Health and safety in the workplace

Health and safety in the workplace
Everyone knows that accidents can happen but responsible people can take easy
precautions in order to remove hazards or reduce the risks.
The tasks undertaken in this Unit involve the use of chemicals, some of which may
be harmful or highly flammable or both. This Unit also involves the use of sharp
tools, which have the potential to cause painful injury to careless hands. Therefore
the Regulations regarding hazardous substances, personal protective equipment,
manual handling and fire are particularly important when carrying out the tasks within
the Unit. Your tutor will provide you with all the instruction, training and information
you will need regarding health and safety in the workplace.
Remember!!
Everybody likes to take part in a bit of fun, but horseplay in the workplace can be
extremely dangerous and sometimes very costly.

The following information is included in typical safety information sheets, which are
supplied, free of charge, by product manufacturers.
Water based ground coats and glazes
Skin Protection Cotton or synthetic overalls (bib and brace or boiler
suits) should be worn at all times. Contaminated skin
should be washed with soap and water. Barrier
creams may be used. Disposable vinyl gloves will
help prevent contact with hands.
Eye Protection Goggles may be worn to protect against splashes. In
the event of eye contamination wash with large
amounts of clean water only, for at least ten minutes.
In extreme cases seek medical assistance.
Fire Measures Powder, water or CO2 extinguishers are suitable, but
candidates must not tackle fire! This should only be
done by designated individuals in the place of work or
by professional fire fighters.
Respiratory Protection Not necessary under normal conditions.
C.O.S.H.H. (Control of
Substances Hazardous
to Health)
Water borne paints are not classified as dangerous.
Floor and surrounding
area protection
Use a dust sheet!
Designer clothing and
mobile phones
Should be left in locker!

Solvent and oil based ground coats and glazes
Skin Protection Cotton or synthetic overalls (bib and brace or boiler suits)
should be worn at all times. Contaminated skin should be
washed with soap and water or a proprietary skin cleanser.
Barrier creams may be used. Disposable vinyl gloves will
help prevent contact with hands.
Eye Protection Eye protection should be worn to protect against splashing.
In the event of eye contamination wash with large amounts
of clean water only for at least ten minutes. In extreme
cases seek medical assistance.
Fire Measures These are Flammable material – CO2 or powder
extinguishers are suitable, but candidates must not tackle
fire! This should only be done by designated individuals in
the place of work or by professional fire fighters. Do not use
water jet. Smoke will be hazardous.
Respiratory Protection No risk if work area has local extraction system or good
general ventilation. In confined areas, time limits and air fed
masks are required.
C.O.S.H.H. (Control of
Substances Hazardous
to Health)
Liquid and vapours are harmful. Inhalation may be
hazardous.
Floors and surrounding
areas
Use that dust sheet!!
Designer clothing and
mobile phones
Trust me, this stuff doesn’t come off your clothes so use
a locker!!
Your tutor has full details of health and safety requirements etc, and will be glad to
answer any of your queries regarding health and safety. In fact your tutor will be
delighted to talk to you about any safety concerns you might have. It is very
important that you do speak to a tutor if you think you have spotted a potential safety
problem. You could prevent an accident by your care and attention.

Tools used in decorative painting
Name of tool Appearance Uses Maintenance and
storage
Paint Brush Applying ground
coats and glazes
to wall areas and
sample boards
Solvent/oil based
paints: Clean with
brush cleaner, and
then wash out
thoroughly with soap
and water. Store flat.
Water based paints:
Wash thoroughly with
cold water, shake dry
and store flat
Paint Kettle
or Pot
Holding a working
amount of material
decanted from the
original container.
All trace of remaining
material is returned to
the original container,
and then kettle is
cleaned using solvent
or water depending
on type of material
being used.
Paint Roller Applying water
based ground
coats and glazes
to wall areas and
sample boards
Excess material is
scraped from the
roller back into the
original container.
The roller is then
washed thoroughly in
cold water to remove
all traces of paint.
The roller is then
spun to remove as
much water as
possible before
hanging up to dry.
When dry the roller
should be stored in a
dry area.
Paint Tray Holds materials to
be applied by
roller.
Remaining material is
returned to original
container and tray is
washed thoroughly in
cold water.

