IṢẸ́ ỌNÀ
ẸWÀ ÀTI ÌLERA
IṢẸ́ ỌWỌ́
ÀṢÀ ÀTI ÌTÀN
ÌṢERÉ
ÀYÍKÁ
OÚNJẸ ÀTI OHUN MÍMU
REVERSE ENGINEERING
SÁYẸ́ǸSÌ
ERÉ ÌDÁRAYÁ
ÌMỌ̀-Ẹ̀RỌ
ÀWỌN OHUN WÍWỌ̀
Àwọ̀ Pigment
Ìtọ́nisọ́nà 76 wà
Àwọn Ìtọ́nisọ́nà (76)
Léwu
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
78
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
73
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
89
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
61
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
55
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
láti ọwọ́ Charlie
IṢẸ́ ỌNÀ
63
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
láti ọwọ́ Charlie
Ẹranko
145
0
0
0
3
0
Léwu
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
láti ọwọ́ Charlie
Ìgbà Àtijọ́
109
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
láti ọwọ́ Charlie
Ọ̀rúndún Àárín
135
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite
láti ọwọ́ Charlie
Ìgbà Àtijọ́
91
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green
láti ọwọ́ Charlie
Ìgbà Àtijọ́
90
0
0
0
9
0
Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)
láti ọwọ́ Charlie
Òde Òní
94
0
0
0
7
0
Léwu
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
láti ọwọ́ Charlie
Ọ̀rúndún Àárín
65
0
0
0
6
0
Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History
láti ọwọ́ Charlie
Ọ̀rúndún Àárín
64
0
0
0
8
0
Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters
láti ọwọ́ Charlie
Ìgbà Àtijọ́
67
0
0
0
2
0
Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish
láti ọwọ́ Charlie
Ìgbà Àtijọ́
48
0
0
0
3
0
Making Chalk White Pigment (Whiting) — Grinding and Levigating Natural Chalk
láti ọwọ́ Charlie
Ṣáájú Ìtàn
75
0
0
0
5
0
Making Encaustic Paint — The Hot Beeswax Medium of Ancient Greek and Egyptian Painters
láti ọwọ́ Charlie
Ìgbà Àtijọ́
53
0
0
0
3
0
Making a Lake Pigment from Plant Dye — Precipitating Soluble Colour onto an Insoluble Substrate
láti ọwọ́ Charlie
Ìgbà Àtijọ́
85
0
0
0
6
0
Making Lampblack Pigment — Collecting Carbon Soot from a Burning Flame
láti ọwọ́ Charlie
Ṣáájú Ìtàn
171
0
0
0
6
0
Making Red Ochre by Calcining Yellow Ochre — The Oldest Deliberate Pigment Transformation
láti ọwọ́ Charlie
Ṣáájú Ìtàn
124
0
0
0
7
0
Making Ultramarine from Lapis Lazuli — Extracting the Most Precious Pigment in History
láti ọwọ́ Charlie
Ọ̀rúndún Àárín
95
0
0
0
6
0
Making Verdigris — The Copper Acetate Green of Medieval Painters
láti ọwọ́ Charlie
Ìgbà Àtijọ́
95
0
0
0
7
0
Ifisèn Awọ Ina Lati inu Eweko — Awọ Lati inú Orisha
láti ọwọ́ Bob
Ẹ̀kọ́ Ẹ̀dá
58
0
0
0
0
0
Ń fi 24 nínú 76 hàn