Student Hanbook

The Art Student Handbook 2009-2010 Edition


Frequently, by the time an undergraduate reaches one’s Senior year, they’ve collected a mass of information they wish they had
been given earlier. “If I knew then what I know now...” is usually how it goes.
As your Student Advisory Board, we are constantly on the lookout for ways in which we can improve the experience of the art student at Emporia State. Our first initiative is to provide you with this information so you may hit the ground running.
Included in this edition, you will find tips for studying for your classes, generating ideas for your artwork, and a comprehensive
section that will give you extremely valuable information on how to safely work in not only the studios on campus, but your own
studios as well.  In addition, you will also find a collection of heads-up info on topics such as how one acquires a late pass, what goes into the mid-program portfolio review and how to make the most of your time with your advisor.

Even upperclassmen will find information they did not know within it. Working through your post-secondary education can be a confusing experience, and we hope this book makes it a little easier.
- The Student Advisory Board

1. Grading Standards
2. Art Forum
3. Assessment
4. Exhibitions
5. Student Advising
6. Late Passes and Lockers
7. Art Student Organizations
8. Student Advisory Board
9. Study Advice
10. Supply Fees
11. Creative Problem Solving
12. Safety
13. Scholarships and Awards
14. Contact Information

1. Grading Standard
• Means that work completed in this course is of marked excellence.
• Means that the course requirements have been met or exceeded with a level of involvement and production that indicates a mastery of course knowledge and skills.
• Means that there is an excellent potential for success in allied art courses, advanced art courses and in major or graduate programs
and the art professions.
• Means that work completed in this course is of superior quality.
• Means that the course requirements have been met with a level of involvement and/or production that indicates course knowledge and skills, while not mastered, are at a competent stage of development.
• Means that there is a potential for success in allied art courses, advanced art courses and in major or graduate programs and the art professions.
• Means that work completed in this course is of average quality within the arts.
• Means that the course requirements have been met with a level of involvement and/or production that indicates course knowledge and skills at a marginally competent stage of development.
• Means that there is concern regarding potential success in allied art courses, advanced art courses, and a serious concern for potential success in major or graduate programs and the art professions.
• Means that work completed in this course is of inferior quality within the arts.
• Means that the course requirements have barely been met with a level of involvement and/or production that indicates weak course
knowledge and skills.
• Means that there is a grave concern regarding potential success in allied art courses and advanced art courses.
• Means that there is no indication of a possibility for success in major or graduate programs and the art professions.
• Means a failure to do work of a passing quality.
• Means that the course requirements have not been met with a level of involvement and/or production that indicates a grasp of course
knowledge and skills.
• Means that there is no indication of a possibility for potential success in allied art courses, advanced art courses, and in major or graduate programs and the art professions.
An overall Grade Point Average of 2.5 ( C average) is required in all art classes. Students must achieve a grade of C or better in all art classes in order to get credit for a course. An overall Grade Point Average of 2.0 is required to graduate from ESU.
The faculty of the Art Department at Emporia State University supports and values the diversity of the ESU General Education Program. It is our policy not to waive any of the art degree (including Departmental and General Education) requirements.

2. Art Forum
Art Forum is a bi-weekly visiting artist program, held each Wednesday from 3:00-3:50 pm during every semester. It is required for all art majors every semester they are majoring in art. The purpose of Art Forum is to expand the exposure of art majors to the work of active professional artists, and to help students to gain an understanding of the artists’ personal references, thinking processes, and methods of working. Art Forum is taught on a pass/fail basis. There is no outside work expected of you.

Attendance is mandatory. You will be allowed one absence. You may make up one additional absence per semester by writing a response paper for a visit to an approved art venue - please refer to the class syllabus for guidelines. Only in extreme cases will additional absences be considered and documentation will be required. Falling asleep during class or leaving before the end of class will be considered absences (if there is a special situation, please inform the instructor before class begins). Signing in and leaving before class starts will be considered cheating and will result in failure for the class. Having somebody else sign in for you is also cheating and both people involved will fail. Art Forum is a privilege for our students, our faculty, the university and the community. It is made possible by funding from the Department of Art and the ESU Visual Arts Board.
Fall 2009 - Spring 2010   -  Larry Schwarm
Spring 2010

3a. Art Education Student Assessment:  Art education major students are assessed each fall semester utilizing the criteria listed below. Faculty will be informed of the art education major student list by the department Chair after mid-term examinations during the fall semester. Faculty members who have had the student in classes during either the prior spring semester or current fall semester have the option to complete a concern form. Students receiving concerns as stated on these forms will be asked to meet individually with faculty members of the Art Education Committee at the beginning of the following semester. During the meeting, each student will
be informed of the concerns and will be given an opportunity to respond. Faculty members will be asked to reassess these students during the same spring semester. Early in the subsequent semester, these students will again be asked to meet with the Art Education Committee to review progress. In addition to this annual assessment process, each art education student will be formally evaluated by members of the Art Education Committee prior to admission to both Phase I and Phase II of the Teacher Education Program. Art Education Committee members, along with the Chair of the Department of Art, with input from all of the art faculty, will make the
final decision regarding admission to both phases.

