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Thermoplastic Material Selection: A Practical Guide PDF

350 Pages·2015·28.978 MB·English
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PLASTICS DESIGN LIBRARY (PDL) PDL HANDBOOK SERIES Series Editor: Sina Ebnesajjad, PhD ([email protected]) President, FluoroConsultants Group, LLC Chadds Ford, PA, USA www.FluoroConsultants.com The PDL Handbook Series is aimed at a wide range of engineers and other professionals working in the plastics industry, and related sectors using plastics and adhesives. PDL is a series of data books, reference works and practical guides covering plastics engineering, applications, processing, and manufacturing, and applied aspects of polymer science, elastomers and adhesives. Recent titles in the series Biopolymers: Processing and Products, Michael Niaounakis (ISBN: 9780323266987) Biopolymers: Reuse, Recycling, and Disposal, Michael Niaounakis (ISBN: 9781455731459) Carbon Nanotube Reinforced Composites, Marcio Loos (ISBN: 9781455731954) Extrusion, 2e, John Wagner & Eldridge Mount (ISBN: 9781437734812) Fluoroplastics, Volume 1, 2e, Sina Ebnesajjad (ISBN: 9781455731992) Handbook of Biopolymers and Biodegradable Plastics, Sina Ebnesajjad (ISBN: 9781455728343) Handbook of Molded Part Shrinkage and Warpage, Jerry Fischer (ISBN: 9781455725977) Handbook of Polymer Applications in Medicine and Medical Devices, Kayvon Modjarrad & Sina Ebnesajjad (ISBN: 9780323228053) Handbook of Thermoplastic Elastomers, Jiri G Drobny (ISBN: 9780323221368) Handbook of Thermoset Plastics, 2e, Hanna Dodiuk & Sidney Goodman (ISBN: 9781455731077) High Performance Polymers, 2e, Johannes Karl Fink (ISBN: 9780323312226) Introduction to Fluoropolymers, Sina Ebnesajjad (ISBN: 9781455774425) Ionizing Radiation and Polymers, Jiri G Drobny (ISBN: 9781455778812) Manufacturing Flexible Packaging, Thomas Dunn (ISBN: 9780323264365) Plastic Films in Food Packaging, Sina Ebnesajjad (ISBN: 9781455731121) Plastics in Medical Devices, 2e, Vinny Sastri (ISBN: 9781455732012) Polylactic Acid, Rahmat et al. (ISBN: 9781437744590) Polyvinyl Fluoride, Sina Ebnesajjad (ISBN: 9781455778850) Reactive Polymers, 2e, Johannes Karl Fink (ISBN: 9781455731497) The Effect of Creep and Other Time Related Factors on Plastics and Elastomers, 3e, Laurence McKeen (ISBN: 9780323353137) The Effect of Long Term Thermal Exposure on Plastics and Elastomers, Laurence McKeen (ISBN: 9780323221085) The Effect of Sterilization on Plastics and Elastomers, 3e, Laurence McKeen (ISBN: 9781455725984) The Effect of Temperature and Other Factors on Plastics and Elastomers, 3e, Laurence McKeen (ISBN: 9780323310161) The Effect of UV Light and Weather on Plastics and Elastomers, 3e, Laurence McKeen (ISBN: 9781455728510) Thermoforming of Single and Multilayer Laminates, Ali Ashter (ISBN: 9781455731725) Thermoplastics and Thermoplastic Composites, 2e, Michel Biron (ISBN: 9781455778980) Thermosets and Composites, 2e, Michel Biron (ISBN: 9781455731244) To submit a new book proposal for the series, or place an order, please contact David Jackson, Acquisitions Editor [email protected] THERMOPLASTIC MATERIAL SELECTION A Practical Guide Eric R. Larson Amsterdam • Boston • Heidelberg • London New York • Oxford • Paris • San Diego San Francisco • Singapore • Sydney • Tokyo William Andrew is an imprint of Elsevier William Andrew is an imprint of Elsevier The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK 225 Wyman Street, Waltham, MA 02451, USA Copyright © 2015 Elsevier Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress ISBN: 978-0-323-31299-8 For information on all William Andrew publications visit our website at http://store.elsevier.com/ Publisher: Matthew Deans Acquisition Editor: David Jackson Editorial Project Manager: Peter Gane Production Project Manager: Nicky Carter Designer: Mark Rogers Typeset by TNQ Books and Journals www.tnq.co.in Printed and bound in the United States of America To all those who dare to dream Acknowledgments I would like to thank the members of my graphics team for helping create a number of images that were used in this book. Whether it was photography, illustration, digital editing, or the thankless task of organiza- tion, you guys were amazing. There is an old saying: A picture is worth a thousand words. All I can say is that your contributions were appreciated. Thank you. Alex Rennie Dream Catcher Creative Media http://dreamcatchercreativemedia.com/ Monique Feil Monique Feil Photography http://moniquefeil.com Zach Petschek Zach Petschek Photography http://zachpetschek.com/ Preface I have been building things for as long as I can remember. It started when I was a kid with a set of Tinker Toys. With a floor to play on and a tube full of sticks and wheels and paddles, I could let my imagination run wild. I would spend hours making anything and everything. Then there were Lincoln Logs and Lego blocks and Erector Sets. And while it was fun to build things with those kits, Tinker Toys were always my favorite. When I got older, I started building