Copyright 2007 David Velasco: All Rights Reserved: Salon Success Systems No part of this course may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without written permission from the authors, except for the inclusion of brief quotation in a review. Images in this course are a combination of original photography by David Velasco Salon, Ltd., computer generated illustrations and stock photography from a verity of resources. Permission request for reprints may be submitted in writing to Publisher: Salon Success Systems, 150 South Main Street, Doylestown, PA. 18901
David, When you told me that you were writing a book I knew that it would be good, but what you wrote is the encyclopedia of haircolor! Dee Levin Salon Nornandee Secretary of Intercoiffure-America
David, I have just finished the first four chapters of your book and I must tell you that it is one of the best haircolor books I have ever seen. One of the easiest to follow, great comments on the 'trade secrets, non commercial, and it is very obvious that you have a lot of knowledge and experience on haircolor from being behind the chair. I look forward to reading the rest of the book and to seeing you in September Fondly, Sheila Sheila Zaricor Treasurer - International Haircolor Exchange
Dedication
To my loving wife, Cynthia, and my two beautiful daughters, Bianca and Sienna, thank you all for always believing in me. You bring joy and happiness into my life everyday, I love you. To my brother and fellow hairdresser Danny, thank you for encouraging me to go to beauty school at the young age of 16. You have inspired me more than you will ever know. To my God for giving me the incredible gift of creating beauty with my own two hands, and be able to teach this gift to others.
Acknowledgements
I would like to thank Dee Levin and Beth Minardi for all they have taught me over the years and for their professional review of and suggestions for this manuscript. Thank you Dr. Deborah Schadler for your meticulous editing of this manuscript and your gentle nudging and encouragement along the way. I could not have done it without you. To Lucia Giancroce and Jamie Nace of DVS, thank you for all of your years of dedication to the salon and for the beautiful haircolor and styling work in many of the photos in this course. To all my staff at David Velasco Salon, Ltd., thank you for all your hard work and dedication to our salon. You make it a joy to come to work each day. May all of your careers be as fruitful and exciting as mine has been. I promise to do my part to help each one of you on your journey to success.
Pg.
Introduction----------------------------------------------------------------------8 Great Gray Coverage---------------------------------------------------------18 Making Gray (non-pigmented) Hair Blonde (Levels 6-9)-------------22 Making Gray (non-pigmented) Hair Golden Blonde-----------------26 Making Gray (non-pigmented) Hair Ash Blonde---------------------27 Making Gray (non-pigmented) Hair Neutral Blonde----------------28 Making Gray (non-pigmented) Hair Red Blonde---------------------29 Making Gray (non-pigmented) Hair Double Process Blonde-------31 Making Gray (non-pigmented) Hair Brown (Levels 4,5,6)-----------33 Making Gray (non-pigmented) Hair Golden Brown-----------------33 Making Gray (non-pigmented) Hair Ash Brown---------------------34 Making Gray (non-pigmented) Hair Reddish-Brown---------------37 Making Gray (non-pigmented) Hair Red---------------------------------39 Making Gray (non-pigmented) Hair Light Red (Levels 7, 8, 9)----42 Making Gray (non-pigmented) Hair Medium Red (Levels 4,5,6)-45 Making Gray (non-pigmented) Hair Dark Red (Levels 3,4,5)------49
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
Partial Coverage Techniques--------------------------------------------------50 Gray Reduction-Low Lights------------------------------------------------51 Gray Blending-Demi-color--------------------------------------------------52 Blonde on Gray-Foil Blonde------------------------------------------------55
Gray Coverage Color Corrective Procedures-----------------------------57 Keeping White Hair White-------------------------------------------------57 Always Using Neutral Base Colors as Part of the Formula--------59 Strategies for Covering Resistant Gray (non-pigmented) Hair----61 Glossary-------------------------------------------------------------------------75
INTRODUCTION
Knowledge is Power
Knowledge is power. This power is having confidence in your skills and abilities as a professional haircolorist: the power to create beauty and make people feel great about themselves; the power to distinguish yourself as an authority in your field and gain praise and recognition from your peers and community. And, of course, this power translates into increasing your income according to your expertise. Yes, I know all of this can come true for you. How do I know? Because it happened to me and I have seen it happen to many hairdressers to whom I have had the pleasure of teaching these techniques and strategies over my thirty plus years in the beauty industry. You hold in your hands the power to achieve all of this and more. Napoleon Hill, famed author of one of the best personal achievement book ever written, Think and Grow Rich, called this type of knowledge Specialized Knowledge and it is #4 in his history-making book. He goes on to say that Specialized Knowledge is the kind that inspired people like Henry Ford and Thomas Edison to go on and achieve greatness in their lifetimes. This type of greatness cannot be achieved with only general knowledge. I am not saying that once you have studied this course, you will become the next Bill Gates of haircolor, but once you read and internalize the information in this course, it does have the power to change your career and your life forever.
