How To Cut A Bob On Fine Thin Hair Textures - In Depth Tutorial!

Hi, my friend Sam, via here at the style studio in Miami Florida, so excited to be with the Styles app that's right, the Styles app st yl e-z. Now here's what I want you to do. Take your phone out, go to your apps and download the Styles. App: here's why I'm so happy to be here at the style studio because I'm loving their content. They, our culture's, are very similar, there's so much about education, so much behind the hairdresser. Not only that, but they compliment growing your business behind the chair by actually connecting with a consumer, also make sure you check that app out. I'M excited because I have the beautiful Olga with me here today and what I want to do is talk about salon scenarios that come in. I just want to give you a profile view of her hair in terms of what you see now. This is true in terms of what you see look at the finest of our hair, the density into that area. So what I'm going to do is put some strength back in this hair. Let'S go up and look at the top, and if you take a look at the top, you can just start to see how we really need to put some strength back into this. My inspiration on these pops that I'm starting to see is Julianne Hough. Take a look at that silhouette in that Bob. It'S absolutely beautiful! So that's an inspiration in terms of the silhouette, but I think it sometimes. You have to really personalize to the fabric and the canvas the client that you have sitting in your chair, so we're gon na use that, as instance of inspiration and let's get started in the back area. Why am i cutting it dry? I'M kind of dry because I want a soft edge in my bob now, and I really want to be able to see that so dry cutting is a visual exercise in the front area. We want to detach that at the moment just set it aside. For a moment, so watch what I'm going to do see where it's weak in this area there's strength here. So, let's start in the front area just by eliminating hair that we really don't want to cut yet and that's this week area that she has in the front. So we don't want to go after that. We'Re just gon na isolate that and just keep that out. For now, and just keep it right there so to keep it isolated, all I'm gon na do is grab a small elastic and I'm just gon na put the elastic just on this, and just so it's kind of just gathers that hair. So you can see, I didn't even twist the elastic or anything just gather the hair by placing the small elastic there that guarantees I'm gon na isolate that area and not pick it up until I'm done, then you'll see how start to detail that into the existing Lines: let's come over to the opposite side, and you can once again see the transparency there. So let's just isolate that once again and get that out of the way and once again just taking the elastic it's not about. I sliding this tight just so it stays separate from where I'm gon na be working, I'm going to be starting in the back area, and what I want to do is I want to come through and just start to keep everything just more to the round of The head: I want it to sit to the route of the hip that I'm just gon na drop my length off a little bit not going to go too extreme on my a line cutting to Joy once again, so that I can see that visual edge and What I'm gon na do to that vigil is: is I'm going to actually scan that and we'll talk about that when we get to it now, this left back area. What we want to do, instead of cutting, is such a wide area and turning my finger position. What I want to do is just find where the natural transition happens. If we place a box on top of her Olga's head you'll, see, there's a left corner there. That corner is where I'm going to intentionally blouse the hair up and see and allow it to split on its own, and when you do that, that's telling you where her head wants to change directions. That'S where I'm gon na position my fingers to actually ensure that I get to the round of the head, so we're gon na isolate this section. Let'S see all of these isolates so there's going to be four panels that I'm actually gon na place in the back area. What'S so important in order bus blouse, this properly take the white teeth of the comb comb with growth pattern with growth pattern, growth pattern and then, when you hit that prattle Ridge gravity takes over. So now, let's take a look and let's see where the box is just gon na eyeball. I take the comb place that on the transitional Ridge sometimes referred to as a bridal Ridge and then the back and see where they meet those two lines. Let'S blouse right here, look at that. You can just see where it wants to separate on its own soon, as I lift it. Okay, so now we're gon na isolate this area and now, if we isolate this area, you're going to see four areas now, let's talk about the. Why, behind this, if I take such a wide area from center back all the way to behind the ear, I'm playing a guessing game and turning my finger, if I put the comb to this, and I have Olga look up at the ceiling and I placed the Comb here isn't this interesting. The comb comes off this point and this point, so this is a more of a flat area. So the way the Comus positions is exactly how I'm gon na position my hand most people would kind of bob was square it off this way. If I do that and hold my hand square, I'm actually over directing the outside left side of the panel and that's giving me more length underneath look at that, you can just start to see where the comb comes off. That'S how you position your hand when we get to this side area. You can see how I'm gon na place my hand here. So now take a look at this. If I place it here - and here you can see - that's where that corner is because the head is round these two points that meet and intersect will actually round themselves off. So, let's get started, we're going to start in that right center back, I'm making sure that I've got this. Even I will accept that and this is where we're gon na start. When we cut this, I'm gon na take her head down. That'S gon na give me a little bit more room to play with I'm kind of dry once again, because I'm going to actually scan this and you'll see what I mean. I want the edge of my Bob's to be have a little bit more softness to it. That said, I'm gon na work with a sage 6 inch Signature Series swivel by having a swivel shear rather than putting my wrist in this position, because I'm going to scan I'm going to simply swivel and now look how straight my arm is so remember. Every tool has its reason and its purpose, just like a butcher understands the process of how a steak knife works. Butter knife each tool has its own reason now. Watch. Let'S read there. It'S gon na tell me where to cut this Bob look as soon as I start to blouse it. I see I should start my bob edge right there, so I visualize that we come in with a comb look at the comb, so I come through. I'M take that section and I position it to the comb: hey eliminate the comb, sometimes when I'm cutting like this, the comb gets in my way. So what I want you to do is hit the pocket of your thumb and index finger and roll it, and this way you can see it's not in your way. Now, I'm not going to cut this down to the skin and the reason I'm not going to cut this down to the skin is because I want this bob to have a soft pliable edge to it and by just going in and just doing that, you can See I'm gon na get a nice edge to it. It'S gon na have the balance that I'm looking for, but this edge as it grows out. It'S going to be much softer and pliable for her to maneuver. Let'S take our next section. Consistency is very important in your sections, so Sammy, are you gon na wear this out? Well, if you take a look at Julien house haircut, it's got a little bit of graduation in it. So, yes, I am gon na wear this out and Olga has asked for a little bit more volume on the top. Now what we have to be careful of is we have to be careful of how we lay our fine hair and we'll talk, and we get to that on the top back to the perimeter edge. I clean with my fine teeth to the comb I set up. My tension with the white teeth, and now I am ready to cut and, as I said, it does not bother me to have this in my hand, because I'm looking for that soft edge, we're just going to continue to work. This section down coming through and scanning notice and I'm trying to keep the points as easy night as I can, but I'm not deep point cutting this, because this is fine hair and it needs that weight to it. Let'S come through next section, we're going to continue to work up the rectangle section, my last section on top, I want you to notice how I've deliberately taken my time to scan each section. I'M also aware of what my tension is, so I'm not applying too much tension so allow the fine teeth of the comb to clean the section come back in use the white teeth to set up the tension. Look at the comb placed that's how I'm gon na place my hand and now I'm just gon na slide. The comb. Look at the comb bleeding my hand to it about an eighth of inch away from where that guide is now I'm coming through with a swivel. Now watch me place the guiding blade of the swivel on my ring blade and now all I do is just slide across move across. I scan across that ring finger and you probably think of Sam. This takes so much time. My friends, it's not about me! It'S about this, it's about the fabric and it's about the client. What'S best for the fabric and what's best for the client. Okay, now we're going to move to the left of center. Okay, we're going to take a horizontal section, and so then I get a nice guide for this. I'M just going to come back to this slice that out and now isolate and now it kind of gives me an idea where I'm at and where I need to go. Remember use the comb where it's at how it fought collapses. So, in other words, what I'm trying to share with you here, I'm not coming down turning my hand and cutting across the straight line box when we have a natural common tendency to do that. You are over directing this area slightly back by doing that, that's just going to give you a little corner and added link that you're gon na want to come back and cut off stay with the shape of their head fine teeth to clean. Why teeth to set up my tension and watch my finger come in, look how soft I am with that. Okay make sure you have your ring finger in there and that's going to be my resting point for my guiding blade. I believe. What'S so important, is you take a step back and look at the big picture when we stay too close in you're, looking at small picture, so let's just take a step back. Look at the big picture. You can start to see how I'm dropping down here. So if I'm close here, I'm not really going to see that, so I need to change just my finger angle, just slightly okay. So now I'm down with eye level with that. So, let's stay here, you can just start to see where I just extended just my guide slightly, my friends, I'm not gon na stand in front of you say: I'm perfect, I will make mistakes, but it's only a mistake if I don't learn from it. If I learn from it, then it's no longer a mistake. Now I'm liking that much better. I'M just gon na go ahead and take this one edge that I see here now, I'm ready to continue once I've got that guide. Let'S go back drop out. What we've cut and let's come through and take our next horizontal slice, I'm going