Hot Weather Colour for Dark Winter

April 2, 2014 by · 9 Comments 

The lighter and brighter colours for Dark Winter are presented today.

Why call the Season Dark? It’s a source of confusion because it so easily gives rise to misinterpretation, almost forcing the idea of a certain appearance.

I’m certainly guilty of using formulas in writing to try to come up with word pictures. Most industries have those “It looks like…”  and “Most…” analogies to help students understand and to share experience.

“Dramatic body types look like a statue.” (my invention)

“Most dogs with slipped discs that can still wag their tail will walk again.”

Yes, of course, some don’t. What’s a teacher to do? People want the learning from real life stories, pictures, and questions, but not theirs, even though theirs are far better than anything I can come up with. We find ourselves speaking in terms of bell curves. There will always be those who fall outside them.

What Really Matters: Do not let stereotypes, formulas, or “You look like a…” anywhere near the analysis process itself.

For the Dark Season colouring, the idea exists that the person has to look dark. Not so. I don’t. I could never get those belief systems to work when I tried to apply them to real people.

That they have to wear all dark colours. No. They could and look better than other types of colouring but who’s going to do that every day and be the best version of themselves? After a week of it, people will start ignoring your clothes for always being the same.

 

Light colours for DA, DW, and TW
Light colours for DA, DW, and TW by christinems featuring a semi sheer blouse

 

So why call them Dark?

It has to be called something. Dark, Bright, Light, etc, are historical terms in the PCA industry, dating back to I know not when or whom.

Should we change the word? No, I propose that we change the definition instead. Take the word Season. One could say that it’s outdated and not self-explanatory. Maybe, but it is recognizable in the natural world, short, spell-able, search-able, familiar, understandable (which does the public understand more correctly about a colour, ‘value’ or ‘darkness’?) and lots of other good things. We just need to take its meaning as ‘group of  natural colouring’. There won’t be one single perfect in every way terminology. Much more needs doing than re-inventing a wheel.

For Dark, Bright, etc., I make an argument in this way: I am of the belief that we cannot know which of the 3 dimensions of colour (light/dark, warm/cool, soft/bright) will matter the most on a person’s colouring merely by looking at them. There is no medium-medium-medium person. There will be 2 dimensions that are medium, or close, and 1 that will be more High/Low. Because we cannot judge the heat level or saturation of other people, we over-emphasize the importance of their darkness. Or else, we merge darkness level with saturation, since, when we imagine a saturated colour, we also tend to darken it. All persons must be draped, but even with excellent drapes, it can be difficult.

All of our faces are in perfect colour equilibrium by Nature. We see this perfectly tuned balance in every person and since nothing looks out of place, we assume that everything is medium. This is why folks are mystified when they’ve been analyzed as a Soft Summer and a Bright Winter. How could that be? Aren’t they opposites? Just because they lie opposite one another on a colour clock graphic doesn’t mean that they’re opposite. Those clocks are like a map.  Are Vancouver and Montreal opposite? Yes and no. Depends what the question is asking. Both cities are the same for being Canadian. Soft Summer and Bright Winter faces are the same for being as perfectly balanced as every face is.

Even speaking theoretically, they’re not opposite. In fact, they have some dimensions in opposition and some very similar when the colours are measured. Both are cool neutrals and both are medium-dark. That’s a big amount of similarity. Where they differ is saturation, the hardest one to judge. But you must know how to measure, and how to measure the 3 dimensions independently because that’s how they are set in our colouring. The 3 don’t go up or down together.

On a Dark Season, the High/Low is value of colour. On the Low value side, when a colour is darker, whether its warmth and brightness drift a little up and down doesn’t matter too much. The harmonic correlation remains quite agreeable as long as colour is dark. Value is the thing about them that is not medium.  In True Summer drapes, a Dark Winter can be truly weak until the colour becomes darker. Then the skin gets along. It finds a little muting that it likes, a trace of warmth (compared to True Winter) that feels right, and its beloved darkness. We see this again as we progress through the darkness levels of the Red Drapes. They never get too dark.

The opposite is true too. On the High value side, when a colour is light, it’s either right or the person is a washout.  It can be hard to read the lightest level of Red Drapes because the skin says, “Meh, meh, and meh.” since none of the colours belongs to Dark Winter in that set of drapes.  An analyst who knows how to read the Red Drapes, which are very different in their interpretation than the other drapes, gets along just fine.

Could a person be medium-high-high on the 3 colour scales? I’ve seen fabric would be close. Humans are not coloured with the same pigments as textiles so I don’t know if the same rules apply. Nature is a chemistry set of unlimited possibility and I’m certain that these people exist. I also do not  know if human pigment genetics must follow the rules of Munsell (or any) colour space, which are human constructs – but they’re human constructs about colour relationships where certain rules always apply. Blue does get darker as it gets more saturated.

Anyhow, I do know that in science and in PCA, how it looks is not data. If it were, the Earth would still be flat. We must measure something and know how to read our rulers.

 

Light colour for DW 1
Light colour for DW 1 by christinems featuring button down tops

 

 

A Dark Autumn asked,

I seem to always wear the colours from the light to center sections of  my fan. I don’t understand why the darkest of the Dark Autumn colors, especially the purples, seem to drain me.

 

Some suggestions:

If the dark colours being chosen are a bit too blue, which happens easily with purple, this will make shadows darker. We all have a native, normal shadow colour. If it’s distorted, as by making it too blue, the effect will not be flattering.

If the dark colours being chosen are less saturated than the lighter colours being worn, the darks might not be preferred, despite being a Dark Season. Depending on the person, Dark Autumn will not have the best quality of complexion in True Autumn saturation. With 2 dimensions (value and saturation) that can be on or off, the mix and match possibilities of what’s really the problem are bigger.

Lightness and clarity can appear to add some lift in many women, which is why so many of them get put into Spring. An untrained eye might see this and forget to take into account all the other factors.

Most of us tend to wear colours from the center of the fan. They’re easiest to be aware of. If your eyes are used to seeing you in these, they may have trouble making an objective assessment of darker colours.

If pre-PCA, you believed yourself to be a lighter Season, it may take time to become accustomed to the power of the darkness (no puns of any sort). Darkness resonates strongly here. It sends a special  message on this colouring more than any other. Amazing how long it takes to fully step into and claim our own power. We find all sorts of reasons why it shouldn’t be so.

 

Light Colour for DW 2
Light Colour for DW 2 by christinems featuring scoop neck tops

 

A Dark Winter asked,

I would love to see a post on using the cool, heavy, regal colors in a climate that’s melting with heat and humidity.

 

Dark Winter is like True Winter but a little warmer and duller, but not as much as if it were done in newsprint. To me, it looks more warmer than duller, but I’m no better at judging these little increments than anyone else.

There are a lot of neutrals in these Polyvores, because I like them on this colouring. I find them great in summer and to offset the ‘colour colours’, and far more interesting against summer backgrounds than winter backgrounds. The contrast between summertime and the “heavy and regal” is even more pronounced, which feels a little exciting.

Remember that we haven’t accessorized anything yet. Shoes, bags, jewelry can all add as much or as little colour as you like.

Many skirts and dresses. Colours and prints feel better here than in pants. I’m not a purple pants person, though anybody could be, especially a Gamine. White pants, ditto. Jacqueline Kennedy had white Capris that were good with her black T-shirt, huge glasses, and scarf.

The overall darkness level is up to you. My eyes prefer an overall medium to dark totality over an all light one. The coral dress in 4 below is as light as I’d go for an head to toe level (picture it on a B&W TV). The light pants and colour-blocked gray top in the bottom left of 4 is too light. The  model wears it well enough but I doubt that her native darkness level is that of Dark Winter. Nor do I think her inherent heat level is of the same type, level, or both, as Dark Winter.

