ASTM D5383-2002(2003) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists《工艺美术工作者用目视确定工美材料光牢性的标准操作规程》.pdf

《ASTM D5383-2002(2003) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists《工艺美术工作者用目视确定工美材料光牢性的标准操作规程》.pdf》由会员分享，可在线阅读，更多相关《ASTM D5383-2002(2003) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists《工艺美术工作者用目视确定工美材料光牢性的标准操作规程》.pdf（6页珍藏版）》请在麦多课文档分享上搜索。

1、Designation: D 5383 02 (Reapproved 2003)Standard Practice forVisual Determination of the Lightfastness of Art Materials byArt Technologists1This standard is issued under the fixed designation D 5383; the number immediately following the designation indicates the year oforiginal adoption or, in the c

2、ase of revision, the year of last revision. A number in parentheses indicates the year of last reapproval. Asuperscript epsilon (e) indicates an editorial change since the last revision or reapproval.1. Scope1.1 This practice covers a method for exposing specimensof colored art materials indoors to

3、sunlight coming through aclosed window. A card containing eight Blue Wool References2is exposed simultaneously. Blue Wool References23, 6, and 7,are used as controls in determining when to remove testspecimens from exposure and rate them. Test specimens arerated by assigning each specimen the number

4、 of the Blue WoolReference that shows the same amount of color change.1.2 This practice may be used to indicate art materials thatwill change color within a few months or years in normalindoor exposure and those that will remain unchanged for aperiod of years. It is not rigorous enough to verify tha

5、tmaterials will remain unchanged for more than fifty years in ahome or office environment. A major consideration in devel-oping this method was to keep it simple and short enough to bepreformed without instrumentation in a comparatively shortlength of time.1.3 This practice shall only be used to eva

6、luate the light-fastness of art materials not conforming to SpecificationsD 4302, D 5098 or D 5067 and when it is not feasible to useTest Methods D 4303. Practice D 5398, which is a simplermethod, may be used by artists to evaluate the lightfastness oftheir own materials.1.4 This practice is not sui

7、table for evaluating materialswith a high oil content such as artists oil, resin oil or alkydpaints.1.5 The values stated in SI units are to be regarded as thestandard. The values given in parentheses are for informationonly.1.6 This standard does not purport to address all of thesafety concerns, if

8、 any, associated with its use. It is theresponsibility of the user of this standard to establish appro-priate safety and health practices and determine the applica-bility of regulatory limitations prior to use.2. Referenced Documents2.1 ASTM Standards:D 4302 Specification for Artists Oil, Resin Oil

9、and AlkydPaints3D 4303 Test Methods for Lightfastness of Pigments Used inArtists Paints3D 5067 Specification for Artists Watercolor Paints3D 5098 Specification for Artists Acrylic Emulsion Paints3D 5398 Practice for Visual Evaluation of the Lightfastnessof Art Materials by the User3E 284 Terminology

10、 of Appearance42.2 Other Standards:ISO/R 105-B Textiles Tests for Colour Fastness Part B:Colour Fastness to Light and Weathering5British Standard 1006 Group B Methods for Colour Fast-ness of Textiles and Leathers63. Terminology3.1 The definitions included in Terminology E 284 areapplicable to this p

11、ractice.3.2 Definitions of Terms Specific to This Standard:3.2.1 bloom, na cloudy coating, sometimes appearing oncolored pencil drawings due to migration of wax to the surface,that can be made transparent by gentle polishing.3.2.2 fugitive color, ncolorant that changes color in a fewdays or weeks, o

12、r that bleaches white in less than 18 months,when exposed behind glass to sunlight.3.2.3 glazing, nthe transparent glass or plastic sheetplaced in front of a picture when it is framed.3.2.4 Substrate, nthe white, pH neutral paper or board onwhich the art materials are applied.4. Summary of Practice4

13、.1 This practice uses as controls three of the eight ISO BlueWool References developed for use with ISO/R 105-B andBritish Standard 1006 Group B.1This practice is under the jurisdiction of ASTM Committee D01 on Paint andRelated Coatings, Materials, and Applications and is the direct responsibility o

14、fSubcommittee D01.57 on Artist Paints and Related Materials.Current edition approved May 10, 2003. Published June 2003. Originallyapproved in 1993. Last previous edition approved in 2002 as D 5383 02.2The Blue Wool Reference Card is available from Talas, Division TechnicalLibrary Service, 213 W. 35t

15、h St. New York, NY 10001-1992.3Annual Book of ASTM Standards, Vol 06.02.4Annual Book of ASTM Standards, Vol 06.01.5International Organization for Standardization, ISO/R 105-B is available fromthe American National Standards Institute, 11 W. 42nd St., 13th Floor, New York,NY 10036.6British Standard 1

