| FOR PROFESSIONAL AND ADVANCED PAINTERS OIL PAINTING with 'CALCITE SUN OIL': Safety and Permanence without Hazardous Solvents, Resins,Varnishes, and Driers 131 pages / double sided, no illustrations, 8.25" X 11", Soft Cover, 'Perfect' binding ISBN -978-1-6048-1354-8 LCNN - 2008939691 THE FIRST EDITION WAS PUBLISHED PRIVATELY IN 2004 AND SOLD WORLD WIDE // THE REVISED EDITION WAS PUBLISHED IN OCT. 2008 by WORDCLAY PUBLISHING CO. ARTISTS ARE USING THE CSO/EMULSIONS METHOD OF OIL PAINTING = .Australia, China, Canada, South America, Mexico, ALL of Europe, and the USA ! THE AUTHOR RECOMMENDS KREMER PIGMENTS FOR = Calcium Carbonate Chalk from Champagne France http://www.kremer-pigmente.de/shopint/index.php?cat=010504&lang=ENG&product=58000 MY RECOMMENDATION FOR PURCHASERS OF THE BOOKS OR DVD'S. IF YOU ARE A BEGINNER, I recommend you purchase ONLY the DVD's because they demonstrates HOW TO DO many of the procedures described in great detail in the books. IF YOU ARE ADVANCED , I recommend you purchase first, the DVD, as it may answer all your questions about the methods and procedures described in my book and website. You may later wish to buy the book in order to answer all the questions that will come up. IF YOU ARE A PROFESSIONAL ARTIST, PROFESSOR, TEACHER I recommend you buy the books and DVD's because this provides all the information I have developed to date. They WILL inspire you to advance the research , to develop your own new application methods and solutions, to answer all the questions that will be posed by students |
The SUPERIOR OIL of the Old Masters is : UNREFINED COLD PRESSED FLAX OIL that has been organically cleansed of its mucilage and slowly Sun Thickened I created the term "SUPERIOR LINSEED/FLAX OIL", out of necessity, to avoid confusing it with industrial processed 'linseed oils' or mediums used by artists today. The importance of the SUPERIOR LINSEED/FLAX OIL used by the Old Masters is supported by TWO IRREFUTABLE FACTS that are documented by clear EVIDENCE which CANNOT be denied, disproved or misrepresented by any well paid Scientist, Media Advertising Director, Attorney, or other controlled employees of Linseed oil manufacturers, oil paint makers, and sellers. THE FIRST IRREFUTABLE FACT ARE THE 600 YEAR OLD OIL PAINTINGS PAINTED BY THE VAN EYCK BROTHERS WHICH ARE IN AN EXCELLENT STATE OF PRESERVATION. THE SECOND IRREFUTABLE FACT IS THAT THE VAN EYCK PAINTINGS WERE NOT PAINTED WITH MODERN INDUSTRIAL, CAUSTIC CHEMICAL CLEANSED, BOILED LINSEED OIL USED BY ARTISTS TODAY AND SINCE THE 19TH CENTURY INDUSTRIAL ERA. but were painted with THE UNREFINED SUPERIOR FLAX OIL DESCRIBED IN MY BOOK AND ON MY WEBSITE. My patent was approved by the US Patent nd TradeMark Office in November 2006. See patent # 7141109 |
| Copyright 2004-2007 by Louis R. Velasquez , All rights are reserved on all text and images on this entire website, and may not be used without the written permission of the author. The name, "Calcite Sun Oil" is Trade Mark protected with the U.S. Govt. Note: My family records show I am NOT related to the famous master, Diego Velazquez. |
1943: Born and raised in Porterville, California
1961: Painted the large oil painting on canvas, "The Stagecoach at Porterville, 1861", now in the collection of the Porterville Historical Museum
1964-1967: US Army. Germany.
Paratrooper, Military Police. Traveled throughout Europe/ studied major museum collections.
1968-1975: Police Officer, City of San Diego, California
1975-1989: Investigator, County of San Diego, California
2000-2005: High School Art teacher, Chula Vista, California
2005: Retired
My BA Degree in Art, and my California Teaching Credential are from San Diego State University
Since 1968 I have made many trips to Europe for art studies
At age 12, I studied books by the noted American artist, Mr. Frederic Taubes, whom I was fortunate to have met when I was 15. He was
knowledgeable in many methods and materials of the Old and Modern masters, and I consider him my teacher.
"The Stagecoach at Porterville,1861" , 6FT X 12FT, oil on stretched canvas. An original concept I painted in celebration of the Centennial of Porterville. In 1965 the
"Porterville Historical Museum" acquired it for the permanent collection. I painted this painting in 1961 at age 17, when a senior at Porterville Union High School.
"Porterville Historical Museum" acquired it for the permanent collection. I painted this painting in 1961 at age 17, when a senior at Porterville Union High School.
LEARN HOW TO OIL PAINT USING METHODS AND MATERIALS OF THE OLD MASTERS
go to : WWW.BUDDYBURRO.COM and click on the page: HOW TO OIL PAINT.
"Achieve the paint quality of the Old Masters with Safety and Permanence" 'The Rebirth of the Old Masters' Superior Oil ' MAKES POSSIBLE THE ELIMINATION OF SOLVENTS, RESINS, VARNISHES AND DRIERS |
| SCIENTIFIC STUDIES SINCE 1988 SHOW REMBRANDT AND VELAZQUEZ USED SIMPLE ADDITIVES Velazquez' paintings were studied by the Prado Museum. Results published in 1992 show he added large amounts of Calcium Carbonate ( Calcite, Chalk)) to ALL his colors not just the White, and in all layers of his paintings. This addition gives the paint great translucency, body and sumptuous textures not achieved by other means. Calcium Carbonate has a cement-like quality that improves adhesion to the support. Also, his paint includes an addition of a protein which creates an Emulsion. This protein additive gives great control to the viscous leveling linseed oil, allowing a great variety of application methods and visual effects. Rembrandt's paintings were scientifically examined by the National Gallery London. Results published in 1988 show he used Calcium Carbonate and a protein additive to create an Emulsion that in turn allows the extraordinary ' paint quality' that is a trademark of his work. Rembrandt did NOT use resins but his followers and students did. The protein additive replaces the resin and is superior to it because it becomes one with the oil ageing together, while the resins simply co mingle and age at different rates. The " WONDER MEDIUM" of two EXTRAORDINARY EMULSIONS Contemporary artists and those of past centuries have studied the paintings of the Van Eycks. Numerous Old and Modern books give uncounted Emulsion or Medium recipes, each with FAULTY complex mixtures of solvents,varnishes, balsams, resins, water and other ingredients. These FAILED MIXTURES have been TRIED and REPEATED by each subsequent generation ...and today...various websites continue the FAILURES. I developed two SAFE and PERMANENT Emulsions, using two SIMPLE ancient time-tested ingredients available to the Van Eycks, Velazquez and Rembrandt: The specific MIXING method, the specific RATIO of the mixtures, and ESPECIALLY the specific APPLICATION procedures ARE IMPORTANT TO THEIR SUCCESS. Lack of this information leads to failure. The EMULSIONS are the * paint thinner * They insure adhesion of layers * They eliminate wrinkling * They allow painting of micro-fine details * They allow the creation of Impasto *They eliminate drip and spread *They control the behavior of the viscous oil *They have no toxic fumes, or objectionable odors,and are 100% safe. They are simple to make, easily and quickly made. |
| IMPORTANT LINKs My website is dedicated to teaching, and the sharing of knowledge about oil painting.It gives me great pleasure to share with you a website that is dedicated to same ideals I have, the sharing of knowledge, and as ONLY the Internet can do for us. Danny Van Ryswyk, has created a website that deserving special recognition,and I am certain those who visit his two websites will gain much. I think it best to let his two sites speak for themselves and you will see how eloquently they do that. http://www.flickr.com/photos/nightf3v3r/sets/532828/ and you can visit his artwork at: www.dannyvanryswyk.com AN INVALUABLE REFERENCE BOOK ON THE WEB REGARDING LAVENDER AND SPIKE WAS SHARED WITH ME BY MY FRIEND, MARSHA PIPER. COPY THE ENTIRE URL and see Pages 564 - 568 MARSHA'S COMMENTS ON USING CSO IS ON THE TESTIMONIALS PAGE. http://books.google.com/books?id=u6VAAAAAIAAJ&pg=PA567&lpg=PA567&dq=lavender+spike+oil&source=web&ots= Ms_C50PmbC&sig=PWqt0P9G2I-LwB1x_rzpMWg2on4&hl=en&sa=X&oi=book_result&resnum=9&ct=result#PPA567,M1 |
THE CALCITE SUN OIL / EMULSIONS METHOD of Oil Painting gives the artist complete SAFETY, complete PERMANENCE and complete
CONTROL of the paint, whether thin glazes, or thick impasto. This method is made possible by the SUPERIOR OIL of the Old Masters, its mixture to make CALCITE SUN OIL..
and its mixture to make the two EMULSIONS. Three simple ingredients, known to have been used by Velazquez and Rembrandt are used. The specific measurement ratios,
and the specific application methods I created allow us to create the sumptuous ' paint quality' of the Old Masters.