When we train a colour analyst, the student learns to look at the image in the mirror in terms of 3 distinct dimensions. You could try this too. Don’t compare an person and their clothing and think in terms of Seasons. It’s way too convoluted. Think, “Would I adjust the darkness?”, “Does the warmth level feel like a match?”, and “How do I feel about the clarity?” as 3 separate questions.

The navy and dark brown in the 12-Tone palette are near black, fine colours but not a first choice in high humidity. I’m very partial to the dark tobacco colour as a neutral, even in hot weather, maybe because it’s jungly. Love it with yellow as the dress and the skort/tank set in 4 below.

 

Light Colour for DW3

Light Colour for DW3 by christinems featuring diane von furstenberg dresses

 

How much colour?

Up to you.

The blue/yellow/pink dress at the bottom left of 5 feels pretty good. I’m not sure it would be DW but it could be.

The strapless blue dress on the left side may be True Winter. Some Dark Winters are a little cooler. The graying and darkness of the skirt section help, compared to the entire dress being made of the bodice fabric.

At the center top of 5, the sleeveless top with tie might be Soft Summer. It’s dark enough, but dark and dusty, whereas a Winter is dark and saturated. Won’t matter. Dark Winter skin has a lot in common with Soft Summer. The contrast in the skort is Winter or close enough, and the top will balance Winter accessories. Some Dark Winters are a little softer.

 

Light Colour for DW 4
Light Colour for DW 4 by christinems featuring a blue strapless dress

 

For The Office

Below, a few work outfits. In warm climates, people can’t possibly wear all black to work to work, can they? If I lived in a warm place, I bet I’d wear more shine in fabric.

The flowered skirt is interesting. It shows how similar Dark Winter and True Summer are, but when an item goes to black, the True Summer person will lose energy. I pondered whether it was True Summer, in which case the black would be too strong next to the other colours, but I find it pretty well balanced. The black is in smaller areas – a nice way for the Darks and Brights to get black in their wardrobe without being overtaken by it.

 

Light Colour for DW 5
Light Colour for DW 5 by christinems featuring a peacock blouse

 

Articles 3, 4, and 5 for the PCA Client

March 30, 2014 by · Leave a Comment 

Many of you, and I hope everyone who reads here, have been following Terry Wildfong’s series of articles written to educate the PCA client. This series serves as a form of SOP (Standard Operating Procedure) Manual for the way in which Terry and I conduct and teach Personal Colour Analysis.

It’s interesting to me that after my training with Terry in April 2009, we didn’t meet, or even talk for that  matter, until August 2012. In that time, our methods and beliefs did not diverge at all. We may use different words to describe the same optical effects, but our draping protocol and interpretations remained nearly identical.

On Terry’s blog, linked here, you will find these recent topics:

Is The PCA Environment Important? (March 14/14)

How Long Should A PCA Result Take? (March 24/14)

Does The Test Drape Order Matter? (March 30/14)

 

—–

 

Introducing Colour Analyst Anette Henriksen

March 23, 2014 by · 15 Comments 

Today, it is my honour to introduce to you a very beautiful person. When we met last year, Anette already had a great knowledge of the history of colour analysis and many of the methods that have been used. With meticulous training and drapes of uncompromising accuracy, Anette will bring her intelligence and experience to the European client. You met Anette briefly in the article by Anne-Cathrine Riebnitzsky, Sharing A Colour Journey. To perform your colour analysis, you will find a woman of great compassion, kindness, practicality, and generosity. I love my time with her because she is openly committed to making the choices that bring joy into her life and to sharing that energy with others.

 

Anette1

 

In Anette’s own words,

In September 2013, I finally had the opportunity to travel to Canada to become certified by Christine as a 12 Blueprints Colour Consultant.

I have been interested in colour analysis for a long time. In 2009, I traveled to London U.K. to be certified as a Colour Me Beautiful (CMB) consultant. I thought it was the best colour system in Europe at that time,  the company is well known and has existed for a long time, so a safe choice for me and their drapes are beautiful colours.

After a while I started to feel, that something was not quite right for me. It was too difficult for me to work with the system, because I was missing a plan of action to go from A to B.

After seaching and reading all I could on the internet for answers, I ended up finding the Sci\ART 12 Tone system. I could not let go of that approach, as it seemed to make a lot of sense to me.

Turning to Christine for a second colour education was the best thing I could do. All my questions were answered and the right tools to get the most accurate results were given to me, which was my biggest concern in CMB.

The one thing that surprised me the most in all this and which I was not prepared for, was the fact that I was NOT a Bright Spring, which I had lived as in many years. I turned out to be a Dark Autumn in the 12 Tone System.

I am still struggling a little bit, but it is getting better every day and I am starting to see myself from a whole new perspective. Very odd, how easy it is to see others colouring, but not oneself, even after education ! Also very exciting and I have learned a lot about personal colouring and the beauty in yourself when your true colours are found. Even though I have lived as a Bright Spring, I now see that I actually had a lot of Dark Autumn clothes.

So why, do/did I have a hard time letting Bright Spring clothes go ? I think, it is because I want to stay young and fresh to look at (I am soon 50 years old) and my personality also feels very alive and optimistic. I do want people to “notice” me. I am not the kind of girl hiding behind my clothes, my car has always been bright red, and my home is full of bright colours. I think, that is mainly one of the reasons, why I wanted to be a Bright Spring.

Here are two photos. In the top one, I am wearing a Bright Spring blue jacket. In the second one, I wear a Dark Autumn colour.

 

Anette2

 

Anette3a

 

My own journey is the best example of why I love personal colour analysis. It can have a very strong influence in changing a person’s feeling about themselves for the better. People become more self-confident. I love to know that I can help them buy clothing and make-up more wisely. That is a really great thing.Why would we waste our hard earned money on something that is not our very best ?

My mission and hope for the people I drape are to help them discover the beauty they already contain. Every person can make this gorgeous aspect shine to their own advantage by using their best unique palette of colours.

An accurate colour analysis is as good and useful to a person as the struggle of a misjudged analysis is hard and difficult. I have seen this many times reading the colour groups on facebook. It makes me very sad.

I want to do whatever I can to find your true/correct homebase/season. I will not compromise on the time to get there together with you. If we have to use more than 2-3 hours to narrow down the right conclusion, we do.

Of course I can not promise you to be 100 % correct for the rest of my life doing this. Every human being can make mistakes (and they will), but I can assure you, that the Test and Luxury Drapes (I own both) from 12 Blueprints are calibrated and very accurate. This is very important, together with using Full Spectrum lighting, to get to the correct final result.

One thing I have learned over the years about colour analysis is that this is not always easy. Every human being is unique. But it can be life changing and that is the reason why I found this so compelling, exciting and fascinating. I knew that it had to be a part of my life !

 

Anette4

 

To share some of my background, for the last 14 years, I have had a professional career as a Medical Representative with a large drug and wellness company (Novartis Healthcare), visiting doctors with all kinds of medical products. Although this has been a lot of fun, I feel my time has come for new opportunities. I hope to be able to combine it with my colour business, where my real passions lies!

If you would like me to help you, we will work together as a team. I would be happy to invite you to my home in Bramming (Denmark), where I live with my husband (Steffen) and three children (Martin, Louise and Mette).

I have a nice colour studio in my home (in a separate room), where I will drape you. Over the years I have invested in a lot of colour equipment from all 12 big posters from True Colour Australia to differents kinds of colour wheels and colour palettes.

It may become an option for me to travel in Europa to bring you the method I have learned. It will depend on whether there is interest. I have begun a travel request file. If you would like for my business to visit your city, please send an email at the contact info below. Once there is enough interest, I will begin planning the visit.

