{EVERY ARTIST WAS FIRST AN AMATEUR} EMERSON

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2 {EVERY ARTIST WAS FIRST AN AMATEUR} EMERSON If you think back and imagine yourself at the very beginning of your career, did you consider yourself to be an artist? As a hairstylist, you are an artist whose work is always on display. Artistry will be a strong focal point and theme throughout this course. First, we will review the basics in color theory to remind ourselves on what color formulation is founded upon. Later in this course, we will explore trustworthy techniques, trending tools, and hot tips/tricks. In addition, we will be bringing in the advice of the most profound artists of all time. So, settle in and join us on exploring our world in color. THE NATURAL LEVEL Natural level of hair is referred to as the teeny tiny granulated pigments that are all merged together in the cortex of each and every hair strand. This is what you see as someone s natural hair color. The natural level determines how light or dark the hair is. This level system ranges from Quick review below:

3 2 Knowing where your client s natural level falls is paramount in the first step in color formulation. This sets the stage for what lies ahead in your color service. When determining your client s natural level, keep in mind that their hair color and your trusty swatch book may not perfectly match up. Why? Because each and every person s natural hair color is exclusive to them. A swatch book is there to guide you in selecting the closest natural level to your client, and to aide you in your consultations. TARGET SHADE/END GOAL Once you have established the natural level, you will now need to determine your target shade, also known as, your end goal. When time to formulate for your target shade, you will need to consider the underlying pigments that lurk within each of the natural levels. Underlying pigments have an enormous impact on your end goal. Though they be tiny, underlying pigments are large in sight when the natural level is stripped away from them. We have all witnessed and some of us have called out to the color gods when these hotter than hades inferno colors show up and reveal what is really going on under those natural levels. Can it be scary? Sure. Does it have to be? No. Here is how we combat the underlying pigs oops pigments.

4 3 Underlying pigments start to reveal themselves when we start activating lift/decolorization in the hair strand. When lifting a lower natural level, which is typically a cooler tone, the hair will decolorize revealing the inferno tones, also known as warm tones. Knowing how to predict whether or not the underlying pigments will cooperate with us, and in addition, knowing how to take charge of their tones with their complimentary companion is vital to complete your goal. Let s break this down in the chart below:

5 4 {COLOR IS MY DAY LONG OBSESSION, JOY, & TORMENT} CLAUDE MONET Most likely, you will face the challenge of formulating a level of lift that remains neutral, and doesn t uncover the underlying pigment. To help you with these challenges, contemplate using a combination or cocktail of complimentary companion colors when formulating. Need an example? Let s look at Client S S wants to lift her Natural level which is about at a 4 or 5 and lighten it to a target level of a 6 or 7. If we refer back to the underlying pigment chart on page 3, you can see that the hair will go through different stages of revealing underlying pigments of red, orange, and even a little golden tones. Most would settle for just one complimentary companion color to use, in this case green would most likely be chosen. But, because she is dancing in a few different tones of underlying pigment ranging from reds, to oranges, and even golds a cocktail combination could be prepared with mainly green tones, but with a splash of blue as well. To be more technical, you would consider using 1 oz of green to a ½ oz of blue. By involving the complimentary companions from each level of underlying pigments will result in neutralizing more efficiently and successfully every time. If you are creating custom color for your client, then CUSTOMIZE IT!

6 5 {PAINT FROM THE INSIDE OUT} GEORGE DE GROAT When the target level requires you to take the client s hair darker, the use of fillers are necessary. Fillers are created as a preliminary step when desiring to darken the hair by two levels or more. Opposite of neutralizing the underlying pigment when lifting the hair, you will now need to fill in the missing warmer pigments to establish a solid foundation for a safe and successful deposit during the color application process. Think of lightened hair as having a lot of negative or empty space within each hair strand. The pigments have been stripped from the hair. Fillers are designed to fill in this empty space before the application of your target shade, evening out your canvas on each hair strand, as well as, helping to fill in the extra porous ends that could re-lighten prematurely if not filled properly. When applying a filler, choose a semi/demi color line of your choice. Keep in mind that depending on the porosity and the guidelines from the manufacturer, you may or may not need to wash the filler application out. Some decide to dry the filler into the hair strands or will use a towel to dab the excess filler off the hair, while others will decide to leave the hair damp when starting the second application. Be mindful that using these various methods can result in to different outcomes, using your best judgment and knowledge from your manufacturer of choice is always recommended.

