Health and safety notes.

Chemicals enter the body through absorption, inhalation and ingestion. Smoking increases the hazards of respiratory reactions.

Art materials may be:
Toxic, cause physical injury via breathing (inhalation), eating (ingestion), or by skin
contact & absorption
Caustic, may burn you on contact
Irritant, cause skin, eye, mucous membrane inflammation or pain Flammable, can ignite or be set on fire
Explosive, may explode when exposed to heat, pressure or shock

GENERAL PRECAUTIONS:
Do not eat or drink close to work area (to prevent accidental ingestion).
Familiarize yourself with which substances that are hazardous.
Clean hands thoroughly after working using baby oil, soap and water, or a non-toxic hand cleaner such as GoJo. Keep work area cleaned up and organized.
Ask your doctor if you are taking medication or are pregnant about what precautions you should be taking. Identify location of fire extinguishers, first aid box and eye wash stations (ask your professor
if need be).
Notify your professor about any health condition or medication that may affect you in the classroom. 

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Drawing I
Graphite- no significant hazards
Charcoal and conte crayon- no significant hazards, avoid breathing charcoal dust
Pastel- may contain toxic pigments
Watercolor- generally not hazardous, refer to pigment list
Ink wash- water based inks are not hazardous
Acrylic medium - may contain small amounts of ammonia which can irritate eyes, nose and throat Spray fixatives- hazardous, only use in a spray booth or outside away from building, contains
hazardous chemicals
Hand cleaners (typically GoJo) - generally non-toxic, may irritate eyes

Drawing II & Painting I and II
Oil paint (tubes and sticks)- safer without use of solvents, use baby oil to clean hands followed by soap and water or GoJo.
Turpentine-lethal if ingested, may be absorbed by skin, fumes may cause dizziness and loss of coordination, also causes kidney damage, highly toxic. Wood turpentine is more toxic than gum turpentine. Flammable.
Mineral Spirits (paint thinner) - moderately toxic, flammable
Damar Varnish- natural resin, may cause skin reaction
Linseed oil and stand oil- not considered hazardous, may de-fat skin Liquin- hazardous, may be fatal if swallowed, flammable
Hand cleaners such as GoJo- generally non-toxic
Rubber cement- potentially fatal if swallowed, hazardous fumes, flammable Wax- highly flammable, fumes may cause respiratory irritation 
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Pigments

Painters use pigments in oil paints, acrylics, watercolor paints, gouache, encaustic, poster paints, casein paints and tempera. Paints are pigments mixed with a vehicle or binder, such mixtures may also contain preservatives. Both inorganic and organic pigments are used as colorants.
Most paints used at HACC do not contain metal pigments and are considered non-toxic. These are most easily identified by the product name. If the paint is described as hue, such as “chromium yellow hue”, there is no (or too little to be concerned about) toxic metal contained in the product.

PRECAUTIONS

Use the least toxic pigments possible. Do not use lead or carcinogenic pigments. See list of highly toxic pigments below.
Avoid mixing dry pigments whenever possible. If dry pigments are mixed, do it inside fume hood, available in the ceramics lab. Wet mop and wipe all surfaces when using dry pigments.
Avoid using dishes, containers or utensils from the kitchen to mix and store paints and pigments. Do not eat or drink in proximity to the work area.
HAZARDS
Poisoning can occur if toxic pigments are inhaled or ingested. The main hazard in standard painting techniques is accidental ingestion of pigments due to eating, drinking or smoking while working, inadvertent hand to mouth contact, or pointing the paint brush with the lips. If methods such as spraying, heating, or sanding are employed then there is an opportunity for inhalation of toxic pigments.
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Water-based Paints

