Color Theory

Please enjoy reading these excerpts from The Origin of Color Theory Please note that at this the colors represented are not very accurate due to a poor transfer between CYMK and RBG
Introduction What is color theory? Ask this question a thousand times and you will get a thousand answers. The truth is there is no such thing as color theory, and yet there is. Artists know that a color theory exists, and they use it to great effect, but no one can explain its existence. The most that is known physically is the principle of comparison and contrast, based on physiology of the eye. There is simply no explanation for why primary colors, secondary colors and complementary colors naturally exist as color relationships. Think of it this way. Why did the eye evolve to its current state? What physical principles of energy guided its evolution (or creation)? Why, Why, Why! Color is the natural language of light waves, and color perception is one of our fundamental means of sensing the universe. As such, it is one of the fundamental languages of the universe. The key to discovering the origin and meaning of the language of color lies in the totality of our perception, as the ancient cultures well knew. They approached the issue of knowledge differently than we do today. They assumed that all experience, all sensation, and all existence were based on the same fundamental order, and then they set out to discover what that order was. It turned out that what they were really seeking was a language, a natural language of meaning and order that the universe uses to communicate at all levels. Think about how we communicate with the universe. At the foundation level we use our senses and emotions to communicate. But, each sense only describes a particular view of the universe, which means that if we want to achieve a collective view or understanding of the universe, then we need to find a way to unify the languages of our senses. This is what the ancient cultures discovered. They discovered the connection between all of the senses and unleashed a powder keg of knowledge and understanding. They were able to see through the complexity to the simplicity underlying it all, and from the simplicity they were able to construct a pristine history of the universe from its origins to the present. The ramifications were astounding. They understood the construction of the body and mind, the natural organization of society, the origin and order of spirituality, the nature and place of every life and every natural system. They knew how to create harmony in any given situation. Simply put, they knew. Of course, as we know, the knowledge of the natural language was lost. Or, if not lost, the information, over time, took on different meanings so that the original intent of the words and phrases was lost. The result is that today we find ourselves in a sterile information age searching once again for meaning. How will we find it? The same way the ancients found it. We will have to discover how to unify the languages of the senses. The first book in ‘The Book of Origin’ series is called ‘The Origin of Understanding’. This book introduces the basic unification principles of the languages of color, music, numbers, and waves. Along the way it discusses how various natural systems and cycles are described by the natural language. ‘The Origin of Color Theory’ takes this foundation information to an advanced level and specifically focuses on the language of color, with a limited introduction to practical application. An Introduction to the Language of Color Chapter 1 - An Introduction to Color What is color? Color is the natural language of light. We see a yellow sun, a blue sky, and green grass. The yellow, blue, and green colors mean something, but what do they mean? The place to start learning about color is the rainbow. When light moves through the raindrops after a storm, it gets bent slightly and the colors in the light ray separate causing the rainbow to appear.
The light from the sun is what we call white light. White light contains all the colors of the rainbow. If we shine white light through a prism the colored light rays get bent at different angles. Some don’t bend very much such as red light rays, and others bend more such as violet light rays. Each color bends differently from every other color which means that when white light shines through a prism we see all the colors come out the other side.
Are all the colors present in the colors of the rainbow? The answer is no. The missing color is red-violet. The rainbow colors that we can see begin at violet, and move through the blues, greens, yellows, and oranges until they reach red. Perceived Rainbow Colors Violet Red Missing Rainbow Color Red-Violet Obviously we can see things that are colored red-violet. How is this possible? The answer is that our eyes evolved a method for receiving light that focused on three principle colors, blue, green, and red. By identifying light as belonging to either blue, green, or red, our eyes can mix colors similar to the way a painter mixes colors on a palette. This way the eye can mix red light and violet light to get the missing rainbow color red-violet. incoming light eye perceived color We now know four things about color. First, color is a property of waves (light waves). Second, our ability to see light as color is determined by changes in the frequency or wavelength of light. Third, our eyes interpret the incoming light into three colors. Fourth, the three colors are received by the brain and re-interpreted as the complete spectrum in the form of a color circle that includes the missing red-violet. The way in which the eye receives the primary colors is different from the way in which colors are perceived. The light receptors in the eye generate two primary color sets. The first is the additive primaries of light which are red, blue-violet, and green. When light beams of this coloration are blended the result is white. The second set is subtractive primaries of light which are red-violet, blue, and yellow. When transparent objects such as colored transparencies of the subtractive primaries overlay each other the result is no transmission of light which results in black. The perceptual color circle does not exactly match the physiology of our eyes. Why? Because the receptors in our eyes are only receptors and not organizers of color based on the natural system of order. When a color circle is generated based on 12 perceptually equal steps, then the primary colors of this color circle must be equidistant from each other. This point is very important for it allows any set of 3 equally spaced colors to function as a primary set of colors. Thus the primary set is not limited to yellow, red, and blue, but rather contains four unique primary color sets.
