How To Cut And Style A Short Shag

Hi, my friends, welcome to the artist studio and I want to walk you through a 70s 80s inspired haircut. It'S kind of kind of like a shag, feel to it a little bit more of a pixie feel to it. So, first of all, let's start with the something we're going to pre section areas that they head off because we're going to detach those areas. So we're going to come in and section off the top of the crown area, I'm going to work with a white comb. Dark-Colored of hair, just for the contrast, I see the comb on this side of the head and finding that natural, vertical horizontal transition from the side area to the top area and the crown we're going to work this horseshoe all the way around working to the opposite Side as I walk around so I'm going to come through, it's not just simply placed at home they're looking for that vertical transition to where transitions to horizontal the comb coming off of the head. This is going to give you a great idea in terms of head shape and where it changes direction from moving from the side area to the top area. Once we have this, obviously sometimes this section can change on the horseshoe and that's going to be based upon density, so you might go. We know we're going to create a extremely layered top. So if I had funny hair, we might take this horizontal line and maybe bring it higher, so we're leaving more weight underneath if I'm doing something really layered on the top and we're going to detach this horseshoe section and working with a lot of thick hair, then We'Re probably going to want to drop this horizontal line a little bit lower, so what we did was we just gave you a really basic principle in terms of the transition and how it transitions from vertical to horizontal. Once we have that, let's take a look at the back of the head and you can see in the back of the head, I'm just working this around that crown area and just following that around and keeping it very symmetrical and once again to find this. In terms of where comes back just simply take your comb and we'll use the comb of the tool to determine where it comes off the back, and you can see right. There is working song. That'S telling us where we're going to complete the horseshoe section towards the back of the head now a lot of times. You might be thinking out there. Well, Sam. I don't pre section. My haircuts, I started, might start cutting at the top and I cut by field. Well, there's two things: I want you to understand and I respect that. Maybe you don't might not want our section, but there's a particular reason. Why I'm choosing this section number one is because I'm going to detach these areas, so this will be non blended or detached into the side and back area of the head. So I'm discovered that by pre section it makes a lot easier for the sake of control. Now the second reason is by actually, I'm gon na have a little bit more control, cutting by feel and not having control. The sections requires more time, and it really creates a little bit more inconsistency for myself from front to back right to the left, etc. So do what's easiest for you, but follow this pattern and see what you can take from it once again, we're not at Sam via we're, not here, to dictate that things have to be a certain way. But we've discovered things that we want to share with you. That might help you have a better life behind the chair. Let'S talk about transition from the side area to the back area, I'm going to section this area off and a lot of times. Let'S take a look at the inner line and when you look at the hairline, we can obviously see that from forward of the comb here, there's a lot more less hair from the bottom to the top. If I come back to the back of that common look from the bottom to the hop there's more massive hair, one of the issues that happens is we get a whole behind it. Here I'm going to cut more of a mullet I like to refer to it as a male, because gon na have a lot of degree of softness to it. So I'm not too concerned with the whole, but it's in viña. Here'S what we discovered - and this was discovered by our education director Andrew crevasses, by simply changing the way that you look at the side area. So let's take a look at it and we'll tilt their head back slightly. So you can get a look at that. If you look at this, you can just start to see that where the comb really comes off, the head is way back behind the ear. So if we go back in this area here, you start to see that we're able to actually fill in the hole so watch where I'm going to place my transition, I'm gon na place it right here is where I want to place it. You see that now look at where I'm changing this call it breaking the rule if you want, but we've discovered by moving this side area and making it wider. If you will, from the front hairline to almost this corner of the head, you'll find that you have an area here that you can fill in to that. So a really huge discovery for us. That'S going to be a try. I think you'll find it actually helps to just protect that area in terms of getting the hole behind me, especially when you're really going to go out we're close now. Let'S take this and you can see how far back where I don't you normally be Sam. I would probably be my old thought process, and sometimes I continue to go here. That'S where the side area is because that's another area where that comb was coming off. Look how I really extended the comb further back to determine where I wanted to take that one and then once again another view of that. I just basically extend to comb further back by simply rocking it slightly back, so I'm really placing the center of the comb. Just slightly back or over on top of the year to find that one let's go through now. Let'S just isolate this now. Obviously, I'm going to teach you mode, so I'm really slowing down for you, but in the salon. This can happen very faster than you'll see when