Color Analysis

7/27/22, 5:13 PM Color analysis - Wikipedia
Color analysis
Color analysis (American English; colour analysis in Commonwealth English), also known as
personal color analysis (PCA), seasonal color analysis, or skin-tone matching, is a term
often used within the cosmetics and fashion industry to describe a method of determining the
colors of clothing and makeup that harmonize with a person's skin complexion, eye color, and hair
color with the benefit of being able to use this tool for wardrobe planning and style consulting.
Color analysis demonstrates how certain shades are capable of being flattering or, conversely,
unflattering by observing the optical illusions that occur on the face when placing specific colors
next to the individual. It is generally agreed that the wrong colors will draw attention to such flaws
as wrinkles or uneven skin tone while harmonious colors will enhance the natural beauty of the
individual making them appear healthy and fresh-faced.
By the 1920s, a color revolution had occurred in the United States with the development of new
color industries and the possibility of producing color swatch books used as a marketing tool.[1]
Personal color analysis reached a height in popularity in the early 1980s with a recent resurgence
in the 2010s after further development and promotion of different versions of seasonal analysis by
image and color consultants worldwide. Seasonal analysis is a technique that attempts to place
individual coloring into the tonal groupings of Winter, Spring, Summer and Autumn, or their sub-
variants. However, the approach can vary greatly among different schools of thought. Some color
analysis systems classify an individual's personal combination of hair color, eye color and skin
tone using labels that refer to a color's "temperature" (cool blue vs. warm yellow) and the degree to
which the hair, skin and eye colors contrast. Cosmetic colors are often determined by hair or eye
color alone.
The successful practical application of a color analysis will theoretically allow the individual to
coordinate his or her clothing and accessories with greater ease and avoid costly mistakes by
purchasing items that are not within their color palette. However, color analysis has continued to
be problematic and controversial due to the lack of standard training or degree required to market
oneself as a color analyst. This can become costly for the individual, both in regard to the fees of
professional and less than professional analyses, and subsequent clothing and cosmetics
purchases.[2]
Contents
History
Early history (1850s–early 1970s)
Chevreul
Munsell
Itten
Dorr
Caygill
Seasonal skin tone color matching for clothing and cosmetics
Foremost publications on seasonal color analysis
Deborah Chase, The Medically Based No Nonsense Beauty Book (1975)
Bernice Kentner, Color Me a Season (1978)
The Suzanne Caygill Method
https://en.wikipedia.org/wiki/Color_analysis 1/11
Carole Jackson, Color Me Beautiful (1980)

