three five four three two welcome back welcome back welcome back i love when she sings that all right welcome back everybody how are you doing was it good to have a little bit of a break yeah i love our brains our brains are awesome but you know they need just a breather every now and then so um all right i'm excited because now we get into a little bit more of the meat of this class and the color theory part like that's the part that we love right like that's what we're here for the other stuff's essential um but this stuff's where the fun begins okay now in this section um we're going to teach you how to name your colors and map them on the 2d wheel okay all right so let's do this let's go over to um speaker view so you guys just see me on the demo board okay now when it comes to naming our colors We got to talk about what that means. All right. So if I hold this little puff up to you and I say, hey, will you name the color? What would you tell me? What color is it?
Light yellow. Oh, light yellow. You guys are good.
You said light yellow. Perfect. Wait, say that again.
Oh, somebody said 10G. OK. So naming the color is communicating or describing.
the color that you see. Now there's two ways to describe color. You can describe color partially or fully. So we're okay we're going to teach you what it means to describe a color fully and then I'm going to ask you if you just name this fully or partially. Are you ready?
All right so the first thing that we have to know is that all color has three properties to it. If you name all three properties you're going to name or all three characteristics, you will fully name your color. Now the first property or characteristic of the color is around the wheel, and it's the actual hue. When we say hue it's like well it's a yellow or blue, we kind of use color as though we're saying hue so you go around your color wheel. or your color space.
And we said that the color of the puff was yellow. So we named one of the three characteristics. Yeah, good job. Then the second characteristic of any color that you see is how light or how dark is that color, right?
And some of you guys did a beautiful job. You said a light yellow, right? So is everybody visualizing a little bit better because you're like light yellow, that tells me a little bit more.
So you did two of the three characteristics. Awesome. But now there's a third one. And the third one is an in to out.
Let me hold it a little closer. An in to out. And the in to out is the saturation or the chroma of the color. So colors that live on the outside are vibrant. or strong.
You can describe them either way. Colors that are close to the center, so that yellow, is muted or weak. Now the colors that are kind of in the middle, we call them blended.
It's kind of a medium strength in the color. Okay, is everybody following? So the in and out is how strong or how weak the color is. The up and down is how light or how dark.
and then around is what color it is. So if I look at this, if I look at this guy right here, did we name this color partially or fully? Partially. Partially. We missed something.
What did we miss? Chroma. Yeah, so if I were to name this fully, let's try that.
So we already said the hue is yellow. So we got that. And we said it was light.
You can say it's light or you can give it a level. So if we were going to give it a level because we're colorists, what would you say? Nine.
Nine. Nine. Nine.
Nine yellow. Yeah. So it's a nine yellow. But how would we describe the chroma? Well, as colorists, we could say it's a vibrant nine yellow.
If I say that, does that make sense of why you could visualize it here? If I say it's a weak or muted level nine yellow, then you're thinking here, it's kind of a moderate level nine yellow. Do you see the difference in how we describe that?
Perfect. Yes. So typically in the hair world.
How do we normally name our colors? Do we name it fully or partially? Partially.
Partially. We're so close though. We're so close.
The only thing we're missing is the in and out, right? So how would I actually map this color on a 2D wheel? Because most of us aren't working with this 3D color globe at work.
Now, if you are, that's awesome. But most of us need something easy and compact. and something that we can visualize.
So you can do it on the 2D wheel. Let me show you how, all right? So if I'm gonna map it on the wheel so I know what color I actually have, here's what I would do. I would go to the yellow hue because we said it was yellow, right? And I know it's nine.
So I have that in my brain. And then I would say, well, is it muted, blended or vibrant? Well, we said it was vibrant, right?
So what I would do is I would say. here you go. That's my vibrant level nine yellow. Does everybody see how we captured all three on a flat 2D wheel?
So the only thing you really have to do is you have to visualize the up and down, the level. But we can do that with a nine. We capture what a nine might look like, right? So here's how you know if you're fully, you're fully identifying your color, is you are in your hue, You have your level and you also have your in and out.
That simple. Is that fully mapped now? So the in and out, the chroma, I mean, could that, like when we tone something, say we lighten somebody to a level nine, but we want to tone it and make it more like ashy or neutral.
Would that be another way that we describe the chroma or the vibrancy of it? Yeah. So if you had hair that was highlighted, it's pretty darn vibrant.
