Buying an art print is only the beginning.
Once it arrives, there's the rather enjoyable question of how you're going to live with it: which wall, which frame, whether to use a mount, what colour frame will work with your room, and how much you want to spend.
When I created the Jo Burt Art print range, I wanted to make that part as straightforward as possible.
That's why I specifically chose standard paper sizes that fit readily available frames.
You shouldn't have to spend more on framing than you did on the artwork itself.
Start with the paper size
When you look at a Jo Burt Art print, you'll see two measurements listed in the product description.
Artwork size
This is the size of the actual image.
Paper size
This is the total size of the sheet the artwork is printed on, including any surrounding white space.
When you're buying a frame, it's the paper size you need to match.
For example, if your product description says the paper size is A3, look for an A3 frame. If it says 500 × 700 mm, look for a frame designed for a 500 × 700 mm artwork.
Standard sizes are widely available, including A4, A3, A2 and a range of common photographic and poster dimensions. This is one of the reasons standardised print sizes can make framing considerably more affordable.
Why I chose standard sizes
As a designer, I'm very aware of what happens when something is designed to a non-standard size.
Suddenly you need a custom solution.
And when it comes to framing, customisation can quickly increase the cost.
I wanted the Jo Burt Art prints to be accessible, so I deliberately selected dimensions that work with frames that you can buy online or in-store.
That means you have choices.
You can find an inexpensive ready-made frame and have your artwork on the wall quickly.
Or you can take the print to a professional framer and create something much more bespoke.
Neither approach is wrong.
The simplest option: a ready-made frame
If your print is a standard size, a ready-made frame can be an easy and cost-effective solution.
You can find frames in common sizes from framing stores, homewares retailers and online suppliers.
This can be particularly appealing if you're framing several artworks or creating a gallery wall.
You might choose identical frames for a cohesive collection, or deliberately mix timber, black, white or natural finishes.
The frame becomes part of the interior rather than simply something that holds the artwork.
The option I'd recommend: visit a professional framer
If the artwork is particularly special to you, I'd recommend taking it to a professional framer.
A good framer can do much more than put your print into a frame.
They can help you consider:
- the frame profile
- timber or painted finishes
- whether to use a mount
- the colour and width of the mount
- glazing
- UV protection
- how the artwork should be attached
- how the finished piece will work in your room
They can also make sure the print is fitted properly and presented safely.
The Picture Framers Guild of Australia recognises different levels of framing, from basic ready-made framing through to conservation framing for more valuable or significant works.
For me, this is where framing becomes particularly interesting.
There isn't one correct frame for an artwork.
The same print can feel completely different in a fine timber frame with a generous mount compared with a simple black frame with a narrow border.
What about mounting or matting?
A mount, sometimes called a mat, is the board surrounding the artwork inside the frame.
It can give the artwork more breathing room and create a visual separation between the image and the frame.
Whether you use one is entirely a matter of taste.
Some of my artworks can work beautifully with a generous white mount, while others may suit a simpler presentation where the artwork fills more of the frame.
A professional framer can show you different options before you decide.
Don't forget the glass
The glazing is another important consideration.
A basic ready-made frame will generally come with standard clear glazing, which is perfectly reasonable for many situations.
However, if you're looking to protect your print for the long term, it is worth asking a framer about UV-filtering glazing.
Ultraviolet radiation can contribute to fading and deterioration of paper and colourants. UV-filtering glass or acrylic can reduce the amount of UV reaching the artwork, although no glazing completely eliminates the effects of light.
There are also anti-reflective and conservation glazing options available.
These can be particularly worthwhile when:
- the artwork is displayed in a bright room
- there are windows opposite the artwork
- reflections would be distracting
- you've invested in custom framing
- the artwork has particular sentimental or collectible value
A professional framer can recommend the appropriate option for your circumstances.
Is UV glass necessary?
Not necessarily.
I wouldn't want you to think you must spend a fortune on framing every Jo Burt Art print.
One of the reasons I chose standard sizes was to give you the freedom to decide how much you want to invest in the finished piece.
A simple ready-made frame can look fantastic.
If you're creating a long-term collection, displaying the artwork somewhere bright, or simply want the best possible protection, then upgrading the glazing is worth considering.
It's about finding the right balance between presentation, protection and budget.
Think about where the artwork will live
Before choosing your frame, think about the room.
Look at:
The wall colour
A white or pale mount can create separation from a coloured wall.
The furniture
A timber frame can echo natural timber elsewhere in the room.
The light
If the artwork is opposite a window, consider reflections and UV exposure.
The other artwork
If you're creating a gallery wall, consistency between frames can make several different artworks feel like a collection.
The scale
A larger artwork can often benefit from a more substantial frame or mount, while a small work may suit something lighter.
You don't have to frame everything the same way
One of the things I like about collecting art is that your home doesn't have to look like a gallery.
You might have one work in a simple black frame, another in natural timber and another with a generous white mount.
The frame can respond to the artwork and the room.
There are no rules saying every piece has to be treated identically.
My aim was to make framing easier
When I designed the Jo Burt Art print range, I made a conscious decision to work backwards from the person eventually living with the artwork.
I wanted the print to be beautiful and professionally produced, but I also wanted the practical part to be straightforward.
Choose your artwork.
Check the paper size in the product description.
Find a frame in that size.
Or take it to a professional framer and create something made specifically for your home.
That's it.
You don't need to commission an expensive custom frame simply because you've bought an art print.
And if you do decide to invest in professional framing, you have the opportunity to make the finished piece something really special.
One final tip
When your print arrives, don't feel pressured to frame it immediately.
Take it into the room where you intend to hang it.
Look at it against the wall.
Consider the colours around it.
Try a few frame styles if you can.
And if you're unsure, take the print to a professional framer. They'll be able to look at the actual artwork, rather than a photograph on a screen, and help you find a combination of frame, mount and glazing that suits both the artwork and your home.
The print is ready to frame.
How you frame it is where you get to make it yours.