CTL1 · Class 5

What color communicates

The idea at the heart of this classColor: a detail in a situation

Color read in its situation A large quatrefoil of four overlapping circles, cut into quarters, pale lilac at rest, sits over flat clay-rose strata of earth, framed by four slender diagonal petals, cream on the left and lilac on the right. At its center is a hub, cream on the left half and pale lilac on the right, holding a disc of the colour being read. First a cord drops from the quatrefoil into the earth four times in turn, red, yellow, blue and earth brown; each one is made, then falls away as the next is made, and the lobes take those four colours, all the same size. Then the whole quatrefoil turns one identical red, the quarter lines step back, and four common readings appear one after another along a single arc over the hub: a stop sign, anger, passion, love. Then the words fade and the red stays, its hub open and empty. Then the quatrefoil turns pale and a deep purple sits alone in the hub, labelled this purple, earlier. Then each lobe holds a rose: home in blue and green, love in pink, health in apricot, and fun in pale pink, whose heart turns deep purple as a light runs to it from the hub, which empties. Last only the cord changes colour, yellow, green, blue and then a soft slate for black, and at each colour the four pale lobes fill out from the hub to different reaches in a different order, so no colour gives one result. a stop sign,anger,passion,love this purple, earlier homefunhealthlove four cords in turn, none bettercommon readings, read aloudthen limited: one red, opena purple, read earlierfour roses; the purple, here: funonly the cord changes; reports differ

This class’s practice

Reading colors without a dictionary

5 steps, playing in turn. Choose a number to hold one.

Read three colors in groups (brown, green, blue; purple, yellow, red): what tone, emotion and information come from the color alone?

CTL1 Class 5, part 1, 32:13 to 33:55

Let disagreement stand: the same word, such as strength, may feel majestic, quiet or feisty in different colors.

CTL1 Class 5, part 1, 33:13 to 35:31

Notice conventional meanings, such as red for blood, passion and danger, without assuming they apply to a reading.

CTL1 Class 5, part 1, 40:27 to 41:31

Read the exact shade in the moment: spring shows 300 greens, each telling a different story, not a stored list.

CTL1 Class 5, part 1, 41:31 to 42:19

Treat vibration as the tone of the energy; red can be high-vibration and purple can be low-vibration in context.

CTL1 Class 5, part 1, 42:39 to 43:55

All 5 steps: Reading colors without a dictionary
  1. IRead three colors in groups (brown, green, blue; purple, yellow, red): what tone, emotion and information come from the color alone?CTL1 Class 5, part 1, 32:13 to 33:55
  2. IILet disagreement stand: the same word, such as strength, may feel majestic, quiet or feisty in different colors.CTL1 Class 5, part 1, 33:13 to 35:31
  3. IIINotice conventional meanings, such as red for blood, passion and danger, without assuming they apply to a reading.CTL1 Class 5, part 1, 40:27 to 41:31
  4. IVRead the exact shade in the moment: spring shows 300 greens, each telling a different story, not a stored list.CTL1 Class 5, part 1, 41:31 to 42:19
  5. VTreat vibration as the tone of the energy; red can be high-vibration and purple can be low-vibration in context.CTL1 Class 5, part 1, 42:39 to 43:55

CTL1 Class 5, part 1, 32:13 to 43:55

Color is a question in a situation.A cord, made and destroyed in turn One shade, its hub left open How far one student's report reached No colour here has a fixed meaning: the same red reads four ways in step II, and the lobes take whatever each situation or report shows.
A colour in a situationRead here, nowAsk what this shade is doing in this scene, for this person, today.
A colour dictionaryNot givenCommon associations are named, then limited; the variation stays.

No color key replaces reading shade, target, owner and context.

Explore this class on the map

CTL1 Class 5, “Color,” Parts 1 and 2. This is the beginning of a longer color unit. From the recording gives time and source-version references.

A reading can begin with a detail

Ideas hereAura and layersBeing and body: the two clocksChakrasEarth and cosmic energyGroundingPast lives and the gold ringRosesTrance as a class settingWho does what in a reading

A reading does not need to begin with a complete scene. It may begin with a road, a costume, a piece of clothing, bricks, a name, water, or one strange object. The move is to relax around that first detail, say what is there, and let it unfold.

Past lives are used early for two reasons. First, they give a kind of history of where the spirit has been. They show old skills, old situations, and older energy that may explain why something in the present feels familiar. Second, they carry less pressure than present-time love, work, family, or money. The life is already over. There is nothing to fix.