We don't have any brown really left over. Right. So I would put it on, on the outside of the wheel, level nine yellow, that would be an accurate way to do it.
So let me show you, that's a great segue because we need to do this in hair. We have to name the color in the hair and the tube that we're working with to be accurate in our formulation. So how do we do that in like hair? All right. So let me give you an example.
So let's say we have this head of hair. So we want to name it fully. What's the first thing we're going to say? What color do we see?
What color would you say? Ginger. Ginger. A six.
So we're just naming the hue now. So the color. Someone says ginger. Would you guys feel comfortable if we called it a copper gold?
Yes. Okay. So that's the hue.
Now what level would you guess it is? Listen, don't... stress out it's you don't have a level finder i get it you're seeing it through a screen so don't stress out but what do you think just take a guess what level is this six six or seven eight seven i don't know so let's split the difference and say this is a level seven copper gold is that okay with you guys all right because we're not worried about all that yet so so far we've named two things yes now we need to name the third thing the end it out what would you say is it vibrant muted or in between where it's a blend of brown and copper gold?
What do you think? In between. This was actually towards the vibrant side.
I would say because you see more gold. You see a lot of tone. So tone is strong here.
So if the tone is strong, then I would say it's strong. So I call this, it's pretty vibrant. It's not fashion vibrant, but it's pretty vibrant. So I would do this. Here's how I'm going to map that.
Let me go to copper gold. All right. So let's kind of divide the difference here and let me go to the outside of the wheel.
Does everybody feel comfortable with why I'm doing that? All right. And then I'm going to put my dot and then I'm going to say it was a level seven.
Okay. So this hair right here is now fully mapped on the wheel because I have the hue. I have the up and down and I have the in and out.
Is everybody with me? Okay. Can you go back over that again? The in and out, the up and down, semi-habit. All right, so here's what we're going to do.
So pretend this is copper gold, Deanna. Okay, so copper gold is the actual color. Okay, right.
The level seven is the up and down. Okay, that's it. Level seven. Yep, is the up and down. Up and down.
Okay, the fact that I put it towards the outside of the color wheel is telling me I'm vibrant. So there's my in and out my chroma. So now I'm fully, am I fully identified? Do you think I'm going to have a good, clear picture of what I'm working with? So the copper goal would have been, the first one was the what?
What was the concern? Copper gold is the hue. Is the hue.
Okay, gotcha. Yep. And Deanna, let's go around the color. What color is it?
Got you. And then the outside is for the vibrancy is the in and out. Yes, you got it, ma'am. Nailed it.
Now, you guys told me that typically in the hair world, we name the hue and the level. Yes. And we forget the vibrancy. I'm going to show you the difference. between a level seven copper gold that is vibrant and a level seven copper gold that lives in the muted arena.
Are you ready? So it's the same copper gold, same level, different into out. Are we calling it level or value?
Both level and value were the meaning the same thing. So look at this. This is in the copper gold family.
It is the same level seven, but guess where it lives? Right here. Do you know what else we said lived close?
Natural hair color. The natural hair color. Does that make sense? So if I name the level and the hue, but I forget saturation and I'm trying to make neutral, would I use the same formula? No, I would use a totally different formula.
Is saturation important? Yes. It's huge.
If we want to get predictable color results. Now, can you get good results without taking the saturation into consideration? Yep. You do it every day, but maybe you won't be as close at hitting the nail on the target. Now, how many of you sometimes go, oh, that didn't hit the nail on the target.
I'm a little frustrated. A lot of the times the saturation has a huge deal to do with it. Okay. So is everybody with us on why it's important to name all three? Yes.
You feel good about how to label it on a 2D wheel. All right. We'll get there, Deanna.
Don't you worry. We're going to keep doing it so that you go, oh, it's like second nature to me now. Good. All right. So now we know we have to do it in two places.
The hair we're working on, we have to fully name that. And the formula that I have, because when I mix them together, guess what? It's going to give me a color result. And if I don't name these fully, could I be off on my color result?
Yeah. A hundred percent. Now hair is a little easier because I can literally look at hair and I can like name what I see.
But if I have a tube of color. Like, like we normally use behind the chair and I open it up, I'm going to have a problem. Cause guess what? There's no color.
I can't see it. So maybe once somebody is like, yeah, I get it, but there's a swatch book. How many of you have ever had a swatch book, not turn out what you thought it was?
