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Best Makeup Colours Light Spring

Every human colouring is magnificent. The gift of my days is the opportunity to truly look at human colouring and understand how to interpret it. It feels like giving the person back to themselves. The more I do this, the more rocked my world becomes.

Something in Light Spring renders me speechless. Like the good witch, they could float up off the ground at any moment in a swirl of sweet, sparkling dust. The colouring is so gentle, almost transparent, and yet they twinkle, move, and are full of life. A magic spell would not surprise, most often one that brings another person something they desire. The Summer wish to do good in the world is mixed with the absence of attachment or over thinking that is Spring. Spring is goodness, happiness, and smiles for their own sake. Wearing their own colours, the sun itself pours out of the iris of the eyes.

Draping

Most rewarding to me is having the woman say, I never thought my skin could look this good without foundation. Because this analysis can begin a little tough. For no particular reason beyond consistency, a session with me begins with a comparison between the black and brown (Winter and Autumn) drapes. On a Light Spring, they look worse and worser. Light Summer has some ability to manage black. Light Spring, not so. It looks and feels like punishment. The Autumn choice is no better on them.

We train analysts to identify effects that are both better and worse with every single drape. Recently, an excellent student could find nothing good in black or brown, not one single thing, so she most delicately chose to say nothing at all to the model. With a client, the analyst must find something to say as the client’s expecting eyes are looking back at her in the mirror. For the client, this is a regular day. This is the face she always sees in the mirror.

Spring skin is very definite in its sadness in Autumn colour. This observation over and over has convinced me that Spring/Autumn blends do not exist in human colouring. They might in human shopping, which is another story.

Interesting too that one might think that Light Spring and Soft Autumn people resemble one another since they share similar relationships to the other Seasons (warm-neutral, light side). In actual people and how the skin reacts to colour, it is the Light Summer and Soft Autumn that need care when draping. Light Summer has the darkness and softness of colour that are closer to Soft Autumn, the lightest, sunniest of the Autumn group.

As the draping process moves along, we begin to see their radiance light up the room. The more serious among us are reminded that life can be a piece of cake if only we would let it. I have analyzed this woman with allergies in full bloom, and yet she is a delight and a pleasure to everyone in the room just by being herself.

 

BestMakeupLightSpringWeb



If we take fair to mean light, Light Spring really is the fairest of them all. Colours of almond milk, linen, light peach, and sand. Eyeshadow grays are less blue than in the Summers. Light browns appear. Another option, not shown, is a bit of green in the yellow or brown, as light khaki or golden greens. Not army green, more floaty than that.

Light Spring might be the rarest of them all too. Unlike Bright Winter, of which there are many, and which appears to be the case the world over. These clients are such a lovely surprise for a colour analyst because so many months go by in between.

Small shifts in darkness level are amplified on this colouring, where they would be near insignificant on another. Darkness is hard to control. Even in a tiny area, as black mascara, the lashes attract lots of attention, as aggressive. Enchanting got left behind long ago. As the lightest colouring, Light Spring women can achieve plenty of cosmetic impact by choosing from the lighter colours in the collection, though they certainly have relatively  darker options as does every Season.

Definition of features happens beautifully using lighter colours than one might think. Concealer is similar, where the ability of light colour to move visually forwards and upwards is used to create definition, contour, and contrast. Here, every colour is relatively light, even eyeliner. Milky golden sunbeams pour outwards from this being, the special magic of Light Spring, an effect that cosmetics ought never suppress.

Colour clarity is quite high in Spring, meaning that pigments are pure. Transparency is a form of clarity and happens to look great in makeup, allowing the reflectivity of light from the skin to come through. Literally as well, the eyes may be pale beach glass, whose way of intensifying in harmonious colour is to become more sparkling. Repeating that in cosmetic effect adds magic to magic, perfectly consistent and aligned. Sheer cosmetics also glisten without frost, in the same way that as the skin. Lastly, sheer cosmetics allow for a lightweight colour deposit. Feelings of weight and opacity turn the lights down on the most lit up face of all.

Sometimes, this person is very Summer looking and does better in the cooler, pinker lipstick and blush. At other times, she can be much yellower and the melon colours look lovely on the face. If the products are sheer, either could work well. Embrace light golden uplighters and lip gloss without going overboard. Light Spring is creamy and a little hazy, not metallic or hard.

She can be quite beige from the milkiness of the skin colours. A monochromatic cream, beige, and light brown makeup palette can be gorgeous, effortless, the ultimate natural face that Light Seasons actually do well at any age (and Winters at no age). There is a sweetness to that look that reminds us of fresh creamy flavours.

