Geomantic figures colors

The following details come from John Heydon's Theomagica: A Temple of Wisdom, Mr Farrell recently edited and published. I find them interesting to experiment with in magical workings involving geomantic figures, especially talismans, as well as in mystical ones, i.e. pathworking into their realm.

Puer: white mixed with red; Amissio and Caput Draconis: white mixed with citrine; Albus: lovely white mixed with red; Populus and Via: green, or russet black; Fortuna Major: green, yellow or gold; Conjunctio: purple or grayish white, sometimes black speckled with blue, green, white, or a dark crimson or whitish tawny; Rubeus: red mixed with brown; Aquisitio: red, yellow, or green and sanguine; Carcer: white, russet, or dun color; Tristitia: tawny, sky-colored with blue; Laetitia: a green, whitish, glistening color.

Puella, Fortuna Minor and Cauda Draconis remain unaddressed by the original author for some reaon. Even so, many of the color correspondences seem completely odd, such as in the case of Carcer or Tristitia, given their nature and planetary attribution. I have no idea where Heydon got them or even if he paid any attention to them. Mr Nixter adds his own remarks to this:

"I am unconvinced that the colour descriptions are literal. When figures are said to be 'white mixed with red' or 'white mixed with citrine,' this does not refer to visual blending (as in pigments) but to the symbolic combination of qualities. White typically represents purity, clarity, or the Moon; red denotes passion, force, or Mars; citrine or yellow suggests solar energy, reason, or will. Thus, a figure described as 'white mixed with red' expresses a balance of purity and aggression, not the physical colour pink. These descriptions reflect alchemical or planetary attributes rather than visual appearance. Complex mixtures, such as those ascribed to Conjunctio or Fortuna Major, evoke the figure’s mutable or composite nature. The colours are best understood as metaphors for elemental forces, temperaments, or stages in alchemical transformation."

The editor's input makes more sense, but I still can't figure how something as gloomy as Tristitia can be attributed those colors, even metaphorically. Perhaps because prolonged sorrow can become uplifting once you get to the heart of the suffering?! I'm speaking from personal experience, but even so, I still find some of them odd.