 FreeSalonEducation.com invites you to join us every Wednesday night at 7 30 p.m. Eastern Standard Time for live and interactive classes from your favorite FreeSalonEducation educators. So grab a mannequin, get set up, and make sure to share your results using the hashtag FreeSalonEducation. FSE live starts now. Here we go. Hi guys, welcome to Hump Day Hair Party with FreeSalonEducation.com. My name is Brian Hare, and I will be your educator for this video. We got everybody else in the house with a snipe. Literally we got Thad, Dre, Justin, Christina, Matt. They've got a whole bunch of laptops going at one time. We're watching the free chat, so if you're watching us live, please engage with us. We got a whole bunch of stuff that I would like to do tonight, but the thing is there's not... it's gonna be a little bit of a quicker class because I wanted to share something with you guys that I know I've been getting tons and tons of requests for, but it's just something that's not gonna be like a big five-hour long class. So I want to have lots of interaction with you guys to really just get the most out of this possible. I feel like ever since we started doing videos at all, one of the big requests that we get so much is for block color. And you know, we've done a little here and there with block color. I know we did the Jack-O-Lan and Andrea last Halloween, and we played around a little bit, but I wanted to... you guys are really responding so great to these classes and I wanted to give you what you asked for because that's what we're here for. So I was actually... I was inspired by Matt's haircut last week. I was watching... I was here watching along as he was doing the haircut and I saw it and it's the way inspiration works. I saw the haircut and I said, hey, can I do next week's class and can I do a color on that? And he asked what I wanted to do and I said, I thought I wanted to do something that was gonna play with the shape of the head the same way that his haircut did in sort of a block color fashion that would be something real quick and easy that will hopefully get you guys thinking about ways to upgrade your guests, upgrade a color service, throw something into it that maybe you haven't played with block color in a while. And so that's what we're gonna do tonight. While the mannequin is being washed, processed, blown dry, all that stuff, I also want to just bring it back and go back over a little bit of color theory because I know whenever we touch on that it always gets really great responses because it's always nice to reinforce something that you already know. And we went through beauty school, we did color theory 101, so it's just nice to revisit that and maybe instill a little bit more confidence in yourself because you realize, duh, Brian, or maybe we'll go over something that you hadn't thought of in a while and it'll help you tackle an issue that you may have in your day-to-day salon life. So, all right, the technique that I wanted to sort of just create for this haircut isn't just for this haircut, it really you can make this work with other cuts if you'd like to just so long as you understand just the placement of it. And that's what I really want to focus on tonight and make sure you get. So, I call it the gills because the only thing I can think of with this is that it reminds me of the gills of a shark. So, I've got one side of the mannequin already pre-done so that as soon as I finish the placement on the other side, you can go ahead and get washed. So, if you look at my foils here, I've got three, they're not folded closed packet foils. I really just have them so that it's just separating from the other hair. And the three foils come out, they're on an angle. And to me, when I look at just what hair has been colored, it reminds me of gills on a shark. So, that's why I call the gills because it's my technique and I call it what I want. So, all right, as I come over to the side of the head that we're going to work on, I want you to not look at this and say this is exactly how I have to do it because this is exactly what Brian said to do. I want this to just light a fire under you to get you thinking about how you could change this to work best for you in the salon or how you could change this to work really great on that one guest that you want to just throw a little bit of a color without necessarily going for a huge overhaul of a change. So, the look that I wanted to create, I wanted to create something that was going to live within the haircut and really just shine through all of those ends. He made that really nice textured shag in that haircut last week. So, I wanted a color that was going to show that off because, you know, while we can do a really great, you know, work with that texture, use all that great product, that great blow-dry in the salon, this is something that will make it so that when she goes home, maybe if she doesn't put as much effort into getting the real PCPC ends with her styling, the color will help show off those shattered sort of ends that we created. So, it's going to continue to have that look. So, for right now, I've got her, she's got that nice full fringe that Matt created. So, I just have her going center part straight down the back. She's going to clip everything on the side that I've already done just out of my way. So, it stays out of my way. I'll be able to work a little bit faster, a little bit cleaner. So, clip those guys. All right. Now, as far as where you want this to be seen and be visible, I thought it was very important. I wanted to make sure that my first gill will call it, I'm just going to start calling him gills. So, just know what I'm talking about when I say gills. The first gill, or panel, whatever, is, I thought it would be really cool if I worked it off of a diagonal and made sure that it started within the fringe, just off to the edge of that fringe so that you saw a little bit of that pop of color start up close to her face. You could change it and make it so that the first two come all the way and connect to each other if that's the look that you want. Just think about how we're going to be following the round of this head and how this haircut that he created that has all this texture in it, it has a very, I picture a nice forward motion. I'm creating forward motion with the color to sort of go with this and just pop out everywhere in the haircut. So, I started with the top of the round of the head because I want something that's going to lay over this because if you're using block color as a way of introducing someone to color, then you want to make sure that you're not giving them something that is so, it's not going to be