comprehensive, generic haircolor study guide

Transcription

COMPREHENSIVE, GENERIC HAIRCOLOR STUDY GUIDE
II
The American Board of
Certified Haircolorists
Mission Statement
THE AMERICAN BOARD OF CERTIFIED HAIRCOLORISTS is dedicated to the
development of standardized criteria in certification, promoting credibility and
consistent quality in the professional haircolorist.
Bringing predictability and ethical professional behavior for the well being of the
consumer and enhancing excellence in customer service.
Encouraging mentors to share their knowledge with aspiring professional haircolorists.
Making available to them the confidence needed to excel in their chosen profession
by creating opportunity for success and a prosperous future.
Totally devoted to supporting and endorsing the status of the Board Certified
Haircolorist with a goal to overcome the inadequacies of the past and become
an integral part of the future evolving professional haircolor.
This printing of the ABCH Study Portfolio
is dedicated to the memory of Lyal McCaig who
passed away in July of 2007
He served as a charter member of the Board of Directors for eight years.
He will be remembered for his passion for the beauty industry
and his dedication to educating and inspiring others. His commitment to raising the level of
professionalisum was unequaled. The imprint he leaves behind will be felt for years to come.
III
INTRODUCTION
The certification of haircolorists has been a vision of many professionals in our industry; with a goal to
establish a standard by which to judge competence and acknowledge a level of excellence achieved in haircolor,
thus creating credibility in the eyes of the consumer.
Developing a protocol to determine the level of excellence has been a sensitive and difficult task due to the
need for a common language among haircolorists. Manufacturers, haircolorists and organizations dedicated to the
art of haircolor were consulted to develop a consensus of terms pertaining to proper language, techniques and test
procedures needed to accomplish our vision. After all background research was completed, the committee set forth
to create the exam.
Dr. Richard Resurreccion, a professor of vocational education, acted as an advisor to our committee. He
was instrumental in establishing the examination to certify paramedics for the Los Angeles Fire Service. These
qualifications have made him uniquely qualified to advise our Board on the preparation of the testing procedure.
Candidates who are to be considered board certified must rise to the same standard of excellence; candidates
must feel the examination has been a valuable educational experience. A method of feedback has been established
to show the candidates their areas of difficulty or weakness.
This study portfolio contains all the information and guidelines needed for the written and performance exams.
The comprehensive material is written in easy to understand language providing in depth knowledge of the inner
workings of haircolor. It is our hope these materials will become the standard by which haircolor is taught and
evaluated.
The title, American Board Certified Haircolorist, will set qualified individuals apart from the masses and
establish a higher level of professionalism and credibility for the consumer. As in all professions, the consumer
will seek out those certified for their expert knowledge and service excellence.
IV
ACKNOWLEDGEMENTS
We gratefully acknowledge and express deep appreciation to the many wonderful people who have made this project possible:
• International Haircolor Exchange, Haircolor Education Committee and guests who attended the first meeting in August, 1988:
Patricia Ackerman, Fran Bertrand, Donna Blackmore, Ryan Boyd, Ann Briggs, Tootie DeRosa, Belinda Gambuzza, Dennis Gebhart, Lynné Gross, Gia, Darlene Hakola, Ann Hilley, JoAnn Hubrich, Dee Levin, Cal Martini, André Nizetich, Maria O’Cero, Helene René, Lois Shirley, Charlotte Vitalich, Thia Spearing, and Sheila Zaricor.
• Clairol, L’Oreal, Redken, Wella, and Schwarzkopf. Members of their educational teams: Tom Dispenza, Jackie Easterling, Linda Gately, Aubrey Maugeri, Vicky Melesko, Charlet Ridell, Victor St Sure, Phillip Sutton, and Mark Wofford.
• Dr. Richard Resurrection, without whom this task would have been impossible. His directive “Keep it fair, make it uniform, and give those who fail the feedback necessary to support them in growing from the experience,” made our mission clear. His encouragement in developing an evaluator training manual was a giant step in removing as much subjectivity as possible.
• Tom Berger, former Vice President of Avanstar International Beauty Show Group, for assembling the first meeting of manufacturers and Board of Directors.
• Subject Matter Expert Participants:
Sharon Acino, Julie Arnold, Geri Bakkie, Beverly Bandy, Jami Boccella, Brent Bauer, Peg Brown, Pamela Callan, Katherine Capelli, Jan Caruso, Tamara Dahill, Susan De Araujo, Joanne Devito, Peggy Drake, Ling Eng, Kelly English, Cindy Farr, Toi Lee Fowler, Lori Gage, Leonard Galkowski, Bobby Green, Jean Geller, Barbie Goldberg, Jody Haley, Darel Harrison, Sheryl Hermason, Michael James, Marianne Klein, Rosemary Larocca, Susan Maccoy, Chi Mai Markley, Kathleen Mattie, Kris McGinnis, Mark Melter, Patricia Militello, Dolores Morelli, Paul Morrison, Kamal Musleh, Tamara Cope Musleh, Thanh Nguyen, Jocelyn Northcutt, Marge Navratil, Kathy Partin, Marie Palmisano, Lisa Peterson, Sue Reed, Babak Sariaslani, James Sheppard, Kathy Smith, Kathy Tapp, Bob Turner, Cindra Turner, Anthony Tuzzolino, Kimberly Villella, Mary Walker, Norma Watson, Sandra West, Teresa West, Tina White, Mary Wiegert, and Cynthia Zahn. Their courage, honest appraisal, and assistance will always be deeply appreciated.
• First team of evaluators: Julie Arnold, Brent Bauer, Katherine Capelli, Tamara Dahill, Ling Eng, Bobby Green, Barbie Goldberg, Kathleen Mattie, Kris McGinnis, Paul Morrison, Marge Navratil, Jocelyn Nothcutt, Kathy Smith, Mary Walker, and Cynthia Zahn. All of who recognized the need and have gone that extra mile to make certain the certification program is a success.
• The first ABCH Board of Directors: Andre Nizetich, President: Lyal McCaig, Vice President; Thia Spearing; Olive Benson, David Stanko, and Sheila Zaricor; warriors one and all. Committed to making a difference in our industry.
To each one taking the time to study, working toward self improvement, taking a stand and being recognized in the pursuit of excellence.
Thank You
EXAMINATION OBJECTIVES FOR THE
CERTIFICATION COMMITTEE
It is important that the examinations is professionally conducted in an efficient manner and generally meet or exceed accepted testing standards. There must be strong evidence that the written examination and performance task test the skills and abilities required for excellence on the actual job.
Information provided to the candidates prior to taking the certification examination must be well prepared and of high quality. Moreover, the open examination procedure allows non-candidates to observe the procedure in an unobtrusive manner, thus encouraging others to participate in the
certification process.
It is important that the procedures used by the evaluation team are of a consistently high standard;
they require formal documentation necessary for defense against failed candidates. It is necessary to
validate materials, instructions and procedures to make certain they conform to professional test
construction techniques.
SUMMARY OF THE COMMITTEE OBJECTIVES
OBJECTIVE #1
Document a task analysis for each work sample. Specify relation of tasks to rating scale. Verify test procedures
with a professor of vocational education.
OBJECTIVE #2
Determine the extent to which candidates are provided information before the examination.
OBJECTIVE #3
Implement a formal procedure for feedback to candidates who have failed the examination and be able to
comment on areas of weakness.
OBJECTIVE #4
Determine a method by which Evaluators are selected, qualified and trained.
OBJECTIVE #5
Construct a test manual for Evaluators that standardizes instructions.
OBJECTIVE #6
Address the needs of candidates for whom English is not their primary language.
OBJECTIVE #7
Evaluate and analyze the testing process on an annual basis.
OBJECTIVE #8
Construct a general test administration manual for candidates.
VI
OBJECTIVE #1
Document a task analysis for each work sample. Specify relation of tasks to rating scale. Verify test procedures
with a professor of vocational education.
Ensuring validity in performance examinations is no different from ensuring validity in written examinations. It requires
careful adherence to an examination development process. Content validity is a necessity of professional certification
examinations. To ensure content validity one needs to follow a comprehensive job analysis and utilize the certification
committee to review and approve the examination process. It is also necessary to review the examination tasks annually
to ensure validity and update, if necessary.
OBJECTIVE #2
Determine the extent to which candidates are provided information before the examination.
One of the features that make an examination outstanding is the quality of information given to candidates prior to the
examination. Candidates should receive current information and be aware of what work samples will be included in the
examination. They should also have a clear understanding of the materials needed to bring to the examination.
OBJECTIVE #3
Implement a formal procedure for feedback to candidates who have failed the examination, and be able to
comment on areas of weakness.
The committee will provide feedback to candidates who have failed the examination. As part of the notification, the
candidate will be provided with a summary of his/her score sheet reflecting each area of the work samples and any
comments about any low scoring areas, including the location of the correct information in the study materials. The
scoring system and judgments made by the Evaluators is derived from a clearly stated set of behavioral observations.
The criteria will provide a defense mechanism to address any issues of unfair scoring.
OBJECTIVE #4
Determine a method by which Evaluators are selected qualified and trained.
It is important that every effort be made to minimize subjectivity of the Evaluators and improve their competency.
Therefore, score sheets utilizing behaviorally anchored rating scales are the best format to use for practical examinations.
Evaluators are trained, monitored and assessed regularly to maintain scoring consistency.
OBJECTIVE #5
Construct a test manual for Evaluators that standardizes instructions.
There are a series of oral questions posed to the candidates during the performance examination. The questions are
designed to measure the knowledge, composure, and confidence of the candidate. The oral questions contribute to a
portion of the performance examination score. The Evaluator manual will specify exact terms to be used to ask questions,
as well as the acceptable and unacceptable answers. The way a question is presented, and how much restating, leading,
or prodding should be clearly outlined to reflect predictable grading. Simulation questions will be constructed using
committee members so that all of the alternatives are relevant and plausible. The test manual includes the necessary
forms and rating system. The evaluators must be prepared to defend their scores when asked by the candidates for an
explanation. The candidate must feel that he or she was treated fairly and with the utmost consideration.
OBJECTIVE # 6
Address the needs of candidates for whom English is not their primary language.
English as a second language candidates will be evaluated on a case by case basis. Considerations are: Additional time,
use of a dictionary, or the use of an interpreter.
VII
OBJECTIVE #7
Evaluate and analyze the testing process on an annual basis.
The committee will compute statistics on the percentage of candidates who pass the practical exam work samples.
Those work samples will be reviewed to determine their reliance in reflecting industry standards.
OBJECTIVE #8
Construct a general test administration manual for candidates.
A manual will provide information on testing procedures, test subject matter, equipment needed, refund
policy, absence or tardiness, special accommodations for non-English speaking candidates and other pertinent
information.
VIII
TABLE OF CONTENTS
Mission Statement . . . . . . . . . . . . . . . . . III
Introduction to Haircoloring. . . . . . . . . IV
Acknowledgements. . . . . . . . . . . . . . . . . V
Accreditation Committee Objectives. . . VI
STUDY MATERIAL INFORMATION,
WRITTEN EXAMINATION
Haircolor Chemistry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (Chapter 1)
1
Identifying Natural Haircolor. . . . . . . . . . . . . . . . . . . . . . . . . . (Chapter 2) 19
Physiological Aspects of Haircoloring. . . . . . . . . . . . . . . . . . . (Chapter 3) 37
The Study of the Porosity of Hair. . . . . . . . . . . . . . . . . . . . . . (Chapter 4) 51
Coloring Textured & Chemically Treated Hair. . . . . . . . . . . . (Chapter 5) 69
Guideline for Perming Hair Treated with Haircoloring. . . . . . (Chapter 6) 79
Psychology of Haircolor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (Chapter 7) 93
Coloring Gray Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (Chapter 8) 105
STUDY MATERIAL INFORMATION,
PERFORMANCE EXAMINATION
Instructions for Preparation of the Mannequin & Swatches. . (Chapter 9) 127
Performance Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . (Chapter 10) 141
Performance Criteria and Evaluation Score Sheets. . . . . . . . (Chapter 11) 155
Performance Examination Questions. . . . . . . . . . . . . . . . . . . (Chapter 12) 165
Interactive Assessment Examination. . . . . . . . . . . . . . . . . . . (Chapter 13) 183
SCORING THE PERFORMANCE
EXAMINATION
Performance Examination Evaluation Process . . . . . . . . . . . (Chapter 14) 205
Techniques Defined. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (Chapter 15) 227
Glossary of Haircoloring Terms. . . . . . . . . . . . . . . . . . . . . . . (Chapter 16) 241
Haircoloring Tools And Marketing Terms. . . . . . . . . . . . . . . (Chapter 17) 251
IX
“You learn haircolor everyday, you will
never learn it all at once.”
Aura Mae, ABCH Board Member
1
chapter
Haircolor
Chemistry
• Haircolor
• Bleaches
• Hydrogen Peroxide
Revised March, 2009
“If prayer had an influence on the outcome of
haircolor services, there would be far more
successful haircolor services.”
Chapter 1 Chemistry
Charles
Traina, Evaluator
1
There are many different types of haircoloring
products available. They include pigmented shampoos,
weekly rinses, semi-permanent, permanent lift/deposit
haircolor and deposit-only haircolor. The focus of this
chapter is permanent lift/deposit haircolors.
2
The weekly rinse or temporary haircolor is primarily
used to add color to gray hair, faded blondes or brassy
hair. This haircolor is not generally used to cover gray.
It does not have the ability to lighten hair. The color is
applied at the shampoo bowl or working station and left
in the hair. The color will rub off if applied excessively.
3
Semi-permanent haircolor is not mixed with peroxide.
It is simple to use because the color you see is the color
you get. It is a direct dye and does not require oxidation
for the color to stain the hair. In areas where the hair
is more porous, this type of color will show greater
intensity. Caution must be exercised when utilizing a
semi-permanent haircolor on porous hair; it can stain the
hair permanently.
4
Deposit-only haircolor utilizes oxidative and direct dyes,
and requires peroxide. The peroxide is generally a low volume
oxidative solution. Deposit only/demi-permanent haircolors
are longer lasting than semi-permanent haircolor. The major
distinction between semi-permanent and deposit only/demipermanent colors is that peroxide is required with deposit
only and demi permanent color. NOTE: Some deposit only
haircolors may create a small degree of lift.
Chapter 1 Chemistry
5
Permanent (lift/deposit) haircolors are available in
a variety of forms: Gels, liquids and creams. They are
packaged in tubes, as well as bottles. The majority utilize
equal parts of peroxide, although some utilize a one to two
ratio of haircolor to peroxide. Permanent haircolor works
in basically the same manner; they create a certain degree
of lift and deposit. Permanent haircolors are the only
haircolors that are formulated to lighten hair.
0
1
3
4
5
6
7
8
9
10 11 12
6
The international system of defining the lift/deposit
ratio of haircolor is called the level system. The level
system gives the haircolorist an indication of the lift/
deposit ratio in a bottle or tube of haircolor. Although
most manufacturers of haircolor products utilize the
level system, not all manufacturers utilize the same
level system. When comparing products that are labeled
the same level from two different manufacturers, the
haircolorist must be aware that the product could vary
as much as two levels, therefore it may not produce the
same results.
7
A RULE TO REMEMBER WHEN SELECTING A
COLOR IS:
The darker the color, the smaller the number. This
may vary depending on the manufacturer. Some start with
#0, others with #1. The same variance can be found on
the other end of the scale. Some manufacturers choose to
use #10 as the lightest haircolor, while others choose to
use #12. Permanent haircolor contains ingredients which
create lift and color deposit.
8
The lift/deposit ratio in a container of haircolor is
defined by this chart. This chart depicts the relationship
between lift and deposit. The parts on the left side of the
chart will correspond to the level. The more parts lift the
higher the level.
Chapter 1 Chemistry
9
A haircolor product with a low number is indicating a
small amount of lift and a corresponding greater amount
of deposit.
10
The level system is one tool the haircolorist can use
to determine what color to choose when formulating
for a client. If there is a greater number of levels
in a line of haircolor, there is a smaller difference
between those levels. In some of the highlift colors
there could be as little as one tenth of 1% color deposit.
Please note: Level systems will differ
among manufacturers
11
Another way of looking at haircolor is the
concentration of color deposit as seen in this prop. The
level 10 haircolor has the least amount of color deposit.
As the numbers decrease, there is a greater concentration
of color deposit.
12
LIFT
DEPOSIT
Ammonium
Hydroxide
or Alkali
Substitute
Dyes
Alkali
Detergents
Emulsifiers
Conditioners
Stabilizers
Fragrance
Permanent (lift/deposit) haircolor contains dye, alkaline
substances, conditioners, stabilizers, fragrance, detergents and
emulsifiers. These are all utilized in various proportions to
create the vast numbers of haircolors that are available to the
haircolorist. The advantage of professional haircoloring over
mass marketing haircoloring is greater selection, professional
formulation and professional application techniques.
Chapter 1 Chemistry
13
The level system only indicates lift/deposit ratio. The tone
or shade defines the actual color and is generally listed on the
product. Manufacturers often add a letter or series of numbers
to identify level and indicate tone. While this information is
provided to help the haircolorist determine formulation, the
final color is determined by a number of factors that the colorist
must consider: category of natural haircolor, presence/amount
of gray hair, porosity and condition of the hair. The colorist
cannot rely on level and tone indicators from a manufacturer
alone to accurately predict the final color.
14
A variety of terms are used to describe the tone of a
haircolor. neutral, natural, drab, gold, ash, smoky, red, and
auburn red; to mention a few. It is important to know the
degree of concentration of the tone. For example: the color
identified as gold could be a very intense yellow gold,
or have slightly more gold than a neutral. Working with
the color and making swatches will help the haircolorist
recognize the actual color.
15
Hydrogen peroxide is the catalyst that causes
permanent haircolor to work. A qualified haircolorist
should be able to utilize various volumes of peroxides.
Twenty (20) volume peroxide is the typical developer
used in most cases. Clients with sensitive scalps may
not be able to withstand additional activity from higher
volume peroxide.
16
Higher volumes of peroxide are utilized when a
greater degree of lift is desired. As the volume of peroxide
increases, the color deposit diminishes. The opposite
occurs when the volume of peroxide is lowered.
Chapter 1 Chemistry
17
When haircolor is mixed with peroxide, a chemical action
takes place. The higher the level of color (more lifting action),
or the higher the volume of peroxide, the more aggressive
the chemical reaction. The lower the level of color (more
color deposit), or the lower the volume of peroxide, the less
aggressive the chemical reaction. When first mixed, the
chemical reaction is most active. When the formula is applied
to hair, the peroxide and ammonia begin to dissipate. The
color remaining in the bowl or applicator bottle is oxidizing at
a slower rate than the product applied to the head.
18
Hydrogen peroxide affects the lifting and depositing
cycle of the haircolor process. The majority of the lifting
occurs during the initial stages of the application and will
continue to a lesser degree during the entire haircoloring
process. This graph illustrates how the peroxide
decomposes after mixing with bleach or haircolor. This
occurrence will differ slightly depending on the level of
color.
19
The amount of color deposit is attributed to the amount
of color in the formula. If coverage of gray hair is desired
and does not occur, it is possible the level of color being
used does not contain enough color deposit. There isn’t
enough color in the higher level of tints to cover gray hair
completely. The level of color being used should be the
first consideration when gray coverage is poor. If there
is ample color in the formula and the gray hair is still
not being covered, the hair itself would be considered
resistant.
Applications
6
5
4 3
2
1
20
An alkali contained in the color product swells
the cuticle and allows the haircolor to penetrate. The
combination of hydrogen peroxide with an alkali creates
a chemical reaction, which breaks down the melanin and
develops the dyes. Depending on the level of color, the
color will penetrate further into the hair on subsequent
applications.
Chapter 1 Chemistry
21
Hydrogen peroxide in combination with an alkali
is responsible for releasing peroxide's free radicals. The
peroxide and alkali break apart the melanin causing it
to diffuse and give the hair a lighter appearance. The
peroxide is primarily responsible for dissolving the
melanin.
22
It is important to know the relationship between
volume and percentage when discussing peroxides.
Hydrogen peroxide manufactured for haircolor use is
labeled according to strength. In the United States,
peroxide strength is stated as a numeric value followed
by the word “volume”; e.g. 20 volume peroxide. In
other countries such as England and Canada, peroxide
strength is measured and labeled by percentage; i.e. 6%
peroxide.
6% - 20 volume
3% - 10 volume 9% - 30 volume
12% - 40 volume
23
Soap bubbles are used to illustrate one volume of
peroxide. One volume is a container filled with air. This
is considered to be one volume of oxygen.
24
The bubbles simulating oxygen are forced to the
bottom of the glass by compressing the oxygen with a
ram. This would make one volume of peroxide.
Chapter 1 Chemistry
25
This simulated bottle of peroxide would represent
one volume of peroxide with the oxygen squeezed to the
bottom.
26
This is the same container, once again filled with
bubbles representing oxygen in place.
27
The ramming process is repeated again, pushing
the ram down to the bottom of the glass. This gives two
volumes of oxygen. If this is done twenty times, you
squeeze twenty volumes of air into this glass. This gives
the container 20 volume peroxide or 6% of the container
is peroxide.
28
All of the oxygen that was squeezed into the bottom
of this container takes up 6 percent of the container, thus
the term 6% peroxide. Three (3)% is 10 volume, 6% is 20
volume. For every additional 3% add 10 volume.
NOTE: This is not the method used to actually make
peroxide. This prop is used only to aid the reader to better
understand the volume/percent ratio.
Chapter 1 Chemistry
29
The oxygen attempting to escape is what makes
peroxide an unstable solution. The more oxygen in the
container, the more unstable the solution. The maximum
amount of oxygen in peroxide is 35%, 130 volume. There
are no laws which regulate the volume of peroxide a
cosmetologist may use.
Pour 4 ounces of 20 volume peroxide into one glass.
Pour 4 ounces of 5 volume peroxide (1 oz. of 20 volume
peroxide and 3 oz. of water) into the second glass. The
contents of both glasses appear the same.
30
The physical appearance of varying strengths of
peroxide is identical to water, making it impossible to
identify its strength by sight alone. In this exercise, an
equal amount of a product that releases oxygen (contains
catalyze) is added to the peroxide. This additive will
decompose the peroxide, releasing all of its oxygen.
31
All of the oxygen is now escaping from the liquid.
This gives an indication of the strength of the peroxide.
Notice the bubbling action that is taking place. The
more bubbles, the more activity in the product. Both of
these volumes will stop working at the same time. The
20 volume peroxide generates more activity than the 5
volume peroxide.
32
The difference between 5 volume and 20 volume
peroxide is apparent when the peroxide is completely
decomposed. The 20 volume peroxide has much more
activity, which can clearly be seen. This exercise helps
gain a better insight on how peroxide decomposes.
10
Chapter 1 Chemistry
33
Utilizing Alka-Seltzer, another prop has been devised
to indicate how peroxide decomposes. The Alka-Seltzer
are stacked into piles. Each pile indicates the percentage
of peroxide for that volume. 10 volume peroxide is 3%
so there is 3 tablets. 20 volume is 6% so there are 6
tablets, all the way to 40 volume which is 12%, so there
are 12 tablets.
34
An equal amount of water is placed into each of the
glass containers as marked. The Alka-Seltzer is then put
into the containers at the same time and the tablets start
to dissolve.
35
The action of the simulated volumes of peroxide
can be seen in this prop. The 40 volume peroxide reacts
with much more intensity than does the 30, 20, and 10
respectively.
36
All of the peroxides stop working at the same time.
The 40 volume does not continue working twice as long
as the 20 volume, but works at twice the strength. Further
explanation of how peroxides affect lifting action will be
demonstrated later in this chapter.
Chapter 1 Chemistry
11
37
Lift/deposit action of a haircolor may be altered by the
use of a higher volume peroxide. If a haircolor is formulated
to be utilized with 20 volume, the lifting action is increased as
much as one level by increasing the volume of peroxide to 30
volume. This also, affects the deposit of color; the more lifting
action, the less color deposit.
1-1/2 ounce
20 vol.
1 ounce
20 vol.
1/2 ounce
20 vol.
Add 1/2 oz.
water
15 vol.
Add 1 oz.
water
10 vol.
Add 1- 1/2 oz.
water
5 vol.
38
The strength of peroxide may be decreased by diluting it
with distilled water. The formula for diluting peroxide is:
1 part 20 volume peroxide
1 part water (0 volume = 10 volume peroxide)
When mixing equal parts add the two volumes together and
divide by two. Example:
1 part 40 volume
+ 1 part 20 volume
60 volume divided by 2 = 30 volume
A hydrometer may also be used to measure the volume of
liquid peroxide.
39
Heat affects lifting action in the same manner that
higher volumes of peroxide affect haircolor. The addition
of heat to a color formula increases the lifting action. As
a result of the lifting action, it is important to remember
that color deposit will be reduced.
Powder bleach is applied to this strand and will
process at room temperature for 30 minutes. All of the
strands are in the dark brown category
40
For this next strand, a new mixture of bleach was
mixed at the same strength and allowed to process for 30
minutes. We added heat while the hair was processing.
The temperature was raised to 90 degrees with the use of
a heat lamp.
12
Chapter 1 Chemistry
41
Nat
Room Temp
90
100
110
The same process was repeated with two other
swatches. The temperatures were raised with the heat
lamps to 90, 100, and 110 degrees. Each strand was
allowed to process for 30 minutes, with the same strength
bleach mixture. The result of this experiment shows the
degree of lightness achieved by the various degrees of
heat. The heat settings on the typical hair dryer are; low70 degrees, low-80 degrees, medium-90 degrees, and
high-110 degrees.
42
5 volume
10
volume
15 volume 20 volume
Another experiment shows how lightening action
is affected by the various volumes of peroxide. Each
of the batches of bleach were mixed with 5, 10, 15 and
20 volume peroxide. Each batch of bleach was mixed
with exact proportions. Each group of 4 swatches were
saturated with bleach.
43
The swatches were covered with foil and allowed
to process. One of the swatches from each group was
shampooed at intervals of 15 minutes, 30 minutes, 45
minutes and 60 minutes.
15
Min.
20 Vol.
15 Vol.
10 Vol.
5 Vol.
30
Min.
45
Min.
60
Min.
44
This shows the result of that experiment. Note how
the strands become closer together in color as time
increases. As the processing times increase, the bleaching
slows down considerably. The graph on the next page
explains how this process occurs.
Chapter 1 Chemistry
13
45
The longer the bleach is on the hair, the slower
bleaching action becomes, regardless of the starting
strength of peroxide. The strength of peroxide has a
greater effect on the bleaching action initially; then
slowly it diminishes. Powder bleach will lighten the hair
even if mixed with water.
46
A foil packet is utilized when lightening selected
strands of hair to keep the strands isolated. This method
serves to confine the bleach mixture, keeping the product
moist and active for a longer period of time. Without
foil or other material to isolate the bleach on the hair, the
bleach will dry out and stop working.
20 vol. liquid
40 vol. creme
40 vol. liquid
47
In this exercise, powder bleach was used to show
differences in bleaching action. When using creme
peroxide verses liquid peroxide, less bleach powder is
used in the mixture. Most haircolorists generally mix
bleach to consistency rather than measure. If a higher
volume creme peroxide is used, greater bleaching action
will not be achieved because less bleach is used. The
bleach powder is the stronger of the two ingredients and
determines the bleaching action.
48
This exercise shows the differences in using the
various volumes of peroxides. Three sets of swatches
were processed with three different formulas of bleach
mixed as follows:
1. One part 20 volume liquid peroxide to two parts
powder bleach.
2. One part 40 volume liquid peroxide to two parts
powder bleach.
3. One part 40 volume creme peroxide to one part
powder bleach.
14
Chapter 1 Chemistry
Ha
ir
Vo
40 lu
Vo me
40 lu L
Vo me iqu
lu Li id
m qu
e
Cr id
em
e
49
20
30
Minutes
60
Minutes
90
Minutes
4
Hours
50
The same type of exercise was performed using
a high-lift tint. The purpose of this experiment was to
determine how long high-lift tints stayed active and to
determine the difference between the proportions and
volumes of peroxides. The batches were mixed in the
following manner:
1.High-lift tint with equal parts of 20 volume
peroxide.
2.High-lift tint with double parts of 40 volume
peroxide.
51
The swatches were thoroughly saturated and allowed
to process.
30
Minutes
60
Minutes
20
ua
l
Na
t
ur
al
Ha
i
Eq
r
ua
Do l 20
ub
le
40
52
Eq
Na
tu
ra
l
The swatches were removed at 30 minutes,
60 minutes and 90 minutes. One of the swatches processed
for four hours. Once again, the processing times resulted
in the color coming closer together the longer the bleach
was on the hair. The swatch bleached for four hours was
not a great deal lighter than the 90 minute swatches.
90
Minutes
4
Hours
The swatches were removed after 30 minutes, 60
minutes and 90 minutes. The color of the three groups of
swatches became closer the longer the tint stayed on the
hair. It is apparent that tint formulas continue lightening
the hair over a long period of time. The swatch that
processed for four hours is evidence of this. Most of
the lightening action created by the various volumes of
peroxide occurred with the first 30 minutes.
Chapter 1 Chemistry
15
Foil Shiny
Foil Shiny
Foil Dull
Foil Dull
Paper
Paper
Saran
Saran
Uncovered
Uncovered
53
The length of time a bleach continues to work is
affected by how rapidly the alkali and the peroxide
dissipates. If the solution is contained in a foil packet,
between papers, or cellophane wrap the bleaching action
will continue to stay active over a longer period of time.
Once bleach mixture becomes dry, it no longer continues
to work.
54
The materials used to form packets seems to be
irrelevant. As long as the bleach is enclosed in a manner
to keep it from drying out, the bleach will continue
working. Here, various strands were enclosed in shiny
side foil, dull side foil, papers, saran and one was left
uncovered.
55
Foil Shiny
Foil Dull
Paper
Saran
Enzyme Peroxide
Deposit
Only
Processing
Lotion
16
Chapter 1 Chemistry
Uncovered
The result of the hair strands being bleached in
various forms of materials is irrelevant. The only swatch
that is visibly not as light, is the swatch left uncovered.
The same bleach was applied to all of the swatches and
processed for the same amount of time.
56
A comparison was made with enzymes, 20 volume
peroxide and a deposit only processing lotion. The
purpose was to determine the amount of oxygen in each
of these products.
57
Deposit
Only
Enzyme Peroxide
Processing
Lotion
A product containing catalyze was poured into the
beakers. The amount of foaming action will determine
how much oxygen is present in each of these products.
Deposit
Enzyme Peroxide
Only
Processing
Lotion
Natural
Enzyme
Peroxide
58
The results of this test are apparent: The 20 volume
has the most oxygen followed by the enzyme. The deposit
only catalyst has the least amount of oxygen.
59
To further compare the enzyme, we mixed the
enzyme and 20 volume peroxide with powder bleach.
Each was allowed to process for 30 minutes
60
The result shows that the enzyme strand is slightly
lighter than the 20 volume peroxide. The reader will
reach his/her own conclusion from this exercise.
Chapter 1 Chemistry
17
61
Many of the tools printers use are helpful to understand
haircolor formulation. Printers have to deal with similar
problems as haircolorists in their work. They are applying
inks which are transparent, to colored papers. The color
of paper being used effects the final color. The colored
paper is therefore placed below the ink color to determine
how the ink will look various colors of paper.
62
Another printer’s tool contains thousands of colors
and the formulas, containing percentages of each of
the primary colors used to achieve each color. The
name of this system is called ‘Pantone’ colors. All ink
manufacturers adjust their inks to the ‘Pantone’ system.
