Texturizing Cutting Techniques | Medium Length Shag Haircut For Women | Bangs Cut

To show you guys some really awesome customization techniques in order to add texture and new movement into our haircuts. So what i am going to be starting on is, i have pre-cut a really basic shag shape on a mannequin head for us to work off of today. So the way that we're going to do this is i'm going to jump right into it. I'M going to start with my baseline and i'm going to show you guys some really cool ways to change it up. Yeah add something more than our standard baselines that can end up a little weighted and a little heavy. So the first technique i'm going to bring in today is going to be notching above our finger. So i've already got my pre-cut layers sectioned out of the way, and my main focus is going to be here on the baseline. I'M going to start with my fingers parallel to the ground, which is why i'm using a cutting stool today, because i want to be as eye level as possible to the area i'm cutting on this way. I am not elevating or over directing, so i know that. I'M getting a really strong finish and balanced finish every single time. Once i have my fingers parallel to the ground, i'm gon na go in with my shear and i'm gon na notch out pieces following the line i'm creating with my fingers and what this is going to do. Is it's going to give me a really slight late? Razored effect with the finish, this works incredibly on my fine haired guests that really like to see more movement within their cuts, but maybe the density of their hair is not going to support a razored haircut. I also really love using this on my really really dense hair guests that don't necessarily want their ends thinned out, but you want to have a little bit of movement, just something different in the cut to release a little bit of weight. The cool part about this technique is: yes, it's a customized technique in the first place, but i can also go in and change up the pitch of my shear to create different kinds of movement throughout. So in the beginning you see i started working my shear going in perfectly straight into my subsection that i'm cutting on what i'm going to do to change it up. Is i'm actually going to switch the pitch of my shear from left to right? Not only is this going to create even more movement within my baseline, but what this can do is i know i can use this on any haircut shape to push or pull the hair in a different direction than where it naturally lives. So, hypothetically, if my guest, if her hair, she feels like it swings forward towards her face. If i wanted to push that hair away from her face, i would change the pitch of my shear going in at more of an angle. So that way, the short hair can push the long hair in the same direction. In another case, i like to use this where i'm going to work all the way across my section in one direction, and then i'm going to come back with my shears pitched in the opposite direction to enforce more movement throughout the way i like to think of It is when i think of curling my guess, hair. If i know that my guess she wants her hair to be more polished whenever she's styling it. I know she's going to take her iron starting in the front and wrapping everything away from the face to the center back on each side. If my guest wants more movement and natural texture in her hair, we want to see that enhanced, but she's using an iron still. I know my guest is going to flip-flop one direction to the next, the way she's going to wrap it around her barrel. So i can think of that as something as a point of reference whenever i'm creating this movement within my shape. So if i want something, that's going to be more lived in and more, what i'm gon na do is go back in and flip my pitch from left to right once again, what this does is it's going to not only release weight, but we can almost use It as a technique to correct or enhance natural movement within someone's shape, i'm going to go in and balance out this side with my other once again. What we're doing today is we're focusing on multiple different customization techniques that we can use on our guests. Behind the chair to really put our own brand within our haircuts, so often i have attendees in my classes, telling me that they get really bored with cutting hair behind the chair a lot of the times, the demographics that we live in and the kind of guests That we have in our chair generally, a lot of the time are coming in seeking the same overall finishes or looks because that's what's trending in their area and as somebody that focuses on hair cutting behind the chair. I know how easily our daily life can become. Very repetitive, where we feel like we're doing the same motions over and over and over creating the same, looks over and over and over and it's hard not to feel a little bit of resentment because we feel like we're working down a conveyor belt. So, for me, it's really important that, regardless of the shape, my guest is after that they're wanting to see as a finish, it's my job to be able to take these tools and really create something special for them, something that is going to be a little bit Different than the other six shags i've cut that day and the way i like to do, that is by using all of these different techniques to really create a point of difference from one haircut to the next. Even if the shapes are exactly the same. So now that i've finished up my baseline with over the finger notching, we can really see how much movement - it's really adding to this blunt shape, but it's still holding a really strong baseline, so i'm not losing the shape. How often have we been in a position where we want to remove weight