Drawing can present hazards related to the materials used and the methods of use. The hazards related to both dry media and liquid media are presented below. 

Use the following information to learn more about the different drawing methods.

• Liquid Drawing Media

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Dry Drawing Media

Work with dry drawing media may involve dust-creating media, such as charcoal or pastels, which are often fixed with aerosol spray fixatives. Dry drawing media also includes crayons and oil pastels, which do not create appreciable dust.  

Hazards 

• Pencils/colored pencils: Pencils are made with graphite, not lead, and are not considered hazardous. Colored pencils contain pigments, but the amounts of pigments are small enough that there is no significant risk of exposure.  
• Charcoal is usually made from willow or vines, where the wood cellulose is heated without moisture to create the black color. 
  • Charcoal is commonly considered a nuisance dust, but inhalation of large amounts of it can create chronic lung problems through mechanical irritation and clogging. 
  • Blowing excess dust off of a drawing is one major source of charcoal inhalation. 
• Colored chalks are considered nuisance dust. Persons with asthma may experience problems using dusty chalks, but this is a nonspecific dust reaction rather than a toxic reaction. 
• Pastel sticks and pencils contain pigments bound into solid form by a resin. The pigments in pastels make inhalation of pastel dusts a serious inhalation hazard. 
  • Pastels may contain toxic pigments such as chrome yellow or cadmium pigments.
  • Blowing excess dust off of a drawing is one major source of pastel inhalation. 
• Crayons and oil pastels are much safer to work with, as they do not present a significant inhalation hazard.  
  • Some oil pastels can contain toxic pigments, but this is only a hazard by accidental ingestion. 
• Both permanent and workable spray fixatives contain toxic solvents, and are sometimes composed of plastic particulates. Exposure to these solvents or particulates by inhalation is likely because the products are sprayed in the air, often onto a desk or easel. 
  • Never try to spray fixative by blowing air from your mouth through a tube.  This can lead to accidental ingestion of the fixative. 

Precautions 

• Use the least dusty types of pastels, chalks, etc. Asthmatics in particular might want to switch to oil pastels or similar non-dusty media. 
• Spray fixatives should be used with a spray booth that exhausts to the outside. 
  • • An exhaust fan may also be needed to remove organic vapors and particulates. 
    • If only used occasionally, you can use them outdoors, potentially with a respirator for protection against inhalation of solvent vapors and particulates (contact EHS at @email for assistance with assessment of the process, selection and fit-testing of appropriate respiratory protection).  
• Don't blow off excess pastel or charcoal dust. Instead, tap off the dust build up so it falls to the floor or table. 
• Wet-mop and wet-wipe all surfaces to pick up dust. 
• If inhalation of dust is a problem, a respirator may be appropriate. Contact EHS (@email) for evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.  

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Liquid Drawing Media

Liquid drawing media involves both water-based and solvent-based pen, ink, and felt tip markers.  Dry erase or white board markers can be included, although they are more used in teaching or commercial art. 

Hazards 

• Drawing inks are usually water-based, but there are some solvent-based drawing inks that contain toxins like xylene. 
• Permanent felt tip markers often contain solvents such as xylene (a highly toxic aromatic hydrocarbon), which is the most common ingredient. Newer brands often contain the less toxic propyl alcohol (although it is an eye, nose and throat irritant).  The main hazard of permanent markers is from inhaling solvent vapors when using many at the same time at close range. 
• Certain solvents in markers and inks can be absorbed through the skin. Getting small marks on one’s hand would be a small exposure concern; but drawing on oneself may lead to absorption of the solvents into the bloodstream. 

Precautions 

• Use water-based markers and drawing inks whenever possible. 
• Alcohol-based markers are less toxic than aromatic solvent-based markers. 
• Solvent-based drawing inks and permanent markers should be used with good dilution ventilation (e.g. open windows or higher air change rates for mechanically ventilated spaces). If ventilation is inadequate, then respiratory protection must be used while airbrushing or spraying. Contact EHS (@email) for assistance with selection and fit-testing of appropriate respiratory protection and an evaluation of your process.  
• Never paint on the body with markers or drawing inks.  Only use cosmetic colors for body painting.

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Lithography is a method of printing from a stone or a metal plate with a smooth surface and was initially used mostly for musical scores and maps. Intaglio is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. 

General Chemicals 

The main chemicals used in lithography and relief printing are inks, pigments, and acids.  

Use the following information to learn more about lithography. 

• Inks 
• Pigments
• Solvents
• Acids
• Plate and Stone Preparation
• Printing and Cleanup
• Intaglio
• Etching
• Other Techniques
• Printing and Cleanup

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Inks

Intaglio, lithography and relief inks are made of a vehicle (either linseed oil or water) that suspends pigments. Additional hazardous binders, preservatives, etc. may also be included. 

Hazards 

• Oil-based inks contain treated linseed oils. Ingestion of treated linseed oil in large amounts may be hazardous due to the small amounts of heavy metals present. 
• Rags soaked in oil vehicles may spontaneously combust if heated.  

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  
• Avoid using lead pigments and concentrated acids whenever possible.  
• Do not use an open flame or open heating element to heat linseed oil, varnishes, or burnt plate oil.  Take normal fire prevention measures.  
• Place oil-soaked rags in self-closing disposal cans or a pail of water and remove from the studio each day.

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Pigments

Pigments are the colorants used in lithography, intaglio, and relief printing inks. There are organic and inorganic pigments. Those with heavy metal components can cause various health issues. Please see the Painting Page [INSERT LINK] for more details on pigment hazards. 

Hazards 

• Lead pigments can cause anemia, gastrointestinal problems, peripheral nerve damage (and brain damage in children), kidney damage and reproductive system damage. 
• Chromate pigments (chrome yellow and zinc yellow) may cause skin ulceration and allergic skin reactions. 
• Some inorganic pigments, in particular cadmium pigments, chrome yellow and zinc yellow (zinc chromate) may cause lung cancer if inhaled. Please see the Painting Page [INSERT LINK] for more details on pigment hazards. 
• Lamp black and carbon black may contain impurities that can cause skin cancer. Other hazards of organic pigments are not known. 

Precautions 

• Avoid mixing dry pigments whenever possible. If you plan to mix dry pigments, use appropriate engineering controls such as a chemical fume hood or slot hood.  If you do not have access to local exhaust ventilation, please contact the EHS Respiratory Program (@email) for assistance and evaluation of your process. 
• Avoid contact with pigments whenever possible.  Consider wearing gloves to minimize the possibility of exposure. If skin contact does occur, wash the area immediately.  Baby oil can be used to remove materials from your skin that are not readily water soluble.

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Solvents

Organic solvents are used in printmaking to dissolve and mix with oils, resins, varnishes, and inks. They also clean plates, rollers, tools, and even hands. 

Hazards 

• Inhalation is the main route of solvent exposure.  High concentrations of solvent vapors can cause dizziness, nausea, fatigue, loss of coordination, or coma. These effects may also increase the chances for mistakes and accidents. 
• Repeated or prolonged skin contact with solvents can cause defatting of the skin and resultant dermatitis.  Skin absorption can also be harmful.  
• Many solvents are toxic if ingested (for instance, swallowing 1 ounce of turpentine can be fatal). 
• Most solvents are either flammable or combustible. 

