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In the carried out research is highlighted the role and contribution of lithography as an original technique of multiplication, which contributed to the development of graphic art. Focusing on the presentation of the technical characteristics, the author pleads for bringing back the interest of plastic artists and graphic design students towards this technique, which offers various possibilities for creative expression. The evolution of lithography in historical circumstances is being traced, as well as its impact in artistic creation, highlighting both the advantages of lithography and its utilitarian and aesthetic role. At the same time, are mentioned the most representative plastic artists who have approached the lithographic technique in their works, which influences and helps the contemporary artist in his own work, marked by the active interaction of technology, science and art. Only by mastering the various techniques professionals will be educated with a developed visual perception and a high creative potential.

Books with color illustrations were once rare and costly, but during the nineteenth century advances in color printing technology allowed publishers to include color more frequently. At the same time teachers and government officials attempted to employ graphic displays to facilitate understanding of often abstract or invisible concepts or to show data in a form that could more easily be grasped and retained. The use of color enhanced these endeavors. Dating from 1847 to 1876, the four books discussed here were selected because their authors deliberately chose to replace the written word with color graphics to provide instruction in the sciences and social sciences. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Periodic arrays of vertically aligned isolated carbon nanofibers (CNFs) have been fabricated using self-assembled polystyrene spheres as shadow masks for catalyst-pattern formation. Proper use of monolayer and bilayer masks, and judicial combination of angle-deposition technique with monolayer masks have allowed us to control the dot size and spacing of catalyst patterns. As long as the catalyst-dot size is not too large, isolated single CNF has grown from each catalyst dot. Combining nanosphere lithography with conventional photolithography, we have been able to realize patterned growth of CNF arrays on selected areas. [ABSTRACT FROM AUTHOR]

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Among major political, economic and intellectual conflicts, a genuine revolution took place in the applied arts during twenty years of the second half of the nineteenth century, notably in French tableware. The discovery of Japanese art coupled with the noticeable pursuit of artistic freedom sparkled intense experimentation and amazing creativity in the production of objects able to meet the wishes of a changing public. After dealing with the concept of Japonisme, this essay proposes to examine what happened within the French manufacture of faience and porcelain between 1866 and 1886. [ABSTRACT FROM AUTHOR]

This article examines the text and imagery of an article entitled 'Ateliers d'artistes,' a series of studio visits conducted by the critic François Thiébaut-Sisson in 1898 and published in the Figaro illustré. The series is interesting for a number of reasons, but most importantly because the author makes an explicit appeal to the female readers of the magazine. This appeal is set in the context of the construction of women as consumers (in this case, specifically as consumers of art) and female readership of the illustrated press, and analyzed as an early form of 'advertorial,' designed to encourage women to purchase the work of the artists visited. At the same time, the series serves to further the commercial interests of the painters discussed, and to consolidate certain stereotypes surrounding the artist's studio. [ABSTRACT FROM AUTHOR]

The article offers information on marriages in Aksum, Northern Ethiopia and its documentation in the gama paintings of the region. Topics discussed include the production of paintings associated with the Ethiopian Orthodox Tewahedo Church (EOC) in Aksum; the paintings representing religious narratives, including Jesus Christ and Virgin Mary; and the chromolithographs produced in the region depicting European images of Christian figures. Also mentioned are the Tigraian ethnic group, and the depiction of the importance of women's virginity before marriage in art.

This article proposes a re-reading of the chromolithographic algorithm on the front cover of Fox Talbot's seminal photographic work Pencil of Nature, 1844. The wet and dry of analogue and digital photography are proposed to both be in fact unfixed. A third, fluid, intermediary state is identified. The practitioner in this alternate zone is receptive to the isomorphic potential of the elements and is able to utilize a form of remote viewing – or rather remote perception – to both upload and download. [ABSTRACT FROM AUTHOR]

