Asoo: an Innovative Print-Dyeing Colouration

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Asoo: An Innovative Print-Dyeing Colouration

*Abraham Ekow Asmah1, Vincentia Okpattah1 and Charles Frimpong2

1Department of Integrated Rural Art and Industry, Kwame Nkrumah University of Science and Technology (KNUST), Kumasi-Ghana. 2Department of Industrial Art, Kwame Nkrumah University of Science and Technology (KNUST), Kumasi-Ghana.

Received 12 January, 2015 Accepted 27 March, 2015

Print colouration has always been more dependent on multidisciplinary exploration, requiring more than knowledge of science and technology. In light of the above, this paper investigates the prospect of using appropriate materials, techniques and a coordination of individual creativity to achieve an innovative print colouration in dyeing. Its emphasis on formulating an innovative chemical resist paste, dubbed the Asoo print paste (comprised of a mixture of sodium hydroxide, sodium hydrosulfite and cassava powdered starch), and a vat dye to produce an Asoo printed dyed fabric using the screen printing technique. This integrative print-and-dye approach was discovered through the experimental and descriptive method and recorded using a qualitative design methodology. The result of the research shows that the Asoo print paste (a term carved out of the lead author's surname) attained a print colouration that produced a multiplicity of watery shadow coloured images mixed with precise and accurate print definitions of discharge-like outline patterns on fabrics via the screen printing technique. The outcome favourably competes with traditional table-dyed fabrics capable of conveying visual distinctions and interprets the communicative dynamics inherent in traditional table-dyed prints that demonstrate innovativeness and harmony. Discussions were based on academic and functional contexts. Once more, the research proved that such innovative prints have tremendous significance for table-dyed design concepts to enhance coloured print-dyed fabrics in the Ghanaian fashion industry.

Key words: Asoo print paste, cassava resists printmaking, print dyeing, table-dyed fabrics, screen printing techniques.

INTRODUCTION

Growth in craftsmanship over the years has borne printing [3]. More than 50% of the world‟s textile prints testimony to mankind‟s innate craving to design on were pigment-printed in 1990 [4]. In pigment printing, substrates with the hope of exhibiting creativity, insoluble pigments have no affinity for the fibre and uniqueness and a sense of identity. And this creative art therefore are fixed onto the textile with binding agents. finds its expression in embracing any method of applying Obviously, unlike pigments, dyes are absorbed into the colour or pattern to a woven textile [1]. Textile fibre and are fixed as a result of their reaction with the embellishment, a creative form of self-expression in fabric fibres. design, uses various media and techniques to produce Over 3000 years ago, mineral pigments were dyed and printed fabrics. It was probably initiated and pulverized with natural binding agents (drying and boiled developed from the far East [2]. Such congealing agents oils, or viscous, aqueous solutions of albumen products like cooked starch, locust bean, tragacanth, British gum and vegetable gums) and „applied‟ to textiles to form or gum Arabic or in mixtures were formerly the main patterns [4]. Even though pigment printing is the oldest thickening agents used to attain fine effects and outlines printing method, its poor application of the adapted in printing. Today, the availability of a wide range of technique, made it unattractive due to its resultant dull excellent organic pigments and of reliable pigment colours, loss of textile character as a result of hardening, binders has led to the increased importance of pigment and poor fastness to wear and washing. To Miles [4] its availability for printing was quite early, but the technique used required improvement. Another important phase *Corresponding Author's E-mail: [email protected]. was the introduction of emulsions as printing paste 42 Online Int J Arts Human

