You’ve just finished decorating and furnishing your room now you’re thinking about dressing the space and artwork is to play a role. How do you begin placing it? We know it can be nerve-wracking putting fixings in the wall for your first piece of painting. How do you get it right?

I’ve often seen artwork in homes that has been hung so high up the wall the viewer almost needs a step ladder to appreciate it, flat screen TVs also seem to occupy a similar position. Perhaps it’s a carryover from the days of picture rails, but if you’re not sure what height to hang art, here are some ideas to get you started.

Artwork is created to be viewed and enjoyed, so make it easy to see. I know it’s boring but it’s all in the preparation and planning. You may have heard that art should be hung so the centre of the picture is at eye level. Straight away this causes confusion because if you’re 5 feet something and other members of the household are taller, what’s eye level? Also, does this “eye level rule” apply to all art? What about a grouping of a collection? What if you’re hanging a painting over a piece of furniture?

The height of a standing man’s eye level is compared to that a standing woman. Hang your painting midpoint between the two eye levels.

The height of a standing man’s eye level is compared to that of a seated woman. Here the work has been hung too low for a standing man and too high for a seated woman. 

The size and orientation of a painting needs to be considered when deciding where to place it on the wall. If you’re planning to hang a sizeable picture, a good place to start is to think about how you generally use the room, is it the dining room or the bedroom where you spend most of your time seated or reclined, or is it a family room where there is a lot of activity and traffic? As a rule (and rules can be broken), centre your artwork between 1500mm to 1650mm from the floor. This may be perfect for you but if not, break the rule. If you’re seated and relaxing, the eye level range is lowered so lower the height of the artwork to correspond with your new “eye level”. A small piece of work will be lost on a feature wall so consider displaying it as part of a grouped collection or in smaller spaces found between doors, windows or architectural detailing. Think about the artwork in relation to its proposed surroundings. Your chosen picture could even be influenced by details in the room, but no matter where you hang it each space will have elements which will need consideration.

Image: Steven Ungermann: Unsplash

The two pieces of artwork in this contemporary room set have been deliberately positioned, one at average “eyelevel” and the second to be enjoyed from a reclined position. It’s also interesting that they’ve been displayed between two windows creating a “gallery wall”. The bedhead wall has been left empty and more calming, but you can bet there’s a black flat screen TV on the unseen wall at the foot of the bed.

To place larger portrait oriented artwork you may again need to break the rule. Always remember the work is there to be enjoyed so place it in a natural viewing position where the subject of the work sits as close to eye level as possible. Larger work will need more wall space and can benefit from higher ceilings, otherwise it can overpower the room. It will also need space to be viewed from a distance which has the effect of lowering the eye level. Again a small piece of work will be lost in a room with a high ceiling, but painting it in a darker colour will effectively lower the ceiling and optically correct the imbalance.

Image: Helen Thomas: Unsplash

The image shows the placing of two large paintings over a sofa. The top of the paintings align with the top of the windows either side. The size of the room accommodates the height of the tall paintings because they can be viewed from a distance.

Grouping work is a great way to tell a story or display a related collection. To position it correctly on the wall, view the whole collection as one piece of work and centre the middle of the collection using the “eye level rule”. Design your layout by cutting templates of each piece of work then play around with your design on the floor. When you’re happy with the arrangement take overall dimensions noting the position of the centre piece. You’re now ready to transfer your layout on to the wall. Alternatively, using a low tack tape attach your templates to the wall, move them around until you’re happy, remembering to step or sit back to check them from a “normal” viewing distance. Working with another person who can hold the work in place and move it around leaves you free to check positioning from a distance. It’s also good to have another opinion to give you confidence.

Image: Unsplash

Here, the three largest artworks take centre stage of the collection. Smaller images are placed apparently randomly around, but are actually carefully placed for a balanced display. Note the three primary pieces haven’t been centred over the sofa, the whole collection has been centred within the space above the sofa. Likewise the whole collection has been taken as one and hung slightly below “eyelevel” because viewers will generally be seated in this space.

