The Great Courses description for Skepticism 101: How to Think like a Scientist reads,
…we are all vulnerable to believing things without using logic or having proper evidence – and it doesn’t matter how educated or well read we are. Our brains seem to be hard-wired to have our beliefs come first and explanations for our beliefs second.
Cliches in colour analysis are becoming outdated. High time too since women have known them to be fallible since they first reached a wide audience 25 years ago. Brown eyes have to be Winter, Springs are light, Brights have some kind of alien eyes that you could pick out anywhere, Autumns have red hair, are beliefs that simply do not hold true when measured across groups of people.
Bright Spring colouring has contributed much to this worthwhile end. It is stereotype-proof. It cannot be pinned down to any mold, standard, or convention. This colouring can appear similar to Light Summer or Dark Autumn commonly, True Winter, Bright Winter, Soft Summer, and True Summer often, and even True and Soft Autumn sometimes.
Soft Summer? Bright Spring is easily confused with Soft Summer? How could that be? Forget about the fact that they are across from each other on a map. Maps are an over-simplified, narrow angle lens on a complex physical entity. A map of a territory is a piece of paper, not mountains and rivers. A colour cycle is an idea, not a human face. Maps are little pictures of a few relationships among many. Not for a moment do they encompass an entire topic.
Clients often ask how colour analysts make the decisions that they do. Well, that would be like asking your doctor the same thing. Without training in the legal profession, or whatever field, nobody can understand the decision-making process. Colour analysis has been made to appear DIY in the past. Although a wild fallacy, it served the purpose of popularizing a product that improves lives.
We can read books and join online groups till the end of time. These will not provide the answers to how colour analysts make decisions. They are entertainments, albeit good ones. We need to be shown person to person. Maybe one day, we can meet for Colour Retreats in your city. We’ll show you exactly how and why it is done as it is without the commitment of becoming an analyst yourself. We can meet for a 6AM walk, eat kale twice a day, have my delightful 15 ingredient smoothie for lunch, have guest speakers to talk about women&money, women&relationships. Oh, the possibilities!
Back to Bright Spring and Soft Summer. Think about what the two Seasons have in common. Quite a lot, actually. Allow me to walk you through a client draping. She might turn out Bright Spring or Soft Summer but we don’t know which one.
In the first comparison, both Seasons find some things to like about black. The analyst cannot know what this is at the beginning. All they see is that both colourings improve somehow. At the end, we will understand that the Soft Summer wanted the darkness. Bright Spring wanted the saturation. For now, that level of explanation is not available to us. All we know is that if the woman had $1000 and could only buy one dress between Winter black and Autumn brown, we would give her the black.
Several steps on, we compare the True Seasons. Either person might look quite good in True Summer if the comparison of the moment is with True Winter. Spring and Summer enjoy the lightness and the delicacy. True Winter can look a little heavy and rugged. The decision the analyst, or anyone, makes about a colour is completely contingent on which comparison her eyes are being given in that moment. Change the comparison, a different decision is made about the very same drape, which is why it is so essential to compare in many combinations. If a few of the Summer drapes happen to be very light, almost icy light, and not too muted, Bright Spring skin will play along. Soft Summer will be happy too since she is a Summer after all.
The Red Drapes are next, one the products of the great genius of Kathryn Kalisz, founder of the Sci\ART system. Neutral it is, for both Seasons. Soft Summer is a cool-neutral, meaning that it is even easier to switch it with Bright Winter than the warm-neutral Bright Spring. Not only is Bright Winter a cooler neutral, the overall darkness level is fairly close to Soft Summer. Bright Winter is a light Winter. Bright Spring is a dark Spring. Soft Summer is a dark Summer. In both value and heat dimensions, they all run together around the edges.
The analyst has to separate these Seasons on the saturation dimension as she plans her drape comparisons. Now what if the Bright Winter person is not the most saturated or darkest ever? One of those people who could live life (and would prefer to live life) in Light Summer? I could name several. What if the client is a Soft Summer whose colouring is fairly close to True Summer, meaning more saturated and cooler than the stereotypic/average Soft? Have seen several of those too.