Water-based paints include water color, acrylic, gouache, tempera, and casein. Water is used for thinning and cleanup.
PRECAUTIONS
Adequate ventilation.
HAZARDS
See section above for pigment hazards.
Acrylic paints contain a small amount of ammonia. Some sensitive people may experience eye, nose and throat
irritation from the ammonia. Acrylics and some gouaches contain a very small amount of formaldehyde as a preservative. Only people already sensitized to formaldehyde would experience allergic reactions from the trace amount of formaldehyde found in acrylics. The amounts can vary from manufacturer to manufacturer.
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Oil Paints and Solvents
Oil paints, oil sticks, and encaustic use linseed oil, wax and egg respectively as vehicles, and solvents are often used as a thinner and for cleanup. Turpentine and mineral spirits (paint thinner), for example, are used in oil painting mediums, for thinning, and for cleaning brushes. Alkyd paints use solvents as their vehicle. In addition many commercial paints used by artists also contain solvents. In general, organic solvents are one of the most underrated hazards in art materials.
PRECAUTIONS
No eating or drinking near paint and solvents; ingestion of turpentine can be fatal.
During pregnancy and nursing, switch to water-based paints to avoid exposure to solvents.
Careful handling of solvents: avoid skin contact and inhalation of fumes; use certified containers for storage and
disposable.
Adequate ventilation.
Odorless solvents are also toxic, though they may be less toxic than solvents with a strong odor (odorless paint
thinner may be the least toxic). Techniques such as turpentine washes will require a lot of ventilation because they result in the evaporation of large amounts of solvents in a short period of time. Acrylic paint can be substituted for under painting. Mineral spirits is also less flammable than turpentine, since its flash point is over 100 F (38 C), while turpentine has a flash point of 95 F, (35 C).
Apply the same health and safety considerations for the use of “citrus” or “pine” solvents. These have been found to be quite irritating to the skin and eyes.
Ventilation only needs to be provided while the solvent is evaporating from the canvas, not during the time while the oil paint film is drying.
Wear neoprene gloves while cleaning brushes with mineral spirits or turpentine, which can be absorbed through the skin.
Used solvent can be reclaimed by allowing the paint to settle and then pouring off the clear solvent.
Paint can be removed from your hands with baby or vegetable oil, and then soap and water or GoJo.
Wax should be only heated to the minimum temperature needed for proper flow of the paint. Do not heat with

open flame or hot plate with exposed element.

HAZARDS
See section above for pigment hazards.
All solvents can cause defatting of the skin and dermatitis from prolonged or repeated exposure. Turpentine can
also cause skin allergies and be absorbed through the skin.
Acute inhalation of high concentrations of mineral spirits, turpentine vapors, and other solvents can cause narcosis,
which can include symptoms of dizziness, headaches, drowsiness, nausea, fatigue, loss of coordination, coma, as well as respiratory irritation. Reactions to vapors may be more sensitive when you are taking certain medications or if you are pregnant.
Chronic inhalation of large amounts of solvents could result in decreased coordination, behavioral changes and brain damage. Chronic inhalation of turpentine can cause kidney damage and respiratory irritation and allergies. Odorless mineral spirits and turpenoid, in which the aromatic hydrocarbons have been removed, while still hazardous are less hazardous.
Ingestion of either turpentine or mineral spirits can be fatal. In the case of mineral spirits, this is usually due to chemical pneumonia caused by aspiration (breathing in) of the mineral spirits into the lungs after vomiting. Natural resins (copal, damar, rosin, Japanese Lacquer) may cause skin irritation or allergies. Rosin dust can cause
asthma.
Encaustic involves suspending pigments in molten wax. If the wax is overheated, flammable wax vapors and wax
decomposition fumes are produced, which are strong respiratory irritants.
Epoxy paints consist of an epoxy resin component containing the pigment, and a hardener component. The epoxy
resin may contain diglycidyl ethers which are irritants, may cause bone marrow damage, and are suspect carcinogens. Epoxy hardeners may cause skin and respiratory allergies and irritation. Epoxy is generally not used in the HACC Painting and Drawing classes. 

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Lino Cutting

Moving around the room

No Running.
Stop immediately and listen when your teacher asks for your attention.

Using lino cutters

Carry cutters with the blade pointing down.
Only use the cutter for the job it was intended for.
Work away from your hands when cutting. 
If working with lino, use a bench hook.

Use of materials

Wipe tables after printing.
Wash your hands thoroughly after every lesson.

Personal responsibility

Wear an apron.
Alert your teacher to injuries or breakages.

Tidying up
Be responsible for any job you have been asked to do. 

Be responsible for tidying up your own work space.

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poster time line- 'The Olympic Games'

1896: Athens, Greece

There was no official poster for the first Olympics, but the cover page of the official report is often used to refer to the Games. French historian Baron Pierre de Coubertin was moved to found the International Olympic Committee after attending a sports day in Much Wenlock, Shropshire. Aiming to foster “international understanding through sport”, the games were the biggest sporting event to that date. Marathon running was added as a link to the ancient games. Thousands rose to their feet in the stadium as Greek runner Spyridon Louis entered triumphant at the end of the first marathon of modern times.

