<p>Everything fades over time unless you protect it.  Primarily from light.  Sunlight is particularly damaging to colors.  So it is more preserving the item than finding something that will last.  Cave art has lasted so long because it is in a cave and generally protected from sunlight.</p>

<p>Now you also have other things to worry about.  the medium makes a difference too!  A lot of paper has a mild acid that will slowly work on the colors and break down the components that make up the pigments.  So if you have an option, you will generally want to go with acid free paper to help preserve it.</p>

CC BY-SA 3.0
2016-04-28T21:20:12.807Z
So... the solution to the acidic paper is?... This question seems to be searching for solutions. While this is definitely a problem, the solution is pretty easy - use acid-free papers, particularly those labeled as archival-grade or conservation grade. Let's make sure our answers are great and complete!
Catija
CC BY-SA 3.0
2016-04-28T21:22:06.753Z
@Catija except the OP isn't doing anything new, but trying to modify something that already exists.  In that case you can't change the paper, either it is or is not acid free.  Though I could still mention it.
bowlturner
CC BY-SA 3.0
2016-04-28T21:24:28.187Z
Sure, but answers should be useful to **everyone** who has similar questions. Many of the people with this question may be talking about their original art, not trying to preserve something, so the info about paper could be very useful to them.
Catija
CC BY-SA 3.0
2016-04-28T21:27:30.817Z
@Catija no problem, I'll add that in.
bowlturner
CC BY-SA 3.0
2016-04-29T13:51:46.343Z
We are past the point of choice of papers.  The materials are already printed.  The color touch-ups are in areas where the paper was wrinkled (and other 'common' handling)
New Alexandria
CC BY-SA 3.0
2016-04-29T14:35:16.160Z
@NewAlexandria I know, but Catija thought I should add that part in for anyone else reading this...
bowlturner
CC BY-SA 3.0
2016-04-29T18:58:42.477Z
I feel like this answer is principally about storage/handling, and paper.  Not ink/pigments/pencils for restoration.  I understand they're related, but I cannot control paper now.
New Alexandria
CC BY-SA 3.0
2016-04-29T20:10:43.220Z
@NewAlexandria It's actually possible to get deacidification spray, so the acidity of paper isn't irrelevant to understanding how the pigments will react over time. I see that you are still interested in picking the longest lasting materials with the understanding that long-term sunlight/acidity is unavoidable in this project, though.
Erica
CC BY-SA 3.0
2016-04-28T21:13:02.783Z
2016-04-28T21:29:04.507Z
2016-04-28T21:29:04.507Z
bowlturner
<p>The two keywords you need to look for are <strong>lightfast</strong> and <strong>archival</strong>. </p>

<p>For US manufacturers, <strong>lightfastness</strong> is usually given as an <a href="http://www.astm.org/COMMIT/D01_MSkalkaVersion_Final.doc" rel="noreferrer">ASTM rating</a> (that's American Society for Testing and Materials), which is a roman numeral between I (highest lightfastness) and V (lowest). Generally, ratings of I and II are fine to use for most artworks; any lower than that should mostly only be used for temporary works (e.g. where you plan to scan the art into a computer and then discard the physical version), or for works that will spend most of their life covered (e.g. inside a book).</p>

<p>There's no governing body that defines or determines whether materials are <strong>archival</strong>, so you have to take claims with a grain of salt, but if you buy from reputable manufacturers, you should be OK. One requirement for being archival is another term you're likely to encounter: <strong>acid-free</strong>. The acidity of the paper is what makes old printed materials brown and brittle. (I know this sounds like a paper problem, not a paint/pencil problem, but it won't help you that the canvas is guaranteed acid-free if you then paint it with something highly acidic.<sup>1</sup>) Other requirements often come under the terms <strong>permanence</strong> or <strong>durability</strong>. What these terms <em>mean</em> depends on the manufacturer, but also on the intended purpose of the material: an artist's acrylic (latex) paint isn't going to stand up to the same degree of abrasion as a latex paint meant for walls, but that doesn't mean it's a bad paint. </p>

<p>A good introduction to the subject is the definitions provided by <a href="http://www.winsornewton.com/na/discover/resources/composition-permanence" rel="noreferrer">Winsor &amp; Newton</a>. Some of the terminology is specific to them (the AA, A, B, C system of permanence rating), but it's informative regardless.</p>

<p>For materials meant to be used by children, for example markers or colored pencils, it can be very hard to find lightfastness or permanence ratings. If you want to use such materials, it can be worth your time to conduct your own lightfastness tests: draw some rectangles on a piece of paper, color them with the material you want to test (making sure to label the colors), get some opaque material such as mat board and cover half of each rectangle, and stick the thing in a sunny window<sup>2</sup>, and forget about it for a while -- several months, at least. When you remove the mat board, you'll see exactly how much each color faded. </p>

<p><sub><sup>1</sup> Well, to a point. The most common type of ink used in the middle ages is iron-gall ink, which by nature is highly acidic. Despite this, documents written with iron-gall ink over a millennium ago are still perfectly preserved and readable. Moral of the story, study the history of the materials you use, and try to use them in the ways that have already stood the tests of time.</sub></p>

<p><sub><sup>2</sup> Your car's dashboard/rear ledge is even better: you get both sun and heat.</sub></p>

CC BY-SA 4.0
2020-01-02T15:23:04.067Z
Per the last paragraph, it would be a safe to assume that children's art materials and other less expensive supplies without ratings are going to be _very_ fugitive, ie. not permanent.
rebusB
CC BY-SA 3.0
2016-07-20T00:49:14.190Z
2016-07-20T00:49:14.190Z
Martha
<p>I have some printed material that I would like to touch up.  These are not collectables, per se, so I'm not worried about altering the value of an antique or similar.</p>

<p>I'm not asking about any specific pen/pencil/etc brand or product.  That will just get dated.  </p>

<p>I am asking how I can determine whether any given pen/paint/ink/etc will not change color over long times?  (e.g. many decades).</p>

CC BY-SA 3.0
2016-04-28T21:02:21.463Z
I don't think that is possible unless you want people to never see it again. Are you intending to keep it out of the sun during these decades? I suppose if it is just drawings in books this would not be a concern.
Matt
<preservation><medium-selection>
Are there markers, paints, pencils, etc that are known to not change color over time?
New Alexandria
# Are there markers, paints, pencils, etc that are known to not change color over time?

