ABC COLOUR WORKBOOK ANSWER KEY

COLOUR WORKBOOK

The unique education programme of Sassoon Academy is based on 50 years of industry leadership and is intrinsic to the respected cut and colour techniques of Sassoon.

This workbook, when used in conjunction with the abc DVD series and manual – Colouring Hair the Sassoon Way, forms a comprehensive training programme that, together with practical experience, will give you the tools to improve your technical expertise and develop your own colouring style.

Thank you for choosing Sassoon Academy education.

MARK HAYES International Creative Director

­­­C ONTENTS UNDERSTANDING HAIR COLOUR 6 COLOUR PSYCHOLOGY 16 SHAPE & BALANCE 18 HAIR DIAGNOSTIC 22 EQUIPMENT 28 FOIL PREPARATION 30 RIGHT | LEFT HAND WEAVE & LOCK 33 COLOUR MATRIX 34 COLOUR KEY 37

TOTAL VIRGIN TINT REGROWTH TINT COVER GREY VIRGIN BLEACH & TONE REGROWTH BLEACH & TONE

39 43 49 53 57 63

PARTIAL SLICES FULL HEAD SLICES HALF HEAD CLASSIC HIGHLIGHTS FULL HEAD CLASSIC HIGHLIGHTS HALF HEAD HERRINGBONE HIGHLIGHTS FULL HEAD HERRINGBONE HIGHLIGHTS HALF HEAD SINGLES CONVERTIBLES

69 73 77 81 85 89 93 97 101

COMBINATION COMB ON COLOUR MALE COMB ON COLOUR FEMALE TWO TONE TINT TWO TONE TINT VARIATION TWO TONE TINT VARIATION TINT & HIGHLIGHTS BACK-TO-BACK PANEL

105 109 113 117 121 125 129 133

UNDERSTANDING HAIR COLOUR Sassoon believe that every colourist needs a thorough understanding of the principles of colour theory and its application in hair design. The Sassoon proprietary methods call for an in-depth knowledge of the colour wheel, in particular the principles of colour devised by Swiss artist Johannes Itten (1888-1967). Itten intensely studied the subject throughout his career and his life’s work was condensed into the groundbreaking book on colour theory, The Art of Colour, published in 1960.

Ittens colour wheel formed the basis of a detailed investigation into colour that went beyond the dimensions of the purely physical; it incorporated the disciplines of philosophy, spirituality, and psychology. As Itten saw it: “Whoever wants to become a master of colour must see, feel and experience each individual colour in it’s many endless combinations with all other colours.”

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UNDERSTANDING HAIR COLOUR

THE COLOUR WHEEL ITTENS COLOUR WHEEL IS A VISUAL METHODOLOGY THAT EXPLAINS THE ORGANIZATION OF COLOURS AND HOW THEY INTERACT. What does the colour wheel illustrate?

The colour wheel perfectly illustrates how colours coordinate to react,

neutralise and compliment each other.

In which 3 ways are colours categorized?

1.

Primary

2.

Secondary

3.

Tertiary

UNDERSTANDING HAIR COLOUR

07

SECONDARY COLOURS How are secondary colours produced?

They are produced when two primary colours are combined.

What are the three secondary colours and what must be combined to create them?

1.

A mixture of blue and red creates purple

2.

A mixture of red and yellow makes orange

3.

Yellow and blue together produces green

What does the exact nature of the secondary colour depend on?

TERTIARY COLOURS What is a tertiary colour?

The exact nature of a secondary colour depends on the type of red, blue or yellow

used and how much of each colour is mixed together.

How many tertiary colours are there?

The list of tertiary colours is infinite and is dependent on the amounts

combined with one another.

Give 2 examples: 1.

Mixing more red with orange makes a deeper hue of orange.

2.

More orange then red creates a lighter copper tone.

08

UNDERSTANDING HAIR COLOUR

COMPLEMENTARY COLOURS Complementary colours are located directly opposite one another

Where are complementary colours located?

on the colour wheel. For example, red and green.

What do complementary colours do?

Complementary colours neutralize each other’s hue to produce an

achromatic or grey.

TONE Give three examples of different types of colour tone 1.

Warm (red, orange, yellow)

2.

Cool (blue, green, violet)

3.

Neutral (The natural hair colour)

What is tone?

There are three types of colour tone.

Tone is the colour seen reflected on the surface of or shining through the hair.

Give an example of how tone can be used

For example: as violet is opposite to yellow, it can be used to remove

any unwanted to yellow, it can be used to remove any unwanted yellow tones in blonde hair.

UNDERSTANDING HAIR COLOUR

09

WARM What types of tones are considered to be warm?

What sense do warm tones give?

Warm tones such as red, copper or gold.

A sense of heat when added to one another, the degree can be increased

or deceased depending on the combination.

What do warm tones maximise?

Warm tones maximize light reflection and give a healthy, gloss sheen

to the hair.

What effect can warm tones have on a haircut?

Warm tones can give a sense of movement in a haircut.

COOL What types of tones are considered to be cool?

Tones such as blue, lavender and grey are cool or ash in their

appearance.

What do cool tones do?

They Flatten the natural hair colour and have minimal light reflection.

How does this group of colours tend to be used ?

This group of colours tend to recede into the background and

can be employed to add extra dimension to a shape.

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UNDERSTANDING HAIR COLOUR

NEUTRAL What characteristics do neutral tones have?

Neutral tones have both warm and cool characteristics.

The characteristics would be determined by what blend of colours?

Depending on the blend of primary and

secondary colours.

The natural colour of the hair can vary from Dark

Light to

, while still remaining neutral.

DEPTH All shades of natural and coloured hair combine depth and tone, except for naturally white hair.

What does depth indicate?

Depth indicates how light or dark is irrespective of the tone.

What does tone describe?

Tone describes the actual pigment or hue of the hair, irrespective of the depth.

What is melanin?

Melanin is the name given to the natural colour pigment within the cortex

layer of the hair.

What are the two types of melanin?

Eumelanin and Pheomelanin

UNDERSTANDING HAIR COLOUR

11

EUMELANIN

Describe Eumelanin:

Eumelanin is back or brown and large in size.

Is it easy to remove?

Eumelanin is easily removed when lightening the hair.

In which colour hair is it most concentrated?

What colour and size is pheomelanin?

Eumelanin is at its highest concentration in darker hair.

Pheomelanin is red and yellow and small in size.

Describe its removal during the lightening process

It is difficult to remove during the lightening process resulting in

yellow being more visible.

In which colour hair is it at it’s highest concentration?

Its at its highest concentration in red and blonde hair.

If the hair contains no pigment what colour will it be?

If hair contains no pigment, the hair will appear white.

Hair can become darker with age as more what is produced?

more eumelanin is produced.

