

Nanoimprint over EUV Lithography: Japan Aims to Cut Costs for 1.4nm Chip Production
Z2 – Lithographically fabricated IC in a garage fab
https://sam.zeloof.xyz/second-ic/
#HackerNews #Z2 #Lithography #GarageFab #IC #Innovation #Technology #Semiconductor
Le Puy - dessin et lithographie de VIARD, parue vers 1835
In Élie Pandraud : Le Puy et ses environs vus par d'anciens artistes. 1975
#Auvergne #hauteloire #lepuyenvelay #patrimoine #heritage #dessin #drawing #lithographie #lithography #histoire #history #architecture #city #ville #paysage #landscape
Le Puy-en-Velay, vue générale. - dessin de DAUZATS, lithographie de ENGELMANN, extraite des Voyages pittoresques et romantiques dans l'ancienne France, Auvergne et Velay, de TAYLOR, NODIER et CAILLEUX, 1828-1832.
In Élie Pandraud : Le Puy et ses environs vus par d'anciens artistes. 1975
#Auvergne #hauteloire #lepuyenvelay #patrimoine #heritage #dessin #drawing #lithographie #lithography #histoire #history #architecture #city #ville #paysage #landscape
Opening flower (1854) by William Sharp, from Victoria Regia, or, The Great Water Lily of America: With a Brief Account of its Discovery and Introduction into Cultivation.
Source: Missouri Botanical Garden / Biodiversity Heritage Library
https://pdimagearchive.org/images/d20c3c1f-c106-4899-9a66-0cf67613ee19
#water-lilies #botanical #chromolithography #plants #lithography #art #publicdomain
By Raphael Soyer (1899-1987), Mother And Child, 1969, lithograph, Image: 42.2 × 27 cm (16 5/8 × 10 11/16 in). As an original print, it appears in many collections, both public and private. #arthistory #printmaking #lithography #lithograph #Art
From Virginia M. Mecklenburg Modern American Realism: The Sara Roby Foundation Collection (Washington, D.C.: Smithsonian Institution Press for the National Museum of American Art, 1987): ‘Raphael Soyer was a painter, draughtsman, and printmaker who believed that "if art is to survive, it must describe and express people, their lives and times. It must communicate." From an early age Soyer and his brothers Moses and Isaac were encouraged to draw by their father, a teacher of Hebrew literature and history. Forced to leave Russia in 1912, they immigrated to the United States and settled in Brooklyn. In the mid 1920s, having studied at Cooper Union, the National Academy of Design, and the Art Students League, Soyer painted scenes of life on New York's east side. His portrayals of derelicts, working people, and the unemployed around Union Square during the Depression reveal more of a poignant vision of the human condition than the art of social protest popular with many of his contemporaries. Throughout his life Soyer painted people—his friends, himself, studio models—with an unerring eye for intimacy and mood.’
'TSMC's Incredible 2nm Curvy Masks'
