Jeoung-Ah Kim on fri 18 may 07
Dear Marcia, Vince, Barb, Eva, Lee, Taylor, May, and many others,
I am very pleased to your thoughtful mails.
I was almost thinking to stop sending post. As most of you, I am using my free time to read and participate the issues come up in the ClayArt. This is why I do not use my work address instead using home mail. I select questions which are enough to give references or give direct response in text. Last few days, I have been thinking through if it is worth to use my free time to be in the ClayArt. I am truly glad to find you here and grateful to your kindness.
Dear Craig and Angela,
Thanks for your critiques.
I am a female.
Unfortunately, I cannot post my articles to the ClayArt that you mentioned. In this case either I have to pay for the posting or break the copyright law. I can post only the abstract or sentence by sentence discussion.
I made my Doctor of Philosophy (PhD) at Gothenburg (Goteborg) University in Gothenburg in Sweden. And, I studied my Doctor of Arts at UIAH in Helsinki in Finland. My major is Ceramics and current working field is interdisciplinary research. I am a single mother living in the westside of Gothenburg with my son and my mom, and work at Goteborg University in the centre of city. Our school has wonderful staffs and talented students at ceramics though I am belong to the research department. Our ceramic programme gives anagama and outdoor firing summer courses every year where we have extra facility for those. You are welcome to visit us or me if you pass through Sweden one day. Summer is beautiful here. This is my working address.
School of Design and Crafts HDK www.hdk.gu.se
Gφteborg (Gothenburg) University www.gu.se
Visiting address: Kristinelundsgatan 6-8
Postal address: Box 131, SE-405 30, Gothenburg, Sweden
Mobile + 46-739849906
There are many others previously made contributions to give us understand about Paper clay. Rosette, Graham, Brian, Leena, Baker and Anne, etc. I am just a person in the more technical side. Here comes a list of references if you are interest in paper clay. I did not insert any of my writing since you may not interest. Rosette and Graham manage wonderful homepage related with paper clay. http://www.paperclayart.com/ and http://www.grahamhay.com.au/index.html
Baker, W. L. (1998) Spraying paper-reinforced clay. Ceramic Monthly, 46 (9), 46-49.
Biermann C. J. (1996) Handbook of pulping and papermaking. Academic press, London.
Bown. R. (1996) Physical and chemical aspects of the use of fillers in paper. In: Roberts. J. C. (ed.) Paper chemistry, 2nd ed., Blackie academic & professional, London.
Chen, P. W. and Chung, D. D. L. (1996) Low-drying-shrinkage concrete containing carbon fibres. Composites part B., 27 (3-4), 267-274.
Chou, T. W. (1992) Microstructural design of fibre composites. Cambridge University Press, Cambridge.
Chung, D. D. L. (2000) Cement reinforced with short carbon fibres: a multifunctional material. Composites part B., 31 511-526.
Composite. (1987) Engineered materials handbook. Vol. 1, ASM International, Ohio.
Dawson, S. (1993) The art and craft of papermaking. Aurum Press, London.
Delmonte, J. (1989) History of composites. Reference book for composites technology, vol. 1, Lee, M. S. (ed.) Technomic publishing company, Inc., Lancaster.
Gartside, B. (1993) Paper clay. New Zealand Potter, 35 (3), 32-33.
Gault, R. (1992) Amazing paperclay. Ceramic monthly, June/July/August, 96-100.
Gault, R. (1993a) Paper clay for ceramic sculptors: A studio companion.
Gault, R. (1993b) Second generation ceramic sculpture: technical and aesthetic potential of paperclay. Valkonen, A. (ed.), In: Interaction in ceramics, UIAH, Helsinki, pp 72-79.
Gault, R. (1998) Paper clay. A & C Black, London.
Gay, D. (2002) Composite materials. Hoa, S. V. and Tsai, S. W. (eds.) Materiaux Composites. 4th ed., CRC Press LLC, Florida.