Precautions 

• Have adequate ventilation in place when using solvents. If ventilation is inadequate, contact EHS (@email) for an evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection. 
• Only keep the minimum amount of solvents necessary, and purchase in the smallest practical container size.  Large amounts of solvents should be stored in a flammable storage cabinet. 
• Never store solvents or solvent-containing materials in food or drink containers. Always label the contents of a container with the full name written out. 
• Wear gloves when handling solvents to avoid skin contact.   Select gloves that are appropriate for the solvent that you are using.  Some solvents can readily permeate certain types of gloves.  Consult the EHS guide on Glove Selection [INSERT LINK] for additional information.  Use baby oil rather than solvents to clean ink off your extremities.

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Acids

Acid etching is used in intaglio and lithography. Nitric acid, hydrochloric acid, and phosphoric acid are examples of common etching acids used in printmaking. If you use hydrofluoric acid, review the Institutional SOP on HF  [INSERT LINK]for handling and emergency procedures before commencing work. 

Hazards 

• Chemical etching requires very strong, concentrated acids. These are very corrosive to the skin, eyes, respiratory system and gastrointestinal system.  Even diluted acids can still cause skin irritation on repeated or prolonged contact. 
• Chromic acid is a dermal sensitizer, suspect carcinogen, and oxidizer. 
• Phenol is highly toxic by skin absorption and ingestion.  Exposure may cause severe kidney damage, central nervous system effects and even death if exposed to large quantities.  Exposure to phenol can also cause deep and painful skin burns. 
• Concentrated nitric acid is a strong oxidizing agent and can react explosively with other concentrated acids, solvents, and the like.  Nitric acid emits various nitrogen oxide gases, including nitrogen dioxide, which is a strong lung irritant and can cause emphysema, pulmonary edema, bronchitis, methemoglobinemia, pneumonitis, and more. 

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible. 
• Read a procedure-specific or institutional Standard Operating Procedure (SOP) before beginning work with concentrated acids. Consult the corrosives section (pg. 30) of the UMass Chemical Hygiene Plan [INSERT LINK] for more information. 
• Store concentrated nitric and chromic acids away from organic materials to prevent fires.  
• Always add the acid to the water when diluting concentrated acids, never the reverse.  
• Wear appropriate thick gloves, chemical splash goggles, and a protective apron over a lab coat when handling acids. 
• Make sure there is adequate ventilation when doing acid etching, such as an enclosed fume hood. If Local Exhaust Ventilation [INSERT LINK] is unavailable, you may need to use a respirator; please contact EHS (@email) for evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.  
• Use of corrosive materials should only occur in locations where there is immediate access (i.e., within 50 ft.) to eyewashes and drench showers.

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Plate and Stone Preparation 

Hazards 

• Strong acids like phosphoric, nitric, acetic, hydrochloric, Hydrofluoric Page [INSERT LINK] and tannic acids are used.  Please see the discussion on Acids above and consult the corrosives section (pg. 30) of the UMass Chemical Hygiene Plan [INSERT LINK] for more information. 
• Lithotine, kerosene, and mineral spirits irritate the eyes, lungs, and skin, and may cause intoxication if inhaled.  
• The solvents in vinyl lacquers may include highly toxic isophorone and cyclohexanone. Methyl ethyl ketone (MEK), which is moderately toxic, is often used as a thinner. 
• Dichromate salts -- often found in etch, counteretch, and fountain solutions -- may cause skin and nasal ulceration and allergic reactions, and are suspected cancer-causing agents. 
• Rosin dust buildup may explode (especially in enclosed rosin boxes, and near an ignition source), and may cause asthma or allergic dermatitis if inhaled.  
• Talcs may be contaminated with asbestos and silica. 
• Airbrush drawing materials and spray enamel paints are hazardous to inhale. 
• Lifting litho stones improperly poses an ergonomic hazard. 

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards. 
• Use the least toxic solvents possible. Lithotine and mineral spirits are less toxic than the more irritating kerosene (see solvents section for more details). 
• Use asbestos-free talcs such as baby powders. 
• Avoid dichromate-containing solutions, and strong acids like hydrofluoric acid or phenol, whenever possible. 
• Don appropriate gloves, chemical splash goggles and a protective apron over a lab coat or smock when mixing or using concentrated acids (see acids section for more details). 
• Use of corrosive materials should only occur in locations where there is immediate access (i.e., within 50 ft.) to eyewashes and drench showers. 
• When lifting litho stones, use appropriate techniques, mechanical aids, or another person’s help. 

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Printing and Cleanup

Solvents are used to remove lithographic images, make image corrections, and clean the press bed and rollers. 

Hazards 

• The solvents in most roller cleaners and glaze cleaners have solvents that may cause serious health effects if ingested or inhaled. 
• Most chlorinated solvents (e.g. perchloroethylene) have been shown to cause liver cancer in animals and are therefore suspected human carcinogens. 
• Perchloroethylene can cause liver damage, and methylene chloride heart attacks. 

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  
• Choose products that do not contain chlorinated solvents whenever possible. 
• See the discussion on solvents in the section above for more information.

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Intaglio

Intaglio is a printmaking process that involves pressing ink into depressed areas of a plate and then transferring the image to paper.  Acid etching, mezzotint, drypoint, or engraving can produce the depressed regions.

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Etching

Etching involves use of a dilute acid (such as nitric acid, Dutch mordant, or ferric chloride) to cut into the zinc or copper metal plate. Some areas of the plate are protected with a waxy ground to resist the acid. Resists may include stopout varnishes with ethyl alcohol, grounds containing asphaltum or gilsonite and mineral spirits, rubber cement, rosin or spray paints. 

Hazards 

• Some solvents in the grounds are toxic. Inhalation of 1,1,1- Trichloroethane, for instance, is moderately toxic under normal conditions, but exposure to high concentrations may cause death. 
• Concentrated nitric acid is a strong oxidizing agent and can react with many other chemicals and explode, especially organic compounds such as solvents. 
• During the etching process, flammable hydrogen gas can also be produced. 
• Highly toxic chlorine gas results from mixing hydrochloric acid with potassium chlorate to make Dutch mordant. 
• Potassium chlorate is a potent oxidizing agent. It can react explosively with organic compounds, sulfur compounds, clothing, and even dirt. When heated, it can violently decompose into oxygen and potassium chloride.  
• Rosin dust (and asphaltum dust, which is used less often) is combustible. Static electricity is enough to initiate an explosion in enclosed rosin and aquatint boxes. Rosin dust may also cause asthma and dermatitis. 

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible. 
• Use Dutch mordant with extreme caution. Ferric chloride (colloquially known as iron perchloride) is a safer substitute for etching copper plates. A ferric chloride solution might still cause minor skin irritation from prolonged contact. 
• Don appropriate gloves, chemical splash goggles and a protective apron over a lab coat or smock when mixing or using concentrated acids (see acids section for more details) and solvents (see solvents section for more details). 
• Use of corrosive materials should only occur in locations where there is immediate access (i.e., within 50 ft.) to eyewashes and drench showers. 
• Use Local Exhaust Ventilation [INSERT LINK] when acid etching. 
• Rubber cement produces toxic vapors and should only be used either in well ventilated areas or while using a respirator with organic vapor cartridges. If you think you may need respirator protection, please contact EHS (@email) for an assessment and assistance with selection and fit-testing of appropriate respiratory protection.  
• Don't use hair dryers to stir up rosin dust.  Hair dryers can serve as a source of ignition.  Rosin (or asphaltum) boxes and storage should be explosion proof.

