DOCSLIB.ORG

Sensory and Instrument-Measured Ground Chicken Meat Color

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sensory and Instrument-Measured Ground Chicken Meat Color Sensory and Instrument-Measured Ground Chicken Meat Color C. L. SANDUSKY1 and J. L. HEATH2 Department of Animal and Avian Sciences, University of Maryland, College Park, Maryland 20742 ABSTRACT Instrument values were compared to scores were compared using each of the backgrounds. sensory perception of ground breast and thigh meat The sensory panel did not detect differences in yellow- color. Different patty thicknesses (0.5, 1.5, and 2.0) and ness found by the instrument when samples on white background colors (white, pink, green, and gray), and pink backgrounds were compared to samples on previously found to cause differences in instrument- green and gray backgrounds. A majority of panelists (84 measured color, were used. Sensory descriptive analysis of 85) preferred samples on white or pink backgrounds. scores for lightness, hue, and chroma were compared to Red color of breast patties was associated with fresh- instrument-measured L* values, hue, and chroma. ness. Sensory ordinal rank scores for lightness, redness, and Reflective lighting was compared to transmission yellowness were compared to instrument-generated L*, lighting using patties of different thicknesses. Sensory a*, and b* values. Sensory descriptive analysis scores evaluation detected no differences in lightness due to and instrument values agreed in two of six comparisons breast patty thickness when reflective lighting was used. using breast and thigh patties. They agreed when thigh Increased thickness caused the patties to appear darker hue and chroma were measured. Sensory ordinal rank when transmission lighting was used. Decreased trans- scores were different from instrument color values in the mission lighting penetrating the sample made the patties ability to detect color changes caused by white, pink, appear more red. Reflective lighting made thigh patties green, and gray background colors. Instrument values appear lighter. Lightness decreased when thigh patty agreed with sensory scores for lightness only when thickness increased with both reflective and transmis- white and pink backgrounds were used. Instrument and sion lighting. Transmission lighting made the thigh sensory methods agreed when a* values and redness patties appear more yellow as patty thickness increased. (Key words: color, breast, thigh, sensory evaluation, sample thickness) 1998 Poultry Science 77:481±486 INTRODUCTION No research was found that compared sensory evaluation to instrument-measured ground chicken Ground chicken meat color is subject to critical meat color. Most of the ground meat color research has appraisal in the processing plant and is important in been done using red meat and pork. Research on retail sales. The effect of reflectance and transmission ground meat from other species indicated that color is lighting on product appearance are important in deter- perhaps the most important influence in consumer mining product display and marketing strategies. Sen- decision-making regarding acceptability of fresh meat sory evaluation is the best method of measuring products for consumption (Brewer and Harbers, 1991; consumer response to product color but it is slow and Hunt et al., 1993). Lynch et al. (1986) reported that 74% of requires a large investment in people and facilities. consumers indicated that color was important in ground Efficient, cost-effective, and highly sensitive instrumen- meat purchase decisions. Mugler and Cunningham tation is available to measure color and is often used (1972) reviewed factors affecting poultry meat color, instead of sensory measurement. Sensory perception of including sex, age, strain, processing procedures, chemi- color is multidimensional and may be difficult to cals, cooking, irradiation, and freezing. Patty thickness, measure with an instrument. Instrument-measured color background color, and tissue type also affect instrument must accurately predict sensory response to be useful in measured ground chicken meat color (Sandusky and most quality and all consumer preference evaluations. Heath, 1996). The first objective of the present studies was to determine whether instrument-measured color of Received for publication June 5, 1997. ground chicken meat would predict color differences Accepted for publication October 20, 1997. perceived by a sensory panel. The second objective was 1Present address: Protein Technologies International, Annapolis, to compare the effect of reflective and transmission MD 21401. 2 To whom correspondence should be addressed: lighting on sensory evaluation of ground chicken meat [email protected] color. 481 482 SANDUSKY AND HEATH MATERIALS AND METHODS Descriptive analysis was chosen as one sensory method used to measure patty color. This method has been used to Broiler chicken breast and thigh meat were obtained determine how specific product differences are related to from a commercial processing plant immediately after differences in instrumental measures (Stone et al., 1974). A deboning. Fresh breast and thigh meat were obtained for 15-cm line scale (Anderson, 1970) with two descriptive each study and each replication within a study. The anchors as described in the spectrum descriptive proce- Pectoralis superficialis, Illiotibialis, and Quadraceps femoris dure (Meilgaard et al. 1991) was used. A middle anchor muscles were used to prepare breast and thigh meat was not used on the line scale because its use has been patties as described by Sandusky and Heath (1996). The reported