This page will contain wikis about Paperweight, as they become available.Paperweight collectingPaperweights made for the collector are of solid glass, generally having a flat base and a domed top, which acts Rick Ayotte Fruit Weightsomething like a lens to magnify and make the parts within move in an interesting and attractive way as it is handled. They range in value anywhere from a few dollars to a record of $258,500 once paid for an antique French weight. Thus paperweight collecting is a hobby accessible to those with limited means, as well as those having a passion for rarity in addition to beauty. What are "paperweights?""Paperweight" is something of a misnomer. They rarely hold down any paper--they are rather magnificent examples of fine workmanship of the glass artisan at his best, and are appreciated for their esthetic as opposed to their utilitarian aspect. Paperweights are made in factories where many artists and technicians collaborate, as well as in studios occupied by sole artisans. Both may produce inexpensive "gift" weights as well as the more expensive "collector" weights. The dividing line between these classes, of course, is up to the individual collector. An advantage of paperweight collecting, as opposed to many other collectables such as oil paintings and toys, is that they require no special conditions of temperature and humidity for their preservation. Antique weights, of which perhaps 10,000 or so survive (mostly in museums), generally appreciate steadily in value. Collecting modern weights for investment purposes, though possible, is for optimists. There are a number of paperweight collectors associations, which hold national and regional conventions and other activities such as tours, lectures, and auctions. There are something like 20,000 paperweight collectors worldwide. There are several different types of paperweights, and collectors often specialize in just one of them.
Various other embelishments may be done to enhance the beauty of the paperweight. The dome or the base may be faceted or etched. It may be coated with one or more thin layers of glass and then have windows cut through it to reveal the interior motif. The ground on which the inner parts rest may be clear, colored or have a granular ground made of unfused sand, or resemble lace (latticinio). As in any fine work of art, the factors influencing the value of a paperweight are workmanship, design, rarity and condition. Visible flaws, such as bubbles, striations and scratches usually affects the value quite a lot. Glass with a yellow or greenish cast is not found in good collections. Unintenional asymmetries and unevenly spaced or broken elements must be absent. Generally, there are no "happy accidents" in a good paperweight. Everything in it was intentionally put there by the artist. In a modern piece, an identifying mark and date are imperative. HistoryThere are two eras in which paperweights were produced: the "classical" period, 1845 to 1860, and the modern period, from about 1950 to the present day. The antiques were produced mostly in three factories in France: Baccarat, St. Louis, and Clichy. The first two are also producing them in limited quantities (100 to 300) again today. Weights were also produced in the U.S. and Great Britain and elsewhere, but they were generally of a lesser quality. Glass StudiosA number of small studios have appeared in the past decades, particularly in the US. These may have several to some dozens of workers with various levels of skill cooperating to produce their own distinctive "line" of paperweights. Notable examples include the Lundberg studio, Orient and Flume, Correia, Lotton, and Parabelle. Independent Studio ArtistsThere are today only about a couple of dozen studio artists who are producing (or have produced) fine paperweights. In the U.S. Charles Kazuin started in 1940 to produce buttons, paperweights, inkwells and other bottles using lamp-work of elegant simplicity. In Scotland, the pioneering work of Paul Ysart in the 1950's was very important in showing the way to a new generation of artists such as William Manson and John Deacons. Then in the late 1960's and 1970's other artists such as Paul Stankard, Delmo and daughter Debbie Tarsitano, Victor Trabucco and sons, Gordon Smith, Rick Ayotte and his daughter Melissa, and the father and son team of Bob and Ray Banford, began breaking new ground. Over the years their work improved in precision and complexity and sometimes strived for increased reality in depicting natural objects. Today their work rivals anything produced by the great factories of the middle 1800's. The work of Paul Stankard was particularly noted for its incredibly realistic portrayal of flowers, including their roots. He has more recently moved away from the classical domed paperweight to rectangular forms which are among the finest glass objects produced in the twentieth century. Links to Prominent Studio Artists
Links to Prominent Collectors
Organizations
Books