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Other Techniques

Drypoint, mezzotint, and engraving use sharp tools to incise lines in metal plates. 

Hazards 

• Beware of cuts or punctures from sharp tools. 
• Long-term use of these tools can result in carpal tunnel syndrome. Severe cases can be incapacitating. 

Precautions 

• Maintain the sharp edges of tools by storing them with the blade protected. 
• Always cut away from yourself. Use cut/puncture resistant gloves when using sharp tools. Please consult the cut and puncture prevention SOP [INSERT LINK] and the Cut Safety Video [INSERT LINK] for more information. You can also visit the glove selection guide: [INSERT LINK]
• When possible, secure plates with clamps to avoid slippage. 
• Choose tools with wide handles, avoid tight grips, and take regular breaks to stretch your hand. This will minimize the chance of carpal tunnel syndrome. Set your work table height so contorted wrist positions and flexing motions are minimal.

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Printing and Cleanup

Printing involves placing the ink on the inking slab, inking the plate by hand, and then printing.  Cleanup of the inking slab, press bed, and plate is done with a variety of solvents including mineral spirits, alcohol, lithotine, turpentine, etc. 

Hazards 

• Please refer to the discussion on pigments on the Painting Page [INSERT LINK] for information about dry pigment hazards. 
• Larger amounts of solvents are necessary to clean the plate than for inking slabs or press beds, making it more hazardous. 
• Turpentine, lithotine, or oil-soaked rags can spontaneously combust if improperly stored. 

Precautions 

• Please refer to the discussions on pigments and solvents or specific precautions. 
• If Local Exhaust Ventilation [INSERT LINK] is unavailable and you think you may need respirator protection, please contact EHS (@email) for an evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.  

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The Studio Arts Building (SAB) contains many different types of local exhaust ventilation controls that can be used to mitigate exposure to hazardous materials.  Which type to use depends on your process. Processes covered: 

• Spray/Paint Booth
• Slot Hood
• Downdraft Table

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Spray/Paint Booth

The spray booth is used for painting and working with substances that emit hazardous fumes. The spray booth is fitted with an extraction fan that helps to remove harmful fumes and trap airborne paint particles.  

The spray booth is for use of fixative sprays. Fixed drawings should be placed near the spray booth to dry. This spray booth allows artists to do techniques such as turp washes. Water-based high volume low pressure (HVLP) system should be in place if power spraying is done in addition to spray cans.  

The off the shelf spray booth (uni-cast, modular, polyethylene unit, Laguna Pro-V Spray Booth) for water-based glaze is in the glaze room. This booth is not explosion-proof and cannot be used for volatile substances such as paint, lacquers or anything non ceramic. Always turn on the vent (including the switch and the exhaust) before using the spray booth (see pictures below). Please refer to UMass Amherst Ceramics Studio Equipment Safe Operating Procedures (SOP) for more information.

General Safety Procedures

• Only authorized and trained users are allowed to use the Booth. 
• Everyone is responsible for housekeeping and cleaning up after themselves.
• Personal Protective Equipment (PPE) is required in the booth area, including safety glasses. Specific PPE requirements depend upon what paints/finishes are being applied so staff will define required PPE. If a respirator is needed, please follow the instructions on the Respiratory Protection Program. Hearing protection is recommended for grinding. Please refer to the Hearing Conservation Program for more information. 
• Safety glasses are required at all times in the booth working area.
• Chemical resistant gloves are required, wear appropriate clothing, and fully covered footgear.
• Work is to be done in the designated areas only.
• Aisles, doorways, and stairways near the booth are to be kept clear for safe egress.
• Start the venting unit prior to using the booth.
• Report improper functioning equipment immediately to your supervisor and discontinue use until it is repaired and in proper working condition. 
• Powered/operating equipment may not be left unattended or plugged in without supervision.
• Materials must be properly cleaned, disposed, or stored 

Activities not allowed  

• Only authorized users may use the booth.
• The booth must not be used in a negligent manner.
• Booth safety, security, or venting systems must not be tampered with.
• Use of open flame or tobacco products in the booth area is not permitted.
• Using tools which produce a particulate spray or sparks is not permitted.
• Eating or drinking in the booth area is not permitted.
• Do not direct air streams at yourself or other people.
• Do not block any venting systems or disable any alarm or safety systems.

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Slot Hood

Slot hoods are designed to draw contaminants away from the user's breathing zone and into slot vents. They are often used in photography developing areas or for mixing dry ceramic glazes.

• There are two slot hoods at the glaze mixing counter for glaze mixing/applications, which include: opening bags of powdered materials, weighing out chemicals in a triple beam balance, and mixing the dry powders with water. The use of slot hoods for these applications is appropriate for glaze chemicals that are in bags of 50 pounds or smaller.  

• There are slot hoods in the instructional and advanced student darkrooms. One slot hood behind the sink is provided for toning to capture sulfur dioxide and hydrogen sulfide gases from selenium and sepia toning. Always turn on the slot hoods before beginning the toning process. In the developing darkrooms, slot hoods are built-in along the sinks in the darkroom. You should always turn on the slot hoods next to the sink on the wall before you use any developers. The slot hoods can capture the fumes away from your breathing-zone.  

• There are three sets of slot hoods in the painting room. A slot hood is behind the dry sink on which brushes will be washed and solvents collected. One exhaust plenum is behind the drying racks. This can capture the outgas from oil painting or other materials used in the painting. The last slot hood is under the sink counter behind the waste collection barrel and a small flammable storage cabinet. It is also used for capturing off gassing.  

• Slot hoods are used in lithography/intaglio rooms as well. One slot hood is used to capture the emission from the hot plate as the hot plate for fusing rosin to the plate and warming plate oil. Some other slot hoods are for countertop work such as solvent cleaning.  

• Slot hood exhaust could also be found in the welding shop for the plasma cutting table as an additional exhaust ventilation.  

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Downdraft Table

Downdraft tables are work benches with built-in ventilation to capture dust, fumes, and smoke. The table is negatively pressurized, so particles are sucked through the holes in the table away from the worker’s breathing space. There is a downdraft sanding table in the wood shop. This can be used for various hand tools such as palm sanders, sabre saws, etc.  

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Snorkel/Elephant Trunk/Flex Duct Hood

Snorkel hoods are also called elephant trunks or flex ducts, which are connected to an exhaust system. It can only effectively capture contaminants that are very close to the inlet of the hose, typically less than a distance equal to one half of the diameter of the duct. They can extract fumes or particulates away from the user's breathing zone if used correctly. 

 

Users must work very close (4-6 inches away) from the end of the snorkel (the flange) to have appropriate capture of the fume or contaminant. Always position the snorkel/the flange very close to the source and then turn on the vents before you start working with any possible hazardous materials.  

• In the print shop, flexible duct exhaust vents are available for litho presses.  

• In the welding shop, flexible duct welding hoods are used for capturing fumes from oxy/acetylene welding, arc, MIG, TIG and plasma cutting over the welding table.  

