SCHOOL SAFETY PROCEDURES FOR ART AND INDUSTRIAL ART PROGRAMS CHAPTER 6. GENERAL CHEMICAL PRECAUTIONS This discusses safety procedures for elementary and secondary school art and industrial arts classes. Because of the differing requirements for elementary and secondary school classes, these will be discussed separately. ELEMENTARY SCHOOL CLASSES As discussed in Chapter 1, elementary school age children are at higher risk for both physiological and psychological reasons. As a result, elementary school children should only use non-toxic art supplies. This requirement is also reflected in the Labeling of Hazardous Art Materials Act of 1988 (see Chapter 5). Non-Toxic Art Supplies The oldest labeling program on children's art materials is that of the Arts And Crafts Materials Institute (ACMI). During the 1940's, they developed and instituted a voluntary program that attempted to set standards on the safety of children's art materials. Products bearing their AP (Approved Product) or CP (Certified Product) labels have been "certified by an authority on toxicology associated with a leading university to contain no materials in sufficient quantities to be toxic or injurious to the body, even if ingested. In addition, products bearing the CP seal meet specific requirements of material, workmanship, working qualities and color described in the appropriate Product Standard issued by the ACMI, Inc. or any other recognized standards organizations." Over its 40 year history, the quality of the program has varied with the skill of the toxicologist and the internal checks and balances in the program. The AP/CP program has been successful at eliminating acute hazards from children's art materials bearing those seals. In the late 1980's, The California State Department of Health Services developed a list of approved art materials suitable for children ("Art and Craft Materials Acceptable for Kindergarten and Grades 1-6"). The main difference between the California list and the AP/CP list is that some oil paints have a CP approval, but were not approved by California because solvents are commonly used for cleanup with oil paints. This list was discontinued due to lack of funding. For an art material to be non-toxic under the Labeling of Hazardous Art Materials Act, it must have the statement "Conforms to ASTM D-4236" and have no warning labels. If the product says "not suitable for children" or the equivalent, do not purchase it. In particular, many imported children's art supplies are not properly labeled. Rules For Art Material Selection Not all art materials are harmful; in fact there are many safe and effective materials that can be used safely in the elementary school classroom. The California Department of Health Services list had identified over 2000 such art materials approved for elementary school use. The following are guidelines for choosing children's art materials: * No dusts or powders which can be inhaled or get in the eyes; * No organic solvents or solvent-containing products such as rubber cement, cleaning solvents, turpentine, etc; * No aerosol spray cans, air brushes, etc. * No products such as oil paints requiring solvents for cleanup; * No acids, alkalis, bleaches or other irritating or corrosive chemicals. * No donated, found, or old materials unless the ingredients are known to be safe; * No scented markers or other products, even if non-toxic, since scented products teach children to sniff and eat art materials, the exact opposite attitude desired. Table 6-1 gives recommended art materials for elementary school classes. ------------------------------------------------------------------------- Table 6-1. Recommended Elementary School Art Materials Ceramics Clays Use only wet, pre-mixed clays. White clays Use only talc-free clays. Glazes Paint finished pieces with acrylics or tempera instead of glazing. Use CP/AP lead-free liquid glazes. Painting and Drawing Paints Use CP/AP water colors, tempera, and acrylic paints, not adult paints. Scented markers Do not use. They teach children to smell and eat art materials. Permanent Use CP/AP water-based markers. markers Pastels, chalks Use CP/AP oil sticks, crayons, chalks, and colored pencils. Spray fixatives Use CP/AP clear acrylic emulsion to fix drawings. Photography Photochemicals Send film out to be developed. Use polaroid cameras, without transfer manipulation. Do sungrams with blueprint paper and sunlight. Do photocopier art. Metalworking Jewelry Bend metal wire instead of soldering. Stained glass Use colored cellophane and black paper to imitate colored glass and lead came. Printmaking Screen printing Use CP/AP water-based inks. Use cut paper stencils. Relief printing Use linoleum cuts instead of woodcuts. Use CP/AP water-based inks. Collage Use glue sticks or double-sided tape instead of rubber cement Use CP/AP glues for collage. Woodworking Woods Use only common soft woods. Glues Use CP/AP glues. Paints Use CP/AP water-based paints. Sculpture