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What are the requirements for license renewal?Licenses Expire CE Hours Required

September 30 of each odd numbered year.

14(50% of the total hours can be completed through home-study)

How do I complete this course and receive my certificate of completion? On-Line Submission: Go to Cosmetology.EliteCME.com and follow the prompts.You will be able to print your certificate immediately upon completion of the course.Fax Submission: Fax to (386) 673-3563, be sure to include your credit card information. All completions will be processed within 2 business days of receipt and certificates e-mailed to the e-mail address provided.*Phone Submission: Call (866) 344-0970, be sure to have your test answers, license number and credit card ready. There will be an additional $4.95 convenience fee added for tests by phone. Tests will be processed same day and certificates e-mailed to the e-mail address provided.*Mail Submission: Use the envelope provided or mail to Elite, PO Box 37, Ormond Beach, FL 32175. All completions will be processed and certificates issued within 10 business days from the date it is mailed.**Please note - providing a valid e-mail address is the quickest and most efficient way to receive your certificates when submitting via fax, e-mail or mail.Submissions without a valid e-mail address will be mailed to the address provided at registration.

How much will it cost?Cost of Courses

Course Title CE Hours PriceHow to Build a Better Haircut 1

$24.95Be in High Demand and Earn Your Worth 2Hair Coloring at a Glance 4

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When does the new CE law regarding Domestic Violence effect my license renewal?Effective January 1, 2017, a new law requires a one-hour, one-time CE course on Domestic Violence. The Domestic Violence CE requirement will NOT apply to the September 2017 licensure renewals for cosmetologists; however, this requirement will be in effect for the September 2019 licensure renewal for cosmetologists.Please note: Starting with the 2017 license renewal application all cosmetologists, regardless of age and years of experience must complete the CE requirements prior to submitting their renewal application. Please refer to Cosmetology Act, Section 410/3-7.

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Frequently Asked Questions

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Table of Contents

CE for Illinois Salon Professionals

CHAPTER 1: HOW TO BUILD A BETTER HAIRCUT Page 1

The most commonly requested salon service is a haircut. The basic format of a haircut consists of partings, projection angles, and the use of implements. This course will assist you in making proper technique and tool choices - beyond the basic format of projection angles and parting patterns.

CHAPTER 2: BE IN HIGH DEMAIND AND EARN YOUR WORTH Page 9

There is no big secret to success as a beauty professional. It just takes work to acquire skills and use them to suit the needs of your business. The course will explain business techniques that will take your career to the next level. We will discuss what traits and behaviors will advance your career and give you an edge over the competition. We will also evaluate several traits of high-earning professionals and why these traits make a difference between taking a yearly vacation, or waiting on walk-ins every shift.

CHAPTER 3: HAIR COLORING AT A GLANCE Page 15

This course will help you reinforce or expand your knowledge regarding the hair coloring process. You will learn how the pre-service client consultation lives up to its reputation of being the most important step in the service. Unravel the truth about what you see and apply it to what we know for the most impressive color service results.

Final Examination Questions 6

Student Final Examination Answer Sheet Page 29

Course Evaluation Page 30

©2017: All Rights Reserved. Materials may not be reproduced without the expressed written permission or consent of Elite Professional Education, LLC. The materials presented in this course are meant to provide the consumer with general information on the topics covered. The information provided was prepared by professionals with practical knowledge in the areas covered. It is not meant to provide medical, legal or professional advice. Elite Professional Education, LLC recommends that you consult a medical, legal or professional services expert licensed in your state. Elite Professional Education, LLC has made all reasonable efforts to ensure that all content provided in this course is accurate and up to date at the time of printing, but does not represent or warrant that it will apply to your situation or circumstances and assumes no liability from reliance on these materials.

*Get this course package for only $21.95 with referral code ILCOS2017. Regularly $24.95.

Special pricing expires 9/30/2017.

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Visit Cosmetology.EliteCME.com to view our entire course library and get your CE today!

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EliteContinuing Education

Cosmetology.EliteCME.com Page 1

Chapter 1: How to Build a Better Haircut

1 CE Hour

By: Lisa Snyder

Learning objectivesAt the conclusion of the course the learner should be able to:

� Recognize the basic elements that create the necessary building blocks for haircut development.

� Review the types of hair parts, parting patterns and their direction. � Identify the types of cutting methods and recognize the result of

pairing parting direction with variations in distribution. � Differentiate the influence on the hair when using various types of

cutting tools. � Identify the results of using specific cutting tools and hand

positions on various hair types.

� Identify methods of altering cut components for density, texture, natural hairlines and curl patterns that may interfere with finished designs.

� Construct haircuts that will provide confidence in clients by complimenting the head shape and facial contours, based on bone structure and underlying tissues.

� Confidently apply the appropriate hair cutting technique while using the most effective implement for successful results.

IntroductionAn estimated $42 billion is spent annually in the beauty industry in the United States. The most commonly requested salon service is a haircut. The basic format of a haircut consists of partings, projection angles, and the use of implements. However, the weight lines (if any) and perimeter lengths are what determine shape and give the design its character. These characteristics are ever changing as new trends appear. As professionals, we are often asked to create a hair style from a photo or digital image. More often than not, the client’s hair structure or physical features have very little in common with the model that is pictured. This can lead to disappointing results. The outcome of the finished haircut is often based on variable qualities such as texture,

density and curl patterns, as well as physical traits such as head and face shape and hairline curvature. There are modification techniques that a stylist can incorporate that will impact the completed design. And by evaluating the underlying form of the client’s physical features and the hair’s structural qualities, the weight lines and perimeter lengths may be adjusted to adapt a design into a workable style that is tailored specifically for the needs of an individual client. This educational course will assist stylists in making proper technique and tool choices - beyond the basic format of projection angles and parting patterns.

Building blocks and structural developmentProducing a surface texture in a hair design- smooth like a blunt cut, or rough like a layered design- depends on the following basic elements: Parting direction, projection angles and distribution of the strand. These tools of the trade (or building blocks) combine to produce an internal structure responsible for the surface texture of the finished design. Their infinite variety of combinations creates variation and character to hair cutting.

Think of it like building a house where floorplans or blueprints are used. Several factors of the internal structure - like room size, shape and arrangement - will affect the exterior appearance and the curb appeal. Likewise, the size and contours of the land its being built on, as well as the exterior’s materials, will also add to the overall character of the home. During building, the foundation and floor come first, and then the walls are constructed before the roof can be completed.

Hair shaping is very similar: Size and contours of the head, face and hairline, as well as the hair’s density, texture and curl pattern influence the outcome of the chosen design. The success of the design depends on your visualization of the lengths, the variation of those lengths and where they change - as well as any adaptations you must make for the individual. In effect, you are using a virtual set of blueprints to construct your haircut.

First, let’s review the basic elements of construction, and then we will focus on specific techniques as we go:

● The shape of the foundation dictates the finished design. If you’re building a rectangular house, you can’t place it on a square foundation. Are you placing your guidelines at the optimal length

and direction for the best support possible? Are you fighting an uneven or unruly hairline that disrupts your foundational guideline? Adjusting the length to make it shorter, longer or clipping it off at the surface will impact the completed design. Also, incorporating maximum weight or a rapid taper could be a simple fix. Specific application methods of implements will also remedy uncontrolled borders.

● Using the walls of the house as an example, if you want rooms with ceiling clearance of 10 feet, you can’t build the walls to a height of 8 feet. This affects the roofline which will undermine the finished design. For example, if you want to create a hair design that will just sweep the client’s shoulders, you need to pre-determine that surface length in order to cut the first guide strand at the hairline. This - in turn - will have a direct bearing on the interior lengths.

● In home construction, if you wish to have one room with a vaulted ceiling, you will need to change the height of that room without interfering with the rooms next to it. Likewise, if you desire to build fullness in a hair design, you will need to determine where on the head it is created, and how quickly it develops. This involves gaining length as you move up or away from the foundational guide. Sudden changes of hair length in the interior of the haircut are caused by changing projection angles or distribution during the cut process.

● Think of the roofline of a house to visualize the surface texture of a haircut. Some houses - such as a simple, older style ranch - resemble a blunt cut as they have an unremarkable roof surface

Cosmetology.EliteCME.com

without changes. Newer trends in rooflines have several pitch changes that provide interest and character - similar to graduated, layered and blended cut designs. They have variation in both depth and height that draw the eye in for a more inspired design. In order

to build depth in hair shaping, a stacking up will need to occur. The rate of that stack will depend on desired depth, hair texture, density, and physical contours of the head.

Parts, partings and part directionHair parts are simply a division of hair at the scalp level. Clients may or may not use a part in their hair style. Some clients continue to use the same part position without change, while others may change styles and partings often. These are important factors to find out in your client consultation. When creating a design on a client that continually uses the same part position, the best practice is to section the head off in panels that keep the part in place. Using it as your divisional boundary will produce a balanced haircut.

Let’s discuss a few examples to discover what happens if a desired part is NOT used. We’ll use both zero projection and elevation with a desired side part:

● A client wears a basic shoulder length horizontal blunt cut with a desired side part. Let’s use the simplest method of sectioning or parting off: Four sections divided from center forehead to center nape, and ear to ear across the top of the head.

The issue this presents is that once the client’s side part is re-established and the hair is redirected, it will be too short on the right to reach to the bottom to create a blunt surface.

Client wears a side part over the left eye.

Hair in the zone shown will not fall to a blunt line.

The measurable distance from the center part to the client’s desired side part will be exactly the same as the deficit in length to reach the bottom guide. For example, if the center part you used was 2 inches from the position of the client’s natural side part, the hair ends would fall 2 inches short of meeting with the perimeter guide once the hair was styled. This will produce unwanted graduation in this blunt design on the bottom right side.

● Consider the same configuration, but on a long layered design instead of blunt. This design has surface activation because of the layering. If you fail to use the natural part and instead, use a center division, the layering will not be level side to side near the face. The surface activation will begin 2 inches higher on the right.

Hair partings are an “instrument” that provides organization during a haircut. They also act as a template to help map out a shape. Partings should never be dismissed as a non-essential element or given little importance. When establishing a design, it is possible to “comb” a bad haircut.

Controlling the hair strand during haircuts can only be accomplished by placing the comb in the part at the scalp for equal distribution. The teeth of the comb equally separate the hair, while the back of the comb presses the hair out for proper ribboning of the strand. Adjusting tension on the strand is accomplished by the amount of pressure placed on the back of the comb. Verify that you are properly combing your haircuts from the parts; be sure that you are placing the comb at the scalp - parallel to the part with each section - when parallel cutting. Failure to do so will encourage uneven lengths and improper balance within the design.

Part direction refers to the placement or position of the part created on the scalp. Part direction is as basic as “horizontal,” “vertical,” and “diagonal.” Direction of parting panels can also take a more detailed description such as “diagonal forward” – meaning starting high in the back and traveling to low in the front, or “diagonal back” – meaning starting high in the front and traveling to low in the back. Parting direction has a specific influence on the results of a haircut.

CUTTIng METHodSBeing able to distinguish the various types of cutting methods (and why they are used) will help to make executing a haircut more efficient. Choose the best method to ensure balance in a design,

provide ease in which lengths are either kept steady or increased, and produce desired variation in the texture that is created.

Parallel cutting linesParallel cutting is the most typical of the cutting procedures. The following elements all remain consistently parallel to not only one another, but to the intended design line: Partings, comb, fingers gripping the section, and implement placement.

For example, let’s discuss using parallel cutting to establish a blunt cut with a horizontal guide with zero degrees projection:

● Use horizontal partings beginning at the nape and working up the head.

● The cutting direction of the perimeter guide is established horizontally by placing the comb at the horizontal part. Next, draw the comb downward to distribute the hair with the natural fall of gravity without projection. Then your gripping fingers are placed

horizontally across the strand, preferably on top of the comb. Your implement (shears/razor) is then applied to the strand using the horizontal finger placement as a cutting template.

● When these four elements (comb, part, fingers, implement) are applied parallel to the desired horizontal perimeter guide, the results of your cut are assured to be accurate. The only other variable is projection angle. This is a foolproof method of executing a precision cut. If one of these elements slips out of line, the cut will have unwanted variances in length. Are you being diligent about combing parallel from the part and placing fingers and implements true to the parallel line?


Parallel Cutting Lines The partings (A) run in the same direction as the intended guide line.

The hair (B) is distributed perpendicularly, at a right angle from the part. By using zero degrees projection and horizontal parts, the distribution is with the natural fall of gravity.

A

B

non-parallel cutting linesNon-parallel cutting methods are used for specialized results, such as dramatic increases in length. Non-parallel indicates that the finger placement, combing direction, and placement of the implement are used in an irregular fashion that does not parallel the partings used.

For instance, to create a front hairline taper from short near the temple area to extremely long at the jawline:

● Part a guide diagonally from the top of the facial hairline downward to in front of the ear. For best results, if there is no disconnect to the back, continue to take a hairline segment from behind the ear to the lower corner of the nape. Best practice for head position would be to slant the head away from the shoulder.

● Use pre-cut guide posts—a snip of hair to indicate desired length along a guideline, usually used in multiples when determining where to start, end, and (perhaps) the middle of the intended guideline. This is the same as the “dot-to-dot” technique of creating a picture by connecting lines to each other. Snip your guide posts at desired lengths along the parting panel. Use no projection when doing so.

● Standing toward the front of the client, connect the guide posts using a dragging technique (or shifted distribution), so that the longer lengths are drawn forward and up to meet with the temple area guide. Keep the hair as close to the face as possible for zero degrees projection. Your fingers will be in a diagonal slant positioned closest to the eye region and farthest from the jaw. Be sure to ribbon the hair smoothly from the part for optimum control before you drag the hair forward and up. Guide posts should be visible before cutting.

Non-Parallel Cutting Lines

The parting (A) does not run in the same direction as the intended guide line.

The hair is NOT distributed from the part at a right angle (C).A

B

C

This dragging effect or shift in distribution (B) produces a rapid length gain.

Resulting surface textureResulting surface texture when using parallel and non-parallel cutting methods: The outcome is a result of the laws of physics that is akin to gravity. If you hold an apple above the surface of the floor it will remain there, until you let it go. The distance it falls depends on how high you held it before release. Likewise, if you drag or lift a section of hair out of the natural fall of gravity to cut it, the surface

texture will be influenced by the distance it travels as it returns to its natural location. If you shift only the first guide section then change back to natural fall to complete the cut, the surface will have little if any surface texture. If you continue a shifted distribution throughout the cut, it will produce a great amount of layered texture.

Let’s review surface textures before discussing best practices in their construction ● Blunt – smooth surface. No ends are visible except at the bottom/

perimeter guide. ● Graduation – partially layered, partially smooth. Exterior or

perimeter has visible layering; interior has lengths that stack or build depth.

● Uniform – highly layered surface. Lengths remain the same over the entire head; there is little stacking or weight provided in uniform layering.

● Long layers or increasing length layers – layered surface texture with ends visible throughout the design. Layers are shorter at the top of the head and increase to longer toward the bottom.

dIRECTIonS of PaRT LInES and THE InfLUEnCE of dISTRIBUTIon and gRavITy**If you tend to be a visual learner, in the following section it may be advantageous to have paper and a pencil available to draw out these partings on a head shape. Try using a question mark shape for a side

view - for the back view, close in the question mark on its open side to create a spoon shape.


