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Journal articles on the topic 'Etchings (prints)'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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1

Morris, David. "The Clough Collection of Prints at the Whitworth Institute." Bulletin of the John Rylands Library 92, no. 2 (2016): 167–85. http://dx.doi.org/10.7227/bjrl.92.2.10.

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George Clough‘s donation of old master prints raised the Whitworth Institute‘s collection to international standing. Simultaneously, it presented Manchester with a viewing experience that was possibly unique in Britain, and placed on permanent display one of the nations finest collections of engravings, etchings and woodcuts so as to offer a visual history of the medium of print. Clough had a special interest in Marcantonio Raimondi, collecting over forty prints by him at a time when such works commanded high prices. This article examines the history and composition of Clough‘s collection and

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2

Tyler, Francine. "American Etchings of the Nineteenth Century: 115 Prints." American Art Journal 17, no. 2 (1985): 91. http://dx.doi.org/10.2307/1594406.

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Larsson, Lars Olof. "„Die vornehmsten Plätze und Gebäude, die in Danzig zu sehen sind“. Aegidius Dickmans Ansichten von Danzig 1617." Baltic Journal of Art History 20 (December 27, 2020): 81–107. http://dx.doi.org/10.12697/bjah.2020.20.03.

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The paper discusses a set of etchings depicting different buildingsin Gdansk (Danzig) and different parts of the city, first publishedin 1617. The artist was the little known Ægidius Dickman, active inGdánsk and probably also in the Netherlands in the first quarter ofthe 17th century. In the same year that these etchings were published,Dickman also finished a large birds-eye view of Gdánsk. The setof town views and the panorama were both republished by ClaesJanszoon Visscher in 1625.The author of the article discusses the relationship betweenDickman and Visscher and their collaboration on this

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Friese, Nancy. "Prints of Nature: Poetic Etchings of Mary Nimmo Moran." Woman's Art Journal 7, no. 1 (1986): 52. http://dx.doi.org/10.2307/1358245.

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Baker, Susan. "A Duel with Fernando de Rojas." Janus Head 11, no. 2 (2009): 217–36. http://dx.doi.org/10.5840/jh20091122.

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In 1971, Picasso pulled sixty-six out of 347etchings first executed in 1968 for an edition of Spanish writer Rojas's Celestina. While the complete group of prints, known as the Suite 347, has been discussed in the context of Picasso's late work, few have considered how the location of the sixty-six prints in Rojas's text affects their reading. Understanding where Picasso actually inserted the prints into the text sheds light on the play between narrative and image that Picasso intended when binding his etchings with the Rojas story. Considering the prints as part of a book provides a more comp

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Esko, Claudia T. "American Etchings of the Nineteenth Century: 115 Prints. Francine Tyler." Archives of American Art Journal 25, no. 1/2 (1985): 53–54. http://dx.doi.org/10.1086/aaa.25.1_2.1557463.

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Pawlak, Anna. "Das Feuerwerk der Linie." Artes 2, no. 1 (2023): 29–59. http://dx.doi.org/10.30965/27727629-20230002.

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Abstract In 1637 Claude Lorrain made a series of etchings in which he depicted the elaborate fireworks organized by the Spanish ambassador in Rome in occasion of the election of Ferdinand III as King of the Romans. This article deals with the political and religious dimensions of the performative act as well as the complex aesthetic strategies of transferring the ephemeral event into the more lasting medium of print. Considering the Thirty Years’ War, Lorraine’s ‚explosive‘ prints functioned, I argue, as artistic devices to control the forces of fiery destruction, a crucial issue for the princ

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Steland, Anne Charlotte. "Herman van Swanevelt als Radierer. Zur Chronologie der Entwürfe und der Drucke." Oud Holland - Quarterly for Dutch Art History 118, no. 1-2 (2005): 38–78. http://dx.doi.org/10.1163/187501705x00240.