1900: Paris, France

Several posters were created for the 1900 games, depicting athletics, rowing, cycling, fencing and gymnastics. The posters included a female fencer holding a foil, sword and sabre, but women didn't compete in fencing competitions until 1924.

1904: St Louis, USA

The image above is the reproduction of the cover of the programme of the Games. It shows a view of the host city, enhanced by the use of a "fish's eye" effect.

1908: London, UK

The poster for the first London Games refers to the White City Stadium, which was built for the 1908 Olympics. The stadium was demolished in 1985 and replaced by the BBC White City Centre.

1912: Stockholm, Sweden

Far from being recent, the notion of the Olympics as a PR opportunity for the host nation dates back to 1912, when Stockholm provided the first purpose-built stadium, the first concerted Olympic advertising campaign and the first official poster, all with the aim of promoting Sweden as a dynamic modern nation. 

At first sight Olle Hjortsberg’s design, which sets dynamic male nudity against vigorous art nouveau pattern-making, seems to belong to a culture of naive, essentially platonic homoeroticism that flourished in the early 20th century and vanished with the First World War. Yet even then the image wasn’t perceived as entirely innocent. Those whirling orange streamers were added to shield the central figure’s modesty, and the poster was barred from many public places.

1920: Antwerp, Belgium

This poster represents the flags of the participating nations, with the coat of arms of Antwerp, and a discobolus, a reference to the Ancient Games.

1924: Paris, France

Jean Droit’s poster turns the French team into a camp, fascist-saluting chorus-line. Pressing nationalist buttons at an international event, this is a delightful example of the Olympic poster’s capacity to get it completely wrong.

1928: Amsterdam, Holland

1932: Los Angeles, USA

A poster representing the ancient Greek custom of sending a young athlete out to announce the celebration of the next Olympiad.

1936: Berlin, Germany

Wagnerian Götterdämmerung meets robot-age pseudoclassicism in this poster for the most controversial of all Olympics, staged by Hitler as a showcase for German sporting and technical mastery – though in the event it didn’t work out quite the way he hoped. 

While Germany had won the Olympic bid before Hitler came to power, the Nazi administration backed them with the most ruthlessly efficient publicity campaign seen at any games to date, with 44 offices in 40 countries. 

The vast, purpose-built Olympiastadion with quasi-classical façade by Albert Speer evoked imperial Roman grandeur in the setting for an event that was as much apocalyptic political rally as it was sporting occasion. 

Hero of the games for most of the rest of the world was the African-American athlete Jesse Owens, who won gold in the 100 and 200 metres, the long jump and the relay – publicly trouncing Nazi notions of Aryan racial superiority. 

Leni Riefenstahl’s ground-breaking film Olympia captured the event in a mythic essay in quasi-classical body culture and revolutionary camera moves that still astonishes – and unnerves.

1940: Helsinki, Finland

The Games were cancelled due to the outbreak of World War II. Helsinki eventually held the 1952 Summer Olympics.

1948: London, UK

With athletes billeted in barracks, their rations supplemented by voluntary food donations, these became known as the Austerity Games. 

While Walter Herz’s design has a certain charm, its rather clunky drawing feels marooned in the pre-war era – as though there wasn’t the intellectual energy, let alone the financial resources, to create anything new. The bright optimistic aesthetics of the Festival of Britain, only three years later, had yet to manifest themselves. 

The opening ceremony at Wembley Stadium “profoundly moved not only all who saw it,” according to an official report, “but also the millions listening in on the radio throughout the world.” The world and the games had come through.

1952: Helsinki, Finland

These Games used the poster created by Ilmari Sysimetsä for the 1940 Games, with the dates changed.

1956: Melbourne, Australia

This poster design - a folded invitation card featuring the Olympic rings and the Coat of Arms of the City of Melbourne - deserved a gold medal for dullness.

1960: Rome, Italy

1960 took the games back to the classical world, set against a backdrop of Cold War high anxiety. 

Many events were held in Mussolini’s bombastic Marble Stadium, and the games’ posters seemed barely to have moved on from the Fascist era. The poster for the preliminary Olympic Days of 1959 was implicitly authoritarian in feel and style. If the final poster was a shade more innocuous, the troubling connotations of imperial Roman imagery – the Capitoline wolf suckling Romulus and Remus – couldn’t quite be shaken off. 