Art education candidates will be assessed on the following:
• Knowledge of Subject Matter
• Written Communication
• Oral Communication Skills
• Promptness, Dependability
• Attendance
• Courtesy, Respect, Honesty
• Cooperation
• Self-Confidence
• Receptiveness to Feedback
• Personal Interaction

3b. Mid Program Portfolio Review:  The successful completion of AR 098: Mid-Program Review is required of all BSE, BFA, BS and BA majors. The purpose of the review is to evaluate the student’s progress and to affo rd an opportunityfor the student to reflect on his/her knowledge acquisition and artistic development. BFA, BSE, BS and BA majors will be enrolled in AR 098: Mid-Program
Review the semester following successful completion (grade C or higher) of 18 credit hours (6 courses) of studio art at Emporia State University. Transfer students will be enrolled in AR 098: Mid-Program Review the semester following completion of 12 credit hours (4 courses) of studio art at Emporia State University, with a minimum of 6 credit hours of studio art accepted towards degree requirements from a prior institution. The Mid- Program Reviews are generally held at the beginning of the second block
of each semester. Detailed information regarding requirements for MPPR will be available from faculty advisors early each semester.
Tools Used in the Department of Art for Feedback and Improvement
• Student evaluations of each course
• Student surveys
• Senior exit interviews
• Student Advisory Board (see details in this handbook)
Campus Assessments
All Art Education majors (BSE) must complete the PPST before Phase I.
All other students must complete the CAAP test before graduating (see
Contact Information for website).

4. Senior Exhibition
Upon graduating, it is recommended that seniors have an art exhibition. It is not required, and does not have to be held at Emporia State University, however the Gilson room in King Hall will be available throughout the school year. Contact the gallery director, Roberta Eichenberg, to reserve the room; it must be reserved one year in advance. Students can exhibit alone, but it is likely, due to the amount of graduating seniors, that students will be paired. The exhibition usually opens on a Tuesday allowing only the weekend and Monday for set up. Students exhibiting are entirely responsible for putting up and taking down work; they MUST leave the room in the condition they found it. Students can use the gallery facilities to mat and frame work; the gallery can furnish basic frames and stands. The artwork choice is completely up to the student; however, consultation with a major professor is recommended. A gallery opening or closing and invitations are optional. If you would like to have a helpful guide to the Senior Exhibition process, see the Art Department secretary.

5. Annual Student Exhibition
A juried Student Exhibition will be held during the month of April for students enrolled at ESU. Students can submit 3 works of art
completed within the last year. Acceptable works include work completed after the previous Student Show deadline. 2D works should be matted to fit gallery frames or ready to be hung. 3D works must include mounting devices. Any specific details relating to the presentation of the piece should be included. Submission forms will be available in the Art Office several weeks prior to the Student Show.

6. Student Advising
Student Responsibilities:
• Make and keep appointments with my advisor.
• Prepare for advising sessions by gathering any information my advisor might need.
• Begin pre-planning my class schedule before meeting for enrollment appointment.
• Write down questions I want to ask my advisor
• Share important information with my advisor such as why I am missing class, how many hours I work, why a class is difficult, etc.
• Follow up on plans I make with my advisor.
• Arrange for transcripts to be sent from other institutions, which I have attended.
• Know requirements for my major and for graduation.
• Monitor my own academic progress.
• Remember that my advisor cannot make exemptions to university policy.
Advisor’s Responsibilities:
• Be available to advise during specific uninterrupted office hours.
• Inform student of university regulations, major field, and graduation requirements.
• Help set short and long term academic goals.
• Know career opportunities related to student’s major or refer to appropriate sources of information.
• Be approachable and a good listener.
• Know procedure for dropping and adding courses, for changing majors, and for enrolling.
• Provide required forms when appropriate.
• Treat students fairly.
• Respect confidentiality
• Refer to appropriate campus resources.

7a.  Late Passes
One of the privileges of being an Art student is to be able to work on projects in many classrooms past building hours. Certain rules and key factors apply:
• The buildings close at 10:00 p.m. Mon.-Fri. The building is open until noon on Saturdays.
• You must have a late pass to be in the building after hours.
• You need to call Police and Safety (5337) to be let into the building or to let them know that you are staying after hours.
• No guests are allowed in the building after hours, no exceptions.
• Do not let any one into the building or leave the door open so someone can come in.
• You must have your late pass and a current ID with you. The campus police are stringent about this policy.
• No late passes will be issued for the Graphic Design or Metals Lab.
You could lose the privilege of having a late pass if you do not follow these guidelines or if you do not use the study space responsibly (always remember to clean up the studio area after you have finished using it). To obtain a late pass, fill out an application in the Art Department office. Late passes are only issued for rooms that you currently have classes in and must be
signed by the Department Chair. You must obtain a new Late Pass every semester.

7b. Lockers
You may check out a locker by coming to the Art Department office, where one will be assigned. Take your receipt to Stormont Maintenance Building Key Shop to pick up your locker key. At the end of each semester, you must either renew your locker in the Art office or turn in your key at the Key Shop. Failure to renew or turn in a key will result in a hold on records, and the contents of the locker will be emptied.

8. Art Student Organizations
Alpha Rho Theta (A.R.T.) promotes the advancement of art on the campus and in the community through the promotion, protection, and production of art. In its endeavors, A.R.T. hosts numerous art-related events for its members, students, and community members.
ESU Glass Guild promotes the ESU glass-forming program, recruits incoming glass artists from local secondary schools, and enhances the program through professional association contacts, field trips, demonstrations and workshops. In April of each year, the ESU Glass Guild sponsors the Blowout, which features a week-long visiting artist workshop, public demonstration and auction.
ESU Student Chapter of National Art Education Association (N.A.E.A) provides effective transition from art education preparation to professiona practice. Maintain a high standard of quality art education on campus and in the community, gain greater insight about teaching of art and contemporary concepts in art education. Sponsor service projects, and exchange ideas in substantive art education. Promote art education and all areas of the visual arts as a career choice. Student organizations hold art sales in December, February and April. All students are welcome to participate. Announcements of dates will be made at Art Forum.

