THE COOPER UNION

PAINTING STUDIO HANDBOOK

David S. Derish, MFA

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 THE PAINTING STUDIO HANDBOOK
Introduction/Table of Contents

While it may not be possible to teach someone how to become an artist, there are certain technical aspects
to art that should be learned by the practicing artist. This involves the development of a comprehensive
approach to dealing with the materials used in creating art: their proper selection, their safe and economical
utilization, and ultimately their disposal in an environmentally sound and responsible way.

And since art is ultimately about the artist, there are important concerns that need to be addressed about
the physical and mental health of the artist—ranging from a familiarity with the ergonomics involved in the
physical act of making paintings to the avoidance of stress and substance abuse that may detract from the
creative process and pose serious risks to both wellbeing and productivity.

Topics to be covered in the handbook will include:

1. Supports and Surfaces

a. Rigid vs. Flexible Supports

b. Building Stretchers
c. Stretching Canvases
d. Preparing Surfaces (Grounds)

2. The Materials of Painting

a. Pigments
b. Paints

3. The Tools of Painting

a. Brushes
b. Palettes

4. Developing a Sustainable Art Practice: Health and Safety in the Studio

a. Lighting
b. Dealing with Toxic Materials
1. Handling Toxic Materials
2. Ventilation
3. Disposal of Toxic Materials
c. The Physicality of Making Art: Ergonomics
1. Repetitive Stress Injuries
2. Posture: Neck and Back Strain
d. Mental Health and Overall Wellbeing: General Comments

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 Getting Started

1. SUPPORT AND SURFACES

Painting is the act of moving paint over the surface of a support. The first step in the
painting process is the selection and preparation of the support and surface on which to
paint.

A. Rigid vs. Flexible Supports

There are two basic kinds of supports for painting: 1) rigid supports, such as wood
and aluminum panels; and 2) flexible supports, which include paper and a variety of
different fabrics, usually stretched over a frame, with the most common being canvas.

Rigid Supports. Artists have been painting on rigid panels since ancient times, long before
the creation of any known painting on fabric. When prepared properly, rigid supports such
as wood or metal panels are generally more durable than stretched fabric, and also support
a wider range of media.

Flexible Supports. Today most painting supports are flexible, with stretched canvas—
commonly made from either cotton duck or linen—being most popular. The key factor in
selecting canvas is the weight of the canvas, which is measured in grams. The weight of the
canvas determines the weave (and texture) of the painting surface.

Linen fibers are generally stronger and more durable than cotton. Linen also comes
in a wider range of weaves, from fine grade linen to the more textured coarse grade linen.
Cotton duck is commonly available in either 12 oz or 15 oz weight. Both are acceptable for
painting (10 oz weight, also often available, is not recommended), and considerably more
economical than linen, which is not a practical choice for the typical art student based on its
higher cost.

Aside from cost and durability, one additional factor in deciding between rigid and
flexible support materials is the type of paint that will be used, since different paints work
better with specific support materials.

Finally the maintenance and storage of art is a concern in the selection of support
materials, since flexible supports lend themselves to being removed from stretchers and
rolled up to conserve space in the studio and to facilitate transport.

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 Comparison of Supports:

RIGID FLEXIBLE SUPPORTS: FLEXIBLE SUPPORTS:

SUPPORTS CANVAS LINEN
Durability Excellent Fair Good
Strength Excellent Fair Good
Cost Varies Inexpensive Expensive
Range of Media Varies Varies Varies
Supported
Paint/Pigment Choices Good range Good range Good range
Ease of Poor Very good Good
Storage/Maintenance

If a flexible support is chosen, the next step is how to prepare it. There are three
aspects to preparing supports: 1) Building stretchers; 2) Stretching canvas; and 3)
Preparing the surface (GROUNDS).

B. Building Stretchers

Building your own stretchers bars can be an economical alternative to buying

stretchers from the art supply store—especially when working on larger canvasses—and
also gives you more control over the specific character of your stretchers.

Equipment Needed:

Table saw 2 x 4 wood strips

Chop saw Measuring tape

Mitre saw Pencil

Brad Gun or Power Drill Goggles

Here are the steps for building your own stretchers for painting. For the student,
this should only be done under the supervision of a shop tech, and only after you have been
trained in the proper use of the equipment involved.

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TIP: When working in the shop,
ALWAYS SAFETY FIRST:
• Shop tech supervision
• Never work alone
• Safety goggles for eye
protection Let’s say you want to build a frame measuring 40” x 50”.
• Don’t use equipment
you are not familiar First step: Always work safely. Before doing anything, make
with sure you are wearing safety goggles to protect your eyes.
• Always keep hands and
cutting blades in clear
view and out of each 1. On your 2 x 4, measure the length for one of the
other’s path dimensions and mark with a pencil. If there is enough
wood left on the 2 x 4 for the length of the other
dimension, mark that as well. If there is not, you will need
to repeat the process on another 2 x 4.