I start to cut really find that right now at Sam via we're really getting into a lot of discipline. You know. I really think that, because there's a lot of discipline, you're seen a lot of classical cutting is coming back in terms of once again working with classical cutting techniques and smaller sections. So we're really getting into this is lemon we're starting to do that at Sam vo. So once again, my reasoning for the section, so once I've done this over and over, I simply can find where that line is pretty much on my own by simply blousing there you can see, I just lifted it against gravity and splits on the side. Now it's important, though, it's be sure that you take a look from the top view and you look at that top view to make sure that what you've got have here is pretty much even from top to bottom a lot of times what happens is I will Have one area where it's not even from top to bottom? So, by doing this, you can really see I've got that pretty, even if this sits back a little bit more, and this is forward on the right side you're going to be off in terms of your balance in your way so be aware of that. That'S critical! You can see how important section is now: let's go to the nacre, we're going to come back in we're going to get our classical nape area, but once again we're going to break the rule a little bit and we're going to go. Just if I place the comb there, it tells me where that main theory is and where it comes off. But what I'm going to do is I'm slightly going to go just below that. Why? Because I want to take them place a little bit more hair into this back area of the head, so we're going to come through and go about mid ear and you'll see me working a lot with this type of pattern. Now, to create my shag kind of shapes inside all right now, let's take this there we go. Let'S isolate this area all right now, once we have this isolated now we are ready to cut so sexy is really important. Let'S just recap that again what we did start on the top and section off your top area by finding that vertical to horizontal transition incorporating the top and the crown area. Here'S what's interesting! Next you're going to find that side area we're going to recommend, go back over there to protect that all the year. Yet it's been different haircut, you're, going to see or from short to long and you'll, see that and naturally, by the way I'm gon na be elevating this, then we're going to go through once you have that on both sides make sure you come on the top View to make sure those sides are even and balanced once they are we're going to go in and look at the nape area everywhere. Just slightly admin ear in this particular case determine our back area and our day period, so that was our sex change. So now, let's get into the haircut we're gon na copy on the memo I'm gon na. Take this fairly short. So it's really important that we don't that we don't panic in terms of what I'm going to do, I'm going to work with this particular area underneath area first, and I'm going to continue to start in the top area of the section taking horizontal sections Woking. My way down to the perimeter, so I'm going to start on her. That would be the size of the section on the take. I'M gon na start on her right side. Give you a 3/4 size profile view of this. Okay, once I have my center slice coming back through and I'm going to take a horizontal slice about 1/8 to 1/4 inch, I'm gon na elevate this up straight up now, look at where I'm elevating this to I'll give you a little turn in terms. You can see this, but look how I've got my hand up against her head, make sure you look and see the degree of shortness. That'S inside you don't want this hand to be placed too close to her head. Try to elevate up you're going to get it too short. Okay. So, once again, once I have this session, I'm going to come through with a fine-tooth comb, now look at the position of the comb. So if we look at the position of the comb, it's not Square to that wall, it is square to the shape of the head. So, that's that what I mean is I'm not here, I'm going to move into the shape of the head next thing that we need to be aware of is our elevation and the degree of shortness inside. So let's just go about a third of the way up. There'S half way there's about a third second third, so we're going to go about a third of the way up to determine our link once were they're going to come through and cut a nice horizontal line. That gives me a strong guidelines once I have that guy. Let'S just come in and now let's just go in and scan that, so that what I'm doing is just coming in and just softening that line just softly. Now I cut it solid first, so I can see the strong guideline now watch what I'm going to do with every section. Next section I take once again, I'm going shore, here's the great discovery to create a soft texture. Where are they coming this in and blending elevating this? I know that I'm going to build a line, that's gon na go short to long, but this sees them. What I'm going to suggest that we do? Is I'm going to see that edge that I created that I cut blonde and then I went in the scanned it just give it a soft edge. Once I see that I'm gon na slide up not cut on that, I'm gon na slide up 1/8 of an inch longer and now I'm going to come back in and I'm gon na start to scale. So here's what I'm trying to help you with here is another way to create more of a soft edge, an edge that is dead, you're not going to have to come back in and texturize. So I'm breaking the blending rule. So you can see that if you look at this, here's where my guide was now look at the line that I just cut. Now I'm going to slide past that line go just about 1/3 inch past that and I'm going to cut another scanned horizontal line now. Watch what happens by me, placing my position in my hand to the shape of the head watch, I'm going to go from short to long on that side area