EGG TEMPERA, The new CSO EGG TEMPERA medium

RESEARCH AND DEVELOPMENT OF THE CSO-EGG TEMPERA MEDIUM

I thank readers for their patience as I developed this medium and gesso.
Below are the steps leading to the development beginning in Dec. 2009.

I studied the past to develop an effective FAST DRYING modern medium using ancient archival materials. My research sought out information on
cave paintings far older than those of the Renaissance. Some cave paintings have been tested to be 40,000 years old.

The oldest binders of paint are MILK, EGG, GLUE, and natural tree exudates such as GUMS and RESINS, as well as GLUES from boiling animal
skins. Any sticky substance, that can be mixed with powders creates a PAINT and can be applied to a wall or almost any surface.

Because oil paints dry relatively slowly, Renaissance artists of the 14th through the 16th centuries sought a faster drying medium. Egg tempera is
the fastest drying ancient medium but Realism is difficult to obtain with egg tempera. Some artists of the period combined egg and oil into am
Emulsion, or, underpainted in egg and overpainted in oils. Modern artists of today have the same needs and concerns.

The real issue of any paint is its PERMANENCE. Unfortunately, I was informed by an expert [see below] that modern science has done little to
analyze the binders used in the Cave paintings. The few published results are debatable or inconclusive. Some contemporary artists have made
many tests with a variety of binders. I do not have faith in test results or theories from recent testing of a few years time. No one knows the changing
conditions of these caves over a 40,000 year time period. Yet, modern theories are interesting. One artist believes human urine was one possible
binder. Another artist believes cave water rich in calcium carbonate was also used. Historians tell us the cave painting were not done by one artist
but evolved over thousands of years with frequent over paints on existing paintings. This leads us to believe the binders were of many kinds. 40,000
years is quite a long time to try to reconstruct any paint layer.

We do know LIMESTONE CAVES are calcium carbonate. The CSO oil painting method uses calcium carbonate powder as an important component
that guarantees permanence. My previous creation and formulation of CALCITE SUN OIL, provided me with new ideas as I experimented in
developing a FAST DRYING UNDERPAINTING MEDIUM FOR OIL PAINTING. This led to a new gesso procedure and formula.

READ BELOW FOR RESEARCH INFORMATION ON PREHISTORIC CAVE ART

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THE ‘CSO-EGG GESSO’ - DEVELOPMENT OF A NEW GESSO

DO NOT USE ACRYLIC GESSO WITH THE CSO-EGG TEMPERA MEDIUM
Like most oil painters I have used acrylic gesso because it is convenient. It is not GENUINE traditional gesso like that of the Old Masters that has
proven archival for more than 600 years. We do not know the permanence of ACRYLIC gesso. But it is inexpensive and convenient and it can be
applied to walls, canvas and wood panels. Acrylic gesso is made of modern synthetic white glue mixed with one or more of a variety of dry powders
such as marble dust. It dries by evaporation and when dry can be brilliantly white.

I did not make traditional Gesso panels like the Old Masters until late in life. Many recipes can be found and they vary little. Basically it is a hot
animal skin glue mixed with Calcium Carbonate Chalk, or Gypsum. The 15 century master Cennini gave detailed instructions on how to gesso a
wood panel. Later artists made changes to his recipe. Cennini’s procedure was labor and time consuming. One reason was because he did not
have modern flat plywood like we do, nor did he have electric planers to smooth out the wood surface.

Even with modern materials, my gesso panels have not turned out perfectly. I cut corners to speed up the finish. My research found the scientific
analysis of one Rembrandt painting on wood. He first applied a glue to seal the wood again the oil paint. He then applied ONE thin gesso layer to
cover the brown wood and to create a brilliant white surface. He then applied a single thin coat of oil paint made of some black some lead white and
umber [ umber accelerates the drying]. This pale translucent warm gray oil layer was applied thinly. It served as a sealant to the very thin white very
absorbent gesso. On this simple preparation, Rembrandt painted that painting. One thing you frequently see in Old Master paintings, IF they used a
thin gesso, is the grain of the wood.

I believed that if Rembrandt could deviate from Cennini’s laborious multi layered gesso panels, I could too. As much as I dislike applying the gesso, I
dislike the dry powder dust from sanding even more. So I do not sand. Therefore I settle for a mildly textured gesso as the primer coat for my oil
paintings.

Development of the CSO-EGG TEMPERA medium led me to develop the CSO-EGG GESSO, based on egg and not glue.
Years ago, an experienced masonry worker taught me how to apply stucco on my home so it would be permanent. The first requirement is to create
a waterproof barrier so moisture will not enter the home. Second, a wire mesh is attached , so the wet stucco has a place to grab onto. The first
coat of the stucco is made very very thick and it is applied roughly with a trowel. On drying, it cracks, splits and breaks. The next coat of plaster is
almost as thick and is called the ‘ scratch’ coat. It too is applied with a trowel but it is made more smooth and level. While this coat is wet, it is
scratched with a tool that looks like a comb to create ridges that will hold the next coat. After the ‘scratch’ coat dries a thinner stucco is applied
smoothly. When it dries, a liquid thin layer of fine stucco is brushed on with a wide bristle brush.

