A big part of the Senior Project experience is professional presentation of your work. Whether painting, drawing, or photography, you work needs to be ready to hang and presented in a professional manner. But “professional manner” is not one thing or one way of presentation, many techniques can work in a professional gallery setting. Professional framing techniques do share some properties, though.
Framing
1. The frame doesn’t detract from the work. Frames that are bright colors, have lots of texture, or are ostentatious, can draw the eye away from the work. You might ask “But what about filligreed, gold-leafed giant frames on oil paintings in the National Gallery of Art?” It is true that styles and preferences have changed. Those works and those ostentatious frames were often seen as status symbols and representations of wealth. The contemporary style is to keep the viewers eyes in the work, not looking at the painting or photograph as an object on the wall. (This, like all of the “rules” presented here, is dependent on the artist’s vision. If the artist wants us to consider the paintings objectness, then this might be one way of doing it.)
2. The frame is either tight to the work, or is separated from it by a comfortable margin. This separation could be a mat board or by the white of the paper in regards to photos. You can tell if a margin is too close if you feel tension between the edge of the work and the frame, or if the size or shape of the negative space cause you to see it as a shape in and of itself. The gestalt principles of continuation and closure, as well as figure/ground need to be heeded here. Whereas in the work of art, you want to draw the viewers eyes towards implied shapes, you don’t want to do this in the negative spaces around your work.
3. Paintings can reveal their canvas edge or be framed close to the canvas (a small gap between frame and the edge of the canvas works well). I the edge is revealed, it needs to be dealt with as part of the work. Generally this means it is painted as part of the picture plane, or at least some color wraps around the edge.
4. Paper works and photographs can be framed using a mat board or can be suspended on a backer-board. But the works should not touch the glass, as this can damage the work. You can use spacers to separate the work from the glass. If a photo goes close to the edge of the paper it is printed on, a mat board is a good choice as it keeps the edge of the photo from distracting the viewer.
5. Matboard or backer board should be a neutral color. Stylistically, colored or decorative mat boards look….decorative. This detracts from the work.
If you are working in diptychs and triptychs and groups, your framing needs to be identical or deliberately different. Think about the principles of repetition and variety.
Remember, presentation is a component of the work! It should be deliberate!
Hanging Hardware
The hardware you choose really depends on the work and the frame you have chosen. Simpler is better, but security and dependability is a must.
If a single nail or screw will hold, that is fine. If your work is big, you might need 2. But there are many ways to hang. Hooks, wire command strips, magnets. We will demo some options in class and on gallery prep day.
Properly-Wiring-Art-for-Gallery-Presentation-and-Security.pdf
Eye Level and Consistency
In most gallery installations, artworks are hung so that the center of each piece aligns with a consistent eye-level height. A common standard is 60 inches (152 cm) from the floor to the center of the artwork. This creates a stable visual horizon that allows viewers to move through the space comfortably without constantly adjusting their gaze. Maintaining this consistent centerline across the gallery also produces a sense of order and cohesion between different works, even when their sizes and formats vary. This guideline generally applies to single works or evenly spaced installations and differs from salon-style hanging, where works are intentionally stacked or arranged more densely.
Spacing Between Artworks
Consistent spacing between artworks helps maintain clarity and prevents visual crowding. In most gallery installations, 6–12 inches between frames is a common guideline, depending on the size of the works and the scale of the wall. The goal is to allow each piece enough space to be read as an individual object while still maintaining a visual relationship with nearby works.
Viewing Distance
Viewers should have enough space to comfortably step back and see the work as a whole. As a general rule, the clear viewing distance should be at least 1.5–2 times the width of the artwork. Avoid placing artworks where furniture, pedestals, or architectural elements force viewers to stand too close to the wall.
Sight Lines
Artwork should be positioned where it can be easily seen from normal pathways through the gallery. Avoid placing works where they are partially hidden by doorways, corners, or other objects. Good placement considers how a viewer first encounters the work when entering a room or moving through the space.
Spacing for Three-Dimensional Work
Three-dimensional works need enough surrounding space for viewers to move around them and experience them from multiple angles. As a general guideline, leave at least 3–4 feet of clearance between sculptures and other objects or walls. This spacing prevents congestion and allows the work to be understood as a form in space rather than as an obstacle.
Alignment and Consistency
Even when artworks vary in size, alignment helps create visual order. Works may be aligned by their centerlines, top edges, or bottom edges, but the chosen method should remain consistent across the wall. Consistent alignment helps the installation feel intentional rather than arbitrary.
Hardware and Weight Considerations
Artwork should be prepared with appropriate hanging hardware that can safely support its weight. D-rings with picture wire are the most reliable method for framed work and allow for small adjustments during installation. Sawtooth hangers are acceptable for very small or lightweight pieces but are harder to level precisely. All hardware should be securely attached and capable of supporting more than the weight of the artwork.
Leveling and Measuring
Measure from the floor to the center of the artwork (60 inches) rather than measuring from the top of the frame. This ensures consistent alignment even when works are different sizes. Use a tape measure, level, and pencil to mark the wall lightly before installing the hanger. After hanging the work, use a level to make small adjustments so the piece sits straight.
Security and Stability
Artwork should hang securely and remain stable if the wall or floor vibrates slightly from foot traffic. Hooks or wall anchors should be appropriate for the wall type (drywall, masonry, etc.). For heavier works, use two wall points or anchors to distribute the weight and prevent the artwork from shifting.
Pedestal Placement for Sculpture
When using pedestals, the sculpture should sit securely and be centered on the pedestal surface. Pedestals should be placed so viewers can walk around the work without obstruction. Avoid clustering pedestals too closely together, and maintain clear walking paths of at least 3–4 feet around sculptural works.
Lighting Considerations
Lighting should illuminate the artwork evenly without producing strong glare or deep shadows. Track lighting or adjustable spotlights are often used to aim light directly at the work. Avoid placing lights so close that they create harsh reflections on glass or overly bright “hot spots” on the surface.
Labels and Wall Text
Artwork labels are typically placed to the right of the artwork and slightly below the centerline so they are easy to read without competing visually with the piece. Labels should be consistent in size, font, and placement throughout the exhibition to maintain a clean and organized presentation.
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