Etched Mira Verdigris

German ätzen, to etch — past-participle of etch. As a color modifier, etched implies a clear-and-precisely-incised quality, the crisp color of Rembrandt-and-Dürer hand-pulled etching-print fine-line incised-image. Sits at the crisp-and-incised end of the grid, parallel to engraved and inscribed in usage.

Latin mira, wonderful-or-marvelous. As a color modifier, mira implies a variable-pulsing-and-red-giant-and-wondrous quality, the visual register of Cetus-Whale-and-variable-Mira-the-Wonder hand-variable-pulsing-and-red-giant-and-wondrous Cetus-Whale-and-variable-Mira-and-Hevelius-discovery mira-and-variable-pulsing-and-red-giant-and-wondrous surfaces under Cetus-Whale-and-variable-Mira-and-Hevelius-discovery 332-day-cycle-and-deep-red-pulse pulsing-stellar-light. Sits at the modifier-and-cosmic end of the grid, parallel to nova and pulsar 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.