THE ART &

SCIENCE OF
MEN’S HAIR DESIGN
TECHNIQUE GUIDE
OUR MISSION AT AVEDA IS TO CARE FOR THE
WORLD WE LIVE IN, FROM THE PRODUCTS WE
MAKE TO THE WAYS IN WHICH WE GIVE BACK
TO SOCIETY. AT AVEDA, WE STRIVE TO SET AN
EXAMPLE FOR ENVIRONMENTAL LEADERSHIP
AND RESPONSIBILITY, NOT JUST IN THE WORLD
OF BEAUTY, BUT AROUND THE WORLD. HORST RECHELBACHER
FOUNDER

aveda beliefs
1. We believe in ­treating ourselves,
each other and the planet with
care and respect.
2. We believe social responsibility
is our responsibility.
3. We believe ecological and profit
goals are mutually achievable.
4. We believe our authenticity
and experience are our points
of difference.
1611-004_AVM_EduStu_Guide.indd 1
aveda vision Connecting beauty,
environment and well-being.
5. We believe in inspiring and
­educating ­people to integrate
­wellness and beauty in their lives.
6.We believe in the power of
oneness, from our global image
to a focused network.
7. We believe learning never ends.
8. We believe in encouraging
­innovation and empowered
decision-making.
9. We believe our actions,
products and services should
always embody excellence.
10. We believe personal and
organizational balance is the
key to sustainable success.
11. We believe true leadership
is delivered with passion
and by example.
Introduction
Because men’s expectations
are often different than women’s,
it’s vital that male-specific design
objectives, techniques and
service philosophies are
applied to meet or exceed each
male guest’s expectations.
X © aveda 2007 | men’s hair design | color fundamentals | understanding color 
It’s important to develop a
mindset and vocabulary that is in
synch with his persona, to create
clear consensus around design
objectives and to execute them
with strong technical strategy
and skill. This approach to service,
delivered in an atmosphere of
care and comfort will help you
build a healthy male clientele.
Aveda continues our commitment
to bringing all relative technical
knowledge to the industry
by offering a comprehensive
approach to serving the male guest.
3/30/07 5:16:39 PM
 table of Contents lesson title
tHe art & sCienCe of men’s Hair design

1 tHe modern male guest....................................................  5 tHe faCeted layers teCHnique ...................................39

lesson : creating a comfortable environment for men ...........................2 lesson : the faceted layers technique .................................................0
lesson 2: the service wheel ...................................................................3 lesson 2: variation  ............................................................................ 3
lesson 3: adjusting your vocabulary ....................................................... lesson 3: variation 2 ...........................................................................
lesson : consulting with male guests ................................................... 5

6 tHe freeHand and over-Comb teCHnique ........... 7

2 design assessment............................................................. lesson : the freehand and over-comb technique ..................................8
lesson : principles of design .............................................................. 2 lesson 2: variation  ............................................................................ 52
lesson 2: head shape proportions ....................................................... 5 lesson 3: variation 2 ........................................................................... 53
lesson 3: design principles for men’s hair ............................................ 8

7 Completing tHe serviCe wHeel ................................. 57

3 tools and tHe serviCe blueprint ............................. 2 lesson : finishing and goodbye ..........................................................58
lesson : the service blueprint .............................................................22
lesson 2: tools of the trade .................................................................. 23
glossary of terms ...............................................................60
4 seeing and Cutting sHapes .......................................... 27
lesson : static versus biased shapes ..................................................28 The contents of these educational materials are the property of Aveda and may
not be copied or distributed without the expressed permission of Aveda.
lesson 2: distribution of weight in hair cutting .....................................29
lesson 3: sectioning techniques ..........................................................30
lesson : body posture for stylist and guest .........................................32
lesson 5: building weight .................................................................... 33
lesson 6: cutting vertical shapes .........................................................3
lesson 7: elongating the shape ............................................................ 35

table of contents | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 3

1611-004_AVM_EduStu_Guide.indd 2-3 3/30/07 5:16:39 PM

 table of Contents lesson title
tHe art & sCienCe of men’s Hair design

1 tHe modern male guest....................................................  5 tHe faCeted layers teCHnique ...................................39

lesson : creating a comfortable environment for men ...........................2 lesson : the faceted layers technique .................................................0
lesson 2: the service wheel ...................................................................3 lesson 2: variation  ............................................................................ 3
lesson 3: adjusting your vocabulary ....................................................... lesson 3: variation 2 ...........................................................................
lesson : consulting with male guests ................................................... 5

6 tHe freeHand and over-Comb teCHnique ........... 7

2 design assessment............................................................. lesson : the freehand and over-comb technique ..................................8
lesson : principles of design .............................................................. 2 lesson 2: variation  ............................................................................ 52
lesson 2: head shape proportions ....................................................... 5 lesson 3: variation 2 ........................................................................... 53
lesson 3: design principles for men’s hair ............................................ 8

7 Completing tHe serviCe wHeel ................................. 57

3 tools and tHe serviCe blueprint ............................. 2 lesson : finishing and goodbye ..........................................................58
lesson : the service blueprint .............................................................22
lesson 2: tools of the trade .................................................................. 23
glossary of terms ...............................................................60
4 seeing and Cutting sHapes .......................................... 27
lesson : static versus biased shapes ..................................................28 The contents of these educational materials are the property of Aveda and may
not be copied or distributed without the expressed permission of Aveda.
lesson 2: distribution of weight in hair cutting .....................................29
lesson 3: sectioning techniques ..........................................................30
lesson : body posture for stylist and guest .........................................32
lesson 5: building weight .................................................................... 33
lesson 6: cutting vertical shapes .........................................................3
lesson 7: elongating the shape ............................................................ 35

table of contents | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 3

1611-004_AVM_EduStu_Guide.indd 2-3 3/30/07 5:16:39 PM

 chapter 1: THE MODERN MALE GUEST

overview As men focus on optimizing their look, they turn to salon professionals for
elevated levels of design and technical expertise. An understanding of how
to ensure that your male guests have positive salon experiences will lead to
satisfied guests and lasting, loyal relationships.
objectives In this chapter, you will learn to:
1. Create a salon environment that is comfortable for men
2. Work within a Service Wheel that accommodates the guest from start to finish
3. Use appropriate language to effectively consult with your male guest and
 men’s hair design | color fundamentals | understanding color | © aveda 2007 X create design consensus X aveda 2007 | men’s hair design | color fundamentals | understanding color 
©

1611-004_AVM_EduStu_Guide.indd 4-1 3/30/07 5:16:42 PM

 chapter 1: THE MODERN MALE GUEST

overview As men focus on optimizing their look, they turn to salon professionals for
elevated levels of design and technical expertise. An understanding of how
to ensure that your male guests have positive salon experiences will lead to
satisfied guests and lasting, loyal relationships.
objectives In this chapter, you will learn to:
1. Create a salon environment that is comfortable for men
2. Work within a Service Wheel that accommodates the guest from start to finish
3. Use appropriate language to effectively consult with your male guest and
 men’s hair design | color fundamentals | understanding color | © aveda 2007 X create design consensus X aveda 2007 | men’s hair design | color fundamentals | understanding color 
©

1611-004_AVM_EduStu_Guide.indd 4-1 3/30/07 5:16:42 PM

 1
The Aveda Experience includes three

2
areas of focus on our Service Wheel:
Greeting, Treatment/Ritual, Goodbye

goodbye greeting

treatment/
ritual
Creating a Comfortable tHe serviCe wHeel
environment for men from tHe moment your guest walks tHrougH tHe salon door
not all men are as Comfortable as women in a salon until He pre-books His next appointment, you Have a series of
environment. to serve male guests well it’s important opportunities to build His trust and loyalty. being ConsCious of
to Consider tHeir masCuline point of view and do wHat tHe serviCe wHeel Helps ensure tHat you are Creating a
you Can to make tHem feel welCome and at ease. Comfortable experienCe for your guest from start to finisH.
Creating a The most effective way to make · Identifying male-specific
greeting treatment/ritual Once you and your guest agree goodbye
Comfortable sure a salon is comfortable for services on the menu on a design objective, the next
environment men is to visualize it through their When you visit someone’s The Greeting and Treatment/Ritual A product prescription and
· Offering men T-shirts step is to create a technical strategy,
for men eyes. Whenever possible, try to home, a warm greeting starts the areas of the Service Wheel intersect education, an invitation to
instead of gowns prescribe product and record
ensure your guest’s comfort by: experience on a positive tone. during the consultation when pre-book the next appointment
Humans are instinctive. When these decisions on a Service
· Trying to include hours In the same way, it’s important you ask open-ended questions, and a warm goodbye complete
they enter a new environment, · Displaying photographs of men Blueprint. With a firm technical
that accommodate you ensure that when your guest learn about your guest’s desired the Service Wheel. While saying
they are aware of a sense of with great hair strategy in hand, you can execute
early-morning guests enters the salon he is greeted outcome, offer design concepts goodbye to your guest, remember
space, color and tone that makes the hair cut with professional skill.
· Having men’s periodicals available warmly and offered a beverage. and come to a consensus. you are creating a lasting
them feel comfortable—or not. · Offering privacy to men,
in the waiting and styling areas While you finish your guest’s hair, impression of the experience
if requested, while they
take time to educate them about he’s had with you and your salon.
· Carrying a line of products receive chemical services
styling products and finishing
generally prescribed for men
techniques they can use at home
and making sure they are easy
to enhance their look.
to locate and understand

2 men’s hair design | modern male guest | creating a comfortable environment for men | © aveda 2007 © aveda 2007 | men’s hair design | modern male guest | the service wheel 3

1611-004_AVM_EduStu_Guide.indd 2-3 3/30/07 5:16:45 PM

 1
The Aveda Experience includes three

2
areas of focus on our Service Wheel:
Greeting, Treatment/Ritual, Goodbye

goodbye greeting

treatment/
ritual
Creating a Comfortable tHe serviCe wHeel
environment for men from tHe moment your guest walks tHrougH tHe salon door
not all men are as Comfortable as women in a salon until He pre-books His next appointment, you Have a series of
environment. to serve male guests well it’s important opportunities to build His trust and loyalty. being ConsCious of
to Consider tHeir masCuline point of view and do wHat tHe serviCe wHeel Helps ensure tHat you are Creating a
you Can to make tHem feel welCome and at ease. Comfortable experienCe for your guest from start to finisH.
Creating a The most effective way to make · Identifying male-specific
greeting treatment/ritual Once you and your guest agree goodbye
Comfortable sure a salon is comfortable for services on the menu on a design objective, the next
environment men is to visualize it through their When you visit someone’s The Greeting and Treatment/Ritual A product prescription and
· Offering men T-shirts step is to create a technical strategy,
for men eyes. Whenever possible, try to home, a warm greeting starts the areas of the Service Wheel intersect education, an invitation to
instead of gowns prescribe product and record
ensure your guest’s comfort by: experience on a positive tone. during the consultation when pre-book the next appointment
Humans are instinctive. When these decisions on a Service
· Trying to include hours In the same way, it’s important you ask open-ended questions, and a warm goodbye complete
they enter a new environment, · Displaying photographs of men Blueprint. With a firm technical
that accommodate you ensure that when your guest learn about your guest’s desired the Service Wheel. While saying
they are aware of a sense of with great hair strategy in hand, you can execute
early-morning guests enters the salon he is greeted outcome, offer design concepts goodbye to your guest, remember
space, color and tone that makes the hair cut with professional skill.
· Having men’s periodicals available warmly and offered a beverage. and come to a consensus. you are creating a lasting
them feel comfortable—or not. · Offering privacy to men,
in the waiting and styling areas While you finish your guest’s hair, impression of the experience
if requested, while they
take time to educate them about he’s had with you and your salon.
· Carrying a line of products receive chemical services
styling products and finishing
generally prescribed for men
techniques they can use at home
and making sure they are easy
to enhance their look.
to locate and understand

2 men’s hair design | modern male guest | creating a comfortable environment for men | © aveda 2007 © aveda 2007 | men’s hair design | modern male guest | the service wheel 3