How much easier it would be if the haircolor industry
could standardize their haircolors. Learning the color
wheel is important information.
It would be more pertinent to our industry if the
percent of primary colors in the various haircolors would
be taught.
63
The American Board of Certified Haircolorists
provides a do it yourself color chart. You may color
prepared swatches with the haircolors you use most
often. This exercise will help the haircolorists better
understand how a haircolor will react on given hair
types.
64
This chapter should encourage every Board Certified
Haircolorist to take the time to perform individual
experiments. Learn about the products you work with.
By doing so, you will be better prepared to deal with
critical decisions when working on your clients hair.
18
Chapter 1 Chemistry
2
chapter
IDENTIFYING
NATURAL
HAIRCOLOR
• Haircolor Categories
• Stages of Lightening
• Rules of Natural Haircolor
• Color Formulations
• Recommended Techniques
Revised March, 2009
“A good haircolor service is like good music or good
anything else. It is not the completion of the first
service that brings satisfaction, rather having the
client grow on the haircolorist the more
times they visit them.”
Pamela Pacheco, Evaluator
20
Chapter 2 Natural Haircolor
1
Natural haircolor, when and how hair grays, texture
and abundance are all determined by DNA genetic
coding. There are instances where illness will override
the DNA genetic coding but it is rare.
2
Natural haircolor changes as one matures. Research
indicates that worry, stress, fright, or trauma have little to
do with this.
3
Natural haircolor is determined by the genes of
one’s parents. Occasionally, certain haircolors will skip a
generation.
4
Although the parents in this family have no history of
red hair, they have an offspring who has red hair. The red
hair can be traced back a generation. In this family, we
have the entire spectrum of haircolors. As the children
mature their natural haircolor differences will lessen.
21
5
Although the ‘level system’ has been an
accepted method for identifying natural haircolor, the
‘CATEGORY SYSTEM’ takes this one step further
in refining the process. The level system makes no
accommodation for gray hair nor does it help the
haircolorist anticipate undertones. It places everyone in
one giant group. Moreover, the level system uses the
same swatch chart to define natural haircolor as well as
the stages of lightening. The category system makes it
easier to understand by separating the two.
6
The world’s population is divided into four categories.
Each category has its own personality and will respond
to haircolor differently. Each category will go through
different stages of lightness and will expose different
undertones. Understanding the four haircolor categories
is essential reference material during a client consultation.
The category of an individual never changes throughout
their lifetime.
7
Often, clients describe their haircolor based on
memories from high school. This is indicative of how
they view themselves and is a factor when anticipating a
new haircolor. Hair darkens as one grows older, but the
undertones remain the same and are based on childhood
haircolor.
8
The first of these categories is DARK BROWN/
BLACK (B) category. These are individuals who were
born with dark hair; and their hair remains unchanged
throughout their lifetime, until they begin to gray.
22
9
The next category is WARM BROWN (W). The
individuals in this category are born with blonde or sandy
brown hair. Their hair darkens to a brown shade before they
reach their teens. Someone in the W category would not
consider themselves blonde in high school, although their
hair generally lightens considerably from the sun.
10
SOFT BROWN (S) category individuals are born
blonde. Their hair remains blonde into their teenage years
and may remain blonde into their twenties and thirties.
They consider themselves as blonde during their high
school years. Their hair may begin to darken while they
are in high school.
11
The last category is the RED (R) category. These are
the individuals who consider themselves red heads during
their teen years. Those who are reddish blonde during
their toddler years, but whose hair turns dark before their
teens would be placed in the warm brown category.
12
DARK BROWN/BLACK (B)
Each category can be broken down into three subcategories. Individuals in the B category:
B-1, B-2 and B-3.
B-1 is the darkest
B-2 is the mid range
B-3 is the lightest
The father is a warm brown the mother is a dark brown,
therefore the children are all in the B category from B-1
to B-3.
23
13
(B) category clients generally have natural haircolor
with cool tones. These clients generally don’t like the
warm tones that occur when lightening their hair, and will
often allow their hair to gray without coloring.
14
As gray hair becomes a dominant factor in the overall
haircolor (30% or more), the hair may be colored and
achieve a minimum of warm tones. It is possible when
clients are in the B-3 category and have a minimum
amount of gray, blonde highlights may be added to the
hair. Lightening the remaining hair slightly after the
highlighting service removes the cool tones and adds a
pleasing contrast to the highlights. Sub categories B-1
and B-2 are not good candidates for highlighting to a
blonde color without toning.
Dark
Reddish
Brown
Dark
Black
Medium
Reddish
Brown
Reddish
Brown
Gold
Orange
Light
Orange Red
Gold
Light
Gold
Pale
Yellow Blonde
Yellow
Palest
Yellow
Blonde
15
The (B) category goes through the following stages
to reach palest yellow blonde:
7. Gold
1. Dark brown
2. Dark reddish brown
8. Light gold
3. Reddish brown
9. Yellow
4. Medium reddish brown 10. Pale yellow blonde
5. Light orange red
11. Palest yellow blonde
6. Gold orange
16
Individuals in the (W) category have parents whose
natural haircolor varies widely. One parent may be from
the (B) category, the other from the (S) category; this
may produce a (W) offspring. These genetic influences
produce a (W) whose red undertones are not as strong.
This mother can recall having haircolor the same as her
child.
24
17
The W category clients are generally more accepting
of warm tones, because their hair lightened from the
sun in their high school years. Because their hair goes
through so many changes growing up they are good
candidates for red hair colors. The W category can wear
most any color well.
18
W-1
1 yr.
5 yr.
9 yr.
13 yr.
15 yr.
18 yr.
1 yr.
5 yr.
9 yr.
13 yr.
15 yr.
18 yr.
1 yr.
5 yr.
9 yr.
13 yr.
15 yr.
18 yr.
W-2
W-3
The following information describes how to determine
in which sub-category a W category client would be placed.
The W-1 category would have the client’s hair turning brown
by age 5. The W-2 category would have the client’s hair
turning brown by age 10. The W-3 category would have the
client’s hair turning brown by age 13. Although only 15%
of the worlds population have hair in the W category, this
group accounts for 35% of salon haircolor clients.
19
It is impossible to determine the amount of undertone
by observing only the surface color. You must investigate
the changes the haircolor has gone through. During the
consultation, questions asked regarding the color of the
clients hair as a young child and at what age the hair
started to darken will give an indication of how that hair
will respond when lightened and the stages of lightening
the hair will go through.
Medium Light
Warm Golden
Brown Brown
Dark Medium
Golden Golden
Blonde Blonde
Palest
Light Yellow Pale
Golden Blonde Yellow Yellow
Blonde
Blonde Blonde
20
The W category (warm brown) goes through less
stages than the B category (dark brown/black). They are
as follows:
1. Medium warm brown
2. Light golden brown
3. Dark golden blonde
4. Medium golden blonde
5. Light golden blonde
6. Yellow blonde
7. Pale yellow blonde
25
21
Here are three children in the warm brown
category. This is typical of both parents being warm
brown. Although the sub-categories vary slightly,
they all fall into the warm brown (W) category.
22
This combination of parentage has produced two
children in the W category. Tracing the parents color
back to their childhood, the mother was a W-3, while the
father was a W-2. The mother colors her hair. Note the
lack of strong red tones coming from her single process
color. Red undertones would be present if she was in the
B category. She is closer to being a W-3, based on her
undertones. You can anticipate the natural haircolor of the
children becoming much the same as the father.
23
The two children in this family have haircolor similar
to that of each parent. The son’s haircolor is reminiscent of
his mother’s childhood haircolor; likewise, the daughter’s
haircolor is similar to her father’s when he was young.
The mother is in the W-2 category with dominant warm
tones. The father is in the S-1 category with few warm
tones. It’s a common trait for children to reflect the
haircolor genes from one parent.
24
If a child is born with sandy brown hair, but the hair
darkens at a young age, he would still be placed in the W
category. This child’s hair lightens easily from the sun. A
child in the dark brown category would not lighten from
the sun in this manner. These undertones are not the same
as someone the B category.
26
25
Undertones determine if the client is a good prospect
for highlighting. Clearly some natural haircolors that are
dark and cool do not make a flattering background for warm
highlights. Altering the background color by bumping the
base could make the highlights more flattering. Bumping
the base can be done before the highlighting service or after
the highlighting service if tone is desired on the highlights.
26
W category clients appear to lose all of the warmth
in their hair as they begin to gray. Their hair first starts to
become flat and lifeless, and continues to lose warmth as
the gray hair appears. However, coloring with permanent
(lift/deposit) haircolor will create warm undertones if
the level of haircolor used is lighter than their natural
haircolor.
27
SOFT BROWN
The S category (soft brown) is the lightest of the four
categories. At least one of the parents is in the S category
if any offspring is in the S category.
SOFT BROWN CATEGORY “S”
Percent Of
World
Population
9%
Percent Of
Colour
Clients
28
Approximately 9% of the world’s population are in
the S (soft brown) category. People in the S category
consider themselves blonde, and do not adjust well when
their hair begins to darken. For this reason, S category
people account for 50% of salon haircolor clients. Their
goal is to remain blonde.
50%
27
29
S category individuals whose hair starts to darken
will go to any means to keep their hair blonde. They will
use lemon juice, spray on lightener, or pull a cap over
their head and use a home frosting kit in order to keep
their hair blonde. Those who can afford it will go into
the salon to have their hair professionally colored. These
clients start the haircoloring habit early, and will continue
to color their hair for the remainder of their lives. This is
why there are a large percentage of haircolor clients who
are in the S category.
Light
Brown
Dark
Golden
Blonde
Light
Golden
Blonde
Yellow
Blonde
Pale
Yellow
Blonde
Palest
Yellow
Blonde
30
The soft brown (S) category goes through fewer
stages of decolorizing than the W or B categories. They
are as follows:
1. Light brown
2. Dark golden blonde
3. Light golden blonde
4. Yellow blonde
5. Pale yellow blonde
31
S-1
1 yr.
5 yr.
9 yr.
13 yr.
15 yr.
18 yr.
1 yr.
5 yr.
9 yr.
13 yr.
15 yr.
18 yr.
1 yr.
5 yr.
9 yr.
13 yr.
15 yr.
18 yr.
S-2
S-3
The S category, like the other categories, has sub
categories that depend on when the hair starts to darken.
If the hair starts to darken by age fourteen to fifteen they
would be S-1. If the hair darkened between age fifteen to
seventeen, they would be S-2 Hair darkening after age
seventeen would be S-3. Some blondes do not darken
until they are in their thirties and forties. These clients
seem to go from blonde to gray without much contrast.
Single process blonde permanent haircolor is most
effective when used on clients in the S category.
32
When the S category client starts to gray, the hair
seems to change from blonde to gray. For those with cool
blonde tones, gray hair is generally not apparent. Those
clients who have gold in their hair lose the gold tone as
they start to gray.
28
33
RED (R)
The R individual generally has red hair in their
heritage. The color can range from a light strawberry
blonde-red, (the daughter in this picture) to a deep, rich
copper-red.
34
It is not unusual for someone in the R category to
have parents that do not have red hair. This would be an
example of haircolor type skipping an entire generation.
People in the R category account for 1% of the world’s
population. They account for less than 5% of salon
haircolor clients.
35
Redheads receive so much attention from their hair
color that they generally do not color their hair until it
starts to turn flat and gray. At that time they will most
likely color their hair the same color it was while growing
up. The R category falls into the same levels as the W
category.
36
By the time an R category client starts to turn gray,
the natural hair would no longer be considered red.
The hair tends to lose most of its warmth. This client
(formerly red) chooses to have her hair highlighted with
red color, as opposed to coloring 100% of her hair.
29
37
A review of the four haircolor categories is appropriate.
The B (black/dark brown) category accounts for 75-80%
of the world’s population. People in the B category are
those who are born with dark hair, which remains dark
until it starts to gray.
38
People in the W (warm brown) category are born
with light hair that gradually darkens before the age of
13. W category hair will tend to lighten from exposure
to sunlight. W clients make better prospects for blonde
highlighting and can wear most any haircolor.
39
S (soft brown) category individuals consider
themselves to be blonde. In many cases they will begin
coloring their hair when it darkens and continue to do so
throughout most of their life. Blonde haircolors outsell
others by 5 to 1. They do not have brassy undertones
and their hair lightens easily. They are the only clients
you can feel comfortable using a high lift single process
color.
40
R (red) category accounts for a small percentage of
the world population. Most redheads will remain red and
will not color their hair until it starts to fade. At this
point they want the red color they wore when they were
younger.
30
41
One of the most important reasons for placing
your clients into a haircolor category is to accurately
anticipate the stages of lightening and undertones of the
different categories. When using permanent haircolor,
the undertones are generated by the lifting action. The
undertones combined with the color deposited is what
gives the hair its final color result.
42
In a retouch situation, you may have a small regrowth
area to indicate the client’s natural category.
It is beneficial to discuss with that client his or her
natural color and how it has changed over time. This
recollection will help you determine the category, and
provide you with a key to formulate for the desired
results.
43
It is important to remember that while an individual’s
hair color changes naturally throughout the life cycle, the
category in which they are classified never changes.
44
This knowledge will help you to determine what
tones are most complimentary for each category.
In situations where a new retouch client is not
entirely pleased with the current color, determining his or
her category will help you provide an alteration of tone
that will result in a more complimentary effect.
31
45
Determining a client's natural category can be
challenging. This young lady is W-1. If her hair were
short and the sun lightened ends were not visible, she
could easily be mistaken for a B. 46
Father and son are both in the W category. The father’s
hair was lighter than the son’s when he was a child. The
young man on the right is also in the warm brown category.
Note the lightness on the ends of the young man's hair.
47
A person in the W category is a more likely candidate
for highlighting than someone in the B category. W
category hair augment the warm tones in the natural hair
color. The undertones in the B category make it more
difficult to get a pleasing contrast. Highlights placed in
the hair can become overly contrasting.
48
A client in the W category who has turned gray can
wear warm tones in the hair when covering the gray.
32
49
RULES OF NATURAL HAIRCOLORING
Exposure to the sun, shampooing, hot rollers and curling
irons cause the haircolor to change. Looking carefully at
a child’s hair, there are color changes that occur naturally
from exposure to the elements. As a result of studying
these changes, we have devised ‘the rules of natural
haircoloring.’
50
1. THE ENDS OF THE HAIR SHOULD BE LIGHTER
THAN THE HAIR CLOSEST TO THE SCALP
Seldom will you find longer hair where the ends
are not lighter than the hair at the scalp. This rule is
broken most often when color is applied to the hair that
is absorbed into porous ends. This is also true of hair that
has been permed, then colored. This rule is also broken
when a high-lift haircolor is applied for the first time
from scalp to ends. The hair will lighten more at the scalp
than the ends.
51
2. THE SURFACE HAIR SHOULD BE LIGHTER
THAN THE HAIR UNDERNEATH
Surface hair will tend to lighten more due to its
unprotected exposure to sunlight, as well as direct
combing, and application of styling tools. In the case of
shorter hair, the hair on the top of the head will always
be lighter than the perimeter hair. This rule is most often
broken when colors are absorbed into the porous surface
hair.
52
3. THE HAIR AROUND THE FACE SHOULD BE
LIGHTER THAN THE HAIR IN THE BACK
It is acceptable if the hair around the face is the same
color; it should never be darker. This rule is broken when
the hairline is avoided when doing highlights. Often
the client requests that the haircolorist do this to avoid
an obvious outgrowth. This rule is also broken when
applying a darker haircolor around the face to cover gray
hair.
33
53
4. THE DARKER HAIR
DOMINATING COLOR.
SHOULD
BE
THE
Of all of the rules, this is the rule most often broken.
The client’s request for more blonde hair makes this a
rule difficult to keep. The more frequently highlights are
added to the hair, the faster the lighter hair will become
the dominating color. Breaking the rules of natural
haircolor is not something that is unacceptable. The
rules of natural haircoloring only state what occurs with
natural hair.
54
This client’s hair has been colored back to her natural
haircolor. The ends of the hair have become darker
because they are porous. As a result, the haircolor does
not look natural.
55
Compare this child’s hair with the client. This child’s
hair incorporates all the rules of natural haircolor. The
clients hair does not.
56
By darkening the hair slightly at the scalp and adding
low lights, the hair is natural looking. This client has
80% gray hair; so the depth of color is light enough to
minimize the contrast of the new growth.
34
57
The same technique was utilized on this client. In an
attempt to add more brightness to her highlighted hair, the
client applied a single process blonde color to her hair.
58
With the introduction of a darker color at the scalp
and a few strategically placed low lights, a more natural
haircolor is produced. In this case, a darker haircolor was
used at the scalp so the new growth would not show. This
client had no gray hair.
59
The finished result looks more natural, and changes
the overall esthetics by darkening the hair at the nape and
avoiding color application to the ends. This technique is
referred to as “Shadowing.”
60
The American Board of certified Haircolorists
provide a client consultation swatch chart. This swatch
chart will help the client to understand undertones and
the stages of lightening the hair must go through in order
to become blonde. As haircolorists we are asked to
achieve haircolors which are unreasonable based on the
clients undertone. This swatch chart will help in these
situations.
35
“The most natural logical way to learn
haircoloring is to learn all about the strand of
hair and progress through the chemistry. It is
easier to make haircolor work for you and make
the proper decisions when you have a basic
understanding of haircolor.”
36
Tamara Dahill, ABCH Board Member
3
chapter
PHYSIOLOGICAL
ASPECTS OF
HAIRCOLORING
• Hair Structure
• Chemical Effects On the Hair
• Color Deposit On the Hair
• Melanin and Its Effects
Revised March, 2009
“There is no type of miracle that can’t
happen at least once in coloring hair.”
38
Chapter 3 Physiological Aspects of Haircoloring
Julie Arnold, Evaluator
1
Human hair is a unique fiber. The construction of
this fiber allows it to withstand a great deal of abuse.
Hair that is over-processed, neglected and abused by
the haircolorist will directly affect the outcome of the
final color result. The haircolorist must understand the
limitations of the hair and not put the clients hair through
undue stress.
2
This prop simulates a strand of hair magnified several
hundred times. It shows the cortex and the cuticle.
3
The cortex of the hair is made up of a wood like
substance that is soft and pliable. The cuticle layer
surrounding the cortex is comprised of several layers of
keratin protein, like the fingernail. The function of the
cuticle is to protect the cortex and to add strength to the
hair.
4
If it were possible to separate the cortex from the
cuticle and spread the cortex apart revealing the interior,
the serrations of tissue that give the cortex its strength
would be evident.
39
5
Melanin is contained in the cortex layer of the hair.
Melanin is what gives hair its color. Using colored sand
we are going to simulate melanin and how it becomes
part of the cortex. The melanin is impregnated through
out the cortex.
6
Melanin not only covers the surface of the cortex;
it is an intricate part of the construction of the cortex.
Melanin is to the cortex what chocolate chips are to a
cookie.
7
Pictured is a simulation of two natural virgin hair
strands; one with color and one without. The strand on
the left has colored sand that is adhering to the cortex
and is visible through the translucent cuticle layer. This
appearance would give the impression that the cuticle
layer contains color. The strand on the right has no
colored sand on the cortex and therefore it appears
colorless.
8
Observing the thumbnail, push on the thumb with
the forefinger and roll back and forth. Notice that the
color beneath the fingernail changes. The change of
color is not the fingernail changing; it is the color of the
blood and tissue directly below the fingernail that chang
es. The color we see in natural hair is located beneath the
cuticle.
40
9
Cuticle
Layers
The cuticle layer can range anywhere between 4 to
12 layers. It is constructed in a manner that allows it to
stretch and then rebound to its original size.
10
The cuticle layers are held together with a substance
that is similar to rubber cement. This substance allows the
cuticle to stretch and contract. The cuticle is translucent,
like a shower enclosure, not transparent like clear glass.
The substance that holds the cuticle together is like
the material that binds muscle to the bone. This rubber
like material not only bonds the cuticle layers together,
but it also bonds the cuticle layer to the cortex.
11
The construction of hair can be compared to a king
crab leg. The outside of the king crab is a hard, resilient
substance, much like the hair cuticle. The inside is soft
muscle, much like the cortex.
12
Melanin cells are in small clusters held together by a
melansome. These clusters vary in size and shape, and are
found throughout the cortex of the hair.
41
13
When a lightener comes in contact with the hair, the
melanoprotein is dissolved and the melanin is dispersed
in the hair. The lightener then begins to dissolve the
melanin. The melanin goes through a series of color
changes depending on the natural haircolor and the
concentration of melanin present. Bumping the base is
the process of the melansome dissolving but not long
enough for much of the melanin to begin to dissolve.
14
As the lightening action continues, the melanin
disperses and goes through a series of color changes.
Lifting artificial haircolor is quite different. With
artificial color you are removing stain from the cuticle
and the cortex. High lift haircolor can lift old color
slightly, but bleach or removers are necessary for reliable
results.
NOTE: This dissolving of clusters theory is based on
observation. Various theories exist on the subject of
lightening action of melanin.
15
This prop simulates an individual melanin cell.
Melanin cells are microscopic in size; millions could fit
on the head of a pin.
16
The interior of a melanin cell is colored in a way that
causes the hair to become lighter as the melanin dissolves.
The darker colors are on the outside, graduating to lighter
colors on the inside. The distribution of color within
the melanin varies, depending on the category of natural
haircolor. B will have a thicker layer of orange, S will
have almost no orange layer at all.
42
17
Melanin is what gives natural hair its color. Most of
the melanin is located in the cortex of the hair. The darker
the hair, the more dense the melanin. The lighter the hair,
the less dense the melanin. Chocolate chip cookies are
utilized here to illustrate the relationship of melanin and
cortex.
18
If the chips were removed from the cookie, the
remainder would be crumbs. Similarly, if all of the
melanin were removed, the integrity of the hair would be
considered severely compromised. It is not possible to
lighten hair without causing a degree of damage.
19
We will further illustrate what occurs when hair is
bleached. Pieces of Alka-Seltzer will be used for this
demonstration.
20
The Alka-Seltzer tablets were imbedded into
styrofoam to replicate melanin in the cortex. The cuticle
layer surrounds the cortex.
43
21
The melanin will slowly dissolve, much like an
Alka- Seltzer would when placed in water. It is estimated
that the same type of chemical reaction occurs when mel
anin is exposed to peroxide and an alkali. Bleaches and
high-lift color affect melanin at a faster rate than low
volume mild alkali formulas.
22
For this exercise, the cuticle layer has been removed
in order to observe what occurs to the melanin and the
cortex when the hair is bleached.
23
Water is poured into the glass. The dissolving AlkaSeltzer simulates the chemical reaction between peroxide
and alkali within the cortex.
24
One theory is that the chemical reaction creates
bubbles inside the cortex which must find their way out
through the cuticle layer of the hair.
44
25
At the end of the bleaching process, “voids” or
“porous areas” are created. The greater the degree of
porosity, the weaker the hair.
26
Bleaching hair slowly allows the bubbles from the
chemical reaction to escape through the cuticle layer
without extreme damage. Lightening hair quickly causes
more violent bubbling and the cuticle layer becomes
damaged.
SLOW
FAST
27
Illustrated is a single strand of hair being lightened
and viewed while under a microscope. The dark rod
is the hair strand, and the circles represent air bubbles
emerging from the hair.
28
Cuticle
This is a close up view of the random cuticle layers
as they are beginning to disengage.
45
29
As the hair continues to lighten, bubbles emerge.
30
Over processing with bleach causes the hair to
become gelatinous. A hollow or empty drinking straw
is easy to pinch closed. Natural pigments present in the
cortex provide strength to the hair structure.
31
This photograph shows how fragile a strand of
bleached hair can become when bleached excessively.
Both strands were placed between two pieces of glass
and pressed together; the more fragile bleached strand
was ‘dented’ by the darker strand. Proper application and
formulation of lightening products should not cause hair
to become excessively damaged.
32
The body temperature, being a number of degrees
higher than room temperature, will cause the bleach to
work faster closest to the scalp. The higher the tempera
ture, the faster the bleach lightens. The body temperature
is 98.6, the room temperature is 72 degrees. The hair
closest to the scalp will lighten faster. See graph on page
47 #34.
46
33
The cuticle layer of the hair is softer as it emerges
from the scalp. The fingernail is soft close to the nail bed
and gets harder towards the free edge; the cuticle of the
hair develops similarly. Think of the strand of hair like
a green onion. It’s soft and tender close to the ground,
but becomes tough and stringy as it moves to the ends.
The softness of the cuticle at the scalp allows the bleach
to penetrate easier and further contributes to the area
lightening faster.
34
This chart indicates that the faster the hair is bleached,
the greater the difference in lightness between the scalp,
midshaft and ends. When we say faster we don't mean the
difference between 20 and 10 minutes, we mean when
you bleach the hair in 10 minutes when you should be
taking 45 minutes. This is very destructive and the hair
may never recover. The words "conditioning bleach"
should never be used. With slower bleaching, there is
less difference in color between the scalp and ends.
35
Bleach was mixed with 40 volume and a high lift
tint mixed with 20 volume. The ends of both strands light
ened close to the same degree. The bleached strand has a
greater degree of lightness closer to the scalp. The strand
with the tint processed for 90 minutes, the bleached
strand for 45 minutes. It is more natural looking for the
ends of the hair to be lighter. The opposite happens when
the hair is lightened with chemicals. The faster the hair is
bleached, the greater the difference in color between the
hair at the scalp and the hair at the ends.
36
Although the cuticle is translucent on natural hair,
it becomes stained once haircolor is applied. A black
tint was applied on a healthy strand of blonde hair and
processed
47
37
After processing, a single strand was then sliced
in half with a razor blade to observe the penetration of
tint. The inside has only a trace of tint; most of the stain
occurred on the cuticle layer. The reason the color on this
enlarged photograph does not appear black is that when
the photo is enlarged the color becomes lighter. It is very
much like blowing up a colored balloon the larger the
balloon becomes, the lighter the color.
Applications
6
5
4
3
2
1
38
Color mixture penetrates into the cortex only
after it has saturated the cuticle layer. This is further
reinforcement that the cuticle of the strand absorbs color.
On subsequent applications, the color penetrates further
into the strand.
39
This photograph shows a dark spot, which is an
accumulation of blood under the fingernail. It appears as
though the fingernail is stained. This same effect is what
causes the cuticle to appear colored.
40
To illustrate similarities in the fingernail and the
cuticle layers of the hair, we placed a tint stain on the tip
of the fingernail.
48
41
Now the fingernail has two stains: One an accumulated
blood area under the nail and the other a tint stain. The
area where the stain occurred below the fingernail is
scraped on the surface. Notice that the scrapings are clear
and without color.
42
The fingernail was then scraped where the tint
stain occurred. The scraping from this area are colored.
The purpose of this experiment is to demonstrate that
haircolor is a stain and it will stain almost anything it
comes in contact with. Permanent haircolor does not
open the cuticle and magically enter the hair strand then
have the cuticle slam shut locking the color inside. These
are fairy tales and are not true.
43
One should not attempt to judge color when the hair
is wet as wet hair appears darker and warmer in tone.
44
When tint is removed from the hair after processing,
it is easier to see the lightened melanin (interior color).
When hair is wet, the cuticle layer is more translucent
than when it is dry. When the hair is dry, the color deposit
ed on the cuticle is more of a factor in the overall color.
On dry hair the color on the
cuticle is dominate
When hair is wet, you can see
more clearly through the cuticle layer.
49
45
Natural, virgin hair has a cuticle that is translucent
and void of color. All of the color you see comes from
the melanin located beneath the cuticle in the cortex. Like
the blood and tissue beneath your fingernail..
46
The final color produced from using a permanent
ammonia haircolor is dependent on two things: The color
of the lightened melanin (undertone) and the level of the
color used. The color you see is a combination of the
cuticle with color deposit and the melanin which has been
lightened. It is the combination of these two elements
which give you the final color result. (see #48 below)
47
With the lack of undertone, such as gray hair, the
final color will take on a different result. It is for this
reason red haircolors applied to gray hair will often turn
an unnatural pink or orange.
48
REMEMBER THIS RULE WHEN FORMULATING
The color of the tint will dominate the final result
when the tint is two levels darker than the lightened
melanin. The color of the lightened melanin will
dominate the final result if the tint is the same level or
lighter than the natural haircolor. The effect the lightened
melanin has on the colored hair becomes more visible as
the tint fades. Once you learn this rule of formulating,
you will understand that you can not lift dark natural
color and achieve a cool tone.
50
4
chapter
THE STUDY OF
THE POROSITY
OF HAIR
• Defining Porosity
• Porosity Grading System
• Understanding and Preventing Porosity
• Excessive Porosity
Revised March, 2009
“Miscalculation of porosity is the number one
cause of unsuccessful haircolor.”
52
Chapter 4 Porosity
Deborah McCann, Evaluator
po•rous (por’es, pôr’-), adj. 1. full
of pores. 2. permeable by water,
air, etc. [late ME, var. of porose
< ML poros(us). See pore2, -ous]
–po’rous•ly, adv. –po’-rous•ness,
porosity n.
1
The dictionary definition of the word “porous” is
“full of pores or openings” and “permeable to fluids.”
One could interpret this to mean the more porous the hair,
the more haircolor it will absorb. This is not necessarily
true. In haircoloring terms, when we speak of porosity,
we are actually discussing the structural integrity of the
hair. The integrity of the hair structure is affected by many
things: The physical structure of the hair, the environment,
cleansing and conditioning products and products used to
affect the color and/or texture of the hair. The hair is not just
porous or non- porous; there are varying grades of porosity.
e
2
Various hair textures respond to haircolor differently,
as do different fabrics. Manufacturers of clothing must
consider the physical structure of fabrics when dyeing.
The texture and porosity of a fabric affects the finished
color. Fabric manufacturers produce test strips to indicate
how color responds on various types of cloth. Adjustments
must be made to assure the color is consistent on various
fabrics. Haircolorists must make similar adjustments
when matching haircolors for different hair textures and
porosities.
3
A warm brown permanent haircolor is applied to
the test fabric and allowed to process for 30 minutes.
The types of fabrics are listed next to their respective
materials
Wool
4
The results show a variety of colors. This experiment
is designed to illustrate how the physical structure will
affect the resulting color. The same dye used on several
different fabrics caused varying results. Note the red
tones on the two strips on the left. The color applied to the
fabric the most similar to the manufacturer’s color chart
was the wool section located on the far right.
Chapter 4 Porosity
53
5
Penetration of color and how it is affected by porosity
is demonstrated by using various objects that have different
grades of porosity. The objects are blocks of wood with
differing degrees of hardness, an egg, a tennis ball, a
potato and a bar of soap. All of the objects are light, so
the amount of haircolor penetration can be seen. A warm
brown tint as well as a deposit only color was applied side
by side and left on the objects for 60 minutes.
6
The wood shows varying degrees of penetration
based on the hardness of the surface. The egg and potato
which are not as porous, show little or no penetration.
Other objects show varying degrees of penetration.
There is no difference in penetration between the tint
and deposit-only color. Hair with different texture and
porosity will have varying color deposits as well. One
must remember permanent ammonia haircolor causes
porosity in the hair.
7
INTRODUCTION TO POROSITY GRADING SYSTEM
The porosITY grading system has been
developed to provide a concise means of identifying
levels of porosity. It is important to observe the hair
both dry and wet to have an accurate reading of
porosity.
Grade 1 – compact tight cuticle; minimal to no chemical treatment
or exposure to excessive sun or mechanical styling tools; very little
resistance to combing when wet.
