CHAPTER 1 reinforce the important points and perhaps introduce will appreciate you. Let your clients know the FIVE-STAR HAIR COLORIST a few new concepts or products. magic is not just in the materials, but also in (3 CE Hours) Hair care services are constantly evolving, and the expert choice of product and application. there continues to be an increasing demand for Clients know little about their options in hair Learning objectives color services. From covering gray, restoring or color products and services. You provide that !! Explain the significance of primary, “tweaking” the original color, highlighting or truly knowledge. And as an experienced professional, secondary and tertiary colors on a color transformative color, color can improve hair texture you are able to maximize a good product. wheel and in the process of coloring. and strength and increase confidence as much as a This course will help you increase your value in !! Define what is meant by “warm” and good make-up application. Clients receiving color the color equation. Instead of living in fear of hair “cool” colors, “complementary” colors, and services tend to visit the salon more frequently than coloring disasters, you might even get a reputation “neutralizing” colors. other types of clients and spend more money each for correcting them. To really understand !! Explain the difference between hair levels time, using both services and products. Because how color works, you need to have a basic and tones. application time is typically brief, there is a potential understanding of a number of topics. So that we !! Explain what the pH scale measures and how for substantial profits. Additionally, to maintain their are all speaking the same language, we will begin this is important to hair color. look and address new growth, clients have a strong with a glossary of terms that will be used. !! Describe the process of oxidation and its incentive to stay timely about services. function in permanent hair coloring. Glossary ! While the demand for skilled colorists grows, most ! Explain the objectives of the consultation/ Accelerator/ activator: An additive used to come out of school rank amateurs in the art of assessment. quicken the action or progress of a chemical. ! science and color, and many are rightfully fearful of ! List the main points and relevance of Another word for booster, protenator or catalyst. assessing hair texture and porosity. making mistakes. Above all, hair coloring requires !! Define natural base level; explain how to find technical precision, and the only way to become Accent color: A concentrated color product that it and its significance in hair coloring. an expert is by doing it many times. Stylists should can be added to permanent, semi-permanent or !! Explain how percentage and distribution of find a good resource for hair samples and testing temporary hair color to intensify or tone down gray affect hair coloring. materials and practice, practice, practice. The best the color. Another word for concentrates and !! Describe how the target color is formulated. hair colorists have done it thousands of times and color additive. ! ! Distinguish between predisposition (patch) have learned from failures as well as successes. Acid: An aqueous (water-based) solution having testing and strand testing. Running your own experiments will increase your a pH less than 7.0 on the pH scale. !! Identify the major categories of hair color skills as well as your confidence in the results. Alkaline: An aqueous (water-based) solution services and describe the complications The function and ingredients in home hair associated with each. having a pH greater than 7.0 on the pH scale. The color products and those found in the salon opposite of acid. Another word for base/alkali. are essentially the same. The major difference Introduction in home hair color versus salon color is the Allergy: A physical reaction resulting from How many of us would like a raise? How much? expertise of a professional colorist who is able extreme sensitivity to exposure, contact or 5? 10 percent? 20 percent? Even 60 percent? to custom blend a specific color and control the ingestion of certain foods or chemicals. How many want to be a “genius” to our clients? amount of hydrogen peroxide or other products Allergy test: A test to determine the possibility or How much hair color are you currently doing? 10 used. Through experience, the stylist learns how degree of sensitivity; also known as a patch test, percent? 20 percent? 50 percent? the process will affect hair color and quality, and predisposition test or skin test. how long or short a time to process the color. We know that in the rest of the world, 98 percent Amino acids: The group of molecules that the of clients receive color services on a regular New do-it-yourself products are both a boon and body uses to synthesize protein. There are 22 basis, both women and men (the 2 percent are a burden. Many clients may try to color their own different amino acids found in living protein that children). This tells us there is the potential to hair with varying results. You may have to correct serve as units of hair structure. claim up to 60 percent new color business! a client’s mistake. Your knowledge and abilities will ensure that the client’s money is well-spent, Ammonia: A colorless, pungent gas composed But why is there such a big difference between and you’ll find your confidence stretched with each of hydrogen and nitrogen; in water solution it is the U.S. and the rest of the world? The rest of success. Coloring accidents can be a nightmare, called ammonia water. Used in hair color to swell the world considers the hair color to be the most but great color correction can make you invaluable the cuticle. When mixed with hydrogen peroxide, important “cosmetic” to the skin. In addition, to that client. Remember, the product is only one it activates the oxidation process on melanin and stylists will study years longer to become part of the equation (and not the most important allows the melanin to decolorize. licensed, and they take chemistry very seriously. part). While a client can produce satisfactory results Ammonium hydroxide: An alkali solution Hair color services can be the most lucrative and with the first application, re-touches will become of ammonia in water; commonly used in the rewarding service offered at a salon. We can take a problematic simply because different bases are manufacturing of permanent hair color, lightener haircut-only client to a haircut AND color client in involved and the hair’s condition is compromised. preparations and hair relaxers. a very short period, with very little effort. Today’s Careful reading is essential to successful hair Analysis (hair): An examination of the hair to client flow demands four times the number of coloring, starting with the critical information determine its condition and natural color. clients as in previous years. We simply must make in product directions and manufacturer’s each client more valuable to the salon! Aqueous: Descriptive term for water solution or information. One can also “read up” on new hair any medium that is largely composed of water. Yet many stylists remain apprehensive about color color developments and the latest technologies long after they leave cosmetology school. This is in magazines and on the Internet. Artful hair Ash: A tone or shade dominated by greens, probably because hair coloring is about chemistry, coloring is enhanced by reading and doing. Not blues, violets or grays. May be used to counteract which can present problems and mistakes that only can you find information about getting the unwanted warm tones. can drastically affect real people. This course will best results with specific products, such as details Base color: The combination of dyes that make remind you about the basics of the process and on how to mix and apply hair color, you also can up the tonal foundation of a specific hair color. discuss the products and techniques to help boost see photos of the results. your confidence as you boost your knowledge. For Bleach/lightener: The chemical compound that The more you learn about hair color, the more those who have been using hair-coloring products lightens the hair by dispersing, dissolving and valuable your services and the more your clients comfortably for years, this course will refresh and decolorizing the natural hair pigment. www.EliteCME.com Page 1 Bleeding: Seepage of tint/lightener from the color development during tinting or lightening. Diffused: Broken down, scattered; not limited to packet containing the hair to be colored or Also called strand test. one spot. frosting cap caused by improper application. Color wheel: The arrangement of primary, Direct dye: A preformed color that dyes the fiber Blending: A merging of one tint or tone with another. secondary and tertiary colors in the order of their directly without the need for oxidation. Also Blonding: A term applied to lightening the hair. relationships to each other. A tool for formulating. referred to as a stain. Bonds: The means by which atoms are joined Complementary colors: A primary and secondary Discoloration: The development of undesired together to make molecules. color positioned opposite each other on the color shades through chemical reaction. wheel. When these two colors are combined, they Double process: A technique requiring two Brassy tone: Undesirable red, orange or gold create a neutral color. Combinations are blue/ separate procedures in which the hair is tones in the hair. orange, red/green, and yellow/violet. decolorized or pre-lightened with a lightener Breakage: A condition in which hair splits and Condition: The existing state of the hair – its before the depositing color is applied. breaks off. elasticity, strength, texture, porosity and evidence Drab: Term used to describe hair color shades of previous treatments. Buffer zone: Applying color away from the scalp containing no red or gold. Also ash. to avoid chemical overlapping. Consultation; Verbal communication with a Drabber: Concentrated color used to reduce red client to determine desired result. Build-up: Repeated coatings on the hair shaft. or gold highlights. Contributing pigment: The current level Bumping the base: A term used to describe a Dull: A word used to describe hair or hair color and tone of the hair. Refers to both natural gentle degree of lift of the natural color. without sheen. contributing pigment and decolorized (lightened) Cap method: A disposable rubber or plastic contributing pigment. Dye: Artificial pigment. cap used to highlight or lowlight; hair is pulled through and selectively colored or bleached. Corrective coloring: The process of correcting Elasticity: The ability of the hair to stretch and an undesirable color. return to normal. Catalyst: A substance used to alter the speed of a chemical reaction. Cortex: The second layer of the hair. A Enzyme: A protein molecule found in living cells fibrous protein core of the hair fiber containing that initiates a chemical process. Category: A method of defining natural hair to melanin pigment. help determine the undertones. Fade: To lose color through exposure to the Coverage: Reference to the ability of a color elements or other factors. Caustic: Strongly alkaline materials. At very product to color gray, white or other colors of Fillers: (1) Color product used as a color high pH levels, can burn or destroy protein or the hair. tissue by chemical action. refresher or to replace undertones in damaged Cuticle: The translucent, protein outer layer of hair in preparation for hair coloring. (2) Any Certified color: A color that meets certain the hair fiber. liquid-like substance to help fill the need for standards for purity and is certified by the FDA. natural undertones. Cysteic acid: A chemical substance in the hair Cetyl alcohol: Fatty alcohol used as an fiber, produced by the interaction of hydrogen Formulas: Mixture of two or more ingredients. emollient. It is also used as a stabilizer for peroxide on the disulfide bond (cystine). emulsion systems, and in hair color and cream Formulate: The art of mixing to create a blend or developer as a thickener. Cystine: The disulfide amino acid that joins balance of two or more ingredients. protein chains together. Chemical change: Alteration in the chemical Frosting: The introduction of lighter strands to composition of a substance. D and C colors: Colors selected from a certified the hair; generally executed with a frosting cap. list approved by the FDA for use in drug and Glazing: A term used to describe a translucent Citric acid: Organic acid derived from citrus cosmetic products. fruits and used for pH adjustment. Primarily color used on the hair after a previous hair color; used to adjust the acid-alkali balance. Has some Decolorize: A chemical process involving a blending color. antioxidant and preservative qualities. Used the lightening of the natural color pigment or Gray hair: Hair with decreasing amounts of medicinally as a mild astringent. artificial color from the hair. natural pigment. Hair with no natural pigment Coating: Residue left on the outside of the hair shaft. Degree: Term used to describe various units of is actually white. White hairs look gray when measurement. mingled with pigmented hair. Also referred to as Color: Visual sensation caused by light. unpigmented hair. Demi-color/deposit-only color: A category of Color base: The combination of dyes that make color products between permanent and semi- Hair: A slender threadlike outgrowth on the skin up the tonal foundation of a specific hair color. permanent colors. Formulated to only deposit of the head and body. Also dye stock. color, not lift. They contain oxidative dyes and Hair root: That part of the hair contained within Color lift: The amount of change natural or artificial utilize a low volume developer. the follicle, below the surface of the skin. pigment undergoes when lightened by a substance. Dense: Thick, compact or crowded. Hair shaft: Visible part of each strand of hair. It Color mixing: Combining two or more shades Deposit: Describes the color product in terms of is made up of an outer layer called the cuticle, an together for a custom color. its ability to add color pigment to the hair. Color innermost layer called medulla and an in-between Color refresher: (1) Color applied to mid-shaft added equals deposit. layer called the cortex. The cortex layer is where color changes are made. and ends to give a more uniform color appearance Depth: The lightness or darkness of a specific to the hair. (2) Color applied by a shampoo-in hair color. Hard water: Water that contains minerals and method to enhance the natural color. Also called metallic salts as impurities. color wash, color enhancer, color glaze. Developer: An oxidizing agent, usually hydrogen peroxide that reacts chemically with coloring Henna: A plant-extracted coloring that produces Color remover: A product designed to remove material to develop color molecules and create a bright shades of red. The active ingredient is artificial pigment from the hair. Also dye change in natural hair color. lawsone. Henna permanently colors the hair by remover/dye solvent. coating and penetrating the hair shaft. Development time/oxidation period: The time Color test: The process of removing product required for a permanent color or lightener to from the hair strand to monitor the progress of completely develop. Page 2 www.EliteCME.com High-lift tinting: A single process color with a Overlap: Occurs when the application of color or Progressive dyes/progressive dye system: higher degree of lightening action and a minimal lightener goes beyond the line of demarcation. (1) A coloring system that produces increased amount of color deposit. absorption with each application. (2) Color Overporous; The condition where hair reaches products that deepen or increase absorption over Highlighting: The introduction of a lighter color an undesirable stage of porosity requiring a period of time during processing. in small sections to increase lightness of the hair. correction. Also sensitized. Resistant hair: Hair that is difficult to penetrate Hydrogen peroxide: An oxidizing chemical Oxidation: (1) The reaction of dye intermediates with moisture or chemical solutions. made up of 2 parts hydrogen, 2 parts oxygen with hydrogen peroxide found in hair coloring

