Art and Design · Year 6 · The Curated Exhibition · Summer Term

Art Presentation: Framing and Mounting

Learning basic techniques for framing, mounting, and displaying artworks professionally.

• National Curriculum Attainment Targets
• KS2: Art and Design - Presenting and Showcasing
• KS2: Art and Design - Techniques and Mastery

About This Topic

Framing and mounting give Year 6 students practical skills to present their artworks professionally, aligning with KS2 Art and Design standards for presenting and techniques. Pupils learn to select mats that complement colours, use hinges or dry-mounting for 2D pieces to prevent buckling, and choose frames that suit scale and style. For 3D works, they explore pedestals, plinths, and secure fixings to ensure stability and focus viewer attention. These steps directly support the curated exhibition unit by elevating casual sketches or models into gallery-ready displays.

Students evaluate how presentation choices affect perceived value, differentiating methods for 2D versus 3D art and reflecting on professional practices from art history. This builds critical thinking, as they consider audience impact and cultural display norms, fostering confidence in their curatorial decisions.

Active learning benefits this topic greatly, as hands-on material trials and peer critiques provide instant visual feedback. Students experiment with options, adjust based on group input, and see transformations firsthand, making techniques memorable and skills transferable to future projects.

Key Questions

1. Explain how proper framing and mounting enhance the professionalism of an artwork.
2. Differentiate between various methods of displaying 2D and 3D art.
3. Evaluate the impact of presentation choices on the perceived value of an artwork.

Learning Objectives

• Analyze how mat colour and texture can complement or detract from an artwork's subject matter and palette.
• Demonstrate the correct application of dry-mounting tissue or hinges to secure a 2D artwork without causing damage or buckling.
• Compare the suitability of different display methods, such as plinths versus wall mounts, for various 2D and 3D art forms.
• Evaluate the impact of frame material, width, and finish on the overall aesthetic and perceived value of a mounted artwork.
• Create a final presentation plan for a selected artwork, justifying choices for mounting, framing, and display based on established criteria.

Before You Start

Colour Theory and Mixing

Why: Understanding colour relationships is essential for selecting complementary mat and frame colours that enhance an artwork.

Basic Drawing and Painting Techniques

Why: Students need completed artworks to practice framing and mounting techniques on.

Introduction to 3D Forms

Why: Familiarity with creating and understanding 3D shapes is necessary to discuss appropriate display methods for sculptures or models.

Key Vocabulary

Mounting board	A stiff, flat material, often made of paper pulp or foam, used to support and protect a 2D artwork. It provides a border around the artwork.
Matting	The process of cutting a border from mounting board to place between the artwork and the frame. This creates a visual space and protects the artwork from touching the glass.
Hinges	Small strips of acid-free tape or paper used to attach an artwork to its mount. They allow for expansion and contraction of the paper without damage.
Dry mounting	A heat-activated adhesive process used to permanently attach an artwork to a backing board. This method provides a very flat and stable finish.
Plinth	A base or pedestal used to display a 3D sculpture or object, raising it to a suitable viewing height and providing stability.

Watch Out for These Misconceptions

Common Misconception

Any frame size works if it fits the artwork.

What to Teach Instead

Frames must suit proportions to avoid overwhelming the piece; oversized frames distract from details. Group critiques during station rotations help students compare options visually and articulate balanced choices.

Common Misconception

Tape is fine for mounting; no special methods needed.

What to Teach Instead

Tape causes damage over time and warping; proper hinging or dry mounting preserves artwork. Hands-on trials with taped versus mounted samples reveal issues quickly, prompting students to adopt professional fixes.

Common Misconception

2D and 3D artworks use the same display techniques.

What to Teach Instead

2D needs flat protection while 3D requires elevation for 360-degree views. Building both in pairs highlights differences, with peer testing reinforcing why tailored methods enhance professionalism.

Active Learning Ideas

Stations Rotation: Mounting Methods

Prepare stations for dry mounting, hinging, and mat cutting with sample artworks and tools. Small groups spend 10 minutes at each, applying techniques and photographing before-and-after results. Groups share one key learning in a final debrief.

45 min·Small Groups

Pair Framing Challenge: 2D Focus

Pairs select frames and mats for their drawings, justifying choices based on colour harmony and proportion. They mount securely, then swap with another pair for critique on professionalism. Display finished works for class vote on impact.

35 min·Pairs

Whole Class: 3D Display Builds

Provide recyclables like boxes and fabrics for students to construct pedestals or plinths for sculptures. As a class, test stability by gentle nudges, then position in a mock gallery. Discuss adjustments for optimal viewing angles.

50 min·Whole Class

Individual: Presentation Evaluation Sheets

Each student mounts a personal artwork, completes a self-evaluation on technique choices and value enhancement. They present to a partner, noting one strength and one improvement, then refine before final display.

30 min·Individual

Real-World Connections

• Museum conservators and exhibition designers meticulously select framing and mounting materials, like acid-free mats and UV-protective glass, to preserve artworks for future generations and present them effectively in galleries such as the Tate Modern.
• Picture framers in local high street shops work with clients to choose appropriate frames and mounts that enhance personal artworks, from school projects to professional photography, considering aesthetics and budget.
• Art galleries and auction houses carefully consider the presentation of pieces, using specific lighting, plinths, and wall colours to influence how viewers perceive the quality and value of art before purchase or exhibition.

Assessment Ideas

Peer Assessment

Students present their mounted artwork and proposed frame choice to a small group. Peers use a checklist to evaluate: Is the artwork securely mounted? Does the mat colour complement the artwork? Is the frame style appropriate? Peers provide one specific suggestion for improvement.

Exit Ticket

Students receive an image of an artwork (2D or 3D). On their ticket, they must write: 1. One sentence explaining the best type of mount or display base for this piece. 2. Two reasons why their chosen method enhances the artwork's presentation.

Quick Check

During the practical session, circulate with a clipboard. Ask individual students: 'Show me how you are attaching your artwork to the mount.' Observe their technique and ask: 'Why are you using this method instead of another?' Provide immediate feedback on their handling of materials.

Frequently Asked Questions

What basic techniques for framing Year 6 artworks?

Teach mat cutting for borders that draw the eye, dry mounting with tissue for flatness, and hinging with acid-free tape for 2D. For frames, match wood tones to artwork mood. Practice on photocopies first to build skill without risk, then apply to originals. This sequence ensures safe, professional results aligned with KS2 standards.

How does proper mounting enhance artwork value?

Mounting prevents creases, adds breathing space, and signals care, making casual student work appear gallery-worthy. Viewers perceive mounted pieces as more intentional and valuable. In class evaluations, students note how a simple mat shifts focus, building their understanding of presentation's role in curation.

How can active learning teach art presentation skills?

Station rotations and peer galleries let students handle tools, experiment with mats and frames, and critique impacts live. This tactile approach reveals why techniques matter through trial and error, far beyond diagrams. Collaborative feedback refines choices, boosting retention and confidence for exhibitions.

Why differentiate display methods for 2D and 3D art?

2D art demands frames or mounts for wall viewing and protection from handling, while 3D needs pedestals for rotation and stability against knocks. Matching methods to form maximises impact; mismatched displays confuse viewers. Mock gallery walks help students test and evaluate these distinctions practically.