really high maintenance to the point where they're not going to come back and they're not going to like it and they're not going to ask you for more color advice in the future. So, off of that center part that I've created, I just come around the round of the head like so. What this is going to be, this is going to keep me consistent with where the tops of each of these gills start because I know I'm going to have this to lay over it, so I won't ever see the starting point of my color that I put in there. But working off of this line that I'm creating is what's going to keep that cool consistent where everything starts at the same so that you don't just have random chunks of color coming from all over the head. So, I'm going to take this out of my way, clip that out of my way so I've got a nice neat place to work. For my first gill, like I said, I want something that's just going to touch the front of the fringe just along the outside because that's what I want to use. So, just like when you do a foil and sectioning off, looking at where that first one's going to be. I'm choosing to do these diagonal forward sections because, like I said, I want to follow this round on the head as I move back so that as this panel of color comes out, you can see how many different lengths this is going to incorporate in this shag of a haircut. So, for now, I'm just going to clip this out of my way. Oops, got a little neater. That's one thing. If you're going to work in the world of block coloring, you have to try to work because otherwise, you're just going to have your old hair just sitting in where you're trying to work and then it just gets messy and terrible and no one likes it. How are we doing kids? Any questions? None yet. All right. That's good. That means super explaining. Explaining? That's a technical term. That's very technical. I was going to say, Brian, can you explain how you are controlling whether it's a more subtle or a bolder look with this? That's going to be based on how thick I make each of the gills themselves. I have just chosen to do three because I worked on the other side of the head and I know as far as her density goes, that's about, it's going to be good enough to break it up and make it stand out but not have it completely overtake the look. So, I've got my my section that I'm going to start working with. You can see where that's going to lie in that head. So, I'm just going to take your first as much as you would take for a foil just to get it started. That way, this will just give you the control to move where you want to and add as much to this as you need to. So, you get that foil in there. Does this color technique, like, is it, do you need to plan this out as far as like where the part is or is somebody who has like a moving part of, what's the word that I'm looking for? They flip flop. Traveling part. I honestly, I would try to plan this out so that because I left that halo out up top, I want it to be so that these gills always live under that halo. So, if they rock more of a side part, that's fine but I'm going to kick that halo over so that the part is still in the middle of that and then I might just make longer gills on the heavier side of the part so that there's color on both sides that mirror each other but obviously the side that has more hair gets more lightness. And tonight, I was trying to figure out, I went through literally a million colors that I wanted to do on this mannequin but then I thought about it and realized I didn't want to, I just took that out, I didn't want to apply color and then have you guys just sit here and stare at me while we wait for a half hour and it processes. I knew lightener would be a much better option because it was going to be bold enough to stand out so that you could see the placement but then also work fast enough to get the job done in an orderly fashion. So, back as you notice when I am working up towards the root, I'm not giving it a solid start point because when it comes to block coloring, I like it to not have a really hard, hard line because you tend to be working in panels slightly larger than a foil. You know, if you do a foil, it's going to be a nice fine line so as it grows out, it eases the hardness of that line of demarcation whereas if you're working in a greater panel, if it all has that exact same starting point, it's going to be really hard to hide as the hair starts to grow out. So, you can see I'm just turning my brush to the side and just kind of feathering up at the top, giving it that sort of serrated feel which is just going to help to diffuse that so as it grows out, it'll be a little bit more gentle. So, with your shark fins, you're making shark teeth? Yes. I was just saying, can we name this shark bite? The shark bite color. Well, I mean, that's what we did with your hair when we lightened it last. We did your shark teeth? That's hilarious. Yeah, because I like this, because it does. It helps to diffuse the color so that as it grows, it already looks more lived in. For this, for her first one, I'm just going to have it be a little bit smaller around the face. It's just because that's what I want to do right now. I could make, I could keep going back and laying more slices over this until it's a really big thick panel, or I could leave it super fine and then make them bigger as they go to the back, whatever you want to do. Let your artistic freak flag fly. I'll do what I want. Yup. I'm just placing another foil over that because, I mean, there's a few reasons. One, I don't want to just fold this up because I've got that serrated starting point. I also, I like the look of this because it draws a little bit more attention. I'm not doing a typical foil. I'm not doing a typical single process color. It is something different, so I like that it looks a little bit different because then, you know, these are hanging. She feels like there's something a little different going on. Other people in the salon look at her and they're like, what's going on over there? I don't have anything like that. So then, as far as how much hair to leave in between, again, that's up to you. That's going to depend on their density. She's got a little bit finer of a density here, so I'm not going to, I'm going to make sure that I leave some space so that it's not just big chunks of blonde next to each other, but I want to also leave room enough to do a few little gills back here. With this color technique, how like set in stone is like this color pattern? Like if your client comes in at her next visit and wants more of one of the colors and less than another color, like is it going to be easy to adjust or is it, is that going to be more of a