Book: Color Revival by Lora Alexander

 

Today, it arrived! The last of the color analysis books I have recently bought.

”Color Revival” — ”Understanding advanced color analysis”. Lavish Illustrations by Lora Alexander herself, combining two talents: painting and color analysing in one book. And she does it so well! The book is highly recommendable.

Lora’s company, Pretty Your World, shortened P&W, sits in Illinois, U.S., if it has not moved since last I read posts on her blog: Lora Alexander’s Blog, which was today.

Lora describes three ways of sorting out color seasons. 1. Four seasons. 2. Twelve Seasons. 3. The very latest: 4×4 seasons, that is 16.

Many of her personal illustrations AND photos (though I don’t know if the photos are by her) – some I recognized from her blog. Others all new to me.

Some illustrations very useful, as the ”eye comparison” on p. 32. How very near each other cool and warm toned skin can be colorwise! And on p. 90 two very alike women, both Softs, one is Toned Summer, other Tinted Autumn. One cool, the other warm.

What could be bettered, if a fourth edition be published, are the color square pages. Many colors are not the color it is said to be. This is a very common fault in several books on the subject.

At p. 35, there is a band of reds with different properties. Tinted, Pure, Toned and Shaded. And the band is, in itself, for only one of the seasons. A cool one at that, as far as I can tell. So, Lora, please insert a short info that this band of red is for cool seasons.

So the red band on p. 35 is only one of four possible bands of red. Each band of four variants of red means a total of 4 bands with 4 colors in each: the 4×4 seasons method.

The Pure red is strong as neon against the skin of my hand. The Tinted Red is pink – or maybe rose. Don’t know the difference between Rose and Pink, really. Toned is a dark Blue Red. Shaded-the dark Red – looks lika kinda Burgundy.

The chapter on Elements of Contrast could be favourably widened and more kind of contrasts illustrated. And further, why not photoshots on each of the 4×4 types with best contrasts included.

Another thing to consider: which textures for which seasons. Photos with color type, contrast level and textures combined.

On p. 43, Lora presents us with stories from her color analysis years. One of them is an experience of a makeup party with only a limited range of colors. Though she told the man in charge she could not wear those colors, he insisted she’d look fantastic. But she came home and saw the disaster in her mirror. She had been right. As a Warm Autumn – hot pinks and fuchsias and purples – was a disaster on her.

This little episode applies very much to me. Fuchsia, and cool strong roses are the very colors I hate to see on me. Being a Warm Autumn too. Or am I????

The 12 season- I would rather term them subseason theory-describes Springs as Warm Light and Clear, while Autumns as Warm Dark and Muted. Well, I am Warm Light to Medium Dark and Muted – clears and brights don’t work well on me, so therefore I ruled out Warm Spring, which people usually term me as. Most of Warm Springs many clears blindes away the delicate colors of my white skin.  Some clears, I can have, but they are exceptions. Ruling out Clear Spring.  Likewise, Light Springs pastelles make my own pale colors disappear completely and make me washed-out.

Have thought that if I’m not a Warm Autumn, maybe a Soft Autumn would be better. But now with the new 4×4 concept there appeared the new possibility of Soft Spring = Light Spring Dark, as the picture of the yellow dresses on p. 86 gave.  Knowing beforehand yellow is not a hue for me – mustard excluded – I placed my hand on each of the four dresses to see which looked best.  Pure and Tinted I immediately ruled out.  Shaded, i.e. Warm Springs yellow would be best, or so I thought. Best was actually the Toned Yellow for Light Spring Dark or Soft Spring. So now I get to examine the colors of Soft Spring too, being soft must mean it is the least clear of Spring palettes.

Color palettes are not totally different but several of them share colors. In the 12 sub-season theory Warm Spring is just another Autumn really – mostly Warm Autumn. So best choice now is to compare those palettes –

Warm Spring(Dark Spring) – her colors are darker versions of Pures (Clear Spring). Didn’t know that before. Only noticed that Warm Spring shares hues with Autumns. As Autumns are generally softer, then Warm Spring should be the Softie among Springs. But now there’s Soft Spring, too – or  Light Spring Soft.

 

 

Clear and Light Springs are really completely different palettes than Warm Spring! Clear sharing with Winter and Light with Summer – both Clears and Lights carry many cold colors a natural Red must shun as the plague!

