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Rayne Valentine, an East Boston sixth-grader whose art is teaching people about rising sea levels, is the top winner in the Massachusetts division of the annual Cool Science contest. Co-founded by UMass Lowell, the competition asks K-12 students to create illustrations that depict the science behind extreme weather, then shares the artwork on local transit buses to educate the public.

Warm tones are associated with colours such as red, orange and yellow. When we think of visual elements, we may think of sunrises, sunsets and golden hour. In music, warm tones are denoted to sounds that lean towards bass frequencies. The tracks tend to be bass-heavy, applying that warm foundation for the rest of the tones to build upon. Being more favoured towards the bass frequencies allows the sound to become softened. The presence of higher frequencies is very little to non-existent.

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An interesting factor is that warm music tends to be mixed, favouring the mid to low frequencies. The solo piano, for example, sounds slightly muffled. This is likely down to the equalisation in which the higher piano frequencies have been cut off, producing a softened timbre. Reducing the brightness can change the overall tone.

Cool tones are sometimes fused with warm tones. However, there are instances where these sounds can become the dominant element of the track. At this end of the spectrum, other than conveying colder and ice-like sounds, these can also be great for enticing fear and suspense.

SVA: First and foremost I see the tree as an artwork. Like the hoaxes I was doing, I want the tree to interrupt and transform the everyday. When the tree unexpectedly blossoms in different colors, or you see these different types of fruit hanging from its branches, it not only changes the way you look at it, but it changes the way you perceive [things] in general.

Eventually, I would like to create a grove or small orchard of these trees in an urban setting. I have always stayed away from artwork that educates people, but to some extent these works in addition to being beautiful and producing fruit cause one to reconsider the possibilities with food and fruit production.

Whether the nominees have been in the game for decades or are fresh debutantes, the Best New Artist honor highlights the moment they are living now, and how they are breaking through the noise with distinctive voices, visions, and sounds.

I have been in the gallery business since 1993. Though I now own Xanadu Gallery in Scottsdale and Pinetop, AZ, I started in the business on the ground floor. My first job was in the backroom, shipping artwork for a Western art gallery in Scottsdale. The gallery had a high sales volume, so I got a lot of experience packing, crating, and shipping art of every shape and size. I shipped paintings and sculptures large and small and learned what was important in making sure artwork arrived safely.

Here are the supplies I try to have in my inventory at all times. While I occasionally have to special order a box for a particular work of art, nine times out of ten I can pack any two-dimensional artwork that comes my way using just these supplies:

The two larger sizes are both telescoping boxes. Telescoping picture boxes are terrific because you can use just one if the artwork fits, or, if the work is larger than a single box, you can slide two boxes together to make a larger box. With a little surgery you can even slide four boxes together to accommodate still larger pieces.

The size of the artwork dictates the size of the final package, and there are going to be times when you simply have to go over the threshold for dimensional weight and bear the additional costs. This is not the end of the world, though, and you should certainly never compromise the safety of your artwork simply to shave off a few inches to remain under the thresholds. Again, damaged artwork costs you far more than slightly higher shipping fees.

The ends of the inner-box will be open, and because we allowed four extra inches at the end, you should have about two inches of empty space at either end. Instead of cutting and folding this extra space, simply squeeze the sides together to form a kind of triangle and tape it closed. By taping the ends in this way, you are creating an additional buffer at the end of the artwork that will act as a great shock absorber. I mentioned earlier that the edges of the artwork or frame are the most prone areas for damage, and by giving yourself this extra cushion, you have given the two ends of your artwork an almost impenetrable barrier.

When we unwrapped the painting, we could see that the bubble had stuck to the varnish. Removing it left an imprint of the bubble wrap on the surface of the entire painting. From certain angles you could see the perfectly spaced imprints of the bubbles. We had to have the artwork re-varnished before we could present it to a client who had already purchased it.

Sometimes when delivering a piece of artwork directly to a client, I will wrap the painting with only bubble wrap, but when I do this I make sure the bubbles are facing out so the flat side of the bubble wrap is turned toward the painting.

In spite of your best efforts in padding and protecting your artwork, damage is inevitable. Once your artwork leaves your hands, it is passing into a vast and complicated shipping network with lots of moving parts. There is no way to completely eliminate the possibility of damage, so you should plan for its eventuality and consider purchasing insurance to protect against loss.

Typically, when damage occurs, the shipping company will return the artwork to you. When the piece arrives, talk to both the shipping company and your insurance adjuster to find out how they would like you to proceed. Document the damage to the packaging and to the artwork per their instructions. You can never have too many photos or too much documentation.

Shipping artwork can be a challenge and frustration, but it has actually never been easier to ship than it is today. With the right tools, supplies and shipping procedures, you can ship your artwork safely and efficiently.

Great points and question Tom. The process is similar with framed work. We do still work to give the art, including the frame the suggested clearance. The frame is going to further help avoid damage to the artwork, but if the frame itself is damaged, I would hope to have the carrier pay for the repair or replacement of the frame.

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The idea of poking holes in your wrap makes sense. In my former life, I was a scientist for a steel company. Steel for automobiles has to be shipped and arrive with no visible surface issues. From Indiana to Mexico the steel and your artwork may cross the continental divide with significant temperature, pressure and humidity changes, so breathing is important. I imagine a painting has the same considerations.

Purposely unmarked, it's easy to miss this piece of auditory art because truly experiencing it requires tuning into a specific frequency in the most cacophonous place in America. The late artist Max Neuhaus's installation called "Times Square" sounds like the echo of a bell ringing. It's hard to place this droning tone among all the other noises there, especially because the sound emanates from a typical grate right beneath your feet.

There's not technically much to "see." If you gaze into the grate where the sound radiates, you'll see confetti, cigarette butts, candy wrappers, chewed gum, plastic cutlery and a lost driver's license. Instead, experiencing this artwork is about feeling, not seeing.

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From familiar classics to obscure treasures, a trove of literature, art, film, and music has just become easier to access. On January 1, thousands of books, films, plays, artworks, sound recordings, and more entered the public domain, which means they may be used freely without compensating or needing to obtain permission from the owner. 17dc91bb1f