1. Principles of Hair Design
Chapter 14
Principles of Hair Design 1

2. Learning Objectives Describe sources of hair design inspiration.
List the five elements of hair design and how they relate to hairstyling.
Explain the five principles of hair design and recognize their specific contribution to a hairstyle.
(continues) 2

3. Learning Objectives (continued)
Understand the influence of hair type and texture on design.
Identify the seven different facial shapes and design a beneficial hairstyle for each.
Explain two design considerations for men.
WHY STUDY PRINCIPLES OF HAIR DESIGN?
You will be better able to understand why a particular hairstyle will or will not be the best choice for a client.
The principles of design will serve as helpful guidelines to assist you in achieving your styling vision.
You will be able to create haircuts and styles designed to help clients camouflage areas of concern while emphasizing their most attractive areas. 3

4. Introduction
To add value to your career as a stylist, take the time to learn how to design the best hairstyle for your client.
That process begins with analyzing the entire person by using the elements and principles of design to enhance positive features and minimize more challenging ones.
An understanding of design and art principles will help you develop the artistic skill and judgment needed to create the best possible design for your client.
INTRODUCTION
Design is the foundation of all artistic applications. All artists – architects, fashion designers, and interior designers, among many others – have a strong visual eye.
To add value to your career as a stylist, take the time to learn how to design the best hairstyle for your client.
That process begins with analyzing the entire person by using the elements and principles of design to enhance positive features and minimize more challenging ones.
An understanding of design and art principles will help you develop the artistic skill and judgment needed to create the best possible design for your client. 4

5. Discover the Philosophy of Design
Have a vision.
Follow a plan.
Work at the plan.
Try and try again.
Take calculated risks.
DISCOVER THE PHILOSOPHY OF DESIGN
Having a vision and working and following a plan
Hair design starts with having a vision.
The philosophy of design gathers inspiration from many sources: movies, TV, magazines, videos, even a person on the street - anything, anywhere - can spark the creative process.
A good designer always follow a plan and envisions the end result before beginning.
Once inspired, you will need to work at a plan and decide which tools and techniques are needed to achieve your design.
Organize your thoughts so that the tools and products needed are available and ready for use.
© Malyugin/Shutterstock.com
(continues) 5

6. LESSON ACTIVITY 1
Ask students to recall the last time they made a major hairstyling, cutting, or coloring change to their hair, and ask them to answer these questions:
What first prompted you to seek out a change?
What about the new look was attractive to you?
Did you take the time to consider how your hair might react or comply with the new look you were going after?
Did you change your idea at any time during the cut or styling session to better suit your specific circumstances? If so, what changed? 6

7. Define the Elements of Hair Design
Line
Form
Space
Design texture
Haircolor
Photography by Tom Carson. Hair by Randy Currie for Currie Hair, Skin and Nails, Glen Mills, PA. Make up by Jessica Moss

8. Line Vertical Horizontal (continues) 8 LINE
© Sergiy Zavgorodny/Shutterstock.com
© Subbotina Anna/Shutterstock.com
LINE
A line defines form and space. Lines create form, design, or movement in a hairstyle. There are four types of lines.
Horizontal: Create width in hair design. They extend in the same direction and maintain a constant distance apart and are parallel—from the floor or horizon.
Vertical: Create length and height in hair design. They make a hairstyle appear longer and narrower as the eye follows the lines up and down.
(continues) 8

9. Line (continued) Diagonal Curved 9 LINE (continued)
Photography by Tom Carson. Hair by Mike Pavlick, Jen Rosley, Holly Brown & Jen Snyder for Ladies & Gentlemen Salon & Spa, Mentor, OH. Make up by Amy Hoegler.
Photography by Tom Carson. Hair by Sandra Carr for Shear Professionals, Wooster, OH.
LINE (continued)
Diagonal: Are positioned between horizontal and vertical lines. They are often used to emphasize or minimize facial features. Diagonal lines are also used to create interest in hair design.
Curved: Lines moving in a circular or semi-circular direction soften a design. They can be large or small, a full circle, or just part of a circle. Curved lines may move in a clockwise or counter-clockwise direction to create the illusion of movement. They can be placed horizontally, vertically, or diagonally. Curved lines repeating in opposite directions create a wave. 9

