ASTM D5383-02(2003)
(Practice)Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists
Standard Practice for Visual Determination of the Lightfastness of Art Materials by Art Technologists
SCOPE
1.1 This practice covers a method for exposing specimens of colored art materials indoors to sunlight coming through a closed window. A card containing eight Blue Wool References is exposed simultaneously. Blue Wool References 3, 6, and 7, are used as controls in determining when to remove test specimens from exposure and rate them. Test specimens are rated by assigning each specimen 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 indoor exposure and those that will remain unchanged for a period of years. It is not rigorous enough to verify that materials will remain unchanged for more than fifty years in a home or office environment. A major consideration in developing this method was to keep it simple and short enough to be preformed without instrumentation in a comparatively short length of time.
1.3 This practice shall only be used to evaluate the lightfastness of art materials not conforming to Specifications D 4302, D 5098 or D 5067 and when it is not feasible to use Test Methods D 4303. Practice D 5398, which is a simpler method, may be used by artists to evaluate the lightfastness of their own materials.
1.4 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 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.
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Designation: D5383 – 02 (Reapproved 2003)
Standard Practice for
Visual Determination of the Lightfastness of Art Materials by
Art Technologists
This standard is issued under the fixed designation D5383; 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 (´) indicates an editorial change since the last revision or reapproval.
1. Scope priate safety and health practices and determine the applica-
bility of regulatory limitations prior to use.
1.1 This practice covers a method for exposing specimens
of colored art materials indoors to sunlight coming through a
2. Referenced Documents
closedwindow.AcardcontainingeightBlueWoolReferences
2 2.1 ASTM Standards:
is exposed simultaneously. Blue Wool References 3, 6, and 7,
D4302 Specification for Artists’ Oil, Resin-Oil, and Alkyd
are used as controls in determining when to remove test
Paints
specimens from exposure and rate them. Test specimens are
D4303 Test Methods for Lightfastness of Colorants Used in
rated by assigning each specimen the number of the BlueWool
Artists’ Materials
Reference that shows the same amount of color change.
D5067 Specification for Artists’ Watercolor Paints
1.2 This practice may be used to indicate art materials that
D5098 Specification for Artists’ Acrylic Dispersion Paints
will change color within a few months or years in normal
D5398 Practice for Visual Evaluation of the Lightfastness
indoor exposure and those that will remain unchanged for a
of Art Materials by the User
period of years. It is not rigorous enough to verify that
E284 Terminology of Appearance
materials will remain unchanged for more than fifty years in a
2.2 Other Standards:
home or office environment. A major consideration in devel-
ISO/R 105-B Textiles Tests for Colour Fastness Part B:
oping this method was to keep it simple and short enough to be
Colour Fastness to Light and Weathering
preformed without instrumentation in a comparatively short
British Standard 1006 Group B Methods for Colour Fast-
length of time.
ness of Textiles and Leathers
1.3 This practice shall only be used to evaluate the light-
fastness of art materials not conforming to Specifications
3. Terminology
D4302, D5098 or D5067 and when it is not feasible to useTest
3.1 The definitions included in Terminology E284 are ap-
Methods D4303. Practice D5398, which is a simpler method,
plicable to this practice.
maybeusedbyartiststoevaluatethelightfastnessoftheirown
3.2 Definitions of Terms Specific to This Standard:
materials.
3.2.1 bloom, n—a cloudy coating, sometimes appearing on
1.4 This practice is not suitable for evaluating materials
coloredpencildrawingsduetomigrationofwaxtothesurface,
with a high oil content such as artists’ oil, resin oil or alkyd
that can be made transparent by gentle polishing.
paints.
3.2.2 fugitive color, n—colorant that changes color in a few
1.5 The values stated in SI units are to be regarded as the
days or weeks, or that bleaches white in less than 18 months,
standard. The values given in parentheses are for information
when exposed behind glass to sunlight.
only.
