Materials
Penetrants are classified into sensitivity levels. Visible penetrants are typically red in color, and represent the lowest sensitivity. Fluorescent penetrants contain two or more dyes that fluoresce when excited by ultraviolet (UV-A) radiation (also known as black light). Since fluorescent penetrant inspection is performed in a darkened environment, and the excited dyes emit brilliant yellow-green light that contrasts strongly against the dark background, this material is more sensitive to defects.
When selecting a sensitivity level one must consider many factors, including the environment under which the test will be performed, the surface finish of the specimen, and the size of defects sought. One must also assure that the test chemicals are compatible with the sample so that the examination will not cause permanent staining, or degradation. This technique can be quite portable, because in its simplest form the inspection requires only 3 aerosol spray cans, some lint free cloths, and adequate visible light. Stationary systems with dedicated application, wash, and development stations, are more costly and complicated, but result in better sensitivity and higher samples through-put.
Read more about this topic: Dye Penetrant Inspection
Famous quotes containing the word materials:
“What is most interesting and valuable in it, however, is not the materials for the history of Pontiac, or Braddock, or the Northwest, which it furnishes; not the annals of the country, but the natural facts, or perennials, which are ever without date. When out of history the truth shall be extracted, it will have shed its dates like withered leaves.”
—Henry David Thoreau (1817–1862)
“Herein is the explanation of the analogies, which exist in all the arts. They are the re-appearance of one mind, working in many materials to many temporary ends. Raphael paints wisdom, Handel sings it, Phidias carves it, Shakspeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Painting was called “silent poetry,” and poetry “speaking painting.” The laws of each art are convertible into the laws of every other.”
—Ralph Waldo Emerson (1803–1882)
“Artists, whatever their medium, make selections from the abounding materials of life, and organize these selections into works that are under the control of the artist.... In relation to the inclusiveness and literally endless intricacy of life, art is arbitrary, symbolic and abstracted. That is its value and the source of its own kind of order and coherence.”
—Jane Jacobs (b. 1916)