Cutting Tips For Bob Hair & Long Hair | Layered Techniques

All right looks like we're. Live. Okay, just give everyone a couple minutes to join in um. You can see for anybody who's here. We do have um we're doing texturizing today, i'm so excited. I love texturizing, it's my favorite part of the haircut because it really brings it all together. You know you do that, base shape and like when it's wet, then you just bring it back. You know and make it all perfect with your texturizing finishing work. So, let's give people, oh we've got some people on. Thank you, everyone for coming. Let me know where you are like tell me where you're from where are you viewing him from i'm so excited um to talk to everyone today? This is actually my first time doing. A live where i don't have someone filming me like i'm doing it myself, so this is really exciting. So i get to like see your comments and not just have someone telling me what you guys are saying, so i'm really excited to do this yeah. So, instead of the salon they were hanging out at my house, you know gone my nice wall. I just painted it for this video because i was like we have to have a good background. Awesome. Okay, so again we're gon na be going over texturizing. So this is gon na, be like your finishing work, how to bring a haircut fully together. I like to do a lot of my base, cutting wet where i get like that just basic shape in and then i do all the finishing dry. So that's what we're going to go over today. I have a couple different mannequins to work on and what i did is. I did cut the base on all these mannequins, so i have a very basic blunt bob with me right now. You can see her parts really not wanting to work with me, but that's okay, we'll make it work by the end, but just a basic blunt bob um. I did cut the sides a little different, we'll talk about that and then i have like a base. Shag sort of look long layer, shag, you can kind of turn it into multiple things and then we're going to talk about texturizing, like frontal bang area, on some curtain bags. So again, let me know when you guys, where you're viewing in from really excited to hang out with you guys today. Okay, so, like i said, we have our nice little mannequin here she is our bob, so i'm going to be using a couple different tools on her today. First i'm going to be using my joel texturizing sheers. They have a lot of teeth and i like that, because they don't take out as much as something with less teeth. So i really like these because you get a nice finer texture and then i haven't decided which of my two sheers. I want i kind of decide which tools i want on the go and as i work with the hair, so i have two possible shears, i'm going to be using from. I have my regular, joel, shears and they're. I believe a four inch blade and then i have my six inch. Six inch excuse me, sam via artistic series, sheer so they're. Both awesome for different reasons. This one, the smaller four inch blade, gets me a little bit closer and i can get a little more in detail with it or this one is better for more or i'm trying to go fast. Take out a lot but also um, it's sharper and it's a little bit nicer for my hand, which is why i like this sheer where this one has the um like straight circles, so we'll just to see what i decide as i do it. So to do this, bob, i'm gon na do two things to it: we're gon na be texturizing the bottom to really get rid of this heavy bluntness. I'M gon na pick her up and show you so down here. We kind of have that shelving going on and the reason we get. This is because our head is round right, so you can see the different lines in the bottom down here, which we don't want to see, and each line is where the head changes shape. So that's why we get these lines because it's where we have the occipital, the crown and the nape right. So how do we get rid of them? So you cut your base in right, but you still have them and you did it amazing, perfect chris nape, but we have those lines that we really need to get rid of. So what i'm going to do in the back is i'm going to have her turn her head and look down for me. I always have them look down when i'm working in the nape section, because it really helps me see what's down there because of the way. Our head is shaped: it pushes that hair out and makes it really awkward to get into. So to start, i'm going in with my gel texturizers and i'm going to be using just kind of a standard comb, i'm using a brightly colored comb because she has dark hair and i want to be able to see the hair through the comb. If i use a dark, colored comb, while on dark hair, i can't see the hair, so i'm going to come in here and just kind of pick up section by section. So i pick it up with my shear first and then i'm going through with my comb and i'm just kind of making the hair dance. You know make it move for me. I want to see the movement in the hair and i'm using the wide teeth side. So i have little minimal, minimal tension. Excuse me now, i'm going to come in, i'm not going to go in straight and cut like this, where i'm dead on i'm going to point cut in at a 45 degree angle. So i'm taking a good amount by doing the 45 because the 90 doesn't take as much so if i do a 45 i'm taking more, but i'm not leaving that harsh line. So