CHAPTER 1
FIVE-STAR HAIR COLORIST
(3 CE Hours)
Learning objectives
!! Explain the significance of primary,
secondary and tertiary colors on a color
wheel and in the process of coloring.
!! Define what is meant by “warm” and
“cool” colors, “complementary” colors, and
“neutralizing” colors.
!! Explain the difference between hair levels
and tones.
!! Explain what the pH scale measures and how
this is important to hair color.
!! Describe the process of oxidation and its
function in permanent hair coloring.
!! Explain the objectives of the consultation/
assessment.
!! List the main points and relevance of
assessing hair texture and porosity.
!! Define natural base level; explain how to find
it and its significance in hair coloring.
!! Explain how percentage and distribution of
gray affect hair coloring.
!! Describe how the target color is formulated.
!! Distinguish between predisposition (patch)
testing and strand testing.
!! Identify the major categories of hair color
services and describe the complications
associated with each.
Introduction
How many of us would like a raise? How much?
5? 10 percent? 20 percent? Even 60 percent?
How many want to be a “genius” to our clients?
How much hair color are you currently doing? 10
percent? 20 percent? 50 percent?
We know that in the rest of the world, 98 percent
of clients receive color services on a regular
basis, both women and men (the 2 percent are
children). This tells us there is the potential to
claim up to 60 percent new color business!
But why is there such a big difference between
the U.S. and the rest of the world? The rest of
the world considers the hair color to be the most
important “cosmetic” to the skin. In addition,
stylists will study years longer to become
licensed, and they take chemistry very seriously.
Hair color services can be the most lucrative and
rewarding service offered at a salon. We can take a
haircut-only client to a haircut AND color client in
a very short period, with very little effort. Today’s
client flow demands four times the number of
clients as in previous years. We simply must make
each client more valuable to the salon!
Yet many stylists remain apprehensive about color
long after they leave cosmetology school. This is
probably because hair coloring is about chemistry,
which can present problems and mistakes that
can drastically affect real people. This course will
remind you about the basics of the process and
discuss the products and techniques to help boost
your confidence as you boost your knowledge. For
those who have been using hair-coloring products
comfortably for years, this course will refresh and
www.EliteCME.com reinforce the important points and perhaps introduce
a few new concepts or products.
Hair care services are constantly evolving, and
there continues to be an increasing demand for
color services. From covering gray, restoring or
“tweaking” the original color, highlighting or truly
transformative color, color can improve hair texture
and strength and increase confidence as much as a
good make-up application. Clients receiving color
services tend to visit the salon more frequently than
other types of clients and spend more money each
time, using both services and products. Because
application time is typically brief, there is a potential
for substantial profits. Additionally, to maintain their
look and address new growth, clients have a strong
incentive to stay timely about services.
While the demand for skilled colorists grows, most
come out of school rank amateurs in the art of
science and color, and many are rightfully fearful of
making mistakes. Above all, hair coloring requires
technical precision, and the only way to become
an expert is by doing it many times. Stylists should
find a good resource for hair samples and testing
materials and practice, practice, practice. The best
hair colorists have done it thousands of times and
have learned from failures as well as successes.
Running your own experiments will increase your
skills as well as your confidence in the results.
The function and ingredients in home hair
color products and those found in the salon
are essentially the same. The major difference
in home hair color versus salon color is the
expertise of a professional colorist who is able
to custom blend a specific color and control the
amount of hydrogen peroxide or other products
used. Through experience, the stylist learns how
the process will affect hair color and quality, and
how long or short a time to process the color.
New do-it-yourself products are both a boon and
a burden. Many clients may try to color their own
hair with varying results. You may have to correct
a client’s mistake. Your knowledge and abilities
will ensure that the client’s money is well-spent,
and you’ll find your confidence stretched with each
success. Coloring accidents can be a nightmare,
but great color correction can make you invaluable
to that client. Remember, the product is only one
part of the equation (and not the most important
part). While a client can produce satisfactory results
with the first application, re-touches will become
problematic simply because different bases are
involved and the hair’s condition is compromised.
Careful reading is essential to successful hair
coloring, starting with the critical information
in product directions and manufacturer’s
information. One can also “read up” on new hair
color developments and the latest technologies
in magazines and on the Internet. Artful hair
coloring is enhanced by reading and doing. Not
only can you find information about getting the
best results with specific products, such as details
on how to mix and apply hair color, you also can
see photos of the results.
The more you learn about hair color, the more
valuable your services and the more your clients
will appreciate you. Let your clients know the
magic is not just in the materials, but also in
the expert choice of product and application.
Clients know little about their options in hair
color products and services. You provide that
knowledge. And as an experienced professional,
you are able to maximize a good product.
This course will help you increase your value in
the color equation. Instead of living in fear of hair
coloring disasters, you might even get a reputation
for correcting them. To really understand
how color works, you need to have a basic
understanding of a number of topics. So that we
are all speaking the same language, we will begin
with a glossary of terms that will be used.
Glossary
Accelerator/ activator: An additive used to
quicken the action or progress of a chemical.
Another word for booster, protenator or catalyst.
Accent color: A concentrated color product that
can be added to permanent, semi-permanent or
temporary hair color to intensify or tone down
the color. Another word for concentrates and
color additive.
Acid: An aqueous (water-based) solution having
a pH less than 7.0 on the pH scale.
Alkaline: An aqueous (water-based) solution
having a pH greater than 7.0 on the pH scale. The
opposite of acid. Another word for base/alkali.
Allergy: A physical reaction resulting from
extreme sensitivity to exposure, contact or
ingestion of certain foods or chemicals.
Allergy test: A test to determine the possibility or
degree of sensitivity; also known as a patch test,
predisposition test or skin test.
Amino acids: The group of molecules that the
body uses to synthesize protein. There are 22
different amino acids found in living protein that
serve as units of hair structure.
Ammonia: A colorless, pungent gas composed
of hydrogen and nitrogen; in water solution it is
called ammonia water. Used in hair color to swell
the cuticle. When mixed with hydrogen peroxide,
it activates the oxidation process on melanin and
allows the melanin to decolorize.
Ammonium hydroxide: An alkali solution
of ammonia in water; commonly used in the
manufacturing of permanent hair color, lightener
preparations and hair relaxers.
Analysis (hair): An examination of the hair to
determine its condition and natural color.
Aqueous: Descriptive term for water solution or
any medium that is largely composed of water.
Ash: A tone or shade dominated by greens,
blues, violets or grays. May be used to counteract
unwanted warm tones.
Base color: The combination of dyes that make
up the tonal foundation of a specific hair color.
Bleach/lightener: The chemical compound that
lightens the hair by dispersing, dissolving and
decolorizing the natural hair pigment.
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Bleeding: Seepage of tint/lightener from the
packet containing the hair to be colored or
frosting cap caused by improper application.
Blending: A merging of one tint or tone with another.
Blonding: A term applied to lightening the hair.
Bonds: The means by which atoms are joined
together to make molecules.
Brassy tone: Undesirable red, orange or gold
tones in the hair.
Breakage: A condition in which hair splits and
breaks off.
Buffer zone: Applying color away from the scalp
to avoid chemical overlapping.
Build-up: Repeated coatings on the hair shaft.
Bumping the base: A term used to describe a
gentle degree of lift of the natural color.
Cap method: A disposable rubber or plastic
cap used to highlight or lowlight; hair is pulled
through and selectively colored or bleached.
Catalyst: A substance used to alter the speed of a
chemical reaction.
Category: A method of defining natural hair to
help determine the undertones.
Caustic: Strongly alkaline materials. At very
high pH levels, can burn or destroy protein or
tissue by chemical action.
Certified color: A color that meets certain
standards for purity and is certified by the FDA.
Cetyl alcohol: Fatty alcohol used as an
emollient. It is also used as a stabilizer for
emulsion systems, and in hair color and cream
developer as a thickener.
Chemical change: Alteration in the chemical
composition of a substance.
Citric acid: Organic acid derived from citrus
fruits and used for pH adjustment. Primarily
used to adjust the acid-alkali balance. Has some
antioxidant and preservative qualities. Used
medicinally as a mild astringent.
Coating: Residue left on the outside of the hair shaft.
Color: Visual sensation caused by light.
color development during tinting or lightening.
Also called strand test.
Color wheel: The arrangement of primary,
Direct dye: A preformed color that dyes the fiber
secondary and tertiary colors in the order of their directly without the need for oxidation. Also
relationships to each other. A tool for formulating. referred to as a stain.
Complementary colors: A primary and secondary
color positioned opposite each other on the color
wheel. When these two colors are combined, they
create a neutral color. Combinations are blue/
orange, red/green, and yellow/violet.
Condition: The existing state of the hair – its
elasticity, strength, texture, porosity and evidence
of previous treatments.
Consultation; Verbal communication with a
client to determine desired result.
Contributing pigment: The current level
and tone of the hair. Refers to both natural
contributing pigment and decolorized (lightened)
contributing pigment.
Color remover: A product designed to remove
artificial pigment from the hair. Also dye
remover/dye solvent.
Color test: The process of removing product
from the hair strand to monitor the progress of
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Double process: A technique requiring two
separate procedures in which the hair is
decolorized or pre-lightened with a lightener
before the depositing color is applied.
Drab: Term used to describe hair color shades
containing no red or gold. Also ash.
Drabber: Concentrated color used to reduce red
or gold highlights.
Dull: A word used to describe hair or hair color
without sheen.
Dye: Artificial pigment.
Elasticity: The ability of the hair to stretch and
return to normal.
Cortex: The second layer of the hair. A
fibrous protein core of the hair fiber containing
melanin pigment.
Enzyme: A protein molecule found in living cells
that initiates a chemical process.
Coverage: Reference to the ability of a color
product to color gray, white or other colors of
the hair.
Cuticle: The translucent, protein outer layer of
the hair fiber.
Cysteic acid: A chemical substance in the hair
fiber, produced by the interaction of hydrogen
peroxide on the disulfide bond (cystine).
Cystine: The disulfide amino acid that joins
protein chains together.
D and C colors: Colors selected from a certified
list approved by the FDA for use in drug and
cosmetic products.
Decolorize: A chemical process involving
the lightening of the natural color pigment or
artificial color from the hair.
Degree: Term used to describe various units of
measurement.
Demi-color/deposit-only color: A category of
color products between permanent and semipermanent colors. Formulated to only deposit
color, not lift. They contain oxidative dyes and
Color lift: The amount of change natural or artificial utilize a low volume developer.
pigment undergoes when lightened by a substance.
Dense: Thick, compact or crowded.
Color refresher: (1) Color applied to mid-shaft
and ends to give a more uniform color appearance
to the hair. (2) Color applied by a shampoo-in
method to enhance the natural color. Also called
color wash, color enhancer, color glaze.
Discoloration: The development of undesired
shades through chemical reaction.
Corrective coloring: The process of correcting
an undesirable color.
Color base: The combination of dyes that make
up the tonal foundation of a specific hair color.
Also dye stock.
Color mixing: Combining two or more shades
together for a custom color.
Diffused: Broken down, scattered; not limited to
one spot.
Deposit: Describes the color product in terms of
its ability to add color pigment to the hair. Color
added equals deposit.
Depth: The lightness or darkness of a specific
hair color.
Developer: An oxidizing agent, usually hydrogen
peroxide that reacts chemically with coloring
material to develop color molecules and create a
change in natural hair color.
Development time/oxidation period: The time
required for a permanent color or lightener to
completely develop.
Fade: To lose color through exposure to the
elements or other factors.
Fillers: (1) Color product used as a color
refresher or to replace undertones in damaged
hair in preparation for hair coloring. (2) Any
liquid-like substance to help fill the need for
natural undertones.
Formulas: Mixture of two or more ingredients.
Formulate: The art of mixing to create a blend or
balance of two or more ingredients.
Frosting: The introduction of lighter strands to
the hair; generally executed with a frosting cap.
Glazing: A term used to describe a translucent
color used on the hair after a previous hair color;
a blending color.
Gray hair: Hair with decreasing amounts of
natural pigment. Hair with no natural pigment
is actually white. White hairs look gray when
mingled with pigmented hair. Also referred to as
unpigmented hair.
Hair: A slender threadlike outgrowth on the skin
of the head and body.
Hair root: That part of the hair contained within
the follicle, below the surface of the skin.
Hair shaft: Visible part of each strand of hair. It
is made up of an outer layer called the cuticle, an
innermost layer called medulla and an in-between
layer called the cortex. The cortex layer is where
color changes are made.
Hard water: Water that contains minerals and
metallic salts as impurities.
Henna: A plant-extracted coloring that produces
bright shades of red. The active ingredient is
lawsone. Henna permanently colors the hair by
coating and penetrating the hair shaft.
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High-lift tinting: A single process color with a
higher degree of lightening action and a minimal
amount of color deposit.
Highlighting: The introduction of a lighter color
in small sections to increase lightness of the hair.
Hydrogen peroxide: An oxidizing chemical
made up of 2 parts hydrogen, 2 parts oxygen
(H2O2) used to aid the processing of permanent
hair color and lighteners. Also referred to as a
developer; available in liquid or cream.
Level: A unit of measurement used to evaluate the
lightness or darkness of a color, excluding tone.
Level system: In hair coloring, a system
colorists use to analyze the lightness or darkness
of a hair color.
Lift: The lightening action of a hair color or
lightening product on the hair’s natural pigment.
Line of demarcation: An obvious difference
between two colors on the hair shaft.
Litmus paper: A chemically treated paper used
to test the acidity or alkalinity of products.
Medulla: The center structure of the hair shaft.
Very little is known about its actual function.
Very fine hair many times does not have it.
Melanin: The tiny grains of pigment in the hair
cortex that create natural color.
Melanocytes: Cells in the hair bulb that
manufacture melanin.
Overlap: Occurs when the application of color or
lightener goes beyond the line of demarcation.
Overporous; The condition where hair reaches
an undesirable stage of porosity requiring
correction. Also sensitized.
Oxidation: (1) The reaction of dye intermediates
with hydrogen peroxide found in hair coloring
developers. (2) The interaction of hydrogen
peroxide on the natural pigment.
Oxidative hair color: A product containing
oxidation dyes that require hydrogen peroxide to
develop the permanent color.
Para tint: A tin made from oxidation dyes.
Para-phenylenediamine: An oxidative dye
used in most permanent hair colors, often
abbreviated as PPD.
Patch test: A test required by the FDA.
Performed by applying a small amount of the
hair coloring preparation to the skin of the arm,
or behind the ear to determine possible allergies
(hypersensitivity). Also called pre-disposition or
skin test.
