Safety Guide for

Art Studios
by Thomas Ouimet, CIH, CSP

any of us have handled and worked with While conducting a safety orientation for art students

M materials associated with the arts since

childhood, and it is difficult to believe that
these creative efforts could be hazardous to our
is a good first step, United Educators encourages art
instructors to go further:
• Serve as a role model of good safety practices.
health. However, research has shown that an artist’s • Supervise the studios and enforce compliance
craft has the potential to adversely affect his/her with the school’s safety policies and legal
health. If not properly used, art materials and requirements.
processes can cause physical injury or illness or • Take the initiative to identify and manage risks
initiate fires. that may not be addressed in this guide.
• Document your diligence in creating a safe
It is essential for artists to understand studio hazards environment for students.
and how to protect themselves and those working
around them. This safety guide provides an overview A special thanks goes out to all who reviewed this
of the hazards associated with the arts and is intended document. We particularly appreciate the efforts of
to help instructors safely orient their students to those two reviewers. Monona Rossol, President of Arts,
hazards. Labor and environmental laws extensively Crafts and Theater Safety (ACTS) and author of
regulate many of these areas. This guide is not several resources listed in the reference section,
intended to replace the safety standards and training offered invaluable technical and compliance feedback
required of institutions and their employees. Specific in the development of this document. Debbie
resources pertaining to applicable workplace Fanning, Executive Vice President of Art & Creative
standards are listed in the reference section at the end Materials Institute (ACMI), provided thoughtful
of this guide. comments and compliance information.
Safety in the Studio: The Potential Hazards.............................................................................................................................1
Safety in the Studio: Methods for Controlling Exposures ......................................................................................................6
Where Can I Get Additional Information?.................................................................................................................................9
Reference Exhibits: Specific Health and Safety Hazards and Precautions
Painting/Printmaking.........................................................................................................................................................10
Ceramics ............................................................................................................................................................................12
Sculpture and Modeling Materials ...................................................................................................................................14
Woodworking.....................................................................................................................................................................16
Photography ......................................................................................................................................................................18
Metalworking......................................................................................................................................................................20
Glass Making .....................................................................................................................................................................22
Safety in the Studio: DANGER is reserved for products that have serious
health or safety hazards associated with them, such as
The Potential Hazards being highly toxic, corrosive, or flammable.
WARNING and CAUTION are used on less
Chemical Hazards Associated hazardous substances. Most labels provide additional
with Art Materials safety information including a list of specific
potential hazards associated with the material,
t is imperative that you and your students

I
protective measures to be used when
understand the hazards handling the material, personal protective
inherent in the art equipment or clothing that should be worn,
materials you use such as first aid instructions, storage information,
toxicity, flammability, and and procedures to follow in the event of a
reactivity, and the fire, leak, or spill.
appropriate precautions to
protect against illness or LHAMA amends the Federal Hazardous
injury. Materials that are Substances Act which required
highly toxic, flammable, or manufacturers to evaluate and label
reactive can be handled consumer products only for acute hazards.
safely if the proper LHAMA requires that information about
precautions are followed. chronic or long-term hazards be present as
However, even materials of well on the label of art and craft materials.
low toxicity that are Manufacturers must evaluate their products’
normally considered to be ability to cause chronic illness and use label
“safe” can lead to accidents information to warn consumers about those
and toxic exposures if hazards. The law, which encodes existing
students ignore appropriate voluntary standards, was needed because art
procedures and precautions. and craft materials were exempt from
consumer lead laws, although they could contain lead
and other hazardous substances such as mercury and
cadmium not usually allowed in consumer products.
Find Out About the Hazards
Under LHAMA, all art material labels must include:
of the Materials You Are Using
(1) a statement that the product and its labeling
wo good, immediately available sources of conform to ASTM D-4236. This does not mean that

T health and safety information are: a product’s

label and its Material Safety Data Sheet
(MSDS). As an instructor, you need to be able to
the product is safe, only that following the label’s
advice should enable the consumer to use the product
safely; (2) a list of all potentially hazardous
teach your students about using these two resources. ingredients and signal words such as Caution or
Danger (Note: manufacturers may consider some
ingredients to be proprietary and therefore are not
Product Labels required to list those specific ingredients even if they
wo federal labeling standards apply to art are hazardous); (3) chronic hazard statements which

T products: the Occupational Safety and Health

Administration (OSHA) Hazard
Communication Standard and Labeling of Hazardous
inform the user of the kind of harm the product might
cause such as, “Cancer Agent,” or “Exposure may
cause allergic reaction”; (4) precautionary statements
Art Materials Act (LHAMA). which tell the user what actions they must take in
order to use the product safely; (5) a manufacturer’s
Under the OSHA Hazard Communication Standard, telephone number; and (6) a statement that the
hazardous art materials, like other chemical products, product is not appropriate for use by children.
must be labeled with: (1) the common name of the
chemical or product; (2) the name, address, and Note that materials deemed to be “non-toxic” by the
emergency phone number of the company that certifying toxicologist only need to have the
manufactured the product; and (3) an appropriate manufacturer’s name and address and an ASTM
hazard warning which may include words such as D4236 conformance statement. Products labeled
DANGER, WARNING, or CAUTION. “nontoxic” may also contain chemicals for which

1
there are no chronic toxicity data. Use all art other cases, the health and safety guidelines have
products with care. been written to address worst-case scenarios that
are more typical of industrial settings and would be
unusual in an art studio or shop.
Material Safety Data Sheet
Your institution is required to provide training on
roduct labels are good sources of initial

P information about the principal hazards

associated with a container’s contents, but
they are brief summaries that are not meant to
how to read MSDSs to all employees who use toxic
materials. Training will help you learn about the
products you and your students use and enable you
to answer any questions they may have about the
replace a product’s MSDS or other reference
safety of the art materials and processes they will
material.
be using. Teach your students how to interpret the
An MSDS is a chemical- or product-specific health available safety data. If after your training you are
and safety reference document. It provides detailed unsure how to read a particular MSDS, consult one
information about the hazards associated with a of the references at the end of this document or a
chemical or product and precautions for handling it. safety professional at your institution.
The chemical or product manufacturer prepares the
MSDS and it is available from the manufacturer, How Can Art Materials
distributor, or importer listed on the product’s Affect Your Health?
label. MSDSs must be on file at your institution,
etermining whether an art material may cause
and it is advisable to keep current copies in your
shop, studio, or work area. Consult an MSDS
whenever your students begin working with a new
chemical or product and review MSDSs
D harm depends not only on the toxicity of the
material, but also the dose you receive. In
order for an art material to affect your health, it must
periodically to see if the information has changed. first enter your body and then reach an area of the
Although the format varies widely, the information body (termed the target organ or system) in a large
found on an MSDS is consistent and includes: enough concentration or dose to cause harm. Just as
you need to take a sufficient dose of a medicine to
• Manufacturer’s name, address, and phone have a desired effect, so must you be exposed to a
number. sufficient quantity of a hazardous material to be
• A list of the product’s hazardous ingredients harmed. Factors such as the length of time you are
including permissible exposure limits. exposed and how often you are exposed influence the
effects.
• A description of physical and chemical
Toxic materials can exert their harmful effects
properties, as well as flammability and
immediately (acute effects) or after a long period of
reactivity data.
exposure (chronic effects). Minor acute effects such
• Health hazard information, including short- and as nausea, lightheadedness, or irritation are generally
long-term exposure effects, symptoms of brief and reversible, but acute effects can also be as
overexposure, and a description of appropriate severe as death. Chronic effects such as cancer,
first aid and medical treatment to use in case of fibroses of the lung, or liver damage are generally not
excessive exposure. reversible. Whenever possible, substitute a less toxic
• Precautions for the safe handling, storage, and material for a highly or moderately toxic one.
use of the product. People involved in the arts are most likely to be
• A description of how to safely handle the exposed to toxic materials by either skin contact or
material under normal and emergency inhalation. A few exposures (particularly to metals)
situations. may occur through ingestion. Even though the skin is
a very effective barrier, certain heavy metals such as
• Control measures including personal protective
mercury and solvents such as toluene, methyl
equipment, ventilation, and work/hygiene
alcohol, and glycol ethers can quickly penetrate it
practices.
and, once in the body, cause harm. Other materials
The quality of the information on MSDSs varies used in the arts, such as corrosives (acids and alkalis),
widely. Unfortunately some manufacturers use can attack and destroy the outer layers of the skin,
generic statements that are of limited value. In creating serious burns. Skin burns and absorption of

