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Artigos de revistas sobre o assunto "Lithographs"
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Dziuban, Roman. "LUDVIK ZELINSKY AND HIS COOPERATION WITH ILLUSTRATORS OF THE MAGAZINE LWOWIANIN (1835–1842)". Proceedings of Research and Scientific Institute for Periodicals, n.º 11(29) (2021): 225–75. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-11.
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The constant growth of interest of both researchers and the general public in studying the formation of the so-called. local (local, narrow-regional) press, in our case – Galicia (Lviv), as well as the role of lithographers in this process, prompted us to study this initial stage of formation of the Galician press. Our task was to outline the circle of artists-collaborators of the first local lore Polish-language magazine Lwowianin in Galicia, through the prism of the biography of its publisher Ludwik Zelinsky to show the creative activity of lithographers involved in the publication of the magazine in 1835–1842. Research methodology. The study mainly used biographical, descriptive and iconographic methods. Methods of historical source, comparative-statistical, as well as general historical methods were also used. Conclusions. A review of the illustrative material of Lwowianin magazine in the context of the biography of the publisher Ludwik Zelinsky, biographical and creative, far from complete, information about the lithographers involved in his work, allows to outline the level of their creative activity in the publication. In the initial period – the period of formation of the magazine (the first half of 1835), the level of Lwowianin design was not high. This year, low-level artist E. Stoltz and amateur artist A. Tomashevsky were involved in the work of the magazine. What is especially characteristic of Stoltz, and not at all typical of other designers of the magazine, he created eight woodcuts (woodcuts). Philip Rebiger collaborated with the magazine even before he entered the Vienna Academy of Fine Arts (1837). It is the lithographs of A. Tomaszewski’s self-taught work, which he submitted to the journal during 1835–1837, that Lwowianin contains the most. Two lithographs for Lwowianin were made by professional artists T. Zhykhovych (1836) and A. Nigroni (1837). In 1839, L. Zelinsky invited the well-known professional artist and lithographer Josef Svoboda to collaborate with the magazine. for L. Zelinsky, and it is very likely that he, not P. Piller, became Auer’s first employer, inviting him to Lviv. Only A. Tomaszewski made more illustrations for the magazine, although in the end L. Zelinsky preferred K. Auer to design the last issues of the magazine. In the appendix we publish one letter of A. Tomaszewski, one letter of J. Swoboda and eight letters of K. Auer. Keywords: lithographer, lithography, carving, artist, Ludwik Zelinsky, magazine, Lwowianin, Edward Stoltz, Teofil Zhykhovych, Adolf Nigroni, Aloysius Tomaszewski, Philip Rebiger, Josef Svoboda, Carl Auer, Peter Piller, letters, Zolochiv.
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Vandаlovskyi, V. "Artistic and technical features of the lithographic manner mixed technique". Research and methodological works of the National Academy of Visual Arts and Architecture, n.º 27 (27 de fevereiro de 2019): 92–98. http://dx.doi.org/10.33838/naoma.27.2018.92-98.
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Nowadays the problem of improving the artistic and technical features of the lithographic manner of mixed technique has matured already. The author of this study expanded and supplemented the ways of combining a variety of manners of lithographic techniques through practical experiments to achieve positive results in this area. Mixed technique is one of the types of lithography, in which a certain combination of lithographic manners engraving on stone with pencil, blurring ink, root paper, color lithography is used on one stone depending on the intent of the author, his artistic taste and possession of a large number of techniques in lithography, such as shading, sketching, blurring ink, pen, prints of cloth and other textures and the like. Lithography got the greatest spread in France, the gifted artists on stone included T. Géricault, Antoine-Jean Gros, Claude Joseph Vernet, Nicolas-Toussaint Charlet, O. Raffet, Ferdinand Victor Eugène Delacroix, Louis-Léopold Boilly, Paul Gavarni, Henri Grévedon, A. Toulouse-Lautrec and many others. Famous Ukrainian artists, namely M. Deregus, M. Popov, S. Yakutovich, and others worked in lithographic mixed technique. In particular, N. Popov in the creation of graphic works used the author's manner of execution of lithographs – drawing with acid. In artistic creativity to the main lithographic technique artists add elements of other graphic techniques: combine with etching, woodcut, monotype and other techniques. The program of teaching lithography in National Academy of Fine Arts and Architecture in methodical terms is designed so that the student of the specialty "Free graphics, design and illustration of the book", mastering lithographic technique and getting acquainted with her manners, could be able to do on this basis a mixed lithographic technique. Mixed technique is the final task, in which the student is given the opportunity to choose and combine the manners of lithography. Senior students improve their knowledge in the field of technical and technological capabilities of lithography. Due to the rich, original technique lithography has unlimited visual possibilities. It met the requirements of different artists, despite the difference in styles, language and artistic techniques. Lithography makes it possible to solve the composition in black and white, dashed, tonal, color techniques through the use of different manners.
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Meijer, Rob, Peter Thomson e Lysbeth Croiset van Uchelen-Brouwer. "The History of the Lithographie Royale, 1818-25". Quaerendo 31, n.º 4 (2001): 281–306. http://dx.doi.org/10.1163/157006901x00173.
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AbstractFrom 1816 lithographic businesses began to develop in Western Europe. Use was made of a printing technique, lithography - based on the repellent working of water and fat - which was catching on especially in Germany and France. The Low Countries remained behind: early in 1818 only small lithographic printing offices were to be found in Brussels, Amsterdam and Rotterdam. At about that time the Frenchman MJ.V. Duval de Mercourt, calling himself an architect, presented himself in the Netherlands. Stimulated by the Dutch envoy at the court of Paris, Baron Fagel, he requested King William I to be permitted to found lithographical offices in The Hague and Brussels and to call himself Royal Lithographer. This was permitted by Royal Decree of 16 July 1818. Added to it was, highly unusually, that the establishment of Duval was greeted with approval, and that the hope was expressed that he might succeed in his attempts. The background of all this was the industrialisation policy that was pursued more in particular by the king himself. Indeed, Duval set about his business with great expectations and fervour. Probably he officially opened a - for Dutch standards - large lithographic printing office which consisted of at least two presses, which he called the Lithographie Royale'. He focused in particular on government commissions and especially on making autographs of written documents which up to that time had to be copied by hand. This technique, where writing was done with fat ink on prepared paper, after which the text was transferred to the stone and printed, seemed a godsend indeed. This autographic technique also had the king's interest: for, would it not be possible to introduce it and subsequently discharge clerks at the ministries? The future seemed to favour Duval, but alas, reality was different. It appeared that government as well as private institutions would provide him with hardly any work, possibly because of his high prices. It is also remarkable that some ministries did not want to have anything to do with this new printing method. After half a year he was already threatened with financial downfall, also through a loss he had personally suffered and the downward turn of the Dutch economy. The king then intervened with a number of measures in favour of Duval, of which the most important was that he was allowed to work for the Ministry of Water Management. An attempt was also made to accommodate him at the Algemeene Landsdrukkerij in The Hague, a government printing office with a monopoly on all government printed matter. The directors, however, confirmed letterpress printers, did not believe in this new printing technique which, according to them, could have no future because it would always be more expensive than their own beautiful printing. Because the locations of the ministries were changing between The Hague and Brussels about every half year, Duval was forced to follow the Ministry of Water Management to Brussels and to found a lithographic printing office there as well. Although he was supplied with more work there, he appeared to be at the end of his tether half way through 1819 due to a lack of financial resources. His financial situation was such that he was even refused a government advance because it was feared that he would not be able to reimburse it. Thereafter he was forced to make a disadvantageous contract with a private person, after which he left for The Hague, a destitute man. Although work from the Ministry of Water Management was also given to him there, things continued to go downhill for him. He now also lost his premises in The Hague so that he could no longer accept commissions. True, some time later a new place was found, but he had to agree that his co-worker, D. Abrahams, was to be appointed as his partner. Halfway through 1820 there arrived at last a reply to the many petitons and pleas he had sent to the king. This was, however, negative, because it was feared that a financial contribution from the government might slow down the downfall of his enterprise, but would not prevent it. Even damages were not granted because he was supposed to have given a false impression of things. He then left first to go to Brussels and later on to France, leaving his lithographic printing office in The Hague to Abrahams. The latter succeeded in getting the enterprise off to a good start within a few years, notably by making lithographs and trading in lithographs and sheet music, the main aim of the business. From about 1823 the number of commissions for lithographs increased, with a marked improvement in the quality of his work. This resulted in an honourable mention in the second industry exhibition held in the Netherlands in the summer of 1825. During this exhibition he was appointed first lithographer at the Algemeene Landsdrukkerij! This was because the king had intervened anew in the field of lithography and persevered against the advice of his minister in having an autographic printing office there, an office that was to be closed in 1832 due to lack of work and with great losses. The Lithographic Royale subsequently stopped its activities after Abrahams had received a compensation in his salary for it. Finally, the lithographic activities in The Hague were continued by his brother, A.M. Abrahams, on a modest scale.
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Nargiza Shirinova. "DESCRIPTION OF MEDICAL LITHOGRAPHS CREATED IN TURKESTAN IN THE 19TH AND EARLY 20TH CENTURIES". International Journal on Integrated Education 3, n.º 12 (3 de dezembro de 2020): 64–67. http://dx.doi.org/10.31149/ijie.v3i12.914.
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This article provides detailed information on medical lithographs written in the late 19th and early 20th centuries. Description, annotation and content of lithographs on medicine kept in the manuscript collection of the Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan are open to a wide range of readers.
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Sullivan, Ann M. "Lithographs by Alexander Calder". Mayo Clinic Proceedings 77, n.º 4 (abril de 2002): 401. http://dx.doi.org/10.4065/77.4.401.
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Schein, R. H. "Representing Urban America: 19th-Century Views of Landscape, Space, and Power". Environment and Planning D: Society and Space 11, n.º 1 (fevereiro de 1993): 7–21. http://dx.doi.org/10.1068/d110007.
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Approximately 5000 lithographic views of cities across America were produced and copies were widely disseminated in the century after 1825, In this paper, urban lithographs are examined as landscape texts in light of contemporary notions of space, vision, representation, and power. A major shift in the genre of urban representation from ‘pictorial’ to ‘bird's-eye’ views is presented as capturing the story of an emerging industrial-capitalist order; as embodying the place of the individual within that order; and as actively legitimating/promoting particular visions of change and progress. Interpreting urban views illustrates the problematic nature of representation and the need to examine particular landscapes/representations within their cultural contexts.
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Barton, Aleisha. "Contemplating Light: Experiencing Victor Moscoso’s Psychedelic Lithographs in the Museum". Arts 12, n.º 5 (27 de setembro de 2023): 213. http://dx.doi.org/10.3390/arts12050213.
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Beginning in 1966, Victor Moscoso designed many of his psychedelic posters for the stroboscopic light shows of the San Francisco dance halls. Moscoso innovated a new mode of print that depended on its environment—kinetic lithography, a product of creative experimentation. He developed multiple iterations of this medium; however, installing it outside of its original context of the psychedelic dance hall continues to pose a unique challenge for preparators and curators alike. Today, museum display of his works relies upon experimental settings to activate his site-specific design. This article considers how immersive displays and antistatic artworks demand a new kind of relationship between visitor and artwork by decentering the museum’s longstanding emphasis on the optical, a regime that has long served to frame posters and ephemera in contexts of display rather than as active objects. By analyzing two recent exhibitions displaying Moscoso’s kinetic lithographs (The Summer of Love Experience, 2017, and Moscoso Cosmos, 2021), this article considers the mechanics of the print itself, curatorial decisions, and visitor engagement to assess the site-specific demands of a genre-bending medium.
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Miró, Fundacio Joan. "Art at Mayo Clinic Lithographs". Mayo Clinic Proceedings 76, n.º 5 (maio de 2001): 501. http://dx.doi.org/10.4065/76.5.501.
