Rick Beckman is always on my list. Rick has done the technical work on this website for many years. He is brilliant and wonderful. I hope that I thank him often enough.
He and I have put together pages that are clear, concise, and readable. Search results are so much cleaner and easier. You also have the blog index under the About tab to help locate particular articles.
Those photos across the top are an ever-changing update of beautiful and interesting things. That feature alone hypnotizes me a little.
The new appearance may take a day or two to be fully updated on your computers. As with all things that get better, this is a work in progress that will evolve with feedback.
On my list of what I thank God for, you are there also. Without your visits, your comments, your inquisitive minds, and our shared love and passion for understanding human colouring, there would be no 12 Blueprints. Should anything not perform as expected, or if any feature could be added that would enhance or ease your use of this site, please leave a comment or email me at firstname.lastname@example.org. Every word you take the time to type means so much.
My time is presently occupied going through this website in preparation for the coming upgrade. The Search function will be fast and slick. An index page will sort all the posts by title and topic. I know :) Finally!
Cleaning up links and punctuation has given me a reason to watch the last five years drift before my eyes. I often marvel at how little I knew a month ago. Imagine what I think of me way back then, or how afraid I am of what my five-years-from-now self will think of me today. Such is the nature of growth. Rather than dwell on that, I’d rather reflect on how far we’ve come together and continue on our learning path.
The Our Eye Album articles will be taken down this week. As beautiful as they were, there was a confusion factor. Season cannot be derived from an eye image, no matter how much it resembles those shown for that Season. I still get emails from people asking me to read their eye images. I guess we all want to be outside the disclaimers just this once.
Treading into a delicate topic here that will get more air time later, many of the PCA results came from other analysts and other PCA systems. By posting them, it appeared as if I was agreeing, which was not always the case. I became involved in conversations about confirming results that I no longer want to be in.
The PCA industry is divided both inside and outside the Sci\ART group. I didn’t realize how much till a few months ago. You all knew this before I did. Not only are we not the same, we are too different to match. We decide Season for different reasons, often reaching way back to entirely different beliefs about what harmony itself means and looks like.
I am too transparent in my belief of what the public has a right to know and expect when it buys a service to be comfortable with this situation for any length of time. Taking down the eye images is a first step towards identifying a new and distinct community.
Please know that I extend deep and sincere thanks to everyone who shared those pictures so that we could all learn. I value your generosity towards that goal above all.
It is our deepest wish and intention to train colour analysts to the highest level of accuracy in human colour analysis. Now that I have been training analysts for a year or so, and Terry for much longer than that, we wanted our courses to streamline as much as possible for consistency of content. It matters to us that your return on this investment be major.
Terry’s and my script as we move through the PCA process is quite different. We wanted to give our students exposure to both, understanding that as instructors, we are more effective by adapting the material to each student’s learning approach. All people, teachers and students, have R or L brain tendencies. For our own development as analysts and to provide students with the best experience, working together has been invaluable.
In the past month, we held two joint training sessions. Here are some of the concerns and solutions from last week’s debriefing.
1. For a couple of models, we did not arrive at the same Season.
This can always happen. The process is far more difficult, detailed, and in-depth than people realize. Students are consistently taken aback by the thoroughness of a good PCA. It is very clear that no living human being has, or can have, an unbiased visual system. The process and drapes must maximize the great value of our intuitions and instincts without introducing error.
For the course in Chatham, 7 of the 8 models had not been previously analyzed. Terry and I agreed on every outcome, including the 8th. Our path to the answer was not identical, which is neither necessary nor significant. With one model, one of us took the path of Spring heat to arrive at Bright Winter, while the other took the path of Autumn darkness in this particular comparison. Bright Winter colouring needs both so either preference would be good. The algorithm, followed correctly, would never eliminate a Season prematurely.
For the course in Michigan, former students had previously draped the models. Season outcomes did not always match. Both disturbed and excited, Terry and I examined the possible reasons. Why excited? Because the Autumn in us likes to know how things work and needs to fix them until they work. If the original drapes had been 100% perfect, the drapes that students buy today would not be as magnificent as they are.
The reason for differing results is unknown, and probably not that exciting after all. As instructors, the angle of vision is altered as we’re not in our usual place behind the client. The drapes are not switching as often while we help the student maneuver them. The distractions of worrying about time, and speaking to the student rather than the client add up. Unlikely that the drape colours were the cause since those now match very closely between analyst sets. Nevertheless, if there is space for improvement and learning, we intend to use it.
Conclusion: More joint training sessions with models that neither of us has draped previously. Note that under PCA Training Course in the sidebar, Terry and I will train together in Canada at the end of September and October.
From our student in May,
Reflecting on my recent PCA training conducted by Christine and Terry, how fortunate it was to be part of a thorough training experience tailored to me – my own questions and specific needs. Their collective expertise was invaluable in helping me better understand color – theory and application – and navigate a draping process that results in an accurate assessment for an individual’s true tone. This is more complex than it seems and I can’t imagine having the tools or confidence to get started without this individualized training. Would highly recommend for anyone seeking to become a trusted and thorough PCA professional.
2. Three days are not enough.
The students are just beginning to gel with the flow, the movement of the drapes, and the decision process, and then the course is over. Once they get home and work alone, many would tell you that they feel a little uncertain.
We provide continued support for our students in numerous formats, but it’s not the same as being there. The analysts in our group have to be solid. The public needs to know and trust that PCA can be life-changing. We’re determined learn from the past, not repeat it all over again.
During training, everyone is physically tired. The full spectrum lights fatigue the eyes, as does looking at visual disharmony most of the time. Our brain can’t help but feel uncomfortable, quite draining to sustain for 7 or 8 hours.
Student feedback consistently mentions anxiety about applying makeup to clients. The present schedule allows little or no time for cosmetics if the student is to drape 6 to 8 people.
There is also little time to discuss client education and post-PCA support in terms of how to implement their PCA result. The Season decision is not enough. If the public cannot use our service to improve purchases, the whole thing is just an academic exercise. The training must include conversations that extend the Season to how each client will use it best. That’s a different dialogue for every client, even five people of the same Season.
Conclusion: The training course will be expanded to 4 days. Each day will run from 9AM to 6PM. Day 1 will involve theory before lunch, and then a model in the afternoon. A model in the morning and afternoon will follow, for a total of 7, allowing time for learning how to select and apply cosmetics, and how to build a framework of support for clients in stores, cosmetic counters, and on web retail sites. The models may include men, as our students should learn how draping a man may be different, but we will provide several models with which to learn cosmetic application.
