The SUPERIOR OIL of the Old Masters is : UNREFINED COLD PRESSED FLAX OIL that has been organically cleansed of its mucilage and slowly Sun Thickened I created the term "SUPERIOR LINSEED/FLAX OIL", out of necessity, to avoid confusing it with industrial processed 'linseed oils' or mediums used by artists today. The importance of the SUPERIOR FLAX SEED OIL [ Linseed] used by the Old Masters is supported by TWO IRREFUTABLE FACTS that are documented by clear EVIDENCE which CANNOT be denied, disproved or misrepresented by any well paid Scientist, Media Advertising Director, Attorney, or other controlled employees of Linseed oil manufacturers, oil paint makers, and sellers. THE FIRST IRREFUTABLE FACT ARE THE 600 YEAR OLD OIL PAINTINGS PAINTED BY THE VAN EYCK BROTHERS WHICH ARE IN AN EXCELLENT STATE OF PRESERVATION. THE SECOND IRREFUTABLE FACT IS THAT THE VAN EYCK PAINTINGS WERE NOT PAINTED WITH MODERN INDUSTRIAL, CAUSTIC CHEMICAL CLEANSED, BOILED LINSEED OIL USED BY ARTISTS TODAY AND SINCE THE 19TH CENTURY INDUSTRIAL ERA. but were painted with THE UNREFINED SUPERIOR FLAX OIL DESCRIBED IN MY BOOK AND ON MY WEBSITE. My patent was approved by the US Patent nd TradeMark Office in November 2006. See patent # 7141109 THE FINEST RAW OIL FOR ARTISTS IS LABELED FLAX OIL- NOT LINSEED OIL: If the label says FLAX OIL or FLAX SEED OIL..it is THE oil the Old Masters used. BUT, it has to be cleansed of its mucilage. This easy 10 day process is described in my book and DVD.I have used BARLEANS flax seed oil for many years . It is high quality. There are other sellers of FLAX OIL. DO NOT buy FLAX OIL containing any anti-oxidant additives. It stops the oil from hardening. Simply, it will not dry. Commom anti-oxidants are vitamin E or C or Rosemary or tocopherols or polypherols. IF THE OIL IS LABELED LINSEED OIL. It is NOT the oil the Old Masters used. LINSEED OIL and FLAX SEED OIL are pressed fropm the same seed--the FLAX SEED. There are NO 'lin seeds " in nature. FLAX OIL is pressed cold and without any solvents or extra heat or lye caustic chemicals. Humans can safely eat FLAX SEED OIL. It is the oil of the Old Masters. IF the oil ia labeled LINSEED OIL, it has been pressed and exposed to caustic lye chemicals or solvents. HUMANS cannot safely eat LINSEED OIL. PLEASE NOTE: The only exception to this is [possibly]--OLD HOLLAND UNREFINED COLD PRESSED LINSEED OIL from Holland. |
| Copyright 2000-2017 by Louis R. Velasquez , All rights are reserved on all text and images on this entire website, and may not be used without the written permission of the author. The name, "Calcite Sun Oil" is Trade Mark protected with the U.S. Govt. Note: My family records show I am NOT related to the famous master, Diego Velazquez. |
"Achieve the paint quality of the Old Masters with Safety and Permanence" 'The Rebirth of the Old Masters' Superior Oil MAKES POSSIBLE THE ELIMINATION OF SOLVENTS, RESINS, VARNISHES AND DRIERS |
| SCIENTIFIC STUDIES SINCE 1988 SHOW REMBRANDT AND VELAZQUEZ USED SIMPLE ADDITIVES Velazquez' paintings were studied by the Prado Museum. Results published in 1992 show he added large amounts of Calcium Carbonate ( Calcite, Chalk)) to ALL his colors not just the White, and in all layers of his paintings. This addition gives the paint great translucency, body and sumptuous textures not achieved by other means. Calcium Carbonate has a cement-like quality that improves adhesion to the support. Also, his paint includes an addition of a protein which creates an Emulsion. This protein additive gives great control to the viscous leveling linseed oil, allowing a great variety of application methods and visual effects. Rembrandt's paintings were scientifically examined by the National Gallery London. Results published in 1988 show he used Calcium Carbonate and a protein additive to create an Emulsion that in turn allows the extraordinary ' paint quality' that is a trademark of his work. Rembrandt did NOT use resins but his followers and students did. The protein additive replaces the resin and is superior to it because it becomes one with the oil ageing together, while the resins simply co mingle and age at different rates. The " WONDER MEDIUM" of two EXTRAORDINARY EMULSIONS Contemporary artists and those of past centuries have studied the paintings of the Van Eycks. Numerous Old and Modern books give uncounted Emulsion or Medium recipes, each with FAULTY complex mixtures of solvents,varnishes, balsams, resins, water and other ingredients. These FAILED MIXTURES have been TRIED and REPEATED by each subsequent generation ...and today...various websites continue the FAILURES. I developed two SAFE and PERMANENT Emulsions, using two SIMPLE ancient time-tested ingredients available to the Van Eycks, Velazquez and Rembrandt: The specific MIXING method, the specific RATIO of the mixtures, and ESPECIALLY the specific APPLICATION procedures ARE IMPORTANT TO THEIR SUCCESS. Lack of this information leads to failure. The EMULSIONS are the * paint thinner * They insure adhesion of layers * They eliminate wrinkling * They allow painting of micro-fine details * They allow the creation of Impasto *They eliminate drip and spread *They control the behavior of the viscous oil *They have no toxic fumes, or objectionable odors,and are 100% safe. They are simple to make, easily and quickly made. |
IMPORTANT LINK My website is dedicated to teaching, and the sharing of knowledge about oil painting.It gives me great pleasure to share with you a website that is dedicated to same ideals I have, the sharing of knowledge, and as ONLY the Internet can do for us. Danny Van Ryswyk, has created a website that deserving special recognition,and I am certain those who visit his two websites will gain much. I think it best to let his two sites speak for themselves and you will see how eloquently they do that. http://www.flickr.com/photos/nightf3v3r/sets/532828/ and you can visit his artwork at: www.dannyvanryswyk.com |
WARNING !.. french chalk!!! ..not the same as " chalk from champagne france ! AS THE PATENT HOLDER OF "CALCITE SUN OIL" MIXTURE, I RECOMMEND ONLY CALCIUM CARBONATE that is true..CHALK FROM CHAMPAGNE FRANCE for making CSO. The German based company, KREMER-PIGMENTE KREMER sells this chalk and has worldwide distribution . Look at their URL for a site nearest you. http://kremer-pigmente.de/en/Laeden/Distributors-worldwide KREMER'S ID # for this item is # 58000 and is listed as: Chalk from Champagne, France. It is Calcium Carbonate. IN THE PAST, I used to purchase my CHALK FROM CHAMPAGNE FRANCE/ CALCIUM CARBONATE from SINOPIA, a Fine Art Supply store in San Francisco, California. As of this writing, December 2008, they no longer carry this item. They do list an item they call FRENCH CHALK. Several respected Academic sources state that the term, FRENCH CHALK is a common name used to describe TALC, and TALC is hydrated magnesium silicate with the chemical formula H2Mg3(SiO3)4 or Mg3Si4O10(OH)2. GO TO http://en.wikipedia.org/wiki/Talc to read the hazard FRENCH CHALK/TALC may present to humans and use it at your own risk. Sinopia states their FRENCH CHALK is not a TALC, but is a CALCIUM CARBONATE. I purchased their FRENCH CHALK, and found it to be inferior for making "CALCITE SUN OIL" as per my patented formula because their FRENCH CHALK lacks the great adhesiveness of the CHALK FROM CHAMPAGNE FRANCE CALCIUM CARBONATE, and it separates while in storage from the oil. Therefore, I do not recommend the item named FRENCH CHALK. For other Fine Art Supplies, SINOPIA remains an excellent source and it has always been one of my favorite art supply stores. I hope SINOPIA will carry Chalk from Champagne France, in the future. |
| TEN BENEFITS of “ CALCITE SUN OIL” DRYING is accelerated without driers - ADHESION, without drips and beading BLENDING is facilitated - TRANSLUCENCY is increased BODY of Impasto or Glazes - COLOR DEPTH and LUSTER is increased MICRO-FINE LINES and DETAILS are allowed THIXOTROPIC quality is promoted SUEDE EFFECT of Tube Oil Paints is eliminated WRINKLING of impasto is eliminated |