The term PAINT QUALITY, is defined by Frederic Taubes in his books. In brief, it is the APPEARANCE of the paint itself, whether used in fine details, or broad strokes, thin or
thick. It is a QUALITY that once you see it, you will know what it is and it will inspire you to become a finer painter., regardless of whether you paint ' realistically' or
"non-objectively".
WARNING- NOTICE : USE OF ALLBACK LINSEED OIL
FOR FINE ART OIL PAINTING IS NOT RECOMMENDED
UNTIL THE COMPANY DISCLOSES TO THE PUBLIC,
THE TEMPERATURE THEIR " PURIFIED" OIL IS HEATED TO
I DO NOT RECOMMEND SWEDISH ALLBACK LINSEED OIL WHICH IS MAINLY PROCESSED FOR
PAINTING HOUSES.
THE REASON IS BECAUSE ALLBACK, REFUSES TO DISCLOSE THE TEMPERATURE THEIR "PURIFIED"
OIL IS HEATED TO.
The ALLBACK website sells 2 types of Linseed Oil: One is labeled as BOILED and the other as
PURIFIED.
Academic sources report Linseed oil BOILS at 343 Degrees Centigrade, but begins to DECOMPOSE at
230-236 Degrees Centigrade.
INDUSTRIAL LINSEED OIL, called BOILED, KETTLE, LEADED, WITH or WITHOUT METALLIC DRIERS ARE
MADE BY MANY COUNTRIES WORLDWIDE. THESE INDUSTRIAL OILS SERVE AN IMPORTANT PURPOSE
FOR INDUSTRIAL USES, BUT NOT FOR FINE ART OIL PAINTING. THEY ARE EXCELLENT FOR PAINTING
HOUSES AND PRESERVING WOOD, AND HAVE A LIFE EXPECTANCY OF APPROXIMATELY 50 YEARS.
AS A HOUSE PAINT OR PRESERVATIVE, IT IS SUPERIOR TO ACRYLIC PAINTS IN MANY WAYS.
HOWEVER, HIGH HEATED AND CHEMICALLY CLEANSED OR BOILED INDUSTRIAL LINSEED OIL IS NOT
ADEQUATE FOR FINE ART PAINTINGS WHICH ARE EXPECTED TO LAST FOR CENTURIES.
SEE tests and photos of Swedish ALLBACK LINSEED OIL , click on the UNREFINED
FLAX OIL tab / SEE DETAILS ON THE TAB: " WASHING LINSEED OIL"
WARNING !.................. french chalk!!! .............not the same as " chalk from champagne france !
AS THE PATENT HOLDER OF "CALCITE SUN OIL" MIXTURE, I RECOMMEND ONLY CALCIUM CARBONATE that is true..CHALK FROM CHAMPAGNE FRANCE for making CSO.
The German based company, KREMER-PIGMENTE KREMER sells this chalk and has worldwide distribution . Look at their URL for a site nearest you.
http://kremer-pigmente.de/en/Laeden/Distributors-worldwide KREMER'S ID # for this item is # 58000 and is listed as: Chalk from Champagne, France. It is Calcium Carbonate.
IN THE PAST, I used to purchase my CHALK FROM CHAMPAGNE FRANCE/ CALCIUM CARBONATE from SINOPIA, a Fine Art Supply store in San Francisco, California. As of this writing,
December 2008, they no longer carry this item. They do list an item they call FRENCH CHALK. Several respected Academic sources state that the term, FRENCH CHALK is a common name
used to describe TALC, and TALC is hydrated magnesium silicate with the chemical formula H2Mg3(SiO3)4 or Mg3Si4O10(OH)2.
GO TO http://en.wikipedia.org/wiki/Talc to read the hazard FRENCH CHALK/TALC may present to humans and use it at your own risk.
Sinopia states their FRENCH CHALK is not a TALC, but is a CALCIUM CARBONATE. I purchased their FRENCH CHALK, and found it to be inferior for making "CALCITE SUN OIL" as per my
patented formula because their FRENCH CHALK lacks the great adhesiveness of the CHALK FROM CHAMPAGNE FRANCE CALCIUM CARBONATE, and it separates while in storage from the
oil. Therefore, I do not recommend the item named FRENCH CHALK. For other Fine Art Supplies, SINOPIA remains an excellent source and it has always been one of my favorite art supply
stores. I hope SINOPIA will carry Chalk from Champagne France, in the future.
BENTONITE SHOULD NOT BE ADDED TO OIL PAINT
Naturalpigments company ( http://naturalpigments.com/ ) Has announced their new Calcite Oil Painting Mediums:
Impasto Medium and Velázquez Medium. Details are on their website. I cannot endorse their product for these reasons.
THEIR ADVERTISEMENT MAKES THESE CLAIMS ( in brief) :
Their Impasto Medium is formulated with: finely ground calcite, silica and bentonite in bodied linseed oil. Their Velázquez Medium is formulated with: finely ground calcite in bodied
linseed oil. No additives such as stearates, solvents, driers or resins whether natural or synthetic.
THE FACTS ON BENTONITE : According to Wikepedia, http://en.wikipedia.org/wiki/Bentonite
BENTONITE is an absorbent clay, of two main types ( sodium and Calcium)with several industrial uses such as a water leak sealant and other uses.
SILICA is found in sand and quartz and also has many industrial uses such as the manufacture of glass and other uses.
Reading Wikepedia for yourself gives a better understanding of what these two ingredients may or may not do for your oil paint.
COMPARING NATURALPIGMENTS NEW CALCITE PRODUCTS .... with ....‘CALCITE SUN OIL’
1. 'CALCITE SUN OIL' uses the SUPERIOR FAST DRYING oil used by the Old Masters Cleansed without caustic chemicals.
2. NATURAL PIGMENTS , I suspect, uses INDUSTRIAL, SLOW DRYING alkali refined linseed oil. I have no data on how hot the Naturalpigments 'bodied oil' they claim to use, is heated to.
Linseed oil degrades at 230 degrees C. My website explains this very important point.
2. BENTONITE IS NOT AN INERT SUBSTANCE. It absorbs water and expands. I caution against use of adding Bentonite to oil paint for this reason. Bentonite is sold commercially and used
as a water leak sealant. If you place a hard dry rock of bentonite in water, it immediately becomes sludge and increases its size. Bentonite expands by absorbing water. Science tells us
linseed oil paint, will absorb and release oxygen throughout its lifespan of hundreds of years. Oxygen contains moisture with its amount varying according to geographical region.
As the oil itself cures, will the bentonite continue to absorb moisture and swell up, expanding while the now immobile oil paint is exposed to cracking? Science has NOT found Bentonite
in the Old Masters' paintings to my knowledge. There IS NO benefit gained by adding Bentonite to oil paint because Bentonite is not an INERT substance.
3. SILICA IS A SAFE ADDITIVE TO OIL PAINT: Powdered glass is silica and was an inert ingredient used by many Old Masters, notably by Titian. Smalt was also used by Rembrandt and
other masters. It was thought that powdered leaded glass could be used as a drier. Others thought the glass added sparkle to the paint [ it does not] . This COMPLETELY INERT additive
causes the oil paint film no damage or risk.