That makes past-life work good training for communication. The hard part may not be seeing. It may be saying the detail out loud, trusting the first piece, or speaking something that feels odd. Seeing and communicating are trained together.

Emotion can be read without being felt. If sadness appears in a past-life picture, see the sadness from the center of the head. Name it as information. Do not drop into the second chakra, the heart, or the body's emotional habit in order to prove that the reading is real. A movie makes the distinction clear: you can identify what a character feels without feeling it yourself.

The reader is also not the other person's immortal being. The reader is here now, reading from the center of the head and communicating with the other person's immortal-being history. The sequence going forward is:

  1. Create the immortal-being rose.
  2. Read the gold rings and a past life.
  3. Then read the body and being clocks.

The order matters because the first images show history, and the clocks show a present growth-period snapshot. Clear one image before reading the next. If the past-life scene is still active, the clock numbers can get mixed with it.

The warm-up practice uses grounding, earth and cosmic flow, roses, and gold-sun filling:

  1. Blow up old grounding cords and make a new one.
  2. Notice breath, aura size, and the body's day.
  3. Open the feet chakras and run earth energy.
  4. Open the crown and run cosmic energy.
  5. Notice the mixture at the first chakra.
  6. Adjust feet chakras or crown to customize the mixture.
  7. Watch the colors rise up the front channels and clear through the hands and crown.
  8. Create a rose for how five weeks of running energy has affected you.
  9. Blow it up.
  10. Create a rose for unexpected change, put uncomfortable energy into it, send it away, and blow it up.
  11. Set trance, adjust the aura, and place protection roses.
  12. Create a rose for growth so far. Read its color, tone, vitality, top, bottom, and what is still coming.
  13. Blow it up, fill with gold-sun energy, and return.

These are different targets. A rose for growth, a rose for unexpected change, and a rose used to clear energy are not the same operation just because each uses a rose.

Ordinary color, and why the dictionary fails

Ideas hereChakrasColor: a detail in a situationRoses

Color already communicates before anyone calls it clairvoyance. Clothing, flags, rooms, signs, brands, holiday colors, envelopes, dreams, and favorite colors all set a tone. A body can respond to a room color before the mind has named why. A brand color can be recognized before the words are read.

One color can carry many associations. Red can be stop, danger, anger, passion, love, blood, vitality, or a group identity. The point is not to memorize one meaning. The point is to notice what this color is communicating in this situation.

In a reading, color is read as vibration. Vibration means the tone or quality of an energy. A bar, a schoolroom, a funeral, a city, a song, and a painting all have a tone. Color is one way to name that tone without turning it into a personality judgment.

The first color exercise is simple:

  1. Put a rose in the middle.
  2. Read one assigned color at a time.
  3. Look at the color itself.
  4. Notice tone, emotion, vibration, and information.
  5. Take turns describing what is there.
  6. Do not force agreement.
  7. Do not force disagreement.

Brown, green, blue, purple, yellow, and red all show variation. The same word can appear in several colors. "Strength" can be quiet in yellow, feisty in red, and majestic in purple. Brown can be dry, brittle, leathery, suede-like, or earthy. Green can be healthy, joyful, heart-shaped, calm, alive, or haloed with light. Blue can be oceanic, calming, velvety, royal, or flowing.

Recent experience can also appear. A video game, image, song, or personal event may come up when the color is read. Notice that without throwing the whole reading away. Ask whether you are putting energy into the rose or reading what is there.

General color lists have limited use. Brown may be called earth, green growth, red vitality or anger, white purity or peace, black void or sophistication, blue calm or intellect. Those associations are background only. A specific shade may communicate something else. Read the exact shade and vibration in the moment.

The old ladder from red as low to purple as high is also too rigid. A high-vibration red is possible. A low-vibration purple is possible. Pink can be very different from red even though it belongs to the same family. Do not substitute a chakra-color chart for observation. Class 3's changing clock and nonfixed color already points in the same direction: these images are alive, not fixed diagnostic keys.

Color as a question in a particular situation

Ideas hereAttention and resistanceChakrasColor: a detail in a situationGoldGroundingPast lives and the gold ringRosesTrance as a class settingWho does what in a reading

Color changes with the target. A shade in one situation does not automatically mean the same thing somewhere else. The next practice uses four different targets: home, being in love, health, and having fun.

Use the same sequence for each target:

  1. Return to the center of the head.
  2. Check trance, energy flow, personal space, and protection roses.
  3. Create a rose for the target.
  4. Focus on the color and exact shade more than the rose's other details.
  5. Ask what the color means in this specific situation.
  6. Notice the body's response.
  7. Ground the rose if the color feels foreign or not yours.
  8. Notice whether the color changes.
  9. Blow up the image.