2
toxic materials through the skin can be avoided by with the student. The lower the exposure limits are,
wearing chemically impermeable gloves and other the more toxic the substance is.
chemical protective equipment and by washing
In your classroom, as a rule of thumb, try to use
contaminated skin surfaces immediately.
solvents with exposure standards above 100 ppm
Many substances enter the body through inhalation of whenever possible. For example, replace mineral
vapors, gases, fumes, mists, or dusts. For example, spirits (100 ppm) with odorless paint thinner (300
the solvent components of paints and inks evaporate ppm), or eliminate old rubber cements containing n-
after being applied to surfaces and may then be hexane (50 ppm) and use new ones which contain
inhaled. Airborne contaminants in art studios can also heptane (400 ppm).
include irritant gases and vapors emitted from
All solvents should be used with ventilation which is
photographic development solutions, polyester,
discussed in more detail later in this guide. The more
epoxy, or urethane resins, as well as fumes from
toxic the solvent, the more solvent used, and the more
welding, wood dusts from woodworking, and
quickly it evaporates (or vaporizes into the
gaseous emissions from kilns. Work that may
surrounding air), the greater the volume of dilution
generate airborne contaminants must be adequately
air (ventilation rate) should be.
ventilated to maintain safe levels. If ventilation alone
can not maintain safe levels, a respirator may have to
be worn.
Fire Hazards Associated with Chemicals
Ingestion may occur when hands, food, a cigarette, or Used in the Arts
anything else that has become contaminated comes in
he fire hazards associated with artist’s
contact with the mouth. Ingestion is frequently the
route of exposure to metals when working with
painting pigments, ceramic glazes, or welding. You
and your students should NEVER point the tip of
T materials are often overlooked, yet fire may be
the greatest risk artists face. Common art
materials that may cause a fire include flammable or
your paintbrush with your lips or hold the dirty combustible solvents, oily rags, chemical oxidizers,
handle of your brush in your teeth! Exposure though and compressed welding gases.
ingestion can be avoided by frequently washing your Improper use of solvents causes most art-related
hands, not eating or smoking in the studio, and fires. Artists must be aware of a solvent’s flashpoint
keeping all objects out of your mouth. Prohibit and volatility, the two primary properties that
eating and smoking in the art classroom or studio. influence a solvent’s ability to initiate a fire.
Consider adopting a policy about alcohol
consumption and drug use (both prescription and The flashpoint, the single most important factor, is
illegal) during studio time and beforehand. the temperature at which a solvent gives off enough
vapor to form an ignitable mixture with air and can
ignite in the presence of an ignition source such as a
flame or electrical spark. The lower the flashpoint,
What is a Safe Level of
particularly when it is at or below room temperature,
Exposure to Toxic Materials
the more hazardous the material.
Used in the Arts?
A substance’s volatility determines how much of it
number of governmental organizations and

A professional associations publish exposure

standards or guidelines for airborne
concentrations at levels that nearly all healthy adults
will evaporate and mix with air. In order for a solvent
to catch fire, it must evaporate and its vapors must
mix with air to form the right fuel/air ratio (typically
1-3 percent). The more volatile the solvent, the more
are believed to be able to tolerate without adverse readily it will evaporate and the more likely it will
health effects. Exposure limits for a product’s create an ignitable fuel/air mixture. Acetone is
hazardous or toxic components are listed on the extremely volatile and if spilled, it will evaporate
product’s MSDS. Some people (such as young almost instantly. Mineral spirits, which has a much
children, pregnant or nursing mothers, and lower volatility than acetone, will evaporate much
individuals with health conditions such as asthma) more slowly if spilled.
are at higher risk of exposure to art materials. If you
have concerns about how a hazardous material may To control the risk of a fire, always choose a solvent
affect a student due to a special health condition, you with the highest possible flashpoint and the lowest
should talk with a medical or safety professional and possible volatility. Ventilate the area to keep the

3
solvent concentration from reaching an ignitable burns. It can be especially intense when working in a
air/fuel mixture. Remove ignition sources such as foundry or around kilns, or while glassblowing. Both
open flames and electrical equipment that may UV and IR can damage the cornea, lens, and retina of
generate sparks. Vapors from flammable solvents are the eye.
heavier than air. They can travel some distance to an
Teach your students to control their exposure to these
ignition source and then flash back to the solvent
radiation sources by avoiding carbon-arc lighting
source. When dispensing flammable solvents from
when possible, covering skin surfaces, and wearing
large metal containers, ground both containers to
appropriate shaded eye protection. If your students
dissipate static electrical charges.
are welding, it is also important that they screen their
To prevent fires, store rags soiled with setting oils work from others so no one will be inadvertently
(tung oil, linseed oil) in tightly closing metal exposed. Radiation intensity decreases quickly with
containers and have them picked up daily for distance so encourage your students to increase their
professional laundering or disposal. (Refer to the distance from radiation sources if possible and keep
ACTS Web site in the reference portion of this guide others away.
for additional information on setting oils.) Flam-
Noise is common in arts studios and is produced by
mable solvents should be stored in a storage cabinet
such things as woodworking and metal working
designed for flammable materials. When using
machinery; hand, electrical, and pneumatic tools; and
flammable solvents out in the studio, store them in
exhaust fans. Exposure to high levels of noise over a
safety cans. If you handle chemical oxidizers such as
period of time can lead to permanent hearing loss.
chlorates, chromates, nitrates, or peroxides, store
Symptoms of excessive noise exposure include a
them apart from organic solvents and other readily
temporary ringing in the ears or difficulty hearing
combustible materials in storage units specifically
after exposure. If you must raise your voice to be
designed for these materials. Some types of
heard by someone just a few feet away, the noise
substances such as organic peroxides and nitric acid
level is too high. The noise level emitted from
are so reactive they should be stored separately from
equipment or processes may be reduced by
all other chemicals. If you use compressed gases,
dampening vibration, isolating noise-producing
such as acetylene or propane, be familiar with all the
equipment, or installing sound-absorbing materials.
complex regulations that apply to them. Secure them
Such changes often require specialists and may be
in an upright position and test the regulator fittings
difficult and expensive. Fortunately, hearing
and connections for leaks before using them. Store
protection in the form of earplugs or earmuffs can be
flammable compressed gases separately from
worn to reduce noise exposure in noisy
compressed oxygen.
environments. You should instruct your students
about the different types of ear protection and the
Physical Hazards proper use and care of this protection.

hysical hazards in the arts include ultraviolet The work of many artists—such as potters,

P and infrared radiation, noise, vibration, stress

to the muscular skeletal system from repetitive
motion or excessive lifting, improperly maintained
glassblowers, and weavers—involves repetitive
motion. Repetitive motion, particularly of the hands,
wrists, and arms, can lead to painful inflammation of
muscles, tendons, and nerves over time and cause the
equipment, and poor storage and process
management. They also include injury arising from eventual deterioration of those tissues. The symptoms
carelessness and inattention. associated with repetitive-motion disorders can
include pain, warmth, swelling, and difficulty moving
Ultraviolet (UV) and infrared (IR) radiation are the joint involved. The continuous, often extreme
particular wavelengths of the electromagnetic bending of wrist, elbow, and shoulder joints leads to
spectrum just like visible light. The sun generates these disorders. Grip positions that use high-force
these types of radiation. UV radiation is also finger pinching along with a bent wrist have been
produced by electrical arcs such as those associated associated with the disorder called carpal tunnel
with arc welding or carbon arc lamps. UV radiation syndrome. Hand polishing and sanding, and drawing
from any source can cause sunburn, conjunctivitis and painting in awkward postures, are examples of
(pink eye), cataracts, and skin cancer. IR radiation high-risk repetitive tasks.
which is emitted from hot objects, such as molten
metal or glass and fired ceramics, can cause skin To prevent these injuries, select appropriate tools and
show students how to lay out their work so they can