Horizontal partings and distributionsHorizontal partings build weight and solidity in a design.

1. Parallel cutting with zero degrees projection and natural fall distribution.

○ Best practice: Results in a balanced blunt cut on a horizontal plane.

○ Add up to 45° projection to create low level graduation with maximum stacking in a horizontal line.

○ Use between 45° and 89° projection to create higher levels of graduation with less stacking in a horizontal line.

2. Parallel cutting with zero degrees projection and shifted distribution.

○ Results in a slightly graduated cut with a diagonal influence. Since the hair traveled to the left (as it returned to its natural fall) it will be longer on the surface at the right.

○ Best practice: Use in front of the ear in combination with a mirror image on the opposite side for jawline-hugging designs. Also for moderate asymmetrical designs with low level graduation across the nape or bang/fringe region.

3. Parallel cutting with 180° projection.

○ This results in layers increasing in length. ○ Best practice: Shoulder length or shorter designs with layers

increasing toward a horizontal perimeter. 4. Parallel cutting with 180° projection AND shifted distribution.

○ This method results in layers increasing in length with a diagonal influence.

○ Best practice: For designs with layers increasing toward a diagonal perimeter. Use at the side front panels and mirror image directions.

diagonal partings and distributionsDiagonal partings are wonderful tools for causing length gains and for blending.

1. Parallel cutting with zero degrees projection.

○ Although the distribution is not at a right angle, it is directed to natural fall. This results in a blunt structure with a diagonal direction.

○ Best practice: Produces a diagonal guideline with the most solid foundation for hair with very little density and fine texture.

2. Parallel cutting with zero degrees projection.

○ The distribution is at a right angle, the hair is directed out of natural fall. This results in a low level graduated structure with a diagonal direction.

3. Non-parallel cutting with zero degrees projection AND shifted distribution.

○ The distribution is shifted (not at a right angle), and it is directed AWAY from natural fall. This, as previously shown, will create an increase in lengths on the left.

○ Best practice: Guideline construction with a thin section. Beware if the cut is to be blunt, the shifted distribution must cease after the guide is complete (best for fine, thin hair).To continue to shift distribution will cause graduated lengths along the shifted line (best for medium to coarse hair that is thick).

4. Parallel cutting with 180° projection.

○ This method causes a moderate increase in layer lengths toward the bottom. It can be used as a diagonal forward or diagonal back depending on its direction.

5. Non-parallel cutting with 180° projection.

○ This method produces a great amount of increase in layer lengths toward the bottom.

○ Best practice: Use to create increasing layers with a diagonal perimeter guideline on hair below shoulder length.

6. Non-parallel cutting with 180° projection AND shifted distribution.

○ This method produces the maximum amount of increase in layer lengths toward the bottom.

○ Best practice: Use to create the longest possible layers with a diagonal perimeter guideline on hair length well below shoulder level.


vertical partings and distributionsVertical partings and gripping are very commonly used to provide layers in the hair. Vertical panels can be used to create weight, or weightlessness.

There are two separate elements employed in using vertical partings: Projection angle of the vertical panel, and finger angle in relation to the head shape. 1. Projection from vertical panel. The most common approach with

vertical partings is the use of 90° projection. This is best defined as extending straight out from the head at the point from which the hair grows. The 90° projection angle is the most unstable of any elevation used. It is the most difficult to maintain due to the rounded nature of the head.

The most common error in cutting with vertical partings is the unintentional shifting of the panel. For left-handed stylists, it is leaning the panel to the right; for right-handed stylists it is leaning toward the left. This will cause an unwanted change in the length of the hair. The result will be the loss of length on the side it was shifted toward. Best practice--in order to sustain a perfect 90° projection, you must incorporate the use of partings or subsections that are two fingers wide or less, and no longer than your fingers can easily grip. This also requires the use of a traveling guide with your body position constantly changing.

2. Finger angle relationship to the head shape. When considering the most common use of vertical panels and 90° projection, a uniformly layered cut often comes to mind. Finger angles must echo (or follow) the contour of the head for their creation. Think of this as a neutral position that neither gains nor loses weight. This is considered a “true ninety”. However, by simply altering the finger angle within the panel, there will be a weight line that is created – even if the 90° projection remains steady. Since the fingers create more distance away from the head at one end of the panel, length will be gained. The alteration of that finger angle changes the cutting method from parallel cutting to non-parallel cutting. Best practice—use variations in finger angles to easily create weight lines within a 90° vertical gripping for graduated or long layered designs. Modify the angle in specific areas of the head to construct more or less weight as needed.

1. Parallel cutting using true 90° projection.

○ Fingers are parallel to head shape. ○ Best practice: Used to create evenly constructed lengths with

weightless layers.2. Non-parallel cutting at 90° projection. Incorporate a 45° finger

angle within the 90° position of the panel.

○ Finger angle allows the increase of length and a gradual buildup of weight.

○ Best practice: Closely tapered nape area in a steady graduated effect. Smoothly building length above the ear region to a longer crown. Building bulk for layered designs for fine, thin hair. In reverse: Coming down the head to build longer layers from the shorter crown for shoulder length or shorter designs.

3. Non-parallel cutting at 90° projection with shifted distribution. ○ Combining finger angle with a downward shift within the 90°

vertical projection panel creates a rapid increase in length with a weight line.

○ Best practice: Graduated “bobs” and wedge designs, men’s designs with a side part and heavy top.

The diversity of vertical parting lies with the combination of the projection angle and the finger angle within the panel. It is almost impossible to project downward at zero degrees vertically; however, it is possible to drag the hair section flat across the head toward the face or toward the back of the head. This method will cause lengths to gain. What is important to remember is this: When cutting, the farther the distance the hair travels, the longer it becomes. Be cognizant, however, of what is happening to the hair within the section and what finger angles you employ. Be guided by what will occur when the strand returns to its natural fall.

IMPLEMEnTS and THEIR EffECT on THE HaIR STRand

Haircutting scissors or shearsHaircutting scissors or shears are the most commonly used implements for hair shaping in salons. They can be used while the hair is wet or dry. As a review, remember that shears consist of two blades: The cutting blade and the still blade. The cutting blade, attached to the thumb grip is dependent upon the thumb to cause it to move through the hair strand. Shears produce a cut through the strand that leaves the new end in a blunt cylinder. The shape of the cylinder is dependent on two factors: The shape of the hair strand itself and the position of the shears as they travel through the hair.

Hair shape is dictated by follicle shape and its position beneath the scalp. That shape and direction lends to the degree of curl in the hair, if any.

● Straight hair is round in shape.

● Wavy hair is more oval in nature. ● Curly hair is a much flatter oval shape.

The shape of the hair strand and curl amount cannot be altered by a haircut. But you can manipulate the response of the curl (or lack thereof) by creating various angles and weights to the end of the individual hair strand. Although the contour of the hair ends is only slightly altered by the shears, it is enough of a change that it creates a design memory. By simply altering shear position, you are – in effect – fashioning the building materials into a less problematic form. Think of it as changing the end of a board from being cut straight across to an angle, such as making a miter cut. Some designs require bend or movement, while others have no curve. By applying the shears in


various positions, you can alter outcomes to ensure that styling the hair is as easy as possible.

Shear position dictates the action of the cutting because of the direction that the cutting blade travels through the strands. Cutting action is caused by the palm position, which places the thumb in various positions in relation to the hair strand.

Let’s explore the results on a horizontal design line at a zero degree projection, as an example:

● Shear blades used in a perpendicular fashion: Most common application of shear use. During parallel cutting, the shears are placed parallel to the intended guide, part, and finger position. This positions them at a right angle – or perpendicular – to the hair strands themselves. This has a direct bearing on the shape of the hair ends.

○ With the hair strands combed vertically, position the shear blades horizontally with your palm facing the floor. The cutting blade comes from behind the strand horizontally to the front. This will produce a cut through the hair that leaves a flat bottomed cylinder. Think of this as the bottom of a coffee mug. This leaves the individual strand of the hair blunt and creates maximum bulk within the design.

Flat bottom cylinder.

Palm position toward the floor.

Best practice:1. Finely-textured hair with thin density, to ensure fullness and

definition of weight lines in a low elevation style.2. Use on curly hair to weigh down the curl for maximum control.

● Shear blades that address the strand in a non-perpendicular fashion (A): Alternate method of using the shears to create an end that interacts with specific projections to enhance desired results.

○ With the hair strands combed vertically, place the shears into the strand so they are horizontal, but turn your palm toward you. This places the blades on a vertical to a diagonal plane. The cutting blade is placed behind the strand, with the cutting

direction coming upward. You will cut through the hair leaving a slightly angled cylinder, and the edge of the ends tend to be a bit longer on the surface. This lends to directing the slightly longer front of those ends to roll under.

A. Front of strand

slightly longer.

Palm position toward you, cutting blade behind strand.

Best practice:1. Around nape and ear area hairlines that tend to annoyingly flip up. 2. On the surface layers of a bobbed cut, or when an under bevel is

desired.3. For low-level elevation cuts on coarsely textured hair that tends to

bush upward when sleekness is desired.

● Shear blades used in a non-perpendicular fashion (B): Alternate method of using the shears to create an end that interacts with specific projections to enhance desired results.

○ With the hair strands combed vertically, hold the shears so they are horizontal, but turn your palm away from you before placing the blades into the strand. (This position is also known as “palm to palm” cutting.) This rotates the cutting blade to place it in front of the strand with the cutting action going downward. Since the cutting action is in the front of the strand, it will be slightly shorter than the back, allowing a bit of an upward and outward flair to the ends.

B. Front of strand

slightly shorter.

Palm position away from you, cutting blade before strand.

Best practice:1. Blunt cuts with an outward flair and depth at the bottom. 2. Layered cuts that require lift and motion. 3. Wavy hair, to encourage curlier outcome.

Razors, straight razors or feather bladesRazors, straight razors or feather blades are less commonly used than shears, but are not without merit. The hair must be wet or prepared with a product specifically designed for razor cutting to prevent damage to the cuticle layer and to allow the razor to glide through the hair. Many professionals are uncomfortable using razors, primarily due to safety concerns and the awkward technique of cutting above your gripped fingers. Much of that discomfort, however, will resolve itself with practice and with the continued use of the implement.

The benefit of using the razor is in the tapered edge that is created as the blade slices through the strand. Whereas the use of the shears creates a cylinder that is either blunt or minimally angled, the razor produces a much more steeply angled edge to the hair ends. Think of it as the same shape of penne pasta with an exaggerated slant.

Razors are not only used for the creation of a haircut, but can be used for applying texture and thinning (or reducing) bulk in the hair design, as well as a perimeter guide line. They are also a fabulous tool for producing an under bevel, creating lift, and slide cutting a design line that rapidly moves from short lengths to long. Razors do not work well in hair that is excessively curly, as it lends to a frizzy appearance.

Specialized razor techniques ● For chunking out bulk to cause texture: The desired goal of

chunking is creating visible variation in length to add dimension to a design.

○ Use the razor in a vertical position, parallel to the hair strand. Dip the tip of the razor in the hair strand and slice out random pieces. Works best with moderate elevation.

● For thinning (reducing) excess bulk: In order to prevent excessive thinning on the ends and uncontrolled spikes near the scalp, thin the hair in the center third of the hair’s length. (Example: If the hair is six inches long, thin two inches from the scalp to within two inches from the ends.)


○ For mid length to long hair designs: Slide down the dampened strand with the blade resting flat against the hair, and apply very little pressure to the blade as you move toward the ends. You will be skimming the top of the strand that you have selected, so be sure that it is from an area beneath the surface layers of head.

○ For shorter hair designs: Use the razor in conjunction with the comb in a razor over comb technique – where the comb slides through the ends and the razor rides flat on top of the comb to lightly skim off bulk. This is a fairly well-controlled method. OR use the razor rotation method where your dominant hand controls the razor and the comb is placed in the other hand. Use both implements in a rotational pattern similar to a bicycling motion. The teeth of the comb serve to lift the hair ends while the razor lightly travels through them. Incorporate a pattern that moves around the head shape.

● For perimeter guidelines: Use the razor to cut guidelines that require very little bulk or foundation – such as wispy bangs or fringe and soft feathery or shaggy border edges.

○ When creating softness in a perimeter, the best practice is to begin the cut with a standard guide and complete the cut. After the lengths are all established, dampen the hair as needed before returning to the guide. Incorporate a slight projection angle and slide down the perimeter strands with the razor tip in a vertical position. Slice through the lengths in a downward movement.

● For producing an under bevel effect: Using the razor, create a hassle-free bobbed look easily that will dry perfectly with very little fuss.

○ After completing the haircut, dampen the hair as needed. Comb and direct the hair into the desired style. You will be using the razor in a tight “C” – or a scalloping motion –

underneath the hair. Begin an inch or two up from the ends and roll the razor toward you as you move down off the ends. Use small vertical panels and move around the head. All the cutting will take place underneath the hair and should not alter the guideline or completed lengths. Adjust your tension and pressure according to the density of the hair and the desired amount of hair to be removed: Light pressure and tension for thinner hair; moderate for medium; heavier for thicker hair.

● For creating lift in the hair: Lift is generally created in the interior of the head. In order to create lift in a hair design, there must be areas with shorter hair near the head form that will be able to stand up to support the longer hair of the design.

○ For short spiky designs: Use the razor much the same as in the chunking technique. Grasp a panel of hair and elevate it. Since the hair is fairly short, the head should be tipped forward so you are able to work above the elevated panel. Place the razor in a vertical position, parallel to the hair strand. Dip the tip of the razor in the hair strand and slice out random pieces – staying at least a half inch from the head.

○ For moderate to longer lengths: Use the razor to remove weight of the underlying layers at the top of the head. Position the razor flat on the strand, work near the scalp (but no closer than an inch) and then glide the razor down the strand only an inch or so. Balance your technique throughout the top panel of the head. Be certain that you are not removing hair near a part or too close to the surface layers.

● For slide-cutting short to long lengths: The razor makes increase layering a quick and efficient process. Best practice: Shift and drag hair strand to desired position, use guide posts as necessary, apply razor to strand perpendicularly. By using the razor across the strand like the crossbar of a “T” instead of parallel to it, you can swiftly cut down the panel without re-combing or re-gripping.

Head shape, hairlines and facial contoursAlthough the physical structure of human anatomy is universally similar, there are variances among individuals, races, and ethnicities. The same 22 bones make up each person’s head and face, but those bones may have differences in length and width. Likewise, muscle tone has a bearing on their contour. There are also fat deposits about the head, face, and neck. These fat deposits will affect the outcome of very short designs and the compatibility of hair styles of any length. A large percentage of clients don’t have the oval face shape that is accepted as the most desirable; creating the illusion of the oval becomes a primary goal.

Consider a room with a small window and how closed-in it may appear. You can camouflage the real structure and open up the room by simply placing curtains with the rod higher above – and farther out – from the actual window frame. Hair designing is all about creating illusions. We’ve discussed cutting methods and parting direction techniques that build textural structure and provide underlying support or reduce bulk. We also understand changing the response of the hair strand by implementing application and selection.

