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For prints, photographs, drawings and other works on paper, good framing balances appearance with protection: keep the work from touching the glazing, use materials compatible with its medium, and choose a display location that limits light and environmental stress. A frame can protect a work, make it easier to display and enhance its appearance, as the Canadian Conservation Institute (CCI) explains.
Decide whether the work is suitable for DIY framing
Start by identifying the medium and assessing the work’s condition, value, size and intended display. Check whether the surface is powdery or friable, the sheet is warped or fragile, and whether edges, text or inscriptions need to remain visible. These details affect the mounting method, support thickness and mat design; decide them before cutting a mat, as the Library of Congress (LOC) guidance on matting recommends.
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Measure the art and plan the frame package
Measure the work and decide what the window should show
Measure the artwork in several places across both dimensions; handmade or older sheets may not be perfectly square. Decide how much of the paper border should show, whether the mat window will overlap the sheet, and whether the full sheet, image or any inscriptions must remain visible. Make a mock layout or place the window over the work to check alignment before mounting it.
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Check the frame’s rabbet
The rabbet is the recessed channel that holds the glazing, mat and backing. Measure its width and depth, then account for the thickness of every layer, including any spacers. CCI gives about 2 cm as a combined depth for mat, backing board and glazing in its framing guidance; treat that as a reference for the package described there, not a universal dimension. The frame must hold the complete package without bending the mat or pressing the work against the glazing.
Fit the mat and backing to the frame so the package is secure but not forced. If it bows, bulges or requires pressure to close, change the components or use a deeper frame rather than compressing the work.
Choose matting and backing materials for the medium
For preservation matting, the LOC describes 100% cotton-rag board or chemically purified, lignin-free wood-pulp board that is pH-neutral or slightly alkaline, generally at least 4-ply. Its recommendations also call for a photographic activity test (PAT) for board used with photographs. Backing should be acid-free and lignin-free, or made from suitable corrugated plastic; a suitable moisture barrier may also be needed for the package.
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These are collection-care recommendations, not a guarantee that one board suits every artwork. MoMA cautions that “museum board” and “conservation board” labels alone do not establish quality. Alkaline-buffered board may be unsuitable for some photographs, and wood-pulp boards can contribute to matburn. For photographs, check compatibility of materials that will touch the image; the LOC’s photograph preservation guidance says direct-contact materials should pass PAT.
A wooden frame may need a barrier between the wood and the package to reduce acid migration. Select the mat, backing and any barrier for the work’s actual medium rather than relying on a marketing term such as “archival.”
Keep the artwork off the glazing
A window mat creates a gap between the image and the glass or acrylic. Where a mat is not appropriate or the frame is shallow, suitable spacers may help maintain clearance. Whatever the arrangement, the artwork must not touch the glazing: contact can place pressure on the surface and create a risk of sticking or damage.
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| Glazing | Advantages | Trade-offs and suitable uses |
|---|---|---|
| Glass | More resistant to scratching than acrylic. | Heavier and more brittle. Choose based on handling and display conditions. |
| Acrylic | Lighter and less brittle than glass. | Scratches more easily and may bow in larger sizes. Anti-static acrylic is available for powdery media such as pastel, charcoal or graphite. |
| UV-filtering glass or acrylic | Reduces ultraviolet exposure. | Does not block all damaging light; visible light can also harm paper, so display location and exposure still matter. |
The LOC’s paper matting guidance and CCI’s matting note discuss glazing and separation. Select glass or acrylic according to the object’s surface, dimensions and handling needs, and do not treat UV filtering as a substitute for limiting light.
Mount the work without unnecessary attachment
Choose a method suited to the object’s medium, condition and value. Non-adhesive options described by the LOC include photo or mounting corners, polyethylene straps, mounting strips, edge strips or channels, polyester half-moons and polyester sheeting. For certain works on paper, Japanese-tissue hinges with refined wheat-starch paste may be appropriate; hinge materials and technique should match the work and the framer’s conservation expertise.
Do not assume that “archival” tape is safe for attaching an artwork. MoMA advises against pressure-sensitive and pre-gummed tapes for hinging works on paper. Keep tape used to join the mat package away from the art, and avoid putting adhesives directly on a valuable or delicate work without specialist advice.
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Position the work on the back mat, check it against the window, and confirm the intended border and alignment before attachment. A government procedural guide gives a similar sequence: position and mark the picture, cut and check the window, then attach the art. If a mount holds the work too tightly or distorts it, stop and choose another method.
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Assemble the frame without crushing the package
- Inspect the work. Identify the medium and condition; get professional advice first for fragile, valuable, friable, distorted or unusually supported objects.
- Measure and plan. Measure in multiple places, choose what the window should reveal, and select a compatible mounting method.
- Check the frame. Confirm the rabbet is wide and deep enough for glazing, mat, backing and spacers. Cut components to fit without bending or tight compression.
- Align before mounting. Position the work on the back mat and check the window alignment. Attach it with an appropriate corner, strip or hinge method, keeping adhesives and tape away from the image.
- Close the package. Assemble glazing, mat, backing and frame hardware. Check that the work remains separated from the glazing and that the package sits securely. Use suitable pins, brads or frame hardware rather than tape to secure the package inside the frame.
- Attach hanging hardware to the frame. The hanging wire or hardware should be secured to the frame itself, not merely to the backing.
Avoid sandwiching a work directly between glazing and board with its edges exposed. CCI notes that this offers little protection from dust and atmospheric pollution and puts unnecessary pressure on the object.
Choose tools and know when to stop
The LOC lists a mat cutter, cutting mat, ruler, scalpel or scissors, bone or Teflon folder, weights, brushes and blotter among tools used for matting and hinging. If cutting your own window, practice on scrap board and follow the cutter maker’s instructions. A clean, accurate cut matters, but a mat cutter does not make an unsuitable mounting method safe.
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For a simple, stable print or photograph, careful DIY framing may be practical. Professional conservation framing is more appropriate when the object is valuable, fragile, unusually large, made from a complex support or requires specialist mounting. Framing guidance for works on paper does not automatically apply to paintings, textiles or three-dimensional objects.
Hang the framed work where conditions are stable
Keep framed paper away from direct sunlight and intense light, as well as fireplaces, radiators and air vents. Avoid damp locations, places with environmental extremes and areas at risk of water exposure. UV-filtering glazing can reduce one part of light exposure, but visible light also damages paper. For a valuable original that need not be displayed continuously, consider showing a reproduction and keeping the original protected in storage. The LOC discusses light and display in its paper collections FAQ.
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