How To Cut An Asymmetrical Bob Haircut Full Class | Featuring Lucas Doney

A world my name is lucas, tony international trainer and artist for John Paul Mitchell Systems and I'm gon na share what I'm most passionate about, which is cutting here. We'Re gon na get right into it. With our mannequin we've got, it freeze, zoned out divided with a natural parting over the left eye to this crown area, where all the hairs sewn into the mannequin. That'S one of those areas that we need to be mindful of, and then straight down the center back. So what we're gon na do is we're gon na work through a graduated shape. I think that's one of the most challenging things we can do as a hairdresser, but we're gon na work, something a symmetrical so working up to something slightly shorter on the left. Slightly longer on the heavier side of the part, by starting the shape, I think, what's most important is deciding what that length. That choice of length is gon na be on a mannequin. They love everything. You do so you get lucky, but it's important to make sure that that choice of length is a good decision and suitable and complimentary to the head shape so working with a mannequin. They have a perfectly round head, so we're able to create something and make decisions with a little bit more flexibility, we're going to start right in the center now section number one is going to be the most important section of the entire haircut, because my friend Clinton Says if section number one is no good: the haircuts, no good, so we're gon na try and work really clean, really methodical and make sure that we are mindful of maintaining a good like approach. So I'm gon na take a little bit of each side. Section number one: it's gon na be a little bit of a triangular shape so wider at the hairline skinnier at the occipital area. Put that hair out of the way so section number one is gon na dictate everything about this haircut. So I may cut section number one more than once, just to make sure that I my choice, a length is really suitable to what we're looking to create. Now I always section with the wide side of the comb and comb and groom with the fine side that just helps me maintain good tension and good control so through here I'm looking at my shape. What I'm gon na do is I'm actually gon na. Take my fingers as I comb and I'm gon na hinge them down. That'S gon na allow this length at the top to be longer than the length at the hairline, so in turn it's gon na create a graduated shape towards the top. What we see a lot is people pulling the hair straight out now straight out. It'S going to give me a layered effect, because now my length is the same at the top of my section as it is the bottom of my section. So I always like to tuck my knuckles in and just changed on, like a little drawbridge make sure you have good control. I'M gon na come down once again cut in that length shorter at the hairline longer at the occipital bone. So if I comb it straight down to natural fall, you can already tell that it's beveling in that tells me that I'm already creating a graduated effect, so I'm gon na cut this just slightly shorter. I think my choice of link needs to be slightly shorter, as I'm working to you may notice. That, like I do a an interesting thing with my scissors and that's just to make sure that I have a straight wrist position. So if I'm here, I'm holding my wrists straight, but if I bend my wrist a lot and hold my scissors this way, then I have a really sharp angle in my wrist. So I in turn move them in my hand, and it allows me to maintain a good body position and good and an arm position. So cool section number one now. What I'm gon na do is I'm gon na work from there I'm going to take pivoting sections on the left side, all the way to horizontal. So it's gon na be about six sections on this side, I'm going to pivot to about a diagonal, and then I'm gon na work parallel to that moving forward. So, what's really important is to make sure that our sections are consistent. So, on a shape like this, I will always count my sections so my guide and then now I'll rename this section number one. You know it's important to make sure that you maintain balance and if I take six sections on one side, I need to take six on the other. So I want to make sure that it's symmetrical at least through these first few sections. So we work into our asymmetrical end result and we color a mannequin this morning, which was nice. It'S got a nice coat of 6r I'll, make sure the deme on it. So a nice demi-permanent, hair color just gives the hair a little bit of shine little bit of slip and makes it a little bit nicer when we get to the blow-dry. So I've cut section number one on the left, I'm going to look at section number, one on the right now, so I want to make sure that my sections are parallel. So a lot of times I will take the comb and I will push my section or the comb through or sectioning, and then I can use my thumb just to hold the hair. It'S a little bit easier to make sure that I work a little bit cleaner. That way, now section number two or excuse me, one on the right side, comb from underneath to organize your guide. Now, what I'm really mindful of is paying attention to the root of the hair or the scalp area. That'S gon na tell me how much over direction! I'M using as well as how much elevation I'm using making sure that it's the same a lot of times as hairdressers. We tend to look like at the hair being cut in our fingers at the cutting line. Scissor is already straight, so it's gon na cut a straight line if you close it, but if I'm mindful about where the hair is coming from at the scalp, that can tell me whether or not I'm working symmetrically or how much elevation or over direction I'm using Because a lot of times our clients are like always moving their heads, so we want to make sure that we're pretty mindful about where the hair is coming from and from this same point, jumping back over to this side. Section number two comb: that down: keep it nice and