when like it's down, you can see it because when you go in with your texturizers and just hit it straight on, you can see that line. So i'm going to come in and just point cut at a 45 degree angle and when i'm point cutting i'm doing it as i pull out. So i'm pulling the hair longer towards me, which will also help direct the hair just slightly under. So whenever you texturize, you really want to make sure you're giving the hair direction. That'S important, if you're just going in and hacking at the hair you're going to get places that flip everywhere, and we don't want that. We want to give the hair direction to curve under, so i'm going to be pulling it towards me, so in slow-mo i'm going up in pulling and then out. So it's one motion as i pull out and then i'm going to do, i'm going to show you first there we go so see how this side now is laying so much softer than over. Here, that's what we're going for we're just not going to do layering we're just taking out those lines, so the hair lays together yeah, hey michael! I see him on there talking to us through lonza um, so we want it to lay just nicely together. We don't really want to see those lines. The way i like to describe it to a lot of my new people out to the salon when i'm teaching is the hair likes to lay like this, like your fingers, are the hair strands and we don't want it to lay on top of each other. You want to lay together so by taking out the bulk we make it lay together, which is what we're going for. So i'm going to continue around the other side of the back and then i'll show you what i want to do on the front. So we have, you can see, give me a thumbs up if you can see well, so i make sure everyone's able to see you know what i'm doing so again, i'm going to pick up with my shear first then i'm going to go with my wide tooth Comb and just make the hair dancer. I want to be able to see the movement of the hair, so i can make sure i'm texturizing accordingly point cutting in at a 45 degree angle and i'm clamping as i pull outwards and again that's just to make it so the hair kind of curves under Instead of sticking outwards, so i'm directing the hair to lay more smooth, i'm going to go a little bit lower. I'M not going to pull my hair up as far because i want to get this hair at the nape a little more. So i'm just going to go right. There again point cutting in at a 45 degree angle, awesome and that just lays so much smoother, and then it also makes it so you can brush through faster or easier. Have you ever had it when you're brushing someone's hair and it like catches on the end? That'S just because there's too much hair in there doing this technique will give you a soft look and give you that movement, but also just let you brush through the hair. Without catching okay, let's get her head turned upright okay and if you guys have any questions at all feel free to drop them in the comments. I can see the screen right now, so i will gladly answer any questions that are coming through. Okay. So now, let's talk about the side of her hair. Let'S get her off. This is a new mannequin stand, so it's kind of stiff on there. So it's hard to get her off. Okay, so the sides of her hair kind of facing the same issue where we do have the um like heavier ends. So i want to do the same technique, but i also want to go up a little bit higher to give her a little bit texture through here. So she has more movement because we are seeing the sleek bob, but we're also seeing a lot of texture coming in. You know a lot of the photos where they have the really undone texture and it's kind of messy. Looking that's what i want to give her without giving her necessarily any layers. So let's go ahead and do the side really quick with the technique. We were just doing on the back where i'm going to pick up the hair with my shear first, make it dance through the wide teeth comb and then i'm going to point cut at a 45 degree, with my texturizers to pull out too much of the thickness On the ends and i'm using the comb as kind of like a stopping point, so i only go up to the comb, so i don't go too high in i'm. Just want to take out enough to loosen up the ends. I'M also looking at it and seeing where a spot looks thicker, so i can see through the sides, but the middle right here i can't see through so i'm going to point cut through that middle to get it a little softer. So it's all about visuals with it as well as technique. Getting movement and texture in the hair is really visual, because you got to look at it and see how the texture looks and know what kind of texture you're wanting for that cut. Okay, so for her sides of her hair, i'm going to be going in with my samvia shears the artistic series in six inch and the reason for that is, i'm going to be doing a technique that requires a lot of sea movement and it's easier on my Hand with the way these are shaped and the longer blade gets me more hair coming out, so we're going to go in and i'm going to part off above her parietal, because i don't want to cut into the top, because i don't want it to look like She has layers, so i'm just going to put the parietal on the other side, so i'm not cutting into that to really preserve the um look of the bluntness on the top. So what i'm going to do is