META MEN - Pivot Point International

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
CHRIS
4
|5
6
|7
8
|9
ISAIAH
10
| 11
12
| 13
14
| 15
MICHAEL
16
| 17
18
| 19
20
| 21
ALEX
22
| 23
24
| 25
26
| 27
EVAN
28
| 29
30
| 31
32
| 33
DAVID
34
| 35
36
| 37
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ADAM
40
| 41
42
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JAMES
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The male client has always had a strong place in the hairdressing Industry. Previously, specialized male
salons or barbershops were the only place for men to go to receive adequate hairdressing services with
masculine outcomes. Unisex salons are most common in today’s industry. This requires every hairdresser
TRULY
UNDERSTAND
THE NEEDS
AND WANTS
OF THE
MALE SALON
AUDIENCE
to be able to provide salon services to the male clientele.
For those salon stylists, who truly understand the needs and wants of the male salon audience, an amazing
opportunity is offered. Research continues to prove that male clients visit the salon more frequently and
once they feel they found their stylist, they are incredibly loyal.
Meta Men offers you insight into the characteristics that make a hairstyle masculine and helps you develop
your planning skills for masculine haircuts. Followed by an up-and-close look at the techniques that need to
be part of your standard repertoire of skills when performing male haircuts, you will stretch your knowledge
even further by having a look at the additional technical skills that can set you apart as a master in servicing
male salon clients.
IN META MEN YOU WILL
FIRST
EXPLORE THE CHARACTERISTICS THAT MAKE A CLASSIC MALE HAIRSTYLE.
THEN
LEARN TO PLAN YOUR MALE CLIENTS’ HAIRCUTS TO EFFICIENTLY CREATE THE RESULTS YOU
AND YOUR CLIENTS HAVE DECIDED UPON.
FINALLY
LEARN THE INS AND OUTS OF THE TECHNICAL SKILLS YOU WILL NEED TO OFFER A SUPERB
SALON EXPERIENCE TO YOUR MALE CLIENTS.
MALE STYLE
CHARACTERISTICS
There is no denying it: men and women are quite different in many ways. The differences that play a role in
your planning for a hairstyle lie mostly in the broadly viewed, physical appearance of the male versus the
female individual.
Many of these characteristics are a fact simply due to the differences in anatomy. However, just as many have
been defined over decades and centuries through social norms and male style icons.
UNIQUE PHYSICAL TRAITS OF THE MALE CLIENT
MALE CLIENT CHARACTERISTICS QUITE COMMONLY INCLUDE:
• 7:1 HEAD-TO-BODY PROPORTIONS
• ANGULAR BODY STRUCTURE; TYPICALLY SHOULDERS ARE THE BROADEST PART OF
THE MALE SKELETON
• ANGULAR, HARDER FACIAL FEATURES
• FACIAL HAIR
• HIGHER HAIR DENSITY ALONG MORE ANGULAR HAIRLINES
• SIDEBURN AREAS AND NAPE HAIRLINES GROW LOWER AND ARE MORE PROMINENT
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UNIQUE STYLE CRITERIA OF THE CLASSIC MALE CLIENT
When thinking of classic male style icons in the 20th century, most may think of Clark Gable, James Dean, Elvis
Presley and Sean Connery. During more recent times, George Clooney, Leonardo DiCaprio or Tom Cruise may
come to mind as well. The striking appeal of their hairstyles is often quite similar despite decades between them.
THE TRIED-AND-PROVEN CLASSIC, MALE HAIRSTYLE ASPECTS ARE:
OVERALL SQUARE SILHOUETTES
LEAN, OFTEN
TIGHT SHAPES ALONG
TAPERED EXTERIORS
THE CREST
ANGULAR SHAPES IN
EXPOSED AND DEFINED
LITTLE-TO-NO VOLUME
THE INTERIOR
HAIRLINES AND SIDEBURNS
PLANNING FOR
THE MALE HAIRCUT
Now that you know which characteristics are perceived as the classic ingredients for a male hairstyle, it is
time to plan your design to make sure you maximize your male clients’ positive features and balance out or
draw less attention to less-desirable features. Pivot Point’s sculpting foundation rests on four basic forms
that, alone or in combination, make up all hair sculptures. The forms are:
SOLID FORM
GRADUATED FORM
The solid form shows a progression of lengths
Graduated lengths progress from shorter in the
from the exterior to the interior. In natural fall, the
exterior to longer in the interior, yet in natural fall
solid lengths fall to the same level creating weight.
their ends stack up along an angle.
INCREASE-LAYERED FORM
UNIFORMLY LAYERED FORM
The increase-layered form features a length
In this form all the hair is of equal lengths
increase from the interior to the exterior. Ends are
creating an overall layered appearance without
dispersed over the surface of the hairstyle without
any weight buildup.
any discernible weight buildup.
While it is possible to create male hairstyles using only one or two of the four basic forms, most commonly
three, if not all forms, are combined to create rectilinear shapes.
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RECTILINEAR FORM
While the desired shape of a male hairstyle resembles a rectangle, the actual head shape of the client is
rounded. The haircut must compensate by incorporating longer and shorter shapes in the appropriate areas,
as if simulating a tall and lean shape. The planar sculpting technique is one of the most common ways to
achieve the ultimate, classic rectilinear form.
Planar sculpting essentially creates a combination form. While the interior features a combination of increase
and uniform layers, the exterior features a combination of graduated, uniform and increase-layered lengths
with a solid perimeter.
PIVOT POINT’S
SCULPTING
FOUNDATION
RESTS ON FOUR
BASIC FORMS
THAT, ALONE OR
IN COMBINATION,
MAKE UP ALL
HAIR SCULPTURES.
