Milady Standard Nail Technology 7th Edition Ebook PDF

Milady Standard Nail Technology 7th
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MILADY StAnDArD
®
nAIL tECHnOLOGY
Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203
12 The Basics of Electricity / 201
Why Study the Basics of Electricity? / 203
Electricity / 203
Electrical Equipment Safety / 207
PART NAIL CARE / 211
3
13 Manicuring / 212
Why Study Manicuring? / 214
State Regulations for Nail Professionals / 214
Nail Technology Tools / 215
Professional Nail Products / 224
The Basic Manicure / 228
A Man’s Manicure Service / 231
Massage / 232
Spa Manicures / 234
Aromatherapy / 236
Paraffin Wax Treatment / 236
Nail Art / 238
Only the Beginning / 238
14 Pedicuring / 256
Why Study Pedicuring? / 258
Pedicure Tools / 259
Professional Pedicure Products / 265
About Pedicures / 266
Disinfection / 273
15 Electric Filing / 282

Why Study Electric Filing? / 284
Types of Electric Files / 285
Battery-Operated Micrometer Machines / 285
Hand-Held Micrometer Machines / 285
Choosing an Electric File / 286
All About Bits / 288
Electric Filing Techniques / 293
Electric Files for Pedicures / 298
Troubleshooting / 298
Safety Tips for Electric Filing / 301
Continuing Education / 301
16 Nail Tips and Wraps / 305

Why Study Nail Tips and Wraps? / 307
Nail Tips / 307
Nail Wraps / 309
Nail Wrap Maintenance, Repair, and Removal / 310
17 Monomer Liquid and Polymer Powder Nail Enhancements / 325

© iStockphoto/Thinkstock
Why Study Monomer Liquid and Polymer Powder

Nail Enhancements? / 328
Monomer Liquid and Polymer Powder Nail
Enhancement Chemistry / 328
Monomer Liquid and Polymer Powder Nail Enhancement Supplies / 330
Monomer Liquid and Polymer Powder Nail Enhancement
Maintenance and Crack Repair / 334
Odorless Monomer Liquid and Polymer Powder Products / 336
Colored Polymer Powder Products / 336
vi Table of Contents
18 UV and LED Gels / 354
Why Study UV and LED Gels? / 356
Chemistry of UV and LED Gels / 356
UV and LED Gels / 357
UV and LED Gel Supplies / 360
When to Use UV or LED Gels / 361
Choosing the Proper UV or LED Gel / 362
UV and LED Lamps and Bulbs / 362
Gel Polishes / 364
UV and LED Gel Maintenance and Removal / 365
19 The Creative Touch / 386

Why Study Nail Art? / 388
Introducing Clients to Nail Art / 388
Color Theory / 389
Getting the Look: Art Mediums / 390
Polish / 390
Paint / 392
Monomer Liquid and Polymer Powder Nail Art / 394
UV Gel Nail Art / 395
Embellishments / 396
Airbrushing / 397
Nail Art Competitions / 400
Just the Beginning / 405
PART
4
BUSINESS SKILLS / 419
20 Seeking Employment / 420
Why Study How to Prepare for and Seek Employment? / 422
Preparing for Licensure / 422
Preparing for Employment / 426
Résumé and Cover Letter Development / 431
Employment Portfolio / 436
Preparing for a Job Interview / 437
Doing It Right / 451
21 On the Job / 453

Why Study What It Is Like on the Job? / 455
Moving from School to Work / 455
Out in the Real World / 457
Managing Your Money / 464
Discover the Selling You / 469
Keeping Current Clients and Expanding Your Client Base / 474
On Your Way / 476
22 The Salon Business / 478

Why Study the Salon Business? / 480
Going into Business for Yourself / 481
Operating a Successful Salon / 492
Building Your Business / 499
Selling in the Salon / 500
Glossary / 503
Index / 521
Table of Contents
Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 vii
Procedures
■ Procedure 5–1 Cleaning and Disinfecting Nonelectrical
Tools and Equipment / 88
■ Procedure 5–2 Cleaning and Disinfecting Foot Spas or Basins / 90
■ Procedure 5–3 Proper Hand Washing / 98
■ Procedure 5–4 Handling an Exposure Incident During a Manicure / 99
■ Procedure 13–1 Preservice Procedure / 239
■ Procedure 13–2 Postservice Procedure / 242
■ Procedure 13–3 Performing a Basic Manicure / 244
■ Procedure 13–4 Hand and Arm Massage / 248
■ Procedure 13–5 Polishing the Nails / 251
■ Procedure 13–6 Paraffin Wax Treatment / 253
■ Procedure 14–1 Performing a Basic Pedicure / 274
■ Procedure 14–2 Foot and Leg Massage / 278
■ Procedure 15–1 Disinfecting Metal File Bits / 302
■ Procedure 16–1 Nail Tip Application / 312
■ Procedure 16–2 Nail Tip Removal / 315
■ Procedure 16–3 Nail Wrap Application / 316
■ Procedure 16–4 Fabric Wrap Maintenance / 319
■ Procedure 16–5 Fabric Wrap Removal / 322
■ Procedure 17–1 One-Color Monomer Liquid and Polymer Powder

Nail Enhancements over Nail Tips or Natural Nails / 338
viii Procedures
■ Procedure 17–2 Two-Color Monomer Liquid and Polymer Powder
Nail Enhancements Using Forms / 341
■ Procedure 17–3 One-Color Monomer Liquid and Polymer Powder Maintenance / 346
■ Procedure 17–4 Crack Repair for Monomer Liquid and Polymer Powder
Nail Enhancements / 349
■ Procedure 17–5 Monomer Liquid and Polymer Powder Nail Enhancement Removal / 351
■ Procedure 18–1 One-Color Method UV or LED Gel on Tips or Natural Nails with
UV or LED Gel Polish / 366
■ Procedure 18–2 Two-Color Method UV or LED Gel on Tips or Natural Nails / 371
■ Procedure 18–3 UV or LED Gel over Forms / 374
■ Procedure 18–4 UV and LED Gel Maintenance / 377
■ Procedure 18–5 UV or LED Gel over Monomer Liquid and Polymer Powder
Nail Enhancements with UV or LED Gel Polish / 380
■ Procedure 18–6 UV and LED Gel Removal—Hard Gel / 382
■ Procedure 18–7 UV and LED Gel Removal—Soft Gel or Gel Polishes / 383
■ Procedure 19–1 The French Manicure Using Polish / 406
■ Procedure 19–2 Animal Print Design Using Paint / 408
■ Procedure 19–3 3-D Flower Design Using Monomer Liquid and Polymer Powder / 410
■ Procedure 19–4 Confetti Inlaid Design Using UV Gel / 412
■ Procedure 19–5 Crystal Art on Polish Using Embellishments / 414
■ Procedure 19–6 Two-Color Fade or Color Graduation Using an Airbrush / 416

Procedures
Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 ix
Preface
■ TO THE STUDENT
Congratulations! You have chosen a career filled with unlimited potential, one
that can take you in many directions and holds the possibility to make you a
confident, successful professional. As a nail professional, you will play a vital role
in the lives of your clients. Your clients will come to rely on you to provide them
with ongoing service, helping them to look and feel their best.
According to Nails magazine industry statistics, in 2013, professional nail
technicians performed more than 7.5 billion dollars’ worth of manicuring, pedi-
curing, and nail enhancement services for millions of fashion-conscious clients
in the United States. The business of nails continues to progress and grow with
new breakthroughs in product technologies, application techniques, and business
strategy. The need for educated and competent nail technicians is expanding in
the same way. Milady Standard Nail Technology, 7th edition, is the complete first
step to basic nail technology that all professional nail technicians need to kick
off their career.
You are fortunate because you will learn from gifted instructors who will
share their skills and experiences with you. You will meet other industry profes-
sionals at seminars, workshops, and conventions where you will learn the latest
techniques, specific product knowledge, and management procedures. All of
the experiences in which you have the opportunity to participate will provide
you with additional insights into the profession you have chosen. You will build a
network of professionals to turn to for career advice, opportunity, and direction.
Whatever direction you choose, we wish you a successful and enjoyable journey!
■ TO THE INSTRUCTOR
This seventh edition of Milady Standard Nail Technology was prepared with the
help of many instructors and professionals. Milady surveyed instructors, prac-
ticing nail professionals, and state board officials from across the United States
and received in-depth comments from a host of experts to learn what needed
to be changed, added, or deleted from the previous edition.
Milady Standard Nail Technology, 7th edition, contains new and updated
information on many subjects, including infection control, product chemistry,
manicuring, pedicuring, electric filing, monomer liquid and polymer powder
nail enhancements, and UV and LED gels. Chapter 19, The Creative Touch, is
loaded with the latest nail art mediums and techniques.
As instructors you asked Milady to make your job easier by aligning over-
lapping content between Milady Standard Nail Technology and Milady Standard
Cosmetology, and we listened! This alignment includes the following chapters:
Cosmetology
History and Opportunities; Life Skills; Your Professional Image; Communicating
for Success; Infection Control: Principles and Practices; General Anatomy and
Physiology; Skin Structure, Growth, and Nutrition; Nail Structure and Growth; Nail
Disorders and Diseases; The Basics of Chemistry; The Basics of Electricity; Seek
Seek-
ing Employment; On the Job, Business Skills; Manicuring; Pedicuring; Monomer
Liquid and Polymer Powder Nail Enhancements; and UV Gels. We also listened
when you asked for photographs and art that depict nail technicians performing
x Preface
their work and serving their clients; we conducted a 6-day photo shoot to update
more than 230 pieces of art throughout the book, including procedural art.
■ FEATURES OF THIS EDITION

In response to your needs, this exciting new edition of Milady Standard Nail
Technology, 7th edition, includes the following features:
• Chapters and Parts. The book is organized into 22 chapters and four
1
History and Career
parts—making it is very easy to use. Opportunities
•
1
Chapter Outline
Full-Color Art. All art is in full color, with brand-new photographs to show • Why Study the History of Beauty and Nail
Technology and Career Opportunities
for Nail Technicians?
• A Brief History of Cosmetology and Nail
Technology
you step-by-step procedures for manicuring, pedicuring, tips and wraps,

• Career Paths for Nail Technicians
electric filing, monomer liquid and polymer powder nail enhancements,

UV gels, and a completely new basic nail art.
© Valua Vitaly/www.Shutterstock.com
Orientation
•
© iStockphoto/Deborah Cheramie
Learning Objectives and Review Questions. Learning objectives provide History
and Career
CHAPTER 1
Opportunities
Your Professional Image
2
CHAPTER 3
CHAPTER 4
Chapter 1
measurable outcomes-based goals for the students in each chapter.

