Lithography is the most crucial step in the semiconductor microfabrication workflow. Continuous features size shrinking co-occurs with the reduction of the exposure wavelength: a move from 193 nm light to extreme ultra-violet (EUV) at 13.5 nm is performed. The change poses a vast number of challenges that have been overcome in the past years. Among the others, the protection of the reticle front side from defects is crucial. Shielding can be achieved by means of EUV pellicles: large area (~150 cm2), freestanding, ultra-thin (~50 nm) membranes that prevent particles from landing on the reticle surface. Defects fall on the pellicle membrane, which is out-of-focus with respect to the reticle. During operation, the pellicle has to endure mechanical movements (>100 m/s2) and withstand the EUV scanner environment. With increasing source power (resulting in temperatures >500 ºC) structural and chemical integrity must be guaranteed. With multiple semiconductor manufacturers introducing EUV in HVM, an urgent need for a mass volume production-ready pellicle solution is present.In this thesis project, new generation pellicle materials are exposed to EUV light and gas atmosphere at BESSY II synchrotron beamline. The purpose is to investigate the performances of the new membrane samples in terms of the HVM production specifications. Two sets of 10x10 mm2 samples Type (A – B) with different core thickness are tested. Samples are characterized by using the following techniques: EUV transmittance and reflectance measurements, RBS, XPS, and FTIR. After exposure, all the samples undergo degradation. The main root causes are the atmosphere environment and the temperature. On the other hand, EUV light itself plays a marginal role in the process. The material etching mechanism must be further investigated through additional pellicle tests. This is a necessary step to make towards the high-volume manufacturing standards required for mass production. / Litografi är det mest avgörande steget i arbets flödet för halvledar mikrotillverkning. Kontinuerliga funktioner storlek krympande co-sker med minskning av exponeringen våglängd: en över gången från 193 nm ljus till extrem ultraviolett (EUV) vid 13.5 nm utförs. Förändringen innebär ett stort antal utmaningar som har övervunnits under de senaste åren. Bland de andra, är skyddet av rikt medel fram sidan från defekter avgörande. Avskärmning kan åstadkommas med hjälp av EUV-pellicles: stort område (~ 150 cm2), fristående, ultratunna (~ 50 nm) membran som hindrar partiklar från att landa på rikt medlet ytan. Defekter faller på denna tunna membranet, som är out-of-fokus med avseende på rikt medlet. Under drift har denna tunna att uthärda mekaniska rörelser (> 100 m/s2) och motstå EUV skanner miljö. Med ökande käll effekt (vilket resulterar i temperaturer > 500 º C) måste strukturell och kemisk integritet garanteras. Med flera halvledar tillverkare införa EUV i HVM, ett brådskande behov av en massa volym produktions klara denna tunna lösning är närvarande.I detta arbete, exponeras nya generationens denna tunna material för EUV ljus-och gasatmosfär på BESSY II Synchrotron beamline. Syftet är att undersöka prestandan hos de nya membranproverna i form av HVM-produktionsspecifikationer. Två uppsättningar av 10x10 mm2 prover typ (A – B) med olika kärna tjocklek testas. Proverna kännetecknas av att använda följande tekniker: EUV-transmission och reflektansmätningar, RBS, XPS och FTIR. Efter exponering genomgår alla prover nedbrytning. De viktigaste bakomliggande orsakerna är atmosfären miljö och temperaturen. Å andra sidan spelar EUV-ljuset självt en marginell roll i processen. Materialetsnings mekanismen måste undersökas ytterligare genom ytterligare denna tunna-tester. Detta är ett nödvändigt steg för att göra mot de höga volymer tillverknings standarder som krävs för Mass produktion.

This thesis focuses on employing a new patterning technique called block copolymer lithography to transfer the nano-porous pattern from the polymer template to the underlying oxide thin film. Nano-porous block copolymer films are produced by spin-coating polymer solution on wafers followed by annealing, UV exposure and development processes. Reactive-ion etching is then used to etch the oxide films based on the pattern of polymer template and the polymer is then removed. The obtained oxide microstructure is characterized by SEM, showing a nanomesh of microdomains with the same hole size and density as the initial block copolymer layer. The advantages of block copolymer lithography include uniform nanopatterning, cost efficiency and simple processing. The nano-porous oxide thin films could be used as hard mask for nanopatterning in microelectronics and for energy storage applications. / Denna avhandling fokuserar på användningen av en ny mönstringsteknik som kallas block-sampolymerlitografi som används för att överföra nano-porösa mönster från polymermaller till en underliggande oxidtunnfilm. Nano-porösa blocksampolymerfilmer framställs genom spinbeläggningspolymerlösning på skivor följt av glödgning, UV-exponering och utvecklingsprocesser. Reaktionjon etsning används sedan för att etsa oxidfilmerna baserat på mönstret av polymermaller och därefter blir polymeren avlägsnad. Den erhållna oxidmikrostrukturen karakteriseras av SEM, som visar en nanomesh av mikrodomäner med samma hålstorlek och densitet som det ursprungliga blocksampolymerskiktet. Fördelarna med block-sampolymerlitografi innefattar likformig nanomönstring, kostnadseffektivitet och enkel bearbetning. De nanoporösa oxidtunnfilmerna kan användas som en hard mask för nanomönstring i mikroelektronik och för energilagringsapplikationer.

