Art Safety Manual School of Art Illinois State University

Transcription

1 Art Safety Manual School of Art Illinois State University Laura Primozic & School of Art Faculty 2015

2 Table of Contents Preface... 1 Introduction... 2 Chapter 1 - Overview Safety Basics... 3 Section I: Health and Safety Overhaul Chapter 2 - Health Hazards Chapter 3 - Researching Materials and Equipment (SDS and JSA) Chapter 4 - Choosing the Correct PPE Chapter 5 - Labeling Materials Chapter 6 - Storage and Disposal Chapter 7 - Other Safety Concerns Electrical, ERP, Basic Frist Aid Chapter 8 - Resources and Emergency Contact List of Figures and Tables Figure 1. Eye and Face Protector Selection Guide Table 1. Recommended Eye Protection Table 2. Eye Protection Shade Numbers Table 3. Recommended Protective Gloves Annotated Reference List Section II: Equipment Safety Analysis Studio Processes

3 Preface This book was developed with the assistance of the faculty to improve the health and safety of students, faculty, and staff in the School of Art at Illinois State University. The Instructional Technician, Laura Primozic, researched safe studio practices at other institutions and recommended by the Occupational Safety and Health Administration (OSHA), as well as other professionals in the health and safety field. The Health and Safety Committee along with Environmental Health and Safety Officer Adam McCrary reviewed and edited the final manual.

4 Introduction As educators, it is our responsibility to identify potential hazards in the studio and enforce safe studio practices for our students. The first step to initiating health and safety practices in the studio is developing an understanding of the materials that we use and how they affect us. The second step is ensuring that tools and equipment are used safely while making art. This book is divided into two sections. The first section provides information about how to establish safe studio practices and the health hazards that come with making art from the many processes that we use. While there are numerous books that describe in depth the adverse health effects and how we can protect ourselves, this safety manual provides the information that is specific to the School of Art at Illinois State University. The second section provides information for the material and equipment safety precautions that is specific to an area or studio. Taking the time to learn the hazards of materials and equipment use can help instructors and students make art safely. Safe studio practices should not be left out of the education conversation and should become a part of decision-making in art-making processes.

5 Chapter One Overview Safety Basics The main steps that should be followed in developing safety procedures and practices are research, protect, label, store, and dispose. It is extremely important that we educate ourselves about health hazards that come with making art. The health hazards can come from a material, specific art-making process, or a piece of equipment. Once we know the ins and outs of a material or an art process, then we can protect ourselves and others around us that may be affected. We need to establish a safe working environment by sharing information about materials that are used in the studios. All containers should be labeled with the original manufacture s label info. Also, to help with keeping a safe studio, we need to store and dispose of materials safely. If we have done the research on the material, then we will know the safest way to store the material and how it should be properly disposed. It all stems from researching and having that information available for students to be active participants in maintaining a safe studio. Researching is one thing, practicing is another, and leading by example is the key. Researching starts with understanding material hazards and the proper use of equipment used in art-making processes. This information can be found in Safety Data Sheets (SDS) and the Job Safety Analysis (JSA). These should be made readily available for students and faculty to reference. The information needed to protect ourselves and others is often found in a SDS and a JSA. Additionally for materials, other requirements for ventilation, labeling, storage, and disposal are listed on MSDS. The initial research with an SDS or JSA can inform us throughout the whole process. These documents can be initially difficult to interpret, but after reviewing the SDS and JSA chapter in this book, we will be able to skim them for the information that pertains to art studios. These documents should be reviewed and updated regularly. These documents can be accessed at where they are regularly updated. Once we have reviewed the safety documents, we will be informed on what safety precautions need to be in place. In some cases, we may need to decide if the material or process can be used considering what type of ventilation or Personal Protective Equipment (PPE) is available. We will need to ask ourselves a few questions: Is the right ventilation and PPE available to use this material or equipment safely? Is this the only material available to get the result we want? Is there a safer one? Will this material have a short or long-term health effect on me or the people around me? All too easily people forget to flip a switch for ventilation or forget to use PPE. Sometimes, artists are so involved in the art making process that safety does not become part of their routine. If students learn safety precautions early, it should become second nature.

6 Leave the mystery to the art, not the making of it. Labeling materials is extremely important, especially when a studio is being shared with other people. This is true even more so in an academic setting where there is a range of beginners to advanced students all working in close proximity. Leaving containers unlabeled creates an issue for personnel who might enter the building in case of an emergency. If containers are unmarked and there is the probability of them being flammable or explosive, emergency personnel will not enter the room at all in order to avoid any danger. This can lead to greater damage to spaces and potential risk to those using the space. Also, unlabeled containers pose an issue upon hazardous waste disposal. If the contents of a container cannot be identified, additional costs and fees associated with chemical identification and hazard characterization make the handling and disposal of the hazardous waste much more expensive. Labeling will become easier over the next couple of years. The United States has adopted the United Nation s Globalized Harmonized System of Classification and Labeling of Chemicals into the Occupational Safety and Health Administration s Hazard Communication Standard. Under this new system, an MSDS is now a SDS, Safety Data Sheet. SDSs will essentially be sharing the same information as MSDSs, but with SDSs, all chemical manufactures will have to follow the same format and provide specific information. For instance, all manufacturers will have to provide pictograms that serve as visual indicators of specific health, physical, or environmental hazards posed by a chemical. Additionally, ensuring that chemical containers are consistently labeled with required information will satisfy the concerns of ISU Environmental Health and Safety. Labeling along with proper storage will help keep not only a tidy studio, but also a safer one. Materials that are flammables, corrosives, toxics, oxidizers, etc., need to be stored in the correct hazard specific cabinet. It can be surprising that even some similar materials cannot be stored together; for example, nitric acid has to be stored separately or in an additional secondary containment in an acids cabinet. 16 It will take some organizing and diligence to make sure that everything has a place to be stored while not in use. Storing all large quantities of materials in their cabinets and keeping smaller labeled secondary containers available for use will also help manage hazardous materials. Finally, when a material can no longer be reused or is no longer needed, refer back to the SDS for the proper disposal information. If there is ever any doubt, Environmental Health and Safety should be consulted before action is taken. Think before the sink. More often than not, art materials require specific disposal restrictions that are mandated by the local government. At ISU, we always refer to EHS for advice on proper disposal and if specific procedures need to be implemented. For example, they have assisted us with the collection of painting solvents, ceramic raw materials, and photo chemicals. Another thing to consider while purchasing materials is to only purchase what we need in order to avoid excess hazardous waste. The information shared thus far is just the beginning - a glimpse into the extensive information that will be provided in the following chapters about creating safe studio practices. Each step will be outlined in further detail to illustrate hot it relates to the studios and areas in the School of Art.

7 Section I - Health and Safety Overhaul Chapter Two Health Hazards 101 Consider this a crash course in the overall health hazards that pertain to many of the artmaking processes we use. There are some great resources available that dive deeper into specifics of material hazards and that expand on specific art materials. One that I reference regularly throughout the school year and for this safety manual is The Artist s Complete Health and Safety Guide by Monona Rossol. This book explains in depth the hazards and precautions of art materials and processes. The information in this manual references the main points in her book and relates back more specifically to what we do in the School of Art. Types of Hazards Chemical First, the ways in which we come in contact with hazards needs to be identified. We can come in contact with chemical hazards by inhalation, ingestion, injection, and skin contact. Chemical hazards occur in forms of dusts, mists, gas, vapors, fumes, and smoke. These hazards can have a localized effect or a systemic effect. Localized effect would refer to adverse health effects that take place at the point of contact. They can be skin irritations, burn, or small lacerations. Systemic effect can affect body organs, or systems such as respiratory, circulatory, or nervous. Toxins can enter the body through piercing the skin or absorption, which makes wearing applicable personal protective equipment (PPE) extremely important. Of course, we know if we are not wearing gloves we can absorb toxins, but this risk can increase if we have a cut or burn because the affected area has the potential to absorb more toxins. 1 The most common way that artists are affected by these hazards is through inhalation and skin contact. Eating in the studio is also an easy way to ingest inks and paints unintentionally. That is why eating and drinking in the studios is prohibited. Keeping food and food containers out of the studios helps in two ways. It prevents accidental exposure to chemicals through skin contact and ingestion, but it also avoids mistakes in identifying a food consumption container as a secondary material container. enforced. This is a policy that needs to be continually Inhalation and ingestion of hazardous substances can lead to systemic effects. Cumulative poisons tend to build up in the body as a result of numerous chronic exposures. Substances with systemic effects often have "target organs" in which they accumulate and exert their toxic effect. The effects are not seen until a critical body burden is reached. Example: heavy metals such as lead. 2 We can inhale toxins while working with various materials, and they can cause acute damage. We can ingest them unintentionally by smoking or eating while we are working with materials. It is too easy to ingest inks, paints, chemicals, and dust if food or drinks are located in the studio. Many of these hazards can be avoided by using personal protective

8 equipment and/or ventilation that is available. Chapter Four will explain more extensively the types of PPE that should be used and during which processes they are required. Below is the list of the ways in which chemical hazards occur and examples of how they exist in our studios. Dust minute solid particles from microns, which form a deposit or a cloud. Dust that cannot be seen by the naked eye will be more toxic because the lungs will bring the finer particles in deeper. Using a saw in a woodshop is an easy example of a process creating dust. However, sanding should be controlled with local exhaust ventilation or completed outside. Respirators, such as an N95, can be used if the user follows all of the requirements of the Respiratory Protection Program. Mist fine particle spray of liquid suspended in gaseous form, which will settle and condense on a surface. Spray paint is a common mist and is absolutely prohibited in the CVA. We currently do not have the appropriate safety measures in place to be using a spray can of any sort in the building. This includes paints, fixatives, and clear coats. These materials should only be used outside and more than 15 feet away from any entrance door, supply air intake, or window. Gas substance that is neither solid nor liquid at ordinary temperature and has the ability to expand indefinitely. In the small metals studio, hydrochloric acid becomes a toxic gas during etching and pickling solutions. Welding also has the potential to produce large quantities of inert gas argon. If it were to overtake a room and reduce the oxygen in the room, it would then be categorized as an asphyxiate. Also, increasing carbon monoxide gas is formed when firing a reduction gas kiln in ceramics. The appropriate ventilation needs to be available and functioning to avoid the gad hazards. Vapors gaseous forms of liquids. The most common occurrence in the art studios is where solvents are used. The Painting I classes no longer use highly toxic turpentine or mineral spirits but instead substitute for lower toxicity Turpenoid. Fumes tiny particles usually created in high-heat processes. Soldering in the metals or welding in the sculpture studios will create fumes. We often cannot see these tiny particles. For example, when the solder melts, lead will vaporize and will react with oxygen. The vaporized lead will in turn condense into tiny lead oxide fume particles.

9 Smoke happens when organic matter is burned. It is usually a mixture of gases, vapors, and fumes. Sculpture might use organic materials in a mold, and during the burnout, some smoke can appear. Additionally, organic materials burn out in bisque firings in ceramics. As artists, we need to be concerned about exposure to studio hazards. We need to ask ourselves: How much am I being exposed to? How often am I being exposed? Am I a high-risk individual (meaning age or pregnancy)? The School of Art exists in shared studio spaces, and we need to ask if we are putting the people around us at risk as well. Threshold Limit Values (TLV) for airborne substances are standards that will help us be aware of the limits for exposure. They exist to protect most people, but do not apply to children, those with a chronic illness, and other high-risk individuals. They are also not absolute guarantees. When reading the TLV of a material, generally the lower the number of parts per million (ppm), the more toxic it is. A good number to remember is any gas or vapor lower than 100ppm is highly toxic. Dust particulates smaller than 10 milligrams per cubic meter are more toxic. An example is silica flint, which has a ppm of.1mg/m 3. 3 We can detect air contaminants by sight, odor, or air monitoring systems. Seeing cloudiness in the air can be a good sign that dust and mist contaminants are not being adequately controlled. Odor indicates that there is a contaminant but not whether it is hazardous or not. Some hazardous materials actually smell good or have no odor at all. Olfactory fatigue occurs when we get use to a smell, and we are no longer aware of it. It is a good idea to leave the room, and check to see if we become aware of any hazardous smells when we return. 3 Remember, there is no correlation between odor and toxicity.

