Genuine Sleet Verdigris

Latin genuinus, natural, innate — used as a color modifier since the sixteenth century for hues that read as authentic rather than imitated. Genuine indigo, genuine ochre: moderate-to-high saturation combined with the optical impression of a hue from real pigment rather than synthetic dye. Sits at the crisp-bucket alongside true and honest.

Middle English slete, icy-rain-or-snow-rain-mix. As a color modifier, sleet implies an icy-rain-and-half-frozen-and-driven quality, the visual register of North-Sea-and-Yorkshire-Moors-sleet hand-icy-rain-and-half-frozen-and-driven North-Sea-and-Yorkshire-Moors-sleet-and-Pennine-pass sleet-and-icy-rain-and-half-frozen surfaces under North-Sea-and-Yorkshire-Moors-sleet-and-Pennine-pass Yorkshire-Moors-and-Pennine-Way-and-Cleveland-Hills North-Sea-front-light. Sits at the modifier-and-weather end of the grid, parallel to hail and rime 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.