Draft:Personal color analysis

Sci/ART Personal Color Analysis

A Rich Legacy of Color Harmony

The idea of "having your colors done" became popular in the 1980s. However, the concept of relating colors to people has deep historical roots.

Like every successful industry, the Personal Color Analysis (PCA) industry has a history and is still evolving. Because there are no recognized industry standards, regulation or quality oversight, there is no way of ranking or selecting the best PCA system or company from those that make up the contemporary PCA market.

The most popular approach is Seasonal Color Analysis, which classifies your palette into one of the four seasons (Winter, Spring, Summer, Autumn) and can be refined into additional palettes for greater nuance. Among these runs a common thread, the modern origin of which is the "Sci/ART" system. This study recounts that thread for the benefit of those seeking to learn about their best colors.

Ancient Foundations

The history of matching colors to people stretches back in time.

Ancient Egypt: While no direct evidence suggests that Egyptians practiced PCA in the modern sense, they chose clothing and cosmetics based on status, ritual, and spiritual meaning. Queen Hatshepsut adopted darker skin tones in her portraits to assert her legitimacy, showing that color was used strategically to convey identity.[1]

Ancient China: The ancients perceived everything in the world covered with harmonious colors. They followed that impression by collecting colorful objects for their own decoration. They found that colors could be printed and dyed on clothing somehow, and the history of clothing color began. Natural color patterns were applied, perhaps unconsciously, before their color theory was created.

Beginning with the Zhou Dynasty, they incorporated the theory of "five colors" into the "five phases" system, considering them to be the original colors of the "five phases" matched with five directions: wood and green in the east, fire and red in the south, earth and yellow in the center, metal and white in the west, and water and black in the north. Symbolism was highly codified. Imperial yellow was reserved for the emperor, red symbolized joy and prosperity, and seasonal color schemes were observed in fashion—lighter colors in summer, darker in winter. While this was not about skin tone per se, it shows a sophisticated awareness of how color interacts with context, status, and even climate.[2]

Ancient Greece and Rome: Clothing color often reflected wealth and status. In Greece, pale skin was idealized for women, and darker tones for men were seen as masculine. Romans used color to denote rank—purple for emperors—but again, not necessarily in relation to personal coloring.[3]

The Renaissance Masters

Renaissance artists perfected techniques for the use of color to create masterful images, each using fundamentally different approaches to matching skin tones.

Rembrandt built skin tones through layers and dramatic light, emphasizing the contrast between light and shadow (chiaroscuro) to create volume and mood. His palette was mostly limited but warm, using earth tones, vermilion, lead white, and hints of black or blue.[4]

Monet worked with a bright, high-key palette, largely abandoning dark earth tones and blacks. He rendered shadows with colorful mixtures of blues, greens, and purples, which reflected ambient light rather than merely showing a lack of it.

Leonardo da Vinci was ahead of his time in understanding how color interacts with human appearance. He developed a six-color theory from which all others could be derived. He pioneered chiaroscuro and sfumato, allowing him to emphasize how light and shadow affect perceived color on skin and fabric.

He advised painters to dress subjects in light colors to enhance visibility and contrast, noting that dark clothing could flatten a figure's appearance, while lighter tones created more visual variety and dimensionality—a concept not far from the emphasis on color harmony with skin tone in modern PCA. He observed how the colors affect the appearance of objects and people, writing that the hue of an illuminated object is influenced by the color of the light source and nearby surfaces—a principle important to today's PCA practice of analyzing color under controlled lighting. While he was not a personal color analyst, he was arguably one of the earliest artists to explore how color could reflect and elevate the human essence.[5]

Theoretical Building Blocks

Older cultures understood the power of color, but a modern system required the fusion of art theory with scientific definition and treatment of color. It took decades for theory to meet science to create today's PCA systems.