1611-004_AVM_EduStu_Guide.indd 2-3 3/30/07 5:16:45 PM

 3 Consulting
a djusting your voCabulary
Consulting witH male guests demands an adjusted voCabulary. tHey generally speak using
simple, direCt words and are more Comfortable wHen a Conversation Carries tHat tone.
a different
approaCH
Keep in mind that men can be
less adventurous when it comes
to style. While your female guests
might think a hair cut that is
“fun and trendy” sounds exciting,
those same words could have the
opposite effect when delivered to
a man. He’d rather hear the simple
words “appropriate and current.”
 men’s hair design | modern male guest | adjusting your vocabulary | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 4-5
When consulting with your male
guest, your choice of words is very
important. Words like “tendrils,”
“softness,” “fringe” and “wisps”
are rarely the best choices.
Instead, use direct words that
are universally understood and
avoid industry jargon like “buzz”
or “fade” when consulting with men.
witH male guests
tHe overarCHing goal during tHe Consultation is to make your
guest feel Comfortable and informed before tHe serviCe begins.
during tHe Consultation tHey sHould also realize sometHing tHat’s
4
vital to retaining guest loyalty: you Care and Can be trusted.
Care is a verb 1. ADJUST YOUR MINDSET 3. CREATE SOLUTIONS Consultation begin witH tHe
Going into the consultation,
Make sure your mindset comes Your guest will know you care guidelines end in mind
voCabulary tips Instead, speak in more traditional, When you put your male guests
make sure you are prepared to
from a calm and positive place. when you help create design
Here are some guidelines that will When you approach your guest
Avoid soft, more traditionally
male-friendly and design-based at ease and make them feel
demonstrate that you care
It’s not about being right. Your solutions that fulfill their
help you understand your guest’s for a consultation, remember that
terms like: comfortable in the salon goal is to offer design ideas that expectations. The solutions
feminine words like: about your guest and you want desired outcome, position your the goal is to create solutions and
· Proportion · Placement environment, most will open up will work well for your guest and you offer should combine the
him to look and feel great. design ideas and select the proper consensus. It’s not about either of
· Wispy and talk about their hair. They meet their expectations. preferences of your guest with
· Current · Strong Care is a verb that requires action tools and techniques. you being right or wrong. It’s about
· Trendy may even ask for styling and your knowledge and experience
· Structured · Appropriate on your part. There are three coming to an understanding of
· Swept grooming suggestions. Develop 2. LISTEN of what will work best for them.
· Vertical · Composition primary components to care what your guest desires, then
· Tendrils a relaxed exchange and you will Ask questions that encourage
· Balanced · Lean during a consultation: using your knowledge to offer
· Feathered cultivate loyal guests. dialogue and listen much more
· Controlled · Coarse design options.
· Flowing than you speak. Only after you
· Modern · Narrow
· Elegant have a good understanding of The most important thing is to make
· Horizontal · Defined
· Bounce your guest’s wishes should you sure your guest feels good during
· Customized · Tall
offer design concepts. the consultation and throughout
· Matte
his experience with you in the salon.
That’s how you cultivate trust and
earn guest loyalty.
© aveda 2007 | men’s hair design | modern male guest | consulting with male guests 5
3/30/07 5:16:46 PM
 3 Consulting
a djusting your voCabulary
Consulting witH male guests demands an adjusted voCabulary. tHey generally speak using
simple, direCt words and are more Comfortable wHen a Conversation Carries tHat tone.
a different
approaCH
Keep in mind that men can be
less adventurous when it comes
to style. While your female guests
might think a hair cut that is
“fun and trendy” sounds exciting,
those same words could have the
opposite effect when delivered to
a man. He’d rather hear the simple
words “appropriate and current.”
 men’s hair design | modern male guest | adjusting your vocabulary | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 4-5
When consulting with your male
guest, your choice of words is very
important. Words like “tendrils,”
“softness,” “fringe” and “wisps”
are rarely the best choices.
Instead, use direct words that
are universally understood and
avoid industry jargon like “buzz”
or “fade” when consulting with men.
witH male guests
tHe overarCHing goal during tHe Consultation is to make your
guest feel Comfortable and informed before tHe serviCe begins.
during tHe Consultation tHey sHould also realize sometHing tHat’s
4
vital to retaining guest loyalty: you Care and Can be trusted.
Care is a verb 1. ADJUST YOUR MINDSET 3. CREATE SOLUTIONS Consultation begin witH tHe
Going into the consultation,
Make sure your mindset comes Your guest will know you care guidelines end in mind
voCabulary tips Instead, speak in more traditional, When you put your male guests
make sure you are prepared to
from a calm and positive place. when you help create design
Here are some guidelines that will When you approach your guest
Avoid soft, more traditionally
male-friendly and design-based at ease and make them feel
demonstrate that you care
It’s not about being right. Your solutions that fulfill their
help you understand your guest’s for a consultation, remember that
terms like: comfortable in the salon goal is to offer design ideas that expectations. The solutions
feminine words like: about your guest and you want desired outcome, position your the goal is to create solutions and
· Proportion · Placement environment, most will open up will work well for your guest and you offer should combine the
him to look and feel great. design ideas and select the proper consensus. It’s not about either of
· Wispy and talk about their hair. They meet their expectations. preferences of your guest with
· Current · Strong Care is a verb that requires action tools and techniques. you being right or wrong. It’s about
· Trendy may even ask for styling and your knowledge and experience
· Structured · Appropriate on your part. There are three coming to an understanding of
· Swept grooming suggestions. Develop 2. LISTEN of what will work best for them.
· Vertical · Composition primary components to care what your guest desires, then
· Tendrils a relaxed exchange and you will Ask questions that encourage
· Balanced · Lean during a consultation: using your knowledge to offer
· Feathered cultivate loyal guests. dialogue and listen much more
· Controlled · Coarse design options.
· Flowing than you speak. Only after you
· Modern · Narrow
· Elegant have a good understanding of The most important thing is to make
· Horizontal · Defined
· Bounce your guest’s wishes should you sure your guest feels good during
· Customized · Tall
offer design concepts. the consultation and throughout
· Matte
his experience with you in the salon.
That’s how you cultivate trust and
earn guest loyalty.
© aveda 2007 | men’s hair design | modern male guest | consulting with male guests 5
3/30/07 5:16:46 PM
 Consulting witH male guests
use leading
questions
Leading questions encourage your
guests to speak freely about hair
length and comfort levels. They
encourage an open discussion about
their interests and preferences
and help you create design
options. And they reveal that you
intend to make them look good
and feel comfortable.
WRONG WAY:
What do you want today? (You’re
asking him to do the design work)
Just a trim? (Not a leading question)
6 men’s hair design | modern male guest | consulting with male guests | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 6-7
RIGHT WAY:
Is there a length you’re generally
most comfortable wearing
your hair?
Do you have insights about what
usually works best for you?
While asking questions, let your
intent show through. Make it clear
that you care about your guests
and want them to be comfortable
and happy with their hair. Show
that you’re knowledgeable, assured
and can confidently offer design
options and suggestions.
use tHe
Consultation
to let your
guests know
wHat you know
Has it been about six weeks since
you had your hair colored?
It looks as though you generally
wear you hair clean-cut around the
ears. Does that work well for you?
Your guest is sitting in your chair
because he expects to be in the
hands of an informed professional.
During the consultation, you can
reinforce this image by asking
questions or making statements
that display your knowledge.
let your guests
know wHat you
expeCt and
wHat you like
Was traffic a problem today?
The consultation can also be a
time to let your guests know, in a
gentle way, what you expect from
them. If they’re late, for example,
you might ask about traffic or if
they had trouble finding the salon.
Another effective approach is to
refer to another guest as a model
example. For instance:
That’s Bill who just left. He’s always
on time, comes in every six weeks,
and refers the greatest people.
Your guest now knows how you
would like them to act within your
professional relationship.
keep your
Conversations
relevant to tHe
salon experienCe
Have you been offered a cup of tea?
Did you get a reminder call?
What kind of work do you do and
how does that influence the way
you wear your hair?
As much as possible during the
consultation, keep your discussions
present and service-specific.
Through it all, let your intent show
through: you care. You want them
to be comfortable. You want their
service to meet their expectations.
You want to help them take care of
their hair at home. And of course,
you want them to look and feel great.
talk only about
wHat and wHy—
not How
I’m going to remove some weight
from the back and that’s going to
create less fullness and balance
the shape of your head.
Remember that your guest cannot
relate to descriptions of technical
approaches and industry jargon.
They only need to know the
feature and benefit of your design
idea or the product you are
recommending. What they don’t
need to understand is how you
intend to technically create the
look. I’m going to use a scissors
and a faceted layers technique
means nothing to most guests.
four parts of tHe
Consultation
During the consultation, be sure to
answer all your guests’ questions
and make sure they are feeling
confident and comfortable.
Four parts of the consultation:
1. Introduction
2. Information Harvesting
3. Clarification and Consensus
4. Circle Back
1. introduCtion
Whether you greet your guests
at the door or meet them at your
station be sure to offer physical
contact such as a handshake, plus
a smile and good eye contact.
Clearly offer your name…
Hello, I’m Sarah.
State your intention…
I’ll be cutting your hair today.
And check in with their needs…
Did you find the salon easily?
Can I get you anything?
It’s a good idea to preview
what will be happening during
the service.
I thought we’d talk about your hair
and discuss what options might
work best. Then we’ll shampoo your
hair, cut it, rinse, style and finish.
Consulting witH male guests
2. information
Harvesting
To encourage your guests to
talk about their hair, ask questions
that give them a chance to speak
openly and allow you to gain
the information you need to
responsibly create design options.
Along the way, listen and clarify
what you hear.
tip: Generally, your guest’s
biggest concern is the first one
mentioned. This “hot spot” topic
will usually be talked about
more than once and may be less
negotiable than others. Take care
to accommodate this concern
in your design plan. Examples:
“I don’t want it above my ears.”
“Not too short on top.”
© aveda 2007 | men’s
Questions that encourage
dialogue:
Is there a length you generally
prefer?
Is there anything you particularly
like or don’t like about your hair?
Have you brought any pictures
with you today?
Do you generally use product
to style your hair?
Clarification questions:
So you like your hair to fall
slightly over your ears, then you
comb it back?
So you’re more comfortable
with less curl and you’d like to
minimize it?
So you like the way this model’s
hair is shaped in the back?
So you leave your hair wet and let
it air dry? o
hair design | modern male guest | consulting with male guests 7
3/30/07 5:16:48 PM
 Consulting witH male guests
use leading
questions
Leading questions encourage your
guests to speak freely about hair
length and comfort levels. They
encourage an open discussion about
their interests and preferences
and help you create design
options. And they reveal that you
intend to make them look good
and feel comfortable.
WRONG WAY:
What do you want today? (You’re
asking him to do the design work)
Just a trim? (Not a leading question)
6 men’s hair design | modern male guest | consulting with male guests | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 6-7
RIGHT WAY:
Is there a length you’re generally
most comfortable wearing
your hair?
Do you have insights about what
usually works best for you?
While asking questions, let your
intent show through. Make it clear
that you care about your guests
and want them to be comfortable
and happy with their hair. Show
that you’re knowledgeable, assured
and can confidently offer design
options and suggestions.
use tHe
Consultation
to let your
guests know
wHat you know
Has it been about six weeks since
you had your hair colored?
It looks as though you generally
wear you hair clean-cut around the
ears. Does that work well for you?
Your guest is sitting in your chair
because he expects to be in the
hands of an informed professional.
During the consultation, you can
reinforce this image by asking
questions or making statements
that display your knowledge.
let your guests
know wHat you
expeCt and
wHat you like
Was traffic a problem today?
The consultation can also be a
time to let your guests know, in a
gentle way, what you expect from
them. If they’re late, for example,
you might ask about traffic or if
they had trouble finding the salon.
Another effective approach is to
refer to another guest as a model
example. For instance:
That’s Bill who just left. He’s always
on time, comes in every six weeks,
and refers the greatest people.
Your guest now knows how you
would like them to act within your
professional relationship.
keep your
Conversations
relevant to tHe
salon experienCe
Have you been offered a cup of tea?
Did you get a reminder call?
What kind of work do you do and
how does that influence the way
you wear your hair?
As much as possible during the
consultation, keep your discussions
present and service-specific.
Through it all, let your intent show
through: you care. You want them
to be comfortable. You want their
service to meet their expectations.
You want to help them take care of
their hair at home. And of course,
you want them to look and feel great.
talk only about
wHat and wHy—
not How
I’m going to remove some weight
from the back and that’s going to
create less fullness and balance
the shape of your head.
Remember that your guest cannot
relate to descriptions of technical
approaches and industry jargon.
They only need to know the
feature and benefit of your design
idea or the product you are
recommending. What they don’t
need to understand is how you
intend to technically create the
look. I’m going to use a scissors
and a faceted layers technique
means nothing to most guests.
four parts of tHe
Consultation
During the consultation, be sure to
answer all your guests’ questions
and make sure they are feeling
confident and comfortable.
Four parts of the consultation:
1. Introduction
2. Information Harvesting
3. Clarification and Consensus
4. Circle Back
1. introduCtion
Whether you greet your guests
at the door or meet them at your
station be sure to offer physical
contact such as a handshake, plus
a smile and good eye contact.
Clearly offer your name…
Hello, I’m Sarah.
State your intention…
I’ll be cutting your hair today.
And check in with their needs…
Did you find the salon easily?
Can I get you anything?
It’s a good idea to preview
what will be happening during
the service.
I thought we’d talk about your hair
and discuss what options might
work best. Then we’ll shampoo your
hair, cut it, rinse, style and finish.
Consulting witH male guests
2. information
Harvesting
To encourage your guests to
talk about their hair, ask questions
that give them a chance to speak
openly and allow you to gain
the information you need to
responsibly create design options.
Along the way, listen and clarify
what you hear.
tip: Generally, your guest’s
biggest concern is the first one
mentioned. This “hot spot” topic
will usually be talked about
more than once and may be less
negotiable than others. Take care
to accommodate this concern
in your design plan. Examples:
“I don’t want it above my ears.”
“Not too short on top.”
© aveda 2007 | men’s
Questions that encourage
dialogue:
Is there a length you generally
prefer?
Is there anything you particularly
like or don’t like about your hair?
Have you brought any pictures
with you today?
Do you generally use product
to style your hair?
Clarification questions:
So you like your hair to fall
slightly over your ears, then you
comb it back?
So you’re more comfortable
with less curl and you’d like to
minimize it?
So you like the way this model’s
hair is shaped in the back?
So you leave your hair wet and let
it air dry? o
hair design | modern male guest | consulting with male guests 7
3/30/07 5:16:48 PM
 Consulting witH male guests
3. ClarifiCation
and Consensus
RECAP
When you have gathered enough
information to start making
design suggestions, recap the
consultation while highlighting
the most pertinent points.
I’d suggest that the best way
to minimize your curl is to cut it
a little shorter than usual and
use a styling product with a
moisture barrier. .
tip: When offering design
solutions, it’s best to under-promise
in order to over-deliver. Make sure
you set reasonable expectations
that you can meet or exceed.
8 men’s hair design | modern male guest | consulting with male guests | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 8-9
PRESENT AN OPTION AND STATE
ITS FEATURES AND BENEFITS
Based on what your guest has
told you and your own knowledge
and skills, present the best design
option and state its features
and benefits.
I can cut your hair to have a
casual, textured look. It should
grow out very well, but it may not
be easy to duplicate exactly the
next time you get it cut. Is that
important to you?
PREVIEW PRODUCT AND
MAINTENANCE
It’s very important that men
know what’s involved with the
care and maintenance of their
look. Describe what product(s)
and styling techniques they’ll need
for home care and make sure
they’re willing to support the look.
When both of you are clear and
comfortable with the design
plan, move forward by creating a
Service Blueprint and completing
the service.
CONSENSUS
Before moving forward, recap
the design objective. Be sure to
avoid stylist jargon.
We’re going to cut the bottom
short and create contour as we
move up to the top. We’ll leave
the top and front long so you can
wear it several ways. Great.
Let’s go to the shampoo bowl.
4. CirCle baCk
During the service, use affirmation
or deviation statements to circle
back with your guests and make
sure they’re comfortable with the
way things are progressing.
AFFIRMATION
I think this is working well.
Does this look like what you
were expecting?
DEVIATION
I know we talked about leaving it
long in the nape but the growth
pattern is very strong and I think
we’ll get better control if we cut it
shorter. Will you be comfortable
with that?
Remember that when consulting
with your guests they should
feel informed, comfortable and
well cared for throughout the
service cycle.
3/30/07 5:16:49 PM
 Consulting witH male guests
3. ClarifiCation
and Consensus
RECAP
When you have gathered enough
information to start making
design suggestions, recap the
consultation while highlighting
the most pertinent points.
I’d suggest that the best way
to minimize your curl is to cut it
a little shorter than usual and
use a styling product with a
moisture barrier. .
tip: When offering design
solutions, it’s best to under-promise
in order to over-deliver. Make sure
you set reasonable expectations
that you can meet or exceed.
8 men’s hair design | modern male guest | consulting with male guests | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 8-9
PRESENT AN OPTION AND STATE
ITS FEATURES AND BENEFITS
Based on what your guest has
told you and your own knowledge
and skills, present the best design
option and state its features
and benefits.
I can cut your hair to have a
casual, textured look. It should
grow out very well, but it may not
be easy to duplicate exactly the
next time you get it cut. Is that
important to you?
PREVIEW PRODUCT AND
MAINTENANCE
It’s very important that men
know what’s involved with the
care and maintenance of their
look. Describe what product(s)
and styling techniques they’ll need
for home care and make sure
they’re willing to support the look.
When both of you are clear and
comfortable with the design
plan, move forward by creating a
Service Blueprint and completing
the service.
CONSENSUS
Before moving forward, recap
the design objective. Be sure to
avoid stylist jargon.
We’re going to cut the bottom
short and create contour as we
move up to the top. We’ll leave
the top and front long so you can
wear it several ways. Great.
Let’s go to the shampoo bowl.
4. CirCle baCk
During the service, use affirmation
or deviation statements to circle
back with your guests and make
sure they’re comfortable with the
way things are progressing.
AFFIRMATION
I think this is working well.
Does this look like what you
were expecting?
DEVIATION
I know we talked about leaving it
long in the nape but the growth
pattern is very strong and I think
we’ll get better control if we cut it
shorter. Will you be comfortable
with that?
Remember that when consulting
with your guests they should
feel informed, comfortable and
well cared for throughout the
service cycle.
3/30/07 5:16:49 PM
 chapter 2: DESIGN ASSESSMENT

overview The Canon is a measurement system developed to assess the proportions of

the male head shape. An understanding of this set of proportions helps lead
to design concepts that accentuate the guest’s assets and customize his look.
objectives In this chapter, you will gain an understanding of:
1. The importance of understanding proportion and studying design
2. The Canon and how it reflects baseline proportions for male head shapes
10 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 3. How the consultation and Canon relate to design assessment
X aveda 2007 | men’s hair design | color fundamentals | understanding color 11
©

1611-004_AVM_EduStu_Guide.indd 10-11 3/30/07 5:16:53 PM

 chapter 2: DESIGN ASSESSMENT

overview The Canon is a measurement system developed to assess the proportions of

the male head shape. An understanding of this set of proportions helps lead
to design concepts that accentuate the guest’s assets and customize his look.
objectives In this chapter, you will gain an understanding of:
1. The importance of understanding proportion and studying design
2. The Canon and how it reflects baseline proportions for male head shapes
10 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 3. How the consultation and Canon relate to design assessment
X aveda 2007 | men’s hair design | color fundamentals | understanding color 11
©

1611-004_AVM_EduStu_Guide.indd 10-11 3/30/07 5:16:53 PM


1
p rinCiples of design
in tHe disCipline of Hair Cutting, it’s CritiCal to balanCe
Creative design witH teCHniCal expertise. sound design
ConCepts are tHe foundation of exCellent results.
tHey are supported by skillful exeCution.
proportion as
a foundation
of design
Every artistic endeavor involves
a combination of imagination and
technical expertise. To a certain
extent, all creative expression
involves a proportion of both.
While there are musicians who
cannot read music and painters
without formal training, it is
universally accepted that a high
level of technical proficiency
supports creativity.
2 men’s hair design | design assessment | principles of design | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 12-13
In the discipline of hair cutting,
there are many people who are
either technically proficient or
have a more creative feel for their
work. When cutting men’s hair, it’s
critical to not only be technically
proficient but also to develop
expertise in seeing proportion and
its relation to design. When you
master both skills, you can create
and execute design concepts that
complement individual hair types,
head shapes and overall physiology.
proportions
tHat please tHe
Human eye
Throughout history, there have
always been proportions that are
more pleasing to the human eye.
They are patterned in nature, art,
architecture and human anatomy.
From the escalating spirals found
in a common seashell to the
preferred dimensions of a picture
frame, the human eye has a
natural tendency to enjoy certain
proportional dimensions.
size shape
size texture value
texture
prinCiples of design
size sHape Color texture value
size size
shape texture
color texture
value position
A ratio known as the Golden Mean
dates back thousands of years. It is a Certain proportions that are pleasing
shape value
standard of proportion in nature, art, to the human eye have endured for
architecture and the human anatomy. more than 2500 years.
tHe study of design allows a stylist to adjust the
and Hair Cutting distribution of weight in a way
exCellenCe that complements the guest’s
bone structure.
In many disciplines like graphic
A well-conceived hair cut, poorly
design, architecture and painting,
executed, is much better than
the study of design is foundational
one that is perfectly executed and
and involves a lifelong process of
poorly conceived. To truly excel
study, practice and skill evolution.
as a men’s hair cutter, it’s vital to
It is also imperative to excellence
focus first on developing a keen
in men’s hair cutting.
sense of proportion and design,
Over centuries of figure drawing,
then support that skill with
and particularly portrait drawing,
technical excellence.
certain proportions have emerged
as close to the human ideal. shape color
shape value
color position
value position
Understanding these proportions
© aveda 2007 | men’s hair design | design assessment | principles of design 3
Design
3/30/07 5:16:55 PM