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AbstractIn the 1630s the Dutch Italianate painter Herman van Swanevelt (ca. 1603-1655) developed in Rome, in collaboration with his colleague and contemporary Claude Lorrain, what in those days was a new type of idyllic ideal landscape whose sunlit 'contrejours' reflected the times of day and which Swanevelt continued to disseminate in the North after he moved to Paris. It was however chiefly his etchings which made this new type of landscape accessible to a large public, and which decisively contributed to the development of the taste for landscape art into the eighteenth century, notably in

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Stocker, Mark, Julia Kasper, and Philip Sirvid. "Wenceslaus Hollar’s Muscarum Scarabeorum, Vermiumque Varie Figure anatomised and identified." Tuhinga 31 (June 1, 2020): 19–41. https://doi.org/10.3897/tuhinga.31.e34254.

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This article examines a series of 12 etchings of invertebrates, Muscarum Scarabeorum &hellip; Varie Figure (1646), by the Bohemian artist Wenceslaus Hollar (1607&ndash;77). It locates Hollar in the historical and cultural context of this sub-genre and his likely source material. It then discusses the provenance of the series in the Museum of New Zealand Te Papa Tongarewa, Wellington, which can be traced back to the political refugee and former prime minister of Denmark, Bishop Ditlev Monrad (1811&ndash;87). Hollar&rsquo;s prints formed part of the foundation art collection of t

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Jurkowlaniec, Grażyna. "Masterpieces, Altarpieces, and Devotional Prints: Close and Distant Encounters with Michelangelo’s Vatican Pietà." Religions 10, no. 5 (2019): 309. http://dx.doi.org/10.3390/rel10050309.

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Focussing on the response to the Vatican Pietà and perversely using as a point of departure a 1549 remark on Michelangelo as an ‘inventor of filth,’ this article aims to present Michelangelo as an involuntary inventor of devotional images. The article explores hitherto unconsidered aspects of the reception of the Vatican Pietà from the mid-sixteenth into the early seventeenth century. The material includes mediocre anonymous woodcuts, and elaborate engravings and etchings by renowned masters: Giulio Bonasone, Cornelis Cort, Jacques Callot and Lucas Kilian. A complex chain of relationships is t

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Sellink, Manfred, and Susan Dackerman. "Painted Prints; The Revelation of Color in Northern Renaissance & Baroque Engravings, Etchings & Woodcuts." Simiolus: Netherlands Quarterly for the History of Art 30, no. 3/4 (2003): 252. http://dx.doi.org/10.2307/3780919.

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Reed, Marcia. "PIETRO TESTA, 1612–1650: PRINTS AND DRAWINGS. Elizabeth CropperTHE ETCHINGS OF CLAUDE LORRAIN. Lino Mannocci." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 4 (1989): 206–7. http://dx.doi.org/10.1086/adx.8.4.27948143.

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Kiebuzinski, Ksenya. "Rare Polonica at the Thomas Fisher Rare Book Library, University of Toronto." Z Badań nad Książką i Księgozbiorami Historycznymi 17, no. 4 (2024): 607–26. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.820.

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This article describes a collection of rare Polonica, numbering over five hundred books, pamphlets, manuscripts, and prints and engravings, donated to the Thomas Fisher Rare Book Library in 2001 by Karol Godlewski and his family. The donor’s uncle, Count Emeryk Hutten Czapski (1897–1979), assembled the extraordinary collection. The material includes works written, edited, or translated by Polish authors. The publication dates range from 1505 to the mid-1970s, with two hundred titles predating 1801. The subject matter ranges from texts written by Terence and Plutarch to biographies of Polish ki

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Pletneva, Alexandra. "Jester Names: Lubok Characters Farnos, Gonos and Yeralash." Russkaia rech, no. 3 (2023): 55–67. http://dx.doi.org/10.31857/s013161170026393-1.

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Some lubok prints (cheap popular prints) of an entertaining nature feature characters with strange names. These names are neither variations based on Christian names, nor nicknames with a clear internal form. This article discusses a possible origin of the names Farnos, Gonos and Yeralash, their functioning in lubok prints and other texts. The name of the jester Farnos (Rus. Фарнос) is associated with the name of the commedia dell'arte character Gian Farina. The latter was known in Russia, in particular, thanks to the etchings by Jacques Callot. The widespread use of lubok prints with the imag

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Krasnoshchyokov, Vladimir A. "Visualization of Fashion in European Engravings of the 16th — Early 18th Century." Observatory of Culture 21, no. 5 (2024): 502–15. http://dx.doi.org/10.25281/2072-3156-2024-21-5-502-515.

