Oil Painting with 'Calcite Sun Oil'

A Revolutionary Book by Louis R. Velasquez
"OIL PAINTING with "CALCITE SUN OIL":
Safety and Permanence
without Hazardous Solvents, Resins, Varnishes, and Driers
Written For PROFESSIONAL and ADVANCED OIL PAINTERS -- ONE CHAPTER FOR BEGINNERS IS INCLUDED
131 pages / double sided, no illustrations, 8.25" X 11", Soft Cover, 'Perfect' binding
ISBN -978-1-6048-1354-8 LCNN - 2008939691
PROUD TO ANNOUNCE THE BOOK IS NOW AVAILABLE THROUGH KREMER PIGMENTS:
PLEASE PATRONIZE THIS EXCEPTIONAL ART SUPPLY STORE FOR ALL YOUR SUPPLIES
http://www.kremerpigments.com/shopus/index.php?cat=1003&lang=ENG&product=BOVELASQUEZ

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 AROUND THE GLOBE HAVE BOUGHT THE BOOK AND ARE USING THE CSO/EMULSIONS METHOD OF OIL PAINTING.
Australia, China, Canada, South America, Mexico, ALL of Europe, and the USA !
THE REVOLUTION OF SOLVENT FREE OIL PAINTING IS HAPPENING NOW !
READ THE REVIEWS ON AMAZON.COM YOU MAY CONTACT ME AT: velapress@aol.com

"If you are serious about painting in oils, this is a must have for your bookshelf."
--Maurice Garson , www.askmaurice.org

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", 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, in the collection of the "Porterville
Historical Museum": I painted this painting in 1961 at age 17, when a senior at Porterville Union High School.

A photo-mechanical full color print of this painting is available. FULL PRICE including shipping is $60 US
It will be sent rolled in a tube via USPO Priority mail. The overall size counting the white margins is , 12 1/2
inches X 22 inches. The ACTUAL IMAGE size is 9 3/4 inches X 20 inches. An original pencil drawing , called a
'remarque' , of one of the horses heads, placed in the lower margin, can be added for additional $30.00, I can
also add a complimentary hand printed personal dedication in the lower margin.

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
See recent paintings made with theCSO / EMULSIONS method and CSO/AGUADO method.
SEE HOW THIS RECENT PAINTING " THE FISH" WAS PAINTED

BELOW ARE TWO RECENT CSO/EMULSIONS PAINTINGS :
STEP BY STEP

"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.

SEE A NEVER BEFORE SEEN PHOTO OF THE BEAUTY AND CLARITY OF AN EMULSION
ON THE ' PAINTINGS' PAGE . SCROLL DOWN
CAUTION: SOME WEBSITES SHOW INEFFECTIVE METHODS OF ADDING AND MIXING EGG , or, CALCIUM CARBONATE POWDER WITH OIL PAINT.

IMPORTANT LINK
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

Mr. Van Ryswyk has not yet tried the "Calcite Sun Oil/ Emulsions" method.
He is an excellent painter using the 'resin-solvent based method' and he has excellent credentials.

AN INVALUABLE REFERENCE BOOK ON THE WEB REGARDING LAVENDER AND SPIKE WAS SHARED WITH ME BY MY FRIEND, MARSHA PIPER.
COPY THE ENTIRE URL and see Pages 564 - 568 MARSHA'S COMMENTS ON USING CSO IS ON THE TESTIMONIALS PAGE.

http://books.google.com/books?id=u6VAAAAAIAAJ&pg=PA567&lpg=PA567&dq=lavender+spike+oil&source=web&ots=
Ms_C50PmbC&sig=PWqt0P9G2I-LwB1x_rzpMWg2on4&hl=en&sa=X&oi=book_result&resnum=9&ct=result#PPA567,M1

THE VAN EYCKS' SECRET LOST MEDIUM
I believe the famous ' lost secret medium of the Van Eycks', is in fact comprised of TWO SEPARATE STEPS.
The first step is to use the correct emulsion medium mixture.
The second step is to apply that emulsion medium correctly.
I believe I am the first person to make this statement.
I make it based on my own formulations of two Emulsions and in my creation of an application method
that gives the artist an extraordinary control of the paint. Detailed instructions are described in my book.

