Chapter 15: Men's Haircutting and Styling

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MILADY’S PROFESSIONAL BARBERING COURSE MANAGEMENT GUIDE LESSON PLAN 15.0

Chapter 15: Men’s Haircutting and Styling TOPICS 1. Introduction A. Haircutting B. Hairstyling 2. Client Consultation A. Benefi ts B. Questions C. Envisioning 3. Basic Principles of Haircutting and Styling A. Representation B. Facial Shapes and Anatomical Features 4. Fundamentals of Haircutting A. Introduction B. The Head Form C. Basic Terms 5. Haircutting Techniques A. Fingers-and-Shear Technique B. Shear-over-Comb Technique C. Freehand Shear Cutting D. Shear-Point Tapering E. Arching Technique F. Clipper Cutting G. Basic Tapering and Blending Areas H. Razor Cutting I. Hair Thinning and Texturizing 6. Shaving the Outline Areas A. Neck Shave and Outline Shave B. Preparation 7. Haircutting Procedures 1–10 A. Fingers-and-Shear Precision Cut on Model B. Shear-over-Comb Technique on Model C. Freehand and Clipper-over-Comb Technique on Model with Straight Hair D. Freehand and Clipper-over-Comb Technique on Model with Tightly Curled Hair E. Shaving Outline on Model with Tightly Curled Hair F. Razor Cutting on Model G. Clipper Cutting: Close Fade on Model H. Clipper Cutting: Flat Top and Crew Cut on Model I. Taper Cut on Curly Hair Texture J. Head Shaving K. Haircut Finish Work 8. Men’s Hairstyling A. Introduction B. Methods 9. Safety Precautions

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 319319 66/1/10/1/10 55:00:08:00:08 PMPM NOTES TO THE INSTRUCTOR As one of the most important chapters in the textbook, Men’s Haircutting and Styling requires demonstration, guidance, and student coaching from the educator. Students fi rst need to learn the basics of tool and implement manipulation, which can be practiced on a mannequin, and then to proceed to practice on a model or school client. Because students may fi nd it challenging to bridge the gap between theoretical concepts and practical applications, it is recommended that they take part in the activities that follow each technique or skill to be mastered as outlined in the lesson plan. Once students have mastered the basics of tool manipulation and the effects of cutting at various elevations, it rests with the instructor to guide them in bringing these elements together to achieve blended and proportioned haircuts. Along with tool mastery and application techniques, the development of a stylebook portfolio should prove to help students in haircut and hairstyle conceptualizing and recognition skills. A stylebook also serves as a guide for clients, and students can use it on the clinic fl oor. Guidelines for the development of a stylebook are as follows: 1. Have students assemble the following: a three-ring binder with blank pages and sheet protectors; section dividers; and labels. 2. Section one should consist of haircut styles retrieved from magazines, photographs, and so forth and labeled with the appropriate style description. This section may also be used by the instructor to evaluate students’ understanding of style recognition, identifi cation, and “how-to” questioning. For example, the instructor may ask students the steps they would take to duplicate a particular haircut, what tools they would use, and so on. 3. Have students design a cover for their stylebook. Optional: Hold a competition and award fi rst, second, and third prizes. Note: If holding a competition, provide students with objective criteria that will be used to evaluate and judge their work. 4. Once students begin performing haircuts on clients, they can photograph their best work and include it in section two of the stylebook. Caution: Be sure that students understand that haircut models or clients must sign a model-release form authorizing the use of the model’s or client’s photograph prior to including it in a stylebook. Check with your school or legal counsel for a standard model-release form and provide a copy to the students that they can duplicate as needed. In closing, the technical skills associated with barbering provide an excellent opportunity to create a workshop learning environment for students to master techniques and skills. For example, following a haircutting demonstration on a mannequin, have students set up their mannequins; then go back through the demonstration step-by-step as students perform the same routine on their mannequins. This approach helps to lessen confusion for students and assists the instructor in determining specifi c tasks that may require further explanation, review, practice, or application.

STUDENT PREPARATION: Read Chapter 15: Men’s Haircutting and Styling STUDENT MATERIALS

• Milady’s Standard Professional Barbering textbook • Milady’s Professional Barbering Student Workbook • Milady’s Professional Barbering Student CD-ROM • Writing materials • Binder or photo album supplies to create a haircut and hairstyle portfolio • Magazines, print ads, stylebooks, and so forth to use for album • Paper-cutting scissors, section and index dividers, and labels for identifying styles

LEARNING OBJECTIVES Upon completion of this lesson, students should be able to: 1. Discuss the art and science of men’s haircutting and styling. 2. Discuss the term envisioning and the importance of the client consultation.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 320320 66/1/10/1/10 55:00:08:00:08 PMPM 3. Discuss facial shapes and anatomical features. 4. Identify and name the sections of the head as applied to haircutting. 5. Understand fundamental terms used in haircutting. 6. Demonstrate the performance of the following cutting techniques: fi ngers-and-shear, shear-over- comb, freehand shear cutting, freehand clipper cutting, clipper-over-comb, and razor cutting. 7. Demonstrate shaving the outline areas. 8. Demonstrate disinfection procedures. 9. Demonstrate basic hairstyling techniques. 10. Discuss safety precautions used in haircutting and styling.

ALLOTTED TIME: Eight to ten hours, depending on depth of study and range of activities. TEACHING AIDS

• Milady’s Standard Professional Barbering textbook • Milady’s Professional Barbering Instructor Slides • Whiteboard or chalkboard; dry-erase markers or chalk • CD/DVD player or overhead projector • Mannequins and kit • Model-release form

EDUCATOR REFERENCES

• Milady’s Standard Professional Barbering textbook • Milady’s Professional Barbering Course Management Guide

LESSON OUTLINE 1. Introduction

A. Haircutting 1. Involves the individualized and precise designing, cutting, and shaping of the hair. 2. Requires a variety of tools, implements, techniques, and methods. 3. A good haircut is the foundation of a good hairstyle. 4. The haircut and style should accentuate the client’s strong features and minimize weaker ones. 5. Considerations a. Head shape b. Facial contour c. Hairline d. Neckline e. Hair texture f. Client’s wishes, personality, and lifestyle B. Hairstyling: the artistic cutting and dressing of hair to best fi t a client’s physical needs and personality.

2. Client Consultation A. Benefi ts 1. Helps to eliminate guesswork about the haircut or style to be performed. 2. Provides opportunity to perform scalp and hair analysis. B. Questions 1. How long has it been since your last haircut? 2. Do you prefer a similar style, or are you looking for something new? 321

997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 321321 66/1/10/1/10 55:00:09:00:09 PMPM 3. What is your usual morning routine (shampoo, blow-dry, etc.)? 4. Are you having any particular problems with your hairstyle? C. Envisioning 1. The process of visualizing the fi nished cut and style, based on information received from the client. 2. Information gained through the client consultation facilitates understanding and visualization. 3. Understanding and envisioning are essential to achieve before beginning the haircut.