Mary Spillane and Christine Sherlock, Color Me Beautiful's Looking Your Best
Other Color Analysis Systems
Systems of contrast analysis
Donna Cognac, Essential Colors
Joanne Nicholson and Judy Lewis-Crum, Color Wonderful (1986)
Alan Flusser, Dressing the Man (2002)
Color psychology
Color seasons
References
History
Early history (1850s–early 1970s)
Chevreul
Michel Eugène Chevreul (1786–1889) was a French chemist whose career took a new direction in
1824 when he was appointed director of dyeing at the Gobelins Manufactory in Paris, where he
worked for 28 years. After receiving several complaints about the lack of consistency in the dye
colors, Chevreul determined that the issue was not chemical but optical and focused his attention
on exploring optical color mixing. He published his groundbreaking findings in The Laws of
Contrast of Colour (https://archive.org/details/lawscontrastcol00chevgoog) (1839) where he
discussed the concept of simultaneous contrast (the colors of two different objects affect each
other), successive contrast (a negative afterimage effect), and mixed contrast.
Chevreul's studies in color became the most widely used and influential color manual of the 19th
century with a significant and long-lasting impact on the fine and industrial arts. As well as being
the first to create a hemispherical color model displaying 72 normal tone hue scales, his
exploration of color harmonies is an underlying principle in personal color analysis. In the 1850s,
Chevreul's ideas were prescribed for an American audience lacking any education in color
harmony.[3] Godey's Lady's Book (1855 and 1859) introduced "gaudy" American women to
Chevreul's idea of "becoming colors" for brunettes and blondes.[4]
Munsell
Albert Henry Munsell (1858–1918) is famous for inventing the Munsell color system, one of the
first color order systems created. An American painter and art teacher at the Massachusetts
Normal Art School, he had visited the tapestry works of Chevreul and studied color in France.
With the use of his own unique inventions, including the Photometer that measures object
luminance, Munsell started to determine color spaces and standardize the way color was organized
and defined.
In 1905, Munsell published his first of three books on color, A Color Notation (https://archive.or
g/details/acolornotation00munsgoog) where he discussed his color theory referencing three
color dimensions: hue (the discernible shade on the wavelength spectrum), value (lightness to
darkness scale), and chroma (softness through to brightness). Before the Munsell Color Theory,
the intensity of color was defined as 'saturation' in the art and scientific community. Munsell
determined that saturation encompassed two different dimensions, value and chroma, where
chroma defines the difference between a pure hue and a pure grey.
Munsell paid close attention to the human visual system and human response to color, being
sensitive to its inclusion in his mapping of three-dimensional color space. In 1917, Munsell
founded the Munsell Color Company, to improve color communication and education. In the
1930s, the Munsell Color System was adopted by the USDA as the official color system for soil
research and the system. The company is now owned by X-Rite who is known for 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) was a Swiss-born artist and art educator who expounded upon the
principles of simultaneous contrast which Chevreul set forth in his 1839 treatise. He valued
individual artistic expression[5]: 24–32 and in 1928, while teaching a class assignment on color
harmony, he noticed his students were choosing colors, lines and orientation that showed
themselves "as they are", which led him to formulate the concept of "subjective color".
In his 1961 book The Art of Color,[6] Itten examined two different approaches to understanding
the art of color: Subjective feelings and objective color principles. Itten described "subjective color"
as "the aura of the person.[7] and provided examples or how subjective color might be expressed by
an artist: A high contrast brunette will choose dark colors and high contrast, "suggesting a lively
and concentrated personality and intense feeling." On the other hand, for a fair woman of low
contrast the "fundamental contrast is hue".[7] Furthermore, Itten linked these subjective colors to
the four seasons of Spring, Summer, Autumn, and Winter, which became the foundation for
seasonal color analysis. In his book, Itten noted that, "Every woman should know what colors are
becoming to her; they will always be her subjective colors and their complements."[8]
Itten believed that "subjective colors" were of a lower artistic value and significance than what he
deemed "objective colors," which were color harmonies of a higher order. In his final chapter titled
'Composition', Itten spoke of bringing two or more colors together in such a way that they
harmonize to give an expression unambiguous and full of character.[9]
Dorr
Robert C. Dorr (1905–1979) was an American artist who, in 1928, observed the harmonious effects
of paint colors when grouping those of either a blue or yellow undertone. In 1934 Chicago, Dorr
began working on furniture design using his own color theory of undertones and developed his
ideas on color psychology. After working on a textile group for a manufacturer, he became a
professional color consultant for cosmetic companies.[10]
Dorr's Color Key System defined an individual's complexion as being either Key I (cool blue
undertone) or Key II (warm yellow undertone).[11] Each palette in The Color Key Program contain
170 colors per fan. Orange and magenta are the color indicants of yellow and blue undertones
respectively. Dorr's Color Key Program took all races into consideration and no race was limited to
any one Key palette.[12]
