 Yeah? Awesome. Uh, I'm Brian Hare, welcome to FSE Live Podcast, uh, so number two. Uh, we've got everyone in the house this morning except for Ted. He couldn't make it. He had to go get his back cracked. So, uh, again, I'm Brian Hare. We've got Matt Backback there, Drea and Justin on the microphones and laptops. So if you guys have any comments, questions, anything, you are speaking directly to them. So, let us know. Uh, Christina's back there, manning the cameras. Making sure everything looks decent. Uh, all right. So I got an opportunity to teach today. So I wanted to, obviously it's my favorite. I wanted to do balayage with you guys. Uh, I was looking for, I was looking for some inspiration because I feel like balayage is now something that's really catching on. People are starting to do it a lot more. I'm seeing it out there. So I wanted to try to approach it not just as a, hey, you have no idea what this is. And more of a, this is how you can do it in the salon to bring to your guests. So in looking around, I have, uh, some cool examples here that we'll go over in just a second. But this is our, our beautiful model. This I did for you guys the other night. Um, she actually was quite dark. I was really happy with how this came up because it was such a huge color shift for her. Um, I went through and I wanted to give it again, something that's going to be a little bit more realistic, something that your guests will actually want. So in one time of giving her color, I gave it, I was able to give her an already lived in kind of look. And that's kind of what we're going to go over today. Something that if somebody comes in and is looking for that style of look, they want that effortless kind of easy blonde. This is something that looks like maybe she's been doing it for a while and it's kind of grown out, but kind of freshened up at the same time. So awesome. Uh, first things first, before we get into it a little bit of what Balayage is. Balayage is a technique. It just is hand painting of highlights or color. I, when I describe it a lot, I like to use the term force perspective on how to, because for me, artistically, that's just a way to understand it a little bit better. Uh, and I gave it to Dre because I've had the hardest time remembering this sentence for some reason. Dre, what was the force perspective definition that I liked? It's the manipulation of the human visual perception. Some call it optical illusions. Perfect. So in the way, in the way that I apply this to the hair, that's where the optical illusion comes in. Christine, I got a couple of pictures. Let's do the hallway one first. I always really liked because I've used this, I've referenced this many times in teaching classes. Um, it's basically how the, if your eye looks down that hallway, the two lines of the ceiling and the two lines of the floor will eventually just come together into that one exact spot that's all the way down the hallway. It's an optical illusion, but it's a way that depth has been created so that your eye sees that as a really long hallway. And that's just kind of something that I like to think of and how the sections are being held and how the colors being applied. Uh, just another example, the Sphinx one. I want to just roll right through those little, those cute little examples. Again, these are optical illusions where depth is being created where there just really isn't any. She's not actually a gigantic person kissing that Sphinx. She's just positioned perfectly to make it look so. And then the last one that I think is just adorable is the cute little puppy that's the giganticest floppy dog ever. And again, that's just done with optical illusions and tricks that make your eye see something that's not really there. Okay, so now we get what forced perspective is. Um, all right. So again, now rolling into the actual technique, I was actually inspired by this. I was watching the movie Vacation and absolutely loving it. And I watched it a bunch of times because it was incredibly hilarious. And I noticed the whole movie. I kept staring at Christina Applegate's hair because it's it's done in such a way that is so much my aesthetic for Balayage. It stayed very, very strong around the face, but throughout the rest of her head while still being highlighted was still very grown out and lived in at the same time. I think I have a couple of pictures that on there for Christina to pull up whichever ones I don't, that's it down. And what I love when you look at her straight on, she just looks like a blonde, like you might your eye might not even go to how she's blonde, but she just reads as a blonde. The next picture where she's got her hair pulled up, I thought was a great example because now you can really see the juxtaposition in that hair, like the really light and the really dark. The dark makes the light look lighter. The dark gives it that depth and that grown in, you know, not freshly bleached feel, which I think is really something that people are looking for these days. So that's what we're going to do today. So there's your Christina Applegate. I also got a lot of questions online of the style for this. So before I mess it up and start flipping it around, I just use it was