Ukusebenzisana
UBUCIKO
UBUHLE NEMPILO
UBUCIKO BEZANDLA
AMASIKO NOMLANDO
EZOKUZIJABULISA
IMVELO
UKUDLA NEZIPHUZO
REVERSE ENGINEERING
IZAYENSI
EZEMIDLALO
UBUCHWEPHESHE
IZINTO EZIGQOKWAYO
Ama-BlueprintIZAYENSI
IZAYENSI
Ama-Blueprint angu-2,529 ayatholakala • Izigatshana ezingu-11
Yeqashela Izigatshana
Ama-Blueprint (2,529)
Yingozi
Synthesising Vermillion from Mercury and Sulfur — The King of Red Pigments
ngu-Charlie
UBUCIKO
64
0
0
0
4
0
Yingozi
Making Realgar Orange Pigment — The Arsenic Companion to Orpiment
ngu-Charlie
UBUCIKO
71
0
0
0
0
0
Yingozi
Making Red Lead (Minium) — The Pigment That Named the Art of Miniature Painting
ngu-Charlie
UBUCIKO
117
0
0
0
2
0
Ukwenza Uyinki We-Sepia Ovela Kungwane — Uyinki Onsundu Wemvelo Wabaculi BaseMedithera
ngu-Charlie
UBUCIKO
208
0
0
0
0
0
Ukwenza i-Red Ochre Tattoo Paint
ngu-Charlie
Ubuciko Bomzimba
162
0
0
0
1
0
Lungisa Isi ye-tattoo Emnyama kusuka e-umsi wekhuni — Umuntu Omkhulu kkunyenye Ishwa yomntu
ngu-Charlie
Ubuciko Bomzimba
164
0
0
0
0
0
Making Gamboge Yellow — Preparing the Tree Resin Pigment of Southeast Asian Painters
ngu-Charlie
UBUCIKO
86
0
0
0
3
0
Making Cochineal Carmine Lake Pigment — Precipitating the Insect Red onto an Alum Substrate for Painting
ngu-Charlie
UBUCIKO
177
0
0
0
2
0
Distilling Turpentine from Pine Resin — The Essential Solvent of Oil Painting
ngu-Charlie
Ukucwenga
106
0
0
0
2
0
Yingozi
Making Naples Yellow (Lead Antimonate) — The Oldest Known Synthetic Yellow Pigment
ngu-Charlie
UBUCIKO
83
0
0
0
2
0
Yingozi
Making Orpiment Yellow Pigment — Grinding the Golden Arsenic Mineral of the Ancient World
ngu-Charlie
UBUCIKO
87
0
0
0
2
0
Making Azurite Blue Pigment — Grinding the Copper Mineral into the Blue of Medieval Painting
ngu-Charlie
UBUCIKO
90
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
114
0
0
0
5
0
Making Raw and Burnt Sienna — The Warm Iron Earth from Tuscany
ngu-Charlie
UBUCIKO
80
0
0
0
1
0
Making Raw and Burnt Umber — The Manganese Earth Pigments of Warm Shadow and Deep Brown
ngu-Charlie
UBUCIKO
69
0
0
0
1
0
Making Yellow Ochre Pigment — Grinding and Levigating Goethite into the Oldest Painter's Yellow
ngu-Charlie
UBUCIKO
95
0
0
0
3
0
Making Bone Black Pigment — Calcining Animal Bones into the Warm Black of Old Master Painters
ngu-Charlie
Isilwane
186
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
144
0
0
0
8
0
Making Dammar Varnish — The Clear Picture Varnish for Oil Paintings
ngu-Charlie
Iminyaka Ephakathi
166
0
0
0
4
0
Making Green Earth Pigment (Terra Verte) — The Soft Green of Celadonite and Glauconite
ngu-Charlie
Kwasendulo
119
0
0
0
6
0
Making Malachite Green Pigment — Grinding the Copper Mineral into Painter's Green
ngu-Charlie
Kwasendulo
121
0
0
0
9
0
Making Prussian Blue — The First Modern Synthetic Pigment (Berlin, 1704)
ngu-Charlie
Kwesimanje
122
0
0
0
7
0
Yingozi
Making Smalt — Grinding Cobalt Blue Glass into the Renaissance Painter's Blue Pigment
ngu-Charlie
Iminyaka Ephakathi
73
0
0
0
6
0
Making Traditional Gesso — The White Ground That Prepared Every Panel Painting in History
ngu-Charlie
Iminyaka Ephakathi
98
0
0
0
8
0
Kukhonjiswa 24 kwangu-2529