How to swatch makeup

Do it this way. Paint a 1 inch square of the cosmetic pretty heavily on a page of white paper, heavily enough that no white paper comes through. Make a big area, at least as big as the swatches in your book. Swipe it on there thick to pull every nuance out of the colour.

I prefer plain white paper to paper towel, but you might try both. The paper towel is harder to work with, tears more easily for one thing  and harder to write on. Colours do look different on it, more dimensional somehow. I have not compared the harmonizing results of cosmetics on paper towel and plain paper.

I seldom swatch gloss because it’s a transparent oily mess by the time I get it home to swatch in good light. Instead, I advice clients to look at several lipsticks on paper from the list I send them, choose a few they would like to try, and find a match in a gloss. Salespersons are usually quite good at this within their own product line.

You’re running a draping simulation, right? The swatch book is the face. There are your eyes, over here are the lips and cheeks, and so on. The cosmetic is the drape. One colour at a time and lots of it. Give me more than one colour to test at the same time and two things happen. My perceptions get muddled as the colours alter one another and the face itself. Second, I miss too much of the information that any single colour is trying to give me.

If there are several cosmetic patches on the page, cover them with white paper. You want to see only the colour swatch book and the product in question. Therefore, keep your swatches far enough apart on the same page to isolate them from neighbours or it will alter your perceptions and decisions.

Lay your swatch book above the cosmetic area. Anchor down the bottom strip with one hand. Looking across at both the colour and the swatches, flip the pages of the book past the makeup. Open the pages enough to see the entire strip.

Immediately, instantly, you should notice that both the cosmetic and the swatches become more colourful, cleaner, fresher, better defined by being next to one another. Both sets of colours should appear more vivid, interesting, energized, and nuanced. If either one drops back, seems duller, weaker, grayer, flatter, or less in any way, do not buy it. If your colour book swatches are circular, the edges of the dots become crisper, sharper, better defined.

The cosmetic and the swatches should be better and more together  they were apart.  That right there is what harmony looks like. Not evenly coloured skin or feature definition, those are just indicators of which there are hundreds more that a colour analyst evaluates during the entire draping. When the wavelengths are so synchronized that they lock together like magnets and sing at the top of their voices, that is harmony, or the best way I can define it today. That is your face surrounded by its own intrinsic colours. I can feel my heart rate speed up just typing it. When you see it, and everyone can see it and feel it once they are shown how, the room goes quiet. Truth, the ultimate silencer.

You get better, faster, and trust your judgment more with swatch book practice. See if any colours are uncomfortable with the cosmetic. If there are combinations that are awkward, something is off. Who cares what it is, leave the product behind. It is not you. The energies should feel even. If you’re ignoring one or the other, or they just don’t look pretty together, that is exactly will happen on the face.

Forget about perfect matches to the swatches, it is not necessary. When the strips with the colours most similar to the cosmetic go by, slow down. The cosmetic should look like a plausible extension of the strip, meaning that if one more dot or square were added, it could believably be the product.

When the colours of other cosmetics go by, slow down. If you’re swatching eyeshadow, slow down over the reds. Your eyeshadow wants to look gorgeous and united with your lips and blush, which are your blood, to be vampirishly explicit.

This process is equally effective with eyeliner, bronzer, any cosmetic you choose. Even mascara.

Pinterest

I will post some thoughts on the Makeup for Your Natural Colouring board at Pinterest.

Products

Try before you buy.

Blush: Body Shop Marshmallow. Avon Mark Lovespell.  Dior Coral Cruise. Lancome French Ballerina. Shiseido RD1 trio could be good, though perhaps better for True Spring. Shiseido PK 304. Clinique Robust Rhubard Chubby Stick.

Eyeliner: PUR Polished Stone. A very warm leaning woman with yellow in the eyes and hair could try EArden Bronze, though it is probably most lovely on True Spring. Urban Decay Desperation could be good (try it, might be too dark on many), certainly your black substitute. Clinique Brown Sugar is neither too green or red, and Intense Truffle, a very interesting colour.

Eyeshadow: Favourite highlight ever, MAC Wisp. Aveda Aurora. Lancome Chic, Honeymoon, and Optic. Elizabeth Arden Bone, Sandstone, and Blonde. Shiseido BE213 trio includes what I mean by floaty khaki, feels light rather than heavy if you put it on a weight scale. Revlon 500 Addictive quad could be good, but could not be tested. Clinique Foxier. Estee Lauder Sepia Sand and Nude Fresco.