Let’s discuss some common trouble zones: ● Head shapes: Irregularities such as flatness in the nape and crown,

or a broad or narrow forehead. ○ Nape or crown flatness: Cause issues when stacking is desired.

Weight lines must be created when there is no underlying support. Best practice: Horizontal partings with projections less than 45° up to the desired weight line. Or vertical partings with non-parallel cutting and shifted distribution.

○ Broad forehead: Can be emphasized in short designs. Best practice: Never use horizontal lines across the bang/fringe. Stop fringe designs just past the eyebrow arch; do not cut all the way across!

○ Narrow forehead: Contradictory of the normally wider area in an oval. Best practice: Create lift or volume at the temple region.

● Hairlines: The undesirable shape of the hairline itself in combination with the direction of the hair growth.

○ Short designs: Hairlines that grow upward or off to the side will affect the finished shape. Hairlines may also have opposing growth directions from side to side that will affect balance. Best practice: Leave the hair longer to fall below the natural hairline, using low elevation to create weight. Also, if it is unbalanced from side to side, cut the side that grows inappropriately just a bit longer for added weight. Blend into the rest of the design with a diagonal line. Don’t forget to place the shears in a non-perpendicular position with your palm facing toward you.

● Facial contours: As a review, the seven basic facial shapes are: Oval, round, square, oblong, diamond, heart (inverted triangle) and pear (triangle). The shape that is universally accepted as the most favorable is oval. Regardless of the physical appearance, the ultimate goal of constructing a haircut is to create the illusion of the oval, even if there isn’t one to work with.

Designing rules advise that you play up the best features, reduce the impact of the less attractive areas, and draw the eye toward weight lines that counter-effect the facial shape if it is not oval.

Let’s evaluate the facial shapes that detract from the oval design:1. Round: Too wide across cheek area, too short vertically.


Best practice: Avoid horizontal lines as they define width. Use diagonal or vertical lines that draw the eye upward. Build weight lines at or above the ear region. Create fullness at the crown; closeness near the face.

2. Square: Too wide across jawline, too short vertically. Forehead is equal to the width in the jawline.

Best practice: Similar to round shape, avoid horizontal lines, as they define width. Use diagonal or vertical lines that draw the eye upward. Create fullness at the temple and crown, closeness near the jaw and fringe.

3. Oblong: Too narrow across forehead, too long vertically.Best practice: Diminish narrowness by creating width across the forehead and eye region. Keep fullness near the temple, do not extend to the crown. Partially cover forehead to shorten overall length.

4. Diamond: Narrow forehead, broad across cheeks, narrow jawline.Best practice: Increase fullness across the forehead with slight volume. Create closeness at the temple and cheek region. Use palm to palm cutting to cause an outward flair near the jawline.

5. Heart or inverted triangle: Extreme width across the forehead and brow line, narrow jawline.

Best practice: Create closeness across the forehead, increase fullness from the ear region moving downward with an outward movement using palm to palm cutting.

6. Pear or triangle: Forehead is narrow in contrast with wide jawline.

Best practice: Create fullness from cheek bones upward. Diminish width at the jawline with close coverage using non-parallel shear position with your palm toward you.

This course is designed to provide reinforcement of haircutting techniques including projection angles, parting patterns, and the distribution of the hair from the parts. These techniques alter the distance and the direction that the hair travels before being cut. Understanding that the contour of the head will influence that distance, and adapting the parting direction and projection will solidify the building principles of hair cutting. Also, by putting to use the proper tools and application methods, the results of your cut designs should be an absolute delight when styling.

References1. Frangie, C.M., Botero, A. R., Hennessey, C., Lees, Dr. M., Sanford, B., Shipman, F., Wurdinger, V.

(2012) Milady Standard Cosmetology, New York, NY: Cengage Learning.2. Hair Salons in the US Market Research (2016, April 12). Retrieved from http://www.ibisworld.com/

industry/hair-salons.html

Chapter 2: Be in High demand and Earn your Worth

2 CE Hours

By: Jasmine Davis

Learning objectives When finishing this article and its exercises, you will be able to:

� Perform evaluations on yourself and your business. � Describe the steps you can use to ensure salon visits are

consistently exceptional. � Identify who you are as a beauty professional and why this

matters.

� Describe the process you will use to design a suitable and reasonable pricing structure.

� Discuss why competitive pricing matters. � State clearly how to maintain professionalism in your facility.

IntroductionThere is no big secret to success as a beauty professional. It just takes work to acquire skills and use them properly to suit the needs of your business. High-earning beauty professionals seemingly have a certain ‘something’ that you may or may not possess; however, some of the traits of high-earners are learned! Are you providing a service that leaves a positive impression on clients and visitors? If you have doubts about the quality of your service, this course teaches business techniques that will take your career to the next level. You can attain the wealth and knowledge of those who earn more per service. We will discuss what traits and behaviors will advance your career and give you an edge over the competition. We will evaluate several traits of high-earning professionals and why these traits make the difference between taking a vacation yearly, or waiting on walk-ins every shift.

Self-exploration and self-evaluation can be scary, but they are important and have to be done in any area of life in which you seek advancement. Enter the following exercises with an open mind. It is just you and the words on the page. You are the only person that can make positive and productive changes for your career.

Being in high demand and charging what you are worth are topics that weigh on the minds of most professional beauty industry workers. Of course, everyone wants to make top dollar and high-earning beauty professionals have the tools and skills needed to achieve a financially secure career.

Let’s explore what it will take for you to join the ranks of the top-notch beauty professionals.

Self-evaluation and self-explorationIt time to be completely open-minded, and honest with yourself about who you are as a beauty professional. Take a minute and visualize what your clients feel, think, and hear when they enter into your salon. What is their overall experience in your facility? Are they greeted with the smell of your lunch that you ate at your station? Are they greeted by friendly staff members with smiling faces? To be in high demand,

you and the entire staff will be expected to perform duties at a high level of quality. Are you one of the beauty professionals who is more aware of your personal needs than your client’s needs? Answering all of these questions with an open mind will give insight to who are as a beauty professional.

Salon experienceThere are a series of actions that a skilled, high-earner does when a client walks into the facility. Take note, as these are actions that should be done for both repeat customers and new customers. Do not take a person’s patronage for granted as they do not owe you any business whatsoever. If you opt out of smiling and being courteous, they may opt out of coming into your facility. These are the series of actions high-earner take when a client arrive (if there is a receptionist on duty, some of the first steps should be performed by this individual):1. Review customer records if they are available before the customer’s

arrival. As a service provider, you need to know who your clients are, what they want, and what they do not want. Having strong records will assist in this process. Review previous customer appointments and their requested services. There are times when professionals have to refuse services, alter services because of unavoidable circumstances, or cancel/postpone services for safety reasons. Setting aside time to prepare for each customer visit helps to prepare your mind, and adjust your comments to suit customer needs. If this is a first time customer, prepare any documents or release forms that will be needed to perform their service.

2. Smile. Smiling relaxes patrons. For customers that are visiting for basic beauty services, a smile lets them know they will be able to relax. Personal beauty services can deal with hair loss, skin deficiencies, nail issues, and more. These personal beauty matters can be sensitive for customers. A smile sets the tone of a relaxing and safe environment in which their beauty goals can be met.

3. State the customary greeting of your salon. If there is not one in place, simply say hello, and use the customer’s name if you know it. Using a person’s name is reassures customers that you paid attention to them the last time you met. For new customers, ask their name and share yours.

4. Hang up the visitor’s coat, jacket, or umbrella. This is an act of hospitality that is often overlooked. Of course, if you are unable to walk away from a service you are performing, you can verbally direct the visitor to hang their items in the place designated for these type items. For example, “Hello Ms. Davis! It’s great to see you again. I’ll take your coat for you. And you can follow me to my station.” Or, “Hello, welcome to [Salon Name]. Did you have an appointment today?”


5. Have a customer fill out a client information card and any release forms that are required by the company ownership. Gather whatever information you need to complete the customer’s registration. Clearly explain why the customer has to sign any documents before receiving service. Make sure the release is stated to protect you and your business or staff in case of court involvement. This can build an owner’s confidence in you. Owners do not trust employees that do not care about the longevity of the company. Not owning a business is not an excuse to overlook the importance of protecting the company assets. Some of today’s most popular beauty services come with a certain amount of risk. If clients are made aware of potential dangers, and sign to acknowledge that, you have protected the business from future issues that can arise from the normal and proper use of a beauty regimen or service. If you are self-employed, you have a business to protect. Well-written and easy to understand release forms are one way to protect your investment from discrepancies.

6. Escort the customer to the service or retail area. Do not expect them to know where things are in your facility. You are there nearly every day; they are not. Although, repeat customers may know exactly where to go for this service, it is still nice to be appreciated. The time spent escorting clients to work areas also allows time for a simple hello. Ask about their children or pets. This is information that can be briefly noted on their client profile card. If clients are not forthcoming with information about their personal lives, do not pry, and ask them solely about the services offered. Consistent record-keeping avoids missing out on opportunities.

7. Perform a thorough consultation. Ask the right questions, listen for the answers, evaluate possibilities, plan the service(s), and state aloud the plan of action to confirm. Look at the customer’s face and not at their back when finding out what they want. The mirror can show the person, but that is not the same as looking at someone and earning their trust while they tell you what they need. Some people like to discuss price at this point, but this is a personal choice if you are independently contracting. Higher priced stylists know that their base clientele expect higher prices and are prepared to pay. Although, price will come up at some point of the process, you do not want it to be the focus of the consultation. If a client has a limited budget and tells you so, then you should offer services in the client’s budget, but also try to meet the client’s needs. If you work for a corporate salon or are an employee, there likely is a set standard of what is expected during the consultation process. Customer satisfaction should always be the focus when you are seeking higher earnings.

8. Give exceptional service. Performing all services in the safest way possible is always high on the list of priorities. Use only high quality products, tools, and equipment and follow all state-mandated safety rules. Do not use dirty tools and implements on your customers. That is not only dangerous for the safety of your clients, but it will cause clients to lose trust in your performance and decision making. Massage, tension, temperature, and force can all determine the level of comfort for a client during the entire service. Gauge what you would be comfortable with and adjust it for customer needs. Ask your customer if they are comfortable

with certain tools and services. Watch client facial expressions. You can almost always tell if someone is uncomfortable if you watch their face. Respond accordingly when it seems to be a problem. Communicate clearly if you are going to change something. Do not assume; always be willing to ask questions as this creates a clear line of communication between beauty professional and client. Clients will be more willing to talk openly with you about their needs if you are open with them. If there are add-on services, make sure you mention these to the customer before you use any tools and products that require extra payment outside of the regular service price.

9. Allow the customer to see the finished product. A well-lit area where a client can see their face, hands, skin, or feet will allow them to see what they will be presenting to the world. A clean hand mirror allows a close-up view of whatever service they have had done. Adjust anything the customer needs changed to suit their needs. If changes are not an immediate option, offer them an alternative. Changes can be minimized with a thorough and clear consultation.

10. Collect your payment. This can be a problem for newer beauty professionals. If you provide free services for family and friends, you should stop. You should go not into a family member’s place of business and expect a discount. Pay for the services you receive and get paid for the services you provide. This can be tricky if you are shy about collecting payment for your services. Practice saying your target price point aloud to yourself. Practice saying it with confidence. Practice swiping a credit card as you discuss what service you would like to add on to your customer’s visit next time. This is an often overlooked step in the process to becoming an in-demand stylist with high prices. Know how you sound. If you have given your all in the process, at this point the customer should be happy and ready to make another visit. Thank your client graciously for any tip they may give. Tipping is customary in the United States, but is not required. Some people do not tip. Some people tip excessively for good service. Treat every customer the same regardless of what they normally do or do not tip.

11. Book the next visit. Booking a future appointment will keep you busier than professionals that do not book in advance. You cannot expect all customers to book their appointments in advance, but they should always be prepared for you to ask. This is what keeps busy stylists busy.

12. Escort your client out and give them their coat, jacket, or umbrella from designated area. This is an act of hospitality. This matters even if we do not believe that it does.

13. After the appointment: record the products used; the time for processing; the customer dislikes, likes, and allergies; and any information that will be pertinent to the client’s next visit. If possible, write down specifics and notes during non-contact processing time.If you have a bad habit of forgetting this step of service, schedule five to ten minutes after your service times to strictly record information. Whether you see the client again next week or next year, you will know what they do and do not like, and what they want for their beauty regimen. This will also make you stand out because you remembered them.

SELf-EvaLUaTIonNow that we know the steps of customer service, let’s evaluate how you perform as a beauty professional. Think about your client records.

● Do you smile as every customer enters your facility? ● Is every person acknowledged by name or greeted and made to

feel welcomed? This question refers even to vendors, delivery persons, or maintenance personnel, as these individuals can also lead to business if they are treated well.

● Are you hospitable? Do you escort elderly or infirmed customers with a patient and considerate hand?

● Are you protecting the assets of the business by requiring release forms before beginning chemical and potentially dangerous services?

● Are you performing high quality consultations? Do you know what your clients want? Are you listening or just hearing?

● Are you giving careful and thorough services? ● Does your client get to evaluate your work before being asked to pay? ● Are you booking your client’s next appointment in advance? ● Do you escort your clients out of the service area and make sure

they have all of their personal items before leaving the facility? ● Are all of the details about the service recorded?

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We all have changes that we can make to enhance our level of service. Take each step one at a time in making the necessary changes. Working at a high level of quality can make or break your reputation in the beauty industry. Reputation is a valuable tool if you maintain it. Word of mouth referrals are always more reliable than billboards or business cards. Bad news travels like wildfire. Give your customers and visitors something good to talk about.

Now that you have performed your self-evaluation, you will have identified some things that you can adjust. By doing this, you are getting closer to being in higher demand and earning more per client. Let’s take a moment and define what type of beauty professional you are and examine how this affects your business.

Identify who you are as a beauty professionalYour company name may include clues as to what your customers can expect when they enter into your business. ‘Color’, ‘Nails’, ‘Skin Care’, ‘Special Occasion Styles’, ‘Waxing’, or ‘Weaving’ services are commonly used terms in the names of salon businesses. Does your facility along with the practitioners’ skill levels live up to the company’s name? Performing research in your specific area of cosmetology is necessary to avoid coming up short in the eyes of potential and current clients.

Your ability to research will increase your personal knowledge. Your willingness to make needed adjustments will determine how you succeed. Identifying who you are as a beauty professional will involve how you use what you have researched. Identifying yourself assists

in goal-setting and research needs. Social media and video-posting websites have been an asset and an enemy to beauty professionals. Every other video posted is in a random kitchen by an unlicensed, self-proclaimed expert in one area of beauty or another. Some of the techniques are witty and cutting-edge, but other videos and tutorials are nothing short of an embarrassment and mockery of the theory and safety that we work so hard to master and enhance. You have a personal responsibility to provide safe and reliable services. Always check the credibility of your sources. This way, when you are performing services, you are only performing at a level consistent with high quality. Exploring the following three types of beauty professionals will make it easier to identify yourself and give more insight as to how you should market yourself.

