five-star hair colorist

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CHAPTER 1

FIVE-STAR HAIR COLORIST(3 CE Hours)

Learning objectivesExplain the significance of primary, !

secondary and tertiary colors on a color wheel and in the process of coloring. Define what is meant by “warm” and !

“cool” colors, “complementary” colors, and “neutralizing” colors.Explain the difference between hair levels !

and tones.Explain what the pH scale measures and how !

this is important to hair color.Describe the process of oxidation and its !

function in permanent hair coloring.Explain the objectives of the consultation/ !

assessment.List the main points and relevance of !

assessing hair texture and porosity.Define natural base level; explain how to find !

it and its significance in hair coloring.Explain how percentage and distribution of !

gray affect hair coloring.Describe how the target color is formulated. !

Distinguish between predisposition (patch) !

testing and strand testing.Identify the major categories of hair color !

services and describe the complications associated with each.

IntroductionHow many of us would like a raise? How much? 5? 10 percent? 20 percent? Even 60 percent?

How many want to be a “genius” to our clients? How much hair color are you currently doing? 10 percent? 20 percent? 50 percent?

We know that in the rest of the world, 98 percent of clients receive color services on a regular basis, both women and men (the 2 percent are children). This tells us there is the potential to claim up to 60 percent new color business!

But why is there such a big difference between the U.S. and the rest of the world? The rest of the world considers the hair color to be the most important “cosmetic” to the skin. In addition, stylists will study years longer to become licensed, and they take chemistry very seriously.

Hair color services can be the most lucrative and rewarding service offered at a salon. We can take a haircut-only client to a haircut AND color client in a very short period, with very little effort. Today’s client flow demands four times the number of clients as in previous years. We simply must make each client more valuable to the salon!

Yet many stylists remain apprehensive about color long after they leave cosmetology school. This is probably because hair coloring is about chemistry, which can present problems and mistakes that can drastically affect real people. This course will remind you about the basics of the process and discuss the products and techniques to help boost your confidence as you boost your knowledge. For those who have been using hair-coloring products comfortably for years, this course will refresh and

reinforce the important points and perhaps introduce a few new concepts or products.

Hair care services are constantly evolving, and there continues to be an increasing demand for color services. From covering gray, restoring or “tweaking” the original color, highlighting or truly transformative color, color can improve hair texture and strength and increase confidence as much as a good make-up application. Clients receiving color services tend to visit the salon more frequently than other types of clients and spend more money each time, using both services and products. Because application time is typically brief, there is a potential for substantial profits. Additionally, to maintain their look and address new growth, clients have a strong incentive to stay timely about services.

While the demand for skilled colorists grows, most come out of school rank amateurs in the art of science and color, and many are rightfully fearful of making mistakes. Above all, hair coloring requires technical precision, and the only way to become an expert is by doing it many times. Stylists should find a good resource for hair samples and testing materials and practice, practice, practice. The best hair colorists have done it thousands of times and have learned from failures as well as successes. Running your own experiments will increase your skills as well as your confidence in the results.

The function and ingredients in home hair color products and those found in the salon are essentially the same. The major difference in home hair color versus salon color is the expertise of a professional colorist who is able to custom blend a specific color and control the amount of hydrogen peroxide or other products used. Through experience, the stylist learns how the process will affect hair color and quality, and how long or short a time to process the color.

New do-it-yourself products are both a boon and a burden. Many clients may try to color their own hair with varying results. You may have to correct a client’s mistake. Your knowledge and abilities will ensure that the client’s money is well-spent, and you’ll find your confidence stretched with each success. Coloring accidents can be a nightmare, but great color correction can make you invaluable to that client. Remember, the product is only one part of the equation (and not the most important part). While a client can produce satisfactory results with the first application, re-touches will become problematic simply because different bases are involved and the hair’s condition is compromised.

Careful reading is essential to successful hair coloring, starting with the critical information in product directions and manufacturer’s information. One can also “read up” on new hair color developments and the latest technologies in magazines and on the Internet. Artful hair coloring is enhanced by reading and doing. Not only can you find information about getting the best results with specific products, such as details on how to mix and apply hair color, you also can see photos of the results.

The more you learn about hair color, the more valuable your services and the more your clients

will appreciate you. Let your clients know the magic is not just in the materials, but also in the expert choice of product and application. Clients know little about their options in hair color products and services. You provide that knowledge. And as an experienced professional, you are able to maximize a good product.

This course will help you increase your value in the color equation. Instead of living in fear of hair coloring disasters, you might even get a reputation for correcting them. To really understand how color works, you need to have a basic understanding of a number of topics. So that we are all speaking the same language, we will begin with a glossary of terms that will be used.

GlossaryAccelerator/ activator: An additive used to quicken the action or progress of a chemical. Another word for booster, protenator or catalyst.

Accent color: A concentrated color product that can be added to permanent, semi-permanent or temporary hair color to intensify or tone down the color. Another word for concentrates and color additive.

Acid: An aqueous (water-based) solution having a pH less than 7.0 on the pH scale.

Alkaline: An aqueous (water-based) solution having a pH greater than 7.0 on the pH scale. The opposite of acid. Another word for base/alkali.

Allergy: A physical reaction resulting from extreme sensitivity to exposure, contact or ingestion of certain foods or chemicals.

Allergy test: A test to determine the possibility or degree of sensitivity; also known as a patch test, predisposition test or skin test.

Amino acids: The group of molecules that the body uses to synthesize protein. There are 22 different amino acids found in living protein that serve as units of hair structure.

Ammonia: A colorless, pungent gas composed of hydrogen and nitrogen; in water solution it is called ammonia water. Used in hair color to swell the cuticle. When mixed with hydrogen peroxide, it activates the oxidation process on melanin and allows the melanin to decolorize.

Ammonium hydroxide: An alkali solution of ammonia in water; commonly used in the manufacturing of permanent hair color, lightener preparations and hair relaxers.

Analysis (hair): An examination of the hair to determine its condition and natural color.

Aqueous: Descriptive term for water solution or any medium that is largely composed of water.

Ash: A tone or shade dominated by greens, blues, violets or grays. May be used to counteract unwanted warm tones.

Base color: The combination of dyes that make up the tonal foundation of a specific hair color.

Bleach/lightener: The chemical compound that lightens the hair by dispersing, dissolving and decolorizing the natural hair pigment.

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Bleeding: Seepage of tint/lightener from the packet containing the hair to be colored or frosting cap caused by improper application.

Blending: A merging of one tint or tone with another.

Blonding: A term applied to lightening the hair.

Bonds: The means by which atoms are joined together to make molecules.

Brassy tone: Undesirable red, orange or gold tones in the hair.

Breakage: A condition in which hair splits and breaks off.

Buffer zone: Applying color away from the scalp to avoid chemical overlapping.

Build-up: Repeated coatings on the hair shaft.

Bumping the base: A term used to describe a gentle degree of lift of the natural color.

Cap method: A disposable rubber or plastic cap used to highlight or lowlight; hair is pulled through and selectively colored or bleached.

Catalyst: A substance used to alter the speed of a chemical reaction.

Category: A method of defining natural hair to help determine the undertones.

Caustic: Strongly alkaline materials. At very high pH levels, can burn or destroy protein or tissue by chemical action.

Certified color: A color that meets certain standards for purity and is certified by the FDA.

Cetyl alcohol: Fatty alcohol used as an emollient. It is also used as a stabilizer for emulsion systems, and in hair color and cream developer as a thickener.

Chemical change: Alteration in the chemical composition of a substance.

Citric acid: Organic acid derived from citrus fruits and used for pH adjustment. Primarily used to adjust the acid-alkali balance. Has some antioxidant and preservative qualities. Used medicinally as a mild astringent.

Coating: Residue left on the outside of the hair shaft.

Color: Visual sensation caused by light.

Color base: The combination of dyes that make up the tonal foundation of a specific hair color. Also dye stock.

Color lift: The amount of change natural or artificial pigment undergoes when lightened by a substance.

Color mixing: Combining two or more shades together for a custom color.

Color refresher: (1) Color applied to mid-shaft and ends to give a more uniform color appearance to the hair. (2) Color applied by a shampoo-in method to enhance the natural color. Also called color wash, color enhancer, color glaze.

Color remover: A product designed to remove artificial pigment from the hair. Also dye remover/dye solvent.

Color test: The process of removing product from the hair strand to monitor the progress of

color development during tinting or lightening. Also called strand test.

Color wheel: The arrangement of primary, secondary and tertiary colors in the order of their relationships to each other. A tool for formulating.

Complementary colors: A primary and secondary color positioned opposite each other on the color wheel. When these two colors are combined, they create a neutral color. Combinations are blue/orange, red/green, and yellow/violet.

Condition: The existing state of the hair – its elasticity, strength, texture, porosity and evidence of previous treatments.

Consultation; Verbal communication with a client to determine desired result.

Contributing pigment: The current level and tone of the hair. Refers to both natural contributing pigment and decolorized (lightened) contributing pigment.

Corrective coloring: The process of correcting an undesirable color.

Cortex: The second layer of the hair. A fibrous protein core of the hair fiber containing melanin pigment.

Coverage: Reference to the ability of a color product to color gray, white or other colors of the hair.

Cuticle: The translucent, protein outer layer of the hair fiber.

Cysteic acid: A chemical substance in the hair fiber, produced by the interaction of hydrogen peroxide on the disulfide bond (cystine).

Cystine: The disulfide amino acid that joins protein chains together.

D and C colors: Colors selected from a certified list approved by the FDA for use in drug and cosmetic products.

Decolorize: A chemical process involving the lightening of the natural color pigment or artificial color from the hair.

Degree: Term used to describe various units of measurement.

Demi-color/deposit-only color: A category of color products between permanent and semi-permanent colors. Formulated to only deposit color, not lift. They contain oxidative dyes and utilize a low volume developer.

Dense: Thick, compact or crowded.

Deposit: Describes the color product in terms of its ability to add color pigment to the hair. Color added equals deposit.

Depth: The lightness or darkness of a specific hair color.

Developer: An oxidizing agent, usually hydrogen peroxide that reacts chemically with coloring material to develop color molecules and create a change in natural hair color.

Development time/oxidation period: The time required for a permanent color or lightener to completely develop.

Diffused: Broken down, scattered; not limited to one spot.

Direct dye: A preformed color that dyes the fiber directly without the need for oxidation. Also referred to as a stain.

Discoloration: The development of undesired shades through chemical reaction.

Double process: A technique requiring two separate procedures in which the hair is decolorized or pre-lightened with a lightener before the depositing color is applied.

Drab: Term used to describe hair color shades containing no red or gold. Also ash.

Drabber: Concentrated color used to reduce red or gold highlights.

Dull: A word used to describe hair or hair color without sheen.

Dye: Artificial pigment.

Elasticity: The ability of the hair to stretch and return to normal.

Enzyme: A protein molecule found in living cells that initiates a chemical process.

Fade: To lose color through exposure to the elements or other factors.

Fillers: (1) Color product used as a color refresher or to replace undertones in damaged hair in preparation for hair coloring. (2) Any liquid-like substance to help fill the need for natural undertones.

Formulas: Mixture of two or more ingredients.

Formulate: The art of mixing to create a blend or balance of two or more ingredients.

Frosting: The introduction of lighter strands to the hair; generally executed with a frosting cap.

Glazing: A term used to describe a translucent color used on the hair after a previous hair color; a blending color.

Gray hair: Hair with decreasing amounts of natural pigment. Hair with no natural pigment is actually white. White hairs look gray when mingled with pigmented hair. Also referred to as unpigmented hair.

Hair: A slender threadlike outgrowth on the skin of the head and body.

Hair root: That part of the hair contained within the follicle, below the surface of the skin.

Hair shaft: Visible part of each strand of hair. It is made up of an outer layer called the cuticle, an innermost layer called medulla and an in-between layer called the cortex. The cortex layer is where color changes are made.

Hard water: Water that contains minerals and metallic salts as impurities.

Henna: A plant-extracted coloring that produces bright shades of red. The active ingredient is lawsone. Henna permanently colors the hair by coating and penetrating the hair shaft.


High-lift tinting: A single process color with a higher degree of lightening action and a minimal amount of color deposit.

Highlighting: The introduction of a lighter color in small sections to increase lightness of the hair.

Hydrogen peroxide: An oxidizing chemical made up of 2 parts hydrogen, 2 parts oxygen (H2O2) used to aid the processing of permanent hair color and lighteners. Also referred to as a developer; available in liquid or cream.

Level: A unit of measurement used to evaluate the lightness or darkness of a color, excluding tone.

Level system: In hair coloring, a system colorists use to analyze the lightness or darkness of a hair color.

Lift: The lightening action of a hair color or lightening product on the hair’s natural pigment.

Line of demarcation: An obvious difference between two colors on the hair shaft.

Litmus paper: A chemically treated paper used to test the acidity or alkalinity of products.

Medulla: The center structure of the hair shaft. Very little is known about its actual function. Very fine hair many times does not have it.

Melanin: The tiny grains of pigment in the hair cortex that create natural color.

Melanocytes: Cells in the hair bulb that manufacture melanin.

Melanoprotein: The protein coating of melanosome.

Metallic dyes: Soluble metal salts such as lead, silver and bismuth produce colors on the hair fiber, by progressive build-up and exposure to air.

Modifier: A chemical found as an ingredient in permanent hair colors. Its function is to alter the dye intermediates.

Molecule: Two or more atoms chemically joined together; the smallest part of a compound.

Neutral: (1) A color balanced between warm and cool that does not reflect a highlight of any primary or secondary color. (2) Also refers to a pH of 7.0.

Neutralization: The process that counter-balances or cancels the action of an agent or color.

Neutralize: Render neutral; counter-balance of action or influence.

New growth: The part of the hair shaft that is between previously chemically treated hair and the scalp. Also regrowth.

Nonalkaline: Same as acid.

Off-the-scalp lightener: Generally a stronger lightener (usually in powder form), not to be used directly on the scalp.

On-the-scalp lightener: A liquid, cream or gel form of lightener that can be used directly on the scalp.