storage
Paint Stirrer Used to mix paint
before emptying
into the pot or
during use.
Remove excess paint
after use and hang up
or return to store.
Natural
Sponge
Used to apply
(sponging on) or
remove (sponging
off) coloured
glazes, in order to
produce sponge
stipple effects
Sponges should
always be immersed
in water before use.
Frequent rinsing is
necessary throughout
texturing and
sponges must always
be thoroughly
washed with soap
and water on
completion of tasks.
Hair Stippler Used to produce
stippled effect in
wet glaze
Brush cleaner should
be used to remove all
traces of material.
Stippler should then
be washed in soap
and water, shook dry
and stored with
bristles facing
upwards.
Dragging
Brush
Used to provide a
dragging effect
when pulled
through wet,
coloured glaze
Brush should be
washed using brush
cleaner then
thoroughly rinsed with
soap and water,
shook dry and stored
flat.
Craft or
Stencil Knife
Used to cut
stencils
Should be stored
after use in a secure
place with blade
protectors fitted.

storage
Stencil Brush Used to apply
material over
placed stencil
Wash with brush
cleaner to remove all
traces of paint.
Repeat with soap and
water then rinse
thoroughly, shake dry
and store with bristles
protected.
Rags (lint
free)
Used for ragging
coloured glazes to
produce a broken
colour effect
Rags should be
regularly rinsed
during use and on
completion of tasks
they should be
washed thoroughly
and laid flat to dry.
NB Rags used in
solvent or oil based
paints must always
be laid flat to dry out
as they may
otherwise create a
serious fire hazard.
Bucket and
Sponge
Used for cleaning
purposes at all
times when using
water based
materials
Buckets should be
emptied and cleaned
after use, sponges
should be rinsed
thoroughly. All
equipment should be
stored carefully on
completion of work.
Synthetic
foam sponge
Sometimes used
as an alternative to
a stencil brush to
apply materials
over a placed
stencil. This will
produce a finer
finished effect
Usually discarded in
a safe manner after
use but in cases of
extreme shortage or
poverty, may be
rinsed in solvent or
water for future use.

Materials used in decorative painting
There are two main types of materials used in this unit and they are as follows:
a) Solvent or Oil Based Paints – Ground Coats such as Eggshell finish and Glazes.
b) Water Based Paints – Ground Coats such as Vinyl Silk, Acrylic Eggshell finish,
Glazes and stencil paints.
You might ask why there should be two different types of paints when they both
seem to produce the same result. The answer is that, traditionally, solvent or oil
based materials were used as they possessed more durability, but more recently
Governments and manufacturers have realised the importance of using Planet
Friendly products. This has resulted in the development of water based materials in
order to reduce the amount of damage solvent based materials were causing.
Scientifically speaking oil and solvent based paints contain high levels of “Volatile
Organic Compounds” (VOCs) and use up oxygen during their drying processes.
Water based paints are low in VOCs and emit only H2O (that’s water to you and me)
as they are drying out. Anyway, for those of us who feel that it is important to protect
the planet, water based paints provide the “Healthy Option”.

The following table shows typical materials used in decorative painting, their uses
and their properties:
Name of material Uses Properties
Solvent or Oil Based
Eggshell Finish
Used as a ground coat for
broken colour effects
 Very durable.
 Washable.
 High opacity (that
means it covers up
the surface very well)
Solvent or Oil Based
Glaze
Used with stainers to
produce broken colour
effects over ground coats.
 Extended working
time.
 Very durable.
Acrylic Eggshell Finish Used as a ground coat for
broken colour effects
 Durable.
 Washable.
 Quick drying.
 Good opacity.
Vinyl Silk Emulsion Paint Used as a ground coat for
broken colour effects, a
slightly cheaper
alternative to acrylic
eggshell.
 Washable.
 Quick drying.
Water Based Glaze Used with stainers to
produce broken colour
effects over ground coats.
 Limited working time.
 Quick drying.
Stencil Paints Used to produce
decorative stencil effects
 Opaque (semi-
transparent).
 Quick drying.
Stainers and Colourisers Used to give glazes
required colour for
decorative broken colour
effects
 Strong colour quality.
 Some can be used for
both solvent and
water based paints
(universal stainers).
White spirits (turps
substitute)
Used to thin solvent and
oil based paints
 Assists application of
thicker materials.
 Slightly reduces
working times for
glazes.