Michel-Eugène Chevreul (1786–1889)

A chemist and director of dyes at the national Gobelins textile factory in Paris, Chevreul had a major influence on those who later developed repeatable personal color analysis technique. His book, The Principles of Harmony and Contrast of Colours, and Their Applications to the Arts, laid foundational work in color theory. Three of his concepts are referenced by later initiatives that influenced todays PCA methods:

• Simultaneous Contrast: When two colors are placed side by side, each influences how the other is perceived.
• Color Harmony and Contrast: Chevreul emphasized how colors interact to create pleasing or jarring effects.
• Chromatic Circles: He developed color wheels and models that mapped relationships between hues, tones, and saturation.

Notably, his book devotes several pages to the impression left by various colors when held next to women with different skin tones – a practice central to modern PCA techniques.

Modern personal color analysis relies on understanding how colors complement an individual's skin tone, hair, and eye color. Chevreul's theories provided an early scientific foundation for what had been largely aesthetic and subjective practices. Michel Eugène Chevreul

Johannes Itten (1888–1967)

A Swiss painter, theorist, and influential instructor at the Bauhaus school, wrote "The Art of Colour." He proposed the foundations for seasonal color analysis by observing his students' natural coloring and color preferences aligned with seasonal colors. His explored the temperature (warm/cool) and value (light/dark) of colors, building on the groundwork for the modern four-season system later popularized by in the 1980s.

In his book (Pages 23-26) Itten introduced the term "subjective timbre" as he describes subjective colors as crucial to recognizing an individual’s emotional sense of color. They are unique to each person and can’t be imposed externally. Unlike a palette that captures colors, timbre is how colors "sound" together and the color choices people see as harmonious reflect a distinct, subjective judgement. Itten asserted that if subjective timbre is part of a person’s nature, then color selections reveal a great deal about their thoughts, feelings, and actions. Our colours aren’t just aesthetic choices. They are reflections of who we are. Itten believed the "hues we’re drawn to come from deep within, shaped by our physical make-up, our emotions, and our lived experience. He describes them as fragments of the white light of life, filtered through the unique lens of our psyche and body, like a prism turning light into personal vibration."

One of Itten's inventions is most likely familiar to anyone. Itten's color star (and his later color wheel), is a diagram of opposing colors based on parallels between contrast and harmony in music and visual art. According to Itten, there are four visual types of people, each corresponding to a particular season with their appearance and aesthetic preferences. While the artist used this theory to develop his students' individual artistic styles, companies applied it to sell makeup and accessories.

He believed that people are naturally attracted to colors that harmonize with their complexion. Itten categorized his students into seasonal types based on their coloring and preferences—Spring, Summer, Autumn, Winter—which directly inspired the development of the Sci/ART system (see Kalisz below) and is the seasonal framework used by most offerings today.

Belle Northrup (Early 20th Century)

Northrup, a professor at Columbia Teachers College, introduced style based on Taoist principles of yin and yang—soft versus strong, delicate versus bold. She used metaphors like animals and natural elements to describe personality traits and how they influence clothing choices.[6]

Harriet Tilden McJimsey (Mid-20th Century)

Building on Northrup's work, McJimsey developed a more structured system of "style essences" in her book, Art and Fashion in Clothing Selection (1956). She categorized people into types like Dramatic, Natural, Classic, Romantic, Gamine, and Ingenue, each with specific clothing silhouettes, textures, and color strategies.[7]

Albert Munsell (1858–1918)

Munsell created an accurate system for numerically describing colors based on human perception. The Munsell Color System built upon Chevreul's foundation and focused on describing color through three dimensions:

• Hue (type of color)
• Value (lightness/darkness)
• Chroma (intensity/saturation)

According to X-Rite's company history, Munsell was frustrated as an art teacher in Boston when he realized that colors he painted in the evening under lamplight didn't match those painted during the day in natural light. He was determined to create a system that could describe colors numerically, inspired by how music could be precisely notated.

His system was based on how humans actually perceive color rather than theoretical models. He hand-painted color chips and arranged them in a 3D model to visualize relationships. Many of today's PCA analysts employ a technique and materials based heavily on Munsell's model; some use his color model to explain the their color tones to clients.

Modern Color Systems

Pantone

Founded in the 1960s, Pantone took a different approach by creating a proprietary color matching system for printing and graphic arts industries. Akin to Munsell's perceptual model, Pantone's system is catalog-based. It assigns unique codes to thousands of colors to ensure consistency across media, packaging, textiles, and branding.

