Web chaptertwo Hair patterns and designs - Cengage Learning

More documents

Recommendations

Info

10Similarly, a softening effect is created when curves move away from the hairlines producingharmonising effects.NVQ3 Hair patterns and designs AH35Basic principles of designBalanceBalance is the effect produced by the proportions and distribution of detail throughoutthe style. The opposite, i.e. imbalance, is lack of those proportions. Symmetry or symmetricaleven balance occurs when the effects are distributed equally as in a mirroredimage through a vertical or horizontal plane. Asymmetry or asymmetric effects occurwhen the overall shape does not have the same distribution on either side.EKU statementAH35 28) The factors thatmust be taken intoconsideration prior tocutting (including hairgrowth patterns, hairdensity, scarring etc.) andhow they may limit or affectthe achievement of patternsAH35 39) The importanceof considering the density,texture and working with thenatural growth patterns ofthe hair............................................................................................................................................................................................................................................................................................................EKU statementAH35 17) The importanceof questioning clients toestablish any contraindicationsto the shavingserviceAH35 18) Why it isimportant to record clientresponses to questionsAH35 19) The legalsignificance of clientquestioning and orrecording the client’sresponsesAH35 20) The importanceof keeping and maintainingclient recordsAH35 44) How lifestyle caninfluence the client’s choiceof style (e.g. active sports,career and jobrequirements)..............................................................................................................................................................................................................................................................................................................However, both symmetrical and asymmetrical shapes can be balanced – see the illustration‘Aesthetic (offset) balance’. Here the aspect of perspective is brought into playwhere a visually larger component is counterbalanced by a smaller one further away.Style lineStyle lines are the directions in which the hair design is positioned or appears to flow.When a break occurs within this flow the eye is immediately drawn to it. A break can onlyhappen for two reasons: either it’s a style feature and accentuates what the observer ismeant to see, otherwise, it’s a mistake made by the inexperienced.Partings and divisionsPartings or divisions in hair have a strong impact. Lines created upon the head will drawthe attention of the eye and can be used to create flow and movement away from theface to the detail that lies beyond.MovementMovement refers to the variance of line direction within a hair design. The more variety indirection the more movement there will be. Sometimes this movement is because ofnatural tendency – to accommodate curls or waves – sometimes it is deliberately createdby design shaping and placement.Hard and soft effectsHard and soft effects result from the balance or imbalance within a hair design or fromthe movement or lack of movement within it. Subtle lining will convey softer harmonisingeffects, whereas stronger lines produce contrasting effects, which work better in achievingmore dramatic results.ConsultationWith most of the planning and preparations done, your main concern is establishingwith the client exactly what is going to happen and gaining from them the confirmationthat what you have selected as a design is both appropriate and satisfactory. If thereis any hesitation or uncertainty, you need to either provide more information about
what you intend to do, or re-look at the visuals from your portfolio to explore otheroptions.Look for contra-indications to hairdesign workThe request for a hair design or close cut patterning may be wanted by the client, but notevery client will be able to have the service. Always look closely for signs to see if theservice can be provided and ask the client if they have any reasons that they know of thatwould not permit the service to be conducted.Do not provide this service when:l there are signs of cuts, abrasions on the scalpl there are signs of reddening from conditions like eczema or skin sensitivity or skinallergiesl there are any other adverse symptoms such as infections or infestationsl there are uneven skin conditions.Pre-cuttingDiversion The other aspectsfor consideration in generalconsultation relating to adverseor influencing factors arecovered elsewhere in the book.Review Unit G21, Providehairdressing consultationservices for more information(see pp. 4–43).RememberIf you have any doubtsabout symptoms andcontra-indications;always ask a senior member ofstaff for their assistance. Youmay be putting the salon at riskfrom legal action or pursuance ifyou don’t follow this processproperly.11NVQ3 Hair patterns and designs AH35In order to work with manageable lengths of hair, you need to pre-cut the client’s hair to alength that will enable you to transfer your designs to the head allowing for the longestparts of the 3D detail. Carefully, look at the length you are working with and make surethat you don’t undercut the hair length that you need to complete the total effect.Inaccurate detailingThe most common cutting problem is that of inaccurate detailing. It happens whenclippers take too much hair away from the area you want to work with. There are twoways in which you can compensate for this mistake.1 Make sure that you remove all lose clippings as you go along. Any cut hair left onthe scalp will lead you into believing that there is still more to work with; keepbrushing away the area that you are working with so that you clearly see where youare.2 If you do take too much hair away in a particular area, you need to stop and seehow much impact it will make on the overall design. You can then choose betweenmodifying your patterning to incorporate a different detailing or re-working thedesign plan to accommodate another theme or effect.Transferring a design to the headWith a collection of work done; your basic portfolio is complete. You now have designscovering a range of themes and along with this, you may have given a small descriptionor brief on how you found the sources for your artworks.EKU statementAH35 22) The importanceof consulting with clientsthroughout the cuttingprocessAH35 32) Methods ofpreparing the hair prior tocutting patternsAH35 33) The range of haircuts which form a suitablefoundation for cuttingpatterns into the hairAH35 34) Methods ofpreparing the hair prior tocutting patternsAH35 37) The importanceof visually checking the cutAH35 38) How to visuallycheck the design, patternand cutAH35 40) The types ofproblems that cancommonly arise whencutting patterns in hair andways in which they can beresolved, if possible.............................................................................................................................................................................................................................................................................................................
Page 1 and 2: Web chaptertwoHair patterns and des
Page 3 and 4: IntroductionHair design and scalp t
Page 6 and 7: 6NVQ3 Hair patterns and designs AH3
Page 8 and 9: 8NVQ3 Hair patterns and designs AH3
Page 12 and 13: 12NVQ3 Hair patterns and designs AH
Page 18: 18NVQ3 Hair patterns and designs AH

Web chaptertwo Hair patterns and designs - Cengage Learning

Create successful ePaper yourself

Delete template?

Save as template?