10 Physical Physical hazards occur in the form of noise, vibration, and radiation. Some physical hazards also have TLV for exposure limits. We often use equipment that can produce noise or vibration in many of our studios. It can be as simple as using a hammer. However, what ends up hurting us in the end is the length of time that we use the hammer and how often. Artists tend to do things in repetition. The continuous use of force can cause serious damage to our bodies longterm. Artists also tend to put themselves in situations that lead to poor and awkward postures. Lifting heavy items without assistance is an example of a situation that could cause a permanent back injury. As artists, we need to find better ways to ensure that processes and tasks are completed safety and efficiently. Ask for help, utilize the right equipment, and remember to focus on proper lifting techniques. We need to be more aware of when our body is telling us to take a break or utilize a safer alternate method for completing the task at hand. Noise A clear indicator for a noise hazard overexposure is ringing in the ears. If repeated high noise exposure occurs, it can cause permanent hearing damage. The level of noise generated from hammering metal is actually considered so hazardous, worse than a Rock and Roll band, that it should never be conducted without wearing hearing protection. Bottom line: If we are in a studio and we have to raise our voices in order to speak to someone two feet from us, then we need to be wearing hearing protection. 4 Vibration Using tools such as an angle grinder or handheld mixer that creates a lot of vibration can cause permanent and irreversible damage. Hand-and-Arm Vibration Syndrome (HAVS) is the medical term for symptoms caused by vibration damages that may occur in the fingers, hands, and arms when working with vibrating tools or machinery. Vibration injuries are divided into three subgroups, i.e. neurological disorder, vascular disorder, and musculoskeletal disorder. These damages can occur alone or in combination. We need to be aware at all times of the everlasting impacts of vibration and should always take breaks and limit our exposure. Checking tools and equipment for worn down parts that can increase vibration (i.e. general maintenance) is a good safety measure to decrease vibration risks. 5 Radiation Artists are rarely exposed to ionizing radiation that usually exists in x-rays or in emissions from radioactive metals. However, nonionizing radiation is present in studios that have light involved in their processes including visible, ultraviolet, and infrared. Visible lighting can cause eyestrain resulting from poor lighting conditions. This can be present in any of the studios and can be rectified by providing good overhead light with additional direct light for upclose detail work. Ultraviolet light is present in the welding studios and can damage both the skin and eyes. PPE should always be worn to protect you from skin and eye damage. Infrared light exposure most often occurs while looking into hot kilns. Ceramics and glass artists need to have the correct shade of protection for ultraviolet light. A minimum shade of #5 is recommended for this exposure. 6

11 Terms that will help us understand hazards Acute - has an immediate, serious, and severe toxic effect on the body. For example, exposure to turpentine can cause effects of lightheadedness to more severe effects such as headache, nausea, and loss of coordination. Chronic - long-term effect on the body, which shows up years after the first exposure. Some material may have a chronic effect after one exposure while others may require repeated exposures. Cumulative toxins - cannot be eliminated or are eliminated slowly from the body. Repeated exposures to these substances cause accumulation in the body that can lead to chronic health issues. Every chemical is eliminated from the body at a different rate. Repeated exposure will cause them to accumulate (ex: lead). Dose - the quantity of a substance that is absorbed by the body at one time. Endocrine disrupters - chemicals that interfere with the normal operation of the body s endocrine system that controls the immune system and hormones regulating body chemistry. These disruptions can cause cancerous tumors, birth defects, and other developmental disorders. Toluene is a common solvent in paint thinners, silicone sealants, adhesives, lacquers, etc. that can act as an endocrine disrupter without the correct PPE. Immediately Dangerous to Life or Health (IDLH) - an atmospheric concentration of any toxic, corrosive, or asphyxiate substance that poses an immediate threat to life or would cause irreversible or delayed adverse health effects or would interfere with an individual's ability to escape from a dangerous atmosphere. IDLH values are used by the National Institute for Occupational Safety and Health (NIOSH). 7 Multiple exposure / synergistic - when exposed to several different materials at once, they may act in concert to compound a potentially bad effect on the body. This can happen through a single exposure or multiple exposures at varying levels over time. Smoking and exposure to asbestos would be an example of a synergistic effect. Essentially, one chemical may amplify the negative effects of another. Non-Cumulative toxins - a toxic substance that the body can eliminate from itself. Although these toxins can be flushed from the body, the damage they cause may be permanent and accumulate over time. Although alcohol and solvents can leave the body quickly, the damage they cause may be permanent.

12 Volatile organic compound (VOC) are organic chemicals that have a high vapor pressure at ordinary room pressure and are emitted as gases from certain solids or liquids. Although VOCs are typically not acutely toxic, they may have compounding short and long-term health effects. An example would be paints that might say they be low VOC or odorless. Sensitizers - can cause allergies and hypersensitivity to materials. The longer people work with a material, the greater probability they will begin to react to them. Latex is a good example of a material that has the potential to cause hypersensitivity. Threshold Limit Value-Time Weighted Averages (TLV-TWA) - are airborne concentrations of substances averaged over 8 hours. They are meant to protect those workers who are exposed to substances at this concentration over the normal 8 hour and 40 hour work week. Examples of how TLVs are measured and how we might be affected by them would be if we measure acetone for 8 hours in a 40 hour work week. The TLV-TWA would be 500 parts per million. Hexane and toluene are 50 parts per million. A good guideline for artists is to consider anything with 100 parts per million or lower to be highly toxic. Fumes or dust with 10 milligrams per cubic meter are considered a nuisance. Particulates smaller than 10 mg/m 3 are more toxic. Examples: Calcium Carbonate is 10 mg/m 3 and a nuisance versus crystalline silica (sand, flint) is.1 mg/m 3 and very toxic. 8 TLVs should not be considered absolute guarantees of protection. TLVs are estimates based on known toxicity to humans or animals of a given substance and may not apply to children, people with chronic illness, or other high risk individuals. Total body burden - the total amount of chemicals present in the body from single or multiple sources. We all have body burdens of lead from air, water, and food contamination. Working with lead-containing art materials can add to this body burden (ex: lead, E-Waste). 2

13 Research, Protect, Label, Store, and Dispose Chapter Three Researching Materials and Equipment A Job Safety Analysis (JSA) is a document that helps integrate accepted safety and health principles and practices into a particular task or job operation and should be written by someone with knowledge of the operation, task, or piece of equipment being evaluated. Manufacturers, suppliers, and importers of chemicals are responsible for providing Safety Data Sheets (SDS) in order to communicate hazards of hazardous chemical products. Both of these documents offer information about required or recommended personal protective equipment (PPE) for the specific process or chemical, as well as the proper usage of PPE in specific circumstances. Safety Data Sheets (SDS) address. Chemical safety information is often disregarded despite being one of the easiest issues to In accordance with the Occupational Safety and Health Administration s Hazard Communication Standard, all manufactures, suppliers, and importers of hazardous chemicals in the United States are required to provide safety information on the materials that they produce or supply. The information was previously provided in what is called a Material Safety Data Sheet (MSDS). By 2016, the United States adoption of the United Nations Globally Harmonized System of Classification and Labeling of Chemicals will be complete. The new safety information will be provided in Safety Data Sheets (SDS). It will be essentially the same information that has been provided previously except in a universal 16-section format. 9 As an artist, the sections that should be reviewed are the Hazards Identification, First Aid Measures, Accidental Release Measures, Handling and Storage, Exposure Controls and Personal Protection, Stability and Reactivity, Ecological Information, and Disposal Considerations. The section providing firefighting information should additionally be made available for local emergency response personnel. SDSs will provide direction to artists regarding the proper PPE that should be used when working with particular materials. The most up-to-date SDS will list exactly what PPE is required to provide proper protection. Older versions, while not as current, will provide enough information to decipher what will be the most appropriate protection. In some cases, artists might be surprised that basic PPE is actually required for what may be thought of as fairly benign materials. If a material is provided with a National Fire Protection Association (NFPA) or a Hazardous Materials Identification System (HMIS) rating, it can help determine if there are health, flammability, reactivity, or special hazards associated with the material. For example, even Simple Green All Purpose cleaner has a rating of 1 in the Health section of the HMIS despite its listing as a non-toxic, biodegradable and environmentally safe cleaning product. 10

14 Job Safety Analysis (JSA) Researching safe studio practices should start by looking at equipment safety requirements. As a natural part of the creative process, artists tend to work to find new ways to manipulate materials with existing tools. However, these situations can also lead to unintentional and often preventable accidents. Introducing equipment in the studio with the assistance of JSA information can be helpful by clearly outlining the proper use of the equipment and identifying safety precautions. The documents outline the steps that need to be performed properly, the hazards of each step, and the precautionary measures that need to be implemented. 11 For example, many ceramicists use some type of power driven glaze mixer, either handheld or wall mounted. Both pieces of equipment come with their own hazards: electric shock while plugging in either type of equipment, overstrain using a handheld drill set on too high of a torque, and hand hazards if there is contact with the mixing blade. JSAs provide not only knowledge of these hazards but also proper safety precautions to be implemented to prevent injuries and property damage. JSAs should be updated with the most current safety precautions and can be a simple way to bring safety to the forefront of the studio practices. JSAs should also be made easily accessible to anyone who has access to equipment because there may not always be the opportunity to provide the proper personal introduction to using the equipment safely. JSAs are also very useful for training students on the proper personal protection for equipment use. Once the proper PPE has been determined, providing the appropriate type is critical, especially when it comes to students. For example, it is necessary to wear eye protection while looking into a hot kiln to protect eyes from optical radiation at high heat temperatures. Simple clear plastic safety glasses will not provide the protection that is needed from the radiation. The required safety protection will only come from lenses that block a high percentage of radiation. 12 Too often, students and instructors are checking on kilns with no eye protection at all. By reviewing the JSA before using equipment, an instructor would be reminded of the necessary PPE. Instructors that require and document the review of JSAs prior to using equipment and encouraging others to do the same will teach students to develop safe practices themselves.

15 Chapter Four Choosing the correct PPE Choosing and using appropriate PPE can vary depending on the types of art materials or equipment being used. Artists are exposed to both chemical and physical hazards and there are different methods that can be used to provide personal protection. Various types of PPE include hand protection, face and eye protection, protective clothing, protective footwear, hearing protection, and respiratory protection. Always refer to the SDS, JSA, and seek confirmation from instructors when determining the best PPE to be used for a specific chemical, process, or task. When determining which PPE should be used, you should always check the manufacturer s ratings for the equipment. Impact glasses would be good for using some equipment but would not be the best choice to protect against chemical splash. ANSI-approved Z87+ glasses are rated for high impact and would be the best protection in sculpture studios. A minimum green shade of #5 is the recommended rating for the infrared and ultraviolet radiation from a kiln according to OSHA s eye protection chart. 13 Check glove charts from glove manufacturers to see which chemicals the glove can come in contact with and for how long before it becomes degraded and permeated. Sometimes, we can actually see the chemical deteriorate the glove. Other times, we do not see it because it permeates through without any physical changes in appearance. Generally, nitrile gloves are suitable for non-solvent or non-acid use. Different studio areas will have specific needs for protective clothing. Please refer to tables 1-3 at the end of the manual to see appropriate PPE. 14 In regard to respirator use, the School of Art follows the Respiratory Protection Standard OSHA 29CFR All respirator use in CVA is considered non-mandatory, except for the handling of silica. In the case of EMPLOYEE non-mandatory respirator use, each affected employee must be medically evaluated to wear a respirator and must read and understand Appendix D of A Voluntary Use of Respirators Training and Information Form must be completed for each non-mandatory respirator user and documentation must be kept on file for the duration of the employee s employment. N-95 and half-face respirators are included; dust masks are excluded. Any paid employee (faculty, staff, teaching assistants, graduate students, student workers and paid lab tech monitors) must follow the standard; students are excluded. Non-mandatory use requirements are to read and follow all instructions on use, maintenance, cleaning, care, and limitations of respirator. Choose respirators and filters/cartridges certified by NIOSH and rated for use to protect against the contaminant of concern. Do not wear respirators into atmospheres containing contaminants that the respirator is not designed to protect against. Keep track of our respirators. Storing them in a Ziploc bag will limit their exposure and prolong their use. Refer to the Environmental Health and Safety website for further information regarding the Respiratory Protection Program.

