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CONTENTS Macro-structure of the hair The origin of the hair s natural colour The basic laws of hair colour Colourimetry Newton s disk Colourimetry concepts in cosmetic dyes Similar colours and reflections influence one another Classification of natural colours Lightening levels Types of hair colouring Jungle Fever Hair Colour Cream Jungle Fever Permanent Colour Range Jungle Fever Oxidizing Emulsion Cream Grey coverage Repigmentation Jungle Fever Jolly Mixing instructions Application of Jungle Fever Hair Colour Cream 4 5 6 7 8 9 10 11 12 13 14 15 16 19 20 21 23 25 www.junglefever.com 3
MACRO-STRUCTURE OF THE HAIR THE ORIGIN OF THE HAIR S NATURAL COLOUR The shaft and the piliferous bulb form the hair. The visible part of the hair, the shaft has a diameter ranging between 40 and 120 microns; it is made of dead cells and it is completely keratinized. A cross-sectional section of the hair shows that three concentric layers form it: 1) The cuticle (the external part) 2) The marrow (the core) 3) The cortex (the actual structure) 1. THE CUTICLE It is the outermost layer, made up of flattened cells that overlap like the tiles of a roof. They are 45 micron long and their thickness ranges from 0.5 to 1.0 microns. In human hair the cuticle is 5 to10 layers thick. 2. THE MARROW It is the core of the hair and it is made up of overlapping cells with a low cellular density. It has a relative importance in comparison to the two other parts of the hair, as it contributes in a little way to its chemical and physical behavior. 3. THE CORTEX The cortex is formed by cells, which are 1 to 6 microns thick and 100 microns long. The cortex makes up for about 90% of the total weight of the hair fiber. The fiber is formed by long twisted protein chains, which give the hair its elasticity. By stretching the hair you are straightening the coiled proteins of the cortex, which coil up again when releasing the hair. The pigments that give your hair its natural colour are tucked among these protein strands and protected from external agents by the translucent layer of cuticle cells. A chemical analysis of the hair shows the presence of: CARBON 50 % OXYGEN 25 % NITROGEN 7 % HYDROGEN 6.5 % The hair s natural colour is due to distinctive pigments contained in the hair cortex. Pigments produced by cells called melanocytes provide hair colour. Those pigments are called Melanin. In humans, all the different hair colours are due to just two types of pigment (Melanin) called Eumelanins and Pheomelanins. Eumelanins are the dark brown and black pigments while Pheomelanins are the red and blonde pigments. The different colours of hair in different people are due to a combination of these two basic biochemical structures. Different concentrations of those two pigments form the various shades of hair colour. Eumelanins are very strong, stable proteins made from Tyrosine. The large Eumelanin biochemical structure is given by the transformation of the amino acid Tyrosine into Dopaquinone and Dopamine and the bond of several of these molecules together to form Eumelanin. The key enzyme in this process is Tyrosine. The more Tyrosine activity the more Eumelanin is formed. This is one of the reasons why we can see different shades of brown in natural hair colours. The more the Tyrosine activity, the more the pigment production and therefore darker the hair colour. Pheomelanins are also made from the same Tyrosine as Eumelanins and the process is much the same with Tyrosine playing a key role. Pheomelanins are produced when an intermediate product in the Eumelanin production pathway interacts with the amino acid Cysteine. This results in the formation of a Pheomelanin molecule, which contains Sulfur from the Cysteine. These molecules are yellow to orange in colour and they influence a lot the different shades of hair colour. The more interaction there is between Dopaquinone and Cysteine the more yellow and orange pigments are produced. People with darker hair have a relatively higher Eumelanin production. People with true red hair produce more Pheomelanin. A study that analyzed the amount of Eumelanin and Pheomelanin in human hair suggested that: black hair contains approximately 99% Eumelanin and 1% Pheomelanin, brown and blond hair contains 95% Eumelanin and 