Book, Table of Contents

OIL PAINTING WITH CALCITE SUN OIL
SAFETY and PERMANENCE
Without Hazardous Solvents, Resins, Varnishes and Driers

BOOK DESCRIPTION
Full color glossy Soft Cover, Perfect binding, 131 pages,
double sided, 8.25" X 11", no illustrations, no index.

FROM MY WEBSITE:
Price is $28 in the USA, or $32 outside the USA.
Shipping is included. Sorry, NO refunds.
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FROM BOOKSTORES AND ONLINE BOOKSTORES
Retail List Price is $30.00 . Some offer discounts.

PLEASE SEE MY NEW WEBSITE OFFERING MY PAINTINGS FOR SALE
www.louisvelasquezart.com

TABLE OF CONTENTS
THE FIRST PAGE OF EACH CHAPTER
Plus a brief comment on each chapter.

CHAPTER ONE: The two important advancements for Oil Painting I developed
describes how CALCITE SUN OIL was developed and the REBIRTH OF THE OLD
MASTERS' SUPERIOR OIL .A SUMMARY for oil painting in using CSO makes it easy to
understand this very simple method, plus information on avoiding the THREE MOST
COMMON ERRORS.

CHAPTER THREE: Instructions on HOW TO REMOVE THE MUCILAGE from the
UNREFINED FLAX OIL. The difference between LINSEED OIL and FLAX OIL. How the Old
Masters cleansed their oil with a historical account. Includes several new methods I
developed or improved, including the VEL-TAUB METHOD, the PACHECO METHOD from
the 17th century, the PSYLLIUM HUSK-ALCOHOL method I created, the CROCK-POT
method I developed to accelerate the cleansing with powders. Includes an IN DEPTH
REVIEW of cleansing the oil. PLEASE NOTE that my newest development in the removal of
the mucilage is called the CSO-MILK METHOD and was developed after the latest
publication of my book, so it is not in the book. However, it is fully explained on my website.

CHAPTER FIVE: CALCITE SUN OIL [ CSO] is fully described. The ten benefits of
using CALCITE SUN OIL are explained . Information on how to make the SUN
THICKENED OIL is described. The important VEL-TAUB METHOD of cleansing the oil
is explained and instructions on how to make the CSO.

CHAPTER SEVEN: TUBE PAINTS AND HAND GROUND PAINTS is described. How
CSO is used with both types of paint. The benefits of Hand Ground oil paint...so
easy to make. Description and importance of the GRINDING TABLE used by all the
Old Masters.

CHAPTER NINE: The 5 STEP PAINTING METHOD is gleaned from my 50 years
of oil painting experience. In short it is P_D_U_O_F
which stands for PREPARE- DRAW- UNDER PAINT - OVER PAINT - FINISH. This
5 step method allows a person to follow LOGIC, but my view is that artists should
not be tied to SPECIFIC ways to paint and I encourage EXPERIMENTATION with
the manner of paint application.

CHAPTER ELEVEN: Studio practices that assist the painter. Lots of common
sense information designed to make life in the studio easier. There are several
topics covered her. Please see the TABLE OF CONTENTS ABOVE for the
complete list. Important topics such as DRYING TIMES, ISOLATING THE
SUPPORT, FOUR PRACTICAL WAYS TO PAINT A PICTURE, are given.

THANK YOU FOR TAKING THE TIME TO READ ABOUT MY BOOK.
I believe it is the FIRST BOOK of its kind, in that it promotes SAFETY AND
PERMANENCE in Oil Painting, while using the METHODS, MATERIALS and
TECHNIQUES of the greatest Old Masters of Europe. I know other artists are
FOLLOWING my efforts and I support their work.I wish I had my book when in 1958
as a youngster of 13, I began to Oil Paint by reading the books of FREDERIC
TAUBES. See his work at www.frederictaubes.com.

IF YOU CANNOT AFFORD THE BOOK,
CALL YOUR PUBLIC LIBRARY and ask them to obtain a copy, that way you and
others can share the WONDERFUL KNOWLEDGE it contains, and am confident
this VERY SIMPLE METHOD of oil painting WILL CHANGE YOUR WAY OF
THINKING.

Please write to me with all your questions. I answer all emails.
CONTACT ME AT : velapress@aol.com
Thank you, Louis R. Velasquez
SEE MY PAINTINGS AT .. www.buddyburro.com

CALCITE SUN OIL BOOK
Review the first page of each chapter,with a brief comment

UPDATES AND NEW DEVELOPMENTS NOT IN THE BOOK WILL BE ON THIS PAGE
I will continue to improve the knowledge and will keep you informed here.

FEB 16, 2010 UPDATES ON THE DEHYDRATOR OIL
THE BLEACHING OF LINSEED OIL WITH A FOOD DEHYDRATOR information
has been condensed and updated here.

A person I know has made startling findings by bleaching linseed oil with a
dehydrator. Experiments are being continued to determine if an equally efficient
polymerized linseed oil can be processed indoors without use of the sun's rays
and heat. If this were possible, the oil could be made indoors all year, whether
winter or summer. It has been proven the oil can be bleached in the total darkness
of the dehydrator. This is an important observation that questions the results of
the famous Levison study :
http://cool.conservation-us.org/coolaic/jaic/articles/jaic24-02-002.html
Mr. Levison demonstrated that if linseed oil paint is kept in darkness, it will yellow
and if brought out to the sun light, the yellow is bleached. Mr. Levison concluded
that it is the sun light that bleaches the yellow from the oil. These new findings
seem to disprove Mr. Levisons' findings, and bring up the question of whether dry
heat and ventilation as being possibly the main causes of the bleaching of the oil.
I too am conducting my own testing with a dehydrator to be able to observe
results.. My initial research into dehydration of oil shows an early 20thcentury (
1930's) experiment found described in Kurt Whelte’s book. A German scientist
worked on dehydrating the very slow drying castor oil. No final results are given in
Whelte’s book. This was a dangerous period between two world wars. Maybe the
production cost was prohibitive,or, war destruction ended the experiment, or it was
unsuccessful.

