How to Frame an A4 Risograph Print Without Damaging It

Quick answer

Frame an A4 risograph print with a 21 x 29.7 cm (8.3 x 11.7 inch) frame, or a larger frame with a custom-cut mat, and always use a mat or spacers so the glass never touches the ink. Choose acid-free, archival mounting materials and hang the frame out of direct sunlight to prevent fading and ink transfer.

A risograph print is not a standard poster. Its soy or vegetable-based inks sit on the paper surface and can smudge, transfer, or fade if you frame it carelessly. The good news: with the right size frame and a few archival choices, you can display an A4 riso print for years without damaging it.

This guide walks through the exact steps to frame an A4 risograph print safely, from measuring the sheet to hanging the finished piece. It also flags the most common mistakes that lead to ink transfer, cockling, and glass contact. The process works for any A4 riso print, including open-edition pieces like the ones from Jacqueline Colley Illustration.

Measure the print before you buy a frame

A4 is 21 cm wide by 29.7 cm high (8.3 x 11.7 inches). Measure your actual sheet with a ruler rather than trusting the label, because some riso prints are trimmed slightly smaller or have a small white border. If the sheet is exactly A4, an off-the-shelf A4 frame will fit, but the print will sit very close to the frame edge and may touch the glass once the back is closed.

For a more balanced look and better protection, choose a frame sized for a mat. A common approach is an A3 frame (29.7 x 42 cm) with an A4 window mat, which gives the print breathing room and keeps it away from the glass. If you prefer a tight, modern look, an A4 frame with thin spacers works, but you must add the spacers yourself.

• Checkpoint: the frame's internal rebate (the recess behind the glass) should be at least 2 mm deeper than the combined thickness of the print, mat, and backing board.
• Mistake to avoid: buying a frame that is exactly A4 with no room for a mat or spacers, which almost guarantees glass contact.

Choose archival materials that won't react with the ink

Risograph inks are designed to sit on the paper surface, not soak in like offset lithography. That makes them more vulnerable to abrasion and chemical migration from poor-quality framing materials. Use acid-free, lignin-free mat board and backing board, and avoid any adhesive that touches the print. If you want to mount the print, use acid-free photo corners or a hinging method with wheat starch paste and Japanese paper, applied only to the back of the print.

Glass or acrylic glazing should have a UV-filtering coating if the print will hang in a room with any daylight. UV filtering does not make a print fade-proof, but it slows the process. Acrylic is lighter and safer for large frames; glass is more scratch-resistant but heavier. Either is fine as long as it does not touch the ink.

• Checkpoint: mat board should be at least 4-ply (about 1.4 mm) thick to create a physical gap between the glass and the print.
• Mistake to avoid: using double-sided tape, spray adhesive, or rubber cement, which can stain the paper and fail over time.

Create a barrier so the glass never touches the print

The single most important rule for framing riso prints is to avoid glass touching print. When glass presses directly on the ink, changes in temperature and humidity can cause the ink to offset onto the glass or the print to stick and tear. A window mat is the simplest solution: it sits on top of the print's edges and lifts the glass away from the image area.

If you are not using a mat, install small spacers (also called frame space) around the inside edge of the frame. These are thin strips, often made of plastic or acid-free foam, that sit between the glass and the artwork. They create an air gap without hiding the print's edges. Spacers are available in most art supply shops and are easy to cut to length.

• Checkpoint: after assembly, gently shake the frame. If you hear the print sliding or tapping the glass, add more spacers or a mat.
• Mistake to avoid: assuming a frame's included backing board is archival. Many budget frames use acidic cardboard that can yellow the print over time.

Assemble the frame in a clean, dry space

Work on a clean, flat surface with washed hands or nitrile gloves. Risograph ink can pick up oils and dirt from your fingers, and once a smudge is on the paper it is permanent. Lay the glazing face down, then place the mat or spacers, then position the print. If you are using photo corners, attach them to the backing board, not the print, and slide the print into the corners so it is held without adhesive.

Close the frame with the backing board and secure the points or tabs. Do not over-tighten, as pressure can buckle the paper. If the frame has a paper dust cover, apply it after the print is secure. Let the framed print sit flat for an hour before hanging to let the materials settle.

• Checkpoint: inspect the glazing for dust before closing. Once the frame is sealed, trapped dust is difficult to remove without reopening.
• Mistake to avoid: pressing down hard on the print while positioning it, which can cause the ink to transfer to your hand or the mat.

Hang the frame away from direct sun and damp walls

Even with UV glazing, prolonged direct sunlight will fade risograph inks, especially neon tones. Hang the frame on an interior wall that receives indirect light, and avoid bathrooms, kitchens, and exterior walls where humidity fluctuates. Use two hooks or a French cleat for larger frames so the weight is distributed and the frame stays level.

If you live in a humid climate, consider adding a small silica gel packet behind the backing board (not touching the print) to absorb moisture. Replace it every six to twelve months. Check the frame periodically for condensation or ink offset on the glass, especially during seasonal changes.

• Checkpoint: if you see condensation inside the glazing, take the frame down and let it dry in a warm room before reassembling.
• Mistake to avoid: hanging a framed print above a radiator or in a steamy bathroom, which can cause cockling and mold.

Step-by-step framing checklist

1. Measure the print: Use a ruler to confirm the sheet is 21 x 29.7 cm (A4). Note any white border or trim variation. Checkpoint: if the print is smaller than A4, you will need a custom mat or a frame with adjustable tabs.
2. Pick the frame and mat: Choose an A4 frame for a tight fit, or an A3 frame with an A4 window mat for a gallery look and better glass clearance. Mistake to avoid: buying a frame that is too shallow to fit a mat and backing board.
3. Gather archival materials: Use acid-free mat board, acid-free backing, photo corners or wheat starch paste, and UV-filtering glazing. Checkpoint: if the mat board smells like vinegar or looks brown at the edges, it is not archival.
4. Create a glass-free gap: Install a window mat or small spacers around the frame rebate so the glazing never touches the inked surface. Mistake to avoid: skipping this step, which is the leading cause of ink offset and stuck prints.
5. Assemble and seal: Work with clean hands, position the print without pressing on the image, and close the backing board gently. Checkpoint: shake the frame lightly. No movement or tapping means the print is secure.
6. Hang and monitor: Place the frame out of direct sun and away from damp walls. Check for condensation or offset every few months. Next step: if you see any ink on the glass, take the frame apart and add more spacers or a thicker mat.

Risograph prints from Jacqueline Colley Illustration

• A4 Positivity Tea Caddy: Printed with soy based inks onto paper made from recycled coffee cups that has a natural flecked quality. This is an open edition unsigned print, size A4 21cm wide x 29.7cm High. The A4 size fits standard A4 frames or A3 frames with an A4 mat. The soy-based inks and recycled paper surface mean you should use archival materials and avoid glass contact to prevent ink transfer.
• A5 Jelly Print: Risograph printed in soy based inks; Neon Pink, Orange and Seafoam green. Onto paper made from at least 80% recycled coffee cups. This is an open edition unsigned print, A5 - 14.8 × 21cm. If you are framing a smaller riso print like this A5 piece, the same rules apply: use a mat or spacers to keep glass off the ink, and choose acid-free materials. Neon tones will appear brighter in real life than on screen, so check the print in person before choosing a mat color.

Framing a risograph print is mostly about preventing contact and using materials that won't react with the ink. Get the size right, add a mat or spacers, and keep the frame out of harsh light. Your print will stay bright and flat for years.