A work in ink on paper (such as sumi-e) is delicate by nature: the medium “breathes”, the ink interacts with time and the environment (light, humidity, heat) can accelerate ageing. If you want to understand why paper, ink and brushes have such a big impact on the result (and also on its preservation), start with this guide to materials and tools for Japanese ink painting. And if you are practising at home, the quickest way to improve your control of water and finish is usually through guided correction in an online sumi-e course to improve your brushwork and paper.
What affects a work in ink on paper the most
Before talking about frames, it is important to be clear about the four main risks.
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Light (especially UV)
Ultraviolet radiation is the most damaging to paper: it yellows and loses its whiteness over time. If your work is going to be in a bright room, the type of glass and location are just as important as the technique. To understand why some pieces “suffer” more (soft washes, greys, gradients), it is useful to review how ink and brush behave in Japanese painting. -
Humidity and sudden changes
High humidity promotes warping, mould and adhesive failure. Very low humidity makes the paper more fragile. The most damaging factor is usually continuous expansion and contraction: the paper expands and contracts and ends up warping. -
Contact with glass or unsuitable materials
If the paper touches the glass, it can stick, become stained by condensation or be marked. In addition, acidic cardboard and ordinary tape can cause yellowing and accelerated ageing. -
Heat and nearby sources
Radiators, fireplaces, hot air vents or walls in direct sunlight dry out and warp the paper. A good frame helps, but it does not compensate for a harsh environment.
How to frame an ink work properly (step by step)
The purpose of framing is twofold: to protect the work from the environment and to avoid physical stress on the paper.
Step 1. Separation: mat or separator so that the paper does not touch the glass
Simple rule: paper should never be in direct contact with glass. Use conservation mat (acid-free) or an ‘invisible’ separator. This creates an air chamber that reduces condensation and prevents adhesion. This detail is very noticeable when you compare pieces seen in person in sumi-e and Japanese ink painting workshops, because the white of the paper ‘breathes’ differently with good mounting.
Step 2. Conservation materials: acid-free and reversible
When ordering the frame, ask for conservation mat, acid-free backing and mounting with archival tape/adhesives (not regular tape, not white glue). If you want museum-quality guidelines for doing it right (matting, hinges, materials), this is an excellent guide: Library of Congress recommendations on matting.
Step 3. Which glass to choose: standard, anti-reflective or with UV filter
If the artwork will be exposed to natural light (even indirect), glass with a UV filter is usually the best investment.
Typical options:
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standard glass: protects from dust and contact, but filters less UV
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UV-protected glass/acrylic: recommended for frequent exposure to natural light
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Anti-reflective with UV protection: ideal if you want to reduce reflections and protect the artwork (usually more expensive)
Acrylic (Plexiglas) is useful for large formats due to safety and weight considerations, but it should be of high quality to avoid static electricity and marks.
Step 4. Reversible mounting so as not to “force” the paper
The safest option is reversible mounting (which can be undone without damaging the work): hinges with archival tape (hinging) on a conservation backing, never glue the entire outline and avoid adhesive sprays. This point is especially important with ink, because the texture of the paper and the breathing of the white space are part of the visual language. If your work moves between disciplines (ink, landscape, calligraphy), this is the perfect place to link to an explanation of context such as sumi-e, suibokuga and shodō: key differences.
Step 5. Rear sealing for dust, without creating a ‘damp box’
Proper rear sealing reduces dust and insects. Even so, avoid hanging the work in bathrooms/kitchens (vapour) or on cold walls where condensation may appear inside the frame. This is even more important if the work travels or changes environments (classrooms, exhibitions, temporary installations), which is common in sumi-e workshops at universities and art schools.
Where to hang it so it lasts
Rule of thumb: if you would be comfortable there, the artwork probably will be too.
Avoid:
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direct sunlight (windows, glassed-in galleries, walls without curtains)
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bathrooms and kitchens (steam + temperature changes)
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cold exterior walls with risk of condensation
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above radiators or near hot air vents
Recommended:
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interior walls
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indirect or filtered light
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stable temperature
If you want the reader to visualise the effect of good mounting (mat, air, white paper), it is natural to take them to see original sumi-e works in different formats.
Humidity and temperature: what really matters
There is no need to pin down an exact number. What best preserves paper and ink is stability: better moderate and stable than peaks, ventilate if you notice a feeling of humidity and, if you use a dehumidifier/humidifier, avoid sudden changes. Warning signs: marked waviness, smell of damp, small spots of mould, paper stuck to the glass, yellowish stains that appear quickly.
How to store a work in ink if you are not going to hang it
If you are going to store an unframed work (or collectible pieces), the safest option is to store it flat: in a folder or storage box (acid-free), with protective archival paper between pieces, in a dry, cool and stable place. Avoid long-term rolling: it creates ‘memory’ and can weaken the paper. If you want to get into the finer details of the medium (and help the reader understand why some papers warp more than others), click here to learn how to choose the right paper for Japanese painting.
Frequently asked questions
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Is it mandatory to use a mat when framing an ink painting?
Highly recommended. It prevents contact with the glass, reduces condensation and prevents marks or adhesion of the paper. -
Which is better: glass or acrylic for framing?
Both work. Glass is more scratch-resistant; acrylic weighs less and is safer for large pieces. In both cases, if there is natural light, UV protection is recommended. -
Is it worth paying for glass with a UV filter?
Yes, especially with natural light. It protects the paper from accelerated ageing and helps to keep the work stable. -
Can I hang an ink artwork in a bathroom or kitchen?
It’s not ideal. Steam and temperature changes increase the risk of warping, mould and condensation inside the frame. -
Why should I not stick the artwork with normal tape?
Because it is not archival material: it yellows, stains and makes mounting irreversible, damaging the artwork if removed. -
How can I prevent the paper from curling inside the frame?
With a mat/separator, conservation materials, reversible mounting and by avoiding areas with sudden changes in humidity/temperature. -
How to store an unframed ink artwork
Flat, in an acid-free folder or box, with archival protective paper between pieces, in a dry and stable place.