3.2.3 glazing, n—the transparent glass or plastic sheet
1.6 This standard does not purport to address all of the
placed in front of a picture when it is framed.
safety concerns, if any, associated with its use. It is the
responsibility of the user of this standard to establish appro-
For referenced ASTM standards, visit the ASTM website, www.astm.org, or
This practice is under the jurisdiction of ASTM Committee D01 on Paint and contact ASTM Customer Service at service@astm.org. For Annual Book of ASTM
Related Coatings, Materials, and Applications and is the direct responsibility of Standards volume information, refer to the standard’s Document Summary page on
Subcommittee D01.57 on Artist Paints and Related Materials. the ASTM website.
Current edition approved May 10, 2003. Published June 2003. Originally International Organization for Standardization, ISO/R 105-B is available from
approved in 1993. Last previous edition approved in 2002 as D5383 – 02. DOI: the American National Standards Institute (ANSI), 25 W. 43rd St., 4th Floor, New
10.1520/D5383-02R03. York, NY 10036, http://www.ansi.org.
2 5
The Blue Wool Reference Card is available from Talas, Division Technical British Standard 1006 can be obtained from British Standards Institute (BSI),
Library Service, 213 W. 35th St. New York, NY 10001-1992. 389 Chiswick High Rd., London W4 4AL, U.K., http://www.bsi-global.com.
Copyright © ASTM International, 100 Barr Harbor Drive, PO Box C700, West Conshohocken, PA 19428-2959, United States.
D5383 – 02 (2003)
3.2.4 Substrate, n—the white, pH neutral paper or board on 6.2 Substrate, of white, non-coated, acid-free (pH 7 to 9),
which the art materials are applied. mediumweight,2.5to63.5kg(72to140lb.)paperormuseum
board. Depending on the material being tested, a pH neutral
4. Summary of Practice
foam board may be suitable. It is desirable for the surface of
4.1 ThispracticeusesascontrolsthreeoftheeightISOBlue
the substrate to be similar to that customarily used with the
Wool References developed for use with ISO/R 105-B and
materials being tested; however, it must be possible to com-
British Standard 1006 Group B.
pletely cover the substrate with an even coat of the colors.
4.2 Specimens are made from the colored materials to be
Rough watercolor paper is not suitable.
tested and attached to a backing panel along with a card
6.3 Blue Wool Reference Card, contains bands of the eight
containing the eight Blue Wool References. 3
BlueWool References glued to a card 44.5 by 127 mm (1 ⁄4 by
4.3 OnehalfofeachcoloredspecimenandoftheBlueWool
5 in.). Each Blue Wool Reference from 1 to 8 takes approxi-
Referencearecovered,shieldingthathalfofthespecimensand
mately twice as long to fade as the reference immediately
references from light. The test specimens and references are
preceding it. The card must be kept in complete darkness until
exposed to sunlight through a closed window.
time for the test. It should be wrapped in an opaque covering
4.4 When BlueWool Reference 3 shows a color change, the
and stored in a drawer at normal room temperature.
colored specimens are examined visually and any that also
6.4 Colored Art Materials, to be tested.
show a color change are noted. The cover is replaced and
6.5 Specimen Cover, made from stiff material such as heavy
exposure continued until the exposed and unexposed halves of
gagealuminum;stainlesssteel;stiff,opaqueplastic;orwooden
Reference 3 reach a specified contrast and Reference 6 also 1
strips. The cover shall be at least 32-mm (1 ⁄4-in.) wide and as
shows a color change. Three observers rate each specimen by
long as the backing panel. It is used to protect one half of each
assigning it the number of the BlueWool Reference that shows
art material specimen and one half of the BlueWool Reference
a similar color change. The three numbers assigned to a
Card from light (see Figs. 1 and 2). The side of the cover that
specimenareaveragedandthisaveragedeterminesinwhichof
touches the art material specimens should be chemically inert
four broad lightfastness categories the specimen belongs.
to prevent interaction with, or migration of substances onto the
4.5 If it is necessary to determine which materials have
test specimens.
excellent lightfastness, continue exposure until Reference 7
shows a color change. Remove the panel from exposure and
examine only the specimens that had not changed color at the
time Reference 6 faded. Those specimens that still show no
color change are placed in the fifth and highest lightfastness
category.
