The SUPERIOR OIL of the Old Masters is :
UNREFINED COLD PRESSED FLAX OIL
that has been organically cleansed of its mucilage and slowly Sun
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 FLAX SEED OIL [ Linseed] used by
the Old Masters
is supported by TWO IRREFUTABLE FACTS that are documented by
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 patent was approved by the US Patent nd TradeMark Office in November 2006. See patent #
THE FINEST RAW OIL FOR ARTISTS
IS LABELED FLAX OIL- NOT LINSEED OIL:
If the label says FLAX OIL or FLAX SEED OIL..it is THE oil the Old Masters
used. BUT, it has to be cleansed of its mucilage. This easy 10 day process
is described in my book and DVD.I have used BARLEANS flax seed oil for
many years . It is high quality. There are other sellers of FLAX OIL.
DO NOT buy FLAX OIL containing any anti-oxidant additives. It stops the oil
from hardening. Simply, it will not dry. Commom anti-oxidants are vitamin E
or C or Rosemary or tocopherols or polypherols.
IF THE OIL IS LABELED LINSEED OIL. It is NOT the oil the Old Masters
used. LINSEED OIL and FLAX SEED OIL are pressed fropm the same
seed--the FLAX SEED. There are NO 'lin seeds " in nature. FLAX OIL is
pressed cold and without any solvents or extra heat or lye caustic
chemicals. Humans can safely eat FLAX SEED OIL. It is the oil of the Old
Masters. IF the oil ia labeled LINSEED OIL, it has been pressed and
exposed to caustic lye chemicals or solvents. HUMANS cannot safely eat
PLEASE NOTE: The only exception to this is [possibly]--OLD HOLLAND
UNREFINED COLD PRESSED LINSEED OIL from Holland.
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.
"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.
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
I think it best to let his two sites speak for themselves and you will see how eloquently they do that.
and you can visit his artwork at: www.dannyvanryswyk.com
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
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.
'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"
|LINKS AND IMPORTANT ISSUES REGARDING OIL PAINTING SCROLL DOWN FOR MORE
|1. HOME PAGE = An introduction to CALCITE SUN OIL
2. TESTIMONIALS =Professional artists speak about CSO.
3. HAZARDOUS ITEMS = Common HAZARDOUS ingredients. Which colors are safe? CSO INSTRUCCION EN CASTELLAN SPANISH
4.WASHING LINSEED OIL = Cleansing the unrefined Flax oil of mucilage. Photos of mucilage how it browns and darkens oil paint.
5. SUN THICKENED OIL= The New AIR PUMP OIL METHOD and the Old Master method
6. CLEANSING FLAX OIL = Additional information on cleansing the unrefined flax oil WARNING: Swedish Allback Linseed oil
7. BOOK CONTENTS =TO LOOK INSIDE THE BOOK, GO TO AMAZON.COM..click on LOOK INSIDE
8. PAINTINGS= My paintings, 'TRIANGULARISM" and El Greco. Frederic Taubes, an American Master. The beauty of an Emulsion
9. CSO EGG TEMPERA and CSO CASEIN TEMPERA = FAST DRYING archival mediums for under painting of oil painting.
10. CSO/AGUADO and ESPESSO= AGUADO is ideal for large sized paintings. Fast, Efficient, Powerful. ESPESSO Oil Out Medium with Impasto
11. REMBRANDT VERMEER VELAZQUEZ= How they painted
12. The VAN EYCK SECRET = Rembrandt did NOT use Burnt Plate Oil. RUBENS' Thixotropic Method, ESPESO: A NEW oil out medium
13. FAQ'S and UPDATES= Glair as a binder, askmaurice.org - paints with CSO, A safe Fixative, "FAT on LEAN" not needed with CSO
14. STUDY WITH LOUIS =ON HOLD... please be patient ...
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 begins
DECOMPOSING at 230
degrees Centigrade [Celsius].
Modern Stand Linseed oil is
cooked to 288 degrees
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
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.