clean comb from underneath looking at the root of the hair. So my eye is drawn right in here. At my section, it's really important to work clean because then you can see your sections as you work comb that down to natural fall, it's already sitting into a bevel, so we know we're doing something right and if you guys have questions shoot them out, I'll, try And answer a few of them as we work, I also have to try and cut here at the same time do so organize my guide from underneath looking at the root of the hair, you want to do your best to stand in front of your section. I'M standing a little bit off to the side so that you can see well like in the way. That'S looking so we're gon na keep working. I'M gon na take one more section over here: it'll work to about the mastoid process so that little bone behind the ear on a mannequin. It'S sometimes challenging because they don't have bone structure it's all round, so basically where that occipital would be or where that mastoid would be. Rather so this will be the last section of the graduated shape on this side and on the other side, we'll work towards something more horizontal in mindful my elevation. You notice too that, as I cut the sections of hair, I'm not dropping it and INRI picking it back up I'll cut. My section here hold my elevation. Add the hair to it so that I can maintain consistency through the shape. So I'm gon na work through this about one section here until we get to the horizontal and you notice too, that I will move the head around a little bit just to make sure that I can work in front of my section. Maintaining the elevation coming through I've got one more section and then I'll be horizontal on this side, and now, essentially, what we're doing is we're creating a little bit of a roadmap for the rest of our haircut. On this one side, we worked horizontally all the way up to that horizontal point and on the other side, we stopped at a diagonal still. So what will happen is if we just work parallel from these sections, where we stopped our graduated shape through the back, but that allows us to do is create an asymmetrical end result without a lot of complication. So I know that my outlines going to be impacted towards the end, so I'm not too concerned with the outline right now. So I'm going to work parallel, I'm do the whole left side and then the whole right side. So I'm paying attention to my route still. What you'll notice too, is I tend to do this I'll bounce, the section a little bit and, as you can see at the scalp area here you start to see the hair buckle a lot of slack here and if I pull it down too far, I can Tell that it's wrapping around the head shape, so what you'll see me do quite a lot is bounce the section of hair to make sure that my elevation is consistent and I haven't decided what the outline is going to look like we're. Gon na put the outline in when it's dry, so whatever the outline looks like now is just a byproduct of the decisions we made with our internal shape, so our graduated shape. We haven't decided what the outline looks like so a lot of times with a client or a model or something you're working on. What I would suggest is make your decisions based on priority practicality. What'S priority to you what's priority to your client right, your client could come in and say: oh my gosh, like this back area, this graduated part is the most important part to me. I want it to be stacked up. We use that phrase a lot. A lot of clients we use that phrase if that's priority to them. That'S why I'm going to start if the priority would be like an outline, then I'd make sure that I would start with the outline so making your decisions in your sectioning approach in your decision-making based on priority and practicality. Where do you need the most control right? You need the most control of the graduated shape. You need the most control of the outline. It'Ll work my way around working horizontally now so now my elevation is controlling my graduated shape and my cutting line is controlling my horizontal shape. So what that does is allows me to create have control over this, while my elevation allows me to control this and once again as I comb it down into its natural fall, I can tell that it's beveling and what we see here is like a lot of Times we think this is a whole, but I haven't decided what I want this to look like yet so looking at it now, I can tell you that that's probably gon na come off there when I put in the outline, so I'm not concerned with the outline Right now, that's all gon na be something that we do while the hair is dry. So once again, another horizontal section holding that hair down. I think grooming, the hair forward that one little tip that, like someone once taught me, keeps the hair out of the way, and I can see my scalp line too. So that's like a big thing for me is to make sure that I can see that, because I'm paying attention to the route - and I want to make sure that everything is consistent. Hold my elevation. Add the hair to it. Hold the elevation. Add my hair to it move my feet and because I'm paying attention to the root of the hair, I can move the head around and work through my haircut, even if they were looking down if they were looking up. If they were looking anywhere, I can still be mindful of where the hair is coming from. I don't have to necessarily have their head in any one specific position, because I'm looking at this not trying to match where I pull it in space, but actually trying to match where I pull it from which was a big eye-opener. For me. I know cutting hair. It was like, I guess I just had never thought about it. So for me it was like wow. That'S a really great way to look at it. You know it really changed the way that I cut hair. So once again, if I look at this elevation, I know that if I pull it down that elevation is far too low. It'S gon na be very, very heavy. If I pull it too high, then I'm gon na move in to closer to layering the hair. So I want to have a little bit of a heavier