to continue to work up to section horizontally last section within this rectangle. One of the most important things to remember is get this hair and natural form where's. It want to go if some of it wants to overlap to the other side and that's where it wants to go used. A wide teeth of the comb come back in nice, even tension now we're continuing to the side area. This is where I'm just going to start to change my angle just slightly, and it's gon na change. Naturally, as it wraps around the head, you could just start to see how that angles just naturally drops down the problem. Here, though, is this is the area I want to cut. If I took my first slice, slice is such a small slice of that area. So what we encourage you to do is go up above the ear and bring this in. So you can marry your entire line. Okay. Now, let's turn our head. So here watch all just place: the cone okay, so I'm just gon na continue that line there. All the way, through last section on the left side, look at how we're putting the integrity back into this I mean before I do anything in terms of cleaning up or anything. I want to go through and complete my other side, I'm going to show you show you a cool way how to cross check this before we do that. Let'S come to the opposite side area here, just take a slice. Remember I'm filling in that whole area. Where are they just starting down at the nape area? Let'S fill that line that hair in so we can continue that line through and see the line. Now before I do that. What I want to do is just tip a guide from one side to the opposite side and see where I'm at here, so I'm going to come to the opposite side. Okay, this is the hair that we are eliminating right now, I'm gon na come through and I'm just gon na take the hair. I have here, okay, just a piece right in front of it here. This is gon na just come through, and it's just gon na give me a kind of a dot, 2 dot concept of what to cut so I'm looking here and what I want to do is take the hair from the opposite side. At the same point, at the same point, and I'm just going to marry it in front and center, it keep it down low and cut. Now, let's take a look. This point will now represent that point to this point now her shoulder sometimes can get in the way. So I want you to hold the shoulder and turn her head. Anyone hold that position now. Look at that point in that point, and now it's just a matter of connecting those two dots look. I use my comb just to see where I'm going a member, I'm not changing this line in terms of diagonal deep, I'm just softly changing my finger angle notice. How I'm taking my time, cutting this with intent and purpose and we're going to come back and start to layer it out when they get a little bit more comfortable, just give it a little bit turn back because I've cleared the length. So I feel fine, sometimes where I see I start to drop off in my line place your finger there. So you know where to go. You'Ll know what area needs to be taken care of now, let's go back through and let's just start to cross-check now. What do I mean by cross-checking a one length haircut? Sometimes, when you cut a bob, when you see the hair move and she shakes her head that underneath it has little pieces of hair and sometimes it's it's cut perfectly, but it's just the underneath - it doesn't swing, it doesn't move. So here's what I'm going to share with you a good way to take care of that underneath hair and don't panic now. So you see all that underneath is what I want to take care of so watch. What I do I'm going to take my comb and I'm gon na comb it on a diagonal. I comb it on a diagonal now. This is the one time I'm going to come in at the skin, and you see where I see that line see that line. I'M gon na eliminate everything off of that line just really below that line. Now, what that's gon na do is I've actually combed this diagonally and over directed, and you might think how he's cutting up into his line now watch when I lift her head up. What'S happening is watch because I comb this over here, I didn't touch the top, but what I did get was that bottom, underneath there see how you don't see that in that area now remember we're gon na be layering this out. Let'S tilt it this way and watch again comb, especially when you get to this front area. You ever see these Bob's and they've got that length there. So I'm gon na come through Sam. What you said you were holding your finger because you want to keep it soft, but now you're down on the skin. This is a great way to cross-check that underneath that's why I'm down on the skin. So let's go right here! Look so you can start to just see it once you just start to take it both ways. You'Ll know what needs to be taken off. I'M gon na warn you, you cannot be afraid to cut it, you're afraid to cut it. Then it's still going to be there. Okay. Now, let's just start to take a look at this side. Mm-Hmm, I'm gon na just ask her to shake her head shoulder to shoulder. Okay - and you can just start to see this side now - has a much more of a solid underneath to it. Let'S take a look at this side. You can see. I need to come in just underneath here and get some of that all right. So, let's go back just a great hot tip in terms of cross-checking. These one length haircut watch see that all of that underneath Sam, I don't understand how that works. Well. Watch I'm combing this out of its natural fall. So therefore the underneath is shorter. It'S barely moving, so this line is my guide, and what I see here is what needs to come on once again, a great way to get all the underneath hair off with a client that doesn't want to undercut it watch how that length will come right