10. Designing with Lines Single line Parallel lines (continues) 10
Courtesy of Scruples Professional Salon Products, Inc.
Photography by Tom Carson. Hair by Laura Thompson.
DESIGNING WITH LINES
Hairstyles are created by the types of line, direction, or combination you choose. The overall look of the hair design can be established through various line placements.
Single line: Are used in the one-length hairstyle. These hairstyles are best for clients requiring the lowest maintenance when styling their hair.
Parallel lines: Are repeating lines in a hairstyle. The lines can be straight or curved. The repetition of lines creates more interest in the design. Crimping hair or crinkle-wave is an example of a style using curved, parallel lines.
(continues) 10

11. Designing with Lines (continued)
Contrasting lines
Transitional lines
Directional lines
Photography by Tom Carson. Hair by Ashley Atwell for Savvy Salon & Spa.
DESIGNING WITH LINES (continued)
Contrasting lines: Are horizontal and vertical lines that meet at a 90-degree angle. These lines create a hard edge.
Transitional lines: Are usually curved lines that are used to blend and soften horizontal or vertical lines.
Directional lines: Are lines with a definite forward or backward movement.
© Mayer George/ Shutterstock.com 11

12. Form and Space Form – outline or silhouette of the style.
Space – area surrounding the form or area the hairstyle occupies.
FORM AND SPACE
Form
Form is the mass or general outline of a hairstyle. It is three-dimensional and has length, width, and depth. Form may also be referred to as volume.
Space
Space is the area surrounding the form or the area the hairstyle occupies. We are more aware of the (positive) form than the (negative) spaces. In hair design, with every movement the relationship of the form and space change. 12

13. LESSON ACTIVITY 2
Pair students with partners and have them carefully examine their partner’s hair, noting any and all lines that were followed in the creation of their style.
Ask them to identify how many lines were used in each style and to explain why those lines were used. 13

14. Design Texture Styling tools Chemicals (continues) 14 DESIGN TEXTURE
Photography by Tom Carson. Hair by Felicia Gonzales. Make up by Cassie LaMountain for Attitudes A Salon, Toledo, OH.
Photography by Tom Carson. Hair by Marissa Bender for The Ohio Academy Paul Mitchell Partner School, Columbus, OH.
DESIGN TEXTURE
Design texture is the directional wave patterns or illusion of motion in the hair. The design texture must be taken into consideration when creating a style for your client.
All hair, whether straight, wavy, curly, or excessively curly has a unique directional pattern and its own movement.
Creating design texture with styling tools:
Texture can be created temporarily with the use of heat and/or wet styling techniques. Curling irons, hot rollers, or even flat irons can be used to create a wave or curl.
Curly hair can be straightened using a flat brush, round brush, and the heat of a blow dryer or flat iron.
Crimping irons are used to create interesting and unusual wave patterns, like zigzags.
Hair can also be wet-set with rollers, wrapped with bobby pins or pincurls to create curls and waves.
Finger waves, braids, and locs are other ways of creating temporary textured pattern changes.
Changing design texture with chemicals: Chemically infused services that make changes in the natural texture, curl, or wave pattern in the hair are considered permanent and will never revert back to the original pattern. Curly hair can be straightened with relaxers, and straight hair can be curled with permanent waves.
(continues) 14

15. Design Texture (continued)
Multiple directional wave pattern combinations: trendy multi-textured look with volume and unconstructed lines
Smooth patterns: accent the face
Curly patterns: take attention away from the face
DESIGN TEXTURE (continued)
Multiple directional wave pattern combinations: This design is ideal for a client who wants to achieve a trendy multi-textured look with volume and unconstructed lines; however, may be less appropriate for more conservative professionals who wish for a smoother finished design.
Smooth patterns: Smooth patterns accent the face and are particularly useful when you wish to narrow a round head shape.
Curly patterns: Curly patterns take attention away from the face and can be used to soften square or rectangular features. 15

16. Haircolor Dimension with color Lines with color (continues) 16
Photography by Tom Carson. Hair by Randy Currie. Makeup by Jess
Moss for Currie hair, Skin & Nail Salon, Glen Mills, PA.
© Baltskars/Shutterstock.com
HAIRCOLOR
Haircolor plays an important role in hair design, both visually and psychologically.
It can be used to help define texture and line in a design.
Haircolor can work to your advantage in many ways, from covering gray to changing the all-over color of a client’s hair.
Color can make all or part of the design appear larger or smaller by adding or subtracting volume. Depending on placement, color can accent or de-emphasize a particular part of a style or client feature.
Dimension with color: Light and warm colors create the illusion of volume.
Dark, cool colors recede or move in toward the head, creating the illusion of less volume.
The illusion of dimension, or depth, is created when lighter and warmer colors alternate with those that are darker and cooler.
Lines with color: Color acts as an illusion and helps to create lines of attention.
Because the eye is drawn to the lightest color present, you can use a light color to draw a line in a hairstyle in the direction you want the eye to travel, as with highlights around the fringe or facial area.
A single line of color, or a series of repeated lines of color, can create a bold, dramatic accent or work to enhance blunt lines around the perimeter of a style.
(continues) 16

17. Haircolor (continued)
Hair Color Selection
Create a visual plan for placement and patterns of your color choices.
Consider how each color weighs with the other variables.
Consult with your client about their color objectives and/or what look or impact is he or she is trying to achieve.
HAIRCOLOR (continued)
Hair Color Selection
Create a visual plan for placement and patterns of your color choices.
Consider how each color weighs with the other variables.
Consult with your client about their color objectives and/or what look or impact is he or she is trying to achieve.
When using high contrast colors in most salon situations, you should use one color sparingly. A strong contrast can create an attention-grabbing look and should only be used on clients who are trendy and can carry off a bold look. 17

18. Understand the Principles of Hair Design
Proportion
Balance
Rhythm
Emphasis
Harmony
UNDERSTAND THE PRINCIPLES OF HAIR DESIGN
Five important principles in art and design—proportion, balance, rhythm, emphasis, and harmony—are also the basis of hair design.
The better you understand these principles, the more confident you will feel about creating styles that are pleasing to the eye. 18

19. Proportion
Proportion: the comparative relationship of one thing to another.
Body proportion: hair and body proportion must be compatible.
PROPORTION
The comparative relationship of one thing to another.
Analogy: A 60” TV in a very small room; or a 13” TV in a large game room. Hair style can be designed to create better proportion for the client.
Body proportion
Hair and body proportions must be compatible. Example: Large hips or broad shoulders go with a larger hairstyle. Hair should never be wider than the center of the shoulders. 19

20. Balance Symmetrical Asymmetrical 20 BALANCE
Balance is establishing equal or appropriate proportions to create symmetry. Balance signifies the proper degree of height and width; it can be symmetrical or asymmetrical.
To measure symmetry, divide the face into four equal parts. Where lines cross is the central axis. If the style is symmetrical, both sides are the same distance from the axis and the same length and volume.
Symmetrical balance: The design is similar on both sides; both are the same distance form the center, the same length, and the same volume (even if a different shape).
Asymmetrical balance: When the two imaginary halves of a hairstyle have an equal visual weight, but are positioned unevenly.
Opposite sides are different lengths or volume; it can be horizontal or diagonal. When the two imaginary halves of a hairstyle have an equal visual weight, but are positioned unevenly. 20

21. Rhythm The regular, recurrent pattern of movement in a style 21 RHYTHM
Photography by Tom Carson. Hair by Pat Helmandollar. Makeup by Ashley Brown for Savvy Salon & Spa, Cornelius, NC.
© javi_indy/Shutterstock.com
RHYTHM
The regular, recurrent pattern of movement in a style; it can be fast or slow. Fast rhythm moves quickly (tight curls). Slow rhythm can be seen in larger shapes or long waves. 21

22. Emphasis Wave patterns Change in form Color Ornamentation 22 EMPHASIS
© Razoom Game/Shutterstock.com
© Vita Khorzhevska/ Shutterstock.com
Alexandria, VA. Makeup by Christopher
Photography by Tom Carson. Hair by
Glynn Jone for Glynn Jones Salon,
Wislon.
EMPHASIS
Also known as focus, in a design is what draws the eye first, before it travels to the rest of the design.
Choose an area of the head or face that you want to emphasize. Keep the design simple so that it is easy for the eye to follow from the point of emphasis through to the rest of the style. You can have multiple points of emphasis as long as you do not use too many and as long as they are decreasing in size and importance. Remember, less is more.
Wave patterns
Color
Change in form
Ornamentation
© freya-photographer/ Shutterstock.com 22

23. Harmony The most important principle in hair design
The orderly and pleasing arrangement of shapes and lines.
Form with interesting lines
Pleasing color and textures
Balance and rhythm that together strengthen design
HARMONY
Harmony is one of the most important art principles. It means the orderly and pleasing arrangement of shapes and lines; this holds all elements of the design together. A harmonious style is in proportion to the client’s facial and body structure.
A harmonious design is never too busy, and it is in proportion to the client’s facial and body structure. A successful harmonious design includes an area of emphasis from which the eyes move to the rest of the style.
A form with interesting lines
A pleasing color or combination of colors and textures
A balance and rhythm that together strengthen the design 23

24. Physical Characteristics
Shape of the head
Length of neck
Facial features
Body shape and posture
PHYSICAL CHARACTERISTICS
Shape of the head—including the front view (face shape), profile, and back view
Length of neck
Facial features—perfect as well as imperfect features
Body shape and posture 24

25. LESSON ACTIVITY 3
Again, pair students with a partner and ask each to evaluate and describe the following:
Are the hair and body proportions consistent for this style?
Is the person wearing a balanced style? What type of symmetry is present?
Describe the rhythm of the style.
What and where is the emphasis of this style? 25

26. Recognize the Influence of Hair Type and Texture on Hairstyle
Straight, fine hair – no body or volume
Straight, medium hair – more versatility in styling
Straight, coarse hair – hard to curl and carries more volume
RECOGNIZE THE INFLUENCE OF HAIR TYPE AND TEXTURE ON HAIRSTYLE
Hair type is based on two major characteristics: wave patterns and hair texture. Wave patterns: straight, wavy, curly, extremely curly. Texture: fine, medium, coarse.
Guidelines for hair types
Keep in mind the following guidelines for different types of hair: 
Straight, fine hair
The hair usually hugs head due to little or no body or volume. Styling aids and chemical services will be required to create the most flattering style.
Straight, medium hair
The hair offers more versatility, responds well to blow drying, has good movement, and responds well to rollers and thermal styling.
Straight, coarse hair
This hair is hard to curl and carries more volume than the first two types. It casts a wider silhouette and responds well to thermal styling. Blow drying may create too much volume unless flat brushes are used; chemical services may take longer.
(continues) 26