Communicating for Success
CHAPTER 2
Life Skills
These objectives are reinforced by review questions that assess how well Part 1 Orientation Orientation
1
the student has mastered the goals established in the learning objectives.
• Actual Photos of Skin and Nail Disorders and Diseases. Full-color photos ■ Review Questions
are included to help students identify skin and nail disorders and diseases
1. What are the origins of personal beautification? 3. What are some of the career opportunities avail-
2. What are some of the advancements that were able to licensed nail technicians?
made in nail technology during the twentieth
and early twenty-first centuries?
more accurately. Learning Objectives
•
After completing this chapter, you will be able to:
LO1
Client Consultation Guidelines. A complete chapter focuses on client

Explain the origins of personal beautification.
LO2 Discuss the advancements made in nail

technology during the twentieth and early
twenty-first centuries.
LO3 List several career opportunities available to

a licensed nail technician.
consultation and gives suggestions for identifying and meeting the
© Digital Vision/Thinkstock
needs of each individual client. Key Terms
Page number indicates where in the chapter the term is used.
cosmetology / 4
•
nail technology / 4
Chemical Safety Coverage. A complete chapter is devoted to the important 12
topic of chemical safety in the nail salon. Students will learn to identify the
© Kamira/www.Shutterstock.com Chapter 1 History and Career Opportunities
chemicals commonly used in the nail salon, how they can cause harm, how Part 1 Orientation 3
to protect themselves and their clients, and how to read Safety Data Sheets
(SDSs) (formerly known as Material Safety Data Sheets [MSDSs]).
• State Licensing Exam Topics.
Topics The topics required for state licensing 6 7 8
examinations are presented in a complete, easy-to-read fashion. 6

Press and smooth the enhancement
product to fill the crack. Be careful
not to let the product seep under the
7
Apply additional beads, if needed, to
fill in the crack or reinforce the rest of
the nail. Shape the enhancement and
allow it to harden.
8
Remove the form, if used.
• Procedure 17-4
Reshape the nail enhancement using Buff the nail enhancement until it is Clean nails before application of nail
9 10 smooth. Remove the dust and apply
11 polish or gel sealant.
oil to the enhancement and sur-
Safety Cautions.
Cautions Highlighted safety cautions alert students to services
rounding skin. Wash the client’s hand
and nails with soap and water. Apply
hand cream and massage the hand
Crack Repair for Monomer Liquid and and arm.
Polymer Powder Nail Enhancements12
that include potentially dangerous procedures. These cautions explain IMPLEMENTS AND MATERIALS
In addition to the basic materials on your manicuring table, you will need the following supplies for the Crack Repair for
Monomer Liquid and Polymer Powder Nail Enhancements Procedure:
•
•
Nail dehydrator
Nail primer
•
•
Monomer liquid
Polymer powder
•
•
Dappen dishes
Abrasives
how to avoid dangerous situations and how to provide services in a safe,

• Nail forms • Application brushes
Preparation 12
Copyright © 2011 Milady, a part of Cengage Learning. Photography by Dino Petrocelli.
Refer to Procedure 13–1, Preservice Procedure.
Procedure Postservice
clean environment.
Apply nail dehydrator to any exposed , Postservice Procedure. LO6
1 2 natural nail in the crack.
3
• Tips. These tips provide hints on the most efficient and effective ways to
Remove the existing polish or gel seal- Apply nail primer to any exposed
1 ant. File a V shape into the crack or file
3 natural nail in the crack.
Copyright © 2011 Milady, a part of Cengage Learning. Photography by Dino Petrocelli.
flush to remove crack. File more than

just the crack for extra protection. 350 Chapter 1 Monomer Liquid and Polymer Powder Nail Enhancements
Prepare the monomer liquid and

4 5 5 polymer powder. Pick up one or more
small beads of the product and apply
complete step-by-step procedures and help students improve their nail

them to the cracked area. If you are
using the two-color system, be sure
to use the correct color of polymer
powder.
If the crack needs support, apply a

4 nail form.
technology skills.
Part 3 Nail Care 349
• Regulatory Agency Alerts. Because state regulations vary, regulatory

agency alerts remind students to check with their instructors for specific
regulations in their state.
• Business Tips. These tips help nail technicians improve their business
relations to achieve complete customer satisfaction.
Preface
Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 xi
However, if someone calls to ask for an appointment with a particular nail
technician on a particular day and time, every effort should be made to accom-
modate the client’s request. If the nail technician is not available at the time the
client requests, there are several ways to handle the situation:
• Suggest other times that the nail technician is available.
• Application Tips. These tips give additional insight to nail technicians as
they perform the service procedures.
• If the client cannot come in at any of those times, suggest that another
nail technician provide the service for this visit.
• If the client is unwilling to try another nail technician, offer to call the cli-
ent if there is a cancellation at the desired time.
•
WEB RESOURCES This chapter provides a general overview of the
complex issues involved in salon and spa ownership. There are many
Web Resources. Throughout the text, the reader will be directed to a variety
resources on the Internet for further study. The Web sites listed here are a
good start.
Design Advice on business topics from A
http://www.beautydesign.com to Z as well as, business resources
Click on Design Center to view see for accounting, sales, marketing,
various salon layouts and to see salon technology, and more.
photos from all over the world. http://www.isquare.com
of useful and informational Web sites that they can use in and out of school.
Human Resources The Small Business Advisor — Provides
http://www.dol.gov/compliance/guide information on starting and operating
Look through this Employment Law a small business.
Guide from U.S. Department of Labor’s http://www.salonbuilder.com
Web site. Search for: employment law Information on starting a salon.
guide
http://www.smallbusinessnotes.com
http://www.eeoc.gov Various business-related articles.
Research relevant equal employment
http://www.strategies.com
opportunity regulations; check out the
The source for salon business growth
compliance manual.
seminars, training, and coaching.
http://hr.blr.com
Human Resources – Business and legal Salon Software
reports related to human resources. http://www.shortcuts.net
Find a forum, dozens of topics, and http://www.salonbiz.com
regulations by state. http://www.http://www.saloniris.
comsalon2K.com
Small Business Ownership
http://www.salon-software.com
and Operation
http://www.business.com
Handling Complaints by Telephone

Handling complaints, particularly over the phone, is a difficult task. The caller is
probably upset and short-tempered. Respond with self-control, tact, and cour-
■ SUPPLEMENTS FOR THE STUDENT

tesy, no matter how trying the circumstances. Only then will the caller be made
to feel that she has been treated fairly.
498 Chapter 22 The Salon Business
AND INSTRUCTOR
Milady Standard Nail Technology, 7th Edition, features these supplements:
Available Translations
• SPANISH TRANSLATED MILADY STANDARD NAIL TECHNOLOGY CORE
TEXTBOOK
o A Spanish translation of the core textbook
• SPANISH STUDY RESOURCE FOR MILADY STANDARD NAIL TECHNOLOGY
o A Spanish translation of the student Workbook and the Exam Review
• VIETNAMESE TRANSLATED STUDY SUMMARY FOR MILADY STANDARD NAIL
TECHNOLOGY
o This translated text includes the chapters most requested by nail tech schools
with significant Vietnamese student populations, including Infection Con-
trol; Nail Disorders and Diseases; Nail Structure, Growth, and Nutrition;
Manicuring; Pedicuring; Electric Filing; Nail Tips; and Wraps; UV Gels; The
Creative Touch (nail art); and the glossary of key terms and definitions from
the core textbook.
o Exam review questions in Vietnamese
Milady Standard Nail Technology Workbook

This interactive workbook provides students with exercises, problems to solve,
ideas to think about, and resolutions to create that will engage their interest
and contemplative skills. The four-color workbook includes short-answer and
short essay questions; sentence completion, matching, definition, and labeling
activities; crossword puzzles; and word review activities. The workbook also
includes tips on preparing for the practical exam.
Milady Standard Nail Technology Student

Exam Review
This student book of exam reviews contains multiple-choice-type questions
similar to those found on state nail technology licensing exams. Questions are
arranged in groups under major subject areas.
xii Preface
New Student Supplement: Milady Standard
Nail Technology Coursemate
CourseMate is an online tool that combines classroom management with
interactive student tools. CourseMate provides instructors with all the reporting
tools they need to track student engagement, while students access interactive
study tools in a dynamic, online learning environment.
Get Started with Coursemate:

1. Students receive a Printed Access Card that contains a code and instruc-
tions for accessing their course.
2. Instructors set up free access to CourseMate through Milady.
3. Through a simple process, instructors set up a unique course key to share
with their students that will enable the engagement tracker to begin
tracking each student’s activity.
Component 1 Component 2 Component 3

Student Learning
Interactive eBook Pathway Engagement Tracker
Features highlighting, Includes Chapter Prep- A Web-based reporting
note taking, book aration, Study Notes, and tracking tool that
marking, and in-text Audio Glossary, Flash allows the instructor
search so that students Cards, Quizzes, Videos, to see each student’s
can immediately jump Crossword Puzzles, and progress across all of
to the section they Games. Each of these the activities. View an
need to reference. activities is reported individual student’s
directly to the Engage- progress through each
ment Tracker so that of the tools, including
the instructor is aware time spent and, where
of the student’s applicable, grades and
progress. completion percent-
age. Also, view a class
as a whole and imme-
diately identify the stu-
dents that need help.
Preface
Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 xiii
Milady Standard Nail Technology Course
Management Guide on CD
This step-by-step, simple-to-use course guide has been designed specifically
to help the nail technology instructor set up and operate a successful nail
technology training program. It includes:
• Guidelines for starting and implementing a nail technology program
• Detailed lesson plans for each chapter in the book along with a chapter test
• Learning reinforcement ideas or activities that can be implemented in
the nail technology classroom
• Answers to review questions at the end of each textbook chapter and
answers to the Milady Standard Nail Technology Workbook
• A computerized test bank for instant creation of review tests with answer keys
• An image library that includes all images in the text for use as handouts
or in PowerPoint® presentations
Milady Standard Nail Technology Instructor

Support Slides
The Instructor Support Slides contain a complete PowerPoint® presentation
for every textbook chapter along with a new interactive feature of audio
pronunciation for difficult terminology.
Milady Standard Nail Technology DVD Series

This ALL NEW DVD series brings to life complete coverage of the practical
applications of the textbook. This series will enhance classroom learning and is
essential for remedial work and individual learning.
Instructor Website for Milady Standard

Nail Technology
This new instructor Web site contains all the content an instructor needs in one
password-protected Web site. The instructor Web site includes the materials
found in the following individual products:
• The Course Management Guide on CD
• The Instructor Support Slides
• Answers to the English and Spanish workbooks
xiv Preface
About the Authors
■ ALISHA RIMANDO BOTERO
Alisha Rimando Botero is recognized as one of the nail industry’s leading
experts in training and education. In her first 2 years as an educator, she taught
classes in over 100 beauty schools and vo-techs across the United States. In her
14 years of experience, Botero’s work has been described as “groundbreaking”;
she has been a platform artist and motivational speaker for more than 1,500
promotional and educational events. She has competed in over 100 nail com-
petitions around the globe, winning a World Championship in 2005. Botero
Photo courtesy of Alisha Rimando Botero

has worked with R&D chemists to develop artificial nail enhancement prod-
ucts, nanotechnology skin care and cuticle treatments, polish collections, and
natural nail treatments. One of her innovative product lines was awarded an
industry ABBIE for best packaging, and several others have been recognized
with readers’ choice awards for best products.
As executive vice president and creative director of Artistic Nail Design,
Botero continues to challenge herself and her team to create high-quality
products and superior education for the professional nail market.
■ JOHN HALAL
John Halal began his career in the beauty industry as a hairstylist over 43 years
ago. He is a licensed cosmetology instructor, a former salon and school owner,
and currently the director of education at Tricoci University of Beauty Culture.
Halal is an affiliate member of the Society of Cosmetic Chemists (SCC) and the
treasurer of Beauty Changes Lives (BCL). He is the immediate past president
of the American Association of Cosmetology Schools (AACS) and the current
president of the Indiana Cosmetology and Barbering Association (ICBA). John
Photo courtesy of John Halal

is the author of Hair Structure and Chemistry Simplified and Milady Hair Care and
Product Ingredient Dictionary. He is also a contributor to the Milady Standard
Cosmetology Textbook and several other Milady publications. Halal obtained
his associate’s degree, with highest distinction, from Indiana University. He is a
member of the Golden Key National Honor Society and Alpha Sigma Lambda.
He has authored numerous articles on a wide variety of topics and been
published in several professional trade magazines. He often travels as a guest
speaker to address both professional and consumer groups.
■ MARY ANN KILGORE

Mary Ann Kilgore holds a B.A. in psychology and a M.A. in industrial organiza-
tional psychology. She is a licensed cosmetologist. After graduating from high
school, she followed her passion for beauty and enrolled in cosmetology school.
She opened a full-service salon just 5 years after graduating. With salon owner-
Photo courtesy of Mike Steele
ship experience and over a dozen years of dedication as a hair designer, she can
clearly relate to the role of being a manager in a creative industry. Kilgore has
a thirst for learning; while working in the salon during the day, she attended
college and earned her master’s degree in psychology in 2001. She transitioned
her career into a corporate role and still maintained a small clientele.
About the Authors

Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 xv
With more than 15 years of training development and facilitation
experience, Kilgore has designed and delivered a wide range of learning
solutions for teams in areas such as finance, human resources, customer
service, operations, manufacturing, and the beauty industry. She has also
managed a team of beauty consultants in a leading retail beauty store. She
now holds a position as a salon consultant for a national beauty product
company and works as a nail technologist.
Photo courtesy of Jim McConnell, McConnell Labs, Inc.
■ JIM MCCONNELL
Jim McConnell received his B.S. in chemistry from the University of Oregon
in 1986. He has been a chemist in the field of polymers since 1988. After
graduating from the University of Oregon, he worked as a catalytic chemist
in the petroleum industry and as a urethane and epoxy chemist in the wood
products, concrete coating, and steel coating industries for 12 years. He and
his wife, Lezlie, founded McConnell Labs, Inc., in 1998, making Light Elegance
Nail Products for their salon in Eugene, Oregon. They soon began selling the
UV gel products internationally. McConnell has contributed to numerous nail
technology magazines around the world to answer questions, contribute
Photo courtesy of Janet McCormick, MS, Nail Technician, Esthetician and Author, Frostproof, FL
chemistry, and explain UV light technology. He has served on the board of

various committees for SSPC (Steel Structures Painting Council) and NACE
(National Association of Corrosion Engineers).
■ JANET MCCORMICK, MS, CIDESCO

Janet McCormick is a licensed and experienced esthetician and manicurist, a
sought-after trainer, a former spa director, and the former owner of success-
ful salons. The author of three books, she has also contributed chapters to the
industry’s leading textbooks for two specialties and written hundreds of highly
respected articles in the beauty industry trade magazines.
McCormick is co-owner of Medinail Learning Center, which provides two
certifications—the Advanced Nail Technician certification program for salon-
based nail technicians and the Medical Nail Technician certification, a program
to prepare nail technicians to work in podiatry offices. She is also owner of Spa
Techniques, a consulting and training firm, and writes under that banner.
■ VICKI PETERS
As a nail technician, Vicki Peters has wowed the industry with her championship
nails. As a cover artist and author, her work has been published worldwide
more than any other tech in the history of the nail business. As an educator, she
has trained techs from Russia, Germany, Japan, Ireland, the United Kingdom,
Canada, Mexico, Africa, Australia, and the United States. As an industry leader,
she has mentored thousands and pioneered the industry to new levels. Peters
is a 31-year veteran nail technician, past competition champion, judge and
competition director, technical educator, and featured business speaker. She
Photo courtesy of Vicki Peters
is also author of the Milady Nails Q&A Book, Drilltalk, The Competitive Edge, and
Novartis’ Nail Healthy Guide. Her nail artistry has been on the covers of TV Guide,
Dayspa, Nails, Nailpro, Nailpro Europe, and numerous fashion magazines. Her
expertise in the nail business ranges from salon work and hands-on technical
experience to R&D, education, and lecturing worldwide.
xvi About the Authors

■ DOUGLAS SCHOON
Doug Schoon has over 30 years of experience as a research scientist, international
lecturer, author, and educator; he has become a recognized authority in the
professional beauty industry. He led Creative Nail Design’s (CND) research and
development program for 19 years, and for the last 6 years has been president
of his own consulting firm, Schoon Scientific. He works as a strong advocate
for salon safety and represents the professional nail industry on scientific and
Photo courtesy of Doug Schoon

technical issues in the United States, Europe, Canada, Australia, and Japan.
Schoon is the author of several books and video and audio training programs
as well as hundreds of articles about salon chemicals, chemical safety, and
disinfection. As a writer and speaker, he is applauded for his ability to make
complex theories and concepts seem interesting and easy to understand. His
latest book, Nail Structure & Product Chemistry, Second Edition, Cengage Learning,
is also considered an excellent resource for nail professionals. Currently, Schoon
is a co-chair of the Nail Manufacturers Council (NMC) of the Professional Beauty
Association (PBA).
■ JERYL E. SPEAR
Jeryl Spear is a veteran stylist and previous salon owner who perfected her
craft over a 20-year stint in the beauty business. After spending 4 years as
executive editor of Beauty Launchpad, in 2011 Jeryl became the editor in chief
Photo courtesy of Jeryl Spear

and creative director of HOT beauty magazine, a leading trade publication
(print and digital) that focuses on all specialties within the professional-beauty
industry (http://www.hot.hairshow.us).
■ PREVIOUS EDITION CONTRIBUTORS

DEBORAH BEATTY
JEWELL CUNNINGHAM
CATHERINE M. FRANGIE
LIN HALPERN
LACINDA HEADINGS
NANCY KING HEUPEL
TERRI LUNDBERG
GODFREY F. MIX, D.P.M.
LAURA J. MIX
REBECCA MORAN
JACQUELINE OLIPHANT
SUE ELLEN SCHULTES
About the Authors

Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 xvii
Acknowledgments
The Milady staff and the contributors wish to acknowledge the many individuals
and organizations who helped shape the seventh edition of Milady Standard
Nail Technology. Their input enabled us to produce a book that will be a valuable
resource for both students and professionals in the field of nail technology.
We extend our sincere thanks and appreciation to all those who contributed to
this edition.
■ SPECIAL THANKS TO:

• Entity 1 Gel Technology (http://www.entitybeauty.com)
• Atwood Industries (http://www.atwoodindustries.net)
• Medicool, Inc. (http://www.medicool.com). Special thanks to Steve
Wallace for supplying the images of electric bits for Chapter 15.
• KUPA, Inc. (http://www.kupainc.com)
• Josephine (Pina) More for her fantastic job on the photo shoot, her
perfect technical skills, and her unwavering energy and professionalism.
• Jeff Cardarella, president, Aerovex Systems, Inc. for providing the nail
salon ventilation equipment.
• Tony VU, nail artist of Bella Moda, Clifton Park, NY, for his extraordinary
nail art creations featured throughout the book.
• Danielle Klahr, Inside Out Beauty Consulting, Latham, NY, for applying
her professionalism, expertise, and technique knowledge.
• Thom Cammer, makeup artist, Guilderland, NY
• Amy Elizabeth Smith, makeup artist, for her incredible makeup designs
on our models.
• Debra Windus, The Burmax Company, Inc., Holtsville, NY, for her tre-
mendous help in gathering all of the supplies for our photo shoot.
• Jean Claude and his team from Jean Paul Day Spa and Hair Salons,
Albany, NY (www.jeanpaulspa.com). Jean Claude welcomed the Milady
staff for a full day of shooting. Special thanks to Shannon Grady, Kathleen
Dewy, Morgan Duke, Ashley Junco, and Debra Beaudoin for all of their
assistance.
• The nail art and hand models for their patience and dedication: Shirley
Arensberg, Tunika Beard, Kimberly Cardona, Samantha Cook, Stephanie
Ferretti, Danielle Klahr, Marchelle Milkes, Greg Rayno, Jr., Patricia Reilly,
Bob Resnick, Sheena Salone, Nisha Thomas, and Rosie Vu.
• Bryan Durocher, president, Durocher Enterprises Inc.
• Nails Magazine
• Manx National Heritage
• The Rome Nail Academy
• Catherine Wong, Ecsalonce
xviii Acknowledgments
• Viv Simmonds, VIVid Nail & Beaute Salon
• Cindy Davis
• Nails made by Massimiliano Braga
• Noble Nails by Louise Callaway
• LCN / Wilde Cosmetics GmbH
• Emilio (http://www.emilio-online.com)
■ SEVENTH EDITION REVIEWERS

Barbara Acello, Innovations in Health Care, Denton, TX
Frances L. Archer, MHSA, the Nail Clinic School of Manicuring, Columbia, SC
Melanie Beachy, Carriage Court Salon, Plain City, OH
Ami Barth, Bellevue, KY
Melinda T. Borrego, Marinello School of Beauty, North Granby, CT
Yota Botsaras, salon owner, Cypress, CA
Suzanne Casabella, NYS-licensed nail technician and esthetician, Coxsackie, NY
Lisa W. Crawford, Bellafonte Academy of Beauty, Maysville, KY
JoAnn DiPrete, Ultronics, Copley, OH
Lauren Gellar, Evergreen Beauty College, Marysville, WA
Shari Golightly, owner/cosmetologist/RCMT/Reiki master, Greeley, CO
Jennifer Hain, Columbia Montour Area Vocational Technical School, Middleburg, PA
John Halal, Honors Beauty College, Inc., Indianapolis, IN
Donna Haynes, Houston Training School, Missouri City, TX
Cindy Heidemann, ABC School of Cosmetology, Esthetics, & Nail Technology,
Inc., Lake in the Hills, IL
Meg King, Spa Solas by Meg & Company, Ardmore, PA
Susan Kolar, David Pressley Professional School of Cosmetology, Transitions
School of Cosmetology Careers, Armada, MI
Lori Manicho, YourNewSchool, Amlin, OH
Yolanda Matthews, the Cosmetology Connection & Consulting Services,
Houston, TX
Janet McCormick, Frostproof, FL
Lauria Mullins, Leander ISD, Georgetown, TX
Darlene Ray, Miller-Motte Technical College, Ooltewah, TN
Leslie Roste, director of education, King Research, Prairie Village, KS
Cheryl Simkins-Anderson, Jean Paul Salon & Day Spa, Albany, NY
Vickie Servais, New Horizons Regional Education Center, Hampton, VA
Robert Spalding, DPM, MediNail Learning Center, Signal Mtn., TN
Donna Simmons, Tulsa Tech, Collinsville, OK
Madeline Udod, Eastern Suffolk BOCES (retired), Farmingville, NY
Kimberly Cutter-Williams, M.Ed., Savannah Technical College, Savannah, GA
Acknowledgments
Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 xix
■ PHOTO SHOOT LOCATIONS:
• Austin’s School of Spa Technology, Albany, NY
• CNY Healing Arts Wellness Center & Spa, Latham, NY
• Jean Paul Spa & Salons, Albany and Latham, NY
• Kimberley’s… A Day Spa, Ltd., Latham, NY
■ PHOTOGRAPHERS:
• Joseph Schuyler Photography, Albany, NY
schuylerphoto@gmail.com
• Dino Petrocelli, professional photographer, Albany, NY

(http://www.dinopetrocelli.com)
• Paul Castle, Castle Photography, Inc., Troy, NY

(http://www.castlephotographyinc.com)
• Michael Dzaman Photography © Michael Dzaman/Dzaman Photography

(http://www.dzamanphoto.com)
xx Acknowledgments
1
© Valua Vitaly/www.Shutterstock.com
OrientationCHAPTER 1 CHAPTER 3
History Your Professional Image
and Career
CHAPTER 4
Opportunities
Communicating for Success
CHAPTER 2
Life Skills
Part 1 Orientation Orientation

1
1
History and Career
Opportunities
Chapter Outline
• Why Study the History of Beauty and Nail
Technology and Career Opportunities
for Nail Technicians?
• A Brief History of Cosmetology and Nail
Technology
• Career Paths for Nail Technicians
© iStockphoto/Deborah Cheramie
2 Chapter 1
Learning Objectives
After completing this chapter, you will be able to:
LO1 Explain the origins of personal beautification.
LO2 Discuss the advancements made in nail

technology during the twentieth and early
twenty-first centuries.
LO3 List several career opportunities available to

a licensed nail technician.
© Digital Vision/Thinkstock
Key Terms
Page number indicates where in the chapter the term is used.
cosmetology / 4
nail technology / 4
© Kamira/www.Shutterstock.com
Part 1 Orientation
Copyright 2015 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 3
Cosmetology is a term used to encompass a broad range of beauty specialties,
including hairstyling, nail technology, and esthetics. It is the art and science of
beautifying and improving the nails, hair, and skin and the study of cosmetics
and their applications. In this text, we will primarily focus on nail technology,
which is defined as “the art and science of beautifying and improving the nails
and skin of the hands and feet.”
WHY STUDY THE HISTORY OF BEAUTY

AND NAIL TECHNOLOGY AND CAREER
OPPORTUNITIES FOR NAIL TECHNICIANS?
Nail technicians should have a thorough understanding of the history of
beauty and nail technology as well as career opportunities available, because:
❱ Knowing the history of your profession can help you predict and
understand upcoming trends.
❱ Learning about the many different nail care services will help broaden your
offerings or assist you in developing one or more specialties within your
practice.
❱ Learning about the many possible career paths will help you see the wide
range of opportunities open to nail technicians.
■ A BRIEF HISTORY OF COSMETOLOGY