just a curling iron. The real technique she's got a center part. So I made sure that all of her curls, I was being very consistent. I used about the same size sections and I curled everything back away from the face. And then afterwards before I sprayed it, I just raked through everything to bring all those curls together into more of a wave. In case I forget to say that at the end. There's that. All right. So the sectioning for this, I was looking at that and I think the pictures that really showed me what the sectioning was the most in that movie were when she had her hair pulled up. So I've got her sectioned off. She's about an inch. This is going to depend on the density of the hair and what you want to do. But I've got a section along her hairline that goes from right behind her ear up to the part. Again, this is the center part. You can you'll still do the same thing if somebody has a part off to either side. Obviously you'll just have a smaller section and a larger one. I then ever sectioned off of the occipital because this area down here is going to be that hair that's the most lived in. You know that hair that maybe she was it's you wanted to look like she was out on a beach a long time ago. So this will have blonde through the ends. Whereas this is going to be the meat of her color. That's where we're going to have highlights that are lived in and travel all the way up to the head. This is where there's going to be a lot of fun happening. And I used a blonde mannequin because we already have an after. We're not going to sit here and process this and she just had really nice hair. So don't worry. We're not going to be making her even blonder. All right. Is that good? We good? Everyone ready? Nothing on there? Nope. All right. Cool. So for my preferred product today, I'm using Sunlight's Balayage. As you can see, fantastic consistency staying right in that bowl. It's become my absolute favorite Balayage lightener that I've used because it just it makes the work so much easier and really allows for some really cool, just artistic freedom. It's got that great clay base to it, which is going to help me stick to the hair as I'm working and also help to diffuse whatever lines I put in there. So I don't have to be afraid of really just getting a nice swash of blonde through that hair because it's going to help me look really, really fantastic. In the Bali box that you can get on freestyleneducation.com or shop FSE. Is that it? Both. Everywhere. You can get the Bali box, which I think if you have not experienced this yet is a really great introductory because it comes with all the tools that were put together so perfectly for this. I was never really a fan of paddles until I got the one that comes in the Bali box and it's great. It's got the rough side that helps to hold the hair, hold the lightener that you can work on as a paddle or like the little artist palette, whichever works. And the brush is just absolutely fantastic. It's long bristles, but they're just firm enough to help. You'll see as I'm working, I'm letting the hair take the color off the brush and the bristles have a really nice bend for that. Alright, so in our bottom section, I'm going to split that. It's right at the occipital. I'm splitting that in half. The hair that's going to be right down on the bottom against the hairline. I'm going to take it all as one section because I don't want it to be super, super blonde. I want some of her base to still live in there. But we are going to be doing pretty much like an ombre through this. Most of her ends are going to be lightened by this because I still want her to read as a blonde, just like the manic end, just like the pictures. So I'm holding this section with the top of it straight out from the head because I need this underneath to sort of support the hair as I put the sections down. So the flat surface that you're going to be worried about is going to be the top. So now you're going to hold the hair wherever you want your blonde to come together. We're going to create two lines so I'll get more into this as we keep going. But I'm holding it down towards the end because again, like I said, I don't want it to be too, too blonde, but still read. I'm going to come in. I'm going to approach the side of the top of this section. And like I said, let the hair take the lightener off the brush. I'm going to sweep the brush down as I move up towards the scalp. For this look, I'm not taking this section all the way up to the scalp. I'm just running nice and close back towards me or you like that. Do you love it? All right. So again, sweeping down while moving towards the scalp. If you can see what that does, it allows the product to taper off, which using that clay base that's stuck to the hair. It's going to lighten and then just sort of like dissipate as it gets back to her natural base or colored base or whatever base you choose for her. So now what I'm doing rather than making sure I'm saturating the bottom, I'm really just painting this over the top of this section. When I set it down, you see there's a little bit of a buckle here at the root. That's because we had that over direction coming from the bottom with the no real over direction coming straight