i'm gon na pick up right under the parietal? It'S about a two inch long section for her head. Everyone hair will be different, i'm leaving about a half an inch above the ear that way again we're preserving the look of bluntness through the bottom and the top where she sees it, but that interior is what's going to give it the movement we're looking for. So i'm going to come in and i'm going to hold my hand about an inch and a half away from the head, because i don't want to go too deep. I just want it to be about an inch and a half, maybe two inches away from her scalp, because i don't want any flyaways up through the top, so i'm holding it. What i'm gon na do is you can see how heavy that is, it's just falling. Let'S see if i can angle this a little better for you, that might be a little better okay, so it's really heavy i'm going to come in and i'm going to use the apex, my shears, so that's the point where the blades meet. That'S typically the sharpest point, because we're not using that as often and it's just going to be a c motion going out. So your shortest part is where you're starting flipping outwards, and this is going to do two things. It'S going to take a lot of the bulk out, but the c shape is also going to curve it under. So it's also going to make it so it doesn't flip out on her super weird. So if you look, i can see breaking points through there where i've done it, and i like that, that's what i want to see. There'S one spot right here in the middle that i want to do because it was too heavy. So now that's really nice. It'S still dense, i didn't affect the integrity of her density. I just broke it up. A little do one more section, then i'll show you what the sides looking like. So you can really see how that's working so again, i'm holding about an inch and a half to two inches from the scalp using my c curve c method, and this is going to curve the hair under to help give the hair direction, while also taking out Bulk, so she doesn't feel too heavy without giving her any layers. So let's show you guys what she's looking like so see how much more body she has right through there and just movement. She just has movement through there. It can move, but it's so subtle. So it's going to maintain that really dense bob that we're going for, but making it. So it's not just so lifeless. Just give it a little bit of movement, i'm going to clip her apart right here out of the way, because it's not wanting to really be a part, but we're going to do something with that in a minute. So you can see we have that nice dense. Bob, but she just has so much movement when she curls it she's going to get the body out of it and that's what we're going for just kind of that nice, natural movement or on this side. Take this clip out here we're not really getting as much as that movement. It'S a lot heavier and denser. So it's a really small thing. We can do in our bobs to just help them have some flow to it. So now that we've done that with our bob, i want to show you the front since i've been talking about it, this whole time, what we're going to do with the front. I'M really excited to show you this technique. Um. If you watch my facebook live two times ago, i believe i did this technique on my co-worker and it is so beautiful that i just want to show you again, because it's really a game changer. For me, at least because we're getting a lot of these shorter cuts or we're getting those heavy bobs or the bixies coming in you know the bob pixie, but people want a middle part or they don't want to be stuck wearing one way we want to flip Our hair, multiple ways and just have that loose texture, so this is a way for us to achieve that really easily. I'M just going to set my shears down for just a second, so i'm going to part her out corner of the eyebrow up and it's going to make a triangle. So i want it to fall. The point of the triangle, the high point of the triangle, to be where her head curve changes. So if we hold the comb right here where that comb lifts off, that's where i want the high point of the triangle to be so, let me tilt her down to kind of show you what we're looking like. Where did this go? There we go so we're going to do again, a triangle section from corner of the eyebrows to high point of the head. So what that's going to look like i'm going to go from the corner of the eyebrow up, i'm gon na clip all this out of the way we'll blend it in later, but i don't want to touch it right now. Oops, do any of you guys do that you get this like perfect section and then accidentally just like mess it up. I do that all the time. Okay, come on the other side. High point of the triangle down the corner of the eyebrow extend that out a little bit further perfect just going to clip it out of the way i typically do clip all the hair. I don't want to work with out of the way, because it gives me control. I tend to work better when i have control over what i'm doing, i'm just going to check my sectioning yep, perfect and sometimes on your client's head, a mannequin's, a little different because obviously they're manufactured, but on your client's head. The triangle may not be perfectly even and that's okay, because no one's head is perfectly even so. If your triangle you're feeling like what