Local Exhaust Ventilation in the Arts

One of the first documented connections between painting pigments and adverse health effects among artists was in 1713, by Italian physician Bernardinus Ramazzini. It took centuries for less harmful pigments to become widely available, and today there are still numerous health and physical hazards to be aware of when painting and drawing.  

Hazardous materials used in painting include: pigments, thinners, linseed oil, adhesives, oil-based paints and turpentine. These materials can pose health or physical hazards. The materials can be absorbed through skin contact and enter the bloodstream. Materials such as thinners, oils, and turpentine also tend to evaporate quickly, which can contaminate the air and pose an inhalation hazard. Finally, many of these materials are also flammable, which can pose a physical hazard if appropriate precautions in handling and storage are not taken. 

If you are using any of the following painting components, please click on the links below learn more information. 

• Pigments
• Water-Based Paints
• Non-Water-Based Paints
• Airbrushes, Spray Cans, and Spray Guns

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Pigments

Pigments are used in oil paints, acrylics, watercolor, poster paints, casein paints, encaustic painting, and tempera. Many of these pigments contain heavy metals, which pose a major health hazard. They are combined with a vehicle or binder to make usable paints, but before they are mixed, dry pigments can be harmful because their dust can be easily inhaled and ingested. 

Hazards 

• Pigments may contain heavy metals, which are toxic and pose serious health hazards with certain levels of exposure. The primary exposure pathways associated with painting are: 
• ingestion due to eating, drinking, or smoking while working (or if hands are not washed after working); 
• ingestion due to inadvertent hand-to-mouth contact while working, or pointing the paintbrush with your mouth; and 
• inhalation of pigments when paint is sprayed, heated, or sanded without the proper engineering controls.  

Precautions

• Always review the SDSs for all paint chemicals and pigments used in a process so that you are fully aware of the hazards and how to mitigate those hazards. Keep in mind that the name of the color is not always representative of the pigments present in the tube. Manufacturers may reformulate the ingredients of a color but retain the name. 
• Choose the least toxic pigments possible, and avoid using lead-containing or carcinogenic pigments. 
• Avoid mixing dry pigments. If dry pigments must be mixed, mix them in an area with local exhaust ventilation, such as a fume hood, snorkel, or slot hood. Wet mop and wipe all surfaces during and after the use of dry pigments. 
• Do not use food-related dishes, containers, or utensils to mix or store paints and pigments. 

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Water-Based Paints

Acrylic, gouache, casein, water color, and tempera are examples of water-based paints. Water is used for thinning as well as for clean-up. 

 Hazards 

• Pigments used in water-based paints can be hazardous. Please refer to the discussion above for specific information about health hazards associated with pigments. 
• Acrylic paints contain small amounts of ammonia, which some people may be sensitive to. People may experience eye, nose, and throat irritation. 
• Acrylics and some gouaches contain trace  amounts of formaldehyde as a preservative. People who are already sensitized to formaldehyde (from previous exposures to higher concentrations) may experience allergic reactions to the formaldehyde in these materials.  
• Casein paints use casein protein as a binder. Forms of casein that are soluble in water are available, but some casein paints are dissolved in ammonium hydroxide, which moderately irritates the skin on contact, and is strongly irritating when contacting the eyes, is ingested, or is inhaled. 
• Preservatives are often used in water-based paints to prevent mold or bacterial growth, both commercially and when made by an individual artist. Although only present in small amounts, certain preservatives (e.g. formaldehyde) may cause allergic reactions in some people.  

Precautions 

• Please refer to the discussion above for precautions when mixing dry pigments. 
• If you make your own paints and use a preservative, avoid adding sodium fluoride, phenol, or mercury-containing compounds. For tempera, a small amount of pine oil will preserve the paint for short periods. 
• If casein paints must be mixed with ammonium hydroxide, then do this under local exhaust (fume hood, snorkel, or slot hood) to provide adequate ventilation.  
• The use of corrosive materials such as ammonium hydroxide should only occur in locations where there is immediate access (i.e., within 50 ft.) to eyewashes and drench showers. 
• Wear chemical splash goggles, gloves, and a protective apron when handling corrosive materials like ammonium hydroxide. 
• If you experience eye, nose, or throat irritation while working with acrylics, open a window to increase ventilation. If that does not alleviate the irritation, try a window exhaust fan. Contact EHS (@email) for an evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.  

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Non-Water-Based Paints

The hazards associated with non-water-based paints primarily involve the materials used as vehicles, thinners, and for cleanup. Many commercial paints used by artists contain solvents. Linseed oil, wax, and egg are used as vehicles for oil paints, encaustic tempera, and egg tempera, respectively, and solvents are often used as thinners and for cleanup. Turpentine and mineral spirits are commonly used to thin oil paints, as well as for cleaning brushes. Solvents are also used as vehicles for alkyd paints. 

Hazards 

• Please refer to the pigment discussion above for information about pigment hazards. 
• Most organic solvents (such as turpentine or mineral spirits) are lipophilic, meaning they dissolve in fats. This property allows them to be absorbed by the body through skin contact. In addition, solvents can cause irritation and dermatitis from prolonged or repeated exposure.  
• Acute inhalation of mineral spirits, turpentine vapors, and other solvents can cause dizziness, headaches, drowsiness, nausea, fatigue, loss of coordination, coma, or respiratory irritation.  
• Chronic inhalation of solvents could result in decreased coordination, behavioral changes, or brain damage. For instance, turpentine can cause kidney damage, respiratory irritation, or allergies. Alternatives such as odorless mineral spirits and turpenoid, from which the aromatic hydrocarbons have been removed, are less hazardous. 
• Ingestion of turpentine or mineral spirits can be fatal, although with mineral spirits this is usually due to chemical pneumonia from aspiration of the mineral spirits after vomiting. 
• Even resins that are considered natural (egg, copal, damar, rosin, Japanese Lacquer) can cause skin irritation and allergic reactions. Moreover, rosin dust can cause asthma and other respiratory issues.  
• For encaustic painting, one suspends pigments in molten wax. Overheated wax may emit flammable vapors and decomposition fumes. Both these vapors and fumes are strong respiratory irritants. 
• Epoxy paints consist of a hardener component and an epoxy resin component (which contains the pigment). The resin may contain diglycidyl ethers, which are irritants, may damage bone marrow, and are suspected carcinogens. Moreover, the hardeners may cause skin and respiratory allergies and irritation. 

Precautions 

• Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards. 
• When possible use less toxic, odorless mineral spirits in place of turpentine or regular mineral spirits.  
• Remember that “natural” solvents, such as those labeled as “citrus” or “pine” can still be hazardous. Use the same level of precaution as you would use for other solvents, as these can irritate the skin and eyes. 
• If possible, set up your easel about three feet from a window with a fan exhausting at approximately work-level to pull solvent vapors away from your breathing zone. Position yourself so that the fan is perpendicular to and between you and your easel. 
• If techniques like turpentine washes are performed, they will require a lot of ventilation as large amounts of solvents evaporate in a short period of time. Consider substituting acrylic paint for underpainting.  
• Ventilation is required while the solvent is evaporating from the canvas, but is not necessary while the oil paint film is drying (oxidizing). 
• If ventilation is inadequate, then respiratory protection must be used while painting. Contact EHS (@email) for assistance with selection and fit-testing of appropriate respiratory protection and an evaluation of your process.  
• Wear neoprene gloves when cleaning brushes with mineral spirits or turpentine. 
• Used solvent can be reclaimed by allowing the paint to settle and then pouring off the clear solvent. 
• Paint can be removed from your hands using baby oil, followed by washing with soap and water. 
• Only heat wax to the minimum temperature needed for proper paint flow. Do not heat with an open flame or exposed heating element. 