back Over that move it a number of different ways walking to the front now see if there's anything that wants to come into that front all right, so we've completed our one leg shape now. What we want to do is shake your head. Keep that up right now. What we want to do is we want to start thinking about how we're going to start to attach this back area now I want to start to get that shape, to do this. Okay, but with fine here, I have to be very careful how I choose to go in and layer this, if you ever want it Bob to have some bevel and roundness. I know a lot of times. We pick our Flatiron and our comb and get it nice and smooth, and we just start to bevel look what Sam has this hand. I'Ve got my the sleeker, the Flatiron and a thermal round brush now. What I want to do is all I want to do. Is just put the eye on the brush and watch me just flow the iron I'm barely gon na close it, and what, if I had you, put your finger here like right now I feel heat and I haven't even closed. The iron heat starts to alter the bonds in the hair, so watch watch the irons just barely close on that line. So what I'm doing is just creating bevel. That'S all I do it's just creating the hole very softly and then I'm using the brush and the iron, because I know that this iron it gets hot on the outside. So that's all I want to do is now take a look at that now it has just a slight amount of bevel to it, based upon where I've been so just number one again, another way to work it differently, and this is a great easy technique that The client can do you can see already the difference from one side to the other. So now you can see how we've gone through we've refined our shape. We went in through working with a flat iron and a round brush move your head shoulder to shoulder. Then you could just start to see by cross-checking that underneath you just get a really nice clean line, you're not seeing any of that hair. That'S underneath there now it's time for us to go in and graduate this and layer it and what I want to cut. This first is because I wanted to build a guideline. That'S going to begin from the neighborhood watch, what we mean, let's eliminate our side area which in this particular case we're going to go slightly behind the ear and that will enable us to fill this hole. Yeah we're gon na section this off on both sides. So I'm way past that top of the year once again, just filling in right behind that ear, now we're going to go in and we're going to cut that back area, so we're gon na find the natural transition of our nape, where the comb comes off. Just at the top of the ear, so now what we want to do is this: is the hair we're going to cut this hair? I want to maintain this weight on fine hair. What I don't want to do is start coming in and layering at that nape area now watch what I'm gon na do. I come through divide this in half, I'm going to start on her right side. Why? Because I'm right-handed so take a look at what I've done in my name area. Okay, now I'm going to start my shape and I'm gon na work. This all the way up to the crown area working with the shape of the head, so we're gon na work with the shape of the head, but we're gon na use that as our guide. So what we're going to do is it's going to give us some layering? What I don't want to do is go back down in here and just start to start to graduate to much we're going to start to lose the length and lose the heaviness that we built so we're using this point here. That'S my god! That'S gon na ensure from here we're gon na start to round and layer, and you can see how that's gon na start to round the bottom. So here's my nape area, there's my god. Alright, now we're gon na go over the shape of the head, and what we want to do now is all I want to do is once again just keep this nice and soft. So in order to keep this nice and soft, so I'm gon na switch tools. I'M going to switch to our streamline and I'm gon na switch to the streamline six to five okay. So what I want to do is the streamline is a smaller handle so because I'm gon na go on layer. It'S just going to give me a little bit softer on my hands in terms of being able to control the shear instead of a bigger handle. So streamline is for those of you that or a smaller handle streamline. Is your shears choice vertical section? We know the nape area is going to be my guide, so let's take a look. I'M gon na elevate and just cut to the shape of the head, see where that's at okay. So what I want to do is it elevates shape of the hand there went that guide and now just start to point cut now. What I want to do is keep this soft and then you'll, see blonde hair is tough to layer, my friends and it's tough to layer because of the idea of you can see every layered effect to it. So what I want you to do is courage. You don't cut a blunt line and then try to come back in and soften it watch what Sam's doing I'm notching it and then I come back and now I just start to soften that line that I just created by Fanning and not going so deep, which Is why change to a streamline not as long as a blade and now I'm going to start to get the softness or the roundness I'm looking for in that shape? Another pie shape section that is over directed to the center. So, let's take a back view of this notice, I'm combing everything towards me so my hand sits in the center. So how do I ensure Sam that? I don't over comb this towards me because the way you're standing this is the spine of the comb when the spine of the comb hits that line that center line. That'S when I comb out that will always ensure me that my hand is in the proper place. If there's any tool that's going to get in trouble, it is the comb the