Monthly Archives: June 2014

AsapSCIENCE, Coming Out Twice and Canada Day

AsapSCIENCE was last featured here in a May 21, 2013 posting about a Periodic Table of Elements video the pair, Mitchell Moffit and Gregory Brown, produced for their YouTube channel, AsapSCIENCE. Thanks to a June 11, 2014 posting by Sarah Gray for, I learned of a recent video, Coming out Twice, produced by Moffit and Brown for their second YouTube Channel, AsapTHOUGHT,

Today [June 11, 2014], the creators of these two channels shared what might be their most powerful and impactful video to date: “Coming Out Twice.” In it Gregory Brown and Mitchell Moffit, proudly state that while their YouTube experience has been mostly positive, they’ve encountered a lot of vitriol and homophobia. To combat this, the two, who are partners and have been together for 7 and a half years, decided to make this video to “come out, again.”

“We are openly, proud gay people, who love science,” Brown says.

It seems fitting to share on this on the eve of the July 1, 2014 Canada Day celebrations and just post the 2014 World Pride Celebrations (June 20 – 29, 2014) in Toronto, Ontario.

Former Canadian Prime Minister Pierre Elliott Trudeau famously said, more or less,  the ‘government has no place in the bedrooms of the nation’ and, as then Justice Minister, went on to decriminalize (with a lot of help) homosexuality in Canada in 1969.

The celebration of 2014 Canada Day started here last week with a four-part posting about art authentication. You can start here with: Art (Lawren Harris and the Group of Seven), science (Raman spectroscopic examinations), and other collisions at the 2014 Canadian Chemistry Conference (part 1 of 4).

Memristors, memcapacitors, and meminductors for faster computers

While some call memristors a fourth fundamental component alongside resistors, capacitors, and inductors (as mentioned in my June 26, 2014 posting which featured an update of sorts on memristors [scroll down about 80% of the way]), others view memristors as members of an emerging periodic table of circuit elements (as per my April 7, 2010 posting).

It seems scientists, Fabio Traversa, and his colleagues fall into the ‘periodic table of circuit elements’ camp. From Traversa’s  June 27, 2014 posting on,

Memristors, memcapacitors and meminductors may retain information even without a power source. Several applications of these devices have already been proposed, yet arguably one of the most appealing is ‘memcomputing’ – a brain-inspired computing paradigm utilizing the ability of emergent nanoscale devices to store and process information on the same physical platform.

A multidisciplinary team of researchers from the Autonomous University of Barcelona in Spain, the University of California San Diego and the University of South Carolina in the US, and the Polytechnic of Turin in Italy, suggest a realization of “memcomputing” based on nanoscale memcapacitors. They propose and analyse a major advancement in using memcapacitive systems (capacitors with memory), as central elements for Very Large Scale Integration (VLSI) circuits capable of storing and processing information on the same physical platform. They name this architecture Dynamic Computing Random Access Memory (DCRAM).

Using the standard configuration of a Dynamic Random Access Memory (DRAM) where the capacitors have been substituted with solid-state based memcapacitive systems, they show the possibility of performing WRITE, READ and polymorphic logic operations by only applying modulated voltage pulses to the memory cells. Being based on memcapacitors, the DCRAM expands very little energy per operation. It is a realistic memcomputing machine that overcomes the von Neumann bottleneck and clearly exhibits intrinsic parallelism and functional polymorphism.

Here’s a link to and a citation for the paper,

Dynamic computing random access memory by F L Traversa, F Bonani, Y V Pershin, and M Di Ventra. Nanotechnology Volume 25 Number 28  doi:10.1088/0957-4484/25/28/285201 Published 27 June 2014

This paper is behind a paywall.

‘Scotch-tape’ technique for isolating graphene

The ‘scotch-tape’ technique is mythologized in the graphene origins story which has scientists, Andre Geim and Konstantin Novoselov, first isolating the material by using adhesive (aka ‘sticky’ tape or ‘scotch’ tape) as per my Oct. 7, 2010 posting,

The technique that Geim and Novoselov used to create the first graphene sheets both amuses and fascinates me (from the article by Kit Eaton on the Fast Company website),

The two scientists came up with the technique that first resulted in samples of graphene–peeling individual atoms-deep sheets of the material from a bigger block of pure graphite. The science here seems almost foolishly simple, but it took a lot of lateral thinking to dream up, and then some serious science to investigate: Geim and Novoselo literally “ripped” single sheets off the graphite by using regular adhesive tape. Once they’d confirmed they had grabbed micro-flakes of the material, Geim and Novoselo were responsible for some of the very early experiments into the material’s properties. Novel stuff indeed, but perhaps not so unexpected from a scientist (Geim) who the Nobel Committe notes once managed to make a frog levitate in a magnetic field.

A May 21, 2014 article about Geim who has won both a Nobel and an Ig Nobel (the only scientist to do so) and graphene by Sarah Lewis for Fast Company offers more details about the discovery,

The graphene FNE [Friday Night Experiments] began when Geim asked Da Jiang, a doctoral student from China, to polish a piece of graphite an inch across and a few millimeters thick down to 10 microns using a specialized machine. Partly due to a language barrier, Jiang polished the graphite down to dust, but not the ultimate thinness Geim wanted.

Helpfully, the Geim lab was also observing graphite using scanning tunneling microscopy (STM). The experimenters would clean the samples beforehand using Scotch tape, which they would then discard. “We took it out of the trash and just used it,” Novoselov said. The flakes of graphite on the tape from the waste bin were finer and thinner than what Jiang had found using the fancy machine. They weren’t one layer thick—that achievement came by ripping them some more with Scotch tape.

They swapped the adhesive for Japanese Nitto tape, “probably because the whole process is so simple and cheap we wanted to fancy it up a little and use this blue tape,” Geim said. Yet “the method is called the ‘Scotch tape technique.’ I fought against this name, but lost.”

Scientists elsewhere have been inspired to investigate the process in minute detail as per a June 27, 2014 news item on Nanowerk,

The simplest mechanical cleavage technique using a primitive “Scotch” tape has resulted in the Nobel-awarded discovery of graphenes and is currently under worldwide use for assembling graphenes and other two-dimensional (2D) graphene-like structures toward their utilization in novel high-performance nanoelectronic devices.

The simplicity of this method has initiated a booming research on 2D materials. However, the atomistic processes behind the micromechanical cleavage have still been poorly understood.

A June 27, 2014 MANA (International Center for Materials Nanoarchitectoinics) news release, which originated the news item, provides more information,

A joined team of experimentalists and theorists from the International Center for Young Scientists, International Center for Materials Nanoarchitectonics and Surface Physics and Structure Unit of the National Institute for Materials Science, National University of Science and Technology “MISiS” (Moscow, Russia), Rice University (USA) and University of Jyväskylä (Finland) led by Daiming Tang and Dmitri Golberg for the first time succeeded in complete understanding of physics, kinetics and energetics behind the regarded “Scotch-tape” technique using molybdenum disulphide (MoS2) atomic layers as a model material.

