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BlueprintsCulture And HistoryÉpoques

Époques

1 343 blueprints disponibles • 17 sous-catégories

Parcourir les Sous-catégories

Vikings

Romans

Egyptians

Grèce Archaïque

Edo Period

Préhistorique

Ancien

Moyen Âge

Moderne

Postmoderne

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

par CharlieDE

ART

19
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0
0
2
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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

par CharlieDE

ART

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

par CharlieDE

ART

31
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

par CharlieDE

ART

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

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

par CharlieDE

ART

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

Making Realgar Orange Pigment — The Arsenic Companion to Orpiment

par CharlieDE

ART

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

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

par CharlieDE

ART

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

par CharlieDE

ART

79
0
0
0
0
0
Fabriquer de la Peinture de Tatouage Ocre Rouge

Fabriquer de la Peinture de Tatouage Ocre Rouge

par CharlieDE

Art Corporel

53
0
0
0
1
0
Fabriquer de l'encre de tatouage noire à partir de suie de bois — Le plus ancien pigment corporel de l'histoire humaine

Fabriquer de l'encre de tatouage noire à partir de suie de bois — Le plus ancien pigment corporel de l'histoire humaine

par CharlieDE

Art Corporel

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

par CharlieDE

ART

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

par CharlieDE

ART

60
0
0
0
2
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Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting

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

par CharlieDE

Distillation

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

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

par CharlieDE

ART

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

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

par CharlieDE

ART

39
0
0
0
2
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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

par CharlieDE

ART

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

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

par CharlieDE

ART

47
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

par CharlieDE

ART

31
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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

par CharlieDE

ART

21
0
0
0
1
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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

par CharlieDE

ART

29
0
0
0
2
0
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