Resources

Framing Guide

How to frame and preserve artwork. A well-chosen frame protects, preserves, and enhances a piece — ensuring it endures for decades while complementing its visual intent. This guide outlines best practices for museum-grade, conservation framing.

We encourage collectors to work with professional framers familiar with museum and gallery standards. Contact us for a list of recommended framers in your area.

MOULDING UV GLAZING MAT / SPACER ARTWORK BACKING BOARD
Cross-section of a conservation frame — every layer acid-free, every method reversible.
01

Moulding

The moulding defines both the aesthetic and structural character of a frame. Museum-quality mouldings are typically crafted from hardwood or metal, while veneer provides a refined, cost-effective alternative popular among galleries and collectors.

Materials

Solid Wood
Timeless and warm, with naturally unique grain variations.
Veneer
Consistent finish and a clean, contemporary appearance.
Aluminum
Sleek, lightweight, and ideal for contemporary works on paper or photography.

Profiles

Most gallery-standard frames range from ¾ to 1 inch in face width for works up to 30 × 40 inches. Slim profiles create a subtle border, while deeper or more ornate mouldings suit larger or more dramatic pieces. Classical profiles — often seen on Banksy or Old Master–inspired editions — offer a more traditional aesthetic and are a matter of personal preference.

02

Glazing — Glass vs. Acrylic

Proper glazing shields artwork from dust, humidity, and UV light. UV-filtering acrylic (plexiglass) has become the preferred standard for museums and galleries: it is lighter, shatter-resistant, and provides superior UV protection compared with traditional glass — safer for shipping and easier to handle at scale.

Options

99% UV Acrylic
The ideal balance of protection and clarity for most collectors.
Optium Museum Acrylic
99% UV, anti-reflective, anti-static, scratch-resistant — the museum standard (Tru Vue).
Non-Glare Acrylic
For bright or windowed environments; may slightly soften fine detail.

Recommendation

For most collectors, 99% UV acrylic offers optimal protection and presentation. In bright spaces, Optium minimizes reflection. Always avoid direct sunlight.

03

Mounting & Conservation

Mounting methods directly affect the long-term preservation of artworks. Only reversible, conservation-safe techniques should be used — allowing future removal without damage.

Hinge MountingRecommended
The archival standard — acid-free Japanese paper and wheat starch paste, allowing the artwork to expand and contract naturally.
Dry MountingNot recommended
Uses heat and adhesive — irreversible, and unsuitable for fine art prints or editions.
Cold Mounting
Used for large photographs on Dibond or aluminum, offering rigidity without heat.

Collector’s note

Avoid dry mounting limited editions — reversible hinging preserves both the integrity and the market value of the work.

04

Mats & Spacers

Mats and spacers provide breathing room and physical separation between the artwork and the glazing.

Mat types

Archival Cotton Rag
100% cotton — the museum standard for fine art prints.
UV-Protective Matboard
Added light protection along exposed edges.

Color choices

Bright White
Clean and modern; ideal for photography.
Soft White / Off-White
Warm and classic; complements vintage or lithographic prints.
Black or Charcoal
Striking contrast for brightly colored artworks.

Avoid matting works printed to the paper’s edge — covering inked margins can cause uneven fading or mat burn.

Float mounting

Float mounting reveals the artwork’s full edges, creating a shadow gap between the piece and the backing board — a ½-inch reveal for modern presentation, 1–2 inches for larger works.

05

Plexiboxes

Plexiboxes — acrylic boxes — offer a clean, sculptural presentation favored for screen prints, photographs, and contemporary works. Constructed entirely from UV-filtering acrylic, they are lightweight, durable, and visually unobtrusive. Each is custom-fabricated with UV protection, ventilation depth, and structural stability.

Best for

Pop editions
Screen prints and Pop Art editions — Warhol, Haring, and after.
Photography
Photographic prints and mixed media.
Modern interiors
Settings that emphasize transparency and lightness.
06

Care & Maintenance

Proper care keeps framing materials in pristine condition.

Acrylic
A soft, lint-free microfiber cloth and an ammonia-free cleaner such as Novus Plastic Polish. Never paper towels or glass sprays.
Wood frames
Dust with a soft cloth; if needed, wipe gently with mild soap and water.
Metal frames
Wipe with a dry cloth; avoid acidic or abrasive products.
07

Hanging Systems

The appropriate hanging system depends on size and weight. Always ensure hardware is properly anchored and weight-rated.

Wire hanging
Best for works up to 30 × 40 inches.
French or metal cleats
Recommended for larger or heavier frames.
Security hardware
For public or high-traffic environments.
08

Environmental Standards

Use only acid-free, lignin-free, and UV-protective materials. Avoid adhesives, spray mounts, or heat-based processes — framing should always remain fully reversible.

Display conditions

Temperature
65–75 °F (18–24 °C)
Humidity
40–55% relative humidity
Light
No direct sunlight, heat sources, or damp environments.

Inspect works annually for warping, condensation, or fading — early detection prevents damage. For anything beyond surface dust, speak to a conservator before intervening.

A–Z

Glossary of Framing Terms

Archival
Materials meeting conservation standards for longevity and chemical stability.
Float Mount
Artwork mounted above the backing board to show its full edges.
Hinge Mount
Reversible mounting using Japanese paper and wheat starch paste.
Mat Burn
Discoloration from acidic mats or uneven light exposure.
Moulding
The outer frame material providing structure.
Museum Acrylic
UV-filtering, anti-reflective glazing used by museums.
Spacer
Material that keeps the artwork from touching the glazing.
UV Protection
Filtration blocking ultraviolet light to prevent fading.

For the full vocabulary of editions, see the Art Glossary.