correction process? No, it's, I mean, it depends also on what you go in and use. Like I said, today I'm using lightener, but for all intents and purposes, you know, if you've got somebody who, you know, really just wants to flirt with the idea of some kind of color, I mean, you could go in with somebody and just use like a demi-permanent color with this. And, you know, if after a time or two, like one or two visits where they've come in and tried it, if it turns out they like super love it, well then that's when you talk to them about maybe moving into more of a permanent option. How we doing guys? All right. We have a question by Lauren Porter. With colors out of bigger molecules, reds, violets, when washing out there's always a bit of what's the word wash out. Bleeding. Sometimes that, yeah, fleeting. Sometimes that hits the other hair. Any suggestions besides having to separate? Well, I feel like when you're doing, when you're working with like a permanent color or permanent red or a permanent violet, yes, there's always, there might be like a little tiny bit of bleeding, but because of the kinds of color molecules and the processing involved, it's not really, in my experience it doesn't sit long enough to really cause too much damage when it rinses out unless you're putting an extremely vibrant permanent red next to a completely blown out bleach blonde. And then, you know, if the water is rinsing a little pink, then a little bit of that pink might hit the blonde. As far as what you can do to prevent that, I mean, there is no magical answer. Like, yeah, your best option is going to be to separate. Try to rinse the red differently from the blonde. Is it difficult? Yeah. But if it's what you want to do, then you might have to put that effort in. Then, of course, you know, there's the, you know, the rinsing, if you're talking about just back in the sink, rinsing it fast, rinsing it separate, rinsing with cold water, using really, really low pH shampoos and conditioners. It's not too hard. Most companies have a way for you to find out what that pH is. Find the ones that have the lowest pH to help just slam the cuticle shut as fast as possible to try to lock in, you know, the color molecules that you've just put in there. That helps? I mean, if it comes, when it comes to fantasy colors, if you're using this, it's going to bleed. Like, it just is. I've yet to come across a fantasy color that's not going to bleed when you go to rinse it, at least a lot. At least a lot of it. Yeah. So, I hope that answers your question. I think it does. Morgan Johnson has a question as far as foiling. She flips the edge of the foil toward inward as well. Do you feel it makes a difference whether you fold it in or towards the head when it comes to accurate color without bleeds? I don't know. I don't. I only have ever flipped it the one way, but when it comes to bleeds, that's sitting there. It's not elevating your section enough. It's going too close to the edge of the foil with the lightener. It's having too much lightener near the edge. It might be using a lightener that swells up too much. There are other factors that lead to bleeding more than, yeah, I don't see how flipping the edge one way or the other would really affect that. I mean, I know there's plenty of people out there who do the tricks where they they fold the foil, then they refold the bottom of it, and I have never. Oh, yeah, I see it origami. I feel that that sometimes just makes way too much work for not enough payoff in the end, where I flip my foils backwards and forwards either to the head or to the foil itself. The only thing I can ever really think of, and I used to even preach it to students, was like if you take too big of a section, you might just get a line from the foil flipped on the inside where product kind of hides, or hair kind of hides with that product, you know what I'm saying? Right. But I mean at this point you you won't really have that either way, so. Right, because this, I'm not even going towards the root anyway. Yeah, you're going to sharp teeth. And I'm not clothes-packeting these, so there's no pressure. I'm just lightly placing that second foil over it, just for separation purposes, nothing else. But when you're doing actual foiling, yes, definitely. You're going to want to, I think one of the, for one of the biggest reasons that I see people that get the bleed marks, it's not elevating the hair, going too close to the edge and squeezing the foil once it's folded. Yeah, I say the fold is really, I feel, the most dangerous thing people do to foils, that causes their own, you know, worse mistakes is they fold it like they're folding a paper airplane to shoot across a classroom. You know, they're not just very lightly tapping and folding. They're really putting some elbow creation. Right. It's like simmered down now. So I'm sure at some point someone's going to ask, I don't think I've hit on it yet. The lightener that I'm using is the Bercato powder lights. It's the gentle blue lightener. It's 30 volume. I just want it, I like the consistency. It works well for something like this because it's helping, like, adhere these foils pretty well where it sticks in there. And it has a nice glide without getting all crazy and swelly on me. So it's not going to plop at the sides as it's sitting there processing, which I appreciate. I like for, I'm a control freak. So I want to know that when I put something there, it stays there and doesn't go anywhere that I didn't tell it to go. So look, I'll show you what I'm talking about since we're talking about foiling. When I'm talking about your elevation, I'm saying this hair right here, don't just go and stick this foil in right here because it's nowhere near the root, which is going to give you that, you know, that's where your issues of not getting close enough to the root are going to start so that when you try to make up for that, can you see it at all on the cameras? Like that. Doing that, you're going to try to overcompensate with that by going closer to the root with the brush when you have no business going that close because the foil is nowhere near it. So actually elevating that hair as far as you can get it and then going in and coming down and do it too tight is what's going to allow you to get as close to that root as you can with the foil. What, Jay? This is a question for Matt, but what kind of hair is the mannequin? Is it human, Indian, or European? Or Indians and Europeans. Yeah, that's a human. I'm reading the question. I am reading the question. Is it, well, is it synthetic? Is it, usually you have synthetic, you have combination, or you have human? I'm guessing that that was a two-part