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Airbrushes, Spray Cans, and Spray Guns

Artists use several spray products, such as fixatives, adhesives, paints, varnishes, and retouching sprays. These products are usually applied with airbrushes, aerosol cans, or spray guns.  

Hazards 

• Spraying can be more hazardous than brush painting, because mists can be inhaled easily. There is an added danger if the spray contains solvents or pigments. 
• Aerosol products contain propellants (usually isobutanes and propane) which are extremely flammable. Retouching sprays, spray varnishes, etc. may also contain solvents and particulates, which can be hazardous if inhaled 
• Airbrushing poses unique hazards because of the proximity of the artist to their work. Because artists work closely to the airbrush mist, they are at heightened risk of inhaling the aerosols. 
• Spray guns are less common for art painting, but the much larger quantities of paint used pose additional hazards. Moreover, spraying solvent-based paints with a spray gun can be a serious fire hazard.  

Precautions 

• Refer to the hazard section above for precautions when working with pigments. 
• Try to use brush painting rather than spraying when possible. 
• Use water-based airbrush paints/inks rather than solvent-based paints. 
• Use spray cans and airbrush paints in a spray booth (see image below) or well-ventilated area (such as outdoors, away from any air intakes). 
• If ventilation is inadequate, then respiratory protection must be used while airbrushing or spraying. Contact EHS (@email) for assistance with selection and fit-testing of appropriate respiratory protection and an evaluation of your process.  
• Never try to spray paint by blowing air from your mouth through a tube. This can lead to accidental ingestion of the paint. 

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Painting Safety in The Arts

Monoprints have the same hazards involved in plate preparation and printing as its parent techniques, lithography and intaglio, but only one print is made.

To learn more specific information on monoprints, use the links below. 

• Photo Printmaking
• Photolithography 
• Photoetching

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Photo Printmaking 

With photo printmaking, a light-sensitive emulsion or film is exposed to ultraviolet light through a transparent support containing an opaque image (such as drawings on Mylar or acetate, or photographic images processed on graphic art films) to transfer the positive image to a plate while the photoemulsions are developed. 

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Photolithography 

Photolithography involves transferring graphic images to stones or metal plates that are coated with a light-sensitive emulsion.  

Hazards 

• Use the least hazardous materials possible, such as diazo photoemulsions. 
• Ammonium dichromate used for stone is a probable human carcinogen. It is also moderately toxic by skin contact, which may cause allergies, irritation, and external ulcers.  
• Light exposure sources include photoflood lamps, vacuum Poly- Lite units, and carbon arcs.  Carbon arcs may produce large amounts of ultraviolet radiation which can cause skin and eye damage and possible skin cancer, and it may also produce hazardous metal fumes, ozone and nitrogen dioxide (which can cause emphysema), and toxic carbon monoxide. 
• Strong caustic solutions, enzyme detergents used as screen cleaning solutions, and chlorine bleach are skin and respiratory irritants which can cause asthma.  
• Many developing solutions contain solvents that are highly toxic by inhalation and skin absorption. 

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  
• Avoid using ammonium dichromate and use presensitized plates if possible. Wear appropriate PPE, such as gloves and safety goggles, store it away from heat, solvents and other organic materials, if they cannot be substituted.  
• Use local exhaust ventilation when using ammonia solutions or solvent-containing photolithographic solutions. Wear appropriate PPE, such as gloves, safety goggles. 
• Quartz, mercury, or metal halide lamps are safer to use than carbon arcs unless they are equipped with local exhaust ventilation.  Use of safety glasses made from polycarbonate can afford protection to low intensity sources of UV light, but higher intensity sources may require specialized protection.  Please contact EHS for an evaluation of your process if you have questions. 
• Wear appropriate PPE, such as gloves, goggles, a plastic apron or a lab coat when mixing hazardous chemicals. 
• If Local Exhaust Ventilation [INSERT LINK] is unavailable and you think you may need respirator protection, please contact EHS (@email) for an evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.

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Photoetching

Photoresist and developers may contain a variety of highly toxic solvents, including ethylene glycol monomethyl ether acetate (2-ethoxyethyl acetate, cellosolve acetate), ethylene glycol monoethyl ether, xylene, and benzaldehyde. Exposure of the plate comes from ultraviolet sources such as carbon arcs, mercury lamps, or metal halide lamps. 

Hazards 

• Methyl and ethyl ether acetates of ethylene glycol are highly toxic by skin absorption and inhalation, as they may cause anemia, kidney damage, and reproductive toxicity. 
• Xylene is a strong narcotic and it is moderately toxic by skin absorption, and highly toxic by inhalation and ingestion.  
• Carbon arcs may produce large amounts of ultraviolet radiation which can cause skin and eye damage and possible skin cancer, and it may also produce hazardous metal fumes, ozone and nitrogen dioxide (which can cause emphysema), and toxic carbon monoxide. 

Precautions 

• Pregnant or nursing women, children, and men trying to conceive should try to avoid working with these materials. 
• Use photofloods or other light sources instead of carbon arcs if possible.  Quartz, mercury, or metal halide lamps are safer to use than carbon arcs unless they are equipped with local exhaust ventilation.  Use of safety glasses made from polycarbonate can afford protection to low intensity sources of UV light, but higher intensity sources may require specialized protection.  Please contact EHS for an evaluation of your process if you have questions. 
• Use presensitized plates whenever possible. 
• Use photoresist solutions with Local Exhaust Ventilation [INSERT LINK]. Wear butyl rubber gloves when handling KPR solutions.  
• If local exhaust ventilation is unavailable and you think you may need respirator protection, please contact EHS (@email) for assistance with selection and fit-testing of appropriate respiratory protection.  
• Use of toxic solvents should only occur in locations where there is immediate access (i.e., within 50 ft.) to eyewashes and drench showers.

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Monoprints

Relief printing is a family of printing methods where a printing block, plate or matrix- which has had ink applied to its non-recessed surface is brought into contact with paper (e.g. rubber stamps).

Some other printing processes include relief printing, plastic prints, monoprints, and collagraphs. 

Learn more about relief and other printing processes by using the links below. 

• Relief Painting
• Collagraphs
• Plastic Prints

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Relief Printing 

Woodcuts, linoleum cuts, and acrylic plates for plaster relief are examples of relief printing techniques. Relief inks can be either oil-based or water-based. 

Hazards 

• Skin irritation and/or allergies may be caused by some types of woods used for woodcuts, especially tropical hardwoods. 
• Cut injuries may be caused by handling sharp tools.  
• Carpal tunnel syndrome may result from wood carving and cutting tools if there are non-ergonomic postures.   
• Accidental ingestion of pigments may result from eating, drinking or smoking while printing, which are not allowed in the studios. 
• Cleaning up oil-based inks, as well as stopouts and resists (for linoleum etching) utilize hazardous solvents. 