Modeling clays Use premixed clay or CP/AP modeling materials. Papier mache Use black and white newspaper with CP/AP pastes or CP/AP instant papier maches made from cellulose. Textile and Fiber Arts Synthetic dyes Use vegetable dyes (spinach, tea, onion skins, etc.) or food dyes. Synthetic fibers Use fibers that have not been treated with formaldehyde sizings. Textile Left-over textile scraps can be used for stuffing pillows or soft sculpture projects. -------------------------------------------------------------------------- Procedures for Working Safely The following are specific recommendations that will help teachers make children under 12 have art experiences that are safe as well as productive. * Control what materials enter the class. Purchase only those products which are non-toxic, as discussed above. * Limit the amount of art materials available, in order to restrict the amount that could be accidentally ingested. * Supervise all art activities. An adult should always be present and make sure that all materials are carefully stored away when not in use. * Encourage cleanliness and thorough clean-up. * Make sure that the child does not eat or drink while using arts and crafts materials. * Children with open cuts or sores should have the cuts covered. * Note whether a child is having an adverse reaction to the products that are being used. Remember that individual children may react differently to the same materials. Teachers should be aware of any particular allergies or sensitivities that a child may have. * In case of accidental ingestion, contact your regional Poison Control Center for advice. Keep the product handy for label information. SECONDARY SCHOOL CLASSES Art materials used in junior and senior high school often contain toxic chemicals that require the taking of precautions. This section discusses the general precautions that should be taken for secondary school art and industrial art classes. Physical hazards are discussed in Chapter 7, fire safety in Chapter 8, personal protective equipment is Chapter 9, and waste management and disposal in Chapter 10. Know Your Materials Knowing the contents of art materials and their hazards is essential to having a safe studio program. Labels and Materials Safety Data Sheets (MSDSs) are keys to finding this information. See the discussion on OSHA's Hazard Communication Program in Chapter 3 and the discussion of labeling of art materials under the Consumer Product Safety Commission in Chapter 5. Keeping an up-to-date inventory of all products, including names, amounts, date purchased, and special hazards, is also recommended. SUBSTITUTION One of the most basic rules of chemical safety is to use the safest materials and processes possible. Basic substitution rules are: * Use the least toxic solvents possible. * Eliminate toxic metals such as lead and cadmium. * Use water-based materials instead of solvent-based ones. * Use liquid or wet materials to replace powders. * Use wet techniques instead of dry techniques. * Apply coatings by brushing or dipping instead of spraying. * Eliminate cancer-causing chemicals. Table 6-2 lists safer substitutes for common art and industrial arts processes. Note that not all these substitutes are non-toxic. They are just the safest materials that can be used, and still might require taking suitable precautions. It is important when substituting one material for another to allow sufficient time to learn how to use the substitute properly. For example, it can take a semester to properly switch from solvent-based to water-based screen printing inks. -------------------------------------------------------------------------- Table 6-2. Recommendations for Secondary School Arts and Industrial Arts Ceramics Clays Use only talc-free, pre-mixed clays. Glazes Use only lead-free glazes. Use pre-mixed liquid glazes, not powders. Colorants Use glazes that do not contain carcinogenic nickel, cadmium, uranium, chromates or talc. Waste clay Cut into small pieces and place in barrel of water for recycling. Waste glazes Combine residual glazes and reuse. Painting and Drawing Painting Pigments Use pigments that do not contain lead, cadmium, mercury, arsenic, or chromates. Use pre-mixed paints. Oil paints Use water-based paints or water-washable oil paints. Replace turpentine washes with acrylic underpainting. Spray paints Brush or spatter paints. Solvent Use baby (mineral) or vegetable oil cleaning instead of solvents to clean hands and brushes. Turpentine Use turpenoid, odorless paint thinner, or odorless mineral spirits. Waste solvents Reuse solvents by allowing to settle,and then filtering or decanting. Drawing Pastels Use oil pastels instead of dry pastels. Drawing inks Use water-based inks not solvent-based inks. Permanent Use CP/AP water-based markers. markers Use alcohol-based markers instead of markers based on xylene or methyl isobutyl ketone. Commercial Art Paint/Drawing Use water-based paints and inks instead of