from the end, so we pick the pace up, we go and we point cut and point cut a point cut and then, unfortunately, what can happen? Is we end up losing our overall shape that we've created within our cut, because we've taken out too much weight so over the finger notching? What that's going to do is it's going to create a really soft line while still holding on to that overall shape, and that is going to be my first technique that we're going to use in our zone 1 being our baseline. Now that i'm finished with that, what i'm going to do is i'm going to take a different, sheer something that's a little bit longer, and my next point of focus is going to be the curtain fringe that i've already created so in order to create this curtain Fringe, the very first thing i did is: i took a center profile section from my triangle section that i already had set up before we started the live today. Patricia says i love erica and all of her creative techniques. Oh, i love some mama cause thanks for joining us, so i'm gon na start with my center profile guide taken out of my triangle section. This is what i'm going to be using as my guide to length, i'm going to pull it completely forward on my gut head, because what this is going to do is it's going to create my shortest piece of my curtain, fringe right in the front and my Longest piece here in the back at the highest point of the head. So what this does is i'm creating this curtain fringe based off of the head shape and when we create something based off of someone's specific head shape, we're automatically giving them something, customized and personalized to them, because people are like snowflakes. No two of us have the same good shape it's going to change so when we're giving something to our guest that is created specifically 100 off of the structure of their head. That is our first step to customization. Now that i have my guide created, i'm going to separate my triangle into two sections right and left, and i'm going to work one side at a time based off of the center profile guide that i first created. Once again, the shape has already been created before we started the live, but i am going to go back in and demo how i cut the curtain fringe and then we're going to go ahead and talk about different ways that we can really personalize it and create Something magical for the guest: that's wearing it, i'm going to be taking my whole first half of my triangle, section i'm going to distribute across the head shape and i'm going to be working t to the part. When i say two to the part, i want my fingers to be parallel with the exterior line of the triangle that i have created. This is also going to be working with the head shape because everyone's round of their head heads going to be a little bit different. Some are going to be stronger, some are going to be weaker and if i want a curtain fringe, that's going to live perfectly on my dust, aka, no styling for them to very minimal styling for them. I want to work with the head shape so that way the hair, where it lives, naturally the way it falls off of the round of the head it the work's already done so. We don't have to tell our guests how much time they have to spend styling when the cut is already created for their head. When i work two to the part, i'm working off of the head shape, my fingers are going to be parallel with the line. I'M cutting off of i like to take the flat part of my comb and place it directly on the line of the part just to guarantee and make sure my fingers are indeed parallel with the line i'm cutting from a lot of the time. I find it really easy to think i am personally standing exactly where i need to be standing but, as we know, we're working on a moving target and or a human, it's easy for us to change our body positioning without realizing it, resulting in one side being Longer than the other one side laying better than the other, so i like to keep little pointers in my head that i love to share with everybody else on exactly what i do to make sure my hands and body positioning is exactly where it needs to be. That'S getting lots of hearts. Yes, so i've already cut my first side and we can see how really awesome of an angle. We really got based off of working t to the part over directing across the head. I'M gon na mimic it on my opposite side. Jennifer says yeah. Thank you. Yes, i'm gon na go in with my comb. Just to make sure my body and hand positioning is exactly where i want. It take a little extra length off of the curtain fringe i already created just to actually put in a little bit more bluntness. So that way we have even more hair to remove weight out of with our personalization techniques. So, as a very rough draft of a curtain fringe, this is where we're going to start with. So we can see, we've got a really nice strong, balanced angle here in the center being the shortest and then on each side. We have more of that extra length to frame her face, gives us a little bit of that tail effect. The biggest difference between what we're working on the shack shape, we're working on today and a true when i think shag, i think, joan jet. So the biggest difference is everything is disconnected around her face, whereas when we want to see more of those stronger, shaft and mullet shapes we're going to have more of a connection to where it's going to actually open up the face a little bit more. Those are things i like to save for whenever i'm detailing it out, which is what we're going to start now. So, looking at the fringe, before i'm going to jump in with my shear, i like to take a step back and really get a feel for what it is that i like or don't like about. What'S happening already. So