Contrast For 12 Seasons
October 26, 2012 by Christine Scaman
The video above is here at YouTube.
I need to refine something I said in Part 1. I’m grateful to anyone who steps forward and challenges me. Don’t worry about hurting my feelings, it’s next to impossible to do. I know you’re questioning my ideas, not me personally, so please do as Rachel did and respond honestly. We all learn something.
that A) all colors in the palette should work equally well for anyone in any combination. This, in and of itself was easy to understand, but when combined with concept B) if you don’t use the proper amount of contrast for your type (i.e. true winter is a high contrast type, so it needs high contrast combinations) you will be expressing less than your potential.
She responded, “Now, each one of these ideas works fine on its own, but when you put them together, I believe there is a contradiction going on.”
Good points, Rachel. I wasn’t clear in my thinking. How about this:
Here at YouTube.
Rachel thought about it and asked,
Maybe what you meant was: stick with your type’s contrast level. If you are a season influenced by winter, that will be high. If you are a season influenced by summer, that will be low. Other seasons: medium. It works regardless of whether you are an exception to the seasonal stereotype. Have I got it now?
Yes, that’s what I meant – and that nobody needs to even think much about it except Winters.
I can’t think of any Season that couldn’t go to the highest extreme in their palette. Is it necessary to refine them? Only for the three Winters, not Bright Spring or Dark Autumn who also have some of Winter’s colour properties in them.
Also an important point: the size of the lightest and darkest doesn’t matter to establish the value contrast range. A band on a collar, a very shiny piece of platinum, a row of black navy buttons, white stitching…as long as the two extremes are present, the viewer will register them, the range is set, and the point is made. Adjust the size of the lightest and darkest blocks to the overall darkness level you want to achieve.
Would you sometimes need to heighten the contrast level offered by your Tone’s palette? I don’t think so. I don’t know of anyone within a Season who needs more contrast than their colours provide, regardless of the distance between hair and skin’s apparent darkness level. To do this, you have to lighten your lights, darken your darks, or both. We know that the 3 Colour Scales go up and down independent of each other (meaning you can have saturated colour that’s light or dark, warm or cool) but also that when you change one parameter, you influence the other two. To lighten your lights and/or darken your darks, what did you have to do? Add white? Yellow? Blue? In most cases, you’ll alter the colour right into one of the other 11 Tones and out of harmony with your natural colours.
A few more questions from readers about True Winter.
Here at YouTube.
Who would wear very high value contrast (light to dark) and very high colour contrast (complementary colours, like the skirt and scarf mentioned earlier or similar shapes of nearly equal size)? A Bright Winter.
Like Dark Winter, she has a better white than True Winter’s so-white-it’s-blue. Retail reality probably means that she’ll just buy the TW white. She is the lightest of the 3 Winters and I find she is better in coal than the dark, dense pitch black of True and Dark Winter. The 3 Winters do go all the way to B&W but I see their pure unadulterated form best on True. Dark and Bright need to adulterate.
Important for me to be reminded that nothing applies to everybody. In our group on facebook, we talk about colour as it applies to different body types, even within the same Season. No two women will apply the same palette in the same way. Partly, that’s just taste. As the ladies pointed out, tapped in as they are to elegance and balance in body line as much as colour, (applying David Kibbe’s 13 Image Identities from his 1987 book, Metamorphosis), women of the same Season but different body line will combine from their palettes differently. As a Dramatic Classic Dark Winter, my colour contrasts are higher, with heavy use of neutral colours. A Theatrical Romantic Dark Winter might find that too stark and minimal. She would wear more colours together at once, using more of the mid-range colours together. She looks and moves in a more delicate and animated way than I do, and she looks right when she repeats that energy in how she dresses, applies makeup, and chooses hairstyles.
Everybody adjusts everything in the way that’s right for them. It’s easy once you know how. One afternoon, you and I together. You will be amazed at the new tools in your toolbox.