Yes. Let me show you an example. I actually just posted this one today. All right. Swatch books are awesome.
So I'm not saying throw them out the window. They're actually really good for certain things. But sometimes the color in the tube is not the same as what the swatch is showing you. This is the G from my color tube, but this is what it's telling me is in my tube.
Are these This one is actually more natural and muted, and this one's more vibrant. Are you with me? Yes. So if I didn't know that, could I be in trouble?
Yes. So here's what I'm going to show you. I'm going to show you a little video on oxidative dyes.
We're going to have a quick chat so you understand what they are and how the color comes. And then Alicia is going to walk us through a fun activity. All right. You ready for oxidative dyes? Here we go.
All right, so here's what I'm going to tell you. In your tube of color, you have something called oxidative dyes. Oxidative dyes are color parts.
There's no color in your tube. You have color parts. There's two parts to our colors.
They're intermediates and couplers. When the intermediate couplers bond together, via the developer, you now have color. So two dye parts in an oxidative dye, they're colorless until they connect together.
Is everybody with me? And the developer does it. Now, tube, no color until you develop it.
Now in a tube of color, you can have two to five intermediates and two to five couplers, whatever the chemist decided they needed to make a specific color. The great thing is as a colorist, you don't have to know which intermediates and which couplers are there. The only thing you have to know is once I develop it, what color is it? And once you identify it, then you can map it.
Does that make sense? So no color in your tube until it comes together and connects. So Alicia is going to walk us through, how do we actually dye these out so we can start identifying what color is really in the tube?
Does that sound good? All right. I'm going to go bye-bye for a second, Alicia. Okay, Fran.
We are going to dye out the color in our tube. So I need you guys to get your bowls, brushes, your oxidative color. We asked for a 6A and a 6N. If you don't have it, it's okay, just as long as you have some type of oxidative color.
your developer muslin strips or anything white it can be a paper towel a t-shirt sock and your favorite one alicia and i wasn't going to say it today but i will you guys and i in the past if you have an old white bra that you don't even want to use and grab that one as well and once you have all of those items please put a y in the chat box miss b you are on it girlfriend i mean it's like ready to go What is it, Steady? Are you ready? Yeah.
Rock Steady, baby. All right, we got a couple of wives coming. We have some wives.
Okay, so you guys, we're going to make sure that we follow manufacturer's directions, okay? So in two separate bowls, you're going to put your 6A in one bowl. your 6N and another bowl, and then you're going to add your developer according to your manufacturer's direction.
We did ask for a demi-permanent, but if you have a permanent, just know that this activity is going to take a little longer to process. Got a question. Yes, ma'am. I don't have, I have a 6A and a 8N.
I mean, 6A and a 8N. That's fine, Miss Deanna. Okay, cool. Because the goal for this is for us to visually see what's in our tube.
Gotcha. Alicia, do you need what I've got or are you good? I believe we're good.
I'm going to finish explaining, making sure that we have all the instructions, and then I will ask you to put it up then. Okay, perfect. Okay.
So now you guys, once you have your, your, you have one oxidative color in a bowl with the developer, you have another oxidative color in another bowl with the developer, you're going to mix it and apply. You're going to apply it to either your Muslim strip, t-shirt, paper towel, sock, and our favorite old bra if you have it. As long as it's white.
Do anybody need to see a visual? Yes. Okay we have a video Julie's going to play it. All right here we go. All right so on the right is what your swatch up will look like on the muslin and the video is going to show me actually doing one.
promises coming coming don't stay inside your mind just don't you push the shine the one that is the sky running running trying to get the right gaze you don't have to feel okay it's okay you don't have to try try try changing Ms. Deanna, were you able to see it? Because I can't see her. Okay. I have a question. Are we just mixing just a small amount or just what manufacturer says?
Manufacturer's direction. Gotcha. You don't need a ton though, Deanna.
No. Most definitely, if you're able to do it. The reason I believe we always start off with manufacturing direction so that you can understand how to start doing this process. Gotcha. I got you.
All right, Alicia, I'm ready for music. Do you need some? Yeah.
You ready? I'm ready. I got it ready.
Here we go. We want to give you guys about. five minutes.
