Our Eye Album: Summer
July 12, 2011 by Christine Scaman
The previous post,Â Our Eye Album: Spring, contains a few introductory notes.
Many wonderful Summer pictures. I’ve put them in Light, True, Soft Summer order. Hovering the cursor over each will give you the Season.
A very sincere tip of my hat toÂ Color Me A SeasonÂ founder Bernice Kentner who was first to deduce the eye colour and pattern association with Season. Her book,Â The Magnificent Eye, contains all the explanations you need to get started.
Summer eyes are the most predictable, unless they’re brown, in which case I find it very tough to read anything. Look for a flower or ring-shaped space around the pupil that has no lines in it. Look at the iris and notice the gentlest rippling water type lines, no definite serpentines, stars, or petal shapes. The 3rd eye from the top is an exception in that it contains a lot of lines and patterns, like a kaleidoscope.
I’m not getting all worried here that lighting and focus may not be perfect. My explanations are just fun observations. I never look in an eye before or during a PCA, because I don’t want any nagging second thoughts if eye patterns and skin don’t Â match. The skin absolutely is the deciding factor.
Can you see the faintest pale yellow light coming out in a ring, out in the iris?
Notice in the above eye that all the colours are soft, light, even watery, and that the skin is faintly yellow(Spring) and pink (Summer)?
Below is the eye of a 12 year old girl whom I draped 2 years ago as a True Summer, with true pure blue eyes. Yellow has come into her skin and her eye has changed dramatically. The overall colour has warmed and the yellow ring is present in the iris.
She’s presently cleanest and freshest in Light Summer, but so very close to tipping over into Light Spring. There were so many beautiful effects in Light Spring that my decision was something of a compromise. By the age of sixteen, I expect she’ll be a Spring of some sort. She’s been able to adjust her own wardrobe accordingly, as children often can. Her hair is yellow-white and has not changed.
The pair of eyes below belong to the same woman. She is a Light Summer, with True Summer as second best but lacking in the ability to refine the features or add a creamy, even-coloured quality to her skin. She wondered if seeming dark to look at, at least from her hair colour which is a darker grey, would exclude her from belonging to the Light Seasons, but she already knew the answer: No!! What matters is which colours make your skin and face the Â most perfect. Hair colour is only loosely tied to Season.
This pattern is fantastic. It reminds me of being underwater and looking up at the sun, especially the lower photo where the yellow seems to serpentine through the iris. In the upper eye, the sun is Â mostly seen in the points, arranged in a circle out in the iris. This leaves the appearance of a grey rim round the outside of the iris, a very frequent Light Summer effect, which is very striking in person and can be heightened a lot with right-coloured clothing and makeup.
The eyes have that open, line-free, very distinct floral shape round the pupil which is Summer. The ability to see some lines and the more defined geometry from 8 to 10 in the upper eye are not uncommon in Spring blends. Both contain a lot of yellow (Spring). There is some orange but it’s clear, not clouded as Â Autumn’s is, and it’s not uncommon to see it in Spring influenced-eyes. A Spring effect can put irregularity in the eye patterns, I find them the least predictable, maybe because I haven’t looked at enough Spring eyes. The lashes are light and have warmth. Also a fair bit of yellow and pink in the skin.
The thing that would surprise you most about the Light Summer people to whom these eyes belong is that about one third of them are dark haired. They may be iron grey or medium dark brunettes, not the stereotypic blonde and light beiges you expect. And yet, the supremely beautiful eye below is classic for Light Summer, though the woman’s hair is fairly dark brown. The overall colour is watery with lots of grey (Summer), the lines are like gentle ripples in water (Summer, not Winter’s heavy spokes and serpentines), and the faintest yellow sun is coming in as a wreath in the iris close to the pupil, to signal the Spring presence. Light Summer is the doll’s face come to life, the big, round eyes and small, beautiful mouth. The woman below is the dark-haired doll, petite face with girlish features, big eyes, smaller perfect mouth and chin. You can see Spring’s faint yellowness and youthful perfection in her skin.
Below, you can see an eye with truly exceptional colour. Not only is the blue actually a cool turquoise, you can see the yellow beams of pure sunshine coming out from the ring around the pupil. Imagine Nature giving one person so much in common with the planet of water and sunshine we live on. On its own, you might think this eye belongs to a stronger Spring. The clarity of the blue and the upward tilt of the eye would certainly feel that way. On the other hand, the skin has yellow but it has more pink. The brows are an ash brown, neither very pale nor yellow, hinting at some coolness. The face in which these eyes live is seen in the photo beneath the eye. Isn’t it amazing when it comes together? You can see a cooler skin and the incredible effect of the Light Summer blouse at repeating many of the blues in her eyes. I wonder if her eyes look more green when she wears green. I find that the Spring-type eye changes colour according to clothing more than any other.
