painting transportation

8/3/2019 Painting Transportation

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When artists create paintingstheir focus is typically on issues ofaesthetics. Concerns over the sub-strate, ground, painting materialsand the overall durability or integri-ty of the work are typically eitherbuilt into the working style, or not.Usually, last among the concerns forthe work is its stability in regards toits storage and/or shipping. An

artist may have looked at any givenpainting hundreds of times to assureit meets certain criteria of the show,event, or new owner; but, in orderfor the work to survive, it is criticalto look at the work from the unusu-al perspective of the mover. Howfragile is this work? How heavy is it?What are the dimensions? Are thereany special concerns for this objectthat need to be considered?

Successfully transportingartwork hinges on several keyfactors. Understanding what sortof things can go wrong and whatprecautionary measures mustbe taken, will greatly reducepotential problems.

Paintings constructed withacrylic artist paints seem indestruc-tible compared to many moredelicate painting mediums such asgouache, watercolor, encaustics andtempera, or drawing mediums suchas pastels or charcoal. Thecommon understanding of theadvantage of acrylic paints over oilis that they will not suffer theproblems caused by oil paints'embrittlement over time. Undermost conditions, acrylic paintingsremain flexible and are able towithstand considerable abuse. Itis just this sense of ease of care thatartists have presumed, which hasled to carelessness and caused signif-icant problems when transportingor moving acrylic paintings.

There are many helpfulresources for artists to consultbefore packaging and transporting

works. This issue of Just Paintoffers some excerpts from theseresources. The purpose of thisarticle is not to recreate thoseresources, which are rich withexamples and suggestions, butto examine some of the significantissues with works completed inacrylic that may not specificallybe covered in this compilationof literature. A resource list isincluded at the end of this articlefor invaluable references regardingappropriate care when movingand storing acrylic paintings.

PRACTICALCONSIDERATIONS(or the disclaimer up front)

This article is organized startingwith the most protective of allthe packaging techniques, crating.This is done to call specific atten-tion to best practices; realizingthat artists more often than notfind other creative ways to transportwork. Best practices are providedfor these other methods as well,with the important caveat that noneof these methods is without risk. Asone moves down the ladder of bestpractices, the risk significantlyincreases that something untowardmay happen to the work.

What is being protected?Acrylic paintings have several

unique attributes that create valueas a fine artists' medium, but theseattributes can also be significantfactors for concern in addressing the

JUST PAIN TPublished by Golden Ar tist Colors, Inc. / Issue 1

2003 Golden Artist Colors, Inc.

SAFE HANDLING AND TRANSPORTATIONOF ACRYLIC PAINTINGS

Research Focus:

Stage 1 - Initial evaporation,paint still workable

Stage 2 - Solids become morecompact, evaporation slows

Stage 3 - Solids form a continuoushoney-comb like structure

Stage 4 - Final evaporation forminga continuous film

THE FOUR STAGESOF ACRYLIC DRYING

Figure 1

* Critical properties such as adhesion,hardness, clarity and loss of tack are notcompleted until the film is fully cured.

* An acrylic film is at its greatest riskduring this curing process.


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packaging and moving of thepaintings. Under most environ-mental conditions, acrylic paintingsare very flexible, which dramaticallyreduces the potential for cracking inmost situations, yet the price paidfor this flexibility is a softer film;

one that can be scratched, scuffedand marred easily. This is evenmore of a challenge when workingwith very matte or underboundacrylic paintings (meaning over-loaded with pigment or othersolids, exceeding the critical ratiosof pigment to binder). Anotherproperty of this flexible paint sur-face is the relative permeable natureof the waterborne acrylic. Thisproperty allows for dirt or pollu-

tants to become embedded (espe-cially in a fresher film). Finally, themost significant property of theacrylic film (again especially repre-sentative of fresh films) is thepotential tackiness of the surface.

The nature of the acrylicsurface leads to one inevitableconclusion: that for an acrylicpainting, it is critical to protectthe painting's surface. This isprobably obvious to every reader so

far, but as opposed to oil paint filmsin which the greatest danger isfracturing the painting's film,protecting the acrylic paintingdoes require at least some differentconsiderations. Although protect-ing the painting's surface must bethe primary directive for packingand shipping acrylic paintings,it does not provide for all thenecessary considerations.

Acrylic paint films become

brittle at low temperatures, usuallyaround 40 F. Transit by air freightor in unheated trucks in cold winterweather can result in cracked paintfilms due to vibration duringtransit. The obvious way to preventthis problem is to ship in atemperature controlled truck. Inthe case of shipment by air, stepsmust be taken to assure that thepaint layer does not vibrate duringtransit. The use of a rigid backing

board will sufficiently dampentransit vibrations.