Any person, trying any of these experiments with a dehydrator, or, any others
described anywhere on my website or in my book are doing so at their own risk.
Do not conduct any of these tests or experiments without assuming full
responsibility for your own safety. Never heat linseed/flax oil near an open flame
or in a closed room inhabited by humans or pets.

DEHYDRATOR OIL CONCLUSIONS
My testing of the use of a Dehydrator to create an equivalent substitute for
traditional Sun Thickened Linseed/ Flax Oil has come to an end. Experiments by
others may result in a successful result. I give my deep thanks to my friend, Mr. J.
L. for providing me with his experiments. His testing inspired me greatly and were
a source of much stimulation. I hope one day the superior oil of the Old Masters
will be found in every Art Store. I know only too well the hardships faced by many
artists residing in cold climates in acquiring the Superior oil of the Old Masters.

My experiences I encountered as I tested a dehydrator.
1. The temperature settings on the exterior dials were not accurate. I used TWO
oven thermometers to determine the accurate degree of heat inside the
dehydrator.
2. My first tests were first made at 180F [ the dial read 155F ]. In my last tests I
lowered the temperature to 115F [ the dial read at 95F]. Perhaps expensive units
are more accurate. I used a low cost unit.
3. I placed 8 small jars in the dehydrator. Some had 1 inch of oil, others had 2
inches of oil.
4. As the days passed, I removed a jar with 2 inches of oil every 5 days, up until
20 days. None of these samples became pale bleached. None became viscous.
All were as slow drying as before being placed in the dehydrator.
5. As the time passed the 20 day mark, the oil in the jar with one inch of oil
became darker
yellow, and on cooling, became excessively viscous and not usable.
6. At no time did I stir the oil in the jars. When outdoor sun thickening is done,
daily stirring is required for two good reasons. One is to introduce oxygen into the
oil and the other is to prevent the top layer from skinning. In outdoor sun
thickening, the color becomes more pale at about 2 weeks, and at 3 weeks the
viscosity is noted as increasing. At 4 weeks the oil is pale white and viscous. I use
a 30 day limit of time but if a more viscous oil is wanted, it can be left out longer.
Temperature variables impact the result. I did not stir the oil in the dehydrator
because I wanted to observe what happened as it remained unstirred. I was
watching for some thickening. None happened. This indicated there was no
polymerization occurring. This is perplexing because the oil was receiving
sufficient constant heat and oxygen.
7. In the second tests I lowered the temperature to 115F to keep the oil from
darkening. I placed small containers with 1/4 oil thickness. In 4 days, the oil was
bleached, it was viscous and it was a good drying oil.
Coincidentally, at that period of time, I received a letter from an artist in Barcelona
Spain. He told me that he altered my instructions of procedures, and used a
magnification type of glass cover. He said that he had an extremely hot summer,
and that he put his oil in the tray under the glass at 1/2 inch thickness. With this
unorthodox method, his sun oil was bleached pure white and viscous within 5 to 7
days.

In my previous testing of an accelerated polymerization outdoors, where oil on a
cookie try with a thickness of 1/8 to 1/4 inch has resulted in bleached, viscous oil
within 5 days= it has proven to wrinkle badly when used to make oil paint.
My friend in Spain had written to tell me his sun thickened oil that he processed all
summer had become unusable because of the very thick viscousity in the jars
while in storage. IN CONTRAST: My sun oil, made by traditional methods, remains
in storage for years without any change [ I keep small samples].

UPDATE:
My recent study of Sir A. H. Church’s book [ see Danny Van Ryswyk's website
listed on my home page. Go to A.H. Church's book, The Chemistry of Paint and
Painting.] has given me the answer on WHY the oil can be bleached in the dark.
Although he does not refer to use of a dehydrator, the conditions he describes
are like those of a dehydrator i.e. HOT AIR.
On page 56 of his book, Sir Church states a linseed oil exposed to a direct stream
of heated oxygen results in a pale fast drying oil that dries throughout, without a
skin on the surface. He also discusses the effect of a MERCURY LAMP as being
beneficial for bleaching the oil

If any person is going to experiment they must be aware of a few issues. One is
how the oil will stand up under storage condition and how it behaves in practical
applications. I wish all artists good luck , and invite email inquiries as to more
details of the experiments I have conducted. In no way do my results criticize nor
demean the results of others. I hope others will succeed.

JAN 21, 2010 : THE NEW "CSO-EGG GESSO"
Please see this new procedure on the "CSO-EGG-TEMPERA page
It is exciting new information

JAN. 19, 2010: HAND GRINDING PAINT
My book describes how to hand grind oil paint. For daily use, a muller is not
required. A simple palette knife and grinding table [ a glazed floor tile] is sufficient.
There are many important benefits to hand grinding. One is that you control the
oil and you do not add stabilizers as the tube paint makers do. All tube paints
bought at the art store have the very slow drying alkali refined oil. You can use
the faster drying sun thickened superior oil instead. In my book I describe how to
use the CSO, to grind the dry pigments in. It can be work because one is adding
dry powder to a perfectly mixed CSO. Here is a better and easier way. Use the
AGUADO mixture to grind your dry pigments. Be careful to not add too much of
the AGUADO. Use only the amount needed to create the paint. You can add dry
chalk to this paint and regrind it to make it with more body, or, add small amounts
of CSO. The key is to experience an INTIMATE relationship with your materials.
Only by experience will you be able to use the CSO method to its full potential.