9. Student Advisory Board

The Chair of the Art Department selects a committee of five to six students each year, representing all class ranks of Art Majors. This committee meets once a month to discuss ideas and student concerns that deal with the Art Department. These selected individuals help keep good communication between students, faculty and staff. They are also there to help students in the department with any questions they might have. Student Advisory Board Chair 2009-2010: Josh Greaves, Junior, Art Education

10. Study Advice

There are a number of basic study hints that are useful to theart student. Attention to these can make the time and money
spent on school a much more effective investment.
(A.) School should provide you with a comprehensive program ofinstruction in: materials, techniques, mediums, ideas, and historical and contemporary art. You also join a community of working and learning artists. Constructive, professional evaluation and advice on your work and progress should be expected.
(B.) A core study in the fine arts is basic to any career in the art field, be it fine artist, applied artist or art educator. The strength of your experience in graphic design, illustration, art education, or fine arts, will depend directly on the strength of your experience as a fine artist.
(C.) It is essential to follow the published outlines for your program of study. See your advisor to go over your program planning. Write out a tentative four + year plan. Although course availability and some conflicts will almost always prevent the ideal, try to stick to this plan.
(D.) It is important to understand that highly developed and creative artistic ability alone will not be adequate to land you a career in the arts. There are some essential skills you must develop. These would include: confident people skills, personal responsibility and sense of organization, the ability to write and speak both properly and clearly, basic financial skills, and general, worldly knowledge. Without any of these you can have trouble finding your way professionally. This means that your strength as an artist or designer relates directly to the strength of your liberal arts studies.
(E.) Bring energy, personal strength and curiosity to your studies. School can provide a rich environment to learn in but it can not teach you art. An essential ingredient in any work of art is the individual solution it contains. This applies to problems or projects you are given to solve as well as self initiated work. Art springs from individual uniqueness and this should show in all the work you do.
(F.) Keep your art connected to your life. Avoid thinking of your art studies as somehow separated from everything else you do. How can your life experiences and interests be incorporated into and drive your visual development? How do other art forms relate to what you do visually: music, dance, literature, theater?
(G.) You are the student that the school is designed to serve. Ask questions and know the purpose of what you are doing. Speak up and be involved. Understand your goals and the school program expectations. Remember that when you are learning you will not at first always know just what is going on. Many of the things you need to do will be unfamiliar. Experimentation, discovery, and development are the very basis of the creative and educational process.
(H.) Be ready to put in the needed time. College level study of 12 to 15 credits or more is a full time job. A standard guide line for study nationally is to spend three hours of work each week for each credit you take. For example, a three credit art course will need six hours of in class time and at least three hours outside of class time each week, if not more. Expect to have to come in after normal building hours.
*See section on Art Dept. Late Pass.
(I.) It will take years of regular work to become proficient in your field. It is often said by professional artists that basic development in the arts takes five or more years of regular, dedicated activity - and, it takes another five years to be really strong in your field.
(J.) Know where the problem is if one comes up. If something is unclear or not working, speak up. Avoid blame shifting: did you read the outline? Did you ask questions? Did you come prepared? Were you late or did you miss class? Do you “have an agenda” other than the work at hand?
(K.) Teaching approaches vary and you will find some that you identify with more than others. Remember to make the best of all your classes and make an effort to understand what is being presented.
(L.) Look for the best examples, know what is current in your field, and visualize where you are going. You MUST look at all art and art publications and visualize yourself as working to join people at this level. Actively visit schools to see what students elsewhere are doing and share that information with your peers. See as many available original art works as you can. For this there is no substitute.
(M.) Know the difference between academic projects that expose you to ideas and techniques, and self initiated work. Classes often follow a project structure. Do projects to understand, learn, and practice. Projects should never be taken as setting limits and establishing right and wrong, but rather to focus on particular concepts.
(N.) It is essential to schedule your time effectively. Don’t forget that this does not mean working yourself to death. Set realistic goals, and, plan in uncompromising personal time. Short breaks also can greatly improve the quality and efficiency of your work. Students often talk about “freezing up” on a project or work. The best time-tested thing to do in such a case is to take a break from your work and defocus: go for a walk, visit a friend, read, see a film, etc. Ideas and solutions can come to mind more freely when you refocus on your work from a clear head. Often, an idea or solution will pop into your head during a break when you aren’t trying to force the issue.
(O.) Another must is having the best practically available materials and facilities. Along with this, be sure to use the right tool and process for the job. Avoid picking away slowly at tasks that can be done more efficiently with a better or larger tool and a more confident approach. You will need to put traditional and common hobby approaches behind and work efficiently.
(P.) Find a work place where you can concentrate on what you are doing. Television, gossiping, people coming and going, all can greatly reduce the quality and efficiency of your work. It is virtually impossible to carry on a conversation and work effectively.
(Q.) Have the best practically affordable tools and materials. Your time is your greatest expense. Don’t overspend, though, on things that are beyond your real need and level of development. Ask your professors and more experienced students about what would be appropriate for you. Shop around for the best prices. You might go together with friends for bulk discounts. Collect everyone’s money before you send in the order. Use discount catalogs as a price reference when shopping in local stores (see
next topic).
(R.) Be direct and objective in evaluating your work and the work of others. Seek out and put to use the give-and-take of constructive criticism. This can only result in great and ESSENTIAL benefit to all. A friend will say directly what does and does not work. Value effective criticism most highly and seek out people who provide it. Trade criticism with those who can give criticism. In this way you can develop and excel in your field.
(S.) Bring mature attitudes to school. Replace right and wrong with: what is effective and what needs work. Replace “what are we supposed to do?” and “what do we need to do?” with, “what are the possibilities?” “how much can I gain from this?” and “how can I use this in other work?” The expression “I like it” is an empty, non-evaluation. What is it that works? Why? How? What other solutions or new ideas have you thought of? What could use further work? Why? What would you do? What has not worked? Why?
(T.) Don’t get hung up on reworking an individual piece of work and obsessively try to make it into a “perfect masterpiece.” While your best effort is always needed, use common sense to see when it is time to go on to the next. It is from a flow of work that you will learn the most and that will net you the best evaluation in the long run.
(U.) Be self-starting. At the college level instructors will not and should not come around to get you going. Part of the college experience is developing reliable self-motivation.

