OBJETOS con fibra de DUDA

DAVID  PUBLISHING

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Process and Extraction of Natural Fibers in the Artistic Application

Maria Gabriela Punín Burneo

Universidad Tecnica Particular de Loja, Ecuador

Received: March 11, 2011 / Accepted: April 07, 2011 / Published: February 10, 2012.

Abstract:This research discusses the basic processes of extraction and handling of fibers used in the production of the natural fiber paper. Dyes are based on natural colorings derived from native plants such as avocado, walnut, suckling pig which are traditional techniques of the ethnic Shuar group of the province of Zamora Chinchipe.The study of natural fibers for paper developed as an alternative artform, a compliment to photography, sculpture and handcrafts and helps us identify the contributions that nature gives us in the formation of work of art. The varieties of texture, color, and transparency are also means for creativity.

Key words:Natural fibers, arts, crafts, Raquis spine.

1. Introduction

Nowadays the development of environmentally friendly products is at its peak, due to the constant search for practical solutions to environmental problems and the urgent need to shift from non-renewable products. Multiple investigations have been developed in recent decades trying to find new materials in order to replace the conventional ones.

Products thatdue to its long degradation process, have been accumulated forming huge piles of rubbish.[1] A novel alternative is the use of renewable raw materials like natural fibers such assisal and banana, previously treatedwith sodium hydroxideto removeitslignin, thus it helps to increase its resistance.[2]On the other handan alternativeto replace thesodiumhydroxide(caustic soda) may be the rotorfermentation of thenatural fiber.[3]

Due to the highdemand in theuse ofcraftsand art and to providealternatives usingenvironmentally friendly materials, many investigations have beendeveloped based onthis alarmingnews, developingnewmethods in order to create productsthat do not createenvironmental harm.[4]

This studyaims to investigatethe utilities thatcan be givento natural fibersbecause inmany cases it passesunnoticed andit can be found innature, an interesting fact about it is thatit does not harmthe environment

2. Method

Natural fiber paper is handmade, in which industrial machinery is not used, using plants from our provinces and in some cases using raw materials considered waste in our environment.

Raw materials for the paper were selected in order to then proceed with their collection and extraction. Options included:varying fiber length, libebananas fibers, vascular or seeds, fresh plants, dried plant parts, pod remains, coconut crusts, or stalks.[4]

Another resource was the use of wild plants found by the road. In this research plants from the province of Loja were analyzed in order to ascertain which of them contained a major quantity of fiber, as can be seen in table one.

WOODY FIBROTIC PLANTS OF THE PROVINCE OF LOJA
Common name	Scientific Name	Habit
Pita	American Agave L	Herb
Agave	Agave angustifolia Haw.	Herb
Sisal	Agave sisalana Perrine	Herb
Pita Fiber	FurcraeaandinaTrel.	Bush
Yucca	Yucca  aloifolia L	Bush
Coconut palm	Coconuts nucifera L	tree
Kentia Palm	HoweaforsterianaBecc	Herb
Date Palm	Phoenix dactylifera L.	tree
Palmitoelevado	Trachycarpusfortunei (Hook) H. Wendl	tree
Washingtonia	Washingtoniafilifera H. Wendl	tree
Pineapple	Annanascomosus (L.) Merr.	Herb
Reed mace	Schoenoplectuscalifornicus (CA. Mey.) Soyák	Herb
Broom	Spartiumjunceum L.	Bush
Inseed	Linunusitatissimum  L.	Herb
Flor de rey	Hibiscus rosa-sinensis L.	Herb
Malva de florchica	Mallow parviflora L	Herb
Sanalotodo	Sidacordifolia L.	Herb
Pichana	Sidarhombifolia  L	Subshrub
Cosacosilla	Urenalobata L	Herb
Banana tree	Musa xparadisiaca L.	tree
Castillitos	AgrostisalpinaScop	Herb
Andropogon	AndropogonaequatoriensisHitchc.	Herb
Lemon verbena	Andropogoncitratus (DC) Stapf	Herb
Cariamanga	AndropogongayanusKunth	Herb
Gramadulce	Anthoxanthumodoratum L.	Herb
Grama de color	Antoxanthumalpinun Love et Love	Herb
Fodder	AristidaecuadoriensisHenrard	Herb
Tresbarbas	Aristidaadscensionis L.	Herb
Giant reed	Arundodonax L.	Herb
Chigua	Aulonemiahaenkei (Rupr.) McClure	Herb
Oats	Satif oat L.	Herb
Avenula	Avenulapraeusta (Rchb) Holub	Herb
Couch-grass	Axonopuselegantulus (J. Presl) Hitchc.	Herb
Micay	AxonopusmicayGarcía-Barr.	Herb
Pato Imperial	Axonopusscoparius (Fluggé) Kuhlm.	Herb
Bamboo	BambusavulgarisSchrad. ex J.C. Wendl.	tree
Barboncillo	Bothriochloaischaemon (L) Keng	Herb
Hurricane Herb	Bothriochloaischaemon (L) Keng	Herb
Laston	Brachypodiumpinnatum (L) Beauv.	Herb
Tembladera	Briza media L.	Herb
Cebadilla	Bromus erectus Hudson	Herb
Crespìllo	Calamagrostispseudophragmites (Haller) Koeler	Herb
Trilla	Chrysopogongryllus (L). Trin	Herb
Quila	ChusqueascandensKunth	Herb
Cortadera	Cortaderiasericantha (Steud.) Hitchc.	Herb

                 

WOODY FIBROTIC PLANTS OF THE PROVINCE OF LOJA
Common name	Common name	Common name
Gramón	Cynodondactylon (L.) Pers.	Herb
Dactilo	Dactylisglomerata L.	Herb
Pangola	DigitariadecumbensStent	Herb
Cañuela de los prados	FestucacircummediterraneaPatzke	Herb
Guadua	GuaduaangustifoliaKunth	Herb
Pindo	Gyneriumsagittatum (Aubl.) P. Beauv.	Herb
Sweet pasture	Hierochloeodorata (L) Wahlenb	Herb
Woolly pasture	Holcusmollis L	Herb
Barley	Hordeumvulgare  L.	Herb
Raigras annual	Loliummultiflorum Lam.	Herb
Avenaloca	Melicaciliata L	Herb
Yagua	Olyralatifolia L.	Herb
Rice	Oriza sativa L.	Herb
Yaguà	Orthocladalaxa (Rich.) P. Beauv.	Herb
Pasture of the partridge	Panicumcapillare L,	Herb
Klein	Panicummiliaceum L.	Herb
Guinea	Panicumrepens L.	Herb
Chépica	Paspalumdistichum L.	Herb
Kikuyo	Pennisetumclandestinun L	Herb
Elephant	PennisetumpurpureumSchumach	Herb
Fountain Herb	Pennisetumsetaceum (Forsskal) Chiov	Herb
Espiguilla	Poaannua L	Herb
Pilosa	PoainfirmaKunth	Herb
Ear	Poatrivialis L	Herb
Reed	Saccharumofficinarum L	Herb
Lagartera	Setariaverticillata  (L) Beauv	Herb
Almorejo	Setariaviridis (L) Beauv	Herb
Sorghum	Sorghum halepense (L.) Pers.	Herb
Estipa	StipacapensisThunb	Herb
Esparto	Stipatenacissima  L	Herb
Wheat	Triticumsativum Lam.	Herb
Maize	Zeamays L	Herb
Ortiga	BoehmeriaramifloraJacq.	bush
Nettle	Urticabianorii (Knoche) Paira	Herb
Roman Nettle	Urticapilulifera L.	Herb

One example of the process is banana tree rachis which is triturated in a roller mill, thereby eliminating enzymatic liquids, water, organic acids and other elements of low molecular weight called extractives.

The plant is 'cooked' by chemical extraction using an alkali solution, sodium hydroxide (caustic soda) in an amount proportionate to the fiber that is ‘cooked’.[5] In this process the walls of the fibers swell and become more absorbent. The fibers soften thereby removing fats and other elements [6].Some fibers are harder than others, such as cotton and abaca[7].The planted were tested at 30, 45, 60 and 120 min of cooking.

After cooking the fibers need to be rinsed thoroughly to leave no traces of alkali. The fibers are dried in

Fig.1Raquis spine.

Fig.2Raquis after trituration and from  elimination of enzymatic liquids.

sunlight at a temperature of about 26.6 °C, or alternatively in hot chambers to speed up the process. Then they are ready to be processed into pulp and be made into paper.

The best results obtained in the chemical extraction process were with the banana fiber (rachis), both from the standpoint of residual lignin and resistance to the heat, corresponding to 15% NaOH in 100 min cooking. [18]

As shorter fibers are tighter and create a more uniform sheet formation, it was necessary to also take into account fiber length. [22]

To form paper, a mucilage of Tuna,Nopal (Opuntiaficus) was used. This pulp also helps to drain water and obtain a consistent pulp[8]. After this operation is finished, a high viscosity fluid is obtained and can be used as a flocculant for the preparation of pulp. [1]  That is to say, the fluid allows the fiber to float in water and acts as a fiber dispersant delaying drainage of water in the formation of sheet [9].

A small amount of CMC (Carboxy Methyl Cellulose) is placed into a coating glaze. We had exerience with potato starch, corn, rice and native plants such as ‘Mirabilis jalapa’ the same one which tuber contains starch. The fiber is not penetrated by the coating glaze. [24] The glaze covers the fibres protecting them from oxidation, which creates decomposition [10]. CMC is also used as an adhesive whichcan be added to the pulp vat prior to the leaf formation, where it is well-mixed. [12] Alternatively a coating glaze can be added to the dry leaf for humid artistic techniques as: watercolor, gouache. This coating glaze also works very well for procedures such as photography [11].

Leaf formation is made by hand. The amount of pulp put in the strainer varies depending on the desired thickness of the paper and the artistic aims. The paper takes shape when the atom’s fibers are joined to water molecules [12]. When these are flopped onto a plastic mesh frame to drain its molecules pullthe fibers with such strength that they get mixed among themselves and create new bonds, thereby

Fig.3 TunaNopal (Opuntiaficus) The "tuna" tree in the very moment the coagulant substance (mucilage) is poured out.

Fig.4 Leaf formation in the pulp state over a plastic mesh.

creating a solid surface.[13] y[14]

The drying of the leaf depends of the desired texture, as well as the artistic variations of color and transparency[15], which are important for handicrafts such as lamps, which emit light need to be an attractive, unique final product. [10]

When the leaf is completely dried, it is removed from the pellon and is ready for the finishing process. For the finishing touches the leaf is first smoothed on both sides with a rolling pin or electric iron. [21]  In this case a press has been used for the purposes of eliminating the air between fibers. Pressing also accelerates the leaf dehydration process (so the drying period is shorter than if one were to pull the paper over sackcloth directly after shaping it into the mold). At this stage of the process, seeds, threads, vegetable bark and fibers can be adhered to the leaf in order to give a truly handmade look. [9]

During this research we also explored the factors involving the addition of color to the paper. Experimentation with artificial dyes revealed that though the pigment adhered well to the fiber, the fiber did become weak and started losing resistance. The acquisition of dyes and synthetic colors also means the use of traditional local plant-based color pigments are being lost and this knowledge is need of rescue.[6]

Fig.5 Drying leaf.