12

UNDERSTANDING HAIR COLOUR

A child’s blonde hair may get darker with age as

The depth of every hair colour is measured using an internationally recognised numbering system, the ICS (International Colouring System). The ICS and the colour wheel are standard tools employed by colourists to help determine the correct hair colour and determine its depth and tone.

Insert the name of each level.

2. Black

3. Dark Brown

4. Medium Brown

5. Light Brown

6. Dark Blonde

7. Medium Blonde

8. Light Blonde

9. Very Light Blonde

10. Pastel Blonde

11. Extra Light Blonde

12. High Lift Blonde

UNDERSTANDING HAIR COLOUR

13

DEPTH & TONE The depth of every hair colour is measured using an internationally recognized numbering system. The ICS. What does ICS stand for?

The depth of every hair colour is measured using an international recognized

numbering system, the ICS (International colouring system).

The ICS and colour wheel are standard tools employed by colourists to help determine what?

The ICS and the colour wheel are standard tools employed by colourists to help ascertain the correct hair colour and determine its depth and tone.

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UNDERSTANDING HAIR COLOUR

DEPTH & TONE Johanne Ittens colour grid is an aid to understanding the depth and corresponding pure tone of colour.

Please explain how the grid works and research Johanne Ittens work. Discuss how his findings have had an impact on colouring hair the Sassoon way.

Johannes Itten’s colour grid is an aid to understand the depth and corresponding pure tone of a colour. Darker colours tend to fall into the background. so they can used to contour shapes and make them appear more solid or graphic. Lighter colours reflect more light, so they have the optical effect of appearing bigger than reality, and when strategically placed in the hair, can give an impression of volume.

UNDERSTANDING HAIR COLOUR

15

COLOUR PSYCHOLOGY Itten believed that colour shapes the world and reflects the subconscious. Explain what these colours represent: Red:

Red is powerful, the colour of passion

Yellow:

Yellow lifts the spirit

Blue:

Blue soothes and calms

The eye may respond physically to colour in a universal way but the psychological reactions to colour can be very individual.

These are a combination of what?

Biology, psychology, society and culture.

Many ideas about colour have their origins in what?

Many ideas about colour have their origins in the natural

world.

Give examples of what different colour combinations can represent.

The notion that red is an indicator of danger

and its combination especially yellow and black usually indicates toxin.

Colours can have many different meanings in different cultures.

Describe the different meanings of white:

White in the west is a celebratory colour, traditionally worn by brides

on their wedding day as a symbol of purity; conversely in China, it is a colour of mourning.

Describe the different meanings of black:

Black in many cultures is associated with death, evil, demons, witches

and the Grim Reaper. In the 20th century, it has become the colour of authority and power, chic and sophistication.

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COLOUR PSYCHOLOGY

Explain the different meanings of green:

Green implies the renewal of nature and youthful vigour, ecology and

environmental activism. It is also the colour of decay. Many believe the colour to be unlucky and refuse to wear it.

Johannes Itten was one of the first to investigate the relationship between psychological responses to colour and the ways in which it can inform and direct moods.

Explain Ittens views on the effect of these different colours on mood.

Red:

Elevates blood pressure causing anxiety, passion or anger.

Blue:

Calmness, tranquillity, contemplation or insignificant.

What were Ittens main findings relating to colour and shape?

Certain combinations of colours and shapes were in

perfect harmony. A calming blue worked perfectly with infinite shape of a circle, where as a vivid yellow matches angles of the triangle to perfection.

What emotion is said to be gained from the colour: Red:

Passion

Yellow:

Warmth and happiness

Blue:

Tranquillity and contemplation

Green:

Hope and youthful vigour

Fundamentally, Itten believed in the existence of a personal colour palette, a range of shades to suit an individuals personality, physiology and sense of self. This is a concept that underpins all Sassoon colour work.

COLOUR PSYCHOLOGY

17

SHAPE & BALANCE SHAPE & BALANCE Explain the Sassoon philosophy of Shape & Balance.

Sassoon believe that colour is integral to a haircut and that

perfect colour complements every haircut by accentuating, strengthening or diffusing it’s lines.

Understanding the way the hair has been cut, so colour can be perfectly placed.

Why is it so important to apply colour with “Shape & Balance” in mind?

If colour is applied to Shape and Balance, it

can accentuate the shape of the cut, give depth and shine, and make hair appear to have more volume.

What effect will surface colour have on a one length shape?

Surface colour on a one length shape will maximize

light reflection .

What effect will the application of red and orange have?

Using red and orange will add more movement to the

shape.

What effect will the application of blue, green, and grey have?

Blue, green and grey are recessive and will add

depth to the shape.

The Shape & Balance of the cut will change as the hair grows and Sassoon expertise lies in knowing how to select the colour technique that will achieve the best results. The following principles of accentuating the three main haircut types and working with different skin tones are intended as a guide only. Once the foundation of colouring hair with the Sassoon proprietary methods has been understood and mastered then, with diligent practice and increased confidence the rules can be broken to begin to develop an individual creative style.

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SHAPE & BALANCE

LINES Which colour technique most enhances a one length shape?

A one length shape will be most enhanced with the

application of Total Colour techniques.

Which combination techniques can be used to give a contemporary result?

Two tone tint, tint and highlights and Back to Back Panel.

Which technique should be avoided?

Comb on colour techniques should be avoided as they give an uneven

highlighted effect.

GRADUATION Define graduation in cutting terms.

Graduation is a cutting technique used for building the

weight and volume in a hair shape.

What is essential to bear in mind when colouring graduated shapes?

It is essential to work with the weight line of the graduation, as it is the focal point of the cut.

What colour techniques are the appropriate for graduated shapes?

Combination colouring techniques such as Two

Tone Tine and Tint and Highlights would be the preferred option.

Where should partial colouring techniques be used?

Partial Colouring techniques should only be used above the

graduated line.

Do total colouring techniques work?

Total colouring techniques work perfectly well but do not directly

accentuate shape.

SHAPE & BALANCE

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LAYERING Layered haircuts create dynamic movement in the hair by removing it’s

What effect does layering have on hair?

internal weight and freeing up its natural texture to create a soft dishevelled look.

Which colour techniques are most suitable on longer layered haircuts?

Longer layered haircuts will be most accentu-

ated by the application of partial colouring techniques such as highlighting and slices.

How about on hair with a natural curl?

Singles would be the preferred option for hair with a natural curl.

Which colour technique is more suited to shorter layered looks?

Shorter layered shapes are ideally suited to comb

on colour.

Which colour techniques should be used with caution?

Two tone tint and back to back panel should be with

caution as they are more suited to shapes that are heavier in nature.

Is a total colour suited to layered shapes?

Total colour is once again suited to layering but tends to solidify the

layered look.

SKIN TONE Perfect hair colour compliments and flatters skin tone.

What is the main factor to take into consideration when deciding on a suitable colour?

The main factor to take whether

the client has a warm or cool skin tone.

What in particular should be analysed?

Analysing the natural hair and eye colour.

Why is it always important to consult with a client every time they have colour?

Skin tones changes over time, taking

on a lighter appearance, meaning certain shades may no longer be suitable.

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SHAPE & BALANCE

COOL What type of skin tones would be described as cool?

Cool skin tones include pale skin with cool pink undertones;

golden, olive or dark skin.

What are the most suitable hair colours for a client with a cooler skin tone?

Ash Blondes, cool browns, violet reds and

blue black.

What colours should be avoided?

Coppers, golds and oranges which tend to give the skin an unhealthy

appearance.

WARM What natural hair colour do people with warm complexions tend to have?

What complexion of skin tone?

Red, golden brown, deep brown or copper.

Skin tone ranges from peach with golden undertones or brown with pink,

golden or copper undertones.

What are the most complementary colours for a client with a warm skin tone?

Auburns, golden blondes, caramel,

cinnamon tones and chestnut brown.

Which colours are best avoided?

Cool reds, ice blondes and black may not work with warm skin tones as they

can make the complexion appear ruddy.

SHAPE & BALANCE

21

HAIR DIAGNOSTIC HAIR DIAGNOSTIC The consultation is key to a successful hair colouring procedure and a strict formula of hair diagnostics should be followed prior to every colour application. The first step is an understanding of the three distinctive layers of the hairs structure.

Describe each of the following: The Cuticle

The protective outer layer is formed of overlapping layers of translucent scales through which the

colour pigment can be seen clearly. The scales hinge outwards to allow chemical treatments to penetrate The Cortex

The cortex is the middle layer of hair and forms its main bulk. It contains the hairs natural

pigment. The long cable like fibres hold the natural moisture and protein, giving strength and pliability.

The Medulla

The innermost layer of the hair which is comprised of soft spongy matter which serves no

purpose and is not always present in hair with finer density.

HAIR HISTORY Why is it so important to discover the clients hair history?

It is essential to ascertain the hair history as this could

dramatically alter the result of the chosen shade and technique.

A visual assessment will determine what?

If the hair is in a natural state , or has been previously coloured.

Why is it important to ask open ended questions?

Regarding previous chemical services will give a more

detailed background to the number and type of treatments previously applied to the hair.

22

HAIR DIAGNOSTIC

HAIR DENSITY For the colouring process, hair density refers to how fine or course the

What does hair density refer to?

individual hair strands are.

What will density have an effect on?

Give an example

The technique and type of colour product employed.

Very fine hair may not able to withstand harsh chemical and may suffer breakage. Very

thick or course hair may need stronger tone and peroxide or oxidant for the colouring process.

Describe the following types of density: Fine

Fine hair is typically referred to as having a diameter of 50/60 micrometers.

Normal

Coarse

FINE

Normal hair 70/80 micrometers.

Course hair is classified as above 80 micrometers.

NORMAL

COARSE

HAIR DIAGNOSTIC

23

POROSITY Define porosity:

The hair’s ability to absorb liquid (which determines the application and development time

of colour) is referred to as porosity.

Absorbent If the hair is more porous, the more Will previously treated hair be more or less porous?

it is.

Previously treated hair maybe highly porous.

How will porous hair respond to colour products and development time?

Porous hair will respond to colour products

more quickly, so development time may be shorter than normal.

What kind of application is usually needed on porous hair?

When working on porous hair, it may be necessary to

apply the chosen shade at the roots first, as these will be less porous.

Where should the product be applied to first on overly porous hair?

On the ends of the hair later in the technique.

RESISTANT AND PREVIOUSLY UNTREATED HAIR How does thick hair differ from porous hair?

Thick hair absorbs minimal moisture and liquid.

Previously untreated or resistant hair absorbs minimal moisture & liquid, would development time be faster or slower?

Development time may be slower than normal.

How is the cuticle different and how does that affect colour application?

Hair that is less porous will have a tighter

cuticle layer, more colour may need to be applied and development time extended.

24

HAIR DIAGNOSTIC

SCALP CHECK Prior to commencing any colour technique what is it advisable to do?

Conduct a through hair and scalp diagnostic,

checking for any cuts, abrasions or other irregularities that may affect the colouring process.

When the colour product is in contact with the scalp, what advice should be given to the client regarding shampooing?

It is advisable not to shampoo for 24 hours prior to application.

And why?

The skins sebaceous oils will offer protection.

SKIN TEST When should a skin test be given?

Skin test should be given for all colour techniques that involve colour

product coming into direct contact with the skin, and should take place well before the service.

Explain the skin test procedure?

The standard method is to apply a small amount of the chosen shade /

peroxide or oxidant behind the ear and left uncovered for at least 48 hours. Please refer to the manufacturer’s instructions.

HAIR DIAGNOSTIC

25

INCOMPATIBILITY TEST What is the purpose of this test?

This is a test whether any chemical product already on the hair will react

unfavourable with the intended colour procedure.

How is this test carried out?

Take a small clipping from the hair underneath the occipital bone and place it in

a solution of peroxide or oxidant.

PRE-COLOURING TEST What is the purpose of this test?

This test indicates how hair that has been chemically treated will respond to

the intended colour.

How is this test conducted?

Take a small section of hair from underneath the occipital bone and apply the

intended shade, peroxide or oxidant and assess the result before proceeding.

ELASTICITY TEST What is elasticity?

Elasticity describes the ability of the hair to stretch and return to its original shape.

This test is a way to assess what?

The elasticity test is a way of assessing the degree of potential damage to

the cortex.

How would hair in good condition react?

Hair in good condition can stretch up to a third of its original length

and return.

How would hair in poor condition react?

Hair in poor condition lacks the ability to bounce back into shape. Poor

elasticity is always accompanied by a porous, damaged cuticle and hair which has a tendency to break.

How would an elasticity test be conducted?

Take a strand of hair and hold with the forefinger and thumb. Gently

pull and see how much the hair stretches and how quickly it returns to its original shape.

26

HAIR DIAGNOSTIC

PERCENTAGE OF WHITE HAIR When covering white hair it is imperative to judge the percentage of white hair present. In most colour ranges there is a guide detailing how much natural base tone needs to be added to achieve the target shade.

When covering grey what base tone needs to be added to achieve the target shade?

In most colouring product ranges,

there will be a guide detailing how much natural base tone needs to be added to achieve the target shade.

What effect will too little natural base give?

Too little natural base in the formula will result in the white hair

having a translucent tone in comparison to the naturally pigmented hair.

Give an example:

If the targeted shade is red on a natural brown base, the white hair will have bright pink

tone.

WHAT ARE THE SASSOON GUIDELINES FOR THIS? 0% - 25% white hair?