The researchers developed a direct in situ probing technique in a high-resolution transmission electron microscope (HRTEM) to investigate the mechanical cleavage processes and associated mechanical behaviors. By precisely manipulating an ultra-sharp metal probe to contact the pre-existing crystalline steps of the MoS2 single crystals, atomically thin flakes were delicately peeled off, selectively ranging from a single, double to more than 20 atomic layers. The team found that the mechanical behaviors are strongly dependent on the number of layers. Combination of in situ HRTEM and molecular dynamics simulations reveal a transformation of bending behavior from spontaneous rippling (< 5 atomic layers) to homogeneous curving (~ 10 layers), and finally to kinking (20 or more layers).

By considering the force balance near the contact point, the specific surface energy of a MoS2 monoatomic layer was calculated to be ~0.11 N/m. This is the first time that this fundamentally important property has directly been measured.

After initial isolation from the mother crystal, the MoS2 monolayer could be readily restacked onto the surface of the crystal, demonstrating the possibility of van der Waals epitaxy. MoS2 atomic layers could be bent to ultimate small radii (1.3 ~ 3.0 nm) reversibly without fracture. Such ultra-reversibility and extreme flexibility proves that they could be mechanically robust candidates for the advanced flexible electronic devices even under extreme folding conditions.

Here’s a link to and a citation for the research paper,

Nanomechanical cleavage of molybdenum disulphide atomic layers by Dai-Ming Tang, Dmitry G. Kvashnin, Sina Najmaei, Yoshio Bando, Koji Kimoto, Pekka Koskinen, Pulickel M. Ajayan, Boris I. Yakobson, Pavel B. Sorokin, Jun Lou, & Dmitri Golberg. Nature Communications 5, Article number: 3631 doi:10.1038/ncomms4631 Published 03 April 2014

This paper is behind a paywall but there is a free preview available through ReadCube Access.

Art (Lawren Harris and the Group of Seven), science (Raman spectroscopic examinations), and other collisions at the 2014 Canadian Chemistry Conference (part 4 of 4)

Cultural heritage and the importance of pigments and databases

Unlike Thom (Ian Thom, curator at the Vancouver Art Gallery), I believe that the testing was important. Knowing the spectra emitted by the pigments in Hurdy Gurdy and Autumn Harbour could help to set benchmarks for establishing the authenticity of the pigments used by artists (Harris and others) in the early part of Canada’s 20th century.

Europeans and Americans are more advanced in their use of technology as a tool in the process of authenticating, restoring, or conserving a piece of art. At the Chicago Institute of Art they identified the red pigment used in a Renoir painting as per my March 24, 2014 posting,

… The first item concerns research by Richard Van Duyne into the nature of the red paint used in one of Renoir’s paintings. A February 14, 2014 news item on Azonano describes some of the art conservation work that Van Duyne’s (nanoish) technology has made possible along with details about this most recent work,

Scientists are using powerful analytical and imaging tools to study artworks from all ages, delving deep below the surface to reveal the process and materials used by some of the world’s greatest artists.

Northwestern University chemist Richard P. Van Duyne, in collaboration with conservation scientists at the Art Institute of Chicago, has been using a scientific method he discovered nearly four decades ago to investigate masterpieces by Pierre-Auguste Renoir, Winslow Homer and Mary Cassatt.

Van Duyne recently identified the chemical components of paint, now partially faded, used by Renoir in his oil painting “Madame Léon Clapisson.” Van Duyne discovered the artist used carmine lake, a brilliant but light-sensitive red pigment, on this colorful canvas. The scientific investigation is the cornerstone of a new exhibition at the Art Institute of Chicago.

There are some similarities between the worlds of science (in this case, chemistry) and art (collectors,  institutions, curators, etc.). They are worlds where one must be very careful.

The scientists/chemists choose their words with precision while offering no certainties. Even the announcement for the discovery (by physicists) of the Higgs Boson is not described in absolute terms as I noted in my July 4, 2012 posting titled: Tears of joy as physicists announce they’re pretty sure they found the Higgs Boson. As the folks from ProsPect Scientific noted,

This is why the science must be tightly coupled with art expertise for an effective analysis.  We cannot do all of that for David [Robertson]. [He] wished to show a match between several pigments to support an interpretation that the ‘same’ paints were used. The availability of Hurdy Gurdy made this plausible because it offered a known benchmark that lessened our dependency on the databases and art-expertise. This is why Raman spectroscopy more often disproves authenticity (through pigment anachronisms). Even if all of the pigments analysed showed the same spectra we don’t know that many different painters didn’t buy the same brand of paint or that some other person didn’t take those same paints and use them for a different painting. Even if all pigments were different, that doesn’t mean Lawren Harris didn’t paint it, it just means different paints were used.

In short they proved that one of the pigments used in Autumn Harbour was also used in the authenticated Harris, Hurdy Gurdy, and the other pigment was in use at that time (early 20th century) in Canada. It doesn’t prove it’s a Harris painting but, unlike the Pollock painting where they found an anachronistic pigment, it doesn’t disprove Robertson’s contention.

To contrast the two worlds, the art world seems to revel in secrecy for its own sake while the world of science (chemistry) will suggest, hint, or hedge but never state certainties. The ProSpect* Scientific representative commented on authentication, art institutions, and databases,

We know that some art institutions are extremely cautious about any claims towards authentication, and they decline to be cited in anything other than the work they directly undertake. (One director of a well known US art institution said to me that they pointedly do not authenticate works, she offered advice on how to conduct the analysis but declined any reference to her institution.) We cannot comment on any of the business plans of any of our customers but the customers we have that use Raman spectroscopy on paintings generally build databases from their collected studies as a vital tool to their own ongoing work collecting and preserving works of art.

We don’t know of anyone with a database particular to pigments used by Canadian artists and neither did David R. We don’t know that any organization is developing such a database.The database we used is a mineral database (as pigments in the early 20th century were pre-synthetic this database contains some of the things commonly used in pigments at that time) There are databases available for many things:  many are for sale, some are protected intellectual property. We don’t have immediate access to a pigments database. Some of our art institution/museum customers are developing their own but often these are not publicly available. Raman spectroscopy is new on the scene relative to other techniques like IR and X-Ray analysis and the databases of Raman spectra are less mature.


Canadian cultural heritage

Whether or not Autumn Harbour is a Lawren Harris painting may turn out to be less important than establishing a means for better authenticating, restoring, and conserving Canadian cultural heritage. (In a June 13, 2014 telephone conversation, David Robertson claims he will forward the summary version of the data from the tests to the Canadian Conservation Institute once it is received.)

