allows the same freedom with EGG TEMPERA that TITIAN developed with OIL PAINT. I know painters everywhere will find this to be a boon and a wonderful advancement for Egg Tempera painters and by oil painters who will use it as the fastest drying medium available for under painting for oil paints. POSITIVE FACTS ABOUT THIS NEW MEDIUM * It is a Safe and Permanent fast drying aqueous medium * It replaces modern synthetic paints containing hazardous chemicals * It is compatible with the traditional Egg Tempera medium * Egg is a proven archival ancient binding medium * It is inexpensive, using chalk, eggs, vinegar and dry pigments * A vast variety of application methods are possible including impasto * Scratching and raised textural effects are possible * A variety of application tools can be used; brushes, palette knives, fingers * Application can be broad, fluid, free and spontaneous or controlled * Over paints, corrections or changes have no time limits or precautions * The medium can be used alone or as a fast drying under painting for oil paints * It mixes easily with colored dry pigments to instantly create paint * The Medium is also a Gesso that requires no heating for application * The mixture of Glair and Chalk dries to a hard cement-like material * The adhesiveness of the medium and gesso is exceptionally strong * The gesso can be made ivory smooth or scratched with cloth weave patterns |
I RECOMMEND BUYING THE DVDS They demonstrate HOW TO DO IT Then if you wish to learn more about the foundation and fine details, read the book |
| Feb 21, 2010 I decided to create a new cover based on my painting of my daughter Elena which is on my CSO- Oil Painting book cover. I traced the image onto the wood panel which was prepared with the CSO-EGG-GESSO In the subsequent photos, you may see the rough canvas weave texture I gave the board. The painting is 8.25 X11 inches. This photo shows the completed CSO-EGG TEMPERA PAINTING. The photo was made indoors, but still, the colors are subdued. When later, the oil is applied the colors gain in richness. You will also see unorthodox and new use of egg tempera, by my use of thick impasto with the CSO-EGG TEMPERA medium. The next three photos show the finished CSO-EGG TEMPERA painting. NO attempt is made to create brilliant colors because I know what the oil impregnation will do and I will be finishing the painting with oil paints. These three paintings clearly show the frustration the early egg tempera painters had prior to the VAN EYCK development and perfection of OIL PAINTING. Though the oil medium was ancient way before the VAN EYCKS, they used their knowledge of egg tempera.. and created an EGG-OIL EMULSION. This, in my opinion is the famous LOST MEDIUM of the Van Eycks. A simple emulsion that controlled the flowing oil and allowed them to achieve great realism by easy blending, something impossible with egg tempera. Egg tempera is a beautiful refined medium, and the painstaking technique does not suit everyone. I could never paint with it because it would be too restrictive for my aesthetic goals. This new CSO-EGG TEMPERA handles like oils, i can be spontaneous and free and use impasto..something completely prohibited by the traditional egg tempera method. ************************************* This photo shows the important IMPREGNATION step. This saturates the egg with sun oil. Here you can see the weave texture I created with the cold CSO-EGG GESSO and the impasto I created with the CSO-EGG TEMPERA. I purposely left half finished in CSO-EGG TEMPERA and the other have was finished in CSO-OILS TO MY READERS, This new EGG TEMPERA method is liberating and empowering. I believe it will make oil painting more enjoyable and will expand new creative ideas by merging what the VAN EYCKS knew so long ago please note: all images and text are copyright protected, and may not be used without my written permission. If you are sharing this information, please give credit to my website Thank you |
| GOUACHE, CSO-EGG TEMPERA and TRADITIONAL EGG TEMPERA Similarities and Differences By Louis R. Velasquez GOUACHE is an interesting paint medium. In simple terms, it is described as an OPAQUE WATERCOLOR paint. Its full bodied, chalky opacity and fast drying makes one think of the new CSO-EGG TEMPERA medium. The differences are more important than the similarities. There is a very fine essay on the web, dated 2005, wherein Mr. Bruce MacEvoy gives us important information on the GOUACHE paint. See his essay at: http://www.handprint.com/HP/WCL/pigmt7.html Copyright laws prohibit my complete use of his article, but I can use the important points to show the differences and similarities between Gouache and CSO-EGG TEMPERA. Mr. MacEvoy begins with a historical overview of the medium, and states the term ‘Gouache’ is derived from the Italian word for ‘MUD’ , being ‘ aguazzo’. He names famous artists who have used it as seen in Abrecht Durer’s famous painting of the Hare. He describes Gouache as being like mud, wet and opaque , and refers to it as ‘watercolor’ painting, but makes some distinctions between the two. MacEvoy says one form of Gouache can be made by mixing ‘white pigment’ with watercolors bound with Gum Arabic’. Another ancient paint medium, he says, is called ‘Distemper’ which is colored pigments bound with glue, without any white pigment to create opacity. In summation, he makes the point Gouache is opaque whereas Watercolors are transparent. He lists six properties that differentiate Gouache from Watercolors. SIX PROPERTIES OF GOUACHE 1. Gouache is thick, and due to its opacity, it can be painted on colored papers, whereas Watercolors require white paper to show the transparency. 