out from the top of the section. It looked pretty. Thank you, Draya. You're welcome. All right. So I personally have never been a fan of saran wrap because I just can't seem to ever work it properly without making a huge mess. I was really, really happy when sunlights came out with their own saran wrap for you to use when doing this because they put perforations into the wrap. So it's easy enough. You can do it one handed and the perforations just help to break it up so that you can hurry up and get that in there. It's not incubating like a foil. It's just separating so that I don't have to worry about my top section coming down and pressing against it because this is lightener. Anywhere that lightener is placed, it's going to lighten. So if it touches something you don't want it to, it's going to lighten something you don't want it to. So just painting around the outside again. And again, you can paint with a little bit thicker sections when using the sunlight's lightener because it's not going to expand. It's not going to bleed. It's not going to come out like this huge chunk of lightness from, you know, 2002. It's going to dissipate itself out while still highlighting and just turn into something really pretty and natural looking. When I have to say, one of the things I love about how you do this technique is for those guests in the salon that feel that they need the underneath highlighted so that when they pull their hair up, this is hitting every single area that they're going to see when their hair is in a ponytail. Right. Like those pieces there when that comes up will just break up that underneath enough. All right. So this top I have all of this was originally sectioned as one when I did this the other night. I discovered that it's just much easier to split it in half just because it's not handling too much hair at one time. So it's I'm going to work side by side, but the sections are just split for ease of use. All right. So now this is where I'm going to start to create all of the real dimension in her hair. So I'm going to take this I'm going to take this whole row and do three sections. First one I'm going to hold out. And what I like about this is this is where you really get to just have fun because every single way that you can think to apply a section of Balayage do all of them in here. Every single little one. It don't care if it's like the original ombre way that you used to do it or some brand new technique. I liked really just employing everything in here because it really just it's what adds to the layers of dimension. So what I mean like for this one I'm using thinner sections on the outside with a thin section right up the middle as well but not quite as high as the other two. And then I'm going in between those lines to fill that in. And then eventually all these lines come together to create that force perspective kind of lightness like I was saying creating dimension. Now I want to start to make sure that the underside of here of this section of the the hair is getting lightened. So I'm putting some on my paddle as I get down towards the ends. I'm going to place that right through my my little blurb of color there or lightener. And then as I drag it through paint over the top so that it's also applying it to the underside as well. I check it it's nice and diffused it's not going to be too much of a line there. Again this is reusing sunlights comes in big handy because I look at that and I know it's going to be totally fine. So then I set it down feel the hair that is coming out of the mannequin off my hands. Now Brian do you have any specific placement when you put the lightener on the paddle so that you ensure that diffused? Honestly by the time you're done this it's going to be so all over the paddle anyway. But I try to at least shoot for the middle towards the beginning of this so that if you need some space that's not covered in lightener for any reason then you've still got that. We have a question from Radically Curly. Can you ask Brian how does he prevent spotting in the balayage near the root? It's consistency of the product and saturation. Like this is one product that I really don't screw with manufacturer instructions. You know because it's honestly it's probably the only lightener that I actually measure my lightener and developer because to do it the way that they instruct you really is perfect. It comes out like toothpaste like toothpaste that you just ran under the sink before you brush your teeth. So it's got a wet enough consistency to know that wherever I put it it's going to work and not dry out. I also have noticed that with this product using the Saran Wrap is great because it does keep it from getting too dry. It will sort of just create this little environment in there that works really well and making sure that it stays moist enough to constantly lift the whole time that it's on the hair. So as I'm running up towards the root I've got enough product on my brush. I've got enough product on my brush that I'm still getting a nice application there. I'm making sure that there's enough that I know is going to work but because it's got that clear base it's going to diffuse itself out so it's not going to be too hot spot. If