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Mirzorakhimov, A. "HISTORICAL AND RELIGIOUS LITHOGRAPHIC BOOKS ON THE LITERARY HERITAGE OF UZBEKISTAN". CURRENT RESEARCH JOURNAL OF HISTORY 03, n.º 11 (1 de novembro de 2022): 24–32. http://dx.doi.org/10.37547/history-crjh-03-11-05.
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Although books on the history of Central Asian petroglyphs have been widely published, no scientific research has been carried out in this regard to date. Of course, there are specific reasons for this situation, first of all, the rise of ideas that the people of Central Asia were backward and illiterate in the period before the October coup d'état of 1917, attempts to falsify knowledge about historical periods that educate the population in the spirit of patriotism and freedom, the study of lithographic books about history hindered in a way. Also, the focus on handwritten books in the coverage of historical processes has led to the exclusion of historical lithographic books. However, lithographic books were important not only from a source point of view, but also from a social point of view. It should be noted that the wider spread of manuscript books, as well as the social factor of lithographic books, allowed for the wide distribution of important historical sources among the population. Taking into account the fact that the work “History of Mullozoda” was published several times in lithographs, it is possible to know how widespread it was among the population [1].
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Faria, Alberto. "Between Light and Shade". Studies in Digital Heritage 3, n.º 2 (12 de junho de 2020): 122–27. http://dx.doi.org/10.14434/sdh.v3i2.27720.
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The Faculty of Fine Arts of the University of Lisbon (FBAUL) holds a Collection of Lithographs, dated between 1840 and 1911, related to the memory of teaching Drawing in the nineteenth century. Lithographs after works of Italian Old Masters like Raphael Sanzio and Pompeo Batoni, respectively, Drawing Courses of French artists of the second half of the nineteenth century like Charles Bargue, Auguste Allongé among others, relate this Collection with its European counterpart of the nineteenth century. The FBAUL Virtual Print Room is a bilingual (Portuguese/English) website project to enable users in the future to have access to the Inventory and Knowledge of the Collection and build connections with other Archives worldwide.
Teses / dissertações sobre o assunto "Lithographs"
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Frazer, Patrick. "Thomas Way and T.R. Way : commercial and artistic lithographers". Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365848.
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Benoit-Renault, Viviane. "La lithographie en Bretagne (1819-1914)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040217.
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Dans l’histoire de l’estampe, l’étude de la lithographie en province a longtemps été négligée et les premierstravaux fondateurs datent seulement d’une quarantaine d’années. L’objet de cette thèse en histoire de l’art est decombler cette lacune en analysant, dans un esprit d’interdisciplinarité ouvert à l’histoire économique et sociale, lalithographie en Bretagne historique de 1819 à 1914.Cette recherche s’appuie d’abord sur l’étude de l’imprimerie lithographique. Après un panorama généralsur l’évolution du nombre d’ateliers et leur répartition géographique, les centres lithographiques principaux etsecondaires sont étudiés. L’imprimerie autographique qui, en parallèle, s’implante et concurrence les atelierslithographiques est analysée, comme les imprimeries lithographiques sur fer-blanc, une particularité bretonne.Au-delà de cette étude historique, le chapitre suivant dresse le portrait des acteurs de l’imprimerie et de laproduction lithographique comme leur environnement social. C’est un monde où se mêlent l’artiste peintre,l’artiste lithographe de profession, l’amateur de dessin, l’imprimeur et l’ouvrier. La réalité du monde de l’estampeest abordée dans le troisième chapitre, avec un coup de projecteur sur l’atelier et sur l’histoire matérielle de lalithographie (presses et matrices). L’atelier est ensuite appréhendé comme un espace de vie autonome avec sesfêtes et ses codes, garants de la cohésion ouvrière. Une unité renforcée avec la création des syndicats delithographes dans la seconde moitié du XIXe siècle.Grâce à l’établissement d’un inventaire des lithographies, fondé sur le dépouillement du dépôt légal etdes fonds publics d’estampes, l’analyse de la production lithographique imprimée en Bretagne révèle unediversité thématique insoupçonnée. La lithographie artistique à la feuille, en recueils ou en albums illustrés estanalysée sous l’angle stylistique et iconographique. Enfin, l’étude de la lithographie utilitaire et des boîtes en ferblanclithographié clôt ce chapitre. Le commerce de l’estampe, qui constitue le dernier maillon du circuit de laproduction, est retracé avec ses marchands, une profession en mutation au XIXe siècle, ses colporteurs et autresvendeurs occasionnels. Enfin, la question de la diffusion de l’estampe en Bretagne est abordée comme le marchéet la place de la lithographie bretonne dans un réseau national et internationalIn the history of print, the study of lithography in province has long been neglected. The first founding worksonly date back to the last forty years. The purpose of this thesis on the history of art is to address this shortcomingby analysing lithography in historical Brittany between 1819 and 1914 bearing an interdisciplinarity mind open toeconomic and social history.Initially this research will be based on the study of lithographic printing. Following a general overviewon the evolution of the number of workshops and their geographical breakdown, leading and secondarylithographic centres are being considered. On the other hand, autographic printing which established itself andcame into competition with the lithographic workshops is being analysed with an emphasis on tin-plate printingworkshops being a characteristic feature of Brittany. Beyond this historical study, the following chapter paints aportrait of the printers and that of the lithographic production scene which being a social environment. It is aworld whereby the painter mingles with the professional lithographer, the drawing lover, the printer and thecraftsman. The reality of the printing world is being addressed in the third chapter with a particular focus on theworkshop and the history of the equipment specific to printing (plates and moulds). Subsequently the workshop isseen as a world in its own right with its celebrations and codes responsible for the working cohesion. This unitywill be accentuated in the second half of the XIX century with the constitution of lithographers unions. Thanksto the creation of a lithographs inventory drawn upon the austerity regarding registration of copyright and printpublic funds, the analysis of the print production in Brittany reveals an unexpected thematic diversity. The artisticprint on sheet, collections or illustrated albums is analysed from a stylistic and iconographic point of view.Finally, the study of useful lithography and the tin-box will bring this chapter to a close.Print trade which formsthe last link in the production chain is recounted through its merchants, a trade being transformed throughout XIXcentury, door-to-door and casual sellers. Lastly, the topic of the diffusion of print in Brittany is put forward asbeing the market place of Breton lithography within a national and international network
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Monroe, Julia Boyette. ""Modern Primitive: Parody, Ambivalence, and Paradox in Paul Colin's Le Tumulte Noir"". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/624.