No base tone needed to be added.

25% - 50% white hair?

25 % of the formula needs to be the base tone of the target shade.

50% - 75% white hair?

50 % of the formula needs to be the base tone of the target shade.

75% - 100% white hair?

75 % of the formula needs to be the base tone of the target shade.

HAIR DIAGNOSTIC

27

EQUIPMENT Using the correct equipment is imperative – describe what these pieces of equipment are used for:

A large tooth nylon comb is used for Total Colour applications and certain free

LARGE TOOTH COMB

hand techniques.

NEEDLE COMB

A nylon comb combined with a metal needle is used for Partial and free hand techniques.

A needle is to be fine enough for accurate sliced or highlighted sections.

NON METALLIC BOWL

A non-metallic bowl with a rubber base is used to mix the selected colour product.

A number of bowls can be used for various techniques and colours employed.

TINTING BRUSH

A nylon tinting brush, approximately 3.5cm in width is used for all ABC colour techniques

for accurate and clean results.

SECTIONING CLIPS

For all Partial, most Combination and some Total colour techniques, non-

oxidising section clips are required. 8cm in size is ideal for most hair lengths.

28

EQUIPMENT

NON LATEX GLOVES

Single use, all-around smooth, powder free, non-latex gloves

should be worn for all chemical tasks.

HIGHLIGHTING FOIL

Prior to commencing all Partial and some Total colouring techniques, an appropriate

amount of aluminium foil of a suitable length and width needs to be prepared.

FOIL

As well as being used in highlighting techniques, foil of appropriate length and width are needed to

isolate certain areas of the hair or protect the face and skin.

BARRIER CREAM

To minimise staining on the hairline with most Total Colouring techniques, red or dark

shades. Also helps to protects the hairline from product irritation.

COTTON WOOL

Damp cotton wool is used to remove excess colour from the skin during and after the

colour process. Prepared cotton strips are also required for certain Total Colour Techniques.

EQUIPMENT

29

FOIL PREPARATION This is very important as the smaller the foil is folded, the closer to the root the colour application will be, which will effect the quality of the finished result.

Explain the procedure of folding foil:

Prior to folding, the foil needs to be cut to an appropriate length to the hair being worked on.

Using the thumb and index finger at the edge of the foil, execute a small fold approximately 0.5cm in width.

Crease the foil gently, taking care not to slide the fingers over the sharp edge of the foil, as this could result in cutting the skin.

30

FOIL PREPARATION

Using the thumb and the index finger on the edge of the foil, another fold is executed on the previously folded end.

The finished fold should be approximately 0.25cm wide.

Slide the index fingers from the centre to the to the outside of the foil to firmly establish the two folds and form a crisp edge to work with.

Preparing the foil in this way will assist with a cleaner and more precise application of all Partial Colouring techniques.

FOIL PREPARATION

31

Add an example of a foil you have folded

32

FOIL PREPARATION

RIGHT | LEFT HAND WEAVE & LOCK Explain how a weave is performed. Choose either the right hand or left handed method.

Subdivide a section of hair appropriate to its density. Holding the needle comb in the right hand ‘Slice off’ a fine layer of hair from the subdivided section, holding the remainder of the hair in the left hand.

Secure the section with the left hand, and holding the needle comb in the right hand, start to weave through the subdivided section. Note that in this instance this section is approximately 0.25cm in thickness. Keeping the needle comb close to the root gives greater control in determining how thick or fine the highlight will be. To ensure an even result, the hair that is left in-between each weave is the same thickness as the hair taken. The weave is always taken off the top of the subdivided section, as this ensures the foil can be placed closer tom the root, helping to achieve a more naturally highlighted look.

Lifting the weaved section from the scalp using the left hand will assist in positioning the foil directly on to the skin. After the foil has been positioned as close to the root as possible, hold the weaved sectioned in the right hand while securing the foil with the thumb and the index finger of the left hand.

RIGHT | LEFT HAND WEAVE & LOCK

33

TOTAL

COLOUR MATRIX

REGROWTH TINT

VIRGIN BLEACH & TONE

REGROWTH BLEACH & TONE

SLICES

CLASSIC HIGHLIGHTS

HERRINGBONE HIGHLIGHTS

SINGLES

COMB ON COLOUR

TWO TONE TINT

TINT & HIGHLIGHTS

BACK-TO-BACK PANEL

COMBINATION

PARTIAL

VIRGIN TINT

34

COLOUR MATRIX

COLOUR MATRIX Colouring hair the Sassoon way is a 3 part series, represented by the letters abc, comprising of total, partial and combination colour techniques. These fundamental methods accentuate and define the dynamic lines of the Sassoon cuts. In their purest form or in combination they provide a myriad of variations that continue to be intrinsic to the Sassoon look.

Describe how these techniques were initially developed: TOTAL

Each technique was initially developed to compliment the feeling of the haircuts of the time. In the

60’s, the new geometric haircuts needed total colour application to emphasise their clean sharp lines and heavy graduation.

PARTIAL

As the geometry of the 60’s gave way to the softer layered looks of the 70’s and beyond,

partial colouring in the form of multi--coloured highlighting and slicing techniques became the zeitgeist.

COMBINATION

Later, with the advent of internal graduation, combination colouring accentuated the

natural movement and shape of the haircut.

Conduct more research on colour trends in history and add images, photographs and tear sheets to the following pages to show examples of techniques in different decades.

These images can be from www.sassoon.com, your own work, your instructors demonstrations, magazines, and hair research websites.

COLOUR MATRIX

35

SERIES a | What does this series focus on?

Series A focuses on total colour and includes all aspects of virgin,

regrowth and grey coverage. This series also incorporates a complete guide to lightening and toning hair.

SERIES b | What does this series focus on?

Series B demonstrates the key methods of partial colour -

highlighting, slicing and singles - covering a comprehensive range of hair lengths and textures.

SERIES c | What does this series focus on?

Series C concentrates on combination colour - freehand, two tone

tint, tint and highlights and back to back panel - forming the basis of commercial, contemporary fashion work.

A solid, technical foundation is provided by understanding the matrix and mastering the applications within Colouring Hair the Sassoon Way. With continuous practice and study, an infinite repertoire of looks can be creatively and confidently achieved.

36

COLOUR MATRIX

COLOUR KEY MAJOR SECTION | Major sectioning is employed at the beginning of all total, partial and combination techniques. They divide the head into logical areas and enable the subsequent, more detailed sectioning pattern to be carried out.

TINT SECTION | A classic tint sectioning pattern is used on all total colour techniques. The width and thickness of each section will depend on the density and porosity of the hair being worked on. The coarser the hair, the finer the section needs to be.