Decorative paint effects
Hair stippling
Hair stippling is a decorative paint effect, which adds depth to otherwise plain and
uninteresting areas. It is created by texturing a coloured glaze which has been
painted over a previously prepared ground coat. The tool which produces the stipple
effect is called a hair stippling brush.
Method of application
Ground coat Solvent based eggshell finish, acrylic eggshell and vinyl silk
emulsion paints provide the most suitable ground coats as they are
less absorbent than other types. Two coats of the chosen colour
should be applied by brush or roller, to a suitably prepared surface,
which is free from visible defects. Note that a rolled ground coat will
have a more textured finish than a brushed one. The ground coat
must be fully dry and hard before the glaze is applied.
Glaze coat The glaze is suitably coloured using paint stainers then applied by
brush over a workable area (no more than 1 square metre at a time).
The tips of the bristles on the hair stipple brush are primed with a
little of the glaze before being dabbed at 90 degrees (that’s straight
up and down) to the surface in short quick strokes.
Care should be taken to change the angle now and then as this will
help produce a random effect. Stippling in straight lines will be very
visible and will always detract from the resulting decorative effect.

Prevent overloading of the stipple brush by regularly removing
excess glaze. This can be done by wiping with a clean rag. Stand
back and check work occasionally to ensure evenness of effect.
Quality check
The finished effect should be visibly decorative, uniform and even without obvious
patterns or brush marks.
Hair stippling – Handy Hints
1. When large areas have to be completed it is often better to use two people – one
person applying the glaze and the other stippling. Changing roles during the work
will lead to visible differences in the finished effect.
2. Test your glaze and technique on a small area before commencing work.
3. Don’t worry if you smudge it, just re-apply some glaze and start again.

Rag rolling
Rag rolling gives the most pleasing decorative effect to both small detailed pieces of
work and large wall areas alike. It is totally unique in the sense that no two projects
will ever be identical. The effect is created, by using crumpled up rags, to remove
areas of coloured glaze from a surface, leaving some of the ground coat exposed.
Ground coat This should be the same as for hair stippling remembering that oil
based eggshell, acrylic eggshell or vinyl silk emulsion paints provide
the most suitable surfaces for glazing over. The ground coat may be
applied by brush or roller depending on the size of the task and must
be allowed to dry out completely before glazing commences.
Glaze coat The suitably coloured glaze is applied by brush over a workable area
and stippled out using the hair stippler to remove any brush marks.
A piece of lint free rag should be soaked in solvent, either white
spirits or water depending on the type of glaze being used. The rag
should be squeezed out then crumpled randomly and shaped into a
narrow strip about 12 inches (300mm) long. The rag should possess
numerous creases and edges at this point. Using the fingers and
thumbs of both hands the rag should be gently rolled across the
glazed surface in a random fashion, changing direction from time to
time, in order to avoid the appearance of obvious patterns. The rag
should be re-arranged after each pass allowing the effect to change
naturally.

You will find that the rag very quickly becomes overloaded with glaze
and frequent rinsing out is required in order to keep the effect clean
and the edges sharp. Eventually each piece of rag will become
saturated with glaze and at this point it should be replaced with a
new piece of the same type of material. When working on larger
areas remember to overlap the edges of the glaze and stipple out to
avoid visible joins. Remember also, when two people are involved in
the decoration, one sticks to applying the glaze and the other sticks
to texturing. This will ensure uniformity across the whole area.
Safety Note!
When using solvent or oil based glazes, used rags must be opened out and left flat
to prevent fire hazards (ask you tutor about spontaneous combustion).
Quality check
The finished effect should be visibly decorative, uniform and even without obvious
patterns or brush marks. The edges and shapes, which are formed in the remaining
glaze, should be sharp and clear.
Rag rolling – Handy Hints
1. Disposable vinyl gloves or barrier creams will help protect the skin, especially
when using solvent or oil based materials.
2. Regular and frequent rinsing and re-arranging of your rag will produce clean
sharp effects.
3. Avoid major contrasts in colour between ground coats and glazes, eg., white
glaze over black ground coat, as this will always detract from the finished
decorative effect. Good effects are created by using light and dark shades of the
same colour. For instance, dark blue glaze over a light blue base coat.