5% Pheomelanin; and red hair contains 67% Eumelanin and 33% Pheomelanin (Borges 2001). Although people with dark hair may still produce the yellow orange Pheomelanin pigment, this is largely masked by the darker Eumelanin pigment and we cannot see much of it. However, the red yellow Pheomelanin is believed to cause the warm, golden, or auburn tones found in some types of brown hair. As we get older, the Tyrosine activity increases. It is active the most during mid-age and thereafter Tyrosine activity decreases and hair slowly turns to grey. This is why we need an artificial dye to rebuild the lost natural colour and today s cosmetic science offers a wide range of possibilities. SULPHUR 4.5 % 4 www.junglefever.com 5
THE BASIC LAWS OF HAIR COLOUR COLOURIMETRY WHAT IS COLOUR? As the subject is very wide and complex, we simply want to give you a few hints to form a general notion for COLOUR and COLOURIMETRY applied to professional artificial hair dyes. COLOURIMETRY LAWS Colour is a sensation perceived by the eye. Light coming from the sun is white. White light is formed by the spectral colours Definition: colourimetry is the determination of the depth of colour What our brain perceives through the eyes is just a minimal part of visible radiation. The light coming from the sun is white and both visible and invisible radiations are classified on a single scale of values. We can picture the sun as a radio-emitter and the eye as a radio-receiver. Any given object hit by the light acts as a mirror reflecting, partially or totally, or absorbing the radiation. These are basic concepts, which will be further analyised afterwards. Any colour in the spectral range has its own wavelength. The shortest wavelength perceivable by human eye is violet light. Its density is 67.000 / 3 cm. Red light has the longest visible waves: 33.000 / 3 cm. Medium length waves (compared with the above ones) form the yellow light. If a body absorbs all radiant energy falling upon it, it is BLACK If a body reflects all radiant energy falling upon it, it is WHITE Primary Colours: Secondary Colours: These six colours form BLACK. Example: red green yellow orange A brown colour of the hair is formed by two parts of yellow, two parts of red and one part of blue. With the help of some coloured inks and an overhead projector we may verify that: + + + = = = green orange violet blue violet yellow blue red yellow blue red The perception of colour is subjective; each person has a personal perception of colours and light. The terminations of the visual nerves in the retina play an important role in vision. These terminations are normally referred to as RODS and CONES. Rods are the elements responsible for the perception of strong light and the cones enable the sensation under poor light conditions. Some further terms for describing vision are Lightness, Hue and Saturation. Lightness is a property characterizing the amount of light that a certain surface is emitting. Hue is another parameter of vision resulting in naming the colours as blue, yellow, green, red, purple etc. Saturation serves for the estimation where a perceived colour can be located between white and the pure colour (Light, Medium, Dark etc.). OSWALD STAR The Oswald Star enables the detection of: PRIMARY AND SECONDARY COLOURS TO DETRMINE WHICH COLOURS WILL NEUTRALISE EACH OTHER Two primary colours mixed together form a secondary colour (Yellow + Blue = Green; Red + Blue = Violet; Yellow + Red = Orange) and the outcome of each mixture is an opposite colour, which neutralizes the remainder third primary colour. orange red yellow black violet green blue 6 www.junglefever.com 7
Silk Naturals NEWTON S DISK COLOURIMETRY CONCEPTS IN COSMETIC DYES The Newton s disk visualizes Jungle Fever colour range standard, confirming the theory above. Colours in the Copper and Auburn series (.4 e x.6), neutralize colours in the Ash Natural series (.01) and vice-versa; Colours in the Golden series (.3), neutralize colours in the Brilliant (iridescent series (.2) and vice-versa; a mix of 50% Ash Natural colour (.01) + 50% Golden colour (.3), neutralizes colours in the Mahogany series (.5) and vice-versa; The concept of colour harmony is based on colourimetry laws but it is anyhow a subjective matter. Technical skills, sensibility and sense of colour help to achieve