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FC: Hair Sculpture | By Morgan Andrews

2: Table of Contents | Page 3- Introduction Page 4- Styles of the 1920's Page 5- Styles of the 1930's Page 6- Styles of the 1940's Page 7- Styles of the 1950's Page 8- Styles of the 1960's Page 9- Styles of the 1970's Page 10- Styles of the 1980's Page 11- Styles of the 1990's Page 12- Styles of the 2000's Page 13- Tools and tips Page 14- Solid Form Page 15- Graduated Form Page 16- Increase Layered Form Page 17- Uniformly Layered Form Page 18- Vocabulary Page 19- Vocabulary Page 20- Conclusion Page 21- The Author

3: Introduction | In this book of hair sculpting you will see the many hairstyles over the decades. You will also see what tools to use and what they are used for. You will read about different tips that you could use, you will read about the four basic forms of hair and will learn some new vocabulary words.

4: 1920's | The 1920’s were full of short hairstyles which were shocking to most people because the hair is what gave a woman her femininity. A lot of finger waves were starting to become in style.

5: 1930's | Short hairstyles were being worn in the 1930's, a lot were being worn close to the head. Deep waves and finger waves were in style.

6: 1940's | In the 1940's a lot of curls and updos were being worn. Using rollers to curl the hair were very common.

7: 1950's | In the 1950’s the ponytail gained prominence, the French plait was also in style. Marilyn Monroe was very iconic for her hair in the 1950's.

8: 1960's | In the 1960’s the bubble hairstyle was very popular, it was easily copied. Home perms, hair pieces and wigs were also very popular.

9: 1970's | During the 1970’s the hippie movement was going on and long hair was being worn. They did not have flat irons so most of them had to use a clothing iron to get the straight, sleek look.

10: 1980's | The 1980’s had a lot of strange hair color and cuts with a lot of volume.

11: 1990's | The 1990’s had a lot of straight, sleek hairstyles.

12: 2000's | The 2000’s has a lot of side and straight across fringe. There is a lot of short and long styles being worn. A-lines are very popular.

13: Tools | Shears: Sculpts the hair. Blow dryer: Air forms the hair Duck bill clips: Clips the hair up for more control. Comb: Untangles the hair for neat clean partings. Flat iron: Straitens the hair for a nice smooth finish Clippers: Sculpts men's hair without having to use shears. | Tips | Always palm your shears when you are not sculpting. Always make neat, clean partings for control. Always have the hair fully wet or fully dry, not half and half. Make sure you always cross check your work. Make sure that your SMA is always clean, with no water or hair. Always use the correct projection. Properly use the shear over comb or clipper over comb. Use a scooping motion when using the clippers. Always wash your hands.

14: Solid Form | A length progression that increases toward the top of the head with all lengths falling to the same level in natural fall produces an unactivated sculpted texture.

15: Graduated Form | A form in which the lengths gradually become longer toward the interior, in natural fall the ends stack above one another, produces an unactivated and activated sculpture texture.

16: Increase Layered Form | A form in which lengths become progressively longer toward the exterior, produces an activated sculpted texture.

17: Uniformly Layered Form | A form in which all lengths are equal, produces an activated sculpted texture.

18: Vocabulary | Sectioning: Dividing the head into workable areas for control. Head Position: The position of the client’s head while sculpting. Parting: Lines that subdivide the sections to separate, distribute and control hair while sculpting. Distribution: The direction the hair is combed in relation to its base parting. Projection: The angle at which the hair is held while sculpting. Line of Inclination: The angle at which graduation progresses in length. The three basic types are low, medium and high. Finger/Tool Position: The finger position and the sculpted line in relation to the parting pattern. Design Line: The artistic pattern or length guide used while sculpting. It can be stationary or mobile. Combination Form: A form in which two or more basic forms are combined by using different techniques or by sculpting along a plane. Proportion: The relationship between things or parts of things in respect to comparative magnitude, quantity or degree. Texturizing: Sculpting at the perimeter or within the form to achieve textural qualities, design mobility or expansion. Slide Cutting: Sculpting technique in which the shank of the shears slides along the strand to remove length vertically; often used when rapid length increases are desired. Notching: Technique used to create irregular lengths, usually for a chunkier texture at the hair ends. Razor Etching: A razor sculpting technique in which lengths is removed with a short razor stroke; performed on the ends of the hair. Point Cutting: A texturizing technique in which the tips of straight shears are moved from the fingers toward the ends. Freehand Sculpting: A sculpting technique in which the eye and hand are the only means of control. Planar: A technique in which the lengths are sculpted along a plane. Directional Distribution: The hair is combed straight out from the curve of the head.

19: Gradation: A very short graduated form that gradually progresses in length toward the top of the head; produces an activated sculpted texture; it is color-coded yellow. Shear-over-comb: A sculpting technique that achieves closeness to the head. A comb is used as a guide to hold the lengths in position for sculpting. The angle of the comb determines the amount of length removed. Clipper-over-comb: A sculpting technique that achieves closeness to the head. A comb is used as a guide to hold the lengths while the hair protruding over the comb is sculpted with the clippers. Fade: A sculpting technique that is a very short version of gradation. In many instances, areas of the head are sculpted to the skin with the use of clippers. Apex: The highest point or peak on the head. Interior: The area of the head above the crest. Crest: The widest part around the head. Exterior: The area of the head below the crest. Activated: A rough hair surface in which the ends are visible. Unactivated: A smooth surface in which the ends are not visible. Combination: Activated and unactivated surface. Weight: Mass in form and space. Weight Area: The area within a sculpture where there is a concentration of longer lengths. Symmetrical: A balanced or harmonious arrangement. Tension: The art of stretching or the condition of being stretched. Natural fall: The natural position the hair assumes due to gravitational pull. Normal Projection: Hair held uniformly at 90 degrees in relation to the position of the head . Form Line: The outline or outer boundary of a form. Fringe: Hair that partially or completely covers the forehead in a design. Form: A three-dimensional representation of shape. Silhouette: The outer contour of an object or design. Ridge Line: The line that divides two textures in graduated form. | Vocabulary

20: Conclusion | Hair sculpting was very different from what I had first expected it to be, at first it was hard for me but the more sculpting I did I feel more confident with each sculpture I do. Thank you Mrs. Trish for teaching me everything I know. You are an amazing educator!

21: The Author | Morgan Andrews

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