Specialty service providersSpecialty services can be a matter of ability, training, product affordability, client base, and demographics. Offering a specialty is an opportunity to increase your income by offering more expensive services and small add-on services. By offering more than the basic salon services, you can attract new customers. Existing clients already know your skill and level of service. Selling new and specialty services to existing clients increases sales and creates a greater need for your services. There are steps to figuring out if you will be able to offer certain specialty services.

Are you professionally trained to offer these services?

● Is your facility licensed to offer the services you are considering? ● Can you maintain the products and equipment needed to provide

these services to your client base? ● Are the services appropriate for the clientele that you service? ● Will this service or process blend into your company processes as

they exist? ● Is this all about money, or do you see benefits for your existing

clientele?

If you take notice, the focus is on your existing clientele. New clients are great and marketing should be continuous, but, stop and think about this for a second. Your clients see you on a regular basis, say, every two to six weeks. They trust your opinion and skillful decision making. Some clients do whatever their stylist or beauty professional tells them to do. If your major focus is on taking care of the needs of the people you already service, you will retain those clients and attract more clients like them by way of referrals.

Identifying your clientele and grouping them will help you identify who you are as a professional. If you are repeatedly called in for wedding makeup and video shoots, this is probably your personal specialty. If, every day for the last three months, you have serviced only individuals with naturally curly, kinky, or coiled hair textures, most would consider you a specialist of naturally-textured hair. This is just a basic example; you will have to evaluate closely to define who you are as a beauty professional. Overall, this identifying mark will assist you in marketing yourself and your business.

TrendsettersTrendsetters are always spearheading new and improved techniques and skills. If you are the first in your area to offer a new service, you can base your price on prices from areas that are already offering the service. Be aware! Do not offer services just because you watched a video and it looks lucrative. Cash cows are not always as they seem. Your interest in these new services should prompt you to conduct research and practice before adding them to your list of available services.

If the services have a reputation or seem to pose a danger of causing hair loss, hair damage, infection, allergic reactions, or adverse effects, proceed with caution. If you choose to accept the risk of any service, you should be aware that your business and reputation will bear the brunt of any negative impacts.

A strong marketing plan is essential. Know who your potential customers are to avoid offering new and trendy services to people who would not benefit from the new services.

Trendsetters will face danger if they do not acknowledge the following:

● Necessary training required for new services, techniques, and tools. ● Insurance coverage is needed for services offered. Insurance

companies are very specific regarding which types of mishaps they will cover in the case of lawsuits or insurance claims. As you consider adding new services to your pricelist, inform your insurance company.

● Facilities have to be licensed for certain services. For example, tattoos are not regulated by Cosmetology Boards. Body art, piercings, and branding type services are not to be performed in salon environments unless the facility has been approved by all necessary regulatory boards.

● Research must be performed on the services. Be aware of what you are taking on and make sure you are prepared to offer a high level of service.

● All trends are not long-lasting. If you are looking to offer a service for a few weeks or while quantities last, you have to be prepared for this based on client services purchased in the past and the client information you have gathered.


ClassicIf your service list is basic, you are probably considered a classic in your field. For instance, “Jill” may be an esthetics master that offers specialty facial scrubs and chemical peels and microdermabrasion services. “David” has mastered high quality basic facials and warm towels over the years of his beauty career, and has no intention or interests in changing what works for his clients and their skin care regimen. There is no better out of the two. Services offered are strictly a matter of personal preference. There is a difference in risk and cost. The classic cosmetologist probably will have less costs associated with expenses. It may even be easier to budget because processes will not change much over the years. A cutting edge beauty professional may have higher cost with new products, training for continuing education, and advanced training with specialists. The upside is that, the higher cost of the service for the provider, the costs for the customer increase as well.

Be aware that there are dangers with becoming stagnant in your services and skills. As with any skill, things change, and advancements are made periodically by the regulatory agencies controlling the standards and practices of each field. Are you putting any effort into staying abreast of changes in the services that you consistently offer? Being reliable is a wonderful reputation to have. People need to know

that you will be there and that you will deliver consistently over the years. Clients however, do not want to watch your consistency turn stale or boring.

Classic beauty professionals will face some of the following challenges:

● Maintaining a high level of customer service and professionalism with all clients.

● Offering great salon services even if these do not change frequently. After doing something hundreds or thousands of times, you should not start skipping steps.

● Ensuring a healthy relationship with clients and co-workers by remaining trustworthy and staying within professional boundaries.

● Some clients will seek out new services and products elsewhere if they cannot get them from you.

● Losing energy for the industry. Becoming stagnant can cause existing clients to lose interest in your services and repel new clients from seeking your product.

Who are you as a beauty professional? Are you a combination of these types? Now that you have an answer to those questions, setting goals will assist in advancing you to the next steps of your career.

goal settingA goal-setter knows what they want out of their career. They create a plan, or sets goals to achieve the things that matter most. Goal-setters have a desire to succeed. The perception of success can differ for each individual. Material possessions may be a motivation. Or maybe becoming a published artist is the goal. You may want to be an artistic director for your company. With proper planning and mentorship, all your goals are within reach. Setting long-term goals will help direct your actions. Long-term goals can be broken down into short-term goals, and short-term goals can be small enough to be completed each day. Goal-setters maintain focus on the long-term goal finished results. Short-term goals can be attained with detailed and focused planning.

Goal-driven success can begin by writing down your personal and professional desires. Then list ways you can attain the things you want. Evaluate realistic options for obtaining the smaller things required to get what you want.

When you consider what you want to accomplish in your salon, consider what it will take to reach your goals. With any business venture, you have to create a sensible, sound, and solid plan. Before all things are considered, the need for a high level of customer service has to be at the top of the priority list. High quality service is attainable for any beauty professional who seeks to please their clients.

Earn what you are worthDesigning a reasonable and suitable pricing structure for your beauty business is a process that requires serious evaluation of your services and skills. If you are the salon owner or booth renter, the responsibility of setting prices is yours. We spoke of all the things that make clients stay in your facility. A high level of customer service and attention to the details in regards the customer’s level of comfort will keep your salon busy. Now, we have to make sure that the clients are paying you what you are worth.

Some ways of knowing you may be due for a raise:1. High retention rate. If most of your customers are returning, this

means they are satisfied with your services. Clients stay where they feel their needs are being met and they feel their business is appreciated.

2. Word of mouth referrals. Word of mouth referrals are an honor because existing clients respect and appreciate your services enough to bring others in to receive your services as well. If your new client volume is created mostly by word of mouth, you are on the right track.

3. Your prices have been the same for over five years. There are some companies that offer raises yearly or based upon sales. Some items are sold based on market value. These prices change and increase quite frequently. Unfortunately, professionals can forget ourselves when it comes to cost of living increases. Three years ago, your gas, milk, eggs, and clothing were likely less expensive. You have to make adjustments in your pricing to accommodate your lifestyle.

4. You have paid for extensive training that earned you a title or a skill that will be used in your business on a consistent basis. We pay doctors more because they have a doctorate degree. Experience and training were not free to obtain. It should not be free for people to utilize and benefit from your investments.

5. You have rave reviews online about your service and your business.

Some ways of knowing you are not in the position to raise your prices:1. You have a high level of customer complaints. If customers are

asking for refunds or refusing to pay because of bad service, an evaluation of staff members, skill levels, and available training must take place immediately to avoid a total loss of your business.

2. Clients come in for one or maybe even two visits, but never become regular clients.

3. You are the ‘back-up’ person for many of your client’s regular service providers.

4. You find yourself unoccupied on days when others in the salon are busy.

5. You find that your training is outdated. People are not purchasing your services because they are going to the people who offer the updated services that they prefer.

6. You have read bad reviews of your business online.


design a lucrative pricing structureThere are numerous ways to set a pricing structure for any business. The purpose of evaluating the pricing structure for your business is to secure reasonable income based on the skills you have and the services you offer. The basic components of your pricing structure include what you have to pay for or your expenses. Location fees, like rent, mortgage, and utilities; supplies; wages if you have employees; and building and grounds maintenance are some of the expenses that have to be paid from service sale money. The prices charged to your customers have to be enough to cover the operational cost of the business plus making a profit. The city or area in which you offer services can determine the type of customers you will attract. If you are in an area where services are offered at very low prices, you will have to take that into consideration when you create your pricing structure. This is not to say that a high-earner needs to work harder in order to compete with low prices. This will drain you and take away from the high level of customer service that high-earners have to display. Taking competitor pricing into consideration allows you to see what they offer at these prices. If you know that your product is high quality and you have what your customers need, you can charge what you are worth with no regard to the competition. Essentially, you offer a better service experience.

This is a complex industry and it is not exactly per-hour work, but some salon professionals like to average a certain amount per hour based on service prices and timing. Your prices should not be so low that you are earning less than a legal wage.

Customers respect beauty professional’s natural and professional talents and most are willing to pay for them. Ways for you to show your respect for the industry include good business practices, and fair, competitive pricing. If you show respect for the industry, clients will follow your lead. Clients are very educated via blogs, magazines, professional columnists, and various social media outlets. They know what to expect when they visit salons and spas. It is your responsibility to be aware of what is expected as well. This will allow you to produce a high level of quality. Your pricing should not be what attracts your customers as you should be attracting customers based on high quality services. The price is what is to be expected for a high level of quality.

Here are some basic steps that will help you design a suitable pricing structure or raising prices for your business:

1. Evaluate service pricing of competitors in the area.2. Evaluate actual services offered and the quality of services offered

at competitors.3. If there are little to no competitors in your area, you have more

freedom in pricing because you are a specialty in the area. But, beware that this may indicate that your services are not a need in the area. Perform market research to determine who lives in the areas, their median incomes, and various other factors. These facts can be researched easily by internet searching ‘median income’ in your specific area of interest.

4. Listen to your clients. They will make comments that let you know what they have paid elsewhere. If they are commenting that your prices are lower than other places, this may be a problem. Why should the salon down the street get paid more for the same type of work?

5. Take the total service sales per month or week then deduct the expense amount per month or week. Divide the time you spend on clients in the same time period. This is what you made per hour.

If you decide that your hourly rate is too low, you have to determine fair pricing. Take into consideration your personal speed of service. If you find that you are slow or are easily distracted and do not focus solely on completing services, you may not need to raise pricing just yet. Your focus may need to be on increasing the level of service you provide to your customers. This will take you back to your self-evaluation. Are you focused more on your personal needs or those of your clients? If you find that you are ready to increase your prices, decide a date in which these changes will occur. Informing clients of these changes with a notice is appreciated since people include their beauty care in their budgets.

Do not apologize for price increases. This is not a foul that you are committing against your clients. If you are providing high quality service, you should be earning a wage that is reflective of such. Price increases do not limit you. Price increases will eliminate people who are not willing to pay for service. Price increases will also eliminate working for free or less than an average or wage. If you are offering a great service, clients will continue purchasing your services with no question. You will make what you are worth.

Maintain professionalism The importance of professionalism in salons and spas cannot be taken for granted. Leaders have the responsibility of setting the standard of professionalism in most business environments. Many beauty professionals work independently, so the responsibility is each licensee’s. Understanding the requirements of professionalism will have a profound effect on the success of your business. Communication, environment, and appearance are three components of professionalism we will examine closely.

Familiarity with clients also cannot allow us to slip a few obscenities into a conversation or discuss less than professional matters in a setting of a business transaction. When a customer is paying for a service, we do not

want to talk to them as though they are our therapist. But here’s the reality check: you are sometimes viewed by clients as a therapist! Numerous clients share, or overshare, personal information regularly with hairstylists, manicurists, and other service industry professionals. Do you show a high regard to your client’s secrets? Clients should be able to trust that their beauty or personal issues will not be shared with anyone. Are you treating your co-workers with the same respect and dignity that you did when you first met them? Are you too familiar with your co-workers or staff? Whether your contract contains a confidentiality clause or you have no contract, your personal use of ethics should prevent you from divulging information that is not yours to share.

CommunicationCommunication is one of the most powerful tools in the world. Dealing with clients requires patience, and a listening ear. Communication is not just talking. It is body language, written signs, words spoken, and reactions to words spoken. Verbal communication can be the foundation of strong client-provider relationships. Bad verbal or written communication can cause the foundation of relationships to be unclear, rude-natured, and short-lived. The worst

feeling is someone looking at you after a business transaction and saying, ‘This is not what I was talking about.’ If there are ever unclear details, you can always use a visual or use words to be descriptive about what the finished results should be. Keep communication professional and always make sure your client’s feelings and needs are at the forefront of all verbal and written communication.


EnvironmentDo you patronize businesses that have rude, ill-trained employees, dirty displays, or dirty bathrooms? If your answer was no, you can probably remember back to the day that you went into this business and decided you were not going back. Clean, neat, and organized service areas and wonderful staff can create a peaceful and lucrative environment. It is good to feel like the employees of businesses actually want to be there when customers come in. When the environment is filled with tension and disgruntled employees and

managers, clients can tell. Create an environment where the drama is minimized for the sake of client comfort. We all have disagreements, and sometimes we have certain dislikes for co-workers and even clients. We should never ignore the needs of our clients by treating anyone in a way that is below the company standard. Treating people how you would like to be treated is always an approach that creates a professional, drama-free environment.

appearanceEmployees should always look like employees. In a profession that is so deeply rooted in appearances, our personal grooming should always be a priority. Wearing the most expensive fashions is never necessary. Cleanliness, neatness, and modesty are the main factors to be considered when appearing professional. Some salons require a simple, all-black dress code. Some salons have no dress code at all. In booth rental environments, there is usually no restriction on what independent contractors wear. Some salons draw different clientele based on how the employees look. Clean, well-styled hair with professionally applied color, makeup, or beauty enhancements are a part of professional presentation. Clients will not want services from cosmetologists that are dirty, sloppy, or immodestly dressed. It distracts attention away from the client. Some salons have no boundaries. There are many beauty professionals that have exposed

tattoos, or piercings, or edgy dress codes, or wear business casual. There is no right or wrong way in an artistic field like cosmetology. The most important is that you are not offensive to your customers. You have to be clear on the standards in your particular business if you would like to be more edgy or outside the box with your appearance. Your appearance should always be reflective of what you want your clients to think of you as a professional in your industry.

Now you should be able to perform a self-evaluation, describe how to provide exceptional service consistently, identify what type of beauty professional you are, design a suitable pricing structure, discuss why competitive pricing matters and why raising prices does not limit you, and clearly state what you should be doing to maintain professionalism in your facility. After completing these exercises, you will be able to gauge, design, and improve performance standards for your business.

References1. Davis, J. P. (2016) Common Sense in the Salon. Unpublished.



Chapter 3: Hair Coloring at a glance 4 CE Hours

By: Lisa Snyder

audience The target audience for this 4 CE hour course is licensed cosmetologists who desire to reinforce or expand their knowledge regarding the hair coloring process. In this module, we will learn how the pre-service client consultation lives up to its reputation of being the

most important step in the service. Unravel the truth about what you see and apply it to what we know for the most impressive color service results.

Learning objectivesAt the conclusion of the course the learner should be able to:

� Review the structure of the hair strand to better interpret what you observe during analysis.

� Categorize the internal bonds and calculate their impact on color in the hair strand.

� Recognize the characteristics of the types of melanin and their production process.

� Distinguish a natural hair color shade’s underlying pigment components using the law of color.

