Color Wheels can be used as a microcosm (a little world) to explain other like-kind microcosms that model the Cosmic Wholism macrocosm (a giant world) and, in the process, aid in understanding nuanced undertones and overtones. Color has three characteristics—Hue, Value, and Intensity (i.e. brightness or dullness). Because of Hue, one is able to distinguish one color from another. The green of a leaf is its hue or name of the color. A Color Wheel is Hues arranged in a circle, based on red, yellow and blue. These Primary Qualities are called Primary Colors because its 3 pigment colors cannot be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues. By mixing 2 of them gives 3 more—called Secondary Colors or Hues—orange (red and yellow); green (blue and yellow) and violet/purple (red and blue). Tertiary hues are obtained by combining their left and right neighbors of the Color Wheel. For example, yellow-green, a tertiary hue, is made by mixing yellow (a primary), and green (a secondary). The same applies to make yellow-orange, red-orange, red-purple, blue-purple, and blue-green. Varying a color’s Primary Quality, even subtly, changes its Tint, hue, degree, or Shade. Color Harmony means all of what is present must be “involved” before it can be “evolved” + there is complete adaptation of each part to the whole, implying perfect adjustment of all conditions + being true on all planes–mental, physical, and spiritual + imparting an inner sense of Order and Balance. Spiritual Harmony–any dynamic equilibrium of Spiritual Elements attributes–is an experience of Worth (Beauty and Order), as in Nature’s Artistry—e.g. several variations of yellow-green in the leaves on a tree, and several variations of red-purple in the orchid. Secular Harmony is a dynamic equilibrium of: (1) Analogous colors–any 3 colors side by side on a 12 part color wheel, such as yellow-green, yellow, and yellow-orange—and usually with one dominating; and (2) Complementary Colors–any two colors directly opposite each other—e.g. red and green, red-purple, or yellow-green. These opposing colors create maximum contrast and maximum stability. Color Context concerns how a color(s) behaves in relation to other colors and shapes so as to give different perceptions—nuances–of the same color.
Normally, extreme adaptive unity of what comprises Worth leads to under-stimulation of the Brain—or if ones mind is preoccupied, the Worth will be too bland for one to be engaged–or if ones mind has peripheral freedom—then vibrations of Worth are in an Undertone state. They, if one goes into a Trance or Meditative state, may go unnoticed or serve as a partially noticed Background. Overtones may come from a quiet mind experiencing the Worth; from colors exhibiting extreme complexity that leads to over-stimulation; or from ones mind being hyper-stimulated by the overly-done colors, as to avoid viewing the chaos. Extreme complexity of color or a color associated with a Conditioned Response may lead to such over-stimulation as for one to enter a Supernatural Overload mindset. This might be the entering of a Surreal state which straddles the real and fantasy; or one might be so awed as to slide into a phantasmagoric state (seeing ghosts or monsters). Such seemingly changes incoherent sensory images received passively from the outer world, like a Chimera phantom. Although the human brain rejects what it cannot organize or understand, a pre-conditioned response allows for a slippage into imagining thesePhantasmata. Each of these changes of mindset are nuances.
So, when a color is full in strength, its Tone is of “normal” or “middle” value. If it is lighter it is called a “Tint”—like an “Overtone”; if darker, a Shade”—like an “Undertone.” Shade is keystone to Nuances—getting dark little by little; or getting deeper and deeper; or the barely perceptible lessening of the depth or dark. A Color’s change to dullness in Intensity or to a lower Value or to a different hue means these are nuanced changes. Beige isa very pale brown color which takes its name from the French word for the color of natural wool. Though, on its own, it is a calm, neutral background–and, like chameleons, it takes on certain attributes of the stronger warm or cool colors it accompanies. Red similarly appears more brilliant against a black background and somewhat duller against the white background. In contrast with orange, red appears lifeless; in contrast with blue-green, it exhibits brilliance. A red square appears larger on black than on other background colors. Each subtle change relative to a Color’s Tone is a nuance of that color. These principles apply to anything. jabaileymd.com