TESTIMONIALS

These testimonials are printed with the artist's permission.
I am frequently in awe by the exceptionally high quality of the paintings made by the professional artists
that have purchased my book. And, I am deeply touched when reading the letters I receive from them. The
letters make all the  endless hours and work I have dedicated to this study, worthwhile. I am happy to have
made a contribution to oil painting as the letters confirm the value of the knowledge contained in my book.

My book was the result of personal experiments in the studio as a practicing artist, guided by a lifelong
study of literary sources, ancient and modern. It is written with integrity, honesty and with the goal of sharing
the valuable knowledge I have gained. The writing style is academic and dry, providing accurate
information, and written as clearly as I am able. I continue to do research, experiments and studies and will
update my book as needed. I state clearly that I am not an 'expert', nor a chemist, and that I am just an
artist, just a student of truth. I know there are so many unanswered questions, and it will take years beyond
my lifetime to answer them. I am confident my discoveries as expressed in my book are of importance and
that within a period of time, this knowledge will be universally recognized and accepted by the art community
of oil painters. It gratifies me to hear from an artist how they have built new creative approaches
on oil painting resulting from the information in my book.


ADDITIONAL TESTIMONIALS WILL BE ADDED IN TIME

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“ This is the best book on the art of painting I've ever read. The emulsions helped my painting enormously
and it has given me great confidence in the permanency of the layers of paint. The emulsion “oil out” is
amazing by helping the blending process and you can make corrections seamlessly. The Calcium
Carbonate mixture with the Unrefined Cold Pressed Linseed Oil that has been Sun Thickened, is a magical
medium. It gives great control over the paint and allows you to make brush stroke effects just like the old
masters Rembrandt and Velazquez. The medium allows you to add glaze effects without losing any control
of the paint which would normally occur when adding more oil. The enamel-like effects the medium adds to
the finished paint strokes is truly beautiful. I'm forever indebted to you Louis for your wonderful book and
the knowledge that you have acquired and now generously share. I truly believe that had I known of your
method and materials earlier I would have painted not only better quality pictures but twice as many.
'Bravo!' on your achievements. Your grateful friend,
Ric Hatcher
Perth, West Australia
http://www.rics-art.com/main/

Author's note: Mr. Hatcher and I have become fast friends. One very important comment he made to me was
that using resins and solvents, limited his control of the paint and almost caused him to give up oil painting
out of frustration. He learned that the CSO/Emulsions method gave him 100% control of the oil paint,
and his newest work certainly shows it. I believe that all artists like Ric,  who use the CSO/Emulsions method
will eventually teach it to many others as the years pass by.

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“ Wow! I am absolutely loving this stuff!
I don’t know how I painted without it for so long. I am seeing so many possibilities.
I will be teaching this information to my students.”
David Terry
Dallas, Texas
www.davidterry.com
Author's note: Mr. Terry's paintings are masterful and very impressive. His interest in Emulsions in oil
painting  was our reason for meeting. I have seen his newest work and I am completely in awe with them.

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" This book is fantastic! I feel like I've discovered a treasure chest full of Old Master secrets.
This is just what I've been looking for. I love what it does to the colors, and the stringy
viscosity it gives the paint. It's going to take me a while to experiment with it
to figure out how best to handle it".
Phil Boatwright,
Dallas, Texas
www.philboatwright.com

Author's note; Mr. Boatwright's portraiture is simply awesome in its grand portrayal of his subjects.
There are many important lessons for all of us, who study his paintings.
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Author's note: Mr. Jordi Iglesias, a resident of Reus, Spain has become an excellent friend. He is a fine
portrait painter, and a very ingenious craftsman, creatively searching for new answers and solutions to the
issues of oil painting. This natural curiosity and wide experience lends greater credence to his comments.
His kind words are translated from the Spanish, for our readers.

