TM

TABLE OF CONTENTS

Mission Statement

Introduction to Haircoloring

Acknowledgements

Accreditation Committee Objectives

STUDY MATERIAL INFORMATION,WRITTEN EXAMINATION

Haircolor Chemistry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Identifying Natural Haircolor . . . . . . . . . . . . . . . . . . . . . . . . . 2

Physiological Aspects of Haircoloring. . . . . . . . . . . . . . . . . . . 3

The Study of the Porosity of Hair . . . . . . . . . . . . . . . . . . . . . . 4

Coloring Textured & Chemically Treated Hair . . . . . . . . . . . . 5

Guideline for Perming Hair Treated with Haircoloring . . . . . . 6

Psychology of Haircolor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Coloring Gray Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

STUDY MATERIAL INFORMATION,PERFORMANCE EXAMINATION

Instructions for Preparation of the Mannequin & Swatches . . . 9

Performance Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Performance Criteria and Evaluation Score Sheets . . . . . . . . 11

Performance Examination Questions . . . . . . . . . . . . . . . . . . . 12

STUDY MATERIAL INFORMATION,INTERACTIVE ASSESSMENT EXAMINATION

Interactive Assessment Examination . . . . . . . . . . . . . . . . . . . 13

SCORING THE PERFORMANCEEXAMINATION

Performance Examination Evaluation Process . . . . . . . . . . . . 14

Techniques Defined. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Glossary of Haircoloring Terms. . . . . . . . . . . . . . . . . . . . . . . 16

Haircoloring Tools And Marketing Terms . . . . . . . . . . . . . . . 17

TABNUMBER

THE AMERICAN BOARD OF

CERTIFIED HAIRCOLORISTS

MISSION STATEMENT

THE AMERICAN BOARD OF CERTIFIED HAIRCOLORISTS is dedicated to the develop-ment of a standardized criteria in certification, promoting credibility and consistent quality inthe professional haircolorist.

Bringing predictability and ethical professional behavior for the well-being of the consumer andenhancing 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 creatingopportunity for success and a prosperous future.

Totally devoted to supporting and endorsing the status of the Board Certified Haircolorist, witha goal to overcome the inadequacies of the past and become an integral part of the future evolv-ing professional haircolorist.

INTRODUCTION

The certification of haircolorists has been a vision of many professionals in our industry. With a goal toestablish 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 needfor a common language among haircolorists. Manufacturers, haircolorists and organizations dedicated to the art ofhaircolor were consulted to develop a consensus of terms pertaining to proper language, techniques and testprocedures needed to accomplish our vision. After all background research was completed, the committee set forthto create the exam.

Dr. Richard Resurreccion, a professor of vocational education, acted as an advisor to our committee. He wasinstrumental in establishing the examination to certify paramedics for the Los Angeles Fire Service. Thesequalifications 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, and feel theexamination has been a valuable educational experience. A method of feedback has been established to show thecandidates 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 innerworkings of haircolor. It is our hope these materials will become the standard by which haircolor is taught andevaluated.

The title, Board Certified Haircolorist, will set qualified individuals apart from the masses and establish ahigher level of professionalism and credibility for the consumer. As in all professions, the consumer will seek outthose certified for their expert knowledge and service excellence.

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 Parton, 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.

• 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 THECERTIFICATION COMMITTEE

It is important that the examinations are professionally conducted in an efficient manner and generallymeet or exceed accepted testing standards. There must be strong evidence that the written examination andperformance tasks, 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 wellprepared and of high quality. Moreover, the open examination procedure allows non-candidates to observethe 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; theyrequire formal documentation necessary for defense against failed candidates. It is necessary to validatematerials, instructions and procedures to make certain they conform to professional test constructiontechniques.

SUMMARY OF THE COMMITTEE OBJECTIVES

OBJECTIVE #1Document a task analysis for each work sample. Specify relation of tasks to rating scale. Verify testprocedures with a professor of vocational education.

OBJECTIVE #2Determine the extent to which candidates are provided information before the examination.

OBJECTIVE #3Implement a formal procedure for feedback to candidates who have failed the examination and be able tocomment on areas of weakness.

OBJECTIVE #4Determine a method by which Evaluators are selected, qualified and trained.

OBJECTIVE #5Construct a test manual for Evaluators that standardizes instructions.

OBJECTIVE #6Address the needs of candidates for whom English is not their primary language.

OBJECTIVE #7Evaluate and analyze the testing process on an annual basis.

OBJECTIVE #8Construct a general test administration manual for candidates.

OBJECTIVE #1Document a task analysis for each work sample. Specify relation of tasks to rating scale. Verify testprocedures with a professor of vocational education.Ensuring validity in performance examinations is no different from ensuring validity in written examinations. Itrequires careful adherence to an examination development process. Content validity is a necessity of professionalcertification examinations. To ensure content validity one needs to follow a comprehensive job analysis and utilizethe certification committee to review and approve the examination process. It is also necessary to review theexamination tasks annually to ensure validity and update, if necessary.

OBJECTIVE #2Determine 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 tothe examination. Candidates should receive current information and be aware of what work samples will beincluded in the examination. They should also have a clear understanding of the materials needed to bring to theexam.

OBJECTIVE #3Implement a formal procedure for feedback to candidates who have failed the examination, and be able tocomment 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 andany 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 behavioralobservations. The criteria will provide a defense mechanism to address any issues of unfair scoring.

OBJECTIVE #4Determine 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 practicalexaminations. Evaluators are trained, monitored and assessed regularly to maintain scoring consistency.

OBJECTIVE #5Construct 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 aredesigned to measure the knowledge, composure, and confidence of the candidate. The oral questions contribute toa portion of the performance examination score. The Evaluator manual will specify exact terms to be used to askquestions, as well as the acceptable and unacceptable answers. The way a question is presented, and how muchrestating, leading, or prodding should be clearly outlined to reflect predictable grading. Simulation questions willbe constructed using committee members so that all of the alternatives are relevant and plausible. The test manualincludes the necessary forms and rating system. The evaluators must be prepared to defend their scores when askedby the candidates for an explanation. The candidate must feel that he or she was treated fairly and with the utmostconsideration.

OBJECTIVE # 6Address 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: Additionaltime, use of a dictionary, or the use of an interpreter.

OBJECTIVE #7Evaluate 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 #8Construct 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.

HAIRCOLOR CHEMISTRY

• Haircolor

• Bleaches

• Hydrogen Peroxide

1chapter

Revised 4/16/99

There are many different types of haircoloringproducts available. They include pigmented shampoos,weekly rinses, semi-permanent, permanent lift/deposithaircolor and deposit-only haircolor. The focus of thischapter is permanent lift/deposit haircolors.

1

The weekly rinse or temporary haircolor is primarilyused to add color to gray hair, faded blondes or brassyhair. This haircolor is not generally used to cover gray. Itdoes not have the ability to lighten hair. The color isapplied at the shampoo bowl and left in the hair. Thecolor will rub off if applied excessively.

2

Semi-permanent haircolor is not mixed with acatalyst. It is simple to use because the color you see is thecolor you get. It is a direct dye and does not requireoxidation for the color to stain the hair. In areas where thehair is more porous, this type of color will show greaterintensity. Caution must be exercised when utilizing asemi-permanent haircolor on porous hair; it can stain thehair permanently.

3

Deposit-only haircolor utilizes oxidative and direct dyes,and requires a developer. The catalyst is generally a low volumeoxidative solution. Deposit only/demi-permanent haircolors arelonger lasting than semi-permanent haircolor. The majordistinction between semi-permanent and deposit only/demi-permanent colors is that a catalyst is required with deposit onlyand demi permanent color. NOTE: Some deposit onlyhaircolors may create a small degree of lift.

4

2

Permanent (lift/deposit) haircolors are available in avariety of forms: Gels, liquids and creams. They arepackaged in tubes, as well as bottles. The majority utilizeequal parts of peroxide, although some utilize a one to tworatio of haircolor to peroxide. Permanent haircolor worksin basically the same manner; they create a certain degreeof lift and deposit. Permanent haircolors are the onlyhaircolors that are formulated to lighten hair.

The international system of defining the lift/depositratio of haircolor is called the level system. The levelsystem gives the haircolorist an indication of the lift/deposit ratio in a bottle or tube of haircolor. Althoughmost manufacturers of haircolor products utilize the levelsystem, not all manufacturers utilize the same levelsystem. When comparing products that are labeled thesame level from two different manufacturers, thehaircolorist must be aware that the product could vary asmuch as two levels. It may not produce the same results.

6

A RULE TO REMEMBER WHEN CHOOSING ACOLOR IS:

The darker the color, the smaller the number. Thismay vary depending on the manufacturer. Some start with#0, others with #1. The same variance can be found on theother end of the scale. Some manufacturers choose to use#10 as the lightest haircolor, while others choose to use#12. Permanent haircolor contains ingredients whichcreate lift and color deposit.

7

The lift/deposit ratio in a container of haircolor isdefined by this chart. This chart depicts the relationshipbetween lift and deposit.

8

5

3

0 1 3 4 5 6 7 8 9 10 11 12

12

A haircolor product with a low number is indicatinga small amount of lift and a corresponding greater amountof deposit.

9

The level system is one tool the haircolorist can useto determine what color to choose when formulating fora client. If there is a greater number of levels in a line ofhaircolor, there is a smaller difference between thoselevels. In some of the highlift colors there could be aslittle as one tenth of 1% color deposit. PLEASE NOTE: Level systems will differ AMONGMANUFACTURERS.

10

Another way of looking at haircolor is theconcentration of color deposit as seen in this prop. Thelevel 10 haircolor has the least amount of color deposit.As the numbers decrease, there is a greater concentrationof color deposit.

11

Permanent (lift/deposit) haircolor contains dye, alkalinesubstances, conditioners, stabilizers, fragrance detergents andemulsifiers. These are all utilized in various proportions tocreate the vast numbers of haircolors that are available to thehaircolorist. The advantage of professional haircoloring isgreater selection, professional formulation and professionalapplication techniques.

4

DyesAlkali

DetergentsEmulsifiers

ConditionersStabilizersFragrance

The level system only indicates lift/deposit ratio. The toneor shade defines the actual color and is generally listed on theproduct. Manufacturers often add a letter or series of numbersto identify level and indicate tone. While this information isprovided to help the haircolorist determine formulation, thefinal color is determined by a number of factors that the coloristmust consider: Category of natural haircolor, presence/amountof gray hair and condition of the hair. The colorist cannot relyon level and tone indicators from a manufacturer alone toaccurately predict a final color.

A variety of terms are used to describe the tone of ahaircolor. Neutral, natural, drab, gold, ash, smoky, red, andauburn red, to mention a few. It is important to know thedegree of concentration of the tone. For example: The coloridentified as gold could be a very intense yellow gold, orhave slightly more gold than a neutral. Working with thecolor and making swatches will help recognize the actualcolor.

14

Hydrogen peroxide is the catalyst that causespermanent haircolor to work. A qualified haircoloristshould be able to utilize various volumes of peroxides.Twenty (20) volume peroxide is the typical developerused in most cases. Clients with sensitive scalps may notbe able to withstand additional activity from highervolume peroxide.

15

Higher volumes of peroxide are utilized when agreater degree of lift is desired. As the volume ofperoxide increases, the color deposit diminishes. Theopposite occurs when the volume of peroxide is lowered.

16

13

5

When haircolor is mixed with peroxide, a chemical actiontakes place. The higher the level of color (more lifting action),or the higher the volume of peroxide, the more aggressive thechemical reaction. The lower the level of color (more colordeposit), or the lower the volume of peroxide, the lessaggressive the chemical reaction. When first mixed, thechemical reaction is most active. When the formula is appliedto hair, the peroxide and ammonia begin to dissipate. The colorremaining in the bowl or applicator bottle is oxidizing at aslower rate than the product applied to the head.

17

Hydrogen peroxide affects the lifting and depositingcycle of the haircolor process. The majority of the liftingoccurs during the initial stages of the application and willcontinue to a lesser degree during the entire haircoloringprocess.

18

The amount of color deposit is attributed to the amountof color in the formula. If coverage of gray hair is desiredand does not occur, it is possible the level of color beingused does not contain enough color deposit. There isn’tenough color in the higher level of tints to cover gray haircompletely. The level of color being used should be thefirst consideration when gray coverage is poor. If there isample color in the formula and the gray hair is still notbeing covered, the hair itself would be considered resistant.

19

An alkali contained in the color product swells thecuticle and allows the haircolor to penetrate. Thecombination of hydrogen peroxide with an alkali createsa chemical reaction, which breaks down the melanin anddevelop the dyes. Depending on the level of color, thecolor will penetrate further into the hair on subsequentapplications.

20

6

6 5 4 3 2 1

Applications

Hydrogen peroxide in combination with an alkali isresponsible for releasing peroxide free radicals they breakapart the melanin causing it to diffuse and give the hair aslightly lighter appearance.

It is important to know the relationship betweenvolume and percentage when discussing peroxides.Hydrogen peroxide manufactured for haircolor use islabeled according to strength. In the United States,peroxide strength is stated as a numeric value followed bythe word “volume”; e.g. 20 volume peroxide. In othercountries such as England and Canada, peroxide strengthis measured and labeled by percentage; i.e. 6% peroxide.

3% - 10 volume 6% - 20 volume9% - 30 volume 12% - 40 volume

22

Soap bubbles are used to illustrate one volume ofperoxide. One volume is a container filled with air. Thatmakes one volume of oxygen.

23

These bubbles simulating oxygen are forced to thebottom of the glass by compressing the oxygen with aram. This would make one volume of peroxide.

24

21

7

This simulated bottle of peroxide would representone volume of peroxide with the oxygen squeezed to thebottom.

25

This is another container filled with bubblesrepresenting oxygen in place.

26

The ramming process is repeated again, pushing theram down to the bottom of the glass. This gives twovolumes of oxygen. If this is done twenty times, yousqueeze twenty volumes of air into this glass. This givesthe container 20 volume peroxide or 6% peroxide.

27

All of the oxygen that was squeezed into the bottomof this container takes up 6 percent of the container, thusthe term 6% peroxide. Three (3)% is 10 volume, 6% is 20volume. For every additional 3% add 10 volume.

NOTE: This is not the method used to actually makeperoxide. This prop is used only to aid the reader to betterunderstand the volume/percent ratio.

28

8

The oxygen attempting to escape is what makesperoxide an unstable solution. The more oxygen in thecontainer, the more unstable the solution. The maximumamount of oxygen in peroxide is 35%, 130 volume. Thereare no laws which regulate the volume of peroxide acosmetologist may use.

Pour 4 ounces of 20 volume peroxide into one glass.Pour 4 ounces of 5 volume peroxide (1 oz. of 20 volumeperoxide and 3 oz. of water) into the second glass. Thecontents of both glasses appear the same.

29

In the previous experiment, the difference instrengths of peroxide was explained. This is anotherexample of how different volumes of peroxide react. Thephysical appearance of varying strengths of peroxide isidentical to water, making it impossible to identify itsstrength by sight alone. In this experiment, an equalamount of a product that releases oxygen (containscatalyze) is added to the peroxide. This additive willdecompose the peroxide, releasing all of its oxygen.

30

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 morebubbles, the more activity in the product. Both of thesevolumes will stop working at the same time. The 20volume peroxide generates more activity than the 5volume peroxide.

31

The difference between 5 volume and 20 volumeperoxide is apparent when the peroxide is completelydecomposed. The 20 volume peroxide has much moreactivity, which can clearly be seen from the photograph.This experiment helps gain a better insight on howperoxide decomposes.

32

9

Utilizing Alka-Seltzer, another prop has been devisedto indicate how peroxide decomposes. The Alka-Seltzeris broken into quarters.

33

An equal amount of water is placed into each of theglasses as marked. The Alka-Seltzer is then put into theglasses at the same time. The 40 volume glass has fourtimes as many sections of Alka-Seltzer as the glassmarked 10 volume, and the 20 volume has twice as manyas the 10 volume.

34

The action of the different volumes of peroxide canbe seen in this prop. The 40 volume peroxide reacts withmuch more intensity than does the 30, 20, and 10respectively.

35

All of the peroxides stop working at the same time.The 40 volume does not continue working twice as longas the 20 volume, but works twice as strong. Furtherexplanation of how peroxides affect lifting action will bedemonstrated later in this chapter.

36

10

Lift/deposit action of a haircolor may be altered by the useof a higher volume peroxide. If a haircolor is formulated to beutilized with 20 volume, the lifting action is increased as muchas one level by increasing the volume of peroxide to 30volume. This also, affects the deposit of color; the more liftingaction, the less color deposit.

37

The strength of peroxide may be decreased by dilutingit with distilled water. The formula for diluting peroxide is:

1 part 20 volume peroxide1 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 volume60 volume divided by 2 = 30 volume

A hydrometer may also be used to measure the volumeof liquid peroxide.

38

Heat affects lifting action in the same manner thathigher volumes of peroxide affect haircolor. The additionof heat to a color formula increases the lifting action. Asa result of the lifting action, it is important to rememberthat color deposit will be less; similar to the action whenhigher volumes of peroxide are used. Powder bleach isapplied to this strand and will process at roomtemperature for 30 minutes.

39

For this strand, a new mixture of bleach was mixed atthe same strength and allowed to process for 30 minutes.We added heat while the hair was processing. Thetemperature was raised to 80 degrees with the use of aheat lamp.

40

11

1 1/2 ounce20 vol.

1 ounce20 vol.

1/2 ounce20 vol.

Add 1/2 oz.water

15 vol.

Add 1 oz.water

10 vol.

Add 1 1/2 oz.water5 vol.

The same process was repeated with five differentswatches. The temperatures were raised with the heatlamps to 80, 90, 100, and 110 degrees. Each strand wasallowed to process for 30 minutes, with the same strengthbleach mixture. The result of this experiment shows thedegree of lightness achieved by the various degrees ofheat. The heat settings on the typical hair dryer are; cool-80 degrees, low-90 degrees, medium-100 degrees, andhigh-110 degrees.

41

Another experiment shows how lightening action isaffected by the various volumes of peroxide. Each of thebatches of bleach were mixed with 5, 10, 15 and 20volume peroxide. Each batch of bleach was mixed withexact proportions. The four groups of four swatches weresaturated with bleach.

42

The swatches were covered with foil and allowed toprocess. The swatches were shampooed at intervals of 15minutes, 30 minutes, 45 minutes and 60 minutes.

43

This shows the result of that experiment. Note howthe strands become closer together in color as timeincreases. As the processing times increase, the bleachingslows down considerably. The graph on the next pageexplains how this process occurs.

44

12

Nat 80 90 100 110

15Min.

30Min.

45Min.

60Min.

5volume

10volume

15volume

20volume

20 Vol.15 Vol.10 Vol.5 Vol.

The longer the bleach is on the hair, the slowerbleaching action becomes, regardless of the startingstrength of peroxide. The strength of peroxide has agreater effect on the bleaching action initially; thenslowly it diminishes. Powder bleach will lighten evenwhen mixed with water.

45

A foil packet is utilized when lightening selectedstrands of hair to keep the strands isolated. This methodserves to confine the bleach mixture, keeping the productmoist and active for a longer period of time.

46

In this experiment, powder bleach was used to showdifferences in bleaching action. When using cremeperoxide, less bleach is present in the mixture. If a highervolume creme peroxide is used, greater bleaching actionwill not be achieved. The bleach itself is the stronger ofthe two ingredients.

47

This experiment shows the differences in using thevarious volumes of peroxides. Three sets of swatcheswere processed with three different formulas of bleachmixed as follows:

1. One part 20 volume liquid peroxide to two partspowder bleach.

2. One part 40 volume liquid peroxide to two partspowder bleach.

3. One part 40 volume creme peroxide to one partpowder bleach.

48

13

The swatches were removed at 30 minutes,60 minutes and 90 minutes. One of the swatchesprocessed for four hours. Once again the processing timesresulted in the color coming closer together the longer thebleach was on the hair. The swatch bleached for fourhours wasn’t much lighter than the 90 minute swatches.

49

The same type of experiment was performed using ahigh-lift tint. The purpose of this experiment was todetermine how long high-lift tints stayed active and todetermine the difference between the proportions andvolumes of peroxides. The batches were mixed in thefollowing manner:

1. High-lift tint with equal parts of 20 volumeperoxide.

2. High-lift tint with double parts of 40 volumeperoxide.

50

The swatches were thoroughly saturated and allowedto process.

51

The first set of swatches were removed after 30minutes, the second set after 60 minutes and the third setafter 90 minutes. The color of the three groups ofswatches became apparent, ect. The color of the threegroups of swatches became closer the longer the tintstayed on the hair. It is apparent that tint formulascontinue lightening the hair over a long period of time.The swatch that processed for four hours is evidence ofthis. Most of the lightening action created by the variousvolumes of peroxide occurred with the first 30 minutes.

52

14

30Minutes

60Minutes

90Minutes

4Hours

Natur

al H

air

20 V

olum

e Cre

me

40 V

olum

e Li

quid

40 V

olum

e Cre

me

Natur

al H

air

Equal

20

Doubl

e 40

Equal

20

30Minutes

60Minutes

90Minutes

4Hours

The length of time a bleach continues to work isaffected by how rapidly the alkali and the peroxidedissipates. If the solution is contained in a foil packet,between papers, or cellophane wrap the bleaching actionwill continue to stay active over a longer period of time.Once bleach mixture becomes dry, it no longer continuesto work.

53

The materials used to form packets seems to beirrelevant. As long as the bleach is enclosed in a mannerto keep it from drying out, the bleach will continueworking. Here, various strands were enclosed in shinyside foil, dull side foil, papers, saran and one was leftuncovered.

54

The result of the hair strands being bleached invarious forms of materials is irrelevant. The only swatchthat is visibly not as light, is the swatch left uncovered.The same bleach was applied to all of the swatches andprocessed for the same amount of time.

55

A comparison was made with enzymes, 20 volumeperoxide and a deposit only processing lotion. Thepurpose was to determine the amount of oxygen in eachof these products.

56

15

SaranUncovered

Foil Shiny PaperFoil Dull

SaranUncovered

Foil Shiny PaperFoil Dull

SaranUncovered

Foil Shiny PaperFoil Dull

PeroxideDepositOnly

ProcessingLotion

Enzyme

A product containing catalyze was poured into thebeakers. The amount of foaming action will determinehow much oxygen is present in each of these products.

57

The results of this test are apparent: The 20 volumehas the most oxygen followed by the enzyme. The depositonly catalyst has the least amount of oxygen.

58

To further compare the enzyme, we mixed theenzyme and 20 volume peroxide with powder bleach.Each was allowed to process for 30 minutes

59

The result shows that the enzyme strand is slightlylighter than the 20 volume peroxide. The reader willreach his/her own conclusion from this experiment.

60

16

Peroxide

DepositOnly

ProcessingLotion

Enzyme

PeroxideDeposit

OnlyProcessing

Lotion

Enzyme

PeroxideNatural Enzyme

Many of the tools printers use are helpful tounderstand haircolor formulation. Printers have to dealwith similar problems as haircolorists in their work. Theyare applying inks which are transparent, to coloredpapers. The color of paper being used is placed below theformulated color to view how the print will appear.

61

Another printer’s tool contains thousands of colorsand the formulas, containing percentages of each of theprimary colors used to achieve each color. It’s anexcellent training tool for learning the primary colors,and how different colors interact with each other.

62

This chapter should encourage every Board CertifiedHaircolorist to take the time to perform individualexperiments. Learn about the products you work with.By doing so, you will be better prepared to deal withcritical decisions when working with clients.

63

??

17

IDENTIFYINGNATURALHAIRCOLOR

• Haircolor Categories

• Stages of Lightening

• Rules of Natural Haircolor

• Color Formulations

• Recommended Techniques

2chapter

Revised 1/4/99

Natural haircolor, texture and abundance are alldetermined by DNA genetic coding.

1

Natural haircolor changes as one matures. Researchindicates that worry, stress, fright, or trauma have little todo with this.