PORTRAIT OF VALENTINA
1/2 inch Birch Plywood 30" X 40"

1. The wood was given two thin coats of acrylic gesso.
I recommend use of Traditional Gesso.

2. Vine Charcoal was used to draw the design. Do not
use DARK charcoals or inks, as oil paint becomes
translucent over time, and very dark marks will become
visible through the paint layer.

3. The drawing was 'fixed' so it would not smudge.
See my site for an easy method without strong odor
fixatives.

4. The fixative is allowed to dry.
Then the entire surface is isolated
and made NON-ABSORBENT,
with a safe method.
Many of Rubens' paintings were
prepared like this.
He sometimes applied a grayish glue
coat over his drawing to make the
support non-absorbent.

5. The 'viscous Emulsion " is applied.
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.

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 ' monotone' or 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 next photo shows a closeup detail of the face .
The last photo shows the painting almost completed.
After this, my next step is to place it in my living room
where I can see it daily. During the following days, I
will constantly look at it and evaluate it.
This stage allows me to see the parts I like, the parts
I really like, and the parts I do not like at all.
The next step will be to make the necessary changes.
Sometimes several major changes are required.

Then I applied the emulsion oil out.
Then began color development as the next
three photos show.
This easy three step method took
6 days with only 3 days of actual painting

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".

TO SEE how the painting of the little boy "NICO" was painted go to YOUTUBE and type in OIL PAINTING CALCITE

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 !
AS THE PATENT HOLDER OF THE "CALCITE SUN OIL" MIXTURE DESCRIBED HERE,
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

ADEQUATE TERMINOLOGY IN FINE ART PAINTING
The Art of Painting is noble and deserving of respect. Slang terms have no place in naming the mixtures of ingredients the Master painter
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.

WINDOW PUTTY, is a mixture of boiled leaded linseed oil mixed with calcium carbonate. It has a life span of under 50 years as the photo shows. 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/

MY BIOGRAPHY AND ARTWORKS

SAFE OIL PAINTING

SOME ARTISTS, even Prominent Artists , tell
others to use the oil paint straight from the
tube, and thereby they will AUTOMATICALLY
avoid all hazardous resins, varnishes driers
and solvents.

ITS TRUE....BUT AT GREAT LOSS.....
LISTED BELOW ARE THE DEFICIENCIES OF
USING OIL PAINT STRAIGHT FROM THE TUBE
WITHOUT ANY ADDITIVES

* Tube paint dries comparatively soft
* Loss of beautiful color depth and luster
* Poor blending ;[ comparative ]
* No Thixotropy at all - limited to wet in wet
and overpaint corrections
* No Micro-Fine details AT ALL
* Extremely slow drying , even though the
manufacturers may add minor amounts of driers
* Suede effect is disturbing. This is caused by
the slow drying thin oil and the aluminum sterate
additive used by the manufacturer to prevent oil
pigment separation- and to insure long shelf life.

*************************************************************
THE CALCITE SUN OIL METHOD
makes oil painting safe for everyone.
Children, Amateurs and the Finest
Professionals
*******************************************
TEACHERS, PROFESSORS ;
Start your Oil Painting classes
now , with COMPLETE SAFETY

Teach students HOW to processes their own
superior oil equal to the oil of the OLD
MASTERS.

ELIMINATE ALL HAZARDOUS
Solvents, Varnishes, Resins and Driers.

READ THE REVIEWS on www.amazon.com

HUMAN HEALTH is precious
and must be protected at all costs.

