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Painting
35 blueprints available
Blueprints (35)
Making Mars Colours — Synthetic Iron Oxide Pigments from Copperas
ngu-Charlie
ART
31
0
0
0
2
0
Making Zinc White Pigment — The Non-Toxic Replacement for Lead White
ngu-Charlie
ART
24
0
0
0
5
0
Making Sap Green from Buckthorn Berries — The Medieval Manuscript Painter's Green
ngu-Charlie
ART
25
0
0
0
2
0
Making Copper Resinate Green — The Transparent Glaze of Medieval and Renaissance Painters
ngu-Charlie
ART
29
0
0
0
1
0
Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant
ngu-Charlie
ART
19
0
0
0
2
0
Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters
ngu-Charlie
ART
33
0
0
0
0
0
Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo
ngu-Charlie
ART
28
0
0
0
2
0
Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists
ngu-Charlie
ART
74
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
ngu-Charlie
ART
23
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
ngu-Charlie
ART
57
0
0
0
2
0
Yingozi
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
ngu-Charlie
ART
35
0
0
0
2
0
Yingozi
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
ngu-Charlie
ART
37
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
ngu-Charlie
ART
30
0
0
0
4
0
Yingozi
Making Lead White (Flake White) — The Dutch Stack Process for the Most Important Pigment in Oil Painting History
ngu-Charlie
ART
46
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
ngu-Charlie
ART
31
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
ngu-Charlie
ART
21
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
ngu-Charlie
ART
29
0
0
0
2
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
ngu-Charlie
Animal
51
0
0
0
3
0
Yingozi
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
ngu-Charlie
Ancient
44
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
ngu-Charlie
Middle Ages
68
0
0
0
4
0