The discourse on tertiary colours in art education continues to suffer from conceptual ambiguities and pedagogical inconsistencies. This position paper advances clarity of the ambiguity with a more nuanced definition and view that tertiary colours should not be regarded merely as pigmentary outcomes but as epistemological and cultural constructs that embody harmony, subtlety, and balance. Whereas some schools of thought use tertiary and intermediate colours interchangeably, thereby heightening misconceptions, this study provides an evidential distinction between the two terminologies as applied in pigment colour theories. It argues for a reconceptualisation of tertiary colours as philosophical signifiers of aesthetic reasoning, grounded in both Human-Centred Design (HCD) and Ubuntu Design Philosophy. Through this dual framework, the paper articulates a pedagogical orientation that integrates scientific precision with humanistic values, emphasising that colour education must engage learners in reflective, ethical, and culturally responsive ways. The argument positions art education as a moral and intellectual enterprise, where understanding tertiary colours becomes a pathway to cultivating aesthetic literacy, philosophical inquiry, and values-driven visual judgment. The result of this study provides a reconstructed 16-part Colour Wheel framework that integrates visual positions of Tertiary, Intermediary, and Homogenous or Neutral colours. It recommended art educators and practitioners further engage and incorporate the framework, ensuring its validity and contribution to a deeper understanding of colour theory and pigment mixing practices, both pedagogically and in praxis.