CPSA Lightfastness Test Result Workbook Version 5 - now available

[Katherine T]

First the good news - and then the not so good news.

CPSA test the compliance of different brands/types of coloured pencils with the international lightfastness standard - ASTM D6901.

They also produce workbooks for CPSA members which include all the test results for those deemed to have acceptable lightfastness. It's organised by hues and then within each hue it has brands and boxes next to the name of the brand/hue and rating - and you just fill in the box with your coloured pencil so you end up with a complete record of all 'safe' pencils.

Version 5 is the latest version of the workbook and I think this now covers pretty much all the brands that people are using.

You get all the test results for versions 1-4 plus the new test results for 2005-2007 (ie the version 5 element).

Version 5 now includes:
• Prismacolor Premier Lightfast
• new Prismacolors
• Caran d'Ache Neocolors
• Derwent Coloursoft
• Derwent Graphitint
• Derwent Inktense
• Fantasia Premium Artist Colour
• Koh-I-Noor Progresso Woodless
• Daler-Rowney Artists' Watercolor
• Blick Studio Artists' Colored

Version 5 is now available to order from the CPSA website - either by post or online here. The 'sting' in the tail is that the workbook is only available to members of CPSA.

I sorted my pencils as I completed version 4 of the workbooks. The picture (below) is of all my pencils that did NOT make the cut. I'm looking forward to completing version 5 - but am not so sure about looking forward to the 'cull'!

[jimbobo]

Katherine,
I got mine this morning and am about to cull. I am grateful to your blog for alerting me a while back and motivating me to join. I am a glutton for detail.

[Mrs. Leadhead]

Katherine- Thanks for the alert! I have Version 4 and have been consulting it when choosing colors, especially the reds/roses/pinks.
Although the Derwent Signature pencils were discontinued, I appreciate mine and especially value their Signature Watercolour pencils and the security of including lightfast reds (as well as other colors).
Kristy
www.artshow.com/kutch

[Katherine T]

Kristy - tell me about it. Going through those reds/roses/pinks was heartbreaking. I think this workbook is absolutely essential for anybody who likes pink and does flowers

Hence my decision to keep all the rejects and use them for print only works of art.



I'm still a bit stuck on the light blue front as well - one of my favourite Coloursofts bit the dust last night!

[objectivistartist]

While I sympathize with wanting all the colors lightfast, do wonder if isn't somewhat an overkill in feeling here - that many works from many years ago are holding up well, long before the lightfast became much an 'issue'.....

[Katherine T]

Well of course there are some pigments which have never presented a problem in terms of lightfastness - so that's maybe not surprising. It rather depends which colours have been used.

On the other hand there are lots of works of art in museums which look completely different from when they were created because of the way paint using specific pigments has changed colour. This isn't an issue for CP artists, it's an issue right across all art media because of the pigments used.

Lightfastness has been a particular issue for coloured pencils for about the last 15 years. In the past the main consumers of coloured pencils were illustrators who only needed to produce work to be photographed. There were no issues of longevity - the artwork could be tossed after it had been used for the purpose for which had been produced. So lightfastness just wasn't a consideration at all.

Using coloured pencils for serious artwork is a relatively recent phenomena - hardly long enough to make judgements about whether artwork will last or not irrespective of whether lightfast pencils are used or not.

I've personally seen the cards Rhonda Farfan (CPSA’s Vice President of Consumer Standard) used when she first started doing her blue wool tests. It was shocking to see the way some colours had faded completely after just over 10 years. Absolutely completely. Nothing left.

There is now an international quality standard for the lightfastness of pigments used in coloured pencil. That came about because of the work done by CPSA. After all, who wants to spend lots of time doing a piece of art and then watch parts of it fade to nothing over the next 10 years? I really am struggling to see how artists' concerns about lightfastness could ever be classed as "overkill".

The lightfastness standard has now been around for 5 years but adoption has been slow. I think the change really started when it became very clear illustration was going the way of all things digital. The illustrator market diminished in size. Suddenly, fine artists using coloured pencils potentially became a serious option BUT they were asking for archival standard and lightfast pencils. As a result, manufacturers are now slowly changing their stock. That means that artists selling their work can make a statement about using media of an archival standard - IF that's what they choose to do.

Bottom line - I guess if you want to do art just to hang around your own home it's perfectly OK to use anything you like - that's entirely up to you.

However selling your work should mean it is of merchantable quality - and that means that it should be artwork that doesn't fade when cared for in appropriate ways.

If you sell your art then your reputation in part depends upon the standard to work to. In my view people are entitled to know that you have taken care to use paper that won't fall apart and become brittle and you haven't used pigments that will fade.