The Pantone Color Matching System is largely a standardized color reproduction system. By standardizing the colors, different manufacturers in different locations can refer to the Pantone system to ensure that the colors match. One such use is to standardize colors in printing processes. The CMYK process is a method of printing color using four inks—cyan, magenta, yellow, and black. Most of the world's printed material is produced using the CMYK process, and there is a special subset of Pantone colors that can be reproduced using CMYK.

X-RITE

Originally founded by seven engineers specializing in X-ray marking tape, X-Rite shifted its focus to color measurement. Through acquisitions, including Gretag Macbeth (which had merged with Munsell) in 2006 and Pantone in 2007, X-Rite became a global leader in color science and technology. Today, X-Rite provides advanced hardware, such as photo spectrometers, which are critical for critical the color accuracy of PCA products like color match palettes, and drapes/.

CIELAB System

Developed by the International Commission on Illumination (CIE), CIELAB is a device-independent color space model based squarely on Munsell's work. The model uses three coordinates: L* (lightness), A* (red-green axis), and B* (yellow-blue axis) to numerically quantify and compare human-perceived colors, allowing for precise measurement of color differences known as "Delta E."

The CIELAB system defines a device-independent and uniform color space, indicating that numerical differences in color values correlate with how the human eye perceives those differences. This is critical for any professional practice that requires accurate measurement and colors reproduction, particularly where human vision is involved.

This system is critical to the design and production of drapes, "swatch" books and other items used by color analysts.

(Note: the production of PCA tools like palettes, drapes, and color catalogues is not addressed by this study. It deserves attention because these items are used almost universally in the PCA industry. Demanding standards of design and quality are the hallmark of leading PCA practices. The knowledgeable use of CIELAP specifications, graphics software, and spectrometers would be significant part of a discussion regarding color measurement, calibration, and quality control.

Relating Color and People

Early Publications

Before the modern era of PCA took shape, the notion of matching colors and people was in play and enjoyed widespread public exposure.

Godey's Lady's Book (1830–1896), influenced by Chevreul's work on color contrast and harmony, was perhaps the first reference relating color theory to personal appearance. A fascinating if comedic  example article, "Choice of Colors in Dress: Or, How a Lady May Become Good Looking," appeared when color theory was very new and beauty standards were aggressively Eurocentric. It offers specific guidance on how different complexions should approach color choices, using principles of complementary colors and contrast, foretelling of much more to come.

• Yellow makes skin appear violet and should be avoided
• Green will result in a brick-red hue in the face
• Violet should only be worn to whiten complexion
• Blue enriches very fair complexions, improves the yellow of blonde hair, is a great color for blondes.
• Brunettes should avoid blue because she already has too much orange in her complexion
• Orange suits nobody; it whitens a brunette - and it is ugly
• Red is unattractive near any woman's skin unless dark so as to create a whitening effect
• Rose red, wine red, and crimson make the complexion look green

Singer Sewing Book. Looking through the "Singer Sewing Book" (1949) you will encounter a surprising and instructive section on the need to coordinate colors with a person's tones. This is an early explanation of the need for aesthetic color matching. The book even includes six color "fans," each including 20-22 colors so one can study shades suited to natural hair and complexion coloring, explaining:

"Complexion, hair and eye color are so interrelated in making up the individual you that all must be taken into account in your choice of clothing color. You want to pick those tints and shades that accentuate your own coloring rather than outshine it or diminish it."

Birth of Modern PCA

If there is a starting point for today's growing PCA industry it would by 1980 when two women assembled early building blocks and theory to lay the foundation.

Suzanne Caygill (1911–1994)

Caygill was widely recognized as the founder of color analysis in the United States. She had profound knowledge of color theory. Her system laid the groundwork for modern PCA. Her book Color: The Essence of You, published in 1980, is full of pictures of nature and women and men, listings of color groups related to the seasons, and even some references to racially differing tones.

