Skateboard wall art gets specified by interior designers more often than the category name suggests — a narrow, high-contrast piece that fills an awkward wall without needing glass or a frame solves real problems in client projects: a hallway too tight for a standard canvas, a rental where the client can't commit to a huge gallery wall, a statement piece that needs to survive move-out without cracking. This guide covers what actually matters when you're specifying it for someone else's space, not your own.
Why the Format Solves Real Installation Problems
Three practical advantages come up repeatedly on client projects. First, no glass means no cracked-glazing risk in transit or during a busy install day — a real concern when a piece is being handled by movers or installers rather than the client themselves. Second, the UV-printed, matte, glassless surface means no glare under gallery lighting or a client's overhead fixtures, which a framed print behind glass can fight against depending on the room's light sources. Third, the narrow proportions (20cm wide per deck) fit walls a standard 60cm+ framed piece simply can't — the strip beside a doorway, the gap next to a built-in, a hallway that's all length and no depth.
The Three Formats, With Real Dimensions
Single
85×20cm, €140
Diptych
171×20cm, €230
Triptych
256×20cm, €310
For specifying purposes, treat these like any other fixed-dimension wall piece: measure the clear wall segment first, then pick the format that fits with margin on each side — roughly 50cm minimum for a single, 100cm for a diptych, 150cm for a triptych. A common mistake on client projects is picking the subject first and the format second; measuring the wall first avoids having to talk a client out of a piece that's already caught their eye but won't fit.
Matching Subject to a Client's Brief
Caravaggio's Medusa
Dramatic, high-contrast — suits bold, maximalist briefs
Iridescent Fish (original artist collaboration)
Contemporary, suits minimalist or Scandi-adjacent briefs
Blueprint Bust (limited edition, monochrome)
Flat colour, suits a graphic or gallery-adjacent brief
The catalogue splits into two broad categories worth knowing when presenting options: public-domain classical reproductions (Klimt, Caravaggio, Bosch, Van Gogh, and others) and original work from living artists working in more contemporary styles. A period property or a client asking for "something with history" points toward the classical side; a new-build or a client asking for "something nobody else has" points toward an original artist piece.
Specifying a Custom Piece for a Client
Beyond the standard catalogue, a custom photo-to-deck option exists for turning a client's own image — a family photo, a piece of their own art, a brand mark for a commercial space — into the same single, diptych, or triptych formats. The same measuring logic applies: a tightly-composed image suits a single deck; a wider or more detailed image often needs the extra width of a diptych or triptych to read properly rather than being compressed into one narrow panel.
Project Types Where This Format Is the Right Call
A few recurring project types come up often enough to name specifically. A boutique hospitality corridor or lobby corner benefits from the narrow proportions and glassless durability in a space that gets constant foot traffic and cleaning. A co-working space or creative office can use a bolder, more graphic piece than a residential client might choose, since the audience is self-selecting for that kind of environment. A furnished rental property a landlord is dressing for tenants benefits from the same durability logic as a short-term rental — no glass to crack between tenancies, easy to wipe down. A restaurant or cafe accent wall can use the format's narrow footprint to add a focal point without eating into usable floor space near seating.
Where it's a weaker fit: a genuinely formal, traditional residential brief where the client has specifically asked for museum-style framed pieces, or a space where the client's brief already centres on a specific non-negotiable art medium (oil paintings, tapestries, sculpture). Forcing the format into a brief it doesn't suit reads as a designer's personal preference rather than a considered choice for the space.
Common Client Objections and How to Address Them
"It's a skateboard, not real art." Worth separating the substrate from the image: the deck is the canvas, not the subject. A classical reproduction of Klimt or Caravaggio carries the same visual and historical weight it would in any other format — the maple shape is simply what it's printed on, the same way a canvas print doesn't stop being "real art" because of what fabric it's stretched on.
