Best Mats and Mounts for Art Prints and Preservation

What is the functional difference between archival-quality and standard mat boards?

Archival-quality boards are buffered with calcium carbonate to neutralize atmospheric acids, whereas standard boards contain lignin that breaks down into acidic compounds over time. This chemical stability prevents the yellowing and brittleness that eventually destroy paper fibers.

Select archival materials when the print’s replacement value exceeds the cost of the framing materials.

How do you determine the appropriate width for a mat border based on the size of the artwork?

The ideal mat width creates a visual frame that guides the eye toward the print without overpowering the composition.

1. Measure the shortest side of the print and add 4 to 6 inches to determine the total width of the mat board.
2. Divide the total width by two to find the border size for smaller prints under 11 by 14 inches.
3. Increase the border width by 0.5 inches for every 5 inches of growth in the print's dimensions to maintain visual balance.
4. Use a wider bottom border, often 0.5 to 1 inch larger than the top and sides, to counteract the optical illusion of the print appearing to sag.
5. Test proportions by laying the print on a large sheet of paper before cutting the final board.

What are the primary aesthetic benefits of using a double mat versus a single mat?

A double mat adds a secondary accent color or depth to the presentation, effectively creating a visual bridge between the artwork and the frame. It provides a sense of luxury and focus that a single mat cannot achieve.

Use the inner mat to pull a subtle highlight color from the print to unify the overall display.

Which mounting techniques are considered best practice for preserving the long-term value of a print?

Archival mounting techniques prioritize the physical integrity of the print by avoiding direct contact with permanent adhesives.

• Polyester corners: These clear, inert pockets hold the print in place using only gravity and friction, allowing for complete removal at any time.
• Japanese paper hinges: A starch-based wheat paste creates a flexible bond that is easily reversed with water, ensuring no residue remains on the original paper.
• T-hinge method: This technique secures the print to the backing board at only the top edge, permitting the paper to expand and contract with humidity changes without buckling.
• Buffered backing: Placing a sheet of acid-free barrier paper behind the print prevents contaminants from the frame backing from migrating into the artwork.

How does the choice of mat color influence the visual perception of a print's color palette?

Mat color acts as a frame for the eye, shifting the perceived temperature and contrast of the artwork. A warm cream mat can draw out the golden undertones in a sepia-toned print, making the image feel more cohesive and inviting. Conversely, a stark white mat creates high contrast, which often makes the darkest areas of a print appear deeper and more intense.

A common nuance involves the relationship between the mat and the paper stock. If a print is on a cool-toned, bright white paper, a warm-toned mat may make the print look unintentionally yellow or aged. The exception occurs when a deliberate contrast is desired to highlight a specific color palette, such as using a dark grey mat to make muted blues or greens in a watercolor painting appear more vibrant.

What are the specific advantages of using acid-free mounting corners compared to adhesive tapes?

Mounting corners are superior because they require no adhesives to touch the print, eliminating the risk of chemical staining or fiber damage. They are the only choice for high-value items where the secondary market value depends on the print remaining in its original, unaltered condition. A lot of people assume that corners are less secure than tape, but if the mat is properly fitted and the frame is sealed, the pressure of the glazing keeps the print firmly in place without the need for glue.

In what scenarios should a spacer be used instead of a traditional mat board?

Yes, spacers should be used for large-scale prints or works with heavy impasto where the artwork might touch the glass. A spacer creates a 0.125 to 0.25 inch gap between the glazing and the print, which prevents the paper from sticking to the glass due to condensation or humidity.

How should one decide between a bright white, off-white, or black mat for a black-and-white photograph?

The choice of mat color for black-and-white photography dictates the overall mood and tonal range of the finished display.

• Bright white: This provides the highest possible contrast, which is ideal for high-key images or modern prints with deep, rich blacks.
• Off-white: This softer tone mimics the look of vintage paper, which is helpful for warming up cool-toned silver gelatin prints.
• Black: This choice minimizes distractions and forces the viewer to focus entirely on the mid-tones and highlights within the photograph.
• Neutral grey: This acts as a bridge for prints with a wide range of greys, preventing the mat from appearing too stark or too yellow.