If you think about it, Canadians are defined by the arts and by research. While our neighbours to the south went through a revolutionary war to declare independence, Canadians have declared independence through the visual and literary arts and the scientific research and implementation of technology (transportation and communication in the 19th and 20th centuries).

Thank you to both Tony Ma and David Robertson.

Finally, Happy Canada Day on July 1, 2014!

Part 1

Part 2

Part 3

* ‘ProsPect’ changed to ‘ProSpect’ on June 30, 2014.

ETA July 14, 2014 at 1300 hours PDT: There is now an addendum to this series, which features a reply from the Canadian Conservation Institute to a query about art pigments used by Canadian artists and access to a database of information about them.

Lawren Harris (Group of Seven), art authentication, and the Canadian Conservation Insitute (addendum to four-part series)

Art (Lawren Harris and the Group of Seven), science (Raman spectroscopic examinations), and other collisions at the 2014 Canadian Chemistry Conference (part 3 of 4)

Dramatic headlines (again)

Ignoring the results entirely, Metro News Vancouver, which favours the use of the word ‘fraud’, featured it in the headline of a second article about the testing, “Alleged Group of Seven work a fraud: VAG curator” by Thandi Fletcher (June 5, 2014 print issue); happily the online version of Fletcher’s story has had its headline changed to the more accurate: “Alleged Group of Seven painting not an authentic Lawren Harris, says Vancouver Art Gallery curator.” Fletcher’s article was updated after its initial publication with some additional text (it is worth checking out the online version even if you’re already seen the print version). There had been a second Vancouver Metro article on the testing of the authenticated painting by Nick Wells but that in common, with his June 4, 2014 article about the first test, “A fraud or a find?” is no longer available online. Note: Standard mainstream media practice is that the writer with the byline for the article is not usually the author of the article’s headline.

There are two points to be made here. First, Robertson has not attempted to represent ‘Autumn Harbour’ as an authentic Lawren Harris painting other than in a misguided headline for his 2011 news release.  From Robertson’s July 26, 2011 news release (published by Reuters and published by Market Wired) where he crossed a line by stating that Autumn Harbour is a Harris in his headline (to my knowledge the only time he’s done so),

Lost Lawren Harris Found in Bala, Ontario

Unknown 24×36 in. Canvas Piques a Storm of Controversy

VANCOUVER, BRITISH COLUMBIA–(Marketwire – July 26, 2011) –
Was Autumn Harbour painted by Lawren Harris in the fall of 1912? That summer Lawren Harris was 26 years old and had proven himself as an accomplished and professional painter. He had met J.E.H. MacDonald in November of 1911. They became fast friends and would go on to form the Group of Seven in 1920 but now in the summer of 1912 they were off on a sketching expedition to Mattawa and Temiscaming along the Quebec-Ontario border. Harris had seen the wilderness of the northern United States and Europe but this was potentially his first trip outside the confines of an urban Toronto environment into the Canadian wilderness.

By all accounts he was overwhelmed by what he saw and struggled to find new meaning in his talents that would capture these scenes in oil and canvas. There are only two small works credited to this period, archived in the McMichael gallery in Kleinburg, Ontario. Dennis Reid, Assistant Curator of the National Gallery of Canada stated in 1970 about this period: “Both Harris and (J.E.H.) MacDonald explored new approaches to handling of colour and overall design in these canvases. Harris in particular was experimenting with new methods of paint handling, and Jackson pointed out the interest of the other painters in these efforts, referring to the technique affectionately as ‘Tomato Soup’.” For most authorities the summer and fall of 1912 are simply called his ‘lost period’ because it was common for Harris to destroy, abandon or give away works that did not meet his standards. The other trait common to Harris works, is the lack of a signature and some that are signed were signed on his behalf. The most common proxy signatory was Betsy Harris, his second wife who signed canvases on his behalf when he could no longer do so.

So the question remains. Can an unsigned 24×36 in. canvas dated to 1900-1920 that was found in a curio shop in Bala, Ontario be a long lost Lawren Harris? When pictures were shown to Charles C. Hill, Curator of Canadian Art, National Gallery of Canada, he replied: “The canvas looks like no Harris I have ever seen…” A similar reply also came from Ian Thom, Head Curator for the Vancouver Art Gallery: “I do not believe that your work can be connected with Harris in any way.” [emphases mine] Yet the evidence still persists. The best example resides within the National Art Gallery. A 1919, 50.5 X 42.5 in. oil on rough canvas shows Harris’s style of under painting, broad brush strokes and stilled composition. Shacks, painted in 1919 and acquired the Gallery in 1920 is an exact technique clone of Autumn Harbour. For a list of comparisons styles with known Harris works and a full list of the collected evidence please consult and see for yourself.

If Robertson was intent on perpetrating a fraud, why would he include the negative opinions from the curators or attempt to authenticate his purported Harris? The 2011 website is no longer available but Robertson has established another website,

It’s not a crime (fraud) to have strong or fervent beliefs. After all, Robertson was the person who contacted ProSpect* Scientific to arrange for a test.

Second, Ian Thom, the VAG curator did not call ‘Autumn Harbour’ or David Robertson, a fraud. From the updated  June 5, 2014 article sporting a new headline by Thandi Fletcher,

“I do not believe that the painting … is in fact a Lawren Harris,” said Ian Thom, senior curator at the Vancouver Art Gallery, “It’s that simple.”

It seems Thom feels as strongly as Robertson does; it’s just that Thom holds an opposing opinion.

Monetary value was mentioned earlier as an incentive for Robertson’s drive to prove the authenticity of his painting, from the updated June 5, 2014 article with the new headline by Thandi Fletcher,

Still, Robertson, who has carried out his own research on the painting, said he is convinced the piece is an authentic Harris. If it were, he said it would be worth at least $3 million. [emphasis mine]

“You don’t have to have a signature on the canvas to recognize brushstroke style,” he said.

Note: In a June 13, 2014 telephone conversation, Robertson used the figure of $1M to denote his valuation of Autumn Harbour and claimed a degree in Geography with a minor in Fine Arts from the University of Waterloo. He also expressed the hope that Autumn Harbour would prove to be a* Rosetta Stone of sorts for art pigments used in the early part of the 20th century.

As for the owner of Hurdy Gurdy and the drama that preceded its test on June 4, 2014, Fletcher had this in her updated and newly titled article,

Robertson said the painting’s owner, local Vancouver businessman Tony Ma, had promised to bring the Harris original to the chemistry conference but pulled out after art curator Thom told him not to participate.

While Thom acknowledged that Ma did ask for his advice, he said he didn’t tell him to pull out of the conference.

“It was more along the lines of, ‘If I were you, I wouldn’t do it, because I don’t think it’s going to accomplish anything,’” said Thom, adding that the final decision is up to Ma. [emphasis mine]

A request for comment from Ma was not returned Wednesday [June 5, 2014].