My meeting of the famous Rembrandt Expert, Prof. Dr. ERNST VAN DE WETERING,
DEPARTMENT HEAD OF THE REMBRANDT RESEARCH PROJECT is related above
|EMAIL : CONTACT
I respond to ALL
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
He speaks in Spanish but there are SUB-TITLES in English
CLICK ON THIS 6 MINUTE YOUTUBE VIDEO
CLICK -- HERE
-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.
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
|DVD "OIL PAINTING WITH CALCITE SUN OIL"
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
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
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
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 " OIL PAINTING LESSONS WITH REMBRANDT AND CALCITE SUN OIL"", a collection of all my studies,
2013: Published the BEGINNERS BOOK : Velasquez' Safe Oil Painting' for Beginners and Art Teachers"
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
A MORE DIRECT MANNER WHILE ALSO PAINTING THINLY AS IN THE RENNAISSANCE METHOD --- -R
DISC, NTSC, COLOR, ENGLISH, 56 MINUTES
PLEASE SEE : 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
|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
YOUTUBE : click
|PETER LANKAS is a talented Fine Artist and valued Art
teacher in Eastern Australia, where he teaches the CSO
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
to view the short video
OCTOBER 2015 Peter sent me this set of self-portraits. The
mask is a comment on how many artists still use
HAZARDOUS SOLVENTS and other materials. As you all
know, the CSO/ EMULSIONS method uses no solvents,
resins, varnishes or driers
|DVD: "OIL PAINTING WITH MILK [ Beginners version]
: Safety for new painters and School Art Classes"
NOW FREE ON YOUTUBE CLICK HERE
THIN WASHES DRY IN 5 MINUTES. IMPASTO DRIES IN 1 HOUR.
THIS DVD IS USED WITH THE NEW BOOK FOR BEGINNERS AND ART TEACHERS
|THE TERM.... "OIL OUT" .. is
abbreviated for... " OIL rubbed in and oil wiped OUT" :
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
see more of his fine work at his website:
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
"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
|SAMSON AND THE LION
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
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.
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.
|9/5/2012= ALMOST one year
painting, I repainted the
I find a conflict as to how
MODERN to make the image.
Gogh's freedom, yet after I've
aimed at it, I am not fully
I repainted the right half of the
background black. I believe it
allows the Lion to assume
OK..I wasnot ever satisfied
with the Lion's mouth-
so--today--I repainted that
mouth. --Now--I think I am
|PLEASE SEE THIS VIDEO ON
HOW LINSEED OIL IS A FIRE
HAZARD=iN OVER 50 YEARS OIL PAINTING,
IVE NOT HAD A problem
|PROFESSIONAL LEVEL BOOK
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 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.
|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 UPDATED INFORMATION ON THE AIR PUMP OIL HERE
"HOW TO OIL PAINT
WITH YOUR FINGERS"
This YOUTUBE 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 --
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
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
A Fine Artist from Australia's Island of
TASMANIA. Corinne is a successful painter
with an impressive Formal education and
has traveled widely to other countries .. in
search of experiences ...that are embodied
Her paintings are very large and the photo
to your right, does not do her work justice.
As she says, she uses many many soft
glazes to achieve her effects. I see her work
as very mystical,
but, sometimes, she also does paint in high
realism. Like all creative artists--she and
we- are always exploring the boundaries of
This painting is a fusion of calligraphic,
and soft veils of colors. In some way, I think
of Rembrandt's 'lines' that are detected in
some of his creative work.
I will soon place her website here
1. THE OIL OUT: The emulsion "oil out" must be applied ONLY BY HAND !--never with a brush--and it must be
wiped down to remove all excess--then rubbed in BY HAND!--or it will FAIL!
2. FINAL OIL OUT: IF using the ' viscous emulsion' as the FINAL 'varnish' for a completed oil painting--to equalize
the entire surface--IT MUST BE APPLIED as an "OIL OUT" --again---wipe off all excess--then rub into an ULTRA
THIN film. IF you do not do this--you will have discolored areas. SEE my photo on my website showing the viscous
emulsion in a jar. NOTE how the ultra thin area is COLORLESS and how the thick emulsion is yellowish.
