Technological Incentives for Journalistic Cartography
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Part One Top-Down Strategy
Part One Top-Down Strategy Nanotechnology, Volume 8: Nanostructured Surfaces. Edited by Lifeng Chi Copyright Ó 2010 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim ISBN: 978-3-527-31739-4 j3 1 Top-Down Fabrication of Nanostructures Ming Liu, Zhuoyu Ji, and Liwei Shang 1.1 Introduction The top-down approach to nanofabrication involves the creation of nanostructures from a large parent entity. This type of fabrication is based on a number of tools and methodologies which consist of three major steps: 1) The deposition of thin films/coatings on a substrate. 2) Obtaining the desired shapes via photolithography. 3) Pattern transfer using either a lift-off process or selective etching of the films Compared with general chemical fabrication and processing methods, top-down fabrication techniques for the creation of nanostructures are derived mainly from the techniques applied for the fabrication of microstructures in the semiconductor industry. In particular, the fundamentals and basic approaches are mostly based on micro-fabrications. In this chapter, methods of top-down nanofabrication will be discussed, with attention being focused primarily on methods of lithography, especially optical, electron-beam, X-ray and focused ion beam lithography. A brief introduction will also be provided on how to create nanostructures using various methods of thin film deposition and etching materials. Finally, the methods for pattern transfer through etching and lift-off techniques will be discussed. In the past, top-down fabrication techniques have represented an effective approach for nanostructures and, when complemented with bottom-up approaches during the past few decades, have led to amazing progress having been made with a variety of nanostructures. -
Scientific Methodologies to Identify Art Prints
9th International Conference on NDT of Art, Jerusalem Israel, 25-30 May 2008 For more papers of this publication click: www.ndt.net/search/docs.php3?MainSource=65 SCIENTIFIC METHODOLOGIES TO IDENTIFY ART PRINTS Paola Cassinelli1, Luciano Marras2, Chiara Micheli3, Anna Pelagotti2 1Via G. Galliano 47, 50144 Firenze, Italy 2Art-Test, Via Giuntini 13, 56023 Navacchio (PI), Italy 3Via Cerretelli 7, 50017 San Piero a Ponti (FI), Italy Email: [email protected] ABSTRACT Modern photoengraving methods can generate forged prints really similar to original ones. Till recently, in order to distinguish between these fakes and original prints, art historian specialized in art prints have been using only magnifiers (magnifying lenses). The aim of the present study was to set up a scientific method based on non-invasive techniques to find out differences between photoengraving reproducing etching of the century XVIII and original etching of the century XVII, and to document them. To this aim, several devices were tested: IR reflectography, Portable X-Ray Fluorescence Analyzers (XRF) and optical microscope. We aimed at analysing mainly the kind ink used and the lines. We chose not to analyse the kind of used paper, since for forged prints antique paper can be used as support. The IR response of the two kinds of print, was found to be not relevant. Ink components, as analysed by XRF were not to be distinguished between the ones used for photoenvravings and for the original prints. With the microscope, small areas showing lines were investigated with a 10X enlargement. Obtained macrophotographies allowed to point out a lot of differences between the two prints. -
THE UNIVERSITY of MISSOURI BULLETIN • JOURNALISM SERIES: 86 COLUMBIA • MISSOURI
VOLUME 42 NUMBER 5 THE UNIVERSITY of MISSOURI BULLETIN • JOURNALISM SERIES: 86 COLUMBIA • MISSOURI Costs of Installing and Operating a Small One-Man Photoengraving Plant by LESTER E. FINLEY School of Journalism ENTERED AS SECOND CLASS MATTER, JANUARY 2, 1914, AT THE POST OFFICE AT COLUMBIA, MISSOURI, UNDER THE ACT OF AUGUST 24, 1912. ISSUED TWO TIMES MONTHLY.··2000 . MARCH 1, 1941 2 Costs of Installing and Operating a Small One-Man Photoengraving Plant by Lester E. Finley, Instructor, School of Journalism, University of Missouri This report is based on questionnaires filled out by seven. weekly and eight small daily newspaper publishers, who are own ers of one-man photoengraving plants, and on correspondence with commercial photoengravers and manufacturers of photoengraving equipment. Original Cost of Engraving Plant An engraving plant may cost a few hundred dollars or sever al thousand dollars. The cheapest plant will be small in size and without many of the refinements of the higher priced models. It will not be as well constructed nor of as good material, and, probably, will not last as long as the more expensive equipment. Investment of newspapers in photoengraving equipment, as reported in the questionnaires, follows: Weekly Newspapers Original Cost of Present Investment in Age of Engraving Engra ving Plant Engraving and Photo- Plant in Years graphic Dept. l. $ 650 $1000 1 2. 750 1200 1 3. 400 1500 6 4. 750 1000 3 5. 532 1000 2 6. 500 800 6 7. 1000 1500 1 Average all weeklies $655 $1I43 3 Daily NewspaEers Original Cost of Present Investment in Age of Engraving Engraving Plant Engraving and Photo- Plant in Years graphic Dept. -