"Won't it look too casual or juvenile for this space?" This depends entirely on the specific piece and subject, not the format itself. A single, dramatic classical reproduction in a considered spot reads very differently from a wall of skate-branded graphics — the format is neutral; the subject and placement do the work.
"What if the client wants to resell or move it later?" Each piece mounts and unmounts independently with standard hardware, so relocating a piece to a different wall or a different property is straightforward — there's no built-in installation that ties it permanently to one specific wall.
How the Three Formats Compare Side by Side
| Format | Size | Price | Best client fit |
|---|---|---|---|
| Single | 85×20cm | €140 | Narrow walls, hallways, desk/office accents, budget-conscious briefs |
| Diptych | 171×20cm | €230 | Medium walls, above a sofa or headboard in a mid-size room |
| Triptych | 256×20cm | €310 | Large feature walls, lobby/reception statement pieces, open-plan living spaces |
Installation Considerations
Each piece ships with mounting hardware and mounts using the same simple method regardless of format — no professional installer required, though the usual rules for hanging anything solid apply. Solid walls (masonry, concrete, brick) take a standard screw and wall plug directly. Plasterboard/drywall needs either a stud or a cavity fixing rated for the actual weight, not a fixing sized for a light picture frame. For a multi-deck set, keep the gap between panels consistent (5cm) and all panels level — a slight misalignment is far more visible across a 171cm or 256cm span than on a single deck.
For rental properties or any install where drilling isn't an option, see our no-drill display guide for alternatives that don't involve wall anchors.
Ordering for a Client Project
There's no separate trade account or bulk-discount program to speak of — orders go through the standard checkout at the same pricing whether it's a single piece for a client or several pieces across a project. For anything custom or multi-piece, it's worth reaching out directly before ordering to confirm timelines, since production and fulfillment run through partners in the US and Europe and lead times can vary by what's being ordered and where it ships from.
How It Compares to What You'd Otherwise Spec
Against a framed print, the trade-offs run both ways: no glass to crack in transit or on an active job site, but also a fixed narrow shape that can't be resized the way a print can. Against a canvas print, the maple substrate holds up better to incidental contact and edge knocks, which matters in a hallway or a high-traffic commercial space. Against a large-format single artwork, the format's real advantage is fitting spaces a standard piece can't — it's a solution for a specific kind of wall, not a universal replacement for wall art generally.
Setting Client Expectations Honestly
Two things worth saying plainly when presenting this option to a client. First, it's decorative art, not a financial asset — even a numbered limited-edition piece is about scarcity within the catalogue, not a resale market, so it shouldn't be pitched as an investment. Second, no specific lifespan or fade-resistance figure is quoted, because the inks haven't been independently tested to a stated standard; the honest advice is the same as for any printed piece — keep it out of sustained direct sunlight and it holds up well.
Building a Cohesive Look Across Multiple Rooms
On a whole-property project, consistency usually matters more than variety. Rather than mixing classical reproductions in one room and original artist work in another with no visual thread, picking one broad direction — all classical, all contemporary, or a single artist's collection across several pieces — reads as more deliberate to a client walking through the finished space. Charlotte Hennion's diptych-only collection is a useful example of a single-artist thread that could anchor several rooms in one property without repeating the same image.
Where variety does work well is varying the format rather than the subject matter's era or style — a single deck in a hallway, a diptych in a bedroom, and a triptych in the main living space, all drawing from the same broad category, reads as a considered progression rather than a scattered selection.
Presenting the Option Alongside Traditional Alternatives
When a brief hasn't specifically called for this format, it's usually most effective presented as one option among two or three rather than the sole recommendation — letting the client see it next to a traditional framed print or canvas option for the same wall makes the trade-offs (narrow footprint, no glass, distinctive material) concrete rather than abstract. Bringing a physical sample or a clear photo reference to a client meeting does more work than a verbal description, since the material and finish are genuinely different from what most clients picture when they hear "skateboard."
Frequently Asked Questions
Is skateboard wall art durable enough for a commercial or high-traffic space?