| " CALCITE SUN OIL" (CSO) IS A REVOLUTIONARY NEW GRINDING OIL,BASED ON ANCIENT KNOWLEDGE CSO is a Grinding Oil, NOT a paint medium. Use with Tube oil paints, or to Hand Grind your oil paints. CSO is a carefully measured gel-like substance made from two safe and tested ancient artist's materials; Calcium Carbonate powder, and, the SUPERIOR LINSEED/FLAX OIL of the Old Masters |
PROFESSIONAL ACADEMIC TERMINOLOGY IN FINE ART PAINTING The Art of Painting is noble and deserving of respect. Slang terms have no place in naming the mixtures of ingredients the Master painters used in painting their Masterpieces. The Old Masters used various Ochres and Umbers. We call them, ‘Earths” ...... not, Dirt, nor Mud, nor Muck. The name, ‘Calcite Sun Oil”, honors its archival ingredients. As others experiment with mixtures like CSO, they use slang terms such as, ‘ GUNK‘, ‘GOOP’, and ‘PUTTY’’. These slang terms denigrate Painting. GUNK collects in auto radiators, GOOP is sticky like a glue, and PUTTY is used by plumbers as a water sealant. The word PUTTY has a negative reference in describing the Masters' work. WINDOW PUTTY, is a mixture of boiled leaded linseed oil mixed with calcium carbonate. It has a life span of under 50 years . Modern mixtures use silicone. = 'SILLY PUTTY', is sometimes known as SILICONE BOUNCING PUTTY. = 'GOOFY PUTTY :Read the entire article and see how to make it. http://www.worsleyschoolnet/science/files/silly/putty.html = 'GOOP PUTTY::See the recipe to make it= http://www.worsleyschool.net/science/files/goop/page.html 'SLIMY PUTTY' View a video on making : http://www.wonderhowto.com/how-to/video/how-to-make-slimy-silly-putty-with-glue-and- borax-130536 In 2004, I sent artists a copy of my 2004 published book describing my development of ‘ Calcite Sun Oil’, the two Emulsions, and the new methods I developed in cleansing the Unrefined Cold Pressed Flax oil as I identified the Superior oil of the Old Masters. I did this because their website showed they knew nothing about these Revolutionary new developments I was working on, and I saw they were still using Solvents, Resins and Varnishes. In 2004 I also sent copies of my book to several others I thought needed some guidance. Three years later—in 2007 – these artists began experiments into the knowledge published in my 2004 book. I believe my book has inspired many artists to learn this revolutionary new yet ancient information. The formulas and application methods described in my book, website and now DVD’S make it possible for all oil painters today to, "Achieve the Old Masters' Paint Quality" with SAFETY and PERMANENCE" |
| LINKS AND IMPORTANT ISSUES REGARDING OIL PAINTING SCROLL DOWN FOR MORE |
| 1. HOME PAGE = An introduction to CALCITE SUN OIL 2. TESTIMONIALS =Professional artists speak about CSO. 3. HAZARDOUS ITEMS = Common HAZARDOUS ingredients. Which colors are safe? CSO INSTRUCCION EN CASTELLAN SPANISH 4.WASHING LINSEED OIL = Cleansing the unrefined Flax oil of mucilage. Photos of mucilage how it browns and darkens oil paint. 5. SUN THICKENED OIL= The New AIR PUMP OIL METHOD and the Old Master method 6. CLEANSING FLAX OIL = Additional information on cleansing the unrefined flax oil WARNING: Swedish Allback Linseed oil 7. BOOK CONTENTS =TO LOOK INSIDE THE BOOK, GO TO AMAZON.COM..click on LOOK INSIDE 8. PAINTINGS= My paintings, 'TRIANGULARISM" and El Greco. Frederic Taubes, an American Master. The beauty of an Emulsion 9. CSO EGG TEMPERA and CSO CASEIN TEMPERA = FAST DRYING archival mediums for under painting of oil painting. 10. CSO/AGUADO and ESPESSO= AGUADO is ideal for large sized paintings. Fast, Efficient, Powerful. ESPESSO Oil Out Medium with Impasto 11. REMBRANDT VERMEER VELAZQUEZ= How they painted 12. The VAN EYCK SECRET = Rembrandt did NOT use Burnt Plate Oil. RUBENS' Thixotropic Method, ESPESO: A NEW oil out medium 13. FAQ'S and UPDATES= Glair as a binder, askmaurice.org - paints with CSO, A safe Fixative, "FAT on LEAN" not needed with CSO 14. STUDY WITH LOUIS =ON HOLD... please be patient ... |
| DEGRADED LINSEED OIL CARELESSNESS AND IGNORANCE AND MORE Many websites and books on oil painting promote use of DEGRADED Linseed oil. THEY IGNORE THE SAFE HEATING TEMPERATURE OF THE OIL. The oil begins DECOMPOSING at 230 degrees Centigrade [Celsius]. Modern Stand Linseed oil is cooked to 288 degrees Centigrade Burnt Plate Oil is the most decomposed of all , reaching above 400 C. Many websites "experiment" with time proven FAILED methods of processing the oil and continue repeating the failures. They ignore the basic fundamental rule: DO NOT OVER HEAT THE OIL. Their mixtures to create 'painting mediums', oil varnishes, and other experiments include a dash of this, a bit of that, some of that, shake and bake ..and hope for the best. |
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WILLIAM HARRIS III ;
Is one of those very talented
contemporary artists using the methods
and materials of the great Old Masters.
http://www.williamharrisart.com/
You will be amazed at his expressive
use of all those elements that create
great artwork. He has given me
permission to use a recent portrait
painting. This painting makes you think
of the meaning as you see the words
worked into the design.
JORDI IGLESIAS MONFORTE
making of his own superior oil of the Old Masters,
caused him to name it: ' EL ACEITE BENDITO""
this translates as: The Blessed Oil".
Mr. Iglesias-Monforte studied at the Universidad de
Bellas Artes, in Barcelona, near the fine museums
and the center of the Modernist work of GAUDI in
architecture. He has a broad knowledge of He has
a special interest in Color and Value with all their
nuances of relationships.
The painting to your left is an example of his fine
portraiture work remminicent of Velazquez,Titian,
and other great Baroque painters.
There we now have, The BLESSED OIL, in the
VATICAN, and as other fine talented creative
painters spread the word --I predict that one DAY.. I
may not be here to see it -but ONE day,
the CSO METHOD will be taught at every university,
college and art school, oil painting class across the
globe,
making of his own superior oil of the Old Masters,
caused him to name it: ' EL ACEITE BENDITO""
this translates as: The Blessed Oil".
Mr. Iglesias-Monforte studied at the Universidad de
Bellas Artes, in Barcelona, near the fine museums
and the center of the Modernist work of GAUDI in
architecture. He has a broad knowledge of He has
a special interest in Color and Value with all their
nuances of relationships.
The painting to your left is an example of his fine
portraiture work remminicent of Velazquez,Titian,
and other great Baroque painters.
There we now have, The BLESSED OIL, in the
VATICAN, and as other fine talented creative
painters spread the word --I predict that one DAY.. I
may not be here to see it -but ONE day,
the CSO METHOD will be taught at every university,
college and art school, oil painting class across the
globe,
TANIA DIBBS is a Nationally recognized painter.
the great emotional expression of her paintings of nature. SEE her
wonderful paintings at her website .. www.taniadibbs.com.
TANIA wrote me this kind letter recently about CSO:
------- "Louis
I have had a wonderful time watching your video. Your CSO has
changed my artistic life! I am really enjoying it and thankful that you
have put so much time into this exploration. Thank you again for all
you have done. You have no idea how inspiring this has all been.
-Tania " - www.taniadibbs.com
YOUTUBE has a fabulously inspiring video on Tania. It takes you
into her studio- watch her paint- hear her speak about choices,
motivation, passion for art. It is a great video !
CLICK HERE
http://www.youtube.com/watch?v=EOwIkE6kxMY
the great emotional expression of her paintings of nature. SEE her
wonderful paintings at her website .. www.taniadibbs.com.
TANIA wrote me this kind letter recently about CSO:
------- "Louis
I have had a wonderful time watching your video. Your CSO has
changed my artistic life! I am really enjoying it and thankful that you
have put so much time into this exploration. Thank you again for all
you have done. You have no idea how inspiring this has all been.
