nontoxicprint

    Subject Overview: All Paint Topics

    Of ill Health, Unexplained Crystals, and Recovery

 

    Safe Oil Painting: Goodby to Turpentine

Main Source: Making Art Safely: Alternative Methods and Materials in Drawing, Painting, Printmaking, Graphic Design, and Photography, by Merle Spandorfer (picture), Deborah Curtiss, Jack Snyder, MD |  New York, 1992

 

Francesco Clemente: Sun, 1980, tempera on paper mounted on cloth, 91in x 95in. (Courtesy Philadelphia Museum of Art, Edward and Althea Budd Fund, Katherine Levin Farrell Fund, 20th Century Art Restricted Fund, and Funds contributed by Mrs. H. Gates Lloyd.)

 

 

Potential Hazards in Painting

The 1988 Labeling of Hazardous Art Materials Act requires manufacturers to list all potentially harmful substances in their paints and paint products. By now most labels should contain a fairly complete list of ingredients, including pigment composition, binder, solvents, and additives. Trade secret confidentiality, however, permits some manufacturers to withhold potentially important information from the customer. For example, if the amount of formaldehyde (a preservative) in a product is less than 1 percent, a manufacturer does not have to list this ingredient on the label. Unfortunately, the complete contents of some paint products, especially those purchased before November 1990, may be impossible to identify.

Most paint generally consists of:

- Coloring agents: pigments or dyes

- A binder: acrylic, egg, gum Arabic or traganth, milk/casein, linseed oil, plaster, resins, wax, or a combination thereof

- A liquid vehicle: organic solvent, oil, or water

- Inert ingredients to add bulk: chalk, diatomaceous earth, marble dust, mica, silica, talc, or whiting

- Paints may also include additives that affect paint characteristics:

- Preservatives to decrease acidity and mold

- Plasticizers, stabilizers, surfactants, and wetting agents to suspend and disperse color in the binder and vehicle

- Retarders (antioxidants) or dryers to slow or accelerate drying time

- Chemicals to prevent discoloration

- Agents that affect sheen: matte or glossy  

Although it has been banned from consumer paints for years, lead is still found in automobile, boat, and artist paints. The luminous and pearlescent qualities of lead white have been prized by some artists. Most health professionals, however, strongly discourage use of any lead containing products by artists of any age. Currently, there is unequivocal consensus among health experts that lead in the forms used by artists presents a substantial health hazard. We therefore strongly recommend the elimination of all lead containing products from the studio. Artists may wish to experiment with micaceous pigments to replace use of lead white. 

Some reds, oranges and yellows, highly prized by many artists, may contain cadmium, as suspected reproductive toxin and suspected carinogen. As of this writing, artist advocacy groups are endeavoring to retain production of cadmium colors for artist use. Realistically, we know that some artists will persist in the belief that the aesthetic merits of lead white and cadmium colors outweigh any health risks. For those artists, we have three suggestions: (1) minimize dermal, oral, and inhalation exposure to any material known to contain these pigments; (2) inform everyone who enters the studio that toxic pigments are present; and (3) label any work that contains lead, cadmium, or any of the previously mentioned less common toxic metal pigments, so that purchasers and conservators have notice of the presence of a toxic metal.

Takashi Murakami, (c), Tan Tan Bo, (2001)

the inventor of superflat art mainly works

with acrylic paints

Pigments that contain metals such as iron oxides (Indian, Mars, Tuscan, bole, ochre, Venetian, Spanish oxide colors), silver, strontium, tin, titanium, tungsten, zinc, and zirconium have no known significant hazards. Pigments that contain metals such as iron oxides (Indian, Mars, Tuscan, bole, ochre, Venetian, Spanish oxide colors), silver, strontium, tin, titanium, tungsten, zinc, and zirconium have no known significant hazards.

Metallic, premixed paints with a sheen formed by combinations of aluminum, bronze, copper, gold, silver, stainless steel, tin, titanium, and zinc with other colors are relatively nonhazardous. Metallics containing mercury as well as leadshould be avoided. Premixed iridescent and interference colors given a sheen by inclusion of mica and micaceous oxide (hematite) powders have not been associated with adverse health effects.

