The SUPERIOR OIL of the Old Masters is :
UNREFINED COLD PRESSED FLAX OIL
that has been organically cleansed of its mucilage and slowly Sun
I created the term "SUPERIOR LINSEED/FLAX OIL", out of necessity,
to avoid confusing it with industrial processed 'linseed oils' or
mediums used by artists today.
The importance of the SUPERIOR FLAX SEED OIL [ Linseed] used by
the Old Masters
is supported by TWO IRREFUTABLE FACTS that are documented by
which CANNOT be denied, disproved or misrepresented by any well paid
Scientist, Media Advertising Director, Attorney, or other controlled
employees of Linseed oil manufacturers, oil paint makers, and sellers.
THE FIRST IRREFUTABLE FACT ARE THE 600 YEAR OLD OIL PAINTINGS
PAINTED BY THE VAN EYCK BROTHERS WHICH ARE IN AN EXCELLENT
STATE OF PRESERVATION.
THE SECOND IRREFUTABLE FACT IS THAT THE VAN EYCK PAINTINGS
WERE NOT PAINTED WITH MODERN INDUSTRIAL, CAUSTIC CHEMICAL
CLEANSED, BOILED LINSEED OIL USED BY ARTISTS TODAY AND SINCE
THE 19TH CENTURY INDUSTRIAL ERA. but were painted with
THE UNREFINED SUPERIOR FLAX OIL DESCRIBED IN MY BOOK AND ON
My patent was approved by the US Patent nd TradeMark Office in November 2006. See patent #
THE FINEST RAW OIL FOR ARTISTS
IS LABELED FLAX OIL- NOT LINSEED OIL:
If the label says FLAX OIL or FLAX SEED OIL..it is THE oil the Old Masters
used. BUT, it has to be cleansed of its mucilage. This easy 10 day process
is described in my book and DVD.I have used BARLEANS flax seed oil for
many years . It is high quality. There are other sellers of FLAX OIL.
DO NOT buy FLAX OIL containing any anti-oxidant additives. It stops the oil
from hardening. Simply, it will not dry. Commom anti-oxidants are vitamin E
or C or Rosemary or tocopherols or polypherols.
IF THE OIL IS LABELED LINSEED OIL. It is NOT the oil the Old Masters
used. LINSEED OIL and FLAX SEED OIL are pressed fropm the same
seed--the FLAX SEED. There are NO 'lin seeds " in nature. FLAX OIL is
pressed cold and without any solvents or extra heat or lye caustic
chemicals. Humans can safely eat FLAX SEED OIL. It is the oil of the Old
Masters. IF the oil ia labeled LINSEED OIL, it has been pressed and
exposed to caustic lye chemicals or solvents. HUMANS cannot safely eat
PLEASE NOTE: The only exception to this is [possibly]--OLD HOLLAND
UNREFINED COLD PRESSED LINSEED OIL from Holland.
2000-2017 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.
My website is dedicated to teaching, and the sharing of knowledge about oil painting.It gives me great pleasure to share with you
a website that is dedicated to same ideals I have, the sharing of knowledge, and as ONLY the Internet can do for us.
Danny Van Ryswyk, has created a website that deserving special recognition,and I am certain those who visit his two websites will gain
I think it best to let his two sites speak for themselves and you will see how eloquently they do that.
and you can visit his artwork at: www.dannyvanryswyk.com
WARNING !.. french chalk!!! ..not the same as " chalk from champagne france !
AS THE PATENT HOLDER OF "CALCITE SUN OIL" MIXTURE, I RECOMMEND ONLY CALCIUM CARBONATE that is true..CHALK
FROM CHAMPAGNE FRANCE for making CSO.
The German based company, KREMER-PIGMENTE KREMER sells this chalk and has worldwide distribution . Look at their URL
for a site nearest you. http://kremer-pigmente.de/en/Laeden/Distributors-worldwide KREMER'S ID # for this item is # 58000 and is
listed as: Chalk from Champagne, France. It is Calcium Carbonate.