-Tania " - www.taniadibbs.com
YOUTUBE has a fabulously inspiring video on Tania. It takes you
into her studio- watch her paint- hear her speak about choices,
motivation, passion for art. It is a great video !
CLICK HERE
http://www.youtube.com/watch?v=EOwIkE6kxMY
Mr. Purcell Spence resides in La Guitardiere
S.W., France. He does not have a website as
yet. Here you can see his ' Free Interpretation' a
tremendous talent who died at age 28.
The world has lost a great artist.
Mr Spence recently wrote me a letter about
CSO:
" Louis, Your method is brilliant, I'm finding that
adding chalk to the tube paint and CSO mix
gives a really thick creamy paint, I use it a lot.
Thanks for your research and book."
I am always overjoyed when I read letters like
Mr. Spence's. It makes all the endless testing,
experiments, research and work worthwhile.
One day soon I WILL get back to my own
painting.
MY TEACHER MR. FREDERIC TAUBES (1900-1981) |
is below. Oil on copper 20x19 cm (7,87 x
7,48 inches) 2010
Dear Louis,
I have just finished new portraits with the
CSO method.
It is very great. Thank you! Now I couldn't
paint with anything else.
Thank you, Jean-Frédéric Coviaux, France
Louis' comment: Jean paints in a realistic
manner that grabs your attention and holds
you spellbound as you see things we often
ignore. His realism is poetic, sobering, and
will cause you to rethink what realism in
painting is. I predict his work will be much
valued in years to come.
Look him up on Google to see more of his
work in Europe.
7,48 inches) 2010
Dear Louis,
I have just finished new portraits with the
CSO method.
It is very great. Thank you! Now I couldn't
paint with anything else.
Thank you, Jean-Frédéric Coviaux, France
Louis' comment: Jean paints in a realistic
manner that grabs your attention and holds
you spellbound as you see things we often
ignore. His realism is poetic, sobering, and
will cause you to rethink what realism in
painting is. I predict his work will be much
valued in years to come.
Look him up on Google to see more of his
work in Europe.
| EMAIL : CONTACT velapress@aol.com I respond to ALL letters |
RENE'S painting using the PINE
my site.
TITLE: Infame Sortilegio Oil on
Canvas , 36"X36"
A portrait of the painter , Dafne
Elvira. [ UPPER RIGHT] RENE'S
classical traing and love of the Old
Masters and use of PTTR and CSO.
are combined with his personal
intuitive DESIGn and COLOr to
create a magical piece of art.I will
on the page THE VAN EYCK
SECRET , where the RUBENS study
is available to view.
my site.
TITLE: Infame Sortilegio Oil on
Canvas , 36"X36"
A portrait of the painter , Dafne
Elvira. [ UPPER RIGHT] RENE'S
classical traing and love of the Old
Masters and use of PTTR and CSO.
are combined with his personal
intuitive DESIGn and COLOr to
create a magical piece of art.I will
on the page THE VAN EYCK
SECRET , where the RUBENS study
is available to view.
painter dedicated to the Methods and Materials of the Old Masters. He has said, " ...it makes me happy to see the extraordinary results in my work due to your formula of CSO." His large colorful paintings adorn many public buildings and private homes here in the USA and Mexico. A resident of Guadalajara Mexico, he is currently working on a commission of 40 large paintings as you see here. His website ... www.rubenfrancoart.com shows his Fine paintings and there you can click on the Youtube video where you can see him painting , applying the colorful touches on the Grisaille as many great Masters have done before. It is an honor to have met Mr. Franco through the website here on the wonderful method of CSO. I am happy to have met him in person and value his friendship WATCH RUBEN PAINT Observe how he underpaints his glowing color with Old Masters' GRAY GRISAILLE He speaks in Spanish but there are SUB-TITLES in English CLICK ON THIS 6 MINUTE YOUTUBE VIDEO CLICK -- HERE |
| SECRET MEDIUM -R DISC, NTSC, COLOR, ENGLISH, 90 MINUTES, For advanced painters interested in the new " MILK OIL PAINT" ,medium, and the details of the Secret Medium of the VAN EYCKS. DVD CONTENTS: 1. Milk Oil Paint 2. CSO-CASEIN TEMPERA PAINT 3. UNDERPAINTING WITH CASEIN TEMPERA 4. VAN EYCK SECRET MEDIUM 5. DETAILED TECHNICAL INFORMATION 6. ADDITIONAL TECHNICAL INFORMATION |
| DVD "OIL PAINTING WITH CALCITE SUN OIL" FOR TODAY'S ADVANCED AND PROFESSIONAL PAINTERS WHO PAINT IN MODERN STYLES OR OLD MASTER STYLES Learn the Methods and Materials used by REMBRANDT, RUBENS, VELAZQUEZ, VAN EYCK and other great Old Masters. The live action teaches how to prepare your own SUPERIOR OIL used by the Old Masters, plus preparation and use of the Emulsions, plus much more. NTSC, COLOR, 85 MIN.[revised edition], ENGLISH, -R DISC The Calcium Carbonate used in the CSO mixture is important. For the finest quality I recommend KREMER PIGMENTS they have an office in New York City and offices worldwide SEE THE LINK BELOW http://www.kremer-pigmente.de/shopint/index.php?cat=010504&lang=ENG&product=58000 |
| EMULSIONS : THE VAN EYCK " WONDER MEDIUM": The Emulsions have VERY important uses and functions. Note that the emulsion 'oil out ' is applied ONLY with the bare hand. My book will guide you on the CORRECT application method and the correct ratio mixtures. The Emulsion MUST be applied correctly, IF it is NOT applied correctly, the Emulsion "oil out" will fail. The book explains how to easily make and use the two Emulsions. Each emulsion has a purpose. The Emulsion is truly a WONDER MEDIUM. It is safe, easy to make in 5 minutes. ( note: the superior oil will dry within 30 hours without use of any driers, solvents, resins or varnishes) Many artists are concerned with FAST DRYING. Titian and the old masters solved this problem by working on several paintings at once. On day one you can start a painting and work all day on it. On day two you start another painting and work all day on it. On day three you start the third painting and work all day on it. On day four, you work on the first painting, and so on. The superior oil I describe dries within 30 hours if thin paint is used. So, if you use paint with more impasto, the extra day of drying allows it to set and be ready for a next layer. WARNING - WARNING - ON THE OIL YOU USE The Old Masters did not have to deal with a very important evil -- additives of ANTIOXIDANTS -to their oil by well meaning manufacturers. THIS FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Antioxidants An antioxidant is a molecule capable of slowing or preventing the oxidation of other molecules. Oxidation is a chemical reaction that transfers electrons from a substance to an oxidizing agent. Antioxidants terminate these chain reactions by removing free radical intermediates, and inhibit other oxidation reactions by being oxidized themselves. As a result, antioxidants are often reducing agents such as thiols, ascorbic acid or polyphenols TOCOPHEROLS , or, VITAMIN E are frequently and commonly added to the UNREFINED, COLD PRESSED FLAX OIL....to keep it from ' SPOILING", or becoming ' RANCID". Meaning...to keep its taste SWEET ... not ACIDIC. IF YOU WILL EAT THE OIL AS A HEALTH BENEFIT.. the added TOCOPHEROLS, VITAMIN E and other 'HEALTH" additives are just fine. BUT PAINTERS DO NOT WANT those additives. THEY WILL SLOW DOWN THE DRYING [ OXIDATION} of the oil..from one day to up to 5 days. SO. BE CAREFUL--- READ THE VERY FINE PRINT.The FRONT label will say all the right things... UNREFINED, COLD PRESSED, RAW, REFRIGERATED, NO HEXANE, FILTERED TO REMOVE BACTERIA, ETC....but the back side label in very fine print may say.. "TOCOPHEROLS ADDED TO IMPROVE FLAVOR AND EXTEND SHELF LIFE". ANTIOXIDANTS ARE DESIGNED TO STOP THE FLAX OIL FROM ABSORBING OXYGEN. FLAX OIL CAN ONLY DRY , meaning, OXIDIZE, .. by INTAKING OXYGEN. Artists frequently write to me about which brand to buy. I recommend BARLEANS. I HAVE USED BARLEANS FOR YEARS WITHOUT ANY DRYING/OXIDATION PROBLEMS. THen one year I tried the brand 'EFA'...and missed reading the very fine print. IT LED TO A DISASTER. BE CAREFUL !!!!!!!!!!!!!!!!!!!!!!!!!!!! . |