(H2O2) used to aid the processing of permanent developers. (2) The interaction of hydrogen Retouch: Application of color or lightener hair color and lighteners. Also referred to as a peroxide on the natural pigment. mixture to new growth of hair. developer; available in liquid or cream. Oxidative hair color: A product containing Salt and pepper: The descriptive term for a Level: A unit of measurement used to evaluate the oxidation dyes that require hydrogen peroxide to mixture of dark and gray or white hair. lightness or darkness of a color, excluding tone. develop the permanent color. Secondary color: Colors made by combining Level system: In hair coloring, a system Para tint: A tin made from oxidation dyes. two primary colors in equal proportions; green, colorists use to analyze the lightness or darkness orange and violet are secondary colors. Para-phenylenediamine: An oxidative dye of a hair color. used in most permanent hair colors, often Semi-permanent hair coloring: A pre-oxidized Lift: The lightening action of a hair color or abbreviated as PPD. hair color requiring no catalyst that lasts through lightening product on the hair’s natural pigment. several shampoos. It stains the cuticle layer, Patch test: A test required by the FDA. slowly fading with each shampoo. Line of demarcation: An obvious difference Performed by applying a small amount of the between two colors on the hair shaft. hair coloring preparation to the skin of the arm, Sensitized: Referring to the condition of the hair. May be slight (dry) to extreme (over-porous). Litmus paper: A chemically treated paper used or behind the ear to determine possible allergies to test the acidity or alkalinity of products. (hypersensitivity). Also called pre-disposition or Sensitivity: Skin that is highly reactive to the skin test. presence of a specific chemical. Skin reddens Medulla: The center structure of the hair shaft. or becomes irritated shortly after application of Very little is known about its actual function. Penetrating color: Color that penetrates the the chemical. The reaction subsides when the Very fine hair many times does not have it. cortex or second layer of the hair shaft. chemical has been removed. Melanin: The tiny grains of pigment in the hair Permanent color: (1) Hair color products that Shade: (1) A term used to describe a specific color. cortex that create natural color. do not wash out by shampooing. (2) A category of hair color products mixed with developer that (2) The visible difference between two colors. Melanocytes: Cells in the hair bulb that creates a lasting color change. Sheen: The ability of the hair to shine, gleam or manufacture melanin. Peroxide residue: Traces of peroxide left in the reflect light. Melanoprotein: The protein coating of melanosome. hair after treatment with lightener or tint. Single process color: Refers to an oxidative tint Metallic dyes: Soluble metal salts such as lead, Persulfate: In hair coloring, a chemical solution that lifts or lightens, while depositing silver and bismuth produce colors on the hair ingredient commonly used in activators that color in one application. Also oxidative hair color. fiber, by progressive build-up and exposure to air. increases the speed of the decolorization process. Softening agent: A mild alkaline product applied Modifier: A chemical found as an ingredient in PH: The quantity that expresses the acid /alkali prior to the color treatment to increase porosity, permanent hair colors. Its function is to alter the balance. A pH of 7 is the neutral value for pure swell the cuticle layer of the hair and increase dye intermediates. water. Any pH below 7 is acidic; any pH above color absorption. Molecule: Two or more atoms chemically joined 7 is alkaline. The skin is mildly acidic, and Solution: A blended mixture of solid, liquid or together; the smallest part of a compound. generally in the pH 4.5 to 5.5 range. gaseous substances in a liquid medium. Neutral: (1) A color balanced between warm PH scale: A numerical scale from 0 (very acid) to Solvent: Carrier liquid in which other and cool that does not reflect a highlight of any 14 (very alkaline), used to describe the degree of components may be dissolved. primary or secondary color. (2) Also refers to a acidity or alkalinity. Specialist: One who concentrates on only one pH of 7.0. Pigment: Any substance or matter used as part or branch of a subject or profession. Neutralization: The process that counter-balances coloring; natural or artificial hair color. Spectrum: The series of colored bands diffracted or cancels the action of an agent or color. Porosity: Ability of the hair to absorb water or and arranged in the order of their wavelengths Neutralize: Render neutral; counter-balance of other liquids. by the passage of a white light through a prism. action or influence. Powder lightener: Same as off-the-scalp lightener. Shading continuously from red (produced by the longest wave visible) to violet (produced by the New growth: The part of the hair shaft that is Prebleaching/prelighten: Generally the first step shortest): red, orange, green, blue, indigo and violet. between previously chemically treated hair and of double-process hair coloring. To lift or lighten the scalp. Also regrowth. the natural pigment. Spot lightening: Color correcting using a lightening mixture to lighten darker areas. Nonalkaline: Same as acid. Presoften: The process of treating gray or very Off-the-scalp lightener: Generally a stronger resistant hair to allow for better penetration of color. Stabilizer: General name for ingredient that prolongs life, appearance and performance of a product. lightener (usually in powder form), not to be used Primary colors: Pigments or colors that are directly on the scalp. fundamental and cannot be made by mixing Stage: A term used to describe a visible color On-the-scalp lightener: A liquid, cream or gel colors together. Red, yellow and blue are the change that natural hair color goes through while form of lightener that can be used directly on primary colors. being lightened. the scalp. Prism: A transparent glass or crystal that breaks up Stain remover: Chemical used to remove tint Opaque: Allowing no light to shine through; flat; white light into its component colors; the spectrum. stains from the skin. lack of translucency. Processing time: the time required for the Strand test: Test given before treatment to determine Outgrowth: Same as new growth. chemical treatment to react on the hair. development time, color results and the ability of the hair to withstand the effects of chemicals. www.EliteCME.com Page 3 Stripping: Also referred to as color remover. Warm: A term used to describe hair color face and placing it on a “regular person” could Surfactant: An abbreviation for surface-active containing red, orange, gold or yellow tones. make your client view the hair color differently. agent. A molecule that is composed of an oil- Showing a client a book of various hair colors on Psychology of hair color loving (oleophillic) part and a water-loving finished styles is insurance that both of you are As professional hair colorists, we should never (hydrophilic) part. They act as a bridge to allow talking about the same color. It can also be used lose sight of our role in society. We have the oil and water to mix. Wetting agents, emulsifiers, to give direction and make recommendations. opportunity to make dramatic changes in the lives cleansers, solubilizers, dispersing aids and Without common ground to start from, formulating of people seeking to improve their appearance. thickeners are usually surfactants. for the client becomes a gamble. Some clients A change of hair color often can be the catalyst come to the salon knowing exactly what they Tablespoon: one-half ounce; 3 teaspoons. to turn the individual in a positive direction. want. The hair colorist should verify the color Because a change of hair color is so immediate Teaspoon: one-sixth ounce; one-third of a with a photograph and accept the client’s choice or and relatively inexpensive (compared to cosmetic tablespoon. make suggestions of his or her own. This is when surgery), it’s often the choice for many clients. Temporary color/rinses: Color made from professionalism becomes important. Just as we must first acquire the skills to perform preformed dyes that are applied to the hair for a An important point to remember when consulting the necessary techniques, it is equally important short-term effect. This type of product is readily with clients is their natural hair color category. If they we never lose sight of the fact that we are removed with shampoo. have worn a color at one point in their life, they can working on a living, breathing human being. Our wear it again. People in the warm brown category Terminology: The special words or terms used in pallet is never a canvas or a piece of clay. We’ve can wear the greatest variety of hair color. Review science, art or business. all been exposed to apathy by someone who just the natural hair color category and remember, when didn’t care or who was just having a bad day. Bad Tertiary colors: The mixture of a primary and a client is placed into a natural hair color category, he service or apathy is something a client should an adjacent secondary color on the color wheel. or she stays in that category for life. Red-orange, yellow-orange, yellow-green, blue- not have to tolerate. We must fight apathy toward green, blue-violet, red-violet. Also referred to as someone because of his or her appearance. It is not recommended that the client be shown a manufacturer’s hair color chart, regardless of how intermediary colors. As hair colorists, we are similar to the artists who beautiful it looks. The hair color chart is a tool restore paintings. Through the years, paintings Texture, hair: The diameter of an individual hair used by the hair colorist to help formulate. It will become veiled with a cover of soot and lose strand. Termed: coarse, medium or fine. not help the client select a hair color; rather it can their vibrant color; artists can remove that veil of Tint: Permanent oxidizing hair color product, create apprehension or confusion for the client – or soot and restore the painting to its original vivid having the ability to lift and deposit color in the it may put the client in charge of the consultation. colors. As hair colorists, we have the ability to same process. Requires a developer. In effect, your client will select her own hair color perform the same service on our clients. We can without your input, and at her next appointment Tint back: To return hair back to its original or take a client who through the years has lost the will again want to see the color chart to adjust that natural colors. Also referred to as repigment. vibrancy in his or her hair and restore it to its formula. The hair colorist will find that she, the original youthful appearance. For others, we can Tone: A term used to describe the warmth or expert, is taking direction from the client. coolness in color. transform dull, drab natural hair to spectacular color with glints of beautiful highlights. We should always remember the salon on the Toner: A pastel color to be used after pre-lightening. next block or in the next city is not our only Client consultation, communication and competition. Our major competition is the drug Toning: Adding color to modify the end result. negotiating are key skills. As we gain confidence store and the supermarket. We must always strive and become more proficient in our technical Touch-up: Also retouch. to use professional techniques and methods of skills, consultation becomes much easier. The application to create hair colors that cannot be Translucent: The property of letting diffused more tools we have at our disposal, the easier it is duplicated at home. Our goal should be to keep light pass through. to solve a greater variety of hair-color challenges hair coloring a professional service and draw a Tyrosine: The amino acid (tyrosine) that reacts and in turn, the more we grow our business. distinct line between professional hair color and with the enzyme (tyrosinase) to form the hair’s During the consultation, recognize that most people home hair color. What often matters most is not natural melanin. have a subjective opinion of their appearance. the product you use. It is the application method. Tyrosinase: The enzyme (tyrosinase) that reacts Understanding this can induce a sense of empathy If this is a client’s first hair coloring, there together with the amino acid (tyrosine) to form toward the client. Empathy is having the ability probably will be some apprehension. And her the hair’s natural melanin. to put yourself into clients’ shoes and viewing the fears are real. If you can erase those fears, you world as they see it. This helps you recognize that Undertone: The underlying color in melanin that will have a comfortable, relaxed client when clients have their own points of view. emerges during the lifting process and contributes performing the service. The most common fears to the end result. When lightening hair, residual Direct eye contact is important. Position yourself of clients are: warmth in tone always occurs. at eye level with the client and look directly at ■■ How will my new hair color look on me? her when consulting; avoid looking at the client Value: Also referred to as level and depth. Will I like it? in the mirror. One of the biggest challenges we ■■ What will the investment be in time and money? Vegetable color: A color derived from plant sources. face as hair colorists is negotiating with our ■■ If I don’t like it, what will it look like when it Virgin hair: Natural hair that has not undergone clients. Compromise is the key. Terminology and is growing out? presentation must be professional, but the colorist any chemical or physical abuse. The consultation period is one in which all must avoid sounding too “professional” and not aspects of the above concerns should be Viscosity: A term referring to the thickness of a “down to earth.” solution. addressed. The ability to put the client at ease Making a photo album with a variety of hair during her first visit to your salon is paramount. It Volume: The concentration of hydrogen peroxide colors is a great aid for helping clients find the does no harm to embellish the hair color service in water solution. Expressed as volumes of colors they are attempting to describe. They often by using descriptive terms such as “growing oxygen liberated per volume of solution; 20- will describe or refer to a celebrity who has a hair out gracefully” or “give your hair a youthful volume peroxide would thus liberate 20 pints of color they are attracted to. It is a good practice to appearance” or “soften your appearance.” Using oxygen gas for each pint of solution. have them find the same hair color in your photo your own terminology will make the client feel album. Taking the hair color off the celebrity’s good about the upcoming service.