The Wikipedia online encyclopedia defines TRADE SECRET as: A trade secret is a formula, practice, process, design, or compilation of information used by a business to obtain an advantage over competitors.
In this course, you will learn many formulation concepts that are not generally known by the masses of hairdressers. Sure, some of them will seem familiar to you and you may have heard them somewhere along the line in your training. However, hearing something and learning how to use what you have heard are two very different things. The main thing that is going to set you apart from your competition, giving you the status and recognition as a Haircolor Expert in your community is knowledge, not just any kind of knowledge, but, as stated before, Specialized Knowledge.
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First of all, theres no such thing as real gray hair. There is only pigmented hair (brown, red & blonde) and non-pigmented hair (white). What we perceive as being gray hair is actually a combination of pigmented hair mixed with white hair. The less white a person has, the grayer he/she tends to look. The more white a person has, the less gray he/she tends to look, but the more white his/her hair looks. This phenomenon is best explained with something called the Gray Scale. This is a tool used in Black & White photography & film, which allows our eyes to actually see different tones of color, which are only made up of the colors black and white intermixed into verging degrees. Back in the days of Black & White TV, we all knew that Lucille Ball had bright red hair even though no one had a color television. !
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Note: In this book, we will use the term gray (non-pigmented) when speaking about white hair and gray hair when speaking about coverage issues. i.e.: gray coverage techniques.
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At first thought, it probably seems like making gray (non-pigmented) hair blonde should be a very simple and straightforward process. It would seem that you just mix any blonde color you desire; simply apply it, re-growth to ends and you're done. If you've tried this before, you may get lucky once in a while, but eventually you will have problems such as: Gray (non-pigmented) hair. Is not actually covered Looks too drab Looks pink Looks brassy gold Has a greenish cast Has a bluish cast Looks orange etc.
Formulating for gray (non-pigmented) hair has a few secret ground rules which we have to abide by in order to be successful and create beautiful colors on gray (non-pigmented) hair.
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When you want to make someone who is 75% to 100% gray (nonpigmented) into a natural looking golden blonde, keep this in mind: Straight gold tint on white (non pigmented) hair could produce a very strong, bold gold result or, at the very least, look too yellow. Also, some manufacturers use green in their lighter gold tints in order to keep the hair from becoming too gold. Both of these situations can result in a very unnatural and undesirable effect. In order to prevent either of these occurrences, do the following: 1. Do a strand test first. This will show exactly what you will get before doing anything. 2. Compensate for the lack of gold (warmth) and, at the same time, mellow out the BOLD GOLD effect by adding up to a half tube of a neutral/natural base tint in the same level as your gold base desired shade. 3. If the client is concerned about an obvious re-growth line use a demi-color in the gold or neutral family to get a very subtle gray blending effect.
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If your client has gray (non-pigmented) hair and wants it covered but still wants an ash look, remember secret ground rule #1 -- never use a straight ash color on gray (non-pigmented) hair. With that said, you can use an ash base blond color mixed with a neutral/natural base color (up to half of the formula). In most cases, these natural/neutral base tints will give enough necessary warmth to make up for the lack of gold in the gray (non-pigmented) hair. In some cases, (depending on the manufacturer) you may be able to get a perfect ash blonde look by just using natural/neutral base tints without even using any ash base tint at all. Remember the natural/neutral base tints are made up of equal parts of the three primary colors. This results in all of the primary colors neutralizing each other out and creating a brown base. Think of your neutral/natural base tints as brown base hair color. In some cases, this may be a perfect blend to create an ash look on your client's gray (non-pigmented) hair.