THE ADVANCEMENT OF CALCIUM CARBONATE POWDER IN OIL PAINTING
When I published my book in 2004, I knew that given time, artists around the world would see the benefits of the ‘Calcite Sun Oil/ Emulsions’ method of oil painting. And, that the word
would filter onto the doorsteps of Art material manufacturers. That time has arrived and I am happy to see it happening. Yet, we still need manufacturers to produce the SUPERIOR
UNREFINED oil, described in my book .
The Calcite Medium by NATURALPIGMENTS as a positive step forward. I encourage artists to try out the new product. BUT, I encourage artists to COMPARE them to the SUPERIOR
QUALITIES of ' CALCITE SUN OIL. Only by comparing both will artists understand the vast difference between mixtures using ALKALI REFINED BODIED OIL [ which is industrial stand oil]
with the QUALITIES OF THE SUN THICKENED OIL PROCESSED FROM UNREFINED FLAX OIL, as described in my book and website.
PATENTS IN THE REAL WORLD
A patent by the US Government is only given after scrutiny. A patent is not easy to obtain nor easy to defend in court. I received my patent in November 2006. Those wishing to read the complete details of my
patent may go to this site. http://patimg1.uspto.gov/.piw?Docid=7141109&idkey=NONE
My patent number is: 7141109. A certain software ( free download) must be downloaded to see the documents. See their HELP button.
MY BOOK AND PATENT DESCRIBE 4 UNIQUE FORMULAS FOR MIXING CALCIUM CARBONATE POWDER WITH LINSEED/FLAX OIL
POSTED= 5/6/09
| TEN BENEFITS of “ CALCITE SUN OIL” DRYING is accelerated without driers - ADHESION, without drips and beading BLENDING is facilitated - TRANSLUCENCY is increased BODY of Impasto or Glazes - COLOR DEPTH and LUSTER is increased MICRO-FINE LINES and DETAILS are allowed THIXOTROPIC quality is promoted SUEDE EFFECT of Tube Oil Paints is eliminated WRINKLING of impasto is eliminated |
| " CALCITE SUN OIL" (CSO) IS A REVOLUTIONARY NEW GRINDING OIL,BASED ON ANCIENT KNOWLEDGE CSO is a Grinding Oil, NOT a paint medium. Use with Tube oil paints, or to Hand Grind your oil paints. CSO is a carefully measured gel-like substance made from two safe and tested ancient artist's materials; Calcium Carbonate powder, and, the SUPERIOR LINSEED/FLAX OIL of the Old Masters |
PROFESSIONAL ACADEMIC TERMINOLOGY IN FINE ART PAINTING
The Art of Painting is noble and deserving of respect. Slang terms have no place in naming the mixtures of ingredients the Master painters used in
painting their Masterpieces. The Old Masters used various Ochres and Umbers. We call them, ‘Earths” ...... not, Dirt, nor Mud, nor Muck.
The name, ‘Calcite Sun Oil”, honors its archival ingredients. As others experiment with mixtures like CSO, they use slang terms such as, ‘ GUNK‘,
‘GOOP’, and ‘PUTTY’’. These slang terms denigrate Painting. GUNK collects in auto radiators, GOOP is sticky like a glue,
and PUTTY is used by plumbers as a water sealant. The word PUTTY has a negative reference in describing the Masters' work.
WINDOW PUTTY, is a mixture of boiled leaded linseed oil mixed with calcium carbonate. It has a life span of under 50 years .
Modern mixtures use silicone. = 'SILLY PUTTY', is sometimes known as SILICONE BOUNCING PUTTY. = 'GOOFY PUTTY :Read the entire article and see how to make it. http://www.
worsleyschoolnet/science/files/silly/putty.html = 'GOOP PUTTY::See the recipe to make it= http://www.worsleyschool.net/science/files/goop/page.html
'SLIMY PUTTY' View a video on making : http://www.wonderhowto.com/how-to/video/how-to-make-slimy-silly-putty-with-glue-and-borax-130536
In 2004, I sent Tad Spurgeon a copy of my 2004 published book describing my development of ‘ Calcite Sun Oil’, the two Emulsions, and the new
methods I developed in cleansing the Unrefined Cold Pressed Flax oil as I identified the Superior oil of the Old Masters. I did this because his
website showed he knew nothing about these Revolutionary new developments I was working on, and I saw he was still using Solvents, Resins and
Varnishes. In 2004 I also sent copies of my book to others I thought needed some guidance.
Three years later—in 2007 – Tad began his experiments into the knowledge published in my 2004 book. I believe my book has inspired many artists to
learn this revolutionary new yet ancient information. The formulas and application methods described in my book, website and now DVD’S make it
possible for all oil painters today to, "Achieve the Old Masters' Paint Quality" with SAFETY and PERMANENCE"
MY BIOGRAPHY AND ARTWORKS |
| LINKS AND IMPORTANT ISSUES REGARDING OIL PAINTING SCROLL DOWN FOR MORE |
1. HOME PAGE. An introduction to CALCITE SUN OIL
2. BOOK CONTENTS Read the first page of each chapter of the book. UPDATES and NEW DEVELOPMENTS
3. PAINTINGS My paintings made with 'Calcite Sun Oil'. 'TRIANGULARISM" and El Greco. Frederic Taubes, an American Master.
The beauty of an Emulsion, see photo
4. UNREFINED FLAX OIL Additional information on cleansing the unrefined flax oil WARNING: Swedish Allback Linseed oil
5. WASHING LINSEED OIL Cleansing the unrefined Flax oil of mucilage. Photos of mucilage how it browns and darkens oil paint.
6. The VAN EYCK SECRET Rembrandt did NOT use Burnt Plate Oil. RUBENS' Thixotropic Method of Oil Painting ESPESO= The NEW oil out medium
7. AGUADO : Louis paints with CSO/AGUADO. The first expansion of the CSO METHOD ideal for large sized paintings. Fast, Efficient, Powerful.
8. CSO EGG TEMPERA and CSO CASEIN TEMPERA FAST DRYING archival mediums for under painting of oil painting.
9. HAZARDOUS ITEMS Common HAZARDOUS ingredients. Which colors are safe? CSO INSTRUCCION EN CASTELLANO
10. TESTIMONIALS Professional artists speak about CSO.
11. BLOG & FAQ'S DIEGO VELAZQUEZ' working method , askmaurice.org - paints with CSO/EMULSIONS, CSO-FIXATIVE a safe method of FIXING
a charcoal drawing without aerosol sprays
12. STUDY WITH LOUIS: Coming in Winter 2010/2011 Louis opens a Private Art Studio, teaching CSO and CSO TEMPERA methods
2. BOOK CONTENTS Read the first page of each chapter of the book. UPDATES and NEW DEVELOPMENTS
3. PAINTINGS My paintings made with 'Calcite Sun Oil'. 'TRIANGULARISM" and El Greco. Frederic Taubes, an American Master.
The beauty of an Emulsion, see photo
4. UNREFINED FLAX OIL Additional information on cleansing the unrefined flax oil WARNING: Swedish Allback Linseed oil
5. WASHING LINSEED OIL Cleansing the unrefined Flax oil of mucilage. Photos of mucilage how it browns and darkens oil paint.
6. The VAN EYCK SECRET Rembrandt did NOT use Burnt Plate Oil. RUBENS' Thixotropic Method of Oil Painting ESPESO= The NEW oil out medium
7. AGUADO : Louis paints with CSO/AGUADO. The first expansion of the CSO METHOD ideal for large sized paintings. Fast, Efficient, Powerful.
8. CSO EGG TEMPERA and CSO CASEIN TEMPERA FAST DRYING archival mediums for under painting of oil painting.
9. HAZARDOUS ITEMS Common HAZARDOUS ingredients. Which colors are safe? CSO INSTRUCCION EN CASTELLANO
10. TESTIMONIALS Professional artists speak about CSO.
11. BLOG & FAQ'S DIEGO VELAZQUEZ' working method , askmaurice.org - paints with CSO/EMULSIONS, CSO-FIXATIVE a safe method of FIXING
a charcoal drawing without aerosol sprays
12. STUDY WITH LOUIS: Coming in Winter 2010/2011 Louis opens a Private Art Studio, teaching CSO and CSO TEMPERA methods
DEGRADED LINSEED OIL
CARELESSNESS AND IGNORANCE AND MORE
Many websites and books on oil painting promote use of DEGRADED
Linseed oil.