Penetrating color: Color that penetrates the
cortex or second layer of the hair shaft.
Permanent color: (1) Hair color products that
do not wash out by shampooing. (2) A category
of hair color products mixed with developer that
creates a lasting color change.
Melanoprotein: The protein coating of melanosome.
Peroxide residue: Traces of peroxide left in the
hair after treatment with lightener or tint.
Metallic dyes: Soluble metal salts such as lead,
silver and bismuth produce colors on the hair
fiber, by progressive build-up and exposure to air.
Persulfate: In hair coloring, a chemical
ingredient commonly used in activators that
increases the speed of the decolorization process.
Modifier: A chemical found as an ingredient in
permanent hair colors. Its function is to alter the
dye intermediates.
Molecule: Two or more atoms chemically joined
together; the smallest part of a compound.
Neutral: (1) A color balanced between warm
and cool that does not reflect a highlight of any
primary or secondary color. (2) Also refers to a
pH of 7.0.
Neutralization: The process that counter-balances
or cancels the action of an agent or color.
Neutralize: Render neutral; counter-balance of
action or influence.
PH: The quantity that expresses the acid /alkali
balance. A pH of 7 is the neutral value for pure
water. Any pH below 7 is acidic; any pH above
7 is alkaline. The skin is mildly acidic, and
generally in the pH 4.5 to 5.5 range.
PH scale: A numerical scale from 0 (very acid) to
14 (very alkaline), used to describe the degree of
acidity or alkalinity.
Pigment: Any substance or matter used as
coloring; natural or artificial hair color.
Porosity: Ability of the hair to absorb water or
other liquids.
Powder lightener: Same as off-the-scalp lightener.
New growth: The part of the hair shaft that is
between previously chemically treated hair and
the scalp. Also regrowth.
Prebleaching/prelighten: Generally the first step
of double-process hair coloring. To lift or lighten
the natural pigment.
Nonalkaline: Same as acid.
Presoften: The process of treating gray or very
resistant hair to allow for better penetration of color.
Off-the-scalp lightener: Generally a stronger
lightener (usually in powder form), not to be used
directly on the scalp.
On-the-scalp lightener: A liquid, cream or gel
form of lightener that can be used directly on
the scalp.
Opaque: Allowing no light to shine through; flat;
lack of translucency.
Outgrowth: Same as new growth.
www.EliteCME.com Primary colors: Pigments or colors that are
fundamental and cannot be made by mixing
colors together. Red, yellow and blue are the
primary colors.
Progressive dyes/progressive dye system:
(1) A coloring system that produces increased
absorption with each application. (2) Color
products that deepen or increase absorption over
a period of time during processing.
Resistant hair: Hair that is difficult to penetrate
with moisture or chemical solutions.
Retouch: Application of color or lightener
mixture to new growth of hair.
Salt and pepper: The descriptive term for a
mixture of dark and gray or white hair.
Secondary color: Colors made by combining
two primary colors in equal proportions; green,
orange and violet are secondary colors.
Semi-permanent hair coloring: A pre-oxidized
hair color requiring no catalyst that lasts through
several shampoos. It stains the cuticle layer,
slowly fading with each shampoo.
Sensitized: Referring to the condition of the hair.
May be slight (dry) to extreme (over-porous).
Sensitivity: Skin that is highly reactive to the
presence of a specific chemical. Skin reddens
or becomes irritated shortly after application of
the chemical. The reaction subsides when the
chemical has been removed.
Shade: (1) A term used to describe a specific color.
(2) The visible difference between two colors.
Sheen: The ability of the hair to shine, gleam or
reflect light.
Single process color: Refers to an oxidative tint
solution that lifts or lightens, while depositing
color in one application. Also oxidative hair color.
Softening agent: A mild alkaline product applied
prior to the color treatment to increase porosity,
swell the cuticle layer of the hair and increase
color absorption.
Solution: A blended mixture of solid, liquid or
gaseous substances in a liquid medium.
Solvent: Carrier liquid in which other
components may be dissolved.
Specialist: One who concentrates on only one
part or branch of a subject or profession.
Spectrum: The series of colored bands diffracted
and arranged in the order of their wavelengths
by the passage of a white light through a prism.
Shading continuously from red (produced by the
longest wave visible) to violet (produced by the
shortest): red, orange, green, blue, indigo and violet.
Spot lightening: Color correcting using a
lightening mixture to lighten darker areas.
Stabilizer: General name for ingredient that prolongs
life, appearance and performance of a product.
Stage: A term used to describe a visible color
change that natural hair color goes through while
being lightened.
Prism: A transparent glass or crystal that breaks up
white light into its component colors; the spectrum.
Stain remover: Chemical used to remove tint
stains from the skin.
Processing time: the time required for the
chemical treatment to react on the hair.
Strand test: Test given before treatment to determine
development time, color results and the ability of the
hair to withstand the effects of chemicals.
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Stripping: Also referred to as color remover.
Surfactant: An abbreviation for surface-active
agent. A molecule that is composed of an oilloving (oleophillic) part and a water-loving
(hydrophilic) part. They act as a bridge to allow
oil and water to mix. Wetting agents, emulsifiers,
cleansers, solubilizers, dispersing aids and
thickeners are usually surfactants.
Tablespoon: one-half ounce; 3 teaspoons.
Teaspoon: one-sixth ounce; one-third of a
tablespoon.
Temporary color/rinses: Color made from
preformed dyes that are applied to the hair for a
short-term effect. This type of product is readily
removed with shampoo.
Terminology: The special words or terms used in
science, art or business.
Tertiary colors: The mixture of a primary and
an adjacent secondary color on the color wheel.
Red-orange, yellow-orange, yellow-green, bluegreen, blue-violet, red-violet. Also referred to as
intermediary colors.
Texture, hair: The diameter of an individual hair
strand. Termed: coarse, medium or fine.
Tint: Permanent oxidizing hair color product,
having the ability to lift and deposit color in the
same process. Requires a developer.
Tint back: To return hair back to its original or
natural colors. Also referred to as repigment.
Tone: A term used to describe the warmth or
coolness in color.
Toner: A pastel color to be used after pre-lightening.
Toning: Adding color to modify the end result.
Touch-up: Also retouch.
Translucent: The property of letting diffused
light pass through.
Tyrosine: The amino acid (tyrosine) that reacts
with the enzyme (tyrosinase) to form the hair’s
natural melanin.
Tyrosinase: The enzyme (tyrosinase) that reacts
together with the amino acid (tyrosine) to form
the hair’s natural melanin.
Undertone: The underlying color in melanin that
emerges during the lifting process and contributes
to the end result. When lightening hair, residual
warmth in tone always occurs.
Value: Also referred to as level and depth.
Vegetable color: A color derived from plant sources.
Virgin hair: Natural hair that has not undergone
any chemical or physical abuse.
Viscosity: A term referring to the thickness of a
solution.
Volume: The concentration of hydrogen peroxide
in water solution. Expressed as volumes of
oxygen liberated per volume of solution; 20volume peroxide would thus liberate 20 pints of
oxygen gas for each pint of solution.
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Warm: A term used to describe hair color
containing red, orange, gold or yellow tones.
face and placing it on a “regular person” could
make your client view the hair color differently.
Psychology of hair color
Showing a client a book of various hair colors on
finished styles is insurance that both of you are
talking about the same color. It can also be used
to give direction and make recommendations.
Without common ground to start from, formulating
for the client becomes a gamble. Some clients
come to the salon knowing exactly what they
want. The hair colorist should verify the color
with a photograph and accept the client’s choice or
make suggestions of his or her own. This is when
professionalism becomes important.
As professional hair colorists, we should never
lose sight of our role in society. We have the
opportunity to make dramatic changes in the lives
of people seeking to improve their appearance.
A change of hair color often can be the catalyst
to turn the individual in a positive direction.
Because a change of hair color is so immediate
and relatively inexpensive (compared to cosmetic
surgery), it’s often the choice for many clients.
Just as we must first acquire the skills to perform
the necessary techniques, it is equally important
we never lose sight of the fact that we are
working on a living, breathing human being. Our
pallet is never a canvas or a piece of clay. We’ve
all been exposed to apathy by someone who just
didn’t care or who was just having a bad day. Bad
service or apathy is something a client should
not have to tolerate. We must fight apathy toward
someone because of his or her appearance.
As hair colorists, we are similar to the artists who
restore paintings. Through the years, paintings
become veiled with a cover of soot and lose
their vibrant color; artists can remove that veil of
soot and restore the painting to its original vivid
colors. As hair colorists, we have the ability to
perform the same service on our clients. We can
take a client who through the years has lost the
vibrancy in his or her hair and restore it to its
original youthful appearance. For others, we can
transform dull, drab natural hair to spectacular
color with glints of beautiful highlights.
Client consultation, communication and
negotiating are key skills. As we gain confidence
and become more proficient in our technical
skills, consultation becomes much easier. The
more tools we have at our disposal, the easier it is
to solve a greater variety of hair-color challenges
and in turn, the more we grow our business.
During the consultation, recognize that most people
have a subjective opinion of their appearance.
Understanding this can induce a sense of empathy
toward the client. Empathy is having the ability
to put yourself into clients’ shoes and viewing the
world as they see it. This helps you recognize that
clients have their own points of view.
Direct eye contact is important. Position yourself
at eye level with the client and look directly at
her when consulting; avoid looking at the client
in the mirror. One of the biggest challenges we
face as hair colorists is negotiating with our
clients. Compromise is the key. Terminology and
presentation must be professional, but the colorist
must avoid sounding too “professional” and not
“down to earth.”
Making a photo album with a variety of hair
colors is a great aid for helping clients find the
colors they are attempting to describe. They often
will describe or refer to a celebrity who has a hair
color they are attracted to. It is a good practice to
have them find the same hair color in your photo
album. Taking the hair color off the celebrity’s
An important point to remember when consulting
with clients is their natural hair color category. If they
have worn a color at one point in their life, they can
wear it again. People in the warm brown category
can wear the greatest variety of hair color. Review
the natural hair color category and remember, when
a client is placed into a natural hair color category, he
or she stays in that category for life.
It is not recommended that the client be shown a
manufacturer’s hair color chart, regardless of how
beautiful it looks. The hair color chart is a tool
used by the hair colorist to help formulate. It will
not help the client select a hair color; rather it can
create apprehension or confusion for the client – or
it may put the client in charge of the consultation.
In effect, your client will select her own hair color
without your input, and at her next appointment
will again want to see the color chart to adjust that
formula. The hair colorist will find that she, the
expert, is taking direction from the client.
We should always remember the salon on the
next block or in the next city is not our only
competition. Our major competition is the drug
store and the supermarket. We must always strive
to use professional techniques and methods of
application to create hair colors that cannot be
duplicated at home. Our goal should be to keep
hair coloring a professional service and draw a
distinct line between professional hair color and
home hair color. What often matters most is not
the product you use. It is the application method.
If this is a client’s first hair coloring, there
probably will be some apprehension. And her
fears are real. If you can erase those fears, you
will have a comfortable, relaxed client when
performing the service. The most common fears
of clients are:
■■ How will my new hair color look on me?
Will I like it?
■■ What will the investment be in time and money?
■■ If I don’t like it, what will it look like when it
is growing out?
The consultation period is one in which all
aspects of the above concerns should be
addressed. The ability to put the client at ease
during her first visit to your salon is paramount. It
does no harm to embellish the hair color service
by using descriptive terms such as “growing
out gracefully” or “give your hair a youthful
appearance” or “soften your appearance.” Using
your own terminology will make the client feel
good about the upcoming service.
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A word about words: Words can cement or destroy
a relationship, bring color to your presentations and
make a connection with another person. Above all
else, be careful not to insult the client, especially if
she has been applying color at home. That means
not saying what one colorist was overheard saying
to the client: “Wow! Your hair is fried!”
Keep your descriptions positive and avoid emotional
outbursts. A better way to address the client would
be: “Yes, your hair has lost moisture and needs to
have the color replaced; here is my plan …”
The client consultation
We suggest draping the client in white and have a
white light above the head (or be in natural daylight
or have a natural-daylight fluorescent lighting
system). Seat yourself next to the client with a clear
view of the mirror. It is important to have finished
color examples available for the client to view and
discuss. Again, this is preferred to showing the
client a color chart. Fill out the client analysis sheet.
This should also contain all relative information
including health, medicines and history of any
problems that the client may have had in the past.
some of us have found these both confusing and
difficult to use when consulting with a client.
Fashion color is a hot topic, and trends usually
appeal to the young client. However, the mature
woman and most men will accept natural-looking
hair color, done in good taste.
Easy color analysis can be accomplished by using a
lighted magnifying glass. Look into the eye, either
from the front or the side, and observe the ring
around the iris (the pigmented area of the eye).
■■ If the outer ring of the iris is blue (it could
be blue-grey to as dark as navy blue), the
person is cool-toned. Note: Even brown eyes
can have a blue ring. Observe the skin. Most
cools will have a yellow base or somewhat
sallow complexion.
■■ If the outer ring of the iris is green (it could
be aqua to as dark as forest green) the person
is warm-toned. Note: Even blue eyes can
have a green ring.
□□ Most warms will have a peach or copper
undertone to the skin. We can also
observe pigment bundles (freckles) on the
face, arms, chest or upper back.
Look for points of inspiration in the iris, that is,
flecks of gold, copper or bronze. Any of these
tones will be enhancing to that person.
Because these pigments are part of the persons’
natural genetic make-up, the principle of the two
color families will apply regardless of race or
nationality. Only the concentration of pigments
will be different. This applies to the level of
color; that is, variations from pastel (fair),
medium, to intense (deep).
1. Come to an agreement on the target shade.
Analyze the natural level of color and find
out what the client has in mind. Is a subtle or
radical change desired?
2. Discuss the time and frequency of the
treatment. How often must this be done to
assure great results?
3. Be honest with the costs of the services. The
client should not be surprised by charges
either for the initial or retouch services.
4. The appointment time should be discussed. Do
not attempt to give complicated services on the
lunch hour or with a screaming child in tow.
5. Prescribe maintenance products. This is your
insurance policy that the hair’s integrity is
being properly protected.
Who can wear what?
The cools can wear:
■■ Naturals/neutrals.
■■ All cool tones.
■■ Burgundy/blue-reds.
■■ Violet reds.
■■ Iridescent tones.
■■ Beige tones.
■■ Soft gold tones.
Volumes have been written about which colors
go with which skin tones and eye colors. But
www.EliteCME.com The categories of hair color
Internationally, all of the color manufacturers use a
numbering system instead of referring to “shades.”
