How to Frame and Display Woodcut Prints: A Step-by-Step Guide

Quick answer

Frame woodcut prints with an acid-free mat, UV-filtering glazing, and a rigid backing board, then hang them out of direct sunlight at eye level. The mat keeps the paper from touching the glass, and UV glazing slows the fading that light causes. If you want to skip custom framing, choose a standard-size print and use an off-the-shelf frame with a pre-cut mat.

Woodcut prints are made for display. Their bold carved lines and flat ink areas hold up well across a room, and the paper itself is usually sturdy enough to frame without extra fuss. The risk is not the print; it is the framing choices around it. Glass touching the surface, acidic boards, and a sunny wall can all quietly shorten the life of a print you meant to keep.

This guide walks through the process in order, from measuring the sheet to hanging the frame. Along the way it flags the mistakes that cause wavy paper, faded ink, and prints that never quite sit straight. If your print is a screenprint rather than a woodcut, the same steps apply, and the Starfangled Press prints referenced below give you concrete examples of sizes and papers to plan around.

Measure the sheet, not the image

Start by measuring the full paper size, including any margins, because that is what the frame and mat must accommodate. A print listed as 14" x 11" needs a frame opening that fits the sheet, not just the carved area. Write down the width and height in inches and note whether the edges are deckled or trimmed square; deckled edges need a slightly larger mat opening so the irregular edge is not crushed.

If you plan to use a pre-cut mat, match it to the paper size rather than the image size. A mat with a 10" x 8" opening will crop a 14" x 11" sheet. Measure twice, then check the frame's rabbet depth, which is the recess that holds the glass, mat, and backing. A stack that is too thick will not seat properly.

• Record paper size, image size, and any signature or blind impression location before you shop for a frame.
• Check whether the print is signed or numbered near the bottom edge; the mat should not cover that mark.

Choose acid-free mat and backing materials

Use an acid-free or conservation-grade mat and backing board. Standard cardboard and some inexpensive mat boards contain lignin and acids that migrate into paper over time, causing yellowing and brittle edges. A conservation mat costs more, but for a print you intend to keep for years, it is the single most important upgrade after UV glazing.

The mat also serves a physical purpose: it creates a gap between the print and the glass. Without that gap, condensation and surface contact can transfer ink or leave marks. If you prefer a frameless look, use a spacer instead of a mat, but do not let the glass rest directly on the print.

• Ask for mat board labeled acid-free, buffered, or conservation grade.
• Avoid mounting the print permanently with spray adhesive or dry-mount tissue unless you accept that it cannot be removed.

Attach the print without damaging it

The safest attachment is a hinge method: two small pieces of Japanese paper or linen tape attached to the top edge of the print and the backing board, forming a hinge that lets the paper expand and contract with humidity. Use starch paste or a reversible tape, and keep the hinges on the back of the print, never across the front. A single top hinge or two top hinges are enough; the print should hang from them, not be pinned on all four sides.

If you are framing a lower-cost print and do not mind a less reversible approach, photo corners are an option because they hold the corners without adhesive touching the paper. Either way, avoid tape on the front of the print, and avoid pressing the print flat with heavy weights, which can flatten the texture that makes a woodcut or screenprint feel like an object.

• Test the hinge placement on a scrap of similar paper first.
• Do not trim the print to fit a frame; choose a frame that fits the print.

Pick glazing and a frame that suit the print

Glass and acrylic both work. Acrylic is lighter and safer for large frames, but it scratches more easily and can carry a static charge that attracts dust. Glass is heavier and can break in transit, but it is more scratch-resistant. For either, choose UV-filtering glazing if the print will be in a room with daylight. UV glazing does not stop fading entirely, but it slows it considerably.

Frame style is a judgment call. A simple black or natural wood frame lets the carved lines lead, while a wide mat gives a small print more presence. If the print has a strong color like the deep blues of a night landscape, a neutral frame keeps the focus on the image. If you are framing several prints together, keep the frame and mat consistent so the group reads as one arrangement.

• For large prints, acrylic glazing reduces the weight and the risk of breakage.
• Use a mat width of at least 2 inches for small prints so the artwork does not feel cramped.