what i'm seeing here, i like the overall shape - i don't hate the length, but she feels really heavy to me and if i'm really looking, i can see that there are some hairs that are starting to naturally live in towards her face living more directed towards Her mouth and her nose and for today's shape, what i want to create is i want it to come away from her face. I want these pieces to expose more of her features. I don't want her to be so hidden behind her hair because i'm going to be working specifically in the fringe section, i am going to take a clip or two and clip the rest of her shape out of the way. I don't know about you guys, but when i work behind the chair, i get lost in what i'm doing very easily. When i'm having a conversation when i am working on different heights, you know different aspects of my day. It'S easy to get thrown off. So, for me it is key to make sure i'm only focused on exactly what's in front of me and in this case it's the fringe. So that's the only part of this cut that i'm going to have not clipped to work on in this moment. As we said before, i want to see her flip out a little bit more. I want to expose a little bit more of her face, so what i'm going to do is i'm going to start working in each corner first and i'm going to be working with a twist technique, because this is the area where i need to create short hairs That are going to push long hairs. This is something we've been told in schools, since our first day over and over again short hair pushes long hair short hair pushes long hair. Yes, that is something we all absolutely know, but there are a lot of different ways that short hair can push longer and give us a different result. So what i'm seeking today is. I want to create short hair. That'S going to push long hair away from the face so generally what we start to do when we have a heavier fringe. Is we just start to thin it out thin it out thin and up, which is right. However, if we have a stronger intention for the results, we can really save ourselves time and expedite the process behind the chair with giving us an incredible incredible result for our guests, each and every time. So when i want to make short hair to push long hair, i know that means the short hair needs to be living underneath of that long ear. In order to get it to flip out and away from the face, i'm going to start standing at a 45 degree angle from my guest eye and i'm going to flip open the section i'm working on, because i want to expose the internal hairs, not the external, Because whenever i start to create short hair on top of long hair, what it's going to give me is a layer, and i don't want to layer in my fringe, so flipping open. I'M going to take my shear and i'm going to gently open and close as i slide down and away, i'm also starting to lean my body as i'm moving for control of the section i'm working on. So if we look at the one section that we just focused on just with that little bit of a sliver of hair removed, i can already start to see her starting to kick out the slightest bit. I'M going to go ahead and replicate everything i just did a second time so that i can really start to see that point of difference and where this hair is going to live. Naturally, so i'm opening up to expose the interior hair of my subsection. This is going to allow me to hold on to the length, but once again, what i'm doing overall is i'm creating short hairs that are going to push the long hair with each snip. We can start to see that hair starting to push even more and more away from the face. The way i like to work this behind the chair in every cut of hair, i'm going to continue this technique until i reach the center of my fringe, and while this technique specifically does remove some weight, it doesn't remove a ton when, whenever i want to go In and remove an abundance of weight, we're going to follow up this technique with another technique that i really enjoy for my fringes, but i don't want to remove that weight first, because if i were to remove it first, what's going to end up happening, is i'm Not gon na i'm gon na lose length or i'll, create too much internal movement and then once we create too much. What, then, you know can happen, is we lose our shape and it's really important with a curtain fringe that we're holding on to that shape, because i don't want it to look like breakage flipping to my opposite side, i'm going to start with my finger and hand Placement with my palms facing me, my two piece fingers also facing me when i start once again, maybe about a 45 degree angle off of the eye in order to expose that internal hair. That i want to create the short pieces on i'm going to take one step back and automatically my hand. Positioning is going to change. My fingers are now pointing down to the ground and i can get in here, seamlessly gently opening and closing as i'm sliding down my subsection. Oh somebody said i have done hair for 20 years and i just learned something new. Oh my god, that's awesome. The highest compliment, i love that, so you can see that i'm slowly changing my body where i'm starting facing my guest and as i work down that strand, i'm starting to become more square with what's in front of me, so it ends up being all a seamless Motion this is also technique that can be done with slide cutting. I personally am huge on dry cutting. I dry cut the majority of my guests behind the chair. What is going to help me make that decision is basically based off of how much control i need of the shape. So if it's graduation or pixie cut a lot of times, i will absolutely start and do those entire haircuts wet in this case with more length. I am dry cutting her because i can. I