Her book is a foundational text, where she pioneered the idea that each person has a unique color harmony based on their natural coloring and personality traits. It includes the following major topics:

• Explores the psychological and aesthetic dimensions of color
• Introduces her system of seasonal color analysis, which goes beyond the typical four seasons
• Includes visual examples and illustrations to help readers understand how color relates to personality and style

Caygill pioneered linking personality and physical traits to color palettes in the 1940s and 50s. She believed in the correspondence between a person's personal coloring and the of the four seasons. As her student and business partner, Rochele H.C. Hirsch noted:

"Suzanne did not create a 'spring-palette' for a person, but rather, she created a palette for a spring-person."

Caygill's categorized individuals into four primary seasonal types with distinct color qualities and identified 64 subtypes within the four seasons, each with its own emotional energy, style, and aesthetic expression.

Carole Jackson (1942)

In the 1970s, Jackson developed her system after studying with Gerry Pinkney, who taught the Suzanne Caygill Method. Her book Color Me Beautiful (1980) became a bestseller and remained in print today. Jackson's system expanded on Caygill's work while crediting Johannes Itten, Belle Northrup, and Harriet Tilden McJimsey.

She created a consulting business and licensed the system to other consultants. The concept became so popular that GQ likened knowing "your color" in the 1980s to knowing your astrological sign.

The core of her approach was a four-season structure that was later expanded by her company to address twelve seasons, likely in response to Kathryn Kalisz's development of the Sci/ART Global 12-tone system.

Color Me Beautiful, Inc. is a major force in the PCA industry. The franchisees continues offering seasonal color analysis and have made the sale of cosmetics, skin care, and clothing sales a major part of the business.

Decline and Revival

Personal color analysis faded in popularity in the 1980s and 1990s due to the limitations of its rigid, four-season system and changing fashion aesthetics. This was too restrictive and limiting for contemporary personal self-expression.

Caygill's and Jackson's systems lost momentum as the systems felt inaccurate and exclusionary because many people's complexions did not fit neatly into one of the palettes. The concept was developed mainly for white skin tones. Critics noted that it failed to accurately categorize "people of color" (such a shallow, meaningless, and clearly dismissive phrase given the profusion of skin tones around the planet). For example, early Color Me Beautiful guides often classified people of color as "winters," which the company later acknowledged was inaccurate.

In the 1990s, restrictive style rules were being rejected in favor of more individual expression and trends like grunge. This created a demand for advancements in the approach and techniques for more responsive PCA.

Advance to Maturity

Personal color analysis benefited from significant advancements and maturity between 1990 and 2020. Image and color consultants promoted more developed and nuanced versions of the original four "seasonal" palettes. By the 2020s, the trend was turbo-charged by social media, particularly on TikTok, where a new generation of users discovered and shared their experiences with the service. Influencers and content creators posted videos of their analyses, often attracting millions of views. The revival of color analysis was also significantly boosted by its popularity in South Korea, where it became a major part of the beauty and fashion culture.

The theatrical and visual nature of color analysis consultation—with fabric drapes held against a barefaced client to show how different colors affect their appearance—is perfect for viral content on TikTok. PCA was receiving attention from major publications like The New York Times, GQ, and The Guardian.

Kathryn Lee Kalisz and Sci/ART

The contemporary twelve-tone personal color analysis industry owes its development to the work of Kathryn Kalisz. Her development of the Sci\ART™ system marked a pivotal evolution in color theory application and color communication.

The following from an article, "Colorful Shoes to Fill," in the Tampa Bay Times recounting the events surrounding Kathryn's tragic death, provides unique insight into the origins of todays' ubiquitous Sci/ART-based programs.

• In the 1980's she was selling Jackson's original four-tone Color Me Beautiful system. She couldn't keep up with the demand for the color palettes given to clients, so Kathryn began making her own by mixing the colors and painting them onto canvas swatches.
• She joined the Munsell Color Co. in 1985 where she studied the scientific principles of color and light. "I left Munsell Color in 1991 with the knowledge ... to teach," (she) wrote in her professional statement. She realized four seasons were too confining and developed her landmark 12-Tone System by adding eight neutral categories.
• In 1996, with the help of her oldest daughters, Louanna, and Suzanna, she wrote and published "Understanding Your Color: A Guide to Personal Color Analysis." (ISBN 0977633411 and 9780977633418 – self-published, unlisted in public databases).