Quero expresar mi agradecimiento a Luis, por compartir el valioso redescubrimiento 300 años
despues, de la técnica de la pintura al óleo. El método de Luis es simple, se basa en unos pocos
ingredientes, humildes ellos no se deben menospreciar, pues manipulados segun las directrices
del libro, se consigue un resultado superior a la pintura "académica" del disolvente y la resina. Del
autor, son generosas ademas, sus explicaciones a traves del correo electrónico, y siempre
dispuesto a aclarar qualquier duda con amistad, el verdadero sentido del arte y de la vida.
Gracias de nuevo Luis Richard, eres un MAESTRO, por muchos años,
Jordi Iglesias.
Email address available on request

I wish to express my gratitude to Louis, for sharing the valuable rediscovery of a 300 year old
oil painting technique. The method given by Louis is simple, and is based on very few ingredients,
though humble they should not be less appreciated, when used according to the instructions in his
book, one achieves a superior result over that of the "academic" use of solvents and resins.
As to Louis the author, his explanations over the Internet Email are overly generous, and he is
always ready to clarify which ever question one has, with friendship, this being the true sense of
Art and of Life. Thank you again, Louis Richard, you are a TEACHER, and for many years"
Jordi Iglesias

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I did many hours of research in books and the WWW. Coming to the conclusion that the old
masters had the answers all along. I spent a lot of money and time on old recipes. Most of them are
speculations and not useful. Then Came CSO. It allows a thick rich look, especially the darks.
The darks are very amazing. Great stuff! I now ‘oil out’ with the emulsions. I do not know how I lived
without it. It was one of those things that was missing in my process. Before I began using CSO,
the dried paint layers were always too flat and I could not see the paint as it was initially applied to
continue the painting. Oiling out with the emulsion lets me see the paint for what it really is. This is
the one advantage I saw right off. I thank you again for introducing this method to me. I know that I
could take this to where I need to go. The possibilities have always been endless, but CSO has that
jewel effect that cannot be out done. It has a permanent place in my array of painting disciplines.
Thanks Louis, for all your time and input with this. -JT
James Taylor  

http://jamestaylorstudio.com

NOTE:
Mr Taylors paintings are exciting to look at. His drawing is excellent as is his design and color
sense. Please go to his site to see the excellent "SUN BOX" he crafted which is designed to sun
thicken his unrefined linseed/flax oil. James is one artist who recognized the great value of the
Unrefined oil, that was properly cleansed and sunned. He now produces enough to sell to other
artists. This is a boon to those who cannot take the time, nor have the space
to process their own. We all owe him a lot of gratitude.
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Hi Louis, I have been experimenting with your methods and materials and, not surprisingly, I am
thrilled.  The "oiling out" with the emulsions as described in your book,  is especially ingenious and
effective. I've found a number of useful art references over the years, but as practical studio
manuals your book and the book by Ms. Koo Schadler are the best I've come across. I will be
experimenting with a tempera underpainting and then "oil out" with the Viscous Emulsion before I
finish the painting with CSO and oil paint. I just love "oiling out" the surface; the smell of the
emulsion, the rubbing it in, the way it makes the paint flow and how it works. Thank You !

Carl Ramm
Alaska
Contact information on request

Note: Reference is made of Ms Koo Schadler, a wonderfully gifted
Egg Tempera painter and teacher. See her exceptional artwork at www.kooschadler.com
Mr. Ramm's artwork is based on the love of nature and artists working in that grand tradition.
His interest in the two media of egg tempera and oil  reminds us that the Van Eycks
had similar thoughts and their developments led to the perfection
of the ancient but under-developed oil medium.

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Note: I include this testimonial because Mr Charnine recognizes the importance
of UNREFINED linseed oil for oil painting. As with all the very talented and fine artists listed on
this page, the reader will find Mr. Charnine's artwork to be captivating.

"I visited your website and found its information on Linseed Oil to be of interest.
I have tried "washing" linseed oil with water but it didn't work. Your method of cleansing the
unrefined linseed oil with dry bread sounds interesting, I am curious to try it.