behind the ear, and now we're going to come back and we're going to do the opposite side. Ok, so we're gon na use that first slice as our die, then I'm going to work with redken, one United, as my cutting motion and just for a little bit of control, helps to maintain the moisture, also don't be concerned. If you're at your lines doesn't match perfectly with that line, but what I do want you to do is grab that guide now, once you have that guide, a piece of that top section now position your hand, so it matches the shape of the head slide up To you get your guide and come through the first line I cut is solid. Then I come back in and just scan that line I cut solid once again, so I get a strong guide line after that, let's soften the line and soften our mindset by simply taking that section use your comb and you can simply fold and that first line Right there will pop out so you know where to go through. I supply the quarter of an inch past that and don't be concerned with. If you pick up some of that line on the right side loosen up your mindset now it come through. I take the next section, then I cut three sections in this nape area so now use your comb, see where you're at there's. No, my first one here comes my second one. Now I'm gon na go into my third I'm just going in eighth of an inch. I really recommend you don't go more than a quarter of an inch past, each horizontal section. So imagine what we did by doing that. What we've done is we've created more of a soft edge, that's not so sharp and so blended, but we created in within each horizontal section, more of a serrated edge, an edge that is more kind of soft, as you go through it. By elevating the way we did in position in our hand, we were able to get it short too long behind the ear and a short too long behind the ear. Now we're going to work up into the back area, the back area once again is going to be detached from this area, so we're going to work with the back area and the side area now, so that you really stay control of this. Why not just comfortable? Take a clip because we're done with this area take your mind and your hands completely out of the game here. How do you recommend we cook that down? Okay? So, let's start at the side area first and we're going to create a guideline now this guideline once again we're going to position our hand to the shape of the head working all the way around when we do this, we what's really important is. How short is that top going to be this particular cut? I know I'm going short, so I'm going to take a slice notice, I'm starting at the top within each section, rather than start the perimeter. Why? Because I know I want a soft one. We know that if we elevate the hair, add a force on line or below the horizontal line, we're adding a building way. If we elevate the hair above a horizontal line, then we're releasing the weight and creating softer lines so by starting on the top. It makes it easier for me to create a line that moves from short to long. So let's continue. Let'S take a look at the profile of you, so you can see how my hand is positioned, hey now, let's take at a front view, so you can actually see once again the position of my hand and the degree of elevation. So now look at where I'm elevating that hair straight up off of that line, I'm not coming back down towards the perimeter. If anything, we want you to stay away from that perimeter, so you establish a soft edge all the way through the side of you now take a look. If I cut this here, where is that going to fall right there? I because it's going to start to give me a soft face frame around the so determine where you want this first section, so we're going to go right at the I. There is my visual physical mark for that and once again, because I want this area softer and there's less hair back here, let's scan immediately. Okay, now, let's go to the next section. Let'S give you a little bit more three-quarter view on that. Let'S take the next up next slice: keep your slices about the same now once again. Look how I'm looking for where was that previous guy, I'm not gon na sit on that guy on the slide, maybe a half a finger with past that guy. So there we go. Oh they up. There'S my god! You can see I'm right on it. If I go to cut now, I'm gon na go right and sit my hand, cutting angle right on that. So now that guarantees me about a third of an inch longer, then that last section that I just got, I just move my hand, so I get to it. I know where I'm at, but I just want you to see where I'm scanning on that. Okay, my next section third section notice how I come in and the mechanics of how I'm combing in order to execute this idea, I'm calming that goes to the palm of my hand, so we bring it up, I'm still giving you a three-quarter view of this. So I come up now, let's just start to analyze, where you cut okay, look at where you cut last see how those are now tip tape. There'S my guide! The last section I cut: let's slide that so it's in about a quarter inch. You can almost feel it inside of your hand, up, there's a weight line inside your index finger and your middle finger as you're working across the section last section now, and then we'll take a look at this in terms of how it's sitting. So we come through elevate up, okay, let's just start to look at these and you can see when I'm working with a white comb there's that first here comes the socket here comes my last one: there's the line slide almost right on it, but if you can See it gets me about an eighth of an inch longer, so I get that that softness that I'm looking for all right, excellent, looking good now, here's where the fun starts now, I'm going to start to come through and before I start to go after the perimeter. I'Ve got all my softness in pepper. I want this to work a little bit more short, so long, you're going to continue to work all the way around. So now I'm going to go to my next area so