This post is part of my colour analysis theory series. Parts of this post was previously posted by me on Reddit.

As colour analysis has exploded in popularity lately, so has the number of web pages, blogs and social media posts dedicated to this increased exponentially. However, as colour analysis is no exact science (it’s a type of art which employs specific scientific principles, such as limiting the number of extraneous variables), and a lot of the authors of the posts on the topic are not professionally trained colour consultants and have no practical experience with colour analysis, the quality of the content out there is varied – to put it diplomatically.

Therefore, as an attempt to sort things out a bit for those who are new to colour analysis, here is a post dedicated to what colour analysis is, some different systems used and how to attempt to DIY if you are not able to see a colour consultant in-person.

Understanding the basics

When learning a maths, you don’t start off with algebra before you have learnt to add and subtract. Same goes for colour. We don’t charge people for colour analysis just because we can, but because we have done a lot of research and have a lot of training that makes us able to understand, see and explain why X works and Y doesn’t.

I always suggest people go see a colour consultant in-person if they can, but I understand it’s not possible for someone for varying reasons, so they want to give DIY a go. So if you want to DIY, you should read up on colour first (the internet is so full of good colour theory resources nowadays, just google “colour theory”). Try to understand:

• The colour wheel
• What a cool vs warm colour is
• What chroma/saturation is
• What value is
• What simultaneous contrast is (this is the key to understanding why colour analysis works the way it does)

Here are some links to get you started:

• https://www.youtube.com/watch?v=NN5h6Uwtqzw
• https://www.youtube.com/watch?v=L1CK9bE3H_s
• https://www.youtube.com/watch?v=x2WAKqIe2UU
• http://www.huevaluechroma.com/index.php

What is colour analysis?

Colour analysis is a method to find the set of colours that flatter your skin the most (what makes your skin look the most healthy?).

Why the skin, you ask? Skin is the main area of concern as that’s an important health cue: think of how skin colour and appearance changes with illness, for example. Jaundice, anemia, cyanosis. Discolouration, blemishes. Dark shadows around the eyes and a sunken in appearance. All are health (or rather, illness) cues. With eye colour, the closest we get in terms of determining health status is looking at the whites of the eye (e.g. bloodshot eyes), but few colours worn on the body will appear to affect this to a large degree (eyeshadow, however!). For hair, texture (including matteness/shine) is a more important health cue, and colours do not have a significance importance here. Wearing the wrong colour can make your hair look a little dull, but it will not make your hair look drastically different. For the skin, on the other hand, our eyes are more attuned to subtle changes in skin appearance, and wearing the right or wrong colours therefore have an impact.

The ideal colours should not fight against your natural colouring, but just like colours we see around us in nature, we might sometimes get surprised by some less expected colour harmonies. While human colouring isn’t akin to plants or birds, our colouring is still incredibly diverse, and our genetics to not follow arbitrary colour analysis theory and “rules” of yore (see below for information on colour analysis systems).

What are colour analysis seasons?

Colour analysis groups sets of colours into different categories based on specific attributes:

• Temperature: Warm or cool? A yellow can be both warm and cool, for example (a yellow that veers towards green, which is closer to blue on the colour circle, is cooler than a yellow that veers towards orange). In most groups/seasons you will find a variation of each colour of the rainbow (no orange for the pure cool seasons, though!).
• Contrast level (more in terms of group/season, colour combinations, and your own coloring. Single colours do not have a contrast level, as contrast is what happens when you pair two or more colours together): Low, medium or high?
• Saturation/chroma: Bright or muted? Note that a colour might be muted differently – e.g. grayed or browned. How pure is the colour?
• Value: Lightness/darkness

The most common groups are named after the four seasons in the Northern hemisphere: spring, summer, autumn and winter. These names typically conjure specific mental images, such as autumn harvest and foilage, or an icy winter landscape with dark green pine trees, icicles and pure white snow.

What characterise the colours of these colour analysis seasons?