3. Basic Principles of Haircutting and Styling A. Representation 1. Every haircut is a representation and advertisement of the barber’s work. 2. Pay attention to details, client comfort, sideburn lengths, outlines, balance, and proportion. B. Facial Shapes and Anatomical Features 1. Determined by the position and prominence of the facial bones. 2. General shapes: oval, round, inverted triangle, square, pear-shaped, oblong, and diamond. 3. Characteristics of facial shapes (See textbook Figures 15-1 to 15-7.) a. Oval: recognized as the ideal shape; any hairstyle that maintains the shape is usually suitable. b. Round: aim is to slim and lengthen the face; short hair emphasizes fullness; create height on the top; off-center part; waves at eye level lessen the full appearance; style beards to make face appear oval. c. Inverted triangle: over-wide cheekbones and narrow jaw line; keep hair close at crown and temples, longer in back; change the part or direction of the hair; full beard fi lls out narrow jaw. d. Square: aim is to minimize angular features at the forehead; use wavy bangs, blend to temples; beards should slenderize face. e. Pear-shaped: narrow at top and wide at bottom; create width and fullness at top, temples, and sides; beard can slenderize the look of the lower jaw. f. Oblong: long face shape needs to be shortened, angularity hidden, and hairline camoufl aged; layered cut with texturized bangs and/or a mustache will help to visually shorten this shape. g. Diamond: aim is to fi ll out the temple and chin areas; hair close to the head at the widest points. Deep, full bangs broaden appearance of forehead; length in back adds width; full, square, or rounded beard appropriate. 4. Profi les (See textbook Figures 15-8 to 15-11.) a. Straight: most balanced profi le; can usually wear any hairstyle successfully. b. Concave: requires close hair arrangement over forehead to minimize bulge of forehead. c. Convex: requires balance; conceal short, receding forehead; beard minimizes a receding chin. d. Angular: also have receding foreheads; chin juts forward; create balance over forehead; short beard or mustache minimizes look of protruding chin. 5. Nose shapes a. Prominent: hooked nose, large nose, or pointed nose; bring hair forward at front and back at sides to minimize prominence. b. Turned-up: can usually wear shorter styles; may wear different part lines and directions of hair fl ow. 6. Neck lengths a. Length of the neck a factor in haircut and style design. b. Consider length, height, fullness, growth pattern, and natural partings of the hair to best complement neck length. 1. Long necks: minimize by leaving hair fuller and longer at nape. 2. Short necks: leave neck exposed to create illusion of length; work with natural hairline and taper.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 322322 66/1/10/1/10 55:00:09:00:09 PMPM 4. Fundamentals of Haircutting A. Introduction 1. Same general techniques used to cut, shape, taper, and blend men and women’s hair. 2. Differences usually evident in the design line, contour or shape, volume, and fi nished style. 3. Principles of haircutting: the head form, basic terms, and haircutting techniques. B. The Head Form: see textbook Figures 15-16 to 15-22 and Supplements 15.0 and 15.1. 1. To create consistently successful results, it is necessary to understand the shape of the head. 2. Hair responds differently in different areas because of the curves and changes within sections. 3. Visualization of sections assists in developing individual cutting patterns, helps to eliminate technical mistakes, reduces confusion during a haircut, and facilitates checking of the result. 4. Sections of the head a. Sections: front, top (apex), temporal, crown, sides, sideburns, back, and nape b. Temporal: part of the parietal ridge; also known as crest, horseshoe, or hatband 5. Reference points: points that mark areas where the head surface changes or behavior of hair changes due to surface changes; used to establish proportionate design lines and contours. a. Parietal ridge: also known as crest, horseshoe, or hatband; widest section, starting at temples and ending just below crown; transition area from the top to the front, sides, and back sections Activity 1: Have students partner and then take turns determining the location of the parietal ridge on each other by placing a comb fl at against the side of the head. Students should observe that the parietal ridge begins where the head starts to curve away from the comb. b. Occipital bone: protrudes at the base of the skull Activity 2: Have the partner groups determine the location of the occipital bone by placing a comb fl at against the nape area of the head. Students should observe that the occipital begins where the head curves away from the comb. c. Apex: highest point on the top of the head Activity 3: Have partner groups determine the location of the apex by balancing a comb lengthwise at the top of the head. d. Four corners: located by crossing two diagonal lines at the apex; lines point to front and back corners of the head. Activity 4: Have partner groups determine the location of the four corners by creating an X using two combs at the top of the head. C. Basic Terms: see textbook Figures 15-23 to 15-35 and Supplements 15.1 and 15.2. 1. Line: a series of connected dots that result in a continuous mark. 2. Straight or curved lines used in haircutting; create the shape and direction the hair will fall. 3. Types of straight lines: horizontal, vertical, and diagonal. a. Horizontal lines: parallel to the horizon or fl oor; direct the eye from one side to the other. 1. Build weight; used to create a one-length look and low-elevation (blunt) designs. 2. Weight lines: usually created at perimeter or occipital. b. Vertical lines: perpendicular to the fl oor; described in terms of up and down. 1. Facilitate projection of hair to higher elevations while cutting. 2. Remove weight within cut; create layers; depend on fi nger placement. c. Diagonal lines: slanted direction used to create sloped lines at perimeter or blending lines within a haircut. d. Cutting line: the position of the fi ngers when cutting a section of hair; shears follow the position and angle of the fi ngers when cutting; check fi nger placement before cutting.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 323323 66/1/10/1/10 55:00:09:00:09 PMPM 4. Angle: the space between two lines or surfaces that intersect at a given point. a. Can refer to the degree of elevation at which the hair is held for cutting. b. Can refer to fi nger position when cutting. 5. Elevation: angle or degree hair is held from the head for cutting relative from where it grows. a. Also known as projection. b. The result of lifting the hair section above 0 or natural fall. c. Produces graduation and layers; usually described in terms of degrees. 1. 0 elevation: low elevation; produces weight, bulk, and maximum length at the perimeter. 2. 45 degrees: medium elevation or graduation; creates layered ends and “stacking” from 0 to 45 degrees. 3. 90 degrees: high elevation; commonly used; produces layering, tapering, and blended effects. Hair is held straight out from the head from where it grows. 6. Parting: smaller section of hair (¼" to ½") parted off from a larger section of hair. a. Essential to maintaining control of the hair in manageable proportions while cutting. b. May be held horizontally, vertically, or diagonally depending on desired effect. c. Usual projection range of 0 to 180 degrees. 7. Design line: outer perimeter line of a haircut; may act as a guide. 8. Guide: also known as guideline or guide strand; a cut made by which subsequent sections of hair are measured. a. Stationary guide: used for one-length-looking designs at the perimeter (blunt cut), or maintains length of a section to which subsequent partings are brought for cutting, producing long layers and extra length within a section. b. Traveling guide: moves along a section of hair as each cut is made, using the cut before it for measuring/blending. 9. Layers: produced by cutting interior sections of the hair. a. Can originate from the front, top, crown, or perimeter. b. Can be angled, shorter on top and longer at perimeter; uniform, even throughout; or fully tapered, longer on top and shorter at perimeter. c. Creates blending, fullness, or a feathered effect. 10. Tapered or tapering: hair conforms to the head shape. a. Shorter at nape and longer at crown or top b. Blending of all lengths is extremely important. 11. Weight line: refers to the heaviest perimeter area of a 0-elevation or 45-degree cut. a. Achieved by use of a stationary guide at the perimeter. b. May be cut in at a variety of levels on the head. c. In men’s haircutting, most often used in combination with a tapered nape area. 12. Texturizing: cutting into the hair with regular, thinning, notching shears or razors to create special effects; examples: wispy or spiky effects. 13. Tension: pressure applied when combing or holding a section of hair with fi ngers for cutting. a. Maximum tension on straight hair helps to create precise lines. b. Minimal to moderate tension used on curly and wavy hair to allow for shrinkage when dried. 14. Thinning: removal of excess bulk from the hair. 15. Outlining: marking the perimeter of the haircut in the front, over the ears, and at the sides and nape of the neck. 16. Over-direction: creates length increase in the design; occurs when hair is combed away from its natural fall position. 17. Hairstyling: arranging the hair in a particular style appropriately suited to the cut. a. Cutting the hair at certain angles or elevations creates specifi c effects. b. Hairstyle trends are cyclical in nature. 324

