Where Do I Go to See Figurative Art?

I sometimes feel that figurative artwork in the DC metro area is under represented. Perhaps this isn’t fair, and should be seen as a larger issue, and not just one of figurative art. All of the creative arts are vying for recognition here in DC. The competition with the museums is fierce. For example: Type in Gallery Guide DC into google right now (June 2020) and see what comes up first? The result is a bucket list from the Washingtonian of the TOP 10 MUSEUMS, not galleries in DC. For my money, the best place to find gallery openings and reviews of select art show in DC is not through the major newspapers or websites. I would go to EastCity Art instead. Check them out!

Do You Know any Figurative Painters in the DMV?

If you know a primarily figurative painter that has a studio in the DC metro area let me know in the comments below and I will consider adding it to this page. I am looking for figurative painters that excel in their artistic craft, play and experiment with the medium, and have a unique vision and personal style or vision. All the artists below are successful in their own right. I applaud them and their good work!

Alex Beck A Birthday Kiss – 24″ x 24″, Oil, wood panel Instagram

Zoe Charlton The Country A Wilderness Unsubdued, Graphite, Collage, Acrylic on Paper, 112″ x 55″, 2018 Artist Website

Gregory Ferrand Who Are We Now? – acrylic on canvas , 20″x 20″,2017 Artist Website

Nicole Ida Fossi “I’m Sorry that my Breakdown Came at an Inconvenient Time for You” Nicole Ida Fossi, oil on canvas, 40×40, 2018 Artist Website

Gavin Glakas Firelight Sonata – Oil on Linen, 30″ x 40″ Artist Website

Kyle Hackett After End, 2016. Oil on canvas, 72 x 50 in Artist Website

Michal Hunter Floating, 38″ x 60″, 2018. Artist Website

Scott Hutchison Armor – 25″ x 29″, Oil on Linen, 2020 Artist Website

David Ibata A Cold Gaze Forged In Fire – Oil on Canvas, 30” x 40”, 2020 Artist Website

Jada Logan “Ali boom bye yae” Oil on wood panel, 18 x 24 Instagram

Robert Liberace 5th Circle – oil on linen, 48″x 36″ Artist Website

BG Muhn Lover, Empress 013, 15.5 ” x  12.5 ” , acrylic and dog hair on DURA-LAR mounted on canvas Instagram

Leslie Nolan Orange Figure – 36″ x 60″ – Acrylic on Canvas Artist Website

Teresa Oaxaca The Sunset Limited, oil on canvas, 42×62″ Artist Website

Judith Peck The Dream it Can Be – 30″ x 24″, Oil on panel Artist Website

Matt Pinney Erinyes – Oil on Linen 84″ x 72″ Artist Website

Erik Sandberg Blossom, 2018 Artist Website

Martin Swift Rory – 48” X 60”, oil on canvas, 2018 Artist Wesbite

Dan Thompson John I, Oil on Linen, 18×24″, 2015 Artist Website

Joel Vincii “ET Bomaye” by Joel Vincii Instagram

Nicholas zimbro God Only Knows What I’d Be Without You, 18″ x 24″ oil on canvas 2020 Artist Website

Whether you use a glazing technique in your paintings, or alla prima, you might want to know if the pigments you use are opaque or not. This is where a list of transparent and opaque pigments can come in handy. I put together this list many years ago for my basic painting course at The Art League and at Georgetown University. Now I’m making it available for you to use. If you don’t see a pigment, let me know in the comments and I will add it to the list!

How did I come up with this list?

This list is based on Winsor Newton’s Artist’s oil paint list (Winton student grade list is here). As such, it relies on their qualifications and standards of what is opaque and what is transparent. With that said, judging whether a pigment is opaque or transparent is relative and will depend on a few factors unique to your own situation.

• Brand of pigments. Some pigments can appear wildly different from one brand to the next. Including their opacity. Professional vs student grade paints for example, have a slightly different chemical makeup, and this may effect the pigment’s coverage. More expensive brands may also have a higher pigment percentage than less expensive alternatives.