want to be part of what's happening, and i want my guess to be part of what's happening. There is no better feeling, honestly than whenever we're creating a shape, that's specific to our guests and we're cutting them dry and they're, watching everything we're doing so a lot of the times. I will cut the right hand, side or detail it out completely before i touch the left, so my guests can be part of the experience whenever we go at our shapes and we're working at it on dry hair and we go on too quickly. It just looks like a lot's happening to the guest, but when we really break it down and focus on specifics in the cut, it becomes fun for the guest too it becomes interactive and everything we do behind the chair is interactive. So why not allow our guests to be part of the experience, so that way they can see exactly what is changing and what's happening, and we can see looking at now with doing this technique on both sides, how different this fringe is already starting to live and The only product that this mannequin was prepped with was l'oreal professional's 10 in one spray. So i used that after i shampooed her just to help smooth to. I love that there's a heat protectant in the product itself, but i also love it because it's extremely versatile. It works incredibly for all hair types and i didn't think it was going to be too sticky, knowing that i was going to be going in and dry cutting. So, looking at our shade, we can already see one she's quite a bit softer than she was when we started two. Those pieces that were once pushing into her face structure are now slowly starting to push away push out. Looking at her, i feel like she's, probably still a little strong here in this corner. So before i move on to my next technique, i'm going to pick up this little heavy area that i see and i'm going to continue with my twist slide, cutting just to make sure each side is balanced before i jump in with my next technique. Okay, now that i'm happy with the way the fringe is sitting so far, i'm going to introduce my next technique, which i have a very strong feeling. Everyone here is very familiar with, so i'm going to be doing a little bit of a punch cutting but combined with an internal point. Cutting so point cutting is something that we're all very familiar with. It'S something that we all utilize behind the chair and it's extremely versatile when creating any haircut shape, because we can use it in so many different ways. But speaking back to that intention, i want to make sure, when i'm using these different techniques, to create a specific look on my dust that i have a reasoning for why i'm doing it. So in this case, my motion is going to be starting internally and pushing out. I could absolutely come in and point cut into my section, but once again we're working on a fringe that tends to get fine very quickly and what i don't want to do is sacrifice the shape. Nor do i want to layer the fringe, which is why i'm gon na be working internally in this case, because once again we are seeking the hair to push away from the face to expose her facial features. So it's really important that my body positioning is working in a position that that's going to create that. So i'm going to be standing in front of my gust when i do this when i do it by the chair and when i do it today, because a lot of the time what happens is we stand from behind? We point that way. Point that way point cut. We remove the weight we want to remove, but it's not really doing a whole lot for where the hair is going to live, we're not accentuating the natural fall. So in order to accentuate it is why i want to stand in front. I'M going to go in with my finger, my piece fingers facing my body and flipping up, i like to add in a triple clamp, which means i'm going to take my ring finger and place it along with my two piece fingers. What this is going to do is it's really going to stabilize the subsection i'm working on? It is dry hair it pops out of place often, so i want to make sure i have really great control. Once i'm comfortable with my body positioning and my hand, positioning i'm going to go in and i'm going to carve out pieces in a c shape and i'm gently opening and closing. I could absolutely slide this right on through. However, i have a slight complex with the sound um it that we hear whenever we cut dry and we get a little too aggressive with it. So, in order to not have to hear the ripping of our guest hair, i'm gently opening and closing my shear. We can already see just from that one one go at it, how much more my guess, hair is starting to flip away from her face, so i'm gon na go back in and continue this technique until i'm satisfied with what it's doing, i can really see how Dense she is so finding where that density is at also paying attention to it's the fringe. A lot of our guests have widow's peaks, myself included and colics in our fringe areas. That'S another reason why i really like to focus on dry cutting when i work in a fringe. So that way, i'm not finding any surprises that i wasn't prepared for, but with a little bit of patience, we can really start to see how much the shape of this fringe is softening and living naturally on its own. I would also like to mention that this mannequin had we did. I did not blow dry her with a brush at all 100 rough dried, because i didn't want to fool myself by thinking that the hair is going to live in a certain way solely based on styling. I like to see what exactly i can get from my guests without any styling first, so that way, whenever they are at home, styling themselves. It'S easy and it works every single time because their haircut is customized to their hair type and the