CUTTING PROGRAM

BY SALLY ROGERSON THEORY OF HAIRCUTTING STRUCTURE

The will be your canvas to work on

It is very important to check your clients bone structure in the consultation so you can make the correct decision regarding what technique and shape you should use.

First the skull is split into 3 areas

LET’S UNDERSTAND WHERE THOSE AREAS ARE BONE STRUCTURE

The top exist from the parietal ridge on each side to the crown at the back TOP is to lay your comb on the top and roll it down into the sides

Where you get that balance point is considered the round of the head BONE STRUCTURE

SIDES BACK

SIDES exist from the front The BACK exists between to the mastoid process. the mastoid processes and below the crown. BONE STRUCTURE

THE MAIN AREAS THAT ARE IMPORTANT TO US WHEN CUTTING HAIR ARE:

This really efects how the clients profle will look and will also have a big efect on what technique you decide to use. For example a client that has a very fat head will beneft from some kind of graduation to give them to appearance of a better head shape. Once we truly understand our techniques we can make a client look the best they can possibly be. BONE STRUCTURE

THE MAIN AREAS THAT ARE IMPORTANT TO US WHEN CUTTING HAIR ARE:

This efects the shape that you are MASTOID PROCESS creating.

A client with a prominent mastoid process will often look wider across the back of their head. This is generally not considered desirable.

In this case we would need to cut a rounder shape to counteract this bone structure. A client with a narrow mastoid process will often need a more square shape to build corners and fll in that space. BONE STRUCTURE

THE MAIN AREAS THAT ARE IMPORTANT TO US WHEN CUTTING HAIR ARE:

PARIETAL RIDGE

The parietal ridge will have an effect on suitability for the face. BONE STRUCTURE

TEMPLE CROWN

NAPE

CONSULTATION

• ASK OPEN ENDED QUESTIONS! • LISTEN! • WHAT LENGTH?! • PROFILE! • HAIR GROWTH PATTERNS (crown, nape, front hairline)! • BODY PROPORTIONS! • STYLE & PERSONALITY! • PLAN A! • PLAN B THEORY OF HAIRCUTTING

The theory of hair cutting has been created to help you understand the hows and whys of what you will be learning during your course

Our aim is to have you cutting hair as soon as possible as we feel haircutting is a practiced art BUT you must understand the theory behind your work. This understanding will make you a confdent and efcient

stylist that clients will seek out due to your consistency and skill with their hair

Knowledge gives you confdence, if you understand what you are doing your progress will be much faster TECHNIQUE

THERE ARE 3 TECHNIQUES USED IN CUTTING HAIR:! LINES, GRADUATION , LAYERS These are the foundations of cutting hair and when understood, practiced and mastered will allow you to become a great haircutter.! They can be used separately to create a more classic look or combined together to make a more creative hairstyle.! ! Technique is found on the vertical plane and is decided by elevation (how much you lift the hair up).! TECHNIQUE

Technique is decided on by :! ! • FINAL LOOK you want to create! ! • SUITABILITY for the client! ! • HEAD OCCIPITAL BONE prominence (or lack of)! ! • PROFILE COLOR KEY

• Major sections / partings!

• Cutting sections!

• Cutting line / expanded form!

• Over-direction LINE

A line is where all of the sections are brought to the same point to be cut

A line can be in the fringe, back or sides A line does not always mean a bob A line gives a solid, clean efect A line directs attention to a feature of the face or can be used to frame an area A line is often used to determine the length of the cut LINE GRADUATION

Graduation is a build up of weight Graduation can be used to give a client a better profle Graduation can be used to build recessed areas of the bone structure and the face shape

Graduation can sit lower or higher on the head dependent on these things: Visual style wanted Density and texture of hair Occipital bone and face shape Profle GRADUATION

WHEN CREATING A LOWER , HEAVIER GRADUATION YOU WILL OFTEN SEE A WEIGHT LINE. ! ! ON HIGHER GRADUATIONS THE LINE WILL NOT BE EVIDENT. LAYERING

