Psychology by Robert S. Woodworth (top rated ebook readers .TXT) 📕

beyond the violet, though arousing none of the senses, do effect the photographic plate. Newton distinguished seven colors in the visible spectrum, red, orange, yellow, green, blue, indigo and violet; but there is nothing specially scientific about this list, since physically there are not seven but an unlimited number of wave-lengths included in the spectrum, varying continuously from the longest at the red end to the shortest at the violet; while psychologically the number of distinguishable colors in the spectrum, though not unlimited, is at least much larger than seven. Between red and orange, for instance, there are quite a number of distinguishable orange-reds and reddish oranges.

If now we ask what differences in the stimulus give rise to the three kinds of difference in visual sensation that were spoken of previously, we find that color-tone depends on the wave-length of the light, brightness on the energy of the stimulus, i.e., on the amplitude of the vibration, and saturation on the mixture of long and short wave-lengths in a complex light-stimulus--the more mixture, the less saturation.

These are the general correspondences between the light stimulus and the visual sensation; but the whole relationship is much more complex. Brightness depends, not only on the energy of the stimulus, but also on wave-length. The {214} retina is tuned to waves of medium length, corresponding to the yellow, which arouse much brighter sensation than long or short waves of the same physical energy. Otherwise put, the sensitivity of the retina is greatest for medium wavelengths, and decreases gradually towards the ends of the spectrum, ceasing altogether, as has been said, at wavelengths of 760 at the red end and of 390 at the violet end.

Saturation, depending primarily on amount of mixture of different wave-lengths, depends also on the particular wavelengths acting, and also on their amplitude. So, the red and blue of the spectrum are more saturated than the yellow and green; and very bright or very dim light, however homogeneous, gives a less saturated sensation than a stimulus of medium strength.

Color Mixing

Color-tone depends on the wave-length, as has been said, but this is far from the whole truth; the whole truth, indeed, is one of the most curious and significant facts about color vision. We have said that each color-tone is the response to a particular wave-length. But any color-tone can be got without its particular wave-length being present at all; all that is necessary is that wave-lengths centering about this particular one shall be present. A mixed light, consisting of two wave-lengths, the one longer and the other shorter than the particular wave which when acting alone gives a certain color-tone, will give that same color-tone. For example, the orange color resulting from the isolated action of a wave-length of 650 is given also by the combined action of wave-lengths of 600 and 700, in amounts suitably proportioned to each other.

A point of experimental technique: in mixing colored lights for the purpose of studying the resulting sensations, we do not mix painter's pigments, since the physical {215} conditions then would be far from simple, but we mix the lights themselves by throwing them together either into the eye, or upon a white screen. We can also, on account of a certain lag or hang-over in the response of the retina, mix lights by rapidly alternating them, and get the same effect as if we had made them strike the retina simultaneously.

By mixing a red light with a yellow, in varying proportions, all the color-tones between red and yellow can be got--reddish orange, orange and yellowish orange. By mixing yellow and green lights, we get all the greenish yellow and yellowish green color-tones; and by mixing green and blue lights we get the bluish greens and greenish blues. Finally, by mixing blue and red lights, in varying proportions, we get violet, purple and purplish red. Purple has no place in the spectrum, since it is a sensation which cannot be aroused by the action of any single wave-length, but only by the mixture of long and short waves.

To get all the color-tones, then, we need not employ all the wave-lengths, but can get along with only four. In fact, we can get along with three. Red, green and blue will do the trick. Red and green lights, combined, would give the yellows; green and blue would give the greenish blues; and red and blue would give purple and violet.

The sensation of white results--to go back to Newton--from the combined action of all the wave-lengths. But the stimulus need not contain all the wave-lengths. Four are enough; the three just mentioned would be enough. More surprising still, two are enough, if chosen just right. Mix a pure yellow light with a pure blue, and you will find that you get the sensation of white--or gray, if the lights used are not strong.

[Footnote: When you mix blue and yellow pigments, each absorbs part of the wave-lengths of white light, and what is left after this double absorption may be predominantly green. This is absolutely different from the addition of blue to yellow light; addition gives white, not green.]

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Lights, or wave-lengths, which when acting together on the retina give the sensation of white or gray, are said to be complementary. Speaking somewhat loosely, we sometimes say that two colors are complementary when they mix to produce white. Strictly, the colors--or at least the color sensations--are not mixed; for when yellow and blue lights are mixed, the resulting sensation is by no means a mixture of blue and yellow sensations, but the sensation of white in which there is no trace of either blue or yellow. Mixing the stimuli which, acting separately, give two complementary colors, arouses the colorless sensation of white.