Opaque: Allowing no light to shine through; flat; lack of translucency.

Outgrowth: Same as new growth.

Overlap: Occurs when the application of color or lightener goes beyond the line of demarcation.

Overporous; The condition where hair reaches an undesirable stage of porosity requiring correction. Also sensitized.

Oxidation: (1) The reaction of dye intermediates with hydrogen peroxide found in hair coloring developers. (2) The interaction of hydrogen peroxide on the natural pigment.

Oxidative hair color: A product containing oxidation dyes that require hydrogen peroxide to develop the permanent color.

Para tint: A tin made from oxidation dyes.

Para-phenylenediamine: An oxidative dye used in most permanent hair colors, often abbreviated as PPD.

Patch test: A test required by the FDA. Performed by applying a small amount of the hair coloring preparation to the skin of the arm, or behind the ear to determine possible allergies (hypersensitivity). Also called pre-disposition or skin test.

Penetrating color: Color that penetrates the cortex or second layer of the hair shaft.

Permanent color: (1) Hair color products that do not wash out by shampooing. (2) A category of hair color products mixed with developer that creates a lasting color change.

Peroxide residue: Traces of peroxide left in the hair after treatment with lightener or tint.

Persulfate: In hair coloring, a chemical ingredient commonly used in activators that increases the speed of the decolorization process.

PH: The quantity that expresses the acid /alkali balance. A pH of 7 is the neutral value for pure water. Any pH below 7 is acidic; any pH above 7 is alkaline. The skin is mildly acidic, and generally in the pH 4.5 to 5.5 range.

PH scale: A numerical scale from 0 (very acid) to 14 (very alkaline), used to describe the degree of acidity or alkalinity.

Pigment: Any substance or matter used as coloring; natural or artificial hair color.

Porosity: Ability of the hair to absorb water or other liquids.

Powder lightener: Same as off-the-scalp lightener.

Prebleaching/prelighten: Generally the first step of double-process hair coloring. To lift or lighten the natural pigment.

Presoften: The process of treating gray or very resistant hair to allow for better penetration of color.

Primary colors: Pigments or colors that are fundamental and cannot be made by mixing colors together. Red, yellow and blue are the primary colors.

Prism: A transparent glass or crystal that breaks up white light into its component colors; the spectrum.

Processing time: the time required for the chemical treatment to react on the hair.

Progressive dyes/progressive dye system: (1) A coloring system that produces increased absorption with each application. (2) Color products that deepen or increase absorption over a period of time during processing.

Resistant hair: Hair that is difficult to penetrate with moisture or chemical solutions.

Retouch: Application of color or lightener mixture to new growth of hair.

Salt and pepper: The descriptive term for a mixture of dark and gray or white hair.

Secondary color: Colors made by combining two primary colors in equal proportions; green, orange and violet are secondary colors.

Semi-permanent hair coloring: A pre-oxidized hair color requiring no catalyst that lasts through several shampoos. It stains the cuticle layer, slowly fading with each shampoo.

Sensitized: Referring to the condition of the hair. May be slight (dry) to extreme (over-porous).

Sensitivity: Skin that is highly reactive to the presence of a specific chemical. Skin reddens or becomes irritated shortly after application of the chemical. The reaction subsides when the chemical has been removed.

Shade: (1) A term used to describe a specific color. (2) The visible difference between two colors.

Sheen: The ability of the hair to shine, gleam or reflect light.

Single process color: Refers to an oxidative tint solution that lifts or lightens, while depositing color in one application. Also oxidative hair color.

Softening agent: A mild alkaline product applied prior to the color treatment to increase porosity, swell the cuticle layer of the hair and increase color absorption.

Solution: A blended mixture of solid, liquid or gaseous substances in a liquid medium.

Solvent: Carrier liquid in which other components may be dissolved.

Specialist: One who concentrates on only one part or branch of a subject or profession.

Spectrum: The series of colored bands diffracted and arranged in the order of their wavelengths by the passage of a white light through a prism. Shading continuously from red (produced by the longest wave visible) to violet (produced by the shortest): red, orange, green, blue, indigo and violet.

Spot lightening: Color correcting using a lightening mixture to lighten darker areas.

Stabilizer: General name for ingredient that prolongs life, appearance and performance of a product.

Stage: A term used to describe a visible color change that natural hair color goes through while being lightened.

Stain remover: Chemical used to remove tint stains from the skin.

Strand test: Test given before treatment to determine development time, color results and the ability of the hair to withstand the effects of chemicals.

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Stripping: Also referred to as color remover.

Surfactant: An abbreviation for surface-active agent. A molecule that is composed of an oil-loving (oleophillic) part and a water-loving (hydrophilic) part. They act as a bridge to allow oil and water to mix. Wetting agents, emulsifiers, cleansers, solubilizers, dispersing aids and thickeners are usually surfactants.

Tablespoon: one-half ounce; 3 teaspoons.

Teaspoon: one-sixth ounce; one-third of a tablespoon.

Temporary color/rinses: Color made from preformed dyes that are applied to the hair for a short-term effect. This type of product is readily removed with shampoo.

Terminology: The special words or terms used in science, art or business.

Tertiary colors: The mixture of a primary and an adjacent secondary color on the color wheel. Red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet. Also referred to as intermediary colors.

Texture, hair: The diameter of an individual hair strand. Termed: coarse, medium or fine.

Tint: Permanent oxidizing hair color product, having the ability to lift and deposit color in the same process. Requires a developer.

Tint back: To return hair back to its original or natural colors. Also referred to as repigment.

Tone: A term used to describe the warmth or coolness in color.

Toner: A pastel color to be used after pre-lightening.

Toning: Adding color to modify the end result.

Touch-up: Also retouch.

Translucent: The property of letting diffused light pass through.

Tyrosine: The amino acid (tyrosine) that reacts with the enzyme (tyrosinase) to form the hair’s natural melanin.

Tyrosinase: The enzyme (tyrosinase) that reacts together with the amino acid (tyrosine) to form the hair’s natural melanin.

Undertone: The underlying color in melanin that emerges during the lifting process and contributes to the end result. When lightening hair, residual warmth in tone always occurs.

Value: Also referred to as level and depth.

Vegetable color: A color derived from plant sources.

Virgin hair: Natural hair that has not undergone any chemical or physical abuse.

Viscosity: A term referring to the thickness of a solution.

Volume: The concentration of hydrogen peroxide in water solution. Expressed as volumes of oxygen liberated per volume of solution; 20-volume peroxide would thus liberate 20 pints of oxygen gas for each pint of solution.

Warm: A term used to describe hair color containing red, orange, gold or yellow tones.

Psychology of hair colorAs professional hair colorists, we should never lose sight of our role in society. We have the opportunity to make dramatic changes in the lives of people seeking to improve their appearance. A change of hair color often can be the catalyst to turn the individual in a positive direction. Because a change of hair color is so immediate and relatively inexpensive (compared to cosmetic surgery), it’s often the choice for many clients.

Just as we must first acquire the skills to perform the necessary techniques, it is equally important we never lose sight of the fact that we are working on a living, breathing human being. Our pallet is never a canvas or a piece of clay. We’ve all been exposed to apathy by someone who just didn’t care or who was just having a bad day. Bad service or apathy is something a client should not have to tolerate. We must fight apathy toward someone because of his or her appearance.

As hair colorists, we are similar to the artists who restore paintings. Through the years, paintings become veiled with a cover of soot and lose their vibrant color; artists can remove that veil of soot and restore the painting to its original vivid colors. As hair colorists, we have the ability to perform the same service on our clients. We can take a client who through the years has lost the vibrancy in his or her hair and restore it to its original youthful appearance. For others, we can transform dull, drab natural hair to spectacular color with glints of beautiful highlights.

Client consultation, communication and negotiating are key skills. As we gain confidence and become more proficient in our technical skills, consultation becomes much easier. The more tools we have at our disposal, the easier it is to solve a greater variety of hair-color challenges and in turn, the more we grow our business.

During the consultation, recognize that most people have a subjective opinion of their appearance. Understanding this can induce a sense of empathy toward the client. Empathy is having the ability to put yourself into clients’ shoes and viewing the world as they see it. This helps you recognize that clients have their own points of view.

Direct eye contact is important. Position yourself at eye level with the client and look directly at her when consulting; avoid looking at the client in the mirror. One of the biggest challenges we face as hair colorists is negotiating with our clients. Compromise is the key. Terminology and presentation must be professional, but the colorist must avoid sounding too “professional” and not “down to earth.”

Making a photo album with a variety of hair colors is a great aid for helping clients find the colors they are attempting to describe. They often will describe or refer to a celebrity who has a hair color they are attracted to. It is a good practice to have them find the same hair color in your photo album. Taking the hair color off the celebrity’s

face and placing it on a “regular person” could make your client view the hair color differently.

Showing a client a book of various hair colors on finished styles is insurance that both of you are talking about the same color. It can also be used to give direction and make recommendations. Without common ground to start from, formulating for the client becomes a gamble. Some clients come to the salon knowing exactly what they want. The hair colorist should verify the color with a photograph and accept the client’s choice or make suggestions of his or her own. This is when professionalism becomes important.

An important point to remember when consulting with clients is their natural hair color category. If they have worn a color at one point in their life, they can wear it again. People in the warm brown category can wear the greatest variety of hair color. Review the natural hair color category and remember, when a client is placed into a natural hair color category, he or she stays in that category for life.

It is not recommended that the client be shown a manufacturer’s hair color chart, regardless of how beautiful it looks. The hair color chart is a tool used by the hair colorist to help formulate. It will not help the client select a hair color; rather it can create apprehension or confusion for the client – or it may put the client in charge of the consultation. In effect, your client will select her own hair color without your input, and at her next appointment will again want to see the color chart to adjust that formula. The hair colorist will find that she, the expert, is taking direction from the client.

We should always remember the salon on the next block or in the next city is not our only competition. Our major competition is the drug store and the supermarket. We must always strive to use professional techniques and methods of application to create hair colors that cannot be duplicated at home. Our goal should be to keep hair coloring a professional service and draw a distinct line between professional hair color and home hair color. What often matters most is not the product you use. It is the application method.

If this is a client’s first hair coloring, there probably will be some apprehension. And her fears are real. If you can erase those fears, you will have a comfortable, relaxed client when performing the service. The most common fears of clients are:

How will my new hair color look on me? ■Will I like it?What will the investment be in time and money? ■If I don’t like it, what will it look like when it ■is growing out?

The consultation period is one in which all aspects of the above concerns should be addressed. The ability to put the client at ease during her first visit to your salon is paramount. It does no harm to embellish the hair color service by using descriptive terms such as “growing out gracefully” or “give your hair a youthful appearance” or “soften your appearance.” Using your own terminology will make the client feel good about the upcoming service.


A word about words: Words can cement or destroy a relationship, bring color to your presentations and make a connection with another person. Above all else, be careful not to insult the client, especially if she has been applying color at home. That means not saying what one colorist was overheard saying to the client: “Wow! Your hair is fried!”

Keep your descriptions positive and avoid emotional outbursts. A better way to address the client would be: “Yes, your hair has lost moisture and needs to have the color replaced; here is my plan …”

The client consultation We suggest draping the client in white and have a white light above the head (or be in natural daylight or have a natural-daylight fluorescent lighting system). Seat yourself next to the client with a clear view of the mirror. It is important to have finished color examples available for the client to view and discuss. Again, this is preferred to showing the client a color chart. Fill out the client analysis sheet. This should also contain all relative information including health, medicines and history of any problems that the client may have had in the past.

Come to an agreement on the target shade. 1. Analyze the natural level of color and find out what the client has in mind. Is a subtle or radical change desired?Discuss the time and frequency of the 2. treatment. How often must this be done to assure great results?Be honest with the costs of the services. The 3. client should not be surprised by charges either for the initial or retouch services.The appointment time should be discussed. Do 4. not attempt to give complicated services on the lunch hour or with a screaming child in tow.Prescribe maintenance products. This is your 5. insurance policy that the hair’s integrity is being properly protected.

Write everything down. Now, begin to make suggestions within the parameters set down. Keep the conversation open, friendly and professional. Above all, listen to what the client is saying! More mistakes have been made from a “lack of understanding” than any other situation.

Remember also that as we develop unpigmented (gray) hair, we lose pigments in the skin. A safe rule for the conservative client or the gentleman client is to stay within 1-2 levels (either lighter or darker) from the natural color.

Inspiration: Pigment studyVolumes have been written about which colors go with which skin tones and eye colors. But

some of us have found these both confusing and difficult to use when consulting with a client. Fashion color is a hot topic, and trends usually appeal to the young client. However, the mature woman and most men will accept natural-looking hair color, done in good taste.

Easy color analysis can be accomplished by using a lighted magnifying glass. Look into the eye, either from the front or the side, and observe the ring around the iris (the pigmented area of the eye).

If the outer ring of the iris is blue (it could ■be blue-grey to as dark as navy blue), the person is cool-toned. Note: Even brown eyes can have a blue ring. Observe the skin. Most cools will have a yellow base or somewhat sallow complexion.If the outer ring of the iris is green (it could ■be aqua to as dark as forest green) the person is warm-toned. Note: Even blue eyes can have a green ring.

Most warms will have a peach or copper □undertone to the skin. We can also observe pigment bundles (freckles) on the face, arms, chest or upper back.

Look for points of inspiration in the iris, that is, flecks of gold, copper or bronze. Any of these tones will be enhancing to that person.

Because these pigments are part of the persons’ natural genetic make-up, the principle of the two color families will apply regardless of race or nationality. Only the concentration of pigments will be different. This applies to the level of color; that is, variations from pastel (fair), medium, to intense (deep).

Who can wear what?The cools can wear:

Naturals/neutrals. ■All cool tones. ■Burgundy/blue-reds. ■Violet reds. ■Iridescent tones. ■Beige tones. ■Soft gold tones. ■

The warms can wear:Naturals/neutrals. ■Strong golds. ■Copper tones. ■Bronze tones. ■Scarlet reds. ■Honey blonds. ■Clear reds. ■

If you wish to equate this information to seasonal color, we can do that, too.

