1.1 以下介绍了四种加速长期室内照明对艺术家材料影响的测试方法。其中一种自然日光法和一种氙弧法用于对着色剂的耐光性进行分类。 1.1.1 试验方法A- 在佛罗里达州南部，暴露在透过窗户玻璃过滤的自然光线中。 1.1.2 试验方法B- 在亚利桑那州，暴露在透过窗户玻璃过滤的自然日光下。 1.1.3 试验方法C- 在非湿度控制氙弧装置中暴露，模拟通过窗户玻璃过滤的日光。 1.1.4 试验方法D- 在湿度控制的氙弧装置中暴露，模拟通过窗户玻璃过滤的日光。 1.2 这些测试方法用于估算艺术家材料中使用的着色剂通过窗户玻璃暴露在室内日光下的颜色变化。 注1: 加速曝光导致的颜色变化可能不会复制家庭、美术馆或博物馆中正常室内曝光的结果。然而，可以确定相对耐变化性，从而将有色材料分配到相对耐光性类别。 注2: 希望在荧光照明下测试有色材料的用户应咨询实践部门 第4674页 . 1.3 根据暴露前和暴露后样品之间的颜色差异，确定着色剂的耐光性类别。 1.4 色差单位通过CIE 1976 L*a*b*色差方程计算。 1.5 这些测试方法适用于有色艺术家的材料。 1.6 以国际单位制表示的数值应视为标准。括号中给出的值仅供参考。 1.7 本标准并不旨在解决与其使用相关的所有安全问题（如有）。本标准的使用者有责任在使用前建立适当的安全、健康和环境实践，并确定监管限制的适用性。 1.8 本国际标准是根据世界贸易组织技术性贸易壁垒（TBT）委员会发布的《国际标准、指南和建议制定原则决定》中确立的国际公认标准化原则制定的。 =====意义和用途====== 5.1 着色剂在很长一段时间内保持颜色特性是艺术作品中必不可少的。加速曝光模拟了可能合理预期的颜色变化。因此，艺术家材料的生产商和使用者可以获知合适的着色剂。 5.2 试验方法之间可能会出现结果变化。此外，当重复相同的测试时，可能会出现一些变化。方法A和方法B的变化是由于室外条件的差异，在等效辐射暴露测试中未考虑到这些差异。有关实验室加速暴露试验中变异性来源和应对变异性策略的信息，请参见指南 第141页 . 5.3 本标准不包括影响艺术材料持久性的耐光性以外的因素。

1.1 Four test methods to accelerate the effects of long term indoor illumination on artists’ materials are described below. One of the natural daylight methods and one of the xenon-arc methods are used to categorize the lightfastness of colorants. 1.1.1 Test Method A— Exposure in southern Florida to natural daylight filtered through window glass. 1.1.2 Test Method B— Exposure in Arizona to natural daylight filtered through window glass. 1.1.3 Test Method C— Exposure in a non-humidity controlled xenon-arc device simulating daylight filtered through window glass. 1.1.4 Test Method D— Exposure in a humidity controlled xenon-arc device simulating daylight filtered through window glass. 1.2 These test methods are used to approximate the color change that can be expected over time in colorants used in artists' materials exposed indoors to daylight through window glass. Note 1: The color changes that result from accelerated exposure may not duplicate the results of normal indoor exposure in a home, art gallery, or museum. The relative resistance to change, however, can be established so colored materials can be assigned to categories of relative lightfastness. Note 2: Users who wish to test colored materials under fluorescent illumination should consult Practice D4674 . 1.3 Lightfastness categories are established to which colorants are assigned based on the color difference between specimens before and after exposure. 1.4 Color difference units are calculated by the CIE 1976 L*a*b* color difference equation. 1.5 These test methods apply to colored artists’ materials. 1.6 The values stated in SI units are to be regarded as the standard. The values given in parentheses are for information only. 1.7 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, health, and environmental practices and determine the applicability of regulatory limitations prior to use. 1.8 This international standard was developed in accordance with internationally recognized principles on standardization established in the Decision on Principles for the Development of International Standards, Guides and Recommendations issued by the World Trade Organization Technical Barriers to Trade (TBT) Committee. ====== Significance And Use ====== 5.1 The retention of chromatic properties by a colorant over a long period of years is essential in a work of art. Accelerated exposure simulates color changes that may reasonably be expected. The producer and the user of artists' materials, therefore, can be apprised of suitable colorants. 5.2 Variations in results may be expected between the test methods. Also, some variation may be expected when the same test is repeated. Variations in Methods A and B are due to differences in outdoor conditions that are not accounted for in testing to equivalent radiant exposures. Information on sources of variability and strategies for addressing variability in laboratory accelerated exposure tests is found in Guide G141 . 5.3 This standard does not cover factors other than lightfastness that can affect the permanence of art materials.