ASTM D5398-1997(2003) Standard Practice for Visual Evaluation of the Lightfastness of Art Materials by the User《用户用工美材料光牢性的目视确定的标准操作规程》.pdf

《ASTM D5398-1997(2003) Standard Practice for Visual Evaluation of the Lightfastness of Art Materials by the User《用户用工美材料光牢性的目视确定的标准操作规程》.pdf》由会员分享，可在线阅读，更多相关《ASTM D5398-1997(2003) Standard Practice for Visual Evaluation of the Lightfastness of Art Materials by the User《用户用工美材料光牢性的目视确定的标准操作规程》.pdf（4页珍藏版）》请在麦多课文档分享上搜索。

1、Designation: D 5398 97 (Reapproved 2003)Standard Practice forVisual Evaluation of the Lightfastness of Art Materials bythe User1This standard is issued under the fixed designation D 5398; the number immediately following the designation indicates the year oforiginal adoption or, in the case of revis

2、ion, 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 sunlight com

3、ing through aclosed window. Any color change is compared to fading in aBlue Wool Reference2and exposed simultaneously.1.2 This practice shall only be used by individuals to selectmaterials with satisfactory lightfastness for their own use or toidentify materials that require special protection from

4、light.When test information is to be communicated to others, TestMethods D 4303 or Practice D 5383 must be used.1.3 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 year

5、s. It is not rigorous enough to verify thatmaterials 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 beperformed without instrumentation in a comparatively shortlength of time.1

6、.4 This practice is not suitable for evaluating the lightfast-ness of 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 thestandard. The values given in parentheses are for informationonly.1.6 This standard does no

7、t purport to address all of thesafety concerns, if 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 Standard

8、s:D 4303 Test Methods for Lightfastness of Pigments Used inArtists Paints3D 5383 Practice for Visual Determination of the Lightfast-ness of Art Materials by Art Technologists3E 284 Terminology of Appearance42.2 Other Standards:ISO/R 105-B Textiles Tests for Colour Fastness Part B:Colour Fastness to

9、Light and Weathering5British Standards Institute (BSI) 1006 Group B Methods forColour Fastness of Textiles and Leathers63. Terminology3.1 The definitions included in Terminology E 284 areapplicable to this practice.3.2 Definitions of Terms Specific to This Standard:3.2.1 bloom, na cloudy coating, so

10、metimes 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 bleaches white in less than 18 months,when exposed behind glass to sunlight.3.2.3 glaz

11、ing, 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 Practice4.1 This practice employs as a control Blue Wool Reference3 from the series of eight Blue Wool

12、 References of knownlightfastness that were developed for use with ISO/R 105-B5and BSI 1006 Group B6.4.2 Specimens are made of the colored materials to be testedand placed on a backing board along with Blue Wool Refer-ence #3 or a Blue Wool Reference Card containing all eightBlue Wool References.4.3

13、 One half of each colored specimen and one half of theBlue Wool References are covered, shielding that half of the1This practice is under the jurisdiction of ASTM Committee D01 on Paint andRelated Coatings, Materials, and Applications and is the direct responsibility ofSubcommittee D01.57 on Artist

14、Paints and Related Materials.Current edition approved May 10, 2003. Published June 2003. Originallyapproved in 1993. Last previous edition approved in 1997 as D 5398 97.2ISO Blue Wool Reference 3 is available from the Society of Dyers andColourists, P.O. Box 244, Grattan Road, Radford, West Yorkshir

15、e, BD12 JB,England, or as the third band from the top of the Textile Fading Card from Talas,Division of Technical Library Service, Inc., 213 West 35th St., New York, NY10001-1996.3Annual Book of ASTM Standards, Vol 06.02.4Annual Book of ASTM Standards, Vol 06.01.5ISO/R 105-B is available from Americ

16、an National Standards Institute (ANSI),25 W. 43rd St., 4th Floor, New York, NY 10036.6British Standard 1006 Group B is available from British Standards Institute,Linford Wood, Milton Keynes MK14 6LE, United Kingdom.1Copyright ASTM International, 100 Barr Harbor Drive, PO Box C700, West Conshohocken,