FORM VARIATIONS
Understanding the rectilinear form as the classic departure point for the male hairstyle, many form variations
are possible to accommodate each individual client’s expression of style.
ONE OBVIOUS STYLE VARIATION IS THE LENGTH THAT THE HAIR IS KEPT.
ANOTHER IS HOW THE TRANSITION TOWARD THE TOP OF THE HEAD IS SCULPTED. OPTIONS ARE TO:
BUILD SUBTLE WEIGHT ABOVE
CREATE A TIGHT, SQUARE SHAPE BY
THE CREST
TRANSITIONING VERTICALLY TO THE TOP
COLLAPSE THE SHAPE TOWARD THE TOP
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THE THIRD IS IN THE DAILY STYLING APPROACHES. THESE CAN RANGE FROM WELLGROOMED AND CONTROLLED, TO NATURAL AND CASUAL, TO EDGY AND PROGRESSIVE.
Then, of course, there are influences on the style that are determined by the client’s hair type and
density, natural texture and growth patterns.
HOW TO’S FOR
THE MALE HAIRCUT
Previously you learned that the planar sculpting technique helps create a classic, rectilinear shape for the
male hairstyle. There are few other technical skills that come in to play, especially in male hairstyles.
SEVEN SCULPTING PROCEDURES
Hair is hair, whether it grows on a female or male client. The procedures used to create predictable results
are the same for both groups of clients. These steps are:
01
SECTIONING
Sectioning helps control the hair while sculpting to identify areas in which a different technique is to be
used. In male haircuts, sectioning is kept to a minimum. One very common sectioning line for male haircuts
is positioned along the upper crest.
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02
HEAD POSITION
The appropriate head position helps assure symmetry and can help provide ease while working in selected
areas. To achieve a true square form, it is essential to create a horizontal plane in the interior and a vertical
plane in the exterior. This is why an upright head position is most commonly used for men’s haircuts. When
sculpting along the hairline or with very short lengths that contour the curve of the head, a tilted head
position may be used for ease.
03
PARTING
Partings are lines used to subdivide hair within a section. In most cases these partings are parallel to
the intended design line. In men’s sculpting, partings most commonly used are vertical and horizontal.
When working with very short lengths, partings may be omitted, such as with overcomb techniques or
freehand techniques.
HORIZONTAL
HORIZONTAL
VERTICAL
DIAGONAL
04
DISTRIBUTION
The direction in which the hair is combed, in relation to its base parting, is referred to as distribution. There
are four types of distribution:
NATURAL – means that the hair is combed into the direction it wants to assume due to growth patterns
and gravitational pull.
PERPENDICULAR – means that the hair is combed at a 90˚, or a right angle, from its base parting.
SHIFTED – means that the hair is combed in any direction other than natural or perpendicular.
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DIRECTIONAL – means that the hair interior is combed straight up, vertically; and that the hair in the exterior
is combed straight out, horizontally. This distribution is critical in achieving a classic square shape in men’s
hair sculptures.
05
PROJECTION
Projection refers to the lifting of the hair out of natural fall or away from the curve of the head while
sculpting. Projection angles can range from 0˚ being the lowest to 90˚ being the highest.
90°
45°
45°
0°
90°
45° 0°
0°
90°
45°
0°
06
FINGER/TOOL POSITIONS
While sculpting, the fingers and tools can either be positioned parallel or nonparallel to the base parting.
While a parallel finger and tool position is most common, nonparallel finger and tool position may be used
to create more rapid length increases.
PARALLEL
07
NONPARALLEL
DESIGN LINE
Design lines are length guides used while sculpting. The direction of the design line will influence the
movement of the hair and the directions within the sculpture. The type of design line, whether mobile or
stationary, will affect whether a slower or faster rate of length increase is achieved.
MOBILE
STATIONARY
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PERSONALIZING THE FORM
Texturizing is used to create special effects within the form, resulting in increased mobility of the form.
Texturizing can be performed on the ends, midstrand or base, either individually or in combination, to enhance
the form.
SCULPTING WITH A PLANAR TECHNIQUE
Planar sculpting is the technical foundation on which the square shape of a masculine haircut is built. With
this technique, the hair is sculpted along horizontal planes in the interior and vertical planes in the exterior.
Vertical and horizontal lines are used to identify the directions of the partings, the distribution and the finger
position while sculpting with the planar technique.
THE PLANAR SCULPTING TECHNIQUE RESULTS IN A COMBINATION FORM THAT CONSISTS OF INCREASE
AND UNIFORM LAYERS IN THE INTERIOR, WHILE GRADUATION, UNIFORM AND INCREASE-LAYERED
LENGTHS RESULT IN THE EXTERIOR.
This planar technique can be combined with various others to achieve a multitude of style options.
OVERCOMB TECHNIQUES
As mentioned previously, overcomb techniques are used when creating short lengths within a hair sculpture,
while the hair is too short to be controlled with individual partings and the fingers.
90°
45°
0˚
In the exterior of the male hairstyle, overcomb techniques are used to achieve gradation. Gradation is a very
short version of graduated lengths, which increase from shortest along the hairline to longer toward the interior.
Depending on the client’s hair density, short gradations will cause the hair to lift up and expose the scalp
creating transparency.
THERE ARE THREE MAIN TYPES OF GRADATION: LOW, MEDIUM AND HIGH. EACH OF THEM CAN BE ACHIEVED
EITHER WITH THE SHEAR-OVER-COMB OR CLIPPER-OVER-COMB TECHNIQUE.
LOW GRADATION
This type of gradation achieves little-to-no transparency and is created in the area just above the nape hairline.
When sculpting a low gradation, the comb, which guides the shears or clippers while sculpting, is positioned
near the scalp at the hairline and is moved away from the scalp along a low angle.