BLEACH SECTION | When working with powder lightener, a classic tint sectioning pattern is used; however, the sections tend to be much finer, approximately 0.5cm in thickness, (to ensure an even lift in Regrowth or Virgin Bleach applications).

COTTONWOOL PADDING | Strips of cotton wool are used at the root area to protect the hair that is not being coloured; this technique is used in all Virgin Tint applications.

HIGHLIGHT SECTION | A highlighting section is a soft weave, approximately six weaves per section are used for a natural look, or four weaves per section for a more defined highlight. To get as close as possible to the scalp, each weave is approximately 3mm in thickness.

SLICE SECTION | A slice section is a continuous unweaved section that gives a more defined look when blended with the natural hair colour.

BACK-TO-BACK SLICE SECTION | A continuous slice technique which leaves no hair inbetween.

One colour builds a more solid shape; two or more tones give a softer blend.

SINGLE SECTION | A triangular section mainly used on curly hair that achieves a more selective highlighted look. The tighter the hair’s curl, the larger the triangular section needs to be.

COLOUR KEY

37

TOTAL COLOUR

a

TOTAL COLOUR

Series A focuses on Total Colour and includes all aspects of full colour techniques including the following,

40

a

TOTAL COLOUR

Explain each of the following: VIRGIN TINT:

This application is the foundation for applying colour to previously untreated hair and forms

the benchmark for all further applications of this technique.

Clean, accurate sectioning is fully illustrated to provide a clear insight into this exacting discipline.

REGROWTH TINT:

An application which illustrates how to precisely cover regrowth without overlapping

previously coloured hair, and how to achieve an even result by refreshing the mid-lengths and ends.

The cover grey variation demonstrates how to apply colour with absolute control to achieve maximum coverage of white hair.

VIRGIN BLEACH AND TONE:

An essential technique in every colourist’s day-to-day work, this is a procedure

where precision and accuracy are key factors. Providing clear instruction on sectioning, applying and toning virgin hair, this method forms the definitive template for all subsequent bleach and tone variations.

REGROWTH BLEACH AND TONE:

Building on the Virgin Bleach and Tone technique and vital to every

colourist’s repertoire. This technique demonstrates the definitive way to bleach and tone previously lightened hair, to achieve the purest blonde result.

TOTAL COLOUR

a

41

TOTAL | VIRGIN TINT

VIRGIN TINT

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

2.

3.

4.

5.

Hair and scalp diagnosis Density Porosity Texture Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

2.

3.

44

Natural Level Desired result Product / Developer ratio and amounts

a

VIRGIN TINT

TECHNIQUE:

A Total Colour: Virgin Tint / This application is the foundation for applying colour to

previously untreated hair.

MAIN SECTIONING PATTERN:

Divide the hair into four segments: From the front hairline to the nape.

Take another parting from the crown to the top of both ears giving a clean division of the head.

STARTING POINT:

Starting in the nape area, take a fine horizontal section from the centre parting to the

hairline behind the ear.

KEY POINTS IN ORDER OF APPLICATION:

Apply colour to the mid-lengths and ends of the hair, 1.5cm away

from the scalp. Thoroughly comb the section through to maximise product penetration. Place a strip of cotton wool under the hair to protect the root area and proceed until all subsections are completed.

Remove cotton strips and apply colour to the root and previous area, feather hairline and process.

PROCESSING TIME:

Process according to manufacturer’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

VIRGIN TINT

a

45

TECHNICAL DIAGRAMS VIRGIN TINT MID-LENGTH & ENDS APPLICATION

46

a

VIRGIN TINT

TECHNICAL DIAGRAMS VIRGIN TINT ROOT APPLICATION

VIRGIN TINT

a

47

TOTAL | REGROWTH TINT

REGROWTH TINT

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

2.

3.

4.

5.

Hair and scalp diagnosis Density Porosity Texture Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

2.

3.

50

Natural Level Desired result Product / Developer ratio and amounts

a

REGROWTH TINT

TECHNIQUE:

Total colour A: Regrowth Tint / An application that illustrates how to precisely cover

regrowth without over lapping previously coloured hair.

MAIN SECTIONING PATTERN:

The hair is divided into 4 segments: From the crown to the nape and then from

the crown to the point above the ear. This forms two triangular areas on each side.

STARTING POINT:

Take a horizontal section at the nape and comb the hair down for a cleaner application.

KEY POINTS IN ORDER OF APPLICATION:

Remember to take fine sections. Turning the brush throughout the

application ensures even product distribution. Feather the hairline for a softer result.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

REGROWTH TINT

a

51

TECHNICAL DIAGRAMS REGROWTH TINT

52

a

REGROWTH TINT

TOTAL | COVER GREY

COVER GREY

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

5.

Texture Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural Level

2.

Desired result

3.

Product / Developer ratio and amounts

54

a

COVER GREY

TECHNIQUE:

Total colour A: Cover Grey / Application demonstrates how to apply colour with absolute

control to achieve maximum coverage of white hair.

MAIN SECTIONING PATTERN:

The hair is divided into 4 segments: From the crown to the nape and then from

the crown to the point of the ear. This forms 2 triangles on each side of the ear.

STARTING POINT:

Through the side, take a fine vertical section and begin to apply product on to this

section.

KEY POINTS IN ORDER OF APPLICATION:

Start in front 2 sections for maximum white coverage. Take fine

sections approximately 1cm in thickness. Applying the correct amount of product for the density of the hair ensures an even coverage. Use gentle brush strokes around the hairline staining.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

COVER GREY

a

55

TECHNICAL DIAGRAMS COVER GREY

56

a

COVER GREY

TOTAL | VIRGIN BLEACH & TONE

VIRGIN BLEACH & TONE

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Suitable Lightener / Selected colour product

3.

Oxidant or peroxide ratio

58

a

VIRGIN BLEACH & TONE

TECHNIQUE:

Essential technique providing instruction on sectioning, applying and toning hair, this

method. Forms the definitive template for all subsequent bleach & tone variations.

Back section: take a centre from crown to nape; divide in half to create four large triangles. Front Section: take a horizontal section from back of ear to front hairline. Top section is taken diagonally.

MAIN SECTIONING PATTERN:

STARTING POINT:

Commencing technique through the two large triangles at the nape of the neck take

horizontal sub sections using a back to back slicing technique.

KEY POINTS IN ORDER OF APPLICATION:

Apply product to hair and foil without tension. Use a back to back

slicing technique (leaving no hair in between foil packets) to ensure an even lift the hair should be barely visible through the product.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

VIRGIN BLEACH & TONE

a

59

TECHNICAL DIAGRAMS VIRGIN BLEACH & TONE MID-LENGTH & ENDS APPLICATION

60

a

VIRGIN BLEACH & TONE

TECHNICAL DIAGRAMS VIRGIN BLEACH & TONE BLEACH APPLICATION

VIRGIN BLEACH & TONE

a

61

TECHNICAL DIAGRAMS VIRGIN BLEACH & TONE TONE APPLICATION

62

a

VIRGIN BLEACH & TONE

TOTAL | REGROWTH

BLEACH & TONE

REGROWTH BLEACH & TONE

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Suitable Lightener / Selected colour product

3.