IN THE PAST, I used to purchase my CHALK FROM CHAMPAGNE FRANCE/ CALCIUM CARBONATE from SINOPIA, a Fine Art
Supply store in San Francisco, California. As of this writing, December 2008, they no longer carry this item. They do list an item
they call FRENCH CHALK. Several respected Academic sources state that the term, FRENCH CHALK is a common name used to
describe TALC, and TALC is hydrated magnesium silicate with the chemical formula H2Mg3(SiO3)4 or Mg3Si4O10(OH)2.
GO TO http://en.wikipedia.org/wiki/Talc to read the hazard FRENCH CHALK/TALC may present to humans and use it at your own
Sinopia states their FRENCH CHALK is not a TALC, but is a CALCIUM CARBONATE. I purchased their FRENCH CHALK, and
found it to be inferior for making "CALCITE SUN OIL" as per my patented formula because their FRENCH CHALK lacks the great
adhesiveness of the CHALK FROM CHAMPAGNE FRANCE CALCIUM CARBONATE, and it separates while in storage from the oil.
Therefore, I do not recommend the item named FRENCH CHALK. For other Fine Art Supplies, SINOPIA remains an excellent source
and it has always been one of my favorite art supply stores. I hope SINOPIA will carry Chalk from Champagne France, in the future.
|TEN BENEFITS of “ CALCITE SUN OIL”
DRYING is accelerated without driers -
ADHESION, without drips and beading
BLENDING is facilitated -
TRANSLUCENCY is increased
BODY of Impasto or Glazes -
COLOR DEPTH and LUSTER is increased
MICRO-FINE LINES and DETAILS are allowed
THIXOTROPIC quality is promoted
SUEDE EFFECT of Tube Oil Paints is eliminated
WRINKLING of impasto is eliminated
|" CALCITE SUN OIL" (CSO)
IS A REVOLUTIONARY NEW GRINDING
CSO is a Grinding Oil, NOT a paint medium.
Use with Tube oil paints, or to Hand Grind your oil paints.
CSO is a carefully measured gel-like substance
made from two safe and tested ancient
artist's materials; Calcium Carbonate powder,
and, the SUPERIOR LINSEED/FLAX OIL
of the Old Masters
PROFESSIONAL ACADEMIC TERMINOLOGY IN FINE ART PAINTING
The Art of Painting is noble and deserving of respect. Slang terms have no place in naming the mixtures of ingredients the Master
painters used in painting their Masterpieces. The Old Masters used various Ochres and Umbers. We call them, ‘Earths” ...... not,
Dirt, nor Mud, nor Muck.
The name, ‘Calcite Sun Oil”, honors its archival ingredients. As others experiment with mixtures like CSO, they use slang terms
such as, ‘ GUNK‘, ‘GOOP’, and ‘PUTTY’’. These slang terms denigrate Painting. GUNK collects in auto radiators, GOOP is sticky like
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-
In 2004, I sent Tad Spurgeon a copy of my 2004 published book describing my development of ‘ Calcite Sun Oil’, the two Emulsions,
and the new methods I developed in cleansing the Unrefined Cold Pressed Flax oil as I identified the Superior oil of the Old Masters.
I did this because his website showed he knew nothing about these Revolutionary new developments I was working on, and I saw
he was still using Solvents, Resins and Varnishes. In 2004 I also sent copies of my book to others I thought needed some guidance.
Three years later—in 2007 – Tad began his experiments into the knowledge published in my 2004 book. I believe my book has
inspired many artists to learn this revolutionary new yet ancient information. The formulas and application methods described in
my book, website and now DVD’S make it possible for all oil painters today to, "Achieve the Old Masters' Paint Quality" with
SAFETY and PERMANENCE"
|LINKS AND IMPORTANT ISSUES REGARDING OIL PAINTING SCROLL DOWN FOR MORE
|1. HOME PAGE = An introduction to CALCITE SUN OIL
2. TESTIMONIALS =Professional artists speak about CSO.
3. HAZARDOUS ITEMS = Common HAZARDOUS ingredients. Which colors are safe? CSO INSTRUCCION EN CASTELLAN SPANISH
4.WASHING LINSEED OIL = Cleansing the unrefined Flax oil of mucilage. Photos of mucilage how it browns and darkens oil paint.