to increase variability in panel response by 10 to ground tissue was mixed thoroughly and the patties 15% (Stone and Sidel, 1985). Panelists were not told that were randomly assigned to treatments to randomize the scale had numerical context because this could induce possible differences due to preparation. bias (Stone and Sidel, 1985). Panelists were asked to make a vertical line across the horizontal line scale at the point Instrument Color Measurement that best represented the relative intensity or hue of a particular sample. The distance of the panelist's mark Color measurements were made with a Model CS-53 from the left anchor was measured and converted to dual beam scanning spectrophotometer as described by percentage of line length to obtain a numerical value for Sandusky and Heath (1996). Instrument calculated repeat- statistical analysis. Red and yellow anchors were used to ± ± ability and accuracy of data were 0.05 and 0.3 nm, measure hue. Previous work (Sandusky and Heath, 1996) respectively. Specular reflectance was included in the showed that instrument measured hue angles for ground instruments program and added approximately 4% to the chicken meat were in the quadrant bordered by the red percentage reflectance of the sample at any wavelength. and yellow axes of the color space model. Light and dark Illuminant F representing three band fluorescent with a anchors were used to measure lightness and dull and color temperature of 4,200 K was used as the light source. bright anchors were used to measure chroma. Hunter4 standard white (6550), pink (6551), green (6552), Ordinal ranking was another sensory method used to and gray (6555) tiles were used to provide background measure color. Ordinal ranking measures perceived color for the samples during measurement. The CIELAB intensities of product color and works well within the color space model (CIE, 1978) was chosen to numerically cognitive limits of most panelists. Samples were ranked describe color. L* (lightness) describes the relationship from least to most using the numbers 1 to 4 (Meilgaard et between reflected and absorbed light, without regard to al., 1991). Patty lightness, redness, and yellowness were specific wavelength. Positive a* values are red and evaluated using this procedure. In addition to ranking the negative a* values are green. Positive b* values are yellow samples, panelists were asked which sample they and negative b* values are blue. Chroma is a measure of preferred and they were asked to write descriptive color saturation and hue is the color angle (CIE, 1978). comments on the evaluation form. Samples were evalu- ated by the panelists in a specific order randomly selected Sensory Panel Evaluation by the researchers. Panelists were required to demonstrate normal color Study 1 vision as suggested by Billmeyer and Saltzman (1981). Normal color vision was defined as the ability to Sensory measurement of hue, lightness, and chroma discriminate between red, green, blue, and yellow colors using descriptive color analysis was compared to and the ability to sort colored samples into a regular series instrument-measured hue, L*, and chroma. Patty thick- involving a gradual change in hue. Panelist were trained nesses of 0.5, 1.5, and 2.0 cm were used to provide breast in the Munsell hue, value, and chroma order system and thigh samples that produced statistically different (Munsell, 1963) to reduce observer variability within a instrument values in previous research (Sandusky and group with normal color vision (Billmeyer and Saltzman, Heath, 1996). Each of the 10 to 12 panelist evaluated the 1980). Panelists were given a verbal explanation of the color of each patty (three thicknesses) three times for a definition of hue, value, and chroma and a Munsell total of nine observations per panelist for each tissue type teaching chart was used to help panelists visually (breast and thigh). Breast and thigh patties were tested differentiate color (hue), shades (value), and intensity separately to avoid color bias. Patties were placed on a (chroma). After the
Load more

Recommended publications
  • Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings
    Journal of Imaging Article Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings Juan Luis Nieves * , Juan Ojeda, Luis Gómez-Robledo and Javier Romero Department of Optics, Faculty of Science, University of Granada, 18071 Granada, Spain; [email protected] (J.O.); [email protected] (L.G.-R.); [email protected] (J.R.) * Correspondence: [email protected] Abstract: In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative colour instances in painting images. Our results suggest an average number of 21 subjective colours. This number is in close agreement with the computational number of relevant colours previously obtained and allows a reliable segmentation of colour images using a small number of colours without introducing any colour categorization. In addition, our results are in good agreement with the directions of colour preferences derived from an independent component analysis. We show Citation: Nieves, J.L.; Ojeda, J.; that independent component analysis of the painting images yields directions of colour preference Gómez-Robledo, L.; Romero, J. aligned with the relevant colours of these images. Following on from this analysis, the results suggest Psychophysical Determination of the that hue colour components are efficiently distributed throughout a discrete number of directions Relevant Colours That Describe the and could be relevant instances to a priori describe the most representative colours that make up the Colour Palette of Paintings.
