| "OIL PAINTING WITH CALCITE SUN OIL" A DVD FOR TODAY'S ADVANCED AND PROFESSIONAL PAINTERS WHO PAINT IN MODERN STYLES OR OLD MASTER STYLES Learn the Methods and Materials used by REMBRANDT, RUBENS, VELAZQUEZ, VAN EYCK and other great Old Masters. The live action teaches how to prepare your own SUPERIOR OIL used by the Old Masters, plus preparation and use of the Emulsions, plus much more. NTSC, COLOR, 85 MIN.[revised edition], ENGLISH, -R DISC The Calcium Carbonate used in the CSO mixture is important. For the finest quality I recommend KREMER PIGMENTS they have an office in New York City and offices worldwide SEE THE LINK BELOW http://www.kremer-pigmente.de/shopint/index.php?cat=010504&lang=ENG&product=58000 |
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 2000-2013 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 visit : WWW.BUDDYBURRO.COM CLICK HERE and click on the page: HOW TO OIL PAINT You can write to me with questions. I answer all letters. velapress@aol.com |
"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 |
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.
| 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 =TO LOOK INSIDE THE NEW BOOK, GO TO AMAZON.COM..click on LOOK INSIDE 3. PAINTINGS My paintings FOR SALE. '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..AGUADO is 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:ON HOLD please bear with me |
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.
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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.com/
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.
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,
| 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 ! CLICK HERE 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. |
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/
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/ CLICK HERE to see a fantastic video of Eoin being Interviewed by an IMPORTANT GERMAN critic. It is 30 minutes - well worth the view - and in English |
My meeting of the famous Rembrandt Expert, Prof. Dr. ERNST VAN DE WETERING, DEPARTMENT HEAD OF THE REMBRANDT RESEARCH PROJECT is related above |
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 |
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. [ UPPER RIGHT] 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.
TREE TAR RESIN as described
on my site.
TITLE: Infame Sortilegio Oil on
Canvas , 36"X36"
A portrait of the painter , Dafne
Elvira. [ UPPER RIGHT] 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 WATCH RUBEN PAINT Observe how he underpaints his glowing color with Old Masters' GRAY GRISAILLE He speaks in Spanish but there are SUB-TITLES in English CLICK ON THIS 6 MINUTE YOUTUBE VIDEO CLICK -- HERE |
DVD- "THE NEW MILK OIL PAINT AND THE VAN EYCK SECRET MEDIUM" THIS IS THE ADVANCED VERSION -R DISC, NTSC, COLOR, ENGLISH, 90 MINUTES, For advanced painters interested in the new " MILK OIL PAINT" ,medium, and the details of the Secret Medium of the VAN EYCKS. DVD CONTENTS: 1. Milk Oil Paint 2. CSO-CASEIN TEMPERA PAINT 3. UNDERPAINTING WITH CASEIN TEMPERA 4. VAN EYCK SECRET MEDIUM 5. DETAILED TECHNICAL INFORMATION 6. ADDITIONAL TECHNICAL INFORMATION |
| DVD- OIL PAINTING RUBENS , -R DISC, ENGLISH, NTSC, 85 MINUTES WARNING: My site, Books and DVDS focus on SAFETY FOR ARTISTS. However, Rubens' paintings are so important that I felt obligated to study his methods and materials in depth. 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' knowledge for advanced artists who are interested in better understanding his methods and materials. The DVD has live demonstration on FOUR recipes , using PINE TREE TAR RESIN - , 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 ' 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. ( note: the superior oil will dry within 30 hours without use of any driers, solvents, resins or varnishes)
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.
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 !!!!!!!!!!!!!!!!!!!!!!!!!!!!
.
The Emulsions have VERY important uses and functions. Note that the emulsion 'oil out ' 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. ( note: the superior oil will dry within 30 hours without use of any driers, solvents, resins or varnishes)
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.
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 !!!!!!!!!!!!!!!!!!!!!!!!!!!!
.