I did want to take this all the way to the root. Hang on I'll do that on my next section for you. Just for you. That's my angry fingers typing. Alrighty. So I'll run this one all the way to the root for you. I got the hair off the brush so we're good. Can you see alright? Not in the way. Alright so. Oh good. I'm just going to stop after this. Enjoy. Alright so start in the middle. The reason you start in the middle is that way as you work to the root you're in complete control over how much is at that section. Just start in the middle sweep down as you move up. Make sure you're holding that section nice and tight because that's what's going to give you the freedom. Or the ability rather to get all the way up there. If you're kind of lazily just holding it you want that as a nice tight section. Turn the brush to make sure you get the angle. What I also have loved about this product is if for whatever reason like you saw I came up here and I hit a hair that I didn't mean to. I just go in and tap that spot with my finger and it comes right off. It just ensures a nice clean finished result. How much this mannequin sheds. It's beautiful. Alright so now. The way you're supposed to work with the Saran wrap I know because they come in three different lengths. The short medium and long is you're supposed to come this way. But for some reason I just never started doing it that way so I don't continue to do it that way. So they will tell you that that's how you're supposed to at the company. I will tell you that it is okay to do both ways. Comes and then I go just above my section and then roll it down a little bit. Just to give me a little added insurance that the hair that comes down from the top just isn't going to press down too hard. I could use some soon maybe after these sections. So I guess if you want to start mixing that'd be swell. Alright so now as we're coming up around the round of the head. We're going to start to be applying onto the part which is where you're going to see that. So you want to keep that in mind because if you look back to those pictures or just the picture of the mannequin. I do want it to look like there is still some fresh highlight in there just not completely highlighted. So I'm going to be applying I'm going to still have that lived in more through the ends. But every now and then we're going to throw something that is going to get a little closer to that part. And as we move closer to the face the highlights themselves will get closer to the scalp all over. Because that's what's going to give that nice fresh look to it. Do you love it? And forget you're not mic'd Matt. So when I talk and you don't hear a response it's because I'm talking to Matt. What's that? Do you want me to turn her? Make sure I got some on the palette there. Some on the brush. Excuse me. Brush down while moving up. After you're done applying to give you a visual that works for me of what you want your section to look like. After you've applied it I want it to look like frosted miniweights. Like that perfect white coating over the top that looks good enough to just eat. Is she heating up? I was like what is she doing? We're cooking lightener now. Alright so here I've got the two stronger highlights I am going to because it's such a large section. Put one in the middle as well. Because if we look at this what I like about Balayaj is you can control it as you're working the entire time. So when you look at this you see how much lightener to base color ratio do we have. If I leave this that's fine it's just going to work with her base color much more and be highlighted. If I'm trying to shift her overall color then I'm going to want to see more actual sections of lightness. So I'm moving up the middle. Don't, something I see a lot is people feel the need to directly fill in this negative space. You don't want to just fill it in because then you'll end up with a line. You want to actually create lines that go in between all of your negative space so that it will diffuse itself out and give you that nice illusion where it just seamlessly gets from darker to lighter. Work on getting that underside and gently set it down. Thanks Dray. You're the best. You okay there? It's coming in here again. I'm going to let it, I'm going to show you what I mean. I'm going to leave this one a little more, a little more lived in, a little more rooted. But I'm going to run the middle one up a little bit higher this time. Because like I said break it up, have some fun with it. This is where you get to just be as artistic as you can possibly think of. That's what I'm missing. Brian, you have a question from Jackie. Oh good, thanks Jackie. Are you applying the product to the top and bottom? Or is he applying enough that it is saturated through if that makes sense? It totally makes sense and you totally picked the perfect time for that. Because what I'm doing here is where I'm actually applying to the underneath. Doing it along the top, that's the other thing that you want to think of. However thick your section is, the stuff doesn't swell. So that doesn't move down into the section, it's only where you put it. So I'm only going to be highlighting this much of the hair, while leaving this much