AND NAIL TECHNOLOGY
Personal beautification dates back to the dawn of history, with each subsequent
period contributing new approaches to beautifying the hair, skin, and nails.
While scientists and beauty visionaries in the twenty-first century have
made many breakthroughs in beauty products, even they have been heavily
influenced by past uses and achievements.
© iStockphoto/Valentin Casarsa
4 Chapter 1 History and Career Opportunities

The Egyptians
The Egyptians were the first to cultivate beauty in an extravagant fashion and
to use cosmetics as part of their personal beautification habits, religious
ceremonies, and burial preparations. In fact, as early as 3000 B.C., Egyptians
used minerals, insects, and berries to create makeup for their eyes, lips, and
skin and henna to stain their hair and nails a rich, warm red. In Ancient
Egypt and during the Roman Empire, military commanders stained
their nails and lips in matching colors before important battles.
Queen Nefertiti (circa 1400 B.C.) used a henna paste to stain her
nails a deep red, wore lavish makeup designs, and used custom-
blended essential oils as signature scents. Queen Cleopatra (circa
50 B.C.), who preferred a rust-red nail hue, took this dedication to
beauty to an entirely new level by erecting a personal cosmetics
factory next to the Dead Sea.
© Vladimir Wrangel/www.Shutterstock.com
The Chinese
History shows that during the Shang Dynasty (1600 B.C.), Chinese aristocrats
rubbed a tinted mixture of gum arabic, gelatin, beeswax, and egg whites onto
their nails to turn them crimson or ebony. Throughout the Chou Dynasty
(1100 B.C.), gold and silver nails were strictly reserved for royal family mem-
bers. In fact, during this early period in history, nail tinting was so closely tied
to social status that commoners who were caught wearing the royal nail colors
faced a punishment of death. Extraordinarily long nails were also a status symbol
of the ancient Chinese elite. Some even wore gold, jewel-adorned nail guards to
protect against damaging their lengthy symbols of wealth and leisure.
The Greeks
During the Golden Age of Greece (beginning in 500 B.C.), hairstyling became a
highly developed art. The ancient Greeks also made lavish use of perfumes and
cosmetics in their religious rites, in grooming, and for medicinal purposes. They
built elaborate baths and developed excellent methods of dressing the hair and
caring for the skin and nails.
Greek soldiers often applied red color their lips and nails red when preparing
for battle. Greek women used white lead powder on their faces, kohl on their eyes,
and ground cinnabar—a brilliant red mineral that is a chief source of mercury—
on their cheeks and lips. Interestingly, these powder and ointment preparations
represent the basis of many cosmetic formulations still in use today.
The Romans
Celebrating the power of cosmetics to beautify one’s appearance, Roman
philosopher Plautus (254–184 B.C.) wrote, “A woman without paint is like
© Heather L. Jones/www.Shutterstock.com
food without salt.” Roman women used a mixture of chalk and white lead
to powder their complexions. They also used hair color to indicate their
class status: noblewomen colored their hair red, middle-class women
colored their hair blond, and poor women colored their hair black.
Both men and women used sheep blood mixed with fat to add
color to their nails.
Part 1 Orientation
The Middle Ages
The Middle Ages is the period in European history that falls between classical
antiquity and the Renaissance, beginning with the downfall of Rome in A.D. 476
and lasting until about 1450. Many tapestries, sculptures, and other artifacts
from this period show towering headdresses, intricate hairstyles, and the use of
cosmetics on the skin and hair. Women wore colored makeup on their cheeks
and lips, but not on their eyes or nails.
The Renaissance
During the Renaissance period (A.D. 1450–1600), Western civilization made the
transition from medieval to modern history. Paintings and written records tell
us a great deal about the grooming practices throughout this period. Both men
and women wore elaborate clothing and used fragrances and cosmetics, al-
though highly colored preparations for the lips, cheeks, eyes, and nails were
discouraged. They may have avoided colored nail cosmetics, but wealthy peo-
ple manicured their nails. Archeological digs have uncovered cosmetic tools
from the Renaissance period, including nail cleaners—some doubling as ear
scoops—made of bone or metal in a wide variety of designs.
The Victorian Age

The reign of Queen Victoria of England (A.D. 1837–1901) was known as the Victorian
Age. Fashions in dress and personal grooming were drastically influenced by the
social customs of this austere period in history. To preserve the health and beauty
of the skin, women used beauty masks and packs made from honey, eggs, milk,
oatmeal, fruits, vegetables, and other natural ingredients. Rather than use cos-
metics such as rouges or lip stains, Victorian women pinched their cheeks and
bit their lips to induce natural color. Nails were sometimes tinted with red oil and
then buffed with a chamois cloth. LO1
© Hemera/Thinkstock
The Twentieth Century
In the early twentieth century, the invention of motion pictures coincided with
an abrupt shift in American attitudes. As viewers saw pictures of celebrities with
flawless complexions, beautiful hairstyles, and manicured nails, the standards
of feminine beauty began to change. This era also signaled the onset of indus-
trialization, which brought a new prosperity to the United States. Beauty appli-
cations began to follow the trends set by celebrities and society figures.
1901 to 1919
1904: Max Factor began manufacturing and selling makeup to movie stars that
wouldn’t cake or crack, even under hot studio lights.
© SASIMOTO/www.Shutterstock.com
1910: Flowery Manicure Products introduced the first emery board that is nearly
identical to the emery boards used today.
1917: Women massaged commercial powders,
pastes, and creams onto their nails and then
buffed them to a gleaming finish. One such
polishing paste was Graf’s Hyglo Nail Polish
Paste. Some women applied a clear varnish to
their nails with a very small camel hair brush.

1920s
The cosmetics industry grew exponentially. Cosmetics
advertising in magazines swelled from $2.5 million in
1915 to $25 million in 1925. The total sales of cosmetics
and toiletries mushroomed from $8.6 million in 1909, to
$33.5 million in 1920.
© iStockphoto/hlphoto
1930s
In 1932, inspired by a new, opaque paint that was being
produced for the automobile industry, Charles Revson mar-
keted the first successful nail lacquer brand in a variety of colors. This
beauty milestone marked a dramatic shift in nail cosmetics, as every woman
literally had an array of nail polish colors at her fingertips. Early screen sirens
Jean Harlow and Gloria Swanson glamorized this hip new nail lacquer trend by
appearing in films wearing matching polish on their fingers and toes.
1940s
The aerosol can was invented, eventually leading to the marketing of the first
hair sprays in 1948. Shiny lips also came into vogue for the first time when wom-
en began applying petroleum jelly over their lipstick. Nail polish applications
omitted the moon at the base of the nail and sometimes did not include the
tip of the nail.
1950s
The 1950s saw the introduction of tube mascara,
improved hair care and nail products, and the boom
and then death of the weekly manicure appointment.
In the early 1950s, red nail lacquer was extremely popular,
with nail technicians leaving the moon—the whitish, half-moon
shape at the base of the nail plate—unpolished. As the decade pro-
© NatUlrich/www.Shutterstock.com
gressed, full-coverage, frosted pastel colors—especially light coral, silver-

white, pink, and apricot-gold—were all the rage. Hot oil manicures were the
ultimate luxury in nail and hand care.
1960s
Juliette (paper) nail wraps—the precursor to silk and fiberglass wraps—were
commonly used to protect natural nail tips. (Juliettes are credited with estab-
lishing the now familiar biweekly nail maintenance appointment.) Detached
nail tips were reaffixed with model airplane glue and reinforced with thin
strands of cotton. Human nail clippings were also used to add nail length. Cli-
ents brought their separated nail tips to their appointments for reattachment.
Nail technicians also created “nail banks,” which consisted of nails donated by all
of their clients! Frosted nail shades continued to be extremely popular. Hot oil
manicures continued to be the luxury service of choice.
1970s
Nail technicians offered the first monomer liquid and polymer powder nail ser-
vices. Plastic nail tips affixed with cyanoacrylate adhesive replaced nail clippings
Part 1 Orientation
attached with model airplane glue to instantly extend nail length. Jeff Pink in-
vented the French manicure (clear nail bed with white tip) and Ridgefiller (a
product that makes ridged nails appear smooth). Squared nail tips came into
vogue.
1980s
Nail art—decals, jewels, metallic strips, and hand-drawn images—
were extremely popular. Monomer liquid and polymer powder nail
formulations continued to improve in terms of ease of application
and longevity for wearers.
© Artem Furman/www.Shutterstock.com
1990s
The day spa business took hold, ushering in a huge
resurgence in natural manicure and pedicure ser-
vices. Airbrush (spray) guns were commonly used to
apply nail designs, especially the white tip of a French
manicure. In 1998, the first spa pedicure system was introduced to the pro-
fessional beauty industry.
Other notable achievements of the twentieth century include:
• UV gel systems grew in popularity.
• Color UV gel and monomer liquid and polymer powder nail enhance-
ments swept the industry.
• The popularity of natural nail care services reached a high point.
• Demand for pedicure services reached an all-time high.
• Nail technicians had unprecedented career choices.
• Nail enhancement performance vastly improved.
• Nail polish became safer and longer-lasting.
Twenty-First Century
Nail grooming has reached an all-time zenith in terms of client demand and
product and service choices. It is no longer considered a luxury; it is an ex-
pected part of every client’s grooming ritual. An unprecedented demand for
nail services of all types has created a critical shortage of nail technicians in the
beauty industry.
Here are some examples of the exciting changes we’ve seen thus far:
• UV gel nail polish sweeps the nation. In addition to being called “gel nail
polish,” it is commonly referred to as a gel manicure, soft-gel manicure,
and soak-off gel polish. Each coat of “polish” must be cured under a UV
lamp for up to one minute, depending on the brand.
• Gel polish manicures have dramatically driven the growth of the
professional nail industry since their introduction in 2010. This is largely
because the manicure results last two weeks or longer—including no
chipping or surface dulling—and nails are no thicker than they would
be with a regular manicure polish. The one drawback: Unless a client has
unusually strong and flexible nails, the nail plate must be kept relatively
short.

• UV gel enhancements grow by leaps and bounds because of their
adhesion and natural leveling capabilities, permanent shine properties,
and no-odor formulations. Color and glitter UV gel and monomer liq-
fyi
uid and polymer powder products also gain in popularity. Beyond defining your area
• Nail polish formulations evolve to embody chip-resistant, fade-resistant of expertise, you must also
characteristics. Manufacturers continue to improve their nail polish for- decide whether you want to
mulas by eliminating many unsafe ingredients. Manicuring implements work in one or more of the
improve dramatically by incorporating new ergonomic designs and following environments:
enhanced workmanship. • Nail salon
• A bevy of professional, natural nail care treatments and systems enter
• Full-service salon (hair,
skin, and nail services)
the professional beauty arena, allowing nail technicians to address spe-
• Day spa (skin, body, nail,
cific nail concerns. and hair services that
• Foot-and-hand skin treatment emphasize beauty and
products continue to grow wellness) (Figure 1-1)
in numbers and popularity, • Medical spa, medical
including many scrubs, office, or foot spa
masks, and serums that
specifically address dry-
ness, dullness, and skin-
© Valentyn Volkov/www.Shutterstock.com
aging issues. LO2
Figure 1-1 Pedicures are high-demand

▲
services that many nail clients
faithfully book on a monthly basis.
Copyright © 2015 Milady, a part of Cengage Learning.
Photography by Joseph Schuyler Photography.
Part 1 Orientation
CAREER PATHS FOR NAIL TECHNICIANS
Once you have completed your schooling and are licensed, you will be amazed
at how many career opportunities will open up to you. The possibilities can be
endless for a dedicated nail technician who approaches his or her career with
a strong sense of personal integrity. Because rules and regulations vary from
state to state, it is important to know which services are allowed in your state of
licensure and the steps you must take to get there.
Within the professional nail industry, there are numerous specialties. They in-
clude the following:
• Nail technician in a traditional salon or spa. Today, clients are eagerly
requesting a variety of nail services that require a combination of skills.
Natural nail services—gel polish manicures and luxurious pedicures as

well as nail-strengthening treatments—monomer liquid and polymer
powder nail enhancements, and odorless UV gel nail enhancements, are
Photography by Dino Petrocelli.
all very popular salon and day spa services. You can now specialize in
one specific area of your field (e.g., natural nails, pedicures, or nail en-
hancements) or be a full-service nail technician who offers many differ-
ent types of nail services (Figure 1-2).
• Medical nail technician/advanced nail technician. Because many
▲ Figure 1-2 Nail technicians have the physicians now recognize the benefits of using medical nail technicians
choice of providing basic to luxurious (MNTs) and advanced nail technicians (ANTs) to perform safe manicures
pedicures as well as medical-based
nail and foot services. and pedicures on at-risk patients, you have a golden opportunity to take
your postlicensing career to a whole new level.
To become an MNT, you are required to take specialty courses and com-
plete an internship under the direction of a podiatrist or physician. Once your
advanced training is complete and you have been certified as an MNT, you
have the choice of working in a variety of medical settings, including a medical

spa or podiatry office. Duties vary, but could include assisting physicians with
patients as well as performing cosmetic pedicures in a dedicated salon room.
You may also choose to become an ANT. An ANT must successfully

complete an advanced training course that focuses on safely providing
services for at-risk clients in a salon or spa setting. Becoming an ANT also
gives you greater respect among salon clients and the opportunity to
benefit from physician referrals.
▲ Figure 1-3 Moving into management • Salon management. If business is your calling, you will find diverse
and even salon ownership are possible
management opportunities in the salon and spa environment. They in-
career paths for nail technicians.
clude inventory manager, retail sales manager, department head, special
© iStockphoto/j_markow
events manager (promotions), assistant manager, and general manager.