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 to check the
general lightfastness of coloring materials to be used in works
of art; however, Test Methods D4303 must be used if color
measuring instruments and appropriate lightfastness testing
apparatus are available. This practice may also be used to
evaluate other types of colored materials for lightfastness.
6. Materials
6.1 Backing Panel, that is resistant to warping when placed
on its edge and exposed to light and heat passing through
window glass. Foamcore board, particle board, hardboard, or
NOTE 1—25.4 mm = 1 in. (exact).
plywood are suitable. FIG. 1 Suggested Layout for Lightfastness Test Panel
D5383 – 02 (2003)
NOTE 1—Side 2 is the same as the Gray Mask.
FIG. 4 Side 1 of Mask II with the Slot and Two Blue Color Chips
determine when Reference 3 has faded sufficiently for the
secondrating(see8.5.1).Side2isusedtoisolatetheindividual
Blue Wool References when they are being compared with a
NOTE 1—25.4 mm = 1 in. (exact).
FIG. 2 Example of Two-Cover Layout That Fits on an 8 ⁄2 by 11 in. test specimen isolated with Mask I.
sheet
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.
6.6 Tape, to fasten the specimen support to the backing
6.10.1 A form to record the materials being tested, the date
board and to fasten the specimen cover over the specimens and
of exposure, the date Reference 3 begins to fade, materials that
the Blue Wool Reference Card. Duct or electrical tape is
also show a color change at that time, and the date Reference
suitable since it is designed to withstand heat.
6 shows a color change (see Fig. 5 for an example).
6.6.1 Optional Metal Clamps or Wing Nuts, to hold the
cover more tightly against the specimen, may be used. This
will exclude light better making a sharper edge between the
exposed and unexposed sections of the specimens for easier
visual judgments.
6.7 Mask I, shall be made of stiff, neutral gray paper,
approximately Munsell Value 6.5 (reflectance 36.2 %), with a
1 5
slot, 6.4 by 41.3 mm ( ⁄4 by 1 ⁄8 in.) See Fig. 3. This is slightly
smaller than an individual Blue Wool Reference. It is used to
isolate a specimen when looking for a color change to prevent
color changes in neighboring 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 have
two blue chips mounted adjacent to the slot. One chip shall be
Munsell 7.0 PB 4.0/13.0, matching the unexposed Blue Wool
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 when
the test is complete (see Fig. 4). Side 1 of Mask II is used to
FIG. 3 Mask I Containing a Slot Just Smaller Than the Blue Wool
References FIG. 5 Example of Technician’s Record Sheet
D5383 – 02 (2003)
6.10.2 Aset of instructions, such as is shown in Fig. 6,tobe
given to the three observers.
6.10.3 Three copies of a form, such as is shown in Fig. 7,to
be used by the observers in recording their evaluation of the
test specimens.
6.10.4 Afinal 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 Specimens
7.1 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
placed for exposure. Leave enough space around the panel to
prevent shadows of the window frame from falling across the
specimens or Blue Wool Reference Card.
7.2 Depending 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 to receive the art materials must be at least 9.5
3 3
mm ( ⁄8 in.) high and 44.5 mm (1 ⁄4 in.) long for each art
material to be tested. This is 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
the specimen cover. Do not draw a vertical line across the
bands between these guide marks. When placed on the guide
marks the cover will block light from half of each specimen
and the references.
FIG. 7 Example of Record Sheet for Observers’ Use
7.2.2 Apply the art materials so that each horizontal band is
completelyandconsistentlycoveredwithastrongcolor.Itmay
be necessary to use more than one coat of a watercolor or ink
to produce a color in which small amounts of fading can be
detected visually.
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 test begins. Use india ink or pencil unless this part of the
panel will be covered during exposure. Leave spaces to record
the date when Reference 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 as possible. 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 the card has the wider margin and the duller blue reference.
To save space, the margins can be trimmed leaving enough
margin to tape the 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
the specimens so it will also be half covered when the
FIG. 6 An Example of an Instruction Sheet to be Furnished to the
Observers Who Will Rate the Specimens specimen cover is attached.
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