Rich Baldr Royal

Old French riche, wealthy, abundant — applied to color since the medieval period for hues that read as plentiful in pigment. Rich red, rich brown: the implication is depth combined with saturation, a color that gives the eye more to absorb. Sits at the saturated mid-light corner of the engine's grid, slightly warmer than bold and deeper than vivid.

Old Norse Baldr, fair-and-shining-god-of-light. As a color modifier, baldr implies a fair-and-shining-god-of-light quality, the visual register of Norse-Baldr-and-Breidablik-hall hand-fair-and-shining-god-of-light Norse-Baldr-and-Breidablik-hall-and-mistletoe-fall baldr-and-fair-and-shining-god-of-light surfaces under Norse-Baldr-and-Breidablik-hall-and-mistletoe-fall Asgard-pantheon-and-Hel-descent fair-radiance-light. Sits at the modifier-and-myth end of the grid, parallel to odin and freya in usage.

The blue of European royal court dress and regalia from the late seventeenth century forward — the color of British peers' robes, French royal sashes, the lining of the crown-jewel cases. The color refers to a saturated, slightly violet-shifted blue with the matte finish of velvet or melton wool dyed to maximum intensity: deeper than cornflower, warmer than ultramarine, with the heraldic weight of a color reserved for monarchs and the official Crown.