After moving to California in the late 1950s, Dorr taught courses and gave lectures on his Color
Key Program until his death in 1979. The color company Devoe Reynolds developed paint chips
using their Key 1 & Key 2 color matching system from Robert Dorr.[13]
Caygill
Suzanne Caygill (1911–1994) was an American fashion designer and color theorist who developed
the Caygill Method of Color Analysis. A milliner, poet, dress designer and night club singer, as a
young adult, Caygill turned her attention to color in 1945 and devoted the rest of her life to
creating individual style guides and color palettes for clients and teaching design seminars. Caygill
may have been influenced by her association with Edith Head, wardrobe designer and consultant
to Hollywood studios and 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 to teach
seminars in which she described her work on style, personality, line, and color.[14] Many devotees
attended her classes, adapted and popularized her theories of personality style and color analysis
in the late 1970s and 80s.
In 1980, she published Color: the Essence of You and established the Academy of Color. In this
book, Caygill identified a wide range of sub-groups within each season, and gave them descriptive
names such as "Early Spring", "Metallic Autumn", or "Dynamic Winter", each with its own set of
special characteristics. Caygill believed in the fundamental link between style, color and a person's
personality. The Suzanne Caygill Papers, circa 1950–1990, are held within the Division of Rare and
Manuscript Collections, Cornell University Library, Cornell University.[15]
Seasonal skin tone color matching for clothing and cosmetics
Starting 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 in which skin tones and clothing
colors could be accurately reproduced. Color reproduction technology was still not perfect, causing
Carole Jackson to warn her readers, "Because it is difficult to print the color swatches 100 percent
accurately, ... verbal descriptions will help you understand the concept of your colors when you
shop for clothes."[16] The result was the near-simultaneous publication by a number of authors of
books proposing systems of color analysis designed to allow the reader to "discover which shades
of color in clothes complement your natural coloring to look healthier, sexier and more
powerful."[17]
The authors of these books all present roughly similar ideas. Most agree, for example, on the
following basic points:
Most rely upon a color system in which the colors are divided into four groups of harmonious
colors which are said to match with the four seasons of the year. The seasons are, to some
degree, arbitrary, and it sometimes happens that someone will be on the cusp of two seasons.
But, as Carole Jackson insists, "with testing, one palette will prove to be better [more
harmonious] than the other."[18] Jackson also acknowledges, however, that the reference to
the four seasons is nothing more than a convenient artifice: "We could call your coloring 'Type
A,', 'Type B,' and so on, but comparison with the seasons provides a more poetic way to
describe your coloring and your best colors."[19]: 25
An individual's basic color category, or season, remains the same over his or her lifetime, and
is not affected by tanning, because "[w]e still have the same color skin, but in a darker hue."[20]
Skin color, rather than hair or eye color, determines a person's season. Bernice Kentner warns,
"Remember, do not rely on hair coloring to find your Season!"[21]
Foremost publications on seasonal color analysis
Deborah Chase, The Medically Based No Nonsense Beauty Book (1975)
Chase explored the impact of skin pigments on coloration. She noted that there are three primary
pigments that give the skin its tone: "Melanin, which gives the skin its brown tones; carotene
imparts the yellow/orange skin tones; and hemoglobin is the red pigment in the blood, which gives
the skin its pink and red hues....The three pigments--melanin, carotene, and hemoglobin join one
another to produce our flesh tones."
Bernice Kentner, Color Me a Season (1978)
Bernice Kentner, who had worked as a licensed cosmetologist since 1950, began holding lectures
on color analysis in the early 1970s,[22] and in 1978 published Color Me a Season, which went
through several printings in the early 1980s.
Like Chevreul and Suzanne Caygill, Kentner drew her ideas from the art of interior decorating. She
wrote, "It is possible to color coordinate your home so it is pleasing to the eye....So it is with the
human body. The body itself is the background for all color that will be placed upon it. It remains
our task then to find what color scheme our bodies fall into. As with the walls of a room we must
determine what color our skin is."[23] Kentner also drew on the ideas of Johannes Itten who linked
the subjective colors of an individual to one of the four seasons.[24]
Kentner emphasizes that it is skin color rather than hair or eye color that serves as the base from
which a color analysis must start. The color of a person's skin determines whether that individual
should be classified as a Summer, a Winter, a Spring, or an Autumn. This can cause confusion,
because the color of the hair may be the first thing that strikes the observer's eye (particularly if
the hair color is dramatic). Thus, "even though [one palette of] colors work best for [a particular
person's] complexion, the individual may look like another Season because of haircoloring....I call
this their secondary Season."[25] The color of the hair and eyes serve to heighten the appeal of
certain color choices for clothing and makeup, and to rule out certain other choices, but all such
choices must be made from within the palette that is compatible with the shade of the skin.