16 General Studio Hygiene Precautions Clean up work spaces after each use. Avoid creating dust clouds when cleaning surfaces. Use wet methods to reduce airborne dust. Mop floors and sponge down work surfaces when appropriate. Use sweeping compound if the material being cleaned does not lend itself to being mopped. Wear aprons or coveralls while working in the studios and shops - not just street clothes. Change clothes when at home. DON T EAT/DRINK WHERE WE WORK

17 Chapter Five Labeling Materials Labeling materials is extremely important, especially when a studio is being shared with other people. This is true even more so in an academic setting where there is a range of beginners to advanced students, all working in close proximity. Leaving containers unlabeled can lead to accidental misuse of chemicals and creates an issue for emergency personnel that might enter the building. If containers are unmarked and there is the probability of them being flammable or explosive, emergency personnel will not enter the room as to avoid putting themselves in danger. In the studios, we try to avoid the more toxic materials by substitution with safer materials. If there is no substitute for a specific material, only use it when the proper safety equipment is in place and proper protocols are followed. However, we really should select dust free, water-based, or low VOC materials. Any new materials being used in the studios must be communicated to the Instructional Technician to ensure that Safety Data Sheets are added to the online MSDS online database. Applicable SDSs must also be added to the SDS binders in each studio. Original containers and transfer containers must be clearly labeled with the product identifier (name) and words, pictures, or symbols regarding the hazard(s) of the chemical. However, the best practice is to keep materials in the original container. This applies to toxic or non-toxic materials. If we need to transfer containers, pick one that is not normally used for food/liquid consumption but rather one that can be clearly identified as a chemical or art material. In most of the studios, there are labels marked In Use or Hazardous Waste. Containers that have In Use labels can be filled out with information about the particular class that it is used for, instructor s name, and name of material or solution. Even if it is a diluted mixture, the label should list the percentage of the material and water. Once a material container is empty or no longer to be used, place a Hazardous Waste label on it. This is a clear signifier that the material should no longer be used and should be disposed of properly. An example of this is Painting I labels. The student can circle on the label the solution that is in the container.

18 By 2015, all manufacturers should be following the new format for Safety Data Sheets. By 2016, all of our labels on containers should have the new pictograms. All of the binders will need to be updated as well at this time. In the meantime, we are compiling the SDSs on a website that will be easy to print labels with the new pictograms. Chemical manufacturers and importers will be required to provide a label that includes a harmonized signal word, pictogram, and hazard statement for each hazard class and category. Precautionary statements must also be provided. Hazard pictograms are key elements of GHS labeling, as well as: n Identification of Product and Supplier n Signal Word either DANGER or WARNING when necessary n Hazard Statement indicates nature and degree of risk n Precautionary Statement indicates how product should be used to minimize risks to user These 3 pictograms will most often be seen on chemical labels in studios and signify health, flammable, and irritant hazards. Each pictogram could have a different category of toxicity or flammability e.g. whether it is acute vs. chronic or flammable vs. combustible. The health hazards that may appear on labels for our materials may be: Acute Toxicity Skin Corrosion/Irritation Serious Eye Damage/Eye Irritation Respiratory or Skin Sensitization Germ Cell Mutagenicity Carcinogen Reproductive Toxicology Target Organ System Toxicity-Single Exposure Target Organ System Toxicity-Repeated Exposure Aspiration Toxicity Many of these hazards can be avoided if we properly protect ourselves with PPE, ventilation, or even just choosing a safer material. It is important to look for a few key words: what are the adverse effect(s), whether the effect(s) is acute or chronic, whether the hazard comes from inhalation, ingestion, skin absorption, and injection, and whether the effect(s) is reversible or irreversible. 9

19 Art Education Labels. It is important for those involved with Art Education to choose materials that are labeled safe to be used by children. We are responsible to make sure that our teachers are bringing safe practices into their future classrooms. U.S. Consumer Product Safety Commission (CPSC) is an independent regulatory agency charged with protecting the public from unreasonable risks of injury or death associated with consumer products. The CPSC developed the standard ASTM D4236 that outlines procedures for developing precautionary labels for art materials that have the potential to produce chronic adverse health effect. Any of those materials that will be used for children should have the label conforms to ASTM D Products with cautionary/warning labels should not be used with children pre-kindergarten through grade 6. Just because something says it is non toxic does not mean it has actually been tested properly.15 Below are examples of labels on art materials. The CL seal means that it does contain toxic material but can be used safely with appropriate caution. The AP Seal means they are certifies non-toxic. There are similar but smaller versions of our main studios, such as ceramics, in the Art Education classrooms. Art Education will need to follow many of the safe studio practices that have been talked about in pervious chapters but just on a smaller scale.

20 Chapter Six Storage and Disposal The last key steps for safety in the studio are to store art materials properly and follow disposal procedures in accordance with federal, state, and local regulations. Hazardous waste is considered to be a material that has the potential to cause or significantly contribute to an increase in mortality or an increase in irreversible or reversible incapacitating illness. Some hazardous waste can cause serious destructive effects on the environment. Hazardous waste usually carries the characteristics of being ignitable, corrosive, reactive, or toxic. In saying, hazardous waste needs to be handled properly. Every year, we make huge improvements in handling hazardous waste. In , we collected 23 gallons of paint solvent waste, 25 gallons of solvent rag waste, 150 gallons of ceramic glaze waste, and 40 gallons of photo fixer waste. The GHS also has different categories for environmental toxicity. This pictogram will help us be aware of something that may need to be labeled as hazardous waste and not poured down a sink or placed in the garbage. 9 However, even if a chemical does not have this pictogram, caution should be taken to ensure that the material is disposed of properly. Hazardous to aquatic environment o Acute aquatic toxicity o Chronic aquatic toxicity Bioaccumulation potential Rapid degradability It is vital that faculty, staff, and students ensure that materials are stored properly. Corrosives need to be stored in a corrosives cabinet and flammables in a flammables cabinet. It can be surprising that even some similar materials cannot be stored together; for example, nitric acid, a strong oxidizer that reacts violently with organic solvents and other materials, has to be stored separately or in an additional secondary containment in an acids cabinet. 16 Ensure that cabinets and materials are properly labeled or signed. When possible, keep materials in original containers. Always use proper PPE when handling materials and reference SDSs for PPE recommendations and exposure controls. There are numerous studios that use different types of compressed gas cylinders throughout the building. Like hazardous chemicals, flammable gases and oxygen tanks cannot be stored together. Additionally, empty and filled tanks should be stored separately, and all cylinders need to be marked if they are full or empty. 17

21 Aerosol cans are also a common hazardous material that need to be disposed of properly. Using spray paint is prohibited in the building, but it can be used outside. However, it needs to be used away from doors, windows, or ventilation intakes. When the can is totally empty, remove the cap, and the can is recyclable. If there are trace amounts left in the can, remove the cap, and place a hazardous waste label on the can. Any material that needs to be disposed of as hazardous waste must be labeled with a hazardous waste label. The procedure is to label the container, contact the Instructional Technician for pickup, and then the Environmental Health and Safety office will remove it from the building. Hazardous waste must never be put in the trash or poured down the sink. Do not handle waste unless you have had hazardous waste training Waste must only be placed in designated areas and designated containers All hazardous waste must be in containers labeled with material, name, date, amount, and the generator s name and department. Incompatible wastes such as oxidizers, flammables, corrosives, and solvents must be segregated using secondary containment (chemical resistant containers and trays).

22 Chapter Seven Other Safety Concerns Electrical Safety Electrical safety is a serious workplace hazard capable of causing both employee injury and property damage. Under no circumstance should an untrained employee or student be allowed to do equipment maintenance. If there is any question whether equipment is working properly, the Instructional or Properties Technician should be contacted. The proper protocol is to Lock-Out/Tag-Out (LOTO) the equipment until the maintenance has been fully conducted. The purpose of LOTO is to establish minimum guidelines to ensure the safety and health of personnel who may be required to work on any type of equipment capable of being energized or harboring stored energy. Once the equipment has been deemed safe to operate, the lock and tag will be removed. Locks are used with energy isolating devices to physically prevent the transmission and release of energy by unauthorized persons. Tags are placed on energy isolating devices to indicate that the device or equipment is out of service. Locks and tags are only to be removed by the individual who attached them to the equipment. NEVER REMOVE SOMEONE ELSE S LOCK OR TAG! Most School of Art faculty and staff are considered affected employees. An affected employee is one whose job requires him/her to operate or use a machine or piece of equipment on which serving is being performed under Lock-Out/Tag-Out or whose job requires him/her to work in an area where such servicing is being performed. Employees must be familiar with the proper orientation of equipment and shall report any equipment that is not operating properly or in need of maintenance to the Instructional Technician. 18

23 Emergency Response Plan The School of Art Emergency Response Plan is a plan that provides direction to employees on what to do in the case of an emergency. Employees must be trained on these plans so that everyone follows a common response protocol. The School of Art Emergency Response Plan can be found in the School of Art office and at Emergency Assembly Area: The designated emergency assembly areas: Center for Visual Arts- Quad, North of the Rotunda Art Studios/Grad House- parking lot across the street Vitro Center-parking lot South of the building Medical Emergencies Call 911. Calls made from a campus phone will be sent to ISU police. Any calls made from a cell phone will be sent to Metcom and you will need to provide them with the address for the building you are in, CVA address is 468 Beaufort St. Cell phone service is not always available throughout the building. Basic First Aid First aid kits are available in all studios. Bleeding o Call 911, remembering if you call from ISU phone you will be connected directly to ISU police and they will know your building location. o Let the victim know you are going to help them. Have victim sit or lie down and elevate the injury o Use latex gloves and sterile pads to apply direct pressure. o Wait for emergency personnel. Broken Bones o Call 911, remembering if you call from ISU phone you will be connected directly to ISU police and they will know your building location. o Let the victim know you are going to help them. Do not move victim but stabilize them. o Wait for emergency personnel. Burns and Scalds o Stop, drop and roll!!! o Smoother flames with fire blanket. o Call 911, remembering if you call from ISU phone you will be connected directly to ISU police and they will know your building location. Chemical Splash o Flush eyes at emergency eyewash station. Wash body in emergency shower station. o Do Not rub eyes or put pressure on eyes. o Call 911 or seek medical attention, remembering if you call from ISU phone you will be connected directly to ISU police and they will know your building location Illinois State University offers numerous First Aid and CPR/AED trainings throughout the year. Please visit for available training dates.

