META MEN - Pivot Point

EXPANDING OR
PERFECTING YOUR
RANGE OF TECHNIQUES
THAT ARE GEARED TO
THE MALE CLIENT, WHILE
BEING ABLE TO WORK
IN AN EFFICIENT AND
TIMELY MANNER, WILL
WIN YOU NEW CLIENTS
AND THE UNENDING
LOYALTY OF YOUR
CURRENT CLIENTS.
SUBTLE
CHANGES IN
TECHNIQUE,
STYLING OR
PRODUCT USAGE
CAN ALTER
EACH LOOK
TO UNIQUELY
EXPRESS
YOUR CLIENT’S
OWN STYLE.
The male client can present something of a challenge to the salon professional. On one hand…he might be
laid back and relatively unconcerned about his looks. He’s a “guy’s guy” who either doesn’t want to spend
any time on his hair or wants it to look like he didn’t. On the other hand, he can be fastidious about detail
and want a haircut that is perfect. He sees his hair as one component of his look and it needs to be as
immaculate as the crease in his trousers or the shine on his shoes.
It’s your job to meet the needs of the client at either end of this spectrum, as well as all the others in
between and beyond. Expanding or perfecting your range of techniques that are geared to the male client,
while being able to work in an efficient and timely manner, will win you new clients and the unending loyalty
of your current clients.
You understand that guys want to look like…guys. So you want to accentuate the features that will make this
most apparent. Lean shapes that accentuate angularity. Weight placed carefully to avoid excessive width.
Rounded shapes can work too, with enough perimeter weight or narrowness in the exterior to maintain that
masculine edge.
The eight sculptures featured in this collection are categorized as Classic and Contemporary. The classic
sculptures feature tall, lean shapes that easily fit into a timeless men’s look without being too conservative.
The contemporary looks may be slightly less traditional, but use strong techniques and proportions to create
modern, masculine looks. Of course, each sculpture can be adapted to suit the particular needs of your
client—subtle changes in technique, styling or product usage can alter each look to uniquely express your
client’s own style.
The sculptures and techniques in Meta Men will easily become part of your repertoire and ensure your
success as a salon professional.
THE SCULPTURES
AND TECHNIQUES
IN META MEN
WILL EASILY
BECOME PART OF
YOUR REPERTOIRE
AND ENSURE
YOUR SUCCESS
AS A SALON
PROFESSIONAL.
FASHION | TECHNICAL
| 70 CHRIS
10 | 76 ISAIAH
16 | 82 MICHAEL
22 | 88 ALEX
28 | 94 EVAN
34| 100 DAVID
40 | 106 ADAM
46 | 112 JAMES
04
CONCEPT
DESIGN ASSESSMENTS
52
118
MICHAEL
16
| 17
18
| 19
20
| 21
MICHAEL
THE PLAN
• EXTERIOR: MEDIUM-HIGH GRADATION
• INTERIOR: GRADUATED LENGTHS;
UNIFORM AND INCREASE LAYERS
THROUGH THE TOP
BEFORE Michael wants a clean shape that will give him some easy styling
options. A strong, classic angular shape will accentuate his features.
01 The interior and exterior are divided slightly above the crest with a
horseshoe-shaped parting.
82
| 83
02 Use the wide teeth of the cutting comb,
perpendicular distribution and 90˚ projection.
Move the comb up and away from the head at
a medium-high angle while sculpting parallel to
the comb.
03 Distribute the lengths down before moving
the comb and shears upward again. Work toward
the ear using the previously sculpted lengths as a
guide. Follow the same line of inclination.
04 Work toward the back. Maintain a consistent
angle and a medium-high line of inclination with
the shear-over-comb technique.
05 Work toward the left side using the back
lengths as a guide. Sculpt parallel to the comb
with the same line of inclination for symmetry.
06 Continue to sculpt the left side. Bend the
ear forward as needed to remove hair along the
perimeter. Work to the front hairline to complete
this first step of the gradation.