997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 324324 66/1/10/1/10 55:00:09:00:09 PMPM 5. Haircutting Techniques

A. Fingers-and-Shear Techniques: see textbook Figures 15-36 to 15-38b and Supplements 15.3 to 15.6. 1. Cutting above the fi ngers: frequently used to cut or blend layers in top, crown, and horseshoe; also vertical partings at 90 degrees from a vertical parting. 2. Cutting below the fi ngers: often used to create design lines at the perimeter. 3. Cutting palm-to-palm: preferred by some practitioners; do not bend hair or project higher than intended. Activity 5: Guide students through textbook Practice Sessions 1 and 2 to practice fi ngers-and- shear technique on mannequin. B. Shear-over-Comb Technique: see textbook Figures 15-39 to 15-43. 1. Used to cut the ends of the hair; important method used in tapering and clipper cutting. 2. The comb positions the hair to be cut. 3. Usually performed in the nape, behind the ear, around the ear, and in the sideburn areas. 4. Entire haircut may be accomplished using this method. 5. Cutting in nape and sideburn areas: use vertical working panels. 6. Cutting behind or around the ear: use diagonal positioning of the comb. Activity 6: Guide students through textbook Practice Session 3 to practice shear-over-comb technique in front of a mirror. Activity 7: Guide students through textbook Practice Session 4 to practice shear-over-comb techniques on a mannequin. C. Freehand Shear Cutting 1. Does not require use of fi ngers or comb to control hair while actual cutting is performed. 2. Hair is combed and cut against the skin or picked out to reveal stray hairs. 3. Used in fi nal stages of haircut, beard trim, etc. to cut stray hairs. D. Shear-Point Tapering: see textbook Figures 15-44 and 15-45 or Supplement 15.6. 1. Useful for thinning diffi cult areas caused by hollows, wrinkles, whorls, and scalp creases. 2. Minimizes dark and ragged hair patches on the scalp. 3. Performed with the cutting points of the shears, a few strands of hair at a time. 4. Cut around objectionable spot until it is less noticeable and blends with surrounding hair. Activity 8: Have students practice shear-point tapering on a mannequin. E. Arching Technique: see textbook Figures 15-46 to 15-51 or Supplement 15.7. 1. A way of marking the border along the hairline at the bottom of the sideburn, in front of the ears, over the ears, and down the sides of the neck. 2. Accomplished with the points of the shears. 3. Part of the fi nish work of most haircuts. 4. Start with shortest sideburn. Activity 9: Have students practice the arching technique on mannequins. Activity 10: Have students fi nd examples of shear-cut hairstyles for their stylebook portfolio. F. Clipper Cutting: see textbook Figures 15-52 to 15-70c. 1. Clippers are versatile tools used to cut a variety of hair textures and styles. 2. Standard techniques: freehand and clipper-over-comb. 3. General rule: followed by shear and comb to fi ne-tune the haircut or perform the arching technique.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 325325 66/1/10/1/10 55:00:09:00:09 PMPM 4. Directional terms used in clipper cutting a. Cutting against the grain: cutting the hair in the opposite direction from which it grows; taper by gradually tilting the clipper until it rides on its heel. b. Cutting with the grain: cutting is performed in the same direction of hair growth; suitable for hair that has a tight curl formation. c. Cutting across the grain: usually performed on the sides of the head. d. Circular motion: advisable in whorl areas and places hair does not grow uniformly. Activity 11: Have students practice clipper cutting against the grain, with the grain, across the grain, and with a circular motion on a mannequin. 5. Arching with a clipper: outliners or trimmers usually used; clippers equally acceptable. Activity 12: Have students practice arching with a clipper and outliners on a mannequin. 6. Freehand clipper cutting a. Requires a steady hand and consistent use of comb or hair pick while cutting. b. Comb or pick puts hair into a position to be cut and helps remove excess hair already cut. c. Used on very short straight, wavy, and curly lengths and longer, very curly hair lengths that require more sculpting. 7. Clipper-over-comb cutting a. Used to cut the entire head or blend from shorter tapered areas to longer areas. b. Similar to shear-over-comb technique. Activity 13: Guide students through textbook Practice Session 6: Clipper Cutting on Straight- Haired Mannequin. Activity 14: Guide students through textbook Practice Session 7: Clipper Cutting on Manne- quin with Tightly Curled Hair. 8. Clipper-cut styles: see textbook Figures 15-72a to 15-73. a. Flat top: very short on sides and in back area; traditionally slightly longer in front and crest sections; fl at across the top of the head form; top of crest should look squared off from a front view. b. Crew cuts: also called short pomp or brush cut; length on sides and back usually determines the crew cut style, including short, medium, and long crew cuts. c. Quo Vadis: suitable for very curly hair; evenly cut all over the head form. Activity 15: Have students fi nd examples of clipper-cut hairstyles for their stylebook portfolios. G. Basic Tapering and Blending Areas: see textbook Figures 15-74 to 15-84. 1. Long haircut styles: usually require the least amount of clipper tapering. a. Tapering: performed from nape hairline to just above bottom of ear or below the occipital. b. May use fi ngers-and-shear, shear-over-comb, or clipper-over-comb techniques. c. Outliner used to remove fi ne hair at nape and along the sides of the neck. d. Sideburns and over-the-ear areas shortened using the shear-over-comb technique along natural hairline. e. Outlined with trimmers or razor. 2. Medium-length styles: hair is cut closer to the head than in longer styles. a. Clipper cutting in nape area performed with clipper tilted on its heel. b. Cut to about midway up the ears when viewed from the back. c. Sideburn areas: taper should end no higher than the tops of the ears. d. Outliner or razor used at nape hairline.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 326326 66/1/10/1/10 55:00:09:00:09 PMPM 3. Semi-short styles: usually require tilting the clipper back when top of ear areas are viewed from the back. a. Length of hair in back may be longer than on sides. b. Sideburn areas are tapered with clipper to top of ears. c. Remove about ½" from the hairline around the ears; outline sideburns and around the ear. 4. Short haircut styles: usually require cutting up to crest area, gradually tilting clipper up to curve of head; repeat around the head form; outliner may be used to taper sideburns and nape. 5. Fade style: gradually fades to nothing at the hairline. a. Requires close cutting from nape to bottom of crest. b. Sides are cut to crest, using next longer clipper blade. c. Top section is cut and blended to the crest; cut with and across the grain as necessary. 6. Bi-level style: most often achieved with clippers or shears. a. Clipper: used to cut nape and sides to desired length. b. Shears: used in top crest sections to layer and create weight line. 7. Popular sideburn lengths a. Make sure that the sideburns appear even in length when viewed in the mirror. b. Anatomical features may be used as a general guide only. c. Check sideburn density and blend with haircut. H. Razor Cutting: see textbook Figures 15-85 to 15-112. 1. Suitable for thinning, shortening, tapering, blending, or feathering. a. Hair should be clean and damp. b. Caution: Students should use a guard with the razor until profi cient with its use. 2. Razor stroking and combing a. Arm and hand movements: use elbows as a hinge or use both wrist and arm movements. b. Razor taper-blending: permits a smooth blend of the hair ends. 1. Light taper-blending: razor is held almost fl at against hair surface; slightly tilted with little pressure. 2. Heavier taper-blending: razor held up to 45 degrees from hair surface; more pressure increases depth of cut. 3. Terminal blending: razor angle increased to almost 90 degrees; short, sawing strokes used; also known as hair-end tapering or blunt cutting (see textbook Figure 15-88). c. Razor and comb coordination: performed in a continuous movement; razor tapers, then comb removes cut hair and re-combs section for next stroke. 3. Hair textures and razor cutting a. Coarse, thick hair: requires more strokes and heavier tapering. b. Medium texture: requires fewer razor strokes and lighter pressure. c. Fine hair: razor may be used to blend hair ends; light stroke used. 4. Razor-cutting terms a. Removing weight: hold parting out; place razor fl at to hair and stroke gently; removes thin sheet of hair from the section and tapers hair ends. b. Freehand slicing: used mid-shaft or at hair ends; tip of razor used to slice out pieces of hair; releases weight from subsection, allows movement within style, and creates soft perimeters c. Razor-over-comb: razor held in freehand position and situated above comb; follows downward direction of comb; short, precise strokes with medium pressure to taper nape or soften weight lines. d. Razor rotation: use rotating motion with comb and razor; razor follows comb and comb follows razor.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 327327 66/1/10/1/10 55:00:09:00:09 PMPM 5. Hair sectioning: two-section, three-section, four-section, and fi ve-section methods; begin with umbrella pattern and comb hair into natural fall. a. Two sections: ear to ear across crown; front of part combed forward and behind part combed down. b. Three sections: ear to ear across crown, comb forward; vertical part from crown to nape, comb toward sides; nape with no part, comb hair down. c. Four sections: top center part, comb sides down; back center part. d. Four sections, alternate: ear to ear across crown; sides from center of eyebrows to crown, comb down; back hair, comb down. e. Five sections: same as alternate four section; back section is divided into two. 6. Pattern for cutting: establish a plan to follow. Activity 16: Have students practice sectioning and razor movements (without a blade) on a mannequin. 7. Razor use and safety precautions a. Hair must be clean and damp. b. Avoid tapering too close to the hair part or the scalp. c. Avoid over-tapering the hair. d. Handle the razor properly; keep it closed when not in use. e. Be aware of others’ proximity; avoid careless motions. f. Do not annoy or distract those performing a service. g. Purchase and use only good-quality haircutting implements. h. Use changeable-blade razors; dispose of used blades in a sharps container. i. Replace dull blades. Activity 17: Have students practice razor cutting on a mannequin. Refer to textbook Practice Session 8, Razor Cutting on a Mannequin, or Haircutting Procedure 15-6. I. Hair Thinning and Texturizing: see textbook Figures 15-113 to 15-118. 1. Hair thinning and texturizing a. Used to reduce the bulk or weight of the hair. b. Tools and implements: thinning shears, regular shears, clippers, or razor. 2. General rules a. Make a careful observation of the hair to determine the sections that require some reduction in bulk or weight and cut accordingly. b. Avoid cutting top surfaces of the hair where visible cutting lines can be seen. c. Part off and elevate the hair to be cut to avoid cutting too deeply into the section. d. Avoid cutting too closely to the scalp or part lines. 3. Techniques a. Removing bulk with serrated (thinning) shears: hold hair between index and middle fi ngers; place shears at mid-shaft and cut; subsequent cuts are made about 1" from fi rst cut; do not cut twice in same place. b. Removing bulk with regular shears (slicing and carving): on hair surface, vertical section between 45 and 90 degrees; slice with curving motion to hair ends. c. Slithering: hold thin parting of hair; use up-and-down sliding motion with slight blade closure along hair shaft. d. Removing weight from ends 1. Thinning shears: elevate section; serrated shears angled when cutting. 2. Regular shears: point cut or notch ends.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 328328 66/1/10/1/10 55:00:09:00:09 PMPM 3. Clippers: use reverse-rotation technique. 4. Razor: use razor-over-comb technique.