Lip: Aveda Peruvian Lily (could be good on Light Summer too but the product has more colour with Light Spring). Dior Lucky (cooler) and Cruise (warmer). Lancome Rekindle. Almay Color+Care gloss in Apricot Pucker and L’Oreal Everbloom may be too warm for some Lights and probably great on all True Springs. Almay Cantaloupe Creme is good, though light and sheer. L’Oreal 285 Pink Fever is a trace too cool for Light Spring and better overall for Light Summer but worth testing if on the cool side. Clinique Sugared Grapefruit. Estee Lauder Pink Voltage (Light Summer should try out Rose Envy).

For your darker colours, the red options, have a look at  Laura Mercier Mango. Tarte Watermelon, Poppy (Coral for True Spring).  KatVonD BonBon.

Bronzer: Mercier Matte Bronzer Light. Benefit Coralista, which could easily be the blush as well. Physicians Formula Glowing Nude Powder in Light looks promising, but I could not open the package to test it.

 

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20 thoughts on “Best Makeup Colours Light Spring”

  1. I am interested in your comment about Light Spring being one of the rarest of the seasons and Bright Winter being common. I agree with Bright Winter–I see it a lot and feel like it’s a standard of beauty I tried to hold myself to for a long time. Can you give us an idea which seasons are more and less common?

  2. I was draped a while ago as a LSp and while it’s never seemed right, I am willing to give it another go with these new make-up recommendations. During my draping, the autumn and winter drapes were the best, and my analyst told me I could wear black mascara because my hair is dark. I suppose it’s about the same color as the woman you showed in the article on the two Light Springs (Louise). Would all of these make-up recommendations work for someone with darker hair and eyes (my eyes look most like the DW/DA eyes being posted on Cate Linden’s blog… deep steel blue with golden and orange flecks, appearing green at a distance).

  3. I have a question in general about the drapes. What would it mean in terms of too warm/cool if one season took a little color from the lips, or if there was a bit of a disparity between the color of the face and the neck? Also, if you are having a hard time deciding between two seasons, do you ever pull out the luxury drapes to help you make the final decision? I suspect that with the science of the process being such, that the final decision is always made prior to bringing out the luxury drapes in every instance, even the harder calls. Presuming that is the case, have you ever been tempted to use the luxury drapes of the final two best seasons just to see if the best season looks better than the second best?

  4. No surprises I know, Christine, but in case anyone else finds them useful:

    Tried, tested and fan matched with the numbers for Lsp

    Mac Sunny Seoul 2.9
    Revlon Sweet Tart 2.8 (coolest pink on the fan)
    Revlon Juicy Papaya 6.4
    Revlon Coral in Gold 6.4 (next to warmest orange on the fan)
    Revlon Pink in the Afternoon 7.3
    17 Kissable 2.6
    Chanel Monte Carlo 2.7
    (Chanel Liberte also a perfect fan match. I was surprised to see Chanel Effrontee swatch out as too greyed and soft for Lsp on paper, doesn’t fit the fan)
    Clarins Coral Tulip 7.3

  5. How about mascara recommendations for LSp? Brown is muddy and black is harsh: can you recommend a brand of gray mascara or maybe a color mascara good for LSP? Thanks! BTW I must be a light spring because of the compliments I receive in the colors even at this advanced age :) but I find it hard to believe! Although recently someone called me childish, I think she meant childlike or youthful maybe? But I think she is referring to the traits you talked about in this article…

  6. Very pretty palette. I notice quite a few of the lip colors recommended here have white bases – i.e. they’re opaque colors built on a white base, like Revlon Sweettart. I know I can’t wear colors like these, and I have heard other complain about them too – appearing chalky, sitting on the lips rather than merging with the natural lip color. Do the white-based products particularly work with LSp (and perhaps LSum)? I’ve always wondered who they suited, as clearly people do buy and wear them.

  7. Laurie – which are most popular probably depends a lot on where you live. In Canada, I see many DW, BW, SSu, BSp, DA, LSu, TSu in about that order.

    Helen – if DA and DW were your best drapes, I’m not certain how you came out LSp. No makeup recs will work on every woman, especially if their colouring is very unusual. If I were you, I wouldn’t spend a lot of $ trying LSp makeup. I wish I could post cheaper choices but I can never sample them, or the pigments are too flat. I agree the image does not look LSp, she’ll look like she’s wearing baby clothes. The top half of the head seems too much for the bottom half, which is disappearing in too light colour. That said, could a LSp possibly look this way? Sure, the variability among humans and the surprises when skin colours are actually tested is very big.

    MD – about the lip/face/neck colours, I would have to see it. Probably the explanation would differ for different people, although what you describe certainly happens. About using Lux drapes to make or confirm a final decision, yes and often. Not as much now that the 12B drapes are more numerous and specific than the Sci\ART drapes I began with, but nonetheless, the Lux drapes help in countless ways for the analyst and the client in the testing process. Can it be done without them? Absolutely, but they sure do help.