Grade 2 – slightly raised cuticle; mild chemical treatments; some
environmental exposure. May be up to 3 stages lighter than natural
haircolor; good elasticity.
Grade 3 – moderately raised cuticle.; exposure to chemical treatments,
and/or regular use of heat implements. May be up to 5 stages lighter than
natural haircolor; resistance to combing without conditioning treatment;
fair elasticity.
Grade 4 – excessively raised cuticle; excessive exposure to chemical
treatments and heated styling implements; frizzy appearance when dry.
May be up to 7 stages lighter than natural color; poor elasticity and
retangles when combed wet.
Grade 5 – loss of cuticle layer; exposed to chemical treatment to the point
of breakage; hair feels mushy or slimy when wet. May be 8 or more stages
lighter than natural haircolor; breaks off when wet.
8
When identifying the grade of porosity on a particular
head of hair, one indicator is the color change along the hair
strand. As a general rule, the greater the difference in color
from the scalp area to the ends, the greater the porosity.
The client in this photograph would be identified as having
virgin hair. She has had no chemical treatments and does not
use heat or styling products. The porosity indicated by the
color change along the length of hair has been caused by the
environment and cleansing products. Her porosity is grade 1
at the scalp area and grade 3 at the ends.
54
Chapter 4 Porosity
9
This client has virgin hair. The ends have lightened
due to environmental exposure. The lightness along the
length of her hair indicates a higher grade of porosity on
the ends. The ends on longer hair generally become more
porous, particularly if the client spends time outdoors.
She has grade 1 porosity at the scalp, grade 2 at mid-shaft
and grade 3 on the ends.
10
This client has highlighted hair. The result of repeated
highlighting and daily use of heat implements causes the
hair to become porous. As this hair becomes longer, it’s
much more inclined to develop split ends. This client has
a grade 1 porosity at the scalp and a grade 4 at the ends.
11
This client highlights and blow dries her hair. There
is also some environmental exposure. She has grade 1
at the scalp area, grade 2 at midshaft and grade 3 on the
ends.
12
This client colored her hair green using ‘temporary’
haircolor. She has grade 2 porosity at the scalp and grade
4 porosity at the ends. Hair with higher grades of porosity
tend to ‘grab’ cool tones.
Chapter 4 Porosity
55
13
This client had an improper highlight resulting in
grade 5 strands throughout her grade 2 porosity hair.
14
This photo shows a client with grade 1 porosity
at the scalp, and grade 5 midshaft through ends. The
combination of a medium length hair, perm and hair
lightener used improperly, will result in grade 5 porosity,
particularly with hair this dark. Coloring this hair could
be a challenge.
15
This client uses permanent haircolor and perms each
time she colors her hair; the haircolor has been pulled
through the ends of her hair for ten minutes. Repeated
exposure to chemicals has created a grade 5 porosity. The
ends are not as light as grade 5 porosity but every other
factor fits the grade 5 description.
16
This client has grade 1 porosity at the scalp and grade
4 midshaft through ends. The porosity is the result of
straightening her hair with heat implements. For more
information, refer to the chapter on coloring naturally
textured hair.
56
Chapter 4 Porosity
17
This client has grade 4 porosity from scalp to ends
as a result of chemical relaxers and styling with heat
implements.
18
This client does not use haircolor. Her grade 2
porosity at the scalp, 3 at midshaft and 4 at the ends is the
result of permanent waving and environmental exposure.
The hair was shampooed, and half dried to demonstrate
porosity.
19
In most instances, the degree of porosity can be
observed by the difficulty in combing the hair while wet.
The untreated hair combs smoothly until it reaches the
area of the perm. Combing becomes difficult towards
the ends.
20
As the comb moves toward the mid section of the
strand (where the hair has been previously permed), there
is greater resistance. The ends of the hair become snarled
and difficult to comb. This client has grade 1 porosity at
the scalp (no perm), grade 2 at the mid-shaft (one perm)
and grade 4 at the ends (several perms).
Chapter 4 Porosity
57
21
When coloring hair with various grades of porosity, a
preliminary test strand is highly recommended.
22
Unequal grades of porosity create a challenge to
the haircolorist. When low-lights are desired, it may be
necessary to mix more than one formula.
Leave
Natural
23
A method to document the effect of haircolors and
environmental influences on the different grades of
porosity is shown. To create grade 2 porosity on swatches
a high-lift haircolor using 40 volume developer was used
for 40 minutes.
24
In this example, there were seven thin strips of hair.
The color was applied in small increments to assure
complete coverage.
58
Chapter 4 Porosity
25
The next application of haircolor was again a highlift product with 40 volume, processed for 30 minutes.
26
Foil was placed over the tint to maximize the lifting
action by confining the chemical action. This lifted the
hair three more stages, creating a grade 3 porosity.
27
The next application was an on the scalp bleach
mixed with 40 volume developer processed for 60
minutes. This lifted the hair to a gold stage, producing a
grade 4 porosity.
28
Next, a powder bleach mixed with 20 volume
lightened the hair to a pale yellow stage. To create a
grade 5 porosity, the bleach was left on the hair for three
hours.
Chapter 4 Porosity
59
29
The same experiment was repeated on hair strands in
the soft brown category. Porosity in grades 1 through 5
were created.
30
All of the strands were dried and made into individual
swatches by stapling them together.
Grade
1
Grade Grade Grade
2
3
4
Grade
5
31
The swatches in the “B” category and the “S”
category have porosities ranging from grade 1 to grade
5.
32
One of the characteristics of grade 5 porosity is the
rigid nature of the hair when left to dry undisturbed.
When dry the ends feel like a styling gel was placed in
the hair.
60
Chapter 4 Porosity
33
These swatches will now be colored to demonstrate
how haircolor responds to the various grades of porosity.
34
The swatches bleached to various grades of porosity
will now be colored. The dark strand will have a
permanent cool blonde haircolor, mixed with 20 volume
applied and processed for 35 minutes.
35
manufacturers rendition of color
swatch after application of haircolor
The experiment has been completed. The color as the
manufacturer designates is on the swatch shown above.
The degree of deposit is in direct proportion to the grade
of porosity. The greater the porosity, the more the cool
tone is absorbed. The grade 1,2 and 3 porosities show no
color deposit.
swatch before application of haircolor
36
Red color mixed with 20 volume peroxide is now
applied to a different swatch with the same porosities.
The swatch processed for 30 minutes.
Chapter 4 Porosity
61
37
swatch after application haircolor
manufacturer’s
swatch
swatch before application of color
The results of this experiment show that haircolor is
not always absorbed in proportion to the porosity of the
hair. Variation of color absorption is based on the tone.
Cool tones are absorbed more readily by porous hair.
Warm tones are not accepted by porous hair, but have a
stronger deposit with less porous hair. Red colors need
natural undertones in order to achieve a strong color
deposit.
38
This deposit only color is the same shade of red as the
permanent haircolor used in photo #41.
39
swatch after application of color
manufacturers
swatch
swatch before application of color
soft brown before application of color
soft brown after application of color
manufacturer color swatch
dark brown after application of color
dark brown before application of color
62
Chapter 4 Porosity
This experiment illustrates the effects of permanent
and deposit-only haircolors on grade 1 to 5 porosity hair.
Clearly, the deposit-only haircolor is more uniform in
color. When hair is porous, permanent haircolor should
not be applied when attempting to make the color more
uniform. The results will not be uniform and the ends will
be further damaged.
40
Pictured are swatches from different categories with
varying grades of porosity. Cool color deposited on two of
the strands (inside swatches) render different results. The
application was from the same batch and processed for the
same period of time. In this case, both strands have the same
grade of porosity; the results are still dramatically different.
The soft brown hair has a stronger color deposit. Notice how
much further deposit goes up the strand. That is because
there is less undertones to overcome.
dark brown after application of color
manufacturers color swatch
soft brown before application of color
soft brown after application of color
dark brown after permanent color
manufacturer permanent
color swatch
manufacturer deposit
only color swatch
41
Red tint from the same batch was applied to two of
the swatches pictured left. The results are dramatically
different. The contributing pigment in the soft brown
category strand differs from the dark brown category
swatch. The lighter swatch indicates a true red, while
the darker one reflects a red-violet tone. This is another
example of the same tint producing different results,
depending on the category, undertones and grade of
porosity.
42
Using deposit only colors for any type of tint back
or corrective haircolor is generally a safe approach.
The comparison of these strands shows the permanent
haircolor becoming flat and losing warmth on the less
porous area of the strand. Study the results of permanent
brown color and a deposit-only brown color applied to
these dark swatches. The permanent haircolor is on the
top the deposit only is on the bottom.
dark brown after deposit only
43
permanent color after seven shampoo's
Pictured left are the results of the red swatches after
seven shampoos. Much of the color has washed out. The
permanent color is on the top. The deposit only strand is
on the bottom.
deposit only after seven shampoo's
44
This experiment will illustrate the grades of porosity
created by environmental exposure. Ten dark brown
category swatches were saturated with high-lift tint.
Chapter 4 Porosity
63
45
The swatches were processed for 30 minutes,
shampooed and dried.
46
Five of the colored swatches and one natural were
left in the sun for 30 days. The remaining five strands
were kept indoors and shampooed daily.
47
At the end of 30 days four of the outdoor strands and
four of the indoor strands were colored again. The same
high lift tint was used. Again, half of the swatches were
returned outdoors for more exposure. The remaining
swatches were shampooed daily.
48
Each half went through the same process for another
30 days.
64
Chapter 4 Porosity
49
After the 60 days three of the swatches were colored
again and returned to their respective positions. This
process continued for a period of six months.
50
Comparing the indoor and outdoor swatches, one can
see the degree of lightness resulting from environmental
exposure. The lower strands were from a combination
of tint and environmental exposure Little change in the
natural swatch occurred. It is apparent that a combination
of elements would cause the hair to lighten. Environmental
exposure rays alone had little effect on the hair in the
dark brown category.
51
When checking the grades of porosity created
by environmental exposure and permanent haircolor
as opposed to chemical action alone, the addition of
environmental exposure renders a slightly different result.
Environmental exposure combined with haircolor goes
through different stages of lightness than swatches that
have not been exposed to the environment. Swatches
exposed to the environment have a much higher grade of
porosity at the same stage of lift.
52
Haircoloring is affected by various grades of porosity.
This client is a candidate for reverse highlighting; she
has grade 4 and 5 porosity. The hair has been processed
as a bleach and toner for years.
Chapter 4 Porosity
65
53
Test strands are necessary to determine how the
haircolor will be affected by the various porosities . The
results of the test strands will help determine proper
formulations.
54
The success of this reverse highlighting was based on
the haircolorist’s ability to determine how porosity affects
haircolor.
55
Today’s haircolorist is constantly being confronted
with corrective situations. The knowledge of porosity is
paramount for successful haircoloring. The success of
this high low lighting is the result of understanding the
porosity grading system.
66
Chapter 4 Porosity
DESCRIPTION OF GRADES OF POROSITY:
This grading system has been developed to provide a concise means of identifying and communicating grades
of porosity. It’s important to observe the hair both dry and wet to have an accurate reading of porosity.
Grade 1 –compact tight cuticle; minimal to no chemical treatment or exposure to excessive sun
or mechanical styling tools; very little resistance to combing when wet.
Grade 2 –slightly raised cuticle; mild chemical treatments, some environmental exposure. May
be up to 3 stages lighter than natural haircolor, good elasticity.
Grade 3 –moderately raised cuticle, exposure to chemical treatments and/or regular use of heat
implements. May be up to 5 stages lighter than natural haircolor; resistance to combing
without conditioning treatment; fair elasticity.
Grade 4 –excessively raised cuticle; excessive exposure to chemical treatments and heated
styling implements; frizzy appearance when dry. May be up to 7 stages lighter than
natural color; poor elasticity; retangles when combed wet.
Grade 5 –loss of cuticle layer; exposed to chemical treatment to the point of breakage; hair feels
mushy or slimy when wet. May be 8 or more stages lighter than natural haircolor;
breaks off when wet.
The porosity will vary slightly, depending on the texture of the hair. The coarser the hair, the more porous it may become.
If the hair is over-processed or has been permed more than once, the porosity can increase two full grades.
If the hair is permed, it will raise the porosity one full grade.
Categories W, S and R will reach grades 4 and 5 porosity more readily if continually exposed to chemical and mechanical damage or excessive exposure to environmental exposure.
Grade 5 on the porosity scale – perm is not recommended.
Chapter 4 Porosity
67
“Some clients have a way of making even the
most competent haircolorist feel like a beginner.
Even when you feel the haircolor service is
a roaring success, it can be regarded as
a flop by the client. Move on and and
don’t let it get you down.”
68
Chapter 4 Porosity
Kris McGinnis, Board Member
5
chapter
COLORING
TEXTURED AND
CHEMICALLY TREATED
HAIR
• Characteristics of Hair Types
• Hair Relaxers and Hair Coloring
• Haircolor Guide For Textured Hair
• The Buffer Zone
Revised March, 2009
“Successful haircolor is not so much the
science of performing services of which you
are capable as it is avoiding services of
which you are incapable”
70
Chapter 5 Relaxed Hair and Color
Olive Benson, Former ABCH Board Member
1
The visible characteristics of different types of hair
can be divided into four basic categories:
STRAIGHT
WAVY
HELICAL
SPIRAL
These types or varieties of combinations can be
found in every race depending on genetic background.
2
There are two main theories to explain the differences
in hair shape:
1.The angle of the papilla through which the hair grows
dictates the shape of the strand and the amount of
bend, wave or curl.
2.Uneven keratin deposit around the opening of the
follicle; when the hair grows, it hardens unevenly to
form a variety of shapes.
The strongest DNA genes determine the texture,
color and abundance of the hair.
3
African-American hair is commonly helical (forming
coils of constant diameter) or spiral (forming coils that
diminish in diameter outward). This hair is flat and
elliptical in shape, because of the angle of the papilla.
Other racial backgrounds and genetic combinations
also produce hair that is helical or spiral, although usually
found to be stronger and more resistant to curl pattern
changes.
4
Asian hair generally has a straight or non-angled
papilla. Caucasian hair seems to be the most variable,
and ranges from straight to wavy, helical and sometimes
spiral. The hair shape is usually round to oval.
As our cultures intertwine, genetic combinations can
produce a large variety of hair types and conditions.
71
5
FINE 0.0018
MEDIUM 0.0022
COARSE 0.0026
The shape and strength of the cortex are derived primarily
from bonds between amino acids that make up the hair. The
cortex is responsible for the majority of the strength and elasticity
of the hair.
A micrometer is a device used to measure the diameter of a
single hair. The diameter can be noted by the following differences
in measurements:
FINE
0.0018
MEDIUM
0.0022
COARSE
0.0026
6
To easily determine hair diameter, place one hair between
the thumb and index finger. If you feel nothing, the texture is
fine; if it feels like a fine sewing thread, the texture is medium;
if it feels like a heavy sewing thread, the texture is coarse. The
characteristics are:
soft, downy, pliable, processes quickly or slowly,
FINE . . .
depending on genetics.
MEDIUM . . .bouncy, substantial body, processes well.
COARSE . . . thick in appearance, firm body, usually resistant to
chemicals.
7
Natural textures may have been subjected to heat in the form of
pressing, curling irons, flat irons, etc. The condition may be dry due to lack
of conditioning, metallic water deposits, or exposure to the elements. In all
cases, consultation is a must to assure proper selection of the type of color
service to be recommended.
Pressing comb (midget)
Curling iron
Electric heater
8
When coloring hair that has been previously processed with
permanent waves or relaxers, one must take into consideration
all the material that has been presented to this point. Both thr
present condition of the hair and the type and frequency of future
chemical services must be taken into account.
72
9
This is a graphic simulation of excessively curly hair, either
in helical or spiral form. Though the chemical process used to
curl hair changes the structure and alters the ability to accept and
hold color, more risks are encountered when coloring hair that
has been chemically treated.
10
This simulates a strand of hair that has been made straight
with a chemical relaxer. The hair is considerably weakened due
to the strength of product used.
11
This simulation shows two examples of hair that have been
relaxed in varying degrees, which could be achieved with varying
product strengths or processing times. The hair has become weak
due to the chemical relaxing.
12
pH 9.5
pH 13
A good working knowledge of the chemical products that have
been previously used is important when making haircolor decisions.
Let’s examine the pH of the products used to chemically change the
curl pattern in the hair:
PERMANENT WAVES. . . The pH of most perms is between 7.5 and 9.5.
RELAXERS. . . . . . . . . . . . . The pH of most relaxers is between 10 and 13.
The difference between a pH of 9 and a pH of 13 does not seem
like much until you realize a pH of 10 is 10 times stronger than a pH
of 9.
USE ONLY MILD RELAXERS WHEN WORKING OVER
AMMONIA HAIRCOLORS.
73
13
Because of the differences in the pH of various
products, coloring hair that has been permanent waved,
and/or relaxed, must be treated cautiously.
Color products that are less aggressive, and contain
less peroxide and alkali are better choices for any hair
subjected to high pH relaxing procedures.
Use a mild relaxer strength when
considering haircolor.
14
If only a portion of the hair has been treated with
chemicals, it is advisable to treat the entire head as
though it has been treated. The recommended type of
haircolor to use on hair the same day a chemical relaxing
service is performed, is a non-peroxide, non-ammonia
color. (semi-permanent)
15
If the relaxed hair is in good condition, has good
strength and elasticity, and a mild relaxer was used on the
hair, then haircolors that lift can be used (with caution) one
week following the chemical service. Damage and porosity
occur in direct proportion to the amount of curl removed,
exposure to the relaxing chemical and the type of hair color
selected. It is also important to say that damage to relaxed
hair does not occur when the haircolor is performed but
WHEN THE NEXT RELAXER IS APPLIED. Working
and smoothing hair can easily cause overlapping into the
area previously colored. Extreme damage could occur.
16
Clients who smooth their hair with the use of heat
implements can use permanent haircolor more readily.
However, the temperature of the implements used should
be regarded with caution.
The greater the lifting action of the haircolor, the
less heat should be used in the styling implements. Your
role as a haircolorist is to advise the client about the
possible damage that can occur when exposure to heat
and chemicals are used in combination. You should also
explain conditioning procedures that will avoid damage.
A COMPLETE CONSULTATION is a must.
74
17
Bleaches can be used on most natural textured hair,
but great caution must be taken when used on hair that
has been relaxed. If the desired result requires bleaching,
use a mild strength relaxer and wait one week after the
relaxer before bleaching.
The client must be completely informed of the
damage that could result and the extreme importance of
an ongoing conditioning program.
18
Achieving lighter shades on chemically relaxed
hair with a lifting ammonia haircolor or bleach, is an
aggressive procedure and should only be done when
circumstances will allow.
19
When coloring natural textures that have had no previous
chemical treatments, the porosities are more uniform and
haircolor is relatively simple. (Caution must be used when
retouching curly and overcurly hair because the hair shrinks
into the product. The application should be checked carefully to
insure that the color is not overlapped.)
The strength of a product and processing time is
a major factor in coloring hair that is porous due to
previous chemical services. Multiple products of an
aggressive nature used on the hair will cause eventual
damage.
20
A buffer zone is established when applying haircolor
1/2 to 1 inch away from the scalp. This technique will
allow for some overlapping of relaxer when that process
needs to be retouched.
BUFFER ZONE
NEW GROWTH
75
21
Pictured left is a client who had a chemical relaxer.
Her hair has highlights placed away from the scalp area.
She has the benefit of a shaded color, but there is no
danger of extreme damage from future relaxers if the
color is applied approximately 1 inch away from the
scalp, to create a buffer zone.
22
This is a client with naturally curly hair that has used
a mild relaxer. Her hair is treated with an ammonia based
color and 20 volume peroxide. To avoid problems during
regular relaxer retouches, the hair should be closely
monitored to make certain it does not become weak.
23
This client has curly hair without any type of relaxer.
Note the amount of gray hair and the degree in which
the color has faded since the last retouch. In this case,
a deposit-only haircolor was advised. The gray hair is
completely covered, and the curly hair has accepted
the color on the ends. The hair is darker than would be
indicated on the manufacturer’s haircolor chart. More
color could be absorbed in porous hair when using
deposit-only haircolor. The color will also tend to fade
more readily.
24
Using haircolor on chemically relaxed hair demands
close attention to detail and sound value judgments.
Caution and care must be used in the salon and at
home. The hair can withstand only so many chemical
treatments, until it shows signs of weakness that could
lead to breakage. Do not resume the coloring procedure
until the hair has had time to recover. At that point, it may
be determined whether this type of chemical procedure
should be used on this client again.
76
25
Permanent haircolors may be used on relaxed hair if
all conditions are optimal and:
1. The integrity of the hair has not been compromised.
2. The hair is treated as delicate.
3. Conditioners are used properly.
4. Heat is kept at a minimum.
5. Future retouch relaxers do not come in contact with
previously colored hair. (Note: High-lift colors and
bleaches should not be used near the outgrowth area
where overlapping of relaxers may occur.)
Haircolor Guide for Textured Hair
COLOR TYPES
CHEMICAL TYPES
TEMPORARY
COLOR
DEPOSIT ONLY
COLOR
5-10 VOLUME
COLOR
15-20 VOLUME
COLOR
25-40 VOLUME
COLOR
BLEACH
VIRGIN
TEXTURED HAIR
Y
Y
Y
Y
Y
Y
MILD
RELAXER
Y
Y
Y
NSD
Y
NSD
NR
NR
REGULAR
RELAXER
Y
Y
Y
NSD
NR
NSD
NR
NR
SUPER
RELAXER
Y
Y
NR
NR
NR
NR
PERMANENT
WAVE
Y
Y
Y
NSD
NR
NR
NR
DAMAGED
PRESS AND
CURLED HAIR
Y
Y
Y
NR
NR
NR
SD= NOT THE SAME DAY
N
Y= YES
NR= NOT RECOMMENDED
THIS CHART IS DESIGNED AS A REFERENCE.
EACH CASE MUST BE CONSIDERED ON AN
INDIVIDUAL BASIS.
77
“The trouble most of us have with the new line of
Italian haircolor, it doesn't know any more about coloring hair than the old line of haircolor.”
78
Victor St. Sure, Board of Directors
6
chapter
GUIDELINES FOR
PERMING HAIR
THAT HAS BEEN
TREATED WITH
HAIRCOLORING
• Selection of Appropriate Products
• Timing
• Affects on the Hair
• Perms and Porosity
Revised March, 2009
“If you depend on experience to learn haircolor and you
lack confidence to experience it, you will never learn
haircolor.
80
Chapter 6 Perms
Ty Isobe, Evaluator
1
Permanent wave solutions are available in many
forms and strengths. The first category is an alkaline
perm. Alkaline solutions are also referred to as alkaline,
buffered alkaline, exothermic, and mild alkaline. For the
purpose of simplicity, all alkaline perms will be placed
into the same category. The alkaline perm is generally a
single solution; with the exception of the chemical added
to make the exothermic perm create heat. It is considered
to be the strongest perm and will generally have a pH
between 8.0 and 9.0.
2
The second category is an acid wave. This type
requires mixing an additive in the solution prior to use.
The solution added to the processing lotion is the catalyst
which makes the solution active. Once the solution is
added it must be used immediately. The activity level of
the perm drops off dramatically after 20 minutes. Acid
perms have a pH between 6.9 and 8.2. Acid perms with a
pH between 6.9 and 7.2 normally require the use of heat
during processing.
3
The third category is ammonia free. This perm was
introduced because of the alleged excess damage caused
by the previous perms. The pH of the ammonia free
perms are still between 8.2 and 8.6.
4
The fourth category of permanent wave solution is
the Non-Thio perm. The pH of this perm is between 6.9
and 8.5; however it is not a factor in waving because
the solution does not swell the cuticle like other perms.
Non-thio perms with a pH of 6.9 generally require heat.
Chapter 6 Perms
81
5
Swatches in both the soft brown and dark brown
categories will be used to conduct the tests. Some of the
swatches were processed to create 4 grades of porosity
as defined in the porosity chapter. Some of the swatches
in the soft brown category were left natural so curl on
the natural hair could be compared to curl on the color
treated strands. The swatches were processed to create
a variety of porosities. The purpose for this was to
simulate hair as it is found on the head.
Grade 1
Grade 2
Grade 4
6
Grade 3
Grade 5 The porosity of the swatches tested were:
Grade 1: Virgin hair. Grade 2: Single application of high lift haircolor.
Grade 3: Single application of high lift haircolor and single application of on the scalp bleach, processed for 1 hour on dark brown hair.
Grade 4: Same application as grade 3 applied to
soft brown hair.
Grade 5: Single application high lift haircolor, single application of on the scalp bleach, and single application of off the scalp powder bleach processed for 4.5 hours.
7
The deposit-only haircolor was applied to some of
the hair swatches and allowed to process for 35 minutes.
The hair was then shampooed and dried. This was done
3 successive times. These swatches will be used as part
of the test to determine how porous hair with deposit only
color will respond to perming.
8
82
Chapter 6 Perms
grade 1
grade 1
grade 1
grade 2
grade 2
grade 2
grade 3
grade 4
grade 3
grade 5
grade 5
grade 5
From left to right: Natural hair in the soft brown
category, dark brown category, soft brown category and
dark brown category covered with three consecutive
applications of deposit-only color.
9
Each of the swatches were wrapped with two
different size rods. One-half of each swatch was wrapped
with a pink rod, the other half was wrapped with a pur
ple rod. The hair was wrapped with water and a single
end paper. The hair was then saturated with an alkaline
perm. Processed for 10 minutes which is the time
specified for “tinted hair” according to manufacturers
directions. Tinted hair was interpreted to mean grade 2
and 3 porosity.
10
After processing for 10 minutes the hair was rinsed,
blotted and air neutralized for 15 minutes. The swatches
were then neutralized for 5 minutes. The neutralizer was
then rinsed and the rods removed. Results of the perm on
wet hair are pictured. The curl is very weak throughout.
11
The hair was left undisturbed for an entire week,
The same swatches were then wrapped once again with
the same size rods. This time the hair processed for
25 minutes. The instructions suggested a 20 minute
processing time for normal hair. An additional 5 minutes
were given to compensate for the lack of body heat. The
remainder of the perm was carried out as it was the first
time. Even with the additional processing time, the curl
appears to be very weak. The normal (grade 1) hair does
not have the snap to the curl one would come to expect
from an alkaline perm.
12
The hair was allowed to dry naturally, undisturbed.
After the hair was dry, the hair was combed through to
“fluff up” the hair. The natural hair combed out smoothly,
as did the grades 2 and 3 hair. The grades 4 and 5 hair
were very rigid and were difficult to comb through. The
grade 5 porosity exhibited some breakage.
Chapter 6 Perms
83
13
Hair loss is apparent in the dark brown category
swatch. There appears to be no difference in hair loss on
the swatches that had three applications of deposit-only
haircolor and those that did not. One can conclude there
is no detrimental effect in perming over hair which has
been treated with deposit-only haircolor. Additionally
the deposit-only haircolor seems to act as a cuticle con
straint on porous hair, preventing an excessive amount of
solution from entering the cortex. The condition of the
swatch with deposit-only haircolor appears to be healthier
and in better condition than the swatches without. The
swatch from the soft brown category suffered the greatest
amount of damage and breakage.
14
An acid based perm will be used in this test. The
same type of swatches will be utilized. As indicated
earlier in this chapter, the acid type perm is preferred
over all other perm types, by a ratio of three to one. The
hair was wrapped with the same size rods and processed
for 20 minutes. The instructions included in the perm
indicate this particular perm may be used for all hair
types. Unlike the alkaline perm, processing times were
the same for all hair types.
15
A test strand was taken on the natural swatch at the
end of twenty minutes and the curl formation indicated
the perm was processed. The hair was then rinsed,
blotted and air neutralized for 15 minutes. At the
conclusion of 15 minutes the hair was neutralized for 5
minutes. The neutralizer was then rinsed from the rods,
and the rods removed. Although the acid perm was
designed to render a softer perm, the results of the perm
was much firmer and livelier than the alkaline perm.
16
The hair was left to dry naturally, then combed out.
Grades 1, 2 and 3 combed through without incident; the
hair was soft and undamaged. The perm on the grade
5 porosity left the hair impossible to comb. Although
the hair was wet with only water, it was left rigid and
“crispy” when dry. The grade 5 porosity broke off in
chunks. This perm on grade 5 porosity would leave the
hair intolerable condition.
84
Chapter 6 Perms
17
The swatch with the deposit-only color shows
no more damage than the swatch without the depositonly color. Although there was some color loss on the
deposit- only swatch, it was not significant. The amount
of hair that broke off from each swatch can be seen on the
corresponding tape
18
The hair was left alone for a period of two weeks
undisturbed, another perm was given in the same manner.
The result of this perm was much the same as the first
perm. While the perm was wet, there was no difference
in the feel and appearance of the hair. After the hair
dried, the porous hair was stiff and rigid, as though a
wave set or gel had been applied to the hair.
19
By combing the hair after it has dried, the location
of overly porous damaged hair is easy to identify. The
hair combs out smoothly until the comb reaches the hair
with the grade 4 porosity, then the comb stalls. The soft
brown swatch appears to be more prone to breakage than
the dark brown swatch.
20
The swatch in the dark brown category, that had
deposit-only haircolor applied to the strand, combs
out with less resistance than the strand without the
deposit-only haircolor. Deposit-only haircolor applied to
the hair prior to perming, appears to aid in the curl and
condition of the hair.
Chapter 6 Perms
85
21
A small amount of additional hair loss is evident
when the swatches are combed out. When comparing
the configuration of the curl between the natural hair
and the hair with varying degrees of porosity, there is
little doubt the effect porosity has on the curl.
22
A close look at the curl reveals the soft rounded
lines of the natural hair while the porous hair has an
uneven curl with sharp ridges.
23
To further test the acid perm, four identical
swatches are used. This experiment is to determine
how various processing times affect the swatches. The
instructions contained in the perm specify the processing
times for all hair types is 20 minutes.
10 minutes
20 minutes
40 minutes
60 minutes
24
The hair was wrapped with purple and pink rods.
The swatches processed for 10, 20, 40 and 60 minutes. As
the swatch reached the targeted processing times, it was
rinsed, blotted and air neutralized, then neutralized.
86
Chapter 6 Perms
10 minutes
20 minutes
40 minutes
60 minutes
25
The neutralizer was rinsed and the rods removed.
The results of the permanent waves are consistent
between swatches. Additional processing time minimally
increases the “bounce” or “snap” of the curl. It does
however, cause the grade 5 porosity to degenerate the
longer the solution is left on the hair.
10 minutes
20 minutes
40 minutes
60 minutes
26
The hair was allowed to dry naturally. It was then
combed and fluffed up to observe the degree of curl.
There does not appear to be enough of a difference
between swatches to justify the additional processing
time.
27
In some instances the processing time is linked to
the durability of the curl. The notion exists that unless the
curl is completely processed, it will not last. To check the
longevity of the curl, the hair was smoothed with a round
brush and blown dry.
28
All of the smoothed out swatches appear to be
in excellent condition. The grade 5 porosity also
appears healthy and shiny, although not visible in the
photograph.
Chapter 6 Perms
87
29
The photo depicts the results of the hair’s condition
after being blown out five times. The amount of relax
ation between the swatches is consistent. The more the
hair was blown dry, the more the grades 4 and 5 hair
“grabbed” the brush while wet. This test shows it is not
beneficial to process acid perms on the hair with varying
degrees of porosity, for a longer period of time. The
disadvantages far outweigh the advantages.