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Images of people from different countries in their traditional costumes as a genre emerged in the second half of the 16th century and actively existed in the form of prints until the first fashion magazines appeared in the late 18th century. The article attempts to build a chronology of iconic examples of costume prints of the 16th — early 18th century on the basis of a number of sources of theoretical, historical and pictorial nature. The functions it fulfilled as a kind of graphic art in its time and artistic and technological features of its creation are defined. The study considers the wor

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Mann, Barbara. "Artists' Books and the Repurposing of Jewish Literature." Shofar: An Interdisciplinary Journal of Jewish Studies 42, no. 2 (2024): 237–58. https://doi.org/10.1353/sho.2024.a946475.

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Abstract: This essay explores the material history of Jewish literature by examining a trio of artists' books featuring the work of early twentieth-century poets. Each artists' book treats its original source material as a physical object: Moshe Gershuni's Thirteen Etchings for Poems by H. N. Bialik (1987) reproduces pages of the landmark 1923 edition of Bialik's collected poems, illustrated by Yosef Budko, alongside Gershuni's prints; City-Poem: Unpublished Poems by Leah Goldberg Inspired by Woodcuts by Franz Masereel (2012), includes expressionist woodcut prints and images of handwritten poe

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PEMBERTON, S. GEORGE, and ERIN A. PEMBERTON. "ROLE OF ICHNOLOGY IN THE HISTORY OF PHOTOGRAPHY." Earth Sciences History 37, no. 1 (2018): 63–87. http://dx.doi.org/10.17704/1944-6178-37.1.63.

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ABSTRACT Vertebrate ichnology in North America has a long and distinguished history, starting with the remarkable discoveries by Edward Hitchcock of dinosaur footprints and trackways in the Connecticut River Valley. Hitchcock assembled a unique collection that is currently housed in the Beneski Museum of Natural History, Amherst College, and his work essentially constituted the beginnings of ichnology as a viable sub-discipline of paleontology. Although his original interpretation that these Late Triassic locomotion traces were bird tracks was incorrect, he indirectly linked birds and dinosaur

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Kuyvenhoven, Fransje. "De aan Hendrik Voogd (1768-1839) toegeschreven tekeningen in de Gallerie dell'Accademia te Venetië Hun herkomst en hun ware auteur: Francesco Londonio." Oud Holland - Quarterly for Dutch Art History 106, no. 1 (1992): 20–31. http://dx.doi.org/10.1163/187501792x00136.

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AbstractIn 1956 Ilaria Toesca published an article in Bolletino d'Arte on a group of 19th-century drawings of North European origin cntitled : 'Alcuni disegni delle gallerie di Venezia. The drawings in question were by the Englishman William Young Ottley and the Dutchmen David Pierre Giottin Humbert de Superville and Hcndrik Voogd. I confine my remarks to the latter, who lived in Rome from 1788 until his death in 1839. The drawings come from the bequest of the Milan art-lover Giuseppe Bossi, with whom Voogd had a good business relationship. Discussing a signed drawing by Voogd, Toesca attribut

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Bueno Jiménez, Alfredo. "The common black-eared opossum in the symbolic and iconographic universe. From the effigy ornaments in the lesser Antilles to the European graphics of Simivulpa and its variants in the 16th – 17th centuries." Ciencia y Sociedad 48, no. 4 (2023): 91–114. http://dx.doi.org/10.22206/ciso.2023.v48i4.2962.

