Leave home the
flammable chemicals, make sure your passport is current, and you should be
fine.
| I like Panel-Pak carriers but usually run short of slots on a long trip. |
Most problems with painting in other countries are due to flight
regulations, not your destination. I haven’t had a problem flying with my
paints since the early days after 9/11, but they are in a clearly-labeled clear-plastic
bag.
Do not bring large tubes of oil paints in your carry-on
luggage; they exceed the 3 oz. rule. It is not necessary to empty your pochade
box if it still has useful paint on it; paint is no more volatile on the palette
than it is in a tube.
According to
the FAA, nonflammable paints are those with a flashpoint above 140°
F (60° C). Linseed oil has a flashpoint above 550°F. This information is found
on the product’s material safety data sheet (MSDS). The flash point is in
section 9 of the MSDS. Section 14 indicates if the product is regulated for
transportation. Here
is a PDF for Gamblin Oil Colors’ general artist oil colors sheet.
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| My paints are in a clear plastic bag with a label written by Lori Putnam, which I print from the Gamblin website. |
Gamsol has a flash point of 144° F, which makes it
theoretically transportable by plane, but I’ve never done it. The FAA itself
says “paint thinners, turpentine, and brush cleaners are flammable liquids and
may not be carried in carry-on or checked baggage.” Odorless mineral spirits (called
‘white spirits’ in some countries) are cheap and easy to buy in any art store. One
quart lasts me two weeks.
Don’t plan on bringing medium, either. Most of them have naphtha
added as a drying agent. This is a volatile petroleum solvent, more powerful
than mineral spirits, and it has a low flash point. It appears across a wide
range of pre-mixed mediums including alkyl gels (such as Galkyd) and the Grumbacher
mediums that I prefer.
| Don't forget the rain gear, especially in Scotland. |
Your choices are to buy a small bottle at your destination, paint
without medium, or use a traditional drying oil like linseed oil. If you choose
to do the latter, remember that it will dry more slowly. Plan accordingly to
carry your wet canvases home.
I use PanelPak wet canvas
carriers, but there are times (like this morning) when I have more wet
canvases than slots. If paintings are almost dry and have little impasto,
interleaving them with wax paper will get them home safely. If you have a mess
of wet canvases, you may need to improvise. Your goal is to create a space
between the canvas boards. The easiest way is to cut cardboard or plastic spacers.
Once the strips and the boards are in a stable pile, I tape or tie the whole
mess together. Carry the gooiest ones, or the ones you like best, in your
carrier.
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| Interleaved wax paper can stop almost-dry paintings from sticking to each other. |
Americans already live in the world’s largest art market, so
traveling to other countries to work doesn’t make a lot of sense. Still, it
sometimes happens. You may need a work visa. This is a laborious process. Ask
the organizer of your event for documentation.
Our State Department maintains a list of travel
advisories for foreign destinations. These include additional-vaccination
suggestions. Some foreign destinations require visas. Others require that you
have at least six months left on a passport. You should check with your health
insurance provider about whether you’re covered abroad, and with your auto insurance
provider about whether your policy covers an international rental car.
| But for gooey paintings, you're going to need to improvise some kind of spacer strip. |
You will need power adapters for most foreign destinations.
I find a USB power bank very useful for long plane trips. And I just smile and
pay the $10 a day fee to use my cell phone overseas; without that, you wouldn’t
be reading this blog this morning.
Here is my personal
packing list, and here are supply lists for oils,
watercolor,
and acrylic
supplies. I print the relevant ones every time I pack and use them as a checklist.


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