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FINAL COAT OF ANY OIL PAINTING [ this is a permanent layer - not a removable film like a resin varnish]
Once the Oil Painting is completed. Allow it to dry a week.
For a more matte surface, apply a very thin coat of the well beaten WHOLE EGG [ yolk and clear] with vinegar
For a Satin finish, apply a coat of GLAIR, with no vinegar mixed.
For a more shiny surface, apply a coat of YOLK mixed with vinegar as directed above.
The use of EGG or EGG GLAIR AS A FINAL VARNISH ON OIL PAINTINGS is not new.
It has been used throughout history. The 17th century DeMayerne manuscript gives contradictory opinions of the use of GLAIR as a FINAL COAT
of an oil painting. These contradictory opinions leave us without a guide to make a solid decision. Modern science states that all VARNISHES
discolor, whether synthetic or natural substances. RESINS become YELLOW and crack and are high glossy, while EGG dries with a soft satin finish
and becomes cool in tone. Both remain transparent and not opaque.
One can also 'oil out' the entire surface with the VISCOUS EMULSION. This is my favorite method. I routinely apply an ultra thin, well rubbed in
application of the VISCOUS EMULSION [ described in my book] on my dried finished oil paintings.

DISCLAIMER
. Please experiment with this information at your own choice and risk.
These materials of EGG, and SUN OIL and CALCIUM CARBONATE have been proven to be archival, dating back centuries.
I developed these new methods from practical work and researching and learning from the past.
EGG is just as durable a binder as the GLUE used in traditional gesso mixtures. Milk [ casein] is another binder that is equally as durable if not more
durable than either EGGS or HIDE GLUE. The chalk/ Calcium Carbonate is compatible with mixing with the egg just as chalk is with flax oil. Chalk is
powdered LIMESTONE. In its natural setting, it is durable and permanent. Mixing two durable permanent materials results in another new mixture.
The chalk is completely bound by the egg creating a hard sticky durable mixture.
It is interesting to note that a chicken EGG YOLK AND WHITE, is surrounded by a shell made of pure CALCIUM CARBONATE.
An interesting thought came to me about why Renaissance artists may have chosen GLUE instead of EGGS for making their GESSO.
Could it be that EGGS, being an important food item was more valued than cheap boiled animal hides.. as well as being more scarce??

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RESEARCH LEADING TO THE DEVELOPMENT OF THE “CSO-EGG TEMPERA” MEDIUM

THE CAVE PAINTINGS OF ALTAMIRA AND LASCAUX AND THEIR IMPACT ON MODERN OIL PAINTING
In Spain one finds the cave paintings of Altamira http://www.thenagain.
info/Webchron/World/Altamira.html and nor far away, those of Lascaux in France
http://www.lascaux.culture.fr/#/en/00.xml.

Scientists estimate them to be between 15,000 and 40,000 years old and older. The 600 year old Van Eyck paintings pale in comparison in regards to age. The paint is
made of colored natural earth pigments but the binders used are unknown or the results of tests are debatable or inconclusive. My research shows very little has been
done by modern scientists to determine the binders used and the reasons given are many. We do know the most common ancient paint binders are egg, milk, glues, oils,
gums and resins and any sticky substance, or mixtures of these simple ingredients. However, no synthetic acrylics, liquin, nor modern alkali refined linseed oil, nor
mixtures of synthetic mediums were ever used in the cave paintings.

The permanence is remarkable and adding to the great state of conservation of this paint is the SUPPORT used, being Limestone caves. Limestone is Calcium Carbonate
in rigid form. The Calcite Sun Oil method of oil painting uses three ancient simple materials = flax oil, egg, calcium carbonate , which were also the same three archival
ingredients used by Rembrandt, Velazquez and others.

Discovered in the early 20th century, the cave paintings were made famous in this modern era. The stable paintings were protected by the natural conditions of the caves...
and the darkness with its protection from ultraviolet sunrays. Once discovered, throngs of humans entered the caves and without knowing, added moisture from their
respiration along with artificial lighting. These changes in the natural equilibrium of the caves caused fungi to grow and crumble the paint. Now the caves are closed to the
general public.

Many lessons can be learned from this. Permanent paint binder and materials is one,
and the importance of conservation is another, each with complexities. Science gives us some answers.

Before the perfected oil painting method of the Van Eyck’s in the late 1300's, the binding medium most used was egg.
Today the Egg Tempera method is revived and taught exactly as used in the early Italian Renaissance. I have never painted with egg tempera.
I do have the book from the highly regarded American painter, Ms. Koo Schadler http://www.kooschadler.com/thebook.htm.
I recommend her book to those who wish to learn this beautiful archival method. Compared to her knowledge on this archival medium, I know very little and I would never
argue with her on this subject. But I do know the basics.

It is these basics that I write about here.
The cave painters of old, did not employ the refined Renaissance technique taught in
Ms. Schadler’s book. Anyone who has left egg yolk on a plate after breakfast,
and has returned hours later to wash it off the non absorbent glass plate, must
scrub hard. Adding hot water only increases the resistance of its removal. The extremely strong
adhesion of the yolk is extraordinary. Not only that, but it dries hard within minutes, though time
is required for final curing. The yolk and the egg clear are both very complex. In the Calcite Sun
Oil method of oil painting, I found the NON VISCOUS limpid thin egg white, once converted to
GLAIR, to be ideal for mixing with VISCOUS thick sun thickened flax oil into an extraordinary
“wonder” emulsion. Yes, I did test the yolk and found it to be not advantageous for mixing with
sun oil as sun oil is sufficiently viscous. The egg yolk contains a great amount of egg oil, and
the egg clear hardly none.