2. Gouache , like oil paints, requires addition of white pigment to lighten a color, whereas Watercolors only need to be painted thinly on white paper to create light colors. 3. Gouache is not applied thinly like Watercolors. It is applied thickly but not thickly like oil paints because it will crack. 4. Gouache is not absorbed by the paper, but remains on the surface. Like Watercolor paints, Gouache cannot be painted thickly as the impasto with oils and because of that, it has limited surface textural effects. 5. Gouache can create even flat color areas which are difficult to obtain with Watercolors. 6. Gouache can cover the layers below it, whereas Watercolors do not fully cover lower layers due to their transparency. With Watercolors, a painter paints Dark colors on Light colors. With Gouache, the painter can paint either dark or light colors as desired, and can easily alternate the procedure to make corrections or improvements. POPULARITY OF GOUACHE MacEvoy states these properties make Gouache popular with Architectural and Commercial artists and Gouache is called ‘ Designer’ paints by some. He warns that because much commercial work is not made to last, that Gouache colors can be fugitive and not lightfast as Fine Art requires. MacEvoy then points out the similarities of Gouache with Oil Paints, saying a free and vigorous application method with strong value contrasts are possible with Gouache. Again, he warns the Gouache paint must not be applied as thickly as oils, as it will crack and discolor. That statement indicates the Gouache paint film lacks pliability and has some other questionable archival color issues. Regarding the brushes used with Gouache, MacEvoy recommends a brush with stiffer hairs as are used with oils. For the support, he recommends smooth hot pressed tinted papers or other smooth art boards. Regarding the pigment BINDER, he says the same Watercolor binder is used, being Gum Arabic. The other required ingredients needed are: dry pigments, distilled water, inert pigments such as blanc fixe or precipitated chalk, a liquid binder of Gum Arabic , a wetting agent such as Ox Gall, a plasticizer such as glycerin and/or dextrin to make the paint creamier, and a preservative. Varnishing a Gouache painting requires additional steps. The chalky matte finish can be altered by application of diluted Gum Arabic to act as a varnish. MacEvoy points out the incompatibility of Gouache paints with Acrylic paints, and describes how acrylics can alter the final appearance negatively with too much gloss. Problems of the medium are pointed out if the paint is applied too thickly. If adding too many layers the under layers draw the moisture from the top layers and cause them to dry out and crack or flake off. The article finishes with storage problems of commercially prepared Gouache tube paints. Separation of pigments with the binder and a short shelf life of a few years, are accepted as normal. COMPARING THREE PAINT MEDIUMS: GOUACHE - CSO-EGG TEMPERA - TRADITIONAL EGG TEMPERA 1. *CSO-EGG TEMPERA uses an archival durable binder of Glair. When Glair is mixed with Calcium Carbonate chalk [ also called whiting or precipitated chalk by some] it creates a tough cement-like ingredient. When dry it is very difficult to scratch or remove even from enameled steel plates or ceramic plates used as palettes. *GOUACHE uses Gum Arabic as the binder. Even if Chalk calcium carbonate is mixed with Gum Arabic, the mixture remains relatively soft and easily scratched and removed from a painted surface. * TRADITIONAL EGG TEMPERA uses the yolk of the egg mixed with water, and sometimes the whole egg but never uses the white of the egg. Though the egg white is proven to be archival since ancient times, artists have traditionally been warned of its brittleness. Modern science shows the egg white contains almost no egg oil while the yolk is rich with egg oil. 2. *CSO-EGG TEMPERA can be applied in thick impasto , even with use of a palette knife and bristle brushes. Multiple layers may be placed one on top of another without any precaution or cause of cracking or flaking. *GOUACHE must not be applied thickly as it will crack and flake off. Use of palette knives for impasto applications are not recommended. Numerous applications are also not recommended for GOUACHE painting as it will crake and flake. *TRADITIONAL EGG TEMPERA is never applied in thick impasto because it will crack and flake off. Its beauty of transparency and translucency is achieved by numerous applications of thin color washes. 3. *CSO-EGG TEMPERA paint can also be used as a cold prepared GESSO. The CSO- EGG GESSO can be applied by hand and textured to simulate cloth weaving such as canvas linen or rough textures such as cotton or hemp as in creating creative surfaces such as stone, brick, cement. The list of tactile textures is endless as both the CSO-EGG TEMPERA and the CSO-EGG GESSO are one and the same and can be made easily in any variety of consistencies- from ultra thin to ultra thick. *GOUACHE cannot be used as a gesso because it lacks the strength if applied thickly. Mr. MacEvoy states the GOUACHE must not be applied thickly. *TRADITIONAL EGG TEMPERA cannot be used as a Gesso because it lacks the strength when applied thickly. Important Egg Tempera instructors warn not to use it in thick impasto applications. 