thickeners. Examples are as follows; water-in-oil (w/o) emulsions developed in the U.S.A., oil -in- water (o/w) emulsions developed in Europe, and synthetic thickeners which were by far better than the above mentioned thickeners. According to Balagopalan [5], Africans traditionally engage in locally manufactured binders like cooked cassava starch, more commonly used as food or adhesives. It is also used for sizing cotton fabrics and warp yarns to give sheen to colour. Cassava starch has excellent flexibility, but poor stability when cooked Figure 1a). Konkonte paste being stenciled over lace fabric onto a Plain excessively. Cassava starch does not stand prolonged cotton fabric b). A multi-coloured Table-top dyed fabric, made out of konkonte paste boiling, but break down to form a very clear film. Picton applied overlace fabric and Mark [6] wrote that the boiling starch is mixed with a c). A blueTable-top dyed fabric made out of konkonte paste applied little copper sulphate just to extend the level of over lace fabric. preservation. The most developed skills in West Africa are found in Nigeria, where the Yoruba people make adire cloths, extent by the use of “second hand lace” fabrics (used as according to Oparinde [7]. He further reiterates that adire, the stencil in its production) imported into the country. is a resist-dyed cloth produced and worn by the Yoruba The extent of this influence limits the designer‟s creativity people of southwestern Nigeria. The brandadire, means and imposes cultural identity crises in the traditional local “tied and dyed”, first applied to indigo-dyed cloth product. In the context of changing the traditional table decorated with resisting patterns around the turn of the dyeing practices, culture becomes an important factor in twentieth century. Initially, two types of methods of determining the product identity [12]. Indeed a true resisting were used; abireeleso which involves tying and fashion designer possesses the ability to non-verbally stitched design and adireeleko where the starch pastes communicate through the use of symbols and was used. The brand “adire” later was expanded to iconography, the cultural value of a person and transform include a variety of hand-dyed textiles using wax resist the piece of fabric into a work of art [2,13]. Such batik method to produce patterned cloth in anamazing transformational decorative effect is what this study array of dye colours [7]. He further claimed that there are attempts to introduce by looking at the prospect of using different types of resist dying methods used to create customized contemporary Adinkra designed screen in adire cloth designs. Oniko is a method of tying patterns addition to the innovative print-dyeing paste to bring this into the cloth. Eleko designs are stencilled or painted unique colouration to the fore. onto the cloth with starch (usually from cassava or yam). Hitherto the traditional fashion industry in Ghana has While another method, called Alabere, uses raffia to been showing signs of lethargy of using non proverbial stitch designs into the fabric. tabletop dyeing fabrics which are contrary to the well- The practise of using cooking starch as a resist known norms of symbolic African clothing. In the light of medium is not new as stated above, especially in Yoruba this empirical assertion to reverse this trend, the research land of western Nigeria [8]. The design is created by a question posed was; what innovative print-dyeing paste process called resist dyeing, which prevents dye from applied on a customized design screen onto the fabric, being absorbed by some parts of the cloth. Adetoro [8] using the tabletop dyeing technique can attain a affirms that such technique referred to as adireelekois colouration capable of communicating the cultural value either formed by free-hand painting of cooked cassava of its citizenry? In response to this rationale, preliminary starch, lafun, on the cloth or by stenciling the starch on experiments and research were conducted to ascertain the material. The stencils used as a vehicle to transfer the appropriate tools, materials, design and methodology the cooked starch onto the fabric are made of perforated, needed for the study. corrugated zinc tin sheets. However Kadolph [9] suggests that the use of a squeegee in the application of cooked starch for adireelekois a demonstration of the need for MATERIALS AND METHODS innovation. Other known binders used in West Africa are resins like gum Arabic and gum tragacanth [10]. The dry In this project, the choice of cassava powdered starch and fermented cassava powder, normally called konkonte was influenced by its obtainability, affordability and user- in Akan language, is yet another ingredient used alongside friendliness to the ordinary Ghanaian for either household other forms of constituents like wheat, lime juice and or industrial purposes. Its physical properties include the caustic soda in different proportions to obtain a viscous fact that it is normally powdery, white and found paste (Figure 1a) used as a resist medium for the pulverized into tiny granules. They are also odourless designing of fabrics in Ghana (Figures 1b and 1c) [11]. and tasteless [14]. Cassava powdered starch was Designed clothing usually exhibited by this traditional preferred to other thickening agents due to its favourable table-dyeing method has been influenced to a large reaction to vat dye, resulting in a high colour yield, its Asmah et al. 43

