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• Hanging artwork too high is one of the most common decorating mistakes art lovers make. 

When hung at the proper height and in the proper scale to the room and furnishings around it, artwork enhances a room and brings everything together. 

Hanging framed pieces in close proximity to furniture makes everything in the room more cohesive whether standing or sitting within the room. 

If the thought of hanging artwork makes you nervous or you feel like the placement of what is on your walls is a bit off, hopefully the guidelines below will ensure you’re placing artwork at the right height and in the right space in order to get the full appreciation of your piece. 

Use these 4 guidelines if you’re hanging artwork in a space that is not above a large piece of furniture like a couch, console, credenza, sideboard, dresser, table or stand etc. 

· Measure the height of your artwork and divide it by two to find the center of your piece 

· Determine the height that you want the center of your artwork – typically it’s 57-60” 

· Pull the picture wire taunt, measure from center of the tightened wire to top of your artwork. Take that amount e.g. 2” and add it to your 57”-60” number you determined above 

· This new number will be the measurement from the floor where your hanging hardware will be 

e.g. If you’ve determined that 57” is where the center of your artwork will be and your piece is 20” tall, the center of your piece is 10”. 

The tightened wire is 2” below the top of your frame or piece, so 10”-2”=8” 

Your hanging hardware will be 57”+8”= 65” from the floor. 

Aim for the lower height of 57” in rooms where people spend most of the time sitting and ceilings are on the lower end. The upper height is typically used in rooms where the ceiling heights are on the higher end, often 9ft+. 

· When hanging artwork over furniture, aim for a space of 6 to 9 inches between the bottom of the frame and the top of the furnishings. 

· If your ceilings are 9ft+, you can hang your artwork between 9 to 12 inches above the furniture 

· Hanging artwork in a hallway typically means aiming for the 60” center rule because you’re standing all the time 

· Artwork above a bed means that 6-8 inches above the headboard will give you the most cohesive appearance 

· Artwork above a fireplace is likely above eye level, so hanging your artwork 3-7” between the mantelpiece and the bottom of the framed artwork. 

· You’ll be sitting for the most part in the dining room, so depending on the height of the chairs or if you have a chair rail, use your visual judgement here while being seated. Have someone move the artwork up and down, while you’re seated, to determine its final resting place 

· An entryway is a room you’ll typically be standing in, so it is especially important to hang your artwork at eye level or, if the ceilings are high and the room is on the larger side, slightly above eye level 

Another common design mistake art lovers make when choosing art for a space is that they choose art that is not in the correct proportion to the space, the wall, or the furniture over which it will be displayed. Selecting the correct size of art for your space is as important as its placement on your wall. You don’t want the art you choose to overwhelm the room and you don’t want the room to overwhelm the art 

· Artwork over furnishings should ideally be about 2/3 the width of the piece of furniture. The art should never be bigger than the furnishing or less than half the width 

· Artwork above the fireplace either 2/3 the width of the fireplace or the same size as the fireplace opening 

· On a bare wall without furnishings, the ideal width of the artwork should be a little more than half the wall width. Use the guideline – take the width of the wall in inches (x .057), that’ll be the ideal width of your artwork 

When hanging multiple pieces of art in a grouping or gallery wall, pieces should be hung 3-4” apart. However, if the gallery is made up of different sized pieces, 2-3” between medium and large pieces, 1 ½ to 2” between smaller 

Lastly, always take into consideration your lighting, all of your furnishings and the grouping of those furnishings. Think about where you and your guests sit or stand. Also look at where you have plants, lamps, lightning and other decorative items. 

Most importantly hang your Artwork where you can appreciate them and where they can shine in your space.

 This is where the Magic happens with Acrylic Fluid Art!

Fluid Art, which is also known as flow art, liquid art or acrylic paint pouring, is a fun and popular abstract painting technique that involves the use of fluid art mediums, such as free flowing acrylic, or very runny acrylics, powdered pigments or inks.

There are multiple techniques in Fluid Art, deconstructed bloom, bloom, Swipe, Scoop and Drag, Pearl Pour and many others.

My focus is Pearl Pour and the Swipe/Scoop and drag.

The 'Pearl Pour' produces unique pearl shapes that form when two layers of thin paint interact when the special ingredient of Satin Enamel is added to the base layer also referred to as the "pillow".

The pearls can be big or small, variations in shape based on the type of paint and the paint consistency.

The “pillow” base layer, is comprised of multiple pouring mediums mixed to initiate the pearl reaction.

Consistency is key with both the “pillow” and the colours or pigments. If either consistency is off, the reaction will not happen regardless of your mix.

The composition of your piece was created by the layering of colour and by manipulating the paint load and tilting off excess paint to promote the pearl reaction.

I call this technique a predictable, unpredictable process. It’s always rewarding when you get the composition close to what you have in your mind before beginning; however, surprises are not an unwelcome reward.

Acrylic fluid art can be finished with either resin or varnish, or can be left “raw”. All three looks is a personal preference.

The Swipe, Scoop & Drag technique produces unique cells, very different from the Peal Pour.   They develop when a mixture referred to as a “cell activator” makes contact with the base and pouring medium colours poured on top and from a palette knife that comes intact with the colours and/or pigments layered on the canvas. The “cell activator” is comprised of multiple pouring mediums. If the CA is not mixed to a precise measurement, the cell reaction will not happen.

Sometimes several “cell activators” are used, and sometimes simply one.

The cellls can be big or small, variations in shape based on paint consistency and the spin activity that takes place after the swipe.

The “pillow” bottom layer, often referred to as the base layer, is comprised of a simple base paint. Multiple pouring mediums are not used in the base or “pillow” paint in this technique. All of the reaction comes from the CA coming in contact with paints poured over the base.

Consistency is key with both the “pillow” and the colours or pigments. If either consistency is off, the reaction will not happen.

The composition of your piece was created by the layering of colour and by manipulating the paint load and tilting off excess paint and the use of a spinner to thin out the layers of paint to produce cells. This process promotes the expansion of cells.

I call this technique a predictable, unpredictable process. It’s always rewarding when you get the composition close to what you have in your mind before beginning; however, surprises are not an unwelcome reward.

Your piece is finished with either resin or varnish, or can be left “raw”. All three looks is a personal preference. 

Never allow your painting to be in direct sunlight regardless of it's finish.