7 6 When formulating for Client L to the right, just take a minute and brainstorm on how you would execute her color transformation. Keep in mind that even though we would generally agree on how to formulate this client s color, we are all called artists for a reason. One approach may be different than the next and still achieve the same target shade or end goal. The example that is given on how this target shade was achieved is not the only way to get there. With that said, open your mind to how this was accomplished, maybe you would have chosen to do the same! We know that her natural level is at a level 3, with less than 25% grey. We can see Client L has out growth that is a couple inches from root to midshaft. From midshaft to her ends she has dimensional colors ranging from levels 10 to 7 due to past highlighting and lowlighting. After consulting with Client L we decide that she wishes her target shade be a red-violet base at a level 4 at the roots, and blending down to a 5 on the ends to have her goal look with dimensional color. Now that we have determined her natural level and her target shade, we are ready to begin formulation. To fill in her midshaft to ends, the application of a combination ranging from level 8 golds and level 7 coppers, the warmer the tones, the better. Remember we need to fill in what was taken away during her previous lifting service. Once the demi level 8 gold and level 7 copper combination has been applied, the stylist used a towel to blot the any excess color that

8 7 remained on top of the hair strands. Once satisfied, it is now time to move on to the second application the target shade. Formulation consisted on application of a level 4 red-violet base at the root with a 10 volume developer to lift the base by a level. Formulation for the midshaft to ends included a level 5 red-violet base with a 20 volume just to add a little bit of brightness for the dimensional look. Once both colors have been applied, let process at your manufacturer s instruction. Within the last 10 minutes of the processing time the stylist used a comb while sectioning off partings for better control and ran the comb gently through each manageable section to blend or melt the two sections together for a seamless transition from roots to ends. In the situation where a 2-step deposit isn t possible, for example when adding in lowlighting into a pale blonde, just add more warm tones into your lowlighting formula. This will allow you to anticipate the need to balance the porosity and the underlying pigment at the same time. Take Client A for example. A very pale blonde wishing to bring darker levels into her hair. The application process this stylist took was rooting the base by dragging the color application from the roots into the midshaft, to then be met up with the balayaged lowlights that were painted in. The formulation used on Client A included

9 8 a warm tonal base at a level 7 with a demi permanent color line. The stylist chose to use a demi permanent color line because color was only being deposited on the hair and didn t require any peroxide for lifting. This keeps the integrity of the hair a main focus, and in addition, using a demi permanent color will fade on tone without any harsh outgrowth ends. Creates a more seamless and blended outcome. Most often, stylists forget the many benefits that lie within demi permanent color lines. Demi permanent hair color can be used in several different ways for many different reasons. Multiple uses include but are not limited to the following: Refreshing mid-strands and/or ends during a permanent hair color application Tone highlights Refresh the tone & the shine the hair just processed on To lowlight Tone after a pre-lightening treatment Blend grey Ideal introduction to first time color clients Adds shine to virgin hair Typically a first chemical choice anytime lift is NOT required

10 9 A good reminder from our friend Andy Warhol below if you are finding yourself bored with this Throwback Theory segment, just hang in there but MORE importantly allow it to bring you back to the foundation on which everything we do as an artist is built upon I d say that is rather thrilling in its self! {YOU NEED TO LET THE LITTLE THINGS THAT WOULD ORDINARILY BORE YOU SUDDENLY THRILL YOU} ANDY WORHOL For a basic color review on comparing permanent, demi permanent, and semi permanent refer to the chart below:

11 10 Exploring the world of hair lighteners has become a vast array of choices. Each and every manufacturer has a couple, if not, several different options within their color line to choose from. Before we discuss the different TYPES of lighteners, let s refresh ourselves on WHAT lighteners are. Lighteners are only used for decolorizing the pigments within the hair strands which allows the most power when lifting hair to different levels. Lighteners have a very high ph, and can typically reach levels of 7+ in lifting potential. Most lighteners can now be used on and off the scalp, but we remind you to double check with the individual manufacturer before applying directly onto the scalp. Lighteners typically lift from the time it is applied until the time it is removed. As long as the lightening product is wet or moist, it will continue to work/process. It is important to remember that even if you are using a 10 volume developer with a lightener, it can still damage the hair if it is not closely monitored. In addition, be mindful that the higher the developer the higher the lift, but with that comes the higher the developer the warmer the color will turn out. For instance if you are trying to achieve a pale blonde, don t rush to the 40 volume, you will need to tone it every time. Instead use a lower developer so it can process more evenly and won t jump to those awful undertones so quickly on you! It is the slow and steady wins the race mentality. {CREATIVITY IS INTELLIGENCE HAVING FUN} ALBERT EINSTIEN