2

Natural haircolor is determined by the genes of one’sparents. Occasionally, certain haircolors will skip ageneration.

3

Although the parents in this family have no history ofred hair, they have an offspring who has red hair. The redhair can be traced back a generation. In this family, wehave the entire spectrum of haircolors. As the childrenmature their natural haircolor differences will lessen.

4

2

Although the ‘level system’ has been an accepted method for identifying natural haircolor, the‘CATEGORY SYSTEM’ takes this one step further inrefining the process of identifying natural haircolor.

5

The world’s population is divided into fourcategories. Each category has its own personality andwill respond to haircolor differently. Understanding thefour haircolor categories is essential reference materialduring a client consultation.

6

Often, clients describe their haircolor based onmemories from high school; this is indicative of how theysee themselves and is a factor when determining a newhaircolor. Hair darkens as one grows older, but theundertones are based on childhood haircolor.

7

The first of these categories is DARKBROWN/BLACK (B) category. These are individualswho were born with dark hair; and their hair remainsunchanged throughout their lifetime, until they begin togray.

8

3

The next category is WARM BROWN (W). Theindividuals in this category are born with blonde or sandybrown hair, and their hair darkens to a brown shade beforethey reach their teens. Someone in the W category would notconsider themselves blonde in high school, although theirhair could lighten considerably from the sun.

9

SOFT BROWN (S) category individuals are bornblonde. Their hair remains blonde into their teenage yearsand may remain blonde into their twenties and thirties.They consider themselves as blonde during their highschool years. Their hair sometimes may begin to darkenwhile they’re in high school.

10

The last category is the RED (R) category. These arethe individuals who consider themselves red heads duringtheir teen years. Those who are reddish blonde duringtheir toddler years, but whose hair turns dark before theirteens would be placed in the warm brown category.

11

Each category can be broken down into three sub-categories. Individuals in the B category: B1, B2 and B3can be compared to levels 1, 2 and 3.

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4

B category clients generally have natural haircolorwith cool tones. These clients generally don’t like thewarm tones that occur when lightening their hair, and willoften allow their hair to gray without coloring.

As gray hair becomes a dominant factor in the overallhaircolor (30% or more), the hair may be colored toachieve a minimum of warm tones. It is possible whenclients are in the B-3 category (level 3), and have aminimum amount of gray, blonde highlights may beplaced in the hair. Lightening the remaining hair slightlyafter the highlighting removes the cool tones and adds apleasing contrast to the highlights. Sub categories B-1and B-2 are not good candidates for highlighting.

14

The ‘B’ category goes through the following stages toreach palest yellow blonde:

1. Dark brown2. Dark reddish brown3. Reddish brown4. Medium reddish brown5. Light orange red6. Gold orange

15

Individuals in the ‘W’ category have parents whosenatural haircolor varies widely. One parent may be fromthe B category, the other from the S category; this mayproduce a W offspring. These genetic influences producea W whose red undertones are not as strong. This mothercan recall having haircolor the same as her child.

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13

5

7. Gold8. Light gold9. Yellow

10. Pale yellow blonde 11. Palest yellow blonde

DarkBlack

DarkReddishBrown

ReddishBrown

MediumReddishBrown

LightOrange Red

GoldOrange

Gold

LightGold

Yellow

PaleYellow Blonde

PalestYellowBlonde

The W category clients are generally more acceptingof warm tones, because their hair lightened from the sunin their high school years. They are good candidates forred hair colors.

17

The following information describes how to determinein which sub-category a W category client would be placed.The W-1 category (level 4) would place the client’s hairturning brown by age 5. The W-2 category (level 5) wouldplace the client’s hair turning brown by age 10. The W-3category (level 6) would place the client’s hair turning brownby age 13. Although only 15% of the worlds populationhave hair in the W category, this group accounts for 35% ofsalon haircolor clients.

18

It is impossible to determine the amount of undertoneby observing only the surface color. You must investigatethe changes the haircolor has gone through. During theconsultation, questions asked regarding the color of thehair as a young child and at what age the hair started todarken will give an indication of how that hair willrespond when lightened.

19

The W category (warm brown) goes through lessstages than the B category (dark brown/black). They areas follows:

1. Medium warm brown2. Light golden brown3. Dark golden blonde4. Medium golden blonde5. Light golden blonde6. Yellow blonde7. Pale yellow blonde8. Palest yellow blonde

20

6

MediumWarmBrown

LightGoldenBrown

DarkGoldenBlonde

MediumGoldenBlonde

LightGoldenBlonde

YellowBlonde

PaleYellowBlonde

1 yr. 5 yr. 9 yr. 13 yr. 15 yr. 18 yr.

W-1

1 yr. 5 yr. 9 yr. 13 yr. 15 yr. 18 yr.

W-2

W-3

1 yr. 5 yr. 9 yr. 13 yr. 15 yr. 18 yr.

PalestYellowBlonde

Here are four children in the warm brown category.This is typical of both parents being warm brown.Although the sub-categories vary slightly, they all fallinto the warm brown (W) category.

This combination of parentage has produced twochildren in the W category. Tracing the parents color backto their childhood, the mother was a W-3, while the fatherwas a W-2. The mother colors her hair. Note the lack ofwarm tones coming from her single process color. Youcan anticipate the haircolor of the children becomingmuch the same as the father’s hair.

22

The two children in this family have haircolor similarto that of each parent. The son’s haircolor is reminiscentof his mother’s childhood haircolor; likewise, thedaughter’s haircolor is similar to her father’s when he wasyoung. The mother is in the W-2 category with dominantwarm tones. The father is in the S-1 category with fewwarm tones. It’s a common trait for children to reflect thehaircolor genes from one parent.

23

If a child is born with sandy brown hair, but the hairdarkens at a young age, he would still be placed in the Wcategory. This child’s hair lightens easily from the sun. Achild in the dark brown category would not lighten fromthe sun in this manner. These undertones are not the sameas the B category.

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7

Undertones determine if the client is a good prospectfor highlighting. Clearly some natural haircolors that aredark and cool do not make a flattering background for warmhighlights. Altering the background color can make thehighlights more flattering.

25

W category clients appear to lose all of the warmth intheir hair as they begin to gray. Their hair first starts tobecome flat and lifeless, and continues to lose warmth asthe gray hair appears. However, coloring with permanent(lift/deposit) haircolor will create warm undertones if thelevel is lighter than their natural haircolor.

26

The S category (soft brown) is the lightest of the fourcategories. Generally, at least one of the parents is in theS category if any offspring are in the S category.

27

Approximately 9% of the world’s population are inthe S (soft brown) category. People in the S categoryconsider themselves blonde, and do not adjust well whentheir hair begins to darken. For this reason, S categorypeople account for 50% of salon haircolor clients. Theirgoal is to remain blonde.

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8

SOFT BROWN CATEGORY “S”

Percent OfColourClients

50%

Percent OfWorld

Population

9%

S category clients will go to any means to keep theirhair blonde. They will use lemon juice spray onlighteners, or pull a cap over their head and use a homefrosting kit. Those who can afford it will go into the salonto have their hair professionally colored. These clientsstart the haircoloring habit early, and will continue tocolor their hair for the remainder of their lives. This iswhy there are a large percentage of haircolor clients.

29

The soft brown (S) category goes through fewerstages of decolorizing than the W or B categories. Theyare as follows:

1. Light brown2. Dark golden blonde3. Light golden blonde4. Yellow blonde5. Pale yellow blonde6. Palest yellow blonde

30

The S category, like the other categories, has subcategories that depend on when the hair starts to darken.If the hair starts to darken by age fourteen to fifteen theywould be S-1 (level 7). If the hair darkened between agefifteen to seventeen, they would be S-2 (level 8). Hairdarkening after age seventeen would be S-3 (level 9 and10). Some blondes do not darken until they are in theirthirties and forties. These clients seem to go from blondeto gray without as much contrast as those in othercategories. Single process blonde permanent haircolor ismost effective when used on the S category.

31

When the S category client starts to gray, the hairseems to change from blonde to gray. For those with coolblonde tones, gray hair is generally not apparent. Thoseclients who have gold in their hair lose the gold tone asthey start to gray.

32

9

LightBrown

DarkGoldenBlonde

LightGoldenBlonde

YellowBlonde

PaleYellowBlonde

PalestYellowBlonde

1 yr. 5 yr. 9 yr. 13 yr. 15 yr. 18 yr.

S-1

1 yr. 5 yr. 9 yr. 13 yr. 15 yr. 18 yr.

S-2

S-3

1 yr. 5 yr. 9 yr. 13 yr. 15 yr. 18 yr.

The R individual generally has red hair in theirheritage. The color can range from a light strawberryblonde-red, (the daughter in this picture) to a deep, richcopper-red.

33

It is not unusual for someone in the R category tohave parents that do not have red hair. This would be anexample of haircolor type skipping an entire generation.People in the R category account for 1% of the world’spopulation. They account for about 5% of salon haircolorclients.

34

Redheads receive so much attention from their haircolor that they generally do not color their hair until itstarts to turn flat and gray. At that time they will mostlikely color their hair the same color it was while growingup. The R category falls into the same levels as the Wcategory: 4, 5 and 6.

35

By the time an R category client starts to turn gray,the hair is no longer evidently red. The hair tends to losesome of its warmth. This client (formerly red) chooses tohave her hair highlighted with red color, as opposed tocoloring 100% of her hair.

36

10

At this point, a review of the four haircolor categoriesis appropriate. The B (black/dark brown) categoryaccounts for 75-80% of the world’s population. Levels 1,2, and 3 further identify the B category. People in the Bcategory are those who are born with dark hair, whichremains dark until it starts to gray.

37

People in the W (warm brown category) are born withlight hair that gradually darkens before the age of 13. Wcategory hair will tend to lighten from exposure tosunlight, while B category hair will not. W categoryclients would be considered to have natural levels of 4, 5,6 and 7.

38

S (soft brown) category individuals considerthemselves to be blonde. In many cases they will begincoloring their hair when it darkens and continue to do sothroughout most of their life. Blonde haircolors outsellothers by 5 to 1. Individuals in the S category would beconsidered to have natural levels 7, 8, 9 and 10.

39

R (red) category accounts for a small percentage ofthe world population. Most redheads will remain red andwill not color their hair until it starts to fade. The ‘R’category levels range from 4 to 6.

40

11

One of the most important reasons for placing yourclients into a haircolor category is to accurately anticipatethe stages of lightening and undertones of the differentcategories. When using permanent haircolor, theundertones are generated by the lifting, and the colordeposited is what gives the hair its final color result.

41

In a retouch situation, you may have a small regrowtharea to indicate the client’s natural current level.

It is beneficial to discuss with that client his or hernatural color and how it has changed over time. Thisrecollection will help you determine the category, andprovide you with a key to formulate the desired results.

42

It is important to remember that while an individual’shair color changes naturally throughout the life cycle, thecategory in which they are classified never changes.

43

This knowledge will help you to determine whattones are most complimentary for each category.

In situations where a new retouch client is notentirely pleased with the current color, determining his orher category will help you provide an alteration of tonethat will result in a more complimentary effect.

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12

Determining a clients natural category can bechallenging. This young lady is W-1. If her hair wereshort and the sunlightened ends were not visible, shecould easily be mistaken for a B.

45

Father and son are both in the W category. The father’shair was lighter than the son’s when he was a child. The youngman on the right is also in the warm brown category.

46

A person in the W category is a more likely candidatefor highlighting, than someone in the B category. Theundertones in the B category make it more difficult to geta pleasing contrast. Highlights placed in W category hairaugment the warm tones in the natural hair color.

47

A client in the W category who has turned gray canwear warm tones in the hair when covering the gray.

48

13

RULES OF NATURAL HAIRCOLORING

Exposure to the sun, shampooing, hot rollers and curlingirons cause the haircolor to change. Looking carefully ata child’s hair, there are color changes that occur naturallyfrom exposure to the elements. As a result of studyingthese changes, we have come up with ‘the rules of naturalhaircoloring.’

49

1. THE ENDS OF THE HAIR SHOULD BE LIGHTERTHAN THE HAIR CLOSEST TO THE SCALP

Seldom will you find hair that is longer, where theends are not lighter than the hair at the scalp. This rule isbroken most often when color is applied to the hair that isabsorbed into porous ends. This is often true of hair thathas been permed, then colored. This rule is also brokenwhen a high-lift haircolor is applied for the first timefrom scalp to ends. The hair will lighten more at the scalpthan the ends.

50

2. THE SURFACE HAIR SHOULD BE LIGHTERTHAN THE HAIR UNDERNEATH

Surface hair will tend to lighten more due to itsunprotected exposure to sunlight, as well as directcombing, and application of styling tools. In the case ofshorter hair, the hair on the top of the head will always belighter than the perimeter hair. This rule is most oftenbroken when colors are absorbed into the porous surfacehair.

51

3. THE HAIR AROUND THE FACE SHOULD BELIGHTER THAN THE HAIR IN THE BACK

It is acceptable if the hair around the face is the samecolor; it should never be darker. This rule is broken whenthe hairline is avoided when doing highlights. Often theclient requests that the haircolorist do this to avoid anobvious outgrowth. This rule is also broken whenapplying a darker haircolor around the face to cover grayhair.

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14

4. THE DARKER HAIR SHOULD BE THEDOMINATING COLOR.

Of all of the rules, this is the rule most often broken.The client’s request for more blonde hair makes this arule difficult to keep. The more frequently highlights areadded to the hair, the faster the lighter hair will becomethe dominating color. Breaking the rules of naturalhaircolor is not something that is unacceptable. The rulesof natural haircoloring state what occurs with natural hair.

53

This client’s hair has been colored back to her naturalhaircolor. The ends of the hair have become darkerbecause they are porous. As a result, the haircolor doesnot look natural.

54

Compare this child’s hair with the client. This child’shair incorporates all the rules of natural haircolor. Theclients hair does not.

55

By darkening the hair slightly at the scalp and addinglow lights, the hair is natural looking. This client has80% gray hair; so the depth of color is light enough tominimize the contrast of the new growth.

56

15

The same technique was utilized on this client. In anattempt to add more brightness to her highlighted hair, theclient applied a single process blonde color to her hair.

57

With the introduction of a darker color at the scalpand a few strategically placed low lights, a more naturalhaircolor is produced. In this case, a darker haircolor wasused at the scalp so the new growth would not show. Thisclient had no gray hair.

58

The finished result looks more natural, and changesthe overall esthetics by darkening the hair at the nape andavoiding color application to the ends.

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16

PHYSIOLOGICALASPECTS OFHAIRCOLORING

• Hair Structure

• Chemical Effects On The Hair

• Color Deposit On The Hair

• Melanin And Its Effects

3chapter

Revised 4/16/99

Human hair is a unique fiber. The construction of thisfiber allows it to withstand a great deal of abuse. Hair thatis over-processed, neglected and abused by thehaircolorist will directly affect the outcome of the finalcolor result. The haircolorist must understand thelimitations of the hair.

1

This prop simulates a strand of hair magnified severalhundred times.

2

The cortex of the hair is made up of a wood likesubstance that is soft and pliable. The cuticle layersurrounding the cortex is comprised of several layers ofkeratin protein, like the fingernail. The function of thecuticle is to protect the cortex.

3

If it were possible to separate the cortex from thecuticle and spread the cortex apart revealing the interior,the serrations of tissue that give the cortex its strengthwould be evident.

4

2

Melanin is contained in the cortex layer of the hair.Melanin is what gives hair its color. Using colored sandwe are going to simulate melanin and how it becomespart of the cortex. The melanin is impregnated through-out the cortex.

Melanin not only covers the surface of the cortex; itare intricate part of the construction of the cortex.Melanin are to the cortex what chocolate chips are to acookie.

6

Pictured is a simulation of two hair strands; one withcolor and one without. The strand on the left has coloredsand that is adhering to the cortex and is visible throughthe translucent cuticle layer. This appearance would givethe impression that the cuticle layer contains color. Thestrand on the right has no colored sand, therefore itappears colorless.

7

5

3

Observing the thumbnail, push on the thumb with theforefinger and roll back and forth. Notice that the colorbeneath the fingernail changes. The change of color is notthe fingernail changing; it is the color of the blood andtissue directly below the fingernail that changes. Thecolor we see in natural hair is located beneath the cuticle.

8

The cuticle layers are held together with a substancethat is similar to rubber cement. This substance allows thecuticle to stretch and contract. The cuticle is translucent,like a shower enclosure, not transparent like glass.

The substance that holds the cuticle together is likethe material that binds muscle to the bone. This rubberlike material not only bonds the cuticle layers together,but it also bonds the cuticle layer to the cortex.

10

The construction of hair can be compared to a kingcrab leg. The outside is a hard, resilient substance, muchlike the hair cuticle. The inside is soft muscle, much likethe cortex.

11

4

Melanin are in small clusters held together by amembrane. These clusters vary in size and shape, and arefound throughout the cortex of the hair.

12

The cuticle layer can range anywhere between 4 to 12layers. It is constructed in a manner that allows it tostretch and then rebound to its original size.

9

Cuticle Layers

As the lightening action continues, the melanindisperses and goes through a series of color changes.

NOTE: This theory is based on observation. Varioustheories exist on the subject of lightening action ofmelanin.

14

This prop simulates an individual melanin cell.Melanin cells are microscopic in size; millions could fiton the head of a pin.

15

5

The interior of a melanin cell is colored in a way thatcauses the hair to become lighter as the melanindissolves. The darker colors are on the outside,graduating to lighter colors on the inside.

16

When a lightener comes in contact with the hair, themembrane is dissolved and the melanin is dispersed in thehair. The lightener then begins to dissolve the melanin.The melanin goes through a series of color changesdepending on the natural haircolor and the concentrationof melanin present.

13

If the chips were removed from the cookie, theremainder would be crumbs. Similarly, if all of themelanin were removed, the integrity of the hair would beconsidered severely compromised. It is not possible tolighten hair without causing a degree of damage.

18

We will further illustrate what occurs when hair isbleached. Pieces of Alka-Seltzer will be used for thisdemonstration.

19

6

The Alka-Seltzer tablets were imbedded intostyrofoam to replicate melanin in the cortex. The cuticlelayer surrounds the cortex.

20

Melanin is what gives natural hair its color. Most ofthe melanin is located in the cortex of the hair. The darkerthe hair, the more dense the melanin. The lighter the hair,the less dense the melanin. Chocolate chip cookies areutilized here to illustrate the relationship of melanin andcortex.

17

For this experiment, the cuticle layer has beenremoved in order to view what happens to the cortexwhen the hair is bleached.

22

Water is poured into the glass. The dissolving Alka-Seltzer simulates the chemical reaction between peroxideand alkali within the cortex.

23

7

One theory is that the chemical action creates bubbleswhich must find their way through the hair.

24

The melanin will slowly dissolve, much like an AlkaSeltzer would when placed in water. It is estimated thatthe same type of chemical reaction occurs when melaninis exposed to peroxide and an alkali. Bleaches and high-lift color effect melanin at a faster rate than low volumemild alkali formulas.

21

Bleaching hair slowly allows the bubbles from thechemical to escape through the cuticle layer withoutextreme damage. Lightening hair quickly is more violentand the cuticle layer becomes damaged.

26

Illustrated is a single strand of hair being lightenedand viewed while under a microscope. The dark rod isthe hair strand, and the circles represent air bubblesemerging from the hair.

27

8

SLOW FAST

This is a close up view of the random cuticle layersas they are beginning to disengage.

28Cuticle

At the end of the bleaching process, ‘voids’ or‘porous areas’ are created. The greater the degree ofporosity, the weaker the hair.

25

Over processing with bleach causes the hair tobecome gelatinous.

30

This photograph shows how fragile a strand ofbleached hair can become when bleached excessively.Both strands were placed between two pieces of glass andpressed together; the more fragile bleached strand was‘dented’ by the darker strand. Proper application andformulation of lightening products should not cause hairto become excessively damaged.

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9

The body temperature, being a number of degreeshigher than room temperature, will cause the bleach towork faster closest to the scalp. The higher the tempera-ture, the faster the bleach lightens. The body temperatureis 98.6, the room temperature is 72 degrees. The hairclosest to the scalp will lighten faster. See graph on page10.

32

As the hair continues to lighten, bubbles emerge.

29

This chart indicates that the faster the hair isbleached, the greater the difference in lightness betweenthe scalp, midshaft and ends. With slower bleaching,there is less difference in the color between the scalp andthe ends.

34

Using bleach mixed with 40 volume and a lightblonde tint mixed with 20 volume, the ends of bothstrands lightened close to the same degree. The bleachedstrand has a greater degree of lightness closer to the scalp.The strand with the tint processed for 90 minutes, thebleached strand for 45 minutes. It is more natural lookingfor the ends of the hair to be lighter. The opposite happenswhen the hair is lightened with chemicals. The faster thehair is bleached, the greater the difference in colorbetween the hair at the scalp and the hair at the ends.

35

10

Although the cuticle is translucent on natural hair, itbecomes stained once haircolor is applied. On a healthystrand of blonde hair a black tint was applied andprocessed.

36

The cuticle layer of the hair is softer as it emergesfrom the scalp. The fingernail is soft close to the nail bedand gets harder towards the free edge; the cuticle of thehair develops similarly. Think of the strand of hair like agreen onion. It’s soft and tender close to the ground, butbecomes tough and stringy as it moves to the ends. Thesoftness of the cuticle at the scalp allows the bleach topenetrate easier and further contributes to the arealightening faster.

33

Color mixture penetrates into the cortex only after ithas saturated the cuticle layer. This is furtherreinforcement that the cuticle of the strand absorbs color.On subsequent applications, the color penetrates furtherinto the strand.

38

11

This photograph shows a dark spot, which is anaccumulation of blood under the fingernail. It appears asthough the fingernail is stained. The same effect is whatmakes the cuticle appear colored.

39

To illustrate similarities in the fingernail and thecuticle layers of the hair, we placed a tint stain on the tipof the fingernail.

40

Applications

After processing a single strand was then sliced inhalf with a razor blade to observe the penetration of tint.The inside has only a trace of tint; most of the stainoccurred on the cuticle layer.

37

6 5 4 3 2 1

The fingernail has two stains: One an accumulatedblood area and the other a tint stain. The original stainedsurface area is scraped. Notice that the scrapings areclear.

41

The fingernail was then scraped where the tint stainoccurred. The cuticle scraped from this area was colored.The purpose of this experiment is to demonstrate how thehair is colored.

42

One should not attempt to judge color when the hairis wet; wet hair appears darker and warmer in tone.

43

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 translucentthan when it is dry. When the hair is dry, the color depos-ited on the cuticle is more of a factor in the overall color.

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12

On dry hair the color on thecuticle is dominate

When hair is wet, you can see moreclearly through the cuticle layer.

When hair is wet, you can see moreclearly through the cuticle layer.

Natural, virgin hair has a cuticle that is translucentand void of color. All of the color you see comes from themelanin located beneath the cuticle in the cortex.

45

The final color produced from using a permanentammonia haircolor is dependent on two things: The colorof the lightened melanin (undertone) and the level of thecolor used. The color you see is a combination of thecuticle with color deposit and the melanin which has beenlightened. It is the combination of these two elementswhich give you the final color result.

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13

The lack of undertone, such as gray hair, the finalcolor will take on a different result. It is for this reasonred haircolors applied to gray hair will often turn anunnatural pink or orange.

47

REMEMBER THIS RULE WHEN FORMULATINGThe color of the tint will dominate the final result

when the tint is two levels darker than the lightenedmelanin. The color of the lightened melanin willdominate the final result if the tint is the same level as thelightened melanin. The effect the lightened melanin hason the colored hair becomes more visible as the tint fades.