JAN.7, 2010:
PLEASE SEE THE NEW PAGE TITLED: "CSO-EGG TEMPERA"
It describes a new fast drying medium for under painting in preparation
for over painting in oils. Please read the updates on this exciting method
if you already read the first postings.

12/13/09 : DEHYDRATOR OIL : CONCLUSIONS
My testing of the use of a Dehydrator to create an equivalent substitute for traditional Sun
Thickened Linseed/ Flax Oil has come to an end.

12/11/09"UMBER OIL" : FOR UNDERPAINTING
Frans Hals' virtuosity of oil paint application is unexcelled by any other painter with possibly his
only equal being Rubens. The beauty of color, and paint textures in Hals' work is amazing. In
Hals' own words, he began his painting in a "DEAD COLOR". This means he used muted
colors in his UNDER PAINTNG, as a foundation for the colorful OVER PAINTING. Hals' term,
"dead coloring' is also called ' monotone', or 'grisaille'.

Use of 'dead coloring' was an expanded development over the method used by the Flemish
painters such as the Van Eyck brothers. The early Flemish masters made an elaborate ink
outline drawing on a pure white gesso priming. Their oil colors were applied thinly on the
drawing, creating jewel-like colors due to the 'inner light' from the gesso. The method was
slow, restricted, laborious, and most paintings were relatively small. Hals' method was
developed by the 16th century Italians such as Tintoretto and Titan who did away with the
intricate under drawing.

Titian recognized the importance of using a white under painting to give his colors that jewel-
like appearance. Thus was born use of the 'dead coloring' method. This method allowed the
painter to apply pure white paint at any stage and layer of the painting, not just in the bottom
gesso priming. Titian's method allowed him to paint massively large paintings with great
speed. The drawing of the design composition was made with oil paint, muted "dead colored'
value tones, and was part of the painting process.

One important requirement for PERMANENCE in oil painting of layers is that the bottom layers
must be fast drying. Top layers must be slower drying, with the admonition to not paint fast
drying layers on top of semi-dry, slow drying layers. This brings up the subject of UMBER OIL. I
did not invent this. In Frederic Taubes' book of mid 20th century, he gives instructions on this
concept. It is easy to make but requires a bit of caution. PROCEDURE: Add a bit less than a
level teaspoon, of dry umber powder [ burnt or raw umber ], to a quart of sun oil. Shake. It is
ready to use immediately. The oil will turn very dark - as seen in concentration - but when thinly
applied, it is transparent but ' muted'. This muted tone is not a disadvantage in creating the '
dead coloring' stage. Use this umber oil to create AGUADO for an 'oil out', and to make a muted
CSO --for under painting. Its advantage is that it will accelerate the drying of the paint. One more
tip: When using WHITE in the under painting, mix some burnt umber to it. I call this a HALF-
WHITE, but it does not use 50/50 of umber and white. Just a 5% of umber to the amount of the
white will greatly increase the drying.

DECEMBER 7, 2009: "HOTPLATE OIL" =MAKING 'SUN' OIL IN WINTER
I finished the experiments that allow one to make 'SUN' oil in wintertime by using an electric
hotplate. This oil is equivalent to SUN THICKENED oil. It has the same properties.

PROCEDURE: First, as always, use only UNREFINED food grade cold pressed FLAX OIL.
This is not sold in Art Stores. It is available online or in health food stores.
I use BARLEANS brand. They sell a regular flax oil and one labeled, " Highest Lignans" .
DO NOT BUY 'HIGHEST LIGNANS".
Cleanse the oil indoors by using the PSYLLIUM-ALCOHOL method described on my site.
Once cleansed and filtered, place the oil in an 8 inch wide or wider, opaque white baking dish.
THE OIL SHOULD BE 2 INCHES IN DEPTH OR LESS. MOISTURE WILL NOT EVAPORATE IF
THE OIL IS THICKER.
Do this outside and far away from any open flame heat source. Do not do this in a closed
garage where a gas pilot light is located. Leave the container uncovered, but placed in a place
where NO MOISTURE will enter the oil. Place the baking dish on an electric stove-- do not use
an open flame- SET THE TEMPERATURE TO 115 Fahrenheit, and no higher. Place an oven
thermometer in the oil to check the accuracy of the settings and dials on the electrical hotplate.
Allow the oil to remain on the hotplate for 11 days or longer.
This will be equivalent to 30 days of outdoor heat. The oil must be stirred a couple of times
daily for about 15 to 30 seconds. The white container is an aid in bouncing the light, even if
located in an enclosed area like a covered patio. If you want your oil to be more viscous, it can
be left for a longer period. My 11 day test period resulted in a beautiful, crystal clear, medium
viscous, fast drying oil [ dry in 30 hours].
The difference with it and my 30 day sun thickened in hot summer oil, is that this HOTPLATE
OIL is not as bleached. Though the HOTPLATE OIL is yellowish in concentration of a 4 inch
wide jar, when it is thinly applied, it is colorless and crystal clear.