11. Supply Fees
Studio courses generally have supply fees that pay for expendable materials such as clay, glass, printer ink, model fees, etc. These fees range from $10 to $275, plus applicable sales taxes, and are now paid automatically with your tuition at the beginning of each semester (unless otherwise noted).

12. Creative Problem Solving & Coming Up With Ideas
This is a large topic about which much has been written. This
handbook will outline basic thinking common to the process.
(A) For some, ideas flow in an endless stream. For others artist’s block is
a chronic problem. Anyone can, however, learn how to fairly readily form
an effective idea when they need to. There are methods of study to do this,
which, like all things of value, take initiative, effort, and the will to re-apply
oneself when things don’t go just right.
(B.) For a person with endless ideas, a common problem is how to choose
which idea to pursue. Sketch out or list ideas. Then put them in a stack (or
column) with the ones you feel the strongest about on top. Take the one
that hits you most strongly and develop it. If in the preliminary stage it
encounters technical or time problems, go to the next one in the pile. Don’t,
however, keep switching around, based on mood or whim: only change for
a concrete reason. Remember that you must select an idea to concentrate
on and stick with it to completion. This does not devalue the ideas not
developed. No idea will be successful if you “lock-up” with indecision or
constantly change focus.
(C.) Understand the difference between a project or problem that you are
given to solve creatively, and a personally initiated idea. While in school you
will be expected to work in both modes. The fine artist will work towards
personally initiated ideas, and by about the Junior year should be mostly
operating in this mode (though you should be prepared to work in both
modes throughout your undergraduate work, should your instructor call
for it). For the applied artist, most ideas will continue to be in response to
given problems. It must be emphasized, though, that fine art experience
will continue to feed vitality and resourcefulness into this problem solving
mode of thinking.
20 (D.) Belief in one’s self and personal confidence are a necessary ingredient in
problem solving and idea generation. If needed, have a talk with yourself or
with others about bolstering these feelings. It is important to avoid negative
environments. Do you have friends, roommates, or family members who
dump on you or your studies? If so, confront them, ignore them, or avoid
them. Remember when considering the input of others, you have the
option of editing their input. Discard input if it doesn’t help you achieve
your goal. You will, in many instances, notice that its frequently the ones
who don’t contribute anything that are the first to criticize the efforts of
those who do.
(E.) Many people freeze-up when confronted with a problem to solve. This
is often from over concentration or worry. Take a break and defocus: go for
a walk, read a magazine, or see a film. Often the idea will come to you when
you least expect it. In any event come back to the task with a freer mind.
This can be the most efficient way to work. But don’t misunderstand this as
an avoidance tactic: you must end up back at work before too long.
(F.) Take short breaks regularly during a work session. These may only need
to be a couple of minutes. Upon returning to work, you will find decisions
and changes easy to see and make. The quality of your work will also go
up. This is also a much more efficient way to work than in a relentless,
unbroken grind. If you look away from your work, even for a few minutes,
your view of it will frequently be clearer once you return to it.
(G.) Two approaches to working that all artists find themselves using are
the concept and the process approaches. In the concept method, an idea
is formed first, often spontaneously, and then effort is applied to figure
out how to turn it into a art work. The process approach starts from the
other direction. An artist goes into the studio without a fixed idea and
begins to experiment with materials and their arrangement. From this
direct contact an idea develops. While most artists employ a balance of
the two approaches, some tend to work towards one extreme or the other.
The concept artist usually benefits most from attention to process, and the
process artist from attention to concept development and evaluation.
(H.) An approach to idea development that works for many is what is
sometimes referred to as “right brain” thinking. For this approach you “just
dive in.” It can work for anyone at times when starting seems difficult.
Draw or jot down as many things as come into your head. They can be
in any order, complete or fragmentary, serious or ridiculous, obvious or
ambiguous, seemingly related or unrelated, etc. In purely visual terms, the
ideas start as quick sketches or model studies. They might be abstract or
descriptive, and might not be more than a scribble or strong gesture in the
beginning. The key to this approach is freedom from particular expectations
and time constraints. After many sketches, models, or notes, gather up the
results and start to edit, focus, and develop. Begin to be more methodical
in your analysis. How do the materials, process, and composition support
the purpose of the idea? Keep editing, working, and refining until the
work is clarified. As you develop this form of working, pieces may start to
speak to you regarding their needs. Some artists can develop a facilitating
role, where they merely react to the needs of a piece and provide what it is
“asking for.”
(I.) An approach contrasting to the above works for many. It is methodical
to begin with but loosens up during development. Begin by clearly defining
the goal of the work and an effective quality or attitude that you want
it to have. This may be expressed in terms of adjectives or action words.
You will find descriptive and abstract works use similar descriptive words.
Next review composition, materials, and processes that work together to
accomplish the qualities you have determined. As you reach this stage try
to think of as many variations as possible. As you build, respond directly to
visual changes that the process suggests in order to make the work freer and