A home rose may begin as stuffy red, then become blue and green after grounding. A love rose may begin as an ugly magenta, then become lighter pink. A fun rose may need both pale pink and deep purple before it feels complete. A bright yellow rose may give the body the feeling of a jet ski.

That last example matters. The person reading may not know why yellow and a jet ski belong together. The person receiving the reading may know immediately. Say the color, shade, image, or body impression before building an explanation. Clairvoyant reading is not a book of color meanings. It is observation in the moment.

Color then combines with past lives. Read a past life where red was a significant vibration. The ring is still gold. Do not look for a red ring. Use the immortal-being rose only to reach the past-life image, and skip the body-being clock for this timed practice.

Red may appear as a visible object, or it may be the tone of the scene. If the scene becomes crowded with information, return to the color vibration. The exact red, green, purple, or other shade can summarize what is happening better than a long explanation.

Speak the first detail, even if it looks too small. A coat, flannel, beach, wedding image, or detective overcoat can be enough. If stuck, repeat the detail. Communication moves energy, and the picture often opens as it is spoken.

Keep the right distance. If you are pressed against an image, pull back. If you are inside the character's eyes, come out of that viewpoint. Notice where the other person's space ends, keep a protection rose at your boundary, and read from the center of the head. This is Class 2's attention and distance teaching applied to color and past life.

Bodily sensations are not proof of accuracy. Tingling can mean matching energy in your own space is clearing. Tears or emotional involvement usually mean attention has dropped from the center into the heart or lower chakras. The heart may be sincere, but it is not neutral enough for a clean reading.

The same color does not do the same job everywhere

Ideas hereAura and layersChakrasColor: a detail in a situationEarth and cosmic energyGroundingPast lives and the gold ringRosesTrance as a class settingWho does what in a reading

A grounding cord gives the clearest comparison. Change only the color and watch what the body does.

Use the comparison this way:

  1. Clear the people you read with.
  2. Blow up the old grounding cord.
  3. Create a yellow grounding cord. Notice release, safety, strength, vulnerability, thoughts, emotions, and energy flow.
  4. Blow it up.
  5. Create a green grounding cord. Notice grounding, strength, vulnerability, breathing, temperature, and earth connection.
  6. Blow it up.
  7. Create a blue grounding cord. Notice release, mood, access to the center of the head, and breath.
  8. Blow it up.
  9. Create a black grounding cord. Notice speed, constriction, calm, and whether energy moves or blocks.
  10. Blow it up.
  11. Create a grounding cord in any color, shade, and vibration you want.
  12. Notice the body's response to receiving the color you choose.
  13. Clear with roses, fill with gold-sun energy, stretch, and return.

The reports do not produce one rule. Yellow can move energy quickly for one person, feel too weak for another, and feel like energy is coming up for another. Blue can help the center of the head feel aligned. Green can feel better for the body. Black can feel blocked, creepy, or too still for several bodies. Gold mixed with peach can feel right for someone choosing a present intention.

Color has energy, but it does not behave the same way everywhere. A color may work well for grounding and differently for a home rose, a love rose, or a past-life scene. Read the body, target, and moment.

Color now joins the reading toolbox with past lives, immortal-being roses, and body-being clocks. A side chair uses the same principles silently: hold your own space, stay in trance, read what comes up, and clear matches with roses without taking over the reading.

Reading is communication with energy. An avoided picture can grow like a childhood boogeyman because no one can be neutral to it and no one speaks to it. A neutral reader can say hello to what has been avoided. The energy can then move.

The closing practice uses color in a different way. Here the rose is a symbol for finding the vibration:

  1. Create a rose for the most healing earth energy for you now.
  2. Look at its color.
  3. Ground the rose and release energy that is not yours.
  4. Let the color change if it needs to.
  5. Run that color through the lower channels, legs, and feet chakras.
  6. Blow up the rose while the vibration keeps running.
  7. Create a rose for the most healing cosmic energy for you now.
  8. Ground it and release charge or other people's energy.
  9. Run that color through the back channels, seventh chakra, front channels, arms, and hands.
  10. Let earth and cosmic energies move pain, invalidation, and interference with body-spirit communication.
  11. Create a rose for your unique energy in this moment.
  12. Ground it, release other influences, and sprinkle that color into the crown.
  13. Let the color set the tone through the body, grounding cord, aura, and center of the head.
  14. Make new protection roses.
  15. Clear the night's work in a rose and fill with gold-sun energy.