This is one of my old favorite parts of activity. Yes, Monica, if you need to rinse your bowls, go for it. You won't need them later. Yeah.
and for me i just want to drop a beat and yeah let's try something fun like downloading solitary grand harvest it's an app that's a modern thank you spotify game with an adorable farm theme and that's terrible because i actually have spotify premium it should not have any you right thank you spotify where's my premium yes this is so good listening to music ad free on any device upgrade ad free is what i'm supposed to have that is amazing at this moment i have a hard time it's really weird computer they won't let me sign up computer yeah oh that's really really weird but okay all right okay okay so Should I stop this, Liz? Are you ready? I think we're ready.
I see. While some of them are working, I think we want to... Do anybody else need any extra time or are you good? Okay, I'm mixing mine. Okay.
Ms. B is good. Okay, Cece is good. you want more music alicia no i think we're gonna like one minute we're good i'm just making sure that everybody is caught up I don't want to leave anybody behind before we do our... No stylists left behind. No stylists left behind.
So I have a question for who may be finished. Why do you think we chose to put it on white? Your swatch out.
Would anybody like to share? The truest tone. Absolutely right, Ms. B. Absolutely right. And if we did it on hair, the hair would contribute to how that tone would look, right?
So when we're doing both, that gives us our result. So when it comes down to doing the swatch out, now I stated earlier, We do say do a demi-permanent. You know, with a demi-permanent, according to manufacturer's directions, some demi-permanents may say a five volume or a 10. Just know that if you do it with a permanent color, it most definitely is going to take longer. But also note that when swatching out from doing it on muslin, your paper towel, however, it's going to take longer than swatching on hair.
Have anybody ever swatched on hair before, whether it's virgin hair or you have any hair swatches? Okay. So y'all are pretty much familiar with this concept. Yes, I am. That's awesome.
That's awesome. All right. Do anybody else need any extra time? Okay.
All right. So you guys, now that everybody is good and clear on what swatching is about, we're getting ready to dive into how to identify the color in hair. Okay. And tube. Everybody, let's go back over to our speaker view.
If you're in gallery. All right, all right, all right. Okay, so we're going to focus a lot on the nuances of oxidative hair color.
You know that oxidative hair color is not like paint, so we have to learn a little about oxidative color and, well, how do we see them, right? So most definitely one way to understand how to do that is that we use a tool called the color wheel and using the color wheel the color wheel helps us to see or understand our hue would anybody agree who like using their color wheel do anybody use their color wheel okay so we know that the purpose of it is we're going to be able to name the hues We're going to understand the relation between the colors. And we also are going to understand what happened when we made these colors.
So to use the color wheel, we're going to be able to break down quickly. When using a color wheel today, we're going to break down the hue families and how they relate. Okay? So this is just a briefing of basic color theory.
Okay? All right? So if anybody has done this, most definitely, we go.
we dive into this even more in our pre-read okay awesome sauce all right so inside of naming our um hue which we also call our hue wheel we're going to start off with we already know our primary color which is our yellow red and blue and our secondary color which is our Orange. Okay. Green.
Valid. Awesome. You're absolutely right. Now, our tertiary colors.
When we have our tertiary colors, we have our yellow and our orange give us what? Red orange. Or there's another word for that.
Red orange. Gold. Gold.
Oh, okay. Yes, ma'am. Our red and orange give us red orange.
I heard. Who said it? Come on.
Okay. Our red and violet, red violet gives us. R, and there's another word besides red violet that we have here. It's actually about three different words.
magenta uh-huh anybody know the other two i'm gonna give one one is mahogany yeah and there's another one is that pearl or is that the other way i apologize it's breaking up on my side say that one more time chocolate not chocolate but guess what lives here you pink. So in our R family, which is our red violet family, we're going to have mahogany, magenta, and pink. So now when we have violet plus blue, that gives us blue violet, but there is a special word that lives here also.
Do anybody know? And we use it actually probably quite more often today than we ever have. Someone said it earlier. Pearl?
It was a pearl. Pearl. Pearl is right here in our blue violet family. So when we have also our blue plus green, we know that this gives us blue green, our B. And then with our green plus yellow, that gives us yellow green.
Now, within this wheel, it has two sides. It has a warm side and a cool side. So.
I have a question. What's in the center? Gray. Neutral. Neutral.
Yeah, I know you said it. You did say it. You said it.
Neutral. So let's define neutral. Someone said it earlier. They said gray.
And it is, without tone, flat, muddy. Okay. So how do we create neutral?
Equal colors. Oh, complimentary colors. Yeah.
Okay. Complimentary colors. But how about there's another way. Would you like to know?