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This thesis analyzes Paul Colin’s 1927 portfolio of lithographs entitled Le Tumulte Noir as an expression of the simultaneously progressive, celebratory, racist, and colonialist ideas about jazz music, dance, and blackness in Paris during the 1920s. Because the portfolio often demonstrates conflicting tropes for representing people of African American descent, for example minstrelsy vs. New Negro imagery, this thesis uses several methods for investigating the ambivalence of the artwork and the culture in which it was produced. The double-coding of meaning presented by parody, calligrams, and self-division are central to this analysis of Colin’s representations of the “Charlestonesque epidemic” in Jazz Age Paris. Images from Le Tumulte Noir are nearly ubiquitous in literature on the Parisian Jazz Age, and this thesis contextualizes the form, content, and iconography of the lithographs in light of the social and artistic history of 1920s Paris.
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Hauser, Hubert [Verfasser], e Holger [Akademischer Betreuer] Reinecke. "Nanoimprint lithography for solar cell texturisation = Nanoimprint Lithographie fuer die Solarzellentexturierung". Freiburg : Universität, 2013. http://d-nb.info/1123476160/34.
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Caillau, Mathieu. "Nanotechnologie verte : des polymères de la biomasse comme résines éco-efficientes pour la lithographie". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEC037/document.
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La lithographie est une étape clé de micro/nanotechnologie pour la fabrication de composants utilisés dans les domaines de la microéléctronique, de l’électronique flexible, de la photonique, du photovoltaïque, de la microfluidique... Cette étape de lithographie nécessite l’utilisation d’une résine inscriptible servant de masque temporaire permettant le transfert de motifs dans le matériau sous-jacent par gravure ou par déposition de nouveaux matériaux. La lithographie fait appel à des résines organiques mais aussi à des solvants organiques et des produits chimiques corrosifs et nocifs, ce qui va à l’encontre des problématiques environnementales et qui engendre des coûts supplémentaires liés à la gestion des risques et des déchets. De plus le contexte réglementaire (REACh ou US pollution act) évolue vers une plus grande protection de l’environnement et de la santé humaine et encourage l’utilisation de produits alternatifs. Dans ce contexte, mon projet de thèse visait à développer une résine biosourcée, non modifiée par des procédés de chimie de synthèse et développable dans l’eau. Cette résine devait être compatible avec les instruments de lithographies conventionnelles. Lors de ce travail, il a été démontré que le chitosane était une résine de tonalité positive permettant la réalisation d’un procédé complet de lithographie/gravure avec uniquement de l’eau comme solvant, sans modification du chitosane et sans l’utilisation de masque additionnel. Des motifs de 50 nm ont été obtenu dans la silice après lithographie électronique et gravure plasma et des motifs de 0.5 à 0.3 μm après photolithographie et gravure. Lithography is a key step in micro / nanotechnology with applications in the fields of microelectronics, flexible electronics, photonics, photovoltaics, microfluidics and biomedical. This lithography step requires the use of a writable resist to act as a temporary mask for transferring patterns in the underlying material by etching or deposition. Nowadays, lithography uses synthetic organic resin, organic solvents and hazardous chemicals which is contrary to environmental issues and generates additional costs associated with risk and waste management. Furthermore, regulation rules (REACh, US pollution act) tend to move toward the protection of human health and the environment from the risks that can be posed by chemicals and promote alternative chemicals. In this context, this PhD work aimed at replacing conventional synthetic organic resist with a biopolymer. This biopolymer will not be modified by synthetic organic chemistry, will be compatible with conventional lithography instruments and it should be developable in water. It was demonstrated that chitosan was a positive tone resist allowing accomplishing a complete lithography-etching process. The whole process was performed in aqueous solution without the use of hazardous chemicals. 50 nm features were obtained after ebeam lithography/plasma etching into a silica layer without the use of an additional masking layer. 0.3-0.5 μm feature were obtained using photolithography
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Kadiri, Hind. "Auto-organisation assistée pour la nanoimpression à grande échelle et surfaces optiques multifonctionnelles". Thesis, Troyes, 2018. http://www.theses.fr/2018TROY0001.
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La nanostructuration de surface à grande échelle est un enjeu majeur des nanotechnologies et conditionne les réponses qu’elles peuvent apporter à divers défis sociétaux (santé, énergie et environnement). Il est cependant nécessaire de développer des techniques de structuration complémentaires ou alternatives simples et moins couteuses comparées à celles utilisées en microélectronique. La lithographie par nano-impression (NIL) apparait de plus en plus comme la solution pour nano-structurer des surfaces ou couches minces dans le but de donner aux matériaux de nouvelles fonctionnalités. Si elle est compatible « grande surface », la difficulté est reportée sur la fabrication des outillages pour la mettre en œuvre.L’objectif de cette thèse CIFRE en collaboration avec l'entreprise SILSEF était de développer une technologie originale de fabrication de moules nanométriques de grande taille avec comme difficulté majeure de réaliser des structurations sur de grandes surfaces et à bas coût.Deux objectifs scientifiques ont été poursuivis et atteints : 1) Développer la fabrication de moules à grande échelle (20x20 cm2) avec une gamme de structures simples et complexes. Ces structures ont été réalisées en combinant trois techniques : la lithographie colloïdale, la gravure plasma et/ou la technique d’évaporation. 2) Valider directement ou indirectement les moules pour la nanoimpression. Trois applications ont été adressées, l’extraction de photons dans des cristaux scintillateurs, le traitement antireflet (vis-IR) et la mouillabilité dans un contexte de surfaces optiques multifonctionnellesLarge scale nanostructuring is one of the major issues in nanotechnology and a bottleneck for addressing numerous societal issues (health, energy and environment). However, conventional lithographic methods used in microelectronics are becoming extremely expensive and complex especially when large scale nanostructuring is necessary. Therefore alternative cost-effective and easy to use nanolithography methods need to be developed.NanoImprint Lithography (NIL) is a very powerful method for fast and large scale nanostructuring provided the molds are available. In this study in collaboration with SILSEF, we developed a new and original nanopatterning technology at large scale and at low cost compared to other lithographic methods.Two scientific goals were tackeld: 1) development of a new method for manufacturing molds with different sizes of simple and complex structures and at large scale (20x20 cm2). Molds were obtained by using colloidal lithography combined with Reactive Ion Etching (RIE) and/or physical vapor deposition. 2) direct and indirect functional validations by self-organization for micro / meso and nanoimprint. Three applications have been addressed; enhanced light extraction efficiency of scintillating crystals, antireflection (vis and IR) and wettability in a context of multifunctional optical surfaces
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Mehrotra, Prateek. "High Aspect Ratio Lithographic Imaging at Ultra-high Numerical Apertures: Evanescent Interference Lithography with Resonant Reflector Underlayers". Thesis, University of Canterbury. Electrical and Computer Engineering, 2012. http://hdl.handle.net/10092/6935.