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In some cases, you may want to make your client's gray (nonpigmented) hair a neutral blonde. This is particularly useful if you are using this color as the base color and then putting in highlights to enhance the overall look. A word of warning -- a straight neutral blonde can be made by using the neutral/natural tints, which your color line has. But if you do not plan on putting in some highlights to brighten up the hair, it will look drab and lackluster. This is to say that straight neutral/natural tints work great when used in combination with other color basis (ash, gold, red). However, used alone, these tints may tend to make the hair looked drab, boring and lifeless. But, as I have already mentioned, these colors work great as backdrops (base colors) for creative foiling procedures. Note: Remember, in the previous section when we spoke about making gray (non-pigmented) hair an ash color, I recommended using the neutral/natural tints as opposed to ash tints. This is fine as long as your desired end result is a drab color (ash color). But, if your client desires a softer neutral blonde, you will need to brighten up the overall look with additional color such as highlights. For more information on making great looking blondes see the book, Trade Secrets of Incredible Single Process Blondes.
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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Red blonde hair can be as light as strawberry blonde, apricot blonde or copper blonde. All of these hair colors are made by mixing various degrees of red (primary color) and gold (primary color) in order to make some combination of orange. The more gold in the mixture, the lighter and blonder it will look. The more red in a mixture, the red color will look darker and more full-bodied. Therefore, if you want your red blonde to look mostly blonde with a hint of red, try using mostly a gold base color such as 7G, 8G or 9G and adding in a little of RG (Gold Red) to the base color the same level as the gold. If you want your red blonde to look a little full-bodied (stronger red), you will probably be able to use RG tints straight from the tube with little or no mixing at all. Keep in mind that the best redheads occur when a client's natural color helps to contribute some red to the overall finished color. (See book Trade Secrets of Amazing Redheads in this course). When working on gray (non-pigmented) hair, you will not have any natural contributing color pigment (red / gold) at all, so you are totally dependent upon the tint to do the whole job.
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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At first, you may think that this should be the easiest of all procedures. The hair is already white, how much more work will you have to do to get platinum or some other shades of double process blonde? Well, it's true, the hair is almost there by nature, but you still have to go through the whole pre-bleach and toning process just as if the hair were pigmented. Remember, in making a double process blonde, you have to create "desirable porosity" in the hair before being able to use a toner. Even though the hair lacks pigmentation, if you truly desire a double process blonde look such as platinum, champagne, or ultra white, you must first pre-lighten the hair. This will remove some of the gold color pigment still residing in the cortex layer of the hair and, through the bleaching process, create this desired porosity. You will now be able to use toners, which are made with light pastel color bases, to give you the desired results. NOTE: Toners used in the double blonding process are very weak products. They are not made like traditional tints, which must be aggressive enough to change healthy natural color to another shade. Toners will only work on hair which has been pre-lightened to remove the unwanted natural pigmentation. They will simultaneously create the necessary porosity in the hair shaft to allow for the penetration of the toner.
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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This is one of the easiest color applications of all. Most hair color lines have enough gold in their gold line of tints to compensate for the lack of gold in the hair. Also, at a color level depth of 4, 5 or 6, there is enough "depth of tone" to keep the hair from looking yellow and give the finished result of a nice full-bodied color without having to mix in other shades. However, some color lines still require the mixing of their neutral/natural tones as part of the formula.
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Ash tints in the brown family at levels five or darker have a color base made up of blue, green, dark violet (purple) or any other combination, which has a primary color blue in it. Anytime the primary color blue is mixed with either one of the other two primaries (red or gold), you will be making a cool base color. Fortunately for us, manufacturers have already done most of this mixing, so we don't have to think about it. If you're not sure what base color your color line uses to make a certain shade, put a little dab of your color straight out of the tube onto a piece of cotton and you'll immediately be able to see what the base is. Secret Ground Rule #6 told you that hair color manufacturers make ash tints primarily to be used on pigmented hair (brown) to help compensate for the unwanted warm tones, which will be created from the tinting process. If this same ash tint is used on pure white hair, it could have a tendency to look too cool. Given the same level, an ash base tint (blue, green or violet) will always look darker and drabber than a warm base tint (gold or red). With that in mind, a level 4 ash tint will look cooler (drabber and darker) then a level 4 gold base tint (warmer).