Sam. Why don't you take a slice all the way around and work that and come underneath, because each slice that I'm taking my hand position changes, so I want to come through get you back you. Let me show you what I mean, so I'm gon na divide this in half, okay, so look at how I'm going to work with this here so rather than taking a long, a 2b and just start turning and guessing my hand, I'm gon na go a b C d, this one is sure my hand stays consistent within each area of the head each panel that I'm cutting. So let's go to the back and let's work on the right side of the back area: hey, we take a slice, we're gon na slice. We come through, we take a section of what we just cut. Nice really suggest lightly pinch on top, so you get just that top line once again. Look up the position of my hand coming in working in this gives you that view of that. Okay: let's go back to a 3/4 view. Okay, now elevate, our elevation is vertical or 90 degrees our hand, our finger angle that we're cutting this 90 degrees to the shape of the hand and my over direction. There really is no neural direction. I'M just lifting this from natural falling position. We'Re not moving this side to side at all. Here'S the area were working with. We come through take another slice. Now you determine how many slices you want in this area. I'M going to put for this area. I placed three Sam: why are you placing four in here there's more hair back here: let's create a little bit more degree of softness. So what I'm trying to share with you? There is the more horizontal lines you placed in the softer. It is the more the softness in terms of the edge that you're gon na have the more serrated edges you're, placing in okay, here's my third section, keeping it consistent. Okay, elevating up use the spine of the comb. As you elevate up, you can find the section gain and when you get on that section, it's like just an eighth of an inch pasta or a half a finger with just glide past it to get to that last section. This is my fourth section elevate thumb. Okay, there's my line, you can see it eight once I'm there slide the line inside your finger, make sure it's inside there's another hot tip, for you then come through its can then release and then what I want you to notice is notice how we have not Touched this perimeter area at all. We have not touched that at all look sighs. I might've missed a section of it ago that could get that, but we haven't touched the primer, so you're gon na see how I'm going to come in I'm just going to start to carve out the front edge. But let's give you a little bit of a view of this left side in terms of what we've created. Look how we've created some volume up in that side, air, but look at the soft the threose softness were creating in this area and we're not using a razor or not going through and really texture we're just working with a concept of just reversing the graduation. So let's talk about that, I remember in the old days of a Bob, they might have told me: Sam cut your first length. Okay now the second section seemed believe it about 1/8 of inch longer the third one the Athan inch longer than that. So if you take that card, the reason we did that was it made it easier. They called that an over cut, so you get a bob to kind of happy a little bit more pliable and go under. So all we're doing is were reversing that take that and turn it upside down. So if you look at the name, the first section was shorter. The next one got longer the next one longer next one longer, it's the same thing turn it upside down the first one short next one longer next one longer same concept, so I'm just reversing that graduation is all I'm doing here. We go take a slice looking at the guy. Remember here's my guy that look how softly I pinched that top line, so I can see where I'm at why the suction! It'S give me another 3/4 view and then, when we try this nice we're going to allow this to dry, pretty much with a diffuser really getting into nice soft natural texture when we're working with these shapes now, so I think, if there's a tool that we're going To be pulling out in the future, it's going to be the diffusive yeah. How are you using the diffuser? I want you to watch. I'M gon na manipulate my fingers when I go to July. Let'S, let's get back to the haircut softly. Sliding that hand on that top section getting that guy look at the position of my hand, again notice how I didn't cut a straight line back here. It was to the shape of the head as we're working around. It comes that second area coming through now and I'm gon na slap that guy scan okay. Now we took four sections, so I want to be aware of that as I'm working and cutting this. My second section coming through okay and we'll call use the spy of the comb. If you can't see the guy use the comb, let it pop out relax, though this is not about you've, been right on that guide each time, guys, member each section is detached horizontally by sliding your finger slightly past the previous length. You just come really simple. Never I just gave you an idea, an analogy on it. It'S that Bob that you might have cut in your seasons at the hairdresser, where you start leaving each section slightly long. So I'm going to continue to work this on this back area of the left and you'll see me continue to work it on the left front area. So you can see how I work all my way all the way around just scanning. Through each section I cut the left back and the left side, just as I cut the right side. So now we can go in. You could say: I'm really liking this Sam. I wan na stay right here and I just want to come through and just maybe just dry it. You don't blow dry as you go, it's a great idea, but once again I've given you the concept of working with a diffuser. So I want to go through that. I want to complete my cut, come back in and just start to tweak it even as I'm diffusing it. I might come in pick up a shear and