	1) yellow, blue, red 2) yellow-green, blue-violet, red-orange 3) green, violet, orange 4) blue-green, red-violet, yellow-orange.
Why does our mind organize color into a color circle, or more to the point, how does our mind perceive differences between colors? The answer to this question is found in how our brain interprets waves. The fact is that the color signals in our brains are electrical impulses that travel along our neurons. These impulses are defined by frequency which means they are defined by numbers, or groups of numbers. Numbers give our mind the capacity to perceive differences between various things, such as different colors, and then organize them into a numerical pattern. But, what is the cause of the numerical pattern that our mind uses to organize what we perceive? There is only one option. The pattern must be a naturally occurring pattern developed from the fundamental principles of waves. Therefore, to understand color, one must ultimately understand how waves count, and how and why they naturally organize. However, before a numerical understanding of color and waves is undertaken, a general knowledge of the language and perceptual properties of color must be thoroughly understood, and that is where the origin of color theory begins. The Color of Numbers Chapter 7 - The Language of Numbers Numbers begin counting with 1 which is the first type or ‘species’ of numbers. The number property which is defined by this species is completeness or perfection. Any entity which is recognized as complete or perfect is defined by the number species 1. It doesn’t matter what the entity is, it can be anything such as 1 spoon, or 1 bowl, but whatever it is, it must be recognizable as an idea. How do we know that an idea is complete and perfect? There is only one way. As an idea, if we try to move away from it such as try to turn a spoon into a knife, we find that we cannot, and we find that we somehow always end up where we started, i.e., that a spoon is a spoon. Of course, any time that we have a motion that ends up where we started we have defined a circle. Thus any idea that is perfect and complete is necessarily a circle; and circular motion is wave motion, so any perfect and complete idea is a wave. The natural function of waves is to count, but what does it mean to count? If we count from 1 to 2 do we leap from 1 to 2, or do we gradually change from 1 to 2? For example, if we are making bricks, we start with 1 brick. The process of getting from 1 brick to 2 bricks occurs over time as we prepare the clay, fire the clay, cool the brick and then count the brick as 2. So counting means a process of change from one number to another punctuated by examples of perfect and complete ideas such as 1 brick or 2 bricks. Is counting natural? Yes. Consider the example of a vibrating string. When a string is plucked it is set into what is called harmonic motion. The first vibration of the string causes the entire string to move back and forth. But as this first wave is occurring, a change in energy is taking place which we will call the building of the second harmonic. At the end of the first harmonic wave, the energy has been entirely converted to a second harmonic wave so that when the second harmonic wave begins, it begins with 2 waves each having half the total energy. During the second harmonic wave the energy slowly converts to a third harmonic wave made of 3 waves each having one third of the total energy, and so on. While each wave is occurring the energy is always building the next harmonic wave in a continuously evolving process. Thus we find that the evolving process of counting exists naturally within our world, and we can use it to aid our search for meaning. If 1 defines the idea of completeness or perfection, then what is the number 2, what does it mean? One answer is that 2 is a repetition of 1. In this sense 1 is the reference or source, and 2 is the identity of 1 in that the number 1 is remade as itself; and the two entities, 1 and itself, combine to form 2. How can we test this theory? By using our senses which are founded upon natural law. When we pluck a string and listen to the sound, we recognize that the second harmonic sounds like the first harmonic. In Western musical terms, if the first harmonic is called a C tone, then the second harmonic is called the octave of C. We prefer to use the terms replicate or identity because they more accurately describe the nature of 2 as being a replicate or identity of 1. What about the number 4? 4 is twice 2 which means it is a replicate of 2, which necessarily means it is an identity of 1. And what about 8? 8 is twice 4 which means it is also an identity of 1. Thus we learn that any multiple of 2 is an identity of 1 and is identified as being the same entity or the same complete and perfect idea. We have learned a new and fundamental principle simply by paying attention to our senses. A circle is a complete and perfect idea, and any multiple of 2 within the counting process is a new completion of the perfect idea. We can view this principle as complete rotations on a spiral where the change between replicates is the counting process of change.
