Shipping Pastel Paintings For the Faint Hearted Artist

If you are a pastel artist that has been hesitant to apply to an art competition that is not local or sell your work to a possible client that is not within easy driving distance because you don't want to risk shipping your painting, then this article is for you. I used to feel the very same trepidation until I realized how many opportunities, as well as possible sales, I was missing by not pulling on my "big girl pants" and studying the best way to ship my work over the country and colse to the world.

We as artists put so much of ourselves into each piece, so of course we don't want to risk damage or loss to our considerable artwork when shipping to a show or client. Still we want and need to gift our work to a broader shop than just our local or regional area in order to grow as an artist and firm person. If we take the added step to have a website (almost a "must" in today's marketplace), then we must be ready to ship our work to the client that finds that perfect painting on our site or commissions us to generate a unique work just for them. If we happen to work in pastel, shipping creates an entirely distinct and more attractive problem, but undoubtedly not one that cannot be overcome.

After much study and compiling suggestions from some distinct sources this is what I have found works best for me. I routinely ship to national juried shows over the United States, as well as purchasers of my pastel pieces, and so far this process has worked wonderfully for me. Of course, you can go the "top of the line" route and buy the remarkable iron clad, foam lined boxes created specifically for shipping this type of artwork (yes, I do have one and it is great), however they are very costly and it isn't feasible to have too many in your shipping arsenal at any given time. Therefore, if you ship often your "good box" may be in use and you will need to improvise and generate something safe and less costly on the spot. Here's help.

First of all you will need the following items/materials: a clean and sturdy, undamaged cardboard box a few inches larger on all sides than the artwork you are planning on shipping; bubble wrap; an uncostly foam "egg carton" type bed mattress (this can be purchased at Wal Mart or a similar store in varied sizes); a sheet of newsprint or similar uncostly paper; packing tape; permanent marker; "Fragile" labels.

First cut the newsprint to fit perfectly over the glass of your painting. Next you will need to wrap bubble wrap securely colse to the artwork in both directions. This step is very foremost as it doubly protects your considerable art. Now get with tape, but do not over tape, as you don't want to make it too difficult for those on the other end to undo. Next use the foam mattress to generate a liner for the box by cutting pieces and strips to fit on each side of the painting (top and bottom), as well as on All sides of the box. When you have completed this step you should have formed at least a two inch cushion colse to your artwork on every side - top, bottom, sides and ends.

Here it is foremost to note that you should never use packing peanuts when shipping art for many reasons. Not only are they messy to unpack - many galleries and shows will even refuse your work if you ship with them - but they also can cause static to build up. This could damage your painting.

It is, of course, a good idea to consist of the shipping address inside the box, so I usually do this by completing an envelope with that data and my return address on it. Then if there is anything that needs to be sent with the piece (i.e. Entry form, letter to the purchaser, firm cards, etc.) those items can be sealed in the envelope before it is taped on the front of the bubble wrapped painting.

Next, slid the painting into the foam cocoon you have formed. If your work is going to a competition or gallery it would be a good idea at this point to attach a photo of the painting to the lid or end flap of the box. This will make for easier identification and return of your work at the end of the show. Seal the box securely with the packing tape and clearly address with the permanent mark or labels you have printed on your computer. If you are expecting the work and box to be returned to you clearly mark above your return address: "Property Of" in bold letters. It is also foremost to make note of how many boxes you are sending if there is more than one. For example, you might write "Box 1of 2" just under your return address. Next use your mark to prescription the top of the box and use your attractive "Fragile" stickers to added alert the shipper.

Shipping Pastel Paintings For the Faint Hearted Artist

The Artists

Shipping Pastel Paintings For the Faint Hearted Artist

Shipping Pastel Paintings For the Faint Hearted Artist
Shipping Pastel Paintings For the Faint Hearted Artist

The Artists

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The Artist Who Painted the Last evening meal - Leonardo Da Vinci

Leonardo da Vinci was one of the great Italian artists with astonishing mastery in oil on canvas painting as well as many other disciplines. He was a familiar sculptor, architect, engineer, geologist, mathematician, botanist, animal behaviourist and a fine musician, with a genuine love for knowledge and research.

Leonardo was born on the 15th of April, 1452, as the illegitimate son of the Florentine notary Ser Piero di Antonio da Vinci and a peasant woman, Caterina. He spent the first four years of his life with his mother in a small Tuscan town - Vinci. After 1457, he settled in Florence.

At the age of 15, Leonardo became an apprentice of Andrea del Verrocchio - a predominant painter and sculptor of his day. There he was introduced to many separate artistic and creative activities including painting panel pictures and making large sculptural works in marble and bronze. One of Leonardo's best known works is the "Kneeling angel", in Verrochio's "Baptism of Christ". "The Annunciation" also belongs to this period. Other predominant canvases from this period include, "Madonna Benois", "Madonna with the Carnation" and "Portrait of Ginevra de'Benci". In 1472, he entered the San Luca guild of painters in Florence, which was an indication that he had by this time achieved an extremely high level of expert independence.