| MY WEBSITE HAS THREE PRIMARY OBJECTIVES: 1. SAFETY FOR THE HEALTH OF THE OIL PAINTER 2. PERMANENCE OF THE OIL PAINTING 3.TEACHING OIL PAINTERS AND TEMPERA PAINTERS TO UNDERSTAND THEIR CRAFT Since 2000 I have achieved these objectives by discovering mixtures and procedures in the development of a safe method of oil painting, and now, egg tempera painting, allowing elimination of hazardous materials. The CSO METHOD and the rebirth of the SUPERIOR oil of the Old Masters is far superior to the currently taught resin-solvent-varnish-drier method. I am happy to have the free time to have corresponded one-on-one with artists all over the globe. HISTORY OF THE ‘CALCITE SUN OIL/EMULSIONS' METHOD OF OIL PAINTING [CSO]. 2000: After 40 years of oil painting with Solvents, resins, varnishes, driers and alkali refined linseed oil I began this work which resulted in the creation of the Calcite Sun Oil / Emulsions method of oil painting [ abbreviated as CSO]. Over the next few years I made additional discoveries and developments which I have shared with artists across the globe. 2000: My identification of the superior UNREFINED FLAX OIL used by the Old Masters. This very important development is named ‘ The Rebirth of the Old Masters’ Superior Oil’.This extraordinary oil is the foundation of the ‘Calcite Sun Oil’ method of Oil Painting and without it, the CSO method could not exist. 2000-2009 : Sustained research with creation of several new cleansing methods of cleansing the UNREFINED FLAX OIL, with my identification of Psyllium Husk as an important ingredient for mucilage removal. 2000: Creation of ‘ Calcite Sun Oil’, a modern grinding oil, based on published reports of scientific examination of microscopic sized paint samples of Rembrandt's and Velazquez' paintings by important scholars - with my creation of three additional mixture variations. 2000: Creation of two Emulsions used in conjunction with CSO; the ‘Viscous emulsion’ , and the ‘ Non viscous emulsion’. Including my discovery of the crucial application method of the two emulsions and their uses in oil painting, which I believe to be part of the lost Van Eyck method. The two emulsions used with CSO allows the artist of today to achieve the paint quality and permanence of the Old Masters with complete control and safety. 2004 : Published and sold across the globe, the first edition of my book containing the CSO/EMULSIONS method of oil painting. The first book to be published with ratio mixtures of calcium carbonate powder and oil as an oil painting method. 2004: Applied for a provisional patent with the US Patent Office for CSO, with approval in 2006. 2005: Establishment of the CALCITE SUN OIL website. 2006: I was awarded a Patent by the US Government on the ratio mixtures of calcium carbonate powder and the Superior Oil of the Old Masters 2008: Published a revised edition of my book, sold globally though online bookstores. 2009: Developed the ‘CSO-FIXATIVE’ method of fixing a charcoal drawing without aerosol sprays 2009: Developed the ‘ CSO/AGUADO’ method , the first expansion of the original CSO/EMULSIONS method of oil painting, allowing artists to work on large sized paintings with speed and efficiency.These advancements are described in my book and on this website. 2009: Developed the "CSO-EGG TEMPERA" medium. A fast drying medium for under painting of oil paints. The first development of the Renaissance method which now allows impasto painting 2010 : Developed CSO-EGG GESSO" . A cold gesso using basic archival ancient artists materials = wood, egg, chalk 2010: Published the book: CSO-EGG TEMPERA, and the two DVD's OIL PAINTING WITH CALCITE SUN OIL, and, CSO-EGG TEMPERA PAINTING 2010: Developed CSO-CASEIN TEMPERA . A NEW look at an ancient medium 2010: Posted my research on RUBENS' THIXOTROPIC METHOD and his use of CHALK, EMULSIONS, and PINE TREE TAR 2010: Development of a thixotropic new OIL OUT medium, named 'ESPESO' 2011: CREATION of a NEW MILK OIL PAINT for Art School Classes . New mixtures and new application procedures. SEE THE DVD: Oil Painting with MILK Safety for New Painters and School Art Classes ALSO THE NEW 2011 DVD: THE NEW MILK OIL PAINT AND THE VAN EYCK SECRET MEDIUM 2012- Publication of the book " OIL PAINTING LESSONS WITH REMBRANDT AND CALCITE SUN OIL"" a collection of all my studies, 2013: Published the BEGINNERS BOOK : Velasquez' Safe Oil Painting' for Beginners and Art Teachers" 2016: Published Volume 2 of my book , OIL PAINTING LESSONS WITH REMBRANDT AND CALCITE SUN OIL [ see it described above]. I have summarized my accomplishments because there are two persons on the web who in late 2006 began to experiment with mixtures of calcium carbonate and oil. One of these has embarrassed HIMSELF by name calling and insinuating I am lying regarding my warnings of NOT TO USE ALLBACK swedish linseed oil for fine art painting. The behavior of this one person is unfortunate .... and exposes him as being very jealous of my accomplishments. True academics do not engage in name calling ... but engage in civil dialogue to question decisions by others. I will continue to work with truth and integrity for the safety of the artists and permanence of the artworks and I am always willing to assist artists and to explain my postings by responding to email inquiries. My studies of Allback Linseed oil posted on my site explain why I warn fine artists of using this oil. My discoveries and contributions to oil painting are supported by dated publications, dated applications and approval of a US patent, several registered US letters, and testimonials from artists across the globe. ======You may contact me at Email: VELAPRESS@AOL.COM |
| DVD- " TEMPERA PAINTING WITH CSO-EGG TEMPERA THE FIRST IMPROVEMENT IN EGG TEMPERA IN 600 YEARS A MORE DIRECT MANNER WHILE ALSO PAINTING THINLY AS IN THE RENNAISSANCE METHOD --- -R DISC, NTSC, COLOR, ENGLISH, 56 MINUTES PLEASE SEE : WWW.ASKMAURICE.COM for a full length discussion about using CSO-EGG TEMPERA PAINT |
| SAFE OIL PAINTING WITHOUT HAZARDOUS SOLVENTS RESINS VARNISHES AND DRIERS 'CALCITE SUN OIL PAINT' also-- Casein Tempera - Egg Tempera - and the new Milk Oil Paint |
CALCITE SUN OIL
| on Oil Painting and other paint media, with information on Aesthetics and much more. Mr. Taubes instilled a great respect for the Great Old Masters, as he too was their student. My book and DVDS are a testament to the highest regard I have for Mr. Taubes as an Artist and as a Teacher. Were it not for the influence and wisdom I received from Mr. Taubes in my formative years, this book of mine, would not exist, and I proudly say, HE IS MY TEACHER. Recently, I received this touching letter From Mr. Timothy Taubes, who is Mr. Frederic Taubes’ grandson. Please visit the website dedicated to the art and life of Mr. Frederic Taubes at: www.frederictaubes.com , and drop a note to Mr. Timothy Taubes. Louis! What an amazing book! I cannot think of any other book that deals with the subject of painting mediums in such a comprehensive manner. And the dedication to Frederic Taubes is truly heartfelt. Your book is an important link in a tradition more than half a millenium in the making. In your dedication you say, "I wish I could visit with him today." BUT YOU DO!!! You commune with him on a daily basis. Last August I took my kids to Italy. In Venice, we went to the scuola San Rocco to see the magnificent Tintorettos. We gaped in awe and read from Frederic's book, The Illustrated Guide to the Great Art in Europe, AND HE WAS THERE WITH US! If there is a rebirth after death, it is because the living are the vessel from which values are passed from generation to generation. All the best, Tim Taubes |
| WATCH LOUIS PAINT THE LION ON YOUTUBE : click |
