How to frame giclee prints without spoiling them

Welcome to my blog, I am a professional cartoonist, illustrator, artist and writer. My site here is intended to promote a range of works that I think will look good on the wall. Included on my site is not just my own work, but some works by other artists whose work I love and hope to bring to a wider audience. I hope you enjoy your tour of my site and welcome any feedback. Prints are fulfilled by The Print Space for prints on paper, they are one of the UK's premier fine art print companies, and there is also the option of buying some images printed onto canvas, these are fulfilled by Printumo. All prints are available worldwide.

A good giclée print has already done the hard work: it has held the detail, colour and texture of the original image on a lovely quality paper. The frame is where it either settles confidently into a room or starts to look like something bought in a hurry. Learning how to frame giclée prints is less about following fussy rules than giving the image enough breathing room, keeping it protected, and choosing a finish that suits both the work and the wall.

Start with the print, not the room

It is tempting to begin with the colour of the sofa or the woodwork in the hall. Have a look at the print first. Is the image graphic and high contrast, as with a black and white drawing? Does it have the muted colour and texture of a Gloucestershire landscape? Or is it a photograph of a large Los Angeles advertising sign, where the scale, lettering and hard light are part of the appeal?

A clean, simple frame often gives a strong image the best chance. Black works particularly well with line drawings, charcoal and photographs with plenty of contrast. Natural oak can soften a rural scene or a painting of old industrial buildings, sheds and corrugated iron. A slim white frame is useful where you want the print itself to feel light and fresh, especially against a darker wall.

The aim is not to make the frame the star. It should give the picture a firm edge and make it look as though it belongs there.

Choose the right size and mount

The most common mistake is buying a frame that is exactly the same size as the printed image, then pressing it directly against the glass. It can work for a small, bold poster-style image, but fine art paper generally benefits from a mount. A mount creates a little visual space around the work and physically separates it from the glazing.

For a small print, a mount of around 40 to 50 mm can look generous without becoming too formal. Larger prints can take a wider mount, particularly if there is plenty of white space in the artwork already. There is no fixed rule, though. A tightly composed image of industrial metalwork may suit a narrow mount and a slim black frame, while a quieter River Severn scene might need more room around it.

If your print has a white border, decide whether you want to show it. Many artists allow for a border as part of the presentation, and it can look excellent beneath a larger mount. If the border is uneven because the print has been hand-trimmed, showing it can add a more relaxed, studio feel. If you prefer a neater finish, ask the framer to cover the border with the mount aperture.

Use materials that protect the paper

Giclée prints are usually made with archival inks and fine art paper, but that does not mean they are invincible. A cheap backing board or an acidic mount can gradually discolour the paper. It is worth asking for acid-free, conservation-quality mount board and backing board, particularly for a print you intend to keep on the wall for years.

The print should be attached with archival hinging tape along the top edge rather than glued all the way around. Paper expands and contracts a little as temperatures and humidity change. A proper hinge allows it to move naturally, while a fully glued print can cockle or wrinkle over time.

This is one place where a decent local framer earns their keep. You do not need a museum-level treatment for every picture in the house, but you do want materials that will not damage the artwork simply because they were the cheapest option.

Glass, acrylic and where the picture will hang

Standard glass is perfectly suitable for many rooms, but it reflects light. If the print is going opposite a window, beneath bright spotlights or in a conservatory-style space, reflections can make a good picture difficult to see. Non-reflective glass is worth considering for a favourite piece, although it costs more and can slightly soften the appearance of very detailed work.

UV-protective glazing is another sensible option for a bright room. Direct sunlight is hard on almost any artwork, including prints made with high-quality inks. The best protection remains simple placement: avoid hanging paper prints where strong sun hits them every afternoon, and keep them away from damp bathrooms, steamy kitchens and radiators.

Acrylic glazing is lighter and less likely to break, which can make it a good choice for a large frame or a home with young children. It does scratch more easily than glass and can carry a little static, so it is not always the first choice for every fine art paper print. Again, it depends on the piece and where it is going.

How to frame giclée prints for different styles of work

There is no single correct frame for every image. A charcoal drawing of a shed may look excellent in a narrow black frame with an off-white mount, allowing the marks and tonal range to do the talking. A colour painting inspired by the Gloucestershire countryside might suit pale oak or a painted wood frame that picks up the warmth without becoming rustic for the sake of it.

Images of old industrial buildings, corrugated iron and industrial metalwork can take something more direct. Black stained wood, dark grey, or a simple aluminium frame can echo their hard edges and weathered surfaces. These subjects have their own odd beauty: patched roofs, bent sheets of metal, rust, shadows and the accidental geometry of a working place. They do not need a decorative frame fighting for attention.

For photographs of Los Angeles signs and street scenes, think about scale. Large advertising signs have enough visual authority to carry a bigger frame, especially in a hallway or above a sofa. A slim black frame with a white mount keeps the presentation crisp. If you want a more contemporary, bold look, a larger print with no mount can work, provided there is a small gap between the print and glazing.

Canvas prints are a different proposition. They are usually ready to hang without glazing and often look best left that way, particularly for larger photographic images. A floating tray frame can add a more finished edge if you prefer it, but a canvas does not need to be treated like a paper print.

Frame for the wall you actually have

Before ordering anything, tape a rough paper outline to the wall. It is a very simple trick, but it helps you see whether the frame will feel too small above a sideboard or too heavy in a narrow space. A picture that looks substantial on a desk can disappear once it is above a large sofa.

For a group of prints, repeat one element rather than making every frame identical. You might use the same black frame with different mount widths, or mix oak and black while keeping the mounts the same off-white shade. Matching every detail can look overly tidy; giving the group one shared thread is usually enough.

New work is on the way too, including prints from recent paintings and charcoal drawings, a new collection of shed images, and work by Steve Parker. The subjects may vary, but the framing principle remains the same: choose materials that respect the print, then choose a frame that lets the image look good on the wall.