A way to remove weight

Layering can produce movement and texture

Layering happens when you pull the hair straight out from the head and higher

In the consultation a client will use words like texture, softness, movement LAYERING

DIFFERENT EFFECTS CAN BE CREATED DEPENDING ON WHAT FINGER ANGLE IS USED. TECHNIQUE

To decide what technique has been used in the sides and back take a vertical section from crown to nape and pull hair out. this will show you what angle the hair was cut to and therefore what technique has been used

Do the same with a section in the side, take a vertical section in front of the ear from to hairline and pull the hair out to determine the technique. Please remember that diferent techniques can be used in diferent areas so never assume the same technique has been used for both the sides and the back

Doing this when a client comes in will help you to understand what technique was used previously and help you to make a decision regarding what you will do this time SHAPE

Shape is found on the horizontal plane. There are 3 shapes: ROUND, SQUARE, TRIANGULAR

Short hair will push longer hair All 3 shapes can be used with all 3 techniques

For example you can cut a triangular shape using a line, graduation or layer. Later on when you have mastered your foundations you can mix 2 or 3 techniques together with any shapes.

To see this you should take a horizontal section around the back and side of the head at the level of the occipital bone. ROUND

The hair is shorter in front becoming longer towards the back

A round shape is useful if you want to push hair away from the face as the shorter hair will push the longer hair

A round shape will expose more of the face and the profle

A round shape is often used to soften sharper features for a square jawline

A round shape is great to use on a client with a wide head across the back and/or prominent mastoid process area ROUND SQUARE

• A square shape is even and equal lengths.! • A square shape does not follow the natural head shape.! • A square shape can build corners at the rounds of the head. This can be useful in ladies, cutting to balance a narrow mastoid process or fill in a weak hairline behind the ear.! • Corners can also be built at the parietal ridge to balance the lower face.! • A square shape doesn’t have any sorter and longer areas as the lengths are more equal. This means the hair is not pushed either forward or backward and therefore falls straight down. SQUARE TRIANGULAR

• A triangular shape is shorter at the back and longer towards the front.! • The shorter hair at the back will push the hair forwards onto the face as the shorter hair will push the longer hair. ! • This shape is great to cover more of the profile and can help to hide imperfections around the jaw area.! • This is a very popular shape as it suits so many people. Be careful if a client has weaker or damaged hair at the side, a square shape may be more suitable to achieve a healthier and thicker appearance. TRIANGULAR

OVER-DIRECTION

• When the hair is pulled out of its natural position either forwards or backwards. ! ! • This can create length or weight in a specific area.! ! • Over-direction allows us to decide what shape we are creating.! ! • Over-direction allows US to design. OVER-DIRECTION

• A round shape uses forward over-direction OVER-DIRECTION

• A square shape uses both forward and backward direction OVER-DIRECTION

• A triangular shape uses backward direction ELEVATION

• Elevation controls what technique you are using! ! ! • The more elevation used the lighter the appearance ELEVATION

• A line is cut as close to 0° as possible ELEVATION

• A graduation is cut between 1°-89°!

! LOWER=HEAVIER! ! HIGHER=LIGHTER! ELEVATION

• Layers are cut at 90° and higher. TENSION

• The amount of stress placed on the hair.! ! • Be careful to loosen tension in difficult areas – Ears, crowns, hairlines. SECTIONING

• Sectioning allows you to plan and execute your haircut.! • Sectioning is like a roadmap to get you from A to Z.! • Sections should mirror the cutting line.! • There are 3 main sections:! !!!!!!!!!vertical horizontal diagonal! ! SECTIONING

• Vertical sections removes weight - used most with layers SECTIONING

• A Horizontal sections keep or build weight - used most with line SECTIONING

Diagonal sections push hair in the direction of the section - used most with graduation

FREEHAND

Freehand means to cut the hair without tension using the eye to refine the outlines, and visually personalize the final look. ! ! This will give the client a one off haircut that has been finished specially for them. POINTING

• Pointing is used to soften the ends of the hair which will create more movement and lightness to the cut.! • Pointing is created by pointing into the hair vertically being aware of the angle the scissors are at. ! ! Use the same sections as the original haircut. POINTING

• Pointing can be used for visual blending purposes. ! For example to blend problem color areas and also in thick, dense hair.! • Pointing should not be used to cover mistakes and should not be over used as it can ruin a great technical haircut. SLICING

• . Opening and closing scissors in a downward motion !

