Most glues discussed here are PVA based, bookbinders, woodglue, etc. There could be differences in the PH grade. Acidic materials may not be as problematic in combination with inkjet materials as they were with silver halide and chromogenic prints but Mark McCormick may have a more precise answer on that. Of course if the print media base is compromised by the acidity of the underlying support the print is lost.
I am interested in why canvas is used when it is mounted this way. Is it for the texture? I know similar mounted prints where the print material is an inkjet Tyvek type, smoother surface, flexibel enough to fold around the edges. I am considering to use that where "archival" properties are not that important. Probably easier to mount it with my cold vacuum table + glue than with the cold laminator. Canvas is not really appreciated by my customers but this solution could be.
Met vriendelijke groet, Ernst
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots
Hi Ernst,
A couple of weeks ago this topic popped up again as it has previously. I jumped into the mix to add my opinions on the subject and my reasons for those opinions. You replied to say that you shared some of my reasoning on the matter. I won't get into all of that here, except to say that it has always been my opinion that the main reason for printing an image on canvas is the aesthetics of the media, which for the most part are completely overlooked when canvas is mounted on any form of hard material. Again, my opinion only, with which many may disagree. Certainly not a first for me, but I do have a bit of information that might be of some use to those who decide to mount their canvases on such products as Masonite. The bonding factor in Masonite is lignin, something we always look out for in any substrate we print on. Lignin is a natural product, but quite acidic as well. It is a natural bonding material, but not good for mounting any sort of artwork unless properly coated with a sealer guaranteed to inhibit the leaching of lignin.
One more note: A few of you have referred to a harder form of Masonite. That product is generally referred as Tempered Masonite/Hardboard. In the case of Tempered Masonite a coating of linseed oil is baked into the smooth surface to make it more resistant to scratching and other forms of abuse. Now we have a combination of lignin and linseed oil in the material upon which we are going to mount a piece of art.
Hmmm...not my idea of a good combination, my opinion. Overlooking the lack of aesthetics in the process of "mounting" canvas, the Masonite route would seem to be the last resort perhaps.
And another note to Ernst: About 5 years ago I did actually mount a couple of canvases with my cold mount laminator, on the wish of a customer. The mount was on acid free mount board, size approximately 30x15. About 4 months following the completion of that job the customer returned the canvases, as they had begun to release from the board. To some extent that did not surprise me. After I had successfully peeled that canvases from the boards I sent him to a framer I know who uses thermal mount materials, since I thought that would likely provide a better bond, due to the fact that the adhesive actually melts and fills the valleys in the canvas weave to some extent. As far as I know there has never been any further issue with those two "mounted" canvases. Therefore Ernst, I would suggest that you perhaps not waste time with the cold laminator for canvas. Just saying.
Gary