The refined method of egg tempera painting used in the Renaissance used the yolk - or- the
entire egg. If the entire egg was used, no additional water additive was required. If only the yolk
was used, an equal amount of water was added to liquefy the thick fast drying viscous yolk.
One other requirement is needed. An ABSORBENT ground is a requirement. Acrylic gesso is
not usable. An absorbent gesso made of calcium carbonate or calcium sulfate mixed with
weak hide glue is required. The egg will sink into this absorbent ground and become
immovable. These are the basics of the use of egg tempera.
Do not forget the real meaning of the word ' Tempera". It is an Italian/Latin word
meaning the mixing of a liquid [ any liquid] with a dry substance to create a paint.

Egg tempera painted on top of dry oil paint is NOT permanent.
Egg painted INTO a wet film of oil paint is permanent.
A mixture of wet egg and wet oil emulsify together becoming one inseparable substance called an EMULSION and it is permanent.
This knowledge allows artists today, to know they can create a permanent paint film when using egg and oil.

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RESEARCH OF CAVE ART : PART TWO
In December 2009 during my research of the binders used by ancient humans, I received this letter from Dr. Paul Bahn,an expert
in ancient cave art. I enclose his letter and subsequent communications for the purpose of educational advancement.

{LETTER FROM DR. PAUL BAHN }
Dear Mr Velasquez, the best way to answer your question is to send you the relevant text from my 1997 book "Journey Through the Ice Age" (Weidenfeld & Nicolson: London
/ Univ. of California Press: Berkeley), together with the relevant references -- as far as I am aware, nothing new has been published on this subject since then. Best
wishes, Paul Bahn.

[ From Dr. Bahn’s Book:]
A different problem is the binding medium used. In the past it was often assumed that some form of fatty animal product was used for the purpose; however, a series of
205 experiments in two caves was carried out by Claude Couraud, involving a variety of pigments and binding substances (including fish glue, Arabic gum, gelatin, egg
white, bovine blood, and urine), and a range of wall-types and degrees of humidity. Observation of the results and deteriorations over three years led him
to the conclusion that fatty and organic substances were totally unsuitable binding agents, and fail to adhere well to humid walls. In fact, the only substance which seemed
to be good at fixing and preserving the pigments on the rockface was water -- especially cave-water, which is rich in calcium carbonate, and which was probably used at
Lascaux [49]. It was also found that pigments adhered better if
they had been finely ground.
In 1978, Cabrera Garrido's analyses at Altamira led him to suggest the possible use here of powdered fossil amber as a binder. [50] However, in some Ariège caves,
recent analyses of paints, using gas chromatography and mass spectrometry, have detected traces of what are thought to be oils of animal or plant origin, presumably
used as a binder [51]. On portable art from Enlène and in parietal figures at Trois Frères it seems to be a plant oil, whereas parietal figures
at Fontanet seem to contain an animal oil. Other sites such as the Réseau Clastres have no trace of any binder, as at Lascaux. [49] Couraud 1982, p. 4; and in Leroi-
Gourhan & Allain 1979, pp. 162-4.
Couraud's experiments thus confirmed the opinions of Rottländer (1965), and have recently found support in experiments by Vaquero (1995: 72-75).[50] Cabrera Garrido
1978.[51] Pepe et al 1991.

[REFERENCES]
CABRERA GARRIDO, J. M. 1978. Les matériaux des peintures de la grotte
d'Altamira. Actes de la 5e réunion triennale de l'ICOM, Zagreb, pp. 1-9.
COURAUD, C. 1982. Techniques de peintures préhistoriques: xpériences.
Information Couleur 19, 3-6.
LEROI-GOURHAN, Arl. & ALLAIN, J. (eds) 1979. Lascaux Inconnu. XIIe Suppl. à Gallia Préhistoire. C. N. R. S.: Paris.
PEPE, C. et al 1991. Le liant des peintures préhistoriques ariégeoises. C.r. Acad. Sc. Paris 312, série II, 929-34.
ROTTLÄNDER, R. 1965. Zur Frage des Pigmentbinders der Franko-Kantabrischen Höhlenmalereien. Fundamenta Reihe A, Band 2, 340-44.
VAQUERO TURCIOS, J. 1995. Maestros Subterraneos. Celeste: Madrid.

RESEARCH OF CAVE ART : PART THREE

I responded to Dr. Bahn’s letter with comments and questions. Here is that communication with his responses. Again, the purpose is for educational advancement.

Dear Mr Velasquez, thanks for your comments. It is a shame that you cannot read the references I sent you, as they are the only ones available – but presumably you can
get hold of them and have them translated, if they are of such interest to you.
My responses to your comments are below.
Best wishes, Paul Bahn.

LV=DEAR DR. BAHN, THANK YOU FOR THE VERY FINE RESPONSE. I WILL TRY TO OBTAIN YOUR BOOK. IT IS MY INTEREST AS A PAINTER THAT LED ME TO
RESEARCH AND TEST INGREDIENTS FOR PAINTING. THE CAVE PAINTINGS ARE OF GREAT INTEREST, NOT ONLY FOR THEIR GREAT AESTHETIC BEAUTY, BUT
ALSO FOR THEIR REMARKABLE PRESERVATION. I READ WITH INTEREST YOUR OWN ACADEMIC RESULTS THAT YOU PROVIDED ME.. AND I WILL POSSIBLY NOT BE
ABLE TO READ THE WORKS OF OTHER AUTHORS EXCEPT FOR THE SPANISH LANGUAGE ONE.
HERE I PASTE THE GIST OF YOUR OWN PUBLICATION, WITH MY COMMENTS.

PB=A different problem is the binding medium used.
LV=WHY IS THIS A PROBLEM WITH TODAY’S IMPROVED ANALYTICAL INSTRUMENTS? ONE WOULD THINK EACH PAINTING, IN EACH CAVE COULD BE TESTED FOR
THE BINDER USED ON THAT ONE PARTICULAR WORK--
JUST AS IT IS DONE WITH SAY...12 OR 30 REMBRANDT PAINTINGS.