just start to tweak so right now, I'm not going to create my mula kind of effect to it. Yet I'm gon na hold off. Let'S wait and you can kind of see it in both ways. Now we've completed the back the side area and the nape area. Let'S move Lee to the top third in the top area, we'll want to go through and once again we're going to alter the way that we're learning this from one section to the other, we're going to work with horizontal sections, we're going to be using shortness that We created them through the top area here we're going to use as a guide from one side to the opposite side, we're going to work with horizontal sessions now based upon the density once again, we'll determine the thickness of the horizontal sections. The width of this section has been predetermined, so, let's start in the back area. First we're going to come through and ticka horizontal slice. Now I'm going to switch from the streamline, I am now going to switch into our a slide, pedal ship and what's cool about the scientists like cutting share. If you take a look at the blades, they actually arch away from the center, so it really enables you to give a really smooth flying effect where they, relying on closing your shears. You go through. It actually places this year and creates a beautiful slide effect. As you move through the suction, so watch, I'm going to use this year, there's my first horizontal suction. Now the combing is going to be important because the combing is going to set me up in terms of the shear itself and how it's working so now watch what I make watch the motion. Comb now you're going to go hand and I'm going to go vertical. Look at the comb you see, the white column is sitting vertically straight up and down. Our guide is going to come from this top section, so I'm lifting that section up and determine my god from here I'm going to catch into that guy and now just simply slide straight up. Okay, once I've created that section from short to long and you can start to see that just create it short too long. If you want to go back in, if you know, you need to get a little bit more come back in once again let the comb set you up by taking it from a horizontal, keep the hair captured in the comb and shifting to a vertical once. I'M here come through catch up that short piece and now just fly vertically up working your way up, making it from short tall once we have that turns the chair in the salon. So now the client is facing away from the mirror. Now we're going to come back through and I'm going to take and I'm going to slide from short to long using that short piece as my guide again on this side, so one section does go sort along one direction, so it looks like this: they go to The back what we just did we cut one section that works from short to long destruction. Now we're going to come through we're going to cut our next section that works too short too long. This direction, once we've established that we come back short too long short too long, so you can see how we reversed it short long short too long, instead of moving your body here then moving over here. Oh, let me suggest you do is just simply turn the chair and you won't be in the proper position. So if we wrap now, I'm simply just going to turn the chair, and now that puts me always in a position of working right to left. Here'S what I mean if I stand back here and I choose to stay in one position now: you're cutting here sorta long now you need to go sorts along on this side. It'S very difficult to do so simply turn the chair. So now you're the meaner. I'Ve turned her away from the mirror and now look how I can go in and get my opposite side. So I take a horizontal slice when you take this source on slice, I simply want you to come into combing that hair the direction you're going to slice. The comb to make a lot easier for you to get to that section. My sections are about a quarter inch now watch the comb again. Here'S the section I'm going to use of the guide place the comb in horizontal and comes underneath. It now move the comb to a vertical okay and right there. Imagine that line come back through catch, your shear at that short piece and now just simply slide up as you work through a working short form. Now, we've come to the opposite side. Turning the chair again I'll, give you a profile view I'll give you actually a front view of this one, this time and then watch how I'm gon na take my session horizontal session, taking the horizontal section lifting up a piece as I die from that side area, That we cut and now working from short to long now, Sam, could I use a shear on this. Could I go through and could I use a texture on this? Could I use a razor on this? You could use anything you want, but give me a point. Cut with this year, if you choose to do that, razor is great, that the fabric allows you to use a razor as I work more forward to lift the head up. It comes my next horizontal suction. Okay, once again take the guy place it into the column. Start horizontal place your finger angle, underneath your finger position now rotate the comb and follow with your fingers, your index and middle okay, once you're here slide, you're coming into that guy now just kept simply come in and slide straight up. What I'm loving about this is you notice it's giving me an extreme amount of length, but at the same time I've got some short pieces and are mixed in there with that. That'S the beauty behind going from short to long. It gives you the opportunity to really finish it a little bit more love about. It, too, is, if I know that head is facing this way, I'm standing here. I need to turn that chair and now work my way across horizontal again and working from short to long hey. Should I take my slice once we have that slice coming through watch to comb again, horizontal fingers underneath and come through and rotate catch, the short piece that you see against that and slide