COS Concepts 1-EXAM Flashcards
Exam 10/16/24
1
Q
3 Elements of long hair design?
A
Form, Texture, and Color
2
Q
Long hair designs are
A
3-Dimensional
3
Q
Levels of Observation
A
Basic, Detail and Abstract
4
Q
Use the 3 Levels of observation to..?
A
-Reproduce what you see
- Communicate clearly to your client
- Begin Building your repertoire of ideas and techniques
-Adapt and personalize designs of your own
5
Q
Basic Level
A
Form and shape
-outer shape or outline of 3-dimensional form
- identified by position of volume
6
Q
Detail level
A
Texture and color
- Smooth(Unactivated)
-Rough (Activated)
-determine techniques used to create texture
-Determine how color affects the design
7
Q
Abstract Level
A
Direction
-Overall direction
-Directions in the form
8
Q
Form and shape
A
-Placement of mass, or volume within design
- volume may be positioned in a specific area or throughout the design
9
Q
Focal Point
A
-Area where the eye is drawn
- Area where main emphasis of volume or mass is placed
10
Q
Equal height and width
A
-Volume positioned equally throughout
-Attention not focused on any particular area
11
Q
More height than length
A
-Volume positioned in specific area
-Draws eye to that area
- Usually draws attention diagonally to crown or vertically to top
12
Q
More length than height
A
focuses attention at nape or below shoulders
13
Q
More Width than height or length
A
shape draws eye horizontally across design
14
Q
Fillers
A
-Loose fibers or padding
-Can be used to expand design or create specific forms or shapes
15
Q
What influences the feeling of the design?
A
Size & Position
16
Q
Texture
A
-Unactivated(Smooth)
-Activated (Patterned)
-Influenced by
-Techniques used
- Amount of existing or designed curl texture
17
Q
Color
A
Can play Integral role by:
-Leading eye through movements of a design
- Creating focal point
18
Q
Direction
A
-Determined by position of shapes or volume within design
19
Q
celestial axis
A
Can be used to analyze:
-Overall direction
-Direction within design
-Clockwise/Counterclockwise
-vertical/horizontal
-diagonal
20
Q
In long hair design, Hair may:
A
-Move in various directions
-Imply motion
- Add to dynamics
- Draw eye through design or to focal points
21
Q
Proportion and balance
A
Proportional relationship between:
-Size, Shape, Texture and color
22
Q
Graduation/Uniform/Gradation
A
Creates a close-fitting exterior and blends to uniformly layered lengths creating a rounded interior. Graduated interior lengths create weight and a focal point towards the face
23
Q
Square form
A
A weight area is created where the increase-layered form meets the graduated form, resulting in a square form
24
Q
change the sculpture, change the effect
A
A change in hair sculpture can change a clients look in a number of ways
-Sporty
-Professional
-Cutting-edge
25
the surface texture of a hair design can be observed and analyzed in....
Natural fall
26
The concentration of length within a given area is known as...
Weight
27
The widest area of the head is known as the
Crest
28
The area above the crest is known as the..?
Interior
29
The area below the crest is known as the....?
Exterior
30
The form that progresses from shorter exterior lengths to longer interior lengths with a maximum weight at the form line is the...?
Solid Form
31
A very short version of the graduated form is known as....?
Gradation
32
Two or more of the 4 basic forms within a sculpture is known as a....?
