Part 549: The Phobias of Dry Pigment and Aniline Dye – First of Three Parts
This seems to be an appropriate time to discuss both dry pigment and aniline dye. There will be three installments about these products.
In the past, I have tried to avoid this subject. Discussing the use of dry pigment and aniline dye has become a hot button topic for some within the American theatre community, almost as volatile right now as discussing politics. That being said, safety has always been my first priority. I constantly refer to safety data sheets for paint products, taking precautions to protect both others and myself at all times. I take pride in being familiar with traditional and new products, as well the dangers for each. Over the decades, artists’ palettes have been affected by the ebb and flow of color availability.
I start the dry pigment and the aniline dye debate with my own personal stance: I believe that all paints are dangerous when they become airborne and you inhale the product – whether wet or dry. I cannot think of a single paint product where any manufacturer will tell you that their colors can be safely inhaled or ingested. As an artist, it is my job to carefully research and handle all paint materials that I encounter, as well as training my students in the safest way to handle, mix and apply paints. Yet, many in our industry are quick to point out the dangers of dry pigment and aniline dye, especially focusing on their powder form during the initial stages of mixing. Not all pigments arrived at the studio in dry form. Keep in mind that going from dry to wet is a self-contained step. While mixing the dry pigment paste, one takes the proper safety precautions, such as respirators and gloves. These are the same safety precautions when encountering anything that becomes airborne, such as sanding treated/painted/stained wood, foam, fiberglass and other materials used for theatre scenery. Many artists prepare the surfaces that they will paint, and this even includes the sanding of gesso layers.
There was a shift in our industry about two decades ago; dry pigments and aniline dyes went from being used in university shops to being avoided at all costs. What happened? Dry pigments and aniline dyes are still manufactured and distributed all over the world, used by a variety of artisans for many projects.
We can purchase dry pigment from many local art stores throughout North America, Europe and the United Kingdom; we can even order it online. Keep in mind that dry pigment, aniline dye, and hide glue ship Amazon Prime. There are even aniline dye starter kits with set colors for fine artists to use in the comfort of their own home. Website warnings include, “a respirator mask should be worn so that no pigment dust is inhaled.” Pretty straightforward, isn’t it? Dry pigment no longer arrives by the pound in brown paper bags with only the manufacturer label and color. For some dry pigment containers, labels may include additional information and directions; this is standard procedure for most paints today. It helps companies protect themselves from a client’s ignorance about the product.
Dry pigment is readily available from Gamblin, Sennelier, Cornelissen, Langridge Artists Colours, Dick Blick, Michaels, Grapewoods International, Earth Pigments, Pip Seymour Fine Art Products, Kama Pigments, Newton Art Supplies, and many others. Some dry pigment is still shipped in glass jars due to high lead content of the product. Small amounts of dry pigment, like most other products when sold at retail price in minimal quantities, are very expensive. Huge amounts of dry pigment are still purchased by art supply manufacturers, such as Golden acrylics or Conté Crayons.
Aniline dyes are also purchased and used by both individuals and large companies today. Aniline dye manufacturers include Keda Dye and J. E. Moser’s, just to name a few. Woodworkers and those who stain leather love working with aniline dyes due to their transparency and brilliancy; Gibson guitars are even stained with aniline dyes. Like other paint products that we handle in our profession, aniline is a known toxic substance during the application of the product. It has been linked with causing bladder cancer since the late 1890s. Safety precautions are crucial while handling, the same as with many paints.
Sadly, after continued use by generations of scenic artists, a significant part of our theatrical heritage linked to both dry pigments and dyes has been lost. This shift happened relatively quickly. This is especially unfortunate since we now live in a time where safe handling procedures for all art products are readily available to the users. Many scenic artists are simply unfamiliar with the use of dry pigment and aniline dye because they have been labeled as “dangerous.” This means that many historical scene-painting techniques specifically associated with those products are now veiled in mystery. It is unbelievable that techniques associated with a centuries-old trade could be lost so quickly over the span of just a few decades.
The theater community has simply decided that we no longer use dry pigments and aniline dyes. Ever. Again. They are deemed “unsafe.” Fair enough. But, if they are handled properly, as with any paint product that is out there, they can be enjoyed and the traditions passed along to future generations. Keep in mind that a far worse product readily available to scenic artists in prop shops and paint studios is spray paint. It is extremely dangerous. Yet, we are expected to safely handle this product with proper ventilation in a spray booth. Why did we so quickly turn our backs against dry pigment and aniline dye while continuing to embrace other equally dangerous coatings?
Let’s look as what has been lost due to our inability to believe that professionals can use these products safely. Twentieth-century scenery, like that produced before it, was painted with dry pigment and diluted hide glue. We know that dry pigment and aniline dyes should be mixed in a spray booth while wearing protective clothing, a respirator and chemical gloves. This is not too much to ask, as we constantly handle and mix many other dangerous products. When I handle dry pigment, aniline powder, or any paint for that matter, safety comes first. I control the color, I prepare the environment, and I take precautions to prevent any overspray or contamination to people and other projects nearby. These are the same precautions that should be taken for all paint procedures.
Now let’s think about the danger of other toxic particles floating around scenic artists in a shop. I want to put the “dust danger” of pigment in context for those of us who paint scenery used for theatre, opera, theme parks, industrial shows, and other venues. Although I may always try to take proper safety precautions while handling any type of paint, those around me may not take similar precautions with their own projects. I am not just speaking to my fellow artists, but also the sculptors and carpenters who construct and carve massive set pieces created from wood, foam, steel and other materials. What I have noticed over the years is that I am always at the mercy of those working around me. I can control the potential dangers associated with my own project, but not the projects of others working nearby, especially those cutting or sanding treated lumber, foam, fiber glass, plaster, or other materials. The dust from these products may be extremely dangerous.
We work in an industry where many airborne toxins are prevalent, some of which are never acknowledged or addressed. Even when there are regulations, standard air quality tests are not common practice for every shop, especially during periods of high productivity. So why did dry pigment and aniline dye take the rap a few decades back, becoming the poster children for “shop danger?” There are several factors to consider that I’ll discuss in detail tomorrow.
To be continued…