feel to it. So that way, there's a little bit of length preserved through the top got some questions coming in hi, good cutting or heat people like it we're taking it to the people as cool opportunity to be here hanging with my friend Matt in his studio. It'S such a privilege to be here so cool. I appreciate the opportunity once again I'm following my section, so my eyes are up there and when I calm the section about 2/3, the way down, I'm gon na shift my eyes to the ends of the hair, so that I know I'm at my cutting line. So combing it down to natural fall, it's all beveling inward, so I can tell that it's gon na sit into a pretty nice shape when we're done last section on this side, and I always think about to how that hair is gon na dry on a mannequin. It'S not as important because they don't have body heat, but on a human being, you do want to think about the body heat and how the hair is gon na dry. So I always think like, even when during the blow-dry we'll talk about it a little bit about where that hair naturally is laying, while it's being warmed up by the body heat working all the way forward. Last section here, so we've got a little bit of a graduated shape here in the front, we're gon na shift to the other side. Now so I've created my graduated shape through the nape and this side. I stopped one check one section shy of where I went to on the other one, so it's gon na be more diagonal. What that's going to do moving forward is gon na preserve a lot more length and density towards the front than I did on the other side. The other side sits more balanced. This sides gon na sit slightly more diagonal forward. Therefore, it's gon na be longer on one side, so be kind of a cool way to create a graduated effect that sits asymmetrically, so that just a little bit more foolproof. Once again, I'm gon na calm on a push with my thumb hold that hair comb. This down, and all I need to do is then put my clip where my thumb was so. I'M gon na take a small portion of what I cut on the other side and just make sure that they tie together a little bit and now my sections and my fingers are gon na, be parallel to my section. The reason being is now I'm creating that end result, that's a little bit longer towards the front, so that diagonal sectioning makes it easier for me, as I work to maintain that little bit of over direction and my cutting line are gon na ensure that this gets Longer towards the front and you'll see what an impact that has moving forward once again, parallel section thumb goes in so what's important is to make sure that, as I section I push push push push push, my thumb holds that hair above and I can just comb The hair down that way, all that groomed hair stays nice and neat above there little section of what I cut previously come from underneath looking at my root. So this is more like a traditional. What people would call a graduated like a triangular graduation just depends on where you went to school. You know we always have this conversation about, like you could call it whatever you want as long as you understand what you're doing right. So we have this ongoing joke when we teach that we start naming techniques after foods and it's kind of funny because, like hey a little taco layer in a burrito layer as long as you understand what the cause and effect is, then you don't necessarily need to Have a set word for it, be whatever you want, so I'm moving around the head. Now we have that diagonal forward section angle, so that's going to make sure that I am keeping that longer front. So I want to keep my comb and my fingers parallel to my section and you'll see, even though it didn't look like it was that different in the back as far as one being horizontal and one being diagonal by the time you get to the front at The impact it has is going to be quite a lot more than you thought, so let me cool to see that asymmetric feel to it push that section all the way to the front hairline. Once again, thumb goes in comb, the hair down now. All I do is I then take my clip and I'll put it right, where my thumb was so. I'M gon na hold the hair out of the way. Now I've got a guide all the way from the front and the back. So this can tell me that I could work from front to back or I could work from back to front it doesn't matter now, because I have hair. That is my guide underneath. So whatever is most comfortable to you, there's no right or wrong way to do it I'll demonstrate a little bit of both. It'S whatever gives you the best end result, I'm always under the impression that I'll never tell you anything is wrong unless you, unless you don't understand why you would do it all my elevation comb, the hair down, there's my guide work on my way, all the way From front to back this time so, like I said as far as working through your sectioning and your shape, if that gives you a better end result working from front to back then do that if it works better from working back to front. Do that, like, I said, there's no right or wrong way to do it whatever gives you the best end result and makes your client the most happy when they leave know once again push through hold it with my thumb or finger and I'll just clip that out Of the way pulling that hair back once again, I'm trying to keep my fingers and comb parallel to the section check for my guide and what's cool about this is we've started to play with the idea of counting sections like I mentioned before, and the reason why Is for balance and consistency now on this particular haircut, we're creating something, that's asymmetrical, so it's just as important to count your sections with that, as it would be with something symmetrical so comb that natural fall already sitting into a nice graduated shape air law section we're Getting into the top of the round of the head and run the heavier side of the part, with this particular side, it's a couple more sections, the coolest part will be when we start to put an outline in it. What an impact that has on the overall shape