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
2012- Publication of the book " SOLVENT FREE OIL PAINTING", a collection of all my studies,
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
2012- Publication of the book " SOLVENT FREE OIL PAINTING", a collection of all my studies,
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
| DVD- " TEMPERA PAINTING WITH CSO-EGG TEMPERA THE FIRST IMPROVEMENT IN EGG TEMPERA IN 600 YEARS 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 --- -R DISC, NTSC, COLOR, ENGLISH, 56 MINUTES PLEASE SEE THE WEBSITE: WWW.ASKMAURICE.COM for a full length discussion about using CSO-EGG TEMPERA PAINT |
| SAFE OIL PAINTING WITHOUT HAZARDOUS SOLVENTS RESINS VARNISHES AND DRIERS 'CALCITE SUN OIL PAINT' also-- Casein Tempera - Egg Tempera - and the new Milk Oil Paint |
The KINDLE EDITION IS FABULOUS!! INSTANT and LESS COST !! Download a FREE KINDLE APP to your iPAD or computer from the AMAZON KINDLE WEBSITE " OIL PAINTING LESSONS WITH REMBRANDT AND CALCITE SUN OIL" 286 pages, 8.5" X 11", Gloss Varnished Softcover, English language. The new book contains BOTH of my previously published books 'Oil Painting with Calcite Sun Oil', and,' Egg Tempera, CSO Egg Tempera- Ancient and New', PLUS all newly developed information on Painting |
CALCITE SUN OIL
| FIRST ERNST VAN DE WETERING ... NOW FREDERIC TAUBES , the GREAT AMERICAN PAINTER and ART EDUCATOR Dear readers, Many know my book is dedicated to the great American Artist, Mr. Frederic Taubes [ 1900-1981]. In 1957, at age 13 I began to study his books on Oil Painting and other paint media, with information on Aesthetics and much more. Mr. Taubes instilled a great respect for the Great Old Masters, as he too was their student. My book and DVDS are a testament to the highest regard I have for Mr. Taubes as an Artist and as a Teacher. Were it not for the influence and wisdom I received from Mr. Taubes in my formative years, this book of mine, would not exist, and I proudly say, HE IS MY TEACHER. Recently, I received this touching letter From Mr. Timothy Taubes, who is Mr. Frederic Taubes’ grandson. Please visit the website dedicated to the art and life of Mr. Frederic Taubes at: www.frederictaubes.com , and drop a note to Mr. Timothy Taubes. Louis! What an amazing book! I cannot think of any other book that deals with the subject of painting mediums in such a comprehensive manner. And the dedication to Frederic Taubes is truly heartfelt. Your book is an important link in a tradition more than half a millenium in the making. In your dedication you say, "I wish I could visit with him today." BUT YOU DO!!! You commune with him on a daily basis. Last August I took my kids to Italy. In Venice, we went to the scuola San Rocco to see the magnificent Tintorettos. We gaped in awe and read from Frederic's book, The Illustrated Guide to the Great Art in Europe, AND HE WAS THERE WITH US! If there is a rebirth after death, it is because the living are the vessel from which values are passed from generation to generation. All the best, Tim Taubes |
| WATCH LOUIS PAINT THE LION PAINTING LIVE ON YOUTUBE : click |
| PETER LANKAS is a talented Fine Artist and valued Art teacher in Australia. CLICK below to see the exciting new VIDEO where Peter is in his studio- note that the video begins with him mixing up a batch of CSO. The video is excellent and portrays a dedicated hard working artist. To the right one sees a painting with the initial GRISAILLE black and white design as used by many Old Masters. The other photo shows how Peter applied color in the ALLA PRIMA / DIRECT method. The photos and the video give us an excellent lesson in the Fine Art of Painting - CLICK HERE to view the short video |
| 'OIL PAINTING WITH MILK: Safety for new painters and School Art Classes" - BEGINNERS VERSION OF MILK OIL PAINT -R DISC, NTSC, COLOR, ENGLISH, 64 MINUTES, THIN WASHES DRY IN 5 MINUTES. IMPASTO DRIES IN 1 HOUR. Use alone, or as a FAST DRYING UNDER PAINT LAYER FOR TRADITIONAL OIL PAINTS. MILK OIL PAINT is a new 21st century oil paint, not a Tempera paint .Learn how to mix the "MILK GEL" with normal tube oil paints. This new discovery replaces expensive water-miscible oil paints and their various thinners! SAFETY FOR ALL ARTISTS, YOUNG AND OLD, 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. This is a remarkable NEW OIL PAINT FORMULATION, a new METHOD and PROCEDURE for easily using MILK with OIL PAINTS. Do not confuse MILK OIL PAINT with CASEIN TEMPERA PAINT. Now, NEW PAINTERS, SCHOOL ART STUDENTS and ART TEACHERS can create wonderful oil paintings in a SAFE environment without use of hazardous or toxic materials. |
THE TERM.... "OIL OUT" .. is abbreviated for... " OIL rubbed in and oil wiped OUT" :
This term defines a VERY important oil painting procedure by guiding artists in a specific GOAL ORIENTED AND INSTRUCTIVE procedure.