5. SUN THICKENED OIL= The New AIR PUMP OIL METHOD and the Old Master method
6. CLEANSING FLAX OIL = Additional information on cleansing the unrefined flax oil WARNING: Swedish Allback Linseed oil
7. BOOK CONTENTS =TO LOOK INSIDE THE BOOK, GO TO AMAZON.COM..click on LOOK INSIDE
8. PAINTINGS= My paintings, 'TRIANGULARISM" and El Greco. Frederic Taubes, an American Master. The beauty of an Emulsion
9. CSO EGG TEMPERA and CSO CASEIN TEMPERA = FAST DRYING archival mediums for under painting of oil painting.
10. CSO/AGUADO and ESPESSO= AGUADO is ideal for large sized paintings. Fast, Efficient, Powerful. ESPESSO Oil Out Medium with Impasto
11. REMBRANDT VERMEER VELAZQUEZ= How they painted
12. The VAN EYCK SECRET = Rembrandt did NOT use Burnt Plate Oil. RUBENS' Thixotropic Method, ESPESO: A NEW oil out medium
13. FAQ'S and UPDATES= Glair as a binder, askmaurice.org - paints with CSO, A safe Fixative, "FAT on LEAN" not needed with CSO
14. STUDY WITH LOUIS =ON HOLD... please be patient ...
IGNORANCE AND MORE
Many websites and books on
oil painting promote use of
DEGRADED Linseed oil.
THEY IGNORE THE SAFE
HEATING TEMPERATURE OF
The oil begins
DECOMPOSING at 230
degrees Centigrade [Celsius].
Modern Stand Linseed oil is
cooked to 288 degrees
Burnt Plate Oil is the most
decomposed of all , reaching
above 400 C.
Many websites "experiment"
with time proven FAILED
methods of processing the oil
and continue repeating the
They ignore the basic
fundamental rule: DO NOT
OVER HEAT THE OIL.
Their mixtures to create
'painting mediums', oil
varnishes, and other
experiments include a dash of
this, a bit of that, some of that,
shake and bake ..and hope
for the best.
MR. FREDERIC TAUBES (1900-1981)
|EMAIL : CONTACT
I respond to ALL
painter dedicated to the Methods and Materials
of the Old Masters. He has said, " ...it makes me
happy to see the extraordinary results in my work
due to your formula of CSO."
His large colorful paintings adorn many public
buildings and private homes here in the USA and
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
WATCH RUBEN PAINT
Observe how he underpaints his glowing color
with Old Masters' GRAY GRISAILLE
He speaks in Spanish but there are SUB-TITLES
CLICK ON THIS 6 MINUTE YOUTUBE VIDEO
CLICK -- HERE
-R DISC, NTSC, COLOR, ENGLISH, 90 MINUTES,
For advanced painters interested in the new " MILK OIL PAINT" ,medium, and the details of the Secret Medium
of the VAN EYCKS.
1. Milk Oil Paint 2. CSO-CASEIN TEMPERA PAINT 3. UNDERPAINTING WITH CASEIN TEMPERA 4. VAN
EYCK SECRET MEDIUM 5. DETAILED TECHNICAL INFORMATION 6. ADDITIONAL TECHNICAL
|DVD "OIL PAINTING WITH CALCITE SUN OIL"
FOR TODAY'S ADVANCED AND PROFESSIONAL PAINTERS
WHO PAINT IN MODERN STYLES OR OLD MASTER STYLES
Learn the Methods and Materials used by REMBRANDT, RUBENS, VELAZQUEZ,
VAN EYCK and other great Old Masters.
The live action teaches how to prepare your own SUPERIOR OIL used by the
Old Masters, plus preparation and use of the Emulsions, plus much more.
NTSC, COLOR, 85 MIN.[revised edition], ENGLISH, -R DISC
The Calcium Carbonate used in the CSO mixture is important.
For the finest quality I recommend KREMER PIGMENTS
they have an office in New York City and offices worldwide
SEE THE LINK BELOW
|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
WARNING - WARNING - ON THE OIL YOU USE
The Old Masters did not have to deal with a very important evil --
additives of ANTIOXIDANTS -to their oil by well meaning manufacturers.
THIS FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Antioxidants
An antioxidant is a molecule capable of slowing or preventing the oxidation of other molecules.
Oxidation is a chemical reaction that transfers electrons from a substance to an oxidizing agent.