natural fall of their hair. So we can already start to see how this shape is starting to change on this side versus this side. Beside we're still a little heavy now that we're seeing the difference between the two she's not flipping away as much as i would like to see so go in pick up my sub section once again standing in front of my dust bringing in my triple clamp and I'M going to work from the inside out. The reason i like to texturize from the inside out is because it's going to remove more weight than i'm if i'm working from the outside in i like to think of whenever i'm going in with a traditional point cut and i'm working from the outside. In that i like to think of as pretty much just focusing on the ends, whereas this i'm, after a specific result, being living away from the face. So i need something that's going to give me a little bit more control and with internal point cutting. I can get a lot deeper into the density of the cut than i can with my traditional point, cutting from the outside in generally speaking. Well, i don't even know that it's generally um, all of our sheers, regardless of the brand, are going to be the sharpest here in the center. So, whenever we're doing these techniques on our guests on dry hair, it's really important to make sure we're not going too far down the blade of our shear. Otherwise, what we're going to end up? What will happen is the hair can get caught in the screw or in the where the two blades meet? So it's really important to make sure whenever we're doing these techniques, because in real life by the chair - let's be honest, the majority of us are not moving at this as slow of a pace, as i am doing in this current moment. So when we get into things and we're moving super quickly, sometimes we start to lose control of everything. We'Re doing. Look at that: okay, okay, i see you, but what we're doing is we start to move really quickly and forget to focus on small details such as which part of the blade i'm using to create a specific look or our body positioning or elevation? Unfortunately, they're all things that can easily be put on the back burner when we're working with our guests in real time, just because we're having conversations we're making sure their bodies are in the correct places for us to work off of making sure the stools are. You know present or high enough or low enough there's a lot of working things that go into our daily life behind the chair. What questions do we have from our viewers feel free to drop them in the chat box? Yes, and also let us know where you're from where are you watching from it's uh? We started about one o'clock central time. What time is it where you're at uh? What brand is your share? Um? I am not a sheer like specific human, so all of my shears are all of the brands um, i'm more of a specific as to the metals, the type of metal that it's made out of. So this one specifically right here is called above. I don't know. I just bought it like two weeks ago because i wanted a four and a half inch shear. So that way, whenever i'm doing classes like this, i have more control over the sheer i'm working with by the chair. I use a lot of seven and six and a half inch blades. Those are usually my go-to, but i've really been digging the smaller shorter blades as of recently for detail work. Now that i'm happy with my fringe, i am actually going to switch to a little bit longer of a sheer uh. These are sakudo shears. I, these are one of my go-to's they're, my six inches. What i'm going to start here now is because i'm moving into my layers, my layer sections, so that's why i'm going to pick up a large a longer blade. So that way i can get more bang for my buck. I can work in larger sections, so i'm not whenever i'm working around the hairline or the parameters i like to work with my smaller shears for detail purposes, but now that i'm getting into the internal portion of the haircut i'm grabbing my longer tears. So i'm dropping down the layers that i cut previously and the way that we're going to start detailing them out cindy says it looks like the fringe is also getting a bit shorter, which yes, a little bit shorter, which is was part of the goal um. Whenever i'm dry cutting generally, what i like to do is i like to start with everything a little bit longer, so that way not a lot like a quarter to half of an inch longer. So that way, i have room to really decide and change up what i'm going to do. I don't want to be boxed in with anything whenever i'm creating a look for a guest. So it's really important to me that i am given the freedom to change up the length a little bit with the different techniques i'm doing cool. We also had a hello from the uk at 7. 30 p.m over there. So hey donna! Thank you for joining now that we're in our layers, i'm going to bring in a couple different techniques that i like to use and all of these techniques i would like to mention, do not have to be used solely for the specific cut or on the specific Parts of the head - these techniques can actually be used pretty much on any haircut type shaping especially the only ones that i feel like have. Restrictions are some of the ones that take out a lot of weight like what i'm getting ready to do, because we want to make sure the formation of girl we're working on can sustain, having weight removed out of it. I do not want to go in on my really curly dust and thin them out too much, because then we're going to collapse the shape completely um, but a lot of these will actually work on curly hair. The next one i'm gon na move into is recently my favorite out of all of them um, so i'm gon na work with back cutting. So i find a lot of the times, especially with