30
With a dark background, the grade 5 porosity is
more visible. The curl all but disappears in the grade 5
hair. The remaining hair maintains a good curl formation
even though the hair has relaxed from its original form.
31
The next two perms to be tested will be specialty
perms designed for delicate hair. One is a no ammonia
low-thio perm with a pre-wrap. The other is an acid perm
without a pre-wrap. Only the swatches with varying
degrees of porosity will be used with the test perms.
Each of the two perms have a processing time of 20
minutes, suggesting a test curl after five minutes. The
difficulty with test curls, is the hair that is most porous
and susceptible to damage is generally located on the
ends of the hair.
32
The hair is wrapped in the same manner. The
alkaline perm on the right is wrapped with the pre-wrap
lotion; the acid perm on the left is wrapped with water.
Each is saturated for the same length of time and allowed
to process for 20 minutes.
88
Chapter 6 Perms
33
The hair is then combed out to evaluate the curl.
Hair loss is less on the grade 5 porosity than in both the
acid and alkaline perms tested at the beginning of this
chapter. Note the strong curl on the grade 1 hair. Perms
formulated for use on delicate hair are also efficient in
perming virgin hair.
34
When comparing regular acid perms with
normal strength, to perms formulated for delicate hair,
there appears to be little difference in the results.
Each category of perm tend to treat the various
porosities of hair in the same manner. Knowing this
should reduce the number of perms a salon would have
to inventory.
35
The final perm to be tested will be the non-thio,
non-acid perm. For the purpose of this chapter the perm
tested will be formulated especially for color treated
hair. Three swatches are tested. The swatch on the right
has been treated with deposit-only haircolor. The hair is
wrapped in the same manner.
36
The hair was processed according to manufacturers
instructions for color treated hair. It was then rinsed,
blotted and air neutralized for 15 minutes; then
neutralized for 5 minutes. The neutralizer was rinsed
with the hair on the rods. The perm was true to form.
The hair that was grade 3, 4 and 5 porosity did very well
The 1 and 2 grade of porosity resulted in a very weak
curl. The results on the grade 5 porosity was the best of
all the other perms, with very little hair breakage.
Chapter 6 Perms
89
37
The conclusion drawn from these experiments
would indicate there is no perfect perm when processing
all grades of porosity on the same hair strand. If a perm
must be given, the acid type perm for all hair types is
recommended. If a perm is to be given on hair grades 4
and 5 porosity, a nape perm is recommended. This will
give the hair fullness without exposing the surface hair
to chemical abuse that results from perming this type
of hair. This should be done just prior to doing a color
retouch.
38
To prevent dryness from re-perming hair, a root perm
technique is suggested. Regardless of the strength of the
perm given, an attempt should be made to avoid perming
over hair with a previous perm. This is especially true
on hair that is collar length and fine in texture. Apply
a creme conditioner or gel on the hair with a tint brush
holding a foil underneath. (Paper or cellophane may also
be used.)
39
Cover the hair with another foil sandwiching the
hair between The hair is then wrapped with a perm rod
as would be done with a traditional perm. A smaller perm
rod is used to compensate for bulk created by the foil. By
putting gel or a conditioner on the hair not to be permed,
perm solution will not reach the hair ends, preventing
dryness.
40
Perms are an important factor when considering
haircoloring. Perms increase the grade of porosity by at
least one grade. On curly textured perms, it can increase
by as much as two grades. It may be necessary to alter the
haircolor formula to accommodate the additional porosity
created by the perm. When the hair is straight the cuticle
is tight and compact.
90
Chapter 6 Perms
41
The greater the bend in the hair,(tight curl) the more
the hair becomes stressed. When the cuticle is flat and
compact it is the equivalent to coloring the surface of the
fingernail. When the cuticle is abraded, it is the same as
the coloring the surface of the nail and the free edge of
the nail.
42
This hair is given a slight bend,(soft curl) therefore
displacing the cuticle less, and creating less stress and
lifting of the cuticle, as a result less porosity occurs.
43
Deposit-only color is compatible with perming.
In many cases the condition of the hair remains the
same with the use of deposit-only color. When color
fading occurs as a result of perming, the use of deposit
only color is strongly recommended. When combining
perming and haircolor there is no substitute for profes
sional judgement.
Chapter 6 Perms
91
“Confidence, of course is an admirable asset to a
haircolorist, but it should be an unspoken confidence.
It is perilous to put into speech. The gods of haircolor
wait to chastise the presumptuous.”
92
Chapter 6 Perms
Paul Morrison, Evaluator
7
chapter
PSYCHOLOGY OF
HAIRCOLORING
• Client Consultation
• Psychological Affects of Haircoloring
• Clients Fears
• Problem Clients
• Professional Ethics
Revised March, 2009
“The most important haircolor
service is the next one.”
94
Chapter 7 Psychology
Ginger Jacobellis, Evlauator
1
We, as professional haircolorist’s, should never lose
sight of our role in society. We have the opportunity to
make dramatic changes in the lives of individuals seeking
to improve their appearance. Often times, a change of
haircolor can be the catalyst to start the individual in
a positive direction. Because a change of haircolor is
so immediate and relatively inexpensive (compared to
cosmetic surgery), it’s often the choice for many clients.
2
Just as we must first acquire the skills to perform
the necessary techniques, it is equally important we
never lose sight of the fact that we are working on a
living, breathing human being. Our pallet is never a
canvas or a piece of clay. All of us has been exposed
to apathy by someone who just didn’t care or who may
have been having a bad day. Bad service and apathy
is something a client should not have to tolerate. We
must fight apathy toward someone because of their
appearance.
3
We have the opportunity to take someone less
attractive and make them more attractive by simply
changing their haircolor. The color change will create a
positive change.
4
We, as haircolorists, are similar to the artists who
restore paintings. Through the years, paintings become
veiled with a cover of soot and lose their vibrant color.
Artists have the ability to remove the veil of soot and
restore the painting to its original vivid colors.
95
5
As haircolorists, we have the ability to perform the
same service on our clients. We can take a client, who
through the years has lost the vibrancy in their hair, and
restore it to its original youthful appearance. This is not
to say we should attempt to color everyone who visits the
salon. We must approach only those we feel could benefit
from our services.
6
Client consultation, communication and negotiating
are key skills. As one gains confidence and becomes
more proficient in his/her technical skills, consultation
becomes much easier. There is a saying; “ if all you have
is a hammer, everything looks like a nail.” The more
‘tools’ you have at your disposal, the easier it is to solve
a greater variety of haircolor challenges and in turn, the
more you will grow your business.
7
During the consultation, you must recognize that
most people have a subjective opinion regarding their
appearance. Understanding this can induce a sense of
empathy toward your client. Empathy is having the ability
to put yourself in the client’s shoes and view the world as
they see it. This is never completely accomplished; we
all have our own individual filters through which we view
the world. Nevertheless, we should strive to accomplish
this. This does not mean acceptance or agreement, only a
recognition that the client has their own point of view.
8
Direct eye contact is important. Position yourself
at eye level with the client and look directly at them when
consulting. Avoid looking at the client in the mirror.
One of the biggest challenges we face as haircolorists
is negotiating with our clients. Compromise is the key.
Terminology and presentation must be professional.
Clients have never been lost because the haircolorist is
too professional.
96
9
Making a photo album with a variety of haircolors
is a great aid for helping the client find the color they
are attempting to describe. Clients will often describe or
refer to a celebrity who has a haircolor they are attracted
to. It is a good practice to have them find the same
haircolor in your photo album. Taking the haircolor off
the celebrity's face and placing it on a “regular person”
could make your client view the haircolor differently.
10
Showing a client a book of various hair colors is
insurance that both of you are talking about the same
color. It can also be used to give direction and make
recommendations. Without common ground to start
from, formulating for the client becomes a gamble.
Some clients come to the salon knowing exactly what
they want. The haircolorist should verify the color
with a photograph. The haircolorist may approve of the
haircolor or may make suggestions of their own. This is
when the professionalism becomes important.
11
An important point to remember when consulting
with the client is their natural haircolor category. If they
wore a color at one point in their life, they can wear that
same color again. People in the warm brown category
can wear the greatest variety of haircolor. Review the
natural haircolor category, and remember that when a
client is placed into a natural haircolor category, she stays
in that category for his or her lifetime.
12
Do not show the client a manufacturer's haircolor
chart, regardless of how beautiful it looks. The haircolor
chart is a tool used by the haircolorist to help formulate.
The color chart will not help the client select a haircolor;
rather it conveys apprehension on the part of the
haircolorist. What a color chart will often do is put the
client in charge of the consultation. Soon, the client is
selecting her own haircolor. When the client returns for
the next appointment, she will once again ask to see the
color chart to adjust the formula. Soon, the haircolorist
is taking direction from the client.
97
13
A manufacturer’s haircolor chart can be utilized by
taking the color you would recommend for the client,
and placing only that swatch next to her skin to give
her reassurance the haircolor would be suitable. This
would require disassembling some charts so that you may
expose only the swatch you want the client to observe.
14
We should always remember the salon on the next
block or in the next city is not our only competition. Our
major competition is the drug store and the super market.
We must always strive to use professional techniques and
methods of application to create hair colors that can not
be duplicated at home. Our goal should be to do what
ever possible to keep haircoloring a professional service
and draw a distinct line between professional haircolor
and home haircolor. IT IS NOT THE PRODUCT YOU
USE AS MUCH AS IT IS YOUR PROFESSIONAL
APPLICATION
15
If the client is coloring their hair for the first
time, there is usually some apprehension. These fears of
a client are real. If you can erase these fears you will
have a comfortable relaxed client when performing the
haircolor service. The most common fears a client will
have are as follows:
16
1. HOW WILL MY NEW HAIRCOLOR LOOK
ON ME? WILL I LIKE IT?
The number one fear of the first time client is how
the new color will look. "Will I like the new haircolor?"
This fear becomes stronger as the client becomes older.
Remember this client may not be as bold as many of us
who tried on a variety of hair colors in beauty school.
This client has been observing haircolor on other people
since she decided to take the plunge. Both good and bad
haircoloring has been observed and remembered.
98
17
2. WILL MY FRIENDS AND FAMILY LIKE MY
NEW HAIRCOLOR?
There is a great deal of apprehension for a first-time
haircolor client regarding how the individuals close to
her will respond to her new haircolor. Will they think
I am vain, or think I am trying to look young? “Why is
she coloring her hair? I liked it just fine the way it was.”
Make no mistake about it; these are real fears. The way
to overcome these fears is with subtle haircolor changes
and the reassurance that the haircolor will look natural.
18
3. WHAT WILL THE INVESTMENT BE IN
TIME AND MONEY?
Some would rank this as their number one fear
but most consider the others before the cost in time and
money. A good way to overcome this fear is to break
down the cost of the haircolor over the period of one year
and divide it by the days in the year. You can finish by
saying, “60 cents a day for looking 10 years younger.”
The same technique can be accomplished with the
number of visits within a year to maintain her hair.
19
4. IF I DON'T LIKE IT, WHAT WILL IT LOOK
LIKE WHEN IT IS GROWING OUT?
"How long will it take if I decide to let it grow out?"
At this point, the client is sold on the change of haircolor;
she's already wondering what it will be like while it is
growing out. It may appear trivial at this point, but you
should discuss a strategy for growing out. Remember,
the client has probably observed some pretty awful out
growths and wants to be assured she will never have to
endure the same process.
20
The consultation period is one in which all aspects
of the above concerns should be addressed. The ability
to put the client at ease during her first visit to your salon
is paramount. It does no harm to embellish the haircolor
service by utilizing descriptive terms such as “growing out
gracefully” or “give your hair a youthful glow” or “soften
your appearance.” Utilizing your own terminology will
make the client feel good about the upcoming service.
Terms which will help with the consultation are included
in this chapter.
99
21
Share as much information as possible with your
client. Let him/her know how long the service will take,
what the cost will be and what the growing out period
will be like. Any concern your client may have about
the upcoming service should be addressed. The ABCH
client consultation swatch book displaying the undertones
of various natural haircolors help the client better under
stand all natural haircolors are not alike.
22
As your years of experience increase, the easier it
will become to recognize clients who may cause prob
lems. There is nothing worse than having a disruptive
person in your color department, making the other clients
feel uncomfortable. We have placed these problem
clients into groups for the purpose of identifying them
and avoid having to deal with them.
23
The "I have never had anyone do my hair as well
as I can" client. When you run across this client, you
will know it. The first thing she asks for is a color chart.
Then she proceeds to give you all the colors she has tried.
She is generally a beauty school drop out who thinks she
knows it all!
24
The best approach to this client is to dazzle them
with your knowledge. Ask the client a lot of technical
questions until they become completely frazzled. Avoid
a stand off. Refrain from performing any service unless
you are in complete accord.
100
25
There are clients who have been coloring their own
hair for years. In many cases their hair is ruined. In some
cases the client realizes the condition of their hair is a
disaster, in other cases she is unaware. It took years to
get it in this condition, and they would like you to restore
it in one visit. The haircolorist must explain the time it
will take to repair. In most cases they can’t be bothered,
and will return to doing their hair at home. This client is
not worth fretting over. Don’t be misled into believing
that if you perform an outstanding service that the client
will become a regular client.
26
We must also learn to deal with clients who want to
know what you are doing at all times: Why you apply a
haircolor in a certain manner, what volume of peroxide is
being used, what percent of ammonia is in the formula,
how long you've been in business and whether this
formula will work? She can recite the latest haircolor
article that appeared in the fashion magazine and the
newest haircolor trend. You must maintain an air of
confidence with this client. The haircolorist needs to
evaluate if you really need this client.
27
Another type of problem client is the name dropper.
This is the client in search of the 'perfect haircolorist'
Chances are, this haircolorist does not exist. This client
comes to your salon and rattles off a list of haircolorists’
names who have failed to please them. Rest assured your
name will be added to that list. As a professional, the
haircolorist proceeds in an appropriate manner.
28
Another common type of problem clients are the
individuals who are not happy. They hate their life, their
husband, their work, their children and their physical
appearance. Usually, they are not emotionally healthy.
They expect you to solve all of their problems with a
new haircolor. They often talk of how busy they are and
how little time they have for themselves. Attempting to
solve their problems by doing their hair is futile. Do not
confuse this person with the person who genuinely wants
to make changes in their life. The latter is humble and
a bit embarrassed with their appearance. They are also
very open to your suggestions.
101
29
It is never a good practice to have the client leave
the salon unhappy with his/her haircolor. By the same
token, the client should be able to describe what it is about
the haircolor that makes them unhappy. It's not always
possible to get the haircolor the client expects on the first
visit. This can happen for a variety of reasons. One of
the most difficult situations a haircolorist is confronted
with is a request to do a correction that the haircolorist
feels does not needs correcting. This is where empathy
comes in. If it is a reasonable client, you must make
the proper adjustments. To charge or not charge for the
adjustment would depend on many factors.
30
Professional ethics play a major role in a successful
haircolor salon. There are many individuals and salons
who do not offer haircoloring services. When one of
these salons refers a client to your salon, it is imperative
you preserve the clients relationship with the other salon,
and thank them for sending you a client. It's only through
these relationships with other salons that we will be able
to grow as an industry.
31
If we fail to please a client, we may lose her
to home haircoloring. Currently, the vast majority of
clients who color their hair do so at home. We must
strive to attract these clients to professional haircoloring
services. The majority of clients are unaware of the
differences between home haircoloring and professional
haircoloring. The haircolorist is what distinguishes
professional haircolor services from home haircoloring,
not the product being used.
32
As haircolorists, we are constantly being exposed
to new tools, products, and techniques to make our job
easier. We view a demonstration of a new tool that
appears easy to use. We purchase the new tool and take
it to the salon and attempt to use it on a paying client.
Often times we find the new tool is not as easy to use as
we observed, and we end up making a mess of our clients
hair. Always take the time to practice with a new tool.
Try it on a mannequin first, mannequins won't get upset,
clients will.
102
CONSULTATION VOCABULARY
Positive Terms
Negative Terms
Grow out gracefully
Your roots won't show so much
Out of character
Doesn’t look like her/him
Could be aging
Looks old
Most economical
Cheapest way to go
Rolls Royce of haircolor services It cost a lot
Richness
Loud
Glow
Garish
Warmth
Flat
Glazing
Muddy
Softness
Drab
Subdued
Mousey
Nuance
Dingy
Caramelizing
Flashy
Buttery
Blinding
Tortoise shelling
Cheap
Wheat
Screaming
When consulting with a client it is very important that you both are describing and thinking
of the same haircolor so you can fulfill the clients expectations.
A haircolor portfolio with colored pictures is always a good way to understand the clients
expectations and your professional opinion of their expectations. Other haircolorists choose to use
descriptive words pertaining to nature, food or animal color tones to describe the haircolor they
plan to achieve. Be creative but beware you both must be on the same wave length with these
descriptions or someone will not be satisfied.
103
104
“An unsuccessful haircolor service is not like a
unsuccessful haircut, with haircolor you always have
a second chance.”
Tracy Casarola, Evaluator
8
chapter
COLORING
GRAY HAIR
• Identification of gray hair
• Pattern / percentage dictate method
• Sensitive consultations
• Common problems when coloring gray
• Various strategies for the different categories
Revised March, 2009
“Let us never forget, gray hair is the haircolorists
best friend, it causes more clients to color their
hair and it reappears every four weeks.”
106
Chapter 8 Coloring Gray Hair
Andre Nizetich, Board of Directors
1
For as long as recorded history, there’s been an
attempt, by those turning gray, to disguise it. Every
imaginable concoction was used in an attempt to retain
a youthful appearance. It’s been a curse to those whose
demeanor is youthful. It’s been a mixed blessing to the
haircolorist. The introduction of gray hair is often the
catalyst to prompt individuals to color their hair. At the
same time, gray hair presents a special challenge to the
haircolorist.
2
No one has really determined why hair turns gray.
Stories have been circulating as long as there has been
gray hair, as to why and how gray hair turns. Hair turns
gray (or more accurately white) because at some point
melanin stops being produced. Why it stops is still
unknown. It’s believed by most scientific communities
that graying hair is a result of genetics. When a person
is born, each follicle on the head is genetically coded to
stop producing melanin at a certain point in their life.
Transplanted
Hair
Transplanted Hair
3
This client had the top frontal portion of his head
transplanted with hair from the back of his head. When
the sides of his hair started to turn gray, the hair from the
back of the head transplanted to the front remained dark
and did not turn gray. Even if you move a follicle to
another part of the head, it will retain the original genetic
coding.
4
Anagen
Catagen
Telogen
The three stages of hair growth
There are three stages of hair growth: anagen,
catagen and telogen. At a certain age, when the pigmented
hair falls out of the follicle, and the follicle stops producing
melanin, the new hair will be white. The hair can remain
in the anagen stages as much as five years, so the notion
someone can turn gray overnight is unlikely. There have
been cases where the follicle stops producing melanin
during the anagen stage. Thus, resulting in a strand of hair
that is spotted with melanin.
107
5
Five years ago this client had no gray hair. Her hair
now reaches down to her waist. The ends of her hair
are still warm and without gray. The hair closest to her
scalp is now 30% gray. As her hair reaches the telogen
stage and the hair falls out, many of the follicles will stop
producing melanin.
Hair Ends
6
A towel has been draped over the styling chair so the
warmth left in the hair can be observed. When the hair
starts to turn gray, the remaining pigmented hair stops
producing warmth in the melanin. The hair looks flat
and drab. Notice the difference in the color of this clients
hair when the ends are draped over the hair closer to the
scalp.
7
The perception of the general public is that gray hair
is associated with aging. Individuals in today’s society are
constantly being bombarded with advertising to persuade
them to retain their youthful appearance. The youth
oriented of our society is a benefit to the haircolorist. The
vast majority of the population is seeking ways to retain
their youthful image. The pressure of retaining a youthful
appearance in the workplace is constant. Some individuals
color their hair at home with a fair degree of success, but
home haircoloring can never replace the skilled hands of
the Board Certified Haircolorist.
8
In the majority of cases, gray hair is the catalyst for
clients to begin coloring their hair. This is a blessing to
the haircolorist. Much of the advertising for ‘at home’
haircoloring focuses on covering gray hair. For the clients
seeking to make a change in their life, haircoloring
is often the first step. Haircolor manufacturers who
advertise mass market haircoloring to the consumer draw
attention to the benefits of coloring gray hair to look
younger. In so doing, they also drive business into the
salon.
108
9
There are many more types of gray hair than there
are natural haircolors. When you consider all of the
different patterns of graying hair and the number of
natural haircolors multiplied by the number of people
whose hair is turning gray, you are confronted with an
over-whelming variety of haircolor challenges.
10
7
After identifying the client’s natural haircolor
category, it is necessary to identify the percentage of gray
hair. It is also important to identify the placement and
distribution of gray hair. A person who is 50% gray, with
the gray hair sprinkled equally throughout the pigmented
hair would require a different approach than a person
whose is 80% gray in the front and 20% gray in the back.
In each case, half the hair is gray and half is pigmented.
PERCENTAGE OF GRAY HAIR BY COUNT
5%
15%
30%
50%
70%
80%
90%
11
The process for identifying gray hair is as follows:
1. Identify the natural haircolor category.
2. Locate the areas of gray hair.
3. Identify the percentage of gray hair.
4. Use all three of the above to determine formula and technique.
Each category grays with slightly different
pigmented haircolor. As the percentage of gray increases,
the difference in the remaining pigmented hair becomes
less of a factor when determining color formulation.
109
CROWN
TOP
TEMPLE
FRONTAL
NAPE
12
The areas of the head used to identify the gray are as
follows:
1. If the hair is gray around the face it’s called the frontal area.
2. If the hair is gray on top it is called the top area.
3. If the hair is gray at the temples, it’s called the temple area.
The top area may extend to the crown. The temple
area may extend to the back of the ear. It is important to
develop a common language for identifying gray hair.
13
This client is in the ‘B’ category, has 5% gray hair
throughout her hair, and 80% gray in the temple area.
14
The next client is in the ‘B’ category, with 80% gray
in the top area, and 30% gray throughout her remaining
hair.
15
This client has 40% gray throughout most of her hair,
with the temples being 90% gray. Notice the different
distribution of the gray hair from the previous client.
110
1”
9
PREPARING THE LEFT REAR QUADRANT
The left rear quadrant shall be bleached to a yellow
stage with a one inch outgrowth. To achieve this, you
may use foil, paper or plastic to keep the lightener the
correct distance away from the scalp. When using foil,
apply the bleach one inch from the scalp. It is suggested
you do not attempt to prepare your mannequin between
clients, you could become rushed and do a poor job.
10
Continue applying bleach and foils until the quadrant
is completed. It is not unusual for hair to bleach in excess
of four hours to reach pale yellow. Using excessive heat
is not recommended, it could cause banding. Test the
bleach you will be using on just one section to make
certain it is not one of the bleaches that will creep and
cause banding. When you test leave the bleach on for the
full 4 hours. Bleach may not band in one hour, but may
in 4 hours.
11
Utilizing cotton to keep the bleach away from the
scalp is not recommended. To bleach the hair to a yellow
stage will take an excessive amount of time. Without
the bleach being confined, it will dry out and require reapplication. This type of application will not produce a
clean demarkation line. The time required for bleaching
hair to a yellow stage is at least four hours. Exact
times are impossible to predict because of the variety of
bleaches. Remember bleach continue working as long as
long as it remains moist.
12
This is an example of what would receive an excellent
score. A consistent demarcation line, no banding or
bleeding and the hair is left in excellent condition. It is
impossible to bleach to this degree without porosity, but
every attempt should be made to minimize the porosity.
This is possible by taking thin sections and using NO
heat.
Chapter 9 Mannequin and Swatch Preparation
131
13
Dragging the hair toward the center at the widest
point of the quadrant will cause the demarcation line to
become uneven. This would draw a minor deduction.
When completed, the hair should be yellow or pale
yellow. This color would be considered light gold, which
would constitute a further deduction.
14
This is an example of what can happen if patience is
not exercised when preparing the mannequin. Heat and
high volume peroxide have left this hair in poor condition
with banding down to the scalp. The wrong bleach can
also cause this to happen. This would receive a fail score
on the mannequin preparation. This would also prevent
the candidate from receiving good or excellent scores in
the optional technique for this quadrant.
15
PREPARING THE RIGHT FRONT QUADRANT
11/2”
On the right front quadrant of the mannequin, the
hair should be prepared in a manner consistent with how
hair would look with a 3 and a 6 month highlighting
outgrowth. The first step is to highlight the hair applying
bleach one and one-half inches from the scalp. Do this to
the entire right front quadrant.
16
1 ”
1/2
132
The candidate may use the weave or slice technique
in the application of the highlights. Larger weave sections
are easier to locate when doing the highlight retouch
portion of the examination. Here we are completing the
the one and one half inch section throughout the quadrant
before starting the three inch section. you may find it
easier to alternate the one and one half inch section with
the three inch or 6 month section. You do whatever is
easiest for you to complete this task.
17
11/2”
Bleach the hair to a yellow or pale yellow stage.
This hair bleached for four hours to reach this stage of
lightness. Do not become impatient and apply heat. The
bleach will lift to a yellow or pale yellow stage. The
bleach will continue working as long as the bleach is
moist.
18
If completing the task by performing the three months
first, the quadrant will look as though it has a highlight
that has grown out for three months.
19
3”
The next phase is to highlight the hair as if it were
grown out for six months. This requires applying the
bleach three inches away from the scalp. The strands are
to be processed to the same degree of lightness as the
three month outgrowth.
Weave or slice whichever you prefer. The advantage
of alternating the three and six month sections and having
them process together is they will be more apt to be the
same color when completed.
20
When completed, the hair should look as though it
has two highlights, one grown out three months, the other
grown out six months. The amount of hair lightened is left
to the discretion of the candidate. Read the performance
examination chapter to gain some insight as to what will
be required for this quadrant during the performance
examination.
133
21
This candidate showed no constraint when preparing
the mannequin. There is an excessive amount of blonde
hair, all one and one half inches from the scalp. This
would be a deduction on the mannequin preparation. It
would also mean a lower score on the highlight retouch.
This mannequin preparation would make it extremely
difficult to do a highlight retouch and receive an excellent
score.
22
PREPARATION OF SWATCHES
With the study materials, you received a bundle of
hair that you will use for making swatches. The finished
swatches should be one inch wide with a hair length of at
least four inches.
23
Spread the hair evenly over a hard surface such as
formica or glass. For best results, keep the hair spread
out as uniformly as possible. The ends of the hair that
attaches to the tape should be thin to the point of being
transparent.
24
Cut a piece of duct tape the length of the hair that has
been spread out. Do not attempt to use another type of
tape. Duct tape is the only type of tape that will hold up
under the abuses of bleaching and shampooing. Rub the
tape aggressiveley with your finger tips so as to maximize
the amount of hair that attaches to the tape.
134
25
Turn the tape over so that the sticky side of the tape
faces up. Further spread out the heavy sections of the hair
so the majority of the hair will stick to the tape.
26
Place another piece of duct tape over the first piece
of duct tape holding the hair. Line up the two strips of
tape as closely as possible. It helps to have the tape a
little longer and stick it to the surface just above the first
piece. doing this makes it easier to control.
Rub the
tape firmly so the sticky part of the tape grasps the hair.
27
Continue this procedure until there is enough hair to
make 12 completed swatches. This exercise of making
swatches will encourage you to make swatches from your
clients cuttings, you may learn more about the brand of
haircolor you use.
28
With the hair firmly sandwiched between two pieces
of tape, trim off all of the excess tape.
135
29
To create a one inch band of tape that holds the hair,
remove the top half of the tape by cutting with heavy
household scissors.
30
Cut the strips of tape into four inch pieces. These
will be used for making bleach and color swatches.
31
Stack the strips and cut the hair so as to maintain the
maximum length. Cut off the scraggly ends.
32
STAGES OF LIGHTENING
Using the bleach of your choice, apply to 6 strips.
Make certain the hair is completely saturated. Stack
swatches on top of each other, making certain the
swatches are completely saturated with bleach. Use the
client consultation swatch book to gain some insight as
to the aproximate length of time required between stages.
Exact times are impossible to give because of the variety
of bleaches.
It is important to make note of your processing times.
136
33
Lighten the hair to the following stages: medium
golden brown, light golden brown, gold, pale gold,
yellow and pale yellow. There should be a clear
distinction between the color of the swatches. Nicely
finished swatches will help enhance your score. It is not
necessary to post the manufacturer of bleach being used.
34
Lighten the hair through the stages of lightening
indicated. Make certain the time the bleach is removed
from each strip is recorded. Questions may be asked by
the evaluators regarding the stages of lightening.
35
Fold the strip of tape over twice and staple. This
should produce thick uniform swatches. One natural
swatch should be on display.
36
Label each swatch with the time it took to bring the hair
to that particular stage of lightness. The candidates will
be asked to display the swatches during the performance
examination.
137
37
The swatches may be displayed by mounting on
cardboard. Make your display of swatches as neat as
possible.
38
Apply bleach to the lower half of four additional
strips of hair.
39
Process the hair to a gold stage, shampoo and dry.
40
138
Fold strip into thirds and staple.
41
Using the permanent haircolor of your choice and
following manufacturers instructions. Apply the haircolor
to the entire swatch, from the tape to the ends, with each
of the following colors. Level 8 golden blonde, level 7
ash blonde, level 9 natural blonde and level 5 ash brown.
Observe the lift and deposit on the natural and prelightened hair.
42
The completed swatches will be on display for the
evaluators during the performance examination.
43
Swatches illustrated would receive a fail score. None
of the criteria was followed. The candidate did not show
the patience necessary to receive passing score. Make
no mistake, the swatch production is an important part
of the examination. It gives the evaluators an indication
of how serious you are about the examination. You
perform these tasks alone without anyone overseeing
your progress. Nerves can not be an excuse for not doing
your best. Strive to receive an excellent score.
44
It is advisable to condition and blow style your
mannequin prior to your arrival at the examination
site. It makes the evaluation process of the mannequin
preparation easier and gives a better appearance.
One should strive to receive as many excellent scores
as possible.
139
“Never practice new techniques on your
clients, perfect them on your clients.”
Jaclyn Bravo, Evaluator
140
Chapter 10 Performance Examination
10
chapter
PERFORMANCE
EXAMINATION
• Preparation and Layout
• Mandatory Tasks
• Selected Optional Techniques
• Unacceptable Procedures
Revised March, 2009
“Learn, formulate, execute,
experience, learn, formulate,
execute, experience. You will never
learn all there is to know”
142
Ty Isobe, Evaluator
1
The candidate will proceed to the assigned station that
matches their team registration number. Lay out all of the
materials necessary to perform the mandatory techniques, as
well as all of the optional techniques. Display the swatches. Any
tools or materials that will not be used during the examination
should be placed under the table. Deductions will be made
under "organization" for reaching under the table during the
examination. You will also receive deductions for using notes for
reciting formulas.
optional techniques
can be done in any
order
second
mandatory highlight
retouch
gray reduction or
tone on tone
highlow lighting,
reverse highlighting
or bleach retouch
first mandatory slice
and weave
2
All candidates will perform the same tasks on the right
side of the mannequin. All tasks will be carried out without an
assistant. An off the scalp powder bleach is recommended so the
evaluators may clearly see the application. Candidates will not be
evaluated on the finished result. Proceed in the following order:
• Right rear: weave and slice. The candidate may start at the nape or crown.
• Right front: highlight retouch.
• Left front assigned optional technique: Tone on tone or gray reduction.
• Left rear assigned optional technique: high-low lighting, reverse highlight or bleach
retouch.