    [Show full text]
  • A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM in RARE-EARTH OXIDE GLASSES by Charles H. Bellows in Partial Fu
    A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM IN RARE-EARTH OXIDE GLASSES by Charles H. Bellows In Partial Fulfillment of the Requirements for The Alfred University Honors Program May 2016 Under the Supervision of: Chair: Alexis G. Clare, Ph.D. Committee Members: Danielle D. Gagne, Ph.D. Matthew M. Hall, Ph.D. SUMMARY The following thesis was performed, in part, to provide glass artists with a succinct listing of colors that may be achieved by lighting rare-earth oxide glasses in a variety of sources. While examined through scientific experimentation, the hope is that the information enclosed will allow artists new opportunities for creative experimentation. Introduction Oxides of transition and rare-earth metals can produce a multitude of colors in glass through a process called doping. When doping, the powdered oxides are mixed with premade pieces of glass called frit, or with glass-forming raw materials. When melted together, ions from the oxides insert themselves into the glass, imparting a variety of properties including color. The color is produced when the electrons within the ions move between energy levels, releasing energy. The amount of energy released equates to a specific wavelength, which in turn determines the color emitted. Because the arrangement of electron energy levels is different for rare-earth ions compared to transition metal ions, some interesting color effects can arise. Some glasses doped with rare-earth oxides fluoresce under a UV “black light”, while others can express photochromic properties. Photochromism, simply put, is the apparent color change of an object as a function of light; similar to transition sunglasses.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • Book of Abstracts of the International Colour Association (AIC) Conference 2020
    NATURAL COLOURS - DIGITAL COLOURS Book of Abstracts of the International Colour Association (AIC) Conference 2020 Avignon, France 20, 26-28th november 2020 Sponsored by le Centre Français de la Couleur (CFC) Published by International Colour Association (AIC) This publication includes abstracts of the keynote, oral and poster papers presented in the International Colour Association (AIC) Conference 2020. The theme of the conference was Natural Colours - Digital Colours. The conference, organised by the Centre Français de la Couleur (CFC), was held in Avignon, France on 20, 26-28th November 2020. That conference, for the first time, was managed online and onsite due to the sanitary conditions provided by the COVID-19 pandemic. More information in: www.aic2020.org. © 2020 International Colour Association (AIC) International Colour Association Incorporated PO Box 764 Newtown NSW 2042 Australia www.aic-colour.org All rights reserved. DISCLAIMER Matters of copyright for all images and text associated with the papers within the Proceedings of the International Colour Association (AIC) 2020 and Book of Abstracts are the responsibility of the authors. The AIC does not accept responsibility for any liabilities arising from the publication of any of the submissions. COPYRIGHT Reproduction of this document or parts thereof by any means whatsoever is prohibited without the written permission of the International Colour Association (AIC). All copies of the individual articles remain the intellectual property of the individual authors and/or their
    [Show full text]
  • Measuring the Color of a Paint on Canvas
    Application Note Materials Measuring the Color of a Paint on Canvas Direct measurement with an UV-Vis external diffuse reflectance accessory Authors Introduction Paolo Teragni, Color measurement systems can translate the sensations, or visual appearances, Paolo Scardina, into numbers according to various geometrical coordinates and illumination Agilent Technologies, Inc. systems. The concept of “visual colorimetry” with a standard observer using a standard device as a method of color specification dates to around 1920. The first standardized color system was defined by CIE (Commission internationelle pour l’Eclairage) around 1931. One may regard the CIE system to be at the “heart” of all color measurement systems. However, for each painter, the use of colors is dictated by their personal inclination, cultural context and available materials. These are the reasons why sophisticated and portable instrumentation is needed to understand “the fine arts” and to find the best way for their conservation. Measurements of colored materials in paintings are often difficult due to their size, shape and location. It is not possible to separate one type of paint into its individual components. Therefore, the collection of reflectance spectra and color data from a small spot of paint is needed to understand and classify the different colored materials within and to be able to remake them as similar as possible to the original. The Agilent Cary 60 UV-Vis spectrophotometer with the Principal coordinates and illuminants of remote fiber optic diffuse reflectance accessory (Figure 1) provides fast and accurate diffuse reflectance measurements Color software on sample sizes around 2 mm in diameter. The Cary 60’s – Tristimulus highly focused beam makes it ideal for fiber optic work.