question. Is it human and then is it Indian or European? I think so too. I'm hoping. It's human hair. It's European. And Brian, what are you foiling with? Euro-Indian. And oh, a chopstick. Yeah. Is that what you mean? Yes. I feel like she's quizzing me. What is it made of? What is that in your hand right there? Yeah, I just, it was a trick that I, it was something I saw years ago. I was taking a Paul Mitchell class and they were using chopsticks instead of foiling combs and I thought it was cool. So I started using one and now I almost have to use one because the foiling combs are too sharp for me. Because when I- Do you stab people? I stab myself. Because when I'm working, like I hold it like this and then to get a hold of it again I'd like poke myself in the chest to get my hand back. And if I have to use a foiling comb, I'm like, oh god. Sucks. So yeah, these chopsticks. I like my Madonna mic too. I like to think of myself as a backstreet boy with this microphone. You are. Thank you. You are my fire. Whatever floats your boat peeps. All right, we'll make this last one one more. So like I said, when I started, I hope you guys notice that all of my starting points of my gills all come off of this line. Just to get a little bit of that consistency in there. Because we're working on a diagonal, so it's automatically going to diffuse into the lengths of the hair. So having that starting point, I know that I'm not going to accidentally go too high. I'm not going to- I'm not going to encroach on this halo that I want laying over everything. What? What's funny, Christina? All right. So we finish it off. Serrated edges. Shark teeth. Dun dun. Dun dun. Nice. What's up? My one desire. Oh. We're going to get a pull on backstreet boys. Sing along. I was going to say, before you did the ink, you sort of had like that little JT thing going off the backstreet. I still do. Did he have blue hair? Oh no. All right, so now you see. There's the veil that I'm talking about. So that should give you a little bit of like just a mental preview of as this comes out, you're not really going to see the origin of any of these panels of color, but they're just going to shoot down into the lengths of this hair. So now through the powers of magic and TV, we're going to take this back because she's done. And then Matt's going to get her ready and all fancy because I told them that he did such a wonderful job making her look pretty last week. I just wanted him to do it again. So now what's that? What kind of stickers? FSC stickers. Yes, Lauren. We do have FSC stickers. If you find us at a show, we pass them out all over the place. Brian, your bow ties also missed. I know. I only have so many bow ties. Like, well, that's a problem Amazon can solve. And yeah, you have Amazon Prime. I'll tell you what, if you want to send me any bow ties, I'll wear every single bow tie you send. Okay, people, you hear that. You send him a bow tie. It will be worn and you will get a shout out. There you go. In a comb because everyone gets a comb. John Penta would like to know, he says, hi Brian, thanks for your continuous education. And did you match your hair with your t-shirt? It didn't. It just worked out that way. I mean, apparently I did, but it didn't intentionally. It was fading out. If you watched the show from this morning, I looked at it and was like, oh my God, my hair looks like a toothpaste stain. Like it's a horrible color. I cannot go through an education class tonight with horrible colored hair. So we freshened it up today. So it just so happens that it matches. It also matches my socks. Fun fact for you. So can we see them? No, because I'm wearing boots. There's a question on the forearm. Does it also match your underwear? Bad you went there. You beat me to it. I'm sorry. Maybe. All right. So are there any more questions before we get into the next step? Anything in particular that Peeps want to know or see? Right now, I think they're, yeah, I think you did pretty well explaining. I did. Yeah. Awesome. Let's talk some color. All right. So one thing that I wanted to really go over, like I said, the color theory, because I don't care what company you use, what lightener you use, what color line you use, color theory 101 is always the same. So the two things that I really wanted to hit on a lot today are going to be your levels of lift and your color wheel. Because the levels of lift, I need you to understand it. Say you're doing this technique and you didn't use lightening. You just use color. That's fine. I just use lightener for dramatic effect. Say that you just want to give somebody a little boost. They say they have really pretty level five hair and you want to give them a nice little level seven pop of color without using, you know, full on lightener. You still have to understand your levels of lift. Anytime you are going higher or lower than their, anytime your target is higher or lower than your starting point, you have to look at your levels of lift chart. So I got Christina, we found one online today. I don't know if this belongs to a company. I just googled level of lift chart and this one showed lots of stuff. So this is the one we have for the class today. As you can see, I'm going to try to line this up. Let's see if I, let's see what I am with this. Watching Christina's. All right. So just to go over it real quick in case you're listening and not really watching, watching. We started the first one we have down below where my hand can't get to is level three, which is naturally a dark brown. Your, they didn't say dominant. What's it saying there? Contributing pigment. Contributing and then corrective faith. Okay. I'm going to say dominant pigment because I'm going to say it a hundred times. I've been saying it for a hundred years. The dominant pigment of a level three is red. It's always going to be red. I don't care who you are. It's as you get to that level three, if you go from a one to a three, you have to deal with red. So on and so forth all the way up to charts here. I'm going to keep pointing. I feel the seat all the way with your light brown with your orange, your dark blonde at the level six, I believe with the orange, yellow, and then up to yellow, orange, yellow, light, yellow, pale, yellow. I think my aim is amazing here. All right. So if you're going from that level five base and you go up to this level seven, if you just try to use an end, say you're just a neutral, natural kind of color. Oh, you just want it just a little bit lighter, but you completely ignore that dominant pigment. Well, going from that five to that seven, you're exposing oranges and yellows. So if you put just a neutral color on there, people