To illustrate this point, Kentner offers the example of a woman whose dramatic hair color
suggested that she ought to be an Autumn, but whose skin color made her a Winter. When the
woman was "color draped" in swatches from the Winter palette, "she came to life", and looked
considerably more attractive than she had been when wearing Autumn colors. However, one of the
colors in the palette was incompatible with her hair, and was determined to be inappropriate for
her wardrobe.[26]
Winter
Dominant skin characteristics (an individual's skin may include more than one): "cool with rose
undertones"; "may appear almost white, yet the skin will be a bit darker than the very pale-skinned
'Summer'"; "not the translucent look that a 'Summer' person has"; "Rosy cheeks will not appear
naturally on a 'Winter' person"; "Dark-skinned 'Winters' are usually olive-skinned with a blue
undertone."[27]
Summer
Dominant skin characteristics (an individual's skin may include more than one): "very pale"; "It is
the Summer person's lot in life to never have a suntan"; "transparent"; "fine-textured"; "light with
a rosy-red or lilac undertone that does not come to the surface"; "not prone to blushing"; "The
overall look of a 'Summer' is colorless".[28]
Spring
Dominant skin characteristics (an individual's skin may include more than one): "Light amber
with gold tones"; "darker suntanned look with a yellow undercast"; "There is a tendency to blush
easily"; "often very rosy"; "there is a lively appearance to skin-tone"; "The overall appearance of
'Spring' is 'Radiance'".[29]
Autumn
Dominant skin characteristics (an individual's skin may include more than one): "gold or yellow
undertone"; "more gold or orange-toned than a 'Spring'"; "Bronze".[30]
The Suzanne Caygill Method
An analyst trained in this system relies on an in-person interview which reveals a range of clues.
The most important indicators are the color, light, texture and pattern found in the skin, hair and
eyes. Texture, color contrast levels, movement patterns, and facial and body characteristics are
secondary indicators that help to determine basic seasonal type and subgroup within the season.
Experienced practitioners also often observe predictable personality types and preferences that
correspond to a person's seasonal group.[31]
Winter
The palette includes colors that are pure pigments, or pigments with added black, or with so much
white added as to create an icy, frosted pastel.
Spring
Palette colors are usually clear washes or tints, pigments that have white or water added.
Summer
These complex palettes may have a blend of black, white, grey or brown added to their pure
pigments, creating a wide range of subtle differences.
Autumn
The palette is dominated by undertones of natural brown pigment, which may range from ochre,
umber, or burnt sienna to browns darkened with black.
With this system, almost any color can be found within each season, and many palettes include a
combination of both warm and cool tones. The result is nuanced, individualized and unique to
each person. The outcome of the analysis is a palette of fabric samples which complement each
other and reflect the client. They can then be used as a guide to simplify selection of clothing and
accessories and may also be used in choosing home and office interior colors, fabrics and
designs.[32]
Carole Jackson, Color Me Beautiful (1980)
The most successful book on seasonal color analysis was Carole Jackson's Color Me Beautiful.[19]
The book was a 1980s pop-culture phenomenon and spawned a number of related sequels,
including Jackson's own Color Me Beautiful Makeup Book,[33] and Color for Men,[34] as well as
titles in the same line by other authors. Jackson utilized a seasonal color system less complicated
than Caygill's, and sought to assist each reader to find her own "thirty special colors."[35]
Carole Jackson was the first of the "color analysis authors" to create a retail success story based on
her highly successful books, selling swatch packets (a wallet designed to house fabric swatches by
season) for use as a shopping companion, a successful line of cosmetics and seasonal color
swatches Color Me Beautiful (http://www.ColorMeBeautiful.com), and a direct selling company
Color Me Direct (http://www.ColorMeDirect.com) featuring Color Analysis as its key home selling
strategy. Most recently Color Me Beautiful has acquired the Color Alliance system which employs
the use of color coordinates, designed to match eye color, skin tone and hair color; and through the
use of computer modeling creates a unique color palette for each user.
Winter
Dominant skin tones (an individual's skin may include more than one): "Very white", "White with
delicate pink tone", "Beige (no cheek color, may be sallow)", "Gray-beige or brown", "Rosy beige",
"Olive", "Black" (blue undertone)", "Black (sallow)".[36]
Summer
Dominant skin tones (an individual's skin may include more than one): "Pale beige with delicate
pink cheeks", "Pale beige with no cheek color (even sallow)", "Rosy beige", "Very pink", "Gray-
brown", "Rosy brown".[37]
Spring
Dominant skin tones (an individual's skin may include more than one): "Creamy ivory", "Ivory
with pale golden freckles", "Peach", "Peach/pink (may have pink/purple knuckles)", "Golden
beige", "Rosy cheeks (may blush easily)", "Golden brown."[38]
Autumn
Dominant skin tones (an individual's skin may include more than one): "Ivory", "Ivory with
freckles (usually redhead)", "Peach", "Peach with freckles (usually golden blonde, brown)",
"Golden beige (no cheek color, needs blush)", "dark beige, coppery", "Golden brown."[39]
Mary Spillane and Christine Sherlock, Color Me Beautiful's Looking Your Best
Spillane and Sherlock introduced an expanded classification system,[40] in which the four
"seasonal" palettes were expanded to twelve.[41]
Veronique Henderson and Pat Henshaw

