We discussed How The 5 Autumns Add Brown To Hair Colour. It only seems right that we go through Spring yellows.
But first. As I look at the original Autumn graphic below, I notice that I have combined 2 concepts. I melded the type of brown with the appearance of Winter red.
The original picture:
The 5 Autumn browns, subtracting Winter red, would look like this:
The Soft Season browns are still being influenced by Summer gray, I know, but the particular brown is right. Soft Summer = campfire smoke. Soft Autumn = peanut butter. True Autumn = amber gold. The same gold is warming them all, but the effect is different when the amount is less or more.
From there, ignoring the redness of Winter, but allowing its blackness, Dark Autumn = dark neutral taupe. Dark Winter = black chocolate.
For Spring, let me confine myself to the type of yellow only. In 12 Season (Tone) Colour Analysis, we include the True Spring, and its strong blends of Light Spring (blend with Summer) and Bright Spring (blend with Winter). We also include Spring weak blends, as the Light Summer (Summer takes precedence) and Bright Winter (Winter takes precedence).
For each of the 5 groups, the yellow being added by Spring influence is affected by the amount of Spring and what Season it is being blended with.
Spring colours are light because of a particular property of yellow. As it increases in saturation to satisfy Spring’s pure clear colours, it gets lighter. Compare that to Winter, which gets darkened by the higher saturation of the colour blue.
Before Spring : A kitten is True Summer white. Their best hair highlight is silver beige. Not white or platnimum, but certainly not yellow, which causes an illusion of a red, shiny nose and center of the face.
Gradually, Spring will light up the palettes. Light Summer is marshmallow. A trace of yellow from Spring and a trace of blue-grey leftover from Summer. This woman is predominantly a Summer. She looks better in Summer style of wearing clothes, but brightens and lightens it. Sometimes, the lightening effect can be less obvious and need not be conveyed only by pale pastel colours. For instance, a fabric can convey lightening as weightlessness or floatiness. So can a print like bubbles, mist, or foam. When added to hair, this watery yellow looks best as a cool beige. (See How Light Summer Goes Grey)
As we move into Light Spring, colour becomes yellower and clearer. The variability in human colouring, even within a given Season, is the challenge of personal colour analysis. There are many texts and websites, including this one, that may show you a human example of a Season. Trying to find those averages among your friends is another thing altogether. Your colour analysis will tell you the hair colour and makeup colours that look most natural on you, within a small range. The range may go from warmer to cooler, or lighter to darker, depending on your position within your Season. Louise (in Louise and Stevan Are Light Springs) is very much on the cool side of the Season, with more ash brown than warm brown hair, so her highlight will be cooler than Stevan’s beachy, sunny yellow. From a colourist perspective, this will be hard to fine tune with bleach alone, but they have many shades of blonde to work with to give you the right highlight. You will know what to ask for when you walk into the salon.
True Spring has a clear yellow in the largest quantity. Though the hair may not be yellow at maturity, and is probably brown, her hair highlight is buttery, almost peachy, yellow. The harmony with the skin is extremely spontaneous and likely. Her natural hair colour is probably dark blonde, and may be glassy, like the caramelized sugar glaze of a Creme Brulee. As colour transparency in eyes is high in Spring, so is it in hair and skin, and therefore lovely in cosmetics. Autumn base colour is medium to dark brown and velvety dense, and of course, Autumn would never wear a yellow highlight.
Bright Spring is a clearer stronger yellow. In reality, the same yellow is added to the various groups, yellow pigment is yellow pigment after all. The different appearance is due to the amount of yellow and relative influence of the other colours. Because there is less than in True Spring, there is none of the buttery softness of True Spring. All I did was raise the saturation. Dark hair and dark eyes are very common here. When the complexion is deeper, the person looks Mediterranean, as Spanish or Italian. Dark hair and fair skin may look Celtic. If the person has white hair and turquoise-glass eyes, she is the only person outside her family who knows her eyes are turquoise, not blue, because she dresses like a Summer. You have to use judgement to harmonize the person and the makeup on the Light>>Dark scale, and on the Warm>>Cool scale, among the colours offered in the Colour swatch Book. This colouring is very unique. No hair colour from a bottle is likely to improve on what you were given. The finest tuning balances the complexion with the natural hair colour, but won’t believably tolerate big creative shifts.
Out at the Spring frontier of Bright Winter, there is very little yellowness left. The difference between this and Light Summer yellow is the amount of gray. This yellow is icy white, lighter than the colour above (icy colour is hard to replicate on a screen and convey the frostiness). This person is a Winter, with very little Spring remaining. The Winter most important rule is high contrast, so very light with very dark blocks. Therefore, to be called icy, the light colours Bright Winter chooses move very close to white. Also fascinating hair colouring, be careful if you mess with it. If quite dark, leave it alone. If medium brown, almost ashy, and eyes and skin are light enough, a little blonding at the ends of the hair can give a sunkissed suggestion. Don’t go overboard. If the hair is dark, leave it be. Dark and dynamic force is uniquely Bright Winter’s radiance. Now why would you reduce that?