90°
30°
0°
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MEDIUM GRADATION
Usually medium gradation is performed up to the occipital area, into the lower crest. More transparency
may occur, but is limited to the area from the nape hairline to the occipital. A medium-high angle is used to
gradually move the comb away from the head while sculpting.
45°
90°
0°
HIGH GRADATION
High gradation can achieve a high degree of scalp exposure. This gradation can extend up into the interior.
However, lengths still feature a progression from the nape hairline to the interior. With high gradation, the
comb travels close to the head shape along a high angle and slowly moves away from it.
65° 90°
0°
OUTLINING
Any professional men’s haircut will feature a specifically designed hairline, which is created using various
outlining methods. Different types of natural hairline growth patterns offer the departure point for outlining
and are typically refined rather than completely altered.
NAPE OUTLINING
The classic goal for nape outlining is to achieve a tall and lean silhouette for the nape. The first step in
outlining the nape is to assess the natural nape hairline and growth patterns. Clippers, trimmers, shears and
razors can be used to outline the nape depending on the desired character of the nape hairline.
SIDEBURN OUTLINING
Sideburns are the natural transition from a man’s haircut to the face. Initially, the length of the sideburns is
defined with the shears. Using anatomical references, such as the ears, jaw and cheekbones, helps achieve
symmetry when determining sideburn lengths. While the sides of the sideburns are greatly determined by
the client’s growth pattern, the perimeter of the sideburns can be designed as desired.
OUTLINING AROUND THE EAR
While outlining around the ear, the top of it is gently bent out of the way. The shears or trimmers carefully
sculpt along the natural hairline to parallel its curve and assure a clean perimeter around the ear that
seamlessly blends into the sideburn design as well as into the nape hairline.
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FACIAL HAIR
GOOD
TECHNICAL
SKILLS WITH
OVERCOMB
TECHNIQUES
AS WELL AS
OUTLINING ARE
KEY WHEN
IT COMES TO
DESIGNING AND
MAINTAINING
FACIAL HAIR.
While barbering in most markets is a separate branch in the hair and beauty industry, most males visit
regular unisex salons to have their hair and grooming needs met. Subsequently, shaping and maintaining
facial hair, such as beards, goatees and even mustaches are special services that can be offered to the
male salon client. Facial hair reflects current trends and will have phases of more or less popularity. Aside
from allowing clients to express their personal sense of style, it can also ENHANCE OR CONCEAL FACIAL
FEATURES. This is where the salon stylist can consult the client, not only on which type of facial hair design
is most suitable, but also how to maintain it at home between salon visits.
THE MOST COMMON TRENDS IN FACIAL HAIR TODAY ARE:
5 O’CLOCK SHADOW
BEARD
GOATEE
STYLING FOR A MASCULINE EDGE
Keeping the classic male style attributes in mind is not only critical for the composition of the haircut, but
also when styling the hair afterward.
In general, men’s hairstyling requires less volume. If volume needs to be created, it needs to be carefully
placed to support a lean, square silhouette instead of softening it. One way male clients are similar to
their female counterparts is that they appreciate having styling options that suit their mood and type
of activity.
Classic/sleek finishes often show distinct side parts with a styling direction that moves away from the face.
Product is typically used to avoid too much volume and keep the hair groomed and controlled throughout
the day.
Modern, trendy finishes can show a variety of directions, often moving forward or upward, or converging
toward the center top of the head. Styling product is used to support these directions and to create textural
emphasis. Modern looks typically don’t feature distinct parts.
Relaxed finishes work for any client on a day when his hairstyle is more or less left to do its thing. These
finishes are predominantly influenced by the client’s natural texture and growth patterns. They rarely involve
more than combing or brushing the hair while wet, applying a light product and letting the hair air dry.
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CHRIS
THE PLAN
• EXTERIOR: GRADUATED AND UNIFORM
LENGTHS WITH INCREASE AND GRADUATED
LENGTHS IN THE NAPE
• INTERIOR: INCREASE LAYERS WITH
GRADUATED CROWN AND FRINGE LENGTHS
BEFORE Chris would like to retain some length and have a clean, kept look. 01 Section a horseshoe-shaped parting just above the crest to divide the
interior and exterior.
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02 Release a vertical parting at the front of the
ear on the right side. Project straight out and
position your fingers vertically with your palm
facing away from the head. Sculpt parallel, only
to your second knuckle, redistribute and continue
sculpting.
03 Work toward the front hairline using a mobile
design line. Continue to project the lengths
straight out positioning your fingers and shears
perpendicular to the floor to sculpt.
04 Then work from the ear toward the center
back. Release a vertical parting and project
straight out. Use a mobile design line, position
your fingers vertically and sculpt.
05 Extend the partings to the nape hairline
project straight out and sculpt vertically. Continue
sculpting with a mobile design line. Crosscheck
horizontally.
06 Move to the left side. Release a vertical parting
at the front of the ear and sculpt. Use the comb to
determine the length, which was established from
the previously sculpted right side.
07 Project the hair straight out, position your
fingers vertically and sculpt. Work to the front
hairline using a mobile design line and the
same sculpting techniques.
08 Then work from the ear to the center back using the same sculpting
techniques. Cross-check horizontally, making sure the center back blends.
11 Once you reach the apex, begin
sculpting with a stationary design
line.
12 Continue working toward the
front hairline. Distribute each
subsequent horizontal parting to
the stationary design line and sculpt
horizontally or until lengths no
longer reach.
09 Release a horizontal parting
in the back of the crown. Use
perpendicular distribution, high
projection and a length guide from
the exterior to sculpt the center of
the horizontal line.
10 Take the next horizontal parting;
use perpendicular distribution
and high projection. Use a mobile
design line and continue sculpting
horizontally. Work toward the front
using the same technique.
