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Cosmetology 111 & 112 > COS Concepts 1-EXAM > Flashcards

COS Concepts 1-EXAM Flashcards

Exam 10/16/24

1
Q

3 Elements of long hair design?

A

Form, Texture, and Color

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2
Q

Long hair designs are

A

3-Dimensional

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3
Q

Levels of Observation

A

Basic, Detail and Abstract

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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

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5
Q

Basic Level

A

Form and shape
-outer shape or outline of 3-dimensional form
- identified by position of volume

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6
Q

Detail level

A

Texture and color
- Smooth(Unactivated)
-Rough (Activated)
-determine techniques used to create texture
-Determine how color affects the design

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7
Q

Abstract Level

A

Direction
-Overall direction
-Directions in the form

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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

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9
Q

Focal Point

A

-Area where the eye is drawn
- Area where main emphasis of volume or mass is placed

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10
Q

Equal height and width

A

-Volume positioned equally throughout
-Attention not focused on any particular area

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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

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12
Q

More length than height

A

focuses attention at nape or below shoulders

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13
Q

More Width than height or length

A

shape draws eye horizontally across design

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14
Q

Fillers

A

-Loose fibers or padding
-Can be used to expand design or create specific forms or shapes

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15
Q

What influences the feeling of the design?

A

Size & Position

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16
Q

Texture

A

-Unactivated(Smooth)
-Activated (Patterned)
-Influenced by
-Techniques used
- Amount of existing or designed curl texture

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17
Q

Color

A

Can play Integral role by:
-Leading eye through movements of a design
- Creating focal point

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18
Q

Direction

A

-Determined by position of shapes or volume within design

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19
Q

celestial axis

A

Can be used to analyze:
-Overall direction
-Direction within design
-Clockwise/Counterclockwise
-vertical/horizontal
-diagonal

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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

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21
Q

Proportion and balance

A

Proportional relationship between:
-Size, Shape, Texture and color

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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

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23
Q

Square form

A

A weight area is created where the increase-layered form meets the graduated form, resulting in a square form

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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

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25
Q

the surface texture of a hair design can be observed and analyzed in….

A

Natural fall

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26
Q

The concentration of length within a given area is known as…

A

Weight

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27
Q

The widest area of the head is known as the

A

Crest

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28
Q

The area above the crest is known as the..?

A

Interior

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29
Q

The area below the crest is known as the….?

A

Exterior

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30
Q

The form that progresses from shorter exterior lengths to longer interior lengths with a maximum weight at the form line is the…?

A

Solid Form

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31
Q

A very short version of the graduated form is known as….?

A

Gradation

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32
Q

Two or more of the 4 basic forms within a sculpture is known as a….?

A

Combination form

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33
Q

Sculpture Transformation

A

all about changing shape, texture and structure

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34
Q

Two ways to analyze the structure of a hair sculpture:

A
  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
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35
Q

Solid form

A

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

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36
Q

Graduated form

A

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

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37
Q

Increase-layered form

A

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

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38
Q

Uniformly layered form

A

color-Green
shape-circular
texture-activated
structure-same length throughout
weight- no concentration of weight since lengths disperse across the curves of the head

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39
Q

5 common sculpting tools

A

Shears, Clippers, Taper shears, Combs, Razors

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40
Q

Shears

A

-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

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41
Q

parts of the shears

A

Finger brace, finger grip, and still blade, movable blade, shank, thumb grip and hand screw or tension screw

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42
Q

How to hold shears and comb

A

-Insert ring finger in still blade
-insert thumb in moveable blade
-remove thumb and palm shears
- hold comb

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43
Q

Sculpting positions

A

Palm down- Solid form
Palm up- diagonal lines

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44
Q

Sculpting positions pt 2

A

Palm-to-palm: Graduated forms
on top of the fingers: On top of head
-Layers

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45
Q

Taper shears

A
  • 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
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46
Q

Parts of the taper shears

A

1.Finger brace
2. Finger grip
3. thumb grip
4. tension screw
5. shank
6. still notched blade
7. Movable edge blade

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47
Q

Types of taper shears

A

-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
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48
Q

Channeling shears

A

Wide notches produce dramatic chunky effect

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49
Q

Razors

A

-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
Q

Parts of a razor

A
  1. blade edge with guard
  2. blade guard
  3. blade edge
  4. handle
    5.Tang
    6.shoulder
    7.shank
  5. thumb grip
51
Q

How to hold the razor

A

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
Q

how to hold the razor pt 2

A

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
Q

Removing the razor blade

A

-Point sculpting edge upward
-Tightly grasp razor handle and shank
- Use guard to push blade out

54
Q

Inserting the razor blade

A

-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
Q

Razor dispenser

A

Use dispenser to slide on new blade once old one has been removed
- discard old blade in puncture proof container

56
Q

Clippers

A

-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
Q

Trimmers (Small clippers)