Nathan Oliviera, Stanford University studio. There is a vacuum fan directly above the painting area to exhaust vapors. Artists, like those in other professions, must become aware of what they use in creating their work. Dangerous chemicals and solvents are no different for artists to use than anyone else. It is my belief that it is the responsibility of learning institutions to educate young artists about the hazards that do exist. It is then the artist’s responsibility to use, or not use, safeguards as they see fit. I further believe that it is not in the interests of artists to ban hazardous materials from the marketplace.

Organic Pigments and Dyes Organic pigments offer an increasingly diverse array of new, alternative colors. For many years, alizarin crimson and phtalocyanine blue and green were the only organic pigments of satisfactory quality for artist oil paints. Some coloring agents incompatible with oil, however, proved to be miscible, brilliant, permanent, and colorfast in an acrylic base. Organic pigments and dyes attach or bind to materials (including skin) in the absence of a binding agent. Most of the organic coloring agents listed in Table 6.2 have no significant short-term health effects. Long-term effects remain unknown or are under study. Therefore, responsible, prudent artists avoid inhalational, oral, and dermal exposure when using organic pigments.

For many years, phthalocyanine colors were manufactured with polychlorinated biphenyls (PCBs). PCBs are probable animal carcinogens that may also cause skin problems (chloracne) and liver dysfunction in humans. PCB contanimation of dry colors was strictly regulated by the Environmental Protection Agency in the early 1980s. If you phtalocyanine paints produced prior to 1982, discard them. Dry pigments produced after 1982 may still contain trace amounts of PCBs at levels less than 50 parts per million (Rossol 1988).

PAINTING PROCEDURES

In the pages that follow, we separate aqueous mediums, which may be thinned and cleaned with water, from nonaqueous mediums, which require organic solvents for mixture and cleanup. We identify as many ingredients as possible, their potential adverse health effects, appropriate precautions, and, when relevant or possible, safer material and procedural alternatives.

PREPARING THE PAINTING SURFACE

Some painting processes require that the ground-whether canvas, paper, or panel-be sized, sealed, or primed to achieve a desirable painting surface. Most handmade or commercial papers for watercolor painting are presized as part of the manufacturing process, but many artists choose to modify them with coatings of Chinese white or acrylic or acrylic gesso.

Gesso originally referred to a concoction specifically designed to isolate wood panels so their resins would not bleed into egg tempera. Later, gesso also meant a procedure designed to size and isolate canvas from oil paints. Gesso began with two or more coats of rabbit-skin glue (dissolved in water in a double boiler) to seal the wood or size the canvas.

This was followed by one or more coats of whiting (calcium carbonate) and zinc or titanium white bound with rabbit-skin glue. With the advent of oil painting on canvas, the procedure was often completed with one or two coats of white lead paint to provide a luminous undercoat. Each step involved hours of drying time, such that several days may be required to properly prepare wood panels or canvas by this method.

With the development of acrylic paints in the late 1940s, acrylic gessos were formulated to mimic the sizing and undercoating properties of traditional gesso. 

Essentially nontoxic (some individuals may have allergic reactions to preservatives), premixed acrylic gesso consists of acrylic polymer mediums, titanium white, whiting (marble dust or calcium carbonate), and small amounts of ammonia and preservatives. Acrylic gesso simultaneously sizes, isolates, and primes a canvas for use with either water-based or oil-based paints. Equally effective with canvas, paper, wood, and synthetic panels, the ground support can be prepared for painting in half a day.

While easier, more convenient, more versatile, faster, and safer than traditional gesso, there is at least one hazard associated with acrylic gesso. To avoid accumulation of ammonia and preservative vapors, which irritate the eyes and mucous membranes, apply acrylic gesso in a well-ventilated space. Cross-ventilation with open windows and doors is usually sufficient.

AQUEOUS MEDIUMS

Water-soluble paints offer the safest painting options. These paints, however, may develop mold or increase acidity, so preservatives must be added. Formaldehyde or formaline, mercury (phenylmercuric acetate), ammonia, bleach (sodium hypochlorite), and/or phenol (carbolic acid) can be found in paint formulations. Mercury was regulated in the manufacture of paints in 1990 but still may be present in paints you may have on hand. Water-soluble paints containing mercury should be discarded. In most products, the amount of formaldehyde is very small; adverse health effects are not expected.  However, if you use water-soluble mediums regularly (including drawing media and printing inks) and have breathing difficulty or skin rash typical of allergic reaction, seek medical evaluation. Watercolor paints contain finely ground pigments bound with gum Arabic or gum traganth.