THEY IGNORE THE SAFE HEATING TEMPERATURE OF THE OIL.
The oil begins DECOMPOSING at 230 degrees Centigrade [Celsius].
Modern Stand Linseed oil is cooked to 288 degrees Centigrade
Burnt Plate Oil is the most decomposed of all , reaching above 400 C.
Many websites "experiment" with time proven FAILED methods of
processing the oil and continue repeating the failures.
They ignore the basic fundamental rule: DO NOT OVER HEAT THE OIL.
Their mixtures to create 'painting mediums', oil varnishes, and other
experiments include a dash of this, a bit of that, some of that, shake and
bake ..and hope for the best.
CARELESSNESS AND IGNORANCE AND MORE
Many websites and books on oil painting promote use of DEGRADED
Linseed oil.
THEY IGNORE THE SAFE HEATING TEMPERATURE OF THE OIL.
The oil begins DECOMPOSING at 230 degrees Centigrade [Celsius].
Modern Stand Linseed oil is cooked to 288 degrees Centigrade
Burnt Plate Oil is the most decomposed of all , reaching above 400 C.
Many websites "experiment" with time proven FAILED methods of
processing the oil and continue repeating the failures.
They ignore the basic fundamental rule: DO NOT OVER HEAT THE OIL.
Their mixtures to create 'painting mediums', oil varnishes, and other
experiments include a dash of this, a bit of that, some of that, shake and
bake ..and hope for the best.
NOW, Teachers and Professors can begin teaching the knowledge of the Old Masters and NEW scientific information on technical issues of painting, by starting with one hour long
introductory visual explanations. The books will remain as the reference to the methods, with details, explanations, and lots of information that cannot be given in a one hour long video. I
believe now, these methods will become clear as the profound knowledge contained in the books will serve today's painters in ways that will allow them to discard and eliminate 100% of all
hazardous materials --and achieve permanence --and achieve total control of both mediums. I fully understand the density of the information in my books. They are intended for serious
advanced painters who wish to excel and achieve the ' paint quality' of the Old Masters. The DVDS will make the methods easy to understand.
introductory visual explanations. The books will remain as the reference to the methods, with details, explanations, and lots of information that cannot be given in a one hour long video. I
believe now, these methods will become clear as the profound knowledge contained in the books will serve today's painters in ways that will allow them to discard and eliminate 100% of all
hazardous materials --and achieve permanence --and achieve total control of both mediums. I fully understand the density of the information in my books. They are intended for serious
advanced painters who wish to excel and achieve the ' paint quality' of the Old Masters. The DVDS will make the methods easy to understand.
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WILLIAM HARRIS III ;
Is one of those very talented
contemporary artists using
the methods and materials of
the great Old Masters. See
his fine paintings at his
website.
http://www.williamharrisart.co
m/
You will be amazed at his
expressive use of all those
elements that create great
artwork. He has given me
permission to use a recent
portrait painting. This
painting makes you think of
the meaning as you see the
words worked into the design.
WILLIAM NATHANS
is another exceptional painter.
A recent painting of his now
hangs in the VATICAN !
CSO AT THE VATICAN !! I am
impressed beyond words.
See his website :
http://www.willnathanspaintings.co
m/#
As with William Harris, Mr.
Nathans paintings will engage
you.
I was unable to copy and paste
the image of his recent painting.
But, see it on his website
is another exceptional painter.
A recent painting of his now
hangs in the VATICAN !
CSO AT THE VATICAN !! I am
impressed beyond words.
See his website :
http://www.willnathanspaintings.co
m/#
As with William Harris, Mr.
Nathans paintings will engage
you.
I was unable to copy and paste
the image of his recent painting.
But, see it on his website
JORDI IGLESIAS MONFORTE
lives in Reus , Spain. His use of CSO and the making of
his own superior oil of the Old Masters, caused him to
name it: ' EL ACEITE BENDITO"" this translates as: The
Blessed Oil".
Mr. Iglesias-Monforte studied at the Universidad de
Bellas Artes, in Barcelona, near the fine museums and
the center of the Modernist work of GAUDI in
architecture. He has a broad knowledge of European Art
from its early Gothic to the present. He has a special
interest in Color and Value with all their nuances of
relationships.
The painting to your left is an example of his fine
portraiture work remminicent of Velazquez,Titian, and
other great Baroque painters.
There we now have, The BLESSED OIL, in the VATICAN,
and as other fine talented creative painters spread the
word --I predict that one DAY.. I may not be here to see it
-but ONE day,
the CSO METHOD will be taught at every university,
college and art school, oil painting class across the globe,
lives in Reus , Spain. His use of CSO and the making of
his own superior oil of the Old Masters, caused him to
name it: ' EL ACEITE BENDITO"" this translates as: The
Blessed Oil".
Mr. Iglesias-Monforte studied at the Universidad de
Bellas Artes, in Barcelona, near the fine museums and
the center of the Modernist work of GAUDI in
architecture. He has a broad knowledge of European Art
from its early Gothic to the present. He has a special
interest in Color and Value with all their nuances of
relationships.
The painting to your left is an example of his fine
portraiture work remminicent of Velazquez,Titian, and
other great Baroque painters.
There we now have, The BLESSED OIL, in the VATICAN,
and as other fine talented creative painters spread the
word --I predict that one DAY.. I may not be here to see it
-but ONE day,
the CSO METHOD will be taught at every university,
college and art school, oil painting class across the globe,
| WARNING - WARNING - ON THE OIL YOU USE The Old Masters did not have to deal with a very important evil -- additives of ANTIOXIDANTS -to their oil by well meaning manufacturers. THIS FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Antioxidants An antioxidant is a molecule capable of slowing or preventing the oxidation of other molecules. Oxidation is a chemical reaction that transfers electrons from a substance to an oxidizing agent. Antioxidants terminate these chain reactions by removing free radical intermediates, and inhibit other oxidation reactions by being oxidized themselves. As a result, antioxidants are often reducing agents such as thiols, ascorbic acid or polyphenols TOCOPHEROLS , or, VITAMIN E are frequently and commonly added to the UNREFINED, COLD PRESSED FLAX OIL....to keep it from ' SPOILING", or becoming ' RANCID". Meaning...to keep its taste SWEET ... not ACIDIC. IF YOU WILL EAT THE OIL AS A HEALTH BENEFIT.. the added TOCOPHEROLS, VITAMIN E and other 'HEALTH" additives are just fine. BUT PAINTERS DO NOT WANT those additives. THEY WILL SLOW DOWN THE DRYING [ OXIDATION} of the oil..from one day to up to 5 days. SO. BE CAREFUL--- READ THE VERY FINE PRINT. The FRONT label will say all the right things... UNREFINED, COLD PRESSED, RAW, REFRIGERATED, NO HEXANE, FILTERED TO REMOVE BACTERIA, ETC....but the back side label in very fine print may say.. "TOCOPHEROLS ADDED TO IMPROVE FLAVOR AND EXTEND SHELF LIFE" . ANTIOXIDANTS ARE DESIGNED TO STOP THE FLAX OIL FROM ABSORBING OXYGEN. FLAX OIL CAN ONLY DRY , meaning, OXIDIZE, .. by INTAKING OXYGEN. Artists frequently write to me about which brand to buy. I recommend BARLEANS. I HAVE USED BARLEANS FOR YEARS WITHOUT ANY DRYING/OXIDATION PROBLEMS. THen one year I tried the brand 'EFA'...and missed reading the very fine print. IT LED TO A DISASTER. BE CAREFUL !!!!!!!!!!!!!!!!!!!!!!!!!!!! |
TANIA DIBBS is a Nationally recognized painter.
If you LOVE the great painters TURNER and
MONET...you will LOVE the great emotional
expression of her paintings of nature. SEE her
wonderful paintings at her website ..
www.taniadibbs.com.
TANIA wrote me this kind letter recently about
CSO:
------- "Louis
I have had a wonderful time watching your video.
Your CSO has changed my artistic life! I am
really enjoying it and thankful that you have put
so much time into this exploration. Thank you
again for all you have done. You have no idea
how inspiring this has all been.
-Tania " - www.taniadibbs.com
YOUTUBE has a fabulously inspiring video on
Tania. It takes you into her studio- watch her
paint- hear her speak about choices, motivation,
passion for art. It is a great video !