Pier Luigi Nervi’s futuristic Palazetto dello Sport provided an aesthetic more appropriate to the time in which the 18-year-old Cassius Clay won his first light-heavyweight title. Ethiopian runner Abebe Bikila became the first African Olympic hero, running the marathon barefoot along the ancient Appian Way.

1964: Tokyo, Japan 

Tokyo was the first truly modern Olympics – at last Olympic imagery had caught up with the cutting edge of modern aesthetics; stunning posters combined startling Modernism with a typically elliptical Japanese vision. 

The games themselves were captured with a similarly stark and poetic feel in Kon Ichikawa’s extraordinary Tokyo Olympiad – which reaches an unforgettable climax as Abebe Bikila wins the marathon a second time, in sponsored Nike trainers. The Olympic flame was lit by 19-year-old Yoshinori Sakai, born in Hiroshima the day the bomb dropped, while the easy listening of Helmut Zacharias’s Tokyo Melody jostled the Beatles in hit parades around the world. The Sixties were nearing their high watermark.

1968: Mexico City, Mexico

A year on from the Summer of Love, this poster was suitably psychedelic. The black and white poster recalled the traditional patterns of the Huichole Indians.

1972: Munich, Germany

Designated the “Happy Olympics”, the 1972 Munich games were anything but. Conceived to promote a positive and peaceful image of modern Germany, these were the games when the utopian Olympic ideal came most badly unstuck. 

They also provoked the richest flowering of poster art, as design director Otl Aicher commissioned posters from 35 leading artists. Among the Brits were David Hockney and Richard Smith. The result was a dazzling array of experimental imagery. 

Yet these games were overshadowed by the murder of 11 Israeli athletes and coaches by members of the Palestinian Black September group. The games continued with flags at half-mast, with American swimmer Mark Spitz winning seven gold medals. But it took the Olympic ideal a good decade to recover.

1976: Montreal, Canada

A poster that doesn't deserve a medal. Baron Pierre de Courbertin’s Olympic rings get the shakes in a wrong-headed attempt to jazz up one of the most recognisable logos in the world.

1980: Moscow, Soviet Union

This design featured a section of a running track creating an architectural silhouette typical of Moscow, topped with a five-pointed red star.

1984: Los Angeles, USA

With 1972 beset by terrorist violence, 1976 in Montreal by financial disorganisation and 1980 in Moscow widely boycotted in the wake of the Soviet invasion of Afghanistan, only LA bid for 1984, setting the scene for a celebration of Eighties commercialism. With $225 million raised from the sale of exclusive TV rights to ABC, this was the most financially successful games of modern times. A series of artist posters were commissioned and American big names dominated: Roy Lichtenstein, Robert Rauschenberg and that honorary Californian David Hockney. Rauschenberg’s design filled the games’ star-in-motion logo with a selection of sliced-up photographs, turning the emblem into a flickering ziggurat of half-comprehensible images, a solution at once avant-garde and ineluctably American.

1988: Seoul, South Korea

The official poster represented the Games ideal of "Harmony and Progress" with a background design rendered with computer graphic techniques.

1992: Barcelona, Spain

1996: Atlanta, USA

In spite of controversy at the dominant role of local commercial giant Coca-Cola and a terrorist bomb attack close to the stadium, the so-called Centennial Olympics went ahead in avowed celebration of American racial and cultural diversity, with Muhammad Ali lighting the Olympic flame. By now the Paralympics, initiated by British war veterans in 1948, were an established part of the games, with their own poster tradition. Yet the official poster for the games by Primo Angeli was a disappointingly bland, corporate throwback to generic classical ideas.

2000, Sydney, Australia

An athlete made of boomerangs holds an Olympic flame resembling the roof of Sydney Opera House in a car-crash of Aussie clichés.

2004: Athens, Greece

The poster for the Athens Games included an olive wreath, a reference to the ancient Games, where Olympic champions were crowned with a wreath.

2008, Beijing, China

The Beijing 2008 emblem combined a Chinese seal, the art of calligraphy and sporting features. The figure resembles the Chinese character "Jing", which stands for the name of the host city.

typeographic systems.

The objective throughout my typography class was to create the eight type of typography which are shown as followed: modular typography, grid typography, dilatational typography, bilateral typography, axial typography, radial typography, transitional typography and random typography.

photoshop- image removal.