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CULTURE ET HISTOIRE
1 509 blueprints disponibles • 3 sous-catégories
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Plans (1 509)
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
par Charlie
ART
74
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
par Charlie
ART
136
0
0
0
2
0
Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting
par Charlie
Distillation
69
0
0
0
2
0
Dangereux
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
par Charlie
ART
65
0
0
0
2
0
Dangereux
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
par Charlie
ART
77
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
par Charlie
ART
72
0
0
0
4
0
Dangereux
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
par Charlie
ART
89
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
par Charlie
ART
61
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
par Charlie
ART
55
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
par Charlie
ART
61
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
par Charlie
Animal
143
0
0
0
3
0
Dangereux
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
par Charlie
Ancien
108
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
par Charlie
Moyen Âge
133
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite
par Charlie
Ancien
90
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green
par Charlie
Ancien
90
0
0
0
9
0
Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)
par Charlie
Moderne
93
0
0
0
7
0
Dangereux
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
par Charlie
Moyen Âge
64
0
0
0
6
0
Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History
par Charlie
Moyen Âge
63
0
0
0
8
0
Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters
par Charlie
Ancien
67
0
0
0
2
0
Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish
par Charlie
Ancien
48
0
0
0
3
0
Making Casein Paint from Milk and Lime — The Ancient Protein-Based Wall Paint
par Charlie
Ancien
188
0
0
0
4
0
Making Chalk White Pigment (Whiting) — Grinding and Levigating Natural Chalk
par Charlie
Préhistorique
75
0
0
0
5
0
Making Encaustic Paint — The Hot Beeswax Medium of Ancient Greek and Egyptian Painters
par Charlie
Ancien
53
0
0
0
3
0
Making Hide Glue Distemper — The Traditional Ceiling and Wall Paint of Europe
par Charlie
Moyen Âge
67
0
0
0
4
0
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