Tag: studio practices

A safe pair of hands

This is a guest blog featuring Elma Hogeboom

 

My name is Elma Hogeboom, a sustainable artist from the Netherlands. I strive towards a sustainable lifestyle in every walk of my life. Art is a huge passion of mine and I apply sustainability to my passion too. After a long painstaking research, I found out that sustainable materials to create pieces of art were either very scarce or non-existent! It got me thinking: in this day and age, how in the world can we not transition to sustainable alternatives in art? Connecting art and sustainability requires creativity and unconventional approaches, a challenge that I love! So I started my journey in sustainable art.

 

A few weeks ago I discovered something called eco glitter, it sparkles in all colors and is completely biodegradable and eco-friendly. All those pictures of sparkling hands and eyelids… – yes, it seems perfect for make-up too! – Now I’m not really the ‘over-the-top makeup’ kind of gal, but if I were, I would definitely stock up big time!

While searching Instagram for my daily dose of inspiration a while back – honestly, I sometimes feel like a coffee addict looking for their next cup… – I suddenly found myself flabbergasted. I saw a movie clip, you may have seen it yourself, of an artist having some sort of liquid metal in the palm of their hands. The first thing that popped into my mind was ‘mercury poisoning’, and since I didn’t see a caption of what the metal was, I started reading the comments. People were amazed and horrified at the same time. Some stated that it could be gallium, which they claimed was less big of a deal. Nevertheless, I clearly saw the grayish stain the metal left on the hands, which didn’t seem all that appealing to me and I quickly decided I definitely wouldn’t try this one at home…

After this incident, I started thinking: what else did I see on Instagram that might not be such a good idea to try myself? I knew that I had painted with my bare hands in the past, inspired by intuitive artists and their beautifully captivating pictures of bare hands covered in paint. I stopped doing this because I thought it might have a negative impact on my health. However, as this seems to be some sort of trend nowadays, it seemed like a good idea to share why I quit painting with my bare hands myself.

As a sustainable artist, I spend lots time researching the materials I use in my art practice. I read about pros en cons for the materials I use, with regard to their eco-friendliness, impact on life on this planet and the circumstances under which it has been produced; talking about light reading! But sustainability also includes thinking about my own health, especially when I’m in direct contact with chemicals like paints.

Now, many (professional) paints contain heavy metals, like cadmium, cobalt, manganese, zinc and lead, that not only have beautiful colors, but which can be very toxic too! And these metals can cause severe health issues, like cancer and metal poisoning, when we fail to handle them with the proper precautions. For example: inhaling cadmium may cause lung cancer. Boy! I was I glad to have read about this before even considering using my spray bottles with cadmium-based paints!

But while diving deep into the product safety data sheets of the major paint manufacturers – honestly, it can really feel like reading Chinese sometimes- I also found out that they warn about prolonged or repeated skin-contact with their paints. This really got me thinking: is it safe to frequently use my hands as painting tools? Especially when I’m not 100% sure the paints I use are safe? My conclusion?

1) I’ll try to avoid some paints/pigments I’m not comfortable with using and

2) I’d rather stick to that good old paintbrush

Better to be safe than sorry, right? And if I do feel the urge to let the child in me indulge from time to time, I’ll go with some non-toxic alternatives like eco- and child-friendly finger paints, or better yet, make them myself with some natural ingredients. ‘Cause, hey, we all need a spark of childhood memories from time to time, right?

That’s it for now. Safe painting my friends! And if you liked this post, please check out my blog on www.elmahogeboom.nl/blog or follow me on Instagram (@elmahogeboom). Talk to you soon!

 

DISCLAIMER: This article concerns itself with the common sense safety aspects of art materials and art safety in general. The intent of this article is merely to raise individual awareness of some of the issues involved and to encourage the reader to take steps in learning more about the factors involved with the hazards associated with artist’s materials. The author may change the contents of this document at any time, either in whole or in part.

What’s in your Watercolour Paint?

Hazards in the art world often aren’t taken very seriously. It’s hard to see artists as people who are engaged in a dangerous field. Had I not been a scientist, I too would have remained oblivious about the perils lurking in an artist’s world! It comes as no surprise that artists through history have been called by many names-geniuses, crazy, dreamers, unemployed-but rarely chemists!

There can be a lot of mystery when you go to purchase paints, especially if it’s your first time buying a particular medium.  I remember, when I first bought a pan of watercolour paint from a local art store, I was quite alarmed to find out that the paint contained a preservative of harmful nature. I started exploring alternatives to commercial paints that didn’t contain such toxic preservatives or pigments. I soon discovered that there were a couple of handmade watercolour paint makers who provided artists with non-toxic and high-quality paints.  The experience of working with such handcrafted watercolour paints was quite delightful. The art of handmade watercolours piqued my interest in learning about the process.   That’s when my journey as a paint maker began! It was definitely not easy.  I did extensive research in understanding different kinds of pigments, their chemical properties and most importantly any potential hazards associated with pigments to human health and environment.

So, what are pigments?

By definition,  pigments are particles of coloured materials that are insoluble in water, oil, and resin.  Although, when suspended in liquid binders or vehicles, it transforms into the paint. The binder or vehicle used with each pigment, as well as the size and shape of the pigment particle, determines the type of paint that is created.

Pigments are classified into three basic categories, that a manufacturer may use when creating paint: natural organic pigments, synthetic organic pigments, and inorganic pigments.