For all Seasons, the average is rare. The stereotype might be 1 in 10. The vast majority of people are the disclaimer. You probably are.
Now we are moving on to the 12 Seasons drapes. Sometimes, the answer is obvious but life is not that easy and neither is colour analysis. Skin reactions must be seen, not verbally described. Both persons can have a fair bit of yellow in the eyes and many blues and greens. Bright Spring is generally a colour-activated person but Soft Summer is hardly colourless. Every human face is in perfect balance in its colours and its features.
We know that Bright Spring colours are only too bright when worn by another Season, but look quite normal and balanced on a Bright Spring. We know that Soft Summer colours can seem faded when worn by another colouring, but read as very vibrant when worn by a Soft Summer. So do Soft Summer eyes look quite bright in a Soft Summer face.
I sometimes wonder what it would be like to harmonize eye photos with the palettes. Nature colours a face in a harmony of Season colours, meaning that every face is normal, balanced, and vibrant. No living, healthy human wearing their natural colours has dull eyes.
Winter is here. Red is necessary. Barbie pink and nectarine are not red enough.
Sometimes, this woman looks quite True Spring, with a lot of yellow in the hair and general lightness about her. The only surface clue to a hint of Winter might be a golden brown eye or a spoke of rust in an aqua eye. She will wear the more orange colours beautifully while the bluer pinks may be too cool. The reverse is true also, that the very cool looking (or cool testing, meaning very near Bright Winter) woman will wear the cool pinks and darker red-violets.
The lightest to darkest colour spread, meaning the gray scale or the value scale, spans almost to black and white. That spread should be present in the made up face to express my idea of great makeup: take what you are and make more of it. The size of the area is not important as long as the eye of the viewer can see them at the same time.
Eyeliners are quite dark but not black. Dark gray is good on everyone. Many in this Season have an intensely red-orange colour in hair and eyes, like dark carrot. For them, the Season dark brown is lovely as liner, as it is on Asian dark eyes.
A coloured liner reads well because the person is so colourful to look at. Just be sure to match the colour, as green, turquoise, or purple, very carefully to your Colour Book. These colours can look juvenile if they stand apart from the face because the natural colouring could not find a home for it.
For all 12 Seasons, your white is a beautiful brow bone highlight. Here, it is a clear yellowed white, as buttermilk. We all know my love of peachy pink on Brights. Pale gold could be great, or silvery pink.
How to swatch makeup to Season was described in the Light Spring article.
I will post some thoughts on the Makeup for Your Natural Colouring board at Pinterest.
Blush: Bare Escentuals Sweet Cheeks. Tarte Frisky. MAC Fleur Power, Pinch of Peach. Maybelline Dream Bouncy Hot Tamale. Nothing new and wonderful has crossed my path since these standbys.
Eyeshadow: Gosh Smoky Eyes #1 quad. EArden Graphite. Gosh Sand is a nice browbone highlight, warm pearly white. Gosh quad in Platinum has a good value range and could be used as is or to create many excellent colours.
Eyeliner: Clarins 04 Platinum. ELauder Graphite is darker, for those near Bright Winter. Gosh Hypnotic Grey is good, as is Raw Grey for the cooler, darker colouring.
Lipstick: Paulas Choice Strawberry Soda gloss. Becca Maraschino. Merle Norman Popsicle. Clarins Pink Fuchsia (might also be very good as a red option on True Spring) and Tropical Pink 19 as a warm pink. Clinique stick Heftiest Hibiscus and Plushest Punch. Lancome RIL 163M appears in Light Summer’s post too, being quite saturated and of neutral heat, for those Bright Springs looking for a more natural lip. I showed a photo on the Pinterest board of how Barbie pink looks a little weak and flat. This colouring needs that pinch of red, which Gosh Lip Lacquer 900 could be used to add to other products.