48

THE STUDY OFTHE POROSITYOF HAIR

• Defining Porosity

• Porosity Grading System

• Understanding and Preventing Porosity

• Excessive Porosity

4chapter

Revised 1/25/99

The dictionary definition of the word “porous” is “fullof pores or openings” and “permeable to fluids.” One couldinterpret this to mean the more porous the hair, the morehaircolor it will absorb. This is not necessarily true. Inhaircoloring terms, when we speak of porosity, we areactually discussing the structural integrity of the hair. Theintegrity of the hair structure is affected by many things: Thephysical structure of the hair, the environment, cleansing andconditioning products and products used to affect the colorand/or texture of the hair. The hair is not just porous or non-

1

Various hair textures respond to haircolor differently,as do different fabrics. Manufacturers of clothing mustconsider the physical structure of fabrics when dyeing.The texture and porosity of a fabric affects the finishedcolor. Fabric manufacturers produce test strips to indicatehow color responds on various types of cloth. Adjustmentsmust be made to assure the color is consistent on variousfabrics. Haircolorists must make similar adjustments whenmatching haircolors for different hair textures andporosities.

2

A warm brown permanent haircolor is applied to thetest fabric and allowed to process for 30 minutes.

3

The results show a variety of colors. This experimentis designed to illustrate how the physical structure willaffect the resulting color. The same dye used on severaldifferent fabrics caused varying results. Note the redtones on the two strips on the left. The color was the mostsimilar to the manufacturer’s color chart on the woolsection located on the far right.

4

2

po•rous (por’es, pôr’-), adj. 1.full of pores. 2. permeable bywater, air, etc. [late ME, var. ofporose < ML poros(us). SeePORE2, -ous] –po’rous•ly, adv.–po’-rous•ness, n.

e

Wool

Penetration of color and how it is affected by porosityis demonstrated by using various objects that havedifferent grades of porosity. The objects are blocks ofwood with differing degrees of hardness, an egg, a tennisball, a potato and a bar of soap. All of the objects are light,so the amount of haircolor penetration can be seen. Awarm brown tint and deposit only color were applied andleft on the objects for 60 minutes.

The wood shows varying degrees of penetrationbased on the hardness. The egg and potato which are notas porous, show little or no penetration. Other objectsshow varying degrees of penetration. There is nodifference in penetration between the tint and deposit-only color. Hair with different texture and porosity willhave varying color deposits as well. One must rememberpermanent ammonia haircolor causes porosity in the hair.

6

THE POROSITY GRADING SYSTEM has beendeveloped to provide a concise means of identifyinglevels of porosity. It is important to observe the hairboth dry and wet to have an accurate reading ofporosity.Grade 1 – compact tight cuticle; minimal to no chemical treatment orexposure to excessive sun or mechanical styling tools; very littleresistance to combing when wet. Grade 2 – slightly raised cuticle; mild chemical treatments; someenvironmental exposure. May be up to 3 stages lighter than naturalhaircolor; good elasticity.

7 INTRODUCTION TO POROSITY GRADING SYSTEM

5

Grade 3 – moderately raised cuticle.; exposure to chemical treatments,and/or regular use of heat implements. May be up to 5 stages lighter thannatural haircolor; resistance to combing without conditioning treatment; fairelasticity.Grade 4 – excessively raised cuticle; excessive exposure to chemicaltreatments and heated styling implements; frizzy appearance when dry.May be up to 7 stages lighter than natural color; poor elasticity and retangleswhen combed wet.Grade 5 – loss of cuticle layer; exposed to chemical treatment to the pointof breakage; hair feels mushy or slimy when wet. May be 8 or more stageslighter than natural haircolor; breaks off when wet.

When identifying the grade of porosity on a particularhead of hair, one indicator is the color change along the hairstrand. As a general rule, the greater the difference in colorfrom the scalp area to the ends, the greater the porosity. Theclient in this photograph would be identified as having virginhair. She has had no chemical treatments and does not useheat or styling products. The porosity indicated by the colorchange along the length of hair has been caused by theenvironment and cleansing products. Her porosity is grade 1at the scalp area and grade 3 at the ends.

8

3

This client has virgin hair. The ends have lighteneddue to environmental exposure. The lightness along thelength of her hair indicates a higher grade of porosity onthe ends. The ends on longer hair generally become moreporous, particularly if the client spends time outdoors.She has grade 1 porosity at the scalp, grade 2 at mid-shaftand grade 3 on the ends.

9

This client has highlighted hair. The result ofrepeated highlighting and daily use of heat implementscauses the hair to become porous. As this hair becomeslonger, it’s much more inclined to develop split ends. Thisclient has a grade 1 porosity at the scalp and a grade 4 atthe ends.

10

This client highlights and blow dries her hair. Thereis also some environmental exposure. She has grade 1 atthe scalp area, grade 2 at midshaft and grade 3 on theends.

11

4

This client colored her hair green using ‘temporary’haircolor. She has grade 2 porosity at the scalp and grade4 porosity at the ends. Hair with higher grades of porositytend to ‘grab’ cool tones.

12

This client had an improper highlight resulting ingrade 5 strands throughout her grade 2 porosity hair.

13

This photo shows a client with grade 1 porosity at thescalp, and grade 5 midshaft through ends. Thecombination of a medium length hair, perm and hairlightener used improperly, will result in grade 5 porosity,particularly with hair this dark. Coloring this hair couldbe a challenge.

14

This client uses permanent haircolor and perms eachtime she colors her hair; the haircolor has been pulledthrough the ends of her hair for ten minutes. Repeatedexposure to chemicals has created a grade 5 porosity. Theends are not lighter, but every other factor fits the grade 5description.

15

5

This client has grade 1 porosity at the scalp and grade4 midshaft through ends. The porosity is the result ofstraightening her hair with heat implements. For moreinformation, refer to the chapter on coloring naturallytextured hair.

16

This client has grade 4 porosity from scalp to ends asa result of chemical relaxers and styling with heatimplements.

17

This client does not use haircolor. Her grade 2porosity at the scalp, 3 at midshaft and 4 at the ends is theresult of permanent waving and environmental exposure.The hair was shampooed, and half dried to demonstrateporosity.

18

In most instances, the degree of porosity can beobserved by the difficulty in combing the hair while wet.The untreated hair combs smoothly until it reaches thearea of the perm. Combing becomes difficult towards theends.

19

6

As the comb moves toward the center of the strand(where the hair has been previously permed), there isgreater resistance. The ends of the hair become snarledand difficult to comb. This client has grade 1 porosity atthe scalp (no perm), grade 2 at the mid-shaft (one perm)and grade 4 at the ends (several perms).

20

When coloring hair with various grades of porosity, apreliminary test strand is highly recommended.

21

Unequal grades of porosity create a challenge to thehaircolorist. When low-lights are desired, it may benecessary to mix more than one formula.

22

A method to document the effect of haircolors andenvironmental influences on the different grades ofporosity is shown. To create grade 2 porosity on swatchesa high-lift haircolor using 40 volume developer was usedfor 40 minutes.

23

7

In this example, there were seven thin strips of hair.The color was applied in small increments to assurecomplete coverage.

24

LeaveNatural

The next application of haircolor was again a high-liftproduct with 40 volume, processed for 30 minutes.

25

Foil was placed over the tint to maximize the liftingaction by confining the chemical action. This lifted thehair three more stages, creating a grade 3 porosity.

26

The next application was bleach mixed with 40volume developer processed for 60 minutes. This liftedthe hair to a yellow stage, producing a grade 4 porosity.

27

8

Next, a powder bleach mixed with 20 volumelightened the hair to a pale yellow stage. To create a grade5 porosity, the bleach was left on for three hours.

28

The same experiment was repeated on a hair strand inthe soft brown category. Porosity in grades 1 through 5were created.

29

All of the strands were dried and made into individualswatches by stapling them together.

30

The swatches in the “B” category and the “S”category have porosities ranging from grade 1 to grade 5.

31

9

These swatches will now be colored to demonstratehow haircolor responds to the various grades of porosity.

32

Grade1

Grade2

Grade3

Grade4

Grade5

One of the characteristics of grade 5 porosity is therigid nature of the hair when left to dry undisturbed.

33

Haircoloring is affected by various grades ofporosity. This client is a candidate for reversehighlighting; she has grade 4 and 5 porosity.

34

Test strands are necessary to determine how thehaircolor will be affected by the porosity. The results ofthe test strands will help the colorist to determine properformulations.

35

10

The success of this reverse highlighting was based onthe haircolorist’s ability to determine how the porositywould affect the haircolor.

36

Today’s haircolorist is constantly being confrontedwith corrective situations. The knowledge of porosity isparamount for successful haircoloring. The success ofthis high low lighting is the result of understanding theporosity grading system.

37

The swatches bleached to various grades of porositywill now be colored. The dark strand will have apermanent cool blonde haircolor, mixed with 20 volumeprocessing for 35 minutes.

38

The experiment has been completed. The color as themanufacturer designates is on the swatch shown above.Notice the degree of deposit is in direct proportion to thegrade of porosity. The greater the porosity, the more thecool tone is absorbed.

39

11

Red color mixed with 20 volume peroxide is nowapplied to the swatch and allowed to process for 30minutes.

40

The results of this experiment show that haircolor isnot always absorbed in proportion to the porosity of thehair. 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 astronger deposit with less porous hair.

41

This deposit only color is the same color red as thepermanent haircolor used in photo #41.

42

This experiment illustrates the effects of permanentand deposit-only haircolors on grade 1 to 5 porosity hair.Clearly, the deposit-only haircolor is more uniform incolor. When hair is porous, permanent haircolor shouldnot be applied when attempting to make the color moreuniform. The results will not be uniform and the ends willbe further damaged.

43

12

Pictured are strands from different categories withvarying grades of porosity. Cool color deposited on two of thestrands (inside swatches) render different results. Theapplication was from the same batch and processed for thesame period of time. In this case, both strands have the samegrade of porosity; the results are still dramatically different.

44

swatch after application haircolor

swatch before application of color

manufacturer’sswatch

Red tint from the same batch was applied to two ofthe swatches pictured left. The results are dramaticallydifferent. The contributing pigment in the soft browncategory strand differs from the dark brown categoryswatch. The lighter swatch indicates a true red, while thedarker one reflects a red-violet tone. This is anotherexample of the same tint producing different results,depending on the category undertones and grade ofporosity.

45

Using deposit only colors for any type of tint back orcorrective haircolor is generally a safe approach. Thecomparison of these strands shows the permanenthaircolor becoming flat and losing warmth on the lessporous area of the strand. Study the results of permanentbrown color and a deposit-only brown color applied tothese dark swatches.

46

Pictured left are the results of the red swatches afterseven shampoos. Much of the color has washed out.

47

13

This experiment will illustrate the grades of porositycreated by environmental exposure. Ten dark browncategory swatches were saturated with high-lift tint.

48

They were processed for 30 minutes, shampooed anddried.

49

Five of the colored swatches and one natural were leftin the sun for 30 days. The remaining five strands werekept indoors and shampooed daily.

50

At the end of 30 days four of the outdoor strands andfour of the indoor strands were colored again. The samehigh lift tint was used. Again, half of the swatches werereturned outdoors for more exposure. The remainingswatches were shampooed daily.

51

14

Each half went through the same process for another30 days.

52

After the 60 days three of the swatches were coloredagain and returned to their respective positions. Thisprocess continued for a period of six months.

53

Comparing the indoor and outdoor swatches, one cansee the degree of lightness resulting from environmentalexposure. Little change in the natural swatch occurred. Itis apparent that a combination of elements would causethe hair to lighten. Environmental exposure rays alonedid not have much effect on dark hair.

54

55

15

When checking the grades of porosity created byenvironmental exposure and permanent haircolor asopposed to chemical action alone, the addition ofenvironmental exposure renders a slightly different result.Environmental exposure combined with haircolor goesthrough different stages of lightness than swatches thathave not been exposed to the environment. Swatchesexposed to the environment have a higher grade ofporosity.

16

DESCRIPTION OF GRADES OF POROSITY:

This grading system has been developed to provide a concise means of identifying and communicating gradesof 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 sunor mechanical styling tools; very little resistance to combing when wet.

Grade 2 – slightly raised cuticle; mild chemical treatments, some environmental exposure. Maybe up to 3 stages lighter than natural haircolor, good elasticity.

Grade 3 – moderately raised cuticle, exposure to chemical treatments and/or regular use of heatimplements. May be up to 5 stages lighter than natural haircolor; resistance to combingwithout conditioning treatment; fair elasticity.

Grade 4 – excessively raised cuticle; excessive exposure to chemical treatments and heatedstyling implements; frizzy appearance when dry. May be up to 7 stages lighter thannatural color; poor elasticity; retangles when combed wet.

Grade 5 – loss of cuticle layer; exposed to chemical treatment to the point of breakage; hair feelsmushy 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 itmay become.

If the hair is permed, it will raise the porosity one full grade.

If the hair is over-processed or has been permed more than once, the porosity can increase two full grades.

Categories W, S and R will reach grades 4 and 5 porosity more readily if continually exposed to chemical andmechanical damage or excessive exposure to environmental exposure.

Non-shaded areas require special caution when perming. Grade 5 on the porosity scale – perm is notrecommended.

COLORINGTEXTURED ANDCHEMICALLYTREATED HAIR

• Characteristics of Hair Types

• Hair Relaxers and Hair Coloring

• Haircolor Guide For Textured Hair

• The Buffer Zone

5chapter

Revised 1/4/99

The visible characteristics of different types of haircan be divided into four basic categories:

STRAIGHTWAVYHELICALSPIRALThese types or varieties of combinations can be

found in every race depending on genetic background.

1

There are two main theories to explain the differencesin hair shape:

1. The angle of the papilla through which the hair growsdictates the shape of the strand and the amount ofbend, wave or curl.

2. Uneven keratin deposit around the opening of thefollicle; when the hair grows, it hardens unevenly toform a variety of shapes.

The strongest DNA genes determine the texture,color and abundance of the hair.

2

African-American hair is commonly helical (formingcoils of constant diameter) or spiral (forming coils thatdiminish in diameter outward). This hair is flat andelliptical in shape, because of the angle of the papilla.

Other racial backgrounds and genetic combinationsalso produce hair that is helical or spiral, although usuallyfound to be stronger and more resistant to curl patternchanges.

3

Asian hair generally has a straight or non-angledpapilla. Caucasian hair seems to be the most variable, andranges from straight to wavy, helical and sometimesspiral. The hair shape is usually round to oval.

As our cultures intertwine, genetic combinations canproduce a large variety of hair types and conditions.

4

2

The shape and strength of the cortex are derivedprimarily from bonds between amino acids that make upthe hair. The cortex is responsible for the majority of thestrength and elasticity of the hair.

A micrometer is a device used to measure thediameter of a single hair. The diameter can be noted bythe following differences in measurements:

FINE 0.0018MEDIUM 0.0022COARSE 0.0026

5

To easily determine hair diameter, place one hairbetween the thumb and index finger. If you feel nothing,the texture is fine; if it feels like a fine sewing thread, thetexture is medium; if it feels like a heavy sewing thread,the texture is coarse. The characteristics are:FINE . . . soft, downy, pliable, processes quickly or

slowly, depending on genetics.MEDIUM . . . bouncy, substantial body, processes well.COARSE . . . thick in appearance, firm body, usually

resistant to chemicals.

6

Natural textures may have been subjected to heat in the formof pressing, curling irons, flat irons, etc. The condition may be drydue to lack of conditioning, metallic water deposits, or exposureto the elements. In all cases, consultation is a must to assureproper selection of the type of color service to be recommended.

7

When coloring hair that has been previouslyprocessed with permanent waves or relaxers, one musttake into consideration all the material that has beenpresented to this point. The condition of the hair at thetime, the type and frequency of future chemical servicesmust be taken into account.

8

3

Pressing comb (midget)

Curling ironElectric heater

FINE 0.0018 MEDIUM 0.0022 COARSE 0.0026

This is a graphic simulation of excessively curly hair,either in helical or spiral form. Though the chemicalprocesses used to curl hair changes the structure, andalters the ability to accept and hold color, more risks areencountered when coloring hair that has been chemicallytreated.

9

This simulates a strand of hair that has been madestraight with a chemical relaxer. The hair is considerablyweaker due to the strength of product used.

10

This simulation shows two examples of hair that havebeen relaxed in varying degrees, which could be achievedwith varying product strengths or processing times.

11

A good working knowledge of the chemical productsthat have been previously used is important when makinghair color decisions. Let’s examine the pH of the productsused 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 doesnot seem like much until you realize a pH of 10 is 10 timesstronger than a pH of 9.

USE ONLY MILD RELAXERS WHEN WORKINGOVER AMMONIA HAIRCOLORS.

12

4

pH 9.5 pH 13

Because of the differences in the pH of variousproducts, coloring hair that has been permanent waved,and/or relaxed, must be treated cautiously.

Color products that are less aggressive, and containless peroxide and alkali are better choices for any hairsubjected to high pH relaxing procedures.

USE A MILD RELAXER STRENGTH WHENCONSIDERING HAIRCOLOR.

If only a portion of the hair has been treated withchemicals, it is advisable to treat the entire head asthough it has been treated. The recommended type ofhaircolor to use on hair the same day a chemical relaxingservice is performed, is a non-peroxide, non-ammoniacolor.

14

If the relaxed hair is in good condition, has goodstrength and elasticity, and a mild relaxer was used on thehair, then haircolors that lift can be used (with caution) oneweek following the chemical service. Damage and porosityoccur in direct proportion to the amount of curl removed,exposure to the relaxing chemical and the type of hair colorselected. It is also important to say that damage to relaxedhair does not occur when the color is performed butWHEN THE NEXT RELAXER IS APPLIED. Workingand smoothing hair can easily cause overlapping into thearea previously colored. Extreme damage could occur.

15

Clients who smooth their hair with the use of heatimplements can use permanent haircolor more readily.However, the temperature of the implements used shouldbe regarded with caution.

The greater the lifting action of the haircolor, the lessheat should be used in the styling implements. Your roleas a haircolorist is to advise the client about the possibledamage that can occur when exposure to heat andchemicals are used in combination. You should alsoexplain conditioning procedures that will avoid damage.A COMPLETE CONSULTATION is a must.

16

13

5

Bleaches can be used on most natural textured hair,but great caution must be taken when used on hair thathas been relaxed. If the desired result requires bleaching,use a mild strength relaxer and wait one week after therelaxer before bleaching.

The client must be completely informed of thedamage that could result and the extreme importance ofan ongoing conditioning program.

17

Achieving lighter shades on chemically relaxed hairwith a lifting ammonia haircolor or bleach, is anaggressive procedure and should only be done whencircumstances will allow.

18

When coloring natural textures that have had no previouschemical treatments, the porosities are more uniform andhaircolor is relatively simple. (Caution must be used whenretouching curly and overcurly hair because the hair shrinks intothe product. The application should be checked carefully to insurethat the color is not overlapped.)

The strength of a product and processing time is amajor factor in coloring hair that is porous due toprevious chemical services. Multiple products of anaggressive nature used on the hair will cause eventualdamage.

19

A buffer zone is established when applying haircolor1/2 to 1 inch away from the scalp. This technique willallow for some overlapping of relaxer when that processneeds to be retouched.

20

6

NEW GROWTH

BUFFER ZONE

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 nodanger of extreme damage from future relaxers if thecolor is applied approximately 1 inch away from thescalp, to create a buffer zone.

This is a client with naturally curly hair that has useda mild relaxer. Her hair is treated with an ammonia basedcolor and 20 volume peroxide. To avoid problems duringregular relaxer retouches, the hair should be closelymonitored to make certain it does not become weak.

22

This client has curly hair without any type of relaxer.Note the amount of gray hair and the degree in which thecolor has faded since the last retouch. In this case, adeposit-only haircolor was advised. The gray hair iscompletely covered, and the curly hair has accepted thecolor on the ends. The hair is darker than would beindicated on the manufacturer’s haircolor chart. Morecolor could be absorbed in porous hair when usingdeposit-only haircolor. The color will also tend to fademore readily.

23

Using haircolor on chemically relaxed hair demandsclose 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 chemicaltreatments, until it shows signs of weakness that couldlead to breakage. Do not resume the coloring procedureuntil the hair has had time to recover. At that point it maybe determined whether this type of chemical procedureshould be used on this client again.

24

21

7

Permanent haircolors may be used on relaxed hair ifall 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 andbleaches should not be used near the outgrowth areawhere overlapping of relaxers may occur.)

25

8

HAIRCOLOR GUIDE FOR TEXTURED HAIR

CHEMICAL TYPES

COLOR TYPES TEMPORARYCOLOR

DEPOSIT ONLYCOLOR

5-10 VOLUMECOLOR

15-20 VOLUMECOLOR

25-40 VOLUMECOLOR BLEACH

VIRGINTEXTURED HAIR

MILDRELAXER

REGULARRELAXER

SUPERRELAXER

PERMANENTWAVE

DAMAGEDPRESS AND

CURLED HAIR

Y

Y

Y

Y

Y

Y

Y

Y

Y

Y

Y

Y

Y Y Y Y

Y

YNSD

YNSD

YNSD

YNSD

NR NR NR

NR

NR

NR

NR

NR

NR

NRNSD

NR

NR

NR

NR

NR

NSD = NOT THE SAME DAYY = YES

NR = NOT RECOMMENDED

THIS CHART IS DESIGNED AS A REFERENCE.EACH CASE MUST BE CONSIDERED ON ANINDIVIDUAL BASIS.

GUIDELINES FORPERMING HAIRTHAT HAS BEENTREATED WITHHAIRCOLORING

• Selection of Appropriate Products

• Timing

• Affects on the Hair

• Perms and Porosity

6chapter

Permanent wave solutions are available in manyforms and strengths. The first category is an alkalineperm. Alkaline solutions are also referred to as alkaline,buffered alkaline, exothermic, and mild alkaline. For thepurpose of simplicity, all alkaline perms will be placedinto the same category. The alkaline perm is generallysingle solution; with the exception of the chemical addedto make the exothermic type perm to create heat. It isconsidered to be the strongest perm and will generallyhave a pH between 8.0 and 9.0.

1

The second category is an acid wave. This typerequires mixing an additive in the solution prior to use.The solution added to the processing lotion is the catalystwhich makes the solution active. Once the solution isadded it must be used immediately. The activity level ofthe perm drops off dramatically after 20 minutes. Acidperms have a pH between 6.9 and 8.2. Acid perms witha pH between 6.9 and 7.2 normally require the use ofheat during processing.

2

The third category is ammonia free. This perm was introduced because of the alleged excess damage causedby the previous perms. The pH of the ammonia freeperms are still between 8.2 and 8.6.

3

The fourth category of permanent wave solution isthe Non-Thio perm. The pH of this perm is between 6.9and 8.5; however it is not a factor in waving because thesolution does not swell the cuticle like other perms.Non-thio perms with a pH of 6.9 generally require heat.

4

2

Swatches in both the soft brown and dark browncategories will be used to conduct the tests. Some of theswatches were processed to create 4 grades of porosity asdefined in the porosity chapter. Some of the swatches inthe soft brown category were left natural so curl on thenatural hair could be compared to curl on the color treated strands. The swatches were processed to create avariety of porosities. The purpose for this was to simulate hair as it is found on the head.

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 andsingle application of on the scalp bleach, processed for 1hour on dark brown hair.Grade 4: Same application as grade 3 applied to softbrown hair.Grade 5: Single application high lift haircolor, single application of on the scalp bleach, and single applicationof off the scalp powder bleach processed for 4.5 hours.

6

The deposit only haircolor was applied to some ofthe hair swatches and allowed to process for 35 minutes.The hair was then shampooed and dried. This was done3 successive times. These swatches will be used as partof the test to determine how porous hair with deposit onlycolor will respond to perming.

7

From left to right: natural hair, soft browncategory, dark brown category, soft brown category anddark brown category covered with three consecutiveapplications of deposit-only color.

8

5

3

Grade 1 Grade 2 Grade 3

Grade 4 Grade 5

grade 1

grade 2

grade 3

grade 5

grade 1

grade 2

grade 4

grade 5

grade 1

grade 2

grade 3

grade 5

Each of the swatches were wrapped with two different size rods. One-half of each swatch was wrappedwith a pink rod, the other half was wrapped with a purplerod. The hair was wrapped with water and a single endpaper. The hair was then saturated with an alkaline perm. Processed for 10 minutes which is the timespecified for 'tinted hair' according to manufacturersdirections. Tinted hair was interpreted to mean grade 2and 3 porosity.