� Review and determine which pigments make up manufacturer’s tint shades according to the color wheel.

� Recognize which hair textures cause results to vary from manufacturer color swatches when tinting.

� Identify results of using specific types of coloring agents on various hair types based on their ingredients.

� Distinguish the strengths of developers for use in various hair color products.

� Maintain the integrity of the hair strand by confidently applying the appropriate type of product.

� Perform a pre-service analysis that will lock in the essential information of: What do we want, what do we have, and what are we missing?

IntroductionAn estimated $42 billion annually is spent in the beauty industry in the United States. Although the most commonly requested service is a haircut, hair coloring has evolved over the last few decades as the front runner in salon service income. Hair coloring requires maintenance that keeps the client returning to the salon on a regular basis, thereby generating continuing revenue and a steady client base. Americans currently have more disposable income available for hair coloring services, even though many states are now taxing it as if it were a luxury. However, the bottom line is that the more the salon door swings open to a color client, the greater the income for the salon and staff. Many of the color clients aren’t just maintaining a current color or blend of colors, but are frequently requesting a totally different look. That is the beauty of the hair color service: it is fun, and it is changeable. If you’ve ever had difficulty getting a true color result on a specific client, you’re not alone. There are many variables in a strand of hair, ranging from texture and porosity values to underlying natural pigmentation and to previous coloration in the hair. These variables may cause your results to become uncertain. Are you having off-shade or off-level results on either fine or coarse hair? Did you know that texture is a factor in color results? We will review manufacturer’s coloring agent pigment content and ingredient lists, as well as the melanin placement inside the strand to assist you in your formulation. Knowing the natural pigment present and how it behaves will support

you in your product choices. Are you automatically choosing a harsh product for the sake of saving time, thereby over taxing the strand? Could you instead use a low damage product with ample capability to protect the integrity of the strand? We will explore the categories of color agents and their actions on the strand. Make hair coloring analysis fast and accurate. By doing a thorough consultation, you are more apt to have successful outcomes. Become adept at believing what you see and knowing when to either accept or discredit what you hear from your client. Some clients prefer to keep their hair color practices private or omit information regarding using non-professional color products.

Your client consultation can be an auto pilot procedure that will enable you to truly make assessments for hair coloring at a glance. Train yourself to respond to visual cues from:

● The porosity value and gloss of client’s hair strand. ● The base color, color cast or tonal value, and color variation within

the length. ● Textures that vary from the manufacturer’s formulation standard of

medium. ● The client’s eye color and skin tone which aid in identifying

natural underlying pigment. ● The pigment combinations in manufacturers color swatch or other

visual aid of desired color as indicated by the client.

Hair structure reviewAs a review, the elements responsible for the composition of hair are of carbon, hydrogen, oxygen, nitrogen and sulfur. Each of these elements is present in all colors of hair and performs specific tasks in relation to strength, elasticity, and coloration. Variation in natural hair color is the result of the carbon to oxygen ratio. Typically, the hair is composed of 50.65% carbon and 20.85% oxygen. Darker hair contains more carbon in the mix, whereas lighter hair contains more oxygen after the production of its melanin. Also, the disulfide bond (comprised of sulfur atoms) is responsible for one-third of the strength of the hair attracts and holds the warm tones naturally found in the

strand. Excessively damaged hair with a weakened disulfide bond will appear to grab drab or ash tones when coloring.

Hair strands typically possess three layers: ● Cuticle – outermost layer of protective scale-like cells. Cells are

arranged in an overlapping pattern similar to shingles on a roof with the fixed attachment toward the scalp and the movable edge facing the ends. These cells are transparent when healthy and intact, but become whitened and distorted when lifted excessively from their natural position or when exposed to extreme heat or


harsh chemicals. These cells respond to even mild chemicals as well as slight changes in pH, temperature or humidity. The cuticle layer reacts by clamping down tightly or lifting away from the internal layers of the strand. They provide only 10% of the hair’s overall weight but contribute about 20% of its strength when healthy. Cuticle cells are responsible for the shine of the hair. The amount of layers that create the protective structure varies among races and textures of hair. This layer contains keratin protein, a necessary element for strength and flexibility. Cuticle damage can reach the point of no return, where the scales are damaged beyond repair or even torn away. This results in split ends and hair strands that break and refuse to hold color. Best practice is to cut away the damaged lengths. Be cautious when evaluating the cuticle’s condition by the gloss of the hair only, since many products that contain silicone or waxes are being used that create sheen to the strand. Best evaluations are on clean, dry hair with no styling aids present.

● Cortex – the second layer of hair is the most complex layer. The cortex or cortical layer contributes about 90% of the weight to the hair strand. It consists of a multitude of fibers that are elastic in nature and provide 80% of the hair’s overall strength. Amino acids that form spiral chains make up the internal structure of these protein fibers, which are similar in structure to string cheese, are naturally bound together by various types of bonds. These bonds promote the flexibility and stretch factor to the strand. They are also responsible for maintaining the curl, wave, or straightness of the strand. By unlocking these bonds and shifting the alignment of their linkage, we can change the curl pattern or lack thereof. Although this chemical texture process is common, it can remarkably reduce the strength of the strand. When coloring hair that has been weakened by chemical texture service, a significantly weaker strand will result. We will further discuss these bonds later in this segment. Another structure in the cortex layer and the most important to hair coloring is the natural melanin or color pigment. These cells resemble a jelly like structure, similar to a jelly bean, and have also been likened to chocolate chips as baked into a cookie as to how they are imbedded into the strand. They are a permanent fixture between the fibers. Melanin will also be discussed later in the text.

● Medulla – the innermost layer of the hair. The function, if any, has not yet been uncovered. However, it is responsible for added bulk to the individual strand and to arguably provide extra strength when it is present. Typically, fine or baby fine hair is without a medulla layer.

Internal bonds in the hair strand: Each is responsible for 1/3 of the strength of the strand. These bonds secure together the amino acids and their linkages called polypeptide chains to give the hair its internal strength.

● Hydrogen bonds are numerous in the hair and are temporarily altered when the hair is exposed to heat and water. These bonds are reformed as the hair dries. When the hair becomes wet, it appears to be a darker color due to the presence of excess hydrogen (H2O). Be cautious in evaluating hair color when the hair is wet or oily, since the hair strand also becomes more stretchy when wet since this bond is broken, but normalizes when dry.

● Salt bonds are also numerous and are temporarily altered by changes in pH. Normal pH levels are 4.5-5.5 for the hair. Use of water, products or chemicals that have a pH that is not mildly acidic will temporarily change these levels. The salt bonds will normalize when the hair is cleared of the product. Continued exposure to harsh chemicals will weaken the salt bonds.

● Disulfide bonds are composed of two sulfur bonds and are fewest in number but are the most stable of all the bonds. They are only affected by chemicals. Weakened disulfide bonds occur from repeated use of chemical solutions such as hair color, lighteners, chemical relaxers, and permanent waves or a combination of

these products. Shampoos with unduly harsh cleansing agents will also weaken these bonds from continued exposure. The harsher the product, the more damage is done. As a general statement, a lightener is harsher than hair color (tint/toner), and relaxers (sodium hydroxide) are harsher than perms (ammonium thioglycolate). But, within each category of product, there are varying levels of acids or alkalis that are incompatible with specific hair types. Refer to manufacturer’s information for the best choice of product. In most cases, the disulfide bond is reformed either by a solution included with the service such as a neutralizer with perms, or it reverts as the product is oxidized and shampooed from the hair as in hair coloring. But once the disulfide bond has been disrupted, it will never be as strong as it was originally.

Melanin characteristics and production ● In review, remember that a hair strand is constructed in a fibrous

bundle. Interlaced with these fibers are the color pigment granules known as melanin. In the case of healthy hair, the melanin is held tightly between the fibers or sort of wedged in place. As previously mentioned, some references liken this placement as that of chocolate chips embedded in a cookie. In order to remove the chocolate chip, damage to the cookie will result. Coloring agents that remove or lighten natural color pigment will open the cuticle layer and break down the disulfide bond, causing swelling and separation of the fibers and thereby damage to the surrounding strands in order to disperse the melanin granule.

● In the case of long hair or hair that has been exposed to strong detergents or other chemicals, as well as the persistent heat of styling tools, damage to the melanin granules will occur over time. The cuticle layer will expand and will no longer protect the inner fibers. The disulfide bond will weaken from exposure to chemicals and heat, and the melanin will begin to break down. The natural color will then start to leave the strand. Faded ends are a sure sign of damaged hair.

● Melanin composition begins with genetics, since DNA dictates the type of melanin that is predominant in an individual. The melanin in the hair, skin and eyes is directly related and contains the same compounds. Production and distribution of melanin occurs within cells called melanocytes. It begins with the production of yellow compounds called quinones, which come from the amino acid tyrosine. The building process continues with an enzyme called tyrosinase, which is a copper-protein complex. Enzymes act as a catalyst that causes a chemical reaction to take place, and in this case, tyrosinase causes tyrosine to oxidize which results in dihydroxphenylalanine or dopa.

Let’s make it easy: Amino acids + enzymes = dopa color compounds.

Amino acid: Tyrosine forms yellow quinones.

Copper-protein enzyme: Tyrosinase adds oxygen to quinones = dihydroxphenylalanine (dopa).

Dopa is the base product or compound for melanin production. Long periods of oxidation cause the dopa to deepen in color. Remember that oxidation is a process whereby oxygen combines with an element and changes the appearance of the element. This process causes the initial oxygen present to diminish. When the tyrosinase continues to oxidize the tyrosine present in the quinones, the color goes from yellow to red. If further oxidation occurs, the color present will be purplish, indicating a deep blue base with red influence. As the compounds increase in color depth, they also gain molecular weight. This attributes to where and how they are placed inside the hair strand. This oxidation process goes through three levels and produces a new product at each level.1. Dopa + oxidation = dopa-quinone, a yellow compound.2. Dopa-quinone + oxidation = dopachrome, a red compound.3. Dopachrome + oxidation = indol-quinone, a purple compound.


Consider this analogy: think of melanin production like making cookies. Combine ingredients (tyrosine and tyrosinase) to make the dough and then bake (oxidize). The cookie dough begins very pale but the longer it bakes, the darker the color of the cookies become. DNA determines how long the oxidation process continues and the resulting depth of the pigment, as well as the mixture of light, medium and dark compounds that will be present in the strand. The resulting melanin granules fall into two distinct categories known as pheomelanin, which is comprised of only primary red and yellow pigment, and eumelanin, which is black and brown pigment. Don’t forget that black and brown contain a great deal of primary blue in order to provide depth of color along with the darkest concentration of reds and yellows. The combination of pheomelanin and eumelanin contain all three of the primary colors of yellow, red and blue. The color wheel will be discussed at length further on in the text.

An individual’s hair color is often a combination of all three color compounds (dopa-quinone, dopachrome and indol-quinone), as dictated by the individual’s DNA. Natural blonde shades are the result of shorter oxidation, whereby the dopa-quinone remains a yellow compound. In natural blonde shades, there may be some darker pigmentation, but the majority is yellow. For strawberry-blonde shades there is likely a balanced mixture of dopa-quinone and dopachrome. For warm shades of deeper reds, some of the dopa may remain yellow without further oxidation, but the majority of the pigment is dopachrome. Shades that are brown and black contain mostly indol-quinone, but depending on the tone may have yellows of dopa-quinone and reds of dopachrome present.

● Melanin distribution in the strand is directly related to the size and molecular weight of the granule. Most of the pheomelanin or yellow (dopa-quinone compounds) and some red pigments are the smallest and remain clustered to the interior of the spherical strand. They are closest to the medulla if one is present. The bulk of the reddish pigment (dopachrome compound) is rather small to mid-size and located further toward the outside of the strand in an extremely scattered distribution pattern. The darkest pigment, eumelanin (indol-quinone compound) is the largest in size and molecular weight and hugs the outer edges of the cortex fibers.

Figure A1: Melanin distribution within the hair strand illustration

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

* Indol-quinone compound placement

* Dopachrome compound placement

* Dopa-quinone compound placement

● The importance of understanding the internal arrangement of the color pigmentation is in the way it reacts to chemical services in the salon. It is crucial to recognize that melanin is removed from the hair in exactly the reverse order that it is created. The eumelanin is broken up earliest with the indol-quinone being the first to leave the strand. This pigment that appears black and brown and contains the blue is the first color that lightening agents come into contact with and is a large target. The next underlying pigment targeted is the dopachrome from the pheomelanin. This is the single most difficult removal process. There is much diffusion of the color granules and they tend to attach to sulfur content in the hair. The adhesion to the sulfur leads to damage in the strand if it is over taxed at this stage. Disruption of the disulfide bond by overuse of hair lighteners will seriously weaken the strand. The final color remaining in the strand is the dopa-quinone, the yellow pigment. Total removal of this pheomelanin granule is never recommended, since it will destroy the integrity of the strand by dissolving the side bonds and breaking the end bonds of the polypeptide chains. This breakdown causes the formation of cysteic acid within the strand, which results in a chronically weaker strand, and no amount of conditioning will rescue the hair once it has reached this state. When this extremely damaged hair is wet, it has an expanded and slimy feel with an over elastic quality like chewing gum. Best practice is to remove damaged content by cutting it.

● Once pheomelanin and eumelanin have left the strand, they will never return to that segment of the hair. Reapplying harsh chemicals such as lighteners to hair that has already been decolorized or high-lift tints with high volume developers will further weaken and possibly destroy the strand. The nature of the lightening or bleaching agents in high-lift tints is to oxidize or break down melanin. If there is no melanin present, they will dissolve or distort whatever they come in contact with, such as cortical fiber or cuticle scales. In addition, lightening or bleaching agents will also alter the pH of the strand from acid to alkaline, weakening the side bonds and end bonds.

● If we revisit the cookie analogy, compare the color removal process to that of removing chocolate chips from the cookies. The chips nearest the edges may come away with little change in the formation of the cookie; however, to remove all the chips, especially the internal ones, will destroy the cookie itself.

Underlying pigmentation and hair color levels As a review, remember that hair color is sorted according to the depth of shade. Levels have been assigned a range or scale of 1 through 10, where level 1 is the darkest and 10 is the lightest. In order to fully understand the level system, you must think in terms of combinations of the three pigment compounds: yellow dopa-quinone, red dopachrome, and violet indol-quinone. The variety of combinations

of these pigments is responsible for the makeup of an individual’s hair color.

Since level 1 is the darkest, it has the highest concentration of eumelanin or black/brown pigment with the least amount of pheomelanin in the form of dopa-quinone. At the darkest levels, there may be quite a large amount of pheomelanin present in the


form of dopachrome, as the reds can contribute more richness and depth of the tone. There may be some yellow or gold tones present, depending on the tone of the level. Tones are often referred to as warm, cool or neutral. Low level colors that have been described as blue-blacks which are cool, and have the highest concentration of eumelanin. Level 10 shades are the opposite of level 1 and have the most concentration of dopa-quinone, or yellow pigment, and very little or no indol-quinone for depth. An obvious redhead will have the highest concentration of dopachrome in pheomelanin. The ratio and interaction of the compounds whether yellow, red, or purple produces the resulting level. As an example, reds can occur at low levels in the shade of mahogany, through mid-levels of chestnut and higher levels of strawberry-blonde. The influence of eumelanin determines the depth of the color, while the yellow of the pheomelanin causes lightness and brightness.