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Over the years their work improved in precision and complexity and sometimes strived for increased reality in depicting natural objects. The most promising alternatives to plastic are graphene, carbon nanotube, and carbon nanofoam. Then in the late 1960's and 1970's other artists such as Paul Stankard, Delmo and daughter Debbie Tarsitano, Victor Trabucco and sons, Gordon Smith, Rick Ayotte and his daughter Melissa, and the father and son team of Bob and Ray Banford, began breaking new ground. Some are many times stronger than plastic, but crack if made thin like cellophane. In Scotland, the pioneering work of Paul Ysart in the 1950's was very important in showing the way to a new generation of artists such as William Manson and John Deacons. Some of these alternatives are too expensive or not malleable enough, but can be used in some plastic applications. Charles Kazuin started in 1940 to produce buttons, paperweights, inkwells and other bottles using lamp-work of elegant simplicity. Some plastic alternatives are: graphite, fiberglass, carbon fiber, graphene, carbon nanotubes, diamond, aerogel, carbon nanofoam, cellulose soybean plastic (bioplastic), and other carbon-based, non-petroleum materials. In the U.S. Scientists are seeking cheaper alternatives to plastic. There are today only about a couple of dozen studio artists who are producing (or have produced) fine paperweights. Thus, even if alternative sources are used, costs will continue to rise. Notable examples include the Lundberg studio, Orient and Flume, Correia, Lotton, and Parabelle. Alternate reserves such as oil shale and tar oil (tar sand) do exist, but the cost of production is much higher than with current sources. These may have several to some dozens of workers with various levels of skill cooperating to produce their own distinctive "line" of paperweights. Fears of dwindling petroleum supplies are becoming very real, with publications such as USA Today reporting that current oil reserves will only last 40 years. A number of small studios have appeared in the past decades, particularly in the US. In 2004, the higher price of plastic drove a number of plastic-toy manufacturers out of business. and Great Britain and elsewhere, but they were generally of a lesser quality. As the cost of plastic hinges on the cost of petroleum, should petroleum prices continue to rise, so will the cost of plastic. Weights were also produced in the U.S. The cause of the increase is the sharply rising cost of petroleum, the raw material that is chemically altered to form commercial plastics. The first two are also producing them in limited quantities (100 to 300) again today. However, in recent years the cost of plastics has been rising dramatically. Louis, and Clichy. One of the great appeals of plastics have been their low price as compared to other materials. The antiques were produced mostly in three factories in France: Baccarat, St. Tencel has many superior properties over rayon, but is still produced from "biomass" feedstocks, and its manufacture is extraordinarily clean by the standards of plastic production. There are two eras in which paperweights were produced: the "classical" period, 1845 to 1860, and the modern period, from about 1950 to the present day. The Courtauld concern, the original producer of rayon, came up with a revised process for the material in the mid-1980s to produce "Tencel". In a modern piece, an identifying mark and date are imperative. There have been some success stories. Everything in it was intentionally put there by the artist. In this regard, though, plastics are no worse than food or paper, which also fail to degrade in landfills. Generally, there are no "happy accidents" in a good paperweight. When such plastic materials are dumped into landfills, they can become "mummified" and persist for decades even if they are supposed to be biodegradable. Unintenional asymmetries and unevenly spaced or broken elements must be absent. So far, these plastics have proven too costly and limited for general use, and critics have pointed out that the only real problem they address is roadside litter, which is regarded as a secondary issue. Glass with a yellow or greenish cast is not found in good collections. The disadvantage of biodegradable plastics is that the carbon that is locked up in them is released into the atmosphere as the greenhouse gas carbon dioxide when they degrade, though if they are made from organic material there is no net gain in emissions. Visible flaws, such as bubbles, striations and scratches usually affects the value quite a lot. BASF make Ecoflex, a fully biodegradable polyester for food packaging applications. As in any fine work of art, the factors influencing the value of a paperweight are workmanship, design, rarity and condition. Some researchers have actually genetically engineered bacteria that synthesize a completely biodegradable plastic, but this material is expensive at present. The ground on which the inner parts rest may be clear, colored or have a granular ground made of unfused sand, or resemble lace (latticinio). Starch can be mixed with plastic to allow it to degrade more easily, but it still does not lead to complete breakdown of the plastic. It may be coated with one or more thin layers of glass and then have windows cut through it to reveal the interior motif. Research has been done on biodegradable plastics that break down with exposure to sunlight. The dome or the base may be faceted or etched. Even so the American Plastics Council spends about US$20 million a year on an ad campaign that tries to convince