> I'm not really buying that we can interpret degrees of hue differences to identify which ones are consonant/dissonant when the base/reference color is changing.
That's definitely not the aim here. There's nothing here related to consonance/dissonance, and there are no variations in hues. There's just one red, one yellow, one blue, one orange, one purple, and a single green: six fixed colors altogether.
So a major/minor triad that has one yellow note and two red notes is the same shade of orange as one that has two yellow notes and one red note.
The utility and beauty of the colors is that the 3 primary colors — and their equal-parts mixing forms secondary colors — makes an astonishing metaphor for how individual notes mix to create base triads that have one of 3 musical functions, which correspond to the secondary colors.
Then, in addition to that, the color of extension notes (which will again be primary colors) seem to make that chord "want to resolve" to chords where the base triad is the complement of that extension note's color.
One can try to take the metaphor too far, but just this much is compels me.
There are other interesting details, though, like all augmented triads and sus2 or sus4 triads are tri-color, which seems to align well with their functional ambiguities.
If you look at the screenshot of the Tonnetz I linked to elsewhere in the thread, it seems that what we feel when we sense that we have moved from one chord-function to another (in some chord progression) actually comes from moving from one of the diagonal secondary-color "lanes" in the tonnetz to another.