13 Release a slight diagonal-forward parting in the crown on the right side.
Project straight up, position your fingers horizontally and notch to soften
the corner and create a stationary design line. Continue toward the front.
Distribute and project lengths back to the stationary design line at the crown
and notch.
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14 Move to the left side and take a slight diagonalforward parting at the crown and repeat the same
technique.
15 Next take a horizontal parting in the center
top. Distribute and project straight up. Position
your fingers horizontally and sculpt with the
notching technique.
16 Work toward one side, distribute and
project each subsequent horizontal parting to
the stationary design line and notch.
17 Move to the opposite side and use the same
techniques to sculpt.
18 In the fringe area, use natural distribution,
low projection and sculpt horizontally from the
center to either side to blend and refine the
fringe lengths.
19 Then refine the perimeter form line using
natural distribution, one finger projection and
the notching technique. Work from the left front
to the center back, then the right front to the
center back.
20 Move to the sideburn area and sculpt a
horizontal line to outline the perimeter. Then use
the overcomb technique to refine and blend the
sideburn area. Repeat on the opposite side.
21 Use a trimmer around the nape hairline to
refine the shape and to remove superfluous hair.
22 Distribute a styling cream evenly across your
hands then apply it through the hair. Style the hair
with your fingers for a natural look.
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ISAIAH
THE PLAN
• EXTERIOR: GRADUATION ON THE SIDES
AND IN THE NAPE; UNIFORM LENGTHS IN
THE BACK
• INTERIOR: INCREASE AND UNIFORM
LENGTHS ON TOP; GRADUATED LENGTHS
BEFORE Isaiah wants a cleaner line through the back and sides with more
length on top for styling options.
01 Section the interior from the exterior at the recession area with a horseshoeshaped parting along the upper crest.
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02 Take a vertical parting on the right side at the
front of the ear. Project straight out and position
your fingers vertically with your palm facing away
from the head. Sculpt parallel to create a mobile
design line.
05 In the lower portion of the
parting project at 90˚ and position
your fingers parallel to the head.
Sculpt to create uniform layers in
the nape.
03 Continue to use the same techniques with
a mobile design line as you work to the front
hairline. Sculpt only to your second knuckle, then
redistribute.
06 Continue to work toward the
center back. Sculpt vertically in the
upper portion of each parting. Use
90˚ projection and a parallel finger
position in the lower portion.
04 Take a vertical parting adjacent to the first
parting. Use the first parting as a mobile design
line. Project straight out, position your fingers
vertically and sculpt parallel. Work toward the
center back.
07 Use the same techniques to create a length guide on the opposite side.
Check the length with the other side before continuing. Then work to the
front hairline.
08 Then work from the ear to the
center back.
09 Again, sculpt the upper portion
of each parting vertically, then
parallel to the head in the nape area.
Continue sculpting with a mobile
design line.
10 Cross-check the center back
horizontally and blend if needed.
11 Next, release a parting parallel
to the sectioning line from the right
front to the center back. Using
a length guide from the exterior,
begin sculpting above the ear.
Distribute and project straight out
and sculpt parallel.
12 Work to the front. Alter your
finger position to retain length at
the front hairline. 13 Then, work toward the center
back with perpendicular distribution,
projecting straight out and sculpting
horizontally while following the curve
of the head.
14 Release the next parallel parting.
Begin above the ear. Distribute the
lengths to the stationary design
line and sculpt. Work to the front
hairline then to the back following
the stationary design line.
15 Use the same techniques as you
work toward the top and across to
the left side.
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16 Repeat the same techniques
on the left side. Start with a
horizontal finger position. Then use
a nonparallel finger position at the
front. In the crown, position your
fingers parallel to the head.
17 Use a stationary design line to
work up and across the top until
lengths no longer reach. Check the
center back for blending.
18 Next, take a thin horizontal
parting in the crown. Distribute
straight up, position your fingers
horizontally and notch. Use a
mobile design line as you work to
the apex.
20 Then take horizontal partings
starting at the apex. Distribute
straight up and slide cut from
midstrand to ends for texture and
mobility. Work toward the front,
leaving the front hairline natural.
21 Move to the sideburn area.
Distribute naturally and outline
along the front hairline. Then refine
around the ear using comb control
and low projection. Repeat on the
opposite side.
22 Move to the nape and use the shear-over-comb technique to refine the
hairline. Work from the right side across the center back to the left side.
19 Shift the lengths in front of the
apex back to a stationary design
line for a length increase toward
the face.
23 Apply a styling gel throughout
the hair. Begin on the right side and
direct the hair back away from face
using a 9-row brush. Work through
the side to the center back. Then
move into the crest area to create
a close shape.
24 Move to the interior. Lift the
base and direct the ends toward
the left side as you air form. Then
work around the front hairline and
direct the hair up and away from
the face.
25 Continue to the left side and
direct the hair back away from face.
Continue to air form toward the
center back and nape to achieve
minimal volume in the exterior.
26 Then use your fingers to direct
the front lengths. Apply a pliable
wax product through the hair and
define the shape.
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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.
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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.
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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.
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ALEX
THE PLAN
• EXTERIOR: HIGH GRADATION
• INTERIOR: HIGH GRADUATION
IN CROWN AND ABOVE CREST
• TOP/APEX: UNIFORM/
INCREASE COMBINATION
BEFORE Alex prefers short clean cuts. Texturizing the thick interior lengths
will make his hair easier to style, especially as it begins to grow out.
01 Section with a horseshoe-shaped parting above the crest area.
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02 Begin at the right sideburn area. Use the wide teeth of a large comb to
project the hair at 90˚. Angle the comb for a high line of inclination and move
the clippers across the comb. Slowly move the comb upward and outward
between clipper strokes to create a high line of inclination.