6. Shaving the Outline Areas: see textbook Figures 15-119 to 15-128. A. Neck Shave and Outline Shave 1. Traditional neck shave: shaving sides of neck and across nape with a razor 2. Outline shave: shaving sideburn areas, around the ears; African American styles may include front hairline. B. Preparation 1. Remove all cut hair from around the head and neck with a clean towel, tissues, or hair vacuum. 2. Loosen the chair cloth and remove neckstrip used during the haircut. 3. Pick up chair cloth at lower edge; bring it to upper edge; gather four corners together. Remove cloth carefully; turn away from chair; drop edge of chair, and shake to dislodge cut hair. 4. Replace chair cloth so it does not touch the client’s skin. a. Spread towel across shoulders and tuck loosely around client’s neck; secure chair cloth and fold over neckband; drape should be loose to permit access to neck area. Activity 18: Have students practice shaving the neck and outline areas on a mannequin. Activity 19: Have students perform an outline shave on a model with tightly curled hair.

7. Haircutting Procedures 1–10. Have students refer to their textbook and guide them through the following haircut techniques as often as possible. A. Fingers-and-Shear Precision Cut on Model B. Shear-over-Comb Technique on Model C. Freehand and Clipper-over-Comb Technique on Model with Straight Hair D. Freehand and Clipper-over-Comb Technique on Model with Tightly Curled Hair E. Shaving Outline on Model with Tightly Curled Hair F. Razor Cutting on Model G. Clipper Cutting: Close Fade on Model H. Clipper Cutting: Flat Top and Crew Cut on Model I. Taper Cut on Curly Hair Texture J. Head Shaving 1. Performed with a changeable- (or disposable-) blade straight razor. 2. Caution: Do not adjust outliner blades fl ush with each other to accomplish the service; may cause serious injury to the client’s skin. 3. Procedure a. Examine the scalp for any abrasions, primary or secondary lesions, or scalp disorders. b. Remove excess hair with clippers or balding blade; shampoo remaining hair and re-examine scalp. c. Apply shaving cream or gel and lather; apply steam towels. d. Start at back; freehand stroke with the grain from crown to nape; stretch skin taut as needed; follow curve of head; use short strokes. e. Move to front and tip head forward slightly; shave from crown to front hairline; keep skin moist. f. Shave down the sides; shave carefully in ear areas. g. Finish: Check for missed areas; remove remaining lather with warm towel; apply witch hazel, and follow with a cool-towel application.

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97147_15_ch15_p319-352.indd 329 7/31/10 1:43:08 PM K. Haircut Finish Work 1. Trimming the eyebrows: Shear-over-comb or outliner-over-comb technique; practice safety at all times. 2. Trimming excess hair from nose and ears: T-shaped blades or nose hair trimmers are safest tools for trimming nostrils; T-shaped blades work well in small areas like ears. 3. Use a barber’s towel to dust for stray hairs after trimming these areas. Do not use a neck brush.