a lot of the cuts. We'Re doing currently there's a lot of disconnection. I am a fan of disconnection for days, however, with that what can happen is we can get bulk internally in our haircuts, and i have a lot of guests that tend to be really dense around the occipital area and a lot of the times. What i see is we'll pick up our sections and we'll kind of side cut or we'll point cut out just to kind of cut that corner off and soften, but that really doesn't do a lot for the bulk. So what we're going to do for bulk? This is going to remove a little bit of length as well as density, so i'm going to start with my shears open and, as i move down the hair shaft, i'm going to start to close them about three quarters of the way continuing to only work with The center portion of my shear and what this is going to do is it's going to give me a really really seamless finish so in real time, without slowing it down too much. This is how the technique's going to look. We can see that it's taking off. Quite a bit of length because my layers were longer than my length because i wouldn't cut that baseline in the beginning. Again. But if we look at that section that i just caught, there's no really really clear indication of where it starts and where it ends, which is what i want, because it makes it extremely seamless in this case, what i'm going to do is i am going to Work around the head with this technique to get off the little extra length we have within our layers. This is one that i would recommend only focusing on on dry hair, because whenever we do this with wet hair, what happens? Is the hair comes together when it's wet and when we go to remove that weight, it may not seem like a ton when it's wet, but when it's dry we find that it's a lot that we indeed ended up taking out. So whenever i am not in the air, my blade is open and, as i'm working down the hair shaft, it starts to close about halfway very, very similar to back combing. But if we're looking at all of this beautiful movement and texture that it's giving us, but the best part is is nothing looks like it's too thinned out, i don't have an abundance of thinning happening, so it's still holding on to that shape. Incredibly, we can still see the original haircut because what i've seen or what i find or what i personally have caught myself doing you know in the past, is it's very easy to be in a position with a haircut where we're detailing it out, but we lose The time to do it, so if we have a lot of weight in the shape that we created, we cut it wet, we blew them out and now we want to go detail a lot of the times. What can happen is we can put a lot of focus on our thinning shears to save time and or cut corners? I love a thinning chair. Do not get me wrong, but i feel like it's very easy to pick them up without having a specific intention. So for me, i love going in and having intention with these different personalization techniques that don't actually include a thinning shear, because i have more control - and i know exactly what my end result is going to be when i'm working with different customization or personalization techniques. And then not to mention it allows me to recreate these looks when my guest comes back in six weeks without me ever having to second guess like what was that, where did it come from? Why is this thin? Because i know how all of these are going to grow out so looking and checking my overall shape now that we have done our back cutting, we can really see like look how soft those layers are, and i also like to point out her shortest layer only Hits a few inches past her ear, almost right at right below the ear, and then her length is going to be down here a few inches past her chin. If i wanted to remove even more weight - or maybe i wanted to add some shorter pieces in because after all, she has a shag. So maybe i want her to have a little bit more sassiness to the shag a little bit more natural movement within her own texture. What i'm going to do is i'm going to go in, and this is where i am going to use my traditional point: cutting techniques, so i'm working in subsections that are following the head shape and i'm not going down any further than that parietal ridge. Once i have my section before, i start cutting on it. The first thing i'm going to do is i'm going to look in my mirror and i'm going to make sure that the cut itself has enough density in the baseline. What i don't want to do is thin out the baseline, because then i lose my shape. Patty says great technique and we got another beautiful with the cat eyes the cat heart eyes. Yes, so now that i have my sub section, i'm going to put a slight bend in my fingers and i'm going to take my comb and comb out where i'm cutting. Because once again i want to cut with intention. I want to take weight out of somewhere that needs weight out. I don't just want to go in and point cut for funsies. So what i'm going to do is i'm going to work my shear open and close, so i can get further down into the area. I'M working on you'll notice, i'm gon na switch the pitch of my shear back and forth because this is going to give me more peaks and valleys. But the one thing i want you to notice is i'm not creating any of my shortest pieces right where she parts because a lot of the times? What we'll do is we'll layer the most right on top and there's nothing wrong with that. However, if i am trying to get a specific look or volume, and i'm just going in and layering on, the top, i'm actually just kind of creating like a decoration like i like to refer to it as a christmas ornament, because it's pretty but it's not serving Purpose so in this case, let's say she wants a little bit more