hairdressing course

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cut
MODULE VIII Cutting Architecture

Student Handbook
 ISBN 978-85-66632-09-5

L'Oréal Brazil Cosmetics Commercial Ltd.

L'Oréal Professionnel Hairdressing Course

Student Handbook

Volume 4 – The Cut

Number of volumes 4

4th Edition

Rio de Janeiro

L'Oréal Brasil Commercial of Cosmetics Ltd.

2016
 Module VIII

CUT ARCHITECTURE

To achieve a perfect composition, a structure

harmonious, or to create a style, it is necessary to have good taste,
common sense, knowledge and experience.

So, to cut hair, scissors and a comb are not enough.

A professional cannot go around cutting hair just to then

see what happened. He needs to start from a well-designed project
and that meets the expectations of its customers.

This is the challenge for a good cutting professional. Knowing that the
the result of your project will be perfect, harmonious and stylish,
even before picking up your scissors.

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the cut

Chapter 1
RECORDING GEOMETRY
We know that to make a good haircut we cannot
use only instinct or creativity. It is essential to have a notion
basic of constructing a cut to then apply with skill and
creativity this knowledge.

The goal now is to uncover the mysteries of a haircut.

Starting with the notion of beginning, middle, and end.

Every movement executed during a cut has a purpose: the

result.

For every action

there is a reaction

CONCEPTS OF GEOMETRY

Some concepts of geometry will be used in the understanding of

gestural for the construction of a haircut.

LInHAsRETAs

Angles
Right angle = 90 degrees = 90° 90° in relation to the environment

90°
45°

90°

90º - Verticals and Horizontals

45º - Diagonals

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 Chapter 2
THE FORM
WHAT is THE shape?

Hairline

Strands of highlights

Finger lines

CONHECENDO A FORMA
Draw a straight line below, freehand.

Redesign, now, the extension of the line above into small pieces.

Conclusion:
For a good cutting job,

With this, we will have a cut as a result:

Balanced: _______________________________________________
• With accurate reproduction: ____________________________________

When we observe a head and its hair, we see that it has

a position of natural fall.

So, hair, when it grows naturally, takes the shape of the head.
Este é um fato que não podemos mudar. Cada cabeça tem seu formato
and the hair will have to respect that

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the cut

Chapter 3
Divisions

Divisions

If it is necessary to draw a straight line with precision,

fragment it, to perfectly design a hairstyle,
you should divide the head into smaller parts.

We will always use a reference point.

These are common places in the head of all people.

Vertical Division

LEFT SIDE – RIGHT SIDE

Taking as a reference the nose (front) and the end of the column
vertebral (nape), draw a straight line connecting these two points.

•PARTE DA fREnTE – PARTE DE TRÁs

To make this division, take the ears as a reference,
that are in the middle of space, between the center of the front
and the back center.

You can, if necessary, divide it into more parts.

Divide the back into two more parts.
Divide the front part into two more parts.

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Horizontal Division

In addition to vertical divisions, you can divide the head.

in horizontal lines.

Thus, create smaller parts to execute better

the hair cutting work.

Selling the head from behind we have:

Selling the head in profile we have:

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the cut

Chapter 4
Motions of Haircut

When we are cutting hair, we are rarely aware

what each MOVEMENT we make can really cause
in the form.
For every action
there is a reaction

Every time you remove hair from its NATURAL FALL, you will have a
effect on the haircut.

How many times do we start working on a cut with great care,

but when we finished, we found a different result than
what we expected.

To avoid incidents, we must know some factors

very important for us to make a cut with technique and not
only with creativity.

Technical cut
Desired result

We can define in three, the essential MOVEMENTS for the cut.

of hair.

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LOW TO HIGH MOVEMENT

Every time we remove a strand of hair from its position

natural fall and we take this lock upwards, even if it is
just one centimeter, we will have a result that we call
UNDERGRADUATION.
Bottom-up movement

We measure how much we elevate a strand, in degrees.

The higher the elevation

We can style a haircut with a subtle lift and have

a result of layers, only on the outline.

MOVEMENT FROM ONE SIDE TO THE OTHER

Every time we pull the strand from its natural fall position,
and we take from one side to the other, we will also have
a consequence.

We took a lock from the front,

we pull back and cut

We drove a wick to
in front of the head and we cut.

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the cut

When we move a strand forward or backward, we must

to have a reference guide.

The guide mech can be: fixed or mobile

fIxA

MOBILE

Take it forward until

the ears

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MOVEMENT OF FINGERS

When we hold the strand of hair to cut, we determine

a position for our fingers in relation to the strand of hair.

We can place our finger in a position:

Whenever we refer to the position

two fingers in the lock of hair, we will be
talking to oneself or to others

Like every movement, the position of the fingers also has

a consequence when we execute.

There is an increase or decrease in volume, according to the

position that we assume.
Fingers in
Diagonal inwards

Fingers in
Diagonal paraphrase

REPRODUCING THE HEAD FORMAT

If we want to reproduce the shape of the head in a cut

about hair, we will have a haircut:

For this to happen, we must respect the outline,

lifting the strand:

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the cut

Chapter 5
TEXTURE

When we design a haircut, we really need to

think like architects.

Before starting a project, every architect first checks the land,

in our case, the hair.

Then start carrying out the project; in our case, choosing the
movements that we will use:
Bottom-up movement;
From one side to the other; (side to side)
Finger movement.

All these components are part of the form.

Finally, the architect is concerned with decoration, the details.

For us, it's the time for texture, which is nothing more than details,
decorations, of our cut.

HAIR TYPES - Techniques and tools for TEXTURES

The textures bring to the form the idea of movement and lightness. We created
positive and negative spaces with these resources.
For example: To lighten the hair - feathery.

We have numerous ways to texture a shape, a haircut.

Techniques

Defied

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Zigzag

Sculpture

Twister

The hair must be dry and styled, according to

the cut, before we texture it.

At the moment of working on the form, we must be impeccable.

technicians. However, when it comes to texturing, it is time to use
our creativity and common sense.

90% - Technique
Corte / Cor / Penteado
10% - Artistic

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the cut

Chapter 6
PROJECT DEVELOPMENT
With the knowledge acquired, we can design a cut of
hair, that is, to make a prior plan of what we want and of what
we do not want, for our cut.
Maximum
Definition of lengths
Minimum

Verticals
Definition of the divisions
Horizontals

Below
upwards
Definition of the movements On one side
for another
Two fingers

Challenged
zigzag
Definition of texture
Sculpture

Twister

By organizing our work, it becomes much easier to get things right and
to ensure good results.
What we cannot do without:
Creativity
Adaptation of the haircut to the client's face shape and style (Visagism)
Common sense
Note: Before starting a cut, the professional needs to 'visualize'
(imagine) the result of the finished hair.
We developed a project model to facilitate and organize our work.

Treasury Management and Comb

Write below the tips from what was presented in practice.

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Before we start a haircut, we will always, first
lugar, montar o projeto.

PROJECT MODEL

PROJECT No:
MAXIMUM COMPRESSION:
MINIMUM COMPRESSION:
DIVISION:
LOW TO HIGH MOVEMENT:
MOVEMENT FROM ONE SIDE TO THE OTHER:
MOVEMENT OF FINGERS:
TECHNIQUE:

We will always use this project model.

Setting up the project will be the first step for us to carry out a
haircut.

Let's now develop three cutting proposals, using the techniques.

what we have accumulated so far.

We will work with:

Long cut
Medium cut
Short cut

Practice: The cuts will be made on the doll head.

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the cut
PROJECTS

PROJECT No: A Long Cut, one single length

MAXIMUM COMPRESSION: Below the shoulders
MINIMUM COMPRESSION: there isn't
DIVISION: Vertical
LOW TO HIGH MOVEMENT: there isn't
MOVEMENT FROM ONE SIDE TO THE OTHER: there isn't any
MOVEMENT OF THE FINGERS: Challenge
TECHNIQUE: there isn't

• Make the vertical division.

Start the cut from the back.
Let the hair fall in a natural position.
Take a diagonal section in the nape area,
one on the right side and another on the left side.
Do the same with the strands in the back area.
from the top.

On the sides, take horizontal strands and bring them to

the already cut pieces from the back and using them
as a guide, make the cut of the same length, without
to stretch the strand too much.
Proceed this way until the top.

Check the length.

Result: Long haircut, with a straight base,

in a single length.

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PROJECT No: B Medium Cut
MAXIMUM COMPRESSION: Shoulder height
MINIMUM COMPRESSION: Nose height
DIVISION: Vertical
MOVEMENT FROM BOTTOM TO TOP: 45 degrees
MOVEMENT FROM ONE SIDE TO THE OTHER: Sides to the front center
MOTION OF FINGERS: Challenge
TECHNIQUE: zigzag

• Choose a total length. Suggestion:

To better visualize the effects of the cut,
cut it at shoulder height.
Make a vertical division
Separate a 1 cm strand from the center at the back.
Use this wick as a guide.

Low movement
upward of 45 degrees
in this gear.

Repeat this movement around the head, removing

always the strands vertical, with movement,
back and forth.
Tip: To make sure you are not taking the hair
from side to side, keep the body always
in front of the strand that is being cut.
Determine a fringe length
• Join the length of the bangs with the Low movement
total length, bringing the hair forward above 45º
(movement from side to side) and cutting in
vertical line.

Result: Straight base cut, with a slight movement of

layers at the contour. bangs at the height of the nose.
Rounded sides.

we suggest the zigzag technique,

to give movement to the cut.

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the cut
PROJECT No: C Short Cut
MAXIMUM COMPRESSION: Nape height
MINIMUM COMPRESSION: Nose height
DIVISION: Vertical
LOW TO HIGH MOVEMENT: 90º in relation to the plane of the head
MOVEMENT FROM ONE SIDE TO THE OTHER: there isn't
MOTION OF ARMS: Challenge
TECHNIQUE: Defied

Separate a guide strand on the top of the head.

Make a movement from bottom to top, raising the
90 degrees. Cut with finger movement
horizontal (Parallel to the given point on the scalp).

This will be our guide strand

Repeat the movement exactly the same, taking out strands.

around the head, at the front, on the sides, in the
the back, finally, anywhere on the head.

Resultado:Cortecurtoarredondado,pois,reproduz
the shape of the head.

From now on, we will apply our knowledge to clients.

in real heads!

There are seven fundamental cut projects that we will reproduce.

at this stage; however, we have the freedom to execute, in addition to the content
required, as many cuts as we wish, during the practical classes.

We will be able to create new cuts using the knowledge we have acquired.

We will keep in mind that the more we cut, the more secure and
we will remain confident.

SUCCESS!!!

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 Chapter 7
PROJECT: 1 - Recommended for wavy hair,
curly or coily

PROJECT No: 1 Long

MAXIMUM COMPRESSION: Below the shoulders
MINIMUM COMPRESSION: Chin height
DIVISION: Vertical
MOVEMENT FROM BOTTOM TO TOP: 45 degrees
MOVEMENT FROM ONE SIDE TO THE OTHER: There is no (natural falling position)
MOVEMENT OF THE FINGERS: 45º inward
TECHNIQUE: TwisterandSculpture

Bring the hair to the center back and cut it to the same length.
below the shoulders, in a horizontal line.

Bring the bangs hair to the center of the front.

the cut at chin level, in a horizontal line.

Divisions: Vertical.

To start the cut, remove a guide section from the center back,
of approximately 2 cm. Execute the movements in this
put it on and use it as a guide, around the whole head.

• Connect the sides with

the fringe area.

• Technique: Twister suitable for

curly hair with volume.

TIPS: Dry your hair with a diffuser

and finish with sculpting technique. separation
mecha guide

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the cut
PROJECT: 2
PROJECT No: 2 Long
MAXIMUM COMPRESSION: Below the shoulders
MINIMUM COMPRESSION: Height of the eyes
DIVISION: Vertical
MOVEMENT FROM BOTTOM TO TOP: 45º
MOVEMENT FROM ONE SIDE TO THE OTHER: Fringe sides: movement.
For center front
Back movement: does not have

MOVEMENT OF FINGERS: 45º inward

TECHNIQUE: Defied

Start from the back.

Maximum length:
Bring all the hair to the center back and cut.
in a horizontal line below the shoulder line.
Because of the side-to-side movement that we end up
to execute, the result will be a longer line in
front part.
Since we don't want asymmetry for this visual, we must
align the perimeter.
Fringe length:
Cut, centering the lock at the height of the beginning of the nose.
Horizontal cut.
Brush your hair in its natural falling position.
At the center back, separate a 2 cm section.
Apply to this strand:
Bottom-up movement: 45°
• Side to side movement: None
Finger Movement: 45° inward
Separate parallel strands to this strand, coming in
direct towards the ears and apply the same movement.
Repeat the movements towards the right ear and
then repeat the movement towards the left ear.
Apply the same movement on the sides.
•Completed all the perimeter (back and side parts),
execute the side to side movement with the sides,
bringing the hair from this area to the front center.
Cut with a straight finger movement in a vertical line.
It applies technical zigzag in all areas.

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 PROJECT 3
PROJECT No: 3 Long
MAXIMUM COMPRESSION: Below the shoulders
MINIMUM COMPRESSION: Eye height
DIVISION: Vertical
LOW TO HIGH MOVEMENT: 45º above 90º
MOVEMENT FROM ONE SIDE TO THE OTHER: There is no (natural falling position)
MOTION OF FINGERS: 45º inward
TECHNIQUE: Sculpture

Start from the top.

Separate an initial tuft at the top region,

at the center of the back of the head.
Repeat the same movement to the nape area.

Separate vertical sections, of about two cm each,

and proceed in the same movement.

To work on the sides, proceed in the same way.

• We left the frontal top region for last,

where we make a movement from bottom to top of 90°.

To join the sides with the top,

perform the 90° lifting movement.

Adjust the length of the bangs.

Technique: Zigzag.

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the cut
PROJECT 4 - VARIATION OF PROJECT 2
PROJECT No: 4 Medium
MAXIMUM COMPRESSION: Shoulder height
MINIMUM COMPRESSION: Height of the eyes
DIVISION: Vertical
MOVEMENT FROM BOTTOM TO TOP: 90º
MOVEMENT FROM ONE SIDE TO THE OTHER: Sides to the front center
MOVEMENT OF FINGERS: 45º inward
TECHNIQUE: Challenged

Bring the hair to the center back and cut it at the

shoulder height.
The result will be greater length on the sides and front.
In this case we do not want this asymmetry, so we agree.
the perimeter.

Separate the bangs and cut them at the height of the beginning.
of the nose.

Horizontal Division: top and back

Work the entire hair, back part, making movement.

from bottom to top at 90˚.

• Make the same movement with the hair in the top area.
We will have more layers than in the projects.
previous.

Bring the hair from the sides to the center in the front.
and connect with the fringe.

Technique: Disguised

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 PROJETO: 5
PROJETOnº: 5 Medium
MAXIMUM COMPRESSION: Nape height
MINIMUM LENGTH: Eye height (optional)
DIVISION: Vertical
MOVE FROM BOTTOM TO TOP: 45 degrees
MOVEMENT FROM SIDE TO SIDE: To the back center
MOVEMENT OF FINGERS: 45º parafora
TECHNIQUE: zigzag and sculpture

Bring all the hair to the center back,

inclusive the sides.

Horizontal cut at the nape of the neck.

Due to the side-to-side movement performed, we will have
a longer perimeter at the front.

Bring all the bangs to the center, at the height

from the beginning of the nose.

Horizontal cut.
By having executed the side-to-side movement, we will have
as a result, a longer fringe at the ends.

• Make the vertical division.

Start at the nape, taking the section out

diagonal line.

After the diagonal separation, take a strand.

to be cut vertically in the center of the back.

Cut with approximately 4 cm in length.

Movement upwards at 45º.

Finger movement 45º outward.

mexa of
This will be our guide strand. diagonal

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the cut

Continue taking diagonal strands.

Make the movement from bottom to top at 45˚ and

side to side movement to the center back.

Once the back of the neck is done, continue to take sections diagonally.
and take it to the back center and repeat the finger movement.
Make the entire back and sides, repeating the same ones.
movements.

In this case, we will not blend the bangs with the sides.
Leave it to soften the disconnection with the movements of
techniques.

Technique: Zigzag and sculpture.

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 PROJECT: 6

PROJECT No: 6 Short

MAXIMUM COMPRESSION: end of the neck
MINIMUM COMPRESSION: Height of the eyes
DIVISION: Horizontal
MOVEMENT FROM BOTTOM TO TOP: 90° Head planes
MOVEMENT FROM ONE SIDE TO THE OTHER: there isn't
FINGER MOVEMENT: 45º inward (nape)
45° outward (occipital and lateral)
Reto (top and front top)
TECHNIQUE: Sculpture and Challenge

Start the cut at the nape at a 90° angle with movement.

two fingers diagonally inwards

With horizontal division, separate the occipital and lateral and cut.
in the plans of the head with finger movements in
diagonal outward.

Repeat these movements around the entire head.

At the top, change the finger movement to straight.

Continue with the same movements throughout the area

from the top and front top.

With dry hair, proceed with the texture technique.

• Technique: Sculpture. At this moment,

the band must be adjusted in length
desired. This cut suggests length
below the eyes to the bangs.

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the cut
PROJECT 7 - VARIATION OF PROJECT 6
PROJECT No: 7 Short
MAXIMUM COMPRESSION: Danuca's beginning
MINIMUM COMPRESSION: Height of the eyebrows
DIVISION: Horizontal and Vertical
MOVEMENT FROM BOTTOM TO TOP: 90º head plan
MOVEMENT FROM ONE SIDE TO THE OTHER: For the already cut section
(top and front top)
FINGER MOVEMENT: There is no (head plan)
TECHNIQUE: Sculpture and Defiance

In this case, we will use the comb/scissors technique.

We will use all vertical and horizontal divisions.

Without parting the hair.
2cm

For the men's haircut, we should pay special attention.

for the finishes.
We can start with the chops.

We will remove a section around the ears.

We continue with the reproduction of the head plan in

direction to the back, nape, and sides.

At the top, movement from bottom to top 90°.

With the hair from the bangs area, make the movement to
the section has already been cut.

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[Link]