4. *A finished CSO-EGG TEMPERA painting can be Impregnated with Sun Thickened Linseed oil. This procedure increases the pliability and durability of the paint as the Glair and the Chalk are both absorbent and readily absorb the oil, making the three ingredients into one film. The oil content adds to the permanence of the paint. * A finished GOUACHE painting is not intended to be varnished, yet as Mr. MacEvoy states, some artists do apply a thin film of the Gum Arabic to improve the color brightness and relieve the matte chalky colors caused by the white pigments and chalk. Gum Arabic layers are not intended to be absorbed by the GOUACHE under layers, but only to give a varnish like sheen. Gum Arabic is forever soluble in contact with water. * A finished Traditional Egg Tempera painting has historically been treated in various ways. Some Renaissance Egg tempera paintings were varnished with the same varnishes used on their oil paintings, while others were not varnished. 5. *CSO-EGG TEMPERA dries instantly throughout its body, like Gouache, Egg Tempera, Distemper and others of similar aqueous make up. Yet, CSO-EGG TEMPERA, because of its thick body allows a remarkable degree of blending if the painter has the skill to paint quickly. *GOUACHE also dries instantly and has the property of limited blending. * TRADITIONAL EGG TEMPERA dries instantly and limited blending is achieved by numerous fine hatching strokes. Some modern artists use washes like watercolor to achieve limited blending. Historically, the Old Masters such as the Van Eycks were not satisfied by the limitations of blending Egg tempera paints, and Oil Paints were perfected in the 15th century to allow more realistic effects. 6. *CSO EGG TEMPERA is applied like oil paints, with full freedom and spontaneity, and with endless over paints, thick or thin, to make creative additions, corrections or changes. *GOUACHE can also be applied freely like oil paints, but Mr. MacEvoy recommends the application be limited to only a few layers and that the paint not be applied thickly. * TRADITIONAL EGG TEMPERA is normally applied like watercolors, in thin washes, but handles differently than watercolors in that it dries instantly. Impasto is avoided. 7. *CSO-EGG TEMPERA can be applied thinly in transparent washes or thickly and opaquely, with the degree of transparency, translucency or opacity depending on the amount of pigment and CSO-EGG TEMPERA MEDIUM added to the pigments. *GOUACHE can be applied thinly but the paint should not be applied too thickly. It too can be transparent, translucent or opaque. * TRADITIONAL EGG TEMPERA is normally applied in transparent or translucent thin paint applications, with the layering causing its beauty as colors beneath show through. 8. *CSO-EGG TEMPERA was created to be used as a fast drying under paint medium for oil paints. Yet its versatility allows a painting to be completed using CSO-EGG TEMPERA medium alone without oil paints. Brilliant colors can be easily achieved and black India ink can be applied to give depth of contrast. The Impregnation of the Sun Oil dramatically increases the color depth of the CSO-EGG TEMPERA and the oil paints allow easy blending on the dry CSO-EGG TEMPERA painting. *GOUACHE is not intended to be used as an under painting for oil paints but could be. *TRADITIONAL EGG TEMPERA is not intended to be used as an under painting for oil paints, but many artists do use this method to create blending and more realistic effects. A technical issue affecting permanence is raised if the egg tempera s not allowed to cure first before applying oil paints on top. 9. *CSO-EGG TEMPERA paintings without Oil Paints on top, can be completed by applying a final coating to improve the depth and brightness of color. This can be done in three ways. The first is an application of Glair alone without any vinegar added. This gives a satin sheen. A second choice of coating is to use the whole egg with a half teaspoon of white vinegar added to act as a preservative to the yolk content. This results in a more shiny surface. The final choice is to apply a coat of yolk mixed with white vinegar. This gives a shiny appearance. Over time, egg becomes waterproof and permanent by application of heat and oxygen as the egg cures with aging. *GOUACHE paintings are not intended to be made shiny but some artists apply a coat of Gum Arabic to improve color depth. Gum Arabic is forever soluble when in contact with water. * TRADITIONAL EGG TEMPERA is best left alone without any final coating to allow the slow curing egg yolk to become hard. Once cured, the Traditional Egg Tempera medium has proven to be one of the most archival mediums of all with paintings lasting over 600 years and remaining in stable condition. There is evidence egg was used by the ancient Egyptians and possibly by prehistoric cave artists. Milk, eggs and oils are the most common, naturally occurring paint binders used by ancient humans. Copyright, 2010, Louis Velasquez, all rights reserved Please give notice of my website if sharing |
A LETTER FROM A CALIFORNIA ARTIST
Louis, I thought both DVD’S were wonderful. The audio throughout was super clear and the
whole video had a great consistent volume. All the text portions were large and easy to read.
