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.

and why do harlequins often look so whimsical and sad? This poor little chap sure had reason to be.

He’s an original design for a stained glass window from the 1960s and I was asked to reframe him.

He arrived squashed in the original frame, much too small for his scale. The minute moulding was too small having no strength to adequately accommodate the weight of the painting, backing and glass. The corners were dangerously loose, at risk of falling apart. The design was directly in contact with the glass and there was no protective undermount. When I opened up the frame the result of his “mistreatment” was clear to see. He had suffered. Let’s look at what happened.

ACTIVATED ACIDS

If you look closely you will see a shadow of the harlequin on the left hand board (the original backing board). This has been caused by light penetrating the paper around the image activating acids in the backing board. The image has acted as a stencil, so the board is darker where there is no image, the darker areas and outlining of the design has blocked the light.

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ACID DAMAGE

As a consequence, activated acids have started to attack the artwork, the reverse of which is shown on the right. The stained area surrounding a white negative image is evidence of this. The paper is being weakened and the artwork is being damaged. Simply using a quality undermount would have protected the work from acids which have now leached into it.

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REFRAMED

Although there is nothing to compare it’s highly likely the colours of this piece of work have faded significantly, so we can only imagine what might have been. Working with what is left, I mounted using museum quality board in a soft “aged” colour. A conservation quality undermount protects the work from the backing board and will slow down any further acidic deterioration. Acids already present could possibly be flushed out by a professional paper conservator, but my client didn’t want to go that far.
Conservation Clear glass gives our little harlequin the best possible protection against the effects of UV light and is held above the image by the mount. Constant changes in humidity and temperature speeds up the process of deterioration, to protect against this the package is sealed ensuring a stable environment within the frame.

As this is the original design for a stained glass window a simple flat, matt black cushion moulding emulates the lead work.

Our little harlequin is now happy and safe in his new suit.

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If reading this blog has raised other questions for you or you’ve noticed something you would like explained, call Bev on 01303 268618 or 07833 350815.

Spring is coming, traditionally a good time to clean through and freshen up the house. These days we don’t need to do the full Downton Abbey shuffle, but there are still items in our home that benefits from regular inspection. With a little help from your picture framer you should be in possession of easy to follow but critical care advice.

This should include:

• How to lift and carry your work. (Believe me there is a wrong way to do this).
• How and where to hang it.
• Basic care advice.
• Description of “Normal” conditions.

The Fine Art Trade Guild (FATG) defines “normal” conditions as:

1. Out of direct sunlight.
2. Within a temperature range of 10-25 degrees centigrade.
3. Within a relative humidity range of 40%-60%.

Based on these conditions, “conservation framing” (FATG Level 2) will protect and display your work for 20+ years and “museum framing” (FATG Level 1) for 35+ years.

To prolong the life of valuable exhibits, museums limit the temperature range to between 16-19 degrees centigrade, clearly this is too limiting for the domestic situation.

My leaflet, provided to all of my new customers includes a paragraph headed “A Quick Check”. The last sentence reads, “Check the mitred corners of the frame and the tape, sealing the package, if there is evidence of damage seek advice. We are here to help.”

The following images show evidence of two problems due to neglect. Admittedly it’s an old print, but a perfect example of how if left unchecked, things can go badly wrong for artwork. The first image shows insect damage on the right, where the little blighters have found lunch and munched into the surface of the paper, removing areas of the artwork. The same image shows the culprits, silverfish, which look as if they’ve suffered indigestion and perished between the glass and the print. Left in the framing package the dead insects will go on to do further damage to the print.

The second image highlights water damage and staining.

Both problems could have been avoided and the reason for the damage is clear to see in image three. The mitre of the frame is broken and an open invitation to insects, exaggerated temperature and moisture fluctuations and airborne pollutants like smoke.

The top left corner of the frame has been damaged, become loose and is opening up. It is no longer able to protect the artwork.

This is a dramatic example, highlighting the need for vigilance and action as soon as there is evidence of problems. Other things to look for:

• Loosening fittings.
• Wearing/fraying hanging cord/wire.
• Corrosion to metal fittings.
• Cracked glass.
• Breaks in or lifting sealing tape.
• Mitres opening and loosening due to expansion of acrylic glazing.
• Finally, don’t forget to check the picture hook/s in the wall that your work is hanging on. I’ve lost count of the number of pieces I’ve reframed because they’ve fallen off the wall, simply because the picture hooks failed.