07 Move to the right side. Comb the hair back and
use the tips of the shears to refine the perimeter
following the hairline. Then direct the lengths
forward and outline, following the natural hairline.
08 Then, use the finer teeth of
the sculpting comb to refine the
gradation with the shear-over-comb
technique.
09 Work to refine the perimeter
and line of inclination. Bend the ear
forward and outline carefully with
the tips of the shears.
10 Position the comb diagonally
behind the ear. Gradually turn
the comb in a pivotal motion and
continue sculpting parallel to the
comb.
11 Adapt to irregular growth
patterns by moving the sculpting
comb in the opposite direction
of the growth pattern. If hairline
lengths grow upward, distribute
the hair downward while using the
shear-over-comb technique.
12 Work through the back adjusting
the position of the comb and shears
to blend the growth patterns.
13 Work toward the left side.
Maintain a consistent line of
inclination while working upward
to the sectioning line.
14 Bend the ear forward to outline
carefully around the left ear. Outline
in front of ear and blend the
sideburn area into the side.
15 To refine the nape hairline, use
a taper comb and trimmers. Place
the trimmers against the skin and
use the overcomb technique as
needed to complete the exterior.
84
| 85
16 Subsection the interior with a horseshoe-shape at the center top. Take
a vertical parting above the right ear, distribute and project the hair at 90˚
from the bottom of the parting. Position your fingers nonparallel and sculpt
to create a length increase. Take the next parting. Use a mobile design line
with the same projection and sculpt.
17 Shift the front hairline lengths
back to the previously sculpted
parting and sculpt to achieve a
length increase.
18 Then work toward the center
back with vertical partings. Distribute
and project the hair at 90˚ from the
bottom of the parting and sculpt
using a mobile design line.
19 Repeat the same techniques on the opposite side. Work from the ear to
the front hairline and then to the center back.
20 Take a horizontal parting in the
top. Distribute straight up, position
your fingers horizontally, use a
length guide from the previous
section and notch parallel.
21 Work toward the front. Shift the
last parting at the front hairline back
to the previous one and notch to
create a length increase in the fringe.
22 Distribute the fringe lengths
forward, use low projection with
a horizontal finger position and
notch to remove the corner. Blend
to either side.
23 Use the clippers against the
skin from the lower neck to the
lower jawline. Work from either side
to the center with the trimmers.
24 Then outline the facial hair in the
cheek area. Position the trimmers
against the skin and remove the hair
on the cheek.
25 Apply a styling pomade and
create a side part. Use a 9-row
brush to direct top lengths up and
away from the face. Direct the
sides and crown down and allow
the hair to dry naturally.
86
| 87
DESIGN DECISIONS
MICHAEL
Draw or fill in the boxes with appropriate answers.
SHAPE
HEAD POSITION
TEXTURE
PARTING
STRUCTURE
DISTRIBUTION
SECTIONING PATTERN
PROJECTION
FINGER/TOOL
POSITION
SIDES/EXTERIOR
DESIGN LINE
MOBILE/STATIONARY
N/A
INTERIOR
MOBILE/STATIONARY
TOP
MOBILE/STATIONARY
FRINGE
N/A
TOOLS
N/A
N/A
RUBRIC
MICHAEL
This Rubric is a performance assessment tool designed to measure your
ability to create Pivot Point sculpture designs.
