#lithography
Laser additive manufacturing of Si/ZrO2 tunable crystalline phase 3D nanostructures
A new publication from Opto-Electronic Advances reviews laser additive manufacturing of Si/ZrO2 tunable crystalline phase 3D nanostructures.
A route for laser nano-printing of 3D crystalline structures was developed employing ultrafast laser lithography, used as additive manufacturing tool for producing true 3D nanostructures, and combined with high temperature thermal post-treatment, converting the printed material into fully inorganic substance.
The inter-disciplinary experimental work revealed the potential of tuning the resulting ceramic structure into distinct crystalline phases, such as cristobalite, SiO2, ZrSiO4, m-ZrO2, t-ZrO2. The proposed approach achieved below 60 nm for individual feature dimensions without any beam shaping or complex exposure techniques, thus making it reproducible with other established standard or custom-made laser direct writing setups. The principle is compatible with commercially available platforms (for instance: Nanoscribe, MultiPhoton Optics, Femtika, Workshop of Photonics, UpNano, MicroLight, and others). Figure 1 graphically summarizes the approach, involved procedure steps, and resulting outcome.
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First hybrid nanotech device mimicking blood-brain barrier
Researchers at IIT-Istituto Italiano di Tecnologia fabricated an artificial device reproducing a 1:1 scale model of the blood-brain barrier (BBB), the anatomical and functional structure that protects the central nervous system from external substances, such as contaminants, but also drugs when they are injected intravenously into the body. The device, which is a combination of artificial and biological components, will be fundamental for studying new therapeutic strategies to overcome blood-brain barrier and treat brain diseases, such as tumors.
The study was coordinated by Gianni Ciofani, researcher at IIT in Pontedera (Pisa) and Professor at Politecnico di Torino, in the framework of the research project SLaMM funded by the European Research Council (ERC) and aiming at developing new nanotechnologies for the treatment of brain diseases.
The device is described in a paper published today by the scientific journal Small and highlighted by the journal inside cover: it is a microfluidic device that combines artificial components made with 3-D advanced microfabrication techniques (two-photon lithography) and biological ones, that is endothelial cells (the cells covering blood vessels).
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Novel photoresist enables 3D printing of smallest porous structures
Researchers of the cluster of excellence 3D matter made to order expand possibilities of two-photon microprinting
Researchers of Karlsruhe Institute of Technology (KIT) and Heidelberg University have developed a photoresist for two-photon microprinting. It has now been used for the first time to produce three-dimensional polymer microstructures with cavities in the nano range. In Advanced Materials, the scientists involved in the joint Cluster of Excellence 3D Matter Made to Order report how porosity can be controlled during printing and how this affects light scattering properties of the microstructures.
Photoresists are printing inks used to print smallest microstructures in three dimensions by so-called two-photon lithography. During printing, a laser beam is moved in all spatial directions through the initially liquid photoresist. The photoresist hardens in the focal point of the laser beam only. Little by little, complex microstructures can be built in this way. In a second step, a solvent is used to remove those areas that were not exposed to radiation. Complex polymer architectures in the micrometer and nanometer ranges remain.
Two-photon polymerization – or two-photon microprinting based on this process – has been studied extensively for some years now, in particular as regards the production of microoptics, so-called metamaterials, and microscaffolds for experiments with single biological cells. To expand the spectrum of applications, new printable materials are required. This is the point of departure of the scientists involved in the Cluster of Excellence 3D Matter Made to Order (3DMM2O) of KIT and Heidelberg University. “With the help of conventional photoresists, it was possible to print transparent, glassy polymers only,” says Frederik Mayer, physicist of KIT and main author of the study. “Our new photoresist for the first time enables printing of 3D microstructures from porous nanofoam. This polymer foam has cavities of 30 to 100 nm in size, which are filled with air.”
Electron beam lithography is a technique used to write nanometer-size features using a narrow beam of electrons to trace out the desired pattern on your sample. This is a form of maskless lithography - custom patterns can be written without the need for a mask. However, ebeam lithography has a low throughput and it is expensive, making it impractical for industrial purposes. This form of lithography is mainly used in research, mask writing, and prototyping, rather than for mass producing devices.