Copy and paste this URL -
http://www.youtube.com/watch?v=EOwIkE6kxMY
With her permission I post one of her fine
paintings.
If you LOVE the great painters TURNER and
MONET...you will LOVE the great emotional
expression of her paintings of nature. SEE her
wonderful paintings at her website ..
www.taniadibbs.com.
TANIA wrote me this kind letter recently about
CSO:
------- "Louis
I have had a wonderful time watching your video.
Your CSO has changed my artistic life! I am
really enjoying it and thankful that you have put
so much time into this exploration. Thank you
again for all you have done. You have no idea
how inspiring this has all been.
-Tania " - www.taniadibbs.com
YOUTUBE has a fabulously inspiring video on
Tania. It takes you into her studio- watch her
paint- hear her speak about choices, motivation,
passion for art. It is a great video !
Copy and paste this URL -
http://www.youtube.com/watch?v=EOwIkE6kxMY
With her permission I post one of her fine
paintings.
| MY WEBSITE page " TESTIMONIALS" ...has some letters I have received from artists across the USA and the world. Here in this space I will show some of their paintings. I wish I had a separate website dedicated to all the artists now using CSO. |
RIC HATCHER resides in Perth
Australia. After Ric bought my
book, we became fast friends
via the internet. Later, with his
wife Veronica and son Dylan,
they toured the USA and
stopped to spend 3 days with
me and my family. Besides
painting, Ric and I found out
we both loved the music of
BOB DYLAN and that we both
have extensive collections of
Dylan's music. Ric's very fine
work can be seen on his
website:
His very sensitive and mystical
portrait of his son Dylan is
titled, " DYLAN IN THE
MOONLIGHT". Ric's love of the
Old Masters, especially that of
Velazquez, shows lessons he
has learned and this portrait
brings to mind the
extraordinary work of
Velazquez.. SEE Ric's website
... http://www.rics-art.com/main/
Australia. After Ric bought my
book, we became fast friends
via the internet. Later, with his
wife Veronica and son Dylan,
they toured the USA and
stopped to spend 3 days with
me and my family. Besides
painting, Ric and I found out
we both loved the music of
BOB DYLAN and that we both
have extensive collections of
Dylan's music. Ric's very fine
work can be seen on his
website:
His very sensitive and mystical
portrait of his son Dylan is
titled, " DYLAN IN THE
MOONLIGHT". Ric's love of the
Old Masters, especially that of
Velazquez, shows lessons he
has learned and this portrait
brings to mind the
extraordinary work of
Velazquez.. SEE Ric's website
... http://www.rics-art.com/main/
Mr. Nathan's painting will soon be on this site |
ANOTHER SUCCESS 'CSO' STORY
Mr. Purcell Spence resides in La Guitardiere
S.W., France. He does not have a website as
yet. Here you can see his ' Free Interpretation' of
a painting by Henri Regnault,
a tremendous talent who died at age 28.
The world has lost a great artist.
Mr Spence recently wrote me a letter about CSO:
" Louis, Your method is brilliant, I'm finding that
adding chalk to the tube paint and CSO mix gives
a really thick creamy paint, I use it a lot. Thanks
for your research and book."
I am always overjoyed when I read letters like Mr.
Spence's. It makes all the endless testing,
experiments, research and work worthwhile.
One day soon I WILL get back to my own painting.
Mr. Purcell Spence resides in La Guitardiere
S.W., France. He does not have a website as
yet. Here you can see his ' Free Interpretation' of
a painting by Henri Regnault,
a tremendous talent who died at age 28.
The world has lost a great artist.
Mr Spence recently wrote me a letter about CSO:
" Louis, Your method is brilliant, I'm finding that
adding chalk to the tube paint and CSO mix gives
a really thick creamy paint, I use it a lot. Thanks
for your research and book."
I am always overjoyed when I read letters like Mr.
Spence's. It makes all the endless testing,
experiments, research and work worthwhile.
One day soon I WILL get back to my own painting.
A resident of PUERTO RICO, Rene Benvenutti has been a
student of the Old Masters since youth. Trained Classically,
he has studied the materials and methods of the great
painters. Now, with his discovery of CSO ... he calls it.." una
MARAVILLA!" Rene's need for a Spanish Translation of the
CSO information, inspired me to post a FREE course in
Spanish giving ALL the basic information, since neither my
books or DVDs are in Spanish. Here is the wonderful letter I
received from Rene: ( translation follows the original
Spanish) " Louis, Te tengo que decir que CSO es sencillamente
maravilloso. El crecimiento tecnico en lo que se refiere al
conocimiento de estos materiales simplemtente mirando tus dvd a
sido abismal. Este aceite ciertamente es el santo grial de la pintura al
oleo, es una maravilla. Independientemente de que a sido espesado
al sol, la capacidad de mantener la pincelada es absoluta, el secado
impresionante y el brillo y terminado simplemente majistral. Tengo
que decirte que este aceite es una maravilla de la naturaleza. El
chalk de champagne es inigualable no altera el croma
significativamente, incluso con adiciones sustanciales del mismo a
los pigmentos. La formula para la tempera es genial. No sabes
cuanto me esta ayudando en el proceso tecnico. Es una maravilla.
Me permite pintar con unos tiempos de secado casi istantaneos.
Puedo superponer pinceladas sobre pinceladas sin que se destruyan
las capas inferiores y sirve de base para la pintura final en aceite de
forma increible." -Rene Benvenutti
ENGLISH TRANSLATION: LouisI have to tell you CSO is simply
marvelous. The technical growth of in which is referred
understanding the materials just by watching the DVDS is profound.
This oil is certainly the holy grail of oil painting, it is a marvel.
Independent of its sun thickening, its ability to maintain brushworkis
absolute, the drying is very impressive, and its shine and finish are
magestic. I have to tell you that this oil is a marvel of nature. The chalk
is unequaled, as it does not significantly alter the chroma, even with
substantial additions to the pigments. The formula for the Temera is
genius. You have no idea how much it is helping me with the
technical procedures. It is a marvel. It allows me to paint with almost
instant drying times. I can overlay paint on top of paint without
disrupting the lower layers and it serves as the base for oil painting in
an incredible manner."
Rene's SELF PORTRAIT IN CSO is to the right,
See more of his very fine work at:
http://picasaweb.google.com/rbenvenutti/Pinturas?authkey=
Gv1sRgCMTx0a27s9iZ8QE&feat=directlink#5511647092992
794034
EOIN LLEWELLYN, a young
Irish Lad living in Germany,
also a great admirer of
Velazquez, and like Ric
Hatcher, he has learned many
lessons from the Great
Velazquez. . Eoin's work is
extraordinary in every sense
of that word. View his website
to see his wonderful artworks
in many media. This painting
is Titled Death in Monte Carlo,
and was painted with the CSO
method. Eoin has exhibited in
many countries and his work
is in important collections.
Please visit his site. You are in
for a great surprise. Eoin is
an extraordinary talent, and I
predict he will become an
important Artist on an
International level.
http://www.llewellyn.ie/
Irish Lad living in Germany,
also a great admirer of
Velazquez, and like Ric
Hatcher, he has learned many
lessons from the Great
Velazquez. . Eoin's work is
extraordinary in every sense
of that word. View his website
to see his wonderful artworks
in many media. This painting
is Titled Death in Monte Carlo,
and was painted with the CSO
method. Eoin has exhibited in
many countries and his work
is in important collections.
Please visit his site. You are in
for a great surprise. Eoin is
an extraordinary talent, and I
predict he will become an
important Artist on an
International level.
http://www.llewellyn.ie/
Jullian Tejera is a talented young
modern painter and teacher, and
has great respect for the great
Old Masters especially
Rembrandt and Velazquez.
He has recognized the
superiority of the unique oil they
used and the addition of Calcium
Carbonate to the paint. .
This painting demonstrates how
the thixotropic quality of CSO
allows a painter to paint,
wet paint ON TOP OF wet paint.
To see a series of step-by-step
photos demonstrating HOW HE
PAINTED IT go to his website:
painterification.blogspot.com
modern painter and teacher, and
has great respect for the great
Old Masters especially
Rembrandt and Velazquez.
