Colour Measurement and MixtureAbney, William de Wiveleslie, Sir
Science
Colour Measurement and Mixture
Abney, William de Wiveleslie, Sir
Color
This plan is a very useful one for measuring all kinds of transparent
colours in terms of three rays. The method of finding the intensity of
any ray of the spectrum transmitted by any such medium has already been
explained. The latter has one advantage over the former, in that the
measurements by it are exact, whatever source of light be used to form
the spectrum. By the method now described this is not the case. For
instance, the colour of permanganate of potash may be matched in the
electric light with the red and blue slits. If the limelight were
substituted for the electric light, it would be found that the slits
would require other apertures, not proportional to those already formed,
to match the colour of this substance.
Fig. 31.--Screen on which to match Gamboge.
If we wish to register the tint of any pigment, we have to slightly
alter our mode of procedure. Suppose, for instance, we wish to register
the colour of gamboge. In such a case we paint a small bit of card (Fig.
31) with the pigment, and divide the white space on which the colour
patches are thrown into two parts, and cover one-half with the pigmented
card, leaving the other half white. The reflected beam illuminates the
pigment, and the spectrum patch the white. The widths of the three slits
are then altered till the two tints agree, and the brightness matched by
means of the rotating sectors.
There are certain sad and æsthetic colours which it might be considered
cannot be matched by a mixture of three colours. A brown colour, or "eau
de nil," might appear to come out of the range of matching. These
colours, however, can be matched in precisely the same manner as the
brighter colours are matched. Thus a brown pigment will be found to
require red and a little green, and a trifle of blue; and the only
difference between it and a brighter shade of the same colour, is that
more total light has to be cut off from it to give the sombreness. A sad
colour only means a pigment or dye which reflects but little light, and
if that be so it can naturally be matched by using but very small
quantities of the compounding colours.
Public-domain text, read in full here on John Shaqi.
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