The course price will be US $3200 with either instructor Canada (Christine in Ontario) or the US (Terry in Michigan).
From our student in June,
More eyes see more – in terms of learning a trade in 3 days, it’s been invaluable to have had the privilege to learn from 2 of the most established and experienced Sci\Art specialists in the field! People / analysts process and evaluate the same information in different ways, therefore it’s important that we challenge our processes by borrowing and trying out techniques from one another. At times, we might observe different or sometimes opposing things looking at the same picture and there’s a lesson to be learnt from that.
For the PCA industry and the larger colour community, things really are getting better all the time.
1. Are the proportions of each colour in the book a reflection of my colouring. Does that have a direct bearing on how I use these colours in my clothing?
A few factors to think about. First, the designer of the palette makes a decision about how many of which colours to include. We all know by now that you could have 5 swatch books for your Seasons, 70 colours each, none repeated, all accurate. The designer has to decide what they want to express – are Neutral Seasons closer to parent True Seasons or to neighbour Neutrals? Will Dark Winter express its rustic Autumn-ness or its jewel-toned Winter-ness, or both equally? Is this palette intended for women or men, business or party, the fashion scene of the 1980s or the 2015s? How many strips of colours will be given to wardrobe neutrals, reds, white/black alternatives, etc?
The designer makes decisions about which colours will participate in a Season. Red Purple doesn’t factor into Soft Autumn, presumably because that hue doesn’t satisfy the Season’s colour dimensions. I’m not the expert on these decisions. If you look at the Sci\ART books for the same Season over the years, they change considerably. This was probably due to changes in equipment, ink, and perhaps Kathryn’s (Kathryn Kalisz, founder of Sci\ART) evolving beliefs, perceptions, and consumer feedback.
Sometimes, the limits are in the nature of the colour. There are only so many yellows that human eyes can tell apart and not as many yellows available in the high saturation range as there are blues.
From printing RTYNC (the blue book in the margin), the computer’s colour model can impose limits, as well as what a given printer can create. Giving True Summer a big selection of reds may be tricky, or maybe it’s getting reds clear enough for the Winters.
The available colours have to stay inside all 3 colour dimensions. Bright Spring ranges almost to white and black, and takes its source colours almost from primary colour, giving a wide range from which to choose. Summers, with their narrower lightest-darkest range, draw from a smaller range of colours to include in the palettes. Also, on this colouring, small nuance in colours is more apparent than on Winter colouring where colours that are very similar tend to look much the same. The Summer menu has a lot of neutral colours, entirely the wearer’s choice to use them or not.
Every available hue should be present in as wide a range of hue, value, and chroma as the Season will accept. Very hard to do unless the consumer wants to carry a 5lb. book around, which is why it’s so important to choose garments using the entire fan, not single swatches, to maximize your colour options.
Every palette should offer its owner a range of light, medium, and dark colours. They are all divided about 30-30-30. The darker Season palettes appear darker because they reach a darker endpoint.
The real point of the Q isn’t related to the theory so much as its application. I realize these things, I just get sidetracked :) The palettes do communicate in a collective way, not just swatch by swatch.
Showing too many darker blues and purples in a light or medium darkness Season might have the woman dressing darker than the overall value (darkness) level for that group. Sure, she could select more from the lighter colours, every palette has them, but the thinking is done for her if she fans out the book and ‘gets’ the overall value, hue, and chroma to aim towards.
Digression: Is that flower Bright Spring or Light Summer? Without laying it on a palette or the drapes, I don’t know the answer. I don’t have a palette at the moment. In my imagination, I’ll substitute something I know. A rainbow, a dish of sorbet, bluebells are Light Summery. In that company, would this flower would take over? In a field of misty bluebells, this rose is the only thing you’d see. The bluebells might as well be grass, leading me to think the rose is Bright Spring. Could it hold its own next to a Bird of Paradise flower? Probably. Like most design decisions, you have to see it to decide.
Final consideration: Part of what determines how many of which colour appears in a palette is probably related to the Season’s core colour. That’s an complicated concept but it does express real human beings, unlike certain PCA-industry notions that only work on paper. If anyone knows where the idea that Winter is red, Autumn’s core is orange, Spring’s is yellow, and Summer’s is blue, originated, I would love to hear. The choices of fuchsias and purples in the True Winter palette go on and on. Is that a reflection of their core colour of red mixed with the blue that cools that colouring? The amount of core colour pigment unifying a Season, therefore present in every swatch, helps decide which colours apply. For True Spring, depending on how much of the core yellow pigment the designer adds, there will be a shift in which segment of colour space contributes to the palette.
Finally! Answer to the reader’s Q: Yes and No. The book gives you overall hue, value, chroma consistency in 60 to 80 unified colours. How you wear them depends on preference, body type, occasion, time of year, personal contrast level, and individual feature colours.
2. I’m really interested in having a personal image analysis. You’ve said here that I should have my colouring analyzed first. Why? Does it really matter?
A good Q that would be better answered by an image and line expert. I’ve asked Rachel Nachmias of Best Dressed to comment from her experience and perspective. In my opinion, she is THE image expert whose advice will have you wearing modern clothing styles that elevate your power, presence, and sophistication within a matter of seconds. I’ve watched her achieve this over and over, happy to say on myself too.
In general, I would suggest that you have your PCA done first, if at all possible. When clients come in for both, I always do the color analysis first. The reason for this is that, as Christine has said, proper definition of the lines in the face requires it being surrounded by the correct colors. It’s harder for me (and more importantly others who will be looking at you in your new clothes) to see the potential of the face before me until I’ve seen it without too much or too little definition. For more on this topic, you can find an article I wrote with some real life examples here (http://www.bestdressed.us/2014/01/27/how-true-colors-reveal-true-features/). There is also, of course, the same issue I present my PCA clients who opt not to have a PIA – if you’re going to start replacing your wardrobe, why not have all the information for both style and color and save yourself the expense of having to start from scratch ever again?
That said, most of my clients who are having a PIA *want* a PCA, and if they haven’t had one, it’s because of geographic access. Some of you are out there patiently waiting until a Color Analyst sets up shop in your neck of the woods, or at least comes for a visit. Others are willing to make the trek, but need time to save for it because traveling from another country, for example, makes the expense much more significant. My general attitude in this case would be that you may as well go ahead with learning the best styles for you, as it will make a huge difference on it’s own, and I hate to think of you waiting for possibly a few years to start looking and feeling fabulous. Because I am so finely attuned to looking at features, I can typically see through the noise of wrong colors, where others would not be able to. But the decision is really up to you. If you will not be buying any clothing much at all while you wait for your PCA, and don’t have an extensive wardrobe to pick through to work towards your archetype, perhaps it makes no sense.
Here’s my scientific take on it. As with colour perception, the answer must be grounded in how human vision is hard-wired by Nature. What else would make any sense?
When colours are in conflict, shapes and lines cannot find focus. Our brain wants us to notice that there’s a difference. If the colours are quite close, our brain thinks, “That might be a tiger. How am I going to get her to see it so she runs the other way? I know! I’ll blur up the lines. She’s sure to pick up on that!”
Details cannot find definition. Our brains circuits understand visual information in a stepwise sequence. As with colour analysis, ignoring the built-in strengths and weaknesses is a little delusional. They are embedded and will not be overriden.
The first levels to process incoming line and shape signals are concerned with general contours. If all the eyes see in the image are outer edges, and blurry ones at that, the visual system finishes processing the image too early. Complexity is lost to us, and what a waste since it’s that very complexity that the higher visual levels of human beings are so beautifully able to interpret correctly. Imagine a half-developed negative from back in the 35mm film days. You see outlines, nothing else. You can’t do much of a line analysis without any lines.
For an example of contours without definition, look at the image of Victoria Beckham or Hilary Duff on the Pinterest Know Your Best Hair Colour board. Given only contours, the brain does its best at object recognition. Not being good at understanding outlines in the first place, it can’t fully make sense of the object. The result is that some spaces are not filled in or the brain makes a few incorrect assumptions to get through the day. That’s not only bad for image analysis, it’s bad for survival, evolution’s primary concern.
Rendered in its correct colours, an image develops fully. Edges are focussed and details refine. Only now can the human brain’s higher visual centers make a complete picture available for line and shape analysis.
Have a look at some of the celebrities in the Commentary Booth board on Pinterest. You can see how distorting the wrong colours are. There’s an image of Carrie Underwood in an acid yellow-green dress with silver insets. First of all, she’s hard to see. When I actually made myself look at the face, I thought she was Reese Witherspoon.
Nope. Doesn’t exist. Nature never colours any human being, or anything else, disharmoniously. So far as I know, the genetics that code for the melanin in your hair or skin do not mutate when hair silvers. And I’m pretty sure that’s correct because Season does not change with age.
Now you might not be used to silver hair yet. Your skin might look a little different with maturity plus this new hair colour. The way silver looks with your wardrobe might be different or you might still be figuring out how to coordinate outfits with silver on your head. Maybe your foundation might have been too warm all those years and now it’s more obvious. Lots of possibilities that we can work with, but your hair is as perfect as your eyes, your teeth, your freckles, your lips, and your veins.
On the Know Your Best Hair Colour board on Pinterest, I posted an image today of a woman with cool silver hair. She is of dark complexion. I don’t know the warmth level of her skin without testing but she appears more cool than dark, as does her hair. I think she looks magnificent (perhaps the black shirt is a bit bland but far from the worst thing she could wear). Women of ethnicity look fabulous in their silver hair.
On any woman, a warm skin/cool hair contrast can really elevate one another. Light complexion women tend to have a big gray circle effect, which may be part of the discomfort. Too many colour their hair, when all that’s needed is a little more makeup and brighter makeup to define their features. Though the transition to silver might be harder for warm than cool women, the gray circle effect is less noticeable in women of warm colouring who have a built-in contrast between face and hair (since gray is perceived as cool).
It is never too late to add makeup. One of the best reasons for a PCA that I’ve heard lately is, “I’ve spent 60 years looking after everyone else. As a young woman, I didn’t wear makeup. I have time now and I want to know.”
2. All the makeup artists tell me I have warm undertones. How can they tell?
It’s really time for a new paradigm in human colour analysis. There’s just too much objective proof in place to spend any more time with brown-eyes-have-to-be-Winters and what not. That’s over. Red hair isn’t Autumn. Most of the time, it’s anything but, usually Winter and Spring. In part because the Winter groups derive their pigmentation from the primary colours, the variability of presentation is endless. Nonetheless, those were the best ideas of their time and I have a deep respect for them as that.
I hold a doctorate in veterinary medicine. After 20-some years of private practice, the similarities between that profession and this one have been an eye-opener I didn’t expect. There are no limits on the variety. The last 10 cases of congestive heart failure I treated barely resemble this one. The last 10 Soft Summers have a passing similarity to this one.
It’s high time for colour analysis be viewed as the profession that it is. Even insinutating that it’s DIY misleads the public unfairly. I appreciate that they popularize the subject but wrong expectations >> confusion and dissatisfaction.
Doctors do rounds because it is not humanly possible to always be right, know it all and have seen everything. Colour analysts review cases too. After several hundred, I still discuss them, some keep me up at night, some I’d love a chance to redo because I just wasn’t 100% sure.
Neighbour Seasons, hardly a big deal. Retail compromise, comfort level, and swatching variation will get you settled in right. Notice how many Pins on the Shopping for Your Season and Style board at Pinterest span two Seasons. Getting your lines right helps colour work even better. Get your style right and the same.
What is it about this industry? Where else is movement forward so resisted in favour of 20 year old beliefs that don’t hold up to real world usage? It’s beauty, right? PCA got clumped in with a field based on trend and hope. Where we gladly hand over money for products we don’t expect to deliver on their promises. Beauty and Fashion know for a fact that we will do exactly that. Skinny jeans don’t flatter most bodies. Black liquid eyeliner is not the best choice most of us can make. Coppery highlights on most heads are the only thing the rest of us can see, unless the woman knew that subconsciously and added a marigold top, in which case that is now the only thing we can see. I really have a certain respect for this achievement of consumer manipulation.
Compliments are useless. They’re filtered through the other person’s perceptions. We all see more pregnant women when we’re pregnant. The compliment is about them, their tastes, and their internal struggles, not you and yours.
Look, the cosmetic and hair folks are advisors who counsel women every day. So they maintain that they can look at us and pronounce the heat level of our undertone? For the sake of all the women out there whose money they’re taking, these industries need an upgrade. Let’s talk about a new reality, which might be replaced in its own right one fine day if evidence comes along, because there is no cemented reality. There’s only the best we know today. Today, the A to the Q is this, whether we’re talking makeup or hair colour.
“They can’t tell unless they compare you to something calibrated.”
That is the plain and simple fact.