An unmistakably strong influence on Sci/ART is seen in Kalisz's book (page xiv) where she includes a passage on "Subjective Timbre" (see Itten above) and she highlights Itten's discovery that, "... a students chosen colors and tones, the ones to which he is naturally drawn, were the very same ones that looked best on him -- consistently those in harmony with his skin tone, hair, and eyes ... ."

Drawing on her expertise as a Master Munsell Colorist and professional artist, and the strong influence if Itten, Kalisz combined scientific rigor and aesthetic insight to resolve the limitations of earlier four-season models. Her Twelve-Tone Color System™ enabled more precise and inclusive analysis across diverse populations. It differs from earlier seasonal methods due to its scientific precision based squarely on Munsell color theory, reliance on in-person testing echoing Itten's work, and elimination of stereotypical assumptions.

In 2000, Kalisz founded Sci\ART Global LLC to formalize her methodology. She standardized analyst training, introduced calibrated draping tools, created color match palettes for her clients printed on high quality archival canvas, and disseminated a codified approach to color harmony analysis grounded in Munsell theory.

She advanced PCA from largely subjective "season guessing" approach to a rigorous and testable process. Her system is widely recognized and emulated as a high-fidelity method for conducting an analysis of someone's natural tones, and her us of the term "Sci/ART" has become an industry slogan for accuracy and quality. It is important to examine the term and its use. Kathryn did not create the term; she used it to represent her blend of scientific principles of color (color theory, Munsell system, neutral gray testing environments) with artistic senses (how color harmonizes with human features to enhance beauty). The term's origin is not clear:

• The American physicist, artist and poet, Bern Porter employed it in his poems in the first half of the 20th century
• Earlier, it was showcased at the Festival of Britain Science and Art Exhibition in 1951, and by 1996 the term was in use by the Wellcome Trust, a government-funded initiative dedicated to promoting public engagement with science and research through the arts

The original Sci/ART analysis method specifies several demanding features:

• The client and the analyst work in a room with neutral gray walls and lighting to avoid color reflection that can distort the analysis.
• An in-person environment and controlled full spectrum lamps are necessary to account for subtle variations in natural coloring
• She curated large, precision-dyed fabric drapes used to observe how different colors physically and optically interact with a person's skin, which is not possible with photographs.
• Her structured draping process leverages the principle of simultaneous contrast, where colors placed next to each other influence how they appear. Correctly chosen colors will enhance and balance the skin's undertones, while clashing colors will create an unflattering contrast.

While the original Sci/ART LLC website is no longer accessible, the legacy is preserved through numerous analyst testimonials, product documentation, and firsthand accounts from those closest to its development. Her work is chronicled by analysts such as Amelia Butler and Terry Wildfong who describe her scientific rigor and artistic vision in developing the system. Nikki Bogardus, trained by Kalisz in 2009, recounts efforts to preserve original materials and uphold analytical standards. Darin Wright worked closely with and fondly recalls Kathryn's genius as the driving force behind her successful image consultant and cosmetics company.

While the Sci/ART concept is not universally employed, it remains highly respected within the color analysis community.

Sadly, Kathryn tragically passed away in 2010, and with her the Sci/ART Global entity ceased to exist. Following her death, the influence of her work, reflected in successor organizations, training programs, and analyst communities, underscores her role as a major figure in the industry's expansion.

"As human beings, we have a strong, natural and unconscious love of color. It is my hope that the knowledge acquired herein will bring new joy to your life as this unconscious love evolves into a more conscious one." (Kathryn Kalisz, 1996)

Legitimacy and Legacy

The absence of formal succession documentation for Sci/ART Global has created challenges in today's PCA marketplace. Although there is no publicly available documented "chain of custody" (e.g. a will, licensing, or sale) of Sci/ART LLC intellectual property going forward, and Sci/ART LLC has not been reconstituted by the heirs to Kathryn's estate, Kathryn's daughter, Suzanna, offers the book Understanding Your Color: A Guide to Personal Color Analysis for sale.