The reason for this is that numbers translate into an
accurate relationship of the pigments present. (See
Figure 1 on inside back cover.)
Basically, there are only three color categories:
blonds: No. 10, No. 9, No. 8 and No. 7; browns:
No. 6, No. 5 and No. 4; and blacks: No. 3, No. 2
and No. 1. You may be thinking: “What happened
to reds?” Reds get into tones. A red can be light,
and therefore fall into the blond category, or it
can be dark and fall into the brown category. (See
Figure 2 on back cover.)
All hair color, both natural and artificial, is
comprised of yellow, red and blue pigments.
Starting with No. 10 on the International scale,
yellow is the evident pigment. Progressing down,
we see the introduction of red. The darker the hair
or hair color, the greater the concentration of these
pigments. At No. 8, we start to see the introduction
of red; represented by the appearance of some
orange. At No. 6, we see the evidence of red.
This increase of concentration provides us with
the progression of depth down to No. 1, which
is commonly referred to as blue-black. The blue
pigment is most responsible for “buffering” the
red. We experience this when lightening natural
hair color. The blue is the first to be neutralized,
thereby exposing the red, orange or yellow.
As a review of the basic color wheel (See Figure
3 on back cover): The three primary colors
are yellow, red and blue. Mixed together, they
produce brown. The naturals/neutrals are usually
represented by the number or level by itself, such
as No. 8, medium blonde.
The secondary colors are orange (yellow and red),
green (yellow and blue) and violet (red and blue).
The resulting tones are produced using the secondary
and tertiary colors. These are also represented by
numbers and in some color lines, letters.
The warms can wear:
■■ Naturals/neutrals.
■■ Strong golds.
■■ Copper tones.
■■ Bronze tones.
■■ Scarlet reds.
■■ Honey blonds.
■■ Clear reds.
Write everything down. Now, begin to make
suggestions within the parameters set down. Keep
If you wish to equate this information to seasonal
the conversation open, friendly and professional.
color, we can do that, too.
Above all, listen to what the client is saying!
■■ A person who is cool-toned with a fair
More mistakes have been made from a “lack of
complexion is a summer.
understanding” than any other situation.
■■ A person who is cool-toned with a medium to
Remember also that as we develop unpigmented
deep complexion is a winter.
(gray) hair, we lose pigments in the skin. A safe
■■ A person who is warm-toned with a fair
rule for the conservative client or the gentleman
complexion is a spring.
client is to stay within 1-2 levels (either lighter or ■■ A person who is warm-toned with a medium
darker) from the natural color.
to deep complexion is an autumn.
Inspiration: Pigment study
Note the color family and the points of
inspiration on the client analysis sheet.
(The above information can be used to advise
clients in make-up and wardrobe selection. This
makes you a savvy fashion consultant.)
The most common usage of these numbers
represents the following tones and colors:
■■ Ash – x.1, blue or green.
■■ Iridescent – x.2, violet.
■■ Gold – x.3, yellow.
■■ Copper – x.4, orange.
■■ Burgundy – x.5, red-violet.
■■ Auburn – x.6, red.
For example, a No. 8.3 produces a medium
golden blond.
Many exciting combinations are produced
by mixing tones in unequal parts to produce
a primary and secondary tone insertion. An
example of this would be No. 8.43, known as
medium coppery golden blond. The copper is the
first, or dominant, tone, and gold is the secondary
tone. This can be accomplished by using a twothirds to one-third ratio.
A variety of terms are used to describe the tone of a
hair color, neutral, natural, drab, gold, ash, smoky,
Page 5
red and auburn red, to mention a few. It is important
to know the degree of concentration of the tone. For
example, the color identified as gold could be a very
intense yellow gold or have slightly more gold than a
neutral. Working with the color and making swatches
will help you recognize the actual color.
■■ Deep color/non-ammonia colors (deposits in
the cortex layer):
□□ Are more durable.
□□ Have a low-volume developer (2½- to
12-volume peroxide).
□□ May be natural or metallic in origin.
Remember: A cool tone will appear darker than
the indicated level, while a warm tone will appear
lighter because of the reflection of light.
Deposit-only hair color uses oxidative and direct
dyes and requires a developer. The catalyst
is generally a low volume oxidative solution.
Deposit-only, demi-permanent hair colors are
longer lasting than semi-permanent hair color.
The major distinction between semi-permanent
and deposit-only, demi-permanent hair colors is
that a catalyst is required with deposit-only and
demi-permanent color. These are also referred to
as deep colors.
Note: A tertiary color, such as burgundy brown,
is produced from both direct and indirect dyes.
These fade rather quickly and can produce runoff
with each shampoo. Many fashion shades are
produced this way.
Don’t forget the color wheel rule: Opposite colors
on the color wheel will neutralize one another.
Types of color
NOTE: Some deposit-only hair colors may create
a small amount of lift, depending on the volumes
of the developer.
■■ Permanent hair colors: (deposits in the
cortex layer):
□□ Will lift natural hair color and deposit
new color.
□□ Work with natural pigments.
□□ Are generally produced from paraphenyene-diamine, para-toluene-diamine
and meta-toluene-diamine.
□□ Are produced from indirect dyes. They
are clear until processing with the
natural pigments.
There are many different types of hair coloring
products available. They include pigmented
shampoos, weekly rinses, semi-permanent,
permanent lift-deposit hair color and deposit-only
hair color.
■■ Temporary colors (deposits on the cuticle
layer of the hair) are:
□□ Shampoos.
□□ Rinses.
□□ Mascara.
□□ Generally produced from vegetable dyes
or stains.
A weekly rinse or temporary hair color is primarily
used to add color to gray hair, faded blonds or
brassy hair. This hair color is not generally used to
cover gray, but instead to give a blend to the all-over
appearance. It does not have the ability to lighten
hair. The color will rub off if applied excessively.
■■ Semi-permanent colors: (deposits in the
cuticle layer; may penetrate slightly deeper if
heat is used) are:
□□ Non-ammonia with no peroxide (may
use heat).
□□ Produced from vegetable dyes and
sometimes metallic dyestuff.
Semi-permanent hair color is not mixed with a
catalyst, although a heat application may be used
to make the color more durable. It is simple to
use because the color you see is the color you get.
It is a direct dye and does not require oxidation
for the color to stain the hair. In areas where the
hair is more porous, this type of color will show
greater intensity. Caution must be exercised when
using a semi-permanent hair color on porous hair;
it can stain the hair permanently.
Page 6
Permanent (lift/deposit) hair colors are available
in a variety of forms: gels, liquids and creams.
They are packaged in tubes as well as bottles. The
majority use equal parts of peroxide, although
some use a one-to-two ratio of hair color to
peroxide. Permanent hair color works in basically
the same manner; it creates a certain degree of lift
and deposit. Permanent hair colors are the only
hair colors that are formulated to lighten hair.
The international system of defining the lift/
deposit ratio of hair color is called the level
system, which gives the colorist an indication
of the lift/deposit ratio in a bottle or tube
of hair color. Although most manufacturers
of hair color products use the level system,
not all manufacturers use the same system.
When comparing products from two different
manufacturers with the same level number, the
hair colorist must be aware that the products
could vary as much as two levels and may not
produce the same results.
same variance can be found on the other end of
the scale. Some manufacturers choose to use No.
10 as the lightest hair color, while others choose
to use No. 12. Permanent hair color contains
ingredients that create lift and deposit color.
The lifting action is provided by the ammonium
sulphate. Generally, the higher the number or
level, the more lightening provided. Also note,
with the higher lightening comes less deposit of
color. The lower levels provide less lifting action
and greater concentration of color deposit and
thereby contain less ammonium sulphate.
Permanent (lift/deposit) hair color contains dye,
alkaline substances, conditioners, stabilizers,
fragrance detergents and emulsifiers. These are
all used in various proportions to create the vast
numbers of hair colors that are available to the hair
colorist. The advantage of professional hair coloring
is greater selection, professional formulation and
professional application techniques.
The level system only indicates lift/deposit ratio.
The tone or shade defines the actual color and is
generally listed on the product. Manufacturers
often add a letter or series of numbers to identify
level and indicate tone. While this information
is provided to help the hair colorist determine
formulation, the final color is determined by a
number of factors that the colorist must consider.
Category of natural hair color, presence and
amount of gray hair and the condition of the hair
all will apply. The colorist cannot rely on level
and tone indicators from a manufacturer alone to
accurately predict a final color.
Note: Ask your manufacturer for the MSDS on
each product. Another important consideration
is to ask whether the colors are developed on
a pigmented or white base. This will adjust the
depth of final results by as much as one full
number. For example, a No. 6 that is formulated
on a white base will appear as deep as a No. 5 in
the final results. For this reason, a color chart or
swatch book can be deceiving.
Chemistry – color mixing
How much lightening can we expect? The
lightening action is caused by a combination of the
amount of ammonia in the color and the volumes
of the developer, such as 20V H2O = 2 levels of lift;
30V H2O2 = 3 levels of lift; and so on. Another tip
for formulation is to count the natural level along
with the target level, such as natural level No. 6 to
target No. 8 = 3 levels. This is true because we must
lift through the sixth level to reach the seventh level
and then up to the desired eighth level.
Here are some examples of how to custom mix
colors.
■■ Example: Decreasing the intensity of a tone:
□□ A red tone is too bright for the client’s
taste: Mix ½ of the formula in a Natural
color of the same number/Level.
■■ Example: No. 5 (medium brown) is too
dark and No. 6 (light brown) is too light:
□□ Customize the formula by mixing half of
each to produce a No. 5½ level.
■■ Example: A natural level No. 7 (dark
blond) has difficulty maintaining a strong
red tone.
□□ Consider mixing at least one-fourth of the
formula in a deeper warm color, or work
with a lower volume of developer, or use
both adjustments. Always strand test to
predict results.
A rule to remember when choosing a color:
The darker the color, the smaller the number.
This may vary, depending on the manufacturer.
Some start with No. 0, others with No. 1. The
Caution: Mixing more than two colors may give
unsatisfactory results, because mixing the three
primary colors or mixing a primary color with a
secondary color will produce brown.
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client does not realize that she has been
□□ Allow 5 to 10 minutes.
accustomed to viewing the lighter, softer
□□ Mix your formula while waiting.
reflection. For this reason, we can adjust
□□ Blot areas well with a towel.
the formula up by one-fourth to one-half
□□ Proceed with application.
■■ In addition to the above solutions, we can
level at least every six to 12 months.
The gentleman client with natural dark brown
□□ Use a deep color in a golden blond on a
add these:
hair wants to cover his gray hair. He does not
client with Level No. 6 and 50 percent
□□ “Dial the clock back” by simply combing
wish to see any warmth in the color. Should we
white hair. This resembles a highlighting.
on the natural level (stay back from the
use No. 4 dark brown?
Or we can highlight the hair with a high-lift
hairline) mixed with 10V developer. The
The answer to both scenarios is: NO.
color to camouflage the gray/white hair.
balayage technique works great for this,
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,
Higher volumes of peroxide are used when a
on the hair and is aging to the skin. Use
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.
peroxide increases, the color deposit diminishes.
yellow in the formula to keep the hair
Also, be aware that higher volumes of developer
from going ash.
Formulating for unpigmented (gray) hair
bring up more warmth in the final results. Clients
□□ If the target is No. 7 warm, add in up to
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
additional activity from higher volume peroxide.
prevent “hot” roots. And don’t forget the
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 lowered; less lifting action and greater deposit
is youthful, it’s been a mixed blessing to the hair
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.
that you perform this in a single process (not use
on hair that is more than 50 percent
a bleach). First, this is a chemical impossibility. A
white, label the white hair No. 10 and
No one has really determined why hair turns
high-lift color mixed with 40V H2O2 will still give
analyze the natural level (let’s say No.
gray. Hair turns gray (or more accurately white)
only three to four levels of lift (from No. 5 to No. 9
6, light brown). Add the two numbers
because at some point melanin stops being
is five levels). Why? Because the product will stop
together: 10 plus 6 equals 16, and divide
produced – but why it stops is still unknown.
in half, which equals level No. 8. Because working before the desired lift is achieved. Have
It’s believed by most scientific communities that
you tried accelerating with heat and added activators
the client has lost pigments in the skin
graying hair is a result of genetics. When a person
and covered with a plastic bag? If so, the result was
along with the lack of pigments in the
is born, each follicle on the head is genetically
hair, this level will blend beautifully. Add a very warm level No. 7, (orange) no matter what
coded to stop producing melanin.
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
a bleach was designed to do. You cannot break the
client a natural-looking result.
hair is associated with aging. Individuals in today’s
laws of chemistry and expect perfect results.
□□ Many times a client wants to return to
society are constantly being bombarded with
the natural color that she had 30 years
Two suggestions for this:
advertising to persuade them to retain their youthful
ago. This is not a good idea. The dark
■■ Pre-lighten the hair to level 7, then apply the
appearance. This is a benefit to the hair colorist.
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
Formula mix
Results in
Color mixture use
person who is 50 percent gray with the gray
hair sprinkled equally throughout the pigmented
1 ounce 20V H2O2
2 ounces 10V H2O2 Color for hair that is permed.
hair would require a different approach than a
+ 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
1 ounce 20V H2O2 + 3 4 ounces 5V H2O2
Toner on pre-lightened deposit-only color
Marketing ideas section, below, for techniques to
ounces
H
0
2
present to the client.
■■ 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 H2O2 + 7 8 ounces 2½V H2O2 Semi-permanent color
so difficult to cover. Mix up to half of
ounces H2O
the formula with a golden tone in the
OR
same number. This will provide a base on
4 ounces 5V H2O2 + 4
which the colors will develop.
ounces H2O
■■ Another trick is to use the “pre-softening”
Notes: Cream developer is preferred over clear peroxide because of stability. Distilled water
technique:
is recommended for these adjustments to the developer. Check your volumes with a peroxide
□□ Dab 30V developer onto areas of
hydrometer and keep containers tightly closed and clearly marked.
resistance (the most white concentration).
A tip for formulating browns
A client wishing to match her natural color says
that her hair is light brown and doesn’t have any
red in it. Should we use No. 6 light brown?
www.EliteCME.com Page 7
■■ Use the No. 9 color with 30V peroxide to bring
the hair to level 8, then highlight the hair in a
weave with powdered lightener. This will give
the illusion of an all-over Level No. 9. The base
color must be re-touched in three weeks and the
highlights redone in eight weeks.
When a client requests “highlights,” usually she
visualizes the No. 7 or No. 8 natural level with a
No. 9 or No. 10 strands throughout. But what if
she is a natural No. 6? Easy! Bring the base to a
No. 8 (medium blond); and then highlight that.