A person who is cool-toned with a fair ■complexion is a summer.A person who is cool-toned with a medium to ■deep complexion is a winter.A person who is warm-toned with a fair ■complexion is a spring.A person who is warm-toned with a medium ■to deep complexion is an autumn.

(The above information can be used to advise clients in make-up and wardrobe selection. This makes you a savvy fashion consultant.)

Note the color family and the points of inspiration on the client analysis sheet.

The categories of hair colorInternationally, all of the color manufacturers use a numbering system instead of referring to “shades.” The reason for this is that numbers translate into an accurate relationship of the pigments present. (See Figure 1 on inside back cover.)

Basically, there are only three color categories: blonds: No. 10, No. 9, No. 8 and No. 7; browns: No. 6, No. 5 and No. 4; and blacks: No. 3, No. 2 and No. 1. You may be thinking: “What happened to reds?” Reds get into tones. A red can be light, and therefore fall into the blond category, or it can be dark and fall into the brown category. (See Figure 2 on back cover.)

All hair color, both natural and artificial, is comprised of yellow, red and blue pigments.

Starting with No. 10 on the International scale, yellow is the evident pigment. Progressing down, we see the introduction of red. The darker the hair or hair color, the greater the concentration of these pigments. At No. 8, we start to see the introduction of red; represented by the appearance of some orange. At No. 6, we see the evidence of red. This increase of concentration provides us with the progression of depth down to No. 1, which is commonly referred to as blue-black. The blue pigment is most responsible for “buffering” the red. We experience this when lightening natural hair color. The blue is the first to be neutralized, thereby exposing the red, orange or yellow.

As a review of the basic color wheel (See Figure 3 on back cover): The three primary colors are yellow, red and blue. Mixed together, they produce brown. The naturals/neutrals are usually represented by the number or level by itself, such as No. 8, medium blonde.

The secondary colors are orange (yellow and red), green (yellow and blue) and violet (red and blue). The resulting tones are produced using the secondary and tertiary colors. These are also represented by numbers and in some color lines, letters.

The most common usage of these numbers represents the following tones and colors:

Ash – x.1, blue or green. ■Iridescent – x.2, violet. ■Gold – x.3, yellow. ■Copper – x.4, orange. ■Burgundy – x.5, red-violet. ■Auburn – x.6, red. ■

For example, a No. 8.3 produces a medium golden blond.

Many exciting combinations are produced by mixing tones in unequal parts to produce a primary and secondary tone insertion. An example of this would be No. 8.43, known as medium coppery golden blond. The copper is the first, or dominant, tone, and gold is the secondary tone. This can be accomplished by using a two-thirds to one-third ratio.

A variety of terms are used to describe the tone of a hair color, neutral, natural, drab, gold, ash, smoky,

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red and auburn red, to mention a few. It is important to know the degree of concentration of the tone. For example, the color identified as gold could be a very intense yellow gold or have slightly more gold than a neutral. Working with the color and making swatches will help you recognize the actual color.

Remember: A cool tone will appear darker than the indicated level, while a warm tone will appear lighter because of the reflection of light.

Note: A tertiary color, such as burgundy brown, is produced from both direct and indirect dyes. These fade rather quickly and can produce runoff with each shampoo. Many fashion shades are produced this way.

Don’t forget the color wheel rule: Opposite colors on the color wheel will neutralize one another.

Types of color

There are many different types of hair coloring products available. They include pigmented shampoos, weekly rinses, semi-permanent, permanent lift-deposit hair color and deposit-only hair color.

Temporary colors (deposits on the cuticle ■layer of the hair) are:

Shampoos. □Rinses. □Mascara. □Generally produced from vegetable dyes □or stains.

A weekly rinse or temporary hair color is primarily used to add color to gray hair, faded blonds or brassy hair. This hair color is not generally used to cover gray, but instead to give a blend to the all-over appearance. It does not have the ability to lighten hair. The color will rub off if applied excessively.

Semi-permanent colors: (deposits in the ■cuticle layer; may penetrate slightly deeper if heat is used) are:

Non-ammonia with no peroxide (may □use heat).Produced from vegetable dyes and □sometimes metallic dyestuff.

Semi-permanent hair color is not mixed with a catalyst, although a heat application may be used to make the color more durable. It is simple to use because the color you see is the color you get. It is a direct dye and does not require oxidation for the color to stain the hair. In areas where the hair is more porous, this type of color will show greater intensity. Caution must be exercised when using a semi-permanent hair color on porous hair; it can stain the hair permanently.

Deep color/non-ammonia colors (deposits in ■the cortex layer):

Are more durable. □Have a low-volume developer (2½- to □12-volume peroxide).May be natural or metallic in origin. □

Deposit-only hair color uses oxidative and direct dyes and requires a developer. The catalyst is generally a low volume oxidative solution. Deposit-only, demi-permanent hair colors are longer lasting than semi-permanent hair color. The major distinction between semi-permanent and deposit-only, demi-permanent hair colors is that a catalyst is required with deposit-only and demi-permanent color. These are also referred to as deep colors.

NOTE: Some deposit-only hair colors may create a small amount of lift, depending on the volumes of the developer.

Permanent hair colors: (deposits in the ■cortex layer):

Will lift natural hair color and deposit □new color.Work with natural pigments. □Are generally produced from para- □phenyene-diamine, para-toluene-diamine and meta-toluene-diamine.Are produced from indirect dyes. They □are clear until processing with the natural pigments.

Permanent (lift/deposit) hair colors are available in a variety of forms: gels, liquids and creams. They are packaged in tubes as well as bottles. The majority use equal parts of peroxide, although some use a one-to-two ratio of hair color to peroxide. Permanent hair color works in basically the same manner; it creates a certain degree of lift and deposit. Permanent hair colors are the only hair colors that are formulated to lighten hair.

The international system of defining the lift/deposit ratio of hair color is called the level system, which gives the colorist an indication of the lift/deposit ratio in a bottle or tube of hair color. Although most manufacturers of hair color products use the level system, not all manufacturers use the same system. When comparing products from two different manufacturers with the same level number, the hair colorist must be aware that the products could vary as much as two levels and may not produce the same results.

How much lightening can we expect? The lightening action is caused by a combination of the amount of ammonia in the color and the volumes of the developer, such as 20V H2O = 2 levels of lift; 30V H2O2 = 3 levels of lift; and so on. Another tip for formulation is to count the natural level along with the target level, such as natural level No. 6 to target No. 8 = 3 levels. This is true because we must lift through the sixth level to reach the seventh level and then up to the desired eighth level.

A rule to remember when choosing a color: The darker the color, the smaller the number. This may vary, depending on the manufacturer. Some start with No. 0, others with No. 1. The

same variance can be found on the other end of the scale. Some manufacturers choose to use No. 10 as the lightest hair color, while others choose to use No. 12. Permanent hair color contains ingredients that create lift and deposit color. The lifting action is provided by the ammonium sulphate. Generally, the higher the number or level, the more lightening provided. Also note, with the higher lightening comes less deposit of color. The lower levels provide less lifting action and greater concentration of color deposit and thereby contain less ammonium sulphate.

Permanent (lift/deposit) hair color contains dye, alkaline substances, conditioners, stabilizers, fragrance detergents and emulsifiers. These are all used in various proportions to create the vast numbers of hair colors that are available to the hair colorist. The advantage of professional hair coloring is greater selection, professional formulation and professional application techniques.

The level system only indicates lift/deposit ratio. The tone or shade defines the actual color and is generally listed on the product. Manufacturers often add a letter or series of numbers to identify level and indicate tone. While this information is provided to help the hair colorist determine formulation, the final color is determined by a number of factors that the colorist must consider. Category of natural hair color, presence and amount of gray hair and the condition of the hair all will apply. The colorist cannot rely on level and tone indicators from a manufacturer alone to accurately predict a final color.

Note: Ask your manufacturer for the MSDS on each product. Another important consideration is to ask whether the colors are developed on a pigmented or white base. This will adjust the depth of final results by as much as one full number. For example, a No. 6 that is formulated on a white base will appear as deep as a No. 5 in the final results. For this reason, a color chart or swatch book can be deceiving.

Chemistry – color mixingHere are some examples of how to custom mix colors.

Example: Decreasing the intensity of a tone ■ :A red tone is too bright for the client’s □taste: Mix ½ of the formula in a Natural color of the same number/Level.

Example: No. 5 (medium brown) is too ■dark and No. 6 (light brown) is too light:

Customize the formula by mixing half of □each to produce a No. 5½ level.

Example: A natural level No. 7 (dark ■blond) has difficulty maintaining a strong red tone.

Consider mixing at least one-fourth of the □formula in a deeper warm color, or work with a lower volume of developer, or use both adjustments. Always strand test to predict results.

Caution: Mixing more than two colors may give unsatisfactory results, because mixing the three primary colors or mixing a primary color with a secondary color will produce brown.


A tip for formulating brownsA client wishing to match her natural color says that her hair is light brown and doesn’t have any red in it. Should we use No. 6 light brown?

The gentleman client with natural dark brown hair wants to cover his gray hair. He does not wish to see any warmth in the color. Should we use No. 4 dark brown?

The answer to both scenarios is: NO.

Using a brown in either case will produce warm results. In the first case, the choice would be No. 7 dark blonde. For the gentleman, the solution would be to use No. 3 natural black.

When we use a brown, we automatically deposit red into the hair. While we can mix in a drabbing agent, this toning will wash away, revealing the warmth underneath. The better choice is to avoid this pitfall.

Formulating for unpigmented (gray) hairPeople who are turning gray have always attempted to disguise it. Many concoctions have been used in an attempt to retain a youthful appearance. Although gray hair has been a curse to those whose demeanor is youthful, it’s been a mixed blessing to the hair colorist. The introduction of gray hair is often the catalyst to prompt individuals to color their hair. At the same time, gray hair presents a special challenge to the hair colorist.

No one has really determined why hair turns gray. Hair turns gray (or more accurately white) because at some point melanin stops being produced – but why it stops is still unknown. It’s believed by most scientific communities that graying hair is a result of genetics. When a person is born, each follicle on the head is genetically coded to stop producing melanin.

The perception of the general public is that gray hair is associated with aging. Individuals in today’s society are constantly being bombarded with advertising to persuade them to retain their youthful appearance. This is a benefit to the hair colorist.

After identifying the client’s natural hair color category, it is necessary to identify the percentage of gray hair. It is also important to identify the placement and distribution of gray hair. A person who is 50 percent gray with the gray hair sprinkled equally throughout the pigmented hair would require a different approach than a person who is 80 percent gray in the front and 20 percent gray in the back. In each case, half of the hair is white and half is pigmented. See the Glossary at the beginning of this course and the Marketing ideas section, below, for techniques to present to the client.

For an appreciable amount of gray hair: ■White hair is missing oxymelanine □(yellow base), which is the reason it is so difficult to cover. Mix up to half of the formula with a golden tone in the same number. This will provide a base on which the colors will develop.

Another trick is to use the “pre-softening” ■technique:

Dab 30V developer onto areas of □resistance (the most white concentration).

Allow 5 to 10 minutes. □Mix your formula while waiting. □Blot areas well with a towel. □Proceed with application. □

In addition to the above solutions, we can ■add these:

“Dial the clock back” by simply combing □on the natural level (stay back from the hairline) mixed with 10V developer. The balayage technique works great for this, and the 10V mixture controls the warmth we see so many times in level No. 5 and deeper. This is also referred to as lowlighting.Avoid using blue- and green-based colors □on white hair. This will finish as “silver” on the hair and is aging to the skin. Use the “iridescent” tone (x.2). This has some yellow in the formula to keep the hair from going ash.If the target is No. 7 warm, add in up to □half of the mixture in No. 7 gold. This will prevent “hot” roots. And don’t forget the pre-softening trick. Through study on the scanning electron microscope, we know that white hair can have as many as 10 cuticle layers. This is what gives us the challenge in covering gray and white hair.When formulating for the first time color □on hair that is more than 50 percent white, label the white hair No. 10 and analyze the natural level (let’s say No. 6, light brown). Add the two numbers together: 10 plus 6 equals 16, and divide in half, which equals level No. 8. Because the client has lost pigments in the skin along with the lack of pigments in the hair, this level will blend beautifully. Add the suitable tone, and you have given the client a natural-looking result. Many times a client wants to return to □the natural color that she had 30 years ago. This is not a good idea. The dark color will cast a shadow to the skin and emphasize every line on the face. The

client does not realize that she has been accustomed to viewing the lighter, softer reflection. For this reason, we can adjust the formula up by one-fourth to one-half level at least every six to 12 months.Use a deep color in a golden blond on a □client with Level No. 6 and 50 percent white hair. This resembles a highlighting. Or we can highlight the hair with a high-lift color to camouflage the gray/white hair.

Hydrogen peroxide is the catalyst that causes permanent hair color to work. A qualified hair colorist should be able to use various volumes of peroxides. Twenty-volume peroxide is the typical developer used in most cases.

Higher volumes of peroxide are used when a greater degree of lift is desired. As the volume of peroxide increases, the color deposit diminishes. Also, be aware that higher volumes of developer bring up more warmth in the final results. Clients with sensitive scalps may not be able to withstand additional activity from higher volume peroxide.

The opposite occurs when the volume of peroxide is lowered; less lifting action and greater deposit is realized.

You have probably seen this scenario: The natural level is No. 5 and target is No. 9. The client insists that you perform this in a single process (not use a bleach). First, this is a chemical impossibility. A high-lift color mixed with 40V H2O2 will still give only three to four levels of lift (from No. 5 to No. 9 is five levels). Why? Because the product will stop working before the desired lift is achieved. Have you tried accelerating with heat and added activators and covered with a plastic bag? If so, the result was a very warm level No. 7, (orange) no matter what you did. Do not expect a color to accomplish what a bleach was designed to do. You cannot break the laws of chemistry and expect perfect results.

Two suggestions for this:Pre-lighten the hair to level 7, then apply the ■high-lift No. 9 with the suitable tone.