the public to recycle. Various other embelishments may be done to enhance the beauty of the paperweight. is very small, somewhere around 5%. There are several different types of paperweights, and collectors often specialize in just one of them. Currently, the percentage of plastics recycled in the U.S. There are something like 20,000 paperweight collectors worldwide. These unrecyclable wastes can be disposed of in landfills, incinerated or used to produce electricity at waste-to-energy plants. There are a number of paperweight collectors associations, which hold national and regional conventions and other activities such as tours, lectures, and auctions. For example, polystyrene is rarely recycled because it is usually not cost effective. Collecting modern weights for investment purposes, though possible, is for optimists. Recycling certain types of plastics can be unprofitable, as well. Antique weights, of which perhaps 10,000 or so survive (mostly in museums), generally appreciate steadily in value. In a case like this, the resources it would take to separate the plastics far exceed their value, though complex items made of many types of plastics are not disposed of frequently. An advantage of paperweight collecting, as opposed to many other collectables such as oil paintings and toys, is that they require no special conditions of temperature and humidity for their preservation. While containers are usually made from a single type and color of plastic, making them relatively easy to sort out, a consumer product like a cellular phone may have many small parts consisting of over a dozen different types and colors of plastics. The dividing line between these classes, of course, is up to the individual collector. Other recyclable materials, such as metals, are easier to process mechanically. Both may produce inexpensive "gift" weights as well as the more expensive "collector" weights. Typically, workers sort the plastic by looking at the resin identification code, though common containers like soda bottles can be sorted from memory. Paperweights are made in factories where many artists and technicians collaborate, as well as in studios occupied by sole artisans. The biggest problem with plastics recycling is that it is difficult to automate the sorting of plastic waste, and so it is labor intensive. They rarely hold down any paper--they are rather magnificent examples of fine workmanship of the glass artisan at his best, and are appreciated for their esthetic as opposed to their utilitarian aspect. Unfortunately, recycling plastics has proven difficult. "Paperweight" is something of a misnomer. A recyclable plastic container using this scheme is marked with a triangle of three "chasing arrows", which enclose a number giving the plastic type:. . To assist recycling of disposable items, the Plastic Bottle Institute of the Society of the Plastics Industry devised a now-familiar scheme to mark plastic bottles by plastic type. Thus paperweight collecting is a hobby accessible to those with limited means, as well as those having a passion for rarity in addition to beauty. There are methods by which plastics can be broken back down to a feedstock state. They range in value anywhere from a few dollars to a record of $258,500 once paid for an antique French weight. Thermoplastics can be remelted and reused, and thermoset plastics can be ground up and used as filler, though the purity of the material tends to degrade with each reuse cycle. something like a lens to magnify and make the parts within move in an interesting and attractive way as it is handled. By the 1990s, plastic recycling programs were common in the United States and elsewhere. Paperweights made for the collector are of solid glass, generally having a flat base and a domed top, which acts. For example, plastics make cars lighter, thus saving oil and reducing CO2 emissions. Jargstorf, Sibylle (1997) Paperweights ISBN 0887403751. Furthermore, it can be claimed that the use of plastics helps the environment by saving water and oil. (1992) All About Paperweights ISBN 0933756178. However, it should be noted that plastics only consume 4% of the world's oil production. Selman, Lawrence H. Also, the manufacturing of plastics often creates large quantities of chemical pollutants, and requires use of the Earth's limited supply of fossil fuels. Reilly, Pat, (1994) Paperweights: The Collector's Guide to Identifying, Selecting, and Enjoying New and Vintage Paperweights ISBN 156138433X. In some cases, burning plastic can release toxic fumes. The Paperweight Mall. Plastics are almost too good, as they are durable and degrade very slowly. International Paperweight Society. Although plastics have had a remarkable impact globally, it has become increasingly obvious that there is a price to be paid for their use. The Paperweight Collectors Association, Inc. Kevlar was so remarkable that Du Pont officials actually had to release statements to deny rumors that the company had received the recipe for it from space aliens. Bill Price-collector/author (victorian advertising and portrait paperweights). Du Pont developed "Kevlar", an extremely strong synthetic fiber that was best known for its use in bullet-proof vests and combat helmets. Victor Trabucco. General Electric introduced "lexan", a high-impact "polycarbonate" plastic, in the 1970s. Bob and Ray Banford. Plastics continue to be improved. Rick Ayotte. Polyurethane foam was used to fill mattresses, and Styrofoam was used to line ice coolers and make float toys. Debbie Tarsitano. Composite materials like fiberglass came into use for building boats and, in some cases, cars. Paul Stankard. With Formica, a very attractive and well-built table could be built using low-cost and lightweight plywood with Formica covering, rather than expensive and heavy hardwoods like oak or mahogany. Abrams. It was particularly useful in kitchens, as it did not absorb, and could be easily cleaned of stains from food preparation, such as blood or grease. N. Formica was durable and attractive. Graeser, and J. Another prominent element in 1950s homes was "Formica®", a plastic laminate that was used to surface furniture and cabinetry. Later makers included Albert A. Thin-film "plastic wrap" that could be purchased in rolls also helped keep food fresh. For examples, refer to PCA's Annual Bulletins published for 2000, 2001 and 2002. The Tupperware line of products was well thought out and highly effective, greatly reducing spoilage of foods in storage. This same process was also used to produce paperweights with the owner's name encased or an advertisment of a business or product. One of the most visible parts of this plastics invasion was Earl Tupper's "Tupperware", a complete line of sealable polyethylene food containers that Tupper cleverly promoted through a network of housewives who sold Tupperware as a means of bringing in some money. The portrait paperweights contained pictures of ordinary people reproduced on a milkglass disk and encased within clear glass. American consumers enthusiastically adopted the endless range of colorful, cheap, and durable plastic gimmicks being produced for new suburban home life. Maxwell. New manufacturing were developed, using various forming, molding, casting, and extrusion processes, to churn out plastic products in vast quantities. Victorian portrait and advertising paperweights were dome glass paperweights first made in Pittsburgh, Pennsylvania using a process patented in 1882 by William H. After the war, the new plastics that had been developed entered the consumer mainstream in a flood. They may also be sprayed while hot with various metallic salts to achieve an irridescent look. GoreTex is also used for surgical implants; Teflon strand is used to make dental floss; and Teflon mixed with fluorine compounds is used to make "decoy" flares dropped by aircraft to distract heat-seeking missiles. California style paperweights are made by "painting" the surface of the dome with colored molten glass, and manipulated with picks or other tools. sulfide paperweights have an encased three dimensional medalion or portrait plaque made from a ceramic. During the war, it was used in gaseous-diffusion processes to refine uranium for the atomic bomb, as the process was highly corrosive. This is a form particularly favored by studio artists. A Du Pont chemist named Roy Plunkett discovered Teflon by accident in 1938. lampwork paperweights have objects such as flowers, fruit, butterflies or animals constructed by shaping and working bits of colored glass with a gas burner or torch and assembling them into attractive compositions, which are then incorporated into the dome. The polyfluoroethylene surface layer created by exposing a polyethylene container to fluorine gas is very similar to Teflon. The exist in many variations such as scattered, patterned, close concentric or carpet ground. One of the most impressive plastics used in the war, and a top secret, was "polytetrafluoroethylene" (PTFE), better known as "Teflon", which could be deposited on metal surfaces as a scratchproof and corrosion-resistant, low-friction protective coating. These are usually made in a factory setting. PET films, trade named "Mylar®", are used to make recording tape. millefiori paperweights contain thin cross-sections of cylindrical composite canes made from colored rods and resemble little flowers. PET is also strong and abrasion resistant, and is used for making mechanical parts, food trays, and other items that have to endure abuse. PET is more impermeable than other low-cost plastics and so is a popular material for making bottles for Coca-Cola and other "fizzy drinks", since carbonation tends to attack other plastics, and for acidic drinks such as fruit or vegetable juices. Two chemists named Rex Whinfield and James Dickson, working at a small English company with the quaint name of the "Calico Printer's Association" in Manchester, developed "polyethylene terephthalate" (PET or PETE) in 1941, and it would be used for synthetic fibers in the postwar era, with names such as "polyester", "dacron", and "terylene". Fiberglass is now often used to build sport boats, and carbon-epoxy composites are an increasingly important structural element in aircraft, as they are lightweight, strong, and heat resistant. Composites using epoxy as a matrix include glass-reinforced plastic, where the structural element is glass fiber, and "carbon-epoxy composites", in which the structural element is carbon fiber. After the war they would come into wide use for coatings, "adhesives", and composite materials. Epoxies are a class of thermoset plastic