4
use more neutral postures (for example, a straight a visible and conspicuous place. Do not tolerate the
wrist) while performing tasks. Encourage students to disabling of any safety guards or misuse of the
take frequent rest breaks to stretch muscles and machines, tools, or equipment. Take disciplinary
schedule their work to alternate tasks. This lets them action where necessary. If you are concerned about a
use and rest different muscles. Teach students to use premises hazard, or the condition of a machine or
as light a grip as possible when holding tools. If they piece of equipment, immediately report it to your
cannot relieve joint pain by taking time off or institution’s safety coordinator and take precautions
reducing stress on the joint, they should seek medical to minimize student contact with the hazard.
assistance. Repetitive motion disorders can be
disabling if not treated early.
Back injuries may occur from lifting heavy objects
such as sculptures and lithography stones. Use
mechanical aids such as hoists whenever possible to
move heavy objects. Instruct students to lift in pairs if
the object weights more than 50 pounds. Demonstrate
proper lifting techniques for students including
flexing your knees, keeping your back straight,
holding the load close to your body, and lifting with
your legs. Tell students they should never lift and
twist at the same time.
Fires and electrical shock may be caused by
overloaded electrical circuits, extension cords, or
power strips or tools that are not properly grounded.
Purchase tools that are double insulated. Reduce the
use of extension cords and power strips by replacing
them with hardwired ground fault circuit interrupter
(GFCI) protected outlets whenever possible. When an
extension cord must be used, purchase the type with a
GFCI built into it. If your electrical circuit breaker
trips, reduce the load and reset it once. If the circuit
trips again, obtain the assistance of an electrician.
The circuit may have a short that could lead to a fire.
Finally, poor process management can cause an
injury. For instance, in one art department, bulk
supplies were received in paper bags. One student
grabbed the wrong bag and used lime instead of
plaster of Paris. He suffered severe burns resulting in
the loss of several finger tips and requiring extensive
plastic surgery. Another student took concentrated
nitric acid for an etching project, but slipped on a wet
floor and spilled it on herself. Although she received
immediate first-aid, her arm was permanently
scarred.
As an instructor, it is important for you to work with
your students to create a safe artistic environment.
Pay attention to general housekeeping to prevent slips
and falls. Clearly mark and appropriately store art
materials. Communicate your school’s safety
policies to your students and hold each student
accountable for compliance. Provide specific
warnings and instructions for use of hazardous
machines and equipment. Post general safety rules in

5
 Hood design and use often determine the
Safety in the Studio: effectiveness of the system. Some hoods, such as
Methods for Controlling spray booths, completely enclose the source. Others
consist of slotted hoods, canopy hoods, or flexible or
Exposures fixed duct pipe systems that are positioned adjacent
to the source. These must have a strong enough air
Ventilation draw to capture and pull in air contaminants.
Students should position their work as close as
lder art studio designs often overlooked the possible to slotted hoods or movable hoods because

O importance of proper ventilation, and art

instructors often have to rely on an open
window, door, or a window air-conditioning unit for
the contaminant-capture efficiency drops
dramatically with distance. When working within a
hood that encloses the source, instruct students to
ventilation. In many instances, these measures do not work as far back into the hood as practical. Before
provide appropriate ventilation. There are two basic starting to work, make sure that the local exhaust
methods for adding ventilation to spaces in which system is on and that there is sufficient airflow
toxic materials are used: dilution and local exhaust. through the system to capture air contaminants.
Smoke or air-current tubes can be used to test the
Dilution ventilation introduces clean air into the capture efficiency of local exhaust ventilation
studio which mixes with the contaminated air before systems.
being exhausted outside by a fan. This ventilation
method dilutes the air-borne contaminants to a safe
level. It typically requires large volumes of air. Personal Protective Equipment
Ideally the source of the contaminants is positioned
n the process of controlling your students’
between the fan and student, so the contaminated air
is drawn away from the student. The preferred
location for introducing clean air into the studio is
behind the student—the clean air sweeps past the
I exposure to hazardous chemicals or physical
agents, the first step should be the substitution of
safer materials, even if they are more expensive. The
student before mixing with contaminated air. Dilution second step should be controlling exposure through
ventilation is typically appropriate ventilation or other protective measures (such
when small quantities of slightly as limiting length or amount of exposure). If
to moderately toxic materials are these controls are not adequate, it may be
used. necessary to wear personal protective
equipment (PPE).
Local exhaust ventilation captures
contaminants at their source by Gloves are one of the more common
use of a hood. It exhausts the types of personal protective
contaminants directly outdoors equipment and can be worn to
through a duct system. In some protect the hands from a variety of
systems, particularly those used to hazards associated with the arts.
collect dust, a filter cleans the air Leather gloves protect hands from
stream before discharging it to the sources of heat, sparks, and cuts.
outdoors. A local exhaust system Heavy cotton work gloves can protect
is the preferred ventilating system against abrasions and slivers. Rubber
for processes that release or other elastomeric gloves protect
moderately to highly toxic against chemical exposure to solvents,
compounds and dusts. Art acids, and bases.
processes such as silk screen In order to be effective, chemical protective
printing, acid etching, paint gloves must be selected based on the
spraying, welding, chemicals used. No glove is appropriate for all
woodworking operations, and chemicals. Chemicals can degrade, penetrate,
photographic development often use local exhaust and in some instances permeate gloves without visual
ventilation to protect artists. evidence. Most glove manufacturers produce and
freely distribute charts that identify appropriate
gloves to wear when working with different

6
chemicals. Many of these are available at glove coveralls, leggings, sleeves, and knee pads to protect
manufacturers’ Internet sites. You should consult the arms, legs, or front of the body from chemicals,
your glove manufacturer’s chart when selecting flying objects, molten metal, and sparks.
gloves for your students. Instruct students about
Instruct students to carefully examine all personal
appropriate glove care. For example, students should
protective equipment, particularly reusable
rinse their chemical gloves before removing them and
equipment, before using it to ensure that there are no
wash their hands afterwards.
defects. Have students report and return any
It is important to protect the face and eyes from defective equipment for replacement.
flying particles, chemical splashes, or infrared (IR) or
Require students to tie back long hair. When
ultraviolet (UV) radiation. The type of face or eye
working around furnaces, recommend that students
protection to be worn depends on the type of hazard
wear long-sleeved closely woven cotton fabrics to
present and severity of exposure. To protect against
protect against heat. Prohibit polyesters and other
flying particles, wear safety glasses with side shields
synthetic clothing which might melt from contact
or goggles (preferred). Add a face shield if the
with molten metal or glass. Prohibit dangling jewelry
potential exposure is severe. Chemical splash goggles
and loose clothing when working with power tools.
should always be worn to protect the eyes when
pouring or mixing chemicals and at all other times
when there is a chance of chemical splash. The vents Storing, Handling, and Disposing
on these goggles are located to prevent a splash from of Art Materials
entering the goggle. To protect the face from
he manner in which you store art materials,