04 Tilt the head forward and work
through the back starting at the nape
and working up. Adjust the position
of the comb and to work around the
hairline and blend the lengths.
05 As you move upward, maintain
90˚ projection. Hold the comb at
the same angle and sculpt across
the comb.
03 Work toward the ear with the clipper-over-comb technique. Bend the
ear forward to remove lengths at the hairline. Move the clippers across the
comb to sculpt the perimeter hairline. Then continue using the same clipperover-comb technique.
06 Continue working toward the
left side. Angle the comb slightly
to help blend the side and back
lengths while maintaining the line
of inclination.
07 When you reach the left front
side, work from the sideburn area
to the sectioning line sculpting
high gradation.
08 Return to the right side and switch to the fine teeth of the comb. Position
the clippers parallel to the teeth of the comb and refine the high gradation.
Work toward and around the ear. Bend the ear forward and refine the
perimeter to blend with the sideburn.
09 Work through the back. Move
the comb and clippers in unison
maintaining the line of inclination.
Work with the freehand clipper
technique to clean and refine the
perimeter.
10 Then work toward the left.
Adjust the position of the comb
and clippers to work around the ear
and hairline. Check for balance and
symmetry as you work.
12 Tilt the head slightly as you work
through the nape. Position of the
taper comb and shears to blend into
the high gradation. Work to the left
side.
13 Use the trimmers to outline the
side of the nape. Use the trimmers
over the taper comb to fade the nape
hairline. Repeat on the other side.
14 Move to the interior and subdivide
with a center part. Visually determine
the desired length and angle before
continuing.
11 Further refine the perimeter
lengths using the taper comb with
the shear-over-comb technique.
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15 Take a vertical parting above the
right ear. Distribute and project at
90˚. Position your fingers nonparallel
and notch to create a length increase
toward the top.
16 Work toward the front using
a mobile design line. Shift the last
parting at the fringe back for a
length increase toward the face.
17 Then work to the back of the
section. In the crown, the partings
are slightly wider toward the
bottom to accommodate the curve
of the head.
19 Connect top lengths starting
in the crown. Distribute straight up
and notch horizontally. Work toward
the front shifting the last parting
back for a length increase.
20 Distribute the fringe lengths
forward. Use low projection and
notch horizontally to remove the
corner and blend with the sides.
21 Use the comb to lift the hair from diagonal partings while using the taper
shears through the midstrand and ends. Work diagonally in one direction
and then in the opposite direction to texturize the interior.
18 Move to the left side, maintaining
the same finger position. Work from
the ear toward the front, shifting
the hairline back. Then work to the
center back.
22 To achieve a groomed 5 o’clock shadow, trim the facial hair starting at
the lower right jawline. Position the clippers on the skin and move against
the natural growth pattern. Work toward the center then over the jaw and
cheek. Work toward the sideburn area on the right side, gliding upward.
Then use the clipper over-comb technique to blend the sideburn area. Work
from the center to the left side using the same techniques.
23 Finally move to the upper lip
area and glide the clippers from the
mouth up to the nose.
24 Apply wax through hair especially
in the interior. Then use a styling comb
and distribute the hair from a side
part. Allow the hair to dry naturally.
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EVAN
THE PLAN
• PERIMETER: SOLID FORM
• EXTERIOR: COMBINATION OF
GRADUATED, UNIFORM AND
INCREASE-LAYERED LENGTHS
• INTERIOR: UNIFORM
BEFORE Evan prefers a longer, trendy haircut.
Yet he’s still looking for a refined style with a
masculine edge.
01 Distribute lengths naturally using the wide
teeth of the comb. Use the sculpting comb to
visualize the desired length and angle of the
perimeter.
02 Use the shears and the comb to distribute the
hair naturally with minimal tension. Position the
comb horizontally and notch just above the tip of
the nose.
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03 Work from the center toward one side.
Position the comb along a diagonal-back line,
use comb control and notch. Then work toward
the other side to create a slightly concave line
in the fringe.
04 Extend the diagonal-back line on the right side. Use natural distribution with no projection and
a diagonal-back comb position. Notch while pointing the tips of the shears away from the face. Use
minimal tension as you work over the ear. Work to the center nape.
05 Return to the front and extend the diagonalback line on the left side. Continue to use comb
control with natural distribution and no projection.
Notch toward the back as you work to the center
back.
06 Next, section the head with a horseshoeshaped parting along the upper crest.
07 In the center back exterior, take a vertical
parting. Distribute straight out, position your
fingers vertically and notch. The lengths below
the occipital are kept to maintain weight along
the perimeter.
08 Work to the right, using a mobile design line
and vertical partings.
11 Alter your finger position
as needed to maintain perimeter
weight at the side. Work to the front
hairline to complete the exterior.
09 As you work toward the side, adjust your
finger position to maintain the solid perimeter,
especially near the ear. Work to the front hairline
using a nonparallel finger position.
12 Release the interior lengths
and establish natural distribution.
Determine the point of origin and
presection the interior into pivotal
partings.
10 Return to the center back and use the same
techniques to work to the opposite side.
13 Take a pivotal parting at the
center front hairline. To maintain
weight in the fringe, determine a
length guide near the hairline.
14 Use perpendicular distribution,
90˚ projection, a parallel finger
position and notch to create uniform
lengths working to the point of origin.
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15 Release the parting on the left. Use a mobile
design line, perpendicular distribution and 90˚
projection. Position your fingers parallel to the
head and notch.
16 Work toward the left side. Note that the resulting interior lengths may slightly overlap the previously
sculpted exterior. Sculpt parallel to the head as you work around the crown toward the right side.
17 Use the same techniques as you work to
complete the interior. Continue working past the
center front to ensure all lengths blend.