• Thickness of the paint applied. Thicker paint will naturally appear more opaque than thinner applications, or pigment mixed with medium.

• The type of brush you use: Some less expensive brushes sweep the paint away instead of softly laying the paint down. Bristle hair bushes for example, tend to brush through the paint film, and softer synthetic brushes and high quality sable will lay the paint down and allow it to cover uniformly, appearing less thin.

• The Support: If your support is rigid and smooth, the paint film sometimes goes on thinner and appears more transparent and scratchy . A rougher and more porous texture may require more paint and therefore appear less transparent. (The glass photo and video illustrates how the rigid surface really shows the mark)

The List of Transparent and Opaque Oil Pigments

This list below is based on Winsor Newton’s Artist’s oil paint list (Winton student grade list is here).

If you value the painting’s archival quality and if its longevity is your primary concern, then it is best to add a ground to your canvas. The ground is a protective and a structural layer that adds stability to the paint film, no matter if it’s oil or acrylic. Painting on unprimed canvas has archival and structural drawbacks that you should be aware of.

What is a ground?

A ground is the foundation of a painting. It adds rigidity to the support and a mechanical bond to help the subsequent layers of paint adhere to the surface. A ground acts as a barrier that helps protect the paint film from impurities in the canvas, and reflects light that passes through the paint film back to the viewer. In that way, a ground can significantly alter how colors are perceived. Two main types of grounds are:

1. Acrylic Gesso – Acrylic polymer mixed with Calcium carbonate (chalk) and a pigment (usually Titanium white)*
2. Oil Ground – Made from alkyd resin, titanium dioxide, and calcium carbonate *

*Acrylic gesso can be use as a ground for both acrylic and oil paintings, but oil ground can only be used under oil paint

What is the Structure of a Painting?

A painting is built in layers. My paintings are broken into seven layers similar to the following:

1. Support – ie, canvas, wood, aluminum, etc
2. Sizing – PVA sizing or rabbit skin glue – Sizing is not needed if you are applying acrylic Gesso
3. Ground – Acrylic Polymer Gesso or oil based
4. Drawing – Charcoal, Conte or graphite
5. Imprematur – Under painting in washes of Gamsol and Liquin
6. Layers of Paint – oil or acrylic
7. Varnish – A layer of resin that protects the painting from dirt and dust and evens out the painting’s final appearance.

To build a structurally sound painting, it is best to overlie more elastic and finer particles over a coarser and a less flexible surface. A ground brings strength and rigidity to the painting’s foundational layer and helps to resist cracking in the upper paint film layer. We have known for many many years how important a ground can be for oils. It adds strength and rigidity to the support as the oil becomes more brittle with age. Acrylic however, is very flexible. Perhaps then, it is safe to use on a flexible support like raw canvas? Unfortunately, no one knows because it has not stood the test of time.

The Ground Protects the Canvas

An artist’s canvas is woven fabric, most commonly made of cotton or linen (flax). What happens to the canvas, happens to the painting if there is no ground, or barrier between the painting and the canvas. Let’s have a look at a few ways the canvas can damage the painting as it ages and deteriorates with time.

1. Canvas fibers are organic and undergoes a process of oxidation as it ages, resulting in darkening and embrittlement. Linen is usually the stronger and more stable of the two, however, oxidation induced by high light exposure and ultraviolet radiation results in a color shift and darkening of the fibers of both cotton and linen.
2. Exposed raw canvas can collect dust, dirt, mold, mildew and grime on its surface. This is especially true in part, because of its proclivity to absorb moisture from the atmosphere. How to care for your paintings.
3. Stretcher Burn: I had never heard of this, but it makes sense that stains on a canvas can occur when the fabric comes into close or direct contact with a material (stretcher bars) that are undergoing their own degradation process. The acidic byproducts produced by the breakdown of the wood causes accelerated canvas degradation and result in a permanent browning of the canvas.

Both White and Clear Gesso Ground are available on Amazon.