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  
• Try to avoid using solvents. Water-based inks are always preferable to oil-based and solvent-based inks. 
• Always wear appropriate gloves, chemical splash goggles and protective apron or lab coat or smock when handling caustic soda (sometimes used for etching linoleum). 
• Cut resistant gloves are recommended when handling sharp tools. Please consult the Cut and Puncture Prevention SOP [INSERT LINK] and the Cut Safety Video [INSERT LINK] for more information. You can also visit the glove selection guide: [INSERT LINK]
• Consider using tools with wide handles, avoiding tight grips, and taking regular rest breaks with hand flexing exercises to prevent carpal tunnel syndrome or other ergonomic symptoms. Linoleum is softer and easier to cut, which may help to reduce musculoskeletal injury.

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Collagraphs

Collagraphy is a printmaking process in which materials are applied to a rigid substrate to form a collage.    

Hazards 

• Rubber cement is one common adhesive which is extremely flammable. Chronic inhalation of the solvents from rubber cement, as their thinners contain n-hexane, may cause damage to the peripheral nervous system (i.e. extremities).  
• Skin and eye irritation and allergies may be triggered by epoxy glues. 
• Using spraying fixatives on the back of collagraph plates involves a risk of inhaling the solvent-containing mist. 
• Sanding collagraph plates treated with acrylic modeling compounds poses a risk of inhaling irritating dust. 

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  
• Use the least toxic materials possible, such as water-based glues and mediums (e.g. acrylic medium), and rubber cements made with the solvent heptane (which is less toxic than n-hexane). 
• Wear appropriate gloves when using epoxy glues. Please contact EHS and consult the Glove Selection Guide for suggestions: [INSERT LINK]
• Rubber cement produces toxic vapors and should only be used either in well ventilated areas or while using a respirator with organic vapor cartridges. If you think you may need respirator protection, please contact EHS (@email) for an evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection. 

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Plastic Prints

Plastic prints may involve using a variety of resins or plastic materials. 

Hazards 

• The inhalation of plastic resin vapors (e.g. epoxy resins) or decomposition fumes (from drilling, sawing, machining, etc.) is hazardous and may result in negative health effects.  

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  
• Use the least toxic material available whenever possible. 
• Resin emits hazardous vapors and should only be handled either in well ventilated areas or while using a respirator with organic vapor cartridges. If you think you may need respirator protection, please contact EHS (@email) for an evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.

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The materials and processes used in sculpting can create exposure hazards for the artist.  The information below presents information on those hazards and ways to mitigate risk. Please also see the Ceramics webpage [INSERT LINK]for information on some other sculpting materials. Please refer to the 3D printer SOP [INSERT LINK]if there are processes related to 3D printers.   

If you are using any of the following methods, please click on each one to learn more information about specific sculpture safety. 

• Plaster and Plaster Molds
• Stones and Lapidary
• Modeling Materials
• Wax
• Woodworking
• Plywood and Composition Board
• Wood Preservation and Other Treatments
• Carving and Machining Wood
• Gluing Wood
• Metal Shop

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Plaster and Plaster Molds

Plaster varieties may include Plaster of Paris, casting plaster, white art plaster, molding plaster, and Hydrocal. They mainly consist of calcined gypsum and calcium sulfate. Plaster can be carved, modeled, or casted. Vaseline, tincture of green soap, auto paste wax-benzene, silicone-grease- benzine, and mineral oil-petroleum jelly are materials used as plaster mold releases.  

Hazards 

• Plaster dust (calcium sulfate) may cause severe respiratory problems if inhaled in large amounts. It also may result in slight irritation to the eyes and respiratory system.  
• Accidental ingestion of potassium sulfate and potassium alum may be highly hazardous, and borax may be moderately hazardous. Potassium alum may cause irritation or allergies to some people by skin contact. Borax may cause alkali burns by skin contact.  
• Concentrated acetic acid may be highly hazardous by ingestion, inhalation, and skin contact. 
• Burnt lime (calcium oxide) can be corrosive to skin, especially when skin is wet, and highly toxic by inhalation or ingestion. 
• Cuts or punctures may be caused by improper use and storage of sharp tools. Chipping set plaster can result in eye injuries from flying chips. 
• Benzene, a flammable solvent, is used with many mold releases. It is moderately toxic by skin contact and inhalation, highly toxic by ingestion, and is a confirmed human carcinogen. 

Precautions  

• Wear appropriate gloves and safety glasses/goggles while mixing acetic acid and burnt lime and pouring benzene. Wear safety glasses/goggles when chipping plaster.  
• Use of corrosive materials like acetic acid, burnt lime, and benzene, should only occur in locations where there is immediate access (i.e., within 50 ft.) to eyewashes and drench showers. 
• Always carve or cut in a direction away from you and keep hands behind the tool. Please find the cut and puncture prevention SOP [INSERT LINK] and the Cut Safety Video [INSERT LINK] for more information. Cut resistant gloves are recommended for sharp tools. Please find the glove selection guide: [INSERT LINK]
• Use a plaster-impregnated bandage, not plaster for body part casts, along with vaseline or similar mold release as protection. 

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Stones and Lapidary

Stone carving involves chipping, scraping, flaking, fracturing, crushing, and pulverizing with a wide variety of tools. Manual tools can be used for soft stones whereas electric and pneumatic tools may be needed for hard stones that require crushing and pulverizing. Crushed stone may also be used in casting procedures. Lapidary involves cutting and carving semiprecious stones and has similar risks as hard stone carving. 

• Soft stones: soapstone (steatite), serpentine, sandstone, African wonderstone, greenstone, sandstone, limestone, alabaster, and several others.   
• Hard stones: granite and marble.  
• Stone casts: Portland cement, sand and crushed stone.  
• Lapidary: garnet, jasper, jade, agate, travertine, opal, turquoise, etc.  
• Polishing materials: carborundum (silicon carbide), corundum (alumina), diamond dust, pumice, putty powder (tin oxide), rouge (iron oxide), tripoli (silica), and cerium oxide. 

Hazards 

• Sandstone, soapstone, and granite contain large amounts of free silica. Limestone contains small amounts of free silica. Free silica is hazardous to inhale, as it may cause emphysema, bronchitis, and fibrosis. 
• Quartz gemstones such as agate, amethyst, onyx, and jasper are made of silica. Other gemstones such as turquoise and garnet may be contaminated with substantial amounts of free silica. Opal is made of amorphous silica. When cut or carved, silica may become airborne breathable dust. 
• Asbestos may be contained in serpentine, soapstone, and greenstone; it can cause asbestosis, lung cancer, mesothelioma, and stomach and intestinal cancers. 
• Flying chips, pieces of rock, stone and dust from grinding, sanding, chipping, and other carving techniques may cause eye injury.  
• Lifting heavy pieces of stone or rocks may cause back injuries. 
• Power tools and pneumatic tools may create larger amounts of fine dust and free silica dust than hand tools. Grinding and sanding, especially with machines, may also create fine dust. Grinding wheel dust (especially sandstone wheels) also pose inhalation hazards.  
• Raynaud's phenomenon, ("white fingers" or "dead fingers") may be caused by vibration from pneumatic tools, and can cause you to lose control of your tool.  
• Calcium oxide in Portland cement is corrosive to the skin, eyes, and respiratory tract. The silica contained in the cement is also highly toxic by inhalation. Inhalation of Portland cement may cause lung problems including emphysema, bronchitis, and fibrosis.  
• Acrylic resins are skin irritants and sensitizers. 

