UBUCIKO
UBUHLE NEMPILO
UBUCIKO BEZANDLA
AMASIKO NOMLANDO
EZOKUZIJABULISA
IMVELO
UKUDLA NEZIPHUZO
REVERSE ENGINEERING
IZAYENSI
EZEMIDLALO
UBUCHWEPHESHE
IZINTO EZIGQOKWAYO
Ama-BlueprintAMASIKO NOMLANDO
AMASIKO NOMLANDO
Ama-Blueprint angu-1,509 ayatholakala • Izigatshana ezingu-3
Yeqashela Izigatshana
Ama-Blueprint (1,509)
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
ngu-Charlie
UBUCIKO
72
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
ngu-Charlie
UBUCIKO
131
0
0
0
2
0
Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting
ngu-Charlie
Ukucwenga
64
0
0
0
2
0
Yingozi
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
ngu-Charlie
UBUCIKO
64
0
0
0
2
0
Yingozi
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
ngu-Charlie
UBUCIKO
74
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
ngu-Charlie
UBUCIKO
71
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
87
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
ngu-Charlie
UBUCIKO
60
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
ngu-Charlie
UBUCIKO
53
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
ngu-Charlie
UBUCIKO
58
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
ngu-Charlie
Isilwane
138
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
108
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
ngu-Charlie
Iminyaka Ephakathi
131
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite
ngu-Charlie
Kwasendulo
88
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green
ngu-Charlie
Kwasendulo
90
0
0
0
9
0
Yingozi
Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)
ngu-Charlie
Kwesimanje
88
0
0
0
7
0
Yingozi
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
ngu-Charlie
Iminyaka Ephakathi
64
0
0
0
6
0
Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History
ngu-Charlie
Iminyaka Ephakathi
62
0
0
0
8
0
Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters
ngu-Charlie
Kwasendulo
64
0
0
0
2
0
Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish
ngu-Charlie
Kwasendulo
45
0
0
0
3
0
Making Casein Paint from Milk and Lime — The Ancient Protein-Based Wall Paint
ngu-Charlie
Kwasendulo
178
0
0
0
4
0
Making Chalk White Pigment (Whiting) — Grinding and Levigating Natural Chalk
ngu-Charlie
Ngaphambi Komlando
73
0
0
0
5
0
Making Encaustic Paint — The Hot Beeswax Medium of Ancient Greek and Egyptian Painters
ngu-Charlie
Kwasendulo
51
0
0
0
3
0
Making Hide Glue Distemper — The Traditional Ceiling and Wall Paint of Europe
ngu-Charlie
Iminyaka Ephakathi
67
0
0
0
4
0
Kukhonjiswa 24 kwangu-1509