If you want to, you can also travel by train or plane to see me and you can stay one night in our house, it is all up to you !

Yours sincerely,

Anette

AnetteLogo

 

Contact info:

Anette Henriksen

Bøgely 29

6740 Bramming

Denmark

Phone: +45 75101347

Cell: + 45 27851125

Email: anettehenriksen@outlook.dk

Website: (coming soon)

 

—–

 

 

 

 

Spring and Autumn Natural

March 16, 2014 by · 9 Comments 

The great thing about writing is that it forces you to pin down your beliefs and your reasons for them.

Paraphrasing a reader’s question:

I was reading about Bright Springs on your website and I was wondering if you could help me get an outfit visual on what natural means. I understand earthy, but natural is still confusing to me.

You have used natural in this context: True Spring; no bold lines, the blocks are distinct by colour divisions. Not misty, earthy, heavy, bold, geometric. Instead, Spring is energetic, hippie, fun, busy, buoyant, and natural (where natural is not the same as earthy).

 

What did I mean about Autumn and Spring being natural in their energy? What do they have in common in that way?

Every Season has associations in Nature. Summer is how water feels, of high importance to water-based life forms like us. Even in the depth of winter, Nature is extravagant. Snow on a tree branch is so much to see and think about, but the number of colours is small to the point that even black and white are colours in this context. Because of Summer’s cool haze and Winter’s cold stillness, although natural, the feeling is less animated.

What the two warm Seasons have in common is heat. Warmly coloured people wear a lot of colour well, as does the planet in warmer locations. Complementary colours, that have the ability to energize one another when worn side by side, is effective on everyone. The warmer the colouring, the closer the blocks would approach equal size. A holly bush, good Winter visual, is much more green than red. The red becomes highly effective in that context.

Natural implies that it would be seen usually in the natural world. Natural effects feel more organic, like food and flowers. The end of summer harvest and the Island Paradise depict Nature as home, security, familiar, nurturing, nourishment, warmth, shelter, and support, in ways that diamonds and sapphires do not.

The Bright Seasons wouldn’t make up an entire landscape the way that True Autumn (October harvest) and True Spring (tropical beach) would. In helping these persons understand how to dress, there is no easy landscape or imagery to refer to. A Dark Autumn could Google ‘Moroccan design interiors’ to get the colour effect  (thank you to Rachel for the idea). A Light Spring could look up ‘pastel interior design’, ‘fairy landscapes’, or ‘spring flowers’ and recreate the entire scene. Googling ‘bright colour interior design’ is quite good for ideas but you’d use it selectively to make an overall look.

As the Polyvore below shows, the Bright Seasons are basically pure pigment. Search ‘design-seed.com’ on Polyvore. Lovely palettes. Beautiful, imaginative ideas to maximize the flexibility of your colour swatches.

 

Design seed palette images
Design seed palette images by christinems on Polyvore

 

Once Winter appears, colour effects become more synthetic, which feels modern. They feel more forced, cooperating less with what’s around them. The paradox of Winter is to be modern and permanent at once, like a diamond. When Winter overtakes Autumn, in the Dark Winter, the rustic element is pretty well gone. Many of the colours look like candy when worn by an Autumn-coloured person. When Winter is in larger proportion than Spring, in the Bright Winter, well, it gets complicated.

This may explain why this colouring is such confusion to people, and can be a challenging analysis. During our last training course, we met 5 Bright Winters -

  • the Snow White
  • the exotic Indian Princess
  • the I’ve-always-been-told-I’m-a-Summer-but-it-doesn’t-feel-right
  • the blonde-blue-eyed Winter
  • the magic elf

There are a thousand more. Sydney Crosby colouring, for instance, with green-gold eyes. They drape better in Winter but their heat level approaches Bright Spring.

Since I need digressions, I’ll repeat something I said on facebook:

Season isn’t just an issue of how light or dark we look, as you know. There are darker Light Springs and very fair Bright Winters.

How warm or cool, how saturated or heathered, another human might be are very hard or impossible to judge.

So we give their light – dark level too much emphasis when we guess. This is part of why folks have so much trouble wrapping their heads around a light haired BW.

The other reason is that people are still looking for those ‘clear eyes’ that are supposed to jump out at you. BW does have a clear eye, but we can’t pick them out of a crowd because we’re not that good at judging it and they don’t look any more unusual than any other human. If you put their eyes into another Season’s face, you’d pick it up instantly.

There are many, many BW people out there. It’s not rare.

The Bright Spring colouring exists but not quite as often, at least not where I live, though still more common than the True Season colouring. I imagine the colours are occasional even when you’re standing on the Equator. A feather, a beak, in an otherwise colour-quiet body. These colours are extreme, at the limits of what colour could do in a terrestrial life form.

Bright Spring is a little special. The high purity of such plentiful colour tips it nearer man-made or magic. It’s more fantastic, more HDR photography, colour enhancement, the rare, delicate, and exceptional. How do you put such Bright colours in a print? The result is wildly energized, beyond most habitats. Colour-blocking is not natural. In Bright Spring colours, small print elements appear pixilated, also not natural.

Spring and Autumn Natural

Spring is juicy, light, sunny, clear, shiny, wet, and floaty. We should distinguish shiny as in dewy and wet (Spring), shiny as in frosty, hard, and cold (Winter), shiny as pearlescent (Summer), and shiny as in hot and metallic (Autumn). Raindrops, hearts, daisies, stars, starfish, seahorses and all baby and/or magic animals, clover (especially 4-leaf clover), belong to Spring.

Earthy is perfectly at home on Autumn colouring. Earthy to me means muted+orange. Basically, dull+warm. I ask everyone who reads this to remember that no colour is dull under the face with which it harmonizes. Same as there is no such thing as dull/mousy hair unless it’s placed next to unharmonizing colour.

Autumn is earthy, heavier, thicker, rich, drier, 3D, dense colour.  In the orange sweater game below, the natural the other won’t wear is shown. Autumn keeps company with wicker, tortoiseshell, and fossil.

Lava lamps, fireworks, starbursts, and video games, are unpredictable, fun, and random. Like cartoons, Spring’s is a flatter (2D) effect.

A chess board, the regularity of the pattern, the solid figures, the serious and predictable rules, the 3D shapes and movements, feel Autumn.

Horseshoes could go either way, having both good luck charm and equestrian about them.

This is a game I enjoy. Where is the orange sweater better? [Hint: There are as many correct answers as there are tastes and preferences reading this.]

Some fabrics are muting, like wool and tweed, but that doesn’t automatically mean Autumn. Neither Spring nor Autumn are fully saturated. The orange sweater seems Autumn-ish because it’s wool-ish, but it’s also an orange-pineapple ice cream colour. It’s not so bad on the Spring side.

Would changing the wooden buttons to clear, shiny glass matter? Sure. The watch isn’t natural, but it does live in the world of fruit salad. Food is natural. Jello and LifeSavers are less natural, more Bright Spring (as this watch could be, since the numerals are white, not ivory).

Toggles, tassels, and buckles are usually Autumn territory. But really, they belong better as Yang-side symbols of Classic clothing style, prep styles and the fox hunt rather than the Yin-er dinner party. Everyone can adapt anything. Winter makes them platinum. Spring changes them to coloured plastic.

I have said that I do not believe in the existence of a group of natural colouring that blends Spring and Autumn’s colour properties. Nobody drapes equally in True Autumn and True Spring. In fact, the other Season is often the worst choice on these people. They prefer Summer (where Spring is grateful for the lightness) or Winter (where Autumn can make sense of the darkness).

Draping is a time for technical perfection. That is a long way from shopping. If shopping is rigid, you’ll get tired and give up on something too good to pass up. Same as if you stay too hard on your budget, diet, or exercise program, you’ll burst and do something that will have you regretting. Knowing what matters more and making the most of it keeps you making the very best choices in a sustainable purchasing system.