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In order to make a tint reddish-brown, you will need to have all three primaries in your mixture: gold, red and blue. This can be a very easy and straightforward hair color - right out of the tube. Most hair color manufacturers will have in their line several shades of red-browns to choose from, ranging from light auburns to deepest chestnuts, mahoganies, and purple plum reds. But if you want to make up some combinations of your own and experiment a little, here's what you need to know. Red is a primary color. In order to make it lighter, it must be mixed with yellow (gold) which will give you RG's and Ors, as we have already discussed in the section of this book on making gray (nonpigmented) hair blonde-red. For making gray (non-pigmented) hair red-brown, mix red with a gold or with the natural/neutral shade in levels 3,4, or 5 for a warm reddish-brown. Or mix red with a blue base color (ash in the same levels) in order to make a deep violet or purple base red to make a dark Auburn or Plum. The more blue in the mixture, the cooler your red will be. The more brown base color (neutral/natural or gold), the warmer your red will be.
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Some of the concepts in this section have already been discussed earlier. In this book, however, they are worth mentioning again in case you have been jumping around and not reading this book from beginning to end. For starters, keep in mind that we are talking here about a natural head of hair which is 75% to 100% gray (non-pigmented). In order to create a red hair color, you are totally depending upon your tint for your finished hair color (level and tone). When you compare this situation to making someone who has brown hair a redhead, you will quickly see that the person with brown hair has plenty of contributing natural hair color pigment to help give a fullbodied (rich) red color result versus someone with white hair which contributes nothing to the end color result. In essence, what I'm saying is that a person who is 75% to 100% gray (non-pigmented) hair is not your best candidate for a redhead, but if you are still determined to do it, heres how.
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RRvthis means that this tint has a dual primary color of red (double dye load of red) with a secondary dye load of violet, which is 1 part red and 1 part blue, making it a very strong and vibrant cool red tone.
Br is 1 part yellow, 1 part blue, 2 parts red (B stands for Brown which is equal parts of the three primary colors (just like your natural/neutral base colors) red, yellow and blue and R stands for red). This color would be brown with a hint of red.
Pr is a dark purple-red color with 2 parts red and 1 part dark blue (P stands for purple and is 1 part dark red with 1 part dark blue, r stands for red).
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The best way to think about this is to pretend that you are going to paint on a white artists canvas. Whatever colors you mix on the artist palette will be on the canvas. This is because the white artist canvas is totally void of any color and, therefore, will not contribute any tone to the end color result. So what you mix is exactly what you will get. Contrast this with putting a tint on pigmented hair (brown, dark blonde or red) which will add a big dose of contributing natural pigment. You will quickly see why working on 75% to 100% gray (non-pigmented) hair is very different then working on pigmented hair. Contributing color pigment will always be warm (gold or red) and can be a very difficult thing to deal with if you desire a cool end result. But if you desire a red end result, contributing natural pigment is your best friend. It will not only add to the richness and boldness of your color, but also contribute greatly to the longevity (less fading) of the red color. So what can we do to make our 75% to 100% gray (non-pigmented) client the best redhead she can be?
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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Secret Ground Rule #2 The darker you go in the level, the more dye load in the color and the better chance of the red color holding. Level 9OR (light apricot) looks beautiful on the right person, but it is one of the lightest and the faintest red hair colors that you can make. So if you are having problems getting this very light red color to hold, start introducing a little bit of the next darker red (level 8 or 7). Start slowly in ! tube increments, gradually increasing the darker red color until you hit on the right combination for your particular client. If you find that these red colors at a darker level are too pungent for your taste, try adding a little of your neutral/natural base tint into the mixture. Remember, all of these light red colors are made up of two primary pigments, red and gold. It is the delicate balance between these two colors, which you have to strike in order to achieve the exact color you desire.
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Haircolor Secret One of my little secrets is to first always try using the mildest color product possible to achieve a desired color effect. Then, if that doesnt work, gradually go to a stronger type of colorant.