Precautions  

• Do not use materials that may contain asbestos.  
• Work in a well-ventilated area or near local exhaust ventilation [INSERT LINK], or use wet methods when grinding or cutting dry stones that release dust particles. If local exhaust ventilation is unavailable and you think you may need respirator protection, please contact EHS (@email) for evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.  
• Wear safety goggles to protect against flying particles when grinding, sanding, or polishing (it is also recommended to wear an additional face shield for heavy grinding); wear protective shoes, at least closed-toe shoes to protect against falling stones.  
• Always carve in a direction away from you and keep hands behind the tool. Please find the cut and puncture prevention SOP [INSERT LINK] and the Cut Safety Video [INSERT LINK] for more information. Cut resistant gloves are recommended for sharp tools. Please find the glove selection guide: [INSERT LINK] 
• Use proper lifting techniques, such as bending at knees, when moving heavy objects. Wear crush-resistant gloves (colloquially known as miner’s gloves) when lifting heavy stones. Steel-toed shoes are also recommended for working around or lifting heavy stones. 
• Take preventative action to protect against vibration hazards from pneumatic tools such as having comfortable hand grips, directing the air blast away from your hands, keeping hands warm, taking frequent work breaks, etc.  
• Wear proper lab/studio attire, such as tying back long hair, and don't wear loose items or clothing which can get caught by machinery.

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Modeling Materials

China clay in an oil and petrolatum base are usually the main materials used in modeling clays of the plasticine type. Additives, including dyes, sulfur, sand, talc, vermiculite, perlite, vegetable oils, aluminum silicate, preservatives, and turpentine, may be present.  

Hazards 

• Although there are usually small amounts, some of the additives might cause skin irritation or allergies, and sulfur dioxide (which can result from firing the clay) might cause some respiratory problems.  
• Vermiculite is very often contaminated with asbestos, which is a lung irritant and carcinogen. 
• The curing temperatures of some products may be very close to the decomposition temperatures, which may generate hazardous fumes or airborne particles. 

Precautions  

• Wash hands with soap and water after contacting modeling materials and before leaving the studio.  
• Gloves are recommended to prevent any skin irritation.  
• Know the materials you plan to work with. Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible. Make sure the temperature of decomposition is not reached. 

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Wax

• A variety of types of waxes are used for modeling, carving, and casting, including beeswax, ceresin, carnauba, tallow, paraffin, and micro-crystalline wax. In addition, there are synthetic chlorinated waxes. 
• Solvents used to dissolve waxes: alcohol, acetone, benzine, turpentine, ether, and carbon tetrachloride. 
• Waxes are often softened for carving or modeling by heating in a double boiler or with a light bulb, by sculpting with tools warmed over an alcohol lamp, or by the use of soldering irons, alcohol lamps, and blowpipes.  
• Additives include rosin, dyes, petroleum jelly, mineral oil, and many solvents. 

Hazards

• The release of flammable wax vapors (when overheated, sometimes to the point of decomposition, e.g., acrolein fumes and other decomposition products) can be highly irritating to the respiratory system.  
• Alcohol, acetone, benzene and turpentine may pose hazards by skin contact and inhalation. Carbon tetrachloride is highly toxic, and may cause liver cancer and severe liver damage, even from exposure to small amounts, and may be fatal by skin absorption or inhalation.  
• Skin contact and skin absorption of highly toxic chlorinated synthetic waxes should be avoided, as they may cause a severe form of acne (chloracne). If contaminated with highly toxic polychlorinated biphenyls (PCBs), it may cause chloracne, liver problems, and possibly cancer of the pancreas and melanoma (a potentially fatal form of skin cancer). 

Precautions

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards and use the least toxic and least hazardous materials possible.  
• Do not overheat waxes, and do not use open flames to melt waxes. 
• Dissolve waxes with the least hazardous solvent. Do not use carbon tetrachloride or benzene.  
• All use of solvents must occur with use of appropriate local exhaust ventilation [INSERT LINK](i.e., a fume hood). If local exhaust ventilation is unavailable and you think you may need respirator protection, please contact EHS (@email) for evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.  
• Avoid using chlorinated synthetic waxes if possible.

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Woodworking

Various types of hard and soft woods are used in wood sculpture, including many exotic tropical woods. Many of these woods may be hazardous themselves and sometimes they may be treated with hazardous preservatives or pesticides. 

Hazards 

• Saps present in many green woods, and lichens and liverworts present on the surface of freshly cut wood, can cause skin allergies and irritation from direct contact. 
• Many hardwood dusts or finished hardwoods, especially those from exotic woods, are sensitizers and may cause allergic reactions. Softwoods have a lower risk of causing skin and respiratory problems.  
• Contact with the dust of many hardwoods, such as Canadian and Western Red Cedar, may cause conjunctivitis (eye inflammation), hay fever, asthma, coughing, and other respiratory diseases.  
• Some highly toxic hardwoods, such as giant sequoia, cork oak, some maple woods and redwood, may cause hypersensitivity pneumonia (alveolitis). Frequent respiratory attacks can cause permanent lung scarring (fibrosis).  
• Some hardwoods, such as hemlock, contain toxic chemicals, and may cause various symptoms, including headaches, salivation, thirst, giddiness, nausea, etc.  
• A particular type of nasal and nasal sinus cancer (adenocarcinoma) with a latency period of 40-45 years, may be associated with inhalation of hardwood dust among 7 in 10,000 heavily exposed woodworkers.  

Precautions 

• Whenever possible, use common hardwoods rather than rare tropical hardwoods. 
• If there is a history of allergies, avoid using common sensitizing woods. 
• Wear gloves if you are handling woods that can cause skin irritation or allergies. 
• Use wet methods, local exhaust ventilation [INSERT LINK], or respiratory protection when cutting, grinding, or sanding wood to prevent wood dusts from entering the breathing space. If local exhaust ventilation is unavailable and you think you may need respirator protection, please contact EHS (@email) for evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection. 

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Plywood and Composition Board

Plywood is made by gluing thin sheets of wood together with either urea-formaldehyde glues (for indoor use) or phenol-formaldehyde glues (for outdoor use). Urea-formaldehyde resins are also used for gluing wood dust, chips, etc. to make composition boards, such as particle boards. The materials may emit unreacted formaldehyde for some years after manufacture. Formaldehyde releasing may also be caused by heating or machining these materials from decomposition of the glue.  

Hazards 

• Formaldehyde is highly toxic by inhalation, highly toxic by eye contact and ingestion, and it is an irritant, strong sensitizer, and a probable human carcinogen.  
• Decomposition of adhesives may release formaldehyde, carbon monoxide, hydrogen cyanide (in the case of amino resins) and phenol (in the case of phenol-formaldehyde resins) may result from machining, sanding, or excessive heating of plywood or composition board. 

Precautions  

• Use low-formaldehyde products whenever possible.  
• Store plywood or composition board in a cool well ventilated area.