Antioxidants terminate these chain reactions by removing free radical intermediates, and inhibit other oxidation reactions by being
oxidized themselves. As a result, antioxidants are often reducing agents such as thiols, ascorbic acid or polyphenols
TOCOPHEROLS , or, VITAMIN E
are frequently and commonly added to the UNREFINED, COLD PRESSED FLAX OIL....to keep it from ' SPOILING", or becoming '
RANCID". Meaning...to keep its taste SWEET ... not ACIDIC.
IF YOU WILL EAT THE OIL AS A HEALTH BENEFIT..
the added TOCOPHEROLS, VITAMIN E and other 'HEALTH" additives are just fine.
BUT PAINTERS DO NOT WANT those additives. THEY WILL SLOW DOWN THE DRYING [ OXIDATION}
of the oil..from one day to up to 5 days.
SO. BE CAREFUL--- READ THE VERY FINE PRINT.The FRONT label will say all the right things... UNREFINED, COLD PRESSED,
RAW, REFRIGERATED, NO HEXANE, FILTERED TO REMOVE BACTERIA, ETC....but the back side label in very fine print may
say.. "TOCOPHEROLS ADDED TO IMPROVE FLAVOR AND EXTEND SHELF LIFE".
ANTIOXIDANTS ARE DESIGNED TO STOP THE FLAX OIL FROM ABSORBING OXYGEN. FLAX OIL CAN ONLY DRY , meaning,
OXIDIZE, .. by INTAKING OXYGEN.
Artists frequently write to me about which brand to buy. I recommend BARLEANS. I HAVE USED BARLEANS FOR YEARS
WITHOUT ANY DRYING/OXIDATION PROBLEMS. THen one year I tried the brand 'EFA'...and missed reading the very fine print.
IT LED TO A DISASTER.
BE CAREFUL !!!!!!!!!!!!!!!!!!!!!!!!!!!!
|MY WEBSITE HAS THREE PRIMARY OBJECTIVES:
1. SAFETY FOR THE HEALTH OF THE OIL PAINTER
2. PERMANENCE OF THE OIL PAINTING
3.TEACHING OIL PAINTERS AND TEMPERA PAINTERS TO UNDERSTAND THEIR CRAFT
Since 2000 I have achieved these objectives by discovering mixtures and procedures in the development of a safe method of oil painting, and now, egg tempera painting, allowing elimination of hazardous
materials. The CSO METHOD and the rebirth of the SUPERIOR oil of the Old Masters is far superior to the currently taught resin-solvent-varnish-drier method. I am happy to have the free time to have
corresponded one-on-one with artists all over the globe.
HISTORY OF THE ‘CALCITE SUN OIL/EMULSIONS' METHOD OF OIL PAINTING [CSO].
2000: After 40 years of oil painting with Solvents, resins, varnishes, driers and alkali refined linseed oil I began this work which resulted in the creation of the Calcite Sun Oil / Emulsions method of oil painting [
abbreviated as CSO]. Over the next few years I made additional discoveries and developments which I have shared with artists across the globe.
2000: My identification of the superior UNREFINED FLAX OIL used by the Old Masters. This very important development is named ‘ The Rebirth of the Old Masters’ Superior Oil’.This extraordinary oil is the
foundation of the ‘Calcite Sun Oil’ method of Oil Painting and without it, the CSO method could not exist.
2000-2009 : Sustained research with creation of several new cleansing methods of cleansing the UNREFINED FLAX OIL, with my identification of Psyllium Husk as an important ingredient for mucilage
2000: Creation of ‘ Calcite Sun Oil’, a modern grinding oil, based on published reports of scientific examination of microscopic sized paint samples of Rembrandt's and Velazquez' paintings by important
scholars - with my creation of three additional mixture variations.
2000: Creation of two Emulsions used in conjunction with CSO; the ‘Viscous emulsion’ , and the ‘ Non viscous emulsion’. Including my discovery of the crucial application method of the two emulsions
and their uses in oil painting, which I believe to be part of the lost Van Eyck method. The two emulsions used with CSO allows the artist of today to achieve the paint quality and permanence of the Old
Masters with complete control and safety.