Page 4 www.EliteCME.com A word about words: Words can cement or destroy some of us have found these both confusing and Note the color family and the points of a relationship, bring color to your presentations and difficult to use when consulting with a client. inspiration on the client analysis sheet. make a connection with another person. Above all Fashion color is a hot topic, and trends usually else, be careful not to insult the client, especially if appeal to the young client. However, the mature The categories of hair color she has been applying color at home. That means woman and most men will accept natural-looking Internationally, all of the color manufacturers use a not saying what one colorist was overheard saying hair color, done in good taste. numbering system instead of referring to “shades.” to the client: “Wow! Your hair is fried!” The reason for this is that numbers translate into an Easy color analysis can be accomplished by using a accurate relationship of the pigments present. (See Keep your descriptions positive and avoid emotional lighted magnifying glass. Look into the eye, either Figure 1 on inside back cover.) outbursts. A better way to address the client would from the front or the side, and observe the ring be: “Yes, your hair has lost moisture and needs to around the iris (the pigmented area of the eye). Basically, there are only three color categories: have the color replaced; here is my plan …” ■■ If the outer ring of the iris is blue (it could blonds: No. 10, No. 9, No. 8 and No. 7; browns: be blue-grey to as dark as navy blue), the No. 6, No. 5 and No. 4; and blacks: No. 3, No. 2 The client consultation person is cool-toned. Note: Even brown eyes and No. 1. You may be thinking: “What happened We suggest draping the client in white and have a can have a blue ring. Observe the skin. Most to reds?” Reds get into tones. A red can be light, white light above the head (or be in natural daylight cools will have a yellow base or somewhat and therefore fall into the blond category, or it or have a natural-daylight fluorescent lighting sallow complexion. can be dark and fall into the brown category. (See system). Seat yourself next to the client with a clear ■■ If the outer ring of the iris is green (it could Figure 2 on back cover.) view of the mirror. It is important to have finished be aqua to as dark as forest green) the person All hair color, both natural and artificial, is color examples available for the client to view and is warm-toned. Note: Even blue eyes can comprised of yellow, red and blue pigments. discuss. Again, this is preferred to showing the have a green ring. client a color chart. Fill out the client analysis sheet. □□ Most warms will have a peach or copper Starting with No. 10 on the International scale, This should also contain all relative information undertone to the skin. We can also yellow is the evident pigment. Progressing down, including health, medicines and history of any observe pigment bundles (freckles) on the we see the introduction of red. The darker the hair problems that the client may have had in the past. face, arms, chest or upper back. or hair color, the greater the concentration of these pigments. At No. 8, we start to see the introduction Look for points of inspiration in the iris, that is, of red; represented by the appearance of some flecks of gold, copper or bronze. Any of these orange. At No. 6, we see the evidence of red. tones will be enhancing to that person. This increase of concentration provides us with Because these pigments are part of the persons’ the progression of depth down to No. 1, which natural genetic make-up, the principle of the two is commonly referred to as blue-black. The blue color families will apply regardless of race or pigment is most responsible for “buffering” the nationality. Only the concentration of pigments red. We experience this when lightening natural will be different. This applies to the level of hair color. The blue is the first to be neutralized, color; that is, variations from pastel (fair), thereby exposing the red, orange or yellow. medium, to intense (deep). As a review of the basic color wheel (See Figure 3 on back cover): The three primary colors 1. Come to an agreement on the target shade. Who can wear what? are yellow, red and blue. Mixed together, they Analyze the natural level of color and find The cools can wear: produce brown. The naturals/neutrals are usually out what the client has in mind. Is a subtle or ■■ Naturals/neutrals. represented by the number or level by itself, such radical change desired? ■■ All cool tones. as No. 8, medium blonde. 2. Discuss the time and frequency of the ■■ Burgundy/blue-reds. treatment. How often must this be done to ■■ Violet reds. The secondary colors are orange (yellow and red), assure great results? ■■ Iridescent tones. green (yellow and blue) and violet (red and blue). 3. Be honest with the costs of the services. The ■■ Beige tones. The resulting tones are produced using the secondary client should not be surprised by charges ■■ Soft gold tones. and tertiary colors. These are also represented by either for the initial or retouch services. numbers and in some color lines, letters. The warms can wear: 4. The appointment time should be discussed. Do ■■ Naturals/neutrals. The most common usage of these numbers not attempt to give complicated services on the ■■ Strong golds. represents the following tones and colors: lunch hour or with a screaming child in tow. ■■ Copper tones. ■■ Ash – x.1, blue or green. 5. Prescribe maintenance products. This is your ■■ Bronze tones. ■■ Iridescent – x.2, violet. insurance policy that the hair’s integrity is ■■ Scarlet reds. ■■ Gold – x.3, yellow. being properly protected. ■■ Honey blonds. ■■ Copper – x.4, orange. Write everything down. Now, begin to make ■■ Clear reds. ■■ Burgundy – x.5, red-violet. suggestions within the parameters set down. Keep ■■ Auburn – x.6, red. If you wish to equate this information to seasonal the conversation open, friendly and professional. color, we can do that, too. For example, a No. 8.3 produces a medium Above all, listen to what the client is saying! ■■ A person who is cool-toned with a fair golden blond. More mistakes have been made from a “lack of complexion is a summer. understanding” than any other situation. Many exciting combinations are produced ■■ A person who is cool-toned with a medium to by mixing tones in unequal parts to produce Remember also that as we develop unpigmented deep complexion is a winter. a primary and secondary tone insertion. An (gray) hair, we lose pigments in the skin. A safe ■■ A person who is warm-toned with a fair example of this would be No. 8.43, known as rule for the conservative client or the gentleman complexion is a spring. medium coppery golden blond. The copper is the client is to stay within 1-2 levels (either lighter or ■■ A person who is warm-toned with a medium first, or dominant, tone, and gold is the secondary darker) from the natural color. to deep complexion is an autumn. tone. This can be accomplished by using a two- thirds to one-third ratio. Inspiration: Pigment study (The above information can be used to advise clients in make-up and wardrobe selection. This Volumes have been written about which colors A variety of terms are used to describe the tone of a makes you a savvy fashion consultant.) go with which skin tones and eye colors. But hair color, neutral, natural, drab, gold, ash, smoky, www.EliteCME.com Page 5 red and auburn red, to mention a few. It is important ■■ Deep color/non-ammonia colors (deposits in same variance can be found on the other end of to know the degree of concentration of the tone. For the cortex layer): the scale. Some manufacturers choose to use No. example, the color identified as gold could be a very □□ Are more durable. 10 as the lightest hair color, while others choose intense yellow gold or have slightly more gold than a □□ Have a low-volume developer (2½- to to use No. 12. Permanent hair color contains neutral. Working with the color and making swatches 12-volume peroxide). ingredients that create lift and deposit color. will help you recognize the actual color. □□ May be natural or metallic in origin. The lifting action is provided by the ammonium sulphate. Generally, the higher the number or Remember: A cool tone will appear darker than Deposit-only hair color uses oxidative and direct level, the more lightening provided. Also note, the indicated level, while a warm tone will appear dyes and requires a developer. The catalyst with the higher lightening comes less deposit of lighter because of the reflection of light. is generally a low volume oxidative solution. color. The lower levels provide less lifting action Deposit-only, demi-permanent hair colors are Note: A tertiary color, such as burgundy brown, and greater concentration of color deposit and longer lasting than semi-permanent hair color. is produced from both direct and indirect dyes. thereby contain less ammonium sulphate. These fade rather quickly and can produce runoff The major distinction between semi-permanent with each shampoo. Many fashion shades are and deposit-only, demi-permanent hair colors is Permanent (lift/deposit) hair color contains dye, produced this way. that a catalyst is required with deposit-only and alkaline substances, conditioners, stabilizers, demi-permanent color. These are also referred to fragrance detergents and emulsifiers. These are Don’t forget the color wheel rule: Opposite colors as deep colors. all used in various proportions to create the vast on the color wheel will neutralize one another. numbers of hair colors that are available to the hair NOTE: Some deposit-only hair colors may create colorist. The advantage of professional hair coloring a small amount of lift, depending on the volumes Types of color is greater selection, professional formulation and of the developer. professional application techniques. ■■ Permanent hair colors: (deposits in the The level system only indicates lift/deposit ratio. cortex layer): The tone or shade defines the actual color and is □□ Will lift natural hair color and deposit generally listed on the product. Manufacturers new color. often add a letter or series of numbers to identify □□ Work with natural pigments. level and indicate tone. While this information □□ Are generally produced from para- is provided to help the hair colorist determine phenyene-diamine, para-toluene-diamine formulation, the final color is determined by a and meta-toluene-diamine. number of factors that the colorist must consider. □□ Are produced from indirect dyes. They Category of natural hair color, presence and are clear until processing with the amount of gray hair and the condition of the hair natural pigments. There are many different types of hair coloring all will apply. The colorist cannot rely on level Permanent (lift/deposit) hair colors are available products available. They include pigmented and tone indicators from a manufacturer alone to in a variety of forms: gels, liquids and creams. shampoos, weekly rinses, semi-permanent, accurately predict a final color. They are packaged in tubes as well as bottles. The permanent lift-deposit hair color and deposit-only Note: Ask your manufacturer for the MSDS on majority use equal parts of peroxide, although hair color. each product. Another important consideration some use a one-to-two ratio of hair color to is to ask whether the colors are developed on ■■ Temporary colors (deposits on the cuticle peroxide. Permanent hair color works in basically a pigmented or white base. This will adjust the layer of the hair) are: the same manner; it creates a certain degree of lift depth of final results by as much as one full □□ Shampoos. and deposit. Permanent hair colors are the only number. For example, a No. 6 that is formulated □□ Rinses. hair colors that are formulated to lighten hair. □□ Mascara. on a white base will appear as deep as a No. 5 in The international system of defining the lift/ □□ Generally produced from vegetable dyes the final results. For this reason, a color chart or deposit ratio of hair color is called the level or stains. swatch book can be deceiving. system, which gives the colorist an indication A weekly rinse or temporary hair color is primarily of the lift/deposit ratio in a bottle or tube Chemistry – color mixing used to add color to gray hair, faded blonds or of hair color. Although most manufacturers Here are some examples of how to custom mix brassy hair. This hair color is not generally used to of hair color products use the level system, colors. cover gray, but instead to give a blend to the all-over not all manufacturers use the same system. ■■ Example: Decreasing the intensity of a tone: appearance. It does not have the ability to lighten When comparing products from two different □□ A red tone is too bright for the client’s hair. The color will rub off if applied excessively. manufacturers with the same level number, the taste: Mix ½ of the formula in a Natural ■■ Semi-permanent colors: (deposits in the hair colorist must be aware that the products color of the same number/Level. cuticle layer; may penetrate slightly deeper if could vary as much as two levels and may not ■■ Example: No. 5 (medium brown) is too heat is used) are: produce the same results. dark and No. 6 (light brown) is too light: □□ Non-ammonia with no peroxide (may How much lightening can we expect? The □□ Customize the formula by mixing half of use heat). lightening action is caused by a combination of the each to produce a No. 5½ level. □□ Produced from vegetable dyes and amount of ammonia in the color and the volumes ■■ Example: A natural level No. 7 (dark blond) has difficulty maintaining a strong sometimes metallic dyestuff. of the developer, such as 20V H2O = 2 levels of lift; 30V H O = 3 levels of lift; and so on. Another tip red tone. Semi-permanent hair color is not mixed with a 2 2 □□ Consider mixing at least one-fourth of the catalyst, although a heat application may be used for formulation is to count the natural level along with the target level, such as natural level No. 6 to formula in a deeper warm color, or work to make the color more durable. It is simple to with a lower volume of developer, or use use because the color you see is the color you get. target No. 8 = 3 levels. This is true because we must lift through the sixth level to reach the seventh level both adjustments. Always strand test to It is a direct dye and does not require oxidation predict results. for the color to stain the hair. In areas where the and then up to the desired eighth level. hair is more porous, this type of color will show A rule to remember when choosing a color: Caution: Mixing more than two colors may give greater intensity. Caution must be exercised when The darker the color, the smaller the number. unsatisfactory results, because mixing the three using a semi-permanent hair color on porous hair; This may vary, depending on the manufacturer. primary colors or mixing a primary color with a it can stain the hair permanently. Some start with No. 0, others with No. 1. The secondary color will produce brown.