that form cross-links and "cure" when a catalyzing agent, or "hardener", is added. In 1939, IG Farben filed a patent for "polyepoxide" or "epoxy". It is also one of the components (in non-blown form) of the fiber spandex. It is used in everything from plastic bottles to carpets to plastic furniture, and is very heavily used in automobiles. Polypropylene is similar to its ancestor, polyethylene, and shares polyethylene's low cost, but it is much more robust. Paul Hogan and Robert Banks, are now generally credited as the "official" inventors of the material. Polypropylene managed to survive the legal process, and two American chemists working for Phillips Petroleum, J. It was a patent attorney's dream scenario, and litigation was not resolved until 1989. It is common in modern science and technology that the growth of the general body of knowledge can lead to the same inventions in different places at about the same time, but polypropylene was an extreme case of this phenomenon, being separately invented about nine times. Polyethylene would lead after the war to an improved material, "polypropylene" (PP), which was discovered in the early 1950s by Giulio Natta. While PE has low resistance to chemical attack, it was found later that a PE container could be made much more robust by exposing it to fluorine gas, which modified the surface layer of the container into the much tougher "polyfluoroethylene". LDPE is used to make films and packaging materials, while HDPE is used for containers, plumbing, and automotive fittings. Another important plastic, "polyethylene" (PE), sometimes known as "polythene", was discovered in 1933 by Reginald Gibson and Eric Fawcett at the British industrial giant Imperial Chemical Industries (ICI). Plexiglas was used to build aircraft canopies during the war, and it is also now used as a marble replacement for countertops. Although acrylics are now well known for their use in paints and synthetic fibers, such as "fake furs", in their bulk form they are actually very hard and more transparent than glass, and are sold as glass replacements under trade names such as "Plexiglas" and "Lucite". By 1936, American, British, and German companies were producing polymethyl methacrylate (PMMA), better known as "acrylic". Other plastics emerged in the prewar period, though some would not come into widespread use until after the war. Ultimately, all large military rockets and missiles would use synthetic rubber based solid fuels, and they would also play a significant part in the civilian space effort. Such solid fuels could be cast into large, uniform blocks that had no cracks or other defects that would cause nonuniform burning. By the mid-1950s, large missiles were being built using solid fuels based on synthetic rubber, mixed with ammonium perchlorate and high proportions of aluminium powder. After the war, the Caltech researchers began to investigate the use of synthetic rubbers instead of asphalt as the fuel in the mixture. This new solid fuel burned more slowly and evenly than nitrocellulose explosives, and was much less dangerous to store and use, though it tended to flow slowly out of the rocket in storage and the rockets using it had to be stockpiled nose down. During the war, California Institute of Technology (Caltech) researchers came up with a new solid fuel, based on asphalt fuel mixed with an oxidizer, such as potassium or ammonium percholorate, plus aluminium powder, which burns very hot. Solid rockets used during World War II used nitrocellulose explosives for propellants, but it was impractical and dangerous to make such rockets very big. Synthetic rubber would also play an important part in the space race and nuclear arms race. GR-S remains the primary synthetic rubber for the manufacture of tires. After the war, natural rubber plantations no longer had a stranglehold on rubber supplies, particularly after chemists learned to synthesize isoprene. By 1944 a total of 50 factories were manufacturing it, pouring out a volume of the material twice that of the world's natural rubber production before the beginning of the war. A principal scientist involved with the effort was Edward Robbins. government launched a major (and largely secret) effort to develop and refine synthetic rubber. The U.S. Military trucks needed rubber for tires, and rubber was used in almost every other war machine. Worldwide natural rubber supplies were limited, and by mid-1942 most of the rubber-producing regions were under Japanese control. synthetic rubber production during World War II. One such Buna rubber, known as "GR-S" ("Government Rubber Styrene), is a copolymer of butadiene and styrene, became the basis for U.S. These were "copolymers", meaning that their polymers were made up from not one but two monomers, in alternating sequence. In 1935, German chemists synthesized the first of a series of synthetic rubbers known as "Buna rubbers". Neoprene is highly resistant to heat and chemicals such as oil and gasoline, and is used in fuel hoses and as an insulating material in machinery. Bolton. These studies led in 1931 to one of the first successful synthetic rubbers, known as "neoprene", which was developed at DuPont under the direction of E.K. Practical synthetic rubber grew out of studies published in 1930 written independently by American