The term ' OIL OUT" tells the artist that for the EMULSION OIL OUT to be effective, the Emulsion must BE APPLIED CORRECTLY-- OR--IT FAILS. SEE THE DVD to see
exactly how to correctly apply the OIL OUT to create the IDEAL condition for the subsequent oil paint application to achieve the Old Masters paint effects..
SOME misguided English speaking artists use the English word COUCH. In English, a COUCH is a SOFA. FRENCH artists call the OIL OUT a 'COUCHE' ( phonetically
pronounced, koo-shay). This translates as ' A THIN FILM OF OIL OR PAINT". Other equally misguided English speaking artists use the word CUSHION. A CUSHION is a
PILLOW. NEITHER 'couch' nor, ' cushion' are INSTRUCTIVE NOR GOAL ORIENTED. This leads to a common problem AN INAPPROPRIATELY APPLIED " OIL OUT" will
FAIL to achieve the desired effect. The Emulsion OIL OUT must be applied with the bare hand only- NEVER WITH A BRUSH- then rubbed, then wiped. Read my book
to understand why JACQUES MAROGER'S emulsion formula FAILED !
This term defines a VERY important oil painting procedure by guiding artists in a specific GOAL ORIENTED AND INSTRUCTIVE procedure.
The term ' OIL OUT" tells the artist that for the EMULSION OIL OUT to be effective, the Emulsion must BE APPLIED CORRECTLY-- OR--IT FAILS. SEE THE DVD to see
exactly how to correctly apply the OIL OUT to create the IDEAL condition for the subsequent oil paint application to achieve the Old Masters paint effects..
SOME misguided English speaking artists use the English word COUCH. In English, a COUCH is a SOFA. FRENCH artists call the OIL OUT a 'COUCHE' ( phonetically
pronounced, koo-shay). This translates as ' A THIN FILM OF OIL OR PAINT". Other equally misguided English speaking artists use the word CUSHION. A CUSHION is a
PILLOW. NEITHER 'couch' nor, ' cushion' are INSTRUCTIVE NOR GOAL ORIENTED. This leads to a common problem AN INAPPROPRIATELY APPLIED " OIL OUT" will
FAIL to achieve the desired effect. The Emulsion OIL OUT must be applied with the bare hand only- NEVER WITH A BRUSH- then rubbed, then wiped. Read my book
to understand why JACQUES MAROGER'S emulsion formula FAILED !