Glusker, J. P., Lewis, M. and Rossi, M. (1994) Crystal structure analysis for chemists and biologists. Wiley-VCH, Philadelphia.
Goldate, S. (2001) Working with paperslip. Ceramics technical, 13, 78-80.
Griffith, R. (1998) The Adobe series. Ceramics technical, 6, 30-33.
Hay, G. (1996) More on paperclay. Ceramics technical, 3, 22-28.
Heller, J. (1978) Papermaking. Watson-Guptill Publications, New York.
Juvonen, L. (1995) Using paper fibre as a substitute in ceramic clays. In Proceeding of the 8th CIMTEC World Ceramics Congress 1994, Vincenzini, P. (ed.), Faenza, pp 193-200.
Kelly, A. (1994) Concise Encyclopedia of composite materials. Elsevier science Ltd., Amsterdam.
Lightwood, A. (2000) Working with paper clay and other additives. The Crowood Press, Wiltshire.
Peterson, S. (1995) The craft and art of clay. 2nd ed., The overlook press, New York.
Soong, D. K. and Ling, Y. C. (1995) Determination of PCDD/DFs in paper clay samples. Chemosphere, 30 (9), 1799-1803.
Stevens, G. (2002) An investigation into the properties of porcelain paperclay. Ceramics Technical, 14, 72-77.
Turner, S. (1991) White paper. BSA Printers Ltd., New York.
Whitney, R. P. (1979) Chemistry of Paper. In Paper-Art & Technology, Long, P. (ed.), World Print Council, San Francisco, pp 36-44.
This is a simple answer that I already posted to Linda some days ago.
Papermaking industries are using different minerals with different purposes.
Some examples are, Kaolin, CaCO3, TiO2, Talk, and SiO2, etc. Even without those minerals, paper contains other minerals like Si and etc from the natural plant fibres (think about how we make a natural ash glaze). If you are using waste office paper, you may get Fe2O3 or Mn or other mineral traces from pigments of print ink depends on the type of ink. The minerals from the paper impact on the clay because they are not burn away instead integrate with other minerals (ex; kaolin, feldspar, and quartz, etc) from the original clay you mixed with in the beginning. If you mix paper includes CaCO3, it will increase CaCO3 amount in your clay. The increase amounts of CaCO3 attributes to the increasing Ca contents in your clay body after firing. You will get unexpected extra mineral compositions in your fired clay body such as anorthite (calcium feldspar), wollastonite, portlandite, albite or nepheline. You know what effects and results you will get from those anorthite,
wollastonite, portlandite, albite or nepheline when you mix clay body with.
I have done the chemical analyses that you mentioned according to the ASTM; using X-ray diffraction, scanning electron microscopy, Environmental scanning electron microscopy, quantitative and qualitative ceramic analyses, etc. However, if those are not useful for you, then please refer to other established ceramic artists books. Those are in the above. I recommend Rosette and Annes books to start. Please remember, paper clay has some merits but also demerits. No clay body is perfect for everything. We choose a clay type after what we want to make.
Many thanks for you all.
Marcia Selsor wrote:
Craig and others
Dr Kim is correct about academic journals. My astro-physicist husband
publishes oftern and the going rate is $125-300/page. Dr. Kim is a
researcher of Ceramic Science.
Universities subscribe to publications in the field of research
institutions. To have access to the journals, you need access to the
university's library (often online) or you can purchase the articles
for $15-30 depending on size, illustrations, etc. This is not a
vanity press. It is the way it is in academia. There are no
advertisers in these publications to cover publishing costs. It is
strictly academic research publications. If your home institution is
serious about the research or you have a grant for the research, the
paper charges get covered that way. It is the practise. It is also
required for professors in order to stay in good academic standing,
to be promoted and to received their annual pay increments after they
get reviewed by peers. No publishing can mean salary reductions or
termination in some places. Ever heard the phrase "publish or
perish". That is where it comes from.
Marcia Selsor, prfoessor emerita now retired from academia and
pursuing clay full time.
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