If they just looked, forget it. Forget it. Walk away. Some people are quite accurate by eye, but some aren’t. How is the consumer supposed to tell them apart? All they can see is what’s on the surface. Not good enough because not accurate. And if you have a deeper complexion, good luck not being told you’re warmer than you are. Good luck too if you’re among the many easily yellowed Soft Summers and Dark Winters. Women badly need better advice than this, especially from the hair colour industry. They don’t know because they can’t know so don’t expect them to know. Find out for yourself. Compare your colouring to something calibrated. You’re one appointment away from having so many answers.
Heat of colour can’t be judged well by eye because it’s totally relative. Saturation is hopeless to judge in a human. That leaves darkness level, so it’s over-emphasized. As humans, we are set up to see healthy skin as colourless. All we really see that contains colour are hair and eyes, so they get over-emphasized despite the fact that they only contain a small portion of your pigments. There’s no hemoglobin in hair, a wildly important pigment since it determines so much of the undertone.
If they applied 5 foundations and chose one, there’s a much higher chance of getting things right. Since they haven’t a clue about your heat by looking at you, I hope they used a selection of colours all the way from pure cool to pure warm, not available from most foundation companies.
Why make pure cool and pure warm foundation? Would women buy them? I bet not. Pure cool Summer foundation is pinkish gray, Winter is greenish gray, COMPARED to the warmer colours.
I’m pretty sure people don’t say, “Did you notice, she looks kind of green, ay?” when I walk out of rooms. IDK, maybe they do. My foundation is green-gray-beige because I am greenish. In the regular world, I look like everyone else, of course. Same as most Bright Season people don’t have clear eyes that you could see across the room. That’s not how it works at all. They look like everyone else, colours in equilibrium so nothing stands out.
The world is swimming in yellow foundation and dusty apricot, mocha rose, cinnamon rose, and so on makeup colours. No commitment makeup feels safe. No commitment anything feels safe. It is not the best place to put your money today.
3. Jennifer asked a great Q was asked at the end of the How To Match Foundation article about warm and cool foundation. It was, “Can one be a true warm season, and have neutral foundation look better on them than yellowed foundation? In other words, should foundation match both your overtone and undertone?”
Generally speaking, yes, foundation should match the true colours of the surface skin (no imposed overtones) and the heat level of the undertone. Heat level of undertone cannot be know without comparison testing because by definition, it is located under the surface skin. It’s not available for us to see on the surface. Draping looks through that to match the undertone layer. That’s why the Season result is the same even with suntans, rosacea, etc, all of which are happening up in the surface layers.
Some thoughts. First, every woman is an individual within a Season. Even True Seasons can run closer to one of their neighbour Neutrals. Even when very centered in her Season, every woman is an individual. About half the time, same Seasons can wear the same foundation. The rest, you’re starting from scratch. We see very fair and golden beige Autumns, alabaster and olive Winters, fair and very pastel-pink-soft Summers, and golden ivory-beige and translucently fair Springs. I still check 3 to 7 colours when I match skin, still may have to mix colours to get it perfect. So yes, warm women can look better in neutral foundations.
Second, foundation is not coloured or labeled in a very organized way, certainly not between companies. One’s warm is another’s neutral.
Third, the difference in type of heat between the 2 warm Seasons is very important. Spring and Autumn are often very intolerant of each other’s kind of heat, where these are often the other group’s worst drapes. This is why I don’t believe there are Sp/A blend Seasons, because I never see real human beings respond to colour in this way. Would the lollipops make sense in a Santa Fe landscape? Would anyone wear those colours together to create an elegant and functional wardrobe?
Spring foundations are quite yellow, Autumn foundations are a heavier beige-brown. Even darker colours, say for an East Indian woman, are yellower for Spring-influenced skin if she is a Bright Winter. Very hard to find Autumn foundations actually, especially True and Dark.
The retail world contains a lot more foundation warmed for Spring skin than Autumn. I don’t know if the industry understands the difference, though I believe that making foundation as a whole too yellow is a relic of the 80s where prominent makeup artists suggested that all the pinker colours of the 60s and 70s did not match skin. The pendulum swung too far to yellow, and people loved it because it looked like a healthy tan and covered red. Though still here today, the tan and red coverage still comes at a price: flat wide moon faces, flat wide noses, dull eyes, and no lips. Everything has a price.
Fourth, heat in colour is relative, I think. What exactly is maximally cool or warm? Does human skin ever reach those maximal values, even though they can be applied to cosmetics and textiles, where different pigments are found than in human skin? Today, IDK the answers to those Q.
If you’re asking me a Q, so are many others. You send me more intelligent and insightful comments and questions than I could ever come up with. What I want more than anything is for the colour analysis industry to make the shopping of every person reading here better. Much better, right now, today.
Answering your Q one email at a time limits how many could benefit. If I’m sent a Q or a comment, it might appear here, always anonymously, and adjusted to reflect the various angles by which people asked the same thing. If that is uncomfortable for you, might be best to ask another source.
1. The Luxury Drapes…I wanted to cry when I saw them. The colours are so gorgeous that I want to take them all home. But they’re expensive. Could you make Personal Luxury drapes smaller?
I hear you and I get it. I get that these are the first piece of consumer freedom you’ve felt in a long time, like waving flags. They are the sails of your very own boat, that you can take wherever you want. I want that freedom for you.
You wouldn’t save enough money to outweigh the negatives. The cost of the fabric would save some money certainly but think about how much 17″ (half the length of a drape) would cost. Not a lot. Maybe averages at $4-6, so over 15 pieces, that’s $60-90.
The expense is not in the fabric. It’s in the time and skill of having two analysts hand pick every colour, one by one. Literally, it takes days.
Then, there’s the production process. Cutting, edge-sealing, grommetting, and stamping is the same for a full or half length piece of fabric. This includes the time, the expertise, and the materials needed.
Shipping cost would reduce by about $20 savings by weight, depending on destination. Everything else about shipping, meaning supplies and time, is the same. Revenue Canada requires that all drapes ship out of Canada.
Also, the sets are customizable. Everyone so far has requested specific colours or colour schemes. Excellent, but I don’t want to be left with half a drape in case it’s not requested again and I can’t include it in an analyst’s set.
You’ve saved maybe $60 or 80. Part of my job is to answer the Q everyone should be asking. What is the loss? If there’s a gain, there’s a loss somewhere.
The more colour you have, the more you can see. I prefer, indeed insist, on large, single colour pieces of fabric to create every optical effect possible. You need drapes that will do that for you to gain the most information.
Half-size drapes would be half the size of a garment. Garments are not napkin sized. To make an outfit, you need to have some large and small blocks in sizes larger than doll cutouts.