Sponge stippling
This is a decorative effect, which can be soft or bold, according to taste, and which
adds real depth to walls, ceilings and panel work. This effect is very versatile and
can include application of several coloured glazes to produce a three dimensional
appearance. It is created by using a natural sponge dipped in coloured glaze which
is then randomly “dabbed” over a prepared ground coat.
Ground coat As in previous effects, two coats of either solvent based eggshell,
acrylic eggshell or vinyl silk emulsion paints, should be applied by
brush or roller, depending on the size of the job, and allowed to dry
completely.
Glaze coat Before using the natural sponge it should be thoroughly dampened.
This will prevent the glaze being fully absorbed into the sponge
thereby rendering it useless for further work. When the coloured
glaze is ready the sponge should be dipped gently into it, taking care
to avoid overloading. Excess glaze should be tapped out on to a
piece of card before the sponge is gently dabbed on to the surface in
a random manner, changing direction and angles frequently to avoid
the creation of a visible pattern. This method should be applied
across the whole area, making sure that the effect is kept even.
When using more than one coloured glaze, remember to allow time
for each application to dry before continuing with the next colour.
Sponges should be thoroughly washed out with all traces of glaze
removed on completion of work.

Quality check
The effect should be visibly decorative, evenly applied and without obvious patterns.
Sponge stippling – Handy Hints
1. Standing back occasionally to assess your work will help to ensure good even
effects.
2. When using several colours, work from darkest to lightest in order to achieve best
results and leave enough space on the surface for subsequent applications.
3. In areas of high wear and tear the finished effect may be further protected, by
coating with clear acrylic varnish.
4. Use “hair conditioner” when washing out your sponges to keep them in great
shape, (just don’t tell your mum or your sister).

Stencilling
This form of decorative effect has been used for centuries, if you have seen the films
“Gladiator” or “Ben Hur” you will have seen ancient Roman chariots and Emperors’
clothing with classic stencil patterns all over them. The effect is very simple to
produce and adds features and points of interest to walls, doors, radiators, in fact
anywhere in the house including furniture and fabrics.
Caution! This is quite an advanced design so don’t try it on your own.
Making a stencil
Stencils can be as simple or as complicated as you like and can be designed to
completely meet the needs of the customer. Most stencils are cut from either clear
acetate sheet or oiled card (your tutor will have supplies of both materials). There
are hundreds of sources such as catalogues or web sites showing examples of
stencil patterns, but self-designed ones will give you an exclusive and unique effect.
Some examples of the classic ancient designs are shown to give you an idea of the
effect.
Once a design has been chosen it should be carefully transferred, either by tracing
or by using the chalking method, to the oiled card or acetate. The stencil should
then be carefully cut out using a cutting pad and a craft or stencil knife, ensuring that
all edges are clean and sharp. Reference points should be marked on repeating
stencils to ensure even spacing between applications.

The finished stencil should be fixed to a suitably prepared surface using low tack
tape, ensuring that it is accurately placed. The stencil paint should be applied using
a stencil brush or piece of synthetic foam sponge, in a light dabbing manner, taking
care to apply an even amount of paint across the whole stencil. Avoid overloading of
the brush or sponge, as this will cause the paint to “creep” under the edges of the
stencil. After each area is completed the stencil should be carefully removed,
cleaned, and accurately replaced over the next area of work. For the purposes of
this unit the stencil design must be applied on three occasions.
Quality check
Edges of completed work should be neat and clean. There should be uniform
strength of colour over all three applications. There should be similar spacing
between the three applications.
Stencilling – Handy Hints
Stencilling should be slightly opaque (semi-transparent) to gain the best effect. This
is best achieved by using small amounts of paint on the brush or sponge.
A finished example of your design may be kept for future use should work need to be
repeated at a later date.

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