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Framing
A Choose Your Own Adventure Guide
Only Two Rules To Follow
#1 The frame choice has to make the work of art look attractive to whomever is viewing it. Do it right, and a great frame will enhance the appearance of your wall art and the room it is in.
#2 Be aware of the materials to avoid that may damage the print over time (more on that below).
This guide provides specifications for frame dimensions, archival materials, and preservation techniques—the same standards used by institutions that preserve works for centuries. We also cover mat customization, mounting options, and when to deviate from standard approaches. Only 18 prints exist of each in the Rebel genesis collection. Frame accordingly. But let's be clear, your wall, your adventure.
Print Sizes & Frame Dimensions
Each Rebel print ships in one of four square formats (at least for the Genesis Collection). The table below calculates outer frame dimensions using industry-standard specifications (Imperial is still the default language of frames. Metric is the language of everything else): 1.5″ mat border + 2″ frame border per side, adding exactly 7″ to each dimension.
| Collection Tier | Print Size | Mat Border | Frame Border | Outer Dimensions |
|---|---|---|---|---|
| Rebel |
40 × 40″ 101.6 × 101.6 cm |
1.5″ per side | 2″ per side |
47 × 47″ 119.4 × 119.4 cm |
| Gallery |
36 × 36″ 91.4 × 91.4 cm |
1.5″ per side | 2″ per side |
43 × 43″ 109.2 × 109.2 cm |
| Medium |
30 × 30″ 76.2 × 76.2 cm |
1.5″ per side | 2″ per side |
37 × 37″ 94.0 × 94.0 cm |
| Small |
24 × 24″ 60.96 × 60.96 cm |
1.5″ per side | 2″ per side |
31 × 31″ 78.7 × 78.7 cm |
Mat Customization
The standard 1.5″ mat provides balanced proportions across all sizes. But matting is where you control visual impact—and there's room for deviation if you understand the rules.
Mat Width Variations
Wider mats (2-3″): Amplify presence of smaller works. A 24×24″ print in a 3″ mat becomes 30×30″ framed—commanding more wall space without overwhelming the composition.
Narrower mats (0.75-1″): Maximize artwork dominance. Use when the print itself carries sufficient visual weight and narrow borders won't appear cheap.
Recalculate outer dimensions accordingly. A 40×40″ print with 3″ mat + 2″ frame = 50×50″ outer.
Bottom-Weighted Mats
Classic gallery technique: add 0.5-1″ extra mat width to the bottom margin only. Creates visual stability—the eye perceives the work as properly centered even when it's positioned higher in the frame.
Example: 1.5″ top/sides, 2″ bottom. Subtle but effective for traditionally framed works.
Mat Color Selection
White/Ivory (default): Neutral. Safe. Works universally. Ivory adds warmth without sacrificing the clean aesthetic.
Pulled from artwork: Echo a color present in the print for cohesion. Effective when done with restraint—match secondary tones, not dominant ones.
Deep brown/charcoal: Dramatic. Creates visual depth. Best for high-contrast works or moody compositions.
Avoid: Patterned or hand-painted mats. Gimmicky. The art is the statement.
Frameless Edge-to-Edge
No mat. No visible frame edges. Print dimensions = outer dimensions. Often works for postcards, posters and reproductions you're willing to trim. We have seen this done successfully with a Rebel print.
A mat offers the benefit from breathing room and prevents direct contact with glazing, reduce humidity damage, and provides professional presentation standards.
Advanced Mounting Techniques
Shadowbox Floating
Suspend the print above the mat using foam-core spacers. Creates 3D depth. Exposes paper edges—ideal when edges show deckle, wear, or distinctive characteristics worth displaying.
Requires deeper frame (1-2″ depth). Professional framers use archival mounting corners or hinges to suspend work without adhesive contact. Result: museum-quality presentation with dimensional interest.
Appropriate for: Works where raw edges contribute to aesthetic. Hand-torn paper. Vintage prints with aged borders. Contemporary works intended for floating display.
Glass Sandwich (Floating Illusion)
Two sheets of glass with artwork suspended between—no physical mat. Space between print and frame creates transparent border effect.
Use case: Often for smaller and double-sided works (postcards with handwritten messages, Japanese woodblock prints), or installations where you want wallpaper/wall color visible through frame borders.
Limitation: No UV protection from matting material. Requires UV-filtering glass on both sides. More expensive. Heavier. Increases breakage risk during shipping/moving.
Frame Selection
Our Recommendation
- Profile: Thin matte-black or matte-white. 1.5-2″ width. Clean lines. Zero ornamentation. Frame serves the art—not the other way around.
- Material: Solid wood or metal. Avoid hollow aluminum or plastic composite—structural integrity matters for large formats.
- Finish Quality: Consistent surface. No visible seams at mitered corners. If choosing antique frames, ensure structural soundness and corner reinforcement.
Preservation Standards
These are the minimum requirements to preserve museum-quality prints not really suggestions.
Archival Matting
Acid-free backing boards mandatory. Standard paper-based mats contain acids that yellow prints within years. Archival materials prevent chemical degradation indefinitely.
UV-Filtering Glazing
Museum-grade glass or acrylic blocking 97-99% UV rays. Standard glass offers zero protection. UV damage is cumulative and irreversible—fading begins immediately upon light exposure. Non-negotiable for any room with windows.
Conservation Mounting
Reversible corner mounts or archival hinges only. Never permanent adhesive. Never heat mounting. Never spray adhesive. Prints expand/contract with humidity—improper mounting causes buckling, cockling, permanent distortion.
For shadowbox floating: archival corners or Japanese paper hinges. For standard matting: T-hinges at top edge only, allowing natural movement.
Structural Integrity
Large-format prints (30″+) may require cross-braced frames and reinforced backing. Professional wire or D-ring hardware rated for actual weight plus 50% safety margin. Ask your framer at these sizes as they will guide you best.
What Not To Do
Some framing "shortcuts" are appropriate for disposable posters. They are not appropriate for limited-edition prints that cost hundreds to thousands of dollars.
Don't skip the frame entirely. Pinning prints to walls with thumbtacks, binder clips, or wooden tapestry hangers is fine for street finds and $20 posters. It's unacceptable for museum-quality giclée prints engineered for longevity. The paper edges will deteriorate. Humidity fluctuations will cause warping. UV exposure will fade the image.
Don't use non-archival materials to save money. Standard mats, cardboard backing, and regular glass defeat the purpose of buying archival prints. If budget is constrained, delay framing until you can afford proper materials—or frame smaller sizes first and scale up as budget allows.
Don't frame without UV protection. "I don't have windows in that room" isn't sufficient. Ambient light contains UV. Overhead lighting contains UV. Over years, even low levels cause irreversible fading. UV-filtering glazing is mandatory.
Merlin Frame Maker
For buyers in Singapore after you get your Rebel print
Established in 1942—older than modern Singapore itself—Merlin is one of the island's largest custom frame makers. Three generations of craftsmen have served collectors, galleries, and museums with museum-quality conservation framing and hand-made frames. We work with the expert staff at their River Valley outlet but go for what works for you.
River Valley • Waterloo Centre • Paragon Orchard
We receive no commission. The link measures referral traffic only. Good work deserves recognition. If you made this this far and don't yet have a Rebel print, head to the Shop.