Peroxide (H2O2) volume reduction

Formula mix Results in Color mixture use

1 ounce 20V H2O2 + 1 ounce H2O

2 ounces 10V H2O2 Color for hair that is permed.Color for hair that fades quickly.Correction on over lightened hairWhite hair (areas of resistance).Color for the same level or darker than the natural.

1 ounce 20V H2O2 + 3 ounces H20

4 ounces 5V H2O2 Toner on pre-lightened deposit-only color

2 ounces 10V H2O2 + 2 ounces H2O

4 ounces 5V H2O2 A tone corrector

1 ounce 20V H2O2 + 7 ounces H2O OR4 ounces 5V H2O2 + 4 ounces H2O

8 ounces 2½V H2O2 Semi-permanent color

Notes: Cream developer is preferred over clear peroxide because of stability. Distilled water is recommended for these adjustments to the developer. Check your volumes with a peroxide hydrometer and keep containers tightly closed and clearly marked.

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Use the No. 9 color with 30V peroxide to bring ■the hair to level 8, then highlight the hair in a weave with powdered lightener. This will give the illusion of an all-over Level No. 9. The base color must be re-touched in three weeks and the highlights redone in eight weeks.

When a client requests “highlights,” usually she visualizes the No. 7 or No. 8 natural level with a No. 9 or No. 10 strands throughout. But what if she is a natural No. 6? Easy! Bring the base to a No. 8 (medium blond); and then highlight that.

We always need to work within the parameters of the product that we are using. When preparing the mixture, place the peroxide in the container first; then add the cream color or colors. Peroxide acts as a gas, and gases release upwards. If you are using a liquid, mix the colors together first; then add this to the peroxide. This will produce a more accurate lifting action.

Market your skillsThey won’t know if you don’t tell them! Here are some descriptions of your skills and services that will speak to your clients.

Marketing termsBan de soleil/balayage: Touched by the sun. Lightness the way the sun would do it. This process is generally used on lighter hair and is accomplished with a form of hair painting.

Blond on blond: A technique utilized to create a blend of blond shades on the same head of hair. May be used on a natural blond or on someone who is coloring her hair blond; gives the hair a dimensional effect.

Brown on brown: A technique to add dimension to a solid brown by adding additional lightness with a mild contrast.

Frosting: A method of lightening individual strands of hair. This term is generally associated with a cap on the head through which the hair is pulled.

Carmelizing/tortoise shelling: Different amounts of tortoise colors added to a brown head of hair.

Collage: A mixture of colors weaving through the hair, generally achieved by various stages of lightening.

Color on color: The use of no lift color on the hair, making the hair darker.

Framing: Lightness around the face, generally achieved by using a dimensional color effect.

Fur light: Achieved on short hair that is standing out from the head like a porcupine. The hair is bleached, and then a dark color added to the ends. Use “shoe shine” technique with product on the foil.

Foiling: Refers to applying foils to the hair to create a dimensional effect.

Glazing: A deposit-only color applied over a highlight. Can also be a lifting toner or change the natural color slightly.

Grabbing: Paint bleach or tint on your gloved hands, then grab the hair, depositing the tint or bleach in an irregular pattern.

Gray reduction: Adding additional natural color to gray hair to reduce the amount of gray.

Haloing: Lightening only the hair around the face on short hair, creating a halo effect.

High-lowlighting: Lightening isolated strands and darkening strands on the same head at the same time.

Icicling: Color or lightener added to the ends of highly teased hair.

Icing: Adding light strands to resemble gray hair.

Inner glow: Bleaching only the hair close to the scalp on dark hair.

Lowlighting: A corrective technique used to tone down overly lightened hair by adding a darker color to selected strands. The opposite of highlighting.

Marbleizing: Thin ribbons of lighter hair weaving through darker natural hair.

Minking: Darker hair on lighter hair. Generally done on short hair.

Naturalizing: A technique using several colors within the same natural range.

Nuances: A technique adding delicate shadings, reflections in a dimensional effect.

Painting: Painting color or bleach on the hair with an artist’s brush. Also known as hair painting.

Reverse highlighting: The addition of a darker color to previously lightened hair. First isolate some of the blond strands, then color all of the remaining hair, creating a highlighting effect.

Scrunching: Painting color or bleach on gloved hands and scrunching the hair. This technique is done on dry, backcombed hair, allowed to process and then shampooed off.

Shading: The subtle blending of lighter to darker colors. Always blur adjoining areas together.

Slicing: A foil technique placing 1/16-inch of hair sections in the foil. A faster method than weaving.

Shoe shining: Painting a layer of bleach or color on a long strip of foil and transferring it to the hair as if using a shoeshine rag.

Streaking: Larger, more well defined strands of hair.

Three, two, one: Slices (1/16-inch) back to back; avoid 1 inch of hair and repeat.

Tipping: A form of lightening at the ends of the hair instead of the entire shaft.

Tone on tone: Changing the natural hair color, than adding lighter strands.

Weaving: A term used to define a method of selecting strands for dimensional hair coloring.

Blonds that steal the show!Palomino gold: A soft gold that is a combination of fine weaves in three different shades of warm blond.

Gold of the moon: An all-over dark blonde with fine slices lighter, especially in the top and sides.

Sunset: A slightly warmer blond that shows off sparks of gold and red.

Tupelo honey: A medium warm blond with slices of pale gold accentuating the lines of the style.

White lightening and platinum plus: Not for the faint of heart.

Blonds are more natural-looking, meaning they’re wearable by lots more clients. In fact, guys are getting into the blonding scene, asking for highlights that extend that summer-sun look well into the fall.

If already a blonde, the hottest shades to switch to are strawberry or spun gold. These are so delicate because fine strands are integrated into the hair for a multi-dimensional effect.

Even brunettes are joining the blonde scene with highlights strategically placed to bring light to the face and add tonal sparkle.

Buzz words to get them buzzingSun-kisssed. ■Upscale (14-carat gold). ■Wheat (cool). ■Funky (violet or pink). ■Pale chiffon. ■Sassy (warm). ■Golden copper. ■Honey-gold. ■

Radical redsThe latest red hues to have are red hot and super cool:

High glossed. ■Super-streaked. ■Marbleized beauty. ■Brightly burnished. ■Shimmering scarlet. ■Copper top. ■Crimson queen. ■Pure flame. ■Fire and spice. ■

Red alertWhile both “warms” and “cools” can wear reds, care must be taken to choose the correct tone for each. The “warms” can wear the golden-red, copper-red and scarlet or clear-red. The “cools” should choose the lavender-red, burgundy and blue-red.

And don’t forget to fire up your reds with blond lights. A few slices or balayage strands in the front and top completes the look.

Also important on the scene are the combination reds. Choose two or three colors of red at least one level (number) apart from each other and block the head in three zones (darker at the bottom, medium in the middle and light at the top.) Spark the whole thing with blond lights and you have a show-stopping effect.

Chocolate kissesWhatever the shade of brunette, a touch of chocolate sweetens it up!

Mocha treat. ■Chocolate cherry. ■Caramelized candy. ■Hints of hazel. ■Neutral (natural) browns ’n’ spice. ■Honey brunettes. ■Crystal pecan. ■


At any level, there’s nothing boring about the brunettes!

Customize the formula using one-half natural brown with one-half gold, copper, auburn or burgundy shade and voila! The finished results are dynamite. We suggest that you sprinkle the finished confection with gold or honey lights.

Tools of the tradeColor sleeves: A tool that resembles a perm rod used for reverse highlighting.

Foil technique: The use of aluminum foil for isolating segments of hair for bleaching or coloring. Note: Keep foils flat or rolled; do not fold or crimp! Doing the latter can cause a heat point that will weaken that section of the hair strand.

Super streak cups: A cup-shaped device used to isolate and contain strands for coloring or lightening.

Paper wraps: Paper wraps used in conjunction with color sleeves or for isolating hair strands for bleaching or coloring. Also, one-side waxed paper can be used instead of foil (wax side against product).

Tail comb/pin comb: A comb with a pointed end used to weave out and section hair.

Crochet hook: A small device with a hook on the end used for pulling hair through a frosting cap. Note: Remember to approach the hair from the front of the head toward the back. This will prevent tangling or knotting.

Frosting cap: A plastic, rubber or foam cap that fits snugly over the head. Once in place, hair is pulled through and lightener or color is applied to the hair outside the cap. Note: Remember to lift the hair away from the cap during application.

Color slips: Coated paper used to isolate selected sections of hair.

Litho pads/transfer pads: Pressed cotton pads used to isolate selected strands of hair to be lightened or colored.

Cotton coil/flat pressed cotton coil: Used with balayage technique to segregate layers of hair.

Color spatula: A specialized color tool used to distribute powder bleach through the hair.

Color easel: A plastic or Masonite board used to support the section of hair to be lightened or colored with foil or paper wraps.

Plastic applicator: A pliable squeeze bottle used to apply color or lightener. Generally works well with liquid or gel products.

Plastic wrap: Transparent, reusable or disposal plastic sheets used to isolate sections of hair.

Shaker: A non-metallic container used to measure and mix color or lightener.

Tint bowl: A non-metallic container use to mix color or lightener.

Tint brush: A tool used to apply color or lightener to the hair. Available in many sizes for convenience.

Techniques, techniques, techniquesYou have many techniques already in your repertoire. The most popular and probably best practiced are foils, using either slices or weaves. But let’s be honest, these are time-consuming and labor-intensive. To increase the color services, we must look at easier and faster methods to accomplish the multi-dimensional effect. Here are a few ideas for your consideration.

Touch-color: ■ Backcomb small squares of hair (down to the base) and apply lightener/color formula to the hair above the backcombing. Use your fingers with the aid of a color brush. This works great for partial highlights/lowlights. A 40V developer in the mixture produces maximum lift and works on short to midlength hair. (By the way, the backcombing falls out when the products are removed and the hair is conditioned.) Sun-dusting: ■ Either use the “touch-color” preparation or simply comb the finished direction of the design. Protect the client’s face with a plastic tennis visor. Spray 15V developer on the areas desired (usually the top and around the face); then sprinkle powdered lightener from a saltshaker with large holes onto the beads of developer. Allow to develop from 5 to 15 minutes. This will give an allover glow to your design with glints of lighter tones and sparkle throughout. Gentleman clients love this one, because it is undetectable. It resembles what the sun does to the hair. You may wish to combine these two techniques for more dramatic results.Balayage: ■ (The French word for “sweeping”) lights into the hair: Use a styling comb as a palette to brace small sections of hair. Apply lightener-color formula with a small brush to the strands, then use cotton coil or a small wad of cotton to segregate those strands. Work in any area or pattern you wish.Another method is to use your choice of ■comb (small tooth for fine strands and larger for heavier strands) to apply the formula to the strands. Then, use the cotton coil as a band to segregate from the next layer. You need to use the front edge of the comb (first three teeth) parallel to the strands and tip the comb down to release the strand. Accomplish as many layers as desired working from the hairline toward the top of the head in ½- to 1-inch horizontal sections. This can accomplish a multi-dimensional effect by using 1 to 3 different formulas. Color formulas will cease to work within their time; but lighteners will continue to work while still wet. This also is a time-efficient method for re-touching existing highlights, because you can work with as little as 2 inches of re-growth and not overlighten the remaining hair. With a little practice, you will be able to do the application in 15 minutes.

Note: To stop the action from an area, simply dry the product from the hair with a towel. Do not spray the hair with water! This will re-activate the developer, especially with powdered lightener.

See Figures 5-9 for graphic presentations of techniques.

Figure 5

Color maintenance – four guidelinesAll retouch applications should be considered a “corrective” procedure. The hair is not stagnant. Color, even natural color, fades with daily wear. Now that clients are shampooing, blow-drying and using heat appliances daily, all of this mechanical abuse increases fading.

Remember, a suggestion for client consultations is to book scientifically; i.e. book the re-touch appointment after you finish the initial service.

If the new color is one to two numbers lighter than the natural, allow three to four weeks between services. However, if the lightening is greater, such as an allover blond, retouching should be done in two weeks to prevent “gold banding.” Highlights should be retouched after the haircut if you are using one of the fast methods. Otherwise, retouch the highlights within 12 weeks. A client who walks around with 2-3 inches of regrowth is not doing your business justice!

Color maintenance guidelines will answer the following color mysteries:

How does the colorist maintain the hair from ■retouch to retouch?When should I pull color through the ■midlengths and ends?How long should I leave it on? ■When do I need to make a color adjustment ■and add more color to the mixture?

The only way to answer these questions with predictability is to take a strand test. There must be some degree of color loss in order to apply product to midlengths and ends. We should not guess or do it out of habit.

The test strand will determine the formula and the amount of time necessary for the color to be on the midlengths and ends. This allows the colorist the ability to predict the end results and make changes in the formula if necessary.

First, apply the full-strength formula to the new growth. Then, in the crown, take a small section and bring the formula down over the midlengths and ends. Wait 10 minutes. Then dry that section with a towel and observe the results.

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Guideline 1: Retouch or maintain colorWhen lengths and ends are not faded and only need reviving:

Apply formula to new growth (take test strand). ■Develop 25-30 minutes (or total time). ■Add a small amount of warm water to the ■hair and emulsify (mix until creamy) at the basin, working the product through the lengths and ends for 2-3 minutes. All color mixtures contain phenol (a soap). This mixture will remove color stains from the skin and set the color. Rinse thoroughly and shampoo once. Condition if necessary.

Guideline 2: Replace toneWhen only the tone needs to be restored:

Apply to new growth (take test strand). ■Allow to develop 15 minutes (or half of ■total time).