Gray reduction: Adding additional natural color
to gray hair to reduce the amount of gray.
Tupelo honey: A medium warm blond with slices
of pale gold accentuating the lines of the style.
Haloing: Lightening only the hair around the
face on short hair, creating a halo effect.
White lightening and platinum plus: Not for the
faint of heart.
High-lowlighting: Lightening isolated strands
and darkening strands on the same head at the
same time.
Blonds are more natural-looking, meaning
they’re wearable by lots more clients. In fact,
guys are getting into the blonding scene, asking
for highlights that extend that summer-sun look
well into the fall.
Icicling: Color or lightener added to the ends of
highly teased hair.
We always need to work within the parameters of
the product that we are using. When preparing the
mixture, place the peroxide in the container first;
then add the cream color or colors. Peroxide acts
as a gas, and gases release upwards. If you are
using a liquid, mix the colors together first; then
add this to the peroxide. This will produce a more
accurate lifting action.
Inner glow: Bleaching only the hair close to the
scalp on dark hair.
If already a blonde, the hottest shades to switch to
are strawberry or spun gold. These are so delicate
because fine strands are integrated into the hair
for a multi-dimensional effect.
Lowlighting: A corrective technique used to tone
down overly lightened hair by adding a darker color
to selected strands. The opposite of highlighting.
Even brunettes are joining the blonde scene with
highlights strategically placed to bring light to the
face and add tonal sparkle.
Marbleizing: Thin ribbons of lighter hair
weaving through darker natural hair.
Buzz words to get them buzzing
Market your skills
Minking: Darker hair on lighter hair. Generally
done on short hair.
They won’t know if you don’t tell them! Here are
some descriptions of your skills and services that
will speak to your clients.
Marketing terms
Ban de soleil/balayage: Touched by the sun.
Lightness the way the sun would do it. This
process is generally used on lighter hair and is
accomplished with a form of hair painting.
Blond on blond: A technique utilized to create a
blend of blond shades on the same head of hair.
May be used on a natural blond or on someone
who is coloring her hair blond; gives the hair a
dimensional effect.
Brown on brown: A technique to add dimension
to a solid brown by adding additional lightness
with a mild contrast.
Frosting: A method of lightening individual strands
of hair. This term is generally associated with a cap
on the head through which the hair is pulled.
Carmelizing/tortoise shelling: Different amounts
of tortoise colors added to a brown head of hair.
Collage: A mixture of colors weaving through
the hair, generally achieved by various stages of
lightening.
Icing: Adding light strands to resemble gray hair.
Naturalizing: A technique using several colors
within the same natural range.
Nuances: A technique adding delicate shadings,
reflections in a dimensional effect.
Painting: Painting color or bleach on the hair with
an artist’s brush. Also known as hair painting.
Reverse highlighting: The addition of a darker
color to previously lightened hair. First isolate
some of the blond strands, then color all of the
remaining hair, creating a highlighting effect.
Scrunching: Painting color or bleach on gloved
hands and scrunching the hair. This technique is
done on dry, backcombed hair, allowed to process
and then shampooed off.
Shading: The subtle blending of lighter to darker
colors. Always blur adjoining areas together.
Slicing: A foil technique placing 1/16-inch of hair
sections in the foil. A faster method than weaving.
Shoe shining: Painting a layer of bleach or color
on a long strip of foil and transferring it to the
hair as if using a shoeshine rag.
Streaking: Larger, more well defined strands
of hair.
Color on color: The use of no lift color on the
hair, making the hair darker.
Three, two, one: Slices (1/16-inch) back to back;
avoid 1 inch of hair and repeat.
Framing: Lightness around the face, generally
achieved by using a dimensional color effect.
Tipping: A form of lightening at the ends of the
hair instead of the entire shaft.
Fur light: Achieved on short hair that is standing
out from the head like a porcupine. The hair is
bleached, and then a dark color added to the ends.
Use “shoe shine” technique with product on the foil.
Tone on tone: Changing the natural hair color,
than adding lighter strands.
Foiling: Refers to applying foils to the hair to
create a dimensional effect.
Glazing: A deposit-only color applied over a
highlight. Can also be a lifting toner or change
the natural color slightly.
Grabbing: Paint bleach or tint on your gloved
hands, then grab the hair, depositing the tint or
bleach in an irregular pattern.
Page 8
Weaving: A term used to define a method of
selecting strands for dimensional hair coloring.
Blonds that steal the show!
Palomino gold: A soft gold that is a combination of
fine weaves in three different shades of warm blond.
Gold of the moon: An all-over dark blonde with
fine slices lighter, especially in the top and sides.
Sunset: A slightly warmer blond that shows off
sparks of gold and red.
■■
■■
■■
■■
■■
■■
■■
■■
Sun-kisssed.
Upscale (14-carat gold).
Wheat (cool).
Funky (violet or pink).
Pale chiffon.
Sassy (warm).
Golden copper.
Honey-gold.
Radical reds
The latest red hues to have are red hot and super cool:
■■ High glossed.
■■ Super-streaked.
■■ Marbleized beauty.
■■ Brightly burnished.
■■ Shimmering scarlet.
■■ Copper top.
■■ Crimson queen.
■■ Pure flame.
■■ Fire and spice.
Red alert
While both “warms” and “cools” can wear reds, care
must be taken to choose the correct tone for each.
The “warms” can wear the golden-red, copper-red
and scarlet or clear-red. The “cools” should choose
the lavender-red, burgundy and blue-red.
And don’t forget to fire up your reds with blond
lights. A few slices or balayage strands in the
front and top completes the look.
Also important on the scene are the combination
reds. Choose two or three colors of red at least
one level (number) apart from each other and
block the head in three zones (darker at the
bottom, medium in the middle and light at the
top.) Spark the whole thing with blond lights and
you have a show-stopping effect.
Chocolate kisses
Whatever the shade of brunette, a touch of
chocolate sweetens it up!
■■ Mocha treat.
■■ Chocolate cherry.
■■ Caramelized candy.
■■ Hints of hazel.
■■ Neutral (natural) browns ’n’ spice.
■■ Honey brunettes.
■■ Crystal pecan.
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At any level, there’s nothing boring about the
brunettes!
Customize the formula using one-half natural
brown with one-half gold, copper, auburn or
burgundy shade and voila! The finished results
are dynamite. We suggest that you sprinkle the
finished confection with gold or honey lights.
Tools of the trade
Color sleeves: A tool that resembles a perm rod
used for reverse highlighting.
Foil technique: The use of aluminum foil for
isolating segments of hair for bleaching or coloring.
Note: Keep foils flat or rolled; do not fold or crimp!
Doing the latter can cause a heat point that will
weaken that section of the hair strand.
Super streak cups: A cup-shaped device used to
isolate and contain strands for coloring or lightening.
Paper wraps: Paper wraps used in conjunction
with color sleeves or for isolating hair strands
for bleaching or coloring. Also, one-side waxed
paper can be used instead of foil (wax side
against product).
Tail comb/pin comb: A comb with a pointed end
used to weave out and section hair.
Crochet hook: A small device with a hook on
the end used for pulling hair through a frosting
cap. Note: Remember to approach the hair from
the front of the head toward the back. This will
prevent tangling or knotting.
Frosting cap: A plastic, rubber or foam cap that
fits snugly over the head. Once in place, hair is
pulled through and lightener or color is applied to
the hair outside the cap. Note: Remember to lift
the hair away from the cap during application.
Color slips: Coated paper used to isolate selected
sections of hair.
Litho pads/transfer pads: Pressed cotton pads
used to isolate selected strands of hair to be
lightened or colored.
Cotton coil/flat pressed cotton coil: Used with
balayage technique to segregate layers of hair.
Color spatula: A specialized color tool used to
distribute powder bleach through the hair.
Color easel: A plastic or Masonite board used
to support the section of hair to be lightened or
colored with foil or paper wraps.
Plastic applicator: A pliable squeeze bottle used
to apply color or lightener. Generally works well
with liquid or gel products.
Plastic wrap: Transparent, reusable or disposal
plastic sheets used to isolate sections of hair.
Shaker: A non-metallic container used to
measure and mix color or lightener.
Tint bowl: A non-metallic container use to mix
color or lightener.
Tint brush: A tool used to apply color or lightener
to the hair. Available in many sizes for convenience.
www.EliteCME.com Techniques, techniques, techniques
You have many techniques already in your
repertoire. The most popular and probably best
practiced are foils, using either slices or weaves.
But let’s be honest, these are time-consuming and
labor-intensive. To increase the color services,
we must look at easier and faster methods to
accomplish the multi-dimensional effect. Here
are a few ideas for your consideration.
■■ Touch-color: Backcomb small squares
of hair (down to the base) and apply
lightener/color formula to the hair above the
backcombing. Use your fingers with the aid
of a color brush. This works great for partial
highlights/lowlights. A 40V developer in the
mixture produces maximum lift and works
on short to midlength hair. (By the way, the
backcombing falls out when the products are
removed and the hair is conditioned.)
■■ Sun-dusting: Either use the “touch-color”
preparation or simply comb the finished
direction of the design. Protect the client’s
face with a plastic tennis visor. Spray 15V
developer on the areas desired (usually
the top and around the face); then sprinkle
powdered lightener from a saltshaker with
large holes onto the beads of developer.
Allow to develop from 5 to 15 minutes. This
will give an allover glow to your design with
glints of lighter tones and sparkle throughout.
Gentleman clients love this one, because it is
undetectable. It resembles what the sun does
to the hair. You may wish to combine these
two techniques for more dramatic results.
■■ Balayage: (The French word for “sweeping”)
lights into the hair: Use a styling comb as a
palette to brace small sections of hair. Apply
lightener-color formula with a small brush
to the strands, then use cotton coil or a small
wad of cotton to segregate those strands.
Work in any area or pattern you wish.
■■ Another method is to use your choice of
comb (small tooth for fine strands and larger
for heavier strands) to apply the formula to
the strands. Then, use the cotton coil as a
band to segregate from the next layer. You
need to use the front edge of the comb (first
three teeth) parallel to the strands and tip the
comb down to release the strand. Accomplish
as many layers as desired working from
the hairline toward the top of the head in
½- to 1-inch horizontal sections. This can
accomplish a multi-dimensional effect
by using 1 to 3 different formulas. Color
formulas will cease to work within their time;
but lighteners will continue to work while
still wet. This also is a time-efficient method
for re-touching existing highlights, because
you can work with as little as 2 inches of
re-growth and not overlighten the remaining
hair. With a little practice, you will be able to
do the application in 15 minutes.
See Figures 5-9 for graphic presentations of
techniques.
Figure 5
Color maintenance – four guidelines
All retouch applications should be considered a
“corrective” procedure. The hair is not stagnant.
Color, even natural color, fades with daily wear.
Now that clients are shampooing, blow-drying
and using heat appliances daily, all of this
mechanical abuse increases fading.
Remember, a suggestion for client consultations
is to book scientifically; i.e. book the re-touch
appointment after you finish the initial service.
If the new color is one to two numbers lighter than
the natural, allow three to four weeks between
services. However, if the lightening is greater, such
as an allover blond, retouching should be done in
two weeks to prevent “gold banding.” Highlights
should be retouched after the haircut if you are
using one of the fast methods. Otherwise, retouch
the highlights within 12 weeks. A client who walks
around with 2-3 inches of regrowth is not doing
your business justice!
Color maintenance guidelines will answer the
following color mysteries:
■■ How does the colorist maintain the hair from
retouch to retouch?
■■ When should I pull color through the
midlengths and ends?
■■ How long should I leave it on?
■■ When do I need to make a color adjustment
and add more color to the mixture?
The only way to answer these questions with
predictability is to take a strand test. There must
be some degree of color loss in order to apply
product to midlengths and ends. We should not
guess or do it out of habit.
The test strand will determine the formula and the
amount of time necessary for the color to be on
the midlengths and ends. This allows the colorist
the ability to predict the end results and make
changes in the formula if necessary.
First, apply the full-strength formula to the new
growth. Then, in the crown, take a small section
Note: To stop the action from an area, simply dry and bring the formula down over the midlengths
and ends. Wait 10 minutes. Then dry that section
the product from the hair with a towel. Do not
spray the hair with water! This will re-activate the with a towel and observe the results.
developer, especially with powdered lightener.
Page 9
Figure 6
Figure 8
Guideline 1: Retouch or maintain color
When lengths and ends are not faded and only
need reviving:
■■ Apply formula to new growth (take test strand).
■■ Develop 25-30 minutes (or total time).
■■ Add a small amount of warm water to the
hair and emulsify (mix until creamy) at
the basin, working the product through the
lengths and ends for 2-3 minutes. All color
mixtures contain phenol (a soap). This
mixture will remove color stains from the
skin and set the color. Rinse thoroughly and
shampoo once. Condition if necessary.
Guideline 2: Replace tone
When only the tone needs to be restored:
■■ Apply to new growth (take test strand).
■■ Allow to develop 15 minutes (or half of
total time).
Page 10
Figure 7
Figure 9
■■ Add equal water to remaining mixture.
■■ Apply to mid-lengths and ends.
■■ Allow to develop another 10-15 minutes (or
total time).
■■ Add warm water; emulsify, rinse and shampoo.
Guideline 3: Replace depth and tone
When lengths and ends have lost both depth and
tone and are very faded:
■■ Apply to new growth (take test strand).
■■ Allow to develop 15 minutes (or half of
total time).
■■ Add equal water to remaining mixture.
■■ Just prior to running the leftover mixture
through the lengths and ends, add in a
warm or red color of a darker level than the
target color applied to the new growth. It is
recommended to add in 1 or 2 capfuls of any
of these shades:
□□ Dark auburn.
□□ Light auburn.
□□ Dark copper-gold.
□□ Medium copper-gold.
□□ Light copper.
□□ Light golden-copper.
□□ Gold.
■■ Develop 15 minutes or remainder of time.
■■ Emulsify, rinse and shampoo.
Guideline 4: Pre-pigmentation/ filling
When color has lightened more than two
numbers/levels and is sensitized, or the client
wishes to have a deeper color
■■ Apply target to new growth.
■■ Pre-pigment with desired shade (one to two
levels deeper and warmer than target).
■■ Use only liquid color mixed with a small amount
of hot water; apply to midlengths and ends.
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■■
■■
■■
■■
Make sure that the hair is saturated, but not
dripping. Blot with paper towel, if necessary.
Re-mix target shade with 10V H2O2 and
apply over pigment replacement.
Begin full processing time upon completion
of application.
Emulsify.
Rinse until water runs clear and shampoo.