1
p rinCiples of design
in tHe disCipline of Hair Cutting, it’s CritiCal to balanCe
Creative design witH teCHniCal expertise. sound design
ConCepts are tHe foundation of exCellent results.
tHey are supported by skillful exeCution.
proportion as
a foundation
of design
Every artistic endeavor involves
a combination of imagination and
technical expertise. To a certain
extent, all creative expression
involves a proportion of both.
While there are musicians who
cannot read music and painters
without formal training, it is
universally accepted that a high
level of technical proficiency
supports creativity.
2 men’s hair design | design assessment | principles of design | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 12-13
In the discipline of hair cutting,
there are many people who are
either technically proficient or
have a more creative feel for their
work. When cutting men’s hair, it’s
critical to not only be technically
proficient but also to develop
expertise in seeing proportion and
its relation to design. When you
master both skills, you can create
and execute design concepts that
complement individual hair types,
head shapes and overall physiology.
proportions
tHat please tHe
Human eye
Throughout history, there have
always been proportions that are
more pleasing to the human eye.
They are patterned in nature, art,
architecture and human anatomy.
From the escalating spirals found
in a common seashell to the
preferred dimensions of a picture
frame, the human eye has a
natural tendency to enjoy certain
proportional dimensions.
size shape
size texture value
texture
prinCiples of design
size sHape Color texture value
size size
shape texture
color texture
value position
A ratio known as the Golden Mean
dates back thousands of years. It is a Certain proportions that are pleasing
shape value
standard of proportion in nature, art, to the human eye have endured for
architecture and the human anatomy. more than 2500 years.
tHe study of design allows a stylist to adjust the
and Hair Cutting distribution of weight in a way
exCellenCe that complements the guest’s
bone structure.
In many disciplines like graphic
A well-conceived hair cut, poorly
design, architecture and painting,
executed, is much better than
the study of design is foundational
one that is perfectly executed and
and involves a lifelong process of
poorly conceived. To truly excel
study, practice and skill evolution.
as a men’s hair cutter, it’s vital to
It is also imperative to excellence
focus first on developing a keen
in men’s hair cutting.
sense of proportion and design,
Over centuries of figure drawing,
then support that skill with
and particularly portrait drawing,
technical excellence.
certain proportions have emerged
as close to the human ideal. shape color
shape value
color position
value position
Understanding these proportions
© aveda 2007 | men’s hair design | design assessment | principles of design 3
Design
3/30/07 5:16:55 PM
lue
placement orientation value

prinCiples of design

ion
position

placement
plaCement

orientation
orientation

value
value

or color
Color

Head sHape proportions

tHe Head sHape is viewed primarily from tHe front
and tHe side (profile). botH viewpoints are important
to Consider wHen Creating a design objeCtive.
2 The Vitruvian Man

Chap 2.x
DaVinci
Original
tHe ConCept of The concept of the Canon dates This same concept can be applied 2/26/07

tHe Canon back to Marcus Vitruvius Pollio, when viewing the male head
shape and looking for variations in
Chapaengineer
2.x
Roman writer, architect and
during the 1st century BC. proportion that may be adjusted
Design Principles 2 the idea of the
He introduced by the shape of the hair cut.
Alt 2
Vitruvian man, later made famous
by a Leonardo da Vinci drawing
2/15/07
that shows how the human
orientation value or color anatomy fits into fundamental
geometric patterns.
The Golden Section

Chap 2.x
 men’s hair design | design assessment | principles of design | © aveda 2007 © aveda 2007 | men’s hair design | design assessment | head shape proportions 5

Design Principles 1.1

1611-004_AVM_EduStu_Guide.indd 14-15 3/30/07 5:16:57 PM
lue
placement orientation value

prinCiples of design

ion
position

placement
plaCement

orientation
orientation

value
value

or color
Color

Head sHape proportions

tHe Head sHape is viewed primarily from tHe front
and tHe side (profile). botH viewpoints are important
to Consider wHen Creating a design objeCtive.
2 The Vitruvian Man

Chap 2.x
DaVinci
Original
tHe ConCept of The concept of the Canon dates This same concept can be applied 2/26/07

tHe Canon back to Marcus Vitruvius Pollio, when viewing the male head
shape and looking for variations in
Chapaengineer
2.x
Roman writer, architect and
during the 1st century BC. proportion that may be adjusted
Design Principles 2 the idea of the
He introduced by the shape of the hair cut.
Alt 2
Vitruvian man, later made famous
by a Leonardo da Vinci drawing
2/15/07
that shows how the human
orientation value or color anatomy fits into fundamental
geometric patterns.
The Golden Section

Chap 2.x
 men’s hair design | design assessment | principles of design | © aveda 2007 © aveda 2007 | men’s hair design | design assessment | head shape proportions 5

Design Principles 1.1

1611-004_AVM_EduStu_Guide.indd 14-15 3/30/07 5:16:57 PM
 Head sHape proportions Head sHape proportions

7 7 7 7 7 7 7 7

6 6 6 6 6 6 6 6

5 5 5 5 5 5 5 5

4 4 4 4 4 4 4 4

3 3 3 3 3 3 3 3

2 2 2 2 2 2 2 2

1 1 1 1 1 1
1 1

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 2 3 4 5 1 2 3 4 5 6 7

Head sHape 2. Place the center of the grid
proportions directly between the guest’s
from tHe front eyes, on the bridge of the nose.
This separates
Chap 2.1
the head into
Most men’s hair cuts are short.
the upper (cranial)
The Canon half and
That’s why it’s essential to 5x7
the lower (facial) half.
understand the best possible
Alt 2
2/6/07
balance between the head
shape proportion and the
chosen hair cut design.
1. Draw two lines that intersect
at the center of the grid, one
vertical and one horizontal.
6 men’s hair design | design assessment | head shape proportions | © aveda 2007
3. Note the height to width Every head shape has its own Head sHape To use: 3. As a reference, most men See what a difference a 20% Just as the “front on” proportional
relationship of the head shape. unique proportions. These head proportions in 1. Draw a vertical and a horizontal will have an approximately 50/50 variance in width-height evaluation of head shape is an
As a reference, most men have shapes have been drawn to profile line through the grid’s center. relationship from in front of the profile dimensions can make important design consideration,
an equal amount of distance reflect a 20% variance in width 2. Position the center of the grid ear to the front of the face
Chap and
2.6 in head shape. Chap 2.7 the profile evaluation is Chap
When assessing the head shape
above and below and on either to height relationship. in front of theChap
point
2.5where the ear from in front of the The
earSide
to the
Canon 1 The Side Canonextremely
3 valuable. The Side
Chap 2.2 Chap 2.2 Chap 2.2 from the side or profile, a 7 unit 7x7 7x7 7
side ofThe
the center lines. . attaches to the head.Grid
The Side Canon back of the head. .
Canon 1 The Canon 3 The Canon 2 by 7 unit baseline is used. Alt 4 Alt 3 These three very different head Alt
5x7 Head sHapes 5x7 5x7
7x7
2/14/07 2/12/07 2/14
Alt 2 shapes will benefit from customized
Alt 4 and design Alt 4 Alt 4 2/6/07
2/14/07 2/14/07 2/14/07 hair cut design options.
As you can see from these three
different head shapes, each
would create a unique set of
note: Generally the jaw is design considerations.
between 3.5 and  units wide
and the parietal ridge is 5.
The origin of the ear is parallel to
the pupil but the top of the ear is
higher. The distance between the note: The middle of the sideburn
tip of the chin and the mouth is divides the front of the head from
generally the same as from the the back of the head. The ears are
hairline to the top of the head. on the back of the head. © aveda 2007 | men’s hair design | design assessment | head shape proportions 7

1611-004_AVM_EduStu_Guide.indd 16-17 3/30/07 5:17:02 PM

 Head sHape proportions Head sHape proportions

7 7 7 7 7 7 7 7

6 6 6 6 6 6 6 6

5 5 5 5 5 5 5 5

4 4 4 4 4 4 4 4

3 3 3 3 3 3 3 3

2 2 2 2 2 2 2 2

1 1 1 1 1 1
1 1

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 2 3 4 5 1 2 3 4 5 6 7

Head sHape 2. Place the center of the grid
proportions directly between the guest’s
from tHe front eyes, on the bridge of the nose.
This separates
Chap 2.1
the head into
Most men’s hair cuts are short.
the upper (cranial)
The Canon half and
That’s why it’s essential to 5x7
the lower (facial) half.
understand the best possible
Alt 2
2/6/07
balance between the head
shape proportion and the
chosen hair cut design.
1. Draw two lines that intersect
at the center of the grid, one
vertical and one horizontal.
6 men’s hair design | design assessment | head shape proportions | © aveda 2007
3. Note the height to width Every head shape has its own Head sHape To use: 3. As a reference, most men See what a difference a 20% Just as the “front on” proportional
relationship of the head shape. unique proportions. These head proportions in 1. Draw a vertical and a horizontal will have an approximately 50/50 variance in width-height evaluation of head shape is an
As a reference, most men have shapes have been drawn to profile line through the grid’s center. relationship from in front of the profile dimensions can make important design consideration,
an equal amount of distance reflect a 20% variance in width 2. Position the center of the grid ear to the front of the face
Chap and
2.6 in head shape. Chap 2.7 the profile evaluation is Chap
When assessing the head shape
above and below and on either to height relationship. in front of theChap
point
2.5where the ear from in front of the The
earSide
to the
Canon 1 The Side Canonextremely
3 valuable. The Side
Chap 2.2 Chap 2.2 Chap 2.2 from the side or profile, a 7 unit 7x7 7x7 7
side ofThe
the center lines. . attaches to the head.Grid
The Side Canon back of the head. .
Canon 1 The Canon 3 The Canon 2 by 7 unit baseline is used. Alt 4 Alt 3 These three very different head Alt
5x7 Head sHapes 5x7 5x7
7x7
2/14/07 2/12/07 2/14
Alt 2 shapes will benefit from customized
Alt 4 and design Alt 4 Alt 4 2/6/07
2/14/07 2/14/07 2/14/07 hair cut design options.
As you can see from these three
different head shapes, each
would create a unique set of
note: Generally the jaw is design considerations.
between 3.5 and  units wide
and the parietal ridge is 5.
The origin of the ear is parallel to
the pupil but the top of the ear is
higher. The distance between the note: The middle of the sideburn
tip of the chin and the mouth is divides the front of the head from
generally the same as from the the back of the head. The ears are
hairline to the top of the head. on the back of the head. © aveda 2007 | men’s hair design | design assessment | head shape proportions 7

1611-004_AVM_EduStu_Guide.indd 16-17 3/30/07 5:17:02 PM

 3
d esign prinCiples for men’s Hair
eaCH guest is unique in Head sHape, Hair type, life style, personality and
faCial features. tHat’s wHy a “one size fits one” approaCH is neCessary. by
viewing eaCH guest as an individual wHo requires a Customized design,
you’ll be able to maximize His look, gain trust and retain loyalty.
proper distribution 1. Is there more mass above or 2. Does the head appear 3. In profile, is there noticeably After assessing the overall
of weigHt below the center of the eyes when significantly narrower or wider more mass in front of the ear or proportions of your guest’s head
viewed from the front? (cranial than the 5 x 7 Canon when from the ear back? shape and facial features, it’s
Cutting hair is based on designing
versus facial) viewed from the front? important to define any unique
the proper distribution of weight Some head shapes protrude in
If there is noticeably more mass Again, if a head shape is the occipital area where others are considerations that will be
around the head shape. A few
above the center of the eyes you noticeably narrow from the front, relatively flat. Consider pronounced reflected in your design. Every
important observations will help
may want to consider a shape you may want to focus on more facial features as well. Traditionally, head shape and hair type will
you focus on creating optimum
that is not too full or tall. Generally, width in the shape. A head leaving more weight in the back of present design and technical
design options. Consider
a shape that is closer to the head shape that is wider and shorter a head shape with a flat occipital considerations. Hair loss, varying
the answers to questions like:
will more effectively balance is possibly better suited to area or pronounced facial features hair textures, strong growth
a pronounced forehead or a leaner, taller shape. will balance the finished shape pattern and irregular contours
a smaller jaw. most effectively. Reducing as much of the bone structure may all
weight as possible at the curve influence the final design choice.
Conversely, a fuller shape
may balance a strong jaw or of a strong occipital bone can
a smaller cranium. de-emphasize it in profile.

8 men’s hair design | design assessment | design principles for men’s hair | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 9

1611-004_AVM_EduStu_Guide.indd 18-19 3/30/07 5:17:03 PM

 3
d esign prinCiples for men’s Hair
eaCH guest is unique in Head sHape, Hair type, life style, personality and
faCial features. tHat’s wHy a “one size fits one” approaCH is neCessary. by
viewing eaCH guest as an individual wHo requires a Customized design,
you’ll be able to maximize His look, gain trust and retain loyalty.
proper distribution 1. Is there more mass above or 2. Does the head appear 3. In profile, is there noticeably After assessing the overall
of weigHt below the center of the eyes when significantly narrower or wider more mass in front of the ear or proportions of your guest’s head
viewed from the front? (cranial than the 5 x 7 Canon when from the ear back? shape and facial features, it’s
Cutting hair is based on designing
versus facial) viewed from the front? important to define any unique
the proper distribution of weight Some head shapes protrude in
If there is noticeably more mass Again, if a head shape is the occipital area where others are considerations that will be
around the head shape. A few
above the center of the eyes you noticeably narrow from the front, relatively flat. Consider pronounced reflected in your design. Every
important observations will help
may want to consider a shape you may want to focus on more facial features as well. Traditionally, head shape and hair type will
you focus on creating optimum
that is not too full or tall. Generally, width in the shape. A head leaving more weight in the back of present design and technical
design options. Consider
a shape that is closer to the head shape that is wider and shorter a head shape with a flat occipital considerations. Hair loss, varying
the answers to questions like:
will more effectively balance is possibly better suited to area or pronounced facial features hair textures, strong growth
a pronounced forehead or a leaner, taller shape. will balance the finished shape pattern and irregular contours
a smaller jaw. most effectively. Reducing as much of the bone structure may all
weight as possible at the curve influence the final design choice.
Conversely, a fuller shape
may balance a strong jaw or of a strong occipital bone can
a smaller cranium. de-emphasize it in profile.

