In studio portrait study
Single ground - Red Ochre and Lootwit 
Drawing - burnt umber
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit
9 x 12
Oil on cotton

Sunset Study in high color
Single ground - Red Ochre and Lootwit 
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
18 x 18
Oil on polyester

Sunset Study in high color ll
9 x 12
Oil on cotton

Figure Study in Chiaroscuro
Drawing: Burnt Umber
Ground: Red Ochre and Lead White
Zorn Palette
Pigments: Lootwit, Mars Black, Yellow ochre, Vermilion and Maroon Red Oxide Transparent
Note: The only way to accomplish an artistic likeness is time in front of the painting.
9 x 12
Oil on cotton

The Letter
Single gray ground - Lootwit and fine beach charcoal
Drawing - burnt umber
Painting Style - viscous CSO - using hand ground pigments
9 x 12
Oil on cotton

Single red ochre ground and pigment drawing

Sunday Cryptic
A commission piece
Single red ochre ground 
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
Another nudist relaxing in a pool. She is solving a cross word puzzle.
18 x 18
Oil on Linen  NFS

Lunar soccer
Single ground - Red Ochre and Lootwit 
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
20 x 40
Oil on polyester

Tranquil Seas
Single ground - Red Ochre and Lootwit 
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
24 x 40
Oil on polyester

Country Sunset
Single ground - Fine beach charcoal and Lootwit 
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
14 x 40
Oil on polyester

Envision
Double ground - Red Ochre and Khaki for the second 
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
24 x 40
Oil on polyester

Chiaroscuro Study
Single ground - Red Ochre
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
Note the reflection of my hand on the bottom right - very deep gloss.
The paintings back ground is black when viewed in person.
9 x 11
Oil on Masonite board

Genteel Study
Single ground - Red Ochre
Drawing - pigment
Painting Style - viscous CSO - using hand ground pigments and 
Lootwit (Lead White and calcite)
Note: The painting has a very deep gloss when viewed in person.
9 x 11
Oil on Masonite board

Picking flowers at dusk
Single red ochre ground
Drawing - burnt sienna
Palette - pthalo blue, burnt sienna, yellow ochre and cadmium yellow
Adjusting pigments - Mars black, titanium white 
Painting Style - viscous CSO - using hand ground pigments
9 x 12
Oil on cotton

Vermillion Red
Painting Style - Ala Prima painting
viscous CSO - using hand ground pigments
9 x 11
Oil on Masonite board

Artist Methods
The Venetian Technique
Was adopted from the Flemish method

Artist Notes  

Methods:

I have found a new method of oil painting. It is called the Calcite Sun Oil Method - CSO The procedure is very regimented and allows full control of the paint. Rediscovering  impasto, glazing and scumbles in a new light has been a dawning experience.
I have a lot to say about this method. Most of which is good. 

Materials:

I have decided to use Polyester for some of my oil paintings. The research and use by historic restorers, such as at the London Gallery, have convinced me enough to try it. Polyester is reported not to mildew thus resistant to disintegrate and last longer than Linen.
It is different to paint on and requires a PVA glue for sizing. I find the double ground a necessity to help prevent a fuzziness protruding up through the paint layer. It is possible that a triple layer of PVA needs to be utilized to prevent this annoying side affect.

Cold Pressed, Unrefined, Sun Thickened, Linseed Oil

2 oz. - $20.00
4 oz. - $40.00
8 oz. - $75.00
Shipping not included - International orders welcome - Orders by email or phone
Contact

Sun Thickened Linseed Oil
My Cold Pressed Sun Oil is unrefined Linseed/Flax oil. It is organically cleansed without caustic chemicals. It is then slowly sun thickened until just the right time for a very pale, fast drying oil of superior quality. This oil dries within thirty hours - allowing elimination of any driers.

 I adhere to strict procedures provided by Louis Velasquez to achieve this unsurpassed oil. I use and stand by this sun oil. Calcite Sun Oil Method  
Questions welcome

Please Note: that I am a professional artist and not a store. I make all of my materials for personal use. It is the reason of unavailability of this superior oil that I offer it for sale. Thank you

Sun Oil Sun Box - 24 x 24

The box is used to make Sun Oil out of Flax seed oil bought from my local health food store. This oil is the most important of all the materials used in oil painting. It is the brick and mortar - the foundation that supports everything in a painting.

The Box:

You may be able to see the vent saw cuts in the back part of the box of the top picture. There are more on the sides as well as a gap at the bottom edge along the sides.

The pitch from rear to front is good for optimum sun into the box as well as drain the water from rain.

The glass is an old table top and fairly thick. I cut recessed slots to mount the glass permanently into the box with a dado on my table saw. The box is just a lid for easy access to mixing the oil daily.

The bottom of the box is a cutting from roofing material. It is plywood with attached white anti mold agent plastic. It is bought that way for industrial use. I am using it not really for the anti mold, but for the white reflective properties through the clear Pyrex dishes.

I will be making a 24 x36 in. box next in the same manner. Then we will see what modifications will be needed to the Sun Boxes as I sun the oil here in Oregon by this spring.

Materials and Methods

As a firm believer of doing things right the first time… The artist’s materials and practice of applications of such are as important as the slow and fast line of a strong composition. Is the foundation of the old Masters like the Dutch and without knowing the materials, the artist will struggle too get the idea on the canvas and it will show. There lies the principle reason that we are able to enjoy the works of the Old Masters work today, they knew their materials and the applications.

I will not claim I know the materials and method secrets of the OM, but there are Artists and persons in Archival Science today that have dedicated their life to not only uncover these secrets, but improved on them to the point that we may have succeeded them.

There are materials and methods that have been past down through the ages by masters in oil painting that have been guarded and then reveled, horded and scandalized to a point that has created a confusion in most, and a almost religious following in some.

Some members of this oracular following are Robert Doak, James Groves, Robert Howard and Tad Spurgeon and similar practitioners to name a few that are living and have a web presence, without cracking a book to learn from. Their dedication and teachings are unparalleled as far as I am concerned. The knowledge and application of their craft is apparent, patrons and artisans alike would do well to have a look. Get Robert Doak on the phone in New York or Rob Howard in a forum and you will find out all the things you may be doing wrong.

Though I am diligent and meticulous in what I do and how I do it, I have only applied these “OM” materials and methods to Sixty paintings in the past two years and have found these methods of the utmost importance in the artistic form of oil painting. I have been a professional artist in one form or another for only 25 years, so I may not know what I am talking about. I do know that it works very well for me. I struggle not, except with myself to get the idea on the canvas and always planning for the next project.

I continue to enjoy the idea that my paintings not only have been enjoyed by others, but most important to me is the paintings have been done right by utilizing the highest quality materials and methods that I have collected from literature and other artists like those I have named.

James Taylor
Jan. 2007

info@jamestaylorstudio.com

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