PB= There are actually several problems here. For a start, when cave art was first discovered, and for most of the 20th century, the only way to do pigment analysis was
pretty crude, through chemical reaction, requiring sizeable samples, so it was unthinkable to damage figures in this way. Since the 1980s we have had the new techniques
available -- spectrometry, even scanning, etc -- which require pinpricks of material, or even no material at all -- BUT these techniques are very expensive in terms of
employing the scientists to undertake them, the lab time, the analyses, etc -- and the vast majority of archaeologists, prehistorians and cave-art specialists are not
scientists but closer to art historians, and such analyses, while of some interest to them, are not often a high priority, especially in view of the cost. Testing “each painting in
each cave” as you propose would be astronomical in cost -- but of course if you, or someone like you, were to offer a huge grant for this,you would be welcomed with open
arms!
In the past it was often assumed that some form of fatty animal product was used for the purpose;

LV=THIS IS DISTRESSING, TO ASSUME. ..ACADEMICS SHOULD NOT BE ASSUMING.HOPEFULLY EACH SEPARATE IMAGE CAN BE TESTED AND DETERMINED AS TO
BINDER AND PIGMENTS USED

PB=Archaeology, prehistory, and even much of recent history, are made up of assumptions because our data are so incomplete. Voltaire said “all of our ancient history is
accepted fiction”, and he was right. But in this case the assumption was not plucked out of thin air, but was based on what was known of modern rock artists such as
Bushmen and Aborigines, who do indeed use fatty substances -- so it seemed a valid proposition that Stone Age people, tackling similar problems with a similar
technology, would likely have done the same. And we had no way of checking the Ice Age pigments. however, a series of 205 experiments in two caves was carried out by
Claude Couraud, involving a variety of pigments and binding substances (including fish glue, arabic gum, gelatin, egg white, bovine blood, and urine), and a range of wall-
types and degrees of humidity.

LV= I DO RESPECT THE DEDICATION AND HARD WORK TO DO SO MANY
EXPERIMENTS WITH TODAY’S KNOWN BINDERS BUT IT WOULD HAVE BEEN
JUST AS EASY AND MORE ACCURATE TO TAKE PARTICLES OF PAINT FROM
EACH IMAGE IN EVERY CAVE, AND CATALOGUE THE RESULTS FOR FUTURE
ARTISTIC STUDY. THE PROBLEM WITH CONTEMPORARY TESTING AND
EXPERIMENTS ARE THE NUMEROUS VARIABLES THAT CANNOT BE EVEN
DUPLICATED AS BEING IDENTICAL TO THE CONDITIONS OF THE DATE THEY
WERE PAINTED.

PB= In Couraud’s day the new techniques were not yet available and, even if they had been, the cost of analysing “each image in every cave” would have been prohibitive.
Observation of the results and deteriorations over three years led him to the conclusion that fatty and organic substances were totally unsuitable binding agents, and fail to
adhere well to humid walls.

LV= I HAVE NOT VISITED THE ACTUAL CAVES. MY BELIEF WAS THAT THEY WERE
SEALED, NOT HUMID, COMPLETELY DRY, AND THAT THIS CONDITION WAS
ONE REASON THEY WERE IN SUCH GREAT STATE OF PRESERVATION. I AM
ALSO UNDER THE BELIEF IT WAS HUMAN INTERVENTION, HUMAN BREATH,
CARBON DIOXIDE AND SWEATING THAT CAUSED A HUMID CONDITION IN THE
CAVES THAT CAUSED FUNGI AND OTHER MICRO ORGANISMS TO GROW,
FLOURISH AND DESTROY THE PAINT.--LEADING TO CLOSURE. THEREFORE
THE COMMENT OF ' HUMID ' WALLS..IS NOT UNDERSTANDABLE. AGAIN. ONE
DOES NOT KNOW THE CONDITIONS OF THE CAVE WALLS WHEN THE ART WAS
PAINTED. IN ADDITION-THREE YEARS OF STUDY IS A VERY INSUFFICIENT
PERIOD.

PB= You are completely wrong on this point. The vast majority of limestone caves are in fact very humid -- they are, after all, filled with stalagmites and stalactites which
were mostly present at the time of Ice Age decoration, and which have continued to form ever since. This varies enormously from cave to cave, and even within single caves
where you can find dry areas next to very wet areas. Moreover, in many cases you can see how the paint -- now sealed under a calcite film – ran or became blurred
because the wall was so wet when it was first applied. We now have a vast literature on caves and it is realised that an undisturbed cave is like a living, breathing entity,
with its humidity changing with the seasons and over the years, quite naturally. What has preserved cave art is not dryness but simply the equilibrium of undisturbed
caves. Human visits have indeed damaged the art in many cases, but this has happened through disruption of the natural equilibrium and of air circulation -- until Lascaux
in the 1960s, nobody had really realised this point, so new entrances were punched into the caves, and sediments removed,so that as many tourists as possible could be
crammed in. Visits by large numbers of humans cause massive changes in temperature and humidity, as well as all
kinds of pollution, and this is what has caused the damage. The fundamental point is that it was equilibrium which preserved the art, not dryness at all. In fact, the only
substance which seemed to be good at fixing and preserving the pigments on the rockface was water -- especially cave-water, which is rich in calcium carbonate, and
which was probably used at Lascaux [49].

LV=I NOTE THE USE OF THE WORD ' PROBABLY' IN YOUR PUBLICATION HERE.
THIS WORD SHOULD BE OUTLAWED WHEN IDENTIFYING THE INGREDIENTS
OF THE PAINT. IT IS A WORD USED BY ACADEMICS, AND I MEAN NO
DISRESPECT... TO DESCRIBE INFORMATION THAT THEY DO NOT KNOW . THE
PROBLEM IS THAT USING THIS WORD CAUSES NO ASSISTANCE IN
RESEARCHING THE TRUTH OF THE MATTER. YET. I CAN SEE A GREAT
INTEREST IN THE STATEMENT THAT POSSIBLY ONLY CAVE WATER WAS USED
AS THE BINDER. IT MAKES ONE THINK OF THE ITALIAN RENAISSANCE
METHOD OF ' FRESCO' , THE APPLICATION OF ' WATER COLORS' ONTO A
DAMP LIME PLASTERED WALL. I FIND THIS TO BE OF GREAT INTEREST.

PB= Archaeology and prehistory are filled with words like “probably” and “seems” because we are acutely conscious of the fragility of most of our assumptions and
deductions, and that a single new piece of solid evidence -- e.g. from a pigment analysis -- could cause things to change. It was also found that pigments adhered better if
they had been finely ground.

LV= YES OF COURSE-LIKE WATER COLOR PIGMENTS KIDS USE IN SCHOOL TODAY

PB= In 1978, Cabrera Garrido's analyses at Altamira led him to suggest the possible use here of powdered fossil amber as a binder. [50]

LV= ONE WONDERS IF IN 1978 THE STATE OF INSTRUMENTATION WAS NOT
SUFFICIENT TO DETECT GROUND UP RESINS

PB= However, in some Ariege caves, recent analyses of paints, using gas chromatography and mass spectrometry, have detected traces of what are thought to be oils of
animal or plant origin, presumably used as a binder

LV= THIS IS AN INTERESTING CONTRADICTION OF THE STUDY ABOVE WHERE 205 EXPERIMENTS BY COURAUD DETERMINED THESE BINDERS WERE NOT
THOUGHT TO HAVE BEEN OF SUFFICIENT DURABILITY.
AGAIN. THIS CONFUSION/ CONTRADICTION OF INFORMATION IS NOT HELPFUL

PB= Indeed, but even with the latest gadgetry available the boffins [ slang for scientists] were totally unable to identify more exactly the material detected.
[51]. On portable art from Enlene and in parietal figures at Trois Freres it seems to be a plant oil, whereas parietal figures at Fontanet seem to contain an animal oil. Other
sites such as the Reseau Clastres have no trace of any binder, as at Lascaux

LV= THIS INFORMATION LEAVES ONE WITHOUT A STRONG FOUNDATION ON
WHICH TO BELIEVE HOW CAN THE SCIENTISTS USE THE WORD..' SEEMS TO
BE'... ONE WOULD THINK THE EXACT TRUTH COULD BE DETERMINED.

PB= It will doubtless require more sophisticated equipment than is available now, or perhaps even DNA analysis -- but, as I have said, all this costs a lot of money.[49]
Couraud 1982, p. 4; and in Leroi-Gourhan & Allain 1979, pp. 162-4.Couraud's experiments thus confirmed the opinions of Rottlander (1965), and have recently found
support in experiments by Vaquero (1995: 72-75).

LV= THANK YOU FOR YOUR ASSISTANCE
SINCERELY , LOUIS R. VELASQUEZ

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TWO NEW DEVELOPMENTS
'CSO-EGG TEMPERA' and 'CSO-EGG GESSO'

THE DEVELOPMENT OF OIL PAINTING
In the 14th- 15th Century, Jan Van Eyck and the Flemish masters
perfected a method of oil painting where they layered thin transparent
glazes of color on a careful constructed ink outline drawing made on a
PURE WHITE GESSO board. This brilliant white gesso gave the thin color
glazes an inner light that gave the appearance of jewels.
This method was slow and painstaking.

The Flemish method arrived in Italy where Titian and other masters
MODIFIED the method to allow larger sized paintings and faster
finishing. To do this they painted with an OPAQUE GRISAILLE, using
brilliant white paint to create the under painting. They then applied thin
color glazes on top of this thick brilliant white under painting.
By doing this, they accomplished the same vibrant transparent
jewel-like colors as Jan Van Eyck and the Flemish masters.

THE DEVELOPMENT OF EGG TEMPERA PAINTING
Before the Van Eycks' perfected the oil paint medium, they and
all the painters painted with EGG TEMPERA. They drew a careful ink
drawing on a brilliant white gesso board and then applied thin layers of
transparent egg tempera paint. The egg tempera paint dries instantly.
Blending is not allowed. All blending is done with thin hatching strokes
in a variety of value changes. This method is also painstaking, and
paintings are normally small [ exceptions to everything exist].
Since the Medieval and Renaissance periods --this has been and
continues to be today --the ONLY WAY to paint with egg tempera.

MY 21ST CENTURY EGG TEMPERA DEVELOPMENT
I added chalk --not to the yolk- but to the egg white and
I created an opaque egg tempera that allows the same freedom
with EGG TEMPERA that TITIAN developed with OIL PAINT.

I know painters everywhere will find this to be
a boon and a wonderful advancement for Egg Tempera painters
and by oil painters who will use it as the fastest drying medium
available for under painting for oil paints.