T
corrosive material, add a face shield over goggles. To
protect the eyes from IR or UV radiation while handle them, and clean up afterwards will
welding, brazing, soldering, glassblowing, or significantly influence the risk of accident or
working in a foundry, wear shaded safety glasses, exposure. This is particularly true in studios handling
goggles, or a welding helmet. Specific eye and face flammable and toxic materials.
protection recommendations for different types of Follow these general principals of safety storage: (1)
hazards can be found in several references at the end only store compatible materials together (identify
of this section. incompatible materials on an MSDS); (2) store
Respirators should only be worn when the task or chemical containers in cabinets, never on the floor or
work area cannot be adequately vented to reduce the on shelves above shoulder height (particularly
exposure to a safe level. Respirator selection must take flammable solvents, acids, or bases) where they may
into consideration a number of factors. These include fall and break; and (3) make sure all containers are
the type of contaminants present (for example labeled and in good condition (keep materials in their
particulates, gas, or vapor); the concentration of the original containers or containers made of the same
contaminant; the duration of exposure; and the material). Avoid putting chemicals in breakable
functional and physical characteristics of the containers, food containers, coffee containers, or
respirator. Seek the assistance of your institution’s containers with loose fitting lids. Make sure that all
health and safety professional if you are considering compressed gas cylinders are secured in an upright
selecting respiratory protection for use in your studio. position and have the valve protection cap on when
storing or transporting them.
OSHA requires that respirator use must be governed
by a written program that defines how respirators will When handling flammable or toxic materials, keep
be selected, used, stored, and maintained, as well as containers closed except when you are actually
how users will be trained and medically evaluated removing material from them. Do not allow students
prior to wearing them. to eat, drink, or smoke in the studio or art project
area. These activities could lead to ingestion of toxic
Other types of personal protective equipment that can materials or cause a fire. Impress upon students the
be worn in art studios include: (1) earplugs and danger of working alone in the studio.
earmuffs to protect against high noise sources; (2)
safety shoes to protect against sparks, molten metal, Students should wear the appropriate personal
heavy objects, electric shock, static electricity build protective equipment necessary to protect their skin,
up, and sole punctures; (3) hard hats to protect eyes, or respiratory system. If working with toxic
against falling and flying objects and electric shock; materials, instruct students to wear clothing reserved
and (4) miscellaneous garments such as aprons, just for that purpose, and remove it when leaving the

7
studio. This clothing should be washed frequently, Keep all passageways to the emergency eyewash
separate from other items. Better yet, provide station and shower clear of any obstacles. Routinely
disposable coveralls for the students. Before they check eyewash stations to be certain that water flows
leave the studio/classroom, instruct students to wash through them. Allow them to run for several minutes
thoroughly with soap and water any skin surface such once a week to clear out the supply lines. Routinely
as face, hands, and arms that may have become check showers to assure that access is not restricted
contaminated. Warn students that they should never and that the start chain is within reach. The water
use solvents to clean their hands. flow through the safety showers should be tested
periodically to ensure sufficient flow and clean out
Poor housekeeping can create an unsafe studio and
the water lines. The institution’s facilities main-
cause exposure to toxic materials. Instruct students
tenance personnel should perform this test because of
how to clean up spilled materials and spread
the high flow rates involved (30 gallons per minute).
absorbent to dry wet spots to prevent slipping
hazards. Stress the importance of a prompt clean-up Fire safety equipment should be easily accessible and
response. At the end of each session, wet mop or must include a fire extinguisher (type ABC). Other
vacuum with a HEPA-filtered vacuum if students’ equipment may include fire hoses, fire blankets, and
work could generate highly toxic dusts such as lead, automatic extinguishing systems. Check the closest
other heavy metals, or silica (fine clay). Dry fire extinguisher occasionally to make sure that it is
sweeping re-suspends settled dust and does not fully charged and ready to use. Know how to
remove it. Keep aisles free of obstructions such as activate the building’s fire alarm and what the
chairs, boxes, and waste containers. Do not clutter emergency procedures are for your classroom or
the studio with combustible materials such as paper studio. Make sure your students know this also.
and cardboard.
Pay attention to housekeeping issues to ensure that
Inspect all tools at the end of each day to make sure emergency evacuation routes are clear and that
they are in good operating condition. Remind materials on the premises will not cause someone to
students to report any physical or mechanical slip or trip and fall.
problems with tools. Put tools and supplies away in a
Maintain a first aid kit in close proximity to the
locked area to prevent unauthorized and unsupervised
classroom/studio. One individual should be assigned
use of power tools which could lead to accidents.
responsibility for ensuring that the kit is fully
Flammable, corrosive, or reactive materials and some stocked, including PPE to avoid blood exposures. If
toxic chemicals are considered hazardous wastes. medical assistance is not immediately available,
Dispose of all hazardous wastes in accordance with consider first aid training for technicians or aides.
your institution’s hazardous waste policies and
Make sure each studio has a phone accessible with
procedures. If you have questions, contact your
emergency numbers prominently posted. Post the
institution’s environmental health and safety officer
appropriate evacuation routes and make sure students
about separating, labeling, and storing hazardous
know them.
waste. Never dispose of hazardous wastes in the
normal trash or down the drain. They will need to be
sent to an EPA-permitted disposal or treatment site. Conclusion
Most institutions also have procedures for disposing
afety should be a constant focus in the studio
of normal solid waste such as metal containers or
cardboard. Always follow your institution’s existing
waste disposal procedures. S and conveyed to your students daily.
Providing a safe and healthful learning
environment and teaching good safety and hygiene
practices will help ensure that your students enjoy an
enriching academic experience. The good habits they
Emergency Preparedness develop will carry forward to all their future artistic
tudios in which artists handle hazardous endeavors.

S materials should have eyewashes, safety

showers, fire extinguishers, and first aid kits
close at hand. Know where this equipment is located
and how to use it. Instruct your students about the
appropriate emergency response.

8
Where Can I Professional Associations and Resources
American Conference of Governmental Industrial
Get Additional Hygienists: www.acgih.org/links/welcome.htm
Information? National Safety Council: www.NSC.org

he following books and Internet sites contain

T
National Fire Protection Association: www.nfpa.org
information about safety in the arts and would
be good sources to learn more about these American National Standards Institute:
issues. www.ANSI.org

Books American Society for Testing and Materials:

McCann, M. (1992). Artist Beware. New York: www.astm.org
Lyons & Burford Publishers
Consumer Product Safety Commission:
McCann, M. (1994). Health Hazards Manual for
www.cpsc.org
Artists. Lyons & Burford Publishers
Rossol, M. (1996), Keeping Clay Work Safe and Art-Specific Resources
Legal. DC: National Council on Education in the www.caseweb.com/ACTS
Ceramic Arts. Lists services, publications, and links to ACTS (Arts,
Rossol, M. (1994). The Artist’s Complete Health and Crafts and Theater Safety) e-mail addresses where
Safety Guide. New York: Allworth Press individuals can obtain answers to safety questions.
Shaw, S. & Rossol, M. (1991). Overexposure: Health Also offers a monthly newsletter with current
Hazards in Photography. New York: Allworth Press research, new regulations, and other relevant news
items.
Spanderfer, M. (1993). Making Art Safely:
Alternative Methods & Materials in Drawing,
www.acminet.org (available soon)
Painting, Printmaking, Graphic Design and
Web site for ACMI (Art & Creative Materials
Photography. New York: Van Nostrand Reinhold
Institute) which certifies materials as safe for use by
children and offers product substitution ideas. Lists
Internet Sites certified products, informational publications, and
other resource information.
Government Resources
www.osha-slc.gov/SLTC/healthguidelines/index.html
www.goshen.edu/art/DeptPgs/safety.htm
www.osha-slc.gov/SLTC/contents.html
Goshen College’s Art Department Web site contains
Lots of additional information on most of the topics
safety information on a variety of art materials and
discussed in this guide, as well as many additional art processes. It includes gopher pages with
links. information on hazards associated with the arts and
their control.
www.cdc.gov/niosh/homepage.html
Contains additional information on the topics
www.arcat.com/arcatcos/cos08/arc08376.cfm
discussed here.
Web site for the National Art Materials Trade
Association.
Occupational Safety and Health Administration:
www.osha.gov

Environmental Protection Agency: www.epa.gov

National Institute of Standards and Technology:

www.nist.gov

9
Painting/Printmaking
The hazards of painting and printmaking relate to the paints, inks, solvents, and corrosive materials associated with these activities. Carefully
review the Material Safety Data Sheet (MSDS) for the products your students will be using in the studio and identify the hazardous components in
each so you may inform your students. Learn how to protect your students by reviewing the information on the MSDS or by obtaining one of the
references listed on page 9 and reviewing the specific information on the materials being used. The following table identifies some of the hazards
associated with materials students may use in painting and printmaking and is followed by a list of precautions.