History of Communications Media
History of Communications Media Class 5 History of Communications Media • What We Will Cover Today – Photography • Last Week we just started this topic – Typewriter – Motion Pictures • The Emergence of Hollywood • Some Effects of the Feature Film Photography - Origins • Joseph Nicephore Niepce –first photograph (1825) – Used bitumen and required an 8-hour exposure – Invented photoengraving • Today’s photolithography is both a descendent of Niepce’s technique and the means by which printed circuits and computer chips are made – Partner of Louis Daguerre Photography - Origins • Louis Daguerre – invented daguerreotype – Daguerre was a panorama painter and theatrical designer – Announced the daguerreotype system in 1839 • Daguerreotype – a photograph in which the image is exposed onto a silver mirror coated with silver halide particles – The first commercially practical photographic process • Exposures of 15 minutes initially but later shortened – The polaroid of its day – capable of only a single image Photography – Origins • William Henry Fox Talbot – invented the calotype or talbotype – Calotype was a photographic system that: • Used salted paper coated with silver iodide or silver chloride that was developed with gallic acid and fixed with potassium bromide • Produced both a photographic negative and any desired number of positive prints Photography – Origins • Wet Collodion Process - 1 – Invented in 1850 by Frederick Scott Archer and Gustave Le Grey – Wet plate process that required the photographer to coat the glass plate, expose it, -
I the Journal of \ Photographic Science
i- i The Journal of i \ Photographic Science SEP 15 1969 JULY / AUGUST 1969 • • ' !, ' • ,, , ': • I I VOLUME 17 NUMBER 4 • 0 • • • . ... CONTENTS PHOTOGRAPHY AND PHOTOGRAVURE: HISTORY OF PHOTOMECHANICAL REPRODUCTION E. OSTROFF THE RELATIONSHIP BETWEEN SPEED AND GRAIN SIZE G. C. FARNELL MICROIMAGE PHOTORESIST EVALUATION K. G. CLARK and R. G. TURNER HIGH SPEED PHOTOGRAPHIC STUDY OF LUBRICATED CONTACTS USING OPTICAL INTERFEROMETRY F. J. WESTLAKE and A. CAMERON FUTURE MEETINGS The Royal Photographic Society of Great Britain Ostroff: Photography and Photogravure 101 Photography and Photogravure: History of Photomechanical Reproduction EUGENE OSTROFF Curator of Photography, Smithsonian Institution, Washington, D.C. ABSTRACT. The first practicable photomechanical system-contact-screen photogravure-was invented in 1852 by W. H.F. Talbot of England. Many of the approaches introduced by Talbot are still used in current practice: contact cross-line "master" and "working" screens: metal plate etching through a bichromated gelatin emulsion: etching with ferric chloride solutions of different concentrations: and selective local etching for "retouching" purposes. To provide the tiny image ink-holding components in the printing plate, Talbot used fine gauze fabrics for the contact cross-line screens and fine resin particles (aquatint) applied as a powder or liquid. He also experimented with contact screens of ruled lines on paper: scored cartilage: waxed paper with scribed lines: aquatint pattern on paper and a blackened film with uniform grid of clear circular openings. INTRODUCTION By 1852, the year in which the first practicable photo- this coating was insufficient for camera exposures but ade- mechanical system was introduced, two different approaches quate for photogenic drawings (photograms) and contact had been devised-heliogravure (1826), and chemically etched printing. -
The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917)
University of Alberta The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917) by Hanna Chuchvaha A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Modern Languages and Cultural Studies Art and Design ©Hanna Chuchvaha Fall 2012 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. To my father, Anatolii Sviridenok, a devoted Academician for 50 years ABSTRACT This interdisciplinary dissertation explores the World of Art (Mir Iskusstva, 1899- 1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909- 1917), three art periodicals that became symbols of the print revival and Europeanization in late Imperial Russia. Preoccupied with high quality art reproduction and graphic design, these journals were conceived and executed as art objects and examples of fine book craftsmanship, concerned with the physical form and appearance of the periodical as such. Their publication advanced Russian book art and stimulated the development of graphic design, giving it a status comparable to that of painting or sculpture. -
Printed Circuit Boards
