Jeoung-Ah Kim on wed 6 dec 06
Dear ClayArt members,
Hereby I attached references for paper clay and paper-composite porcelain. Hope it is usable for you to working with paper clay.
From Kim
Paper clay and Paper-composite porcelain References
A
ASTM C 326-82. (1997) Standard test method for drying and firing shrinkage of ceramic whiteware clays. ASTM International, Ohio.
ASTM C 373-88. (1999) Standard test method for water absorption, bulk density, apparent porosity, and apparent specific gravity of fired whiteware products. ASTM International, Ohio.
ASTM C 689-80. (1999) Standard test method for modulus of rupture of unfired clays. ASTM International, Ohio.
B
Baker, W. L. (1998) Spraying paper-reinforced clay. Ceramic Monthly, 46 (9), 46-49.
Biermann C. J. (1996) Handbook of pulping and papermaking. 2nd ed., 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, pp194-228.
Brown, N. C. M. (1997) Theorising the crafts: new tricks of trades. In Craft & contemporary theory, Rowley, S. (ed.), Allen & Unwin, Sydney, pp 3-17.
Bunnell, K. (1998) Re:presenting Making, The Integration of New Technology into Ceramic Designer-Maker Practice. PhD thesis on CD-ROM, The Robert Gordon University, Aberdeen.
C
Cardew, Michael. (1971) Pioneer pottery, Longman, London.
Carty, W. M. and Senapti, U. (1998) Porcelain-raw materials, processing, phase evolution, and mechanical behaviour. J. Am. Ceram. Soc., 81 (1), 5-20.
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.
Cochrane, G. (1997) Keeping content: craft, history and curatorship. In Craft & contemporary theory, Rowley, S. (ed.), Allen & Unwin, Sydney, pp 53-62.
Composite. (1987) Engineered materials handbook. Vol. 1, ASM International, Ohio.
Conrad, W. J. (1980) Contemporary ceramic formulas. Macmillan publishing Co., Inc. New York.
Cooper, E. and Royle, D. (1978) Glazes for the studio potter. B. T. Batsford Ltd, London.
Cooper, E. (1981) A history of world pottery. B. T. Batsford Ltd., London.
Cooper, E. (2002) Ten thousand years of pottery. The British museum press, London.
D
Dawes, S. (1999) The manufacturing processes of Hellenistic and Roman glass, 300 BC to 200 AD: A new theory of production. Unpublished PhD thesis, University of Central England, Birmingham.
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.
Dormer, P. (1997) Craft and the Turing test for practical thinking. In The culture of craft, Dormer, P. (ed.), Manchester University Press, Manchester, pp 137-157.
F
Fournier, R. (1973) Illustrated dictionary of practical pottery. Van Nostrand Reinhold Company Ltd, London.
Fraser, H. (1986) Ceramic faults and their remedies. A & C Black, London.
Friedman, K. (2003) Theory construction in design research: criteria: approaches, and methods. Design Studies, 24, 507-522.
French, N. (1972) Industrial ceramics: Tableware. Oxford University press, London.
Fyleverken Industrimineralberednings IMB AB. (2003) Technical data. Fyleverken Industrimineralberednings IMB AB, Eriksdal, Sjöbo.
G
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. Clear light pub., WA.
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.
Gray, B. (1952) Early Chinese pottery and porcelain. Faber and Faber, London.
Griffith, R. (1998) The Adobe series. Ceramics technical, 6, 30-33.
H
Hamer, F. and Hamer, J. (2004) The potter’s dictionary of materials and techniques. 5th ed., A & C Black, London.
Hamilton, D. (1978) Architectural ceramics. Thames and Hudson, London.
Hay, G. (1996) More on paperclay. Ceramics technical, 3, 22-28.
Heller, J. (1978) Papermaking. Watson-Guptill Publications, New York.
Hlaváč, J. (1983) The technology of glass and ceramics. In: Glass science and technology, Vol 4, Nemeck, K. (ed.), Elsevier, Amsterdam.
Hornbostel, C. (1991) Construction materials: types, uses and applications. John Wiley & Sons, Inc., Chichester.