| The finely designed portrait is by Fine Artist EWAN McCLURE, see more of his fine work at his website: ewanmcclure.wordpress.com CLICK HERE NOTICE the DESIGN of the painting, where he contrasts GEOMETRIC shapes like the horizontal windows and the wonderfully arranged papers and books on the DIAGONAL table with the ORGANIC free flowing shapes of the person and the robe. The dark chair behind the portrait torso provides a 3D effect and a sense of deep space. HERE IS WHAT EWAN SAYS ABOUT CSO: "A portrait of Dr Ruth Page, painted from life using CSO. I loved the wonderful handling properties, with the emulsion oil-out between sessions keeping the colors saturated and the paint flowing." |
| HOW TO APPLY AN "OIL OUT" IS DESCRIBED IN DETAIL IN MY BOOK- -AND DEMONSTRATED IN MY DVDS HERE IS MY NEWEST PAINTING.. THE " OIL OUT" IS IMPORTANT TO ITS SUCCESS |
| TITLE: MARIPPOSAS HERMOSAS [ BEAUTIFUL BUTTERFLIES ] SIZE: 30" X 24" ON 1/2 " PLYWOOD TRUE GESSO APPLICATION [ CHALK AND HIDE GLUE ] PREPARATION: The board was given two coats of HIDE GLUE, then after they dried, it was given two coats TRUE GESSO. After the gesso dried , it was sealed with two coats of non fat milk. FIRST PHOTO: DRAWING: Vine charcoal was used to draw the image. It was FIXED [ sealed ] with non fat milk to stop smudging of charcoal. SECOND PHOTO= UNDER DRAWING: I used a cotton ball dipped in MILK OIL PAINT to apply and smear the darker value of black - a brush dipped in the thin MILK OIL PAINT was used to draw/ paint, outlines and lettering. THIRD PHOTO= TEXTURE IN THE UNDER PAINTING: Using the methods described in my DVD on MILK OIL PAINT, I created a thick impasto MILK OIL PAINT. I applied it with a palette knife- very sloppy and rough on purpose. MILK OIL PAINT impasto dries in ONE HOUR- thin washes dry in 5 minutes. FOURTH PHOTO: OIL SEALANT = Once the MILK OIL PAINT is dry - in one hour- SUPERIOR SUN THICKENED FLAX OIL was impregnated into the MILK OIL PAINT. I rubbed it in well. After an hour, I removed all excess oil. A palette knife is a good tool for removing excess oil. I then rubbed in some burnt sienna tube oil paint by hand as the IMPRIMATURA. It was allowed to dry overnight- the SUPERIOR SUN THICKENED FLAX OIL and how to process your own is described in my book and DVDS. NOTE: Had I chosen to, I could have applied a MILK OIL PAINT thin wash of color as the Imprimatura. It would have dried in 5 minutes, then After the IMPREGNATION of the Sun Oil, I could have IMMEDIATELY begun the FULL COLOR OVER PAINT step. This would allow me to complete the multi-layered painting in one 6 hour period. REMAINING PHOTOS = OIL OUT AND FULL COLOR- ALLA PRIMA The OIL OUT is important and must be applied correctly- HOW TO MAKE the VISCOUS EMULSION is described in my book and demonstrated in my DVD ' OIL PAINTING WITH CALCITE SUN OIL. IT takes 5 Minutes to make. The Tube oil paints were ground with CSO [ CALCITE SUN OIL] - it takes 3 minutes to mix the CSO from the superior sun oil and calcium carbonate chalk. NEXT PHOTO; FULL COLOR ALLA PRIMA: Detailed photo. The CSO oil paint on the VISCOUS EMULSION .."OIL OUT" gives painters 100% control of the paint--IMPASTO-GLAZES- MICRO FINE LINES and DETAILS - SCUMBLES - All are equally possible and have the same appearance of REMBRANDT'S and RUBENS' paint surface. Science proves they used these very same materials in CSO and OIL OUT. MY PAINTING STYLE IS NOT--photo realism. I am a REALIST EXPRESSIONIST. I do not copy photos, nor even try to achieve photo realist imagery. I rarely blend. I prefer the paint appearance of LATE Rembrandt, El Greco, Hals and others who paint realism with impressionist touches ALLA PRIMA TIME THIS PAINTING