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Painting
39 blueprints available
Blueprints (39)
Glue Gesso: Rabbit-Skin Glue and Chalk for Painting Panels
by Charlie
Painting
4
0
0
0
0
0
Hazardous
Stretched Painting Canvas: Linen on a Stretcher, Glue-Sized and Primed with Lead White
by Mary
Painting
18
0
0
0
0
0
The Collapsible Tube: A Container That Is Always Full
by Charlie
Painting
26
0
0
0
0
0
Masking Tape: Crepe Paper and an Adhesive That Never Dries
by Mary
Materials
34
0
0
0
0
0
Making Mars Colours — Synthetic Iron Oxide Pigments from Copperas
by Charlie
ART
55
0
0
0
2
0
Making Zinc White Pigment — The Non-Toxic Replacement for Lead White
by Charlie
ART
57
0
0
0
5
0
Making Sap Green from Buckthorn Berries — The Medieval Manuscript Painter's Green
by Charlie
ART
73
0
0
0
2
0
Making Copper Resinate Green — The Transparent Glaze of Medieval and Renaissance Painters
by Charlie
ART
62
0
0
0
1
0
Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant
by Charlie
ART
52
0
0
0
2
0
Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters
by Charlie
ART
69
0
0
0
0
0
Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo
by Charlie
ART
82
0
0
0
2
0
Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists
by Charlie
ART
166
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
by Charlie
ART
76
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
by Charlie
ART
144
0
0
0
2
0
Hazardous
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
by Charlie
ART
65
0
0
0
2
0
Hazardous
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
by Charlie
ART
79
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
by Charlie
ART
75
0
0
0
4
0
Hazardous
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
by Charlie
ART
92
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
by Charlie
ART
63
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
by Charlie
ART
56
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
by Charlie
ART
65
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
by Charlie
Animal
147
0
0
0
3
0
Hazardous
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
by Charlie
Ancient
119
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
by Charlie
Middle Ages
137
0
0
0
4
0
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