POSITIVE FACTS ABOUT THIS NEW MEDIUM
* It is a Safe and Permanent fast drying aqueous medium
* It replaces modern synthetic paints containing hazardous chemicals
* It is compatible with the traditional Egg Tempera medium
* Egg is a proven archival ancient binding medium
* It is inexpensive, using chalk, eggs, vinegar and dry pigments
* A vast variety of application methods are possible including impasto
* Scratching and raised textural effects are possible
* A variety of application tools can be used;
brushes, palette knives, fingers
* Application can be broad, fluid, free and spontaneous or controlled
* Over paints, corrections or changes have no time limits or precautions
* The medium can be used alone or as a fast drying
under painting for oil paints
* It mixes easily with colored dry pigments to instantly create paint
* The Medium is also a Gesso that requires no heating for application
* The mixture of Glair and Chalk dries to a hard cement-like material
* The adhesiveness of the medium and gesso is exceptionally strong
* The gesso can be made ivory smooth
or scratched with cloth weave patterns

OIL PAINTING WITH
CALCITE SUN OIL

First published privately
in 2004, the 2008
revised edition was
published by
WORDCLAY
PUBLISHING COMPANY.
The book is available
worldwide via Internet
book stores. Please
read the 12 Five Star
reviews on Amazon

THE NEW BOOK IS AVAILABLE

"EGG TEMPERA, CSO-EGG TEMPERA, ANCIENT AND NEW:
SAFETY AND PERMANENCE
WITHOUT HAZARDOUS CHEMICALS IN SYNTHETIC PAINTS"

Table of Contents
PART ONE: Painting with CSO-EGG TEMPERA
PART TWO: OIL PAINTING WITH CALCITE SUN OIL; Excerpts from the book
PART THREE: OIL PAINTING WITH CALCITE SUN OIL; Updates

TWO DVDS ARE FINISHED
OIL PAINTING WITH CALCITE SUN OIL = AVAILABLE NOW
PAINTING WITH CSO-EGG TEMPERA MEDIUM : AVAILABLE NOW

SEE THE HOME PAGE TO REVIEW
THE DVD COVERS AND CONTENTS

I recommend acquiring the DVD first.
Then to learn more about the foundation
and fine details, read the book

Feb 21, 2010

I decided to create a new cover based
on my painting of my daughter Elena
which is on my CSO- Oil Painting book
cover.

I traced the image onto the wood
panel which was prepared with the
CSO-EGG-GESSO
In the subsequent photos, you may
see the rough canvas weave texture I
gave the board. The painting is 8.25
X11 inches.

This photo shows the completed
CSO-EGG TEMPERA PAINTING. The
photo was made indoors, but still, the
colors are subdued. When later, the
oil is applied the colors gain in
richness. You will also see unorthodox
and new use of egg tempera, by my
use of thick impasto with the
CSO-EGG TEMPERA medium.

The next three photos show the
finished
CSO-EGG TEMPERA painting.

NO attempt is made to create brilliant
colors because I know what the oil
impregnation will do
and
I will be finishing the painting with oil
paints.

These three paintings clearly show the
frustration the early egg tempera
painters had prior to the VAN EYCK
development and perfection of OIL
PAINTING. Though the oil medium was
ancient way before the VAN EYCKS,
they used their knowledge of egg
tempera..
and created an EGG-OIL EMULSION.
This, in my opinion is the famous
LOST MEDIUM of the Van Eycks. A
simple emulsion that controlled the
flowing oil and allowed them to
achieve great realism by easy
blending, something impossible with
egg tempera.

Egg tempera is a beautiful refined
medium, and the painstaking
technique does not suit everyone. I
could never paint with it because it
would be too restrictive for my
aesthetic goals.

This new CSO-EGG TEMPERA
handles like oils, i can be
spontaneous and free and use
impasto..something completely
prohibited by the traditional egg
tempera method.
*************************************

This photo shows the important
IMPREGNATION step. This saturates
the egg with sun oil.
Here you can see the weave texture I
created with the cold CSO-EGG
GESSO
and the impasto I created with the
CSO-EGG TEMPERA.

The new book will give all full details
on this procedure and medium.

I purposely left half finished in
CSO-EGG TEMPERA and the other
have was finished in CSO-OILS

TO MY READERS,
This new EGG TEMPERA method is
liberating and empowering.
I believe it will make oil painting more
enjoyable and will expand new
creative ideas by merging what the
VAN EYCKS knew so long ago

sincerely- louis

please note: all images and text are
copyright protected, and may not be
used without my written permission.

If you are sharing this information,
please give credit to my website
Thank you and the book will be out
soon.

GOUACHE, CSO-EGG TEMPERA
and TRADITIONAL EGG TEMPERA
Similarities and Differences
By Louis R. Velasquez

GOUACHE is an interesting paint medium. In simple terms, it is described as an
OPAQUE WATERCOLOR paint. Its full bodied, chalky opacity and fast drying makes
one think of the new CSO-EGG TEMPERA medium. The differences are more
important than the similarities.
There is a very fine essay on the web, dated 2005, wherein Mr. Bruce MacEvoy gives
us important information on the GOUACHE paint.
See his essay at: http://www.handprint.com/HP/WCL/pigmt7.html
Copyright laws prohibit my complete use of his article, but I can use the important
points to show the differences and similarities between Gouache and CSO-EGG
TEMPERA.

Mr. MacEvoy begins with a historical overview of the medium, and states the term
‘Gouache’ is derived from the Italian word for ‘MUD’ , being ‘ aguazzo’. He names
famous artists who have used it as seen in Abrecht Durer’s famous painting of the
Hare.
He describes Gouache as being like mud, wet and opaque , and refers to it as
‘watercolor’ painting, but makes some distinctions between the two. MacEvoy says
one form of Gouache can be made by mixing ‘white pigment’ with watercolors bound
with Gum Arabic’.
Another ancient paint medium, he says, is called ‘Distemper’ which is colored
pigments bound with glue, without any white pigment to create opacity. In summation,
he makes the point Gouache is opaque whereas Watercolors are transparent. He
lists six properties that differentiate Gouache from Watercolors.

