How To Frame And Hang Art Like A Designer

A Veranda report featuring interior designer David Kaihoi sets out an approach to framing and hanging art that favors decisions based on the artwork and the room over a fixed gallery-style formula. Kaihoi says frame choice and placement should respond to a work’s character, the surrounding architecture, furniture and light—a perspective that offers homeowners practical options for displaying art without requiring every wall to follow the same rules.

Kaihoi, a partner at the design firm Redd Kaihoi, draws on earlier work installing art for interior designers in New York. He recalls seeing designers use markedly different arrangements: one grouping several pictures together, another placing a single small portrait on a large dining-room wall. Those experiences, he told Veranda, showed him that an artwork’s scale and placement can shape how a room feels, as seen in a thoughtfully designed rental.

For frames, Kaihoi advises starting with the piece itself. A simple black or raw-wood frame may suit designer wall art prints that could be overwhelmed by ornament, while a carved gilt frame can give another piece a more dressed-up appearance. He also says location can influence the choice: natural wood may suit a beach setting, while glossy black might work in a city interior. These are examples, not rules; he recommends comparing samples with the artwork when possible.

For arrangements, his distinction is between art intended to read as a series and a more varied salon wall. He favors identical frames for related pieces that will be hung together, such as family portraits or similar prints. For works scattered around a home or combined in a salon-style arrangement, he suggests mixing frames so the display feels collected rather than overly planned. Kaihoi also describes using secondhand frames, French mats and frames that leave the sides of a canvas visible.

A More Flexible Approach to Art Walls

The advice matters for readers planning a display because it replaces the idea of one correct hanging formula with decisions tied to the artwork and room. That can help a homeowner decide whether to spend on an elaborate frame, keep the treatment restrained, or bring several different pieces together without making them appear identical.

Kaihoi’s examples also connect presentation to practical choices. Comparing frame samples in person may reveal that a seemingly obvious pairing competes with the art. Looking for antique or flea-market frames can offer an alternative to buying new carved frames, which Kaihoi describes as expensive. The report presents these as design judgments and options, not guaranteed results or universal standards.

Lessons From Art Installation

Kaihoi’s perspective developed through varied installation work early in his career. In the Veranda report, he recalls encountering designers with contrasting ways of arranging art, from multiple pictures hung together to a single portrait given a large wall of its own. He said the experience taught him that artwork could be displayed in many ways within an interior.

Now a partner at Redd Kaihoi, he brings that experience to residential design. The report places his guidance within that professional background, while the specific suggestions—such as mixing frames for a salon wall or matching them for a series—remain his design preferences rather than formal industry requirements.

“The gallery hanging approach is meant for a museum, and it has its place, but in the home, I think it can be much more lively, playful, and up for grabs.”

— David Kaihoi, interior designer

No Single Hanging Formula

The report offers personal design guidance, not a tested method or a set of measurements for hanging art. It does not specify standard hanging heights, spacing between works, wall-anchor requirements or how to handle particularly heavy pieces. Those choices depend on the artwork, wall and hardware, and the source does not provide technical installation instructions.

It is also not clear from the supplied material when the report was published. Kaihoi’s examples should not be read as rules that will suit every room or artwork; he emphasizes that frame pairings need to be judged in relation to the individual piece.

Test Frames Before Hanging

For readers applying Kaihoi’s advice, the practical next step is to compare possible frames directly with the artwork, ideally using physical samples, before making a final choice. Then decide whether the works are a coordinated series or a looser grouping, since that distinction informs whether matching or mixed frames may fit the intended display.

The source does not announce a follow-up event or additional guidance. Any final layout remains a choice for the homeowner, shaped by the art and the room; technical questions about secure mounting are outside the scope of the report.

Key Questions

Should every piece in a room have the same frame?

No. Kaihoi recommends matching frames when artworks are meant to be presented together as a series, but says a salon-style grouping or art displayed in different places can use a mix.

How should I choose a frame for a particular artwork?

Start by considering the artwork’s appearance and whether an ornate frame would complement or compete with it. Kaihoi suggests trying samples against the piece when possible, since a frame that seems suitable in theory may not work in person.

Can a secondhand frame be used for new artwork?

Kaihoi says he looks for older frames at auctions, flea markets and antique markets, sometimes choosing a frame for its value and then finding artwork to fit it. The report does not give technical guidance on resizing or refitting frames.

What is a French mat?

Kaihoi describes a French mat as an intricate border around the artwork. He says it can add a delicate, tailored effect and can use a color or tone that complements the piece.

Source: rss