He has recognized the
superiority of the unique oil they
used and the addition of Calcium
Carbonate to the paint. .
This painting demonstrates how
the thixotropic quality of CSO
allows a painter to paint,
wet paint ON TOP OF wet paint.
To see a series of step-by-step
photos demonstrating HOW HE
PAINTED IT go to his website:
painterification.blogspot.com
| A MARVELOUS MOMENT WITH Prof. Dr. ERNST VAN DE WETERING HEAD OF THE REMBRANDT RESEARCH PROJECT On October 27th, 2010, I attended Prof. Dr. Van De Wetering’s lecture at the Getty Museum in Los Angeles, California. After the lecture, I approached him as he stood surrounded by Getty scientists, and I said, “May I shake your hand, my name is Louis Velasquez.” He instantly smiled broadly and he said,.... “Ohhh ... the man of the Binding Medium!!” We shook hands briskly, exchanged greetings and a few words. Then he was escorted away. I am proud to share this information with you Demonstrating his awareness of ... CALCITE SUN OIL, a Grinding and Binding Medium for oil painting. |
JEAN FREDERIC COVIAUX is an extraordinary painter. His stunning
painting is below. Oil on copper 20x19 cm (7,87 x 7,48 inches) 2010
Dear Louis,
I have just finished new portraits with the CSO method.
It is very great. Thank you! Now I couldn't paint with anything else.
Thank you, Jean-Frédéric Coviaux, France
Louis' comment: Jean paints in a realistic manner that grabs your
attention and holds you spellbound as you see things we often ignore. His
realism is poetic, sobering, and will cause you to rethink what realism in
painting is. I predict his work will be much valued in years to come.
Look him up on Google to see more of his work in Europe.
painting is below. Oil on copper 20x19 cm (7,87 x 7,48 inches) 2010
Dear Louis,
I have just finished new portraits with the CSO method.
It is very great. Thank you! Now I couldn't paint with anything else.
Thank you, Jean-Frédéric Coviaux, France
Louis' comment: Jean paints in a realistic manner that grabs your
attention and holds you spellbound as you see things we often ignore. His
realism is poetic, sobering, and will cause you to rethink what realism in
painting is. I predict his work will be much valued in years to come.
Look him up on Google to see more of his work in Europe.
STEWARD WAN from HONG KONG has a Masters Degree in
Sculpture but also uses CSO. This informative photo of him in his
studio shows the high quality of his art. He will soon emigrate to San
Francisco California. I hope to meet him in person one day.
When he has his new website, I will post it.
Sculpture but also uses CSO. This informative photo of him in his
studio shows the high quality of his art. He will soon emigrate to San
Francisco California. I hope to meet him in person one day.
When he has his new website, I will post it.
| EMAIL : CONTACT velapress@aol.com I respond to ALL letters |
| FOR BEGINNERS OIL PAINTING WITH MILK : SAFETY FOR NEW PAINTERS AND SCHOOL ART CLASSES SAFETY in OIL PAINTING for our artist sons and daughters as well as friends and extended family, is the focus of this new DVD. MILK is pure CASEIN and nothing new to painting. It IS an ancient paint binder used since humans first opened their minds and eyes to the beauty of ART creation. HOWEVER , resulting from my research, studies, formulating and testing of the past 11 years, I have developed a remarkable NEW FORMULATION, a new METHOD and PROCEDURE for easily using MILK with OIL PAINTS. The development of this NEW MILK OIL PAINT method became a reality because I felt the SUPERIOR SUN THICKENED FLAX-LINSEED OIL described on my site may not be IN MASS PRODUCTION by Industry for many years because of high production costs. Because it will be an expensive oil it may never be available to those artists who deserve it most. All Art Stores sell ALKALI REFINED LINSEED OIL. I have adapted this inexpensive linseed oil to be used with OIL PAINTING WITH MILK so NEW PAINTERS and SCHOOL ART STUDENTS and ART TEACHERS can create wonderful oil paintings in a SAFE environment without use of hazardous or toxic materials. I AM ASKING EVERY READER OF THIS SITE to write an Email to the School Principals and Art Teachers and LIBRARIES in your district, asking them to go to this website, and learn about this SAFE, EASY TO USE, ECONOMICAL NEW METHOD: ....OIL PAINTING WITH MILK. The CALCITE SUN OIL EMULSIONS METHOD OF OIL PAINTING described in this website, WILL REMAIN the premier METHOD OF OIL PAINTING for advanced and professional oil painters , as it has come to be known. . |
RENE'S painting using the
PINE TREE TAR RESIN as
described on my site.
TITLE: Infame Sortilegio
Oil on Canvas , 36"X36"
A portrait of the painter ,
Dafne Elvira.
RENE'S classical traing and
love of the Old Masters and
use of PTTR and CSO
are combined with his
personal intuitive DESIGn
and COLOr to create a
magical piece of art.
I will paste a larger image of
this painting on the page
THE VAN EYCK SECRET ,
where the RUBENS study is
available to view.
PINE TREE TAR RESIN as
described on my site.
TITLE: Infame Sortilegio
Oil on Canvas , 36"X36"
A portrait of the painter ,
Dafne Elvira.
RENE'S classical traing and
love of the Old Masters and
use of PTTR and CSO
are combined with his
personal intuitive DESIGn
and COLOr to create a
magical piece of art.
I will paste a larger image of
this painting on the page
THE VAN EYCK SECRET ,
where the RUBENS study is
available to view.
Francis O'NEILL , a fine young
artist from Oxford England is an
Art Instructor and an
exceptionally creative artist that
recognizes the importance of
CSO. His website shows his fine
paintings, books and videos.
See: www.francisoneill.net/artist/
Francis has great appreciation
for the technical procedures of
the Great Masters, and uses
them to express his views of our
modern world. I predict Francis
will achieve important
recognition in future years.
His portrait of Dorothy is
dramatically designed.
artist from Oxford England is an
Art Instructor and an
exceptionally creative artist that
recognizes the importance of
CSO. His website shows his fine
paintings, books and videos.
See: www.francisoneill.net/artist/
Francis has great appreciation
for the technical procedures of
the Great Masters, and uses
them to express his views of our
modern world. I predict Francis
will achieve important
recognition in future years.
His portrait of Dorothy is
dramatically designed.
Mr. Ruben Franco is a true gentleman, a scholar
and a Fine painter dedicated to the Methods and
Materials of the Old Masters. He has said, " ...it
makes me happy to see the extraordinary results in
my work due to your formula of CSO."
His large colorful paintings adorn many public
buildings and private homes here in the USA and
Mexico.
A resident of Guadalajara Mexico, he is currently
working on a commission of 40 large paintings as
you see here.
His website ... www.rubenfrancoart.com
shows his Fine paintings and there you can click on
the Youtube video where you can see him painting ,
applying the colorful touches on the Grisaille as
many great Masters have done before.
It is an honor to have met Mr. Franco through the
website here on the wonderful method of CSO.
I am happy to have met him in person and value his
friendship
| FOR PROFESSIONAL AND ADVANCED OIL PAINTERS 'CALCITE SUN OIL' BOOK and DVD |
JAMES DEAN TAYLOR,
a Fine Artist from Oregon, is a Sculptor and
Painter for more than 25 years. See his website at
: www.flickr.com/photos/artnaked
James has studied the great Masters' Methods and
Materials and uses this knowledge to paint
contemporary images in a Realistic and
Surrealistic aesthetic with vibrant colors.
His unique style is readily recognized and much of
his work is humanistic representation of nudes, just
as the Great Masters have appreciated the nude
human body as an important theme in art.
a Fine Artist from Oregon, is a Sculptor and
Painter for more than 25 years. See his website at
: www.flickr.com/photos/artnaked
James has studied the great Masters' Methods and
Materials and uses this knowledge to paint
contemporary images in a Realistic and
Surrealistic aesthetic with vibrant colors.
His unique style is readily recognized and much of
his work is humanistic representation of nudes, just
as the Great Masters have appreciated the nude
human body as an important theme in art.