NAME DATE
PREPARATION
COMPETENT
• Assemble sculpting equipment
NOT
COMPETENT
CREATE
• SECTIONING: Section interior from exterior with a horseshoe-shaped parting slightly above crest
• SIDES/EXTERIOR: Gradation - head upright; perpendicular distribution, 90˚ projection; position shears
parallel to comb; shear-over comb technique at medium-high angle with wide teeth of sculpting comb;
sculpt to establish line of inclination; distribute lengths downward then repeat movement; work from
right front hairline to center back and to left front hairline
• PERIMETER SIDES AND BACK: Comb hair at front of ear back; use tip of shears to refine perimeter hairline;
direct front lengths forward; outline following natural hairline; outline around ear; refine gradation using
finer teeth of comb and shear-over-comb technique; work toward ear; position comb to adapt around perimeter
and irregular growth patterns; work through back, maintain line of inclination up to sectioning line; work to
opposite side; outline around ear and front hairline • NAPE HAIRLINE: Refine using taper comb and trimmers; place trimmers against skin, use overcomb
technique as needed
• INTERIOR: Subsection narrow horseshoe shape; part vertically above right ear; distribute and project 90˚
at bottom of parting; position fingers nonparallel; sculpt length increase toward top; use mobile design;
work to front; shift front hairline back to last parting; work toward center back; repeat on opposite side;
work from ear to front hairline then ear to center back
• TOP: Horizontal partings; distribute up, position fingers horizontally; notch; use mobile design line;
work from crown to front; shift last parting back • FRINGE: Distribute lengths forward; project low; position fingers horizontally; notch; blend to either side
• FACIAL HAIR: Tilt head back; position clippers against skin; move upward; work to center;
repeat on opposite side; refine with trimmers; outline cheek area with trimmers
TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 9 = __________________________%
NOTES FOR IMPROVEMENT
122
| 123
MEN
EXECUTIVE MANAGEMENT
JAN LAAN VICE PRESIDENT, INTERNATIONAL BUSINESS DEVELOPMENT
CORRINE PASSAGE SENIOR VICE PRESIDENT, PRODUCTION & SYSTEMS DEVELOPMENT
KAREN WILKIN-DONACHIE CHIEF EXECUTIVE OFFICER
PRODUCTION
MELINDA BENOIT PRODUCTION COORDINATOR
BRIAN FALLON EDUCATIONAL CONTENT SUPERVISOR
ANNA FEHR EDUCATIONAL TECHNOLOGY MANAGER
SABINE HELD-PEREZ SENIOR DIRECTOR, PROGRAM DEVELOPMENT
MELISSA HOLMES PROGRAM DEVELOPMENT ASSOCIATE
AMY HOWARD PROGRAM DEVELOPMENT COORDINATOR
JOANNA JAKUBOWICZ GRAPHIC DESIGN ASSOCIATE
CHARLES KUSHNER GRAPHIC DESIGN ASSOCIATE
MATT MCCARTHY PRODUCTION MANAGER
VIC PICCOLOTTO PROGRAM DEVELOPMENT ASSOCIATE
DAVID PLACEK SENIOR PHOTOGRAPHER, VIDEOGRAPHER
BENJAMIN POLK EDITORIAL ASSOCIATE
TINA RAYYAN PRODUCTION DIRECTOR
MARKEL RICHARDS PROGRAM DEVELOPMENT ASSOCIATE
RICK RUSSELL GRAPHIC DESIGN ASSOCIATE
MAUREEN SPURR EDITORIAL MANAGER
CSABA ZONGOR GRAPHIC DESIGN ASSOCIATE
GEORGE ACCATTATO HAIR DESIGNS AND EDUCATIONAL CONSULTANT
THERESA DEMARIA FASHION STYLIST, ARTISTSBYTIMOTHYPRIANO.COM
FRAMEONE VIDEO PRODUCTION, FRAMEONE.COM
ROMMY NAJOR MAKEUP ARTIST, ARTISTSBYTIMOTHYPRIANO.COM
DAVID RACCUGLIA CREATIVE CONCEPT AND FASHION PHOTOGRAPHY,
DAVIDRACCUGLIA.COM
MARCIN WAWRZYCZEK VIDEOGRAPHER, MARCIN.TV
Copyright © 2012 Pivot Point International, Inc.
ISBN 978-1-937964-04-7
1st Edition | 1st Printing, April 2012
Printed in Hong Kong
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