. • Cutting from root to ends or mid lengths to ends !

• Do not drag the hair when slicing, use scissor control to open and close the scissors but never fully close.!

• Removes weight in a more subtle way or more obvious way depending what angle the scissors are at. SLICING

• Scissors remove less weight when being held flat or horizontal to the head. Surface slicing.! • Scissors remove more weight when held vertical to the head. Deep Slicing.! • Scissors should be controlled by the thumb for a smooth slicing effect and needs to be practiced. ! • Slicing is done on dry hair so you can visually decide the impact it is having. Wet hair does not show the texture of the hair and when slicing on wet hair you can often remove too much weight. TWISTING

• Twisting is created by twisting small sections of the hair with the finger and opening and closing the scissors in the root area!

• This will create an edgy effect and when used at the root can give more texture and support, making the hair stand up more. TWISTING

• This approach is good for shorter women hair and also mens hair to give a more spiky or textured look.!

• Twisting can also be used together with slicing on wavy and curly hair. Twist the hair with the curl pattern and slice down the hair shaft to create more piecy curls and raw edges and outlines DISCONNECTION

Disconnection is used as our fourth technique and is issued in conjunction with lines , graduation and layering to give a new create edge to haircuts. DISCONNECTION

• Disconnection means an area within the haircut that is not connected into the rest of the haircut.!

• Disconnection brings another dimension to your haircutting and is a very important part of salon work.! HOW & WHEN TO USE DISCONNECTION? TO REMOVE WEIGHT

• When a client has thick hair sometimes we need to remove more weight than we are able to by using our regular foundation techniques.! • By cutting an area shorter in the underneath we are creating a SPACE within the haircut.! • When the top panel is left longer and falls over the underneath the whole appearance of the finished result looks slimmer and less bulky TO CREATE MOVEMENT

• When disconnecting areas and using the space that is created the hair will move differently.! • The disconnected longer hair will fall into the SPACE that has been create and will move more freely DISCONNECTION

•NO DISCONNECTION! Hair has an evenness to it so there is less movement

•SMALL DISCONNECTION! Leaves a void for the longer panel to move or float in

• EXTREME DISCONNECTION! DISCONNECTION

• Disconnection can be used either inside the haircut to create movement and texture or on the outside the haircut for visual effect.!

•The amount of disconnection used and how extreme the lengths are will decide if it looks commercial or more edgy!

• When working with the consultation you must observe what image you r client has, This will help you to decide if your client is suitable for disconnection and if so how far you can go with its use! DISCONNECTION

• When used on the inside it will not be so visually obvious to the eye and therefore is used a lot in the salon on commercial clients.!

• When used on the outside and in outlines it will be much more obvious to the eye and will become harder to wear for a regular client. More extreme disconnections are saved for photographic and stage work or if you have some adventurous clients with the personality and image to pull it off. DISCONNECTION

HOW TO DECIDE WHAT LENGTH TO CUT?

Ultimately the further apart the lengths are within the disconnection then the more obvious it will look.! When the lengths are closer together the disconnection will blend more and be easier to wear. COLOR & DISCONNECTION

• Remember that color is going to play a huge part within a disconnected haircut.! • If the haircut is all one color then the disconnection will not be so obvious.! • If the areas are in contrasting colors the look will be more extreme and harder to wear.! • Edit your choices. Do not attempt to do too much on one head. ! COLOR & DISCONNECTION

• When a look is over design it becomes less attractive and can look too busy to the eye.! • If the haircut is more creative and edgy then let the color take a back seat.! • If the color is dramatic then cut the hair to show that off.! • When cut & color are fighting each other it is often off-putting. COMPREHENSIVE CUTTING PROGRAM

10

63 L•1

This is a long haircut that uses a LINE to establish the length, GRADUATION around the face, and LAYERS through the interior.!

