Hair: its basic structure and natural colour

Experience the passion for Color and Luxury. USER S MANUAL 1

Index Hair: its basic structure and natural colour The hair s macrostructure...7 The hair s original colour...8 The concepts of colorimetry Chromatic laws... 13 Chromatics... 14 Colours and reflexes... 16 The Newton disc... 17 Hair colour and appearance Universal classification...21 Hair lightening scale...23 Colouring hair...24 The oxidants...26 ph Classification...27 Corrective agents or intensifiers...28 Toning agents...29 Decolorizing products...30 The pigmentizing emulsions ( warm colour and cool colour )...35 Luxury Hair Color The Luxury approach to hair colour...39 Tonality Soft Color The Tonality approach to soft hair colour...45 Luxury and Tonality: instructions for use Preparing your client...51 Luxury: first application on natural hair...52 First application on previously coloured hair...53 Covering grey hair...54 Washing and rinsing...56 Tonality: instructions for use...57

PART ONE Hair: its basic structure and natural colour

The hair s macrostructure Human hair consists of a shaft and the root. The shaft, the visible part, has a diameter that ranges between 40 120 microns. It is made up of dead cells and is completely keratinized. In the transversal section of the shaft, three concentric parts are visible. 1) THE CUTICLE (the outer layer) 2) THE MEDULLA (the central region) 3) THE CORTEX ( the main structure) CORTEX CUTICLE MEDULLA 1. THE CUTICLE This is the outer layer. It consists of flat cells or scales that fit together like tiles on a roof. They are 45 microns in length and approximately 0.5 0.10 microns in diameter. In human hair the cuticle has a diameter of 5/10 scales. 2. THE MEDULLA The medulla forms the central part of the shaft, resembling a column. It contains a low density of cells. The cells group together, leaving empty spaces of considerable dimension. In respect to other parts the medulla is of less importance, therefore it contributes less to the chemical/physical behaviour of the hair s fibre. 3. THE CORTEX This consists of cells with an approximate diameter of between 1 6 microns and is approx. 100 microns in length. These cells contain the pigments that give the original colour to hair. The cortex represents 90% of the total weight of the hair s fibre. The basic fibre consists of microfibrils that aggregate together and this structure is considered to be the accomodating factor for 11 protofibrils. Each one of these contains three keratinic (peptides) chains which are parallel to the fibre s axis and formed from cells with a helical structure. The helix represents the elementary unit of the general organization of the fibre. A chemical analysis of the hair shows the presence of: CARBON (50%) OXYGEN (25%) NITROGEN (7%) HYDROGEN (6,5%) SULFER (4,5%) 7

The hair s original colour The natural colour of hair is due to specific pigments found in the cortex. These are provided by pigments produced by cells called melanocytes generally known as melanin. In humans, hair colour originates from just two types of melaninic pigment: the eumelanin and the pheomelanin. The eumelanines are responsible for the brown and black shades of hair, whereas the pheomelanines are responsible for red and blonde shades. The different colours in hair are due to a combination of these two basic, biochemical structures. If mixed, using different measures of pigment, we are able to obtain a variety of natural tonalities. Eumelanin These are proteins which are extremely stable and resistant, originating from tyrosin. The biochemical structure of eumelanin is obtained from the transformation of the amino acid tyrosin in dopa quinone and dopa amino and the fusion of a stable formation of molecules. The key enzyme in this process is the tyrosin. The more activity there is from the tyrosin, the more eumelanin is produced. This is the fundamental reason why we find the lightest of brown shades but also dark browns and black. Quite simply: + tyrosin= + eumelanin = darker hair colour. Pheomelanin These are proteins originating from the tyrosin as in the case of the eumelanin and the process of their formation is similar to the previous example. Pheomelanin is produced when, during the production of eumelanin, an intermediary product interacts with the amino acid cysteine. This provokes the formation of a pheomelanin molecule which contains sulf from the cysteine. These molecules are a colour ranging between orange and brown and they influence, to quite an extent, the different tonalities of the hair. The more the interaction between the dopa quinones and the cysteine, the more yellow and orange are the pigments produced. In people with darker hair, we have a more intense production of eumelanin. In people with naturally red hair, more pheomelanin is produced. As a study of the quantities of eumelanin and pheomelanin in human hair suggests: 8

