Presenting a fine art print is an entire topic in its own right, with many details beyond the scope of this brief write-up. If you intend to present your print in a frame, your framer will be your most comprehensive resource on how your print will be safely displayed and protected. For this reason, we suggest working with a reputable custom framer if at all possible, and following their recommendations.
Every frame, portfolio box or print album has its own style and material considerations, and each presentation will be unique to the print. However, there are some general points to consider.
- Don’t place the print in direct contact with non-acid-free or non-archival materials. This includes standard paper, cardboard, chipboard or hardboard backing materials, cheap matboards, many tapes and glues, stickers, many types of varnishes and paints, MDF, and wood. That’s right, bare wood such as used in frames is not acid-free! Many of these materials pose risks not only when in direct contact with your print, but they can also off-gas chemicals that may leach into and damage the print. For every type of potentially damaging material used in print presentation, there are safe, archival materials that can be used instead such as acid-free matboards, acid-free hinge tape, archival framing and frame-sealing tape, etc.
- Protect the print from any natural or artificial lighting that is a strong source of UV. Your fine art print is made with high-quality paper and long-lasting pigment inks. However, exposure to UV light over time is one of the surest ways to kill a print. Display the print with some combination of UV-blocking spray coating, laminate, glass or plexiglass.
- If a print has been newly made, allow it to air out before placing it under glass. There is residual moisture in the ink that must off-gas before the print is sealed, or the off-gassing will condense on the inside of the glass over time, forming a thin haze. Allow at least 72 hours for airing out.
- If the print must be flat for presentation, one technique is to dry mount it to a backing board. Avoid liquid adhesives, as they may damage the paper or ink. The safest approach is to use a dry mounting technique with acid-free boards and archival adhesives. Just consider that dry mounting normally isn’t a reversible process; once the print is bonded to a board, it’s usually on there forever.
- If dry mounting isn’t an option, the print can be carefully flattened in a heat press or by leaving it for some time under a smooth board, or a sheet of glass or plexiglass.
- Avoid presenting the print in spaces where it may be exposed to dust, dirt, humidity, liquids, rough contact, air-based pollutants, or other chemicals or contamination. If a print must be displayed in such a place, there are ways to protect it, but the risk still will be higher.
Framing and presenting works of art, including fine art prints, is an art form of its own. Regardless of how you choose to present your print, you will get the best results by choosing a method that will also offer some protection.
A hard copy of this document, along with our “Safe Print Handling” and “Safe Print Storage” guides, is included in every package we ship from the studio. We would also be happy to discuss how you intend to display your print in the studio when you collect it.
For our Calgary-area clients, we can refer you to several local framers who we regularly work with. If you have a framer you prefer to work with, in Calgary or elsewhere, we are always happy to communicate directly with the person who will be framing your print to confirm any necessary print specifications, such as paper coatings, borders and cut-away margins, mounting processes and any other material or handling considerations.
Royce Howland Print Studio 