the heck is this, it's okay, just let it be because you followed the parameters of their head shape, so it'll look natural when it's on them, so i'm gon na come around here perfect. So i'm gon na be kind of off screen for this part, because i want to really show you what i'm doing so. I want to maintain a lot of the length here because we don't want to give her a true bang. So what i'm going to do is i'm actually going to cut this into a triangle section really subtly. So i'm going to come from the sides, and i want the shortest to be about her eyeball length and normally i would stand directly in front. But i'm trying to be a little off to the side, so you can see what i'm doing, but typically, when cutting the front of the head stand directly in front of whatever section you're cutting. So you can ensure that it's even but for the sake of the video we're not doing that today. Okay, so coming about from the eyeball and i'm gon na slide cut down and just take that hair out, i'm gon na check. It awesome see we're just getting a nice subtle point. Then i'm going to come on this side and do the exact same thing about the eyeball down into a point, and what this is doing is it's giving her layers on the side, but keeping that in length in the middle. So that's going to be so whenever she flips it, it looks like she has length but there's short hair on either side directing it the way you want it to go, then i'm going to pick it all up together and point cut into that, because if you Look from the side that is extremely heavy, and we don't want that, and the reason i'm going to point cut instead of going in with my thinning shears is because i, like the look of the point, cutting better around the face, because the thinning shears really leave Lines and kind of thin out those ends without much control. So that's not what i'm wanting to do around her face. I want to have more control, so i'm going about inch and a half two inches in and our point cut at 90 degrees into the hair. 45 degrees takes out length and bulk 90 degrees just texturizes, so i just want to keep doing this until i feel i like how it's looking yeah and that's broken it up a lot, it's still maintaining all that length and still having good density, but it's not So heavy through the ends so that way, when it moves over it'll, have just much more um softness to it. That'S basically it. I also drop my combs, a ton so like if you're ever watching me teach and i'm dropping homes left and right, you didn't see it all. My clients know it too. I have like hundreds of combs in my drawer just because i dropped homes like no one's business, but that's why i brought an extra, so we can see when we move this over, get her tilt it up here. Sorry again, this is a new stance, i'm working it out the kinks of it figuring out how i like to use it, and i like that it stays in place well, but not when i try to move it, so it gives it a lot more direction to Fall, this piece will never go with me apparently, but it gives it a lot more direction, so she still maintains a lot of that bob, but she gets to move her hair every which way and on mannequin hair. Of course, it doesn't quite want to do it because it's so like solidified, wherever you put it, but it looks so nice and gives it just nice flow and be able to flip her hair every way. Okay kind of see that perfect, and that gives her that illusion of having some sort of bang in the front without really having a true bang awesome. Okay, if you have any questions, again drop it in the comment. I'M gon na move on from this mannequin right now, but if you have any questions about this mannequin feel free to um drop it in there, i'm totally open to answering them. Okay! So now we're gon na move on to more of the long layered looks that we're seeing right now, so we're going to be working on more of like that shaggy long layer. I already cut her perimeter and did a very base layering on her. I purposely left the layering quite heavy on top, because that's kind of a trend we're seeing coming in right now with the wolf cut shag wallet where we have a lot of heaviness up through here and then through the ends. It'S a lot more wispy and finer, which is a good look. It'S very 70s reminiscent from those shags. So it's really awesome, but we need to figure out how to work with that and how to texturize it and how to give it. The look we want so on this mannequin. Both sides are going to be something different on the right side, we're going to do more of a true shag, texturizing and then on the left side. We'Re gon na do it as if she wanted, like a shag reminiscent, but still like a normal, not normal, but softer, longer layers without feeling too out there. So just something a little more soft for her okay. So let's go ahead and start on the shag side. This mannequin head doesn't quite fit on the stand, so i'm going to use our old-timey trick of just throwing a rag on there help her be a lot more stable, perfect, and then i didn't do anything in the front of her hair. So this entire front section is untouched, so it's not going to blend into the layers. Yet, that's because i wanted to show you a really awesome technique to help blend those layers out. Okay, let me go ahead and get her sectioned off really