The Ultimate Guide to Matting and Mounting for Picture Framing

Matting and mounting are important parts of a well-designed picture frame. They affect how the artwork is presented, how it is separated from the glazing, and how securely it is supported inside the frame.

The appropriate mat and mounting method depend on the artwork’s material, condition, size, value, and intended presentation.

At AUM Framing & Gallery, matting and mounting materials are selected according to the requirements of the artwork or object. Conservation-oriented projects may involve acid-free materials, lignin-free materials, cotton-rag mats, archival mounting, and reversible mounting methods.

What Is Matting in Picture Framing?

A mat is a board or layered framing element placed around or in front of artwork inside the frame. It creates visual separation between the artwork and the moulding while helping establish the proportions and structure of the finished presentation.

Matting may create visual breathing room, emphasize the artwork, add depth, separate multiple elements, coordinate the artwork with the frame moulding, and support conservation requirements.

A mat may be simple and understated or may include multiple layers and design elements. The colour, texture, thickness, and arrangement should support the artwork rather than compete with it.

Why Is Matting Used in Picture Framing?

Matting provides both a visual and functional transition between the artwork and the frame. Without that separation, artwork may appear crowded by the moulding or sit too close to the glazing.

Matting can create breathing room around the artwork and help direct attention toward the image. It can also provide space between the artwork and the glass or acrylic.

The correct mat design depends on the artwork’s proportions, the frame’s scale, the desired appearance, and the level of protection required.

What Are the Main Types of Picture-Framing Mats?

Picture-framing mats may differ in their material, colour, thickness, texture, and arrangement. Common approaches include single-mat presentations, multiple-mat presentations, layered mat arrangements, acid-free mats, lignin-free mats, cotton-rag mats, and conservation-oriented mats.

The material should be selected according to the artwork and the level of preservation required, not simply according to its colour or appearance.

What Is an Acid-Free Mat?

An acid-free mat is made or treated to reduce acidic content. This is important because acidic materials can contribute to discolouration and deterioration when they remain in contact with artwork over long periods.

Acid-free mats may be considered for original artwork, photographs, posters, limited editions, documents, certificates, paper artwork, and collectible materials.

What Is a Lignin-Free Mat?

Lignin is a naturally occurring component of wood pulp. As lignin-containing materials age, they can contribute to yellowing and deterioration.

Lignin-free mats eliminate lignin as a potential source of long-term discolouration. They are often preferred for conservation applications involving artwork and other materials that require a higher level of preservation.

What Is a Cotton-Rag Mat?

A cotton-rag mat is made from cotton fibres rather than wood pulp. Cotton-rag mats are valued for their stability and are commonly used when a higher level of conservation protection is appropriate.

Cotton-rag mats may be appropriate for original artwork, fine art, important photographs, limited editions, historical documents, collectible posters, and artwork requiring archival presentation.

The broader relationship between matting, glazing, mounting, and preservation is explained in AUM’s art preservation guide.

What Is Archival Mounting?

Archival mounting uses materials and methods selected to secure artwork while minimizing the risk of damage.

For paper artwork, archival mounting may be designed to remain fully reversible. This is particularly important for original artwork, limited editions, concert posters, photographs, and other materials that may be affected by adhesives, pressure, light, or contact with glass.

Archival mounting materials may be acid-free, lignin-free, cotton-based, reversible, and selected according to the artwork’s specific requirements.

What Is Reversible Mounting?

Reversible mounting is designed so the artwork can be separated from the mounting materials without permanently altering it.

Reversibility may be especially important for original artwork, historic materials, limited editions, photographs, posters, and other collectible pieces. The goal is to secure the artwork while reducing the risk associated with permanent adhesives or methods that cannot be removed safely.

How Does Matting Help Protect Artwork?

A mat can help create separation between artwork and glazing. This is important because paper, photographs, and other materials may be affected by direct contact with glass or acrylic.

Matting may also help provide structure around the artwork and keep it properly positioned within the frame. When combined with appropriate mounting materials and glazing, it becomes part of a complete conservation-oriented framing system.

For more information about glazing choices, see the guide to glass and glazing for picture framing.

How Are Photographs and Posters Mounted?

Photographs and posters can be vulnerable to fading, yellowing, warping, and damage from handling. Their framing should account for the material’s condition and the level of preservation required.

Conservation-oriented framing may include acid-free mats, lignin-free materials, cotton-rag mats, archival mounting, reversible mounting techniques, and UV-protective glazing.

AUM provides specialized concert poster framing for paper artwork that may require careful matting, mounting, and glazing decisions.

How Are Multiple Pieces Mounted in One Frame?

Multiple elements may be arranged within one frame using a customized mat and mounting design. The arrangement may be used for photographs, documents, certificates, memorabilia, or other related pieces.

The design must provide enough separation between the individual elements while keeping the overall presentation balanced. Each piece may also require its own mounting considerations depending on its material and condition.

AUM also provides diploma and certificate framing for documents and related materials.

How Are Three-Dimensional Objects Mounted?

Three-dimensional objects cannot always be mounted like flat paper artwork. They may require specialized mounts, additional depth, shadow-box construction, or other display methods.

The mounting system must support the object securely without damaging it or obscuring its important details.

See the guide to specialty picture-framing projects for more information about objects, memorabilia, collections, and display cases.

Matting and Mounting Frequently Asked Questions

What is matting in picture framing?

Matting is the use of a board or layered framing element around or in front of artwork. It creates visual separation, adds structure, and may help keep the artwork away from the glazing.

What is mounting in picture framing?

Mounting is the method used to secure artwork or an object inside the frame. The appropriate method depends on the material, condition, size, and intended presentation.

What is archival mounting?

Archival mounting uses materials and methods selected to secure artwork while minimizing the risk of damage. It may involve acid-free, lignin-free, cotton-based, or reversible materials.

Does a mat protect artwork from the glass?

A mat can help create separation between artwork and glazing. The complete level of protection also depends on the mounting method, backing, glazing, frame construction, and display environment.

Summary

Matting and mounting are essential parts of a complete picture-framing system. Matting creates visual separation, adds structure, and may help keep artwork away from the glazing. Mounting secures the artwork or object inside the frame.

Acid-free materials, lignin-free materials, cotton-rag mats, archival mounting, and reversible mounting may be appropriate for conservation-oriented framing. The correct combination depends on the artwork or object rather than on a single universal formula.