NOVEMBER 2009= YELLOW LINSEED OIL-/ WHY YELLOW IS NOT AN ISSUE
I am going to stick my neck way out, but I am confident I am correct in what I will say. I am also
confident this essay will change how artists think about the YELLOWING of linseed oil. FIRST,
the background on how all this developed, which has a side lesson with it.
PLEASE BEAR WITH ME AS I UNRAVEL THIS TALE.

Global warming weather changes have impacted my home in San Diego, California, as much
as anywhere. Strange weather at times, for sure. I refer to my summer weather and its impact
on my sun thickening of the cleansed Flax oil. Normally I sun my oil from early May though
August. It has been hot enough in the past to create wonderful fast drying sun oil. The Sun oil
exposed outdoors for 30 days results in a beautiful, water clear viscous fast drying sun oil that
is the foundation of the ‘ Calcite Sun Oil method of oil painting, which allows elimination of
solvents, resins and driers. ALL because of the superior properties of that sun oil, an oil that
disappeared at the onset of the 19th century.

This year I sunned more oil than normal to meet the demand of artists I correspond with who
live in COLD climates. I do not sell a lot of my sun oil, nor do I wish to. I encourage artists to
cleanse and sun their own, thereby avoiding the exorbitant prices of TRUE sun oil now made by
Fine artists, and to avoid the false slow drying alkali refined oil titled’ Sun thickened Linseed
Oil”, sold by prominent manufacturers that do know better.

This year I sunned oil longer than my May through August hot summer dates. I sunned oil into
September and October. Finally stopping when I knew I had to due to cool, cold very moist
nights. I would wake up and find heavy thick water dew all over the glass plate covering my
otherwise exposed containers of oil. WORSE yet, the underside of the glass panes were
covered with heavy moisture of condensation. I live 5 miles from the ocean. Even in hot August,
I get a layer of marine air that will not burn off until 10am. Then it is hot until 4 pm. But my heat
is not HOT like in Texas. When its 80F, it is hot in San Diego. And we always have such
wonderful ocean breezes blowing. Please bear with me as I unravel this story to tell you
important discoveries.

Then in October, a terrible nightmare hit me. An artist ordered some oil. I sent him the final
batch from October because it was clear and beautiful. But, he wrote back to say it was not
drying within the 30 hours that my summer hot sun, sun oil would dry in. This was terrible. He
and I wrote back and forth and I sent him some September oil. The same results occurred. The
oil paint and the CSO made with it would not dry as expected.

There is an old saying in Spanish, “ No hay mal, que por bien no venga”. Translated loosely it
says that from bad, something good will come of it. And it has.

As I sought answers and made many tests of all the sun oil I had at home. I finally concluded
that the late date sun oil never got enough heat, and was doubly exposed to too much moisture
at night causing the oil’s natural moisture content not to evaporate. The result is a slow drying
oil, though bleached clear, and somewhat polymerized from exposure to some daily low heat
sun and oxygen for 30 days. THAT is the side lesson.
To effectively make sun oil, one must have hot sun and the least amount of moisture in the air.
It is a good lesson for all of us.

NOW. The good news that came from this hard lesson.

Every art book and author on oil painting from the pre renaissance onwards, wrote or writes
about the yellowing of Linseed [ FLAX] oil. In truth, yellowing of linseed oil is of two kinds. The
yellow one sees in the fresh liquid oil, and the yellowing caused by aging over hundreds of
years, called ‘ secondary yellowing’. The Van Eyck’s 600 year old oil paintings were painted
with FLAX [ linseed] oil, and they are bright and clear in the whites and all colors.

But, WHITE is not always brilliant white , as you can buy white paper in various degrees of
brightness. I saw a Rubens painting and the white paint was brilliantly white—until I put the
museum guide printed on white bright paper, next to it. In comparison, Rubens’ white was dull.
BUT, his use of darks made his white appear brilliantly white. All the old Masters used BLACK,
and the Impressionists’ paintings which use no black paint, always lack that depth and
contrast.

The real culprit of loss of color brilliance and darkening, yellowing and browning, comes from
using linseed [ flax] oil that has NOT BEEN CLEANSED of its mucilage. My book and website
clearly explain and demonstrate this. The yellowing and browning from decomposed mucilage
is IR-REVERSIBLE. The yellowing caused by the linseed[ flax] oil’s fatty acid content IS
REVERSIBLE.

The famous Levison scientific study of the 20th century, and the knowledge of Rubens of the
17th century result in the same findings. LINSEED OIL yellows in darkness and moisture, and
LINSEED oil will bleach crystal clear in warm sunny sunlight filled rooms.
It is that simple.

A contemporary artist is experimenting with using dehydration is another subject that will be
described later in time. It has been demonstrated that linseed [ flax] oil can be bleached in total
darkness, and the degree of bleaching is equivalent to sun bleaching. This causes one to
rethink the forces and factors applying to bleaching. Much more is yet to be learned on that.

BUT, THE GOOD NEWS IS THIS:
Because I had this slow drying SUN OIL on my hands, I decided to try to evaporate its moisture,
then to test it. I placed it uncovered in a white opaque corning baking dish, with the oil about 2
inches thick, on an electric hotplate [ do not use open flame for doing this as it can catch fire]. I
set the temperature at 200F.

Four hours later, I withdrew some oil. It had turned completely bright yellow. It went from the
bleached clear to the bright yellow. But, this yellow is a beautiful highly transparent crystalline
yellow. It is not the yellow orange color of the UNCLEANSED unrefined flax [ linseed] oil. Its
clarity is sparkling. I decided the yellowing was caused because temperature was too high.