3
On the right side of the mannequin, the mandatory tasks
shall be completed by placing the hair in any type of foil, paper
or plastic that the candidate desires. Although the candidate may
utilize a variety of tools when working in the salon, for this
examination you must use one of the accepted methods.
Do not come to the test site with the anticipation of doing
the same work as you do in the salon. We ask that you follow
the prescribed method outlined in this chapter for the mandatory
techniques.
143
3 (continued)
The candidates are being evaluated on following
instruction as well as workmanship. If the methods
prescribed in the chapter for the mandatory techniques
are not familiar, it would be in the candidate’s best
interest to practice until he/she is comfortable and
the application is smooth. The candidate is being
tested in the psychomotor skills, therefore the use of
hairpainting, frosting cap, Spatula and Super Streak
cups will not be allowed for the mandatory tasks.
4
Dividing
line
144
On the right rear quadrant, the candidate will perform
a weave and a slice. A medium weave will be performed
on the top portion of the right rear quadrant. A fine slice
will be performed on the bottom right rear quadrant.
There is a dividing line between the weave and slice to
indicate where they both should take place. Observe the
number of sections to be bleached and come as close as
possible to duplicating them. The dividing line is not in
the same position on each of the mannequins.
NOTE: The weave and slice may be started in any order.
Space between
weaves larger
than weaves
Weave 1/4”
5
A medium weave is described as one-eighth of an
inch sections with one-quarter of an inch subsections.
There must be enough natural hair between the hair being
bleached to create a distinct separation.(See #12) The
hair left natural between highlightened sections must be
greater than the hair being lightened. Apply the bleach as
close as possible to the scalp without bleeding.
6
This packet would receive a poor rating because of
the inconsistency and application. The size of the strands
are inconsistent as well as the application of bleach.
Deduction: Space between
weaves larger
than weaves
APPLICATION
CONSISTENCY
7
This packet would receive no deductions even though
the strands are slightly inconsistent. If all packets were
of this ranking, the candidate would receive an excellent
score for consistency.
Deduction: NONE
Weave 1/4”
8
Each packet containing bleach will be separated by
one quarter of an inch of natural hair. In portions of the
quadrant it will require more than one packet to go from
one edge of the quadrant to the other. Keep the packets
in line rather than using a brick laying pattern.
145
9
If the candidate follows directions and leaves the
proper amount of hair between the packets, there will be
ample space to apply the necessary number of packets
to receive an excellent score. You are encouraged to go
through the performance examination using a conditioner
as a bleach and making notes of your timing.
1/4”
Deduction: NONE
10
Leaving too much hair between packets would not
allow the candidate to have the correct number of packets
for a good or excellent score.
Deduction: FOLLOWS INSTRUCTIONS CONSISTENCY
11
Dividing
Line
Here, the upper portion of the right rear quadrant is
completed with foil packets. The candidate may also start
the foil application at the nape and work upward toward
the crown. There is a ridge between the slice and weave
sections. If there is an odd amount of hair between the
weave and slice after completing your first portion, it
may be pinned out of the way before proceeding.
12
1/4”
1/4”
1/8”
146
SLICING PROCEDURE
On the lower portion of the quadrant, the slice tech
nique will be performed. The slice technique requires
the candidate to take a section‑ of hair that is as thin as
possible, (the thinner the better.) The lines indicate the
hair to be light
ened, the spaces between indicate the
distance between the packets. The number of sections
indicated on this mannequin is 12 sections. Not all
mannequins are alike.
13
SLICE TECHNIQUE
The slice technique would require the sections to
be thin and consistent. This degree of con
sis
ten
cy is
acceptable.
Deduction:NONE
14
This slice too thick. The slice should be as thin as
possible.
Deduction: FOLLOW DIRECTIONS
15
The bleached sections are separated by one quarter
inch of hair left natural. The entire lower portion of the
quadrant must be completed before proceeding to the
weave slice section.
16
The candidate may also start the slicing procedure at
the bottom of the section and work up. When the weave
and slice techniques are completed, move on to the
next task. Do not wait for the evaluators to tell you to
proceed. Go directly to the highlight retouch quadrant.
147
17
HIGHLIGHT RETOUCH TECHNIQUE
The right front quadrant of the mannequin is utilized
for the highlight retouch. The candidate must have
prepared the mannequin in advance as detailed in the
chapter 'PREPARING THE MANNEQUIN.' When
retouching the highlights in this section, an attempt
should be made to maintain the same degree of blonde.
18
The retouching of highlights is one of the most
challenging aspects of haircoloring. The proper decisions
made during this process will insure the client of healthy
hair and the haircolorist a faithful client. It is for this reason
that the highlight retouch is a mandatory technique for the
examination. Avoiding all of the previously bleached hair
and bleaching all virgin hair, as in this photograph, is
discouraged. If this behavior is repeated throughout this
section, it would result in a major deduction.
19
The evaluators will be checking the manner in which
the candidate avoids the previously lightened hair. The
evaluators understand avoiding the previously lightened
hair entirely is nearly impossible, but much can be done
to retain the integrity of the hair. The amount of overlap
ping shown here is acceptable, also the small amount of
virgin hair on the ends would not draw deductions.
20
With each section of hair placed in the packet, there is
a decision to be made. Evaluating the entire section will
give the evaluators a sense of how carefully the bleach
was applied. This packet is also acceptable.
148
21
In this foil, the virgin hair is all bleached with a small
section of previously bleached hair avoided. This behavior
shows sensitivity to the client’s hair. The candidates need
to demonstrate to the evaluators the ability to utilize
“stagger” technique. The “stagger” technique is defined
as “staggering” the bleach application in the packet and
not stopping the bleach at the first sign of previously
bleached hair.
22
When folding the packet, caution should be taken
to not have previously bleached hair that has been
avoided, come in contact with bleach being applied. The
previously bleached hair was first avoided, then when
folding the packet the hair was folded into the bleach.
23
Here the previously bleached hair has been avoided
and only the new growth bleached. This is a method used
on clients in order to minimize a blonde build-up. This is
a technique that is encouraged.
24
This pattern repeated would result in blonde scalp
and darker ends. Repeating this application throughout
the quadrant would be a major deduction.
When the right side of the mannequin is complete,
move directly into the optional techniques. Candidates
will be approached by an evaluator to allow them the
opportunity to draw the optional techniques.
149
Gray
reduction
25
Reverse
highlight
SELECTED OPTIONAL TECHNIQUES
High-low
lighting
Tone on tone
Bleach
retouch
The left side of the mannequin will be utilized for
two of five optional techniques. These techniques are:
Gray reduction, high low lighting, bleach retouch, tone
on tone and reverse highlighting.
26
GRAY REDUCTION
The left front quadrant shall be used for the gray
reduction. This section is 50% gray hair. For gray reduction
optional technique, the candidate will be asked to reduce
the amount of gray hair by 25%. Thus when completed, the
quadrant should appear to be 25% gray. The photo shows
10 fine slices. This would receive a good score. NOTICE:
Not all of the mannequins have the same percentage of gray
hair, nonetheless the gray should be reduced by 25%.
27
Gray reduction is accomplished by isolating sections
of hair with a fine weave and darkening the hair in the
packet. The candidate should formulate as though the
client is in the dark brown category. When doing a gray
reduction with a substantial amount of pigmented hair,
an effort should be made to minimize the the lift on the
pigmented hair. This can be accomplished by reducing
the volume of peroxide to 10 volume and processing the
color longer, or using a deposit only color.
28
Here is another method of accomplishing gray reduc
tion by utilizing papers and fine slices. For the best score,
the dark color should be applied as close to the scalp as
possible without touching the scalp. Keep the packets
horizontal.
150
1”
9
PREPARING THE LEFT REAR QUADRANT
The left rear quadrant shall be bleached to a yellow
stage with a one inch outgrowth. To achieve this, you
may use foil, paper or plastic to keep the lightener the
correct distance away from the scalp. When using foil,
apply the bleach one inch from the scalp. It is suggested
you do not attempt to prepare your mannequin between
clients, you could become rushed and do a poor job.
10
Continue applying bleach and foils until the quadrant
is completed. It is not unusual for hair to bleach in excess
of four hours to reach pale yellow. Using excessive heat
is not recommended, it could cause banding. Test the
bleach you will be using on just one section to make
certain it is not one of the bleaches that will creep and
cause banding. When you test leave the bleach on for the
full 4 hours. Bleach may not band in one hour, but may
in 4 hours.
11
Utilizing cotton to keep the bleach away from the
scalp is not recommended. To bleach the hair to a yellow
stage will take an excessive amount of time. Without
the bleach being confined, it will dry out and require reapplication. This type of application will not produce a
clean demarkation line. The time required for bleaching
hair to a yellow stage is at least four hours. Exact
times are impossible to predict because of the variety of
bleaches. Remember bleach continue working as long as
long as it remains moist.
12
This is an example of what would receive an excellent
score. A consistent demarcation line, no banding or
bleeding and the hair is left in excellent condition. It is
impossible to bleach to this degree without porosity, but
every attempt should be made to minimize the porosity.
This is possible by taking thin sections and using NO
heat.
131
13
Dragging the hair toward the center at the widest
point of the quadrant will cause the demarcation line to
become uneven. This would draw a minor deduction.
When completed, the hair should be yellow or pale
yellow. This color would be considered light gold, which
would constitute a further deduction.
14
This is an example of what can happen if patience is
not exercised when preparing the mannequin. Heat and
high volume peroxide have left this hair in poor condition
with banding down to the scalp. The wrong bleach can
also cause this to happen. This would receive a fail score
on the mannequin preparation. This would also prevent
the candidate from receiving good or excellent scores in
the optional technique for this quadrant.
15
11/2”
PREPARING THE RIGHT FRONT QUADRANT
On the right front quadrant of the mannequin, the
hair should be prepared in a manner consistent with how
hair would look with a 3 and a 6 month highlighting
outgrowth. The first step is to highlight the hair applying
bleach one and one-half inches from the scalp. Do this to
the entire right front quadrant.
16
11/2”
132
The candidate may use the weave or slice technique
in the application of the highlights. Larger weave sections
are easier to locate when doing the highlight retouch
portion of the examination. Here we are completing the
the one and one half inch section throughout the quadrant
before starting the three inch section. you may find it
easier to alternate the one and one half inch section with
the three inch or 6 month section. You do whatever is
easiest for you to complete this task.
17
11/2”
Bleach the hair to a yellow or pale yellow stage.
This hair bleached for four hours to reach this stage of
lightness. Do not become impatient and apply heat. The
bleach will lift to a yellow or pale yellow stage. The
bleach will continue working as long as the bleach is
moist.
18
If completing the task by performing the three months
first, the quadrant will look as though it has a highlight
that has grown out for three months.
19
3”
The next phase is to highlight the hair as if it were
grown out for six months. This requires applying the
bleach three inches away from the scalp. The strands are
to be processed to the same degree of lightness as the
three month outgrowth.
Weave or slice whichever you prefer. The advantage
of alternating the three and six month sections and having
them process together is they will be more apt to be the
same color when completed.
20
When completed, the hair should look as though it
has two highlights, one grown out three months, the other
grown out six months. The amount of hair lightened is left
to the discretion of the candidate. Read the performance
examination chapter to gain some insight as to what will
be required for this quadrant during the performance
examination.
133
21
This candidate showed no constraint when preparing
the mannequin. There is an excessive amount of blonde
hair, all one and one half inches from the scalp. This
would be a deduction on the mannequin preparation. It
would also mean a lower score on the highlight retouch.
This mannequin preparation would make it extremely
difficult to do a highlight retouch and receive an excellent
score.
22
With the study materials, you received a bundle of
hair that you will use for making swatches. The finished
swatches should be one inch wide with a hair length of at
least four inches.
23
Spread the hair evenly over a hard surface such as
formica or glass. For best results, keep the hair spread
out as uniformly as possible. The ends of the hair that
attaches to the tape should be thin to the point of being
transparent.
24
Cut a piece of duct tape the length of the hair that has
been spread out. Do not attempt to use another type of
tape. Duct tape is the only type of tape that will hold up
under the abuses of bleaching and shampooing. Rub the
tape aggressiveley with your finger tips so as to maximize
the amount of hair that attaches to the tape.
134
25
Turn the tape over so that the sticky side of the tape
faces up. Further spread out the heavy sections of the hair
so the majority of the hair will stick to the tape.
26
Place another piece of duct tape over the first piece
of duct tape holding the hair. Line up the two strips of
tape as closely as possible. It helps to have the tape a
little longer and stick it to the surface just above the first
piece. doing this makes it easier to control.
Rub the
tape firmly so the sticky part of the tape grasps the hair.
27
Continue this procedure until there is enough hair to
make 12 completed swatches. This exercise of making
swatches will encourage you to make swatches from your
clients cuttings, you may learn more about the brand of
haircolor you use.
28
With the hair firmly sandwiched between two pieces
of tape, trim off all of the excess tape.
135
29
To create a one inch band of tape that holds the hair,
remove the top half of the tape by cutting with heavy
household scissors.
30
Cut the strips of tape into four inch pieces. These
will be used for making bleach and color swatches.
31
Stack the strips and cut the hair so as to maintain the
maximum length. Cut off the scraggly ends.
32
STAGES OF LIGHTENING
Using the bleach of your choice, apply to 6 strips.
Make certain the hair is completely saturated. Stack
swatches on top of each other, making certain the
swatches are completely saturated with bleach. Use the
client consultation swatch book to gain some insight as
to the aproximate length of time required between stages.
Exact times are impossible to give because of the variety
of bleaches.
It is important to make note of your processing times.
136
33
Lighten the hair to the following stages: medium
golden brown, light golden brown, gold, pale gold,
yellow and pale yellow. There should be a clear
distinction between the color of the swatches. Nicely
finished swatches will help enhance your score. It is not
necessary to post the manufacturer of bleach being used.
34
Lighten the hair through the stages of lightening
indicated. Make certain the time the bleach is removed
from each strip is recorded. Questions may be asked by
the evaluators regarding the stages of lightening.
35
Fold the strip of tape over twice and staple. This
should produce thick uniform swatches. One natural
swatch should be on display.
36
Label each swatch with the time it took to bring the hair
to that particular stage of lightness. The candidates will
be asked to display the swatches during the performance
examination.
137
37
The swatches may be displayed by mounting on
cardboard. Make your display of swatches as neat as
possible.
38
Apply bleach to the lower half of four additional
strips of hair.
39
Process the hair to a gold stage, shampoo and dry.
40
138
Fold strip into thirds and staple.
41
Using the permanent haircolor of your choice and
following manufacturers instructions. Apply the haircolor
to the entire swatch, from the tape to the ends, with each
of the following colors. Level 8 golden blonde, level 7
ash blonde, level 9 natural blonde and level 5 ash brown.
Observe the lift and deposit on the natural and prelightened hair.
42
The completed swatches will be on display for the
evaluators during the performance examination. This
swatch production is a learning process for the candidate.
It shows the lift deposit for the various levels of color.
43
Swatches illustrated would receive a fail score. None
of the criteria was followed. The candidate did not show
the patience necessary to receive passing score. Make
no mistake, the swatch production is an important part
of the examination. It gives the evaluators an indication
of how serious you are about the examination. You
perform these tasks alone without anyone overseeing
your progress. Nerves can not be an excuse for not doing
your best. Strive to receive an excellent score.
44
It is advisable to condition and blow style your
mannequin prior to your arrival at the examination
site. It makes the evaluation process of the mannequin
preparation easier and gives a better appearance.
One should strive to receive as many excellent scores
as possible.
139
“Never practice new techniques on your
clients, perfect them on your clients.”
140
Jaclyn Bravo, Evaluator
10
chapter
PERFORMANCE
EXAMINATION
• Preparation and Layout
• Mandatory Tasks
• Selected Optional Techniques
• Unacceptable Procedures
Revised March, 2009
“Learn, formulate, execute,
experience, learn, formulate,
execute, experience. You will never
learn all there is to know”
142
Ty Isobe, Evaluator
1
The candidate will proceed to the assigned station that
matches their team registration number. Lay out all of the
materials necessary to perform the mandatory techniques, as
well as all of the optional techniques. Display the swatches. Any
tools or materials that will not be used during the examination
should be placed under the table. Deductions will be made
under "organization" for reaching under the table during the
examination. You will also receive deductions for using notes for
reciting formulas.
optional techniques
can be done in any
order
second
mandatory highlight
retouch
gray reduction or
tone on tone
highlow lighting,
reverse highlighting
or bleach retouch
first mandatory slice
and weave
2
All candidates will perform the same tasks on the right
side of the mannequin. All tasks will be carried out without an
assistant. An off the scalp powder bleach is recommended so the
evaluators may clearly see the application. Candidates will not be
evaluated on the finished result. Proceed in the following order:
• Right rear: weave and slice. The candidate may start at the nape or crown.
• Right front: highlight retouch.
• Left front assigned optional technique: Tone on tone or gray reduction.
• Left rear assigned optional technique: high-low lighting, reverse highlight or bleach
retouch.
3
On the right side of the mannequin, the mandatory tasks
shall be completed by placing the hair in any type of foil, paper
or plastic that the candidate desires. Although the candidate may
utilize a variety of tools when working in the salon, for this
examination you must use one of the accepted methods.
Do not come to the test site with the anticipation of doing
the same work as you do in the salon. We ask that you follow
the prescribed method outlined in this chapter for the mandatory
techniques.
143
3 (continued)
The candidates are being evaluated on following
instruction as well as workmanship. If the methods
prescribed in the chapter for the mandatory techniques
are not familiar, it would be in the candidate’s best
interest to practice until he/she is comfortable and
the application is smooth. The candidate is being
tested in the psychomotor skills, therefore the use of
hairpainting, frosting cap, Spatula and Super Streak
cups will not be allowed for the mandatory tasks.
4
Dividing
line
144
On the right rear quadrant, the candidate will perform
a weave and a slice. A medium weave will be performed
on the top portion of the right rear quadrant. A fine slice
will be performed on the bottom right rear quadrant.
There is a dividing line between the weave and slice to
indicate where they both should take place. Observe the
number of sections to be bleached and come as close as
possible to duplicating them. The dividing line is not in
the same position on each of the mannequins.
NOTE: The weave and slice may be started in any order.
Space between
weaves larger than
weaves
Weave 1/4”
5
A medium weave is described as one-eighth of an
inch sections with one-quarter of an inch subsections.
There must be enough natural hair between the hair being
bleached to create a distinct separation.(See #12) The
hair left natural between highlightened sections must be
greater than the hair being lightened. Apply the bleach as
close as possible to the scalp without bleeding.
6
This packet would receive a poor rating because of
the inconsistency and application. The size of the strands
are inconsistent as well as the application of bleach.
Deduction: APPLICATION
CONSISTENCY
7
Space
between
weaves
larger
than
weaves
This packet would receive no deductions even though
the strands are slightly inconsistent. If all packets were
of this ranking, the candidate would receive an excellent
score for consistency.
Deduction:
NONE
Weave 1/4”
8
Each packet containing bleach will be separated by
one quarter of an inch of natural hair. In portions of the
quadrant it will require more than one packet to go from
one edge of the quadrant to the other. Keep the packets
in line rather than using a brick laying pattern.
145
9
If the candidate follows directions and leaves the
proper amount of hair between the packets, there will be
ample space to apply the necessary number of packets
to receive an excellent score. You are encouraged to go
through the performance examination using a conditioner
as a bleach and making notes of your timing.
1/4”
Deduction: NONE
10
Leaving too much hair between packets would not
allow the candidate to have the correct number of packets
for a good or excellent score.
Deduction: FOLLOWS INSTRUCTIONS CONSISTENCY
11
Dividing
Line
Here, the upper portion of the right rear quadrant is
completed with foil packets. The candidate may also start
the foil application at the nape and work upward toward
the crown. There is a ridge between the slice and weave
sections. If there is an odd amount of hair between the
weave and slice after completing your first portion, it
may be pinned out of the way before proceeding.
12
1/4”
1/4”
1/8”
146
SLICING PROCEDURE
On the lower portion of the quadrant, the slice tech
nique will be performed. The slice technique requires
the candidate to take a section‑ of hair that is as thin as
possible, (the thinner the better.) The lines indicate the
hair to be lightened, the spaces between indicate the
distance between the packets. The number of sections
indicated on this mannequin is 12 sections. Not all
mannequins are alike.
13
SLICE TECHNIQUE
The slice technique would require the sections to
be thin and consistent. This degree of consistency is
acceptable.
Deduction: NONE
14
This slice too thick. The slice should be as thin as
possible.
Deduction: FOLLOW DIRECTIONS
15
The bleached sections are separated by one quarter
inch of hair left natural. The entire lower portion of the
quadrant must be completed before proceeding to the
weave slice section.
16
The candidate may also start the slicing procedure at
the bottom of the section and work up. When the weave
and slice techniques are completed, move on to the
next task. Do not wait for the evaluators to tell you to
proceed. Go directly to the highlight retouch quadrant.
147
17
HIGHLIGHT RETOUCH TECHNIQUE
The right front quadrant of the mannequin is utilized
for the highlight retouch. The candidate must have
prepared the mannequin in advance as detailed in the
chapter 'PREPARING THE MANNEQUIN.' When
retouching the highlights in this section, an attempt
should be made to maintain the same degree of blonde.
18
The retouching of highlights is one of the most
challenging aspects of haircoloring. The proper decisions
made during this process will insure the client of healthy
hair and the haircolorist a faithful client. It is for this reason
that the highlight retouch is a mandatory technique for the
examination. Avoiding all of the previously bleached hair
and bleaching all virgin hair, as in this photograph, is
discouraged. If this behavior is repeated throughout this
section, it would result in a major deduction.
19
The evaluators will be checking the manner in which
the candidate avoids the previously lightened hair. The
evaluators understand avoiding the previously lightened
hair entirely is nearly impossible, but much can be done
to retain the integrity of the hair. The amount of overlap
ping shown here is acceptable, also the small amount of
virgin hair on the ends would not draw deductions.
20
With each section of hair placed in the packet, there is
a decision to be made. Evaluating the entire section will
give the evaluators a sense of how carefully the bleach
was applied. This packet is also acceptable.
148
21
In this foil, the virgin hair is all bleached with a small
section of previously bleached hair avoided. This behavior
shows sensitivity to the client’s hair. The candidates need
to demonstrate to the evaluators the ability to utilize
“stagger” technique. The “stagger” technique is defined
as “staggering” the bleach application in the packet and
not stopping the bleach at the first sign of previously
bleached hair.
22
When folding the packet, caution should be taken
to not have previously bleached hair that has been
avoided, come in contact with bleach being applied. The
previously bleached hair was first avoided, then when
folding the packet the hair was folded into the bleach.
23
Here the previously bleached hair has been avoided
and only the new growth bleached. This is a method used
on clients in order to minimize a blonde build-up. This is
a technique that is encouraged.
24
This pattern repeated would result in blonde scalp
and darker ends. Repeating this application throughout
the quadrant would be a major deduction.
When the right side of the mannequin is complete,
move directly into the optional techniques. Candidates
will be approached by an evaluator to allow them the
opportunity to draw the optional techniques.
149
Gray
reduction
25
Reverse
highlight
SELECTED OPTIONAL TECHNIQUES
High-low
lighting
Tone on tone
Bleach
retouch
The left side of the mannequin will be utilized for
two of five optional techniques. These techniques are:
Gray reduction, high low lighting, bleach retouch, tone
on tone and reverse highlighting.
26
GRAY REDUCTION
The left front quadrant shall be used for the gray
reduction. This section is 50% gray hair. For gray
reduction optional technique, the candidate will be asked
to reduce the amount of gray hair by 25%. Thus when
completed, the quadrant should appear to be 25% gray.
The photo shows 10 fine slices. This would receive a
good score. NOTICE: Not all of the mannequins have
the same percentage of gray hair, nonetheless the gray
should be reduced by 25%.
27
Gray reduction is accomplished by isolating sections
of hair with a fine weave and darkening the hair in the
packet. The candidate should formulate as though the
client is in the dark brown category. When doing a gray
reduction with a substantial amount of pigmented hair,
an effort should be made to minimize the the lift on the
pigmented hair. This can be accomplished by reducing
the volume of peroxide to 10 volume and processing the
color longer, or using a deposit only color.
28
Here is another method of accomplishing gray reduc
tion by utilizing papers and fine slices. For the best score,
the dark color should be applied as close to the scalp as
possible without touching the scalp. Keep the packets
horizontal.
150
29
Deductions will be made for large chunky streaks,
color applied too far from the scalp and inconsistent
application of color. Candidates should use common
sense when doing gray reduction. What the evaluators
are looking for is to have the hair look as natural as
possible.
30
TONE ON TONE
Another task you may be asked to complete on the
left front quadrant is tone on tone. For the purpose of the
examination, the tone on tone is described as coloring
all of the hair two different colors. Tone on tone may be
accomplished in a number of ways. When completed the
gray hair should be completely covered with the darker
color and there will be another complimentary tone
of hair. The colors used should be at least two levels
apart.
31
The tasks on the left side of the mannequin may
be completed with any tools or technique desired. The
difference between gray reduction and tone on tone is
that gray reduction adds dark strands of color through
the gray hair matching the natural pigmented hair, while
tone on tone covers all of the gray hair utilizing two dif
ferent colors. This tone on tone a level 7 color is used
in the packets, then a level 4 golden brown was applied
around the packets.
32
The tone on tone in this photograph is accomplished
by first applying a light brown haircolor throughout the
strand, applying the cups and placing bleach in the cups.
This will produce a light brown haircolor with golden
highlights. The darker color may be applied first, as in
this method or it may be applied around the packets as
in the previous technique.
151
33
Your two selected optional techniques may be
accomplished in any order you wish, however it is
recommended you first do the rear quadrant. If the front
quadrant on the left side is done first, you are left working
between two rows of foils and it can be somewhat
awkward.
34
HIGH- LOW LIGHTING
The high-low lighting technique is used for a
variety of situations. It is used for the client whose hair
is growing out from a too blonde look, either single
or double process blonde. The client whose hair has
become too blonde from multiple highlights, wants to
remain blonde but disguise the demarcation line. With
this client it was necessary to use a heavy dose of low
lights to give the hair a chance to heal.
35
High-low lighting is utilized to restore a look
of naturalness to the hair. The left rear quadrant has
the look of bleached hair that has grown out for two
months. The candidate is asked to restore the haircolor
to a natural looking highlighted effect. This is accom
plished by highlighting the new growth while adding
darkness to some of the bleached ends. The candidate
may utilize any tool or method of accomplishing this
task.
36
The high low lighting technique used here is being
completed with the use of foils. When utilizing the high
low technique, you are attempting to maintain as much
of the new growth such as you would in a highlight. In
these situations, the client desires to have their natural
hair grow out and only highlight their hair. In order to
receive a good score, the candidate must place no less
than seven highlight packets and seven low light packets.
An attempt should be made to distribute the packets
throughout the quadrant.
152
37
Some of the foils in the high-low quadrant contain
bleach at the new growth. Other foils contain color from
the demarcation line to the ends. Some of the pale yellow
hair has been left untreated between each of the packets.
When doing the high-low lighting you can start at the
nape or at the crown. First you do a highlight, then you
leave some untreated hair, then you apply a low light,
then leave some untreated hair. Continue this process
until at least seven highlights and seven low lights have
been applied.
38
REVERSE HIGHLIGHTING
Reverse highlighting is for the client who is tired of
coloring their hair and wants to return to their natural
color. Some of the existing blonde is isolated in order to
give the client a highlighted effect. Both the high-low
lighting and reverse highlighting can be used to darken
the hair to disguise the demarcation line. With reverse
highlighting only the existing blonde hair is in the
packets
39
Reverse highlighting differs from high-low lighting.
In reverse highlighting, the virgin haircolor at the scalp
is not preserved. Multiple folded foils are being used
here to isolate some of the blonde hair. By folding the
foil several times makes the hair to be colored more
accessible The formula used to darken the lightened ends
should reflect the fact there is no red undertones in the
hair.
40
To accomplish the reverse highlighting in this
instance the blonde hair was isolated in foil with a thick
conditioner. Color was then applied to the new growth
and the blonde ends. For the examination, make certain
the hair being isolated is also colored from the scalp to
the demarcation line. If conditioner is used to isolate the
blonde hair, red food color should be used. The food
color is furnished by the examination committee.
153
41
The result should be the same as if the hair has
been highlighted in reverse. Thus, the name reverse
highlighting. The degree of lightness or darkness is
determined by the amount of blonde hair isolated, as well
as the depth of the color being used.
42
BLEACH RETOUCH
Bleach retouch will be another task the candidate
may be asked to perform. Evaluators will be looking for
the method of application, the amount of overlapping,
amount of bleach used and neatness of the application.
The bleach may be applied in whatever manner the
candidate prefers. Applicator bottle or brush and bowl are
both acceptable. Care should be taken to not get bleach
on the other quadrants.
43
Questions will be asked of the candidate on what
ever optional tasks are drawn. At the conclusion of
the assigned tasks, the candidate will step away from
the mannequin and raise his/her hand until recognized
by the timekeeper. Do not leave the room unless given
permission. (This is an option of the evaluator captain).
Do not clean up until you return to pick up your
mannequin. The evaluators will indicate when your man
nequin may be picked up. The time required to remove
the packets and evaluate the mannequins is determined
by the number of candidates.
Note: None of the procedures in the performance examination require
the mannequin be shampooed and dried. All of the evaluation will be
done during the procedures and when the packets are being taken down.
154
11
chapter
PERFORMANCE
AND EVALUATION
CRITERIA
• Natural Highlighting Criteria
• Natural Highlight Retouch Criteria
• Gray Reduction Retouch
• Tone on Tone Criteria
• Bleach Retouch Criteria
• High-Lowlighting Criteria
• Reverse Highlighting Criteria
Revised March, 2009
“Many haircolorists agree that a challenging
haircolor is what gives rise to pleasurable
excitement and makes their day fulfilled.”
156
Chapter 11 Examination Criteria
Andi Makowski, Evaluator
PERFORMANCE CRITERIA FOR
NATURAL HIGHLIGHTING
The candidate will apply highlights to the top portion of the right rear quadrant of the mannequin that
is consistent with a weave highlight as specified in the study portfolio. On the lower portion of the right
rear quadrant, the candidate shall perform a slice highlight technique as indicated in the study portfolio.
Applicant will utilize bleach and the material of choice, within established guidelines, for the isolation
of the hair that will be lightened. Candidates will be evaluated on the mixture of bleach, neatness of the
work, care of the application, processing judgment, amount of bleeding and the sectioning of the hair.
The evaluations will take place before, during and after the work has been completed.
EVALUATION CRITERIA
RATING 5 - EXCELLENT (exceptional score)
The candidate is able to give exact bleach formula, works in a neat professional manner, applies
highlights that are consistent with natural highlights, gives exact bleaching times, applies bleach in a
neat consistent manner with no bleeding, follows instructions perfectly and completes task well ahead of
schedule.
RATING 4 - GOOD (passing score)
The candidate recites acceptable bleach formula, carries out task in a neat manner with slight exceptions,
does a good job of following the patterns established in the study materials, knows with a degree of
accuracy how long the hair will bleach, workmanship is good and application is consistent with slight
amount of bleeding, does a good job in following instructions and works smoothly and rapidly.
RATING 3 - AVERAGE
The candidate displays average workmanship, does a fair job in application technique, shows some signs
of bleeding or applies bleach too far from scalp, does an average job of following instructions, lacks
confidence and displays speed of application consistent with an average haircolorist.