Hortling, A. and Siren, K. M. (1993) The effect of Finnish earthenware clay and calcium oxide on the colour changes in stoneware glazes. In: Interaction in ceramics, Valkonen, A. (ed.), UIAH, Helsinki, pp 113-118.
I
Imerys mineral Ltd. (2000) Typical data. Imerys mineral Ltd, Paris.
J
Jeoung-Ah, K. (2001) Recycling of paper in porcelain as an ecological design. In Proceeding of the 5th ADC Design Congress 2001, Seoul.
Jeoung-Ah, K. (2004) The characterisation of paper composite porcelain in a fired state by XRD and SEM. J. Eur. Ceram. Soc., 24 (15-16), 3823-3831.
Jeoung-Ah, K. (2006) The characterisation of paper-composite porcelain in a green state. J. Eur. Ceram. Soc., 26 (6), 1023-1034.
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.
K
Kelly, A. (1994) Concise Encyclopedia of composite materials. Elsevier science Ltd., Amsterdam.
Kerr, R. and Wood, N. (2004) Science and civilisation in China. Chemistry and chemical technology Vol. 5, Ceramic technology Part XII, Kerr, R. (ed.), Cambridge University press. Cambridge.
Kim, J. A. (1993) To construct by repetition to reflect time and space for subject interpretation through the ceramic works by the use of paper clay. In: An exhibition catalogue of MA examination, Göteborg University (ed.), Tryckeri AB Framåt, Gothenburg.
Kim, J. A. (2004) The characterisation of paper-composite porcelain: Material properties and workability from ceramic art and design perspective. Unpublished thesis for the degree of Licentiate of Philosophy, Göteborg University, Gothenburg.
Kim, J. A. (2006) Paper-composite porcelain: Characterisation of material properties and workability from a ceramic art and design perspective.” (Thesis for the degree of Doctor of Philosophy at School of Design and Crafts HDK, Faculty of Fine and Applied Arts, Göteborg University). Gothenburg: ArtMonitor.
Kingery, W. D. and Vandiver, P. (1983) Song Dynasty Jun (Chun) ware glaze. Ceramic Bullentin, 62 (11) 1269-1279.
Kingery, W. D. and Vandiver, P. (1986) Ceramic masterpieces. Macmillan Publishing Co., New York.
Kingery, W. D. (1990) The changing roles of ceramics in society. American Ceramic Society, Westerville.
Kingery, W. D. (1993) Internal structure and visual effects of ceramics. In: Interaction in ceramics, Valkonen, A. (ed.), UIAH, Helsinki, pp 87-98.
Kobayashi, Y. and Kato, E. (1994) Low temperature fabrication of anorthite ceramics. J. Am. Ceram. Soc., 77 (3), 833-834.
Kähkönen, R. (1993) Ceramics by viscose silica clothing. In: Interaction in ceramics, Valkonen, A. (ed.), UIAH, Helsinki, pp 67-71.
L
Lane, P. (1980) Studio porcelain. Pitman house, London.
Langer, V. (2002) Lecture Notes: Crystallography, x-ray diffraction and their use in material science. Compendium: Material science; Characterisation. Graduate school of Materials science, Chalmers University of Technology, Gothenburg.
Lee, W. E. and Iqbal, Y. (1999) Fired porcelain microstructure revisited. J. Am. Ceram. Soc., 82 (12), 3584-3590.
Lee, W. E. and Iqbal, Y. (2001) Influence of mixing on mullite formation in porcelain. J. Eur. Ceram. Soc., 21, 2583-2586.
Li, J. Z. (1985) The evolution of Chinese pottery and porcelain technology. In: Ancient technology to modern science, Kingery, W. D. (ed.), The American ceramic society, Inc., p 148.
Lightwood, A. (2000) Working with paper clay and other additives. The Crowood Press, Wiltshire.
Longworth, C. (2005) Buckley ceramics in the seventeenth century. Interpreting ceramics, Issue 6, Electronic journal http://www.interpretingceramics.com.