Black hair is 99% eumelanin and 1% pheomelanin; Brown and blonde hair 95% eumelanin, 5% pheomelanin; Red hair 67% eumelanin, 33% pheomelanin (Borges 2001) Even in people with dark hair however, yellow and orange pigment (pheomelanin) is produced, yet it is masked by a dark pigment (eumelanin). In people with brown hair, it should be said, the red/yellow pigment can cause brown hair to have warm golden and auburn glints. During the aging process hair becomes gradually more grey due to the lessened activity of the tyrosin which is at its height in the mid-life period. Inevitably, the necessity to cover grey hair arises. It must be remembered that there is no cure for greying hair, and no diet or vitamin has so far proved capable of restoring natural colour to greying hair. Therefore, should one wish to overcome the unpleasant effects of greying hair it is necessary to turn to ARTIFICIAL COLOUR. Today, modern science has contributed infinite possibilities to hair cosmetics. 9

PART TWO The concepts of colorimetry

Chromatic laws WHAT ARE CHROMATICS? As this is a considerably complex subject, we will limit ourselves to the very basic concepts of COLOUR and CHROMATICS ( or COLOURMETRICS) in professional hair colour. Scientific definition: colourmetrics is the science that studies the characteristics of colour and what determines these characterisitcs. Our eyes can only perceive a minimum part of the sun s rays. The light is white in colour and there are visible and invisible rays which are classified under one heading. We could compare the human eye to a wireless receiver and the sun to a wireless transmitter. Anything coming into contact with light acts as a mirror, totally or partially absorbing or reflecting the sun s rays. Each colour of the sun s spectrum has its own particular wavelength. The shortest ray perceived by the human eye is violet and it can be calculated that this has a density of approx. 67,000 every 3 cm. Red light has longer, more visible rays: approx. 33,000 every 3 cm. Medium length waves appear yellow. Should all the waves be absorbed, the perception would be black. Should, on the other hand, the waves of the spectrum be reflected, the perception would be white. The concept of colour is SUBJECTIVE and not OBJECTIVE. Each one of us has a personal perception of colour. The eyes nerve endings are sensitive to light in different ways these nerve endings are generally referred to as CONES or STICKS. Cones are sensitive to bright light, sticks to less intense light. The latter also contain fotosensitive pigment. Vision initially travels through the sticks and intensifies thanks to the perception of the cones. The information is thus elaborated and sent to the brain where the relative colour is discerned. In the case of an object absorbing the whole range of radiation, the colour perceived is black, whereas white is perceived if the rays are reflected. 13

Chromatics THE LAW OF COLOUR The colours we perceive are created by the light which surrounds us. The theory of colour has been, through the ages, a major field for studies on the subject. One of the most famous studies was made by a swiss painter, Johannes Itten (1888-1967). His work was carried out in the Bauhaus where he studied forms and colour. The human eye only perceives certain colours which have electromagnetic waves of a substantial length (between 400 700 mµ). In particular these waves permit the eye to visualize the six fundamental colours: red, orange, yellow, green, blue and purple. Isaac Newton in 1676 carried out numerous experiments on how white light from the sun could divide itself within the sun s spectrum of colours, and therefore making visible the six fundamental colours. In truth, the fundamental colours selected by Paul Klee are in fact seven. He developed the colours of the spectrum horizontally and denominated the first colour red/ violet and the last, the seventh, blue/violet. The latter cannot, however, be considered as a distinct colour because it is in fact two halves of a whole. PRIMARY SECONDARY Primary Colours: Secondary Colours MAGENTA/YELLOW/CYAN GREEN/ORANGE/VIOLET These six colours form the colour black. 14