With experience, you can also add salon owner to your list of career
possibilities. To ensure your success, it is wise to enroll in
business classes to learn more about managing products,
departments, and, above all, people (Figure 1-3).

• Salon educator. Many companies, such as manu-
facturers and salon chains, hire experienced salon
professionals and train them to educate others.
This kind of education can take many forms, rang-
ing from technical to management and interper-
sonal relationship training. A salon educator can

work with small salons, as well as large organiza-
tions and trade associations, to help develop the
beauty industry’s most valuable resource—salon
personnel (Figure 1-4).

• Distributor sales consultant. The salon industry
depends heavily on its relationships with product
distributors in order to stay abreast of changes
in the marketplace. In addition to selling prod-
ucts, distributor sales consultants (DSCs) provide
▲ Figure 1-4 Educators can work part-
information about new products, trends, and techniques. This specialty time and still service a clientele or
provides an excellent opportunity for highly skilled and trained cosme- work full-time as a teacher or trainer.
tology professionals. The DSC is the salon’s link to the rest of the indus-
try. It is also a relationship that represents the most effective method for
professional beauty product companies to reach salon professionals and
owners.
• Manufacturer educator. Most manufacturers hire their own educators
to train salon professionals on how to use their products and even to
provide advanced education. Mastery of the company’s product lines is a
must for manufacturer educators. An accomplished educator who is also
a good public speaker can advance to field educator, regional educator,
or even director of education for nail-centric companies.
• Beauty school instructor. Have you ever wondered how your instructor
decided to start teaching? Many instructors had fantastic careers in
salons before dedicating themselves to teaching new professionals the
tricks of the trade. If this career path interests you, spend some time with
your school’s instructors and ask them why they went into education.
While educating new nail technicians can be challenging, it can also be
very rewarding.
• Film/editorial nail technician. Working behind the
scenes at magazine and Internet photo shoots, or
backstage on movies and TV sets, begins by volun-
teering. Even someone right out of school can volun-
teer by networking with photographers, editorial stylists,
and nail technicians who already work behind the scenes.
Once you are officially assisting a seasoned nail technician at photo
shoots—even if it means you are volunteering your time—ask
photographers for one or two images in lieu of payment. Make
© Viorel Sima/www.Shutterstock.com
sure they show off your nail work! Eventually, as you gain the trust of
those who have allowed you to assist, you will be invited to do shoots as a
paid nail technician. The qualities required to get to this level include tech-
nical expertise, persistence, networking skills, reliability, team spirit, speed,
and attention to detail. LO3
Part 1 Orientation
■ Review Questions
1. What are the origins of personal beautification? 3. What are some of the career opportunities avail-
2. What are some of the advancements that were able to licensed nail technicians?
made in nail technology during the twentieth
and early twenty-first centuries?
© iStockphoto/Valentin Casarsa

�
Life Skills
Chapter Outline
• hy tudy Life kills
• Life kills
• uidelines for uccess
• Rules of uccess
• Recogni ing and Managing tress
• Motivation and elf Management
• Managing our Career
• oal etting
• ime Management
• tudy kills
• Ethics
• Personality Development and Attitude
tudio www. hutterstock.com
© L
Another random document with
no related content on Scribd:
DANCE ON STILTS AT THE GIRLS’ UNYAGO, NIUCHI
Newala, too, suffers from the distance of its water-supply—at least

the Newala of to-day does; there was once another Newala in a lovely
valley at the foot of the plateau. I visited it and found scarcely a trace
of houses, only a Christian cemetery, with the graves of several
missionaries and their converts, remaining as a monument of its
former glories. But the surroundings are wonderfully beautiful. A
thick grove of splendid mango-trees closes in the weather-worn
crosses and headstones; behind them, combining the useful and the
agreeable, is a whole plantation of lemon-trees covered with ripe
fruit; not the small African kind, but a much larger and also juicier
imported variety, which drops into the hands of the passing traveller,
without calling for any exertion on his part. Old Newala is now under
the jurisdiction of the native pastor, Daudi, at Chingulungulu, who,
as I am on very friendly terms with him, allows me, as a matter of
course, the use of this lemon-grove during my stay at Newala.
FEET MUTILATED BY THE RAVAGES OF THE “JIGGER”
(Sarcopsylla penetrans)
The water-supply of New Newala is in the bottom of the valley,

some 1,600 feet lower down. The way is not only long and fatiguing,
but the water, when we get it, is thoroughly bad. We are suffering not
only from this, but from the fact that the arrangements at Newala are
nothing short of luxurious. We have a separate kitchen—a hut built
against the boma palisade on the right of the baraza, the interior of
which is not visible from our usual position. Our two cooks were not
long in finding this out, and they consequently do—or rather neglect
to do—what they please. In any case they do not seem to be very
particular about the boiling of our drinking-water—at least I can
attribute to no other cause certain attacks of a dysenteric nature,
from which both Knudsen and I have suffered for some time. If a
man like Omari has to be left unwatched for a moment, he is capable
of anything. Besides this complaint, we are inconvenienced by the
state of our nails, which have become as hard as glass, and crack on
the slightest provocation, and I have the additional infliction of
pimples all over me. As if all this were not enough, we have also, for
the last week been waging war against the jigger, who has found his
Eldorado in the hot sand of the Makonde plateau. Our men are seen
all day long—whenever their chronic colds and the dysentery likewise
raging among them permit—occupied in removing this scourge of
Africa from their feet and trying to prevent the disastrous
consequences of its presence. It is quite common to see natives of
this place with one or two toes missing; many have lost all their toes,
or even the whole front part of the foot, so that a well-formed leg
ends in a shapeless stump. These ravages are caused by the female of
Sarcopsylla penetrans, which bores its way under the skin and there
develops an egg-sac the size of a pea. In all books on the subject, it is
stated that one’s attention is called to the presence of this parasite by
an intolerable itching. This agrees very well with my experience, so
far as the softer parts of the sole, the spaces between and under the
toes, and the side of the foot are concerned, but if the creature
penetrates through the harder parts of the heel or ball of the foot, it
may escape even the most careful search till it has reached maturity.
Then there is no time to be lost, if the horrible ulceration, of which
we see cases by the dozen every day, is to be prevented. It is much
easier, by the way, to discover the insect on the white skin of a
European than on that of a native, on which the dark speck scarcely
shows. The four or five jiggers which, in spite of the fact that I
constantly wore high laced boots, chose my feet to settle in, were
taken out for me by the all-accomplished Knudsen, after which I
thought it advisable to wash out the cavities with corrosive
sublimate. The natives have a different sort of disinfectant—they fill
the hole with scraped roots. In a tiny Makua village on the slope of
the plateau south of Newala, we saw an old woman who had filled all
the spaces under her toe-nails with powdered roots by way of
prophylactic treatment. What will be the result, if any, who can say?
The rest of the many trifling ills which trouble our existence are
really more comic than serious. In the absence of anything else to
smoke, Knudsen and I at last opened a box of cigars procured from
the Indian store-keeper at Lindi, and tried them, with the most
distressing results. Whether they contain opium or some other
narcotic, neither of us can say, but after the tenth puff we were both
“off,” three-quarters stupefied and unspeakably wretched. Slowly we
recovered—and what happened next? Half-an-hour later we were
once more smoking these poisonous concoctions—so insatiable is the
craving for tobacco in the tropics.
Even my present attacks of fever scarcely deserve to be taken
seriously. I have had no less than three here at Newala, all of which
have run their course in an incredibly short time. In the early
afternoon, I am busy with my old natives, asking questions and
making notes. The strong midday coffee has stimulated my spirits to
an extraordinary degree, the brain is active and vigorous, and work
progresses rapidly, while a pleasant warmth pervades the whole
body. Suddenly this gives place to a violent chill, forcing me to put on
my overcoat, though it is only half-past three and the afternoon sun
is at its hottest. Now the brain no longer works with such acuteness
and logical precision; more especially does it fail me in trying to
establish the syntax of the difficult Makua language on which I have
ventured, as if I had not enough to do without it. Under the
circumstances it seems advisable to take my temperature, and I do
so, to save trouble, without leaving my seat, and while going on with
my work. On examination, I find it to be 101·48°. My tutors are
abruptly dismissed and my bed set up in the baraza; a few minutes
later I am in it and treating myself internally with hot water and
lemon-juice.
Three hours later, the thermometer marks nearly 104°, and I make
them carry me back into the tent, bed and all, as I am now perspiring
heavily, and exposure to the cold wind just beginning to blow might
mean a fatal chill. I lie still for a little while, and then find, to my
great relief, that the temperature is not rising, but rather falling. This
is about 7.30 p.m. At 8 p.m. I find, to my unbounded astonishment,
that it has fallen below 98·6°, and I feel perfectly well. I read for an
hour or two, and could very well enjoy a smoke, if I had the
wherewithal—Indian cigars being out of the question.
Having no medical training, I am at a loss to account for this state
of things. It is impossible that these transitory attacks of high fever
should be malarial; it seems more probable that they are due to a
kind of sunstroke. On consulting my note-book, I become more and
more inclined to think this is the case, for these attacks regularly
follow extreme fatigue and long exposure to strong sunshine. They at
least have the advantage of being only short interruptions to my
work, as on the following morning I am always quite fresh and fit.
My treasure of a cook is suffering from an enormous hydrocele which
makes it difficult for him to get up, and Moritz is obliged to keep in
the dark on account of his inflamed eyes. Knudsen’s cook, a raw boy
from somewhere in the bush, knows still less of cooking than Omari;
consequently Nils Knudsen himself has been promoted to the vacant
post. Finding that we had come to the end of our supplies, he began
by sending to Chingulungulu for the four sucking-pigs which we had
bought from Matola and temporarily left in his charge; and when
they came up, neatly packed in a large crate, he callously slaughtered
the biggest of them. The first joint we were thoughtless enough to
entrust for roasting to Knudsen’s mshenzi cook, and it was
consequently uneatable; but we made the rest of the animal into a
jelly which we ate with great relish after weeks of underfeeding,
consuming incredible helpings of it at both midday and evening
meals. The only drawback is a certain want of variety in the tinned
vegetables. Dr. Jäger, to whom the Geographical Commission
entrusted the provisioning of the expeditions—mine as well as his
own—because he had more time on his hands than the rest of us,
seems to have laid in a huge stock of Teltow turnips,[46] an article of
food which is all very well for occasional use, but which quickly palls
when set before one every day; and we seem to have no other tins
left. There is no help for it—we must put up with the turnips; but I
am certain that, once I am home again, I shall not touch them for ten
years to come.
Amid all these minor evils, which, after all, go to make up the
genuine flavour of Africa, there is at least one cheering touch:
Knudsen has, with the dexterity of a skilled mechanic, repaired my 9
× 12 cm. camera, at least so far that I can use it with a little care.
How, in the absence of finger-nails, he was able to accomplish such a
ticklish piece of work, having no tool but a clumsy screw-driver for
taking to pieces and putting together again the complicated
mechanism of the instantaneous shutter, is still a mystery to me; but
he did it successfully. The loss of his finger-nails shows him in a light
contrasting curiously enough with the intelligence evinced by the
above operation; though, after all, it is scarcely surprising after his
ten years’ residence in the bush. One day, at Lindi, he had occasion
to wash a dog, which must have been in need of very thorough
cleansing, for the bottle handed to our friend for the purpose had an
extremely strong smell. Having performed his task in the most
conscientious manner, he perceived with some surprise that the dog
did not appear much the better for it, and was further surprised by
finding his own nails ulcerating away in the course of the next few
days. “How was I to know that carbolic acid has to be diluted?” he
mutters indignantly, from time to time, with a troubled gaze at his
mutilated finger-tips.
Since we came to Newala we have been making excursions in all
directions through the surrounding country, in accordance with old
habit, and also because the akida Sefu did not get together the tribal
elders from whom I wanted information so speedily as he had
promised. There is, however, no harm done, as, even if seen only
from the outside, the country and people are interesting enough.
The Makonde plateau is like a large rectangular table rounded off
at the corners. Measured from the Indian Ocean to Newala, it is
about seventy-five miles long, and between the Rovuma and the
Lukuledi it averages fifty miles in breadth, so that its superficial area
is about two-thirds of that of the kingdom of Saxony. The surface,
however, is not level, but uniformly inclined from its south-western
edge to the ocean. From the upper edge, on which Newala lies, the
eye ranges for many miles east and north-east, without encountering
any obstacle, over the Makonde bush. It is a green sea, from which
here and there thick clouds of smoke rise, to show that it, too, is
inhabited by men who carry on their tillage like so many other
primitive peoples, by cutting down and burning the bush, and
manuring with the ashes. Even in the radiant light of a tropical day
such a fire is a grand sight.
Much less effective is the impression produced just now by the
great western plain as seen from the edge of the plateau. As often as
time permits, I stroll along this edge, sometimes in one direction,
sometimes in another, in the hope of finding the air clear enough to
let me enjoy the view; but I have always been disappointed.
Wherever one looks, clouds of smoke rise from the burning bush,
and the air is full of smoke and vapour. It is a pity, for under more
favourable circumstances the panorama of the whole country up to
the distant Majeje hills must be truly magnificent. It is of little use
taking photographs now, and an outline sketch gives a very poor idea
of the scenery. In one of these excursions I went out of my way to
make a personal attempt on the Makonde bush. The present edge of
the plateau is the result of a far-reaching process of destruction
through erosion and denudation. The Makonde strata are
everywhere cut into by ravines, which, though short, are hundreds of
yards in depth. In consequence of the loose stratification of these
beds, not only are the walls of these ravines nearly vertical, but their
upper end is closed by an equally steep escarpment, so that the
western edge of the Makonde plateau is hemmed in by a series of
deep, basin-like valleys. In order to get from one side of such a ravine
to the other, I cut my way through the bush with a dozen of my men.
It was a very open part, with more grass than scrub, but even so the
short stretch of less than two hundred yards was very hard work; at
the end of it the men’s calicoes were in rags and they themselves
bleeding from hundreds of scratches, while even our strong khaki
suits had not escaped scatheless.
NATIVE PATH THROUGH THE MAKONDE BUSH, NEAR