64 !

Start in the front Cut through fngers to achieve a softer result Stand on opposite side to the side you are cutting Over direct every section to the frst Continue sections all the way to the crown L•1 - LAYERS

• Cut short to long! • Guide is from the front graduation! • Allow front to drop out under the ! round of the head! • Over direct towards the center L•2

This is a layered haircut that creates a modern, textured look with a soft outline. !

The strong fringe gives a rock and roll edge.! !

68 ! Section a triangle on top of the head from recession to the crown L•2 - BACK

• Stand on opposite side to the side you are cutting! • Walk around the head! • Stop at the mastoid process! • Hold 3 sections ! (2xGuide - 1x New Section)! Cut short to long

Compensate for the transition in the hairline by lifting your elbow

Connect new guide at top of section

The bottom of the new guide will disconnect

L•2 - TOP

• MIDDLE PARTING ! • SIDE PARTING ! This will leave fringe looking round in end result M•1

This is a bob with an element of graduation.! ! It is a modern take on a classic haircut.! ! !

74 ! Sections should mirror the outline Cut through the comb to achieve a cleaner result Cut at eye level Control elbow Keep hair evenly damp “Tap” around ear Section through the front horseshoe on top of head Triangular shape Use guide from the outline Hair below occipital bone should drop out Stand and start in the back Cut palm to palm

M•1 - AFTER BLOW-DRY

• Check outline (stand client up)! ! • Check balance (in front and at side)! ! • Check by lifting hair through your fingers and ! dusting. Same action as Scissor Over Comb. (S.O.C) This modern bob starts with a line and is given a loose feel with layers and a side sweeping fringe.

80 Bring all sections to the same point

Keep hair evenly damp

Cut sides second Section of a horseshoe on top of the head Stand on the opposite side of the side you are cutting Take vertical sections Over direct back to previous section Stop at mastoid process Bring all front sections back to last section at the mastoid process Over direct back to the crown Balance side parting by cutting square on heavy side and round on light side Stand on opposite side to the side you are cutting Take diagonal sections Over direct all sections to the frst Shorter hair will push longer hair across the face This haircut uses all three techniques to give a smoother and more blended look.

The line establishes the length, the graduation gives support, while the layers give softness.

86 CHOOSE either sectioning approach CHOOSE any approach: fngers, comb or CHOOSE desired shape (square or triangular)

Approach 1 or Approach 2 Section of a hourshoe on top of the head Graduation is used throughout the back and sides Start in the back Triangular shape Use sectioning pattern and key points from M I Over direct layers back to the crown area Balance side parting by cutting square on heavy side and around on light side

MIDDLE PARTING M•3 - TOP

SIDE PARTING M•4

This haircut uses a combination of graduation and layering.! ! A form of commercial disconnection is used to create a cool slim look. ! (Refer to Disconnection Lecture)! ! ! ! ! 92 ! ! Take a triangular section on top This will ft into the triangular feeling of the fnal look support system for panel 2 Panel 2 is disconnected from panel 1 This will remove weight and create movement The amount of disconnection should be small as this haircut intended to be commercial center or on side parting

EVEN SIDE

M•4 - OUTLINE

•"The outline shape can be sculpted or soft. ! Whatever is suitable for your client! ! • Use a mirror to check you progress and balance!

• Use the tips of the scissors and think of ! them as a pen you are using to draw the ! outline shape!

•"An ‘Arc’ or curved line is often the ! most flattering from the profile on this length This haircut uses heavy graduation and a square shape.

This creates a strong, geometric look.