• Springs and autumns are warm. Their colours have a yellow/orange undertone.
• Summers and winters are cool. Their colours have a blue undertone (you might wonder how a red could have blue undertones? Well, look at the colour wheel: a cool pink leans towards pink, as pink is closer to blue. Conversely, a warm red would lean towards orange)
• Springs and summer colours are light to medium in value (i.e. not very dark)
• Autumns and winter colours are medium to dark in value, but winters also have the lightest lights (“icy” colours”)
• Springs and winter colours are saturated, clear. Think colours right out of the paint tube
• Summer and autumn colours are more muted, with brown or white/grey added to the colours to make them less saturated
• Try Pinterest or Google to look up inspirational pictures and pictures of typical palettes

When looking at a colour, think about what characteristics that colour has. Take olive green, for example: it’s warm (strong yellow undertone), medium to dark in value, muted/not very clear (it looks like it has some brown added to it, unlike for instance lime green which is a clear colour). With this is mind, you can understand why it’s an autumn colour. Some colours might seem like they could fit more than one season’s characteristics, but don’t think too much about that yet. Try to grasp the general idea first. You can also look up a picture of the autumn palette and see if the olive green looks like it belongs (it does), and compare it to how out of place it looks in the other seasons. Compare it to the spring palette and see how the autumn olive green looks so much heavier than the spring colours (spring colours are fresh, not heavy. Think sorbet vs pumpkin pie).

Note that colours are relative to each other, so it’s easier to judge the properties of a colour when compared to another. Comparing colours can also make it easier to see undertone, and for example whether a very light colour is icy or pastel. If you have had a colour analysis, bringing your palette to the store is therefore very useful as you easier can evaluate whether the bright red dress is too warm for your winter palette. Using the palette trains your eye.

Every road leads to Rome – or do they?

There are many different schools of thought on colour analysis, and this has lead to hundreds, if not thousands, of different colour analysis “systems”. While the aim of all systems is to find the set of colours that flatter you the most, whether that is through a custom or seasonal approach, some systems disagree in the way they define some colours being flattering or not: some want to harmonise and more or less match your own personal colouring, whereas others focus on clear skin and a contoured face. Often these overlap, and in most cases, the differences between systems are more theory based than practise based.

What types of systems are there?

Very many – the colour business is unregulated, so anyone can call themselves an expert within the field. Generally, you can categorise most systems within one of these groups:

Skin/eye/hair matters most: Probably the oldest, where the colour of your skin, hair and eyes put you in a colour group/season. While this arguably is the easiest to replicate in terms of results (you are likely to be the same season with different analysts using this method), it’s also the most rigid. For these systems, the drapes matter little or nothing, and thus most stereotypical. These systems have a tendency to lump everyone with dark skin and dark eyes into winter (or maybe autumn), all red heads into spring or autumn, and all blondes into spring or summer – and may thus lead to people getting lumped into less than ideal categories simply based on arbitrary theory and statistics (the client is not treated like an individual).

Drapes only: A few systems whose general idea is that the colour of your skin, hair and eyes are completely irrelevant. Gained popularity in the past 15 or so years, and liberating in the way that “you can be any seasons until you’re draped!”. Harder to replicate consistent results, and there is disagreements whether you can sell a cohesive, harmonious colour system if the colouring of the client clashes with the colours (i.e. copper hair with icy cool colours).

Mix of the two above: Drapes and own colouring matter. Most systems fall on a spectrum in terms of how much either the drapes or the colouring should play a role – some might take colouring into account, but focus on the draping results, or vice versa.

Personally, I believe the best results are achieved by using drapes to find the season someone belongs to, and then adjust based on their unique colouring. A winter with lighter hair might do better in less contrasting outfits than the archetypical winter, or a summer with dark features might work better with the darker and/or bolder summer colours, for example. Everyone is an individual, so there is no reason to believe that you cannot tailor the palette to fit the individual.

Some systems also incorporate other elements, like linking personality to season. Note that the science doesn’t support any claim of your appearance or personality having anything to do with what colours you suit, so I urge you to take these claims with a massive lump of salt, and nor is “iridology” a serious science by any means – so don’t fret if you don’t match the personality profile or whatnot of your season. Neither does you taste in clothing or interior design have anything to do with your best colours.

The systems can also be based around palettes that are either custom, semi-custom or pre-made/set:

Custom: May or may not come with a seasonal name, but is made there and then by the analyst. The consultant will often hold swatches up next to your face and choose the ones they find the most flattering on you, or use drapes like in traditional seasonal colour analysis. Unique, but thus hard to replace in case it gets lost, and the results are near impossible to replicate as it’s made there and then and dependent on the skill of the consultant.