2. On the chop saw, cut the 2 x 4s to the lengths that you have measured. You will now
have two strips of wood measuring the lengths of your stretchers (one 40” and one
50”).

3. On the table saw, with the blade set to the appropriate height, and at an angle of 45
degrees (recommended), run the 2 x 4s lengthwise down the blade, bisecting the 2 x
4 and creating a pair of stretchers. You will now have one pair of 40” stretchers, and
one pair of 50” stretchers. When cutting 2 x 4s on the table saw make sure to keep
your hands clear of the blade, using a push stick to push the end of the wood strip
through the blade.

Now you will need to cut the ends of the stretchers so that they can be joined
together to make the four corners the frame that will be assembled from them.

4. On the mitre saw cut each of the corners at 45 degrees, making sure that the
corners are cut so that they can be joined at 90 degree angles.

Now it is time to assemble the frame, which can be done

TIP: For frames larger than 40” one of two ways: either with a brad gun and brads, or with a
x 50” consider adding
reinforcements--either corner
power drill and screws.
braces or cross braces to
prevent warping.

C. Stretching Canvases

Before stretching your canvas it is crucial that you make sure your frame is square.
This can be done in one of two ways; you can use a right angle tool to measure the corners,
making sure they are all 90 degrees. Alternatively, you can measure the frame diagonally,
making sure that both diagonals are the same length. If the frame is not square you can use
a mallet to adjust the corners until it is.

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1. First you must cut the fabric you will be stretching to size. Set the fabric on a clean,
level surface. Now place your frame on top of the fabric. Cut the fabric so that there
is at least 2” – 3” extra all around, and cut the fabric (for example, if you are
stretching a canvas that is 40” x 50,” your fabric should be at least 44” x 54” so that
there is enough extra fabric to wrap around the frame.

2. Now it is time to start stretching. For this step you will need a staple gun and
staples. A canvas pliers can also be useful for creating tension when stretching,
though not necessary.

The most important thing in stretching a canvas is creating tension that is

distributed uniformly along the surface, ensuring a sufficiently taut surface for painting.
Here is the best way to accomplish this:

• Using either your hands or with a canvas pliers, pull the fabric over the frame at the
midpoint of one side and staple in place.

• Now repeat the process in either corner on the opposite side. (The reason for doing
it this way is to use the diagonals to create maximum tension by pulling the canvas
on each axis.)

• Do this same thing on each remaining side, starting with the midpoint, and then
moving to the corners on the opposite side of the frame.

• Next add staples, approximately 2” apart, along the perimeter of the whole frame
until the canvas is taut.

• The last step is to staple the corners. This must be done properly, or corners can
unfold and tension will be lost, resulting in wrinkles, etc. This involves making
several folds, so that when the final flap is in place, the corner can be stapled
without any extra slack or extraneous material.

D. Preparing Surfaces (Grounds)

Before the artist can paint on a support the surface must be primed. Priming a surface
consists of preparing a ground that is acceptable for painting. This ground serves three
purposes:

• It protects the underlying support from damage (by ingredients in oil paint).
• It provides a surface that accepts paint and allows for adhesion.
• It provides a reflective white background that enhances the colors in transparent and
semi-transparent painting techniques.

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 Different techniques and different painting media require different kinds of
grounds. The main factor to consider when preparing a ground for painting is whether the
medium is oil-based or water-based. When painting with oil-based media additional
preparation is required in order to protect the painting surface from the effects of oil and
other solvents.

Priming a surface for painting with oil

Priming supports for oil painting consists of two steps: glue sizing and application
of the ground.

Glue sizing protects the painting surface from the damaging effects of the oils in the
priming or paint layers.

There are two standard priming techniques for oil painting surfaces: one for
producing an absorbent ground (a ground that absorbs oil) and the other for producing a
non-absorbent ground. The kind of ground the artist chooses to paint on is important
because it will influence not only painting technique but also the formal possibilities of the
process as well.

Traditional size and gesso ground

(ABSORBENT)

This traditional preparation consists of a layer of glue size and a layer of gesso
(chalk gesso): white powder (chalk) mixed with glue size. The traditional gesso used in
this preparation is not to be confused with acrylic gesso, a common commercial primer.
Acrylic gesso is also an acceptable, though not ideal, primer for oil painting.