fast. Take two seconds with my clip here: perfect. So this is what we're going to be doing the shag on. So, let's see kind of turn you there perfect, if you can kind of see her hair blends really well, because it's a finer texture, but i did do a lot of layering through the top and there's really not much through the bottom. As far as layering goes. So we're going to be going through and blending that and give her that shag. Look, because when i push it up, it really just falls back down because there's no movement. So my first technique, i'm going to want to go in and do is i'm going to take a triangle section, i'm going to go from the back like the high point of her crown and the middle of her side. So put my comb down the middle of her side right here and then the crown and we make a triangle with the point being over the conversion point of her head so see. If we have that nice triangle - and the point is over the conversion point. But it's also mimicking this hairline because this hairline drops. So we want to make sure we don't touch any of that hair. So by doing a diagonal back triangle, we're avoiding that section: okay, but we're conjoining the back and the side. So right now, i'm gon na do a technique where i'm gon na hold the hair really close to the scalp and it's similar to the one we did on the shag, but a little bit different, because i want this hair to be flipping out everywhere. So i'm gon na again take my sambia shears and i'm gon na come in and i'm actually gon na chip in and kind of angle it for you guys i'm gon na chip in like that and slide cut down. But i'm not doing my c curve because i want this hair to have more flip to it. I want it to have more movement and i don't want it to curve under. I just want it to be looser, so we got a little bit more movement coming in through that and you can go as heavy or as light as you want, but see we're already getting more of that texture. I'M going to pick up the front part of that section because i felt it was a little thick, so i'm going to do it again on the front part, and this is why i have my nails long. So i can comb out the hair and section it for me. It'S very nice again pulling it forward and i'm just going to texturize through that and i'm not worried about going through the top of her hair on this on the bob. We were more worried about it. We didn't want to lose that density through the top or the blunt look, but a shag. We want all that texture, so i'm not worried about taking out from the top. Then i'm going through the ends a little bit more because again, the thinner ends is coming in for this technique. There we go see how it's already giving itself so much more movement and texture through it, and that's just over the conversion point, because we really like that height right back here and then it kind of comes down into a curtain. Bang, typically, is what we're seeing right now, so the height over the conversion point is more what we're looking for in these modern shags, and i feel it's really heavy right here on top same technique again texturizing your haircuts is so visual. You need to be looking for the points that feel heavy or feel like they need more movement to them and that's where you're going to want to go through more awesome. Okay, so now we've gone through the top, but now let's talk about getting through that parietal ridge area. So just like the bob i'm going to part out everything from the parietal up and i'm just going to kind of clip it out of my way, because i don't want to touch this anymore. I'Ve done what i need to do there, but now i'm going to take about inch square sections or so, and what i'm going to do is i'm going to twist these and i'm going to get them kind of a loose twist. You don't want it super tight, but just tight enough that they're there then you're going to come in and slide up and you're going to go each way. And then, when you pull it out, you created a whole bunch of texture through that hair and give it a lot of lift and just a lot of pieciness. That'S what we're looking for is that pieciness through that mid shaft, mid area, parietal area to push up the rest of the hair and really give it that texturized heavy. Look that we're going for so see, i'm switching. Whichever way i go and i'm not worried about taking things too short through here, because i'm really i'm only going about four inches below the root, so i'm leaving a lot of space between the root and what i'm doing so. It'S really not going to take too much out so again twisting it not super tight just enough so that it stays in a twist. Then i'm going to go each side just hitting into that, and you can see as i'm doing it, i'm slightly sliding my shear up. That'S why i'm not just cutting on a straight line, i'm giving it some graduation to it like when you cut a face framing. You want some graduation there, so we can see it's starting to give her some of that really nice, pc texture, like a shag and i'm going to go right through the back again. Do it here, and i do this all around the head through that parietal area. I think we forget to texturize the middle, because we don't remember how much it gives to our haircut. The middle is what's going to give you a lot of that volume, or it's going to