18 Apply styling cream throughout the lengths.
19 Remove excess moisture. Then use a paddle
brush to air form. Start in the nape and direct the
lengths, without lifting the base.
20 Then air form in the opposite direction,
keeping the base flat. This creates movement
without a specific, set direction.
21 After air forming, distribute the lengths
naturally. Slide cut from the midstrand to the ends
to blend, add directional movement and reduce
bulk. Work throughout the entire sculpture.
22 Direct the sideburn lengths back, then
forward, using the tips of the shears to remove
excess length. Then notch a diagonal-forward
line.
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DAVID
THE PLAN
• EXTERIOR/CREST: INCREASE LAYERS
• CROWN: GRADUATION
• INTERIOR: GRADUATION, UNIFORM AND
INCREASE LAYERS
• PERIMETER: SOLID
BEFORE David is looking for a haircut that works better with his hair density
and growth pattern. Yet he still wants a look with a slightly nontraditional edge.
01 Section the head with a horseshoe-shaped parting along the upper crest.
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02 Take a vertical parting in front
of the right ear. Distribute and
project straight out. Position your
fingers nonparallel to create a
length increase and sculpt.
03 Work to the front hairline using
a mobile design line. Shift each
parting forward to create gradually
shorter lengths toward the face.
05 Next, take a vertical parting
in front of the left ear and project
straight out. Position your fingers
nonparallel and sculpt.
06 Check for symmetry before
proceeding. Then work to the front
hairline using a mobile design line.
04 Next, work from the ear toward the center back. Project straight out and
use a nonparallel finger position for a length increase toward the perimeter.
Extend partings behind the ear to the nape hairline. Work to the center back
using a mobile design line.
07 Again, shift each parting forward
to create a length decrease toward
the face.
08 Then work from the ear toward
the center back. Continue to use
the same nonparallel finger position
creating a length increase toward
the perimeter.
09 Subsection the interior across
the top behind the ears. Subsection
the front with a center part.
10 Start on the right side and take a horizontal parting. Project straight out
and use a length guide from the top of the exterior. Position your fingers,
following the length decrease toward the face and sculpt. Work to the center
part projecting each parting straight out.
11 Repeat on the opposite side.
Use horizontal partings and follow
the length guide from the exterior.
Work up to the center part.
12 Section the crown into three
pivotal sections. Begin in the center
and take a horizontal parting.
13 Distribute and project straight
out. Position your fingers horizontally
and sculpt using a length guide
from the exterior. Slightly raise the
projection as you work toward the
top.
15 Release a horizontal parting
behind the apex. Distribute and project
straight up. Use a length guide from the
crown and notch to remove the point.
14 Move to the left side and
take a horizontal parting. Extend
the parting into the side to blend
the crown and side lengths and
sculpt. Work to the top. Repeat in
the section to the right.
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16 Work toward the front using
a mobile design line. Shift the last
parting back to retain lengths.
17 Distribute the sideburn forward
and then back using a freehand
technique to refine the area and
around the ear.
18 Use the shear-over-comb
technique to blend the sideburn
area with the longer exterior
lengths. Repeat on the opposite
side.
19 Shift the longer lengths around
the ears forward. Use low projection
and connect as needed.
20 Tilt the head slightly and comb
the nape lengths out of the way.
Place the trimmers against the skin
to remove superfluous neck hair.
21 Distribute the front lengths
forward. Use low projection, position
your fingers horizontally and notch
to remove the point. Extend to the
sides.
22 Apply a small amount of styling
cream throughout the hair and style
as desired.
23 Use the clipper-over-comb and
a freehand techniques to refine the
sideburn area on both sides.
24 Tilt the head and position the clippers against
the neck. Remove hair working up to the jawline.
Work from one side to the center, then from the
center to the other side.
25 Use the trimmers positioning the blade against the skin extending the sideburn area toward the
jaw. Work from the sideburn toward the mouth, removing the hair on the cheek. Move to the opposite
side and work to create symmetry.
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ADAM
THE PLAN
• INTERIOR: HIGH GRADUATION, INCREASE
LAYERS AND UNIFORM
• EXTERIOR: GRADUATION AND UNIFORM
BEFORE Adam’s hair is overgrown and has lost its shape. He is looking for
a short, modern style that has a slightly “lived-in” look.
01 Section the head with a horseshoe-shaped parting along the upper crest.
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02 Prior to shampooing the hair,
assess the client’s hairline and
density to determine the most
suitable sculpting techniques or
weight positioning.
03 Take a vertical parting at the
front of the right ear, distribute and
project straight out. Position your
fingers vertically and razor etch.
06 Behind the ear, extend partings to the nape
hairline and sculpt vertically. In the nape, project
at 90˚, position your fingers parallel to the head
and continue etching.
04 Work to the front hairline using
a mobile design line.
07 Work to the center back. Project the top of
each parting straight out and sculpt vertically. In
the nape project at 90˚ and sculpt parallel to the
head.
05 Then work from the ear toward
the back, again using a mobile
design line.
08 Repeat on the left side. Start in front of the
ear working first to the front hairline using a
mobile design line.
09 Then work from the ear to the
center back. Project the top of each
parting straight out and sculpt
vertically. In the nape, project at
90˚ and sculpt parallel to the head.
10 Work to the center back using
the same technique. Cross-check
before moving on to the interior.
13 Work toward the face using a mobile design
line. At the front hairline, shift back to retain
length. Then work from the ear toward the back.
11 Subsection the interior with
a horseshoe-shaped parting that
extends past the apex.
14 Work through the crown area using trapezoidshaped partings, maintaining the same finger
position.
12 Take a vertical parting over the
right ear. Project at 90˚ and position
your fingers for a length increase
toward the top. Sculpt with the
razor-peeling technique.