SIX PROPERTIES OF GOUACHE
1. Gouache is thick, and due to its opacity, it can be painted on colored papers,
whereas Watercolors require white paper to show the transparency.
2. Gouache , like oil paints, requires addition of white pigment to lighten a color,
whereas Watercolors only need to be painted thinly on white paper to create light
colors.
3. Gouache is not applied thinly like Watercolors. It is applied thickly but not thickly
like oil paints because it will crack.
4. Gouache is not absorbed by the paper, but remains on the surface. Like
Watercolor paints, Gouache cannot be painted thickly as the impasto with oils and
because of that, it has limited surface textural effects.
5. Gouache can create even flat color areas which are difficult to obtain with
Watercolors.
6. Gouache can cover the layers below it, whereas Watercolors do not fully cover
lower layers due to their transparency. With Watercolors, a painter paints Dark colors
on Light colors. With Gouache, the painter can paint either dark or light colors as
desired, and can easily alternate the procedure to make corrections or improvements.

POPULARITY OF GOUACHE
MacEvoy states these properties make Gouache popular with Architectural and
Commercial artists and Gouache is called ‘ Designer’ paints by some. He warns that
because much commercial work is not made to last, that Gouache colors can be
fugitive and not lightfast as Fine Art requires.
MacEvoy then points out the similarities of Gouache with Oil Paints, saying a free and
vigorous application method with strong value contrasts are possible with Gouache.
Again, he warns the Gouache paint must not be applied as thickly as oils, as it will
crack and discolor. That statement indicates the Gouache paint film lacks pliability
and has some other questionable archival color issues.
Regarding the brushes used with Gouache, MacEvoy recommends a brush with
stiffer hairs as are used with oils. For the support, he recommends smooth hot
pressed tinted papers or other smooth art boards.
Regarding the pigment BINDER, he says the same Watercolor binder is used, being
Gum Arabic. The other required ingredients needed are: dry pigments, distilled
water, inert pigments such as blanc fixe or precipitated chalk, a liquid binder of Gum
Arabic , a wetting agent such as Ox Gall, a plasticizer such as glycerin and/or dextrin
to make the paint creamier, and a preservative.
Varnishing a Gouache painting requires additional steps. The chalky matte finish can
be altered by application of diluted Gum Arabic to act as a varnish. MacEvoy points
out the incompatibility of Gouache paints with Acrylic paints, and describes how
acrylics can alter the final appearance negatively with too much gloss.
Problems of the medium are pointed out if the paint is applied too thickly. If adding
too many layers the under layers draw the moisture from the top layers and cause
them to dry out and crack or flake off. The article finishes with storage problems of
commercially prepared Gouache tube paints. Separation of pigments with the binder
and a short shelf life of a few years, are accepted as normal.

COMPARING THREE PAINT MEDIUMS:
GOUACHE - CSO-EGG TEMPERA - TRADITIONAL EGG TEMPERA

1.
*CSO-EGG TEMPERA uses an archival durable binder of Glair. When Glair is mixed
with Calcium Carbonate chalk [ also called whiting or precipitated chalk by some] it
creates a tough cement-like ingredient. When dry it is very difficult to scratch or
remove even from enameled steel plates or ceramic plates used as palettes.
*GOUACHE uses Gum Arabic as the binder. Even if Chalk calcium carbonate is mixed
with Gum Arabic, the mixture remains relatively soft and easily scratched and
removed from a painted surface.
* TRADITIONAL EGG TEMPERA uses the yolk of the egg mixed with water, and
sometimes the whole egg but never uses the white of the egg. Though the egg white
is proven to be archival since ancient times, artists have traditionally been warned of
its brittleness. Modern science shows the egg white contains almost no egg oil while
the yolk is rich with egg oil.

2.
*CSO-EGG TEMPERA can be applied in thick impasto , even with use of a palette
knife and bristle brushes. Multiple layers may be placed one on top of another
without any precaution or cause of cracking or flaking.
*GOUACHE must not be applied thickly as it will crack and flake off. Use of palette
knives for impasto applications are not recommended. Numerous applications are
also not recommended for GOUACHE painting as it will crake and flake.
*TRADITIONAL EGG TEMPERA is never applied in thick impasto because it will crack
and flake off. Its beauty of transparency and translucency is achieved by numerous
applications of thin color washes.

3.
*CSO-EGG TEMPERA paint can also be used as a cold prepared GESSO. The CSO-
EGG GESSO can be applied by hand and textured to simulate cloth weaving such as
canvas linen or rough textures such as cotton or hemp as in creating creative
surfaces such as stone, brick, cement. The list of tactile textures is endless as both
the CSO-EGG TEMPERA and the CSO-EGG GESSO are one and the same and can
be made easily in any variety of consistencies- from ultra thin to ultra thick.
*GOUACHE cannot be used as a gesso because it lacks the strength if applied
thickly. Mr. MacEvoy states the GOUACHE must not be applied thickly.
*TRADITIONAL EGG TEMPERA cannot be used as a Gesso because it lacks the
strength when applied thickly. Important Egg Tempera instructors warn not to use it in
thick impasto applications.