A rose can be a reading target, a clearing container, or a temporary selector for a color vibration. The job determines what the image is doing.

The portable question is simple: when a color or image seems meaningful, which part came from the observed detail, which from the situation, and which from an association you already carried?

Understanding questions

  1. If two readers both describe a blue rose but one means calm and the other means an inherited expectation, what additional question would preserve the situation before assigning meaning?
  2. In the last exercise, what changes when a rose is used to select a color rather than to represent a person, a home or a past life?
Possible answers
  1. Ask what each person actually noticed about the shade, what situation the rose represented, and whether a recent association came to mind. The exercise invites comparison without making either color meaning a fixed rule.
  2. In the closing earth/cosmic exercise, the rose is a temporary image used to find a preferred quality. The selected vibration continues after the rose is blown up. A home or past-life rose is instead an object to inspect. Those are different targets and operations.
Recording notes

Return to the Class 5 lesson. These notes locate the explanation in the recording. Times reset at the start of Part 2. The

Part 1 is Class 5 P1 Color.mp3, which runs 01:00:18. Part 2 is Class 5 P2 Color.mp3, which runs 00:39:40.

Lesson movement Part 1 passage What to check in context
First details and past-life purpose 1–86 · 00:00:00–00:06:01 Participant clothing, bricks and story reports precede the lesson's “job history” and lower-pressure training rationale. Apparent historical specificity is not compared.
Seeing emotion and a role correction 87–237 · 00:06:02–00:12:00 Movie analogy distinguishes seeing sadness from feeling it (roughly 105–137). A participant's medication cessation and poor sleep are their report (roughly 145–227), followed by a correction of who reads whom (roughly 228–237). Do not turn either into efficacy or advice.
Sequence and logistics 238–357 · 00:12:00–00:16:00 Immortal-being rose → rings/past life → body-being clocks; the recording asks participants to clear one image before another. Skills-check booking and Sunday class discussion are historical context.
Energy and growth roses 358–439 · 00:16:01–00:26:45 Guided grounding and earth/cosmic flow lead to distinct roses for practice's impact, unexpected change and growth, then gold-sun filling and return. Setup/closing are text-located only.
Ordinary color 440–518 · 00:26:48–00:32:00 Flags, clothes, signs, brands, rooms, dreams and group associations make the case for situated color use. Spoken culture claims need independent fact checking before reuse as facts.
Six-color group comparison 519–666 · 00:32:01–00:40:06 Recording does not require agreement. Participants differ on strength, texture and emotional sense; one raises video games/current experience as a source of imagery.
Specific shade over dictionary 667–785 · 00:40:06–00:48:01 Conventional color list is deliberately qualified at 681–699. Vibration question and room/painting analogies follow. High-red/low-purple and old chakra-scale qualifications occur around 706–781.
Home, love, health and fun 786–938 · 00:48:01–01:00:18 Four different rose targets; grounding changes some reported colors. Health is a guided image target, not a diagnosis. Participant reactions and the recording's “jet ski” example follow. Part 1 ends at a break with an unfinished utterance.
Lesson movement Part 2 passage What to check in context
Red significant in a past life 1–169 · 00:00:00–00:08:00 The ring is gold, while red is a significant color or tone in the depicted life. Body-being clock is excluded from this timed partner exercise. First-image anxiety and possible absence of a visible red object remain.
Distance and bodily response 170–259 · 00:08:00–00:11:49 Recording suggests repeating a detail, pulling back from a scene and returning to center; tingling and tears are read as a “match” or involvement, not independently demonstrated accuracy.
Grounding-color comparison 260–325 · 00:11:49–00:20:01 Yellow → green → blue → black → chosen cord. Questions vary by stage; clearing, filling and opening eyes close it.
Unlike responses 326–433 · 00:20:01–00:23:59 Yellow is quick, weak or upward-moving according to different participants; blue/green/black responses also differ. Recording explicitly rejects blanket color rules.
Clinics and reading as communication 434–543 · 00:24:00–00:29:48 Side chair and recipient precede center chair. Avoided-energy/boogeyman explanation is the recording's analogy and claimed mechanism. Price/refund/supervision details are historical.
Three color roles and return 544–641 · 00:29:48–00:39:40 Separate earth and cosmic shades; recording explicitly calls the rose a symbol for the chosen vibration around 558–573. A unique-energy rose sets the crown; class image and gold-sun fill close the practice.

All lessons