MAHUTA
I see increasing reason to believe that the view formed some time
back as to the origin of the Makonde bush is the correct one. I have
no doubt that it is not a natural product, but the result of human
occupation. Those parts of the high country where man—as a very
slight amount of practice enables the eye to perceive at once—has not
yet penetrated with axe and hoe, are still occupied by a splendid
timber forest quite able to sustain a comparison with our mixed
forests in Germany. But wherever man has once built his hut or tilled
his field, this horrible bush springs up. Every phase of this process
may be seen in the course of a couple of hours’ walk along the main
road. From the bush to right or left, one hears the sound of the axe—
not from one spot only, but from several directions at once. A few
steps further on, we can see what is taking place. The brush has been
cut down and piled up in heaps to the height of a yard or more,
between which the trunks of the large trees stand up like the last
pillars of a magnificent ruined building. These, too, present a
melancholy spectacle: the destructive Makonde have ringed them—
cut a broad strip of bark all round to ensure their dying off—and also
piled up pyramids of brush round them. Father and son, mother and
son-in-law, are chopping away perseveringly in the background—too
busy, almost, to look round at the white stranger, who usually excites
so much interest. If you pass by the same place a week later, the piles
of brushwood have disappeared and a thick layer of ashes has taken
the place of the green forest. The large trees stretch their
smouldering trunks and branches in dumb accusation to heaven—if
they have not already fallen and been more or less reduced to ashes,
perhaps only showing as a white stripe on the dark ground.
This work of destruction is carried out by the Makonde alike on the
virgin forest and on the bush which has sprung up on sites already
cultivated and deserted. In the second case they are saved the trouble
of burning the large trees, these being entirely absent in the
secondary bush.
After burning this piece of forest ground and loosening it with the
hoe, the native sows his corn and plants his vegetables. All over the
country, he goes in for bed-culture, which requires, and, in fact,
receives, the most careful attention. Weeds are nowhere tolerated in
the south of German East Africa. The crops may fail on the plains,
where droughts are frequent, but never on the plateau with its
abundant rains and heavy dews. Its fortunate inhabitants even have
the satisfaction of seeing the proud Wayao and Wamakua working
for them as labourers, driven by hunger to serve where they were
accustomed to rule.
But the light, sandy soil is soon exhausted, and would yield no
harvest the second year if cultivated twice running. This fact has
been familiar to the native for ages; consequently he provides in
time, and, while his crop is growing, prepares the next plot with axe
and firebrand. Next year he plants this with his various crops and
lets the first piece lie fallow. For a short time it remains waste and
desolate; then nature steps in to repair the destruction wrought by
man; a thousand new growths spring out of the exhausted soil, and
even the old stumps put forth fresh shoots. Next year the new growth
is up to one’s knees, and in a few years more it is that terrible,
impenetrable bush, which maintains its position till the black
occupier of the land has made the round of all the available sites and
come back to his starting point.
The Makonde are, body and soul, so to speak, one with this bush.
According to my Yao informants, indeed, their name means nothing
else but “bush people.” Their own tradition says that they have been
settled up here for a very long time, but to my surprise they laid great
stress on an original immigration. Their old homes were in the
south-east, near Mikindani and the mouth of the Rovuma, whence
their peaceful forefathers were driven by the continual raids of the
Sakalavas from Madagascar and the warlike Shirazis[47] of the coast,
to take refuge on the almost inaccessible plateau. I have studied
African ethnology for twenty years, but the fact that changes of
population in this apparently quiet and peaceable corner of the earth
could have been occasioned by outside enterprises taking place on
the high seas, was completely new to me. It is, no doubt, however,
correct.
The charming tribal legend of the Makonde—besides informing us
of other interesting matters—explains why they have to live in the
thickest of the bush and a long way from the edge of the plateau,
instead of making their permanent homes beside the purling brooks
and springs of the low country.
“The place where the tribe originated is Mahuta, on the southern
side of the plateau towards the Rovuma, where of old time there was
nothing but thick bush. Out of this bush came a man who never
washed himself or shaved his head, and who ate and drank but little.
He went out and made a human figure from the wood of a tree
growing in the open country, which he took home to his abode in the
bush and there set it upright. In the night this image came to life and
was a woman. The man and woman went down together to the
Rovuma to wash themselves. Here the woman gave birth to a still-
born child. They left that place and passed over the high land into the
valley of the Mbemkuru, where the woman had another child, which
was also born dead. Then they returned to the high bush country of
Mahuta, where the third child was born, which lived and grew up. In
course of time, the couple had many more children, and called
themselves Wamatanda. These were the ancestral stock of the
Makonde, also called Wamakonde,[48] i.e., aborigines. Their
forefather, the man from the bush, gave his children the command to
bury their dead upright, in memory of the mother of their race who
was cut out of wood and awoke to life when standing upright. He also
warned them against settling in the valleys and near large streams,
for sickness and death dwelt there. They were to make it a rule to
have their huts at least an hour’s walk from the nearest watering-
place; then their children would thrive and escape illness.”
The explanation of the name Makonde given by my informants is
somewhat different from that contained in the above legend, which I
extract from a little book (small, but packed with information), by
Pater Adams, entitled Lindi und sein Hinterland. Otherwise, my
results agree exactly with the statements of the legend. Washing?
Hapana—there is no such thing. Why should they do so? As it is, the
supply of water scarcely suffices for cooking and drinking; other
people do not wash, so why should the Makonde distinguish himself
by such needless eccentricity? As for shaving the head, the short,
woolly crop scarcely needs it,[49] so the second ancestral precept is
likewise easy enough to follow. Beyond this, however, there is
nothing ridiculous in the ancestor’s advice. I have obtained from
various local artists a fairly large number of figures carved in wood,
ranging from fifteen to twenty-three inches in height, and
representing women belonging to the great group of the Mavia,
Makonde, and Matambwe tribes. The carving is remarkably well
done and renders the female type with great accuracy, especially the
keloid ornamentation, to be described later on. As to the object and
meaning of their works the sculptors either could or (more probably)
would tell me nothing, and I was forced to content myself with the
scanty information vouchsafed by one man, who said that the figures
were merely intended to represent the nembo—the artificial
deformations of pelele, ear-discs, and keloids. The legend recorded
by Pater Adams places these figures in a new light. They must surely
be more than mere dolls; and we may even venture to assume that
they are—though the majority of present-day Makonde are probably
unaware of the fact—representations of the tribal ancestress.
The references in the legend to the descent from Mahuta to the
Rovuma, and to a journey across the highlands into the Mbekuru
valley, undoubtedly indicate the previous history of the tribe, the
travels of the ancestral pair typifying the migrations of their
descendants. The descent to the neighbouring Rovuma valley, with
its extraordinary fertility and great abundance of game, is intelligible
at a glance—but the crossing of the Lukuledi depression, the ascent
to the Rondo Plateau and the descent to the Mbemkuru, also lie
within the bounds of probability, for all these districts have exactly
the same character as the extreme south. Now, however, comes a
point of especial interest for our bacteriological age. The primitive
Makonde did not enjoy their lives in the marshy river-valleys.
Disease raged among them, and many died. It was only after they
had returned to their original home near Mahuta, that the health
conditions of these people improved. We are very apt to think of the
African as a stupid person whose ignorance of nature is only equalled
by his fear of it, and who looks on all mishaps as caused by evil
spirits and malignant natural powers. It is much more correct to
assume in this case that the people very early learnt to distinguish
districts infested with malaria from those where it is absent.
This knowledge is crystallized in the
ancestral warning against settling in the
valleys and near the great waters, the
dwelling-places of disease and death. At the
same time, for security against the hostile
Mavia south of the Rovuma, it was enacted
that every settlement must be not less than a
certain distance from the southern edge of the
plateau. Such in fact is their mode of life at the
present day. It is not such a bad one, and
certainly they are both safer and more
comfortable than the Makua, the recent
intruders from the south, who have made USUAL METHOD OF
good their footing on the western edge of the CLOSING HUT-DOOR
plateau, extending over a fairly wide belt of
country. Neither Makua nor Makonde show in their dwellings
anything of the size and comeliness of the Yao houses in the plain,
especially at Masasi, Chingulungulu and Zuza’s. Jumbe Chauro, a
Makonde hamlet not far from Newala, on the road to Mahuta, is the
most important settlement of the tribe I have yet seen, and has fairly
spacious huts. But how slovenly is their construction compared with
the palatial residences of the elephant-hunters living in the plain.
The roofs are still more untidy than in the general run of huts during
the dry season, the walls show here and there the scanty beginnings
or the lamentable remains of the mud plastering, and the interior is a
veritable dog-kennel; dirt, dust and disorder everywhere. A few huts
only show any attempt at division into rooms, and this consists
merely of very roughly-made bamboo partitions. In one point alone
have I noticed any indication of progress—in the method of fastening
the door. Houses all over the south are secured in a simple but
ingenious manner. The door consists of a set of stout pieces of wood
or bamboo, tied with bark-string to two cross-pieces, and moving in
two grooves round one of the door-posts, so as to open inwards. If
the owner wishes to leave home, he takes two logs as thick as a man’s
upper arm and about a yard long. One of these is placed obliquely
against the middle of the door from the inside, so as to form an angle
of from 60° to 75° with the ground. He then places the second piece
horizontally across the first, pressing it downward with all his might.
It is kept in place by two strong posts planted in the ground a few
inches inside the door. This fastening is absolutely safe, but of course
cannot be applied to both doors at once, otherwise how could the
owner leave or enter his house? I have not yet succeeded in finding
out how the back door is fastened.
MAKONDE LOCK AND KEY AT JUMBE CHAURO