more dramatic. Notice that both of these methods get to the same point
form opposite directions.
(J.) Both of these processes speak to first making thumbnails or models.
This is an essential thinking process natural to successful students and
artist/designers. Develop this stage of working to a level of efficiency and
free investigation. Although numbers vary from medium to medium and
artist to artist, twelve to twenty four studies or thumbnails would be typical
before starting a painting or design.
22 (K.) At some point both of these approaches also speak to synthetic
reasoning. This type of thought process employs very high level intellectual
skills. It operates on a non-time aware, non-linear basis, where many things
can be simultaneously examined. The term intuitive is often associated with
this thought process, and here it can be defined as assumptive logic or
simultaneous-source conclusions.
These thought processes are not hypothetical or mysterious. They have been
well researched and understood. We rely on them constantly to be able to
function mentally and physically. It is essential
for all beginning art students to read and do the exercises in Drawing on
the Right Side of the Brain, by Betty Edwards. This book remains the most
effective explanation and guide to practical experience in how these mental
skills work. The visual art student who misses this understanding at the very
beginning point of study will operate with a serious handicap.
(L.) The use of the verbal in idea development can be a help or a hindrance.
Avoid just substituting visually undeveloped or cliché symbols for words
in an essentially verbal idea. The verbal can only assist in developing a
visual idea or exist as a partner in a mixed-media relationship. A visual art
work must be visually successful on the basis of a fully visual, non-verbal
(M.) The preceding points have spoken to a cycle of learning and idea
development well known: information is gathered from diverse sources and
enters the mind. Here it is reflected on and processed through synthetic
reasoning to produce an idea. This idea serves as an answer to an emotional
need. The idea is translated into an art object through appropriate,
developed skills. The art work communicates its ideas and is evaluated. It
becomes part of the world of experience brought back into the mind for
further reaction.
(N.) To emphasize the very first point in the cycle above: Be as actively
curious about the world as possible. Look for all types of sensory and
artistic input. Learn about and experience the diversity of world peoples:
their histories, arts, and cultures. This is a critical part of the process of
problem solving. To be able to have ideas, you need the raw ingredients:
life experience. Your art and art ideas must come from your life experience!
An important and related fact: People who speak two or more languages are
much more successful in their chosen careers and typically earn significantly
higher incomes.
(O.) It’s not far-fetched to find inspiration in your other classes. Physical
Science courses such as Biology, for example, can provide a well-spring of
ideas as they celebrate the poetic nature of life. Philosophy and sociology
can also be an important classes for the artist as the process of arriving at a
philosophical or sociological viewpoint may be eerily similar to the process
one may employ in developing their artistic voice. If you look closely at
general education classes, doing your best to find inspiration in them, you
may also find your grades benefitting from the extra attention. As you
move into your post-graduate career, your curiosity will constantly keep
you learning and mining inspiration from the world around you. Learn to
love libraries - they’ll keep you well-stocked in inspiration.
(P.) One of the most common and important practices of successful artists
is that of keeping a notebook or sketchbook handy at all times, preferably
dedicated exclusively to collecting ideas for your work. As you move through
your life you will happen across pieces
24 ESU Procedures for
Hazardous Waste Management
Hazardous Waste Management
1. Identify hazardous waste generated in your area.
2. Store waste in properly marked and compatible containers.
• compatible with waste stored in them
• marked “Hazardous Waste”
• marked with waste type (no abbreviations)
3. Use only one storage container per waste stream with same chemical or
• consolidate same wastes or mixtures into one container
• storage containers must not exceed 5 gallons
4. Keep hazardous waste containers closed at all times, unless waste is being
added or removed.
5. Date the container when full or ready for disposal and notify the Art
Dept. Office ASAP.
6. In case of spills or harmful exposures to the public, restrict access to the
immediate area, contact Police & Safety (341-5337). Be prepared to
accurately described the incident, location, and current conditions. The
Chemical Safety Officer will be contacted by Police & Safety. Contact
the Art Dept. Office immediately and secure the affected area from the
public until relieved by Police & Safety or the Chemical Safety Officer
(Tom Peterson).
Studio Areas:
Some of the Big Questions
The purpose of this section is to raise awareness and start you
thinking about health and safety concerns in all studio areas.
This outline does not intend to be complete in detail.
• Do not eat, drink, or smoke in the studio area. Have clothes or apron for
use in studio. Clean hands thoroughly after working.
• Do not use the following pigments due to their toxicity: flake white,
lead white, cremnitz white, mixed white, true Naples yellow, chrome
yellow, cobalt violet, vermilion (red), any cadmium pigments. (Specific
exceptions must be cleared with the instructor.)
• Hazardous pigments to avoid using (find substitutes): all true cadmium
pigments, zinc yellow, strontium yellow, cobalt green, cobalt yellow,
cerulean blue, manganese blue, manganese violet, burnt umber and
raw umber that contain manganese, and alizarine crimson and all
anthraquinone based pigments.
• Do not use turpentine, use low odor mineral spirits.
• Formaldehyde is used in many acrylic mediums. Being toxic, it requires
• General ventilation is required in all painting studios. Local ventilation
for some applications.
• Wet mop to clean studios.