Oxidant or peroxide ratio

64

a

REGROWTH BLEACH & TONE

TECHNIQUE:

Demonstrates the definitive way to accurately bleach and tone previously lightened hair, to

achieve the purest blonde result.

MAIN SECTIONING PATTERN:

Through the sides taking vertical sections from the crown to top of the ears,

Extend a vertical section from crown down to nape, then apply product to hairline behind the ears STARTING POINT:

Take very fine horizontal sections throughout the nape; combing the hair down and

applying product to underneath only.

KEY POINTS IN ORDER OF APPLICATION:

Take very fine sections. Turning the brush will help ensure an even

distribution of product. Too much product will result in overlapping, which can weaken hair structure.

Too little product will give an uneven finish and leave darker areas.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

REGROWTH BLEACH & TONE

a

65

TECHNICAL DIAGRAMS REGROWTH BLEACH & TONE BLEACH APPLICATION

66

a

REGROWTH BLEACH & TONE

TECHNICAL DIAGRAMS REGROWTH BLEACH & TONE TONE APPLICATION

REGROWTH BLEACH & TONE

a

67

PARTIAL

b

PARTIAL

Series B demonstrates the key methods of partial colour, highlights, slicing and singles. Foil sectioning, placement, weaving, folding and sealing are clearly illustrated throughout a comprehensive range of hair lengths and textures, providing a complete spectrum of partial colouring techniques.

70

b

PARTIAL

Describe each of the following: SLICES:

A contemporary interpretation of this technique creates a modern wearable look that gives

a heavier highlighted effect than a classic weave. The slices variation is half head application of this procedure and is an essential addition to any modern colourist’s repertoire.

CLASSIC HIGHLIGHTS:

The ‘Straight up’ to the parting placement forms a complete guide to this

cornerstone colouring technique. The half head variation demonstrates an alternative sectioning and foiling method. Both are ideal for highlighting haircuts with a heavier surface.

HERRINGBONE HIGHLIGHTS:

The placement of the full head herringbone highlights method produces the

most commercial, wearable result, which can be utilised on many different hair types and lengths.

The invaluable half head variation demonstrates an alternative way to section, weave, apply and foil Herringbone Highlights.

SINGLES | CONVERTIBLES:

For a highlighted alternative on curls or waves, the Singles technique is carefully

demonstrated. The unique application of the convertibles technique means that the colour changes according to the placement of the parting.

PARTIAL

b

71

PARTIAL | SLICES FULL HEAD

SLICES FULL HEAD

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural Level

2.

Desired Result

3.

Product/Developer ratio amounts

74

b

SLICES FULL HEAD

TECHNIQUE:

The slice technique gives a heavier effect than a classic highlighted weave.

SECTIONING PATTERN:

A large triangular section is taken above the occipital bone and underneath the crown

area. Continue this section towards the nape where another triangle is formed. Repeat on opposite side.

ANGLE:

With the front hairline sectioned away, a large triangular section is now divided on the top of

one side of the head and repeated on the opposite side.

SUITABLE HAIR TYPE

This technique can be used on a range of lengths and textures.

List 5 things that must be followed with this application: 1.

Weave the lightener and first and last sub sections to blend

2.

Take fine sub sections

4.

Back to back slices are taken at the front hairline (roots are not coloured at this stage).

Return to the panel pulling the foil away from the roots, apply the powder lightener to the root of these sections.

5.

Toned the pre-lightened area

3.

FINISHING PRODUCTS:

BLOW-DRY TECHNIQUES:

Heat protectant and shine enhancer

Wrap, leaf or bevel according to desired result

SLICES FULL HEAD

b

75

TECHNICAL DIAGRAMS SLICES FULL HEAD

76

b

SLICES FULL HEAD

PARTIAL | SLICES HALF HEAD

SLICES HALF HEAD

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

78

b

SLICES HALF HEAD

TECHNIQUE:

This half head variation of the classic slice technique is perfect for shorter graduated shapes.

Take a large triangular section on one side of the head, then divide into 3 sub sections. A triangular section at crown and 2 square section below, one at hairline and one at parting.

1cm of hair left out at hairline.

MAIN SECTIONING PATTERN:

STARTING POINT:

The technique commences just above the ear.

KEY POINTS IN ORDER OF APPLICATION:

To give a natural blend in this area, the first sectioned is weaved.

Use the back of the comb to fold in the ends and sides of foil. To give a softer result if the hair is worn away from the face, a weave section is always used on the front hairline. Incorporate the front hairline to create a continuous colour across the temple.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

SLICES HALF HEAD

b

79

TECHNICAL DIAGRAMS SLICES HALF HEAD

80

b

SLICES HALF HEAD

PARTIAL | CLASSIC HIGHLIGHTS

FULL HEAD

CLASSIC HIGHLIGHTS FULL HEAD

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

82

b

CLASSIC HIGHLIGHTS FULL HEAD

TECHNIQUE:

The ‘straight up’ to the parting placement forms a complete guide to this cornerstone

colouring technique and ideal for highlighting longer haircuts with heavier surface area.

Two large square sections sitting at the nape of the neck, just underneath the occipital bone with 3 small rectangular sections sitting above. Large square section taken on each side at same level through the back.

MAIN SECTIONING PATTERN:

STARTING POINT:

Commence the technique in the nape of the neck, using a needle comb to weave out the

first section from the root.

KEY POINTS IN ORDER OF APPLICATION:

The closer the weave is taken to the scalp, the finer and more

controlled the highlighting effect will be. The discipline required when weaving is paramount to the success of all highlighting techniques. Foil folding method is as follows: w/out using any tension, so it is not pulled away from the root, gently fold horizontally. Then, using the needle comb, fold the foil horizontally again, to make it shorter and easier to handle.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

CLASSIC HIGHLIGHTS FULL HEAD

b

83

TECHNICAL DIAGRAMS CLASSIC HIGHLIGHTS FULL HEAD

84

b

CLASSIC HIGHLIGHTS FULL HEAD

PARTIAL | CLASSIC HIGHLIGHTS

HALF HEAD

CLASSIC HIGHLIGHTS HALF HEAD

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

86

b

CLASSIC HIGHLIGHTS HALF HEAD

TECHNIQUE:

The half head variation of the ‘straight up’ technique demonstrates an alternative sectioning

& foiling method and is ideal for shorter one length or heavily graduated shapes.

Define the fall of the hair’s natural parting & crown movement. divide a large square in centre back of head. The width of the top and bottom of the square defines the section line through sides leaving a small square above ears & rectangle at through the top.