9

After processing for 10 minutes the hair was rinsed,blotted and air neutralized for 15 minutes. The swatcheswere then neutralized for 5 minutes. The neutralizer wasthen rinsed and the rods removed. Results of the perm onwet hair are pictured. The curl is very weak throughout.

10

The hair was left undisturbed for an entire week,The same swatches were then wrapped once again withthe same size rods. This time the hair processed for 25minutes. The instructions suggested 20 minutesprocessing time for normal hair. An additional 5 minuteswere given to compensate for the lack of body heat. Theremainder of the perm was carried out as it was the firsttime. Even with the additional processing time, the curlappears to be very weak. The normal (grade 1) hair doesnot have the snap to the curl one would come to expectfrom an alkaline perm.

11

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 hairwere very rigid and were difficult to comb through. Thegrade 5 porosity exhibited some breakage.

12

4

Hair loss is apparent in the dark brown categoryswatch. there appears to be no difference in hair lossamong the swatches that had an additional application ofdeposit-only haircolor and those that did not. One canconclude there is no detrimental effect in perming overhair which has been treated with deposit only haircolor.The deposit only haircolor seems to act as a cuticle con-straint on porous hair, preventing an excess of solutionentering the cortex. The condition of the swatch with de-posit-only haircolor appears to be healthier and in bettercondition. The swatch from the soft brown category suf-fered the greatest amount of damage and breakage.

An acid based perm will be used in this test. Thesame type of swatches will be utilized. As indicated earlier in this chapter, the acid type perm is preferred overall other perm types, by a ratio of three to one. The hairwas wrapped with the same size rods and processed for20 minutes. The instructions included in the permindicate this particular perm may be used for all hairtypes. Unlike the alkaline perm, processing times werethe same for all hair types.

14

A test strand was taken on the natural swatch at theend of twenty minutes and the curl formation indicatedthe 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 5minutes. The neutralizer was then rinsed from the rods,and the rods removed. Although the acid perm wasdesigned to render a softer perm, the results of the permwas much firmer and livelier than the alkaline perm.

15

The hair was left to dry naturally, then combed out.Grades 1, 2, and 3 combed through without incident; thehair was soft and undamaged. The perm on the grade 5porosity left the hair impossible to comb. Although thehair was wet with only water, it was left rigid and 'crispy'when dry. The grade 5 porosity broke off in chunks. Thisperm on grade 5 porosity would leave the hair in intoler-able condition.

16

13

5

The swatch with the deposit only color shows nomore damage than the swatch without the deposit-onlycolor. Although there was some color loss on the deposit-only swatch, it was not significant.

17

The hair was alone for a period of two weeksundisturbed, another perm was given in the same manner.The result of this perm was much the same as the firstperm. While the perm was wet, there was no differencein the feel and appearance of the hair. After the hairdried, the porous hair was stiff and rigid, as though awave set or gel was applied to the hair.

18

By combing the hair after it has dried, the locationof overly porous damaged hair is easy to identify. Thehair combs out smoothly until the comb reached the hairwith the grade 4 porosity, then the comb stalls. The softbrown swatch appears to be more prone to breakage thanthe dark brown swatch.

19

The swatch in the dark brown category that had deposit only haircolor applied to the strand combs outwith less resistance than the strand without the deposit-only haircolor. Deposit-only haircolor applied tothe hair prior to perming, appears to aid in the curl andcondition of the hair.

20

6

A small amount of additional hair loss is evidentwhen the swatches are combed out. When comparingthe configuration of the curl between the natural hairand the hair with varying degrees of porosity, there islittle doubt the effect porosity has on the curl.

A close look at the curl reveals the soft roundedlines of the natural hair while the porous hair hasuneven curl with sharp ridges.

22

To further test the acid perm, four identicalswatches are used. This experiment is to determine howvarious processing times affect the swatches. The instructions contained in the perm specify the processingtimes for all hair types is 20 minutes.

23

The hair was wrapped with purple and pink rods.The swatches processed for 10, 20 ,40 and 60 minutes. Asthe swatch reached the targeted processing times, it wasrinsed, blotted and air neutralized, then neutralized.

24

21

7

10 minutes 20 minutes 40 minutes 60 minutes

The neutralizer was rinsed and the rods removed.The results of the perm are consistentbetween swatches. Additional processing time minimally increases the 'bounce' or 'snap' of the curl. It doeshowever cause the grade 5 porosity to degenerate thelonger the solution is left on the hair.

25

The hair was allowed to dry naturally. It was thencombed 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 processingtime.

26

In some instances the processing time is linked tothe durability of the curl. The notion exists that unless thecurl is completely processed, it will not last. To check thelongevity of the curl, the hair was smoothed with a roundbrush and blown dry.

27

All of the smoothed out swatches appear to be inexcellent condition. The grade 5 porosity also appearshealthy and shiny.

28

8

10 minutes 20 minutes 40 minutes 60 minutes

10 minutes 20 minutes 40 minutes 60 minutes

The photo depicts the results of the hairs conditionafter being blown out five times. The amount of relax-ation between the swatches is consistent. The more thehair was blown dry, the more the grades 4 and 5 hair'grabbed' the brush while wet. This test shows it is notbeneficial to process acid perms on the hair with varyingdegrees of porosity, for a longer period of time. The disadvantages far outweigh the advantages.

29

With a dark background, the grade 5 porosity ismore visible. The curl all but disappears in the grade 5hair. The remaining hair maintains a good curl formationeven though the hair has relaxed from its original form.

30

The next two perms to be tested will be specialtyperms designed for delicate hair. One is a no ammonialow-thio perm with a pre wrap. The other is an acid permwithout a pre wrap. Only the swatches with varyingdegrees of porosity will be used with the test perms.Each of the two perms have a processing time of 20minutes, suggesting a test curl after five minutes. Thedifficulty with test curls, is the hair that is most porousand susceptible to damage is generally located on theends of the hair.

31

The hair is wrapped in the same manner. The alkaline perm on the right is wrapped with the pre-wraplotion; the acid perm on the left is wrapped with water.Each is saturated for the same length of time and allowedto process for 20 minutes.

32

9

The hair is then combed out to evaluate the curl.Hair loss is less on the grade 5 porosity than in both theacid and alkaline perms tested at the beginning of thischapter. Note the strong curl on the grade 1 hair. Permsformulated for use on delicate hair are also efficient inperming virgin hair.

33

When comparing regular acid perms normalstrength to perms formulated for delicate hair,there appears to be little difference in the results. Eachcategory of perm tend to treat the various porosities of hair in the same manner.

34

The final perm to be tested will be the non-thio,non-acid perm. For the purpose of this chapter the permtested will be formulated especially for color treated hair.Three swatches are tested. The swatch on the right hasbeen treated with deposit only haircolor. The hair iswrapped in the same manner.

35

The hair was processed according to manufacturersinstructions for color treated hair. It was then rinsed,blotted, and air neutralized for 15 minutes; then neutralized for 5 minutes. The neutralizer was rinsedwith the hair on the rods. The perm was true to form.The hair that was grade 3, 4, and 5 porosity did very wellThe 1 and 2 grade of porosity resulted in a very weakcurl. The results on the grade 5 porosity was the best ofall the other perms, with very little hair breakage.

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10

The conclusion drawn from these experimentswould indicate there is no perfect perm when processingall grades of porosity on the same hair strand. If a permmust be given, the acid type perm for all hair types is recommended. If a perm is to be given on hair grades 4and 5 porosity, a nape perm is recommended. This willgive the hair fullness without exposing the surface hair tochemical abuse that results from perming this type ofhair. This should be done just prior to doing a colorretouch.

37

To prevent dryness from reperming hair, a root permtechnique is suggested. Regardless of the strength of theperm given, an attempt should be made to avoid permingover hair with a previous perm. This is especially true onhair that is collar length and fine in texture. Apply acreme conditioner or gel on the hair with a tint brushholding a foil underneath. (Paper or cellophane may alsobe used.)

38

Cover the hair with another foil sandwiching thehair between The hair is then wrapped with a perm rodas would be done with a traditional perm. A smaller permrod is used to compensate for bulk created by the foil. Byputting gel or a conditioner on the hair not to be permed,perm solution will not reach the hair ends, preventingdryness.

39

11

Perms are an important factor when consideringhaircoloring. Perms increase the grade of porosity by atleast one grade. On curly textured perms, it can increaseby as much as two grades. It may be necessary to alter thehaircolor formula to accommodate the additional porositycreated by the perm. When the hair is straight the cuticleis tight and compact.

40

The greater the bend in the hair, the more the hairbecomes stressed. When the cuticle is flat and compact itis the equivalent to coloring the surface of the fingernail.When the cuticle is abraded, it is the same as the coloringthe surface of the nail and the free edge of the nail.

41

This hair is given a slight bend, therefore displacingthe cuticle less, and creating less stress and lifting of thecuticle, as a result less porosity occurs.

42

12

Deposit-only color is compatible with perming.In many cases the condition of the hair remains the samewith the use of deposit-only color. When color fadingoccurs as a result of perming, the use of deposit onlycolor is strongly recommended. When combiningperming and haircolor there is no substitute for profes-sional judgement.

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4

PSYCHOLOGY OFHAIRCOLORING

• Client Consultation

• Psychological Affects of Haircoloring

• Clients Fears

• Problem Clients

• Professional Ethics

7chapter

Revised 4/22/99

2

We, as professional haircolorist’s, should never losesight of our role in society. We have the opportunity tomake dramatic changes in the lives of individuals seekingto improve their appearance. Often times, a change ofhaircolor can be the catalyst to start the individual in apositive direction. Because a change of haircolor is soimmediate and relatively inexpensive (compared tocosmetic surgery), it’s often the choice for many clients.

1

Just as we must first acquire the skills to perform thenecessary techniques, it is equally important we neverlose sight of the fact that we are working on a living,breathing human being. Our pallet is never a canvas or apiece of clay. All of us has been exposed to apathy bysomeone who just didn’t care or who may have beenhaving a bad day. Bad service and apathy is something a client should not have to tolerate. We mustfight apathy toward someone because of theirappearance.

2

We have the opportunity to take someone lessattractive and make them more attractive by simplychanging their haircolor. The color change will create apositive change.

3

We, as haircolorists, are similar to the artists whorestore paintings. Through the years, paintings becomeveiled with a cover of soot and lose their vibrant color.Artists have the ability to remove the veil of soot andrestore the painting to its original vivid colors.

4

3

As haircolorists, we have the ability to perform thesame service on our clients. We can take a client, whothrough the years has lost the vibrancy in their hair, andrestore it to its original youthful appearance. This is notto say we should attempt to color everyone who visits thesalon. We must approach only those we feel could benefitfrom our services.

5

Client consultation, communication and negotiatingare key skills. As one gains confidence and becomesmore proficient in his/her technical skills, consultationbecomes much easier. There is a saying; “ if all you haveis a hammer, everything looks like a nail.” The more‘tools’ you have at your disposal, the easier it is to solvea greater variety of haircolor challenges and in turn, themore you will grow your business.

6

During the consultation you must recognize thatmost people have a subjective opinion regarding their ap-pearance. Understanding this can induce a sense ofempathy toward your client. Empathy is having theability to put yourself in the client’s shoe’s and view theworld as they see it. This is never completelyaccomplished; we all have our own individual filtersthrough which we view the world. Nevertheless, weshould strive to accomplish this. This does not meanacceptance or agreement, only a recognition the client hastheir own point of view.

7

Direct eye contact is important. Position yourself ateye level with the client and look directly at them whenconsulting. Avoid looking at the client in the mirror.One of the biggest challenges we face as haircolorists isnegotiating with our clients. Compromise is the key.Terminology and presentation must be professional.Clients have even been lost because the haircolorist is tooprofessional.

8

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4

Making a photo album with a variety of haircolorsis a great aid for helping the client find the color they areattempting to describe. Clients will often describe orrefer to a celebrity who has a haircolor they are attractedto. It is a good practice to have them find the samehaircolor in your photo album. Taking the haircolor offthe celebrity's face and placing it on a ‘regular person’could make your client view the haircolor differently.

9

Showing a client a book of various haircolors isinsurance that both of you are talking about the samecolor. It can also be used to give direction and makerecommendations. Without common ground to startfrom, formulating for the client becomes a gamble. Someclients come to the salon knowing exactly what theywant. The haircolorist should verify the color with aphotograph. The haircolorist may approve of thehaircolor or may make suggestions of their own. This iswhen the professionalism becomes important.

10

An important point to remember when consultingwith the client is their natural haircolor category. If theywore a color at one point in their life, they can wear itagain. People in the warm brown category can wear thegreatest variety of haircolor. Review the natural haircolorcategory, and remember when a client is placed into anatural haircolor category, she stays in that category forlife.

11

It is not recommended that the client be shown amanufacturer’s haircolor chart, regardless of howbeautiful it looks. The haircolor chart is a tool used bythe haircolorist to help formulate. The color chart willnot help the client select a haircolor; rather it conveysapprehension on the part of the client. What a color chartwill often do is put the client in charge of theconsultation. Soon, the client is selecting her ownhaircolor. When the client returns for the next appoint-ment, she will once again ask to see the color chart toadjust the formula. Soon, the haircolorist is takingdirection from the client.

12

5

A manufacturer’s haircolor chart can be utilized bytaking the color you would recommend for the client, andplacing only that swatch next to her skin to give her reas-surance the haircolor would be suitable. This wouldrequire disassembling some charts so you may exposeonly the swatch you want the client to observe.

13

We should always remember the salon on the nextblock or in the next city is not our only competition. Ourmajor competition is the drug store and the super market.We must always strive to use professional techniques andmethods of application to create haircolors that can not beduplicated at home. Our goal should be to do whateverpossible to keep haircoloring a professional service anddraw a distinct line between professional haircolor andhome haircolor. It is not the product you use as much asit is the application.

14

If the client is coloring their hair for the first time,there is usually some apprehension. These fears of aclient are real. If you can erase these fears you will havea comfortable relaxed client when performing thehaircolor service. The most common fears a client willhave are as follows:

15

1. HOW WILL MY NEW HAIRCOLOR LOOKON ME? WILL I LIKE IT?

The number one fear of the first time client is howthe 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 uswho tried on a variety of haircolors in beauty school.This client has been observing haircolor on other peoplesince she decided to take the plunge. Both good and badhaircoloring has been observed and remembered.

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6

2. WILL MY FRIENDS AND FAMILY LIKE MYNEW HAIRCOLOR?

There is a great deal of apprehension for a first timehaircolor client regarding how the individuals close to herwill respond to her new haircolor. Will they think I amvain, or think I am trying to look young? “Why is shecoloring her hair? I liked it just fine the way it was.”Make no mistake about it; these are real fears. The wayto overcome these fears is with subtle color changes andthe reassurance the haircolor will look natural.

17

3. WHAT WILL THE INVESTMENT BE INTIME AND MONEY?

Some would rank this as their number one fear butmost consider the others before the cost in time andmoney. A good way to overcome this fear is to breakdown the cost of the haircolor over the period of one yearand divide it by the days in the year. You can finish bysaying, “60 cents a day for looking 10 years younger.”The same technique can be accomplished with thenumber of visits within a year to maintain her hair.

18

4. IF I DON'T LIKE IT, WHAT WILL IT LOOKLIKE 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 isgrowing out. It may appear trivial at this point, but youshould discuss a strategy for growing out. Remember, theclient has probably observed some pretty awful outgrowths and wants to be assured she will never have toendure the same process.

19

The consultation period is one in which all aspectsof the above concerns should be addressed. The ability toput the client at ease during her first visit to your salon isparamount. It does no harm to embellish the haircolorservice by utilizing descriptive terms such as “growingout gracefully” or “give your hair a youthful glow” or“soften your appearance.” Utilize your own terminologywill make the client feel good about the upcomingservice. Terms which will help with the consultation areincluded in this chapter.

20

7

Share as much information as possible with yourclient. Let him/her know how long the service will take,what the cost will be, and what the growing out periodwill be like. Any concern your client may have about theupcoming service should be addressed. A color chartdisplaying the undertones of various natural haircolorshelp the client better understand all natural haircolors arenot alike.

21

As your years of experience increase the easier itwill become to recognize clients who may cause prob-lems. There is nothing worse than having a disruptiveperson in your color department, making the other clientsfeel uncomfortable. We have placed these problemclients into groups for the purpose of identifying themand avoid having to deal with them.

22

The "I have never had anyone do my hair as well asI can" client. When you run across this client, you willknow it. The first thing she asks for is a color chart. Thenshe proceeds to give you all the colors she has tried. Sheis generally a beauty school drop out who thinks sheknows it all!

23

The best approach to this client is to dazzle themwith your knowledge. Ask the client a lot of technicalquestions until they become completely frazzled. Avoida stand off. Refrain from performing any service unlessyou are in complete accord.

24

8

There are clients who have been coloring their ownhair for years. In many cases the hair is ruined. In somecases the client realizes the condition of their hair is adisaster, in other cases she is unaware. It took years to getit in this condition, and they would like you to restore itin one visit. The haircolorist must explain the time it willtake to repair. In most cases they can’t be bothered, andwill return to doing their hair at home. This client is notworth fretting over. Don’t be misled into believing that ifyou perform an outstanding service that the client willbecome a regular client.

25

We must also learn to deal with clients who want toknow what you are doing at all times: Why you apply ahaircolor in a certain manner, what volume of peroxide isbeing used, what percent of ammonia is in the formula,how long you've been in business and are you sure thisformula will work? She can recite the latest haircolorarticle that appeared in the fashion magazine and thenewest haircolor trend. You must maintain an air ofconfidence with this client. The haircolorist needs toevaluate if you really need this client.

26

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 clientcomes to your salon and rattles off a list of haircolorist'snames who have failed to please them. Rest assured yourname will be added to that list. As a professional, thehaircolorist proceeds in an appropriate manner.

27

Another common type of problem clients are theindividuals who are not happy. They hate their life, theirhusband, their work, their children and their physicalappearance. Usually, they are not emotionally healthy.They expect you to solve all of their problems with a newhaircolor. They often talk of how busy they are and howlittle time they have for themselves. Attempting to solvetheir problems by doing their hair is futile. Do notconfuse this person with the person who genuinely wantsto make changes in their life. The latter is humble and abit embarrassed with their appearance. They are alsovery open to your suggestions.

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It is never a good practice to have the client leavethe salon unhappy with his/her haircolor. By the sametoken, the client should be able to describe what it isabout the haircolor that makes them unhappy. It's notalways possible to get the haircolor the client expects onthe first visit. This can happen for a variety of reasons.One of the most difficult situations a haircolorist isconfronted with is to do a correction that the haircoloristfeels does not need correcting. This is where empathycomes in. If it is a reasonable client, you must make theproper adjustments. To charge or not charge for theadjustment would depend on many factors.

.

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Professional ethics plays a major role in a success-ful haircolor salon. There are many individuals andsalons who do not offer haircoloring services. When oneof these salons refers a client to your salon, it is impera-tive you preserve the clients relationship with the othersalon, and thank them for sending you a client. It's onlythrough these relationships with other salons that we willbe able to grow as an industry.

30

If we fail to please a client we may lose her tohome haircoloring. Currently the vast majority of clientswho color their hair do so at home. We must strive toattract these clients to professional haircoloring services.The majority of clients are unaware of the differencesbetween home haircoloring and professionalhaircoloring. The haircolorist is what distinguishesprofessional haircolor services from home haircoloring,not the product being used.

31

As haircolorists, we are constantly being exposed tonew tools and products to make our job easier. We viewa demonstration of a new tool that appears easy to use.We purchase the new tool and take it to the salon andattempt to use it on a paying client. Often times we findthe new tool is not as easy to use as we observed, and weend up making a mess of our clients hair. Always take thetime to practice with a new tool. Try it on a mannequinfirst, mannequins won't get upset, clients will.

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10

CONSULTATION VOCABULARY

Grow out gracefully

Out of character

Could be aging

Most economical

Rolls Royce of haircolor services It cost a lot

Loud

Garish

Flat

Muddy

Drab

Mousey

Dingy

Flashy

Blinding

Cheap

Screaming

Richness

Glow

Warmth

Glazing

Softness

Subdued

Nuance

Caramelizing

Buttery

Tortoise shelling

Wheat

When consulting with a client it is very important that you both are describing and thinkingof the same haircolor so you can fulfill the clients expectations.

A haircolor portfolio with colored pictures is always a good way to understand the clientsexpectations and your professional opinion of their expectations. Other haircolorists choose to usedescriptive words pertaining to nature, food or animal color tones to describe the haircolor they planto achieve. Be creative but beware you both must be on the same wave length with thesedescriptions or someone will not be satisfied.

COLORINGGRAY HAIR

• The identification of gray hair.

• Methods of coloring gray hair, depending on thepattern and percentage of gray.

• A brief description on how to approach clientswith gray hair and how to color their hair.

• Some of the most common problems a haircoloristis confronted with when coloring gray.

• How to make the best selection of haircolor andtechnique for the client.

88chapter

Revised 3/24/99

As long as recorded history, there’s been an attempt,by those turning gray, to disguise it. Every imaginableconcoction was used in an attempt to retain a youthfulappearance. It’s been a curse to those whose demeanor isyouthful. It’s been a mixed blessing to the haircolorist.The introduction of gray hair is often the catalyst toprompt individuals to color their hair. At the same time,gray hair presents a special challenge to the haircolorist.

1

No one has really determined why hair turns gray.Stories have been circulating as long as there has beengray hair, as to why and how it turns. Hair turns gray (ormore accurately white) because at some point melaninstops being produced. Why it stops is still unknown. It’sbelieved by most scientific communities that graying hairis a result of genetics. When a person is born, eachfollicle on the head is genetically coded to stop producingmelanin.

2

This client had the top frontal portion of his headtransplanted with hair from the back of his head. Whenthe sides of his hair started to turn gray, the hair from theback of the head transplanted to the front remained darkand did not turn gray. Even if you move a follicle toanother part of the head, it will retain the genetic coding.

3

The hair generally turns white when the pigmentedhair falls out of the follicle and the follicle stops producingmelanin. There are three stages of hair growth: anagen,catagen and telogen. The hair can remain in the anagenstages as much as five years, so the notion someone canturn gray overnight is unlikely. There have been caseswhere the follicle stops producing melanin during theanagen stage. Thus resulting in a strand of hair that isspotted with melanin.

4

2

The three stages of hair growth

TelogenCatagenAnagen

TransplantedHair

Transplanted Hair

Five years ago this client had no gray hair. Her hairnow reaches down to her waist. The ends of her hair arestill warm and without gray. The hair closest to her scalpis now 30% gray. As her hair reaches the telogen stageand the hair falls out, many of the follicles will stopproducing melanin.

5

A towel has been draped over the styling chair so thewarmth left in the hair can be observed. When the hairstarts to turn gray, the remaining pigmented hair stopsproducing warmth in the melanin. The hair looks flat anddrab. Notice the difference in the color of this clients hairwhen the ends are draped over the hair closer to the scalp.

6

The perception of the general public is that gray hairis associated with aging. Individuals in today’s society areconstantly being bombarded with advertising to persuadethem to retain their youthful appearance. The youth oriented of our society is a benefit to the haircolorist. Thevast majority of the population is seeking ways to retaintheir youthful image. The pressure of retaining a youthfulappearance in the workplace is constant. Some individualscolor their hair at home with a fair degree of success, buthome haircoloring can never replace the skilled hands of

7

In the majority of cases, gray hair is the catalyst forclients to begin coloring their hair. This is a blessing tothe haircolorist. Much of the advertising for ‘at home’haircoloring focuses on covering gray hair. For the clientsseeking to make a change in their life, haircoloring isoften the first step.