• Glue size (rabbit-skin or hide glue) is made by mixing dry glue - in the form of
powder or crystals - with water, and heating in a double boiler. A solution with too
great a proportion of glue can result in tension or cracking to the ground, while a
solution with too small a proportion of glue can produce a weak, soft film which is
not ideal for carrying oil paint.

• Gesso is the traditional Plaster of Paris and glue size ground used over wood panels
for oil (or tempera) painting. The gesso layer provides the background color and
texture of the painting surface.

There is no one “right” way to prime a surface with gesso, but most artists apply
between three and seven layers. Painting surfaces for acrylic only require one or
two, if any. The thicker the gesso layer the more absorbent the ground. The gesso
layer should be a smooth, even surface of brilliant whiteness.

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 Traditional oil ground
(NON-ABSORBENT)

The priming process for oil painting with traditional oil ground is essentially the
same for flexible supports as for rigid supports, except for one thing: glue size should not
need to be as strong for flexible as for rigid supports, as a too-strong glue size on a
flexible support can result in excessive tension and cracking.

Unlike a gesso ground, which will always absorb some of the oil in the painting
process, a traditional oil ground allows the painter to continually return the painting
ground to its original condition by “oiling out” the painting layer with linseed oil, making it
preferable to an absorbent ground for painting techniques that involve using the inherent
luminosity of thinly-layered or transparent colors.

Priming a surface for painting with acrylic and other water-based paint media

The main difference in surface preparation—for both rigid and flexible supports—
with acrylic vs. oil painting is that with acrylic painting no glue size is required.

The recommended primer for acrylic painting is acrylic

TIP: When priming a gesso primer, a mixture of the acrylic polymer emulsion used
canvas for painting with as a vehicle for acrylic paints and titanium dioxide for
whiteness.
acrylic, to maximize
tension of the canvas and If you are painting opaquely with acrylics, primer is not
create a durable painting actually necessary at all—e.g. when you want to use the color of
surface, wet the canvas raw canvas as part of your painting process. If you do use
primer for painting with acrylics one or two coats is enough to
with room-temperature
create a uniform white ground for painting.
water, then brush coat
acrylic gesso primer into The acrylic primer can be applied with either a gesso
the wet canvas so that it brush or some kind of scraping device, such as a squeegee, for a
uniformly smooth, primed ground.
is absorbed into the
fibers of the canvas. Then
allow this first layer of
primer to dry overnight
before adding another
one or two layers of
undiluted acrylic primer
to the canvas before
painting.
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II. THE MATERIALS OF PAINTING: PIGMENTS AND PAINT

After the preparation of the painting support and surface, the pigments that you
paint with are the most important element of the painting process that must be considered.

Pigments are solids made up of particles that are suspended (or “dispersed”) in a
binding medium (“vehicle”) that enables them to be manipulated and distributed over the
surface of a support.

Pigments in themselves are the same in different media, but the binder is different
for oil-based paints (linseed oil) vs. acrylic paints (acrylic polymer emulsion), as well as
other water-based media (gouache, watercolor).

Understanding Pigments

When selecting pigments it is important to know what you are getting – something
that is often not clear from the name on the tube. Before getting into a discussion of the
various different kinds of pigments that are available and their properties, we should first
consider the two most important characteristics of any pigment: opacity and light-
fastness.

Opacity refers to how much light a pigment refracts, which determines whether a
pigment’s hue is solid (opaque), semi-transparent, or (fully) transparent.

Light-fastness refers to the permanence of a hue, which is determined by a

pigment’s resistance to change from the effects of exposure to light.

Information about the opacity and light-fastness of the pigment(s) in a tube of paint
can often be found on the label on the tube. Also on the label is the pigment code, which
identifies the pigment(s) contained.

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The pigment code often includes the name of the pigment, in addition to the numerical
code, which is determined as follows:

“P” for pigment, followed by the first letter of the hue group (“R” for Red), and then a
number which identifies the particular pigment (“209”. This is standardized and always the
same, even if another manufacturer uses a different name for the same pigment).

Kinds of Pigment: Inorganic vs. organic

Pigments can be divided into two main classes: organic pigments (pigments
derived from complex compounds of carbon) and inorganic pigments (pigments derived
from sources other than carbon).

Inorganic pigments come in three varieties: earth, mineral, and synthetic—

descriptions that refer to the sources from which they are derived. All of the opaque
pigments that can be found in a traditional painting palette are inorganic pigments, usually
derived from natural sources such as metals (Cadmium, Manganese, etc.) or minerals
(Ultramarine).