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This study focuses on the aesthetic analysis, iconographic variants, and symbolism of the common black-eared opossum (Didelphis marsupialis Linnaeus 1758) in ceramic ornaments of agro-ceramic origin of the Saladoid tradition with Barrancoid influence, located in the south of the Lesser Antilles arc and Venezuela, currently held in different collections, scientific academies, and museums around the world, particularly in the Caribbean and United States. Likewise, it will study an entire corpus of prints with descriptions and illustrations of the marsupial, the latter being elaborated by Europea

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Bueno Jiménez, Alfredo. "The common black-eared opossum in the symbolic and iconographic universe. From the effigy ornaments in the lesser Antilles to the European graphics of Simivulpa and its variants in the 16th – 17th centuries." Ciencia y Sociedad 48, no. 4 (2023): 91–114. http://dx.doi.org/10.22206/cys.2023.v48i4.2962.

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This study focuses on the aesthetic analysis, iconographic variants, and symbolism of the common black-eared opossum (Didelphis marsupialis Linnaeus 1758) in ceramic ornaments of agro-ceramic origin of the Saladoid tradition with Barrancoid influence, located in the south of the Lesser Antilles arc and Venezuela, currently held in different collections, scientific academies, and museums around the world, particularly in the Caribbean and United States. Likewise, it will study an entire corpus of prints with descriptions and illustrations of the marsupial, the latter being elaborated by Europea

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21

Dragońska, Urszula. "Księgozbiór specjalistyczny Henryka Grohmana (1862– 1939) a jego kolekcja grafiki nowoczesnej." Artium Quaestiones, no. 34 (December 27, 2023): 47–79. http://dx.doi.org/10.14746/aq.2023.34.2.

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This article is the first study of the library belonging to the Łódź industrialist and art collector Henryk Grohman (1862–1939). It attempts to answer the question of the degree to which analysing these volumes, which are now housed in the collections of the University of Warsaw Library and the National Museum in Warsaw, can prove helpful in the study of art collections. The methodology for researching historical book collections was used to reconstruct and describe the library. These inquiries resulted in more than 165 titles being determined, which originally belonging to Grohman and covered

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Matarazzo, Maria Gabriella. "ultima opera di Malvasia: 'Il Claustro di S. Michele in Bosco' e la decorazione carraccesca tra finzione e verità." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (2021): 29–58. http://dx.doi.org/10.5617/acta.9018.

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The Carracci's decorative vocabulary (from the early Bolognese friezes to the cycles of the Farnese Gallery in Rome and of the Cloister of San Michele in Bosco in Bologna) made extensive use of anthropomorphic supports, especially telamons and terms. Painted with a monochromatic technique, they deceived the beholder for their effective imitation of marble sculptures that illusively jut from the surface of the wall. While art historical scholarship mainly discussed them in regard to their chronology, attribution, iconography and their relationship with the Cinquecento decoration systems, their

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Dodds, Pamela. "Documenting Border Barriers." Borders in Globalization Review 5, no. 1 (2024): 55–65. http://dx.doi.org/10.18357/bigr51202421809.

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Documenting Border Barriers is an ongoing research-based artwork in etching and relief printmaking that addresses the exponential rise in fences and walls that have been built on the borders of nations and territories to keep people out. Each print details a specific border barrier in the world today, based on documentary photos, texts, and reports. The technique combines drypoint etching and relief printmaking. Drawings are scratched into a rectangular plexiglass plate using an etching needle and abrasive tools. A thick ink is then spread on the scratched surface and wiped clean, leavin

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Kasianenko, Karolina. "Ex Libris by Iryna Koliadyna: a Highlight of the Artistic Life of Ukraine." Bulletin of KNUKiM. Series in Arts, no. 41 (December 30, 2019): 226–32. https://doi.org/10.31866/2410-1176.41.2019.188704.

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The purpose of the article is to introduce to the scientific community and to open for scientific research a new personality, a local bookplate artist Iryna Koliadyna, whose numerous works have represented the national graphic art at the International Biennial of Ex libris since Ukraine became an independent state. The research methodology has been determined by the system and analytical approach, which allowed classifying 475 bookplates into four ways. Based on the chronological analysis the general tendency of the development of the author’s print in the modern ex libris

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Meurer, Susanne. "Translating the Hand into Print: Johann Neudörffer's Etched Writing Manual." Renaissance Quarterly 75, no. 2 (2022): 403–58. http://dx.doi.org/10.1017/rqx.2022.106.

