Color analysis (art)

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Color analysis (American English; color analysis in Commonwealth English), also known as personal color analysis ( PCA ), seasonal color analysis , or skin matching , is a term often used in the cosmetics and fashion industry to describe a method of color determination of clothing and makeup that aligns with the skin, eye color, and skin color of a person with the benefit of using this tool for cabinet planning and style consulting. Color analysis shows how certain nuances can be flattering or, conversely, unattractive by observing the optical illusions that occur on the face when placing certain colors next to the individual. It is generally agreed that the wrong color will attract attention to deficiencies such as wrinkles or uneven skin tone while harmonious colors will enhance the natural beauty of the individual so as to make it look healthy and fresh-faced.

In the 1920s, color revolutions have taken place in the US with the development of new color industries and the possibility of producing color sample booklets used as marketing tools. Personal color analysis reached peak popularity in the early 1980s with a recent revival in 2010 after further development and promotion of various versions of seasonal analysis by image and color consultants around the world. Seasonal analysis is a technique that tries to place individual coloration into tonal groups from Winter, Spring, Summer and Autumn, or their sub-variants. However, the approach can vary greatly among the various schools of thought. Some color analysis systems classify individual personal combinations of hair color, eye color and skin color using labels that refer to "temperature" colors (cool blue vs. warm yellow) and the extent to which hair, skin and eye contrast. Cosmetic colors are often determined by the color of hair or eyes only.

The successful practical application of color analysis will theoretically allow individuals to coordinate their clothes and accessories more easily and avoid costly mistakes by purchasing items that are not in their color palettes. However, color analysis continues to be a problem and controversy due to the lack of standard or degree training required to market itself as a color analyst. This can be costly for the individual, both in terms of professional costs and less than professional analysis, and subsequent purchases of clothing and cosmetics.

Video Color analysis (art)

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Chevreul

Michel EugÃÆ'¨ne Chevreul (1786-1889) was a French chemist whose career took a new course in 1824 when he was appointed as an immersion director at the Gobelins factory in Paris, where he worked for 28 years. After receiving several complaints about the lack of consistency in the color of the dye, Chevreul decided that the problem was not chemical but optical and focused on exploration of optical color mixing. He published his innovative findings in The Laws of Contrast of Color (1839) in which he discussed the concept of contrast simultaneously (the colors of two different objects affecting each other), successive contrasts (negative afterimage effects), and contrast mix.

The Chevreul study in color became the most used and influential color guide of the 19th century with a significant and lasting impact on art and industry. As well as being the first to create a half-ball color model featuring 72 normal pitch tone scales, color harmony exploration is an underlying principle in personal color analysis. In the 1850s, Chevreul's ideas were prescribed to American audiences who had no education in color harmony. Godey's Lady's Book (1855 and 1859) introduced the American woman "striking" to Chevreul's idea of ​​"being the color" for the brunette and blond.

Munsell

Albert Henry Munsell (1858-1918) is famous for creating the Munsell color system, one of the first color sequence systems created. An American art painter and teacher at Massachusetts Normal Art School, he has visited Chevreul's rug works and studied colors in France. Using his own unique discovery, including a Photometer that measures the illumination of an object, Munsell begins to define the color space and standardize the way colors are organized and defined.

In 1905, Munsell published the first of three books on color, A Color Notice where he discusses color theories that refer to three dimensions of color: the color (the shade that can be seen in the wavelength spectrum), the value (light to the darkness of the scale), and chroma (tenderness to brightness). Prior to Munsell Color Theory, the intensity of color was defined as 'saturation' in art and the scientific community. Munsell determined that saturation includes two different dimensions, values ​​and chroma, in which chroma defines the difference between pure color and pure gray.