The Ground Protects the Paint Film

It’s is well known that you MUST add a well made ground to canvas if you are painting in oils. High quality grounds will create a barrier between the painted surface and the canvas fibers and also help create a mechanical bond between the paint and the canvas. What happens if you paint on raw canvas? It will rot!

Oil paint should never come into direct contact with the fiber or the canvas will eventually rot, become weak, brittle and crumbly.

Page 290 – The Artists Handbook of Materials and Techniques, Ralph Mayer

When acrylics are painted directly onto raw canvas, the water content may draw impurities in the support and yellow or turn the paint medium brown over time. This is called Support Induced Discoloration (SID) I have found documentation from Liquitex and Golden that mentions this phenomenon and suggesting a primer will fix this issue.

Golden Paints

Support Induced Discoloration (SID) is a phenomenon that occurs in acrylic paints and mediums. Many common artist supports have impurities that can discolor a translucent acrylic gel layer or color glaze, and a size must be applied before gessoing to ensure the products stay clear as the films dry.

https://www.goldenpaints.com/

Liquitex

 It occurs with all acrylic mediums currently used by major fine art paint manufacturers. Washing the canvas before use can greatly decrease or eliminate SID. It’s not a problem if the mediums are mixed with paint or painted over. The amount of discoloration in the acrylic medium will vary

https://www.liquitex.com/row/faq/

UPDATE! – Four months later

The image below illustrates how the canvas will yellow if it’s not primed with a ground first. The photo was taken after 4 months after the blue pigment was applied. The yellow halo is the linseed oil. Not only has the canvas turned yellow, but the blue pigment is beginning to also be effected.

What Does it Look and Feel like to Paint on Raw canvas?

Oils:
Painting oils on raw canvas feels similar to painting watercolor on paper if you use a medium. The canvas absorbs the oil paint quickly, making it difficult to control and blend. As the oil is pulled into the fibers it will crawl to the back of the canvas and pool around the colors. I have also noticed that oil paint becomes firm quickly and appears cloudy or soft. This softening effect is due in part because the canvas soaks up the oils in the paint, and also because the rough texture of the canvas is more noticeable and softens the outer edges of all your brush marks.

Acrylics:
Painting acrylic on raw canvas is similar oils. But less dramatic. The canvas is not quite as absorbent. Careful with pooling of the pigment! It seems to dry unevenly – this is dependent on how much water you use – and if some parts of the canvas contains more water than the rest.

Use Clear Acrylic Gesso for a similar look to Raw Canvas!

Okay, I admit it! I have painted on raw canvas a number of times in both oil and acrylic. At the time, I liked working this way for aesthetic reasons primarily, but I also really liked working with the fabric’s texture, it’s raw un-primed color, and the way the pigment would stain and absorb into the surface. But these days, I would recommend using a clear gesso if you want a similar look and feel to raw canvas.

Famous Artists That Painted on Raw Canvas.

Morris Lewis
Francis Bacon
Sam Gilliam
Helen Frankenthaler
Kenneth Noland

Yes and No

Use graphite in the preparatory drawing before you paint. However, the amount you use and the paint body may impact whether the graphite shows through. I have taught painting for 20 years and seen countless student paintings (easily thousands) over that time that had no issues with paint coverage over graphite marks. But I would also add that I have experienced a few examples where the initial graphite drawing could be seen peeking through the final painting.

What Does The Internet Think?

I suppose my own experience reflects why there are so many different thoughts on whether you should use graphite or not. And if you do, should you treat it before you paint? Do a quick Google search regarding the use of graphite as your preparatory drawing and you will find the answers that vary. Some claim that oil paint covers the graphite and to think otherwise is an urban legend, and other search results show explicit examples of graphite bleeding through. My thoughts on that in a moment.

Should you seal your graphite with fixative?

I have read a lot of posts that suggests the need to fix your drawing before you paint. However – from my experience – I see this as unnecessary. ( Not only do I not recommend using fixative ( or hair spray ) on any drawing, spraying this onto your canvas may be adding a substance with questionable archival quality. ) I find that using a thin medium such as liquin in my initial imprematura under painting will automatically embed the graphite into the canvas in which you then paint over once it has dried.