check for my guide, because I'm going parallel to my section line, it's really quite easy and consistent to find that guide and I always hold the hair and add to it. I try not to drop my sections too much trying to pick it up at the same elevation I started out was too challenging for me, so I started to try and maintain it through the whole thing it just left. The better end result this going out of the way air law section, so our zone on top is getting smaller and smaller and smaller and smaller, and, as you can see, this is going to be dramatically longer on this side than the first side. So could you do this on like a longer spectrum, longer choice of lengths? Absolutely could you do it on a shorter choice, the length, absolutely I think, what's cool is going through stuff like this, it's more like a an exercise right, the first exercise, and could you take this haircut and put it on someone like you know that would fit Them absolutely could you take bits and pieces of it and create something that's suitable for your client or your model. Absolutely - and I think that's what's cool about us as hairdressers as we get that opportunity to be as creative as we want and we're only limited by the choices we make. So it's pretty cool so we'll come through once again got about two more sections. I would say so coming from the front same thing: checking for my guide, nice and strong tells me I'm in the right place, good good. So here's the last one now my elevation slightly increases and it's been slightly increasing through the entire graduated part. So I don't want to have too much of a heavyweight line. A little bit is okay, but during the refinement and the dry haircutting we'll talk about kind of how to adjust that or soften it. So we'll have a little bit of length from the front that will refine when we go into the blow-dry, but we have something that sits asymmetrical, but from the back this will sit a bit more balanced. Once we put our outline in a little bit of quick slip, so just reduce my drying time and I like to make sure the products like all the way in the hair where's your comb from it's, my favorite color, the army, green one. I was just telling this story the other day: it's a sip on home and I've had it since beauty school I'd, give it to you, but it's. It means a lot to me. So you can't have it yeah. So I'm gon na use a wrap drying technique and it just allows me to keep the haircut pretty small and the reason why we call it a wrap dries because we're using the roundness of the head to stretch the hair, throw a nozzle on now. So that way, I can get a little more stretch, a little bit more control just to bevel the ends. I'M gon na use a little hot off the press just keep there nice and healthy there stuff like this. I always use like a thermal protectant, especially when you've got color on the hair, so we've got six our Demi on the hair, and I want to make sure that I'm keeping it healthy, keeping it protected from any thermal usage tools, whether it be a curling iron Or smoothing iron and I tend to spray it all the way through the hair, give it a little comb through and then start. My iron work just works a little bit better for me. So, just as I cut the hair, I tend to work through, like the iron work, with the same methods with the same approach to discipline, just keep it nice and clean, and I tend to try and pass through the ends of the hair just once so, you See me kind of use the iron and like regroup and reorganize, but I really only pass through the ends of the hair one time slow and hot. This one is Paul Mitchell Express ion style, so it's a 1.0. It means it's an inch wide on the plates and it's the same one that goes with this blow dry. So we released these two guys together. Mine have been around the world and back and what I love about it is the plate is skinny and iron heats up really quick, and I like the finish, so we have a silver one. This is the invisible wear edition, so this one they designed to have this flat white on one end faded into this flat gray, which is super cool, so I wanted the matching set so that I look, but this one is great. I love it for shorter links. Also, a great tool if you like, are that person that curls hair a lot with a smoothing iron or puts texture in here, because it is a smaller width. It does create a really nice tool for like creating flips and bends and curls, and things like that. So drop it into the back same thing. I did on the other side here, just a clean. We also like my friend Clinton. Don'T call him that norris is great. Hair cutter, great mentor of mine, look up to him a ton. I'Ve got a great circle of friends around me that really motivate me and pushed me to be better at what I do, and he has a saying that if you're the best person in the room you're in the wrong room and such a valuable like lesson, not Only just in hair, but also this life, you know I want to surround myself with people that are better at what they do than I am okay. Now, the outline, so everything we've done so far has been internal, meaning that it's everything within the outline. What I'm gon na do now is I'm gon na put an outline in that is really gon na make the internal shape pop, and I think that's one of the biggest things is. You know one of my biggest mentors and haircutting says it's not about what the haircut looks like when they leave it's about what it looks like when they come back. So with that being said, I'm gon na look to make sure that this haircut looks good when it comes back so little bit of spray. This one, a musn't, hold me tight and this one I'm choosing, because it's lightweight - and I can actually put it in and help hold some of this hair in place. As I put my outline in so it's light enough that it's, I can comb through it, but also has enough hold that when I start chipping into my outline and cutting my outline that'll give me a little bit of control, so the hair won't push around as Much now, based on what your client wants, you can decide what