Munsell noticed the human visual system and human response to color, becoming sensitive to inclusion in the mapping of three-dimensional color space. In 1917, Munsell founded the Munsell Color Company, for the purpose of improving color communication and education. In the 1930s, Munsell Color Systems was adopted by the USDA as the official color system for soil and systems research. The company is now owned by X-Rite that specializes in color calibration. The Munsell Color System still remains the basis of color education today and is the foundation for modern color systems including CIELAB.

Itten

Johannes Itten (1888-1967) is a Swiss-born artist and educator explaining the simultaneous contrasting principles that Chevreul made in his 1839 treatise. He appreciated the artistic expression of the individual and in 1928, while teaching class assignments on color harmony, he saw his students choose colors, lines and orientations that showed themselves "as is", which led him to formulate the concept of "subjective color".

In his 1961 book The Art of Color, Itten examined two different approaches for understanding the art of color: subjective feelings and objective color principles. Itten describes "subjective color" as "the aura of the person." and provide examples or how subjective colors may be expressed by an artist: A high contrast brunette will choose a dark color and high contrast, "showing a lively and concentrated personality and strong feelings." On the other hand, for fair women the low contrast "fundamental contrast is color". Furthermore, Itten connects these subjective colors to the four seasons of Spring, Summer, Autumn and Winter, which form the basis for seasonal color analysis. In his book, Itten notes that, "Every woman should know what color belongs to her, they will always be their subjective colors and their complement."

Itten believes that "subjective color" has a lower artistic value and significance than what he perceives as "objective color," which is the color harmony of the higher order. In his last chapter entitled 'Composition', Itten speaks of bringing two or more colors together in such a way that they are aligned to give an unambiguous and characteristic expression.

Dorr

Robert C. Dorr (1905-1979) was an American artist who, in 1928, observed the harmonic effect of paint colors when grouping them from blue or yellow tones. In 1934 Chicago, Dorr began working on furniture design using his own color theory and developing his ideas about color psychology. After working on textile groups for manufacturers, he became a professional color consultant for cosmetics companies.

Dorr's Color Key System defines a person's skin as Key I (cool blue undertone) or Key II (warm yellow undertone). Each pallet in the Main Color Program contains 170 colors per fan. Orange and magenta are color indicators of yellow and blue tones respectively. Dorr's Key Color Program takes all races into consideration and there is no limited race on any of the Key palettes..

After moving to California in the late 1950s, Dorr taught courses and lectured on the Main Color Program until his death in 1979. Devoe Reynolds color company developed a paint chip using Key 1 & Key 2 color matching system from Robert Dorr..

Caygill

Suzanne Caygill (1911-1994) is an American fashion designer and color theorist who developed the Caygill Color Analysis Method. A milliner, poet, fashion designer and nightclub singer, as a young adult, Caygill turned his attention to color in 1945 and devoted the rest of his life to creating individual style guides and color palettes for clients and teaching design seminars. Caygill may be influenced by his relationship with Edith Head, the clothing designer and consultant for studios and Hollywood stars.

In the 1950s, Caygill starred in a self-improvement television program on fashion and relationships, "Living With Suzanne," which aired on CBS in Los Angeles, and began teaching seminars where he described his work on style, personality, lines, and colors. Many devotees attended his class, adapting and popularizing his theory of personality styles and color analysis in the late 1970s and 80s.

In 1980, he published Color: Your Essence and founded the Color Academy. In this book, Caygill identifies subgroups in each season, and gives them descriptive names like "Early Spring", "Metallic Fall", or "Dynamic Winter", each with its own special characteristics. Caygill believes in the fundamental relationship between one's style, color and personality. The Suzanne Caygill Papers, circa 1950-1990, were held in the Division of Rare Collection and Manuscripts, Cornell University Library, Cornell University.

Maps Color analysis (art)

Color seasonal skin tones suitable for clothing and cosmetics

Beginning in the 1970s, the availability of high-quality, accurate and inexpensive color printing made it possible for the first time to produce books for the mass market where color and color of clothing can be accurately reproduced. The result is an almost simultaneous publication by a number of book authors who propose a color analysis system designed to enable readers to "find color in clothing that complements your natural dye to make it look healthier, sexier, and stronger."