Kalisz's son-in-law, Chris Wilson, worked with her on her book, her company's website, advertising materials, and on the original designs for her very high-quality personal swatch books (palettes). He reports having refused all requests for and sale of the text files or illustrations for her book.

An internet search will return a dozen companies offering training, franchises, or color match tools under the Sci/ART moniker. Literally hundreds of individual analysts, some associated with a larger enterprise and many one-offs, attach the term to their program as a decree of authenticity.

Personal color analysis is at a crossroads. One path forward for PCA in tech focused world leads to quick fixes and digital shortcuts. The other leads to trained analysts using calibrated tools and time-tested methods.

Today's consumers face the challenge of distinguishing between the authentic, science-based analysis offered by well training and prepared analysts, and superficial imitations. The most successful practitioners will endure by combining rigorous scientific methodology with artistic sensitivity to ensure the ancient art of color harmony continues to help people express their authentic selves.

To the good fortune of the industry, according to their websites, several analysts were trained or certified by Kathryn. Mr. Wilson's caution aside, it would stand to reason that "certification" would have included access to or copies of her book and study guide files as critical references and tool for carrying forward her groundbreaking Sci/ART system.

Legacy Programs:

The PCA industry does not enjoy a "PCA Association" to advocate for standards or offer evaluation of programs or companies. An attempt to identify, much less review or evaluate, every PCA practitioner and training program exceeds the scope of this study. Yet, it is appropriate to offer an overview of how the analysts reported to have worked directly with Kathryn have carried her work forward.

Kalisz trained dozens of analysts, but only a handful are thought to have been fully certified as instructors. After her passing in 2010, each of her "apostles" faced a choice to either preserve, reinterpret, or refine what Kathryn Kalisz created. There is no definitive record of those Kathryn certified or trained. At the risk of not including every one Kathryn prepared to teach her methods, the following showcases the reach of her influence. (Note: extensive searches did not reveal any Sci/ART trainer roster, list of certificate holders, or other documentation that shows Kathryn's signature next to any of the following. The following is based on the statements made by each on their internet pages and interviews with several individuals who were close to Kathryn (to remain unnamed). Nothing included below is intended as an endorsement or to endorse or recommendation.)

Amelia Butler attended the Sydney Collage of The Arts and earned a degree in Communication. After working in the art, design, fashion, and communication fields, she founded True Colour International (TCI) as a color consultancy in Sydney in 2007. She quickly started a search for the most advanced concepts, tools, and training in the field of "personal colour communication." This led her to the United States where she trained at Sci/ARTT Global with Kathryn Kalisz from 2007-2010.

Butler was the first to commit to what Kathryn had created and began immediately building a true Sci/ART legacy program.

• Developed the "TCI Method" as an enhanced implementation of the Sci/ART analysis protocol
• Created a set of precision drapes
• Designed and developed a production capability for beautiful high-quality personal color match palettes for her clients based directly on Kathryn's original color match palettes.
• Designed a training program certified an instructor to train her TCI Method in he US.

An internet search will report TCI as recognized for analytical integrity, staying closest to Kalisz's original vision with exceptional consistency by not expanding her system by "crossover tones", personal styling, cosmetics, fashion, or aesthetic reinterpretation that others have adopted.

While TCI has not joined the scramble to move on-line, Butler has continued to expand and innovate. While TCI bypassed the idea of virtual analysis, and she remains an ardent champion of the "ART" of Sci/ART, she has advanced the "Sci" component by developing True Colour Match.  Available as a Chrome extension or mobile app, the app helps TCI clients match online clothing colors to the TCI 12 Tone System. The tool uses advanced machine learning to analyze images of clothing and compare them to TCI color palettes to help match items to a person's skin tones.

Nikki Bogardus founded PrismXII.  She reports having a set of Kathryn's original drapes. In 2014 she developed her own color palettes based on an arrangement of Munsell colors rather than align with the Sci/ART seasonal breakdown. Her approach explores new applications, sometimes blending analysis with cosmetic and fashion contexts.