natural underneath. That's what's going to create that dimension. It's going to create that shadow that a lot of people are looking for. But I want to make sure that all of her ends are light. That's why I have it applied to the paddle. And then I transfer over. Usually I look for right around where all of those lines that I create come together. So that's going to be right in this area here. Make sure there's plenty of lightener on the paddle. Place it over the paddle. Get a little bit more color on my brush. And then just press that hair down into the color that was on the paddle. That's going to ensure that I have it underneath. So when I check, I can see where it started and it kind of diffuses out. If you need to, you can feather it a little bit more. But generally it'll be okay on its own. And that way I've got it where it's her base, her natural, which will grow in nicely as time goes on. The highlight starts. The highlight starts to get more intense. And then by the time we've reached the end, it's completely saturated. So were you to do that on every section of this head, which we kind of are, you will end up with more of an ombre feel to the whole thing? Because that I think is one thing that a lot of people are mashing together. Not all balayage is an ombre. And not all ombre is done through balayage. Ombre is a look. Balayage is a technique. You can do balayage with color on people, like with black. You know, I like to do my ombre with hand painting just because I think it's what gives that really nice, soft, seamless feel that we're looking for. So, all right. I can do this in one. Not one, but two. All right, so this top section, I don't know if you can see it. It's a bit of a triangle, but now we're actually dealing with her part. So this is where you get to really create the look that you're going for. Maybe you really do want to see lighten her just all the way up to that part, which is going to give you a feel of super blonde. Or maybe you want to go like with the picture or the mannequin and make sure that it has more of the lived in feel, more of the we didn't just get this done kind of look. So I'm going to tilt her head, which you should have your guests tilt their head to. It's not going to ruin anything. And they're only going to be uncomfortable for like a few seconds. But having her tilt her head makes it so I can still get that nice flat straight out from the head section that I'm looking for. All right. So now get lots of lightener because this is a fun, exciting part where we're actually doing her part. This is going to be the high point of her head. So you got to think how many highlights do you want along here? I don't want a ton just because that's not the look that I'm shooting for. But there will still be some. Even in the picture, she did have a couple of highlights that ran up to the scalp. So what I'll do to give it more of that cool lived in feel is I'll have the ones closer to the face be closer to the scalp and the ones that come back a little bit further, not quite as close to the scalp. Again, using the finer highlights are you're going to translate as finer highlights in the hair. It's going to make it a little less noticeable exactly where they are, but just add a nice sparkle of dimension to their color. Whereas if I wanted to do a much thicker highlight, there's a much better chance that you're actually going to see that. That's what we're going to do around her face. That's why I'm doing finer ones here. I'll do much, much thicker ones once we get up on the hairline there. How we doing anything in the chat room, guys? Everybody's just saying hello from all parts of the world. Oh yeah, like from where? We've got Ukraine on here. We have Spain, Sips on here hanging out. That's fantastic. Some UK people. Love it. Good morning. Hello. Good afternoon. Whatever time of day it is wherever you're at. So now this is what I'm talking about. I feel like just this section looks good and it's reading well on camera. How you've got that dark that just starts to go away. It just dissipates itself. Even when you look at it just at the light and her placement. That's what I can expect from this section when this is all said and done. Which again, is the other reason I really liked Balayage because there's no real surprises. Because you did it. You put it there. Except that surprise. We also have India and Poland on here, too. What is up? We're like the United Nations of Hair right now. I want every single one of you to teach Justin how to say hello in that chat room in your language. I'm going to butcher every one of them but let's go. Okay. So again, same thing as before. Make sure that head is tilted so that I can get that whole section up and get that part. One of the things that I find works to be extremely successful. This is the only time really ever when I'm doing any kind of highlighting or lightening that I want the color mirrored on both sides of the part. There's just something about it that with foils to me is just like an assault on the eyes when it's just too harsh right on the part. But when hand painting, I think gives it a much more natural pleasing look to the eye. So I've got the same size section. So I plan on doing