WingedBlue Arts: Shipping Artwork

Shipping Artwork

Beth E Peterson
c/o Cattails Publishing LLC
484 Williamsport Pike #261
Martinsburg, WV 25404
USA
240-527-0900

Text and Artwork:
Copyright © 2008 Beth E Peterson.
All rights reserved.

I know a lot of artists who will only enter shows that are close enough to them for them to personally deliver the piece; they don't know how to ship their work safely, they don't know where to find out how to do it, and they are intimidated by the apparent logistical nightmare. Well, let's face it. There are times you will want to ship your work, such as when you have sold a piece to an out-of-town buyer, when you want to send a piece to an exhibition or gallery, or when you are moving. Fortunately, shipping practically anything has gotten a lot easier over the years. We've got new packing materials, new shipping agencies and companies, new and faster carriers and tracking systems that weren't even dreamed of a couple of decades ago.

Resources

CustomMade Boxes
UPS Home Page
FedEx Home Page
US Trucking Home Page

There are two routes you can take: find a shipping agent or service in your area who knows how to ship artwork and is willing to do so; and doing it yourself. It used to be that finding a shipping agent was rather a difficulty in itself, especially one who would handle artwork. But these days, mailing & shipping services such as PostNet and Mail Boxes Etc., have sprung up coast to coast. These businesses will package nearly anything (legal) for shipment, and they are great liaisons between the consumer and the carriers (the companies which actually transport packages). One of the nice things about them is that you can do the packaging yourself and then take it to them to ship. That gives you the best of both worlds: the convenience of finding the best carrier quickly and easily, while reducing the costs of the packaging by doing it yourself. Just a note...even though I am speaking about 2-D work here, all of these principals also apply to 3-d work as well. Even, and especially, to the foam nests.

Preparing 2-D Artwork For Shipment:

Do Not Ship Glass. Glass breaks, it takes more time to prepare it for movement and to clean it afterwards, it is heavier, and, most importantly, most carriers will not take glass. With the availability of Plexiglas there is no reason to insist on ‘the real thing'. If you have a drawing, pastel, watercolor or other work under glass, change it to Plexiglas...at least for the duration of the time the piece is away from home. You will also want to avoid metal frames, as they are very apt to bend during shipping. From a shipping standpoint, wooden frames are best, with composite frames running a close second.

Make sure that the piece, mat (if it has one) and frame are all in excellent condition. Check the mitered corners of the frame and reinforce them if necessary. Check the picture hangers for loose screws and stress damage; wrap any loose ends of picture wire with electrical tape to keep the wires from scratching anything. If the piece might be coming back to you, attach an envelope with your return shipment instructions inside on the picture wire. (Return instructions will be covered a bit later in this article.) If you have any additional instructions, print or type them out and attach them to the picture wire as well. This could be something like the proper care and feeding of Plexiglas ("No glass cleaners, clean only with warm soapy water and lint-free soft toweling, do not tape for return shipment." --- Since Plexiglas doesn't break, it therefore doesn't need to be taped when traveling, but tape will leave scratches and almost-impossible-to-remove adhesive on it.) On the back of your piece you should also attach an index card which legibly lists your name, address, phone number and the title of the piece.

Return Shipment Instructions When Sending To Shows Or Galleries:

Plan on the person who is re-packing your work to make as many mistakes as possible. Therefore, you need to make your return shipment instructions as clear and as thought out as possible.

Start with an envelope clearly marked "Return Shipment Instructions". Include:

1) A copy of the exploded view diagram you will develop showing how the layers of lauan, foam and artwork go in the box. (More on this in just a bit.)
2) Instructions for return shipment. You may want to develop a form, which should include your name, your signature, the address they are sending this package to (no PO Boxes), your day and evening phone numbers, the title of the piece, the package dimensions when fully packed (length, height, width and weight), the designated carrier, type of shipping requested (i.e. Ground, 2-Day, Overnight, etc.), the amount and number of the check enclosed or other payment arrangements if applicable, and the insured value while in transit.
3) Instructions on what to do with your container in the event that your piece has been sold. Consider how much it costs to send it back to you and how much it cost you, both in time and money, to create the container. Do you want the empty returned to you, or do you want to scrap it and build yourself a new one?
4) A return shipping label.
5) A check made out to the designated carrier for the amount of the return shipment (and any additional insurance charges).
6) any additional paperwork which the exhibition or gallery requests.
It is this envelope that gets taped to the picture wire of the piece that you are sending.