height, we'll say she's, more fine. If that was the case, i'm not going to want to go cut my shortest layer right on top, because that's just short hair on top of a round surface. So what it does it actually brings more attention to it, rather than a benefit from it. So if i want her to have a little bit more height, i'm going to work with my same sub sectioning and slightly bend my fingers spread out and separate the hair that i'm cutting on and i'm going to go right below the highest point of that head. Now this is saying she does part in center if she parted on this side, be the same technique just a little bit different area of the head, but right below where she parts i'm going to go in and start cutting shorter pieces keeping the entire head shape. In mind so for parietals over here and i want short hair to push the long hair, i know if i cut something too short: it's going to stick straight up, but if i leave it too long, it's not gon na serve any purpose, and it's just gon Na end up giving me really a hole in her overall shape, so opening and closing we had a question about what would results be like on curly hair, for which technique. I believe this one that you're doing right now. So if i were working on a curly hair, yes, if i was working on my guess that our formation - i'm going to say five through eight, so a higher curl formation, what i the difference is what i'm going to do is i will go in and instead Of point cutting from the outside in i'm going to go in and i'm almost going to notch, rather because, if we think of curly hair, it grows at a 45 degree angle. So if i'm cutting it at another 45 degree angle, what's gon na happen, 45 minus 45 is zero, so i end up not having hair to have a shape at all. So if she were curly in that case, what i'm going to do is i'm going to do the same with my sectioning, but i'm going to go in with my shears fingers being at the end of my subsection but i'll go in with my shears and i'm Going to knock out little bits at different heights heights throughout because then what i'm doing is i'm still cutting solid. I'M still cutting blunt, so i'm not hurting that curl pattern and we can absolutely do that on all hair types. However, if i was working specifically on curl, my main goal is, i don't want to thin it out and i don't want to cause any unwanted or unhealthy frizz, because frizz is a good thing when it's there for the right reason, frizz created from you know, over Processing or thinning something out too much in my mind, ends up being not good for it's bad for its negative frizz, but good frizz is created within tension, so i'm going in and some of these pieces you can see are really really short but they're not dense. So those short pieces because of where they'll live naturally. So if i take out this little bitty short piece, i just cut it's going to lay over the round of the head, causing these long pieces of hair that live above it to have more volume. So, really, even more than thinning out we're re-manipulating where the hair lives it's going to live there, no matter how we cut the shape, but if we go in and we're cutting the shape with intention and cutting where these pieces live, naturally in a way to enhance Them or have them live in a different type of way. We end up in a really really awesome finish so that way, once again, we can recreate moving forward when our guests come back in six weeks or eight weeks or for micro guests, usually 10 to 12 weeks. So i can really start to see how the shape is getting stronger, we're seeing a little bit more of those shag inspired pieces, but i feel like what's lacking is i want to see some more something something around here? I want to see more of a face frame, so a lot of the times whenever i do my face frames, i'll cut them visually. In this case, i want to show you guys my favorite way to cut them using a personalization technique. That'S gon na set us up for success every single time on every single guest. I'M gon na clip my length out of the way so once again everything from ears back. I have clipped up so that way, i'm not pulling hair from anywhere that i don't want to be cutting jeffrey brent, says: hi moomi, geoffrey baby gon na be working in vertical subsections from the highest point of the head down to the hairline and i'm going to Pull everything completely forward so i'll turn her to the side. So that way, you guys can see exactly where i'm pulling from so i've got my vertical subsection pulling everything forward from where it lives and i'm going to go in and point that, so the line that i'm cutting is going to be perpendicular to the floor. Parallel to my vertical parting and because technically what this is doing is working with the head shape. So when i work with the hem shape, i get softness, so we can already start to see where this face frame is going to expose a little bit more of her jaw. But it's still holding the structure of the shape, as we've been talking about. I'M going to let that baseline drop out the way i don't cut myself is i'm pulling my shear out as it's closing with ever. If i were closing it as i go in there's a good chance, i wouldn't have a finger left so now we've got a little bit more exposure, but i want it to flip away from our face. So what i'm going to do is i'm actually going to go back to that very second technique that we used today with our twist and slide cutting, because i want it to kick out a little bit further, so i'm going to expose that internal hair. So i can create those internal short pieces center of my blade, slowly opening and closing as i work back, and this will take up a little bit extra length, but nothing crazy. If we don't want it to