A graphite drawing is surprisingly tough in some ways and fragile in others. Graphite doesn’t fade in sunlight the way many inks and dyes do, so the drawing itself can stay the same for a very long time. But the surface can smudge, the paper can yellow or ripple, and a bad frame can slowly damage the artwork. Here is how to look after an original pencil portrait from the day it arrives.

When the drawing arrives

Original drawings are usually shipped flat between stiff boards, with a protective sheet over the surface. When you open the package:

  • Wash and dry your hands first. Skin oils leave marks on paper that can show up later.
  • Open the package on a clean, flat table.
  • Lift the drawing by its edges or by the backing board. Don’t touch the drawn area.
  • Leave the protective sheet in place until you are ready to frame it.
  • Don’t roll it, fold it, or leave it propped against a wall where it might bend.

If you can’t frame it straight away, keep it flat in its packaging somewhere dry, such as under a bed or in a drawer, not in a basement or attic.

Why the drawing should never touch the glass

This is the single most important framing rule for pencil art. If the drawing is pressed directly against the glass, graphite can transfer onto it, leaving a ghost image on the inside of the glass and a lighter patch on the drawing. Changes in humidity can also make the paper stick to the glass, and the moisture trapped there encourages mould.

There are two common ways to keep a gap:

  • A mat (sometimes called a mount): a cardboard border with a window cut in it, sitting between the drawing and the glass. It lifts the glass off the surface and gives the artwork a clean border.
  • Spacers: thin strips hidden in the frame rebate that hold the glass slightly away from the artwork. These work if you don’t want a visible border.

A white or off-white mat suits most graphite portraits. Its neutral tone sets off the greys of the drawing. Black or very dark mats can look striking with dramatic, high-contrast drawings, but they can make softer drawings look faded.

Choosing framing materials

Acid-free or archival mats and backing

Cheap cardboard and some wood products contain acids that slowly migrate into paper, causing yellow or brown discoloration, often first visible as a brown line along the edge of the mat window. Ask for acid-free or “conservation” mat board and backing. It costs a little more, but it protects the drawing for the long term.

Glazing: glass or acrylic

Standard glass works fine. If the frame will hang in a bright room, consider UV-filtering glass or acrylic. Graphite itself is very lightfast, but the paper can yellow over years of strong light, and UV-filtering glazing slows that down. Anti-reflective glazing is a nice extra for portraits that hang opposite windows. Acrylic is lighter and less likely to shatter, which is helpful for large pieces and children’s rooms, but it scratches more easily and can build static, so it should never be cleaned with paper towels.

How the drawing is attached

The drawing should be attached to the backing with acid-free hinging tape at the top edge only, so it can expand and contract with humidity without rippling. Avoid ordinary sticky tape, masking tape or glue. They yellow, lose their grip or stain the paper over time. A professional framer will know this, but it’s worth mentioning if you use a ready-made frame.

Where to hang it

  • Avoid direct sunlight. Even with UV glass, constant strong sun heats the frame and dries the paper.
  • Avoid damp walls and bathrooms. Moisture causes rippling and mould spots (“foxing”).
  • Avoid spots right above radiators, heaters or fireplaces. Heat and rising soot are both bad for paper.
  • Avoid kitchens, where airborne grease can settle on frames over time.
  • Prefer interior walls in living areas, hallways and bedrooms, where temperature and humidity are more stable.

Cleaning the frame

Dust the frame with a soft dry cloth. To clean the glass, spray a little glass cleaner onto the cloth, never directly onto the glass, because liquid can seep under the edge and reach the mat. For acrylic, use a cleaner made for acrylic and a microfibre cloth. Never open the frame to clean the drawing itself.

If something goes wrong

A smudge before framing

Don’t try to rub it out. You’ll likely spread it further. Light smudges on the margin can sometimes be lifted by gently dabbing with a clean kneaded eraser, but if the smudge is on the drawing itself, contact the artist for advice.

Rippling paper

Mild waves often settle once the drawing is properly framed and hinged in a stable room. Don’t try to iron or flatten it yourself.

Small brown spots

These are usually caused by damp. Move the frame to a drier spot and consult a paper conservator if they spread.

Storing unframed drawings

If you have several drawings or want to keep one unframed, store it flat in an archival folder or box, with a sheet of glassine or acid-free tissue over the drawn surface. Don’t stack heavy items on top. Keep the box somewhere with steady room temperature, off the floor.

What about fixative?

Some artists spray finished pencil drawings with a fixative to reduce smudging. Others don’t, because fixative can slightly darken graphite and change the sheen. Either way, a framed drawing behind glass with a mat is well protected. Don’t spray anything onto a drawing yourself. If you think it needs fixing, ask the artist. We cover this in more depth in a separate post on fixing and preserving sketches.

A simple summary

Handle it by the edges, keep it flat, frame it with acid-free materials and a mat so it never touches the glass, and hang it on a dry interior wall out of direct sun. Do those few things and a graphite portrait can easily outlast the frame it is in.