As underlying pigment goes, the most influential in hair coloring is that of the dopachrome. Clients typically either embrace reds or wholeheartedly reject them.

Clients that wish to have red tones, shades or casts to their hair need a strong strand with a healthy cuticle. Red shades that are infused into

weakened hair strands typically will not last and tend to fade to strange hues. Be sure the hair is reconditioned with protein based products prior to the color service appointment. Reinforcing the amino acids and overall protein in the strand will allow for better attachment of red tones.

Clients with healthy hair that insist on no red in their hair color are easily served. However, if their hair is damaged, it will require a careful pre-service evaluation and formulation of your color product. The weak hair strands tend to really grab onto the ash or drab tones. These shades can then look muddy and unnatural and may wash out their complexions. Weak hair stands with open cuticle cause oxidation of the natural color pigment and produce faded ends. Since the natural melanin is distorted, the problem lies in detecting which pigments remain and how they are going to interact with the formula to be applied. If the dopachrome has been compromised in any way, the ashy tones of the color formula will be left without a neutralizing color to act as a buffer. In turn, this causes the remaining shades to be expressed as mostly yellow, so when the bluish green hues of the drab tone are applied, it will create unnatural greens. The next section will review the color wheel and explore the interactions of pigments.

Color wheel components Knowledge of the components of the color wheel is something that you should be able to recall instantly. Recall and memory images are formed differently among individuals. Some people are able to visualize the color wheel in their head in exact shades and arrangement instantaneously. Some people need to physically see a graph or chart to be comfortable with the data. Others still, need to write out or draw a rendition of the color wheel or chart as an activity in order for their mind to open the file on the information. Regardless of the method, the use of the information is crucial to be a good hair colorist.

Let’s review the basic tools of color for the hair coloring process: ● The law of color: primary, secondary and tertiary levels. ● Color valuation: hues, tones and intensity. ● Complementary and/or neutralizing colors. ● Blacks and browns. ● Underlying pigmentation of the levels in the hair.

Color arrangement as seen through a prism is described with the acronym ROYGBIV, indicating placement of the colors: Red, orange, yellow, green, blue, indigo, and violet. The placement is the result of a naturally occurring phenomenon that will eternally remain the same. Red will never be next to green and blue will never come through the prism next to orange. This unchangeable arrangement is our greatest tool in the hair color industry. Many of us have experience in a color service gone awry with an off shade or unexpected result. But, if you do a careful retracing of steps including color components of the hair itself, the formula of product used, as well as the influence of any minerals present or poor health of the strand, you will unveil the miscue in your procedure. Final hair color is the result of influences from the presence or absence of other pigment on the strand.

The color wheel is the simplest device for understanding the influence of pigment on other pigments. Speaking in regard to “influences,” from a professional standpoint, the terms green and yellow are rarely discussed with regard to color formulation with clients. Even from a manufacturer’s standpoint, the term ash or drab is typically used when indicating shades with green or gray. Gold is the most accepted term when referring to yellow pigment. Presentation of information regarding color elements with your clients should portray a pleasing connotation in order to inspire confidence. Be sure you are aware of the pigment content of these shades. Some gold shades contain just yellow, some have an influence from primary red as well. Ash tones can be varied from manufacturer to manufacturer, some having a gray influence, while others having a green influence.

The color wheel is founded on the triangular arrangement of the primary colors: Red, yellow and blue.

If you don’t have access to a color wheel and you are a visual or kinesthetic learner and need to see or physically draw the color wheel, it can be replicated easily enough using just pen/pencil and paper. Use the triangular format and indicate the primary colors using just the first initial in the word of the color as indicated below (R=red, B=blue, Y=yellow).

R

B Y


The next step is to plug in the secondary colors using the same procedure (V=violet, O=orange, G=green).

V

G

O

R

B Y

Although this is not as visually stimulating as one drawn in color, it still serves its purpose. Seeing the colors in the proper line up will take the guess work out of formulation.

Think of the terms of the law of color in their hierarchy as: ● Primary–first and foremost in importance. Foundational units or

baseline components. ● Secondary–second step or result of mixing two of the bases. ● Tertiary–third step or result of mixing a secondary with one of its

base component primaries for a total of three units.

The primary colors are shown and connected by a black triangular line. The placement of this triangle is upright with the point at the top. This triangle represents the foundational colors that are responsible for the production of all the other colors in the spectrum. Any shades that you expect to infuse into the hair strand are under the direct influence of these primary colors. The key to getting the anticipated result is in knowing the amount of each primary color present in both the hair strand and the color formula you have mixed.

The secondary colors are shown and connected by an orange inverted triangular line. These shades are merely the result of the mixing of two primaries. The single most important fact to remember about secondary colors is that they exist only because of the interaction of the primary colors. If you’ve ever experienced a color service outcome in which the hair had a greenish cast, it was undoubtedly the result of blue pigment working directly over yellow, without influence from a red primary. For example, a numerical equation of secondary green is: 1 part blue (primary) + 1 part yellow (primary) = green (secondary). An off shade is usually the result of a missing primary.

The tertiary colors as shown on the color wheel are not connected on the diagram. They, like the secondary colors, exist due to the interaction of the primary colors, but they are taken one step further than the secondary colors. Tertiary colors are created by acting on the secondary color with the addition of another unit of one of the original primaries used in that secondary. For example, let’s write out the equation of the tertiary color blue-green: 1 part primary blue + 1 part primary yellow (resulting in secondary green) + 1 part primary blue = tertiary blue-green.

Color valuation: Hues, tone, and intensityThe hue of a color is a descriptor of its shade. In the hair color arena, hue is also described a tone or tonal value. Be aware that when using

these terms in the art realm as related to painting, they tend to have alternate meanings. Assigning a tone to a color gives a clear idea of which direction a formula should go on the color wheel. Tones are categorized as warm, cool or neutral.

● Red and yellow are the two warm primary colors. Warm tones gather and reflect brightness and brilliance from the reds and golds (yellow) in a formula. Warm tones offset unwanted drab or ash hues in a formula and make the color appear lighter.

● Blue is the only cool primary color. Cool tones mute the reflective quality of light and add depth or produce a matte value to the color as a result of the blue in the formula. Cool blue tones subdue any unwanted brassiness in the strand. Brassy tones are comprised of the secondary color orange.

● Neutral tones contain a balance of all primaries and leave the strand uninfluenced with warmth or coolness by their combined presence. Neutral tones assist in replacing missing pigment from gray hair.

Intensity refers to the concentration of pigment, also described as strength of color. Intensity of a tint can be adjusted. If you are limited on inventory, you can refine your available product by adding other tones within the laws of the color wheel. Formulation exercises appear in the next segment.

Color equationsColor equations are a tool whereby a value can be placed on components of color tones to assist in formulation. All color equations are formulated with primary colors only. The secondary colors are a by-product of the primaries and as a result are implied and not stated. The same is true of tertiary colors. It would be far too confusing to use the secondary or tertiary colors in a written formula. The value of a secondary is always processed as two components, one of each of the primaries present. As an example: 1 part blue + 1 part yellow imply that green will be part of the formula. It would never be stated as 1 part green. Likewise, the value of the tertiary color blue-green would be processed as three components, one for the primary, and two that are actually primaries but make up the secondary present. For this example: blue-green= 1 part blue + 1part blue + 1 part yellow. Again, green is never used as a component in color formulation since it is a secondary, and the tertiary level is just the result of a repeat of one of the primary colors present.

Let’s go another direction and lay out a visual color chart of the equation for the tertiary color blue-green.

Primary color: Blue (one component)

1 part blue

Secondary color: Green (two components)

1 part primary blue + 1 part primary yellow = green

Tertiary color: Blue-green (three components)

Primary Secondary Tertiary1 part blue + 1 part blue + 1 part yellow (=green) = 2 parts blue + 1 part yellow = blue-green

+ + [ ] = [ ]


These equations can also be written out using pen or pencil without the use of actual color. As previously shown, simply use the first initial of the color to visualize the formulation. For example:Primary shades Red - R Yellow - Y Blue - BSecondary shades

Orange - R+Y Green - Y+B Violet - R+B

Tertiary shades Blue-green B+B+Y

Blue-violet B+B+R

Red-violet R+R+B

Red-orange R+R+Y

Yellow-orange Y+Y+R

Yellow-green Y+Y+B

Complementary and neutralizing colorsA valuable asset to the hair coloring industry is the knowledge and use of complementary colors. Colors that complement each other are located directly across the color wheel. Recall the triangular arrangement of the primaries and the inverted triangle of the secondary colors. A secondary is placed directly across the wheel from a primary that is not part of its composition. That is to say that green, made up of blue and yellow, is directly across from red. The word “complementary” indicates that it completes the color wheel by adding the missing primaries to the equation. This process adds balance and harmonizes tonal value with the completion of all color components. It thereby prevents off shades and tonal deficiency. Having balance in a color formula will in effect neutralize an undesired result. Let’s cite an example: We have a client that prefers ash tones. The hair’s natural level is a neutral level 5 (very light brown) with ends faded up to level 7 (dark neutral blond). The desired shade is going darker to a level 4 Ash, with no red or gold.

Formulation worksheet:

Natural level-main shaft5

Natural level-ends7

Desired level4

Pigment component-main shaftNeutral Brown

B + R + R + Y + Y + Y

Pigment component-ends Dark Golden Blond

B + R + Y + Y

Desired ToneAsh

B + B + Y

Natural color components scalp to mid-shaft: Browns with a balance of reds and golds.

Natural color components mid-shaft to ends: Very little brown, very little red. Contains mostly gold.

Color components of desired level tint: Mostly brown with blue and yellow influence. Tint contains very little red pigment, if any.

In order to assess the information collected, the following questions need to be answered regarding the balance of the primary colors in the color wheel:1. What do we have?2. What primary are we missing?

The main shaft presents no real problem. However, the ends are faded and missing an all important element in the complementary shade of red. These ends will inherently grab ash because they are damaged. The abundance of gold (yellow) present will react with the blue and yellow base in the ash shade of the tint. A muddy green cast to the ends will result.

The solution to the problem is reintroducing the missing red pigment back into the strand with a color primer or filler. This is done prior to the tint service with a reduced volume of developer such as a 5 volume since the cuticle is already open. Do not use high volume peroxides, since excessive oxidation will only cause damage to the already porous strand. Mix a color primer formula containing red at the lower level of 4 along with gold at level 6. The low volume of developer will cause expansion of the tint pigment inside the strand. Color primers allow a base shade to be laid into the strand and will not be seen at the final level. Leave on for no longer than 20 minutes and blot away, do not rinse or shampoo out before applying your normal tint formula.

Black and brownBlack and brown are colors that have received much attention in the hair color arena. The depth of a color is categorized by levels. Regardless of the brand of hair color used, the lower the number, the greater the amount of black or brown in a shade.

What causes black to look dark is the absence of light. The important thing to remember about the production of black is that it results from the most deeply saturated pigments of red–in the form of magenta, and blue–as in cyan, along with a strict brilliant yellow. Total darkness is the result of using the greatest saturation of pigment since little if any light can penetrate. Think of it as being in a dark, closed room without windows. Since no light is available, colors cease to exist.

Creating a black colored tint at the mixing station is very difficult, if not impossible, and best left to the manufacturers. However, it is possible to manipulate the shade of the black by adding colors with various tonal values. When attempting to alter the shade of black, such as in making a blue-black, it is necessary to add pure color pigments for the best results. Most manufactures have these additives available; some are designed to be used for specific levels of tints. For instance, one may be for low levels only, due to the intensity of the pigment. The use such a product on higher levels will distort the outcome of the level desired.

Brown shades are provided by manufacturers in a variety of levels and tones. Browns are easily manipulated. They, like black contain all of the primary colors. A slight increase in one of the three primaries will effortlessly change the brown. To add depth to the brown, use a blue base. To add richness or warmth, use a red base. To lighten or brighten, use a yellow (gold) base.

Color formulation Color formulation is the process of choosing the appropriate shades of level and tone for the expected hair color outcome. It is rare to have a hair color client have a full head of virgin hair. So, many color services require additional steps or a combination of pigments for desired results. Manufacturer color swatches are client friendly and often prepared on synthetic strands giving a clear result on untainted samples. If a client chooses a swatch at level 7 with Red-Gold, it doesn’t mean you can choose a tube of “7RG” and expect to have a perfect result. Careful analysis of the underlying pigment and condition of the strand will assist your choices in product, proper formulation and methods of application as well as retail selections for home care.

Many manufacturers provide hair color in premixed shades; some provide only pure tones for ease of mixing. Be sure you understand the numerical and alphabetical system for the brand you use. Within each

brand is a category of neutral shades with a balance of all primaries; ash categories with influence of blue and yellow primaries, and a violet category of blue and red primaries, then a tertiary category of red-violets. There are also warm categories of pure gold as well as one of red with gold, then finally a stand-alone red line.

Color formulation should be fun and exciting and not something to be feared. Knowing the color wheel and the complementary shades will provide faultless results every time if you follow the prescribed steps of: “What do we want?” “what do we have?” and “what are we missing?”

Color formulation is not just adjusting the primary colors or tones in a shade, but also involves working with levels or depth. Let’s use seasonal color as an example. Seasonal coloring tends to be lighter and brighter for summer and is darkened for winter. Whether a client


wears a single shade or multiple levels, reducing a base color for winter by adjusting or dropping a full level may be too drastic. This is especially true in the mid-range of colors such as levels 4, 5, 6 and 7. It is possible to drop a half shade by mixing your current level with the next lower level in equal proportions. Be sure to keep accurate records.

Another method of dropping or lifting a half level is with cool or warm influence. Let’s use the example of a level 6 red tint (6 R). To lighten the depth of the level 6, add gold (yellow) 6 G, this will create an orange underlay which will allow more light to penetrate the red. To deepen, add blue 6 B, This will create a violet underlay, which will prevent light penetration. If you compare manufacturer swatches of a 6 Red-Orange and a 6 Red-Violet, it will appear that the 6 Red-Violet is closer to a level 5 and the 6 Red-Orange will appear closer to a level 7.

Gray hair formulations require thorough exploration of “what do we have” and “what are we missing” but are relatively simple when remembering the development sequence of natural melanin pigment in the hair. From yellow compounds develop reds, and reds develop into darker violets. If the attempt is made to tint the hair to a dark shade by jumping from zero pigment to full dark pigment, the missing elements along the way will be sure to cause a problem. In gray hair, yellows

and reds must be replaced in order for the tint color to look natural. They can be primed in in a preliminary step or they can be added to the formula depending on the nature of the service. A full head of gray hair is best primed in before the tint. Dimensional color with varied strands of color in less than 50% gray hair is usually OK to add missing components of red and yellow directly into the formula.

