Sentences with phrase «as lithography»

He worked as a printer for the school and experimented with techniques such as lithography, etching, and woodcutting.

These artists eschewed traditional methods such as lithography in favour of commercial processes.

But their concern had rarely been the tradition of oil painting since they tended to focus on techniques of mass - production, such as lithography.

Not exact matches

In particular, ELETTRA, a third generation synchrotron radiation facility dedicated to many aspects of materials science such as crystallography, spectroscopy, and lithography, has put me in touch with a very broad scientific community and allowed me to find opportunities.

The process resembles how computer chips are made, but in conventional lithography, a chemical is used as the mask.

The process resembles how computer chips are made, but in conventional, electron beam lithography, a chemical such as polymethyl methacrylate is used as the mask.

Typically, silicon has been used after lithography and etching as a supporting component of small oxide fuel cells.

It seems the clear solid can be used as a mask to build transistors more precisely — in a process that's being dubbed «ice lithography».

One step involves translating the CAD design into a stereo - lithography (STL) file format, which maps objects and their internal and external features as triangles and vectors.

But he added that a small panel with printed details as small as 3 micrometres had already been made, and this was achievable by lithography.

A cheaper alternative, called polymer pen lithography (PPL), uses arrays of thousands to millions of tiny polymer pyramids essentially as quills to inscribe different materials onto a surface.

They usually consist of flat arrays of optical resonators with spatially varying geometric parameters and subwavelength separation, classically fabricated by lithography techniques such as photolithography or electron - beam lithography.

Self - organization of block copolymers allows to form nanopatterns which have attracted a considerable attention as an alternative approach to overcome the characteristic size limitation of the conventional lithography processes.

The lines have been fabricated by electron - beam lithography using hydrogen silsesquioxane (HSQ) as the resist layer.

During his time at LLNL, Chapman worked in a variety of subject areas, including extreme ultraviolet lithography (EUVL) projects that brought together three national labs — Lawrence Livermore (LLNL), Sandia National Labs (SNL) and Lawrence Berkeley (LBNL)-- as well as private industry representatives, such as Intel, Motorola and others (EUVL has many industry applications in microelectronics).

The Center for Nanoscale Materials provided focused ion beam lithography instrument and expertise as well as tools for fabrication of the optical masks.

More generally, AFM is at the basis of a number of techniques known collectively as scanning probe lithography.

Nanocombinatorics: The new analytical method utilizes a technique invented at Northwestern called polymer pen lithography, where basically a rubber stamp having as many as 11 million sharp pyramids is mounted on a transparent glass backing and precisely controlled by an atomic force microscope to generate desired patterns on a surface.

While they may be used by the author to print a hard copy for the author to make notes on, a proof PDF is not the same resolution as a PDF used by a publisher for offset lithography printing and proofs should only be used for proofreading and reviewing.

As part of the Jasper Johns: Variations on a Theme at The Phillips Collection, master printer and professor Scip Barnhart demonstrated to visitors the following printmaking processes: intaglio, lithography, and silkscreen in a workshop adjacent to the exhibition.

Given the high - minded nature of the subject material in tandem with the technical accomplishment of the previous series, Wayne's creation of the Tamarind Lithography Workshop in 1960 seems a perfect compliment to the artist's passion for print as a fine art medium.

His abstract prints proved as innovative as his canvas works, employing a vast array of techniques, including lithography, screenprinting, etching, and offset lithography — a method which Stella himself is credited with inventing.

Stella's collaboration with master printer Ken Tyler led to the breakthrough technique referred to today as offset lithography.

Confronted by the show, two questions come to mind: What does it mean to present these items — a woodcut by Joel Shapiro, an etching by Mary Heilmann, a «sculptural wall unit» with letterpress, lithography and collage by Jessica Stockholder and Jeremy Sigler, or a book by Susan Howe and Robert Mangold — even obliquely, as works by Miller, Lingen, and Melby?

What was your path towards art - making and what led you to working with mixed media, including sculpture, collage, painting, installation, and printmaking methods such as silkscreen, lithography, and woodblock?

Traditional printmaking processes and concepts — etching, lithography, drawing, collage, silkscreen, letterpress and book arts; as well as post-modern processes, including mass media, collaboration, simulation, appropriation and dissemination — are taught concurrently.

His innovations have been made in a spectacular range of mediums — painting and sculpture, silkscreen and lithography, photography and transfer drawing — and have incorporated such unconventional materials as newspaper, cardboard, and found objects.