give you a lot of flatness to the haircut so whatever you're. Looking for you really, i like to focus on the middle, because that's where i find i get most of it all right. Yes, look at that! Look, how much texture she's getting through there. I love it and now the last thing i'm going to do is on the very ends. I want to thin these out a little because the shag again works where we have finer ends. So what i'm going to do is i'm going to pick them up and i'm getting just eyeballing it, i'm just going to pick it up and i'm going to slide cut down. So when i slide cut, so you get the best angle for you. Okay, i'm going to hold my scissors down, so my elbow's kind of going out and my scissors are going down towards me and it's going to be a very light slide cut, and i just want to take off some of those that density while also giving it A little bit of a layer like a slither layer, i mean this is a technique. That'S been done for so long. I remember learning this in school and it's always stuck with me because it really does just take out that density on the ends while giving it some really awesome. Like layering look, if you notice, i just dropped out my front piece. The reason for that is, i do all my front section everything in front of the well every yeah, pretty much everything in front of the ear. I do it separately because i have been known to create holes, that's something i struggled with um in my career, so i found that what helps me to prevent that is by just doing it separately, and then i can really focus on it. So again, just going through picking up my section slide, cutting it down. Yes, i'm loving how much texture it's getting. I do. I do a lot of these like wolf, cut shag, mullet, uh cuts and this technique helps me so much to get that. Look we're going for, while still maintaining the density and having complete control over how denser ends are so we thin that out a lot, but she still has a strong layer still is able to see the ends, and it really gives that wispy. Look we're going for perfect. Okay. How are you guys feeling about this? Any questions, anything like that drop them in the comments. Let me know: okay, perfect, all right, we're getting so much of that volume up through here, but now we don't have anything in this front because, like i said i do cut the front very last. So what i'm going to do to cut the front? I want to maintain her length in the front because i don't want to give her a true bang or anything, because i want her to have that kind of long. Heavy shag look in the front, at least so i'm going to go from the corner of her eyebrow or the arch of her eyebrow. Excuse me and i'm going to section it about a quarter of the way down her part. So the measurement for her part would be from her front hairline to her crown so about a quarter of the way between her front hairline and her crown is about there. That'S my triangle section, so you can see have a triangle there from arch of her eyebrow to about a quarter of the way back. So when i cut this, i like to stand behind the section and you'll be able to see my two guides. There'S a guide here and a guide here, so i'm going to connect it back and point cut into that to connect it at a diagonal forward, bringing it together. So i'm maintaining all that length in the front but joining the layers together, and i actually do this technique on all of my layered cuts, because i find it to help so much more. With connecting the front now, i'm going to do corner of her eyebrow to middle of her part line. So i'm just taking a slightly bigger triangle and the reason i use like the middle of the part line corner of the eyebrow is because it helps me measure her head, based on her face, shape and her head shape. If i were to be like, oh a quarter of the way down the hairline to you know by the ears i mean the ears would work, but if i use like actual exact measurements, i wouldn't be working for everyone's head shape. I would just be working for like a mannequins or whoever you base that initial measurement off of so everything i do is going to be based off of her head shape. So i connected my guides now. This is going to be from in front of the ear where the hairline changes shape this little corner right here to the crown. So this is basically your whole side, bring that up, perfect and again combining up and just connecting them together, and that's just going to connect your layers in the front to maintain her length in the front. Even if i had given her bangs, i would do this technique because it connects the bangs to the layers. Perfect. Okay, so you can see that's all connected now, but she's still heavy up here. So now we're gon na do our texturizing in the front. So what i'm gon na do from here is i'm going to hold behind her head and flip it forward, because i don't want to texturize these front pieces. I want to texturize behind so that she has texture. But it's not like right in her face and she has little baby bangs. So i'm going to do the same technique we did earlier or i'm not doing the c shape, i'm just dragging it out and i'm just very slightly doing it to give her texture through the front. So just loosens that up just enough to where it feels nice and soft, and then i'm going to come right here