Thom, who already examined Robertson’s painting a year ago [in 2013? then, how is he quoted in a 2011 news release?], said he has no doubt Harris did not paint it.

“The subject matter is wrong, the handling of the paint is wrong, and the type of canvas is wrong,” he said, adding that many other art experts agree with him.

Part 1

Part 2

Part 4

* ‘ProsPect’ changed to ‘ProSpect’ on June 30, 2014. Minor grammatical change made to sentence: ‘He also expressed the hope that Autumn Harbour would prove to a be of Rosetta Stone of sorts for art pigments used in the early part of the 20th century.’ to ‘He also expressed the hope that Autumn Harbour would prove to be a* Rosetta Stone of sorts for art pigments used in the early part of the 20th century.’ on July 2, 2014.

ETA July 14, 2014 at 1300 hours PDT: There is now an addendum to this series, which features a reply from the Canadian Conservation Institute to a query about art pigments used by Canadian artists and access to a database of information about them.

Lawren Harris (Group of Seven), art authentication, and the Canadian Conservation Insitute (addendum to four-part series)

Art (Lawren Harris and the Group of Seven), science (Raman spectroscopic examinations), and other collisions at the 2014 Canadian Chemistry Conference (part 2 of 4)

Testing the sample and Raman fingerprints

The first stage of the June 3, 2010 test of David Robertson’s Autumn Harbour, required taking a tiny sample from the painting,. These samples are usually a fleck of a few microns (millionths of an inch), which can then be tested to ensure the lasers are set at the correct level assuring no danger of damage to the painting. (Robertson extracted the sample himself prior to arriving at the conference. He did not allow anyone else to touch his purported Harris before, during, or after the test.)

Here’s how ProSpect* Scientific describes the ‘rehearsal’ test on the paint chip,

Tests on this chip were done simply to ensure we knew what power levels were safe for use on the painting.  While David R stated he believed the painting was oil on canvas without lacquer, we were not entirely certain of that.  Lacquer tends to be easier to burn than oil pigments and so we wanted to work with this chip just to be entirely certain there was no risk to the painting itself.

The preliminary (rehearsal) test resulted in a line graph that showed the frequencies of the various pigments in the test sample. Titanium dioxide, for example, was detected and its frequency (spectra) reflected on the graph.

I found this example of a line graph representing the spectra (fingerprint) for a molecule of an ultramarine (blue) pigment along with a general explanation of a Raman ‘fingerprint’. There is no indication as to where the ultramarine pigment was obtained. From the website featuring a section on Pigments through the Ages and a webpage on Spectroscopy,


Ultramarine [downloaded from]

Raman spectra consist of sharp bands whose position and height are characteristic of the specific molecule in the sample. Each line of the spectrum corresponds to a specific vibrational mode of the chemical bonds in the molecule. Since each type of molecule has its own Raman spectrum, this can be used to characterize molecular structure and identify chemical compounds.

Most people don’t realize that the chemical signature (spectra) for pigment can change over time with new pigments being introduced. Finding a pigment that was on the market from 1970 onwards in a painting by Jackson Pollock who died in 1956 suggests strongly that the painting couldn’t have come from Pollock’s hand. (See Michael Shnayerson’s May 2012 article, A Question of Provenance, in Vanity Fair for more about the Pollock painting. The article details the fall of a fabled New York art gallery that had been in business prior to the US Civil War.)

The ability to identify a pigment’s molecular fingerprint means that an examination by Raman spectroscopy can be part of an authentication, a restoration, or a conservation process. Here is how a representative from ProSpect Scientific describes the process,

Raman spectroscopy is non-destructive (when conducted at the proper power levels) and identifies the molecular components in the pigments, allowing characterization of the pigments for proper restoration or validation by comparison with other pigments of the same place/time. It is valuable to art institutions and conservators because it can do this.  In most cases of authentication Raman spectroscopy is one of many tools used and not the first in line. A painting would be first viewed by art experts for technique, format etc, then most often analysed with IR or X-Ray, then perhaps Raman spectroscopy. It is impossible to use Raman spectroscopy to prove authenticity as paint pigments are usually not unique to any particular painter.  Most often Raman spectroscopy is used by conservators to determine proper pigments for appropriate restoration.  Sometimes Raman will tell us that the pigment isn’t from the time/era the painting is purported to be from (anachronisms).

Autumn Harbour test

Getting back to the June 3, 2014 tests, once the levels were set then it was time to examine Autumn Harbour itself to determine the spectra for the various pigments.  ProSpect Scientific has provided an explanation of the process,

This spectrometer was equipped with an extension that allowed delivery of the laser and collection of the scattered light at a point other than directly under the microscope. We could also have used a flexible fibre optic probe for this, but this device is slightly more efficient. This allowed us to position the delivery/collection point for the light just above the painting at the spot we wished to test. For this test, we don’t sweep across the surface, we test a small pinpoint that we feel is a pigment of the target colour.

We only use one laser at a time. The system is built so we can easily select one laser or another, depending on what we wish to look at. Some researchers have 3 or 4 lasers in their system because different lasers provide a better/worse raman spectrum depending on the nature of the sample. In this case we principally used the 785nm laser as it is better for samples that exhibit fluorescence at visible wavelengths. 532nm is a visible wavelength.  For samples that didn’t produce good signal we tried the 532nm laser as it produces better signal to noise than 785nm, generally speaking. I believe the usable results in our case were obtained with the 785nm laser.

The graphed Raman spectra shows peaks for the frequency of scattered light that we collect from the laser-illuminated sample (when shining a laser on a sample the vast majority of light is scattered in the same frequency of the laser, but a very small amount is scattered at different frequencies unique to the molecules in the sample). Those frequencies correspond to and identify molecules in the sample. We use a database (on the computer attached to the spectrometer) to pattern match the spectra to identify the constituents.

One would have thought ‘game over’ at this point. According to some informal sources, Canada has a very small (almost nonexistent) data bank of information about pigments used in its important paintings. For example, the federal government’s Canadian Conservation Institute (CCI) has a very small database of pigments and nothing from Lawren Harris paintings [See the CCI’s response in this addendum], so the chances that David Robertson would have been able to find a record of pigments used by Lawren Harris roughly in the same time period that Autumn Harbour seems to have been painted are not good.

Everything changes

In a stunning turn of events and despite the lack of enthusiasm from Vancouver Art Gallery (VAG) curator, Ian Thom, on Wednesday, June 4, 2014 the owner of the authenticated Harris, Hurdy Gurdy, relented and brought the painting in for tests.

Here’s what the folks from ProSpect Scientific had to say about the comparison,

Many pigments were evaluated. Good spectra were obtained for blue and white. The blue pigment matched on both paintings, the white didn’t match. We didn’t get useful Raman spectra from other pigments. We had limited time, with more time we might fine tune and get more data.

