Flying with oil paints

When flying with oil colors, it is important to follow all the regulations to avoid arriving at your destination to find out that they were thrown out by the TSA. 

If you have the option of buying your paints at your destination or shipping them FedEx, UPS, or US postage, that is always an option. I personally wonder if I could find all the colors I need.

Firstly, never refer to your art materials as "paints". This sends up a red flag. what you are carrying are " oil colors" which are vegetable oil based with a flashpoint that is higher than what the US Department of Transportation requires. 

Most of my paints are Gamblin which have a 620 degree F flashpoint, plus they are considered to be non-flammable and contain no harardous materials. I downloaded and printed all of the individual colors' safety data sheets from the manufacturer's website - in this case Gamblin. Windsor Newton, Shiva, Holbein.... They all have this information available. I then fold up each sheet highlighting important information and ziplock the information with the tube of paint. Inside my checked luggage,  I include a sign:

Notice regarding enclosed Artist materials:

The US Department of Transportation defines "flammable liquids" as those with a flashpoint of 140 degrees F or below. Artist grade oil colors are based on vegetable oil with a flash point at or above 450 degrees F.

THEY ARE NOT HAZARDOUS

If you need to confirm this please contact TSA at 886-289-9673

Or their Hazardous Materials Research Center at 800-467-4922

If you have any further concerns, please contact me on my cell phone at xxx-xxx-xxxx.

I place my zip lock bags in an easy to open cardboard box with this sign taped to the flap. Do not place them inside a closed easel or something difficult to open. You want to spell everything out to the person inspecting your checked luggage. Make it easy for them to understand that these materials are safe. Under no circumstances should you bring oil colors in your carry on luggage. Nor should you bring turpentine, mineral spirits, odorless spirits or similar. You will need to ship this item or buy it when you arrive at your destination. I have shipped this ground because I usually like to have a box on hand ship my wet paintings home. No way do I want someone opening a RayMar box with a wet 

paintings inside my checked luggage.

I also ship my oil mediums. I have heard that some artists have flown with Liquin. I would not advise doing so since it states "flammable" on the box. If you are in question over any material, you need to go to the manufacturer and download their materials/ safety sheet. The product needs to be within the standard

Henry Yan Experience

I'm a bit late posting my thoughts and reflections from my trip to Ann Arbor for a Henry Yan drawing workshop, April 8-10. I have been drawing on and off my whole life and found that I still learned a few new ideas to help me progress, as well as, a few familiar ideas that I pushed to the back of my mind. Teachings, from decades ago, were pulled out from the recesses of my mind to front and center of my consciousness. Learning is truly life long, and a reminder, from time-to-time is a good thing.

It's amazing to watch a master draw. What Henry Yan accomplishes within five minutes is incredible and inspiring. Unfortunately, I cannot post any images of his work nor demos since he unfortunately has been the victim of theft via the internet. Someone copied works found online and created a book without his knowledge and permission. Artists are sole proprietors. When someone from a foreign country does such an act - feeling that they are immune to US copyright laws, it is directed at ONE artist's well being, security, and causes a loss of income which is destructive in ways generally not considered by the foreign company. One artist cannot compete against foreign companies offering copies of work at a cost much cheaper than the individual artist could offer. The artist also loses out on any royalties that are rightfully his. I understand Henry's hesitancy to open his work to image, but unfortunately we all lose out when sharing stops due to theft.

Overall, I appreciate Henry's reverse process of starting with a soft charcoal pencil to fully draw out the figure on smooth to medium toothed paper, and using soft vine/willow charcoal on top to smooth out the drawing and prepare the work for dramatic smudging. I also realized that I need to be more aware of the core shadow on a subject and exaggerate the light more when I am not drawing in ideal situations. When I returned to my Friday night portrait group, I focused on this idea by increasing the contrast on Makanya Smith's forehead and hair.

Henry is meticulous about keeping his pencil sharpened at all times. He uses the point for fine lines and the side for shading. He goes over this in his book.  I highly recommend getting it from his website. It's a minor investment which is highly worthwhile. A link to his site is off to the side on this blog. Save your money and get it.

Here are a couple of my five minute sketches on a full sheet of 18"x24" smooth newsprint. They're OK, but not a Yan. I noticed him drawing while everyone was sketching. He drew four five minute sketches on one sheet of paper. They were fabulous. So much information and rhythm was captured in five minutes. So, I started working smaller.

I realized that I need to work on the feeling and quality of my linework. Keeping my tools sharpened and in top quality should help. Good linework leads to a rythmic quality in the drawing. We can learn the steps to a dance and follow the footwork, but unless you throw in some movement of the hips, shoulders and arms, moving the whole body, a dancer can look stiff. I've found this analogy is true with drawing as well. Each mark needs to be meaningful and well executed.

Here is my final drawing attempting to use Henry's technique. I drew the face last and decided to crop the photo so it would be less distracting from my explanation of what I learned. Henry was drawing about ten feet away so I stopped by to watch how he handled a very similar pose to mine. Originally, I drew the underwear much darker. When I saw that Henry only indicated it, I realized how being less literal, picking and choosing is important. Does it add to the mood and effectiveness of your drawing? Yes, then add it. If not, minimize or remove it. As artists, we can change whatever we like. The actual model or subject matter will be gone, but the drawing continues on. Choose well.

Henry Yan Life Drawing Workshop

At the end of this week, I will be attending a Henry Yan workshop in Ann Arbor. I'm hoping that I'll gain some sort of new insight to propel me forward. Check back on Friday and Saturday- I promise to take notes.