the same placement as far as how close to the scalp. That way when it sits and it's down and it's styled, it's going to frame her face the way that it should. And it's going to compliment her natural beauty. So Anise Fatima, she's from India. She has the typical super dark black hair. She was like, no, would this look good on people that live around her with that super kind of like dusky skin tone she called it and black hair? Yes. Not necessarily going this blonde, but yes. I just watched another movie this weekend and I got so incredibly inspired. It was Tina Fey and her hair was super long and she has a really beautiful balayage in her hair and the lightest color in the whole thing is like maybe a six. It's just so dimensional and pretty, but it's all very dark. So, yes, it would totally work on Indian hair. So I think PRIVET, how would you pronounce that? Matt, you can't, you're not mic, so help me out here. Anybody? What is it? PRIVET. Prevet? Yeah, we're trying to do the hellos. Ah, plebe. That was Harry Pervet Street. That was PRIVET drive. Brian, just to go over one more time. Does a plastic wrap serve only to separate the sections or does it also serve to incubate the light? It doesn't incubate. It will make sure that it stays moist. Like it won't dry out. The stuff is really, really, it's good about not drying out, but you never know. I mean, circumstances are always different. When the heat's going in the salon in the winter, that could create an environment that might dry out your lightener. Using that saran wrap, it keeps it from whatever's going on around you so it doesn't dry out. So it does everything but incubate. It sections off, it keeps it clean, it keeps it from pressing against hair you don't want it to, because we're doing a look that's the entire head. If you're doing hair and leaving some out, then you want to leave that out. If you're just highlighting, you're going to need that saran wrap to keep your lightened hair off of the hair that you're not lightening. Plus it makes a really cool hat when they're actually done. I mean, I can't tell you, I feel like all of us, every single time we take out the saran wrap to do these highlights, all of the other guests in the salon, they want to know what it is. It's such a conversation starter in this room. It is. You see it and they're curious and then, boom, you get someone interested in color because you can start talking to them about a color service that they're watching happen that isn't necessarily something out of the realm of comprehension because whether you have somebody who's super blonde or somebody with the super, super dark hair like she's working with in India, there is some variation of this that you can do on them that's going to look nice and natural and pretty and soft. All right. So now that I'm up on the hairline, these sections are going to be pulled back and I'm going to be applying the front of them. So I'm going to be applying what you're going to see when you look at her in the face or when she pulls her hair up. So I'm holding it up. I'm going to split this right around her temple just because that's what her density is going to work best for me. You might need to take smaller sections if somebody's really, really, really thick hair. But for hers, this is going to work for me. Make sure that I'm working on a nice flat surface with that face. I'm holding my fingers together. Again, I don't know if I fully described that earlier. What I mean by that is I'm deciding that this is where those lines that I create are going to come together because everything from my fingers down is blonde. Here, there's still a little bit of her base worked in. This blonde. So if I want her way blonder, then I'll just hold it a lot closer. I want a lot more of her base in there so that she just has a natural highlighted feel. I hold out towards the ends. Does that make sense? Yep. You're filming? Just so you know, not right now, I might need more light in a second. All right. So here is where I'm going to go in with much stronger highlights. Much thicker lines because this is really, really going to be nice and blonde. And again, because I'm just working on the outside, I'm not too worried about how... I'm not worried about this over-blonding her because it's still going to have that really nice shadow of the hair behind it because I'm holding it up and it's being over-directed. When this comes down and hangs at its natural fall, it's going to have a really cool dimensional feel to it. Do you always pull it vertically around the hairline? I haven't always. It's something that I've started more recently and I tend to like it better because in this day and age, so many women either choose to or have to pull their hair up. And it's a really great way to make sure that their hair, their highlights look good. It's still a cool style whether the hair is worn down or up because I felt like before it was an added bonus if the hair looked really good when it was pulled up afterwards. So now I just try to make sure that I know it's going to. I'm just applying a little bit to the backside at the bottom of this because I do want the stuff around the face to be completely saturated. And then as I work back, I