Sentences with phrase «by lithography»

Published by Lithography Workshop, Nova Scotia College of Art and Design, Halifax.

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.

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.

Not exact matches

NanoFab X building at Albany NanoTech where a new $ 200 million lithography tool purchased by IBM from ASML is housed Friday, Feb. 14, 2014, in Albany N.Y. (Will Waldron / Times Union)

But because the new DNA objects are on the same size scale of devices that can be patterned using computer chip lithography, it might be possible to integrate the two technologies and design DNA origami to detect cancer biomarkers and other biological targets that could then be read out by electronic devices, Castro says.

To produce and print such microstructures, the experts use a rapid and precise laser lithography device developed and commercialized by the Nanoscribe company, a spinoff of KIT.

By engravings using electron beam lithography, the waveguides of several micrometers in length are provided with finest cavities of a few nanometers in size.

By means of polymer pen lithography, a surface is provided with a microscopically small structure using a plastic die.

The technique combines an old fabrication method — top - down lithography, the same method used to make computer chips — with a new one — programmable self - assembly driven by DNA.

The team used lithography, in which a crystal is built up by depositing one layer on top of another, to manufacture photonic crystals.

To manufacture the particles, the researchers used stop - flow lithography, a technique developed previously by Doyle.

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

Hensel R, Finn A, Helbig R, Braun HG, Neinhuis C, Fischer WJ, Werner C. Biology - inspired omniphobic surfaces by reverse imprint lithography Advanced Materials, 26 2029 — 2033 (2014)

Irene Dolado, PhD student at nanoGUNE, and Saül Vélez, former postdoctoral researcher at nanoGUNE (now at ETH Zürich) mastered this challenge by electron beam lithography and etching of thin flakes of high - quality boron nitride provided by Kansas State University.

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.

Investigation on reversed domain structures in lithium niobate crystals patterned by interference lithography S. Grilli, P. Ferraro, S. De Nicola, A. Finizio, G. Pierattini, P. De Natale, and M. Chiarini Optics Express 11, 392 - 405 (2003).

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.

There are times when it makes perfect sense to use an offset printing service, which involves lithography and a commercial printing process (the same process used by major brick and mortar publishers).

Our print department reflects our strength in Modern British Art and ranges from works by David Bomberg, CRW Nevinson, Edward Wadsworth, Paul Nash and Edward McKnight Kauffer at the beginning of the 20th century to post-war lithography from the Stanley Jones Archive.

After being liberated by the United States Army in 1945, they moved back to Poland, where the artist studied lithography at a graphics school before enrolling in the School of Art and Design in Lodz.

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

This is an unframed, intaglio, lithography, woodblock, digital print on paper, by the iconic artist, Squeak Carnwath.

From the draft of an introductory talk by Gego at the Tamarind Lithography Workshop in Los Angeles, 1966

The artist first began to make a profound engagement with the medium in the mid-1960s, working with master printer Kenneth Tyler, who convinced Stella to make his first prints by filling a Magic Marker — the artist's preferred drawing implement — with lithography fluid.

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?

Strong holdings in later 20th - century works on paper include a decade's production, 1960 — 1970, from the innovative Tamarind Lithography Workshop, including artist's books and suites by Louise Nevelson and Rufino Tamayo.

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.

[7] He would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut, producing over 400 prints made by different techniques in his lifetime.

The NSCAD lithography workshop, during the few years of its existence, not only trained students in the craft of printmaking but also produced prints by major Canadian and international artists.

A local lithography workshop selling prints by Lyla Shlon and Amy Cousins, among others.

Home and Away features printed works by Asawa while in residence at the Tamarind Lithography Workshop in Los Angeles in 1965.

Print features newsprint, blueprint, xerox, lithography, offset lithography, screen - printing, woodcut, monotype, giclee, etching and other methods by a variety of artist.

Dark Visions approaches this sinister subject through the lenses of assemblage, painting and lithography, with works by Edward Kienholz, Joseph Cornell, Clare Falkenstein and Jess, among others.

Magill relishes the process of lithography, which allows her to create a work by layering colour over colour until the effects she desires are achieved.

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.

Already by the mid-1960s in screenprint and lithography Ruscha was exploiting the multiple meanings in signage (Hollywood, Standard gas stations) and other forms of text, with its innate ties to print, and making poetry of banal vernacular imagery.

Printed by Ken Tyler, Published by the Tamarind Lithography Workshop.

Felsen is a founding partner of L.A.'s Gemini G.E.L., one of the country's foremost publishers of art lithography, now run by Stanley Grinstein and Felsen's ex-husband, Sidney Felsen.

His prints have been published by Brooke Alexander Gallery in New York, Tamarind Lithography Workshop in California, Pyramid Arts, and Graphicstudio.

P07937 Fashion - plate 1969 — 70 Screenprint with offset lithography, hand colouring and collage 29 1/2 × 25 5/8 (749 × 650) on paper 39 × 27 1/4 (990 × 692) watermarked «FABRIANO», offset lithography printed by Sergio and Fausta Tosi, Milan, screenprinting by Chris Prater at Kelpra Studio, published by Petersburg Press in an edition of 70 Inscribed «Tony's proof from Richard» b.r. Purchased at Sotheby's (Grant - in - Aid) 1983 Lit: Hamilton, no. 74, repr.

The current show provides an overview of its activities, with a selection of prints in a range of techniques (etching, aquatint, mezzotint and lithography) by known and emerging artists including Chuck Close, Carroll Dunham, Helen Frankenthaler, Elizabeth Murray, Cecily Brown and Rosa Loy.

Among the artist «s first explorations of lithography, this suite of eight prints, 15 x 22 inches each, was published by Gemini G.E.L., Los Angeles.

The images in the book are reproductions, not «prints,» and, although printed by way of offset lithography, they are certainly not deserving of the name «lithographs.»

New prints by Gerhard Marx and Walter Oltmann find them engaging with etching, lithography and woodblock printing in new and exciting ways.

The exhibition, titled Rufino Tamayo: Tamarind Lithography Workshop, features 16 prints created by the artist at the Tamarind Lithography Workshop in Los Angeles in 1964.

The trouble is that, by stopping around the end of the 50s, the British Museum's collection misses out on the remarkable boost in ambition and quality of American printmaking that came from such ventures as June Wayne's Tamarind Lithography Workshop, which started in 1960, followed by the entrepreneurial ambitions of master printmakers such as Tanya Grossman in New York and Gemini G.E.L. in Los Angeles.

Frank G Logan prizes were also awarded at exhibitions of prints by the Chicago Society of Etchers, the annual International Watercolor Exhibition and the annual International Lithography and Wood Engraving Exhibition, all held at the Chicago Art Institute.

A synchronicity unknown to Skaer was that the Iowa Print Workshop founded by Mauricio Lasansky — the dean of American lithography — still uses these stones.

The UK exhibitions will include examples of many of the techniques used by the artist such as the Song of Songs (which combines lithography and helio - relief) at The Black - E gallery in Liverpool; sprayed automotive lacquer, plastics, ceramics, china painting and glass at Riflemaker; and a variety of works on paper and needlework at Ben Uri.

Over forty works by twelve artists will be included with techniques ranging from lithography, etching, silkscreen, linocut and monoprint, to three - dimensional multi-media constructions.