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PlanyNAUKI
NAUKI
Dostępne plany: 2236 • Podkategorie: 11
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Plany (2236)
Robienie czarnego tuszu tatuażu ze smółki drewna — najstarszy pigment ciała w historii ludzkości
autor: Charlie
Sztuka Ciała
151
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
autor: Charlie
SZTUKA
81
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
autor: Charlie
SZTUKA
158
0
0
0
2
0
Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting
autor: Charlie
Destylacja
87
0
0
0
2
0
Niebezpieczne
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
autor: Charlie
SZTUKA
78
0
0
0
2
0
Niebezpieczne
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
autor: Charlie
SZTUKA
83
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
autor: Charlie
SZTUKA
83
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
102
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
autor: Charlie
SZTUKA
71
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
autor: Charlie
SZTUKA
62
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
autor: Charlie
SZTUKA
79
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
autor: Charlie
Zwierzę
170
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
130
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
autor: Charlie
średniowiecze
148
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite
autor: Charlie
Starożytny
105
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green
autor: Charlie
Starożytny
104
0
0
0
9
0
Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)
autor: Charlie
Nowoczesny
111
0
0
0
7
0
Niebezpieczne
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
autor: Charlie
średniowiecze
67
0
0
0
6
0
Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History
autor: Charlie
średniowiecze
78
0
0
0
8
0
Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters
autor: Charlie
Starożytny
74
0
0
0
2
0
Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish
autor: Charlie
Starożytny
64
0
0
0
3
0
Making Chalk White Pigment (Whiting) — Grinding and Levigating Natural Chalk
autor: Charlie
Prehistoryczny
98
0
0
0
5
0
Making Encaustic Paint — The Hot Beeswax Medium of Ancient Greek and Egyptian Painters
autor: Charlie
Starożytny
58
0
0
0
3
0
Making a Lake Pigment from Plant Dye — Precipitating Soluble Colour onto an Insoluble Substrate
autor: Charlie
Starożytny
103
0
0
0
6
0
Pokazano 24 z 2236