1. THE UNRESOLVED MOMENT
The print arrived. You like where it should go.
But now there's a frame to find, glass to choose, someone to hang it.
The framing step turns something decided into something unresolved again.
Most prints stay in the tube because of this moment.
It doesn't have to.
2. THE CONSTRAINT
Framing has a reputation for being complicated. Custom framers quote high. The options are overwhelming. You don't know what you're choosing or why.
The constraint is real: the wrong frame doesn't just look bad — it looks like it's trying to compensate for something. Bad framing doesn't become invisible. It becomes the thing you see.
3. THE APPROACH
Start with the simplest possible frame for your print size.
For most standard prints — 50×70 or 70×100 cm — a thin black or natural wood frame disappears into the wall and lets the work lead. These are available off the shelf in most home stores and online. No carpenter required.
The rule: the frame should recede. Unless you have a strong reason for the frame to make a statement, it shouldn't. The art makes the statement.
No glass is also valid. Prints on 300gsm paper hold well without glass in most domestic environments. If the wall is in a humid room or gets direct sun, glass adds protection — matte glass, not reflective.
4. THE PROCESS
Measure the print, not the image. The frame size should match the paper dimensions.
If mounting: use acid-free mounting board, not tape. Tape yellows and damages paper over time.
If hanging yourself: one hook for smaller prints, two for anything 70×100 and above. Level with your eye at standing height — the center of the work should sit roughly at eye level.
That's it. No carpenter, no specialist. An afternoon and a spirit level.
5. REFLECTION
Framing anxiety is usually about getting it wrong in a visible way.
But a clean, simple frame almost never looks wrong.
What looks wrong is the print still in the tube three months later.
All prints available in standard frameable sizes. Limited to 100 editions each. yagilweiler.com