27. Recognize the Influence of Hair Type and Texture on Hairstyle (continued)
Wavy, fine hair – looks fuller with layering
Wavy, medium hair – offers most versatility
Wavy, coarse hair – can appear unruly if not shaped properly
RECOGNIZE THE INFLUENCE OF HAIR TYPE AND TEXTURE ON HAIRSTYLE (continued)
Wavy, fine hair
The hair can appear fuller with the appropriate cut and style, such as layering. It responds well to blow drying and chemical services and can be straightened by blow drying; diffusing will create a fuller appearance.
Wavy, medium hair
This type is flexible. If diffused, it could look curly; if blown dry, it could look straight.
Wavy, coarse hair
The hair has a wide silhouette. Chemical services like mild relaxers work well; educating the client about at-home maintenance is crucial.
(continues) 27

28. Recognize the Influence of Hair Type and Texture on Hairstyle (continued)
Curly, fine hair – responds well to mild relaxers
Curly, medium hair – creates a wide silhouette
Curly, coarse hair – needs heavy styling products
RECOGNIZE THE INFLUENCE OF HAIR TYPE AND TEXTURE ON HAIRSTYLE (continued)
Curly, fine hair
Avoid too much length, which separates the hair and reveals the scalp. The hair responds well to mild relaxers and color; blow drying may only work with short layers.
Curly, medium hair
The hair creates a wide silhouette; it looks romantic if left natural. Make sure the weight line is flattering to the client; it responds well to relaxers and color.
Curly, coarse hair
The hair requires lots of heavy styling aids and can easily overwhelm client. Don’t cut too short.
(continues) 28

29. Recognize the Influence of Hair Type and Texture on Hairstyle (continued)
Very curly, fine hair – best cut short
Extremely curly, medium hair – chemical relaxers and hair pressing are good options
Extremely curly, coarse hair – chemical relaxing recommended with other thermal services
RECOGNIZE THE INFLUENCE OF HAIR TYPE AND TEXTURE ON HAIRSTYLE (continued)
Very curly, fine hair
Short is better; if left long, the silhouette will be too wide and voluminous. It responds well to chemical services, but take care with relaxers; hair pressing is all right if not overdone.
Extremely curly, medium hair
The silhouette can get very wide; relaxers work well to make the shape narrower. Hair pressing and thermal styling are good options; if left natural, cropping close to the head in a flattering shape is great for ease of styling and low maintenance.
Extremely curly, coarse hair
The silhouette will be way too wide without proper maintenance. Relaxing is recommended; if the client does not want chemical services, try short, cropped layers. 29

30. Create Harmony between Hairstyle and Facial Structure
Oval
Round
Square
CREATE HARMONY BETWEEN HAIRSTYLE AND FACIAL STRUCTURE
Facial shape is determined by the position and prominence of the facial bones.
Basic facial shapes
Pull hair back completely. The face is divided into three zones; forehead to eyebrow, eyebrows to end of nose, and end of nose to bottom of the chin.
There are seven basic facial shapes: oval, round, square, triangle (pear-shaped), oblong, diamond, and inverted triangle (heart-shaped).
Oval facial type
1½ times longer than its width at the brow. The forehead is slightly wider than the chin. Any hairstyle will be suitable unless there are other factors such as a prominent nose, eyeglasses, abnormal profile, and so on. The oval shape forms the basis for evaluating and modifying all other facial types.
Round facial type
Facial contour: Round hairline and round chin line; wide face; Objective: To create the illusion of length to the face, since this will make the face appear slimmer; Styling choice: A hairstyle that has height or volume on top and closeness or no volume at the sides.
Square facial type
Facial contour: Wide at the temples, narrow at the middle third of the face, and squared off at the jaw; Objective: To offset or round out the square features; Styling choice: Soften the hair around the temples and jaw by bringing the shape or silhouette close to the head form. Create volume in the area between the temples and jaw by adding width around the ear area. 30

31. Basic Facial Shapes Triangular Oblong Diamond Inverted triangle 31
Triangular facial type
Facial contour: Narrow forehead, wide jaw and chin line; Objective: To create the illusion of width in the forehead; Styling choice: A hairstyle that has volume at the temples and some height at the top. You can disguise the narrowness of the forehead with a soft bang or fringe.
Oblong facial type
Facial contour: Long, narrow face with hollow cheeks; Objective: To make the face appear shorter and wider; Styling choice: Keep the hair fairly close to the top of the head. Add volume on the sides to create the illusion of width. The hair should not be too long, as this will elongate the oblong shape of the face. Chin length styles are most effective for this facial type.
Diamond facial type
Facial contour: Narrow forehead, extreme width through the cheekbones, and narrow chin; Objective: To reduce the width across the cheekbone line; Styling choice: Increase the fullness across the jaw line and forehead while keeping the hair close to the head at the cheekbone line. Avoid hairstyles that lift away from the cheeks or move back from the hairline on the sides near the ear area.
Inverted triangular facial type
Facial contour: Wide forehead and narrow chin line; Objective: To decrease the width of the forehead and increase the width in the lower part of the face; Styling choice: Style the hair close to the head with no volume. A bang or fringe is recommended. Gradually increase the width of the silhouette as you style the middle third of the shape in the cheekbone area and near the ears, and keep the silhouette at its widest at the jaw and neck area. 31

32. 32 LESSON ACTIVITY 4 Have students evaluate their face shape.
Once they have evaluated their own face shape, have them evaluate a partner’s face shape and compare their conclusions.
Do they agree on the face shape noted?
What are the characteristics that lead them to their conclusions? 32

33. Profile Straight profile Convex profile Concave profile 33 PROFILES
The profile is the outline of the face, head, or figure as seen from the side.
Straight profile
Considered the ideal. The face when viewed in profile is neither convex (curving outward) nor concave (curving inward); although even a straight profile has a very slight curvature. Generally, all hairstyles are flattering to the straight or ideal profile.
Convex profile
Has a receding forehead and chin. It calls for an arrangement of curls or bangs over the forehead. Keep the style close to the head at the nape and move hair forward in the chin area.
Concave profile
Has a prominent forehead and chin, with other features receded inward. It should be accommodated by softly styling the hair at the nape with an upward movement. Do not build hair onto the forehead. 33

34. Special Considerations: Top Third of Face
Wide forehead
Narrow forehead
Receding forehead
Large forehead
SPECIAL CONSIDERATIONS: TOP THIRD OF FACE
Special considerations
Divide the face into thirds to complete analysis.
Top third of face
Wide forehead: Hair must be directed forward over the sides of the forehead.
Narrow forehead: Hair must be directed away from the face at the forehead.
Receding forehead: Fringe must be directed over the forehead with an outwardly directed volume.
Large forehead: Use fringe with little or no volume to cover the forehead 34

35. Middle Third of Face Close-set eyes Wide-set eyes Crooked nose
Wide, flat nose
MIDDLE THIRD OF FACE
Close-set eyes
Are often found on long, narrow faces.
Hair must be directed back and away from the face at the temples.
Suggest a side movement from a diagonal back part, with some height. Lightening of the hair at the corner of the eyes will give the illusion of width.
Wide-set eyes
Are often found on round or square faces. To create length in the face use a higher half bang and color hair a bit darker at the sides than the top.
Crooked nose
Use styles that are asymmetrical, and off-center are best.
Wide, flat nose
Hair must be directed away from the face. Using a center part will elongate and narrow the nose.
(continues) 35

36. Middle Third of Face (continued)
Long, narrow nose
Small nose
Prominent nose
MIDDLE THIRD OF FACE (continued)
Long, narrow nose
Suggest a style where the hair moves away from the face, creating the illusion of wider facial features.
Small nose
To avoid a childlike appearance because of a small nose, the style should be off the face and forehead, creating a line from nose to ear.
Prominent nose
Hair must be directed forward at the forehead with softness around the face. 36

37. Lower Third of Face Round jaw Long jaw Square jaw (continues) 37
Style that uses straight lines at the jaw line.
Square jaw
Style that uses curved lines at the jaw line.
Long jaw
Style with hair full and falls below the jaw.
(continues) 37