PHYSICAL CONSIDERATIONSOF ARTWORK

How a painting is constructed iscrucial in determining the potential

methods of transportation.A canvas can be transported

either stretched or unstretched andtherefore, it's important to considerthe consequences of both. A rolledcanvas may ship more easily andcost efficiently, but when it arrivesit will have to be unrolled andre-stretched - both actions maydamage the artwork. Rolled, thesurface is seemingly protected, yetin this condition, care must be

taken to avoid the potential of thepainting surface picking up fibersin the overlying canvas. If thestretched canvas is to be moved,the surface and back must beprotected and the corners mustbe able to sustain an impact fromhandling. Additionally, if thework is transported in cold weather,provisions must be made for reduc-ing shock to the painting surface.These issues will be addressed later

in the article.A panel painting or works

attached to rigid board will alsoneed the surface and cornersprotected and although it is signifi-cantly protected from vibration,it will have to potentially withstandother objects being stacked ontop of it.

The age of artwork is also ofimportance during moving.

While acrylics dry very quickly,they can take much longer to fullycure. Film thickness, materials usedand environmental factors deter-mine the time required for paintfilms to cure. An uncured acrylicfilm will be softer and more proneto blocking and ferrotyping, whilean older, more fully cured piece willbe less prone to damage.

THE IMPACT OF PAINT FILMCURING DURING SHIPMENT

There are four stages involvedin the drying of acrylic paint films(See Figure 1). The first stage isthe initial evaporation of wateroccurring at a linear rate, through-

out which the paint remains wetand workable. The second stagebegins as the acrylic solids in thefilm become more compacted. Inthe third stage of drying, the acrylicpolymer solids - more or lessspherical in shape - begindeforming as a result of capillaryaction caused by the flow of waterto the surface, thus eliminatinginterstitial area and forming acontinuous, honey-comb like

structure. At this point, the paintfilm feels dry to the touch. The laststage of drying involves the finalevaporation of water and coalescingsolvent, particle compaction, alongwith chain entanglement of thepolymer solids, forming a continu-ous film. Critical properties such asadhesion, hardness and clarity arenot completed until the film is fullycured. (For more information aboutacrylic film formation, refer to the

GOLDEN "Technical Notes onDrying" Information Sheet). Anacrylic film is at its greatest riskduring this curing process.

If the artwork is shipped beforethe paint has been allowed to fullycure, several negative situations canoccur. Since the paint film is stilldeveloping, it has the greatestchance of adhering to anything andeverything with which it comes incontact. Packing materials such as

glassine and cardboard can becomepermanently bonded to the paintsurface. Two paintings facing and incontact with each other can easilybecome bonded together, mostlikely resulting in the damage ofboth surfaces. Additionally, a freshpaint film is more likely to attractdirt and dust particles that willpotentially become permanentlyembedded in the paint film.

Thick paint films can develop


Ju s t Pa i n t / Issue 11 2


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cracks and crazes during excessivemovement while curing. Coldtemperatures can harm the filmformation process and may evenresult in early delamination.Temperatures below 49 F do notallow for the proper alignment and

deformation of the polymers.A paint film retains its shape as

it cures. If a partially cured paintingis rolled up for shipping and staysrolled while the film cures, it will bevery difficult to level out the canvaswhen unrolled. This rolled film willbe more likely to crack as it'sunrolled, especially under lowertemperatures. Folded paintingswould suffer even more so.

PACKING ARTWORKFOR SHIPPING

A new set of parametersis created each time artwork istransported. Ideally, the bestshipping method for any acrylicpainting is one where nothing isallowed to touch the surface of thework. It cannot be stressed enoughthat most damage in shippingoccurs because something came incontact with the painting surface,

causing one or more of thefollowing types of damage:

Ferrotyping! The transfer of texture from the

packing materials to the surfaceof the painting.

! Sheen alteration in high spots.! Unwanted texture created on

smooth surfaces, or the reverse.Back and Forth MovementAcross the Painting Surface! Marring! Burnished matte surfaces! Physical loss of paint! Blocking/Materials adhering to

the surface! Paper, plastic and other packing

items physically attaching to thepainting surface.

! Attempting removal may pullup paint or harm substrates.

! Most likely permanent damage

Cracking! This generally requires sharp

impact to substrate or surface attemperatures below 45 F.

! This can also occur when apainting, still drying, receives agentle impact.

If you want your paintings tohave the best chance for longevity,put each painting into its ownpacking container. This eliminatesthe opportunity for surface contact,assuring a greater chance that theartwork will arrive without impair-ment. Careful planning and packingwill increase the likelihood that thesupport will also remain undam-aged. Of course, this is also the

most expensive means of packingand transport, and admittedly,artists are forced to make significantcompromises in shipping. Yet itmust at least be an important

consideration before going to lesserprotective methods.