8. Men’s Hairstyling

A. Introduction 1. The art of arranging the hair into an appropriate style following a haircut or shampoo. 2. Methods: natural drying, fi nger styling, scrunch styling, blow-drying, braiding, and hair-locking. B. Methods 1. Natural drying: hair is combed into place and left to dry naturally. 2. Finger styling: may or may not utilize blow-dryer; fi ngers used to style the hair. 3. Scrunch styling: form of fi nger styling; used on wavy or curly hair to create a tousled look; may be performed with blow-dryer and diffuser. 4. Blow-drying: see textbook Figures 15-134a to 15-136b. a. Dries and styles in one operation; provides options of speed drying and special effects styling. b. Freeform: quick, easy method; builds fullness into style; hair falls into natural lines of cut. c. Stylized: sections dried in a defi nite direction with comb or brush; creates a styled appearance; includes blow-waving techniques. d. Diffused: requires a diffuser attachment; used to maintain natural wave pattern of hair. Activity 20: Guide students through Practice Session 10 on page 474 and have them practice blow-drying techniques on their mannequins. 5. Braids and locks: see textbook Figures 15-144 to 15-151. a. Forms of natural hair care originating in Africa. b. Braids: on-the-scalp cornrows popular with men; work close to scalp, across natural curves of head; underhand-braiding method pictured. 1. Apply essential oil; create two parallel partings to form row for cornrow base. 2. Divide parting into three strands; working close to base, cross left strand under center strand. 3. Cross right strand under the center strand. 4. With each crossing under, pick up hair from base; add to outer strand before crossing under center strand. 5. Finish with oil sheen or appropriate styling aid. Activity 21: Have students practice cornrows on mannequin. c. Locks: also known as dreadlocks; created from natural textured hair; hairs are intertwined to form a single network of hair; hair-locking: process that occurs when coiled hair is allowed to develop in its natural state; cultivated locks: locks are guided through the natural process of locking. 1. Methods: twisting, braiding, and wrapping 2. Techniques: comb technique and palm- or fi nger-rolling 3. Comb technique: place comb at scalp base; spiral hair into a curl with a rotating motion; comb moves along strand with each revolution until reaching end. 4. Palm- or fi nger-rolling: part hair in horizontal rows from nape to front hairline and divide rows into equal subsections; apply gel to fi rst subsection and pinch hair near scalp between thumb and index fi nger; twist strands one full clockwise revolution; repeat down the entire strand; moisten as needed; dry under hood dryer and apply a light oil.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 330330 66/1/10/1/10 55:00:11:00:11 PMPM 5. General rules: Locks can only be removed by cutting them off; hair locks in progressive stages and may take six months to a year to complete; Locks require regular cleaning, conditioning, and re-rolling; heavy oils should be avoided. Activity 22: Have students practice locking techniques on a curly-haired mannequin.

9. Safety Precautions for Haircutting and Styling A. Use all tools and implements in a safe manner. B. Use the right tool for the job. C. Always use a neckstrip or towel as a barrier between the cape and the client’s neck. D. Use smooth movements when raising or lowering chairs and seat backs. E. Properly sanitize, disinfect, and store tools and implements. F. Avoid applying dryer heat in one place on the head for too long. G. Keep metal combs away from the scalp when using heat. H. Keep work area clean and sanitized. I. Sweep the fl oor after every client and dispose of hair clippings appropriately.

SUMMARY/REVIEW: What did we learn and do today?

1. Discussed the art and science of men’s haircutting and styling. 2. Discussed the term envisioning and the importance of the client consultation. 3. Identifi ed and named the sections of the head as applied to haircutting. 4. Discussed facial shapes and anatomical features. 5. Defi ned basic terms used in haircutting. 6. Demonstrated fi ngers-and-shear, freehand shear, shear-over-comb, freehand clipper cutting, clipper-over-comb, and razor cutting techniques (instructor). 7. Practiced fi ngers-and-shear, freehand shear-over-comb, freehand clipper cutting, clipper-over- comb, and razor cutting techniques on a mannequin (students). 8. Demonstrated shaving the outline areas (instructor). 9. Practiced shaving the outline areas on a mannequin (students). 10. Discussed and demonstrated head-shaving techniques (instructor). 11. Demonstrated disinfection procedures. 12. Demonstrated blow-drying techniques (instructor). 13. Practiced blow-drying techniques on a mannequin (students). 14. Demonstrated on-the-scalp cornrows and locking techniques (instructor). 15. Practiced on-the-scalp cornrows and locking techniques on a mannequin (students).

THEORY REVIEW QUESTIONS AND ANSWERS

1. What are the characteristics of the art of haircutting? Answer: Individualized and precise designing, cutting, and shaping of the hair 2. What should a good hairstyle accomplish? Answer: It should accentuate the client’s strong features and minimize the weaker ones. 3. What are the physical considerations that help to determine the best haircut and style for an individual? Answer: The individual’s head shape, facial contour, hairline, neckline, and hair texture 4. What is the process of envisioning? Answer: The process of picturing or visualizing in one’s mind the fi nished cut and style based on the client consultation

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97147_15_ch15_p319-352.indd 331 8/3/10 12:51:59 PM 5. What are the haircutting areas of the head used in men’s haircutting, as described in the textbook? Answer: The front, top, temporal, crown, sides, sideburns, back, and nape 6. What other terms are used to identify the temporal areas? Answer: Crest, parietal ridge, hatband, or horseshoe 7. What are the basic haircutting terms used in the textbook? Answer: Lines, angles, elevations, parting, design line, guide, stationary guide, traveling guide, layers, tapered, weight line, texturizing, tension, thinning, outlining, over-direction, and hairstyling 8. What are the primary haircutting techniques used in men’s haircutting? Answer: Fingers-and-shear, shear-over-comb, freehand clipper cutting, clipper-over-comb, razor- over-comb, and razor rotation 9. What is meant by shaving the outline areas? Answer: Both the neck shave and the outline shave are considered shaving the outline areas. The neck shave consists of shaving the sides of the neck and across the nape with a razor; the outline shave consists of shaving sideburn areas, around the ears, and sometimes the front hairline. 10. Why must the hair be in a damp condition for razor cutting? Answer: To ensure client comfort and a precise cut; razor cutting on dry hair causes tugging and discomfort. 11. Describe the razor-rotation technique. Answer: Razor rotation requires a rotating motion of the comb and razor; in the fi rst movement, the razor follows the comb through the hair, then the comb follows the razor in a circular or rotating motion. 12. What is the difference between the freeform blow-drying and stylized blow-drying techniques? Answer: In freeform blow-drying the hair above the section to be dried is held out of the way with a brush or comb; the dryer is held at an angle of 6" to 10" from the hair with the nozzle pointing downward, and the dryer is moved back and forth from side to side as it dries the hair; as the hair underneath is dried, the brush or comb releases the next layered section for drying; each section is brushed or combed down after it is dried. In stylized drying, each section is dried in a defi nite direction with the comb or brush. 13. What is the braiding technique used to create cornrows? Answer: The hair is parted off and then the parting is divided into three strands; working close to the base, the left strand is crossed under the center strand, then the right strand is crossed under the center strand; hair is picked up from the base and added to the outer strand before crossing under the center strand. 14. What is hairlocking? Answer: The process that occurs when coiled hair is allowed to develop in its natural state without the use of combs, heat, or chemicals 15. What are cultivated locks? Answer: Locks that are intentionally guided through the natural process of locking through the procedures of twisting, braiding, or wrapping

ASSIGNMENTS

1. Read Chapter 16: Men’s Hair Replacement. 2. Begin Workbook Chapter 16: Men’s Hair Replacement; due date: ______. 3. Schedule friends and family members as models to practice basic haircutting and styling techniques (optional, but recommended).