a broader vision of the situation, giving useful information in order to recommend the best colour for the client s features. BASIC COLOURIMETRY CONCEPTS There are three primary colours (blue yellow red) and three secondary colours (green orange violet). These six colours form BLACK. Natural colours, with the exception of black, are considered as more or less intense shades of brown. In the international numbering system, the number following the dot marks the following reflections: Reds Coffee Intense Reds Copper Copper Gold 7.66 8.4 8.43 7.4 6.4 7.8 6.8 5.8 4.8 6.6 Golden Intense 5.6 7.43 6.43 Golden 5.4 4.4 8.33 7.33 6.33 5.33 9.3 8.3 Warm Naturals 7.3 6.3 5.3 10.003 9.003 4.3 8.003 7.003 6.003 5.003 10.03 9.03 8.03 7.03 6.03 5.03 9 8 7 6 5 4 3 2 1 8.00 7.00 6.00 5.00 4.00 1.10 10 Naturals Intense Naturals 6.11 7.11 8.11 9.11 Mat Naturals.1 ASH (blue).2 IRISE (iridescent violet) /2 MATTE ASH (Green).3 GOLD (yellow).4 COPPER (orange).5 MAHOGANY (red/violet).6 AUBURN (red).7 TOBACCO (violet/gold).8 BEIGE (gold/violet) There are a few more things to say on how colours and reflections influence one another. Colours and reflections may have warm rulers (Yellow, Orange, Red) or cold rulers (Cyan, Green, Violet). There is an opposite cold colour to each warm colour or reflection; when overlapped, opposite colours fuse without having any dominant colour tone. In fact, the result will range between a light and a very dark grey / black. 5.56 5.5 4.5 2.2 8.01 7.01 6.01 5.01 Intense Mahogany Mahogany 6.5 6.2 5.2 4.2 5.22 10.01 9.01 Ash Naturals Violet Intense Violet Jungle Fever s standard colour 8 www.junglefever.com 9
SIMILAR COLORS AND REFLECTIONS INFLUENCE ONE ANOTHER LIGHTENING LEVELS If we mix two cold colours such as Green and Blue, the reflection of the first one will neutralise the second one and vice-versa. The same happens with warm colours. On the other hand, if we mix two opposite colours such as Yellow (warm) and Blue (cold), the eye tends to create a separate and distinct vision: both of them will look brighter and more intense. Good taste and sensibility are necessary to couple the colours in different ways to achieve harmonic results. In cosmetic dyes, mixing colours must be mixed together in order to enhance the clients skin colour and features. In the world of hairdressing we work on the hair s colour, carefully deciding when to modify, soften, soothe or enhance with strong contrasts to complement the clients features. The features to be taken into account when choosing a hair colour are: Eyes: when dyeing the hair in an opposite and complementary shade, a light warm reflection is enough to enhance them. Skin: with ageing it becomes of a lighter colour and a too strong contrast, with intense and dark colours, must be avoided. It is preferable to lighten-up the natural colour of the hair. On ideal backgrounds, the top degree of lightening never exceeds the lightening level of the colour applied. Target Shade Lighrening Degree Ideal Base for Application 1 Black 1 2 3 2 Brown 1 2 3 3 Dark Brown 1/2 Tone 2 3 4 Brown 1-1 1/2 Tones 3 4 5 Light Brown 1 1/2-2 Tones 3 4 5 6 Dark Blond 2 Tones 4 5 6 7 Blond 2-2 1/2 Tones 5 6 7 8 Light Blond 2 1/2-3 Tones 5 6 7 8 9 Very light Blond 3 Tones 6 7 8 9 10 Platinum Blond 3-3 1/2Tones 7 8 9 10 NOTE: These are only guidelines and creative colouring is left to the individual to interpret accordingly. 10 www.junglefever.com 11
CLASSIFICATION OF NATURAL COLOURS TYPES OF HAIR COLOR The pigment (Melanin) contained in the cortex determines the natural colour of the hair, ranging from Black to Platinum Blond. There are two types of Melanin: Eumelanins and Pheomelanins. EUMELANINS: the dark brown and black pigments. PHEOMELANINS: the red and blonde pigments. The different colours of hair in different people are due to a combination of these two basic biochemical structures. By mixing the two types together in different concentrations the many shades of hair colour are made. 1 BLACK 2 DARKEST BROWN 3 DARK BROWN 4 BROWN Hair colours are normally classified in three categories: PERMANENT COLOUR DEMI PERMANENT COLOUR PERMANENT: Obtained by mixing the Hair Colouring Cream with the Oxidizing Emulsion Cream; the aim is to radically modify the natural colour of the hair or its level, achieving a total coverage of grey hair. For further information turn to page 16. DEMI PERMANENT COLOUR: Obtained by mixing an Ammonia-Free Tone on Tone Colouring Cream with the Colour Activator; the aim is to achieve a tone on tone colour with natural reflections and an optimal coverage of grey hair, with no lifting power. Black hair contains approximately 99% Eumelanin and 1% Pheomelanin, brown and blond hair contains 95% Eumelanin and 5% Pheomelanin; and red hair contains 67% Eumelanin and 33% Pheomelanins. 5 LIGHT BROWN 6 DARK BLOND 7 BLOND 8 LIGHT BLOND 9 VERY LIGHT BLOND 10 PLATINUM BLOND 12 www.junglefever.com 13