Henderson and Henshaw combine the seasonal analysis
method with a classification system based on contrasts in an individual's coloring, returning to the
previous color study from Doris Pooser in the early 1990s.
Other Color Analysis Systems

Seasonal color analysis is not the only color analysis system out there. Other color systems base
their methodology on Munsell's color system of chroma, temperature and hue.
Systems of contrast analysis

In an attempt to move away from the complexities involved in seasonal color systems, some
authors have suggested that it is possible to achieve attractive results by focusing instead on the
level of contrast between a person's skin tone and his or her hair and eye colors.
Donna Cognac, Essential Colors
The principles of repeating one's contrast level as well as the color temperatures and intensities
that compliment their personal coloring are combined in a system developed by Donna Cognac. It
relates 16 different color harmonies to the energy of nature's five elements: Water, Wood, Fire,
Earth, and Metal. Palettes are various combinations of these 5 elemental energies. For example,
any palette with a very bright appearance or a very warm overall color temperature is a Fire palette
to one degree or another and is consistent with the essence of the wearer.
Joanne Nicholson and Judy Lewis-Crum, Color Wonderful (1986)
Another method of analysis was developed by color consultants Joanne Nicholson and Judy Lewis-
Crum, whose 1986 book Color Wonderful [42] explains their classification system, which is based
on the amount of contrast in an individual's coloring.
Alan Flusser, Dressing the Man (2002)
Flusser lays out two relatively simple rules:
The degree of contrast between the wearer's skin and his / her hair and eyes should be
reflected in the degree of contrast between the colors in his / her clothes. "[The] great variety
of shadings ... can be scaled down into two basic formats: contrast or muted. If your hair is
dark and your skin light, you have a contrast format. If your hair and skin tone are similar, your
complexion would be considered muted or tonal."[43]: 21 A high-contrast individual should dress
in clothes with highly contrasting colors. The result will be that the "high-contrast format [of the
clothing] actually invites the eye to look at [the wearer's] face because of its compatibility with
his [dark] hair and light skin." By contrast, "Encasing a low-intensity complexion within a
higher-contrast setting dilutes the face's natural pigmentation in addition to distracting the
viewer's eye."[44]
One or more of the tones in the skin and hair should be repeated in an article of clothing near
the face. One option is to repeat the color of the hair in a jacket, tie or scarf, in order to "frame"
the face: "The obvious choice of suit shade would be that which repeated his hair color,
thereby drawing the observer's attention to what was bracketed in between--in other words, his
face."[45] Flusser uses a series of photos of models to demonstrate that it is possible to
achieve attractive results by repeating the eye color or the skin tones in clothing articles that
are close to the face, and that it is even more desirable to use several colors in the clothes to
match some combination of skin / hair / eye colors.[46]
Color psychology
Color psychology, an extension of color analysis, is a valuable tool that is used in conjunction with
the analysis of colors. In reality, the psychological connotation of a color has nothing to do with its
effect upon the color of one's face or the results in the mirror. It is necessary to consider both the
physical impact color has upon your appearance, and the impact a color has upon the unique
persona that one projects to the world.[47]
Color seasons
Spring
Spring colors are clear and bright, just like the colors of a spring day. The sun is low on the
horizon, so everything is imbued with the golden hues of the sun. The trees and grass have
not yet matured, so they