in the front where i see that that's heavy as you can see right there, it's just so heavy and then i'm going to do my slithering Technique where i hold it out and down, and i just cut it down into it, just taking off those ends there we go that joined them together, so much better, so now hold her up for you guys. You can see. We have such a strong shag. Look going on and you can do the bangs you can do whatever you want with this, but we wanted to keep her a little longer. This gives me a lot of those like 90s vibes and i'm really liking that it's really cute awesome. All that movement love. It okay, so let's go ahead and do the other side we're gon na keep the layers long and more subtle, where we're not having such harsh of texture, but we're blending it through because again, if for any of those who missed it, i did do a base Cut on all these mannequins, so i um went through and just kind of did really quick layers didn't texturize anything blunt cut everything just so we can see how to texturize and give it the shape and the movement we want for the cut. Because again, a lot of this texturizing is when i do my finishing work, so it's at the end when it's dry, i rarely do texturizing wet, because i don't want to take too much out of the hair. So, let's see okay, i got ta get around this mannequin, so same type of layers. I had cut they're really heavy and i left out the front to join them in layer later, but you can see really heavy right through this top, but not much to the bottom. So what i want to do is i want to connect that top and the bottom i'm going to take one section just right above her ear. However, on the side there we go i'm going to comb her up and i'm just going to look because i want to analyze how my layer is looking. You can see, we have that big old corner. So everyone knows this: just going to point out cut out that corner and now what i'm going to do is my side feel it's really heavy still so to get rid of that heaviness, i'm going to over direct my layer across the head. So i'm going to pick it up and i'm going to over direct it straight across bring her over a little there. We go straight across and there we can see that big corner right there, i'm going to point cut that out and what this does is. It takes that shelf that she was getting and it's going to take it off based on her head shape. So the reason i'm directing it over like that is because, if i pull it over 180 degrees, so it's laying straight across her head. It'S going to lay back down much softer because you're pulling the hair on her head shape, so i'm going to do it with the same section and you pull the hair directly across from where it lays so i'm working in kind of the round of her head Now so i'm going to pull it straight across from the round and just take off that top corner, and i point cut it too, because i don't want to make it too blunt just want it nice and soft okay, so we're doing the front and again i'm Dropping out like the first inch and a half of hair on the hairline, because i don't want to layer that i want to blend it in later. Okay, all right - and i usually actually comb through the hair with my fingers first because it kind of gets out those big knots, so i'm not like yanking on her hair with the comb. So it's just for comfort of my client, typically all right over directing straight across and see how i'm keeping it nice and straight. My fingers are parallel to the floor. I'M going to take off all this corner right there and now, when we look back at her on the side, it's much softer and we don't have that super heavy weight. It blends down way better and then just right through the back, i'm going to do another texturizing technique. I usually only do this technique in the back, where the hair is too heavy perfect clip that out of the way, so i'm going to do, is i'm going to pick all of this hair up and start combing it upwards. This is a brand new mannequin, so she is gon na fight with me a little i put some keratin healing oil in her hair. That'S what i prepped all these mannequins with was keratin healing oil. The reason i didn't use more product is because i wanted you guys to see the texture of the natural hair, so i just used the keratin healing oil to really go ahead and soften that up, so she didn't get static, so i could brush through it a Little easier, but it didn't really, you know, change her hair. So much when i style, of course, that'll be a different story. Okay, i comb the hair all the way up and i'm letting whatever falls out fall out. Then you can see. I have this big line of hair and if i pull this back, there's a guide right there. So this is just connecting all of that and i'm point cutting at a 90 degree and that's not really taking a bunch of it is taking length. But it's evenly slowly, so i can get a ton of texture so see it's really nice and shattered in there. That'S what i want to connect this down awesome so now i've connected that down. All the layers are blending nicely through. We don't have super heaviness. On top - and she still has a ton of layers but they're - really soft layers - they're not going to give her. You know this harsh shag. Look the texture, the heaviness that we see. This is just the really soft she wanted some