Lush Void Emerald

Middle English lush, possibly from lascious, lascivious — a word that drifted from sensual ripeness toward visual abundance. Used as a color word since the eighteenth century for the saturated greens of well-watered foliage and the deep saturated jewel tones of velvet upholstery. Used across the deep and bold buckets where the hue is simultaneously dark and vivid.

Latin vocivus, empty-or-vacant. As a color modifier, void implies an empty-and-vacant-and-bottomless quality, the visual register of Yves-Klein-and-Rothko-void hand-empty-and-vacant-and-bottomless Yves-Klein-and-Rothko-and-Malevich-Black-Square voided-and-empty-and-vacant-and-bottomless surfaces under Yves-Klein-and-Rothko-and-Malevich-Black-Square monochrome-canvas-and-color-field-and-suprematist gallery-and-void-light. Sits at the modifier-and-mood end of the grid, parallel to blank and hollow in usage.

A chromium-tinged variety of beryl — the gemstone mined from the Cleopatra-era Mons Smaragdus in Egypt, the Muzo deposits of Colombia, and the Sandawana mines of Zimbabwe. Emerald green refers to a high-clarity faceted emerald with strong color saturation: a saturated, slightly blue-shifted green with the gem's signature internal life. Cooler than fern, warmer than teal, with the heraldic weight of two thousand years of royal favor.