{"title":"Manufacturing Variations in ISO Blue Wool Fading Standards under Microfading Exposure Conditions","authors":"Bruce L. Ford, C. Korenberg","doi":"10.1080/00393630.2023.2184555","DOIUrl":null,"url":null,"abstract":"As is the case for other accelerated light-ageing methods, microfade test results are usually rated against the responses of the International Standards Organisation ’ s Blue Wool Fading Standards, the production of which is regulated by the International Standards Organisation. The suitability and convenience of the ISO Blue Wools for this purpose have been questioned on various grounds, including wavelength sensitivity, manufacturing or batch response variations, and the e ff ect of their woven texture on systematic errors. In the present article, the e ff ect of manufacturing variations was assessed by carrying out microfade testing on samples of ISO Blue Wools from various suppliers and manufacturers spanning more than 20 years. Our results con fi rm that the fi rst three ISO Blue Wools, which are of most relevance to locating colourants at risk of signi fi cant light-fading on display in museums, had measurable batch-to-batch and/or manufacturer variations in fading rates, most signi fi cantly in the case of Blue Wool 2. Di ff erent batches were often also distinguishable by their colour and the texture of the wool fabric. It is argued that while texture-related systematic errors and manufacturing variations are inconvenient, they are not signi fi cant in light of the other potential sources of disparity between the results of accelerated exposure tests of any kind and fading at ambient light levels, and it is concluded that the advantages of the use of ISO Blue Wools as internal standards for microfade testing outweigh their disadvantages.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":" ","pages":""},"PeriodicalIF":0.8000,"publicationDate":"2023-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Conservation","FirstCategoryId":"92","ListUrlMain":"https://doi.org/10.1080/00393630.2023.2184555","RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHAEOLOGY","Score":null,"Total":0}
引用次数: 0
Abstract
As is the case for other accelerated light-ageing methods, microfade test results are usually rated against the responses of the International Standards Organisation ’ s Blue Wool Fading Standards, the production of which is regulated by the International Standards Organisation. The suitability and convenience of the ISO Blue Wools for this purpose have been questioned on various grounds, including wavelength sensitivity, manufacturing or batch response variations, and the e ff ect of their woven texture on systematic errors. In the present article, the e ff ect of manufacturing variations was assessed by carrying out microfade testing on samples of ISO Blue Wools from various suppliers and manufacturers spanning more than 20 years. Our results con fi rm that the fi rst three ISO Blue Wools, which are of most relevance to locating colourants at risk of signi fi cant light-fading on display in museums, had measurable batch-to-batch and/or manufacturer variations in fading rates, most signi fi cantly in the case of Blue Wool 2. Di ff erent batches were often also distinguishable by their colour and the texture of the wool fabric. It is argued that while texture-related systematic errors and manufacturing variations are inconvenient, they are not signi fi cant in light of the other potential sources of disparity between the results of accelerated exposure tests of any kind and fading at ambient light levels, and it is concluded that the advantages of the use of ISO Blue Wools as internal standards for microfade testing outweigh their disadvantages.
期刊介绍:
Studies in Conservation is the premier international peer-reviewed journal for the conservation of historic and artistic works. The intended readership includes the conservation professional in the broadest sense of the term: practising conservators of all types of object, conservation, heritage and museum scientists, collection or conservation managers, teachers and students of conservation, and academic researchers in the subject areas of arts, archaeology, the built heritage, materials history, art technological research and material culture.
Studies in Conservation publishes original work on a range of subjects including, but not limited to, examination methods for works of art, new research in the analysis of artistic materials, mechanisms of deterioration, advances in conservation practice, novel methods of treatment, conservation issues in display and storage, preventive conservation, issues of collection care, conservation history and ethics, and the history of materials and technological processes. Scientific content is not necessary, and the editors encourage the submission of practical articles, review papers, position papers on best practice and the philosophy and ethics of collecting and preservation, to help maintain the traditional balance of the journal. Whatever the subject matter, accounts of routine procedures are not accepted, except where these lead to results that are sufficiently novel and/or significant to be of general interest.