PACKING CASESFOR ARTWORK

For a packing case to be mosteffective, it must fulfill thesefunctions:

! Support the painting, insulationand cushioning foams

! Protect the contents fromimpact and puncture withoutserious distortion

! Maintain a sealed environment! Protect against intrusion of

moisture

! Provide handles for lifting andmoving

! Survive a multi-venue tourwithout compromise of any ofthe above functions

Case Dimensions

and Size LimitationsThe volume of the case

depends on the size and numberof paintings to be packed, thicknessof thermal insulation and thicknessof cushioning materials used. Thetype and amount of foam materialsto be used in the packing casemust be determined prior to caseconstruction. There are limitationsto the size case that can beaccommodated by transport vehi-

cles. For dimension and weightrequirements contact your localtransportation service.

Case MaterialsThe majority of cases are still

constructed from plywood, whichhas inherent advantages overaluminum and fiberglass. Plywood

has a high strength-to-weight ratio,provides some insulation, somerelative humidity buffering, and isrelatively inexpensive.

Puncture ResistanceIf plywood is used as a

construction material, the thicknessof the plywood has a considerableeffect on the puncture resistance ofthe sides of the case. Plywoodthicknesses between 3/8 inch and

Ju s t Pa i n t / Issue 11

Figure 2, Art in Transit Handbook, National Gallery of Art, Washington


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Although the effects of rapidloading or impacting the acrylicpaint film has been thoroughlystudied by Mecklenburg et. al.,often overlooked by artists is theeffect of rapidly unrolling a canvas,which has been subjected to coldertemperatures.

Recently GOLDEN LaboratoryTechnicians conducted tests to

obtain results that might providepractical implications for artiststransporting rolled canvases. Testsincluded samples of aged acrylicfilms, which were rolled ontovarious diameter cores. Severaldifferent colors (pigment loads)and mediums were rolled bothcompressed (paint film in) andextended (paint film out). Multiple

unrolling tests were conducted onthese films at various temperatures(49, 35 and 13 degrees F).Although tests included some coresat 6-inch diameters, most of thetests were run at the more severe1.5 and 4 inch diameters. Thepaint films were well aged, rangingfrom 3 to 9 years old. Unrollingwas conducted at approximately 1


RESEARCH FROM THE GOLDEN LABORATORY

Rolling Artwork for Transportation


1/2 inch are typically found onsmall-to-medium sized cases, up to72 inches long. Plywoodthicknesses up to 3/4 inches arefound in the larger cases.

Impact Resistanceand Structural Rigidity

The construction methods ofthe case, particularly wherematerials are joined, have asignificant effect on the strength as

well as the rigidity of the case. Acase having edges and corners thatare well joined can have over tentimes the strength and one-hundredtimes the rigidity of a case that hascorners and edges that are poorly

joined. It is recommended that theedges and corners be both screwedand glued together.

Provisions for LiftingFor cases light enough to be

lifted by one or two people, hand-holds should be provided on thecase. For cases requiring mechanicalmeans for lifting, such as forklifts,blocks (skids) should be providedthat allow the forklift tines to slideunder the case. (See Figure 2)

Case Stability and Topple ResistanceLarge packing cases containing

a single painting can be high andnarrow. This can make them

unstable and prone to topple evenif slightly jarred. Provisions shouldbe made to prevent such accidents.

VIBRATION ANDSHOCK PROTECTIONFOR CANVAS PAINTINGS

BackboardsIt is advisable to attach

backboards to the reverse of allpaintings to reduce the potentialof damage caused by puncture,

vibration and shock.! A stiff backing board willenclose an air cavity behind thepainting. As a consequence, thepainting's tendency to vibrate isreduced due to the stiffeningeffect of air trapped between thebackboard and the reverse of thepainting canvas.! A flexible backboard may havelimited effectiveness. Relativelystiff materials are best for back-

boards, or securing the center of aflexible backboard to the crossbraces on larger works.! Large stretchers usually havecrossbars. Several small piecesof the backboard material shouldbe cut and attached to each openrectangle bordered by crossbarsand outer stretcher members, ifpossible.

Roll Diameter in Inches

Regular Gel (Gloss)

(HB) Ultramarine Blue

(HB) Quinacridone Red

(HB) Burnt Umber

(HB) Dioxazine Purple

(HB) Mars Yellow

Matte Burnt Sienna

1.5

3

5

3

4

0

1

5

1.5

2

5

0

3

0

3

4

4

0

5

0

2

0

0

4

4

0

5

0

1

0

0

4

6

0

0

0

0

0

0

0

6

0

0

0

0

0

0

0

1/8-3/16 InchPainted Surface In

1/8-3/16 InchPainted Surface Out





Table #1 shows the effects of unrolling an acrylic film wrapped on 1.5 inch, 4 inch and 6 inch cores at 35F (28% humidity).Separate films were originally rolled facing in as well as facing out to see the resulting effects on potential cracking.Test strips were either or 1 inch wide, 250 ml thick (approx. inch wet film).Note: Degree of cracking rated from 0 - 5. 0 = No observable cracks, 5 = Severe cracking. (HB) = GOLDEN Heavy Body Paint

