A score begins with a yellow note

In a Munich studio in 1913, yellow could arrive before the subject. The mark was not asked to describe a chair or a street; it had to make the room feel louder. A cobalt circle pulled the eye away, leaving the composition in motion.

That logic changes the way we build a page. A diagonal becomes a decision, a red interval a pause, and open ground the breath between notes. When the pieces refuse a tidy row, attention travels by counterpoint instead of instruction.