THE NEW DVD "THE NEW MILK OIL PAINT AND THE VAN EYCK SECRET MEDIUM" is designed for advanced painters who are interested in the new " MILK OIL PAINT" , Oil Paint medium, and the details of the Secret medium of the VAN EYCKS. Each manufacturer or country of dry non fat milk has differences. Because of this, the application of the EMULSION "OIL OUT" may smear or lift the dry under painting. IF THAT HAPPENS..DO THIS. Do not use the Emulsion mentioned in the DVD.. INSTEAD, use the AGUADO MIXTURE described in the DVD. ALSO- USE ONLY FRESH REFRIGERATED MILK when mixing the "MILK GEL" DO NOT use canned nor 'shelf' milk as it has sugar and/or non drying palm oil. . IF YOU BOUGHT the DVD ,BEFORE 12/28/2011 please write to me . I will replace it free with the NEW REVISED DVD and I will gift you a free copy of the DVD, Oil Painting with Calcite Sun OIl, at no cost to you. CONTACT ME AT : velapress@aol.com |
WARNING: RUBENS used many hazardous materials. My site, Books and DVDS focus on SAFETY. However, Rubens' paintings are some of the best preserved in art history. Because of this, the methods and materials of Rubens are so important that I felt obligated to study his methods and materials in depth. I believe professional painters will learn many new technical matters. THIE RUBENS DVD CONTAINS USE OF HAZARDOUS MATERIALS and demonstrates RUBENS' use of HAZARDOUS MATERIALS. THIS DVD is not for children nor amateurs. It is STRICTLY an academic research project to preserve RUBENS' knowledfge for those advanced artists who are interested in using his methods and materials. The DVD gives live film demonstration on FOUR recipes , two are NON HAZARDOUS and TWO ARE HAZARDOUS. In addition, instruction on the CASEIN TEMPERA medium of painting is included. |
EMULSIONS:
The Emulsions have VERY important uses and functions. Note that the emulsion 'oil out'it is applied ONLY with the bare hand. My book will guide you on the CORRECT
application method and the correct ratio mixtures. The Emulsion MUST be applied correctly, IF it is NOT applied correctly, the Emulsion "oil out" will fail.
The book explains how to easily make and use the two Emulsions. Each emulsion has a purpose. The Emulsion is truly a WONDER MEDIUM.
It is safe, easy to make in 5 minutes. 6. The underpainting can be done in various ways. One way is to use gray values only and this is called a 'grisaille'. Another way is to
use muted colors. My book explains other ways to underpaint in preparation for the final overpaint in full colors. The Old Masters used the underpainting stage wisely. They
called it a ' dead coloring'. The underpainting stage allows the artist to focus on VALUES ( light and dark tones), textures, and importantly, the Design composition. 7. After
the underpainting dried ( note: the superior oil will dry within 30 hours without use of any driers, solvents, resins or varnishes) I then applied the Viscous Emulsion ' oil out' in
preparation for the next layer, which will be in brighter color. The oil out is only applied in a special way for it to succeed. 8. Using a variety of brushes, the palette knife, and
my fingers, I applied the paint onto the wet Emulsion film. I worked on details and color accuracy.
Many artists are concerned with FAST DRYING. Titian and the old masters solved this problem by working on several paintings at once.
On day one you can start a painting and work all day on it.
On day two you start another painting and work all day on it.
On day three you start the third painting and work all day on it.
On day four, you work on the first painting, and so on.
The superior oil I describe dries within 30 hours if thin paint is used.
So, if you use paint with more impasto, the extra day of drying allows it to set and be ready for a next layer.
The last photo shows the painting almost completed. After this, my next step is to place it in my living room where I can see it daily. During the following days, I will constantly
look at it and evaluate it. This stage allows me to see the parts I like, the parts I really like, and the parts I do not like at all.
The next step will be to make the necessary changes. Sometimes several major changes are required.
The Emulsions have VERY important uses and functions. Note that the emulsion 'oil out'it is applied ONLY with the bare hand. My book will guide you on the CORRECT
application method and the correct ratio mixtures. The Emulsion MUST be applied correctly, IF it is NOT applied correctly, the Emulsion "oil out" will fail.
The book explains how to easily make and use the two Emulsions. Each emulsion has a purpose. The Emulsion is truly a WONDER MEDIUM.
It is safe, easy to make in 5 minutes. 6. The underpainting can be done in various ways. One way is to use gray values only and this is called a 'grisaille'. Another way is to
use muted colors. My book explains other ways to underpaint in preparation for the final overpaint in full colors. The Old Masters used the underpainting stage wisely. They
called it a ' dead coloring'. The underpainting stage allows the artist to focus on VALUES ( light and dark tones), textures, and importantly, the Design composition. 7. After
the underpainting dried ( note: the superior oil will dry within 30 hours without use of any driers, solvents, resins or varnishes) I then applied the Viscous Emulsion ' oil out' in
preparation for the next layer, which will be in brighter color. The oil out is only applied in a special way for it to succeed. 8. Using a variety of brushes, the palette knife, and
my fingers, I applied the paint onto the wet Emulsion film. I worked on details and color accuracy.
Many artists are concerned with FAST DRYING. Titian and the old masters solved this problem by working on several paintings at once.
On day one you can start a painting and work all day on it.
On day two you start another painting and work all day on it.
On day three you start the third painting and work all day on it.
On day four, you work on the first painting, and so on.
The superior oil I describe dries within 30 hours if thin paint is used.
So, if you use paint with more impasto, the extra day of drying allows it to set and be ready for a next layer.
The last photo shows the painting almost completed. After this, my next step is to place it in my living room where I can see it daily. During the following days, I will constantly
look at it and evaluate it. This stage allows me to see the parts I like, the parts I really like, and the parts I do not like at all.
The next step will be to make the necessary changes. Sometimes several major changes are required.
| FOR BEGINNERS AND SCHOOL ART CLASSES OIL PAINTING WITH MILK [ DVD only ] |
MY WEBSITE HAS THREE PRIMARY OBJECTIVES:
1. SAFETY FOR THE HEALTH OF THE OIL PAINTER
2. PERMANENCE OF THE OIL PAINTING
3.TEACHING OIL PAINTERS AND TEMPERA PAINTERS TO UNDERSTAND THEIR CRAFT
Since 2000 I have achieved these objectives by discovering mixtures and procedures in the development of a safe method of oil painting, and now, egg tempera painting, allowing elimination of
hazardous materials. The CSO METHOD and the rebirth of the SUPERIOR oil of the Old Masters is far superior to the currently taught resin-solvent-varnish-drier method. I am happy to have the free time
to have corresponded one-on-one with artists all over the globe.
HISTORY OF THE ‘CALCITE SUN OIL/EMULSIONS' METHOD OF OIL PAINTING [CSO].
2000: After 40 years of oil painting with Solvents, resins, varnishes, driers and alkali refined linseed oil I began this work which resulted in the creation of the Calcite Sun Oil / Emulsions method of oil
painting [ abbreviated as CSO]. Over the next few years I made additional discoveries and developments which I have shared with artists across the globe.
2000: My identification of the superior UNREFINED FLAX OIL used by the Old Masters. This very important development is named ‘ The Rebirth of the Old Masters’ Superior Oil’.This extraordinary oil
is the foundation of the ‘Calcite Sun Oil’ method of Oil Painting and without it, the CSO method could not exist.
2000-2009 : Sustained research with creation of several new cleansing methods of cleansing the UNREFINED FLAX OIL, with my identification of Psyllium Husk as an important ingredient for
mucilage removal.
2000: Creation of ‘ Calcite Sun Oil’, a modern grinding oil, based on published reports of scientific examination of microscopic sized paint samples of Rembrandt's and Velazquez' paintings by
important scholars - with my creation of three additional mixture variations.
2000: Creation of two Emulsions used in conjunction with CSO; the ‘Viscous emulsion’ , and the ‘ Non viscous emulsion’. Including my discovery of the crucial application method of the two
emulsions and their uses in oil painting, which I believe to be part of the lost Van Eyck method. The two emulsions used with CSO allows the artist of today to achieve the paint quality and
permanence of the Old Masters with complete control and safety.
2004 : Published and sold across the globe, the first edition of my book containing the CSO/EMULSIONS method of oil painting. The first book to be published with ratio mixtures of calcium
carbonate powder and oil as an oil painting method.
2004: Applied for a provisional patent with the US Patent Office for CSO, with approval in 2006.
2005: Establishment of the CALCITE SUN OIL website.