EELE 461/561 – Digital System Design Printed Circuit Boards Module #4 – Interconnect Construction • Interconnect (PCBs) (Printed Circuit Boards) - we have examined how parasitics along a Transmission Line can lead to • Topics reflections and risetime degradation. - now we look at one of the interconnect technologies that is used in modern digital systems. 1. Printed Circuit Board Construction 2. Printed Circuit Board Design - by understanding the manufacturing steps used to create an interconnect, we can understand: 1) where the electrical parasitics come from • Textbook Reading Assignments 2) manufacturing limits for Cost vs. Performance trade-offs 1. - • Printed Circuit Boards • What you should be able to do after this module - a structure that: 1) mechanically support components 1. Describe the fabrication process of a PCB 2) provides electrical conduction paths between circuits 2. Design a printed circuit board using modern CAD tools 3. Understand the signal integrity issues associated with PCBs 4. Design controlled impedance transmission lines using PCBs 5. Understand the fabrication limitations of PCBs and how they dictate design rules EELE 461/561 – Digital System Design Module #4 EELE 461/561 – Digital System Design Module #4 Page 1 Page 2 Printed Circuit Boards Printed Circuit Boards • Terminology • Construction “PCB” = Printed Circuit Board (i.e., a “board”) - there are a variety of methods to create a PCB. “PWB” = Printed Wiring Board (same as PCB) - the general approach is to start with a sheet of copper attached to an insulator and then remove copper leaving only your desired interconnect pattern. “PCA” = PCB Assembly, a PCB that is loaded with components - this is called a subtractive method and is the most common technique. -
Printed Circuit Board
Printed circuit board From Wikipedia, the free encyclopedia Jump to: navigation, search Part of a 1983 Sinclair ZX Spectrum computer board; a populated PCB, showing the conductive traces, vias (the through-hole paths to the other surface), and some mounted electrical components PCB Layout Program A printed circuit board, or PCB, is used to mechanically support and electrically connect electronic components using conductive pathways, or traces, etched from copper sheets laminated onto a non-conductive substrate. Alternative names are printed wiring board (PWB),and etched wiring board. A PCB populated with electronic components is a printed circuit assembly (PCA), also known as a printed circuit board assembly (PCBA). PCBs are rugged, inexpensive, and can be highly reliable. They require much more layout effort and higher initial cost than either wire-wrapped or point-to-point constructed circuits, but are much cheaper and faster for high- volume production. Much of the electronics industry's PCB design, assembly, and quality control needs are set by standards that are published by the IPC organization. [edit] Manufacturing A PCB as a design on a computer (left) and realized as a board assembly with populated components (right). The board is double sided, with through-hole plating, green solder resist, and white silkscreen printing. Both surface mount and through-hole components have been used. [edit] Patterning (etching) The vast majority of printed circuit boards are made by bonding a layer of copper over the entire substrate, sometimes on both sides, (creating a "blank PCB") then removing unwanted copper after applying a temporary mask (eg. by etching), leaving only the desired copper traces. -
Photographs of the 19Th Century: a Process Identification Guide
PHOTOGRAPHS FROM THE 19th CENTURY: A Process Identification Guide William E. Leyshon Copyright 1984-2001 William E. Leyshon Copyright (c) 1984-2001 William E. Leyshon. All rights are reserved. This manuscript may not be reproduced in whole or part for commercial distribution without written consent of Sharlot Hall Museum Archives, Prescott, AZ 86301. Single copies may be made for reference use by individuals. The FOTOFIND V2.7 computer program is provided with no warranty of any kind, expressed or implied. Copyright 1984-2001 William E. Leyshon PHOTOGRAPHS FROM THE 19th CENTURY: A Process Identification Guide William E. Leyshon Contents Page Acknowledgements........................................... 4 Credits.................................................... 6 Preface.................................................... 7 How To Use This Book....................................... 7 Introduction............................................... 8 Part One - History of the Processes Chapter 1 - Uncoated Paper................................. 13 Chapter 2 - Coated Paper................................... 21 Chapter 3 - Flexible Negatives............................. 27 Chapter 4 - Bichromate, Carbon, and Oil Processes.......... 33 Chapter 5 - Photomechanical Reproduction................... 37 Chapter 6 - Glass Negatives and Positives.................. 47 Chapter 7 - Daguerreotypes, Ambrotypes, and Tintypes....... 56 Chapter 8 - Cases, Paper Mounts, and cartes de visite...... 66 Chapter 9 - Transferotypes and Miscellaneous Bases........ -