Toned or Soft Spring (Light Spring Soft), – season I contemplate, as seen in yellow dresses on p. 86.

Muted Autumns: Soft Light Autumn and Soft Dark Autumn. Have thought I maybe am a Soft Autumn – despite of my reddish mane. Then I must consider what kinda red my hair really is. Actually, I’m over 55 now so hair is going lighter for every year but still has most of its redness left. Have not toned it the last 15 years. Have a really kind light above my bathroom mirror that casts golden and brown streaks on the red, which is really, so I have heard, a red blonde  a dark strawberry, more orange than pure red.  In broad daylight my hair is orange. So I’ve heard many jokes of ugly freckles and Call the Firebrigade as a young woman. Those days it was not yet common for women to dye their hair. Nowadays any woman can color her tresses red – really red.  One woman who had such red hair dye said my hair was not red, hers was! Mine were ”blonde” she said. I got really upset! She had faked hers, while mine was the real thing. And she thought she’d learn Me something! Well. Everything is Relative, hair colors too! Well, my  hair is medium value orange, more muted than clear, a color that was called red as I grew up. It is not that strong orange that makes a so called ginger, though my skin of white with a cast of golden and caramel freckles could belong to a such creature. My eyes can turn many different nuances depending on which color my top has. If this color manages to bring out one of my iris colors, so they sparkle in turquoise forinstance, or pop in medium green or clear light jade. There’s also coffee and gold in them, and even golden brown which I managed to bring out by a certian brown mascara.

When comparing my skincolor to the Belles on pages 46 to 76, I can see my skin color value is mostly alike Tinted Summer on p.56 and Pure/Clear Spring on p. 62.

But when placing my hand on the Pure/Warm Autumn woman’s face, her with the Mona-Lisa-smile!,  my paleness receeds, and the colouring under that whiteness comes to the foreground. It shows that my coloring blends rather perfectly into hers. What that range of colors are called is another question. I really cannot identify them.

 

and Warm Autumn – the season I also thought I might be. I wear many more Warm Autumn colors better than I do of Warm Spring.

1, Think I could learn a bit from the comparisons Lora Alexander gives us. P. 88: Shaded Spring vs any Autumn.

Springs generally brighter and lighter than Autumns.

”Some Shaded Springs (Warm Spring) have Very Red hair and Clear Blue eyes and their season is obvious.”

Girls with more subdued coloring often confused with Tinted Autumn (Soft Autumn Light) or Pure Autumn (Warm Autumn).

Let the draping decide!

Shaded (Warm) Spring needs clear warm shades, not for a Warm Autumn,

neither do the Soft Autumns look so good in Shaded(Warm) Spring’s goldens and yellows. 

Soft Autumn’s colors have a neutral temprature,  she says. Leaning on warm though, I say, otherwise would be no need to separate Soft Autumn from Soft Summer, would it?

All Autumns, states Lora Alexander, love earthy muted colors: olive, brown, pumpkin, mustard.

All springs favour  more clears and delicates.

Just want to throw in:  Shaded (Warm) Springs can pull of those earthy and muteds too.maybe lighter? Brighter? Are there any lighter, brighter earthy muteds out there?

Light olives, khakis, browns etc, are obvious. But what about bright olives etc. Hardly none! Olives less muted maybe.

2, Another of Lora’s comparisons, p. 89,  Toned Spring (Light Spring Soft) and Tinted Autumn (Soft Autumn Light)  Before, some people that got labelled Soft Autumns but their palette ”too flat and heavy”.  For the new Soft Autumn, Soft Autumn Light/Tinted Autumn, this colors ”too pale and heavy as well”. (Chara: Well, if Tinted cannot pull off pales, then I surely don’t know). ”Difference between these soft, warm seasons is a matter of value first and foremost. Toned Springs are lighter in value than Tinted Autumns.” Or: Light Spring Softs are ligheter than Soft Autumn Lights.

Lora continues: ”Being a Spring, even a Soft Spring”there is a need for some   l u m i n – o s i t y   that Autumns don’t provide.” She renders the Toned Spring (Light Spring Soft) a Light Spring that is a bit toasted.

