SZTUKA
Piękno i dobre samopoczucie
RZEMIOSŁO
KULTURA I HISTORIA
ROZRYWKA
ŚRODOWISKO
JEDZENIE I NAPOJE
INŻYNIERIA ODWROTNA
NAUKI
LEKKOATLETYKA
TECHNOLOGIA
URZĄDZENIA DO NOSZENIA
Malarstwo
Dostępne plany: 37
Plany (37)
The Collapsible Tube: A Container That Is Always Full
autor: Charlie
Malarstwo
12
0
0
0
0
0
Masking Tape: Crepe Paper and an Adhesive That Never Dries
autor: Mary
Przybory
13
0
0
0
0
0
Making Mars Colours — Synthetic Iron Oxide Pigments from Copperas
autor: Charlie
SZTUKA
53
0
0
0
2
0
Making Zinc White Pigment — The Non-Toxic Replacement for Lead White
autor: Charlie
SZTUKA
57
0
0
0
5
0
Making Sap Green from Buckthorn Berries — The Medieval Manuscript Painter's Green
autor: Charlie
SZTUKA
68
0
0
0
2
0
Making Copper Resinate Green — The Transparent Glaze of Medieval and Renaissance Painters
autor: Charlie
SZTUKA
62
0
0
0
1
0
Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant
autor: Charlie
SZTUKA
51
0
0
0
2
0
Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters
autor: Charlie
SZTUKA
66
0
0
0
0
0
Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo
autor: Charlie
SZTUKA
77
0
0
0
2
0
Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists
autor: Charlie
SZTUKA
156
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
autor: Charlie
SZTUKA
73
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
autor: Charlie
SZTUKA
135
0
0
0
2
0
Niebezpieczne
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
autor: Charlie
SZTUKA
65
0
0
0
2
0
Niebezpieczne
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
autor: Charlie
SZTUKA
75
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
autor: Charlie
SZTUKA
72
0
0
0
4
0
Niebezpieczne
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
autor: Charlie
SZTUKA
88
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
autor: Charlie
SZTUKA
61
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
autor: Charlie
SZTUKA
55
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
autor: Charlie
SZTUKA
59
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
autor: Charlie
Zwierzę
142
0
0
0
3
0
Niebezpieczne
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
autor: Charlie
Starożytny
108
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
autor: Charlie
średniowiecze
132
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite
autor: Charlie
Starożytny
90
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green
autor: Charlie
Starożytny
90
0
0
0
9
0
Pokazano 24 z 37