Etched Sanded 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.

Old English sandian, to-sand. As a color modifier, sanded implies a hand-sanded-and-smoothed-wood quality, the visual register of Shaker-and-Mid-Century-Modern-sanded hand-sanded-and-smoothed-and-finished wood-and-stone-and-metal Shaker-and-Mid-Century-Modern hand-sanded-and-smoothed surfaces under Shaker-and-Mid-Century-Modern hand-sanded-and-smoothed workshop-light. Sits at the modifier-and-texture end of the grid, parallel to honed and buffed 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.