He also experimented with lithography, sculpture, and engraving, as well as designed stage sets for the Paris Opera's ballet, in addition to working on a number of book illustration projects, including Jean Cocteau ’s

Founded by artist June Wayne in 1960 as Tamarind Lithography Workshop in Los Angeles, Tamarind Institute (now in Albuquerque, New Mexico) changed the canon of printmaking in 20th century America and continues to set the standard for fine art lithography — an extremely complex and nuanced printmakiLithography Workshop in Los Angeles, Tamarind Institute (now in Albuquerque, New Mexico) changed the canon of printmaking in 20th century America and continues to set the standard for fine art lithography — an extremely complex and nuanced printmakilithography — an extremely complex and nuanced printmaking process.

He also experimented with lithography, sculpture, and engraving, as well as designed stage sets for the Paris Opera's ballet, in addition to working on a number of book illustration projects, including Jean Cocteau's La Voix Humaine.

Over three decades, etching, lithography and screenprint flourished along with the development of print studios such as Curwen Press, allowing artists to really explore the medium.

In other technical tour - de-forces, such as Colors on a Grid, screenprint and lithography are combined with perfect registration.

He is an accomplished printmaker who, over the years, has experimented with a wide variety of printing methods from woodcut, etching and lithography, to photographic processes such as collotype and color copy transfer.

Richard Serra has experimented successively with screen - printing, lithography and etching, going as far as to use oil stick and silica today.

Many of the editioned prints on view were produced in collaboration with nationally prominent print workshops and publishers, such as Universal Limited Art Editions; Gemini G.E.L.; Crown Point Press; Tyler Graphics; Pace Editions; Shark's Lithography; and the Lower East Side Print Shop.

The eclectic array of artworks on view reflects the expansive range of the press in terms of both printmaking techniques — such as aquatint, collagraphy, etching, lithography, and screen printing — and subject matter.

The exhibition will also feature many little - known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and prints made at the Tamarind Lithography Workshop in Los Angeles, founded by June Wayne.

These prints represent all manner of special processes and innovative techniques in printing — such as using linen and cotton pulp paint and photo - luminescent inks; black and white and colored lithography; creative integration of collage and cut paper; incorporation of photographic images into digital prints; screen printing; and many others.

In 1971 Vito Acconci made an edition of prints while in residence at the Nova Scotia College of Art and Design titled Kiss Off, which index a series of actions: after applying lipstick and kissing his own body, Acconci would rub his pigmented flesh on a lithography stone, using his body as a stamp.

She writes: «Though printmaking has been an important means of expression for many artists of his generation, it was a brief endeavor for Twombly... That said, he worked in nearly all traditional printmaking techniques... including line etching, mezzotint, aquatint, lithography, and screenprinting... Many of them were issued as portfolios, in keeping with his mode of painting and drawing in cycles.»

Although he took private art classes as a youth, and studied lithography and etching later on, Fragoso is essentially self - taught.

The works range from traditional imagery and printmaking techniques such as engraving and lithography to monotypes and experimental print mediums.

The artist has continually explored the possibilities of printmaking throughout his career, working across a number of techniques, such as sugarlift aquatint and lithography, in addition to experimenting with scale.

A black - and - white lithograph, one from an extensive suite of prints McLaughlin made as an artist - fellow at Hollywood's Tamarind Lithography Workshop in 1963, is also included in the Norton Simon Museum's current PST exhibition, «Proof: The Rise of Printmaking in Southern California.»

CREATING AN IMPRESSION: Works From Atlanta Printmakers Studio May 10 - June 16, 2014 Opening Reception: May 10, 7:00 - 9:30 pm Art Station, Stone Mountain, GA An educational exhibition on printmaking processes including displays of plates, proofs and final prints examine the steps taken to create prints using processes such as relief, intaglio, lithography, screen prints, and book making.

Last spring, we welcomed curator and printmaker Ryan Standfest who served as a Resident Printmaker and worked with our students to create an original stone lithography print.

Her project was part of the post-war boom in lithography as a valid form of «original» art, compared to its former use merely as a method of reproduction.

Around 1925 Spears studied drawing with Russian sculptor Alexander Archipenko in Woodstock, New York, and in New York City, where she also studied lithography at the Art Students League and printing design at New York University while supporting herself as a switchboard operator.

Image entitled HEART II 1981, printed as a limited edition edition of 165, using traditional hand lithography techniques on archival paper.

Nina Wishnok prints at Abrazos Press where she mixes techniques such as woodcut and paper lithography, intaglio, trace monotype, and encaustic.