M
Malin, J. (1993) The monitoring and control of specialised ceramic kiln atmospheres and emissions. Unpublished PhD thesis, The Robert Gordon University, Aberdeen.
Matson, R. F. (1965) Ceramics and man. Aldine publishing company, Chicago.
Morley-Fletcher, H. (1987) Techniques of the world’s great masters of pottery and ceramics. Phaidon Christies, Oxford.
N
Norsker, H. (1987) Clay materials for the self-reliant potter. Vieweg, Frankfurt.
North Cape mineral AS. (2003) Technical data. North Cape mineral AS, Rud.
Norton, F. N. (1956) Ceramics for the artist potter. Addison-Wesley Publishing Company, Reading.
O
Oh, Y. T., Yoshihara, K., Takebe, H. and Morinaga, K. (1997) Phase transformations of alkalineearth aluminosilicate glasses during isothermal heat treatment. J. Ceram. Soc. Jpn., 105 (12), 1199-1204.
Onoda, J. Y. (1976) Theoretical strength of dried green bodies with organic binders. J. Am. Ceram. Soc., 59 (5-6), 236-239.
P
Peterson, S. (1995) The craft and art of clay. 2nd ed., The overlook press, New York.
Petrie, K. (1999) Water-based ceramic transfer printing: The development and creative use of a new on-glaze screenprinting system. Unpublished PhD thesis, University of the West of England, Bristol.
Polanyi, M. (1964) Science, faith and society. The University of Chicago Press, Chicago.
Polanyi, M. (1983) The tacit dimension. Peter Smith, Gloucester, Massachusetts.
Polanyi, M. (2002) Personal knowledge: Towards a post-critical philosophy. Routledge & Kegan Paul Ltd, London.
Prasad, P. (2005) Crafting qualitative research. M. E. Shape, Inc., London.
R
Rado, P. (1969) An introduction to the technology of pottery. Pergamon press, London.
Rawson, P. (1971) Ceramics. Oxford University Press, Oxford.
Rhodes, D. (1964) Clay and glazes for the potter. Sir Isaac Pitman & Sons Ltd, London.
Rhodes, D. (1971) Stoneware & porcelain. Pitman publishing, London.
Richerson, D. W. (1992) Modern ceramic engineering. 2nd ed., Marcel Dekker Inc., New York.
Rowley, S. (1997) Craft and contemporary theory. Allen & Unwin, Sydney.
S
Santacruz, I., Nieto, M. I., Moreno, R., Ferrandino, P., Salomoni, A. and Stamenkovic, I. (2003) Aqueous injection moulding of porcelains. J. Eur. Ceram. Soc., 23 (12), 2053-2060.
Shackelford, J. F. (2000) Introduction to materials science for engineers. 5th ed., Prentice-Hall, Inc., New Jersey.
Sheaf, C. (1987) Chinese blue and white. In Techniques of the world’s great masters of pottery and ceramics, Morley-Fletcher, H. (ed.), Phaidon Christie’s Limited, Oxford, pp 68-77.
Shortland, M. and Gregory, J. (2002) Communicating science. Addition Wesley Longman Limited, Essex.
Silveira, G., Forsberg, P. and Conners, T. E. (1995) Scanning Electron microscopy: A tool for the analysis of wood pulp fibres and paper. In Surface analysis of paper, Conners, T. E. and Banerjee, S. (eds.), CRC Press, New York, pp 41-71.
Smith, T. (1997) Craft, modernity and postmodernity. In Craft & contemporary theory, Rowley, S. (ed.), Allen & Unwin, Sydney, pp. 18-28.
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.
Sutherland, B. (1987) Glazes from natural sources. Batsford Ltd., London.
T
Trilly, W. (1989) Japanese blue and white. In Techniques of the world’s great masters of pottery and ceramics, Morley-Fletcher, H. (ed.), Phaidon Christie’s Limited, Oxford, pp 78-83.
Turner, S. (1991) White paper. BSA Printers Ltd., New York.
W
Whitney, R. P. (1979) Chemistry of Paper. In Paper-Art & Technology, Long, P. (ed.), World Print Council, San Francisco, pp 36-44.