Cracking Tests Conducted at 35 Degrees Fahrenheit


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Backboard with FoamDuring handling and transport,

slack canvases on large paintings canstrike the crossbars of the stretchers.This can be avoided by attachingpieces of foam to the backboard.(See Figure 3)! The foam should be very close tothe back of the canvas withoutactually touching it.! A low-density polyester urethanefoam works well because it is soft

and relatively lightweight. Polyesterurethane foams are not chemicallystable and should not be left behindthe painting for extended periods.Many factors affect the rate ofthe foam's deterioration, makingit impossible to estimate howlong the foam can stay behindthe painting.! The foam can be attached to thebackboard with double-stick tapeor hot glue. The foam must be

securely attached to ensure that thereis no risk of it pulling away fromthe backboard and coming in directcontact with the canvas.! The backboard should be securedto the stretcher with screws.

Stretcher LiningStretcher lining

is a procedure devel-oped by Peter Boothat the Tate Galleryfor reducing thevibration of a canvaspainting. Itinvolves attachingto the reverse of theoriginal stretcher anew piece of fabric,

preferably a thin butexceptionally stifffabric such as poly-ester sailcloth. Thepainting is not in

any way disturbed. The procedureshould not be confused with theprocess conservators call "lining,"which is a procedure where theoriginal canvas is adhered to a newfabric in order to strengthen it.

With the fabric in position,

inch per second. The acrylics wereable to elongate without crackingwhen tests were conducted at muchslower rates (other than extremefreezing).

The results were as one mightexpect. Films wrapped around thelarger cores had significantly lesscracking (Table 1). Notably, the

films wrapped around the 6-inchcore had no cracking in the 35 Ftest. Also expected, were theresults showing the colder thetemperature, the more prone therolled acrylic film was to cracking(Table 2). The tests also confirmedthat films showed less quantity andseverity of cracking when the rolled

paint surface was facing out. Thegreatest differences occurredbetween pigmented and non-pigmented coatings, againconfirming the results one wouldexpect from the studies by

Mecklenburg et. al. Colorswith a high pigment load weresignificantly stiffer and thereforeshowed considerably more crackingwhen unrolled at 35 F. The testsin Table 3 conducted at 13 Fshowed some specific anomalies.As suggested again in theMecklenburg papers, acrylic gainssignificantly in tensile strength asthe film gets colder. The paintfilms were so hard it required two

staff members to unroll the film.Not only did the paint film shatter,but enough force was required toalso shatter the cotton canvas.



Regular Gel (Gloss)

(HB) Naphthol Red Lt.

1.5

4

--

1.5

4

--

4

5

5


49 Degrees F


35 Degrees F


13 Degrees F

Table #2 shows the effects of unrolling 250 ml (approx. 1/4 inch wet film) paint films at

various temperatures. Note: Degree of cracking rated from 0 - 5. 0 = No observablecracks, 5 = Severe cracking.

Cracking Tests Conducted at Varied Temperatures


Regular Gel (Gloss)

(HB) Naphthol Red Lt.

Matte Naphthol Red Lt.

1.5

4

--

--

1.5

4

--

--

4

5

5

5

4

--

3

4





Table #3 demonstrates that all thick films showed severe cracking when unrolled at 13F and 39% humidity.(The resulting films were so stiff it required two people to unroll the canvas.)Note: Degree of cracking rated from 0 - 5. 0 = No observable cracks, 5 = Severe cracking.

Cracking Tests Conducted at 13 Degrees Fahrenheit


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there is less risk of crossbar-relatedcracks developing through impact,as a continuous surface, rather thanthe crossbar's edges, would becontacted. A further advantage hasbeen demonstrated in vibrationtests showing a marked reduction of

canvas displacement in response tolow-frequency vibration.

Method of Attachingthe Stretcher Lining:! Cut a piece of fabricapproximately the same size asthe painting.! Temporarily attach it to theback of the stretcher with a fewstaples.! Cut out curved segments of

the fabric to allow space for thecrossbar(s) and wedges(stretcher keys).! Remove the staples to free thematerial that should be foldedand inserted between the canvasand crossbar(s).! Once the fabric is unfoldedand correctly positioned, attachfabric along the edges to the backface of the stretcher.! Stretch the fabric while

attaching it. (See Figure 4)

SHIPPING COLLARMuseums often use a shipping

collar to protect their paintings.The wooden collar adds rigidity tothe structure and a backing boardcan be attached to the back of thecollar. The collar should projectbeyond the face of the painting so arigid cover of foam core can beattached to the surrounding collar

without touching the face of thepainting. The entire package ofcollar, backboard, and face covercan then be wrapped in plasticwithout fear of damage to thepainting surface.