2004 : Published and sold across the globe, the first edition of my book containing the CSO/EMULSIONS method of oil painting. The first book to be published with ratio mixtures of calcium carbonate
powder and oil as an oil painting method.
2004: Applied for a provisional patent with the US Patent Office for CSO, with approval in 2006.
2005: Establishment of the CALCITE SUN OIL website.
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
|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
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
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
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
FINISHING a painting is the
most difficult part of making a
painting. I usually place
the ' finished' painting on a wall
so I can look at it and live with
it. This allows me to see the
corrections and improvements I
would like to make. This also
allows me to note disturbing
areas that must be changed.
Now, July 30th 2012 , 8 months
after it was originally 'finished'
I am satisfied with this painting.
It will be listed on my website
page PAINTINGS for sale.
Chris lives in France and wrote to tell
me of her use of CSO/Emulsions. She
cited the value of the solvent free
method to protect her health. SEE
HER ABSOLUTELY BEAUTIFUL
PAINTINGS on her website. I promise
you will return again and again to
|9/5/2012= ALMOST one year
painting, I repainted the
I find a conflict as to how
MODERN to make the image.
Gogh's freedom, yet after I've
aimed at it, I am not fully
I repainted the right half of the
background black. I believe it
allows the Lion to assume
OK..I wasnot ever satisfied
with the Lion's mouth-
so--today--I repainted that
mouth. --Now--I think I am
|PLEASE SEE THIS VIDEO ON
HOW LINSEED OIL IS A FIRE
HAZARD=iN OVER 50 YEARS OIL PAINTING,
IVE NOT HAD A problem
|PROFESSIONAL LEVEL BOOK
AVAILABLE ON AMAZON IN PRINT OR KINDLE TO
LOOK INSIDE ... click HERE
|DAVID HOCKNEY'S BOOK, " SECRET KNOWLEDGE"
HAS INVESTIGATED IN DEPTH THE USE OF MIRRORS AND LENSES
by some of THE OLD MASTERS
SEE MY NEW YOUTUBE VIDEO ON THIS SUBJECT
It is controversial but I believe David Hockney's belief that many of the Old Masters [ but NOT ALL OF THEM ] used
Mirrors, Lenses, the Camera Lucida, the Camara Obscura and any other means to TRACE an image of
PROJECTED practice...to save time
AND TO GET RESULTS not possible BY ANY OTHER MEANS.
PLEASE SEE MY YOUTUBE VIDEO... here
Grandma Moses,began to paint at age 81. Died age 101.
She could not draw well. So she would CUT OUT PHOTOS from magazines---move them around on the canvas
to get a nice design composition.....tape them down.... use a TRANSFER PAPER... then would transfer the image
by outlining. THEN would ' COLOR IN" with oil paint the TRACED IMAGE. Its basically the same as a childs
coloring book, and what VERMEER DID... but VERMEER had no modern photos to trace, so he projected the
impages with a lens.
|PROF. DR. ERNST VAN DE WETERING is the head of the famous REMBRANDT RESEARCH PROJECT of THE NETHERLANDS.
I met him in person after a lecture he gave on Rembrandt, at the Los Angeles Getty Museum on October 27, 2011.
I walked up to him and said , " MY NAME is Louis Velasquez, I'd like to shake your hand." HE instantly smiled broadly and his face lit
up as he said, " OHHH ...THE MAN OF THE BINDING MEDIUM!" We shook hands briskly and briefly spoke. ..
It was an honor to have met him and I am happy he knows about 'CALCITE SUN OIL".
|PLEASE SEE THE UPDATED INFORMATION ON THE AIR PUMP OIL HERE
"HOW TO OIL PAINT
WITH YOUR FINGERS"
This YOUTUBE video teaches you how to use
your fingers to get the wonderful effects
seen in the
Old and Modern Master paintings
of Rembrandt , Titian, El Greco,
Velazquez, Van Gogh ..and others
CLICK ... HERE
DIEGO RIVERA --
IT HAS BEEN WRITTEN THAT THE
GREATEST ARTIST AMERICA HAS
PRODUCED IS...DIEGO RIVERA.
The word AMERICA is used as meaning
the TWO AMERICAN CONTINENTS
Recently I have been researching an
artist born and raised in MISSOURI who
I consider the equal of DIEGO RIVERA.
