How to frame artwork

Framing is the last decision an artwork meets, and the one most likely to be done wrong. A frame is not a decorative border; it is a micro-climate, a shock absorber and a barrier against everything from UV light to dust to clumsy handling. Get it right, and the work is protected and enjoyable to live with for decades. Get it wrong, and even a well-made piece can fade, cockle, or become permanently stained.

This guide gives you a decision method that starts with the artwork itself, not the frame shop. Use it for contemporary art in Aotearoa New Zealand, including Māori and Pacific works, where the same conservation principles apply but cultural protocols may also shape how a work should be presented.

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Start with the object, not the frame

Before you choose a moulding or a mat colour, answer four questions. Write the answers down; they will drive every decision that follows.

1. What is the medium? (Paint, ink, charcoal, pastel, photograph, print, textile, mixed media?)
2. What is the support? (Canvas, paper, board, metal, glass, fabric, wood?)
3. How was it made? (Is the medium inherently fragile, water-soluble, light-sensitive, or prone to chemical degradation?)
4. What is the artist’s or iwi/community’s stated preference, if any?

These four answers determine the glazing, the mount, and whether the frame is even needed.

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Match the frame to the medium, not the room

The first rule of framing is that the artwork comes before the décor. A frame that looks beautiful but physically harms the work fails the core contract: protect the object while making it enjoyable to live with. The frame is not a decorative accessory; it is a micro-climate container. The glazing, mount, backing board, and seal work together to slow the natural processes of light damage, humidity fluctuation, and pollution.

Paper-based works (prints, drawings, watercolours, photographs, works on paper)

Paper is hygroscopic and vulnerable to light, acid migration, and mould. The frame package must be fully archival, even for inexpensive works. Use: - 100% cotton rag or acid-free museum board for the mount and backing. - Hinges of Japanese paper and wheat starch paste, never pressure-sensitive tape. - UV-filtering glazing (glass or acrylic) that blocks at least 97% of UV radiation; standard glass filters almost none. - A sealed backing board to reduce dust and humidity exchange.

For works on paper, the mount must not touch the artwork’s surface. Use a window mount (mat) cut to create an air gap, and hinge the work at the top edge so it can hang freely. Never use self-adhesive tape, rubber cement, or spray adhesive directly on the artwork; these cause staining and embrittlement over time. If the work is a print, check the edition number and artist signature before framing, as a frame can obscure them if the mount window is too tight.

For works on canvas, stretching is the primary structural concern. A canvas should be taut but not drum-tight, with even tension across the bars. If the canvas has sagged, the stretcher can be re-keyed by tapping the corner wedges, but only after confirming the canvas is not brittle. If the canvas is damaged or the original stretcher is warped, do not attempt to fix it yourself; a professional conservator should handle it.

For works on paper, the frame must never touch the artwork. Use a window mount (mat) cut to the exact dimensions of the sheet, and hinge the work to a backing board with archival tape. The mount and backing must be acid-free and lignin-free, and the glazing should be UV-filtering. A conservation-grade mount is not optional for works on paper, because the paper is the artwork, and any contact with acidic materials will cause irreversible discolouration.

For photographs, the same rules apply as for works on paper, but with an extra layer: the print surface is delicate and easily scratched, so glazing should always be specified. If the photograph is a digital print, check the edition and the artist’s own framing instructions before doing anything; some artists specify the exact frame and glazing. If the work is an artist’s proof, note that in your records, not on the frame.

For paintings on canvas, rigid frames are usually unnecessary unless the canvas is stretched thin or the work is very large. A floating frame can protect the edges without touching the painted surface. For works on paper, the mat (mount) is not decorative: it creates a microclimate and keeps the artwork off the glazing. For works on board or panel, the frame should not touch the painted surface; use a spacer or a deep rebate.

For Māori and Pacific works, cultural protocols may apply. If a work carries whakapapa or is a taonga, consult the artist or their community before framing, and never cut, trim, or flatten a work to fit a standard frame. Some works are not meant to be framed at all; a carved or woven piece may need to be displayed on a wall mount or in a case. If you are unsure, ask the artist or gallery for guidance before doing anything irreversible.

For contemporary art in Aotearoa, the frame is not neutral. Many living artists specify how their work should be framed, and some refuse frames altogether. Check the artist’s own instructions, the gallery’s documentation, and the condition report before you buy or frame. If you are framing a work that is part of an edition, confirm with the artist or gallery that the edition number and signature are intact and that you are not altering the work’s status as an edition.

The framing decision rule: 1. Match the frame to the medium, not the room. A watercolour and an oil painting have different structural needs; a photograph and a work on paper need different glazing and mounting. The frame is part of the artwork’s physical support system, not just decoration. 2. Use conservation-grade materials for any work you want to keep for more than a few years. This means acid-free or archival mats, UV-filtering glazing, and reversible mounting methods. Cheap framing can cause irreversible damage within a decade. 3. Consider the work’s environment before choosing materials: light levels, humidity, and proximity to heat sources matter more than the frame’s colour. 4. For Māori and Pacific works, respect cultural protocols in display and handling. Some works, especially taonga (treasures), may have specific requirements for orientation, placement, or who may handle them. Consult the artist, gallery, or iwi representatives if you are unsure. 5. Keep provenance and documentation with the work. A framed piece should have a label on the back recording the artist, title, date, medium, edition (if any), and the chain of ownership. This is not bureaucracy; it is the work’s history and legal trace. 6. Do not assume that a work on paper is “cheap” to frame. The cost of conservation-grade materials and labour is often 20-40% of the work’s purchase price, and this ratio holds across price bands. 7. Use a framer who understands conservation, not just decoration. Ask whether they use UV-filtering glazing, acid-free mounts, and reversible methods. If they hesitate, go elsewhere. 8. For Māori and Pacific works, respect cultural protocols (tikanga) in display and framing. Some works may have specific requirements about orientation, covering, or the materials used in the frame. When in doubt, ask the artist, their gallery, or the relevant iwi or community. 9. The first question is not “Will this match my sofa?” but “What does this work need to survive the next 50 years?” The frame is a protective micro-environment. 10. The frame is not the art. A poor frame can ruin a great work; a great frame cannot save a poor one. The frame should disappear or amplify, not compete.