Framing is where many collectors make choices that compromise the long-term condition of their prints — not out of indifference but out of unfamiliarity with the materials involved. The frame shop around the corner may use beautiful mouldings but equip them with materials that damage prints over time. Understanding what to ask for and why makes it possible to insist on archival standards regardless of where you have work framed.
Mat Board: Acid-Free Is Non-Negotiable
Standard mat board is made from wood pulp that contains residual lignin and acidic compounds. As it ages, these compounds migrate into any paper they touch, causing yellowing, foxing, and brittleness. A fine art print mounted against or touching standard mat board will show this damage within years. The evidence is visible in the distinctive yellowed border that appears around the mat window on improperly framed prints.
Archival mat board is made from either 100% cotton fiber (often called museum board) or from wood pulp that has been purified and buffered to a neutral or slightly alkaline pH. Both are stable and safe for long-term contact with prints. Cotton fiber board is the gold standard. When having prints framed, specify acid-free, archival mat board — do not assume it is the default.
Hinging and Mounting
How the print is attached to the mat or backing is as important as the materials used. Pressure-sensitive adhesives — including double-sided tape and spray adhesive — are unsuitable for fine art prints. They are acidic, they become brittle with age, and they can be impossible to remove without damaging the print. For framing that maintains the print’s archival integrity, use Japanese tissue hinges with a reversible wheat starch paste, attached to the upper edge of the print only (the print hangs from the hinges, it is not mounted flat). This method allows the print to flex naturally as humidity changes and can be reversed without damage if the print is ever removed from the frame.
Backing Materials
The backing board inside the frame should also be archival. Standard foam core and corrugated cardboard are not appropriate for fine art prints — they are acidic and can off-gas compounds that damage prints over time. Archival foam core and acid-free corrugated board are the correct substitutes.
Spacers and Air Gaps
The print surface should never touch the glazing. Moisture can condense on the inner surface of the glazing, and if the print is in contact with it, mold can develop and the emulsion can stick. A mat provides the necessary air gap in most cases. When prints are floated (displayed without a mat, with the image visible to its edges), spacers or a rabbet deep enough to maintain clearance between the print and the glazing must be used.
Working With a Framer
When working with a framer, ask explicitly about each of these elements: mat board specification (cotton fiber or archival buffered board), hinging method, backing materials, and whether they use conservation glazing. A professional framer specializing in fine art and museum work will answer these questions readily. A general frame shop may not stock archival materials as a matter of course — ask before you agree to the work.