Framing Artwork on Paper: A Simple Five-Step Guide

For many artists, framing can feel like the insurmountable final hurdle. Glass, mats, backing boards, hardware… if you’re a first-time framer, it’s enough to make the brain hurt. But the truth is, learning how to frame artwork on paper doesn’t have to be complicated. With a few key materials and some simple steps, anyone can do it.

For more than 16 years, Opus Custom Services Manager Trevor Code has been helping artists navigate the world of framing. Passionate about education for both staff and customers, he focuses on practical approaches to preservation and conservation.

In this article, we turn to Trevor and his expertise to help demystify the process.

“Framing artwork isn’t a commonly shared experience, so new framers sometimes worry they’ll do something wrong," he says. "But precision isn’t necessary to have a good frame. The best archival practices are reversible, so you can always make adjustments later."

In other words: it’s okay to approach framing as part of the creative process.

Works on paper — drawings, watercolours, prints, and photographs — benefit enormously from framing. Not only does it present the work beautifully, it also protects it from the everyday forces that can gradually damage paper over time.

‘Paper is a receptive surface,’ Trevor explains. ‘It will always receive new information: moisture in the air, dust, dirt, oils from being touched, and even insects that are attracted to the starches used to make paper. Framing behind glass helps protect your artwork from many of these risks.’

In this guide, How to Frame Artwork on Paper, we’ll walk through the key decisions and simple steps involved in framing artwork on paper.

Before getting started, gather a few basic materials:

• A frame (readymade or custom)

• Glass or acrylic glazing

• A mat or spacer (optional, depending on your framing style)

• Backing board (acid-free recommended)

• Mounting materials such as photo corners, archival strips, or acid-free tape

• Scissors or a box-cutter to cut tape

• Hanging hardware

Having everything ready before you begin helps the process go smoothly.

Before assembling a frame, it helps to decide how the artwork will sit inside it. There are a few common approaches, each creating a slightly different look.

A mat (or mat board) creates a border around the artwork by cutting a window slightly smaller than the paper.

This is one of the most traditional and versatile framing approaches. The mat separates the artwork from the glass while adding visual breathing room around the image.

Mat windows can also help solve practical challenges.

‘Custom mats are a great way to make artwork fit into a frame when the sizes don’t match,’ Trevor explains. ‘They can also conceal small areas of damage or crop an image without permanently altering the artwork’

In edge-to-edge framing, the artwork fills the entire visible space of the frame.

This approach creates a clean, minimal look and works well for photographs, graphic prints, or pieces where the image extends fully to the edges.

If you choose this path, Trevor suggests considering spacers.

‘A spacer provides the function of a mat but stays hidden beneath the overlap of the frame,’ he says. ‘Without one, the artwork will sit directly against the glass.’

Float mounting allows the entire sheet of paper, including its edges, to remain visible.

This technique is often used when the paper itself is part of the artwork, such as handmade sheets, deckled edges, or pieces where signatures or marks appear near the edge.

Once you’ve chosen your framing approach, the next step is to secure the artwork inside the frame. The goal is to hold the artwork safely in place while allowing the paper to naturally expand and contract with changes in temperature and humidity. 

Several archival mounting methods are available, including photo corners, mounting strips and archival tape. One of the most common and effective techniques is the T-hinge.

Photo corners or archival mounting strips are another easy option. These hold the artwork in place without adhesive touching the art itself, making them a great choice for photographs, prints or delicate pieces. 

Float mounting allows the entire sheet of paper to remain visible, including the edges. To achieve this effect, the artwork is typically hinged from the top onto a slightly smaller backing board. This raises the artwork slightly within the frame, creating the floating effect. 

This technique works really well for artworks with deckled edges, textured papers, or signatures close to the edge. 

As a general rule, it’s best to avoid letting artwork sit directly against the glazing.

Over time, glossy photos, prints, and certain paints can stick to the glazing surface. In humid environments, moisture can also become trapped between the artwork and the glazing, leaving marks or causing the image to adhere to the surface. This can happen with both glass and acrylic (plexi), although acrylic is slightly less prone to sticking.

A mat window or spacer creates a small air gap that helps prevent this.

The backing board supports the artwork and helps protect it from damage.

When framing, it’s important to think about what materials come into direct contact with the artwork. Acid-free or cotton materials are ideal. Common options include:

• acid-free mat board

• foam board

• archival paper backing

• inert plastic boards such as coroplast

Trevor advises avoiding cardboard or wood-based boards. "The lignin in those materials will gradually yellow paper and make it brittle over time", he explains.

Some framers choose to seal the back of the frame with backing paper.

Trevor notes that this step is optional and often comes down to personal preference.

‘Backing paper can help prevent insects like silverfish or moths from entering the frame,’ he says. ‘Some framers also place a small silica packet inside to help control moisture.’

Others prefer to leave the back open so the frame can be easily accessed if adjustments are needed later.

When attaching hanging hardware, consider both the weight of the frame and where it will be displayed. Larger frames benefit from stronger hangers with multiple screws, while very heavy frames may require specialized solutions such as French cleats.

Choosing hardware that matches the frame’s size and weight helps ensure the artwork hangs safely.

Common Framing Mistakes to Avoid

Even experienced framers make small mistakes. Fortunately, most are easy to avoid.

Trevor sees a few common issues:

• Cutting mat windows too large

  ‘You’re not framing an 8 × 10. You’re framing for an 8 × 10,’ he explains. A mat window should be slightly smaller than the artwork so the edges remain hidden, (for example 7.75 x 9.75 is a great window size for an 8 x 10).
  
  

• Using too much tape

  Securing the artwork on all sides can prevent the paper from expanding naturally, causing it to buckle.
  
  

• Making permanent changes to the artwork

  If possible, avoid trimming or altering original works on paper.
  
  

• Over-complicating measurements

  ‘Accuracy is helpful,’ Trevor says, ‘but try not to get too precise. Framing should feel like an extension of the creative process, not a stressful exercise in measurements.’

For Trevor, helping artists gain confidence with framing is one of the most rewarding parts of the job. ‘The pride that people display when they see their finished frame is so rewarding,’ he says. 

Framing is often the final step that brings a piece together, protecting the work while giving it a polished, gallery-ready presentation. If you’re ready to frame your own art, visit your local Opus store to explore readymade frames and materials, or speak with one of our knowledgeable staff members. They’re always happy to help guide you through the process.