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REVERSE ENGINEERING
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ÀWỌN OHUN WÍWỌ̀
Àwọn Ìtọ́nisọ́nàÀṢÀ ÀTI ÌTÀN
ÀṢÀ ÀTI ÌTÀN
Ìtọ́nisọ́nà 2,220 wà • Ẹ̀ka kékeré 3
Ṣàwárí Àwọn Ẹ̀ka Kékeré
Àwọn Ìtọ́nisọ́nà (2,220)
Léwu
Making Cobalt Blue (Thénard's Blue) — The First Modern Synthetic Blue Pigment
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
84
0
0
0
6
0
Making Zinc White Pigment — The Non-Toxic Replacement for Lead White
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
67
0
0
0
6
0
Making Sap Green from Buckthorn Berries — The Medieval Manuscript Painter's Green
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
86
0
0
0
2
0
Making Copper Resinate Green — The Transparent Glaze of Medieval and Renaissance Painters
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
70
0
0
0
1
0
Extracting Tyrian Purple from Murex Snails — The Most Precious Colour of Antiquity
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
99
0
0
0
2
0
Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
61
0
0
0
2
0
Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
86
0
0
0
0
0
Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
95
0
0
0
2
0
Making Madder Lake Pigment — Precipitating Red Pigment from the Dyer's Root
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
94
0
0
0
2
0
Léwu
Synthesising Vermillion from Mercury and Sulfur — The King of Red Pigments
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
61
0
0
0
4
0
Léwu
Making Realgar Orange Pigment — The Arsenic Companion to Orpiment
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
63
0
0
0
0
0
Léwu
Making Red Lead (Minium) — The Pigment That Named the Art of Miniature Painting
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
109
0
0
0
2
0
Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
197
0
0
0
0
0
Ṣe Àwọ̀ Tattúù Pupa Ochre
láti ọwọ́ Charlie
Iṣẹ́ Ọnà Ara
155
0
0
0
1
0
Ṣe Aye Tatuu Dudu Lati Eken Igi — Ṣe Atowọ Ara-enia Ti O Jẹja Ni Itan Eniyan
láti ọwọ́ Charlie
Iṣẹ́ Ọnà Ara
157
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
83
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
162
0
0
0
2
0
Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting
láti ọwọ́ Charlie
Ìsúnkì
89
0
0
0
2
0
Léwu
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
80
0
0
0
2
0
Léwu
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
83
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
89
0
0
0
4
0
Léwu
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
105
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
75
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
63
0
0
0
1
0
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