It is always imperative to analyze the condition
of the hair. This brings us to the Golden Rule of
color correction:
The sensitivity and condition of the hair
determines the degree and method of
corrective coloring.
The hair did not get to this state overnight. It may
be the product of repeated failures on the part of
the client to “do it yourself.”
Sometimes the hairdresser must become a
detective to determine what has been used
previously. Some color products are not
compatible with permanent color or color
removers. Ask questions such as: Were two bottles
mixed together? Did you also have a perm? Is this
from the sun? Was it a “natural” color (henna)?
How many times was the formula applied?
All of this will help you determine your course
of action. If the condition of the hair is very poor,
do not attempt to correct. Suggest conditioning
treatments and frequent haircuts. The client will
appreciate your honesty and professionalism.
The client consultation should begin by
establishing a realistic target shade. Never make
promises. It may have taken many applications
before her trip to the color expert. So she must
understand that it may take three to four visits
before she is completely satisfied. This way the
expectations are out in the open from the start.
Money is very important. You should give her an
idea of the range (such as, “My corrective prices
are $60 an hour”). Give some indication of what
this is going to cost.
Time is of the essence, both hers and yours. She
should not have any prior commitments on the
day of correction; no colorist needs the additional
pressure of time constraints. As we know,
correction can range from 45 minutes to eight
hours. Your schedule should allow you the proper
amount of time to allocate to that client and her
specific needs.
Color correction – 3 basic problems
1. Results too dark or removing artificial color
The fact is, no color can remove another
color. Chemically, there are only two ways
to remove permanent color that is too dark
or when the client wishes to go to a lighter
shade: Bleaching and color remover. Color
remover is the preferred procedure because
it unlocks the bond of the artificial color and
is less caustic to the hair. It is an ammonium
solution designed to neutralize indirect dyes
(permanent hair color). This is the answer
for clients who come in with home color
build-up, muddy-looking color that lacks
clear tone from too many color changes, or an
www.EliteCME.com uneven deposit of color. Remember the term
“chemical backlog.” The hair “remembers”
what was used on it, and it shows through
in the final results. Many products also are
cationic (sticks to itself) and darken with
repeated applications. The application of a
color remover is related to your end result.
Remember, your goal is to create a suitable
and even base for a new color.
□□ Mix color remover with the developer
from that manufacturer or a suitable 20V.
□□ Apply to dry hair, starting in the darkest
areas – usually the ends. A tint brush
allows for better control. You can place
the product where it is needed and avoid
contact with natural pigment. Make sure
that the hair is saturated evenly.
□□ Process from 10 to 45 minutes or
according to manufacturers directions.
□□ It may be necessary to re-apply to darker
areas using a 30V mixture. In this event,
do not wash the first application; simply
blot with a towel and proceed with the
stronger mixture and continue processing.
□□ When a suitable base is achieved (slightly
lighter than target level), rinse, shampoo
gently and dry the hair.
□□ Proceed with the application of the
target shade.
Note: Even dark colors lighten natural
pigments due to the developer.
When dealing with direct dyes, removal is totally
different. Some manufacturers (gratefully)
provide a removal system for these rinses, semipermanent, deep and non-ammonia colors, but
many do not. And most nonprofessional products
are formulated with metallic salts.
This formula has worked on many of these
color products:
□□ 4 ounces mineral oil mixed with 4
ounces alcohol.
□□ Apply to dry hair and saturate well.
□□ Place cotton coils around the hairline to
prevent run-off.
□□ Cover the head with a processing cap.
□□ Seat client under a hot dryer for 20 minutes.
□□ Take the client to the shampoo bowl. Do
not wet the hair with water!
□□ Saturate the hair with shampoo and work
into a lather.
□□ Rinse and shampoo and condition as needed.
□□ Dry the hair.
□□ Continue with other services.
2. Changing the tone/cleansing
If a cool tone (blue, green or violet) has been
used on the hair, it will dominate the finished
results. That is to say, applying natural/neutral,
red, copper or gold will result in a flat or
muddy shade. This cool tone must be removed
to achieve the clarity of the target shade.
Prepare this mixture in an applicator bottle:
□□ 4 ounces hot water.
□□ 1 package color remover.
□□ 2 squirts of shampoo.
□□ Shake to mix thoroughly.
At the shampoo bowl, saturate the hair with
this mixture. Check results at 10 minutes by
drying a section. Usually, this is enough.
□□ Rinse well.
□□ Shampoo gently and condition if necessary.
□□ Dry the hair.
□□ Proceed with target shade application.
3. Re-establishing depth and tone/prepigmentation
This is necessary when the client’s hair is two
or more levels lighter than the target.
It is critical to replace the missing pigments
for color durability. The product of choice is
a liquid permanent hair color followed by an
application of a cream permanent hair color
mixed with 10V developer.
It is recommended that the shade be one to
two levels deeper and warmer than the target.
The more sensitized the hair, the greater the
need for depth and tone. The pre-pigmentation
shades must contain gold, copper or auburn
or a combination of these. While this sounds
extreme, we know that it is possible to lose up
to 20 percent from daily wear.
A few examples
Existing
level
Target
level
9-10
No. 8
natural
No 8 or No. 7 gold
8
No. 6
copper
No. 5 auburn
8
No. 6
auburn
No. 4 dark auburn
Prepigmentation
Mix the liquid color with a small amount of
hot water and apply to the hair. Make sure
that the hair is saturated but NOT dripping.
Results will be too warm if too much fill
color is used. Comb through the hair to assure
even distribution. Blot with paper towel if
there is an excess on the comb. Note: Never
apply raw color to the hair. To do so could
cause chemical burns.
□□ Return with the target mixed with 10V
developer; apply and process for the
full time.
□□ Finish service as usual.
A helpful practice for all corrective color work
is to draw the strand out in a line, placing the
representative levels and tones along the strand.
This makes it possible for you to see what actions
are needed to be taken. Write these down to
help with your decisions. And, as with the basic
analysis and consultation, work with the best
lighting available.
Bibliography
Standard Manual of Cosmetology, Milady Publications
Hair Structure and Chemistry Simplified, Milady Publishing Co.
Pivot Point International, Salon Fundamentals
The American Board of Certified Hair Colorists Study Portfolio
Jo Ann M. Stills, Americas’ Educator, 1975 to Present; L’Oreal
Professional Technician, 1984 to 2005
Page 11
CHAPTER 2
SHARPENING YOUR
CUTTING SKILLS
3 CE Hours
Learning objectives
!! List the factors you should consider when
purchasing scissors and other hair-cutting
equipment.
!! Describe proper care routines for your scissors.
!! Consider questions you want a client to
answer during a client consultation or in a
questionnaire.
!! Describe the bone structure of the head and
how this affects the finished hair design.
!! Gain an understanding of how growth
patterns affect the finished design.
!! List ways to control naturally wavy and
curly hair.
!! Describe directional designing.
!! Define weight distribution of hair.
!! List ways to correct the hair’s lack of density
!! Describe texturizing techniques.
Introduction
Learning a haircut is just part of the procedure
for a hair-care professional, and this course is
not about a haircut style. It is about designing the
“fabric,” which is hair. Just as a clothing designer
shapes the fabric for a straight skirt or a flared
skirt, we can shape a client’s hair to either hang
straight or flare away from the face.
This course will explore how to achieve the final
results. Although the course is limited to designs
for three lengths (long, mid-length and short), the
techniques will lend themselves to any length and
every design.
Remember: The flow of the design must be there
wet in order to be there dry.
Reflect before you buy scissors
A wise stylist always reflects before buying
scissors. Below are some factors to consider – to
reflect upon – when selecting one.
R: Requirements: Determine how you plan to
use the scissors. Will they be used for wet or dry
hair? Precision cutting or scissors over comb,
weight lines or bobs? Will they be for primary
use or as a backup?
E: Edge: Consider a honed edge vs. a machined/
serrated edge. The machine/serrated edge is more
durable and ideal for beard trims, mannequins,
dry cuts and so on, On the other hand, the honed
edge is less durable, but gives superior results on
clean, shampooed, wet hair. Honed-edge scissors
are generally more expensive, cut better, have
a longer useful life and require greater care.
However, they can be permanently damaged if
sharpened improperly.
We suggest that you purchase both a good
honed-edge scissors for wet cuts and a machined/
serrated-edge scissors for dry cuts and scissorsover-comb work.
F: Finger rest: Using a finger rest is a personal
choice. Some advocates suggest that it helps
Page 12
prevent dropping and reduces fatigue. Opponents
say it gets in the way. Some scissors are available
with screw-in rests so you can have your scissors
with or without a rest as you prefer. Note:
Without the finger rest, the shears are held with
the thumb and middle finger. With the rest, the
shears are held with the thumb and third finger,
with the little finger on the rest.
L: Length and loops: Correct blade length varies
with the intended use of the scissors. Precision
cutting calls for shorter (4.5- to 5.5-inch) blades,
while scissors over comb work, cutting weight
lines and bobs generally require a longer (6- to
7.5-inch) blade. Buying the right size for your
finger length also is very important. The precision
cutting shears blade should be no longer than the
length of the middle finger.
Both finger loops must be fitted to the chosen
fingers and rest below the first knuckle.
The thumb and finger should not slip through to
the finger base. The loop size is a major factor
in comfort and control. Your scissors should feel
comfortable in your hand while giving control
and dexterity. Finger loop inserts should be used
to adjust the size if necessary.
For client safety, the thumb should always be
removed and the blades closed before combing
and parting the hair. You also may wish to turn the
blades back in the hand while combing and parting
the hair. This requires practice, but is safer.
E: Evenness: How a blade feels can tell you a
lot about the scissors’ quality. As you open and
close the scissors, notice the evenness of the
pressure of the blades on each other. Loose or
tight spots can indicate poor quality, while even,
moderate pressure from the fulcrum to the tips
is generally an indication of superior quality. Be
aware of the smoothness of the blades. Rough
spots or a “gritty” feel on hand-honed scissors
indicates poor quality or damaged edges. You
will, however, be able to feel the texture of a
serrated edge.
C: Configuration: Configuration means how the
loops are aligned in relation to each other. Scissors
are available in even-loop, offset and cranedesigned loops. Which is more appropriate for
you depends on your personal preference, which
fingers you use to hold the scissors (middle or ring
finger), and your individual cutting style. In any
event, buy whatever style feels most comfortable.
T: Tips: When cutting outlines against a client’s
neck, smooth, slightly pointed tips can be more
comfortable to the client and allow you to get
under the hair. With other types of cuts, some
stylists prefer blunt tips, which can help minimize
cutting your fingers.
S: Service: Quality scissors are an expensive,
long-term investment. Make sure that your
investment is backed up by a qualified source of
service that will provide superb sharpening, fast
service and factory parts, all at a reasonable cost.
Wet hand-honing, which is the proper method
to sharpen fine scissors, preserves the temper
(hardness) of the blades by keeping them cool
during the honing process. Grinding creates
heat, which can destroy the temper or hardness
of the blades. Hand honing also extends the
useful lifetime of the scissors by removing only
a minimal amount of metal from the blades.
When purchasing scissors, factor in the cost and
quality of service and the time the scissors will
be unavailable for use while the service is being
performed to get a true amortized total cost of
ownership. Ask questions and check references;
it’s your money that you’ll save.
Caring for your investment
1. Wipe off the blades after each use, using a
slightly damp (but clean) towel.
2. After each day’s use, clean the scissors
carefully. Wipe off the blades and the ride
area before putting the scissors in a safe place
for the night.
3. Once every week, following the cleaning, put
a drop of scissors oil (clipper oil will do fine)
around the pivot screw while the blades are
fully open. Wiggle the blades for a few seconds
so the oil will soak into the bearing, then wipe
off the excess. Put a small drop on the ride areas
(behind the screw) and wipe off the excess.
4. If the scissors become nicked, don’t force the
blades closed. Separate them slightly, close
them and send them to a qualified repair
source. Nicked scissors cut poorly and can
become even more damaged with use.
5. Be especially selective about sharpening
services. Remember, a bad haircut will grow
out, but a bad sharpening is forever. It can
permanently ruin your scissors.
Scissors myths debunked
“ICE scissors sharpen themselves when put
in the freezer overnight.” ICE is a generic term
for a tempering process and has nothing to do
with sharpening.
“Scissors will never wear out if sharpened
properly.” All sharpening involves the removal
of some amount of metal. While excellent
sharpening removes only a small amount of
metal, eventually all scissors will wear out.
“The best sharpening is done by computer
(or by laser).” A computer can control
some elements of manufacture; but the finest
sharpening is still done by skilled hands.
“Really good scissors never need sharpening,”
or “They sharpen themselves while you use
them.” Some enthusiastic salesman must have
coined this one.
“Wet honing will cause scissors to rust.” If this
were the case, you would have a problem cutting
wet hair. (This excuse was offered by a door-todoor scissors “sharpener” pushing dry grinding.)
“Once sharpened, scissors will never be as
sharp as they were when new.” With inferior
sharpening, this may be true – but with superior
sharpening, the scissors may be sharper than new.
The edge was originally put on by hand, and
hands of the same skill level can restore the edge
many times. Scissors are only as good as their
last sharpening.
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“Once you drop your scissors, they are ruined
forever.” The most frequent problem with
dropping scissors is getting a nick in the blades.
This is easily corrected by competent sharpening.
“Some scissors can only be sharpened by
the factory.” Often “factory” refers to the
sharpening service that wholesales the service
to the salesperson or his company. What the
speaker may be saying is that he won’t get a
commission on the sharpening if you have it done
by someone else. In other cases, the speaker may
be encouraging you to avoid having just anyone
sharpen your scissors, knowing there are few
truly qualified sharpening sources.
“Sharpening scissors too often will
prematurely wear them out.” Actually,
forcing your scissors to cut when dull or nicked
creates more edge damage and pivot wear than
having them properly sharpened. Cleaning and
lubrication of the pivot, ride and bearing areas are
part of the sharpening procedure. By extending
the time between sharpenings, greater wear is
occurring in these areas.
Using fine scissors when dull is cheating yourself
out of the performance you paid for. “ICE”
machine/serrated scissors should be serviced
about every 1,000 haircuts. Hand-honed scissors
will perform at their best if serviced every 400 to
700 (shampooed-wet) haircuts.
“If you get your scissors sharpened, you’ll cut
yourself more often.” When scissors become
dull, stylists cut closer to their fingers to keep
the scissors from pushing hair. Once this habit is
established, you will cut yourself more often, dull
or sharp. Even dull scissors can cut skin. Sharp
scissors can cut well even when held away from
the fingers, which minimizes the likelihood of cuts.
