Rich Drear Crimson

Old French riche, wealthy, abundant — applied to color since the medieval period for hues that read as plentiful in pigment. Rich red, rich brown: the implication is depth combined with saturation, a color that gives the eye more to absorb. Sits at the saturated mid-light corner of the engine's grid, slightly warmer than bold and deeper than vivid.

Old English drēor, gore-and-sorrow. As a color modifier, drear implies a bleak-and-cheerless-and-sorrowful quality, the visual register of Brontë-moorland-and-Hardy-heath-drear hand-bleak-and-cheerless-and-sorrowful Brontë-moorland-and-Hardy-heath-and-Wuthering drear-and-bleak-and-cheerless-and-sorrowful surfaces under Brontë-moorland-and-Hardy-heath-and-Wuthering rain-swept-and-low-cloud-and-empty-vista Yorkshire-and-Wessex-light. Sits at the modifier-and-mood end of the grid, parallel to bleak and gloom 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.