Final Conclusion? Go Ahead and Use Graphite.

Back to the issue at hand. Will a graphite preparatory drawing bleed through your oil painting? I can only speak to my own process. I use graphite and have never once had an issue. This does not mean you won’t either. Of course not, however, I have some advice and and bits of advice and thoughts on what may be causing some people to experience graphite creep or bleed through.

1) Your paint film is too thin

I see this often with painters early on. (Trying to blend with very little paint – and instead they sweep the paint off the canvas)

2) Not enough consecutive layers of paint are applied to the substrate

All of my paintings are at least 3 layers over the under painting.

3) Graphite is too heavily applied

I sometimes shade my preparatory drawings in graphite. However, I am not pressing into the canvas very hard. If you do it may create a reflective and slippery barrier that will resist the oil paint. Hence, if you choose to use graphite, I would recommend pressing softly. Be careful, don’t use too much!

4) The amount of medium you use to thin the paint

I find liquin works well as an under painting medium. It locks in the graphite and it gets painted over in the next 3 layers.

5) The quality and opacity of the pigment you use

Less expensive student grade pigments have fillers in them and contain less pigment and may be less opaque as well. Also some pigments are naturally higher in oil content as well as some brands. This may also effect those that have a difficult time covering graphite.

6) Watch out if you use a grid to measure the proportions.

I find that the human eye can spot the pattern of the grid really easily. Be careful when you grid. Someone might be able to see it, and even if you paint thicker, it can sometimes be difficult to paint it out.

What are Some Alternatives to Graphite?

• Charcoal – Vine

A lot of artists use vine charcoal. It is a very powdery, easily erasable, soft and thin charcoal stick resulting from the burning of grape vines in a kiln without air.

• White Conte

A white and opaque chalk. It works well if you begin with a dark wash. It can be easily erased or washed off the surface of your canvas if you make a mistake. It will not effect your colors as they are applied on top.

• Silver Point

I have never used silverpoint as the under drawing. But I’m fairly certain it would work well! Especially if your substrate is rigid like wood or metal. Traditional silverpoint is made with a small fine rod of silver, such as jeweler’s wire, inserted into a wooden rod. When you draw, the line is created through the oxidation of the silver on the gessoed surface.

• Oil paint

You don’t have to do a drawing before you begin your painting. When I paint from life, I hardly do a drawing before I begin. Instead, I start right away and draw with paint. Using an Imprematura method of washes. Drawing is essentially done with oil paint.

The Colors You Choose is Personal

What colors you choose to put on your pallet will decide the fate of each painting and help you create the emotional effect you’re after. I offer you my current pallet recipe as a barometer. A guide if you will, in your own personal creative journey.

Even though my work is quite colorful, you may be surprised to know that I have always kept my list of pigments between 7 and 10. This forces me to mix almost every color I need, and in return, my colors are naturally harmonious. I find it strange when I see a pallet with 15 – 20 colors displayed like a rainbow across the surface. To me, it’s wasted paint and really not necessary.

The oil pigments on my pallet have changed often over the years. Some pigments fall out of favor with me like Yellow Ochre, Ivory Black and Cadmium Orange while other are discovered along the way; becoming necessary additions to my pallet such Phthalo Green ( Usually $17.00 for 150ml on Amazon) and Bright Red. (Usually $12.00 for 37ml on Amazon)

The reason why some colors fall to the wayside and others take their place is a conundrum. It happens so gradually over the years as I settle into a very personal and exploratory method with my art. Ask me in 2030 what colors I use, and I will likely give you a different answer, because my art is always changing. My artistic growth and timeline

High Chromatic colors

I like to start with saturated and high chromatic colors and dull-down from there. If the color starts off saturated, I can fine tune and mix it down to the desired color. The pigments I choose for my pallet cannot be mixed outright, but are very good mixers and have a “strong tinting power”. Meaning: If the color remains vibrant when you add white, it has “strong tinting power”. These strong and saturated colors can be used to create a myriad of secondary and tertiary colors.