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A near-field technique known as evanescent interferometric lithography allows for high resolution imaging. However its primary limitation is that the image exponentially decays within the photoresist due to physical limits. This thesis aims to overcome this limitation and presents a method to considerably enhance the depth of focus of images created using evanescent interferometric lithography by using a material underlay beneath the photoresist.
A key enabler of this is the understanding that evanescent fields couple to surface states and operating within proximity of a resonance, the strength of the coupling allows for considerable energy extraction from the incident beam and redistribution of this energy in a photoresist cavity. This led to the analysis of the Fresnel equations, which suggested that such coupling was in fact the result of an enhanced reflectance that takes place at boundaries of carefully chosen materials. While it is known that metals and lossy dielectrics result in surface plasmon polaritons (SPP) and surface exciton polaritons (SEP) as conventional solutions to the Fresnel reflection equations for the TM polarization of light, there is no such naturally occurring surface state that allows evanescent wave enhancement with the TE polarization of light. Further investigation of the Fresnel reflection equations revealed both for TM and TE that in fact another solution exists that is but unconventional to enhance the reflectivity. This solution requires that one of the media have a negative loss. This is a new type of surface resonance that requires that one of the media be a gain medium; not one in the optical pumped sense but one that would naturally supply energy to a wave to make it grow. This new surface resonance is also a key result of this thesis. Clearly, however this is only a hypothetical solution as a real gain medium would violate the conservation of energy.
However, as it is only the reflectance of this gain medium that is useful for evanescent wave enhancement, in fact a multilayered stack consisting of naturally occurring materials is one way to achieve the desired reflectivity. This would of course be only an emulation of the reflectivity aspect of the gain medium. This multilayered stack is then an effective gain medium for the reflectivity purposes when imaging is carried out at a particular NA at a particular wavelength. This proposal is also a key idea of this thesis. At λ = 193 nm, this method was used to propose a feasible design to image high resolution structures, NA = 1.85 at an aspect ratio of ~3.2. To experimentally demonstrate the enhancements, a new type of solid immersion test bed, the solid immersion Lloyd's mirror interference lithography test-bed was constructed. High quality line and space patterns with a half-pitch of 55.5 nm were created using λ = 405 nm, corresponding to a NA of 1.824, that is well in the evanescent regime of light. Image depths of 33-40 nm were seen. Next, the evanescent image was coupled to an effective gain medium made up of a thin layer of hafnium oxide (HfO) upon silicon dioxide (SiO2). This resulted in a considerable depth enhancement, and 105 nm tall structures were imaged.
The work in this thesis details the construction of the solid immersion lithography test-bed, describes the implementation of the modeling tools, details the theory and analysis required to achieve the relevant solutions and understanding of the physical mechanism and finally experimentally demonstrates an enhancement that allows evanescent interferometric lithography beyond conventional limits.
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Lakcher, Amine. "Nouvelles perspectives de métrologie dimensionnelle par imagerie de microscope électronique pour le contrôle de la variabilité des procédés de fabrication des circuits intégrés". Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAT052/document.
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Dans les noeuds technologiques avancés ainsi que les technologies dérivées, des règles de dessin de plus en plus aggressives sont nécessaires. Cela conduit à une complexification des structures dans les circuits intégrés actuels. De telles structures posent un défi important aux procédés de fabrication, notamment les étapes dites de patterning que sont la lithographie et la gravure. Afin d'améliorer et d'optimiser ces structures, les designers se basent sur les règles et connaissances qu’ont les ingénieurs de leurs procédés. Ces règles ont besoin d'être alimentées par des informations dimensionnelles et structurelles de plus en plus complexes : configurations de type bord arrondi, distance entre deux bouts de lignes, rétrecissement de ligne, etc. La métrologie doit évoluer afin que les ingénieurs soient capables de mesurer et quantifier les dimensions des structures les plus complexes dans le but d'estimer la variabilité de leur procédé. Actuellement la variabilité est principalement estimée à partir de données issues du suivi en ligne de structures simples car elles sont les seules à garantir une mesure robuste et reproductible. Mais, elles peuvent difficilement être considérées comme représentatives du procédé ou du circuit. Utiliser la métrologie par CD-SEM pour mesurer des structures complexes de manière robuste est un défi technique. La création de recettes de mesures est complexe, nécessite un temps non négligeable et ne garantit pas une mesure stable. Cependant, une quantité importante d'informations est contenue dans l'image SEM. Les outils d'analyses fournis par les équipementiers permettent aujourd'hui d'extraire les contours SEM d'une structure présente dans l’image. Ainsi, le CD-SEM prend des images et la partie métrologie est réalisée hors ligne afin d'estimer la variabilité. Cette thèse vise à proposer aux ingénieurs de nouvelles possibilités de métrologie dimensionnelle afin de l’appliquer pour le contrôle des structures les plus complexes. Les contours SEM sont utilisés comme source d’information et exploités pour générer de nouvelles métriquesIn advanced technological nodes as well as derived technologies, aggressive design rules are needed. This leads to a complexity of structures in the current integrated circuits. Such structures pose a significant challenge to chip manufacturing processes, in particular patterning steps of lithography and etching. In order to improve and optimize these structures, designers need to rely on the rules and knowledge that engineers have about their processes. These rules need to be fed by complex dimensional and structural information: corner rounding, tip to tip distances, line end shortening, etc. Metrology must evolve so that engineers are able to measure and quantify the dimensions of the most complex structures in order to assess the process variability. Currently the variability is mainly quantified using data from the inline monitoring of simple structures as they are the only ones to guarantee a robust and reproducible measurement. But, they can hardly be considered as representative of the process or the circuit. Using CD-SEM metrology to measure complex structures in a robust way is a technical challenge. The creation of measurement recipes is complex, time consuming and does not guarantee a stable measurement. However, a significant amount of information is contained in the SEM image. The analysis tools provided by the equipment manufacturers allow to extract the SEM contours of a structure present in the image. Thus, the CD-SEM takes images and the metrology part is performed offline to estimate the variability.This thesis offers engineers new possibilities of dimensional metrology in order to apply it for process control of complex structures. SEM contours are used as a source of information and used to generate new metrics
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Bouanani, Shayma. "Vers l'industrialisation de l'auto-assemblage dirigé des copolymères à blocs : développement de procédés de lithographie compatibles avec les noeuds technologiques sub-10 nm pour des applications de type contacts". Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAT053/document.