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 332332 66/1/10/1/10 55:00:11:00:11 PMPM Textbook Chapter Review Questions and Answers Chapter 15: Men’s Haircutting and Styling

1. List the characteristics of the art of haircutting. Individualized and precise designing, cutting, and shaping of the hair 2. Explain what a good hairstyle should accomplish. It should accentuate the client’s strong features and minimize the weaker ones. 3. List the physical considerations that help to determine the best haircut and style for an individual. The individual’s head shape, facial contour, hairline, neckline, and hair texture 4. Explain the process of envisioning. The process of picturing or visualizing in one’s mind the fi nished cut and style, based on the client consultation 5. List the haircutting areas of the head used in men’s haircutting? The front, top, temporal, crown, sides, sideburns, back, and nape 6. List and defi ne the basic haircutting terms. 1. Line: a series of connected dots that results in a continuous mark 2. Angle: the space between two lines or surfaces that intersect at a given point 3. Elevation: the angle or degree hair is held from the head for cutting, relative from where it grows 4. Parting: a smaller section of hair (¼" to ½") parted off from a larger section of hair 5. Design line: the outer perimeter line of a haircut; may act as a guide 6. Guide: also known as guideline or guide strand, a cut made by which subsequent sections of hair are measured and cut 7. Stationary guide: used for one-length-looking designs at the perimeter (blunt cut), or maintains length of a section to which subsequent partings are brought for cutting, producing long layers and extra length within a section 8. Traveling guide: moves along a section of hair as each cut is made, using the cut before it for measuring and blending 9. Layers: produced by cutting interior sections of the hair 10. Tapered or tapering: hair conforms to the head shape 11. Weight line: refers to the heaviest perimeter area of a 0- or 45-degree cut 12. Texturizing: cutting into the hair with regular, thinning, or notching shears or razors to create special effects, such as wispy or spiky hair 13. Tension: pressure applied when combing or holding a section of hair with fi ngers for cutting 14. Thinning: the removal of excess bulk from the hair 15. Outlining: marking the perimeter of the haircut in the front, over the ears, and at the sides and nape of the neck 16. Over-direction: creates length increase in the design; occurs when hair is combed away from its natural fall position 17. Hairstyling: arranging the hair in a particular style appropriately suited to the cut

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 333333 66/1/10/1/10 55:00:11:00:11 PMPM 7. List the cutting techniques used in men’s haircutting. Fingers-and-shear, shear-over-comb, freehand shear, freehand clipper cutting, clipper-over-comb, razor-over-comb, and razor rotation 8. What is the difference between a neck shave and an outline shave? Both the neck shave and the outline shave refer to shaving the outline areas. The neck shave consists of shaving the sides of the neck and across the nape only. The outline shave consists of shaving the sideburn areas, around the ears, and sometimes the front hairline. 9. Does an outline shave always include shaving the hairline at the forehead? Why or why not? No, an outline shave does not always include shaving the front hairline because it depends on the style desired by the client. 10. Explain why the hair should be in a damp condition for razor cutting. To ensure client comfort and a precise cut, and to avoid tugging and discomfort 11. Describe the razor-rotation technique. Razor rotation requires a rotating motion of the comb and razor. In the fi rst movement, the razor follows the comb through the hair. Then the comb follows the razor in a circular or rotating motion. 12. Explain the differences between freeform blow-drying and stylized blow-drying techniques. In freeform blow-drying, the hair above the section to be dried is held out of the way with a brush or comb. The dryer is held at an angle of 6" to 10" from the hair with the nozzle pointing downward. The dryer is then moved back and forth from side to side as it dries the hair. As the hair underneath is dried, the brush or comb releases the next layered section for drying; each section is brushed or combed down after it is dried. In stylized drying, each section is dried in a defi nite direction with the comb or brush. 13. Explain the braiding techniques used to create cornrows. The hair is parted off and then the parting is divided into three strands. Working close to base, the left strand is crossed under the center strand, and then the right strand is crossed under the center strand. Hair is picked up from the base and added to the outer strand before crossing under the center strand. 14. Defi ne hairlocking. The process that occurs when coiled hair is allowed to develop in its natural state, without the use of combs, heat, or chemicals 15. Why do state barber boards most often require a licensure candidate to perform a taper cut during the practical exams? Because it is the best cut to demonstrate tapering and blending techniques, balance and proportion, fi nishing techniques, and the use of traditional barber tools

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 334334 66/1/10/1/10 55:00:11:00:11 PMPM Test—Chapter 15 MEN’S HAIRCUTTING AND STYLING Read each statement carefully. Circle the letter that correctly completes each of the following statements. 1. The foundation of a good hairstyle is a good: a) permanent c) color b) haircut d) head shape 2. A hairstyle should accentuate the client’s: a) strongest features c) soft features b) weakest features d) receding features 3. Haircut designs require consideration of the head shape, facial contour, hairline, and: a) neckline c) neither a nor b b) hair texture d) a and b 4. In addition to physical characteristics, barbers are guided in haircut design by the client’s: a) wishes c) personality b) lifestyle d) a, b, and c 5. To eliminate any guesswork about the desired haircut or style, the barber performs a: a) hair analysis c) strand test b) client consultation d) style book presentation 6. Every haircut that a barber performs serves as all of the following except: a) an advertisement of c) a shortcut to wealth the work b) a representation of d) a possible client referral the work 7. Facial shapes are determined by the position and prominence of the: a) forehead c) chin b) nose d) facial bones 8. The number of facial shapes that barbers should be able to recognize is: a) fi ve c) seven b) six d) eight 9. In addition to oval, round, inverted triangle, and square, general facial shapes include: a) pear-shaped, oblong, c) pyramid, pear-shaped, diamond diamond b) rectangular, oblong, d) slender, rectangular, pyramid diamond 10. The facial shape most often recognized as ideal is the: a) round facial shape c) square facial shape b) oval facial shape d) oblong facial shape

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 335335 66/1/10/1/10 55:00:11:00:11 PMPM 11. Hair that is too short will emphasize the fullness of the: a) oval face shape c) triangular face shape b) oblong face shape d) round face shape 12. Over-wide cheekbones and a narrow chin are features of the: a) inverted-triangle face shape c) oblong face shape b) oval face shape d) diamond face shape 13. To minimize angular features at the forehead, use a) deep full bangs c) layered bangs that blend at the temples b) an off-the-face hairstyle d) bangs that cover the forehead 14. The facial shape that is narrow at the top and wide at the bottom is the: a) round face c) oblong face b) pear-shaped face d) diamond face 15. When designing a hairstyle for the oblong facial shape, the objective is to: a) lengthen the shape c) widen the shape b) slenderize the shape d) shorten the shape 16. Important details of a haircut design include: a) sideburn length and outlines c) a and b b) balance and proportion d) neither a nor b 17. The features of a concave profi le are: a) prominent forehead and chin c) prominent forehead and receding chin b) receding forehead and chin d) forehead and chin in alignment 18. An arrangement of fuller hair over the forehead and a beard balances the appearance of the: a) straight profi le c) convex profi le b) concave profi le d) angular and convex profi les 19. To minimize a protruding chin, the client should wear a: a) beard only c) long beard and mustache b) mustache only d) short beard and mustache 20. To minimize the prominence of the nose, the hair should be styled: a) close and short all over c) down over the forehead b) forward at the front with d) back at the front and down the sides back at the sides 21. To minimize the appearance of a long neck, the hair should be: a) left longer c) cut shorter b) cut to the natural hairline d) tapered close to the head 22. Short necks can appear longer when the hair is: a) razor cut c) tapered b) uniformly cut d) left long at the nape

