This pigment was used in paint for wall art or mummy coffins, or in glazes for pottery.

这种色素被用于墙画、木乃伊棺木或陶器的釉料。

Through layers and layers of those thin, semi-transparent glazes, he blended everything sfumato style.

通过层又层薄薄的半透明釉料，他融合了所有的渲染风格。

Now with our glaze, we're going to color it.

现在有了我们的釉料，我们要给它上色。

What ingredients did they use in these glazes?

他们在这些釉料中使用了哪些成分？

The glaze is very important, it just brings it all together.

釉料非常重要，它所有东西结合在。

So let's talk about the glaze.

那么让我们来谈谈釉料。

Well, we can see that he kept experimenting with glazes, with the Sfumato technique.

我们可以看出，他不断尝试釉料，探索晕涂技法。

Tamarind is the base of my glaze.

罗望子我釉料的基础。

Before World War II, it was common for manufacturers of ceramic dinnerware to use uranium oxide in colored glazes.

第二次世界大战前，陶瓷餐具制造商通常在彩色釉料中使用氧化铀。

Just use a small spoonful of your glaze and spread it around your cookie with a spoon.

需用小匙你的釉料，然后用勺子它涂在你的饼干周围。

The trick is to move fast, and as soon as the glaze stops running, just go in for some more.

诀窍快速移动，旦釉料停止流动，就再进去些。

The glaze is looking really good.

釉料看来非常好。

Now with your glaze set, pipe on your sweet little baby's face.

现在用你的釉料套装，在你可爱的小宝宝的脸上吹管子。

For example, some families finish it with almost like a Madeira sweet glaze with cinnamon and spices where some families finish it like a soy glazed.

例如，有些家庭用马德拉甜釉料加上肉桂和香料，有些家庭用大豆釉料。

While your cookies are baking, we're going to whip up our glaze really fast to color in the babies' faces.

当你的饼干在烤的时候，我们会很快地搅动我们的釉料来给宝宝们的脸上色。

So what I'll do is just very quickly take my glaze.

所以我会做的就很快地采取我的釉料。

As you can see the glaze is nice and smooth on top of the cookie and that's what you want.

正如您所看到的，饼干顶部的釉料非常光滑，这就您想要的。

The lead white undercoat reflects the light back through his glazes, giving the picture more depth, and in essence, lighting Mona Lisa from within.

铅白色的底漆将光线通过釉料反射回来，使这幅画更有深度，从内部照亮了《蒙娜丽莎》。

But with the later paintings, well, it appears that as the time went on Leonardo used single pigment glazes more and more.

但在后来的画作中，随着时间的推移，莱昂纳多越来越多地使用单颜料的釉料。

He combined the techniques of wheel-throwing and coiling, and experimented with glazes to produce varying textures and colours, from moss green to ochre.

他结合了抛轮和卷绕技术，并尝试用釉料制作出从苔绿色到赭石的不同质地和颜色。