William, M. C. and Udayan, S. (1998) Porcelain-Raw materials, processing, phase evolution, and mechanical behaviour. J. Am. Ceram. Soc., 81 (1), 3-20.
Dr. Kim Jeoung-Ah
Speldosegatan 4
SE-42146, Västra Frölunda
Sweden
Tel: +46-739-849906
---------------------------------
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Jeoung-Ah Kim on wed 6 dec 06
Yes. I am specialised in porcelain, paper porcelain and paper clay which have been my last 16 years academic research and a part of them became my MFA, PhL and PhD theses. Please let me know if you have any enquiries.
Yours/Kim
Antoinette Badenhorst wrote:
Antoinette Badenhorst
105 Westwood Circle
Saltillo MS, 38866
662 869 1651
www.clayandcanvas.com
www.southernartistry.org
Kim you have a huge reference list for porcelain. Do you specialize in porcelain and if so, please tell me more. I started a series of articles on porcelain and as you know that is asking for very specific statements.
Best wishes.
Antoinette.
---------------------------------
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Megan Mason on wed 6 dec 06
Hi Kim,
I also am interested in porcelain paperclay. I throw with porcelain and have
made paper in a workshop and since the last batch of my porcelain had
cracking problems I thought perhaps combining the two might make that clay usable
and start my exploration of the paperclay phenom.I use stamps and sprigs, I
make up myself, incorporated in my handbuilt work.
I have Rose's book but have not started this but did some work with paper
and nylon fiber a long long time ago but dropped the direction as I didn't
know a way to adhere it to itself then and was not into clay discs, which
what I was trying.
My thought was to dry out the porcelain and mix the paper pulp into it.I am
not certain but thought 10% paper pulp .also dried out [Have a bag in my
freezer,now] and I also wonder if the nylon fibers would add or detract from it
as they were kinda fuzzy when I cut them up long ago when using they clay
with them mixed into it?
Is a copy of your thesis online and do you have a website[I don't myself}.\
Meg
In a message dated 12/6/2006 2:53:55 P.M. Eastern Standard Time,
kjeounga@YAHOO.CO.UK writes:
Yes. I am specialised in porcelain, paper porcelain and paper clay which
have been my last 16 years academic research and a part of them became my MFA,
PhL and PhD theses. Please let me know if you have any enquiries.
Yours/Kim
Antoinette Badenhorst wrote:
Antoinette Badenhorst
105 Westwood Circle
Saltillo MS, 38866
662 869 1651
www.clayandcanvas.com
www.southernartistry.org
Jeoung-Ah Kim on thu 7 dec 06
Dear Antoinette,
I have been to your home page. You are doing such interesting work connection between Africa and USA. I learnt about African ceramics through a friend from Africa who unfortunately abandoned work with ceramics since he became an executive in NY.
Perhaps, as mentioned by many earlier famous porcelain experts, it is because porcelain is one of the most difficult one among various clay bodies. It is same in Europe and Asia; most of ceramicists are working with porcelain for functional ware, however publics also ceramicists in Far-East (China, Japan and Korea) have more and broaden knowledge and understanding of porcelain than Europeans do. I started working with porcelain 30 years ago. I was very disappointed that lack of understanding and knowledge what publics have here when I moved in Europe for 17 years ago though contemporary porcelain material research was basically launched in Europe. I used to teach porcelain and clay materials in university where often I see students are struggling problems with materials include porcelain.
Why don’t you try to make some experimental works combine porcelain and paper porcelain? You can use a problem part with paper porcelain and the other part as usual with porcelain. It works very well if you use a same porcelain mother body. It may a good start until you become familiar with paper porcelain.
At moment, I have only one work in website since I deleted my personal research home page for update. Anyway this is one of my works. http://www.hdk.gu.se/forskning/kim/pressbild.html
Here comes an info website http://goart.gu.se/kf_publ/kf_publ.htm about the contents of book, price and how to order both in Swedish and English. Unfortunately I do not have any more examples. Please order to this email address: goart@hsm.gu.se. The price of one book is SEK 275 (about 40 USD) for Non-EU countries: excl. VAT, incl. postage and packing. If you do not get a proper reply from the email address, then please send order e-mail to johan.oberg@konst.gu.se. They have my books but I do not have any extra.
