མཛེས་སྡུག་དང་བདེ་ཐང

རིག་གནས་དང་ལོ་རྒྱུས

ཟས་དང་བཏུང་རྫས

ཕྱིར་འཕྲུལ་རིག

རི་མོ

བིལུ་པིརིན་ཊི ༣༨ ཡོད

བིལུ་པིརིན་ཊི (༣༨)

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

Charlie གྱིས

38 ནང་ལས་ 24 སྟོན་དོ།

རི་མོ

བིལུ་པིརིན་ཊི (༣༨)

Stretched Painting Canvas: Linen on a Stretcher, Glue-Sized and Primed with Lead White

The Collapsible Tube: A Container That Is Always Full

Masking Tape: Crepe Paper and an Adhesive That Never Dries

Making Mars Colours — Synthetic Iron Oxide Pigments from Copperas

Making Zinc White Pigment — The Non-Toxic Replacement for Lead White

Making Sap Green from Buckthorn Berries — The Medieval Manuscript Painter's Green

Making Copper Resinate Green — The Transparent Glaze of Medieval and Renaissance Painters

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

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

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

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

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

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

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

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

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

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

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

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

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

Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters

Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World

Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings

Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite