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Explanation of BOB haircut in detail.
Firstly, observe the triangular shape below the occipital bone. This is the final cut and the effect after trimming. Prior to this, there should be a trend from bottom to sides. The first section is a small hollow below the occipital bone. From this hollow, partition lines are drawn towards both sides [A]. At this point, you will find that the diagonal partitioning is more pronounced and harder. As it progresses upwards, it gradually becomes more curved. When pulling out the first section for trimming, we need to make four cuts. Why? Because the entire section has a curve once finished. This curve is also the most prominent point of the head shape. If you make it too hard without cutting a rounded line, this part of the hairstyle would appear sunken due to the skeletal structure. Therefore, we need a sufficient amount of hair to naturally fall and fill in this concave area. Sometimes, it may slightly bulge out, but don't worry, it won't feel like it's being pulled up. No matter how thick you cut, there will always be some lifting action because it rotates 360 degrees and looks better (many hairstylists just make one cut without considering the skeletal factors). In the second step of partitioning, the point is slightly higher. Make the first cut at this position, then re-lift the hair section. Actually, when your hand re-lifts the hair section, it gives you room to let the length remain longer. Then pull again and cut. The first cut is shorter, the second cut is longer, the third cut even longer, and the fourth cut tucks in. On a real person's head, you can make six cuts, making the curve smoother. Four cuts are still relatively hard because the length of each cut varies among individuals, so your proportions will change accordingly.
Similarly, when we finish the second section and move on to the third section, pulling out the hair section, you'll notice the middle part is longer while the sides are shorter. Before cutting, anything goes. But your clear concept should be an expanding triangle circle above the occipital bone. Above the occipital bone, it expands, and now it contracts. Ensure the cutting line is parallel to the boundary line. This is your parallel. You'll find your hand moves gradually from high to low, downwards. One cut, two cuts, three cuts, four cuts. When making the fifth cut, we place our hand bones close to the person’s body. Then use finger stretching to ensure the roundness of the skirt rotation. After finishing the cut, directly trim the guiding lines from the side. When reaching the third section, you already have the guiding lines from the side operation. The advantage of finishing this cut is that many times, even Vidal Sassoon wouldn’t teach you this method because they fear students might get confused. So why isn't your hand position parallel to the boundary and cutting lines in this final step? For this particular hairstyle, your head-moving action. Because you still need to cut this line, if you don't do this action, your line after cutting will be too heavy. When using thinning scissors, it might look nice, or create layers that don’t connect. At this moment, handle it with a finger shift. The feeling of cutting a bay line is very soft. The characteristic of making a circle is to shorten the cutting line, which is the only thing forcing us to achieve this. When your scissors extend the cutting line too long, no one can do it. Why? Because angles will produce sharp edges, lacking smoothness. The purpose of making a circle is that head shapes vary in size. We hope it creates different circles according to the era, making it slimmer and more beautiful. After finishing the third section, moving upward, the fourth section becomes crucial. When you reach the fourth section, you'll notice it reaches the occipital bone position, but our corner line is still below the occipital bone. You need to clearly understand that your hand movement is from high to low. Also remember, your hand at this position above the occipital bone is not a single point but a two-centimeter-long line. When cutting the middle part, our hands are level making two cuts. Then slowly tilt, relying on fingers to release. The purpose of releasing is to make a circle. Different angles exercise your hand control over the hair sections. This is the circle you cut, smoother and more rounded. The hair section partitioning is from high to low, and the hand also lowers from high. The only difference is the first cut is parallel, the second cut is downward, these are unchangeable.
Sections three and four have already turned hands. Does the fifth section turn the hand? It must. Why? Because you already have guiding lines. When these guiding lines come down, they're not as large or strong as the third section, but still have a slight inward feeling, then slowly move upward section by section. When we reach around the sixth section, we've already extended from back to the side. Remember, the boundary line of the first section must be thick, the side is One Length. The guiding line on the side has some changes here, but it always maintains a diagonal arc, gradually becoming One Length. It is never flat. When we reach eight to nine sections, it gradually becomes a parallel line. On the head, it forms a [U]-shaped section, all finding natural falling points, with no straight lines. Straight lines in books are planar, heads are three-dimensional geometry. This head shape has a weakness: pointed heads aren't suitable, attention should be paid.
b. Round Gradually accumulate weight following the head shape. The explanation of Round is circular. The head shape is front high and back low. The most representative work in this technique is shake. Below, I will explain the detailed cutting process of shake. It is a technique that must be learned in the classic Vidal Sassoon course. The accumulation of rounds focuses on knowing the 0-degree direction around the hairline. From 0 degrees to 90 degrees, gradually changing, following the head shape on a cylinder, finally letting it drop and accumulate.
Shake begins by establishing the outer line shape, following the shape of the head, building the internal structure. That is, a three-dimensional space. When each section is completed, it forms a three-dimensional circle. When looking at the whole head, it appears as a circle, up and down as a circle, left and right swaying as a circle, the outer line composition is also a circle (outer ring line). What kind of circle? An ellipse. Not equal lengths. The biggest challenge for everyone is the ellipse. The only thing that can help memorize is the position of the occipital bone. Every hair section at the occipital bone position is the longest strand. Going up from it forms a circle, going down forms another circle. At this point, you'll find that the hairlines at the forehead and ears are relatively short, while the middle expands in length.
Assume there is a bowl of fruit on the table, a pile of orange segments, possibly five oranges, you'll see the ends are pointed, the middle narrow, in this hairstyle, it's stretched into a long Xinjiang watermelon, an elliptical shape, and the most important part of this ellipse is the occipital bone. When trimming the first section, you'll find all the hair is at 0 degrees because after cutting, no further changes are needed. When cutting these strands, we must find the natural falling point, and our cutting line must be parallel to the boundary line. The result of parallel cutting will definitely form a circular arc with a forward-short and backward-long shape, without any gaps. We often fail when finishing this style, finding missing parts. There are many reasons for this: either the hand wasn't properly lifted, or it was slightly moved forward. After cutting, you may ask the teacher, "I moved forward, it became longer." You'll find that the connection of lengths differs from direct cutting, not about how pretty the hair looks, but rather about having high control over the circular arc direction after cutting, which slows down the length your scissors cross. Your cutting should become a point-by-point action for the best results. Another point is when trimming the external contour, the hand position lifting and rotating the hair section causes your hand bones to slightly separate. Different hand controls give different results. The second section has a lift, approximately 30 degrees, meaning there's a 30-degree difference between the second and first sections. When dropped, it's not a cover but light. 30 degrees for the second section, then 40, 50, 60, 70, 80, 90 degrees. Where is 90 degrees? At the occipital bone position, and for each section of hair, at the occipital bone position, you'll find the third section slightly higher, the fourth lower, the fifth, sixth, and seventh almost on the same horizontal line. You'll notice the occipital bone and the removal of weight above it forms a circle when cut open. Together, below is a pile-up, above is a removal of weight, meaning the circle follows the head shape, cutting into a circle. The difficulty lies in when we cut to the third section, at this time, there is no guiding line below the outer line. Its guiding line is the point where the second section falls, and the guiding line of the third section is also the guiding line of the outer line, finding that circle yourself. So when connecting internally, it forms externally after falling, continuing the circular outer line. Thus, you must consider the length of the last strand of hair and the previous lifting angle, discovering each strand while fixing the circle up and down, left and right, transforming from 0° to over 90°, making it extremely difficult. When trimming the fourth section, and then the fifth, sixth, and seventh sections, they are all open. Why? Because each section contains 0 degrees, as it connects the overall circular arc appearance. Many people don't bring in the last section.
Your arc turns into a bend, stopping, requiring higher control. The fifth section connects upward, cutting 3-5 times. Next, it's not the position of the fourth section, but the position of the fifth section, then turning the hand inward to cut, forming a pocket-like circle. A three-dimensional object requires body rotation. The sixth and seventh sections continue to connect upward, slowly closing, forming a circular feeling. Cutting this head shape with nine sections makes it easier. The other half is the same, using the trimmed side as a guiding line, checking with a cross placement, which is G, BOB's section.
C. Square Gradually accumulate weight, inside with corners, bottom short top long 1-89°
Square refers to the square surface pulled up. The purpose of making it square is to preserve the length on both sides. The head shape is curved, commonly used at the back of the head. The lower hair pushes the longer hair, forming a full contour.
3. Layet Remove weight??? Layet means layer, angle 90°—90° above
a. Classic/square? Remove weight from all four sides of the head (top, back, right, left)
Classic means classic, square square, angle is 90°
In this technique, the classic square Layer BOB, explained below in the essential practice techniques of the classic course.
Just pull all the hair to the back. This hairstyle can be done accumulating and removing weight. The square removes weight, telling everyone that length can change visual perception. First, divide the head into a one-length Bob section. There are several main sections simplified. The first section is still a bridge-shaped arc, cutting the desired arc, this arc will be smaller because later, the weight from above will be removed. Too large an arc will lack balance. Divide into A, B, C zones. Zone A is divided just above the occipital bone, pulling completely different bone structures to the same plane, positioning the hairline. The trimming of zone A hair is quite challenging. How to choose the length of the first strand of hair behind is the key to the entire hairstyle, which is the fusion point of zones B and C (the corner line position). When it naturally falls on the occipital bone forming an arc, if this strand is cut too short, it becomes flat, sticking, losing the full feeling. Therefore, it must be lifted 90°. When it naturally falls, it forms fullness. When doing it for clients, there are changes and combinations. Here is a pure technique, making squares involves Overdirection, that is 2"1, 3"2, 4"3, 5"4, pulling the fifth section of hair to the back, the outer line length must be preserved. The hairline of the fifth section is quite high. Pulling too much or too little will change the outer line length. Zone B, with the side volume, refers to the volume before the corner line. All the side hair is pulled to the back, preserving the Bob outer line. The purpose of making a square is whoever pulls farther, preserves its length to the limit, horizontally and vertically, practicing control. The thumb always points in the direction you want to cut. Zone C will have the front and rear hemispheres. The spinning part is the rear hemisphere, with many [7]s or [corners]. If connected well, it has a good effect. Let the hair quantity of the spin area out, the irregular [7] section is divided according to the hair flow direction, pulled towards [A] point, not too thick, with a bit of lift, the side is an arc, with one-finger lift, falling down provides a full occipital bone.
B. Round Circular Each section maintains the same length and proportion, does not arbitrarily increase or decrease internal weight, must be lifted 90°, equal length, each strand is the same length. Considering the differences in bone structure, the direction of each lift is also different, 90° is also vertical pull out.
C. Concave Concave surface, reverse curve, head shape is inner arc, this is the opposite direction, also refers to the surface, contrary to the natural head shape direction curve, middle short, sides long. The function of this technique is to preserve the outer line beyond 90° to the extreme, usable anywhere on the head, colloquially removing weight in a triangular shape.
4. Combination Combining several or all factors of the above three cutting techniques, hairstyles embody beauty, impossible to use only one technique, based on bone structure, creating different hairstyles, lines, structure, and geometric shapes become the three elements of Vidal Sassoon's creativity and inspiration, three techniques, nine variations.
Graduation Accumulate weight. Two reasons for using Graduation.
1. Change volume.
2. Movement Change dynamic movement
Accumulating weight angle is below 89° selection is wide open. Hairstyle embodies dynamics, volume, and texture. & nbsp; & nbsp;
Three ways to create Graduation T.O.E.
T: Tension applied to the hair. (Any force) Tension always exists.
Tension determines the main characteristics of the line. Tension determines whether the outside is clean. Tension should ideally be as small and uniform as possible. Use a wide-tooth comb to brush the hair. Small-tooth combs vary. Hair pressure differs depending on dryness/moisture, elasticity, and effects. But tension always exists. Hair effects differ, hair elasticity differs, no standard. Tension size has no standard and cannot be measured, only self-awareness.
O: Overdirection pulling hair away from the natural falling direction, used to create dynamics.
One hair has four directions. O controls the geometric shape of the horizontal plane, simply left-right issues. 2→1. 3→2. 4→3 is a square face. 2→1. 3→1. 4→1 is a triangular face. Dynamics have short pushing long.
E: Elevcotion-lift. Used to create volume.
Controls the geometric shape of the hairstyle's vertical plane. Issues of upper/lower space, also determining the length of the outer line.
The higher the angle, the lighter the volume, the smaller the angle, the heavier the volume. 45 degrees is commonly used in weight accumulation, though not the most standard. 45 degrees is easy to find. The hairline hair also determines the length of the outer line.
Head Shape Diagram Key Points
Major section - Main partitions indicated by thick lines. Three types: horizontal, vertical, diagonal.
Horizontal partition: Helps establish weight.
Vertical partition: Removes weight.
Diagonal partition: Helps establish hairstyles with round momentum.
Haircuts should maintain parallel with the final hairstyle's outer shape, partition sizes should be moderate, controlling hair and capturing guide lines. Partition size depends on the cutting technique used.
Section/ Subsection ——
Cutting line ——
Direction the hair is pulled —— Uses Overdirection
Hair pulled straight out ●
Hairline ~~~~~~~ Determines the length of the outer line
Scissor over comb —— Slicing slope
Vidal Sassoon's three techniques, nine variations Circle Square Triangle
Only the classic Vidal Sassoon can change hairdressers, the classic Vidal Sassoon is the foundation for hairdressers.
In the overview of Vidal Sassoon techniques, there are three parts, the first one lengthth is achieved by 0-degree natural fall reaching the outer line.
Horizontally, it's square, front short back long following the head shape is round, finding every natural fall, triangle is front long back short, their boundary is the corner line behind the ear, in weight accumulation it's 1 to 89 degrees, square is pulling to one face, middle short sides long, internal with corners, making square is preserving the length on both sides, round follows the head shape,
Triangle is the GBOB of 1965 with a 45-degree requirement below the occipital bone, above the occipital bone pulling towards the occipital bone,
The third technique is LAYER layering, removing the classic square. Four faces can be removed, or all hair can be pulled to any one face, 90 degrees, the round technique requires equal 90, Concave means concave surface, middle short sides long, reverse curve. The technique of extremely preserving the outer line, finally is the dynamics T O E, T is tension,
O is the geometric shape of horizontal space, E is the geometric shape of vertical space.
Classic Vidal Sassoon accumulation G BOB can be done this way.
G BOB Similarly, when we finish the second section and move on to the third section, pulling out the hair section, you'll see the middle part is longer, the sides are shorter. This is after cutting, before cutting, anything goes. But your clear concept should be an expanding triangular circle. Above the occipital bone, it expands, now it contracts. Ensure the cutting line is parallel to the boundary line. This is your parallel. You'll find your hand moves gradually from high to low, downwards. One cut, two cuts, three cuts, four cuts. When making the fifth cut, we place our hand bones close to the person’s body. Then use finger stretching to ensure the roundness of the skirt rotation. After finishing the cut, directly trim the guiding lines from the side. When reaching the third section, you already have the guiding lines from the side operation. The advantage of finishing this cut is that many times, even Vidal Sassoon wouldn’t teach you this method because they fear students might get confused. So why isn't your hand position parallel to the boundary and cutting lines in this final step? For this particular hairstyle, your head-moving action. Because you still need to cut this line, if you don't do this action, your line after cutting will be too heavy. When using thinning scissors, it might look nice, or create layers that don’t connect. At this moment, handle it with a finger shift. The feeling of cutting a bay line is very soft. The characteristic of making a circle is to shorten the cutting line, which is the only thing forcing us to achieve this. When your scissors extend the cutting line too long, no one can do it. Why? Because angles will produce sharp edges, lacking smoothness. The purpose of making a circle is that head shapes vary in size. We hope it creates different circles according to the era, making it slimmer and more beautiful. After finishing the third section, moving upward, the fourth section becomes crucial. When you reach the fourth section, you'll notice it reaches the occipital bone position, but our corner line is still below the occipital bone. You need to clearly understand that your hand movement is from high to low. Also remember, your hand at this position above the occipital bone is not a single point but a two-centimeter-long line. When cutting the middle part, our hands are level