 

Spring and Autumn Effects
Spring and Autumn Effects by christinems featuring blue pants

 

Equal Energy Colour

Wearing Bright Season colours doesn’t mean that you’re a walking flag, just as the idea that Dark Season colouring wears only dark colours is not true. It means that of the 3 dimensions that every colour answers to (warm-cool, light-dark, muted-clear), the one thing about yours that isn’t medium is its purity of pigment.

Your colouring takes a Bright colour and makes it look normal, and you look normal in it. The other choice being, “It is a bit lifeless and you’re lifeless in it.”  A Dark person takes a dark colour and makes it look very normal with lots of colour and without getting shadowed by it. The other choice being “Is that black? Why, no, when it’s off your body, I can see that it’s quite purple. You’re changing it to look darker than it is. And it’s making you look like you’re standing in the shade. Weird.”

Energetically equal: You could lay the Bright Spring Colour Book on a Bright Spring item of clothing and have them be perfectly in balance, neither one dominating or disappearing. Therefore, they are in harmony.

The blue top could be True Spring, it’s not super intense blue, but the jump from light to dark in that outfit is more than you’d see on a True Spring. The white pants are too cool for True Spring. The overall darkness effect is still medium light, good on both True and Bright Spring, where True is a bit lighter.

 

Balancing Bright Spring
Balancing Bright Spring by christinems featuring j. crew pants

 

The items in the centre column can be inserted into Bright Spring outfits and the whole thing doesn’t fall apart.

Let’s put them into True Spring now.

 

Balancing True Spring
Balancing True Spring by christinems featuring shirts & tops

 

I don’t find the items balance so well. The top is too red and too blue. The jewelry is a little too bling. The clutch is hopeless.

Notice in True Spring that there are no bold lines. First, it’s harder to make a bold line when colours are gentle. Second, these colours won’t balance black, the boldest line of them all, in any quantity. The black just takes over. In small areas, Bright Spring can balance black quite easily.

That red leather jacket is interesting. I’m not sure where the real item would work. True Spring does have a red lollipop/fruit punch red. Leather tends to be heavy and thick on Spring, but in certain colours, such as light camel, it can work fine.

Who wears the dress?

Same exercise with dresses.

Animal prints are natural. But we can’t make assumptions about Season. Is the leopard print shiny gold better with the Autumn or Spring selection?  Is there one group where it seems too sparkly, separate, jingly, attention-getting, as Spring colour would on an Autumn person?

 

Spring and Autumn Colours
Spring and Autumn Colours by christinems featuring a cotton dress

 

Just because the print is floral and fun doesn’t mean it’s Spring. Humans colours can fill in many different lines, so can prints. When we see that orange flowered dress among items that seem very True Spring – does it belong?

Does it matter as long as it provides heat? It does. The person will look quite different, and distinctly better in one.

We can’t stare or think our way to this answer.  You talk yourself into one and then into the other one. How will we figure it out? By measuring it using comparison, of course!!

Unless you have wavelenth-calibrated eyeballs, and I’ve never met anyone like that, you have to compare it. Lie the swatch book on it and see what happens. Put the dress among your Personal Luxury Drape collection.

Force the extremes. Some  of the Autumn dresses below contain black (Dark Autumn), which Spring colour will bounce right off of.

 

Spring or Autumn Choices
Spring or Autumn Choices by christinems featuring an orange dress

 

Where do the flowered dress and leopard print go? Not any easier, is it? If the leopard print is Bright Spring, it will be fine with a little black. Ditto the orange dress if it’s Autumn.

 

—–

Analyst Meeting 2014

March 12, 2014 by · Leave a Comment 

An analyst who has taken the Colour Analyst Training Course said,

Nobody emerges from a training program fully formed.

That is the absolute truth.

It applies to instructors just as much as to students.

A meeting is really a training course extension program. After the 3 day course, students will confirm that there is no room in their brain for one more impression or fact. We go home, let some of it pour out in practice, and in the free space, we find a few spots that didn’t fill up enough the first time round. Normal.

We must meet our peers to see how we are performing in our industry, very challenging for our profession, since we work independently. Teachers can observe how skills are implemented to see where training can be made as effective as possible.

This is an announcement for colour analysts who have taken the training course from either Terry or me and continue to practice in our system. The students coming for training this year, prior to the event, are invited as well.

The event will take place in Manhattan.  Dates are October 16, 17, and 18, 2014.

Photo: czajoslaw

Photo: czajoslaw

 

The agenda will consist of time for introductions and meeting, several draping demonstrations, a presentation on Image Analysis and how you can make it available to your clients, further practice harmonizing colour to Season, discussion regarding makeup colour and application, and sharing of the numerous resources on which the analyst group has collaborated.

We will work (play would be more accurate) from 9 to 5 for 3 days. Afterwards, we can spend our time as we choose, still together to talk shop, but less formally, inviting travel partners to join us for an evening experience which I hope involves food, wine, and the jewelry and perfume excess that I so love. Many of the analysts will combine 3 days of colour with a few more days before or after to visit an incredible destination.

I would like this to be an annual event. Every profession recognizes that such meetings are essential to the maintenance of the highest standard of performance among its members. We are not there yet, given the expense and personal scheduling conflicts. Maybe attendance once every 3 years might be feasible, we’ll see.

Photo: bizior

Photo: bizior

 

I mean. Women. We’ll be in Manhattan. Together. Talking about our favourite topic. Getting fabulous haircuts at Jean-Louis David. Shopping at discount designer stores. Visiting perfume boutiques in the Village for beautiful scents for the Seasons. Walking this most glorious city at 6AM, having cappuccino, and being there as it wakes up. My heart is racing.

 

—–

Sharing A Colour Journey

March 6, 2014 by · 31 Comments 

You are about to take a personal journey with Danish author, Anne-Cathrine Riebnitzsky. I know that many readers will find familiarity in her experiences and feelings. I am  very grateful to Anne-Cathrine for discussing personal colour analysis from the one side that matters most: the client’s.

I self diagnosed as a Winter in the 90ies after reading the book “Colour Me Beautiful.” I was 15 or 16. There were only four seasons then. My internal feeling was that I was a Winter. I was a bit sorry that the beautiful strong colours of Spring couldn’t be mine as well, but in my heart I never had any real doubts. A Winter I was.

I followed the idea of Winter to the best of my ability but gradually swayed in other colour directions too. The years passed and I thought less about colours.

ACR6

 

The mistake

One day probably about 5 years ago, I tried on a beige item and noticed how my skin was completely even. Most people who knew just a bit about colour would often comment on my “warm green eyes” and I had begun to suspect that perhaps I was an Autumn instead. The beige colour had me puzzled … now I did not know what I know today. I was unable to see the whole picture. And moreover it turned out that I am one difficult woman to analyse.

This beige colour became the beginning of a long journey hunting for my true season. Here I discovered how much had happened to the world of colour analysis since the 90ies. I discovered Christine’s wonderful blog and many other sites. I became quite absorbed with colours as a new hobby.

Lesson no. 1: Even and “perfect” skin is not the same as your face looking like the colour you are wearing. Believe me – you will be misled if you go down this road. Even and perfect skin is something entirely different. It is you glowing in a way you had not foreseen, and unless you are fortunate enough to already know your colours you may actually never have seen this face before no matter how often you stare in the mirror.

ACR2

 

The first analysis

I tried to analyse myself. That is really difficult to do. I finally flew to another European city to have an in person analysis. I was desperately hoping to be a Bright Spring. Those were the most beautiful colours to my eye at the time. Second would be Bright Winter. The worst would be Soft Summer because I couldn’t associate with the colours – though I actually owned numerous pieces that were soft.