Semi-custom: There might be a few boundaries within set seasons, but each palette might still be more or less unique. Usually the palettes belong to one out of several seasons (e.g. winter), and is then customised to work for the specific client (e.g. adjusting value range).

Pre-made/set: Most systems fall within this category, and this is the home of the typical seasonal approach. Typically 4, 12 or 16 seasons, with some having more (or less) and differences in how each seasons/group is defined. The number of seasonal groups varies, but every palette is always pre-made. Depending on the system, there may or may not be overlap between the groups.

What you prefer is up to you. Some really like the pre-made palettes as they make it easy to convey to others (like on social media) what their colours are, and it makes them feel belonging to a group (which is a very human need). Others prefer a more custom approach, especially those who feel none of the pre-made seasons are their perfect match. While I personally prefer a more custom approach, as each client is a unique individual, what matters most is that you end up with a set of colours that look wonderful on you.

If you’ve gone to two or more colour analysts and gotten different seasons, maybe even diametrically different, it’s worth to evaluate about where on the aforementioned spectrum (only colouring vs only drapes) your consultants fall. While a trained consultant ideally should be more objective than a friend or relative, there might be different factors messing up the result, such as: experience, own bias, lighting in room, system philosophy, how the system divides up the colour groups, custom vs. seasons, if you were ill, make-up, etc.

I don’t like the colours in season X, I’d rather be season Y.

Whether you are draping yourself or getting it done professionally, it’s of great benefit to try to enter this with an open mind. While it’s possible that the result simply is wrong for one reason or another, it’s especially useful if you had it done professionally that you try it out for a while. Never throw out your entire wardrobe after a consult before you feel confident in the result! If it still doesn’t sit well with you after a few weeks or so, it might be that the result simply was wrong, or that your on personal preferences are stopping you from enjoying your palette. If you begrudgingly admit the latter is the case, try to see if there are some colours of the palette you like. Maybe you gravitate towards the darker end of your palette? Maybe try some of the colours in differently styled clothes and textures? If you’re a soft season that wanted to be a winter, maybe the soft teal will look really delicious to you in a lovely velvet or silk?

If you can’t stand your palette even after trying it out for a while, it’s no one forcing you to wear these colours. A colour analysis is supposed to make it easier and more fun for you to dress. Maybe you’re after a different expression than the consultant and the palette suggested – while making the light seasons work for a goth would technically be possible, it’s possible that’s not going to sit right with the client no matter how much tweaking is done. One can still be well-dressed even if not following colour analysis. Keep in mind that any season can dress in any style – even if some might be a little bit more of a challenge than others – so perhaps getting a challenging season might really spark some creativity!

I want to do it DIY – how do I approach this?

Try to find pieces of fabric in as many colours as possible (see below for some ideas of colours to try), stand in front of a mirror in natural daylight, pull your hair back (if dyed) and remove your makeup, and drape the colours around you neck and shoulders, quickly changing between each drape whilst observing the effects on your skin (and to a lesser extent hair and eyes). Do this draping experiment in real life on yourself using pieces of fabric, *not* by editing a photo on your computer. Compare the different colour categories (e.g. the suggested greens for each season). 

Draping allows you to see the effects for yourself and it makes it easier to trust (or not!) the outcome. What the draping process does is that it directly compares typically similar colours to see what works the best – it’s a process of eliminating. The quick change between for instance a tomato and a blue-toned red will make the effects of the colour on you more evident than if you were to try each colour with more time passing between each colour (such as trying on a top, then taking it off before putting another). It’s like flipping between two seemingly identically pictures and playing “spot the difference” (but photos bring a slew of issues in terms of colour accuracy, so do this in front of a mirror instead).