Page 6 www.EliteCME.com A tip for formulating browns □□ Allow 5 to 10 minutes. client does not realize that she has been A client wishing to match her natural color says □□ Mix your formula while waiting. accustomed to viewing the lighter, softer that her hair is light brown and doesn’t have any □□ Blot areas well with a towel. reflection. For this reason, we can adjust red in it. Should we use No. 6 light brown? □□ Proceed with application. the formula up by one-fourth to one-half ■■ In addition to the above solutions, we can level at least every six to 12 months. The gentleman client with natural dark brown add these: □□ Use a deep color in a golden blond on a hair wants to cover his gray hair. He does not □□ “Dial the clock back” by simply combing client with Level No. 6 and 50 percent wish to see any warmth in the color. Should we on the natural level (stay back from the white hair. This resembles a highlighting. use No. 4 dark brown? hairline) mixed with 10V developer. The Or we can highlight the hair with a high-lift The answer to both scenarios is: NO. balayage technique works great for this, color to camouflage the gray/white hair. and the 10V mixture controls the warmth Using a brown in either case will produce warm Hydrogen peroxide is the catalyst that causes we see so many times in level No. 5 results. In the first case, the choice would be No. permanent hair color to work. A qualified hair and deeper. This is also referred to as 7 dark blonde. For the gentleman, the solution colorist should be able to use various volumes of lowlighting. would be to use No. 3 natural black. peroxides. Twenty-volume peroxide is the typical □□ Avoid using blue- and green-based colors developer used in most cases. When we use a brown, we automatically deposit red on white hair. This will finish as “silver” into the hair. While we can mix in a drabbing agent, on the hair and is aging to the skin. Use Higher volumes of peroxide are used when a this toning will wash away, revealing the warmth the “iridescent” tone (x.2). This has some greater degree of lift is desired. As the volume of underneath. The better choice is to avoid this pitfall. yellow in the formula to keep the hair peroxide increases, the color deposit diminishes. from going ash. Also, be aware that higher volumes of developer Formulating for unpigmented (gray) hair □□ If the target is No. 7 warm, add in up to bring up more warmth in the final results. Clients People who are turning gray have always attempted half of the mixture in No. 7 gold. This will with sensitive scalps may not be able to withstand to disguise it. Many concoctions have been used in prevent “hot” roots. And don’t forget the additional activity from higher volume peroxide. an attempt to retain a youthful appearance. Although pre-softening trick. Through study on the The opposite occurs when the volume of peroxide gray hair has been a curse to those whose demeanor scanning electron microscope, we know is youthful, it’s been a mixed blessing to the hair is lowered; less lifting action and greater deposit that white hair can have as many as 10 is realized. colorist. The introduction of gray hair is often the cuticle layers. This is what gives us the catalyst to prompt individuals to color their hair. At challenge in covering gray and white hair. You have probably seen this scenario: The natural the same time, gray hair presents a special challenge □□ When formulating for the first time color level is No. 5 and target is No. 9. The client insists to the hair colorist. on hair that is more than 50 percent that you perform this in a single process (not use No one has really determined why hair turns white, label the white hair No. 10 and a bleach). First, this is a chemical impossibility. A high-lift color mixed with 40V H O will still give gray. Hair turns gray (or more accurately white) analyze the natural level (let’s say No. 2 2 because at some point melanin stops being 6, light brown). Add the two numbers only three to four levels of lift (from No. 5 to No. 9 produced – but why it stops is still unknown. together: 10 plus 6 equals 16, and divide is five levels). Why? Because the product will stop It’s believed by most scientific communities that in half, which equals level No. 8. Because working before the desired lift is achieved. Have graying hair is a result of genetics. When a person the client has lost pigments in the skin you tried accelerating with heat and added activators is born, each follicle on the head is genetically along with the lack of pigments in the and covered with a plastic bag? If so, the result was coded to stop producing melanin. hair, this level will blend beautifully. Add a very warm level No. 7, (orange) no matter what the suitable tone, and you have given the you did. Do not expect a color to accomplish what The perception of the general public is that gray client a natural-looking result. a bleach was designed to do. You cannot break the hair is associated with aging. Individuals in today’s □□ Many times a client wants to return to laws of chemistry and expect perfect results. society are constantly being bombarded with the natural color that she had 30 years advertising to persuade them to retain their youthful Two suggestions for this: ago. This is not a good idea. The dark appearance. This is a benefit to the hair colorist. ■■ Pre-lighten the hair to level 7, then apply the color will cast a shadow to the skin and high-lift No. 9 with the suitable tone. After identifying the client’s natural hair color emphasize every line on the face. The category, it is necessary to identify the percentage of gray hair. It is also important to identify Peroxide (H2O2) volume reduction the placement and distribution of gray hair. A person who is 50 percent gray with the gray Formula mix Results in Color mixture use hair sprinkled equally throughout the pigmented 1 ounce 20V H O 2 ounces 10V H O Color for hair that is permed. hair would require a different approach than a 2 2 2 2 + 1 ounce H2O Color for hair that fades quickly. person who is 80 percent gray in the front and Correction on over lightened hair 20 percent gray in the back. In each case, half of White hair (areas of resistance). the hair is white and half is pigmented. See the Color for the same level or darker than the natural. Glossary at the beginning of this course and the Marketing ideas section, below, for techniques to 1 ounce 20V H2O2 + 3 4 ounces 5V H2O2 Toner on pre-lightened deposit-only color present to the client. ounces H20 ■■ For an appreciable amount of gray hair: 2 ounces 10V H2O2 + 4 ounces 5V H2O2 A tone corrector □□ White hair is missing oxymelanine 2 ounces H2O (yellow base), which is the reason it is 1 ounce 20V H O + 7 8 ounces 2½V H O Semi-permanent color so difficult to cover. Mix up to half of 2 2 2 2 ounces H O the formula with a golden tone in the 2 OR same number. This will provide a base on 4 ounces 5V H O + 4 which the colors will develop. 2 2 ounces H O ■■ Another trick is to use the “pre-softening” 2 technique: Notes: Cream developer is preferred over clear peroxide because of stability. Distilled water □□ Dab 30V developer onto areas of is recommended for these adjustments to the developer. Check your volumes with a peroxide resistance (the most white concentration). hydrometer and keep containers tightly closed and clearly marked. www.EliteCME.com Page 7 ■■ Use the No. 9 color with 30V peroxide to bring Gray reduction: Adding additional natural color Tupelo honey: A medium warm blond with slices the hair to level 8, then highlight the hair in a to gray hair to reduce the amount of gray. of pale gold accentuating the lines of the style. weave with powdered lightener. This will give Haloing: Lightening only the hair around the White lightening and platinum plus: Not for the the illusion of an all-over Level No. 9. The base face on short hair, creating a halo effect. faint of heart. color must be re-touched in three weeks and the highlights redone in eight weeks. High-lowlighting: Lightening isolated strands Blonds are more natural-looking, meaning and darkening strands on the same head at the they’re wearable by lots more clients. In fact, When a client requests “highlights,” usually she same time. guys are getting into the blonding scene, asking visualizes the No. 7 or No. 8 natural level with a Icicling: Color or lightener added to the ends of for highlights that extend that summer-sun look No. 9 or No. 10 strands throughout. But what if well into the fall. she is a natural No. 6? Easy! Bring the base to a highly teased hair. No. 8 (medium blond); and then highlight that. Icing: Adding light strands to resemble gray hair. If already a blonde, the hottest shades to switch to are strawberry or spun gold. These are so delicate We always need to work within the parameters of Inner glow: Bleaching only the hair close to the because fine strands are integrated into the hair the product that we are using. When preparing the scalp on dark hair. for a multi-dimensional effect. mixture, place the peroxide in the container first; then add the cream color or colors. Peroxide acts Lowlighting: A corrective technique used to tone Even brunettes are joining the blonde scene with as a gas, and gases release upwards. If you are down overly lightened hair by adding a darker color highlights strategically placed to bring light to the using a liquid, mix the colors together first; then to selected strands. The opposite of highlighting. face and add tonal sparkle. add this to the peroxide. This will produce a more Marbleizing: Thin ribbons of lighter hair accurate lifting action. weaving through darker natural hair. Buzz words to get them buzzing ■■ Sun-kisssed. Minking: Darker hair on lighter hair. Generally ■■ Upscale (14-carat gold). Market your skills done on short hair. They won’t know if you don’t tell them! Here are ■■ Wheat (cool). some descriptions of your skills and services that Naturalizing: A technique using several colors ■■ Funky (violet or pink). will speak to your clients. within the same natural range. ■■ Pale chiffon. ■■ Sassy (warm). Nuances: A technique adding delicate shadings, ■■ Golden copper. Marketing terms reflections in a dimensional effect. Ban de soleil/balayage: Touched by the sun. ■■ Honey-gold. Lightness the way the sun would do it. This Painting: Painting color or bleach on the hair with process is generally used on lighter hair and is an artist’s brush. Also known as hair painting. Radical reds The latest red hues to have are red hot and super cool: accomplished with a form of hair painting. Reverse highlighting: The addition of a darker ■■ High glossed. color to previously lightened hair. First isolate Blond on blond: A technique utilized to create a ■■ Super-streaked. some of the blond strands, then color all of the blend of blond shades on the same head of hair. ■■ Marbleized beauty. remaining hair, creating a highlighting effect. May be used on a natural blond or on someone ■■ Brightly burnished. who is coloring her hair blond; gives the hair a Scrunching: Painting color or bleach on gloved ■■ Shimmering scarlet. dimensional effect. hands and scrunching the hair. This technique is ■■ Copper top. Brown on brown: A technique to add dimension done on dry, backcombed hair, allowed to process ■■ Crimson queen. to a solid brown by adding additional lightness and then shampooed off. ■■ Pure flame. with a mild contrast. Shading: The subtle blending of lighter to darker ■■ Fire and spice. colors. Always blur adjoining areas together. Frosting: A method of lightening individual strands Red alert of hair. This term is generally associated with a cap Slicing: A foil technique placing 1/16-inch of hair While both “warms” and “cools” can wear reds, care on the head through which the hair is pulled. sections in the foil. A faster method than weaving. must be taken to choose the correct tone for each. Carmelizing/tortoise shelling: Different amounts Shoe shining: Painting a layer of bleach or color The “warms” can wear the golden-red, copper-red of tortoise colors added to a brown head of hair. on a long strip of foil and transferring it to the and scarlet or clear-red. The “cools” should choose the lavender-red, burgundy and blue-red. Collage: A mixture of colors weaving through hair as if using a shoeshine rag. the hair, generally achieved by various stages of Streaking: Larger, more well defined strands And don’t forget to fire up your reds with blond lightening. of hair. lights. A few slices or balayage strands in the front and top completes the look. Color on color: The use of no lift color on the Three, two, one: Slices (1/16-inch) back to back; hair, making the hair darker. avoid 1 inch of hair and repeat. Also important on the scene are the combination reds. Choose two or three colors of red at least Framing: Lightness around the face, generally Tipping: A form of lightening at the ends of the one level (number) apart from each other and achieved by using a dimensional color effect. hair instead of the entire shaft. block the head in three zones (darker at the Fur light: Achieved on short hair that is standing Tone on tone: Changing the natural hair color, bottom, medium in the middle and light at the out from the head like a porcupine. The hair is than adding lighter strands. top.) Spark the whole thing with blond lights and bleached, and then a dark color added to the ends. you have a show-stopping effect. Weaving: A term used to define a method of Use “shoe shine” technique with product on the foil. selecting strands for dimensional hair coloring. Foiling: Refers to applying foils to the hair to Chocolate kisses create a dimensional effect. Blonds that steal the show! Whatever the shade of brunette, a touch of Palomino gold: A soft gold that is a combination of chocolate sweetens it up! Glazing: A deposit-only color applied over a ■■ Mocha treat. fine weaves in three different shades of warm blond. highlight. Can also be a lifting toner or change ■■ Chocolate cherry. the natural color slightly. Gold of the moon: An all-over dark blonde with ■■ Caramelized candy. Grabbing: Paint bleach or tint on your gloved fine slices lighter, especially in the top and sides. ■■ Hints of hazel. hands, then grab the hair, depositing the tint or Sunset: A slightly warmer blond that shows off ■■ Neutral (natural) browns ’n’ spice. bleach in an irregular pattern. sparks of gold and red. ■■ Honey brunettes. ■■ Crystal pecan. Page 8 www.EliteCME.com At any level, there’s nothing boring about the Techniques, techniques, techniques See Figures 5-9 for graphic presentations of brunettes! You have many techniques already in your techniques. Customize the formula using one-half natural repertoire. The most popular and probably best Figure 5 brown with one-half gold, copper, auburn or practiced are foils, using either slices or weaves. burgundy shade and voila! The finished results But let’s be honest, these are time-consuming and are dynamite. We suggest that you sprinkle the labor-intensive. To increase the color services, finished confection with gold or honey lights. we must look at easier and faster methods to accomplish the multi-dimensional effect. Here Tools of the trade are a few ideas for your consideration. Color sleeves: A tool that resembles a perm rod ■■ Touch-color: Backcomb small squares used for reverse highlighting. of hair (down to the base) and apply lightener/color formula to the hair above the Foil technique: The use of aluminum foil for backcombing. Use your fingers with the aid isolating segments of hair for bleaching or coloring. of a color brush. This works great for partial Note: Keep foils flat or rolled; do not fold or crimp! highlights/lowlights. A 40V developer in the Doing the latter can cause a heat point that will mixture produces maximum lift and works weaken that section of the hair strand. on short to midlength hair. (By the way, the Super streak cups: A cup-shaped device used to backcombing falls out when the products are isolate and contain strands for coloring or lightening. removed and the hair is conditioned.) ■■ Sun-dusting: Either use the “touch-color” Color maintenance – four guidelines Paper wraps: Paper wraps used in conjunction preparation or simply comb the finished All retouch applications should be considered a with color sleeves or for isolating hair strands direction of the design. Protect the client’s “corrective” procedure. The hair is not stagnant. for bleaching or coloring. Also, one-side waxed face with a plastic tennis visor. Spray 15V Color, even natural color, fades with daily wear. paper can be used instead of foil (wax side developer on the areas desired (usually Now that clients are shampooing, blow-drying against product). the top and around the face); then sprinkle and using heat appliances daily, all of this Tail comb/pin comb: A comb with a pointed end powdered lightener from a saltshaker with mechanical abuse increases fading. used to weave out and section hair. large holes onto the beads of developer. Remember, a suggestion for client consultations Crochet hook: A small device with a hook on Allow to develop from 5 to 15 minutes. This is to book scientifically; i.e. book the re-touch the end used for pulling hair through a frosting will give an allover glow to your design with appointment after you finish the initial service. cap. Note: Remember to approach the hair from glints of lighter tones and sparkle throughout. Gentleman clients love this one, because it is If the new color is one to two numbers lighter than the front of the head toward the back. This will the natural, allow three to four weeks between prevent tangling or knotting. undetectable. It resembles what the sun does to the hair. You may wish to combine these services. However, if the lightening is greater, such Frosting cap: A plastic, rubber or foam cap that two techniques for more dramatic results. as an allover blond, retouching should be done in fits snugly over the head. Once in place, hair is ■■ Balayage: (The French word for “sweeping”) two weeks to prevent “gold banding.” Highlights pulled through and lightener or color is applied to lights into the hair: Use a styling comb as a should be retouched after the haircut if you are the hair outside the cap. Note: Remember to lift palette to brace small sections of hair. Apply using one of the fast methods. Otherwise, retouch the hair away from the cap during application. lightener-color formula with a small brush the highlights within 12 weeks. A client who walks to the strands, then use cotton coil or a small around with 2-3 inches of regrowth is not doing Color slips: Coated paper used to isolate selected your business justice! sections of hair. wad of cotton to segregate those strands. Work in any area or pattern you wish. Color maintenance guidelines will answer the Litho pads/transfer pads: Pressed cotton pads ■■ Another method is to use your choice of following color mysteries: used to isolate selected strands of hair to be comb (small tooth for fine strands and larger ■■ How does the colorist maintain the hair from lightened or colored. for heavier strands) to apply the formula to retouch to retouch? Cotton coil/flat pressed cotton coil: Used with the strands. Then, use the cotton coil as a ■■ When should I pull color through the balayage technique to segregate layers of hair. band to segregate from the next layer. You midlengths and ends? need to use the front edge of the comb (first ■■ How long should I leave it on? Color spatula: A specialized color tool used to three teeth) parallel to the strands and tip the ■■ When do I need to make a color adjustment distribute powder bleach through the hair. comb down to release the strand. Accomplish and add more color to the mixture? Color easel: A plastic or Masonite board used as many layers as desired working from The only way to answer these questions with to support the section of hair to be lightened or the hairline toward the top of the head in predictability is to take a strand test. There must colored with foil or paper wraps. ½- to 1-inch horizontal sections. This can be some degree of color loss in order to apply accomplish a multi-dimensional effect Plastic applicator: A pliable squeeze bottle used product to midlengths and ends. We should not by using 1 to 3 different formulas. Color to apply color or lightener. Generally works well guess or do it out of habit. with liquid or gel products. formulas will cease to work within their time; but lighteners will continue to work while The test strand will determine the formula and the Plastic wrap: Transparent, reusable or disposal still wet. This also is a time-efficient method amount of time necessary for the color to be on plastic sheets used to isolate sections of hair. for re-touching existing highlights, because the midlengths and ends. This allows the colorist Shaker: A non-metallic container used to you can work with as little as 2 inches of the ability to predict the end results and make measure and mix color or lightener. re-growth and not overlighten the remaining changes in the formula if necessary. hair. With a little practice, you will be able to Tint bowl: A non-metallic container use to mix First, apply the full-strength formula to the new do the application in 15 minutes. color or lightener. growth. Then, in the crown, take a small section Note: To stop the action from an area, simply dry and bring the formula down over the midlengths Tint brush: A tool used to apply color or lightener the product from the hair with a towel. Do not and ends. Wait 10 minutes. Then dry that section to the hair. Available in many sizes for convenience. spray the hair with water! This will re-activate the with a towel and observe the results. developer, especially with powdered lightener.

www.EliteCME.com Page 9 Figure 6 Figure 7

Figure 8 Figure 9

Guideline 1: Retouch or maintain color ■■ Add equal water to remaining mixture. □□ Dark auburn. When lengths and ends are not faded and only ■■ Apply to mid-lengths and ends. □□ Light auburn. need reviving: ■■ Allow to develop another 10-15 minutes (or □□ Dark copper-gold. ■■ Apply formula to new growth (take test strand). total time). □□ Medium copper-gold. ■■ Develop 25-30 minutes (or total time). ■■ Add warm water; emulsify, rinse and shampoo. □□ Light copper. ■■ Add a small amount of warm water to the □□ Light golden-copper. hair and emulsify (mix until creamy) at Guideline 3: Replace depth and tone □□ Gold. the basin, working the product through the When lengths and ends have lost both depth and ■■ Develop 15 minutes or remainder of time. lengths and ends for 2-3 minutes. All color tone and are very faded: ■■ Emulsify, rinse and shampoo. mixtures contain phenol (a soap). This ■■ Apply to new growth (take test strand). mixture will remove color stains from the ■■ Allow to develop 15 minutes (or half of Guideline 4: Pre-pigmentation/ filling skin and set the color. Rinse thoroughly and total time). When color has lightened more than two shampoo once. Condition if necessary. ■■ Add equal water to remaining mixture. numbers/levels and is sensitized, or the client ■■ Just prior to running the leftover mixture wishes to have a deeper color Guideline 2: Replace tone through the lengths and ends, add in a ■■ Apply target to new growth. When only the tone needs to be restored: warm or red color of a darker level than the ■■ Pre-pigment with desired shade (one to two ■■ Apply to new growth (take test strand). target color applied to the new growth. It is levels deeper and warmer than target). ■■ Allow to develop 15 minutes (or half of recommended to add in 1 or 2 capfuls of any ■■ Use only liquid color mixed with a small amount total time). of these shades: of hot water; apply to midlengths and ends. Page 10 www.EliteCME.com Make sure that the hair is saturated, but not uneven deposit of color. Remember the term At the shampoo bowl, saturate the hair with dripping. Blot with paper towel, if necessary. “chemical backlog.” The hair “remembers” this mixture. Check results at 10 minutes by

■■ Re-mix target shade with 10V H2O2 and what was used on it, and it shows through drying a section. Usually, this is enough. apply over pigment replacement. in the final results. Many products also are □□ Rinse well. ■■ Begin full processing time upon completion cationic (sticks to itself) and darken with □□ Shampoo gently and condition if necessary. of application. repeated applications. The application of a □□ Dry the hair. ■■ Emulsify. color remover is related to your end result. □□ Proceed with target shade application. ■■ Rinse until water runs clear and shampoo. Remember, your goal is to create a suitable 3. Re-establishing depth and tone/pre- and even base for a new color. It is always imperative to analyze the condition pigmentation □□ Mix color remover with the developer of the hair. This brings us to the Golden Rule of This is necessary when the client’s hair is two from that manufacturer or a suitable 20V. color correction: or more levels lighter than the target. The sensitivity and condition of the hair □□ Apply to dry hair, starting in the darkest It is critical to replace the missing pigments determines the degree and method of areas – usually the ends. A tint brush for color durability. The product of choice is corrective coloring. allows for better control. You can place the product where it is needed and avoid a liquid permanent hair color followed by an The hair did not get to this state overnight. It may contact with natural pigment. Make sure application of a cream permanent hair color be the product of repeated failures on the part of that the hair is saturated evenly. mixed with 10V developer. the client to “do it yourself.” □□ Process from 10 to 45 minutes or It is recommended that the shade be one to Sometimes the hairdresser must become a according to manufacturers directions. two levels deeper and warmer than the target. detective to determine what has been used □□ It may be necessary to re-apply to darker The more sensitized the hair, the greater the previously. Some color products are not areas using a 30V mixture. In this event, need for depth and tone. The pre-pigmentation compatible with permanent color or color do not wash the first application; simply shades must contain gold, copper or auburn removers. Ask questions such as: Were two bottles blot with a towel and proceed with the or a combination of these. While this sounds mixed together? Did you also have a perm? Is this stronger mixture and continue processing. extreme, we know that it is possible to lose up from the sun? Was it a “natural” color (henna)? □□ When a suitable base is achieved (slightly to 20 percent from daily wear. How many times was the formula applied? lighter than target level), rinse, shampoo gently and dry the hair. A few examples All of this will help you determine your course □□ Proceed with the application of the Existing Target of action. If the condition of the hair is very poor, target shade. Prepigmentation do not attempt to correct. Suggest conditioning level level Note: Even dark colors lighten natural treatments and frequent haircuts. The client will 9-10 No. 8 No 8 or No. 7 gold pigments due to the developer. appreciate your honesty and professionalism. natural When dealing with direct dyes, removal is totally The client consultation should begin by 8 No. 6 No. 5 auburn different. Some manufacturers (gratefully) establishing a realistic target shade. Never make copper promises. It may have taken many applications provide a removal system for these rinses, semi- before her trip to the color expert. So she must permanent, deep and non-ammonia colors, but 8 No. 6 No. 4 dark auburn understand that it may take three to four visits many do not. And most nonprofessional products auburn before she is completely satisfied. This way the are formulated with metallic salts. expectations are out in the open from the start. Mix the liquid color with a small amount of This formula has worked on many of these hot water and apply to the hair. Make sure Money is very important. You should give her an color products: that the hair is saturated but NOT dripping. idea of the range (such as, “My corrective prices □□ 4 ounces mineral oil mixed with 4 Results will be too warm if too much fill are $60 an hour”). Give some indication of what ounces alcohol. color is used. Comb through the hair to assure this is going to cost. □□ Apply to dry hair and saturate well. even distribution. Blot with paper towel if Time is of the essence, both hers and yours. She □□ Place cotton coils around the hairline to there is an excess on the comb. Note: Never should not have any prior commitments on the prevent run-off. apply raw color to the hair. To do so could day of correction; no colorist needs the additional □□ Cover the head with a processing cap. cause chemical burns. pressure of time constraints. As we know, □□ Seat client under a hot dryer for 20 minutes. □□ Return with the target mixed with 10V correction can range from 45 minutes to eight □□ Take the client to the shampoo bowl. Do developer; apply and process for the hours. Your schedule should allow you the proper not wet the hair with water! full time. amount of time to allocate to that client and her □□ Saturate the hair with shampoo and work □□ Finish service as usual. into a lather. specific needs. A helpful practice for all corrective color work □□ Rinse and shampoo and condition as needed. is to draw the strand out in a line, placing the □□ Dry the hair. Color correction – 3 basic problems representative levels and tones along the strand. □□ Continue with other services. 1. Results too dark or removing artificial color This makes it possible for you to see what actions The fact is, no color can remove another 2. Changing the tone/cleansing are needed to be taken. Write these down to color. Chemically, there are only two ways If a cool tone (blue, green or violet) has been help with your decisions. And, as with the basic to remove permanent color that is too dark used on the hair, it will dominate the finished analysis and consultation, work with the best or when the client wishes to go to a lighter results. That is to say, applying natural/neutral, lighting available. shade: Bleaching and color remover. Color red, copper or gold will result in a flat or Bibliography remover is the preferred procedure because muddy shade. This cool tone must be removed Standard Manual of Cosmetology, Milady Publications it unlocks the bond of the artificial color and to achieve the clarity of the target shade. Hair Structure and Chemistry Simplified, Milady Publishing Co. is less caustic to the hair. It is an ammonium Pivot Point International, Salon Fundamentals solution designed to neutralize indirect dyes Prepare this mixture in an applicator bottle: The American Board of Certified Hair Colorists Study Portfolio □□ 4 ounces hot water. Jo Ann M. Stills, Americas’ Educator, 1975 to Present; L’Oreal (permanent hair color). This is the answer Professional Technician, 1984 to 2005 for clients who come in with home color □□ 1 package color remover. build-up, muddy-looking color that lacks □□ 2 squirts of shampoo. clear tone from too many color changes, or an □□ Shake to mix thoroughly. www.EliteCME.com Page 11 CHAPTER 2 prevent dropping and reduces fatigue. Opponents during the honing process. Grinding creates SHARPENING YOUR say it gets in the way. Some scissors are available heat, which can destroy the temper or hardness with screw-in rests so you can have your scissors of the blades. Hand honing also extends the CUTTING SKILLS with or without a rest as you prefer. Note: useful lifetime of the scissors by removing only 3 CE Hours Without the finger rest, the shears are held with a minimal amount of metal from the blades. Learning objectives the thumb and middle finger. With the rest, the When purchasing scissors, factor in the cost and !! List the factors you should consider when shears are held with the thumb and third finger, quality of service and the time the scissors will purchasing scissors and other hair-cutting with the little finger on the rest. be unavailable for use while the service is being equipment. L: Length and loops: Correct blade length varies performed to get a true amortized total cost of !! Describe proper care routines for your scissors. with the intended use of the scissors. Precision ownership. Ask questions and check references; !! Consider questions you want a client to cutting calls for shorter (4.5- to 5.5-inch) blades, it’s your money that you’ll save. answer during a client consultation or in a while scissors over comb work, cutting weight Caring for your investment questionnaire. lines and bobs generally require a longer (6- to 1. Wipe off the blades after each use, using a !! Describe the bone structure of the head and 7.5-inch) blade. Buying the right size for your slightly damp (but clean) towel. how this affects the finished hair design. finger length also is very important. The precision 2. After each day’s use, clean the scissors !! Gain an understanding of how growth cutting shears blade should be no longer than the carefully. Wipe off the blades and the ride patterns affect the finished design. length of the middle finger. area before putting the scissors in a safe place !! List ways to control naturally wavy and Both finger loops must be fitted to the chosen for the night. curly hair. fingers and rest below the first knuckle. 3. Once every week, following the cleaning, put !! Describe directional designing. a drop of scissors oil (clipper oil will do fine) !! Define weight distribution of hair. The thumb and finger should not slip through to around the pivot screw while the blades are !! List ways to correct the hair’s lack of density the finger base. The loop size is a major factor fully open. Wiggle the blades for a few seconds !! Describe texturizing techniques. in comfort and control. Your scissors should feel comfortable in your hand while giving control so the oil will soak into the bearing, then wipe Introduction and dexterity. Finger loop inserts should be used off the excess. Put a small drop on the ride areas Learning a haircut is just part of the procedure to adjust the size if necessary. (behind the screw) and wipe off the excess. 4. If the scissors become nicked, don’t force the for a hair-care professional, and this course is For client safety, the thumb should always be not about a haircut style. It is about designing the blades closed. Separate them slightly, close removed and the blades closed before combing them and send them to a qualified repair “fabric,” which is hair. Just as a clothing designer and parting the hair. You also may wish to turn the shapes the fabric for a straight skirt or a flared source. Nicked scissors cut poorly and can blades back in the hand while combing and parting become even more damaged with use. skirt, we can shape a client’s hair to either hang the hair. This requires practice, but is safer. straight or flare away from the face. 5. Be especially selective about sharpening E: Evenness: How a blade feels can tell you a services. Remember, a bad haircut will grow This course will explore how to achieve the final lot about the scissors’ quality. As you open and out, but a bad sharpening is forever. It can results. Although the course is limited to designs close the scissors, notice the evenness of the permanently ruin your scissors. for three lengths (long, mid-length and short), the pressure of the blades on each other. Loose or techniques will lend themselves to any length and tight spots can indicate poor quality, while even, Scissors myths debunked every design. moderate pressure from the fulcrum to the tips “ICE scissors sharpen themselves when put Remember: The flow of the design must be there is generally an indication of superior quality. Be in the freezer overnight.” ICE is a generic term wet in order to be there dry. aware of the smoothness of the blades. Rough for a tempering process and has nothing to do spots or a “gritty” feel on hand-honed scissors with sharpening. Reflect before you buy scissors indicates poor quality or damaged edges. You “Scissors will never wear out if sharpened A wise stylist always reflects before buying will, however, be able to feel the texture of a properly.” All sharpening involves the removal scissors. Below are some factors to consider – to serrated edge. of some amount of metal. While excellent reflect upon – when selecting one. C: Configuration: Configuration means how the sharpening removes only a small amount of R: Requirements: Determine how you plan to loops are aligned in relation to each other. Scissors metal, eventually all scissors will wear out. use the scissors. Will they be used for wet or dry are available in even-loop, offset and crane- “The best sharpening is done by computer hair? Precision cutting or scissors over comb, designed loops. Which is more appropriate for (or by laser).” A computer can control weight lines or bobs? Will they be for primary you depends on your personal preference, which some elements of manufacture; but the finest use or as a backup? fingers you use to hold the scissors (middle or ring sharpening is still done by skilled hands. finger), and your individual cutting style. In any E: Edge: Consider a honed edge vs. a machined/ event, buy whatever style feels most comfortable. “Really good scissors never need sharpening,” serrated edge. The machine/serrated edge is more or “They sharpen themselves while you use durable and ideal for beard trims, mannequins, T: Tips: When cutting outlines against a client’s them.” Some enthusiastic salesman must have dry cuts and so on, On the other hand, the honed neck, smooth, slightly pointed tips can be more coined this one. edge is less durable, but gives superior results on comfortable to the client and allow you to get clean, shampooed, wet hair. Honed-edge scissors under the hair. With other types of cuts, some “Wet honing will cause scissors to rust.” If this are generally more expensive, cut better, have stylists prefer blunt tips, which can help minimize were the case, you would have a problem cutting a longer useful life and require greater care. cutting your fingers. wet hair. (This excuse was offered by a door-to- door scissors “sharpener” pushing dry grinding.) However, they can be permanently damaged if S: Service: Quality scissors are an expensive, sharpened improperly. long-term investment. Make sure that your “Once sharpened, scissors will never be as We suggest that you purchase both a good investment is backed up by a qualified source of sharp as they were when new.” With inferior honed-edge scissors for wet cuts and a machined/ service that will provide superb sharpening, fast sharpening, this may be true – but with superior serrated-edge scissors for dry cuts and scissors- service and factory parts, all at a reasonable cost. sharpening, the scissors may be sharper than new. over-comb work. The edge was originally put on by hand, and Wet hand-honing, which is the proper method hands of the same skill level can restore the edge F: Finger rest: Using a finger rest is a personal to sharpen fine scissors, preserves the temper many times. Scissors are only as good as their choice. Some advocates suggest that it helps (hardness) of the blades by keeping them cool last sharpening. Page 12 www.EliteCME.com “Once you drop your scissors, they are ruined and large spaces in-between. These remove the Visualize: forever.” The most frequent problem with least amount of hair while maintaining a desired ■■ Body makeup. dropping scissors is getting a nick in the blades. pattern. If you wish to purchase just one, let it be ■■ Occupation, lifestyle and care. This is easily corrected by competent sharpening. a good 44/20 blending shears (a barber’s tool) ■■ Facial features. “Some scissors can only be sharpened by because of versatility. ■■ Hair density. the factory.” Often “factory” refers to the Razors: The most aggressive razor is the one ■■ Growth pattern, cowlicks, hairline. sharpening service that wholesales the service with a guard, and the take-off from this is the ■■ Type of part. Note: The lower the part is to the salesperson or his company. What the “feather razor” or so-called “precision razor.” placed on the head, the more width is created speaker may be saying is that he won’t get a These will remove bulk and give texture to the to the face. The higher the part is placed on the commission on the sharpening if you have it done areas desired. The least aggressive would be head, the more length is created to the face. by someone else. In other cases, the speaker may the unguarded shaving razor. A Tondeo razor ■■ Balance. Note: Most faces are not be encouraging you to avoid having just anyone is just one of many. With only 1/16-inch blade symmetrical. One side will dominate, just sharpen your scissors, knowing there are few exposure, this is suitable for cleaning necklines as the ring finger on the hands require a truly qualified sharpening sources. and texturizing in the least obvious way. different size. One eyebrow will be higher, one side of the nose will flare more, and “Sharpening scissors too often will Whichever you choose, be aware that a razor cut one eye will be slightly smaller than the prematurely wear them out.” Actually, slices the hair ends on an angle. For this reason, other. If we design the hair towards the forcing your scissors to cut when dull or nicked using a razor encourages wave and curl pattern. “low” side of the face, we will accentuate creates more edge damage and pivot wear than The hair must always be wet. it. Comb through and move the hair left, having them properly sharpened. Cleaning and Clippers: From the investment point of view, then right. Move the part up and down and lubrication of the pivot, ride and bearing areas are the motor drive clipper is the most versatile and observe what these balancing techniques part of the sharpening procedure. By extending durable. It will give many years of great service will accomplish. the time between sharpenings, greater wear is and will not be challenged by thick, coarse hair. occurring in these areas. Remember that the hairline creates the strongest The less expensive belt drive clipper is suitable influence on the features. Be very careful about Using fine scissors when dull is cheating yourself for cleaning necklines and trimming sideburns. It the hair that touches the face. Will it point to an out of the performance you paid for. “ICE” will, however, get very hot and lose power on a unflattering feature, such as a pointed nose? We machine/serrated scissors should be serviced “clipper cut.” have also found that working with two mirrors is about every 1,000 haircuts. Hand-honed scissors Combs: The choices here are endless, beginning of tremendous benefit, one for the frontal view will perform at their best if serviced every 400 to with the tapered barber comb all the way to the and one for the profile. Watch that you do not 700 (shampooed-wet) haircuts. clipper comb. The spacing of the teeth of the comb accentuate a poor profile with an extension in “If you get your scissors sharpened, you’ll cut dictates its use. Still, the hand-finished nylon comb that area. The mirrors will tell you things that yourself more often.” When scissors become will give the cleanest and smoothest results. the eye cannot see directly. In addition, using a dull, stylists cut closer to their fingers to keep haircutting chair gives the best view of the back Which prompts the question: Which tool do you the scissors from pushing hair. Once this habit is and sides of the head because you are looking consider more important, the cutting implement established, you will cut yourself more often, dull directly into them. If you are looking down at the or the comb? If you said “the comb,” you or sharp. Even dull scissors can cut skin. Sharp hairline, your vision is altered. are correct! The Italians cut hair with lighted scissors can cut well even when held away from newspaper; the Greeks cut hair with shards of Take a moment to feel the structure of the head. the fingers, which minimizes the likelihood of cuts. glass. It is the combing, sectioning and holding Pay particular attention to the bone protrusions. that produces the design. Is the frontal bone prominent? This will lift the Using the scissors fringe area more. Are the parietals full? This will When we started kindergarten, we learned to cut Client consultations lift the length on the sides. Is the occipital flat or paper for crafts. This was accomplished by using Consider this scenario: A client once challenged protruded? Make any notations on the analysis scissors with the thumb UP. Hopefully, you were a professional on the price of the haircut with this sheet. Do not trust your memory! trained to use the haircutting shears with the statement: “It was only a trim. There’s not even a thumb DOWN – or as it’s known, “cutting palm The actions here are: consult, diagnose and half-inch of hair on the floor!” to palm.” prescribe – and importantly, listen to what the The stylist replied: “You are paying for what client is expressing. The importance of this is that the thumb blade is I leave on the head; that is the balance and the moving blade in haircutting. It is responsible proportion of the design.” There was no further Design principles of art in hair – definitions for “scooping” the hair up to be cut. The finger discussion, and she is still a client to this day. Form: Silhouette, external structure. blade remains stationary for control. Practice holding your hand still and moving just the So let’s talk about the client. Whatever or Space: Occupied area. thumb. This is the action will give you clean, whoever brought this client to you is not Design: Intelligent, purposeful or discoverable accurate designs from all of your cutting shears. important. But a comprehensive client pattern. consultation is of utmost importance. Ask a first- Texture: Surface design. Other cutting tools time client to arrive at least 30 minutes before So far, we have addressed your primary scissors. the scheduled appointment to fill out all of the Emphasis: Visual attraction. Now let’s consider the other cutting tools that we pertinent information and look at the style books Speed: Change of direction or movement. use. Techniques for these tools will be included you have available for discussion. Have him or later on in the course. her fill out the form below (or your choice of Rhythm: Repetition of any element (with equal analysis sheet) and answer the questionnaire. See or unequal speeds). Thinning/blending shears: These are produced charts on next page. with either one or both of the blades notched. Harmony: Agreeable organization of elements. They also may be curved or straight and different In anticipation that this client will also become a Ornamentation: Separate design factors (used in lengths. You may wish to purchase more than color client, you may wish to complete this analysis addition to the form and space). one of these for different effects. Note: the more with the information for chemical services. Proportion: The relationship between elements. notches, the more hair that will be removed. You Now, you can discuss with the client the desired have probably seen shears with just a few notches design with all of the possibilities. Color: Reflection of a light source. www.EliteCME.com Page 13 Client Information Sheet What length do you like your hair? Name:______Date:______Short.a. Address:______b. Medium. Phone:______Cell:______Long.c. Birthday:______d. Very long. Medications:______Is your hair: Personal Preference Questionnaire a. Bleached. Circle your choices: b. Colored. Which of the following clothing styles best represents your personality? c. Highlighted. a. Latest fashion, unique, makes a statement. Permed.d. b. Casual sportswear, jeans and sweaters. Naturale. c. Suits, separates, clean and crisp with pleats; men – Suits, business How much time will you spend styling your hair? attire, distinctive sportswear. a. 5 minutes. d. Dresses, lace, soft, light and airy fabrics; men – fitted, athletic b. 10 minutes. cut, dressy. c. 15 minutes. Select the fabric design or pattern you like best: d. 20 minutes and longer. a. Bold, bright, contrasting print. Which styling methods do you use? b. Safari prints, faded denim, simple pattern, plaid None.a. c. Subtle print, pinstripe, woven-in or embossed, conservative. b. Blow-dried. d. Pastel floral, candy-colored print. c. Curling/flat iron. How do you like your makeup, or for men, what type of makeup do you d. Rollers or hot curlers. like on a woman? What would you like your hair designed for? a. Bold, intense, makes a statement. a. Social function. b. Little if any, simple. Career.b. c. Conservative, moderate, subtle elegance. c. Casual/easy care. d. Accented eyes and lips; soft, floral colors. Considering your unique individuality. Which describes you best? The next sheet should be used for salon information only. The stylist will a. Self-assured, confident, determined. fill out this portion of the client information: b. Energetic, active, loves outdoors. c. Organized, precise, predictable, consistent. Hair Form: Straight Wavy Curly Very Curly d. Sensitive, imaginative, tenderhearted. Condition: Very Dry Dry Normal Oily Very Oily Uneven/Patchy With your favorite person, which of the events listed below would you Scalp: Tight Flexible Surface: Clear Flaky most enjoy? Density: Sparse Medium Thick a. Disco, thriller movie, rock concert. Texture: Extra Fine Fine Medium Coarse Very Coarse b. Beach, mountains, picnic, athletics, adventure movies. Porosity: Very Porous Porous Normal Resistant Very Resistant c. A pre-planned, organized event; live theater, symphony, mystery movies. d. Intimate candlelight dinner, sentimental movies, slow dancing. In anticipation that this client will also become a color client, you may wish Which environment would you rather work in? to complete this analysis with the information for chemical services. a. Fast paced, lots of people, upbeat. b. Not confined, relaxed, changing. Natural Hair Color: Level 1-2-3-4-5-6-7-8-9-10 c. Clean, organized, predictable. Color Family/Tone: Warm Cool Note: ______d. Creative, spontaneous, harmonious. Intensity: Low Medium High (Notes) ______How would a person meeting you for the first time describe you? Fading: ______a. Mysterious, unique, strong-willed. Amount of Gray: ( %) Distribution: ______b. Fun, energetic, free-spirited. Previously Lightened: Yes No When: ______Product: ______c. Controlled, poised, punctual, steady. Previously Tinted: Yes No When: ______Product: ______d. Understanding, sympathetic, tenderhearted. Desired (Target) Color: Level 1-2-3-4-5-6-7-8-9-10 What motivates you? a. Visible position, leadership role. Desired Tone: Warm Cool Notes: ______b. Self-employed, constant challenge. Intensity: Low Medium High (Notes) ______c. Secure consistent income. Corrective Service: Color filler used, When ____ Product ______d. Important cause; money not the issue. Conditioning: When______What treatment ______Which of these characteristics best describes you? Tinting: (whole head/retouch/target shade)______a. Bold, adventurous, daring, focused. Formula: (color/lightener details) ______b. Independent, unconfined, self-governing. Application Details: ______c. Precise, neat, particular. Results: Poor Fair Good Too Light Too Dark Streaked/Patchy d. Sensitive, imaginative, strong feelings. (Describe) ______Which of the following best describes the hairstyle you prefer? Price:______a. Trend setting, vogue, latest style, fashion statement. b. Casual, easy care, simple. Products prescribed: ______c. Tailored, controlled, perfect, in-place. Next Appointment: ______d. Soft, wispy, loose curls; men – styled, touchable, luxurious, alluring. Patch Test Results: ______

Page 14 www.EliteCME.com Contrast: Opposing elements. □□ Angled: Either left to right or right to left Texturizing Adaptability: Total concept of visual imagery. from a center part. In today’s designs, texturizing becomes the (Does everything fit the person?) □□ Curved : Following the natural curve of second most important study. the hairline. The importance of understanding all of these Basically, texturizing is removing hair in a principals cannot be stressed enough. And Rules of designing pattern. It can produce the surface design desired and provide the “movement” or action to the hair. application of these principals will take you, the A trained designer will look at a picture and know As discussed above, giving texture to your design stylist, from “hair cutter” to hair designer. instinctively how much hair to remove, which can be accomplished with any of the tools that we areas to strengthen, and be aware of the hair’s have. No matter which tool is used, keep these Terminology own texture. A design must be complimentary to facts in mind: These are the terms most commonly used in the natural fabric (hair) and the client’s features. ■■ Texturizing should be done only in the designing descriptions. Do not expose an undesirable feature or strong middle and inner perimeters of the head and ■■ Distribution: The direction the hair is growth pattern such as cutting the hair around never on the hairline or outer perimeter, with combed in relation to its base parting. There ears that stick out or cutting short around a whorl. the exception of the ends of the hair) are four main types of distribution: natural, Leave additional length or bulk to camouflage ■■ On fine hair, begin ¾ inch from the scalp. perpendicular, shifted and directional. these problems. □□ Natural: The direction the hair assumes ■■ On medium texture, begin 1 inch from the scalp. in relation to its natural growth patterns. Design form ■■ On coarse texture, begin 1½ to 2 inches from the scalp. □□ Perpendicular: The direction the hair The form of the design is the most important ■■ “Notching” and “chunking” blades will not assumes when it is combed at a 90-degree consideration. It is also the strongest influence affect the ends’ texture; “blenders” will cause angle to its base parting. toward the total adaptability of the design to the texture to be appreciated down through the □□ Shifted: The direction the hair assumes client. Let’s talk about how hair grows for greater ends. (Remember: short hair pushes long hair.) when it is combed out of natural understanding. The growth pattern, density and ■■ It is advisable to close the blades only distribution in any direction other than whether the hair is wavy or straight are in place halfway and insert the tool two or three times perpendicular to its base parting. from four months pre-natal, the same time as an down the section of hair. □□ Directional: The direction the hair infant’s fingerprints. This is an amazing fact. So, ■■ To add motion to the ends of the hair, use the assumes when it is distributed vertically, unless we chemically change the structure of the “blender-over-comb” technique. meaning straight up from the head; and hair, we must deal with these unique qualities. horizontally, meaning straight out from ■■ Top cutting is another technique: Simply point Hair grows longer at the center back of the head. the head. the shears down and slide-cut into the surface of And especially when cut wet, the two sides ■■ Projection: The angle at which the hair is the hair. Finish with a dab of pomade combed in behind the ears will lift when dry. How many held in relation to the natural fall or the curve with the fingers for the chunky effect. times have you cut an absolute straight line of the head while cutting (sculpting). We will ■■ The French “effile” or “slithering” uses the across the back only to have it dry not straight? It deal with five of the most used. shears in a backward motion (like back- was not you – it was the hair growth. In the back □□ Natural fall: Position the hair assumes due combing the hair). Take up a section, and of the head, the center will drop and the two sides to growth patterns and gravitational pull. with blades open, approach the section and will lift. The correction for this is to cut a gentle, □□ Low projection: 0 to 29 degrees. begin to close the blade halfway. Continue inverted “U.” In the front, the center of the fringe □□ Medium projection: 30 to 59 degrees. with this action (open and close) until you area will lift and the two sides will drop. The □□ High projection: 60 to 89 degrees. reach the end of the section. Perform this on correction for this is to cut a slight “U” in the □□ 90-degree projection: When the hair either wet or dry hair. This gives an internal fringe (bang) area. is lifted 90 degrees from the curve of texture that supports fullness. the head. Mostly, the form is developed in the outer ■■ The original Antoine design was □□ 180-degree projection: When the hair perimeter of the head. This is also the weakest accomplished (on dry hair) by using this is combed 180 degrees from its point of area and more sparse area of the head. We will technique. The hair was backcombed in origin. Usually used to produce high- discuss density build-up to correct this problem. 1-inch squares all over the head. Then the remaining strands were slithered out through elevation layering. Maintain consistent: ■■ Design line: the ends. The stylist would work through the ■■ Sections. entire head three times. The outer perimeter □□ Mobile: The length guide that moves ■■ Dampness. throughout a given area. guide was established after the interior work ■■ Combing. was completed. □□ Stationary: Constant, stable length ■■ Tension. guide to which lengths are converged in ■■ The backup razor technique is another way ■■ Elevation. to give texture in a graceful way. Take up a order to create a length increase in the ■■ Direction/over-direction. opposite direction. section, and with the blade toward the scalp, ■■ Pressure. perform a backcombing action on the section. ■■ Parallel cutting (sculpting): A technique in ■■ Cutting angles. which a section of hair is cut parallel to its It looks as though you will be taking many ■■ Client head position. strands, but the effect is an internal removal base parting. ■■ Body position yourself. ■■ Nonparallel cutting (sculpting): A of very few. This works great for the fringe technique in which the fingers are positioned Hair will move in the direction of the point of the areas around the face. It also helps to control in any direction other than the base parting cutting instrument. wavy hair. Make sure that the hair is wet. while cutting. ■■ The hair is cut with the point of the shears When accomplished vertically, this gives ■■ Partings: The sections used to divide the toward the face on the left side of the head, as support for fullness. In any direction, it will hair into manageable parts in preparation in a chin-length bob. The designer will make give tapered ends. for designing. sure that the shears are pointed toward the ■■ The large blade on your clippers can also □□ Horizontal: Around the head. face on the right side also. “notch” the hair and give the “spiky” look if □□ Vertical: Traveling up and down. ■■ “Point-cutting” is a valuable technique when desired. (The guys love this.) Twist up 1-inch □□ Pivotal: Pie-shaped from a central point. flexibility and neutrality are important to the sections of the hair, usually at the top and □□ Diagonal: Either forward or back from finished design. Hair can then move in any crown. Invert the clipper and notch into the the frontal hairline. direction desired without resistance. hair quickly two or three times. www.EliteCME.com Page 15 With so many choices, you should find the one cut even with the guide. Continue working up Take down sections from the middle perimeter that will give you the texture you desire. Make through the middle and inner perimeters in 1-inch and comb and cut at 45 degrees. Then bring down it a practice to pick up more than one implement partings. If the hair is very thick, use less than 1 the inner perimeter to match. The design will while designing. You can achieve different inch. You must have a clear view of your guide. automatically give the desired action. textures in different areas throughout the design. This is a good time to talk about double comb Move to the outer perimeter in one of the side This will make your designs unique. We also cutting. This technique gives the stylist the sections. If you are on the right side of the head, suggest that you practice these techniques on a ability to accurately design larger sections of hair turn the client’s head toward the left. This allows mannequin until you are aware of the effects and with more control than fingers alone can give. you to view the side section unrestricted by the are comfortable with the actions. Make notations Purchase two identical combs with the teeth 1/8- shoulder. Match the guide and density build-up on the client sheet; do not trust your memory. inch apart throughout. With both combs together, from the back to the side sections. Stop when you take up the section to be cut. Now, lock the two reach the natural recession of the head or the crest The long design combs together (teeth to teeth), bring down to line (where the top and sides come together). Some designers, including the author, like to the guide and point cut the length. Again, we design long hair in the dry state with serrated Repeat on the left side, turning the client’s head recommend that you practice this on a mannequin shears. Start by shampooing, conditioning, toward the right. until you are comfortable with the mechanics of blowing-dry and flat ironing the hair smooth. this. This can be used for any projection, either Many clients with long hair prefer to hook the The longer the design, the more important it is to vertically or horizontally, once mastered. frontal hair behind the ears. In this case, use the maintain control of the hair. chin as the guide for the fringe (bang) area. Take How many times have you heard the client say: A long design with variations is more difficult sections horizontally, from the top of the head “Why won’t my hair grow long?” Actually, the because we can get lost in the lengths. More and bring forward with 0 degrees projection and hair is growing; but it is breaking off. This is the mistakes are made on long designs because of cut to guide. time that you need to educate the client on the this. Use both the head and the upper body as a care of long hair. Hair should never be brushed If a slight fringe is desired, begin with a half- guide. Begin with sectioning. while it is wet! Have her purchase either a large inch of hair in the center of the outer perimeter One good basic sectioning routine is: detangling comb or a flexible based paddle brush of the front. Take this section down to the tip ■■ Divide the head in half, from the forehead to with flexible bristles and instruct her to gently of the nose and sculpt. Then take that section the nape of the neck. comb from the ends toward the scalp to remove over to the side sections and sculpt even. This ■■ Divide the sides from the top of the head to tangles. (Of course, these items, along with the produces the straight line in the front. To produce behind the ears. correct shampoo and conditioner, are available a deeper fringe, continue to take down half-inch ■■ Take a 1-inch parting all the way around the in the salon retail area.) The use of medium heat partings and point cut even with the guide. Work hairline. This is the outer perimeter. with high air on the blow dryer is also better for your way back 2-3 inches, but do not section ■■ Sub-divide the remaining four sections in half the hair, but natural dry is the best, if possible. back any further than the natural recession. To horizontally and pin up. On dry hair, the natural, boar-bristle brush causes do so will remove bulk from the sides of the ■■ This will give you the middle and inner less mechanical damage. “Scrunchies” and rubber head. Watch the amount of lift provided by the perimeters. bands are huge violators. She should use one of hair’s personality, and shorten the fringe area ■■ You will have eight sections plus the outer the large clamp-type clips to put the hair up. if necessary. Here you can use the slithering perimeter. technique or the blenders to add lightness and Long hair should be trimmed every six to eight bounce to the fringe area. Beginning at the back of the head in the outer weeks. Just removing the ends will strengthen the perimeter (1-inch section), determine the length hair, and she will appreciate greater length. Comb the hair back into its natural fall and desired, with the client standing straight and hands observe the results. You may wish to clean up The other technique that is suggested (on dry on the back of the chair. Then have the client be any stray areas. Accomplish this by repeating hair) is the removal of the split ends and fuzziness seated, legs uncrossed and straight in the chair. Take the procedure from the inner perimeter of the throughout the interior of the head. From the top a 1-inch section from the outer perimeter behind back. Take the adjoining sections up together and layers, take a 1-inch section and twist the hair. The the ear and bring it to the center guide (cut even). match with vertical point cutting. You should broken strands and the stretched hair will pop up Remember to comb in the natural fall and use your also repeat the “twist and snip” technique for away from the section. Then snip those white tips point cutting technique for a neutral cut. the removal of split ends and stretched hair as and stretched hairs. Work the surface of the entire performed at the back. Repeat this on the other side. In natural fall, cut back. Yes, this is labor intensive, but the results the remaining hair in the gentle, inverted “U.” can be seen and felt immediately. With proper At this point, we have explored two distinct designs for long hair. The third deals with the high For a design that just touches the curve of the care, she will realize the longest, smoothest and elevation, full-layered design that many women shoulder at the sides, it is easier to begin in the best hair she has ever had. Professional models want. After determining the length and density sections behind the ear. Determine the guide from love this service. build-up areas, take a small section from the top the length at the shoulder (with client seated). If the design requires more motion at the back, of the inner perimeter. Bring this section down to Then bring the two sides to the center and cut begin in the middle perimeter to give some where you want the layers to begin and sculpt. even. Remember, the farther away from the point elevation. Low projection accomplishes this, but of origin the hair has to travel before it is cut, the remember to begin above the density build-up Take vertical partings from the center part; comb longer the hair will be. This is cut at 0 degrees or area. Section by section, complete the middle and cut at 90 degrees. As you move over to the low projection. Complete your guide area. and inner perimeters at the back, ending with sides of the back, take the hair toward the center. (So you are using a stationary guide to increase Subdivide a 1-inch section horizontally from the about 30 degrees projection at the top of the the length behind the ears.) Decrease the angle middle perimeter. Bring down, in natural fall, inner perimeter. This design will give the hair the of projection to 60 degrees, then 45 degrees this section across the back and cut even. Do this ability to maintain a fluffy curl pattern. (If hair is in the middle perimeter. While point cutting is as many times as necessary to not see through all one length, it will only bend when curled.) recommended, you may also slide cut. This is the hair. This is the density build-up area. It is Another design that is making a comeback is the a good place to use the double comb cutting especially important for long designs to increase “flip.” Basically, shortening the middle perimeter to technique that you have mastered. Note: Be the bulk at the bottom. If an all-one-length design allow the outer perimeter of the head to flip up over careful to avoid the density build-up area. is desired, switch to low projection combing at the middle perimeter produces it. The procedure is 0 degrees above the density build-up area and the same with the exception of the projection. To sculpt the inner perimeter at the top, bring the guide to the front section and point cut vertically. Page 16 www.EliteCME.com Bring the hair forward toward the front in this growth pattern in extreme cases, and the created Flatten the wet hair smoothly against the back of traveling guide, and point cut even. If the fringe weight will give control. the neck with the back of the comb. Then lift the is longer, bring the fringe back to the guide at the Continue into the middle perimeter in horizontal head to the upright position. You will see the hair dividing line. sections to comb and sculpt at low projection. buckle in the center back. This is your guide for After determining the length of the fringe area, Finish the middle and inner perimeters in the the back length. Why? Because this is the natural take the section of hair in front of the ear. same way, of course, with your neutral cut. bend on this particular head. When you need to create a hairline (if it is too sparse), this is the Comb this hair at 180 degrees and cut even with Move to the front of the head and design the way to do it. Proceed to create a strong, inverted the fringe guide. This produces the perfect “face- fringe (bang) area. Take the sides over and “U.” The remainder of this design is produced in framing” results. Now, match the sides with the behind the ear and sculpt even with the side back the same manner as the longer bob. By taking the face-frame and blend with the hair behind the sections. The sides are also cut at 0 degrees, or hair from the front of the ear at the sides, you can ears. If you are visualizing that behind the ears is low projection. So far, you have just established create the soft tendrils in front of the ear. the fullest point, you are correct. So many times the form. At this point, the hair should be blown we see that other methods leave the hair too dry to examine its personality. Notice, you will The bob is usually created with your “wet” shears, depleted in this area. And the natural tendency have purposefully left additional length at the especially on fine and thin hair. On medium and of the hair is to split at the ear. These guides will sides, which allows for shrinkage. You can thick textures of hair, you should consider using the prevent this. always go back and trim shorter, if necessary. feather razor in a blunt cut. We can also decrease bulk and produce the form with this method. Note: It is never advisable to allow a client to Once the hair is dried, you will see that there is leave the salon with the hair in the wet state. No one smooth line from the center back to the sides. Using the blenders or chunking shears accomplishes matter what, you need to check your work when Any trimming can be done now. The reason for the hottest form of this design. Finish the hair dried. You will save yourself a lot of grief with this care is that the mastoid bones cause the hair with root lifter and finger comb. If a feathery this rule. to split behind the ear, and the parietal bones can appearance is desired, use the backup razor cause a lift in the same area. By creating more technique throughout. Here again, use your source As seen on the hot scene, using these same weight in this area, you can successfully offset of inspiration from the