The analyst was Sci/ART trained – this was the system that to my rather systematic mind made the most sense. There are multitudes of colours and many that suit us, but the whole measuring process is to my mind the key to opening the door of the vast house which is your season and which you will only feel at home in if you have in fact opened a house which is your house.

From the first four drapes it was clear that black and silver were best. There was no doubt I could wear black. This was something I had questioned myself, and I was glad to get this confirmed. We moved through the many drapes. I was difficult. Provoking a bad reaction to my skin is not easy. The warm drapes are the only ones were it is really easy to see. From there it is a slow game. We slowly exhausted the possibilities – almost all of them.

We actually ran out of time. But we agreed on Bright Spring – though one of the drapes was actually too strong and there was a reflection from the skin on my chin. I was happy with the result. And also quite aware that I had actually pushed for something which might not be the accurate truth. Unfortunately I had to fly back the next day and my analyst had an appointment so we were out of time.

Lesson no. 2: Make sure you have plenty of time for an analysis. Perhaps you are really easy. But perhaps you are not. It may take five hours. How long it takes is not important. Getting it right is important.

Lesson no. 3: Do not try to force your analyst or manipulate her. They are human beings too. Be accurate about this. Try to observe what really happens in the mirror – not what you would like to happen. Difficult, but necessary.

 

ACR3

 

Correction by shopping

It so happened that I wore the Bright Spring colours quite well – however eventually my mistake caught up with me, as I bought a turquoise blouse which was an exact match to the fan – but which also shone off from the skin under my chin. Exactly as the one drape had done in the test.

I was back to square one somehow.

Second analysis

I flew to another European city to have my second test. Also by a Sci/ART analyst. I told the analyst in advance of my previous history. She sat me down and looked at the first four drapes. I could still wear black and silver equally well.

Here is the hard part for you: If you were an analyst and a client walked in and said that she had discovered she wasn’t a Bright Spring after all, where would you go? What would you assume?

This analysis moved forward speedily. Very fast – faster than I could understand – I was a Soft Summer. The season whose colours felt most wrong for me. But I had promised myself not to try to sway any analyst ever again. I had promised my self that whatever the outcome I would try it, live with it, and do my best to accept it.

The worst part of this analysis was that I didn’t see nor understand what the decisions were based upon. I couldn’t in any way see how those drapes enhanced me. Only the last two drapes could I see. The pine green was actually intensifying my eyes like it is supposed to. The dark blue did something to my hair.

The whole thing took less than two hours including makeup. Off I was and the analyst went on to the numerous other clients at hand that day. I went outside into a park and sat down and cried. I know it sounds ridiculous and that this would probably not happen to you. You would have walked straight back and told her to redo the whole thing. Well, I didn’t. I flew home and lived in Soft Summer for 18 straight months. I hated the colours. The compliments stopped. I felt kind of depressed. But I am a diligent person. I am a perfectionist and I actually do not care what I have to put myself through once I have decided upon something.

It was incredibly difficult for me to make an outfit work – though it is supposed to be easy in this season where the underlying grey combine all the colours. It was a struggle for me. I had the palette lying open on my desk to try to get to know and like the colours. I could get myself to like the darker colours, but the light ones didn’t mean anything to me.

Lesson no. 4: You should not have to struggle so hard! Some may be surprised by their palette. But really – if you have tried living in a season and it still feels wrong, then there is probably something wrong. Colours are energy. If you live in the wrong house it is going to feel complicated hard and wrong and probably depressing. I am not with the people who say that this is not exact science. Well – in a way it is. Colours can be measured quite accurately. And you should look more than just “kind, relaxed, well” – you should look remarkable.

ACR1

 

Elea Blake makeup

I bought some of the make up for soft summer from Elea Blake – here I received the first confirmation, that Soft Summer might not be true after all. The darker choices in eye makeup were fine. But the skin make up was a puzzle. None of them worked. As in NONE. They all looked like something that had been smeared on top of my skin. They would not blend.

Knowing that Dark Winter and Soft Summer can sometimes share some colours I bought some small samples of DW makeup. Those worked a lot better. This new information rumbled in my mind.

Lesson no. 5: If you really are searching for your season and you truly cannot in anyway find the means to go and have a test, then see if you can narrow your options down. Write to Elea Blake and order the small samples of skin make-up. It could give you a good hint. I believe it is more accurate than lip draping. These products are very precisely composed. My personal belief is that at least 3 or 4 of the skin colours should suit you if you are in that particular season. I may be wrong, I am no expert – this is just my own personal experience.

Sitting next to a real Soft Summer

In the summer 2013, I participated in a congress for creative writers. I remember this moment distinctly. I was sitting next to a woman with silver hair and beautiful hazel eyes – quite like my own. She was the most stunning person in the room. We all looked at her from time to time. Never had any silver haired woman in her 50ies looked so beautiful. We were many young people – but none as beautiful as her. I knew she was a Soft Summer. She wore Soft Summer. She had never been analysed but she knew her colouring and she combined them in a way that could not possibly have made me look the least bit interesting. I remember the exquisite earrings in green and purple mother of pearl, her lilac blouse, the soft pink lip. That did it for me. I was no Soft Summer no matter how hard I tried.

On line analysis

During my whole journey I had two online tests where I sent a lot of photos – one said Bright Spring, one said True Summer bordering with Soft Summer. The latter was followed by a makeover done on a photo of my face. I strongly disliked the look of it. I had no idea who the woman on the photo was – I understand that the photo to begin with was me – but I couldn’t recognize the woman as me.

Today I look at the questionnaires that were designed to help those analysts make a decision. Well … let it suffice to say I cannot recommend it.

ACR4

 

Giving up

I gave up on the whole thing. I couldn’t work it out. It was a relief to put on a black T-shirt – both emotionally and physically. I believe most people actually can feel the effects of colours. Even hospitals use colours.

I went with what I felt, bought a Dark Winter fan and noticed a big improvement.

A small miracle

By chance I noticed that one of Christine’s newly trained analysts was a Dane. I had seen her name before and contacted her via Facebook. I warned her that I was difficult to test and that I didn’t know which way to go now. Except I probably was some kind of Winter. At least some kind of cool or cool-neutral season. Or perhaps I was something else. Probably not a warm.

We agreed on a date. Anette was eager yet admitted being a bit nervous since I would be one of her first real clients. She said I wouldn’t have to pay if we couldn’t figure it out – which was nice of her and took some pressure of, though admittedly by now my life had changed so much that the cost was less of a concern.

Third analysis 

Anette had blocked the whole day for just my analysis. She said she was looking forward to learn too.

The draping began. I was fortunate enough to not have any trace of colour in my hair (I have always found it difficult to strike anything that would look natural).

The first four drapes showed what I already knew. I could wear black and wear it remarkably well. Warm colours were not so good. I actually felt unwell wearing those colours. We made due note of what bad effects looked like in my face.

I have many different colours in my eyes. I have dark hair. I balance a lot of dark and cool colours. We moved forward slowly. I had explained that it was vital for me to understand and see with my own eyes what was a good drape and what was a bad drape. We got rid of the warm seasons quickly. The obvious ones. Then we moved on. Anette kept saying – well, this is not bad, but I believe you can look a lot better. This hope carried us on and on and on.

The biggest surprise for me was that beyond the true warm seasons, my worst colours were from Light Spring and Light Summer. There were a couple of turquoises there that were so harsh and strong and “unbelonging” on me that it took me by surprise.

So what about Soft Summer then? Well this is actually not my worst season. I completely understand that I could be put in that season though it is very far from what I really am.