17、 PA 19428-2959, United States.specimens and references from light. The test specimens andreference are exposed to sunlight coming through a closedwindow.4.4 The test is complete when Blue Wool Reference # 3fades a specific amount.4.5 The artist examines the test specimens and decideswhich materials

18、are suitable for use in his or her works of art.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

19、a few years 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 ha

20、ve available 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 liter

21、ature do not always supply the informationnecessary to distinguish products that are stable to light fromthose that are not. This practice makes it possible for an artistto check the lightfastness of coloring materials to be used inworks of art. It may also be used to test the lightfastness ofother

22、types of colored materials.6. Materials6.1 Backing Panel, that is resistant to warping when placedon its edge and exposed to light and heat passing throughwindow glass. Foam core board, particle board, hardboard, orplywood are suitable.6.2 Substrate, of stiff drawing paper or museum board thatis whi

23、te, acid free (pH 7 to 9), and of medium weight, 33 to 64kg (72 to 140 lb ). Depending on the material being tested, a pHneutral foam core board may be suitable. It is desirable for thesurface of the substrate to be similar to that customarily usedwith the materials being tested; however, it must be

24、 possible tocompletely cover the substrate with an even coat of the colors.Rough watercolor papers are not suitable.6.3 Blue Wool Reference 32, a horizontal band of blue woolcloth, 9.5 mm (38 in.) high and 44.5 mm (134in.) wide, gluedto a card 2.5 by 4.4 cm (1 by 134 in.). If the Textile Fading Card

25、from Talas is used, Reference 3 is the third band down from theend of the card with the narrower margin and brighter bluewool bands. Either card must be kept in complete darknessuntil time for the test. It should be wrapped in an opaquecovering and stored in a drawer at normal room temperature.6.4 C

26、olored Art Materials, to be tested.6.5 Specimen Cover, made from stiff material such as heavygage aluminum; stainless steel; stiff, opaque plastic; or woodenstrips. This 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 s

27、pecimen and one half of the Blue Wool Referencefrom light (see Fig. 1). The side of the cover that touches theart material specimens should be chemically inert to preventinteraction with, or migration of substances onto the testspecimens.6.6 Tape, to fasten the specimen support to the backingboard a

28、nd to fasten the specimen cover over the specimens andthe Blue Wool Reference. Duct or electrical tape is suitablesince it is designed to withstand heat.6.6.1 OptionalMetal Clamps, To hold the cover moretightly against the specimen. This will exclude light better,making a sharper edge between the ex

29、posed and unexposedsections of the specimens. This will make visual determina-tions easier.6.7 Mask, shall be made of stiff paper with a slot, 6.4 by41.3 mm (14 by 158 in.), slightly smaller than the Blue WoolReference (see Fig. 2). Both sides of the mask shall be a neutralgray approximately Munsell

30、 Value 6.5. Side one shall have twoblue color chips attached above the slot. One blue chip shall beMunsell 7 PB 4/13, matching the unexposed Blue WoolNOTE 11 in. = 25.4 mm (exact).FIG. 1 Suggested Layout for Lightfastness Test PanelNOTE 1Side 2 is the same gray.FIG. 2 Side 1 of the Gray Mask Showing

31、 the Slot and Two BlueColor ChipsD 5398 97 (2003)2Reference # 3. The second chip shall be Munsell 5 PB 6/4, thecolor of the exposed half of Blue Wool Reference # 3 when thetest is complete. When the blue chips on Side 1 match theexposed and unexposed halves of Blue Wool Reference 3, thetest is compl

32、ete. The gray Side 2 is used to isolate a specimenwhen looking for a color change to prevent color changes inneighboring specimens from affecting the decision.7. Preparation of Specimens7.1 Cut both the heavy drawing paper to be used as thesubstrate and the backing panel to the size of the window in

33、which the panel will be placed for exposure. Leave enoughspace around the panel to prevent shadows of the windowframe from falling across the specimens or the Blue WoolReference.7.2 Use Fig. 1 as a general guide in preparing the substrateon which to apply the art materials. The horizontal bands fort

34、he art materials must be at least 9.5 mm (38 in.) high and 44.5mm (134 in. ) wide for each art material to be tested. This is thesame size as Blue Wool Reference # 3.7.2.1 Above and below the horizontal specimen bands putguide marks at the midpoint of the bands to guide theplacement of the cover. Do