16、006 can be obtained from British Standards Institute, LinfordWood, Milton Keynes MK14 6LE, United Kingdom.1Copyright ASTM International, 100 Barr Harbor Drive, PO Box C700, West Conshohocken, PA 19428-2959, United States.4.2 Specimens are made from the colored materials to betested and attached to a

17、 backing panel along with a cardcontaining the eight Blue Wool References.4.3 One half of each colored specimen and of the Blue WoolReference are covered, shielding that half of the specimens andreferences from light. The test specimens and references areexposed to sunlight through a closed window.4

18、.4 When Blue Wool Reference 3 shows a color change, thecolored specimens are examined visually and any that alsoshow a color change are noted. The cover is replaced andexposure continued until the exposed and unexposed halves ofReference 3 reach a specified contrast and Reference 6 alsoshows a color

19、 change. Three observers rate each specimen byassigning it the number of the Blue Wool Reference that showsa similar color change. The three numbers assigned to aspecimen are averaged and this average determines in which offour broad lightfastness categories the specimen belongs.4.5 If it is necessa

20、ry to determine which materials haveexcellent lightfastness, continue exposure until Reference 7shows a color change. Remove the panel from exposure andexamine only the specimens that had not changed color at thetime Reference 6 faded. Those specimens that still show nocolor change are placed in the

21、 fifth and highest lightfastnesscategory.NOTE 1Depending on the test location, the time of year, and thenumber of cloudy days, it will take from a few days to two months ofexposure in a window facing south to reveal fugitive materials that willeither bleach white or radically change color in a few y

22、ears whendisplayed in a normal home environment. It will take from 4 to 18 monthsof exposure to determine materials that will show, under normal roomconditions, various degrees of color change, and those that will remainunchanged, for a long period of time.5. Significance and Use5.1 Artists have ava

23、ilable to them a wide variety of artmaterials such as markers, colored pencils, pastels, coloredinks and airbrush colors. Many of these materials are manu-factured for temporary artwork and may contain pigments anddyes that fade in a relatively short time. Product labels andmanufacturers literature

24、do not always supply the informationnecessary to distinguish products that are stable to light fromthose that are not. This practice makes it possible to check thegeneral lightfastness of coloring materials to be used in worksof art; however, Test Methods D 4303 must be used if colormeasuring instru

25、ments and appropriate lightfastness testingapparatus are available. This practice may also be used toevaluate other types of colored materials for lightfastness.6. Materials6.1 Backing Panel, that is resistant to warping when placedon its edge and exposed to light and heat passing throughwindow glas

26、s. Foamcore board, particle board, hardboard, orplywood are suitable.6.2 Substrate, of white, non-coated, acid-free (pH 7 to 9),medium weight, 2.5 to 63.5 kg (72 to 140 lb.) paper or museumboard. Depending on the material being tested, a pH neutralfoam board may be suitable. It is desirable for the

27、surface ofthe substrate to be similar to that customarily used with thematerials being tested; however, it must be possible to com-pletely cover the substrate with an even coat of the colors.Rough watercolor paper is not suitable.6.3 Blue Wool Reference Card,2contains bands of the eightBlue Wool Ref

28、erences glued to a card 44.5 by 127 mm (134 by5 in.). Each Blue Wool Reference from 1 to 8 takes approxi-mately twice as long to fade as the reference immediatelypreceding it. The card must be kept in complete darkness untiltime for the test. It should be wrapped in an opaque coveringand stored in a

29、 drawer at normal room temperature.6.4 Colored Art Materials, to be tested.6.5 Specimen Cover, made from stiff material such as heavygage aluminum; stainless steel; stiff, opaque plastic; or woodenstrips. The cover shall be at least 32-mm (114-in.) wide and aslong as the backing panel. It is used to

30、 protect one half of eachart material specimen and one half of the Blue Wool ReferenceCard from light (see Figs. 1 and 2). The side of the cover thattouches the art material specimens should be chemically inertto prevent interaction with, or migration of substances onto thetest specimens.6.6 Tape, t

31、o fasten the specimen support to the backingboard and to fasten the specimen cover over the specimens andthe Blue Wool Reference Card. Duct or electrical tape issuitable since it is designed to withstand heat.6.6.1 Optional Metal Clamps or Wing Nuts, to hold thecover more tightly against the specime

32、n, may be used. ThisNOTE 125.4 mm = 1 in. (exact).FIG. 1 Suggested Layout for Lightfastness Test PanelD 5383 02 (2003)2will exclude light better making a sharper edge between theexposed and unexposed sections of the specimens for easiervisual judgments.6.7 Mask I, shall be made of stiff, neutral gra

33、y paper,approximately Munsell Value 6.5 (reflectance 36.2 %), with aslot, 6.4 by 41.3 mm (14 by 158in.) See Fig. 3. This is slightlysmaller than an individual Blue Wool Reference. It is used toisolate a specimen when looking for a color change to preventcolor changes in neighboring specimens from af

34、fecting thedecision.6.8 Mask II, shall be made of stiff paper of the same neutralgray and with the same size slot as in Mask I. Side 1 shall havetwo blue chips mounted adjacent to the slot. One chip shall beMunsell 7.0 PB 4.0/13.0, matching the unexposed Blue WoolReference 3. The second chip shall b

35、e Munsell 5.0 PB 6.0/4.0,the color of the exposed half of the Blue Wool Reference whenthe test is complete (see Fig. 4). Side 1 of Mask II is used todetermine when Reference 3 has faded sufficiently for thesecond rating (see 8.5.1). Side 2 is used to isolate the individualBlue Wool References when t

36、hey are being compared with atest specimen isolated with Mask I.6.9 Soft Clean Artists Brush, to be used to dust off BlueWool References and specimens following exposure.6.10 Report and Instruction Sheets.6.10.1 A form to record the materials being tested, the dateof exposure, the date Reference 3 b

37、egins to fade, materials thatalso show a color change at that time, and the date Reference6 shows a color change (see Fig. 5 for an example).6.10.2 A set of instructions, such as is shown in Fig. 6, to begiven to the three observers.6.10.3 Three copies of a form, such as is shown in Fig. 7, tobe use

38、d by the observers in recording their evaluation of thetest specimens.6.10.4 A final rating form to record and average the observ-ers ratings and list the lightfastness category for each material(see Fig. 8 for an example of a suitable form).NOTE 125.4 mm = 1 in. (exact).FIG. 2 Example of Two-Cover

39、Layout That Fits on an 812 by 11 in.sheetFIG. 3 Mask I Containing a Slot Just Smaller Than the Blue WoolReferencesNOTE 1Side 2 is the same as the Gray Mask.FIG. 4 Side 1 of Mask II with the Slot and Two Blue Color ChipsFIG. 5 Example of Technicians Record SheetD 5383 02 (2003)37. Preparation of Spec

40、imens7.1 Cut both the paper to be used as the substrate and thebacking panel to fit in the window in which the panel will beplaced for exposure. Leave enough space around the panel toprevent shadows of the window frame from falling across thespecimens or Blue Wool Reference Card.7.2 Depending on the

41、 size and shape of the window to beused, rule the substrate for placement of the specimens andreferences. Figs. 1 and 2 are examples of the information thatmust be included and suggest possible formats. The horizontalbands drawn to receive the art materials must be at least 9.5mm (38 in.) high and 4

42、4.5 mm (134 in.) long for each artmaterial to be tested. This is the same size as the references.7.2.1 Above and below the horizontal specimen bands putguide marks at the midpoint of the bands to guide placement ofthe specimen cover. Do not draw a vertical line across thebands between these guide ma

43、rks. When placed on the guidemarks the cover will block light from half of each specimenand the references.7.2.2 Apply the art materials so that each horizontal band iscompletely and consistently covered with a strong color. It maybe necessary to use more than one coat of a watercolor or inkto produ

44、ce a color in which small amounts of fading can bedetected visually.7.2.3 At the top of the substrate enter the type of material,name of the manufacturer, and product line. Record the datethe test begins. Use india ink or pencil unless this part of thepanel will be covered during exposure. Leave spa

45、ces to recordthe date when Reference 3 shows a color change, the dateReference 3 matches the color chips on the Mask II (Reference6 shows a color change), and if desired, the date whenreference 7 shows a color change. Beside each specimenFIG. 6 An Example of an Instruction Sheet to be Furnished to t

46、heObservers Who Will Rate the SpecimensFIG. 7 Example of Record Sheet for Observers UseFIG. 8 Example of Final Rating FormD 5383 02 (2003)4identify the art material as completely as possible. Record theproduct number and the name of each material, if available.See examples in Figs. 1 and 2.7.3 Tape

47、across the top and bottom margins of the BlueWool Reference Card to attach it to the substrate. The bottomof the card has the wider margin and the duller blue reference.To save space, the margins can be trimmed leaving enoughmargin to tape the card to the panel.7.3.1 Center the card directly in line

48、 with the center of thebands of art material specimens. The card must be in line withthe specimens so it will also be half covered when thespecimen cover is attached.7.3.2 Number the Blue Wool References 1 through 8 begin-ning with the top reference.7.3.3 A separate Blue Wool Reference Card shall be

49、 usedwith each set of test specimens exposed in a different window.7.4 Attach the specimen support to the backing board withthe tape.7.5 Line the specimen cover up with the guide marks andfasten it tightly over the specimens and Blue Wool ReferenceCard with suitable tape, clamps or wing nuts. Tape may have tobe replaced during the exposure period due to deterioration.8. Procedure8.1 Position the backing panel containing the specimens andBlue Wool Reference Card in a window. In the northernhemisphere, the window should face south or southwest ifpossible. Thi