ASTM D5383-2016 Standard Practice for Visual Determination of the Lightfastness of Art Materials by Artists and Art Technologists《艺术家和工艺美术工作者用目视确定工美材料光牢性的标准实施规程》.pdf

《ASTM D5383-2016 Standard Practice for Visual Determination of the Lightfastness of Art Materials by Artists and Art Technologists《艺术家和工艺美术工作者用目视确定工美材料光牢性的标准实施规程》.pdf》由会员分享，可在线阅读，更多相关《ASTM D5383-2016 Standard Practice for Visual Determination of the Lightfastness of Art Materials by Artists and Art Technologists《艺术家和工艺美术工作者用目视确定工美材料光牢性的标准实施规程》.pdf（9页珍藏版）》请在麦多课文档分享上搜索。

1、Designation: D5383 02 (Reapproved 2010)D5383 16Standard Practice forVisual Determination of the Lightfastness of Art Materials byArtists and Art Technologists1This standard is issued under the fixed designation D5383; the number immediately following the designation indicates the year oforiginal ado

2、ption or, in the case 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 specimens of colored art mat

3、erials indoors to sunlight coming through a closedwindow. A card containing eight Blue Wool References2 is exposed simultaneously. Blue Wool References2 3, 6, and 7, are usedas controls in determining when to remove test specimens from exposure and rate them. Test specimens are rated by assigning ea

4、chspecimen the number of the Blue Wool Reference that shows the same amount of color change.1.2 This practice may be used to indicate art materials that will change color within a few months or years in normal indoorexposure and those that will remain unchanged for a period of years. It is not rigor

5、ous enough to verify that materials will remainunchanged for more than fifty years in a home or office environment.Amajor consideration in developing this method was to keepit simple and short enough to be preformed without instrumentation in a comparatively short length of time.1.3 This practice sh

6、all only be used to evaluate the lightfastness of art materials not conforming to Specifications only D4302,D5098 or D5067 and when it is not feasible to use Test Methods D4303. Practice D5398, which is a simpler method, may be usedby artists to evaluate the lightfastness of their own materials.1.4

7、This practice is not suitable for evaluating materials with a high oil content such as artists oil, resin oil or alkyd paints.1.5 The values stated in SI units are to be regarded as the standard. The values given in parentheses are for information only.1.6 This standard does not purport to address a

8、ll of the safety concerns, if any, associated with its use. It is the responsibilityof the user of this standard to establish appropriate safety and health practices and determine the applicability of regulatorylimitations prior to use.2. Referenced Documents2.1 ASTM Standards:3D4302 Specification f

9、or Artists Oil, Resin-Oil, and Alkyd PaintsD4303 Test Methods for Lightfastness of Colorants Used in Artists MaterialsD5067 Specification for Artists Watercolor PaintsD5098 Specification for ArtistsAcrylic Dispersion PaintsD5398 Practice for Visual Evaluation of the Lightfastness of Art Materials by

10、 the UserE284 Terminology of Appearance2.2 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 Fastness of Textiles and Leathers53. Terminology3.1 The definitions included in Terminology E284

11、are applicable to this practice.3.2 Definitions of Terms Specific to This Standard:1 This practice is under the jurisdiction of ASTM Committee D01 on Paint and Related Coatings, Materials, and Applications and is the direct responsibility ofSubcommittee D01.57 on Artist Paints and Related Materials.

12、Current edition approved June 1, 2010Dec. 1, 2016. Published July 2010December 2016. Originally approved in 1993. Last previous edition approved in 20032010 asD5383 02 (2003).D5383 06 (2010). DOI: 10.1520/D5383-02R10.10.1520/D5383-16.2 The Blue Wool Reference Card is available from Talas, Division T

13、echnical Library Service, 213 W. 35th St. New York, NY 10001-1992.3 For referencedASTM standards, visit theASTM website, www.astm.org, or contactASTM Customer Service at serviceastm.org. For Annual Book of ASTM Standardsvolume information, refer to the standards Document Summary page on the ASTM web

14、site.4 International Organization for Standardization, ISO/R 105-B is available from the American National Standards Institute (ANSI), 25 W. 43rd St., 4th Floor, New York,NY 10036, http:/www.ansi.org.5 British Standard 1006 can be obtained from British Standards Institute (BSI), 389 Chiswick High Rd

15、., London W4 4AL, U.K., http:/www.bsi-.This document is not an ASTM standard and is intended only to provide the user of an ASTM standard an indication of what changes have been made to the previous version. Becauseit may not be technically possible to adequately depict all changes accurately, ASTM

