How to Frame a Fine Art Print

The frame is not an afterthought. It is the last decision in a considered piece of work, and the material you choose carries its own meaning. These prints are made on paper with sustainability at the centre. The frame should reflect the same values.

Solid wood is the right choice for fine art prints. It is durable, ages well, and sits in a room without competing with the image. The frames I use for my own work are solid wood, 2 inches wide — substantial enough to anchor a print on the wall and give the glazing the depth it needs.

Natural finishes work beautifully with wildlife and indigenous prints: raw walnut brings warmth without weight, maple is clean and considered, and a simple painted black or white frame gives the image space to lead. There is no wrong choice within this range — it depends on the room and what the print is sitting alongside.

Plastic frames are worth avoiding. Longevity: plastic warps, yellows, and degrades over time, and it does not hold glazing and hardware with the same stability as solid wood. Environmental: These prints are produced on sustainable paper, shipped carbon-neutrally, and made to last a lifetime. A plastic frame works against all of that. Artwork that is meant to endure deserves a frame built to the same standard.

This is the question that divides collectors. Both are right. It depends on the print and the room it is going into.

With a mat

A mat creates breathing room between the image and the frame. It is the traditional gallery presentation and suits portraits and images with a strong central subject. Choose bright white or natural white — never coloured, never textured. The mat should draw the eye inward, not compete with the photograph.

The mat window must be cut to the image area only. Not the total print size. The border — and the edition details within it — remain visible below the mat window. A good framing shop will cut this precisely. Ask them to confirm the window dimensions before they cut.

Without a mat — floating the print

Floating the print means no mat: the full print sits behind the glazing with the complete border visible. This is how I prefer to see my work displayed. Everything I intended is present — the image, the border, the signature, the edition number. It reads as a complete artwork rather than a cropped photograph.

For larger prints, floating is often the stronger visual choice. The border becomes part of the composition. The white space around the image gives it room to breathe.

Glazing is the transparent front panel of your frame. It matters more than most people realise, and it is worth spending properly on.

UV protective glass

UV protective glass filters out the ultraviolet light that causes fine art prints to fade over time. Standard glass offers no UV protection at all. The Hahnemühle bamboo paper these prints are made on is archival — it will last decades if it is properly protected. Standard glass quietly undermines that.

Acrylic for large prints

For Gallery size (36″ (91CM)) and Statement size (52″ (132CM), acrylic — sometimes called Perspex — is the right choice over glass. At large dimensions, glass becomes significantly heavy, which adds stress to the frame and the wall fixings. Acrylic is lighter, safer, and just as clear.

Anti-reflective coatings

Worth the additional cost. A reflective surface creates a mirror in the room, pulling attention away from the image. Anti-reflective glazing lets the photograph do its work without interference.

One rule that applies to all glazing

Never let the glazing touch the surface of the print. The mat creates this gap when you are using one. If you are floating the print without a mat, choose a frame with a deep enough rebate to hold the glazing away from the paper. Direct contact causes moisture to build between the two surfaces over time.

Frame depth matters more than most people expect, and it is worth understanding before you order. The rebate — the inner channel that holds the glazing, mat, and print — needs to be deep enough to keep the glazing from touching the surface of the paper. Direct contact traps moisture between the two surfaces over time.

The frames I use for my own work are 2 inches (5cm) wide. A 2-inch (5cm) frame provides the depth and stability that a fine art print needs at every size — there is proper room between the glazing and the paper, the hardware sits securely, and the frame itself reads as substantial on the wall rather than delicate.

Edition — 14" (36cm)

A 1-inch (2.5cm) frame can work at this size with a mat in place, but a 2-inch frame is always preferable and gives you the flexibility to float the print if you choose.

Study — 20" (51cm)

A 1-inch (2.5cm) frame is too shallow to float comfortably. Use a 2-inch frame minimum. With a mat, a 1.5-inch frame is just sufficient, but the result will feel lighter than the print warrants.

Gallery — 36" (91cm)

A 2-inch (5cm) frame is the minimum. The print is substantial and the frame needs to carry it. Anything narrower will feel inadequate and may flex over time.

Statement — 52″ (132CM)

A 2-inch (5cm) solid wood frame is essential. At this size, frame rigidity is a structural consideration, not just an aesthetic one. Do not compromise on depth or material here.

If you are floating the print without a mat, always confirm the rebate depth with your framer before ordering. A good frame shop will measure and advise — tell them the total print size, that you are floating it, and that you want UV protective glazing kept clear of the paper surface.

These prints are made to last a long time. A few conditions will shorten their life significantly.

Direct sunlight

Even UV protective glazing cannot fully compensate for hours of direct sun each day. Choose a wall where daylight reaches the print indirectly — or not at all.

Above a fireplace

Heat and fluctuating humidity cause fine art paper to expand and contract. Over time this stresses both the print and the frame. The aesthetic appeal is understandable. The physics are not kind.

Bathrooms and kitchens

High humidity environments are not suitable for fine art paper. Steam from cooking and bathing causes slow, cumulative damage.

Exterior walls in cold climates

Condensation can build between an exterior wall and the back of the frame in cold weather. An interior wall is always preferable.