My Top 10 Essential Pigments in 2020:

What, No Black?

You read that right. I don’t use black. Why not?

1) Black flattens out as it dries and is not very rich, or deep.
2) Black is mixable. Save your money.
3) Black out of the tube is more predictable and less interesting than a black you mix yourself.
4) Black should be used to grays down a color, not darken it. If this is the case, mix in a color’s compliment instead for more varied and interesting results.

Try combining pigments to make black instead. A few recipes below: (To test if your mixed black is a true black, take a little from your mixture and add a touch of white to see if it turns gray. If it does, then your black is good!)

Mixing Black Recipes:

• Burnt Umber + French Ultramarine Blue Best
• Phthalo Green + Alizarin Crimson
• Cadmium Yellow + Phthalo Blue + Permanent Rose
• Phthalo Blue + Burnt Sienna + Alizarin Crimson

Get to Know Your Colors

As mentioned above, Color Choice is Personal. So I would like to stress that there is no right or wrong colors you choose to put on your pallet. It really depends on what you are try to accomplish with your color choices. It’s more important that you mix and mix and mix colors so that you experience the way you pigments work. Don’t worry too much if you have purchased the right brand or grade of pigment. For example, the round image above titled ” Letting Go” was painted with both professional and student grade oil paints. It’s not the tools that make the artist.

Create a Color Chart

If you want to understand what your colors can do. I highly recommend creating a color chart. Not a color wheel. I find that color wheels have very limited use when you’re finished. However, a color chart can be used as a reference that you can come back to time and time again. Also, the mixing required to finish a color chart of 10 – 15 colors is an education in itself – like the example below from one of the Georgetown University painting courses – mixing colors for this project is very similar to real painting and inspire a clearer understanding of the relationships between pigments and their unique properties.

So I leave you with an assignment…

Color Chart Project – Assignment

My Assignment for you: Creating a color chart using the list of pigments above (or your own pigments from your art box). 

1) Lightly make a grid Similar to the chart above.
2) Leave space so you can label your colors in the same order running vertically and horizontally. 
3) Then mix and paint in the color in the corresponding box.* 

*Notice that the left side of the color chart is repeated on the lower half with the pure hue running diagonally down the middle? The difference between the top half and the lower is that the top half is painted opaquely and the bottom is transparent. (Thin the colors on the lower half with liquin or your preferred medium so the color on the lower half is more transparent.)

If you do this Assignment, send it my way, and with your permission, I will add it to this article!

As an artist without a gallery or agent, I am my own advocate. Hence, I have been applying to call for entries for over 20 years now and my resume is filled with a growing group of exhibitions. During that time, I have been fortunate to receive National and International exposure and sales, in part because of my continued efforts of self promotion. (No agent remember?)

With that said, I thought it was time to put a list of some of the websites I use to find some of those shows, grants, art fair calls, etc… Are you an artist looking for a comprehensive list of websites to help you find National (USA) and international call for entries? You are in the right place. The list below is by no means complete, however, I envision this often updated page as a solid list of websites that help me, and perhaps you as well, gain National and/or International exposure through a broader list of call for entry websites.

Why apply to juried Art Shows?

Before you apply, ask yourself what do you hope to get out of the show you are applying to, because most calls are not free. Also, what is the cost burden for showing when you add together the application fee, the cost of framing and shipping to and from the gallery? From one artist to another, the call for entry is primarily an opportunity to network and advertise. The rest is a bonus.

Advertising : Being in a show may get you some recognition in a publication or review. If you are actively promoting your work, then consistently showing your work is a must. Juried shows are one avenue to take.

Networking: Sometimes a show may lead to another show. You never know who will see your work on display. An attending curator or gallery owner might see your work and choose you for another show. This has happened to me on a number of occasions.

Publish or Perish: This may not apply to you, but essentially if you are a professor you may be required to show your work if you want that promotion. Read about it here.