I do this for two reasons: 1. To create less porosity in the hair, which will allow better color retention (less fading), 2. To keep the hair as shiny as possible. Shiny hair is healthy hair. Dry or overly porous hair will not be shiny because the cuticle layer of the hair is either too open or missing altogether. This is most likely due to an excess of aggressive products being used. Therefore, the hair will not reflect light which is what shine is. As long as you keep the cuticle layer of the hair intact and as flat as possible, the hair will reflect light and appear to be very shiny and healthy.
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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The light reds (Rgs & Ors) have already been discussed in the previous section of this book and the darker reds will be addressed a little later in this book. For now, we will concentrate on the medium reds on gray (non-pigmented) hair (levels 4,5 and 6). These levels are what I call the transition levels. What I mean is that they can be warm (dark Ors, Rgs & Brs) or they can be cool (light Rvs Rbs & Prs). The selection you have will be largely dependent upon which manufacturers color line you use. But with this knowledge, you should be able to mix just about any medium red shades you want. So the question now becomes: How can you achieve a beautiful, full bodied red color on 75% to 100% gray (non-pigmented) hair without making it too bright, too pungent, or too hot? Haircolor Secret Always mix these colors with either a gold base tint or a neutral/natural base tint.
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Or = Orange------
Rg = Red gold---
Br = Brown red-Working with these colors straight from the tube could produce a very intense, vibrant color when used on 75% to 100% gray (nonpigmented) hair. To prevent that from happening, mix your desired shade of warm red with a shade of a gold base tint in the same level. I would recommend that with this high percentage of gray (nonpigmented) hair, you start off with a 50/50 ratio of gold and red base tints. This will give you a good point of reference with which to start. If you feel that the end color was still too red, you can easily mellow out the red by applying a gold base demi-color over the bright red areas for about ten minutes or so. This will give the extra warmth you need to subdue the vibrancy of the red. But, hopefully, the color will be just right and your job will be done.
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Rv = Red Violet-----
Bv = Blue Violet----
Pr = Purple Red----Anything darker than a level 3 would be too dark (blue) to see any red. On the other hand, anything lighter than a level 6 would require gold (warmth) in the formula and would not be considered a cool base red. With these colors, you would follow exactly the same procedures as we just stated. The only exception would be that you would use a neutral or natural base tint as the brown base color instead of the gold base color. The reason is, if you want a cool red as a finished result, the extra gold in a gold base tint will tend to neutralize out some of the violet in the red tint and you will be making a brown red instead of a cool red. By using a neutral or natural base color as the mixing shade, you have a far better chance of keeping the red cool and strong.
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When you want to make a red as deep and dark as a level 3 or 4, your choices are warm brown reds for the more natural looking woodsy colors like chestnut, mahogany and oak and cool violet reds like burgundy, plums and Bordeauxs. At this depth of tone, you shouldnt have any problem with hot or too vibrant hair color. You can use these dark red shades without having to mix them with any other color unless, of course, you want to make them less intense or a more mellow version of a particular red. If that is the case, simply experiment by adding in a little neutral or natural shade in the same level. Start with ! of your overall formula, adding more as you see fit until you reach the exact color you desire. A WORD OF WARNING: In general, these dark violet reds can be harsh looking on mature women. For this reason, these colors never really gained much popularity among the mainstream general public in America. It seems that here in the United States, these colors are more popular among the younger avant-garde types, but this is not so throughout the rest of the world. These dark Bordeaux and plum reds are very popular with the fashionable women in France, Italy, Germany and other areas of Europe. For more information on making great looking redheads see the book Trade Secrets of Amazing Redheads.
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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1. Gray Blending
Gray Blending is used when you want to cover most of the gray (non-pigmented), but youre not looking for total gray coverage. The strategy is to choose a very light blonde demi-color in level 8 or 9 and apply re-growth to ends but, not necessarily for the full development time. If your demi-color usually requires a processing time of 30 minutes, you may take it off at 15-20 minutes. (You must check the hair at 5 minute intervals, until reaching the desired amount of gray coverage). Remember that you are not looking to cover all of the gray (nonpigmented), just a good portion of it. This happens because, as I said earlier, all gray (non-pigmented) hair is not created equal. The fine textured gray (non-pigmented) will take the color before the coarse textured gray (non-pigmented) will. Playing with this technique a few times will give you some formulas and timing which works best for your particular color lines.