Terry Wildfong founded Your Natural Designs. Her web page states she was the first analyst certified by Kathryn in 2006 (Brenda Cooper, below, reports having been certified in 2005). She later became involved with 12 Blueprints (formed by Christine Scaman after being trained by Wildfong) to form Chrysalis Colour offering a reinterpreted, hybrid aversion of the Sci/ART method.

Until recently, Terry relied on Amelia Butler's True Colour International enterprise to supply high-quality, high-fidelity color palettes based directly on Kathryn Kalisz's original Sci/ART palettes. Chrysalis now procures palettes from yet another company (NDU Colors) which are remarkably similar to the TCI produc. In addition to PCA, the Chrysalis Colour, 12 Blueprints, NDU consortium has expanded into lifestyle guidance, personal styling, a line of cosmetics.

Kerry Jones founded Indigo Tones and developed her own unique line of color match palettes based largely on a breakout of the Munsell color system rather than approximating the palettes Kathryn Kalisz developed. Her work leans toward visual harmony and consumer appeal, subtly shifting from analytical rigor. Indigo Tones also sells her line of natural fiber, colorful clothing, and accessories in her boutique.

Brenda Cooper created Bernda Cooper Style in Hollywood and is an Emmy award winning costume designer. Her LinkedIn page indicates she became Sci/ART certified in 2005. Her relationship with Kalisz is based on in-person interview with an unnamed source. Her web page does not mention Kathryn and says very little about personal color analysis or her methods.

Maytee Garza established Color Me Light after being Sci/ART certified. Her relationship with Kalisz is based on in-person interview with an unnamed source. The site does not mention Kathryn. She reportedly dropped out of the business due to an illness and the program is now operated by Jordan Morchat.

Darin Wright worked particularly closely with Kathryn as a trained analyst. Her web site does not mention Sci/ART. In an interview, she spoke fondly of Kathryn as she explained the power of the Sci/ART initiative and how, out her respect for Kathryn, she chose to adopt and build on the system as the foundation for her successful image consulting and cosmetics company rather riding on Kathryn's legacy as a dedicated color analyst.

Dr. Desmond Chan of Chine should be included according to an undisclosed source.

Other Systems

It is also appropriate to mention these other notable systems that employ similar concepts like 12-tones, color theory, drapes, and controlled lighting.

Color Me Beautiful has used various versions of color analysis over the years. While its original system remains the basic 4-season model, modern iterations and independent analysts (franchisees) often incorporate a more detailed 12-season (Sci/ART) approach in a hybrid presentation.

House of Color uses a seasonal analysis approach but with its own proprietary draping process. Consultants identify the client's season and then depart from the structured system to suggest crossover colors (blurring the lines between palettes) and WOW" colors to make the individual shine – as suggested by the company's name.

The Tonal System: developed in the 1990s by British color consultant David Zyla, it categorizes individuals based on their dominant color characteristic (light, deep, warm, cool, clear, or soft) and adds a secondary characteristic.

The Sterling Color Analysis Method: a system of photographs to measure a person's tones.

The Association of Image Consultants International (AICI) offers training in the 18 palette Absolute Colour System, created by image consultants Imogen Lamport and Clare Maxfield to address what she considered the limitations of traditional four-season systems as being too broad for many skin tones and complexions. While the system is based on the Munsell Color System and employs draping as the principal mechanism of analysis, it is focused heavily on fashion and styling. Note, Kathryn was a member of the AICI and the International Association of Colour which promotes research in all fields of color, including art, design, and industry.

Another company (intentionally unnamed) not associated with Kathryn offers a mix of style and color consulting courses, services and product and goes so far as to offer CPD (Continuing Professional Development) certification for their training program. CPD may provide a useful service for evaluating training methods, and they may be able and permitted to accredit that a course material for a given profession's "is factually correct, up-to-date, and relevant to the professional field." But since there are no standards, and the Sci/ART intellectual property remains privately held, there is no basis for a meaningful certification agency – especially as regards the Sci/ART system.