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Hair Ends

There are many more types of gray hair than there arenatural haircolors. When you consider all of the differentpatterns of graying hair and the number of naturalhaircolors multiplied by the number of people whose hairis turning gray, you are confronted with an over-whelming variety of haircolor challenges.

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4

7After identifying the client’s natural haircolor

category, it is necessary to identify the percentage of grayhair. It is also important to identify the placement anddistribution of gray hair. A person who is 50% gray, withthe gray hair sprinkled equally throughout the pigmentedhair would require a different approach than a personwhose is 80% gray in the front and 20% gray in the back.In each case, half the hair is gray and half is pigmented.

10

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 becomesless of a factor when determining color formulation.

11CATEGORY

5 15 30 50 70 80 90

The areas of the head used to identify the gray are asfollows:

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 templearea may extend to the back of the ear. It is important todevelop a common language for identifying gray hair.

12

This client is in the ‘B’ category, has 5% gray hairthroughout her hair, and 80% gray in the temple area.

13

The next client is in the ‘B’ category, with 80% grayin the top area, and 30% gray throughout her remaininghair.

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5

CROWN

TEMPLE

NAPE

TOP

FRONTAL

This client has 40% gray throughout most of her hair,with the temples being 90% gray. Notice the differentdistribution of the gray hair from the previous client.

15

This client has an unusual graying pattern; 90% grayhair around the frontal area, and very little gray hairthroughout the remaining hair. This client spends a greatdeal of time in the sun with her hair unprotected. In spiteof the amount of sun exposure, there is little fading. Thisclient could prove to be a real challenge. Some optionsfor this client will be discussed later in the chapter.

Here we have a client with 40% gray around thetemples, and 20% gray in the remaining hair. She has aninteresting dark streak in the center front of her hair.

17

This client has 40% gray in the back area of the head,with 90% gray in the top area. She is also in the ‘B’category.

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The dark hair is dominant in this category B client.She has a sprinkling of gray hair. Older clients who havejust a sprinkling of gray hair require an indepthconsultation before determining how the hair is to becolored. The question would be whether to darken thehair to cover the gray or find a creative way to cover thegray and lighten the hair slightly.

19

Not everyone grays in the same manner; some grayon top of their head first, others gray first in the templeswith a limited amount of gray hair elsewhere. Here aretwo clients in the same category, about the same age withdifferent graying patterns.

20

There are several considerations to be made beforeattempting to color an individual’s hair who has nevercolored their hair. They are:

1. The amount of gray in proportion to age.2. How the client feels about their gray hair. 3. Is the client prepared to commit to maintenance of

the new color?4. Discuss their natural haircolor category and the

undertones that would emerge. This client has never colored her hair. Special

circumstances would cause her to want to color her hairnow. Approach this client with apprehension.

21

Clients in the dark brown category are the mostdifficult to deal with when their hair starts to turn gray.The contrast of the gray hair against the dark brown hairis considered by many to be the most flattering. Theclients in the dark brown category are difficult becausethe red tones that occur when the remaining pigmentedhair is exposed to permanent oxidative tints. These warmtones are often difficult to disguise.

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7

This client objected to the warm tones in the photo onthe left. Even with the introduction of highlights, the hairwas still too warm. The problem was solved by makingthe base color darker. There are only two methods todisguise warm tones in the hair; one is to lighten the hairbeyond the warm tone, the other is to darken it.

23

We will now direct our attention to gray-hairedclients in the WARM BROWN CATEGORY (W). Thisclient has only a sprinkling of gray hair throughout thehead with a couple of gray streaks. Notice that thepigmented hair is slightly lighter than the pigmented hairin the ‘B’ category.

This warm brown client has a greater amount of grayhair; about 10% throughout the head with 70% gray at thefrontal area. It’s fairly easy to distinguish the differencebetween the ‘B’ category and the ‘W’ category whenthere are small amounts of gray hair. It becomesincreasingly more difficult to identify the difference whenthe amount of gray is increased.

25

This is another client in the warm brown category.Notice that as the hair becomes grayer, the natural colorbecomes cooler. The frontal and temple, which is 60%gray, has cooler pigmented hair mixed in with gray hair.The hair in the back which is 5% gray is still quite warm.

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For purpose of comparison, the photos on the left arefrom different categories. Notice the ‘B’ category has adeeper cooler look. The ‘W’ category (who had muchwarmer hair before the appearance of gray hair) is nowstarting to turn cooler as the gray hair starts appearing.The tone will continue to become cooler as the hairbecomes more gray.

27

As we continue to identify clients in the ‘W’category, you will find it more difficult to identify thehaircolor category as the hair increasingly grays. Themore gray the client becomes, the less important thehaircolor category becomes. As more gray hair appears,there is less underlying pigment that the haircolorist mustconcern themselves with.

This client is 50% gray throughout. Although thereare areas with more than 50% gray, the difference in thegraying pattern is not enough to require identifying thedifference in the patterns of gray hair.

29

This is an unusual graying pattern; the frontal area ofthe head is 80% gray, while the back is only 20% gray.This would have to be taken into consideration whenformulating.

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This client appears to be in the ‘B’ category. Duringthe consultation, one discovers she was a blonde until shewas 9 years old. This would make her undertonesdifferent than the ‘B’ client. This client generally wouldbe more accepting of the warm tones.

31

This is a client in the warm brown category with 90%gray hair. Once the client reaches this point in her life andhas not colored her hair, she is less likely to do so. Whenthe hair is this gray, it’s impossible to determine hernatural category without determining the history of herhaircolor through consultation.

32

The graying patterns occur in a way that make eachhead of hair unique and offer a special challenge to thehaircolorist. This client is in the ‘W’ category and has alarge swatch of gray in the temple area, but only on oneside. She is 30% gray, with a 70% streak of gray at onetemple.

33

Clients in the ‘B’ category will always have strongerundertones than clients in the ‘W’ category.

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10

Clients in the B-3, W-1 categories (level 3 and 4) cangenerally overcome the warm tones as the hair begins togray more (30% or more). The more gray hair, the easierto control the warm undertones.

35

We will now explore the SOFT BROWN CATEGORY(S). This particular client was blonde and began grayingin her twenties. Her blonde hair became dull and and drablooking. This hair may be pre-bleached in the firstapplication then maintained monthly with a singleprocess blonde haircolor.

36

Pictured left is an example of how this category ofhaircolor can be colored. Depth was added to the backarea to make the hair more natural looking. This clientlooks best in cool tones.

37

This client (who is 80% gray) is in the soft browncategory. She is shown here with both cool tones andwarm tones. In this case, the cool tones tend to make thehaircolor look as though her hair is gray.

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11

This is a most unusual natural haircolor. The warmthremaining in her hair is natural. It’s rare for an individualto remain blonde this far into her life with just a slightappearance of gray hair.

39

This client has 70% gray in the frontal area, and 10%gray in the back of her hair. Note how the ends of the hairhave lightened from environmental exposure. Even thegray hair has yellowed.

40

We will now explore some options for coloring ‘S’category hair that is gray or graying. Pictured left is aclient in the ‘S’ category with 80% gray. This clientstarted coloring her hair at a young age, before the graystarted to appear.

41

The color is now maintained by monthly retouches.The color applied at the scalp is never brought out to theends. The color used is a level 7 neutral blonde.Occasionally blonde highlights are added to the surfacehair for a more natural effect.

42

12

This is another client in the ‘S’ category with 90%gray. She has been coloring her hair since her teens. Hercolor is maintained with a single process level 8 neutralblonde.

43

This is another client in the ‘S’ category, who hasalso been coloring her hair since her teens. For a time shewas disenchanted with her haircolor because the singleprocess blonde used would no longer lighten the hairbeyond the brassy stage. As her hair started to gray, itbecame less brassy.

44

All of the these clients are either in the ‘S’ categoryor have more than 80% gray hair. They all maintain theirhair with single process blonde shades, from a level 7 toa level 10. None of these clients bring the color throughthe ends. When utilizing blonde haircolors for the sake oflifting the new growth, the high-lift blonde formulashould not be used on the ends.

45

Here are two clients in the ‘S’ category; one colorsher hair the other does not. The client who colors her hairis 8 years older than the client who does not. Both havean equal amount of gray. Notice the ends of the clientshair who does not color her hair. The tone is about thesame color as the client who colors her hair. The clientwho now colors her hair was able to highlight her hair tomaintain the blonde look she desired. Her gray hairbecame overbearing and it could no longer be disguisedwith highlights.

46

13

Coloring an ‘S’ category clients hair as light aspossible is not always the best option. There areoccasions when a slightly darker color is more flatteringand easier on the hair. This is particularly true when theclient also has a perm.

47

There are several elements that need to be evaluatedwhen formulating for gray hair:

1. The percentage of gray.2. The natural haircolor category.3. The age of the client. Consider this client. She has never colored her hair. She

is in the ‘B’ category and has 90% gray hair around thetemples. The question is: How will she respond if the grayhair is colored to match the pigmented hair? Will the color betoo dark for her skin tone and age? Why did she now decideto color her hair? These are important questions to ask.

48

Here is another client in the same situation. There arethree options for these two clients:

1. The safest is gray reduction.2. Use a deposit-only color in a cool tone, slightly

lighter than the client’s own color.3. Use a permanent color in the 4 level, blending the

gray and lifting the pigmented hair slightly.None of these options are wrong or right. The method

used in describing each of these techniques to your client willaid in the decision making process.

49

In both of these situations, the color in the back of thehead is less relevant. What the client sees is the hairaround her face. When formulating, you must take intoconsideration how the client sees herself. Clients are lesslikely to adjust to a darker haircolor, the longer they haveseen gray; especially if gray has been the dominant colorfor a long time.

50

14

This is referred to as a gray card. It’s used in thephotographic, graphic arts and television industry tomeasure increments from black to pure white. This graycard will help in the formulating process. By looking at aclient in black and white, you can establish what level ofcolor to strive for.

511 2 3 4 5 6 7 8 9 10 11 12

Looking at this client in black and white andcomparing the photograph to the gray card, will showthat the hair is closest to a level 7. A level 7 color is whatyou should strive to achieve. The client will be moreaccepting of the color. This does not necessarily mean alevel 7 haircolor would be utilized, but a level 7 resultwould be most desirable.

52

If this client elected to color her hair, it is apparent bythe black and white photo that you should not make herhair dark. The only decision to be made is the tone ofblonde you would use. Shading of a darker haircolorcould be used in the darker areas to make the final colorlook more natural.

53

Use the gray card rule for first time haircolor clients.This client is in the ‘W’ category, and started coloring herhair when it first turned gray. When clients have a largepercentage of gray, but would feel uncomfortable withlighter hair, the gray card rule is not followed. This clientstarted her haircolor with gray reduction and graduated totone on tone as the hair became grayer.

54

15

This client would not feel comfortable in a blondetone even though her hair is 70% gray. A lighter basecolor would not be an option. This is a level 4 color withblonde highlights. She is comfortable with this color.

55

Remember, the only method of eliminating red tonesis to darken or lighten the hair beyond the red tones. Thisclient was unhappy with the amount of warm tones in herhair. By making the hair slightly darker and addinghighlights for lightness, the warm tones became lessapparent.

56

This client weaved her hair until the gray hair becameoverpowering and the remaining pigmented hair becamevery flat. At that point she opted to color all of the hair.Clients who weave their hair for years do so out of habit.Weaving is designed primarily to enhance natural colorthat is beginning to darken and turn flat. Eventuallyweaving no longer enhances the natural color. At thispoint an all over color could be suggested.

57

It is possible to disguise a sprinkling of gray hair byweaving in highlights. Note the degree of lightness on theends from environmental exposure.

58

16

With the hair highlighted the gray hair is disguised.With hair this long it’s important not to highlight the hairtoo frequently; particularly if the client is looking todisguise the gray rather than look blonder.

59

This client highlighted her hair for years before thegray hair became too dominant. She still wants tomaintain the natural effect of highlighted hair, thereforeshe uses a level 5 golden brown to cover the gray, thenhighlights.

60

Every second retouch the gray hair is colored withthe level 5 golden brown. A foil weave is executed tomaintain a natural look. Great care must be taken whenapplying haircolor to the new growth. It is very easy tostain the length of the blonde hair with the brownhaircolor. Professional application is a must.

61

Utilizing gray reduction is a wonderful method ofintroducing a client to haircolor. When consulting withthe client, using the term ‘grows out gracefully’ gives theclient a great deal of reassurance.

62

17

Many clients are reluctant to make the commitmentto monthly retouches. The thought of having to color theirhair each month for the rest of their life has little appeal.The haircolorist must be prepared to utilize creativemethods of coloring the hair and ease the client intomonthly retouches. The deposit-only, demi-colors are onemethod of introducing haircoloring to the client, but thesetypes of haircolors are easy and leave little to theimagination. The client who is not accustomed to havingher hair colored in the salon, could be lost to homehaircolor if the first process is made too simple.

63

The preceding photo is the result of a technique thatnot only reduces the gray, but warms the tone (using high-lift tint) as well. This type of technique will keep clientscoming back to the salon and does not require monthlyretouches.

64

This is another client whose hair was weaved with alight red color, to warm up her color and cover some ofthe gray hair. This is another use of a creative techniquefor the client who is not prepared to face monthlyretouches. Covering all of the gray hair for older clientsis not always the best option.

65

MEN’S HAIRCOLORING

The simplest and most common method of coloringmen’s hair is to utilize deposit-only, demi-haircolors. Thesecolors are preferred by men because they blend the grayhair rather than cover it. The demarcation line is morediffused and grows out more gracefully. Some of thesetypes of colors can be applied at the shampoo bowl andprocess quickly.

66

18

This gentleman is a candidate for deposit-onlyhaircolor. When doing these colors for the first time, donot make the color too dark. A client becomesaccustomed to seeing himself with gray hair, on the coolside. A level 7 color, in a drab base would be a goodchoice for a first time color. Utilizing the term ‘blendingthe gray’ is not as frightening.

67

Another popular circumstance is for the youngermale client who is beginning to gray and wants to retainhis youthful appearance. This is a basic highlightingtechnique, performed by weaving in lighter sections ofhair. This can be accomplished by utilizing a high lift tintor bleach, depending on the natural color and the contrastdesired. In this instance, a bleach was used in order todisguise the gray.

68

Another technique is to cover the gray hair, then addhighlights. In this instance an attempt was made toduplicate the color of the client’s hair during his highschool years. This technique is utilized mostly on clientsin the warm brown or soft brown categories. Thistechnique requires monthly retouches and highlights,every other retouch.

69

Gray reduction is a great method of coloring men’shair not to draw attention to the color change. Men, muchmore than women, have a great deal of concern about thenatural appearance and the lack of a demarcation linewhen coloring their hair. This gentleman is a prime can-didate for gray reduction. It will be difficult to notice anyoutgrowth because of his curly hair.

70

19

This is the same client with the hair grown out fortwo months. It’s not necessary to retouch the entire headeach time. With this haircut, you may only retouch thecritical areas that are most apt to show the new growth. Ifdiscretion is not used in the retouch, dark hair will buildup on the ends.

71

Utilizing gray reduction for straighter hair is slightlymore difficult. This technique is not utilized to cover allof the gray, but only to reduce it slightly. The amount ofgray reduced, would depend on the amount of gray andthe age of the client. This client has a new growth of threemonths and is now ready for a retouch. Notice howgracefully the hair grows out.

72

When the client feels more comfortable with his grayhair, he simply allows it to grow out completely.

73

Let us now review some of our clients with gray hairand give an opinion on how their hair could be colored.These clients are about the same age and in the samenatural haircolor category. The level 8 neutral blondeapplied to the client on the right takes off years.

74

20

This would be a dramatic change for this client. Thehaircolorist would have to think up a creative way togradually move this client into this haircolor.

75

These clients could be introduced to color with somegray reduction and warm highlights; then slowly moveinto tone on tone.

76

Start with the introduction of a blonde weave thengradually change the procedure to a tone on tone.

77

A level 7 neutral blonde color would take years off ofthis client.

Regardless of the age of the client, amount of gray,natural category, or location of the gray, the BoardCertified Haircolorist should be prepared to meet thechallenge in the most ethical and professional manner.

78

21

INSTRUCTIONSFORPREPARATIONOF THEMANNEQUINAND SWATCHES

• Shaping the Mannequin

• Preparation of Optional Section

• Preparation of Highlight Section

• Preparation of Swatches

• Bleaching and Coloring Swatches

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Revised 1/25/99

When receiving your examination packet it willinclude a specially designed mannequin and clamp.

1

It will also include a bundle of hair to be used formaking swatches. The hair you receive is the exact hairtype found on your mannequin.

2

Cut the mannequin half way between the nape andthe bottom of the mannequin. It is not required that thecandidate cut the mannequin, it may be cut by any otherco-worker.

3

Continue cutting until the hair is all cut to one length.

4

2

The one-length cut is now completed. There arestringy ends on the mannequin that now need to beremoved to make the examination process more practical.

Go through the entire mannequin and layer the hairso it is cut 6 inches throughout the head.

6

When the haircut is completed it should look likethis.

7

PREPARING QUADRANTSThe left rear quadrant and the right front quadrant must

be prepared as instructed in preparation for the examination.The left rear quadrant of the mannequin must be preparedto complete one of three optional techniques, high lowlighting, bleach retouch or reverse highlighting. The leftfront quadrant will be left with 75% gray. This quadrantwill be utilized for one of two of the optional techniques,gray reduction or tone on tone. The right front quadrant willbe prepared to do the mandatory highlight retouch.

8

5

3

6”

6”

mandatory sliceand weave

mandatory highlightretouch gray reduction or

tone on tone

high low lighting,reversehighlighting orbleach retouch

The left rear quadrant shall be bleached to a yellowstage with a one inch outgrowth. To achieve this, youmay use foil or cotton to keep the lightener the correctdistance away from the scalp. When using foil, apply thebleach one inch from the scalp.

9

Continue applying bleach and foils until the quadrantis completed. It is not unusual for hair to bleach in excessof four hours to reach pale yellow.

10

Another method used for bleaching is utilizing cottonto keep the bleach away from the scalp. Bleach the hair toa yellow stage. The average time for bleaching hair to ayellow stage is four hours. Moderate bleaching withoutheat is recommended to prevent banding and to maintainthe integrity of the hair.

11

This is an example of what would receive anexcellent score. Consistent demarcation line, no bandingor bleeding and the hair in excellent condition.

12

4

1”

Dragging the hair toward the center at the widestpoint of the quadrant will cause the demarcation line tobecome uneven. This would draw a minor deduction.

This is an example of what can happen if patience isnot exercised when preparing the mannequin. Heat andhigh volume peroxide have left this hair in poor conditionwith banding down to the scalp. This would receive apoor score.

14

On the right front quadrant of the mannequin, the hairshould be prepared in a manner consistent with how hairwould look with a 3 and a 6 month highlightingoutgrowth. The first step is to highlight the hair applyingbleach one and one-half inches from the scalp. Do this tothe entire right front quadrant.

15

The candidate may use the weave or slice techniquein the application of the highlights.

16

13

5

1 1/2”

1 1/2”

Bleach the hair to a yellow or pale yellow stage andshampoo.

17

When completed, the quadrant will look as though ithas a highlight that has grown out for three months.

18

The next phase is to highlight the hair as if weregrown out for six months. This requires applying thebleach three inches away from the scalp. The strands areto be processed to the same degree as the three monthoutgrowth.

If the candidate prefers, they may complete theapplication at one time by alternating the three month andsix month outgrowth.

19

When completed, the hair should look as though ithas two highlights, one grown out three months, the othergrown out six months. The amount of hair lightened isleft to the discretion of the candidate. Read theperformance examination chapter to gain some insight asto what will be the requirements for this quadrant duringthe performance examination.

20

6

1 1/2”

3”

This candidate showed no constraint when preparingthe mannequin. There is an excessive amount of blondehair, all one and one half inches from the scalp. Thiswould be a deduction.

PREPARATION OF SWATCHESWith the study materials you received a bundle of

hair that you will use for making swatches. The finishedswatches should be one inch wide with a hair length ofsix inches.

22

Spread the hair evenly over a hard surface such asformica or glass. For best results, keep the hair uniformas possible.

23

Cut a piece of duct tape the length of the hair that hasbeen spread out. Do not attempt to use another type oftape. Duct tape is the only type of tape that will hold upunder the abuses of bleaching and shampooing.

24

21

7

Turn the tape over so the sticky side of the tape facesup. Further spread the hair so that the majority of the hairwill stick to the tape.

25

Place another piece of duct tape over the first piece ofduct tape holding the hair. Line up the two strips of tapeas closely as possible. Rub the tape firmly so the stickypart of the tape grasps the hair.

26

Continue this procedure until there is enough hair tomake 12 completed swatches.

27

With the hair firmly sandwiched between two piecesof tape, trim off all of the excess tape.

28

8

To create a one inch band, remove the top half of thetape.

29

Cut the strips of tape into four inch pieces.

30

Stack the strips and cut the hair to maintain themaximum length.

31

STAGES OF LIGHTENINGIt is important to make note of your processing times.

Using the bleach of your choice, apply to 6 strips.Make certain the hair is completely saturated.

32

9

Lighten the hair to the following stages: Mediumgolden brown, light golden brown, gold, pale gold,yellow and pale yellow.

33

Lighten the hair through the stages of lighteningindicated. Make certain the time the bleach is removedfrom each strip is recorded. Questions will be asked bythe evaluators regarding the stages of lightening.

34

Fold the strip over two times and staple.

35

Label each swatch with the time it took to bring thehair to that particular stage. The candidates will be askedto display the swatches during the highlighting portion ofthe performance examination.

36

10

The swatches may be displayed by mounting oncardboard or arranging on the table at the examinationsite.

37

Apply bleach to the lower half of four additionalstrips.

38

Process the hair to a gold stage, shampoo and dry.

39

Fold strip into thirds and staple.

40

11

Using the permanent haircolor of your choice andfollowing manufacturers instructions. Color the entireswatch with each of the following colors to observe thelift and deposit on the natural and pre-lightened hair.Level 8 golden blonde, level 7 ash blonde, level 9 naturalblonde and level 5 ash brown.

41

The completed swatches will be on display for theevaluators during the performance examination.

42

12

Mount the completed swatches on some type of rigidmaterial. Do not place swatches in glass frame.Evaluators may wish to feel hair for its integrity.

43

It is advisable to condition and blow style yourmannequin prior to your arrival at the examination site.

One should strive to receive as many excellent scoresas possible.

44

PERFORMANCEEXAMINATION

• Preparation and Layout

• Mandatory Tasks

• Optional Techniques

• Unacceptable Procedures

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Revised 1/25/99

The candidate will proceed to their assigned stationthat matches the team registration number. Lay out all ofthe materials necessary to perform the mandatorytechniques as well as all of the optional techniques. Layout the swatches. Anything that will not be used duringthe examination should be placed under the table.

1

All candidates will perform the same tasks on theright side of the mannequin. All tasks will be carried outwithout an assistant. An off the scalp powder bleach isrecommended so the evaluators may clearly see theapplication. Candidates will not be evaluated on thefinished 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.

2

On the right side of the mannequin the mandatorytasks shall be completed by placing the hair in any typeof foil, paper or plastic that the candidate desires.Although the candidate may utilize a variety of toolswhen working in the salon, for this examination you mustuse one of the accepted methods.

Do not come to the test site with the anticipation ofdoing the same work as you do in the salon. We ask thatyou follow the prescribed method outlined in this chapterfor the mandatory techniques. (continued)

3

2

first mandatory sliceand weave

secondmandatory highlightretouch

gray reduction ortone on tone

mandatory highlow lighting, reversehighlighting orbleach retouch

optionaltechniques canbe done in anyorder

On the right rear quadrant the candidate will performa weave and a slice. A medium weave will be performedon the top portion of the right rear quadrant. A fine slicewill be performed on the bottom right rear quadrant.There is a dividing line between the weave and slice toindicate where they both should take place. Observe thenumber of sections to be bleached and come as close aspossible to duplicating them. NOTE: The weave andslice may be started in any order.