Combination form
33
Sculpture Transformation
all about changing shape, texture and structure
34
Two ways to analyze the structure of a hair sculpture:
1. Natural fall: lengths lay or fall naturally over the curves of the head
2. Normal projection: Hair is viewed abstractly as if it were projected at a 90* angle from the curves of the head
35
Solid form
color-Blue
shape: Rectangle
Texture: Unactivated
Structure: shorter exterior progressing to longer interior
weight: Maximum weight develops at the form line since all lengths fall to the same level
36
Graduated form
Color- yellow
shape-triangle
texture- unactivated/activated
structure-shorter exterior gradually progressing to longer interior
weight: found above the perimeter form line, where the unactivated and activated textures meet
37
Increase-layered form
color-red
shape-oval
Texture: activated
structure- shorter interior progressing to longer exterior
Weight: no concentration of weight since the lengths disperse across the curves of the head
38
Uniformly layered form
color-Green
shape-circular
texture-activated
structure-same length throughout
weight- no concentration of weight since lengths disperse across the curves of the head
39
5 common sculpting tools
Shears, Clippers, Taper shears, Combs, Razors
40
Shears
-Also known as straight shears
- Consist of 2 straight blades
- produce a clean, blunt edge
- primary tool for hair sculpting
- available in a variety of styles, lengths and materials
-Short shears for more preciison or detailed sculpting
- Longer shears for overcomb
41
parts of the shears
Finger brace, finger grip, and still blade, movable blade, shank, thumb grip and hand screw or tension screw
42
How to hold shears and comb
-Insert ring finger in still blade
-insert thumb in moveable blade
-remove thumb and palm shears
- hold comb
43
Sculpting positions
Palm down- Solid form
Palm up- diagonal lines
44
Sculpting positions pt 2
Palm-to-palm: Graduated forms
on top of the fingers: On top of head
-Layers
45
Taper shears
- Also known as thinning or texturizing shears
- produce a distinct and regular alternation of shorter and longer lengths
-One straight blade and one notched blade
- Create shorter lengths within the form or on the ends of the hair to reduce bulk and create mobility
46
Parts of the taper shears
1.Finger brace
2. Finger grip
3. thumb grip
4. tension screw
5. shank
6. still notched blade
7. Movable edge blade
47
Types of taper shears
-8 Teeth:
-Remove a minimal amount of hair within a parting
-Lightly tapered effect
-16 Teeth:
- Remove A medium amount of hair within a parting
- 32 Teeth:
- Best for maximum care removal within a parting
-Highly textured effects
48
Channeling shears
Wide notches produce dramatic chunky effect
49
Razors
-Produce tapering or an angle effect on the end of each hair strand
-When sculpting with a razor, it is essential that the hair be damp throughout
50
Parts of a razor
1. blade edge with guard
2. blade guard
3. blade edge
4. handle
5.Tang
6.shoulder
7.shank
8. thumb grip
51
How to hold the razor
Flat:
- Position handles straight out
-position thumb at bottom of shank and rest fingers on top of shank
-Bent:
- Position handle upward
-position thumb at bottom of shank and little finger on tang
52
how to hold the razor pt 2
Non foldable razor:
-position thumb in groove and remaining fingers on top
-Position index finger on top of razor while holding razor with thumb and remaining fingers
53
Removing the razor blade
-Point sculpting edge upward
-Tightly grasp razor handle and shank
- Use guard to push blade out
54
Inserting the razor blade
-Hold razor handle and shank with blade slot upward
-grasp razor blade with sculpting edge pointing upward
- align and insert blade into blade slot until secure
- position razor guard between teeth and edge of blade
-firmly push blade into full slot position
55
Razor dispenser
Use dispenser to slide on new blade once old one has been removed
- discard old blade in puncture proof container
56
Clippers
-Create variety of effects depending on the blade attachment used
- create clean, precise lines or a soft, broom-like effect
- come with attachments called guards, and enable consistent distance to the head and even lengths
-used to quickly sculpt larger sections of hair
57
Trimmers (Small clippers)
Outline and refine the hairline ,beard, mustache, and sideburn areas
58
Parts of the clippers
1. Moveable blade
2. Adjustable stationary blade
3. adjustable blade lever
4. on-off switch
5. hinge
6. electric cord
59
How to hold the clippers
1.Position palm over clippers and position thumb on side of the clippers
2. Position thumb on top of clippers and position remaining fingers underneath
60
Combs
-Distribute and control hair
- have different amounts of spacing between teeth
61
Shampoo comb
Detangles wet hair
62
Master sketcher
-Distributes hair
-Overcomb technique
63
Cutting comb
-Distributes medium-sized sections of hair
64
Taper/Barber comb
sculpts close to head
65
Sculpting essentials
-Hair sculpting supplies include disposable items such as neck strips and reusable items such as towels, capes and water bottles
-Hair sculpting products range in viscosity from liquids to solids that can be used throughout the hair sculpting service
- hair sculpting equipment includes the furnishings, such as shampoo bowl, necessary for a professional sculpting service
66
7 Sculpting procedures
1.Section
2. Head Position
3. Part
4.Distribute
5. Project
6.finger/Shear position
7.Design line
67
Section
- The number of sections and types of sectioning patterns depend on the type of sculpture being created and are determined by:
-Changes in design lines, projection angles or distribution
-Hairs natural growth patterns
-Each form proportional relationship within the combination form
68
Fringe Area
Area in front of apex and extends to outer corner of each eye
68
top
upper portion of scalp behind forehead
69
Crest area
Widest area of the head
70
Exterior
area below crest
71
Apex
top of highest point of the head
72
Crown
area in the upper back and top of the crest area