Yes. You ready? Someone said it, but it was like so quick.
Someone, but somebody said it. It was equal parts of the primary colors. There it is.
There it is. Equal parts of the primary color will also give us neutral. So neutral would be B, R, and Y.
So you guys, we're going to do a quick activity. Is that okay? All right. So can I show them why compliments work? Is that okay?
Just to do that here. Okay. Because somebody said compliments.
I want to make sure you know why they work. So what Alicia just told you, does everybody see that? Neutral equals B-R-Y.
And then somebody said we make neutral with compliments. So you're right too. And this is why.
So violet is what two colors mixed together? Blue and red. B and R.
And yellow is just yellow, right? What do you see there? Rye.
B, R, Y. What does B, R, Y make? Neutral. Yep. So what about the complements of blue and orange? Blue is blue.
Orange is what? Yellow and red. Y and R. Yep, Y and R.
So does everybody see the B, R, and Y? What did you just make when you mixed your complements equally? Neutral.
Neutral. Let's do the green. Green is what? Blue and?
Yellow. Red is just red. Does everybody see what's happening here? Compliments work when they're equal because they make the same formula that. color formula that Alicia just told you made neutral.
This is why compliments work. All right. So I have a question.
So when I talk about in unequal portions, it makes black. So is that still true? Yes. Black is a deeper level of gray. Gray is lighter version, like just basically black, all the way to gray, all the way to white, all of those.
are in the center of the wheel all of them are neutral so how will we do how will we make the white thing well you you can't make it that's what i was thinking i was like no wait a minute you're like wait a minute you cannot make this okay now that's what i thought i was like but this is a little visual of the black on the bottom deeper level all the way to grays in the center to white at the top yeah i'm sorry There we go. There you go. Uh-huh.
Right. Yep. So you got it, Deanna. There you go. Black to lighter gray.
Just depends on the level you start with. Right. Okay.
So now, with you saying that, do you guys want to see if y'all can hit neutral? Okay. Let's try it. Okay.
Let's do it. Take your red and your green. Well, I was about to say, coming to the stage.
Coming to the stage is your red and green paint. And let's see if we can equally put your red and green on your paper and see if you can hit neutral. Now, you guys don't overthink it. Don't stress about it.
Just do it as simple as possible because we're going to see if we can hit neutral. Now, you want to get the red and green color or make the red and green? No.
Well, if you have a red and green paint, yes, ma'am. Preferably. Okay.
And because this is your complement color, your complementary color. Gotcha. And we want to be able to see if you can take those two complementary color and make neutral or hit neutral.
Oh, here, Alicia, how about this? Oh. Yeah, man.
Yeah, man. Yeah, let's keep it in neutral. We're getting green. We can do anything we want to do. Listen.
But you know, I'm like, okay, hey, you Jamaicans, red and green. That's right. And yellow.
I was like, thank you. Yes. All the changes came off.
Okay. No problem. Yeah, I was having a few words with her Betty Green. I know it. I need a pina colada.
I know, I need this. beach and a little breeze and a little beach is green more pigment than red good question Yes, it does, because it's blue and yellow, right? So if I wanted it to look more brown, I need to add more red. I like how she's thinking. It's too dark.
Come on, Miss Monica. So interesting that you say you're trying to hit brown. I put too much green. Neutral. I'm like, are you trying to hit brown or are you trying to hit neutral?
all right alicia where are we at friend you tell me it looks like we have i think we're ready yeah all right i'll pause this for a sec so i have a question Are y'all ready? I think so. Are y'all able to hit neutral? Nope. Not by using equal parts.
Just brown. mine is a little bit more on a red side with equal parts mine too mine was darker we needed to add red to create neutral so what we do know is that trying to hit neutral with complementary colors is it it's not easy it's hard Do you think, do you think hitting neutral is easy or is it hard? But they're like, wait a minute, is this a trick question? I promise you guys, this is not a trick question.
Never a trick question. Never, never. Very, I promise you. But the good news is, guess what we were able to hit? Hopefully natural brown.
And natural brown sits. on the outside of the center of the wheel. There you go.
There you go. And because it sits on the outside of the center of the wheel, it has extra warmth. So remember, neutral is B-R-Y.
And do y'all remember what natural brown is? That formula for natural brown? YYY. B-R-R-Y-Y-Y. Exactly.
So look at this. So brown is B-R-Y plus Y-R-Y-Y. It's neutral with that extra one.