Activity Material Potential Hazard

Painting Paint pigments/ May be toxic by ingestion or inhalation (if mixing dry powders, sanding paints, or using pastels). Many inorganic
Chalk dust pigments contain highly toxic metals and some organic pigments may cause long-term effects such as cancer.
Wherever possible, substitute less toxic materials for powdered pigments containing lead, cadmium, or mercury.
Painting Vehicle Vehicles in paints may include solvents, oils, resin, and polymer emulsions that are released to the air as the paint
dries. They are moderately toxic. Some vehicles are adsorbed through the skin and others may cause skin
disorders.
Painting Solvents Solvents are used to thin paints and clean up materials. Solvents commonly used include turpentine, mineral
spirits, acetone, toluene, xylene, acetates, and petroleum distillates. These materials evaporate quickly, contami-
nating the air, and are moderately toxic by inhalation. Some solvents are adsorbed through the skin. Many are
flammable.
Painting Varnishes and These are solutions of natural and synthetic resins that are dispersed in solvents such as mineral spirits,
lacquers turpentine, methyl and ethyl alcohol, acetates, toluene, and petroleum distillates. After being applied, the solvent
base evaporates leaving the resin to react and harden. These solvents are moderately toxic by inhalation, and
many are flammable. Some solvents are adsorbed through the skin.
Spray Spray guns, airbrushes, and aerosol spray cans release very fine mist particles that can remain in the air for
Paint pigments,
applica- several hours and are readily inhaled. All of the materials identified above (solvents, pigments, resins, and paint
vehicles, and
tion vehicles) may be present. Spraying dramatically increases your risk of exposure to these toxic materials. Many of
solvents,
these solvents are also flammable and spraying them into the air creates a flammable atmosphere. High-pressure
varnishes/
spray guns may actually inject paint directly under the skin if it gets in the way of the spray.
lacquers
Print- Ink pigments, Same as paint (see above)
making vehicles, and
solvents
Print- Acids and A variety of acids and caustics are used to etch and clean various media in intaglio and lithography. These
making caustics materials are very corrosive to the skin, eyes and respiratory system, especially when concentrated.
Print- Miscellaneous A wide variety of miscellaneous materials used in lithography, intaglio, relief printing, and screen printing are
making materials irritants or moderately toxic. Consult the references on page 9 for information sources on these materials and their
hazards.

10
Painting/Printmaking Precautions for Your Students

• If possible, use tube or pre-mixed paints and commercially available inks to avoid mixing your own. If you mix your own pigments, do it in a
ventilation hood. Use water-based products instead of solvent-based ones where possible. Keep all chemical containers closed when they are
not in use.
• Never use your lips to point the end of your paintbrush or hold your brush handle with your teeth. Because your hands become contaminated
while working, do not eat, drink, or smoke in the studio. Wash your hands thoroughly when you finish working or leave the studio. Never
wash your hands in a solvent. If your hands have cuts or are chaffed, wear gloves. Chemicals can pass through these breaks in the skin and
enter directly into your blood stream. Washing your hands frequently may dry them out, increasing the risk for cracks and breaks to develop in
the skin. Apply skin moisturizers regularly to prevent your skin from drying out. Good personal hygiene is one of the most important ways
you can reduce your exposure.
• Use the ventilation measures described in this guide to control solvent exposures.
• Wear a full-length smock or coveralls in the studio and do not wear them outside the studio. Wash them frequently and separately from other
clothing. If toxic materials are being used, wear a full-length disposable smock or coveralls that are removed and properly disposed of in the
studio. Wear chemical protective gloves, apron, and eye protection (goggles) as necessary when handling solvents and corrosive chemicals, or
when cleaning brushes, screens, and other equipment.
• If you will be applying a pint or more of a product that contains a flammable solvent, remove all sources of ignition from the area. Store
flammable materials in a flammable-storage cabinet. Place all solvent-soaked rags and paper in self-closing oily waste cans and empty them
daily. Know the location of the closest fire extinguisher and learn how to use it.
• Perform spray applications in a paint-spray booth or other locally exhausted hood. Choose brushing techniques rather than spray applications
if possible.
• Avoid exposure to solvents during clean up by using disposable screens, brushes, and other equipment. Clean up small spills immediately.
• Use barrier creams to prevent casual contact with toxins.
• Wear glasses instead of contact lenses in etching studios to avoid acid vapors under the contact lenses.
• When moving heavy items such as litho stones, use appropriate lifting techniques, get help from another person, or use mechanical aids.

11
Ceramics
The hazards associated with ceramics have been recognized for hundreds of years. They are related to three aspects of the process: preparing and
molding the clay, glazing, and firing the clay. Carefully review the Material Safety Data Sheet (MSDS) for the products your students will use,
particularly glazing compounds, which often contain some highly toxic compounds. Identify the hazardous components in each product. Teach
students how to protect themselves either by reviewing the information on the MSDS or by obtaining one of the references listed on page 9 and
reviewing the specific information on the materials being used. The following table describes the potential hazards associated with different
ceramic processes.

Activity Material Potential Hazard

Mixing Dry clay Clay contains crystalline silica, which if inhaled over the course of many years can lead to the debilitating lung
dry clay disease silicosis. Loading and mixing dry clay in a clay mixer creates the most likely opportunity for exposure
to the silica-containing clay dust.
Mixing Talc Talc added to clay may be contaminated with asbestos or “asbestos-like” fibers.
dry clay
Mixing Clay mixer, Like all mechanical equipment, clay mixers have moving parts that could catch your hand or arm if you reach
dry clay bulk materials into it while it is operating. Bags of dry clay and clay additives are heavy; repeated lifting can cause back
injuries.
Handling Wet clay, Wet clay is a growth medium for mold and other microorganisms that can cause allergies and infections of the
wet clay potter’s wheel skin or nail beds. Mold can aggravate some pre-existing medical conditions such as asthma. Working with
clay for extended periods of time on a potter’s wheel can lead to a repetitive trauma disorder of the hand or
wrist.
Glazing Glaze Glazes are mixtures of silica, alumina, metal fluxes (such as lead, barium, lithium, calcium, or sodium), and
colorants. Some colorants contain highly toxic metals such as lead, cadmium, chromium, uranium, and
arsenic. These metals should not be used in school programs if at all possible because safer substitutes are
available. Many prepared glazes contain frits which are created by melting various glaze ingredients into a
glass and grinding them into a powder. Frits containing toxic metals are hazardous and should be handled
with caution since they can leach into the body over time and should not be used.
Firing Kiln Clay During the firing process, clay releases combustion products and gases whether using a fuel-fired or electric
kiln. These emissions include carbon monoxide, formaldehyde, sulfur oxides, chlorine, fluorine, metal fume,
and nitrogen oxides. Unless ventilation is excellent, metal fume particles such as lead and cadmium can settle
and contaminate other ware and surfaces. In addition, fuel-fired kilns release the products of combustion from
their fuel sources.
Firing Kiln Clay Infrared radiation emanates from hot (glowing) fired ceramics and can cause cataracts after long periods of
exposure. Unloading hot objects from a kiln can cause burns.