3 The FIRST STEP in preparing canvas or wood--is to apply two liberal coats of HIDE GLUE or--acrylic varnish [
its a glue]--THEN apply the gesso--
NOTE: ALL gessos are absorbent and must be sealed with two coats of HIDE GLUE before oil painting..or--if using
acrylic gesso--use acrylic varnish / gloss or matte
4. SEE MY THREE YOUTUBE VIDEOS ON " AIR PUMP OIL" --know the issues involved!!!type in...CSO
PREPARE YOUR OWN 'SUPERIOR OIL OF THE
LEARN HOW TO REMOVE THE MUCILAGE FROM
THE UNREFINED FLAX-LINSEED OIL
See the three pages
WASHING LINSEED OIL
CLEANSING FLAX OIL
SUN THICKEN OIL
|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
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
THE BOOKS FOR ADVANCED AND
BOOK PROMOTION : 1 FREE DVD
Buy either of the Professional level books 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 1 FREE DVD : OIL PAINTING WITH
CALCITE SUN OIL
PLEASE CONTACT ME AT firstname.lastname@example.org
IF I DO NOT RESPOND in one day--please resend your
message [ cyberspace and spam settings eat emails at
IN THE SUBJECT BOX of your Email type : FREE DVD
[ note- If the message box says RE: or is blank , I will not
SCAN YOUR PURCHASE order and attach it to the Email
- I need your currect address , PLEASE DOUBLE
CHECK it for accuracy. Ill send the DVD ...ASAP FIRST
CLASS US MAIL
|PLEASE SEE MY PAGE: STUDY WITH LOUIS for details on my DVDS
"TIM'S VERMEER" : A 2013 FILM by Tim Jenison
The movie is NOT an academic documentary.It lacks transparency as to the complete
methods used. It is simply ENTERTAIMENT in the tradition of Tinsel Hollywood and
Glitzy Las Vegas smoke and mirrors.
TO THOSE WHO THINK vermeer used tim's device: I ask you a few questions:
Do you think the dark clouds stood still for Vermeer as he painted the ' View of Delft"??
Do you think he waited day after day. For those clouds to cone back ...in the EXACT
same position? What did he do when the ship he was " copy color match painting"
..suddenly lifted anchor , filled the sails, and floated away? What did he do when the
brilliant shafts of light moved across the buildigs ... placing a steeple in deep dark
shadow then to instantly be illuminated in brilliant lighting? Can you honestly believe
any artist can paint the living changing lighting in the scene of DELFT with a gadget?
Well. It cannot be done. But VERMEER did it...but not with Tim's gadget.
SEPT 2014 UPDATE
Tim Jenison and I had a civil discussion about his movie: Go to
www.essentialvermeer.com CLICK on the BLOG- then on the section: "FROM A
PAINTERS POINT OF VIEW". Then scroll way way down to Tim and I. You will enjoy the
conversation. Here is your own chance to ask Tim some questions.
He is a Gentleman. Go to my Page REMBRANDT VERMEER to see a caricature
painting I painted of Tim Jenison. I gifted him the original.
FRANK COVINO'S "CONTROLLED PALETTE" IS HOW THE OLD MASTERS
JUDGED THE GRADATIONS OF LIGHT VALUES AND COLORS.
SEE this YOUTUBE video: Titled "Sherry Hunting Studio: Frank Covino Workshop :
FRANK COVINO EXPLAINS HIS CONTROLLED PALETTE AT 03:29 OF THE VIDEO
MY NEW YOUTUBE VIDEO EXPLAINS HOW VERMEER PAINTED
PLEASE READ AN EXCELLENT TIMELESS ESSAY BY FRANK COVINO
ON MY MENU [ above] ---CLICK ON my page ... STUDY WITH LOUIS
TO LOCATE ALL MY BRIEF VIDEOS ON YOUTUBE, ...TYPE IN .... CSO VELASQUEZ
|LEARN HOW TO OIL PAINT
USING METHODS AND MATERIALS OF THE OLD MASTERS
visit : WWW.BUDDYBURRO.COM
You can write to me with questions. I answer all letters.
|VIEW THE YOUTUBE VIDEO TO SEE MORE ABOUT THE METHOD OF
THICKENING THE OIL WITH THE AIR PUMP--CLICK HERE
BIOGRAPHY AND ARTWORKS
|DVD: OIL PAINTING RUBENS- and CASEIN TEMPERA
Duration 120 minutes
This DVD contains a great amount of technical information
WARNING: Rubens used hazardous materials.