tree houses and forts, then model cars and model airplanes, toothpick bridges, you name it. I loved exploring how things went together, and how they came apart. Sometimes I would take something apart just to see how it was put together. Then, I would rebuild it—some times with “improvements”—other times with things exactly the same. Although, more often than I would like to admit, there were times when I thought I had put something back together exactly the way I had found it, only to discover that I had overlooked a part, which was now lying on the workbench. Oops! As I experimented with building things, I would often look at the things that were around me, not just the simple things, but big important stuff like houses and cars and bridges, even airplanes. I dreamed that one day I could help build something big and important like that. I did not really think about what they would be made of—wood, concrete, steel, whatever—I just knew that I wanted to help build them. When I got to college, I ended up studying aerospace engineering. My goal was to build airplanes. After I got my degree, I got a job working for an aircraft company. One of my first assignments involved the design of the support structure for a vertical stabilizer, what is commonly known as a rudder. It is an important part of the aircraft, and if it does not work, well, there are going to be problems. I do not remember much about the job, except for the fact that I hated it. I used to try and describe my job to my friends. I would show them pictures, and point to the parts I had worked on. Hey, look at this structural support, and the fasteners that were used. No, not that one, the over one, the third one from the bottom, the one with no rivets, just a single machine screw with a locking washer. That one. Isn’t that an awesome design? Needless to say, I soon realized that aircraft design was not my true calling. xv xvi Preface So, I quit my job and got a job designing body boards. A body board is a short surfboard, usually made of foam, that allows the user to lay on top of it, and then ride the surf in a manner similar to body surfing. While the job did not pay that well, it was a fun job, and every thing about it was interesting. I learned about design, materials, manufacturing costs, product development, and listening to the voice of the customer. It was also my introduction to the world of thermoplastics. In the time since then I have had a number of different jobs, most of them in the world of product design and development, and in all of them I have worked with thermoplastics—either as a design engineer, application engineer, or project manager. In the process, I have learned a thing or two about these materials, and I have tried to capture some of the things I have learned in this book. My intent is not to present a comprehensive encyclo- pedia about thermoplastic materials or to pretend that I know everything there is to know about these materials. Rather, I am presenting a guide book, one that provides practical, common sense information about the use, reuse, and effective application of these unique materials. My hope is that those who read this book will use the information in a wise and thoughtful manner—not just to make something cheaper, but to devise new and better ways of making things, things that will change our world for the better. In the words of Walt Disney, If you can dream it, you can do it. Eric R. Larson January, 2015 1 Introduction Whether tools, weapons, clothing, shelter, jewelry, or even toys, humans have always made things. One might even argue that the meaning of the word human is to make. The materials used to make things have changed throughout history, from found to extracted to synthesized. In the process, knowledge about how to use these materials has been passed along from generation to gen- eration, from culture to culture, from continent to continent. This knowl- edge comes in a variety of forms, ranging from common sense, to tribal knowledge, to sage wisdom, to trade secrets and intellectual property. Today, many of the things that humans make are made from plastics. We use plastics to protect our children, to preserve our food, to entertain us, and to communicate and connect with other people. Our health and happiness in our day-to-day lives—and, one might even argue, the very future of our species—depends on our effective use of these materials. Plastics are unique materials, with unusual properties and performance characteristics. They range from simple compounds similar to beeswax, to highly engineered, specialty materials like Teflon®, whose properties seem to defy the laws of physics. After all, if Teflon is such a resilient, repellant, and nonstick material—how does it stick to the pan? There are many books about plastics technology, including some that try to help users select an appropriate plastic material for a given applica- tion. Sadly, most of these books are written from the perspective of a poly- mer chemist, and they fail to provide the user with any guidance on how to evaluate plastic materials in a practical, hands-on manner. This book is meant to be a guide in the process of plastics material selection. It is based on the simple premise that we all make things, and that we have a fundamental understanding of how to use materials—based on our heritage as human beings. Let us begin our journey into the world of plastics by taking a quick look at human history. You may find that you know more about m aterials—and about plastics—than you think. 