TOOK: DRAWING- 1 hour UNDERPAINTING - 2 hours OVERPAINT IN COLOR- 3 HOURS TOTAL TIME== 6 hours. My next step is to LIVE with the painting. I watch TV, read, eat and give the painting glances. I am a strict critic of my work. When I decide on portions that I do not like --I CHANGE the painting. I may do this many times over the next few weeks. At some point I STOP and I give the finished painting an ULTRA THIN film of the VISCOUS EMULSION. This film is the FINAL "VARNISH" LAYER- - I do NOT use any synthetic or natural RESIN VARNISHES. They become yellow, brittle, and eventually must be replaced. |
| A NOTE TO ARTISTS Sometimes I will need to remove examples of paintings as I need to give others a chance to be viewed. I do not do this for other reasons. I wish I had a separate web page just for the great artists I have met over the years from around the globe, that are now painting safely without hazardous materials. I will say I have met mostly 99% fine people, but I have met that 1% of artists who have learned much from my books, DVDS and website-yet on their own website- refuse to share this important knowledge with others. Some have blatantly told me they wish they could keep the knowledge to themselves...to eliminate the ' competition'. I MYSELF do not agree with that mind set. I use the royalties from my sales of books and DVDS to pay expenses as I share FREE copies of my new DVD on MILK OIL PAINT. Thank you- Louis |
| NEW METHOD: AIR PUMP OIL BLEACH and THICKEN THE OIL IN 10 to 15 DAYS SCROLL DOWN--to see how to thicken the oil using an aquarium air pump IMPORTANT: IF YOUR OIL WILL NOT THICKEN AFTER TEN DAYS OF AIR PUMP EXPOSURE-YOUR OIL HAS ANTIOXIDANTS!! ANTIOXIDANTS STOP OIL FROM THICKENING AND DRYING. Read the label. Antioxidants are Vitamins E and C and Tocopherols, Polypherols, Rosemary etc. Dont buy PET oils |
| A QUICK STUDY GUIDE - TO OIL PAINTING WITH CSO / EMULSIONS THE NEW KINDLE EDITION ON AMAZON.COM has a feature called "LOOK INSIDE" THERE YOU CAN READ THE FIRST 27 PAGES of the NEW BOOK. IT HAS A COMPLETE QUICK SUMMARY OF OIL PAINTING WITH CSO. PLEASE READ THE ENTIRE BOOK and SEE THE DVDS for fuller understanding of oil painting with CALCITE SUN OIL and EMULSIONS |
| The photo below shows 4 samples- one at 5 days, 10, 15 and 18 days. My set up has the pump, 6 feet of tubing, a clear glass jar. The LID has 3 holes. One for the air tube and 2 holes to allow air circulation. I made CSO with each oil sample and mixed the CSO with tube oil paints., to make CSO-OIL PAINT. The tube oil paint mixed with chalk and the 10 to 18 day oil dried within 5 to 14 hours [ thin paint- 4 different colors]. There was no evidence of wrinkling. I stopped the testing at 18 days because the oil began to FROTH UP in the jar. NOTE: Paint made by use of dry powders dries under 5 hours- but impasto wrinkles due to the super fast surface drying- to prevent wrinkling of impasto- mix some 'glair-oil emulsion' into the paint as REMBRANDT did. IMPORTANT UPDATE: An artist in Florida wrote to say they had very humid and muggy weather-and his oil would not DRY FAST. Then I in San Diego was processing the AIR PUMP OIL. My oil was transparent and beautiful. IT BEGAN TO RAIN!--My oil was outside and it became cloudy . This is a sign of moisture in the oil. My jar was under a roof--but the DAMP AIR was being pumped through the oil. I THEN REPEATED the psyllium Alcohol cleanse to remove the moisture- the oil became clear again- but the lack of WARM AIR AND SUNLIGHT is not helping the oil to polymerize. SO-we must do the AIR PUMP procedure in WARM DRY AIR AND WEATHER! |