solvent-based ones. Airbrushing Use a tooth brush to spatter paint. Don't spray solvent-based dyes or inks. Permanent Use water or alcohol-based markers, markers instead of xylene-based markers. Rubber cement Use waxers or double-sided tape instead of rubber cement or spray adhesives. Use kneaded eraser to remove wax from mechanicals. Use heptane-based adhesives instead of hexane-based types. Photography Black and White Processing Developers Use only Metol/hydroquinone developers or the less toxic phenidone/hydroquinone types. Use replenishment solutions to reuse chemicals. Neutralize with stop bath or citric acid before disposal. Stop bath Use water only, instead of acetic acid. Fixers Use low acid fixers instead of high sulfur dioxide rapid fixers. Recover silver from fixer if using large amounts. Reducers Use only Farmer's reducer. Intensifiers Do not use intensifiers and toners and toners because of their high toxicity. Hypo eliminators Use water or hypo clearing agents for washing. Color Processing Color developers Do not use phenylene diamine developers. Solvents Use only low solvent color processes. Formaldehyde Do not use formaldehyde. stabilizers Blue Printing Fixer Use dilute hydrogen peroxide instead of dichromates for fixing. Metalworking Jewelry Silver solder Use cadmium-free silver solders. Fluxes Use borax instead of fluoride-based fluxes. Pickling baths Use sodium hydrogen sulfate (Sparex) instead of sulfuric acid. Neutralize acid bath with baking soda (sodium bicarbonate) before pouring down sink with lots of water. Test with pH paper. Enameling Enamels Use only lead-free enamels. Enamel Use enamels that do not contain colorants nickel, cadmium, uranium, arsenic or chromates. Waste enamels Combine and reuse. Metal Casting Lead Do not cast lead-containing metals. Sand blasting Use glass beads or alumina instead of silica sand. Asbestos Use asbestos-free insulation. Silica Use 50/50 plaster and 30 mesh sand investment mixture. Stained glass Lead came Use copper foil technique. Lead solders Use lead and antimony-free solders. Fluxes Use acid-free and rosin-free fluxes. Glass paints Use colored glass or lead-free paints. Welding Metals Weld metals like mild steel that are not galvanized, or do not contain lead, nickel, chromium, or cadmium. Use only found metals of known composition. Do not use lead-paint coated metals. Fluxes Do not use fluoride fluxes. Degreasing Degrease metals with detergents or odorless mineral spirits instead of chlorinated hydrocarbons. Printmaking General Pigments Use pigments that do not contain lead, cadmium, mercury, chromates or arsenic. Use pre-mixed inks. Cleaning Use odorless mineral spirits instead of turpentine, kerosene or gasoline. Screen printing Inks Use water-based inks instead of solvent-based inks. Stencils Use cut paper, contact paper, etc. instead of lacquer stencils. Screen Use staples or tape instead of mounting with solvent-based glues. Photoemulsions Use diazo photoemulsions or presensitized photo film. Intaglio Acids Use ferric chloride not Dutch mordant. Neutralize nitric acid baths with baking soda before pouring down sink. Test with pH paper. Cleaning solvents Scrape inking slab and press with palette knife to reduce amount of ink, remove remaining ink with vegetable, baby or mineral oil, and wipe oil film with cotton ball and dishwashing liquid for cleanup. Photoetching Use pre-sensitized plates or xerox transfer/screen process, not techniques using toxic solvents. Lithography Acids Use premixed gum etches instead of using concentrated acids. Vinyl lacquers Do not use because of high toxicity. Dichromates Use fountain solutions based on water and gum arabic. Use citric acid as counteretch. Hydrofluoric acid Do not use due to extreme toxicity. Talc Use asbestos-free talcs (e.g. baby powder). Phenol Use mechanical cleaning of stones. Photolithography Use positive/negative presensitized offset plates. Woodworking Preserved wood Do not use woods treated with chromated copper arsenate (CCA), pentachlorophenol, or creosote. Use ordinary woods. Particle board Use ordinary woods to avoid and plywood formaldehyde. Tropical woods Use non-allergenic & non-irritating hard woods. Leftover wood Recycle into new projects Glues Use white glues, hide glues and other water-based glues instead of epoxy, formaldehyde or solvent- based glues. Use small containers to minimize drying out of glue. Paints and Use water-based products instead of coatings solvent-based ones. Use lead and mercury-free paints. Shellac Use shellacs containing denatured alcohol not methyl alcohol. Oil & solvent- Recycle by drying or sending to soaked rags to recycling laundry. Sculpture Clay See Ceramics Plastics Plastic resins Do not use polyester, epoxy, acrylic, or polyurethane resins because of high toxicity. Solid plastics Use saws instead of hot wire or torches. Stone Soapstone or Carve alabaster or cast plaster. steatite Wax Waxes Use beeswax or petroleum waxes, not chlorinated waxes. Textile and Fiber Arts Fibers Animal fibers Use hair and wool not imported from Mid or Far East because of anthrax. Dyeing Mordants Use non-dichromate mordants. Fiber-reactives Use liquid fiber-reactives, not powders. French dyes Use water-based dyes. Vat & azoic dyes Use other classes of dyes. Leather dyes Use leather dyes containing denatured alcohol rather than other solvents. Batik Wax See Sculpture, wax Dyes See Dyeing. Solvents Boil out or iron out wax instead of using solvents. Papermaking Woods, plants Use non-allergenic and non-irritating materials. Lye Recycle used paper and cardboard, or use rotten or mulched plant materials to avoid boiling in alkali. Use sodium carbonate, not lye. Dyes Use liquid dyes and pigments and pigments instead of powders. See also Dyeing. ------------------------------------------------------------------------- VENTILATION There are three reasons for ventilation: 1) for toxic airborne chemicals, 2) to prevent a build-up of flammable gases or vapors, and 3) for comfort of the inhabitants of the area. Since health effects of chemicals occur at air concentrations well below the lower explosive limits of solvents and gases, then if you ventilate to prevent health effects, you are also preventing a buildup of vapors which could catch fire or explode. There are two types of ventilation for toxic substances: dilution ventilation, and local exhaust ventilation. Dilution ventilation involves bringing in clean air to dilute the contaminated air, and then exhausting the diluted air to the outside via exhaust fans. An open door or window, or recirculating air-conditioning system is not adequate dilution ventilation for toxic gases and vapors. Local exhaust ventilation involves trapping airborne contaminants at their source before they contaminate the air which is breathed. Examples include spray booths and dust-collecting hoods. (For further information on ventilation for toxic substances, see the CSA book Ventilation.) Ventilation for comfort is usually done through heating, ventilating and air-conditioning (HVAC) systems. Dilution Ventilation Dilution ventilation should not be used to exhaust large amounts of toxic solvent vapors, or for highly toxic solvent vapors, because of the requirement for large amounts of makeup or replacement air to replace the air being exhausted. This makeup air has to be heated or cooled to a comfortable temperature. Dilution ventilation should also not be used for dusts or fumes because of the difficulty of calculating the amount of dilution air required. The exhausted air should be completely exhausted to the outside and not recirculated. For solvents, the amount of exhaust ventilation required can be calculated by the procedure on pages 26-28 of Ventilation. For example, if 1/4 cup (.125 pts.) of mineral spirits is evaporated in cleaning intaglio inking slabs and presses over a 1-hour class period, then the amount of dilution ventilation required would be: total amt evap'd x dilution volume/pint x K /# min. = 0.125 pt x 35,000 cu. ft/pint x 10 / 60 min. = 730 cubic feet/minute (cfm). where the dilution volume for mineral spirits is 35,000 cu. ft/pt and safety factor K = 10. The dilution volume is the volume of air required to dilute one pint of evaporated solvent to the Threshold Limit Value for that solvent. (See Table 6-3 for the dilution volumes of common solvents used in art.) ------------------------------------------------------------------------- Table 6-1. Dilution Volumes for Common Solvents Solvent Dilution volume (cu. ft./pint) Acetone 7,300 Ethyl alcohol 6,900 n-Hexane 61,700 n-Heptane 6,900 1,1,1-Trichloroethane 11,400 Methyl ethyl ketone 22,500 Methylene chloride 126,800 Mineral spirits 30,000-35,000 Toluene 76,000 Turpentine 25,500 Xylene 33,000 ---------------------------------------------------------------------- Local Exhaust Ventilation A local exhaust ventilation system consists of a hood to capture the contaminants, ducts to transport them to the outside, an exhaust fan to move the air, and sometimes air cleaners to remove particulates from the air. The only air cleaners I would recommend are filters in spray booths and dust collectors for woodworking and other dust-producing machines. Charcoal filters are not recommended because of large amounts of charcoal required and the difficulty of telling when the charcoal is saturated. Particular types of hoods are used for particular operations. OSHA requires local exhaust ventilation for abrasive blasting, grinding, polishing and buffing, spray finishing, and open surface tanks (23 CFR 1910.94). Examples of typical local exhaust systems for art and industrial art operations include: * canopy hoods over electric kilns, hot forging furnaces, wax burnout kilns, and metal casting furnaces; * slot exhaust hoods for cleaning etching plates, cleaning lithography rollers, soldering, bench welding, jewelry pickling baths, photographic toning, plastics resins, and miscellaneous