    [Show full text]
  • Image Processing Based Automatic Color Inspection and Detection of Colored Wires in Electric Cables
    International Journal of Applied Engineering Research ISSN 0973-4562 Volume 12, Number 5 (2017) pp. 611-617 © Research India Publications. http://www.ripublication.com Image Processing based Automatic Color Inspection and Detection of Colored Wires in Electric Cables 1Rajalakshmi M, 2Ganapathy V, 3Rengaraj R and 4Rohit D 1Assistant Professor, 2Professor, Dept. of IT., SRM University, Kattankulathur-603203, Tamil Nadu, India. 3Associate Professor, Dept. of EEE, SSN College of Engg., Kalavakkam-603110, Tamil Nadu, India. 4Research Associate, Siechem Wires and Cables, Pondicherry, India. Abstract manipulation and interpretation of visual information, and it plays an increasingly important role in our daily life. Also it In this paper, an automatic visual inspection system using is applied in a variety of disciplines and fields in science and image processing techniques to check the consistency of technology. Some of the applications are television, color of the wire after insulation, and meeting the photography, robotics, remote sensing, medical diagnosis requirements of the manufacturer, is presented. Also any and industrial inspection. Probably the most powerful image color irregularities occurring across the insulation are processing system is the human brain together with the eye. displayed. The main contributions of this paper are: (i) the The system receives, enhances and stores images at self-learning system, which does not require manual enormous rates of speed. The objective of image processing intervention and (ii) a color detection algorithm that can be is to visually enhance or statistically evaluate some aspect of able to meet up with varied finishing of the wire insulation. an image not readily apparent in its original form.
    [Show full text]
  • Color Space Analysis for Iris Recognition
    Graduate Theses, Dissertations, and Problem Reports 2007 Color space analysis for iris recognition Matthew K. Monaco West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Monaco, Matthew K., "Color space analysis for iris recognition" (2007). Graduate Theses, Dissertations, and Problem Reports. 1859. https://researchrepository.wvu.edu/etd/1859 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Color Space Analysis for Iris Recognition by Matthew K. Monaco Thesis submitted to the College of Engineering and Mineral Resources at West Virginia University in partial ful¯llment of the requirements for the degree of Master of Science in Electrical Engineering Arun A. Ross, Ph.D., Chair Lawrence Hornak, Ph.D. Xin Li, Ph.D. Lane Department of Computer Science and Electrical Engineering Morgantown, West Virginia 2007 Keywords: Iris, Iris Recognition, Multispectral, Iris Anatomy, Iris Feature Extraction, Iris Fusion, Score Level Fusion, Multimodal Biometrics, Color Space Analysis, Iris Enhancement, Iris Color Analysis, Color Iris Recognition Copyright 2007 Matthew K.
    [Show full text]
  • Color Itextile Quick and Accurate Quality Control and Color Formulation Software
    Color iTextile Quick and Accurate Quality Control and Color Formulation Software Color iTextile adapts to your workflow to make color fast and easy. Color iTextile Software is a document-oriented software solution that removes the guesswork from evaluating colors. Its easy adaptability allows analysis of lab dips, production samples, and finished products. Coupled with the industry’s most advanced color matching technology, Color iTextile enables quick, accurate color analysis with the capability to optimize every formula for cost and color accuracy. Specifications Color Spaces CIE L*a*b*, CIE L*C*h*, Hunter Lab, CIE (XYZxy) Illuminants D50, D55, D65, D75, F2, F7, F11, C, A, Horizon (GretagMacbeth), TL84, Ultralume 3000 Color Differences FMCII, CIE DL*, Da*, Db*, CIE DL*, DC*, DH*, Hunter DL, Da, Db Pass / Fail All Attributes of CIELab, CIELch or Hunter Lab, CMC (l:c), CIE2000 (l:c:h) Whiteness [ASTM E313, CIE, GANZ, Berger, Stensby, Taube, Tappi] Yellowness [ASTM E313, D1925] Industry-Standard Strength [SWL, Summed, Weighted Sum], Munsell Notation Indices Gloss [ASTM E429, Gloss60] Grey Scale [ISO 105 Staining, Color Change] Metamerism, Color Constancy Index Features User Defined Screen Layouts Interactive Plots and Graphs Visual Representation of Tolerances Cross Trial Color Differences Document Driven Architecture - Jobs Multiple Tolerancing Methods [User, Statistical, CMC, Historical] Data Tagging and Tracking General NetProfiler Enabled Import Capabilities [CxF, EXP, DAT, QTX] Data Management / MS Access Database Fully Integrated
    [Show full text]
  • Capture Color Analysis Gamuts