Do you see it? Is that not the neatest thing? So does neutral even exist really?
That is a great question. Now we're in psychology class and we're really hitting this home. Yeah, right.
And that's where the question is, is that when we're always behind the chair and we're like, oh, I got to hit neutral. I got to hit neutral. Are we really trying to hit neutral? Are we trying to hit natural brown?
Because we remember that neutral is, what did we say neutral was earlier? Without tone, without temperature, it's flat and it's muddy. And how many of us are going to put that on a client's hair or our hair?
Not too many. Not too many. Right. But guess what?
Outside of that. what we just talked about there is also one more category that we have on the hue wheel. And this is one of my favorite categories. This category is they are neighbors and you can use the one above to soften and the one below to enhance. It's called your anagilous colors.
Wait, can you repeat what you just said? Sorry. You're fine.
I just typed it out for you, Alicia. Thank you, friend. So they're neighboring colors.
And within those neighboring colors, like say for instance, do you see where jewels go to your copper? Yeah. Or your orange.
I'm sorry, your orange. RY. Thank you, friend.
Yes. The color above will soften it and the color below will enhance it. You want me to show it, Alicia? Yes, we do have a visual. All right.
So if your color is an orange and it's not coppery enough, if you add a little bit of the color below, you can tone with it. You'll actually get something that's just a bit more intense. Just depends on how much you add. Oh, but. If that orange is too orange, you can add the color above to soften it.
And that's called an analog. Analogous. Analogous.
Analogous. Another word, if you don't like that word, is harmonic. They work in harmony with one another.
So color above will soften. It'll do what? Say it again.
Soften. Sulfur. Okay. And then the color below will enhance or intensify.
And this is my favorite category to use. I've used it numerous times. I have a client at this time, she's about 70% gray and she stated that she wanted copper.
And so I gave her the copper. That she stated she wanted, but when it was applied, and we know because with gray hair, whatever you put on it, it's going to give it to you. And when I put it on it, she was like, um, wait a minute.
This is a little too bright. She was like, I wanted copper, but I didn't want it that intense. So what I did was that I just took some gold and applied it to it and it softened it and she fell in love with it. So I didn't have to go and get my complementary color to try to neutralize it or desaturate that color. Once I turned around and I took my gold, she was like, I love it.
Stay right there. Whatever you just did, I want to keep that. And that's the color and the formula that we still use today.
So I know inside of my formulation to add some copper, I mean, some gold inside of her formula to soften that. Because I use Provana. Provana is very opaque. And there's not a middle.
So I just know how to now adjust it to give her what she'd like. So the analogous colors, I love them. My favorite, favorite category of colors.
We'll call them Alicia colors. They're Alicia colors. All right.
All right. How's everybody doing with all that? Is that a huge difference between a natural brown and a neutral?
Right? So everybody knows when we're shooting for natural color, we're not trying to shoot for center. Now, there are times where you need to hit the center.
You with me? Yeah. For sure.
And it's not easy because a lot of times we'll undertone or overtone. It's hard to hit that center if you're with me. So hopefully you saw that when you're trying to mix your complementary colors.
It's not easy. Right. But the good news is take the pressure off. Most people aren't hitting that. It's just not.
It's flat. So let's talk about it. We just went through the hue wheel and we talked about the importance of naming the hue. I want to show you why it's important to name the hue, specifically why we swatch out and do it with your color tubes.
OK, Alicia, are we good on this section? OK. All right.
Good. So why why do we want to swatch it out and identify the hue if it's labeled on the box? Now, here's an example of why both of these swatches are six labeled six neutral.
Do they look like the same color friends? No, no, this one is neutral. This is a natural brown. Can everybody see that looks like natural brown that would live where we know natural brown lives. This one, we call it the hairdresser's neutral.
When you see color, a neutral that's flat, it almost has a greeny cast to it. Do you know what I'm talking about? That is the hairdresser's version of neutral.
So that's the one we put in the center. It's flat, not really tone. Because we're not working with paint, we're working with oxidative color. This is a hairdresser's neutral. So I want you guys to visualize that.
So if they're both labeled 6N on the box, please don't assume they're all either natural brown or neutral. What's the one thing that's going to tell you? Color will.
You're swatching. You're swatching. It's the only way you're going to know for sure, because your swatch book is not going to tell you this.
Your swatch out will. OK, so let me show you. Here's another example.