38. Lower Third of Face (continued)
Receding chin
Small chin
Large chin
LOWER THIRD OF FACE (Continued)
Receding chin
Style where hair is directed forward in the chin area.
Small chin
Style where hair is moved up and away from the face, at the chin line.
Large chin
Style where hair is longer or shorter than the chin line.
Head shape
Not all head shapes are round. It is important to evaluate the head shape before deciding on a hairstyle.
Design the style
Design the style with volume in areas that are flat or small while reducing the volume of the hair in areas that are large or prominent. 38

39. Styling for People who Wear Glasses
Consider eyeglass arms.
Consider hair length around ear.
STYLING FOR PEOPLE WHO WEAR GLASSES
Eyeglasses have become a fashion accessory.
Keep in mind that the arm of the glasses can push the hair at the ear and cause it to stick out. 39

40. Hair Partings: Partings for Bang (Fringe)
Triangular
Diagonal
Curved
HAIR PARTINGS: PARTINGS FOR BANG (FRINGE)
The bang area, also known as fringe area, is the triangular section that begins at the apex, or high point of the head, and ends at the front corners.
A triangular parting is the basic parting for bang sections and gives a symmetrical balance to the features on the face.
A diagonal parting gives height to a round or square face and width to a long, thin face.
A curved part is used for a receding hairline or high forehead. 40

41. Style Parts Center Side Diagonal Zigzag 41 STYLE PARTS Style partings
Center parts
Center partings are classic. They are used for an oval face, but also give an oval illusion to wide and round faces.
Side parts
Side partings are used to direct hair across the top of the head. They help develop height on top and make thin hair appear fuller.
Diagonal back parts
Diagonal back partings are used to create the illusion of width or height in a hairstyle.
Zigzag parts
Zigzag partings create a dramatic effect. 41

42. Design for Men Styles Choosing facial hair design 42 DESIGN FOR MEN
© holbox/Shutterstock.com
© Coka/Shutterstock.com
DESIGN FOR MEN
All the design principles and elements you have just read about work for men’s hairstyles as well as for women’s.
Design style
A man’s hair style should be flattering and appropriate for the client’s career, hair type, and lifestyle.
Over the years, men’s hairstyles have become longer more tousled, and more disheveled.
Men are choosing styles with more layered texture and movement.
A variety of lengths and forms are being seen such as spikes, mohawks, twists, bald heads, and locs.
Choosing facial hair design
These can discreetly disguise a facial flaw.
Facial hair should always appear well-groomed and flattering to the client regardless of the current trend. 42

43. Summary and Review
Of vital importance to the professional cosmetologist is the ability to select, adapt, and execute a hairstyle that is both suitable and desirable to the client.
You will apply the elements and principles of design learned in this lesson to add creativity, dimension, and uniqueness to your work.
Form, space, line, color, and wave patterns are all essential elements in creating a successful style.
SUMMARY AND REVIEW
Of vital importance to the professional cosmetologist is the ability to select, adapt, and execute a hairstyle that is both suitable and desirable to the client.
You will apply the elements and principles of design learned in this lesson to add creativity, dimension, and uniqueness to your work.
Form, space, line, color, and wave patterns are all essential elements in creating a successful style.
(continues)

44. Summary and Review (continued)
We have also learned that proportion, balance, rhythm, emphasis, and harmony are used to create total looks that are pleasing to the eye.
It is essential for the successful cosmetologist to be able to analyze the client’s face and head shape when designing a suitable style that will flatter and satisfy the client.
SUMMARY AND REVIEW (continued)
We have also learned that proportion, balance, rhythm, emphasis, and harmony are used to create total looks that are pleasing to the eye.
It is essential for the successful cosmetologist to be able to analyze the client’s face and head shape when designing a suitable style that will flatter and satisfy the client.