Organic pigments are either derived from natural sources or are synthetic.
Synthetic organics include such pigments as the Phthalocyanines (blues and greens),
Quinacridones (reds and violets), and Azos (yellows and oranges), among many others.
Synthetic organic pigments are extremely strong pigments, are comparatively cheap to
produce (and cheaper to buy), and have excellent permanence. Most modern synthetic
organic pigments are brighter, stronger, and more flexible than traditional pigments,
making them ideal for mixing an array of spectral colors at relatively low cost.

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 Colors and Color Mixing

The specific pigments you include in your palette determine the range of colors and
tones you can render in your paintings. In order to develop an acceptable palette for your
work you must understand both the structure of color and the principles of color
interaction that determine how pigments react when mixed with each other.

Our perception of color in a painting is determined by the action of light on the

pigments that contain the colors we see or by how they absorb or reflect rays of light. The
effects that occur when pigments are intermixed are explained by the theory of
subtractive color mixing, which states that color added to a mixture diminishes
(“subtracts”) the amount of light that is reflected (transmitted) to the viewer in the
resulting mixture. This is why the more pigments that are added when mixing color the
darker and less pure the color will become.

It is for this reason that pure pigments (mixed with an appropriate amount of
white) are ideal for capturing a sense of light in a painting and why, in order to prevent an
unwanted lowering of the tone and purity of pigments when mixing it is preferable to start
with lighter colors, adding touches of the darker color, not the other way around.

Another thing to consider when mixing pigments is how the opacity of the colors
being mixed affects the resulting mixture. For example, mixing two opaque colors together
results in another opaque color, and mixing two transparent colors together creates
another transparent color, but mixing a transparent color with an opaque color will result
in an opaque color.

Oil vs. Acrylic (and Other Water-Based Media)

TIP: In order to prevent an

Paints can either be water-based (watercolor, acrylic,
unwanted lowering of the gouache), solvent-based (alkyd, lacquer), or oil-based (oil paint).
tone and purity of pigments, Before getting into the materials and handling for different kinds of
when mixing it is preferable paint it is useful to consider the properties of different painting
media, and how they compare to one another with regard to various
to start with lighter colors,
painting techniques (their “pros” and “cons”).
adding touches of darker
color, not the other way • Oil colors have a depth and richness of color that is unique,
around. and oil colors can be worked while wet on the surface (“wet
into wet”) for far longer than other painting media.

On the other hand, because of the toxic nature of many of the

chemicals involved in the oil painting process (oil, solvent, etc.)
more preparation of the painting surface—as well as general safety

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precautions—are required than for water-based media.

Also, in order to prevent cracking and other problems associated with the
integrity of a painting surface, working in oil requires following the “fat over lean” rule,
which demands that thicker, more oily paint be layered over thinner paint.

• In addition to the fact that acrylic and other water-based media don’t require the
use of toxic materials as do oils, the greatest advantage of acrylic paints is their
versatility, accommodating a range of paint application techniques from thin,
transparent washes, to thick, opaque (impasto) surface effects.

Acrylics are also simpler to work with than oils (no “fat over lean”, surface
preparation, etc.) and in general have greater permanence—i. e. modern acrylic
emulsions are sturdy and flexible, and are not subject to the chemical changes over
time associated with oil colors.

Gouache and watercolor are two other water-based media that are ideal for
transparent and semi-transparent painting on paper and other rigid supports, and
can be used to achieve visual effects that are unique to their respective media.

Painting with Oils

Oil paints are made from pigments in an oil binder, which is most commonly linseed
oil. There are a number of substances that can be used in the painting process to facilitate
the handling of oil paints. The most relevant of these substances fall into two categories:
oils and resins.

• The most important oil in the painting process is mineral spirits (preferably
odorless mineral spirits, “OMS”), which are used primarily as a solvent for
diluting oil paint, decreasing viscosity to produce a consistency that is easier to
manipulate on the painting surface, making it ideal for working in thin layers,
especially in the early stages of an oil painting. Gamsol is recommended (available
for sale at a discount from the Painting Office on request).

Painting with oils doesn’t require the use of materials beyond quality pigments and
mineral spirits, so long as the “fat over lean” rule is observed, but there are a number of
other mediums that can be incorporated into the process to expand the possibilities of the
medium.

• Linseed oil, a drying oil that is already contained in oil paints as the binder that
gives them their consistency, can also be used (by itself, or in combination with
other substances) as a painting medium that is added to paints to increase their
flow.

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 • Stand oil, or “stand linseed oil,” is a thicker, polymerized linseed oil that can be
thinned with mineral spirits to make a standard painting medium. Adding stand oil
gives oil colors an excellent flow that cannot be achieved with regular linseed oil,
and stand oil also slows the drying time of oil paint, making it ideal for use in wet-
into-wet painting techniques.