This is eight different color lines and they're all a six N. So if you look at these, this is on hair. So here's my swatches and here it is on hair. This is a pale yellow. It's just so you know what what's happening here.
And I want you to look at these one, two and three. And let me know if. Number one is a neutral, hairdresser's neutral, or is it natural?
What do you think? Neutral. Neutral.
Yeah, if you see a greeny flat cast, that's a hairdresser's neutral. So, SoColor Matrix version is a flat neutral center of the wheel. But let's look at number two. Neutral or natural?
Natural. It's natural. It's got a little bit of warmth to it. That's Goldwell.
So Goldwell's is going to be a little bit warmer. Okay, number three is Joico. Number one, you see a dark Joico is? okay now tell me um is it neutral or natural natural it's actually neutral it's just darker and flat no warmth there no it's not okay does this make sense it does yep all right so neutral is more warm neutral is more flat i mean natural is more warm correct you flat neutral is flat so we'll say neutral is n natural is nb how about that like natural brown but your box may still label it n so your job is to decipher is my neutrals do i have a hairdresser's neutral or do i have natural where there's warmth there okay is everybody with me on that so the natural okay yeah the natural looks more like a natural brown color but it may not be labeled natural brown is what we're telling you.
The only thing that's going to help you know is you're swatching. You're dying out. Now let's look at these two. They're both labeled a neutral violet. Does this, is this neutral or natural?
Neutral. You see that greeny flat tone? That's neutral. What about this one? Natural.
Yep. So this is a brown with violet base, and this one is neutral with violet base, but they're both labeled neutral violet. Is everybody seeing why swatching out is so important?
Let's do another one. These are eight Gs, a demi-permanent from two different color lines. So the family, they're saying they labeled the color G and then labeled the level eight. But if you look at these two Gs, are they the same?
color are they same cue no no so this is number one look where i labeled it on the wheel and watch where i label number two you see that more tone so it's further out and it's a whole different color almost on the orange side right but they're both labeled with the same name everybody with me on how important this is swatching is huge all right let's talk about because we're talking about naming the hue in the hair and naming it in your tube. There's a major challenge in naming the hue. Does anyone, can anyone think what that might, that challenge might be?
What do you think would be hard in naming the hue? How your eye sees it. How your eye sees it.
Yes. The biggest challenge I'm going to tell you right now, colors that are more natural are weak. are the hardest to identify the hue. Does this make sense? So if I look at her, because she's not vibrant, if we look at vibrant color, easy, we can tell you what hue family it lives in.
But when there's a lot of brown there, or a lot of gray there, it's very difficult to name the hue because they're weak. Does that make sense? Yeah. Yeah.
Yes. So we're going to give you a tip. You ready?
It's called the process of elimination. If I'm trying to decipher what tone, what toner someone used on this head of hair, because she loved it. It's in a picture.
She wants it. I've got to figure out what hue it's in. Right.
So here's what I'm going to do. I'm going to immediately cut off one side of the wheel. Can I cut off the warm or cool side? Yeah.
Cut off the cool. Cut off cool. Eliminate it.
Get it out of the way. So then I'm going to look at my warm side of the wheel. And I know I'm starting on the... the violets and the, uh, the red violets and the yellow. Can I cut any of those off?
Yellow violet. Eliminate yellow. Can I eliminate a red violet? Yeah. Yep.
So now all I'm left with is red, copper and orange. Can I eliminate the red? Yeah. Yes, you can. So now you're going to be either copper or copper gold.
You see how we're narrowing down the choices. Yeah. And now I can immediately come in and I can literally go to my swatch book and look at those two and say, which one's more copper, which one's more copper gold. Like I narrow it down.
What is it not? And I can get closer and closer to hitting what it really is. Okay. Is that helpful?
Nice. All right. How are you guys doing? You ready for a quick break? All right, why don't we do this?
It's 3.30. Alicia, I know that I can do this, like, the next section pretty fast. So are you guys okay if we do, like, a three-minute break this time?
All right. So Alicia, let's do three minutes and then we're going to come back and then we're going to finish. We're going to talk about how to identify level and how to identify saturation.
And then we're going to color mix. Good. All right. So let's pick a word for our three minute break.
What's a good word? Oh, moving, moving, moving you. How about we do that? Moving you.
Is that good? All right, here we go. On the count of three. One, two, three. Move you.
See you in three minutes.