Abundant Ares Crimson

Latin abundāre, to overflow — present-participle of abound. As a color modifier, abundant implies a saturated-and-plentiful quality where the hue carries surplus visual richness beyond minimum requirement. Sits at the bold-and-saturated end of the grid, parallel to plentiful and bountiful.

Greek Ἄρης, god-of-war. As a color modifier, ares implies a war-god-and-iron-and-blood quality, the visual register of Olympian-Ares-and-Spartan-temple-Ares hand-war-god-and-iron-and-blood Olympian-Ares-and-Spartan-temple-and-Areopagus ares-and-war-god-and-iron-and-blood surfaces under Olympian-Ares-and-Spartan-temple-and-Areopagus Athenian-Acropolis-and-rocky-outcrop war-god-light. Sits at the modifier-and-myth end of the grid, parallel to zeus and atlas in usage.

From the Old Spanish cremesin, itself from the Arabic qirmiz — the kermes scale insect, dried and ground into a brilliant carmine dye prized in the medieval Mediterranean. For centuries the most expensive red on a draper's shelf, reserved for cardinals, kings, and the cloth that gave English the word crimson. Cooler than scarlet, deeper than rose; the color of pomegranate seeds and a serious occasion.