45. Chapter Review Questions
What are possible sources a hair designer might use for inspiration?
List the five elements of hair design and give a brief definition of each.
CHAPTER REVIEW QUESTIONS
1. What are possible sources a hair designer might use for inspiration?
Answer: Some possible sources of inspiration a hair designer might use are movies, TV, magazines, videos, or a person on the street. Nature is another possible source of inspiration: the movement of ocean waves; the shapes, colors, patterns, and textures of plants; animals; and minerals may be sources of inspiration. Hairstyles or fashions of the past and present are also great sources of inspiration.
2. List the five elements of hair design and give a brief definition of each.
Answer: The five elements of hair design (with brief description) are:
Line: Defining form and space
Form: Mass or general outline of a hairstyle
Space: The area surrounding the form or the area the hairstyle occupies
Design texture: The wave patterns or illusion of motion in the hair
Color: Used to help define texture and line
(continues) 45

46. Chapter Review Questions (continued)
List the five principles of hair design and describe one form that uses each principle.
What influence does hair type and texture have on hairstyle?
CHAPTER REVIEW QUESTIONS
3. List the five principles of hair design and describe one form that uses each principle.
Answer: The five principles of hair design are:
Proportion: Balance style with facial proportion
Balance: Symmetrical, A-symmetrical
Rhythm: Tight curls=fast rhythm, loose curls=slower rhythm
Emphasis: Focus of design—waves, color form, ornamentation
Harmony: Unity in a design of form, all principles 
4. What influence does hair type and texture have on hairstyle?
Answer: Hair type and texture are major considerations in the selection of a hairstyle because, depending on its wave patterns and texture, the hair may or may not be able to hold the desired form and shape of the hairstyle.
(continues) 46

47. Chapter Review Questions (continued)
List and describe the seven facial shapes and explain how hair design can be used to highlight or camouflage facial features.
CHAPTER REVIEW QUESTIONS (continued)
5. List and describe the seven facial shapes and explain how hair design can be used to highlight or camouflage facial features.
Answer: Oval facial type: The basis and ideals for modifying all other facial types; can wear any hairstyle unless there are other considerations, such as eyeglasses, length and shape of nose, or profile.
Round facial type: A round hairline, round chin line, and a wide face; should wear a hairstyle that has height or volume on top and closeness or no volume at the sides.
Square facial type: Wide at the temples, narrow at the middle third of the face, and squared off at the jaw; soften the hair around the temples and jaw by bringing the shape or silhouette close to the head form, by creating volume around the areas between the temples and jaw, and by adding width around the ear area.
Triangular (pear-shaped) facial type: Narrow forehead and a wide jaw and chin line; aim to create the illusion of width in the forehead with a hairstyle that has volume at the temples and some height at the top; to disguise the narrowness of the forehead, a soft bang or fringe may be used.
Oblong facial type: A long, narrow face with hollow cheeks; aim to make the face appear shorter and wider by keeping the hair fairly close to the top of the head and by adding volume on the sides to create the illusion of width, without allowing the hair to be too long, as this could further elongate the oblong shape of the face.
Diamond facial type: Narrow forehead, extreme width through the cheekbones, and narrow chin; reduce the width across the cheekbone line by increasing the fullness across the jaw line and forehead while keeping the hair close to the head at the cheekbone.
Inverted triangle facial type (heart shape): A wide forehead and narrow chin line; decrease the width of the forehead and increase the width in the lower part of the face by styling the hair close to the head with no volume, possibly using a bang or fringe, and gradually increasing the width of the silhouette at the cheekbone and the jaw and neck area. 47

48. Chapter Review Questions (continued)
How do the elements and principles of hair design apply to men?
CHAPTER REVIEW QUESTIONS (continued)
6. How do the elements and principles of hair design apply to men?
Answer: They apply in basically the same way as for women. For men, however, styling facial hair is an option. 48