When we hear replicates or octaves on a string getting higher and higher in frequency, we can think of them as getting lighter and lighter just as a color gets lighter and lighter as it approaches white. Thus we can view the principle of the identity spiral by observing changes in tints as the identity spiral spirals outward. Within certain vibrating bodies such as the body of a violin, a second type of harmonic process occurs in which the frequency decreases rather than increases. In order to identify these two processes we say that any harmonic process that increases in frequency is called overtone (being higher or over the fundamental), and any harmonic process that decreases in frequency is called undertone (being lower or under the fundamental). The undertone identity process decreases by divisions of 2 or 1, 1, 3, 7,... We can view the principle of the decreasing identity spiral by observing the changes in shades as the identity spiral spirals inward.
We can view the overtone and undertone identities of 1 on the gray scale where 1 is defined as the neutral gray center, and the counting numbers increase toward white, and the counting fractions decrease toward black. The property of positive and negative is defined by the difference between overtone and undertone counting processes. If we define overtone to be positive then undertone is necessarily negative. When the gray scale of counting is applied to color, the principles remain the same. The pure hue in the center is neutral, the tints are overtone and positive, and the shades are undertone and negative.
The fact that any multiple of 2 identifies a replicate of the fundamental 1 means that each multiple of 2 defines some kind of repetition; and any form of repetition naturally defines the completion of a circle; and any completion of a circle naturally defines a wave motion. Thus if we say that the number 1 begins a wave, then the number 2 will form the end of that wave; and if the number 2 begins a wave, then the number 4 will end it. The simplest way to understand the numeric property of wave motion or circular motion is to view the numbers on the harmonic number spiral. If we draw a radial line through 1 and call that line the identity line of 1, then any number that falls on that line will be an identity of 1, and any motion that begins on that line and ends on that line will be defined as a harmonic circle defined by 1. It can be somewhat difficult to perceptualize the wave nature of the harmonic circle so we will take you through a simple transformation. The first step is to form an harmonic circle. The second step is to turn the harmonic circle into an harmonic wave motion.
The third step is to perceive that when we are traveling on the harmonic spiral our perspective is constantly changing which means that we will not perceive a spiral, but rather a circle and thus a simple wave motion. The comparison between spiral and circular motion is a very important point. Throughout this book we will be referencing simple wave diagrams rather than complicated spiral diagrams, and it must be understood where the simple circles and wave diagrams come from. Chapter 8 - The Formation of the Number Circle Consider the number 3. It is the first number not to be defined by 1 and its replicates (multiples of 2). What does the number 3 mean? If we pluck a string and listen to harmonics 1 and 2 we recognize them as being the same tone, but we recognize harmonic 3 as being somehow different, maybe even a new tone. From this observation we can draw a conclusion. In numbers, the first number that is perceptibly different from 1 is the number 3; and, since any multiple of 2 means identity, then the number 3 is the closest related number to 1 and its replicates. Does the number 3 also have and identity? The answer is yes. It can be multiplied or divided by 2 to form replicates. For example, if we take the identity series of 1 and multiply it by 3 we get the identity series of 3. identity series of 1 identity series of 3 1, 2, 4, 8, ... 3x(1, 2, 4, 8, ...) = 3, 6, 12, 24, ...
We learned that the identity series (multiples or divisions of 2) identifies the gray scale component of color. What does the multiple or division of 3 identify? The multiple or division of 3 identifies the closest sensory relationship. In color we call this the analogous color relationship such as the relationship between yellow-orange and yellow. In music the 3:2 or 3:1 relationship is the closest perceived aural relationship. Once we know the relationship between 1 and 3, we can then begin to understand how the system of numbers or colors is formed. The number 3 is halfway between the identities of 2 and 4. When we observe the harmonic spiral we see that 3 is physically located at the halfway point on the spiral, but from a rotational perspective it is rotated about 7/12ths of the way around the circle. If we say that the number 1 is yellow-orange, and we say that the overtone counting process of numbers defines a color motion toward yellow, then the number 3 will be yellow because it is the closest related color to yellow-orange. In order to simplify the formation of numbers we will use the principle of circular rotation to identify number position rather than identifying the position on the spiral. In fact, it is really the rotational position that provides us with the most useful information.