Here is a trick learned from long experience. If one places uncleansed unrefined flax [ linseed]
oil in a clear glass jar, and if one shakes it, the gravity will soon regroup it together. WHAT ONE
SEES is that the strong yellow color remains on the glass, until it finally regroups. BUT WITH
THIS heated sun oil, one shakes the jar and it leaves NO YELLOW on the glass walls as it
drips down. The glass is completely crystal clear and colorless.

THAT IS THE DISCOVERY of which I write here: How bright clear yellow seen in
concentration of this sun/heated oil, is perfectly crystal clear and colorless when thin.
This thinness is how it is used in oil painting.

Here is another brief test. Dipping a pure white plastic spoon into the yellow, sun/heated oil,
when removed and allowed to drip, it is perfectly white, and yet, the spoon is covered in oil. Yes,
one needs to do an age test. That is where I am willing to stick out my neck, but I am very
confident of what I have seen to say this unique oil will remain crystal clear when used thinly.

I have read recent efforts by some, to create a clear bleached non yellow linseed oil.
Whether one calls it 'No-Sun Oil" , or ' Un-Sun Oil', or, 'ShadeTthickened Oil", this method is to
place the oil in a lead tray. After a period of time, the oil becomes cloudy then over more time, it
settles if a solvent is added to cause separation of its components. Overtime , this oil then
clears almost colorless.

Here is my view of that process:
I see a chemical reaction of the oil and the lead. The lead LEACHES out of the oil,
and PERMANENTLY REMOVING its very important fatty acids. The leaching separates the oil’s
fatty acids by chemical reaction but they remain in suspension. Subsequent addition of a
solvent causes the precipitation drop of these very important fatty acids. The persons doing this
believe they have improved the oi...but they have damaged it.
In essence, the stable molecular strength of the oil is changed to its detriment. The fatty acids
of linseed oil are many, and science shows that the yellowing of linseed oil is caused by two of
them, the Linolenic and Linoleic fatty acids. These fatty acids serve an important function.
They give the oil great long term endurance, strength, and pliability, in other words ARCHIVAL
PERMANENCE. Removing these important fatty acids to PERMANENTLY create a light colored
oil so as to delete a yellow that NORMALLY WILL BLEACH with sunlight is not wise.
The Old Masters’ sun thickened linseed [ flax] oil that is sun bleached is beautiful and water
clear, but the fatty acids are NOT REMOVED. They are simply bleached by sunlight. This is
proven that upon removing this clear oil from the sun, it soon reverts to a yellowish tinge, pale
and not as dark as the uncleansed mucilage filled oil. Storage in the dark will deepen the
yellow more. Exposure to a light filled room will again bleach the oil crystal.

Here are the fatty acids of the linseed [ flax] oil taken from Wikipedia Encyclopedia:

“Linseed oil is a so-called drying oil, which means that it hardens upon exposure to air.
Linseed oil is a mixture of various triglycerides that differ in terms of their fatty acid constituents.
For linseed oil, these triglycerides are primarily derived from the following fatty acids:
•        The saturated acids palmitic acid (about 7%) and stearic acid (3.4-4.6%),
•        The monounsaturated oleic acid (18.5-22.6%),
•        The doubly unsaturated linoleic acid (14.2-17%),
•        The triply unsaturated omega-3 fatty acid α-linolenic acid (51.9-55.2%).[2]
Having a high content of unsaturated esters, linseed oil is particularly susceptible to
polymerization reactions upon exposure to oxygen in air. This polymerization results is the
rigidification of the material, which gives the appearance of "drying."”

MY CONCLUSION:
The Old Masters and science have adequately proven that though Linseed [flax]
oil is yellow, it is nothing to fear, fret over or worry about. It is easily and normally
bleached by a sunny room. The wonderfully preserved Van Eyck paintings and
those of Velazquez, Rembrandt Rubens and others who all used linseed [ flax] oil
as their predominant oil, prove that the durability, pliability, and permanence of
cleansed flax [ linseed] oil is the real goal. NOT an effort to PERMANENTLY use
destructive methods to LEACH OUT and remove its important constituents to
make white oil. Those experimentalists who do this, and there are many, ignore
science. These are grouped with those PhD academic persons who ‘suggest’ that
Rembrandt used degraded, uncleansed, Burnt Plate Oil in his oil paint. It is a
ridiculous assertion. And those experimentalists who advocate Burnt Plate Oil in
their UNENDING mixtures and ratios in formulating best forgotten painting
mediums, are equally as misguided. They are as misguided as those Varnish
makers of copal and Amber, who make and sell boiled degraded oil in their
varnishes.

A deep yellow colored linseed/flax oil is one of two types. It is either one
or the other.

1. An archival oil, unrefined cold pressed Flax/ Linseed oil that has not
yet been cleansed of its damaging mucilage. This deep color is reversible
by non destructive means.
2. A decomposed degraded oil, heated at unsafe temperatures above 230
degrees Celsius. This damage is irreversible.

A clear almost colorless linseed/flax oil is of two kinds. It is one or the
other.

1. An archival oil , Linseed/Flax oil containing its numerous fatty acids ,
temporarily bleached of its yellow coloring by certain non invasive nor
destructive environmental conditions such as sunlight, low humidity and
warm oxygen. Under ideal conditions, this clear colorless condition
remains constant.
2. A decomposed degraded oil with permanent removal of its important
fatty acids caused by exterior human processing, be it by caustic lye
chemicals or use of metallic salts such as lead to leach the fatty acids
causing the yellowing to be permanently removed from the oil. This is a
permanent irreversible degraded condition.

