Good afternoon, dear colleagues, Alexander Kuvvatov is here with you.
And I gladly present you the HAIR SET video magazine, issue #62.
In this video we'll discuss a vitally important topic – the Color Wheel.
Before talking about the Color Wheel, let's recall one major topic – primary colors.
We have two basic color mixing systems – subtractive and additive.
As their names suggest – they mean subtracting or adding the colors.
But what does it mean?
The subtractive system works by reflection.
Meaning, when a beam of light hits an object, a portion of light is absorbed and the remaining color is what we actually see.
And this principle is what we observe in hair.
Additive mixing is possible only in one case – when a beam of light travels through space before it is reflected from an object.
In hair color additive mixing is impossible.
So, we won't consider this topic when we'll work with hair.
In additive mixing, the main colors are green, red, and blue.
These are the colors that create the visible spectrum that we see when light beams are refracted.
In subtractive mixing, the main colors are cyan, magenta, and yellow.
To be honest, you must understand, that the system developed by Johannes Itten,
in which, as he said, the primary colors are yellow, blue, and red, is rather far from reality.
It is good only for the basic study of colors.
Meaning, if we take yellow, red, blue as primary colors – the opposite colors in the system won't give 100% neutral grey color.
By mixing opposite colors we'll always get a warm brown color.
In the real-life system of color mixing, three primary colors mixed together always give an achromatic grey color.
When can we see all primary colors? When we use a printer.
A color printer does have yellow, cyan, and magenta – three primary colors.
Often there is a fourth color – black.
In a more advanced printer there is also light cyan, and light magenta.
Take a look. The primary red really looks more like pink.
That would be color #89 in the Constant Delight palette.
As for the primary blue color, in reality it is more light blue.
But as for saturation goes, it is, of course, a darker, denser color.
Yellow is the only true-to-life color.
Yellow looks rather dense in a bottle, and on paper we get a nice, translucent yellow shade.
Precisely by mixing these three primary colors we get an achromatic grey color.
So, when we'll be talking about an actual color wheel that implements the achromaticity of colors in its center,
we'll always imply specifically these three colors as primary, and not the colors suggested by Johannes Itten.
All the rules we'll study, you can actually apply using the standard Itten's Color Wheel, if it is convenient for you.
But in this video, we'll work with the Color Wheel we use in our Academy.
This particular Color Wheel was designed by the team of our teachers,
and it is the closest approximation of what we should get during neutralization.
Let me share a secret with you – no color system is perfect.
Why? Because no individual system in its planar rendering, meaning in projection, can represent all colors that exist in nature.
Even the human eye can't see all existing colors – we see only a limited spectrum of colors.
That is why when we talk about a color system we mean a conditional and abstract use of a color system.
That is why, you are free to use any color system convenient for you.
Let me repeat myself, no color system is without flaws
or drawbacks that won't let you work to the full.
Take the Ostwald's system, RGB, CMYK, HUE systems, the Kandinsky system, Axioma system or Itten's system – they all have their pluses and minuses.
How should you choose a color system? By considering your personal preferences.
Whichever you choose, it should be convenient just for you and allow you completely and professionally understand color and how you create it.
It's best, of course, to view colors in a three-dimensional form.
But it is rather problematic to memorize a 3D color scheme.
If you are a professional colorist with a rich experience in colors, of course, you can create a 3D color model in your head.
But if you are a beginner, or if you've worked only with planar color schemes, it would be difficult for you to get accustomed to a 3D scheme right away.
So in most cases, it's simpler to begin working with a planar color scheme.
So, this is the Color Wheel.
As I've already mentioned, the primary colors are yellow – Y on the color wheel, also magenta, and cyan.
These are the three primary colors, which we have positioned equidistant from each other.
What must we pay attention to?
Opposite each color there is a color which allows create a grey color with maximum approximation.
In a computer model it is quite possible.
In reality it is very difficult to find the colors that are 100% opposite to each other.
That is why in the center you'll always get a greyish brown color.
This is already quite an achievement compared to getting warm pure brown colors.