Using the scissors
When we started kindergarten, we learned to cut
paper for crafts. This was accomplished by using
scissors with the thumb UP. Hopefully, you were
trained to use the haircutting shears with the
thumb DOWN – or as it’s known, “cutting palm
to palm.”
The importance of this is that the thumb blade is
the moving blade in haircutting. It is responsible
for “scooping” the hair up to be cut. The finger
blade remains stationary for control. Practice
holding your hand still and moving just the
thumb. This is the action will give you clean,
accurate designs from all of your cutting shears.
Other cutting tools
So far, we have addressed your primary scissors.
Now let’s consider the other cutting tools that we
use. Techniques for these tools will be included
later on in the course.
Thinning/blending shears: These are produced
with either one or both of the blades notched.
They also may be curved or straight and different
lengths. You may wish to purchase more than
one of these for different effects. Note: the more
notches, the more hair that will be removed. You
have probably seen shears with just a few notches
www.EliteCME.com and large spaces in-between. These remove the
least amount of hair while maintaining a desired
pattern. If you wish to purchase just one, let it be
a good 44/20 blending shears (a barber’s tool)
because of versatility.
Razors: The most aggressive razor is the one
with a guard, and the take-off from this is the
“feather razor” or so-called “precision razor.”
These will remove bulk and give texture to the
areas desired. The least aggressive would be
the unguarded shaving razor. A Tondeo razor
is just one of many. With only 1/16-inch blade
exposure, this is suitable for cleaning necklines
and texturizing in the least obvious way.
Whichever you choose, be aware that a razor cut
slices the hair ends on an angle. For this reason,
using a razor encourages wave and curl pattern.
The hair must always be wet.
Clippers: From the investment point of view,
the motor drive clipper is the most versatile and
durable. It will give many years of great service
and will not be challenged by thick, coarse hair.
The less expensive belt drive clipper is suitable
for cleaning necklines and trimming sideburns. It
will, however, get very hot and lose power on a
“clipper cut.”
Combs: The choices here are endless, beginning
with the tapered barber comb all the way to the
clipper comb. The spacing of the teeth of the comb
dictates its use. Still, the hand-finished nylon comb
will give the cleanest and smoothest results.
Which prompts the question: Which tool do you
consider more important, the cutting implement
or the comb? If you said “the comb,” you
are correct! The Italians cut hair with lighted
newspaper; the Greeks cut hair with shards of
glass. It is the combing, sectioning and holding
that produces the design.
Client consultations
Consider this scenario: A client once challenged
a professional on the price of the haircut with this
statement: “It was only a trim. There’s not even a
half-inch of hair on the floor!”
The stylist replied: “You are paying for what
I leave on the head; that is the balance and
proportion of the design.” There was no further
discussion, and she is still a client to this day.
Visualize:
■■ Body makeup.
■■ Occupation, lifestyle and care.
■■ Facial features.
■■ Hair density.
■■ Growth pattern, cowlicks, hairline.
■■ Type of part. Note: The lower the part is
placed on the head, the more width is created
to the face. The higher the part is placed on the
head, the more length is created to the face.
■■ Balance. Note: Most faces are not
symmetrical. One side will dominate, just
as the ring finger on the hands require a
different size. One eyebrow will be higher,
one side of the nose will flare more, and
one eye will be slightly smaller than the
other. If we design the hair towards the
“low” side of the face, we will accentuate
it. Comb through and move the hair left,
then right. Move the part up and down and
observe what these balancing techniques
will accomplish.
Remember that the hairline creates the strongest
influence on the features. Be very careful about
the hair that touches the face. Will it point to an
unflattering feature, such as a pointed nose? We
have also found that working with two mirrors is
of tremendous benefit, one for the frontal view
and one for the profile. Watch that you do not
accentuate a poor profile with an extension in
that area. The mirrors will tell you things that
the eye cannot see directly. In addition, using a
haircutting chair gives the best view of the back
and sides of the head because you are looking
directly into them. If you are looking down at the
hairline, your vision is altered.
Take a moment to feel the structure of the head.
Pay particular attention to the bone protrusions.
Is the frontal bone prominent? This will lift the
fringe area more. Are the parietals full? This will
lift the length on the sides. Is the occipital flat or
protruded? Make any notations on the analysis
sheet. Do not trust your memory!
The actions here are: consult, diagnose and
prescribe – and importantly, listen to what the
client is expressing.
Design principles of art in hair – definitions
Form: Silhouette, external structure.
So let’s talk about the client. Whatever or
whoever brought this client to you is not
important. But a comprehensive client
consultation is of utmost importance. Ask a firsttime client to arrive at least 30 minutes before
the scheduled appointment to fill out all of the
pertinent information and look at the style books
you have available for discussion. Have him or
her fill out the form below (or your choice of
analysis sheet) and answer the questionnaire. See
charts on next page.
Space: Occupied area.
In anticipation that this client will also become a
color client, you may wish to complete this analysis
with the information for chemical services.
Ornamentation: Separate design factors (used in
addition to the form and space).
Now, you can discuss with the client the desired
design with all of the possibilities.
Color: Reflection of a light source.
Design: Intelligent, purposeful or discoverable
pattern.
Texture: Surface design.
Emphasis: Visual attraction.
Speed: Change of direction or movement.
Rhythm: Repetition of any element (with equal
or unequal speeds).
Harmony: Agreeable organization of elements.
Proportion: The relationship between elements.
Page 13
Client Information Sheet
What length do you like your hair?
a. Short.
b. Medium.
c. Long.
d. Very long.
Is your hair:
a. Bleached.
b. Colored.
c. Highlighted.
d. Permed.
e. Natural
How much time will you spend styling your hair?
a. 5 minutes.
b. 10 minutes.
c. 15 minutes.
d. 20 minutes and longer.
Which styling methods do you use?
a. None.
b. Blow-dried.
c. Curling/flat iron.
d. Rollers or hot curlers.
What would you like your hair designed for?
a. Social function.
b. Career.
c. Casual/easy care.
Name:___________________________________ Date:_________
Address:_______________________________________________
Phone:______________________ Cell:______________________
Birthday:__________________
Medications:___________________________________________
Personal Preference Questionnaire
Circle your choices:
Which of the following clothing styles best represents your personality?
a. Latest fashion, unique, makes a statement.
b. Casual sportswear, jeans and sweaters.
c. Suits, separates, clean and crisp with pleats; men – Suits, business
attire, distinctive sportswear.
d. Dresses, lace, soft, light and airy fabrics; men – fitted, athletic
cut, dressy.
Select the fabric design or pattern you like best:
a. Bold, bright, contrasting print.
b. Safari prints, faded denim, simple pattern, plaid
c. Subtle print, pinstripe, woven-in or embossed, conservative.
d. Pastel floral, candy-colored print.
How do you like your makeup, or for men, what type of makeup do you
like on a woman?
a. Bold, intense, makes a statement.
b. Little if any, simple.
c. Conservative, moderate, subtle elegance.
d. Accented eyes and lips; soft, floral colors.
Considering your unique individuality. Which describes you best?
a. Self-assured, confident, determined.
b. Energetic, active, loves outdoors.
c. Organized, precise, predictable, consistent.
d. Sensitive, imaginative, tenderhearted.
With your favorite person, which of the events listed below would you
most enjoy?
a. Disco, thriller movie, rock concert.
b. Beach, mountains, picnic, athletics, adventure movies.
c. A pre-planned, organized event; live theater, symphony, mystery
movies.
d. Intimate candlelight dinner, sentimental movies, slow dancing.
Which environment would you rather work in?
a. Fast paced, lots of people, upbeat.
b. Not confined, relaxed, changing.
c. Clean, organized, predictable.
d. Creative, spontaneous, harmonious.
How would a person meeting you for the first time describe you?
a. Mysterious, unique, strong-willed.
b. Fun, energetic, free-spirited.
c. Controlled, poised, punctual, steady.
d. Understanding, sympathetic, tenderhearted.
What motivates you?
a. Visible position, leadership role.
b. Self-employed, constant challenge.
c. Secure consistent income.
d. Important cause; money not the issue.
Which of these characteristics best describes you?
a. Bold, adventurous, daring, focused.
b. Independent, unconfined, self-governing.
c. Precise, neat, particular.
d. Sensitive, imaginative, strong feelings.
Which of the following best describes the hairstyle you prefer?
a. Trend setting, vogue, latest style, fashion statement.
b. Casual, easy care, simple.
c. Tailored, controlled, perfect, in-place.
d. Soft, wispy, loose curls; men – styled, touchable, luxurious, alluring.
Page 14
The next sheet should be used for salon information only. The stylist will
fill out this portion of the client information:
Hair Form: Straight Wavy Curly Very Curly
Condition: Very Dry Dry Normal Oily Very Oily Uneven/Patchy
Scalp: Tight Flexible
Surface: Clear Flaky
Density: Sparse Medium Thick
Texture: Extra Fine Fine Medium Coarse Very Coarse
Porosity: Very Porous Porous Normal Resistant Very Resistant
In anticipation that this client will also become a color client, you may wish
to complete this analysis with the information for chemical services.
Natural Hair Color: Level 1-2-3-4-5-6-7-8-9-10
Color Family/Tone: Warm Cool Note: __________________________
Intensity: Low Medium High (Notes) _________________________
Fading: ____________________________________________________
Amount of Gray: ( %) Distribution: ____________________________
Previously Lightened: Yes No When: __________ Product: _________
Previously Tinted: Yes No When: ___________ Product: ___________
Desired (Target) Color: Level 1-2-3-4-5-6-7-8-9-10
Desired Tone: Warm Cool Notes: ______________________________
Intensity: Low Medium High (Notes) __________________________
Corrective Service: Color filler used, When ____ Product ____________
Conditioning: When_________ What treatment ____________________
Tinting: (whole head/retouch/target shade)_________________________
Formula: (color/lightener details) ________________________________
Application Details: __________________________________________
Results: Poor Fair Good Too Light Too Dark Streaked/Patchy
(Describe) __________________________________________________
Price:____________________
Products prescribed: __________________________________________
Next Appointment: ________________________
Patch Test Results: _________________________
www.EliteCME.com
Contrast: Opposing elements.
Adaptability: Total concept of visual imagery.
(Does everything fit the person?)
The importance of understanding all of these
principals cannot be stressed enough. And
application of these principals will take you, the
stylist, from “hair cutter” to hair designer.
Terminology
These are the terms most commonly used in
designing descriptions.
■■ Distribution: The direction the hair is
combed in relation to its base parting. There
are four main types of distribution: natural,
perpendicular, shifted and directional.
□□ Natural: The direction the hair assumes
in relation to its natural growth patterns.
□□ Perpendicular: The direction the hair
assumes when it is combed at a 90-degree
angle to its base parting.
□□ Shifted: The direction the hair assumes
when it is combed out of natural
distribution in any direction other than
perpendicular to its base parting.
□□ Directional: The direction the hair
assumes when it is distributed vertically,
meaning straight up from the head; and
horizontally, meaning straight out from
the head.
■■ Projection: The angle at which the hair is
held in relation to the natural fall or the curve
of the head while cutting (sculpting). We will
deal with five of the most used.
□□ Natural fall: Position the hair assumes due
to growth patterns and gravitational pull.
□□ Low projection: 0 to 29 degrees.
□□ Medium projection: 30 to 59 degrees.
□□ High projection: 60 to 89 degrees.
□□ 90-degree projection: When the hair
is lifted 90 degrees from the curve of
the head.
□□ 180-degree projection: When the hair
is combed 180 degrees from its point of
origin. Usually used to produce highelevation layering.
■■ Design line:
□□ Mobile: The length guide that moves
throughout a given area.
□□ Stationary: Constant, stable length
guide to which lengths are converged in
order to create a length increase in the
opposite direction.
■■ Parallel cutting (sculpting): A technique in
which a section of hair is cut parallel to its
base parting.
■■ Nonparallel cutting (sculpting): A
technique in which the fingers are positioned
in any direction other than the base parting
while cutting.
■■ Partings: The sections used to divide the
hair into manageable parts in preparation
for designing.
□□ Horizontal: Around the head.
□□ Vertical: Traveling up and down.
□□ Pivotal: Pie-shaped from a central point.
□□ Diagonal: Either forward or back from
the frontal hairline.
www.EliteCME.com □□ Angled: Either left to right or right to left
from a center part.
□□ Curved: Following the natural curve of
the hairline.
Rules of designing
A trained designer will look at a picture and know
instinctively how much hair to remove, which
areas to strengthen, and be aware of the hair’s
own texture. A design must be complimentary to
the natural fabric (hair) and the client’s features.
Do not expose an undesirable feature or strong
growth pattern such as cutting the hair around
ears that stick out or cutting short around a whorl.
Leave additional length or bulk to camouflage
these problems.
Design form
The form of the design is the most important
consideration. It is also the strongest influence
toward the total adaptability of the design to the
client. Let’s talk about how hair grows for greater
understanding. The growth pattern, density and
whether the hair is wavy or straight are in place
from four months pre-natal, the same time as an
infant’s fingerprints. This is an amazing fact. So,
unless we chemically change the structure of the
hair, we must deal with these unique qualities.
Hair grows longer at the center back of the head.
And especially when cut wet, the two sides
behind the ears will lift when dry. How many
times have you cut an absolute straight line
across the back only to have it dry not straight? It
was not you – it was the hair growth. In the back
of the head, the center will drop and the two sides
will lift. The correction for this is to cut a gentle,
inverted “U.” In the front, the center of the fringe
area will lift and the two sides will drop. The
correction for this is to cut a slight “U” in the
fringe (bang) area.
Mostly, the form is developed in the outer
perimeter of the head. This is also the weakest
area and more sparse area of the head. We will
discuss density build-up to correct this problem.
Maintain consistent:
■■ Sections.
■■ Dampness.
■■ Combing.
■■ Tension.
■■ Elevation.
■■ Direction/over-direction.
■■ Pressure.
■■ Cutting angles.
■■ Client head position.
■■ Body position yourself.
Hair will move in the direction of the point of the
cutting instrument.
■■ The hair is cut with the point of the shears
toward the face on the left side of the head, as
in a chin-length bob. The designer will make
sure that the shears are pointed toward the
face on the right side also.
■■ “Point-cutting” is a valuable technique when
flexibility and neutrality are important to the
finished design. Hair can then move in any
direction desired without resistance.
Texturizing
In today’s designs, texturizing becomes the
second most important study.
Basically, texturizing is removing hair in a
pattern. It can produce the surface design desired
and provide the “movement” or action to the hair.