When thinned with water, these paints deposit a light, translucent film of color onto paper (color plates). By definition, they are not waterproof; they may be altered by moisture. A wide range of quality and colors is available, in both tube and dried form. Tube colors may also contain nontoxic glucose and glycerin. The opacity of gouache colors is due to high concentrations of pigment and chalk, whiting compound, or talc opacifiers suspended in gum binder. Professional-quality gouache can be brilliant in its coloring power. Like tempera, casein, and acrylic colors, gouache may be used as underpainting to reduce time spent  with nonaqueous solvent-based oil paints.

Binding power may be enhanced in watercolors or gouache by increasing the proportions of sugar syrup, gum arabic, or gum tragacanth.  Always add gum powders in a glove box or while wearing a particle mask. Except for rare allergic responses to preservatives, watercolor and gouache are not associated with adverse health effects.

Tempera is a term with many meanings. It may refer to pigments sold in powdered form or suspended in a variety of binders and vehicles. The classic form of tempera is egg tempera, which uses egg yolk as the binding agent and water as the vehicle. Since egg serves as an emulsifier that allows mixing of oil and water, egg tempera can be combined with linseed oil, resin, wax, or gums. Each combination has unique qualities for the artist. Another common tempera mixture, known as distemper, contains dry pigments bound with rabbit-skin glue. Due to their brilliant flat color, distemper mixtures are frequently used to paint stage scenery. Tempera may also refer to cheaper forms of gouache sold in tubes.

Poster paints consist of dry paints and reducers (inert fillers such as whiting) in a medium of gum, water, and preservatives. Casein paints contain pigments mixed with a powerful binder derived from dried skim milk curd. While they may be thinned with water, they become insoluble in time with exposure to air. Few pigments mix effectively with casein binder, but as it mixes well with gouache and tempera, bringin its binding power to them, a wide range of colors and effects is possible. Casein tempera is an emulsion of casein solution and oil. All of these paints tend to be brittle and should beb used on a firm support to avoid future cracking and flaking. Since all the temperas contain water, they may be thinned and cleaned with water, preferably distilled or boiled to prevent contamination. Adverse health effects are not expected with the use of tempera as paint or as a method of painting.

Finger paints and other water-soluble for use by children are considered safe if they have the AP or CP seal of the Art and Craft Materials Institute (ACMI) and / or listing in the latest edition of Art & Craft Materials Acceptable for Kindergarten and Grades 1-6.

Acrylic polymer paints are water-soluble paints bound with synthetic acrylic resins. Acrylic polymer paints must be distinguished from organic solvent-based acrylics such as alkyd or magna paints. Acrylics use many of the same pigments as oil paints and, depending upon application, may be indistinguishable from oil paintings in texture, sheen, and overall appearance (pictures…). Acrylics dry quickly to form ma permanent film that is impervious to water. Although hot water will soften them, acrylics are remarkably stabel; extremely high temperatures (over 500 degrees F) are required for decomposition. Morevover, they are less likely than oil paints to be altered by changes of temperature or humidity. Acrylics are exceptionally flexible in use and application.

        metallic particles, sand and other materials.

- Depending on the vehicle or medium, acrylics can have a matte, semiglossy, or glossy finish.

- When dry, acrylics are essentially inert and are not significantly altered by changes in temperature and humidity.






image: Acrylic Paint Review

by Cindy Davis.

Acrylic polymer paints are safer than oil paints, primarily due to the absence of toxic solvents. No reproducible adverse health effects have been associated with the use of acrylic polymer mediums. Like all water soluble paints, however,acrylics contain preservatives (usually formaldehyde in small amounts). Thus some individuals may experience occasional allergic reactions. These indiciduals may benefit from use of exhaust ventilation or a formaldehyde mask offered by 3M. As of this writing, however, there is no NIOSH aproved formaldehyde respirator. 

A faint odor of ammonia can be detected in some acrylics, leading to eye and mucous membrane irritation when used extensively. General dilution or window exhaust ventilation should eliminate this problem. Miscellaneous components of acrylic paints may include:

• Surfactants (chemical agents that prevent pigment separation or polymer coalescence)
• Extenders and fillers: diatomaceous earth (Celite), silica, mica, or whiting (nontoxic)
• Antifoaming agents
• Antifreeze agents (usually small amounts that present no health hazard)

SAFETY NOTE: some acrylics now carry a note warning of a possible cancer hazard;

this may be related to a formaldehyde content (2012)

Most manufacturers will not disclose the precise contents of their acrylic mediums. Thus, the artist must rely upon the ACMI seals of approval to determine safety. To keep acrylic workable, keep them moist by misting with water or or by using a moisture retaining palette. Use distilled or boiled water to avoid contamination. Covering paints with a lid or plastic wrap can retain moisture for days. Some artists use acrylic retarders to slow drying and assist blending.