Beyond Photography: an Introduction to William Henry Fox Talbot's
Beyond Photography: An Introduction to William Henry Fox Talbot’s Notebooks in the Talbot Collection at the British Library Mirjam Brusius Referring to his photograph ‘Queen’s College Oxford’ (fig. 1) in The Pencil of Nature (1844- 1846), which was the first photographically illustrated book, William Henry Fox Talbot (1800-1877) stressed the photograph’s superior way of recording inscriptions: ‘It frequently happens, moreover – and this is one of the charms of photography – that the operator himself discovers on examination, perhaps long afterwards, that he has depicted many things he had no notion of at the time. Sometimes inscriptions and dates are found upon the buildings, or printed placards most irrelevant, are discovered upon their walls: sometimes a distant dial-plate is seen, and upon it – unconsciously recorded – the hour of the day at which the view was taken.’1 Fig. 1. W. H. F. Talbot, Queen's College, Oxford. Entrance Gateway, The Pencil of Nature, Plate XIII, 1843. Salted paper print from a calotype negative. British Library, Talbot Photo 6 (13). 1 William Henry Fox Talbot, The Pencil of Nature (London 1844), plate XIII. 1 eBLJ 2010, Article 14 Beyond Photography: An Introduction to William Henry Fox Talbot’s Notebooks in the Talbot Collection at the British Library Talbot’s evidence that a photograph could capture features originally unnoticed by the photographer through a passionless mechanical process refers primarily to script; itself a recording device. When explaining to the reader the nature of the photograph, he talks about inscriptions, dates, printed placards, and dial-plates, which are unconsciously recorded. -
United States Patent [191 I [11'] 4,125,661 Messerschmidt, Jr
United States Patent [191 I [11'] 4,125,661 Messerschmidt, Jr. et al. [45] Nov. 14, 1978 [54] LAMINATED PLATES FOR CHEMICAL 3,201,239 8/1965 Neugebauer et a1. ...... .. 96/33 X MILLING 3,222,175 12/1965 Rasch ................. .. 156/905 X 3,305,416 2/ 1967 Kahan et a1. ...... .. 156/630 [75] ' Inventors: Harold J. Messerschmidt, Jr., 3,448,516 6/ 1969 Buck .......... .. 156/630 X Stockholm; Karl Heyman, Montclair, 3,607,474 9/ 1971 Hensdale . .. 156/630 both of NJ. 3,660,088 5/1972 Lundsager . 96/36.3 X 3,765,894 10/ 1973 _ Mellan . .. 96/49 X [73] Assignee: Mona Industries, Inc., Paterson, NJ. 3,816,273 6/ 1974 Snyder 156/659 X [21] Appl. No.: 857,350 3,960,622 6/ 1976 H'd?ing .......................... .. 156/656 X Primary Examiner—William A. Powell [22] Filed: Dec. 2, 1977 Assistant Examiner-Thomas Bokan Related U.S. Application Data Attorney, Agent, or Firm—Sprung, Felfe, Horn, Lynch & Kramer ‘ [63] Continuation of Ser. No. 668,568, Mar. 19, 1976, abandoned. ' [57] ABSTRACT [51] Int. C1.2 ...................... .. B41N 1/00; B32B 15/08; Metal plates, e.g., of magnesium, zinc or copper, suit B32B 27/38; G03C 1/94 able for chemical milling and etching operations to [52] U.S. Cl. ................................... .. 428/201; 96/36.3; produce photoengraving plates, printed circuit boards, 96/86 R; 101/456; 101/458; 156/330; 156/332; nameplates, etc., comprising a metal layer and, adhered - 156/334; 156/656; 156/659; 428/209; 428/213; thereto, a plastic ?lm layer having a thickness substan 428/215; 428/908 tially smaller than that of the metal layer. -
History of Communications Media
History of Communications Media Class 4 Email: [email protected] 1 What We Will Cover Today • Telephone – Its Invention & Implications • Still Photography – The Film Era • Typewriter – What Christopher Scholes & Remington Wrought 2 Telephone • Alexander Graham Bell – Son of a professor of elocution in London & Edinburgh who emigrated to Canada – Taught deaf mutes in Boston. There • Met Gardiner G. Hubbard, an affluent businessman and philanthropist • Married Hubbard’s deaf daughter, Mabel • Became professor of vocal physiology and elocution in 1873 • Conceived of the telephone in July 1874 Graham Bell began teaching deaf-mutes in Boston in 1871, where he met Gardiner Greene Hubbard, an affluent businessman and philanthropist. One of Hubbard's daughters, Mabel, had been deaf from scarlet fever since the age of five. She became one of Bell's pupils. He fell in love with her and they were married. Bell was very sensitive to the psychological plight of deaf children and gained the support' of Sarah Fuller, a prominent Boston teacher of the deaf. He became interested in multiple telegraphy as a means of communication and tried to make an instrument for transmitting sound vibrations. Bell's considerable reputation as a teacher led Lewis Monroe, dean of the School of Oratory of the recently formed Boston University, to offer him a chair in vocal physiology and elocution in 1873. This provided him with a permanent base from which he could pursue his research. Bell was the first person to realize that the electrical transmission of the human voice