layers. It'S going to curl great, give her a nice beachy wave, but it's not dramatic. It'S just nice and easy okay. So now again i just connect the front using that triangle technique. I showed a minute ago, so i'll quickly run through it again. I won't hammer it on too much, but we're going from a quarter of the part line back to the arch of the eyebrow lifting it up. There'S my guide: there's my guide connecting it together and then, halfway from the part line back to corner of the eyebrow, take a little off that i took a little too much there. We go again connecting my guides together, perfect and now half or crown to the corner of the hairline, where it switches direction from being a vertical hairline to a horizontal hairline. That'S like right in front of the ears: okay, yep! There we go! That'S what my line looks like, so it's a diagonal back or yeah diagonal forward. Excuse me, okay and then i'm connecting those two together by point cutting, then i'm going in at 90 just to really soften. Since i have pretty much the whole side here. I really want to make sure that's nice and soft okay. So now there we have it. We have a nice soft texturized layer, really easy, wearable everyday for your clients and on this side we have our heavier shag for the clients who want that heavy texture really awesome. Look okay, yeah! So here's our shag side, where we can push up all that hair and really get that volume and heaviness going through it, and then we have our softer just more subtle movement layer, awesome! Okay, we have just a few minutes left together, so i just want to quickly show you how i'm going to texturize curtain banks, because we see these a ton and i feel like they just we can use some texture in them. Sometimes okay, so, as you can see, this is one of my mannequins for training. So, of course, that's you know multi-colored. We love that, so i have our curtain being cut so how i want to texturize this is i'm going to pick up pretty much that whole curtain right there that whole thing, so i can lift it up and i'm going to come underneath my fingers and the Reason for that is when i hold the thing, hold the hair with my fingers with high tension and i cut below them, i'm going to give it more of a pc look, because that texture is going to spring back down. So i'm using just the just the tip, barely opening my sheer, because i don't want to cut a lot. I just want to give it that springy texture through the through it and i'm not going too far in just enough to really take out that weight. And i'm going to do one more section because right there still looks a little too heavy for me right in the very very front so again holding it up and then come on there. We go holding it up and just with the tip just kind of piecing out in little places, so she has so much more just flow to it where it's wanting to go where this side's feeling a lot heavier. This side just has that bit more of a flow and that slight movement and i'm going to connect it back a little because if we look, we can see where the movement kind of stops right there, and i don't like that. I want to keep that going because the curtain, bang is a really awesome bang because it doesn't like stop it's not like our straight across bangs, where they do tend to stop and just end. They are just keep going and kind of flow in with the hair. That'S what's so great about them, so holding it with high tension in my fingers. I'M just gon na barely tap it just barely tap it. I go a little higher a little lower and i'm only cutting like one, maybe two hairs at a time very, very lightly. Great there we go much more flow, going back into the hair conjoining with the rest of the layers that she has. So i did do the texturizing through the rest of these layers. I used a lot of point cutting and i did take my texturizing shears, just like an inch above the scalp and do that same technique. I just did just with texturizing shears and a little bit heavier. Oh there we go a little bit heavier to give it a little more movement. Okay, so today we went over how to texturize our bobs and how to give it a nice slight texture help give it some movement in the front. So we can flip it each way and give it some really just nice, nice movement, some lift in there by texturizing, through the parietal ridge and leaving the top and the bottom, but also how to point cut the bottom. So they blend together instead of sitting in like a stack and then we also did the shag and the long layer cut, and we went over some curtain bangs, if you guys have any questions again drop them in the comments real quick before we go. If not um, i do have an instagram. It is a y hair, dot stylist. So it is a y hair, dot stylist, and you can message me on there i'll get back to you as soon as you can. I do showcase a lot of these techniques. On my instagram, so you can catch me. There also lonza healing hair care um. I will try and get before and afters of these guys and then i can post them and i'm sure lawns will help share them. The page get it out to you guys, um yeah, if you guys have any other questions again reach out to me. It was so nice to be with you today. I really enjoy doing these lives. I have so much fun. Thank you guys for joining in, and i will see you next time.