are tinged with yellow
undertones and are a
bright spring green color.
Distinct yellow undertones
impart a vibrant, electric
appearance to everything.
The colors of this season
are truly like a spring
Spring Garden bouquet of flowers
enveloped in bright spring
green leafy foliage: red-
orange and coral tulips,
bright yellow jonquils and
daffodils.
Summer
The colors of this season
are muted with blue
undertones (think of Summer
looking at the scenery
through a dusky summer
haze). Late summer
blossoms, a frothy ocean
and white beaches are
seen everywhere. Baby
blue, slate blue, periwinkle,
powder pink, seafoam
green and slate grey are
typical Summer colors.
Autumn Leaves
Autumn
Autumn colors are virtually Winter
indistinguishable from the rich, earthy colors of the
season for which they were named. They are as golden-
hued as a fall day, and it is impossible to mistake them for any other season. Typical colors
from the palette include pumpkin, mustard yellow, burnt orange, brown, camel, beige,
avocado green, rust and teal. Autumn colors are perennially popular, because they bring a
feeling of warmth and security. The painting by Millais personifies the color of autumn.
Winter
The colors from this season are clear and icy, like a winter's day; always with subtle blue
undertones. To name a few: hollyberry red, emerald and evergreen, royal blue, magenta and
violet. Winter inspires pictures of winter berries, pine green conifers and black and white
huskies racing through snow.
References
1. Blaszczyk, Regina Lee (2012). The Color Revolution. MIT. ISBN 0262017776.
2. Hiliker, Jo Ann; Rogers, Jean. "Color Analysis in the Market Place". Clothing and Textiles
Research Journal. 6 (3): 26–31.
3. " "Who Invented Color Analysis?" " (http://colorhistory.wix.com/blueyellow#!Who-Invented-Colo
r-Analysis/cu6k/55b8ee990cf28e7a8e3beb7d). Blue/Yellow.
4. Blaszcyk, Regina Lee. The Color Revolution. MIT Press. p. 41.
5. Droste, Magdalena (2002). Bauhaus: 1919-1933. Taschen. ISBN 3-8228-2105-5.
6. Itten, Johannes (1961). The Art of Color: The Subjective Experience and Objective Rationale
of Color. New York: Reinhold Publishing.
7. Itten 1961, p. 25.
8. Itten 1961, p. 32.
9. Itten 1961.
10. " "The Beginnings of Customized Palettes" " (http://colorhistory.wix.com/blueyellow#!The-Begin
nings-of-Customized-Palettes/cu6k/55bd07590cf22a872584b8d6). Blue/Yellow.
11. Knapp, Renae; Dorr, Dee (1985). Beyond the Color Explosion: The Color Key Program. Rainy
Day. ISBN 978-0961534608.
12. Kefgen, Mary; Touchie-Specht, Phyllis (1986). Individuality in Clothing Selection and Personal
Appearance (https://archive.org/details/individualityinc0000kefg). Macmillan. p. 359 (https://arc
hive.org/details/individualityinc0000kefg/page/359).
13. Colby, Barbara. "A Fail-Safe Color Selection" (https://view.officeapps.live.com/op/view.aspx?sr
c=http%3A%2F%2Fmobile.presskit247.com%2FEDocs%2FSite696%2FFail-Safe%2520Colo
r%2520Selection_Barbara%2520Colby.doc).
14. " "Was Suzanne Caygill the Originator?" " (http://colorhistory.wix.com/blueyellow#!Was-Suzann
e-Caygill-the-Originator/cu6k/55b8ee520cf267673a7d929b). Blue/Yellow. Retrieved 17 April
2016.
15. The Suzanne Caygill Papers, Circa 1950-1990, Division of Rare and Manuscript Collections,
Cornell University Library, Cornell University, Ithaca, New York
16. Jackson 1984, p. 61.
17. Jackson 1984, From the front cover..
18. Jackson 1984, p. 57.
19. Jackson, Carole (1980). Color Me Beautiful. New York: Ballantine. ISBN 0-345-34588-6.
20. Kentner 1978, p. 26.
21. Kentner 1978.
22. On p. viii of the Preface to the 1983 fifth printing of Color Me a Season, Kentner notes that she
has "been involved with Color Analysis for a decade or more and 33 years as a licensed
Cosmetologist".
23. Kentner 1978, p. 24.
24. Kentner, Bernice (1978). Color Me a Season (https://archive.org/details/colormeseasoncom00
kent).
25. Kentner 1978, p. 31.
26. Kentner 1978, p. 25.
27. Kentner 1978, p. 30.
28. Kentner 1978, pp. 26–28.
29. Kentner 1978, pp. 28–29.
30. Kentner 1978, p. 29.
31. Chrisman, Sharon; Lundell, Coralyn (2003). Color Basics/Color Principles. Colour Designers
International.
32. Caygill, Suzanne (1980). Color: The Essence of You. Celestial Arts. ISBN 0-89087-195-7.
33. Jackson, Carole (1987). Color Me Beautiful Makeup Book. ISBN 0345348427.
34. Jackson, Carole (1984). Color for Men. ISBN 0345345460.
35. Jackson 1980:The front cover of Color Me Beautiful contains the promise, "Whatever your
style or mood, you'll glow in your thirty special colors!"
36. Jackson 1980, p. 47.
37. Jackson 1980, p. 49.
38. Jackson 1980, p. 53.
39. Jackson 1980, p. 51.