• Air brush work requires a powerful, industrially approved spray booth
and must be used in KI008 with the spray booth.
• Keep all solvents covered while working. Keep all solvents in air tight
safety cans, never in glass or unmarked containers! Put all rags with
solvents in air tight containers. Do not put solvents down drains, allow
paint to settle and pour off clean solvent to reuse.
26 Printmaking
• Do not eat, drink, or smoke in studio. Have studio clothes or apron.
Clean hands thoroughly after working.
• Pigment problems similar to painting list. Lead is much more prevalent
in printing inks. Add to NEVER USE list: chrome green, milori green,
molybdate orange.
• Use water based processes for silk screen. Solvent based work should not
be done in schools at any level.
• In acid booth, use gloves, turn on ventilation, and become familiar with
the eye wash station, sinks and safety equipment.
• Talcs probably contain asbestos (French chalk, talc/ rosin mixtures).
Substitute baby powder.
• Clean plates, brayers and putty knives.
• Photo etching materials are exceedingly toxic, avoid.
• In photo silk screening: concentrated hydrogen peroxide can cause severe
eye and skin damage, ammonium dichromate emulsions are toxic. Local
ventilation is needed for clean up with bleaches.
• Use care with presses. This machinery uses great pressure and weight and
can cause great bodily harm. Become familiar with settings and keep felts
dry and clean. Keep blotters clean. Rotate paper.
• Solvent cautions: see painting.
• Do not eat, drink, or smoke in studio lab. Wear apron or darkroom
clothes. Wash hands after working.
• NEVER put hands into chemicals. Use print tongs, rubber gloves when
• Mixing of chemicals with instruction/supervision. With local ventilation
of correct design only. Use face protection, gloves and apron.
• Substitute liquid chemical concentrates for all powdered chemicals. They
are much safer and easier to mix. They also tend to be the most advanced
• Do not use stop baths - they are a major, unnecessary hazard. Use water
• Use local ventilation over open fixer tray and developer trays.
• Ventilation must be designed to meet published (ACIGH) standards.
Never work in unventilated or improperly ventilated darkrooms.
• Black and white processes are fairly safe, as studio art areas are
• Avoid these color processes at any level: Cibachrome, E-6 (slide
developing). These processes should only be done by trained professionals
in an approved professional lab.
• Do not use stabilizer in color negative processing as it contains
formaldehyde. Use photo flow.
• Do not use intensifiers, some bleaches, and many toners and dyes (see
publications for list).
28 Ceramics
• Do not eat, drink, or smoke in the studio. Have separate studio clothes.
Wash hands after working.
• NEVER SWEEP, NEVER VACUUM. Wet mop to clean only.
• Clean tables and wheels with wet sponge, scraping off any large chunks
with a scraper.
• Avoid clay dust. Can cause silicosis in a very short period of time. Keep
studio clean by wet mopping.
• Avoid talc in low fired clay bodies as it contains asbestos.
• Use ACGIH designed local ventilation and tight fitting dust masks for
clay mixing. It must be done in a room separated from classes.
• NEVER USE glaze materials: lead, lead frits, nickel, antimony, chromium,
cadmium, uranium, manganese, vanadium compounds, chromates.
• Dust masks and ACGIH designed local ventilation required when mixing
glazes. Wet mop to clean up.
• All firing including electric must be done in completely ventilated area.
Equipment must be professionally designed. All firing and unloading
should be done by designated students and faculty.
• Do not look into kilns without infrared goggles. Causes cataracts.
• Do not use asbestos gloves or kiln gaskets, or transite (asbestos) table tops.
• Do not use Fiber Frax, KaoWool or other ceramic fiber materials. Highly
• Use only fully approved, manufactured, gas burners on kilns.
• NEVER reach into or put any object into a running clay mixer. Causes
death or dismemberment.
• When using the wheels or the grinder, be sure that long hair is tied back
out of the way.
• When using the potters wheel, shoes must be worn. Shoes must have a
back (no backless sandals.)
Graphic Design
• Many of the same cautions as in painting and drawing (pigments,
solvents, etc.)
• Avoid rubber cement, contains toxic solvent. Use wax or tacking paper.
• Spray glue, fixatives in spray booth only. Do not remove until dry.
• Air brush in spray booth only, never work in an open room. All types of
media. Wear mask as well.
• Do not use solvent markers. Use water based markers only.
• Computer graphics work stations need to be ergonomic.
• Get shielded monitors for computers.
• Have general ventilation in computer work rooms.
• Take frequent breaks from chair or stool-based work and do physical
• Do not eat, drink, or smoke in studio or before washing hands
• Do not use spray fixative outside of an approved spray booth. Do not
remove work from spray booth before it has dried.
• Wash hands thoroughly before leaving studio.
• Charcoal is NOT a toxic material.
• Examine pastels carefully before buying. Avoid pastels without pigment
labels (these are often imported). Use care in not blowing pastel dust into
air. Clean carefully from studio by wet mopping only! Never sweep or
vacuum. Wash hands with great care. See list of pigments to avoid under
• Turpentine washes or other solvent techniques (like image transfers) must
be done only in approved spray booths. Do not remove before dry.
• Have an ergonomically designed work area. Repeated hand motions can
lead to wrist problems over time.
30 Fiber Arts
• Understand hazards associated with fiber dusts. Can cause chronic
respiratory problems through particles or allergies. In advanced stages
damage can be irreversible. Anthrax can be present on some animal
• Dyes: do not use benzidine dyes (not as common today). Avoid Rit and
household type dyes.
• Fiber reactive and cold water dyes can cause allergies.
• All powdered dyes must be handled in a dust booth and with a dust
• All dyes must be used with local ventilation and protective gloves.
• Acid dyes have not been studied. Acetic acid, formic acid and sulfuric
acid if used must have full protection for face and skin as well as local
• Extremely toxic dye mordants include sodium or ammonium dichromate,