This DVD is NOT for amateurs or children
NOW FREE ON YOUTUBE
To locate the Rubens DVD, type in CSO VELASQUEZ
see my other Videos there
|I wish to thank Jane Morris Pack, and her students for their kindness in
sharing their paintings and the Center for Fine Arts.
Please contact Jane at the following:
The address is:
The Aegean Center for the Fine Arts
Paros 84400 , Greece
|GEORGE KERASIOTIS, a college professor and The
extended format, the muted colors and sparkling
lights create a mood of peace and tranquility as can
only be seen in nature. You can almost hear the
gulls overhead and the distant muffled sounds of the
city. The masterful composition with its squares and
Fine Artist in Brooklyn created the scene to the right.
rectangles and the breaker wall contrast with the
slow moving water. Three planes are evident, fore,
mid and back ground...and the ancient Chinese
saying is true, " In the distance is the beauty of
nature"...as it describes the magic of aerial
perspective. I will obtain and post a contact number
|Brad Teare’s Youtube videos.
They are interesting and informative. He is a
talented Fine Artist and Art Educator. We
spoke. He interviewed me regarding CSO,
and posted it on his Blog. Please share this
with your friends. I am grateful to Brad and
others who see the importance of teaching
others how to SAFELY paint in Oils without
any use of hazardous materials. Here is his
IMPASTO oil painting with CSO [detail].
|ON SEPT- 9, 2016, I
PROJECTED HIS FACE
FOR HIS SELF
I FOUND IT TO BE
READ THE ENTIRE
CLICKING ON THE
BUTTON TO YOUR LEFT,
|My new book, VOLUME TWO of CSO OIL
PAINTING is now available at Amazon.com
The Digital Instant download version
Click on KINDLE books and enter my name
or CLICK HERE
|PAINTING A SELF PORTRAIT
Before the invention of modern photography in the early 1800's, ALL portraiture was hand painted or drawn or
sculpted. SELF-PORTRAITURE is a unique endeavor. Rembrandt is known for his self portaits made in Etchings,
Drawings and Paintings. Some experts guess there are a combined total of approximately 90 Rembrandt self-portraits.
In my life, I had only painted two. One when I was age 15 and one when I was 18.
This changed in2017, in great part , due to my great friend, Quirl 'Brad' Myers. Mr. Myers bought my book on CSO Oil
Painting and once he mastered the method, he wrote and asked to paint my Portrait.
Mr. Myers' exceptional and very extraordinary portrait opened my eyes, and inspired a renewed interest in
self-portraiture. Mr. Myers is a resident of Northern California and just a few years younger than myself. He has been
painting all his life with great passionate interest in the greatest Masters. I will post Mr. Myers' portrait of me here. I
must remind all viwers that - digital reproductions do not show accurate representation of color and value nuances and
subtlties. To appreciate Mr. Myers' portrait of me, one must see the original. Mr. Myers is an extraordinary artist with a
unique style he has developed over the years.
|Without a doubt, any painter who paints portraits or
self-portraits must respect the work of Rembrandt and of the
greatest masters. Next, I show a few outstanding examples,
both Modern and Old Masters. The challenge now is that
CREATIVE artists, since the invention of the modern camera,
no longer feel obligated to COPY WHAT ONE SEES.
Creative artists demand freedom of visual expression as is
seen in the great Modern Artists. I myself consider myself to
be a MODERNIST-REALIST. My goal is not to COPY what I
see, yet, I wish my paintings to be expressively realistical
according to my personal sensitivity of creative intuition.
|PORTRAIT OF LOUIS
Mr. Myers' portrait of me
was painted from a digital
photo i sent him.
The magic of his painting -
its extraordinary magic- is
that he did NOT COPY the
He does not use a
projector to trace the
The painting is NOT a
photograph- it is a highly
painting of me- as seen in
That is the elusive quality
and wonder of this
painting. I repeat, it can
only be fully appreciated in
|AFTER I painted 7 self-portraits within this month (Jan- Feb 2017) I realized something. My photo
references were from my hand held phone camera held at arms length- and in all types of lighting.