Once we finally moved into the 3 Winters we knew we had it. My eyes cleared. I did not know that the white in my eyes actually can become really white. I had not seen this for so long I thought it had disappeared with age. The bit of my hair that was visible shone with a depth that was really becoming. Winter it was. We just didn’t know which one. It was very difficult. I span a lot of colours. I span a lot of coolness.

By comparing all the blues we finally discovered that it was not Dark winter. I became slightly fussy around the chin. So more colour then. More intensity. Though DWs reds were beautiful on me.

In the end we settled with True Winter, but not entirely sure. We decided I would have to come back another day. We were both exhausted. It had taken about 5 hours.

I drove home excited. After all this was actually still a huge success for me. I was now down to two beautiful seasons which I both really liked and which also made me look more stunning than I had seen in years.

Lesson no. 6: There is no such equations as “I look terrible in Soft Summer ergo I must be a Bright Winter.” You worst is not necessarily straight across the wheel of seasons. It could be only a few seasons away.

ACR5

 

Second visit – the final result

I lived in and with True Winter. Colours that are hard to find when shopping, so I didn’t find that much new stuff – but clear white was easy to find and really good. Black was good. I dyed some old faded jeans and some old dresses. I knew enough about material from reading Christine’s many articles and from intelligent people who comment those articles, to know that cotton and soft fluffy surfaces weren’t going to hit it right with a Winter – but the black jeans work well. I never really liked cotton much anyway – it is easy to wash, but there my interest stops. Cotton fades really fast compared to plastic, satin, silk and shiny leather.

Black mascara was good. Again I had really good help from the little samples from Elea Blake. Unfortunately I had only ordered True Winter – but still this helped. The samples of skin makeup and lipstick were a great help. I noticed that some of them turned me a little pale and “deadly grey” around my mouth. A sign that these colours might be a bit too cool. Anette wrote to say she had noticed a bit of quietness in the true winter drapes which she wasn’t sure was right. But then we had a few of the Bright Winter luxury drapes that we were not entirely sure about. Were they too much? Too warm? Anette and I wrote many emails back and forth.

Anette and I had not had time to get around to makeup during the draping session. For the next visit I decided to wear mascara and my usual eyeliner which is black. I know it may sound hard but black doesn’t look hard on me. It is the only colour that doesn’t turn the lower rim of my eyes red.

The makeup actually helped in this case. It also helped a lot that we were now down to two seasons – our eyes were fresh and ready. I was a Bright Winter as I had slowly come to suspect.

ACR7

 

There may be many more Brights out there who like me actually do not look too bad in colours that are not theirs. They just do not look as smashing as they would in their true colours. I think the reason is that Bright can take so much colour – and therefore you would have to be severely off on more than one dimension to look really bad. But I also think that these are the seasons who more often than not look a lot less beautiful than they could.

Looking back I now understand why evening gowns always have been so easy for me. 1. I would never go to a big party without makeup (and makeup greatly enhance winters). 2. Gowns are often in bright colours and often in shiny material which is a real winner on me.

I am still adjusting. I am still feeling the energy of this season. But I have come home. I got to see with my own eyes what my season really is. I understood what I saw. I love the colours. I also now know that there are colours out there in the world which are brighter than any human colouring – but 99% of the time I have to focus on getting the colours bright and clear enough. I have come home.

I remember how Bright Spring always made me feel a bit exhausted – like the energy was a bit too high for me. I felt a bit serious and stern in True Winter. Bright Winter is wonderful. It is enhancing, asking me to be what I am and to not shrink back in fear. Bright Winter is asking me to be bold, to be me, to be all of me – and in doing so allowing others to be all of who they are.

Sometimes I am wearing an outfit that is not quite enough. Not enough sharpness of colour, not enough contrast. It feels a bit boring, a bit like “come on you can hit the mark, so be your best” – so I make adjustments. It is not at all difficult for me to combine these colours. Not at all. It comes naturally. Black pants and a blouse in a strong colour – easy! Lipstick, black mascara – easy.

I use the advice from the article about the makeup for Winters. I don’t fade or remove anything till eyes, lips, and blush are all there. I do my shopping carefully. I make a list of what I need and I do not compromise – not in colours, not in lines. It is not that hard really. It just takes a bit more patience than what is natural for me – but the effort is well worth it.

——

A PCA Perspective on Matching Foundation

February 27, 2014 by · 10 Comments 

I’ve written about “How To Match Foundation” before, here.

I watched this video and and thought about how it might apply to PCA.

By far, this is the best foundation matching video I have seen. From a colour analyst’s perspective, I agree with so much of what Lisa says.

1. The skin on your entire body is united. Your genetics did not put a different melanin, carotene, or hemoglobin in your hands than your back. The overtones in the face or hands or feet may be different from the rest of the body, but the undertone will not be.

2. The skin contains many colors, reds, greens, blues, and yellows.

3. I fully agree with the importance of self-knowledge, but some types of self-knowledge are nearly impossible to access on your own. You can’t know your red blood cell level without measuring it. You can’t know which foundation matches your skin best without measuring it, meaning comparing several different shades together at the same time. Comparison is a form of measurement that delivers greater than and less than data.

As Lisa says, the apparent skin colour is different for different parts of the face and body. And yet, all of our skin is united in its undertone. Terry wrote about this recently in her article, “What Is Under My Overtone?”

You can’t know your undertone without measuring it. These things are part of our internal biology, extremely difficult to evaluate simply by external observation because they don’t sit on the surface.

Many women have concerns about facial skin texture, areas of uneven pigmentation, rosacea, suntans, and so on. They have asked whether any of these compromise the result of the colour analysis, or if we should be working from neck or chest skin that is more even. The answer is no if the analysis process is analyzing to your undertone, not your overtone.

Warning: BIG digression coming up. It fits into todays’ context and many others.

Photo: livinus

Photo: livinus

 

Defining Your PCA Service

In the last article, some folks heard arrogance from me at the idea that what we think we see is not real.

There is no judgment here. I am not pointing out wrong or right. I truly apologize if it sounded that way. If you spoke to me, you’d know that I’m not 100% sure that  my way is right. I’m always pulling back from that line because I have unanswered questions about PCA myself, Sci\ART system included. In life, there is no 100% wrong or 100% right. There is only lifelong growth. If you’re waiting for 100% locked down forever, you’ll wait a long time.

I do not want anyone to be uncomfortable. All I want is for your clients to be happy with you and my clients to be happy with me. The present situation, full of doubt and misunderstanding, is not good for any of us. Wouldn’t our industry be healthier if clients knew what they were getting and could just enjoy the results? The present situation is keeping us all stuck in the  80s. Feelings are being hurt and business  is not progressing. Someone is going to have get brave and talk openly and fairly. If we, analysts and clients both, don’t put our hands out to steady the wheel, all we’ll ever be is skidding around on black ice.

Every industry exists to serve the public. People have a  desire, a need, and a right to know what they’re buying. You don’t have to agree with how I do an analysis. The point is not to get the public quizzing analysts and making everyone bananas including themselves. The point is to have everyone define how they do things and why. The public can then make an informed choice. The analyst gets the right clients for what they offer. Expectations are satisfied or exceeded.

Isn’t this better than the way it is now, where Personal Colour Analysis implies that we’re doing the same thing and nobody’s ever happy and calm? Why wouldn’t an analyst want her clients to know how she can help them? Why would you, as an analyst, want your business lumped with mine in the public mind, when I cannot offer a client what you can? Businesses define themselves all the time without taking offence or hearing criticism. It’s normal, not harsh or unfair.

If I define my business, what I do and why I do it, it is not to say others are wrong. It is to create a space for everyone else to do the same thing. I get that the transition from  One-Exercise-For-All to Yoga/Intervals/Step/Weights/Pilates/Core/Running/Bosu/P90X  was frustrating, but I believe that someone has to lay out a path for each version can grow and improve, released from the constraints of the pack.