Below, a Light Summer eye with the pastel blues tones of Summer. There’s very little warmth in the eye, perhaps a little around the lower half of the pupil but barely defined. This woman’s natural colouring is spectacular. Her skin is very young, and delicately pinkish. Her hair is a most beautiful rose gold colour that seems quite intense but balances her face beautifully. A near impossible colouring to self-analyze but a rare and fascinating gift to share once its harmony is repeated in clothes and jewelry.
Classic Â True Summer, the eye above. The open space, the greyed colour, the pink skin, the medium sandy brown lashes. The camera picked up the odd orange fleck is floating around, an Autumn influence, but there is no heat in the skin.
Blue, blue eye, no apparent heat, pink skin and blood vessels. The brown around the pupil is cool greyed taupe. I don’t see any heat here.
Below, we see an eye with aÂ lot of line pattern. This woman would probably be overwhelmed in Winter’s blackened, intense colours, but she has some darkness in her. The white of the eye is a soft white, not the intense blue white you see in the Winter Eye Album. Nonetheless, we would have to drape carefully for Winter.
The eyes below are those of a woman who draped as a True Summer. Sandy brown lashes, a soft white of the eye, and beautiful clear water effects in the iris corroborate that. What’s special is the amount of heat (meaning warm colours like golds and browns) that have found their way into the iris. Like the eye just above, there’s also a fair bit of line pattern and the lines begin just at the edge of the iris, effects seen more in Spring and Winter. As magnificent as it is, these are a lovely reminder of why we don’t do colour analysis by eye colour.
The eye below is a most interesting variant of True Summer. We expect to see that doughnut around the pupil that is absent of any line pattern, like the first True Summer eye above. As you see, nothing applies equally to every person. Here, the lines appear to originate at the Â edge of the pupil. However, the colours within the iris are the beautiful greens, blues, and grays of water. The line patterns are gentle waves, not strong zigzags. There is a slightly more pronounced serpentine at the 5 oclock position, but even this is more calm and rippled than Winter’s much more contrasting geometries. We talk about the dark ring around the outer edge of the iris as being every person’s best neutral colour. I find the ring easiest to see on the cool and cool-neutral Seasons. On a brown eye, it’s easier to upload a photo and have Photoshop extract the colour (you may Â see an interesting purple-grey if you’re a brown-eyed Summer). Here, we have Atlantic ocean blue, a perfect cool softened blue-green.
Very muted colours, little line pattern, could be similar to the 4th Light Summer, except the skin seems greyer, not sunny.
More warmth in this eye. This woman wondered if she was a Soft Autumn, and the heat is coming in, but she drapes better in Soft Summer.
The 2 photos below go together. This very beautiful woman was recently analyzed (online) as a Soft Summer. 20 years ago, an analysis said Soft Autumn. A later PCA said a Dark Winter, but the makeup and colours felt too dark and aging. This threesome of Seasons is one of the most commonly confused. The eye supports one of the Soft Seasons. I’ve talked before about the particular facial geometry of many Soft Summers, with the delicately carved cheekbones and jawline and the very symmetric and beautifully fine-edged outline of the face. Here you see a perfect example. No other palette than Soft Summer will reveal these. In Soft Autumn colour, the edges are far less defined and the features seem blunted, not nearly as delicately clean as this.
Are you finding that Soft Summer eyes are fairly consistent? Though the ring of warmer colour right round the pupil varies from taupe to light amber, from a distance the eyes look cooler than warm – just like the person and every colour in their body. Eyes are pure magic.
This remarkable eye below comes from a woman who is so close to the Soft Summer/ Soft Autumn border that we had to be very careful with the draping. You can see the face that this eye belongs to under the eye photo. There is so much of Autumn’s orange heat in the eye, around the pupil and throughout the iris, that one could easily mistake her for Soft Autumn – Â but her skin became yellowed in the Soft Autumn drapes. In her eye, despite all the Autumn coming in, there remains the open space around the pupil, Summer’s trademark, and the muted blue-green base of Summer in the iris periphery. I wonder if a fully Soft Autumn eye might have have more olive, less blue, and yet more muting in the iris. Notice also the beautiful dark blued grey band of colour round the outer edge of the iris. We all have our own version of this colour, considered one of our best neutral colours and one to use freely.
Use of Images
The images contained in this article are of private individuals, not celebrities. I consider the permission for me to use them as a privilege. It is my intention to protect these women’s privacy and generosity. If you use any of the photos without permission, I will seek legal counsel. I do not want to have to reduce the beauty and detail of the photographs with watermarks. Some of these are photographs of children’s eyes. Please don’t use them.
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