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By their very nature writing manuals encourage viewer participation, as they illustrate how to form lines into letters. In Johann Neudörffer's “Gute Ordnung” (Good order, 1538–50s) this genesis of lines extends beyond pure pedagogy. By displaying etchings in mirror writing alongside true-sided counterproofs, Neudörffer invites viewers to consider methods of mechanical production of seemingly handwritten lines. His text-images share their self-aware attention to linear aesthetics and process with drawings and etchings by Albrecht Altdorfer and Albrecht Dürer. As Neudörffer's manual taught the f

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Khan, Fazal Ellahi, and Nigel Power. "An Investigation Into Safe Printmaking Methods With Etching Without Acid, For Art & Design For Higher Education Institutions In Pakistan." Idealogy Journal 7, no. 1 (2022): 60–70. http://dx.doi.org/10.24191/idealogy.v7i1.314.

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The purpose of this research was to explore healthy, environmentally friendly, effective, and economical alternatives to traditional acid-base printmaking practices. The research took place in Pakistan, where chemicals and acids are widely used for printmaking in Art & Design higher education institutions as well as in artist’s workshops. These approaches pose serious health and safety issues for teachers, students, and practitioners alike as well as causing environmental damage. However, no research on safer alternatives had been previously carried out in the country. The investigation fi

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Dennis, Carina. "Nanoscale etchings let art lovers read the small print." Nature 419, no. 6905 (2002): 326. http://dx.doi.org/10.1038/419326b.

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Li, Xiaowei, Jia Liu, Shengtao Zhang, et al. "Study on process technique of PCBs with ladder conductive lines." Circuit World 41, no. 1 (2015): 34–40. http://dx.doi.org/10.1108/cw-09-2014-0036.

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Purpose – This paper aims to develop an ideal technique for the preparation of print circuit boards (PCBs) with ladder conductive lines on practical industrial process lines. Design/methodology/approach – First, the raw materials of ladder copper-clad laminates were prepared by plating double-sided copper-clad laminates with vertical plating line. Second, etching compensation experiments were designed and conducted to set up the relationships between etching compensation and width of conductive lines on ladder line print circuit boards (LLPCBs). Third, to evaluate the process technique for the

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Mohit, Kumar* Krishan Jangra Aman Bhardwaj. "THE INFLUENCE AND IMPACT OF DIGITAL PRINTING ON CARBON FOOT PRINT OF PRINT INDUSTRY." INTERNATIONAL JOURNAL OF ENGINEERING SCIENCES & RESEARCH TECHNOLOGY 5, no. 6 (2016): 858–61. https://doi.org/10.5281/zenodo.56032.

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Sustainable print industry needs to focus on eliminating waste and reducing their carbon footprint. Print services can accommodate this by using better equipment, good planning, and advanced manufacturing and printing technology. The carbon footprint of manufacturing and transport as well as overall energy use in print manufacturing could be reduced substantially and thus global “resource productivity” can be  greatly enhanced and carbon emissions can be reduced. 3d printing Reduces material waste and scrap it also limits the amount of energy used. The more efficient use of ra

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Skiba, Stefan. "Some Thoughts on Contemporary Graphic Print." Journal of Arts and Humanities 5, no. 9 (2016): 84. http://dx.doi.org/10.18533/journal.v5i9.1010.

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<p align="center">The production requirements of original graphic works of art have changed since 1980. The development of digital printing using lightfast colors now rivals traditional techniques such as wood cut, screen print, lithography, etching etc. Today, with respect to artistic legitimacy, original graphics using traditional printing techniques compete with original graphics produced by digital printing techniques on the art market. What criteria distinguish traditional printing techniques from those of digital printing in the production and acquisition of original graphics? What

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Ye, Xuanlin. "Mukul Dey’s Sacred Tree, A Symbole of Hope to Decolonize Indian Art." International Journal of Education and Humanities 4, no. 1 (2022): 120–22. http://dx.doi.org/10.54097/ijeh.v4i1.1394.

