Types of prints

The term "print" covers a wide range of works, each with slightly different considerations:

  • Giclée — high-resolution inkjet prints on fine art paper or canvas. Common for fine art reproductions and artist prints.
  • Screenprint — ink pushed through a mesh stencil, layer by layer. Valued for their tactile quality and saturated colors.
  • Lithograph / offset print — flat printing process, common for posters and artist editions.
  • Photographic print — darkroom or digital lab print, usually on glossy or matte photo paper.

All of these benefit from the same core framing principles, though canvas prints and very large posters have some additional considerations.

Always use a mat

For paper-based prints, a mat is not just aesthetic — it's protective. The mat creates an air gap between the print surface and the glass. Without it, the print can stick to the glass over time, especially in humid conditions, causing permanent damage.

The mat also prevents the condensation that can form on the inside of glass from reaching the print surface. Even if you're planning a "borderless" look, use a small (3–5mm) fillet or spacer rather than letting the print touch the glass.

UV-protective glazing

Standard glass lets through UV light, which fades inks and dyes over time — particularly the colors in screenprints and inkjet prints. For anything you want to last, use UV-filtering glass or acrylic.

Museum-grade acrylic (like Tru Vue Optium or equivalent) is the gold standard: it's UV-protective, non-reflective, and nearly shatter-proof. It's expensive, but for an edition print or original work it's worth it. For posters and decorative prints, standard UV glass is a good middle ground.

Archival (acid-free) materials

Regular mat board and backing board contain acids that migrate into paper over time, causing yellowing and deterioration — the same process that makes old newspapers brittle. Archival or "acid-free" materials prevent this.

For any print you care about, use archival mat board and an archival backing board. The price difference is small; the long-term difference to the artwork is significant.

Standard matting vs. float mounting

Standard matting overlaps the edges of the print with a mat window. The print is held from behind, and the mat hides a few millimetres of the edges. This is the most common and practical approach.

Float mounting leaves the edges of the print fully visible, with the print appearing to float against the backing. This is popular for screenprints and hand-pulled prints where the deckled (irregular) edges are part of the aesthetic, and for works where the artist's signature or edition number appears in the margins.

Float mounting requires careful hinging — the print is attached at the top only, allowing it to expand and contract with humidity rather than buckling.

Mat width for prints

Prints generally benefit from a generous mat — more generous than you might expect. A narrow mat on a poster or fine art print can look rushed. A starting point: at least 5–7cm (2–3 inches) on all sides, with the bottom mat slightly wider than the top and sides for optical balance.