Inorganic pigments: These pigments tend to be quite lightfast, they are derived from the earth, and/or manufactured from metals or minerals. These pigments have been studied for long for their long term effects (for example;  earth pigments: Raw Sienna, Burnt Umber; Cobalts, Cadmium, Titanium, etc )

Organic pigments ( natural/synthetic): These pigments are derived from plant or animal sources, or they can also be chemically synthesized ( eg, quinacridones). Natural organic pigments are made from carbon compounds that exist in nature.

In prehistoric times, early humans found many natural organic colourants in the minerals occurring in soils and clays. Cave paintings using red- and yellow-coloured clays date from at least 15,000 B.C. As long ago as 8,000 B.C., artists in Egypt had discovered how to process animal products and vegetable matter into useful and fairly stable colourants. The pigments from plant and animal sources tend to be safe – but the colours do fade, making them “fugitive” colors.  Although, the long term effect of these colours is as such not known.

Trend of handmade watercolours paints

In recent times, there has been a phenomenal increase in the number of handmade watercolour paint makers. My research in this field to date tells me that paint labeling is probably the least interesting topic on watercolour paints … it is like reading a safety tag on your mobile phones. Unfortunately, boredom leads to a lack of concern and eventually leads to ignorance, and it is this ignorance that paint manufacturers exploit through marketing.

The crux of the problem is that paint manufacturers (including small business owners who are watercolour paint makers) can name a paint anything they want. The result? If the marketing name is all you rely on, it is impossible to tell what is in your paint. Knowing the safety of an artist’s material is a subject of high importance and must not be overlooked.

Let’s quickly recap some of the elements we know are bad for human health: Umbers, Sienna, Mercury, Lead, Cadmium, Chromium VI. Hazardous compounds to note Copper and Cobalt compounds. Common effects from these various substances include cancer, nerve, and organ damage.

Impact of using watercolours (pigments) on the Environment and health

Some artists (including me)  strongly attend to the health or environmental impact of the materials they use, and in a few cases, watercolours do present some problems.

Environmental impact occurs through mining or raw materials manufacture and the disposal of manufacturing wastes. Unfortunately, though many high-quality pigments are manufactured in Europe, Japan, and the USA, the environmental consequences of industrial pigment manufacture are increasingly being exported to the Third World (China and India in particular), whose environmental laws and enforcement are of a different kind. This is one reason why pigments can be made there so cheaply and just remember its a hell on the health of factory workers and their living environment.

Unfortunately, I know of no way at present to find out whether all pigments are manufactured in an environmentally friendly way, because (for proprietary reasons) paint manufacturers do not disclose where they buy their pigments, and there is no easy way to obtain trustworthy environmental impact statements from specific pigment manufacturers in, say, China or India. Artists or painters have no effective control over these upstream environmental impacts.

My purpose is not to frighten but to inform, so that, next time you are at the checkout line at the art store or making an online purchase you can make a wise choice.

Take home message

That said, watercolours should always be handled with reasonable care and applied with appropriate techniques. They should be kept out of the reach of children.

And watch out for your pets!

 

DISCLAIMER: This article concerns itself with the common-sense safety aspects of art materials and art safety in general. The intent of this article is merely to raise individual awareness of some of the issues involved and to encourage the reader to take steps in learning more about the factors involved with the hazards associated with the artist’s materials. The author may change the contents of this document at any time, either in whole or in part.

Respect a few rules !

The art of paint making has been existing for thousands of years. Today’s paint making process is perhaps no different than how it was several 100 years ago. At the time when commercial colours were not available artists made their own paint, or had an assistant or colourman make it for them. The pigments were ground by hand on a flat piece of marble or glass using a glass muller.

Its no doubt that making beautiful pieces of art is immensely rewarding for artists. Since we have been around paints from an early age, we don’t realize it could be dangerous in the long term. I’m sorry to remind you so: paints are mildly toxic. The kid’s ones too are a bit toxic, most of the time. The toxic effects are due to chronic exposure.

Having a science background has helped me a lot in understanding the process of paint making, researching about a pigment, its chemical composition, properties and most importantly if there are any hazards associated with pigments that I am working with.

From pre-modern times when medical science was still ill-equipped to determine common threats, to the present day, when artists often still put their art before their well-being, certain art supplies have been a source of peril for countless painters and sculptors—and have done serious harm to some of art history’s most famous names.

Early artists were unaware of the hazards of many of the materials they used, but information on the topic is readily available today. While the long term improper use of your materials could have serious mental and physical health consequences, with proper safety precautions, awareness, and common sense, these potential hazards can be mitigated if not avoided completely.

This blog post focuses on the safety precaution every artist and paint maker should take into consideration.

A few items bear repeating: Read the label. Acquire  MSDS from your supplier. Inform yourself about the pigment you are dealing with. Learn what it means. Learn what should be on the label. Choose safe materials. Use proper techniques, handling, safety gear (a must for everyone) and safety precautions. Keep you and your area clean. Use proper cleanup and disposal methods which is in sync with your city council and environmental regulation guidelines.

All chemicals and pigment powders can be toxic if not handled correctly. Wear a respirator and protective gloves and clothing. Chemicals and pigments should only be handled in strict laboratory conditions away from food, pets, and children. Wash your hands thoroughly after you have finished painting or paint making.

As an artist and a paint maker, I always like to work with pigments that are not only non-toxic but also do not cause harm to aquatic life. I don’t like working with handmade watercolours where the pigment classification number is not mentioned. Be informed and be safe  … paint to your heart’s content, as simple as that!

 

 

DISCLAIMER: This article concerns itself with the common-sense safety aspects of art materials and art safety in general. The intent of this article is merely to raise individual awareness of some of the issues involved and to encourage the reader to take steps in learning more about the factors involved with the hazards associated with the artist’s materials. The author may change the contents of this document at any time, either in whole or in part.Thanks.