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Mga BlueprintKULTURA AT KASAYSAYAN

KULTURA AT KASAYSAYAN

1,607 blueprint ang available • 3 subkategorya

Mga Blueprint (1,607)

Gumawa ng Pulang Ochre Tattoo Paint

Gumawa ng Pulang Ochre Tattoo Paint

ni CharlieDE

Body Art

133
0
0
0
1
0
Gumawa ng Itim na Tattoo Ink mula sa Abo ng Puno — Ang Pinakamatatandang Katawan Pigment sa Kasaysayan ng Tao

Gumawa ng Itim na Tattoo Ink mula sa Abo ng Puno — Ang Pinakamatatandang Katawan Pigment sa Kasaysayan ng Tao

ni CharlieDE

Body Art

138
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

ni CharlieDE

SINING

76
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

ni CharlieDE

SINING

143
0
0
0
2
0
Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting

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

ni CharlieDE

Pagdidistila

73
0
0
0
2
0
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
Mapanganib

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

ni CharlieDE

SINING

65
0
0
0
2
0
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
Mapanganib

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

ni CharlieDE

SINING

79
0
0
0
2
0
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

ni CharlieDE

SINING

75
0
0
0
4
0
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
Mapanganib

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

ni CharlieDE

SINING

92
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

ni CharlieDE

SINING

63
0
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

ni CharlieDE

SINING

56
0
0
0
1
0
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

ni CharlieDE

SINING

65
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters

Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters

ni CharlieDE

Hayop

147
0
0
0
3
0
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
Mapanganib

Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World

ni CharlieDE

Sinauna

118
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings

Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings

ni CharlieDE

Gitnang Panahon

137
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite

Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite

ni CharlieDE

Sinauna

91
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green

Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green

ni CharlieDE

Sinauna

93
0
0
0
9
0
Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)

Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)

ni CharlieDE

Moderno

98
0
0
0
7
0
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
Mapanganib

Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment

ni CharlieDE

Gitnang Panahon

65
0
0
0
6
0
Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History

Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History

ni CharlieDE

Gitnang Panahon

66
0
0
0
8
0
Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters

Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters

ni CharlieDE

Sinauna

69
0
0
0
2
0
Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish

Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish

ni CharlieDE

Sinauna

48
0
0
0
3
0
Making Casein Paint from Milk and Lime — The Ancient Protein-Based Wall Paint

Making Casein Paint from Milk and Lime — The Ancient Protein-Based Wall Paint

ni CharlieDE

Sinauna

204
0
0
0
4
0
Making Chalk White Pigment (Whiting) — Grinding and Levigating Natural Chalk

Making Chalk White Pigment (Whiting) — Grinding and Levigating Natural Chalk

ni CharlieDE

Prehistoriko

79
0
0
0
5
0
Ipinapakita ang 24 sa 1607