A

Outline and refine the hairline ,beard, mustache, and sideburn areas

58
Q

Parts of the clippers

A
  1. Moveable blade
  2. Adjustable stationary blade
  3. adjustable blade lever
  4. on-off switch
  5. hinge
  6. electric cord
59
Q

How to hold the clippers

A

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
Q

Combs

A

-Distribute and control hair
- have different amounts of spacing between teeth

61
Q

Shampoo comb

A

Detangles wet hair

62
Q

Master sketcher

A

-Distributes hair
-Overcomb technique

63
Q

Cutting comb

A

-Distributes medium-sized sections of hair

64
Q

Taper/Barber comb

A

sculpts close to head

65
Q

Sculpting essentials

A

-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
Q

7 Sculpting procedures

A

1.Section
2. Head Position
3. Part
4.Distribute
5. Project
6.finger/Shear position
7.Design line

67
Q

Section

A
  • 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
Q

Fringe Area

A

Area in front of apex and extends to outer corner of each eye

68
Q

top

A

upper portion of scalp behind forehead

69
Q

Crest area

A

Widest area of the head

70
Q

Exterior

A

area below crest

71
Q

Apex

A

top of highest point of the head

72
Q

Crown

A

area in the upper back and top of the crest area

73
Q

Side

A

area in front and above the ear

74
Q

Back

A

Area in back of ear

75
Q

Occipital

A

protruding bone inthe back of the head

76
Q

Nape

A

Area below the occipital

77
Q

Head position

A

-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
Q

Head position :upright

A

Achieves the most natural, pure result

79
Q

Head position: Forward

A
  • stretches the neck
  • lengths are shorter in nape, creating longer surface lengths
  • results in slight underbevel effect
    -used when refining form lines
80
Q

Head position: Tilted

A

Used when refining form lines

81
Q

part

A

partings: lines that subdivide sections of hair in order to separate, distribute and control the hair while sculpting

82
Q

horizontal part

A

parallel to horizon

83
Q

Diagonal Back

A
  • in between horizontal and vertical
    -imply motion
84
Q

Diagonal Forward

A

in between horizontal and vertical

85
Q

Vertical

A

perpendicular to horizon

86
Q

concave

A

Curve inward like inside of sphere

87
Q

Convex

A

Curve outward like outside of sphere

88
Q

Celestial Axis

A

symbol used to identify straight or curved lines, directions and projection angles

89
Q

Distribute

A

distribution: Direction the hair is combed in relation to its base parting

90
Q

4 Types of distribution

A
  1. Natural
  2. Perpendicular
    3.Shifted
  3. Directional
91
Q

Natural distribution

A
  • 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
Q

perpendicular distribution

A

-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
Q

shifted distribution

A

-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
Q

Directional distribution

A

-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
Q

Project

A

Projection: angle the hair is held in relation to the curve of the head prior to and while sculpting
- Also known as elevation

96
Q

Most common projection angles

A

0,45 and 90*

97
Q

Projection angle ranges

A

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
Q

Projection for solid form

A

-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
Q

Projection for graduated form

A

Standard angle used is 45*
- the higher the angle, the greater amount of graduated texture

100
Q

Projection for increase-layered form

A

-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
Q

projection for uniformly layered form

A

-90* projection angle from the curve of the head
-Also called normal projection

102
Q

Finger/Shear position

A

position of the fingers and the shears relative to the base parting
1.Parallel
2.Non Parallel

103
Q

Parallel finger/shear position

A

-Fingers positioned an equal distance away from parting while sculpting
-results in purest reflection of chosen line
- also known as parallel sculpting

104
Q

Nonparallel Finger/Shear Position

A

-Fingers are positioned unequally away from the parting while sculpting
-Creates exaggerated length increases to blend between contrasting lengths

105
Q

Design Line

A

Artistic pattern or length guide used while sculpting, which can be stationary or mobile

106
Q

Stationary design line

A

-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
Q

Mobile design line

A

-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
Q

Cross checking

A

-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
Q

Sculpting considerations

A

-Growth patterns
- Fringe and nape variations
- curly hair considerations

110
Q

Growth patterns

A

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
Q

Widows peak

A

forms from a point at front hairline and curves to one side

112
Q

Cowlick

A

straight or wavy hair at front hairline or crown that moves to the right or left

113
Q

Whorl

A

Strong circular directional growth on either side of nape or crown

114
Q

Fringe

A

Hair that partially or completely covers the forehead in a hair design

115
Q

Layered fringe

A

adds texture, fullness and height

116
Q

Long fringe

A

Can be swept to the side to expose the forehead

117
Q

Solid fringe

A

can frame the eyes

118
Q

Curly hair considerations

A

-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
Q

controlling curly hair

A

use a comb instead of your fingers to control curly hair while sculpting

120
Q

Advantages of sculpting dry:

A

-being able to see how the hair falls naturally
-Ability to observe the shape of structure as it is created

121
Q
A

Cosmetology 111 & 112 (5 decks)

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