24 Chapter Eight Information and Emergency Contact Information Redbird Safe Walk: WALK Environmental Health and Safety: Illinois Environnemental Protection Agency: Occupational Health and Safety Administration: Illinois Department of Labor: Hazard Communication Program:

25 Figure 1. Eye and Face Protector Selection Guide Occupational Safety and Health Administration SOURCE: 29 CFR (A) (5) TABLE E1 Table 1. Recommended Eye Protection CFR (a) (5)

26 Table 2. Eye Protection Shade Numbers Source: 29 CFR (b) (1)

27 Table 3. Recommended Protective Gloves Occupational Safety and Health Administration Source: R 2003 The following table from the U.S. Department of Energy (Occupational Safety and Health Technical Reference Manual) rates various gloves as being protective against specific chemicals and will help you select the most appropriate gloves to protect your employees. The ratings are abbreviated as follows: VG: Very Good; G: Good; F: Fair; P: Poor (not recommended). Chemicals marked with an asterisk (*) are for limited service. Table 3 (continued)

28

29 Table 3 (continued)

30 1 Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), 31 5 United States Department of Labor: Occupational Safety & Health Administration, etools Woodworking Assembly Vibration (Jan. 5, 2015) 6 Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), Center for Disease and Prevention, NIOSH Publications and Product, Immediately Dangerous To Life or Health (IDLH), ( Jan. 5, 2015) 8 Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), United States Department of Labor: Occupational Safety & Health Administration, Modification of the Hazard Communication Standard (HCS) to conform with the United Nations (UN) Globally Harmonized System of Classification and Labeling of Chemicals (GHS), (Nov. 15, 2012). 10 Simple Green; MSDS No B [Online]; Sunshine Makers, Inc.: Huntington Beach, CA, February (Nov. 20, 2012). 11 United States Department of Labor: Occupational Safety & Health Administration, Job Hazard Analysis, (Nov. 15, 2012). 12 Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), United States Department of Labor: Occupational Safety & Health Administration [OSHA]. Regulations (Standards-29 CFR), 20 (Sept 1, 2014) 14 Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), 58-66

31 15 U. S. Consumer Product Safety Commission, Art and Craft Safety Guide Pub. No (Jan 28, 2015) 16 Monona Rossol, The Artist s Complete Health and Safety Guide Third Edition (New York: Allworth Press; Graphic Artists Guild, 2001), United States Department of Labor: Occupational Safety & Health Administration [OSHA]. Regulations (standards-29 CFR) 4 (Sept 1, 2014) 18 United States Department of Labor: Occupational Safety & Health Administration [OSHA]. Controls of Hazardous Energy (Lockout/Tagout) (Jan 5, 2015)

32 + Illinois State University School of Art Job Safety Analysis

33 CERAMIC

34 + Job Safety Analysis ISU School of Art Hand Drill with Mixer Attachment Step Hazards Controls 1. Do not turn on drill until all adjustments are made. Projectile and entanglement from accidental starting. Unplug or turn off mixer. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Install and tighten mixer attachment. Accidental starting and hand injury. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Visually check the drill is unplugged. As a precaution, keep hands away from trigger. 6. Adjust torque. Strain Adjust the torque of the drill to lesson the strain on hands, wrists or arms. 7. Turn on mixer and mix. Hair or loose clothing entanglement. Hand injury. Keep hands away from all rotating parts. Never grab onto the rotating chuck. Tie back hair, do not wear loose clothing. Keep power cord clear of drill.

35 Hand Drill with Mixer Attachment 8. Stop mixer. Hair or loose clothing entanglement. Hand injury. Wait until mixer has completely stopped before moving it. Keep hands away from mixer. 9. Clean mixer Hair or loose clothing entanglement. Hand injury. Shock from accidental starting. Maintenance Electric shock and cuts from accidental starting. Always unplug mixer. Remove mixer attachment from drill. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

36 + Job Safety Analysis ISU School of Art Large Dough Clay Mixer Step Hazards Controls 1. Do not turn on mixer and ensure bucket is upright. Do not turn on mixer when loading clay. Projectile and entanglement from accidental starting. Unplug or turn off mixer. 2. Put on all appropriate PPE. Clay and silica dust. Wearing an N95 respirator is REQUIRED. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. 5. Lower bucket to be able to load reclaimed clay and raw materials. 6. Once lowered, turn off power and load materials. 7. Add water, tilt bucket if needed. 8. Tilt bucket upwards and turn on mixing blades. Entanglement and dust. Accidental starting, entanglement and dust Entanglement and dust. Entanglement, dust and machine damage. Ensure hands are clear of bucket while lowering Ensure power is off Keep hand clear of mixer while adding water and tilting bucket. Keeps hand clear of mixer Do not hold tilt button down longer than when it has reached upright. It will cause the gears to grind

37 Large Dough Clay Mixer 9. When desired clay consistency is reached, turn off mixing blades 10. Tilt bucket downward to unload clay. 11. Clean out mixer, do not leave any clay in mixer. Entanglement, dust and machine damage. Entanglement Entanglement Keep clear of in motion mixing blades. Make sure clay never gets rock hard to avoid machine damage. Never turn on mixing blades while bucket is tilted down. Never turn on mixing blades while bucket is tilted down. 12. Return mixer to upright position and turn off power. Entanglement Keep clear of moving bucket Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

38 + Job Safety Analysis ISU School of Art Soldner Clay Mixer Step Hazards Controls 1. Do not turn on mixer until ready and lid is closed. Do not turn on mixer when loading clay. Projectile and entanglement from accidental starting. Unplug or turn off mixer. 2. Put on all appropriate PPE. Clay and silica dust. Wearing an N95 respirator is REQUIRED. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. 5. Raise lid to add reclaim, raw materials and water. Entanglement, dust,and injury Do not turn mixer. Keep on respirator. Use safe lifting procedures while lofting 50lb bags of raw material or reclaim clay 6. Do not overload mixer. Machine damage Start with ¾ amount of material and water. Add additional while mixing. 7. Close lid and start mixer. Entanglement and dust Stay clear of turning barrel. 8. Add raw materials or water if needed. Entanglement and dust Keep clear of turning barrel.

39 Soldner Clay Mixer 9. When desired clay consistency is reached, turn off mixer. Entanglement Make sure mixer is off. 10. Unload clay Injury Use safe lifting procedures while unloading. 11. Clean out mixer, do not leave any clay in mixer. Entanglement Never turn on mixer. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

40 EXPANDED MEDIA

41 + Job Safety Analysis ISU School of Art Epilog Laser Mini 24 Step Hazards Controls 1. Do not turn on laser until all adjustments are made. Eye injury accidental starting. Unplug or turn off laser. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. 5. Turn on ventilation. Turn on hood exhaust by switch on wall. 6. Turn on the Epilog Laser using its main power switch located on the left side of the machine. 7. Place your material on the work bed inside the machine. 8. Send your files to the laser using the suggested settings found on page 68 of the manual. None foreseen Turn on the exhaust fan attached to the back of the machine by plugging cord into the outlet.

42 Epilog Laser Mini If vector cutting, turn on the air compressor by rotating the valve a quarter-turn. 10. Press the Go button on the Epilog Laser. 11. Once the job has finished, wait one minute for material to cool. 12. Turn off the air compressor by closing the valve. Fire, and burn. Burn This step is not necessary for raster engraving jobs. If a flame appears open the machine lid to stop the laser from being produced. Do not touch material until it has cooled. 13. Remove material from the machine and throw away scrap pieces. Burn Lightly touch material to ensure it is cool enough to handle. 14. Turn off ventilation. None foreseen Turn off the exhaust fan in the back of the machine by unplugging its power cord. 15. Turn off the Epilog Laser using its main power switch located on the left side of the machine. Turn off the hood exhaust using the switch on the wall.

43 Epilog Laser Mini 24 Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

44 GLASS

45 + Job Safety Analysis ISU School of Art Wet Tile Saw Step Hazards Controls 1. Do not use saw until adjustments have been made Injury, machine damage Keep hands clear of diamond blade. 2. Put on all appropriate PPE. Safety glasses, apron, ear plugs 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Injury, entanglement, kick back, electrical shock Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Keep fingers and clothing away from blade. Ensure blade is sharp. Set the blade to the correct cutting depth, usually 1/8 beneath tile. Ensure water is flowing over cutting area. 6. Start saw. Injury, entanglement, machine damage, kick back. Ensure glass is not resting against blade when starting saw. Allow saw to reach full power before making a cut.

46 Wet Tile Saw 7. Start cutting glass. Injury, entanglement, machine damage, kick back Never force a cut. Keep hands clear of blade path. 10. Finish cut Injury Always finish cut completely. 11. Turn off saw. Keep hands clear of diamond blade. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

47 + Job Safety Analysis ISU School of Art Lap Wheel Step Hazards Controls 1. Do not use wheel until adjustments have been made Injury, machine damage Keep hands clear of vibrating wheel. 2. Put on all appropriate PPE. Safety glasses, apron, ear plugs 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Injury, entanglement, kick back, electrical shock 6. Start lap wheel. Injury, entanglement, machine damage Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Soak wheel Ensure water is flowing over grinding area. Ensure glass is not resting on lap wheel when starting wheel. Allow wheel to reach full power before grinding

48 Lap Wheel 7. Start grinding glass. Injury, entanglement, machine damage 11. Turn off lap wheel. Injury, entanglement, machine damage Never force a grinding Keep hands clear of vibrating wheel. Move glass across entire surface. Never continuously grinding it in one place. Remove glass from lap wheel and then turn power off. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

49 + Job Safety Analysis ISU School of Art Glass Lathe Step Hazards Controls 1. Do not use lathe until adjustments have been made Injury, machine damage Keep hands clear of turning parts of lathe 2. Put on all appropriate PPE. Safety glasses, apron, ear plugs 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Injury, entanglement, kick back, electrical shock Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Place shaft firmly into lathe arbor. Turn water on. Adjust height 6. Start lathe Injury, entanglement, machine damage Allow lathe to reach full power before removing material. Carefully press glass onto wheel and remove desired amount of material. Keep hands clear of turning parts of lathe.

50 Glass Lathe 7. Turn off Lathe Injury, entanglement, machine damage, electrical shock Turn off water. Keep hands clear of lathe until completely stopped.. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

51 + Job Safety Analysis ISU School of Art Glass Belt Sander Step Hazards Controls 1. Do not use sander until adjustments have been made Injury, machine damage Keep hands clear of turning parts of lathe 2. Put on all appropriate PPE. Safety glasses, apron, ear plugs 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Injury, entanglement, electrical shock Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Ensure that the belt sand paper is properly installed on the belt. Ensure that worktables are secured tightly at the desired angle. Ensure that worktables are 1/4" away from sanding surface. Do not rest material on worktable until ready to sand. Turn on water

52 Glass Belt Sander 7. Start belt sander Injury, entanglement, machine damage Turn on water Never force a sanding Keep hands clear sanding belt. Move glass across entire surface. Never continuously sanding in one place. 11. Turn off belt sander. Injury, entanglement, machine damage Control amount of pressure Always sand material on the table, never press material against the belt above or on the back side of the belt. Remove glass from sander and then turn power off. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

53 GRAPHIC DESIGN

54 + Job Safety Analysis ISU School of Art Guillotine Cutter Step Hazards Controls 1. Do not use cutter until adjustments have been made 2. Put on all appropriate PPE. Injury, machine damage Keep hands clear of cutter. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Set the adjustable stop (in back) to the desired length of the paper after cutting. 6. Place the paper to cut on the bed of the cutter. Back it up against the adjustable stop. 7.Make sure the remainder of the bed (cutting space) is clear of debris, stray items, etc. Injury, entanglement. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Keep fingers and clothing away from blade. Don t allow another person to help with a third hand on the paper to be cut. 8.Turn on Machine 9. Simultaneously press the buttons on the left and right of the machine with BOTH your left and right hands.

55 Guillotine Cutter Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

56 + 1. Do not turn on drill until all adjustments are made. Job Safety Analysis ISU School of Art Entanglement, projectiles, machine damage from accidental starting. Graphic Design Drill Press Step Hazards Controls Unplug or turn off drill. 2. Put on all appropriate PPE. Eye injuries, entanglement Wear safety glasses. Do not wear gloves. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Do not wear gloves. Keep floor area clean of scrap material, sawdust, power cords, etc. 5. Prepare for use. Projectiles. Clear table of all materials. Machine damage and injury. Properly lock the drill bit in the chuck. Check material for nails, staples, etc. before drilling. 6. Check drill bit. Machine damage and injury. Before continuing, joggle the power switch to see if the bit wobbles. Adjust bit as needed.

