Calm Awe Verdigris

Latin calma, heat of the day — paradoxically drifted in Italian to mean stillness. Used as a color modifier since the seventeenth century for hues that read as untroubled. Calm blue, calm gray: moderate saturation combined with optical quiet. Sits at the crisp-bucket near quiet and steady.

Old Norse agi, fright-and-reverence. As a color modifier, awe implies a reverent-and-overwhelmed-and-hushed quality, the visual register of Burkean-sublime-and-Caspar-David-Friedrich-awe hand-reverent-and-overwhelmed-and-hushed Burkean-sublime-and-Caspar-David-Friedrich-and-Romantic-vista awed-and-reverent-and-overwhelmed-and-hushed surfaces under Burkean-sublime-and-Caspar-David-Friedrich-and-Romantic-vista alpine-and-storm-cloud-and-mountain-pass cathedral-of-nature-light. Sits at the modifier-and-mood end of the grid, parallel to bliss and grace 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.