མཛེས་སྡུག་དང་བདེ་ཐང

རིག་གནས་དང་ལོ་རྒྱུས

ཟས་དང་བཏུང་རྫས

ལྗང་མ་འཇོར་ལུགས

ཕྱིར་འཕྲུལ་རིག

ཁ་དོག་རྫས

བིལུ་པིརིན་ཊི ༧༢ ཡོད

བིལུ་པིརིན་ཊི (༧༢)

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

ཁ་དོག་རྫས

བིལུ་པིརིན་ཊི (༧༢)

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

Distilling Turpentine from Pine Resin — The Essential Solvent of Oil 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

Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green

Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)

Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment

Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History

Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters

Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish