Exploration of waste polymer in painting for special effects
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Tab. v: A table showing colours mixture for the choice of colour scheme 00001 The Researchers’ VOICE International Journal of the Centre for Research Development Following the table designed for the experiment in terms of colours mixture in line with the choice of colour scheme: bluish scheme and orange scheme. Table was compartmentalized into six columns that range from A-F. Colum A, B, D and E were not considered useful because column B and E contain raw colours and column D contains dirty colour. While column C and F contain mixed colours of both tint and shade which were considered useful for this experiment. At this stage, we prepared the ground on which the painting was executed. This preparation involved the use of engine oil in order to create an enabling glossy ground (surface) for the non related and compounded medium to stay firmly. The researcher played with the compounded medium in aid of presenting the idea that is displayed in the first sketch. In doing this, lighters from column C and F were applied through the use of palette knives. The frequent and carefree movement of the palette knives in line with the burning process of the melted waste polymer determined the free flow faint images on the hardboard. These faint and carefree images demanded for further processes in aid of further visualization. The outcome of this stage called for a lot of alterations in the next stages. But it is a guide for the remaining stages. The processes involved in the act of getting dropping and cracking accidental effects out of the compounded medium relied on the percentages and the melting degrees of the selected waste polymer and the subordinated materials: waste congealed automobile paints and crayons. This was vested in the rough-rough stage as a ground for the research work. Following the table designed for the experiment in terms of colours mixture: bluish scheme and orange scheme. The table was divided into six columns that range from A-B-C-D-E-F. Colum A, B, D and E were not considered useful because column B and E contain raw colours, column D contains dirty colour and column A contains the two neutral colours. While column C and F contain mixed colours of both tint and shade which were considered useful for this experiment. At this point, the researcher used the lightest and the darkest colours in the palette which were picked from column C and F. Towards the end of the experiment, the desire effects of dropping and cracking was achieved accidentally. 
. vi: Sulaiman Dauda Ishola, After the School Hour, 2015. This is a colourful interpretation of the miniature sketch of the visual conceptualization of the studio work in aid of dropping effects. It served as a ground for the application of the compounded medium for further stages. Fig. vii: Sulaiman Dauda Ishola, The Face of the Man, 2015. This is a colourful interpretation of the miniature sketch of the visual conceptualization of the studio work. It served as a ground for the application of the compounded medium in aid of cracking effects. The Researchers’  
VOICE International Journal of the Centre for Research Development Fig. viii: Sulaiman Dauda Ishola, After the School Hour, Compounded Medium, 2015. Sulaiman Dauda Ishola, After the School Hour, Compounded Polymer Medium, 2015. It shows the persistence dropping of the hot melted medium for the purpose of showing special effects. Fig. ix: Legend, The Face of the Man, Compounded Medium, 2015. Sulaiman Dauda Ishola, After the School Hour, Compounded Polymer Medium, 2015. It shows the persistence cracking of the hot melted medium for the purpose of showing special effects. Check for Compounded Painting Medium Shock Resistance along side with Confessional Painting Media As clearly stated and explained in related literature, knowledge and practice in chapter two under different sub-headings that simple shocks do affect the quality of conventional media: oil paints, acrylic paints, poster colours, and water colours after used in painting. In view of this, the presence of simple shock does not has too much impact on the processes involved in the use of compounded painting medium and its end product as easel paintings. Therefore, this simple shock was examined in six different atmospheric conditions: sun, time, water or washing, packaging, dropping or falling, peeling in order to confirm the quality of the compounded medium against the confessional painting media. Sun as a Source of Simple Shock Sun is regarded as natural condition that deals with hot stipulation of the phenomenon. Such condition normally affects the chrome of conventional paints. Such consequence normally pales off the quality of the kinds and types of paints used and make it become chalky. But in the kind of painting medium produced from this research cannot be affected with the hot stipulation of the phenomenon often deduce from sun. This is made possible because of the qualities of the substances of the waste materials compounded. Besides, the thickness of the medium which is made up of inbuilt colour pigments that were adapted from already made colours. Time as a Cause of Simple Shock Taste of time is expected to be one among the qualities of any good and qualitative painting medium. Many art works get spoilt due to their years of production especially a piece of painting created through the use of conventional media like oil paints due to the quality and quantity of the raw materials combined in its production. This does not has a stay of destruction in the use of compounded painting medium due to the raw waste materials involved in its production. All the involved raw waste materials are time friends being materials objects. Water or Washing as a Mechanism of Simple Shock Art is beauty, beauty is aesthetic and aesthetic is the soul of man’s environment. The environment of man is expected to be made beautiful and valuable and the items that are needed to be used are also needed to be aesthetically valuable and neat. One among the ways of making such items to be made neat washing or cleaning either with water or any other liquid like kerosene or petrol. In view of this, during process of cleaning or washing the items like a piece of painting, the used colours or paints got washed off and became pale and lost quality. In the case of this newly compounded painting medium, such damage does not have a role to play in the destruction of it aesthetic quality due to the layer of glossy watery substance that is involved in the making of the medium. The glossy watery substance often acts as a fixative which tends to protect the surface quality of the medium. It also helps in fixing the pigment colourant firmly into materials used in the creation of the medium. This glossy watery substance is called exotic-vanish. Peeling as a Means of Simple Shock Lack of effective priming and the used of lesser quality of primer as an under coat for any painting ground or support normally lead to the weakness of the paints or colours used as media of production. As a matter of time, days after the production of such painting, the paints will be peeling off as a means of defacing the art work. In the angle of this compounded painting medium, the primer used is a compounded medium like material which has friendly quality of diffusing into the compounded ground as a painting medium that works with a ground for the production of an art work. Huzzain, (2013).The life duration of a piece of qualitative and quantitative painting solely depends on the quality of primer and the manner in which the primer was applied on the ground. Good priming needed not to be applied very thick but very light. This is because the essence of priming is to cover or block all available pores or holes associated with the surface of a painting support. Based on this citation, glue was used as a medium of priming both the canvases and the hard boards used for the practical execution of this research. In view of this, there is a cordial relationship between the ground on which the painting was done and the medium used in the execution of the painting as the art work. Therefore, there is no room for peeling. Results from the Studio Experiments Therefore, the results obtained from the analyses made from the compounded waste materials: waste polymer, congealed automobile paints and crayons displayed high content of agreeable quality. Since the melting temperature of the concerned elements of synthetic materials from the compounded percentages were able to give enough gooey melting result. When it was applied two different special effects were accidentally revealed: dropping and cracking special The Researchers’ VOICE International Journal of the Centre for Research Development effect. In view of this, the test rate sample B in the modus operandi was found fit because of the composition contained fairly measurement of the composed waste materials. This made it possible for such composition to be accurately melted to give gooey result. While the other test rate samples: A, C, D, E, F and G without the accurate mixing rate failed to reveal certain effect. In this context, the ratio of the selected materials was determined based on the analysis made in the research question two. This was made possible through simple calculation and bulky approach. That is, different measuring grammates and percentages were taken from the selected waste materials in order to determine different results. This is illustrated in the bellow table:
Fig. x: Determining the ratio of the selected waste materials for the production of the expected painting medium. Conclusion In conclusion, the waste materials explored in this research are waste polymer, congealed automobile paints and crayons. Therefore, simple Calculation and Bulking Approach (CBA) was put into consideration as the assumed body of measuring unit. The entire compound tests conducted for the production of the painting medium in this research work were analyzed critically in which test experiment B in the melting series that was summarized in the below table was considered aligned with this research:
Fig.xi : Summary of the observation deduced from the compounded waste materials.
Based on the findings of this research it is therefore recommended that proper investigation into environmental waste be encouraged to boost the production of art media in order to keep our environment tidy. It is the opinion of the researcher that both medium and small scale studios requiring this medium are highly encouraged. The study of these waste environmental materials is conducted in order to encourage young artists who are scared off practice due to the high cost of conventional painting media. The most important problem to painting and its practice is the processing of local or waste materials into acceptable media, based on the result of this research, it is time we encouraged the production of nonconventional medium for the production of painting. Reference About Refractoriness (2011). The Refractoriness Institute, P.O. Box 8439. Pittsburgh P.A 15218 www.refractoriesinstitute.org/about refractories.html. “Abrasive.” Microsoft Student (2008). [DVD], Redmond, WA: Microsoft Corporation. Adepegba, C.O. (1990). Nigerian Art and Its Traditional and Modern Tendencies; Ibadan. Jodad Publishers. Adogbo, M. and Ojo, C.E. (2003). Research Methods in Humanities: Lagos. Malt House Educational Publishers. Andrew N. (2012). African Traditional Arts in the Face of European Men; Accra. Acanpan Publisher. Archer, F.G. (2003). Materials and Methods in Art: London. Holland Publishers C.alvin, Tomkins (2014). Into the Unknown: Chris Ofili returns to New York with a Major Retrospective: The New Yorker. Nothredam Publishers. Carbon, V. (2011). Encyclopedia Britannica, Ultimate Reference Suite: Chicago. Encyclopedia Britannica. Castro, F. (1961). Words to the Intellectuals Paintings of the Traditional Setting of Africa; Cairo. Meeting Point Publishers. Chris, O. (2007). Brief biography on ham: The New Yorker. Nothredam Publishers. Egonwa, O.D. (2007). Writing about Art and Making Art in Nigeria: Many Legs how much Movement? 14th in the Series of Inaugural Lectures of the Delta State University, Abraka: 19th September 2007. Egonwa, O.D. (2012). Research Methods in Visual Arts: Ibadan. Ababa. Press Ltd.
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