UBUCIKO
UBUHLE NEMPILO
UBUCIKO BEZANDLA
AMASIKO NOMLANDO
EZOKUZIJABULISA
IMVELO
UKUDLA NEZIPHUZO
REVERSE ENGINEERING
IZAYENSI
EZEMIDLALO
UBUCHWEPHESHE
IZINTO EZIGQOKWAYO
Ukupenda
Ama-Blueprint angu-39 ayatholakala
Ama-Blueprint (39)
Glue Gesso: Rabbit-Skin Glue and Chalk for Painting Panels
ngu-Charlie
Ukupenda
9
0
0
0
0
0
Yingozi
Stretched Painting Canvas: Linen on a Stretcher, Glue-Sized and Primed with Lead White
ngu-Mary
Ukupenda
20
0
0
0
0
0
The Collapsible Tube: A Container That Is Always Full
ngu-Charlie
Ukupenda
27
0
0
0
0
0
Masking Tape: Crepe Paper and an Adhesive That Never Dries
ngu-Mary
Izinto Zokwakha
34
0
0
0
0
0
Making Mars Colours — Synthetic Iron Oxide Pigments from Copperas
ngu-Charlie
UBUCIKO
62
0
0
0
2
0
Making Zinc White Pigment — The Non-Toxic Replacement for Lead White
ngu-Charlie
UBUCIKO
61
0
0
0
5
0
Making Sap Green from Buckthorn Berries — The Medieval Manuscript Painter's Green
ngu-Charlie
UBUCIKO
75
0
0
0
2
0
Making Copper Resinate Green — The Transparent Glaze of Medieval and Renaissance Painters
ngu-Charlie
UBUCIKO
63
0
0
0
1
0
Making Indigo Pigment for Painting — Extracting the Blue Pigment Cake from Indigo Plant
ngu-Charlie
UBUCIKO
56
0
0
0
2
0
Making Bistre Ink from Wood Soot — The Warm Brown Drawing Ink of Old Masters
ngu-Charlie
UBUCIKO
76
0
0
0
0
0
Making Woad Blue Pigment — Europe's Ancient Blue Before Indigo
ngu-Charlie
UBUCIKO
84
0
0
0
2
0
Making Sepia Ink from Cuttlefish — The Natural Brown Ink of Mediterranean Artists
ngu-Charlie
UBUCIKO
175
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
ngu-Charlie
UBUCIKO
80
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
ngu-Charlie
UBUCIKO
149
0
0
0
2
0
Yingozi
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
ngu-Charlie
UBUCIKO
75
0
0
0
2
0
Yingozi
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
ngu-Charlie
UBUCIKO
80
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
ngu-Charlie
UBUCIKO
79
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
UBUCIKO
97
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
ngu-Charlie
UBUCIKO
65
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
ngu-Charlie
UBUCIKO
58
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
ngu-Charlie
UBUCIKO
73
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
ngu-Charlie
Isilwane
157
0
0
0
3
0
Yingozi
Making Cinnabar Red Pigment — Grinding Mercury Sulfide into the Most Vivid Red of the Ancient World
ngu-Charlie
Kwasendulo
123
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
ngu-Charlie
Iminyaka Ephakathi
141
0
0
0
4
0
Kukhonjiswa 24 kwangu-39