1.1 The Stone Age Paleoanthropology—the study of ancient hominid fossils—has shown that humans have always made things. The oldest stone tools, found in Thermoplastic Material Selection. http://dx.doi.org/10.1016/B978-0-323-31299-8.00001-5 Copyright © 2015 Elsevier Inc. All rights reserved. 1 2 Thermoplastic Material Selection Ethiopia, date back to about 3.4 million years ago, and could have been used by any of the several varieties of hominid, perhaps even by the ancestors of our species, Homo sapiens [1]. Less than a million years ago, Neander- thals, a not-so-distant cousin (and perhaps a subspecies of H. sapiens), left behind musical instruments made out of bones, along with stone tools and flint blades. They used these blades to make wooden spears, hand-axes, and to skin animal hides for clothing and shelter. Historical records of our spe- cies, H. sapiens, date back to about 200,000 years ago. It is now known that H. sapiens interacted with Neanderthals, resulting in some genetic exchange, and probably some material culture sharing, too [2–4] (Figure 1.1). Regardless of the species, all of the earliest hominids used naturally occurring materials, such as plants, bones, feathers, skins, and tendons. Humans found and modified shells, antlers, and horns for functional and decorative purposes. Shells coated in red ochre clay and used as beads for jewelry, found in what is now eastern Morocco, date back to 82,000 years ago. Excavations in the Sibudu Cave alongside the Tongati River in South Africa reveal shells that were used as containers—not just for water or other goods, but for paint (see Ref. [5]). Layers of sediment preserving Figure 1.1 A sample of early stone tools. HeinNouwens/Shutterstock.com. 1: Introduction 3 years of occupation dating from 50,000 to 80,000 years ago contain nee- dles, animal traps, bone arrowheads, some stone tools, and a type of binder or glue made of ochre clay [6]. Much later, stone was used to make mas- sive buildings and, around the time the wheel was invented, the first roads. The materials these early humans left behind have enabled anthropolo- gists to learn about each civilization’s technological and cultural devel- opment. The things they made and how they made them—their material culture—can tell us a lot about how they lived, what was important to them, and what motivated them to build and invent new things. Much of the knowl- edge about materials came from the exchange of ideas and material culture between peoples, as well as apprenticeship, the passing on of knowledge through generations. As it turns out, there was a “materials science” long before the term was ever coined and institutionalized in universities. As humans developed, so did their use of materials. Many of the mate- rials used in ancient times are still in use today, including stone and ani- mal shells. These materials still have the same qualities that they did back then, including appearance and feel. But the development of metals led to a whole new way of life, made possible by the unique qualities of these materials. While it was once thought that the practice of metallurgy began in one place and diffused around the globe through trade, the latest archaeological evidence indicates that it was more complicated than that. In many cases, people discovered how to use metal independently of one another. This led to a diversity of techniques in metallurgy, some of which led to smelting, as well as the synthesis of new alloys. 1.2 The Age of Metals Beginning about 8700 BCE, copper with its lustrous sheen and flex- ible properties attracted the human eye in Mesopotamia, Asia and other sites around the world. People learned how to extract raw metal from ores, and began to use found metals like copper, silver, and gold. Europeans and Asians first used copper to make pigments and jewelry [7]. Smelted copper appeared around 5500 BCE in southeastern Europe—what is now Serbia [8]. The Sumerians and Egyptians also loved copper, crafting reli- gious iconography, jewelry (of course), and even pipes for use in plumbing [9,10]. Copper was used in North and South America, too. Some of the oldest copper artifacts date back to about 6000 BCE in North America. Indigenous Americans did not smelt copper, but hammered it into shapes. Living near the Great Lakes, they had access to a great deal of pure copper, and made knives, awls, spearpoints, and jewelry [11,12] (Figure 1.2).

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Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.