sort of orbit the plastic so that it wraps around that way. It won't press on itself. It won't get funny. And then it'll process nice exactly where I want it there to keep it tamed. My absolute favorite part of any balayage is this last little triangle on both sides. So I'm leaving that out. It's like the ultimate icing on the cake for me. And if you look at those pictures, you can see that's where the heaviest highlighting is. All right. So again, holding that up and back, looking at this, thinking about how this is going to look when it's down, I'm going to highlight this like crazy. Like that's going to be a really, really heavy highlight. So while I am going to highlight all of this close to the scalp, just behind it, I'm going to leave it a little bit darker. I'm going to leave not a little bit dark. I'm going to leave it as it is. So it's going to be as dark as it is. But I'm going to leave that unhighlighted just behind this heavy piece so that it sits right next to the heavy highlight dark. So that's really going to make that just come off even lighter when you look at it with your eyes. Nice heavy highlighting. I'll do one right down the center. How does that look, Matt? Would you back comb the hair first to avoid demarcation line or do you always do this this way? I always do this. I don't like back combing because I feel like it can create just such a mess at the shampoo bowl. I know that for a while that was a really big thing and it was a way to do it. But I feel like now that there's so many more tools. Thank you. There's so many more tools that have been created to make this a nice, easy, beautiful process like a good balayage lightener. Now we don't have to do that some more. That doesn't have to be the way that you do it. Before, when it was just lightener, you had to use it and there was a chance it could swell. There was a chance for all this stuff. Then back combing, it helped a lot of people out. This, I think, makes it so that we don't have to do that anymore. Here's the big, fancy piece that we love. I'm going to highlight basically that whole thing because when you look at those pictures, whether her hair is down or up right along that part, that's super blonde. It's not just her. The women of Hollywood that are blonde, it's super blonde right at the part. I'm going to come in and just get all of it. Cool? Cool. Now I'm just going to hammer out this last side real quick so I think I'm starting to want to lose any of you. I'm going to turn her a little bit. No, I'll just move my body. My body. Can you see okay at all? All right. I think also one of the important things that you're doing with this technique is you work from side to side. You don't go in and do one whole side first and then go and do the other half of the head that you're working simultaneously throughout the entire thing. Wait, I just did that whole side and then this side. No, but like you're doing section by section and mirroring it so that you don't have one side end up lighter than the other side. Oh yeah. Gotcha. A lot of people will ask about developers and all that stuff. That's going to completely depend on how light you're trying to go, what product you're working with and the speed that you have. I know when I first started doing balayage I definitely had to start with lower developers in the back because I couldn't really move fast enough to ensure that it would all lift together. Brian, would this technique damage or make the hair brittle and dry? Well, I mean, it's a lightning service so that's going to depend on what you do. Anytime you use, that's going to be your call. You know, can the hair handle having color applied to it? Like this is, yeah. I mean, the hair can be fine so long as the hair is in good enough condition. If you need to add Olaplex, add Olaplex. If their hair is in really, really rough condition and you shouldn't be doing anything, then don't do anything. But the technique itself is not going to make the hair dry. That's just a technique. You can do this with a conditioner if you want to. All right. And then one last section. My... Oh, okay. So I don't know if you guys... Do you don't have a mic, do you? Oh, so Christina just asked when the gas comes back for a touch-up, do you continue to go all the way down the hair strand? That depends. Sometimes they do, sometimes they don't. If they... If their hair can handle it, I will bring some of the highlights all the way down and not others because that's going to add just a whole new layer of dimension to the hair because then you'll have hair that will have been lightened just once, hair that wasn't lightened at all, hair that was lightened twice, three times. If the hair can handle it, yeah, it's going to be dictated by what you're going for. If you're working... If you're using Balayage as like a overtime color correction to get somebody lighter, then, yeah, I'll do this exacting over and over all the way through. And then she sits and she waits. That's her fun look. There's her fun little hat. Do we have anything else? Everybody's very grateful for this one. Jamie Exo-Marie Matthews just wants to say thank you to everyone on the Freestyle Education Team. She's a future professional at Paul Mitchell