Franz von Hauslab is regarded as innovator of chromolithography in cartography and as originator of the principle of ‘the higher, the darker’ in the monochrome and polychrome design of height layer maps. His impact on cartography was, at the same time, much more multi-layered; the spectrum of the maps that he created respectively that he discussed in theoretical discourse comprised topographic maps, hypsometric maps (contour-lines maps and height layer maps) as well as thematic maps: among them above all geological maps, ethnographic maps as well as historical maps. He also designed two atlases. Furthermore, Hauslab was involved in the creation of several important Austrian map series. Most of his cartographic works, however, remained unpublished. His collection of books, graphics and maps, which was known and esteemed beyond the borders of Austria, was assembled based on rigorous scientific considerations. [ABSTRACT FROM AUTHOR]

In the spring of 2015, the author was asked to organize and direct a comprehensive inventory of the large and distinguished collection of prints at the Boston Public Library. Working with the staff of the BPL and a corps of graduate students, the team located, described, and prepared for digitization a diverse collection of prints, posters, chromolithographs, drawings, and ephemera, once regarded as among the best collections in the United States. The collection was understaffed, neglected, and adrift in a great public library that struggled to balance its commitment to public service with its status as a major national research library. This article describes the project and the next steps for the collection. [ABSTRACT FROM AUTHOR]

Hinduism considers cows to be sacred animals. This has concurred to cows' stereotypical depiction as religious and political icons, especially in chromolithographs that enjoyed a huge appreciation in the last two centuries of Indian history. At a visual level these images were extremely powerful but they did not depict cows as living beings who also struggle, suffer, and die. Today, the digital photographs circul ated on the Net by animal activists represent cows as mortal animals and show their real, mundane, hard life on Ind ian streets, which is very far from the ideal state of holiness one could expect. [ABSTRACT FROM AUTHOR]

This article examines the materiality of advertising trade cards used in the Gilded Age United States and resituates the medium within the post-Civil War culture of sentimental and personal exchange. Mobilizing evidence from over 3,000 cards and numerous scrapbooks, this article demonstrates that market culture commodified sentimental images and themes in chromolithographed cards, enabling consumers to appropriate them for sentimental expression in albums. The function and usage patterns of such cards as album keepsakes thus illustrates an underlying tension in the nineteenth-century ideals of separate spheres and sincere expression. [ABSTRACT FROM AUTHOR]

This paper presents the first part of a research, which studies chromolithographic labels of Brazilian products, emphasizing technical and projectual strategies on their execution. We will first present Ephemera and Brazilian Graphic Memory - areas of study in connection with this research, and also describe the chromolithography technique. We will identify two institutions in the city of Rio de Janeiro that hold this kind of artifact - Fundação Biblioteca Nacional and Arquivo Nacional - describing their collection of chromolithographed labels. A selection of 100 labels, based on the graphic elaboration of the material, constitutes the research corpus. A first approach of this corpus is based on the identification of two sets: labels for luxury consumption and labels for popular consumption. By this framing, we will develop preliminary analysis of the graphic-technical approach - emphasizing their color construction - and their iconographic strategies, highlighting the presence of Brazilian's iconographic elements on the labels for popular consumption and European themes on the ones for luxury consumption. [ABSTRACT FROM AUTHOR]

For a chromatographic column, phase ratio Φ is defined as the ratio between the volume of the stationary phase V st and the void volume of the column V 0 , and it is an important parameter characterizing the HPLC process. Although apparently simple, the evaluation of Φ presents difficulties because there is no sharp boundary between the mobile phase and the stationary phase. In addition, the boundary depends not only on the nature of the stationary phase, but also on the composition of the mobile phase. In spite of its importance, phase ratio is seldom reported for commercially available HPLC columns and the data typically provided by the vendors about the columns do not provide key information that would allow the calculation of Φ based on V st and V 0 values. A different procedure for the evaluation of Φ is based on the following formula: log k′ j = a log K ow,j + log Φ , where k ′ j is the retention factor for a compound j that must be a hydrocarbon, K ow ,j is the octanol/water partition coefficient, and a is a proportionality constant. Present study describes the experimental evaluation of Φ based on the measurement of k ′ j for the compounds in the homologous series between benzene and butylbenzene for three C18 columns: Gemini C18, Luna C18 both with 5 μm particles, and a Chromolith Performance RP-18. The evaluation was performed for two mobile phase systems at different proportions of methanol/water and acetonitrile/water. The octanol/water partition coefficients were obtained from the literature. The results obtained in the study provide further support for the new procedure for the evaluation of phase ratio. [ABSTRACT FROM AUTHOR]

