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Pintura
39 blueprints disponibles
Planos (39)
Glue Gesso: Rabbit-Skin Glue and Chalk for Painting Panels
por Charlie
Pintura
9
0
0
0
0
0
Peligroso
Stretched Painting Canvas: Linen on a Stretcher, Glue-Sized and Primed with Lead White
por Mary
Pintura
20
0
0
0
0
0
The Collapsible Tube: A Container That Is Always Full
por Charlie
Pintura
27
0
0
0
0
0
Masking Tape: Crepe Paper and an Adhesive That Never Dries
por Mary
Materiales
34
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0
0
0
0
Making Mars Colours — Synthetic Iron Oxide Pigments from Copperas
por Charlie
ARTE
62
0
0
0
2
0
Making Zinc White Pigment — The Non-Toxic Replacement for Lead White
por Charlie
ARTE
61
0
0
0
5
0
Making Sap Green from Buckthorn Berries — The Medieval Manuscript Painter's Green
por Charlie
ARTE
75
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0
0
2
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Making Copper Resinate Green — The Transparent Glaze of Medieval and Renaissance Painters
por Charlie
ARTE
63
0
0
0
1
0
Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant
por Charlie
ARTE
56
0
0
0
2
0
Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters
por Charlie
ARTE
76
0
0
0
0
0
Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo
por Charlie
ARTE
84
0
0
0
2
0
Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists
por Charlie
ARTE
175
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
por Charlie
ARTE
80
0
0
0
3
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Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
por Charlie
ARTE
149
0
0
0
2
0
Peligroso
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
por Charlie
ARTE
75
0
0
0
2
0
Peligroso
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
por Charlie
ARTE
80
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
por Charlie
ARTE
79
0
0
0
4
0
Peligroso
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
por Charlie
ARTE
97
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
por Charlie
ARTE
65
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
por Charlie
ARTE
57
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
por Charlie
ARTE
73
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
por Charlie
Animal
157
0
0
0
3
0
Peligroso
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
por Charlie
Antiguo
123
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
por Charlie
Edad Media
141
0
0
0
4
0
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