satisfactory fabric handle due to the solubilisation of the Table 1: Ingredients for cassava starch preparation. chosen thickener and its ability to coagulate in the presence of sodium compounds [15]. The choice of the Chemicals and Starch Quantity cassava starch preparation as a binder was due to its Sodium hydrosulfide 84 grams stability at low pH levels when integrated with the sodium compounds to facilitate satisfactory adhesion and film Sodium hydroxide 84 grams elasticity [16,17]. In preparing the cassava starch paste, it Powdered Cassava starch 28 grams became imperative that the quantity of caustic soda Cold water (30°C) 237 ml added to the cassava starch be in measured portions to attain its required stability. These proportions help to avoid destroying the developed screen and the fabric, hydroxide (NaOH)) and aprons. Tools and equipment and contribute to a good resultant effect after printing. employed in the project included, a pair of scissors, Indeed it was necessary that the screen be reinforced Cutting tool, Coating trough, squeegee, pens and pencils, with lacquer in order to preserve the integrity of the silk mesh, cello-tape, a ruler, masking tape, working design. Initial trials were therefore conducted to table, pressing iron, working shed, camera, computer, determine the right combination of materials and process water reservoir for washing and Wooden frames. The to achieve the best results. The two significant criteria in methodology adopted helped to study table dyeing selecting the vat dye are its behaviour during and after production procedures, the characteristics of table dyeing washing and its higher colour yields. According to Gutjahr fabrics and its possibilities to relate to other print and Koch [18], vat dyes provide a wide range of colours techniques precisely screen printing. The studio of good fastness properties. They are water-soluble, have experiment methodology helped to use the analysis an affinity for cellulose and after dyeing can be oxidized established in the methodology to create two unique to turn the soluble vat dye into insoluble dye. Such types of Asoo prints. The activities of the experiments reversibility of its reaction necessitates the use of both conducted and its results were recorded carefully, and sodium hydrosulfite (Na2S2O4) and sodium hydroxide critical observations were made. Both primary and (NaOH) to improve dye solubility. In principle, any secondary data were utilized in the study. The specific controlled form of localized dyeing on a plain-coloured quantities of the main ingredients for the final cassava fabric diffuses rapidly both through the film of the cassava starch preparation are provided in Table1. Due to the starch paste and that of the fibres of the fabric as it goes chemical content within the Asoo paste, initial through the mechanisms of dye fixation [18]. In this way, experiments were conducted on the photographic screen the dyeing operation is accelerated and its fixation during developed to ascertain its effectiveness of and after oxidation attains an adequate fastness level. accommodating the Asoo print paste during the printing The major material used for the study was the mercerized process. This was extremely important as noticed, that cotton plain weave fabric (140 gm/m2) commonly used the chemicals corroded the photographic film on the for the production of tabletop dyeing fabrics and screen. To avert this initial hitch, the next screen fashionable fabric articles due to their absorption rate, developed was reinforced with lacquer on the inner part availability, free of finishes, comparative strength with a of the screen. This proved highly successful upon printing dry breaking tenacity of 3.5 to 4.0 g/d (grams per denier) [1].To commence with the project, two designed screens and suitability for dyeing [19. It is 30 percent stronger were made to produce the two Asoo printed fabrics. when wet. Mercerized cotton gives a higher rate of In the preparation for the Asoo paste, the following dyeing as compared to un-mercerized cotton [9]. It can quantities of chemicals and methodologies were adopted; be washed with strong detergents and requires no 84 grams of sodium hydroxide were measured into a special care during washing and drying. The study mainly plastic palette bowl, mixed with a little amount of cold employed a series of studio experiments of qualitative water (enough to dissolve), stirred and set aside. The research, and depended on studio activities which same amount of sodium hydrosulphite was also added to required the use of essential materials such as lacquer, a the same plastic palette bowl with the addition of a little thick plastic sheet used as a covering to prevent the dye amount of water and stirred to mix thoroughly. Lastly, the from seeping through onto the working table, a mild powdered starch was sprinkled into the mixture gradually detergent for the soaping process and washing of the and stirred to a smooth consistency. The mixture was dyed fabric and Photoshop software to produce the then applied to the fabric within 30 minutes of its screen designs. The qualitative research gave a holistic preparation with the aid of a flat lacquered silk screen picture of what goes on in the dyeing industry [20]. The (Figure 2). During this project, the design was printed and purposive sampling technique was used in selecting the the fabric was left to dry on the working table. The materials for the study. They are metal bucket, plastic number of times the squeegee was drawn across the palette bowls, cups and spoons, rubber gloves, small screen and the pressure exerted on the squeegee plastic palette bowls for measuring dyes, Potassium determined the thickness of the Asoo paste penetration dichromate, sodium hydrosulfite (Na2S2O4), sodium into the fabric. Dyeing also took place on the same 44 Online Int J Arts Human

Figure 2.Fabrics printed with chemical.