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La course à la compétitivité que se disputent les industriels du semi-conducteur implique d’augmenter le nombre de fonctionnalités par puce ainsi que de réduire leur coût unitaire, ce qui se traduit par une diminution continue de leur taille. Pour ce faire, le DSA (Directed Self-Assembly), ou auto-assemblage dirigé des copolymères à blocs associe les techniques de lithographie conventionnelle avec les propriétés d’organisation à l’échelle moléculaire des copolymères. Dans ce cadre, l’objectif global de cette thèse est d’évaluer le potentiel d’industrialisation du DSA par grapho-épitaxie pour des applications de type « shrink » et « multiplication » de contacts. Il s’agit en particulier de démontrer la capacité de cette technique à répondre au cahier des charges de l’ITRS en termes d’uniformité de CD, de désalignement et de taux de défauts. Une première étude concernant le « shrink de contact », basée sur l’impact des propriétés matériaux, d’affinité de surface et de tailles de guides permet de comprendre les mécanismes qui rentrent en jeu dans l’apparition de défauts d’assemblage. Une seconde partie de l’étude porte sur la multiplication de contact. Pour adresser cette application, deux types de guides ont été étudié : les guides elliptiques et les guides complexes dits « peanut ». L’étude de la fenêtre de procédé en termes de paramètres procédé comme le temps et la température de recuit, mais aussi de commensurabilité, a été menée. Une attention particulière a été portée sur l’impact de la variation du guide sur le pitch final obtenu en DSA, dont les données expérimentales ont été corrélées avec des résultats de simulation. Les critères de réussite sont basés sur les performances lithographiques qu’il faut juger à travers une métrologie de pointe. Le développement d’une métrologie spécifique pour mesurer l’erreur de placement des contacts ainsi que leur pitch a été conduiteThe competitiveness-chasing in which industrial manufactures are involved, leads to an exponential increase in the number of functionalities per chips, as well as reducing their unit cost, which results in a continuous decrease of their size. To achieve this, DSA (Directed Self-Assembly) of block copolymers, combines conventional lithography techniques with the molecular-scale organizational properties of copolymers. In this framework, the overall objective of this thesis is to evaluate the industrialization potential of the DSA process by graphoepitaxy for contact hole shrink and contact multiplication applications. In particular, it is necessary to demonstrate the ability of this technique to meet the ITRS specifications in terms of CD uniformity, misalignment and hole open yield. A first study on contact shrink, based on the impact of material properties, surface affinity and guiding feature size, allows us to understand the mechanisms involved in the appearance of defects. A second part of the study deals with contact multiplication. To address this application, two types of guides have been studied: elliptical guiding patterns and more complex ones called "peanut". The study of the process window in terms of process parameters such as annealing time and temperature, but also commensurability was conducted. Particular attention was paid to guide size variation and its impact on DSA final pitch. Experimental data from this study were correlated with simulations. The success criteria are based on the lithographic performances that must be judged through advanced metrology. The development of a specific metrology to measure the placement error of contacts as well as their pitch was conducted
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Armeanu, Ana. "Simulation électromagnétique utilisant une méthode modale de décomposition en ondelettes". Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00721767.
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La scattéromètrie requiert le calcul de la réponse optique de structures périodiques. Parmi les méthodes numériques de calcul électromagnétique de la diffraction par des réseaux, la méthode la plus couramment utilisée est la Méthode Modale de Fourier (FMM). Celle cis'avère peu efficace pour la caractérisation de structures très isolées ou très denses et peut même ne pas marcher du tout. L'objectif de cette thèse est de dépasser les limitations de la FMM. Nous restons dans le cadre des méthodes modales mais nous explorons de nouvelles voies en utilisant des bases de développement différentes qui ne présentent pas les inconvénients des bases de Fourier. Tout d'abord, nous avons introduit les fonctions B-spline qui sont le premier pas vers l'analyse multi-résolution avec les ondelettes splines. Nous avons formulé le problème de la diffraction par un réseau 1D comme un problème aux valeurs propres que nous avons résolu numériquement à l'aide de la méthode de Galerkin. Nous avons étudié en détail l'importance de la discrétisation par rapport aux discontinuités de la fonction permittivité. Ensuite, nous avons introduit les ondelettes et l'analyse à plusieurs niveaux de détails pour le problème de diffraction. La thèse contient une palette variée d'exemples numériques concernant des réseaux diélectriques et métalliques. Nous avons comparé soigneusement la convergence de nos méthodes avec celle d?autres méthodes, notamment avec la FMM. Nous avons montré que l'analyse multirésolution permet de traiter des cas pour lesquels la FMM échoue.
