The main task of the master when working with color-correction It is the correct use of complementary (opposite) colors. If the client came with yellow blonde, the master, looking at the circle, immediately sees that opposite the yellow spectrum is purple, which is necessary for neutralization. Errors in calculations often occur due to ignoring depth of tone or mismatching mixton ratios, resulting in a dirty or greenish hue instead of pure color.
In modern coloristics, there are several numbering systems, but the visual logic of the circle remains unchanged for all brands. Understanding how primary, secondary and tertiary colors interact avoids costly errors and re-colorations. Next, we will examine the structure of the circle, the neutralization schemes and the practical techniques that make chaotic blending of colors into an exact science.
Structure and types of color circles in coloristics
The basic element of color theory is the division of all shades into primary, secondary and tertiary groups. Primary colors Red, yellow and blue; they cannot be obtained by mixing other pigments, they are the basis of any palette. In hair color, these three tones determine the direction of color and its depth, forming the basis for all other shades.
When two primary colors are combined in equal proportions, they are formed. secondary: orange (red + yellow), green (yellow + blue) and violet (blue + red). These shades occupy an intermediate position on the circle and often serve as an indicator of errors in lightening or a sign of pigment accumulation in the hair structure.
Tertiary colors
Tertiary colors are formed by mixing primary and secondary shades located next to each other. In coloristics, these are complex tones, such as red-orange, yellow-green or blue-purple. They are rarely used in pure form, but are critical for fine-tuning the final hue and creating nuances.
There are two main types of circles used by craftsmen: the Itten circle and the specialized circles of brands (e.g., the Estel or Wella). Itten’s circle is more academic and shows pure spectral colors, whereas branded instruments are adapted to the numbering of dyes of a particular manufacturer. For a novice colorist, it is important to first master the classical scheme, and then adapt the knowledge to the working palette.
- 🎨 Primary colors are the foundation and are not derived from other pigments.
- 🟠 Secondary colors always indicate a mix of two basic directions.
- 🌈 Tertiary colors allow you to create complex, multifaceted shades.
The principle of neutralization of undesirable shades
The most popular skill in the work of a colorist is the ability to neutralize the background of lightening. The law of opposites states that to remove an undesirable hue, you must add a color located directly opposite it on the color wheel. This is an axiom, the violation of which leads to an aggravation of the problem or the receipt of a dirty swamp color.
Consider the classic neutralization pairs that every master should know by heart. Yellow pigment, often manifested at 9-10 levels of depth of tone, is extinguished by a purple guide. The orange background, characteristic of level 6-7, requires the addition of a blue mixton. Red and copper shades, which cause so much trouble on dark bases, are neutralized by a green proofreader.
⚠️ Warning: Never use pure mixton to neutralize a strong background without diluting. Direct application of a concentrated proofreader can give a new unwanted color, which will be extremely difficult to output.
It is important to consider not only the direction, but also the depth of the tone. If you work with a dark blond level, using a light purple pigment may not cover the powerful orange background. In such cases, the formula is calculated taking into account the dominance of warm pigments, and sometimes pre-lightening or the use of denser dyes is required.
- 💛 The yellow background is neutralized by the purple pigment.
- 🟠 The orange tint is eliminated by the blue corrector.
- 🔴 The red base is extinguished in the green direction.
Mixing schemes and creating new shades
In addition to neutralization, the color wheel is actively used to create new, non-standard shades. By mixing colors next to each other (analogue colors), you can get deep, rich tones without the risk of dirt. For example, the combination of red and red-orange will give a bright, sparkling copper hue.
When working with complex techniques, such as shaft or balaijThe colorist often mixes several dyes to produce a natural gradient. Using colors that are at an angle of 90 degrees to each other (triad), allows you to create complex composite colors that play different faces under different lighting. However, such experiments require accuracy in grammar.
There is a rule of dirty color: if you mix colors that are far apart (but not strictly opposite), the result is often unpredictable and dull. For example, a mixture of yellow and purple will give brown, since purple already contains red and blue, which together with yellow give the full spectrum. Therefore, to create a pure color, it is better to move along the sectors of the circle.
- 🔄 Analogue schemes (neighbors) give clean and saturated tones.
- 🔺 Triads allow you to create complex overflows and highlights.
- ⚫ Mixing distant colors often leads to dimming and loss of brightness.