So, which colors are opposite to each other in the Axioma color wheel?
As you see, opposite to yellow we have a beautiful blue-violet color, not pure violet.
Here I must note that a pure violet color neutralizes cool shades, meaning it works well against lemon shades.
But if we take a pure yellow color, it works best with a blue-violet color.
Sure, the violet part in a blue-violet color is rather high.
Still this shade tends to the blue much more, than pure violet.
Pure violet color, as you may see, is positioned opposite to yellow-green color.
They work together quite well in regard of creating the shades of grey.
Opposite to blue, as you see, we have a wonderful orange color.
Opposite to cyan we have a red color – they neutralize each other perfectly.
Opposite to blue-green we have a violet-red color.
In order to neutralize green color you mainly use magenta.
But here I should note that green color must be neutral.
Neither blue-green, nor yellow-green.
Only in this case, it works well with magenta.
What is most important about the color wheel, why do we say that it is conditional.
As you see, in one color wheel we have both very light and very dark colors, that absorb lighter colors.
So, often when you mix equal parts of primary colors you get deeper shades than you'd like.
Here it is important to note, that a light color always gets absorbed by a dominating dark color.
And you will have to increase the amount of a light color by the amount of a dark color.
Now let's talk about the main rules of application of a color wheel.
Rule #1. The rule of neutralization.
Colors opposite each other on a color wheel neutralize each other
on two important conditions – the colors must be equal in saturation and equal in lightness.
The problem is that often we use the neutralizers and mix tones that are rather dense.
And for proper neutralization we always have to decrease the amount of a neutralizer significantly.
For example, to lighten and neutralize the level 10 we add just one centimeter of a blue mix tone.
So, it's important to remember, that when you have colors of different saturation and lightness you must decrease the amount of a dark color in regard to a light color
in order to prevent the dark color from dominating over the light color and making it darker.
What's most important about the mix tones
Mix tones, as I've said, differ in saturation.
Every brand develops its own rules.
You must understand that the rule of 11 developed by Wella doesn't suit all brands.
It suits only those brands which mix tones are equal in density to Wella's.
Only in this case, you can apply them similarly.
Otherwise, your task, or should I say, the task of a company's technologist, or more precisely, the art director is to develop a system for using mix tones.
The great advantage of mix tones is that they are located on the outer circumference of the color wheel.
That is why we can move a color in the wheel rather freely.
Here is a great disadvantage that the neutralizing tones have.
The neutralizing tone is located inside the color wheel.
Hence, the movability of colors is limited.
The exception here are the colors of maximum intensity which are closer to the mix tones than to the neutralizing tones.
These are the colors you can use instead of the mix tones.
Particularly it is true about the Label dyes, which have maximum saturation of colors in different levels with consideration of pigment density.
We'll return to the mix tones at the end of our video.
And I will tell you, which mix tones are best, at least among those that are available on the market, and which quality I can guarantee.
Rule #2. The rule of saturation.
If you want to increase saturation of a certain color, you need another shade of a related color, but more saturated.
Most often for this we use mix tones.
As you see on the color wheel, in order to move towards a local color you need to add a more saturated color.
Here is only one problem – by adding a maximum local color of a subdued shade you will never achieve maximum saturation.
For maximum saturation you need to remove the whole base and leave only pure mix tone.
Rule #3. This is the most complicated one, which makes the majority of our students fail.
This is the rule of color shift.
The rule of color shift means that all colors are to be mixed at a straight line.
The exception here are direct local colors which are mixed following the outer circumference of the color wheel.
But when these colors move past primary colors they are to be mixed at a straight line.
Let's view some examples. Take a look at the color wheel.
If we mix violet and orange colors, the line between them passes a reddish brown palette.
And by increasing violet we can get more of mahogany color,
and by increasing the red part we get more brown color.
The same process takes place when you mix violet and green.
The resultant colors will belong to the greyish cendré palette.
Starting with cendré, then moving to ash, and finally to blond shades.
Often to create beautiful ash shades we add yellow-green colors.