If we arrange the colours in a circle, we obtain wedges of colour in which three fundamental colours are highlighted and of which the three secondary colours form a contrast. The three primary colours are so named because they cannot be created by mixing other colours. The primary colours are Cyan Blue, Yellow and Magenta Red. The secondary colours in the chromatic circle are derived from mixing primary colours and these are Green, Violet and Orange. In the example of brown hair, that is to say made up of two parts yellow, two parts red and one part blue, we could demonstrate, using ink and a luminous blackboard the following: YELLOW + BLUE = GREEN RED + YELLOW = ORANGE BLUE + RED = VIOLET THE OSTWALD STAR The Ostwald star allows us to focus on primary and secondary colours and to determine the contrasting neutralizers in each colour. As described previously, we can, in practise, demonstrate how two primary colours form a secondary colour (yellow+blue=green, red+yellow=orange, blue+red=violet) and this seconday colour is in contrast with, and acts as a neutralizer, for the third primary colour should this be removed from its original form. 15

Colours and reflexes If we take for example two cold colours, e.g. green and blue, the reflex from one tends to cancel out the other and vice-versa. The same happens when dealing with two warm colours. If, on the other hand, we take two opposing colours, e.g. yellow (warm) and blue (cold), the eye tends to seek separate vision and the colours remain bright and intense. This scientific principle expressed by Chevreuil is widely used in the textile industry. COLD COLOURS WARM COLOURS GREEN YELLOW GREEN YELLOW ORANGE YELLOW GREEN BLUE CYAN PRIMARY COLOURS SECONDARY COLOURS ORANGE RED ORANGE BLUE VIOLET MAGENTA VIOLET VIOLET RED Three primary colours exist here (Blue Cyan, Yellow, Red Magenta). When mixed together they give secondary colours (Green, Orange, Violet). Mixed together, all six form black. 16

The Newton disc The Newton disc allows us to view the whole range of LUXURY and TONALITY products and enables us to verify the previously illustrated information. Giallo Yellow Jaune Amarillo Verde Green Vert Verde Arancione Orange Orange Naranja Blu Blue Bleu Azul Rosso Red Rouge Rojo Jolly Joker Joker Joker T Viola Violet Violet Violeta Cenere Ash Cendré Ceniza 17

PART THREE Hair colour and appearance

Universal classification The Green Light classification system for its various products adheres to an international numeric system which defines both the level and tonality of colour through the use of numbers. Natural colours Reflex colours* 1 = BLACK 1 = ASH 2 = BROWN 2 = VIOLET / IRIS 3 = DARK CHESTNUT 3 = GOLDEN 4 = MEDIUM CHESTNUT 4 = COPPER 5 = LIGHT CHESTNUT 5 = MAHOGANY 6 = DARK BLONDE 6 = RED 7 = MEDIUM BLONDE 8 = LIGHT BLONDE 9 = VERY LIGHT BLONDE 10 = PLATINUM BLONDE *Reflex colours In the reflex category, all numbers above 6 have been elaborated by the company s marketing sector. The colours, nuances and reflexes all have dominating warm (yellow, orange, red) or cold (blue, green, violet) colours. For every warm colour or nuance, an opposing cold one exists if we blend these, we obtain a result that has no predominant tone. We can therefore state that according to the intensity of colour or reflex used as the base colour, either a black, brown or grey tone will result. N.B. The second and third numbers indicate the reflex, as do the letters following the initial numbers. The numbers are interpreted as follows: The first number refers to the natural tone. The second number refers to the primary reflex. The third number refers to the secondary reflex. 21

From 1 to 10 Intense naturals.00 Intense maximum coverage.003 Warm reflexed maximum coverage.03 Warm naturals.01 Natural Ash.11 Deep Natural Ash.32 Beige.3 Golden.33 Warm Golden.4 /.44 /.34 Copper.444 Super Rich Copper.35 Golden Mahogany.5 /.55 /.52 Mahogany.6 /.66 /.62 /.56 /.46 Reds.666 Super Intense Red.2 /.22 Violet Iris.222 Deep Violet Iris.23 Tobacco 10.0 / 10.1 / 10.3 / 10.13 / 11.0 / 11.11 / 11.3 / Super Lighteners 12.00 / 12.11 / 12.03 / 12.13 1.10 Blue Black 22