Add equal water to remaining mixture. ■Apply to mid-lengths and ends. ■Allow to develop another 10-15 minutes (or ■total time).Add warm water; emulsify, rinse and shampoo. ■

Guideline 3: Replace depth and toneWhen lengths and ends have lost both depth and tone and are very faded:

Apply to new growth (take test strand). ■Allow to develop 15 minutes (or half of ■total time).Add equal water to remaining mixture. ■Just prior to running the leftover mixture ■through the lengths and ends, add in a warm or red color of a darker level than the target color applied to the new growth. It is recommended to add in 1 or 2 capfuls of any of these shades:

Dark auburn. □Light auburn. □Dark copper-gold. □Medium copper-gold. □Light copper. □Light golden-copper. □Gold. □

Develop 15 minutes or remainder of time. ■Emulsify, rinse and shampoo. ■

Guideline 4: Pre-pigmentation/ fillingWhen color has lightened more than two numbers/levels and is sensitized, or the client wishes to have a deeper color

Apply target to new growth. ■Pre-pigment with desired shade (one to two ■levels deeper and warmer than target).Use only liquid color mixed with a small amount ■of hot water; apply to midlengths and ends.

Figure 6

Figure 8

Figure 7

Figure 9


Make sure that the hair is saturated, but not dripping. Blot with paper towel, if necessary.Re-mix target shade with 10V H ■ 2O2 and apply over pigment replacement.Begin full processing time upon completion ■of application.Emulsify. ■Rinse until water runs clear and shampoo. ■

It is always imperative to analyze the condition of the hair. This brings us to the Golden Rule of color correction:

The sensitivity and condition of the hair determines the degree and method of corrective coloring.

The hair did not get to this state overnight. It may be the product of repeated failures on the part of the client to “do it yourself.”

Sometimes the hairdresser must become a detective to determine what has been used previously. Some color products are not compatible with permanent color or color removers. Ask questions such as: Were two bottles mixed together? Did you also have a perm? Is this from the sun? Was it a “natural” color (henna)? How many times was the formula applied?

All of this will help you determine your course of action. If the condition of the hair is very poor, do not attempt to correct. Suggest conditioning treatments and frequent haircuts. The client will appreciate your honesty and professionalism.

The client consultation should begin by establishing a realistic target shade. Never make promises. It may have taken many applications before her trip to the color expert. So she must understand that it may take three to four visits before she is completely satisfied. This way the expectations are out in the open from the start.

Money is very important. You should give her an idea of the range (such as, “My corrective prices are $60 an hour”). Give some indication of what this is going to cost.

Time is of the essence, both hers and yours. She should not have any prior commitments on the day of correction; no colorist needs the additional pressure of time constraints. As we know, correction can range from 45 minutes to eight hours. Your schedule should allow you the proper amount of time to allocate to that client and her specific needs.

Color correction – 3 basic problemsResults too dark or removing artificial color1. The fact is, no color can remove another color. Chemically, there are only two ways to remove permanent color that is too dark or when the client wishes to go to a lighter shade: Bleaching and color remover. Color remover is the preferred procedure because it unlocks the bond of the artificial color and is less caustic to the hair. It is an ammonium solution designed to neutralize indirect dyes (permanent hair color). This is the answer for clients who come in with home color build-up, muddy-looking color that lacks clear tone from too many color changes, or an

uneven deposit of color. Remember the term “chemical backlog.” The hair “remembers” what was used on it, and it shows through in the final results. Many products also are cationic (sticks to itself) and darken with repeated applications. The application of a color remover is related to your end result. Remember, your goal is to create a suitable and even base for a new color.

Mix color remover with the developer □from that manufacturer or a suitable 20V.Apply to dry hair, starting in the darkest □areas – usually the ends. A tint brush allows for better control. You can place the product where it is needed and avoid contact with natural pigment. Make sure that the hair is saturated evenly.Process from 10 to 45 minutes or □according to manufacturers directions.It may be necessary to re-apply to darker □areas using a 30V mixture. In this event, do not wash the first application; simply blot with a towel and proceed with the stronger mixture and continue processing.When a suitable base is achieved (slightly □lighter than target level), rinse, shampoo gently and dry the hair.Proceed with the application of the □target shade.

Note: Even dark colors lighten natural pigments due to the developer.

When dealing with direct dyes, removal is totally different. Some manufacturers (gratefully) provide a removal system for these rinses, semi-permanent, deep and non-ammonia colors, but many do not. And most nonprofessional products are formulated with metallic salts.

This formula has worked on many of these color products:

4 ounces mineral oil mixed with 4 □ounces alcohol.Apply to dry hair and saturate well. □Place cotton coils around the hairline to □prevent run-off.Cover the head with a processing cap. □Seat client under a hot dryer for 20 minutes. □Take the client to the shampoo bowl. Do □not wet the hair with water!Saturate the hair with shampoo and work □into a lather.Rinse and shampoo and condition as needed. □Dry the hair. □Continue with other services. □

Changing the tone/cleansing2. If a cool tone (blue, green or violet) has been used on the hair, it will dominate the finished results. That is to say, applying natural/neutral, red, copper or gold will result in a flat or muddy shade. This cool tone must be removed to achieve the clarity of the target shade.

Prepare this mixture in an applicator bottle:4 ounces hot water. □1 package color remover. □2 squirts of shampoo. □Shake to mix thoroughly. □

At the shampoo bowl, saturate the hair with this mixture. Check results at 10 minutes by drying a section. Usually, this is enough.

Rinse well. □Shampoo gently and condition if necessary. □Dry the hair. □Proceed with target shade application. □

Re-establishing depth and tone/pre-3. pigmentationThis is necessary when the client’s hair is two or more levels lighter than the target.

It is critical to replace the missing pigments for color durability. The product of choice is a liquid permanent hair color followed by an application of a cream permanent hair color mixed with 10V developer.

It is recommended that the shade be one to two levels deeper and warmer than the target. The more sensitized the hair, the greater the need for depth and tone. The pre-pigmentation shades must contain gold, copper or auburn or a combination of these. While this sounds extreme, we know that it is possible to lose up to 20 percent from daily wear.

A few examplesExisting level

Target level Prepigmentation

9-10 No. 8 natural

No 8 or No. 7 gold

8 No. 6 copper

No. 5 auburn

8 No. 6 auburn

No. 4 dark auburn

Mix the liquid color with a small amount of hot water and apply to the hair. Make sure that the hair is saturated but NOT dripping. Results will be too warm if too much fill color is used. Comb through the hair to assure even distribution. Blot with paper towel if there is an excess on the comb. Note: Never apply raw color to the hair. To do so could cause chemical burns.

Return with the target mixed with 10V □developer; apply and process for the full time.Finish service as usual. □

A helpful practice for all corrective color work is to draw the strand out in a line, placing the representative levels and tones along the strand. This makes it possible for you to see what actions are needed to be taken. Write these down to help with your decisions. And, as with the basic analysis and consultation, work with the best lighting available.BibliographyStandard Manual of Cosmetology, Milady PublicationsHair Structure and Chemistry Simplified, Milady Publishing Co.Pivot Point International, Salon FundamentalsThe American Board of Certified Hair Colorists Study PortfolioJo Ann M. Stills, Americas’ Educator, 1975 to Present; L’Oreal Professional Technician, 1984 to 2005

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CHAPTER 2

SHARPENING YOUR CUTTING SKILLS

3 CE Hours

Learning objectivesList the factors you should consider when !

purchasing scissors and other hair-cutting equipment.Describe proper care routines for your scissors. !

Consider questions you want a client to !

answer during a client consultation or in a questionnaire.Describe the bone structure of the head and !

how this affects the finished hair design.Gain an understanding of how growth !

patterns affect the finished design.List ways to control naturally wavy and !

curly hair.Describe directional designing. !

Define weight distribution of hair. !

List ways to correct the hair’s lack of density !

Describe texturizing techniques. !

IntroductionLearning a haircut is just part of the procedure for a hair-care professional, and this course is not about a haircut style. It is about designing the “fabric,” which is hair. Just as a clothing designer shapes the fabric for a straight skirt or a flared skirt, we can shape a client’s hair to either hang straight or flare away from the face.

This course will explore how to achieve the final results. Although the course is limited to designs for three lengths (long, mid-length and short), the techniques will lend themselves to any length and every design.

Remember: The flow of the design must be there wet in order to be there dry.

Reflect before you buy scissorsA wise stylist always reflects before buying scissors. Below are some factors to consider – to reflect upon – when selecting one.

R: Requirements: Determine how you plan to use the scissors. Will they be used for wet or dry hair? Precision cutting or scissors over comb, weight lines or bobs? Will they be for primary use or as a backup?

E: Edge: Consider a honed edge vs. a machined/serrated edge. The machine/serrated edge is more durable and ideal for beard trims, mannequins, dry cuts and so on, On the other hand, the honed edge is less durable, but gives superior results on clean, shampooed, wet hair. Honed-edge scissors are generally more expensive, cut better, have a longer useful life and require greater care. However, they can be permanently damaged if sharpened improperly.

We suggest that you purchase both a good honed-edge scissors for wet cuts and a machined/serrated-edge scissors for dry cuts and scissors-over-comb work.

F: Finger rest: Using a finger rest is a personal choice. Some advocates suggest that it helps

prevent dropping and reduces fatigue. Opponents say it gets in the way. Some scissors are available with screw-in rests so you can have your scissors with or without a rest as you prefer. Note: Without the finger rest, the shears are held with the thumb and middle finger. With the rest, the shears are held with the thumb and third finger, with the little finger on the rest.

L: Length and loops: Correct blade length varies with the intended use of the scissors. Precision cutting calls for shorter (4.5- to 5.5-inch) blades, while scissors over comb work, cutting weight lines and bobs generally require a longer (6- to 7.5-inch) blade. Buying the right size for your finger length also is very important. The precision cutting shears blade should be no longer than the length of the middle finger.

Both finger loops must be fitted to the chosen fingers and rest below the first knuckle.

The thumb and finger should not slip through to the finger base. The loop size is a major factor in comfort and control. Your scissors should feel comfortable in your hand while giving control and dexterity. Finger loop inserts should be used to adjust the size if necessary.

For client safety, the thumb should always be removed and the blades closed before combing and parting the hair. You also may wish to turn the blades back in the hand while combing and parting the hair. This requires practice, but is safer.

E: Evenness: How a blade feels can tell you a lot about the scissors’ quality. As you open and close the scissors, notice the evenness of the pressure of the blades on each other. Loose or tight spots can indicate poor quality, while even, moderate pressure from the fulcrum to the tips is generally an indication of superior quality. Be aware of the smoothness of the blades. Rough spots or a “gritty” feel on hand-honed scissors indicates poor quality or damaged edges. You will, however, be able to feel the texture of a serrated edge.

C: Configuration: Configuration means how the loops are aligned in relation to each other. Scissors are available in even-loop, offset and crane-designed loops. Which is more appropriate for you depends on your personal preference, which fingers you use to hold the scissors (middle or ring finger), and your individual cutting style. In any event, buy whatever style feels most comfortable.

T: Tips: When cutting outlines against a client’s neck, smooth, slightly pointed tips can be more comfortable to the client and allow you to get under the hair. With other types of cuts, some stylists prefer blunt tips, which can help minimize cutting your fingers.

S: Service: Quality scissors are an expensive, long-term investment. Make sure that your investment is backed up by a qualified source of service that will provide superb sharpening, fast service and factory parts, all at a reasonable cost.

Wet hand-honing, which is the proper method to sharpen fine scissors, preserves the temper (hardness) of the blades by keeping them cool

during the honing process. Grinding creates heat, which can destroy the temper or hardness of the blades. Hand honing also extends the useful lifetime of the scissors by removing only a minimal amount of metal from the blades. When purchasing scissors, factor in the cost and quality of service and the time the scissors will be unavailable for use while the service is being performed to get a true amortized total cost of ownership. Ask questions and check references; it’s your money that you’ll save.

Caring for your investmentWipe off the blades after each use, using a 1. slightly damp (but clean) towel.After each day’s use, clean the scissors 2. carefully. Wipe off the blades and the ride area before putting the scissors in a safe place for the night.Once every week, following the cleaning, put 3. a drop of scissors oil (clipper oil will do fine) around the pivot screw while the blades are fully open. Wiggle the blades for a few seconds so the oil will soak into the bearing, then wipe off the excess. Put a small drop on the ride areas (behind the screw) and wipe off the excess.If the scissors become nicked, don’t force4. the blades closed. Separate them slightly, close them and send them to a qualified repair source. Nicked scissors cut poorly and can become even more damaged with use.Be especially selective about sharpening 5. services. Remember, a bad haircut will grow out, but a bad sharpening is forever. It can permanently ruin your scissors.

Scissors myths debunked“ICE scissors sharpen themselves when put in the freezer overnight.” ICE is a generic term for a tempering process and has nothing to do with sharpening.

“Scissors will never wear out if sharpened properly.” All sharpening involves the removal of some amount of metal. While excellent sharpening removes only a small amount of metal, eventually all scissors will wear out.

“The best sharpening is done by computer (or by laser).” A computer can control some elements of manufacture; but the finest sharpening is still done by skilled hands.

“Really good scissors never need sharpening,” or “They sharpen themselves while you use them.” Some enthusiastic salesman must have coined this one.

“Wet honing will cause scissors to rust.” If this were the case, you would have a problem cutting wet hair. (This excuse was offered by a door-to-door scissors “sharpener” pushing dry grinding.)

“Once sharpened, scissors will never be as sharp as they were when new.” With inferior sharpening, this may be true – but with superior sharpening, the scissors may be sharper than new. The edge was originally put on by hand, and hands of the same skill level can restore the edge many times. Scissors are only as good as their last sharpening.


“Once you drop your scissors, they are ruined forever.” The most frequent problem with dropping scissors is getting a nick in the blades. This is easily corrected by competent sharpening.

“Some scissors can only be sharpened by the factory.” Often “factory” refers to the sharpening service that wholesales the service to the salesperson or his company. What the speaker may be saying is that he won’t get a commission on the sharpening if you have it done by someone else. In other cases, the speaker may be encouraging you to avoid having just anyone sharpen your scissors, knowing there are few truly qualified sharpening sources.

“Sharpening scissors too often will prematurely wear them out.” Actually, forcing your scissors to cut when dull or nicked creates more edge damage and pivot wear than having them properly sharpened. Cleaning and lubrication of the pivot, ride and bearing areas are part of the sharpening procedure. By extending the time between sharpenings, greater wear is occurring in these areas.