40. Spillane, Mary; Sherlock, Christine. "Color Me Beautiful" (http://www.colormebeautiful.com/sea
sons/index.html).
41. Spillane, Mary; Sherlock, Christine. Color Me Beautiful's Looking Your Best. ISBN 1-56833-
037-5.
42. Nicholson, Joanne; Lewis-Crum, Judy (1986). Color Wonderful. ISBN 0-553-34238-X.)
43. Flusser, Alan (2002). Dressing the Man: Mastering the Art of Permanent Fashion. New York:
Harper Collins.
44. Flusser 2002, pp. 21–22.
45. Flusser 2002, p. 21.
46. Flusser 2002, pp. 24–33.
47. Dumont, Sandy. Tattle Tale Looks. ISBN 978-0-9801071-4-2.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Color_analysis&oldid=1092725316"
This page was last edited on 12 June 2022, at 04:51 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License 3.0;

additional terms may apply. By
using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the
Wikimedia Foundation, Inc., a non-profit organization.

Color Analysis

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Color Analysis

Uploaded by

Copyright:

Available Formats

7/27/22, 5:13 PM Color analysis - Wikipedia

Carole Jackson, Color Me Beautiful (1980)

Early history (1850s–early 1970s)

In the 1950s, Caygill starred in a self-improvement television program on fashion and

Seasonal skin tone color matching for clothing and cosmetics

Foremost publications on seasonal color analysis

Deborah Chase, The Medically Based No Nonsense Beauty Book (1975)

Bernice Kentner, Color Me a Season (1978)

The Suzanne Caygill Method

Carole Jackson, Color Me Beautiful (1980)

Veronique Henderson and Pat Henshaw

Other Color Analysis Systems

Systems of contrast analysis

Donna Cognac, Essential Colors

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

Alan Flusser, Dressing the Man (2002)

Flusser lays out two relatively simple rules:

not yet matured, so they

39. Jackson 1980, p. 51.

Retrieved from "https://en.wikipedia.org/w/index.php?title=Color_analysis&oldid=1092725316"

This page was last edited on 12 June 2022, at 04:51 (UTC).

Text is available under the Creative Commons Attribution-ShareAlike License 3.0;

You might also like