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.

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.

Generally there are two options when considering framing a piece of work, bespoke or ready-made. The main difference between the two is that bespoke picture frames are designed and hand-made specifically to present your work at its best; ready-made frames are mass produced to standard sizes and of poorer quality materials. The decision of one over the other is down to personal preference, the value of your artwork, the required level of protection and design, and the depth of your pocket.

Bespoke Picture Frames
Bespoke picture framing is a hand-crafted process, therefore labour intensive. The complexity of the design, the nature of the item, hand finishing and availability of materials means that frames can take time to make.
Every aspect of a bespoke project is customised according to the needs of the artwork and your aspirations. Decisions begin with design elements, this is the fun part having the most impact on how the work will look when finished. Other less exciting but just as important decisions include techniques, quality of supporting materials, glazing and display hardware.

Board products are available in qualities from standard to pH neutral, providing various degrees of protection. Mountboard is available in dozens of colours, textures, sizes and thicknesses, offering limitless design possibilities. A bespoke project isn’t bound by limitations. Proportion and balance is an important part of the design to ensure that your work isn’t “squeezed” into its frame. A number of mounts may be used to spectacular effect, accommodated in a deep rebate moulding adding another dimension to the project. Developments in glazing offer an array of options, providing unprecedented clarity, anti-reflection and UV protection. All influence the “look” of the final product.

Ready-made Picture Frames
Readily available these frames are cheaper for a number of reasons. In the main cheaper materials and production methods are used. Production runs can be long resulting in lost precision and poor quality control. In a factory packaging and handling can be compromised resulting in damaged and inferior products. Service and design is lost and no technical advice is available to you, basically “what you see is what you get”. The success of the finished job is reliant on your ability and willingness to put the work together. This provides the artwork no protection. Manufacturers benefit from economies of scale limiting production to the fastest selling standard sizes, and reducing moulding, mount and glazing options. This is fine but if your artwork is non-standard and doesn’t fit the frame, the mount supplied is unlikely to enhance or protect your work.

If you find the perfect ready-made for your picture check that the hanging hardware is fitted securely and is strong enough to take the weight of your finished piece. Check the fixings holding the whole thing together; these can be inadequate and even missing. If the hanging hardware is secured to the backing board rather than the frame, your precious artwork could end up on the floor and not on the picture hook.

Bespoke or Ready-made?
You’ll be pleased to know there is a market for both. Much depends on the qualities of the piece to be framed, its economic and sentimental value. You would be wise to consult a reputable picture framer for three dimensional, non-standard, valuable, original, irreplaceable work. Ready-made frames are a great instant fix for standard sized, replaceable work like posters and mass produced prints that are susceptible to shifts in fashion. Encourage the kids by displaying their work in a ready-made frame. Swap it over and display their next great achievement. What is valuable? In most cases monetary value is obvious, but there will be occasions when only you can determine what is precious to you.

Ready-made frames are great for displaying the kid’s little master pieces and easily replaceable images.