Using fine scissors when dull is cheating yourself out of the performance you paid for. “ICE” machine/serrated scissors should be serviced about every 1,000 haircuts. Hand-honed scissors will perform at their best if serviced every 400 to 700 (shampooed-wet) haircuts.

“If you get your scissors sharpened, you’ll cut yourself more often.” When scissors become dull, stylists cut closer to their fingers to keep the scissors from pushing hair. Once this habit is established, you will cut yourself more often, dull or sharp. Even dull scissors can cut skin. Sharp scissors can cut well even when held away from the fingers, which minimizes the likelihood of cuts.

Using the scissorsWhen we started kindergarten, we learned to cut paper for crafts. This was accomplished by using scissors with the thumb UP. Hopefully, you were trained to use the haircutting shears with the thumb DOWN – or as it’s known, “cutting palm to palm.”

The importance of this is that the thumb blade is the moving blade in haircutting. It is responsible for “scooping” the hair up to be cut. The finger blade remains stationary for control. Practice holding your hand still and moving just the thumb. This is the action will give you clean, accurate designs from all of your cutting shears.

Other cutting toolsSo far, we have addressed your primary scissors. Now let’s consider the other cutting tools that we use. Techniques for these tools will be included later on in the course.

Thinning/blending shears: These are produced with either one or both of the blades notched. They also may be curved or straight and different lengths. You may wish to purchase more than one of these for different effects. Note: the more notches, the more hair that will be removed. You have probably seen shears with just a few notches

and large spaces in-between. These remove the least amount of hair while maintaining a desired pattern. If you wish to purchase just one, let it be a good 44/20 blending shears (a barber’s tool) because of versatility.

Razors: The most aggressive razor is the one with a guard, and the take-off from this is the “feather razor” or so-called “precision razor.” These will remove bulk and give texture to the areas desired. The least aggressive would be the unguarded shaving razor. A Tondeo razor is just one of many. With only 1/16-inch blade exposure, this is suitable for cleaning necklines and texturizing in the least obvious way.

Whichever you choose, be aware that a razor cut slices the hair ends on an angle. For this reason, using a razor encourages wave and curl pattern. The hair must always be wet.

Clippers: From the investment point of view, the motor drive clipper is the most versatile and durable. It will give many years of great service and will not be challenged by thick, coarse hair. The less expensive belt drive clipper is suitable for cleaning necklines and trimming sideburns. It will, however, get very hot and lose power on a “clipper cut.”

Combs: The choices here are endless, beginning with the tapered barber comb all the way to the clipper comb. The spacing of the teeth of the comb dictates its use. Still, the hand-finished nylon comb will give the cleanest and smoothest results.

Which prompts the question: Which tool do you consider more important, the cutting implement or the comb? If you said “the comb,” you are correct! The Italians cut hair with lighted newspaper; the Greeks cut hair with shards of glass. It is the combing, sectioning and holding that produces the design.

Client consultationsConsider this scenario: A client once challenged a professional on the price of the haircut with this statement: “It was only a trim. There’s not even a half-inch of hair on the floor!”

The stylist replied: “You are paying for what I leave on the head; that is the balance and proportion of the design.” There was no further discussion, and she is still a client to this day.

So let’s talk about the client. Whatever or whoever brought this client to you is not important. But a comprehensive client consultation is of utmost importance. Ask a first-time client to arrive at least 30 minutes before the scheduled appointment to fill out all of the pertinent information and look at the style books you have available for discussion. Have him or her fill out the form below (or your choice of analysis sheet) and answer the questionnaire. See charts on next page.

In anticipation that this client will also become a color client, you may wish to complete this analysis with the information for chemical services.

Now, you can discuss with the client the desired design with all of the possibilities.

Visualize:Body makeup. ■Occupation, lifestyle and care. ■Facial features. ■Hair density. ■Growth pattern, cowlicks, hairline. ■Type of part. ■ Note: The lower the part is placed on the head, the more width is created to the face. The higher the part is placed on the head, the more length is created to the face.Balance. ■ Note: Most faces are not symmetrical. One side will dominate, just as the ring finger on the hands require a different size. One eyebrow will be higher, one side of the nose will flare more, and one eye will be slightly smaller than the other. If we design the hair towards the “low” side of the face, we will accentuate it. Comb through and move the hair left, then right. Move the part up and down and observe what these balancing techniques will accomplish.

Remember that the hairline creates the strongest influence on the features. Be very careful about the hair that touches the face. Will it point to an unflattering feature, such as a pointed nose? We have also found that working with two mirrors is of tremendous benefit, one for the frontal view and one for the profile. Watch that you do not accentuate a poor profile with an extension in that area. The mirrors will tell you things that the eye cannot see directly. In addition, using a haircutting chair gives the best view of the back and sides of the head because you are looking directly into them. If you are looking down at the hairline, your vision is altered.

Take a moment to feel the structure of the head. Pay particular attention to the bone protrusions. Is the frontal bone prominent? This will lift the fringe area more. Are the parietals full? This will lift the length on the sides. Is the occipital flat or protruded? Make any notations on the analysis sheet. Do not trust your memory!

The actions here are: consult, diagnose and prescribe – and importantly, listen to what the client is expressing.

Design principles of art in hair – definitionsForm: Silhouette, external structure.

Space: Occupied area.

Design: Intelligent, purposeful or discoverable pattern.

Texture: Surface design.

Emphasis: Visual attraction.

Speed: Change of direction or movement.

Rhythm: Repetition of any element (with equal or unequal speeds).

Harmony: Agreeable organization of elements.

Ornamentation: Separate design factors (used in addition to the form and space).

Proportion: The relationship between elements.

Color: Reflection of a light source.

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What length do you like your hair? Short.a. Medium.b. Long.c. Very long.d.

Is your hair:Bleached.a. Colored.b. Highlighted.c. Permed.d. Naturale.

How much time will you spend styling your hair?5 minutes.a. 10 minutes.b. 15 minutes.c. 20 minutes and longer.d.

Which styling methods do you use?None.a. Blow-dried.b. Curling/flat iron.c. Rollers or hot curlers.d.

What would you like your hair designed for?Social function.a. Career.b. Casual/easy care.c.

The next sheet should be used for salon information only. The stylist will fill out this portion of the client information:

Client Information SheetName:___________________________________ Date:_________Address:_______________________________________________Phone:______________________ Cell:______________________Birthday:__________________Medications:___________________________________________Personal Preference QuestionnaireCircle your choices:Which of the following clothing styles best represents your personality?

Latest fashion, unique, makes a statement.a. Casual sportswear, jeans and sweaters.b. Suits, separates, clean and crisp with pleats; men – Suits, business c. attire, distinctive sportswear.Dresses, lace, soft, light and airy fabrics; men – fitted, athletic d. cut, dressy.

Select the fabric design or pattern you like best:Bold, bright, contrasting print.a. Safari prints, faded denim, simple pattern, plaidb. Subtle print, pinstripe, woven-in or embossed, conservative.c. Pastel floral, candy-colored print.d.

How do you like your makeup, or for men, what type of makeup do you like on a woman?

Bold, intense, makes a statement.a. Little if any, simple.b. Conservative, moderate, subtle elegance.c. Accented eyes and lips; soft, floral colors.d.

Considering your unique individuality. Which describes you best?Self-assured, confident, determined.a. Energetic, active, loves outdoors.b. Organized, precise, predictable, consistent.c. Sensitive, imaginative, tenderhearted.d.

With your favorite person, which of the events listed below would you most enjoy?

Disco, thriller movie, rock concert.a. Beach, mountains, picnic, athletics, adventure movies.b. A pre-planned, organized event; live theater, symphony, mystery c. movies.Intimate candlelight dinner, sentimental movies, slow dancing.d.

Which environment would you rather work in?Fast paced, lots of people, upbeat.a. Not confined, relaxed, changing.b. Clean, organized, predictable.c. Creative, spontaneous, harmonious.d.

How would a person meeting you for the first time describe you?Mysterious, unique, strong-willed.a. Fun, energetic, free-spirited.b. Controlled, poised, punctual, steady.c. Understanding, sympathetic, tenderhearted.d.

What motivates you?Visible position, leadership role.a. Self-employed, constant challenge.b. Secure consistent income.c. Important cause; money not the issue.d.

Which of these characteristics best describes you?Bold, adventurous, daring, focused.a. Independent, unconfined, self-governing.b. Precise, neat, particular.c. Sensitive, imaginative, strong feelings.d.

Which of the following best describes the hairstyle you prefer?Trend setting, vogue, latest style, fashion statement.a. Casual, easy care, simple.b. Tailored, controlled, perfect, in-place.c. Soft, wispy, loose curls; men – styled, touchable, luxurious, alluring.d.

Hair Form: Straight Wavy Curly Very CurlyCondition: Very Dry Dry Normal Oily Very Oily Uneven/PatchyScalp: Tight Flexible Surface: Clear FlakyDensity: Sparse Medium ThickTexture: Extra Fine Fine Medium Coarse Very CoarsePorosity: Very Porous Porous Normal Resistant Very Resistant

Natural Hair Color: Level 1-2-3-4-5-6-7-8-9-10 Color Family/Tone: Warm Cool Note: __________________________Intensity: Low Medium High (Notes) _________________________Fading: ____________________________________________________Amount of Gray: ( %) Distribution: ____________________________Previously Lightened: Yes No When: __________ Product: _________Previously Tinted: Yes No When: ___________ Product: ___________Desired (Target) Color: Level 1-2-3-4-5-6-7-8-9-10Desired Tone: Warm Cool Notes: ______________________________Intensity: Low Medium High (Notes) __________________________Corrective Service: Color filler used, When ____ Product ____________Conditioning: When_________ What treatment ____________________Tinting: (whole head/retouch/target shade)_________________________Formula: (color/lightener details) ________________________________Application Details: __________________________________________Results: Poor Fair Good Too Light Too Dark Streaked/Patchy (Describe) __________________________________________________Price:____________________Products prescribed: __________________________________________Next Appointment: ________________________Patch Test Results: _________________________

In anticipation that this client will also become a color client, you may wish to complete this analysis with the information for chemical services.


Contrast: Opposing elements.

Adaptability: Total concept of visual imagery. (Does everything fit the person?)

The importance of understanding all of these principals cannot be stressed enough. And application of these principals will take you, the stylist, from “hair cutter” to hair designer.

TerminologyThese are the terms most commonly used in designing descriptions.

Distribution ■ : The direction the hair is combed in relation to its base parting. There are four main types of distribution: natural, perpendicular, shifted and directional.

Natural □ : The direction the hair assumes in relation to its natural growth patterns.Perpendicular □ : The direction the hair assumes when it is combed at a 90-degree angle to its base parting.Shifted □ : The direction the hair assumes when it is combed out of natural distribution in any direction other than perpendicular to its base parting.Directional □ : The direction the hair assumes when it is distributed vertically, meaning straight up from the head; and horizontally, meaning straight out from the head.

Projection ■ : The angle at which the hair is held in relation to the natural fall or the curve of the head while cutting (sculpting). We will deal with five of the most used.

Natural fall □ : Position the hair assumes due to growth patterns and gravitational pull.Low projection □ : 0 to 29 degrees.Medium projection □ : 30 to 59 degrees.High projection □ : 60 to 89 degrees.90-degree projection □ : When the hair is lifted 90 degrees from the curve of the head.180-degree projection □ : When the hair is combed 180 degrees from its point of origin. Usually used to produce high-elevation layering.

Design line ■ : Mobile □ : The length guide that moves throughout a given area.Stationary □ : Constant, stable length guide to which lengths are converged in order to create a length increase in the opposite direction.

Parallel cutting (sculpting): ■ A technique in which a section of hair is cut parallel to its base parting.Nonparallel cutting (sculpting): ■ A technique in which the fingers are positioned in any direction other than the base parting while cutting.Partings ■ : The sections used to divide the hair into manageable parts in preparation for designing.

Horizontal □ : Around the head.Vertical □ : Traveling up and down.Pivotal □ : Pie-shaped from a central point.Diagonal □ : Either forward or back from the frontal hairline.

Angled □ : Either left to right or right to left from a center part.Curved □ : Following the natural curve of the hairline.

Rules of designingA trained designer will look at a picture and know instinctively how much hair to remove, which areas to strengthen, and be aware of the hair’s own texture. A design must be complimentary to the natural fabric (hair) and the client’s features. Do not expose an undesirable feature or strong growth pattern such as cutting the hair around ears that stick out or cutting short around a whorl. Leave additional length or bulk to camouflage these problems.

Design formThe form of the design is the most important consideration. It is also the strongest influence toward the total adaptability of the design to the client. Let’s talk about how hair grows for greater understanding. The growth pattern, density and whether the hair is wavy or straight are in place from four months pre-natal, the same time as an infant’s fingerprints. This is an amazing fact. So, unless we chemically change the structure of the hair, we must deal with these unique qualities.

Hair grows longer at the center back of the head. And especially when cut wet, the two sides behind the ears will lift when dry. How many times have you cut an absolute straight line across the back only to have it dry not straight? It was not you – it was the hair growth. In the back of the head, the center will drop and the two sides will lift. The correction for this is to cut a gentle, inverted “U.” In the front, the center of the fringe area will lift and the two sides will drop. The correction for this is to cut a slight “U” in the fringe (bang) area.

Mostly, the form is developed in the outer perimeter of the head. This is also the weakest area and more sparse area of the head. We will discuss density build-up to correct this problem.

Maintain consistent:Sections. ■Dampness. ■Combing. ■Tension. ■Elevation. ■Direction/over-direction. ■Pressure. ■Cutting angles. ■Client head position. ■Body position yourself. ■

Hair will move in the direction of the point of the cutting instrument.

The hair is cut with the point of the shears ■toward the face on the left side of the head, as in a chin-length bob. The designer will make sure that the shears are pointed toward the face on the right side also.“Point-cutting” is a valuable technique when ■flexibility and neutrality are important to the finished design. Hair can then move in any direction desired without resistance.