Brushes used with acrylic paints most commonly nylon bristles, unlike natural bristles of oil paintbrushes, are not significantly altered by water. Acrylic paintbrushes, however, must be kept moist to prevent paint from drying to a tough, gummy film that is difficult to remove. We discourage use of brush cleaners and baths that contain toluene or xylene. As an alternative, soak brushes overnight in an acrylic medium to soften the paint. Afterwards, the brushes can be cleaned with strong laundry soap (Lava), warm water, and a good scrubbing. (and innovative safe solvents such as Z-Acryl 'D-Solve' can be used to clean hardened brushes with ease). Nylon brushes with wayward bristles may be reshaped as follows: suspend the bristles for one minute in boiling water; comb the bristles straight; press flat brushes with a weight or wrap round brushes with a rubber band; and allow brushes to dry.

NONAQUEOUS MEDIUMS

Oil Painting

For over 500 years oil painting has remained a highly esteemed painting process. Brilliant colors are achieved by grinding pure pigments into linseed oil and thinning with turpentine. Oils may be applied to a flexible ground of primed canvas on stretchers, wood or Masonite panels. Over the years the process of oil painting has been enhanced with drying oils, complex emulsions, laquers, varnishes, and a variety of thinners.

There are no adverse health effects associated with linseed oil itself. Potential hazards may arise, however, with the inclusion of pigments, turpentine, or solvents. Many volatile solvent-based products can be inhaled or absorbed through the skin. Thus, oil painting requires effective ventilation and appropriate skin and respiratory protection. (The newly developed water-miscible oil paints, however, do not present any inhalation hazard while offering a similar creative scope).

A variety of oil painting mediums improve the consitency of oil paints. Satnd oil, which is linseed oil in a specially heated form, and resins are most commonly used. Resin dusts may provoke allergies in some individuals. Read labels and material safety data sheets, and check for hazards and precautions. 

Driers are commonly found in printing inks, oil paints, and painting mediums. Check labels and MSDSs. Cobalt linoleate is the preferred dryer. Products containing cobalt naphtenate, lead or manganese should be avoided.

Turpentine is the solvent most commonly used by oil painters. Turpentine vapors irritate the eyes and respiratory tract. Massive inhalation of turpentine may lead to headache, dizziness, nausea, confusion, and rapid pulse. Massive ingestions of turpentine have been associated with kidney damage, confusion, and even death. We strongly recommend that all artists replace turpentine with safer substitutes. (see 'The Safety of Solvents' for details).

Remember that rags and papers (those indispensable companions when painting) may become saturated with linseed oil and solvents. They are flammable and may ignite by spontaneous combustion. Store them only in safety containers especially designed for the purpose. Dispose of them frequently in a closed metal container. 

Joy Walker: Wig Walk: 1989, oil stick on steel sheet, 33in x 20in. In my early work with acrylics, I used airbrush and spray guns without ventilation. I started coughing. My doctors were not sure what caused the problem but I felt I had to change my way of working. I switched to oil stick on cutout galvanized iron sheets and now enjoy good health.

For protection, finished oil paintings may be coated with a transparent film or varnish or laquer. Most varnishes contain natural or synthetic resins suspended in multisolvent mixtures. They should be used only with appropriate exhaust ventilation, respirator,  and protective attire. Spray varnish and lacquer products contain a high percentage of organic solvents and propellants relative to resin content, and spraying increases the possibility of inhalation of these solvents.

Small works may be varnished in a spray booth or outdoors. If your paintings are large, find an industrial spray paint room where you can spray varnish safely. The preferred method of brushing on varnish should be done in a well-ventilated indoor environment. In the absence of effective ventilation, wer a NIOSH-approved organic vapor cartridge mask.

During cleanup of solvent based paints, wear protective gloves and / or barrier creams on hands and wrists. Wash inadvertent paint splashes from the skin as soon as possible. First, soften with vegetable oil, then scrub with soap and water and follow with a protective skin cream. To clean oil paintbrushes, soak them overnight in baby oil or vegetable oil to loosen accumulated paint. Wipe them as clean as possible. Wash with as strong laundry soap in water.