don't understand why is it coming out brassy? Why is everything come out brassy? Well, the reason that brassy is a word that the whole world of people that get their hair done know is because so few people pay attention to dominant pigment when they start playing with hair color. And that always results in us convincing them that, oh, now you're supposed to have warm colors. It's supposed to look like that. It makes it more natural. No, it just means that you didn't pay attention to what is a fact of what's always going to happen. The going from that five to that seven is going to expose oranges or yellows. Now, the way to keep that from being a consistent problem is going to be to paying attention to this other side, the corrective color. Nope, still talking. I know, is that right? Is going to be coming over here to what you're going to need for that corrective base to just help go up against that yellow, orange, orange, yellow. So what just flashed up for a second, and we will go back to it in just a minute, is going to be going back to your color wheel. Looking at your color wheel is where you're going to see, this is where your color lies up. I'll get to that in a second. So as you're coming through and you're dealing with these underlying pigments, the dominant pigments that are exposed, one of the biggest pieces of advice that I can give to you is to make sure that you are being really honest with yourself. I think one of the number one things that I see is people will open up a foil or they'll look at what they think, that's like a 10, when really it's only an eight. And if you see here, when you're dealing with a level 10, it's like you've got that pale yellow. But if they're really only at a level eight, then that's just, see this one's a little bit different than the one I'm used to, because for me an eight still has a little bit of that golden yellow to it, which means it's still going to need a little bit more blue in with that violet. So I guess pay attention to my words and not that chart for that one. I guess a better one would be the seven. If they're only at a seven and not a nine, and you don't address the orange that's in that color when you are picking a toner to neutralize it, then you're not going to really truly get that color that you're looking for. You're not going to neutralize the way that you need to. So that's my biggest piece of advice is be very, very honest with yourself. My second piece of advice is going to be getting to know your color line that you're working with. What is ash to one color line may be a blue base color, while what is ash to another color line may be a green base color. So you're going to need to know those things so that you don't just grab a tube and throw it on somebody's head, and then you don't know why the color's not coming out the way that you need it to. I think one of my big things that was a real game changer for me, a piece of advice that I could give you, don't be scared to use green. I for years ignored the fact that you have to use green to get rid of any red that shows up in color. We have those guests that you're moving from maybe a four to a six, or move them up to a five, and then that red shows up and you're like, I don't really want it to turn green. So I'm just going to use a nice blue based ashy color, but then it's still really warm, and you didn't really get the effect that you were looking for. And it was when I embraced the power of green that I really was able to start getting a more neutral color that I was looking for. I think those are really like the top three pieces of advice I want to hit. Christine, if you want to go on the other one, the other little picture, thanks. You guys are translating my questions for me. Okay. What? Yeah, so Lauren Porter wants to know, what makes some color lines seem to stain and not be able to move? For example, trying to lift a simple level six, you see the 7.58 yet as time passes just stops. You can tone, but dot, dot, dot. When trying to get to a level 10 and not damage the hair too much, what to do? All right. So what was, where's the exact question and all of that? All right. So if you're starting at a level six and it doesn't seem to budge past the 7.8 range when your goal is a 10, that can be a number of things that can be, excuse me, that can be maybe that color line has, you know, very opaque color molecules that they use. Um, they might have been colored so many times that there's so many layers of color on there that it gets very difficult to get past. Generally, not knowing, you know, what color line we're talking about and honestly just that question being asked to me, my, my general question answer to that would be that you're needing to use a higher developer with your light. You know, if you need to get up a couple extra levels and there's, it's already previously colored hair, you have to accept the fact that you have to use a stronger developer. I'm not saying go in there and blast the hair apart with, you know, a 40 volume necessarily, but, you know, it's, this is where going with what you know using, you know, maybe a certain, a stronger lightener would be a better option if you have a powder lightener versus a paste lightener, you know, the powders, you know, might be a little stronger. So you might want to go with that to get through the previous color molecules. It doesn't, that's, if you, if damage is a concern, then you're going to really need to be honest again, not only with yourself, but with the guests in the consultation that, you know, they, they might not get that huge six to 10 jump in one day because they've got all these years of color molecules over color molecules over color molecules. And, you know, that may take time that I would rather make this a multi-visit, you know, relationship than blast in four levels of 10 year old color out of your hair in one day. That's what she was getting at. Like what would you do? Yeah, as well as the fact that like you want to talk to them about that. Um, oh, sorry. I thought it was up higher as well as you'd like to talk to them about, like if it has metallic dye in it, like if it's box color, that color might not want to budge like whatsoever. Right. Yeah. I'm just, I was just going off of, if there were like salon guests, if it's box color, it's going to, it's going to be a slow roll getting that out. Because if you try to do it too fast, metallic dyes that most box colors are, are already harsh on the hair. So once you get in there and start doing all these chemical reactions that lighteners just have and are, then we're talking about like, melty hair. And Brian, I know that you always do this. I definitely like to do it, but like, wouldn't I have a client like this? Like, I like to find out like what they have in their hair before it gets started. And download with them as far as like different, like, expectations as to like what's going to happen realistically. Right. I'm really big on, and I know we all are. I, we, I hear it around here all the time, which makes me very happy. I'm really big on not making promises as far as what we can achieve today. Because if it comes to lightening or, you know, a corrective kind of service, I want to really make sure that I don't overpromise because as soon as you overpromise and under deliver, you get pissed off clients. And that's when they're going to, the, the faith and the trust that they have in you is going to start chipping away. So understand what you're working with as far as, like I said, you know, your color line, your levels of lifts, your levels of, you know, if you're going back down the other way and depositing and making sure you put all that back in there, all that fun stuff, all that color theory stuff. You also want to make sure that on top of understanding, you don't overpromise. So, yeah, I like to make almost like make a joke of it with my clients. Like if they like really want that platinum blonde, I'll be like, well, I can get you that platinum blonde, but how do you feel about a pixie haircut? Do you like Tinkerbell's haircut? Right. Yeah. You're going to have that super white blonde, but it's going to be on the floor. So that way, like they sort of understand that like it's not that you don't want to do it, that it's that you want to keep their hair in an amazing shape and not or risk damaging their hair or losing the integrity. Well, that's it. It's like anything else. It's all about the education you give your client. I feel that it comes down to that simple fact, whether it's just educating them what products you're at home, but what their hair is made of. I mean, everybody in the shop is or was an educator at some point in time. So we know the ins and outs of a strand of hair better than most hairdressers do. So I feel that people coming to our salon, we don't have to think about what a textbook illustration of a hair was. It's ingrained in our brain to this point. So when we have clients sit down, we kind of speak to them like a freshman of a cosmetology school. It gives them basic education of what their hair is made of. So when they see the they don't have unrealistic expectations ever when they come in here. And I think that is really key and everybody should really think about how they speak to their client, not just telling them what they're going to get out of it, but give them that education so that they know what you know. It's not going to hurt you at all. If anything, it's going to better you. That's just how I see it. I like it. No, I'm with you. Something that I use with my clients all the time. A friend, a client told me this years ago and I thought it was funny. And so I share it with my guests all the time and I'm hoping it just spreads like wildfire. My client, she was an older woman and she told me, she's sitting in my chair and we're just chatting and having a consultation. And she said, Brian, I believe firmly there are two people in life that you just don't lie to your lawyer and your hairdresser because they're always going to find out the truth and you're in big trouble if you lie. And I think that's great because, you know, if they come in and I sit there and ask what's in your hair and they lie, then we're going to find out the hard way that they lied. So it's always fun when you find out too. Oh yeah, soup's fun. Oh yeah, it's great when hair's melting on the floor. All right, any more questions? I hope so because he's doing a really good job of it. I think everything's good. Lauren Porter said it's like he's talking to me. Thanks, Brian. You're welcome, Lauren Porter. Would you mind jumping into doing like a little bit of analysis on like fancy colors? Like as far as like levels of lift and what you need to get to like certain fancy colors? Yeah, actually that would be a good parlay into the other slide that now we can bring up and now I can use. So to piggyback off of what we were talking about with your levels of lift and into, and I'll use Thad's actually a really good example, you've got, you know, we've seen this a million times. I'm sure there are a large number of you that are watching this that have this in some form tattooed on your body somewhere and it's our color wheel. It's got right over my heart. Keep it close to me. That's good. It's the foundation of what we do with color. I mean everything is based off of it. This is the law of color. This is the bending rules of color. This is what it's always going to be. This is what you got to know, got to understand, got to master to really get a handle on any color situation that may come across your desk. Well maybe while you do this you can lead into Renee Mitchell wants to know your advice for newbies who are intimidated by hair color and the formulating process. Perfect. First of all, like we just showed, with your color line in that color book, I mean almost every company that I've come across somewhere in their color book has a color wheel, a levels of lift chart. There should always be one somewhere in the salon that you can have access to. I still use it to remind myself because you sit there and you stare at scalps all day long every now and then it's just nice to see that levels of lift chart again. Just to remind myself, okay, you know what that hair does look pretty orangey. I need to suck it up and use as this wheel will show you the complementary color of whatever it is that I'm looking at that I want to use to neutralize or to intensify or whatever. I speak most often in terms of neutralizing because I feel like that's something that people tend to do more. I know there are scenarios where you are looking to intensify whatever that underlying pigment may be but a lot of times it's neutralizing. So you've got your color wheel here, this is your color chart, this will be your best friend. Knowing your complementary colors is key and if you don't remember it off the top of your head you've got this super sweet wheel to remind you. You learn that if you want to get rid of yellow you use purple, you want to get rid of orange you use blue, you want to get rid of green you use red. It works just as well the other way. So just beyond this again most color lines that you work with are going to show whatever they call it their color map and what it is it's going to show you the color wheel and then it's going to have all of the colors that they offer and