I wouldn’t consider Personal drapes smaller than half size. The intention of making these available is in part so you know what an entire garment looks like in a store. Whether a 1 inch square swatch or a 2 inch square bit of fabric, the entire effect isn’t available. It’s hard for anyone to know what the clothing looks like. When Terry and I started the drape enterprise, we were uncertain about what we were looking for in many of the colours, just going by the swatches. When we found it, it was often an accident that got a reaction of “Really? Look at this one, Terry. I’m pretty sure this is what Dark Winter coral actually looks like.”
This is one of the many reasons why I so do not advocate matching clothing to each little square or dot on a fan. There’s not enough colour surface area to compare with a full size garment. Besides, even at 3×3 inches, the production of small squares of fabric becomes ridiculously complex if they are to be beautifully crafted, durable, permanent, sealed, grommetted, and packaged.
When fabric pieces are smaller, you can’t see appreciate their interactions with one another as well. Synchronous wavelength, belonging, stillness, and harmony don’t come through as well. The more colour, the more energy to be felt.
Finally, I don’t believe any more people will buy the drapes if they’re $60 less on a $500 investment.
2. During my PCA, in the Key drapes, the initial gold/silver/brown/black series, I wore black fairly well. But the analyst told me I’m a Soft Summer. Doesn’t wearing black well mean I’m a Winter?
Absolutely not. It means that your skin wants something Winter offers that the comparison drape at the time did not.
Might be darkness (but we can get that in Autumn too). Might be saturation (but Spring has that too). Might be coolness (look to Summer if necessary).
You get the pattern. Any colour dimension can be found in any 2 True Seasons. Any 2 True Seasons share 1 colour dimension and differ in the other 2. It’s like those “If Jane has 2 jellybeans and gives Tom 1…” puzzles.
So a Soft Summer might wear black as well or better than silver (her skin tone wants the darkness of black), black better than Autumn (skin wants some coolness that black gives her), and black better than Spring gold (skin wants darker and cooler). But she ain’t no Winter. And I don’t vote with the Key drapes because I fear that once a winner is picked, our brain says, “There. Done. Got what I came for. Move switch to OFF.” and too many other clues are left behind.
Second thing: The Key drapes are way way way too early to know about Seasons. The analyst doesn’t even know the face yet. It takes a solid 15-30 minutes to see what a given face will do in colours. The Key drapes are about “What’s going to change, where exactly, and how much?”
A Light Summer can wear black at times DEPENDING on what the contest is. Her skin likes the saturation and the coolness. If the comparison is with Autumn, her skin might find several things in black to like. Now if the comparison is between black and silver, there may still be good stuff happening in black but less so.
Our eyes deceive us. Everywhere, all day long. We truly know not what we see. Neuroscientists write books about our visual inaccuracies. What we think about colour is 100% dependent on what the comparison is at the moment. You make a decision about one drape’s effects. Compare it to something else, whole different decision. That’s why it’s so important to check every decision by coming at it from several angles. Never assume you read it right the first time.
I could look at you and paint what I see. Right there, in that chair, with those clothes and that hair, and that light coming in. Or even surrounded by neutral gray. Those could be your body colours, the ones you repeat when you shop.
What if I dislike yellow to the point of feeling nauseated or weirdly intimidated? The analyst is human too. Bound the influence what I paint. Gotta get myself out the way and find some way to measure objectively. Very hard for humans to do.
What if I got the first colour wrong, then rejected colour 2 because it didn’t look pretty with colour 1, while colour 2 was the correct one? Colours 3, 4, and 5 must now be influenced. Errors carry forward, so there has to be a built-in way to recheck every previous decision. This is not just my opinion. It’s how humans think.
With any 2 drapes, our human eyes often grab the first one and say “OK, got it. This is normal and right and real.” and proceed to judge everything back to that. If the drapes had landed in the reverse order, we would have judged oppositely. Never ever assume you read it right from just one comparison. Keep moving around the problem and look at every angle, almost like fooling your eyes into making the right call. Keep confusing them so they keep adapting, like any muscle or neuropathway, to develop resilience, plasticity, and the highest outcome.
Nothing wrong with paintings. They can bring us to tears, a reunion with some part of ourselves or our past. They’re also frozen in time. The subject’s and the painter’s. You know colour analysis is a spiritual journey for me, because that’s what it has been to me. I want colours that give me somewhere to grow into, saving parts of myself I don’t know about today.
It’s all inside us, past, present, future. I want a bridge to the stuff that I can’t access yet, stuff that will be there waiting for me when I’m ready, that I trust to be real and true. Being frozen in my today feels too confining and kind of terrifying. I’m not certain who it was said “Know that one thing by which everything else can be known.” For me and many others, it’s colour that acts as that metaphor. Doesn’t have to be for you, I just hope you find what it is. Seeing it in one place can help us recognize it in another. For those of us who view the world symbolically, everything is a metaphor. Favourite piece of poetry:
To see a World in a Grain of Sand,
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand,
And Eternity in an hour.
- William Blake
How seriously hard is connecting to the truth of you, with no warping by media or any other person? We devote our lives to it. We lose it and find it. Something twists and it’s gone again. Once you find it, let it out. Sing your own song. Nothing feels better. It is the voice the Universe hears most clearly as you work together to move your life forward.
Makes me think of this. This is why I and those I have taught became colour analysts. It is how God made us to spread love in the world.
How do members of a Season borrow colours into their wardrobe successfully? All sorts of diagrams exist to assist people of certain colouring, or Season, in finding clothing colours that are not within their palette.
Examples you might see include,
- True Summer and True Winter – because they’re both very cool
- Dark Winter and Soft Summer, which have a similar relationship as Bright Winter and Light Summer – because all four begin with a cool palette and each pair adds the same amount of the same kind of warmth, Autumn gold and Spring yellow respectively
- Dark Autumn/Bright Spring and Light Spring/Soft Autumn – because if you map the Seasons in a progression around a circle, the same relationship exists between these pairs as the ones above. Both begin with a warm palette and add the same amount of the same type of coolness, Winter’s or Summer’s, respectively
These generalities are best applied only to certain colours. On the whole, I’m not sure how well they serve outside the theory. I don’t believe in second-best and runner-up Seasons. They don’t exist. Any Season could absorb various colours from various other Seasons quite nicely.
In the examples above, only the heat level is being factored in, placing too much emphasis on it. The other two dimensions matter will matter a lot when the medium-browns are put under the faces. Certain pinks might slide by though.
At least for Dark Winter/Soft Summer, the heat is the same type, Autumn’s. The third example is ignoring the very different kind of heat in Autumn and Spring colours. In many cases, the worst colours for one can be found in the other warm palette. A blue-eyed Dark Autumn can have some similarities with Bright Spring’s appearance, as can the green-gold eyed Bright Spring with Dark Autumn – if they read about them, but not if they wear them. Many of the colours can be weirdly unpleasant on the opposite person.
