Verdigris

See this colour in the real world

Colours in photographs vary with lighting, material, camera processing and screen calibration — the named colours below are visual approximations, not exact measurements.

Uses & contexts

Nearest named colours, and how they differ

• Turquoise is the closest, at ΔE00 11.7 from verdigris: 14 points lighter, 11 points more saturated and 7° round towards green. That is clearly different, though many people would use one name for both.

• Cobalt Green is next, at ΔE00 14.7 from verdigris: 10 points darker, 5 points more saturated and 30° round towards green. That is a different colour at a glance.

• Pewter is next, at ΔE00 15.5 from verdigris: 25 points less saturated. That is a different colour at a glance.

• Sky Blue is next, at ΔE00 17.0 from verdigris: 12 points lighter, 7 points less saturated and 43° round towards blue. That is a different colour at a glance.

Distances are CIEDE2000 between catalogue reference values; lightness and saturation are CIELAB L* and C*. How to read a ΔE figure · Measure any two colours

Using verdigris in a real space

Worked out from this colour’s own measurements — its lightness, saturation and undertone — rather than written for it. That is why the guidance differs from one colour to the next even when the two look similar.

What role it can play

This works across a range of sizes. At chroma 33 it is assertive enough to register on a small object and restrained enough not to dominate a wall.

• Walls and large surfaces

  strong

  Chroma 33 sits inside the range walls and large surfaces carry without taking over the room.

• Secondary surfaces

  strong

  Chroma 33 sits inside the range secondary surfaces carry without taking over the room.

• Furniture

  strong

  Chroma 33 sits inside the range furniture carry without taking over the room.

• Rugs, curtains and bedding

  strong

  Chroma 33 sits inside the range rugs, curtains and bedding carry without taking over the room.

• Trim and joinery

  strong

  Chroma 33 sits inside the range trim and joinery carry without taking over the room.

• Accents and small objects

  strong

  Chroma 33 is exactly what an accent is for. The saturation that makes this difficult across a wall is the reason it works on a cushion, a door or a single chair.

How it behaves under different lightmoderate

Under warm bulbs

Warm bulbs emit little short-wavelength energy, so there is less for a cyan to reflect. There is enough chroma here to survive it, though it will read warmer and slightly duller.

Under cool bulbs

Cool light flatters this — it will hold its identity and may read slightly more saturated than in warm light.

In daylight

A mid-tone reads most consistently across the day, which is why so much upholstery sits in this band.

In a dim room

Enough lightness and chroma to stay recognisable in a dim room, though it will lose some saturation.

Compared with the sample card

Expect a modest step darker than the chart, which is normal and is why sampling a large area matters.

What colour temperature actually means · Why two bulbs at the same rating can differ

With wood

• Walnut · Dark wood · Reddish wood (mahogany, cherry, teak)

  works well

  Opposite in undertone to Walnut, Dark wood and Reddish wood (mahogany, cherry, teak), but 39–45 points apart in lightness or far enough round the hue circle that the difference reads as deliberate contrast rather than as a clash.

• Oak · Pine · Plywood · Light wood (ash, birch, beech)

  needs care

  Opposed in undertone to Oak, Pine, Plywood and Light wood (ash, birch, beech) with only 1–19 points of lightness to explain the difference, which is the combination the eye most often reads as an error.

The amount of timber matters as much as the tone: one piece is an accent, a floor plus joinery is the room’s dominant colour. More on working with wood tones

With metal fittings

• Black metal

  works well

  Shares the cool bias of Black metal, so they agree about the temperature of the room, and 60 points of lightness keep it readable as separate from this colour.

• Brass · Gold-tone · Chrome · Stainless steel · Copper

  works well

  Shares the cool bias of Brass, Gold-tone, Chrome, Stainless steel and Copper and sits within 1–14 points of them in lightness, so expect a quiet, tonal relationship rather than a contrast.

Metal carries more attention than its area suggests, so repetition matters more than the exact finish. More on metals and mixing them

Where it can go wrong

• No characteristic failure mode stands out from this colour's measurements — it sits in a comfortable range for lightness and chroma alike. The usual caution still applies: judge it from a large sample, in place, in the light the room actually gets.

Lighter, darker & directional variants

Calculated directional adjustments. Some directions converge on the same result from this starting colour — shown as one merged card with an explanation, not repeated duplicates. Generated shades link to a curated profile only when one is close enough.