Therefore natural pigments and mordant from our province were investigated, whereby several tests were conducted to obtain a pure extraction of pigment. These included:

Ÿ   Annatto, cabbage (Brassicaoleracea), Carmine cochineal (Genipa), Walnut (nucalis), Avocado;

Ÿ   Pigments used by the Shuar ethnic group: Cumbia, Pitajaya, Guava, Sua.

The tonality of the dye obtained dye from each plant depends on the weather, the soil, and the time of its harvest. These natural pigments are concentrated in the flowers, fruits and leaves, however in colder periods they are concentrated in the bark and wood. [24] Another factor is the soil state as acids and minerals present alter the stability, brightness and strength of the dye. [14] Though the raw materials are extracted through boiling every case varies. Pigment colorings are mostly concentrated in the cellular vacuoles of any number of plants, which when not in a extracted state are associated with other principles such as oils.[16]

In the colouring process the fibers which are going to be stained must be cleaned of impurities. [2]So

Fig.6 Cotton fiber (Gossypiumherbaceum).

that the pigment is better retained as naturally occurring plant elements such as oil prevent dye retention.[17] In the extraction of red cabbage (Brassicaoleraceavar), it is better cut into pieces for easy handling. One needs to boil it for an hour or until the pigment is separates from the vegetables Boiling needs to be gentle so that the water does not evaporate. [7] The resulting mixture is then left to marinate awhile. Adding water whilst boiling is not recommended in order to retain maximum intensity.[18]

The use of mordants is also needed according to the type and weight of the fiber.[19] In the case of banana fiber (raquis), more pigment and mordant is required since the natural characteristic color is darker. During heating, a lemon (Citrus limonumRisso)  mordant is used for raquis. When a mixture of 1000 ml water with 100ml pure lemon is added, one quickly notices how fast the tonality of the color becomes more intense (red). [18] After introducing the fiber, we let all the extract obtained concentrate until it is completely consumed by fire. We have experimented with different types of natural mordant as ash, salt, urine, and walnut bark. To get a better impregnation of color and better brightness,add vinegar to this procedure. [25]

Soon after the fiber is cooled, washed with cold water, and dried on strings.[11] We wish to emphasize that the use of mordants creates a fundamental difference. Salt and vinegar show darker and opaque tonalities, whilst alum provides shinier and stronger tonalities. [23]

Withthese results of the remaining fiber threads were used to make artistic sculptures. [3]

Sculpture and reliefs: Through varied tests it was demonstrated that natural fibers can be applied in different high relief and sculpture techniques [20]. As is the case with mud techniques, the pulp was placed on plaster moulds. [13] Another method to obtain the desired relief was to use of wooden pallets, placing them one over another and gluing them with methyl cellulose (Fig. 11). As with the previous method the fiber was pulverized and mixed with water and glue until a pliable dough could be adhered to the blades.

Another very effective result is to extract the fiber from the raquis plant, wash it, and whilst drying in an Industrial dryer, bath it in Methyl Cellulose [21]. The fiber can molded until the desired volume of the object or work is obtained. [16]

Different artistic techniques were also explored,

Fig.7Red cabbage (Brassicaoleraceavar).

Fig.8 Tinting red cabbage (Brassicaoleraceavar) with natural lemon mordant (Citrus limonumRisso).

Fig.9 See Fig.10. Sculpture made by Liliana Jimenez. Department of Art and Design at Universidad Técnica de Loja.

Fig.11 High relief produced by Josue Mora, Art and Design Department, Universidad Técnica Particular de Loja, sisal pulp in mud.

Fig.12 Sisal sculpture, Sara Jaramillo’s work, of Art and Design Department, Universidad Técnica Particular of Loja.

Fig.13 Artistic photography using abaca paper and Paola Veintimilla’s work, Art and Design Department, Universidad Técnica Particular de Loja.

Fig.14 Banana fiber marbling paper. 

LampsnaturalfiberpaperwithsymbolismofSaraguroethnicityMaría Gabriela Punín work, Art and Design Department, Universidad Técnica Particular de Loja.

such as sculpture, bas reliefs, marbling and crafts, painting techniques on natural fiber paper. In the case of photography, chemical compounds with emulsions from IXX century, sensitivity, resistance, and naturally colored paper were investigated. [5]

To make photographic works on natural fiber paper, the sheets were covered with gelatin (semi-solid) to conglomerate the silver halide grains in the photographic emulsions, as is normal procedure with photographic paper. [4]

COMMON N.  FIBERS	P. to. USE	Cooking Time	COLOR, TEXTURE        FEATURES NaOH
Banana tree (musaxparadisiacaL)	Pinzote	45, 60 min.	Lisa                    coffee            15%
Yucca (elephantipesRegel)	Leaf	50 min Boiling time	Semi smooth            ocher            10%
Cotton (bombacaceas)	Seed	Boiling time 120 minutes	Rough           white        30%

N of Practice	Fiber quantity	Firing Time ( from boiling time)	Quantity of NaOH	Dry Time	Shake Time	Amount of Water	Quantiy  of Tuna	CMC Quantity	Results	PH
1	250 gr	45 min	40 gr	2 days	1min	5000 ml	2000 ml	2000 ml	Less lignin, more flexibility	9
2	250 gr	30 min	35 gr	2 days	0.5 min	5000 ml	2000 ml	2000 ml	Less NaOH, more lignin, less flexibility	12
3	250 gr	60 min	25 gr	2 days	0.8 min	5000 ml	2000 ml	2000 ml	Less lignin, more flexibility, paper whitener	10

Transparency, flexibility and permeability are the factors which determine if the paper is appropriate for the emulsion.[22]The emulsion needs to still change from liquid to solid and to protect the silver grains within.

A low heat dissolution and water bath with a thick distilled water solution (as the composition depends on the unity of H₂O molecules) is used. The gelatin solution is put on the back of the natural fiber paper. Whereas the silver halide is placed on the side where the gelatin is not found as it is sensitive to light and reacts to contact with it.

In the marbling process, the natural fiber paper is submerged in a deep container of water, which has floating oil-based inks in it.[23] These inks can be moved with a fine brush to move the suspended ink stains until we the desired design is achieved. The results are then pressed to be used in crafts. [15] Abaca or banana paper is recommended for this process. [8]

Other crafts that work with natural fiber paper, using different short-cycle plants and raw materials that are considered waste as onion peel, stalk, garlic, etc [24].

3. Results

Results obtained from the experimentation and analysis of fibers demonstrating the most variation are detailed below.

‘Waste’ from the plant parts was salvaged and recycled into the paper: banana (stalk), palm (leaves), coconut (husk).

A coating glaze use is very useful in the processing and manufacturing of fiber as it reduces the absorption of moisture. This allows the manipulation of different inks and pigments on the paper for artistic purposes such as the techniques of gouache, watercolor, etc.

The use of artificial mordants weaken the fiber. With natural mordants better results were obtained, getting a better color setting.

This project has enabled us to reaffirm that the fact that natural fiber paper is a valuable resource for artwork, as demonstrated in the fields of photography, art-installation, marbling, watercolor, sculpture.

4. Conclusions

Some parts of the plantwhichhave been considered aswaste, such us the banana stalk, palm leaves and the coconut huskhave been salvaged in order to be recycled and used in the production ofnatural fiberpaper.

Ÿ   The use of acoating glaze is very helpfulin theprocessing and manufactureof fiberasit reduces themoisture absorption,this fact allows the manipulationof differentinks andpigments for the application of techniques such asgouache,watercolor,etc. for artistic purposes.

Ÿ   The use ofartificialmordantsweakenthe fiber, better results were obtained withthe use of naturalmordantswhich also lead to a better color fixation.

Ÿ   his project hasenabled us to confirmthat the use ofnaturalfiber paperis a valuableresource forthe artistic work due to the fact that we have appliedit in the fields ofphotography, installations, marbling, watercolor and sculpture.

References

[1]     ALPHA, Betaand Gamma Cellulose in Pulp, TAPPI Test Method T 203 os-74. TAPPI Press, Atlanta.

[2]     A.Solis, Plant Fibers in Ecuador, Casa de la Cultura Ecuatoriana, Quito, Ecuador, 1952.

[3]     BARRAGAN, A. C. The Application of Design of Experiments in the polyester dyeing procedure. Thesis degree in Industrial Engineering. Universidad de las Américas. Puebla, México. 2007.

[4]     B. Peter,Luckmann, Thomas: The Social Construction Theory, Amorrortu editores.

[5]     B. Manuela, Ghost Tour by Shuar territory, Quito, Ecuador, 2007.

[6]     BOERO, A. J. Air Heating System Design and Drying Chamber for Toquilla Staw for Energy Recovery from Traditional Ovens for Cooking Straw. Mechanical Engineering Thesis. Escuela Superior Politécnica del Litoral. Guayaquil, Ecuador. 2008.

[7]     C.A. Agudelo, M.J. Lis, J. Valldeperas, J.A. Navarro. Direct Reuse of Dyeing Baths: Polyester Microfibers and disperse dyes, Boletín INTEXTER (U.P.C.) 2006. Nº. 129.

[8]     C. Martha,www.artesaniasdecolombia.com.co/documentos.

[9]     C. James, Pulp and Paper, Chemistry and Chemical Technology. México: Limusa, 1990.

[10]   C. Ricardo, Roots of new millenium, Argentina, Grabart – Papel & Estampa, 2005.

[11]   C.Caillavet, Etnias del Norte. Ethnohistory and History of Ecuador, Ediciones ABYA Yala, Quito, Ecuador, 2000.

[12]   Pulp, Paper, Division atipca, Asociación Argentina de fabricantes de celulosa y papel, 2006.

[13]   Consorcio Internacional para el desarrollo Industrial de las Fibras Naturales “CONFIB”.

[14]   Inbar,  Red Internacional del Bambú y Ratán, 2009.

[15]   A.S.Intriago,M.G.Perez,D.L.Villao, Proyect on Utilization of Abaca Fiber in the Development of Handicraft Furniture in Santo Domingo city for using in Guayaquil city. Thesis Degree in International Business Management Engineering. Escuela Superior Politécnica Del Litoral.Guayaquil, Ecuador. 2009.

[16]   Ecuador’s natural fibers, http:/www.sica.gov.ec.

[17]   Racism in Contemporary Ecuador, Ediciones Abya Yala, Quito, Ecuador, 2001.

[18]   NEUMAN Giti Manual for the manufacture of natural fiber paper, Quito- Ecuador

[19]   M. Claudio, Handicrafts in America, Cidap, Cuenca, Ecuador, 2006.

[20]   M.J. Lis, J. Valldeperas, F. Carrillo, J.A. Navarro, Kinetics Analysis and Mathematical Tencel dyeing with direct dyes. Boletín INTEXTER (U.P.C.) 2006. Nº. 130.

[21]   M. Williams, Making your own Napier machié creative ideas for beautiful designs, 1995.

[22]   P.A. Josep, E. Paper, Techniques and traditional processing methods, Ediciones Parramón, 2004.

[23]   R.E. Rhoades, Identity development, Editorial Abya Yala, Quito, Ecuador, 2006.

[24]   Technical Association of the Pulp and Paper Industry, Papeles y Cartones. Numero de Kappa en pulpa. México: TAPPI, 1993.

[25]   Servicio de Información y Censo Agropecuario del Ministerio de Agricultura y Ganadería del Ecuador [online]. Ethnobotany of Natural Fibers in Ecuador <URL:http:/www.sica.gov.ec>

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Corresponding author: María Gabriela Punín Burneo, master student. Research field: arts. E-mail: mgpuninx@utpl.edu.ec.