Here are some suggestions for how to do colour analysis draping yourself:

• Stand/sit in front of a mirror, using (indirect) natural daylight as your light source (rather than lamps). Don’t wear any makeup and pull your hair back (it can be a good idea to cover your hair with a neutral white or grey towel/headband/scarf if you have dyed hair).
• Having found or made drapes that represent the four seasons, divide them up into colour groups (so put all the greens together, all the blues, all the reds, etc.). Colour analysis is all about comparison, so it’s a good idea to compare different seasons’ variation of the same colour (e.g. comparing a winter red to a summer red to a spring red to an autumn red). After comparing individual colours, you can also compare the seasons by placing several of the drapes from one season around your neck/shoulders at the same time (so you’re wearing more than one drape). This can get a bit fiddly, but it can be useful to see the entire seasonal harmony on you in addition to comparing individual drapes across different seasons. A similar effect can be achieved if you have a multicoloured drape (like a pattern or several drapes stitched/attached together).
• Some colours are harder to place neatly into different seasons as they’re often described as “universal” colours (this basically means that people across different seasons are able to pull it off – it might not be their best, but it won’t be horrible). Two such colours are purples and teals. Teal is especially difficult, as it’s hard to decide when it becomes a cool green and when it’s a warm blue. One season’s variation of purple is also a colour that can look quite different depending on the colour analysis system – one might only put reddish purples in autumn, whereas another might put more neutral or even blue-ish purples in autumn! Therefore, with these colours where the temperature is ambiguous, focus more on chroma/saturation and value when DIY draping. Keep in mind that some systems also consider true red to be an universal colour, and will include it in all their palettes. Therefore, true red might not be the best litmus test (look for obviously warm or obviously cool reds to compare instead).
• Keep your eyes fixated on your face as you switch from on season’s colour to the next. Try to observe the changes in skin and face, not the colour of the drape. A good tip is to quickly change between one drape and the next – the brief moment of change can often reveal a lot more than when you look at a drape for long and your eyes get used to it. You can also try to close your eyes, put on a new drape and then open your eyes again – this can be especially helpful for seeing if you see the colour before your face.
• Some skin reactions to look out for (both good and bad): blotchiness, skin discolouration, skin imperfections looking either more evident or less evident, skin looking more even, greying or sallowing of skin, matte eyes where the whites look dulled down, matte and lifeless skin vs clear skin, face contour looking more defined vs undefined (the wrong colour can make the jaw look wider and less shapely), colour reflecting badly onto the chin (like the effect when you held a buttercup under your chin as a child), shadows around nose, mouth and eyes (bad shadows) vs shadows under chin and even cheekbones (good shadows), under eye bags looking more pronounced (making you look tired), “floating head syndrome” (head look detached from the drape), seeing the drape before seeing your face, skin looking textured vs blurred, a healthy glow (not to be confused with yellowing of skin), etc etc etc. Sometimes even the colours of the drapes can seem to “change”: bright colours might look gaudy on someone who suits soft colours, whereas soft colours on someone who suits brights might look faded and drab. Similarly, an autumn drape on a winter might look dirty, whereas a winter drape on an autumn might look plastic-y.
• With the recent colour analysis popularity boom, you can find many videos online of people getting colour analysed in person. I recommend taking a look at some of those to see if that can help training your eyes. It’s often helpful to see the effect on someone else – you’ll be more objective and it’s useful to see effects of colour on someone as this in turn can make it easier for you to see the effects on your own skin (they can be more subtle than you think).

Here are some suggestions for colours to compare temperature and the 4 seasons:

• Warm vs cool: Rust vs raspberry (try also a warm coral and a brighter blue-red to compare the four seasonal reds), silver vs gold, royal blue vs teal (teal works for many cool seasons too, but warm seasons usually struggle with royal blue), cream vs optical white, black vs chocolate brown, camel vs grey, magenta vs salmon.
• Spring: Icory, coral, apple green, light cobalt, aqua, bright orange, poppy red, buttercup yellow. Think light-medium value, warm, saturated.
• Summer: Dove grey, pastels, raspberry, rosy pink, mauve, lavender, sky blue, pale lemon yellow, blue-grey, soft blue-green, taupe, cocoa. Think light-medium value, cool, muted.
• Autumn: Linen,pumpkin orange, rust red, olive green, deep teal, mustard, aubergine, moss green, bronze, warm browns. Think medium-dark value, warm, muted.
• Winter: Optical white, black, royal blue, blue-red, pine green, fuschia, royal purple, lemon yellow, icy colours (not pastels!). Think medium-dark value, cool, saturated.