Consider the number 9 for a moment. What is it? 9 is 3 times 3 which means 9 is the closest associated number to 3, which is the closest associated number to 1. If 1 is yellow-orange, and 3 is yellow, then 9 must be yellow-green. If 3 is rotated 7/12ths from 1, then 9 must be rotated 7/12ths from 3. Another way to view this forming number structure is to compare a circle directly to the spiral. On a circle, the physical half-way point is exactly opposite the starting position. The importance of this position is apparent when we compare the circle to a wave where the half-way point defines the anti-node of the wave between first and second half wave cycles.
When we compare the simple circle to the spiral we see that the replicate numbers identify the nodes of the wave, and the number 3 identifies the anti-node of the wave. We also observe that the time line of the spiral wave is curved where the time line for the circle wave is straight.
Now that we know about the curvature of the time line connecting the numbers 2 and 3 (or 1 and 3), we can show the simple circle in a new way where the various multiples of 3 are connected by the curved time line.
If each multiple of 3 defines a new color, then we should be able to simply continue multiplying by 3 to obtain all of the reference colors. (See The Origin of Understanding for a more detailed explanation of the powers of 3, i.e., 3⁰, 3¹, 3², 3³, 3⁴, ...) When we reach the 12^th multiple of 3 (i.e, 3¹²), we find that we have arrived back at the color we began with. We also notice that this color pattern is not the color pattern of the rainbow, i.e., yellow-orange, followed by violet, then yellow-green, etc., is not the pattern of closely related colors found in the rainbow. If we begin to open up this structure using the connecting time line we discover that the color relationships of the spectrum color circle are imbedded within this harmonic structure. Chapter 10 - The Meaning of the Harmonic Circle We learned that the species circle is a fundamental arrangement of numbers. But which comes first, the arranging of numbers or the existence of the numbers? The answer is that the existence of the numbers comes first. For example, we count the numbers 1, 2, 3, 4, 5, 6, 7 , 8 before we count 9 which is the second multiple of 3 (1 x 3 x 3 = 9). If the spectrum color circle is the result of the fundamental arranging of numbers, then the order of the harmonic circle of numbers should define the fundamental or origin existence state of color. We can begin to show the origin state of color by comparing the two basic types of ordering. First is the harmonic circle and second is the species circle.
The relationship between the colors of the harmonic circle and the colors of the species circle is very simple. Every other color is in exactly the same position, and the remaining 6 colors are found on opposite sides. For example, Yellow-orange is the same for both circles but blue and orange are switched.


The Properties of the Harmonic Color Wave Excerpt From Chapter 13 - Primary and Secondary Colors The fourth wave color property defines the primary amplitude or primary color. The meaning of the primary color is the meaning of the primary amplitude. There is a clear difference in quality between nodes and amplitudes. Nodes define a rest neutrality. Consider a vibrating string for example; when the string is at a node, it is at rest, i.e., not moving and not pulled to one side or the other. Maximum amplitudes define a neutrality between extreme motions. Consider a vibrating string, for example. When the string is at its maximum amplitude it comes to rest as it switches motions from expanding to contracting. The primary color relationship is then a relationship between two types of neutrality, that of physical rest, and that of maximum energy transition rest. We think of the node in the same way we might think of our house. It is the place we start from and it is the place we return to, and it is the place we rest. We can think of the maximum amplitude as a momentary pause in action as we regroup in order to continue our activity. The fifth wave color property defines the secondary amplitude which defines the secondary color. The secondary amplitude is similar to the primary amplitude in that it represents a transition between maximum energy expansion and contraction. * * * * * Click Here to read a simple essay on anti-color: the color relationship of positive and negative charge. * * * * * If you would like to read more, please visit our Online Store where you can purchase The Origin of Color Theory. Thank you for your interest and support. And don't forget to tell your friends about us.