2. Copyright 2013 © WSCAP Washington State Apprentice Program COMMUNICATING FOR SUCCESS 1.4 COMMUNICATING FOR SUCCESS 1.4 COMMUNICATING FOR SUCCESS 1.4 COMMUNICATING FOR SUCCESS 1.4 Copyright 2013 © WSCAP Washington State Apprentice Program COMMUNICATING FOR SUCCESS 1.4 8.1 Copyright 2013 © WSCAP Washington State Apprentice Program Design Decisions Copyright 2013 © WSCAP Washington State Apprentice Program

3. ELEMENTS OF DESIGN FORM—should be in proportion to the shape of the head and face, and the length and width of neck and shoulder SPACE—is the area the style occupies; three dimensional as well as having length, width, and depth LINE—creates form, design, and movement

4. FORM The outline of the hairstyle is the form.

5. LINES The eye follows the lines in a design. The line creates the form, design, and movement of the hairstyle. Four types of lines are –horizontal. –vertical. –diagonal. –curved.

6. CURVED LINES Soften a design Are circular in shape Can be placed horizontally, vertically, or diagonally

7. DESIGNING WITH LINES Four types of lines in hairstyles Single line—one length Repeating lines—parallel lines that are repetitive Contrasting lines—lines that meet at a 90-degree angle Transitional lines—curved, and used to soften horizontal or vertical lines

8. COLOR PSYCHOLOGY Certain colors tend to evoke certain reactions. Lighter colors seem youthful and exciting. Darker colors may seem seductive and mysterious. Warm colors tend to be soft; cooler colors are bold and dramatic.

9. CREATING DIMENSION WITH COLOR Light or warm colors create the illusion of volume. Dark or cool colors recede or move in toward the head and create illusions of less volume.

10. CREATING LINES WITH COLOR By using a lighter color, you can draw a line in the direction you want the eye to travel. Color lines create an interesting or dramatic accent.

11. COLOR SELECTION Tone should be compatible with client’s skin tones. If using two or more colors, they should be within two levels of each other. If using high-contrast colors, use one sparingly.

12. WAVE PATTERNS Natural wave patterns can be straight, wavy, curly, or extremely curly. Straight hair does well if cut one length. Wavy hair can be styled with horizontal lines. Wave patterns can be created temporarily using heat or wet techniques such as curling irons, blow-dryers, rollers or pin curls, or finger waves. Permanent waves create wave patterns. When designing with wave patterns, avoid too many combinations. Smooth patterns accent the face; curly patterns take away from the face.

13. PRINCIPALS OF HAIR DESIGN PROPORTION  Relationships between objects relative to their size should be harmonious.  Analogy: 60” TV in a small room or a 13” TV in a large room is out of proportion.  Hairstyles can be designed to correct out-of- proportion face shapes.

14. BODY PROPORTION Hair and body proportion must be compatible. A large hairstyle balances a large body structure. Hair should never be wider than the center of the shoulders.

15. BALANCE Harmony or proportion in hairstyling signifies proper degree of height and width. Balance can be symmetrical or asymmetrical.

16. SYMMETRICAL BALANCE Design is similar on both sides of the face. –Same length –Same volume –Same distance from the center of the face

17. ASYMMETRICAL Features uneven proportions Is designed to balance facial features Has different lengths or volume on opposite sides Can be horizontal or diagonal

18. RHYTHM Rhythm is the regular, recurrent pattern of movement in a style; it can be fast or slow.

19. EMPHASIS Emphasis in hairstyle is what the eyes see first. Eyes then travel to the rest of the design. Emphasis is created in several ways: –Wave patterns –Color –Change in form –Ornamentation

20. HARMONY Harmony is the orderly and pleasing arrangement of shapes and lines. It holds all elements of the design together. A harmonious style is in proportion to the client’s facial and body structure.

21. HARMONY In creating harmony between style and facial features, consider  shape of head—front view (face shape), profile, and back view.  features (perfect and imperfect).  body posture.

22. INFLUENCE OF HAIR TYPES Hair type is based on two major characteristics: wave patterns and hair texture. Wave patterns are –straight. –wavy. –curly. –extremely curly. Texture is fine, medium, or coarse.

23. COMBINATIONS OF HAIR TYPES Fine, straight Straight, medium Straight, coarse Wavy, fine Wavy, medium Wavy, coarse Curly, fine Curly, medium Curly, coarse Extremely curly, fine Extremely curly, medium Extremely curly, coarse

24. FACIAL TYPES The face is divided into three zones: –Forehead to eyebrow –Eyebrows to end of nose –End of nose to bottom of chin

25. OVAL FACE The contour and proportions of the ideal face shape form the basis for modifying all other facial types. A person with an oval face can wear any hairstyle unless there are other considerations such as –eyeglasses. –length and shape of nose. –profile.

26. ROUND FACE Round hairline and chin line; wide face Aim: To create illusion of length to the face. Styling choice: A style that has height or volume on top and closeness at the sides.

27. SQUARE FACE Wide at the temples, narrow at the middle third of the face, and squared off at the jaw Aim: To offset or round out the square features. Styling choice: Soften the hair around the temples and jaw, bringing the shape close to the head. Create volume around the temples and jaw.

28. TRIANGULAR (PEAR) FACE Narrow forehead, wide jaw and chin line Aim: To create the illusion of width in the forehead. Styling choice: Build a hairstyle that has volume at the temples and some height at the top.

29. OBLONG FACE Long, narrow face with hollow cheeks Aim: 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. Hair should not be too long— chin length is the most effective.

30. DIAMOND FACE Narrow forehead, extreme width through the cheekbones, and narrow chin Aim: 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.

31. INVERTED TRIANGLE SHAPED FACE Wide forehead and narrow chin line Aim: To decrease the width of the forehead and increase the width in the lower part of the face Styling choice: Style close to the head with no volume. A fringe is recommended.

32. SPECIAL CONSIDERATIONS Divide face into thirds to complete face analysis. Head shapes are not all round. Design for volume in areas that are flat or small and the opposite for larger areas of the head. Eyeglasses have become a fashion accessory. Keep this in mind when designing an appropriate hairstyle. Profile is the outline of the face, head, or figure seen in a side view. The three basic profiles are –straight. –convex. –concave.

33. HAIR PARTS A part can be focal point for a hairstyle—the eye is drawn to it. Parts should be clean and neat. Use natural part whenever possible. Partings for fringe –Triangular: is basic parting for bangs. –Diagonal: gives height to a round or square face, and width to a long, thin face. –Curved part: used for receding hairline and high forehead.

34. STYLE PARTS Side parts Center parts Diagonal parts Zigzag parts

35. DESIGNING FOR MEN Style should be flattering and appropriate for client’s career, hair type, and lifestyle.

36. MUSTACHE AND BEARD SHAPES Facial hair can discreetly disguise a facial flaw. Facial hair should always appear well- groomed and flattering to the client, regardless of the current trend.

37. SUMMARY It is the ability of the cosmetologist to select, adapt, and execute a hairstyle that is both suitable and desirable to the client. You should apply the elements and principles of design learned in this chapter. Form, space, line, color, and wave patterns are all essential elements in creating hairstyles.

38. SUMMARY Proportion, balance, rhythm, emphasis, and harmony are used to create a total look. Analyze the client’s face and head shape when designing a hairstyle. It will take practice, but ultimately, you will develop an innate sense for design lines that will flatter and satisfy the client.