12 11 DIFFERENT TYPES OF LIGHTENERS To touch on every type of lightener would take an entire booklet in itself. Instead we are going to touch on the most common you will encounter, see the chart prepared for you below:

13 12 When mixing any color formulation it is important to understand the individual recommendations for proper measuring from manufacturer to manufacturer. Measuring creates the proper consistency for the best results. It is suggested that when mixing lightener, add the liquid first, then the powder. Folding the powder with a spatula like tool will help keep the aeration of the lightener to a minimum. If you whip/whisk lightener creating more air to move through the product, it can weaken your lightener faster than you desire. Typically, lighteners can weaken as soon as 20 minutes after initial mixing. Also, consider mixing a thicker consistency for finer hair, and a thinner consistency for your thicker haired clients. Mixing a thicker consistency for your finer haired clients will allow the hair to process at a more even rate, and not process too quickly. For your thicker haired clients, mixing a thinner consistency will allow for more even processing time and thorough saturation on the hair strands. Always remember when choosing your developer, the texture of the hair will determine the lift.

14 13 Let s take a gander at a few of the different tools used nowadays for hair coloring services, both older and newer. These are a few of our favorite top tools: FOIL: Foil has been used since the pulling through the cap days started to phase out. It has been a faithful friend to all colorists since the day it debuted in salons everywhere, and has been the primary choice due to being cost effective, and easy to use. Foil processes the hair fastest among all other foil-like options, by keeping in the heat allowing for quicker progress. Foils can be found in pop-up easy to use boxes, rolls, or even in tinted varieties where one side is embossed/colored and is chosen to be used in multi-colored processes to keep track of which color is in which foil. PLASTICS: Plastics or balayage films are used to keep sections seperated, while keeping the hair moist with the product. If the hair is moist, it continues to process. Quality Touch offers both cling and non-cling balayage films.

15 14 COTTON: Used for open-air processes typically at room temperature. Also used for keeping sections separate. BIOLIGHTS COLOR: Cotton foils or cotton hair color strips that are 100% biodegradable and are used as an alternative to traditional foils. Able to apply color more efficiently and produce natural color results, with no slipping, color swelling or bleeding. {Created by New York Celebrity Colorist Rick Wellman, Biolights are not only speedier and safer for the environment, they re also safer for your client s hair. Why? Because the natural cotton fiber enables aggressive color catalysts like ammonia to dissipate during color processing, rather than heating up and accelerating, which is what happens when hair is processed in aluminum. Behindthechair.com } FLAMBOYAGE MECHE STRIPS: Provides the ability to select and isolate the hair with a simple fast gesture by selecting a small random amount of hair that firmly adheres to the strip which then becomes your working surface. Flamboyage Meche Strips are transparent in color allowing for easy checks of color development during the entire processing time. {Ensures a diffused & harmonious chromatic result along hair length & minimizes the regrowth effect. Behindthechair.com}

16 15 EMBEE MECHE SHEETS: Re-usable/washable color barriers that allow you to keep the lightener moist longer. Semitransparent to see how your color is processing or what colors you have placed where. No slip, no stain, and barbicide safe for proper sterilization. BALAYAGE STRIPS: Provides a more consistent highlighting application which is non slip once the color is applied. It is 25% lighter than foils and encapsulates approximately 95% of ammonia and peroxide fumes that are exposed within the salon atmosphere. Creates a faster processing time for most color applications. PAPER HIGHLIGHTING STRIPS: A flexible and lightweight alternative to traditional foils. Used for highlighting and multi-level hair coloring. Helps cut prep time in half for stylist. THERMAL COLOR WRAPS: Made out of a polystyrene material which adheres with just one fold, making application and removal much quicker compared with traditional foil. Non-slip texture keeps product in place and helps control any swelling or bleeding. The thermal properties retain heat to speed up processing and are 25% lighter than most foil. ECO-WRAPS: A sustainable highlighting strip made from a renewable tapioca base that is non-toxic and degradable. These Eco- Wraps turn see-through once it becomes in contact with hair color so you can easily monitor your color processing.