TexturizingIn today’s designs, texturizing becomes the second most important study.

Basically, texturizing is removing hair in a pattern. It can produce the surface design desired and provide the “movement” or action to the hair. As discussed above, giving texture to your design can be accomplished with any of the tools that we have. No matter which tool is used, keep these facts in mind:

Texturizing should be done only in the ■middle and inner perimeters of the head and never on the hairline or outer perimeter, with the exception of the ends of the hair)On fine hair, begin ¾ inch from the scalp. ■On medium texture, begin 1 inch from the scalp. ■On coarse texture, begin 1½ to 2 inches from ■the scalp.“Notching” and “chunking” blades will not ■affect the ends’ texture; “blenders” will cause texture to be appreciated down through the ends. (Remember: short hair pushes long hair.)It is advisable to close the blades only ■halfway and insert the tool two or three times down the section of hair.To add motion to the ends of the hair, use the ■“blender-over-comb” technique.Top cutting is another technique: Simply point ■the shears down and slide-cut into the surface of the hair. Finish with a dab of pomade combed in with the fingers for the chunky effect.The French “effile” or “slithering” uses the ■shears in a backward motion (like back-combing the hair). Take up a section, and with blades open, approach the section and begin to close the blade halfway. Continue with this action (open and close) until you reach the end of the section. Perform this on either wet or dry hair. This gives an internal texture that supports fullness.The original Antoine design was ■accomplished (on dry hair) by using this technique. The hair was backcombed in 1-inch squares all over the head. Then the remaining strands were slithered out through the ends. The stylist would work through the entire head three times. The outer perimeter guide was established after the interior work was completed.The backup razor technique is another way ■to give texture in a graceful way. Take up a section, and with the blade toward the scalp, perform a backcombing action on the section. It looks as though you will be taking many strands, but the effect is an internal removal of very few. This works great for the fringe areas around the face. It also helps to control wavy hair. Make sure that the hair is wet. When accomplished vertically, this gives support for fullness. In any direction, it will give tapered ends.The large blade on your clippers can also ■“notch” the hair and give the “spiky” look if desired. (The guys love this.) Twist up 1-inch sections of the hair, usually at the top and crown. Invert the clipper and notch into the hair quickly two or three times.

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With so many choices, you should find the one that will give you the texture you desire. Make it a practice to pick up more than one implement while designing. You can achieve different textures in different areas throughout the design. This will make your designs unique. We also suggest that you practice these techniques on a mannequin until you are aware of the effects and are comfortable with the actions. Make notations on the client sheet; do not trust your memory.

The long designSome designers, including the author, like to design long hair in the dry state with serrated shears. Start by shampooing, conditioning, blowing-dry and flat ironing the hair smooth. The longer the design, the more important it is to maintain control of the hair.

A long design with variations is more difficult because we can get lost in the lengths. More mistakes are made on long designs because of this. Use both the head and the upper body as a guide. Begin with sectioning.

One good basic sectioning routine is:Divide the head in half, from the forehead to ■the nape of the neck.Divide the sides from the top of the head to ■behind the ears.Take a 1-inch parting all the way around the ■hairline. This is the outer perimeter.Sub-divide the remaining four sections in half ■horizontally and pin up.This will give you the middle and inner ■perimeters.You will have eight sections plus the outer ■perimeter.

Beginning at the back of the head in the outer perimeter (1-inch section), determine the length desired, with the client standing straight and hands on the back of the chair. Then have the client be seated, legs uncrossed and straight in the chair. Take a 1-inch section from the outer perimeter behind the ear and bring it to the center guide (cut even). Remember to comb in the natural fall and use your point cutting technique for a neutral cut.

Repeat this on the other side. In natural fall, cut the remaining hair in the gentle, inverted “U.”

For a design that just touches the curve of the shoulder at the sides, it is easier to begin in the sections behind the ear. Determine the guide from the length at the shoulder (with client seated). Then bring the two sides to the center and cut even. Remember, the farther away from the point of origin the hair has to travel before it is cut, the longer the hair will be. This is cut at 0 degrees or low projection. Complete your guide area.

Subdivide a 1-inch section horizontally from the middle perimeter. Bring down, in natural fall, this section across the back and cut even. Do this as many times as necessary to not see through the hair. This is the density build-up area. It is especially important for long designs to increase the bulk at the bottom. If an all-one-length design is desired, switch to low projection combing at 0 degrees above the density build-up area and

cut even with the guide. Continue working up through the middle and inner perimeters in 1-inch partings. If the hair is very thick, use less than 1 inch. You must have a clear view of your guide.

This is a good time to talk about double comb cutting. This technique gives the stylist the ability to accurately design larger sections of hair with more control than fingers alone can give. Purchase two identical combs with the teeth 1/8-inch apart throughout. With both combs together, take up the section to be cut. Now, lock the two combs together (teeth to teeth), bring down to the guide and point cut the length. Again, we recommend that you practice this on a mannequin until you are comfortable with the mechanics of this. This can be used for any projection, either vertically or horizontally, once mastered.

How many times have you heard the client say: “Why won’t my hair grow long?” Actually, the hair is growing; but it is breaking off. This is the time that you need to educate the client on the care of long hair. Hair should never be brushed while it is wet! Have her purchase either a large detangling comb or a flexible based paddle brush with flexible bristles and instruct her to gently comb from the ends toward the scalp to remove tangles. (Of course, these items, along with the correct shampoo and conditioner, are available in the salon retail area.) The use of medium heat with high air on the blow dryer is also better for the hair, but natural dry is the best, if possible. On dry hair, the natural, boar-bristle brush causes less mechanical damage. “Scrunchies” and rubber bands are huge violators. She should use one of the large clamp-type clips to put the hair up.

Long hair should be trimmed every six to eight weeks. Just removing the ends will strengthen the hair, and she will appreciate greater length.

The other technique that is suggested (on dry hair) is the removal of the split ends and fuzziness throughout the interior of the head. From the top layers, take a 1-inch section and twist the hair. The broken strands and the stretched hair will pop up away from the section. Then snip those white tips and stretched hairs. Work the surface of the entire back. Yes, this is labor intensive, but the results can be seen and felt immediately. With proper care, she will realize the longest, smoothest and best hair she has ever had. Professional models love this service.

If the design requires more motion at the back, begin in the middle perimeter to give some elevation. Low projection accomplishes this, but remember to begin above the density build-up area. Section by section, complete the middle and inner perimeters at the back, ending with about 30 degrees projection at the top of the inner perimeter. This design will give the hair the ability to maintain a fluffy curl pattern. (If hair is all one length, it will only bend when curled.)

Another design that is making a comeback is the “flip.” Basically, shortening the middle perimeter to allow the outer perimeter of the head to flip up over the middle perimeter produces it. The procedure is the same with the exception of the projection.

Take down sections from the middle perimeter and comb and cut at 45 degrees. Then bring down the inner perimeter to match. The design will automatically give the desired action.

Move to the outer perimeter in one of the side sections. If you are on the right side of the head, turn the client’s head toward the left. This allows you to view the side section unrestricted by the shoulder. Match the guide and density build-up from the back to the side sections. Stop when you reach the natural recession of the head or the crest line (where the top and sides come together).

Repeat on the left side, turning the client’s head toward the right.

Many clients with long hair prefer to hook the frontal hair behind the ears. In this case, use the chin as the guide for the fringe (bang) area. Take sections horizontally, from the top of the head and bring forward with 0 degrees projection and cut to guide.

If a slight fringe is desired, begin with a half-inch of hair in the center of the outer perimeter of the front. Take this section down to the tip of the nose and sculpt. Then take that section over to the side sections and sculpt even. This produces the straight line in the front. To produce a deeper fringe, continue to take down half-inch partings and point cut even with the guide. Work your way back 2-3 inches, but do not section back any further than the natural recession. To do so will remove bulk from the sides of the head. Watch the amount of lift provided by the hair’s personality, and shorten the fringe area if necessary. Here you can use the slithering technique or the blenders to add lightness and bounce to the fringe area.

Comb the hair back into its natural fall and observe the results. You may wish to clean up any stray areas. Accomplish this by repeating the procedure from the inner perimeter of the back. Take the adjoining sections up together and match with vertical point cutting. You should also repeat the “twist and snip” technique for the removal of split ends and stretched hair as performed at the back.

At this point, we have explored two distinct designs for long hair. The third deals with the high elevation, full-layered design that many women want. After determining the length and density build-up areas, take a small section from the top of the inner perimeter. Bring this section down to where you want the layers to begin and sculpt.

Take vertical partings from the center part; comb and cut at 90 degrees. As you move over to the sides of the back, take the hair toward the center. (So you are using a stationary guide to increase the length behind the ears.) Decrease the angle of projection to 60 degrees, then 45 degrees in the middle perimeter. While point cutting is recommended, you may also slide cut. This is a good place to use the double comb cutting technique that you have mastered. Note: Be careful to avoid the density build-up area.

To sculpt the inner perimeter at the top, bring the guide to the front section and point cut vertically.


Bring the hair forward toward the front in this traveling guide, and point cut even. If the fringe is longer, bring the fringe back to the guide at the dividing line.

After determining the length of the fringe area, take the section of hair in front of the ear.

Comb this hair at 180 degrees and cut even with the fringe guide. This produces the perfect “face-framing” results. Now, match the sides with the face-frame and blend with the hair behind the ears. If you are visualizing that behind the ears is the fullest point, you are correct. So many times we see that other methods leave the hair too depleted in this area. And the natural tendency of the hair is to split at the ear. These guides will prevent this.

Note: It is never advisable to allow a client to leave the salon with the hair in the wet state. No matter what, you need to check your work when dried. You will save yourself a lot of grief with this rule.

As seen on the hot scene, using these same partings but sculpting with your razor and the hair wet gives a spiky, feathery finish to the form.

Using these forms and various finishes will have you become the “go-to” stylist for long hair clients. Women who prefer to wear their hair long tend to shy away from salons because they fear having the hair cut too short. Showing that you understand and have the knowledge to give them what they want will get them to trust you and your ability.

The mid-length designProbably the most versatile length is the mid-length design. This section will give the basic form and many adaptations and finishes.

Shampoo and condition the hair as usual. You will be using your honed-edge shears for a wet cut. Remember to continue to dampen the hair as you work through a wet cut for consistency. It bears repeating to have the client sit straight up, with knees uncrossed, before you begin.

Begin with the basic sectioning as in the long hair design. For the longer bob, take the guide from the center back to just below the bend of the neck. Take the two sides behind the ears to the center back and sculpt even. Again, work with the density build-up area.

This is especially important when there is an “up-growth” behind the ears. Perform the gentle, inverted “U” as in the long design, but skin cut the guide. Holding the back of the comb against the outer perimeter will aid in producing this design line. Either direct the shears to always address the hair from center toward behind the ear on both sides, or point cut for neutrality. Build density as necessary. You will see this compensation overcome even the strongest up-growth by shifting the weight of the hair from the center to behind the ears.

Another technique is to lift with the comb the up-growth area and remove the hair in one thin line right down to the scalp. This will break the

growth pattern in extreme cases, and the created weight will give control.

Continue into the middle perimeter in horizontal sections to comb and sculpt at low projection. Finish the middle and inner perimeters in the same way, of course, with your neutral cut.

Move to the front of the head and design the fringe (bang) area. Take the sides over and behind the ear and sculpt even with the side back sections. The sides are also cut at 0 degrees, or low projection. So far, you have just established the form. At this point, the hair should be blown dry to examine its personality. Notice, you will have purposefully left additional length at the sides, which allows for shrinkage. You can always go back and trim shorter, if necessary. Once the hair is dried, you will see that there is one smooth line from the center back to the sides. Any trimming can be done now. The reason for this care is that the mastoid bones cause the hair to split behind the ear, and the parietal bones can cause a lift in the same area. By creating more weight in this area, you can successfully offset these natural tendencies. You no doubt have seen poorly performed bobs walking around.

Next, work on the internal variations. If the design demands an all-one-length middle and inner perimeters, you will still need to give some texture internally to these areas.

Part off the top layer of the head. Vertically section 1-inch panels and use the blenders at least two times on each section. For a stronger texture of hair, you may wish to use your feather razor to remove some bulk from these areas while the hair is still wet. Again, because short hair pushes long hair, the design will have bounce and action when dried but still maintain a smooth finish on the surface.

One variation that is popular is termed the “layered bob.” To produce this, return to your inner and middle perimeter sections. Take a small section from the top of the inner perimeter in the back of the head. Determine the desired length, usually 3 to 4 inches. Watch out for growth patterns, and increase the guide length accordingly. Then remove the length from this section where you want the layering to begin. Continue down through the inner and middle perimeters. (Do not layer into the density build-up area.)

Complete the back area and move on to the top and side sections. Detailing here is entirely up to the finish desired. You can use the face frame on one or both sides or give a strong asymmetric line. Work with the personality of the hair and take your inspiration from this.

This medium-long design can easily be converted to the newly popular flip by performing the projections described in the longhair flip design, only shorter.

The truest bob form is the design with a more fitted neckline. Section the head with your basic partings described previously. Subdivide the outer perimeter in the back of the head. Have the client sit straight, knees uncrossed, with her head down to the chin.

Flatten the wet hair smoothly against the back of the neck with the back of the comb. Then lift the head to the upright position. You will see the hair buckle in the center back. This is your guide for the back length. Why? Because this is the natural bend on this particular head. When you need to create a hairline (if it is too sparse), this is the way to do it. Proceed to create a strong, inverted “U.” The remainder of this design is produced in the same manner as the longer bob. By taking the hair from the front of the ear at the sides, you can create the soft tendrils in front of the ear.

The bob is usually created with your “wet” shears, especially on fine and thin hair. On medium and thick textures of hair, you should consider using the feather razor in a blunt cut. We can also decrease bulk and produce the form with this method.

Using the blenders or chunking shears accomplishes the hottest form of this design. Finish the hair with root lifter and finger comb. If a feathery appearance is desired, use the backup razor technique throughout. Here again, use your source of inspiration from the picture that the client has chosen and the personality of the hair itself.