    Capture Color Analysis Gamuts Jack Holm; Hewlett-Packard Company; Palo Alto, CA, USA monochromator to measure digital camera spectral sensitivities, as Abstract specified in ISO/DIS 17321-1 [2], because the field of view of the A common method for obtaining scene-referred colorimetry camera is illuminated with monochromatic light so the flare is also estimates is to apply matrices to radiometrically linearized capture evenly distributed and therefore has no effect on the device signals, obtained either from digital cameras or scans of measurements. photographic film. These matrices can be determined using While the linearization step may be non-trivial, it is different test colors and different error minimization criteria. Since deterministic in that there is a single correct linearization, which the spectral sensitivities of these capture media typically do not can be determined through careful measurement and inversion of meet the Luther condition, the application of the matrices warps the capture device/medium opto-electronic conversion function. In the spectral locus, as analyzed by the capture devices and media. the film case this is more complicated, as it is first necessary to The warped loci of spectral colors represent the boundary of the calibrate and characterize the scanner to produce the desired film gamut of possible scene colors that can be estimated by the device. densities. Then the measured film densities must be matrixed to the These gamuts tend to have roughly similar shapes for many analytical densities that correspond most closely with the exposure popular capture devices and media, and often extend outside the collected by each film layer.
    [Show full text]
  • Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.
    [Show full text]
  • Correlation of Visual and Instrumental Color Measurements to Establish Color Tolerance Using Regression Analysis by Malathy Jawahar,* Swarna V
    409 CORRELATION OF VISUAL AND INSTRUMENTAL COLOR MEASUREMENTS TO ESTABLISH COLOR TOLERANCE USING REGRESSION ANALYSIS by MALATHY JAWAHAR,* SWARNA V. KANTH, R. VENBA AND NARASIMHAN KANNAN CHANDRA BABU Council of Scientific and Industrial Research-Central Leather Research Institute, Adyar, Chennai 600 020, India ABSTRACT perceptible changes in the leathers need to be characterized and the batch can be assorted into acceptable and unacceptable Color is one of the important parameter considered in the groups to enable corrective measures. The color variations are determination of quality for fashion materials like leather. The due to inconsistency in raw material homogeneity and leather color variation in each piece of leather sample in a batch processing technology adopted that result in variations in dye should be within the acceptable range. Visual assessment is diffusion and uptake. Even though hides and skins are currently used in leather industry for quality control and color processed and finished with organolleptic properties needed sorting. The current method used is subjective and often leads for end-use applications; the resultant leathers may be rejected, to disagreement between buyer and seller. Color measurement if the color does not match the buyer’s sample/swatch (beyond using reflectance spectrophotometer evaluates color 5% tolerance limit). Assortment of color into groups of almost consistently and is an objective assessment system. However, similar shades is also done during the manufacture of leather there is always an apprehension that the instrumental color products. The panels of leather product should be of same assortment may not agree with the human perception of color color as more than one piece of leather is used.
    [Show full text]
  • Essays on Colour
    Essays on Colour ESSAYS ON COLOUR A collection of columns from Cabinet Magazine Eleanor Maclure Introduction For every issue the editors of Cabinet Magazine, an American quarterly arts and culture journal, ask one of their regular contributors to write about a specific colour. The essays are printed as Cabinet’s regular Colours Column. To date, forty-two different colours have been the subject of discussion, beginning with Bice in their first ever issue. I first encountered Cabinet magazine when I stumbled upon Darren Wershler-Henry’s piece about Ruby, on the internet. I have since been able to collect all of the published columns and they have provided a wealth of knowledge, information and invaluable research about colour and colour names. Collectively, the writings represent a varied and engaging body of work, with approaches ranging from the highly factual to the deeply personal. From the birth of his niece in Matthew Klam’s Purple, to a timeline of the history of Lapis Lazuli mining in Ultramarine by Matthew Buckingham, the essays have provided fascinating insights into a whole range of colours, from basic terms such as black and red, to the more obscure: porphyry and puce. While some focus very much on the colour in question, others diverge into intricate tales of history, chemistry or geopolitics. There are personal anecdotes, legends and conspiracies, but more than that, the essays demonstrate the sheer diversity of ways we can talk about colour. The essays gathered here have become far more than just the background reading they began as. The aim of this book is to bring together the works, as a unique representation of the different ways we relate to, experience and interpret colours.
    [Show full text]