剛剛翻資料的時候查到一段有趣的內容，這是Canson Infinity官方網站上，對於藝術微噴輸出後的裝裱製作保存的一些建議。因為與我現在的作法相當接近，引述其中部份內容：
原文連結
http://www.canson-infinity.com/en/iso_album/framing_tips.pdf
Matting paper artwork In addition to aesthetic considerations,
the window mat works in conjunction with the mount to secure the artwork. The mat and mount should be of matching archival quality materials—forexample, use rag mat and rag mount board. Mats also provide air space between the artwork and the glazing.
The minimum spacing between art and glazing is a double four-ply mat (at .100 inches). Large prints should have additional spacing so there is no possibility that the print will bow outward if placed face down.
Or, if the work has been glazed with acrylic, that the glazing will not bow inward and touch the framed print.
這一段的概要大約是說，消光黑輸出的作品，視覺框(window mat)和底版(mount board)請盡量使用保存性的材料，例如純棉紙板(rag mat/rag mount board)。視覺框同時也保留作品與相框玻璃之間的空隙。
作品與玻璃之間所保留的空隙，建議是兩倍4P的厚度(約0.1英吋或2.5mm)，大尺寸作品應當增加這一段空隙，以避免相框朝下平擺的時候，作品畫心本身因重量彎曲而接觸到玻璃。
如果相框使用壓克力替代玻璃，則此空隙亦可避免壓克力因重量彎曲而接觸到畫心。
For all fine art prints and posters with a potential of future value, the mounting method chosen must be totally reversible, meaning that the artwork comes out of the frame at a future date in the same condition it went in. This eliminates permanent mounting methods, such as heat-activated dry mounting, laminating, spray adhesives, pressure sensitive tapes, and any other method that imparts adhesive into the substrate fibers or hinders reversibility
in any other way.
考慮藝術作品和海報未來的增值，裱褙必須選擇可完整恢復性的裱褙方式，這意味著未來將作品從相框中取出後，作品狀態應當要與以前裝框時相同。
在此要求下即會排除了一些永久性的裱褙方式，例如熱裱膠膜，熱裱護膜(包含護貝)，噴膠，感壓式膠材/雙面膠，和其他任何在紙材基底纖維賦予黏合劑，或會妨礙作品可恢復性的材料。
The mounts must be affixed to the perimeter of the artwork in a manner that does not restrict the minor movement of the paper and does not extend into the image field on the front or
back of the work.
所選用的裱褙方式應當不限制作品畫心於框內的次級運動性，並且不延伸至影像印刷面的正面或背面。
Traditional starch paste and oriental paper suspension hinges, perimeter mounts, or corner pockets are the mounting methods of choice. There is a simple theoretical test (don’t actually
use clients’ work for this) to determine which mounting method is required. Form a tube out of the artwork by rolling it until the edges of the short axis touch top to bottom on a horizontal
image or side to side on a vertical image. In theory, the two touching edges are taped together at one spot in the center. When the tube is placed upright on one end and supports
itself, a perimeter mount may be used. If the tube cannot support its weight, as with lightweight oriental paper, a traditional paste-and-paper hinge is required.
傳統的澱粉糊(漿糊，在這裡應指宣紙類中式裱褙托底時所使用)，和oriental paper suspension hinge(抱歉我不確定它對應的中文名稱，可能是指中式裱褙的鑲嵌)，作品本身是否需要使用這種裱褙方式，有一個簡單的方法可以測試。
用一個紙筒，將作品(請勿用客戶作品實驗)左右側向捲起來，捲起來後在側邊中央貼個小紙膠帶讓紙捲不散開。然後把紙筒連作品紙捲直立起來，如果紙捲可以靠 本身支撐自身重量站著，就可符合前面所提的，畫心周圍固定的可恢復裱褙方式。而如果不行，例如宣紙，則需要傳統托底作業。
Most paper-borne digital images can be mounted with perimeter strips, such as Lineco See-Thru Mylar D mounting strips, or Lineco polypropylene corner pockets. The pockets or mounting strips should be applied as per the manufacturer’s pecifications.
Some Mylar D mounting products have sharp corners that should be rounded over before using. On smaller images, corner pockets may be placed on one diagonal only instead of at all four corners. This makes removal simple and eliminates dog ears. If the print needs to be hinged, apply the paste for the hinges at a separate location to avoid moisture near the artwork. The hinges should be attached with the print face up because of the sensitivity of the artwork, never allowing the hinge to come within one inch of the image field.
大部分紙基的數位輸出作品，裱褙都可以使用無酸固定邊條來處理，例如Linece公司所生產的See-Thru Mylar D mounting strips (如下面附圖，我們所使用的無酸邊條即是該產品)，或Lineco所生產的PP(聚丙烯)無酸套角。
有些廠商的無酸邊條邊角比較尖銳，可修圓後再使用。
小尺寸的作品，無酸套角可以只用在對角兩端。無須四角都用。這可以簡單恢復原作狀態且避免狗耳現象(?不明)。
如果作品媒材需要用hinge方式固定(如無酸膠帶作T字固定即是一種hinge)，請將其設置在邊緣獨立的位置，以避免濕氣影響畫心影像，並讓畫心正面朝上。hinge請設置在影像周圍1英吋範圍之外。
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Leaf Art 綠葉藝術影像粉絲頁: https://www.facebook.com/leafprintstudio
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112台北市北投區立農街一段257巷8號B1 (捷運唭哩岸站2號出口旁)
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