RATING 2 - POOR
The candidate does not recite accurate bleach formula, is not tidy in application, comes close to
following the patterns established in the study materials, fairly accurate in determining bleaching times
and the stages of lightening the hair, some inconsistencies in the bleach out, several spots of bleeding,
follows instructions with some inconsistency and is slightly late in completion of task.
RATING 0 - FAIL
The candidate is not able to recite the bleach formula, works in a sloppy manner, does not apply
highlights according to the study portfolio, has no indication of how long it will take to bleach or the
stages of lightening, results of the bleach out are spotty and inconsistent, bleeding in many areas, does
not follow instructions and is extremely slow.
157
NATURAL HIGHLIGHT RETOUCHING
The candidate will apply highlights to the right front side of the mannequin, in a manner that is consistent with the
professional standards for retouching highlights. The hair will have been prepared by the candidate to have two
sets of highlights, one grown out for 3 months, the other 6 months. The goal during this exercise is to maintain the
amount of highlight present in the hair. Candidate is free to utilize the off the scalp bleach and material of choice,
within established guidelines, for the isolation of the lightened strands. Candidate will be evaluated on the mixture
of bleach, neatness of work, care during application (sensitivity to previously lightened hair), processing judgment,
amount of bleeding, correct distance from scalp and avoidance of previously lightened hair. The evaluations will
take place during the application and at completion of the task. The task must be completed within the 1 hour
and 30 minute performance examination time frame.
EVALUATION CRITERIA
The candidate is able to give exact bleach formula, works in a neat professional manner, applies highlights
consistent with highlight retouch, gives exact bleaching times and describes the stages of lightening. applies bleach
in a neat consistent manner, follows instructions perfectly, and completes task well ahead of schedule.
The candidate gives good bleach formula, carries out task in a neat manner with slight exceptions, does a good
job of avoiding the previously highlighted hair, knows with a degree of accuracy how long it will take the hair to
bleach, describes the stages of bleaching, uses staggered technique effectively, workmanship is good, application
is consistent with no bleeding, does a fair job in following instructions and works quickly and smoothly.
RATING 3 - AVERAGE
The bleach formula is questionable, inaccurate in bleaching times and the stages of lightening, some inconsistencies
in the bleach out, bleach in areas where it does not belong, tries to avoid previously bleached strands by staggering
bleach, follows instructions with some inconsistency, and works with fair speed.
RATING 2 - POOR
The candidate does not give accurate bleach formula, is not tidy in application, has vague knowledge about what
a 3 and 6 month outgrowth is, questionable work habits, mannequin not prepared properly, disregards previously
bleached hair, shows no sign or uses staggered technique, too much bleeding, and works slowly.
RATING 0 - FAIL
The candidate is not able to recite bleach formula, works in a sloppy manner, completely disregards previously
lightened strands, has no idea of what a 3 and 6 month outgrowth is, shows or has no idea about stages of lightening,
the bleach application is spotty and inconsistent (bleach in areas it does not belong), does not follow instructions,
works very slowly and stops bleach application in the same place on every packet.
158
PERFORMANCE CRITERIA
GRAY REDUCTION
The candidate will color the left front quadrant of the mannequin in a manner that is consistent with by professional
standards for gray reduction, established in the study portfolio. NOTE: The candidate will be asked to reduce the
amount of gray hair by 25 percent. The color should be formulated for the dark brown category. This task
may be completed by any procedure or technique the candidate determines within the acceptable guidelines. The
evaluation will take place during the coloring process and on the completed work. The candidate must complete
the task within the1 hour and 30 minute performance examination time frame.
EVALUATION CRITERIA
The candidate approaches the task with professionalism and confidence, selects just the right formula for the
haircolor category, the application technique is neat and organized, the distribution of color is as it should be and
the candidate moves through the task at a brisk pace.
The candidate works in a fairly organized manner, makes the proper formulations and is able to recite the reasons
for doing so, the application technique is fairly consistent but not perfect, approaches the task in a somewhat
confident manner, works well under pressure, and finishes the task on time.
RATING 3 - AVERAGE
The candidate does not show a great deal of confidence in what 25 percent reduction is, appears to have not done
a gray reduction before, the formula is one level off what it should be, workmanship is average and candidate
struggles through the task.
RATING 2 - POOR
The candidate is not well organized and approaches the task with apprehension, the color formula is acceptable,
but not the best choice for the color category in question, the application techniques are not consistent or well
thought out inconsistent and the work is slow and messy.
RATING 0 - FAIL
The candidate works in a careless and unorganized manner, the formula selected for the gray reduction would
be improper for the category of haircolor, haircolor is applied at the scalp, is unable to communicate formulas or
reason for using them, application procedures would not be acceptable by professional standards, distribution of
the darker hair is uneven and clumpy and application is very slow.
159
TONE ON TONE
The candidate will color the left front quadrant of the mannequin in a manner that is consistent with professional
standards for tone on tone, defined in the study portfolio. Hair will be colored in a tone selected by the candidate
and highlights added to contrast, also determined by the candidate. The candidate may proceed in any order that
he or she chooses. Any materials will be acceptable for the purpose of isolating the hair. The evaluation will take
place during the coloring process and after the work is completed. Both colors must process simultaneously. The
task must be completed within the 1 hour and 30 minute performance examination time frame.
EVALUATION CRITERIA
The candidate approaches the task with confidence, the colors selected would give the hair maximum coverage, a
beautiful contrast with a balanced amount of the lighter color, recites the formula with confidence and is able to
predict results, application is neat and works expeditiously, completes the task well ahead of allotted time.
The candidate is organized and approaches the task with confidence, the haircolors selected will cover the
gray hair and in a harmonious contrast, lighter hair is well blended, the application procedure is neat and well
executed, application procedure is effective and expeditious and completes the task in the allotted time.
RATING 3 - AVERAGE
The candidate works with some confidence, shows some hesitancy of where and how to proceed, has average
workmanship and formulating skills, contrast between tones is not as good as could be, looks professional, but is
awkward when working, and works at moderate speed with disregard to time.
RATING 2 - POOR
The candidate is not well organized and approaches the task with a degree of apprehension, unable to clearly
recite the formulas, there is marginal coverage of the gray hair, the application procedures are time consuming,
the contrast is not appealing and harmonious, distribution of lighter hair is either too heavy or not heavy enough.
RATING 0 - FAIL
The candidate works in a careless and unorganized manner, haircolors selected by the candidate would create
a weak and unattractive contrast, lighter color is not well distributed, appears clumpy and unnatural, haircolor
selected would not cover gray hair, is not able to communicate formulas, the application and procedure would
not be acceptable by professional standards, carries out procedure in a time consuming manner, with disregard
for the amount of time taken.
160
BLEACH RETOUCH
The candidate will apply a bleach mixture to the left rear quadrant of the mannequin that is consistent with the
professional standards for a bleach retouch application. The candidate will use the left rear quadrant of the head,
which was left dark at the scalp during the preparation of the mannequin, considered to be the new growth. The
candidate will formulate a bleach to bring the hair to a stage as light as the remaining hair. Bleach may be applied
with a bowl and brush method or with an applicator bottle. With this amount of outgrowth there would likely be a
gold band occuring. The candidate will ignore that possibility. The task must be completed in the allotted 1 hour
and 30 minute performance examination time frame.
EVALUATION CRITERIA
The candidate is organized and works in a confident manner, bleach is mixed to the proper consistency and
applied in a manner that would lighten the hair to the proper stage, application shows a minor amount of
overlapping and the candidate completes the task very quickly.
The candidate is somewhat organized and can formulate bleach for retouching, application is concurrent with
professional standards, formula is applied to allow for ample degree of lightness without being runny, candidate
works with confidence and completes the task in a timely manner.
RATING 3 - AVERAGE
The candidate is competent but awkward when applying bleach, manages to complete the task in a relatively
orderly fashion, gets some bleach on the previously bleached hair, is somewhat unsure about the bleach mixture,
and the formula is somewhat runny.
RATING 2 - POOR
The candidate is not well organized, not secure in mixing bleach for retouching, works in an unorganized
manner, skips areas and has some overlapping and works in a slow, unsure manner.
RATING 0 - FAIL
The candidate works in a careless, sloppy, unorganized manner, does not have a grasp of how to mix bleach for
on the scalp application, the application of bleach is inconsistent and overlaps (by a large degree) the previously
bleached hair and the amount of bleach mixed is not enough to complete the task.
161
HIGH-LOW LIGHTING
The candidate will perform a high-low lighting on the left rear quadrant of the mannequin. The task will be
carried out to be consistent with the professional standards for a high-low lighting. This quadrant has a two month
outgrowth. The desired end result is a highlighted look. The candidate will also apply color to portions of the
bleached hair, avoiding application to the new growth. All of the color and bleach applied is in packets. Applicants
are free to utilize any technique to complete the task. The candidates will be evaluated on the formulations, method
of application, consistency of style, neatness of work and processing judgment. The candidate will complete the
task within the 1 hour and 30 minute performance examination time frame allowed.
EVALUATION CRITERIA
The candidate approaches the task in a confident manner, is organized, knows exactly what needs to be done and
goes about it professionally, application is excellent and processing times are correct, formulations are exact and
the tasks are completed well ahead of the allotted time.
The candidate is well informed and proceeds in a confident, but guarded manner, the formulas are consistent with
what would be used to correct the problem, works professionally and applies the colors in a manner consistent
with professional standards, the timing is good and the results satisfactory and the tasks are completed on time.
RATING 3 - AVERAGE
The candidate is slightly disorganized, appears to not be completely familiar with the process, is slow
to formulate and works slowly with considerable effort, workmanship lacks flow and is jerky, drops an
unacceptable amount of color on the floor and on themselves.
RATING 2 - POOR
This candidate has an idea of what the task is, but is insecure in the approach, the formulation and timing
is acceptable, but could be improved, candidate is unsure in the application and over colors the ends of the
hair, judgment of the processing time is unacceptable, an unacceptable amount of bleeding is evident after the
application, takes more time than is allowed for the process.
RATING 0 - FAIL
The candidate is not fully aware of what a high low lighting is much less how to perform one, the approach to
the task is unorganized, sloppy and without any plan on how to proceed. Candidate formulates the wrong colors
and completely loses direction and cannot complete task.
162
REVERSE HIGHLIGHTING
The candidate will color the left rear quadrant of the mannequin in a manner consistent with professional standards
for a reverse highlighting. Some of the existing blonde hair is isolated to create a highlighted effect. The method of
fulfilling this task may be accomplished in any manner the candidate chooses. The candidate must complete the task
in the allotted 1 hour and 30 minute performance examination time frame. The evaluation will take place during
the coloring process and after the task is completed. Note: One of the distinctions between reverse highlighting
and high-low lighting is that no attempt is made to preserve the new growth when performing a reverse
highlighting all of the non-isolated hair is colored. Only one formula will be utilized. The formulation
should reflect the lack of warm undertones in the ends of the hair.
EVALUATION CRITERIA
The candidate is organized and works in a confident manner, knows how to formulate for over bleached hair, the
highlights are perfectly placed and sized, the application is consistent with professional standards and finishes the
task well in advance of the time limit.
The candidate is somewhat organized and can formulate accurately for over bleached hair, the placement and
size of the highlights are acceptable and somewhat well planned, uses the tools for the task properly and works
quickly and confidently.
RATING 3 - AVERAGE
The candidate works in an average manner, formulation is acceptable, the highlights selected are inconsistent,
is somewhat neat, does not appear to be familiar with procedure, works with hesitation and is awkward in the
application.
RATING 2 - POOR
The candidate is not well organized is not secure in formulating haircolor for overly bleached hair, the
distribution and size of highlights needs improvement is not in command of the tools that are used for
completing the task, lacks confidence and works slowly.
RATING 0 - FAIL
The candidate works in a careless, sloppy and unorganized manner, does not know how to formulate for
over bleached hair, the distribution of highlights is inconsistent, the size of the highlights are unsatisfactory,
the placement of highlights are not properly executed, the technique not considered appropriate for reverse
highlighting and works in a extremely slow manner.
163
ORAL QUESTIONS
The candidate will be asked to answer a series of questions regarding the various tasks the candidate will be
asked to perform. The questions to be asked are found in the study portfolio. There should be clarity when
the question is asked. If the candidate is unsure of the question they should ask to have the question repeated.
EVALUATION CRITERIA
The candidate is able to give the exact answer to the question asked without any hesitation. He/she answers the
questions with confidence and with using generic terms The formulations were always correct and on target.
The candidate knows the answers but is hesitant in their answers. They answer the the questions correctly
but are a little off in the formulations. They tend to ramble and give a lot of unnecesary material when
answering the questions.
RATING 3 - AVERAGE
is unsure about their answer. The formulas they recite are not completely correct. They do not use generic terms
when giving formulas, this requires the evaluators to ask further questions to determine if they are giving the
proper answer.
RATING 2 - POOR
Either the candidate does not know the material or there is an indication the candidate was simply guessing at the
answer. Candidate asked questions about the question even though it was recited clearly and to the point. The
poor candidate differs from the fail candidate in as much as they think they know the material. They don’t say,
”I don’t know.”
RATING 0 - FAIL
The candidate was not able to recite any of the proper answers, “I don’t know” was the answer given by this
candidate. If he /she attempted an answer it was always wrong.
164
12
chapter
PERFORMANCE
EXAMINATION
QUESTIONS
• Natural Highlighting Criteria
• Natural Highlight Retouch Criteria
• Gray Reduction Retouch
• Tone on Tone Criteria
• Bleach Retouch Criteria
• High-Low Lighting Criteria
• Reverse Highlighting Criteria
Revised March, 2009
“When you color hair, just color hair. Here you
are, there is the client, there is the goal. Go to it!
Color the hair the best way you know how. Find
another client and do it again. Experience, adjust,
experience, adjust. This is an art form
that will never be perfected.”
166
Chapter 12 Examination Oral Questions
Lyal McCaig, Former ABCH Board Member
Some of the following questions may be asked of the candidates during the practical examination. The
number of questions asked will vary. If the questioning occurs at a time at which you would prefer not
answering, you may request the Evaluators return at another time. You may continue working or stop
working when answering the questions. The Evaluators will attempt to ask questions pertaining to the task
you are performing.
CANDIDATE QUESTIONS FOR NATURAL
HIGHLIGHTING PERFORMANCE TASK
1. How would you explain the final outcome of a weave versus a slice?
2. Of the two highlight application methods, weave and slice, which requires less bleaching time and
why?
3. If after 30 minutes of bleaching, the client that you applied packets on is lightened to the degree that you
desired with the exception of the portion of the head that you applied last, what would you do?
4. If you mix two batches of powder bleach, one batch you use 20 volume liquid, the other batch you use
40 volume heavy creme peroxide, which would be lighter after 30 minutes and why?
5. What is the proportion of liquid peroxide to powder bleach?
6. At the conclusion of your application, how long will it take for the hair to be bleached to a yellow
stage?
7. Name two things that determine how long it will take hair to bleach to a pale yellow stage.
8. In what way would the bleaching process be effected by adding heat?
167
CANDIDATE QUESTIONS FOR
NATURAL HIGHLIGHT RETOUCHING
1. How is doing a highlight retouch different than doing a virgin highlighting?
2. Describe sensitivity when doing a retouch to previously lightened hair.
3. If the client requested more blonde hair than she received in the initial highlighting, what are factors she
should be made aware of?
4. When a client requests that the amount of lightened hair remain the same as the previous highlight, how
would you handle this request?
5. When performing a repetitive highlighting, how do you avoid a blonde build-up?
6. To correct a highlight that has progressively become too light, what would you do?
168
GRAY REDUCTION PERFORMANCE TASK
1. When would you recommend a gray reduction to a client?
2. How do you formulate for a gray reduction so it won’t affect the pigmented hair as much?
3. How would you perform a gray reduction retouch?
4. When performing a gray reduction, which of the two foiling methods, weave or slice, is more suitable?
5. How do you determine the formula that’s used on a gray reduction client?
6. You are doing a gray reduction formula on a man with shorter hair, when you reach the area where the
‑hair is too short to put in a packet. What would you do?
7. Given the apprehension many clients have in coloring their hair for the first time, what can you say to
‑the client to put‑his/her mind at ease regarding gray reduction?
169
TONE ON TONE PERFORMANCE TASK
1. Describe the tone on tone technique.
2. How much contrast should there be when doing a tone on tone?
3. When would you use a tone on tone technique as opposed to a regular highlight?
4. Explain why you might use a tone on tone technique where gray hair is not present.
5. If after completing the tone on tone, the client felt her highlights were too light or too brassy, how would
you handle it?
6. Explain how you would use the tone on tone technique if the clients hair is too brassy.
7. Is it necessary to apply packets all over the head when doing a tone on tone?
8. The tone on tone technique you did today required you to apply the haircolor from scalp to ends.
What will you do a month from now when the client comes in for a re-touch?
9. There are two application techniques used for doing tone on tone. What are they?
170
BLEACH RETOUCHING
1. What is the difference in the application of a virgin bleach and a bleach retouch?
2. How should your application of a bleach retouch differ from a tint retouch?
3. How long should it take to bleach a client’s retouch in the warm brown category to get the hair to a pale
yellow stage?
4. How often should a client in the dark brown category expect to bleach their hair to maintain double
process blonde hair color?
5. Identify the ‘hot roots’ on a bleach retouch.
6. Would you use the same bleach for the new growth as you would for bleaching the ends of the hair on a
virgin bleach?
7. Explain the two methods of performing a virgin bleach.
8. Why would you do a double process blonde as opposed to a single process blonde?
9. If, after an hour and a half of bleaching time on a bleach retouch, the client is still not as light as you
would like him/her to be, what would you do? What would you do the next time she came in for a bleach
retouch?
171
HIGH-LOW LIGHTING PERFORMANCE TASK
1. Describe the application technique used in high-low lighting.
2. In what situation would you perform a a high-low lighting?
3. When performing a high-low light service on an existing client, which color should dominate around the
face and through the top? Why?
4. How do you formulate when applying color over bleached hair?
5. When would you use high-low lighting rather than reverse highlighting?
6. What are some of the factors in determining the formulation of the low light?
172
REVERSE HIGHLIGHTING PERFORMANCE TASK
1. When would you use a reverse highlighting technique?
2. Explain the difference in the final outcome between a reverse highlighting and a high-low lighting.
3. How do you compensate for missing pigment when you’re coloring the hair from a very light blonde with
a grade 4 or 5 porosity, to a darker color?
4. How long do you expect a color to last without fading when doing a reverse highlight over very porous
hair?
5. Why is the color formulation so important when doing a reverse highlight?
6. What is the procedure for retouching a reverse highlight?
7. What are some key elements critical to achieving a successful reverse highlight?
8. How would you ease the client into darker hair, when performing a reverse highlight for the first time.
9. Describe the final result of a reverse highlight.
173
“I love fish,” says the client. “I love fish too,” says
the haircolorist. Later they find the haircolorist is a
gourmet cook, and the client has an aquarium. So it
is with consultations. Never cut the consultation short,
and learn as much as you can about your client.
174
Jay Marshlick, Evaluator
13
chapter
INTERACTIVE
ASSESSMENT
EXAMINATION
• Interactive Assessment Defined
• Score Sheet Procedures
• Photographs and Script
• Scoring Samples
Revised March, 2009
INTERACTIVE ASSESSMENT
The interactive assessment portion of the examination deals with real life situations. During the certifica
tion examination, you will be asked to offer your solution to some typical haircolor challenges.
There will always be a number of possible solutions to any haircolor challenge. The examination was
designed in this manner. The purpose was to determine what the candidate would do if he/she had a choice of
solutions. The model answers to the various challenges were determined at the Evaluator Training Conference
(ETC) then further refined by the Board of Directors. It could be said there are no right or wrongs when it
comes to haircoloring. To a degree that is true, although the interactive assessment is designed to measure the
candidates sensitivity to a clients needs.
The study portfolio includes how the interactive assessment score sheets are filled out. Samples are includ
ed to prepare you for the examination.
Listen carefully to the facilitator; they will give a brief overview of how the score sheets work prior to the
examination. You will be given five different sets of photographs of different challenges. There will also be a
script of possible dialogue between the haircolorist and the client. The script will be attached to the proper set of
photographs. The candidate will also receive five score sheets. The score sheets are to be filled out with the can
didates name, team color and client number. It is necessary to put the clients number on the score sheet.
When reading the script, there will be a strong inclination to want to ask the client more questions. As a
general rule, we select the color treatment based on a process of elimination. In this examination, the candidate
will not have that opportunity. The candidate will have to select the technique based on the limited dialogue
included in the script. Read the dialogue carefully; there are strong clues as to “what not to do.”
The examination is 1 hour long; you will have 12 minutes to spend on each scenario. Don’t be timid about
asking for help from the facilitator in the room. It is important you mark the score sheet properly.
Generally, there is one model answer for each challenge, but not always. There may be as many as three
model answers which will give the same score.
This is an examination that measures the candidates sensitivity toward the client. It is important you read
the scripts very carefully. An example of a major deduction would be the client indicating she has used a single
process high lift blonde color in the past but it made her hair brassy. The candidates solution to the challenge
is to use a single process high lift blonde color - this answer would draw a major deduction. There is no study
materials for the interactive assessment examination. The answers come from real life experiences and the candi
dates ability to make decisions.
The candidate will assume the client will allow them to do what ever they choose; they will also be willing
to maintain the color, unless otherwise stated in the script.
Carefully look over the sample scoring sheets so you will have a full understanding of how you should
mark the score sheets. This is not an examination on how to mark the score sheets. It is important you understand all of the components of the score sheet. You will also have the opportunity to ask questions of the
individual hosting the examination.
176
Chapter 13 Interactive Assessment
INTERACTIVE ASSESSMENT
client #17
What happened to your hair?
I don’t know, I have been bleaching my hair for the last fifteen years, nothing like this
has ever happened before.
Was there anything done different this time?
I think she used a new bleach, she said it was real mild, she even rubbed some on her
skin to show me how mild it was.
How long was the bleach on your hair?
About 45 minutes.
Then what happened?
When she took the bleach off, all of the hair was breaking off in the shampoo bowl. My
hair was a bob length when I started.
177
Before this experience have you ever experienced any hair damage?
Never.
What would you like me to do?
I don’t know what to do, I’m scared to bleach it anymore. My hair was a beautiful
blonde bob and I had to cut it short to look decent. I went to see an attorney to see what
he could do to recover some damages. I am really upset over this experience.
What did the attorney say?
He said he may be able to recover some damages providing the salon has insurance. If
they don’t have insurance chances are I won’t be able to get anything.
What would be your preference?
I would like to keep bleaching it if it doesn’t break off any more.
What is your natural haircolor?
Dark brown.
Have you ever been a blonde, even as a toddler?
No.
Are you willing to sign a waiver relieving me of responsibility if I bleach it?
Will it break off again?
It shouldn’t, but I can’t be certain.
Yes, I will sign a waiver.
Would you consider coloring it brown and let your hair rest?
If I have no other choice.
Have you considered making a darker shade of blonde?
I made it a different color of blonde for awhile but it got brassy looking.
178
SCORING
Now that you have scored the interactive assessment in this chapter, we will review the scores so they can be
compared with our panel of haircolor experts.
MODEL ANSWER
Bleach to yellow stage; tone with deposit-only color...........................................................................
SECOND PLACE
Bleach to yellow stage; then tone with
neutral blonde ammonia toner...............................................................................................................
THIRD PLACE
Do nothing.............................................................................................................................................
FOURTH PLACE
Bleach to golden blonde........................................................................................................................
FIFTH PLACE
High-low lighting with medium gold brown deposit-only color,
highlight the new growth with bleach...................................................................................................
SIXTH PLACE
Chunky reverse highlight with medium brown tint..............................................................................
SEVENTH PLACE
High-low lighting with medium golden brown deposit-only color,
highlight with high lift tint....................................................................................................................
44 Points
41 Points
35 Points
33 Points
27 Points
26 Points
20 Points
This challenge is used because of the variety of possible answers. Not all challenges have the variety or diver
sity of this particular challenge. This challenge will give you the opportunity to observe the method of scoring.
If your answer did not appear on the list of possible options, depending on your answer the evaluator
correcting the score sheet will determine the number of points to be granted. The evaluator will use the listed
answers as a guide for determining what the score should be. Example: If your answer is to bleach to a pale
yellow blonde and not tone. The evaluator could grant a higher score than bleaching to a golden tone. This deter
mination is based on the fact the 5th place vote was to bleach the hair to yellow stage and tone. Your vote could
rank higher because of your sensitivity to the porous ends.
On the other hand, if your answer is to color the client’s hair back to her natural haircolor your score would
likely rank very low, there is no sensitivity shown toward the client. One could argue the person who voted to
do nothing did not show sensitivity toward the client as well. That argument is not valid because the greater
number who elected to do nothing received enough votes to make it valid.
179
Even though score stands alone, the score is based on the points received. Each vote was one point.
#1 44 points 10
#2 41 points 10
#3 35 points 9
#4 33 points 9
#5 27 points 8
#6 26 points 7
#7 20 points 7
The highest possible score for the interactive assessment portion of the examination is 50. A passing score
is 40. Anything below 40 is failing. The interactive assessment portion of the examination is designed to determine if a candidate has the
knowledge to make the proper decisions when placed in a situation where a decision must be made individually. You need not have all of the model answers in order to pass the examination. In many situations individuals rely
on others in their work environment to make color decisions for them. They may be excellent technicians but are
unable to formulate or make the proper decisions. The interactive assessment examination is designed to deter
mine who these individuals are. The interactive assessment portion of the examination stands alone. Each challenge is corrected by a differ
ent Evaluator. The score sheets are then gathered together and the scores compiled. You will receive a copy of
the model answer(s) as well as your score sheets.
There is a portion of the score sheet that allows for the candidate to briefly explain the outcome of his/her
efforts. Comments should be limited to only a few words and not repeat what is evident on the score sheet.
180
182182
183
184184
185
186186
187
188188
189189
190190
14
chapter
PERFORMANCE
EXAMINATION
EVALUATION
PROCESS
• Score Sheet Items
• Criteria For Scoring
• Deductions Defined
• The Examination Process
Revised March, 2009
The haircolorist who is anxious to improve must be
prepared to exchange unsound methods for sound ones.
During the period of transition bear the
annoyance of not being able to produce at the same
speed as previous. A small price to pay for
producing afterwards a best which is much better.
192
Chapter 14 Exam Evaluation Process
Courtney Von Berg, Evaluator
1
The better the preparation of the swatches the higher
the grade the candidate will receive.
1. Are the swatches consistent in size?
2. Are stages of lightening accurate?
3. Are times well marked and accurate?
4. Is the display neat and orderly?
5. Is there a clear separation between colors? ‑‑‑‑‑The swatches displayed here should receive an excellent (5) rating.
2
PREPARATION OF MANNEQUIN
To properly prepare the mannequin takes time, care
and patience. A great deal can be understood about the
haircolorist by the care taken in the preparation of the
mannequin.
1. Are the highlights done properly?
2. Is there a 3 month and 6 month outgrowth?
3. Is the hair bleached light enough?
4. How consistent is the outgrowth in the rear
quadrant?
The hair should be no more than a grade 4 porosity.
3
CONSISTENCY
The consistency score depends on how consistent
the candidates work is. If some of the weaves are thin
and others thick, the candidate would receive a lower
score than if the weaved strands were all the same size. The same holds true for the slicing technique. Are all of
the slices the same thickness or are some thin and others
thick? The hair left natural should also be consistent.
4
APPLICATION
Application refers to the application of the bleach
or color. Is the application of bleach or color smooth and
even or is it spotty and uneven? Is there a proper amount
of product used? The best grade would be given for a
smooth, even application and a bleach or color mixed to
the proper consistency. Voids in application can often be
found on the side of the hair laying against the packet.
193
5
ORGANIZATION
The organiztion score is based on how organized the
candidate is. Do they enter the room and find their sta
tion, set up their equipment, mix their bleach and wait for
further instructions? Do they wander around, ask ques
tions, borrow tools or color, look rattled and unorganized. How do they respond to a crisis? Is the candidate search
ing under the table for something they forgot? Most of
this grade is given before the timer starts.
6
NEATNESS
If candidates are neat, they will receive a good
score. If they are untidy and sloppy, they will receive a
poor score. Getting bleach or haircolor anywhere it does
not belong is considered untidy. Is there unnecessary
staining on the face and neck of the mannequin? Are
there drops on the floor and around their work station? You can keep a towel handy
7
FOLLOWS INSTRUCTIONS
This is a score given to the candidate on how well
they follow the instructions in the study portfolio. Did
they start in the proper quadrant? Did they have to be
told to continue their work? Following instructions “by
the book” deserves a high score.
8
BLEEDING /TOO FAR
The amount of bleach seeping out between the pack
ets causes bleeding on the scalp. The degree of bleeding
will determine the amount of deductions the candidate
will receive. The Evaluators will determine if bleeding
is a way of life for the candidate or if it is an unusual cir
cumstance. Applying the bleach too far from the scalp is
also a deduction.
194
9
FORMULATION
The Evaluator must determine if the color selection
is compatible with the task being performed. Is the gray
reduction formula too dark or too light? Are the colors
used in the tone on tone technique far enough apart to be
able to see the difference? Does the high-low lighting
formula match? The Evaluator must anticipate, from the
colors being used, what the color will look like when
completed.
10
PROFESSIONALISM
How the candidate looks and how they carry
themselves is an important factor in being a certified
haircolorist. If they do not look professional for the exam
ination they will not project the image of a Board Certi
fied Haircolorist. Their attitude, confidence and skills are
all important for certification. It is as important as his/her
skills.
11
ORAL QUIZ
The candidate must answer the questions as outlined
in the study portfolio. Answering the questions correctly
rates a good score. Answering the question correctly with
confidence rates an excellent score. Giving a partially
correct answer rates an average score. Giving a partially
correct answer meekly yields a poor rating. Giving the
wrong answer meekly rates a fail. The candidates have
been given the questions in advance so they should be
able to recite the correct answers with confidence. Give
answers in generic terms.
12
WORKMANSHIP
Workmanship is the ability of the candidate to breeze
through the assigned tasks without effort. The smooth
ness and lack of effort the candidate displays while
accomplishing tasks is considered excellent workman
ship. A candidate with poor workmanship is someone
who bumbles through the task and appears to be strug
gling. The task gets accomplished, but with a great deal
of effort.
Chapter 14 Examination Evaluation Process
195
13
TIMING
If candidates finish on time they should receive a
good score. If they finish more than five minutes before
the “bell” they should receive an excellent score. For
an average score, all except one-third of the quadrant is
completed. A poor score would be assessed if two-thirds
of the quadrant is unfinished. If the entire quadrant is
incomplete when the exam ends, the candidate would
receive a failing score.
14
SENSITIVITY
Candidates will be evaluated on their sensitivity
toward the previously bleached hair. Because there
are no set rules established on how a highlight retouch
can be accomplished, the candidates have a degree of
flexibility on how to avoid the previously bleached hair
and how successful they are. Deductions are taken for
"application," " bleeding" and "following instructions."
15
STAGGERING
"Staggering" is the ability of the candidate to avoid
previously bleached hair. This is accomplished by
bleaching all of the new growth, then bleaching all of
the remaining virgin hair to the ends. Candidates will be
evaluated based on the degree of accuracy.
