Color and Anti-Color?

What is color? Color is the definition of difference between various wavelengths or frequencies of light. Of course this means that colors and numbers are interchangeable and what can be learned from numbers can be applied to color and vice versa. But it doesn’t stop there. Music and numbers are interchangeable which means that sensory musical structures are interchangeable with the sensory color structures.

What we find when we compare color relationships and music relationships is that close physically related colors such as yellow and yellow-green do not directly compare to close physically related notes such as E and F. But, what we do find is that in music our perception of closeness is directly tied to the close relationships of numbers. 

We find that the numbers 1, 2, 4, 8, 16 and all other multiples of 2 are perceived as being the same tone, and by the property of numbers, are also required to be perceived as the same color. If A is 1, then 2 is what we call an octave of A or a replicate. If we say that 1 is yellow-orange, then 2 is a lighter tint of yellow-orange.

The number 3 is the next closed number to 1 and its replicates or octaves. Thus we should expect the number 3 to produce the closest related musical tone and it does. When we test musical note perception we find that notes related by multiples of 3 are perceived to be the most closely related. When we multiply the number 1 by 3, we find that after 12 multiples of 3 we arrive back at the same perceived tone or color, thus defining that there are 12 fundamental or natural colors in the universe.

Now, waves naturally produce harmonics which means that they naturally count. For example, when you pluck a string on a violin it will begin by producing a reference frequency which we will call 1. The next frequency will be twice 1 or 2, followed by 3, then 4, and so on. Since each multiple of 2 is the same tone, we find that the harmonic series of tones forms an ever increasing spiral of numbers, or tones, or colors. In this harmonic series we find that perceived closely related colors are not are not exactly what we might have imagined. The harmonic spiral shows that there are 12 fundamental and pure hues or colors that are separated by neutral gray. Think about it this way. If you were responsible for forming the origin of color, would you created the rainbow pattern where you can’t tell where one color begins and another one ends? Or would you find a way to defined the existence of color first, and worry about color blending later? The harmonic spiral shows us that the property of color comes first as defined by the 12 unique and completely independent colors. 

Of course, if the 12 colors are defined by the multiple of 3, then each of the gray areas in between is also defined by the multiple of 3, and thus will define colors.

Why are the new set of 12 colors perceived as gray? The simple answer is that they represent a natural phenomenon of opposites. Just as we can’t see both sides of a coin simultaneously, or hear both halves of a sound wave simultaneously, or visualize the peak and trough of an ocean wave simultaneously, or perceive positive and negative charge simultaneously, we cannot perceive the first set of colors simultaneously with the second set of colors. We therefore call them the anti-colors. The discovery of just how we know what color the anti-colors are can be found in the Book of Origin series (The Origin of Understanding and The Origin of Color Theory). But, we will show them here. Simply put, the anti-colors are found exactly in between the colors. For example, between yellow-orange and yellow is the color yellow-orange-yellow.

Now, in more advanced studies of numbers and number structures, we learn that the first set of numbers is generally defined by positive charge, and the anti-colors are generally defined by negative charge. Of course we should expect such a property to exist. If protons (positive charge) and electrons (negative charge) are formed from energy waves, which are defined by numbers, musical tones, and colors, and their properties of charge will naturally be capable of being described by color.

As you might imagine, each and every known color property is defined by numbers, or musical tones, or waves, and the mixture of all of these makes for an incredibly powerful new creative tool for the artist. Imagine for a moment what it means to be able to knowledgeably imbue a painting or a room color design with the properties of color charge. Charge is the conduit of life. When electrical current is flowing through our bodies and uniting all of our parts into a harmony of waves, then we are alive and vibrant. The same is true for paintings. When color current is designed to flow through the painting according to natural harmonic laws of order, then the painting will become a living thing whenever it is gazed upon. 

If you would like to read more about The Language of Light properties of color, you can purchase The Origin of Understanding and The Origin of Color Theory at our Language of Light Store.

Sample of work produced by the author of The Origin of Color Theory and the co-discoverer of the natural language.