That great muralist is THOMAS HART
He published two books. One is titled
'AN ARTIST IN AMERICA" and the other
is titled 'AN AMERICAN IN ART'. It is this
second book that I strongly recommend
for all artists to read. It is an
autobiographical account of his
TECHNICAL METHODS AND
MATERIALS to include his account of
HOW HE PERSONALLY DEALT with the
influences of MODERN EUROPEAN
ART, the 1913 ARMORY SHOW and a
host of issues that every artist today can
RELATE TO. If you have ever felt LOST
in all the ISMS of the past century--this
book is for you. This book is extremely
rare. I hope one day it will be
REPRINTED for all artists to read.
Whether ior not you agree with
BENTON'S philosophy is immaterial.
I ALSO RECOMMEND THE DVD that
covers his life and body of work. SEE
A Fine Artist from Australia's Island of
TASMANIA. Corinne is a successful painter with
an impressive Formal education and has
traveled widely to other countries .. in search
of experiences ...that are embodied
Her paintings are very large and the photo to
your right, does not do her work justice. As she
says, she uses many many soft glazes to
achieve her effects. I see her work as very
but, sometimes, she also does paint in high
realism. Like all creative artists--she and we-
are always exploring the boundaries of our
This painting is a fusion of calligraphic, and soft
veils of colors. In some way, I think of
Rembrandt's 'lines' that are detected in some of
his creative work.
I will soon place her website here
1. THE OIL OUT: The emulsion "oil out" must be applied ONLY BY HAND !--never with a brush--and it must be
wiped down to remove all excess--then rubbed in BY HAND!--or it will FAIL!
2. FINAL OIL OUT: IF using the ' viscous emulsion' as the FINAL 'varnish' for a completed oil painting--to equalize
the entire surface--IT MUST BE APPLIED as an "OIL OUT" --again---wipe off all excess--then rub into an ULTRA
THIN film. IF you do not do this--you will have discolored areas. SEE my photo on my website showing the viscous
emulsion in a jar. NOTE how the ultra thin area is COLORLESS and how the thick emulsion is yellowish.
3 The FIRST STEP in preparing canvas or wood--is to apply two liberal coats of HIDE GLUE or--acrylic varnish [
its a glue]--THEN apply the gesso--
NOTE: ALL gessos are absorbent and must be sealed with two coats of HIDE GLUE before oil painting..or--if using
acrylic gesso--use acrylic varnish / gloss or matte
4. SEE MY THREE YOUTUBE VIDEOS ON " AIR PUMP OIL" --know the issues involved!!!type in...CSO
|LEARN ABOUT THE FABULOUS AIR PUMP METHOD
OF THICKENING YOUR CLEANSED OIL
TO MAKE A FASTER DRYING OIL
|The photo below shows 4 samples- one at 5 days, 10, 15 and 18 days.
My set up has the pump, 6 feet of tubing, a clear glass jar. I mixed CSO
with each oil sample and mixed the CSO with tube oil paints., to make
The tube oil paint mixed with chalk and the 10 to 18 day oil dried within 5
to 14 hours [ thin paint- 4 different colors]. There was no evidence of
wrinkling. I stopped the testing at 18 days because the oil began to
FROTH UP in the jar.
NOTE: Paint made by use of dry powders dries under 5 hours- but
impasto wrinkles due to the super fast surface drying- to prevent
wrinkling of impasto- mix some 'glair-oil emulsion' into the paint as
THE BOOKS FOR ADVANCED AND
BOOK PROMOTION : 1 FREE DVD
Buy either of the Professional level books seen here --
either Kindle or Print editions - from AMAZON.COM =
ONLY if sold by Amazon ...., not other book sellers that
list with Amazon selling new and used books.
And I will send 1 FREE DVD : OIL PAINTING WITH
CALCITE SUN OIL
PLEASE CONTACT ME AT email@example.com
IF I DO NOT RESPOND in one day--please resend your
message [ cyberspace and spam settings eat emails at
IN THE SUBJECT BOX of your Email type : FREE DVD
[ note- If the message box says RE: or is blank , I will not
SCAN YOUR PURCHASE order and attach it to the Email
- I need your currect address , PLEASE DOUBLE
CHECK it for accuracy. Ill send the DVD ...ASAP FIRST
CLASS US MAIL
|PLEASE SEE MY PAGE: STUDY WITH LOUIS
for details on my DVDS
"TIM'S VERMEER" : A 2013 FILM by Tim Jenison
The movie is NOT an academic documentary.It lacks transparency as to the complete
methods used. It is simply ENTERTAIMENT in the tradition of Tinsel Hollywood and
Glitzy Las Vegas smoke and mirrors.