Livros sobre o assunto "Lithographs"
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Stones, Alan. Lithographs. Blencarn, Cumbria: Stones Prints, 1991.
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Oskar, Kokoschka. Late lithographs. London: Marlborough Graphics, 1990.
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David, Roberts. Egypt: Lithographs. Shrewsbury: Swan Hill Press, 1996.
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1875-1955, Mann Thomas, Limited Editions Club e Pondside Press, eds. Eight lithographs. [New York?]: Limited Editions Club, 1991.
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Erni, Hans. Erni Lithograph: Werkverzeichnis der Lithographien = Catalogue raisonné of the lithographs. Zürich: ABC Verlag, 1993.
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Adams, Clinton. Crayonstone: The life and work of Bolton Brown with a catalogue of his lithographs. Albuquerque: University of New Mexico Press, 1993.
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Scott, William. William Scott: Lithographs. London: Gordon Cooke, 1992.
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Wivel, Mikael. Per Kirkeby: Lithographs. Klampenborg: Bjerggaard, 2000.
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Onobrakpeya, Bruce. Poems and lithographs. Lagos, Nigeria: Ovuomaroro Gallery, 1989.
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Powell, Virginia. Virginia Powell: Lithographs. Sunninghill, Berks: Austin/Desmond, 1987.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Lithographs"
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Bandelier, Philippe, Anne-Laure Charley e Alexandre Lagrange. "Photolithography". In Lithography, 1–40. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557662.ch1.
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Besacier, Maxime, Christophe Constancias e Jean-Yves Robic. "Extreme Ultraviolet Lithography". In Lithography, 41–100. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557662.ch2.
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Constancias, Christophe, Stefan Landis, Serdar Manakli, Luc Martin, Laurent Pain e David Rio. "Electron Beam Lithography". In Lithography, 101–82. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557662.ch3.
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Gierak, Jacques. "Focused Ion Beam Direct-Writing". In Lithography, 183–232. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557662.ch4.
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Hawkes, Peter. "Charged Particle Optics". In Lithography, 233–74. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557662.ch5.
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Jouve, Amandine, Michael May, Isabelle Servin e Julia Simon. "Lithography resists". In Lithography, 275–368. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557662.ch6.
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Landis, Stefan. "Front Matter". In Lithography, i—xxvi. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557662.fmatter.
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Anner, George E. "Lithography". In Planar Processing Primer, 439–91. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-0441-5_11.
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Veendrick, Harry. "Lithography". In Bits on Chips, 151–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76096-4_9.
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Kim, Dae-Eun, e In-Ha Sung. "Lithography". In Encyclopedia of Tribology, 1994–2007. Boston, MA: Springer US, 2013. http://dx.doi.org/10.1007/978-0-387-92897-5_1051.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Lithographs"
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Madaliyeva, Oysara. "EXPLORING THE NOTEBOOK "SOURCES OF BABUR" BY ABDULLA NOSIROV (Main Fund of the Russian Academy of Sciences of the Republic of Uzbekistan No. 13395)". In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/fwrb3860.
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This article examines the structure and content of "Sources about Babur," a seminal notebook compiled by A. Nosirov. This notebook, preserved in the Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan, meticulously catalogs manuscripts, lithographs, and newspaper excerpts related to Zahir ad-Din Muhammad Babur's life and work. Spanning nearly five decades of research, it offers a comprehensive overview of Babur's legacy up to 1985, exemplifying a scholarly approach to his heritage.
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Aguilar, Karen M., Shelby Powers, Leah Lackey, Arick Grootveld e Andrew G. Klein. "Assessing Paper Texture Similarity in Matisse Lithographs Using a Triplet Neural Network". In 2021 IEEE MIT Undergraduate Research Technology Conference ((URTC)). IEEE, 2021. http://dx.doi.org/10.1109/urtc54388.2021.9740159.
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Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.
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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828
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Lum, Bernice M., Andrew R. Neureuther e Glenn D. Kubiak. "Modeling Soft X-Ray Projection Lithography". In Soft X-Ray Projection Lithography. Washington, D.C.: Optica Publishing Group, 1993. http://dx.doi.org/10.1364/sxray.1993.tud.10.
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Resist models to support resist line-edge profile simulation are being developed for soft x-ray projection lithography. Models for resist expos니re, post-exposure bake kinetics, and dissolution surface etching as well as exposure tool imaging are key to balancing tradeoffs between lithographic materials and exposure systems. The SAMPLE lithography simulation program is well suited for supporting the development of this new soft x- ray projection lithography technology once the materials and imaging models are extended.
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Sasian, Jose M. "New developments in the design of ring field projection cameras for EUV lithography". In International Optical Design Conference. Washington, D.C.: Optica Publishing Group, 1998. http://dx.doi.org/10.1364/iodc.1998.lthd.1.
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One important approach toward producing 0.1 micrometer lithographic features is EUV lithography. This technology requires ring-field reflective projection cameras to produce well corrected aerial images over a 1 x 26 mm arc field. Since the creation and application of the concept of ring field for lithographic systems little more has been published about the characteristics of such systems and their interesting attributes. The effects of smile vignetting, optical surface description choice, and quasi-ring field symmetry are examples that deserve a broader discussion. The presentation will address these effects and the trends in the optical design of all- reflective projection cameras for EUV lithography.
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Balan, Nikita, Vladimir Ivanov, Alexander Pankratov e Ekaterina Kharchenko. "METHOD FOR CALCULATION OF MASK SPECIFICATION CONTRIBUTION TO LITHOGRAPHIC BUDGETS". In International Forum “Microelectronics – 2020”. Joung Scientists Scholarship “Microelectronics – 2020”. XIII International conference «Silicon – 2020». XII young scientists scholarship for silicon nanostructures and devices physics, material science, process and analysis. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1653.silicon-2020/372-374.
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In this work we consider the contribution of tolerances on the mask pattern quality to the error budgets of lithographic operations. A method for developing a photomask specification based on the lithography modeling is proposed.
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Kunz, R. R., M. A. Hartney e M. Rothschild. "Resist Alternatives for Sub-0.35-μm Lithography Using Highly Attenuated Radiation". In Soft X-Ray Projection Lithography. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/sxray.1992.wc1.