Developers can also be adjusted in formulation for better results. Typically a low volume of 5 or 10 is used for full deposit of color. Twenty volume peroxide is used for equal lift and deposit of color in the strand for tinting. It can also be used in the event of gray hair to presoften the cuticle for better penetration prior to tinting. Twenty volume peroxides as well as 30 volume peroxides are commonly mixed with hair lighteners or bleaches. Thirty and 40 volume developers are used for higher levels of lift, but should not be reintroduced to the same areas of the hair strand. Remember that the cuticle is easily damaged and hard to resurrect. Once the cuticle has been opened and the strand lightened, a reduced level of volume in a developer is best to maintain the internal structure of the amino acid peptide chains. Typically once a strand has been lightened, the only change you would likely make is to deposit a new tone or reintroduce depth. That being the case, reduced volume is all that is necessary. An in-depth look at developers appears later in the text.

Pre-service evaluation and analysisClient consultation and analysis should not be a daunting task. What makes it unpleasant to some professionals is the seeming overload of information to be gathered, sorted and processed, all in a short period of time. Being insecure of your ability to determine texture variances, porosity, and evaluation of underlying pigment will hinder the gathering portion. Sorting is akin to placing information in a specific file for easy retrieval. If these issues make the process seem loathsome, ease your stress by creating a system and make it an ingrained habit. By creating a tactile routine and using your senses of touching, visualizing, speaking and hearing, your muscle memory and auto pilot processes will kick in. If your current system doesn’t include a written record, create one. Or if one exists and the document is arranged in a disorganized manner, make changes that make sense to you. Like in written math problems, they can be presented in the long form or you can use the short form. Either one is perfectly usable, but one works better for some than others. This is the key; use what works, make it work for you. If you work in a salon where there is a standard form that is mandated for all employees to use, great! But if it’s not meeting your needs to organize your analysis, why not also use your own “worksheet”? Over the years, there have been many samples of analysis forms for various salon services in textbooks that were merely copied and put into use. Most are outdated, and may contain too many line items that are check box nightmares or have unusable or poorly presented data requests. Frequent updates or review of printed documents and supplies are needed.

An example of a client consultation worksheet would contain the following statistics:

● Client’s name and the usual demographics such as address and contact information.

● Standard hair analysis indicators such as form, length, texture, density and porosity.

● Evidence of previous color service or chemical texture service in the hair, list product used if possible.

● Natural color level, tone, underlying pigment and intensity. Indicate whether it varies from scalp to ends.

● Percentage of unpigmented or gray hair. ● Detailed description desired color. Indicate single or multiple

shades and placement of color hues. Drawing of the head shape showing placement may be helpful.

● Color formulations used, include volume of developer. ● Processing time.

● Comment section for your opinion on the outcome and for the client’s opinion as well.

Compare your client’s pre-service analysis to that of a doctor’s exam of a patient. Consider the implications of an incorrect diagnosis from a doctor. You are in effect making a diagnosis for your client. Take into account the years a doctor spends in education, specifically the residency portion of training. This is the hands on element, with real patients, with real medical concerns. How much time did your training devote to hands on client analysis? Obviously, the medical profession has a seriously greater impact on life events than hair coloring, but this analogy should help to verify the importance of a regimented process that gets easier with lots and lots of practice and exposure to variables.

Statistics show that activity training causes a more learned response than that of reading or listening to lecture. At the end of these segments, there will be suggestions for activities to improve the analysis process that have been used with great success.

Analysis of hair qualities is the single most important step in a pre-service consultation. It is after all the very fabric that you are changing. A caution to performing accurate assessments regarding hair qualities is the presence of product in the hair. The nature of styling aids is to leave behind gloss, body or texture as well as rigidity. Also, some shampoos and conditioners infuse oils or polymers onto the strand. The best analysis is done on hair that is clear of buildup. Many inaccurate conclusions are derived due to a coating on hair strands.

Texture is the size or diameter of the individual hair strand. Among individuals, hair texture is varied regardless of race, ethnicity or state of colorlessness. That is to say that not all Caucasian hair is fine, not all Asian or African American hair is coarse. And regardless of genetics, not all gray hair is coarse or wiry. Texture is directly related to the lack of or presence of a medulla layer, the amount of fibrous cords in the cortex as well as the mass of the cuticle layer. The concentration of the cortex fibers and the amount of layers in the cuticle provide bulk to the strand. These layers increase in size with exposure to chemicals. Therefore, it is entirely possible to alter the texture of the hair through salon services such as hair color. When judging texture, be sure to evaluate the entire strand. There may be a variance in diameter from scalp to ends. This will assist in formulation.Texture is described as: Fine, medium, and coarse. Medium texture is generally accepted as the one most commonly found.


○ In regard to hair coloring and hair texture, always remember this: fine hair has the least amount of internal space, therefore, coarse hair has the most. Let’s use the following facts and analogy to further illustrate:

■ Hair coloring is the addition of artificial pigment to the strand. Regardless of which manufacturer’s product you choose, there are a certain amount of preset color particles in each tube or bottle. These concentration levels are known as parts per million or ppm.

■ Let’s say you have two clients with hair exactly the same natural shade and condition but one has fine hair and the other has coarse hair. If you use the same color formula on each one can you expect the result to be the same? Remember, everything is identical except for texture.

■ Consider this situation: you have two clear drinking glasses that contain water, one is a smaller size and diameter containing 4 ounces of water, the other is larger in size and diameter containing 8 ounces of water. Place two drops of food coloring in each glass and stir. Which is going to have a greater concentration of color and thereby be a more vivid shade?

■ The smaller of the glasses will have a more dense concentration of color and look deeper in tone than the larger one.

○ Manufacturers produce colors to be the truest on medium textured, moderately porous hair. That is the baseline of color swatch shades. Adjustments are necessary if your goal is to achieve the exact same shade. In the event that your client has a coarse strand, you will need to adjust your formula by adding more depth as previously described. Or if your client has fine hair, you can expect your final shade to be more intense than the swatch and will need to reduce the depth.

Exercise – How to confidently identify the various textures of hair.Comparative study is great for creating a baseline of knowledge.Materials needed: Hair cutting scissors, index card, tape, single strand of hair from multiple sources (5 -7 different people). Highlighter is optional.

1. Collect a single hair sample (one hair) from various heads.2. Arrange the hair according to texture from finest to coarsest

and lay out across the card. 3. Carefully attach the hair at the top and bottom of the card with

tape. 4. Observe the increase in size from the finest to the coarsest.5. Keep the card on hand and refer to it as a guide if needed. Add

to the card if necessary.6. Compare client’s hair to the card to gauge degree of texture. *If using a white index card and some hair samples are very light in color, use a highlighter to draw a line and place the light hair over top the line of color before taping in place.

Porosity is dictated by the cuticle layer and detected through visual and tactile observation. Visual inspection reveals the shine factor or the gloss of the entire strand from scalp to ends. Oftentimes we fail to realize that porosity progressively alters in even healthy hair toward the end of a strand. Length equals age, and older hair has had more exposure to elements that detract from the natural state of a nearly closed cuticle. The more closed the cuticle, the more resistant to absorption the strand is. The following is a guide to understanding porosity classifications:

● Porosity is typically described as good, moderate, poor, and over-porous or extreme.

● Although the term good is associated with something pleasing or positive, the state of good porosity is not necessarily attuned with the hair being in good condition. In order for hair to have the quality of porosity, or the ability to absorb, the cuticle layer must be raised, which usually indicates reduced protection of the inner cortical structure. Likewise, poor porosity isn’t associated with

hair in poor condition. Poor porosity is the state of a closed and robust cuticle that naturally provides protection and shine to the hair.

● Classifications of porosity rate from least or slowest absorption to the fastest are: Poor (also called resistant), moderate, good, and extreme.

● Poor porosity is oftentimes associated with ethnic, Afro-American, or Asian clients and hair that is gray. Cuticle layers are more numerous and in most cases, the virgin state of these clients’ hair would be resistant. Caucasian hair types usually have less cuticle layers that provide less rigidity, texture and resistance to absorption.

● Moderate porosity is associated with non-chemically treated hair. It’s the result of a slight lift of the cuticle from exposure to cleansing agents, heat from styling tools and general age of the strand. Hair with moderate porosity has less lift in the cuticle than that of good porosity. It, therefore, absorbs at a lesser rate or slower pace than good porosity.

● Good porosity is associated with hair that has the cuticle layer lifted as the result of chemical treatments that are mild in action and infrequent. Hair with good porosity usually needs the application of a surface active or instant conditioner to assist in closing down the cuticle after shampooing to avoid tangling. Deep conditioners should also be used regularly to preserve the strength of the strand.

● Extreme porosity or overly-porous is a circumstance of damaged hair. It is usually the result of using harsh chemical treatments or repeated chemical applications to the hair strand. Cuticle damage at this state is not reversible. Best case scenario is damage resulting in split ends and excessive tangling. But, in many cases the cuticle deteriorates leaving an unprotected cortex, which in turn can lead to the shredding of the strand.

● In the event of long hair, as previously stated, length equals age, porosity levels will vary greatly from scalp to ends. Consider the age of the hair according to average growth rates. If you are working with hair longer than 8 inches and an average rate of growth is ½ inch per month, you have hair ends that are over a year old. Even with frequent trimming, the cuticle of the bottom lengths have had quite a bit of exposure to elements such as cleansing agents, various styling products, sunshine and perhaps heat from styling tools. These elements will wear down the cuticle. When coloring longer hair, consider mixing two separate formulas and altering developer strength so as not to cause further damage to an already open cuticle on older hair ends.

○ If decolorizing the strand, leave the ends bare of product until the last few minutes. Many times in the salon, we are conscious of time and busy schedules and apply from scalp to ends so we don’t have to revisit the head during processing.

○ If adding color in a tinting or toning service on long hair, apply to the ends last and reduce the strength of the developer in a new mixture. Or simply add a bit of water, conditioner or shampoo to the original mixture for dilution of the developer.

Underlying pigment is a result of heredity and can affect the outcome of hair color formulation especially when lightening. Whether a client possesses an abundance of eumelanin and has dark hair or pheomelanin and has lighter tones, the color wheel and the laws of color will apply in altering their natural shades. Underlying pigment is easily discernable by observing not only the hair itself, but also the skin and the eye color.

In many cases, using the hair to evaluate the underlying pigment is truly a fool’s errand due to previous color application. If you have only a small amount of virgin color at the scalp area, the placement near the scalp leads to difficult judgement. The hair must be lifted to allow light to pass through to observe true level and tone.

● Visual cues of the skin’s pigmentation are easily detected on the underside of the forearm. Finding tones of equal balance of


warm and cool indicates neutral skin tones. Shades of ivory, beige or neutral brown indicate that the client will look well in either a warm or cool color with no impairment from underlying pigment. This presents no issue in either color deposit or lightening process.

● When detecting a color cast in the skin that is red-brown or red-blue, leaning toward a beige-violet you will have strong red undertones in the hair. Lightening the hair will have warm tones through each of the stages of decolorization. Double processing may be required for light shades and a toner with a complimentary base shade should be used.

● Eye coloration is an excellent tool for evaluating underlying pigment. It is a common occurrence for eye color to change on an individual. The eye is made of cells that are transparent and allow the absorption of light. And like the ocean or a body of water, they will respond to stimuli from the surrounding environment by reflecting back shades as well as hues of lightness or darkness. Eye shades also alter with emotions and illness. Even though the color of the eye’s iris may change, the base tones will still reflect the underlying pigment. There are many shades of brown, blue and green eyes. There are also eye colors that are a combination of more than one color. Hazel is one of the chameleon colors that contain a mixture of shades. There are also clients that have eyes that are totally different shades from one to the other. When looking for pigmentation in the eye, look for depth of the shade. Are they dark brown, dark blue, etc.? Next determine the tone or color cast of the iris; is it a reddish brown, a deep dark brown as in almost black, or a lighter yellowish brown? Evaluate in the same manner with blue and green eyes. Also look for flecks of yellow, brown, green, and blue within the base shade.

● The evaluation of tonal value is a direct fit to the color wheel and the presence of eumelanin and/or pheomelanin. Do you have a working knowledge of the color wheel and understand its structure?

Exercise–Understand underlying pigment in individuals using eye color as a tool.This comparative study is adaptable for group size and involvement of time levels. Method 1: Poll for information.

Method 2: Perform strand tests on samples of gathered hair.

Materials needed for Method 1: A group 3 or more people with previous hair color experience. Have a well-lit room with enough floor space for people to line up shoulder to shoulder.

Method 1:1. Gather the group of people.2. Evaluate the eye color of each according to depth.3. Arrange them in a line shoulder to shoulder according to a darkest

to lightest scale of their eye color.4. Reevaluate, specifically looking for undertones of red. Rearrange

if necessary.5. Question each of the individuals to see if they have experienced

difficulty in lightening their hair. Ask specifically about red-orange tones left in the hair.

6. Compare their responses with their placement in line. Did the people with the darkest eye color having the most red, have the most difficulty with lightening?

Materials needed for Method 2: Index cards, hair coloring bowls, brushes, foil, pens, masking tape, hair-lightening product and developer.

A group of people with previous hair color experience, at least 3 or more. Have a well-lit room with enough floor space for people to line up shoulder to shoulder.

Method 2:1. Prepare materials for each person. Number index cards according

to the number of participants to tape hair samples onto later.2. Gather the group of people.3. Evaluate each one’s eye color according to depth.4. Arrange them bodily in a line according to darkest to lightest.5. Reevaluate specifically looking for undertones of red. Rearrange if

necessary. Assign a number to each participant beginning with #1 at the darkest eye color.

6. Collect a sample of hair from each of the individuals by weaving a tail comb lightly in the nape area.

7. Tape the hair sample near the top. Leave enough of a tab on the tape to label it according to the participant’s number.

8. Mix a small amount of lightening product and apply to the hair samples that have been arranged numerically on the foil sheet. Avoid getting product on the numbers of the tape tabs.

9. Allow for half of the time recommended for the lightening product to work and remove by thoroughly rinsing and blotting.

10. Evaluate and record the color of the underlying pigment brought to light at the half way mark. Compare the vividness of the red-gold to gold and gold to paler yellow stages present. Do they vary according to the depth of the eye color of the individual?

The individual with the red undertones in their irises oftentimes has difficulty with the hair lightening process. The visible reddish hue in the eyes and the peachy undertones in the skin indicate a strong presence of pheomelanin.

Hair color products Let’s review the basic types of hair coloring products. They fall into two categories: Oxidative and Non-oxidative. Oxidative hair color agents incorporate the use of developers to increase the longevity of the color. They penetrate the hair strand and through oxidation become part of it. Non-oxidative color agents are applied without developers and stay primarily on the outside or just under the surface of the cuticle layer. They are released through the shampooing process.

● Permanent hair tint–oxidative. ● Demi-permanent hair tint–oxidative. ● Semi-permanent hair tint/toners–non-oxidative. ● Temporary color rinses/shampoos–non-oxidative. ● Lighteners (bleaching agents)–oxidative.

Within each category there are an abundance of products from various manufacturers with similar capabilities. Be sure to gain education from the manufacturer’s or distributor’s representatives on the particular brand that you are using for optimal results.

