Sunken eyes and ill health were once the common sign of the artist. Many earlier paints and other materials were deadly enough to kill and often did. Genuine 'Emerald green' paint for example was based on arsenic and was powerful enough to also be used to remove barnacles from ship hulls. Poisoning from lead and other heavy metals was very common, particularly so in the case of artists who prepared their own paints.

Nowadays, art workers are more aware of the inherent dangers in many of their materials but confusion still exists as to what is safe to use and what could present a hazard. Although there has been much written on the subject, an alarmist view is often taken which can only cause confusion. Without a doubt certain materials can cause harm if used dangerously and many art workers still risk their health through ignorance.

Seals and statements to cover all aspects of health labeling are in use world wide. Different systems operate in the USA and Europe which give very good coverage.

Although awareness in this vital area is spreading much still needs to be done. Several years ago, when living in Australia, I discovered that a known carcinogenic (used in photographic processing) had the very explicit label which had been applied in the USA removed on landing. In order to ensure continuous sales it was replaced by a 'use with caution' sticker. In an attempt to have the laws in this area tightened I contacted various Government Health and Safety Departments. The most encouraging response was, “call back next year and we can discuss the matter”. At the time I had the full support of the relevant bodies in the USA. It all came to nothing. Hopefully things will have changed.

At the end of the day common sense is probably more important than all the health warnings put together.

Inhalation

The greatest potential threat to the art worker is through the inhalation of fumes, dusts, vapours and powders. When contaminated air is inhaled, a wide variety of substances can enter the body. 'Adequate ventilation' varies with the materials being used and is particularly important when working with spray adhesives, solvents and spray fixatives. The Graphic artist using a spray adhesive in a confined space and the silk screen worker suffering a headache after exposure to solvents are both risking their health.

As well as ensuring adequate ventilation, a suitable mask should be worn when spraying any material. Fine powders should also be treated with respect. Sanding back an old oil painting for example, will release fine particles of paint and primer which will probably contain Lead, Cadmium and other heavy metals. It would also be sensible to wear a light face mask when working with pastels. Not only are the ingredients in pastels almost never given, but any fine powder is best kept away from the lungs, toxic or not.

If you are using an exhaust system place the exhaust ports close to the contaminant so that it is quickly removed. If you are spraying or using a solvent, keep the contaminated air between you and the exhaust port so that it can be drawn away from you, not past you.

Fans do not give adequate ventilation in the case of contaminated air, all they do is shift the air around in the room. I mention this as I once went into a room used for silk screen printing, in a technical college, which was 'ventilated' by ceiling fans. Several of the students were outside suffering mild headaches. The reason for the lack of suitable fume extractors was given as inadequate finance. To my mind it would be better to have closed the department rather than risk the health of the occupants.

Ingestion

The fine artist is probably more at risk than others in this area as many seem determined to add paint to their diet. Common sense will keep paint out of your inside. You can expect to ingest paint and additives if you:

Absorption

The most common method of absorbing material through the skin is by washing the hands in solvents like turpentine or mineral spirits. Other products with a high concentration of solvent such as rubber cement thinner can also be absorbed. Traces from paints applied to the skin, (particularly whist being removed by a solvent) can be absorbed. Many painters seem to feel the need to look 'arty' by allowing paint to remain and build up on their skin. In fact many seem to be permanently up to their armpits in paint. They might look the part but they run the risk of absorbing potentially harmful substances into the body. You can avoid such risks by:

• Using soap or a prepared hand cleaner for cleaning up rather than a solvent such as turpentine.
• Wash your hands before handling contact lenses or using the bathroom.
• If you spill solvent on your clothing, change and wash the affected skin area.
• Wear suitable gloves when handling solvents.

Heavy Metals

There are few heavy metals to be found in modern artists paints. Compounds of Lead, Cadmium and Cobalt are the main examples and are easily identified. (Flake White, Cadmium Reds and Yellows and Cobalt Violet etc.). Treat them with respect or their use will eventually be banned. We will then be deprived of some of our better pigments. Metallic compounds can cause damage through cumulative action. Tiny amounts ingested over time can lead to eventual damage. Never spray apply any paint based on a metallic compound. Keep them away from children or the mentally handicapped.

There is no reason whatsoever to avoid these materials, some of which make superb paints. Just be sensible, you don't have to eat the stuff - its too expensive anyway.

Warning Labels

Should you avoid products with health warnings on the label? Quite the contrary. Follow the precautions suggested and you can use the product with safety. If you avoid such products, certain manufacturers and distributors will resist issuing them (where possible) as they will lose sales.