15 Continue working to the left side and to the
front hairline using the same technique.
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16 Distribute the last parting back to retain length.
18 Shift the last parting back for a
subtle length increase.
17 Move to the back of the top section and take a thick horizontal parting. Project straight up and
position your fingers horizontally. Using the previously sculpted lengths as a guide, sculpt with the
razor-peeling technique. Work toward the front using a mobile design line.
19 Take horizontal partings,
project straight up and etch with
the tip of the razor from midstrand
to ends to create additional texture.
20 Distribute a thin horizontal
parting forward with medium-high
projection. Position the razor under
the strand and razor arc upward.
Direct subsequent partings to the
stationary design line and sculpt.
21 Connect diagonally to the right
side only for a slightly asymmetrical
effect in the fringe.
22 Razor etch parallel to the front hairline to
refine and create closeness. Then use a freehand
technique to razor etch in the sideburn area.
23 Work to the nape hairline and to the other
side. Repeat on the opposite side. Note that
the perimeter is sculpted for an irregular,
variegated effect.
24 Distribute a small amount of a matte, waxbased product throughout the hair. Define the
form and texture as you manipulate the hair into
the final style.
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JAMES
THE PLAN
• EXTERIOR: SHORT GRADATION
• INTERIOR: SHORT GRADATION BLENDING TO
IRREGULAR UNIFORM AND INCREASE LAYERS
• FRINGE: GRADATION
BEFORE James prefers his hair very short yet is
not looking for a simple “buzz-cut”. Instead he is
looking for a contemporary, more current style.
01 Use the comb and direct the nape lengths up
to determine growth patterns. Due to the short
lengths of the intended design, check for scars
and irregularities throughout the exterior as well.
02 Position a #1 blade on the clippers and tilt the
head forward. Begin at the center nape and move
the clippers up toward the occipital. Gradually
move the clippers slightly away from the head to
establish the desired line of inclination.
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03 As you work toward the right, tilt
the head slightly to the left. Follow
the established line of inclination
working to the back of the ear.
04 Work from the center back to
the opposite side using the same
freehand technique.
05 Position the head upright
and carefully observe the line
of inclination and the degree
of transparency.
06 Return to the center back and
refine the nape with shorter clipper
strokes until you achieve consistent
decreasing transparency.
07 Then work from the center back
to either side, tilting the head as
necessary.
08 Move to the right side. Use a
curved movement to work around
the ear. Move to the sideburn area
working to achieve the same line of
inclination.
09 Repeat on the left side. Tilt the
head as needed and sculpt the area
around the ear and sideburn.
10 Return to the center back
and tilt the head forward. Work in
vertical panels to the crown using
the clipper-over-comb technique
with the wide teeth of a large comb.
11 Position the comb for a subtle
length increase toward the top
and move the comb and the clippers
in unison.
12 Then flip the comb and use
the fine teeth to refine the sculpted
lengths until the desired length
progression is achieved.
13 Work toward the right, sculpting
another vertical panel. Blend behind
the ear, positioning the comb
diagonally. Work to the front hairline.
14 Continue to use the wide teeth
of the large comb to remove bulk,
and the fine teeth of the comb to
refine the lengths.
15 Work up and above the crest
area, following the established
lengths from the back.
16 Then work from the center back
toward the left side. Angle the comb
and follow the line of inclination
from the center panel. Work to the
front hairline.
17 Move to the left and use a
length guide from the side. Work
across the front, angling the comb
to achieve the shortest lengths at
the hairline.
18 Use the wide teeth of a large
comb and 90˚ projection to blend
the interior and exterior. Position the
comb for a subtle length increase
toward the center top. Blend to the
shorter lengths at the front.
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19 Work toward the back and
adapt for growth patterns in the
crown. Then work from the back to
the opposite side.
20 Move to the top. Take thick
horizontal partings and project
straightup. Position your fingers
horizontally and notch to add texture
to longer lengths.
21 Work toward the front, excluding
the hairline.
22 Next, comb the interior lengths
forward. Slide cut diagonally
through the interior. Then repeat in
the opposite direction.
23 Use the shear-over-comb
technique to compensate for
irregular hair density. Start on
one side and move the shears
and taper comb in unison.
24 Work from one side to the
center then to the opposite side.
Angle the comb as needed to work
around the curves of the head and
adapt to growth patterns.
25 Now, use the shear-over-comb
technique at the front hairline.
Notch to blend the clipper-sculpted
lengths with the interior lengths and
create additional texture.
26 Define the perimeter hairline
using trimmers and a freehand
technique. Place the trimmers at
an angle and use the edge of the
trimmer to sculpt.
27 Carefully blend to the gradation
at the hairline without creating a
hard line.
28 Apply a wax-based product to
the entire sculpture to enhance and
define the sculpted texture.
29 To sculpt the goatee, tilt the
head toward one side. Position the
clippers against the skin and work
against the natural growth pattern.
Remove the hair up to the gradation
at the sideburn and under the chin.
30 Use the trimmers to further
outline and detail the shape.
Make sure the beard design is
symmetrical.
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DESIGN DECISIONS
CHRIS
Draw or fill in the boxes with appropriate answers.