Which in combination with ash-blue colors create a very beautiful natural blond.
The only problem with the rule of color shift is that it is impossible to calculate the colors mathematically.
Meaning, you must rely only on your experience in working with a particular brand or brands, if you combine them.
Your experience helps you approximate where the position of the resultant color will be in the color wheel.
Unfortunately it is impossible to say for sure that the color be here or there.
It is always just approximately.
Finally, rule #4. The rule of color discomfort.
What is color discomfort?
It implies the colors that for the current time period are considered not beautiful.
Actually, 'not beautiful' is very subjective.
And we use it mainly in two situations –
To express our personal attitude, or a general fashion trend.
For example, as you may recall, about six years ago a bright grey color was considered archaic.
However, last year this color was the top trend.
And at present day, when we say that grey color is beautiful, most people would agree.
This is actually true for all colors, even those that now are considered not beautiful.
Grey-blue-green color, grey-green colors, dirty brown-orange colors now are not obsolete.
But perhaps in five years they will be back in trend.
It all depends on fashion which moves us forward and dictates the beauty standards.
It means that rule #4 is purely subjective.
And you may or may not use it only in regard to your own vision of color.
Now let's return to the mix tones.
Which mix tones you need to fully work with a color wheel.
Firstly, we need to discuss yellow shades.
Among yellow shades we need to single out two – golden and lemon.
Lemon shades are perfect in Constant Delight palette – 053 mix tone.
Golden mix tones by most brands are perfect.
Personally, I haven't yet seen a brand that makes a shabby golden color.
So generally, you may choose a golden shade by the brand you favor.
Personally I recommend 055 mix tone by Constant Delight.
Ginger or orange color, or as we also say – copper. Though different in names, they are rather similar.
More orange colors you can find in the Lakmé palette
Mix tone 040 is perfect for the job.
When we talk of more red colors, the best mix tones are manufactured by Londa and Wella.
But be careful with them – it seems like they contain a direct pigment.
Why so? Because when you mix them with other colors, the red color dominates any other color.
So you have a glaze, optical color mixture, and this usually harms your work.
That is why I would recommend the reds by Londa and Wella for color intensification.
But when your goal is to neutralize, these mix tones may interfere with your work.
Very good ginger is 077 mix tone by Constant Delight and 077 mix tone by Schwarzkopf Professional.
As for red mix tone, I'd recommend 088 mix tone by Constant Delight and 088 mix tone by Schwarzkopf Professional.
The only peculiarity that you must keep in mind is that red mix tone by Schwarzkopf Professional is a bit cooler than by Constant Delight.
Slightly warmer red is in mix tones by Wella and Londa which are also perfect in work.
As for magenta, 050 mix tone by Lakme is the best.
As a substitute you may as well use pink mix tones.
They are very good in work, especially 098 mix tone by Constant Delight.
Also Wella and Londa 065 mix tones will be suitable.
I wouldn't recommend the magenta mix tone by Constant Delight – it is too intensive.
If you are so to say an advanced user, you may for sure use this mix tone.
But if your experience with mix tones is limited, you'll find it hard to use this one.
The same problem exists in Schwarzkopf Professional's 089 mix tone.
It rather intensive and dominates any colors you mix with it.
Violet mix tones by any brand create no problems at all.
Any violet mix tone works well. It is only the matter of choice – should you take more blueish or more reddish tone.
Generally, all companies gravitate towards an ideal by Schwarzkopf Professianal, Wella, and Londa.
Particularly, their 099 and 066 mix tones.
Actually, Constant Delight manufactures a rather decent mix tone 099, similar to Schwarzkopf Professional.
Blue mix tone. Here the durability of a mix tone is very important.
The most durable mix tone is 070 by Lakme.
If you want to get perfect and durable neutralization I advise you add it to your armory.
So, 070 mix tone by Lakme is a must-have. Do buy it, if it's available for you.
But if Lakme is unavailable, you can substitute it with 022 by Constant Delight, 022 by Schwarzkopf Professional, 088 by Wella, 088 by Londa and 08 by Keen.