Though I have not purchased your book, I agree that using unrefined linseed oil is important.
I use Cold pressed linseed oil by "Old Holland" in the Netherlands.
Best wishes, Samy Charnine
New York City
www.charnine.com

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My experiments over the past few months with Mr. Velasquez methods has been a
most enriching experience!  When elasticity was desired CSO enabled me to shape
formations and create textures with ease. The control of fine lines I was able to have
was better as well.  More than the use of any additional thinners CSO allows for a
fluid experience; brushstrokes of even the initial layers had such character
that there was even less need for painting in the additional ones.  
Due to the viscous/non-viscious possibilities of CSO, the challenge for me
quickly became clear: painting more efficiently.  The "oil out" emulsion was not only
invaluable to the process but made the finished product all the more beautiful!  

Thanks, William Harris
harriswc2@aol.com

Author's note: Mr. Harris' paintings are strong and powerfully designed. His creative outlook is
refreshing as it is a great mix of modernist and realist traditions. Just the way I like to paint too.

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I have found the CSO as a God-send. What started out as a way to eliminate
toxins, has turned into a technique and finished surface that is unsurpassable.
If everyone tried it once, they would never go back.
This last painting is like liquid glass. It is a pleasure to use.
It goes on so well and allows blending not even conceiveable with liquin.
So I am very pleased. I don't think there are any negatives, except the availability.
Hopefully, even that shall be soon remedied.

Thank you, Laura Ross
You will enjoy her subject matter and her personal interpretation of it
with her color, lighting and dramatic views.
PLEASE GOOGLE HER UPCOMING WEBSITE

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Author's note: The following Testimonial was written in Spanish by the artist and I translated it into English.
I speak both languages and have had artists write me with their questions, expressing their views
and telling me how 'Calcite Sun Oil' and the Emulsions have revolutionized their painting.
Mr. Franco's wonderful paintings are in a realist tradition,  filled with his personal sensitivity. He is a
dedicated and fine artist with many years of experience, and his quality paintings are a testimonial.


Estimado amigo Luis,
Quiero decirle que he continuado leyendo, y consultando su libro, en el cual encuentro un enorme cantidad
de conocimientos e informacion valiosisima. Y es para mi un privilegio el haber podido aprender tan
extraordinarios recursos, que enrriquecen nuestro noble oficio de pintar. No termino de sorprenderme cada
dia que pinto siguiendo sus instrucciones y aplicandolas a mi trabajo. Es en verdad sorprendente como
esta tecnica y estos materiales igualan, o hasta superan a cualquier otro material, llamese barniz, resina ,
balsamo o lo que fuera. He trabajado intensamente para aprender este nuevo e increible metodo, por el
cual le reitero mi agradecimiento. sinceramente, Ruben Franco.

Esteemed friend Luis,
I wish to say I have continued reading and consulting your book, in which i find an enormous amount of
knowledge and very valuable information. And, it is a privilege for me to have learned such extraordinary
resources, that enrich our noble Art of Painting. I find no end to the surprises each day i paint, as I follow
your instructions in applying them to my work. It is truly astonishing how this technique and these materials
equal, and are even superior to any other material, whether its called varnish, resin, balsam, or whatever. I
have worked intensely to learn this new and incredible method, for which i repeat to you my gratitude.

Sincerely, Ruben Franco
Sacramento, California
Email: rubenfranco1947@hotmail.com

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I must say I LOVE THIS EMULSION I've made with your sun oil and glair!!! I've oiled out and it works
beautifully! I also am trying the CSO in paint with a touch of the emulsion and it is really good. I'll have to
paint more with it to really know how it works for me, but so far, so good. I don't usually take time to mix
medium into the paint nut as it takes quite a while to set a palette, usually just dip into a tiny bowl, but I can
see how helpful this is, so will try to get into the habit.
Marsha Piper
Broomfield, CO
EMAIL ADDRESS ON REQUEST

Author's note: Marsha is new to the CSO/Emulsions method. I posted her comments because of the vivid
spontaneity of her first experience with this new method of oil painting.  Also, her understanding that the
method requires establishing new habits, which I express are based on the habits of the Old Masters.
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My most principal thanks Louis, for introducing me to a method of painting
using sun-thickened linseed oil, egg whites, and calcium carbonate as the basis
of a simple and beautiful formula for oil painting.