The maple construction and glassless surface hold up well to incidental contact, which is an advantage over framed prints in busy spaces. It isn't rated or tested to a specific commercial durability standard, so for genuinely heavy-traffic commercial use it's worth treating like any other decorative wall piece and positioning it away from direct impact zones.
Does deckarts offer trade pricing or a professional account for designers?
No formal trade program exists that we can confirm — orders go through standard checkout at standard pricing regardless of project scale. For multi-piece or custom orders, reaching out directly before ordering is worth it for timeline coordination.
Can I order multiple pieces for one client project at once?
Yes, through standard checkout, and each piece (or set) mounts independently, so there's no requirement to order everything as a single combined piece.
What wall types can these be mounted on?
Solid walls take a standard screw and wall plug. Plasterboard/drywall needs a stud or a cavity fixing rated for the actual weight of the piece, not one sized for a light picture frame.
How do I decide between a single, diptych, and triptych for a client's wall?
Measure the clear wall segment first: roughly 50cm minimum for a single, 100cm for a diptych, 150cm for a triptych, with margin on each side. Let the measured space decide the format before finalizing which subject or image goes on it.
Can a client's own photo or logo be used instead of the standard catalogue?
Yes, through the custom photo-to-deck option, available in the same three formats. A tightly-composed image suits a single deck; wider or more detailed images often need a diptych or triptych to read properly.
Is this format suitable for a rental property a client doesn't want to drill into?
Yes — see the dedicated no-drill display guide for mounting options that don't require wall anchors, useful for rental installs or any wall the client doesn't want permanently altered.
How does the cost compare to a framed print or canvas for a similar-sized wall?
Pricing runs €140 for a single deck, €230 for a diptych, and €310 for a triptych, regardless of subject. Direct comparison against a specific framed print or canvas depends on that piece's own size and framing costs, which vary too widely to generalize.
Should this be pitched to a client as an investment piece?
No — it's decorative art without a secondary resale market, and pitching it as a financial asset would be inaccurate regardless of whether a piece is part of a numbered limited edition.
What's the lead time for a custom or multi-piece order on a project timeline?
This varies by what's ordered and where it ships from, since production and fulfillment run through partners in the US and Europe. For anything on a fixed installation deadline, confirming timelines directly before ordering is the safer approach.
What client project types actually suit this format well?
Boutique hospitality corridors, co-working and creative offices, furnished rental properties, and restaurant or cafe accent walls come up most often — anywhere the narrow footprint and glassless durability solve a real installation problem. It's a weaker fit for formal traditional briefs that call for museum-style framed pieces.
How do I respond if a client thinks it's "just a skateboard"?
Separate the substrate from the image — the maple deck is the canvas, and a classical reproduction printed on it carries the same visual and historical weight it would in any other format. What the client is really responding to is usually the specific piece or subject, not the shape it's printed on.
Can a piece be relocated to a different wall or property later?
Yes — each piece mounts and unmounts independently with standard hardware, so there's no permanent installation tying it to one specific wall.
Article summary
- The format solves specific installation problems: no glass to crack, no framed-piece glare, and narrow dimensions that fit walls standard art can't.
- Three fixed formats — single (€140), diptych (€230), triptych (€310) — sized 85/171/256cm wide; measure the client's wall before choosing a subject.
- The catalogue splits into classical reproductions and original artist work, useful for matching a client's stated brief.
- A custom photo/logo option exists for client-specific pieces, using the same format and sizing logic.
- No confirmed trade account or bulk-discount program exists — orders go through standard checkout regardless of project scale.
- Set honest expectations: not a financial investment, and no specific fade-resistance figure is quoted.
About the Author
Stanislav Arnautov is the founder of deckarts, a graphic designer and print specialist originally from Ukraine, now based in Berlin, where he personally designs and prepares every deck. Follow on Instagram or visit stasarnautov.com.
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