One might be tempted to say that the results were 50/50 with one matching and the other not, The response from the representative of ProSpect Scientific is more measured,

We noted that the mineral used in the pigment was the same.  Beyond that is interpretation:  Richard offered the view that lapis-lazuli was a typical and characteristic component for blue in that time period (early 1900’s).   We saw different molecules in the whites used in the two paintings, and Richard offered that both were characteristic of the early 1900’s.

Part 1

Part 3

Part 4

* ‘ProsPect’ changed to ‘ProSpect’ on June 30, 2014.

ETA July 14, 2014 at 1300 hours PDT: There is now an addendum to this series, which features a reply from the Canadian Conservation Institute to a query about art pigments used by Canadian artists and access to a database of information about them.

Lawren Harris (Group of Seven), art authentication, and the Canadian Conservation Insitute (addendum to four-part series)


Art (Lawren Harris and the Group of Seven), science (Raman spectroscopic examinations), and other collisions at the 2014 Canadian Chemistry Conference (part 1 of 4)

One wouldn’t expect the 97th Canadian Chemistry Conference held in Vancouver, Canada from  June 1 – 5, 2014 to be an emotional rollercoaster. One would be wrong. Chemists and members of the art scene are not only different from thee and me, they are different from each other.

Setting the scene

It started with a May 30, 2014 Simon Fraser University (SFU) news release,

During the conference, ProSpect Scientific has arranged for an examination of two Canadian oil paintings; one is an original Lawren Harris (Group of Seven) titled “Hurdy Gurdy” while the other is a painting called “Autumn Harbour” that bears many of Harris’s painting techniques. It was found in Bala, Ontario, an area that was known to have been frequented by Harris.

Using Raman Spectroscopy equipment manufactured by Renishaw (Canada), Dr. Richard Bormett will determine whether the paint from both works of art was painted from the same tube of paint.

As it turns out, the news release got it somewhat wrong. Raman spectroscopy testing does not make it possible to* determine whether the paints came from the same tube, the same batch, or even the same brand. Nonetheless, it is an important tool for art authentication, restoration and/or conservation and both paintings were scheduled for testing on Tuesday, June 3, 2014. But that was not to be.

The owner of the authenticated Harris (Hurdy Gurdy) rescinded permission. No one was sure why but the publication of a June 2, 2014 article by Nick Wells for Metro News Vancouver probably didn’t help in a situation that was already somewhat fraught. The print version of the Wells article titled, “A fraud or a find?” showed only one painting “Hurdy Gurdy” and for anyone reading quickly, it might have seemed that the Hurdy Gurdy painting was the one that could be “a fraud or a find.”

The dramatically titled article no longer seems to be online but there is one (also bylined by Nick Wells) dated June 1, 2014 titled, Chemists in Vancouver to use lasers to verify Group of Seven painting. It features (assuming it is still available online) images of both paintings, the purported Harris (Autumn Harbour) and the authenticated Harris (Hurdy Gurdy),

"Autumn Harbour" [downloaded from]

“Autumn Harbour” [downloaded from]

Heffel Fine Art Auction

Lawren Harris’‚ Hurdy Gurdy, a depiction of Toronto’s Ward district is shown in this handout image. [downloaded from]

David Robertson who owns the purported Harris (Autumn Harbour) and is an outsider vis à vis the Canadian art world, has been trying to convince people for years that the painting he found in Bala, Ontario is a “Lawren Harris” painting. For anyone unfamiliar with the “Group of Seven” of which Lawren Harris was a founding member, this group is legendary to many Canadians and is the single most recognized name in Canadian art history (although some might argue that status for Emily Carr and/or Tom Thomson; both of whom have been, on occasion, honorarily included in the Group).  Robertson’s incentive to prove “Autumn Harbour” is a Harris could be described as monetary and/or prestige-oriented and/or a desire to make history.

The owner of the authenticated Harris “Hurdy Gurdy” could also be described as an outsider of sorts [unconfirmed at the time of publication; a June 26, 2014 query is outstanding], gaining entry to that select group of people who own a ‘Group of Seven’ painting at a record-setting price in 2012 with the purchase of a piece that has a provenance as close to unimpeachable as you can get. From a Nov. 22, 2012 news item on CBC (Canadian Broadcasting Corporation) news online,

Hurdy Gurdy, one of the finest urban landscapes ever painted by Lawren Harris, sold for $1,082,250, a price that includes a 17 per cent buyer’s premium. The pre-sale estimate suggested it could go for $400,000 to $600,000 including the premium.

The Group of Seven founder kept the impressionistic painting of a former Toronto district known as the Ward in his own collection before bequeathing it to his daughter. It has remained in the family ever since.

Occasionally, Harris “would come and say, ‘I need to borrow this back for an exhibition,’ and sometimes she wouldn’t see [the paintings] again,” Heffel vice-president Robert Heffel said. “Harris asked to have this painting back for a show…and she said ‘No, dad. Not this one.’ It was a painting that was very, very dear to her.”

It had been a coup to get access to an authenticated Harris for comparison testing so Hurdy Gurdy’s absence was a major disappointment. Nonetheless, Robertson went through with the scheduled June 3, 2014 testing of his ‘Autumn Harbour’.

Chemistry, spectroscopy, the Raman system, and the experts

Primarily focused on a technical process, the chemists (from ProSpect* Scientific and Renishaw) were unprepared for the drama and excitement that anyone associated with the Canadian art scene might have predicted.  From the chemists’ perspective, it was an opportunity to examine a fabled piece of Canadian art (Hurdy Gurdy) and, possibly, play a minor role in making Canadian art history.

The technique the chemists used to examine the purported Harris, Autumn Harbour, is called Raman spectroscopy and its beginnings as a practical technique date back to the 1920s. (You can get more details about Raman spectroscopy in this Wikiipedia entry then will be given here after the spectroscopy description.)

Spectroscopy (borrowing heavily from this Wikipedia entry) is the process where one studies the interaction between matter and radiated energy and which can be measured as frequencies and/or wavelengths. Raman spectroscopy systems can be used to examine radiated energy with low frequency emissions as per this description in the Raman spectroscopy Wikipedia entry,

Raman spectroscopy (/ˈrɑːmən/; named after Sir C. V. Raman) is a spectroscopic technique used to observe vibrational, rotational, and other low-frequency modes in a system.[1] It relies on inelastic scattering, or Raman scattering, of monochromatic light, usually from a laser in the visible, near infrared, or near ultraviolet range. The laser light interacts with molecular vibrations, phonons or other excitations in the system, resulting in the energy of the laser photons being shifted up or down.