The fact is: Photos DO lie. They distort. The nose appears larger as it is closer to the camera. The head
appears like a cone, etc etc etc. Below the selfies are several photos of my face. Note the camera's
|As I wrote above, Up until now, I had only painted 2 self portraits in my life and I am now age 73.
The first was at age 15 and the other at age 18. These are posted here below.
|THE ISSUE OF DISTORTION
I thought to do the 7th self portrait from looking at a mirror--just as I had done in my youth.
AN IDEA CAME TO MIND!!
I sat at a large mirror, arms length away- and I drew myself with pencil on paper.
It took me 10 minutes to do this drawing.
Then, I taped it to the easel board right next to the wood panel. The panel is 12" X 9 ".
I could have made a grid enlargement- or- I could have projected it. But, I dont use those tools. Instead I
did a freehand drawing to transfer the image to the panel.
This new procedure allowed me to accomplish the following:
1. I did not need to concern myself with " copy what you see"., thereby limiting my creative ideas.
2. I was free to choose the colors, textures, lighting I desired - and keeping the likeness.
3. My eyeball drawing from the mirror insured me of no distiorion. The Camera has ONE EYE ( lens). And
the human has two eyes that detect objective reality without distortion [ within this distance range, and
with a distortion free mirror].
4. IN SHORT, I was allowed creative freedom with still getting the likeness.
|I get asked all the time. WHAT is your ethnicity? Are you Asian?
NOPE. unless we can accept that the original inhabitants of the Americas were Asian Emigrants over the
frozen Bering straight 20,000 years ago as Arqeologists theorize. Then. YES.
My parents and grandparents are from Mexico. I favor my Paternal Grandmother who originated from the area
of VERA CRUZ..the Mexican culture is the OLMEC culture. That is where the 8 foot tall stone heads are found
throughout the jungle. I have a big round head and I resemble those ancient people.
|All photos of the Olmec Stone heads are from Google
|PAINTING PROCESS AND PROCEDURE of my last self portrait- drawn first from
|MANY OLD MASTERS
were in as much a hurry as
we are today.
Some underpainted on a rigid
wood panel, in a tempera
[ choice of 3: glue- milk-egg]
This is egg glair mixed with
dry pigment powder.
i mixed 2 . one of umber . the
other of hansa yellow. in a
previous painting i mixed 3.
umber, white, sienna.
The wood panel was first
SEALED to become non
absorbent. The best choice is
hide glue [ the 700 year old
Flemish paintings were
prepared like this hide glue]
Then a hide glue gesso-then
a glue sienna colored
On this I began by drawing
the shadow areas of the face
with umber. then the lights
with yellow. Temperas dry
then I applied a liberal coat of
sun oil mixed with a mixture of
red, black and umber [ umber
for fast drying].
next day I painted the oil
painting. yes. i will paint and
repaint as many layers as i
need ..until it is exactly as i
want it to be.
THANK YOU FOR YOUR
|THE CLEANSING OF THE FLAX-LINSEED OIL OF ITS MUCILAGE
For many years I posted full instructions here on how to remove the mucilage from the oil. That
complete information is now in my Book Volume 2;
In November 2016, I published Volume two with new discoveries and updates.
Here I include a portion of Chapter Three, from my Vol. 2.
The book is very inexpensive and can be purchased at Amazon.com Type in my name, Louis R. Velasquez, under
the category of BOOKS.
CSO METHODS OF REMOVING THE MUCILAGE
This chapter begins with a major advancement in cleansing the unrefined oil.
The removal of the mucilage is greatly improved by this new development.
It is: The addition of whole Psyllium SEEDS ( or whole CHIA SEEDS) to the CSO recipes. I owe this technical
advancement to my friend from Egypt, Mr. Mohamed Tawfik.
IT IS IMPORTANT that the CSO recipes include BOTH the HUSKS. and the SEEDS.
The SEEDS cannot remove the mucilage by themselves.
The PSYLLIUM HUSKS must be included in the recipe because it is the only ingredient that will remove the moisture
and the mucilage.