57 Graphic Design Drill Press 7. Adjust the height of the table in accordance to the thickness of your cut. Machine damage and injury. 8. Secure material to be cut. Machine damage, injury and projectile. Ensure that the cutting tool will not enter the table top. Tighten all lock handles before starting the machine. Make sure material is resting flat. 9. Adjust the drill press guard into place. Projectiles and injury. 10. Start drill. Injury and machine or material damage. Ensure the drill press guard is in position to protect from projectile and will not inhibit the task. Never start the drill while resting against the material. Always start the drill first and then move towards the material. 11. Operating drill. Projectile and injury. Always turn off drill after each cut. Never leave drill unattended. Never try to change material position while the drill is still on. Turn off drill and then make adjustments.

58 Graphic Design Drill Press 12. Turn off drill. Projectile, injury, and machine or material damage. Maintenance Electric shock and cuts from accidental starting. Always finish cut or remove drill bit form material before stopping the drill. Always wait for drill to come to a complete stop before moving materials or clamps. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

59 METAL SHOP

60 + Job Safety Analysis ISU School of Art Metal Chop Saw Step Hazards Controls 1. Do not turn on saw until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off saw. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Injury, entanglement and machine damage. 6. Line up cut. Injury, kickback, machine and material damage. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, metal dust, power cords, etc. Make sure saw is stable on a flat surface. Make sure cutting wheel is installed properly. The cutting wheel should not wobble at all. Ensure it is rotating in the correct direction. Ensure all knobs are tightened. Ensure the chop saw is free of debris. Do not put your hand near the trigger of the saw to avoid accidental starting. Rest metal flat on surface.

61 Metal Chop Saw 7. Lock material in place Injury, projectiles. Move adjustable vice to account for the thickness of material and tighten vice. 8. Start cut. Injury, kickback, machine and material damage. 9. Complete cut and release trigger Injury, kickback, machine and material damage. Allow the cutting wheel to be in full rotation before starting the cut. Never start the saw when the cutting wheel is resting against the material. Make sure cutting wheel has fully cut material. 10. Raise cutting wheel away from material. Injury, kickback, machine and material damage. Avoid accidental starting, keep hand away from trigger. Maintenance Electric shock and cuts from accidental starting. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

62 + Job Safety Analysis ISU School of Art Bench Grinder Step Hazards Controls 1. Do not turn on grinder until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off grinder. 2. Put on all appropriate PPE. Eye injuries, injury Wear safety glasses. Never have a glove on the hand that is closest to the grinder. However, a leather glove can be worn on the hand that stays farthest away from the grinder in order to avoid cuts from flashing. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Injury, entanglement and machine damage. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, metal dust, power cords, etc. Ensure that the rest table is no more than 1/8 from the grinding wheel. Ensure that the eye shield is in place. Ensure the tongue guard is not more than a 1/4 from the wheel.

63 5. Prepare for use cont Confirm wheels are not cracked or broken. 6. Start Grinder Projectiles, injury from cuts and burns, flying sparks Bench Grinder Use a dressing tool to smooth out any unevenness or grooves on the wheel. Never grind on the sides of the wheels. Always rest the material against the resting table while grinding. Never grind in the middle of the wheel. Always continuously move the material back and forth to avoid grooves in the wheel. Be aware of your hands in relation to the wheel at all times. Keep a loose grip on material in case of catching on the wheel. Immediately release material. Avoid handling of machined end hot end and always use gloves to pick up pieces after grinding. 7. Turn off grinder. Always wait until the wheel has stopped completely before removing debris from wheel.

64 Maintenance Electric shock and cuts from accidental starting. Bench Grinder Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

65 + Job Safety Analysis ISU School of Art MIG Welder Step Hazards Controls 1. Do not turn on welder until all adjustments are made. Burn, machine damage from accidental starting. Unplug or turn off welder. Remove flammables and combustibles within 35 feet. 2. Put on all appropriate PPE. Eye injuries, injury Wear welding helmet with #12 shade and welding gloves. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing, and wear welding jacket. Wear leather shoes, never flip flops or open toe shoes. Do not wear synthetic clothing, Never leave skin exposed to radiant light. Keep floor area clean of scrap material, metal dust, power cords, etc. 5. Turn on ventilation or moveable exhaust arms. Asphyxiation from fumes and smoke Ensure the moveable arm is near work area. 6. Prepare for use. Burn, machine damage Inspect cords and connection to unit. Inspect gas tank and hoses to unit. Ensure there isn t damage to hoses and connection around trigger is secure. Ensure hoses are not tangled.

66 MIG Welder 6. Prepare for use cont Turn gas valve counterclockwise to ensure the tanks is full. Turn pressure valve to read between 10 and 12 psi. Turn on welding unit. Check Voltage and Wire Speed chart for initial settings and make adjustments as needed. Clamp ground cable to metal work table or to actual material being welded if needed. Clamp work down to table, keeping in mid where the welding will occur. The wire should only extend a ½ inch from the inside tip of the nozzle. Clip wire if necessary. 7. Start welding Burns, radiation Make sure welding helmet is pulled down over face. Ensure the nozzle is close enough to the welding area without touching the tip to the material Hold the tip at 10 degree angle. Pull trigger to start welding. Move nozzle to push or pull the weld.

67 7. Start welding cont Ensure weld is penetrating the stock material, is strong and not brittle. Turn down voltage if the weld is melting through material. Turn up voltage if the weld is not penetrating and is too bulbous. Turn down wire speed if the weld is bulbous. Turn up wire speed if the weld is too thin. Helpful hint: the ideal weld will sound like bacon frying. 8. Turning off welder. Turn of gas on Argon tank. Bleed the lines by pulling the trigger and releasing any gas left in lines. This will also feed out wire that should then be trimmed down to ½. Turn the pressure nozzle counterclockwise to return it to 0. Turn off welding unit. MIG Welder Wind cords and hoses neatly around handle of welder. Ensure wire cutters are kept with welder. 9. Clean up Burns When cutoffs and debris has cooled off, clean off table and sweep floor.

68 Maintenance Electric shock, tank safety and burns from accidental starting. MIG Welder Unplug from the power source. Ensure tank is secured to cart. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

69 + 1. Do not turn on torch until all adjustments are made. Burn, machine damage from accidental starting. Turn off torch. Remove flammables and combustibles within 35 feet. 2. Put on all appropriate PPE. Eye injuries, injury Wear welding helmet with #12 shade and welding gloves. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and tank safety. 5. Turn on ventilation or moveable exhaust arms. Job Safety Analysis ISU School of Art Oxy-Acetylene Step Hazards Controls Asphyxiation from fumes and smoke Tie back hair, do not wear loose clothing, and wear welding jacket. Wear leather shoes, never flip flops or open toe shoes. Do not wear synthetic clothing, Never leave skin exposed to radiant light. Keep floor area clean of scrap material, metal dust, power cords, etc. Ensure the moveable arm is near work area. 6. Prepare for use. None foreseen Inspect hoses and connections to tanks. Tanks should be closed at main valve and hoses should have been drained. Make sure all hoses are untangled.

70 Oxy-Acetylene 6. Prepare for use cont. None forseen Turn on oxygen at tank source all the way, turn on acetylene ¼ turn. Adjust regulator valves for oxygen to 20 psi, acetylene to 5 psi Listen for leakage around brass connections. 7. Light torches. Inruy, burns, eye damage Keeps hoses out of the way of torch direction. Lower helemt to protect eyes At torch assembly, open acetylene (red hose) slightly and light with striker, open oxygen and adjust flame. If welding: weld on a heat resistant surface. If cutting: make sure cut is clear of work table. Keep clear of hot debris and do not touch fresh cutoffs. Let material cool before handling. 8. Shutting down. Turn of both valves on torch, beginning with the oxygen valve. Turn off gas at the tank valve, turn on torch valves and bleed hoses to torch, then close torch valves, and close regulator valves. Wind up hoses neatly on the cart.

71 Maintenance Tank safety and burns from accidental starting. Oxy-Acetylene Ensure tank is secured to cart. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

72 + Job Safety Analysis ISU School of Art Angle Grinder Step Hazards Controls 1. Do not turn on grinder until all adjustments are made. Projectile and entanglement from accidental starting. Unplug or turn off grinder. 2. Put on all appropriate PPE. Eye injuries, dust Wear safety glasses. Wear N95 respirator. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Install and tighten grinding disc. 6. Ensure other hand handle is attached. 7. Hold grinder above material and turn on. 8. Hold grinder at 45 degree angle, only touching the top third to material, and start grinding. Accidental starting and hand injury. Loss of control and injury Loss of control, injury, damage to material. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Visually check the drill is unplugged. Ensure handle is tightened. Never start grinder while resting on material Always firmly hold grinder Keep grinder moving across material, never holding in one place.

73 9. Turn off grinder. Do not set on table until completely stopped. Entanglement, loss of control, injury. Angle Grinder Keep clear of grinder until it has stopped completely. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

74 + Job Safety Analysis ISU School of Art Plasma Cutter Step Hazards Controls 1. Do not turn on plasma Cutter until all adjustments are made. Burn, fire, machine damage from accidental starting. Unplug or turn off plasma cutter. Remove flammables and combustibles within 35 feet. 2. Put on all appropriate PPE. Eye injuries, injury Wear goggles or shield shaded 8-10 depending on arc current. Refer to table(). Wear welding gloves. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing, and wear welding jacket. Wear leather shoes, never flip flops or open toe shoes. Do not wear synthetic clothing, Never leave skin exposed to radiant light. Keep floor area clean of scrap material, metal dust, power cords, etc. 5. Turn on ventilation or moveable exhaust arms. Asphyxiation from fumes and smoke Ensure the moveable arm is near work area. 6. Prepare for use. Burn, machine damage Inspect cords and connection to unit.

75 Plasma Cutter 6. Prepare for use cont Burn, machine damage Inspect machine and hoses to unit. Ensure there isn t damage to hoses and connection around trigger is secure. Ensure hoses are not tangled. Ensure cutter is connected to air line. Only use Plasma Cutter on grated table or clamp with cutting edge extended off regular table. Clamp to table Clamp ground cable to metal work table or to actual material being cut if needed. Set the AMP for cutting. Check chart for suggested settings, generally 25 for 18 ga sheet metal. 7. Start cutting Burns, radiation Make sure shield or goggles are pulled down over face. Keep the cutter (nozzle end) close (1/16-1/8 ) to the metal and use the guide surrounding the nozzle to trace templates if you have them. Use the trigger on the gun to activate the plasma cutter. Note the trigger has a safety that must be lifted before you can depress the trigger.

76 Plasma Cutter 6. Start cutting cont Burn, radiation Make a sample cut on the same type of material as your work piece to check your settings and travel speed. TIP-A clean cut relies on several factors: travel speed, technique, distance from the work surface and consumables. Use your non-cutting hand as a brace helps to maintain standoff and provide a cleaner cut. Keep the torch perpendicular to the work piece whenever possible (except when beveling). You may be able to pierce through thin material to start a cut. For thicker material start with a 45 degree angle, so the first blast of material has somewhere to go. Suggestion: to always keep the straight edge (finished edge) on good material, think of the torch as a car. Whichever way the torch is traveling is forward and the passenger side is always the straight side, finished edge.