Figure 3. Sample effect after dyeing with printed side facing downwards during table top dyeing.

Figure 4. Two colours dye sample effect after dyeing with printed side facing upwards during table top dyeing.

working table after the table was covered with a thick simple test dyeing experiment was conducted on each of plastic sheet. For effective dyeing, (Figure 3) the fabric the phases separately (by administering the prepared dye printed was turned upside down so as to allow the on the printed fabric in the same manner). It was applied dye to seep through the fabric, ensuring enough discovered that the side of the fabric that was printed with contact with the fabric for the rest of the dyeing period. the Asoo paste showed an intense shade of the colours Oxidation after dyeing also took place on the working used in dyeing. The reason for the phenomenon is table like any other marbling or tabletop dyeing. The dyed however not far-fetched. The printed side had a good fabrics were finally removed from the table, rinsed and layer of the paste thereby activating the reaction between washed before drying them in a cool place away from the the chemicals and the dye faster and in a concentrated direct sunlight. To determine the right phase of the manner than the one dyed with the printed side facing printed fabric to be laid on the working table for dyeing, a upwards (Figure 4). Fixation after dyeing was achieved Asmah et al. 45

by the soaping process. The materials were treated with its traditional state with its original intepretation (being the hot soap solution or a mild detergent solution for 10 Akofena – recognition ofgallantry, Gyawuatiko-- minutes, rinsed thoroughly in cold water and finally dried leadership, and Ntesie mate, masie – wisdom and in a cool airy place. Ironing was done while the fabric was knowledge) but the background of the design in the form leather dry with a pressing iron at a temperature of 1000 - of lines around the symbols is a representation of the 1400C for 5 minutes [21]. symbol “Nyansapo” – wisdom knot [26]. This was altered to reflect the contemporary era and the concept of design and also, to imitate the use of rectilinear grid lines RESULTS AND DISCUSION “nhwimu” mostly found on traditional Adinkra cloths. The only additional design feature in-cooperated in the design The integration of screen printing technique into the table structure, was the crest of the University of Science and top dyeing technique using the Asoo resists print paste, a Technology, Kumasi (composed of an eagle, leaves in prepared mixture of sodium hydroxide and sodium the background of the eagle, “Nyansapo stool”, a pot with hydrosulphite plus powdered starch (as a binder), proved flaming fire, a pair of calipers and the inscription written in successful. The addition of the powdered starch to the “Twi language” as “Nyansapowosannebadwemma,” normal vat dyeing process to produce an Asoo resist literally meaning, “it takes a wise person to unite the printed fabric yielded the right consistency for the project. wisdom knot”) [27] being the institution where the authors The resultant effect comparatively showed tremendous belong. improvement on colouration over the traditional table top The printing processes involved the use of three dyeing method prepared under the same conditions as ingredients - starch as a binder, sodium hydrosulfite the Asoo resist printed fabric exhibited cultural identity by (Na2S2O4) and sodium hydroxide (NaOH) as auxiliary the introduction of Adinkra symbols. The screen frame sodium agents. This mixture was used in the form of a constructed in wood and the screen coated with lacquer, paste that was applied to fabrics in patterns. The printing strengthen the photosensitive film of the screen to avoid was done using the flat-bed screen printing technique - the chemical content of the print paste from corroding the mainly used for custom work. The steps in the printing screen materials used for the various productions. process included preparation of print paste, alignment of Technically, the composition of the Asoo resists print fabric on the working table, printing of fabric and drying. paste is scientifically complex yet flexible to handle, With such clear methodology, repeating the operation resultant effects determined not only by the dye recipe can easily be followed. Dyeing is essentially a mass used, but by the printing technique, the substrate and the transfer process where the dye diffuses in solution, application utilized. The success of dyeing with vat dyes adsorbs onto the fibre surface, and finally, within the fibre is as a result of its reversibility in the conversion of its heightened by its many sources of colour variations, such insoluble state to soluble and back to insoluble state. as dyes, substrate and preparation of substrate, dyeing Under the soluble conditions the dye diffuses uniformly auxiliaries used and water. The implication of such into the fibers of the fabric, thoroughly dyeing the fabric processing coupled with variables such as time, on the table during the dyeing period. This aided the temperature, and dye liquor ratio (pounds of dye bath to thickener film on the printed fabric to swell as the dyeing pounds of cloth) appropriately applied to the Asoo prints was taking place on the table [22]. The relevance of such realized a good dyeing results. The dyeing systems used swelling increased the speed of diffusion due to the for this aqueous mixture, applied a little heat during the concentration of dye within the dyeing period. dye mixing stage to aid the hydrophilic cotton material, for Design values adopted by the lead author were based accelerated dyeing. To ensure thorough penetration, the both on general design concepts and the Adinkra design concentrated solution of dyes and chemicals were made philosophy. The understanding is that any thought to move evenly and uniformly to the printed fabric with provoking Adinkra cloth design like the resultant products intermittent hand pouring of mixed dyes onto the dyeing achieved must be an embodiment of what the people material while on the printing table. This dyeing system stand for. The Akan philosophy as the Asoo print portrays ensured that most of the liquid dyes utilized were reflect in the visual illustration of cultural subjects that completely dissolved into the dyeing fabric. relate to the history, maxims, ethics, plant life, and man- The project successfully applied the four basic steps made objects and social code of conduct, religious common to table dyeing process which are; dissolving or beliefs, political thought and aesthetic principles of design dispersing dye, diffusing dye onto the fibre surface, that interprets the philosophy of the university tradition absorbing dye onto the fibre surface and diffusing dye [23,24]. The design was achieved with a technological, into the fibre. This ascertained the dyeing technique cultural, artistic approach, however, the design, and adopted by pouring of the dye liquor onto the stretched execution focused more on the aesthetic value (artistic printed fabric placed on the printing table was appropriate approach) that was achieved with the application of for the study. The printed material remained in contact artistic design principles and therefore, was art biased with the dye liquor deposited on the dyeing table for [25]. The main Adinkra symbols used were maintained in better results throughout the entire dyeing period. 46 Online Int J Arts Human