THE EXAMINATION PROCESS
The following is a step by step process of what you will experience taking the American Board of Certified
Haircolorist examination. The examination pictured here was administered in November of 2003, in Atlanta
Georgia. At this examination there were 47 candidates taking the examination. The number of candidates vary
depending on the time of year and the location. It is important, when you elect to take the examination, to give the office ample notice. The size of
the examination rooms at the hotel and the numbers of Evaluators we enlist is predicated on the number of
candidates we have signed up for the examination. It is for that reason we penalize you if you change or
postpone the examination. If you choose to simply not honor your commitment, there will be no refunds of your
examination fee.
196
16
The schedule the candidate will receive prior to their
arrival at the examination site will give the times of each
portion of the examination. If traveling with another candidate and you wish to be tested together we can accommodate this, provided that this information is received
two weeks prior to the examination date.
17
When you arrive at the examination site, the
registration table will be located near the exam rooms.
Check the hotel event calendar to find the location of the
rooms for the ABCH Examination. Registration starts
promptly at 8:00 AM.
18
At the registration table you will be assigned to the
BLUE team or the RED team. You will be given a badge
that corresponds with your team color. The badge will
have your name as well as a team number. The team
number will indicate where in the performance room you
will set up to prepare for the performance exam. The blue
team will take the Performance Examination first.
19
The candidates will now have their pictures
taken before entering the general assembly room.
The reason for the pictures is to make certain that
the scores do not become mixed up. They are also
used to publicize the high score in each portion of the
examination.
197
20
If you are on the red team you will place your
mannequin in the Performance Examination room, on
a table for that purpose. If you are uncertain where to
place your mannequin, ask the Evaluator stationed in that
room. Before leaving your mannequin in the room make
certain you write your name and team number on the
throat of the mannequin. Please use a ball point pen. Do
not use a pen that will run when wet.
21
The blue team will go into the Performance
Examination room, find their team number and set up
their materials and tools necessary for the examination.
All of the materials that will not be used will be placed
under the table where the candidate will be working.
The red team will bring their swatch charts and their
tools and supplies into the General Assembly room.
The General Assembly will start promptly at 8:30 AM
and continue for an hour.
22
At the general assembly the candidates will be
welcomed and introduced to the Evaluation Team.
After the Evaluation Team has been introduced to the
candidates they will be excused to start evaluations.
23
The candidates will now be briefed on the entire
performance examination. This will give the candidates
the opportunity to ask any questions they may have
regarding the examination process. Only questions
regarding the examination process will be taken at
this time. Questions pertaining to when to expect the
scores and how the failure of any of the portions of the
exam will be handled will be addressed at the closing
ceremony.
198
24
During the briefing of the performance examination
to the candidates, the Evaluators will be evaluating the
mannequins, swatches and the organization and set up of
their station. Taping a small trash bag to the table at the
station and having a towel handy is advisable and will
receive no deductions.
25
The candidates are allowed to section off the
mannequin and mix their bleach prior to the start time
of the examination. Although your time to finish the
examination is limited, do not attempt to finish the
examination first. Timing is just one line item. Finish
on time and do the best work possible. THIS IS NOT A
RACE TO THE FINISH!
26
At the conclusion of the briefing and a short recess,
the red team will return to the General Assembly room
and the blue team will go to the Performance room.
There they will be briefed by the Evaluator Captain on
what they are allowed to do and not do, prior to starting
the exam. In this photo, the Captain is asking, "If you are
not ready to start the examination, raise your hand."
27
The use of notes will generate a deduction in the
line item "organization" portion of the score sheet. It
is the opinion of the Evaluators that the candidates
should be able to remember what to do and bring to the
examination. The candidate must determine if the use
of notes is worth the deduction.
199
28
When the Evaluator Captain starts the examination.
The candidates will have one hour and thirty minutes to
complete the entire examination. The candidates must
start in the right rear section, which would be the weaveslice section. You may start on the top of the section or,
as this candidate has, at the bottom.
29
At the same time as the blue team is executing the
Performance Examination, the red team is taking the
Written Examination. The Written Examination has 250
true/false and multiple choice questions. There is a total
time of one hour and forty five minutes to complete the
exam. The exam is available in Spanish and must be
requested prior to the arrival at the examination. English
as a second language candidates must notify the office in
advance and will be given additional time.
30
Part of the written exam is taken with a photo album.
These questions are subjective and will require more
thought prior to determining the answer. If candidates
have not prepared properly they will have a difficult time
finishing on time. It is recommended the candidates
read the study portfolio no less than three times prior to
attending the exam.
31
During the Performance Examination the candidates
will continue to be observed by the evaluators.
Workmanship, professionalism and neatness are factors
that will be scored during the examination. Consistency
and application will also be observed but will be scrutinized
to a greater extent during the take down portion of the
evaluation.
200
32
Sometime between the beginning of the examination
and before reaching the highlight retouch section the
candidates will be asked to select the optional techniques
for the left side of the mannequin.
The optional
techniques the candidate selects will be placed on the
table next to the working area. Once made, the selections
are final.
33
The candidates will continue to move around the
mannequin in a smooth, deliberate manner, stopping
only to mix necessary colors. On the optional side of the
mannequin the candidate may proceed in any manner they
wish, although it is recommended the left rear section be
done first, in order to not have to work between two
sections with packets already in place.
34
The highlight retouch section is the most challenging
portion of the Performance Examination. Staggering the
bleach in a way to show sensitivity to the previously
bleached hair requires skill and dexterity in order to
receive a excellent score. You will note there is no line
item in the highlight retouch section. In the highlight
retouch section as well as the optional sections the weave
or slice may be used.
35
During the examination, the Evaluators will ask
a series of oral questions. The Evaluators will make
every attempt to ask questions about the procedure
the candidate is working on. If the candidate would
prefer not to answer the question, they may request the
Evaluators return at another time AND there will be no
penalty. When the Evaluators return, however, they will
not ask the same question. The Candidates may stop
working to answer the question or may continue with the
task at hand. Answers about formulas must be given in
generic terms.
201
36
If a candidate finishes prior to the conclusion of
the exam, one of the Evaluators must recognize that they
have concluded the examination. It is the determination
of the Evaluator captain whether the candidate can leave
the area. It should be noted that the timing is only one
line item. It is not who finishes the examination first that
wins. It is the candidate who makes the best use of his or
her time.
37
When the time expires, the candidates will be asked
to leave the area. The candidates are not to clean up their
working area at this time Both the blue team and the
red team will recess for lunch. Candidates will not be
allowed to enter the Performance room until permission
is granted. When granted permission, the blue team
will enter, clean up and remove their tools and supplies.
Shortly afterwards, the red team will enter and set up in
preparation for their performance examination.
38
The Evaluators will now evaluate the mannequins.
Each packet is taken down and carefully evaluated.
The first thing the Evaluators do is count the packets to
make certain the number of packets corresponds with the
criteria.
39
The Evaluators work in teams but act independently
in determining their own score. It is at this time that
the evaluations of the "consistency," "application" and
"follow directions" and "neatness" are determined. It
is not unusual for the Evaluators to discuss among
themselves, factors regarding the exam.
202
40
The evaluation may reveal some excellent packets
and others that are poor. The Evaluators must take
all of the information into consideration to arrive at a
score. Evaluating is a difficult position to hold. The
determination on whether a candidate is qualified to be
a Board Certified Haircolorist rests in the hands of the
Evaluators.
41
After lunch, the candidates will be asked to return
and pick up their mannequins and materials. If the
candidate chooses not to take the mannequin with them
they may leave it. In the afternoon the blue team will
take the written exam while the red team participates in
the performance portion of the exam.
42
In the afternoon, both teams will take the Interactive
Assessment examination. This examination is one hour
long. There is a one-half hour briefing prior to the
examination. The briefing is to reinforce the ABCH
terminology and learn to fill out the score sheets. There
are five different challenges the candidate must complete.
Each challenge is given a score from one to ten.
43
Immediately following the Interactive Assessment
portion of the examination the closing ceremony will
be held. At the closing, the candidate will learn when
to expect the scores, what happens when the candidate
passes or fails, what type of feedback to expect and the
advertising program.
203
1 ) CRITERIA FOR “PREPARATION OF THE MANNEQUIN”
5)Excellent. Highlights are distributed consistently throughout the correct section. The proportion of
light to dark creates a visible difference. Highlights are 1 1/2 and 3 inches from the scalp. Bleached
section starts from 1 inch away from the scalp through the ends. Hair is lightened to yellow-pale
yellow. Hair is evenly lightened. Porosity is no greater than grade 4. No evidence of banding.
Mannequin is conditioned and finished.
4)Good. A small degree of inconsistency of highlights in the correct section. A slightly greater or
lesser amount of lightened hair to dark. Highlights are off the 1 1/2 and 3 inch marks by no more
than 1/2 inch. Bleached section is off by less than 1/4 inch. Hair is lightened to yellow-pale yellow.
There is a slight degree of banding. Porosity is no greater than grade 4.
3)Average. Some inconsistency in the distribution of highlights in the correct section. The proportion
of lightened hair to dark is slightly too much or too little. Highlights are off by 1/2 to 3/4 of an
inch from the 1 1/2 inch and 3 inch goals. Bleached section is off by more than 1/2 inch. Hair is
lightened to yellow-yellow gold. Some inconsistency of lightness is evident. Porosity is no greater
than grade 4. There is slight banding throughout the quadrant.
2)Poor. Inconsistency in the distribution of highlights in the section. The proportion of lightened hair
to dark does not create a visible difference or is too concentrated. Highlights are off by 3/4 inch
from the 1 1/2 and 3 inch goals. Bleached section is off by 1/2 to 3/4 of an inch from the 1 inch
goal. Hair is lightened to yellow-yellow gold. Bleached section is off by 1/2 to 3/4 of an inch from
the 1 inch goal. Porosity is no greater than grade 4. Majority of the strands contain banding and
bleeding, mannequin disheveled.
0)Fail. Inconsistency of distribution of highlights. The proportion of light and natural hair
disproportionate. Can be heavily blonded or hardly any highlights. Lightness is inconsistent
throughout the section. Lightened hair is deep gold or white with grade 5 porosity. Extensive
amount of bleeding and banding. Candidate shows lack of patience in preparing mannequin.
204
2) CRITERIA FOR “PREPARATION OF SWATCHES”
5)Excellent. Hair is evenly lightened throughout the swatch. Swatches are prepared according to the
study portfolio. Porosity is no greater than grade four. Timing is accurately noted. Swatches are
mounted and neatly displayed.
4)Good. A slight variation of lightness is evident in a swatch. Swatches are prepared according to
the study portfolio. Porosity is no greater than grade four. Timing is accurately noted. Swatches are
displayed fairly neatly.
3)Average. Some inconsistency of lightness is evident. Swatches are prepared according to the study
portfolio, with a slight variation. Porosity is no greater than grade four. Timing is accurately noted.
Swatches are slightly messy in appearance.
2)Poor. Lightness is inconsistent throughout the swatch with spots from 1/4 inch to 1/2 inch in size.
Swatches are prepared according to the study portfolio, with significant variation in the tones.
Porosity greater than a grade four. Timing is noted somewhat inaccurately. Swatches are fairly
messy in appearance.
0)Fail. Lightness is inconsistent throughout the section with spots 1/2 inch in size or greater. Swatches
are not prepared according to the study materials. Porosity is a grade five. Timing is noted
inaccurately or not at all. Swatches are messy, uneven and poorly displayed.
3) CRITERIA FOR “CONSISTENCY”
5)Excellent. Sizes of weaves are correct. Spacing between sections is accurate. The ratio of treated
to untreated hair is consistent throughout the section.
4)Good. Sizes of weaves and slices are fairly even. Spacing between sections shows a small
variation. The ratio of treated to untreated hair is fairly consistent throughout the section.
3)Average. Sizes of weaves or slices are somewhat inconsistent. Spacing between sections shows
variation. The ratio of treated to untreated hair varies somewhat throughout the section.
2)Poor. Sizes of weaves or slices are inconsistent. Spacing between sections shows variation. The
ratio of treated to untreated hair is varied throughout the section. Difficulty in identifying difference
between weave and slice.
0)Fail. Sizes of weaves or slices are inconsistent. Spacing between sections shows extreme variation.
The ratio of treated to untreated hair is widely varied throughout the section. No difference between
the weave and slice sections.
205
4) CRITERIA FOR “APPLICATION”
5)Excellent. Candidate applies the product evenly onto selected strands. Product is applied the proper
distance from the edge of the packet. Product is a workable mixture, neither crumbly or runny. Hair
is thoroughly saturated with the product, but not excessively.
4)Good. Candidate applies the product fairly evenly onto selected strands. Product is a workable
mixture, neither crumbly or runny. There are minor variations in the saturation of the hair with
product. No apparent voids.
3)Average. Candidate applies the product with a little unevenness onto selected strands. Product is a
fairly workable mixture, slightly crumbly or runny. There are variations in the saturation of the hair
with product. Few voids.
2)Poor. Candidate applies the product unevenly onto selected strands. Product is a somewhat
unworkable mixture, crumbly or runny. There are significant variations in the saturation of the hair
with product. Many voids.
0)Fail. Candidate applies the product in a sloppy manner onto selected strands. Product is an
unworkable mixture, crumbly or runny. There are extreme variations in the saturation of the hair
with product. Much of the hair unsaturated.
5) CRITERIA FOR “ORGANIZATION”
5)Excellent. Candidate arrives on time and is ready to begin the procedure at the proper time. All
materials needed for the procedure are set out in a neat orderly manner.
4)Good. Candidate arrives on time and is ready to begin the procedure at the proper time. All
materials needed for the procedure are set out in a neat orderly manner.
3)Average. Candidate arrives on time and is ready to begin the procedure at the proper time. All
materials needed for the procedure are set out in a fairly neat manner. Forgets to lay out some of the
materials, requires going back under the table for more materials.
2)Poor. Candidate arrives just before testing starts, but is ready to begin the procedure at the proper
time. Not all materials needed are brought to the examination site. Tools and products are set out in
a somewhat disorganized manner. Some materials need to be borrowed.
0)Fail. Candidate arrives just before testing starts, is not ready to begin the procedure on time. All
materials needed for the procedures are not set out. Requires borrowing from other candidates to
complete tasks. Searching under table for materials during examination
206
6) CRITERIA FOR “NEATNESS”
5)Excellent. Product is placed exactly where it belongs. Work station and candidate are completely free of
drips or excess product. Work station tidy at end of examination.
4)Good. Product is placed where it belongs with only slight indiscretions. Work station and candidate are
mostly free of drips or excess product. Some color on mannequin. Work station somewhat tidy at end of
examination.
3)Average. Product is placed where it belongs with only a few indiscretions. Work station and candidate are
somewhat free of drips or excess product. Color stains on face and neck of mannequin.
2)Poor. Product is not placed where it belongs. Excess color on the face and neck of the mannequin and
some on another quadrant. Work station, tools and candidate show evidence of drips or excess product.
0)Fail. Product is not placed where it belongs. It is on the face and neck of the mannequin and a significant
amount on another quadrant or quadrants. Work station tools and candidate are dripping with excess
product.
7) CRITERIA FOR “FOLLOWS INSTRUCTIONS”
5)Excellent. Tasks are carried out in the proper quadrant and in the proper order. Materials used to enclose
the hair are acceptable. The proper amount of hair is segregated into the packets and the hair left natural
is correct. The weaves and slices are exactly the proper size and the proper amount of packets. Assigned
optional techniques are properly executed and the correct product is used.
4)Good. Tasks are carried out in the proper quadrant and in the correct order. Materials used are correct.
The hair being segregated is close to being correct. Most of the hair being segregated is the proper amount.
The weaves and slices are mostly the proper amount. One of the assigned optional techniques are altered
slightly from the prescribed method.
3)Average. Tasks are carried out in the proper quadrant and in the proper order. Materials being used are
correct. Hair being segregated is improper. Weaves and slices show some variation and are not the proper
size nor the proper amount. There are slight variations in both of the assigned optional techniques.
2)Poor. Task was carried out in the wrong quadrant but caught themselves before proceeding. Materials
being used are improper. Hair being segregated is mostly wrong and inconsistent. Weaves and slices
are highly inconsistent and improper size. Some in the wrong place on mannequin. One of the optional
techniques borders on being wrong.
0)Fail. Wrong task in wrong quadrant. Unacceptable materials being used. No resemblance to instruction in
study portfolio. Can not distinguish between weaves and slices. One of the assigned techniques completely
wrong.
For the purpose of scoring follow instructions, the score given for working out of order shall be
deducted only to the quadrant in which the candidate starts, not both quadrants done out of order.
207
8) CRITERIA FOR “BLEEDING/TOO FAR”
5)Excellent. Product is inside packets, yet very close to the scalp (within 1/8 inch). No evidence of slipping,
banding, or bleeding in the quadrant.
4)Good. Product is inside packets, yet very close to the scalp (within 1/8 inch). There are areas where the
packet has slipped slightly, creating a banding at the bottoms of the weaves or slices, no larger than 1/8 inch.
A very small degree of bleeding in the quadrant.
3)Average. Product is mostly inside the packets, but a small distance away from the edge of the foil (within
1/4 inch). There are areas where the packet has slipped slightly, creating a banding at the bottoms of the
weaves or slices. A small degree of bleeding in the quadrant indicated by no more than four 1/4 inch spots.
2)Poor. Product is inside packets, but a significant distance away from the scalp (within 3/8 inch). There are
areas where the packet has slipped, creating a banding at the bottoms of the weaves or slices. A degree of
bleeding in the quadrant indicated by no more than six 1/4 inch spots or one 1/2 inch spot.
0)Fail. Product is inside packets, but a significant distance away from the edge of the foil (more than 1/2
inch). There are areas where the packet has slipped, creating an ooze of product onto the hair that is to be
left untreated. Bleeding in the quadrant is indicated by more than six 1/4 inch or one spot larger than 1/2
inch, or the bleach is applied 3/4 inch away from edge of foil.
9) CRITERIA FOR “FORMULATION”
5)Excellent. Formulation will create a harmonious combination with existing hair, or with other color
formulas being used. Color is light or dark enough to show. Formula compensates for existing natural color
or pre-bleached hair to create the desired end result. Grey reduction formula perfect.
4)Good. Formulation will create a good combination with existing hair or with other color formulas being
used. Color is light or dark enough to show. Formula compensates fairly well for existing natural color or
pre-bleached hair to create the desired end result. Grey reduction formula close to being correct.
3)Average. Formulation will create an average combination with existing hair or with other color formulas
being used. Color is slightly too light or too dark. Formula compensates somewhat but not completely for
existing natural color or pre-bleached hair to create the desired end result. Grey reduction formula would
work but not best choice.
2)Poor. Formulation will not combine well with existing hair or with other color formulas being used. Color
is too light or too dark. Formula does not compensate for existing natural color or pre-bleached hair to
create the desired end result. Too little contrast for tone on tone. Grey reduction too warm or too light.
0)Fail. Formulation will not combine at all with existing hair or other color formulas being used. Color is too
light or too dark. Formula does not consider existing natural color or pre-bleached hair. No contrast for tone
on tone. Grey reduction formula for soft brown category or too warm.
208
10 ) CRITERIA FOR “PROFESSIONALISM”
5)Excellent. Candidate has a confident attitude and conveys an air of competence and integrity by their
behavior and what they say. Appearance is fastidiously well put together.
4)Good. Candidate has a fairly confident attitude and conveys an air of certainty and reliability by their
behavior and what they say. Appearance is well groomed.
3)Average. Candidate is nervous but determined, conveys an air of willingness to try and reliability by their
behavior and what they say. Appearance is neat but somewhat
unprofessional. Nails slightly chipped but free of stains.
2)Poor. Candidate is nervous and conveys an air of uncertainty by their behavior and what they say or is
somewhat arrogant. Appearance is somewhat untidy and/or in bad taste or too casual. Chews gum, hands
and nails stained.
0)Fail. Candidate is nervous and conveys an air of incompetence by their behavior and what they say or is
arrogant, cocky and obnoxious. Appearance is ungroomed or dresses in extremely bad taste or too casual.
Tint stains on hands and nails. Holds tools in mouth, chews gum.
11) CRITERIA FOR “ORAL QUIZ”
5)Excellent. Candidate answers the question using generic terms without hesitation, accurately and with a
detailed explanation.
4)Good. Candidate answers the question uses some generic terms with slight hesitation, accurately and with a
somewhat detailed explanation.
3)Average. Candidate answers the question with hesitation, accurately. Candidate talks excessively, answers
questions. Non-generic terms used.
2)Poor. Candidate answers the question with hesitation, talks excessively and uses only non-generic terms.
Obviously did not read questions in study portfolio.
0)Fail. Candidate answers the question inaccurately. Does not know the material or requires repeating of
question, still does not understand.
209
12) CRITERIA FOR “WORKMANSHIP”
5)Excellent. Work proceeds in a smooth effortless manner.
4)Good. Work proceeds fairly smoothly and without a great deal of effort.
3)Average. Work proceeds with a slight but manageable amount of effort. A little awkwardness is evident.
2)Poor. Work proceeds with a considerable effort. Some awkwardness is evident, shown by reaching for and/
or dropping tools and materials.
0)Fail. Work is a struggle. The task requires a great deal of effort and is accomplished awkwardness, drops
tools and materials, changes hands and is always reaching.
13) CRITERIA FOR “TIMING”
5)Excellent. All parts of the performance exam are completed 5 or more minutes prior to the allotted time.
4)Good. All parts of the performance exam are completed within the allotted time.
3)Average. All except one third of one quadrant are completed within the allotted time.
2)Poor. All except two-thirds of one quadrant are completed within the allotted time.
0)Fail. One entire quadrant is left incomplete at the time the test ends.
14) CRITERIA FOR “SENSITIVITY”
5)Excellent. Candidate applies product demonstrating sensitivity to the previously bleached hair. All of the
bleached hair is avoided. A small degree of blonde build up is evident. There is no strong lines where
bleach was stopped abruptly, good staggering technique.
4)Good. Candidate applies product demonstrating a fair amount of sensitivity to the previously bleached hair.
A small amount of bleached hair has bleach applied, care is taken not to fold the unbleached hair into the
bleach. There is a small amount of blonde build up. There are a few defined lines where the bleach was
stopped abruptly. Fair staggering technique.
3)Average. Candidate applies product demonstrating average sensitivity to the previously bleached hair. An
average amount of bleach has been applied to the bleached hair. There is no folding of the hair into the
bleach in the packet. There is an average amount of blonde buildup. Small amount of lines where bleach
has stopped abruptly.
2)Poor. Candidate applies product demonstrating insensitivity to the previously bleached hair. An
unacceptable amount of the bleached hair is treated, or candidate stops the bleach at the first sign of
bleached hair leaving well defined lines of bleach hair close to the scalp and dark ends.
0)Fail. Candidate applies product demonstrating total insensitivity to the previously bleached hair. All of the
bleached hair is ignored, no indication of the staggering technique or all of the packets have bleach applied
only to the first sign of bleached hair.
210
211
“Practicing highlights puts
Brains in your hands.”
212
Nancy Searle, Evaluator
15
Chapter
TECHNIQUES
DEFINED
• Highlighting
• Highlight Retouch
• Low Lighting
• High-Low Lighting
• Reverse Highlighting
• Gray Reduction
• Tone on Tone
• Single Process
• Double Process
• Tint Back
• Color Remover
• Bumping the Base
Revised March, 2009
“Unsuccessful haircoloring is not a result of
what you don’t know. Rather what
You know that is not so.”
214
Chapter 15 Techniques Defined
Toni Mondragon, Evaluator
1
1. HIGHLIGHTING
Highlighting is defined in broad terms as
placing lighter strands into natural hair. The size of
the strands and the degree of lightness gives endless
variations of the highlighting process. The strands
can be as small as the lead of a pencil or as large as
the entire pencil, the degree of lightness can render a
high contrast or give a very subtle contrast.
2
The differences may be a subtle contrast on
dark hair or a dramatic contrast on lighter hair. The
variations are endless, it is one of the most creative
and challenging concepts of coloring hair. High
lighting is one of the most sought after professional
haircoloring services.
3
The strands to be lightened may be isolated in
a number of methods. Packets may be constructed
of paper, cellophane, plastic, foil, cups or an endless
array of tools used for separating the hair to be
lightened from the hair left natural.
FOR THE PURPOSE OF THE EXAMINA
TION THE CANDIDATES MUST UTILIZE ONE
OF THE PRESCRIBED METHODS.
4
Illustrated are some highlighting effects
achieved by a slightly different manner. The client
on the left has a fine sliced effect giving the hair a
gentle degree of overall lightness without defined
streaks. The client on the right has shorter hair with
larger streaks giving the hair more interplay of light
and dark. Different results are achieved on the same
natural base haircolor.
215
5
The slice technique is illustrated on a mannequin.
The packets with off-the-scalp bleach were placed in
a pattern illustrated on the bald mannequin. There
was a total of 17 fine slices placed from the center
part to just over the ear. This rendered a very fine
color change without any well- defined streaks.
6
Weaving the hair produces a different effect.
The hair is not evenly distributed across the packet.
Instead there are well defined streaks of hair. It
should be noted that the greatest difference between
the weave and slice occurs within the first 4 inches
from the scalp. Once the hair spreads and becomes
distributed, there is little difference in the appearance.
There are a total of 49 streaks by actual count.
7
For a mild contrast in the hair (caramelizing or
tortoise shelling), the slice technique gives the hair a
softer effect by giving the hair an overall lighter look
and avoiding streaks of lightness close to the scalp.
Natural Highlift
216
On the
scalp
bleach
Off the
scalp
bleach
8
The amount of contrast in the hair is achieved
by both the strength of the product used and the
amount of time the product is on the hair. The
product selected must be strong enough to achieve
the desired color.
9
2. HIGHLIGHT RETOUCH
The highlight retouch is one of the most chal
lenging aspects of haircoloring. The ability to keep
the hair highlighted and minimizing the build up of
blonde is especially challenging for the haircolorist.
10
The challenge is much more difficult
with clients who have longer hair and want to be
blonde. With each highlight, the hair will become
progressively lighter. This is a virgin highlight on
long hair. With hair this length the client should
have her hair highlighted no sooner than every four
months. Two partial highlights should be given for
every full highlight.
11
The darker and longer the hair the more
challenging it is to maintain. The application of the
bleach must be done in a manner that will protect
the integrity of the previously lightened hair. As the
hair becomes longer and the application of bleach
is confined closer to the scalp, the ends of the hair
become darker and unnatural looking. The ends of
the hair should be lighter than the hair closer to the
scalp.
12
This highlight on dark hair is kept in healthy
condition by utilizing a fine slice and lifting the
base color slightly so the highlights will not have
to be done as frequently. The slight lifting of the
base color between highlights can prolong the
highlighting service. This is known as “bumping the
base.”
READ THE CRITERIA FOR HIGHLIGHT
RETOUCH CAREFULLY PRIOR TO THE
EXAMINATION.
217
13
3. LOW LIGHTING
Low lighting is the term utilized for placing
a darker color into the hair. Used for toning down
overly lightened hair from repetitive highlights,
environmental exposure, or a series of single process
colors. Low lighting can be performed to any degree
desired. This client has low lights to tone down
the amount of blonde. There is no attempt made to
cover the new growth.
14
Low lights can also be the first step in growing
the hair out from a double process blonde, a heavy
highlight or single process blonde. This client is
going to allow her hair to grow out to its natural
haircolor with highlights. Low lighting gets her
through the first step.
15
Low lighting is also used for corrective
haircoloring to tone down hair that has become too
light. In this case a darker color was applied at the
scalp, while the color at the scalp is processing low
lights are added to the hair to tone down the ends.
Low lights can be applied with or without color at
the scalp.
16
The result is a more natural looking blonde
haircolor. This would be considered an extreme
form of low lighting. Be certain you have consulted
and reconfirmed the final results with the client
before proceeding. This effect could be too extreme
for the client who has been blonde for years.
218
17
A more traditional approach to low lighting
is adding a color just two levels darker than the
existing hair in limited amounts. When applying
low lights, the closer to the nape the low lights are
applied, the closer together the low lights should be,
just opposite of what is done in highlighting. In some
cases where there is one legnth hair all of the hair at
the nape could be colored.
18
4. HIGH-LOW LIGHTING
This is typical of a home haircolor where there
are multi colors on the hair with several lines of
demarcation. Applying the bleach to the darker
section of hair first, then adding low lights, gives the
hair a more natural look. The amount of low lights
added would be based on how comfortable the client
feels about having darker hair.
19
High-low lighting is the process of adding high
lights and low lights to the hair at the same time.
The highlights may be applied to the hair first,
After the highlights have been applied, low lights
are then applied to the hair and both are allowed
to process at the same time. High-low lighting is
used here to disguise the demarcation line while
the client grows out from a single process blonde.
20
High-low lighting can also be utilized to
change the overall color of the hair. In this case
the client wants to go from red hair to highlighted
hair. This is accomplished by highlighting the hair,
then placing the remaining hair in foils with a darker
color. This is unlike a reverse highlight where only
one color is used and the blonde hair is isolated to
make the highlights.
219
21
The result is a nice soft warm brown with
highlights. High-low lighting allows the haircolorist
to solve a variety of haircolor problems while
maintaining the integrity of the hair.
22
The high-low lighting process may be used as
an introduction to haircoloring a client with gray
hair. Utilizing packets with a lighter color or bleach
and other packets with a light warm brown, the client
may have her hair colored without making a total
commitment. For a client who has never colored
their hair, this gradual effect may be the answer.
23
High-low lighting can be utilized for
correcting a blotched haircolor. Adding lighter
and darker strands to this clients hair disguised the
undesirable haircolor experience.
24
Utilizing high-low lighting allows the haircolorist
to add highlights and darken the remaining hair
giving the hair a soft natural look. The alternative
to high-low lighting would be to color all of the hair
dark, then highlight the hair. In the examination, the
high-low lighting task requires all of the haircolor
and/or bleach to be in packets. There is no haircolor
or bleach outside of the packets.
220
25
5. REVERSE HIGHLIGHTING
Reverse highlighting is doing a highlighting
in reverse. Starting with blonde hair, some of the
blonde hair is isolated in packets, then the remaining
hair is colored darker. The amount of hair isolated
and the depth of the color would depend on the sit
uation. Length of hair, condition and how long the
client was blonde are all factors. This technique
is used to ease the client back to their natural
haircolor.
26
Extensive consultation should be utilized when
performing a reverse highlight. Make certain the
client realizes the extent of darkness this technique
creates. Whenever possible use a dual application.
Pre-pigmentation gives a much more natural long
lasting haircolor.
27
The hair can also be isolated in packets for
the purpose of performing a reverse highlighting.
With reverse highlighting, there is no attempt made
to preserve the new growth. The new growth is
generally colored at the same time as the remaining
hair. There are instances where it is advisable to
utilize a lifting formula at the scalp and a non lifting
formula on the remaining hair. REMEMBER, FOR
THE EXAMINATION, ALL OF THE HAIR NOT
IN PACKETS MUST BE COLORED.
28
6. GRAY REDUCTION
Gray reduction is utilized by the haircolorist
to reduce the amount of gray the client is wearing.
Gray reduction is utilized to introduce a client to
haircoloring. It has a great deal of appeal to the
client who is apprehensive about coloring their hair
for the first time. Gray reduction overcomes many
of the objectives a first time client has in terms of
committing to haircoloring. It looks natural and
grows out gracefully.
221
29
Gray reduction works as well for men, as ir
does for women. The amount of darkness added
to the first time clients hair depends on the appre
hension the client has to coloring their hair. It is
advisable to start gradually and increase the amount
of darkness on subsequent visits.
30
Gray reduction is truly a professional haircolor
service impossible for the client to duplicate at home.