4

3 (continued)

3

The candidates are being evaluated on followinginstruction as well as workmanship. If the methodsprescribed in the chapter for the mandatory techniquesare not familiar, it would be in the candidate’s bestinterest to practice until he/she is comfortable and theapplication is smooth. The candidate is being tested inthe psychomotor skills, therefore the use ofhairpainting, frosting cap, Spatula and Super Streakcups will not be allowed.

Dividingline

Weaving is described as one quarter of an inchsections with one eighth of an inch subsections. Theremust be enough natural hair between the hair beingbleached to create a distinct separation. The hair leftnatural between highlightened sections must be greaterthan the hair being lightened. Apply the bleach as close aspossible to the scalp without bleeding.

5

This packet would receive a low rating because of theinconsistency and application. The size of the strands areinconsistent as well as the application of bleach.

Deduction: APPLICATIONCONSISTENCY

6

This packet would receive no deductions even thoughthe strands are slightly inconsistent. If all packets were ofthis ranking, the candidate would receive an excellentscore for weaving.

Deduction: NONE

7

4

Space betweenweaves largerthan weaves

Weave 1/4”

Each packet containing bleach will be separated byone quarter of an inch of natural hair. In the case, wherea brick laying pattern is used a portion of the packet mustbe one quarter of an inch from the adjacent packet.

8

Spacebetweenweaves

larger thanweaves

Weave 1/4”

If the candidate follows directions and leaves theproper amount of hair between the packets, there will beample space to apply the necessary number of packets.

Deduction: NONE

Leaving the improper amount of hair betweenpackets would not allow the candidate to have the correctnumber of packets.

Deduction: FOLLOWS INSTRUCTIONS CONSISTENCY

10

Here the upper portion of the quadrant is completedwith foil packets. The candidate may also start at the napeand work toward the crown. There is a ridge between theslice and weave sections.

11

SLICING PROCEDURE

On the lower portion of the quadrant the slice tech-nique will be utilized. The slice technique requires thecandidate to take a section of hair that is one sixteenth ofan inch. The lines indicate the hair to be lightened, thespaces between indicate the distance between the packets.Note the number of sections required to finish. On thismannequin there are 12 sections. Not all mannequins arealike. You may use the material of your choice when

12

9

5

1/4”

DividingLine

1/4”

1/8”

1/4”

6

This slice too thick. The slice should be as thin aspossible.

Deduction: FOLLOW DIRECTIONS

The bleached sections are separated by one quarterinch of hair left natural. The entire lower portion of thequadrant must be completed.

15

The candidate may also start the slicing procedure atthe bottom of the section and work up. When the weaveand slice techniques are completed move to the next task.Do not wait for the evaluators to tell you to proceed, godirectly to the highlight retouch quadrant.

16

14

SLICE TECHNIQUE

The slice technique would require the sections to bethin and consistent. This degree of consistency isacceptable.

Deduction: NONE

13

The retouching of highlights is one of the mostchallenging aspects of haircoloring. The proper decisionsmade during this process will insure the client of healthyhair and the haircolorist a faithful client. It is for thisreason the highlight retouch has become a mandatorytechnique for the examination. Avoiding all of thepreviously bleached hair and bleaching all new hair as inthis photograph is discouraged. Repetitive patternswould score a major deduction.

18

The evaluators will be checking the manner in whichthe candidate avoids the previously lightened hair.Although avoiding the previously lightened hair entirelyis nearly impossible, much can be done to retain theintegrity of the hair. The amount of overlapping shownhere is acceptable.

19

With each section of hair placed in the packet there isa decision to be made. Evaluating the entire section willgive the evaluators a sense of how carefully the bleachwas applied. This packet is also acceptable.

20

7

HIGHLIGHT RETOUCH TECHNIQUE

The right front quadrant of the mannequin is utilizedfor the highlight retouch. The candidate must haveprepared the mannequin in advance as detailed in thechapter 'preparing the mannequin.' An attempt should bemade to maintain the same degree of blonde.

17

When folding the packet, caution should be taken notto have previously bleached hair come in contact withbleach being applied.

Here the previously bleached hair has been avoidedand only the new growth bleached. This is a method usedon clients in order to minimize a blonde build up. This isan acceptable technique.

23

This lone packet does not warrant a deduction,Repeating this throughout the quadrant would be a majordeduction.

When the right side of the mannequin is completemove directly into the optional techniques. Theevaluators will assign the candidate the optionaltechniques

24

22

8

In this foil, the new growth is all bleached with asmall section of previously bleached hair avoided. Thisbehavior shows sensitivity to the condition of the client’shair.

21

GRAY REDUCTION

The left front quadrant shall be used for the grayreduction. This section is 75% gray hair. For grayreduction optional technique, the candidate will be askedto reduce the amount of gray hair by 25%. Thus whencompleted the quadrant should appear to be 50% gray.The photo shows 10 fine slices. This would receive anexcellent score.

26

Gray reduction is accomplished by isolating sectionsof hair with a fine weave and darkening the hair in thepacket. The candidate should formulate as though theclient is in the dark brown category.

27

Another method of accomplishing gray reduction isto utilize papers and fine slices. The dark color should beapplied as close to the scalp as possible without touchingthe scalp.

28

9

OPTIONAL TECHNIQUES

The left side of the mannequin will be utilized fortwo of five optional techniques. These techniques are:Gray reduction, high low lighting, bleach retouch, toneon tone and reverse highlighting.

25Reversehighlight

High-lowlighting

Bleachretouch

Grayreduction

Tone ontone

TONE ON TONE

Another task you may be asked to complete on theleft front quadrant is tone on tone. Tone on tone may beaccomplished in a number of ways. When completed thegray hair should be completely covered and there willappear two complimentary tones of hair.

30

The tasks on the left side of the mannequin may becompleted with any tools or technique desired. Thedifference between gray reduction and tone on tone is thatgray reduction adds dark strands of color through the hair,while tone on tone covers all of the gray hair utilizing twodifferent colors.

31

The tone on tone in this photograph is accomplishedby first applying a light brown haircolor throughout thestrand, applying the cups and placing bleach in the cups.This will produce a light brown haircolor with goldenhighlights.

32

10

Deductions will be made for large chunky streakscolor applied too far from the scalp and inconsistentapplication of color.

29

When completed there should be dual tones in thehair with the gray hair completely covered. The darkerhaircolor should dominate.

34

HIGH LOW LIGHTING

High low lighting is often utilized to restore a look ofnaturalness to the hair. The left rear quadrant has the lookof bleached hair that has grown out for two months. Thecandidate is asked to restore the haircolor to a naturallooking highlighted effect. This is accomplished byhighlighting the new growth while adding darkness tosome of the bleached ends. The candidate may utilize anytool or method of accomplishing this task.

35

The high low lighting technique used here is beingcompleted with the use of foils. When utilizing the highlow technique, you are attempting to maintain as much ofthe new growth as you would in a highlight. Many times,in these situations the client desires to have their naturalhair grow out and only highlight their hair. This is howthe candidate should execute this technique when beingexamined for certification.

36

11

Another method of producing a tone on tone is to firstapply a lighter color, like a level 7, on the hair in thepackets. Once this is accomplished apply a darker browncolor on all of the remaining hair between the packets.This too will produce a tone on tone effect. Be preparedto recite formulas you are using to the evaluators.

33

When completed the high low lighting will producean effect which would appear like highlights on naturalhair. There should be enough dark color and bleachapplied to disguise the demarcation line. Application ofthe bleach should preserve the integrity of the hair.

38

REVERSE HIGHLIGHTING

Reverse highlighting differs from high low lighting. Inthe case of reverse highlighting, the virgin haircolor at thescalp is not preserved. Sleeves are being used to isolatesome of the blonde hair. A formula is used to darken thelightened ends.

39

To accomplish the reverse highlighting in thisinstance the blonde hair was isolated in foil with a thickconditioner. Color was then applied to the new growthand the blonde ends.

40

12

Some of the foils in the high low quadrant containbleach at the new growth. Other foils contain color fromthe demarcation line to the ends. Some of the pale yellowhair has been left untreated. There should be sufficienthighlights and low lights to disguise the demarcation line.

37

Bleach retouch will be another task the candidatemay be asked to perform. Evaluators will be looking forthe method of application, amount of bleach used andneatness of the application. The bleach may be applied inwhatever manner the candidate prefers.

42

Questions will be asked of the candidate on what-ever optional tasks are drawn. At the conclusion of theassigned tasks, the candidate will step away from themannequin and raise his/her hand until recognized by thetimekeeper. Do not leave the room unless givenpermission. (This is an option of the evaluator captain).Do not clean up until you return to pick up yourmannequin. The evaluators will indicate when yourmannequin may be picked up. It is estimated theevaluating will take two hours.

43

13

The result in this case should appear as though thehair has been highlighted in reverse. Thus, the namereverse highlighting

41

Note: None of the procedures in the performanceexamination require the mannequin be shampooed and

dried. All of the evaluation will be done during theprocedures and while the color is on the hair.

PERFORMANCE CRITERIA ANDEVALUATIONSCORE SHEETS

chapter

Revised 3/9/99

11

3

GRAY REDUCTIONPERFORMANCE CRITERIA FOR CERTIFICATION EXAMINATION

The candidate will color the left front quadrant of the mannequin in a manner that is consistent with byprofessional standards for gray reduction, established in the study portfolio. NOTE: The candidate will beasked to reduce the amount of gray hair by 25 percent. The color should be formulated for the darkbrown category. This task may be completed by any procedure or technique the candidate determines withinthe 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

RATING 5 - EXCELLENT (exceptional score)The candidate approaches the task with professionalism and confidence, selects just the right formula for thehaircolor category, application technique is neat and organized, distribution of color is as it should be and thecandidate moves through the task at a brisk pace.

RATING 4 - GOOD (passing score)The candidate works in a fairly organized manner, makes the proper formulations and is able to recite thereasons for doing so. The application technique is fairly consistent but not perfect. Candidate approachesthe task in a somewhat confident manner, works well under pressure, finishes the task on time.

RATING 3 - AVERAGEThe candidate does not show a great deal of confidence in what 25 percent reduction is, appears to have not donea gray reduction before, the formula is one level off what it should be, workmanship is average and candidatestruggles through the task.

RATING 2 - POORThe 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 inconsistent,and not wellthought out, works slowly and messy.

RATING 0 - FAILThe candidate works in a careless and unorganized manner, the formula selected for the gray reduction would beimproper for the category of haircolor, haircolor applied at the scalp; not able to communicate formulas or reasonfor using them, application procedures would not be acceptable by professional standards, distribution of darkerhair uneven and clumpy, application is very slow.

6

HIGH-LOW LIGHTINGPERFORMANCE CRITERIA FOR CERTIFICATION EXAMINATION

The candidate will perform a high-low lighting on the left rear quadrant of the mannequin. The task will becarried out to be consistent with the professional standards for a high-low lighting. This quadrant has a twomonth outgrowth. The desired end result is a highlighted look. The candidate will also apply color to portions ofthe 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 theformulations, method of application, consistency of style, neatness of work and processing judgment. Thecandidate will complete the task within the 1 hour and 30 minute performance examination time frame allowed.

EVALUATION CRITERIA

RATING 5 - EXCELLENT (exceptional score)The candidate approaches the task in a confident manner, is organized, knows exactly what needs to be done andgoes about it professionally, application is excellent and processing times are correct, formulations are exact andthe tasks are completed well ahead of the allotted time.

RATING 4 - GOOD (passing score)The candidate is well informed and proceeds in a confident, but guarded manner, the formulas areconsistent with what would be used to correct the problem, works professionally and applies the colors ina manner consistent with professional standards, the timing is good and the results satisfactory, the tasksare completed on time.

RATING 3 - AVERAGEThe candidate is slightly disorganized, appears to not be completely familiar with the process, is slow toformulate and works slowly with considerable effort, workmanship lacks flow and is jerky, drops anunacceptable amount of color on the floor and on themselves.

RATING 2 - POORThis candidate has an idea of what the task is, but is insecure in the approach, the formulation and timing isacceptable, 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 theapplication, takes more time than is allowed for the process.

RATING 0 - FAILThe candidate is not fully aware of what a high low lighting is much less perform one, the approach to the task isunorganized, sloppy and without any plan on how to proceed, formulates the wrong colors and completely losesdirection, cannot complete task.

5

BLEACH RETOUCHPERFORMANCE CRITERIA FOR CERTIFICATION EXAMINATION

The candidate will apply a bleach mixture to the left rear quadrant of the mannequin that is consistent with theprofessional 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. Thecandidate will formulate a bleach to bring the hair to a stage as light as the remaining hair. Bleach may beapplied with a bowl and brush method or with an applicator bottle.With this amount of outgrowth there wouldlikely be a gold band occur. The candidate will ignore that possibility. The task must be completed in theallotted 1 hour and 30 minute performance examination time frame.

EVALUATION CRITERIA

RATING 5 - EXCELLENT (exceptional score)The candidate is organized and works in a confident manner, bleach is mixed to the proper consistency andapplied in a manner that would lighten the hair to the proper stage, application shows a minor amount ofoverlapping and the candidate completes the task very quickly.

RATING 4 - GOOD (passing score)The candidate is somewhat organized and can formulate bleach for retouching, application is concurrentwith 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 - AVERAGEThe candidate is competent but awkward when applying bleach, manages to complete the task in a relativelyorderly fashion, gets some bleach on the previously bleached hair, is somewhat unsure about the bleach mixture,formula is somewhat runny.

RATING 2 - POORThe candidate is not well organized, not secure in mixing bleach for retouching, works in an unorganizedmanner, skips areas and has some overlapping, works in a slow, unsure manner.

RATING 0 - FAILThe candidate works in a careless, sloppy, unorganized manner, does not have a grasp of how to mix bleach foron the scalp application, the application of bleach is inconsistent and overlaps (by a large degree) the previouslybleached hair, the amount of bleach mixed is not enough to complete the task.

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REVERSE HIGHLIGHTINGPERFORMANCE CRITERIA FOR CERTIFICATION EXAMINATION

The candidate will color the left rear quadrant of the mannequin in a manner consistent with professionalstandards 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 mustcomplete the task in the allotted 1 hour and 30 minute performance examination time frame. The evaluation willtake place during the coloring process and after the task is completed. Note: One of the distinctions betweenreverse highlighting and high low lighting is no attempt is made to preserve the new growth whenperforming 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

RATING 5 - EXCELLENT (exceptional score)The candidate is organized and works in a confident manner, knows how to formulate for over bleached hair,highlights are perfectly placed and sized, the tool used is proper, application is consistent with professionalstandards, finishes the task well in advance of the time limit.

RATING 4 - GOOD (passing score)The candidate is somewhat organized and can formulate accurately for over bleached hair, the placementand size of the highlights are acceptable and somewhat well planned, uses the tool for the task properly,works quickly and confidently.

RATING 3 - AVERAGEThe candidate works in an average manner, formulation is acceptable, the highlights selected are inconsistent,somewhat neat, does not appear to be familiar with procedure, works with hesitation and is awkward in theapplication.

RATING 2 - POORThe candidate is not well organized, not secure in formulating haircolor for overly bleached hair, the distributionand size of highlights needs improvement, not in command of tool that is used for completing the task, lacksconfidence and works slowly.

RATING 0 - FAILThe candidate works in a careless, sloppy and unorganized manner, does not know how to formulate for overbleached hair, the distribution of highlights is inconsistent, the size of the highlights are unsatisfactory, placementof highlights are not properly executed, technique not considered appropriate for reverse highlighting; worksextremely slow.

1

HIGHLIGHTINGPERFORMANCE CRITERIA FOR CERTIFICATION EXAMINATION

The candidate will apply highlights to the top portion of the right rear quadrant of the mannequin that isconsistent with a weave highlight as specified in the study portfolio. On the lower portion of the right rearquadrant, the candidate shall perform a slice highlight technique as indicated in the study portfolio. Applicantwill utilize bleach and the material of choice, within established guidelines, for the isolation of the hair that willbe 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 thatare consistent with natural highlights, gives exact bleaching times, applies bleach in a neat consistent mannerwith no bleeding, follows instructions perfectly, 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 ofaccuracy how long the hair will bleach, workmanship is good and application is consistent with slightamount of bleeding, does a good job in following instructions, works smoothly and rapidly.

RATING 3 - AVERAGEAverage workmanship, does a fair job in application technique, shows some signs of bleeding or applies bleachtoo far from scalp, does an average job of following instructions, shows signs of lack of confidence, speed ofapplication consistent with an average haircolorist.

RATING 2 - POORThe candidate does not recite accurate bleach formula, is not tidy in application, comes close to following thepatterns established in the study materials, fairly accurate in determining bleaching times and the stages oflightening the hair, some inconsistencies in the bleach out, several spots of bleeding, follows instructions withsome inconsistency, slightly late in completion of task.

RATING 0 - FAIL The candidate was not able to recite the bleach formula, works in a sloppy manner, did not apply highlightsaccording 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,extremely slow.

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TONE ON TONEPERFORMANCE CRITERIA FOR CERTIFICATION EXAMINATION

The candidate will color the left front quadrant of the mannequin in a manner that is consistent professionalstandards for tone on tone, defined in the study portfolio. Hair will be colored in a tone selected by the candidateand highlights added to contrast, also determined by the candidate. The candidate may proceed in any order thathe or she chooses. Any materials will be acceptable for the purpose of isolating the hair. The evaluation will takeplace during the coloring process and after the work is completed both colors must process simultaneously.Both colors must process simultaneously. The task must be completed within the 1 hour and 30 minuteperformance examination time frame.

EVALUATION CRITERIA

RATING 5 - EXCELLENT (exceptional score)The candidate approaches the task with confidence, the colors selected would give the hair maximum coverage, abeautiful contrast with a balanced amount of the lighter color, recites the formula with confidence and is able topredict results, application is neat and works expeditiously, completes the task well ahead of allotted time.

RATING 4 - GOOD (passing score)The candidate is organized and approaches the task with confidence, the haircolors selected will cover thegray hair and it a harmonious contrast; lighter hair is well blended, the application procedure is neat andwell executed, application procedure is effective and expeditious, completes the task in the allotted time.

RATING 3 - AVERAGEThe candidate works with some confidence, shows some hesitancy of where and how to proceed, has averageworkmanship and formulating skills, contrast between tones is not as good as could be, looks professional, but isawkward when working, works at moderate speed with disregard to time.

RATING 2 - POORThe candidate is not well organized and approaches the task with a degree of apprehension, unable to clearlyrecite the formulas, there is marginal coverage of the gray hair, the application procedures are time consumingand the contrast is not appealing and harmonious, distribution of lighter hair is either too heavy or not heavyenough.

RATING 0 - FAILThe candidate works in a careless and unorganized manner, haircolors selected by the candidate would create aweak and unattractive contrast, lighter color not well distributed, clumpy and unnatural, haircolor selected wouldnot cover gray hair, not able to communicate formulas, the application and procedure would not be acceptable byprofessional standards, carries out procedure in a time consuming manner, with disregard for the amount of timetaken.

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HIGHLIGHT RETOUCHINGPERFORMANCE CRITERIA FOR CERTIFICATION EXAMINATION

The candidate will apply highlights to the right front side of the mannequin, in a manner that is consistent withthe professional standards for retouching highlights. The hair will have been prepared by the candidate to havetwo sets of highlights, one grown out for 3 months, the other 6 months. The goal during this exercise is tomaintain the amount of highlight present in the hair. Candidate is free to utilize the off the scalp bleach andmaterial of choice, within established guidelines, for the isolation of the lightened strands. Candidate will beevaluated on the mixture of bleach, neatness of work, care during application (sensitivity to previously lightenedhair), processing judgment, amount of bleeding, correct distance from scalp and avoidance of previouslylightened hair. The evaluations will take place during the application and at completion of the task. The taskmust be completed within the 1 hour and 30 minute performance examination time frame.

EVALUATION CRITERIA

RATING 5 - EXCELLENT (exceptional score)The candidate able to give exact bleach formula, works in a neat professional manner, applies highlightsconsistent with highlight retouch, gives exact bleaching times and describes the stages of lightening. Appliesbleach in a neat consistent manner, follows instructions perfectly, completes task well ahead of schedule.

RATING 4 - GOOD (passing score)The candidate gives good bleach formula, carries out task in a neat manner with slight exceptions does agood job of avoiding the previously highlighted hair, knows with a degree of accuracy how long it will takethe hair to bleach, and describes the stages of bleaching. Uses staggered technique effectively, usesstaggered technique effectively, workmanship is good and application is consistent with no bleeding; does afair job in following instructions, works quickly and smoothly.

RATING 3 - AVERAGEThe bleach formula questionable, inaccurate in bleaching times and the stages of lightening, someinconsistencies in the bleach out, bleach where it does not belong, tries to avoid previously bleached strands bystaggering bleach, follows instructions with some inconsistency, works with fair speed.

RATING 2 - POORThe candidate does not give accurate bleach formula, is not tidy in application, vague knowledge about what a 3and 6 month outgrowth is, questionable work habits, mannequin not prepared properly, disregards previouslybleached hair, no sign of staggered technique, too much bleeding, and works slowly.

RATING 0 - FAILThe candidate not able to recite bleach formula, works in a sloppy manner, completely disregards previouslylightened strands, has no idea of what a 3 and 6 month outgrowth is, has no idea about stages of lightening,bleach application is spotty and inconsistent (bleach in areas it does not belong), does not follow instructions,very slow, stops bleach application in the same place on every packet.

PERFORMANCEEXAMINATIONQUESTIONS

chapter

Revised 3/25/99

12

CANDIDATE QUESTIONS FORHIGHLIGHTING PERFORMANCE TASK

Some of the following questions may be asked of the candidates during the practical examination. Thenumber of questions asked will vary. If the questioning occurs at a time you would prefer not answering,you may request the Evaluators return at another time. You may continue working or stop working whenanswering the questions. The Evaluators will attempt to ask questions pertaining to the task you areperforming.

1. If a client requested a highlight, 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 thirty minutes of bleaching, the client that you applied packets on is lightened to the degree thatyou 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 40volume 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. Describe a medium weave.

9. In what way would the bleaching process be effected by adding heat?

10. When bleaching strands of hair utilizing 5, 10, 15, 20 volume bleach, would the difference in the color ofthe strands become further apart or closer together the longer they are bleached and why?

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CANDIDATE QUESTIONS FORNATURAL HIGHLIGHT RETOUCHING

1. How is doing a highlight retouch different than doing a virgin highlighting?

2. Describe sensitivity to previously lightened hair when doing a retouch?

3. Assuming the client requested more blonde hair than she received in the initial highlighting, what arefactors she should be made aware of?

4. In the case of a client who requested the amount of lightened hair remain the same as the previoushighlight, how would you alter the technique?

5. When performing a repetitive highlighting, how do you avoid a blonde build up?

6. Would your highlight retouch application differ on long hair versus short? Why?

7. To correct a highlight that has progressively become too light, what would you do?

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CANDIDATE QUESTIONS FORTONE 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 opposed to a regular highlight?

4. Explain how 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 wouldyou 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?

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CANDIDATE QUESTIONS FORGRAY REDUCTION PERFORMANCE TASK

1. When would you recommend a gray reduction to a client?

2. What would your formula be for a client in the soft brown category whose hair is predominantly gray?

3. If a client is in the soft brown category and is 90% gray and your doing a gray reduction for the fist time,would you do a light, medium, or heavy application of color?

4. How do you change the gray reduction formula so it won’t affect the pigmentated hair as much?

5. How would you perform a gray reduction retouch?

6. When performing a gray reduction, which of the two foiling methods, weave or slice, is more suitable?

7. How do you determine the formula that’s used on a gray reduction client?

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CANDIDATE QUESTIONS FORBLEACH 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 paleyellow stage?