11/11/09=STARTLING NEWS ON BLEACHING LINSEED OIL
Experiments are being made with a dehydrator. The question is to determine if an equally
efficient polymerized linseed oil can be processed indoors without use of the sun's rays and
heat. If this were possible, the oil could be made indoors all year, whether winter or summer. It
has been proven that the oil can be bleached in the total darkness of the dehydrator. This is an
important observation that questions the results of the famous Levison study :
http://cool.conservation-us.org/coolaic/jaic/articles/jaic24-02-002.html

Mr. Levison demonstrated that if linseed oil paint is kept in darkness, it will yellow and if
brought out to the sun light, the yellow is bleached. Mr. Levison concluded that it is the sun light
that bleaches the yellow from the oil. These new findings seem to disprove Mr. Levisons'
findings, and bring up the question of whether dry heat and ventilation as being possibly the
main causes of the bleaching of the oil. I too am conducting my own testing with a dehydrator to
be able to observe results.. My initial research into dehydration of oil shows an early 20th
century ( 1930's) experiment found described in Kurt Whelte’s book. A German scientist worked
on dehydrating the very slow drying castor oil. No final results are given in Whelte’s book. This
was a dangerous period between two world wars. Maybe the production cost was prohibitive,
or, war destruction ended the experiment, or it was unsuccessful.

DEHYDRATOR SAFETY ISSUES
Any person, trying any of these experiments with a dehydrator, or, any others described
anywhere on my website or in my book are doing so at their own risk. Do not conduct any of
these tests or experiments without assuming full responsibility for your own safety. Never heat
linseed/flax oil near an open flame or in a closed room.

10/20/09= NON-ABSORBENT GROUND
It is imperative that before applying oil paint, that the ground layer is completely Non-Absorbent.
Many books and teachers say it must be ‘ slightly absorbent”, and they cite the reason as being
that the oil paint needs a ‘ mechanical lock’ to adhere permanently. They further cite that the
‘slightly absorbent’ gesso layer will suck out “just enough of the oil” from the paint above it, to
lock it all together. Not only is it impossible to accurately regulate “the degree of oil absorption”,
but this is contrary to what conservationists have found on investigating the work of the Old
Masters.

Science shows that the gesso layer of the Old Masters is preserved perfectly white, indicating
no absorption of the oil from the paint above it. Common sense will tell you why it is necessary
to completely seal the gesso from the oil paint. An artist spends time to correctly grind the oil
and pigment together. Correctly grinding insures the dry pigment is fully bound by the oil. Any
removal of the oil by an absorbent ground is contrary to the effort to bind the dry pigment
particles correctly. Any absorbency of a ground leads to dry sunken spots in the paint. It is true
that dry sunken spots can have other causes, but this is one that is avoidable.

Many modern painters and their collectors prefer a dry matte finish on their paintings. This is
understandable because a shiny gloss finish on a painting is visually disturbing. Yet, all the
Old Masters’ paintings are ... shiny. That is because OIL is shiny. A healthy oil painting is ..
shiny. One problem that can be avoided is to not use HIGH GLOSS varnishes that only make
the problem worse. The ‘Calcite Sun Oil/ Emulsions method does not use HIGH GLOSS
RESIN VARNISHES. A properly made CSO painting dries with a SATIN finish, shiny, but not
over glossy.

10/20/09= PROPERLY ISOLATING/SEALING THE GESSO
Today , artists use either a ready made ACRYLIC GESSO, or make their own TRADITIONAL
GESSO as was made by the Old Masters. Acrylic gesso’s convenience makes it a favorite and
is here to stay…forever. The Traditional gesso is proven to last over 600 years, and no such
proof exists for the Acrylic gesso. Once you try both, you will know the difference in “surface feel”
and this will guide you on your choice. BOTH ARE HIGHLY ABSORBENT, and both must be
rendered Non-Absorbent. Here are some facts to help:
1.        Acrylic gesso can be sealed by a coat of acrylic varnish, either gloss or matte. Since this
acrylic varnish emulsion is sometimes thick, you can dilute it with up to 25% water. It is milky
white but dries clear. Give it one application and do not rub the brush over and over the surface.
Acrylic dries extremely fast and continued brushing creates scabs. A simple way to seal acrylic
gesso is to give it one coat of Non-Fat milk. This is bought at the grocery store. This dries
slower and should ne allowed to dry in a dry room at room temperature for several hours.
2.        Traditional gesso is made by mixing rabbit skin glue and water, then mixing the heated
solution with calcium carbonate powder. Chalk [ calcium carbonate] gives a very soft texture as
will gypsum powder [ calcium sulphate]. Adding marble dust or calcite [ both are also a calcium
carbonate] increases the grittiness. Like the acrylic gesso, Traditional gesso is HIGHLY
ABSORBENT. The simplest way to seal the Traditional gesso is to apply one coat of the same
rabbit skin glue [ heated] to the dry surface.
3.        FACTS TO KNOW: Do not apply non-fat milk to Traditional gesso as the milk will lift the
glue. EGG TEMPERA PAINT is lifted by either milk or egg. MILK PAINT is not lifted by either milk
or egg. An EGG-OIL EMULSION does not lift a rabbit skin glue layer. A rabbit skin glue [ also
called HIDE GLUE] will isolate bare untreated wood or cloth, but if one mixes anything into the
glue such as a powder or pigment, it will not seal it.
4.        MORE FACTS: The ‘Calcite Sun Oil’ will not lift milk paint or egg paint and can be rubbed
on without any danger. An emulsion is a mixture of an oil and an aqueous ingredient. My book
names the choices. An ‘oil-milk’ emulsion and an ‘oil- egg’ emulsion will not lift a milk paint
under painting. But, they will lift an egg tempera under painting.