SOFT PACKINGOne trend in art transportation

that must be acknowledged is theincreasing use of soft packing, asthe cost of exhibitions and the

associated shipment of paintingsincreases. Soft packing is commonfor graphic works such as prints anddrawings and the practice hasspread from commercial galleriesand artists to museums. Softpacking is the replacement of

plywood sided cases, with onehaving cardboard or foam sides.

No work of art should be softpacked unless the institution iswilling to risk major damage. Also,while there is extensive experiencein soft packing, there has been littlescientific research into how the bestprotection can be offered atminimal cost.

If soft packing is chosen,then it should be limited to local

moves.TheNationalGallery ofArt recom-mends awoodencollar ortravel frameshould beattached tothe reverse

of thepainting orframe forprotection.Nothingshould touch the surface of thepainting. Any materials used towrap it should be kept above thesurface and made of non-abrasivematerials. Foam should be usedaround the painting to offer tem-perature insulation and shock pro-

tection.

ROLLING PAINTINGSOf course, there will be times

when rolling a painting is the onlyway to transport work, but the fol-lowing tips can help minimize risks:

! Allow adequate time for thepaint film to completely cure.! Place an interleaf of polyethyl-ene plastic no less than 4 ml thick

onto the surface of the canvasbefore rolling. It should be cleanedof release agents, dust and othercontaminants.Do not use bubblewrap, plastic wrap or thin plastics

for this purpose, because they willlikely ferrotype the painting surface.! Roll and unroll paintings atroom temperature. Rolling whilecold may result in cracking,especially in thick paint films.! Roll relatively loosely to reducethe risk of ferrotyping or adhesion.! Roll with the paint film facingoutward. Rolling with the paintfilm facing inward increases tensionby causing compression of the paintfilm.

! Once packed, tape securely, butnot too tightly.! Roll up the canvas as evenly aspossible.! Use a cardboard core six inchesor greater. Tighter rolling increasesthe compression of the film.! Put the rolled canvas into alarger tube. Use additional packingmaterial to assure that the innertube fits snugly in the larger tube.! Whenever possible, the tubeshould be kept upright to reduceweight on any one side. This ismost important for large canvases.! Do not store paintings rolledup for extended periods of time.Unroll the painting as soon asreasonably possible.

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! Sonotubes are a product usedby many artists who roll theirartwork for transportation.Sonotubes can be found atwww.sonoco.com.

MARKING CONTAINERS AND

UNPACKING INSTRUCTIONSIf the painting is going to be

opened by someone other than thesender, an envelope with explicitinstructions for unpacking andrepacking should be securely tapedto the outside of the container. Thetaped envelope should read, "To

avoid damage, read first beforeunpacking," or something similar.These instructions become invalu-able if there is a dispute about any

damage occurring during shipping,unpacking or repacking after anexhibit. Be sure to urge that allpacking materials be kept with thecrate(s). Do not assume that theperson who unpacks will be thesame person to repack the artwork.If the painting is being shipped toanother country, it's imperative thatdocumentation in languages ofthose countries be used, so that anunwary inspector does not carelesslyopen a container without properprecautions. Check with all appli-cable agencies as to the preferreddocumentation.

ARTWORK STORAGEAND TRANSPORTATIONRESOURCES

While the risks and problemssurrounding the transportationof art are formidable, they arenot insurmountable. Education onthis issue will allow transportation

of artwork with minimum risk andexpense. There are professionalsdedicated to just this task and theymay be hired if the artwork issufficiently valuable. There is alsoliterature that can give guidance in

this area. Some helpful resourcesare listed in this article.

If you have any furtherquestions regarding this issue,feel free to contact the GOLDENTechnical Support Department at1-800-959-6543 or go towww.goldenpaints.com.

Resources: Safe Handling and Transportation of Acrylic PaintingsFor further information see:

Peter Booth, "Stretcher Design: Problems and Solutions,"The Conservator 13, (1989).

T. Green, "Vibration Control: Paintings on Canvas Supports,"Art in Transit: Studies in the Transport of Paintings (1991).

P.J. Marcon, "Shock, Vibration, and the Shipping Environment,"Art in Transit: Studies in the Transport of Paintings (1991).

Mervin Richard, Marion F. Mecklenburg and Ross M. Merrill."Art in Transit," Handbook for Packing and Transporting Paintings (1991).

Jill Snyder, "Caring for Your Art," A Guide for Artists, Collectors,Galleries, and Art Institutions (2001).


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Insurance Considerations When Transporting Artwork

attention to declared value andlimits of liability sections in FedExand UPS Service Guides are a goodprotective practice.