8 men’s hair design | design assessment | design principles for men’s hair | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 9

1611-004_AVM_EduStu_Guide.indd 18-19 3/30/07 5:17:03 PM

 chapter 3: TOOLS AND THE SERVICE BLUEPRINT

overview The excellent execution of a great design plan requires selecting and properly
using the right hair cutting tools. The Service Blueprint is an essential tool
for outlining your design objectives and planning a technical strategy.
objectives In this chapter, you will learn to:
1. Identify the primary tools used to cut men’s hair
2. Demonstrate the proper use of each tool
20 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 3. Use the Service Blueprint as a planning toolX aveda 2007 | men’s hair design | color fundamentals | understanding color 21
©

1611-004_AVM_EduStu_Guide.indd 20-21 3/30/07 5:17:08 PM

 chapter 3: TOOLS AND THE SERVICE BLUEPRINT

overview The excellent execution of a great design plan requires selecting and properly
using the right hair cutting tools. The Service Blueprint is an essential tool
for outlining your design objectives and planning a technical strategy.
objectives In this chapter, you will learn to:
1. Identify the primary tools used to cut men’s hair
2. Demonstrate the proper use of each tool
20 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 3. Use the Service Blueprint as a planning toolX aveda 2007 | men’s hair design | color fundamentals | understanding color 21
©

1611-004_AVM_EduStu_Guide.indd 20-21 3/30/07 5:17:08 PM

 1 2
blueprint a
design objective in guest terms
guest

student

date

technical strategy station prep/sanitation

t He serviCe blueprint
after Consulting witH your guest, assessing
His Head sHape and Hair type and establisHing
a design objeCtive, translate your Consultation
into written form by Creating a serviCe blueprint
tHat outlines your teCHniCal strategy.
This document is meant to help you
create your design and develop
a smart work plan. Because the
majority of men’s hair tends to be
short, it’s common for stylists to
work randomly, cutting without a
clearly outlined technical strategy.
Creating a systematic approach
to your work will help with
consistency, accuracy and timing.
tools of tHe trade
technique (include textbook reference)
Clippers wHen you set out to Complete a manual task, wHat’s needed is tHe most effeCtive and
effiCient tool for Creating tHe desired result. tHe same is true wHen you exeCute
Clippers are the primary tool
for creating short cuts and a Hair Cut. only wHen you know How to piCk up tHe rigHt tool, use it properly
tapered necklines. and keep it in good working order Can you develop teCHniCal profiCienCy.
CLIPPERS – MOTOR-DRIVEN Number 1 size, which is D/dc of CLIPPERS – MAGNETIC CLIPPERS – EDGER sCissors
(INTERCHANGEABLE BLADE) an inch or 2.4 mm (ADJUSTABLE BLADE) Edger clippers work great as
professional product Motor-driven clippers offer an To apply a classic approach in
The Service Blueprint should be Not as powerful as motor-driven a finishing tool for detail work,
Number 1.5 size, which is F/dc of men’s hair cutting, scissors should
completed, along with head shape advantage in that they will not bog clippers, magnetic clippers offer especially along the hairline. .
an inch or 4 mm. be between 5.5 and 7.5 inches
drawings, to identify the: down when cutting thick, heavy the convenience of cutting a
education check points
or wet hair. The clipper blades are Choose the correct blade long. This provides enough
variety of lengths without having tip: Consult the manufacturer's
· Design objectives surface for cutting and blending.
interchangeable and cut varying depending on your design to change cutting blades. They instructions for maintenance of
· Technical strategy, including
degrees of length. objective. Size 00000 cuts closest work well as an all-purpose tool electronic tools such as clippers. The ends of the scissors should be
the technique, product and
tools to the scalp while the Number 1.5 on hair that is not exceptionally ground to a fine point for detail work.
tools to be used Four classic blade sizes used
blade leaves hair longer. coarse or demanding.
· Sanitation and safety in men’s cutting are (these will
vary by manufacturer):
considerations according
to state guidelines Size 00000, which is B/bfa
· Check points you will use to of an inch or 0.1 mm
make sure you’re on track
· Product prescription and home Size 000, which is B/fa of an inch
care recommendations notes instructor initials or 0.5 mm
pre-service______
complete service______
Service Chap 3.x

Blueprint Lesson 2
Tools-Edgers
Alt 1

22 men’s hair design | tools and the service blueprint | the service blueprint | © aveda 2007 Document hair design | tools and the service blueprint | tools of the trade 23
2/14/07

p 3.x
Cha on 2
© aveda 2007 | men’s
s
11 000
000 Les lipper-
ls-C able
Too hange
rc
Inte Alt 1
7
000 Chap3.x
Chap 3.x
/ 1 4/0
Lesson2 2 2
Lesson
Tools-Clipper-
Tools-Clipper-
1611-004_AVM_EduStu_Guide.indd 22-23 1
Interchangeable
Interchangeable
AltAlt
11
3/30/07 5:17:12 PM
 1 2
blueprint a
design objective in guest terms
guest

student

date

technical strategy station prep/sanitation

t He serviCe blueprint
after Consulting witH your guest, assessing
His Head sHape and Hair type and establisHing
a design objeCtive, translate your Consultation
into written form by Creating a serviCe blueprint
tHat outlines your teCHniCal strategy.
This document is meant to help you
create your design and develop
a smart work plan. Because the
majority of men’s hair tends to be
short, it’s common for stylists to
work randomly, cutting without a
clearly outlined technical strategy.
Creating a systematic approach
to your work will help with
consistency, accuracy and timing.
tools of tHe trade
technique (include textbook reference)
Clippers wHen you set out to Complete a manual task, wHat’s needed is tHe most effeCtive and
effiCient tool for Creating tHe desired result. tHe same is true wHen you exeCute
Clippers are the primary tool
for creating short cuts and a Hair Cut. only wHen you know How to piCk up tHe rigHt tool, use it properly
tapered necklines. and keep it in good working order Can you develop teCHniCal profiCienCy.
CLIPPERS – MOTOR-DRIVEN Number 1 size, which is D/dc of CLIPPERS – MAGNETIC CLIPPERS – EDGER sCissors
(INTERCHANGEABLE BLADE) an inch or 2.4 mm (ADJUSTABLE BLADE) Edger clippers work great as
professional product Motor-driven clippers offer an To apply a classic approach in
The Service Blueprint should be Not as powerful as motor-driven a finishing tool for detail work,
Number 1.5 size, which is F/dc of men’s hair cutting, scissors should
completed, along with head shape advantage in that they will not bog clippers, magnetic clippers offer especially along the hairline. .
an inch or 4 mm. be between 5.5 and 7.5 inches
drawings, to identify the: down when cutting thick, heavy the convenience of cutting a
education check points
or wet hair. The clipper blades are Choose the correct blade long. This provides enough
variety of lengths without having tip: Consult the manufacturer's
· Design objectives surface for cutting and blending.
interchangeable and cut varying depending on your design to change cutting blades. They instructions for maintenance of
· Technical strategy, including
degrees of length. objective. Size 00000 cuts closest work well as an all-purpose tool electronic tools such as clippers. The ends of the scissors should be
the technique, product and
tools to the scalp while the Number 1.5 on hair that is not exceptionally ground to a fine point for detail work.
tools to be used Four classic blade sizes used
blade leaves hair longer. coarse or demanding.
· Sanitation and safety in men’s cutting are (these will
vary by manufacturer):
considerations according
to state guidelines Size 00000, which is B/bfa
· Check points you will use to of an inch or 0.1 mm
make sure you’re on track
· Product prescription and home Size 000, which is B/fa of an inch
care recommendations notes instructor initials or 0.5 mm
pre-service______
complete service______
Service Chap 3.x

Blueprint Lesson 2
Tools-Edgers
Alt 1

22 men’s hair design | tools and the service blueprint | the service blueprint | © aveda 2007 Document hair design | tools and the service blueprint | tools of the trade 23
2/14/07

p 3.x
Cha on 2
© aveda 2007 | men’s
s
11 000
000 Les lipper-
ls-C able
Too hange
rc
Inte Alt 1
7
000 Chap3.x
Chap 3.x
/ 1 4/0
Lesson2 2 2
Lesson
Tools-Clipper-
Tools-Clipper-
1611-004_AVM_EduStu_Guide.indd 22-23 1
Interchangeable
Interchangeable
AltAlt
11
3/30/07 5:17:12 PM
 tools of tHe trade

BLENDING SCISSORS 3. razors 4. Combs MEDIUM SIZED COMB FINISHING COMB

The blending scissors can help
Hair generally responds
to unify variations in hair texture,
differently to being cut with a
growth patterns, hair density and
razor than it does with a clipper
color variations.
or scissors. The razor offers an
alternative approach for creating
and controlling texture.
Chap 3.x
SANITIZATION AND MAINTENANCE
Lesson 2
Tools-Blending Scissors
It’s very important that you take
Alt 1
2/14/07
Chap 3.x
care of your tools, keep them in
Lesson 2
Tools-Blending Scissors
good working order and make
Alt 1
2/14/07
This general purpose comb is The finishing comb is tapered
CLASSIC CLIPPER COMB
a basic necessity for any stylist. at the fine end. Finishing combs
A classic clipper comb’s tooth
Medium combs serve well for are finer in detail and are
size and width match the width
sectioning and subsectioning somewhat flexible. They are
of an electric clipper. The
as well as cutting over-comb. excellent tools for detail work Chap 3.x
classic tool should have a fine Lesson 2
on hairlines, over-comb tapering Tools-Combs
tooth end as well as a coarse Alt 2
and finishing. . 2/14/07
end for control in cutting and
finishing techniques.
Chap 3.x Chap 3.x
Lesson 2 Lesson 2
This tool helps you cut the hair
Tools-Razor Tools-Combs
Alt 2 Alt 2
short, but not too short, with
2/7/07 2/14/07

sure they are clean and sanitized a clipper. It also helps avoid
Chap 3.x
according to your state’s unwanted scalp exposure. Lesson 2
Tools-Combs
regulatory guidelines. Alt 2
2/14/07

tip: Check your state’s

regulations for the proper
sanitization procedures for tools
2 men’s hair design | tools and the service blueprint | tools of the trade | © aveda 2007 such as combs and scissors. X © aveda 2007 | men’s hair design | color fundamentals | understanding color 25

1611-004_AVM_EduStu_Guide.indd 24-25 3/30/07 5:17:15 PM

 tools of tHe trade

BLENDING SCISSORS 3. razors 4. Combs MEDIUM SIZED COMB FINISHING COMB

The blending scissors can help
Hair generally responds
to unify variations in hair texture,
differently to being cut with a
growth patterns, hair density and
razor than it does with a clipper
color variations.
or scissors. The razor offers an
alternative approach for creating
and controlling texture.
Chap 3.x
SANITIZATION AND MAINTENANCE
Lesson 2
Tools-Blending Scissors
It’s very important that you take
Alt 1
2/14/07
Chap 3.x
care of your tools, keep them in
Lesson 2
Tools-Blending Scissors
good working order and make
Alt 1
2/14/07
This general purpose comb is The finishing comb is tapered
CLASSIC CLIPPER COMB
a basic necessity for any stylist. at the fine end. Finishing combs
A classic clipper comb’s tooth
Medium combs serve well for are finer in detail and are
size and width match the width
sectioning and subsectioning somewhat flexible. They are
of an electric clipper. The
as well as cutting over-comb. excellent tools for detail work Chap 3.x
classic tool should have a fine Lesson 2
on hairlines, over-comb tapering Tools-Combs
tooth end as well as a coarse Alt 2
and finishing. . 2/14/07
end for control in cutting and
finishing techniques.
Chap 3.x Chap 3.x
Lesson 2 Lesson 2
This tool helps you cut the hair
Tools-Razor Tools-Combs
Alt 2 Alt 2
short, but not too short, with
2/7/07 2/14/07

sure they are clean and sanitized a clipper. It also helps avoid
Chap 3.x
according to your state’s unwanted scalp exposure. Lesson 2
Tools-Combs
regulatory guidelines. Alt 2
2/14/07

tip: Check your state’s

regulations for the proper
sanitization procedures for tools
2 men’s hair design | tools and the service blueprint | tools of the trade | © aveda 2007 such as combs and scissors. X © aveda 2007 | men’s hair design | color fundamentals | understanding color 25

1611-004_AVM_EduStu_Guide.indd 24-25 3/30/07 5:17:15 PM

 chapter 4: SEEING AND CUTTING SHAPES

overview An understanding of how weight distribution affects the shape

of a guest’s hair cut is fundamental to excellent execution.
objectives In this chapter, you will learn to:
1. Understand the concept of movement in a hair cut
2. Section the hair properly for a hair cut
3. Demonstrate proper body posture for the stylist and guest
4. Understand how hand and head positions relate to developing shape in a hair cut
26 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 5. Execute the three basic cutting techniquesX for creating
aveda 2007 | men’s hair design |shapes
© color fundamentals | understanding color 27

1611-004_AVM_EduStu_Guide.indd 26-27 3/30/07 5:17:20 PM

 chapter 4: SEEING AND CUTTING SHAPES

overview An understanding of how weight distribution affects the shape

of a guest’s hair cut is fundamental to excellent execution.
objectives In this chapter, you will learn to:
1. Understand the concept of movement in a hair cut
2. Section the hair properly for a hair cut
3. Demonstrate proper body posture for the stylist and guest
4. Understand how hand and head positions relate to developing shape in a hair cut
26 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 5. Execute the three basic cutting techniquesX for creating
aveda 2007 | men’s hair design |shapes
© color fundamentals | understanding color 27

1611-004_AVM_EduStu_Guide.indd 26-27 3/30/07 5:17:20 PM

 Chap 5
Chris-Scott Cut
Alt 1 Chap 5
3/2/07 McCabe Cut

1
Alt 1
3/2/07

2
Horizontal and Rounded Building Weight Cutting
Cutting Vertically
Vertically Extending
Extendingthe
the Shape
Shape
I7 I8 Vertical Building Weight
5 pahCChap 5
epahS snamoWRyan
lanoitidarT
lanigirO
Alt 1
70/6/3
3/1/07
Chap 5
Hamilton Cut
Alt 2
3/6/07

s tatiC versus biased sHapes

biased Hair sHapes are Cut to Have movement wHile
statiC sHapes remain naturally in plaCe.
tHe biased sHape
There are two different
relationships to consider when
looking at the distribution of
weight in a hair cut. The first is the
horizontal relationship of short
to long. This is the relationship
that generally influences the
movement of a hair cut.
28 men’s hair design | seeing and cutting shapes | static versus biased shapes | © aveda 2007
If a shape is cut short in the
back and long in the front it will
generally move forward. However,
if you cut hair short in the front
and leave it long in the back it will
most likely move backward. This is
often called the “directional bias
of a shape.”
Many familiar feminine shapes
are cut with a directional bias.
Any shape that is cut with a strong
tendency to move is referred to
as a “biased shape.”
Biased Shape
tHe statiC sHape
The second consideration related
to distribution of weight is the
vertical relationship of short to
long in a hair cut. This relationship
influences the build-up of weight
or the lack of weight in a shape.
These hair cuts are referred to as
“static” or without motion and the
emphasis is on the build-up or
reduction of weight rather than the
overall movement of the hair cut.
Static Shape
Because the majority of men’s
hair cutting is static, it generally
allows the stylist to work around
the head rather than standing
in one place and cutting from
short to long.
When a design objective is
Chap 4 it’s important to
established,
Lesson 1
consider these
Cut principles before
Forward/Bias
creatingAlta1 technical strategy.
3/2/07
Cutting faCets
Just as a lapidary carves facets
into gem material to create a
highly symmetrical shape with
flat, planar surfaces, cutting hair in
facets involves the distribution of
weight to create angular shapes.
While gemstones are faceted to
enhance interaction with light and
Chap 4
Lesson 1 improve brilliance and proportion,
Static Cut
Alt 1 hair is cut in facets to help balance
3/2/07 an individual’s physical features.
Cutting in faceted layers is
different than traditional women’s
hair cutting which often involves
the creation of round shapes that
follow the contour of the head.
tHetHedistribution of weigHt in Hair Cutting
fundamental prinCiple of Hair Cutting is a strong understanding of tHe
distribution and plaCement of weigHt. nowHere is tHis more important tHan
in tHe Creation of sHorter Hair Chris-Scott
CutsChap 5 tHat are Closer to tHe Head sHape.
Cut
Alt 1
Instead, it involves cutting tHree basiC sHapes Although a hair cut may be
3/2/07 The majority of men wear their
horizontal or vertical shapes based on one of these three hair in short to mid-length layers.
There are three basic men’s
that can alter the appearance shapes, most often they are The most important consideration
hair cut shapes that call for:
of the head shape and create combined and integrated to is the interior shape of those layers.
proportion. This is especially · Building weight (contouring) achieve a specific outcome.
When cutting men’s hair, be
important when cutting men’s
· Cutting vertically Men’s hair cutting is similar to constantly aware of building
hair which is generally short
· Extending the shape feminine hair cutting systems that weight, cutting vertical shapes
and more apt to reveal the shape
work from three basic techniques or reducing interior weight and
of the head.
(one-length, graduated and extending the shape as you work.
layered), yet it works with more
subtle distributions of weight.
© aveda 2007 | men’s hair design | seeing and cutting shapes | the distribution of weight in hair cutting 29