• Resins are hard, glassy, non-crystalline solids that can be used in painting mediums
and in the preparation of varnishes. Resins can either be natural or synthetic.
Damar is the most useful of the natural resins for making a varnish (Damar
Varnish), which accelerates the drying time of oil paint when included in oil painting
mediums.

When used in the preparation of a varnish resins such as damar give a luster and
depth to the appearance of a painting through their highly refractive transparency. They
are also useful for glazing.

There are a number of synthetic resins, such as alkyd resins, which are as good—if
not better—than natural resins in the preparation of oil painting mediums, and have
similar characteristics.

Painting with Acrylics

Acrylic is arguably the most versatile of the water-based paint media. Acrylic paints
consist of pigment suspended in an acrylic polymer emulsion binder, which is water-
soluble when wet, and provides a flexible, waterproof, non-yellowing film when dry.

Most of the pigments available in oil colors—or acceptable substitutes—are also

currently available in acrylic. However, acrylic manufacturers tend to favor more modern,
synthetic pigments, while excluding some more traditional, natural ones, making acrylic
ideal for a more contemporary palette, heavy on Phthalos and Quinacridones, etc.

Acrylic paints can be used effectively with only water to manipulate the consistency
of the paint, but there are a number of mediums available for working with acrylics that
can produce different effects, many of them similar to the effects characteristic of oils. Most
of these mediums are versions of the acrylic polymer emulsion that is used as a binder in
acrylic paints. The three main acrylic painting mediums are gloss medium, matt medium,
and gel medium.

• Gloss medium is the same as the binder in acrylic paints, and can be added to “extend” the
paint.
• Matt medium (gloss medium + matting agent) is thicker than gloss medium and good for
transparent glazes that retain the mattness of acrylic color.

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 • Gel medium is gloss medium that has been thickened, and allows acrylic colors to be
extended or rendered more transparent without loss of structure.

…Other acrylic painting mediums:

• Flow improver is a wetting agent that helps thin acrylic colors for use in glazes
without reducing color strength, making it preferable to water for thinning acrylics.

• Retarder can be used to slow the drying time of acrylic paint, and is useful for
blending.

III. THE TOOLS OF PAINTING

A. Brushes

There are two main types of brushes: soft-hair brushes and bristle brushes, and both types
can be made from either natural hair (traditional) or synthetic fibers.

The type of brush you use for painting should be determined by several factors, including
the viscosity of paint, the support you are painting on, and the style in which you are painting (loose
vs. precise handling, etc.).

• Soft-hair brushes are meant for working with thin washes of paint, making them
ideal for watercolor painting. They can also be used for oils and acrylics, and are
especially good for precision work and work on a smaller scale.

• Bristle brushes are good for moving thick, viscous paint in oil or acrylic around on
a support. They can hold large amounts of thick paint, making them ideal for
impasto brushwork and work on a larger scale.

Soft brushes and bristle brushes both come in two different shapes: round and flat.
There are also filbert brushes, which are in-between flat and round in shape, and provide
some of the best features of either type of brush.

Synthetic brushes offer an economical alternative to natural-hair brushes, but

come with certain disadvantages as well. They are very difficult to clean completely and
tend to disintegrate over time, lacking the longevity of properly maintained natural-hair
brushes.

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 ***A note about cleaning brushes***

Brushes used with acrylic, which is a quick-drying medium, require continuous

washing, and thorough washing with water (but never hot water) at the end of each
painting session. Brushes should not be left in water for extended periods of time, as
this can result in damage to the brush fibers.

Brushes used with oil, a slow-drying medium, should be cleaned after each
painting session, as leaving dirty brushes soaking in mineral spirits can result in
deterioration over time. Oily brushes should first be wiped with a rag to remove excess
paint, then rinsed in mineral spirits, and finally washed out with water and a de-greasing
agent—such as Murphy’s oil soap or dishwashing soap—until all oil and solvent is rinsed
out of the brushes.

• Airbrushes allow paint to be atomized and distributed in a fine spray. Airbrushes

consist of a spray gun and a compressor, which works
with a can of compressed air. Airbrushes are useful for
applying uniform tones and gradations over large
canvases and also for controlled detail work in small areas.

Because the chemicals in paint can be toxic, and are

TIP: Used, solvent-soaked especially hazardous in particle form due to risk of inhalation, a
painting rags must ALWAYS respirator should always be used when working with an
be disposed of in designated airbrush, and airbrush work MUST be done in a properly-ventilated
area—preferably a spray-booth—in order to prevent exposure to
sealed containers in order to
ambient particulates.
protect against the potential
for combustion of fabrics An airbrush system should be cleaned after every use by
soaked in flammable spraying a cleaning agent through the system until it is clean.
chemicals.

