The Gray Blending Mistake That Happens Before You Even Tone

This Gray Blending Method Removes Banding Without Looking Over-Highlighted

Use 10-Volume To Create a Cleaner Lift

"A lot of the time, people would go in and automatically think you need to use a stronger developer, but for me it's about protecting the integrity of the hair while getting a clean lift,” Kaine explains. 

For this transformation, he used Redken Flash Lift Bonder Inside. “[It’s] one of my favorites—especially when I'm working with big color corrections like this because I really want to make sure I get a clean result." 

Kaine worked with 0.5 cm sections throughout the lightening process to maintain consistent saturation and lift. "If you go in with your sections too wide, you're not going to get that clean, even lift."

Stop Chasing White: Don't Over-Lift the Hair

"Once we've rinsed everything out, you can see there's still warmth in there, which is literally completely normal. I waited until we reached a pale yellow before rinsing because I knew straight away that this was going to give us the foundation for toning."

Next, he used Redken Shades EQ™ 010NA all over for 20 minutes to soften some of the remaining warmth before beginning the gray blending process. "I'm not trying to completely remove every single bit of yellow here, just because I know that I'm going to be doing this a little later."

Once the hair was dried, he had a clean canvas for the next phase of the correction: rebuilding depth, creating a face frame and recreating the client's natural gray pattern.

Want to see these techniques in action? Press play to watch Kaine's platinum card placement, lightening strategy and toning process:

Rebuild the Gray Pattern With Lowlights

"This is where we're starting to add back in that dimension and recreate what naturally happens throughout her hair,” Kaine says. He used Shades EQ 04NA and 06T to recreate the natural contrast found throughout her existing gray pattern.

He notes that the exact formula can vary depending on the client's gray. "Sometimes there's more warmth, sometimes it's cooler, but for this client, I needed enough depth to anchor the color while still keeping it soft and natural."

"A lot of people get scared at this stage because they think the color looks too dark, but I promise you, right now, this is where you really, really need to trust yourself,” says Kaine. "You need to bring back that natural base that you can physically see sitting between the gray."

Match the Gray You See—Don't Invent a New Pattern

Once the depth was in place, Kaine focused on matching the client's existing gray distribution. "If I see 30 percent through an area, I'm putting 30 percent back in there, whether that's finer pieces, heavier pieces or more softness throughout,” he says. "I'm recreating natural dimension, so I can blend this seamlessly around the face frame."

Around the hairline, however, Kaine made a deliberate adjustment. "We used Flash Lift Bonder Inside and 10-volume just through that root area to softly brighten and elevate the front."

The Glossing Combo Behind the "Expensive" Finish

To refine the tone, Kaine glossed the back with Shades EQ 09P and 09T and the face frame with Shades EQ 010P and 010T, then finished with a global Shades EQ 010P gloss for 20 minutes.

"This combination delivers a soft pearl and titanium reflect, creating a clean, expensive finish while maintaining natural softness at the root."

Press play to watch the lowlights, face frame, glossing process and final reveal: