Exploration of waste polymer in painting for special effects

Table iii: Experiment format for the melting of the selected and treated waste polymer: plastic and nylon coupled with congealed automobile paints and crayons at different percentages melting rates, 2012

Application of the Compounded Medium for the Creation of Easel Paintings

The medium compounded from the waste polymer (WP) coupled with other waste materials like congealed automobile paints (CAP) and crayons (Cr) was used for the creation of easel paintings in studio art practice the way the conventional media like oil paints, acrylic paints, poster colours and any other liquid media are normally used in the creation of easel paintings. In the application of conventional media like oil paints any tool: palette knives, brushes, feathers, fingers or foot can be used for its application on any support. But this created medium being a hot based medium can only be applied with the used of palette knives of assorted sizes on hard board and treated canvas.

Fig. iv: The researcher at the stage of adopting the melting rate B at 60°C of gooey result as a method of compounding the waste selected materials during the process of applying the compounded medium on hard board and treated canvas using palette knife as a tool. Department of Fine and Applied Arts, Delta State University, Abraka, Delta State, 2013

The Researchers’

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The amalgamated medium was used immediately after production for the creation of easel paintings. Such medium cannot be compounded and preserved for further uses. It has the quality of instant usage. It was observed that, if the produced medium stays for at least two minutes after production without use it will get muggy. If such muggy medium is re-melted in order regain its normal liquid form, two qualities will be deduced from its initial qualities: it will lost its intensity and pealed after used.
Practical Execution of the Sketches Made in the Conceptualization Stage

There is neither a medium nor tool that can meaningfully execute itself without the manipulator’s ideas, knowledge, skills and practice. In view of this citation, we carried out the practical execution of this research based on the following sub-stages without stringent rules and regulations. This was done in line with lateral concept of opened research.

Stage One

At this rough-rough or initial stage, the researcher melted fresh medium one after the other in three classes to give eighteen colours in the ranges of one before the other in line with the colour scheme: bluish scheme and orange scheme. This was done in order to kick off with the colourful sketch of the painting stage. The below table was taken into consideration:

Colum A	Colum B	Colum C	Colum D	Colum E	Colum F
Quantity of the Colour Added	Complementary Raw Colour A	The Adopt Resulted Colours	Intermediate Raw Colour between A/B	Complementary Raw Colour B	The Adopted Resulted Colours
Colour White (CW) 30%	Colour Blue (CB)	(Tinted Blue) Light Blue	Colour Brawn (CBrw)	Colour Orange (CO)	(Tinted Orange) Light Orange
Colour White 50%	Colour Blue (CB)	(Tinted Blue) Lighter Blue	Colour Brawn (CBrw)	Colour Orange (CO)	(Tinted Orange) Lighter Orange
Colour White (CBlk) 70%	Colour Blue (CB)	(Tinted Blue) Lightest Blue	Colour Brawn (CBrw)	Colour Orange (CO)	(Tinted Orange) Lightest Orange
Colour Black (CW) 10%	Colour Blue (CB)	(Shaded Blue) Dark Blue	Colour Brawn (CBrw)	Colour Orange (CO)	(Shaded Orange) Dark Orange
Colour Black (CBlk) 20%	Colour Blue (CB)	(Shaded Blue) Dark Blue	Colour Brawn (CBrw)	Colour Orange (CO)	(Shaded Orange) Darker Orange

Colour Black (CBlk) 30%

Colour Blue

(Shaded Blue) Dark Blue

Colour Brawn (CBrw)

Colour Orange (CO)

(Shaded Orange) Darkest Orange