17 16 BALAYAGE BOARDS: Used for artistic balayage color applications. By placing the hair you wish to color on the board, allows you to have a firm foundation to paint on. BLUR BRUSH: Redken Blur Brush is a customizable color technique that allows you to create multi-tonal color with incredible dimension. The longer bristles help distribute color formulas evenly and create gentle transitions from one shade to the next essentially blurring the colors together with no start or finish to the joining sections. THE BLONDE WAND BY PRAVANA: Able to lift up to seven levels in seconds using this unique thermal lightening tool, in combination with the Pure Light Crème Lightener, allows colorists to lighten the hair in a matter of seconds with less damage to the hair than the traditional lightening processes. W.O.W COMB: A must have tool for even the most advanced colorists. Perfectly designed for seamless color-melts but can be used from basic root shadow touch-ups to simply combing conditioner through the hair. The red insert rolls and has little nubs on it that help distribute product evenly without removing the color. No more harsh lines and no more wasted product. This comb is a salon game changer! {THE ARTIST SEES WHAT OTHERS ONLY CATCH A GLIMPSE OF} LEONARDO DAVINCI

18 17 We have now become refreshed with the throwback color theory (congrats on hangin in there), explored the different tools for the color trade, and now we are going to pull it all together with how to create the beautiful color trends with the artistic application techniques. Starting with the brilliant balayage technique that is sweeping (no pun intended) over all color services around the world. The French term, balayer, means to sweep. The technique of balayage is basically sweeping in hair color by way of hand painting in free form highlights. Most commonly used, but not limited to, clay lighteners. Balayage offers a more natural look to traditional highlighting by doing away with a more uniform-like highlights in typical foil processes. {IF YOU HEAR A VOICE WITHIN YOU SAY, YOU CANNOT PAINT THEN BY ALL MEANS PAINT, & THAT VOICE WILL BE SILENCED} VINCENT VAN GOGH

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20 19 The French word, Ombre, means shaded or shading. When Ombre first took trend, the popular look transitioned from dark roots down to lightened ends. Since then, some have reversed the ombre from darkened roots at the top to the lightened ends at the bottom, switching it to lightening the roots and darkening the ends. {TALENT IS A PURSUED INTEREST. IN OTHER WORDS, ANYTHING YOU ARE WILLING TO PRACTICE, YOU CAN DO.} BOB ROSS

21 20 Glazing, glossing, toning, and overlays are all relatives from the same family. The specific definitions of each of these applications are up for interpretation, which varies from colorist to colorist, so let s break them down to the best of our abilities for better understanding. All of these applications can be done using various formulas from semi permanent, demi permanent, permanent, and reflective permanent color lines. Choose a permanent overlay when desiring the maximum amount of penetration or break through power into the cortex. You may also choose to use a permanent overlay when fighting warmer undertones during a color correction service. For maximum shine that penetrates the cortex with less surface saturation, choosing a reflective permanent hair color is suggested. When deciding between using demi permanent liquids vs. demi permanent cream colors, consider what your end goal is. When desiring a more translucent or transparent shine, choose a liquid demi permanent color line.

22 21 When desiring more of an opaque look for example, when adding in lowlights, choosing the consistency of a cream demi permanent color is advised. Consider using a porosity equalizing spray to mist over the hair prior to your glazing, glossing, toning, or overlay services. Doing so will prep the hair allowing for even processing, and seamless color application by balancing out the porosity within the strands. Understanding color placement when referring to negative and positive space is a great way to build a foundation off of the blueprint you are designing for your customized color service. Referring to the diagram below, the lightener being the positive space and whatever is left darker is considered your negative space.

23 22 Knowing where and how to place the negative or positive space during your color application allows for better contouring for the most flattering results for your client. If you are trying to enhance a facial feature, you will need to add lightness or create a positive space around that area. If you are trying to contour on a longer faced client and wish not to enhance the elongation of the facial shape, keep the first section darker to add negative space at the neck/jawbone. Another example of creating negative space would be for a client who has recession around their hairline, you will need to leave that area darker adding lightness at the receding hairline will only enhance the depth of the recession area. Just as contouring is widely used with make-up applications, the same can be done with hair color contouring. Always remember to be mindful of where and why you are choosing to place color on your client.

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