Buyer's guide · 4 min read
Frames 101: molding, mat, glazing.
A short education on the three decisions that make or break a framed print: what molding to choose, when to use a mat, and which glazing matters.
A frame has three parts that you actually choose: the molding (the wood or metal around the print), the mat (the paper border between print and molding), and the glazing (the glass or acrylic). The most common buyer mistake is choosing a molding that's too thick — it dominates the work. The right molding disappears.
Most framing advice online is either too vague to act on or specific to one frame shop's catalog. Below is the version you can use anywhere.
Molding
The molding does most of the visual work. The default that almost always works: matte black ash, 3/4 inch wide, slim profile (under 1 inch deep). The reasons this works:
- Matte (not gloss) — no glare competition with the print
- Black — recedes against most wall colors, never fights the work
- Ash (not pine) — fine grain, no obvious knots
- 3/4 inch — narrow enough to disappear, wide enough to hold a heavy print securely
- Slim profile — does not cast a shadow across the print
When to vary the molding
Three reasonable reasons to leave the default:
- Print is monochromatic with a warm palette → natural oak can complement
- Wall is dark or charcoal → light molding (white ash, natural oak) provides contrast
- Work is genuinely modern/minimal → thin black metal frame (Bauhaus-adjacent) holds the geometry
Mat
A mat is the paper border between the print and the molding. Use one when:
- The print is small (under 18 inches on the long edge) and the wall has room for it to feel bigger
- The room has a high-museum aesthetic and the mat reinforces that read
- The print needs visual breathing room from a busy wall
Mat width and color
White or cream mat, always; colored mats are a 1990s mistake. Width: typically 2 to 3 inches all around, sometimes more at the bottom to weight the composition. Use a "rag" mat (cotton, not paper) for any print you want to keep for a long time — paper mats yellow.
Glazing
Glass or acrylic — what sits between you and the print. Three options:
- Standard glass: cheapest, perfectly fine in low-glare rooms
- Museum-anti-reflective glass: nearly invisible, the right choice for any room with daylight, ~3× the cost
- Acrylic (plexiglas): lighter, harder to break, ships safer; subtle haze compared to museum glass
A complete default
If you don't want to think about any of this: matte black ash molding, 3/4 inch wide, 2.5-inch white cotton mat, museum-anti-reflective glazing. Works for 90% of fine-art prints in 90% of rooms. Cost: typically $80–$150 to frame an 18×24, depending on city.