JUNGLE FEVER HAIR COLOR CREAM JUNGLE FEVER PERMANENT COLOUR RANGE Jungle Fever is a permanent oxidation dye. Permanent colour allows you to: Lighten natural hair between 2 and 4 levels Darken artificially coloured or natural hair Cover any degree of grey hair Create a different reflection. IT IS IMPOSSIBLE TO LIGHTEN-UP AN ARTIFICIAL COLOUR BY USING A LIGHTER SHADE COMPOSITION & INGREDIENTS AND THEIR PURPOSE: BASE: COLOURING AGENTS: Assists with the protection and moisturising of the hair and the means of distribution of the pigments (dyes), direct and intermediate, primary and secondary. The delicate Cream is enriched with Palm Tree Oil. Intermediate dyes are colourless and they become coloured only after a process of oxidation. They are classified into two main groups: PRIMARY, determining the height of level and SECONDARY, responsible for the reflection and duration of COLOURS. 113 unique permanent colours 100% coverage of grey hair Amazing shine due to Palm Tree Oil (anti-oxidant properties) Reflects which have an extremely conditioning shine 100 gram tube 1; 1.5 mixing ratio 1; 2 mixing ratio with super lift colours Development time: 35-45 minutes with tints and 45-50 minutes with the super lift series Contains toners within the range Jolly adds intensity to the colour range. Jolly gives an extra shade and a half of lift to all colours Low ammonia content. Use 7 vol,10 vol, 20 vol, 30 vol, with Hair Colour Creams Use 30 vol and 40 vol with Super Lift colours ALKALI (AMMONIA): OXIDATION AGENTS: It works in two ways. First of all, it helps opening up the hair, inflating it and therefore easing the penetration of the colouring molecules deep into the shaft. Then, it favors the development of oxygen, eliminating the acid environment in which it is stabilized. The Oxidizing Emulsion Cream provokes the oxidation of the intermediate dyes, which then become artificial dyes (colouring molecules). It also lightens-up natural pigments. CATIONIC & TREATMENT AGENTS: The main action of these ingredients is to make the hair flexible, strong, shiny and soft. They also favor the toning of the color. 14 www.junglefever.com 15
JUNGLE FEVER OXIDIZING EMULSION CREAM Jungle Fever Oxidizing Emulsion Cream should be used together with the Jungle Fever Colour range as this will benefit the final result. Also the end results will leave the hair in a highly conditioned state. JUNGLE FEVER OXIDIZING EMULSION CREAM COME IN 5 DIFFERENT STRENGTHS: 7 vol (1.5%) Color Activator which should be used with the tone on tone colour range. 10 vol (3%) which can be used to tone and give 1 level of lift. 20 vol (6%) which cover grey hair and gives 2 levels of lift. 30 vol (9%) which will achieve 3 levels of lift and can also be used with the Super Lift Series. 40 vol (12%) which will achieve 4 levels of lift and is used with the Super Lift Series only. COLOR ACTIVATOR HOW DOES AN OXIDIZING EMULSION CREAM WORK? All oxidation dyes are normally formed by two components: the first one, alkaline, contains the intermediate dyes which provide the new colouring molecules to dye the hair and the second one represented by the Oxidizing Emulsion Cream. A few minutes prior to the application, the two components are mixed together and following a chemical reaction they form the coloring mixture. A FEW HINTS ON WHAT IS HAPPENING DURING A COLORING PROCESS: The tiles forming the cortex open-up due to the alkaline ph of the mixture, easing the way into the intermediate dyes. The Oxidizing Emulsion Cream oxidizes the intermediate dyes, forming the colouring molecules within 30 / 35 minutes from the start of the application. The colouring molecules, thanks to the strong chemical bonds formed with the proteins contained in the shaft, stick to these molecules and become an integral part of the hair. This is why it is possible to cover any degree of grey hair and obtain long lasting colors. The Oxidizing Emulsion Cream also lightens the natural melanin pigment (up to two levels). OXIDIZING EMULSION CREAM 16 www.junglefever.com www.junglefever.com 17