2008: Published the current revised edition of my book, sold globally though online bookstores.
2009: Developed the ‘CSO-FIXATIVE’ method of fixing a charcoal drawing without aerosol sprays
2009: Developed the ‘ CSO/AGUADO’ method , the first expansion of the original CSO/EMULSIONS method of oil painting, allowing artists to work on large sized paintings with speed and efficiency.
These advancements are described in my book and on this website.
2009: Developed the "CSO-EGG TEMPERA" medium. A fast drying medium for under painting of oil paints.
2010 : Developed CSO-EGG GESSO" . A cold gesso using basic archival ancient artists materials = wood, egg, chalk
2010: Published the book: CSO-EGG TEMPERA, and the two DVD's OIL PAINTING WITH CALCITE SUN OIL, and, CSO-EGG TEMPERA PAINTING
2010: Developed CSO-CASEIN TEMPERA . A NEW look at an ancient medium
2010: Posted my research on RUBENS' THIXOTROPIC METHOD and his use of CHALK, EMULSIONS, and PINE TREE TAR
2010: Development of a thixotropic new OIL OUT medium, named 'ESPESO'
2011: CREATION of a NEW MILK OIL PAINT for Art School Classes . New mixtures and new application procedures. SEE THE DVD: Oil Painting with MILK
Safety for New Painters and School Art Classes ALSO THE NEW 2011 DVD: THE NEW MILK OIL PAINT AND THE VAN EYCK SECRET MEDIUM
I have summarized my accomplishments because there are two persons on the web who in late 2006 began to experiment with mixtures of calcium carbonate and oil.
One of these has embarrassed HIMSELF by name calling and insinuating I am lying regarding my warnings of NOT TO USE ALLBACK swedish linseed oil for fine art painting. The behavior of this one
person is unfortunate .... and exposes him as being very jealous of my accomplishments. True academics do not engage in name calling ... but engage in civil dialogue to question decisions by others. I
will continue to work with truth and integrity for the safety of the artists and permanence of the artworks and I am always willing to assist artists and to explain my postings by responding to email
inquiries. My studies of Allback Linseed oil posted on my site explain why I warn fine artists of using this oil. My discoveries and contributions to oil painting are supported by dated publications, dated
applications and approval of a US patent,several registered US letters, and testimonials from artists across the globe.
You may contact me at Email: VELAPRESS@AOL.COM
1. SAFETY FOR THE HEALTH OF THE OIL PAINTER
2. PERMANENCE OF THE OIL PAINTING
3.TEACHING OIL PAINTERS AND TEMPERA PAINTERS TO UNDERSTAND THEIR CRAFT
Since 2000 I have achieved these objectives by discovering mixtures and procedures in the development of a safe method of oil painting, and now, egg tempera painting, allowing elimination of
hazardous materials. The CSO METHOD and the rebirth of the SUPERIOR oil of the Old Masters is far superior to the currently taught resin-solvent-varnish-drier method. I am happy to have the free time
to have corresponded one-on-one with artists all over the globe.
HISTORY OF THE ‘CALCITE SUN OIL/EMULSIONS' METHOD OF OIL PAINTING [CSO].
2000: After 40 years of oil painting with Solvents, resins, varnishes, driers and alkali refined linseed oil I began this work which resulted in the creation of the Calcite Sun Oil / Emulsions method of oil
painting [ abbreviated as CSO]. Over the next few years I made additional discoveries and developments which I have shared with artists across the globe.
2000: My identification of the superior UNREFINED FLAX OIL used by the Old Masters. This very important development is named ‘ The Rebirth of the Old Masters’ Superior Oil’.This extraordinary oil
is the foundation of the ‘Calcite Sun Oil’ method of Oil Painting and without it, the CSO method could not exist.
2000-2009 : Sustained research with creation of several new cleansing methods of cleansing the UNREFINED FLAX OIL, with my identification of Psyllium Husk as an important ingredient for
mucilage removal.
2000: Creation of ‘ Calcite Sun Oil’, a modern grinding oil, based on published reports of scientific examination of microscopic sized paint samples of Rembrandt's and Velazquez' paintings by
important scholars - with my creation of three additional mixture variations.
2000: Creation of two Emulsions used in conjunction with CSO; the ‘Viscous emulsion’ , and the ‘ Non viscous emulsion’. Including my discovery of the crucial application method of the two
emulsions and their uses in oil painting, which I believe to be part of the lost Van Eyck method. The two emulsions used with CSO allows the artist of today to achieve the paint quality and
permanence of the Old Masters with complete control and safety.
2004 : Published and sold across the globe, the first edition of my book containing the CSO/EMULSIONS method of oil painting. The first book to be published with ratio mixtures of calcium
carbonate powder and oil as an oil painting method.
2004: Applied for a provisional patent with the US Patent Office for CSO, with approval in 2006.
2005: Establishment of the CALCITE SUN OIL website.
2008: Published the current revised edition of my book, sold globally though online bookstores.
2009: Developed the ‘CSO-FIXATIVE’ method of fixing a charcoal drawing without aerosol sprays
2009: Developed the ‘ CSO/AGUADO’ method , the first expansion of the original CSO/EMULSIONS method of oil painting, allowing artists to work on large sized paintings with speed and efficiency.
These advancements are described in my book and on this website.
2009: Developed the "CSO-EGG TEMPERA" medium. A fast drying medium for under painting of oil paints.
2010 : Developed CSO-EGG GESSO" . A cold gesso using basic archival ancient artists materials = wood, egg, chalk
2010: Published the book: CSO-EGG TEMPERA, and the two DVD's OIL PAINTING WITH CALCITE SUN OIL, and, CSO-EGG TEMPERA PAINTING
2010: Developed CSO-CASEIN TEMPERA . A NEW look at an ancient medium
2010: Posted my research on RUBENS' THIXOTROPIC METHOD and his use of CHALK, EMULSIONS, and PINE TREE TAR
2010: Development of a thixotropic new OIL OUT medium, named 'ESPESO'
2011: CREATION of a NEW MILK OIL PAINT for Art School Classes . New mixtures and new application procedures. SEE THE DVD: Oil Painting with MILK
Safety for New Painters and School Art Classes ALSO THE NEW 2011 DVD: THE NEW MILK OIL PAINT AND THE VAN EYCK SECRET MEDIUM
I have summarized my accomplishments because there are two persons on the web who in late 2006 began to experiment with mixtures of calcium carbonate and oil.
One of these has embarrassed HIMSELF by name calling and insinuating I am lying regarding my warnings of NOT TO USE ALLBACK swedish linseed oil for fine art painting. The behavior of this one
person is unfortunate .... and exposes him as being very jealous of my accomplishments. True academics do not engage in name calling ... but engage in civil dialogue to question decisions by others. I
will continue to work with truth and integrity for the safety of the artists and permanence of the artworks and I am always willing to assist artists and to explain my postings by responding to email
inquiries. My studies of Allback Linseed oil posted on my site explain why I warn fine artists of using this oil. My discoveries and contributions to oil painting are supported by dated publications, dated
applications and approval of a US patent,several registered US letters, and testimonials from artists across the globe.
You may contact me at Email: VELAPRESS@AOL.COM
THE FIRST IMPROVEMENT IN EGG TEMPERA SINCE CENNINO CENNINI WROTE HIS BOOK IN THE EARLY 1400'S . NOW ARTISTS CAN PAINT WITH FULL IMPASTO IN A MORE DIRECT MANNER WHILE ALSO PAINTING THINLY AS IN THE RENNAISSANCE METHOD A REVIEW OF THE DVD FROM ENGLAND Hi Louis. I cannot think of anything that would improve the content. The camera work is good. The commentary is excellent. Just the right speed and clearly dictated. Just the correct amount of explanation, not so much that it becomes 'boring' as often happens. I think you have covered the processes completely, nothing left out and nothing unneccessary added to 'fill-in' the video. Anyone interested in Oil painting or egg-tempera would be fascinated by these two DVD's. I am going to mention them on the 'wet Canvas' artists site (www.wetcanvas.com). All the best Dennis O'Connor , Wiltshire, England PLEASE SEE THE WEBSITE: WWW.ASKMAURICE.COM for a full length discussion about CSO-EGG TEMPERA and on CSO OIL PAINT |