In the past, I have used this system to make nanowires that are less than 100 nm wide. This is 1/1000th the diameter of a human hair!
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A sputter system in our lab.
Sputter deposition is a fabrication technique used to deposit thin films of a particular material onto a sample. The film can then be patterned using lithography into, for example, electrical contacts for your device. It is commonly used in the semiconductor industry to make integrated circuits.
First a gaseous plasma of ions, typically argon, is created in the sputter chamber. Ions in the plasma are then accelerated into a large piece of the material to be deposited, called the target, causing atoms to be ejected from the surface. Atoms that reach the sample or substrate are redeposited, forming a thin film over time.
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Milton Bradley & Co. The Myriopticon, A Historical Panorama of The Rebellion Springfield, Mass. ca. 1870s–1880s Lithograph, scrolling toy theater
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Motobécane. ca. 1929. Geo Ham.
46 ¾ x 31 in./118.7 x 78.7 cm
Geo Ham had a need: a need for speed. Known as the “prince of motion,” he is famous today as the illustrator of Monaco Grand Prix posters from 1933 to 1936, as well as motorboat competitions, air meets and aerobatic competitions between the wars. He produced exactly two posters for Motobécane: this one, presumably the earlier of the two: despite the lady’s scarf waving in the breeze, there isn’t quite as much of a kinetic frisson as Ham’s more mature works. The other Ham Motobécane is directly adjacent.
Available at auction June 26. Learn more >>
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Lot 191. Anemici, by Anonymous, 1909.
49 ½ x 64 ½ in./125.7 x 163.8 cm
That scarlet blush of health you see on the lady’s cheeks and gown, and the strength of the dog she carries with her – all to promote iron pills to combat anemia, with a 15-day regimen. Available at all the best pharmacies.
Available at auction June 26. Learn More>>
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Automobile Club de France/5me Salon. 1902. Privat Livemont.
39 1/8 x 51 1/8 in./99.3 x 130 cm
Personifying the 5th Paris Auto Show is a regal-looking Art Nouveau goddess, proudly sitting at the helm of the latest open-air automobile. According to the side panel, bicycles, boats, and hot air balloons were also on view.
Available at auction June 26. Learn More>>
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Cycles Gladiator. ca. 1895. Anonymous.
51 7/8 x 38 1/8 in./131.7 x 96.8 cm
A lithographic masterpiece. Acclaimed as one of the world’s greatest posters, this image of a flame-tressed sylph, propelled among the stars by the Gladiator and its winged pedals, has been appropriated throughout culture ever since its debut in 1895. Shockingly, it remains anonymous, despite the presence of faint initials L.W. in the lower right corner.
Available at auction June 26. Learn More>>
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Western Australia. 1936. Percy Trompf.
24 7/8 x 39 ¾ in./63.3 x 101 cm
In 1936, Shirley Temple was the best-paid actress in Hollywood, so perhaps that was the flash of inspiration that made Percy Trompf turn the Tinseltown flashbulbs on this child of the Outback. Trompf became the most famous poster artist for Australian tourism, delivering bright and cheerful images like these during the depths of the Depression, so that celebratory bouquet the girl is holding ought, rightly, to belong to him – and you too.
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Brooklyn Museum. 1920. Alphonse Mucha.
12 1/8 x 19 1/8 in./23.8 x 48.5 cm
In 1921, a retrospective of Mucha’s work, featuring the first five canvases of the Slav Epic, was exhibited at the Brooklyn Museum, following a very successful showing in Chicago. This exquisite poster for the exhibition, in red, green and black inks, features a girl as symbol of the Slavic myth, holding a circle of thorns and stars signifying the past and future of the Slav people.
Available at auction February 25, 2018.
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Velké Karlovice. 1946. Ladislav Horak.
23 3/8 x 33 ¼ in./59.2 x 84.5 cm
Hardy, rustic and rogue, this determined skier brings color, strength and fortitude to the placid hamlet of Velké Karlovice, a town in the middle of the Czech Republic’s prime winter sports areas.
Available at auction February 25, 2018.
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Dubonnet. 1933. A. M. Cassandre.