Blue-green mixtones are mainly produced by Lakme, Constant Delight, Schwarzkopf Professional, Wella, and Londa.
You may choose any blue-green mix tone depending on which brand you appreciate.
All these mixtones work perfectly.
As for perfect green mix tone is concerned, I'd recommend the Lanza brand.
Its mixtone X gives pure green color which is often so needed in work.
Its good analogue is the green mix tone by Bioesthetique.
Yellow-green color is best 033 by Constant Delight.
It works best, for example, with 098 mix tone.
But here I must note that 033 mix tone by Constant Delight is very translucent and you have to add a lot of it.
What else should I add about mix tones.
As mix tones you may freely use black colors.
Often we use pure 1.0 color to create graphite shades,
because the phenylenediamine in the content of pure black color produces a very beautiful grey color when it is mixed with base 9 or 10 levels.
Blue-black color you can also use as a mix tone.
It is good for creating opal shades.
Of course you can use the ready-to-use mix tones like opal and graphite mix tones by Constant Delight.
They would allow you to create the same colors you need in a more calm and quick mode, because they are more subdued and are easier to use.
So, having all these colors in your arsenal makes you a perfect colorist.
Why? Because, firstly, working with just one color you'll never create a beautiful shade.
Secondly, you'll be limited in the color spectrum. Meaning, whatever you are doing, your client can do herself at home with ordinary products from any store.
You have to make individual colors when you mix them and create more complicated and interesting colors.
Remember, your task is to create colors that nobody can reproduce, neither your colleagues, nor your clients.
And here the mix tones are of great help. How can you practice using the color wheel without experiments on your clients?
Here the color bath is perfect in practice.
Remember that color bath is the only kind of coloration which allows to alter the color during the process of coloration.
And when you want to study the color wheel, I suggest you simply take a base color, for example 10.0
and add mix tones to it thus creating the color you need.
The hair color should be as light as possible, whichever is available.
Any light color you can find in the hair extension store.
Often we use short hair samples, but they are often made of waste products and hence get damaged easily.
If you visit a Good Hair or Belli Capelli store you can take 20 cm samples.
You can cut off the damaged ends and work with a shorter part of the sample.
What is your next task?
It is to dye the hair sample using the colors and mix tones into some shade.
And then use the color bath for neutralization to create a neutral color.
This is how our students practice their skills during the first base course.
When the study the variants of the base color, and options of working with the color wheel and color bath.
There is another benefit in practicing the color wheel by means of a color bath.
it helps you study a new dye immediately.
Meaning you can practice new dyes not on your clients, but on the hair samples, learning which colors you must use to create certain shades.
If you wish to study the color wheel in details with all its nuances
you are welcome to apply to our courses Art of Color. Block 1, and Coloristics without Borders
There we will teach you to work with a color wheel to the full.
And you'll develop the skill you can apply in your work and become a unique colorist.
And you'll be able you create any colors you want, not just the colors the brands offer.
For more infomation >> Tiếng thét lúc nửa đêm trong căn biệt thự triệu đô - Chuyện có thật - Duration: 5:30. 
For more infomation >> Trump's Visit to Asia, Woman Flips Off Trump's Motorcade - Monologue - Duration: 3:11. 
For more infomation >> Seth's Message to New York Voters - Duration: 2:04. 
For more infomation >> Клим Жуков о собственности и справедливости - Duration: 46:28. 
For more infomation >> YouTube Subcommunities - Duration: 5:39. 
For more infomation >> Đỉnh cao!! Quẩy Tuý Âm - Điều Khác Lạ tại Đấu Trường Danh Vọng mùa Đông 2017 | MON Gaming - Duration: 10:12. 
For more infomation >> Wonder / Mucize (2017) Türkçe Altyazılı 2. Fragman - Owen Wilson, Julia Roberts - Duration: 1:01. 
For more infomation >> Bayer Advocate капли от паразитов для собак, кошек и хорьков - Duration: 1:57. 
Không có nhận xét nào:
Đăng nhận xét