You are always welcome and we can keep contact.
Best wishes,
Kim
Antoinette Badenhorst wrote: Thank you. I am originally from South Africa. My work is much more influenced by a mix between European and African Ceramic. I find a huge lack of knowledge, appreciation and understanding for porcelain here in the USA by both artists and public. In most instances potters will either do some porcelain work or do strictly functional work, so it is difficult to get answers to many questions. For that reason I am working on some articles to help raise awareness for handmade porcelain.
I want to use designs that I used to do by pit firing porcelain in ^10 electric firing. My work is often somewhat sculptural in design and my biggest challenge is to find ways to support the pieces when I push the limits. It would be nice if I can talk to you from time to time about issues, particularly since I am in the exploration phase of paper porcelain I am curious to see examples of your work/research? I’ve been invited to show my translucent porcelain in the St. Joseph Gallerie, I think it is Belgium or Holland. I did not take the offer yet, but I am exploring opportunities in Europe.
Thank you for your kind feedback and best wishes with your work.
Antoinette Badenhorst
105 Westwood Circle
Saltillo MS, 38866
662 869 1651
www.clayandcanvas.com
www.southernartistry.org
-----Original Message-----
From: Jeoung-Ah Kim [mailto:kjeounga@yahoo.co.uk]
Sent: Wednesday, December 06, 2006 9:23 AM
To: Antoinette Badenhorst; CLAYART@LSV.CERAMICS.ORG
Subject: RE: Paper clay and Paper-composite porcelain references
Yes. I am specialised in porcelain, paper porcelain and paper clay which have been my last 16 years academic research and a part of them became my MFA, PhL and PhD theses. Please let me know if you have any enquiries.
Yours/Kim
Antoinette Badenhorst wrote:
Antoinette Badenhorst
105 Westwood Circle
Saltillo MS, 38866
662 869 1651
www.clayandcanvas.com
www.southernartistry.org
Kim you have a huge reference list for porcelain. Do you specialize in porcelain and if so, please tell me more. I started a series of articles on porcelain and as you know that is asking for very specific statements.
Best wishes.
Antoinette.
Dr. Kim Jeoung-Ah
Speldosegatan 4
SE-42146, Västra Frölunda
Sweden
Tel: +46-739-849906
---------------------------------
Inbox full of spam? Get leading spam protection and 1GB storage with All New Yahoo! Mail.
Jeoung-Ah Kim on thu 7 dec 06
Dear Dave,
No problem. People used think I am a male especially if they know I am working in an academic research area.
In case of high temperature firing, the absorption rate of fired paper clay is not so high than you guess. From the results of my research, high temperature fired paper porcelain bodies are good enough to suitable for tableware not only studio practice but also according to the international standard (ASTM) for tableware industry. I described much of results from physical properties experiments in fired state in various firing temperatures in my PhD thesis also my articles published in Journal of the European Ceramic Society.
I am not only educated, professionally trained and practicing as a ceramic artist and designer, teaching and research at university, but also I am a highly trained, licensed and qualified science researcher in ceramic/composite materials. I carry a complete process myself: all types of laboratory experiments include SEM, XRD, and other qualitative and quantitative analyses, also making clay bodies from raw materials, sampling, design and producing ceramic art and design works.
I made characterisations of specimens using SEM and ESEM in various ways however only a part of them (but still enough amounts) are in my book since I wanted ordinary ceramic artists and studio potters could read easily to understand and to apply in their practice not only for scientists or researchers. Without practical usability, research within Art and Design fields gain less value.
I am very happy to hear that you are familiar with those people. I have not met them physically but they are such good researchers contributed many wonderful works in this area. I did not know Carty is working as professor at Alfred.
Interesting to get know you an Msc working with studio pottery.
Best regards,
Kim
Dave Finkelnburg wrote: Hi Kim,
I just found your picture on the internet. I
apologize for addressing you improperly. :-( Thank
you for pointing out my error.