    Jacie – Benefit Badgal makes a cool neutral brown. Soft black is often a good dark gray for many brands. About childish, there is the juvenile, bland, chubby, naive meaning, and then the smooth, energetic, strong, healthy version. The person saying the word often has not sorted out the two.

    Corinne – I agree about that white base, it’s weird and doesn’t work anywhere. Like those gray brown colours that make think, “who has blood this colour?” The LSp creamy aspect could look somewhat like that in certain cases or on the wrong colouring but it won’t look white or flat or a LSp, it will be flesh coloured and full.

    Ellie – thanks for these, some great ones in there.

  8. Thanks for another interesting article, very useful for this newly diagnosed Lsp. Interesting comments about the lip bases – I have been wondering about this myself. I find the Revlon lip butters opaque and thick looking on me for some reason, seem to do better in sheerer colour deposits (DiorAddict lipsticks in particular seem to work well). Interesting link to the shiseido review too, this is actually quite similar to my own colouring, although I’m a bit lighter and warmer. I’d love to see more examples of brown haired light springs…

    Christine, about the beige swatches – I’ve noticed the lightest swatch is quite pinky looking. Do you know if Lsp can wear a more yellowy cream colour? Can we go any lighter than that swatch?

    Also, do you notice any difference appearance wise between the cooler and warmer leaning Lsp? Do you think Diane Kruger could be Lsp?

  9. Another LSpr (as assessed by Amelia at True Colour).

    My small addition to this conversation- tight lining. Tight lining gives me enough definition to get away with no mascara in day time. It also avoids creating a rim of pale skin visible under the eyeliner, which dogged me when I applied eyeliner conventionally, on the eyelid above the lashes. I imagine this is not just a Light Spr problem- any colouring with very pale skin could experience it. However, I think the subtlety of tight lining is what makes it so useful for the Lights!

    There are many, many good tutorials about how to tight line.

  10. Christine, I know you say any season can have any eye color, but I was wondering if there is a season that is most likely to have a form of heterochromia? My eyes are grey with a yellow or gold ring around the pupil and outer iris. Always called them hazel, but they are really grey. Some people mistake them for blue, or green. I am a Light Summer who leans into Light Spring. Just curious what your thoughts are.

  11. Andrea – No particular Season comes to mind for heterochromia, which I figure means a difference in colouring between the two eyes. The basic colour you describe is not uncommon and could fit the description of eyes I have seen in many different Seasons.

  12. I just wanted to report back that I’ve tried some of the colors recommended with good results! Something has finally clicked. I think the colors given to me when I had my analysis were not really LSp colors – that the analyst had a limited range of make-up and tried a bit too much of a ‘one size fits all’ approach. I have since seen one of the lip colors recommended for Soft Autumn, for example. Like Kate I would like to see more brown-haired light springs though. I have read that if you have spring in you, you should be able to wear blond and yellow-blond hair. Although my hair was golden blond when I was a child, it is not an improvement for me to highlight it now (tried for many years). I seem to need the contrast that my darker hair provides, although arguably it’s really really dark blond. I thought this contrast was leading me to being a different season, but maybe LSp is working after all and I just need to use some of the darker colors within the palette.

  13. Helen, not sure if this helps at all, but I have highlighted dark blonde/light brown hair and have found a really good colour in what my hairdresser calls “beige blonde”. The blonde highlights totally drained me when they were too light and ash, and also went through a phase of being too golden, which I now realise was unflattering due to being autumn. I think it was difficult to get the colour right, as due to the underlying red tones in my hair it would either end up too warm,, or would be overly toned down with ash. The right blonde highlight colour now turns out to be very flattering, although I still keep quite a bit of my natural colour in for some contrast :)

  14. Hi Kate, thanks so much for sharing this. Your hair sounds a lot like mine… there is a lot of underlying red which has come out when my hairdresser has used warmer blonds, and I’ve been too ash too, with both highlights and lowlights. I’ll see if we can identify a beige blond and just try a few. Since I’ve seen some sun over the summer, it’s got some highlights in it now anyway, so that might help. I spent years growing out my natural color. I think prior to that it would have been hard to tell what the base color was.

  15. Great article! A propos SA and LSu being easily mistaken for one another — is there a season that is likely to do that for LSp?

  16. LSp is a very unique colouring and type of colour reactivity it is harder to confuse them. Still, PCA is not easy and human colouring is endlessly variable in its presentations. To look at the person, they can be confused with any Spring-influenced group, I would think. When draping, they sure can get crossed over with Soft Autumn.

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