3, Third comparison – Differences between the lighter and darker Soft Seasons. How do you determine whether you are a Light or a Dark soft season? That is Summer – Toned vs Shaded. Autumn – Tinted vs Toned. Answer: value of eye color. Tinted seasons have lighter eye colors. Deeper (warm) seasons have darker irises,as deep brown or hazel. Both warm soft clients with same hair color, light brown/ light green eyes is a Tinted Soft. Brown eyes is a Soft Dark.

Now, I will try  to compare the descriptions Lora has made on pages opposite from the Warm palettes that interests me the most!

Returnining to Light Spring Soft from the yellow-dress-illustration on p.35. The Tinted Spring on p. 66 is not a redhead at all. She is a a rather subdued light. I would think she were a  Light Summer, really. Because of the grey cast over her  hair, skin and lips. But now she is a Tinted Spring /Light Spring Soft.: Value: light. Chroma: muted. Pure colors + tone of grey.

Shaded (Warm) Spring, p. 68. Value Light. Chroma Clear. Pure colors + Shade of Black Meaning her colors always darker side of medium. Girl on the photo has skin, not especially light, as I see it, rather a light tan. A medium-light skintone.  (with my own very fair but opaque skin as a reference. She has blonded her hair to a honey blonde, but you can see her darker, mousy, roots – so were she a Warm Spring from the beginning? —Her blouse in a flamboyant clear aqua pulls out her strong blue eyes.

The reason Warm/Shaded/ springs can have such clear colors is, of course that their skin is not so light after all. They must be tanned or naturally at least a few values darker than fair/light to be able to wear those strong colors well.

 

 

Now to the pages with the color square palettes. First, I pick the Warm (Pure) Autumn.

Although, a remark on nameing the seasons. Why is Warm Autumn called Pure, but Warm Spring called Shaded? Whilst Clear Spring is termed Pure and  Soft Spring is a version of Light Spring.

We are used to  put Warm Spring and Warm Autumn together when determining which Season we are. Shall we henceforth choose between Warm Spring (shaded) and Dark Autumn (shaded) instead? Or between Warm Autumn (pure) and Clear Spring (pure)?

Page 71 –Warm Autumn – Pure Autumn Palette

I put numbers on the squares – or you can maybe say ”stamps”? There are four columns and Eight rows.

So I term the columns I to IV

and the rows 1-8

II:1—- Lime Green ——looks Medium true green — a color I can have, anyway, but don’t look any Lime

III-3—-Mustard —donot look Mustard at all. Looks brownish light green. Like a  chartreuse color I saw in a magazine recently. I know what mustard looks like because it is one of my Power colors! Or can be compard with a light kind of olive.

I:5 Khaki – here it looks as Olive.

I:6 Jade – is Jade only another word for Blue Green? In Carol Jacksons book Colour Me Beautiful there were Blue Greens And Jade. So what’s the difference?

II:6 Coral. What does that color do here? It is blah on me!

Page 73 – Tinted Autumn – Soft Autumn Light

Topas III:1 could be one of My colors.

Then I come to I:3 Camel. Among my best colors, indeed. But here looks greyed and greenish. Can pull of that so called ”camel” well, akin to the Pure Autumn’s Mustard and khaki and Golden accessories as they are shown on p. 71 !

II:7 Warm Pink. Looks Neutral Pink to me. A warm pink should be more yellowed, and a cool pink more blue. Here I find only red tinted with white.

IV:5 Here I find Light Moss – one of my best colors.  But where is the mossy part? Moss to me is very near Olive – but lighter. Here it lies beside II:5 Light Lime Green. But the Light Lime looks neutral pure Green and the Light Moss a yellowish and lighter version of that Green.

Comparing Bronze: P. 71 …IV-7: Bronze that looks medium to dark warm brown. And the same color at P.73…III:6 a Bronze that is more in tune with the khaki, mustard, gold and camel I just mentioned.

And from the Shaded Spring palette on p. 69.

Coffee at I:1 – favourite color.

II:1 Lime Green – this is the very color of Lime that I recognize as Lime. So if it is possible to print this very hue, why not use it for Warm Autumn and Soft Autumn too? Or are they supposed to be that different?

I:3 – Warm Olive. ??? Is not the Autumns’ Olives Warm too?

—————————-

 

Well, I could continue much longer. But it’s late at night and have to qjuit here.

 

 

 

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