The authors of these books all present more or less the same ideas. Most agree, for example, on the following basic points:

• Most depend on the color system in which color is divided into four groups of harmonic colors that are said to match the four seasons of the year. The seasons are, to a certain extent, arbitrary, and sometimes it happens that someone will be on the cusp of two seasons. However, as Carole Jackson said, "with testing, a palette will prove to be better (more harmonious) than others." Jackson also acknowledges, however, that the reference to the four seasons is nothing more than a comfortable attraction: "We can call your coloring 'Type A,', 'Type B,' and so on, but the comparison with the seasons provides more poetic ways to describes your color and your best colors. "
• The basic color category of a person, or season, remains the same throughout his lifetime, and is unaffected by tanning, since "[w] e still has the same skin color, but in a darker color."
• Skin color, not hair or eye color, determines one's season. Bernice Kentner warns, "Remember, do not rely on hair coloring to find your Season!"

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Most important publications about seasonal color analysis

Deborah Chase, Nonsense Based Medical Based Beauty Book (1975 )

Chase explores the impact of skin pigment on coloring. He notes that there are three main pigments that give color to the skin: "Melanin, which gives brown color to the skin, carotene gives yellow/orange skin color, and hemoglobin is a red pigment in the blood, which gives its skin pink and red... The three pigments - melanin, carotene, and hemoglobin join each other to produce our flesh tone. "

Bernice Kentner, Color Me a Season (1978)

Bernice Kentner, who has worked as a licensed cosmetologist since 1950, began lecturing on color analysis in the early 1970s, and in 1978 published Color Me a Season, which passed several prints in the early 1980s, an.

Like Chevreul and Suzanne Caygill, Kentner drew his idea from the art of interior decoration. He writes, "It is possible for the color to coordinate your home so it is very pleasing to the eye.... So is the human body.The body itself is the backdrop for all the colors that will be placed on it.A task then to find what color scheme the body We feel like the walls of the room we have to determine the color of our skin. "Kentner also draws ideas from Johannes Itten that connect the individual subjective color to one of the four seasons.

Kentner emphasizes that it is the color of the skin rather than the color of the hair or the eye that serves as the basis from which color analysis should begin. The color of a person's skin determines whether the individual should be classified as Summer, Winter, Spring, or Autumn. This can cause confusion, because hair color may be the first thing that strikes the eye of the observer (especially if the hair color is dramatic). Thus, "although [one color palette] works best for a particular person's skin, that person may look like another Season because of haircoloring.... I call it the second Season." Hair and eye colors serve to enhance the appeal of certain color choices for clothing and makeup, and to override certain other options, but all of those choices must be made from within a palette that is compatible with skin tone.

To illustrate this, Kentner offers an example of a woman who has a dramatic hair color that suggests that she should be Autumn, but her skin color makes her Winter. When the woman is "colored" in a swatch from the Winter pallet, "she's alive again", and looks much more interesting than when wearing autumn colors. However, one of the colors in the palette did not match his hair, and was determined to be inappropriate for his clothes.

• Winter

Characteristics of dominant skin (one's skin may include more than one): "cool with rose petals"; "may appear almost white, but the skin will be a little darker than the pale" Summer ", which is not a translucent look that a 'Summer' has;" The cheeks will not come naturally to the person 'Winter '";" Dark skinned' Winters' are usually olive skins in blue. "

• Summer

Characteristics of the dominant skin (one's skin may include more than one): "very pale"; "This is a Summer person in life never to have a tan color"; "transparent"; "fine texture"; "Light with reddish red or lilac that does not surface"; "Not prone to blush"; "The overall appearance of 'Summer' is colorless."