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 336336 66/1/10/1/10 55:00:12:00:12 PMPM 23. As part of the parietal ridge, the temporal section is also known as all of the following except: a) the crown c) the crest b) the horseshoe d) the hatband 24. Points on the head that mark head or hair changes as a result of the surface are called: a) pressure points c) reference points b) motor points d) trigger points 25. The widest section of the head is the: a) parietal ridge c) crown b) back d) sides 26. The bone that protrudes at the base of the skull is the: a) frontal bone c) parietal bone b) neck bone d) occipital bone 27. The highest point on the top of the head is the: a) parietal ridge c) apex b) back d) crown 28. Three types of straight lines used in haircutting are: a) horizontal, vertical, zigzag c) diagonal, horizontal, wavy b) horizontal, vertical, diagonal d) curved, horizontal, vertical 29. Horizontal cutting lines: a) build weight c) eliminate weight b) reduce weight d) reduce bulk 30. Vertical cutting lines: a) increase weight c) remove weight and create layers b) build weight d) leave weight 31. Diagonal lines produce a/an: a) horizontal direction c) parallel direction b) slanted direction d) opposite direction 32. A space between two lines or surfaces that intersect at a given point is called a/an: a) line c) angle b) angel d) motor point 33. The degree at which hair is held for cutting, relative from where it grows, is called: a) angle c) lift b) elevation d) the cutting line 34. Elevation is also known as: a) degree c) projection b) angle d) position

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 337337 66/1/10/1/10 55:00:12:00:12 PMPM 35. When a hair section is lifted above 0 elevation or natural fall: a) elevation occurs c) de-elevation occurs b) blunt lines occur d) beveling under occurs 36. The outer perimeter of the cut that may act as a guideline is the: a) parting c) elevation b) design line d) angle 37. Blunt cuts are achieved by cutting the hair at: a) 0 elevation c) 90 degrees b) 45 degrees d) 180 degrees 38. Medium elevation creates layered ends within the parting of hair from: a) 0 elevation to 90 degrees c) 0 elevation to 45 degrees b) 0 elevation to 180 degrees d) 0 to 360 degrees 39. The most commonly used elevation in men’s haircutting is: a) 0 elevation c) 90 degrees b) 45 degrees d) 180 degrees 40. The usual thickness of a parting for cutting is: a) ¼" to ½" c) ¾" to 1" b) ½" to ¾" d) 1" to 1½" 41. The outer perimeter of the haircut is called the: a) guideline c) cutting line b) design line d) elevation line 42. A cut by which subsequent sections of hair will be measured and cut is called a/an: a) guide or guideline c) cutting line b) design line d) elevation line 43. Guides are classifi ed as being either: a) stationary or permanent c) stationary or traveling b) moving or traveling d) low or high 44. A guide that moves along a section of hair as each cut is made is called a: a) traveling guide c) mobile guide b) stationary guide d) universal guide 45. A guide that is used to bring subsequent partings to it for cutting is called a: a) traveling guide c) mobile guide b) stationary guide d) universal guide 46. Cutting the hair at elevations higher than 0 elevation produces: a) a blunt cut c) layers b) a weight line d) waves

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 338338 66/1/10/1/10 55:00:12:00:12 PMPM 47. Types of layering include all of the following except: a) tapered layering c) uniform layering b) 0-elevation layering d) angled layering 48. A haircut that conforms to the shape of the head is usually: a) blunt cut c) tapered b) uniformly cut d) long layered 49. A tapered haircut is longer in the crown and top areas and: a) shorter at the nape c) longer at the nape b) uniform at the nape d) neither a, b, nor c 50. The heaviest perimeter area of a 0 elevation or 45-degree cut may be referred to as a: a) cutting line c) weight line b) bowl cut line d) bi-level line 51. The use of barbering tools to create special effects within a haircut is called: a) specializing c) layering b) texturizing d) slithering 52. The amount of pressure applied to the hair while combing or holding for cutting is called: a) stretching c) tension b) controlling d) texturizing 53. The removal of excess bulk from the hair is called: a) slithering c) customizing b) de-thickening d) thinning 54. Marking or fi nishing the outer perimeter of the haircut is called all of the following except: a) outlining c) edging b) bordering d) a tape-up 55. Combing the hair away from its natural fall position for cutting results in: a) under-direction c) angled-direction b) over-direction d) neither a, b, nor c 56. Hairstyling may require one of the following except: a) oil sheen c) styling gel b) hair tonic d) styptic 57. Cutting above the fi ngers is a: a) fi ngers-and-shear technique c) freehand technique b) shear-over-comb technique d) razor-rotation technique 58. An important haircutting technique used in tapering is the: a) fi ngers-and-shear technique c) universal technique b) shear-over-comb technique d) freehand shear technique

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 339339 66/1/10/1/10 55:00:12:00:12 PMPM 59. Using the shear-over-comb method to cut behind the ears may require the comb to be in a: a) vertical position c) diagonal position b) horizontal position d) position atop the hair 60. When using the shear-over-comb technique, the comb is held parallel to the: a) hairline c) part line b) shears d) hair clip 61. When using the shear-over-comb technique, the hair is placed in position for cutting by: a) combing through it c) brushing through it b) holding it between d) rolling the comb out the fi ngers 62. The shear-point taper is performed with the: a) cutting points of the shears c) clippers b) razor d) outliners 63. The method used to mark or outline the hairline over the ears is called the: a) outlining technique c) arching technique b) trimming technique d) fi nishing technique 64. The standard clipper cutting techniques are the: a) freehand and backhand c) freehand and underhand b) clipper-over-comb and d) clipper-over-comb and backhand freehand 65. As a general rule, clipper cutting is followed up with: a) razor rotation work c) shear work b) trimmer work d) comb and shear work 66. Cutting against the grain means cutting the hair in the direction: a) opposite from which c) that it grows it grows b) diagonal from which d) neither a, b, nor c it grows 67. The hair is not cut with or against the grain when cutting: a) against the grain c) with the grain b) across the grain d) opposite the grain 68. Cutting the hair in a circular motion with the grain is advisable in areas where: a) cowlicks are present c) whorls are present b) waves are present d) whirls are present 69. Freehand clipper cutting requires consistent use of the: a) comb or hair pick c) trimmer b) outliner d) edger