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Wood Preservation and Other Treatments

Pesticides and preservatives are often applied to wood when it is being timbered, processed, or shipped. Although pentachlorophenol and its salts, creosote, and chromated copper arsenate (CCA) have been banned for sale in the United States as wood preservatives, they may still be found in older woods, and chromated copper arsenate is still allowed as a commercial treatment. A variety of other chemicals, such as fire retardants, bleaches, etc., may be used in treating wood. 

Hazards 

• Pentachlorophenol is highly toxic. It can be absorbed through the skin, cause chloracne (a severe form of acne) and liver damage, and is a probable human carcinogen and reproductive toxin. 
• Chromated copper arsenate is a known human carcinogen and teratogen, and it is extremely toxic by inhalation and ingestion, and highly toxic by skin contact. Skin contact may cause skin irritation and allergies, skin thickening and loss of skin pigmentation, ulceration, and skin cancer. Inhalation may cause respiratory irritation, and skin, lung and liver cancer. Inhalation or ingestion may cause digestive disturbances, liver damage, peripheral nervous system damage, and kidney and blood damage. Acute ingestion may be fatal. 
• Creosote is a strong skin and respiratory irritant, and is a probable human carcinogen and teratogen, which is used for outdoor wood. 
• Zinc and copper naphthenate are slight skin irritants.  

Precautions 

• Know the materials you plan to work with.  Always review the SDSs for all chemicals used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  In the United States, CCA-treated wood is required to have a label and information on safe handling. 
• Do not handle woods that are scrap, old, or unknown origin, or have been treated with pentachlorophenol or creosote.  
• Use zinc or copper naphthenates as wood preservatives, if possible. 
• Do not burn wood that has been treated with creosote, pentachlorophenol or chromated copper arsenate. 
• Use wet methods, local exhaust ventilation [INSERT LINK], or respiratory protection when cutting, grinding, or sanding wood to prevent chemically-treated wood dusts from entering the breathing space. Please contact EHS (@email) for assessment of your process if you believe that you may need respiratory protection. 

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Carving and Machining Wood

Woods can be hand carved with chisels, rasps, files, hand saws, sandpaper, etc., or they can be machined with woodworking machines, such as electric saws, sanders, drills, or lathes. 

Hazards 

• Physical hazards are present in using woodworking machinery and tools. Missing machine guards, faulty equipment, or using the wrong type of machine may cause accidents. Dull tools or improper machine use are the major causes of tool accidents. 
• Vibration from some tools, for example chain saws, may cause "white fingers" (Raynaud's phenomenon) which is numbness of the fingers and hands due to a lack of circulation. 
• Electrical equipment may present electrical shock and fire hazards. 
• Sawdust and wood may present fire hazards.  

Precautions  

• Wear safety glasses/goggles when using machines that generate dust. For machines which may produce wood chips, such as lathes, use a face shield and safety glasses/goggles. Always make sure the machines are properly shielded.  
• Always ensure that all woodworking machines are in good condition and equipped with proper guards. 
• Wear appropriate studio attire, such as tying back long hair, and avoid wearing loose accessories or clothing that can get caught by machinery. 
• Keep hand tools sharpened, and cut away from your body, and keep hands behind the tool. Please find the cut and puncture prevention SOP [INSERT LINK] and the Cut Safety Video [INSERT LINK] for more information. Cut resistant gloves are recommended for sharp tools. Please find the glove selection guide: [INSERT LINK].  
• Use wet methods, local exhaust ventilation [INSERT LINK], or respiratory protection when cutting, grinding, or sanding wood to prevent sensitizing wood dusts from entering the breathing space. If local exhaust ventilation is unavailable and you think you may need respirator protection, please contact EHS (@email) for evaluation of your process and assistance with selection and fit-testing of appropriate respiratory protection.  

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Gluing Wood

A variety of glues are used for laminating and joining wood, including contact adhesives, casein glue, epoxy glues, formaldehyde-resin glues (e.g., formaldehyde-resorcinol), hide glues, and white glue (polyvinyl acetate emulsion), and the cyanoacrylate "instant" glues. 

Hazards 

• Diisocyanate glues are extremely toxic by ingestion and inhalation. Acute exposure may result in pulmonary irritation, allergy and asthma symptoms; chronic inhalation can sensitize the respiratory tract and cause asthma, dyspnea, immune disorders, nasal and lung lesions. Some diisocyanate glues have vapors that are fatal to inhale. Dermal contact can result in dermatitis, eczema, and severe skin burns. Serious eye damage may also result from exposure. These glues are usually flammable. 
• Epoxy glues are moderately toxic by skin and eye contact, and by inhalation. Various types of hardeners, including amine hardeners, may cause skin allergies and irritation. Inhalation may cause asthma and other lung problems. 
• Cyanoacrylate glues are moderately toxic by skin or eye contact. Due to improper use, they may glue the skin together or glue the skin and other materials together, sometimes requiring surgical separation. Eye contact can cause severe eye irritation.  
• Resorcinol-formaldehyde and urea-formaldehyde glues are highly toxic by eye contact and by inhalation, and moderately toxic by skin contact. Formaldehyde can be a problem when working with fiber-board and plywood, and may cause skin and respiratory irritation as well as allergies, and is a known human carcinogen. Any unreacted formaldehyde may cause skin irritation, and sanding may decompose the glue and release formaldehyde, even when cured.  
• Extremely flammable contact adhesives contain hexane, which is highly toxic by chronic inhalation, causing peripheral nerve damage.  
• Dry casein glues are highly toxic by inhalation or ingestion, and moderately toxic by skin contact since large amounts of sodium fluoride and strong alkalis may be contained. 

Precautions 

• Know the materials you plan to work with. Always review the SDSs for all adhesives used in a process so that you are fully aware of the hazards and how to mitigate those hazards, and use the least toxic and least hazardous materials possible.  
• Avoid using formaldehyde resin glues and diisocyanate glues if possible. 
• If you must use diisocyanate glues, use local exhaust ventilation and/or wear a respirator. Wear gloves and avoid any skin contact with the material. Store diisocyanate glues in flammable-rated storage cabinets. 
• Work in well-ventilated areas, use local exhaust ventilation [INSERT LINK] or respiratory protection to avoid breathing adhesive fumes. Please contact EHS (@email) for assessment of your process if you believe that you may need respiratory protection. 
• Use water-based glues rather than solvent-type glues whenever possible. 
• Wear appropriate gloves when using epoxy, solvent-based adhesives, or formaldehyde-resin glues.  

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Metal Shop

Sculptors may work with a variety of metals and equipment, along with other art procedures involving metals. Potential health, safety, and property hazards result from the fumes, gases, sparks, hot metal, and radiant energy produced during hot work. Hot work equipment, which may produce high voltages or utilize compressed gases, also requires special awareness and training. Arc welders should be trained to take appropriate precautions to prevent the skin and eye burns that can occur as a result of exposure to the UV emitted during arc welding. It is also important to ensure that persons in the vicinity of the welding operations are prevented from entering areas where arc welding is occurring and are warned not to stare at the arc. The hazards associated with work in the metal shop can be reduced through the implementation of effective controls, such as PPE and local exhaust ventilation, especially snorkels. 

Please refer to the Welding, Cutting and Brazing SOP for more information [INSERT LINK]

Please also see the UMass Shop Safety Program [INSERT LINK]

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