Hanging a good sized painting or print above furniture is a nice design idea especially if there’s a relationship in style or colour between the two. Hanging artwork so the bottom of the frame or canvas sits about 150-300mm above furniture enhances the relationship and grounds the artwork.

Image: Unsplash

A painting occupying the entire space over a sofa makes a real statement. Although large, it can be hung at a lower level because the occupants of the room are generally seated. This creates a spatial relationship grounding the painting with the sofa. Hung higher on the wall would create a detachment and the painting would appear to be floating away.

Remember, the “eye level rule” is purely a guide to get you started and will help you avoid obvious mistakes whilst you gain confidence. Initially it may seem like hard work, but it’s far better to try out placing and positioning of art before putting fixings in your beautifully decorated wall. The more artwork you collect and hang the more naturally you will eventually place work almost without really thinking about it. Honest.

This large portrait orientated painting occupies a small space. It’s successful because its style and colouring is very close in character to its surroundings. It has effectively become part of the room decoration. It’s a tall painting much of which is well above “eye level”. It works because the room is deep and spacious, allowing the viewer to stand far enough back for the distance to effectively lower the centre of the painting. Also the angle of the occupant’s eye who is about to use the stairs is already able to take in much of what the painting has to offer.

When is a frame not a frame? When it’s a view? When it’s a hood partially covering a face? When it’s a structure offering a glimpse, a foreground inviting you deeper into a garden? In truth, there are frames everywhere, all different, not all immediately evident, and not all are necessarily deliberate. What they all have in common is they draw your attention to something rather interesting.

They isolate and introduce detail and in doing so, guide the eye. Sometimes the very presence of a frame encourages exploration, and we have to peer through. Think about how this response benefits artwork. The frame can be attractive in its own right but have a relationship with what is being presented. Sometimes it’s a deliberate act that adds importance to a feature. The status is raised, and a presence is created.

Photographers “frame” a composition using the proportions of their viewfinders. They manoeuvre their position for maximum effect introducing knowledge of the golden ratio, experience, and their own artistry. Artists square their fingers or cut windows into board to deliberately concentrate their attention.

How often has your attention been caught when visiting a garden or a ruined building? The remains capture an element and “frame” part of a view you otherwise may not have noticed, and you stand a while to enjoy it.

The aim of a picture framer is to present a piece of work, raise its status, and “grab” attention, drawing the viewer in for a closer look. It’s no coincidence that one of my textile tutors at college often referenced nature and advised us to do the same if we got stuck for design or colour inspiration.

I take my colour inspiration from within the artwork and the frame style from its character. Colours in the painting that support the subject are considered when choosing mounts; consequently, they become an extension of the image rather than competing with it. The mount and/or frame is the window into the artwork and should encourage a more intimate experience of it. The frame becomes either the “full stop” for completeness or a rounding up of the image creating the opportunity to linger longer. Whatever the combination, neither the mount nor the frame should compete with the artwork for your attention. I often say to my clients, “If you notice the mount or the frame before you notice the artwork, I’ve failed” which is probably why those magical gems out in the field are so successful; they are part of their surroundings. They’re not a frame, but they present something to you in a revelationary kind of way.

Next time your attention is captured, hesitate for a moment, take a look, see if you can spot the frame.

There’s no doubt, allowing light to flood into our homes is uplifting. With more and more contemporary domestic properties being designed to bring the outside in, it’s clear it positively impacts our lives. But with every silver lining there is a cloud and ultraviolet (UV) is that cloud. It’s the most damaging element of light for our health, our art, furnishings, curtains, furniture, books, and documents. You name it, if left unprotected UV will irreversibly damage it.

Sometimes I actually thank goodness for technology especially when it improves and enhances our lives.

In a previous blog “Which glazing is right for your artwork?” I looked at technical advances in picture framing glass and acrylics, to better protect your artwork from UV damage. Whilst we can’t stop damage caused by ultraviolet light, we picture framers can slow it down. If you’re a belts and braces person like me, you will take advantage of all opportunities to preserve the condition of your artwork for as long as possible.