The reason for using Raman spectroscopy for art authentication, conservation, and/or restoration purposes is that the technique, as noted earlier, can specify the specific chemical composition of the pigments used to create the painting. It is a technique used in many fields as a representative from ProSpect Scientific notes,

Raman spectroscopy is a vital tool for minerologists, forensic investigators, surface science development, nanotechnology research, pharmaceutical research and other applications.  Most graduate level university labs have this technology today, as do many government and industry researchers.  Raman spectroscopy is now increasingly available in single purpose hand held units that can identify the presence of a small number of target substances with ease-of-use appropriate for field work by law enforcers, first responders or researchers in the field.

About the chemists and ProSpect Scientific and Renishaw

There were two technical experts attending the June 3, 2014 test for the purported Harris painting, Autumn Harbour, Dr. Richard Bormett of Renishaw and Dr. Kelly Akers of ProSpect Scientific.

Dr. Kelly Akers founded ProSpect Scientific in 1996. Her company represents Renishaw Raman spectroscopy systems for the most part although other products are also represented throughout North America. Akers’ company is located in Orangeville, Ontario. Renishaw, a company based in the UK. offers a wide line of products including Raman spectroscopes. (There is a Renishaw Canada Ltd., headquartered in Mississauga, Ontario, representing products other than Raman spectroscopes.)

ProSpect Scientific runs Raman spectroscopy workshops, at the Canadian Chemistry Conferences as a regular occurrence, often in conjunction with Renishaw’s Bormett,. David Robertson, on learning the company would be at the 2014 Canadian Chemistry Conference in Vancouver, contacted Akers and arranged to have his purported Harris and Hurdy Gurdy, the authenticated Harris, tested at the conference.

Bormett, based in Chicago, Illinois, is Renishaw’s business manager for the Spectroscopy Products Division in North America (Canada, US, & Mexico).  His expertise as a spectroscopist has led him to work with many customers throughout the Americas and, as such, has worked with several art institutions and museums on important and valuable artifacts.  He has wide empirical knowledge of Raman spectra for many things, including pigments, but does not claim expertise in art or art authentication. You can hear him speak at a 2013 US Library of Congress panel discussion titled, “Advances in Raman Spectroscopy for Analysis of Cultural Heritage Materials,” part of the Library of Congress’s Topics in Preservation Series (TOPS), here on the Library of Congress website or here on YouTube. The discussion runs some 130 minutes.

Bormett has a PhD in analytical chemistry from the University of Pittsburgh. Akers has a PhD in physical chemistry from the University of Toronto and is well known in the Raman spectroscopy field having published in many refereed journals including “Science” and the “Journal of Physical Chemistry.”  She expanded her knowledge of industrial applications of Raman spectroscopy substantive post doctoral work in Devon, Alberta at the CANMET Laboratory (Natural Resources Canada).

About Renishaw InVia Reflex Raman Spectrometers

The Raman spectroscopy system used for the examination, a Renishaw InVia Reflex Raman Spectrometer, had

  • two lasers (using 785nm [nanometres] and 532nm lasers for this application),
  • two cameras,
    (ProSpect Scientific provided this description of the cameras: The system has one CCD [Charged Coupled Device] camera that collects the scattered laser light to produce Raman spectra [very sensitive and expensive]. The system also has a viewing camera mounted on the microscope to allow the user to visually see what the target spot on the sample looks like. This camera shows on the computer what is visible through the eyepieces of the microscope.)
  • a microscope,
  • and a computer with a screen,

all of which fit on a tabletop, albeit a rather large one.

For anyone unfamiliar with the term CCD (charged coupled device), it is a sensor used in cameras to capture light and convert it to digital data for capture by the camera. (You can find out more here at on the CCD webpage.)

Part 2

Part 3

Part 4

* ‘to’ added to sentence on June 27, 2014 at 1340 hours (PDT). ‘ProsPect’ corrected to ‘ProSpect’ on June 30, 2014.

ETA July 14, 2014 at 1300 hours PDT: There is now an addendum to this series, which features a reply from the Canadian Conservation Institute to a query about art pigments used by Canadian artists and access to a database of information about them.

Lawren Harris (Group of Seven), art authentication, and the Canadian Conservation Insitute (addendum to four-part series)

For media types only: get accreditation for GROW conference, deadline: June 30, 2014

Here’s the scoop from a June 18, 2014 announcement in my email box (I am not familiar with this conference or these folks),

– Media Advisory –


Whistler, BC – Media accreditation for the 2014 GROW Conference is open, but closes on June 30, at 5pm PST. Media can apply for accreditation, here.

One of North America’s leading technology conferences, GROW takes place from August 20-22 in beautiful Whistler, BC at the world-renowned Fairmont Chateau Whistler Resort.

WHAT:     GROW Conference 2014 – “the Connected Future”
WHEN:      Wednesday, August 20, 2014 to Friday, August 22

WHERE:    Fairmont Chateau Whistler Resort, Whistler, BC, Canada.

WHO:       CEOs, Founders, Startups and VCs, including but not limited to:


  • What will billion dollar companies look like in a connected world?
  • Is open data in danger of creating a class system?
  • Connected devices, homes and cars – can our lives be hacked?
  • What does context-aware computing mean for privacy?
New speakers are being added on a weekly basis – please check the website for updates.

Media interested in accreditation can apply here with all details completed, no later than 5pm PST June 30, 2014.

Applications submitted after this date won’t be considered for accreditation. Full details and additional information will follow upon confirmation of accreditation.

Good luck!

Memristor, memristor! What is happening? News from the University of Michigan and HP Laboratories

Professor Wei Lu (whose work on memristors has been mentioned here a few times [an April 15, 2010 posting and an April 19, 2012 posting]) has made a discovery about memristors with significant implications (from a June 25, 2014 news item on Azonano),

In work that unmasks some of the magic behind memristors and “resistive random access memory,” or RRAM—cutting-edge computer components that combine logic and memory functions—researchers have shown that the metal particles in memristors don’t stay put as previously thought.

The findings have broad implications for the semiconductor industry and beyond. They show, for the first time, exactly how some memristors remember.

A June 24, 2014 University of Michigan news release, which originated the news item, includes Lu’s perspective on this discovery and more details about it,

“Most people have thought you can’t move metal particles in a solid material,” said Wei Lu, associate professor of electrical and computer engineering at the University of Michigan. “In a liquid and gas, it’s mobile and people understand that, but in a solid we don’t expect this behavior. This is the first time it has been shown.”

Lu, who led the project, and colleagues at U-M and the Electronic Research Centre Jülich in Germany used transmission electron microscopes to watch and record what happens to the atoms in the metal layer of their memristor when they exposed it to an electric field. The metal layer was encased in the dielectric material silicon dioxide, which is commonly used in the semiconductor industry to help route electricity.

They observed the metal atoms becoming charged ions, clustering with up to thousands of others into metal nanoparticles, and then migrating and forming a bridge between the electrodes at the opposite ends of the dielectric material.