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2. Gray Reduction
Gray reduction is a form of foiling in low lights amongst the gray (non-pigmented) hair to give the illusion of darker (pigmented) hair. With this technique, you will have to make a few choices: 1. What shade or shades should you use for the low lights? 2. How many foils should you use? 3. How heavy or fine should your weaves be in the foils? Before I give you my suggestions on these three questions, I want to give you a few Secret Ground Rules that will make your gray reduction look outstanding.
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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SITUATION: Lets start off with a problem, which I alluded to in the introduction of this book . I used the example of the client who went on vacation to a warm climate and came back with yellow hair. Lets assume that this client looks good in his/her white hair and wants to keep it as white as possible without any yellow.
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Always use Neutral Base Colors as Part of the Formula SITUATION: Youve tinted a clients hair with a red base tint and her gray (non-pigmented) looks pink, Youve tinted a clients hair with a gold base tint and the gray (non-pigmented) looks too yellow, Youve tinted a clients hair with an ash base tint and his/her gray (non-pigmented) hair looks very drab or mauve.
WHAT HAPPENED? All of these hair color problems occurred because of the same reason-Not enough warmth and depth in the formula. WHAT TO DO: If you have a client sitting in your chair with one of the above problems, using a demi-color, select a shade in the brown or gold family in the same level as your desired shade. Mix it as the manufacturer recommends and apply it to the affected area (re-growth only or all over). Leave on for about 10 minutes and check to see if the color looks right. If not, leave on and continue checking every 5 minutes, until the desired shade is achieved. HOW TO PREVENT THIS IN THE FUTURE: Keep in mind that whenever you work on gray (nonpigmented) hair, you should always use a neutral or natural (depending on the manufacturer) base color as part of your overall formula. Neutral based colors are made up of equal
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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8a & 8n---------
The big question becomes - how much of the neutral base color should you use in relation to the desired shade? My rule of thumb is this: analyze the hair and decide what percentage of gray (non-pigmented) vs. pigmented hair there actually is (25% or less, 50% or 75% or more). Then, as a starting point, use the same percentage of neutral or natural base color as the amount of gray (non-pigmented) hair your client has. EXAMPLE: 25% gray (non-pigmented) or less = use 25% neutral base color75% desired shade 50% gray (non-pigmented) = use 50% neutral base color50% desired shade 75% gray (non-pigmented) or more = use 75% neutral base color 25% desired shade
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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pigmented) Hair Below are nine more techniques to help you deal with resistant gray (non-pigmented) hair problems. They will help you tweak (get more out of) your demi-colors. Use them in descending and accumulative order. In other words, first try 3-a. If that doesnt do it, try 3-a and 3-b together, etc. 3a Take Thinner Sections In order to get adequate gray (non-pigmented) coverage, each individual hair must be completely coated with hair color. Sometimes we tend to make our sections too thick, picking up way too much hair at once and putting tint on only the exterior of the section. When we do this, the hair on the inside of that thick section does not get adequately saturated with tint and the result will look patchy on the gray (non-pigmented) hair and/or the gray (non-pigmented) hair will look stained but still visible. 3b Apply Product on Both Sides of a Section As you pick up each section, be sure that to paint tint on both sides of the section, not just on the top or bottom of a section. I often see this when someone is in a rush to get through and starts looking for shortcuts.
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To continue your haircolor education, learn advanced levels of haircolor formulation and how to correct any possible haircolor situation, see the other books in the Trade Secrets of a Haircolor Expert Course
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WHAT YOU WILL LEARN IN THIS BOOK Types of Products Used by the Professional Haircolorist Secrets of Temporary Haircolor Semi-Permanent Haircolor vs Demi-Permanent Haircolor Secrets of Semi-Permanent Haircolor Secrets of Demi-Permanent Haircolor Brief History of Demi-Permanent Haircolor Modern Demi Colors My Top 10 List for using Demi Color Secrets of Understanding Progressive Tints Secrets of Permanent Haircolor Secrets of Advance Haircolor Formulation Secrets of Why Using the Contributing Color Pigment Chart Doesnt Work
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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WHAT YOU WILL LEARN IN THIS BOOK FORMULATION SECRETS FOR WORKING ON 75% TO 100% GRAY (NON-PIGMENTED) HAIR.