Trends towards portable analytical instrumentation of the last decades have not been equally reflected in developments of portable liquid chromatography (LC) instrumentation for rapid on-site measurements. A miniaturised medium pressure capillary LC (MPLC) system with gradient elution capability has been designed based on a flexible modular microfluidic system using primarily off-the-shelf low cost components to ensure wide accessibility to other analysts. The microfluidic platform was assembled on a breadboard and contained microsyringe pumps and switch valves, complemented with an injection valve and on-capillary detectors, all controlled by a PC. Four miniaturised microsyringe pumps, with 5, 20 and 100 μL syringe volume options, formed the basis of the pumping system. Two pairs of pumps were used for each mobile phase to create gradient elution capability. The two microsyringe pumps in each pairs were linked by two electrically operated microfluidic switching valves and both pairs of pumps were connected through a zero void volume cross-connector, thus providing a low hold-up volume for gradient formation. Sample was injected by a 20 nL nano-LC sampling valve, directly connected to a 18 cm long 100 μm i.d. Chromolith CapRod RP-18 monolithic capillary column. On-capillary LED-based UV–vis photometric detection was conducted through a piece of equal diameter fused silica capillary connected after the column. The performance of the portable LC system was evaluated theoretically and experimentally, including the maximum operating pressure, gradient mixing performance, and the performance of the detectors. The 5 μL microsyringe pump offered the best performance, with typical maximum operating pressures up to 11.4 ± 0.4 MPa (water) and gradient pumping repeatability of between 4 and 9% for gradients between 0.10% s −1 and 0.33% s −1 . Test analytes of charged and uncharged dyes and pharmaceuticals of varying hydrophobicity showed typical RSD values of 0.7–1.4% and 3.3–4.8% in isocratic mode and 1.2–4.6% and 3.2–6.4% in gradient mode, respectively for retention time and peak area repeatability. [ABSTRACT FROM AUTHOR]

Carol Pop de Szathmári was born in Cluj, Transylvania, on 11 January 1812. His talent for painting shone out from an early age. Being a passionate traveller, Szathmári journeyed through Europe and often crossed the Carpathian Mountains to visit Wallachia and its capital, Bucharest, where he eventually settled in 1843. An accomplished landscape and portrait painter, at ease with both watercolours and oil paints, Szathmári obtained commissions from the wealthy Wallachian boyars. Szathmári kept up constant, good relations with the successive ruling princes of Wallachia for whom he painted portraits and various other compositions. By 1848, Szathmári began to experiment with photography. The outbreak of the Russian-Ottoman War in late June 1853 saw the Romanian principalities occupied by the Russian army. In April 1854, Szathmári filled a van with his cameras and glass plates and went to the Danube to document the fighting between the Russian and Turkish armies.The result of Szathmári's bravery and hard work was a photographic album. His album, containing some two hundred images, became famous due to its presentation at the 1855 Paris World's Fair and Szathmári was awarded the Second Class Medal for his work.From that time on, photography, painting and lithography were always closely connected in Szathmári's career. In 1864 he became a member of the Société Française de Photographie in Paris and in 1870 of the one in Vienna. In 1863, he was appointed Court Painter and Photographer, a position he held for the rest of his life. In that capacity, he followed his patron, Prince Carol I, on the battlefield during the Russian-Romanian-Ottoman War of 1877, which was waged south of the Danube. Alongside martial compositions and albums, Szathmári had long been attracted by folk types and produced a large series of pictures of peasants, gypsies, postillions, merchants and artisans. He toured the fairs and the crowded streets of the town in search of picturesque types. The artist's last major work was the chromolithographic album of the themed floats which paraded the capital city at King Carol's coronation pageant, on 10-11 May 1881. Szathmári died in Bucharest on 3 June 1887.