According to FedEx,"shipments (packages or freight)containing all or part of thefollowing items are limited to amaximum declared value of $500:

1. Artwork, including any workcreated or developed by theapplication of skill, taste orcreative talent for sale, display orcollection. This includes, but is notlimited to, items (and their parts)

such as paintings, drawings, vases,tapestries, limited-edition prints,fine art, statuary, sculpture, collec-tors' items, customized or personal-ized musical instruments.2. Film, photographic images,including photographic negatives,photographic chromes andphotographic slides.3. Any commodity that by its

Something else to considerwhen talking about safe handlingof artwork is transportationoptions. The transportation services

most commonly used to transportworks of art are road or air transit.Air transport is the most common,efficient and safe means of movingart over long distances, domesticallyor internationally. Choices includeparcel services, such as those offeredby the United States Postal Service,United Parcel Service (UPS), DHL,Federal Express (FedEx), and otherprivate companies or commercialair freight carriers.

Many artists and institutionsuse these services regularly, withoutany complaint. Service is economi-cal, convenient and prompt.However, restrictions on size,weight and insurance place limita-tions on artists that may not besuited to their art. Insurance inparticular, is the gray area in whichmost problems occur.1 Paying close

inherent nature is particularlysusceptible to damage, or themarket value of which is particular-ly variable or difficult to ascertain."

According to UPS, articles of"unusual value" are prohibited frombeing offered for shipment. Thisdefinition explicitly includes "worksof art."

We recommend shipping viaFedEx and make sure that thevalue of your artwork is declaredat the time of the shipment. Ifyou are shipping somethingworth over $500, you shouldask your insurance company about

purchasing additional insurancesince FedEx doesn't offer insurance.For further information,

contact your local UPS or FedExoffice.1Snyder, Jill. 2001, 1990, 1996.Caring for Your Art. 145-146, 148-149.

In an effort to grow theendowment of the Foundation, theboard of directors agreed to offergrants to artists and arts organiza-tions in alternate years. In the year2003, grants were awarded to pro-fessional artists working in paint.Next year, 2004, grants will beawarded solely to cultural organiza-tions that directly support visualartists. The deadline to receive pro-posals from organizations isOctober 1, 2004.

For more information, pleasecontact Lucy Tower Funke,Foundation Director at (607)847-8158 or send an E-mail [email protected].

Jean-Marc Golden, a member ofthe foundation board of directorshas generously provided his Webdesigning skills and expertise tohelp make the Web gallery possible.

We invite you to visit our salesgallery at:www.goldenfoundation.org.

During the first three years ofaccepting applications from visualartists, the Golden Foundationprocessed hundreds of applications.The Selection Committee, consist-ing primarily of artists and art pro-fessionals of distinction reviewedseveral thousand works. They hadthe highest praise for the quality of

the work that was submitted.

In its ongoing effort tobecome a resource and significantcontributor to the professionalvisual artist, The Sam and AdeleGolden FoundationSM for the Arts,Inc., is in the process of creatinga "Gallery" on the foundationWeb site. The Web site willfeature remaining paintings fromthe foundation's first silent auction.Twenty-nine recognized artists whoare committed to helping theGolden Foundation grow donatedpaintings for the auction. Thegallery will highlight the artistsand their work and provide anopportunity for visitors to thesite to purchase the paintings.


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ASTM International is oneof the largest voluntary standards

development organizations inthe world. The not-for-profitorganization provides a globalforum for the development andpublication of voluntary consensusstandards for materials, products,systems, and services.

Founded in 1898, theorganization has over 30,000members from 100 nations,including Golden Artist Colors,Inc. ASTM International'svoluntary members are producers,users, consumers and representa-tives of government and academia.In over 130 varied industry areassuch as metals, paints, plastics,textiles, petroleum, construction,energy, the environment, medicalservices and devices, and manyothers, ASTM standards serveas the basis for manufacturing,procurement and regulatoryactivities. ASTM Headquarters hasno technical research or testing

facilities; all the research work isdone voluntarily by ASTMmembers located throughout theglobe and members vote on allaspects of the tests, methods andstandards.

More than 10,000 ASTMstandards are published each yearin the 73 volumes of the AnnualBook of ASTM Standards. Thesestandards and related technicalinformation are sold throughout

the world.A few of the standardsGolden Artist Colors, Inc. ishelping the group research andtest right now include the TintingStrength Standard and theGround/Primer Standard.

Tinting Strength is oftenthought of as one of the mostimportant indicators of highquality artist's paints. ASTM D4838 is currently the TintingStrength Standard, but because

many manufacturers don't use it,the D01.57 Subcommittee of

ASTM is currently working ondeveloping a new method to usefor testing the tinting strength ofartist's colors in both acrylic andoil media. It has not yet beendecided how this test method willbe applied to labeling or productquality standards. For example, onealternative being considered is thata minimum tinting strengthrequirement be added to existingstandards, such as D 5098, whichis the Standard Specification forArtists' Acrylic Emulsion Paints.Alternatively, it may be possible tohave a separate standard thatmanufacturers can choose toconform to.

"Round robin" tests are beingperformed at this time to testthe proposed test method. Around robin test creates a dynamicwhere various laboratories willindependently use the method andshare their results. This gives the

subcommittee valuable data andresults from multiple independentlabs to consider for the validity andfeasibility of the test method.Round robin testing also verifiesthe repeatability and reproducibili-ty of any test methods.