Wallace Carothers, Russian scientist Lebedev and the German scientist Hermann Staudinger. The first synthetic rubber polymer was obtained by Lebedev in 1910. Another plastic that was critical to the war effort was "synthetic rubber", which was produced in a variety of forms. In its bulk form it is very wear resistant, and so is used to build gears, bearings, bushings, and other mechanical parts. Nylon still remains an important plastic, and not just for use in fabrics. After the war ended, Du Pont went back to selling nylon to the public, engaging in another promotional campaign in 1946 that resulted in an even bigger craze, triggering off "nylon riots". The production capacity that had been built up to produce nylon stockings, or just "nylons", for American women was taken over to manufacture vast numbers of parachutes for fliers and paratroopers. Nylon mania came to an abrupt stop at the end of 1941 when the USA entered World War II. With such a major investment, it was no surprise that Du Pont spared little expense to promote nylon after its introduction, creating a public sensation, or "nylon mania". It took Du Pont twelve years and US$27 million to refine nylon and develop the industrial processes for bulk manufacture. However, Du Pont's real target was silk, particularly silk stockings. The first application was for bristles for toothbrushes. His work led to the discovery of synthetic nylon fiber, which was very strong but also very flexible. He took some of the first steps on the road to "molecular design" of materials. Carothers had been hired to perform pure research, and not only investigated new materials, but worked to understand their molecular structure and how it related to material properties. Bolton. In 1927, Du Pont had begun a secret development project designated "Fiber66", under the direction of a Harvard chemists Wallace Carothers and Chemistry Department director E.K. Nylon was the first purely synthetic fiber, introduced by Du Pont Corporation at the 1939 World's Fair in New York City. The real star of the plastics industry in the 1930s was "polyamide" (PA), far better known by its trade name, "nylon". PVC can also be softened with chemical processing, and in this form it is now used for shrink-wrap, food packaging, and raingear. PVC in its normal form is stiff, strong, heat and weather resistant, and is now used for making plumbing, gutters, house siding, enclosures for computers and other electronics gear. PVC has side chains incorporating chlorine atoms, which form strong bonds. It would also be the basis for one of the most popular "foamed" plastics, under the name "styrene foam" or "Styrofoam". Polystyrene is a rigid, brittle plastic that is now used to make plastic model kits, disposable eating utensils, and similar knickknacks. Among the earliest examples in the wave of new plastics were "polystyrene" (PS) and "polyvinyl chloride" (PVC), developed by IG Farben of Germany. After the First World War, improvements in chemical technology led to an explosion in new forms of plastics. For example, some electronic circuit boards are made of sheets of paper or cloth impregnated with phenolic resin. Phenolic plastics have been largely replaced by cheaper and less brittle plastics, but they are still used in applications requiring its insulating and heat-resistant properties. government even considered making one-cent coins out of it when World War II caused a copper shortage. The U.S. It was molded into thousands of forms, such as radios, telephones, clocks, and, of course, billiard balls. Bakelite was cheap, strong, and durable. Thermoset plastics are tough and temperature resistant. Conventional "thermoplastics" can be molded and then melted again, but thermoset plastics form bonds between polymers strands when "cured", creating a tangled matrix that cannot be undone without destroying the plastic. It was also the first "thermoset" plastic. It was a purely synthetic material, not based on any material or even molecule found in nature. Bakelite was the first true plastic. When the Bakelite patent expired in 1927, the Catalin Corporation acquired the patent and began manufacturing Catalin plastic using a different process that allowed a wider range of coloring. It was originally used for electrical and mechanical parts, finally coming into widespread use in consumer goods in the 1920s. He publicly announced his discovery in 1909, naming it "bakelite". Baekeland built pressure vessels to force out the bubbles and provide a smooth, uniform product. The only problem was that the material tended to foam during synthesis, and the resulting product was of unacceptable quality. Most of these compositions were strong and fire resistant. He continued his investigations and found that the material could be mixed with wood flour, asbestos, or slate dust to create "composite" materials with different properties. Baekeland found that mixtures of phenol (C6H5OH) and formaldehyde (HCOH) formed a sticky mass when mixed together and heated, and the mass became extremely hard if allowed to cool and dry. A chemist named Leo Hendrik Baekeland, a Belgian-born American living in New York state, was searching for an insulating shellac to coat wires in electric motors and generators. The limitations of celluloid led to the next major advance, known