In 1482, he moved into the assistance of the Duke of Milan. By this time Leonardo had become an independent devotee in painting, designing and sculpting. He produced studies on varied subjects including mechanics, geometry, anatomy, developed weapons, architecture and many more. Some of his predominant paintings on canvas during the Milan period contain the large altar piece - "The Virgin of the Rocks", "Portrait of Cecilia Gallerani", "Portrait of an Unknown Woman" and "Madonna Litta". It was during this time that Da Vinci painted his masterpiece, "The Last Supper" for the refectory of the Dominican Monastery of Santa Maria delle Grazie, Milan.

In 1500, he returned to Florence and painted "Virgin and Child with St. Anne" for the Servite monastery. In 1503, Da Vinci painted one of the most predominant portraits in the world "The Mona Lisa". The painting is well known for its strange air of wistfulness and mystical smile of the character portrayed. during 1505-1510 he created "Leda and the Swan" and the second version of "The Virgin of the Rocks". He produced a collection of oil on canvas paintings for the Pope, including "St. John the Baptist" during the period 1513 to 1516.

In 1516, Leonardo was invited by Francis I and appointed as the Premier Painter and Engineer and Architect of the King. His last years were spent at the Château de Cloux where he died on May 2, 1519.

The Artist Who Painted the Last evening meal - Leonardo Da Vinci

The Artists

The Artist Who Painted the Last evening meal - Leonardo Da Vinci

The Artist Who Painted the Last evening meal - Leonardo Da Vinci
The Artist Who Painted the Last evening meal - Leonardo Da Vinci

The Artists

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Sketching Drawing - The Best "Artists Eye" Tool

Sketching Drawing - The Best "Artists Eye" Tool

There is an old saying "You never stop learning" and this is so true when it comes to developing your 'Artists Eye'. As with most skills of value, developing your 'Seeing' without acceptable help can take a very long time and so, when learning drawing, it is better to have a quicker method.

The 'Artists Eye'

What do we mean when we say "with an Artists eye"? Usually, we use this expression to differentiate in the middle of the normal, day to day, looking at the world (which all usually sighted citizen do) and that extra way of seeing the world that creative artists from all mediums use. When you look at the world through your artists' eye you see much more than you do when simply going about your daily routine. This is because a trained artist has learned how to precisely see the world colse to them in terms of: light and shadow, forms, shapes, lines, colour, proportions, perspective, negative space, and the whole gamut of optical perception tools. With our artists eye we see the world in all of its glory!

How to organize your own Artists eye

The qoute when learning drawing is that it takes time to understand and then operate the role of our dominant left-brain and its sway on our ability to see in that extra artists way. Someone else issue we have to articulate with is how we precisely see our surroundings. When we look at a scene we do not take in the whole scene at one go (like a camera does when development a photograph) but instead collect the optical facts in smaller units. These parts are then assembled in our mind to form the full impression of the scene. Our eyes precisely use a recipe of rapid movement called saccadic eye movement; your eyes permanently scan the scene to collect facts from the discrete parts to form the whole picture. This is perfectly natural and essential.

However, for an artist wanting to draw a scene or branch it is needful to join our concentration on a limited part of the scene, the area within our format limits, and collect the facts needful to make our drawing. Part of your development as an artist needs to be focussed on addition your observation skills. learning to precisely see the world; and not just look at it.

The best 'Artists Eye' tool

In my sense of teaching art subjects, and drawing in particular, I have found that the particular most superior aid to developing your artists' eye (and your ability to join on the needful part of the scene) is a viewfinder card. A viewfinder can be the simplest and cheapest tool you will ever use. The viewfinder is simply a rectangular (or square) piece of thin black card with a rectangular hole in the middle. The viewfinder card can be any size (I use a piece about 10x8 inches for drawing and a smaller 4x3 version for convention purposes) with an acceptable sized rectangular gap ,break in the center. Try the 10x8 inch card with a 5x4 inch gap ,break in the town (whatever size of card you use you need a fairly wide black border colse to your town aperture).

To use the viewfinder for training your artists' eye, simply hold it about 12 to 15 inches in front of an open eye (close the other eye) and carefully organize a pleasant scene within the aperture. Move colse to to convert your viewpoint and peruse discrete subjects and compositions. You will be amazed at how this uncomplicated gismo helps you join on what is foremost in the combination and exclude all things else surface the scene.

The viewfinder works because the black border isolates within the town gap ,break just the area of the larger scene that you want to consist of in your composition. Once you have practiced with the viewfinder for a short while, you will begin to see things that you hadn't noticed before. This indicates that your powers of observation and your artists' eye are developing.

Sketching Drawing - The Best "Artists Eye" Tool

The Artists

Sketching Drawing - The Best "Artists Eye" Tool

Sketching Drawing - The Best "Artists Eye" Tool
Sketching Drawing - The Best "Artists Eye" Tool

The Artists

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