Wear protective gloves, and use kitchen scrubbers to remove softened but stubborn paint. Let natural-bristle brushes dry thoroughly before reuse to prevent trapping of water. If you need to soak brushes in an organic solvent, place brushes in a capped container under a fume hood, or wrap aluminum foil around the brush handles and over the container to reduce to reduce solvent vapors in the workspace, and observe safe studio practices. If your preference is to work with oil paints and washes, exposure to solvent hazards may be reduced by using acrylic gesso (rather than an oil prime) and developing the imagery with water-soluble mediums such as casein, gouache, temper, and acrylics.

Other Solvent-Based Paints / Alkyd Paints

Alkyd paints are oil paints modified with synthetic resins and solvents to accelerate drying. They offer no safety advantage; precautions for oil paints and their solvents should be observed at all times. 

Waterbased Oil Paints

reduce solvent use because they can be thinned and cleaned up with water. Some of these products, however, still contain solvents such as alcohol or turpentine. Most of the newly developed water-miscible oil paints however, do not present any solvent inhalation hazard. In any case, check thelabel or Material Safety Data sheet before purchase and use. More information on these innovative oil paints is given below.

Encaustic

is a suspension of dry pigments in molten, white refined wax. Encaustic may also contain drying oils, Venice turpentine, and natural resins. It is a potentially hazardous medium. Wear a particulate filter mask to prevent inhalation of powdered pigments. There is no mask cartridge that will protect against hot wax vapors (Rossol 1982) that arise from warming the palette to keep the wax workable. Heat accelerates evaporation and release of potentially harmful vapors and pigment fumes from the various ingredients. Thus, effective local exhaust ventilation is essential with encaustics. 

Avoid overheating since hot wax may catch fire. Melt wax safely in an electric slow cooker (available in kitchenware stores) that maintains a dependable temperature below boiling. Alternatively, a double boiler on a hot plate may be used with caution. Never place a melted wax pot directly on the hot plate, and never use a flame heating element (torch) to heat wax applied to a surface. A heat-generating flood lamp in a ceramic receptacle with a bracket handle is safer. For cleanup, use Turpenoid with appropriate precautions. Avoid the more toxic solvents such as carbon tetrachloride. (The newly developed orange oil cleaners such as 'Citrus King' would seem like the safest cleaning option).

Solvent-based acrylic paints, also nown as Magna colors, are permanent pigments ground in an acrylic resin with solvents and a plasticizer. These paints contain more solvents than many oil paints. (Note: currently Magna-type artist acrylics are no longer available. Magna represented the world's first artist acrylic paint, developed by Leonard Bocour and Sam Golden in 1947, and reformulated in 1960. Magna was miscible with turpentine or mineral spirits and dried rapidly to a matte or glossy finish. It was used by notable artists Morris Louis and Roy Lichtenstein. Although toxic in their original formulation the Magna paints paved the way for today's water-based artist acrylics with their particularly safe handling characteristics.)

Epoxy Paints are pigments suspended in an epoxy resin to which an amine hardener is added immediately before use. These extremely tough paints are most often used for murals, especially on exterior walls. Some alkaline amines may irritate skin. Epoxy vapors may irritate the upper respiratory system, while epoxy mists irritate eyes and may damage the cornea. The hardener may contain toluene or another hydrocarbon solvent. Thus, work with epoxy paints requires effective ventilation. Both indoors and outside, a respirator with an organic vapor cartridge will enhance protection. In addition, we suggest heavyweight nitrile gloves and protective clothing to keep paint off skin. Have replacement gloves available since epoxy paint ingredients may occasionally penetrate some gloves. 

• choose the least toxic artist materials and products
• wear gloves
  
• do not handle artist paints around kids
  
• study all ingredients and their potential side-effects
• maintain good ventilation
• do not inhale paint fumes
• avoid using traditional mineral spirits and thinners  Solvent Toxicity
  
• eco-and health-friendly solvent alternatives are now widely available   Safe Solvents
  
• open windows and use fans to create a through draft when using paints in your home
  
• use local and general fume extraction in a professional setting
• wear organic respirators when needed
• acrylics may require a dry working environment or even heat-setting to help create a permanent surface without VOC off-gassing

(for instance BLICK have extensive online MSDS info on artist paints)