12
Ceramics Precautions for Your Students

• If possible, avoid exposure to clay dust by purchasing pre-mixed clay. If you mix your own clay, the mixer should have local exhaust
ventilation and be equipped with appropriate machine guards to prevent access to moving parts while operating. Consider wearing a respirator
when mixing clay.
• When lifting heavy items such as bags of clay, clay additives, or glazing compounds, use appropriate lifting techniques, get help from another
person, or use mechanical aids. Raise your potter’s wheel so you can work in an upright position.
• Use asbestos-free talcs. Regularly wet mop, hose down, or vacuum (with a HEPA vacuum) the studio—particularly the dry mixing area—to
remove potentially toxic dust such as silica and heavy metals. Do not allow spilled clay to dry; it can be crumble into an airborne dust.
• Purchase prepared glazes without toxic components whenever possible. If you do use or mix glazes containing highly toxic metals such as
lead, cadmium, arsenic, or uranium, your institution must meet the applicable OSHA regulations.
• If you mix your own glazes, wear gloves. Mix glazes under local exhaust ventilation or wear a respirator. Avoid spraying techniques that will
aerosolize the glazes. Instead, brush or drip glaze on your clay. If you must use spraying techniques, use a paint spray booth.
• Because your hands become contaminated while working, do not eat, drink, or smoke in the studio. Wash your hands thoroughly when you
finish working or leave the studio. Good personal hygiene is one of the most important ways you can reduce your exposure.
• Regularly apply hand cream to replace lost oils and to keep your hands from drying out. Cover cuts or other broken skin with gloves to prevent
infections
• Wear a full-length smock or coveralls in the studio and do not wear them outside the studio. Wash them frequently and separately from other
clothing.
• Wear a disposable smock or coveralls if working with toxic metals. Remove the smock or coveralls before leaving the studio and dispose of
in your institution’s designated hazardous material container.
• All kilns must be locally exhausted and vented to the outside. Keep combustible materials, particularly flammable materials, away from kilns.
Small kilns should be raised at least a foot off the floor with a refractory brick placed underneath. Keep a fire extinguisher close by and know
how to use it.
• Wear appropriate shaded eye protection when looking directly into the kiln.

Note: If you are creating ceramics that will come into contact with food or drink, select a food-safe glaze that is periodically tested by a laboratory.
Some glazes contain heavy metals such as lead and cadmium that can leach from glazed items after they have been fired. Using prepared glazes
labeled “food safe” will not assure a safe product since small variations in application and firing can alter leaching characteristics. Most glazes
leach their metals faster when exposed to acid solutions such as orange juice. The federal government has developed test protocols for evaluating
the leachability of glazes and strict guidelines for the maximum acceptable lead/cadmium release from ceramic food ware.

13
Sculpture and Modeling Materials
The hazards associated with sculpture and modeling materials relate to the materials used in this art form and the techniques used to shape the
medium. Materials include a variety of soft and hard stones, cement, plaster, self-hardening clays, and plasticine. Carefully review the Material
Safety Data Sheet (MSDS) for the products you will use or the media with which you will work (such as the type of stone) and identify the
hazardous components in each. Learn how to protect yourself either by reviewing the information on the MSDS or by obtaining one of the
references listed on page 9 and reviewing the specific information for your materials. The following table describes the potential hazards
associated with sculpting and modeling. The list of precautions below describes ways to protect yourself from these hazards.

Activity Material Potential Hazard

Sculpture Stones Stone carving involves chipping, carving, grinding, and polishing. The shaping process involves using hand tools to
shape softer rocks, while harder rocks may require electric or pneumatic tools. By law, stone quarries must provide
MSDSs on the stones they sell which must list all toxic materials such as silica and asbestos. Shaping processes generate
flying chips of rock that can injure eyes and dust that can be inhaled. Sandstone, soapstone, slate, and granite are
examples of rocks that contain large amounts of free silica that can become airborne during shaping. Stones such as
serpentine, soapstone, and greenstone may contain asbestos.
Sculpture Tools Pneumatic and electric shaping tools may create high levels of noise and vibration. Exposure to loud noise can cause
hearing loss over a long period of time. Using vibrating hand tools over an extended period of time can lead to Raynaud’s
syndrome, a condition in which hands cramp up, lose circulation, and are unable to move. Untreated it can lead to
permanent hand impairment. Improperly grounded electrical tools may cause electrical shock, particularly if water is used
to control dust. The hand tools used in carving can cause cuts and bruises if they are used improperly.
Sculpture Plaster Plaster dust (calcium sulfate) adsorbs water rapidly from any moist surface (such as skin or eyes) it contacts and can be
very irritating to the skin, eyes, and respiratory system. Sometimes lime (calcium oxide), acetic acid, potassium sulfate, or
other compounds are added to plaster to either retard or hasten the setting of the plaster. These materials are also irritants.
Sculpture Cement Cement, which is a mixture of lime, alumina, and silica, is a strong skin, eye, and respiratory system irritant for the same
reasons as plaster.
Modeling Clays Self-hardening clays contain clay mixed with plastic resins and hardening agents. Non-hardening clays contain oils and
petrolatum. Additional (often proprietary) materials are added to provide the desired properties. Consult the MSDS for
your clay for a list of the materials it contains. Some materials in these products are irritants, while other materials (in
self-hardening clays) have not been adequately tested for their health effects.
Modeling Wax Overheating wax can result in release of decomposition products that are highly irritating if inhaled. Chlorinated
synthetic waxes are highly toxic though skin contact and absorption. Overheating wax containing water may lead to an
explosion. Solvents used to dissolve wax may be moderately to extremely toxic.
Modeling Plastics A wide variety of resins (acrylic, phenolic, epoxy, polyester silicone, and polyurethane) may be used to mold, cast, and
form plastic sculpture. As resins cure, some of the chemical components volatilize. They may reach high concentrations
if used in large volume or if the work area is poorly ventilated. These materials are often irritants and may be toxic by
skin contact or inhalation. Some are skin and respiratory sensitizers. Two-component urethane resin systems release
extremely toxic isocyanates for which there are no approved air-purifying respirators. They may only be used with a
supplied air hood.
14
Sculpture and Modeling Materials Precautions for Your Students

• Obtain MSDSs on your stones and make certain that they are asbestos-free and, if possible, low in silica content, such as limestone.
• Wear goggles to protect your eyes against stone chips. Wear a respirator. Wear steel-toed shoes to protect your feet.
• If you are using power tools to work stone that contains high concentrations of silica or other hazardous materials, equip your tools with point-
of-operation local exhaust ventilation. To remove silica dust, wet mop the studio or vacuum with a HEPA-filtered vacuum. Never dry sweep.
Applying a fine water spray over your sculpture while carving will significantly reduce the generation of dust.
• When using a hand-carving tool, keep your hands behind the tool and cut away from your body. When lifting heavy items, such stones or bags
of plaster or cement, use appropriate lifting technique, get help from another person, or use mechanical aids.
• Because your hands become contaminated while working, do not eat, drink, or smoke in the studio. Wash your hands thoroughly when you
finish working or leave the studio. Good personal hygiene is one of the most important ways you can reduce your exposure.
• Wear a full-length smock or coveralls in the studio and do not wear them outside the studio. Wash them frequently and separately from other
clothing. Better yet, wear disposable smocks or coveralls.
• Do not overheat wax. Use a temperature-controlled crock pot or a double boiler.
• Dissolve wax in the least hazardous solvent and do not use chlorinated synthetic waxes.
• Do not use oil-based modeling clay that contains sulfur which can cause sensitivity.
• Make sure all electrical tools are double insulated, properly grounded, and connected to a ground fault circuit interrupter (GFCI).
• Wear hearing protection such as earplugs or muffs when using noisy tools. If possible, enclose noisy equipment such as pneumatic
compressors or move it as far away as possible.
• Wear gloves and goggles as necessary to protect your hands and eyes from contact with irritating substances in plaster and cement. Wear a
respirator while handling large quantities of dry material.
• Use ventilation (as described in this document) to control exposures during the curing of resins.
• Wear chemical protective gloves, apron, and goggles as necessary when handling bulk quantities of resins. If you will be applying a pint or
more of a product that contains a flammable solvent, remove all sources of ignition from the area. Store flammable materials in a flammable-
storage cabinet.

15
Woodworking
Woodworking hazards include the wood itself, preservatives that may be present within wood, hand and machine tools used to shape it, glues used
to fasten pieces together, and finishing compounds that provide a surface coat. Carefully review the Material Safety Data Sheet (MSDS) for the
products your students will use or the media with which your students will work (such as the type of wood) and identify the hazardous materials
involved in their projects. Teach your students how to protect themselves either by reviewing the information in the MSDS or by obtaining one of
the references listed on page 9 and reviewing the specific information on the materials being used. The following table describes the potential
hazards associated with woodworking. The list of precautions below describes ways your students can protect themselves from these hazards.