MAKING GRAY (NON-PIGMENTED) HAIR BLONDE (LEVELS 6-9) Making Gray (non-pigmented) Hair Golden Blonde Making Gray (non-pigmented) Hair Ash Blonde Making Gray (non-pigmented) Hair Neutral Blonde Making Gray (non-pigmented) Hair Red Blonde MAKING GRAY (NON-PIGMENTED) HAIR DOUBLE PROCESS BLONDE MAKING GRAY (NON-PIGMENTED) HAIR BROWN (LEVELS 1-5) Making Gray (non-pigmented) Hair Golden Brown Making Gray (non-pigmented) Hair Ash Brown Making Gray (non-pigmented) Hair Reddish-Brown
Copyright 2007 by David Velasco: All Rights Reserved : www.Haircolortradesecrets.com
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Always Use Neutral Base Colors as Part of the Formula 9-Strategies for Covering Resistant Gray (non-pigmented) Hair
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WHAT YOU WILL LEARN IN THIS BOOK Keeping a Natural Brunette Brunette Making Salt & Pepper Hair Rich Brunette Making 75-100% Non-pigmented/White Hair Brunette Making a Natural Blonde a Brunette Making a Natural Redhead a Brunette Making a Double-Process Blonde a Brunette How to do Tint Backs
COLOR CORRECTIVE PROCEDURES FOR BRUNETTES #1 Dark Brown Tint Went Black #2 Brown Shade Looks Reddish #3 Brown Tint Went to Dark on the Ends Only #4 Brown Tint Took too Dark in the Temples #5 Brown Tint Looks Reddish in the Re-growth Area Only #6 Brown Shade Becomes Red After Just A Few Weeks
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WHAT YOU WILL LEARN IN THIS BOOK Stack the Deck on Your Side Best and Worst Candidates for Becoming a Redhead Formulating Red Haircolor Keeping Natural Redheads Red Making Gray (Non-pigmented) Hair Red Making Natural Blonde Hair Red Making Brunette Hair Red (Levels 2-5)
COLOR CORRECTIVE PROCEDURES FOR REDHEADS #1 Red Color is too Vibrant at Regrowth Area #2 The Ends of Your Clients Red Hair Looks Brown #3 The Client is Experiencing Early or Excessive Fading #4 Gray Hair Turns Pink or Mauve after applying a Red Tint #5 How to Brighten Natural Redheads #6 How to Highlight Natural Red Heads-Highlights Keep Disappearing
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WHAT YOU WILL LEARN IN THIS BOOK Who are the Best and Worst Candidates for Single Process Blonding Natural/Neutral Base Blondes Ash Base Blondes Gold Base Blondes Red Base Blondes Drabbers, Modifiers and Intensifiers Highlift Special Blondes
Color Corrective Procedures #1 Ash Blonde Looks Drab on Non-pigmented #2 Blonde Haircolor Did Not Cover Non-pigmented #3 Blonde Looks Brassy / Too Warm #4 Blonde Hair Looks Green #5 When Making Salt & Pepper Hair Blonde The Non-pigmented Looks Good but the Darker Hair Now Looks Red
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WHAT YOU WILL LEARN IN THIS BOOK How Haircolor Use To Be The Consultation The Products The Hair The Bleach-Out Doing a Virgin Bleach-Out Doing a Bleach-Out on Tinted Hair Doing a Bleach-Out on Previously Highlighted/Frosted Hair The Toner Hint and Tips For Better Double Process Blonding
Color Corrective Procedures #1 Blonde Looks Drab or Gray #2 Hair has a White Band about 1 inch from the Scalp #3 Hair has a Gold Band about 1 inch from the Scalp #4 In a Retouch Situation the Regrowth Area is warmer than the Rest of the Hair #5 The Bleach-out is Very Spotty and Uneven #6 The Hairline and or Temples Look Dark and Drab after Toning. #7 After Toning, the Hair is discolored i.e.: Green, Violet, Pink etc.
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