UBUCIKO
UBUHLE NEMPILO
UBUCIKO BEZANDLA
AMASIKO NOMLANDO
EZOKUZIJABULISA
IMVELO
UKUDLA NEZIPHUZO
REVERSE ENGINEERING
IZAYENSI
EZEMIDLALO
UBUCHWEPHESHE
IZINTO EZIGQOKWAYO
Umbala We-Pigment
Ama-Blueprint angu-76 ayatholakala
Ama-Blueprint (76)
Yingozi
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
ngu-Charlie
UBUCIKO
70
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
ngu-Charlie
UBUCIKO
69
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
85
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
57
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
ngu-Charlie
Isilwane
135
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
105
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
ngu-Charlie
Iminyaka Ephakathi
130
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite
ngu-Charlie
Kwasendulo
86
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green
ngu-Charlie
Kwasendulo
87
0
0
0
9
0
Yingozi
Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)
ngu-Charlie
Kwesimanje
84
0
0
0
7
0
Yingozi
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
ngu-Charlie
Iminyaka Ephakathi
60
0
0
0
6
0
Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History
ngu-Charlie
Iminyaka Ephakathi
60
0
0
0
8
0
Making Vine Black Pigment — Charring Grape Vines into the Cool Blue-Black of Classical Painters
ngu-Charlie
Kwasendulo
63
0
0
0
2
0
Water Gilding with Gold Leaf — Applying Gold to Gesso and Bole for a Mirror Finish
ngu-Charlie
Kwasendulo
44
0
0
0
3
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 a Lake Pigment from Plant Dye — Precipitating Soluble Colour onto an Insoluble Substrate
ngu-Charlie
Kwasendulo
82
0
0
0
6
0
Making Lampblack Pigment — Collecting Carbon Soot from a Burning Flame
ngu-Charlie
Ngaphambi Komlando
157
0
0
0
6
0
Making Red Ochre by Calcining Yellow Ochre — The Oldest Deliberate Pigment Transformation
ngu-Charlie
Ngaphambi Komlando
113
0
0
0
7
0
Making Ultramarine from Lapis Lazuli — Extracting the Most Precious Pigment in History
ngu-Charlie
Iminyaka Ephakathi
89
0
0
0
6
0
Making Verdigris — The Copper Acetate Green of Medieval Painters
ngu-Charlie
Kwasendulo
93
0
0
0
7
0
Ukushesa Izikoli Zangempela Ezivela Osehlukenenungamandungul — Umbala Osevela Engameni
ngu-Bob
Ibhayoloji
57
0
0
0
0
0
Kukhonjiswa 24 kwangu-76