4.
*A finished CSO-EGG TEMPERA painting can be Impregnated with Sun Thickened
Linseed oil. This procedure increases the pliability and durability of the paint as the
Glair and the Chalk are both absorbent and readily absorb the oil, making the three
ingredients into one film. The oil content adds to the permanence of the paint.
* A finished GOUACHE painting is not intended to be varnished, yet as Mr. MacEvoy
states, some artists do apply a thin film of the Gum Arabic to improve the color
brightness and relieve the matte chalky colors caused by the white pigments and
chalk. Gum Arabic layers are not intended to be absorbed by the GOUACHE under
layers, but only to give a varnish like sheen. Gum Arabic is forever soluble in contact
with water.
* A finished Traditional Egg Tempera painting has historically been treated in various
ways. Some Renaissance Egg tempera paintings were varnished with the same
varnishes used on their oil paintings, while others were not varnished.

5.
*CSO-EGG TEMPERA dries instantly throughout its body, like Gouache, Egg
Tempera, Distemper and others of similar aqueous make up. Yet, CSO-EGG
TEMPERA, because of its thick body allows a remarkable degree of blending if the
painter has the skill to paint quickly.
*GOUACHE also dries instantly and has the property of limited blending.
* TRADITIONAL EGG TEMPERA dries instantly and limited blending is achieved by
numerous fine hatching strokes. Some modern artists use washes like watercolor to
achieve limited blending. Historically, the Old Masters such as the Van Eycks were
not satisfied by the limitations of blending Egg tempera paints, and Oil Paints were
perfected in the 15th century to allow more realistic effects.

6.
*CSO EGG TEMPERA is applied like oil paints, with full freedom and spontaneity, and
with endless over paints, thick or thin, to make creative additions, corrections or
changes.
*GOUACHE can also be applied freely like oil paints, but Mr. MacEvoy recommends
the application be limited to only a few layers and that the paint not be applied thickly.
* TRADITIONAL EGG TEMPERA is normally applied like watercolors, in thin washes,
but handles differently than watercolors in that it dries instantly. Impasto is avoided.

7.
*CSO-EGG TEMPERA can be applied thinly in transparent washes or thickly and
opaquely, with the degree of transparency, translucency or opacity depending on the
amount of pigment and CSO-EGG TEMPERA MEDIUM added to the pigments.
*GOUACHE can be applied thinly but the paint should not be applied too thickly. It too
can be transparent, translucent or opaque.
* TRADITIONAL EGG TEMPERA is normally applied in transparent or translucent thin
paint applications, with the layering causing its beauty as colors beneath show
through.

8.
*CSO-EGG TEMPERA was created to be used as a fast drying under paint medium
for oil paints. Yet its versatility allows a painting to be completed using CSO-EGG
TEMPERA medium alone without oil paints. Brilliant colors can be easily achieved
and black India ink can be applied to give depth of contrast. The Impregnation of the
Sun Oil dramatically increases the color depth of the CSO-EGG TEMPERA and the
oil paints allow easy blending on the dry CSO-EGG TEMPERA painting.
*GOUACHE is not intended to be used as an under painting for oil paints but could
be.
*TRADITIONAL EGG TEMPERA is not intended to be used as an under painting for
oil paints, but many artists do use this method to create blending and more realistic
effects. A technical issue affecting permanence is raised if the egg tempera s not
allowed to cure first before applying oil paints on top.

9.
*CSO-EGG TEMPERA paintings without Oil Paints on top, can be completed by
applying a final coating to improve the depth and brightness of color. This can be
done in three ways. The first is an application of Glair alone without any vinegar
added. This gives a satin sheen. A second choice of coating is to use the whole egg
with a half teaspoon of white vinegar added to act as a preservative to the yolk
content. This results in a more shiny surface. The final choice is to apply a coat of
yolk mixed with white vinegar. This gives a shiny appearance. Over time, egg
becomes waterproof and permanent by application of heat and oxygen as the egg
cures with aging.
*GOUACHE paintings are not intended to be made shiny but some artists apply a
coat of Gum Arabic to improve color depth. Gum Arabic is forever soluble when in
contact with water.
* TRADITIONAL EGG TEMPERA is best left alone without any final coating to allow
the slow curing egg yolk to become hard. Once cured, the Traditional Egg Tempera
medium has proven to be one of the most archival mediums of all with paintings
lasting over 600 years and remaining in stable condition. There is evidence egg was
used by the ancient Egyptians and possibly by prehistoric cave artists. Milk, eggs and
oils are the most common, naturally occurring paint binders used by ancient humans.

Copyright, 2010, Louis Velasquez, all rights reserved
Please give notice of my website if sharing

A LETTER FROM A CALIFORNIA ARTIST
Louis, I thought both DVD’S were wonderful. The audio throughout was super clear and the
whole video had a great consistent volume. All the text portions were large and easy to read.
Watching you painting in the videos was the highlight and your expertise is apparent.
Watching you paint makes so many things clear. Such as how much paint you put on your
brush, the pausing and pacing of your painting and particular strokes the manner and order
in which you apply colors. Also the more carefree approach and confidence of performing the
various tasks of your methods is communicated. The demonstrations of the new tempera and
gesso methods where you demonstrate so many methods was helpful. Also, your process of
making and using the rabbit skin hide glue was informative. I saw how easy it was to make
the hide glue, the gesso and how beautiful painting with tempera could be. It was also great
to observe that segment of glazing the painting of your daughter. It helped to see your
grinding table and how it doesn’t have to be an expensive slab and also seeing how much
pressure you apply on things like grinding the paints was helpful. I think the DVD’S were full
of important information. Thank you very much.
Anthony C. ...WEBSITE : www.Airlit.daportfolio.com