It’s a good idea to start off with the aforementioned seasons as they are more general and easier to differentiate than 12, 16, or more seasons/groups. While you might feel that none feel perfect, and they might not be, try to get as much info as possible. Are you generally better in warms or cools? Or is saturation more important? Perhaps it’s value? Here are some of my opinions on why a beginner should focus on the four seasonal groups before venturing further:

• It’s easier to learn the differences between the four types as they are rather distinct (thus making it easier to later grasp the differences in nuance between the subtypes)
• It’s easier to find pieces of fabric that represent the different seasons (to use as homemade drapes)
• It’s easier to see what *doesn’t* work (no need to try out all of the winter subtypes if 4 season winter doesn’t work for you)
• It makes shopping way easier – for example, finding summer greys in store is far easier than finding soft summer’s slightly mauve-y taupe-y grey in a style that you like within your budget! If the outfit works overall and give the right vibe, it’s usually good.
• Different systems – different ways of dividing up the colours – different terms – different palettes. In one system, a light summer is a summer with a bit of spring warmth in it, whereas in another system a light summer is a lighter version of cool summer or the classic summer palette (so no warmth added). Most who DIY collect information about colour and colour palettes from a myriad of different sources, so they might get confused when one site says that light coral is great on light summers, whereas another says it’s not. A colour consultant will work within one system and thus base their analysis process and tools on that and which colours the different palettes have.
• Some people find the subtypes to be limiting, while the 4 seasons give a larger range of colours to play with (then again, some prefer the narrower focus of the subtypes). Unless you have a custom palette, even 12 or 16 seasons will be standardised, and you may find that some colours in the palette is better for you than others (despite what some companies claim!).
• Many don’t really understand the 12/16 seasonal palettes before jumping into it. Understand the basic four seasons first, then you can try to understand the potential subgroups. Are all light colours a light season? No. Why not? Why does a soft summer palette look like it does? Why is this royal blue a cool winter colour, whereas a very similar blue belongs to deep winter? Why are clear spring colours brighter than warm spring colours? Does your rose brown dress belong to summer, and if so, does it belong to light, cool or soft summer? Again, as with the four basic seasons, try to find the red thread. What are the characteristics on each subgroup? The more subgroups you have, the more specific it gets, and the harder it becomes to separate the colours with the naked eye. And then different systems divide up the colours differently to make it even harder for you!
• If you find your best one or two seasons out of the four, you can use that as vital information to your 12 season subtype, if you want that. Maybe neither are perfect, but they I can guarantee you no one will look equally good or bad in all the seasons – you will find yourself better in one or two.

No matter which system and how many seasonal subgroups they use (even custom, non-standardised palettes), during a colour analysis your consultant will 99% of the time start off with the basics. They will probably start off comparing cool and warm (some use silver and gold drapes, some use versions of red, some use other colours). Here the hunt for clues begin! If the client looks great in the cool drape(s) and bad in the warm, it’s an indication that the client is not warm-toned. Then they move onto the four basic seasons (they never move directly on to 12, 16 or whatever). If the same client looks good only in summer and winter, there’s no reason to test out all the subgroups for autumn and spring – that’ll only be a waste of time (and a colour analysis session already takes a lot of time, and our brains and eyes get really tired after comparing a billion drapes). You can extract so much information from this. Then, if the consultant uses more than four seasonal groups, they’ll move onto relevant seasons (and probably throw in some bad ones from the wrong season in there to contrast and compare to make it easier for the client to see the effects). So, let’s say the same client looks best in only the coolest colours from summer and winter, coolness is paramount – then the consultant will compare cool/true summer and cool/true winter. After comparing these, the client will most likely have their best colours.

The method above is basically start off big -> narrow it down -> narrow it down further -> narrow it down even further. Going the other way around leads to a lot of confusion and wastes a lot of time.

So, in my opinion, try finding your best season out of the 4 first and live in those colours for a while. You may find that certain parts of the palette suit you more than others, thus giving you vital clues to your possible subtype (or you may find yourself content with the 4 seasons). Remember that there’s no superior system – the best system is the one that works for you, whether that system has 4, 8, 12, 16, 20+ or thousands of possible palettes (or if it is a custom one). And just as important: a good result from an in-person analysis is dependent on the skill of the consultant!