where they live on the color map on the color wheel and that's super helpful because you know you may look at a color and you know something has come up you need to correct a color and I remember what was mine one day I had something the hair had been a little too blue violet I don't know if it was over toned or we were getting rid of a fantasy color or something but I remember it was blue violet and I was like I need a yellow orange color I was like well I guess I could mix this and mix this together and that should be pretty close and then I went and I checked and I looked on the color map and I saw that there actually was a color one that I never even thought of because I never use it that lives in the yellow orange family and I used that and it was perfect and that I if every single time that you're going to formulate someone's hair look at a color map if you're new and you're getting comfortable and you're trying to feel more comfortable with this then every time you walk away from that guest and go to the color bar to or you're wherever you go to mix up your color look at a color map think about your levels of lift spend a couple minutes just with yourself with those two things thinking about all right this is what she wants to get to this is the issues that are going to come up with me getting to that color whether it's you know dominant pigment whether it's gray coverage and just take a deep breath and think don't stress out you will get there every single time that you know you've blow dry that front section right after you shampoo the color out and they go oh I really like it it's just going to build a little bit more confidence every single time that you followed the steps correctly and you got them where they needed to be so that's good we got solid sweet and good luck you're doing the right thing by watching education stuff already if you're newbie uh wisconsin don and donna would like to know if you're filling someone's hair to achieve a level six how do you go about that without getting warm tones um the problem with not putting the warm tones in there if you're just going down to a six and you really just try to use like neutral colors it's going to look hollow and just like it's the only word I can think of it's just going to look like this hollow sallow color um a lot of times I know the repigmentation chart will leave things looking very very warm so I do understand what you're talking about um I might a lot of times I'll sort of water down what I'm using for my repigmentation or I'll just add you know whether it's through intensifiers or color such or whatever your color line has I'll add that to my formula so that it's kind of in there already you know generally it's adding oranges it's adding yellows to get you know just that that backbone to the color so that it still has a nice rich feel to it what about you you guys anything different I mean I'm always a fan of the color shots depending on time like I've I've known sometimes that you kind of just go on damp hair with a red or an orange to fill it in a little bit and then rinse it out blow dried and then put a color over top of it I think that's the big thing because if you're applying a repigmentation formula to dry hair and then trying to apply your color to wet hair it's just not going to stick like that that repigmentation is just going to show much better because that was applied to the dry hair right because you know once the wet hair it's battling with the water molecules and just turns it into usually like a semi-permanent all right so just to finish up with what Thad was saying with fantasy colors once you go through your levels of lift generally whatever fantasy color you want to use you need to make sure that you're not neutralizing and what I mean by that is if you lift somebody up you know you lighten them but you don't leave it on as long and you only get them up to a yellow and their hair is just yellow but you try to use you want to give them like that nice soft lavender that purple all you're going to do is end up neutralizing the hair because yeah it'll be you will have toned them beautifully um I love when that happens so you get the people to come in when you watch the you watch the stylists do it and they think they're going to throw this on you go it'd be like that color and if they were trying to achieve a blonde their client would never be happier right but they wanted purple and they're leaving so upset that they have these immaculately blonde hair exactly but on the same token when you look at this chart if somebody wants a nice bright vibrant fiery red you don't need to take them all the way up to a level 10 to get that red to show up if you say they're a level three to begin with you know you just apply enough lightener to open up that that cuticle a little bit and clean out that hair color enough you know you get them up to even that level like six seven once that red goes over it it's great because as it fades it's not going to fade into some wonky color because you've already got that underlying pigment warmth there and the red's going to show up against it really really nicely um when looking at your dominant pigment chart the analogy that I used to explain to actually the analogy I used to explain to my level one guest why lavender was not going to be a very good option for her was uh think about crayons and construction paper when you were a kid and you'd be so disappointed because you've got the white crayon that was just completely useless because you use it on all of the construction paper and it never shows up or when you put you know the blue crayon on the orange construction paper it just turns weird so think of that as far as the fabric of the hair the lighter the piece of construction paper the prettier and more brilliant that crayon is going to look and it's the same thing as far as lifting up that hair to get a nice clean fabric the prettier that fantasy color is going to look yeah that satisfy your question then yeah I would like to just add a little bit to it because I actually used the trick that uh I believe I learned from you like a while ago uh Dray confirmed it as I was as I was mixing it but I had a client who uh she's been calling her hair like well for a while and we've been lifting her using the umbra to just like give like a nice smooth transition like soft gentle uh bouncer or transformation or transformation from darker to lighter uh and she wanted to have a fancy color we got her to about level eight so unfortunately we're not going to be able to do the purple explain it to her and later if we try to put purple on we're not going to get the purple you're looking so we