The article , Getting More From Your 12 Tone Swatch Book, talked about the most effective way that I know of matching the colours in your palette.
Edit – about the link not working, very sorry, I fixed it twice and it’s working on my machine but nobody else’s. Here is a new link. Also the link to paste into your browser,
Terry discovered it. Together, I think we’ve made it into an absolute art form, still recognizing that there may yet be a better way.
Your palette or swatch book is a diagram of the colours in your body separated individually. It’s the board the artist dipped her paintbrush in when she filled in the lines of the sculpture of you. Which is a beautiful concept, IMO.
In the same way that, when I look at you, I don’t see only your eyes or only your mouth, neither do I see only your blues or only your reds. I see everything all at once. Your pinks are not stronger than your greens. When the swatch book is fanned out, no colour is more prominent or more vanishing. Our attention is divided equally.
Looking at a painting with a more prominent colour block – that colour grabs our attention and won’t let go; that block seems to get bigger in our awareness. Black is not slimming on everyone.
Great makeup elevates the composition of your face like it’s been there from the start. Each colour enhances the woman and the rest of the makeup. Wonderful blush intensifies eye colour. Lipstick clears dullness out of skin. Foundation alone should strengthen eye colour. Eyeshadow and lipstick are beautiful together.
When I see you wearing a blouse, I see all of you in that blouse, all the colours in you together with the blouse, hopefully bringing out the best and most in each other. I don’t see only your purples matching the purple of the blouse. Trying to match a blue blouse to one blue dot or square of the swatch book will make a less-than-best choice most of the time.
For one thing, our eyes are not that good at matching colours from single, small samples. Our brains are not good at all at recalling colour accurately. We think we’re good at both but the fact is, we’re not.
Besides, we have many more colours than what’s in those books. iPods came along so you didn’t have to carry around 30,000 CDs. Until we get you the iPod version of your palette, you need a way to figure out all those other colours that either didn’t fit into the swatch book for lack of space or would have looked too similar to other colours to tell apart.
Secondly, the Season concept is holistic. It’s all of you at the same time. Not the blues in this shirt on Tuesday and the reds in your lips on Saturday. All the colours in your swatch book are together for a reason. The Reason for the Season is You.
The reason is your DNA. Applying colour theory to the measurement of human colouring results in 65 connected colours, just as your blues and your reds are strongly united in you by genetic inheritance. What begins our genes and the pigments they code, carries through until we’re dressed and painted. As the visual manifestation of our DNA, we send out energy signals that others translate as beauty and harmony.
When you match a blouse to your swatch book, match the whole swatch book. That’s how we’re going to be looking at you in the shirt. Lay the open book on the shirt. Does one drain energy? Are they even? The matching article linked at the beginnning outlines the rest.
The lipstick below next to the swatch book. How does it feel? Because that’s exactly how it’s going to feel on the face that contains those colours.
Cosmetics, like clothes, should be matched to the entire palette. Our eyes can’t match single swatches to cosmetics accurately. Between any 2 or 3 Seasons, there may be colours that appear similar if viewed individually.
They’re not similar when comparing the entire Seasons. If I transplanted a peachy orange from a Bright Winter swatch book into a Light Spring book, where there are many peachy pinks, I guarantee you’d see it. It would be the only thing you’d see, in the Light Spring book and on the Light Spring face.
Matching makeup to the whole palette works for eyeliner, mascara, bronzer, anything. I think it’s easier than matching clothing. It’s not just me, student analysts pick it up very fast and can place any cosmetic colour within a single Season. In our last analyst training course, a student had swatched one of those “lipsticks that match every woman”. We found that it matched nobody.
Smear or draw a fairly thick application on white paper in about a 2×2 inch area. Use more than you’d ever apply to the face. If a colour is right, it will belong perfectly on the face.
Hold the swatch book alongside the makeup. Anchor the bottom page with one hand. With the other hand, flip through book slowly, opening it up enough that you can see all the swatches. Watch from the side.
Do the makeup and swatches have your attention equally?
Are you looking at one more? If yes, you will be IRL too.
Go even slower when you come to the most similar shades. Do they belong together? Are they truly beautiful, surprisingly so, even inspiring somehow, making you want to pause and look a little longer?
In analyst training situations, we are learning to place a colour in one Season so that analysts can recommend beautiful makeup to their clients. As always always always in colour analysis, you never cancel one till you have a Better-than. Once you think you have the best choice, be sure you’ve compared it to its neighbour Seasons. A colour analyst is always comparing. As Terry has said, “Compare everything to everything.”
The matching images in this article are all with Bright Winter. To make your decisions, you’d have to try Bright Spring for sure. And then you’d say, “Fine, but I don’t own a Bright Spring swatch book.” You don’t really have to unless you’re a colour analyst. If you’re a Bright Winter woman, you only have to decide if you would wear this lipstick, not who would wear it better. I do believe that owning the swatch books for one’s neighbour Seasons can be very valuable, just to have something to compare with.
Whether the identical colour is there or not is irrelevant, as it is with matching clothing, as it is with my drapes. That’s paying attention to the wrong thing. Back up. Bird’s eye view. Telescope not microscope. How does the whole thing look as one composition?
This is Cover Girl 415 Siren with a Bright Winter swatch book (original Sci/ART). Here’s my read of this colour for this type of natural colouring:
- Feels fine. This woman (the swatch book) could wear this colour nicely.
- The pigment purity is good. The lipstick doesn’t look faded or dingy on this face. The dots are not overwhelming the lipstick. Neither are the dots looking weaker, where the only thing we’d see is the lipstick on this face.
- The lipstick is a bit warmer (yellower) than the dots but that’s not necessarily bad. The type of heat is consistent with this palette. It’s pretty good with the center red dot. I like the blues with this lipstick. (The colours in these photos have been adjusted slightly.)
- I would like this lip colour with these colour elements in a print.
- The swatch book reads a trace redder. If the lipstick looks too pink, the addition of some red would improve it, especially if the woman is on the cool side of this colouring group.
Rachel, a recent student whom you’ll meet formally very soon, noticed recently at this line of lipstick holds its colour and saturation when swatched extremely well. Many brands fade and become truly muted. Do they do that on a face? I’m not sure but I’d bet yes to some extent. Another thing to make note of when you swatch on paper, especially if you’re a high saturation Season, and especially a Bright where colour purity is paramount. Does the colour look the same in 3 hours as when you first drew it?
Notice the PinIt button in the lower photo. My new obsession. If anyone uses the button, please do LMK if it doesn’t work. I’m just figuring this out.
My excellent web support, Rick, is adding a detail showing latest Pins in the right sidebar.
If you have a look at the Seasons And Styles board, you can see items chosen for their colouring and receive direction from Rachel about which sculptures (Style Types) wear the designs most beautifully. Feel free to ask questions. You can be as impressed with how very smart and knowledgeable Rachel is as I am.