This is the general way of closing a house. The Makonde at Jumbe
Chauro, however, have a much more complicated, solid and original
one. Here, too, the door is as already described, except that there is
only one post on the inside, standing by itself about six inches from
one side of the doorway. Opposite this post is a hole in the wall just
large enough to admit a man’s arm. The door is closed inside by a
large wooden bolt passing through a hole in this post and pressing
with its free end against the door. The other end has three holes into
which fit three pegs running in vertical grooves inside the post. The
door is opened with a wooden key about a foot long, somewhat
curved and sloped off at the butt; the other end has three pegs
corresponding to the holes, in the bolt, so that, when it is thrust
through the hole in the wall and inserted into the rectangular
opening in the post, the pegs can be lifted and the bolt drawn out.[50]
MODE OF INSERTING THE KEY
With no small pride first one householder and then a second

showed me on the spot the action of this greatest invention of the
Makonde Highlands. To both with an admiring exclamation of
“Vizuri sana!” (“Very fine!”). I expressed the wish to take back these
marvels with me to Ulaya, to show the Wazungu what clever fellows
the Makonde are. Scarcely five minutes after my return to camp at
Newala, the two men came up sweating under the weight of two
heavy logs which they laid down at my feet, handing over at the same
time the keys of the fallen fortress. Arguing, logically enough, that if
the key was wanted, the lock would be wanted with it, they had taken
their axes and chopped down the posts—as it never occurred to them
to dig them out of the ground and so bring them intact. Thus I have
two badly damaged specimens, and the owners, instead of praise,
come in for a blowing-up.
The Makua huts in the environs of Newala are especially
miserable; their more than slovenly construction reminds one of the
temporary erections of the Makua at Hatia’s, though the people here
have not been concerned in a war. It must therefore be due to
congenital idleness, or else to the absence of a powerful chief. Even
the baraza at Mlipa’s, a short hour’s walk south-east of Newala,
shares in this general neglect. While public buildings in this country
are usually looked after more or less carefully, this is in evident
danger of being blown over by the first strong easterly gale. The only
attractive object in this whole district is the grave of the late chief
Mlipa. I visited it in the morning, while the sun was still trying with
partial success to break through the rolling mists, and the circular
grove of tall euphorbias, which, with a broken pot, is all that marks
the old king’s resting-place, impressed one with a touch of pathos.
Even my very materially-minded carriers seemed to feel something
of the sort, for instead of their usual ribald songs, they chanted
solemnly, as we marched on through the dense green of the Makonde
bush:—
“We shall arrive with the great master; we stand in a row and have
no fear about getting our food and our money from the Serkali (the
Government). We are not afraid; we are going along with the great
master, the lion; we are going down to the coast and back.”
With regard to the characteristic features of the various tribes here
on the western edge of the plateau, I can arrive at no other
conclusion than the one already come to in the plain, viz., that it is
impossible for anyone but a trained anthropologist to assign any
given individual at once to his proper tribe. In fact, I think that even
an anthropological specialist, after the most careful examination,
might find it a difficult task to decide. The whole congeries of peoples
collected in the region bounded on the west by the great Central
African rift, Tanganyika and Nyasa, and on the east by the Indian
Ocean, are closely related to each other—some of their languages are
only distinguished from one another as dialects of the same speech,
and no doubt all the tribes present the same shape of skull and
structure of skeleton. Thus, surely, there can be no very striking
differences in outward appearance.
Even did such exist, I should have no time
to concern myself with them, for day after day,
I have to see or hear, as the case may be—in
any case to grasp and record—an
extraordinary number of ethnographic
phenomena. I am almost disposed to think it
fortunate that some departments of inquiry, at
least, are barred by external circumstances.
Chief among these is the subject of iron-
working. We are apt to think of Africa as a
country where iron ore is everywhere, so to
speak, to be picked up by the roadside, and
where it would be quite surprising if the
inhabitants had not learnt to smelt the
material ready to their hand. In fact, the
knowledge of this art ranges all over the
continent, from the Kabyles in the north to the
Kafirs in the south. Here between the Rovuma
and the Lukuledi the conditions are not so
favourable. According to the statements of the
Makonde, neither ironstone nor any other
form of iron ore is known to them. They have
not therefore advanced to the art of smelting
the metal, but have hitherto bought all their
THE ANCESTRESS OF
THE MAKONDE
iron implements from neighbouring tribes.
Even in the plain the inhabitants are not much
better off. Only one man now living is said to
understand the art of smelting iron. This old fundi lives close to
Huwe, that isolated, steep-sided block of granite which rises out of
the green solitude between Masasi and Chingulungulu, and whose
jagged and splintered top meets the traveller’s eye everywhere. While
still at Masasi I wished to see this man at work, but was told that,
frightened by the rising, he had retired across the Rovuma, though
he would soon return. All subsequent inquiries as to whether the
fundi had come back met with the genuine African answer, “Bado”
(“Not yet”).
BRAZIER
Some consolation was afforded me by a brassfounder, whom I

came across in the bush near Akundonde’s. This man is the favourite
of women, and therefore no doubt of the gods; he welds the glittering
brass rods purchased at the coast into those massive, heavy rings
which, on the wrists and ankles of the local fair ones, continually give
me fresh food for admiration. Like every decent master-craftsman he
had all his tools with him, consisting of a pair of bellows, three
crucibles and a hammer—nothing more, apparently. He was quite
willing to show his skill, and in a twinkling had fixed his bellows on
the ground. They are simply two goat-skins, taken off whole, the four
legs being closed by knots, while the upper opening, intended to
admit the air, is kept stretched by two pieces of wood. At the lower
end of the skin a smaller opening is left into which a wooden tube is
stuck. The fundi has quickly borrowed a heap of wood-embers from
the nearest hut; he then fixes the free ends of the two tubes into an
earthen pipe, and clamps them to the ground by means of a bent
piece of wood. Now he fills one of his small clay crucibles, the dross
on which shows that they have been long in use, with the yellow
material, places it in the midst of the embers, which, at present are
only faintly glimmering, and begins his work. In quick alternation
the smith’s two hands move up and down with the open ends of the
bellows; as he raises his hand he holds the slit wide open, so as to let
the air enter the skin bag unhindered. In pressing it down he closes
the bag, and the air puffs through the bamboo tube and clay pipe into
the fire, which quickly burns up. The smith, however, does not keep
on with this work, but beckons to another man, who relieves him at
the bellows, while he takes some more tools out of a large skin pouch
carried on his back. I look on in wonder as, with a smooth round
stick about the thickness of a finger, he bores a few vertical holes into
the clean sand of the soil. This should not be difficult, yet the man
seems to be taking great pains over it. Then he fastens down to the
ground, with a couple of wooden clamps, a neat little trough made by
splitting a joint of bamboo in half, so that the ends are closed by the
two knots. At last the yellow metal has attained the right consistency,
and the fundi lifts the crucible from the fire by means of two sticks
split at the end to serve as tongs. A short swift turn to the left—a
tilting of the crucible—and the molten brass, hissing and giving forth
clouds of smoke, flows first into the bamboo mould and then into the
holes in the ground.
The technique of this backwoods craftsman may not be very far
advanced, but it cannot be denied that he knows how to obtain an
adequate result by the simplest means. The ladies of highest rank in
this country—that is to say, those who can afford it, wear two kinds
of these massive brass rings, one cylindrical, the other semicircular
in section. The latter are cast in the most ingenious way in the
bamboo mould, the former in the circular hole in the sand. It is quite
a simple matter for the fundi to fit these bars to the limbs of his fair
customers; with a few light strokes of his hammer he bends the
pliable brass round arm or ankle without further inconvenience to
the wearer.
SHAPING THE POT
SMOOTHING WITH MAIZE-COB
CUTTING THE EDGE