73
Side
area in front and above the ear
74
Back
Area in back of ear
75
Occipital
protruding bone inthe back of the head
76
Nape
Area below the occipital
77
Head position
-Directly influences the fall of the hair, which affects the texture and direction of the sculpted line
-A constant head position maintains consistency while sculpting
78
Head position :upright
Achieves the most natural, pure result
79
Head position: Forward
- stretches the neck
- lengths are shorter in nape, creating longer surface lengths
- results in slight underbevel effect
-used when refining form lines
80
Head position: Tilted
Used when refining form lines
81
part
partings: lines that subdivide sections of hair in order to separate, distribute and control the hair while sculpting
82
horizontal part
parallel to horizon
83
Diagonal Back
- in between horizontal and vertical
-imply motion
84
Diagonal Forward
in between horizontal and vertical
85
Vertical
perpendicular to horizon
86
concave
Curve inward like inside of sphere
87
Convex
Curve outward like outside of sphere
88
Celestial Axis
symbol used to identify straight or curved lines, directions and projection angles
89
Distribute
distribution: Direction the hair is combed in relation to its base parting
90
4 Types of distribution
1. Natural
2. Perpendicular
3.Shifted
4. Directional
91
Natural distribution
- Direction hair assumes as it falls naturally from the head due to gravity
-Used from horizontal and diagonal partings
- primarily used to create solid forms
92
perpendicular distribution
-hair is combed at a 90* angle or right angle from its base parting
-used from horizontal, diagonal or vertical partings
- Primarily used to sculpt graduated and layered forms
93
shifted distribution
-Hair is combed out of natural distribution in any direction except perpendicular to its base parting
-Used from horizontal, diagonal or vertical partings
- Used for exaggerated length increases and blending within the form
-used for most forms except solid
94
Directional distribution
-Hair is distributed straight up, straight out or straight back form the curve of the head
- used from horizontal, vertical and diagonal partings
- results in length increases due to the curve of the head and is often used when sculpting along a plane
-used in planar sculpting, where the hair is sculpted along the horizontal and vertical planes
95
Project
Projection: angle the hair is held in relation to the curve of the head prior to and while sculpting
- Also known as elevation
96
Most common projection angles
0*,45* and 90*
97
Projection angle ranges
Low projection: angles from 0*-30*
Medium projection: 30*-60*
High projection:60*-90*
-Below 90* produces weight
- 90* and above layers hair and diminishes weight
98
Projection for solid form
-natural fall is the natural position hair assumes due to gravitational pull and is neither lifted away nor moved toward the scalp
- 0* hair is held flat to the surface of the head
- in some cases 0* and natural fall is the same
99
Projection for graduated form
Standard angle used is 45*
- the higher the angle, the greater amount of graduated texture
100
Projection for increase-layered form
-angle of stationary design design line (0*,45* or 90*) establishes location where all other lengths are converged
-projection angle of the first parting is the most important because it serves as a stationary design line to which all other lengths are converged
101
projection for uniformly layered form
-90* projection angle from the curve of the head
-Also called normal projection
102
Finger/Shear position
position of the fingers and the shears relative to the base parting
1.Parallel
2.Non Parallel
103
Parallel finger/shear position
-Fingers positioned an equal distance away from parting while sculpting
-results in purest reflection of chosen line
- also known as parallel sculpting
104
Nonparallel Finger/Shear Position
-Fingers are positioned unequally away from the parting while sculpting
-Creates exaggerated length increases to blend between contrasting lengths
105
Design Line
Artistic pattern or length guide used while sculpting, which can be stationary or mobile
106
Stationary design line
-Constant, stable guide which all lengths are directed
-used when progression of lengths in the opposite direction is desired
-Used to sculpt solid and increase layered forms and a weight area in graduated forms
107
Mobile design line
-Moveable guide that consists of a small amount of previously sculpted hair used as a length guide to sculpt subsequent partings
- also known as traveling guide
- used to sculpt graduated and layered forms and square combination forms
108
Cross checking
-Final stage in sculpting
-Balance and accuracy are checked using the line opposite the original parting pattern
-unwanted lengths found while cross checking must be sculpted using original parting pattern
109
Sculpting considerations
-Growth patterns
- Fringe and nape variations
- curly hair considerations
110
Growth patterns
Determined by the angle and direction at which hair grows out of the scalp
- Natural parts may influence the overall design proportions and symmetry
111
Widows peak
forms from a point at front hairline and curves to one side
112
Cowlick
straight or wavy hair at front hairline or crown that moves to the right or left
113
Whorl
Strong circular directional growth on either side of nape or crown
114
Fringe
Hair that partially or completely covers the forehead in a hair design
115
Layered fringe
adds texture, fullness and height
116
Long fringe
Can be swept to the side to expose the forehead
117
Solid fringe
can frame the eyes
118
Curly hair considerations
-If the hair will be worn straight, shampoo, airform and/or flat iron the hair straight before sculpting
- If the hair will be worn naturally curly,shampoo and towel dry the hair
119
controlling curly hair
use a comb instead of your fingers to control curly hair while sculpting
120
Advantages of sculpting dry:
-being able to see how the hair falls naturally
-Ability to observe the shape of structure as it is created
121