GREY COVERAGE When colouring grey hair the hairdresser needs to take into account the clients hair structure, the quality and condition of the hair. HERE ARE THE GUIDELINES FOR THE COVERAGE OF GREY HAIR. When covering grey hair the hairdresser must assess the quantity of grey hair to be covered based on structure, quality and condition of the hair Where there is less than 50% grey no base is required. Where the grey hair is between 50% 75%, add 50% base (example: 50 ml 6 + 50 ml 6.4+20 vol) Where the grey hair is between 75% and 100%, add 50% base (example: 75 ml 6 + 25 ml 6.4) Percentage of grey Amount of base 0% 50% No base required 50% 75% grey 50% base required (1/2 of mixture) 75% 100% grey 75% base required (1/4 of mixture) A POINT TO NOTE WHEN DETERMINING THE QUANTITY OF GREY IN HAIR The amount of grey hair and the rules governing grey hair coverage are determined by the concentration of grey throughout the head of hair. If a client has a concentration (50% or 75% or 100%) of white hair in certain areas, it may be necessary to mix up a different mixture to cover the grey in that area. The reasoning behind this is that, if the same colour is applied to 100% white hair it will have one effect, whereas, if it is applied to any area with no grey hair it will produce a different result. THE NATURALS Intense Naturals are ideal for grey coverage and will give a cooler/neutral result with maximum coverage (great for resistant grey coverage). Warm Naturals (.003 one part natural 1 part gold) will give a translucent coverage and at the same time give a rich result. Medium Naturals (.03 two parts natural 1 part gold) will give translucent coverage and a natural warmer chocolate result. Extra intense natural (.00 two parts of natural) have a higher concentration of colour pigments and are created for total gray hair coverage on even the most refractory hair. The NATURAL range of colours is designed to give the hairdresser the best choice of colour tones when covering grey hair. Rather than mixing 2 or more colours to achieve a specific tone, Jungle Fever has given the hairdresser the mixture in one tube. www.junglefever.com 19
REPIGMENTATION In general, repigmentation is carried out when you want to colour hair that has been totally exploited or the structure of the hair has been completely damaged. These types of hair normally refuse the colour or, even more often, they absorb the colour irregularly. This entails to the appearance of blotches, stains or halos on the hair. The main causes of this sensitization of the hair, which leads to a loss of pigments, can be divided into: NATURAL causes: for example, the excessive exposure to the Sun or to salinity; ARTIFICIAL causes: for example, as a result of bleaching, high lighting or meches. The repigmentation technique allows to: INTENSIFIES a reflex on fine ends, with an increased quantity of pigments; Make fragile colours more RESISTANT; AVOID the colours LEANING towards the ash shades. It is very important to always use the warm shades (colours with gold, copper and red reflexes, such as #.3, #.4 and #.6) when you want to repigmentate the hair. It is also advisable to choose a warm shade that is 1 tone lighter than the colour which will follow. TRADITIONAL REPIGMENTATION TECHNIQUE Once the shade has been chosen, mix the colour with WATER and using a tint brush, apply the mixture on the lengths and on the ends (which are usually the most exploited parts). During application, it is useful to massage the hair locks (using adequate gloves for protection), to facilitate the penetration of the product into the hair fibres. Leave for approximately 10 minutes, then remove the excess product, rinse the hair thoroughly, dry and proceed with the application of the desired shade using the Jungle Fever Oxidizing Emulsion Cream 20 Vol. APPLICATION ON HAIR WITH RE-GROWTHS (with lengths and ends that have been high lightened by bleaching) Once the shade has been chosen, 1 tone lighter than the colour which will follow, apply