LINKS AND MORE

MY WEBSITE HAS TWO PRIMARY OBJECTIVES:
1. SAFETY FOR THE HEALTH OF THE OIL PAINTER
2. PERMANENCE OF THE OIL PAINTING

Since 2000 I have achieved these objectives by discovering mixtures and procedures in the development of a safe method of oil painting allowing
elimination of hazardous materials, that is far superior to the currently taught resin-solvent-varnish-drier method.

HISTORY OF THE ‘CALCITE SUN OIL/EMULSIONS METHOD OF OIL PAINTING
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 underpainting of oil paints.
2010 : Developed CSO-EGG GESSO" . A cold gesso using basic archival ancient artists materials = wood, egg, chalk
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 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.

" Observing Knowledge of the PAST
        while exploring concepts of the FUTURE"

GUIDE
1. HOME PAGE.
An introduction to CALCITE SUN OIL

2. PAINTINGS
My paintings made with 'Calcite Sun Oil'.
'TRIANGULARISM" and El Greco.
Frederic Taubes, an American Master.
The beauty of an Emulsion, see photo

3. BOOK CONTENTS
Read the first page of each chapter of the book.
UPDATES and NEW DEVELOPMENTS

4. HAZARDOUS ITEMS
Common HAZARDOUS ingredients.Which colors are safe?

5. TESTIMONIALS
Professional artists speak about the CSO Method.

6. WASHING LINSEED OIL
Cleansing the unrefined Flax oil of mucilage.
Photos of mucilage how it browns and darkens oil paint.

7. The VAN EYCK SECRET
Rembrandt did NOT use Burnt Plate Oil.

8. UNREFINED FLAX OIL
Additional information on cleansing the unrefined flax oil
WARNING: Swedish Allback Linseed oil

9. BLOG & FAQ'S DIEGO VELAZQUEZ' working method
askmaurice.org - paints with CSO/EMULSIONS
The safe CSO-FIXATIVE method of FIXING a charcoal
drawing without aerosol sprays

10. AGUADO : Louis paints with CSO/AGUADO.
The first expansion of the CSO/EMULSIONS METHOD is
called the CSO/AGUADO METHOD .
It is ideal for large sized paintings. Fast, Efficient, Powerful.

11. CSO EGG TEMPERA: and CSO-EGG GESSO
A new FAST DRYING archival medium for underpainting ,
for oil painting over painting. ALSO CSO-EGG GESSO

CLICK ON: BOOK CONTENTS
REVIEW THE FIRST PAGE OF EACH
CHAPTER. VIEW UPDATES NOT FOUND
IN THE BOOK

STARTLING NEW INFORMATION ON
BLEACHING THE OIL BY USE OF A
DEHYDRATOR

MAKING 'HOT PLATE' SUN OIL IN
WINTER.

NEW:
A NEW BOOK WILL BE OUT SOON.
TEACHING THE "CSO-EGG
TEMPERA" and "CSO-EGG
GESSO" . Go to the page to see
SEE PHOTOS ON HOW THIS IS
DONE

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.

www.louisvelasquezart.com
A new website offering my paintings for sale.

FINE ARTISTS USING CALCITE SUN OIL
My website provides TESTIMONIALS from many very fine painters.

I am proud to introduce you to the website of a very fine painter, Mr. William A. Nathans.
His realistic paintings will inspire you. See them at : www.willnathanspaintings.com

PLEASE READ THE TESTIMONIALS PAGE
AND THE REVIEWS ON AMAZON
TO SEE WHAT FINE ARTISTS AROUND THE GLOBE SAY ABOUT CALCITE SUN OIL.

DEAR READERS,

This is the new painting for the cover of the CSO-EGG
TEMPERA book to come out soon.

The TITLE will be:
EGG TEMPERA, CSO-EGG TEMPERA, ANCIENT AND NEW:
SAFETY and PERMANENCE without Hazardous Chemicals in
Synthetic Paints"

I hope to have copies available by end of March
Either through Amazon or my website.

Please see the page: CSO-EGG TEMPERA
for more photos and information

Please note I purposefully left the painting
half finished in the CSO-EGG TEMPERA
and half with the CSO Oil Painting