Watching you painting in the videos was the highlight and your expertise is apparent. Watching
you paint makes so many things clear. Such as how much paint you put on your brush, the
pausing and pacing of your painting and particular strokes the manner and order in which you
apply colors. Also the more carefree approach and confidence of performing the various tasks
of your methods is communicated. The demonstrations of the new tempera and gesso methods
where you demonstrate so many methods was helpful. Also, your process of making and using
the rabbit skin hide glue was informative. I saw how easy it was to make the hide glue, the
gesso and how beautiful painting with tempera could be. It was also great to observe that
segment of glazing the painting of your daughter. It helped to see your grinding table and how
it doesn’t have to be an expensive slab and also seeing how much pressure you apply on
things like grinding the paints was helpful. I think the DVD’S were full of important information.
Thank you very much. Anthony C. ...WEBSITE : www.Airlit.daportfolio.com
| THE DVD " THE NEW MILK OIL PAINT and the VAN EYCK SECRET MEDIUM" Go to AMAZON.COM to see and purchase this DVD Ancient artists learned of milk’s natural adhesive property. Paint made from milk is called CASEIN TEMPERA PAINT. The DVD, offers artists NEW DEVELOPMENTS of the ancient CASEIN medium. Artists throughout art history have used CASEIN MILK PAINT because it is inexpensive, fully archival, and easy to apply. Like all aqueous media, it is difficult to achieve the ‘REALISM” offered by easier blending oil paint, yet, it remains an outstanding paint. Andrew Wyeth and many others of our era have solely used a TEMPERA aqueous medium in creating realist style paintings. For the modern artist of today, who may be more concerned with AESTHETIC FORM rather than visual reality, the NEW CSO-CASEIN TEMPERA PAINT will expand the visual expression of today's artists. THE DVD WILL GIVE DETAILED INSTRUCTIONS WITH DEMONSTRATION IN LIVE FILM STEP ONE: MILK CHOICES STEP TWO: CHOICES ON HOW TO CURDLE THE MILK THE TRADITIONAL METHOD NEW METHODS TO CURD THE NON FAT MILK THE ‘CSO- CHAMPAGNE INSTANT CURD METHOD’ THE ‘CSO-TONIC WATER METHOD’ STEP THREE: MAKING “CSO-CASEIN” PASTE STEP FOUR: MAKING “CSO-CASEIN” MEDIUM STEP FIVE : MAKING ‘ CSO-CASEIN’ PAINT STEP SIX: PREPARING THE SUPPORT WITH ‘CSO-CASEIN GESSO’ YOU WILL USE EITHER METHOD “A” OR METHOD “ B” FOR THIS STEP. METHOD “A”: IF YOU WILL NOT BE OVER PAINTING WITH OIL PAINTS, USE THIS METHOD: METHOD “B”: IF YOU WILL BE APPLYING OIL PAINTS ON TOP OF THE CASEIN, FOLLOW THESE INSTRUCTIONS: STEP SEVEN: DRAW FIRST- THEN SEAL THE GESSO WITH MILK STEP EIGHT : PAINT THE PICTURE WITH THE CSO-CASEIN PAINT STEP NINE :PREPARATION OF THE CASEIN PAINTING STEP TEN: OPTIONAL ‘CSO-CASEIN’ PAINT AS AN UNDERPAINTING FOR OIL PAINTS TECHNICAL NOTES: |
| TWO NEW EXCITING DEVELOPMENTS 'CSO-EGG TEMPERA" and 'CSO-CASEIN TEMPERA" |