Hair lightening scale On an ideal colour base, the maximum lightening effect will never exceed the tone applied. Tone Level Lightening Blend Ideal Colour Base 1 Black 1-2-3 2 Brown 1-2-3 3 Dark Chestnut Å tone 2-3 4 Medium Chestnut 1-1 Å tones 2-3-4 5 Light Chestnut 1 Å -2 tones 3-4-5 6 Dark Blonde 2 tones 4-5-6 7 Medium Blonde 2 2 Å tones 5-6-7 8 Light Blonde 2 Å - 3 tones 5-6-7-8 9 Very Light Blonde 3 tones 6-7-8-9 10 Platinum Blonde 3-3 Å tones 7-8-9-10 23

Colouring hair and We can divide hair colour into four fundamental techniques: Permanent colour (Luxury ) Permanent colour in a lighter form (Tonality ) Semi-permanent or tone on tone Direct colour (shampoo, colouring mousse, etc.) - PERMANENT HAIR COLOUR This is a mixture of creme colour and oxidizing agent in creme form. It modifies the hair s natural colour and tone, giving total coverage of grey hair. Luxury has a wide range of 145 nuances and extraordinary lightening effects are guaranteed. + = PERMANENT HAIR COLOUR CREME COLOUR OXIDIZING AGENT 10-20 - 30-40 vol. - PERMANENT COLOUR IN A LIGHTER FORM + = PERMANENT HAIR COLOUR (mild) CREME COLOUR OXIDIZING AGENT 10-20 - 30-40 vol. 24

With 56 nuances and without the use of ammonia, this all-round product gives 100% coverage of grey hair. The emulsifiying, oxidizing agent in creme form (activator 2.1-10-20-30-40 vol.) is ideal for repigmentation or enhancing reflexes by mixing with LUXURY. TONE ON TONE (NO AMMONIA) By mixing this creme colour containing no ammonia with a reacting agent we have harmonious tones and natural reflexes which cover grey hair without the effect of a lightening agent. or CREME COLOUR + = ACTIVATOR (2.1%) TONE ON TONE HAIR COLOUR DIRECT COLOUR This is obtained by using a semi-permanent colour treatment (containing no oxygen or ammonia). Also known as direct colour. Gives bright reflexes and lasts for 7/8 washes. Very effective when used to ehhance reflexes on highlights. DIRECT HAIR COLOUR SHAMPOO COLOR SILVER HAIR BATH 25

The oxidants Hydrogen peroxide is two atoms of hydrogen and two atoms of oxygen. The relative molecule (H2 O2) is considerably unstable. Green Light research has been able to combine basic materials and reverse the effect. It must be said that hydrogen peroxide tends to automaically free an atom of oxygen and transform itself into water (H2O) This oxygen is extremely active and tends to easily bond with other substances this determines the reaction known as oxidizing. Hydrogen peroxide is therefore at the core of all hair colouring procedures. The oxygen freed from hydrogen peroxide produces three effects: oxidation of intermediaries that make up the colouring substance (principle function) H 2 O + pigment; lightening of the hair s natural tones H 2 O + ammonia; balancing of the concentration of colour and the value of the ph, H 2 O + colour. Hydrogen peroxide mixed with the various colours encounters ammonia. This activates the lightening process (heightening the effect) and subsequently, according to the amount in volumes of oxygen used, the level of lightening is intensified to one or two levels by working on the melanin. HYDROGEN PEROXIDE SHADES 7 volumes 2.1% Tone on Tone 10 volumes 3% Level 1 20 volumes 6% Level 2 30 volumes 9% Level 3 40 volumes 12% Level 4 To obtain the desired result, it is therefore necessary to calculate to what level it will be necessary to lighten the hair s natural colour and use relevant amounts of hydrogen peroxide at the relevant volume according to extent of lightening required. 26

ph Classification CLASSIFICATION ph PRODUCTS AND LIMITED REACTIONS Strong acids Sulfor Nitric acid Medium strength acids Hydrated magnesium carbonate, citric acid, acetic acid Light acids Boric acid, oleic acid, stearic acid 1 2 3 4 5 6 Maximum acidity Not used in cosmetics Special washing products Hair conditioners From 4,5 to 6,5 ph physiological acid levels of the skin The ph skin balancing formulas used in beauty products react within these limits Neutral 7 Baby shampoo and eyelid lotions Water Weak alkalis 8 From 7,5 to 8,5 ph creams and lotions with stearic sodium, ammonia, triethanolammina. Bicarbonate of soda Meduim strength alkali Carbonate alkalines Alkaline products Ammonia Strong Alkalis Caustic soda and potassium soda 9 10 11 12 13 14 From 8,5 to 10,5 ph soaps, medicating soaps, shaving creams etc. Stick Deodorants etc. Proucts for the oxidizing process in permanent hair colour From ph 11 to ph 12. Hair removal products Maximum alkalinity Not used in cosmetics 27

