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Any color can be described by making use of three attributes, hue, saturation and brightness. These attributes also have a say on wine characteristics.

Hue

This is the red, yellow, green and blue (or intermediate between adjacent pairs of these) tints that comprise our wine color. Black, white and neutral grey have no hue. In a ‘blind’ tasting — or one held under red lights— only a small percentage (20-30 per cent) of tasters can tell the difference between red and white wine; this is simply a lack of training. So, when we can see wine in good light, we should pay particular attention to the various aspects of sight since they are not only part of the aesthetic enjoyment of wine, but a valuable guide to its quality. Colometric measurements at the Australian Wine Research Institute, with both local and French wines, support the proposal that young red wines of superior quality can be determined by color measurement alone. The color levels of the wines measured varied from 6-25 per cent.

Saturation

Vividness of hue, depth of color. Scarlet is a saturated color, pink is a desaturated color. Remember when we were adding more food coloring to the glass of water — we were saturating the hue. In red wines this saturation comes from optimally ripe fruit — unripe fruit will lack saturation of color. Saturation is the degree of strength or intensity of color in a wine. Red wines, for example, can vary from a light rose to a deep purple, depending on style the term ‘red’ being almost as loose as ‘white’. Density of color can be related to ‘body’ in a wine, full bodied being thicker, darker than ‘light bodied’ wines. White wines that do not show saturation of color from four to five years of age will, more likely, give off offensive odors during the olfactory appraisal.

Brightness or Luminosity

Of color’s three attributes, brightness is the most difficult to define. Technically, brightness applies to an object that emits or reflects light. Brightness is an important part of clarity (see below), yet as an aspect of sight, especially in wine, it goes further. Relevant terms are brilliant, sparkling (non bubbly), as distinct from cloudy, dull, opaque. One might think of it as the difference between glass (clear) and diamonds (sparkling). All good wines — even an aged red — should be bright. Brightness is a visual sign of healthiness in wine a dull or flat appearance suggests decrepitude or high pH.

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For wine lovers wishing to identify the smell differences between rose, new mown hay and violet, the first hurdle is to stop calling them room freshener — although this is one of their most common uses. When given the smell of ginger, some people write down bourbon. Why? Because they have ginger ale in their bourbon and ginger is the dominant odor of the mix. (Also, the ice in the drink usually dulls everything else.) These strange results are purely lack of training; remedies have been suggested earlier to help in this regard.

Blackberry juice and the synthetic black berry flavor are also  good examples. Even though it is often identified as a ‘berry’ smell, not a large percentage of people recognize the blackberry flavor for what it is; not one person in the world has gone close to identifying the real blackberry juice.

Cherry is another odor rarely recognized even though one regularly reads that this wine, or another, has ‘overtones of cherry’, or a ‘cherry-like flavor’, so few people are able to recognize the smell of cherry.

Below are examples of chemical, fruit and floral odors to sharpen up your smell skills.

Chemical

Acetic Acid— Vinegary; Acetaldehyd— Distinctive smell of sherry;
Ethyl Acetate— Nail polish remover, model aero glue;
Hydrogen Sulfide— Rotten egg smell

Floral

Rose, violet, jasmine, geranium.

Fruity

Apples, apricot, peach, raw and cooked; grapefruit, lemon, pineapple, strawberry, banana, raisin, black currant, prune, fig.

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Having determined what we think we can smell, it then becomes necessary to communicate our perceptions to others or there is no chance of elevating our appreciation of any art form. Verbalizing our sensory experiences is the short cut to greater pleasure. But that is easier said than done, without lots of practice. Many modern day wine lovers have the same tongue tied problem. ‘I know what it smells/tastes like but can’t explain it!’ is an all too frequent response.

Winelovers must start somewhere — here and now is a superb time and place to start correctly articulating our experiences. The fear of making a mistake is possibly the main cause of reticence for the tyro taster, so let me hasten to assure you that even the most skilled professional is capable of, and makes regular goofs.

It is perfectly normal for perceptions to differ from one person to another. We, ourselves, are the only ones who are experts in our own perceptions — if we see red as red/brown and smell chardonnay as grapefruit when others experience apricot, lime or melon, then these are our personal judgments. Where there is no absolute, I think your personal judgment is objective, not subjective as many people like to say. The very reason that there are so many wines on the market, and new styles appearing daily, is that winemakers and marketers wish to provide for all tastes. If there were but one common taste there would be but one common wine.

Just to prove that you have nothing to fear about articulating your smell experiences, have a look at some of the more regular answers we receive to our tests with common fragrances:

Strawberry has been called: Peach, cherry, vanilla, musk, cough medicine, apple juice, jelly beans, rose perfume, chewing gum, caramel, chocolate, mango, pineapple, apricot.

Ginger has been called: Soap, three-in-one oil, turpentine, pine-gum, grass, gasoline, onion, rancid butter, lemon, citronella, moth balls, cedar, oil of cloves.

Apricot has been called: Hard candy, mango, pineapple, Hawaiian punch, peppermint, strawberry, shampoo, orange, gingerbread.
Lychee has been called: Musky, cedar, banana, caramel, strawberry, marzipan, toffee, coconut, fairy floss.

Conversely, there is not one fragrance in our repertoire of more than 50 common smells that has not, at sometime, been called strawberry.
So it’s worth repeating — I believe, we all perceive fragrance quite differently and one person’s meat can easily be another’s poison.

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Immediately before the wine enters the mouth we will perceive the higher volatiles of the fruit flavor and bouquet invading our sense of smell. Watch very carefully for this bonus smell opportunity. It appears as though we unconsciously take a breath before placing things in our mouth and at this time we inhale some of the more prominent odors.

Regardless of the method of appraisal, it is worth remembering that too little wine will not allow for a worthwhile appraisal, while too much wine will prevent the mouth from warming it sufficiently to release an increased amount of volatile substances.

What do we actually smell?

Here we run into three complex difficulties:

• Physiological — What can we really smell? Do not be influenced by others.
• Psychological — What do we anticipate or expect?
• Linguistic — Do we have the language resources to convey our sen sory perceptions?

In the first place we are smelling a colored liquid and trying to relate this to some common everyday commodity so that we can communicate our experience. It is easy to say that a flower smells like rose when we can see or feel a rose, but we are looking at a glass of wine, not a rose. (By way of in terest, Singaporeans are the only culture able to consistently identify rose fragrances — Caucasians are very poor at recognizing what one would think is an obvious smell.)

And what about the garlic eating cultures of the world? Is this smell so ingrained that they can’t smell two of wine’s major faults — mercaptans and H both smelling somewhat similar to garlic. Certainly New Zealanders living near the famous Rotorua thermal fields are immune to the wine destroying odor of hydrogen sulfide, a natural product of the local geysers.

And what expectations does a French person have when smelling an Argentine wine — or a Moslem breaking the faith in favor of ‘la dolca vita’? Can a top quality Argentine or Australian product cross these formidable cultural barriers and be accepted in their own right?

Having determined what we think we can smell, it then becomes necessary to communicate our perceptions to others or there is no chance of elevating our appreciation of any art form.

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