99 Section of a horseshoe on top of the head Begin this haircut using pivoting sections under the occipital bone

Cut graduation, using a strong angle and with hands palm to palm

The graduation should sit under the occipital bone in a strong weightline

The graduation should appear square in shape S•1 - BACK INTO SIDES

•"The final section above the occipital bone should be ! totally horizontal! ! • Sections should move through into the sides ! ! •"Hair should be combed down onto the ! weightline to create a heavy effect! ! •"Body position should walk around the head into ! the sides to keep haircut square! ! •"Tap around the ear to avoid creating a hole Continue to cut the top area using the same section as underneath

Loosen tension in crown by making hands softer or using the wide teeth of the comb S•1 - FRINGE

• This is a short square fringe!

• FRINGE Should NOT round down at the sides. A more ! square shape will lift the face suitable front hairline!

• This fringe can also be cut longer or softer to suit any client!

• Start by cutting the sides first to achieve balance!

•"Cut the middle to connect the sides!

• Can be cut through comb, fingers or on the skin depending ! on desired effect! ! S•1 - FRINGE S•1 - OUTLINE

• When dry ELEVATE and DUST the graduation in the weight line! • Use the same sections as original haircut! • Lift and dust at the same time as previously used in M•1! • This will soften the weight line as much as is desired! • Outlines can be scissor over combed or clippered! • Outline can have a strong/clean FINISH. By ! using the points of the scissors to draw shape! •"Personalize the outline to suit your client ! and vision S•2

This haircut uses graduation placed above the occipital bone, creating a higher build up of weight. ! ! The use of head hugging layers gives a textured grown out appearance.! ! ! ! !

! 107 ! ! Section of a horseshoe on top of the head Using vertical diagonal sections cut a high graduated angle

This will allow you to control the angle better

to the front to remove weight and length Take horizontal sections using the guide from the sides cut following the curve of the head

Over direct to the previous cutting section, until the last two cutting sections

Over direct the last two cutting sections back, in the front hairline is weak, or you desire more length S•2 - OUTLINE

• This cut will look great either with a softer or ! stronger outline feel! ! • Tailor the silhouette to suit the client! ! • In this case a pointing technique is used to give a “grown out” feeling! This haircut is tailored into the back and sides using round graduation.

The top is disconnected and layered.

112 Section of the top in a triangular section below the crown S•3 - SIDE & BACK GRADUATION

• Approach this haircut from the front! • Use diagonal sections! • Use vertical/diagonal sections for a lighter effect! •Use horizontal/diagonal sections for a heavier effect ! • Fingers and cutting line should mirror section! • Cut palm to palm! • Walk around the head to create a round shape! • Sections should continue across the center back by 2 section! • Do not pass the mastoid process on other side

S•3 - TOP

• Cut over the fingers! • Take guide from the side! •Take diagonal sections and use over-direction backwards top this allows the haircut to be dressed either side and always look balanced This short haircut combines layers and freehand techniques to give a soft, textured appearance.

118 S•4 - SECTION

• Section out a triangle in the flattest part of the crown area! •"Make sure any difficult growth patterns at the crown are inside of the section! Start on the top Use layering Cut a suitable length for the textured and end result you want to create Use fat fnger angle Bring hair straight out from the head Walk around the head Stand on the same side you are cutting S•4 - SIDES

• Start first section behind the ear! ! • Take a vertical section and pull hair straight out from the head! ! • cut an angle that goes from short to long. The length is maintained in the outline and will create softness.! ! • Pivot sections ! ! • Start to pull hair back on the last 2 sections.! This will leave weight in the weak recession area.

Sections should begin to cross each other at the center back Connect to the top of the side section to make new back guideline DISCONNECTION: connect with the top

Leave the hair under the triangle disconnected. This will allow for the crown spring S•4 - FINISHING

•"Apply suitable product! • Dry hair using fingers! • Use freehand techniques (REFER TO FREEHAND LECTURE)! • Twisting, mainly on the top area! • use Pointing all over! •"Slicing, for outlines and fringe area!

• This look can be shorter and more tailored in sides and back ! by changing the finger angle CUTTING PROGRAM

BY SALLY ROGERSON