Even at a tiny level of Autumn, Spring warmth can look like an odd, greasy, abalone shell event on Soft Summer skin. Except the eyes. Eyes are always true. Soft Summer eyes just sit there in this iridescent face looking estranged. It’s as psychologically awkward as when I wear cat eye, glittery sunglasses, to which people react in most uncomfortable (and entertaining, if you like watching that sort of thing to illustrate a point, which I do) ways.
Why might broad guidelines only work for some colours but not all the colours? They make an assumption that every person inside a Season will react to every colour in the same way. Not true at all.
Three True Springs would have three different paths through the draping sequence. Not every drape in Test or Luxury is perfect on every person in that group. It is simply the best decision in a constellation of 10 – 15 observations. Within the same Season, people will still react differently to the reds, greens, blues, and so on. This is why I am such as strong proponent of single colour drapes. Every colour tells you something. Even putting one more into the mix confuses the decision making on a given person, let alone the fact that the colours will influence one another. With students, it is reinforced that if a Season’s drapes are to be tested for some reason, then every single colour in that set will be tested. Just because a blue doesn’t work in no way indicates what how their skin would have participated with the other colours in that Season’s set.
To this day, about 300, maybe more, PCAs later, I still take time to write what I learned from each one. I had to see about 12, sometimes 25+ (Bright Winter for instance), of each Season to have trouble coming up with something new. For the Trues, I have seen about 6 of each, so each one is still quite new, not counting True Summer at 19. I will never stop learning from True Seasons.
Why shouldn’t every drape be our best drape? Because there is so much fluidity needed to perfectly repeat the millions of ways in which Nature painted all the people of any given Season. Because every instrument does not play an equal role in a symphony. A thousand reasons that this website has thought about, and many more that it hasn’t.
The natural order of colour
The world is full of concepts that have one meaning in theory and another in practice. As much as humans love to pigeonhole and predict, we live in a massively variable Universe. It might look random and messy. Humans devote large amounts of time to resisting this in favour of rules. We like the security of the restrictions and the ropes.
We understand that the Universe is neither messy or random. It’s infinitely organized, with complexity and levels far beyond anything our rules can capture. What we should be resisting are all the rules. They’re too simplified.
Amelia Butler at True Colour Australia posted the series, Tonal Contentment vs Tonal Restlessness, in several parts, here to her blog at Colour and The Human Being. So comprehensively, Amelia takes us back to what the Sci\ART palettes were intended to be and reflects on their application today. Amelia makes many valid and useful points, covering a wide range of colour applications.
There can be much critiquing of PCA philosophy and method. What works for some won’t for others, the difference relating equally to the conscious and unconscious colour persuasions of the person as to their colouring. Some answers should be sought elsewhere.
The Sci\ART 12-Tone system really is the gold standard of human colour analysis, as Amelia says. Once an analyst has worked with the system, there is not much traffic back the other way. Until an analyst, or anyone, has seen 10 or 20 PCAs, they barely scratch the surface of understanding it. I barely scratch that surface, in the same way that I barely understand how Nature is coloured, and am in awe of both. The more you know, the more you realize how little you know, right?
Perhaps, our Tone is more of an expression of our position and energy equivalence in the natural world. We are inextricably spun with wool from the same spinning wheel as all of Nature. Social conditioning pulls us in the opposite direction. That’s fine. We live, work, dress, and learn our life lessons in societies. We are barely aware of imposing our social and psychological conditioning on our every decision.
The Natural world is not Fashion. They have so little meaning and purpose in common. Why did I use up energy trying to overlap them? It was exhausting, like forcing astronomy to be astrology. The harder I tried, the more I realized how different they are. There was no point. Now I’m coming out the other side.
I relax and let each fulfill its purpose. Nature isn’t right or wrong. It just is. We don’t talk about how tree leaves should be a different shade of green to fit the picture better. It is what it is. It follows a natural order. So do the Sci\ART palettes. If you’d like a fashion green sweater in your composition, wear it.
Today, the confidence of experience releases me from defending Kathryn’s colour system any more than I would any image Nature put together, though I used to when I was younger (as I will tell anyone who will listen, it’s because I rationalize and justify everything, including emotion and instinct, being an Enneagram Type 1).
Enneagrams and watching Sherlock on BBC are my life right now. It might bore you if you knew me. I would try not to talk about it all the time, but then we’d talk about my other favourite topic, The Universe and Our Highest Potential, which brings us right back to E Type 1. How hard is it to hit the Escape key on ourselves? Quite. Ask anyone who’s had a PCA. The best way to approach having your colouring analyzed is as a stranger to yourself. The face in the mirror is a woman you don’t know. She’s just a person picked from a crowd. You have no idea about what she likes, what she’s been told, how she’s been hurt, or what makes her feel happiness. Nearly impossible to do.
Sometimes you have to go backwards to move forward. Like being inside an ascending tunnel, you think you’re repeating and repeating instead of climbing because the walls always look the same. But we do mature, part of which is repeating the same lessons at higher levels. These days, Kathryn’s colour system feels to me like a true witness to how colour is in our world. To my eyes, that is more than enough, and more than enough privilege to bring other people closer to their place in the scheme of it all to last me the rest of my days.
We can look better, shop better, be more true to ourselves, and still find a thousand personal self-expressions without creating any disruptions in the Universe. But then, we Enneagram Type 1′s who read on this page (under Adaptive Behavioral Schema) learn that…
They have a highly developed and practiced intuition for when someone or something is doing what it is supposed to do. A being is good when it is fully itself and when it is fully doing what it is meant to do.
If you can’t begin with an agreement that Nature provides us with the most perfect colour harmonies inside and around ourselves, and that our dress looks best as a faithful extension of that, well now, it might be best to get other opinions for your clothing colour system. Actually, it’s a good idea to get many opinions on anything.
The colours of objects are tightly related to the unifying properties of the light shining on them. You can only get back the wavelengths that you put in. If you put in more reds and yellows and less blues, that’s what’s going to come back. If you put in no light, you get back no colours, like the picture above.
First was the Light, which changed in a regular and predictable way. Then came the objects that developed as they did because they needed something from all the particular Lights. The Lights determined not just how they look but what they are, which energy level they hold. If the Lights had been different, the objects and life forms would have been otherwise. And then evolved the human sense of sight, also customized so perfectly to all the Lights. There might have been other possible anatomies to allow sight, but this is the one that is. And so it was from the beginning, you know?