slide up with that once we're here take this away, I don't want to Be cut into that now we're going to come through and turn the chair we're going to continue this working this all the way through to the front of the bushing, all right, we're on our last section, which is in the front area where I'm at me gon Na have a little bit more moisture to this just to get a nice slide now some of you are probably wondering: will Sam you're turning the chair back and forth so you're always going because I'm right-handed right to left right to left by turning chairs I'll have To go to shorts along one direction, otherwise, here's what I want to share with you, though, when you're here in the front standing like this, I don't expect you to stand and climb with a client just simply take the client and ask the client to look at The buttons of your shirt once they're there you can see their legs will be here now that puts you off the side so that you can pick up and cut this section. The way that you need to cut. So, let's go back Square to you and once again I want to really stake you again. How important is you place to come in horizontal? You begin shift to a vertical that visually gives you the line that you're going to go in and slide up to. So that's important once again: here we go horizontal die. You can see shift finger tip it's now to die and now simply come up and slide through now how we've gone through and we've completed this all the way through. So now it's about the print of an edge. What do you want to see in the perimeter edge you can go through? You can certainly come through and cut a fringe into this, not a problem, but then that's gon na be a matter of choice, but here's where I want to walk out now in terms of what we create, how we created a really cool layered effect. But now I need to go through and they need to tweak some of these edges in terms of my perimeter. So if I go into doing that, let's come through now and let's create a French, the French that has a little bit more kind of shatter edge to it. I'M just you're seeing a very kind of really soft and very frayed like so. Let'S go through very, very a Teddy draw if you will Teddy girl very kind of work, very natural, so we're gon na work with a center part. Once we have that center part we're going to come through. I'M gon na keep my French very narrow this season. I'M not going to go so far back as I've gone in the past, so I'm gon na step more on the side. I'M just going to bring it up this side, so you can see how small that triangle! This is this season. Why just a small little accent area that I want as a fringe this season and not so much in terms of it working all the way back like I have in the past, so you can see that's an accent piece and this it's going to have the Ability to move, and then you'll see how some of that hair is going to pop right over that, so just moving in front just a little bit differently in terms of how we're going to approach this particular fringe. You know once we're there the excess hair that we don't need now really normal cases. I recommend you cut from just drawing, so you can really get them where you want. I know that we're going to diffuse this, so I'm going to actually vit longer than I want plus I don't want that French being so blond so chef. I wanted a little bit longer, so it has some movement to it. So we're going to take and reverse the graduation again and this time not starting the top gon na start. The bottom so watch again take a horizontal section. I want this to have some length to it. I'M gon na take it to the tip of her nose. That'S gon na be my length thinner. Now I elevated this, so it falls to the soft. So now I'm gon na come through. Once again, I'm gon na scan a little eliminate the slide shear and once again picking up a comfortable string, longship coming through and skinning, and I love using the streamlined when I scan because it has more of a pointed tip to it. So it really gives me a nice edge, it's not so fat, so happy hey once I'm there, I'm going to take my next slice. Now we're gon na work, the concept of reverse graduation. What we did inside this time we're starting at the perimeter working our way up right here we start inside and worked our way down to the front level. Second section: why are you doing that? Because I want to build a little bit more weight in these fringes. This season, so I'm still elevating to keep it soft now, because the guys on the bottom, I got ta, let see where it's at that's normally, where I would cut based upon the concept and what I want to achieve now. Little have your French but still soft. I slide 1/8 past that and cut a new line, so the line has balance to it because I am following a guy, but I'm not falling directly on that God and we've done this through the entire haircut once again, a section and let's just fold so once I get to that start to fold and you can see there's my first section. Ok now, let's start to look where's that second section and you'll start to see. There'S my second now I see the second. I go just a half a finger over that and cut my next one. Now look how much the length I've got to that, but look how that's gon na have some movement to it in terms of how it's going to work and how it's just a small, French and not so much of a a large French. Now that's the matter of going in and you're going to diffuse. It also remember I could come I'm going to come back in before I defuse and just tweak my perimeter, I'm actually kind of liking, guys for its ass. I'M not sure if I want to go. Go in and carve over the year, you can show that a little bit later, but let's stay right where we're at right now in terms of house looking look how soft that perimeter edge is already almost looks like it's been cut with a razor just going around. Maintaining that soft edge and just scanning into my perimeter edge now all the way around and notice, I'm