The Ground/Primer Standardis in many ways in its infancy.There is a wide breadth ofinformation and testing to beresearched and accomplished to

have a fully comprehensibleGround/Primer method. TheASTM subcommittee is currentlycreating a strategy around the topicand assessing potential avenues topursue. One interesting directionthe Subcommittee is seriouslyconsidering is developing astandard that reads similar to anapplication guide or a "bestpractices" guide. With theexpertise of artists, manufacturersand special interest groups like

conservation scientists and rawmaterial suppliers, the

Subcommittee functions as awell-rounded, knowledgeable team.The Artists' Paints and

Related Materials Subcommitteehas about 45 voting membersand 17 non-voting members,representing an incredibly diversegroup of individuals, includingartists, educators, conservators,medical doctors, chemists andother materials scientists, andrepresentatives from art materialsmanufacturers, artists' groups,manufacturers of testing equip-ment, and regulatory agencies,resulting in a very unique group.This group has developed andpublished eleven standards,covering such topics as testingof pigments for lightfastness,labeling content, paint perform-ance criteria, and the healthhazard labeling of art materials.The group's mission includes theeducation of artists through the

dissemination of informationabout the Standards. Furtheringthis part of the mission, theSubcommittee recently hascommissioned articles for artists'magazines, to be written bySubcommittee experts. Topicsinclude such issues as qualitylabeling of artists' paints, lightfast-ness testing procedures for thenon-scientist and descriptions ofcurrent research on modern artists'

materials, among many others.The standards that thisdedicated group of individuals hasdeveloped, have and continue toplay a preeminent role in allaspects important to the industry,including classification, sampling,preparation, components,application, analysis, qualityassurance, end-use performancerequirements, and public healthand safety.

ASTM International:Providing the value, strength and respect of marketplace consensus


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Here are some questionsand answers covered in theGOLDEN Technical supportprogram. We hope you find thissection informational and useful.While you are painting, if youcome across a technical difficultyor question, please feel free tocontact us for technical assistanceat 1-800-959-6543 or go towww.goldenpaints.com.

Q: Is it a problem to cover the faceof the canvas with glassine sheets, orwill they stick when hot?

A: The use of glassine (a thin,dense, transparent or semi-transpar-ent paper highly resistant to thepassage of air and grease) onacrylic can be a concern, as thereare several factors, which shouldbe addressed. First, it's important

to allow the acrylics to havesufficiently cured to reduce theirtackiness. The surface should notfeel overly tacky and any clear gelmedium films should appear tohave lost their inherent milkyappearance. Bear in mind that thethicker the acrylic paint film is, thelonger it will take to dry. Secondly,the specific kind of glassine orrelease paper can make all of thedifference. Finally, we have found

that even with the better papers, theamount of weight or pressure canforce the two materials to sticktogether. Therefore, avoid stackingmultiple paintings on top of oneanother and avoid jamming toomany paintings into a cabinettogether. In short, it is always bestto avoid allowing anything to touchthe paint surface during storage ortransport.

Q: Can you transport acrylicpaintings on canvas by rolling themand putting them in tubes?

A: Ideally, shipping paintings withabsolutely nothing touching thesurface is the safest way to transportwork. The main reason is to avoidsomething sticking to the surfaceor "ferrotyping" a sheen or textureto the painting's surface. However,we realize that sometimes it isunavoidable to ship a paintingwithout something touching thesurface, and our best recommenda-tion is to use a thick polyethyleneplastic to cover the painting.Most hardware stores carrythe proper kind of plastic sheeting.Look for 4 ml or thicker versions,and try to find one without manyfolds or a texture. Rolls of smoothblack or clear plastic can be foundreadily, but even these shouldalso be cleaned before use. Anon-streaking glass cleaner workswell with a lint-free cloth.

Cut and clean a piece of theplastic as needed for the artwork,and lay it onto a CLEAN table orfloor. Then lay the canvas facedown onto the plastic. Next, usinga cardboard or plastic tube of areasonable diameter (minimumdiameter 6 inches is recommended),

carefully roll the canvas and plasticsheeting around the tube. Ideally,you don't want them rolled up tootightly, but also not so loose thatthey may slide around duringshipping. Wrap tape around therolled canvas near both ends and inthe center. Avoid taping too tightas well. The rolled canvas shouldthen be put into another larger tubefor shipping. If necessary, use moreplastic sheeting as cushioning.

Remember, this is for shipping only.You do not want to keep a paintingstored like this because moisturecan be trapped in the plastic and ifthe painting isn't completely cured,it can retain the rolled shape.

When shipping paintings incold climates, be aware of thereduction of flexibility of the paintfilms. The main article of this JustPaint issue will discuss the properunrolling techniques when thepainting arrives at its destination.