Finally, came colour analysis. I love it most when it remembers where it began, as the beautiful partnership with Nature’s designs that became possible. Some of the landscapes Rachel is pinning on her 12 Season boards are blowing away anything I could have imagined. That Dark Winter locomotive image, what a vision Rachel has. The Sci\ART system captivated me 5 years ago and it does so today, tenfold. PCA systems should not be adapted to fashion, just as women’s bodies should not be. That’s a mess on too many levels and can’t hold up to real world use. Start with the way light is, the way sight is, and the way real bodies are made. Build the fashion thing on top of that.
Although it translates completely to fashion, you can step outside it at any time. This is not a limitation of the palette. The palette is an intrinsic center from which you can radiate in beautiful and important expansions of yourself. We gotta start somewhere to sort out some kind of relationship between us and the colour free-for-all at the mall. The Sci\ART system is the one that is most rational to me.
Nature is at once the most soothing and the most re-energizing environment there is. It is a relief from the disharmonies to all five senses to which we are subjected for most of the day. The relief in natural compositions somehow leads to those that also the most exciting.
Could they be even more exciting? Sure. Nature constantly steps outside the colour charts. And yet, every colour is able to dissolve into the image. Artists do it all the time. An addition of outsider of colour can be more happy and auspicious, more evocative, both stimulating and very belonging.
Which brings us back to our topic. How do we add colour flexibility that feels passionate and exciting, but still relevant to the wearer?
The colours we are made of are so beautifully unique to us. How can we bring that individuality into our self-expression?
I think that when color analysts talk about sharing colors, they have to specify whether they are discussing a technical situation, such as a draping, where no amount of colour compromise can be tolerated, or whether they are discussing a shopping or retail situation, where some compromise will have to be acceptable and could even be good.
I also believe that which colours are best borrowed are decided one woman at a time, with her analyst, after a thorough draping. I hope that everyone knows of Terry’s articles outlining the steps in a proper PCA, the latest installment addresses clearing the skin, linked here.
Let me think of some situations:
1. From above, and very common, Dark Winter and Soft Summer. When they shop, Dark Winter could manage some darker Soft Summer clothes. Overall, they would do better shopping in True Summer and staying with medium to dark colours. Pastel lights are not welcomed by Dark Season skin.
A Soft Summer keeps her darkness dusty or her clothes weigh her down. Of all the Summers, Soft will wear Dark Winter colours best, but because the colours are all more intensely pigmented than she is, this person will give some of their power away to their clothing.
2. If an important dimension of colour (hue/value/chroma) is satisfied, certain colors are quite tolerable by more than one group. There are yellows, oranges, and reds that could be worn very well by True Autumn and True Spring. Orange is especially easy, including many browns, brown being dark orange. These colours are inherently warm. From above, True Summer and True Winter could share some pinks and purples, which might appear dark and strong on True Summer and medium on True Winter.
3. The person’s inherent colouring should be considered. A blue-eyed person will be able to wear blue from a few more neighbouring Seasons than a brown-eyed person might. Just coming close to repeating our own colouring is visually effective for connecting us to our clothing.
Even inside a Season, a Bright Spring with cider, amber, and clear orange in the hair and eyes could wear their intense dark yellow much better than a Bright Spring who has silver hair and blue eyes. For the aqua eyed Bright Spring, those yellows might never be more than an occasional stripe in a tie or the thread to sew on some buttons.
Sometimes, Dark Winter has the very same yellows in the eyes as a Dark Autumn, or close enough to be extremely interesting. No Dark Winter will really wear a big block of Anjou pear or chartreuse excitingly, but a small piece of it somewhere near the face can be most intriguing.
4. Exactly which colour is it were discussing? Blue might be easier to share among True and Light Summer than yellow, which less of a meet-you-halfway colour for very cool colourings. The 3 Springs could move yellow around quite easily. It almost dissolves into them, so naturally does it occur. It soaks into the picture and the colours around it adjust it the rest of the way.
You’d think red could move across the Bright and Dark Winter, where it is very successful, red being a core colour for Winter. It can work but not easily. Your best guess at the Season a red belongs in is probably decent. Red has strong identity in our eyes and is reactive against skin. Beige, coral, and turquoise are harder to guess and are less dictatorial next to skin.
Light Spring and Soft Autumn could move some yellows back and forth. The rest of the colours, not so much, not even the neutrals. Lay the opened Soft Autumn fan book on a Light Spring fabric. The neutrals, loosely translated as many of the complexion colours, might turn peculiarly greenish. That’s exactly what that fabric will do to the Light Spring face. Yes, both are warm-neutrals, but they do not appreciate one another’s type of heat or darkness level.
5. It depends where the coloring falls on the Season continuum. Our colouring doesn’t sit on a dot in a clock diagram. It spans a stretch halfway between the neighbours on each side. At least, that’s how it looks on a flat map. Really, it swirls around inside a spherical structure. In a Season, parts of it switch on and interconnect just like in a lit-up brain scan.
We are so used to flat images that we forget how very dimensional our world is. Energy isn’t a wave. Look at the wave end on. It’s a spiral. Hence, that purple snail shell logo at the top. Maybe one day, they’ll find that it’s actually a spiral inside a spiral, a double helix, a Universe at the center of every cell. Very appealing to think about. Don’t worry if you have no idea what I’m talking about. Trust me, you are not alone. I’m really quite medium and normal in person :) Really.
A warm Soft Summer and many a cool Soft Summer could happily wear the cooler greens and blues of Soft Autumn. Their reds and yellows? Not so much. Neutral Seasons can wear some of the neighbour colours of close heat, but not all of them will do them favours.
6. If Dark Autumn and Bright Spring were to share, how would they do it? If we agree that the size of the color block is large and right under the face, it’s a bit challenging to figure out. They sure wouldn’t crossover in the light or medium darkness colors. There may be some dark forest greens that could work okay but not much more than that that I could see.
7.Where will the colour be worn? Gray and navy are very adaptable colours to begin with, and more so if you situate them in the lower half. If it’s footwear or sunglasses, the viewer implicitly factors in functionality and expects that they may be darker than a scarf would be.
8. Have confidence in your individuality. Enjoy it. It’s the best part of this whole thing.
9. Where do you want your focal point to be today? Let the statement necklace or the violet purse own the day.
10. Get your lines right. This is quite major. Has anyone seen the pictures of Princess Kate that I pinned recently on the Shopping for Your Season and Style board? In the eyelet dress, colour correct, the image is clumsy. In the yellow dress, probably a Dark Winter yellow, she looks fantastic. The more bits and pieces of the whole are excellent, the more they draw in the rest.