Graphic Art as Public Education – a Study of the Spreading of Litographic Prints in Swedish Homes 1947-1957  This thesis aims to analyze how graphics as an art form became a tool to democratize art during the period of 1947–1957 in Sweden. Graphic art refers to the collective term that includes multiplied art prints: lithography, etching, woodcut, and serigraphy. I am using Pierre Bourdieu's sociological theories and concepts as a theoretical framework. The first part highlights the various agents whose ambition was to realize the goal that art would be a matter for everyone in society. These agents consisted of organizations and political representatives. The fact that the state guarded good taste and art presented a potential for change in the existing art field and an opportunity for new agents to exert influence. Next, I examine the role of graphics as an art form, in particular lithography, which had its’ big revival in the 1940s. The number of lithographs that were published via Konstfrämjandet and spread across the country testifies to the power of the political goal that art should concern everyone. The process included education via public organizations of adult and childrens education, creating art societies within the workplace and in general contexts, as well as expanding the trading of art via local agents throughout the country. In the last part, I report on my research regarding how communication relating to graphic arts was carried out. Three cultural inquiries (1947, 1953, 1956), intended to form the basis of a modern cultural policy, emphasized the importance of cultural and artistic education of the people. The investigations called for education and the presence of art in homes and workplaces as well as in schools. The communication about the role of graphic arts in the organization’s publications follows the degree of relevance conveyed in the investigations. The summary I present also shows the increase of organization members, exhibition visitors and graphic arts sales during the years 1947–1957, all with the support of the government's democratization work.

The aim of my thesis is to study the release and the project of Litografiskt Allehanda, an art magazine covering contemporary Swedish art and artists, published from 1859 to 1865. My purpose is to look at the choice of the published material for Litografiskt Allehanda, the influence the contributing artists, how the work with advertisement and subscriptions was made and if it fulfilled its own purpose. Through a social and communicative perspective I am studying the relations between the different actors like the publicists, the artists, the subscribers and also the interaction between the lithographs and the texts.  Litografiskt Allehanda was the first successful lithographic work produced in Sweden, and the release lasted for six years. The printer and lithographer Axel Jacob Salmson, who was the founder of the magazine, led the printing work for two years before Sigfrid Flodin, a bookseller, took over and continued the work for another four years. The idea with Litografiskt Allehanda was to reach out to people all over Sweden and give everyone an opportunity to enjoy art, something that usually was exclusively for the upper class in the big cities. The analysis shows that there were people in smaller cities that subscribed to the magazine and also that the amount increased every year. Every volume contained 48 lithographic posters with a diversity of genres, from portraits and landscapes to some with more ethnographic character and ancient Nordic motives. The content became more Swedish with every year and letters show that the participating artists had quite a big influence over the published material. Every poster was accompanied by a text, which didn’t necessary had anything to do with the image, but was meant to create some entertainment for the reader. Some of these essays were written by special authors, while some were written by the artists themselves. Even if Litografiskt Allehanda is mentioned in almost every reference as being of great importance for the development of lithography and its proliferation in Sweden, there is nothing written that is just about the magazine.

This thesis project aims to create an overview of new technologies in printed circuit board manufacturing which when automated could become part of an Industry 4.0 production flow. Potential design limits imposed by new technologies are then applied in the creation process of a minimum distance estimation function. The intended purpose of this function is to correctly estimate the minimum distance required for the auto-routing software FreeRouting to be able to successfully route between two components. This is achieved by using a brute-force attack to progressively decrease the distance between components using a bisectional approach to find the minimum distance at which the auto-routing software can still successfully route for a specific design. Using the results from this brute-force attack a couple of linear functions based on different base designs are created and then used to implement a minimum distance function. The minimum distance estimation function is then intended to be used to implement limits to how close components can be placed to each other in a printed circuit board design tool which purpose is to enable people with lesser knowledge of printed circuit boards to still be able to realize their design ideas. / Detta examensarbete ämnar skapa en överblick av nya tekniker inom mönsterkorts-tillverkning som när de automatiseras skulle kunna bli en del av ett Industri 4.0 produktionsflöde. Eventuella designbegränsningar som uppstår till följd av dessa tekniker kommer sedan appliceras i skapningsprocessen av en minsta avståndsfunktion. Syftet med denna funktion är att korrekt uppskatta det minimala avståndet som krävs för att auto-routing mjukvaran FreeRouting ska kunna dra ledningar mellan två komponenter. Detta görs genom en brute-force attackvinkel där avståndet mellan komponenter fortsätter minskas med bisektionsmetoden tills ett minsta avstånd hittats där auto-routing mjukvaran fortfarande kan dra ledningar för en specifik design. Genom användande av resultaten från denna brute-force attack skapas sedan ett par linjära funktioner baserade på olika bas-designer och dessa används sedan för att implementera minsta avståndsfunktionen. Denna minsta avståndet-funktion är sedan ämnad att implementeras som begränsningar för hur nära komponenter kan placeras varandra i ett program för design av mönsterkort vars syfte är att möjliggöra folk utan kunskaper inom mönsterkortsdesign att ändå kunna realisera sina designidéer.