Carol Pop de Szathmari was born in Cluj, Transylvania, on 11 January 1812. His talent for painting shone out from an early age. Being a passionate traveller, Szathmari journeyed through Europe and often crossed the Carpathian Mountains to visit Wallachia and its capital Bucharest, where he eventually settled in 1843. An accomplished landscape and portrait painter, at ease with both watercolours and oil paints, Szathmari obtained commissions from the wealthy Wallachian boyars. Szathmari kept up constant, good relations with the successive ruling princes of Wallachia for whom he painted portraits and various other compositions. By 1848, Szathmari began to experiment with photography. The outbreak of the Russian-Ottoman War in late June 1853 saw the Romanian principalities occupied by the Russian army. In April 1854, Szathmari filled a van with his cameras and glass plates and went to the border of the Danube to document the fighting between the Russian and Turkish armies. The result of Szathmari's bravery and hard work was a photographic album. His album, containing some two hundred images, became famous due to its presentation at the 1855 Paris World Exhibition and Szathmari was awarded the Second Class Medal for his work. From that time on, photography, painting and lithography were always closely connected in Szathmari's career. In 1864 he became member of the Société Française de Photographie in Paris and in 1870 of the one in Vienna. In 1863, he received the title of Ruling Prince's Court Painter and Photographer which he kept for the rest of his life. The official painter followed his patron, Prince Carol I, on the battlefield during the Russian-Romanian-Ottoman War of 1877, which was waged south of the Danube. Along martial compositions and albums, Szathmari had long been attracted by folk types and produced a large series of pictures with peasants, gypsies, postillions, merchants and artisans. He toured the fairs and the crowded streets of the town in search of picturesque types. The artist's last major work was the chromolithographic album of the symbolic carts which paraded the Capital city on 10-11 May 1881, King Carol's coronation pageant. Szathmari died in Bucharest 3 June 1887.

Extreme ultraviolet (EUV) lithography is a promising candidate for next-generation lithography. To achieve an 11-nm node, a six-mirror EUV projection objective with a numerical aperture (NA) of 0.5 is designed with the grouping design method. In this design, pupil obscuration is introduced to decrease the angular spread on the mirrors, which still makes the six-mirror objective with aspheric surfaces sufficient for aberration correction. The grouping design allocates the complexity of designing a whole system to each of the mirror groups and could compatibly apply to designing EUV projection objectives with obscuration. The x8 reduction design serves as an example for illustrating the grouping design principles for this type of system. In addition, the specific design forms with different reductions are presented and discussed. Design of these six-mirror objective systems provides potential solutions for 11-nm node EUV lithography. [ABSTRACT FROM AUTHOR]

The purpose of this study was to develop a rapid and sensitive method for the quantification of malachite green (MG) in fish feed using LC-ESI-MS/MS with a monolithic column as stationary phase. Fish feed was cleaned using ultrasonic assisted liquid–liquid extraction. The separation was achieved on a Chromolith®Performance RP-18e column (100 × 4.6 mm) using gradient mobile phase composition of methanol and 0.1% formic acid at the flow rate of 1.0 ml min–1. The analyte was ionised using electrospray ionisation in positive mode. Mass spectral transitions were recorded in selected reaction monitoring (SRM) mode atm/z329.78 →m/z314.75 with a collision energy (CE) of 52% for MG. The system suitability responses were calculated for reproducibility tests of the retention time, number of theoretical plates and capacity factor. System validation was evaluated for precision, specificity and linearity of MG. The linearity and calibration graph was plotted in the range of 15.0–250 ng ml−1with the regression coefficient of >0.997. The lower limits of detection and quantification for MG were 0.55 and 1.44 ng ml−1, respectively, allowing easy determination in fish feed with accuracy evaluated as a percentage recovery of 92.1% and precision determined as % CV of < 5. The method was also extended to the determination of MG in an actual fish feed. The sensitivity and selectivity of LC-ESI-MS/MS using monolithic column offers a valuable alternative to the methodologies currently employed for the quantification of MG in fish feeds. [ABSTRACT FROM AUTHOR]