• Spring

Characteristics of dominant skin (one's skin may include more than one): "Yellow light with gold tones"; "Looks dark skinned with a yellow who is ruled"; "There is a tendency to flush easily"; "often very bright"; "there is a festive appearance for skin-tone"; "The overall appearance of 'Spring' is 'Radiance'".

• Autumn

Dominant skin characteristics (one's skin may include more than one): "golden or yellow undertone"; "more gold or orange than 'Spring'"; "Bronze".

Suzanne Caygill Method

An analyst trained in this system relies on direct interviews that reveal clues. The most important indicators are the colors, light, texture and patterns found in skin, hair and eyes. Texture, color contrast, movement patterns, and facial and body characteristics are secondary indicators that help determine the basic seasonal types and subgroups in seasons. Experienced practitioners also often observe predictable personality types and preferences that correspond to one's seasonal group.

• Winter

Palettes include colors that are pure pigments, or pigments with black extras, or with so much white added to create ice, frozen pastels.

• Spring

Color palettes are usually clear washes or tints, pigments that have white or water added.

• Summer

This complex palette may have a mixture of black, white, gray or brown added to their pure pigments, creating subtle differences.

• Autumn

The palette is dominated by a tone of natural brown pigment, which can range from ocher, to much, or burned sienna to dark brown with black.

With this system, almost any color can be found in any season, and many pallets include a combination of warm and cool tones. The results are nuanced, individualized and unique to everyone. The results of the analysis are fabric sample pallets that complement each other and reflect the client. They can then be used as a guide to simplify the selection of clothing and accessories and can also be used in choosing colors and fabrics of home and office interiors.

Carole Jackson, Color Me Beautiful (1980)

The most successful book in seasonal color analysis is Carole Jackson's Color Me Beautiful (1980). This book is a pop-culture phenomenon of the 1980s and spawned a number of related sequels, including Jackson's own Beautiful Beauty Book, and Color for Men, 1984, as as well as titles in the same line by other authors. Jackson uses a more complicated seasonal color system than Caygill, and seeks to help every reader to discover his own "thirty special colors". [Carole Jackson is the first of the "color analysis authors" to create retail success stories based on his highly successful books, selling swatches packages (wallets designed to store seasonal patchwork) for use as shopping buddies, cosmetics and dye success lines seasonal colors Color Me Beautiful, and direct sales company Color Me Direct featuring Color Analysis as its key home sales strategy. Recently Color Me Beautiful has acquired the Color Alliance system that uses color coordinates, designed to match eye color, skin color and hair color; and through the use of computer modeling creates a unique color palette for each user.]

• Winter

Dominant skin color (individual skin may include more than one): "Very white", "White with a pink tone", "Beige (no cheeks, maybe pale)", "Gray-beige or brown" "Rosy beige", "Olive", "Black" (blue tone) "," Black (sallow) ".

• Summer

The dominant skin color (individual skin may include more than one): "Pale cream with a soft pink cheek", "Pale beige â €" without color cheeks (even pale) "," Rosy beige "," Very pink "," Gray-brown "," Rosy brown ".

• Spring

Dominant skin color (individual skin may include more than one): "Ivory beige", "Ivory with pale gold spots", "Peach", "Peach/pink (may have pink/purple knuckles)", " Gold beige "," Cheeks reddish (may blush) "," Golden chocolate. "

• Autumn

Dominant skin color (individual skin may include more than one): "Ivory", "Ivory with spots (usually redheads)", "Peach", "Peach with spots (usually golden blondes, browns)", " Gold beige â € <â € <(no color cheeks, need to be flushed) "," dark beige, coppery "," Golden brown. "

Mary Spillane and Christine Sherlock, Color Me Beautiful's Looking Your Best

Spillane and Sherlock introduced an expanded classification system, in which four "seasonal" palettes were expanded to twelve.

Veronique Henderson and Pat Henshaw Henderson and Henshaw combined a seasonal analysis method with a contrast-based classification system in individual colors, returning to previous color studies of Doris Pooser in the early 1990s.