I make functional stoneware and porcelain
pots...everything from small bowls to bird baths on
tall pedestals...mostly glazed with a combination of
wood-ash and high-calcium glazes. Because of the
functional aspect of my work I have not tried paper
clay except as an experiment. I have never studied
what it takes to make porcelain resistant to
freeze-thaw damage, but have simply assumed that with
very low absorption the porcelain could not absorb
enough water to be damaged. My observation has been
fired paper clay has a very high absorption of water.
I am curious about how you characterized your
paper clay samples studied in your thesis. Was your
SEM examination of fracture surfaces or polished
specimens or???
I am familiar with a few of the references you
posted, such as Iqbal and Lee's. Carty was my major
professor at Alfred when I earned my MS this year in
Ceramic Engineering.
All the best,
Dave
--- Jeoung-Ah Kim wrote:
> Thanks Dave. What are you working with mostly?
>
> Yours/ Kim (Female)
____________________________________________________________________________________
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Dr. Kim Jeoung-Ah
Speldosegatan 4
SE-42146, Västra Frölunda
Sweden
Tel: +46-739-849906
Send instant messages to your online friends http://uk.messenger.yahoo.com
Jeoung-Ah Kim on thu 7 dec 06
Dear Meg,
Nice to hear from a person interest in paper porcelain.
The best way mix porcelain and paper is; mix powdered (dried) raw clay materials (e. g. kaolin, feldspar and quartz) and normal dry paper (whatever type paper you have a lot in your studio or home those are perhaps irritating advertising leaflets), not start from dry out a readymade type porcelain plastic clay body or readymade paper pulp which you buy from a retailer.
Unfortunately, online copy of my PhD thesis is not available. These are the links so far I have now which you may look.
http://www.hdk.gu.se/forskning/kim/index_e.html (Blur text in English)
http://www.hdk.gu.se/forskning/kim/abstract.html (Abstract in English)
At moment, I have only one work in website since I deleted my personal research home page for update. Anyway this is one of my works. http://www.hdk.gu.se/forskning/kim/pressbild.html
Here comes an info website http://goart.gu.se/kf_publ/kf_publ.htm about the contents of my book, price and how to order both in Swedish and English. Unfortunately I do not have any more examples. Please order to this email address: goart@hsm.gu.se. The price of one book is SEK 275 (about 40 USD) for Non-EU countries: excl. VAT, incl. postage and packing. If you do not get a proper reply from the email address, then please send order e-mail to johan.oberg@konst.gu.se. They have my books but I do not have any extra.
Best wishes,
Kim
Megan Mason wrote: Hi Kim,
I also am interested in porcelain paperclay. I throw with porcelain and have
made paper in a workshop and since the last batch of my porcelain had
cracking problems I thought perhaps combining the two might make that clay usable
and start my exploration of the paperclay phenom.I use stamps and sprigs, I
make up myself, incorporated in my handbuilt work.
I have Rose's book but have not started this but did some work with paper
and nylon fiber a long long time ago but dropped the direction as I didn't
know a way to adhere it to itself then and was not into clay discs, which
what I was trying.
My thought was to dry out the porcelain and mix the paper pulp into it.I am
not certain but thought 10% paper pulp .also dried out [Have a bag in my
freezer,now] and I also wonder if the nylon fibers would add or detract from it
as they were kinda fuzzy when I cut them up long ago when using they clay
with them mixed into it?
Is a copy of your thesis online and do you have a website[I don't myself}.\
Meg
In a message dated 12/6/2006 2:53:55 P.M. Eastern Standard Time,
kjeounga@YAHOO.CO.UK writes:
Yes. I am specialised in porcelain, paper porcelain and paper clay which
have been my last 16 years academic research and a part of them became my MFA,
PhL and PhD theses. Please let me know if you have any enquiries.
Yours/Kim
Antoinette Badenhorst wrote:
Antoinette Badenhorst
105 Westwood Circle
Saltillo MS, 38866
662 869 1651
www.clayandcanvas.com
www.southernartistry.org
______________________________________________________________________________
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