the product on the highlightened lengths and ends, starting from the back of the head. Without respecting any time of application, prepare the desired colour and mix it with the Jungle Fever Oxidizing Emulsion Cream 20 Vol. Apply the colour mixture directly on the roots, lengths and ends, then leave for approximately 35 minutes. At the end of the application time, add a little luke warm water and massage the scalp carefully, then rinse thoroughly. MIXING INSTRUCTIONS FOR RE-PIGMENTATION Target Shade Re-pigmentation colour to be used Level 9 10.3 Level 8 9.33 Level 7 8.43 Level 6 7.43 Level 5 6.4 Level 4 5.4 Level 3 5.6 Level 2 5.6 20 www.junglefever.com 21
JUNGLE FEVER JOLLY MIXING INSTRUCTIONS FASHION JOLLY These colours are designed to intensify your finished result; mixing a quantity of Jolly will boost the intensity of your result. The mixture can be from 1 inch of booster to 50% in the fashion tones and 25% in the ash tones. The Fashion Jolly range should not be used on their own. JOLLY The Jungle Fever Jolly is designed to boost the lifting power when mixed into any of the colours within the Jungle Fever range (including the fashion shades). If the jolly is mixed in equal parts a result of 1/2 level lighter, will be achieved, eg if you do not wish to be a level 7 or a 6 add 50% Jolly to a level 6 and you will achieve a 6 1/2 level result between a level 6 and a 7. It can also be mixed on its own 1:1.5 with Oxidizing Emulsion Cream to achieve natural looking highlights, when highlighting. This results in lifting without neutralising the underlying pigment. We recommend using on a base 7 or lighter. SUPER LIFT SERIES The super lift Series contains Level 5 Super Lift and Level 11 and 12 Super Lift. This series can be used with 30 vol (9%) Oxidizing Emulsion Cream or 40 vol (12%) Oxidizing Emulsion Cream. This series will achieve a maximum lift from a level 6. *The mixing ratio for the Super Lift Series is 1:2 (100 ml 200 ml) THE IMPORTANCE OF A CORRECT MIXTURE Quantities of colour and peroxide: 150 ml Oxidizing Emulsion Cream to 100 ml Jungle Fever Hair Color Cream (1:1.5) Super lift series - 100 ml of super lift to 200 ml Oxidizing Emulsion Cream (1:2) For a complete application on a medium length hair, we recommend using approximately 50 ml of Hair Color Cream and 75 ml of Oxidizing Emulsion Cream OR Super lift series - 50 ml of Hair Color Cream and and 100 ml of Oxidizing Emulsion Cream What Happens When Different Dilutions Are Used Correct Dilution Over-dilution Under-dilution Perfect results in terms of Coverage Desired Level Natural Result Natural Reflection Shine Different Results Less Coverage Lighter Level Colour Fading Less Intense Reflections Different Results Darker Level Poor Natural Result Deeper Reflects Lack Of Shine 22 www.junglefever.com 23
APPLICATION OF JUNGLE FEVER HAIR COLOR 1. Apply on dry hair. 2. Divide the head in four sections, following an imaginary line running from the forehead to the nape and another one from ear to ear. 3. Start the application from the area with the most of grey hair. If the distribution of grey hair is even, start from the crown area. 4. Distribute the colouring mixture with a tint brush, on 1 cm thick sections. It is important to take fine sections of hair when applying colour using the Super Lift series in order to achieve maximum deposition and distribution of colour. The development time for Jungle Fever is 35-45 minutes and 45-55 minutes for the Super Lift Series. 5. In case of an application on virgin hair, the product is first applied on lengths and ends of the hair for 15 minutes. Then mix a fresh mixture of hair colour. The fresh mixture is then applied on the roots and brought through to the ends of the hair for a total development time of 35 minutes. 6. In case of a retouching, the colouring mixture is applied only on the roots (re-growth) and at the end of the development time of 35 minutes it is emulsified on the lengths and tips for an extra 5 minutes. 7. For the first application using the Super Lift Series apply to the middle lengths and ends for 20 minutes. Then mix a fresh mixture of hair colour. The fresh mixture is then applied on the roots and brought through to the ends of the hair for a total development time of 40-50 minutes. 24
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