Tidy Sash Verdigris

Old English tidig, timely — drifted in modern English to mean neat, orderly. Used as a color modifier for hues that read as composed and unfussy. Tidy beige, tidy gray: moderate saturation combined with optical neatness. Sits at the crisp-bucket alongside plain and modest.

Arabic shāsh, muslin-strip-or-turban-cloth. As a color modifier, sash implies a wound-strip-and-cummerbund-and-bandolier quality, the visual register of Mughal-cummerbund-and-Spanish-fajín-sash hand-wound-strip-and-cummerbund-and-bandolier Mughal-cummerbund-and-Spanish-fajín-sash-and-Ottoman-sash sash-and-wound-strip-and-cummerbund surfaces under Mughal-cummerbund-and-Spanish-fajín-sash-and-Ottoman-sash Mughal-Delhi-and-Iberian-and-Ottoman-Topkapi wound-cloth-light. Sits at the modifier-and-textile end of the grid, parallel to kilt and shawl in usage.

The basic copper carbonate that forms on weathered copper and bronze — the pigment scraped from oxidized metal and used in Renaissance painting before being supplanted by more stable greens. The color refers to a thick verdigris on aged copper roofing or the Statue of Liberty's surface: a soft, slightly muted blue-green with the powdery finish of mineral oxide. Cooler than patina, warmer than seafoam, with the archaeological weight of a mineral made by time.