shape of the head. It'S gon na give her a nice casual sense of volume to it. I'Ll give you start to give you a profile, and you can just start to see how they start to change. The silhouette. All righty pie shape section over directed to the center using the spine of the comb to determine Center and combing straight up. Working with the shape of the head. Whatever reaches is what I'm going to take all right. You can see how we completed this side and look when I just tickle. You can just start to see how you get a little bit of movement to that. But now you also start to see just the the silhouette. How that silhouette is just starting to change and you're, getting a little bit more roundness out of that. That'S what I like to just using that Napier as a guide, especially when you're coming through and you're walking with fine hair, it's so important with blonde hair. A lot of times we can see the layered edge, I'm looking at as I apply with it. I might switch to a tool just to refreshing something right freshen, some of that when we get to our refining and detail, let's go the opposite side, let's drop, and now you can just start to see, let's tickle the heavy side and tickle the movement side. Big difference between the two we're gon na continue to work with pie-shaped partings. Then we're gon na go with a pie, shape parting. I already have a guide, so just lift and you will see it let's fold them up for it. You can see there. It is there we go right there so now in that center, now we've completed this back area and you can just see when we just start to tickle and just use your hands to move it. You can just start to see how we're getting a little movement out of this and remember how we started very, very fine here. It can just start to see the silhouette that we're starting to build there. Now we're gon na go into the top area and I want to go into the side areas just slightly. So how are we gon na handle this all right? So, let's release - and I want to go in and get a little bit more of a visual blend in that particular area, so we're gon na get a little blend in this area, but I want to leave this. I actually like this a long bit here but suggest the idea of getting that to get a blend or hold on that and let's go into this top area in this top area. It'S not so much about going in and doing some ggressive layering to it. She'S really been through some chemicals and what's happening is because just start to see it's been compromised just slightly. So what I want to do is just go in and just put these strengths back into this without coming in and getting so aggressive with my layers now. Why am I saying that, because remember the hairline is jumped up automatically, does more massive hair in the back area, so you have to be particularly careful how we're elevating and graduating this side area. So I want you to think very casually so watch what I'm doing up coming up. I see where the integrity is lost. Now I'm gon na bring it down to my black shirt so that you can see. That'S all. I'M doing is just something so with blunt closure of the shear. It'S giving us that integrity that we're looking for okay, now watch, I'm gon na take work my way down just a diagonal section. Coming back, that's gon na. Allow me to make this link travel a little further to get back to this, but remember it's just not about me blend it's about. Where do I see it's weak? That'S what I'm taking them! If I go too deep with this meaning that I layer this too aggressively, remember you're gon na just make this front area a little bit more fine in this area. What I'm looking for is just some movement that kind of moves in that side area here see you can see. I don't want to get too aggressive with this. Just lift up. Look for the integrity, see that's integrity right there. Let'S get rid of this right here and that's it don't get carried away and feel. Oh, I got ta blend this. You start blending. My friends, I guarantee you're gon na. Take all this weight out away from that front area. Okay, now watch what I mean if, let's just, for example, bring this up. If I bring this up, most people might be like this and take this. So if I cut you there once you see what happens, you see what happened now. You'Ve lost this lengthen you've allowing it round it out. So when you get in density like this, that's why we encourage you. I select this and then come back and marry it in without going in and aggressively layering this area, let it fill in a little bit. Okay, we'll come just take it just to diagonal just lifting up, not looking for blending just looking at the integrity. Okay, so see how that needs strength right there, so blunt closer over sheer, will add strength softened by deep point down. I'M going slightly on an angle why I want to maintain integrity, give it a little bit more of a blunt edge. Then vert elevate, just looking for this, just bring it down my shirt so that you can see so most people would get really deep in this. All I want to do is just soften that I'm just looking for movements, because when the hair moves, if there's any hard hardness, you're gon na see it when it moves right now, just really satisfied later that side, all right, let's go into this side area now, On both sides now here the goal is, I don't want to go in and blunt this off. I'M actually kind of liking this bit, but it means you can see. It'S lost that right there. So here's what I wan na do just take it from the back. Just tap tap tap tap, tap, tap tap tap, so it's almost like that is there, but let's make sure that we got a blend, a visual blend on that. So you can see how it's just basically dropping off right now. So