I'll elaborate on my earlier hasty answer. I was in the middle of something else and didn't have time to explain.
I improperly used the term "weld" because transfer tape is so strong and tenacious. Using lots of this to stick a mat down to a mounting board doesn't hurt anything and makes a good looking result, but if someone buys the print and wants to change the mat they may have to completely dismount the print and start from scratch with a new mounting board. It's fairly common for people to change a mat, and hinging the mat to the mounting board allows doing it while leaving the print and its mount intact. This assumes an archival tape with a removable adhesive is used. All of this is especially important if a print is dry mounted because the print is permanently bonded to the mounting board.
We have been happy with ASAP "Archival Conservation Tape" for hinging mats (not prints), but there are others that are comparable. It is a fairly sturdy gummed paper. I do think it is good to minimally tack down a hinged mat to the mounting board with a few small spots of ATG that are not close to the print. That allows handling the mat before framing without inadvertent opening and prevents any potential for movement of the mat position relative to the print and mount. The mat can still be separated from the mount without any significant damage to either one if it is done carefully. Once opened ATG residue can be removed from the mount with an ATG "eraser" or pick-up tool.
The same all-directional flexibility that makes linen tapes good for hinging prints seems to work against them for hinging mats. Unless they are dry mounted, prints need freedom to move slightly in all directions when they expand and contract with humidity changes. Any restriction of the print's ability to "breathe" like this results in waviness of the print. Linen tape allows that flexibility as do other more exotic materials. A mat hinged to a mounting board needs to open and close like a book . The heavier paper tape takes a nice crease that allows opening and restricts appreciable motion in other directions. As I mentioned, we minimally tack down the mat to the mounting board, but the real strength of the package comes from the frame and glazing. Once inside a good frame the other materials are quite well protected.
The mounting strips I mentioned earlier have an acid-free paper spacer and a larger clear, thin, archival polypropylene strip that overlaps the edge of the print. That spacer is considerably thicker than photo and fine art papers, so the print floats freely under the polypropylene strip. The thickness of the spacer and polypropylene also keeps the mat from pinching the perimeter of the print against the mounting board and restricting the print's "breathing". Because they can be positioned at intervals all around the print I prefer them to corners or other methods, especially for larger hinged prints. We often use these in combination with hinges, mostly for the spacing they provide between the mat and the mount. As I mentioned in my earlier post, care must be taken to not position these (or anything) tight against the paper's edge, which would restrict "breathing".
What I have described is not the only way to do things, or necessarily the best way for anyone else. There are many ways to get great looking results. We have two good friends who each run different framing businesses, one for a bit more than 30 years and one a bit less. Even they do things quite differently. We have ended up doing some things a bit differently than either of them. We arrived at what we do over quite a few years with coaching from both friends plus trial and error to arrive at what works best for us and our fairly basic needs. Clients that want something beyond the basics we offer are sent to a "real" framer.
I'd also mention that getting into matting and framing in addition to photography is often not worth doing. You need to do a lot of it to justify the equipment and having another person to help out certainly doesn't hurt. It also takes some time to get things right, and a few cut fingers before you figure out how to properly handle freshly cut glass.