77 Plasma Cutter 6. Start cutting cont Burn, radiation To determine if you're going too fast or too slow, visually follow the arc that's coming from the bottom of the cut. The arc should exit the material at a 15- to 20- degree angle opposite the direction of travel. If it's going straight down, it means you're going too slow and, you'll have an unnecessary build-up of slag. If you go too fast, it will start spraying back. Since the arc will be trailing at an angle, at the end of a cut, slow your cutting speed and angle the torch into cut through the last bit of metal. 7. Finish Cut Burn, injury, radiation, material damage Ensure that your feet and body are clear of any dropping cutoff pieces. You may have to adjust the angle of the torch to finish the cut cleanly DO NOT TOUCH any metal that has come in contact with the torch. Wait for it to cool. 8. Shut down machine. Burn, machine damage Do not touch torch tip. Turn off power to plasma cutter Disconnect from air supply Wind up hoses neatly onto machine

78 Plasma Cutter Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

79 PRINTMAKING

80 + Job Safety Analysis ISU School of Art Plate Cutter (Metal Shear) Step Hazards Controls 1. Do not operate cutter until all adjustments are made. Machine damage and injury 2. Put on all appropriate PPE. None foreseen 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Keep material and hands clear of blade Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, metal dust, power cords, etc. 5. Prepare for use Mark where you want to cut the plate. 6. Place the mark along the edge of the table, where the blade will come down 7. Bring the yellow-handled protective teeth down, to secure the plate 8. Step onto the treadle. This will push the blade down and cut the plate Pinching, cutting off fingers Ensure all body parts are away from the blade and cutting surface. Carefully apply steady pressure with your foot until cutting commences. Sometimes putting your full weight on the pedal is necessary.

81 Plate Cutter 9. When the material is completely cut, remove weight form pedal. Raise foot slowly raise blasé slowly. 10. Clean up Remove any scrap from cutter and floor. Maintenance Cuts from accidental starting. Keep clear from foot treadle.. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

82 + Job Safety Analysis ISU School of Art Vertical Etching Tank Step Hazards Controls 1. Do not use tank until all adjustments are made. Chemical splash or material damage Use PPE 2. Put on all appropriate PPE. None foreseen Apron, gloves and chemical safety glasses 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, metal dust, power cords, etc. 5. Place a tape handle on your none foreseen plate 6.Take the lid off the tank Chemical splash Apron, gloves, chemical safety glasses 7.Place your plate in the bath, securing the handle to the tank with a clip 8. After your etch is done, turn on the sink and remove your plate, letting excess ferric chloride drip into the tank. 9.Rinse the back and front of the plate, the handle, and your gloves. Turn off the water and put the lid on the tank

83 Vertical Etching Tank Clean Up: Always leave the equipment cleaner than you found it. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

84 + 1. Do not move lift until all adjustments are made. Job Safety Analysis ISU School of Art Moving Stone With Hydraulic Lift Step Hazards Controls Injury, machine damage Closed-toe shoes 2. Put on all appropriate PPE. Foot injury Closed-toe shoes 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Release lock (foot pedal on Lil Bro, lever on Big Jo) and move lift to appropriate position. Engage lock. 6. Raise/lower lift bed to appropriate height. Carefully slide stone until at least 2/3 of it are on the press bed (raise or lower bed as needed to complete this process). Once stone is 2/3 on, raise the lift bed until stone is slightly lifted from storage rack. Slide the stone the rest of the way onto the lift bed. Foot injury, machine damage Injury, machine damage, stone damage. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Ensure path is clear. Keep fingers clear of the stone bottom and do not let stone drop onto lift bed.

85 Moving Stone With Hydraulic Lift 7. Disengage lock. Move lift and stone to desired location. Engage lock and raise/lower lift bed to position slightly higher than the destination surface. Slide stone 1/3 of the way over surface and gently lower lift bed until stone just rests on the surface. Slide stone to desired position. 8. Return lift to appropriate location. Injury, machine damage, stone damage. Foot injury, machine damage Keep fingers clear of the stone bottom and do not let stone drop onto lift bed. Ensure path is clear. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

86 + Job Safety Analysis ISU School of Art NuArc Exposure Unit Step Hazards Controls 1. Do not use unit adjustments, cleaning and latches are secured Injury, machine damage Ensure all adjusts are completed first. 2. Put on all appropriate PPE. Eye damage Sunglasses rated for good UV light are recommended 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Injury, machine damage 5. Raise the lid of the exposure unit, making sure to prop it up securely. Clean both sides of the glass using glass cleaner and paper towels. Place plates and materials on the surface. 6. Lower glass lid, securing latches. Set appropriate time. If using the smaller exposure unit, make sure the curtain is drawn. Turn on the vacuum. 7. Turn on the light, making sure to avoid looking directly at the bulb or looking into the exposure area. Leave the room. Eye damage Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Avoid letting glass drop. Avoid looking directly at the light or into the exposure area. Sunglasses rated for good UV light are recommended

87 8. When time expires the light will automatically shut off. Turn off vacuum, securely prop open glass lid and remove all materials. Clean any residue on glass if needed. Lower lid, replace foam and cardboard covers, turn off unit. 9. Log the number of exposures, materials used, and total time of exposure. Injury, machine damage None foreseen Avoid letting glass fall. NuArc Exposure Unit Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

88 + Job Safety Analysis ISU School of Art Printing on a Press (takach or brand) Step Hazards Controls 1. Do not use press until adjustments have been made Injury, machine damage Keep hands clear of press and stone. 2. Put on all appropriate PPE. Gloves are recommended during inking process. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Set the start and stop points for the press bed. When moving the press bed by hand make sure the clutch is disengaged. 6. Make sure that the stone/plate is covered with newsprint and a generously greased tympan is placed grease-side up over the entire printing area. Lower the pressure, making sure that it is not too tight. Be careful of the lowered press arm. Injury, entanglement. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Keep fingers away from the edges of the press bed and stone.

89 7. Engage clutch, turn the crank in a clockwise direction until the press bed reaches its stop point. Raise the press arm, being cautious of it s tendency to spring upward after printing. 8. Allow the press to roll back in place. Injury, entanglement. Injury, machine damage Printing on a Press (takach or brand) Keep fingers away from the edges of the press bed and stone. Keeping hands free of press bed edges, corners, or underside guide the press back until it locks in place. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

90 + Job Safety Analysis ISU School of Art Aquatint Box Step Hazards Controls -Additional preparation: turn on hot plate to 300 degrees. 1. Do not turn on fan until all preparations have been made. Burns Accidental starting, entanglement, machine damage. Do not touch or place anything on or near the hot plate. Turn off and unplug fan. 2. Put on all appropriate PPE. Eye contaminants. Wear safety glasses Dust particulate. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Clean dust off of plate bars and from fan edge with brush. 5. Push dust centrally under the fan. 6. If needed, add additional teaspoon of dust to edge of fan. Accidental starting, entanglement, machine damage. Eye Contaminants Dust particulate. Eye Contaminants Dust particulate. Wear NIOSH-approved N95 Particulate Respirator Tie back hair, do not wear loose clothing. Ensure the fan is not operating. Put on all appropriate PPE. Put on all appropriate PPE. 7. Close access door to fan. Dust particulate. Ensure the door is closed tight. 8. Plug in and turn on fan, after 30 seconds turn off the fan. Electric Shock Ensure the plug is plugged in power outlet and then flip power switch.

91 Aquatint Box 9. Wait 30 seconds for large particles to fall. 10. Open access door for plate bars, top door. Place plate on resting bars. None foreseen. Dust particulate Wear appropriate PPE. Step Close access door to plate. Dust particulate. Ensure the door is closed tight. 12. Leave plate in box for 10 minutes. 13. Remove plate from box by sliding plate onto cardboard. None foreseen. Dust particulate Wear appropriate PPE. Step Transfer the etching plate to the hot plate without disturbing the resin. 15. Once the resin has changed from opaque to transparent, remove the etching plate. 16. Immediately transfer the etching plate from the cardboard to the countertop next to the hot plate to allow it to cool down. Burns and resin disruption. Overheating, warping of etching plate, burns, Burns. Do not touch the hot plate. Use another piece of metal to move the etching plate carefully to the hot plate. Do not leave the hot plate unattended. Do not touch the hot plate. Use another piece of metal to move the etching plate carefully to a piece of cardboard. Use another piece of metal to move the etching plate carefully to the countertop. 17. Turn off hot plate. Burns Do not touch hot plate. 18. Look thru lens to see if the plate has been properly etched. None foreseen.

92 Maintenance/fan adjustments Electric shock and cuts from accidental starting. Unplug from the power source. Must be trained. Aquatint Box Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

93 + Job Safety Analysis ISU School of Art Takach Variable Speed Motorized Lithography Press Step Hazards Controls 1. Do not use press until adjustments have been made Injury, machine damage 2. Put on all appropriate PPE. Apron, Keep hands clear of press and stone. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Injury, machine damage 5. Position stone or plate with plate base on the bed of the press, centering and bracing as usual 6. Select proper size scraper bar for stone or plate size, adjust height of bar assembly in the yoke and insert bar as usual Align stone or plate with scraper bar 7. Set start and stop by positioning magnet stops along the metal edge of the printer s side of the press bed Injury, entanglement Machine damage Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. Attention to physical safety while moving heavy objects, use lift as needed and protect fingers from pinching Do not transfer grease to any surface that should remain clean Use extra care in setting the start mark when pin registration is used so as to protect the tympan from puncture

94 Takach Variable Speed Motorized Lithography Press 8. Turn the switch on the control box on and make sure the speed controls are both set at WITHOUT SETTING PRESURE BAR DOWN, test the run of the bed to verify the placement of the start and stop by pressing the button with the arrow that points in the direction that you want the bed of the press to travel (Right to travel in under the scraper bar, Left to travel out away from the scraper bar) 10. Apply grease to the tympan where the scraper bar will be set down at the beginning of the press run and press the left arrow button to send the press bed out of the press. (motion will stop when the bed reaches the start mark magnet so press the left button again to return the press bed to the fully open position) Machine damage, stone damage, injury. Adjust the start mark as needed and test the run of the press bed until it is right Test the stop mark and adjust as needed With the press bed at the stop mark, double check that the image on the stone or plate will be fully under the scraper blade as it passes through the press. Check also that the scraper bar will not be going over the outer edges of the stone or plate during printing.

95 Takach Variable Speed Motorized Lithography Press 11. Printing Ink stone or plate as needed, apply printing paper and backing sheet (as usual) Press the right arrow button to move the press to the start position Machine damage, stone damage. BE ABSOLUTLY SURE THAT ANY PIN REGISTRATION PINS ARE PAST (TO THE RIGHT OF) THE SCRAPER BAR ALLOW 2 INCHES OF CLEARANCE BETWEEN PINS AND SCRAPER BAR 12. Set the pressure by adjusting the wheel and apply the pressure by pulling the pressure bar down into the printing position (as usual) Press the right button to have the press bed travel to the right to print. 13. Release the pressure by lifting the pressure bar and gentling returning it to the upright position 14. Hold down the backing sheet with your left hand and press the left arrow on the control box so that the bed of the press will travel out (press the left button again to get past the start magnet and return to the fully open position) Machine damage, stone damage, injury Machine damage, stone damage, injury Injury DO NOT LEAVE THE MOTORIZED PRESS UNATTENDED DURING PRINTING. The press bed will stop automatically at the stop mark. Do not push it past the vertical position as this will damage the yoke mechanism Keep hands clear of moving press.