Corrective agents or intensifiers Corrective agents are mixed with the various colours in the range to intensify, modify or remove reflexes and are used according to the hair s primary reflex. Example: PRIMARY REFLEX To intensify To modify or tone down Golden Yellow Violet Copper Orange Blue Red Red Green Orangy Red Red Orange Ash Ash Ash The corrective agent JOKER T is used to heighten by a Å tone the lightening effect of any one of the colours in the chart. 28

Toning agents Toning agents are used to modify or brighten the tone of highlights. It is necessary to dilute 1+3 (every 10 grams of toning agent, 30 grams of oxidant at volume 10 / 3%). 29

Decolorizing products BLEACH POWDER DUST FREE (AMMONIA FREE) with Rose Essence This product enables us to create streaks, highlights and to bleach hair by delicately working on the hair s pigment. This new product in powder form means a more uniform consistency, aiding preparation and mixing but without the fastidious odour of ammonia. With both our customer and hairdresser in mind, the rose scented, delicately pleasant fragrance of our product is a pleasure to apply. Furthermore, this concentrated powder does not foam during preparation and leaves the hair well moisturized during application. Although this product contains ingredients which lighten the hair considerably, it leaves the hair in good condition. The powder s lightening agents are potassium persulfate and sodium persulfate. Our range has two variations: blue or white Rose Essence Essence of roses is added to our product to enhance its delicate, therapeutical qualities. 30

How and when to apply: When dealing with hair that has already been treated and in bad condition. Mix with low volume oxygen (max 10 20 vol.). On fine, delicate hair. Directly on cuticle. Mix at 10 vol. for platinum blonde. Bleach Powder Dust Free - Ammonia Free (White) for warmer lightening effects: (use oxygen at 10-20-30 vol.), for red, copper and golden tones. Bleach Powder Dust Free - Ammonia Free (Blue) for a cooler lightening effect: (use 10-20-30-40-vol.), on beige, platinum, extra platinum blonde. The length of time the product is left on the hair depends on the hair type which can vary considerably. Proceed to rinse. To acquire a natural reflex effect in 2-3 minutes (reflex not colour), the following instructions should be followed: Example 1. To cool down a reflex Mix 8.32 or 7.7+7.11 or 12.111 (30 grams) with a violet hair corrector (1 gram) and dilute in proportion to 1+3 at 10 vol. with the Pigmentation Oxidant Emulsion CSS Violet. Example 2. For warmer reflexes Mix 7.666 (30 grams) with a red or violet corrector (30 grams) and dilute in proportion to 1+3 at 10-20 vol. with the Pigmentation Oxidant Emulsion CSS Red. 31

CLASSIC BLEACH POWDER DUST FREE The Luxury Classic Bleach Powder Dust Free is the perfect answer for highlights and intense decolorizing of the hair s pigment. This exclusive powder formula gives improved, homogenous results; easy to mix with no dispersal of powder. The volume does not increase in size when mixed and conditions hair during application. The product contains ingredients that notably lighten the hair with perfect results, though at the same time leaving it in good condition. The range offers two variations: white and blue. Recommended use for Classic Bleach Powder Dust Free WHITE and BLUE Because this product is in compact form, therefore avoiding the dispersal of powder, it is recommended for customers suffering from allergies and asthma. Classic Bleach Powder Dust Free White: preferably used with oxygen at 10-20-30 vol. Classic Bleach Powder Dust Free Blue: use oxygen at 20-30-40 vol. 32