Each: 11 5/8 x 15 in./29.5 x 38 cm
Cassandre’s most popular and enduring advertising idea was for Dubonnet, an odd aperitif created with fortified wine, herbs, spices and quinine. It’s basically the French version of the gin-&-tonic: a drink invented so French Foreign Legionnaires in North Africa could get the quinine down. For a commercial market, however, the libation was a little more dubious. Cassandre ran with it: “Dubo,” (a casual French word for ‘doubt’); “Dubon” (‘good’)… Dubonnet. “Whether Cassandre was thinking of comic strips or motion pictures is impossible to say,“ but "among French posters of the twentieth century none is better known. It was kept in circulation for more than two decades” (Brown & Reinhold, p. 17). This is in a version not previously seen: 3 sheets, smaller format, and with the originally intended blue center panel.
Available at auction February 25, 2018.
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Fêtes D'Aviation. 1911. Goth.
47 ¼ x 63 in./120 x 160 cm
Practically the mirror image of Le Petit Parisien’s poster for the Paris-Madrid race, we are here offered the skyline of the small town of Le Puy. The text below advertises a rivalry between Jules Vedrines (who would become the first pilot to break 100 mph the following year) and the Peruvian Juan Bielovucic Cavalié (the second aviator to make it across the Alps).
Available at auction February 25, 2018.
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Grand Prix d'Aviation. 1912. Ernest Louis Lessieux.
28 3/8 x 40 ¾ in./72 x 103.5 cm
Military men look on, skeptically and thoughtfully, as a ground crew struggles to manage a Blériot XXVII on the turf outside Angers. This was “the first contest to show the extent to which the aeroplane could be depended upon as an instrument of war” (Looping the Loop, p. 83). In the actual competition, an early summer date proved unwise as terrible rains and winds descended upon the course. Just before the event was postponed, however, Roland Garros landed his Deperdussin “Demoiselle,” winning the event to the consternation of the other 34 pilots who hadn’t been able to compete. “‘It was a moving, at times agonizing, demonstration,’ reported Le Matin. ‘The most marvelous show of valor in aviation,’ chimed in writer Jacques Mortane. The exploit of Garros against a fierce wind had placed him ahead of all the pilots in the world” (p.83).
Available at auction February 25, 2018.
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Cycles Americains. 1894. Emile Clouet.
51 x 72 ½ in./129.5 x 184.2 cm
Brash and bursting, Clouet’s poster for Cycles Americains certainly plays up the cultural characteristics of New Worlders for dramatic effect. The young woman busts through the canvas in her New York bike with a great shout of “Look at me!” And so we do, as it’s impossible to take one’s eyes off the action, which comes at you head-on.
Available at auction February 25, 2018.
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Olympia / Brighton. 1893. Pal.
30 ¾ x 49 3/8 in./78 x 125.3 cm
Just as Pal was arriving to Paris from London, the Olympia was opening its doors to the public. Here, he’s clearly enjoying introducing two Parisian cancan girls to the seashore along Brighton’s famous pier, to promoite Leopold Wenzel’s “grand ballet.”
Available at auction February 25, 2018.
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Barnum & Bailey / Coney Island. 1898. Anonymous.
27 ¼ x 37 in./69.3 x 94 cm
Beginning in 1880, and continuing until World War II, Coney Island was the single biggest amusement area in the United States. For more than a century it’s been adored for the pure carnival fantasy of it, the mass congregation of its sideshow characters, and an atmosphere of devil-may-care lunacy. This classic poster was used by Barnum & Bailey for their British tour of 1898-1899, and served to enhance the reputation of this freewheeling national treasure in New York City. A visual delight as well as a historic document of great interest, this image was also published in the more common horizontal format. Bottom text reads: “Remarkable head-foremost dives from enormous heights into shallow depths of water, together with thrilling & daring aquatic & sub-aqueous feats of every description.”
Available at auction February 25, 2018.
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Raising readers in the warmth of family and hearth
Smith & Anthony Stove Co. advertising calendar, 1889. Lithography by G. H. Buek & Co., New York. From the Charles E. Brownell Collection of Architectural and Decorative Arts Ephemera, Special Collections and Archives, James Branch Cabell Library.
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