They demonstrated this process with several metals, including silver and platinum. And depending on the materials involved and the electric current, the bridge formed in different ways.

The bridge, also called a conducting filament, stays put after the electrical power is turned off in the device. So when researchers turn the power back on, the bridge is there as a smooth pathway for current to travel along. Further, the electric field can be used to change the shape and size of the filament, or break the filament altogether, which in turn regulates the resistance of the device, or how easy current can flow through it.

Computers built with memristors would encode information in these different resistance values, which is in turn based on a different arrangement of conducting filaments.

Memristor researchers like Lu and his colleagues had theorized that the metal atoms in memristors moved, but previous results had yielded different shaped filaments and so they thought they hadn’t nailed down the underlying process.

“We succeeded in resolving the puzzle of apparently contradicting observations and in offering a predictive model accounting for materials and conditions,” said Ilia Valov, principle investigator at the Electronic Materials Research Centre Jülich. “Also the fact that we observed particle movement driven by electrochemical forces within dielectric matrix is in itself a sensation.”

The implications for this work (from the news release),

The results could lead to a new approach to chip design—one that involves using fine-tuned electrical signals to lay out integrated circuits after they’re fabricated. And it could also advance memristor technology, which promises smaller, faster, cheaper chips and computers inspired by biological brains in that they could perform many tasks at the same time.

As is becoming more common these days (from the news release),

Lu is a co-founder of Crossbar Inc., a Santa Clara, Calif.-based startup working to commercialize RRAM. Crossbar has just completed a $25 million Series C funding round.

Here’s a link to and a citation for the paper,

Electrochemical dynamics of nanoscale metallic inclusions in dielectrics by Yuchao Yang, Peng Gao, Linze Li, Xiaoqing Pan, Stefan Tappertzhofen, ShinHyun Choi, Rainer Waser, Ilia Valov, & Wei D. Lu. Nature Communications 5, Article number: 4232 doi:10.1038/ncomms5232 Published 23 June 2014

This paper is behind a paywall.

The other party instrumental in the development and, they hope, the commercialization of memristors is HP (Hewlett Packard) Laboratories (HP Labs). Anyone familiar with this blog will likely know I have frequently covered the topic starting with an essay explaining the basics on my Nanotech Mysteries wiki (or you can check this more extensive and more recently updated entry on Wikipedia) and with subsequent entries here over the years. The most recent entry is a Jan. 9, 2014 posting which featured the then latest information on the HP Labs memristor situation (scroll down about 50% of the way). This new information is more in the nature of a new revelation of details rather than an update on its status. Sebastian Anthony’s June 11, 2014 article for lays out the situation plainly (Note: Links have been removed),

HP, one of the original 800lb Silicon Valley gorillas that has seen much happier days, is staking everything on a brand new computer architecture that it calls… The Machine. Judging by an early report from Bloomberg Businessweek, up to 75% of HP’s once fairly illustrious R&D division — HP Labs – are working on The Machine. As you would expect, details of what will actually make The Machine a unique proposition are hard to come by, but it sounds like HP’s groundbreaking work on memristors (pictured top) and silicon photonics will play a key role.

First things first, we’re probably not talking about a consumer computing architecture here, though it’s possible that technologies commercialized by The Machine will percolate down to desktops and laptops. Basically, HP used to be a huge player in the workstation and server markets, with its own operating system and hardware architecture, much like Sun. Over the last 10 years though, Intel’s x86 architecture has rapidly taken over, to the point where HP (and Dell and IBM) are essentially just OEM resellers of commodity x86 servers. This has driven down enterprise profit margins — and when combined with its huge stake in the diminishing PC market, you can see why HP is rather nervous about the future. The Machine, and IBM’s OpenPower initiative, are both attempts to get out from underneath Intel’s x86 monopoly.

While exact details are hard to come by, it seems The Machine is predicated on the idea that current RAM, storage, and interconnect technology can’t keep up with modern Big Data processing requirements. HP is working on two technologies that could solve both problems: Memristors could replace RAM and long-term flash storage, and silicon photonics could provide faster on- and off-motherboard buses. Memristors essentially combine the benefits of DRAM and flash storage in a single, hyper-fast, super-dense package. Silicon photonics is all about reducing optical transmission and reception to a scale that can be integrated into silicon chips (moving from electrical to optical would allow for much higher data rates and lower power consumption). Both technologies can be built using conventional fabrication techniques.

In a June 11, 2014 article by Ashlee Vance for Bloomberg Business Newsweek, the company’s CTO (Chief Technical Officer), Martin Fink provides new details,

That’s what they’re calling it at HP Labs: “the Machine.” It’s basically a brand-new type of computer architecture that HP’s engineers say will serve as a replacement for today’s designs, with a new operating system, a different type of memory, and superfast data transfer. The company says it will bring the Machine to market within the next few years or fall on its face trying. “We think we have no choice,” says Martin Fink, the chief technology officer and head of HP Labs, who is expected to unveil HP’s plans at a conference Wednesday [June 11, 2014].

In my Jan. 9, 2014 posting there’s a quote from Martin Fink stating that 2018 would be earliest date for the company’s StoreServ arrays to be packed with 100TB Memristor drives (the Machine?). The company later clarified the comment by noting that it’s very difficult to set dates for new technology arrivals.

Vance shares what could be a stirring ‘origins’ story of sorts, provided the Machine is successful,

The Machine started to take shape two years ago, after Fink was named director of HP Labs. Assessing the company’s projects, he says, made it clear that HP was developing the needed components to create a better computing system. Among its research projects: a new form of memory known as memristors; and silicon photonics, the transfer of data inside a computer using light instead of copper wires. And its researchers have worked on operating systems including Windows, Linux, HP-UX, Tru64, and NonStop.

Fink and his colleagues decided to pitch HP Chief Executive Officer Meg Whitman on the idea of assembling all this technology to form the Machine. During a two-hour presentation held a year and a half ago, they laid out how the computer might work, its benefits, and the expectation that about 75 percent of HP Labs personnel would be dedicated to this one project. “At the end, Meg turned to [Chief Financial Officer] Cathie Lesjak and said, ‘Find them more money,’” says John Sontag, the vice president of systems research at HP, who attended the meeting and is in charge of bringing the Machine to life. “People in Labs see this as a once-in-a-lifetime opportunity.”

Here is the memristor making an appearance in Vance’s article,

HP’s bet is the memristor, a nanoscale chip that Labs researchers must build and handle in full anticontamination clean-room suits. At the simplest level, the memristor consists of a grid of wires with a stack of thin layers of materials such as tantalum oxide at each intersection. When a current is applied to the wires, the materials’ resistance is altered, and this state can hold after the current is removed. At that point, the device is essentially remembering 1s or 0s depending on which state it is in, multiplying its storage capacity. HP can build these chips with traditional semiconductor equipment and expects to be able to pack unprecedented amounts of memory—enough to store huge databases of pictures, files, and data—into a computer.