Indicating a proper contact of the cotton material with the precise and accurate print definitions of discharge-like dye liquor, as the dye molecules migrate from the dye outline patterns on the printed fabrics via the screen solution and enters the fibres over the entire dyeing printing technique. In addition to the print colouration period of 40 minutes to an hour duration attest to its achieved, an innovative print-dyeing paste on fabric via a affinity. An affirmation that the dyeing process, auxiliary customized designed screen using the tabletop dyeing sodium chemicals and controlled dyeing conditions used technique proved viable to communicate the cultural in the dyeing process accelerated and optimized the value of the university tradition. Trends keep on changing migration process [28]. Such dyeing condition helped fix and consumers‟ quest for new ornate print colouration the dye in the fibre after which the substrate was washed concepts increases; Ghanaian fashion designers are also to remove unfixed dyes and chemicals. This was done to faced with a greater challenge to blend the traditional ensure level dyeing, even after drying, as the dyed fabric concept with the contemporary concept of print dye goes through a series of washing to remove un-bonded colourationin dyeing to meet the diverse need of the or unreacted dye before aeration over the drying lines. consumer. The effect of “Asoo resist dyed prints” This rendered the resultant product to attain wash definitely has the potential to preserve and broaden the fastness. The mechanical finishing operation, other than scope of colouration print designs as these prints impact preparation and colouring, carried out also improved the local fashion industry. The outcome conveys a blend upon the appearance and usefulness of the fabric after of colour, design and culture that provides inspiration to the printed fabric was given an ironing treatment to reinvigorate the dynamism of the Ghanaian traditional complete the fixation process. The implications are that fashion industry capable of commanding a broad cross- the Asoo print is achievable and its improvement and generational appeal. Such an integration added to the sustenance will be enhanced if schools and colleges are existing traditional table top dyeing products can increase engaged in this dyeing operation. Other entrepreneurs the options available to both producers and buyers of and fashion houses can also benefit immensely from this printed cloth. This practice suggests a new territory for product if they can take advantage of this study to Asoo resist dyed prints in Ghana and brings out a new engage dyers to customize their products. 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