| SAMPSON AND THE LION OIL ON CANVAS 48" X 36" Originally "FINISHED" in October 2011--It underwent three revisions of the back ground and foreground colors -The LION and the person were not touched. They remained original as initially finished. FINISHING a painting is the most difficult part of making a painting. I usually place the ' finished' painting on a wall so I can look at it and live with it. This allows me to see the corrections and improvements I would like to make. This also allows me to note disturbing areas that must be changed. Now, July 30th 2012 , 8 months after it was originally 'finished' I am satisfied with this painting. It will be listed on my website page PAINTINGS for sale. |
| COMPARE THE PAINTING TO YOUR LEFT-- WITH THE ONE TO YOUR RIGHT TO YOUR LEFT is the finished painting 4 weeks ago. TO YOUR RIGHT Today 8/3/12 - is the completed painting with a few changes= the sky now has a moon-like image and there is a second butterfly at the base of the cactus. This new photo was taken as the sunlight shone in from the window, highlighting the second butterfly. |
| CHRISTINE AERFELDT..see: www.aerfeldt.com Chris lives in France and wrote to tell me of her use of CSO/Emulsions. She cited the value of the solvent free method to protect her health. SEE HER ABSOLUTELY BEAUTIFUL PAINTINGS on her website. I promise you will return again and again to study them. |
| MORE FINE ARTISTS USING 'CSO/EMULSIONS' I am running out of room, so, I may not be showing more images. |
| 9/5/2012= FINALLY...I think this painting is finished. You can see the moon-like blue sphere..in a setting reddish sky... with pale moon light on the cactus.... the previous photo of the sunlight striking the lower butterfly, inspired me to paint that as part of the finished painting. It was a magical sunlight..mush as what Rembrandt used in many of his paintings. These photos demonstrate how difficult finishing a painting can be. The Masters were known to repeatedly over paint parts of their older paintings. Rembrandt over painted one of his painting that was ten years old. Rubens completely over painted and enlarged the canvas of his huge painting of the Magi visiting the Christ child 20 years after it was originally finished. |
| 9/5/2012= ALMOST one year after " finishing" the Lion painting, I repainted the background again. I find a conflict as to how MODERN to make the image. On the one hand I aim for Van Gogh's freedom, yet after I've aimed at it, I am not fully satisfied. I repainted the right half of the background black. I believe it allows the Lion to assume more importance. ________________________ 9/14/2012 OK..I wasnot ever satisfied with the Lion's mouth- so--today--I repainted that mouth. --Now--I think I am finished?? |
| VIEW THE YOUTUBE VIDEO TO SEE MORE ABOUT THE METHOD OF THICKENING THE OIL WITH THE AIR PUMP--CLICK HERE |
| PLEASE SEE THIS VIDEO ON HOW LINSEED OIL IS A FIRE HAZARD=iN OVER 50 YEARS OIL PAINTING, IVE NOT HAD A PROBLEM==THIS WILL SCARE YOU CLICK: |
THE NEW BOOK IS AVAILABLE ON AMAZON IN PRINT OR KINDLE TO LOOK INSIDE ... click HERE |
| DAVID HOCKNEY'S BOOK, " SECRET KNOWLEDGE" HAS INVESTIGATED IN DEPTH THE USE OF MIRRORS AND LENSES by some of THE OLD MASTERS SEE MY NEW YOUTUBE VIDEO ON THIS SUBJECT It is controversial but I believe David Hockney's belief that many of the Old Masters [ but NOT ALL OF THEM ] used Mirrors, Lenses, the Camera Lucida, the Camara Obscura and any other means to TRACE an image of PROJECTED NATURE [ portraits by Van Eyck and Massacio- landscape by Canaletto- Figures by Caravaggio ] was a common practice...to save time AND TO GET RESULTS not possible BY ANY OTHER MEANS. PLEASE SEE MY YOUTUBE VIDEO... here Grandma Moses,began to paint at age 81. Died age 101. She could not draw well. So she would CUT OUT PHOTOS from magazines---move them around on the canvas to get a nice design composition.....tape them down.... use a TRANSFER PAPER... then would transfer the image by outlining. THEN would ' COLOR IN" with oil paint the TRACED IMAGE. Its basically the same as a childs coloring book, and what VERMEER DID... but VERMEER had no modern photos to trace, so he projected the impages with a lens. |
