ASTM D5398-97
(Practice)Standard Practice for Visual Evaluation of the Lightfastness of Art Materials by the User
Standard Practice for Visual Evaluation of the Lightfastness of Art Materials by the User
SCOPE
1.1 This practice covers a method for exposing specimens of colored art materials indoors to sunlight coming through a closed window. Any color change is compared to fading in a Blue Wool Reference and exposed simultaneously.
1.2 This practice shall only be used by individuals to select materials with satisfactory lightfastness for their own use or to identify materials that require special protection from light. When test information is to be communicated to others, Test Methods D4303 or D5383 must be used.
1.3 This practice is not suitable for evaluating the lightfastness of materials with a high oil content such as artists' oil, resin-oil or alkyd paints.
1.4 This standard does not purport to address all of the safety concerns, if any, associated with its use. It is the responsibility of the user of this standard to establish appropriate safety and health practices and determine the applicability of regulatory limitations prior to use.
General Information
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Standards Content (Sample)
NOTICE: This standard has either been superceded and replaced by a new version or discontinued.
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Designation: D 5398 – 97
Standard Practice for
Visual Evaluation of the Lightfastness of Art Materials by
the User
This standard is issued under the fixed designation D 5398; the number immediately following the designation indicates the year of
original adoption or, in the case of revision, the year of last revision. A number in parentheses indicates the year of last reapproval. A
superscript epsilon (e) indicates an editorial change since the last revision or reapproval.
1. Scope D 5383 Practice for Visual Determination of the Lightfast-
ness of Art Materials by Art Technologists
1.1 This practice covers a method for exposing specimens
E 284 Terminology of Appearance
of colored art materials indoors to sunlight coming through a
2.2 Other Standards:
closed window. Any color change is compared to fading in a
ISO/R 105-B Textiles Tests for Colour Fastness Part B:
Blue Wool Reference and exposed simultaneously.
Colour Fastness to Light and Weathering
1.2 This practice shall only be used by individuals to select
British Standards Institute (BSI) 1006 Group B Methods for
materials with satisfactory lightfastness for their own use or to
Colour Fastness of Textiles and Leathers
identify materials that require special protection from light.
When test information is to be communicated to others, Test
3. Terminology
Methods D 4303 or D 5383 must be used.
3.1 The definitions included in Terminology E 284 are
1.3 This practice may be used to indicate art materials that
applicable to this practice.
will change color within a few months or years in normal
3.2 Definitions of Terms Specific to This Standard:
indoor exposure and those that will remain unchanged for a
3.2.1 bloom, n—a cloudy coating, sometimes appearing on
period of years. It is not rigorous enough to verify that
colored pencil drawings due to migration of wax to the surface,
materials will remain unchanged for more than fifty years in a
that can be made transparent by gentle polishing.
home or office environment. A major consideration in devel-
3.2.2 fugitive color, n—colorant that changes color in a few
oping this method was to keep it simple and short enough to be
days or weeks, or that bleaches white in less than 18 months,
performed without instrumentation in a comparatively short
when exposed behind glass to sunlight.
length of time.
3.2.3 glazing, n—the transparent glass or plastic sheet
1.4 This practice is not suitable for evaluating the lightfast-
placed in front of a picture when it is framed.
ness of materials with a high oil content such as artists’ oil,
3.2.4 substrate, n—the white, pH neutral paper or board on
resin-oil or alkyd paints.
which the art materials are applied.
1.5 This standard does not purport to address all of the
safety concerns, if any, associated with its use. It is the
4. Summary of Practice
responsibility of the user of this standard to establish appro-
4.1 This practice employs as a control Blue Wool Reference
priate safety and health practices and determine the applica-
3 from the series of eight Blue Wool References of known
bility of regulatory limitations prior to use.
lightfastness that were developed for use with ISO/R 105-B
and BSI 1006 Group B .
2. Referenced Documents
4.2 Specimens are made of the colored materials to be tested
2.1 ASTM Standards:
and placed on a backing board along with Blue Wool Refer-
D 4303 Test Methods for Lightfastness of Pigments Used in
3 ence #3 or a Blue Wool Reference Card containing all eight
Artists’ Paints
Blue Wool References.
4.3 One half of each colored specimen and one half of the
Blue Wool References are covered, shielding that half of the
This practice is under the jurisdiction of ASTM Committee D-1 on Paint and
specimens and references from light. The test specimens and
Related Coatings, Materials, and Applications and is the direct responsibility of
reference are exposed to sunlight coming through a closed
Subcommittee D01.57 on Artists Paints and Related Materials.
window.
Current edition approved Nov. 10, 1997. Published September 1998. Originally
published as D 5398 – 93. Last previous edition D 5398 – 94.
ISO Blue Wool Reference 3 is available from the Society of Dyers and
Colourists, P.O. Box 244, Grattan Road, Radford, West Yorkshire, BD12 JB, Annual Book of ASTM Standards, Vol 06.01.
England, or as the third band from the top of the Textile Fading Card from Talas, ISO/R 105-B is available from the American National Standards Institute, 13th
Division of Technical Library Service, Inc., 213 West 35th St., New York, NY Floor, 11 W. 42nd St., NY, NY 10036.
