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BlueprintsCulture And HistoryEras

Eras

1.343 blueprints disponíveis • 17 subcategorias

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Vikings

Romans

Egyptians

Grécia Arcaica

Edo Period

Pré-histórico

Antigo

Idade Média

Moderno

Pós-Moderno

Industry 1.0 — Steam & Mechanization (1760)

Industry 2.0 — Electricity, Steel & Oil (1870)

Industry 3.0 — Assembly Line & Mass Production (1913)

Industry 4.0 — Computers & Digital Automation (1960)

Industry 5.0 — Open Knowledge & AI Collaboration (2026)

Renaissance (1400–1600)

Scientific Revolution (1600–1760)

Blueprints (1.343)

Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant

Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant

por CharlieDE

ARTE

19
0
0
0
2
0
Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters

Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters

por CharlieDE

ARTE

33
0
0
0
0
0
Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo

Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo

por CharlieDE

ARTE

30
0
0
0
2
0
Making Madder Lake Pigment — Precipitating Red Pigment from the Dyer's Root

Making Madder Lake Pigment — Precipitating Red Pigment from the Dyer's Root

por CharlieDE

ARTE

28
0
0
0
2
0
Synthesising Vermillion from Mercury and Sulfur — The King of Red Pigments
Perigoso

Synthesising Vermillion from Mercury and Sulfur — The King of Red Pigments

por CharlieDE

ARTE

29
0
0
0
4
0
Making Realgar Orange Pigment — The Arsenic Companion to Orpiment
Perigoso

Making Realgar Orange Pigment — The Arsenic Companion to Orpiment

por CharlieDE

ARTE

31
0
0
0
0
0
Making Red Lead (Minium) — The Pigment That Named the Art of Miniature Painting
Perigoso

Making Red Lead (Minium) — The Pigment That Named the Art of Miniature Painting

por CharlieDE

ARTE

60
0
0
0
1
0
Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists

Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists

por CharlieDE

ARTE

77
0
0
0
0
0
Fazer Tinta de Tatuagem com Ocre Vermelho

Fazer Tinta de Tatuagem com Ocre Vermelho

por CharlieDE

Arte Corporal

53
0
0
0
1
0
Fazendo Tinta de Tatuagem Preta a partir de Fuligem de Madeira — O Pigmento Corporal Mais Antigo da História Humana

Fazendo Tinta de Tatuagem Preta a partir de Fuligem de Madeira — O Pigmento Corporal Mais Antigo da História Humana

por CharlieDE

Arte Corporal

68
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters

Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters

por CharlieDE

ARTE

23
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting

Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting

por CharlieDE

ARTE

59
0
0
0
2
0
Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting

Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting

por CharlieDE

Destilação

27
0
0
0
2
0
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
Perigoso

Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment

por CharlieDE

ARTE

36
0
0
0
2
0
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
Perigoso

Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World

por CharlieDE

ARTE

39
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting

Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting

por CharlieDE

ARTE

30
0
0
0
4
0
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
Perigoso

Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History

por CharlieDE

ARTE

46
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany

Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany

por CharlieDE

ARTE

31
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown

Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown

por CharlieDE

ARTE

21
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow

Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow

por CharlieDE

ARTE

29
0
0
0
2
0
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