96 Takach Variable Speed Motorized Lithography Press 15. Remove backing sheet and print from the printing element (as usual) Repeat procedure until all printing is completed Clean up Clean up and remove printing element and (as usual) Clean the press bed or plate base of any stray ink or gum Leave the press with the press bed in the open position and turn the switch on the control box off Attention to physical safety while moving heavy objects, use lift as needed and protect fingers from pinching Apron and gloves Tie back long hair Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

97 + Job Safety Analysis ISU School of Art Letterpress Type Step Hazards Controls 1. Do not use press until adjustments have been made Injury, machine damage Keep hands clear of press. 2. Put on all appropriate PPE. Apron and gloves ALWAYS WASH HANDS IMMEDIATELY AFTER USE & BEFORE DOING ANYTHING ELSE Never eat, drink, or store food or beverages near the letterpress type 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Injury, machine damage Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. 5. Select the drawer which contains the size and style of type for the project Move the drawer to the slanted work station top with the ledge to keep it in place while working Injury, entanglement Attention to physical safety while moving heavy objects, use lift as needed and protect fingers from pinching Always use caution when moving type drawers. Heavy (full) drawers should be moved by two people working together

98 Letterpress Type 5 Cont (If you do not move the drawer, an alternate method is to pull the drawer directly below the targeted drawer part way out to use as a brace for the drawer in use. This should only be done for very short-term access to the type and not for long composing sessions.) 6. Select a composing stick based on the size of lines to be composed Insert a line spacing unit called a slug Hold the composing stick in your hand so that gravity helps to keep the individual letters from falling out 7. Compose the line of type by selecting letters and spaces from the drawer. (Use the diagram showing the layout until you become familiar enough to know where everything is stored.) ALWAYS begin and end the line of type with a quad spacer Composed type will read backwards from right to left. Justify the line of type to a snug, but not overly tight fit Type damage. Remember to work with gravity to protect the type from falling

99 Letterpress Type 8. Insert the desired size of line spacing, typically a lead or slug Continue composing lines until the composing stick is about half full Move the composed type from the composing stick to a galley and block into place for storage until the project is completed ALWAYS WASH HANDS IMMEDIATELY AFTER USE & BEFORE DOING ANYTHING ELSE 9. After printing and cleaning type, replace type in galley if it has been removed Store in galley rack until project has been graded 10. Redistribute type into its proper place after the project is completed and before the end of the semester ALWAYS WASH HANDS Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

100 + Job Safety Analysis ISU School of Art Letterpress Galley Proofing Press Step Hazards Controls 1. Do not use press until adjustments have been made Injury, machine damage Keep hands clear of press. 2. Put on all appropriate PPE. Apron and gloves ALWAYS WASH HANDS IMMEDIATELY AFTER USE & BEFORE DOING ANYTHING ELSE Never eat, drink, or store food or beverages 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Injury, machine damage Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, dust, power cords, etc. 5. Dust off the underside of the galley that contains the type to proof and the bed of the galley proof press to make sure there isn t any dust or particles that would damage type or interfere with printing. Place galley directly on the bed of the press and brace into place Machine damage, injury Attention to physical safety while moving heavy objects and protect fingers from pinching ONLY USE TYPE-HIGH items in this press

101 6. Use the planer to level the type Wipe the type surface with a clean rag if it appears dusty or dirty (Only use a cleaning solvent if truly needed at this point.) 7. Printing Prepare ink and brayer as usual for relief printing. Apply the minimum amount of ink to give a full print DO NOT OVER INK as the small spaces in the letters will fill up and not print well. Lay the paper on top of the inked type 8. Grasp the roller bar and roll it across the paper (DO NOT FORCE the roller, if it is difficult to move, look for something in the way and remove the object) Carefully remove the paper 9. Clean up Clean brayer and any wood type with mineral spirits only Clean glass slab and metal type with mineral spirits and denatured alcohol Chemical skin contact Letterpress Galley Proofing Press Apron and gloves Tie back long hair

102 Letterpress Galley Proofing Press Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

103 + Job Safety Analysis ISU School of Art Letterpress Vandercook motorized proofing press Step Hazards Controls 1. Do not use press until adjustments have been made. DO NOT USE THIS PRESS FOR QUICK PROOFS. USE THIS PRESS FOR LARGE EDITIONS ONLY Injury, machine damage Keep hands clear of press. 2. Put on all appropriate PPE. Apron and gloves ALWAYS WASH HANDS IMMEDIATELY AFTER USE & BEFORE DOING ANYTHING ELSE Never eat, drink, or store food or beverages 3. Dress appropriately. Hair or loose clothing entanglement. Tie back hair, do not wear loose clothing. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Injury, machine damage Keep floor area clean of scrap material, dust, power cords, etc. 5. Dust off the bed of the press to make sure there isn t any dust or particles that would damage type or interfere with printing Place ONLY the type directly on the bed of the press and brace into place using quoin locks Machine damage, injury Attention to physical safety while moving heavy objects and protect fingers from pinching DO NOT EVER attempt to print on this press with type still in the galley as great damage to the type and press will be the result ONLY USE TYPE-HIGH items in this press

104 Letterpress Vandercook motorized proofing press 6. Use the planer to level the type Wipe the type surface with a clean rag if it appears dusty or dirty (Only use a cleaning solvent if truly needed at this point.) 7. Printing Prepare ink as usual for relief printing Apply the minimum amount of ink to the ink mixing metal roller to give a full print DO NOT OVER INK as the small spaces in the letters will fill up and not print well 8. Turn the control switch on and lower the metal mixing rollers to automatically distribute the ink to the rubber printing rollers Align the paper with the form on the bed and adjust registration aids 9. Engage the rollers with the foot petal that raises the paper gripping tabs and insert paper Release foot petal so that the paper grips hold the paper in place Equipment damage, injury NEVER use an ink knife directly on the rubber rollers Keep hands clear of moving parts

105 10. Crank the tympan assembly handle by hand in a circular motion all the way down the bed of the press until you reach the end and hear a distinctive click which will release the paper Remove the printed paper Reverse the cranking motion by hand to return the tympan assembly to the start position 11. Turn the control switch off and raise the metal mixing rollers off of the rubber printing rollers to perform any needed adjustments to form or paper registration 12. Repeat the above steps until all printing is complete 13. Turn the control switch off and raise the metal mixing rollers off of the rubber printing rollers Injury Letterpress Vandercook motorized proofing press Keep hands clear of moving bed.

106 Letterpress Vandercook motorized proofing press 14. Clean up Clean rubber rollers and wood type with mineral spirits only Clean metal rollers and metal type with mineral spirits and denatured alcohol Remove the roller assembly for easier cleaning Crank the tympan assembly part way down the track to expose the chain driven drum Clean this metal drum with mineral spirits and denatured alcohol 15. Return the tymnpan assembly to the start position MAKE SURE TO REPLACE THE CLEAN ROLLER ASSEMBLY CORRECTLY ALWAYS LEAVE THE METAL ROLLERS IN THE UP POSITION so they do not dent the rubber rollers over time Injury, equipment damage DO NOT ATTEMPT TO CLEAN THE DRUM WITH THE MOTOR ON AS THIS IS VERY DANGEROUS AND COULD CAUSE GREAT INJURY TO HANDS Attention to physical safety while moving heavy objects and protect fingers from pinching and rollers from damage Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

107 WOOD SHOP

108 + Job Safety Analysis ISU School of Art Panel Saw Step Hazards Controls 1. Do not turn on saw until all adjustments are made. 2. Put on all appropriate PPE. 3. Dress appropriately. Projectile from accidental starting. Eye injuries Hair or loose clothing entanglement. Unplug or turn off saw. Wear safety glasses. If using for an extended period of time, earplugs are recommended. Tie back hair, do not wear loose clothing. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Keep floor area clean of scrap material, sawdust, power cords, etc. 5. Prepare for use. Binding of blade if angle is not adjusted before cutting or adjusted but not in a locked position. 6. Turn on dust collection Projectiles from accidental starting. None foreseen. Adjust saw for cross-cutting or rip cutting. (vertical or horizontal cuts) Ensure that the saw is in a locked position by tightening all lock knobs. Do not put your hand near the triggers of the saw to avoid accidental starting. Line up the material to be cut and rest wood flat on surface.

109 7. Start the saw. Projectiles from rotating blade. Visually verify there is no wood or other debris around the blade or around the material to be cut. Material Kick Back Cutting fingers or hands while the saw is running. Check the material for cracks or knots. Check the material for nails or other fasteners. Remove them. Verify that the material is sitting properly. Allow the blade to be in full rotation before starting the cut. Do not go too fast through the material while cutting. Be aware at all times the location of your body parts in relation to the saw. Do not wear loose or baggy clothes. 8. Finish the cut. Projectiles from rotating blade. Material kick back Always complete the cut moving forward through the material. If you need to bring the blade back through the material, turn off the blade. 9. Turn off saw. Cuts. After the material cut is complete, turn off the saw. Remove material after blade has stopped and saw is retuned to top of track. Maintenance/blade change Electric shock and cuts from accidental starting. Unplug from the power source. Panel Saw Must be trained to change blades.

110 Panel Saw Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

111 + 1. Do not turn on saw until all adjustments are made. Projectile from accidental starting. Job Safety Analysis ISU School of Art SawStop (Table Saw) Step Hazards Controls Unplug or turn off saw. 2. Put on all appropriate PPE. Eye Injuries Wear safety glasses. If using for an extended period of time, Hearing Damage earplugs are recommended. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. 5. Prepare for use. Incorrect cut. Visually check correct blade is installed properly. Jamming of material, kickback due to exposed blade. Safety system will not be engaged and power to saw will be turned off. Cuts. Kick back. Visually check to see zero clearance insert is installed. Visually check to make sure break cartridge is installed. Check system status codes on the side of the switch box. Visually verify the blade guard and riving knife are installed. 6. Adjust height of blade. Cuts. Kickback. Verify the blades sits ¼ higher than the material.

112 SawStop 7. Adjust angle of blade. Verify the blade is at a 0 degree for 90 degree cut or make adjustments for a bevel. 8. Make appropriate adjustments to fence distance from blade. 9. Check for conductive material. Kickback from too little of material between the blade and the fence for a ripping cut. Kickback from too long of material compared to the shortness of the cut. Small length of material can cause injury Safety system will engage 10. Turn on dust collection None foreseen. Change the material orientation, flip the material so that the cut off is the shorter width, allowing bulk of material between blade and fence. Use a miter gauge for cross cutting short lengths. Never use both fence and miter gauge. Use another saw to cut the material. When making small cuts use a push stick. Do not use foam board, plexiglas or green treated wood. Remove all fasteners. 11. Start the saw. Projectiles from rotating blade. Visually verify there is no wood or other debris around the blade or around the material to be cut. Check the material for cracks or knots. Check the material for nails or other fasteners. Remove them. Material Kick Back Verify that the material is resting flat on the table.

113 11. Start the saw cont Allow the blade to be in full rotation before starting the cut. Cutting fingers or hands while the saw is running. Never force or push material too fast through blade. Be aware at all times the location of your body parts in relation to the saw. Do not wear loose or baggy clothes. 12. Finish the cut. Projectiles from rotating blade. Material kick back Always complete the cut moving forward through the material. If you need to bring the blade back through the material, turn off the blade. Cuts. Never reach across the blade. Always push the material straight forward. 13. Turn off saw. Accidental skin contact. After the material cut is complete, turn off the saw. Maintenance/blade change Electric shock and cuts from accidental starting. SawStop Unplug from the power source. Must be trained to change blades. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use.

114 SawStop Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

115 + 1. Do not turn on saw until all adjustments are made. Projectile from accidental starting. Job Safety Analysis ISU School of Art Band Saw Step Hazards Controls Unplug or turn off saw. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Blade can break and fly out of saw. Excessive blade exposure can lead to injury, too little can cause material to jam. Guard could drop during cut causing injury and the material to jam. Projectiles and potential blade damage. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Check that doors are closed. The top and bottom doors should be closed and locked completely. The blade guard should be lifted ¼ higher than the thickness of the material being cut. Ensure the guard is locked in place. Remove any debris around blade. Ensure the table insert is secure. 6. Check blade for damage. Injury, potential for blade breaking or kickback. Visually check blade any damage or bent areas.

116 7. Check material for nails, screws, or other fasteners. Injury, potential for blade breaking or kickback. Bandsaw Remove any nails, screws, or other fasteners. 8. Turn on saw. Projectiles Do not let the material touch the blade until it is moving. Allow the saw to reach full speed before starting a cut. 9. Line up cut. Cuts Keep hands away from blade. Securely hold material flat against the table surface. 10. Proceed with cut. Cuts, projectiles, and kickback Keep hands away from blade. Firmly and slowly control the material through the blade. Use push sticks, feather boards or other guides to assist. Use a V block when cutting cylindrical materials. Chip away material for tight curves. 11. Finish cut. Cuts, projectile, kickback Always complete the cut moving forward through the material. If you need to bring the blade back through the material, turn off the blade. Never reach around blade to remove material, always use a scrap piece of material to push debris away.