We could distinguish PCA services. They are totally different from beginning to end, though various mixtures have evolved to get the consumer really mixed up. There seem to be two broad categories.

Systems A to D have their colour palettes. The colours for each group are chosen for looking good and belonging together according to that person or company’s taste.

If draping is involved, which drape goes into which Season was decided because it looked right.

As well as judging swatches and drapes for Seasons because they look right, so is the client’s colouring observed on its own, by how it looks.  A – D observes the surface person, believing that, “You truly are what you look like you are today.”

This is one definition of PCA and its desired outcome. A – D have a good argument on side. After all, we are judged on how we appear to look. If you believe in this method, the clients who agree want to know so they can find you. They will be unhappy and confused with my approach, which involves measuring palettes, drapes, and clients by multiple comparisons at every step. On your web page, define what you do and why you believe in doing it that way. Since I don’t understand that way, I cannot do justice to your business. I’d be lucky to match a paint chip from a choice of 100 similar colours, never mind isolate it from a face.

Only you can market and promote your business. I am not tearing anyone down, I am simply defining my business. If my approach sounds flawed to you, I would be first to read about why. Teach me something. That’s what I really want. Convince me of how I could improve. I’ll send you a free book to express my gratitude.

Here’s how it all looks to me: Systems J – M say, “I’m not so sure. First of all, my colouring looks different in every outfit, hair colour, and room lighting. Second, I know that humans are not good at knowing what a colour is on its own, let alone when many colours are mixed together, like in a face or in skin. As soon as colours touch, they change. Thirdly, our colours just can’t be expressed in the top layers of skin, or not only there. It makes no sense. I mean, why is my face is different from my hand from my belly? I need to bark up another tree if I’m going to find the right foundation.”

J – M  then say, “Even if all my body parts were all the same colour, who knows the exact colours in skin? Look at ten people with their hair covered and their eyes closed and tell me the exact reds, greens, blues, and yellows in their skin tone.”

J – M stew some more and add, “One other thing. I think it all goes a bit deeper. The impression of our appearance is formed by many brain areas, not just a 2-dimensional top layer snapshot. Something else is going on here. Believe it or not, human surface skin is see-through to human eyes. Seems to me that that’s where the real information is.” While some human beings are better at eyeballing colours than others, and one does get better with practice, the fact is that in general, we are not consistently good at it. You have to compare them to something unless you’re able to literally measure their wavelength.

J – M say the surface is not enough information, it’s different for different body areas, and it is influenced by everything around it.  If you gauge foundation to the colour you think you see on the surface, even if you pick the right section of surface, you could easily get the colour incorrect. There has to be another way.

Services J  - M look through and beneath the surface at the undertone, thus removing the errors the overtone brings in. This group take the “You are not what you look like you are.” approach.

Well, anyone who has spent 10 minutes on an online colour site knows that the Sci\ART-based systems fit in with J – M but they don’t do things at all the same. Some don’t use the gray surrounding. There is lots of variability in how Better and Worse decisions are made. Some don’t use test drapes. Some take 30 minutes to know your Season, some take 1.5 hours. There is conflict about the meaning and appearance of harmony. Numerous Sci\ART- based analysts practice very close to how Systems A – D do things, by what looks right, with their own reasons for doing so. Not wrong, but different for sure. Too different to match.

None of this is a secret. It ain’t a perfect world. The public thinks we’re all doing the same thing because we stemmed from Sci\ART. This is not the case. It explains why I took down the Sci/ART Analyst Directory. I do not presume to speak for Australia, but in North America, the Sci\ART system has been re-interpreted so many times at this point that the name should go out of usage except historically. Let all analysts stand alone according to their practice, which they explain on their websites. Refer back to differences with me if you like, I’d be fine with it. Take down all the Sci\ART Certified banners. The public will stop expecting the same product. For my students, so that the public can expect the same product, the process isn’t up for negotiation. Discussion, sure. Do I think I can control everyone forever? No, just as Kathryn couldn’t. I can only separate myself from them in a public way.

Photo: sumeja

Photo: sumeja

 

Looking Is A Painting. Measuring Is An Analysis.

If we render what we see, that’s a beautiful painting. Change your clothes, hair colour, and the time of day, it’s a different beautiful painting.

I have nothing against beautiful paintings. A group of interesting colours that depict a version of me would be awesome. I would really love to have this. There are people who work in this way, with extraordinary taste and fascinating colour perception. I would love 1000 of these renditions. Each one is a version of how we are seen through the eyes of others. That stuff is absolute magic.

But that wasn’t why I had my colouring analyzed. I wanted to know what to buy every day for the me that’s always the same. Different question, different purpose and approach, different outcome. I wanted a functional wardrobe.

The consumer needs to identify what they want. It is their job to decide and to stick by their decision. Perhaps they could do their job better if they could understand that they are not investing in the same product. Both great products, but not equivalent. I know colour analysts who feel these are or should be comparable products. I disagree and advise the public to stop trying find a relationship between them. There isn’t one that will redeem the time you took to figure it out.

Here’s why I use my product: My issue with looking: I can’t get it to work every single day, with many outfits and  makeup that is always right on my face.

I meet greenish-gray-eyed Summers that were decorated far too warmly. Her hair is too orange, her clothes are too warm, so the skin turned yellower. It could all go together if we just give her yellower foundation and took time to blend, except that her clothes and eyes create combinations that are unappealing. Therein lies Problem #1, even if we can change our skin, we always wear our eye colour. The colours in eyes repeat the colours in skin, though skin has many more. They’re never different. Nature never colours anybody discordantly. Do your swatches look good with your eyes? Even True Winter and True Summer can easily have lots of yellow in the eyes, lots, but it will be that green-yellow match from their measured palette.

In too-warm clothes or foundation, she could think she has a healthy-looking tan. In reality, her eye colours have dulled and the lip outline erased. Feature definition is the biggest part of looking young (good article linked further down). It’s massively important to decisions others make about us. Me, I’d want an analyst who could talk about that, Sci\ART based or not. Problem #2: too warm colour flattens feature definition. This includes too-yellow foundation. Besides,  a healthy glow doesn’t come about from yellow foundation or a yellow overtone from too warm clothing (not discussing self-tanner on faces here). It comes from wearing clothing and blush that elevate the colour of our natural circulation and from correct use of bronzer.

I meet many brown-eyed, freckled Winter blends who have been observed into Autumn colours. Nobody would decorate a room combining Winter and Autumn colours. This is  not an attractive match. Our eye and clothing colours are seen together and there’s not a thing we can do about it (not discussing coloured contacts here), as is the undertone because human eyes can see through human surface skin. A Winter’s skin colours are not gorgeous next to Autumn cosmetics. A Winter using elephant gray and chocolate brown as the neutral backbone of her wardrobe is not making her best choices. The wardrobe won’t work with her makeup or jewelry. Problem #3: from you to your palette, there has to be a functional and appealing wardrobe of clothing and cosmetics if that is what you were investing in.

I believe that we are not what we appear to be in a million different ways. My purpose is to place you more organically and energetically into your colour palette, on the same wavelength as all of your clothes and makeup, in the colours that you really are as determined by calibrated measurement. Why use the word energetic? Because I believe humans feel energy as wavelength very well if they let themselves. Now the discussion is getting too deep. I direct you two articles back to Can True Beauty Be Diminished? if you feel like wading into the Universal Energy swamp. You can always find me there.

Big digression complete. We can all exhale.