New memory and networking technology requires a new operating system. Most applications written in the past 50 years have been taught to wait for data, assuming that the memory systems feeding the main computers chips are slow. Fink has assigned one team to develop the open-source Machine OS, which will assume the availability of a high-speed, constant memory store. …

Peter Bright in his June 11, 2014 article for Ars Technica opens his article with a controversial statement (Note: Links have been removed),

In 2008, scientists at HP invented a fourth fundamental component to join the resistor, capacitor, and inductor: the memristor. [emphasis mine] Theorized back in 1971, memristors showed promise in computing as they can be used to both build logic gates, the building blocks of processors, and also act as long-term storage.

Whether or not the memristor is a fourth fundamental component has been a matter of some debate as you can see in this Memristor entry (section on Memristor definition and criticism) on Wikipedia.

Bright goes on to provide a 2016 delivery date for some type of memristor-based product and additional technical insight about the Machine,

… By 2016, the company plans to have memristor-based DIMMs, which will combine the high storage densities of hard disks with the high performance of traditional DRAM.

John Sontag, vice president of HP Systems Research, said that The Machine would use “electrons for processing, photons for communication, and ions for storage.” The electrons are found in conventional silicon processors, and the ions are found in the memristors. The photons are because the company wants to use optical interconnects in the system, built using silicon photonics technology. With silicon photonics, photons are generated on, and travel through, “circuits” etched onto silicon chips, enabling conventional chip manufacturing to construct optical parts. This allows the parts of the system using photons to be tightly integrated with the parts using electrons.

The memristor story has proved to be even more fascinating than I thought in 2008 and I was already as fascinated as could be, or so I thought.

Let’s make our turbine blades really big (greater than 75 metres) with new nanocomposite

The is a story about balsa wood, wind farms, turbine blades, and nanocomposites according to a June 25, 2014 news item on ScienceDaily,

In wind farms across North America and Europe, sleek turbines equipped with state-of-the-art technology convert wind energy into electric power. But tucked inside the blades of these feats of modern engineering is a decidedly low-tech core material: balsa wood.

Like other manufactured products that use sandwich panel construction to achieve a combination of light weight and strength, turbine blades contain carefully arrayed strips of balsa wood from Ecuador, which provides 95 percent of the world’s supply.

For centuries, the fast-growing balsa tree has been prized for its light weight and stiffness relative to density. But balsa wood is expensive and natural variations in the grain can be an impediment to achieving the increasingly precise performance requirements of turbine blades and other sophisticated applications.

As turbine makers produce ever-larger blades — the longest now measure 75 meters, almost matching the wingspan of an Airbus A380 jetliner — they must be engineered to operate virtually maintenance-free for decades. In order to meet more demanding specifications for precision, weight, and quality consistency, manufacturers are searching for new sandwich construction material options.

Now, using a cocktail of fiber-reinforced epoxy-based thermosetting resins and 3D extrusion printing techniques, materials scientists at the Harvard School of Engineering and Applied Sciences (SEAS) and the Wyss Institute for Biologically Inspired Engineering have developed cellular composite materials of unprecedented light weight and stiffness.

A June 25, 2014 Harvard University news release (also on EurekAlert), which originated the news item, goes on to describe the new technology in more detail while throwing 3D printing into the mix,

Until now, 3D printing has been developed for thermo plastics and UV-curable resins—materials that are not typically considered as engineering solutions for structural applications. “By moving into new classes of materials like epoxies, we open up new avenues for using 3D printing to construct lightweight architectures,” says principal investigator Jennifer A. Lewis, the Hansjörg Wyss Professor of Biologically Inspired Engineering at Harvard SEAS. “Essentially, we are broadening the materials palate for 3D printing.”

“Balsa wood has a cellular architecture that minimizes its weight since most of the space is empty and only the cell walls carry the load. It therefore has a high specific stiffness and strength,” explains Lewis, who in addition to her role at Harvard SEAS is also a Core Faculty Member at the Wyss Institute. “We’ve borrowed this design concept and mimicked it in an engineered composite.”

Lewis and Brett G. Compton, a former postdoctoral fellow in her group, developed inks of epoxy resins, spiked with viscosity-enhancing nanoclay platelets and a compound called dimethyl methylphosphonate, and then added two types of fillers: tiny silicon carbide “whiskers” and discrete carbon fibers. Key to the versatility of the resulting fiber-filled inks is the ability to control the orientation of the fillers.

The direction that the fillers are deposited controls the strength of the materials (think of the ease of splitting a piece of firewood lengthwise versus the relative difficulty of chopping on the perpendicular against the grain).

Lewis and Compton have shown that their technique yields cellular composites that are as stiff as wood, 10 to 20 times stiffer than commercial 3D-printed polymers, and twice as strong as the best printed polymer composites. The ability to control the alignment of the fillers means that fabricators can digitally integrate the composition, stiffness, and toughness of an object with its design.

“This paper demonstrates, for the first time, 3D printing of honeycombs with fiber-reinforced cell walls,” said Lorna Gibson, a professor of materials science and mechanical engineering at the Massachusetts Institute of Technology and one of world’s leading experts in cellular composites, who was not involved in this research. “Of particular significance is the way that the fibers can be aligned, through control of the fiber aspect ratio—the length relative to the diameter—and the nozzle diameter. This marks an important step forward in designing engineering materials that mimic wood, long known for its remarkable mechanical properties for its weight.”

“As we gain additional levels of control in filler alignment and learn how to better integrate that orientation into component design, we can further optimize component design and improve materials efficiency,” adds Compton, who is now a staff scientist in additive manufacturing at Oak Ridge National Laboratory. “Eventually, we will be able to use 3D printing technology to change the degree of fiber filler alignment and local composition on the fly.”

The work could have applications in many fields, including the automotive industry where lighter materials hold the key to achieving aggressive government-mandated fuel economy standards. According to one estimate, shedding 110 pounds from each of the 1 billion cars on the road worldwide could produce $40 billion in annual fuel savings.

3D printing has the potential to radically change manufacturing in other ways too. Lewis says the next step will be to test the use of thermosetting resins to create different kinds of architectures, especially by exploiting the technique of blending fillers and precisely aligning them. This could lead to advances not only in structural materials, but also in conductive composites.

Previously, Lewis has conducted groundbreaking research in the 3D printing of tissue constructs with vasculature and lithium-ion microbatteries.

Here’s a link to and citation for the paper,

3D-Printing of Lightweight Cellular Composites by Brett G. Compton and Jennifer A. Lewis. Advanced Materials DOI: 10.1002/adma.201401804 Article first published online: 18 JUN 2014

© 2014 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim

This paper is behind a paywall.