didn't pay but I put a little bit of blue in there so that way then remember you talking about so you can get a nice vibrant purple by using the pink and blues as well as that if there's any horns in there it's going to come out see look at this guy it turned out beautifully but love it well good I'm glad I'm sure in fact I think I saw it this is gorgeous so we settled on a purple thing Dray a question from the audience Dray's got a question let's go question from the audience you guys can't see she's raising her hand right now and it's adorable I'm trying to get your attention um the people of the the people of the internet can't see uh you know but Brian can I can and it works so I have two questions so we're going to run through them really quick uh John Pinto would like to know the tca the color accelerator for hair coloring have you ever used this and what do you think uh I've not used it I know we had talked about on our show for a couple of weeks and we had people that wrote in and said that they had used it and they liked it um I just personally haven't yet I don't know why I just haven't I haven't really even had a need to plus the idea of adding something to color that makes it work faster just I don't know it seems I kind of feel like if almost too good to be true I I believe in that if it's I think it's too good to be true that if Amy Perry uses it sorry she's answering though yeah to John yeah um I just feel like if it was effective and good for long-term use every color line would be putting it in their color automatically and that you wouldn't have such a long processing time um next question is when we're moving fashion colors like Provena Vivid they normally use lightener and end up with totally different colors example violets turning minty green I heard using clear and 20 or 30 volume can give better results what are your thoughts uh as far as some of them go thanks man she's pretty as far as some of the fantasy colors go lightener is fine lightener will take that color right out I can't speak for every single line because I haven't used every single line and I haven't tried to remove every single line yet there are some cases where I have seen using a clear shine will work because the color molecules once you lift up that cuticle to get the clear shine in there the color molecules just fell right out so I think that's going to be a case-by-case basis maybe start with a clear shine first because it's obviously going to be a little less you know rough thing going in there with lightener um and then of course you know that's what we have our forum for if you find what works best if anybody sees this and has the perfect answer what worked for them we want to create this so that everybody can help each other out so yeah Amy says that she loves it uses it with every color uses which the tca drops yeah and then um oh sorry I thought and then somebody else I want so basically what I'm saying is I want someone to ask a question and they're about getting the colors that I see that yeah sorry are you what nothing sorry I'm trying to run the cameras and look at these for you thank you you're amazing um I'm trying to transition you on your way into getting it no yeah it's um I want everyone to jump in and answer these questions you know it's not I don't want it to be just one hairdresser that's here to answer the questions of all you guys I want you know the 10 000 hairdressers that watch these videos to help each other out because we're better with many all right so Matt did a beautiful finish on our lovely model so pretty soups pretty how do we want to look at it which camera you want Christina you pick one and I'll move to make it work for you that's how she's coming in she's coming in it's stuck stop no way I mean no way I mean so this is the side that I had all right this is the side I did yeah this is the uh the previously done side so this is what I wanted it to see as you see here we don't see where this color starts it just sort of lives within this haircut and I see Matt did he did the smoother kind of blow dry like I was saying like if she goes home and just blows it out real smooth not a ton of texture you can still see it popping out and just creating a little something interesting through the length of this haircut I wanted it to show off all this texture that was in here so it just makes it look more interesting it's not hair that just hangs if you wanted to go in and actually play with the texture of this hair that's when you get to start to see more of it really just sort of pop out and have it look a little more interesting it sings a little bit more and then you still because we worked with the round of the head and left that halo over the top you don't really have anywhere where you feel like you know it's it's not a hard start on anything plus my reason for wanting to go with these uh this particular angle is that if it's somebody like most people that brings their hair back it will also live within the hair color there as well because I went with that diagonal that diagonal color placement so that when the hair comes back into an equally diagonal shape that's shape direction I don't know why I couldn't remember that word then it's just going to live within and also not pop out too hard so I really like that it almost like gives like a salute like between the cut and the color technique itself it gives like a solution to like the client who comes in and says I want this color and points to like the highlights and it's actually just a flash in the camera yeah right because it gives that nice bold pop that you know it's bold if they want it to be or it can be more subtle if they don't want it to be you know because this is something that because it lives within the haircut and the hair color it really is up to them and how they style it how nuts it's going to be so if there's no more questions to hit on right now we're good I think this would be amazing to do with ink as well like if you were to then go back into those highlight pieces and put like the fantasy color oh totes like that'd be fantastic totes muggoats all right so I believe then that that's going to conclude another successful hump day hair party so uh thank you guys so much I really appreciate you coming and playing with us and watching and asking questions and I hope that we answered as many questions as we possibly could subscribe to us on all of our channels and youtube and facebook and instagram and freestyleneducation.com and check us out because you guys are why we do this so we want to know what you want to see and we will see you on the next hump day hair party fsc live fantastic awesome time killer finish matt