remove that length. What we can do is let the baseline drop out. So looking on the side that we've already started to add a face frame versus the side that we have it, we can already see from literally two two sections in two personalization techniques. Look how big of a difference? That is because i feel like she's still a little weighted, i'm going to move in to a little bit of channel cutting, which is my jam for everything and the way i'm going to create. That is i'm going to ask my guest to tilt her head to the side. So that way, i can balance my stationary blade on her head and i'm gon na go in opening and closing and i'm moving my hand to really form that shape. So if i want to see more of a c shape, i'm going and i'm carving in that c shape and what channel cutting does is it creates a very visual separation or disconnect within a haircut. It takes a ton of weight out without leaving uh. You can't see where it's being taken out of so it's not leaving a mark or anything super noticeable within this is one of my favorite ways to remove weight in all honesty, because i feel like what it does is. It really really adds a point of difference to a shape, so once again, looking at the side that we were creating the space frame on versus the side that we have it, it's a huge difference between cuts with utilizing very, very few techniques to get us there. I want this to flip out a little bit more, so i'm going to go back in define just a bit and then i'm also thinking i'd like to see a little bit more pieciness right on top. So before i showed you how to use the back cutting to remove weight and density near the occipital bone well, now i want to do it on top. I want to do it more for a trend technique versus a weight removal technique. I just want to see some messiness, so i'm going to take my subsection always working above the parietal ridge, because the hair that looks below it lives differently. So, that's not what i'm working with right now i want to work with the hair above it i'm going to go in that cut, and that's going to give me a really cute and strong disconnect on that top without creating a ton of actual layers, because what I don't want is yes we're doing a shock but she's more of a modern chad. So i want it to be a little bit more seamless, now unclip her length that we clipped up, so we can start to get a feel for both sides. So if i didn't want to add a face from this side, but i still wanted her to be a little sassier, i'm gon na go in and follow up with my back cutting technique again on the opposite side. Overall, what these techniques do is they give us more tools to create something specific on our guests? My ultimate goal in life is to be able to brand my haircuts. If i see a group of seven people with bobs walking down the street, not only do i want to know which ones i cut, but i want everyone else to know. Our guests are our billboards. So if we are in a position where we're bored with our cutting or we feel like we're doing the same things over and over and over, we end up resentful and we end up bored or we end up cutting the same things over and over. And i don't want to live that kind of life. I want to have that intention in everything i do with the shapes that i'm creating that ultimately are going to leave some type of branding on my guests, like i own you, that kind of thing not really but going in and really putting our own brand on Things joel says: i love this and we had another question about how you established your baseline, which i know that we can watch in the first. Probably three minutes. But do you want to recap that for everybody absolutely, i know that we're getting almost to end time. So what i'm thinking is we'll do a quick recap of each of the techniques perfect, so rewinding back to the beginning. Let'S start with our baseline for those of you that are just now joining. I did pre-cut her shape a rough draft um into a shadow shape, but the first thing we did is we clipped up the layers and the fringe, and we focused primarily on the baseline alone and i went in and i used an above the finger notching technique, Which i like to think of is a razored finish without actually utilizing a razor. I went in with my fingers parallel to the ground and notched out pieces all the way, along switching my pitch from left to right to create more movement. To give me a still stable baseline, but to add movement, because i know for me whenever i go in and i point cut my ends: 90 percent of the time before i'm finished, i go cut off that point, cutting that i did on my ends, because i Don'T like the way it looks, so this is going to be a really consistent way to point cut our perimeter. We can do it from the start or from something that we've already cut a strong baseline on after we did our baseline and perimeter all the way around. We moved into our fringe where we started with our twist cutting techniques where i took small subsections and flipped them over once to expose the internal pieces of hair, because i wanted to create short hair that pushed away from the face. So that way, the long hair that lips on top of it could react as well. So i started by taking my subsection twisting once to expose the inside and then gently and slowly open and close my blade as i work away from the face and continuously did that until i was happy with the overall effect after we did our twist cut, we Moved into our internal point slide cutting where we took our two piece fingers for our hair flipped everything up. We were standing right in front added our ring finger in for that triple clamp and worked in from the inside out continuing to move our shear away from the face not towards it uh