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But they also discovered numerous cases where a less expensive pigment had been substituted for a more expensive pigment without listing the. substitution on the label.
“Some of the manufacturers also used pigments that never should have been in artists paints in the first place, pigments that fade rapidly when they’re mixed,” Joy added.
After the Color Council had established just what color components were in the tubes artists spread across their palettes, the group began light fastness tests to determine the permanence of the different paints. “It was a really historic thing. It had never been done before,” Joy noted.
In explaining the four separate tests run simultaneously in Florida, Kansas, under fluorescent lamps and with expensive light measuring equipment, all using as controls pigments that the Council knew had either very goqd pt very poor light fastness records, Joy Luke sounds like a chemist.
She took no special training when she embarked upon her color investigation; her expertise comes from listening to and remembering conversations with expert chemists.
The conversations turned into debates when, after the tests were completed. Color Council members met with representatives of the paint manufacturers to evaluate the results.
Initially, the paint company reps were secretive as they worried about parting with the formulas for their colors. But once they realized that the Color Council chemists could uncover those trade secrets by laboratory analysis, the manufacturers began to take an active, cooperative role in developing the standards for quality labeling, according to Joy.
First the idea was to revise criteria set by the Bureau of Standards. The Bureau had not reviewed artists paints since 1962 and had stopped issuing voluntary standards at all in 1978 following severe budget cuts so that data was totally obsolete, Joy said.
As an alternative, a subcommittee of the American Society for Testing and Materials, the largest voluntary standard writing body in the world, tackled the job.
Joy Turner Luke is chairman of that subcommittee. It included manufacturer representatives. artists and technical experts.
The group decided that paints with a high degree of permanence should be given ratings of one or two and
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