16、recommends that users consult prior editions as appropriate. In all cases only the current versionof the standard as published by ASTM is to be considered the official document.Copyright ASTM International, 100 Barr Harbor Drive, PO Box C700, West Conshohocken, PA 19428-2959. United States13.2.1 blo

17、om, na cloudy coating, sometimes appearing on exudation on the surface of colored pencil drawings due to migrationof wax to the surface, that can be made transparent by gentle polishing.wax migration.3.2.2 fugitive color, ncolorant that changes color in a few days or weeks, or that bleaches white in

18、 less than 18 months, whenexposed behind glass to sunlight.3.2.3 glazing, nthe transparent glass or plastic sheet placed in front of a picture when it is framed.3.2.4 Substrate,substrate, nthe white, pH neutral (pH 6 to 8) paper or board on which the art materials are applied.4. Summary of Practice4

19、.1 This practice uses as controls three of the eight ISO Blue Wool References developed for use with ISO/R 105-B and BritishStandard 1006 Group B.4.2 Specimens are made from the colored materials to be tested and attached to a backing panel along with a card containingthe eight Blue Wool References.

20、4.3 One half of each colored specimen and of the Blue Wool Reference are covered, shielding that half of the specimens andreferences from light. The test specimens and references are exposed to sunlight through a closed window.4.4 When Blue Wool Reference 3 shows a color change, the colored specimen

21、s are examined visually and any that also showa color change are noted. The cover is replaced and exposure continued until the exposed and unexposed halves of Reference 3reach a specified contrast and Reference 6 also shows a color change. Three observers rate each specimen by assigning it thenumber

22、 of the Blue Wool Reference that shows a similar color change. The three numbers assigned to a specimen are averagedand this average determines in which of four broad lightfastness categories the specimen belongs.4.5 If it is necessary to determine which materials have excellent lightfastness, conti

23、nue exposure until Reference 7 shows acolor change. Remove the panel from exposure and examine only the specimens that had not changed color at the time Reference6 faded. Those specimens that still show no color change are placed in the fifth and highest lightfastness category.NOTE 1Depending on the

24、 test location, the time of year, and the number of cloudy days, it will take from a few days to two months of exposure ina window facing south to reveal fugitive materials that will either bleach white or radically change color in a few years when displayed in a normal homeenvironment. It will take

25、 from 4 to 18 months of exposure to determine materials that will show, under normal room conditions, various degrees of colorchange, and those that will remain unchanged, for a long period of time.5. Significance and Use5.1 Artists have available to them a wide variety of art materials such as mark

26、ers, colored pencils, pastels, colored inks andairbrush colors. Many of these materials are manufactured for temporary artwork and may contain pigments and dyes that fadein a relatively short time. Product labels and manufacturersmanufacturers literature do not always supply the informationnecessary

27、 to distinguish products that are stable to light from those that are not. This practice makes it possible to check the generallightfastness of coloring materials to be used in works of art; however, Test Methods D4303 must be used if color measuringinstruments and appropriate lightfastness testing

28、apparatus are available. This practice may also be used to evaluate other typesof colored materials for lightfastness.6. Materials6.1 Backing Panel, that is resistant to warping when placed on its edge and exposed to light and heat passing through windowglass. Foamcore board, Foam board, corrugated

29、plastic board, aluminum composite material (ACM), particle board, hardboard,orand plywood 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.) white paper or museumboard. Depending on the material being tested, a pH neutral foam board

30、 may be suitable. To avoid substrate discoloration duringthe testing procedure, the substrate shall be 100% cotton, pH neutral, buffered, uncoated, and without optical brighteners. It isdesirable for the surface of the substrate to be similar to that customarily used with the materials being tested;

31、 however, it mustbe possible to completely cover the substrate with an even coat of the colors. Rough watercolor paper is not suitable.6.3 Blue Wool Reference Card, 2 contains bands of the eight Blue Wool References glued to a card 44.5 by 127 mm (134 by5 in.). Each Blue Wool Reference from 1 to 8 t

32、akes approximately twice as long to fade as the reference immediately precedingit. The card must be kept in complete darkness until time for the test. It should be wrapped in an opaque covering and stored ina drawer at normal room temperature.6.4 Colored Art Materials, to be tested.6.5 Specimen Cove

33、r, made from stiff material such as heavy gage aluminum; stainless steel; stiff, opaque plastic; or woodenstrips. The cover shall be at least 32-mm (114-in.) wide and as long as the backing panel. It is used to protect one half of each artmaterial specimen and one half of the Blue Wool Reference Car