A fast and gradient ion-pair chromatographic method was developed for determination of five homologue imidazolium ionic liquid cations using a silica-based monolithic column and ultraviolet detection. Chromatographic separations were performed on a Chromolith Speed ROD RP-18e column with 1-heptanesulfonic acid sodium aqueous solution (pH adjusted by citric acid)–acetonitrile as the mobile phase. The effects of chromatographic column, mobile phase, flow rate, and column temperature on retention and separation of the cations were investigated. The retention rules of homologue imidazolium cations were discussed. The results showed that the analysis time could be significantly reduced owing to the application of monolithic column. Simultaneous and fast separation of five imidazolium cations was achieved under the optimum chromatographic conditions. Detection limits (S/N = 3) for the cations were 0.26–1.61 mg/L. Relative standard deviations (n = 5) for peak areas and retention times were less than 0.8%. The method has been successfully applied to the determination of two ionic liquids synthesized by chemistry lab. Recoveries of the cations after spiking were 96.8–101.9%. [ABSTRACT FROM AUTHOR]

Ruth E. Iskin’s The Poster: Art, Advertising. Design, and Collecting, 1860s-1900s positions the late-nineteenth-century advertising poster as the progenitor of valued modernist practices typically attached solely to photography and film. Modernist biases separating high art from mass culture account for scholars ignoring posters, however the poster ushered in an innovative reductive graphic style as well as pioneered the notion of multiple originals.

This essay brings attention to the representation of terror, to highlight the visual engagement with terror discourses. By looking at a spectrum of images that evoke revolutionary politics, the Gulf War, 9/11 and 26/11 (the Mumbai attack), and an Anti-Terrorist Squad interrogation, this essay focuses on a colonial chromolithograph, submissions to an amateur cartoon contest, sand sculptures, and an illustration of torture testimony in India. These disparate visual scenes offer juxtapositions and readings of terror that cannot be easily categorized as either universal or local discourses, and history or myth. [ABSTRACT FROM AUTHOR]

The creation of the book The Butterflies of North America by William H. Edwards is traced in detail. Much new information is presented, derived mostly from Edwards' extensive correspondence. It was issued from 1868 to 1897 in three series (volumes) of 42 separate parts. The first volume was published by the American Entomological Society, while the second and third volumes were published by Houghton, Mifflin & Company under several different names. The 152 hand-colored lithographic plates were drawn by five artists: Shelly W. Denton, Edward A. Ketterer, Mary Peart, Daniel Wiest, and an unidentified artist under the supervision of John Cassin. Most of the resulting prints were colored by sisters Lavinia (Lydia) Bowen and Patience D. Leslie, though many additional colorists were involved. Four plates were replaced after publication; the originals and their replacements are figured together for the first time. The first volume included a synopsis of species, which Edwards intended to revise in the second volume, but abandoned in favor of a simple list of taxa. Severe monetary constraints forced Edwards to sell his butterfly collection to help finance the third volume. Complete copies of the first and second volumes were assembled and sold for many years. Revised citations are proposed for each volume and their associated publications. New biographical information about Mary Peart is provided, including her portrait. [ABSTRACT FROM AUTHOR]

Since its opening in 2011, Crystal Bridges Museum of American Art has generated a great deal of interest from the public and other cultural institutions. From the construction of a 185,000-square-foot facility in the bottom of a ravine to the much-discussed art acquisitions, this attention is hardly surprising. However, beyond the building and the art, Crystal Bridges also has an art research library with many rare books and the most important collection of American color printed books in North America. This article focuses on the genres and methods of color printing in the Americas in the nineteenth century, then follows with a discussion of the challenges for this collection, as well as some guidelines for cataloging its items. [ABSTRACT FROM AUTHOR]