Table of conformity of levels and funds of lightening
For the practical application of color theory, it is necessary to clearly understand what background the natural base of hair gives out when lightening. The color wheel helps determine which corrector to add to the mixture, but without reference to the depth of tone level (DT), this knowledge is useless. Below is a table linking the level of lightening with the manifesting pigment.
| Depth level of tone | Natural color | The background of lighting | Required proofreader |
|---|---|---|---|
| 1-3 | Black/Dark Brown | Red. | Green (rarely used) |
| 4-5 | Brown. | Red-orange | Green/Blue-green |
| 6-7 | Dark-blond/Rousy | Orange | Blue |
| 8-9 | light-blond | Yellow | Purple. |
| 10 | Blonde | light yellow | Purple/Silver |
Using this table in conjunction with the color wheel, the wizard can predict the result in advance. If a client wants to move from level 6 to level 9, she will inevitably go through the orange background. Knowing this, the colorist will add blue mixton to the lightening mixture or toning composition to prevent the manifestation of rye.
Tip: Always consider the percentage of oxidant. A high percentage (6-9%) more strongly destroys the pigment and can change the background of lightening, making it lighter and cooler than when working with low activators.
Working with mixtones and proofreaders
Mixtons are concentrated dyes that do not have their own depth of tone, but have an intense color direction. On the color wheel, they correspond to pure spectral colors. Their main function is to increase the shade or neutralize it. The rule of use states that the less you need to change the color, the less mixton you need.
There are several methods for calculating the number of proofreaders. The classic method of "nine" involves subtracting the number of the main tone from the number 9, multiplying the result by 0.5 or 1 (depending on the desired intensity) and obtaining the number of centimeters of paint. For example, for level 6: (9-6) = 3 cm blue mixton. This allows you to adapt the universal circle to a specific task.
⚠️ Warning: Overdoing with mixton, especially green or blue, can lead to a persistent hue that is not washed away by shampoo. In such cases, special flushing or acid decapitation may be required.
When working with pastel toning (for example, for platinum blonde), mixtons are added dropwise. Here, the color wheel works like a navigator: one drop of purple per large portion of the base will give a barely noticeable cold ebb, and two drops can make hair gray. Accuracy to the gram in such cases is critical.
- 📏 The mixton calculation depends on the desired intensity and base.
- 💧 For pastel tones, mixtons are dosed in drops or fractions of a gram.
- 🧪 Neutralization requires less mixton than creating a new color.
Practical errors and their solution
Even experienced craftsmen sometimes make mistakes by ignoring the laws of the color wheel. One of the most common problems is trying to paint a red hue with a green dye with a low tone number. Instead of neutralization, a dark brown or marsh color is obtained, since the green pigment darkens the base.
Another common mistake is ignoring accumulated pigment. If the client repeatedly dyed in copper tones, orange pigment accumulated in the hair. Attempt to go to cold blond without first cleaning or using a dense blue corrector will lead to the fact that after 2-3 washing the color again “gets out” with a redhead.
☑️ Checklist before mixing
The solution to these problems lies in the plane of a thorough diagnosis. Before applying the composition, it is necessary to assess not only the current color, but also the history of colors. The color wheel tells the direction of movement, but it is the experience of the master that dictates the necessary proportions and exposure time.
The color wheel is not a dogma, but a navigator. It shows the direction, but the exact route (proportions, time, oxide) builds the master based on the condition of the client's hair.
Frequently Asked Questions (FAQ)
Can yellowness be neutralized with green mixton?
No, it will result in a dirty brown or marsh hue. Yellow is opposite purple on the color wheel, so it is purple pigment that is used to neutralize it. Green neutralizes only red.
How to remove the green after the pool?
The green hue often appears from copper in water or the reaction of chlorine with pigment. According to the color wheel, green is neutralized by red pigment. However, you can not use pure red - the hair will turn brown. You need a soft reddish tonic or a special shampoo-neutralizer.
Why does the color disappear quickly after tinting?
This can happen if the background lighting is not taken into account. If you apply an ash tone to the orange base (without neutralizing the blue), the warm pigment of the base will quickly manifest itself, blocking the cold tone. Also, the reason may be a low percentage of oxidizer or insufficient exposure time.
Do you need a different color wheel for each brand of paint?
It is advisable to have a circle of your working brand on hand, as the numbering and saturation of pigments may differ. However, the basic principles (red quenches green, blue – orange) are universal for all color systems.