as "phenolic" or "phenol-formaldehyde" plastics. It could also be produced in a transparent sheet form known as "cellophane". It is cheap and feels smooth on the skin, though it is weak when wet and creases easily. It still remains in production today, often in blends with other natural and artificial fibers. Art silk became well known under the trade name "rayon", and was produced in great quantities through the 1930s, when it was supplanted by better artificial fabrics. The three men sold the rights for the new fabric to the French Courtauld company, a major manufacturer of silk, which put it into production in 1905, using cellulose from wood pulp as the "feedstock" material. In 1894, three British inventors, Charles Cross, Edward Bevan, and Clayton Beadle, patented a new "artificial silk" or "art silk" that was much safer. After some ghastly accidents, Chardonnay silk was taken off the market. It was an attractive cloth, but like celluloid it was very flammable, a property completely unacceptable in clothing. In 1884, a French chemist, the Comte de Chardonnay, introduced a cellulose-based fabric that became known as "Chardonnay silk". While the men who developed celluloid were interested in replacing ivory, those who developed the new fibers were interested in replacing another expensive material, silk. Cellulose was also used to produce cloth. If the balls had been imperfectly manufactured, the paints might have acted as primer to set the rest of the ball off with a bang. These stories might have had a basis in fact, since the billiard balls were often celluloid covered with paints based on another, even more flammable, nitrocellulose product known as "collodion". Ping-pong balls, one of the few products still made with celluloid, sizzle and burn if set on fire, and Hyatt liked to tell stories about celluloid billiard balls exploding when struck very hard. However, celluloid still tended to yellow and crack over time, and it had another more dangerous defect: it burned very easily and spectacularly, unsurprising given that mixtures of nitric acid and cellulose are also used to synthesize smokeless powder. By the year 1900, movie film was a major market for celluloid. Hyatt figured out how to fabricate the material in a strip format for movie film. Celluloid could also be used in entirely new applications. Such pretty trinkets were no longer only for the rich. For example, celluloid combs made to tie up the long tresses of hair fashionable at the time are now jewellike museum pieces. Some of the items made with cellulose in the nineteenth century were beautifully designed and implemented. Celluloid proved extremely versatile in its field of application, providing a cheap and attractive replacement for ivory, tortoiseshell, and bone, and traditional products that had used these materials were much easier to fabricate with plastics. Corsets made with celluloid stays also proved popular, since perspiration did not rust the stays, as it would if they had been made of metal. They did not wilt and did not stain easily, and Hyatt sold them by trainloads. Celluloid's real breakthrough products were waterproof shirt collars, cuffs, and the false shirtfronts known as "dickies", whose unmanageable nature later became a stock joke in silent-movie comedies. However, celluloid dentures tended to soften when hot, making tea drinking tricky, and the camphor taste tended to be difficult to suppress. One of the first products were dental pieces, and sets of false teeth built around celluloid proved cheaper than existing rubber dentures. It was introduced in 1863. Since cellulose was the main constituent used in the synthesis of his new material, Hyatt named it "celluloid". Hyatt was something of an industrial genius who understood what could be done with such a shapeable, or "plastic", material, and proceeded to design much of the basic industrial machinery needed to produce good-quality plastic materials in quantity. Parkes had failed for lack of a proper softener, but Hyatt discovered that camphor would do the job very nicely. An American printer and amateur inventor named John Wesley Hyatt took up where Parkes left off. However, Parkes was not able to scale up the process to an industrial level, and products made from Parkesine quickly warped and cracked after a short period of use. The output of the process hardened into a hard, ivory-like material that could be molded when heated. Parkesine was made from cellulose treated with nitric acid and a solvent. An Englishman from Birmingham named Alexander Parkes developed a "synthetic ivory" named "pyroxlin", which he marketed under the trade name "Parkesine", and which won a bronze medal at the 1862 World's fair in London. Ivory was a particularly attractive target for a synthetic replacement. Inventors were particularly interested in developing synthetic substitutes for those natural materials that were expensive and in short supply, since that meant a profitable market to exploit. The next logical step was to use a natural polymer, cellulose, as the basis for a new material. All Goodyear had done with vulcanization was improve the properties of a natural polymer. Vulcanization creates sulfur bonds that link separate isoprene polymers together, improving the material's structural integrity and its other