Packing Artwork:

The secret to packing artwork is to freeze it inside a strong but inconspicuous container. To freeze something, in shipping parlance, means to make it completely immobile within it's shipping container. Now, this means that you cannot use many of the packing materials you might immediately think of. Avoid packing peanuts. Not only do they settle, they also have an oily film which gets on everything they come into contact with. You don't want that on your piece, or on it's framing. Avoid shredded or wadded paper. Again, it settles and it also scratches. Bubble wraps can scratch, especially Plexiglas; if you use bubble wrap, be sure to put paper between the piece and the bubble wrap.

As far as containers go, avoid unreinforced cardboard. Forklifts are routinely used by carriers and things do sometimes get dropped on top of one another. Especially, however, avoid wooden crates. They are heavy, but worse, they invite mishandling. Not only are the carrier's employees likely to think that the crate itself is stronger than it really is, they are quite likely to treat the package roughly, never considering the consequences to the container's contents. In addition, wooden crates need to be nailed or screwed closed, either of which will cause banging and/or vibrations. This may possibly damage fragile pieces, especially pastels. Having to keep track of these nails and/or screws can be problematic as well. All in all, wooden crates make packing, shipping, and re-packing a real pain in the butt.

Okay, now that I've told you what to avoid, what is it that I recommend? Well, I suggest you make your own reusable shipping container. Start with a heavy corrugated cardboard box. It's length must be at least as long as the piece's length plus 4 inches. The width is also as wide as the piece plus 4 inches. The box's depth must equal at least the depth of the framed piece plus 4 1/4 inches. Top loading boxes, by far, work the best; the top should either be a separate detached piece or an attached, hinged top that folds over and tucks into to the bottom of the box. It is best if you can get a box whose sides are doubled over so as to be twice as thick. This really increases sturdiness.

Sources for boxes can be found in your local telephone yellow pages under ‘Boxes-Corrugated & Fiber' and/or ‘Packaging Materials-Retail'. Unfortunately, you may have to buy in quantity. (If so, see if you can find other artists to co-op with.) If you work in a consistent size, or if your work has a fairly narrow range of sizes, this may not present you with any problem since the outer cardboard box will eventually need replaced if you exhibit often. If you can't find a box that fits, you may be able to special order custom sizes from a packaging supplier, you can cut down a too-big box, or you can get sheets of corrugated cardboard and make your own carton. Use another sturdy box as a pattern of how they go together and make sure to use waterproof glue or adhesive on all joints.

In addition to the box, you will need:

1) Two sheets of 1/8" lauan (a flooring material you can find at a home improvement center or lumberyard) or Masonite (solid, no pegboard). These two sheets will need to be cut to the exact interior measurements of the length and width of the box.
2) Two sheets of the stiffest grade available 2" packing or upholstery foam, cut to the interior length and width of the box. Packing foam may be available from those packaging materials suppliers that you looked up for boxes. You can find upholstery foam at many fabric and craft stores. You can usually find it in 1", 2" and 4" depths. Should your piece be rather heavy, you may want to upgrade these two sheets of foam to 4" deep instead of 2". If so, make sure that you buy or make your box to the proper dimensions (adding that additional 4" depth).
3) Another sheet of foam, or several sheets layered on top of each other, that has the same overall depth as that of your artwork. Lay your artwork down in the middle of the sheet of foam, giving at least 2" between the edge of the piece and each outer edge of the foam. Using a black marker (a Sharpie will work well), draw the piece's outline onto the foam. Cut this silhouette out...scissors and a strong hand will work a thousand times better than a utility knife. This sheet of foam is the nest for your piece, similar to the foam nests in high-quality camera bags and other containers made specifically for fragile objects.
4) If your piece has a fairly deep empty space, such as a painting whose frame extends forward several inches from the canvas' surface, cut out a piece of foam, one that is slightly less thick than the space is deep, to fill the space. If the piece is a painting on canvas, you will want to be sure that the foam isn't pressing on it.
5) Two large sheets of clean paper, big enough to cover the surface of your piece with a bit overhanging. The paper will protect the piece from any possibility that the foam might scratch it.
6) A plastic bag large enough to encompass the entire interior space of the box. This might be a lawn & leaf bag or one which you get from the packaging suppliers. In either case, get the strongest bag available.

Once you have all the above materials, you're ready to put them all together. Open the box and set in one of the sheets of lauan. Then open the plastic bag and set that in, opening face up. Next, set into the plastic bags one of the large, uncut sheets of foam. Settle it into the box firmly, so that all of the corners are seated. After that, set in the sheet of foam that has the silhouette shape cut out. Place a sheet of paper down first, then place your piece into the cavity. Cover the piece with the second sheet of paper, then arrange the foam filler sheet if needed. Next, set in the second large uncut piece of foam. I would suggest that you place instructions for unpacking your artwork on the top of this sheet of foam. Remember, the person opening the box has no clue how this is all put together; they only see a flat expanse of foam. A sheet of typing paper showing how the box is packed, with the layers shown in an exploded view, may be sufficient. (See illustration below.)