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Dey dedicated his life to the artistic revival of Indian art and adapted the traditionally Western technique of drypoint etching to this end, creating many prints that drew on Indian cultural heritage. The artistic revival of traditional imagery helped fuel the Swadeshi movement by fostering a sense of national pride and attempting to develop a new national style.Dey’s artworks represent his hope to decolonize Indian art and restore Indian national pride.

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Jürgens, Martin, Ioannis Vasallos, and Lénia Fernandes. "Joseph Berres’s Phototyp." Rijksmuseum Bulletin 66, no. 2 (2018): 144–69. http://dx.doi.org/10.52476/trb.9752.

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Following Alfred Donné in Paris, the Austrian Joseph Berres was the second person in history to convert unique daguerreotypes into intaglio printing plates by etching them in acid and then printing them in ink on paper. Berres’s experiments culminated in the booklet Phototyp nach der Erfindung des Professors Berres in Wien (1840), which is considered the first photomechanically illustrated publication. Today, Phototyp is recognized as a key work in the pioneering combination of photography and traditional printmaking as a means of disseminating visual information in the mid-nineteenth century.

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Liu, Ying, Jingcheng Hao, and Feng Zhou. "Nanostructure formation via print diffusion etching through block copolymer templates." Nanoscale 2, no. 4 (2010): 587. http://dx.doi.org/10.1039/b9nr00350a.

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Taylor, Lisa. "Etchings from the Attic: looking back at feminist print-making from the 1980s." Women's History Review 25, no. 5 (2016): 701–22. http://dx.doi.org/10.1080/09612025.2015.1132873.

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Müller, Emily M. K., Ute Henniges, and Irene Brückle. "Retreatment of a Print Damaged by Excessive Sodium Borohydride Bleaching." Restaurator. International Journal for the Preservation of Library and Archival Material 40, no. 2 (2019): 123–37. http://dx.doi.org/10.1515/res-2019-0001.

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Abstract An etching that was visibly damaged as a result of previous bleaching with a 5.6 % aqueous sodium borohydride solution underwent retreatment involving washing to stabilize the embrittled paper and to remove potentially present bleaching residues. During a final immersion in a dilute calcium hydrogen carbonate solution administered for deacidification, an unexpected and severe blistering occurred that is explained as a recurrence of previous bleaching-related blistering. The blisters were laid down. The treatment concluded with a consolidation of the bleach-damaged paper surface using

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Kase, Rachel. "Shifting shores." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (2023): 60–85. http://dx.doi.org/10.1163/22145966-07301004.

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This article explores how Jan Saenredam and Claes Jansz Visscher, two of the Northern Netherlands’ leading printmakers in the early seventeenth century, employ varying graphic strategies to evoke the local coast’s unpredictable and rapidly changing environment. It focuses on two ambitious and relatively large-scale prints with widespread distribution: Saenredam’s 1602 engraving Beached whale near Beverwijk and Visscher’s etching of about 1615 View of Egmond aan Zee. Lively with activity and dense with figures, allegory, text, and civic insignia, the two images integrate cartographic convention

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Brisman, Shira. "Printed Design Proposals as Salvaged Remainders of the Goldsmith’s Workshop." Art History 47, no. 4 (2024): 656–77. http://dx.doi.org/10.1093/arthis/ulae040.

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Abstract When turning to the techniques of etching on metal to make intaglio prints on paper, goldsmiths addressed potential clients and other fellows in their trade. In doing so, they put forth statements about what constituted property for members of each of these social stations. Multiple claims competed to classify to whom the raw materials belonged, the skills to transmute them or the forms that such handiwork took and whether the ownership of such entities could be transferred, redirected or even undone. The Nuremberg goldsmith Christoph Jamnitzer stages these questions in an etching tha

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Allan, Jonathan A., Chris Haywood, and Frank G. Karioris. "About the Cover Image." Journal of Bodies, Sexualities, and Masculinities 2, no. 1 (2021): 7–8. http://dx.doi.org/10.3167/jbsm.2021.020102.