How many years were you thinking artwork should last?

Do you know which pigments and colours fade?

Have you see Lucio's tests - which are in a thread in this forum?

[objectivistartist]

ok - I stand corrected.. forgot back in late 60's when first exposed to cp, was only architecture illustrating, and my attempts then as fine art were frowned on mightily [which was why dropped them for many years and took up acrylics].. and obviously, as ye said, longevity not entered into mind...
so not knew just how recent the fine art view of it had come to being... [and two - always thought the pigments were, for the most part, much the same as used by the paints, where this not seemed such an issue]...

[pinkrybns]

Pity that this info is not available to those of us who do not wish to be members of the CPSA.

[objectivistartist]

wondered of that - if is a violation of some sort for a member to inform non-members of this......

[Katherine T]

Copyright restrictions apply - I quote

Originally Posted by CPSA Lighfastness test result Workbook Version 5

Copyright 2001-2007 by the Coloured Pencil Society of America. All Rights Reserved. No part of this publication may be reproduced or distributed in any form or by any means or stored in a data base or retrieval system without prior express written permission of the Colored pencil Society of America.

Personally I'd like to see lists of the colours being made available but with an embargo on the production of that information as a workbook. I don't mind CPSA making money out of the workbook as they have gone to the trouble of doing all the work with the relevant authorities, but I would like to see the information become more widely available.

[Katherine T]

Originally Posted by objectivistartist

ok - I stand corrected.. forgot back in late 60's when first exposed to cp, was only architecture illustrating, and my attempts then as fine art were frowned on mightily [which was why dropped them for many years and took up acrylics].. and obviously, as ye said, longevity not entered into mind...
so not knew just how recent the fine art view of it had come to being... [and two - always thought the pigments were, for the most part, much the same as used by the paints, where this not seemed such an issue]...

CP was widely used by illustrators generally - CP wasn't just used for architectural illustration. If you look at the very early editions of "The Best of Coloured Pencils" you'll see that a very large proportion of people who were the original members of CPSA were illustrators who also wished to pursue fine art and to have some form of association which would promote it as a medium for fine art

All colours in all media come from the same sources. The issues about certain pigments arise in all media. Lightfastness is an issue in all media - it's one of the reasons why the lighting in a lot of museums is very carefully controlled. It's just that some people find out about the media they work with - and its strengths and weaknesses - and some people don't. Incidentally WC does have a colour forum and I'm sure I've seen discussion of such issues there from time to time.

Synthetic substitutes are being created which attempt to address the lightfastness issues. However try asking a watercolour artist if they've yet found synthetic substitutes for some of the more problematic pinks and violets which they're happy with. Or ask a museum what their comservation approach is where chrome yellow was used in paintings in their possession.

[BarbD]

Thanks Katherine T for the info about the new booklet on lightfastness!

I have just joined CPSA and ordered the booklet. I find lightfastness a very important issue; as mainly a watercolourist, I have done extensive research into the lightfastness of watercolour paints and am adament about avoiding anything that may degrade or fade over time. So, I appreciate that CPSA has done the work (and it is a lot of work) to bring this issue to light! (Pun intended ).

Best,
Barb (BarbD)

[Delofasht]

I had a question. . . and yes I'm awake at 1 in the morning perusing the forums for knowledge,

Question being as to whether anyone has tested the Polychromos, I know in Lucio's thread he touched some of them but I was more curious as to whether the CPSA tested them because that is the brand that I am trying to switch over to and I would like to have the knowledge readily available. If it is in this book then I will most certainly be buying the book and joining the CPSA in the very near future. Come on income tax returns, help make my deams a reality.

I'm still combing the CPSA website for information as to whether the information I seek is in there or not, but sleep beckons in the not so distant future.

- Del

[Katherine T]

Faber Castell Polychromos are most definitely in the workbook along with all the other major brands which are not identified in the first post. As you can imagine the approach taken was to test the most popular brands first.

Version 5 is essentially concerned with those products have emerged more recently - such as the Prismacolor lightfast range and Derwent's Coloursoft, Inktense and Graphitints.

All the information is in the link in the second line of my first post - which goes to the Product Research page on the CPSA website.

If you're a CPSA member you don't have to buy the workbook - you can get the results by sending them a stamped addressed envelope. The main reason for buying the book is it provides you with a handy reminder of which you've got and where the gaps are in terms of colours and values that you need to address. Well that and filling in little squares is a very restful activity!

[BarbD]

Hi Katherine,

how does one get the prior versions of the workbook that has older pencils tested? I just paid $19.00 - does that give me all the workbooks or just version 5?

Thanks!
Barb (BarbD)