Resist

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Longquan celadon vase, 14th century; the unglazed medallions were coated with a resist before the vase was coated with liquid glaze. Percival David Collection DSCF3122 17.jpg
Longquan celadon vase, 14th century; the unglazed medallions were coated with a resist before the vase was coated with liquid glaze.

A resist, used in many areas of manufacturing and art, is something that is added to parts of an object to create a pattern by protecting these parts from being affected by a subsequent stage in the process. [2] Often the resist is then removed.

Contents

For example in the resist dyeing of textiles, wax or a similar substance is added to places where the dye is not wanted. The wax will "resist" the dye, and after it is removed there will be a pattern in two colours. Batik, shibori and tie-dye are among many styles of resist dyeing. [3] [4]

Wax or grease can also be used as a resist in pottery, to keep some areas free from a ceramic glaze; the wax burns away when the piece is fired. [5] Song dynasty Jizhou ware used paper cut-outs and leaves as resists or stencils under glaze to create patterns. [6] Other uses of resists in pottery work with slip or paints, and a whole range of modern materials used as resists. [7] A range of similar techniques can be used in watercolour and other forms of painting. [8] [9] While these artistic techniques stretch back centuries, a range of new applications of the resist principle have recently developed in microelectronics and nanotechnology. An example is resists in semiconductor fabrication, using photoresists (often just referred to as "resists") in photolithography. [10]

Etching

Etching processes use a resist, though in these typically the whole object is covered in the resist (called the "ground" in some contexts), which is then selectively removed from some parts. This is the case when a resist is used to prepare the copper substrate for champlevé enamels, where parts of the field are etched (with acid or electrically) into hollows to be filled with powdered glass, which is then melted. [11] In chemical milling, as many forms of industrial etching are called, the resist may be referred to as the "maskant", [12] and in many contexts the process may be known as masking. A fixed resist pre-shaped with the pattern is often called a stencil, or in some contexts a frisket. [13]

The Oxford English Dictionary does not record the word "resist" in this sense before the 1830s, when it was used in relation to both "calico-printing" (1836) and metalwork with copper (1839). [14] Resists were also used to etch steel from the mid 19th-century. [15]

Related Research Articles

Microelectromechanical systems Very small devices that incorporate moving components

Microelectromechanical systems (MEMS), also written as micro-electro-mechanical systems and the related micromechatronics and microsystems constitute the technology of microscopic devices, particularly those with moving parts. They merge at the nanoscale into nanoelectromechanical systems (NEMS) and nanotechnology. MEMS are also referred to as micromachines in Japan and microsystem technology (MST) in Europe.

In integrated circuit manufacturing, photolithography or optical lithography is a general term used for techniques that use light to produce minutely patterned thin films of suitable materials over a substrate, such as a silicon wafer, to protect selected areas of it during subsequent etching, deposition, or implantation operations. Typically, ultraviolet light is used to transfer a geometric design from an optical mask to a light-sensitive chemical (photoresist) coated on the substrate. The photoresist either breaks down or hardens where it is exposed to light. The patterned film is then created by removing the softer parts of the coating with appropriate solvents.

<i>Katazome</i>

Katazome (型染め) is a Japanese method of dyeing fabrics using a resist paste applied through a stencil, typically a rice flour mixture applied with a brush or a tool such as a palette knife. Unlike yūzen, stencils are used repeatedly to make a repeating pattern. Pigment is added by hand-painting, immersion dyeing, or both. The area of the fabric covered and permeated by the paste mixture resists the later application of dye, thus creating undyed areas within the fabric.

Tie-dye Technique of resist dyeing

Tie-dye is a term used to describe a number of resist dyeing techniques and the resulting dyed products of these processes. The process of tie-dye typically consists of folding, twisting, pleating, or crumpling fabric or a garment, before binding with string or rubber bands, followed by the application of dye or dyes. The manipulations of the fabric before the application of dye are called resists, as they partially or completely prevent ('resist') the applied dye from coloring the fabric. More sophisticated tie-dye may involve additional steps, including an initial application of dye before the resist, multiple sequential dyeing and resist steps, and the use of other types of resists and discharge.