117 Bandsaw 12. Turn off saw. Cuts and projectiles After the cut is complete, turn of the saw. Maintenance/blade change Electric shock and cuts from accidental starting. Unplug from the power source. Must be trained to change blades. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

118 + Job Safety Analysis ISU School of Art Step Hazards Controls 1. Do not turn on drill until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off drill. Drill Press 2. Put on all appropriate PPE. Eye injuries, entanglement Wear safety glasses. Do not wear gloves. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Do not wear gloves. Keep floor area clean of scrap material, sawdust, power cords, etc. 5. Prepare for use. Projectiles. Clear table of all materials. Machine damage and injury. Properly lock the drill bit in the chuck. Remove Chuck Key before starting the machine. Check material for nails, staples, etc. before drilling. 6. Check drill bit. Machine damage and injury. Before continuing, joggle the power switch to see if the bit wobbles. Adjust bit as needed.

119 7. Adjust the height of the table in accordance to the thickness of your cut. Machine damage and injury. 8. Secure material to be cut. Machine damage, injury and projectile. 9. Adjust the drill press guard into place. Projectiles and injury. 10. Start drill. Injury and machine or material damage. Drill Press Ensure that the cutting tool will not enter the table top. Tighten all lock handles before starting the machine. Use clamps to secure material to table top. Never try to hold material that will be drilled. Do not attempt to drill into a work piece that is not flat or is not secured by a vice. Ensure the drill press guard is in position to protect from projectile and will not inhibit the task. Never start the drill while resting against the material. Always start the drill first and then move towards the material. 11. Operating drill. Projectile and injury. Always turn off drill after each cut. Never leave drill unattended. Never try to change material position while the drill is still on. Turn off drill and then make adjustments.

120 Drill Press 12. Turn off drill. Projectile, injury, and machine or material damage. Maintenance Electric shock and cuts from accidental starting. Always finish cut or remove drill bit form material before stopping the drill. Always wait for drill to come to a complete stop before moving materials or clamps. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

121 + Job Safety Analysis ISU School of Art Compound Miter Saw Step Hazards Controls 1. Do not turn on saw until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off saw. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. 5. Prepare for use. Injury, entanglement and machine damage. 6. Turn on dust collection None foreseen. 7. Move latch to correct degree of cut. Injury Make sure saw is stable on a flat surface. Make sure blade is installed properly. The blade should not wobble at all. Ensure it is rotating in the correct direction. Ensure all knobs are tightened. Ensure the saw is free of debris. Make sure the blade is raised and guard is covering it. Keep hands away from trigger,.

122 Compound Miter Saw 8. Line up cut. Injury, kickback, machine and material damage. 9. Start cut. Injury, kickback, machine and material damage. Do not put your hand near the trigger of the saw to avoid accidental starting. Rest wood flat on surface. Secure wood against fence. Allow the blade to be in full rotation before starting the cut. Never start the saw when the blade is resting against the material. 10. Complete cut and release trigger Injury, kickback, machine and material damage. Make sure blade has fully cut material. 11. Raise saw blade away from material. Injury, kickback, machine and material damage. Avoid accidental starting, keep hand away from trigger. 12. After cutting is complete move miter latch back to 0 degrees, lower blade and engage locking mechanism to keep blade locked in place. Injury Avoid accidental starting, keep hand away from trigger.

123 Compound Miter Saw Maintenance Electric shock and cuts from accidental starting. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

124 + Job Safety Analysis ISU School of Art Step Hazards Controls 1. Do not turn on saw until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off saw. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. Scroll Saw 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Accidental starting, cuts and machine damage. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Make sure saw is turned off and unplugged. Use the appropriate tools to install and tighten blade. Install blade with teeth facing downward. Adjust the tension of the blade. (high pitch sound when blade is plucked) Adjust the foot for the thickness of material. 6. Plug in saw. Entanglement, cuts, projectiles, machine damage from accidental starting. Make sure saw button is in off position before plugging in ground.

125 7. Lineup cutting line on material with blade and plan blade cutting path. Accidental starting. Scroll Saw Do not turn saw on until ready to cut. 8. Check material for nails, screws, or other fasteners. Cuts, potential for blade breaking or kickback. Remove any nails, screws, or other fasteners. 9. Turn on saw. Projectiles Do not let the material touch the blade until it is moving. Allow the saw to reach full speed before starting a cut. 10. Line up cut. Cuts Keep hands away from blade. Securely rest material flat against the table surface. 11. Finish cut. Cuts, projectile, kickback Always complete the cut moving forward through the material. If you need to bring the blade back through the material, turn off the blade. Never reach around blade to remove material, always use a scrap piece of material to push debris away. 12. Turn off saw. Cuts and projectiles After the cut is complete, turn of the saw. Maintenance/blade change Electric shock and cuts from accidental starting. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use.

126 Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual. Scroll Saw

127 + Job Safety Analysis ISU School of Art Belt/Disc Sander Step Hazards Controls 1. Do not turn on sander until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off sander. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Injury, damage to machine, damage to material. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Ensure that sanding disc is properly adhered to the sanding wheel. Ensure that the belt sand paper is properly installed on the belt. Ensure that worktables are secured tightly at the desired angle. Ensure that worktables are 1/4" away from sanding surface.

128 6. Connect plug to power source. Electrical shock, accidental starting. Ensure the power switch is in off position. 7. Turn on sander. Do not rest material on worktable until ready to sand. 8. Using the disc sander. Injury, projectile, damage to machine, damage to material. Belt/Disc Sander Always hold the material on the outside edge, the furthest away from the sanding surface. Hold material on worktable and press firmly but not excessive against the disc sander. Only sand material on the side of the table where the wheel will be spinning downward. (If spinning clockwise, position the material to be sanded from the center of the disc to the right edge.) Always place material on table, never press material against the disc above the table. Continue to move the material from the center of the disc to the edge to take off an even amount. Never hold the material in one place. Check material for progress.

129 9. Using the belt sander. Injury, projectile, damage to machine, damage to material. Always hold the material on the outside edge, the furthest away from the sanding surface. Hold material on worktable and press firmly but not excessive against the belt sander. Always sand material on the table, never press material against the belt above or on the back side of the belt. Continue to move material from left to right, never holding in one place. This will take off an even amount. Always check material for progress. 10. Turn off sander Ensure sander is turned off after every use. Never leave sander on unattended. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

130 + Job Safety Analysis ISU School of Art Jointer Step Hazards Controls 1. Do not turn on jointer until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off jointer. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Electrical shock, injury, projectiles, damage to machine, damage to material. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Make sure jointer is turned off and unplugged. Ensure the guard is working properly. The guard must automatically adjust to cover the unused portion of the cutter head and must remain in contact with the material. Make adjustments for depth of cut. Adjust the cutter head so that the clearance is no more than 1/8 inch from table.

131 Jointer 5. Prepare for use cont Check to see that all locks are tightened securely before using the jointer. 6. Turn on dust collector. Never joint pieces of material that are less than four times the width of the bed opening. Never joint stock less than 12 inches long. As the board starts over the cutterhead, the corner is very likely to catch, throwing the wood out of your hand and allowing the fingers to drop into the revolving cutterhead. Check the material for cracks or knots. Check the material for nails or other fasteners. Remove them. 7. Start jointer Injury, kickback, projectiles, damage to machine, damage to material. Keep hands away from cutterhead Always stand to the left of jointer. Always use an approved push block or push stick when jointing stock that does not provide a distance of safety for your hands. Never adjust the jointer while the cutterhead is turning.

132 8. Start jointer cont. Avoid deep cuts. They increase the likelihood of kickbacks and require a larger table opening. 1/16 inch on softwoods and 1/32 inch on hardwoods. Joint with the grain. Jointing against the grain is dangerous and could produce chatter or excessive chip out. Use a roller stand when jointing long pieces of material. 9. Finish the cut. Projectiles from rotating blade. Always complete the cut moving forward through the material. Material kick back 10. Turn off jointer. Injury and electrical shock. Never leave the jointer on unattended. Jointer Maintenance Electric shock and cuts from accidental starting. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

133 + Job Safety Analysis ISU School of Art Planer Step Hazards Controls 1. Do not turn on planer until all adjustments are made. Entanglement, projectiles, machine damage from accidental starting. Unplug or turn off planer. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Prepare for use. Electrical shock, injury, projectiles, damage to machine, damage to material. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Make sure planer is turned off and unplugged. Ensure all guards are in place and should be used at all times. Make adjustments for depth of cut. Adjust the table so that the the cut will be no more than 1/8. Check to see that all locks are tightened securely before using the planer.

134 Planer 5 Prepare for use cont Electrical shock, injury, projectiles, damage to machine, damage to material. The material must be at least 12 long, 6 wide and no thinner than 3/8 unless there is a carrier board. Check the material for cracks or knots. Check the material for nails or other fasteners. Remove them. 6. Turn on dust collector. 7. Start planer Injury, projectiles, damage to machine, damage to material. 8. Turn off planer Electrical shock, injury, projectiles, damage to machine, damage to material. Keep hands away from cutting area. Only handle material at the end of the table. Never force the material into the planer. If the material seems jammed and does not start moving with a slight nudge, then turn off the planer and lower the table to release the material. When ¾ of the material has moved through the planer, move to the opposite end of the planer to receive the remainder of material. Never leave the planer running while not in use.

135 Planer Maintenance Electric shock and cuts from accidental starting. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

136 + Job Safety Analysis ISU School of Art Step Hazards Controls Hand Drill 1. Do not turn on drill until all adjustments are made. Projectile and entanglement from accidental starting. Unplug drill 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Install and tighten drill bit or driver. Accidental starting and hand injury. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Visually check the drill is unplugged. As a precaution, keep hands away from trigger. Make sure bit or driver is not wobbly and is installed properly. 6. Adjust torque. Strain Adjust the torque of the drill to lesson the strain on hands, wrists or arms. 7. Secure material. Use clamps to secure material to table top. Never try to hold material that will be drilled.

137 Hand Drill with Mixer Attachment 7. Secure material cont Do not attempt to drill into a work piece that is not flat or is not secured by a vice. 8. Turn on drill. Hair or loose clothing entanglement. Hand injury. 9. Turn off drill. Hair or loose clothing entanglement. Hand injury. Maintenance Electric shock and cuts from accidental starting. Keep hands away from all rotating parts. Never grab onto the bit. Keep power cord clear of drill. Wait until drill has completely stopped before moving it. Keep hands away from drill. Unplug from the power source. Clean Up: Always leave the equipment cleaner than you found it. Vacuum or sweep all debris and dust. Make sure the power is turned off after use. Contributed and reviewed by: Instructional Technician Laura Primozic, EHS Officer Adam McCrary Created: November 2012 Review additional information in the manual.

138 + Job Safety Analysis ISU School of Art Step Hazards Controls Jig Saw 1. Do not turn on saw until all adjustments are made. Projectile and entanglement from accidental starting. Unplug saw. 2. Put on all appropriate PPE. Eye injuries Wear safety glasses. 3. Dress appropriately. Hair or loose clothing entanglement. 4. Inspect work area. Tripping/slipping, injury and electrical safety. 5. Install and tighten blade in saw. 6. Adjust speed according to material. Accidental starting and hand injury. Machine damage and injury. Tie back hair, do not wear loose clothing. Keep floor area clean of scrap material, sawdust, power cords, etc. Visually check the blade is unplugged. As a precaution, keep hands away from trigger. Make sure blade is not wobbly and is installed properly. High speed for wood, a medium speed for aluminum and PVC and a low speed for metals other then aluminum. 7. Secure material. Use clamps to secure material to table top. Never try to hold material that will be drilled.