TO THOSE WHO THINK vermeer used tim's device: I ask you a few questions:
Do you think the dark clouds stood still for Vermeer as he painted the ' View of Delft"??
Do you think he waited day after day. For those clouds to cone back ...in the EXACT
same position? What did he do when the ship he was " copy color match painting"
..suddenly lifted anchor , filled the sails, and floated away? What did he do when the
brilliant shafts of light moved across the buildigs ... placing a steeple in deep dark
shadow then to instantly be illuminated in brilliant lighting? Can you honestly believe
any artist can paint the living changing lighting in the scene of DELFT with a gadget?
Well. It cannot be done. But VERMEER did it...but not with Tim's gadget.
SEPT 2014 UPDATE
Tim Jenison and I had a civil discussion about his movie: Go to
www.essentialvermeer.com CLICK on the BLOG- then on the section: "FROM A
PAINTERS POINT OF VIEW". Then scroll way way down to Tim and I. You will enjoy the
conversation. Here is your own chance to ask Tim some questions.
He is a Gentleman. Go to my Page REMBRANDT VERMEER to see a caricature
painting I painted of Tim Jenison. I gifted him the original.
FRANK COVINO'S "CONTROLLED PALETTE" IS HOW THE OLD MASTERS
JUDGED THE GRADATIONS OF LIGHT VALUES AND COLORS.
SEE this YOUTUBE video: Titled "Sherry Hunting Studio: Frank Covino Workshop :
FRANK COVINO EXPLAINS HIS CONTROLLED PALETTE AT 03:29 OF THE VIDEO
MY NEW YOUTUBE VIDEO EXPLAINS HOW VERMEER PAINTED
PLEASE READ AN EXCELLENT TIMELESS ESSAY BY FRANK COVINO
ON MY MENU [ above] ---CLICK ON my page ... STUDY WITH LOUIS
TO LOCATE ALL MY BRIEF VIDEOS ON YOUTUBE, ...TYPE IN .... CSO VELASQUEZ
|VIEW THE YOUTUBE VIDEO TO SEE MORE ABOUT THE METHOD OF
THICKENING THE OIL WITH THE AIR PUMP--CLICK HERE
BIOGRAPHY AND ARTWORKS
|DVD: OIL PAINTING RUBENS- and CASEIN TEMPERA
Duration 120 minutes
This DVD contains a great amount of technical information
WARNING: Rubens used hazardous materials.
This DVD is NOT for amateurs or children
NOW FREE ON YOUTUBE
To locate the Rubens DVD, type in CSO VELASQUEZ
see my other Videos there
|I wish to thank Jane Morris Pack, and her students for their
kindness in sharing their paintings and the Center for Fine Arts.
Please contact Jane at the following:
The address is:
The Aegean Center for the Fine Arts
Paros 84400 , Greece
|GEORGE KERASIOTIS, a college professor and The
extended format, the muted colors and sparkling
lights create a mood of peace and tranquility as can
only be seen in nature. You can almost hear the
gulls overhead and the distant muffled sounds of the
city. The masterful composition with its squares and
Fine Artist in Brooklyn created the scene to the right.
rectangles and the breaker wall contrast with the
slow moving water. Three planes are evident, fore,
mid and back ground...and the ancient Chinese
saying is true, " In the distance is the beauty of
nature"...as it describes the magic of aerial
perspective. I will obtain and post a contact number
|Brad Teare’s Youtube videos.