DIY colour analysis – alternatives to the four seasons

After trying the 4 seasons, you can check out the tonal types if you didn’t felt quite at home in either of the seasons. The tonal system is more similar to the 12 tones system, yet more broad as for example the tonal type “light” contains colours found in both the light spring and light summer palettes. The tonal system works well for those falling between the cracks in the 4 season system and is still easy enough to grasp for most experienced beginners. Generally, the main characteristics of the colours found in the different tonal groups are:

Light – light is the most important characteristic. People in the light tonal group look their best in light colours, while dark colours are very draining (black is typically the worst). (12 season: Light spring and light summer)

Deep – depth/darkness is paramount. Looks great in dark tones, while light colours (especially pastels) are very draining. (12 season: Deep winter and deep autumn)

Soft – even the softest colours look rich on this person. Bright colours look overwhelming and even garish. (12 season: Soft summer and soft autumn)

Bright – neons, Crayola brights and vibrant colours are great on this person, whereas muted colours look very drab. (12 season: Bright spring and bright winter)

Warm – warmth is key. Anything cool-toned gives their face a grey cast (and cool-toned lipsticks, especially purples, look grey on them). Wears orange and browns with ease. (12 season: Warm spring and warm autumn)

Cool – coolness is vital. Anything warm-tones makes them look sickly and green-ish or yellow-ish (and any warmth in makeup looks downright orange on them, even if the eyeshadow looks neutral brown in pan, or the lipstick looks like a neutral red in the tube). Typically gravitates towards blues and pinks. (12 season: Cool winter and cool summer)

DIY – apps

I’ll make this short and sweet: despite their popularity, the apps don’t work. All the apps do is look at pixels (not your actual skin, hair or eyes, just coloured pixels) and match these to other pixels. Which pixels you are matched to depend entirely on the stereotypes fed into the app algorithms. The apps are not able to look at how colour interacts with your skin (which is far more complex than a number of pixels!).

DIY – concluding remarks

In my opinion, don’t waste your time reading up on what hair, skin and eye colours the seasons typically would have, as it’s more important what the different colours you wear are doing to your skin (I’ve seen many clients with both typical and atypical colouring for their season). As discussed earlier in this post, different consultants may disagree here, but in my opinion the proof is in the pudding: if a Japanese woman with dark hair and eyes look best in summer colours, then she’s a summer, and if a woman with grey eyes look the best in autumn colours, then she’s an autumn. Simple as that. Focus on what the colours do, and not whether you are too this or that to fit into arbitrary “rules” about what someone in this or that season typically would look like. Is it more likely that someone with light features and blonde hair will be a spring or a summer? Probably, but that doesn’t mean you are a spring or a summer even if you have light features and blonde hair.

Please ignore the “vein test”. It doesn’t work as a reliable test (most systems agree about this, so it’s not a controversial topic). Instead, learn about the basic four seasons: what do their colour palettes look like, what characterises the colours in the season? Focus on the basic four and learn them, as these are the foundations of which any other possible subgroups build upon.

Remember that it’s not really easy to DIY colour analysis. It’s hard to see yourself objectively, and you probably have a lot of preferences already (biases) that might mess with the results. There’s also not that easy finding enough drapes. Rather than using clothes and accessories at home, try taking a trip to your nearest textile store and find some cheap fabrics (you don’t need much, just enough to cover your shoulders and parts of your torso). Try to find mostly matte/semi-matte fabrics to allow yourself to focus on the colour, and limit the potential influence of the way different fabrics look on you. In the textile store you can easier compare a wide variety of colours to see if that particular blue is brighter or darker or cooler than another, and so forth. You can also invite some friends over to have a draping party. While you should keep in mind that they too have their biases towards both themselves and you, using scraps of fabric rather than clothing can help focusing on colour and not style. Doing the draping method of comparing similar colours can also help remove some bias as if they say “I love you in pink”, you can show them four variations of pink and have them say which they think flatter you the most. While this isn’t a substitute for a professional analysis, you might hit the nail on the head (and have some fun with your friends in the process).

So, colour analysis, especially when DIY, takes time. If it was extremely easy to find your best colours, we wouldn’t need colour analysis professionals, and everyone would always wear their superior colours. Most people are able to pull off a lot of colours. It’s not like one palette is good, and then all the others are horrible and atrocious. Colour analysis tries to find the best one out of the lot. For some, it’s extremely close between two or more seasonal subgroups.

So don’t feel bad if you find it difficult. It’s very normal. I will of course recommend having an in-person colour analysis with a professionally trained, experienced colour consultant. But if this is not possible for you right now, I hope I was able to provide you with some useful tips and ideas.

Have fun!