B. Palettes

A number of different surfaces can be used as palettes, so

long as they are not absorbent, and provide a base that is adequate
for moving and mixing paint.

It is best to work on a palette of a neutral tone, and a palette that matches the tone
of the ground on which you are painting is ideal—i.e. a white palette for a painting on a
surface that is prepared with white primer. This will give you a better sense of how the
colors you are mixing will look in your painting.

Paint can also be mixed in plates and saucers, which can be preferable to a palette
if your painting process requires large amounts of pre-mixed paints at the ready. Mixing
containers should be covered with a plastic film such as saran wrap to prevent drying or

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hardening from oxidation caused by exposure to air, allowing you to save paint over the
course of multiple working sessions and prevent waste and lower cost.

Palette knives are useful for moving and mixing paint on your palette, as well as
scraping away excess or undesired paint from both a palette and a painting surface. A
palette knife can also be used for applying paint in dabs or flat, smooth patches of color.

Perhaps the most important accessory material for the painter—especially the oil
painter—is an ample supply of clean cotton painting rags, or some kind of absorbent
tissues, to clean excess paint from brushes, which prevents muddy paintings resulting from
the use of dirty brushes.

Rags dipped in linseed (or stand) oil are also useful for “cleaning” the surface of a
painting during or after a painting session (especially on a surface primed with oil ground),
which can help keep the painting film on the surface “fresh” and facilitate the flow of fresh
paint layers.

IV. DEVELOPING A SUSTAINABLE ART PRACTICE:

HEALTH AND SAFETY INSIDE AND OUTSIDE THE STUDIO

A. Lighting

Perhaps the most important consideration in setting up a space for making art is
lighting. Our perception of color is determined entirely by the effects of light on objects,
and—in the case of paintings—the pigments on the surface of the painting.

There are two main types of lighting: natural light (daylight) and artificial light.
Many painters prefer the clarity of natural light, which allows them to perceive colors in
their natural state. However, this is often not an option in a studio setting, where artificial
lighting is required. In this case, fluorescent light is often an acceptable choice. There are
even fluorescent lights that simulate the effect of natural light, called “artificial daylight.”

The color temperature of an artificial light source—a fluorescent tube for example—
is measured in degrees Kelvin (K), which represents the relative warmth or coolness of the
light. The temperature of your lights should be neither excessively warm nor
excessively cool, and preferably somewhere in the intermediate range (approx. 4000k).

A good way to gauge the relative character and temperature of lighting is, if possible,
to photograph work against a studio wall of a neutral white and then review the
photographs in order to observe the color of the wall in them. If the wall looks too warm or
too cool, this would indicate that the temperature of the lighting might need to be adjusted.

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 In addition to having an appropriate color temperature, lighting should always be
even and consistent across the surface on which you are working. Another thing to
consider, if possible, is the lighting conditions under which the work will ultimately be
exhibited, thus allowing the artist to maintain consistent lighting and ensure that the work
will be seen in the way in which it was intended.

B. Dealing with Toxic Materials

Painting sometimes involves working with materials that contain toxic chemicals.
There are certain measures that can be taken, and substitutions that can be made, in order
to minimize your exposure to toxic chemicals and mitigate some of their effects.

1. Handling Toxic Materials

As we’ve discussed before, when handling toxic materials it is necessary to consider

various protective measures. These include the use of personal protective equipment—
such as latex or nitrile gloves, dust mask and particulate respirators, and, in some cases,
protective eyewear, such as goggles.

Additionally, to prevent more general contamination with harmful chemicals, it is

recommended that you have clothing strictly for the studio, avoid eating and drinking in
your work space, and wash your hands thoroughly or shower after working with toxic
chemicals.

Protective gloves or a barrier cream are necessary when handling any paints and
solvents, which contain toxic chemicals that can be absorbed by the skin. When working
with aerosol sprays and powdered pigments or other dry media it is especially important
to prevent inhalation through the use of a dust mask, but preferably a particulate respirator
with a filtration system.

Even if the materials you are working with are not actually toxic, they can be
irritating to your skin. Use of a lubricating emollient cream or lotion can prevent excessive
drying of your skin and irritative eczema. Aquaphor is an excellent choice for this.

2. Ventilation

It is not only necessary to protect yourself from exposure to toxic materials while
you are working in the studio; you also need to protect your work environment, bearing in
mind that the chemicals you work with, if not properly vented, will remain in the
environment, continuing to pose a health risk. This is where ventilation comes in.

