Conservation materials and techniques can be defined as the best available materials and practices for creating artworks with long term stability. These are the types of materials and mounting techniques demanded by gallery and museum conservationists. When choosing printing and mounting materials, we do extensive research on which materials will provide both the best longevity and most pleasing aesthetic for a finished piece. For instance, the current preferences for printing materials are Harman Gloss Baryta paper and Epson Ultrachrome pigmented inks. This combination produces prints with a luxurious soft gloss surface, exceptional detail, wide color gamut, and excellent longevity as noted above. Traditionally framed prints are heat mounted using a low temperature, acid free, reversible mounting tissue onto 100% cotton, acid free museum grade mounting board.* This ensures both that the back of the print is protected from degradation and that the print is removable, should remounting ever be required. With traditionally framed pieces, an optical acrylic sheet is used for glazing and the back is covered with an acid free foam core sheet for rigidity. For plaque mounted prints, where glass or acrylic glazing is not possible, the print face is heat laminated with an acid free, UV resistant polyester sheet to protect the surface from abrasion, moisture, and light. In short, every effort is made to make each piece as durable as possible.