34、d from light (see Figs. 1 and 2). The side of the cover that touchesthe art material specimens should be chemically inert to prevent interaction with, or migration of substances onto the testspecimens.D5383 1626.6 Tape, to fasten the specimen support to the backing board and to fasten the specimen c

35、over over the specimens and the BlueWool Reference Card. Duct or electrical tape is suitable since it is designed to withstand heat.6.6.1 Optional Metal Clamps or Wing Nuts, to hold the cover more tightly against the specimen, may be used. This will excludelight better making a sharper edge between

36、the exposed and unexposed sections of the specimens for easier visual judgments.NOTE 125.4 mm = 1 in. (exact).FIG. 1 Suggested Layout for Lightfastness Test PanelNOTE 125.4 mm = 1 in. (exact).FIG. 2 Example of Two-Cover Layout That Fits on an 812 by 11 in. sheetD5383 1636.7 Mask I, shall be made of

37、stiff, neutral gray paper, approximately Munsell Value 6.5 (reflectance 36.2 %), with a slot, 6.4 by41.3 mm (14 by 158 in.) See Fig. 3. This is slightly smaller than an individual Blue Wool Reference. It is used to isolate a specimenwhen looking for a color change to prevent color changes in neighbo

38、ring specimens from affecting the decision.6.8 Mask II, shall be made of stiff paper of the same neutral gray and with the same size slot as in Mask I. Side 1 shall havetwo blue chips mounted adjacent to the slot. One chip shall be Munsell 7.07.5 PB 4.0/13.0,4.0/12.0, matching the unexposed BlueWool

39、 Reference 3.The second chip shall be Munsell 5.0 PB 6.0/4.0, the color of the exposed half of the BlueWool Reference whenthe test is complete (see Fig. 4). Side 1 of Mask II is used to determine when Reference 3 has faded sufficiently for the secondrating (see 8.5.1). Side 2 is used to isolate the

40、individual Blue Wool References when they are being compared with a test specimenisolated with Mask I.6.9 Soft Clean Artists Brush, to be used to dust off Blue Wool References and specimens following exposure.6.10 Report and Instruction Sheets.6.10.1 Aform to record the materials being tested, the d

41、ate of exposure, the date Reference 3 begins to fade, materials that alsoshow a color change at that time, and the date Reference 6 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 be given to the three observers.6.10.3 Three copies of a f

42、orm, such as is shown in Fig. 7, to be used by the observers in recording their evaluation of the testspecimens.6.10.4 A final rating form to record and average the observersratings and list the lightfastness category for each material (seeFig. 8 for an example of a suitable form).7. Preparation of

43、Specimens7.1 Cut both the paper to be used as the substrate and the backing panel to fit in the window in which the panel will be placedfor exposure. Leave enough space around the panel to prevent shadows of the window frame from falling across the specimensor Blue Wool Reference Card.7.2 Depending

44、on the size and shape of the window to be used, rule the substrate for placement of the specimens and references.Figs. 1 and 2 are examples of the information that must be included and suggest possible formats. The horizontal bands drawn toreceive the art materials must be at least 9.5 mm (38 in.) h

45、igh and 44.5 mm (134 in.) long for each art material to be tested. Thisis the same size as the references.7.2.1 Above and below the horizontal specimen bands put guide marks at the midpoint of the bands to guide placement of thespecimen cover. Do not draw a vertical line across the bands between the

46、se guide marks.When placed on the guide marks the coverwill block light from half of each specimen and the references.7.2.2 Apply the art materials so that each horizontal band is completely and consistently covered with a strong color. It maybe necessary to use more than one coat of a watercolor or

47、 ink to produce a color in which small amounts of fading can be detectedvisually.7.2.3 At the top of the substrate enter the type of material, name of the manufacturer, and product line. Record the date the testbegins. Use india ink or pencil unless this part of the panel will be covered during expo

48、sure. Leave spaces to record the date whenReference 3 shows a color change, the date Reference 3 matches the color chips on the Mask II (Reference 6 shows a color change),and if desired, the date when reference 7 shows a color change. Beside each specimen identify the art material as completely aspo

49、ssible. Record the product number and the name of each material, if available. See examples in Figs. 1 and 2.7.3 Tape across the top and bottom margins of the Blue Wool Reference Card to attach it to the substrate. The bottom of thecard has the wider margin and the duller blue reference. To save space, the margins can be trimmed leaving enough margin to tapethe card to the panel.7.3.1 Center the card directly in line with the center of the bands of art material specimens. The card must be in line with thespecimens so it will also be half cove