Fortunately, Cooper Union provides ventilation systems in most classrooms and

studios. It is your responsibility however to know how to take full advantage of this

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 resource. When you are painting, and dealing with solvents and other oils, working in an
open, ventilated space, such as a studio room, is adequate.

However, if you are working with aerosol sprays or dry pigments and other
powders, this must be done in a high-vent room, which is specifically designed to prevent
the release of chemicals into your air space.

3. Disposing of Toxic Materials

When you are done working with toxic materials, it is crucial that you contain and
dispose of them properly. This means keeping all of your solvents and other liquids in
appropriate containers that are labelled, covered, and stored in flammables cabinets.

Any dry media, such as pigments and other powders, should be stored in closed
containers.

Lastly, all potentially harmful substances should be disposed of in the designated

receptacles provided throughout the studios and classrooms. These should NEVER be
poured down sinks or toilets, from where they could enter and contaminate the air and
water supply.

C. The Physicality of Painting

While painting is primarily a creative pursuit, physicality is nonetheless involved.

Just as brushes and pencils are tools for the artist, the body is the vehicle for using these
tools; it must be functioning properly to employ them effectively.

When considering ergonomics, there are two important

TIP: If a container of solvent
potential occupational hazards for the painter: 1) repetitive stress
is covered and left overnight injuries; and 2) neck and back strain.
the contents will separate
into clean solvent and
i. Repetitive stress injuries (RSI) result from the gradual
sediment. The clean solvent
buildup of damage to muscles, tendons, and nerves from
can be poured off and prolonged repetitive motions. Overuse or improper use is
reused, and the paint the usual cause. For the artist there are two important
sediment can be disposed of common types of RSI to consider: carpel tunnel syndrome
and rotator cuff injuries.
appropriately. This is a
great way to prevent waste (a) Carpel tunnel syndrome. Carpel tunnel syndrome
and save money on art affects the wrist—specifically the median nerve in the wrist, which
materials. becomes swollen and inflamed as a result of prolonged repetitive
movements, leading to pain in the wrist and numbness, tingling, and
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occasionally weakness in the affected hand. Unrecognized and untreated it can seriously
handicap the painter, with surgery required in more advanced cases. In its milder forms
and when diagnosed early, there are a number of preventive/remedial measures that can
be applied to limit its impact and prevent permanent joint/nerve damage.
First and foremost is recognizing that the entity carpel tunnel syndrome exists and
represents a real threat to the artist and that modifying work habits can minimize the
impact of those necessary repetitive movements involved in painting or drawing.
Wrist positioning is crucial, as is an awareness of such positioning. Frequent rest
breaks while working are useful, as are wrist stretching exercises. Appendix 1. illustrates
suggested exercises for carpet tunnel syndrome.

Adding tape or foam to cushion the grip sites for pencils or brushes can sometimes
prove helpful. Occasionally wearing splints or bands can decrease wrist pain and strain,
but these should only be used at the recommendation of health care professionals. If pain
becomes severe and disabling—and if persistent tingling and numbness in the affected
hand suggest that nerve damage has occurred or may be developing—and conservative
remedies prove insufficient, consultation with an orthopedic surgeon is recommended for
consideration of a course of physical therapy and/or corrective surgery.

Appendix 1. illustrates sample exercises for carpel tunnel syndrome.

(b) Rotator cuff injuries. There are four muscles and tendons in the shoulder
which stabilize it and aid in its movement. These muscles and tendons can be injured
acutely or damaged more insidiously as a result of repetitive stress. Symptoms of rotator
cuff injuries include pain (usually the result of one or more tears and the accompanying
inflammation) and limitation of the normal range of movement in the affected arm and
shoulder. For the artist, it can seriously impede the painting process, particularly when
working on larger canvases.

While symptoms can suggest RCIs, consultation with a health care professional and
diagnostic studies (X-rays and MRIs) are required to confirm the diagnosis before
instituting therapy. This therapy will depend upon the extent of the injury and the amount
of associated joint inflammation. Initial measures include rest, local application of heat
and/or cold, anti-inflammatory agents (e.g. Ibuprofen), steroid injection, and supervised
physical therapy. Should these conservative measures fail, corrective surgery may be
required.

Awareness of posture, working at arm’s level, avoiding excessive stretching or over-

rotation of the shoulder, changing position, and frequent rest breaks with shoulder
stretches and strengthening exercises can minimize the chance of acute or chronic rotator
cuff injuries.

Appendix 2. illustrates suggested exercises for rotator cuff strains or injuries.