contained solvent processes; * enclosed hoods for acid etching; * spray booths for spray paints, spray glazes, spray fixatives, and airbrushing; * movable exhaust hoods for welding and as tailpipe exhausts for auto mechanics; and * dust-collecting hoods for woodshops. See Figure 6-1 for illustrations of these hoods. In many instances, either a slot exhaust hood or enclosed hood can provide adequate local exhaust ventilation. If practical, an enclosed hood requires a lower exhaust rate and therefore less makeup air. For example, a 3-foot slot exhaust hood would require an exhaust rate of 1050 cfm. By comparison, an enclosed hood with a 3-foot by 18-inch (1.5 ft) opening would require only 360 cfm. Thus an enclosed hood, if practical for the type or work being done, can result in lowered energy costs for makeup air. Some rules for operation of local exhaust systems are: * Provide adequate makeup air. Ensure that the air intakes are not located near truck loading platforms, exhaust air outlets, furnace chimneys, etc. This makeup air should not enter the room close enough to the exhaust hood to create turbulence and affect the hood's capturing contaminants. * Direct the flow of air so that clean air passes your face before becoming contaminated and being exhausted. * Enclose the process as much as possible. * Place the hood as close to the operation as possible. * Fans should be located outside so all ducts are under negative pressure, and to decrease noise levels. * Do not recirculate any of the exhausted air. * Make sure exhausted air cannot reenter the area (or other areas). * Always test the exhaust systems when it is installed. This should include smoke tube observations at hood openings to ensure adequate capture of contaminants. A child's soap bubble kit will also work. The engineer designing the ventilation system should instruct maintenance and other individuals responsible for the system in the complete operation and maintenance of the system before signing off on the project. * Ducting should be round not rectangular, and have as few elbows as possible to reduce friction. These bends should be gradual not sharp. If needed, ducting should be corrosion-resistant. * Spark-proof construction of exhaust systems and placing fan motors outside the airstream is important for all local exhaust ductwork systems exhausting flammable gases and vapors. * Provide regular maintenance. If the school does not have personnel with industrial ventilation experience, then hiring an outside firm for maintenance is recommended. In selecting an engineer to design a ventilation system for toxic substances, it is important to choose someone experienced in industrial ventilation. Most heating, ventilating and air-conditioning engineers do not have this experience. Comfort Ventilation If a studio or office does not use toxic chemicals that can become airborne, then the only ventilation needed is for the comfort of the inhabitants of the area. The American Society of Heating, Refrigerating and Air-Conditioning Engineers is the traditional source of information on comfort ventilation through its standard ASHRAE 62-1989 Ventilation for Acceptable Indoor Air Quality. ASHRAE 62-1989 is based on the concept of specifying minimum and recommended outdoor air flow rates to obtain acceptable indoor air quality for a variety of indoor air spaces. This standard is referenced in many building codes. This standard does not provide acceptable air quality for everyone. An appendix to the standard says that "The air can be considered acceptably free of annoying contaminants if 80% of a panel of at least 20 untrained observers deems the air to be not objectionable under representative conditions of use and occupancy." Table 6-4 contains selected minimum outdoor air quality requirements taken from Table 2 of ASHRAE 62-1989. Obviously, these minimum outdoor air requirements do not apply if toxic chemicals are being emitted into the air. --------------------------------------------------------------------------- Table 6-4. Minimum Outdoor Air Requirements (ASHRAE 62-1989) Estimated maximum Outdoor air occupancy requirements (people/1000 sq ft) (cfm/person) office space 7 20 classrooms 50 15 laboratories 30 20 training shops 30 20 libraries 20 15 corridors 0.1 cfm/sq. ft. auditoriums 150 15 smoking lounges 70 60 ------------------------------------------------------------------------ STORAGE OF HAZARDOUS CHEMICALS * Keep the minimum amount of materials on hand and purchase in smallest practical container size in order to reduce risk in case of spills or fire, and to minimize waste disposal costs. See also the section in Chapter 8 on flammable and combustible liquids. * Choose appropriate containers. Avoid breakable glass containers whenever possible. * Dyes and other powdered materials that come in small paper bags should be transferred to solid containers or sealed plastic bags to avoid tears in bags releasing dust into the air. * All