10/13/09= GLAIR . Equally important as the CSO mixture are the two EMULUSIONS. It is
easy to make glair but it takes 5 minutes to beat the egg whites and about 10 to 20 minutes to
allow a complete distillation of the liquid glair from the froth. This has caused several persons
to ask if pre-packaged egg whites purchased at the grocery store is a good substitute. ON the
surface one would say "yes". But, research of the ready made egg whites shows the
manufacturers must follow laws and regulations to insure health and safety for consumers.
This requires them to heat and pasteurize the egg whites for several minutes at specific
temperatures. This causes destruction of natural components of this wonder ingredient.
Therefore....I recommend NOT using ready made egg whites.

10/7/09= UPDATE ON CLEANSING THE OIL WITH THE PSYLLIUM-ALCOHOL
METHOD
After a summer of tests I determined that the CSO-MILK METHOD [ not in my
book] is NOT as effective of the PSYLLIUM-ALCOHOL METHOD that is described
in my book. The tests also demonstrated the need for allowing the mixture to
remain STANDING STILL in the sun with ventilation for 8 to 10 days . This allows
the mucilage to drop and rest on the GEL which was made by mixing the husk and
the alcohol.

These are the improved instructions for the PSYLLIUM-ALCOHOL METHOD
[ page 21 of the October edition].
INGREDIENTS:
20 fluid ounces of unrefined flax oil .
4 fluid ounce of either 80 proof or 100 proof alcoholic liquor. Do not use
Denatured alcohol.
4 Full Teaspoons of dry Psyllium Husk Powder. The husk is sold POWDERED or
WHOLE HUSK. Either one is usable. The powdered form gels faster.
Quart glass jar or electric blender
Wide glass bowl at least 10 inches in diameter
INSTRUCTIONS:
FIRST: Mix the husk and the alcoholic liquor so it forms a GEL. Stir together and
allow to stand a few minutes until it gels. My tests showed that use of dry husk as
described in my book causes loss of good oil by allowing the husk to absorb too
much oil. Use of damp husk as is done with pre mixing it with the alcoholic liquor,
allows the husk to absorb the water in the liquor and prevents its absorption of oil.
The alcoholic content is the catalyst that causes the mucilage to separate from
the oil, as is learned from the PACHECO METHOD.
SECOND: Once the husk and alcohol gelify, add the oil. They need to be mixed
thoroughly. This can be done either by vigorous shaking by hand in the jar, or an
electric blender can be used. The blender makes the mixing effortless and fast.
THIRD: The mixture is poured into a 10 inch wide bowl so the mixture is about 2
inches in height. This bowl is placed outdoors in the sun, covered with glass pane
so no moisture gets in. Within one day the oil will become transparent as the gel
drops. The most important development I learned is that this must be allowed to
remain completely still for between 8 and 10 days.
FOURTH: After the days pass, the oil is poured into a filter funnel made by
inserting a small ball of pure cotton ball into the narrow part of the funnel. Do not
compact it so tight that the oil will not pass. Do this filtering at mid day when the oil
is warm. A second filtering of the oil with a new clean cotton ball may help.
FIFTH: This is the cleansed oil. The 10 days of sun helped bleach the oil a bit.
This cleansed oil is now ready to be Sun Thickened as described in my book.

CSO-AGUADO: The most important update is the development of the CSO/AGUADO
METHOD. See the page designated to it with full information.

CSO-MILK METHOD: A summer of testing showed it is more problematic than the
PSYLLIUM-ALCOHOL METHOD which has been improved and is listed above. CSO-MILK is
not in my book, is still an effective method, but the PSYLLIUM-ALCOHOL METHOD is superior
and much easier.

CSO-FIXATIVE METHOD : The new CSO-FIXATIVE method of securing a charcoal drawing
is a breakthrough for safety.See the BLOG page

10/1/09 CALCIUM CARBONATE:
I no longer recommend SINOPIA as a source for CHALK FROM CHAMPAGNE FRANCE,
described in my book. They sell FRENCH CHALK which they say is a Calcium Carbonate, but it
is not the same. I recommend only CHALK FROM CHAMPAGNE FRANCE and this can be
purchased through KREMER.

9/28/09: THE PACHECO METHOD OF CLEANSING OIL
In 2008 I conducted extensive tests on the method described by Francisco Pacheco in his
published book of 1649. As you know Pacheco was the teacher of the great master Velazquez.
My book contains all the test results of Pacheco’s method up to date of my revised publication
of October 2008.
With recent tests in 2009, I believe I now understand Pacheco’s method better. To summarize
his method: Pacheco said to use one pound of Linseed oil. A pound in his day is equal to our
16 fluid ounces. To this is added 3 ounces of ‘aguardiente lo que se llama ‘de cabeza’. This
phrase in Spanish means it is alcohol spirits. We will possibly never know the alcohol content,
but the term, ‘ de cabeza’ indicates a very strong alcoholic drink, possibly a strong brandy. We
know alcoholic drinks by distillation contain some percentage of water. Today it is common to
have brandy or vodka or others to be sold by ‘ proof’. This proof indicates the amount of alcohol.
80 proof means 40% alcohol. The 60 % is water. The water and the alcohol co mingle and do
not separate on standing. To this mixture Pacheco said to add 2 ounces of ‘ alhucema o
espliego en grano’ which is Spanish for the Lavender plant’s flower bud. He specifically said “
en grano” which is in granular form. Tests made with the liquid known as Spike, which is the
solvent in the flower bud does not work.
After tests in 2009, I now believe that the Lavender flower bud must be used DRY and not fresh
cut. If it is used FRESH cut from the plant, it works, but an additional step not mentioned by
Pacheco is that of manually separating the mucilage and the flower buds from the oil. This is
extra and tedious work.
By using the flower buds DRY, the dry husks ABSORB the water and the mucilage from the
alcohol and oil mixture. Of course the alcohol is the catalyst that causes the mucilage to
separate from the oil, and alcohol with exposure to oxygen dissipates.
MY knowledge of Pacheco's method led me to create the use of PSYLLIUM HUSK because
Psyllium Husk does not contain any SOLVENT as the Lavender flower does. The Psyllium -
Alcohol method is fully described in my book. It is completely safe and works magnificently.
Just be sure to allow the mixture to stand in the sun for at least 8 days to 10 days without
moving, then filter carefully. The resultant oil is transparent beyond belief.