| PETER LANKAS is a talented Fine Artist and valued Art teacher in Eastern Australia, where he teaches the CSO CLICK below to see the exciting new VIDEO where Peter is in his studio- note that the video begins with him mixing up a batch of CSO. The video is excellent and portrays a dedicated hard working artist. To the right one sees a painting with the initial GRISAILLE black and white design as used by many Old Masters. The other photo shows how Peter applied color in the ALLA PRIMA / DIRECT method. The photos and the video give us an excellent lesson in the Fine Art of Painting - CLICK HERE to view the short video OCTOBER 2015 Peter sent me this set of self-portraits. The mask is a comment on how many artists still use HAZARDOUS SOLVENTS and other materials. As you all know, the CSO/ EMULSIONS method uses no solvents, resins, varnishes or driers |
| DVD: "OIL PAINTING WITH MILK [ Beginners version] : Safety for new painters and School Art Classes" NOW FREE ON YOUTUBE CLICK HERE THIN WASHES DRY IN 5 MINUTES. IMPASTO DRIES IN 1 HOUR. THIS DVD IS USED WITH THE NEW BOOK FOR BEGINNERS AND ART TEACHERS |
| THE TERM.... "OIL OUT" .. is abbreviated for... " OIL rubbed in and oil wiped OUT" : procedure by guiding artists in a specific GOAL ORIENTED AND INSTRUCTIVE procedure. The term ' OIL OUT" tells the artist that for the EMULSION OIL OUT to be effective, the Emulsion must BE APPLIED CORRECTLY-- OR--IT FAILS. SEE THE DVD to see exactly how to correctly apply the OIL OUT to create the IDEAL condition for the subsequent oil paint application to achieve the Old Masters paint effects.. SOME misguided English speaking artists use the English word COUCH. In English, a COUCH is a SOFA. FRENCH artists call the OIL OUT a 'COUCHE' ( phonetically pronounced, koo-shay). This translates as ' A THIN FILM OF OIL OR PAINT". Other equally misguided English speaking artists use the word CUSHION. A CUSHION is a PILLOW. NEITHER 'couch' nor, ' cushion' are INSTRUCTIVE NOR GOAL ORIENTED. This leads to a common problem AN INAPPROPRIATELY APPLIED " OIL OUT" will FAIL to achieve the desired effect. The Emulsion OIL OUT must be applied with the bare hand only- NEVER WITH A BRUSH- then rubbed, then wiped. Read my book to understand why JACQUES MAROGER'S emulsion formula FAILED ! |
| The finely designed portrait by EWAN McCLURE, see more of his fine work at his website: ewanmcclure.wordpress.com CLICK HERE NOTICE the DESIGN of the painting, where he contrasts GEOMETRIC shapes like the horizontal windows and the wonderfully arranged papers and books on the DIAGONAL table with the ORGANIC free flowing shapes of the person and the robe. The dark chair behind the portrait torso provides a 3D effect and a sense of deep space. HERE IS WHAT EWAN SAYS ABOUT CSO: "A portrait of Dr Ruth Page, painted from life using CSO. I loved the wonderful handling properties, with the emulsion oil-out between sessions keeping the colors saturated and the paint flowing." |
| SAMSON AND THE LION 48" X 36" Originally "FINISHED" in October 2011--It underwent three revisions of the back ground and foreground colors -The LION and the person were not touched. They remained original as initially finished. FINISHING a painting is the most difficult part of making a painting. I usually place the ' finished' painting on a wall so I can look at it and live with it. This allows me to see the corrections and improvements I would like to make. This also allows me to note disturbing areas that must be changed. Now, July 30th 2012 , 8 months after it was originally 'finished' I am satisfied with this painting. It will be listed on my website page PAINTINGS for sale. |
| CHRISTINE AERFELDT..see: www.aerfeldt.com Chris lives in France and wrote to tell me of her use of CSO/Emulsions. She cited the value of the solvent free method to protect her health. SEE HER ABSOLUTELY BEAUTIFUL PAINTINGS on her website. I promise you will return again and again to study them. NO PHOTO |
| 9/5/2012= ALMOST one year painting, I repainted the I find a conflict as to how MODERN to make the image. Gogh's freedom, yet after I've aimed at it, I am not fully satisfied. I repainted the right half of the background black. I believe it allows the Lion to assume more importance. ________________________ 9/14/2012 OK..I wasnot ever satisfied with the Lion's mouth- so--today--I repainted that mouth. --Now--I think I am finished?? |
| PLEASE SEE THIS VIDEO ON HOW LINSEED OIL IS A FIRE HAZARD=iN OVER 50 YEARS OIL PAINTING, IVE NOT HAD A problem |
| PROFESSIONAL LEVEL BOOK AVAILABLE ON AMAZON IN PRINT OR KINDLE TO LOOK INSIDE ... click HERE |
| DAVID HOCKNEY'S BOOK, " SECRET KNOWLEDGE" HAS INVESTIGATED IN DEPTH THE USE OF MIRRORS AND LENSES by some of THE OLD MASTERS SEE MY NEW YOUTUBE VIDEO ON THIS SUBJECT It is controversial but I believe David Hockney's belief that many of the Old Masters [ but NOT ALL OF THEM ] used Mirrors, Lenses, the Camera Lucida, the Camara Obscura and any other means to TRACE an image of PROJECTED practice...to save time AND TO GET RESULTS not possible BY ANY OTHER MEANS. PLEASE SEE MY YOUTUBE VIDEO... here Grandma Moses,began to paint at age 81. Died age 101. She could not draw well. So she would CUT OUT PHOTOS from magazines---move them around on the canvas to get a nice design composition.....tape them down.... use a TRANSFER PAPER... then would transfer the image by outlining. THEN would ' COLOR IN" with oil paint the TRACED IMAGE. Its basically the same as a childs coloring book, and what VERMEER DID... but VERMEER had no modern photos to trace, so he projected the impages with a lens. |
| PROF. DR. ERNST VAN DE WETERING is the head of the famous REMBRANDT RESEARCH PROJECT of THE NETHERLANDS. I met him in person after a lecture he gave on Rembrandt, at the Los Angeles Getty Museum on October 27, 2011. I walked up to him and said , " MY NAME is Louis Velasquez, I'd like to shake your hand." HE instantly smiled broadly and his face lit up as he said, " OHHH ...THE MAN OF THE BINDING MEDIUM!" We shook hands briskly and briefly spoke. .. It was an honor to have met him and I am happy he knows about 'CALCITE SUN OIL". |
"HOW TO OIL PAINT WITH YOUR FINGERS" This YOUTUBE video teaches you how to use your fingers to get the wonderful effects seen in the Old and Modern Master paintings of Rembrandt , Titian, El Greco, Velazquez, Van Gogh ..and others CLICK ... HERE |
DIEGO RIVERA -- THOMAS HART BENTON IT HAS BEEN WRITTEN THAT THE GREATEST ARTIST AMERICA HAS PRODUCED IS...DIEGO RIVERA. The word AMERICA is used as meaning the TWO AMERICAN CONTINENTS Recently I have been researching an artist born and raised in MISSOURI who I consider the equal of DIEGO RIVERA. That great muralist is THOMAS HART BENTON. He published two books. One is titled 'AN ARTIST IN AMERICA" and the other is titled 'AN AMERICAN IN ART'. It is this second book that I strongly recommend for all artists to read. It is an autobiographical account of his TECHNICAL METHODS AND MATERIALS to include his account of HOW HE PERSONALLY DEALT with the influences of MODERN EUROPEAN ART, the 1913 ARMORY SHOW and a host of issues that every artist today can RELATE TO. If you have ever felt LOST in all the ISMS of the past century--this book is for you. This book is extremely rare. I hope one day it will be REPRINTED for all artists to read. Whether ior not you agree with BENTON'S philosophy is immaterial. I ALSO RECOMMEND THE DVD that covers his life and body of work. SEE IT HERE |
TON VAN STEENBERGEN
Using modern technology he his FINEST paintings.
I am moved by the ABSTRACT DESIGN that the
REALISM is placed upon. See the white bird below.
Go to this link and once there you can PREVIEW the
entire book.. Click HERE
TON's website is : www.tonvansteenbergen.nl
click HERE
Using modern technology he his FINEST paintings.
I am moved by the ABSTRACT DESIGN that the
REALISM is placed upon. See the white bird below.
