on yellow-blonde hair works only if the violet is properly balanced—too strong, and the hair turns purple; too weak, and the yellow remains. Color can also be used strategically to create depth and dimension. Mixing adjacent shades on the color wheel can give highlights and lowlights a more natural blend. If the hair is too fragile for an all-over color after removal, these techniques can achieve a refreshed look with less risk of damage. Generally, hair colors labeled “ash” or “platinum” are cool- toned, while “golden” and “mahogany” are warm-toned. For cool-toned skin, ash blonde, blue-black, or violet-red can be striking. Warm-toned skin is complemented by shades like caramel, golden blonde, or copper red. Understanding color theory ensures successful corrections, beautiful results, and happy clients.
Understanding how colors interact is vital. Every color has a complementary counterpart on the color wheel. These opposing shades cancel each other out—green neutralizes red, violet cancels yellow, and blue tones down orange. This concept is the foundation of color correction. The color wheel is broken down into the following four categories: ● Primary colors : Red, Yellow, Blue ● Secondary colors (two primaries mixed): Green (blue + yellow), orange (red + yellow), violet (red + blue) ● Tertiary colors (primary + secondary): Red-orange, blue- green, yellow-orange, etc. ● Complementary colors : Opposites that neutralize each other (e.g., yellow ↔ violet) When using complementary colors for correction, depth matters. The colors must be of similar intensity to cancel each other effectively. For instance, using a violet toner Consider whether the client has straight, wavy, curly, or kinky hair. Kinky hair is the most fragile, and bleach should be avoided. If there’s banding or uneven color, use lightener Hair density and texture Hair density refers to the number of hairs per square inch, while texture refers to the diameter of the strands. Fine hair processes color more quickly, while coarse hair requires Hair condition (porosity) Hair porosity affects how color and treatments are absorbed. Low porosity hair (tight cuticles) takes longer to process, while high porosity hair (lifted cuticles) absorbs color quickly Desired level of correction Determine how much of the current color the client wants to change. Hair color levels range from 1 (darkest) to 10 (lightest), and it's best not to shift more than two levels in one session. For lightening, use a clarifying shampoo Client health and medication The health of the client’s hair can be impacted by medications, smoking, and previous chemical processes. Medications like antidepressants or oral contraceptives can affect hair texture, while smoking can lead to yellowing Previous chemical processes Ask about any prior chemical treatments (such as perms, relaxers, or other color applications). These can affect the outcome of the removal process, and applying new color
CHAPTER 8: PREPARING FOR COLOR REMOVAL: KEY FACTORS TO CONSIDER Before performing any color removal process, assess your client’s hair type, condition, and any previous treatments to ensure the right approach. Different hair types require different processing times, and understanding these factors can prevent damage. Hair type
sparingly to blend, or opt for toner and lowlights if the hair is too damaged. Curly hair benefits from glazes that eliminate unwanted tones while improving texture.
longer processing times. Understanding how melanin is distributed in different textures will help in selecting the right color removal method.
but fades faster. For highly porous hair, use bond builders and conditioning treatments to avoid further damage.
first, followed by color removal or bleach, ensuring proper conditioning. If the client wants to go darker, remove the old color before applying a new shade.
and dullness, especially for blonde hair. In cases of severe damage or health-related issues, it’s often best to tone or glaze rather than use strong chemicals.
over unremoved old color may result in uneven results. For damaged hair, avoid harsh treatments and consider using toners or glazes instead.
CHAPTER 9: FIXING FOILS AND BALAYAGE
Low-lighting can also help by adding depth and disguising harsh stripes. First, use a clarifying shampoo to remove any old toner or glaze, then apply color one to two shades darker than the natural hair. Brassiness is another common issue that is often caused by under-processing during the lightening stage. If needed, re- lighten the hair—only after a strand test confirms it’s healthy enough. If the hair is light enough but still brassy, use a blue shampoo or toner. For over-ashy results, reformulate with a warmer toner and add a touch of red to balance it out.
Highlights can be applied with foils, caps, or freehand—but mistakes happen. If highlights appear spotty or striped, tone problem areas to blend them in. Root smudging is an effective technique for softening harsh lines by combing a darker shade into the roots using a 10-volume developer. Choose a color close to the natural base, no more than two shades lighter, and remember porous hair may absorb more color.
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Book Code: CNC0826
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