MAIN SECTIONING PATTERN:

Start highlighting, take a fine layer of hair from the base of the square section. Weave carefully, keeping needle comb close to root. This gives control in determining how thick or fine the highlight will be.

STARTING POINT:

KEY POINTS IN ORDER OF APPLICATION:

Use the perimeter of the square section as a guide for folding the

foil. Take fine horizontal sections. Pay extra attention to the proximity of the highlights to the hairline.

On the last layer, notice again how the spacing of the foiled sections has been placed.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

CLASSIC HIGHLIGHTS HALF HEAD

b

87

TECHNICAL DIAGRAMS CLASSIC HIGHLIGHTS HALF HEAD

88

b

CLASSIC HIGHLIGHTS HALF HEAD

PARTIAL | HERRINGBONE

HIGHLIGHTS FULL HEAD

HERRINGBONE HIGHLIGHTS FULL HEAD

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

90

b

HERRINGBONE HIGHLIGHTS FULL HEAD

TECHNIQUE:

Placement of full head Herringbone highlights produces the most commercial, wearable

result. It is an essential technique as it can be utilized on many different hair textures and various lengths.

Take a large rectangular section through the centre back. Using the back as a guide, take a large rectangular section through the centre top of the head. Then a large rectangular section is take through the round of the head.

MAIN SECTIONING PATTERN:

STARTING POINT:

The technique commences in the nape of the neck. Start the technique by using a needle

comb to weave highlights from the root of the first section.

KEY POINTS IN ORDER OF APPLICATION:

The closer the weave is taken to the scalp, the finer and more

controlled the result will be. The thickness of a section depends on the density of the hair and desired result. The ends of the hair are brought up to the mid-length to minimize the amount of product at the root area.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

HERRINGBONE HIGHLIGHTS FULL HEAD

b

91

TECHNICAL DIAGRAMS HERRINGBONE HIGHLIGHTS FULL HEAD

92

b

HERRINGBONE HIGHLIGHTS FULL HEAD

PARTIAL | HERRINGBONE

HIGHLIGHTS HALF HEAD

HERRINGBONE HIGHLIGHTS HALF HEAD

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

94

b

HERRINGBONE HIGHLIGHTS HALF HEAD

Demonstrates an alternative way to section, weave, apply and foil herringbone highlights.

It is one of the most commercial of colouring techniques and therefore an essential addition to any colourist repertoire.

TECHNIQUE:

Large section at the back of the head that sits above the occipital bone and finishes at the crown. Two smaller squares sit just above the ears, the 2 rectangular sections through both sides, one wit natural parting as the top.

MAIN SECTIONING PATTERN:

STARTING POINT:

The technique commences just above the occipital bone. Take a fine layer of hair from

the bottom of the central square section.

KEY POINTS IN ORDER OF APPLICATION:

Separate the hair to be highlighted and place foil underneath the

section. Colour is always applied close to the edge of foil, but does not overlap onto the scalp area.

Weave and maintain the same sequence and rotation of colours. As the sections narrows the foil will have a smaller fold.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

HERRINGBONE HIGHLIGHTS HALF HEAD

b

95

TECHNICAL DIAGRAMS HERRINGBONE HIGHLIGHTS HALF HEAD

96

b

HERRINGBONE HIGHLIGHTS HALF HEAD

PARTIAL | SINGLES

SINGLES

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

98

b

SINGLES

TECHNIQUE:

For a highlighted alternative on curls or waves, the singles technique uses individual foil

packets that can be specifically placed to achieve the most natural wearable result.

MAIN SECTIONING PATTERN:

STARTING POINT:

Large rectangular sections are taken through the front of the hair.

A small triangular section is then taken with a needle comb, picking out one of the

individual curls.

KEY POINTS IN ORDER OF APPLICATION:

Sub sections are taken in a brickwork manner. Hair is backcombed,

resulting in the coloured hair and the natural hair fusing together. Fold foil in half without too much tension, so as not to pull away from head.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Curl enhancer

BLOW-DRY TECHNIQUES:

Diffuse blow-dry

SINGLES

b

99

TECHNICAL DIAGRAMS SINGLES

100

b

SINGLES

PARTIAL | CONVERTIBLES

CONVERTIBLES

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

102

b

CONVERTIBLES

TECHNIQUE:

A unique application of the convertibles technique through opposite sides of the temple,

means that the colour can be changed according to the placement of the parting.

MAIN SECTIONING PATTERN:

A large ‘V’ shaped area in the middle of the head, wider at the crown and

narrower at the front, separates the triangle. Triangles are the sections where the colours will placed.

STARTING POINT:

Begin in the centre of the forehead, 1.5cm inside the hairline, reaching back towards the

crown area.

KEY POINTS IN ORDER OF APPLICATION:

Work at an angle mirroring the hairline. Take fine slice sections for

softer result. As the work progresses towards the top of the triangle, the slice section narrows.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

CONVERTIBLES

b

103

TECHNICAL DIAGRAMS CONVERTIBLES

104

b

CONVERTIBLES

COMBINATION

c

COMBINATION

Series C concentrates on combination colour, and as well as introducing freehand colouring, demonstrates an array of techniques that combine the skills learned from the A and B series, the mastery of which will create a comprehensive range of modern salon techniques.

106

c

COMBINATION

Explain each of the following: COMB ON COLOUR:

Adapted here to visibly reduce white hair, the comb on colour technique provides a

natural, discreet result that is perfect for a male clientele. The female variation demonstrates the definitive way to execute this simple but effective method of optically increasing texture, depth and movement.

TWO TONE TINT:

This technique is a modern interpretation of the classic tint application. The appropriate

sectioning method is carefully demonstrated, while for added inspiration, two variations have been included that illustrate different sectioning patterns and colour choices.

TINT & HIGHLIGHTS:

An extremely popular salon application, this technique demonstrates the accurate

placement of weaved sections combined with a total colour, to produce a multi-tonal, highly commercial look, that has an infinite number of variations.

BACK TO BACK PANEL:

This technique combines back to back slicing with a classic tint application, and

due to its versatility, is a valuable addition to any modern colourist’s repertoire, as it can also be used as the basis for many aspects of contemporary fashion colour work.

COMBINATION

c

107

COMBINATION | COMB ON

COLOUR MALE

COMB ON COLOUR MALE

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

110

c

COMB ON COLOUR MALE

TECHNIQUE:

Adapted here to visibly reduce white hair, the comb on colour technique provides a

natural discreet result that is perfect for a male clientele.

MAIN SECTIONING PATTERN:

Carefully analyse the white content of the hair, checking to see exactly where

the lighter areas merge with the natural darker colour.

STARTING POINT:

Starting as low as possible on the hairline, divide the hair diagonally, controlling the

remainder of the hair using the free hand.