working with the white teeth of the comb. We really believe that if there's any tool, that's going to get us a problem, create some problems and issues. It'S the comb, you know that's the tool that really really creates these problems and these issues you can see how it's got this kind of law, but here's what I want you to get look, how long those layers or are but you're, also going to find there's Some short layering intermixed in that when you look at that work around it, just soften our edge, now, you're, probably wondering Sam. How would you recut this? I would come back and really recut this with some integrity, you're, placing the integrity back into the shape. Don'T get me wrong, not creative shaped, it doesn't have integrity, but what I'm talking about is rather than coming in doing the same pattern. I want you to come in and just start to refreshing your edges. They just point cut or slice cut the entire shape. Then, once you come back to the office, if I come back in and revisit the pattern, all right, it's time for the blow-dry, so I've gone through just re moistened with a little bit of water and once again we used our Redken one United. As our cutting motion, then now we're coming back in now. It'S time for the blow-dry when it's time for the blow-dry we have to understand product is not option. It'S a necessity. Yet sometimes just application of product wire product doesn't work so a couple ways why I'm using iron shape 11. It'S a thermal heat protector, but I'm going to use it now as a and when I use not only my thermal tools, flat iron or curling irons, I'm gon na use it. Now, when I go into bow tie - and I love the hold factor - it's a medium hold of 11 number 1 number 2. The shine that I'm gon na get I'm gon na be able to get an encourage and crinkle the hair keyword crinkle and get a little bit more organic effect to it. So application lifts start from the bottom use the distance of the bottle itself to determine how far away you're going to spray. You want the hair to actually get a little bit of moisture and dampness to it when you're working with iron shape 11 notice I'll work around working from bottom up, so I lift, and the distance once again is the height of the bottle. This is ensure that I get proper saturation of product if I'm too far, not enough saturation, if I'm too close too much sensor issues so just a hot tip using the height of the bottle, then we're going to come back through, and I want something soft, like A lotion, something like the cream, so I'm going to reach for out shine is 0-1, it's more of an anti-frizz polisher. Okay. So I'm just going to come through place. A small amount into the palm of my hand, I'm going to emulsify and now once I'm also slightly use it as a hand, lotion and then watch how I'll lift I've got product in between my fingers. So I got part on my palm and we have product on the top of our hand like a hand lotion. Now I'm going to come through and look how I've got hair on top of my hand, accepting product. I have hair underneath accepting product and I just keep working my hands through in this fashion. Okay notice, I'm working on the right side up to the top and then notice how I'll close my hands and now working from mid-shaft to ends. I go back for another pump of product, and now I go to the back entire area and once again, application of product emulsify hand lotion effect. Let'S give you a view of the back me and once again watch how I lift drop the hair and side hand up hand down up down and I'm working the entire back area and then once again grab and squeeze almost like you're, squeezing out the excess moisture Of water, just that the same type of motion and now the opposite side. Now the amount you're going to use that'll be determined by the amount of hair. So let's say, for example, how do you determine that Sam? Well, if I grab and put this in a ponytail and squeeze it about that, much product wouldn't help to determine how much product I'm going to place into that section. So there's another little hot tip for you in terms of the amount of product that you apply. So, underneath and through now, let's talk for a moment in terms of the world we're at. I just want to add a little bit of knowledge here in terms of where we're at as hairdressers and you behind the chair. A lot of times is this is the most important part, and I hear this common lot from clients or even from hairdressers when I go into salons and we're teaching Sam of the number one comment I get from guests. That say, I can't get my hair to look the way you get it to look. This is a great opportunity for you to start to change the experience at the chair, and this is where I would suggest you grab the clients phone simply take their phone place. It on your station with a monkey little tripod and now videotape the tutorial in terms of the blow-dry, how you're blowing how much product I use, how your blow drying the brushes you're working, how your work with the brushes, then, when you're done with a blow dryer To toriel just hand them their phone and let them know on the phone is the boil dry tutorial has all the product I use what products I used, how I used it and why and how to apply it now. That'S a salon. Experience highly recommend this hairdressers start to JA, adopt that as as something that you're doing behind the chair to change the experience, I really believe that we're moving into an experience economy versus possession economy. It'S all about the experience. So, let's ask ourselves at the salon. What are you doing to gives that guests and experience? Let'S talk about a diffuser, a tool, long wash tool, that's now making a comeback and the reason we're working with a diffuser, it's a diffuser or a constant, the that is. This is a concentrator or a nozzle which controls the flow of air. Now we're going to block the flow of air and soften the flow of air with fingers, but