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 ii. Positional Injuries: Neck and Back Strain

Positional injuries or strains can result from maintaining rigid posturing over
prolonged periods of time, especially when accompanied by unusual or “unnatural” angles
or directions, without adequate rest breaks. The neck and the back are most commonly
affected. In the majority of cases simple strain is the problem, but occasionally there can be
more serious anatomical damage to discs in the neck or back—including herniated discs—
that can result in permanent musculoskeletal or neurological problems.

Prevention is the key here with the development of good studio (workplace) habits.
Never work at awkward heights or angles. Survey your work space and position work
surfaces in such a way as to minimize body strain.

If drawing at a desk, do not work hunched over, constantly bending your neck.
Make sure your chair has adequate support for your upper and lower back. Try to adjust
the height of your chair so that your feet can rest comfortably on the floor with the height
of your knees either at or slightly lower than your hips.

If working on an easel or off the wall, try to maintain your work at eye level. Avoid
hyperextending the neck backwards to reach the upper canvas or flexing the neck
downwards to reach the lower canvas. Always try to adjust your work surface to
accommodate your body—not the reverse.

Most important, take rest breaks. Making art is hard work. The creative process
takes its toll on the body as well as the mind. If you can’t get away from your work and jog
around the block or go to the gym, at least walk around the studio, do a few jumping jacks,
bend over and touch your toes, or stretch your arms and neck.
And when you’re not in the studio, remember that exercise—even modest exercise
like brisk walking for half an hour a few times a week—is good for your mind and your
body, as well as for your art.

D. Mental Health and Overall Wellbeing: General Considerations

While recommendations for a healthy life style with a well-balanced diet,

adequate rest, exercise, and planned recreation would seem to hold for any occupation or
pursuit, it may be especially important for the young artist, since the creative process takes
such a high toll on energy and concentration.

Similarly intelligent time management and social interaction to balance the relative
isolationism of the artistic process are important to maximize efficiency, productivity, and
work-based satisfaction.

Mental health and substance abuse issues are of special concern to the artist.

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 Mental Health/ Substance Abuse

It was the Greek philosopher Aristotle who proposed the concept of the “tortured
artist,” suggesting that no great mind ever existed without a touch of madness. This has led
to an unfortunate association between creativity and mental illness. While there are any
number of famous artists whose lives—and art—have been influenced by depression,
bipolar disorder, schizophrenia, and drug or alcohol abuse (among them such artistic
giants as Francisco de Goya, Vincent van Gogh, Paul Gaugin, Edvard Munch, Jackson Pollock,
Jean Michel Basquait, and Agnes Martin), the simple fact is that while artists as a group may
be more susceptible to mental illness than the general population, mental illness is not a
prerequisite for creating art (to the contrary, it can become a barrier) and mental illness
when it does occur in the artist can be addressed effectively in much the same way as in the
non-artist to promote creativity, productivity, and work satisfaction.

Compare the lives and careers of Munch and Martin. He considered his “suffering as
part of myself and my art” and tortured himself with hallucinations, phobias, and suicidal
thoughts throughout his later life. She, on the other hand, after having to virtually stop
painting as a result of schizophrenia and multiple psychotic breaks requiring
hospitalization and electroshock therapy in her younger years, experienced a resurgence of
her artistic drive after relocating to the peace and quiet of the New Mexico desert, adopting
Buddhism, and embarking on a program of medical- and psycho-therapy, going on to live
contentedly to a ripe old age and produce some of the most successful work of her long
distinguished career.

Aside from mental illness, substance abuse—drug and alcohol—is increasingly

being recognized as a disease. There is a definite link between the two, and fortunately
both can be treated.
While the image of the tortured artist may seem romantic at first glance, it is not the
kind of romance that you want to live with—or try to work with.

Creativity is a challenge—sustaining that creativity even more so. The isolation that
is an inherent part of the creative process—and the artist’s life—can take its toll. That is
why it is so important for the young artist to have a life outside of the studio and to be
aware that they are not alone. There are support networks to help you to get out the kinks
and get back on track if the need arises. While you might have to work alone, you don’t
have to be alone, or try on your own to address anxiety, depression, mania, or any
temptation for substance abuse as it may arise in the course of your work.

The art school is an ideal place to work, to learn, and to experiment for the young
artist. There is a definite advantage to being a part of an artistic community to share ideas
and foster camaraderie. And in the event that problems arise, there is an important
support network among faculty and administrative personnel—either on a one-to-one
informal basis or with more formal structured professional resources and referrals. It is
there for you. Make sure to take advantage of it if the need arises.

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 Please visit the Cooper Union Counseling Services webpage for specific information
on free or low-cost mental health counseling available to students.

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APPENDIX 1.

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 APPENDIX 2.

Sample Exercises for Rotator Cuff Injuries

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