You may remember the question from the reader who felt uncertain with learning that her colouring falls into the True Winter group, and how to reconcile it with the drama that is usually depicted for that group. As if ‘decadent glamour’ is the only kind of glamour or has only one interpretation. Pfff. Limited, limited.
Her question was a great one. Find it in the article, True Winter Sans Drama and A Gentle Dark Autumn. She recently visited Rachel to be draped, confirming True Winter, and for a PIA (Personal Image Analysis). As a Yang Natural, her version of glamour (and we all have one) is not Dynasty, which is the usual TW stereotype.
By expressing True Winter in certain textures and prints, the right cut of pants, belonging shapes and styles in jewelry, the True Winter palette has become a happy home. Snow leopard effects!? On a True Winter Natural woman? That’s so good, it shook up my world when I read it.
In her words,
So, I now finally feel like I know what to wear and what to look for and what to just ignore…it was difficult for me to figure out having a natural style along with TW, but now, I’m finally able to put it all together!
Like hair colour, sharing is a colour by colour, person by person, adaptation that a colour analyst can make for each client. All she needs to do is watch how their skin reacts to a variety of measured colours.
I send clients a nutshell digest of their draping experience, how their skin reacted to certain colours, addressing how they fall outside the majority of the written information for the Season, and any particular questions they had. The experience is just too big, too technical, too mentally stimulating, and too emotional to absorb it all and have it available 6 months later. It would be like hoping to recall every word the dentist said about all 32 of your teeth from your check-up last summer. For instance, I sent this little summary recently:
It is very common in all colouring at any age to find that the particular colour in the drapes for their Season is not necessarily their best version of that colour. This is especially so for Bright Winter. As testified by your eye colours, you are lighter and warmer than the average appearance and colour reactions in this group. Many persons of this colouring cannot wear the extremes of the palette till they have fully darkened with maturity, around the age of 30.
When Bright Winter colours were excellent, they were breathtakingly so, an effect no other Season could match in any colour. The usual caution exists for this Winter Season to avoid the blackest black, which will be especially relevant for you. Choose darkest charcoal instead, preferably with a slight sheen if the occasion permits. Dark navy did not have the darkening effect of black – it is common for people with Spring influence to be much more tolerant of ‘colour colours’ than of black (which gets too dark), white (which may be glowy unless right), and gray (which may lack the excitement of colour that you wear so natively).
You were easily able to wear the coolest positions in your Season and the warmest, as long as the colour were light to medium on a darkness scale. For these choices, always choose a Bright Winter colour. If the realities of shopping require some compromise, the darker Bright Spring colours might be the place to borrow.
Many of you, and I hope everyone who reads here, have been following Terry Wildfong’s series of articles written to educate the PCA client. This series serves as a form of SOP (Standard Operating Procedure) Manual for the way in which Terry and I conduct and teach Personal Colour Analysis.
It’s interesting to me that after my training with Terry in April 2009, we didn’t meet, or even talk for that matter, until August 2012. In that time, our methods and beliefs did not diverge at all. We may use different words to describe the same optical effects, but our draping protocol and interpretations remained nearly identical.
On Terry’s blog, linked here, you will find these recent topics:
Terry has posted the second in her series. The link is here for “What Is Under My Overtone?”
Until you get past believing that how things look is real, you will be challenged to understand, perform, or interpret human colour analysis.
I am asked:
1. How important is TMIT (The Most Important Thing, from a previous article) in a person who just looks medium?
No diffferent than in a person who doesn’t look medium. If the drapes measured you that way, then you must be that.
2. Is there anyone where TMIT doesn’t matter?
No. What you think they look like isn’t real.
The blue-eyed blonde Bright Winter is not primarily light, though they look that way. They are primarily bright. It would be hard to know without draping though.
Soft Summer is quite dark at times. Someone might think they see saturation. They don’t, or the person would have draped better as Winters but that wasn’t the case.
3. What if TMIT is vague and you are medium on all 3 parameters?
Never happens. Might look that way on the outside but what you think you see isn’t the true situation. In the total imge, it’s not possible to tease apart the 3 colour dimensions and know the level of each one. Therefore, be careful of PCA systems that just look and don’t test, compare, or measure.
Dark Autumn and Dark Winter don’t always look dark. They can look quite medium on the value scale but that is not how their skin reacted when tested with a variety of value levels.
Within a given Season, there can be fluctuations in TMIT tolerance. Some Soft Autumns can wear a little more saturation than others. Their predominant colour dimension is still softness of colour.
4. Does a client whose TMIT isn’t obvious to look at need to make adjustements in use of the fan?
Everyone needs to adjust use of the fan but not for that reason. The test process will show TMIT. If you didn’t contain it, the drapes wouldn’t have measured it.
But there can be wide darkness level ranges within a Season, especially in hair. The value range (lightest to darkest) of a Season is quite wide and the person could be coloured anywhere within it. There are more ‘usual presentations’ but Terry talked about the danger of stereotyping in article 1. This doesn’t influence use of the palette in clothing, but you might use your second darkest neutral for pants and shoes. You might wear a darker lipstick.
There are Dark Winters who are quite cool but not very highly saturated in their group. They look Soft Summery. It might help them to own that palette for shopping. They could wear some darker Soft Summer colours if they already appear a little less dark or candy-coloured than a Dark Winter whose colouring lives at the border with True Winter.
There are Dark Winters who are plenty saturated but warmish in the group. Me, for instance. Clients must test all cosmetic recommendations. If you bought something from a list without testing, I take no blame.
Today, Terry takes up the topic of what we’re really measuring. It’s not what’s sitting on the top. It’s not what you think you see.
About 3 posts back, I mentioned that Terry at Your Natural Design would be posting an article series with topics for the PCA client. It is understandable that the public is confused by the variety of “colour analysis” services. How can a person be expected to distinguish the various methods?
We want you to get the product that you expected, the one you thought you were paying for. You might assume that colour analysts all do about the same thing, interpret findings in the same way, use the same drapes if they do actually measure colouring or judge it simply by how it appears, and that we all share the same goal. This is extremely far from the true situation.
Your natural colouring is accurately represented by the colours of only one Season. For analysts to arrive at the same answer to a one-answer problem, they are going to have to ask the same question. This is not the what is happening.
Clients need education so they can choose the analyst, analysis service, and outcome that best aligns with their goals. Sometimes, a topic is so broad that we need a little help defining the questions to ask to get to the knowledge that will help us choose the PCA service that is right for us.