<i>Shibori</i> Dyeing technique from Japan

Shibori is a Japanese manual tie-dyeing technique, which produces a number of different patterns on fabric.

Ikat is a dyeing technique originating from Indonesia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.

Photoengraving is a process that uses a light-sensitive photoresist applied to the surface to be engraved to create a mask that protects some areas during a subsequent operation which etches, dissolves, or otherwise removes some or all of the material from the unshielded areas of a substrate. Normally applied to metal, it can also be used on glass, plastic and other materials.

Textile printing Method for applying patterns to cloth using printing techniques

Textile printing is the process of applying color to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fibre, so as to resist washing and friction. Textile printing is related to dyeing but in dyeing properly the whole fabric is uniformly covered with one colour, whereas in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns.

Overglaze decoration Method of decorating pottery

Overglaze decoration, overglaze enamelling or on-glaze decoration is a method of decorating pottery, most often porcelain, where the coloured decoration is applied on top of the already fired and glazed surface, and then fixed in a second firing at a relatively low temperature, often in a muffle kiln. It is often described as producing "enamelled" decoration. The colours fuse on to the glaze, so the decoration becomes durable. This decorative firing is usually done at a lower temperature which allows for a more varied and vivid palette of colours, using pigments which will not colour correctly at the high temperature necessary to fire the porcelain body. Historically, a relatively narrow range of colours could be achieved with underglaze decoration, where the coloured pattern is applied before glazing, notably the cobalt blue of blue and white porcelain.

Resist dyeing Traditional method of dyeing textiles with patterns

Resist dyeing (resist-dyeing) is a traditional method of dyeing textiles with patterns. Methods are used to "resist" or prevent the dye from reaching all the cloth, thereby creating a pattern and ground. The most common forms use wax, some type of paste made from starch or mud, or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using a chemical agent in a specific type of dye that will repel another type of dye printed over the top. The best-known varieties today include tie-dye, batik, and ikat.

Egg decorating in Slavic culture Tradition

The tradition of egg decoration in Slavic cultures originated in pagan times, and was transformed by the process of religious syncretism into the Christian Easter egg. Over time, many new techniques were added. Some versions of these decorated eggs have retained their pagan symbolism, while others have added christian symbols and motifs.

Adire (textile art)

Adire textile is the indigo-dyed cloth made in southwestern Nigeria by Yoruba women, using a variety of resist-dyeing techniques.

The lift-off process in microstructuring technology is a method of creating structures (patterning) of a target material on the surface of a substrate using a sacrificial material . It is an additive technique as opposed to more traditional subtracting technique like etching. The scale of the structures can vary from the nanoscale up to the centimeter scale or further, but are typically of micrometric dimensions.

Cizhou ware

Cizhou ware or Tz'u-chou ware is a term for a wide range of Chinese ceramics from between the late Tang dynasty and the early Ming dynasty, but especially associated with the Northern Song to Yuan period in the 11–14th century. It has been increasingly realized that a very large number of sites in northern China produced these wares, and their decoration is very variable, but most characteristically uses black and white, in a variety of techniques. For this reason Cizhou-type is often preferred as a general term. All are stoneware in Western terms, and "high-fired" or porcelain in Chinese terms. They were less high-status than other types such as celadons and Jun ware, and are regarded as "popular", though many are finely and carefully decorated.

Yoshiko Iwamoto Wada Japanese artist (born 1944)

Yoshiko Iwamoto Wada is a Japanese textile artist, curator, art historian, scholar, professor, and author. She has received international recognition for her scholarship and expertise in the field of textile art. In 2010, she was named a "Distinguished Craft Educator - Master of Medium" by the James Renwick Alliance of the Smithsonian Institution, who stated: "she is single-handedly responsible for introducing the art of Japanese shibori to this country". In 2016 she received the George Hewitt Myers Award for Lifetime Achievement.