Professional permanent hair coloring tints penetrate into the interior of the hair strand and have the capability of darkening a light shade to the lowest level of darkness. Be aware of what primaries are missing in the strand so it can be reintroduced to avoid off tones in the darker levels. Permanent tints also have the ability to lift out natural pigment and lighten the shade up to three levels. For example, when looking at a color chart, going from a level 5 up to an 8 is quite a remarkable difference. Consider the ability of a tint in the event that a client has hair at a natural level of 7 or above. Using a hair lightener (bleaching agent) in this situation instead of a tint is purely overkill. High lift tints give outstanding results with perfectly toned shades in warm, neutral and cool colors. High lift tints are more gentle on the strand than lighteners. They effectively remove natural pigment and give the strands a polished tonal value in one application.

Ingredients in a professional permanent hair tint: ● Lightening agents–in permanent tints are hydrogen peroxide

and ammonium persulfate based product that will diffuse natural


pigment. When the color is sufficiently lightened,only then will the deposit process of the tint pigment take place. Once pigment is removed, it will not return to that area of the strand, and tints with lightening agents should not be reapplied to that area. Re-introducing a product with lightening agent will only compromise the integrity of the hair structure, producing a much weaker strand. If fading has occurred or if a different shade is desired, consider applying a demi-permanent product.

● Pigment–dye ingredients derived from a coal tar product called para-phenylene-diamine, also viewed on ingredient lists as p-phenylenediamine, are known to cause sensitivity or allergic reation. A patch, predisposition or skin test must be done on the client’s skin 24/48 hours prior to application as required by law. Pigment from this source behaves more like natural melanin than any other dye product. It penetrates into the strand and remains fixed to the internal structure through the oxidation process. As it gains entrance to the strand, it expands when it is oxidized and becomes trapped beneath the cuticle layer. Healthy hair strands keep the newly formed granules in place with little if any fading. Maunfacturers use primary color pigments to create various shades of color based on a ppm (parts per million) formula. They incorporate the amount necessary to infuse an average textured hair strand for maximum coverage of existing melanin or replacement of diffused melanin. Pigments present are coordinated with lightening agents in permanent tints. In dark tints, there is far less lightening agent than pigment for deposit. In high lift tints, the opposite is true; the mixture is predominantly lightening agent with very little pigment for deposit.

● Shampoo or cleansing agent–activated by water at the conclusion of the service, these products are included for the easy removal of the tint. Tints are designed to be worked into a lather with the addition of warm water. This is a step most commonly skipped, colorists usually perform a thorough rinsing of the tint product and then application of a separate shampoo. This is counterproductive to the nature of the shampoo ingredient which is to release the majority of the tint product from the hair. The foaming action reduces the density of the product allowing it to lift from the hair and scalp.

● Ammonia compounds or alkalizing agent–Hair naturally has an acidic pH, whereas alkalizing agents are bases. During the tinting process, a change in pH opens the cuticle and shifts the internal salt bonds to expand the strand, allowing the natural melanin to disburse and give room to the newly oxidized color granules. Once the hair’s pH is restored with the removal of the tint, the hair remains slightly enlarged, which adds body to the strand.

● Conditioning agents–typically a form of oil is used to add shine and softness to the hair.

● Peroxide based developers are added to permanent tints prior to application. Many developers are a mixture of water, peroxide, ceteryl alcohol, alkalizing agents and phosphoric acids.

Permanent tints perform two separate activities during their processing time: lifting of natural pigment and depositing artificial pigment.1. Lifting is obtained by opening cuticle layer to allow penetration of

the product and breaking down natural melanin inside the strand.2. Deposition of color occurs inside the strand as the aniline

derivatives are oxidized and form large, permanent molecules.

Best uses of permanent hair color: ● Lightening natural shades up to 3 levels. ● Depositing color on fine limp hair to add extra body. ● Creating equal coverage for hair that is gray. It removes and adds

color at the same time to imporve the uniformity of the overall shade.

Demi-permanent tints are designed to enhance the natural color and add depth or warmth to the shades. They are capable of darkening the hair from a very light shade to the lowest level. Brilliance can be

obtained by using a color with a gold base, but remember there is no expectation of lifting out natural color pigment to lighten the natural level. They do contain p-phenylenediamine and therefore require a 24/48 hour predisposition test. Demi-permanent tints penetrate the hair strand and develop just inside the cortex and the area between the cuticle layers as well. Demi-permanent hair coloring is the best product for fading of previously tinted hair, since the lower levels of alkalinity will do less damage to the hair than a permanent tint.

Demi-permanent hair coloring tint ingredients are identical to permanent tints, except for the absence of lightening agents and the use of a non-ammonia alkalizing agents. These changes permit the natural melanin to remain intact, thereby causing less damage to the hair. Demi-permanent tints have their own activators or processing solutions which are a reduced volume developers containing water, peroxide and phosphoric acid.

Best uses of demi-permanent color: ● Retint services to restore natural color to the hair. ● Refresh color to ends on previously tinted hair without excessive

damage. ● Deposit only hair color service for curly and coarse textured hair.

The reduced levels of alkalinity and lesser volume developers do not cause over expansion of the hair shaft. This reduces the chance of a frizzy appearance commonly associated with coarse or curly hair that is chemically treated.

● Introduction to hair color for a client who fears the commitment of retouch services.

● Blending or covering gray.

Semi-permanent tints or toners are designed to penetrate the cuticle somewhat. They gradually release during shampooing before completely fading away after several cleansings. Semi-permanent tints are self-penetrating without the aid of developers. The do contain p-phenylenediamine and therefore require a 24/48 hour predisposition test. Like toners, they may be mixed with a packet of “balancing crystals” that are intended to neutralize the hair of any remaining alkalies in the strand that may encourage the pigment to dissipate prematurely. Semi-permanent colorings are available in a variety of forms, including mousse, gel, cream, and liquid. Shades run from dark to light in warm, neutral and cool tones as well as neon and exotic colors that are incorporated onto pre-lightened hair. These colorings have the capability of not only staining the strand, but penetrating through the cuticle into the cortex on freshly lightened hair for increased durability.

Best uses of semi-permanent color: ● Infuse pre-lightened hair with exotic colors. ● Tone pre-lightened hair to a more appealing shade. ● Low maintennance color changes with no damage to the strand

and no comittment to hair coloring retouches.

Temporary color rinses or shampoos are meant to last until shampooed away and are most commonly available in liquid, mousse or spray form or are incorporated with a shampoo base. They contain harmless pigment that has been certified by the Food and Drug Administration (FDA). Since they are harmless agents, they do not require a patch test. The size of the molecule they are made of is fairly large and will not penetrate into the hair strand. They attract to each other and cling to the outside of the cuticle layer until they become wet. They are used to cover gray, change the tone, or enhance the shade of the hair at or near its current level of depth. Using a color rinse of a deep blue black on hair that is a natural golden blonde will cause a drab muddy result with a dull or matte appearance. Likewise, using a red-violet base on hair that is predominantly gray will result in a cool pink tone.

Best uses of temporary color agents: ● Clients that want to soften or blend their gray hair who shampoo

their hair infrequently.


● Unusual or vastly different color changes for daily wear, costumes or special occasions.

● Clients that wish to tone down unwanted shades from water impuritites.

● Clients that need to refresh their faded ends between color service appointments.

Lighteners are bleaching agents that remove natural color pigment from the hair. They break up the melanin that they come in contact with. Lighteners are a mixutre of ingredients that work with 6 to 10% hydrogen peroxide to penetrate the strand. Ingredients such as ammonium persulfate, potassium persulfate and sodium persulfate provide a variety of pH reactions to adjust the strength of the product. Note that some lighteners are designed for off the scalp use only! Serious burns to the scalp could result if used incorrectly.

Blue and violet colored lighteners have a specific purpose. A lightener’s only job is to remove pigment. The product itself may have coloration such as blue or violet, but it is not a type of tint. Tint is usless when added to lightener, because the lightener would actually prevent the tint from oxidizing into the interior of the stand. However, in some products, the blue or violet coloration of the product will diminish or neutralize the appearance of brassy golds or yellows left in the strand during the lightening process. Choose products that contain blue or violet bases according to the underlying pigment found in the strand as follows: If your client has an abundance of underlying red in their hair and eye color, it will show up during the lightening process very early and the lightener may seem to stop working, so be sure to use a blue, as opposed to violet. The brassy golds rich in secondary orange are neutralized by blue in the levels 4 through 7. The lighter golds formed with primary yellows at levels 8 and above are neutralized from violet colored product. Choose violet for hair with little influence from underlying reds.

If lightening to extremely lighter shades, a double process may be necessary, whereby a blue based lightener is followed up by either a second application of lightener or a toner. A somewhat fragile strand will result; be sure the hair is strengthened prior to the service, and suggest frequent reconditioning treatments or provide the appropriate product for retail sale.

Best uses of lightening agents: ● On scalp lightening with a mild product and mid-level developer

for all over the head blondes. ● On scalp lightening with quick exposure to a mild product and low

level of developer to break the base of the natural shade before processing with a tint. Remove by shampooing, then dry with cool air before applying tint. If no shampooing is done, the remaining

lightener in the hair will be counterproductive to the depositing of the tint pigment.

● Off scalp lightening with foils, papers, or caps. Also used during ombre services or free hand painting in a baliage technique.

Developers are primarily a hydrogen peroxide base (H202) with other additives that assist in oxidizing hair color pigment. The pH of hydrogen peroxide as a hair coloring developer ranges from 2.5 to 4.5 depending on the volume and additives present. Other additives assist in stabilizing the product and maintaining a shelf life as well as aiding in viscosity or thickness. Developers are also known as catalysts, pronators, processing solutions or oxidizing agents.

Hydrogen peroxide developers are available in a variety of volumes which allow for customizing hair coloring tints and lighteners alike. The volume of hydrogen peroxide is a rating of strength based on the amount of oxygen gas present in the liquid of the product. For example, 10 volume strength of hydrogen peroxide contains 10 times the amount of gas to liquid for a ratio of 10:1. Ten volume is considered a low strength in the hair color arena. Forty volume is an increase of 40:1 ratio of gas to liquid and considered quite strong when dealing with the hair strand. Lower volumes contain enough oxygen gas to cause oxidation of artificial pigment within the hair strand for a lasting effect. However, they are not capable of sufficiently breaking down natural melanin to lighten the natural hair color.

General rule of thumb when choosing volume for tinting is as follows:Deposit only–up to 10 volume.Equal levels of lift and deposit–use 20 volume.More lift than deposit–use 30 volume.Mostly lift very little deposit–use 40 volume.

General rule of thumb when choosing volume for lightening is as follows:

On the scalp lifting–use 20 volume.Off the scalp lifting–use 30 volume.

Some manufacturers customize to volume of developers to work specifically with a line of lighteners. It is unwise to deviate from their recommendations.

Using higher than 30 volume developers with lightening agents is not recommended as the breakdown of the disulfide bond will result and the internal structure of the hair will be compromised.

This course was designed to bring to light the often forgotten elements of the hair coloring process. At times we do things simply because that has always been the way they were done. Hopefully a fresh perspective on the importance of foundational elements will inspire greater confidence and renewed diligence in protecting the hair shaft. It is, after all, the very fabric of our profession. Happy coloring!

References � Frangie, C.M., Botero, A. R., Hennessey, C., Lees, Dr. M., Sanford, B., Shipman, F., Wurdinger, V.

(2012) Milady Standard Cosmetology, New York, NY: Cengage Learning. � IBISWorld (2016). Hair Salons in the US Market Research (2016, August 31). Retrieved October 24,

2016 from http://www.ibisworld.com/industry/hair-salons.html.


7-HoUR ConTInUIng EdUCaTIon CoURSE foR ILLInoIS SaLon PRofESSIonaLSfinal Examination Questions

Choose the best answer for questions 1 through 30 and mark your answers on the Final Examination Sheet found on Page 29 or complete your test online at Cosmetology.EliteCME.com.

1. Parting directions, projection angles and distribution of the strand are the basic elements in developing textural structure in a hair cut.

¨ True ¨ False

2. Since it is not necessary to control the hair strand during haircuts place the comb near the ends for distribution.

¨ True ¨ False

3. Non-parallel cutting methods are used for specialized results - such as dramatic increases in length.

¨ True ¨ False

4. Parallel cutting with 180° projection from a diagonal line causes maximum increase in layer lengths toward the bottom.

¨ True ¨ False

5. Use the razor for perimeter guidelines when designs require maximum bulk in the foundation and border edges.

¨ True ¨ False

6. Review a customer’s records if they are available, before the customer’s arrival.

¨ True ¨ False

7. Booking a future appointment will not matter if you are good at what you do. Clients will call you.

¨ True ¨ False

8. Specialty services can be a matter of ability, training, product affordability, client base, and demographics.

¨ True ¨ False

9. Trendsetters face challenges such as advanced training, specialty insurance coverage, proper facility licensing, research, and expiring trends.

¨ True ¨ False

10. Classic cosmetologists are not affected when things change and advancements are made periodically by the regulatory agencies controlling the standards and practices of each cosmetology field.

¨ True ¨ False

11. Whether your contract contains a confidentiality clause or you have no contract, your personal use of ethics should prevent you from divulging information that is not yours to share.

¨ True ¨ False

12. The goal-setter guesses at what will work for their career. They never create a plan, or sets goals to achieve anything because things will fall into place.

¨ True ¨ False

13. You may be due for a raise if you have high retention rates, consistent referrals, you have received training, or you have great online reviews.

¨ True ¨ False

14. The purpose of evaluating the pricing structure for your business to become rich and famous.

¨ True ¨ False

15. Communication, environment, and appearance are three components of professionalism that will have a profound effect on the success of your business.

¨ True ¨ False

16. Excessively damaged hair with weakened disulfide bonds will appear to grab drab or ash tones when coloring.

¨ True ¨ False

17. Melanin is removed from the hair in exactly the same order that it is created.

¨ True ¨ False

18. Color arrangement as seen through a prism is described with the acronym ROYGBIV indicating placement of the colors: Red, Orange, Yellow, Green, Black, Indigo, and Violet.

¨ True ¨ False

19. Red is the only cool primary color. ¨ True ¨ False

20. A secondary color is placed directly across the color wheel from a tertiary color that is not part of its composition.

¨ True ¨ False

21. Color formulation involves only shades of color level; tones are not involved.

¨ True ¨ False

22. To add depth to a brown tint during formulation, use a blue based product.

¨ True ¨ False

23. Performing accurate assessments regarding hair qualities is not affected by the presence of product in the hair.

¨ True ¨ False

24. These concentration levels of the amount of pigment in a tint are known as parts per million or ppm.

¨ True ¨ False

25. When coloring longer hair, consider mixing two separate formulas and altering developer strength so as not to cause further damage to an already open cuticle on older hair ends.

¨ True ¨ False


26. Permanent tints perform 2 separate activities during their processing time: Lifting of natural pigment and depositing artificial pigment.

¨ True ¨ False

27. Temporary rinses are best for clients who shampoo their hair infrequently and want to soften or blend the gray in their hair.

¨ True ¨ False

28. When lightening the hair, the lighter golds formed with primary yellows at levels 8 and above are best neutralized from green based product.

¨ True ¨ False

29. The volume of hydrogen peroxide is a rating of strength based on the amount of oxygen gas present in the liquid of the product.

¨ True ¨ False

30. Using higher than 30 volume developers with lightening agents is a perfectly acceptable practice.

¨ True ¨ False

CIL07E16


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