Independent Color Analysts

While many independent color consultants have developed their own variations of the 4 or 12 season model or a completely new approach, there is growing community of analysts trained by one of the analysts Kathryn Kalisz trained to carry her work forward.

Do It Right – Once

What remains for this study is to conjure up some encouragement and guidance. Done right, it's a once in a lifetime investment that should yield meaningful long-term benefits:

There are many choices with social media flooding the internet. Trusting an internet search or social media platform has become a serious challenge. It will serve a potential customer well to fall back on the time-tested form of inquiry: contact the provider and try to understand what is really being offered and look for red flags. A prominent analyst with strong Sci/ART ties offered the following tips for selecting a PCA provider:

• Ask about the analyst's training and experience, look at their client results, understand their process and philosophy, and ask about the post-session support. Choose a company that offers a transparent, educational, and personalized experience rather than a one-size-fits-all approach.
• Look for a background in color theory and specific training in a reputable methodology or system. Look for an affiliation with  a known company or program; a self-taught analyst is unlikely to be qualified. Ask about years of experience. Ask them to describe their method and what the session includes.
• Evaluate their portfolio and client base. "Before and after" examples can be fake or misleading but do offer some level of validity. Check if they have analyzed clients with similar complexions to yours. A versatile analyst will have experience with a diverse range of skin tones and types.
• Consider the consultation format. In-person sessions allow for controlled lighting and legitimate tonal comparisons; a virtual session has little or no chance of being accurate, even if done by a trained professional. Compare your picture on different phones, cameras, or PC monitors to understand the problem.
• Ask about their system. There are several "seasonal" system variations (e.g., 4, 12, or even 16 seasons). What matters most is that the analyst can explain their system and provide a personalized analysis, not just an automated result.
• Determine if it's educational or prescriptive. Some analysts focus on empowering you to understand your own coloring, while others provide a more direct, prescriptive list of colors. An analyst who teaches you why certain colors work best will provide more long-term value.
• What is included? What is the focus? Ask about the session's length, and if you receive a high-quality physical color palette or some sort of digital color swatch afterwards. Does the analyst concentrate on finding your best colors, or do they promote a line of cosmetics or fashion accessories?
• What if I don't agree with the results? Look for a consultant who is willing to discuss your opinion and feelings. You should be listened to and not feel pressured or talked down to.
• Is there a guarantee? An analyst should respect your natural attraction to certain colors. If a new palette feels wrong and clashes with your long-held preferences the analyst may be incorrect and should happily work to satisfy you with the outcome.
• Beware of AI and apps. While AI can be fun to experiment with, and might stumble onto the correct result, they are typically highly unreliable.
• Inaccurate lighting. the analyst should use natural or specialized artificial light. Poor lighting, especially in online photos, will always skew results.
• Lack of visible expertise. Be wary if an analyst lacks a public-facing portfolio, and client reviews.
• Consider value over price. While price is a factor, focus on what you gain from the session. A good analysis should be a long-term educational experience that empowers you to navigate your color choices.
• Check for post-analysis support.  An exceptionally good analyst may also offer follow-up support to answer any questions that come up later.
• Get previous client feedback. If you can't contact someone as a reference, look for reviews to gain a more objective view. Seek feedback that reflects on the experience weeks or months later, rather than just immediately after the session.

Avoid Red Flags

Look out for these signs that a company may be unreliable or provide a superficial analysis:

• Steer clear of DIY or virtual analysis if you expect legitimate, repeatable results that will benefit you for life.
• Beware of consultants who rely solely on shortcuts, like eye and hair color, without observing how drapes affect your skin. Good analysis considers overall color harmony.
• A correct analysis might include colors you are not used to wearing. If a new palette feels completely wrong and people stop complimenting you, it could be a sign the analysis was incorrect. Let your natural harmony be your guide – not the latest trend.
• An analyst should empower you with knowledge, not force or restrict your choices. Pressure to throw out your cosmetics or wardrobe is a major red flag.
• A very low-cost analysis is likely not legitimate. A higher price can indicate more in-depth, educational experience and a higher level of expertise.