Jizhou ware

Jizhou ware or Chi-chou ware is Chinese pottery from Jiangxi province in southern China; the Jizhou kilns made a number of different types of wares over the five centuries of production. The best known wares are simple shapes in stoneware, with a strong emphasis on subtle effects in the dark glazes, comparable to Jian ware, but often combined with other decorative effects. In the Song dynasty they achieved a high prestige, especially among Buddhist monks and in relation to tea-drinking. The wares often use leaves or paper cutouts to create resist patterns in the glaze, by leaving parts of the body untouched.

<i>Yūzen</i> Japanese dyeing technique for textiles

Yūzen (友禅染) is a Japanese resist dyeing technique where dyes are applied inside outlines of dyed or undyed rice-paste resist, which may be drawn freehand or stencilled; the paste keeps the dye areas separated. Originating in the 17th century, the technique became popular as both a way of subverting sumptuary laws on dress fabrics, and also as a way to quickly produce kimono that appeared to be painted freehand with dyes. The technique was named after Miyazaki Yūzen, a 17th century fan painter who perfected the technique. Miyazaki Yūzen's fan designs became so popular that a book called the yūzen-hiinagata was published in 1688, showing similar patterns applied to kosode. A fashion for elaborate pictoral yūzen designs lasted until 1692.

Bruneian art is art from the country of Brunei. Brunei's art includes paintings, jewelry, and clothing.

<i>Tanmono</i> Traditional Japanese cloth

A tanmono is a traditional Japanese narrow-loomed cloth. It is used to make traditional Japanese clothes, textile room dividers, sails, and other traditional cloth items.

References

  1. ↑ British Museum page
  2. ↑ OED, "Resist", 3. "Any composition applied to a surface to protect it in part from the effects of an agent employed on it for some purpose".
  3. ↑ Resist-dyed textiles, Victoria and Albert Museum, London
  4. ↑ Yoshiko Iwamoto Wada, Mary Kellogg Rice, Jane Barton, Shibori: The Inventive Art of Japanese Shaped Resist Dyeing : Tradition, Techniques, Innovation, 1999, Kodansha International, ISBN   4770023995, 9784770023995
  5. ↑ Medley, Margaret, The Chinese Potter: A Practical History of Chinese Ceramics, pp. 151–152, 3rd edition, 1989, Phaidon, ISBN   071482593X
  6. ↑ Medley, pp. 158–159
  7. ↑ Beard, Peter, Resist and Masking Techniques (Ceramics Handbooks), 1996, University of Pennsylvania Press, ISBN   0812216113, 9780812216110
  8. ↑ Reyner, Nancy, Acrylic Revolution: New Tricks and Techniques for Working with the World's Most Versatile Medium, pp. 40–42, 2007, North Light Books, ISBN   1581808046, 9781581808049, google books
  9. ↑ Susan Crabtree, Peter Beudert, Scenic Art for the Theatre: History, Tools and Techniques, p. 391, 2012, CRC Press, ISBN   1136084304, 9781136084300
  10. ↑ D. Widmann, H. Mader, H. Friedrich, Technology of Integrated Circuits, pp. 92–115, 2013, Springer Science & Business Media, ISBN   366204160X, 9783662041604, google books
  11. ↑ Jackson, R. L. "Relief Electro-Etching for Champlevé Enamelling". Guild of Enamellers. Retrieved 30 October 2016.
  12. ↑ Nontraditional Chemical Processes
  13. ↑ The Guild Handbook of Scientific Illustration, ed. Elaine R. S. Hodges, 2003, John Wiley & Sons, ISBN   0471360112, 9780471360117, google books
  14. ↑ OED, "Resist", 2. and 3. (original edition)
  15. ↑ Michael R. Peres (2013). The Focal Encyclopedia of Photography. Taylor & Francis. p. 102. ISBN   978-1-136-10613-2.
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