Q: I live in an area with high heatweather during the summers and attimes, an occasional frost. I want tostore my canvases in my attic upstairs,where it can be quite hot during thesummers. We have attic fans thatcome on automatically to circulate airout. However, I know not to storeacrylic canvases face to face due tosoftening in hot weather, but whatelse should I do to protect these piecesif I have to store them up there?

A: This isn't the worst kind ofstorage. Storing the canvases sonothing is touching the surface isbest (hang them if unstretched,stand them upright if stretched).Attics and other similar storage

Te c h n ic a l Fo r u mYo u r Ac r yl ic Mat e r ia l s q u e s t io n s me e t t e c h n ic a l e xpe r t is e

Research Topic: Storage and Transport

Storing paintings in vertical storage is desirable.



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areas usually have a lot of dust.Acrylics can accommodatetemperature fluctuations. However,it is critical that the work is notmoved or hit while very cold. Thedanger to the paint film in warmweather is the softening of thepaint film. This should not be aproblem unless something comesinto contact with the works surface.

Take a section of the attic or

barn that is free from water leaksand any other contaminates andcreate some simple framed-out areasthat will accommodate paintings ofthe scale you normally work in. It'sgood to settle on the space youintend to use and then draft upsome plans. Any unusual sizedspaces will be filled with raw canvasand other pack rat items. Once thespace has been framed out, then useheavy gauge plastic (comes in rolls

at the hardware store) and tack itaround the outside of the frame toreduce dust and bugs from settlingon the paintings. If the space youselected has questionable walls, tackthe plastic down before framing aswell. Make sure not to cover thevent fans as you would still wantsome air movement.

Q: I am painting an exterior muraloverseas and I was wondering if there

were any airline restrictions on takingsupplies aboard the plane?

A: Air travel in a post-9/11 worldis different, whether traveling inAmerica or abroad. The bestsuggestion is to mail the paints toyour destination ahead of time, orhave a store "drop-ship" them toyour location. In some cases,additional packages on a plane cancost you an additional $250 over

the ticket price! While most waterbased, non-toxic materials shouldnot be of concern, it's important tohave the appropriate paperwork toaccompany the products. MaterialSafety Data Sheets (MSDS) shouldbe packed with the paints. OurMSDS are available in a US formatand a European format, both inEnglish only. In addition to theMSDS, GOLDEN can provide a

certification letter to you when youneed to travel with our paints. Wealso encourage artists to inform theairline in advance about the need tocarry on or check such materials;that they will be bringing thedocuments described above withthem; and to ask if there is anyother concerns that should be

addressed prior to arriving at theairport. Finally, due to ourworldwide distribution, youmay want to check if there are anyGOLDEN suppliers near your

destination. We suggest consultingwith the GOLDEN InternationalSales Department for advice onthese matters. They can be contact-ed by telephone at (607) 847-6154or [email protected]. Also,keep in mind that depending on thevalue of the products, you may berequired to pay duty fees, customfees, etc., so a "Customs Broker"may need to be hired.

New Web site

is a Resource for Artists

The Sam and Adele Golden

FoundationSMfor the Arts, Inc. aims

to be a meaningful resource for the

professional visual artist. In our

effort to assist artists we invite you

to explore the exciting new NYFA

(New York Foundation for the Arts)

Web site at: www.nyfa.org/source.

This is the nation's most extensive

database of awards, services,

and publications for artists of all

disciplines. An easy-to-use search

engine allows users to narrow

queries by discipline, location,

gender, career point, application

deadline and more. Artists may

receive personal assistance by calling

1-800-232-2789 (1:00-5:00 p.m.,

EST, Monday-Friday) or e-mail

their request to [email protected].


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Ju s t Pa i n t

Golden Artist Colors, Inc.188 Bell RoadNew Berlin,NY 13411-9527 USA

Return Service Requested

Ju s t Pa i n t

Issue 11/Nov. 2003

Articles: Mark Golden,Mike TownsendEditors: Mark Golden,Jim Hayes,

Ben Gavett, Jodi ODellDesign: Dianne HodackPublisher: Golden Artist Colors, Inc.

188 Bell RoadNew Berlin, NY 13411-9527

Phone: 607.847.6154

800.959.6543Fax: 607.847.6767Email: [email protected]: www.goldenpaints.com

2003 Golden Art ist Colors,Inc.All Rights Reserved.The contents of thispublication may not be reproduced eitherin whole, or in part, without t he consent ofGolden Artist Color s,Inc.

PRSRT STD

U.S. Postage

PAIDIthaca, NY

Permit #780

Contents:

Safe Handling and Transpor tationof Acrylic Paintings

Research from the GOLDEN Laboratory

News from the Sam & Adele GoldenFoundation

SMfor the Arts,Inc.

ASTM International: Providing the value,strength and respect of marketplace consensus

Technical Forum: Storage and Transpor t

Insurance Considerations WhenTransporting Artwork

painting transportation

Documents