do not use.
• These mordants are also very toxic: copper sulfate, ammonia and oxalic
• Wax and its vapors are very flammable
• Do not over-heat wax . Causes release of extremely toxic fumes. Heat
only to melting point, with no exposed heating elements. Have fine
temperature control.
• In batik, iron out wax at lowest temperature and use local ventilation. Use
solvent to dissolve wax with strong local ventilation. Never use carbon
• Avoid carbon arcs as a light source in photoprinting. Use quartz iodine
• Non-silver photographic processes on fiber can use exceedingly toxic and
hazardous materials. Review the safety precautions in detail before using.
Some should be avoided altogether.
• Do not eat, drink, or smoke in studio. Clean hands thoroughly. Do not
wear studio clothes in house.
• Never use lead solders, never use silver solder containing cadmium.
• Become familiar with the gases and torches being used.
• Become familiar with the treatment of burns and location of first aid
• Do not use fluoride fluxes, use borax fluxes.
• All soldering, brazing and wax work must be done with strong local
• Do not use sulfuric acid to clean metal, use Sparex.
• Never use cyanide solutions in electroplating.
• Never use lead based enamels, find substitutes now available.
• Also do not use nickel, manganese, chromium and cobalt containing
• Use dust mask when handling enamels. Clean studio thoroughly. Do not
vacuum or sweep.
• Enameling kilns must be in separate kiln room with professionally
designed local ventilation hood.
• Use infrared goggles to look into kiln, otherwise cataracts can form in
32 Glass
• Wear clothes manufactured from natural materials only! e.g., cotton. DO
not use modern synthetics such as orlon, banlon, polyester, etc.
• Long sleeve shirts & pants, sturdy shoes or boots (no sandals). If you
prefer a short sleeve shirt, wear arm protection: a long sock with the toes
cut out.
• No baggy or loose clothing which could catch or snag on projections.
• Recommended: glass sun glasses (light tint), any polarized sunglasses, or
green welder. Glass lenses are preferred, plastic will work.
• Tie back long hair.
• Do not wear jewelry while working.
Precautions while blowing glass:
• Organize your tools and plan your moves to minimize confusion while
working with hot glass.
• If two people are working, the one whose piece is closer to completion
has the right of way in all cases!
• Both workers should inform (with actions and/or words) the other person
of intended directions.
• Remember which end of your tool is hot: pipes, punties, jacks, shears,
tweezers, etc.
• DO NOT hold pipes or punties with the glass end up near anyone’s face.
Precautions while observing or assisting a glass blower:
• The person with hot glass (gaffer) is in charge!
• Respond quickly to requests for help.
• Never place a hot blowpipe in water!
• Do not help a blower unless requested, i. e. do not grab punties and pipes
if the blower is working even if it looks like he/she needs help.
• Stay out of work area when not blowing
This is the last and largest area. It can include practically any material
or process used for any purpose. This outline covers major concerns in
common areas.
• Do not eat, drink, or smoke in studio. Clean hands thoroughly. Do not
wear studio clothes in house.
For all power tool operation: eye and face protection, long hair tied
completely and securely out of the way, no loose clothing, arm, neck and
hand protection, proper shoes, ear protection for loud tools, dust mask for
all dust producing operations. Be sure to know and follow the complete
professional requirements for each type of tool used. Do not rely on
“homespun” instruction or examples.
Stone working: protection from dust (silica, asbestos), flying chips (eyes,
face, neck, arms, hands, body in general) and sound from tools. Vibration
from tools can cause chronic or permanent hand damage. Heavy stones
present crush hazards, particularly for the hands and feet.
Plaster: take care not to inhale dust when mixing. Do not get in contact
with hands: use Vaseline or rubber gloves. Do not use for casting body
parts, can cause severe burns. Do not use with children, use Plaster of Paris
designed for use with children. Do not let children mix it: the teacher must
do this with a dust mask.
Clay: see section on ceramics.
Wax: natural waxes are in themselves safe, but never heat with an open
flame or exposed electrical element. Heat only to lowest temperature to
melt. Overheated wax decomposes into highly toxic fumes.
• Never use chlorinated waxes.
• Never use carbon tetrachloride or benzene as solvents (for wax or anything).
Substitute low odor mineral spirits or benzine (VM&P Naphtha) under
strong local ventilation.
34 Wood: working with wood can be the cause of chronic and even acute
health problems. If breathed in, many types of sawdust can cause strong
respiratory problems ( for example red wood saw dust can cause sudden
acute illness similar to pneumonia). Hardwood saw dust has been shown to
be particularly unhealthy (cancer causing with chronic exposure).
• Dust collection machines are a must for all wood work.
• Glues, finishes, strippers, preservatives and solvents can be very toxic.
Become familiar with them and follow all working cautions.
• Know all professional procedures for wood working equipment. Do not
rely on “homespun” instruction or examples.
Plastics: do not work with any plastic in any way before reading in detail
about the health concerns for that material. Some of the main concerns:
Acrylics: requires professional local ventilation for casting, cutting, drilling
and use of any acrylic glue or solvent. Casting catalyst must not touch skin.
Splashing in eyes causes blindness.
Polyester Resins (fiber glass): avoid using, can not be worked with safely in
a school setting. Fumes toxic, materials pass through plastic or rubberized
gloves. Adequate ventilation systems are not available in school settings.
Catalyst must not contact skin. Splashing in eyes causes blindness.
Epoxy Resins: similar to polyester resins.
Polyurethanes: Avoid use. Never use in a school setting. Never burn or
chemically decompose.
Vinyl Polymers (PVC, PVA): used for vacuum forming. Do not over heat.
Use local ventilation. Never burn or chemically decompose.
Polystyrene (includes Styrofoam): polystyrene sheets used for vacuum