Go to this link and once there you can PREVIEW the
entire book.. Click HERE
TON's website is : www.tonvansteenbergen.nl
click HERE
A Fine Artist from Australia's Island of TASMANIA. Corinne is a successful painter with an impressive Formal education and has traveled widely to other countries .. in search of experiences ...that are embodied Her paintings are very large and the photo to your right, does not do her work justice. As she says, she uses many many soft glazes to achieve her effects. I see her work as very mystical, but, sometimes, she also does paint in high realism. Like all creative artists--she and we- are always exploring the boundaries of our work. This painting is a fusion of calligraphic, and soft veils of colors. In some way, I think of Rembrandt's 'lines' that are detected in some of his creative work. I will soon place her website here |
| VARIOUS TOPICS 1. THE OIL OUT: The emulsion "oil out" must be applied ONLY BY HAND !--never with a brush--and it must be wiped down to remove all excess--then rubbed in BY HAND!--or it will FAIL! 2. FINAL OIL OUT: IF using the ' viscous emulsion' as the FINAL 'varnish' for a completed oil painting--to equalize the entire surface--IT MUST BE APPLIED as an "OIL OUT" --again---wipe off all excess--then rub into an ULTRA THIN film. IF you do not do this--you will have discolored areas. SEE my photo on my website showing the viscous emulsion in a jar. NOTE how the ultra thin area is COLORLESS and how the thick emulsion is yellowish. 3 The FIRST STEP in preparing canvas or wood--is to apply two liberal coats of HIDE GLUE or--acrylic varnish [ its a glue]--THEN apply the gesso-- NOTE: ALL gessos are absorbent and must be sealed with two coats of HIDE GLUE before oil painting..or--if using acrylic gesso--use acrylic varnish / gloss or matte 4. SEE MY 2 YOUTUBE VIDEOS ON " AIR PUMP OIL" --know the issues involved!!!type in...CSO VELASQUEZ |
| LEARN ABOUT THE FABULOUS AIR PUMP METHOD OF THICKENING YOUR CLEANSED OIL TO MAKE A FASTER DRYING OIL |
LEANDRO CASSIANO resides in
Norway. He recently bought my book.
I was humbled by his review. I help all
artists. I respond to all Emails and try
to answer all questions honestly with
integrity.
Leandros painting to the right is a
CLASSIC study in the Old Master's
GRISAILLE
method. Not always used, but when it
was..it divided the labor of DESIGN
and COLOR. One of the most
important lessons that must be
learned is that all gray. The grisaille
method makes it easy to achieve
balance in VALUES and to design the
painting.
Leandro does not yet have a website.
Norway. He recently bought my book.
I was humbled by his review. I help all
artists. I respond to all Emails and try
to answer all questions honestly with
integrity.
Leandros painting to the right is a
CLASSIC study in the Old Master's
GRISAILLE
method. Not always used, but when it
was..it divided the labor of DESIGN
and COLOR. One of the most
important lessons that must be
learned is that all gray. The grisaille
method makes it easy to achieve
balance in VALUES and to design the
painting.
Leandro does not yet have a website.
THE BOOKS FOR ADVANCED AND PROFESSIONAL ARTISTS BOOK PROMOTION : 1 FREE DVD Buy either of the Professional level books seen here -- either Kindle or Print editions - from AMAZON.COM = ONLY if sold by Amazon ...., not those sold by other book sellers that list with Amazon selling new and used books. And I will send 1 FREE DVD : OIL PAINTING WITH CALCITE SUN OIL PLEASE CONTACT ME AT velapress@aol.com IF I DO NOT RESPOND in one day--please resend your message [ cyberspace and spam settings eat emails at times] IN THE SUBJECT BOX of your Email type : FREE DVD [ note- If the message box says RE: or is blank , I will not open it. SCAN YOUR PURCHASE order and attach it to the Email - I need your currect address , PLEASE DOUBLE CHECK it for accuracy. Ill send the DVD ...ASAP FIRST CLASS US MAIL |
| PLEASE SEE MY PAGE: STUDY WITH LOUIS for details on my DVDS |
"TIM'S VERMEER" : A 2013 FILM by Tim Jenison The movie is NOT an academic documentary.It lacks transparency as to the complete methods used. It is simply ENTERTAIMENT in the tradition of Tinsel Hollywood and Glitzy Las Vegas smoke and mirrors. TO THOSE WHO THINK vermeer used tim's device: I ask you a few questions: Do you think the dark clouds stood still for Vermeer as he painted the ' View of Delft"?? Do you think he waited day after day. For those clouds to cone back ...in the EXACT same position? What did he do when the ship he was " copy color match painting" ..suddenly lifted anchor , filled the sails, and floated away? What did he do when the brilliant shafts of light moved across the buildigs ... placing a steeple in deep dark shadow then to instantly be illuminated in brilliant lighting? Can you honestly believe any artist can paint the living changing lighting in the scene of DELFT with a gadget? Well. It cannot be done. But VERMEER did it...but not with Tim's gadget. SEPT 2014 UPDATE Tim Jenison and I had a civil discussion about his movie: Go to www.essentialvermeer.com CLICK on the BLOG- then on the section: "FROM A PAINTERS POINT OF VIEW". Then scroll way way down to Tim and I. You will enjoy the conversation. Here is your own chance to ask Tim some questions. He is a Gentleman. Go to my Page REMBRANDT VERMEER to see a caricature painting I painted of Tim Jenison. I gifted him the original. FRANK COVINO'S "CONTROLLED PALETTE" IS HOW THE OLD MASTERS JUDGED THE GRADATIONS OF LIGHT VALUES AND COLORS. SEE this YOUTUBE video: Titled "Sherry Hunting Studio: Frank Covino Workshop : FRANK COVINO EXPLAINS HIS CONTROLLED PALETTE AT 03:29 OF THE VIDEO MY NEW YOUTUBE VIDEO EXPLAINS HOW VERMEER PAINTED click HERE PLEASE READ AN EXCELLENT TIMELESS ESSAY BY FRANK COVINO ON MY MENU [ above] ---CLICK ON my page ... STUDY WITH LOUIS TO LOCATE ALL MY BRIEF VIDEOS ON YOUTUBE, ...TYPE IN .... CSO VELASQUEZ |
1943: Born and raised in Porterville, California
1961: Painted the large oil painting on canvas, "The Stagecoach at Porterville, 1861",
now in the collection of the Porterville Historical Museum
1964-1967: US Army. Germany.
Paratrooper, Military Police. Traveled throughout Europe/ studied major museum
collections.
1968-1975: Police Officer, City of San Diego, California
1975-1989: Investigator, County of San Diego, California
2000-2005: High School Art teacher, Chula Vista, California
2005: Retired
My BA Degree in Art, and my California Teaching Credential are from San Diego State
University
Since 1968 I have made many trips to Europe for art studies
At age 12, I studied books by the noted American artist, Mr. Frederic Taubes, whom I
was fortunate to have met when I was 15. He was knowledgeable in many methods
and materials of the Old and Modern masters, and I consider him my teacher.
1961: Painted the large oil painting on canvas, "The Stagecoach at Porterville, 1861",
now in the collection of the Porterville Historical Museum
1964-1967: US Army. Germany.
Paratrooper, Military Police. Traveled throughout Europe/ studied major museum
collections.
1968-1975: Police Officer, City of San Diego, California
1975-1989: Investigator, County of San Diego, California
2000-2005: High School Art teacher, Chula Vista, California
2005: Retired
My BA Degree in Art, and my California Teaching Credential are from San Diego State
University
Since 1968 I have made many trips to Europe for art studies
At age 12, I studied books by the noted American artist, Mr. Frederic Taubes, whom I
was fortunate to have met when I was 15. He was knowledgeable in many methods
and materials of the Old and Modern masters, and I consider him my teacher.
In Sept. 2014 I received a letter
from a man who bought a
painting I made in 1962, on
Ebay. In 1962 I was 18 years
old. Here is that painting. I am
grateful to be able to see it
again. It is oil on canvas, size
30X24 inches.
It is an original concept,
of HELL. I was so enamored by
the paintings of the Great
Masters, Rubens, Bosch,
Brughel, Rembrandt and others.
from a man who bought a
painting I made in 1962, on
Ebay. In 1962 I was 18 years
old. Here is that painting. I am
grateful to be able to see it
again. It is oil on canvas, size
30X24 inches.
It is an original concept,
of HELL. I was so enamored by
the paintings of the Great
Masters, Rubens, Bosch,
Brughel, Rembrandt and others.