1611-004_AVM_EduStu_Guide.indd 28-29 3/30/07 5:17:24 PM

 Chap 5
Chris-Scott Cut
Alt 1 Chap 5
3/2/07 McCabe Cut

1
Alt 1
3/2/07

2
Horizontal and Rounded Building Weight Cutting
Cutting Vertically
Vertically Extending
Extendingthe
the Shape
Shape
I7 I8 Vertical Building Weight
5 pahCChap 5
epahS snamoWRyan
lanoitidarT
lanigirO
Alt 1
70/6/3
3/1/07
Chap 5
Hamilton Cut
Alt 2
3/6/07

s tatiC versus biased sHapes

biased Hair sHapes are Cut to Have movement wHile
statiC sHapes remain naturally in plaCe.
tHe biased sHape
There are two different
relationships to consider when
looking at the distribution of
weight in a hair cut. The first is the
horizontal relationship of short
to long. This is the relationship
that generally influences the
movement of a hair cut.
28 men’s hair design | seeing and cutting shapes | static versus biased shapes | © aveda 2007
If a shape is cut short in the
back and long in the front it will
generally move forward. However,
if you cut hair short in the front
and leave it long in the back it will
most likely move backward. This is
often called the “directional bias
of a shape.”
Many familiar feminine shapes
are cut with a directional bias.
Any shape that is cut with a strong
tendency to move is referred to
as a “biased shape.”
Biased Shape
tHe statiC sHape
The second consideration related
to distribution of weight is the
vertical relationship of short to
long in a hair cut. This relationship
influences the build-up of weight
or the lack of weight in a shape.
These hair cuts are referred to as
“static” or without motion and the
emphasis is on the build-up or
reduction of weight rather than the
overall movement of the hair cut.
Static Shape
Because the majority of men’s
hair cutting is static, it generally
allows the stylist to work around
the head rather than standing
in one place and cutting from
short to long.
When a design objective is
Chap 4 it’s important to
established,
Lesson 1
consider these
Cut principles before
Forward/Bias
creatingAlta1 technical strategy.
3/2/07
Cutting faCets
Just as a lapidary carves facets
into gem material to create a
highly symmetrical shape with
flat, planar surfaces, cutting hair in
facets involves the distribution of
weight to create angular shapes.
While gemstones are faceted to
enhance interaction with light and
Chap 4
Lesson 1 improve brilliance and proportion,
Static Cut
Alt 1 hair is cut in facets to help balance
3/2/07 an individual’s physical features.
Cutting in faceted layers is
different than traditional women’s
hair cutting which often involves
the creation of round shapes that
follow the contour of the head.
tHetHedistribution of weigHt in Hair Cutting
fundamental prinCiple of Hair Cutting is a strong understanding of tHe
distribution and plaCement of weigHt. nowHere is tHis more important tHan
in tHe Creation of sHorter Hair Chris-Scott
CutsChap 5 tHat are Closer to tHe Head sHape.
Cut
Alt 1
Instead, it involves cutting tHree basiC sHapes Although a hair cut may be
3/2/07 The majority of men wear their
horizontal or vertical shapes based on one of these three hair in short to mid-length layers.
There are three basic men’s
that can alter the appearance shapes, most often they are The most important consideration
hair cut shapes that call for:
of the head shape and create combined and integrated to is the interior shape of those layers.
proportion. This is especially · Building weight (contouring) achieve a specific outcome.
When cutting men’s hair, be
important when cutting men’s
· Cutting vertically Men’s hair cutting is similar to constantly aware of building
hair which is generally short
· Extending the shape feminine hair cutting systems that weight, cutting vertical shapes
and more apt to reveal the shape
work from three basic techniques or reducing interior weight and
of the head.
(one-length, graduated and extending the shape as you work.
layered), yet it works with more
subtle distributions of weight.
© aveda 2007 | men’s hair design | seeing and cutting shapes | the distribution of weight in hair cutting 29

1611-004_AVM_EduStu_Guide.indd 28-29 3/30/07 5:17:24 PM

 seCtioning teCHniques

3
s eCtioning teCHniques
seCtioning Helps you Cut your guest’s Hair in a neat and preCise
pattern wHile you skillfully form tHe sHape you desire.
subseCtions below
tHe parietal ridge
After dividing the head shape
into these two basic sections,
the hair cut begins in the temple
seCtioning tHe
transition area
After establishing the basic shape
below the parietal ridge, transition
into the top using the hair that has
seCtioning on tHe
top of tHe Head
After blending the transition
area using horizontal or vertical
subsections, work in ½ inch
There are five primary steps to Creating two This part can be adjusted to area. Work with ½ inch wide already been cut below it as a guide. vertical subsections pulled
Chapvertical
4.3
executing a man’s hair cut and primary seCtions influence the final shape. Higher
Sectioning Basic
subsections if the hair is straight up from the top of the
Ch_4.5 Ch_4.5 Ch
they relate to, and are enabled partings generally help create long
Alt 3 enough to hold comfortably head, starting just behind the ears
When cutting men’s hair, the top Sectioning 3 Sectioning 4 Se
by, how the head is sectioned. narrower shapes. between
2/13/07 your fingers. If cutting Alt 2 and Alt
moving
2 to the front hairline. Or
of the head is divided from the 2/13/07
1. Cut the area below the over a comb, work with 1 inch 2/13/07 2/
bottom with a horseshoe-shaped There are several options for
wide panels. Chap 4.4
parietal ridge part just above the parietal ridge. Sectioning 1 cutting the top of the head,
2. Cut the transition area Starting in the temple area, work Alt 3 depending on the design
above the parietal ridge from the right side of the head if 2/13/07 objective. Using vertical sections
you are right-handed or the left note: The first vertical will help create narrower shapes
3. Cut the top side if you are left-handed. This subsection cut near the temple and using horizontal subsections
is the “design section.” The Ch_4.4
4. Cut the front allows you to work from cut hair Sectioning 2 will help create more weight.
first series of 3 or  vertical
(the guide) into uncut hair as you subsections is called the “design Alt 2 Varying amounts of disconnection
5. Detail and finish
move around the head. ' panel.” This design panel, which 2/13/07 will create more extreme
Chap 4.3
Sectioning Basic is based on your design objective, differences in the top lengths.
Alt 3 serves as a guide for the rest of
30 men’s hair design | seeing and cutting shapes | sectioning techniques | © aveda 2007 2/13/07 the hair cut. © aveda 2007 | men’s hair design | seeing and cutting shapes | sectioning techniques 3

1611-004_AVM_EduStu_Guide.indd 30-31 3/30/07 5:17:28 PM

 seCtioning teCHniques

3
s eCtioning teCHniques
seCtioning Helps you Cut your guest’s Hair in a neat and preCise
pattern wHile you skillfully form tHe sHape you desire.
subseCtions below
tHe parietal ridge
After dividing the head shape
into these two basic sections,
the hair cut begins in the temple
seCtioning tHe
transition area
After establishing the basic shape
below the parietal ridge, transition
into the top using the hair that has
seCtioning on tHe
top of tHe Head
After blending the transition
area using horizontal or vertical
subsections, work in ½ inch
There are five primary steps to Creating two This part can be adjusted to area. Work with ½ inch wide already been cut below it as a guide. vertical subsections pulled
Chapvertical
4.3
executing a man’s hair cut and primary seCtions influence the final shape. Higher
Sectioning Basic
subsections if the hair is straight up from the top of the
Ch_4.5 Ch_4.5 Ch
they relate to, and are enabled partings generally help create long
Alt 3 enough to hold comfortably head, starting just behind the ears
When cutting men’s hair, the top Sectioning 3 Sectioning 4 Se
by, how the head is sectioned. narrower shapes. between
2/13/07 your fingers. If cutting Alt 2 and Alt
moving
2 to the front hairline. Or
of the head is divided from the 2/13/07
1. Cut the area below the over a comb, work with 1 inch 2/13/07 2/
bottom with a horseshoe-shaped There are several options for
wide panels. Chap 4.4
parietal ridge part just above the parietal ridge. Sectioning 1 cutting the top of the head,
2. Cut the transition area Starting in the temple area, work Alt 3 depending on the design
above the parietal ridge from the right side of the head if 2/13/07 objective. Using vertical sections
you are right-handed or the left note: The first vertical will help create narrower shapes
3. Cut the top side if you are left-handed. This subsection cut near the temple and using horizontal subsections
is the “design section.” The Ch_4.4
4. Cut the front allows you to work from cut hair Sectioning 2 will help create more weight.
first series of 3 or  vertical
(the guide) into uncut hair as you subsections is called the “design Alt 2 Varying amounts of disconnection
5. Detail and finish
move around the head. ' panel.” This design panel, which 2/13/07 will create more extreme
Chap 4.3
Sectioning Basic is based on your design objective, differences in the top lengths.
Alt 3 serves as a guide for the rest of
30 men’s hair design | seeing and cutting shapes | sectioning techniques | © aveda 2007 2/13/07 the hair cut. © aveda 2007 | men’s hair design | seeing and cutting shapes | sectioning techniques 3

1611-004_AVM_EduStu_Guide.indd 30-31 3/30/07 5:17:28 PM

 4
b ody posture for stylist and guest
during exeCution of tHe Hair Cut, it’s important tHat you and your
guest follow some basiC body posture guidelines. tHese will
depend on your design strategy and desired result.
body posture
guidelines
· When working on the bottom
half of the hair cut, keep the top
of the guest’s head between
your mid sternum and collar
bone (1st position)
32 men’s hair design | seeing and cutting shapes | body posture for stylist and guest | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 32-33
· When working on the top of the
hair cut, keep the top of the guest’s
head between your mid sternum
and solar plexus (2nd position)
· Always stand directly in front of
the panel or section you are cutting
· When cutting over a comb, face
both of your palms toward the
guest (palms out)
· When working on the bottom
half of the hair cut, work with the
fingers of the hand holding the hair
pointing upward (palm-to-palm)
· When working on the top of the
hair cut, work with your fingers
pointing downward (over-hand)
· Tilt the guest’s head away to help
build weight in the hair cut
· Tilt the guest’s head toward you
to help reduce weight and extend
the length of a hair cut
· Keep the head in a natural,
upright position to create vertical
interior shapes
· Isolate the motion of your thumb
when working scissors over comb
· Always maintain fingertip
rotational control of the comb
building weigHt
5
building weigHt refers to Cutting Hair from sHorter at tHe
Proper body position and the bottom to longer as you move up tHe Head. tHis sHape is
correct use of the tools will lead to Commonly found in ClassiC men’s Hair Cutting, witH varying
more accuracy, control and speed lengtHs of tapering in tHe lower Half of tHe Head.
with less fatigue.
building weigHt When building weight in a hair 3. When working on the bottom
Remember that working
(Contour) cut, focus on: half of the head over a comb,
deliberately and methodically focus on bringing the comb up
1. Tilting the guest’s head away.
always produces the best result. This technique for building weight
Chap 3.3 in a vertical plane, allowing the
(or contour) is essentially a taper The further the head is tilted, the
Shape Weight 1 position of the head to help
Alt 3 or short graduation. It generally
more weight will naturally develop
establish the shape.
2/28/07 transitions from some amount of in the hair cut.
scalp showing to total scalp 2. When cutting the bottom half
coverage. This shape helps to build of the head, use vertical sections
shape or contour in flatter areas of held between your fingers. Pull
the head and helps focus the eye the sections parallel to the floor
on the height of the shape. and point your fingers toward the
ceiling in a vertical plane.
© aveda 2007 | men’s hair design | seeing and cutting shapes | building weight 33
3/30/07 5:17:29 PM
 4
b ody posture for stylist and guest
during exeCution of tHe Hair Cut, it’s important tHat you and your
guest follow some basiC body posture guidelines. tHese will
depend on your design strategy and desired result.
body posture
guidelines
· When working on the bottom
half of the hair cut, keep the top
of the guest’s head between
your mid sternum and collar
bone (1st position)
32 men’s hair design | seeing and cutting shapes | body posture for stylist and guest | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 32-33
· When working on the top of the
hair cut, keep the top of the guest’s
head between your mid sternum
and solar plexus (2nd position)
· Always stand directly in front of
the panel or section you are cutting
· When cutting over a comb, face
both of your palms toward the
guest (palms out)
· When working on the bottom
half of the hair cut, work with the
fingers of the hand holding the hair
pointing upward (palm-to-palm)
· When working on the top of the
hair cut, work with your fingers
pointing downward (over-hand)
· Tilt the guest’s head away to help
build weight in the hair cut
· Tilt the guest’s head toward you
to help reduce weight and extend
the length of a hair cut
· Keep the head in a natural,
upright position to create vertical
interior shapes
· Isolate the motion of your thumb
when working scissors over comb
· Always maintain fingertip
rotational control of the comb
building weigHt
5
building weigHt refers to Cutting Hair from sHorter at tHe
Proper body position and the bottom to longer as you move up tHe Head. tHis sHape is
correct use of the tools will lead to Commonly found in ClassiC men’s Hair Cutting, witH varying
more accuracy, control and speed lengtHs of tapering in tHe lower Half of tHe Head.
with less fatigue.
building weigHt When building weight in a hair 3. When working on the bottom
Remember that working
(Contour) cut, focus on: half of the head over a comb,
deliberately and methodically focus on bringing the comb up
1. Tilting the guest’s head away.
always produces the best result. This technique for building weight
Chap 3.3 in a vertical plane, allowing the
(or contour) is essentially a taper The further the head is tilted, the
Shape Weight 1 position of the head to help
Alt 3 or short graduation. It generally
more weight will naturally develop
establish the shape.
2/28/07 transitions from some amount of in the hair cut.
scalp showing to total scalp 2. When cutting the bottom half
coverage. This shape helps to build of the head, use vertical sections
shape or contour in flatter areas of held between your fingers. Pull
the head and helps focus the eye the sections parallel to the floor
on the height of the shape. and point your fingers toward the
ceiling in a vertical plane.
© aveda 2007 | men’s hair design | seeing and cutting shapes | building weight 33
3/30/07 5:17:29 PM
 6
C utting vertiCal sHapes
vertiCal Cutting is Commonly used on tHe bottom Half of
tHe Head. Cutting vertiCal interior sHapes Helps reduCe
bulk and Create a “taller” feeling and look.
Cutting vertiCally
Creating interior shapes that are
vertical helps the shape grow out
without excess weight or bulk.
Transitioning from a build-up of
weight around the edge of a hair
cut to a vertical interior is a
classic approach to developing
masculine form.
3 men’s hair design | seeing and cutting shapes | cutting vertical shapes | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 34-35
When cutting vertically, focus on:
1. Keeping your guest’s head in
a natural upright position.
2. When cutting the bottom half
of the head, using vertical sections
held between the fingers, pull the
subsections toward your body and
keep your fingers pointed toward
the ceiling on a vertical plane.
3. When working on the bottom
half of the head over a comb,
focus on bringing the comb up
in a vertical plane, allowing the
position of the head to help
establish the shape.
elongating tHe sHape
tHe “elongating sHapes” teCHnique is generally
used to maintain lengtH around tHe perimeter of a
sHape wHile reduCing tHe weigHt of tHe interior.
7
extending tHe When extending length, focus on: 3. When working on the bottom
lengtH 1. Tilt the guest’s head toward
half of the head over a comb,
focus on bringing the comb up
Some hairlines are conspicuously your body. The further the head
high or some ears protrude in a is tilted, the more the shape will
in a vertical plane, allowing the
Chap 3.4 Chap 3.5 position of the head to help
way that can be balanced nicely naturally extend.
Shape Vertical 2 Shape Length 2 establish the shape.
Alt 4 Alt 3 by extending the perimeter length. 2. When cutting the bottom half of
3/2/07 2/28/07 Head shapes that are wide in the
the head, keep your guest’s head
mid-temple or occipital areas may titled slightly toward you and,
take on a more vertical shape by using vertical subsections pulled
utilizing this technique. toward your body, keep your
fingers pointed toward the ceiling
in a vertical plane.
© aveda 2007 | men’s hair design | seeing and cutting shapes | elongating the shape 35
3/30/07 5:17:32 PM
 6
C utting vertiCal sHapes
vertiCal Cutting is Commonly used on tHe bottom Half of
tHe Head. Cutting vertiCal interior sHapes Helps reduCe
bulk and Create a “taller” feeling and look.
Cutting vertiCally
Creating interior shapes that are
vertical helps the shape grow out
without excess weight or bulk.
Transitioning from a build-up of
weight around the edge of a hair
cut to a vertical interior is a
classic approach to developing
masculine form.
3 men’s hair design | seeing and cutting shapes | cutting vertical shapes | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 34-35
When cutting vertically, focus on:
1. Keeping your guest’s head in
a natural upright position.
2. When cutting the bottom half
of the head, using vertical sections
held between the fingers, pull the
subsections toward your body and
keep your fingers pointed toward
the ceiling on a vertical plane.
3. When working on the bottom
half of the head over a comb,
focus on bringing the comb up
in a vertical plane, allowing the
position of the head to help
establish the shape.
elongating tHe sHape
tHe “elongating sHapes” teCHnique is generally
used to maintain lengtH around tHe perimeter of a
sHape wHile reduCing tHe weigHt of tHe interior.
7
extending tHe When extending length, focus on: 3. When working on the bottom
lengtH 1. Tilt the guest’s head toward
half of the head over a comb,
focus on bringing the comb up
Some hairlines are conspicuously your body. The further the head
high or some ears protrude in a is tilted, the more the shape will
in a vertical plane, allowing the
Chap 3.4 Chap 3.5 position of the head to help
way that can be balanced nicely naturally extend.
Shape Vertical 2 Shape Length 2 establish the shape.
Alt 4 Alt 3 by extending the perimeter length. 2. When cutting the bottom half of
3/2/07 2/28/07 Head shapes that are wide in the
the head, keep your guest’s head
mid-temple or occipital areas may titled slightly toward you and,
take on a more vertical shape by using vertical subsections pulled
utilizing this technique. toward your body, keep your
fingers pointed toward the ceiling
in a vertical plane.
© aveda 2007 | men’s hair design | seeing and cutting shapes | elongating the shape 35
3/30/07 5:17:32 PM
 The only thing hair should be
combed over is more hair.
—Fran Liebowitz