Hang it out of direct light and at eye level

Hang the framed print so the center of the image sits around 57 to 60 inches from the floor, which is roughly eye level for most adults. Use two hooks rather than one for anything wider than about 12 inches, and make sure both hooks are anchored into studs or use appropriate wall anchors. Two hooks keep the frame from tilting and distribute the weight.

Light matters as much as height. Direct sunlight and strong fluorescent light are the main causes of fading, so avoid a south- or west-facing wall that gets hours of direct sun. If the spot you love is bright, UV glazing and a rotation schedule, moving the print to a dimmer wall for part of the year, will help. Keep frames away from humid rooms like bathrooms and from heat sources like radiators.

• Use picture-hanging hooks rated for more than the frame's weight.
• Leave a small gap between the frame and the wall for air circulation.

Maintain the frame and the print

Dust the frame with a dry microfiber cloth and avoid spraying cleaner directly onto the glazing; spray the cloth instead. If dust gets behind the glass, do not open the frame casually. Take it to a framer or work on a clean surface with clean hands, because trapped debris and fingerprints are hard to remove later. Check the hanging hardware once a year and tighten any loose screws.

If you rotate prints seasonally, store the ones not on display flat, between acid-free boards, in a cool, dry place. Do not store them upright in a closet where they can slump, and do not stack heavy objects on top. A print that is framed well and stored well can stay in good condition for decades.

• Clean glazing with a lint-free cloth, not paper towels, which can scratch acrylic.
• Store unframed prints flat and away from damp basements or hot attics.

Framing steps at a glance

1. Measure the full sheet: Record paper width and height, plus the location of any signature or blind impression, before buying a frame or mat. Checkpoint: the mat opening must be larger than the image but smaller than the paper.
2. Choose acid-free mat and backing: Select a conservation-grade mat and backing board so acids do not migrate into the paper over time. Checkpoint: if the mat is not labeled acid-free, do not use it for a print you want to keep.
3. Hinge the print, do not glue it: Attach the top edge with reversible Japanese paper hinges or use photo corners, keeping adhesive off the front. Checkpoint: the print should hang from the hinges, not be pinned flat on all sides.
4. Add glazing with a gap: Use UV-filtering glass or acrylic, and make sure the mat or a spacer keeps the glazing off the print surface. Checkpoint: glass touching the ink can cause marks and condensation damage.
5. Hang at eye level, out of direct sun: Center the image around 57 to 60 inches from the floor, use two hooks for wider frames, and avoid direct sunlight. Checkpoint: if the wall gets hours of direct sun, rotate the print or move it.
6. Maintain and store with care: Dust with a dry cloth, check hardware yearly, and store unframed prints flat between acid-free boards. Checkpoint: never store prints upright where they can slump or be crushed.

Starfangled Press prints to plan around

• Black Balsam Screenprint: Screenprint on soft white 110 lb. cardstock, paper size 14" x 11", unsigned and unnumbered open edition, with a small blind impression of the Starfangled Press logo at the bottom. The 14" x 11" sheet fits standard frames, and the heavier 110 lb. cardstock holds up well in a mat without buckling. The blind impression sits near the bottom edge, so choose a mat opening that does not cover it.
• White Squirrel In A Bat Costume Screenprint: Screenprint featuring a white squirrel in a black bat costume, pictured in autumn harvest gold against a moody, moonlit wine-colored background. The dark wine background and gold tones benefit from a neutral frame and a mat that gives the image breathing room; a busy frame would compete with the illustration.
• Mountain Parkway At Night Screenprint: Two-toned blue screenprint on soft white paper with a flat matte finish, depicting the Blue Ridge Parkway with rolling mountain tops, a silhouetted tree, a full moon, and stars. The flat matte surface shows fingerprints easily, so handle the print by the edges and keep glass from touching the surface. The blue palette pairs well with a simple black or natural wood frame.

Framing a woodcut print is mostly about avoiding the few things that cause damage: acidic materials, glass against the surface, and direct light. Get those right, choose a frame that suits the image, and the print will look good on the wall for a long time. Start with the sheet size, then work outward to mat, glazing, and hook.