Dannelle LeBlanc - Texas
www.dablinart.com

Authors note: Using dynamic design and color, Dannelle's paintings express the joys of life
and the beauty of people in social settings. Her subtle use of design moves our eyes across the surface,
allowing us to explore and enjoy the subjects she represents with personal sensitivity.
I am happy to share her fine artworks with my readers, and her assessment
of the CSO/Emulsions method is accurate...it is "simple and beautiful".
Dannelle, I could not have said it better!

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I've been enthusiastically reading your book and painted with CSO over the viscous emulsion for the first
time this evening:  I could not be happier.  It's like painting with honey, only really well behaved honey!  
When you talked about viscosity, I really couldn't imagine that quality in paint... I get it now.  Looking at the
beginning of this painting compared to one I did a few weeks ago, the difference is amazing.  Using this
medium is a true advantage.  I am so grateful to you for finding these secrets and sharing them!  
THANK YOU.
Gretchen Ryan , California, www.gretchenryan.com  
AUTHORS NOTE: Ms. Ryan's paintings fine paintings demonstrate the beauty of the Old Masters' methods
and techniques when used by a modern contemporary artist. She expresses the beauty of children and
animals in a most personal way that is touching and professional.

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"A wonderful painting medium" =Luke Zhang
http://lukezhangstudio.com/
Author's Note: Mr. Zang's paintings will touch you.
They have the serenity of Vermeer... the color of Van Gogh..
and the sense of Andrew Weyth.
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www.askmaurice.org
Maurice's website is an exceptional source of information very useful for artists. I recommend it
highly. I am grateful for Maurice's review and comment of my book, which is on my main page
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Mr. Velásquez book is probably the newest book about oil painting materials you can find. That means he
has read and tried everything he could find, and put in practice the other theories written. Most important, it
was written by an artist, a painter. I have read absolutely everything I could find on the subject, from
upstarter books to academic studies about oil painting materials in it´s chemical level, and Velásquez' book
is entirely dedicated to the painter's interest, which rules out any kind of interest on selling anything or
proving theories that will only work at an academic level. It is solid information, very interesting to read and
the best of all: his system works beautifully. Not only I had tremendous fun cleansing my own oil in my
studio, but the VEL-TAUB system produced the most clear linseed oil I´ve ever seen. CSO also dries pretty
fast and gives m y paint a wonderful feeling under the brush. The emulsion called NVE (Non Viscous
Emulsion), particularly for me, helped to achieve the smoothness that I like for my work. It´s a great way to
improve the quality of any oil paint brand, speed up drying time and to achieve archival properties in your
work, I highly recommend this book to any serious painter. =
ALEX SUNDER, Sao Paulo, Brazil , EMAIL ON REQUEST

Mr. Sunder is a knowledgeable and very Fine painter. Brazil and the world will hear from this young artist.
His work has the paint qualities of the Old Masters, yet is contemporary and of our times.

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This next professional painter is one of the most creative young minds I have had the pleasure
of meeting.
Eoin Llewellyn is indeed a CONTEMPORARY CREATIVE artist in the fullest sense of the word.
He knows no bounds in his uses of art materials.
He is academically trained and has gained recognition with awards of importance.
YET, like so many painters of our era, his understanding of the SUPERIOR OIL
used by the Old Masters was incomplete. Please visit his stimulating website.
www.llewellyn.ie
Here is Eoin's Testimonial
Fantastic! Very precise and rewarding information to be found inside. Really well put together and explained
in such a manner that all can understand. Its a fantastic achievement to take on the art industry at their own
game and have a sure rock to stand on above the rising waters of heated debate
.
EOIN LLEWELLYN , Berlin Germany [ but is from Dublin Ireland]

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