35、 not draw a vertical line across thespecimen bands between these guide marks. When placed onthese guide marks, the cover will block light from half of eachspecimen and the standard.7.2.2 Apply the art materials so that each horizontal band iscompletely and consistently covered with a strong color. I

36、t 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 substrate record the type of material,name of the manufacturer, and product line. Record the datethe test begins, leaving a space to r

37、ecord the date when theBlue Wool Reference # 3 begins to fade, and the date when thetest is complete (see Fig. 1).7.2.4 Beside each specimen identify the art material ascompletely as possible. Record the product number and thename of each material, if available.7.3 Use tape to attach the Blue Wool R

38、eference card by itstop and bottom margins to the substrate. Center the Blue WoolReference directly below the center of the bands of art materialspecimens. The reference must be in line with the specimens soit will also be half covered when the cover is attached. Aseparate Blue Wool Reference card s

39、hall be included with eachset of test specimens that will be exposed in a different window.7.4 Attach the substrate containing the specimens and thereference to the backing board with the tape.7.5 Line up the cover with the guide marks and fasten ittightly over the specimens and the Blue Wool Refere

40、nce withtape or clamps. Tape may need to be replaced during theexposure period due to deterioration.8. Procedure8.1 Position the prepared panel in a window. In the northernhemisphere, the window should face south or southwest ifpossible. This will shorten the time required for completion ofthe test.

41、 Tests will be completed sooner in the summer than inthe winter, and the altitude and latitude of the site will alsoaffect the time required for the test. If the specimens can beplaced at an angle, normally 45, in the window so the sun fallsdirectly on the specimens, this also speeds the results. En

42、surethat no shadows fall across the specimens.8.2 Record the date exposure begins.8.3 Remove the cover once a week, isolate the Blue WoolReference # 3 with the gray Side 2 of the Mask and check thereference for any color change.8.3.1 Viewing ConditionsWhen visually examining theBlue Wool Reference#3

43、orthetest specimens, the light sourceshall be natural sky light (not direct sun light), or an artificialdaylight source of 5000 to 7500 K with a Color RenderingIndex7of 89 or higher. If the source is overhead, the specimensshall be held at about 45 from the horizontal to avoidreflections of the sour

44、ce on their surfaces.8.4 When a color difference can be seen between theexposed and unexposed halves of the Blue Wool Reference # 3,use the gray Side 2 of the Mask to isolate each art materialspecimen in turn to check it for color changes.8.5 Record the date and the materials that show a colorchange

45、.8.6 Reattach the specimen cover and continue exposure.8.6.1 Check the Blue Wool Reference # 3 periodically(usually about once a month is sufficient) by removing thecover and comparing the exposed and unexposed halves of thereference with the blues on Side 1 of the Mask. The darker bluechip matches

46、approximately the unexposed Blue Wool Refer-ence #3.8.6.2 Place the slot in the mask so that the dark blue chiptouches the unexposed half of the Blue Wool Reference#3andthe lighter blue chip touches the exposed half of the reference.8.6.3 When the exposed half of the Blue Wool Reference #3 matches t

47、he lighter blue chip the test is complete. Removethe panel from exposure.8.7 Isolate each color specimen with the gray Side 2 of theMask and decide which materials have changed color suffi-ciently to make them unsuitable for use in a permanentartwork, or which materials need added protection from li

48、ghtand ultraviolet radiation (see Note 3).8.7.1 If the materials exposed were colored pencils, checkthe specimens that have appeared to change color for bloom,by rubbing them gently with a small piece of cotton. If thespecimens color returns to its original appearance, the speci-men has not faded.8.

49、8 Record the date and the materials that are deemedsuitable for use. It is useful to prepare a record such as the oneshown in Fig. 3, noting the materials that have not changedcolor, those that show a small color change, those that show alarge color change, and those that bleached white.NOTE 2If it is desired to select materials with superior lightfastnesseither Test Methods D 4303, if appropriate, or Practice D 5383 must beused. Test Methods D 4303 is an instrumental method for use with artistsoil, resin-oil, alkyd, acrylic emulsion or watercolor paints. Pract