Notes:

36 men’s hair design | seeing and cutting shapes | elongating the shape | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 37

1611-004_AVM_EduStu_Guide.indd 36-37 3/30/07 5:17:32 PM

 The only thing hair should be
combed over is more hair.
—Fran Liebowitz

Notes:

36 men’s hair design | seeing and cutting shapes | elongating the shape | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 37

1611-004_AVM_EduStu_Guide.indd 36-37 3/30/07 5:17:32 PM

 chapter 5: THE FACETED LAYERS TECHNIQUE

overview The Faceted Layers Technique is generally used to cut shapes that are mid-length
(approximately 1.5 to 4 inches long). This technique can help balance the head
shape. It is often associated with lean shapes and may have a slight tapered
effect near the bottom edge and side hairlines.
objective In this chapter, you will gain an understanding of How to execute the Faceted
38 men’s hair design | color fundamentals | understanding color | © aveda 2007 X Layers Technique in three variations. X aveda 2007 | men’s hair design | color fundamentals | understanding color 39
©

1611-004_AVM_EduStu_Guide.indd 38-39 3/30/07 5:17:36 PM

 chapter 5: THE FACETED LAYERS TECHNIQUE

overview The Faceted Layers Technique is generally used to cut shapes that are mid-length
(approximately 1.5 to 4 inches long). This technique can help balance the head
shape. It is often associated with lean shapes and may have a slight tapered
effect near the bottom edge and side hairlines.
objective In this chapter, you will gain an understanding of How to execute the Faceted
38 men’s hair design | color fundamentals | understanding color | © aveda 2007 X Layers Technique in three variations. X aveda 2007 | men’s hair design | color fundamentals | understanding color 39
©

1611-004_AVM_EduStu_Guide.indd 38-39 3/30/07 5:17:36 PM

 1
t He faCeted layers teCHnique
tHis guest Has an oval-sHaped faCe struCture witH pronounCed
widtH tHrougH tHe jaw area. He feels His ears protrude and is
muCH more Comfortable witH volume tHrougHout His Hair Cut
to balanCe His predominant jaw. tHe best solution for
Him is to Cut a vertiCal sHape below tHe parietal ridge witH
enougH fullness to obsCure His ears and to enCourage tHe
natural wave. we’ve also eleCted to leave an exaggerated
amount of lengtH tHrougH tHe top of tHe Hair Cut to furtHer
tHe fullness of tHe overall sHape and add a ClassiC feeling.
guest Comfort
and proteCtion
1. Have your guest change into
a T-shirt if one is available.
2. Shampoo and condition your
guest’s hair. .
note: We recommend the
I7 stylist give every guest a Stress-
I7 Relieving Scalp Ritual. This
allows the stylist to become
familiar with the contours of
I8 I8
the individual head shape, and
provides a valuable, relaxing
0 men’s hair design | the faceted layers technique | the faceted layers technique | © aveda 2007 service for the guest.
1611-004_AVM_EduStu_Guide.indd 40-41
blueprint
The design objective for this hair
cut is to keep the front long with
less bulk through the sides and
back. We will conceal the ears and
make sure it’s easy to maintain.
The technical strategy is to cut
the lower section vertically with
The Faceted Layers Technique and
disconnect the front to maintain
additional length.
This hair cut will be done with a
scissors and a styling comb, using
an edger to refine and detail.
3. Apply a sanitary strip around
the neck and then drape the guest
according to your state regulations
for sanitation and safety.
produCt
appliCation
4. Emulsify a small amount of
styling product in your hands and
apply it to your guest’s shampooed
hair. This makes it easier to keep
the hair organized as it is cut. It
also helps mimic the look of the
finished style and maintains the
hair’s moisture content.
seCtioning into
upper and lower
seCtions
5. Position your guest’s head
in a natural, upright position.
Using a styling comb, create a
horseshoe-shaped part that runs
along the top of the parietal ridge
and continues above the occipital
bone in the back. If the hair is long
enough, clip it in place on top.
This divides the head into upper
and lower sections.
tHe faCeted layers teCHnique
Cut tHe design
panel
6. Create a ½ inch wide vertical
subsection from the parietal ridge
to the hairline directly above the
sideburn area on the right side 7
of the head. Start on the left side
if you are left-handed. This will
always allow you to work from 6
your guide into the uncut hair.
7. Pull the subsection directly 5
toward you, parallel to the floor.
Keep the subsection vertical with
4
the fingers pointing up on the
hand holding the hair.
3
8. Use a scissors, 5.5 inches long,
or longer, to cut the hair in a
vertical line to the desired length.
2
9. When you have finished 3 or 4
vertical subsections, cross-check 1
over your comb to ensure balance
and consistency. . 1 2 3 4 5
note: These first few
subsections create a design
panel that will serve as both
a visual and technical guide for
each subsection as you work
around the head shape. © aveda 2007 | men’s hair design | the faceted layers technique | the faceted layers technique 
3/30/07 5:17:43 PM
 1
t He faCeted layers teCHnique
tHis guest Has an oval-sHaped faCe struCture witH pronounCed
widtH tHrougH tHe jaw area. He feels His ears protrude and is
muCH more Comfortable witH volume tHrougHout His Hair Cut
to balanCe His predominant jaw. tHe best solution for
Him is to Cut a vertiCal sHape below tHe parietal ridge witH
enougH fullness to obsCure His ears and to enCourage tHe
natural wave. we’ve also eleCted to leave an exaggerated
amount of lengtH tHrougH tHe top of tHe Hair Cut to furtHer
tHe fullness of tHe overall sHape and add a ClassiC feeling.
guest Comfort
and proteCtion
1. Have your guest change into
a T-shirt if one is available.
2. Shampoo and condition your
guest’s hair. .
note: We recommend the
I7 stylist give every guest a Stress-
I7 Relieving Scalp Ritual. This
allows the stylist to become
familiar with the contours of
I8 I8
the individual head shape, and
provides a valuable, relaxing
0 men’s hair design | the faceted layers technique | the faceted layers technique | © aveda 2007 service for the guest.
1611-004_AVM_EduStu_Guide.indd 40-41
blueprint
The design objective for this hair
cut is to keep the front long with
less bulk through the sides and
back. We will conceal the ears and
make sure it’s easy to maintain.
The technical strategy is to cut
the lower section vertically with
The Faceted Layers Technique and
disconnect the front to maintain
additional length.
This hair cut will be done with a
scissors and a styling comb, using
an edger to refine and detail.
3. Apply a sanitary strip around
the neck and then drape the guest
according to your state regulations
for sanitation and safety.
produCt
appliCation
4. Emulsify a small amount of
styling product in your hands and
apply it to your guest’s shampooed
hair. This makes it easier to keep
the hair organized as it is cut. It
also helps mimic the look of the
finished style and maintains the
hair’s moisture content.
seCtioning into
upper and lower
seCtions
5. Position your guest’s head
in a natural, upright position.
Using a styling comb, create a
horseshoe-shaped part that runs
along the top of the parietal ridge
and continues above the occipital
bone in the back. If the hair is long
enough, clip it in place on top.
This divides the head into upper
and lower sections.
tHe faCeted layers teCHnique
Cut tHe design
panel
6. Create a ½ inch wide vertical
subsection from the parietal ridge
to the hairline directly above the
sideburn area on the right side 7
of the head. Start on the left side
if you are left-handed. This will
always allow you to work from 6
your guide into the uncut hair.
7. Pull the subsection directly 5
toward you, parallel to the floor.
Keep the subsection vertical with
4
the fingers pointing up on the
hand holding the hair.
3
8. Use a scissors, 5.5 inches long,
or longer, to cut the hair in a
vertical line to the desired length.
2
9. When you have finished 3 or 4
vertical subsections, cross-check 1
over your comb to ensure balance
and consistency. . 1 2 3 4 5
note: These first few
subsections create a design
panel that will serve as both
a visual and technical guide for
each subsection as you work
around the head shape. © aveda 2007 | men’s hair design | the faceted layers technique | the faceted layers technique 
3/30/07 5:17:43 PM

tHe faCeted layers teCHnique
Cut tHe primary
sHape
10. After establishing the shape
in the design section, continue to
work in ½ inch vertical subsections
below the parietal ridge. As you
transition behind the ear, work
from a vertical subsection pulled
directly off the occipital area. .
11. Work around the head shape
while creating and cutting ½ inch
vertical subsections. Continue
this technique until you have cut
the shape in the lower half of
the head.
12. As you come to the left parietal
area, make sure to position your
guest’s head back in the natural,
upright position.
note: Remember to tilt your
guest’s head away from you
to build a moderate amount of
contour toward the neckline.
Using the design section as your
guide, continue to stand directly
in front of the area you are cutting.
2 men’s hair design | the faceted layers technique | the faceted layers technique | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 42-43
Cut tHe
transition area
13. While standing on the right
side, create a ½ inch horizontal
subsection from the area behind
the ear to the front hairline. This
subsection should be parallel to
the lower section created at the
beginning of the technique.
14. Pull this subsection directly
toward you and lift it to identify
your guide.
15. With the subsection parallel to
the floor, create a new guide that
meets the previously cut hair, just
behind the ear.
16. Continue working toward
the center part while creating
and cutting ½ inch horizontal
subsections. As you work,
remember to hold the subsections
parallel to the floor. .
note: The length of this
transition area and the amount of
disconnection is determined by
the density of your guest’s hair
and your overall design objective.
17. Move to the left side of the
head and repeat this process
of creating and cutting ½ inch
horizontal subsections, working
from just above the parietal ridge
to the top of the head.
Cut tHe baCk
18. Work around the back of the
head, creating ½ inch horizontal
subsections parallel to the original
horseshoe-shaped part.
19. Pull the hair straight out and
match the guide underneath to
create the desired shape. .
Cut tHe top
20. Stand directly behind the
guest’s head and create a ½ inch
vertical subsection from parietal
ridge to parietal ridge just behind
the ears. This subsection produces
a point at the top of the head. /
note: By connecting the hair in
the transition area on the back of
the head to the previously cut hair
below the parietal ridge, you avoid
undesired build-up of weight in
the interior of the hair cut.
21. Cut a line across this point to
connect the right and left sections
at the top.
22. Continue working in ½ inch
subsections, moving forward
toward the front hairline.
Cut tHe front
23. After completing the interior
shape, create ½ inch diagonal
subsections parallel to the front
hairline. Create the design section
for the front hairline and work into
the interior on parallel subsections
until you run out of hair.
24. Repeat this process on the left
front side.
25. Stand directly in front of your
guest and take a ½ inch subsection
to connect the front hairline. Cut
according to your design objective.
detail and finisH
26. When the final shape is cut,
clean up the perimeter with a
scissors and an edger to articulate
and add longevity to the hair cut.
note: Remember that the more
hair you take off the top, the more
weight you will distribute back into
the transition area of the hair cut.
2
sHampoo and style
27. Shampoo the guest’s hair, towel
it dry, apply a styling product and
comb it in place.
Color serviCe
For hair color, highlights were variation 1
placed to create a natural, tHis guest Has a well-proportioned Head sHape but He Has
sun-lightened effect using the very fine Hair. tHe design objeCtives are to build Contour
Partial Head Foil application. and roundness tHrougH tHe parietal area, to flatten out tHe
To add gloss and shine, an ØN oCCipital area and establisH a more ClassiC, tapered neCkline. He
formula was applied using a feels tHat His Hair gives Him more versatility wHen it Can be worn
Virgin Darker application. eitHer down aCross His foreHead or baCk off of His faCe. tHe
Partial Head Foil Application best solution is to leave enougH lengtH on tHe top and aCross
tHe front to provide Him witH tHe versatility He’s looking for.
In foil packet
Color serviCe
Full Spectrum™ Protective
Permanent Creme Hair Color: Full Head Color with Slices
· 9B/B Very Light Intense Ash Blonde Application (variation)
+ 40 Volume Color Catalyst™
In foil packet
Creme Developer
Full Spectrum™ Protective
· 8V/B Light Ash Blonde
Permanent Creme Hair Color:
+ 30 Volume Color Catalyst™
· 9B/B Very Light Intense
Creme Developer
Ash Blonde
Virgin Darker Application + Volume Color Catalyst™
Full Spectrum™ Deposit-Only Creme Developer
Color Treatment:
All-over color:
· ØN Colorless Treatment
I7 I8 I7 I8
+ Color Treatment Activator Full Spectrum™ Deposit-Only
Color Treatment:
· ØN Colorless Treatment Chap 5 Chap 5
+ Color Treatment Activator Chris-Scott Cut © aveda 2007 | men’s Chris-Scott Cut
hair design | the faceted layers technique | the faceted layers technique variation 1 3
Alt 1 Alt 1
3/2/07 3/2/07
3/30/07 5:17:47 PM

tHe faCeted layers teCHnique
Cut tHe primary
sHape
10. After establishing the shape
in the design section, continue to
work in ½ inch vertical subsections
below the parietal ridge. As you
transition behind the ear, work
from a vertical subsection pulled
directly off the occipital area. .
11. Work around the head shape
while creating and cutting ½ inch
vertical subsections. Continue
this technique until you have cut
the shape in the lower half of
the head.
12. As you come to the left parietal
area, make sure to position your
guest’s head back in the natural,
upright position.
note: Remember to tilt your
guest’s head away from you
to build a moderate amount of
contour toward the neckline.
Using the design section as your
guide, continue to stand directly
in front of the area you are cutting.
2 men’s hair design | the faceted layers technique | the faceted layers technique | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 42-43
Cut tHe
transition area
13. While standing on the right
side, create a ½ inch horizontal
subsection from the area behind
the ear to the front hairline. This
subsection should be parallel to
the lower section created at the
beginning of the technique.
14. Pull this subsection directly
toward you and lift it to identify
your guide.
15. With the subsection parallel to
the floor, create a new guide that
meets the previously cut hair, just
behind the ear.
16. Continue working toward
the center part while creating
and cutting ½ inch horizontal
subsections. As you work,
remember to hold the subsections
parallel to the floor. .
note: The length of this
transition area and the amount of
disconnection is determined by
the density of your guest’s hair
and your overall design objective.
17. Move to the left side of the
head and repeat this process
of creating and cutting ½ inch
horizontal subsections, working
from just above the parietal ridge
to the top of the head.
Cut tHe baCk
18. Work around the back of the
head, creating ½ inch horizontal
subsections parallel to the original
horseshoe-shaped part.
19. Pull the hair straight out and
match the guide underneath to
create the desired shape. .
Cut tHe top
20. Stand directly behind the
guest’s head and create a ½ inch
vertical subsection from parietal
ridge to parietal ridge just behind
the ears. This subsection produces
a point at the top of the head. /
note: By connecting the hair in
the transition area on the back of
the head to the previously cut hair
below the parietal ridge, you avoid
undesired build-up of weight in
the interior of the hair cut.
21. Cut a line across this point to
connect the right and left sections
at the top.
22. Continue working in ½ inch
subsections, moving forward
toward the front hairline.
Cut tHe front
23. After completing the interior
shape, create ½ inch diagonal
subsections parallel to the front
hairline. Create the design section
for the front hairline and work into
the interior on parallel subsections
until you run out of hair.
24. Repeat this process on the left
front side.
25. Stand directly in front of your
guest and take a ½ inch subsection
to connect the front hairline. Cut
according to your design objective.
detail and finisH
26. When the final shape is cut,
clean up the perimeter with a
scissors and an edger to articulate
and add longevity to the hair cut.
note: Remember that the more
hair you take off the top, the more
weight you will distribute back into
the transition area of the hair cut.
2
sHampoo and style
27. Shampoo the guest’s hair, towel
it dry, apply a styling product and
comb it in place.
Color serviCe
For hair color, highlights were variation 1
placed to create a natural, tHis guest Has a well-proportioned Head sHape but He Has
sun-lightened effect using the very fine Hair. tHe design objeCtives are to build Contour
Partial Head Foil application. and roundness tHrougH tHe parietal area, to flatten out tHe
To add gloss and shine, an ØN oCCipital area and establisH a more ClassiC, tapered neCkline. He
formula was applied using a feels tHat His Hair gives Him more versatility wHen it Can be worn
Virgin Darker application. eitHer down aCross His foreHead or baCk off of His faCe. tHe
Partial Head Foil Application best solution is to leave enougH lengtH on tHe top and aCross
tHe front to provide Him witH tHe versatility He’s looking for.
In foil packet
Color serviCe
Full Spectrum™ Protective
Permanent Creme Hair Color: Full Head Color with Slices
· 9B/B Very Light Intense Ash Blonde Application (variation)
+ 40 Volume Color Catalyst™
In foil packet
Creme Developer
Full Spectrum™ Protective
· 8V/B Light Ash Blonde
Permanent Creme Hair Color:
+ 30 Volume Color Catalyst™
· 9B/B Very Light Intense
Creme Developer
Ash Blonde
Virgin Darker Application + Volume Color Catalyst™
Full Spectrum™ Deposit-Only Creme Developer
Color Treatment:
All-over color:
· ØN Colorless Treatment
I7 I8 I7 I8
+ Color Treatment Activator Full Spectrum™ Deposit-Only
Color Treatment:
· ØN Colorless Treatment Chap 5 Chap 5
+ Color Treatment Activator Chris-Scott Cut © aveda 2007 | men’s Chris-Scott Cut
hair design | the faceted layers technique | the faceted layers technique variation 1 3
Alt 1 Alt 1
3/2/07 3/2/07
3/30/07 5:17:47 PM
 3
variation 2
tHis guest’s faCe sHape is relatively oval and narrow.
fullness in His Hair Cut effeCtively balanCes His Head sHape
and Helps Create a more modern feeling, wHiCH He enjoys.
tHe best solution is to extend tHe lengtH and remove
weigHt from His very dense Hair wHile leaving enougH
fullness to Compensate for His narrow, oval features.
Color serviCe
Virgin Darker Application
Full Spectrum™ Deposit-Only
Color Treatment:
· ØN Colorless Treatment
+ Color Treatment Activator