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Traditional optical lithography uses semitransparent single-layer resists where the exposing radiation produces a latent image throughout the thickness of the resist, and an isotropic liquid-based development step is used to create the desired resist profile. However, resolution of 0.25-μm or better, which is required for 256 Mbit DRAM chips and beyond, cannot be obtained with conventional photolithographic technology (250-400 nm wavelength). Shorter wavelengths are required, such as 193-nm (DUV-193), soft-X- ray (10-50 nm) or hard-X-ray (1-2 nm) radiation. Unfortunately, between the wavelengths of 10 and 220 nm few materials are semitransparent For example, at 193 nm novolac resins commonly used at longer wavelengths have an absorption depth of only 40 nm, and at the 13-nm wavelength it is 400 nm. New resist processes capable of accommodating a latent image confined to the near-surface region must therefore be developed. The lithographic process must now include an additional processing step, namely pattern transfer into the bulk of the resist. This step must be highly anisotropic so that the pattern in the surface layer is faithfully reproduced at the resist-substrate interface. These general considerations were outlined already in 1984 by Taylor et al.[1]. They apply also to other forms of strongly absorbed radiation such as ion beams. (For instance, a 30 keV Ga+ beam has a projected range of only 34 nm in photoresist.) Today, surface imaging processes have been demonstrated not only for soft X-ray projection (SXP) [2] and deep ultraviolet (DUV) lithographies [3], but are being considered for manufacturing processes at optical wavelengths as well [4]. In this paper we review some of the recent developments in the areas of surface imaging and multilayer resists, with emphasis on application to 193-nm lithography. It should be noted, however, that some of the reviewed resist concepts may be applicable to SXP lithography as well.
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Zaidi, Saleem H., e S. R. J. Brueck. "Multiple exposure interferometric lithography". In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/oam.1992.tui3.
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Volume manufacturing of dense, large-area arrays of small feature size (≅ 100-500 nm) structures is of considerable importance to a range of present and developing technologies including microelectronics and displays. Substantial effort is being expended on improvements in conventional optical lithography (including shorter wavelengths and phase-shift masks), on x-ray lithography, and on alternate patterning techniques, such as e-beam and focused ion-beam lithographies. The optical and x-ray techniques have limitations in terms of depth-of-focus that become more severe as critical dimensions decrease. The particle lithographies, while providing the necessary resolution, are generally more complex serial processes and are ill-suited to volume production. We report on a simple use of multiple exposure interferometric lithography using readily available laser sources to produce large areas of submicrometer structures. This technique has an essentially infinite depth-of-field and is well matched to volume manufacturing constraints. The use of multiple exposures, of zone plates within the optical paths, and the combination of this technique with conventional (but lower resolution) lithography offers the potential of fabricating a wide variety of structures. Multiple exposures result in moire patterns. A simple, but important, example of these moire patterns is a two dimensional array of submicrometer holes on uniform grids in both x and y directions. Another useful structure is a large area interdigitated comb. Linewidths to as small as 100 nm and periods to 250 nm are readily achieved by using a 488 nm Arion laser source.
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McCallum, Martin. "Some lithographic limits of back end lithography". In Microelectronic and MEMS Technologies, editado por Chris A. Mack e Tom Stevenson. SPIE, 2001. http://dx.doi.org/10.1117/12.425217.
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Brunner, T. A. "Pushing photolithography to its limits". In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/oam.1991.fp1.
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Over the past 16 years, eight generations of dynamic random access memory (DRAM) have been manufactured with each new generation delivering 4× more bits than the last. The 1-kbit DRAM of 1975 has steadily evolved into the 16-Mbit DRAM of today, driving steady advances in lithographic technology. Optical lithography has been used to manufacture all these DRAM generations, and is likely to extend another two or three generations. Optical lithographic tools are marvels of precision engineering with optics capable of projecting 2 billion pixels (distorted by <1/10 pixel) and with stages capable of positioning a 200-mm wafer to within 20 nm of any desired location.
Relatórios de organizações sobre o assunto "Lithographs"
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Soihl, Stephan. Transparent sculptures, lithographs, and watercolors : a personal response to the natural world. Portland State University Library, janeiro de 2000. http://dx.doi.org/10.15760/etd.3127.
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Park, Jea. Lithography Hotspot Detection. Portland State University Library, janeiro de 2000. http://dx.doi.org/10.15760/etd.5665.
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Lewis, Aaron. Wavelength Independent Optical Lithography. Fort Belvoir, VA: Defense Technical Information Center, junho de 1986. http://dx.doi.org/10.21236/ada171935.
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Ji, Qing. Maskless, resistless ion beam lithography. Office of Scientific and Technical Information (OSTI), janeiro de 2003. http://dx.doi.org/10.2172/809301.
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Zotter, Beth. Holographic Lithography for Industrial Nanomanufacturing. Office of Scientific and Technical Information (OSTI), março de 2020. http://dx.doi.org/10.2172/1614764.
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Browning, R., e R. F. Pease. Low Voltage Electron Beam Lithography. Fort Belvoir, VA: Defense Technical Information Center, abril de 1994. http://dx.doi.org/10.21236/ada281046.
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NAVAL RESEARCH LAB WASHINGTON DC. Low Voltage Electron Beam Lithography. Fort Belvoir, VA: Defense Technical Information Center, março de 1995. http://dx.doi.org/10.21236/ada293396.
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Liu, Weidong. Low Voltage Electron Beam Lithography. Fort Belvoir, VA: Defense Technical Information Center, junho de 1995. http://dx.doi.org/10.21236/ada296625.
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Browning, R., e R. F. Pease. Low Voltage Electron Beam Lithography. Fort Belvoir, VA: Defense Technical Information Center, outubro de 1992. http://dx.doi.org/10.21236/ada263360.
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Browning, R., e R. F. Pease. Low Voltage Electron Beam Lithography. Fort Belvoir, VA: Defense Technical Information Center, fevereiro de 1993. http://dx.doi.org/10.21236/ada265358.
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