CLASSIC BLEACH POWDER DUST FREE (LUCE AND ANTI-YELLOW) Classic Bleach Powder Dust Free - LUCE: perfect for lightening hair to lesser degree, to obtain shiny reds, mahogany, copper or golden blondes. Use with oxygen at 10-20-30 vol. Classic Bleach Powder Dust Free - ANTI-YELLOW: for more intense degrees of hair lightening and to pass from black to chestnut and blonde. Dilute with oxygen at 20-30-40 vol. Example If we have a basic level 1 and we want to obtain basic 5 or 6, proceed in the following manner: 1) Prepare mixing bowl with enough powder to cover hair length. 2) Mix 3 measures of anti-yellowing powder with oxygen at 30 vol. (1+1 mix). 3) Add MILK SHAMPOO Green Light (2 measures). Mix and apply, massaging tips of hair (this is necessary because the majority of pigment is concentrated at the tips). Leave for 10 minutes. 4) Prepare decolorizing powder, mix with oxygen at 20 vol. and apply to the central lengths so as to avoid untreated, natural hair at roots. Leave for 10 mins. 5) With the initial mix at 30 vol. apply to tips and central lengths and leave for 30 mins. The result will be a yellow/orange base on the central area and orange/red on the tips (remember that the decolorizing powder anti-yellowing reduces the intensity of the orange/ red). Rinse hair with MILK SHAMPOO Green Light ( N.B. Do not use product for after-colour use because the cuticles need to remain open). Do not dry with direct heat (the homogenous effect would be lost). Proceed with hair colour as follows: 1) Use colour 5.01 or 6.01 + basic natural 5 or 6. This is because the natural base contains blue/green pigments that extinguish the orange/red reflexes with a proportion of 1+2. 2) Add a small quantity (the equivalent of 1mm of creme from tube) of Blue Corrector in order to eliminate the yellow/orange effect. 33

3) Mix CSS Violet Pigmentation Oxidant Emulsion at 10 vol. and apply to roots. 20 vol. to central length and tips. 4) Leave to penetrate. The result will be immensely satisfying. 5) Choose one of our Repair Line products such as shampoo, oil, mask or lotion for a final touch. 34

The pigmentizing emulsions ( warm colour and cool colour ) The latest products by Green Light The CSS Pigmentation Oxidant Emulsion enhances or neutralizes warm reflexes (CSS Red) or cool reflexes (CSS Violet) according to the colour desired. This line of products consists of emulsions at 10-20-30-40 vol. The CSS Balsamic Dye Revealer (7 vol.) and the CSS Balsamic Oxidant Emulsion (10-20 - 30-40 vol.) are oxodizing emulsions in creme form and all are compatible with our entire colour range. Green Light also offers treatment CSS mask and fixing shampoo to use after permanent hair colour and these are enriched with Vitamin E and White Tea Essence for incredible results. 35

PARTE SESTA Experience the passion for Color and Luxury. Luxury Hair Color 37

The Luxury approach to hair colour 100% COLOUR THE PURE LUXURY OF IT! The Luxury brand is a new series of prestigious, fashionable and versatile hair colour products, guaranteeing a perfect end result. It completely covers grey hair with an infinite range of nuances. 39

COLOUR THAT VIBRATES THE MICRO-PIGMENTS TECHNOLOGY THAT IS RICH AND INTENSE. The latest technologies, combined with sophisticated micropigments and low ammonia content, guarantee maximum coverage and harmonious and shiny nuances. This product penetrates the hair s structure in particular depth and the end result is of lasting high quality hair colour. PRECIOUS INGREDIENTS Long Lasting - Anti-Age - Anti-pollution Complex The use of high quality ingredients and its prestigious formula make this colour treatment a top class product. This long-lasting, anti-age, environmentally friendly product guarantees protection from smog, sun and free radicals. Ingredients include White Tea Extract (handpicked silver buds, rich in polyphenols and flavonoids) and Orchid Butter, rich in high affinity natural oils that nurture, hydrate and descale the hair, restructuring and protecting the hair s fibre, protecting the scalp and leaving hair shiny, manageable and silky. Luxury s hair colour formula is an environmentally sound product. 40

145 NUANCES ON SOLID DISPLAY BOARD Wall display panel with easily removable strands Foldable counter or table display 41

Beauty Service Srl Brescia - Italy www.greenlight.it 60