Bring the open edges of the plastic bag together and twist tie closed. Place the second piece of lauan on top. You may want to write, in waterproof marker, property of..., then your name, address and phone number on the inner lid, and possibly on the inner side of the lauan as well (in case it fits so snugly in the box top that it doesn't want to come back out). This ensures that it is clearly understood that this container is your property. At the least, before closing the lid, tape an index card with your name, title of the artwork that's in the container, and your address to the inside. Place it where it is easily seen; it will help those who are re-packing (such as at the end of an exhibition) the artwork to match the right piece with the right container. Close the lid and, wa-lah, your piece is nearly packed.

Secure the lid with one or two strips of clear or reinforced (not paper) shipping tape on each side, depending on the dimensions of the box. (Don't use electrician's, duct or masking tapes. Don't use staples.) Your tape strips should go at least 8 to 10 inches beyond the opening they are sealing....Don't become overzealous and tape manically; remember that someone has to undo this package and that the container is supposed to be reusable. Also, remember that you don't have to strip the tape along the seam; you have already protected the contents from liquid and dust by using the plastic bag. If you do a lot of shipping, you may want to consider getting a tape gun. They make the job much easier.

One the container is taped up, with a marker write necessary instructions on the box, for example, "Fragile" (a must), "Open this side up", and so on. Think about what the person on the receiving end needs to know before they try to open this box. Is it truly self-evident, or do you know how to undo your handiwork precisely because it is your handiwork? The simpler you make the packaging, the less possibility there is that your container, or piece, will get damaged.

Generally speaking, it is always wiser to ship pieces in separate boxes. Consider. If these are going to a show what happens if one sells, but the other doesn't? But of even more concern is the potential for trouble. Smaller pieces will settle into and push against larger pieces; pieces of the same size can slide during the movement of travel, scraping, scratching or gouging each other. Eye screws or picture hangers can poke into the other piece. You cannot keep the pieces from damaging each other, short of adding another, internal, sheet of lauan between them. Since you also have to add more foam, that adds a lot of bulk as well as the additional weight.

Remember, if you are sending a piece to a show, it will probably be sent back to you. Plan on the person who is re-packing your art to make as many mistakes as possible. Simplify and goof proof your packaging as much as possible!

Carriers:

There are basically two types of carriers...at least as far as artists are concerned. First, there are the ‘smaller package' carriers, such as UPS, the USPS, RPS and Fed Ex. These carriers have set limits on the dimensions and weight of packages they will accept for shipping. Check with the carriers or a mailing/shipping service to know what their current guidelines and restrictions are. The second type of carriers are called common carriers. These are the big freight shippers such as CFS. They will, in general, ship anything no matter the size or weight, but the cost to ship goes up substantially. In both cases, carriers have different rates for transporting different types of items. Artwork, when so designated, costs more to ship than a comparable container of, say, plastic toys. The added cost is due to the added care that the carrier takes of your artwork in transit. Some artists, especially when relatively poor, will not tell the carrier that they are shipping artwork, thereby reducing their shipping costs. Be aware, however, that you are trading money for the respectful and caring treatment of your work in transit. If you don't care enough about your work to pay the extra expense, don't be surprised if the carrier doesn't care about your work, either.

When making arrangements with the carrier or mailing/shipping service check that the shipping charges from the destination to you is the same as the shipping charges from you to the destination. This is not always the case. Be aware that the carrier is prohibited by law from covering insurance claims that exceed the value, as proven by receipts, for the frame, matting and/or Plexiglas. (It is ironic, but your artwork is basically uninsurable until it is sold and someone else has as receipt for it. ) Excessively high insurance requests may result in the box being opened by the carrier, as is their right, to inspect the contents. Even so, you may want to insure the piece for the same amount that you are asking the gallery or exhibition to insure it for. Or another option, if you ship frequently, is to see about adding a rider to your homeowners or studio insurance. In the long run this may be more cost effective as well as possibly giving you better coverage.

Never, ever ship C.O.D.; that will lead to hassle after hassle. If you are sending the piece to a gallery or show, find out who the person in charge of return arrangements is. Keep their name on hand. Ask for their requirements. Find out if they have any recommendations for what you should include in your return shipment instructions.

Hopefully this article has made you more comfortable with the whole idea of shipping your work. Even if you hand your work over to a mailing/shipping service and let them take care of the rest, it is always comforting to have a basic understanding of what and how things are supposed to be done.