As discussed above, giving texture to your design
can be accomplished with any of the tools that we
have. No matter which tool is used, keep these
facts in mind:
■■ Texturizing should be done only in the
middle and inner perimeters of the head and
never on the hairline or outer perimeter, with
the exception of the ends of the hair)
■■ On fine hair, begin ¾ inch from the scalp.
■■ On medium texture, begin 1 inch from the scalp.
■■ On coarse texture, begin 1½ to 2 inches from
the scalp.
■■ “Notching” and “chunking” blades will not
affect the ends’ texture; “blenders” will cause
texture to be appreciated down through the
ends. (Remember: short hair pushes long hair.)
■■ It is advisable to close the blades only
halfway and insert the tool two or three times
down the section of hair.
■■ To add motion to the ends of the hair, use the
“blender-over-comb” technique.
■■ Top cutting is another technique: Simply point
the shears down and slide-cut into the surface of
the hair. Finish with a dab of pomade combed in
with the fingers for the chunky effect.
■■ The French “effile” or “slithering” uses the
shears in a backward motion (like backcombing the hair). Take up a section, and
with blades open, approach the section and
begin to close the blade halfway. Continue
with this action (open and close) until you
reach the end of the section. Perform this on
either wet or dry hair. This gives an internal
texture that supports fullness.
■■ The original Antoine design was
accomplished (on dry hair) by using this
technique. The hair was backcombed in
1-inch squares all over the head. Then the
remaining strands were slithered out through
the ends. The stylist would work through the
entire head three times. The outer perimeter
guide was established after the interior work
was completed.
■■ The backup razor technique is another way
to give texture in a graceful way. Take up a
section, and with the blade toward the scalp,
perform a backcombing action on the section.
It looks as though you will be taking many
strands, but the effect is an internal removal
of very few. This works great for the fringe
areas around the face. It also helps to control
wavy hair. Make sure that the hair is wet.
When accomplished vertically, this gives
support for fullness. In any direction, it will
give tapered ends.
■■ The large blade on your clippers can also
“notch” the hair and give the “spiky” look if
desired. (The guys love this.) Twist up 1-inch
sections of the hair, usually at the top and
crown. Invert the clipper and notch into the
hair quickly two or three times.
Page 15
With so many choices, you should find the one
that will give you the texture you desire. Make
it a practice to pick up more than one implement
while designing. You can achieve different
textures in different areas throughout the design.
This will make your designs unique. We also
suggest that you practice these techniques on a
mannequin until you are aware of the effects and
are comfortable with the actions. Make notations
on the client sheet; do not trust your memory.
The long design
Some designers, including the author, like to
design long hair in the dry state with serrated
shears. Start by shampooing, conditioning,
blowing-dry and flat ironing the hair smooth.
The longer the design, the more important it is to
maintain control of the hair.
A long design with variations is more difficult
because we can get lost in the lengths. More
mistakes are made on long designs because of
this. Use both the head and the upper body as a
guide. Begin with sectioning.
One good basic sectioning routine is:
■■ Divide the head in half, from the forehead to
the nape of the neck.
■■ Divide the sides from the top of the head to
behind the ears.
■■ Take a 1-inch parting all the way around the
hairline. This is the outer perimeter.
■■ Sub-divide the remaining four sections in half
horizontally and pin up.
■■ This will give you the middle and inner
perimeters.
■■ You will have eight sections plus the outer
perimeter.
Beginning at the back of the head in the outer
perimeter (1-inch section), determine the length
desired, with the client standing straight and hands
on the back of the chair. Then have the client be
seated, legs uncrossed and straight in the chair. Take
a 1-inch section from the outer perimeter behind
the ear and bring it to the center guide (cut even).
Remember to comb in the natural fall and use your
point cutting technique for a neutral cut.
Repeat this on the other side. In natural fall, cut
the remaining hair in the gentle, inverted “U.”
For a design that just touches the curve of the
shoulder at the sides, it is easier to begin in the
sections behind the ear. Determine the guide from
the length at the shoulder (with client seated).
Then bring the two sides to the center and cut
even. Remember, the farther away from the point
of origin the hair has to travel before it is cut, the
longer the hair will be. This is cut at 0 degrees or
low projection. Complete your guide area.
Subdivide a 1-inch section horizontally from the
middle perimeter. Bring down, in natural fall,
this section across the back and cut even. Do this
as many times as necessary to not see through
the hair. This is the density build-up area. It is
especially important for long designs to increase
the bulk at the bottom. If an all-one-length design
is desired, switch to low projection combing at
0 degrees above the density build-up area and
Page 16
cut even with the guide. Continue working up
through the middle and inner perimeters in 1-inch
partings. If the hair is very thick, use less than 1
inch. You must have a clear view of your guide.
Take down sections from the middle perimeter
and comb and cut at 45 degrees. Then bring down
the inner perimeter to match. The design will
automatically give the desired action.
This is a good time to talk about double comb
cutting. This technique gives the stylist the
ability to accurately design larger sections of hair
with more control than fingers alone can give.
Purchase two identical combs with the teeth 1/8inch apart throughout. With both combs together,
take up the section to be cut. Now, lock the two
combs together (teeth to teeth), bring down to
the guide and point cut the length. Again, we
recommend that you practice this on a mannequin
until you are comfortable with the mechanics of
this. This can be used for any projection, either
vertically or horizontally, once mastered.
Move to the outer perimeter in one of the side
sections. If you are on the right side of the head,
turn the client’s head toward the left. This allows
you to view the side section unrestricted by the
shoulder. Match the guide and density build-up
from the back to the side sections. Stop when you
reach the natural recession of the head or the crest
line (where the top and sides come together).
How many times have you heard the client say:
“Why won’t my hair grow long?” Actually, the
hair is growing; but it is breaking off. This is the
time that you need to educate the client on the
care of long hair. Hair should never be brushed
while it is wet! Have her purchase either a large
detangling comb or a flexible based paddle brush
with flexible bristles and instruct her to gently
comb from the ends toward the scalp to remove
tangles. (Of course, these items, along with the
correct shampoo and conditioner, are available
in the salon retail area.) The use of medium heat
with high air on the blow dryer is also better for
the hair, but natural dry is the best, if possible.
On dry hair, the natural, boar-bristle brush causes
less mechanical damage. “Scrunchies” and rubber
bands are huge violators. She should use one of
the large clamp-type clips to put the hair up.
Long hair should be trimmed every six to eight
weeks. Just removing the ends will strengthen the
hair, and she will appreciate greater length.
The other technique that is suggested (on dry
hair) is the removal of the split ends and fuzziness
throughout the interior of the head. From the top
layers, take a 1-inch section and twist the hair. The
broken strands and the stretched hair will pop up
away from the section. Then snip those white tips
and stretched hairs. Work the surface of the entire
back. Yes, this is labor intensive, but the results
can be seen and felt immediately. With proper
care, she will realize the longest, smoothest and
best hair she has ever had. Professional models
love this service.
If the design requires more motion at the back,
begin in the middle perimeter to give some
elevation. Low projection accomplishes this, but
remember to begin above the density build-up
area. Section by section, complete the middle
and inner perimeters at the back, ending with
about 30 degrees projection at the top of the
inner perimeter. This design will give the hair the
ability to maintain a fluffy curl pattern. (If hair is
all one length, it will only bend when curled.)
Another design that is making a comeback is the
“flip.” Basically, shortening the middle perimeter to
allow the outer perimeter of the head to flip up over
the middle perimeter produces it. The procedure is
the same with the exception of the projection.
Repeat on the left side, turning the client’s head
toward the right.
Many clients with long hair prefer to hook the
frontal hair behind the ears. In this case, use the
chin as the guide for the fringe (bang) area. Take
sections horizontally, from the top of the head
and bring forward with 0 degrees projection and
cut to guide.
If a slight fringe is desired, begin with a halfinch of hair in the center of the outer perimeter
of the front. Take this section down to the tip
of the nose and sculpt. Then take that section
over to the side sections and sculpt even. This
produces the straight line in the front. To produce
a deeper fringe, continue to take down half-inch
partings and point cut even with the guide. Work
your way back 2-3 inches, but do not section
back any further than the natural recession. To
do so will remove bulk from the sides of the
head. Watch the amount of lift provided by the
hair’s personality, and shorten the fringe area
if necessary. Here you can use the slithering
technique or the blenders to add lightness and
bounce to the fringe area.
Comb the hair back into its natural fall and
observe the results. You may wish to clean up
any stray areas. Accomplish this by repeating
the procedure from the inner perimeter of the
back. Take the adjoining sections up together and
match with vertical point cutting. You should
also repeat the “twist and snip” technique for
the removal of split ends and stretched hair as
performed at the back.
At this point, we have explored two distinct
designs for long hair. The third deals with the high
elevation, full-layered design that many women
want. After determining the length and density
build-up areas, take a small section from the top
of the inner perimeter. Bring this section down to
where you want the layers to begin and sculpt.
Take vertical partings from the center part; comb
and cut at 90 degrees. As you move over to the
sides of the back, take the hair toward the center.
(So you are using a stationary guide to increase
the length behind the ears.) Decrease the angle
of projection to 60 degrees, then 45 degrees
in the middle perimeter. While point cutting is
recommended, you may also slide cut. This is
a good place to use the double comb cutting
technique that you have mastered. Note: Be
careful to avoid the density build-up area.
To sculpt the inner perimeter at the top, bring the
guide to the front section and point cut vertically.
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Bring the hair forward toward the front in this
traveling guide, and point cut even. If the fringe
is longer, bring the fringe back to the guide at the
dividing line.
After determining the length of the fringe area,
take the section of hair in front of the ear.
Comb this hair at 180 degrees and cut even with
the fringe guide. This produces the perfect “faceframing” results. Now, match the sides with the
face-frame and blend with the hair behind the
ears. If you are visualizing that behind the ears is
the fullest point, you are correct. So many times
we see that other methods leave the hair too
depleted in this area. And the natural tendency
of the hair is to split at the ear. These guides will
prevent this.
Note: It is never advisable to allow a client to
leave the salon with the hair in the wet state. No
matter what, you need to check your work when
dried. You will save yourself a lot of grief with
this rule.
As seen on the hot scene, using these same
partings but sculpting with your razor and the
hair wet gives a spiky, feathery finish to the form.
Using these forms and various finishes will have
you become the “go-to” stylist for long hair
clients. Women who prefer to wear their hair long
tend to shy away from salons because they fear
having the hair cut too short. Showing that you
understand and have the knowledge to give them
what they want will get them to trust you and
your ability.
The mid-length design
Probably the most versatile length is the midlength design. This section will give the basic
form and many adaptations and finishes.
Shampoo and condition the hair as usual. You
will be using your honed-edge shears for a wet
cut. Remember to continue to dampen the hair
as you work through a wet cut for consistency. It
bears repeating to have the client sit straight up,
with knees uncrossed, before you begin.
Begin with the basic sectioning as in the long
hair design. For the longer bob, take the guide
from the center back to just below the bend of the
neck. Take the two sides behind the ears to the
center back and sculpt even. Again, work with the
density build-up area.
This is especially important when there is an
“up-growth” behind the ears. Perform the gentle,
inverted “U” as in the long design, but skin cut
the guide. Holding the back of the comb against
the outer perimeter will aid in producing this
design line. Either direct the shears to always
address the hair from center toward behind the
ear on both sides, or point cut for neutrality.
Build density as necessary. You will see this
compensation overcome even the strongest upgrowth by shifting the weight of the hair from the
center to behind the ears.
Another technique is to lift with the comb the
up-growth area and remove the hair in one thin
line right down to the scalp. This will break the
www.EliteCME.com growth pattern in extreme cases, and the created
weight will give control.
Continue into the middle perimeter in horizontal
sections to comb and sculpt at low projection.
Finish the middle and inner perimeters in the
same way, of course, with your neutral cut.
Move to the front of the head and design the
fringe (bang) area. Take the sides over and
behind the ear and sculpt even with the side back
sections. The sides are also cut at 0 degrees, or
low projection. So far, you have just established
the form. At this point, the hair should be blown
dry to examine its personality. Notice, you will
have purposefully left additional length at the
sides, which allows for shrinkage. You can
always go back and trim shorter, if necessary.
Once the hair is dried, you will see that there is
one smooth line from the center back to the sides.
Any trimming can be done now. The reason for
this care is that the mastoid bones cause the hair
to split behind the ear, and the parietal bones can
cause a lift in the same area. By creating more
weight in this area, you can successfully offset
these natural tendencies. You no doubt have seen
poorly performed bobs walking around.
Next, work on the internal variations. If the
design demands an all-one-length middle and
inner perimeters, you will still need to give some
texture internally to these areas.
Part off the top layer of the head. Vertically
section 1-inch panels and use the blenders at least
two times on each section. For a stronger texture
of hair, you may wish to use your feather razor
to remove some bulk from these areas while the
hair is still wet. Again, because short hair pushes
long hair, the design will have bounce and action
when dried but still maintain a smooth finish on
the surface.
One variation that is popular is termed the “layered
bob.” To produce this, return to your inner and
middle perimeter sections. Take a small section
from the top of the inner perimeter in the back of
the head. Determine the desired length, usually
3 to 4 inches. Watch out for growth patterns,
and increase the guide length accordingly. Then
remove the length from this section where you
want the layering to begin. Continue down through
the inner and middle perimeters. (Do not layer into
the density build-up area.)
Complete the back area and move on to the top
and side sections. Detailing here is entirely up
to the finish desired. You can use the face frame
on one or both sides or give a strong asymmetric
line. Work with the personality of the hair and
take your inspiration from this.
This medium-long design can easily be converted
to the newly popular flip by performing the
projections described in the longhair flip design,
only shorter.
The truest bob form is the design with a more
fitted neckline. Section the head with your basic
partings described previously. Subdivide the
outer perimeter in the back of the head. Have the
client sit straight, knees uncrossed, with her head
down to the chin.
Flatten the wet hair smoothly against the back of
the neck with the back of the comb. Then lift the
head to the upright position. You will see the hair
buckle in the center back. This is your guide for
the back length. Why? Because this is the natural
bend on this particular head. When you need to
create a hairline (if it is too sparse), this is the
way to do it. Proceed to create a strong, inverted
“U.” The remainder of this design is produced in
the same manner as the longer bob. By taking the
hair from the front of the ear at the sides, you can
create the soft tendrils in front of the ear.
The bob is usually created with your “wet” shears,
especially on fine and thin hair. On medium and
thick textures of hair, you should consider using the
feather razor in a blunt cut. We can also decrease
bulk and produce the form with this method.
