Which frame is best for art print framing?

Art print framing requires precision in materials and construction. A well-executed frame protects the print from environmental damage while presenting it with clarity. The choice reduces to three critical elements: the frame’s structural integrity, the glazing’s protective qualities, and the matting’s archival properties. Each must meet conservation standards to ensure longevity.

The frame: closed-corner construction

Frames for art prints are either wood or aluminium, selected for durability and stability. Wood frames, typically hardwoods like oak or ash, are joined with splines or mortise-and-tenon for rigidity. Aluminium frames use welded or screwed corners, offering a sleek profile with resistance to warping. Both must employ closed-corner construction—a method where the frame’s mitred edges are mechanically reinforced to prevent separation over time.

The Fine Art Trade Guild defines closed-corner framing as essential for works on paper, as it eliminates gaps where dust or moisture could enter. Standard depths range from 20–40 mm (¾–1½ in), accommodating the print, mat, glazing, and backing without compression. Expect costs for custom wood frames to start at $120–$250 for a 50x70 cm (20x28 in) print; aluminium frames begin around $150–$300 for the same size.

Glazing: UV protection and clarity

Glazing serves two functions: protecting the print from ultraviolet light and physical damage while maintaining optical clarity. The minimum standard is UV-filtering acrylic (92–99% UV block), such as Plexiglas UV or Tru Vue Optium Acrylic. For higher-value prints, museum-grade glass (e.g., Artglass AR 99) provides 99% UV protection with anti-reflective coatings, reducing glare to under 1%.

Acrylic is lighter and shatter-resistant, ideal for large formats (e.g., 70x100 cm / 28x40 in or larger) or high-traffic spaces. Glass offers superior clarity but adds weight—standard for prints under 50x70 cm. The American Institute for Conservation notes that even indirect sunlight can cause fading; UV glazing mitigates this by blocking the spectrum responsible for degradation.

Matting: acid-free conservation barriers

Matting isolates the print from the glazing, preventing condensation damage and allowing for expansion. Use only 100% cotton-rag mat boards (e.g., Bainbridge Artcare or Crescent RagMat), which are acid-free, lignin-free, and buffered to neutralise environmental acids. Standard mat widths are 5–10 cm (2–4 in), with 7.5 cm (3 in) being the most common for balance.

Double matting—where a thin top mat (e.g., 2.5 cm / 1 in) floats over a thicker bottom mat—adds depth but increases cost by 30–50%. Avoid coloured mats unless they are conservation-grade; dyes in lower-quality mats can migrate into the print over time. A single 8-ply mat (3.2 mm thick) for a 50x70 cm print typically adds $40–$80 to the framing cost.

Backing and hanging: structural integrity

The backing board must match the mat’s archival quality—acid-free foamcore or corrugated board (e.g., Bainbridge Foam Board). The print is hinged to the mat with Japanese paper hinges and wheat-starch paste, a reversible method recommended by the Tate for works on paper. Never use pressure-sensitive tapes or adhesives, which can stain or tear the print upon removal.

For hanging, D-rings and a braided wire are standard, positioned to place the print’s centre at ~145–150 cm (57–60 in) from the floor—the average eye level in residential and gallery settings. Larger prints (70x100 cm and above) may require a French cleat system for weight distribution. Expect hardware and installation to add $20–$50 to the total.

Resolving the complexity

The underlying concern—that framing involves irreversible choices—is addressed by adherence to conservation standards. Every material in contact with the print (mat, hinges, backing) must be acid-free and reversible. Glazing must block UV without introducing glare. The frame’s joinery must resist warping under humidity fluctuations (ideal relative humidity: 40–50%, per the Met’s guidelines).

When these criteria are met, the framing process becomes systematic:

• Print floats on acid-free mat, never touching glazing.
• UV glazing filters 99% of harmful light.
• Closed corners and sealed backing exclude dust/moisture.
• Hanging hardware distributes weight evenly.

The result is a framed art print that requires no further intervention for decades.