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Analytical characterization of movements of the spinal column and risk assessment due to repeated movements of the upper limbs of building painters

Antonucci A., Forcella L., Bonfiglioli R., Boscolo P., Violante S. V.

International Journal of Occupational Safety and Ergonomics

2016

Vol. 22, No. 3

340--349

Manual activities of construction workers may induce musculoskeletal disorders. This study on a group of painters aimed to analytically characterize movements of the spinal column by both lumbar motion monitor and television cameras and to determine, using the Occupational Repetitive Actions (OCRA) Index method, the risk exerted by repeated movements of the upper limbs. The main results are: painting with a roller generally exposes workers to a lesser risk for upper limbs than painting with a brush; a roller-stick fixed at the wrong length can lead to stretching of the back at lumbar and cervical levels; to remain within the range of ‘acceptable risk’ (OCRA Index evaluation), a worker should not paint a vertical wall for over 3 h if using a roller and 2.5 h if painting with a brush; and, on average, a painter who paints for 5 h in a day lifts the bucket about 120,140 times.

Pejzaż jako synteza miejsca w odczuciu artysty malarza

Bagiński A. W.

Architektura Krajobrazu

2007

nr 4

18-21

For a landscapist the main theme is nature in all its forms and occurrences. Woods, lakes and rocks are stable motifs ; changeable atmospheric occurrences, such as clouds, fog, sunrise and sunset, cloudy and sunny days, appear simultaneously. Similarly my own experiences and ordeals are present in my creations. Close contact with nature refreshes the imagination and realizes emotional and spontaneous painting to express noticed occurrences and forms. I look for appropriate painting space and form. The main target is to achieve the energetic power of a painting. Cooperation of instinct, intuition and intellect continues until the end of the work. In emotions of work, it seems to me that a painting is finished, but often it occurs that it is not true. After a few days it often happens that some fragments need to be changed and sometimes on this basis a new painting is created, although the first one is not without meaning because the layers of colours create surprising qualities. The form comes from intuition, but in the layout of a painting construction, it is intellectually accepted, that is why it is equally important for me to lay the paint from motion and differing painting material. That gives me a lively and dynamic form.