we're also going to work this season with our fingers. Let our fingers be the fingers of the diffuser, I'm going to use the diffuser to just soften the power flow of the air and get a little bit more organic. So, let's think about this now watch I'm gon na take this and let's just move it to three-quarter views. You can see I'm working with this. So let's start thinking about the pattern of the hair and what you want to create. So, let's say, for example, I want this to kind of kick back and move forward, so now notice what I just did with my fingers. I just put my finger in and now notice. Look at the wave I just created, and now I'm gon na come in with my diffuser and just diffuse that area, but I'm not gon na overwork my hands and move them away just be very soft with your hands and just allow it to start to clincal. The hair and give it the movement that you're looking for watch one of these now I'll, let the hair just sit there and I'll casually move down. So this is not about being rough. Like watch my pinky, I just start seeing things see, I just leave that in there let's to go over this from get that to move back just to move back and away, so you could almost see the way pattern that I'm creating. So once you start to think of the de series, there is a different tool in terms of actually see the movement that you want to kick and you could slow the flow of air down so you're not blowing it all over the place open. Your fingers up see I'm open them up, so I allow more hair to come. Get more flow there to come through that entire section now watch that's about maybe 50 % draw, maybe 40 % dry. But what look at the undulation that I'm getting out of that and how I just didn't simply come through and just start to encourage it look. I leave that, let's move to another sexy, so I'm going to continue the work using a lazy technique with my fingers and just softly diffusing the hair to create a much more effect. You can just start to see the effect that we're getting now that and the movement that I'm getting out of it rather than just take you into a fuse or in using diffuser I'll. Give you a little bit more of a stretching pattern. If you will walking with it in this manner, so start thinking about the fingers as the tool in terms of how you're going to start to use that and now look at the. How that shape on this side is just starting to pop in and now just start maneuvering your friends you're, seeing a lot of middle parts, but really just working with the hands a lot more and just allowing things to dry a little bit more naturally, and not Overworking with it, let's continue to work towards the back area. On the left side, one of the things that I'd love to mention here is my heat is on medium. So we're probably wondering how is his hand withstanding the heat. You don't need a lot of heat guys in order to dry something it's the floor there, but be patient when working the diffuser remember to get more of a class act and open up your hands, so you allow the air flow to pass through. Okay, you can see how the defusing is really working in terms of just look at the pattern that we're getting out of that now, let's just go through the top area and just create a little bit more far than the top area. Take the diffuser off of your blow-dryer take the diffuser. I want you to come into the top area, and now I just want you to really just rotate one direction and then rotate another direction. So I rotate look how that top hair moves? Okay and then just rotate about a half back, so it's one direction a little bit back and now apply the blow-dryer low heat. Low speed gets too hot Sun. It'S a cool! Well watch! I'M just gon na get a little bit more movements over the movement on the top plays a little bit under what I've done in the side area is in the back area. So it's not just kind of a pattern. I believe it won't spread, miss and then going into a printed effect. It sprinkle that top to stuff a little bit, but I just move that dryer. Okay, then, once you feel you've got it just turn the dryer off and then release and now look at the top. How I just got a little bit more effect out of the top book. You start to give you a profile view of that. You see how I just got a little bit more motion, app movement out of that top area in terms of what we created there once again, you can go through walk it into the front area and just think about what you want that hair to do. Let'S get this maybe to move just give it a little bit of lift to it, but I like the idea of this doing this and this, but I want a little bit more in that top area. That'S above it I just simply located the dryer a little bit more once again stay on the median below feed, Loki and the hot plate. If you turn off and then release the dryer and now release it and see, I'm just getting a crinkled effect up there notice how before when I started that was really really straight up there in terms of everything else now you can just start to see the Silhouette in the shape that I've created now, it's just a matter of personally, manipulating the shape in terms of what you want to see and how you want to see it set but notice. As I give you a view of the shape. How, when you look at the shape, it's it's a little bit more up and down, and not so triangular or going from a sense of narrowness to a sense of width if anything, there's a sense of more straight up and down and round this working into these Shags with a sense of volume, you're gon na start to see these tops these top areas get a little bit more cropped matter of fact, join us again on our series and you'll see another haircut where it's a little bit more of a shag that has a Little bit more of a crop top and a little bit more progressive type layering to it. So once again, thanks for joining us at the artist studio, it's all about sharing with you, some education, that's going to support you behind the chair. You