| BOOK PROMOTION : 2 FREE DVDS SORRY HIGH POSTAGE RATES RESTRICT THIS TO THE USA [ if you live outside the USA- I will send two free DVDS IF you pay the postage] Buy the NEW book seen here -- either Kindle or Print editions - from AMAZON.COM = ONLY if sold by Amazon ...., not other book sellers that list with Amazon selling new and used books. And I will send two FREE DVDS : OIL PAINTING WITH CALCITE SUN OIL and OIL PAINTING WITH MILK [ student version] PLEASE CONTACT ME AT velapress@aol.com IF I DO NOT RESPOND in one day--please resend your message [ cyberspace and spam settings eat emails at times] IN THE SUBJECT BOX of your Email type : 2 FREE DVDS [ note- If the message box says RE: or is blank , I will not open it. SCAN YOUR PURCHASE order and attach it to the Email - I need your currect address , PLEASE DOUBLE CHECK it for accuracy. Ill send the DVDS ...ASAP FIRST CLASS US MAIL |
| SEE MY 5 DVDS ON THE PAGE " STUDY WITH LOUIS" |
| PROF. DR. ERNST VAN DE WETERING is the head of the famous REMBRANDT RESEARCH PROJECT of THE NETHERLANDS. I met him in person after a lecture he gave on Rembrandt, at the Los Angeles Getty Museum on October 27, 2011. I walked up to him and said , " MY NAME is Louis Velasquez, I'd like to shake your hand." HE instantly smiled broadly and his face lit up as he said, " OHHH ...THE MAN OF THE BINDING MEDIUM!" We shook hands briskly and briefly spoke. .. It was an honor to have met him and I am happy he knows about 'CALCITE SUN OIL". |
| PLEASE SEE THE NEW YOUTUBE VIDEO WITH UPDATED INFORMATION ON THE AIR PUMP OIL HERE |
SEE MY NEW YOUTUBE VIDEO "HOW TO OIL PAINT WITH YOUR FINGERS" This video teaches you how to use your fingers to get the wonderful effects seen in the Old and Modern Master paintings of Rembrandt Titian, El Greco, Velazquez, Van Gogh and others CLICK ... HERE |
DIEGO RIVERA THOMAS HART BENTON IT HAS BEEN WRITTEN THAT THE GREATEST ARTIST AMERICA HAS PRODUCED IS...DIEGO RIVERA. The word AMERICA is used as meaning the TWO AMERICAN CONTINENTS Recently I have been researching an artist born and raised in MISSOURI who I consider the equal of DIEGO RIVERA. That great muralist is THOMAS HART BENTON. He published two books. One is titled 'AN ARTIST IN AMERICA" and the other is titled 'AN AMERICAN IN ART'. It is this second book that I strongly recommend for all artists to read. It is an autobiographical account of his TECHNICAL METHODS AND MATERIALS to include his account of HOW HE PERSONALLY DEALT with the influences of MODERN EUROPEAN ART, the 1913 ARMORY SHOW and a host of issues that every artist today can RELATE TO. If you have ever felt LOST in all the ISMS of the past century--this book is for you. This book is extremely rare. I hope one day it will be REPRINTED for all artists to read. Whether ior not you agree with BENTON'S philosophy is immaterial. I ALSO RECOMMEND THE DVD that covers his life and body of work. SEE IT HERE |
| IN 1975 I painted the painting of the little AMERICAN GIRL seen to the right. In April 2013 I published an "E" BOOK, this is an Electronic Book--with AMAZON.COM... It is titled : AMERICAN GIRL 40 Poems and 40 Paintings from 1957 through 2013 Louis R. Velasquez Please go there-- CLICK ON " :LOOK INSIDE " to read 5 poems and see 5 paintings FREE. CLICK : HERE |