KEY POINTS IN ORDER OF APPLICATION:

Gently manoeuvre the hair into place and apply product. Use

delicate strokes and control the amount of product on the end of comb. To give maximum control to application and ensure only the tip of the needle comb is used. Hold the needle comb like a pen.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Products according to desired result

BLOW-DRY TECHNIQUES:

Dry according to natural texture

COMB ON COLOUR MALE

c

111

TECHNICAL DIAGRAMS COMB ON COLOUR MALE

112

c

COMB ON COLOUR MALE

COMBINATION | COMB ON

COLOUR FEMALE

COMB ON COLOUR FEMALE

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

114

c

COMB ON COLOUR FEMALE

TECHNIQUE:

Demonstrates the definitive way to execute this simple but effective method of optically

increasing texture, depth and movement within a shape.

MAIN SECTIONING PATTERN:

As this is a surface technique, it is essential that the hair is cut and finished

prior to the application, so that the natural fall can be followed.

STARTING POINT:

Holding the comb like a pen and using the natural fall or parting as the start point, begin

applying the product from the top of the head, carefully gliding down the hair in one even stroke.

KEY POINTS IN ORDER OF APPLICATION:

Continue working around the head in the same manner, gradually

applying the first colour until the required amount of product has been achieved on the surface. Product is carefully applied using the large toothed comb. Application stops at the graduation line.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

COMB ON COLOUR FEMALE

c

115

TECHNICAL DIAGRAMS COMB ON COLOUR FEMALE

116

c

COMB ON COLOUR FEMALE

COMBINATION | TWO TONE TINT

TWO TONE TINT

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

118

c

TWO TONE TINT

TECHNIQUE:

The method demonstrated here is the most recognizable example of the concept of shape

and balance.

MAIN SECTIONING PATTERN:

An asymmetric, circular section has been taken around the crown area, sitting

just above the crown area.

STARTING POINT:

Start by applying the product to the underneath of the perimeter of the circular section;

this gives a division between the two areas.

KEY POINTS IN ORDER OF APPLICATION:

Use classic regrowth tint application, work in fine sub sections. Root

application finishes just above the ear. Both sides of the brush should be used while applying the product.

Use foil to isolate the underneath section. Divide the top into four triangles and apply the top colour.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

TWO TONE TINT

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TECHNICAL DIAGRAMS TWO TONE TINT

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TWO TONE TINT

COMBINATION | TWO TONE

TINT VARIATION

TWO TONE TINT VARIATION

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

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TWO TONE TINT VARIATION

TECHNIQUE:

This variation of the classic two tone tint technique illustrates an alternative sectioning

pattern. The shape features a low side parting and colour is designed to graduate from back to front.

MAIN SECTIONING PATTERN:

The front area has been sectioned into three triangles, which frame the face in an

asymmetrical zig zag. The nature of this sectioning allows for a side parting and accentuate the haircut.

STARTING POINT:

The application starts in the back section, using regrowth tint application.

KEY POINTS IN ORDER OF APPLICATION:

Keep two sections clean and separated rinse back section first and

shampoo and the proceed to rinse and shampoo front.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

TWO TONE TINT VARIATION

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TECHNICAL DIAGRAMS TWO TONE TINT VARIATION

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TWO TONE TINT VARIATION

COMBINATION | TWO TONE

TINT VARIATION

TWO TONE TINT VARIATION

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

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TWO TONE TINT VARIATION

The second variation of the classic two tone tint technique illustrates a further alternative sectioning. As the shape has a fringe and heavy layers, the colour has been placed to accentuate the underneath.

TECHNIQUE:

MAIN SECTIONING PATTERN:

STARTING POINT:

A large diamond section is divide through the top.

Starting at the back, just above the occipital bone and working to a point sitting just

behind the fringe area, a large diamond section is divided through the top.

KEY POINTS IN ORDER OF APPLICATION:

Use regrowth tint applications for underneath and top. Take fine

sub sections. Use both sides of the brush to ensure even colour saturation. Colour selection is based on amount of contrast desired.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

TWO TONE TINT VARIATION

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TECHNICAL DIAGRAMS TWO TONE TINT VARIATION

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TWO TONE TINT VARIATION

COMBINATION | TINT & HIGHLIGHTS

TINT & HIGHLIGHTS

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

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TINT & HIGHLIGHTS

TECHNIQUE:

This technique demonstrates the accurate placement of weaved sections combined with a

total colour, to produce a multi-tonal look, that has infinite number of variations.

MAIN SECTIONING PATTERN:

A large triangular section through the heavy side of the parting , with a smaller

triangular section through the opposite side.

STARTING POINT:

First take a fine section through the front hairline and weave out carefully.

KEY POINTS IN ORDER OF APPLICATION:

Keep needle comb close to the root. Weaving this way gives greater

control. Using a classic highlighting technique, continue working in this manner through the temple. Once the top of the temple has been reached, incorporate the fringe into the triangular section. The final weave is very fine, leaving a soft veil of colour at the crown area.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

TINT & HIGHLIGHTS

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TECHNICAL DIAGRAMS TINT & HIGHLIGHTS

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TINT & HIGHLIGHTS

COMBINATION | BACK-TO-BACK PANEL

BACK-TO-BACK PANEL

CONSULTATION List 5 Key things that need to be visually checked before colour application.

1.

Hair and scalp diagnosis

2.

Density

3.

Porosity

4.

Texture

5.

Previous Chemical treatments

FORMULATION List 3 key elements that must be taken into consideration for the formula.

1.

Natural depth or level

2.

Desired Result

3.

Product/Developer ratio amounts

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BACK-TO-BACK PANEL

TECHNIQUE:

This technique combines a back-to-back slicing with a classic tint application, and due to its

versatility, is a valuable addition to any modern colourist’s repertoire and contemporary fashion work.

MAIN SECTIONING PATTERN:

Following the shape of the haircut a large curved triangular shape through the

heavier side of the haircut.

STARTING POINT:

Start the technique by taking a very fine slice of hair at the widest part of the triangle.

Root area is not coloured at this point.

KEY POINTS IN ORDER OF APPLICATION:

Different hair shapes and lengths may require the sectioning

technique to be adjusted; the application however remains the same. Apply the base colour carefully around the top perimeter of foiled section and use gentle brush strokes to outline. At the bottom of the foiled section, gently lift the slices and apply product to root area.

PROCESSING TIME:

Process according to manufacture’s instructions

FINISHING PRODUCTS:

Heat protectant and shine enhancer

BLOW-DRY TECHNIQUES:

Wrap, leaf or bevel according to desired result

BACK-TO-BACK PANEL

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TECHNICAL DIAGRAMS BACK-TO-BACK PANEL

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BACK-TO-BACK PANEL

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