4. How often should a client in the dark brown category expect to bleach their hair to maintain a blondehair color?

5. Identify the warm and cool zone on a bleach retouch.

6. When performing a bleach retouch, is there an advantage to applying the bleach thick or thin? Explain.

7. Would you use the same bleach for the new growth as you would for bleaching the ends of the hair on avirgin bleach?

8. Explain the two methods of performing a virgin bleach.

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CANDIDATE QUESTIONS FOR HIGH LOW LIGHTINGPERFORMANCE 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 theface and through the top? Why?

4. How do you alter the formula when applying color over bleached hair?

5. When would you use high-low lighting rather than reverse highlighting?

6. What are some factors in determining the formulation of the low light desired?

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CANDIDATE QUESTIONS FOR REVERSE HIGHLIGHTING PERFORMANCE TASK

1. When would you use a reverse highlighting technique?

2. Explain the difference between a reverse highlighting and a high-low lighting.

3. How do you compensate for missing pigment when you’re coloring the hair form a very light blonde witha 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 poroushair?

5. Why is the color formulation so critical 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. When performing a reverse highlight for the first time, how would you ease the client into darker hair?

9. Describe the final result of a reverse highlight.

10. Does the name of the technique change when doing a reverse highlight and a bleach is applied on the newgrowth on the hair in the packet?

INTERACTIVEASSESSMENTEXAMINATION

• Interactive Assessment Defined

• Score Sheet Procedures

• Photographs and Script

• Scoring Samples

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Revised 3/5/99

3

INTERACTIVE ASSESSMENTclient #17

What happened to your hair?

I don’t know, I have been bleaching my hair for the last fifteen years, nothing like thishas 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 herskin 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. Myhair was a bob length when I started.

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SCORING

Now that you have scored the interactive assessment in this chapter, we will review the scores so they can becompared with our panel of haircolor experts.

MODEL ANSWERBleach to yellow stage; tone with deposit-only color. ..........................................................................

SECOND PLACEBleach to yellow stage; then tone with neutral blonde ammonia toner...............................................................................................................

THIRD PLACEDo nothing ............................................................................................................................................

FOURTH PLACEBleach to golden blonde........................................................................................................................

FIFTH PLACEHigh low lighting with medium gold brown deposit-only color,highlight the new growth with bleach...................................................................................................

SIXTH PLACEChunky reverse highlight with medium brown tint ..............................................................................

SEVENTH PLACEHigh low lighting with medium golden brown deposit-only color,highlight with high lift tint. ..................................................................................................................

This challenge is used because of the variety of possible answers. Not all challenges have the variety or diversityof 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 cor-recting the score sheet will determine the number of points to be granted. The evaluator will use the listedanswers as a guide for determining what the score should be. Example: If your answer is to bleach to a paleyellow blonde and not tone. The evaluator could grant a higher score than bleaching to a golden tone. This de-termination is based on the fact the 5th place vote was to bleach the hair to yellow stage and tone. Your votecould 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 wouldlikely rank very low, there is no sensitivity shown toward the client. One could argue the person who voted to donothing did not show sensitivity toward the client as well. That argument is not valid because there was a greaternumber who elected to do nothing received enough votes to make it valid.

44 Points

41 Points

35 Points

33 Points

27 Points

26 Points

20 Points

2

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 de-signed in this manner, for a purpose, to determine what the candidate would do if he/she had a choice of solu-tions. The model answers to the various challenges are 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 tohaircoloring. To a degree that is true, although the interactive assessment is designed to measure the candidatessensitivity 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 facilitators; they will give a brief overview of how the score sheets work prior to theexamination. You will be given five different sets of photographs of different challenges. There will also be ascript of possible dialogue between the haircolorist and the client. The script will be attached to the proper set ofphotographs. The candidate will also receive five score sheets. The score sheets are to be filled out with the can-didates name, team color and 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 ageneral rule, we select the color treatment based on a process of elimination. In this examination, the candidatewill not have that opportunity. The candidate will have to select the technique based on the limited dialogueincluded 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 aboutasking for help from the evaluator 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 threemodel answers which will give the same score

This is an examination that measures the candidates sensitivity toward the client. It is important you readthe scripts very carefully. An example of a major deduction would be the client indicating she has used a singleprocess high lift blonde color in the past but it made her hair brassy. The candidates solution to the challenge isto use a single process high lift blonde color. This answer would draw a major deduction. There is no study ma-terials 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 willingto 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 shouldmark 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 theindividual hosting the examination.

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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 beautifulblonde bob and I had to cut it short to look decent. I went to see an attorney to see whathe 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. Ifthey 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.

Even though score stands alone, the score is based on the points received.

#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 scoreis 40. Anything below 40 is failing.

The interactive assessment portion of the examination is designed to determine if a candidate has theknowledge 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 relyon others in their work environment to make color decisions for them. They may be excellent technicians but areunable 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 adifferent Evaluator. The score sheets are then gathered together and the scores compiled. You will receive acopy 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/herefforts. Comments should be limited to only a few words and not repeat what is evident on the score sheet..

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PERFORMANCEEXAMINATIONEVALUATIONPROCESS

• Score Sheet Items

• Criteria For Scoring

• Deductions Defined

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Revised 3/9/99

2

PREPARATION OF SWATCHES

The better the preparation of the swatches the higherthe 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?

The swatches displayed here should receivean excellent (5) rating.

1

PREPARATION OF MANNEQUIN

To properly prepare the mannequin it takes time,care and patience. A great deal can be understood aboutthe haircolorist by the care taken in the preparation of themannequin.

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.

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CONSISTENCY

The consistency score depends on how consistent thecandidate is. If some of the weaves are thin and othersthick, the candidate would receive a lower score than ifthe weaved strands were all the same size. The sameholds true for the slicing technique. Are all of the slicesthe same thickness or are some thin and others thick?The hair left natural should also be consistent.

3

APPLICATION

Application refers to the application of the bleach orcolor. Is the application of bleach or color smooth andeven or is it spotty and uneven? Is there a proper amountof product used? The mixture of the bleach or colorwould fall into this score. The best grade would be givenfor a smooth even application and a bleach or colormixed to the proper consistency. Voids in application canoften be found on the side of the hair against the packet.

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3

ORGANIZATION

The organization score is based on how organizedthe candidate is. Do they enter the room find their station,set up their equipment, mix their bleach and wait for fur-ther instructions? Do they wander around, ask questions,borrow tools or color, look rattled and unorganized. Howdo they respond to a crisis? Is the candidate searchingunder the table for something they forgot? Most of thisgrade is given before the timer starts.

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NEATNESS

If candidates are neat, they will receive a goodscore. If they are untidy and sloppy, they will receive apoor score. Getting bleach or haircolor anywhere it doesnot belong is considered untidy. Is there unnecessarystaining on the face and neck of the mannequin? Arethere drops on the floor and around their work station?

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FOLLOWS INSTRUCTIONS

This is a score given to the candidate on how wellthey follow the instructions in the study portfolio. Didthey start in the proper quadrant? Did they have to be toldto continue their work? Following instructions ‘by thebook’ deserves a high score.

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BLEEDING

The amount of bleach seeping out between thepackets causes bleeding on the scalp. The degree ofbleeding will determine the amount of deductions thecandidate will receive. The Evaluators will determine ifbleeding is a way of life for the candidate or if it is anunusual circumstance. Applying the bleach too far fromthe scalp is also a deduction.

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4

FORMULATION

The Evaluator must determine if the color selectionis compatible with the task being performed. Is the grayreduction formula too dark or too light? Are the colorsused in the tone on tone technique far enough apart to beable to see the difference? Does the high low lightingformula match? The Evaluator will not be able to see thefinished results they must anticipate from the colors beingused what the color will look like when completed.

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PROFESSIONALISM

How the candidate looks and how they carry them-selves is an important factor in being a certifiedhaircolorist. If they do not look professional for theexamination they will not project the image of a board

certified haircolorist. Their attitude, confidence andskills are all important for certification. It is as importantas his/her skills.

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ORAL QUIZ

The candidate must answer the questions as out-lined in the training manual. Answering the questionscorrectly rates a good score. Answering the questioncorrectly with confidence rates an excellent score. Giv-ing a partially correct answer rates a average score. Giv-ing a partially correct answer meekly yields a poor rating.Giving the wrong answer meekly rates a fail. Thecandidates have been given the questions in advance sothey should be able to recite the correct answers withconfidence.

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WORKMANSHIP

Workmanship is the ability of the candidate to breezethrough the assigned tasks without effort. The smooth-ness and lack of effort the candidate displays whileaccomplishing tasks is considered excellent workman-ship. A candidate with poor workmanship is someonewho bumbles through the task and appears to be strug-gling. The task gets accomplished, but with a great dealof effort.

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5

TIMING

If candidates finish on time they should receive agood score. If they finish more than five minutes beforethe 'bell' they should receive an excellent score. For anaverage score, all except one third of the quadrant iscompleted. A poor score would be assessed if two thirdsof the quadrant is unfinished. If the entire quadrant is in-complete when the exam ends, the candidate wouldreceive a failing score.

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HIGHLIGHT RETOUCH

Candidates will be evaluated on their sensitivitytoward the previously bleached hair. Because there is noset rules established on how a highlight retouch can beaccomplished, the candidates have a degree of flexibilityon how to avoid the previously bleached hair and howsuccessful they are. Deductions are given for application,bleeding and following instructions.

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6

PERFORMANCE EXAM CRITERIA

1) CRITERIA FOR “PREPARATION OF SWATCHES”

5) Excellent. Hair is evenly lightened throughout the swatch. Swatches are prepared according to the studyportfolio. Porosity is no greater than grade four. Timing is accurately noted. Swatches are mounted and neatlydisplayed.

4) Good. A slight variation of lightness is evident in a swatch. Swatches are prepared according to the studyportfolio. Porosity is no greater than grade four. Timing is accurately noted. Swatches are displayed fairlyneatly.

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 areslightly messy in appearance.

2) Poor. Lightness is inconsistent throughout the swatch with spots from 1/4 inch to 1/2 inch in size. Swatchesare prepared according to the study portfolio, with significant variation in the tones. Porosity greater than agrade 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 notprepared 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.

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2a) CRITERIA FOR “PREPARATION OF THE MANNEQUIN”Highlighted section

5) Excellent. Highlights are distributed consistently throughout the correct section. The proportion of light todark creates a visible difference. Highlights are one and one half and three inches from the scalp. Hair islightened to yellow-pale yellow. Porosity is no greater than grade four. No evidence of banding.

4) Good. A small degree of inconsistency of highlights in the correct section. A slightly greater or lesser amountof lightened hair to dark. Highlights are off the one and one half and three inch marks by no more than onehalf inch. Hair is lightened to yellow-pale yellow. Porosity is no greater than grade four. Slight banding at thebottoms of the highlights, indicating use of heat.

3) Average. Some inconsistency in the distribution of highlights in the correct section. The proportion oflightened hair to dark is slightly too much or too little. Highlights are off by one half to three quarters of aninch from the one and one half inch and three inch goals. Hair is lightened to yellow-yellow gold. Porosity isno greater than grade four. Use of heat causing a greater degree of banding.

2) Poor. Inconsistency in the distribution of highlights in the section. The proportion of lightened hair to darkdoes not create a visible difference or is too concentrated. Highlights are off by one inch from the one and onehalf and three inch goals. Hair is lightened to yellow-yellow gold. Porosity is no greater than grade four. Allstrands contain 1/8” banding.

0) Fail. Inconsistency of distribution of highlights. The proportion of light and natural hair disproportionate.Can be heavily blonded or hardly any highlights. Highlights are down to the scalp and with bleeding at thescalp. Lightened hair is deep gold or white with grade 5 porosity. Extensive amount of bleeding and banding.

8

2b) CRITERIA FOR “PREPARATION OF THE MANNEQUIN”Bleached section

5) Excellent. Hair is evenly lightened. Bleached section starts from one inch away from the scalp through theends. Bleached hair is yellow-pale yellow. Porosity is no greater than grade four. May have a slight banding insome areas. Mannequin is conditioned and finished.

4) Good. A slight variation of lightness is evident. Bleached section is off by less than one half inch from theone inch goal. Color is yellow-pale yellow. Porosity is no greater than grade four. There is a slight degree ofbanding.

3) Average. Some inconsistency of lightness is evident. Bleached section is off by one half to three quarters ofan inch from the one inch goal. Color is yellow-yellow gold. Porosity is no greater than grade four. There isslight banding throughout the quadrant.

2) Poor. Lightness is inconsistent throughout the section. Bleached section is off by three quarters of an inchfrom the one inch goal. Color is yellow gold. Porosity is no greater than a grade four. Area of bleeding downto the scalp, banding on remaining hair.

0) Fail. Lightness is inconsistent throughout the section. Bleached section is off by more than three quarters ofan inch from the one inch goal. Color is yellow gold or white. Porosity is a grade five. Many areas where thebleach seeped down to the scalp, heavy banding throughout. Candidate shows lack of patience in preparingmannequin.

9

3) CRITERIA FOR “CONSISTENCY”

5) Excellent. Sizes of weaves or slices are correct. Spacing between sections is accurate. The ratio of treated tountreated hair is consistent throughout the section.

4) Good. Sizes of weaves or slices are fairly even. Spacing between sections shows a small variation. The ratioof 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. Theratio 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 oftreated to untreated hair is varied throughout the section. Difficulty in identifying difference between weaveand slice sections.

0) Fail. Sizes of weaves or slices are inconsistent. Spacing between sections shows extreme variation. The ratioof treated to untreated hair is widely varied throughout the section. No difference between the weave & slicesections.

10

4) CRITERIA FOR “APPLICATION”

5) Excellent. Candidate applies the product evenly onto selected strands. Product is applied the proper distancefrom the edge of the packet. Product is a workable mixture, neither crumbly or runny. Hair is thoroughlysaturated with the product.

4) Good. Candidate applies the product fairly evenly onto selected strands. Product is applied with slightdiscrepancies in distance from the edge of the packet. Product is a workable mixture, neither crumbly orrunny. 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 applied withsome discrepancies in distance from the edge of the packet. Product is a fairly workable mixture, slightlycrumbly 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 applied with significantdiscrepancies in distance from the edge of the packet. Product is a somewhat unworkable mixture, crumbly orrunny. 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 applied withunacceptable discrepancies in distance from the edge of the packet. Product is an unworkable mixture,crumbly or runny. There are extreme variations in the saturation of the hair with product. Much of the hairunsaturated.

11

5) CRITERIA FOR “ORGANIZATION”

5) Excellent. Candidate arrives on time and is ready to begin the procedure at the proper time. All materialsneeded 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 neededfor the procedure are set out in a fairly neat, orderly manner.

3) Average. Candidate arrives on time and is ready to begin the procedure at the proper time. Materials neededfor the procedure are set out in a fairly neat manner. Forgets to layout some materials requires going backunder table.

2) Poor. Candidate arrives just before testing starts, but is ready to begin the procedure at the proper time. Notall materials needed are brought to examination. Tools and products are set out in a somewhat disorganizedmanner. Some materials need to be borrowed.

0) Fail. Candidate arrives just before testing starts, but is not ready to begin the procedure at the proper time. Allmaterials needed for the procedure are not set out. Requires borrowing from other candidates to completetasks. Searching under table for materials during examination.

12

6) CRITERIA FOR “NEATNESS”

5) Excellent. Product is placed exactly where it belongs. Work station and candidate are completely free of dripsor excess product.

4) Good. Product is placed where it belongs with only slight indiscretions. Work station and candidate aremostly free of drips or excess product. Some color on mannequin.

3) Average. Product is placed where it belongs with only two or three indiscretions. Work station and candidateare 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 a someon another quadrant. Work station 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 significantamount on another quadrant or quadrants. Work station and candidate are dripping with excess product.Generally very sloppy.

13

7) CRITERIA FOR “FOLLOWS INSTRUCTIONS”

5) Excellent. Tasks are carried out in the proper quadrant and in the proper order. Materials used to enclose thehair are acceptable. The proper amount of hair is segregated into the packets and the hair left natural iscorrect. The weaves and slices are exactly the proper size and the proper amount of packets. Assignedoptional 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. Thehair being segregated is close to being correct. Most of the hair being segregated is the proper amount. Theweaves and slices are mostly the proper amount. One of the assigned optional techniques are altered slightlyfrom the prescribed method.

3) Average. Tasks are carried out in the proper quadrant and in the proper order. Materials being used arecorrect. Hair being segregated is improper. Weaves and slices show some variation and are not the propersize nor the proper amount. There are slight variations in both of the assigned optional techniques.

2) Poor. Task was carried out in the proper quadrant but caught themselves before proceeding. Materials beingused are improper. Hair being segregated is mostly wrong and inconsistent. Weaves and slices are highlyinconsistent and improper size. Some in the wrong place on mannequin. One of the optional techniquesborders on being wrong.

0) Fail. Wrong task in wrong quadrant. Unacceptable materials being used. No resemblance to instruction instudy portfolio. Can not distinguish between weaves and slices. One of the assigned techniques completelywrong.

For the purpose of scoring follow instructions the score given for working out of order shall be given only to thequadrant in which the candidate starts, not both quadrants done out of order.

14

8) CRITERIA FOR “BLEEDING/PROPER DISTANCE”

5) Excellent. Product is inside foils, yet very close to the edge of the foil (within 1/8 inch). No evidence ofbleeding in the quadrant.

4) Good. Product is inside foils, yet very close to the edge of the foil (within 1/8 inch). There are areas wherethe foil has slipped slightly, creating a banding at the bottoms of the weaves or slices, no larger than 1/8 inch.A small degree of bleeding in the quadrant.

3) Average. Product is mostly inside foils, but a small distance away from the edge of the foil (within 1/4 inch).There are areas where the foil 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 two 1/4 inch spots.

2) Poor. Product is inside foils, but a significant distance away from the edge of the foil (within 3/8 inch). Thereare areas where the foil has slipped, creating a banding at the bottoms of the weaves or slices. A degree ofbleeding in the quadrant indicated by no more than six 1/4 inch spots or one 1/2 inch spot, or bleach applied1/2” away from edge of foil.

0) Fail. Product is inside foils, but a significant distance away from the edge of the foil (more than 1/2 inch).There are areas where the foil 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 bleachis applied 3/4” away from edge of foil.

15

9) CRITERIA FOR “FORMULATION”

5) Excellent. Formulation will create a harmonious combination with existing hair, or with other color formulasbeing used. Color is light or dark enough to show. Formula compensates for existing natural color or prebleached 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 prebleached 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 formulasbeing used. Color is slightly too light or too dark. Formula compensates somewhat but not completely forexisting natural color or pre bleached hair to create the desired end result. Grey reduction formula wouldwork but not best choice.

2) Poor. Formulation will not combine well with existing hair or with other color formulas being used. Color istoo light or too dark. Formula does not compensate for existing natural color or pre bleached hair to create thedesired 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 toolight or too dark. Formula does not consider existing natural color or pre-bleached hair. No contrast for toneon tone. Grey reduction formula for soft brown category or too warm.

16

10) CRITERIA FOR “PROFESSIONALISM”

5) Excellent. Candidate has a confident attitude and conveys an air of competence and integrity by theirbehavior and what they say. Appearance is fastidiously well put together.

4) Good. Candidate has a fairly confidant attitude and conveys an air of certainty and reliability by theirbehavior and what they say. Appearance is well groomed.

3) Average. Candidate is nervous but determined, and conveys an air of willingness to try and reliability by theirbehavior and what they say. Appearance is neat but somewhat unprofessional. Nails slightly chipped but freeof stains.

2) Poor. Candidate is nervous and conveys an air of uncertainty by their behavior and what they say or issomewhat arrogant. Appearance is somewhat untidy and/or in bad taste or too casual. Chews gum, hands andnails stained.

0) Fail. Candidate is nervous and conveys an air of incompetence by their behavior and what they say or isarrogant, 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.

17

11) CRITERIA FOR “ORAL QUIZ”

5) Excellent. Candidate answers the question without hesitation, accurately and with a detailed explanation.

4) Good. Candidate answers the question with slight hesitation, accurately and with a somewhat detailedexplanation.

3) Average. Candidate answers the question with hesitation, accurately. Candidate talk excessively and neveranswers questions.

2) Poor. Candidate answers the question with hesitation, somewhat accurately. Obviously did not read questionsin study portfolio.

0) Fail. Candidate answers the question inaccurately. Does not know the material or requires repeating ofquestion, still does not understand.

18

12) CRITERIA FOR “WORKMANSHIP”

5) Excellent. Work proceeds in a smooth and 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 considerable effort. Some awkwardness is evident. Shown by reaching and/ordropping materials.

0) Fail. Work is a struggle. The task requires a great deal of effort and is accomplished awkwardly. Drops toolsand materials, changes hands and always reaching.

19

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.

20

14) CRITERIA FOR HIGHLIGHT RETOUCH

5) Excellent. Candidate applies product demonstrating sensitivity to the previously bleached hair. Most of thebleached hair is avoided, a small degree of bleach build up is evident, there are no strong lines where bleachwas stopped abruptly, good staggered technique. Work is neat and there is no evidence of bleeding.

4) Good. Candidate applies product demonstrating a fair amount of sensitivity to the previously bleached hair. Asmall amount of bleached hair has bleached applied, care is taken not to fold the unbleached hair onto thebleached hair. There is a small amount of blonde buildup. There are a few defined lines where the bleachwas stopped abruptly, fair staggered technique. Work is fairly neat with just a small amount of bleeding.

3) Average. Candidate applies product demonstrating average sensitivity to the previously bleached hair. Anaverage amount of bleached hair has bleach applied, no folding of bleached hair into the bleach in the packet.Average amount of blonde buildup. Average amount of well defined lines where bleach stopped abruptly.Fairly neat and small amounts of bleeding.

2) Poor. Candidate applies product demonstrating some insensitivity to the previously bleached hair. Anunacceptable amount of the bleached hair is treated, or candidate stops the bleach at the first sign of bleachedhair leaving well defined lines of bleached hair close to the scalp. Work is not neat and fair amount ofbleeding is evident.

0) Fail. Candidate applies product demonstrating total insensitivity to the previously bleached hair. All thebleached hair is ignored, no indication of the staggered technique or all of the packets have bleach appliedonly to the first sign of bleach hair. Work is sloppy and massive bleeding occurs.

1

3

4

TECHNIQUESDEFINED

• Highlighting

• Highlight Retouch

• Low Lighting

• High-Low Lighting

• Reverse Highlighting

• Gray Reduction

• Tone on Tone

• Single Process

• Double Process

• Shading

• Tint Back

• Color Remover

15chapter

Revised 4/16/99

2

1. HIGHLIGHTINGHighlighting is defined in broad terms as

placing lighter strands into natural hair. The size ofthe strands and the degree of lightness gives endlessvariations of the highlighting process. The strandscan be as small as the lead of a pencil or as large asthe entire pencil, the degree of lightness can render ahigh contrast or give a very subtle contrast.

1

The differences may be a subtle contrast ondark hair or a dramatic contrast on lighter hair. Thevariations are endless, it one of the most creative andchallenging concepts of coloring hair. Highlightingis one of the most sought after professionalhaircoloring services.

2

The strands to be lightened may be isolated in anumber of methods. Packets may be constructed ofpaper, cellophane, plastic, foil, cups or an endlessarray of tools used for separating the hair to belightened from the hair left natural.

FOR THE PURPOSE OF THE EXAMINA-TION THE CANDIDATES MUST UTILIZE ONEOF THE PRESCRIBED METHODS.

3

Illustrated are some highlighting effectsachieved by a slightly different manner. The clienton the left has a fine sliced effect giving the hair agentle degree of overall lightness without definedstreaks. The client on the right has shorter hair withlarger streaks giving the hair more interplay of lightand dark. Different results are achieved on the samenatural base haircolor.

4

3

The two techniques are illustrated onmannequins with the same length and color of hair.The packet on the left contains a fine slice. Thepacket on the right contains a weave. The size ofthese sections illustrate the size of the sections thecandidates will be asked to demonstrate at thecertification examination.