let's go back through okay. Let'S continue to refine and detail now, let's do it visually and see if we're really satisfied with what we see. So, let's just have her shake her head shoulders shoulder with us just looking at her thank good now, there's one thing: that's really bothering me and it's just this detached, but these pieces that we want to kind of get a slight blend to, and I'm just gon Na go in and just take it off with a blender, so I get a soft edge still. So you see, I still have a soft edge to that and look at the difference on that. So, let's just visualize that line and see it textures here y-you could see what I did with that. So, let's just turn remember all I'm doing is so I'm not thinning the hair, I'm trying to get it at scanned edge to it. So some cases I'll just go and use a texture share, and that way I get that hey, let's go through take a look. I'Ve just bring her to the front, see more on that. Okay! Now, let's bring this to the front here and just see. If there's a little corner of anything to take off here now, I'm personally liking this in terms of where it's at just because you know the fineness of her hair and that she like that attachment. But then we talked about it and we both agree. Let'S take that off in the side. That'S look great, okay, let's just detail when we find this opposite side and I think we're good to go now. You saw how we started with Olga in terms of where her hair was, and I think now I think, Olga's hair looks twice as as thick as it did prior in terms of what we see and how it's working now. So I think sometimes, my friends, even though plants want to have their hair long, it's so important as a professional. We help them understand. What'S gon na work best for them, give me some options. I'M not gon na talk a client in this game. I'M gon na give them option a B or C. Remember, don't talk them in into any look, give them option a B and C based on fabric and based upon the cameras. Last thing we're doing is we're gon na pick up some wax blast. Ten! Think of a spray wax, that's exactly what I have in my hand: a control of ten ten times stronger than water working with a blow gun, and I want to just go in and just bring back some of that texture. I like doing that, because now it gives the hair some texture gives it a little bit more wall looking and now just work with our hands and now look at the sense of volume and a sense of movement that she has and just working with your hands. Sometimes you ever find do a haircut in the salon and it makes your day you know. Have you ever done that and you're like I'm so happy, I'm proud of it and then you're kind of like following the client and you're clipping things and you get to the front desk and then all the sudden you go back to the back room and you're. Like how'd you, that was a beautiful haircut, Sam how'd, you do it and you're like. I, don't have a clue. I just learned it, but I got to tell you guys it is fun to really find other ways that you can cut hair that really work for you in terms of behind the chair. To give you a profile view, just start to give you a little back view and then back to the front. So now, let's recap the haircut. What we did is we started out with one length, hair thinking of a one-length bob. We divided four panels in the back area, not just left back, left side and right side, there's a corner that happens there when you're cutting here pay attention to that corner. It tells you where to position your hand when you're working with bombs, we work for the scanning working with a six-inch Signature Series swivel here, so I could put my hand or gehrig anomaly in the proper place scan that reason we chose to scan. That is because we want a pliable edge as it grows out. It could be much easier for her to work with once we did that, then what we did was we left out that side area just in front of that fringe area. There remember that was it was so weak. We didn't want to pick it up at all. We wanted to keep it down low and just clean it up when we went to the edge at the end. We took off what we had detached and just gave her a little bit of a longer length in the Sun area, but gave it a little bit more of a visual blend in the back. How do we start to New York layer? I knew I didn't want to do a typical graduated bob, underneath I think it would be taking too much hair underneath or too much length off in the back for her this. The first time I've cut her hair next time. Baby won't go for it, but what I did was cut that one length at the nape area: that's where they had transitions, so highly recommend when you want to leave the weight on fine hair use that point at the may at the top. That'S your guide and now just take everything and cut it to the round of the head and we went in there and we point cut of that and we were taking pie-shaped sections and overdressing to the center. When we got to the front area. We took diagonal back sections, we lifted them, we were not intentionally blending, we were lifting to see what was needed some strength, those little flyaway hairs. We went in just took those off and he still got a little bit of a somewhat of a visual blend. I hope you enjoyed watching this. My friends, what's the most important at the Styles app is that they are giving you information that you can use behind the chair. So I really invite you to go to the Styles app go to the app on your phone pull. It out now press your app styles, sty L e Z in there you're gon na find content. That'S going to support you behind the chair and that's going to support your client relationship with you. I want to thank you so much for your time. On behalf of the Styles app