 I'm actually going to kick my section up a little bit more. Hello, good morning, good evening, good day, whatever time it is, wherever you are, whenever you're watching this. My name is Brian Hare. I'm here with Free Salon Education Live, doing your Wednesday morning color class. Something that I'm noticing is happening a lot right now, I think because we're rolling into warmer weather and sunnier weather. I'm having people that are last minute deciding they want highlights or last minute, you know, trying to squeeze in and maybe they booked one thing, but really they wanted highlights. And I thought what a cool class it could be to show how I sort of solve that problem. So we'll go, I'll give you the all around to check her out. I did have her all one color. So any dimension that you see here right now is what we were actually able to create in a short amount of time with just a limited number of sections. So we'll go through where we're placing these highlights and how they're being put into the hair to really give the most how to give the most explosion to make them the happiest. All right, so the sections I'm going to do, I'm going to go off for her part. She's rocking a not quite middle part right here, but the part they come in with probably the part they're going to wear most often just clarify that with them because if you're looking for minimal application, but maximum effect, then you're going to want to work off of a part that they wear so that they can see the highlights that you put in there. I am going to just do my normal sectioning from the part to behind the ears. In this particular, we are going to do things a little bit different than how we've done some balayage in the past because we are going for the least amount of applications possible. So that means you're going to change some things up. I like to make my front sections a little bit smaller than I normally do. So instead of coming way behind the ear and creating a larger panel up front, like normal, when you're doing any kind of color cutting technique, I'm actually going to kick my section up a little bit more on the mannequin. It's really pretty standard, but on a person, I want to keep that a thinner section because it's going to allow, you'll see when we get into it, it's going to allow for a more noticeable application that's going to sit around the face. So a lot of times in a lot of my balayage videos, you'll notice the first thing that I always say is make sure you hit that section behind the ear. Well, I'm telling you right now, this time we're not going to because I like to hit that section behind the ear first because it gives a really nice strong highlight around the face. But with this, I'm actually looking for a little more contrast. So I want to keep it a little darker around the face so that the dimension we do apply does have something to stand out against a little bit more. So I'm going to mix my lightener going with my Paul Mitchell Skylights as per use. I like to mix when I'm doing an application like this a little bit thicker. So with this, I also like to work with my bigger brush. So it's again going to be about where you put it to get the mass effect. So for my first section, I'm going to look at the round of this head, pretend that there's not all these gorgeous highlights here right now. And I'm thinking about where I'm going to want to see this effect in just like two sections, where am I going to get a nice big pop. So I'm thinking if I hit the round of this head right here, and then something coming off the crown, then that will pretty much have me covered for the back of the head. So I'm going to come in create a section at the parietal ridge that gives me that nice round of the head where that highlight will just fall. And not just fall in one spot like a band, it will spread out because it's coming off the round of the head. So this is also going to be important, the kind of highlight that you paint on there. So instead of doing my nice little just ride the ridge and get a nice band in there, I'm actually going to have a more sweeping sheet of a highlight here. It's why I like the thicker consistency because even though I'm spreading out my highlight, it'll still give me a nice lift. So you see, I've given myself a little bit of a upside down triangle shape here. Got my flat side here and a little bit of depth underneath that way that'll hold my section up. So I'm going to give myself a good elevation straight out of the head. I'm going to go a little bit higher on the left side because that's closest to the face or trying to get this in as little time as possible. So the best way to get the fastest lift is a really thick saturation. Throw it on that paddle. I like to break up the ends and then make sure you're saturated all the way through. That gives it a little bit more of an ombre effect. Then come over to the right side, exact same thing. Get that slightly triangular shaped section. Get your nice elevation. Cool. So now when you step back and look at this, that's pretty good coverage. So now when you look at what this is going to look like in the end, we've got the depth and dimension that you would want right here in the middle and this sort of gives us a nice frame that in someone this is their first highlight, this would all still be darker underneath and that's okay because it's a pretty natural look. This isn't a really strong band of a highlight because we used such a wide panel to apply it to. So this will break up significantly which is really just going to add more of a general lightness to the area and less of the banded highlight effect that a lot of times we go for. If you're looking for max lift and minimum time, it is really important to make sure that you get something in there to keep it from drying out. So when I drop this down, my thought process here is we're creating the best way to get this done again in a truncated amount of time is to go for a little bit more of a rooted look. So I'm actually not going to be highlighting all the way to the scout back here. It's more important to me to get some lightness coming off of the crown but not necessarily all the way. And when you step back and look at that as a whole, this coming down the middle, these coming off the sides, that's going to give you a nice dimension to cover you for the back of the head. So now we've moved into the front. Now we got to make nice pop not only when they wear the hair down but when they wear the hair back. So you got to make sure that you get those highlights so that they're going to be happy when you do it and then when they do it. So I like to make sure that first section right before it's like sideburn before you start to get into the recession line because that also helps like up here you'll be playing with the round of the head again but down in this first section it's really just that sort of sideburn area where things can get real dark and sort of throws off highlights. The reason you take the thinner section is because now I can saturate the ends of this and it makes sense. If this was a really wide section and you've saturated the end it would almost be a little too much transition and too short of a space. And what keeps this from being too extreme because this is a big hard highlight right on the face but when you look at the back of the hair nothing there. So that's what's going to give the dimension get right in that recession line which is then going to give me this nice section for doing the part. This highlight's important because this is where that starts to fall and cascade down around the face so you want to make sure you get that area. My like rule of thumb with this is I'm looking at what I did back here however close I came with this back highlight overhead. You basically need to do that coming up the part as well because that's what's going to look the most natural. So again I've given myself about an inch I'm going to do the same up here. I'll lay this plastic over so that I can highlight my money piece coming back. If I were to do all these highlights this way it would only really be strong out like this but if I pull this section even this wide section back and then do highlight highlight highlight highlight when it comes down they all come together to create a really nice little frame. So again start with the sideburn section like when you're sectioning out look at what you have left to do make sure that you're leaving yourself a good section to finish off with here. Again as a reminder that this is not as extreme as it looks check out underneath and see that there is no color so that's going to give me that low light to soften the soften the blow of all this lightener that you're piling on the hair. Alright so there she is so we'll give you just a quick little around just so that you can see it looked super crazy and extreme because these are really big highlight panels that you're seeing but again because we only paint it on the outside and because of where we put them it really does disperse into the hair a much more consumer friendly way.