If you find any of these problems act quickly, seek advice from your local reputable picture framer and discuss a plan of action.

A simple 5 minute check every 1-5 years could be the saving of your precious artwork.

Contact Bev on 01303 268618 or 07833 350815 if you have any concerns about your artwork.

Spending your hard earned cash on an artwork however it’s created, is a real financial investment, but what makes it priceless is your emotional investment. The fact that you have found it, fallen in love with it and must have it in your space is a value that only you can determine. So you will want to take the best care of it you can. To enjoy it long into the future here are a few simple tips on caring for and handling your framed artwork.

TAKE GREAT CARE

When collecting and transporting artwork, hold the frame firmly on both sides. Never pick up a picture by the top of the frame, this is likely to flex unseating the glass from behind the lip of the frame, the weight of the entire package could even break the top rail jeopardising the artwork. If necessary, “phone a friend” and carry the work upright between the two of you. When storing pictures, make sure they’re stacked vertically, the right way up avoiding adverse cross stress on the hinging securing the artwork in the mount package. Stand them glass-to-glass, back-to-back to avoid fixings damaging the frames.

DISPLAY AT EYE-LEVEL

In the ideal world artwork is best viewed at eye-level. So if you’re a tall person and your partner is short, there will be a compromise, but anywhere between 1525-1675mm should be fine for you both. Another consideration might also be how you use the space, for example would you generally be viewing the work from a relaxed seated position. Groups of pictures needn’t be hung in a regimented fashion, but they should follow some kind of overall design. When hanging a group of different sized pictures consider aligning the top or the bottom edges; but even a “random” display will benefit from a little planning. Lay them out on the floor and move them around until you’re happy with the arrangement. The centre of the arrangement should be roughly at eye-level.

For the best experience of your art, display it at roughly eye level. It’s no coincidence that galleries have a large amount of wall space above smaller pieces of work. There is no strict rule about how to display a collection, but plan it before committing to picture hooks in the wall.

HANG SECURELY

Ensuring your picture is hung securely is a must. It’s better to be safe not sorry. Make sure the fixing you use suits the type of wall on which you intend displaying your work. Different wall constructions need different fixings and support different weights. Light weight wall construction such as stud walling can be tricky. For larger pieces of work added security is provided by using more than one wall fixing, if one should fail the second should save disaster. Check that the cord/wire or hanger used is capable of supporting the weight of your picture. If safety is a concern say in a child’s room or public spaces consider shatterproof glazing and security fixings.

OUT OF DIRECT SUNLIGHT

Try to avoid hanging pictures directly opposite windows and anywhere where strong sunlight falls. Be aware of the light at different times of the day and different times of the year. UV in light bounces from surface to surface and even in a north facing room will fade colours and damage paper and textiles. Specialist glazing can slow this down, but will not prevent it completely. There are countless glazing options so talk to your picture framer for advice, or see my blog for more information. You might even consider adding UV protection directly to your windows, contact Next Doors Ltd for advice.

ENVIRONMENT

Choose carefully where you hang your artwork, ideally in a stable environment with good air circulation. Pictures shouldn’t be hung above radiators or close to strong heat source, rapid changes in temperature cause paper and wood to warp, dry out, and adhesives to fail. Equally, avoid hanging framed work in humid conditions like kitchens and bathrooms. If you live in a period property or your house is of solid wall construction, be mindful of the condition of external walls, check they’re not wet. Damp causes paper to ripple which if it touches the glass can be hard to remove. Damp encourages mildew which will show as ugly, furry  deposits and brown stains.

A QUICK CHECK

Regular inspection and gentle cleaning will prolong the life of your framed artwork. However avoid using water or liquid detergents, dust frames with a soft cloth or a very soft bristled brush and don’t forget to dust the back of the framing package. Don’t use cleaning fluids or water on the varnished surface of paintings, dust carefully. If fluids have to be used on glass, spray into a soft cloth first, not directly on to the glass, and don’t let them touch the frame. Never use ammonia based cleaners on any technical glazing.