There is now the opportunity to enhance this protection and at the same time protect other elements of your home. A simple retro installation to your windows of a film containing UV absorbers blocks a large percentage of damaging light rays. 

I discovered this when setting up my picture framing studio. It’s south facing and has a roof light, so I was conscious of the discomfort of working in the summer heat and I wanted to ensure the safety of my client’s artwork. I was introduced to Ultrastop a subsidiary of Next Doors Ltd, it was a revelation. When the installation was complete you would never know there was anything attached to the glass and it’s scratch resistant.

UV blocking film being applied to a window.

The Ultrastop team uses three core products by Opalux®, clear UV film, reflective window film and opaque privacy film. Much of their work is in high-value domestic properties, museums and galleries.

Opalux® is a UK premier brand of architectural window film, their product range and experience caters for every conceivable application:

• Heat & glare control
• Energy control
• Privacy & light management
• Safety & Security
• UV Control, Dermatology & Anti-Fade
• Window Tints
• Anti-Graffiti Window Film
• Patterned Films
• Window Graphics
• Digitally Printed Films for Windows & Walls
• Exterior-Grade Window Films

The damage to expensive artwork and furnishings can never be reversed, but these items can be significantly and simply protected.

“Opalux® specialist UV control film is designed for museum conservation and retail use to protect exhibits, displays and furnishings from UV radiation which is one of the main causes of premature fading in these environments”.

 This film exceeds the standard museum test for low UV transmission and colour distortion and passes the requirements of leading conservation experts who have researched ultra-violet filters. It’s also beneficial for people with a UV sensitive skin conditions.

 FEATURES

• Excellent rejection of harmful UV rays.
• Quick, retro-fit installation.
• Scratch-resistant.

 BENEFITS

• Reduced fading of interior furnishings.
• Can be used where costly and disruptive large-scale replacement of existing glazing is not a viable option.
• Suitable for most non-abrasive window-cleaning methods”.

So there you have it, what could be simpler? You don’t have to compromise your lifestyle as long as you take the right steps to protect anything valuable to you. For more technical information visit Opalux® and to book a visit, contact the guys at Ultrastop, don’t forget to tell them Edge Bespoke Picture Framing sent you.

Please note none of the products discussed will stop UV damage. The more protection provided, the more the effect of light will be reduced.

Framing your children’s creations sends a positive message of encouragement to your little Van Gogh.  It marks their work out as being particularly extraordinary and worthy of this special attention, but drawing and creating provides so many benefits in itself. Creativity is an important part of a child’s development. It’s a critical form of communication when they haven’t yet fully developed verbal skills. When drawing there are so many decisions to be made, which paints to use, or should it be crayons, how do I draw this and what colour should be, is it too big or too small. Already they’re starting to make decisions and solve problems. Hand/eye coordination and dexterity develop. Creating in school or nursery teaches sharing and consideration. Creativity allows your child’s imagination to run free and explore, developing an open mind and emotional intelligence.

Image: Vlada Karpovich: pexels

Framing their work demonstrates your pleasure which is so motivating for the child inspiring them to create again. Involve them in the framing process. Use a framer who will work at their level of understanding and will consider their preferences and opinions. Mastering creative skills and seeing projects through to completion, even at a young age develops self- belief, confidence and perseverance, building resilience for their futures.

Image: Larson Juhl

Kids love colour and interesting combinations of colour!!! There are some great coloured mouldings just crying out to be selected for kids work. One of my favourites is “Confetti” by Larson Juhl available in a huge range of brights, pastels and a few good old faithfuls.  But then we might all be surprised by a sophisticated decision made by your little artist.

One really important element of framing for children, particularly if the work is to be hung in their own space, is glazing; more particularly if they happen to be exuberant little individuals. Ask us about acrylic glazing; it’s light weight and shatterproof, hugely reassuring to know that if disaster happens the kids are reasonably safe.

If we can help you display and preserve that special piece of work just give Bev a call on 01303 268618 or 07833 350815.

You never know, you might have the next budding Tracey Emin in your family.