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 340340 66/1/10/1/10 55:00:12:00:12 PMPM 70. The usual range of detachable clipper blade sizes is 0000 to: a) 1 c) 3 b) 2 d) 3½ 71. To blend a taper from shorter to longer hair using the clipper-over-comb method: a) place the comb fl at to c) tilt the comb away the head from the head b) tilt the comb toward d) freehand blend the hair the head 72. Fades, crew cuts, fl at tops, and the Quo Vadis are examples of popular: a) shear cuts c) razor cuts b) short clipper cuts d) trimmer cuts 73. Always check sideburn lengths by: a) facing the client c) measuring from the ear b) measuring from facial bones d) checking the lengths in the mirror 74. The type of cutting method that can help make resistant hair textures more manageable is: a) clipper cutting c) shear cutting b) razor cutting d) hair singeing 75. The razor is held almost fl at against the surface of the hair in: a) light taper-blending c) razor taper-blending b) terminal taper-blending d) heavy taper-blending 76. The razor is held up to 45 degrees from the surface of the hair strand in: a) light taper-blending c) razor taper-blending b) terminal taper-blending d) heavy taper-blending 77. The angle of the razor blade is increased to about 90 degrees in: a) light taper-blending c) razor taper-blending b) terminal taper-blending d) heavy taper-blending 78. Hair that requires more razor strokes and heavier tapering than other textures is: a) fi ne, thick hair c) medium, thick hair b) coarse, thick hair d) any thick hair type 79. The rotating motion of the comb and razor as the hair is being cut is called: a) cutting rotation c) razor rotation b) slicing rotation d) razor taper-blending 80. Razor cutting requires that the hair be: a) chemically processed c) clean and dry b) clean and damp d) misted 81. When thinning the hair, avoid all of the following except: a) cutting too deeply c) cutting top surfaces of the hair b) cutting too close to the scalp d) observing area to be thinned 341

997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 341341 66/1/10/1/10 55:00:12:00:12 PMPM 82. The neck shave and shaving of the outline areas are considered to be all of the following except: a) unnecessary c) haircut fi nish work b) traditional barbering services d) important to the fi nished cut 83. Shaving the sides of the neck and across the nape with a razor is called a/an: a) extra service c) neck shave b) outline shave d) hairline shave 84. Arranging the hair into an appropriate style following a haircut or shampoo is called: a) hair artistry c) hair sculpting b) hairstyling d) hair fi nishing 85. Blow-drying techniques include all of the following except: a) free-form c) diffused b) stylized d) thermal irons 86. One of the most popular braiding variations chosen by men is: a) fi sh-bone braid c) three-strand braid b) on-the-scalp cornrows d) off-the-scalp cornrows 87. Styling the hair into braids and locks is a form of: a) natural hair care c) trendy hair care b) chemical hair care d) thermal hair care 88. The process that occurs when coiled hair is allowed to develop in its natural state is called: a) natural hair c) hairlocking b) braiding d) corn-rowing 89. Once locked, locks can be removed only by: a) cutting them off c) shampooing b) chemical processes d) shampooing and conditioning 90. Hair locks in progressive stages that can take a) one to three months c) six to nine months to complete to complete b) three to six months to d) six to twelve months complete to complete 91. Techniques for locking the hair include all of the following except the: a) curling-iron method c) fi nger-rolling method b) comb-revolution method d) palm-rolling method 92. Hair thinning is used primarily for: a) shortening hair length c) whorl sections of hair b) diffi cult hair types d) reducing bulk in the hair

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 342342 66/1/10/1/10 55:00:12:00:12 PMPM 93. A style suitable for very curly hair that is even over the entire head is the: a) fade style c) Quo Vadis style b) precision cut style d) brush cut style 94. In shear-over-comb cutting, the comb is held parallel to the: a) cutting blade of the shears c) client’s neckline b) forearm of the barber d) still blade of the shears 95. A special clipper designed primarily for close cutting in the outline areas is called a/an: a) razor c) edger, trimmer, or outliner b) balding clipper d) vibrator 96. In razor cutting, the type of razor that is preferable for beginning barbers is the: a) electric razor c) open-blade razor b) wedge razor d) razor with a guard 97. For best results in razor cutting, the barber must avoid: a) tapering and blending c) ear arching b) over-tapering d) blunt cutting 98. Many men style their hair with: a) a fl at iron c) their fi ngers b) a wide-toothed comb d) a curling iron 99. Blow-dry styling can be used to achieve all of the following except: a) speed drying c) special effects styling b) natural drying d) blow-waving 100. Creating a ridge or bend in the hair with a comb, followed by concentrated heat from the blow- dryer, gives the hair: a) direction c) curls b) a part line d) versatility

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 343343 66/1/10/1/10 55:00:12:00:12 PMPM Answer Key—Chapter 15 MEN’S HAIRCUTTING AND STYLING

1. b 21. a 41. b 61. d 81. d 2. a 22. c 42. a 62. a 82. a 3. d 23. a 43. c 63. c 83. c 4. d 24. c 44. a 64. b 84. b 5. b 25. a 45. b 65. d 85. d 6. c 26. d 46. c 66. a 86. b 7. d 27. c 47. b 67. b 87. a 8. c 28. b 48. c 68. c 88. c 9. a 29. a 49. a 69. a 89. a 10. b 30. c 50. c 70. d 90. d 11. d 31. b 51. b 71. c 91. a 12. a 32. c 52. c 72. b 92. d 13. c 33. b 53. d 73. d 93. c 14. b 34. c 54. b 74. b 94. d 15. d 35. a 55. b 75. a 95. c 16. c 36. b 56. d 76. d 96. d 17. a 37. a 57. a 77. b 97. b 18. d 38. c 58. b 78. b 98. c 19. d 39. c 59. c 79. c 99. b 20. b 40. a 60. b 80. b 100. a

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 344344 66/1/10/1/10 55:00:12:00:12 PMPM Supplement 15.0 SECTIONS OF THE HEAD

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 345345 66/1/10/1/10 55:00:12:00:12 PMPM Supplement 15.1 ANGLES RELATIVE TO THE HEAD FORM

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 346346 66/1/10/1/10 55:00:13:00:13 PMPM Supplement 15.2 HAIRCUTTING GUIDES TECHNICAL

Figure 15-33a Uniform 90-degree layers. Figure 15-33b 90-degree taper.

Figure 15-35 Stationary guide.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 347347 66/1/10/1/10 55:00:13:00:13 PMPM Supplement 15.3 CUTTING ABOVE THE FINGERS HORIZONTALLY

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 348348 66/1/10/1/10 55:00:14:00:14 PMPM Supplement 15.4 CUTTING BELOW THE FINGERS

CUTTING PALM-TO-PALM

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 349349 66/1/10/1/10 55:00:15:00:15 PMPM Supplement 15.5 CUTTING ABOVE THE FINGERS VERTICALLY

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 350350 66/1/10/1/10 55:00:22:00:22 PMPM Supplement 15.6 SHEAR-POINT TAPERING

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 351351 66/1/10/1/10 55:00:24:00:24 PMPM Supplement 15.7 ARCHING TECHNIQUE

Figure 15–46 Start outline at hairline; Figure 15–47a Arch around the ear in a Figure 15–47b Continue line back of steady the points of the shears. continuous line. the ear.

Figure 15–48 Reverse the direction of Figure 15–49 Establish length of right arching. sideburn.

Figure 15–50a Begin arching on left Figure 15–50b Arch over the ear and side. continue to back of the ear; cut left sideburn to match the right sideburn.

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997147_15_ch15_p319-352.indd7147_15_ch15_p319-352.indd 352352 66/1/10/1/10 55:00:26:00:26 PMPM