your outline looks like I'm, assuming that my client wants exactly what I want, which the mannequin always does. So my outline I'm going to actually connect this to the back, so I'm gon na get pretty low. I'M gon na start in the center back and I'm gon na go forward to my outline so, okay, so I'm gon na start by club, cutting or blunt cutting, and when I do that, that's just my rough draft just to get some of that length off now. I'M gon na start working on the overall shape. I know I can come in a little bit more get this length on the back dialed in a little bit now. I'Ve shifted to using the points of my scissors just to put that a little bit of an outline in there so call them the hair comb, the hair comb, the hair like to stabilize my scissor, with my other hand, okay. So this is something that I could sit and do for like two days. I could sit in Chipping outline now. Does that mean that you should do it? Probably not unless your haircuts were really expensive? I guess but yeah one of these, like you know it's one of those things if you're a nerdy hairdresser like me, you get really like dorky and in the zone, and you could do this all day, and this is one of those things where your mirror would Come in handy quite a lot a friend, it's all about just combing it and working it oming it and working it because I basically want this to look like she could walk out into a tornado and have her hair cut, still look good. So the last tip I was talking about was when you're cutting back hand, especially to make sure that that gets longer towards the front is to always make sure that the point of your scissor is pointed down below the pivot point. That'S always going to make sure that the hair gets longer cutting back hand. We have a tendency to hold this is are quite flat and then what will happen is we won't end up saving length in the front, we'll end up just cutting it flat? So if I always make sure - and I'm looking here that this is angled forward - that's a good visual to know that if I put a marble on my scissor, it would roll off the tip of it. Okay, a lot of times, we looked so focused on this area that we forget to look at the scissor that putting the line in so once again, just Club cutting my length off and now I'm gon na work work. My two shapes together, so this is under that little point where we're gon na bridge the gap feeling pretty good about my outline in the back. I'Ve got that moving short too long through here now, I'm gon na look to tie the two together in the front. So what I want to look for is, am I looking at the shadow or am i looking at the actual length of the hair, so tilting the head forward can make sure that I am looking at the actual line, because sometimes our eye gets so distracted by Shadows and things like that, but I always want to look at the line. So my connection now is gon na be just loosely through here. Basically, from this little point right here, where it's a little bit weaker, that's just because the hairline underneath there that's right where it changes, it's right where that front of the hairline changes. So from that point, I'm basically just connecting weak points in the hair and that's always a great way to do it, because if you look at the weakest point, that will help you create. The most ideal outline on a haircut is to make sure that those two points are connected so from here in the back. I worked from back to front here. I'M gon na work from front to back and we'll keep that a little bit of length in the front got a head out, but I want to say thanks. Oh thank you, Mary better, you snapped that's a good thing. I'Ve heard that that's a good thing right, like you, snapped on that one or slapped on it, something something's good, I'm gon na, take it as a good thing, so put a little spray in here. So for this particular look like I was saying earlier, I wanted it to be like pretty fluid, but also be very commercial if you wanted it to be so a lot of those clients that come in and they want like some sort of disconnected, maybe asymmetrical haircut And we don't have a really clean approach to it. This is a great way to do it, because you can do it by just counting. So it's a bit more foolproof kind of ensures that the end results gon na, be there because you're counting your sections and you're, also working methodically, so it makes a nice fluid. Graduated shape has some longer lengths towards the front, and you can kind of dress this either way you want. I cut it with a side part over the left eye. You could, if you wanted to cut it with a center part, you could cut it with. You know, apart on the other side, completely up to you and whatever suits your client or what you're trying to accomplish. So in the back, we cut a graduated shape, meaning that we are length here was shorter than our length here. So it created this graduated effect. On this side, we pivoted up all the way to horizontal and we worked horizontal sections all the way through to the front. So our graduated shapes it's balanced in the front, then, on this side, what we did is we created a graduated shape that then pivoted, but not all the way to horizontal still remain diagonal, and what that does is by matching parallel sections created a longer side which Swoops in - and you can see like how nicely this comes in and gets way longer created, that nice asymmetrical feel, and then we put an outline in it and I think the outline, even though it gets overlooked a lot. That'S what really makes the haircut stand out is having a clean outline. So when they walk down the street, somebody sees the outline from across the street they're gon na be like that looks good, so check it out. Jump on Instagram shoot me a message. Tell me what you think, I'll try and jump on later and answer a lot of the questions and text. If I can, and thanks for tuning in everyone appreciate it once again, my name is lucas. Tony international trainer artist for paul mitchell follow me on instagram. It'S the same, handle at Lucas Tony