Using the blenders or chunking shears accomplishes
the hottest form of this design. Finish the hair
with root lifter and finger comb. If a feathery
appearance is desired, use the backup razor
technique throughout. Here again, use your source
of inspiration from the picture that the client has
chosen and the personality of the hair itself.
Don’t forget to educate the client on these design
principals. She will look great every day, which is
a testament to your talent.
A beautiful take-off from the conventional bob is
the Euro-bob (also called the two-step bob.) From
the same beginning, sculpt a deep, inverted “V”
for a more extreme form. (The inverted “U” can
also be used.) Subdivide the middle perimeter
at the back to just below the occipital bone.
With the scissors-over-comb technique, produce
a fitted neckline across the back. Holding the
comb at a 45-degree angle to the head, taper the
hair. Use the blenders to refine the neckline. The
neckline hair should be sculpted between ¼- to
½-inch long. (This is where the haircutting chair
really comes in handy.)
Then, from the top of the middle perimeter (at the
occipital bone) sculpt a second inverted “V” or
“U” at 0 degrees elevation. There is no relationship
between the fitted neckline and the beginning of
the bob. It is an overlay. Bring down the remaining
hair in the middle and inner perimeters and sculpt
at 0 degrees. Take the sides in toward the center
to develop more length behind the ears. The bob
actually begins at the occipital bone. Bring the side
sections back behind the ear and cut even. Design
the fringe area according to the client’s wishes.
You may use a side part for a drape fringe or
whatever the hair’s growth dictates.
Internally texturize as discussed above, or
incorporate some low projection layering as
desired. Much of your finish work and detailing
should be done after the hair is dried, when you
can see the rotation of the hair’s growth pattern.
It bears repeating that these are truly “washand-go” designs with minimum time spent. Your
clients will appreciate this.
The short design
Of all of the designs for women, the most popular
for the mature and conservative woman is the
Page 17
short design. Today’s shorter designs follow the
trend of easy and ready-to-wear hair. However,
they are “edgier” and newer looking than
what we were sculpting just a few years ago.
Necessarily, the forms have not changed very
much. It is the surface texture where much of the
differences are realized.
Begin with the outer perimeter sectioning.
However, instead of the curved parting at the
back between the ears, take a deep “V” parting
to produce the middle and inner perimeters. This
will give you a better vision around the critical
area behind the ears and the lift of the mastoid
bone. Design and sculpt the neckline using
diagonal-back partings, parallel to the “V.”
Scoop the hair up and between the fingers (or
use the comb) to hold at the perpendicular
distribution and medium projection. Note: There
is a difference between cutting the hair inside
the fingers and outside the fingers. When the hair
is cut inside of the fingers, you will produce a
strong, straight line. However, if the hair is rolled
over the outside of the fingers, microscopically,
you will produce an irregular line or beveled
edges. In both situations, the hair is point cut.
This bears remembering when concentrating on
the surface textures. The beveled edge will give
more motion.
Continue to work into the middle perimeter with
diagonal-back partings, perpendicular distribution
and medium projection. Lower the projection as
you reach the top of the middle perimeter. Remove
any unnecessary weight with either the blenders
or top-cut in the slide motion to taper the hair in
a downward motion. This is a natural head-form
design. Be careful not to expose a sparse hairline.
You may also need to use the “hairline creation”
technique on some heads, as previously discussed.
Adaptability is the key in the neckline creation.
You may wish to leave some fringe behind the
ears for softness. This will also add length to the
form and fill in a slender neck. On a shorter neck,
the “V” neckline is very flattering. When you see
a natural “W,” you may wish to sculpt this unique
line. Whatever you choose, check your two mirrors
for the balance and proportion to the head and
neck. We do not advise shaving the neckline into
a shape. Within a few days, this hair re-appears
and simply looks messy. So design to your heart’s
content, but follow the hair.
forehead. Moving back, create a new guideline
to the tip of the nose or what is adaptable to the
client. In the middle and inner perimeters of just
the top section, bring the hair down and forward
to match with the overlay guide.
You are left with the two side sections. This again
is totally adaptable, depending on the client’s
taste. One design asks for a strong asymmetric
line. On the short side, continue the notch line
around the eye and in front of the ear. Finish
with a match to the side front and just behind the
ear. The length should be just over the tip of the
ear. On the long side, notch around the eye and
in front of the ear. Then bring the back section
of the inner perimeter from the front to the last
section of the inner perimeter of the back. Comb
the front sections back to this stationary guide.
The length will increase as you move forward.
This will complete the overlay and blend with
the crown. If desired, trim this section to midear. Internally texturize this area while still
maintaining the heavy appearance in the ends of
the hair. On the short side, take the last section
of the inner perimeter from the front to the top
section of the back inner perimeter and blend.
Comb the hair in its natural fall and clean the
surface. A good supportive gel will give you lift
and definition in the finish.
Page 18
This length and its many variations will make it
possible for you to satisfy your clients who prefer
to wear their hair short.
Masculine design
The primary difference in designing men’s and
women’s hair is in the physiology of the bone
frame of the client’s body. Men’s bones are
square, and women’s bones are rounded. For
the designer, this translates to a difference in
body position while working. The stylist must
address a male client with his or her arms,
hands and tools in straight, squared lines. This is
accomplished immediately by lifting your elbows
to almost parallel with the shoulders. As soon as
you drop your elbows, you will produce a curve
to your hands and the approach to the client’s
head. No matter what length the client desires,
this is an important distinction.
So, for the gentleman client: Elbows up! Check
yourself in your mirrors. Each time that you
take up a section, check the mirror to see that
If a symmetrical design is desired, notch in (about everything on you is straight. After a short time,
this will become the correct habit.
1-inch deep) the entire outer perimeter of the
front. Re-section the top at the natural recession
The gentleman’s classic design is a series of six
or crest line. From a diagonal-back parting, comb squares:
the hair inside of the fingers at medium projection 1. Across the front.
from perpendicular distribution. Sculpt parallel
2. One ear.
with point cutting technique. Continue to notch
3. The other ear.
until you reach the back of the ear, using the same 4. Across the back.
procedures with a traveling guide. Complete the
5. Internally at the top of the head.
other side in the same manner.
6. Internally at the center of the occipital bone.
Design the overlay fringe to eyebrow length
(longer if necessary). Remember to incorporate
your “U” form. Divide the top section into three
equal sections. Take this guide up to the center
section of the top remaining hair. Vertically pointcut each section while moving back through the
top with this traveling guide. You will meet the
top section of the inner perimeter of the back and
blend. Stand behind the client if you are cutting
with your right hand; move to the right section
of the top. Pick up a small amount of hair from
the side and the center top and sculpt in the same
manner. Note: Work from front to back and cut
When you reach the inner perimeter of the back
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.
and perpendicular distribution; but switch to low
projection. This will rapidly increase the length in Note: Again, work from the front toward the back
the upper crown. Internally texturize this area for and cut from short to long.
lightness and bounce.
As a final procedure to give lift, twist down small
sections of hair through the top and crown and
Move to the front of the head and design the
chip the section with the blenders (for finer hair)
fringe area. While this area is entirely flexible
or the notching shears (for stronger hair). Use
and can reflect the client’s customary design, the
your choice about halfway down the length of the
newer looking design is a combination of a very
twisted section. A dab of gel will make it possible
structured short fringe (about 1 inch back) with
to finger-finish this design. We recommend that
a longer overlay. This is the fashion statement
you teach the client this finishing technique.
today. For this, notch into the outer perimeter
with either point cutting or using the feather
razor. Keep the fringe very brief with a length of
2 inches or less, depending on the height of the
perm on the top and crown of the head will
make this a wash-and-wear design on hair that
normally would require more assistance. As few
as 12 very large rods will make all the difference.
Sculpt the basic form first, perm and then finish
the texturizing with curl consideration.
One more finishing technique is perming.
Introducing the new texture perms to your clients
is another way to increase your business. A partial
Begin by sectioning the hair along the crest line
of the head on one side (around the back of the
head) to the same on the other side. This is the top
section. Section from this parting to just behind
the ear on both sides. Unless absolutely necessary,
avoid using clips when sectioning. For most of the
designs, you will be using the serrated (dry) shears
and the blenders. Although you may wish to use
your wet tools in some areas, the serrated-edge
shears will still give you the best control for the
scissors-over-comb technique.
Determine the length of the form by how much of
the ear is to be covered or not covered. If the ears
are prominent, take your guide from the middle
of the ear (without stretching the hair). The client
may wish to have the ears covered. In this case,
drop the guide to below the ear. The side guide
is the guide for the entire design, because every
other section of the design relates to it.
For cutting with the right hand, stand at the right
side of the head. Take the entire right side section
down and sculpt at the desired length (cutting
from front to back). Remember to hold the hair at
low projection, inside the fingers and with natural
distribution. Then take a half-inch vertical parting
forward and skin cut a straight line from in front
of the ear to the crest line. Standing behind the
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client, take that first section out at 90 degrees
from the head.
ear down, cut a straight line down to the bottom
behind the ear with the shears pointed downward.
Part the next half-inch section. Bring the guide
section to the next section and sculpt even, cutting
on the outside of the fingers. Continue with this
procedure until the entire side section is completed.
You are using a traveling guide. Clean around the
ear to 0 and taper slightly to refine the line.
Discover the natural bend of the neck. As
described above, flatten the hair against the back
of the neck with the client’s head down to the
chin. Then slowly lift the head until you see the
hair buckle. This is the natural bend and your
guide for the edge of the design. Sculpt from
center to outsides, following the curve of the
neck. With the shears-over-comb technique, taper
this area from 0 degrees to the area that was held
at 90 degrees. Remember to tip the comb toward
you to increase the length as you work your way
up. Follow this procedure with the blending
shears over the comb to refine the line. On very
strong, coarse hair, you may wish to use the razor
over comb or the rotation technique (Roffler).
Determine the length of the sideburn according
to the client’s wishes, but watch that you do not
accentuate a poor feature, such as a pointed nose.
Most often, it will be at the top of the cheekbone.
To match the left side of the head, you must stand
in front of the client and turn your shears. Repeat
the above actions on the left side of the head.
If cutting with the left hand, reverse the above
procedure. That is, begin on the left side of the
head. Make sure that you address the hair from
front to back and short to long as above.
Move to the top front of the head and design in
a straight line. It is recommended to use point
cutting in this area for softness. While standing
on the left side of the head, section a 1-inch panel
down the center to top of the head. Comb the
hair straight up and vertically point cut. Bring
the next 1-inch section from the right side toward
the center and sculpt even. Repeat this until you
run out of hair on the right side. You are working
with a stationary guide.
Next, take a 1-inch parting from the left side of
the center top and bring this section up to the
center guide. Continue to take 1-inch partings
until you have completed the area. Standing
behind the client, take up a section from the
right side of the top in the front, at the place
where the side and top come together (the crest
line). Square off this point. Work your way back
until reaching the dividing line behind the ear.
To complete the left side of the front, you must
change positions to in front of the client and
repeat the procedure. If you visualize that the hair
will be longer at the crest line, you are correct.
This next area of the head is where you may
encounter strong growth patterns. Be very careful
to leave extra length around a whorl. You may
also use the technique discussed previously for
breaking the up-growth at the back of the neck at
the whorl.
At the center top of the back section, take a
horizontal section, hold at 90 degrees with
perpendicular projection and notch-cut across your
fingers. (Hold at a higher degree for more length.)
Continue to take small sections up and out at 90
degrees and sculpt in the same manner. Stop when
you reach the curve of the occipital bone.
Notes
The two remaining sections between the center
back and the sides are sculpted in vertical
partings held at 90 degrees to match both the
sides and the upper back. Use the blenders over
the comb on the ends of the hair for a textured
finish throughout.
One other distinction of the gentleman’s designer
is tailoring. Take particular note to remove
the hair in and around the ears and tailor the
eyebrows. Using the clippers-over-comb is the
easiest and safest way to trim the eyebrows. Also
use the clippers with the blades down to refine
the sideburns and clean around the ears.
Shampoo and condition the hair as necessary.
This will remove the blended hair from the head
and add to the client’s comfort. Finish with a dab
of gel and comb in place.
Conclusion
A hair designer is more than a stylist; he or she is
an artist. If you aspire to be one, consider these
techniques and remember: The salon artist’s
“fabric” is hair – our own medium!
The author gratefully acknowledges the many
artists and systems studied that formed the
foundation for this course.
Bibliography
David Riddle, Scissorsmith
Personality Identification System
Pivot Point International, Salon Fundamentals
Pivot Point International, Design Forum
Jo Ann M. Stills, Americas’ educator; 1975 to present
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
Cosmetologists
Final Examination
Choose True or False for questions 1-20 and
mark your answers on the Final Examination
Sheet found on Page 21 or take your test online at
www.elitecme.com.
1. The function and ingredients in home hair
color products and those found in the salon
are essentially the same.
True
False
2. Cuticle is the translucent, protein outer layer
of the hair fiber.
True
True
False
4. The three primary colors are cyan, magenta
and yellow.
True
False
5. If the outer ring of the iris is green (it could
be from aqua to as dark as forest green) the
client is considered cool-toned.
True
False
6. Internationally, all of the color manufacturers
use a numbering system instead of
referring to “shades.” The reason for this
is that numbers translate into an accurate
relationship of the pigments present.
True
False
7. All hair color, both natural and artificial, is
comprised of yellow, red and blue pigments.
True
False
8. Deposit-only hair color uses oxidative and
direct dyes and requires a developer.
True
True
False
True
False
20. The gentleman’s classic design is a series of
ten squares.
True
False
11. A client consultation is usually completed
upon the client’s first appointment and should
last approximately 30 minutes.
True
False
12. The hairline creates the strongest influence to
the features of the face.
False
True
False
13. Projection is the direction the hair is combed
in relation to its base parting.
True
False
14. Parallel cutting is a technique in which the
fingers are positioned in any direction other
than the base parting while cutting.
True
False
15. Basically, texturizing is removing hair in a
pattern.
True
False
16. Long hair, in particular, should never be
brushed while wet.
True
False
17. Long hair should be trimmed every six to
eight weeks. Just removing the ends will
strengthen the hair.
True
False
18. It is never advisable to allow a client to leave
the salon with the hair in a wet state. No
matter what, you need to check your work
when dried.
Page 20
False
10. Bleaching is the only way to remove
permanent hair color that is too dark.
True
19. Of all of the designs for women, the least
popular for mature clients is the short design.
False
3. Frosting is described as a translucent color
used on the hair after a previous hair color; a
blending color.
9. The sensitivity and condition of the hair
has no effect on the degree and method of
corrective coloring.
True
False
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