ASTM D5383-2002(2010) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists《工艺美术工作者用工美材料耐光性的目视识别标准方法》.pdf

《ASTM D5383-2002(2010) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists《工艺美术工作者用工美材料耐光性的目视识别标准方法》.pdf》由会员分享，可在线阅读，更多相关《ASTM D5383-2002(2010) Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists《工艺美术工作者用工美材料耐光性的目视识别标准方法》.pdf（6页珍藏版）》请在麦多课文档分享上搜索。

1、Designation: D5383 02 (Reapproved 2010)Standard Practice forVisual Determination of the Lightfastness of Art Materials byArt Technologists1This standard is issued under the fixed designation D5383; the number immediately following the designation indicates the year oforiginal adoption or, in the cas

2、e of revision, the year of last revision. A number in parentheses indicates the year of last reapproval. Asuperscript epsilon () 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 sun

3、light coming through aclosed window.Acard 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 of t

4、he 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 thatmate

5、rials 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 evaluate

6、 the light-fastness of art materials not conforming to SpecificationsD4302, D5098 or D5067 and when it is not feasible to use TestMethods D4303. Practice D5398, which is a simpler method,may be used by artists to evaluate the lightfastness of their ownmaterials.1.4 This practice is not suitable for

7、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 any, asso

8、ciated 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:3D4302 Specification for Artists Oil, Resin-Oil, and Alkyd

9、PaintsD4303 Test Methods for Lightfastness of Colorants Used inArtists MaterialsD5067 Specification for Artists Watercolor PaintsD5098 Specification for Artists Acrylic Dispersion PaintsD5398 Practice for Visual Evaluation of the Lightfastnessof Art Materials by the UserE284 Terminology of Appearanc

10、e2.2 Other Standards:ISO/R 105-B Textiles Tests for Colour Fastness Part B:Colour Fastness to Light and Weathering4British Standard 1006 Group B Methods for Colour Fast-ness of Textiles and Leathers53. Terminology3.1 The definitions included in Terminology E284 are ap-plicable to this practice.3.2 D

11、efinitions 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, or that bleach

12、es 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.1This practice is under the jurisdiction of ASTM Committee D01 on Paint andRelated Coatings, Materials, and Applications and is t

13、he direct responsibility ofSubcommittee D01.57 on Artist Paints and Related Materials.Current edition approved June 1, 2010. Published July 2010. Originally approvedin 1993. Last previous edition approved in 2003 as D5383 02 (2003). DOI:10.1520/D5383-02R10.2The Blue Wool Reference Card is available

14、from Talas, Division TechnicalLibrary Service, 213 W. 35th St. New York, NY 10001-1992.3For referenced ASTM standards, visit the ASTM website, www.astm.org, orcontact ASTM Customer Service at serviceastm.org. For Annual Book of ASTMStandards volume information, refer to the standards Document Summar

15、y page onthe ASTM website.4International Organization for Standardization, ISO/R 105-B is available fromthe American National Standards Institute (ANSI), 25 W. 43rd St., 4th Floor, NewYork, NY 10036, http:/www.ansi.org.5British Standard 1006 can be obtained from British Standards Institute (BSI),389

16、 Chiswick High Rd., London W4 4AL, U.K., http:/www.bsi-.1Copyright ASTM International, 100 Barr Harbor Drive, PO Box C700, West Conshohocken, PA 19428-2959, United States.3.2.4 Substrate, nthe white, pH neutral paper or board onwhich the art materials are applied.4. Summary of Practice4.1 This pract

17、ice uses as controls three of the eight ISO BlueWool References developed for use with ISO/R 105-B andBritish Standard 1006 Group B.4.2 Specimens are made from the colored materials to betested and attached to a backing panel along with a cardcontaining the eight Blue Wool References.4.3 One half of

18、 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.4.4 When Blue Wool Reference 3 shows a color change, thecolored specimens are examined vis

19、ually 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 change. Three observers rate each specimen byassigning it the number of the Blue Wool Re

20、ference 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 necessary to determine which materials haveexcellent lightfastness, continue exposure until Refe

21、rence 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 fifth and highest lightfastnesscategory.NOTE 1Depending on the test location, the time o

22、f 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 years whendisplayed in a normal home environment. It will take from 4 to 18 monthsof expos

23、ure 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 available to them a wide variety of artmaterials such as markers, colored pencils, pastels,

24、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 do not always supply the informationnecessary to distinguish products that are stable to

25、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 D4303 must be used if colormeasuring instruments and appropriate lightfastness testingapparatus are available. This practice may also

26、 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 glass. Foamcore board, particle board, hardboard, orplywood are suitable.6.2 Substrate, of whi

27、te, 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 surface ofthe substrate to be similar to that customarily used with thematerials being tes

28、ted; 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 References glued to a card 44.5 by 127 mm (134 by5 in.). Each Blue Wool Reference from 1 to 8

29、 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 drawer at normal room temperature.6.4 Colored Art Materials, to be tested.6.5 Specimen Co

30、ver, 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 protect one half of eachart material specimen and one half of the Blue Wool ReferenceCard

31、 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.NOTE 125.4 mm = 1 in. (exact).FIG. 1 Suggested Layout for Lightfastness Test PanelD5383 02 (2010)26.6

32、 Tape, to 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

33、 specimen, may be used. Thiswill 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 gray paper,approximately Munsell Value 6.5 (reflectance 36.2 %), with aslot, 6.4 by 41.3 mm (1

34、4 by 158 in.) 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 affecting thedecision.6.8 Mask II, shall be made of stiff paper of the same neutralgray and

35、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 be Munsell 5.0 PB 6.0/4.0,the color of the exposed half of the Blue Wool Reference whenthe

36、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 they are being compared with atest specimen isolated with Mask I.6.9 Soft Clean Artists Bru

37、sh, 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 begins to fade, materials thatalso show a color change at that time, and the date Reference

38、6 shows a color change (see Fig. 5 for an example).NOTE 125.4 mm = 1 in. (exact).FIG. 2 Example of Two-Cover 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 S

39、lot and Two Blue Color ChipsFIG. 5 Example of Technicians Record SheetD5383 02 (2010)36.10.2 Aset of instructions, such as is shown in Fig. 6,tobegiven to the three observers.6.10.3 Three copies of a form, such as is shown in Fig. 7,tobe used by the observers in recording their evaluation of thetest

40、 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).7. Preparation of Specimens7.1 Cut both the paper to be used as the substrate and thebacking panel to fit in the wind

41、ow 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 size and shape of the window to beused, rule the substrate for placement of the specimens andr

42、eferences. 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 44.5 mm (134 in.) long for each artmaterial to be tested. This is the same size as the reference

43、s.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 marks. When placed on the guidemarks the cover will block light from half of each specimenand the

44、 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 produce a color in which small amounts of fading can bedetected visually.7.2.3 At the top of the sub

45、strate 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 spaces to recordthe date when Reference 3 shows a color change, the dateReference 3 matches the co

46、lor chips on the Mask II (Reference6 shows a color change), and if desired, the date whenreference 7 shows a color change. Beside each specimenidentify 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 T

47、ape 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

48、line 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.FIG. 6 An Example of an Instruction Sheet to be Furnished to theObservers Who Will Rate the SpecimensFIG. 7 Example of Record Shee

49、t for Observers UseD5383 02 (2010)47.3.2 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 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. Proced