Activity Material Potential Hazard

Wood- Woods The dusts from many hardwoods are sensitizers, and both hardwoods and softwoods can cause allergic reactions of the
working eyes, skin, and respiratory system. Wood dust can also be toxic (for example, ebony, rosewood, blackwood, sequoia,
and redwood). It is believed that some hardwoods cause a particular type of nasal carcinoma after an extended exposure
and a long latency period. Softwoods are generally considered safer to work with.
Wood- Wood Many of the preservatives used to treat wood are quite toxic (for example, pentachlorophenol, chromated copper arsenate,
working preservatives zinc, and copper naphthenate). Exposures can occur from sawing wood or from handling the wood with bare hands.
Wood- Tools Machines used to shape or cut wood are noisy and can lead to hearing loss. Severe accidents can occur if: 1) hands or
working other body parts come in contact with unguarded moving parts, 2) cutting surfaces are dull, or 3) equipment is used
improperly. Extended use of vibrating hand tools can cause deterioration of the muscles and tendons in the hand and
cause Raynaud’s syndrome, a condition in which hands cramp up, lose circulation, and are unable to move. Untreated it
can lead to permanent hand impairment. Improperly grounded electrical tools may cause electrical shock.
Wood- Sawdust Fine sawdust suspended in the air in an enclosed environment can explode if it comes in contact with an ignition
working source.
Wood- Glue Some of the glues and adhesives used in woodworking (epoxy, cyanoacrylate, formaldehyde resin, and contact
working adhesives) are moderately toxic and may cause skin and respiratory irritation.
Wood- Paints and Wood may be finished with paint, stain, lacquer, varnish, and various types of oil. These products contain solvents that
working other solvent- evaporate quickly and contaminate the air. They are moderately toxic by inhalation. Some solvents are adsorbed
based through the skin. Many of these solvents are flammable. Oily rags can spontaneously.
finishes

16
Woodworking Precautions for Your Students

• If possible, use less-toxic softwoods instead of rare tropical hardwoods and more highly toxic hardwoods, particularly if you have a history of
allergies.
• All floor-mounted woodworking equipment should be fitted with local exhaust ventilation at the point of operation and filtered. If possible,
select hand tools that have attached dust collectors. If your hands have cuts or are chaffed, wear gloves. Wear respiratory protection when
working with exotic hardwoods or when using equipment that is not locally exhausted. Wear hearing protection such as earplugs or muffs
when using noisy hand tools or machines. Wear goggles when working with equipment that generates dust or chips. Make sure all equipment
is equipped with guards, and consider panic buttons for shutting off equipment in an emergency. Only use equipment on which a qualified
instructor has given you a safety and operational orientation.
• When cutting and handling wood treated with preservative, wear a respirator and gloves. Wash thoroughly when finished and before eating,
drinking, or smoking. Never burn wood treated with preservative.
• Do not use treated wood for sculpture. When working with found objects or scrap wood, be sure you do not accidentally cut or burn treated
wood.
• When using hand-carving tools, keep your hands behind the tool and cut away from your body. Keep tools sharp.
• Vacuum up wood dust regularly.
• Substitute the more toxic glues identified above with safer “white glue” (polyvinyl acetate) whenever possible. Wear a light pair of gloves
when handling epoxy, cyanoacrylate, formaldehyde-resin glues, or contact adhesives. Wear chemical protective gloves and goggles as
necessary when handling solvents or cleaning brushes.
• If you will be applying a pint or more of a product that contains a flammable solvent, remove all sources of ignition from the area. Make sure
you have adequate ventilation. Store flammable materials in a flammable-storage cabinet. Place all solvent-soaked rags and paper in self-
closing oily waste cans and empty them daily. Know the location of the closest fire extinguisher and learn how to use it.
• When finished working or leaving the shop, wash your hands thoroughly with soap and water. Never wash your hands in a solvent. Chemicals
can pass through breaks in the skin and enter directly into your blood stream. Washing your hands frequently may dry them out, increasing the
risk for cracks and breaks to develop in the skin. Apply skin moisturizers regularly to prevent your skin from drying out. Good personal
hygiene is one of the most important ways you can reduce your exposure.

17
Photography
The hazards associated with photography relate to the chemicals used in the photographic process, some of which can cause severe skin and
respiratory reactions in sensitized individuals. Choose products that contain less toxic compounds when possible. Carefully review the Material
Safety Data Sheet (MSDS) for the products your students will use and identify the hazardous materials involved in their work. Teach students how
to protect themselves either by reviewing the information on the MSDS or by obtaining one of the references listed on page 9 and reviewing the
specific information on the materials they are using. The following table describes the potential hazards associated with photo processing. The list
of precautions below describes ways students can protect themselves from these hazards.

Activity Material Potential Hazard

Photography Photochemicals The organic and inorganic chemicals found in black-and-white and color photographic processing solutions can
adversely affect the skin and respiratory systems after direct skin contact or inhalation. Organic amines found
in developer solutions can cause allergic contact dermatitis. Some individuals become severely sensitized to
these chemicals and can no longer work in darkrooms. Acidic solutions (found in stop baths) and bleaches are
skin irritants and cause skin rashes. Many of the chemicals in photo processing solutions are highly toxic if
ingested. Photo processing working solutions emit a variety of respiratory irritants including acetic acid,
formaldehyde, hydrogen sulfide, and sulfur dioxide. Exposure to these irritants can cause increased
susceptibility to respiratory infections. Long-term exposure to high concentrations can cause acute and chronic
bronchitis. Some photographic chemicals, typically associated with bleaches and toners, may be extremely
toxic and include cyanide, chrome, lead, and mercury compounds. Highly irritating and toxic substances can
become airborne if stock or working solutions are mixed with incompatible materials, such as mixing stop bath
solutions with fixer, toner, or any bleaching solutions. Photochemicals can cause severe burns to the eyes.

18
Photography Precautions for Your Students

• Wear gloves, chemical splash goggles, and an apron when mixing working solutions and pouring them into trays or other equipment. If highly
toxic compounds are involved, do it under local exhaust ventilation. Use premixed chemicals instead of dry chemicals if possible.
• Wherever possible, substitute less-toxic alternatives for highly toxic photochemical developers, toners, and bleaches. Consult the product’s
MSDS.
• When working with powders for special projects, perform measuring and mixing in a glove box.
• Never put your bare hands in working solutions (particularly developer solution, which may contain a strong sensitizer). Use tongs instead. If
you come in contact with any solutions, wash the affected area immediately with soap (acidic cleanser such as pHisoderm) and water. When
finished working or when leaving the darkroom, wash your hands thoroughly.
• Wear a full-length smock or coveralls in the darkroom and do not wear them outside the darkroom. Wash them frequently and separately from
other clothing.
• Never eat, drink, or smoke in the darkroom.
• Store concentrated photochemicals (particularly stop baths) on low shelves where they will not spill and splash your face or eyes. Store
photochemicals in original or polypropylene containers—never glass.
• Always turn on ventilation when working with chemicals. Darkrooms that process prints in open trays should be equipped with local exhaust
“slotted” ventilation that draws air from the back of the trays. If local exhaust ventilation is not provided, the darkroom should have a general
exhaust rate of at least 10 room air changes per hour. The complete volume of air in the room is exhausted every six minutes. Fresh make-up
air should be introduced into the darkroom from behind the photographer.
• Cover working solutions when not in use.
• Learn where the eyewash station and safety shower are located and know how to operate them.
• Clean up any spills immediately. Keep the work area uncluttered.
• To prevent the release of toxic gases, never mix stop bath solutions directly with fixer, toner, or any bleaching solutions.
• To the degree possible, separate electrical equipment from water sources and install ground fault circuit interrupters.