9/25/09: EMULSIONS: Both emulsions, the VISCOUS EMULSION and the NON VISCOUS
EMULSION play a crucial part in the CSO METHOD. My published book states it must be kept
refrigerated because egg will spoil. Yet, it will spoil even when refrigerated, over time. The Old
Masters did not have refrigerators and use of egg led to a name called PUTRIDO in the Italian
language. In Spanish [ my first language as a child ] the word PODRIDO is similar and it
means - ROTTEN- and we all know the odor of rotten eggs. Apparently oral tradition taught the
Old Masters NOT to add a drop or few of clear white distilled vinegar to egg to slow down the
decomposition. Science tells us that vinegar, which contains ascetic acid, impacts the
Albumen which is Protein. Therefore, I do NOT recommend adding vinegar to the emulsion.
One problem I see with REFRIGERATION is that the closed jar creates condensation of water. I
do not think this is helpful or desirable. Certainly the Old Masters did not have to deal with this
factor. Possibly the best approach is to make the emulsion, keep it capped tightly when not
used and let it sit in a cool room at room temperature. Two things are happening chemically to
the emulsion mixture. One is that the sun oil is very acidic. The other is that the glair is very
complex in its structure as is the oil. Over time you will see a phenomenon. The oil will darken,
as some of it separates and sits on the floor of the jar. YET. THE EMULSION that is fully
emulsified that is seen clinging to the walls of the jar remain fully opaque and pale in color.
When used as an "oil out', the thinness of the emulsion is clear as crystal glass. This remains
constant and over time there is no change. It may be best to make the emulsions fresh every
few days, and not let the water condensation impact the effectiveness.

CHAPTER TWO: This chapter defines and identifies the superior oil of the Old Masters. It
provides information on the problems the Old Masters had with their oil and how it
affected their oil paint, with a historical background of sun thickening the oil, and
information on todays chemically refined industrial linseed oil.

CHAPTER FOUR: Information on CALCIUM CARBONATE POWDER, and how I used
modern science to guide me in formulation CSO. My discovery of use of GLAIR as the
ideal substance to create a very simple EMULSION. A discussion of HAZARDOUS
ingredients used in oil painting.

CHAPTER SIX: The wonder medium of the EGG OIL EMULSIONS is given full
coverage. A historical recount of the VAN EYCKS is given as well as describing the
experiments I made to achieve the creation of two EXTRAORDINARY emulsions. The
very important development and importance of the CORRECT APPLICATION of the
emulsions is given. The VASARI account about the VAN EYCKS is given with a series
of questions and answers. My ten page study of JACQUES MAROGER'S 1931
EMULSION recipe, and why it failed is given. MAROGER would have suceeded had
he used the SUPERIOR OIL of the OLD MASTERS!! He failed because he used
INDUSTRIAL ALKALI REFINED LINSEED OIL. Its deficiencies kept him guessing as he
sought answers ..in vain..

CHAPTER EIGHT: The different painting methods one can use. Information on how
to correctly THIN THE oil paint. The CORRECT way to apply a glaze!!
How to duplicate Rembrandt's WHITE IMPASTO paint with our modern materials
without Lead White. The resin effect briefly described. How to paint MICRO FINE
DETAILS like the VAN EYCKS. The SUPERIORITY of the EMULSIONS over the use
of RESINS.

CHAPTER TEN: A full description of the mythical RESIN EFFECT. Plus information
that is contained in my USA PATENT which gives alternate mixtures of mixing
Calcium Carbonate powder with different oil and mixtures. This chapter opens the
door to more experimentation.

CHAPTER TWELVE: OIL PAINTING FOR THE BEGINNER is the tit;e of this last
chapter. My book is of a high academic level, designed for professional and
seriously dedicated oil painting students. YET!, The facts in this book can be
applied to teaching children, and hobbyists and beginners, how to oil paint
SAFELY.. WITHOUT USE OF ANY HAZARDOUS SOLVENTS, RESINS, VARNISHES
or TOXIC DRIERS. THIS chapter can be adapted by any teacher and oil painting
can be made easy and safe and the paintings will be permanent

BIBLIOGRAPHY AND BACK COVER:
The information in my book, my discoveries and new information I have developed
for oil painting is supported by a profound academic background. The
Bibliography given here is but a very small sample of the numerous sources I have
used in over 50 years of study.
The BACK COVER gives TESTIMONIALS from several FINE ARTISTS. More
TESTIMONIALS can be seen on my website.

UPDATES NOT IN THE BOOK WILL BE
ADDED PERIODICALLY ON THIS PAGE