Mr Rene
Benvenutti from
Puerto Rico
more information
to follow--
my original
paste was
somehow lost
Benvenutti from
Puerto Rico
more information
to follow--
my original
paste was
somehow lost
BIOGRAPHY AND ARTWORKS |
"The Stagecoach at Porterville,1861" , 6FT X 12FT, oil on the Centennial of
Porterville. In 1965 the "Porterville Historical Museum" acquired it for the
permanent collection. I painted this painting in 1961 at age 17, when a senior at
Porterville Union High School.
Porterville. In 1965 the "Porterville Historical Museum" acquired it for the
permanent collection. I painted this painting in 1961 at age 17, when a senior at
Porterville Union High School.
| DVD: OIL PAINTING RUBENS- and CASEIN TEMPERA Duration 120 minutes This DVD contains a great amount of technical information WARNING: Rubens used hazardous materials. This DVD is NOT for amateurs or children NOW FREE ON YOUTUBE To locate the Rubens DVD, type in CSO VELASQUEZ see my other Videos there |
Perth Australia. After Ric bought
friends via the internet. Later, with
his wife and stopped to spend 3
days with me and my family.
Besides painting, Ric and I found
out we both loved the music of BOB
DYLAN and that we both have
extensive collections of Dylan's
music. Ric's very fine work can be
seen on his website:
His very sensitive and mystical
portrait of his son Dylan is titled, "
DYLAN IN THE MOONLIGHT". Ric's
love of the Old Masters, especially
that of Velazquez, shows lessons
he has learned and this portrait
brings to mind the extraordinary
work of Velazquez.. SEE Ric's
website ...
http://www.rics-art.com/main/
friends via the internet. Later, with
his wife and stopped to spend 3
days with me and my family.
Besides painting, Ric and I found
out we both loved the music of BOB
DYLAN and that we both have
extensive collections of Dylan's
music. Ric's very fine work can be
seen on his website:
His very sensitive and mystical
portrait of his son Dylan is titled, "
DYLAN IN THE MOONLIGHT". Ric's
love of the Old Masters, especially
that of Velazquez, shows lessons
he has learned and this portrait
brings to mind the extraordinary
work of Velazquez.. SEE Ric's
website ...
http://www.rics-art.com/main/
JULIO CESAR GARCIA
A talented Fine Art painter
originally from Cuba,
Studied there and also in
Leningrad, Russia. He is
an artist and a
SoundEngineer, he now
specializes in Oils.
He uses CSO and paints
portraits that excite us. .
See :
http://www.artstampabay.
com/portfolio/detail/11401
A talented Fine Art painter
originally from Cuba,
Studied there and also in
Leningrad, Russia. He is
an artist and a
SoundEngineer, he now
specializes in Oils.
He uses CSO and paints
portraits that excite us. .
See :
http://www.artstampabay.
com/portfolio/detail/11401
| I wish to thank Jane Morris Pack, and her students for their kindness in sharing their paintings and the Center for Fine Arts. Please contact Jane at the following: www.aegeancenter.org The address is: The Aegean Center for the Fine Arts Paros 84400 , Greece |
| GEORGE KERASIOTIS, a college professor and The extended format, the muted colors and sparkling lights create a mood of peace and tranquility as can only be seen in nature. You can almost hear the gulls overhead and the distant muffled sounds of the city. The masterful composition with its squares and Fine Artist in Brooklyn created the scene to the right. rectangles and the breaker wall contrast with the slow moving water. Three planes are evident, fore, mid and back ground...and the ancient Chinese saying is true, " In the distance is the beauty of nature"...as it describes the magic of aerial perspective. I will obtain and post a contact number from George. |
| Brad Teare’s Youtube videos. They are interesting and informative. He is a talented Fine Artist and Art Educator. We spoke. He interviewed me regarding CSO, and posted it on his Blog. Please share this with your friends. I am grateful to Brad and others who see the importance of teaching others how to SAFELY paint in Oils without any use of hazardous materials. Here is his IMPASTO oil painting with CSO [detail]. http://bradteare.blogspot.com/2015/10/255- using-calcite-sun-oilan-interview.html http://www.bradteare.com/ |
FRANCISCO PACHECO: VELAZQUEZ' TEACHER ON THE REMOVAL OF THE MUCILAGE FROM THE OIL : MY SEARCH FOR PERFECTION Even though an Old Master once wrote that it is not possible to remove 100% of the mucilage, I have never stopped seeking a method that will remove 100% of the mucilage from the Flax-Linseed oil. However, there are too many uncontrollable variable factors that interfere with this goal becoming a reality. Even my tests of modern Alkali Refined linseed oil bought at any Art supply store, have detected some degree of mucilage in that modern product. My original CSO method of removing the mucilage was based on the 17th century method of Francisco Pacheco ( published in 1649). Pacheco was Velazquez' teacher. Velazquez studied with Pacheco from age 13 to age 18. Velazquez' paintings are in extraordinary condition- proof of the archival quality of Pacheco's oil cleansing method. Here is Pacheco's method, word for word, as published and written in Spanish: PACHECO'S ORIGINAL SPANISH: LIBRO TERCERO, CAP. V: “Tomese una redoma de vidrio - y a una libra de aceite de linaza limpio y claro se le echan tres onzas de aguardiente fina, que llaman de cabeza, y dos onzas de alhucema, o espliego , en grano, y póngase al sol fuerte quience días, meneándolo dos veces cada dia, y de esta manera queda claro y purificado, y colándolo en otro vidrio …". ENGLISH TRANSLATION: BOOK THREE, CHAPTER FIVE “Take a glass flask – and to a pound of linseed oil that is clean and clear, add to it three ounces of fine quality liquor spirits, that is called ‘from the head’, and two ounces of Lavender, in seed, and place it in very strong hot sun for fifteen days, swirling it two times each day, and by this method, it will become clear and purified, and filter it into another glass.. PLEASE READ MY BOOKS FOR ALL UPDATED INFORMATION MY FREE DVDS ARE ON YOUTUBE Search for CSO VELASQUEZ to locate them |
| JAMIE LEE VERMEEER , is a gifted young lady art student , resident of The Netherlands and Art student of Daniel Tavenier who taught her the CSO method of Oil Painting. One of the beauties of this painting is her attention to subtle color values and Soft and Hard edges. OUTSTANDING!!!! |
I BEGAN MY RESEARCH IN 1988 TO RECREATE REMBRANDT'S BINDER MEDIUM, _______________ THESE ARE THE TRUE FACTS ON HOW I RECREATED REMBRANDT’S BINDER MEDIUM [ WHICH I NAMED ' CSO' ] In 1988, I began my research to recreate Rembrandt's 'binder medium', resulting in the 'CalciteSun Oil/Emulsions' ( CSO) binder, and method of Oil Painting. Here is the proof of my discovery: In 2004 I submitted a Patent application with the US Government. My Patent, US 7141109 B1 , was granted in 2006 ( see details at conclusion ). In 1988, I bought THE book, that inspired me to recreate mixtures of 'calcium carbonate powder with a superior Flaxseed-Linseed oil' , as used by Rembrandt. THAT book was the first edition titled: " ART IN THE MAKING:REMBRANDT", published in 1988 by the National Gallery Museum in London. In that book I learned that 'calcium carbonate chalk' powder was found in Rembrandt's oil paint. The problem was that Rembrandt's use of Calcium carbonate chalk was found in microscopic paint samples. The book gave no answers such as ratio mixtures. I had many questions, but there were also no other books with answers . Over the next several years, I unraveled Rembrandt's secret of HOW and WHY he added Calcium carbonate chalk powder to his oil paint. 1992: The next crucial research step was when I bought THE book published in 1992, titled " VELÁZQUEZ: Técnica y Evolución ", authored by Carmen Garrido-Perez , head of the Conservation Department of the Prado Museum in Madrid, Spain . As with Rembrandt, the Prado scientists found that Velazquez also added Calcium carbonate Chalk, as well as Calcium Carbonate Calcite, to his oil paint. Velazquez additional use of 'calcite' opened up more avenues of inquiries and research. 