FINISHING THE BOTTOM
LAST SMOOTHING BEFORE

BURNING
FIRING THE BRUSH-PILE

LIGHTING THE FARTHER SIDE OF
THE PILE
TURNING THE RED-HOT VESSEL
NYASA WOMAN MAKING POTS AT MASASI

Pottery is an art which must always and everywhere excite the
interest of the student, just because it is so intimately connected with
the development of human culture, and because its relics are one of
the principal factors in the reconstruction of our own condition in
prehistoric times. I shall always remember with pleasure the two or
three afternoons at Masasi when Salim Matola’s mother, a slightly-
built, graceful, pleasant-looking woman, explained to me with
touching patience, by means of concrete illustrations, the ceramic art
of her people. The only implements for this primitive process were a
lump of clay in her left hand, and in the right a calabash containing
the following valuables: the fragment of a maize-cob stripped of all
its grains, a smooth, oval pebble, about the size of a pigeon’s egg, a
few chips of gourd-shell, a bamboo splinter about the length of one’s
hand, a small shell, and a bunch of some herb resembling spinach.
Nothing more. The woman scraped with the
shell a round, shallow hole in the soft, fine
sand of the soil, and, when an active young
girl had filled the calabash with water for her,
she began to knead the clay. As if by magic it
gradually assumed the shape of a rough but
already well-shaped vessel, which only wanted
a little touching up with the instruments
before mentioned. I looked out with the
MAKUA WOMAN closest attention for any indication of the use
MAKING A POT. of the potter’s wheel, in however rudimentary
SHOWS THE a form, but no—hapana (there is none). The
BEGINNINGS OF THE embryo pot stood firmly in its little
POTTER’S WHEEL
depression, and the woman walked round it in
a stooping posture, whether she was removing
small stones or similar foreign bodies with the maize-cob, smoothing
the inner or outer surface with the splinter of bamboo, or later, after
letting it dry for a day, pricking in the ornamentation with a pointed
bit of gourd-shell, or working out the bottom, or cutting the edge
with a sharp bamboo knife, or giving the last touches to the finished
vessel. This occupation of the women is infinitely toilsome, but it is
without doubt an accurate reproduction of the process in use among
our ancestors of the Neolithic and Bronze ages.
There is no doubt that the invention of pottery, an item in human
progress whose importance cannot be over-estimated, is due to
women. Rough, coarse and unfeeling, the men of the horde range
over the countryside. When the united cunning of the hunters has
succeeded in killing the game; not one of them thinks of carrying
home the spoil. A bright fire, kindled by a vigorous wielding of the
drill, is crackling beside them; the animal has been cleaned and cut
up secundum artem, and, after a slight singeing, will soon disappear
under their sharp teeth; no one all this time giving a single thought
to wife or child.
To what shifts, on the other hand, the primitive wife, and still more
the primitive mother, was put! Not even prehistoric stomachs could
endure an unvarying diet of raw food. Something or other suggested
the beneficial effect of hot water on the majority of approved but
indigestible dishes. Perhaps a neighbour had tried holding the hard
roots or tubers over the fire in a calabash filled with water—or maybe
an ostrich-egg-shell, or a hastily improvised vessel of bark. They
became much softer and more palatable than they had previously
been; but, unfortunately, the vessel could not stand the fire and got
charred on the outside. That can be remedied, thought our
ancestress, and plastered a layer of wet clay round a similar vessel.
This is an improvement; the cooking utensil remains uninjured, but
the heat of the fire has shrunk it, so that it is loose in its shell. The
next step is to detach it, so, with a firm grip and a jerk, shell and
kernel are separated, and pottery is invented. Perhaps, however, the
discovery which led to an intelligent use of the burnt-clay shell, was
made in a slightly different way. Ostrich-eggs and calabashes are not
to be found in every part of the world, but everywhere mankind has
arrived at the art of making baskets out of pliant materials, such as
bark, bast, strips of palm-leaf, supple twigs, etc. Our inventor has no
water-tight vessel provided by nature. “Never mind, let us line the
basket with clay.” This answers the purpose, but alas! the basket gets
burnt over the blazing fire, the woman watches the process of
cooking with increasing uneasiness, fearing a leak, but no leak
appears. The food, done to a turn, is eaten with peculiar relish; and
the cooking-vessel is examined, half in curiosity, half in satisfaction
at the result. The plastic clay is now hard as stone, and at the same
time looks exceedingly well, for the neat plaiting of the burnt basket
is traced all over it in a pretty pattern. Thus, simultaneously with
pottery, its ornamentation was invented.
Primitive woman has another claim to respect. It was the man,
roving abroad, who invented the art of producing fire at will, but the
woman, unable to imitate him in this, has been a Vestal from the
earliest times. Nothing gives so much trouble as the keeping alight of
the smouldering brand, and, above all, when all the men are absent
from the camp. Heavy rain-clouds gather, already the first large
drops are falling, the first gusts of the storm rage over the plain. The
little flame, a greater anxiety to the woman than her own children,
flickers unsteadily in the blast. What is to be done? A sudden thought
occurs to her, and in an instant she has constructed a primitive hut
out of strips of bark, to protect the flame against rain and wind.
This, or something very like it, was the way in which the principle
of the house was discovered; and even the most hardened misogynist
cannot fairly refuse a woman the credit of it. The protection of the
hearth-fire from the weather is the germ from which the human
dwelling was evolved. Men had little, if any share, in this forward
step, and that only at a late stage. Even at the present day, the
plastering of the housewall with clay and the manufacture of pottery
are exclusively the women’s business. These are two very significant
survivals. Our European kitchen-garden, too, is originally a woman’s
invention, and the hoe, the primitive instrument of agriculture, is,
characteristically enough, still used in this department. But the
noblest achievement which we owe to the other sex is unquestionably
the art of cookery. Roasting alone—the oldest process—is one for
which men took the hint (a very obvious one) from nature. It must
have been suggested by the scorched carcase of some animal
overtaken by the destructive forest-fires. But boiling—the process of
improving organic substances by the help of water heated to boiling-
point—is a much later discovery. It is so recent that it has not even
yet penetrated to all parts of the world. The Polynesians understand
how to steam food, that is, to cook it, neatly wrapped in leaves, in a
hole in the earth between hot stones, the air being excluded, and
(sometimes) a few drops of water sprinkled on the stones; but they
do not understand boiling.
To come back from this digression, we find that the slender Nyasa
woman has, after once more carefully examining the finished pot,
put it aside in the shade to dry. On the following day she sends me
word by her son, Salim Matola, who is always on hand, that she is
going to do the burning, and, on coming out of my house, I find her
already hard at work. She has spread on the ground a layer of very
dry sticks, about as thick as one’s thumb, has laid the pot (now of a
yellowish-grey colour) on them, and is piling brushwood round it.
My faithful Pesa mbili, the mnyampara, who has been standing by,
most obligingly, with a lighted stick, now hands it to her. Both of
them, blowing steadily, light the pile on the lee side, and, when the
flame begins to catch, on the weather side also. Soon the whole is in a
blaze, but the dry fuel is quickly consumed and the fire dies down, so
that we see the red-hot vessel rising from the ashes. The woman
turns it continually with a long stick, sometimes one way and
sometimes another, so that it may be evenly heated all over. In
twenty minutes she rolls it out of the ash-heap, takes up the bundle
of spinach, which has been lying for two days in a jar of water, and
sprinkles the red-hot clay with it. The places where the drops fall are
marked by black spots on the uniform reddish-brown surface. With a
sigh of relief, and with visible satisfaction, the woman rises to an
erect position; she is standing just in a line between me and the fire,
from which a cloud of smoke is just rising: I press the ball of my
camera, the shutter clicks—the apotheosis is achieved! Like a
priestess, representative of her inventive sex, the graceful woman
stands: at her feet the hearth-fire she has given us beside her the
invention she has devised for us, in the background the home she has
built for us.
At Newala, also, I have had the manufacture of pottery carried on
in my presence. Technically the process is better than that already
described, for here we find the beginnings of the potter’s wheel,
which does not seem to exist in the plains; at least I have seen
nothing of the sort. The artist, a frightfully stupid Makua woman, did
not make a depression in the ground to receive the pot she was about
to shape, but used instead a large potsherd. Otherwise, she went to
work in much the same way as Salim’s mother, except that she saved
herself the trouble of walking round and round her work by squatting
at her ease and letting the pot and potsherd rotate round her; this is
surely the first step towards a machine. But it does not follow that
the pot was improved by the process. It is true that it was beautifully
rounded and presented a very creditable appearance when finished,
but the numerous large and small vessels which I have seen, and, in
part, collected, in the “less advanced” districts, are no less so. We
moderns imagine that instruments of precision are necessary to
produce excellent results. Go to the prehistoric collections of our
museums and look at the pots, urns and bowls of our ancestors in the
dim ages of the past, and you will at once perceive your error.
MAKING LONGITUDINAL CUT IN
BARK
DRAWING THE BARK OFF THE LOG
REMOVING THE OUTER BARK

BEATING THE BARK
WORKING THE BARK-CLOTH AFTER BEATING, TO MAKE IT

SOFT
MANUFACTURE OF BARK-CLOTH AT NEWALA

To-day, nearly the whole population of German East Africa is
clothed in imported calico. This was not always the case; even now in
some parts of the north dressed skins are still the prevailing wear,
and in the north-western districts—east and north of Lake
Tanganyika—lies a zone where bark-cloth has not yet been
superseded. Probably not many generations have passed since such
bark fabrics and kilts of skins were the only clothing even in the
south. Even to-day, large quantities of this bright-red or drab
material are still to be found; but if we wish to see it, we must look in
the granaries and on the drying stages inside the native huts, where
it serves less ambitious uses as wrappings for those seeds and fruits
which require to be packed with special care. The salt produced at
Masasi, too, is packed for transport to a distance in large sheets of
bark-cloth. Wherever I found it in any degree possible, I studied the
process of making this cloth. The native requisitioned for the
purpose arrived, carrying a log between two and three yards long and
as thick as his thigh, and nothing else except a curiously-shaped
mallet and the usual long, sharp and pointed knife which all men and
boys wear in a belt at their backs without a sheath—horribile dictu!
[51]
Silently he squats down before me, and with two rapid cuts has
drawn a couple of circles round the log some two yards apart, and
slits the bark lengthwise between them with the point of his knife.
With evident care, he then scrapes off the outer rind all round the
log, so that in a quarter of an hour the inner red layer of the bark
shows up brightly-coloured between the two untouched ends. With
some trouble and much caution, he now loosens the bark at one end,
and opens the cylinder. He then stands up, takes hold of the free
edge with both hands, and turning it inside out, slowly but steadily
pulls it off in one piece. Now comes the troublesome work of
scraping all superfluous particles of outer bark from the outside of
the long, narrow piece of material, while the inner side is carefully
scrutinised for defective spots. At last it is ready for beating. Having
signalled to a friend, who immediately places a bowl of water beside
him, the artificer damps his sheet of bark all over, seizes his mallet,
lays one end of the stuff on the smoothest spot of the log, and
hammers away slowly but continuously. “Very simple!” I think to
myself. “Why, I could do that, too!”—but I am forced to change my
opinions a little later on; for the beating is quite an art, if the fabric is
not to be beaten to pieces. To prevent the breaking of the fibres, the
stuff is several times folded across, so as to interpose several
thicknesses between the mallet and the block. At last the required
state is reached, and the fundi seizes the sheet, still folded, by both
ends, and wrings it out, or calls an assistant to take one end while he
holds the other. The cloth produced in this way is not nearly so fine
and uniform in texture as the famous Uganda bark-cloth, but it is
quite soft, and, above all, cheap.
Now, too, I examine the mallet. My craftsman has been using the
simpler but better form of this implement, a conical block of some
hard wood, its base—the striking surface—being scored across and
across with more or less deeply-cut grooves, and the handle stuck
into a hole in the middle. The other and earlier form of mallet is
shaped in the same way, but the head is fastened by an ingenious
network of bark strips into the split bamboo serving as a handle. The
observation so often made, that ancient customs persist longest in
connection with religious ceremonies and in the life of children, here
finds confirmation. As we shall soon see, bark-cloth is still worn
during the unyago,[52] having been prepared with special solemn
ceremonies; and many a mother, if she has no other garment handy,
will still put her little one into a kilt of bark-cloth, which, after all,
looks better, besides being more in keeping with its African
surroundings, than the ridiculous bit of print from Ulaya.
MAKUA WOMEN

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PART NAIL CARE / 211

15 Electric Filing / 282

16 Nail Tips and Wraps / 305

17 Monomer Liquid and Polymer Powder Nail Enhancements / 325

Why Study Monomer Liquid and Polymer Powder

19 The Creative Touch / 386

21 On the Job / 453

22 The Salon Business / 478

■ Procedure 5–2 Cleaning and Disinfecting Foot Spas or Basins / 90

■ Procedure 5–3 Proper Hand Washing / 98

■ Procedure 5–4 Handling an Exposure Incident During a Manicure / 99

■ Procedure 13–1 Preservice Procedure / 239

■ Procedure 13–2 Postservice Procedure / 242

■ Procedure 13–3 Performing a Basic Manicure / 244

■ Procedure 13–4 Hand and Arm Massage / 248

■ Procedure 13–5 Polishing the Nails / 251

■ Procedure 13–6 Paraffin Wax Treatment / 253

■ Procedure 14–1 Performing a Basic Pedicure / 274

■ Procedure 14–2 Foot and Leg Massage / 278

■ Procedure 15–1 Disinfecting Metal File Bits / 302

■ Procedure 16–1 Nail Tip Application / 312

■ Procedure 16–2 Nail Tip Removal / 315

■ Procedure 16–3 Nail Wrap Application / 316

■ Procedure 16–4 Fabric Wrap Maintenance / 319

■ Procedure 16–5 Fabric Wrap Removal / 322

■ Procedure 17–1 One-Color Monomer Liquid and Polymer Powder

■ Procedure 18–3 UV or LED Gel over Forms / 374

■ Procedure 18–4 UV and LED Gel Maintenance / 377

■ Procedure 18–6 UV and LED Gel Removal—Hard Gel / 382

■ Procedure 19–1 The French Manicure Using Polish / 406

■ Procedure 19–2 Animal Print Design Using Paint / 408

■ Procedure 19–4 Confetti Inlaid Design Using UV Gel / 412

■ Procedure 19–5 Crystal Art on Polish Using Embellishments / 414

■ Procedure 19–6 Two-Color Fade or Color Graduation Using an Airbrush / 416

■ FEATURES OF THIS EDITION

you step-by-step procedures for manicuring, pedicuring, tips and wraps,

electric filing, monomer liquid and polymer powder nail enhancements,

measurable outcomes-based goals for the students in each chapter.

more accurately. Learning Objectives

Client Consultation Guidelines. A complete chapter focuses on client

LO2 Discuss the advancements made in nail

LO3 List several career opportunities available to

consultation and gives suggestions for identifying and meeting the

Chemical Safety Coverage. A complete chapter is devoted to the important 12

examinations are presented in a complete, easy-to-read fashion. 6

Polymer Powder Nail Enhancements12

how to avoid dangerous situations and how to provide services in a safe,

Refer to Procedure 13–1, Preservice Procedure.

flush to remove crack. File more than

Prepare the monomer liquid and

complete step-by-step procedures and help students improve their nail

If the crack needs support, apply a

• Regulatory Agency Alerts. Because state regulations vary, regulatory

Handling Complaints by Telephone

■ SUPPLEMENTS FOR THE STUDENT

498 Chapter 22 The Salon Business

Milady Standard Nail Technology Workbook

Milady Standard Nail Technology Student

Get Started with Coursemate:

Component 1 Component 2 Component 3

Milady Standard Nail Technology Instructor