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On the cover of this issue is an image taken from the Wellcome Collection. Titled “Dance of death: death and the pedlar”, the image shows a skeletal personification of Death picking through a basket of goods. In the basket are included masks, crosses, a deck of cards, swords, and a variety of other items. Published in the 18th Century, it is based on, and an interpretation of a piece in Basel on the Dance of Death. It is black and white and a print produced via etching a plate and using this to print the image.

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Yang, Tong, Xinyu Li, Bo Yu, and Cheng Gong. "Design and Print Terahertz Metamaterials Based on Electrohydrodynamic Jet." Micromachines 14, no. 3 (2023): 659. http://dx.doi.org/10.3390/mi14030659.

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Terahertz metamaterials are some of the core components of the new generation of high-frequency optoelectronic devices, which have excellent properties that natural materials do not have. The unit structures are generally much smaller than the wavelength, so preparation is mainly based on semiconductor processes, such as coating, photolithography and etching. Although the processing resolution is high, it is also limited by complex processing, long cycles, and high cost. In this paper, a design method for dual-band terahertz metamaterials and a simple, rapid, low-cost metamaterial preparation

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Yurduseven, Okan, Shengrong Ye, Thomas Fromenteze, Benjamin J. Wiley, and David R. Smith. "3D Conductive Polymer Printed Metasurface Antenna for Fresnel Focusing." Designs 3, no. 3 (2019): 46. http://dx.doi.org/10.3390/designs3030046.

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We demonstrate a 3D printed holographic metasurface antenna for beam-focusing applications at 10 GHz within the X-band frequency regime. The metasurface antenna is printed using a dual-material 3D printer leveraging a biodegradable conductive polymer material (Electrifi) to print the conductive parts and polylactic acid (PLA) to print the dielectric substrate. The entire metasurface antenna is 3D printed at once; no additional techniques, such as metal-plating and laser etching, are required. It is demonstrated that using the 3D printed conductive polymer metasurface, high-fidelity beam focusi

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Et. al., Wan Faizal Mohamed-Hassan. "Assessment Of Cl 2 /CHF 3 Mixture For Plasma Etching Process On Barc And Tin Layer For 0.21 µm Metal Line: Silterra Case Study." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 4 (2021): 231–39. http://dx.doi.org/10.17762/turcomat.v12i4.499.

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In wafer fabrication manufacturing, aluminum etching process is a dry plasma etching process used as main process for construction of aluminum (Al) interconnects structures. As customer requirement changed for faster, more reliable and lower cost chips, chip manufacturers have learned to reduce the size of component on a chip in order to achieve those requirements(Ibrahim, Chik, & Hashim, 2016). As the geometry of the chip getting smaller, the width of Al line wiring specification also shrinking. To print the smaller geometry pattern requirement, the thickness in masking process also has t

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Huang, Chi-Ming, Chia-Tai Chen, Chou-Lin Wu, et al. "A Novel Etching Method of Silicon Nozzle Plate Manufacture for Monolithic Inkjet Print Head." NIP & Digital Fabrication Conference 20, no. 1 (2004): 889–92. http://dx.doi.org/10.2352/issn.2169-4451.2004.20.1.art00079_2.

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Clegg, Sally. "Messiness is the Message." IMPACT Printmaking Journal 4 (July 24, 2024): 7. http://dx.doi.org/10.54632/1507.impj01.

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Once, in a dinner conversation with another printmaker I had just met at a prominent craft school, he started joking about monotypes. He was a woodcut artist, and I had told him that while my art practice is multi-disciplinary, copper plate etching is the medium that I return to most faithfully. We compared notes about our print practices, and when the subject of monotypes arose, with playful contemptuousness, my new friend referred to these as “squished paintings.” This broke the ice, and we both laughed. For the rest of the meal, we continued to bond over the pleasing arduousness of our rela

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Schweitzer, Marlis. "Decoding the Lecture on Heads : Personal Satire on the Eighteenth-Century Stage." Eighteenth-Century Studies 57, no. 3 (2024): 301–24. http://dx.doi.org/10.1353/ecs.2024.a923780.