Resume Building: Juried shows are a form of “peer review” and this can help validate your artistic endeavors to a potential collector, gallery owner or academic colleague that you are actively pursuing your craft. It can be an important line on your resume that shows you play an active roll in the community and that you and others believe in your work .

Sales: Though I have sold some artwork through juried shows, I would not recommend applying for a juried show if this is your main reason. Unless you know the exhibit is highly specific to your genre, a high profile gallery or museum, or the gallery has a large collector base.

The Award Money: Some payout awards. Don’t rely on this. I have been lucky a few times over the years, but most shows cost the artist money in application fees, shipping and framing.

The Fame: ?

Increase Your Odds of Being Accepted to a Juried Show!

There are so many art call for entries out there, how do you choose?

1. Apply to shows with a theme or show title relating to your work.
2. Stay away from “All-Media” shows and general themed shows. This is too broad and even if your work is strong, it might not be what the juror is looking for. You will be accepted more often if you laser focus where and what you apply to.
3. Research the juror before you apply. You may get an idea what the juror is looking for with quick internet search.
4. Research the venue. Google is your friend. Find out where the show will be and the caliber of venue. You may even find photos of the space and what their openings look like.

Art Call For Entries:

(updated June 2020)

www.art-3000.com
Artcall.org
Artshow.com
Artanddeadlines.com
artisttrust.org
Asingularcreation.com
Callforentry.org – BEST
Callsforart.com
CollegeArtAssociation
Entrythingy.com 
Theartlist.com (Limited Free version )
Artdeadlineslist.com (Limited Free version)
Submittable.com
withoutabox.com (For Filmmakers and Screenwriters)

Residencies:
Resartis.org

Grants:
CollegeArtAssociation

This list is by no means complete, if you have a site that should be on this list feel free to leave a comment below!

]]> https://scotthutchison.com/how-to/call-for-entries/feed/ 0 243 https://scotthutchison.com/shop/custom-made-t-shirt-by-scott-hutchison/ Mon, 01 Jun 2020 01:54:00 +0000 https://scotthutchison.com/art/uncategorized/custom-made-t-shirt-by-scott-hutchison/ Available Now!

Are you looking for something different and unique? T Shirts of my painting “Medusa” are now available exclusively through www.scotthutchison.com, The “Medusa” tee took me a few months of color correcting and ordering test shirts from a variety of vendors until I came upon this version you see below.  It turned out exactly how I wanted it and I think you will like the quality of the fabric, the fit and the look of wearing a unique piece of art.

Support a unique look for only $25.00 Buy Here. When I wear it, I get a lot of comments and questions about this shirt. I guarantee you will be noticed, and enjoy wearing it. If you aren’t fully satisfied. I personally guarantee a full refund, or store credit.

They are made through my printer –  Printful. You can choose from a plethora of colors, shapes and sizes through my store on www.scotthutchison.

• 100% cotton (heather gray is 95% cotton /5% viscose. Heather Blue & Charcoal Gray are 80% Cotton/20% Polyester. Heather Burgundy is 65% cotton/35% Polyester) | Fabric Weight: 5.29 oz (heavyweight)
• Wide range of sizes from S-5XL
• Fairly produced, certified and triple audited.
• Double stitched, reinforced seams at shoulder, sleeve, collar and waist
• Optimized for beautiful brilliance across all printing methods
• Imported; processed and printed in the U.S.A.

Sizes:

Product dimensions measured on a flatly laid out product.

Size	A (inch)	B (inch)
S	26.5	17.5
M	27.5	20.0
L	28.5	21.5
XL	30.2	24.0
2XL	31.5	25.5
3XL	32.0	27.7
4XL	33.0	29.5
5XL	34.0	31.5

Customs and fees

Orders shipped outside of the United States are subject to customs or duty fees. The fees are governmental in nature and not charged by scotthutchison.com. For any issues regarding customs or duty fees, please contact your local customs office. These fees cannot be refunded, as they are not charged by us.