properties. Natural rubber is composed of an organic polymer named "isoprene". Vulcanization remains an important industrial process for the manufacture of rubber in both natural and artificial forms. Compared to untreated natural rubber, Goodyear's "vulcanized rubber" was stronger, more resistant to abrasion, more elastic, much less sensitive to temperature, impermeable to gases, and highly resistant to chemicals and electric current. The rubber seemed to have improved properties; Goodyear followed up with further experiments, and developed a process known as "vulcanization" that involved cooking the rubber with sulfur. In 1839, the American inventor Charles Goodyear was experimenting with the sulfur treatment of natural rubber when, according to legend, he dropped a piece of sulfur-treated rubber on a stove. In 1834, two inventors, Friedrich Ludersdorf of Germany and Nathaniel Hayward of the U.S., independently discovered that adding sulfur to raw rubber helped prevent the material from becoming sticky. Natural rubber was sensitive to temperature, becoming sticky and smelly in hot weather and brittle in cold weather. Eventually, inventors learned to improve the properties of natural polymers. A plant polymer named "cellulose" provides the structural strength for natural fibers and ropes, and by the early 19th century natural rubber, tapped from rubber trees, was widespread use. People have been using natural organic polymers for centuries in the form of waxes and shellacs. . The development of plastics has come from the use of natural materials (e.g., chewing gum, shellac) to the use of chemically modified natural materials (e.g., natural rubber, nitrocellulose) and finally to completely manmade molecules (e.g., epoxy, polyvinyl chloride, polyethylene). The first plastic based on a synthetic polymer was called Bakelite and was created by Leo Hendrik Baekeland in 1907. In the nineteenth century the discovered plastics based on chemically modified natural polymers: Charles Goodyear discovered vulcanization of rubber (1839) and Alexander Parkes discovered cellulose-based plastics in 1860s. People experimented with plastics based on natural polymers for centuries. This customization by pendant groups has allowed plastics to become such an indispensable part of twenty first-century life by fine tuning the properties of the polymer. To customize the properties of a plastic, different molecular groups "hang" from the backbone (usually they are "hung" as part of the monomers before linking monomers together to form the polymer chain). (Some of commercial interest are silicon based.) The backbone is that part of the chain on the main "path" linking the multitude of monomer units together. The vast majority of plastics are composed of polymers of carbon alone or with oxygen, nitrogen, chlorine or sulfur in the backbone. These chains are made up of many repeating molecular units, or "monomers". Plastics are polymers: long chains of atoms bonded to one another. Many plastics are partially crystalline and partially amorphous in molecular structure, giving them both a melting point (the temperature at which the covalent bonds dissolve) and one or more glass transitions (temperatures at which the degree of cross-linking is substantially reduced). thermoset, elastomer, engineering plastic, addition or condensation, and Glass transition temperature or Tg. Other classifications include thermoplastic vs. Plastic can be classified in many ways but most commonly by their polymer backbone (polyvinyl chloride, polyethylene, acrylic, silicone, urethane, etc.). Plastic may also refer to any material characterized by deformation or failure under shear stress; see plasticity and ductility. Combined with this adaptability, the general uniformity of composition and light weight of plastics ensures their use in almost all industrial segments. Plastics are designed with immense variation in properties such as heat tolerance, hardness, resiliency and many others. Their name is derived from the fact that many are malleable, having the property of plasticity. Plastics can be formed into objects or films or fibers. There are few natural polymers generally considered to be "plastics". They are composed of organic condensation or addition polymers and may contain other substances to improve performance or economics. Plastic is a term that covers a range of synthetic or semisynthetic polymerization products. OTHER: Other - This plastic category, as its name of "other" implies, is any plastic other than the named #1–#6, Commonly found on: certain kinds of food containers and Tupperware. PS: Polystyrene - Commonly found on: packaging pellets or "Styrofoam peanuts," cups, plastic tableware, meat trays, take-away food clamshell containers. PP: Polypropylene - Commonly found on: bottle caps, drinking straws. LDPE: Low Density Polyethylene - Commonly found on: dry-cleaning bags, produce bags, trash can liners, food storage containers. PVC: Polyvinyl Chloride - Commonly found on: plastic pipes, outdoor furniture, shrink-wrap, water bottles, salad dressing and liquid detergent containers. HDPE: High Density Polyethylene - Commonly found on: detergent bottles, milk jugs. PETE: Polyethylene Terephthalate - Commonly found on: 2-litre soft drink bottles, cooking oil bottles, peanut butter jars. |