Don’t forget to educate the client on these design principals. She will look great every day, which is a testament to your talent.

A beautiful take-off from the conventional bob is the Euro-bob (also called the two-step bob.) From the same beginning, sculpt a deep, inverted “V” for a more extreme form. (The inverted “U” can also be used.) Subdivide the middle perimeter at the back to just below the occipital bone. With the scissors-over-comb technique, produce a fitted neckline across the back. Holding the comb at a 45-degree angle to the head, taper the hair. Use the blenders to refine the neckline. The neckline hair should be sculpted between ¼- to ½-inch long. (This is where the haircutting chair really comes in handy.)

Then, from the top of the middle perimeter (at the occipital bone) sculpt a second inverted “V” or “U” at 0 degrees elevation. There is no relationship between the fitted neckline and the beginning of the bob. It is an overlay. Bring down the remaining hair in the middle and inner perimeters and sculpt at 0 degrees. Take the sides in toward the center to develop more length behind the ears. The bob actually begins at the occipital bone. Bring the side sections back behind the ear and cut even. Design the fringe area according to the client’s wishes. You may use a side part for a drape fringe or whatever the hair’s growth dictates.

Internally texturize as discussed above, or incorporate some low projection layering as desired. Much of your finish work and detailing should be done after the hair is dried, when you can see the rotation of the hair’s growth pattern. It bears repeating that these are truly “wash-and-go” designs with minimum time spent. Your clients will appreciate this.

The short designOf all of the designs for women, the most popular for the mature and conservative woman is the

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short design. Today’s shorter designs follow the trend of easy and ready-to-wear hair. However, they are “edgier” and newer looking than what we were sculpting just a few years ago. Necessarily, the forms have not changed very much. It is the surface texture where much of the differences are realized.

Begin with the outer perimeter sectioning. However, instead of the curved parting at the back between the ears, take a deep “V” parting to produce the middle and inner perimeters. This will give you a better vision around the critical area behind the ears and the lift of the mastoid bone. Design and sculpt the neckline using diagonal-back partings, parallel to the “V.”

Scoop the hair up and between the fingers (or use the comb) to hold at the perpendicular distribution and medium projection. Note: There is a difference between cutting the hair inside the fingers and outside the fingers. When the hair is cut inside of the fingers, you will produce a strong, straight line. However, if the hair is rolled over the outside of the fingers, microscopically, you will produce an irregular line or beveled edges. In both situations, the hair is point cut. This bears remembering when concentrating on the surface textures. The beveled edge will give more motion.

Continue to work into the middle perimeter with diagonal-back partings, perpendicular distribution and medium projection. Lower the projection as you reach the top of the middle perimeter. Remove any unnecessary weight with either the blenders or top-cut in the slide motion to taper the hair in a downward motion. This is a natural head-form design. Be careful not to expose a sparse hairline. You may also need to use the “hairline creation” technique on some heads, as previously discussed. Adaptability is the key in the neckline creation. You may wish to leave some fringe behind the ears for softness. This will also add length to the form and fill in a slender neck. On a shorter neck, the “V” neckline is very flattering. When you see a natural “W,” you may wish to sculpt this unique line. Whatever you choose, check your two mirrors for the balance and proportion to the head and neck. We do not advise shaving the neckline into a shape. Within a few days, this hair re-appears and simply looks messy. So design to your heart’s content, but follow the hair.

When you reach the inner perimeter of the back sections, continue with the diagonal-back partings and perpendicular distribution; but switch to low projection. This will rapidly increase the length in the upper crown. Internally texturize this area for lightness and bounce.

Move to the front of the head and design the fringe area. While this area is entirely flexible and can reflect the client’s customary design, the newer looking design is a combination of a very structured short fringe (about 1 inch back) with a longer overlay. This is the fashion statement today. For this, notch into the outer perimeter with either point cutting or using the feather razor. Keep the fringe very brief with a length of 2 inches or less, depending on the height of the

forehead. Moving back, create a new guideline to the tip of the nose or what is adaptable to the client. In the middle and inner perimeters of just the top section, bring the hair down and forward to match with the overlay guide.

You are left with the two side sections. This again is totally adaptable, depending on the client’s taste. One design asks for a strong asymmetric line. On the short side, continue the notch line around the eye and in front of the ear. Finish with a match to the side front and just behind the ear. The length should be just over the tip of the ear. On the long side, notch around the eye and in front of the ear. Then bring the back section of the inner perimeter from the front to the last section of the inner perimeter of the back. Comb the front sections back to this stationary guide. The length will increase as you move forward. This will complete the overlay and blend with the crown. If desired, trim this section to mid-ear. Internally texturize this area while still maintaining the heavy appearance in the ends of the hair. On the short side, take the last section of the inner perimeter from the front to the top section of the back inner perimeter and blend. Comb the hair in its natural fall and clean the surface. A good supportive gel will give you lift and definition in the finish.

If a symmetrical design is desired, notch in (about 1-inch deep) the entire outer perimeter of the front. Re-section the top at the natural recession or crest line. From a diagonal-back parting, comb the hair inside of the fingers at medium projection from perpendicular distribution. Sculpt parallel with point cutting technique. Continue to notch until you reach the back of the ear, using the same procedures with a traveling guide. Complete the other side in the same manner.

Design the overlay fringe to eyebrow length (longer if necessary). Remember to incorporate your “U” form. Divide the top section into three equal sections. Take this guide up to the center section of the top remaining hair. Vertically point-cut each section while moving back through the top with this traveling guide. You will meet the top section of the inner perimeter of the back and blend. Stand behind the client if you are cutting with your right hand; move to the right section of the top. Pick up a small amount of hair from the side and the center top and sculpt in the same manner. Note: Work from front to back and cut from short to long. Then, standing in front of the client on her left side, repeat this procedure. Note: Again, work from the front toward the back and cut from short to long.

As a final procedure to give lift, twist down small sections of hair through the top and crown and chip the section with the blenders (for finer hair) or the notching shears (for stronger hair). Use your choice about halfway down the length of the twisted section. A dab of gel will make it possible to finger-finish this design. We recommend that you teach the client this finishing technique.

One more finishing technique is perming. Introducing the new texture perms to your clients is another way to increase your business. A partial

perm on the top and crown of the head will make this a wash-and-wear design on hair that normally would require more assistance. As few as 12 very large rods will make all the difference. Sculpt the basic form first, perm and then finish the texturizing with curl consideration.

This length and its many variations will make it possible for you to satisfy your clients who prefer to wear their hair short.

Masculine designThe primary difference in designing men’s and women’s hair is in the physiology of the bone frame of the client’s body. Men’s bones are square, and women’s bones are rounded. For the designer, this translates to a difference in body position while working. The stylist must address a male client with his or her arms, hands and tools in straight, squared lines. This is accomplished immediately by lifting your elbows to almost parallel with the shoulders. As soon as you drop your elbows, you will produce a curve to your hands and the approach to the client’s head. No matter what length the client desires, this is an important distinction.

So, for the gentleman client: Elbows up! Check yourself in your mirrors. Each time that you take up a section, check the mirror to see that everything on you is straight. After a short time, this will become the correct habit.

The gentleman’s classic design is a series of six squares:

Across the front.1. One ear.2. The other ear.3. Across the back.4. Internally at the top of the head.5. Internally at the center of the occipital bone.6.

Begin by sectioning the hair along the crest line of the head on one side (around the back of the head) to the same on the other side. This is the top section. Section from this parting to just behind the ear on both sides. Unless absolutely necessary, avoid using clips when sectioning. For most of the designs, you will be using the serrated (dry) shears and the blenders. Although you may wish to use your wet tools in some areas, the serrated-edge shears will still give you the best control for the scissors-over-comb technique.

Determine the length of the form by how much of the ear is to be covered or not covered. If the ears are prominent, take your guide from the middle of the ear (without stretching the hair). The client may wish to have the ears covered. In this case, drop the guide to below the ear. The side guide is the guide for the entire design, because every other section of the design relates to it.

For cutting with the right hand, stand at the right side of the head. Take the entire right side section down and sculpt at the desired length (cutting from front to back). Remember to hold the hair at low projection, inside the fingers and with natural distribution. Then take a half-inch vertical parting forward and skin cut a straight line from in front of the ear to the crest line. Standing behind the


client, take that first section out at 90 degrees from the head.

Part the next half-inch section. Bring the guide section to the next section and sculpt even, cutting on the outside of the fingers. Continue with this procedure until the entire side section is completed. You are using a traveling guide. Clean around the ear to 0 and taper slightly to refine the line.

Determine the length of the sideburn according to the client’s wishes, but watch that you do not accentuate a poor feature, such as a pointed nose. Most often, it will be at the top of the cheekbone.

To match the left side of the head, you must stand in front of the client and turn your shears. Repeat the above actions on the left side of the head. If cutting with the left hand, reverse the above procedure. That is, begin on the left side of the head. Make sure that you address the hair from front to back and short to long as above.

Move to the top front of the head and design in a straight line. It is recommended to use point cutting in this area for softness. While standing on the left side of the head, section a 1-inch panel down the center to top of the head. Comb the hair straight up and vertically point cut. Bring the next 1-inch section from the right side toward the center and sculpt even. Repeat this until you run out of hair on the right side. You are working with a stationary guide.

Next, take a 1-inch parting from the left side of the center top and bring this section up to the center guide. Continue to take 1-inch partings until you have completed the area. Standing behind the client, take up a section from the right side of the top in the front, at the place where the side and top come together (the crest line). Square off this point. Work your way back until reaching the dividing line behind the ear. To complete the left side of the front, you must change positions to in front of the client and repeat the procedure. If you visualize that the hair will be longer at the crest line, you are correct.

This next area of the head is where you may encounter strong growth patterns. Be very careful to leave extra length around a whorl. You may also use the technique discussed previously for breaking the up-growth at the back of the neck at the whorl.

At the center top of the back section, take a horizontal section, hold at 90 degrees with perpendicular projection and notch-cut across your fingers. (Hold at a higher degree for more length.) Continue to take small sections up and out at 90 degrees and sculpt in the same manner. Stop when you reach the curve of the occipital bone.

At the center back, switch to vertical partings to work with the lower section of the back. Comb and hold the hair at 90 degrees and cut with shears pointed upward. You may wish to use the comb instead of your fingers to accomplish this if the hair is short. Continue working this way until the entire back is completed. When you reach the section just behind the ear, match the side and back sections horizontally. Then, holding the

ear down, cut a straight line down to the bottom behind the ear with the shears pointed downward.

Discover the natural bend of the neck. As described above, flatten the hair against the back of the neck with the client’s head down to the chin. Then slowly lift the head until you see the hair buckle. This is the natural bend and your guide for the edge of the design. Sculpt from center to outsides, following the curve of the neck. With the shears-over-comb technique, taper this area from 0 degrees to the area that was held at 90 degrees. Remember to tip the comb toward you to increase the length as you work your way up. Follow this procedure with the blending shears over the comb to refine the line. On very strong, coarse hair, you may wish to use the razor over comb or the rotation technique (Roffler).

The two remaining sections between the center back and the sides are sculpted in vertical partings held at 90 degrees to match both the sides and the upper back. Use the blenders over the comb on the ends of the hair for a textured finish throughout.

One other distinction of the gentleman’s designer is tailoring. Take particular note to remove the hair in and around the ears and tailor the eyebrows. Using the clippers-over-comb is the easiest and safest way to trim the eyebrows. Also use the clippers with the blades down to refine the sideburns and clean around the ears.

Shampoo and condition the hair as necessary. This will remove the blended hair from the head and add to the client’s comfort. Finish with a dab of gel and comb in place.

ConclusionA hair designer is more than a stylist; he or she is an artist. If you aspire to be one, consider these techniques and remember: The salon artist’s “fabric” is hair – our own medium!

The author gratefully acknowledges the many artists and systems studied that formed the foundation for this course.BibliographyDavid Riddle, Scissorsmith

Personality Identification System

Pivot Point International, Salon Fundamentals

Pivot Point International, Design Forum

Jo Ann M. Stills, Americas’ educator; 1975 to present

Notes

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6-HOUR CE FOR KENTUCKY COSMETOLOGISTS

Final Examination

Choose True or False for questions 1-20 and mark your answers on the Final Examination

Sheet found on or take your test online at www.elitecme.com.

The function and ingredients in home hair 1. color products and those found in the salon are essentially the same.

True False

Cuticle is the translucent, protein outer layer 2. of the hair fiber.

True False

Frosting is described as a translucent color 3. used on the hair after a previous hair color; a blending color.

True False

The three primary colors are cyan, magenta 4. and yellow.

True False

If the outer ring of the iris is green (it could 5. be from aqua to as dark as forest green) the client is considered cool-toned.

True False

Internationally, all of the color manufacturers 6. use a numbering system instead of referring to “shades.” The reason for this is that numbers translate into an accurate relationship of the pigments present.

True False

All hair color, both natural and artificial, is 7. comprised of yellow, red and blue pigments.

True False

Deposit-only hair color uses oxidative and 8. direct dyes and requires a developer.

True False

The sensitivity and condition of the hair 9. has no effect on the degree and method of corrective coloring.

True False

Bleaching is the only way to remove 10. permanent hair color that is too dark.

True False

A client consultation is usually completed 11. upon the client’s first appointment and should last approximately 30 minutes.

True False

The hairline creates the strongest influence to 12. the features of the face.

True False

Projection is the direction the hair is combed 13. in relation to its base parting.

True False

Parallel cutting is a technique in which the 14. fingers are positioned in any direction other than the base parting while cutting.

True False

Basically, texturizing is removing hair in a 15. pattern.

True False

Long hair, in particular, should never be 16. brushed while wet.

True False

Long hair should be trimmed every six to 17. eight weeks. Just removing the ends will strengthen the hair.

True False

It is never advisable to allow a client to leave 18. the salon with the hair in a wet state. No matter what, you need to check your work when dried.

True False

Of all of the designs for women, the least 19. popular for mature clients is the short design.

True False

The gentleman’s classic design is a series of 20. ten squares.

True False

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