10001-1996. British Standard 1006 Group B is available from British Standards Institute,
Annual Book of ASTM Standards, Vol 06.02. Linford Wood, Milton Keynes MK14 6LE, United Kingdom.
Copyright © ASTM International, 100 Barr Harbor Drive, PO Box C700, West Conshohocken, PA 19428-2959, United States.
NOTICE: This standard has either been superceded and replaced by a new version or discontinued.
Contact ASTM International (www.astm.org) for the latest information.
D5398–97
4.4 The test is complete when Blue Wool Reference # 3
fades a specific amount.
4.5 The artist examines the test specimens and decides
which materials are suitable for use in his or her works of art.
NOTE 1—Depending on the test location, the time of year, and the
number of cloudy days, it will take from a few days to two months of
exposure in a 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 home environment. It will take from 4 to 18 months
of exposure to determine materials that will show, under normal room
conditions, various degrees of color change, and those that will remain
unchanged for a long period of time.
5. Significance and Use
5.1 Artists have available to them a wide variety of art
materials such as markers, colored pencils, pastels, colored
inks and airbrush colors. Many of these materials are manu-
factured for temporary artwork and may contain pigments and
dyes that fade in a relatively short time. Product labels and
manufacturers’ literature do not always supply the information
necessary to distinguish products that are stable to light from
those that are not. This practice makes it possible for an artist
to check the lightfastness of coloring materials to be used in
works of art. It may also be used to test the lightfastness of
other types of colored materials.
NOTE 1—1 in. = 25.4 mm (exact).
6. Materials
FIG. 1 Suggested Layout for Lightfastness Test Panel
6.1 Backing Panel, that is resistant to warping when placed
on its edge and exposed to light and heat passing through
the Blue Wool Reference. Duct or electrical tape is suitable
window glass. Foam core board, particle board, hardboard, or
since it is designed to withstand heat.
plywood are suitable.
6.6.1 Optional—Metal Clamps, To hold the cover more
6.2 Substrate, of stiff drawing paper or museum board that
tightly against the specimen. This will exclude light better,
is white, acid free (pH 7 to 9), and of medium weight, 72 to 140
making a sharper edge between the exposed and unexposed
lb (33 to 64 kg). Depending on the material being tested, a pH
sections of the specimens. This will make visual determina-
neutral foam core board may be suitable. It is desirable for the
tions easier.
surface of the substrate to be similar to that customarily used 1 5
6.7 Mask, shall be made of stiff paper with a slot, ⁄4by 1 ⁄8
with the materials being tested; however, it must be possible to
in. (6.4 by 41.3 mm), slightly smaller than the Blue Wool
completely cover the substrate with an even coat of the colors.
Reference (see Fig. 2). Both sides of the mask shall be a neutral
Rough watercolor papers are not suitable.
gray approximately Munsell Value 6.5. Side one shall have two
6.3 Blue Wool Reference 3 , a horizontal band of blue wool
blue color chips attached above the slot. One blue chip shall be
3 3
cloth, ⁄8 in. (9.5 mm) high and 1 ⁄4in. (44.5 mm) wide, glued
Munsell 7 PB 4/13, matching the unexposed Blue Wool
toacard1by1 ⁄4in. (2.5 by 4.4 cm). If the Textile Fading Card
Reference # 3. The second chip shall be Munsell 5 PB 6/4, the
from Talas is used, Reference 3 is the third band down from the
color of the exposed half of Blue Wool Reference # 3 when the
end of the card with the narrower margin and brighter blue
wool bands. Either card must be kept in complete darkness
until time for the test. It should be wrapped in an opaque
covering and stored in a drawer at normal room temperature.
6.4 Colored Art Materials, to be tested.
6.5 Specimen Cover, made from stiff material such as heavy
gage aluminum; stainless steel; stiff, opaque plastic; or wooden
strips. This cover shall be at least 1 ⁄4 in. (32 mm) wide and as
long as the backing panel. It is used to protect one half of each
art material specimen and one half of the Blue Wool Reference
from light (see Fig. 1). The side of the cover that touches the
art material specimens should be chemically inert to prevent
interaction with, or migration of substances onto the test
specimens.
NOTE 1—Side 2 is the same gray.
6.6 Tape, to fasten the specimen support to the backing
FIG. 2 Side 1 of the Gray Mask Showing the Slot and Two Blue
board and to fasten the specimen cover over the specimens and Color Chips
NOTICE: This standard has either been superceded and replaced by a new version or discontinued.
Contact ASTM International (www.astm.org) for the latest information.
D5398–97
test is complete. When the blue chips on Side 1 match the directly on the specimens, this also speeds the results. Ensure
exposed and unexposed halves of Blue Wool Reference 3, the that no shadows fall across the specimens.
test is complete. The gray Side 2 is used to isolate a specimen
8.2 Record the date exposure begins.
when looking for a color change to prevent color changes in
8.3 Remove the cover once a week, isolate the Blue Wool
neighboring specimens from affecting the decision.
Reference # 3 with the gray Side 2 of the Mask and check the
reference for any color change.
7. Preparation of Specimens
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