I7 I8 I7 I8
 men’s hair design | the faceted layers technique | the faceted layers technique variation 2 | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 5
Chap 5 Chap 5
Hamilton Cut Hamilton Cut
1611-004_AVM_EduStu_Guide.indd 44-45 Alt 2 Alt 2 3/30/07 5:17:50 PM
 3
variation 2
tHis guest’s faCe sHape is relatively oval and narrow.
fullness in His Hair Cut effeCtively balanCes His Head sHape
and Helps Create a more modern feeling, wHiCH He enjoys.
tHe best solution is to extend tHe lengtH and remove
weigHt from His very dense Hair wHile leaving enougH
fullness to Compensate for His narrow, oval features.
Color serviCe
Virgin Darker Application
Full Spectrum™ Deposit-Only
Color Treatment:
· ØN Colorless Treatment
+ Color Treatment Activator

I7 I8 I7 I8
 men’s hair design | the faceted layers technique | the faceted layers technique variation 2 | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 5
Chap 5 Chap 5
Hamilton Cut Hamilton Cut
1611-004_AVM_EduStu_Guide.indd 44-45 Alt 2 Alt 2 3/30/07 5:17:50 PM
 chapter 6: the freehand and Over-comb Technique

overview The Freehand and Over-comb Technique is generally used to cut shapes that are
short and help balance and enhance the head shape. The scalp is often visible
through the hair on the lower section of the head. This cutting technique
results in hair that tapers from zero or minimal scalp coverage at the edge of
the shape to more density in the interior.
objective In this chapter, you will gain an understanding of How to execute the Freehand
46 men’s hair design | color fundamentals | understanding color | © aveda 2007 X and Over-comb Technique in three variations. X aveda 2007 | men’s hair design | color fundamentals | understanding color 47
©

1611-004_AVM_EduStu_Guide.indd 46-47 3/30/07 5:17:53 PM

 chapter 6: the freehand and Over-comb Technique

overview The Freehand and Over-comb Technique is generally used to cut shapes that are
short and help balance and enhance the head shape. The scalp is often visible
through the hair on the lower section of the head. This cutting technique
results in hair that tapers from zero or minimal scalp coverage at the edge of
the shape to more density in the interior.
objective In this chapter, you will gain an understanding of How to execute the Freehand
46 men’s hair design | color fundamentals | understanding color | © aveda 2007 X and Over-comb Technique in three variations. X aveda 2007 | men’s hair design | color fundamentals | understanding color 47
©

1611-004_AVM_EduStu_Guide.indd 46-47 3/30/07 5:17:53 PM

 1
tHe freeHand and over-Comb teCHnique

blueprint produCt Cut tHe design

The design objective for this
appliCation panel
guest is to cut the hair as short 4. Emulsify a small amount of 6. With your guest’s head tilted

tHe freeHand and over-Comb teCHnique as possible without it looking

shaved. Some length will be
styling product in your hands and
apply it to your guest’s shampooed
slightly away, place the comb
under the hair at the base of the
tHe Canon sHows tHat tHis guest Has a very sHort foreHead left for texture and movement. hair. This makes it easier to keep sideburn on the right side. Pull
7
area and a pronounCed jaw and faCial features. altHougH The technical strategy is to
the hair organized as it is cut. It the comb ½ inch off the head
He likes to wear His Hair sHort, if it’s too sHort He feels combine the Freehand and
also helps mimic the look of the with the teeth pointing straight
ConspiCuous. His Hair Has a tendenCy to grow straigHt out Over-comb Techniques with
finished style and maintains the up and the hair at the bottom 6
on tHe sides wHiCH Creates a triangular-sHaped proportion. a faceted shape above the
hair’s moisture content. of the panel pulled straight
tHe best solution is to reduCe tHe widtH tHrougH tHe parietal ridge.
toward you.
parietal ridge and build Contour witH a vertiCal transition seCtioning into 5
7. Combine the use of
to tHe top of tHe Head. tHe front Hairline is Cut very sHort Use a clipper, scissors and a upper and lower
a freehand technique at the
to elongate tHe foreHead. tHe top and Crown are left combination of combs. seCtions 4
bottom of the design panel.
longer to Create more balanCe in tHe overall Head sHape. 3. Apply a sanitary strip around While focusing on proper use of
5. Position your guest’s head
the neck and then drape the guest tools, move both the cutting
guest Comfort in a natural, upright position. 3
according to your state regulations tool and the comb upward in a
and proteCtion Using a styling comb, create a
for sanitation and safety. straight, vertical motion.
horseshoe-shaped part that runs
1. Have your guest change into along the top of the parietal ridge 2
8. Repeat this motion a second
a T-shirt if one is available. and continues above the occipital time to further refine the shape
2. Shampoo and condition his hair. . bone in the back. If the hair is long in your design panel. This panel 1
enough, clip it in place on top. This will serve as both a visual and
divides the head into upper and technical guide as you work 1 2 3 4 5
note: We recommend the lower sections.
stylist give every guest a Stress- around the head shape. ,
Relieving Scalp Ritual. This
allows the stylist to become
familiar with the contours of the note: Create a rhythm with the
individual's head shape, and clipper and comb to effectively
provides a valuable, relaxing remove hair without congesting
8 men’s hair design | the freehand andI7 I8 2007
over-comb technique | the freehand and over-comb technique | © aveda I7 I8the guest.
service for the clipper. © aveda 2007 | men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique 9
Chap 5 Chap 5
Ryan Ryan
1611-004_AVM_EduStu_Guide.indd 48-49
Alt 1 Alt 1 3/30/07 5:17:59 PM
 1
tHe freeHand and over-Comb teCHnique

blueprint produCt Cut tHe design

The design objective for this
appliCation panel
guest is to cut the hair as short 4. Emulsify a small amount of 6. With your guest’s head tilted

tHe freeHand and over-Comb teCHnique as possible without it looking

shaved. Some length will be
styling product in your hands and
apply it to your guest’s shampooed
slightly away, place the comb
under the hair at the base of the
tHe Canon sHows tHat tHis guest Has a very sHort foreHead left for texture and movement. hair. This makes it easier to keep sideburn on the right side. Pull
7
area and a pronounCed jaw and faCial features. altHougH The technical strategy is to
the hair organized as it is cut. It the comb ½ inch off the head
He likes to wear His Hair sHort, if it’s too sHort He feels combine the Freehand and
also helps mimic the look of the with the teeth pointing straight
ConspiCuous. His Hair Has a tendenCy to grow straigHt out Over-comb Techniques with
finished style and maintains the up and the hair at the bottom 6
on tHe sides wHiCH Creates a triangular-sHaped proportion. a faceted shape above the
hair’s moisture content. of the panel pulled straight
tHe best solution is to reduCe tHe widtH tHrougH tHe parietal ridge.
toward you.
parietal ridge and build Contour witH a vertiCal transition seCtioning into 5
7. Combine the use of
to tHe top of tHe Head. tHe front Hairline is Cut very sHort Use a clipper, scissors and a upper and lower
a freehand technique at the
to elongate tHe foreHead. tHe top and Crown are left combination of combs. seCtions 4
bottom of the design panel.
longer to Create more balanCe in tHe overall Head sHape. 3. Apply a sanitary strip around While focusing on proper use of
5. Position your guest’s head
the neck and then drape the guest tools, move both the cutting
guest Comfort in a natural, upright position. 3
according to your state regulations tool and the comb upward in a
and proteCtion Using a styling comb, create a
for sanitation and safety. straight, vertical motion.
horseshoe-shaped part that runs
1. Have your guest change into along the top of the parietal ridge 2
8. Repeat this motion a second
a T-shirt if one is available. and continues above the occipital time to further refine the shape
2. Shampoo and condition his hair. . bone in the back. If the hair is long in your design panel. This panel 1
enough, clip it in place on top. This will serve as both a visual and
divides the head into upper and technical guide as you work 1 2 3 4 5
note: We recommend the lower sections.
stylist give every guest a Stress- around the head shape. ,
Relieving Scalp Ritual. This
allows the stylist to become
familiar with the contours of the note: Create a rhythm with the
individual's head shape, and clipper and comb to effectively
provides a valuable, relaxing remove hair without congesting
8 men’s hair design | the freehand andI7 I8 2007
over-comb technique | the freehand and over-comb technique | © aveda I7 I8the guest.
service for the clipper. © aveda 2007 | men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique 9
Chap 5 Chap 5
Ryan Ryan
1611-004_AVM_EduStu_Guide.indd 48-49
Alt 1 Alt 1 3/30/07 5:17:59 PM
 tHe freeHand and over-Comb teCHnique
Cut over-Comb in
tHe lower seCtion
9. Move approximately 1 inch to
the left and position the comb
under the hair with the teeth
pointed straight up, combining
Freehand and Over-comb
Techniques.
10. Place the comb directly
against the head and identify
the previously cut hair coming
note: You will find that
different head shapes and hair
types will influence your ability
to keep your panels truly vertical.
In both Freehand and Over-comb
work, the teeth of your tools will
create the best tension if they are
positioned directly against the
growth pattern of the hair. The
goal is to try to keep your panels
as vertical as possible. If you
have to deviate to create proper
tension with your tools, bring the
panels back to vertical as soon as
the hair growth will allow.
50 men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 50-51
through the teeth of the comb
on the right side. Pull the comb
straight toward you until the base
of the comb is in line with the
previously cut hair from the
design section.
11. While establishing a cadence,
remove hair as you move up
through the vertical panel. Repeat
the same motion with the cutting
tool and comb as you move
through this second panel. , .
12. Working from your guide,
repeat this technique in 1 inch
vertical panels as you move
around the head shape.
tip: There are areas of the head
where you will want to leave more
or less volume. Always be conscious
of where you are building or
reducing weight as you work.
Cut freeHand at
tHe nape
13. After cutting the first vertical
panel in the back, while using the
previously cut panel as a guide,
tilt your guest’s head away and
anchor the clipper at the bottom of
the hairline. Then follow through
with the same vertical motion
used when cutting over comb.
14. Continue working around
the head shape to the front
hairline while cuting the vertical
panels over-comb. Then
readdress the panel in the
nape area while using a freehand
clipper technique. '
tip: The Freehand Technique
allows you to cut hair shorter
than you can when working over
a comb. The use of the Freehand
Technique, blending into the
Over-comb Technique can be
applied anywhere in a hair cut.
note: Maintain contact with
the base of the clipper blade
until the cutting edge has cleared
the previously cut hair. Then
follow through with the same
vertical motion used when cutting
over-comb. Cutting short hair is
always a combination of using the
previously cut hair as a technical
guide, while using your mirror
and eye to ensure the appearance
of even blends and transitions.
tip: As you work, use ²⁄³
of the clipper blade width to
remove uncut hair while ¹⁄³
of the clipper blade moves over
the previously cut hair.
note: You will always have the
previously cut hair to use as a
guide between the teeth of your
comb. Also remember to use
your mirror as a visual guide to
maintain consistency as you work
around the head shape.
Cut tHe transition
area
15. Stand directly behind the
guest’s head and create a ½ inch
vertical subsection from the center
part to the parietal ridge, directly
behind the right ear.
16. Pull this subsection straight
out from the head and cut a
design section while using the
previously cut hair below the
parietal ridge as a guide.
17. Using this design section as
a guide, create and cut ½ inch
subsections while working forward
to the front hairline. Make sure
this is a moving guide and that
each subsection is pulled straight
out from the head.
18. After working from behind the
right ear forward, stand directly
in front of the guest’s head and
create and cut a ½ inch vertical
subsection from the center part to
the parietal ridge directly behind
the left ear.
19. Continue working in ½ inch
vertical subsections, moving to
the front hairline.
20. After completing the left
side transition, work around
the crown in ½ inch vertical
pie-shaped subsections.
Cut tHe top
21. Stand directly behind the
guest’s head and create a ½ inch
vertical subsection from parietal
ridge to parietal ridge just behind
the right ear. This subsection
will produce a point at the top
of the head.
22. Cut a line across it to connect
the right and left sections at the top.
note: Always work methodically,
beginning in the right temple and
working around the head shape.
Use your mirror as a visual guide
to help you balance and refine
the shape. Variations in hair
pigment will require additional
blending and refining.
23. Work forward to the front
hairline while creating and
cutting ½ inch vertical subsections,
pulled straight out from the head.
Cut tHe front
24. Stand directly in front of your
guest and take ½ inch horizontal
subsections along the front
hairline. Cut according to your
design concept. For this guest, the
front is cut very short to lengthen
the look of his narrow forehead.
© aveda 2007 | men’s
tHe freeHand and over-Comb teCHnique
detail and finisH Color serviCe
25. When the final shape is cut, A Shoeshine Application was
clean up the perimeter with an used to accent the ends of the
edger to articulate and add hair and emphasize the shape
longevity to the hair cut. , of the hair cut.
Shoe Shine Application
sHampoo and style
Full Spectrum™ Protective
26. Shampoo the guest’s hair,
Permanent Creme Hair Color:
towel-dry, apply a styling
· 10V/B Lightest Ash Blonde
product and comb it in place.
+ 30 Volume Color Catalyst™
Creme Developer
· 9B/B Very Light Intense
Ash Blonde
+ 40 Volume Color Catalyst™
Creme Developer
hair design | the freehand and over-comb technique | the freehand and over-comb technique 5
3/30/07 5:18:01 PM
 tHe freeHand and over-Comb teCHnique
Cut over-Comb in
tHe lower seCtion
9. Move approximately 1 inch to
the left and position the comb
under the hair with the teeth
pointed straight up, combining
Freehand and Over-comb
Techniques.
10. Place the comb directly
against the head and identify
the previously cut hair coming
note: You will find that
different head shapes and hair
types will influence your ability
to keep your panels truly vertical.
In both Freehand and Over-comb
work, the teeth of your tools will
create the best tension if they are
positioned directly against the
growth pattern of the hair. The
goal is to try to keep your panels
as vertical as possible. If you
have to deviate to create proper
tension with your tools, bring the
panels back to vertical as soon as
the hair growth will allow.
50 men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 50-51
through the teeth of the comb
on the right side. Pull the comb
straight toward you until the base
of the comb is in line with the
previously cut hair from the
design section.
11. While establishing a cadence,
remove hair as you move up
through the vertical panel. Repeat
the same motion with the cutting
tool and comb as you move
through this second panel. , .
12. Working from your guide,
repeat this technique in 1 inch
vertical panels as you move
around the head shape.
tip: There are areas of the head
where you will want to leave more
or less volume. Always be conscious
of where you are building or
reducing weight as you work.
Cut freeHand at
tHe nape
13. After cutting the first vertical
panel in the back, while using the
previously cut panel as a guide,
tilt your guest’s head away and
anchor the clipper at the bottom of
the hairline. Then follow through
with the same vertical motion
used when cutting over comb.
14. Continue working around
the head shape to the front
hairline while cuting the vertical
panels over-comb. Then
readdress the panel in the
nape area while using a freehand
clipper technique. '
tip: The Freehand Technique
allows you to cut hair shorter
than you can when working over
a comb. The use of the Freehand
Technique, blending into the
Over-comb Technique can be
applied anywhere in a hair cut.
note: Maintain contact with
the base of the clipper blade
until the cutting edge has cleared
the previously cut hair. Then
follow through with the same
vertical motion used when cutting
over-comb. Cutting short hair is
always a combination of using the
previously cut hair as a technical
guide, while using your mirror
and eye to ensure the appearance
of even blends and transitions.
tip: As you work, use ²⁄³
of the clipper blade width to
remove uncut hair while ¹⁄³
of the clipper blade moves over
the previously cut hair.
note: You will always have the
previously cut hair to use as a
guide between the teeth of your
comb. Also remember to use
your mirror as a visual guide to
maintain consistency as you work
around the head shape.
Cut tHe transition
area
15. Stand directly behind the
guest’s head and create a ½ inch
vertical subsection from the center
part to the parietal ridge, directly
behind the right ear.
16. Pull this subsection straight
out from the head and cut a
design section while using the
previously cut hair below the
parietal ridge as a guide.
17. Using this design section as
a guide, create and cut ½ inch
subsections while working forward
to the front hairline. Make sure
this is a moving guide and that
each subsection is pulled straight
out from the head.
18. After working from behind the
right ear forward, stand directly
in front of the guest’s head and
create and cut a ½ inch vertical
subsection from the center part to
the parietal ridge directly behind
the left ear.
19. Continue working in ½ inch
vertical subsections, moving to
the front hairline.
20. After completing the left
side transition, work around
the crown in ½ inch vertical
pie-shaped subsections.
Cut tHe top
21. Stand directly behind the
guest’s head and create a ½ inch
vertical subsection from parietal
ridge to parietal ridge just behind
the right ear. This subsection
will produce a point at the top
of the head.
22. Cut a line across it to connect
the right and left sections at the top.
note: Always work methodically,
beginning in the right temple and
working around the head shape.
Use your mirror as a visual guide
to help you balance and refine
the shape. Variations in hair
pigment will require additional
blending and refining.
23. Work forward to the front
hairline while creating and
cutting ½ inch vertical subsections,
pulled straight out from the head.
Cut tHe front
24. Stand directly in front of your
guest and take ½ inch horizontal
subsections along the front
hairline. Cut according to your
design concept. For this guest, the
front is cut very short to lengthen
the look of his narrow forehead.
© aveda 2007 | men’s
tHe freeHand and over-Comb teCHnique
detail and finisH Color serviCe
25. When the final shape is cut, A Shoeshine Application was
clean up the perimeter with an used to accent the ends of the
edger to articulate and add hair and emphasize the shape
longevity to the hair cut. , of the hair cut.
Shoe Shine Application
sHampoo and style
Full Spectrum™ Protective
26. Shampoo the guest’s hair,
Permanent Creme Hair Color:
towel-dry, apply a styling
· 10V/B Lightest Ash Blonde
product and comb it in place.
+ 30 Volume Color Catalyst™
Creme Developer
· 9B/B Very Light Intense
Ash Blonde
+ 40 Volume Color Catalyst™
Creme Developer
hair design | the freehand and over-comb technique | the freehand and over-comb technique 5
3/30/07 5:18:01 PM
 2
variation 1
sinCe tHis guest Has a stronger, rounder area above tHe
parietal ridge on tHe rigHt side and a flatter area above tHe
parietal ridge on tHe left side, He requires a Hair Cut tHat Helps
3
variation 2
tHis guest Has an exCeptionally balanCed Head sHape tHougH
He Has a strong, wide jaw line. tHe best solution is to use tHe
balanCe tHe inConsistenCies in tHe Contour of His Head. tHe best faCeted layers teCHnique to Cut a sligHtly Contoured sHape
solution is to Cut vertiCally and Customize tHe Head sHape by and leave a moderate amount of volume tHrougH tHe parietal
leaving tHe Hair longer on tHe left side wHile reduCing weigHt area, tHen use an over-Comb teCHnique to taper tHe neCkline.
on tHe rigHt side. tHis Creates a more proportional Head sHape. a Horizontal transition area aCCentuates HeigHt on tHe top.
Color serviCe Color serviCe
Virgin Darker Application Virgin Darker Application
Full Spectrum™ Deposit-Only “Soft Formula”
Color Treatment:
Full Spectrum™ Protective
· ØN Colorless Treatment
Permanent Creme Hair Color:
+ Color Treatment Activator
· 40 g 3Natural Medium Brown
· 4 g Dark Yellow/Orange
+ 10 Volume Color Catalyst™
Creme Developer