5

Weaving the hair produces a different effect, thehair is not evenly distributed in the packet. There arewell defined streaks of hair. It should be noted thegreatest difference between the weave and sliceoccurs within the first 4 inches from the scalp. Oncethe hair spreads and becomes distributed there islittle difference in the appearance.

6

For a mild contrast in the hair (caramelizing ortortoise shelling), the slice technique gives the hair asofter effect by giving the hair an overall lightereffect and avoiding streaks of lightness close to thescalp.

7

The amount of contrast in the hair is achievedby both the strength of the product used and theamount of time the product is on the hair. Theproduct selected must be strong enough to achievethe desired color.

8Natural Highlift

On thescalp

bleach

Off thescalp

bleach

4

2. HIGHLIGHT RETOUCHThe highlight retouch is one of the most chal-

lenging aspects of haircoloring. The ability to keepthe hair highlighted and minimizing the build up ofblonde is especially challenging for the haircolorist.

9

The challenge is much more difficult withclients who have longer hair and want to be blonde.With each highlight, the hair will becomeprogressively lighter. This is a virgin highlight onlong hair. With this length hair the client shouldhave her hair highlighted no more frequently thanevery four months. Two partial highlights should begiven for every full highlight.

10

The darker and longer the hair the more chal-lenging it is to maintain. The application of thebleach must be done in a manner that will protect theintegrity of the previously lightened hair. As the hairbecomes longer and the application of bleach isconfined closer to the scalp, the ends of the hairbecome darker and unnatural looking. The ends ofthe hair should be lighter than the hair closer to thescalp.

11

This highlight on dark hair is kept in healthycondition by utilizing a fine slice and lifting the basecolor slightly so the highlights will not have to bedone as frequently. The slight lifting of the basecolor between highlights can prolong thehighlighting service. This is known as ‘bumping thebase’.

READ THE CRITERIA FOR HIGHLIGHTRETOUCH CAREFULLY PRIOR TO THE EXAMINATION.

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5

3. LOW LIGHTINGLow lighting is the term utilized for placing

a darker color into the hair. Used for toning downoverly lightened hair from repetitive highlights,environmental exposure, or a series of single processcolors. Low lighting can be performed to any degreedesired. This client has low lights to tone down theamount of blonde. There is no attempt made tocover the new growth.

13

Low lights can also be the first step in growingthe hair out from a double process blonde, a heavyhighlight or single process blonde. This client isgoing to allow her hair to grow out to its naturalhaircolor with highlights. Low lighting gets herthrough the first step.

14

Low lighting is also used for correctivehaircoloring to tone down hair that has become toolight. In this case a darker color was applied at thescalp, while the color at the scalp is processing lowlights are added to the hair to tone down the ends.Low lights can be applied with or without color atthe scalp.

15

The result is a more natural looking blondehaircolor. This would be considered an extremeform of low lighting. Be certain you have consultedand reconfirmed the final results with the clientbefore proceeding. This effect could be too extremefor the client who has been blonde for years.

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6

A more traditional approach to low lighting isadding a color two levels darker in limited amounts.When applying low lights the closer to the nape thelow lights are applied the greater amounts. Just op-posite of highlighting.

17

4. HIGH LOW LIGHTINGHigh low lighting is the process of adding

high lights and low lights to the hair at the sametime. The highlights are generally applied to the hairfirst, because they take longer to process. After thehighlights have been applied, low lights are thenapplied to the hair and both are allowed to process atthe same time. There are occasions when the highand low lighting is done at the same time. High lowlighting is used here to disguise the demarcation linewhile the client grows out from a single processblonde.

18

This is typical of a home haircolor where thereare multi colors on the hair with several lines ofdemarcation. Applying the bleach to the darkersection of hair first, then adding low lights, gives thehair a more natural look.

19

High low lighting can also be utilized tochange the overall color of the hair. In this case theclient wants to go from red hair to highlighted hair.This is accomplished by highlighting the hair thenplacing the remaining hair in foils with a darkercolor.

20

7

The result is a nice soft warm brown withhighlights. High low lighting allows the haircoloristto solve a variety of haircolor problems and maintainthe integrity of the hair.

21

The high low lighting process may be used asan introduction to haircoloring a client with grayhair. Utilizing packets with a lighter color or bleachand other packets with a light warm brown, the clientmay have her hair colored without making a totalcommitment. For a client who has never coloredtheir hair, this gradual effect may be the answer.

22

High low lighting can be utilized for acorrecting blotched haircolor. Adding lighter anddarker strands to this clients hair disguised theundesirable haircolor experience.

23

Utilizing high low lighting allows thehaircolorist to add highlights and darken theremaining hair giving the hair a soft natural look.The alternative to high low lighting would be tocolor all of the hair dark, then highlight the hair.This would be a more extreme measure.

IN THE EXAMINATION, WITH HIGH LOWLIGHTING, ALL OF THE HAIRCOLOR IS INPACKETS.

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8

5. REVERSE HIGHLIGHTINGReverse highlighting is doing a highlighting

in reverse. Starting with blonde hair, some of theblonde hair is isolated in packets or color sleeves,then the remaining hair is colored darker. Theamount of hair isolated and the depth of the colorwould depend on the situation. Length of hair,condition and how long the client was blonde are allfactors. This technique is used to ease the clientback to their natural haircolor.

25

Extensive consultation should be utilized whenperforming a reverse highlight. Make certain theclient realizes the extent of darkness this techniquecreates. Sleeves are utilized in this situation becauseit was possible to color the hair twice while keepingthe hair isolated. Packets tend to slip when rinsingthe first color from the hair. Deposit only haircoloris generally the color of choice for a reversehighlight.

26

The hair can also be isolated in packets for thepurpose of performing a reverse highlighting. Withreverse highlighting there is no attempt made topreserve the new growth. The new growth isgenerally colored at the same time as the remaininghair. There are instances where it is advisable toutilize a lifting formula at the scalp and a non liftingformula on the remaining hair. REMEMBER, FORTHE EXAMINATION, ALL OF THE HAIR NOTIN PACKETS MUST BE COLORED.

27

6. GRAY REDUCTIONGray reduction is utilized by the haircolorist

to reduce the amount of gray the client is wearing.Gray reduction is utilized to introduce a client tohaircoloring. It has a great deal of appeal to theclient who is apprehensive about coloring their hairfor the first time. Gray reduction overcomes manyof the objectives a first time client has in terms ofcommitting to haircoloring. It looks natural andgrows out gracefully.

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9

Gray reduction works well for men, as well aswomen. The amount of darkness added to the firsttime clients hair depends on the apprehension theclient has to coloring their hair. It is advisable tostart gradually and increase the amount of darknesson subsequent visits.

29

Gray reduction is truly a professional haircolorservice impossible for the client to duplicate athome. EXAMINATION REQUIRES THECANDIDATE TO REDUCE THE AMOUNT OFGRAY BY 25%.

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7. TONE ON TONETone on tone is the art of coloring the hair

with two different colors. When doing tone on tonehaircoloring, it can be accomplished with a varietyof techniques.

31

Generally, the client has a single processservice. While the color at the scalp is processing,packets or cups are added to the hair generally witha lighter color or bleach.

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10

The haircolorist may also place packets in thehair with a lighter color or bleach, then color theremaining hair around the packets. This technique isoften utilized when the tone on tone is beingexecuted on a virgin tint.

33

There are many variations of tone on tonehaircoloring. Like highlighting there is high contrastand subtle tone on tone. There are fine strandslightened or very bold streaks. Your creativity willopen endless opportunities. It is also an acceptablemethod of toning down, or lightening haircolor thatis too dark.

34

Tone on tone within the red tones are especiallybeautiful and create a dramatic effect.

FOR THE EXAMINATION, BECAUSE THECANDIDATE IS WORKING ON VIRGIN HAIR,IT IS NECESSARY TO COLOR ALL OF THEHAIR.

35

8. SINGLE PROCESS COLORSingle process color is the application of one

color on the hair. Whether it is a retouch or a virginapplication, single process color defines a singlecolor being used on the client.

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11

Even if the haircolorist utilizes two differentformulas, applying a lifting haircolor at the scalp anda deposit only color on the remaining hair, wouldstill be considered a single process color.

37

9. DOUBLE PROCESS COLORDouble process haircolor is the application of

one color or bleach, allowing it to process, shampoo-ing the first color from hair then applying a secondcolor, is known as a double process color. There aretwo accepted methods of doing a bleach and toner.The recommended method is to apply the firstbleach from scalp to ends, when the color at thescalp has reached the desired lightness, shampoo thehair and apply the second color away from the scalp.

38

The second bleach is generally stronger andkept off the scalp with cotton. This method allowsthe scalp to ‘rest’ between the bleach application andthe toner. The second method is to apply the firstbleach away from the scalp, then at some point bringthe same bleach down to the scalp. Double processcolors are utilized to remove more of the underlyingpigment than a single process would allow. Thesecond color (toner) may be a lifting color a depositonly color.

39

10. SHADINGShading is defined as utilizing two formulas on

different areas of the head. The most utilized formof shading is having the occipital area down onecolor and above the occipital area another color.Shading is a gentle blend of the colors utilized. Withthis shading the color around the face is lighter andthe remaining hair is a slightly darker color.

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12

11. TINT BACKTint back is simply coloring the hair back to thenatural color. The selection of color and tone arevery important because of the varieties of porositiesthat generally exist when performing this service.Deposit only color is the recommended product forthis service.

41

12. COLOR REMOVERThere are two types of color removers that are

recommended for professional haircolor services.One of the removers is mild solution utilized formild lifting of artificial color from the hair. Theother is a heavy duty color remover which acts morelike a bleach. The difference between the heavy dutycolor remover and bleach is, the bleach is formulatedto remove natural melanin. Color removers are forremoving artificial pigment.

.

42

To remove colors which do not have strongpenetration and are not the result of multipleapplications can be easily removed with a mild colorremover. The procedure is a simple one. it requiresmixing two solutions together and combing throughthe hair until the color disappears.

43

In cases where there has been multipleapplications of a black tint, even a strong colorremover is incapable of removing these colors.

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13

When removing artificial color with naturalcolor at the scalp, be aware the natural color willlighten much faster and lighter than will the artificialcolor. This will leave the client with an unnaturallook. The ends of the hair should always be lighterthan the hair at the scalp in order for the hair to looknatural.

45

The more applications of a darker color the moredifficult it is to remove. If heavy duty color removers donot do the job, it may be necessary to use a bleach as inthis photograph. This client had multiple applications ofdeposit only color. Deposit only color penetrates into thecortex layer of the hair the same as a permanent typehaircolor.

46

Color removal should always be approached withcaution. Even single application colors can be nearimpossible to remove. This client used what would beconsidered to be a semi permanent haircolor. A singleapplication of this color penetrated her hair to such anextent it took several applications of bleach to remove.

47

When there is some natural color close to thescalp removing the artificial color becomes morechallenging. When attempting to correct thesesituations it is advisable to use a semi permanenttype color when adding color back into the hair.This clients was finished with a semi permanentcolor.

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GLOSSARY OFHAIRCOLORING TERMS

chapter

Revised 1/28/99

16

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. Anotherword for booster, accelerator, protenator or catalyst.

ALKALINE ...................................... An aqueous (water based) solution having a pH greater than 7.0 on the pHscale. The opposite of acid.

ALLERGY........................................ A physical reaction resulting from extreme sensitivity to exposure, contactand/or ingestion of certain foods or chemicals.

ALLERGY TEST ............................. A test to determine the possibility or degree of sensitivity; also known as apatch test, predisposition test or skin test.

AMINO ACIDS ................................ The group of molecules that the body uses to synthesize protein. There are 22different amino acids found in living protein that serve as units of structure.

AMMONIA ...................................... A colorless pungent gas composed of hydrogen and nitrogen; in watersolution is called ammonia water. Used in haircolor to swell the cuticle. Whenmixed 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 manufacturingof permanent haircolor, lightener preparations and hair relaxers.

ANALYSIS (HAIR).......................... An examination of the hair to determine its condition and natural color. (SEECONSULTATION, CONDITION)

AQUEOUS........................................ Descriptive term for water solution or any medium that is largely composedof water.

ASH .................................................. A tone or shade dominated by greens, blues, violets or grays. May be used tocounteract 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 orfrosting 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 a gentle degree of lift of the natural color.

CATALYST....................................... A substance used to alter the speed of a chemical reaction.

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CATEGORY ..................................... A method of defining natural hair to help determine the undertones.

CAUSTIC.......................................... Strongly alkaline materials. At very high pH levels, can burn or destroyprotein 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 theAmerican Board of Certified Haircolorists.

CETYL ALCOHOL.......................... Fatty alcohol used as an emollient. It is also used as a stabilizer for emulsionsystems, 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. Primarilyused to adjust the acid-alkali balance. Has some antioxidant and preservativequalities. Used medicinally as a mild astringent.

COATING......................................... Residue left on the outside of the hair shaft.

COLOR............................................. Visual sensation caused by light.

COLOR ADDITIVE......................... (see ACCENT COLOR)

COLOR BASE.................................. The combination of dyes which make up the tonal foundation of a specifichaircolor.

COLOR LIFT ................................... The amount of change natural or artificial pigment undergoes when lightenedby 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 colorappearance to the hair. (2) Color applied by a shampoo-in method to enhancethe natural color. Also called color wash, color enhancer, 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 progressof color development during tinting or lightening.

COLOR WHEEL.............................. The arrangement of primary, secondary and tertiary colors in the order oftheir relationships to each other. A tool for formulating.

COMPLEMENTARY COLORS ...... A primary and secondary color positioned opposite each other on the colorwheel. When these two colors are combined, they create a neutral color.Combinations are as follows: Blue/Orange, Red/Green, Yellow/Violet.

CONCENTRATE.............................. (See ACCENT COLOR)

CONDITION .................................... The existing state of the hair; its elasticity, strength, texture, porosity andevidence of previous treatments.

CONSULTATION............................. Verbal communication with a client to determine desired result. [SeeANALYSIS (HAIR)]

CONTRIBUTING PIGMENT.......... The current level and tone of the hair. Refers to both natural contributingpigment and decolorized (lightened) contributing pigment. (SeeUNDERTONE)

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, containingmelanin pigment.

COVERAGE..................................... Reference to the ability of a color product to color gray, white or other colorsof hair.

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CUTICLE.......................................... The translucent, protein outer layer of the hair fiber.

CYSTEIC ACID ............................... A chemical substance in the hair fiber, produced by the interaction ofhydrogen 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 DrugAdministration for use in drug and cosmetic products.

DECOLORIZE ................................. A chemical process involving the lightening of the natural color pigment orartificial 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 thehair. 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 andutilize 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 withcoloring material to develop color molecules and create a change in naturalhair 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 isdecolorized or prelightened with a lightener, before the depositing color isapplied.

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.

FILLERS........................................... (1) Color product used as a color refresher or to replace undertones indamaged hair in preparation for haircoloring. (2) Any liquid-like substance tohelp fill the need for natural undertones. (See COLOR REFRESHER)

FORMULAS..................................... Mixture of two or more ingredients.

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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 afrosting cap.

GLAZING......................................... A term used to describe a translucent color used on the hair after a previoushaircolor; a blending color.

GRAY HAIR..................................... Hair with decreasing amounts of natural pigment. Hair with no naturalpigment is actually white. White hairs look gray when mingled withpigmented hair.

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 thescalp.

HAIR SHAFT................................... Visible part of each strand of hair. It is made up of an outer layer called thecuticle, an innermost layer called medulla and an in-between layer called thecortex. 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 activeingredient is lawsone. Henna permanently colors the hair by coating andpenetrating the hair shaft. (See PROGRESSIVE DYE)

HIGH LIFT TINTING...................... A single process color with a higher degree of lightening action and aminimal amount of color deposit.

HIGHLIGHTING ............................. The introduction of a lighter color in small selected sections to increaselightness 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. Alsoreferred 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 ofa haircolor.

LIFT.................................................. The lightening action of a haircolor or lightening product on the hair’s naturalpigment.

LIGHTENER.................................... The chemical compound which lightens the hair by dispersing, dissolvingand 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 actualfunction.

MELANIN........................................ The tiny grains of pigment 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 hairfiber, by progressive build-up and exposure to air.

MODIFIER ....................................... A chemical found as an ingredient in permanent haircolors. Its function is toalter the dye intermediates.

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MOLECULE..................................... Two or more atoms chemically joined together; the smallest part of acompound.

NEUTRAL........................................ (1) A color balanced between warm and cool, which does not reflect ahighlight 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 hairand the scalp.

NONALKALINE.............................. (See ACID)

OFF THE SCALP LIGHTENER ..... Generally a stronger lightener (usually in powder form), not to be useddirectly 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 ofdemarcation.

OVER POROUS ............................... The condition where hair reaches an undesirable stage of porosity requiringcorrection.

OXIDATION..................................... (1) The reaction of dye intermediates with hydrogen peroxide found inhaircoloring developers. (2) The interaction of hydrogen peroxide on thenatural pigment.

OXIDATIVE HAIR COLOR............ A product containing oxidation dyes which require hydrogen peroxide todevelop the permanent color.

PARA TINT...................................... A tint made from oxidation dyes.

PARA-PHENYLENEDIAMINE...... An oxidative dye used in most permanent haircolors, often abbreviated asP.P.D.

PATCH TEST.................................... A test required by the Food and Drug Act. Performed by applying a smallamount of the haircoloring preparation to the skin of the arm, or behind theear 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 ................... (1) Haircolor products that do not wash out by shampooing. (2) A category ofhaircolor 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 thatincreases the speed of the decolorization process. (See ACTIVATOR)

pH...................................................... The quantity that expresses the acid/alkali balance. A pH of 7 is the neutralvalue 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 acid) to 14 (very alkaline), used to describethe 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.

POWDER LIGHTENER .................. (See OFF THE SCALP LIGHTENER)

PREBLEACHING ........................... (See PRELIGHTEN)

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PREDISPOSITION TEST................ (See PATCH TEST)

PRELIGHTEN.................................. Generally the first step of double process haircoloring. To lift or lighten thenatural pigment. (See DECOLORIZE)

PRESOFTEN.................................... The process of treating gray or very resistant hair to allow for betterpenetration of color.

PRIMARY COLORS........................ Pigments or colors that are fundamental and cannot be made by mixing colorstogether. Red, yellow and blue are the primary colors.

PRISM .............................................. A transparent glass or crystal that breaks up white light into its componentcolors -the spectrum.

PROCESSING TIME ....................... The time required for the chemical treatment to react on the hair.

PROGRESSIVE DYES ORPROGRESSIVE DYE SYSTEM...... (1) A coloring system which produces increased absorption with each

application. (2) Color products that deepen or increase absorption over aperiod 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-PERMANENTHAIR 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. Skinreddens or becomes irritated shortly after application of the chemical. Thereaction subsides when the chemical has been removed.

SHADE ............................................. (1) A term used to describe a specific color. (2) The visible differencebetween 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 depositingcolor in one application. (See OXIDATIVE HAIR COLOR)

SOFTENING AGENT...................... A mild alkaline product applied prior to the color treatment to increaseporosity, swell the cuticle layer of the hair and increase color absorption. Tintthat 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 theirwavelengths by the passage of white light through a prism. Shadingcontinuously 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 andperformance of a product.

STAGE .............................................. A term used to describe a visible color change that natural hair color goesthrough while being lightened.

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STAIN REMOVER........................... Chemical used to remove tint stains from skin.

STRAND TEST................................ Test given before treatment to determine development time, color result andthe ability of the hair to withstand the effects of chemicals.

STRIPPING ..................................... (See COLOR REMOVER)

SURFACTANT ................................. A abbreviation for Surface Active Agent. A molecule which is composed ofan oil-loving (oleophillic) part and a water-loving (hydrophilic) part. They actas 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.

TEASPOON...................................... 1/6 ounce; 1/2 of a tablespoon.

TEMPORARY COLOROR 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 depositcolor 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 andcontributes to the end result. When lightening hair, a residual warmth in tonealways occurs.

UREA PEROXIDE........................... A peroxide compound occasionally used in haircolor. It releases oxygenwhen 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 asvolumes of oxygen liberated per volume of solution. 20 volume peroxidewould thus liberate 20 pints of oxygen gas for each pint of solution.

WARM .............................................. A term used to describe haircolor. Containing red, orange, yellow or goldtones.

HAIRCOLORINGTOOLS AND MARKETINGTERMS

chapter

Revised 1/26/99

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TERM DEFINITION OF TOOL

1 COLOR SLEEVES 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 A plastic, rubber or foam cap that fits snugly over the head. Once in place hair is pulledthrough and lightener or color is applied to the hair outside the cap.

8 COLOR SLIPS Coated paper used to isolate selected sections of hair.

9 LITHO PADS OR TRANSFER Pressed cotton pads used to isolate selected strands of hair to be lightened or colored.PADS

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 lightenedor colored with foil or paper wraps.

12 PLASTIC APPLICATOR A pliable, squeeze bottle used to apply all types of color and lighteners.

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TERM 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.

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MARKETING TERM DEFINITION

1 BAN DE SOLEIL Touched by the sun. Lightness the way the sun would do it. This process is generally BAUAGE utilized on lighter hair and is accomplished with a form of hair painting

2 BLONDE ON BLONDEA technique utilized to create a blend of blonde shades on the same head of hair. Maybe utilized on a natural blonde or on someone that is coloring their hair blonde givesthe hair a dimensional effect.

3 BROWN ON BROWNA technique utilized to add dimension to a solid brown form by adding additionallightness with a mild contrast.

4 FROSTINGA method of lighting individual strands of hair. This term is generally associated witha cap that is placed on the head and the hair pulled through.

5 CARMELIZING See term "Tortoise Shelling"

6 COLLAGEA mixture of colors weaving through the hair, generally achieved by various stages oflighting.

7 COLOR ON COLOR The use of no lift color on the hair making the hair darker.

8 FRAMING Lightness around the face generally achieved by utilizing a dimensional color effect.

9 FUR LIGHTAchieved on short hair that is standing out from the head like a porcupine. The hair isbleached then a dark color added to the ends. Also known as "Minking".

10 FOILING Referring to applying foils to the hair to create a dimensional effect.

11 GLAZINGA deposit only color applied over a highlight. Can also be a lifting toner to change thenatural color slightly.

12 GRABBINGWith gloved hands, bleach or tint is painted on the hands, then you grab the hairdepositing the tint or bleach in an irregular pattern.

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MARKETING TERM DEFINITION

13 GRAY REDUCTION Adding additional natural color to gray hair to reduce the amount of gray.

14 HALOINGCreating a halo by lightening only the hair around the face on short hair, creating ahalo 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-LIGHTINGA corrective technique used to tone down overly lightened hair by adding a darker color to selected strands. The opposite of Highlighting.

20 MARBLEIZING Thin ribbons of lighter hair weaving through darker natural hair.

21 MINKING Darker hair on lighter hair. Generally done on short hair

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.

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MARKETING TERM DEFINITION

25 REVERSE HIGHLIGHTINGDoing a highlighting in reverse. The addition of a darker color to previously lightenedhair. First isolating some of the blonde strands, then coloring all of the remaining hair,creating a highlighting effect.

26 SCRUNCHINGPainting color or bleach on gloved hands and scrunching the hair. This technique isdone on dry backcombed hair, allowed to process then shampoo off.

27 SHADING The subtle blending of lighter to darker colors.

28 SLICING A foil technique placing long, fine, thin strands in the foil.

29 SHOE SHININGPainting a layer of bleach or color on a long strip of foil and transferring it on to thehair as if you would if using a shoe shine rag.

30 STREAKING Larger more well defined strands of hair.

31 TIPPING A form of lightening at the ends of the hair, rather than the entire shaft.

32 TONE ON TONE Changing the natural haircolor, then adding lighter strands.

33 TORTOISE SHELLING Different amounts of tortoise colors added to a brown head of hair, aka Carmelizing.

34 WEAVE A term used to define a method of selecting strands for dimensional haircoloring.