19
Metalworking
The hazards associated with metalworking depend on the type of work performed and methods used. Artists may weld, braze, or solder metals as
well as cast or forge them. Carefully review the Material Safety Data Sheet (MSDS) for the products your students will use and identify the
hazardous materials involved in their projects. Teach your students how to protect themselves either by reviewing the information on the MSDS or
by obtaining one of the references listed on page 9 and reviewing the specific information on the materials being used. Before students use metal
working equipment, have a qualified instructor provide a safety and operational orientation for them. The following table describes the potential
hazards associated with metalworking. The list of precautions below describes ways your students can protect themselves from these hazards.

Activity Material Potential Hazard

Metal Mold The sand used in molds has high silica content, which can become airborne when being mixed with binders and
casting making resins. Some resins (phenol-formaldehyde, hexamethylenetetramine, polyurethane) are moderately toxic by skin
contact and inhalation. Some mold releases may contain asbestos as a contaminant.
Metal Melting and Melting metal can liberate metal fume (a small, deeply inhaled particle). The lead and zinc commonly found in
casting pouring bronze, as well as other metals, are highly toxic in this form. Furnaces may generate combustion products, such as
metal; carbon monoxide, that are highly toxic. Furnaces also generate high heat and infrared radiation that can lead to heat
removing stress, skin burns, and possible cataracts. Pouring metal liberates metal fume, and the hot metal will burn the
molds organic resins and binders in the sand mold, releasing potentially toxic decomposition products. Molten metal can
cause severe burns. Breaking up sand molds can release high levels of silica dust.
Metal Hot or cold Metal forging involves shaping hot or cold metal with hammers and generates high noise levels and potential for
forging metals crushing injuries. The furnaces used to heat metal may generate combustion products, such as carbon monoxide,
that are highly toxic. Furnaces also generate high heat and infrared radiation. Hot metal can cause severe burns.
Welding, Metals and The welding process generates a number of toxic air contaminants, including metal fume. If high energies are
brazing, fluxes and involved, such as in arc welding, oxides of nitrogen, ozone, and highly irritating acidic gases can also be created. If
soldering welding the metals being welded are coated with metals such as lead paint, zinc, chrome, cadmium, or other toxic materials,
rods these metals will become vaporized and could be highly toxic if inhaled. Cobalt, chromium, cadmium, nickel, and
beryllium are carcinogenic and cause brain damage. The ultraviolet radiation emitted from arc welding can
transform chlorinated hydrocarbons into extremely toxic phosgene gas. Oxyacetylene torches produce carbon
monoxide. The physical hazards associated with welding include electric shock (arc welding), burns, fires, and
exposure to infrared and ultraviolet radiation. Lead and zinc are sometimes found in brazing rods, and fluoride and
lead are common hazards associated with soldering.

20
Metalworking Precautions for Your Students

• Use silica-free sand. Mix molding sand under local exhaust ventilation if possible. Otherwise, wear appropriate respiratory protection.
• If possible, avoid using formaldehyde and polyurethane resins in molding sand and all asbestos-containing mold releases. Avoid using metals
that contain lead, zinc, nickel and other toxic metals.
• The furnace should be locally exhausted to remove combustion gases and fume generated from molten metal (casting).
• Wear appropriately shielded goggles, a helmet and/or a face shield (depending on the work you are doing), coveralls, apron, insulated gloves,
and shoe coverings when working around hot metal and furnaces. Wear earplugs or muffs while forging.
• Work in pairs to pour metals into molds or use mechanical lifting aids. The pouring area should be equipped with local exhaust ventilation and
contain a sand pit to catch overflow metal. Never pour directly over cement. Never let molten metal come in contact with water, grease, oil, or
other organic materials.
• Keep a fire extinguisher close by and know how to use it.
• Before using welding equipment, carefully review the manufacturer’s operational and safety procedures for all electrical equipment,
compressed gas cylinders, regulators, and torches. After reviewing this information, obtain additional instruction and assistance in using the
equipment from a qualified instructor. Follow all operational and safety instructions for your equipment.
• Report any damaged welding equipment to your instructor immediately.
• Use local exhaust ventilation to collect air contaminants generated while welding.
• Never store or use chlorinated hydrocarbons or flammable or combustible materials in the same area in which you are welding, particularly arc
welding. Use a welding curtain to shield your work from others.
• Do not eat, drink, or smoke in the studio. When finished working or leaving the studio wash your hands thoroughly. Good personal hygiene is
one of the most important ways you can reduce your exposure.
• Wear a full-length smock or coveralls in the studio and do not wear them outside the studio. Wash them frequently and separately from other
clothing.

21
Glass Making
The hazards associated with glass making relate to the processes and materials used. Glass making includes mixing, firing, melting, working, and
annealing the glass. Carefully review the Material Safety Data Sheet (MSDS) for the products your students will use and identify the hazardous
materials involved in their projects. Teach your students how to protect themselves either by reviewing the information on the MSDS or by
obtaining one of the references listed on page 9 and reviewing the specific information on the materials being used. The following table describes
the potential hazards associated with metalworking. The list of precautions below describes ways your students can protect themselves from these
hazards.

Activity Material Potential Hazard

Glass Formers, Glass formers include silica in the form of sand, silica flour, or flint. Chronic inhalation of free silica can lead to
making flux, and silicosis. Chemicals used in glass making, including lead compounds, arsenic oxide, antimony oxide, and sodium
stabilizers cyanide, are highly toxic causing cancer, brain damage, and other target organ damage. Potassium carbonate,
sodium carbonate, and lime are corrosive to the skin, eyes, and respiratory system.
Glass Firing, Gas-fired furnaces give off carbon monoxide. Melting products to make glass produces toxic gases. Furnaces and
making melting, and ovens give off tremendous amounts of heat. Thermal burns can result from reaching into the furnace. Infrared
annealing radiation from the molten glass can cause burns and cataracts. Refractory ceramic fibers used in the boards and
blankets around furnaces may be carcinogenic.
Free Molten glass Furnaces generate high heat and infrared radiation. Molten glass can cause severe burns. Heavy gathers of glass
blowing and and a steel blow pipe involve considerable expenditure of physical energy. Addition of colorants can result in the
glass decorations vaporization of metal fumes.
Cutting and Tools such There is danger of injury from glass breakage. Dust may be inhaled. Etching acids are highly corrosive.
finishing as saws and
glass grinders.
Chemical
etching
agents.

22
Glass Making Precautions for Your Students

• Use cullet whenever possible to eliminate dust.

• Use premixed, pelletized batches when possible.
• Substitute less toxic chemicals for fluxes and stabilizers. Avoid using lead, arsenic, and antimony compounds. Do not use sodium cyanide if
at all possible.
• Use local exhaust when weighing out glass blowing materials.
• Wet mop all powder spills.
• Do not eat, drink, or smoke in work areas. Wash hands frequently.
• Wear appropriate personal protective equipment including long-sleeved cotton shirts, infrared goggles, and gloves. Use shields to protect
from infrared radiation.
• Provide proper ventilation for all furnaces and insulate them with firebrick or other refractory materials. Do not use asbestos and avoid
refractory ceramic fibers.
• Take frequent rest breaks and acclimate your body to the heat slowly.
• Use painting and dipping instead of spraying when decorating glass. Wear appropriate personal protective equipment.
• Perform fuming, firing, or marvering with metal salts using local exhaust ventilation.
• Make sure an eyewash station and emergency shower are readily available.
• Use less hazardous abrasives when cutting and finishing glass such as alumina or silicon carbide. For abrasive blasting use an enclosed
machine or appropriate blasting hood and respirator.
• Do not use hydrofluoric acid solutions for etching. Use ammonium bifluoride pastes instead.

23
Thomas C. Ouimet is project manager and the former associate director
of occupational health and safety in Yale University’s Office of
Environmental Health and Safety. A Certified Industrial Hygienist and
Certified Safety Professional, he develops and manages university
biological, chemical, and physical safety programs. Ouimet is a frequent
presenter at meetings of the American Industrial Hygiene Association. He
may be contacted at tom.ouimet@yale.edu.

© 2000 United Educators. United Educators member institutions have permission to copy
and use this material in connection with their own campus risk management programs. All
other reproduction is prohibited without the express permission of United Educators.

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