containers should be labeled with contents and hazards. * Store art materials safely so they will not fall. Hazardous chemicals should not be stored above eye level. * Do not store chemicals that can react with each other in close proximity. The reactivity section of Material Safety Data Sheets describe the chemical incompatibilities of their products. Table 6-5 lists the incompatibility of common chemicals found in art materials. * Do not store chemicals in food refrigerators or in food containers. Use separate refrigerators, which should be explosion-proof if flammable chemicals are stored there. ------------------------------------------------------------------------ Table 6-5. Incompatibilities of Common Art Materials Chemical Incompatibilities Acetic acid chromates, dichromates, chlorates, nitric acid, hydrogen peroxide, and other oxidizers Acids, inorganic alkalis, hypochlorite bleach, sulfides, metals Alkalis acids, aluminum Ammonium hydroxide silver, chlorine, bromine, mercury, acids Chlorinated hydrocarbons ultraviolet radiation, aluminum Chromates, dichromates glacial acetic acid, camphor, glycerin, naphthalene, turpentine, and many other flammable liquids Copper hydrogen peroxide, many acids, acetylene Cyanides, inorganic acids, alkalis Flammable liquids chromates, dichromates, chlorates, nitric acid, hydrogen peroxide, and other oxidizers Hydrofluoric acid ammonium hydroxide, glass, Hydrogen peroxide most metals and their salts, (concentrated) organic substances, many flammable liquids Mercury nitric acid, ammonia Nitrates, inorganic acids, metals, nitrites, sulfur Nitric acid metals, sulfuric acid, sulfides, nitrites, solvents, combustible materials, chromates, dichromates Peroxides, organic acetone, heat Potassium chlorate ammonium salts, acids, metal powders, finely divided organic or combustible substances Silver acetylene, ammonia compounds, oxalic acid, tartaric acid Sulfides, inorganic acids Sulfites, bisulfites acids, Sulfuric acid nitric acid, metals, chlorates, permanganates ------------------------------------------------------------------------- HANDLING OF HAZARDOUS CHEMICALS * Cover containers to prevent liquids from evaporating and powders from spilling. * Use a glove box to mix small amounts of powders. This can be made out of cardboard, with two holes in the sides for gloved hands, and a glass or plexiglass top. * Transfer powders carefully to avoid getting large amounts of dust in the air. * Pour liquids carefully to avoid splashing, using a funnel where possible. * Wear appropriate personal protective equipment. See Chapter 9 for more information. WORK PRACTICES AND HYGIENE * Do not eat, drink, smoke, apply makeup or chew gum in the work area. * Wash hands after work. Never use turpentine or other solvents to clean hands; instead use soap and water or a safe waterless hand cleanser (obtained from a safety supply house). Baby oil will remove paint from hands. * Wear separate clothes in the studio and wash separately from other clothes. HOUSEKEEPING * Dusts should always be wet mopped or vacuumed, never swept. Sweeping just stirs up the dust. * Highly toxic dusts like clay dust, asbestos, and lead dusts require a special high efficiency (HEPA) vacuum cleaner because very fine dusts go right through normal industrial vacuum cleaners. * Cement floors should be sealed with commercial cement sealers or even paint to make cleanup easier. * Dusty work surfaces should be wet mopped daily. REFERENCES 1. Babin, A. (1993). Safer Substitutes in Art. (poster). Center for Safety in the Arts, New York, NY. * 2. Babin, A. and McCann, M. (1992). Waste Management and Disposal for Artists and Schools. Center for Safety in The Arts, New York, NY. * 3. Babin, A., Peltz, P., and Rossol, M. (1992). Children's Art Supplies Can Be Toxic. revised. Center for Safety in the Arts, New York, NY. * 4. Clark, N., Cutter, T., and McGrane, J. (1984). Ventilation. Lyons and Burford, Publishers, New York, NY. * 5. Committee on Industrial Ventilation. (1988). Industrial Ventilation: A Manual of Practice. 20th ed., American Conference of Governmental Industrial Hygienists, East Lansing, MI. 6. Council of State Science Supervisors. (1984) School Science Laboratories: A Guide to Some Hazardous Substances, U.S. Consumer Product Safety Commission, Washington, DC. 7. McCann, M. (1992). Artist Beware. 2nd ed., Lyons and Burford Publishers, New York, NY. 8. McCann, M. (1986). Health and Safety for Secondary School Arts and Industrial Arts. Center for Safety in the Arts, New York, NY. * 9. McCann, M. (1994). Health Hazards Manual for Artists, 4th ed, Lyons and Burford Publishers, New York, NY. 10. National Research Council Committee on Hazardous Substances in the Laboratory. (1981). Prudent Practices for Handling Hazardous Chemicals in Laboratories. National Academy Press, Washington, DC. 11. Spandorfer, Merle, Curtiss, Deborah and Snyder, Jack. (1993). Making Art Safely. Van Nostrand Reinhold, New York, NY.