EXAMINATION REQUIRES THE CANDIDATE
TO REDUCE THE AMOUNT OF GRAY BY 25%.
In order to make the hair look as natural as possible
a fine slice should be utilized.
31
7. TONE ON TONE
Tone on tone is the art of coloring the hair
with two different colors. When doing tone on tone
haircoloring, it can be accomplished with a variety
of techniques.
32
Generally, the client has a single process service.
While the color at the scalp is processing, packets or
cups are added to the hair generally with a lighter
color or bleach.
222
33
The haircolorist may also place packets in the
hair with a lighter color or bleach, then color the
remaining hair around the packets. This technique
is often utilized when the tone on tone is being
executed on a virgin tint.
34
There are many variations of tone on tone
haircoloring. Like highlighting, there is high contrast
or subtle tone on tone. There are fine strands
lightened or very bold streaks. Your creativity will
open endless opportunities. It is also an acceptable
method of toning down, or lightening haircolor that
is too dark.
35
Tone on tone within the red tones are
especially beautiful and create a dramatic effect.
FOR THE EXAMINATION, BECAUSE THE
CANDIDATE IS WORKING ON VIRGIN HAIR,
IT IS NECESSARY TO COLOR ALL OF THE
HAIR.
36
8. SINGLE PROCESS COLOR
Single process color is the application of one
color on the hair. Whether it is a retouch or a virgin
application, single process color defines a single
color being used on the client.
223
37
Even if the haircolorist utilizes two different
formulas, applying a lifting haircolor at the scalp and
a deposit only color on the remaining hair, would
still be considered a single process color.
38
VIRGIN DOUBLE PROCESS COLOR
Double process haircolor is the application of
a bleach, allowing it to process, shampooing the
first bleach from hair and then applying a second
bleach. Double process colors are generally utilized
to remove more of the underlying pigment than a
single process would allow.
39
HOT ROOTS
BLEACH
HOT ROOTS
COLOR
224
There are two accepted methods of doing a
bleach and toner. The recommended method is to
apply the first bleach from scalp to ends, when the
color at the scalp has reached the desired lightness,
shampoo the hair and apply the second bleach away
from the scalp. The second bleach is generally
stronger and kept off the scalp with cotton. This
method allows the scalp to ‘rest’ between the bleach
application and the toner.
The second method is to apply the bleach away
from the scalp, then at a given time bring the same
bleach down to the scalp The toner may be a lifting
color or a deposit only color.
HOT ROOTS is a term used to define the lightness that occurs to the hair
closest to the scalp when lightening the hair. This is the result of the hair
at the scalp being more immature as well as the additional heat generated
from the scalp. Hot roots are a mixed blessing for the haircolorists. It
allows the haircolorist to achieve a lighter color at the scalp when doing
retouches, at the same time it creates difficulty when doing a virgin
haircolor. When doing a virgin high lift color, the hair will lighten in a
manner that is contrary to the “rules of natural haircolor.”
40
TINT BACK
Tint back is a matter of coloring the hair back to the
natural color. The selection of color and tone are
very important because of the varieties of porosities
that generally exist when performing this service.
Deposit only color is the recommended product for
this service. It may be necessary to pre-pigment the
porous hair
41
COLOR REMOVER
There are two types of color removers that are
recommended for professional haircolor services.
One of the removers is mild solution utilized for mild
lifting of artificial color from the hair. The other is
a heavy duty color remover which acts more like a
bleach. The difference between the heavy duty color
remover and bleach is, the bleach is formulated to
remove natural melanin, and color removers are for
removing artificial pigment.
42
To remove colors which do not have strong
penetration and are not the result of multiple
applications can be easily removed with a mild color
remover. The procedure is a simple one. it requires
mixing two solutions together and combing through
the hair until the color disappears.
43
In cases where there have been multiple
applications of a black tint, even a strong color
remover is incapable of removing these colors.
225
44
When removing artificial color with natural
color at the scalp, be aware the natural color will
lighten much faster and lighter than will the artificial
color. This will leave the client with an unnatural
look. The ends of the hair should always be lighter
than the hair at the scalp in order for the hair to look
natural.
45
The more applications of a darker color, the more
difficult it is to remove. If heavy duty color removers do
not do the job, it may be necessary to use a bleach as in
this photograph. This client had multiple applications of
deposit only color. Deposit only color penetrates into the
cortex layer of the hair the same as a permanent type
haircolor.
46
Color removal should always be approached with
caution. Even single application colors can be near
impossible to remove. This client used what would be
considered to be a semi permanent haircolor. A single
application of this color penetrated her hair to such an
extent it took several applications of bleach to remove.
47
4
When there is some natural color close to the
scalp, removing the artificial color becomes more
challenging. When attempting to correct these
situations, it is advisable to use a semi-permanent
type color when adding color back into the hair.
This client's was finished with a semi-`permanent
color.
226
“Haircolor is the airplane,
you are the pilot.”
Mary Walker, Evaluator
227
Many haircolors are spoiled at the last instant
by wanting to improve it. This often impedes
a haircolor rather than improve it.
228
Kathy Smith, Evaluator
16
chapter
GLOSSARY OF
HAIRCOLORING
TERMS
Revised March, 2009
“There are three ways of learning
haircoloring; by study which is wearisome, by
experimentation which can be bitter, or
by imitation which is the most sensible.”
230
Chapter 16 Glossary of Terms
Brenda Amaral, Evaluator
GLOSSARY
ACCELERATOR.............................. (See ACTIVATOR)
ACCENT COLOR............................ A concentrated color product that can be added to permanent, semi-permanent
or temporary haircolor to intensify or tone down the color. Another word for
concentrate.
ACID................................................. An aqueous (water based) solution having a pH less than 7.0 on the pH
scale.
ACTIVATOR.................................... An additive used to quicken the action or progress of a chemical. Another
word for booster, accelerator, protenator or catalyst.
ALKALINE...................................... An aqueous (water based) solution having a pH greater than 7.0 on the pH
scale. The opposite of acid.
ALLERGY........................................ A physical reaction resulting from extreme sensitivity to exposure, contact
and/or ingestion of certain foods or chemicals.
ALLERGY TEST............................. A test to determine the possibility or degree of sensitivity; also known as a
patch test, predisposition test or skin test.
AMINO ACIDS................................ The group of molecules that the body uses to synthesize protein. There are 22
different amino acids found in living protein that serve as units of structure.
AMMONIA....................................... A colorless pungent gas composed of hydrogen and nitrogen; in water
solution is called ammonia water. Used in haircolor to swell the cuticle.
When mixed with hydrogen peroxide, it activates the oxidation process on
melanin, and allows the melanin to decolorize.
AMMONIUM HYDROXIDE.......... An alkali solution of ammonia in water; commonly used in the manufacturing
of permanent haircolor, lightener preparations and hair relaxers.
ANALYSIS (HAIR).......................... An examination of the hair to determine its condition and natural color. (SEE
CONSULTATION, CONDITION)
AQUEOUS....................................... Descriptive term for water solution or any medium that is largely composed
of water.
ASH.................................................. A tone or shade dominated by greens, blues, violets or grays. May be used to
counteract unwanted warm tones.
BASE (ALKALI).............................. (See pH; ALKALINE)
BASE COLOR.................................. (See COLOR BASE)
BLEACH.......................................... (See LIGHTENER)
BLEEDING....................................... Seepage of tint/lightener from the packet containing the hair to be colored or
frosting cap due to improper application.
BLENDING...................................... A merging of one tint or tone with another.
BLONDING...................................... A term applied to lightening the hair.
BONDS............................................. The means by which atoms are joined together to make molecules.
BOOSTER........................................ (See ACTIVATOR)
BRASSY TONE............................... Undesirable red, orange or gold tones in the hair.
BREAKAGE..................................... A condition in which hair splits and breaks off.
BUFFER ZONE................................ Applying color away from the scalp to avoid chemical overlapping.
BUILD-UP........................................ Repeated coatings on the hair shaft.
BUMPING THE BASE.................... A term used to describe the slightest degree of lift of the natural color.
CATALYST....................................... A substance used to alter the speed of a chemical reaction.
CATEGORY...................................... A method of defining natural hair to help determine the undertones.
231
CAUSTIC......................................... Strongly alkaline materials. At very high pH levels, can burn or destroy
protein or tissue by chemical action.
CERTIFIED COLOR........................ A color which meets certain standards for purity and is certified by the
FDA.
CERTIFIED HAIRCOLORIST........ A haircolorist who has passed a rigid examination process established by
the American Board of Certified Haircolorists. Term is also utilized by
Manufacturers for using a particular line of haircolor. Not to be confused.
CETYL ALCOHOL.......................... Fatty alcohol used as an emollient. It is also used as a stabilizer for emulsion
systems, and in haircolor and cream developer as a thickener.
CHELATING STABILIZER............ A molecule that binds metal ions and renders them inactive.
CHEMICAL CHANGE.................... Alteration in the chemical composition of a substance.
CITRIC ACID................................... Organic acid derived from citrus fruits and used for pH adjustment. Primarily
used to adjust the acid-alkali balance. Has some antioxidant and preservative
qualities. Used medicinally as a mild astringent.
COATING......................................... Residue left on the outside of the hair shaft.
COLOR............................................. Visual sensation caused by light.
CLARIFYING TREATMENT.......... Used prior to chemical services to chelate and remove metals, medications
and product builtup. Start with a clean surface. Crystal gel with heat,
treatments can be used to remove demi stains
COLOR ADDITIVE......................... (see ACCENT COLOR)
COLOR BASE.................................. The combination of dyes which make up the tonal foundation of a specific
haircolor.
COLOR LIFT................................... The amount of change natural or artificial pigment undergoes when lightened
by a substance.
COLOR MIXING............................. Combining two or more shades together for a custom color.
COLOR REFRESHER..................... (1) Color applied to midshaft and ends to give a more uniform color
appearance to the hair. (2) Color applied by a shampoo-in method to enhance
the natural color. Also called color wash, color enhancer or color glaze.
COLOR REMOVER........................ A product designed to remove artificial pigment from the hair.
COLOR TEST.................................. The process of removing product from a hair strand to monitor the progress
of color development during tinting or lightening.
COLOR WHEEL.............................. The arrangement of primary, secondary and tertiary colors in the order of
their relationships to each other. A tool for formulating.
COMPLEMENTARY COLORS...... A primary and secondary color positioned opposite each other on the color
wheel. When these two colors are combined, they create a neutral color.
CONDITION.................................... The existing state of the hair; its elasticity, strength, texture, porosity and
evidence of previous treatments.
CONSULTATION............................. Verbal communication with a client to determine desired result. [See
ANALYSIS (HAIR)]
CONTRIBUTING PIGMENT.......... The current level and tone of the hair. Refers to both natural contributing pigment
and decolorized (lightened) contributing pigment. (See UNDERTONE)
COOL TONES.................................. (See ASH)
CORRECTIVE COLORING............ The process of correcting an undesirable color.
CORTEX........................................... The second layer of hair. A fibrous protein core of the hair fiber, containing
melanin pigment.
COVERAGE..................................... Reference to the ability of a color product to color gray, white or other colors
of hair.
CUTICLE.......................................... The translucent, protein outer layer of the hair fiber.
232
CYSTEIC ACID............................... A chemical substance in the hair fiber, produced by the interaction of
hydrogen peroxide on the disulfide bond (cystine).
CYSTINE.......................................... The disulfide amino acid which joins protein chains together.
D & C COLORS............................... Colors selected from a certified list approved by the Food and Drug
Administration for use in drug and cosmetic products.
DECOLORIZE................................. A chemical process involving the lightening of the natural color pigment or
artificial color from the hair.
DEGREE........................................... Term used to describe various units of measurement.
DEMI-COLOR................................. (See DEPOSIT-ONLY COLOR)
DENSE.............................................. Thick, compact or crowded.
DEPOSIT.......................................... Describes the color product in terms of its ability to add color pigment to the
hair. Color added equals deposit.
DEPOSIT-ONLY COLOR................ A category of color products between permanent and semi-permanent colors.
Formulated to only deposit color, not lift. They contain oxidative dyes and
utilize a low volume developer.
DEPTH.............................................. The lightness or darkness of a specific haircolor. (See VALUE, LEVEL)
DEVELOPER................................... An oxidizing agent, usually hydrogen peroxide, that reacts chemically with
coloring material to develop color molecules and create a change in natural
hair color.
DEVELOPMENT TIME
(OXIDATION PERIOD).................. The time required for a permanent color or lightener to completely develop.
DIFFUSED....................................... Broken down, scattered; not limited to one spot.
DIRECT DYE................................... A preformed color that dyes the fiber directly without the need for
oxidation.
DISCOLORATION.......................... The development of undesired shades through chemical reaction.
DOUBLE PROCESS........................ A technique requiring two separate procedures in which the hair is decolorized
or prelightened with a lightener, before the depositing color is applied.
DRAB............................................... Term used to describe haircolor shades containing no red or gold. (See ASH,
DULL)
DRABBER........................................ Concentrated color used to reduce red or gold highlights.
DULL................................................ A word used to describe hair or haircolor without sheen.
DYE.................................................. Artificial pigment.
DYE INTERMEDIATE.................... A material which develops into color only after reaction with developer
(hydrogen peroxide). Also known as oxidation dyes.
DYE REMOVER (SOLVENTS)...... (See COLOR REMOVER)
DYE STOCK.................................... (See COLOR BASE)
ELASTICITY.................................... The ability of the hair to stretch and return to normal.
ENZYME.......................................... A protein molecule found in living cells which initiates a chemical process.
FADE................................................ To lose color through exposure to the elements or other factors.
FILLER............................................. (1) Color product used as a color refresher or to replace undertones in
damaged hair in preparation for haircoloring. (2) Any liquid-like substance
to help fill the need for natural undertones. (See COLOR REFRESHER)
FORMULA....................................... Mixture of two or more ingredients.
233
FORMULATE.................................. The art of mixing to create a blend or balance of two or more ingredients.
FROSTING....................................... The introduction of lighter strands to the hair; generally executed with a frosting
cap.
GLAZING......................................... A term used to describe a translucent color used on the hair after a previous haircolor;
a blending color.
GRAY HAIR..................................... Hair with decreasing amounts of natural pigment. Hair with no natural pigment is
actually white. White hairs look gray when mingled with pigmented hair.
GRAY CARD RULE........................ A means of determining the level of haircolor to be used on a client with gray hair.
Comparing a clients haircolor to levels on card with shades of black to white give an
indication of how light or dark to make the haircolor. (Chapter.8)
HAIR................................................. A slender threadlike outgrowth on the skin of the head and body.
HAIR ROOT..................................... That part of the hair contained within the follicle, below the surface of the scalp.
HAIR SHAFT................................... Visible part of each strand of hair. It is made up of an outer layer called the cuticle, an
innermost layer called medulla and an in-between layer called the cortex. The cortex
layer is where color changes are made.
HARD WATER................................. Water that contains minerals and metallic salts as impurities.
HENNA............................................. A plant extracted coloring that produces bright shades of red. The active ingredient is
lawsone. Henna permanently colors the hair by coating and penetrating the hair shaft.
(See PROGRESSIVE DYE)
HIGH LIFT TINTING...................... A single process color with a higher degree of lightening action and a minimal amount
of color deposit.
HIGHLIGHTING............................. The introduction of a lighter color in small selected sections to increase lightness of
the hair.
HYDROGEN PEROXIDE............... An oxidizing chemical made up of 2 parts hydrogen, 2 parts oxygen (H2O2) used
to aid the processing of permanent haircolor and lighteners. Also referred to as a
developer; available in liquid or cream.
LEVEL.............................................. A unit of measurement used to evaluate the lightness or darkness of a color, excluding
tone.
LEVEL SYSTEM............................. In haircoloring, a system colorists use to analyze the lightness or darkness of a
haircolor.
LIFT.................................................. The lightening action of a haircolor or lightening product on the hair’s natural
pigment.
LIGHTENER.................................... The chemical compound which lightens the hair by dispersing, dissolving and
decolorizing the natural hair pigment. (See PRE-LIGHTEN)
LIGHTENING.................................. (See DECOLORIZE)
LINE OF DEMARCATION............. An obvious difference between two colors on the hair shaft.
LITMUS PAPER.............................. A chemically treated paper used to test the acidity or alkalinity of products.
MEDULLA....................................... The center structure of the hair shaft. Very little is known about its actual function.
MELANIN........................................ The tiny grains of pigment surrounded by melasome in the hair cortex which create
natural hair color.
MELANOCYTES............................. Cells in the hair bulb that manufacture melanin.
MELANOPROTEIN......................... The protein coating of melanosome.
METALLIC DYES........................... Soluble metal salts such as lead, silver and bismuth produce colors on the hair fiber,
by progressive build-up and exposure to air.
MODIFIER....................................... A chemical found as an ingredient in permanent haircolors. Its function is to alter the
dye intermediates.
MOLECULE..................................... Two or more atoms chemically joined together; the smallest part of a compound.
234
NEUTRAL........................................ (1) A color balanced between warm and cool, which does not reflect a highlight of
any primary or secondary color. (2) Also refers to a pH of 7.
NEUTRALIZATION........................ The process that counter-balances or cancels the action of an agent or color.
NEUTRALIZE.................................. Render neutral; counter-balance of action or influence. (See NEUTRAL)
NEW GROWTH............................... The part of the hair shaft that is between previously chemically treated hair and the
scalp.
NONALKALINE.............................. (See ACID)
OFF-THE-SCALP LIGHTENER..... Generally a stronger lightener (usually in powder form), not to be used directly on the
scalp.
ON THE SCALP LIGHTENER....... A liquid, cream or gel form of lightener that can be used directly on the scalp.
OPAQUE........................................... Allowing no light to shine through; flat; lack of translucency.
OUT GROWTH................................ (See NEW GROWTH)
OVER-LAP....................................... Occurs when the application of color or lightener goes beyond the line of
demarcation.
OVER POROUS............................... The condition where hair reaches an undesirable stage of porosity requiring
correction.
OXIDATION..................................... (1) The reaction of dye intermediates with hydrogen peroxide found in haircoloring
developers. (2) The interaction of hydrogen peroxide on the natural pigment.
OXIDATIVE HAIR COLOR........... A product containing oxidation dyes which require hydrogen peroxide to develop the
permanent color.
PARA TINT...................................... A tint made from oxidation dyes.
PARA-PHENYLENEDIAMINE...... An oxidative dye used in most permanent haircolors, often abbreviated as P.P.D.
PATCH TEST.................................... A test required by the Food and Drug Act. Performed by applying a small amount
of the haircoloring preparation to the skin of the arm, or behind the ear to determine
possible allergies (hypersensitivity). Also called pre-disposition or skin test.
PENETRATING COLOR................. Color that penetrates the cortex or second layer of the hair shaft.
PERMANENT COLOR................... Haircolor products that do not wash out by shampooing, Containing ammonia so as
to have lifting action. A category of haircolor products mixed with developer, that
create a lasting color change.
PEROXIDE....................................... (See HYDROGEN PEROXIDE)
PEROXIDE RESIDUE..................... Traces of peroxide left in the hair after treatment with lightener or tint.
PERSULFATE.................................. In haircoloring, a chemical ingredient commonly used in activators that increases the
speed of the decolorization process. (See ACTIVATOR)
pH...................................................... The quantity that expresses the acid/alkali balance. A pH of 7 is the neutral value for
pure water. Any pH below 7 is acidic; any pH above 7 is alkaline. The skin is mildly
acidic, and generally in the pH 4.5 to 5.5 range.
pH SCALE........................................ A numerical scale from 0 (very acidic) to 14 (very alkaline), used to describe the
degree of acidity or alkalinity.
PIGMENT......................................... Any substance or matter used as coloring; natural or artificial haircolor.
POROSITY....................................... Ability of the hair to absorb water or other liquids. See porosity grading system.
(Chapter 4)
POWDER LIGHTENER.................. (See OFF THE SCALP LIGHTENER)
PREBLEACHING ........................... (See PRELIGHTEN)
PREDISPOSITION TEST................ (See PATCH TEST)
PRELIGHTEN.................................. Generally the first step of double process haircoloring. To lift or lighten the natural
pigment. (See DECOLORIZE)
235
PRESOFTEN.................................... The process of treating gray or very resistant hair to allow for better penetration of
color.
PRIMARY COLORS........................ Pigments or colors that are fundamental and cannot be made by mixing colors
together. Red, yellow and blue are the primary colors.
PRISM.............................................. A transparent glass or crystal that breaks up white light into its component colors -the
spectrum.
PROCESSING TIME....................... The time required for the chemical treatment to react on the hair.
PROGRESSIVE DYES OR
PROGRESSIVE DYE SYSTEM..... (1) A coloring system which produces increased absorption with each application.
(2) Color products that deepen or increase absorption over a period of time during
processing.
REGROWTH.................................... (See NEW GROWTH)
RESISTANT HAIR.......................... Hair that is difficult to penetrate with moisture or chemical solutions.
RETOUCH........................................ Application of color or lightening mixture to new growth of hair.
SALT AND PEPPER........................ The descriptive term for a mixture of dark and gray or white hair.
SECONDARY COLOR.................... Colors made by combining two primary colors in equal proportion; green, orange and
violet are secondary colors.
SEMI-PERMANENT
HAIR COLORING........................... A pre-oxidized hair color requiring no catalyst that lasts through several shampoos. It
stains the cuticle layer, slowly fading with each shampoo.
SENSITIVITY.................................. Skin that is highly reactive to the presence of a specific chemical. Skin reddens or
becomes irritated shortly after application of the chemical. The reaction subsides
when the chemical has been removed.
SHADE............................................. (1) A term used to describe a specific color. (2) The visible difference between two
colors.
SHEEN.............................................. The ability of the hair to shine, gleam or reflect light.
SINGLE PROCESS COLOR........... Refers to an oxidative tint solution that lifts or lightens, while also depositing color in
one application. (See OXIDATIVE HAIR COLOR)
SOFTENING AGENT...................... A mild alkaline product applied prior to the color treatment to increase porosity, swell
the cuticle layer of the hair and increase color absorption. Tint that has not been mixed
with developer is frequently used. (See PRE-SOFTEN)
SOLUTION....................................... A blended mixture of solid, liquid or gaseous substances in a liquid medium.
SOLVENT......................................... Carrier liquid in which other components may be dissolved.
SPECIALIST.................................... One who concentrates on only one part or branch of a subject or profession.
SPECTRUM..................................... The series of colored bands diffracted and arranged in the order of their wavelengths by
the passage of white light through a prism. Shading continuously from red (produced
by the longest wave visible) to violet (produced by the shortest): red, orange, yellow,
green, blue, indigo and violet.
SPOT LIGHTENING....................... Color correcting using a lightening mixture to lighten darker areas.
STABILIZER.................................... General name for ingredient which prolongs life, appearance and performance of a
product.
STAGE.............................................. A term used to describe a visible color change that natural hair color goes through
while being lightened.
STAIN REMOVER.......................... Chemical used to remove tint stains from skin.
STRAND TEST................................ Test given before treatment to determine development time, color result and the
ability of the hair to withstand the effects of chemicals.
STRIPPING ..................................... (See COLOR REMOVER)
236
SURFACTANT................................. A abbreviation for Surface Active Agent. A molecule which is composed of an oilloving (oleophillic) part and a water-loving (hydrophilic) part. They act as a bridge
to allow oil and water to mix. Wetting agents, emulsifiers, cleansers, solubilizers,
dispersing aids and thickeners are usually surfactants.
TABLESPOON................................. 1/2 ounce; 2 teaspoons. (T)
TEASPOON...................................... 1/6 ounce; 1/2 of a tablespoon. (t)
TEMPORARY COLOR
OR RINSES..................................... Color made from preformed dyes that are applied to the hair for short-term effect.
This type of product is readily removed with shampoo.
TERMINOLOGY............................. The special words or terms used in science, art or business.
TERTIARY COLORS...................... The mixture of a primary and an adjacent secondary color on the color wheel.
red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet. Also
referred to as intermediary colors.
TEXTURE, (HAIR).......................... The diameter of an individual hair strand. Termed: coarse, medium or fine.
TINT................................................. Permanent oxidizing haircolor product, having the ability to lift and deposit color in
the same process. Requires a developer.
TINT BACK..................................... To return hair back to its original or natural color.
TONE................................................ A term used to describe the warmth or coolness in color.
TONER............................................. A pastel color to be used after pre-lightening.
TONING........................................... Adding color to modify the end result.
TOUCH-UP...................................... (See RETOUCH)
TRANSLUCENT.............................. The property of letting diffused light pass through.
TYROSINE....................................... The amino acid (tyrosine) which reacts together with the enzyme (tyrosinase) to form
the hairs natural melanin.
TYROSINASE.................................. The enzyme (tyrosinase) which reacts together with the amino acid (tyrosine) to form
the hairs natural melanin.
UNDERTONE.................................. The underlying color in melanin that emerges during the lifting process and
contributes to the end result. When lightening hair, a residual warmth in tone always
occurs.
UREA PEROXIDE........................... A peroxide compound occasionally used in haircolor. It releases oxygen when added
to an alkaline color mixture.
VALUE............................................. (See LEVEL; DEPTH)
VEGETABLE COLOR..................... A color derived from plant sources.
VIRGIN HAIR.................................. Natural hair that has not undergone any chemical or physical abuse.
VISCOSITY...................................... A term referring to the thickness of a solution.
VOLUME......................................... The concentration of hydrogen peroxide in water solution. Expressed as volumes of
oxygen liberated per volume of solution. 20 volume peroxide would thus liberate 20
pints of oxygen gas for each pint of solution.
WARM.............................................. A term used to describe haircolor. Containing red, orange, yellow or gold tones.
237
“It doesn’t matter if your client looks dreadful
during the haircolor service as long as she looks
like a beauty at the end of the service.”
238
Jan Caruso, Evaluator
17
chapter
HAIRCOLORING
TOOLS AND
MARKETING
TERMS
Revised March, 2009
Some haircolorists are never satisfied unless they
are adding new colors to their shelves. . . . This
is not good for the haircolorist but it is quite
good for the manufacturer of haircolor.
240
Chapter 17 Haircoloring Tools and Marketing Terms
Thia Daniels, Evaluator
1
MARKETING TERM
BALAYAGE
BAN DE SOLEIL
DEFINITION
2
BLONDE ON BLONDE
A technique utilized to create a blend of blonde shades on the same head of hair. May
be utilized on a natural blonde or on someone that is coloring their hair blonde gives
the hair a dimensional effect.
3
BROWN ON BROWN
A technique utilized to add dimension to a solid brown form by adding additional
lightness with a mild contrast.
4
CARAMELIZING
See term "Tortoise Shelling"
5
COLLAGE
A mixture of colors weaving through the hair, generally achieved by various stages of
lighting.
6
COLOR ON COLOR
7
FOILING
Referring to applying foils to the hair to create a dimensional effect.
8
FRAMING
Lightness around the face generally achieved by utilizing a dimensional color effect.
9
FUR LIGHT
Achieved on short hair that is standing out from the head like a porcupine. The hair is
bleached then a dark color added to the ends. Also known as "Minking".
10
FROSTING
A method of lighting individual strands of hair. This term is generally associated with
a cap that is placed on the head and the hair pulled through.
Touched by the sun. Lightness the way the sun would do it. This process is generally
utilized on lighter hair and is accomplished with a form of hair painting.
The use of no lift color on the hair making the hair darker.
11 GLAZING
A deposit only color applied over a highlight. Can also be a lifting toner to change the
natural color slightly.
12 GRABBING
With gloved hands, bleach or tint is painted on the hands, then you grab the hair
depositing the tint or bleach in an irregular pattern. (see scrunching)
241
242
MARKETING TERM
DEFINITION
13 GRAY REDUCTION
Adding additional natural color to gray hair to reduce the amount of gray.
14 HALOING
Creating a halo by lightening only the hair around the face on short hair, creating a
halo effect.
15 HIGH-LOW LIGHTING
Lightening isolated strands and darkening strands on the same head at the same time.
16 ICICLING
Color or lightener added to the ends of highly teased hair.
17 ICING
Adding light strands to resemble gray hair.
18 INNER GLOW
Bleaching only the hair close to the scalp on dark hair.
19 LOW LIGHTING
A corrective technique used to tone down overly lightened hair by adding a
darker color to selected strands. The opposite of Highlighting.
20 MARBLIZING
Thin ribbons of lighter hair weaving through darker natural hair.
21 MINKING
Darker hair at the scalp, lighter color on the endshair. Imitating a mink.
22 NATURALIZING
A technique using several colors within the same natural range.
23 NUANCES
A technique adding delicate shadings; reflections in a dimensional effect.
24 PAINTING
Painting color or bleach on the hair with an artists brush. Also known as hair painting.
MARKETING TERM
DEFINITION
25 REVERSE HIGHLIGHTING
Doing a highlighting in reverse. The addition of a darker color to previously lightened
hair. First isolating some of the blonde strands, then coloring all of the remaining hair,
creating a highlighting effect.
26 SCRUNCHING
Painting color or bleach on gloved hands and scrunching the hair. This technique is
done on dry backcombed or permed hair, allowed to process then shampoo off.
27 SHADING
The subtle blending of lighter to darker colors.‑
28
SHADOWING
Applying a darker color on the scalp then staggering the color out toward the ends.
29 SLICING
A foil technique placing long, fine, thin strands in the foil.
30 SHOE SHINING
Painting a layer of bleach or color on a long strip of foil and transferring it on to the
hair as if you would if using a shoe shine rag.
31 STREAKING
Larger more well defined strands of hair.
32 TIPPING
A form of lightening at the ends of the hair, rather than the entire shaft.
33 TONE ON TONE
Changing the natural haircolor or covering gray, then adding lighter strands.
34
TORTOISE SHELLINGDifferent amounts of tortoise colors added to a brown head of hair, aka Caramelizing.
35
WEAVE
The action of the rat tail comb, used for selecting strands for dimensional haircoloring.
243
TOOLS
1
COLOR RODS
A tool that resembles a perm rod used for reverse highlighting.
2
FOIL TECHNIQUE
The use of aluminum foil for isolating segments of hair for bleaching or coloring.
3
SUPER STREAK CUPS
A cup shaped device used to isolate and contain strands for coloring or lightening.
4 PAPER WRAPS
Paper wraps used in conjunction with color sleeves or for isolating hair strands for bleaching or coloring.
5
TAIL COMB
A comb with a pointed end used to weave out and section hair.
6
CROCHET HOOK
A small device with a hook on the end used for pulling hair through a cap.
7 FROSTING CAP
8
9
A plastic, rubber or foam cap that fits snugly over the head. Once in place, hair is pulled
through and lightener or color is applied to the hair outside the cap.
COLOR SLIPS
Coated paper used to isolate selected sections of hair.
LITHO PADS OR TRANSFER
PADS
Pressed cotton pads used to isolate selected strands of hair to be lightened or colored.
10 COLOR SPATULA
A specialized color tool used to distribute powder bleach through the hair.
11 COLOR EASEL
A plastic or masonite board used to support the section of hair to be lightened
or colored with foil or paper wraps.
12
244
DEFINITION OF TOOL
PLASTIC APPLICATOR
A pliable, squeeze bottle used to apply all types of color and lighteners.
TOOLS
DEFINITION OF TOOL
13 PLASTIC WRAP
Transparent, reusable or disposal plastic sheets used to isolate selected sections of hair.
14 TINT BOWL
A container used to mix color or lightener.
15 TINT BRUSH
A tool used to apply color or lightener to the hair, used in conjunction with a tint bowl.
245

comprehensive, generic haircolor study guide

Transcription

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