picture that the client has partings but sculpting with your razor and the these natural tendencies. You no doubt have seen chosen and the personality of the hair itself. hair wet gives a spiky, feathery finish to the form. poorly performed bobs walking around. Don’t forget to educate the client on these design Using these forms and various finishes will have Next, work on the internal variations. If the principals. She will look great every day, which is you become the “go-to” stylist for long hair design demands an all-one-length middle and a testament to your talent. clients. Women who prefer to wear their hair long inner perimeters, you will still need to give some A beautiful take-off from the conventional bob is tend to shy away from salons because they fear texture internally to these areas. having the hair cut too short. Showing that you the Euro-bob (also called the two-step bob.) From understand and have the knowledge to give them Part off the top layer of the head. Vertically the same beginning, sculpt a deep, inverted “V” what they want will get them to trust you and section 1-inch panels and use the blenders at least for a more extreme form. (The inverted “U” can your ability. two times on each section. For a stronger texture also be used.) Subdivide the middle perimeter of hair, you may wish to use your feather razor at the back to just below the occipital bone. The mid-length design to remove some bulk from these areas while the With the scissors-over-comb technique, produce Probably the most versatile length is the mid- hair is still wet. Again, because short hair pushes a fitted neckline across the back. Holding the length design. This section will give the basic long hair, the design will have bounce and action comb at a 45-degree angle to the head, taper the form and many adaptations and finishes. when dried but still maintain a smooth finish on hair. Use the blenders to refine the neckline. The the surface. neckline hair should be sculpted between ¼- to Shampoo and condition the hair as usual. You One variation that is popular is termed the “layered ½-inch long. (This is where the haircutting chair will be using your honed-edge shears for a wet really comes in handy.) cut. Remember to continue to dampen the hair bob.” To produce this, return to your inner and as you work through a wet cut for consistency. It middle perimeter sections. Take a small section Then, from the top of the middle perimeter (at the bears repeating to have the client sit straight up, from the top of the inner perimeter in the back of occipital bone) sculpt a second inverted “V” or with knees uncrossed, before you begin. the head. Determine the desired length, usually “U” at 0 degrees elevation. There is no relationship 3 to 4 inches. Watch out for growth patterns, between the fitted neckline and the beginning of Begin with the basic sectioning as in the long and increase the guide length accordingly. Then the bob. It is an overlay. Bring down the remaining hair design. For the longer bob, take the guide remove the length from this section where you hair in the middle and inner perimeters and sculpt from the center back to just below the bend of the want the layering to begin. Continue down through at 0 degrees. Take the sides in toward the center neck. Take the two sides behind the ears to the the inner and middle perimeters. (Do not layer into to develop more length behind the ears. The bob center back and sculpt even. Again, work with the the density build-up area.) actually begins at the occipital bone. Bring the side density build-up area. Complete the back area and move on to the top sections back behind the ear and cut even. Design This is especially important when there is an and side sections. Detailing here is entirely up the fringe area according to the client’s wishes. “up-growth” behind the ears. Perform the gentle, to the finish desired. You can use the face frame You may use a side part for a drape fringe or inverted “U” as in the long design, but skin cut on one or both sides or give a strong asymmetric whatever the hair’s growth dictates. the guide. Holding the back of the comb against line. Work with the personality of the hair and Internally texturize as discussed above, or the outer perimeter will aid in producing this take your inspiration from this. incorporate some low projection layering as design line. Either direct the shears to always desired. Much of your finish work and detailing address the hair from center toward behind the This medium-long design can easily be converted to the newly popular flip by performing the should be done after the hair is dried, when you ear on both sides, or point cut for neutrality. can see the rotation of the hair’s growth pattern. Build density as necessary. You will see this projections described in the longhair flip design, only shorter. It bears repeating that these are truly “wash- compensation overcome even the strongest up- and-go” designs with minimum time spent. Your growth by shifting the weight of the hair from the The truest bob form is the design with a more clients will appreciate this. center to behind the ears. fitted neckline. Section the head with your basic Another technique is to lift with the comb the partings described previously. Subdivide the The short design up-growth area and remove the hair in one thin outer perimeter in the back of the head. Have the Of all of the designs for women, the most popular line right down to the scalp. This will break the client sit straight, knees uncrossed, with her head for the mature and conservative woman is the down to the chin. www.EliteCME.com Page 17 short design. Today’s shorter designs follow the forehead. Moving back, create a new guideline perm on the top and crown of the head will trend of easy and ready-to-wear hair. However, to the tip of the nose or what is adaptable to the make this a wash-and-wear design on hair that they are “edgier” and newer looking than client. In the middle and inner perimeters of just normally would require more assistance. As few what we were sculpting just a few years ago. the top section, bring the hair down and forward as 12 very large rods will make all the difference. Necessarily, the forms have not changed very to match with the overlay guide. Sculpt the basic form first, perm and then finish much. It is the surface texture where much of the You are left with the two side sections. This again the texturizing with curl consideration. differences are realized. is totally adaptable, depending on the client’s This length and its many variations will make it Begin with the outer perimeter sectioning. taste. One design asks for a strong asymmetric possible for you to satisfy your clients who prefer However, instead of the curved parting at the line. On the short side, continue the notch line to wear their hair short. back between the ears, take a deep “V” parting around the eye and in front of the ear. Finish to produce the middle and inner perimeters. This with a match to the side front and just behind the Masculine design will give you a better vision around the critical ear. The length should be just over the tip of the The primary difference in designing men’s and area behind the ears and the lift of the mastoid ear. On the long side, notch around the eye and women’s hair is in the physiology of the bone bone. Design and sculpt the neckline using in front of the ear. Then bring the back section frame of the client’s body. Men’s bones are diagonal-back partings, parallel to the “V.” of the inner perimeter from the front to the last square, and women’s bones are rounded. For the designer, this translates to a difference in Scoop the hair up and between the fingers (or section of the inner perimeter of the back. Comb body position while working. The stylist must use the comb) to hold at the perpendicular the front sections back to this stationary guide. address a male client with his or her arms, distribution and medium projection. Note: There The length will increase as you move forward. hands and tools in straight, squared lines. This is is a difference between cutting the hair inside This will complete the overlay and blend with accomplished immediately by lifting your elbows the fingers and outside the fingers. When the hair the crown. If desired, trim this section to mid- to almost parallel with the shoulders. As soon as is cut inside of the fingers, you will produce a ear. Internally texturize this area while still you drop your elbows, you will produce a curve strong, straight line. However, if the hair is rolled maintaining the heavy appearance in the ends of to your hands and the approach to the client’s over the outside of the fingers, microscopically, the hair. On the short side, take the last section head. No matter what length the client desires, you will produce an irregular line or beveled of the inner perimeter from the front to the top this is an important distinction. edges. In both situations, the hair is point cut. section of the back inner perimeter and blend. This bears remembering when concentrating on Comb the hair in its natural fall and clean the So, for the gentleman client: Elbows up! Check the surface textures. The beveled edge will give surface. A good supportive gel will give you lift yourself in your mirrors. Each time that you more motion. and definition in the finish. take up a section, check the mirror to see that everything on you is straight. After a short time, Continue to work into the middle perimeter with If a symmetrical design is desired, notch in (about this will become the correct habit. diagonal-back partings, perpendicular distribution 1-inch deep) the entire outer perimeter of the and medium projection. Lower the projection as front. Re-section the top at the natural recession The gentleman’s classic design is a series of six you reach the top of the middle perimeter. Remove or crest line. From a diagonal-back parting, comb squares: any unnecessary weight with either the blenders the hair inside of the fingers at medium projection 1. Across the front. or top-cut in the slide motion to taper the hair in from perpendicular distribution. Sculpt parallel One ear.2. a downward motion. This is a natural head-form with point cutting technique. Continue to notch 3. The other ear. design. Be careful not to expose a sparse hairline. until you reach the back of the ear, using the same 4. Across the back. You may also need to use the “hairline creation” procedures with a traveling guide. Complete the 5. Internally at the top of the head. technique on some heads, as previously discussed. other side in the same manner. 6. Internally at the center of the occipital bone. Adaptability is the key in the neckline creation. Design the overlay fringe to eyebrow length Begin by sectioning the hair along the crest line You may wish to leave some fringe behind the (longer if necessary). Remember to incorporate of the head on one side (around the back of the ears for softness. This will also add length to the your “U” form. Divide the top section into three head) to the same on the other side. This is the top form and fill in a slender neck. On a shorter neck, equal sections. Take this guide up to the center section. Section from this parting to just behind the “V” neckline is very flattering. When you see section of the top remaining hair. Vertically point- the ear on both sides. Unless absolutely necessary, a natural “W,” you may wish to sculpt this unique cut each section while moving back through the avoid using clips when sectioning. For most of the line. Whatever you choose, check your two mirrors top with this traveling guide. You will meet the designs, you will be using the serrated (dry) shears for the balance and proportion to the head and top section of the inner perimeter of the back and and the blenders. Although you may wish to use neck. We do not advise shaving the neckline into blend. Stand behind the client if you are cutting your wet tools in some areas, the serrated-edge a shape. Within a few days, this hair re-appears with your right hand; move to the right section shears will still give you the best control for the and simply looks messy. So design to your heart’s of the top. Pick up a small amount of hair from scissors-over-comb technique. content, but follow the hair. the side and the center top and sculpt in the same manner. Note: Work from front to back and cut Determine the length of the form by how much of When you reach the inner perimeter of the back the ear is to be covered or not covered. If the ears sections, continue with the diagonal-back partings from short to long. Then, standing in front of the client on her left side, repeat this procedure. are prominent, take your guide from the middle and perpendicular distribution; but switch to low of the ear (without stretching the hair). The client projection. This will rapidly increase the length in Note: Again, work from the front toward the back and cut from short to long. may wish to have the ears covered. In this case, the upper crown. Internally texturize this area for drop the guide to below the ear. The side guide lightness and bounce. As a final procedure to give lift, twist down small is the guide for the entire design, because every Move to the front of the head and design the sections of hair through the top and crown and other section of the design relates to it. fringe area. While this area is entirely flexible chip the section with the blenders (for finer hair) or the notching shears (for stronger hair). Use For cutting with the right hand, stand at the right and can reflect the client’s customary design, the side of the head. Take the entire right side section newer looking design is a combination of a very your choice about halfway down the length of the twisted section. A dab of gel will make it possible down and sculpt at the desired length (cutting structured short fringe (about 1 inch back) with from front to back). Remember to hold the hair at a longer overlay. This is the fashion statement to finger-finish this design. We recommend that you teach the client this finishing technique. low projection, inside the fingers and with natural today. For this, notch into the outer perimeter distribution. Then take a half-inch vertical parting with either point cutting or using the feather One more finishing technique is perming. forward and skin cut a straight line from in front razor. Keep the fringe very brief with a length of Introducing the new texture perms to your clients of the ear to the crest line. Standing behind the 2 inches or less, depending on the height of the is another way to increase your business. A partial Page 18 www.EliteCME.com client, take that first section out at 90 degrees ear down, cut a straight line down to the bottom Notes from the head. behind the ear with the shears pointed downward. Part the next half-inch section. Bring the guide Discover the natural bend of the neck. As section to the next section and sculpt even, cutting described above, flatten the hair against the back on the outside of the fingers. Continue with this of the neck with the client’s head down to the procedure until the entire side section is completed. chin. Then slowly lift the head until you see the You are using a traveling guide. Clean around the hair buckle. This is the natural bend and your ear to 0 and taper slightly to refine the line. guide for the edge of the design. Sculpt from Determine the length of the sideburn according center to outsides, following the curve of the to the client’s wishes, but watch that you do not neck. With the shears-over-comb technique, taper accentuate a poor feature, such as a pointed nose. this area from 0 degrees to the area that was held Most often, it will be at the top of the cheekbone. at 90 degrees. Remember to tip the comb toward you to increase the length as you work your way To match the left side of the head, you must stand up. Follow this procedure with the blending in front of the client and turn your shears. Repeat shears over the comb to refine the line. On very the above actions on the left side of the head. strong, coarse hair, you may wish to use the razor If cutting with the left hand, reverse the above over comb or the rotation technique (Roffler). procedure. That is, begin on the left side of the head. Make sure that you address the hair from The two remaining sections between the center front to back and short to long as above. back and the sides are sculpted in vertical partings held at 90 degrees to match both the Move to the top front of the head and design in sides and the upper back. Use the blenders over a straight line. It is recommended to use point the comb on the ends of the hair for a textured cutting in this area for softness. While standing finish throughout. on the left side of the head, section a 1-inch panel down the center to top of the head. Comb the One other distinction of the gentleman’s designer hair straight up and vertically point cut. Bring is tailoring. Take particular note to remove the next 1-inch section from the right side toward the hair in and around the ears and tailor the the center and sculpt even. Repeat this until you eyebrows. Using the clippers-over-comb is the run out of hair on the right side. You are working easiest and safest way to trim the eyebrows. Also with a stationary guide. use the clippers with the blades down to refine the sideburns and clean around the ears. Next, take a 1-inch parting from the left side of the center top and bring this section up to the Shampoo and condition the hair as necessary. center guide. Continue to take 1-inch partings This will remove the blended hair from the head until you have completed the area. Standing and add to the client’s comfort. Finish with a dab behind the client, take up a section from the of gel and comb in place. right side of the top in the front, at the place Conclusion where the side and top come together (the crest A hair designer is more than a stylist; he or she is line). Square off this point. Work your way back an artist. If you aspire to be one, consider these until reaching the dividing line behind the ear. techniques and remember: The salon artist’s To complete the left side of the front, you must “fabric” is hair – our own medium! change positions to in front of the client and repeat the procedure. If you visualize that the hair The author gratefully acknowledges the many will be longer at the crest line, you are correct. artists and systems studied that formed the foundation for this course. This next area of the head is where you may encounter strong growth patterns. Be very careful Bibliography David Riddle, Scissorsmith to leave extra length around a whorl. You may also use the technique discussed previously for Personality Identification System breaking the up-growth at the back of the neck at Pivot Point International, Salon Fundamentals the whorl. Pivot Point International, Design Forum At the center top of the back section, take a Jo Ann M. Stills, Americas’ educator; 1975 to present 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 www.EliteCME.com Page 19 6-Hour CE for Kentucky 9. The sensitivity and condition of the hair 19. Of all of the designs for women, the least has no effect on the degree and method of popular for mature clients is the short design. Cosmetologists corrective coloring. Final Examination True False Choose True or False for questions 1-20 and True False mark your answers on the Final Examination Sheet found on Page 21 or take your test online at 20. The gentleman’s classic design is a series of www.elitecme.com. 10. Bleaching is the only way to remove ten squares. permanent hair color that is too dark. 1. The function and ingredients in home hair True False color products and those found in the salon True False are essentially the same.