Blue and yellow, then, are complementary. Suppose we set out to find the complementary of red. Mixing red and yellow lights gives the color-tones intermediate between these two; mixing red and green still gives the intermediate color-tones, but the orange and yellow and yellowish green so got lack saturation, being whitish or grayish. Now mix red with bluish green, and this grayishness is accentuated, and if just the right wave-length of bluish green is used, no trace of orange or yellow or grass green is obtained, but white or gray. Red and bluish green are thus complementary. The complement of orange light is a greenish blue, and that of greenish yellow is violet. The typical green (grass green) has no single wave-length complementary to it, but it does give white when mixed with a compound of long and short waves, which compound by itself gives the sensation of purple; so that we may speak of green and purple as complementary.

What Are the Elementary Visual Sensations?

Returning now to the question of elementary sensations, which we laid aside till we had examined the relationship of the sensations to the stimulus, we need to be on our guard against physics, or at least against being so much impressed with the physics of light as to forget that we are concerned with the response of the organism to physical light--a matter on which physics cannot speak the final word.

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Fig. 36.--(After König.) The color triangle, a map of the laws of color mixture. The spectral colors are arranged in order along the heavy solid line, and the purples along the heavy dotted line. The numbers give the wave-lengths of different parts of the spectrum. Inside the heavy line are located the pale tints of each color, merging from every side into white, which is located at the point W.

Suppose equal amounts of two spectral colors are mixed: to find from the diagram the color of the mixture. Locate the two colors on the heavy line, draw a straight line between these two points, and the middle of this line gives the color-tone and saturation of the mixture. For example, mix red and yellow: then the resulting color is a saturated reddish yellow. Mix red (760) and green (505): the resulting yellow is non-saturated, since the straight line between these two points lies inside the figure. If the straight line joining two points passes through W, the colors located at the two points are complementary.

Spectral colors are themselves not completely saturated. The way to get color sensations of maximum saturation is first to stare at one color, so as to fatigue or adapt the eye for that color, and then to turn the eye upon the complementary color, which, under these conditions, appears fuller and richer than anything otherwise obtainable. The corners, R, G, and B, denote colors of maximum saturation, and the whole of the triangle outside of the heavy line is reserved for super-saturated color sensations.

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Physics tells us of the stimulus, but we are concerned with the response. The facts of color-blindness and color mixing show very clearly that the response does not tally in all respects with the stimulus. Physics, then, is apt to confuse the student at this point and lead him astray. Much impressed with the physical discovery that white light is a mixture of all wave-lengths, he is ready to believe the sensation of white a mixed sensation. He says, "White is the sum of all the colors", meaning that the sensation of white is compounded of the sensations of red, orange, yellow, green, blue and violet--which is simply not true. No one can pretend to get the sensations of red or blue in the sensation of white, and the fact of complementary colors shows that you cannot tell, from the sensation of white, whether the stimulus consists of yellow and blue, or red and bluish green, or red, green and blue, or all the wave-lengths, the response being the same to all these various combinations. Total color-blindness showed us, when we were discussing this matter before, that white was an elementary sensation, and nothing that has been said since changes that conclusion.

Consider black, too. Physics says, black is the absence of light; but this must not be twisted to mean that black is the absence of all visual sensation. Absence of visual sensation is simply nothing, and black is far from that. It is a sensation, as positive as any, and undoubtedly elementary.

From the point of view of physics, there is no reason for considering any one color more elementary than any other. Every wave-length is elementary; and if sensation tallied precisely with the stimulus, every spectral color-tone would be an element. But there are obvious objections to such a view, such as: (1) there are not nearly as many {219} distinguishable color-tones as there are wave-lengths; (2) orange, having a single wave-length, certainly appears to be a blend as truly as purple, which has no single wave-length; and (3) we cannot get away from the fact of red-green blindness, in which there are only two color-tones, yellow and blue. In this form of color vision (which, we must remember, is normal in the intermediate zone of the retina), there are certainly not as many elementary responses as there are wave-lengths, but only one response to all the longer waves (the sensation of yellow), one response to all the shorter waves (the sensation of blue), one response to the combination of long and short waves (the sensation of white), and one response to the cessation of light (the sensation of black). These four are certainly elementary sensations, and there are probably only a few more.

There must be at least two more, because of the fact that two of the sure elements, yellow and blue, are complementary. For suppose we try to get along with one more, as red. Then red, blended with yellow, would give the intervening color-tones, namely, orange with reddish and yellowish orange; and red blended with blue would give violet and purple; but yellow and blue would only give white or gray, and there would be no way of getting green. We must admit green as