forming; do not over heat. Do not heat, burn or chemically decompose
styrene materials especially Styrofoam .
• Plastic catalysts age and can spontaneously explode (they are very highly
explosive). Do not keep past expiration date. Do not store near flammable
• When working with plastics in sanding and cutting use dust masks and
local ventilation.
Metal casting: many of the best school foundries in the country are being
closed due to health and safety concerns in a school setting. Most sculpture
casting work today is done in professional foundries. Here are some of the
major concerns:
Molds: sand molds, avoid formaldehyde resins. Local ventilation for all
mold making to avoid free silica from sand or clay.
• Never use asbestos in any form.
• Never use plastic foam or other plastics that are highly toxic when burned.
• All burn out procedures require professionally designed local
• Burn out equipment must never be located in a general classroom.
Metals: never use lead, nickel, cadmium, or chrome by themselves or
combined in any quantity with other metals.
• Never use found (or “junk”) metals. Use only known metals from
professional suppliers.
Melting and Pouring: must be done only under professionally designed
local ventilation. It should never done in general class room. Always have a
clear area and professionally adequate space. Absolutely enforce professional
procedures during pour. Equipment must be kept in flawless condition.
• Never use asbestos or Kevlar clothing or gloves, use leather.
• Have all current safety controls on furnace burners.
• Do not use “home made” equipment.
• Eyes and skin must be protected from infrared radiation damage.
36 Melting and Pouring: must be done only under professionally designed
local ventilation. It should never done in general class room. Always have a
clear area and professionally adequate space. Absolutely enforce professional
procedures during pour. Equipment must be kept in flawless condition.
• Never use asbestos or Kevlar clothing or gloves, use leather.
• Have all current safety controls on furnace burners.
• Do not use “home made” equipment.
• Eyes and skin must be protected from infrared radiation damage.
Welding: dangers include, electric shock, molten metal burns, infrared
radiation burns (eye damage, “sunburn” and possible skin cancer from
chronic exposure), acetylene torch burns, equipment explosions (building
• Do not use arc welders. Rods may contain asbestos or other hazardous
fibers and release differing highly toxic metals (use CO2 shielded line
feed welders and plasma cutters. Avoid acetylene welding in schools when
• Welding is to be carried out only under high powered, professionally
designed, local ventilation. No breathing of fumes from welding
operations is acceptable.
• Do not weld surface-coated metals.
• Demonstrate great care when moving metal. Protect eyes and extremities
from possible cuts and crushing.
Welding: dangers include, electric shock, molten metal burns, infrared
radiation burns (eye damage, “sunburn” and possible skin cancer from
chronic exposure), acetylene torch burns, equipment explosions (building
• Do not use arc welders. Rods may contain asbestos or other hazardous
fibers and release differing highly toxic metals (use CO2 shielded line
feed welders and plasma cutters. Avoid acetylene welding in schools when
• Welding is to be carried out only under high powered, professionally
designed, local ventilation. No breathing of fumes from welding
operations is acceptable.
• Do not weld surface-coated metals.
• Demonstrate great care when moving metal. Protect eyes and extremities
from possible cuts and crushing.
38 Scholarships and Awards
for Art Majors
ESU Art Student Scholarships
Many continuing art student scholarships are awarded to students in the
spring semester to acknowledge their accomplishments. Continuing art
students with a cumulative GPA of 3.25 or better are eligible for academic
scholarships. Certain scholarships are designated for students concentrating
in glass or sculpture and for those students planning to teach art at the
secondary level.
Outstanding Senior Award
Each spring, an Outstanding Senior Award is given to a graduating senior.
This award is based upon quality of art work, senior exhibition, service to
the department and the university, grade point average.
Funding Sources
There is funding available for student activities, such as conference attendance
and other field trips, through the Associated Student Government (ASG)
official in the Memorial Union. For current procedures and deadlines,
contact ASG.
Contact Information
Faculty and Staff Email Phone#
Mary Noll, Administrative Specialist mnoll 5247
Student Secretary artuser 5246
Kristi Arnold, MFA, University of Connecticut karnold1 5246
Todd Cero-Atl, MFA, University of Kansas tceroalt 5696
Eric Conrad, MFA, Rhode Island School of Design econrad 5687
John Decker, BFA, Emporia State University jdecker 5246
Jimmy Eddings, MFA, University of Kansas jeddings 5246
James Ehlers, MFA, University of Florida jehlers 5682
Roberta Eichenberg, MFA, Ohio State University reichenb 5571
Bryan Grove, PhD, Ohio State University bgrove 5246
Pam Harlan, MFA, Kansas State University pharlan 5826
Minam Kim, PhD, Pennsylvania State University mkim5 5691
Dan Kirchhefer, MFA, University of Kansas dkirchhe 5694
Monica Kjellman-Chapin, PhD, Boston University mkjellma 5699
Misha Kligman, MFA, University of Kansas mkligman 5246
Patrick Martin, MFA, Tulane University pmartin 5692
Deborah Maxwell, MA, Emporia State University dmaxwell 5246
Sue McKinney, MSE, Emporia State Univeristy smckinne 5246
Cynthia Patton, PhD, Indiana University cpatton 5695
Fletcher Russell, MFA, University of Arkansas frussell 5246
Larry Schwarm, MFA, University of Kansas lschwarm 5690
Derek Wilkinson, MFA, Arizona State University dwilkin2 5696
Art Annex 5249
Gallery and Visual Resource Library 5689
Other Important Numbers
Faculty and Staff Location Phone#
Financial Aid Plumb Hall 103 5457
Transcript Evaluation Plumb Hall 108G 5152
Sheila Markowitz
Degree Analysis Plumb Hall 108H 5150
Andra Baldwin
Disability Services South Morse Hall 211 6637
Shanti Ramcharan
Student Advising Center Plumb Hall 206 5421
ESU Writing Center Plumb Hall 304 6370
Police & Safety 5337
Emporia State University
Department of Art - Box 4015
1200 Commercial St.
Emporia . Kansas 66801-5087