True False 11. A client consultation is usually completed upon the client’s first appointment and should last approximately 30 minutes. 2. Cuticle is the translucent, protein outer layer of the hair fiber. True False True False 12. The hairline creates the strongest influence to the features of the face. 3. Frosting is described as a translucent color used on the hair after a previous hair color; a True False blending color.

True False 13. Projection is the direction the hair is combed in relation to its base parting. 4. The three primary colors are cyan, magenta True False and yellow.

True False 14. Parallel cutting is a technique in which the fingers are positioned in any direction other than the base parting while cutting. 5. If the outer ring of the iris is green (it could be from aqua to as dark as forest green) the True False client is considered cool-toned.

True False 15. Basically, texturizing is removing hair in a pattern. 6. Internationally, all of the color manufacturers True False use a numbering system instead of referring to “shades.” The reason for this is that numbers translate into an accurate 16. Long hair, in particular, should never be relationship of the pigments present. brushed while wet. True False True False

7. All hair color, both natural and artificial, is 17. Long hair should be trimmed every six to comprised of yellow, red and blue pigments. eight weeks. Just removing the ends will strengthen the hair. True False True False 8. Deposit-only hair color uses oxidative and direct dyes and requires a developer. 18. It is never advisable to allow a client to leave the salon with the hair in a wet state. No True False matter what, you need to check your work when dried.

True False

Page 20 www.EliteCME.com