Annual “health” checks and simple maintenance gives you the best chance of enjoying your artwork well into the future, so check:

• The mitred corners of the frame to ensure the joints are still strong and securely holding the package together.
• The tape sealing the package, it should be unbroken and still adhered.
• The hanging fixings in the back of the frame to make sure they’re undamaged haven’t rusted and are still securely attached to the frame.
• The hanging fixings in the wall to make sure they’re undamaged, haven’t rusted and are still securely supporting the artwork on the wall.
• The hanging cord/wire to make sure there is no fraying or broken strands weakening its integrity.
• The glass for cracks or chips that will damage the artwork and allow the ingress of environmental nasties and insects.

If there is evidence of damage seek advice from your picture framer.

If you’re thinking of having a treasured image framed and don’t know where to start, we’re here to help. If reading this blog has raised other questions in your mind call Bev for a chat to put your mind at rest. If you would prefer her to conduct a “health” check on your artwork for you contact her on 01303 268618 or 07833 350815.

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.

What difference does it make which glass you use? A question frequently asked, but if you consider there are about 54 glazing options, then that suggests there must be some significant and subtle differences.

Glazing technology in the picture framing industry has massively improved over recent years and it can seem like a minefield. Certainly when I returned to picture framing it completely blew my mind. Could all of these options really by necessary and why?

You can start to narrow the field by deciding on your priorities and setting a budget. All good picture framers will want to do the best for the artwork, particularly if it’s unique, original or a limited edition print; but you may have other personal considerations to throw into the mix.

A good place to start is to consider the value of the piece to be framed, its financial, sentimental and even its historic value. If your artwork falls into any of these categories you may want to consider significant protection. Good old 2mm float picture framing glass was once the mainstay of the framing industry, a high quality and keenly priced product, still available today. Although it offers great protection against physical damage it provides little protection from Ultra Violet (UV) light and is highly reflective. Without going into the science, UV represents only 5% of the visual spectrum, but accounts for 90% of damage to artwork. So one of your glazing decisions will be how much UV protection to provide your work, 40%, 50%, 70% or the maximum 99%? This answers another question, we picture framers can’t protect your work 100% from fading, but we can slow it down.

Here you can clearly see damage caused by UV radiation.   
The border is the original colour of the paper.

Another really exciting development in picture framing glass is low reflectance coatings. A technology developed for the ophthalmic industry which has been harnessed for the art world. Specialist coatings reduce reflection from the surface of the glass from 8% to an incredible 1%, providing near invisible glazing, which means you see your image, before your own reflection. There are certain lighting conditions where this glass isn’t appropriate, but it’s great for high contrast, dark work, box frames, detailed work and black & white photography, but it isn’t cheap. Despite this, when clients see what it can do for their work, it’s pretty compelling, and increasing in popularity over traditional etched diffused glass.

Low-iron or water white glass is another option providing clarity and accurate colour. It absorbs less light than standard float glass; light transmission is significantly improved so you view a clearer image and enjoy more accurate colours.

Last but not least there is still the option of diffused glass. Great for reducing glare particularly in harsh lighting conditions. However because the surface of the glass has been etched there is a substantial loss of definition. The greater the distance between the glass and the work, the more “fuzzy” the image becomes.

Are you ever likely to display largescale artwork in public spaces like hospitals, hotels or a child’s room? If you are then you have health and safety considerations and you have two options. If for the sake of clarity the glazing must be glass then laminated safety glass is your product. The other option which has the added advantage of huge weight reduction is one of the “plastic” glazing products, styrene or the more expensive acrylic. The plastics present their own challenges, static and being easily scratched; having said that, even in plastics there are varying degrees of quality and technical advantage right through to museum quality.

So you can see we have one or two things to think about when deciding which glass to use on your work, but there’s more.

Combine one or all of the above, and whilst moving up the price scale, you really start to benefit from developments in glazing technology, enhanced protection and improved experience of your artwork.

But, there’s even more. Apply any of these qualities to Acrylic with the added option of antistatic treatment, and you have a light weight shatter proof glazing perfect for large work, or anything going into public areas or children’s rooms.

A simple demonstration of:
Standard float glass – Low-reflectance glass -Traditional diffused glass.

Yes there is a piece of glass in the middle!!!

The options are vast, and there is no single solution, which is why we framers really do need to see your work and have that chat with you.

Why not give me a call (07833 350815) to chat about your project. If you would like some advice on an appropriate solution, and even take a look at some glazing options for yourself I would be pleased to help.