Please note: International shipping times are not guaranteed. Customs clearance can significantly delay the delivery of international orders. Such delays are not reflected in our estimated shipping times and are beyond our control. To ensure the most efficient handling of your international order, please make sure to include a local telephone number and email where you can be reached. Please check with your local customs authorities in advance to determine your country’s specific import requirements.

]]> 352 https://scotthutchison.com/how-to/shipping-art-in-a-box/ https://scotthutchison.com/how-to/shipping-art-in-a-box/#comments Sun, 31 May 2020 17:26:00 +0000 https://scotthutchison.com/art/uncategorized/shipping-art-in-a-box/

Three great boxes to try.

Safely ship your art in a sturdy cardboard box. Three stand out boxes are available if you seek a shipping box to keep your artwork safe while in transit.

For whatever reason, building a custom wooden crate may not be an option and I totally understand. This was the case for me for some time. I ship primarily with custom built wooden crates now, however, when I did not have the means, I still wanted to ship work in a high quality box that had a professional appearance and protected my work at a reasonable price point.

I have looked for art shipping boxes sold through companies such as Fedex, UPS, USPS, Uhaul, Amazon. They all sell shipping boxes, but none compare to the quality and professional appearance of the shipping boxes by Masterpak, Airfloat and Uline.

The “Must Have” Features of a Good Box.

Masterpak, AirFloat and Uline all have these “Must Haves”.

1. Double wall carton construction
2. Heavy duty plastic-lined top and bottom to prevent punctures.
3. Removable foam
4. Perforated foam insert to customize the fit
5. Approved by most major air and ground carriers, including UPS and FedEx^®.
6. Sturdy enough to reuse.

1) Masterpak

I have always been happy with MasterPak’s shipping boxes. Inevitably I purchase through Masterpak because it is consistently the least expensive of the three box manufacturer. You will need to do your own price comparison to get a better idea if that’s your case as well.

I highly recommend their boxes for shipping artwork at a fraction of the cost of building a wooden crate. They are incredibly strong. Especially if you purchase their upgraded and heavier duty cardboard boxes. Masterpak is a New York Based Company – Made in the USA.

Watch the video at the end of this article to see me introduce this Masterpak box I purchased in 2018 to ship work to a show. – http://www.masterpak-usa.com/

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2) AirFloat

I want to be honest here. I have never used Airfloat’s Strongbox, but I do know a few artist’s that have used them. Their prices are in line with MasterPak, and the boxes appear well made and professionally designed. One nice benefit to their boxes is the handle. So if that’s an important thing to you, I would check them out.

I will certainly be giving Airfloat’s StrongBox a try on my next small shipment.

AirFloat boxes are made in the USA.

• AirFloat Website
• First time using a StrongBox? Check out their step-by-step guide and video.

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Uline

I have not had an opportunity to try Uline’s art shipping box yet, due in part to the cost. They are often the most expensive option on this list. Though I have never used their art shipping boxes, I use Uline to ship my limited edition prints and book. I can attest to their trustworthy as a business. They are a large family owned and been around for over 40 years.

Made in the USA.

Uline – Deluxe Artwork Shippers – Website

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Shipping Art In a Box – Video Presentation.

]]> https://scotthutchison.com/how-to/shipping-art-in-a-box/feed/ 2 328 https://scotthutchison.com/exhibitions/poets-and-artists/ https://scotthutchison.com/exhibitions/poets-and-artists/#respond Fri, 29 May 2020 22:44:38 +0000 https://www.scotthutchison.com/?p=4734

Slipping Away is available for sale online exclusively through Poets and Artists and 33 Contemporary.  Poets and artists is a community of artists, poets, collectors, and art aficionados. They have a rich twenty year history of publishing literary and art magazines and books. I am honored to be a part of this group.

They are a talented group of figurative artists and I am proud to have Slipping Away accepted to their Artsy listing. It is available there and only there if you are interested.

Poets and Artists: Here
33 Contemporary: Here
You man Purchase Online: Here

Anniversary Show

May 15th – Aug 15th, 2020

Where: www.pxpcontemporary.com
Contact: info@pxpcontemporary.com
PxP represents a select number of my paintings