Contrast analysis system

In an effort to move away from the complexities involved in the seasonal color system, some authors suggest that it is possible to achieve an interesting result by focusing on the degree of contrast between one's skin color and the color of hair and eyes.

Donna Cognac, Essential Color

The principle of repeating the contrast of a person as well as the temperature and intensity of colors that complement their personal coloring are incorporated in the system developed by Donna Cognac. It connects 16 different color harmony with the energy of the five natural elements: Water, Wood, Fire, Earth, and Metal. Palettes are various combinations of these 5 elements of energy. For example, every palette with a very bright appearance or a very warm overall color temperature is a pallet of flame for one degree or another and is consistent with the essence of the wearer.

Joanne Nicholson and Judy Lewis-Crum, Great Color (1986)

Other analytical methods were developed by color consultants Joanne Nicholson and Judy Lewis-Crum, whose 1986 Color Wonderful Book explains their classification system, based on the number of contrasts in individual colors.

Alan Flusser, Men's Dress (2002)

Flusser outlines two relatively simple rules:

• The level of contrast between the wearer's skin with his hair and eyes should be reflected in the degree of contrast between the colors in his clothes. "Various nuances... can be scaled down into two basic formats: contrast or muted.If your hair is dark and light your skin, you have a contrasting format.If your hair and skin tone are similar, your skin will be considered muted or tonal." who in stark contrast must wear clothing with a very contrasting color. The result is "high contrast [of clothing] actually invites eyes to see the [wearer] face because of its compatibility with [dark] hair and its bright skin." Conversely, "Preparing a low intensity complex in a higher contrast setting will dilute the natural pigmentation of the face in addition to distracting the eyes' eyes."
• One or more of the tones on the skin and hair should be repeated in an article of clothing near the face. One option is to repeat the hair color in a jacket, tie or scarf, to "frame" the face: "The obvious choice of shirt is to repeat the color of the hair, drawing the attention of the observer to what is bracketed in it - in other words, his face. "Flusser uses a series of photo models to show that it is possible to achieve eye-catching results by repeating eye color or skin tone in articles of clothing that are close to the face, and it's even more desirable to use multiple colors in clothing to match some skin/hair/eyes.

Color psychology

Color psychology, the expansion of color analysis, is a valuable tool used along with color analysis. In fact, the psychological connotation of color has nothing to do with its effect on the color of a person's face or the outcome in the mirror. It is important to consider both the color of physical impact on your appearance, and the impact of color on the persona that is projected to the world.

The color season

Spring

The colors of spring are bright and bright, like the colors of spring. The sun is low on the horizon, so everything is filled with the golden color of the sun. Trees and grasses are immature, so they are colored in yellow tones and are a bright spring green color. A clear yellow tone gives a dynamic and electric appearance to everything. The color of the season is really like a bouquet of spring flowers covered with bright green leafy foliage: red-orange and coral tulips, bright yellow jonquil and daffodils.

Summer

The color of the season is muffled with a blue tone (think of seeing the scene through the dark summer fog). Summer flowers, frothy sea and white beaches are seen everywhere. Baby blue, slate blue, periwinkle, pink pink, green seafoam and gray gray are typical summer colors.

Autumn

Autumn colors are almost indistinguishable from rich and earthy colors in the season in which they are named. They are like gold-hued as a fall day, and it is impossible to mistake them for another season. The typical colors of the pallets include yellow squash, yellow mustard, burnt orange, chocolate, camel, beige, avocado green, rust and teal. Fall colors are very popular, because they bring a warm and secure feeling. The painting by Millais symbolizes the fall colors.

Winter

The colors of this season are bright and cold, like winter; always with a subtle blue tone. To name a few: red hollyberry, emerald and green, royal blue, magenta and purple. Winter inspires images of winter fruits, pine green pines, and black and white huskies that race through the snow.

References

Source of the article : Wikipedia