School in Fort Myers. And she would like us to come and do a class there. Yeah, it's getting cold here. I'd love to go do a class there. As winter's approaching. Yeah, I'm all about it. Oh, yeah. Thanks. So I applied all the color. We processed it the other night. Let me go back to this head. Hang on one second. And real quick, Brian. Just like a cooking show. Ta-da, and it's done. We had a question. Do you, after this process, you put toner on or just leave it? There you go. That's what I was about to just jump into. I always try to tone just because you know, very, very seldom does somebody come up to a level of lightness that doesn't look like just raw bleach blonde. So I like to, plus it just adds a little bit of extra love to the hair because the toners that I like to use tend to be demis and shears and all stuff like that that end up being very conditioning anyway just to help seal that cuticle back down and give it a little bit more of intended color. Like I said, this girl was actually, if you look under here, quite dark when we started. So when I lifted her, she came up nice. It was a decent color. I still wanted to add a little something because she had such a warm natural base. I wanted it to have an intentional blonde and an intentional warmth to it. So I actually used Bercato's Demi. I did equal parts 9N and 9G because I wanted that kiss of gold to work with the nice, I'm sure the lights are picking it up, that nice warmth that she's got going through that root color. So I toned her, she had that on wet hair, towel dried hair, maybe 10, 15 minutes I think. Washed that out and then I wanted her to have that look of, I just naturally look this good and everyone looks a little bit, their hair always in my opinion looks a little bit better on day two. So when I blew her out, I used the Shatter from Bercato. It is a chaos paste, but I've noticed if you use a little bit of it, not too much, but if you use a little bit on wet hair before you blow it out, it's going to give it a little bit more of that lived in day two kind of feel to it. And then after she was blown dry, I went through, I curled her down the middle. I curled everything away from the face, similar sections, where I had a good consistency to get that nice soft wave look. It's about consistency because I want all of my curls to be pretty similar so that they can work together. If I run my hands, they can come together. They're not going to be too surely temple like baloney curl and then after it was done, I went in with the carve. Got it also from Bercato. It's the texture icing. It's great because I can just run it through my fingers and then kind of just go into the hair and mold wherever I want to see just a little bit more texture and a little bit more peaceiness, which for a look like this is great because you spend all that time putting all that dimension into the hair. You want to actually show off that dimension. So those were my big things. Sunlights, Bercato Demi for the toner and then the Bercato styling products. So I think that's it for this gal. Is there anything else? Oh, we got a nice who we spend in fordray. Let's see. You know what? Let's see who's still on. Let me see. Because I was going to say let's pick Jamie Exo Marie Matthews. I was just going to say that too. Yeah. All right. So what that is all about Dre is getting ready to spin for us to the wheel. Oh, you can see it like Vanna. All right. So don't worry. I'm not going to spin it. Dre is going to spin it. But this is all of our wonderful sponsors that make doing this possible to bring you guys awesome stuff. We've got Amica millennium millennium. What is millennium giving away? So three months free of Mevo. We've got Ola Plex, which everybody loves. Mizutani still rocking out. Still got the space on the board. The big the big prize. Minerva. That's the I forget. Oh, yeah. Mainstream. Donald Scott, New York. We've got razors. Sunlights, volleyball which like I just said I absolutely love. That'd be fantastic if they spun it at one on that one today. Right. It would go so well. Jay Lace has given away some cool stuff, some cool clothes. Parker razors. We got Ergo. Is that brushes? Brush set. And then FSE, what are we giving away Matt? You. Package of my products. It'd be a surprise to all of us. All right. So, all right, go. Dre is getting stronger. I worked out again last week. So, you know, there it is. Nice. Amica. They're definitely a favorite of Dre is because I control this. It's true. No, that's fantastic. Love their products. Love their tools. That's really cool. So, send us your address at, what is it? Info at Freestylane Education. Contest. Contest at Freestylane Education. Sorry. Send us your address and then we will get that out to you. In a little bit there's going to be a link up. We're making a special little package of the stuff that I use today. I'm going to actually recreate this look, start to finish using the exact stuff that I did. So, look out for that link below. Click on that. It'll take you to the store. You'll get a nice little bundle of Brian's favorites for the day. So, thank you guys very much. Stay tuned next week for class number three, FSC podcast. Thank you guys. See you later. Bye, Matt.