I7 I8 I7 I8
52 men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique variation 1 | © aveda 2007 Chap 5 Chap 5 © aveda 2007 | men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique variation 2 53
I7 I8
Kelly Kelly I7 I8
Alt 1 Alt 1 Chap 5
1611-004_AVM_EduStu_Guide.indd 52-53
Peter Cut Chap 5 3/30/07 5:18:06 PM
 2
variation 1
sinCe tHis guest Has a stronger, rounder area above tHe
parietal ridge on tHe rigHt side and a flatter area above tHe
parietal ridge on tHe left side, He requires a Hair Cut tHat Helps
3
variation 2
tHis guest Has an exCeptionally balanCed Head sHape tHougH
He Has a strong, wide jaw line. tHe best solution is to use tHe
balanCe tHe inConsistenCies in tHe Contour of His Head. tHe best faCeted layers teCHnique to Cut a sligHtly Contoured sHape
solution is to Cut vertiCally and Customize tHe Head sHape by and leave a moderate amount of volume tHrougH tHe parietal
leaving tHe Hair longer on tHe left side wHile reduCing weigHt area, tHen use an over-Comb teCHnique to taper tHe neCkline.
on tHe rigHt side. tHis Creates a more proportional Head sHape. a Horizontal transition area aCCentuates HeigHt on tHe top.
Color serviCe Color serviCe
Virgin Darker Application Virgin Darker Application
Full Spectrum™ Deposit-Only “Soft Formula”
Color Treatment:
Full Spectrum™ Protective
· ØN Colorless Treatment
Permanent Creme Hair Color:
+ Color Treatment Activator
· 40 g 3Natural Medium Brown
· 4 g Dark Yellow/Orange
+ 10 Volume Color Catalyst™
Creme Developer

I7 I8 I7 I8
52 men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique variation 1 | © aveda 2007 Chap 5 Chap 5 © aveda 2007 | men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique variation 2 53
I7 I8
Kelly Kelly I7 I8
Alt 1 Alt 1 Chap 5
1611-004_AVM_EduStu_Guide.indd 52-53
Peter Cut Chap 5 3/30/07 5:18:06 PM
 There has been a change in men’s attitudes toward their clothes.
Men are more aware of fashion; they’re not afraid of it.
–Calvin Klein

Notes:

54 men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique variation 2 | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 55

1611-004_AVM_EduStu_Guide.indd 54-55 3/30/07 5:18:06 PM

 There has been a change in men’s attitudes toward their clothes.
Men are more aware of fashion; they’re not afraid of it.
–Calvin Klein

Notes:

54 men’s hair design | the freehand and over-comb technique | the freehand and over-comb technique variation 2 | © aveda 2007 X © aveda 2007 | men’s hair design | color fundamentals | understanding color 55

1611-004_AVM_EduStu_Guide.indd 54-55 3/30/07 5:18:06 PM

 chapter 7: COMPLETING THE SERVICE WHEEL

overview The end of the Service Wheel may well be the most important. It’s your final chance
to exceed your guest’s expectations and make a lasting, positive impression.
objectives In this chapter, you will learn to:
1. Execute the post–hair cut shampoo service
2. Select styling product and finish the hair cut in a male-appropriate manner
56 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 3. Finish the service cycle with a Goodbye that creates a lasting,
X aveda 2007 | men’s hair design | colorpositive
© impression
fundamentals | understanding color 57

1611-004_AVM_EduStu_Guide.indd 56-57 3/30/07 5:18:09 PM

 chapter 7: COMPLETING THE SERVICE WHEEL

overview The end of the Service Wheel may well be the most important. It’s your final chance
to exceed your guest’s expectations and make a lasting, positive impression.
objectives In this chapter, you will learn to:
1. Execute the post–hair cut shampoo service
2. Select styling product and finish the hair cut in a male-appropriate manner
56 men’s hair design | color fundamentals | understanding color | © aveda 2007 X 3. Finish the service cycle with a Goodbye that creates a lasting,
X aveda 2007 | men’s hair design | colorpositive
© impression
fundamentals | understanding color 57

1611-004_AVM_EduStu_Guide.indd 56-57 3/30/07 5:18:09 PM

 1
f inisHing and goodbye
a post-Hair Cut sHampoo, produCt appliCation and presCription, Home
Care eduCation, an offer to pre-book tHe next appointment and a
warm goodbye all Help assure guest satisfaCtion and loyalty.
post-Hair Cut
sHampoo
This is a unique, signature service
that helps assure your male
guest’s comfort and satisfaction.
Because men’s hair is cut close
to the head, hundreds of tiny hair
strands can infiltrate your guest’s
collar, ears and scalp. This can be
itchy and uncomfortable.
58 men’s hair design | completing the service wheel | finishing and goodbye | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 58-59
To assure your guest’s comfort
after the hair cut is finished, take
him to the shampoo bowl and
shampoo and condition his hair
a second time. Then towel dry and
apply product. This extra attention
to his needs is a clear example of
“above and beyond” service.
produCt
appliCation and
styling
Styling is a way for you to
customize an individual look for
your guest. Generally men will
not spend much time styling their
hair at home. However, they are
usually interested in ideas and
tips from a professional.
styling produCt
types
GROOMING CREAM
Grooming cream generally creates
definition with a medium level of
· Apply product to towel-dried
hold. It can also condition the hair
hair (most men do not blow-dry
and help elevate shine.
their hair)
LIQUID POMADE
· Head shape, growth patterns
Liquid pomade is usually used for
and texture should be taken
moderate hold when you want to
into consideration during
maintain some natural movement.
product selection
It can also help seal in moisture
· Combs are helpful tools to help
and elevate shine.
create shape, direction and finish
GROOMING CLAY
Grooming clay is often used
to add texture, thickness and
definition. The hold is generally
pliable yet strong.
POMADE
Pomade generally provides
strong, pliable hold and control
and definition.
Customization,
eduCation and
presCription
When you create a tailored look
for your guest and help him learn
how to style his own hair, you are
showing you care. Demonstrating
how much product to use, how
dry the hair should be before
application and simple combing
instructions can be very helpful.
After reviewing simple finishing
techniques, you might want to ask
your guest if he would like to try
to duplicate the style himself.
Finish by writing a Product
Prescription and helping him find
the right products in the retail area.
finisHing and goodbye
goodbye
Don’t forget the critical finish
to the Service Wheel. A recap
of the service and home care
styling steps, a service interval goodbye greeting
recommendation, and an
invitation to pre-book his next
appointment will all demonstrate
your professionalism.
Offer a reminder call for the
next appointment, ask him to call treatment/
with any questions or concerns ritual
and end with a warm, friendly
goodbye. That’s how you ensure
a lasting impression that creates
trust and loyalty. .
tip: If a guest is hesitant to
pre-book, assure him that he’ll
get a reminder call 2 hours
in advance and can change the
appointment if needed. © aveda 2007 | men’s hair design | completing the service wheel | finishing and goodbye 59
3/30/07 5:18:10 PM
 1
f inisHing and goodbye
a post-Hair Cut sHampoo, produCt appliCation and presCription, Home
Care eduCation, an offer to pre-book tHe next appointment and a
warm goodbye all Help assure guest satisfaCtion and loyalty.
post-Hair Cut
sHampoo
This is a unique, signature service
that helps assure your male
guest’s comfort and satisfaction.
Because men’s hair is cut close
to the head, hundreds of tiny hair
strands can infiltrate your guest’s
collar, ears and scalp. This can be
itchy and uncomfortable.
58 men’s hair design | completing the service wheel | finishing and goodbye | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 58-59
To assure your guest’s comfort
after the hair cut is finished, take
him to the shampoo bowl and
shampoo and condition his hair
a second time. Then towel dry and
apply product. This extra attention
to his needs is a clear example of
“above and beyond” service.
produCt
appliCation and
styling
Styling is a way for you to
customize an individual look for
your guest. Generally men will
not spend much time styling their
hair at home. However, they are
usually interested in ideas and
tips from a professional.
styling produCt
types
GROOMING CREAM
Grooming cream generally creates
definition with a medium level of
· Apply product to towel-dried
hold. It can also condition the hair
hair (most men do not blow-dry
and help elevate shine.
their hair)
LIQUID POMADE
· Head shape, growth patterns
Liquid pomade is usually used for
and texture should be taken
moderate hold when you want to
into consideration during
maintain some natural movement.
product selection
It can also help seal in moisture
· Combs are helpful tools to help
and elevate shine.
create shape, direction and finish
GROOMING CLAY
Grooming clay is often used
to add texture, thickness and
definition. The hold is generally
pliable yet strong.
POMADE
Pomade generally provides
strong, pliable hold and control
and definition.
Customization,
eduCation and
presCription
When you create a tailored look
for your guest and help him learn
how to style his own hair, you are
showing you care. Demonstrating
how much product to use, how
dry the hair should be before
application and simple combing
instructions can be very helpful.
After reviewing simple finishing
techniques, you might want to ask
your guest if he would like to try
to duplicate the style himself.
Finish by writing a Product
Prescription and helping him find
the right products in the retail area.
finisHing and goodbye
goodbye
Don’t forget the critical finish
to the Service Wheel. A recap
of the service and home care
styling steps, a service interval goodbye greeting
recommendation, and an
invitation to pre-book his next
appointment will all demonstrate
your professionalism.
Offer a reminder call for the
next appointment, ask him to call treatment/
with any questions or concerns ritual
and end with a warm, friendly
goodbye. That’s how you ensure
a lasting impression that creates
trust and loyalty. .
tip: If a guest is hesitant to
pre-book, assure him that he’ll
get a reminder call 2 hours
in advance and can change the
appointment if needed. © aveda 2007 | men’s hair design | completing the service wheel | finishing and goodbye 59
3/30/07 5:18:10 PM
 glossary of terms
b C
BASELINE: A standard of proportion
from which you can compare a
guest’s head shape to note variations
and create design concepts.
BIASED SHAPE: If a shape is cut
short in the back and long in the
front it will generally move forward.
If it is cut hair short in the front
and left long in the back it will
most likely move backward. This
is often called the “directional
bias of a shape.”
60 men’s hair design | glossary of terms | © aveda 2007
1611-004_AVM_EduStu_Guide.indd 60
CANON: A measurement
system developed to help
assess the proportions of the
male head shape.
CONTOURING: Tapering the hair
from a small amount of scalp
showing to total scalp coverage.
d compound bone forming the back
DESIGN PANEL: The first 3 or 4
vertical subsections in the temple
area. This panel serves as a guide
for the rest of the hair cut.
DESIGN SECTION: The first ½ inch
vertical subsection cut in the
temple area.
DISTRIBUTION OF WEIGHT:
Cutting hair with varying amounts
of weight left on different areas
of the head in order to create the
desired shapes.
f p
FACETED LAYERS: An angular
cutting technique for layering
medium length hair.
FREEHAND: A technique for cutting
hair without using a comb.
o door. It includes the Greeting,
OCCIPITAL BONE: A curved,
and part of the base of the skull.
OVER-COMB: A technique for
cutting hair while first pulling
a comb through it to help with
precision, control and positioning.
PANEL: Subsections of hair
created to help cut hair in a
neat and precise pattern.
PARIETAL RIDGE: The area of the
skull where the bones of the head
begin to curve toward the top.
POINT OF DISTRIBUTION:
The place in the back of the
head where the growth pattern
begins-sometimes referred to
as the “crown.”
s
SERVICE BLUEPRINT: A document
for recording the design objectives
and technical strategy for a hair cut.
SERVICE WHEEL: Aveda’s unique
graphic for displaying the service
cycle from the moment a guest
arrives until he walks out the
the Service and the Goodbye.
STATIC SHAPE: Hair cuts are
referred to as “static” or without
motion when the emphasis is
on the build-up or reduction
of weight rather than the overall
movement of the hair cut.
t
TEMPLE AREA: The area of hair
just above the eye along the
front hairline.
TRANSITION AREA: The area of hair
that transitions from the bottom to
the top of the head shape.
3/30/07 5:18:11 PM
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