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PlanyKULTURA I HISTORIA

KULTURA I HISTORIA

Dostępne plany: 1509 • Podkategorie: 3

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Plany (1509)

Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters

Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters

autor: CharlieDE

SZTUKA

73
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

autor: CharlieDE

SZTUKA

135
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

autor: CharlieDE

Destylacja

68
0
0
0
2
0
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
Niebezpieczne

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

autor: CharlieDE

SZTUKA

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

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

autor: CharlieDE

SZTUKA

75
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

autor: CharlieDE

SZTUKA

72
0
0
0
4
0
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
Niebezpieczne

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

autor: CharlieDE

SZTUKA

88
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

autor: CharlieDE

SZTUKA

61
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

autor: CharlieDE

SZTUKA

55
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

autor: CharlieDE

SZTUKA

61
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

autor: CharlieDE

Zwierzę

143
0
0
0
3
0
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
Niebezpieczne

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

autor: CharlieDE

Starożytny

108
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

autor: CharlieDE

średniowiecze

132
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

autor: CharlieDE

Starożytny

90
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

autor: CharlieDE

Starożytny

90
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)

autor: CharlieDE

Nowoczesny

93
0
0
0
7
0
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
Niebezpieczne

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

autor: CharlieDE

średniowiecze

64
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

autor: CharlieDE

średniowiecze

63
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

autor: CharlieDE

Starożytny

66
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

autor: CharlieDE

Starożytny

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

autor: CharlieDE

Starożytny

182
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

autor: CharlieDE

Prehistoryczny

74
0
0
0
5
0
Making Encaustic Paint — The Hot Beeswax Medium of Ancient Greek and Egyptian Painters

Making Encaustic Paint — The Hot Beeswax Medium of Ancient Greek and Egyptian Painters

autor: CharlieDE

Starożytny

52
0
0
0
3
0
Making Hide Glue Distemper — The Traditional Ceiling and Wall Paint of Europe

Making Hide Glue Distemper — The Traditional Ceiling and Wall Paint of Europe

autor: CharlieDE

średniowiecze

67
0
0
0
4
0
Pokazano 24 z 1509