Nanopublication — Chromesthetic Translation of the F Minor Triad

Context

The F minor triad produces a palette that operates in the cool-to-warm spectrum — blue carrying the minor third (Ab), magenta holding the root (F), and red anchoring the fifth (C). The computational color analysis of this painting confirms the chromatic structure: blue-violet accounts for 16.5% of the measured surface, red-orange for 15.7%, and violet for 9%, with the warm paper ground making up much of the remaining area. The three mapped tones are present and distributed, each occupying its own zone within the composition.

This is one of many études in my Synesthetic Explorations collection — a direct, unadorned study of how a single chord looks when its constituent tones are translated into color. The F minor triad has a particular density: magenta and red sit close on the color wheel while blue pulls away, creating a visual tension that mirrors the harmonic tension between the minor third and the surrounding tones. The painting doesn't attempt to resolve this tension — it presents it.