Photo: michelini

Photo: michelini

 

4. The area of the face that Lisa matches to foundation makes sense to me. I like to use the lower jaw and drag it down onto the backside of the neck, for the same reasons as she does. I also test five or six different stripes side-by-side. With colour, comparison is the only way to tell what works and what doesn’t. I would insist on that and never buy foundation from a single test. I meet way more cool and cool-neutral people than warm or warm-neutral. The foundation range out there is way the opposite, not counting all the peachy coloured product that looks like real skin colour under department store light and like candy in daylight.

5. Wear a neutral gray and tie your hair to choose the colour. Deciding your Season or your foundation by looking requires the consultant to take what they think they see, and make more. If what they think they see is correct, great. Some cosmetic consultants are pretty darn good judges of true colouring.

If you went shopping as one of the many Dark Winters who look yellow because of their clothing or surroundings, the only thing that happens is that the error gets magnified. The consultant will make more of what you’re not. Could most makeup consultants explain how to correctly distinguish and identify undertone from overtone, or just define the terms?

6. As Lisa says, once you have a colour that unites the face and the neck, meaning the right foundation for your undertone, the entire face, neck, and chest will blend together. It is the very rare person who needs to adjust foundation to match the neck because they are so disparate in the overtones.

Begin by getting the heat level of any product correct. Heat level is determined by undertone. It is amazing what difference that alone will make.

After that, choose the darkness level, which is determined by under- and over-tone.

After that, be sure the heat type is correct for the skin. Most companies over-warm all their foundations, including those marked Cool. To complicate things further, they use Spring’s pigmentation to do so. Not easy to find a great Autumn foundation.

Imagine being a Caucasian Dark Winter – the difficulty of finding cool colour and Autumn type heat and Winter level lightness. Wearing wrong colour clothing to the appointment makes the job near impossible.

Photo: alba-neag

Photo: alba-neag

 

7. Often women come to a PCA appointment with correctors of various sorts. Once she is wearing her correct clothing colours, she has forgotten all about them. There is nothing that correctors would do or could do that foundation alone has not already done unless there is a particular issue like a birthmark, and even those are diminished greatly by wearing correct colours.

Watching Lisa work is hypnotic. The video on Marilyn’s makeup is great. You will also find this beautiful video for mature skin. Great place for new analysts to pick up some good ideas.

8. I talked above about the importance of defined features for looking younger. This article does a beautiful job of discussing it. Kathryn Kalisz wrote about it in her analyst guide. This is not new information for colour analysts that I dreamed up out of the blue. People say I invented things and changed Sci\ART-based colour analysis. No, I did not. If anything, Terry and I altered the original process the least of everyone, and remain unconvinced to do so. I did notice a few things independent of other things and described them with a new set of words. Maybe folks did not recognize them.

In your correct colours, features are most defined in colour and in shape. It really matters.

Defined in colour… Though they have a place, I am not a fan of nude lips on most types of coloring, particularly when hair or eye colors are intense, or the person is over 35 or 40. It doesn’t have nearly as much excitement on Lisa herself. Why pick the more exciting face? Because why pick the more boring face.

Defined in shape…How does feature definition look young? Because the opposite…think of an eroded statue, an eroded landscape. Signifies wear and tear.

Lately, I am wondering if maturing skin is an overtone change too. The surface layers appear grayer, possibly because we contain less water. In the undertone layers, we test mature women in every single Season, and I bet the very same Season as when they were younger. Many Darks, many Brights. For overtone practitioners, that surface grayness plus silvering hair is the reason they get put into Summer Seasons. Except their edges and colours disappear. No judgment here but I don’t see the visual as being so good. Eroded edges are fuzzy. Looks like blur. Side by side, which of these would look younger?

Photo: giulioplay

Photo: giulioplay

 

Stronger? Healthier? Newer? The focused ones or the others?

Photo: rosa02

Photo: rosa02

 

—–

Article 2 for The PCA Client

February 24, 2014 by · 1 Comment 

Terry has posted the second in her series. The link is here for “What Is Under My Overtone?

Until you get past believing that how things look is real, you will be challenged to understand, perform, or interpret human colour analysis.

I am asked:

1. How important is TMIT (The Most Important Thing, from a previous article) in a person who just looks medium?

No diffferent than  in a person who doesn’t look medium. If the drapes measured you that way, then you must be that.

2. Is there anyone where TMIT doesn’t matter?

No. What you think they look like isn’t real.

The blue-eyed blonde Bright Winter is not primarily light, though they look that way. They are primarily bright. It would be hard to know without draping though.

Soft Summer is quite dark at times. Someone might think they see saturation. They don’t, or the person would have draped better as Winters but that wasn’t the case.

 3. What if TMIT is vague and you are medium on all 3 parameters?

Never happens. Might look that way on the outside but what you think you see  isn’t the true situation. In the total imge, it’s not possible to tease apart the 3 colour dimensions and know the level of each one. Therefore, be careful of PCA systems that just look and don’t test, compare, or measure.

Dark Autumn and Dark Winter don’t always look dark. They can look quite medium on the value scale but that is not how their skin reacted when tested with a variety of value levels.

Within a given Season, there can be fluctuations in TMIT tolerance. Some Soft Autumns can wear a little more saturation than others. Their predominant colour dimension is still softness of colour.

4. Does a client whose TMIT isn’t obvious to look at need to make adjustements in use of the fan?

Everyone needs to adjust use  of the fan but not for that reason. The test process will show TMIT. If you didn’t contain it, the drapes wouldn’t have measured it.

But there can be wide darkness level ranges within a Season, especially in hair. The value range (lightest to drakest) of a Season is quite wide and the person could be coloured anywhere within it. There are more ‘usual presentations’  but Terry talked about  the danger of stereotyping  in article 1. This doesn’t influence use of the palette in clothing, but you might use your second darkest neutral for pants and shoes. You might wear a darker lipstick.

There are Dark Winters who are quite cool but not very highly saturated in their group. They look Soft Summery. It might help them to own that palette for shopping. They could wear some darker Soft Summer colours if they already appear a little less dark or candy-coloured than a Dark Winter whose colouring lives at the border with True Winter.

There are Dark Winters who are plenty saturated but warmish in the group. Me, for instance. Clients must test all cosmetic recommendations. If you bought something from a list without testing, I take no blame.

Today, Terry takes up the topic of what we’re really measuring. It’s not what’s sitting on the top. It’s not what you think you see.

 

Announcements February 2014

February 10, 2014 by · 2 Comments 

In an effort to streamline our teaching techniques as much as possible, though I am told that they already are very much so, Terry Wildfong will be joining  me for the training course here in Chatham, Ontario, at the end of May. Please see The PCA Training Course for further info or email me at christine@12blueprints.com

I will join Terry and her student for a course in June in Michigan, dates TBA. Terry’s contact info is on her website linked to her name above.

Two trainers! No extra cost! Wow.

 

—–

Article 1 for the PCA Client

February 8, 2014 by · Leave a Comment 

About 3 posts back, I mentioned that Terry at Your Natural Design would be posting an article series with topics for the PCA client.  It is understandable that the public is confused by the variety of “colour analysis” services. How can a person be expected to distinguish the various methods?

We want you to get the product that you expected, the one you thought you were paying for. You might assume that colour analysts all do about the same thing, interpret findings in the same way, use the same drapes if they do actually measure colouring or judge it simply by how it appears, and that we all share the same goal. This is extremely far from the true situation.

Your natural colouring is accurately represented by the colours of only one Season. For analysts to arrive at the same answer to a one-answer problem,  they are going to have to ask the same question. This is not the what is happening.

Clients need education so they can choose the analyst, analysis service, and outcome that best aligns with their goals. Sometimes, a topic is so broad that we need a little help defining the questions to ask to get to the knowledge that will help us choose the PCA service that is right for us.

Terry’s first post is Stereotyping The Seasons – Helpful or Harmful?

Next Page »