THE SEEDS (either Psyllium seeds or Chia seeds) must be included because they become a mucous gel when in
contact with water and this fortifies the HUSK in better holding the mucilage for removal.
IT IS IMPORTANT that the Air Pump be used for a minimum period of 4 hours in hot dry areas, or up to 24 hours in
humid areas. The difference in time is due to variables in Temperature and Humidity of various geographic areas.
Only my original "CSO Psyllium Husk / Alcohol method" will not use the Air pump because the mixture must stand
still in the HOT DRY SUN for 10 days - while the Air Pump removes the mucilage in under 30 hours in any weather.
PSYLLIUM SEEDS can be difficult to locate, but CHIA SEEDS are easily located in the same health food store
where the PSYLLIUM HUSKS are sold.
THE THREE CSO METHODS OF MUCILAGE REMOVAL
NOTE: Psyllium SEEDS [ or Chia SEEDS] will be added to all recipes as of October 2016
1. The 'CSO PSYLLIUM HUSK - ALCOHOL METHOD'- [NON AIR PUMP].
I based this method on Pacheco's method of 1649. It uses strong alcoholic liquor. I discovered and pioneered the
use of Psyllium Husk for use of mucilage removal from unrefined flax-linseed oil. This method requires 10 days to
remove the mucilage.
2. The 'CSO PSYLLIUM HUSK ( Velasquez-Tavenier ) AIR PUMP METHOD'.
Created because of the prohibitive cost of liquor in some countries.
An alcohol free method created by myself and Daniel Tavenier of The Netherlands in April 2015. It is the simplest
method of the three and removes the mucilage within 24 to 36 hours.
3. "CSO PSYLLIUM HUSK and PSYLLIUM SEEDS* - AIR PUMP METHOD".
Created in October 2016, artists have a choice on whether to use alcohol spirits, beer, or plain water. The mucilage
is removed within 24 to 36 hours. * I recognize and give credit to
Mr. Mohamed Tawfik for his idea, to add PSYLLIUM SEEDS to the recipe.
Subsequently, I tested CHIA SEEDS and found them to be an effective substitute.
THE SEARCH FOR PERFECTION
Even though an Old Master once wrote that it is not possible to remove 100% of the mucilage, I have never
stopped seeking a method that will remove 100% of the mucilage
from the Flax-Linseed oil. However, there are too many uncontrollable variable factors that interfere with this goal
becoming a reality. Even my tests of modern Alkali Refined linseed oil bought at any Art supply store, have
detected some degree of mucilage in that modern product.
My original CSO method of removing the mucilage
was based on the 17th century method of Francisco Pacheco ( published in 1649).
Here is Pacheco's method, word for word, as published and written in Spanish:
LIBRO TERCERO, CAP. V:
“Tomese una redoma de vidrio - y a una libra de aceite de linaza limpio y claro se le echan tres onzas de
aguardiente fina, que llaman de cabeza, y dos onzas de alhucema, o espliego , en grano, y póngase al sol fuerte
quience días, meneándolo dos veces cada dia, y de esta manera queda claro y purificado, y colándolo en otro
BOOK THREE, CHAPTER FIVE
“Take a glass flask – and to a pound of linseed oil that is clean and clear, add to it three ounces of fine quality
liquor spirits, that is called ‘from the head’, and two ounces of Lavender, in seed, and place it in very strong hot sun
for fifteen days, swirling it two times each day, and by this method, it will become clear and purified, and filter it into
|JAMIE LEE VERMEEER , is a gifted young lady art student ,
resident of The Netherlands and Art student of Daniel
Tavenier who taught her the CSO method of Oil Painting. One
of the beauties of this painting is her attention to subtle color
values and Soft and Hard edges. OUTSTANDING!!!!
THE SUPERIOR OIL OF THE OLD
MASTERS IS AVAILABLE FOR SALE
Michael and Skyla Tennyson reside in Canada
They produce the SUPERIOR OIL OF THE OLD MASTERS
for retail sale to those who want the finest archival oil for
I have tested their products and they are equal to my own.
I have mentored their procedures and I have no
proprietory interest in their business.
Please contact them for details and prices.