1992: The final push to my research was THE very important book titled, " REMBRANDT: The painter at work ", written by the leading Rembrandt scholar of The Netherlands, Ernst Van De Wettering , who was also the head of the Rembrandt Research Project. Years later I met him in person at the Los Angeles Getty Museum on October 27, 2011. I introduced myself with my name only. He instantly smiled and his face lit up as he said, " OHHH ...THE MAN OF THE BINDING MEDIUM!" AN ABUNDANCE OF SCIENTIFIC INFORMATION ... BUT NO ANSWERS It is important to note that neither of these three very scholarly books , gave any ratio mixtures of the powdered ‘Calcium Carbonate mixed with the oil’. Neither did they inform how it was mixed with pigments. Additionally, they provided some evidence of Rembrandt and Velazquez using non-solvent Emulsions, but this added to the complexity of the mystery. There were many questions and no answers as to how Rembrandt and Velazquez mixed and applied all of these various mixtures, to achieve the wondrous effects seen in their oil paintings. It took me many years of actual 'hands on' testing to understand all the facts, to dispel all the myths, and to recreate the Calcite Sun Oil ( CSO) oil paint binder , as well as the Emulsions, as were used by Rembrandt and Velazquez. I published my research and in 2004, I sent copies of my book to several internet artists. Now, one of those persons wishes to claim he had made mixtures of Calcium Carbonate chalk and oil before receiving my book. The content of his website in 2004 and as late as 2007, disproves his claim. At this time, there is no need to name this person. Here are the details of the proof of my discovery that disprove that person’s false claim: THE FOLLOWING FACTS ARE FROM THE RECORDS OF THE US GOVERNMENT: To locate on the internet, type in my name and my patent number. ------------------------------------------------------------------------------- Paint medium and method of production US 7141109 B1 , This application claims the benefit of U.S. Provisional Application No. 60/576,563 filed on Jun. 3, 2004, and U.S. Provisional Application No. 60/582,775 filed on Jun. 25, 2004, and U.S. Provisional Application No. 60/582,776 filed on Jun. 25, 2004, and U.S. Provisional Application No. 60/588,925 filed on Jul. 19, 2004. US7141109 B1 Application number. US 11/127,335 Publication date. Nov 28, 2006 Filing date May 11, 2005 Inventors. Louis R. Velasquez Original Assignee. Velasquez Louis ___________________________________________________ |
| HOW THE " AIR PUMP" METHOD WAS DEVELOPED 2012 through 2015 In 2012, Maurice wrote to tell me about an idea to thicken the oil with an air pump. I ignored the idea because n the 1960's , air pump oil was called " blown oil"...and " Blown oil" caused oil paint to dry with wrinkles. My error was that made in 1960 they used a cheap linseed oil. On July 20, 2012 I tested " air pump oil"--- with our superior CSO oil. Results were great. Thin layers of Hand ground oil paint dried within 5-14 hours. But, I found that if the weather was hot and muggy or cold and rainy, water was blown into the oil....and the oil dried very slowly. On April 18,2015, I made new tests in collaboration with Mr. Tavenier in Holland. His ideas improved the air pump method. The results were successful. The air pump could now be used in damp or muggy weather and the oil will dry within 10-19 hours. Please see the following video sorry my computer will not HOT LINK IT TYPE IN CSO VELASQUEZ search for my AIR PUMP OIL Here is the original video from 2012 that I posted on Youtube. It's shorter , repeats some information, but has other information TYPE IN CSO VELASQUEZ search for my AIR PUMP OIL Thank you--Louis |
| IM VERY PROUD OF THIS REVIEW ON AMAZON July 22,2017 5.0 out of 5 stars - practical methods by which a painter today can modify store-bought oil paint to make it behave like the paint of the Masters -- fluent By 'reviewer' n July 20, 2017 Format: DVD|Verified Purchase Louis R. Velasquez has researched most thoroughly the materials and techniques of the Old Masters, and presents, in very clear terms, practical methods by which a painter today can modify store-bought oil paint to make it behave like the paint of the Masters -- fluent, obedient to the brush, capable of fine detail, etc. -- and all without use of solvents or any harmful materials. And he offers much else besides, such as how to make milk oil paint (his own brilliant discovery). I have read dozens of books and treatises on Old Masters' techniques. I believe this book is the one that gets it right. (I say this as a professional artist who has taught at the most famous art schools in New York City.) To me, this book is a gold mine. I recommend it to all. |
WASHING THE OIL WITH EASTLAKE'S
19TH CENTURY METHOD IS INEFFECTIVE
I have tested the method
WHETHER SHAKING THE OIL WITH WATER...
OR WITH WATER AND SALT ...
OR WITH WATER , SALT AND SAND...
IT IS A WASTE OF TIME,
A LOSS OF GOOD OIL , AND INEFFECTIVE.
To test Eastlake’s method,
place a jar of oil cleansed by his method in a refrigerator
overnight at 40 degrees Fahrenheit.
If the oil is truly cleansed of mucilage,
it will remain fully transparent no matter how long it remains in the refrigerator .
DO NOT judge oil cleanliness when the oil is at room temperature.
Even oils full of mucilage are fully transparent at room temperature.
But, oil containing mucilage becomes cloudy
in the coldness of the refrigerator.
______________
SWEDISH ALLBACK LINSEED OIL
THIS PREMIUM OIL IS NOT RECOMMENDED
FOR FINE ART OIL PAINTING
BECAUSE THEIR "PURIFIED LINSEED OIL FAILED THE WATER SEDIMENT TEST -
THIS FINE OIL IS MADE FOR PAINTING WOOD HOUSES -
TO STOP THE DECAY FROM MOISTURE
For details read my website page titled :
'CLEANSING FLAX OIL' [see photos]
19TH CENTURY METHOD IS INEFFECTIVE
I have tested the method
WHETHER SHAKING THE OIL WITH WATER...
OR WITH WATER AND SALT ...
OR WITH WATER , SALT AND SAND...
IT IS A WASTE OF TIME,
A LOSS OF GOOD OIL , AND INEFFECTIVE.
To test Eastlake’s method,
place a jar of oil cleansed by his method in a refrigerator
overnight at 40 degrees Fahrenheit.
If the oil is truly cleansed of mucilage,
it will remain fully transparent no matter how long it remains in the refrigerator .
DO NOT judge oil cleanliness when the oil is at room temperature.
Even oils full of mucilage are fully transparent at room temperature.
But, oil containing mucilage becomes cloudy
in the coldness of the refrigerator.
______________
SWEDISH ALLBACK LINSEED OIL
THIS PREMIUM OIL IS NOT RECOMMENDED
FOR FINE ART OIL PAINTING
BECAUSE THEIR "PURIFIED LINSEED OIL FAILED THE WATER SEDIMENT TEST -
THIS FINE OIL IS MADE FOR PAINTING WOOD HOUSES -
TO STOP THE DECAY FROM MOISTURE
For details read my website page titled :
'CLEANSING FLAX OIL' [see photos]
REMOVING THE MUCILAGE WITH THE AIR PUMP The air pump can be used for a minimum period of 4 hours in hot dry areas, or up to 24 hours in humid areas. The difference in time is due to variables in Temperature and Humidity of various geographic areas. Only my original "CSO Psyllium Husk / Alcohol method" will not use the Air pump because the mixture must stand still in the HOT DRY SUN for 10 days - The Air Pump method removes the mucilage in under 30 hours in any weather. THE THREE CSO METHODS OF MUCILAGE REMOVAL 1. The 'CSO PSYLLIUM HUSK - ALCOHOL METHOD'- [NON AIR PUMP]. I based this method on Pacheco's method of 1649. It uses [87% ethanol]strong alcoholic liquor. I discovered and pioneered the use of Psyllium Husk for use of mucilage removal from unrefined flax-linseed oil. This method requires 10 days to remove the mucilage. FULL INSTRUCTIONS are on Page 38 of my book 'Oil Painting Lessons with Rembrandt and Calcite Sun OIl' [ Volume 1] 2. The 'CSO PSYLLIUM HUSK ( Velasquez-Tavenier ) AIR PUMP METHOD'. Created because of the prohibitive cost of liquor in some countries. An alcohol free method created by myself and Daniel Tavenier of The Netherlands in April 2015. It is the simplest method of the three and removes the mucilage within 24 to 36 hours. Full instructions are in Volume 2: 'Oil Painting Lessons with Rembrandt and Calcite Sun Oil 3. The "CSO GEL METHOD" Instructions are on page 42 of my book, 'Oil Painting Lessons with Rembrandt and Calcite Sun OIl' [ Volume 1] |
| THIS IS THE 2017 REVISED EDITION OF VOLUME TWO. It continues the research of Volume One. Both Volumes 1 & 2 , are needed. Volume Two also has the 'CSO WORKSHOP GUIDE BOOK' |
| The book below is Volume One. |