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Abstract: This article asserts that one of the most popular plays of the era, George Alexander Stevens’s Lecture on Heads (1764), was so successful in its use of objects, mimicry, and other deverbalizing techniques that historians have subsequently misinterpreted its satirical purpose. The wooden and papier maché heads Stevens exhibited were anything but generic: they were skillfully crafted representations of recognizable public figures. Targeting these figures with keen precision, Stevens engaged his audiences in a complex “gazing game” that required deep knowledge of 1760s court gossip, pol

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Lopes, David, and Graciela Machado. "Photomechanical crossroads - Comparing 19th-Century Chromocupography and Charles Eckstein’s method from a Printmaker’s Perspective." Revelar: Revista de Estudos da Fotografia e Imagem 7 (2024): 87–119. http://dx.doi.org/10.21747/17775302/rev7_8a4.

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Chromocupography is a photo-etching technique developed in 19th-century Portugal under the supervision of chemist José Júlio Rodrigues (1843-1923). Very scarce literature is associated with the process, and it doesn’t seem to have been widely used after being made public. At the time, the technique was presented as a variant of Charles Eckstein’s (1840-1913) method, working in Hague, Holland. Eckstein’s technique consisted of hatching the lithograph stone with very fine delicate multiple-point needles to produce tone variations. Chromocupography substitutes the stone for a copper plate and the

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Kurent, Tine. "The gematrical numbers in dimensions of the "Melencolia I" engraving." Acta Neophilologica 31 (December 1, 1998): 129–32. http://dx.doi.org/10.4312/an.31.0.129-132.

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The Melancholy engraving by Dürer and Agrippa is hiding its gematrical messages not only in the numbers of its magic square but also in the numbers forming its modular dimensions. If the sphere on the lower left side of the composition is 10 modules in diameter, the magic square measures 8 by 8 modules, and the print is 70 by 55 modules large. The circumference of the etching equals 250 and its diagonal 89 modules. In the numbers 55, 70, 250 and 89 are hidden gematrical messages, prayers, cursing, the name of the Melancholia itself and the names of its authors.

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Kurent, Tine. "The gematrical numbers in dimensions of the "Melencolia I" engraving." Acta Neophilologica 31 (December 1, 1998): 129–32. http://dx.doi.org/10.4312/an.31.1.129-132.

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The Melancholy engraving by Dürer and Agrippa is hiding its gematrical messages not only in the numbers of its magic square but also in the numbers forming its modular dimensions. If the sphere on the lower left side of the composition is 10 modules in diameter, the magic square measures 8 by 8 modules, and the print is 70 by 55 modules large. The circumference of the etching equals 250 and its diagonal 89 modules. In the numbers 55, 70, 250 and 89 are hidden gematrical messages, prayers, cursing, the name of the Melancholia itself and the names of its authors.

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Gigina, O. S., N. A. Bikovsky, and E. A. Kantor. "The electrochemical cleaning of diluting effluents of the etching processes in production of print plates." Theoretical and Applied Ecology, no. 4 (December 20, 2009): 55–60. https://doi.org/10.25750/1995-4301-2009-4-055-060.

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Madsen, Emily. "PHIZ'S BLACK DOLL: INTEGRATING TEXT AND ETCHING INBLEAK HOUSE." Victorian Literature and Culture 41, no. 3 (2013): 411–33. http://dx.doi.org/10.1017/s106015031300003x.

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Three black dolls appear in the etchingsby H. K. Browne (Phiz) that accompany Charles Dickens'sBleak House(1853). They hang, strange fruit, from strings on walls and in shop windows, and their purpose as commentary on the text remains unclear because it is also initially unclear what they might represent. The dolls are never mentioned in the text of the novel, nor do they receive any substantial criticism in readings ofBleak House's illustrations. This article plumbs the archive for evidence of the dolls, and uses the resulting range of associations, from the American cotton trade to Victorian

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Liu, Yang, Lai Wang, Yuantao Zhang, et al. "Demonstration of n-Ga2O3/p-GaN Diodes by Wet-Etching Lift-Off and Transfer-Print Technique." IEEE Electron Device Letters 42, no. 4 (2021): 509–12. http://dx.doi.org/10.1109/led.2021.3056445.

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