They are interesting and informative. He is a
talented Fine Artist and Art Educator. We
spoke. He interviewed me regarding CSO,
and posted it on his Blog. Please share this
with your friends. I am grateful to Brad and
others who see the importance of teaching
others how to SAFELY paint in Oils without
any use of hazardous materials. Here is his
IMPASTO oil painting with CSO [detail].
|My new book, VOLUME
TWO of CSO OIL
PAINTING is now
available at Amazon.com
The Digital Instant
download version Click
on KINDLE books and
enter my name, or CLICK
|THE CLEANSING OF THE FLAX-LINSEED OIL OF ITS MUCILAGE
For many years I posted full instructions here on how to remove the mucilage from the oil. That
complete information is now in my Book Volume 2;
In November 2016, I published Volume two with new discoveries and updates.
Here I include a portion of Chapter Three, from my Vol. 2.
The book is very inexpensive and can be purchased at Amazon.com Type in my name, Louis R.
Velasquez, under the category of BOOKS.
THREE CSO METHODS OF REMOVING THE MUCILAGE
This chapter begins with a major advancement in cleansing the unrefined oil.
The removal of the mucilage is greatly improved by this new development.
It is: The addition of whole Psyllium SEEDS ( or whole CHIA SEEDS) to the CSO recipes. I owe this
technical advancement to my friend from Egypt, Mr. Mohamed Tawfik.
The CSO recipes include BOTH the HUSKS. and the SEEDS [ but the seeds are optional if you
cannot locate them].
The SEEDS cannot remove the mucilage by themselves.
The PSYLLIUM HUSKS must be included in the recipe because it is the only ingredient that will
remove the moisture and the mucilage.
THE SEEDS (either Psyllium seeds or Chia seeds are optional ) they can be included because
they become a mucous gel when in contact with water and this fortifies the HUSK in better
holding the mucilage for removal.
IT IS IMPORTANT that the Air Pump be used for a minimum period of 4 hours in hot dry areas, or
up to 24 hours in humid areas. The difference in time is due to variables in Temperature and
Humidity of various geographic areas.
Only my original "CSO Psyllium Husk / Alcohol method" will not use the Air pump because the
mixture must stand still in the HOT DRY SUN for 10 days - while the Air Pump removes the
mucilage in under 30 hours in any weather.
PSYLLIUM SEEDS can be difficult to locate, but CHIA SEEDS are easily located in the same health
food store where the PSYLLIUM HUSKS are sold.
THE THREE CSO METHODS OF MUCILAGE REMOVAL
NOTE: Psyllium SEEDS [ or Chia SEEDS] will be added to all recipes as of October 2016
1. The 'CSO PSYLLIUM HUSK - ALCOHOL METHOD'- [NON AIR PUMP].
I based this method on Pacheco's method of 1649. It uses strong alcoholic liquor. I discovered
and pioneered the use of Psyllium Husk for use of mucilage removal from unrefined flax-linseed
oil. This method requires 10 days to remove the mucilage.
2. The 'CSO PSYLLIUM HUSK ( Velasquez-Tavenier ) AIR PUMP METHOD'.
Created because of the prohibitive cost of liquor in some countries.
An alcohol free method created by myself and Daniel Tavenier of The Netherlands in April 2015.
It is the simplest method of the three and removes the mucilage within 24 to 36 hours.
3. "CSO PSYLLIUM HUSK and PSYLLIUM SEEDS* - AIR PUMP METHOD".
Created in October 2016, artists have a choice on whether to use alcohol spirits, beer, or plain
water. The mucilage is removed within 24 to 36 hours. * I recognize and give credit to
Mr. Mohamed Tawfik for his idea, to add PSYLLIUM SEEDS to the recipe.
Subsequently, I tested CHIA SEEDS and found them to be an effective substitute.
THE SEARCH FOR PERFECTION
Even though an Old Master once wrote that it is not possible to remove 100% of the mucilage, I
have never stopped seeking a method that will remove 100% of the mucilage
from the Flax-Linseed oil. However, there are too many uncontrollable variable factors that
interfere with this goal becoming a reality. Even my tests of modern Alkali Refined linseed oil
bought at any Art supply store, have detected some degree of mucilage in that modern product.
My original CSO method of removing the mucilage
was based on the 17th century method of Francisco Pacheco ( published in 1649).
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
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 …".
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..”
|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.
Application number. US 11/127,335
Publication date. Nov 28, 2006
Filing date May 11, 2005
Inventors. Louis R. Velasquez
Original Assignee. Velasquez Louis
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
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
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]