(Asked by: username_0 on 2016-04-28)

I have some printed material that I would like to touch up. These are not collectables, per se, so I'm not worried about altering the value of an antique or similar.

I'm not asking about any specific pen/pencil/etc brand or product. That will just get dated.

I am asking how I can determine whether any given pen/paint/ink/etc will not change color over long times? (e.g. many decades).

**Tags:** preservation, medium-selection

> **Comments:**
> **username_1**: I don't think that is possible unless you want people to never see it again. Are you intending to keep it out of the sun during these decades? I suppose if it is just drawings in books this would not be a concern.  

---

## 2 answers

### Answer by username_5 on 2016-07-20. Score: 6 | Accepted answer

The two keywords you need to look for are **lightfast** and **archival**.

For US manufacturers, **lightfastness** is usually given as an [ASTM rating](http://www.astm.org/COMMIT/D01_MSkalkaVersion_Final.doc) (that's American Society for Testing and Materials), which is a roman numeral between I (highest lightfastness) and V (lowest). Generally, ratings of I and II are fine to use for most artworks; any lower than that should mostly only be used for temporary works (e.g. where you plan to scan the art into a computer and then discard the physical version), or for works that will spend most of their life covered (e.g. inside a book).

There's no governing body that defines or determines whether materials are **archival**, so you have to take claims with a grain of salt, but if you buy from reputable manufacturers, you should be OK. One requirement for being archival is another term you're likely to encounter: **acid-free**. The acidity of the paper is what makes old printed materials brown and brittle. (I know this sounds like a paper problem, not a paint/pencil problem, but it won't help you that the canvas is guaranteed acid-free if you then paint it with something highly acidic.1) Other requirements often come under the terms **permanence** or **durability**. What these terms *mean* depends on the manufacturer, but also on the intended purpose of the material: an artist's acrylic (latex) paint isn't going to stand up to the same degree of abrasion as a latex paint meant for walls, but that doesn't mean it's a bad paint.

A good introduction to the subject is the definitions provided by [Winsor & Newton](http://www.winsornewton.com/na/discover/resources/composition-permanence). Some of the terminology is specific to them (the AA, A, B, C system of permanence rating), but it's informative regardless.

For materials meant to be used by children, for example markers or colored pencils, it can be very hard to find lightfastness or permanence ratings. If you want to use such materials, it can be worth your time to conduct your own lightfastness tests: draw some rectangles on a piece of paper, color them with the material you want to test (making sure to label the colors), get some opaque material such as mat board and cover half of each rectangle, and stick the thing in a sunny window2, and forget about it for a while -- several months, at least. When you remove the mat board, you'll see exactly how much each color faded.

1 Well, to a point. The most common type of ink used in the middle ages is iron-gall ink, which by nature is highly acidic. Despite this, documents written with iron-gall ink over a millennium ago are still perfectly preserved and readable. Moral of the story, study the history of the materials you use, and try to use them in the ways that have already stood the tests of time.

2 Your car's dashboard/rear ledge is even better: you get both sun and heat.

> **Comments:**
> **username_6**: Per the last paragraph, it would be a safe to assume that children's art materials and other less expensive supplies without ratings are going to be _very_ fugitive, ie. not permanent.  

---

### Answer by username_2 on 2016-04-28. Score: 3

Everything fades over time unless you protect it. Primarily from light. Sunlight is particularly damaging to colors. So it is more preserving the item than finding something that will last. Cave art has lasted so long because it is in a cave and generally protected from sunlight.

Now you also have other things to worry about. the medium makes a difference too! A lot of paper has a mild acid that will slowly work on the colors and break down the components that make up the pigments. So if you have an option, you will generally want to go with acid free paper to help preserve it.

> **Comments:**
> **username_3**: So... the solution to the acidic paper is?... This question seems to be searching for solutions. While this is definitely a problem, the solution is pretty easy - use acid-free papers, particularly those labeled as archival-grade or conservation grade. Let's make sure our answers are great and complete!  
> **username_2**: @username_3 except the OP isn't doing anything new, but trying to modify something that already exists.  In that case you can't change the paper, either it is or is not acid free.  Though I could still mention it.  
> **username_3**: Sure, but answers should be useful to **everyone** who has similar questions. Many of the people with this question may be talking about their original art, not trying to preserve something, so the info about paper could be very useful to them.  
> **username_2**: @username_3 no problem, I'll add that in.  
> **username_0**: We are past the point of choice of papers.  The materials are already printed.  The color touch-ups are in areas where the paper was wrinkled (and other 'common' handling)  
> **username_2**: @NewAlexandria I know, but username_3 thought I should add that part in for anyone else reading this...  
> **username_0**: I feel like this answer is principally about storage/handling, and paper.  Not ink/pigments/pencils for restoration.  I understand they're related, but I cannot control paper now.  
> **username_4**: @NewAlexandria It's actually possible to get deacidification spray, so the acidity of paper isn't irrelevant to understanding how the pigments will react over time. I see that you are still interested in picking the longest lasting materials with the understanding that long-term sunlight/acidity is unavoidable in this project, though.  

---