SHAPE
HEAD POSITION
TEXTURE
PARTING
SECTIONING PATTERN
STRUCTURE
DISTRIBUTION
PROJECTION
FINGER/TOOL
POSITION
DESIGN LINE
SIDES/EXTERIOR
MOBILE/STATIONARY
INTERIOR
MOBILE/STATIONARY
TOP
MOBILE/STATIONARY
FRINGE
MOBILE/STATIONARY
N/A
TOOLS
N/A
RUBRIC
CHRIS
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 a horseshoe-shaped parting just above crest to divide interior and exterior
• SIDES/EXTERIOR: Head upright; part vertically at front of right ear; project straight out, position fingers vertically,
sculpt parallel, perpendicular to floor; use mobile design line, work toward front hairline; work from ear to center back,
extending partings to nape; repeat on opposite side; crosscheck horizontally at center back
• INTERIOR: Part horizontally, starting at crown; use perpendicular distribution, high projection;
sculpt parallel to parting; use length guide from exterior for center of line; use mobile design line until apex;
then stationary design line from apex to front hairline
• CROWN: Subsection from front hairline to crown; take slight diagonal-forward parting on right side; project
straight up, position fingers horizontally and notch; use stationary design line for subsequent diagonal partings;
repeat same technique on opposite side.
• TOP: Part horizontally at center top; distribute and project straight up; position fingers horizontally; notch;
use stationary design line; work from center to either side
• FRINGE: Distribute naturally, project low; sculpt horizontally from center to either side to blend and refine lengths
• PERIMETER: Distribute naturally, use one-finger projection; notch; work from front to center back on either side
• SIDEBURNS: Sculpt horizontal line to outline perimeter; use overcomb technique to refine and blend;
repeat on opposite side
• NAPE HAIRLINE: Use trimmers to refine shape and remove superfluous hair
TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 10 = __________________________%
NOTES FOR IMPROVEMENT
118
| 119
DESIGN DECISIONS
ISAIAH
Draw or fill in the boxes with appropriate answers.
SHAPE
HEAD POSITION
TEXTURE
PARTING
STRUCTURE
DISTRIBUTION
SECTIONING PATTERN
PROJECTION
FINGER/TOOL
POSITION
DESIGN LINE
SIDES/EXTERIOR
MOBILE/STATIONARY
INTERIOR
MOBILE/STATIONARY
TOP
MOBILE/STATIONARY
TOOLS
RUBRIC
ISAIAH
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 at recession area with a horseshoe-shaped parting along upper crest
• EXTERIOR: Head upright; part vertically at front of ear on right side; project straight out, position fingers vertically,
sculpt parallel; use mobile design line, work toward front hairline; work from ear to center back using same technique in
upper portion of parting, in lower portion, project 90˚, position fingers parallel to curve of head; sculpt parallel; repeat on
opposite side; cross-check center horizontally and blend
• INTERIOR: Release parting parallel to sectioning line on right side, use length guide from exterior above ear, distribute
and project straight out, sculpt parallel; work to front; alter finger position to retain length at front hairline; work to center
back with fingers parallel to curve of head to establish stationary design line; distribute each subsequent parting to
stationary design line; work toward top interior, across to left side; repeat on opposite side; check and blend center back
• TOP: Part horizontally starting at crown; distribute straight up, position fingers horizontally and notch;
use mobile design working toward apex; at apex shift lengths back to stationary design line
• INTERIOR TEXTURIZING: Horizontal partings; distribute straight up; slide cut from midstrand to ends;
work from apex to front, leaving front hairline natural
• SIDEBURNS: Distribute naturally; outline along front hairline; refine around ear using comb control; low projection
and notch to blend with sideburn; repeat on opposite side
• NAPE HAIRLINE: Refine hairline using shear-over-comb technique TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 8 = __________________________%
NOTES FOR IMPROVEMENT
120
| 121
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
DESIGN DECISIONS
ALEX
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
ALEX
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 horseshoe-shaped parting above crest
• SCULPT EXTERIOR: Gradation - head upright; use wide teeth of a large comb; project hair at 90˚;
angle comb for high line of inclination; move clippers across comb; work from right sideburn toward ear;
bend ear forward to sculpt at hairline; tilt head slightly forward to work through back, sculpt from nape
to sectioning line; position comb and clippers to blend side and back lengths; work to opposite side;
blend as needed
• REFINE EXTERIOR: Use fine teeth of comb; position clippers parallel to comb; move comb and
clippers in unison to refine gradation; work from right sideburn to ear, position comb diagonally
then horizontally to work around ear; work through back exterior using 90˚ projection; use freehand
technique to clean and refine perimeter hairline; work to opposite side; adjust comb position to work
around ear; check for symmetry
• PERIMETER HAIRLINE: Refine using taper comb and shear-over-comb technique; tilt head forward
while working through perimeter lengths; adjust position of comb to refine and blend; check symmetry
while working to opposite side; outline sides of nape hairline; blend and fade bottom nape hairline
• INTERIOR: Subdivide using center part; use vertical partings; distribute and project hair at 90˚, position
fingers nonparallel; notch; use mobile design line; work toward front; shift last parting back; work to
center back; repeat on opposite side
• TOP: Start at crown; part horizontally; distribute up, position fingers horizontally; notch; use mobile design line;
work to front; shift last parting back • FRINGE: Distribute lengths forward; use low projection; position fingers horizontally; notch; blend to either side
• TEXTURIZING: Lift hair with comb from diagonal partings; texturize using taper shears from midstrand to ends;
work diagonally in one direction then in opposite direction
• FACIAL HAIR: Position clippers on skin and move against growth pattern; work from lower jaw to cheek; work
toward sideburn area and glide upward; use clipper-over-comb technique to blend to sideburns; work from center
to opposite side; glide clippers up and away from mouth to nose
TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 10 = __________________________%
NOTES FOR IMPROVEMENT
124
| 125
DESIGN DECISIONS
EVAN
Draw or fill in the boxes with appropriate answers.
SHAPE
HEAD POSITION
TEXTURE
PARTING
STRUCTURE
DISTRIBUTION
SECTIONING PATTERN
PROJECTION
FINGER/TOOL
POSITION
DESIGN LINE
PERIMETER
MOBILE/STATIONARY
BACK/EXTERIOR
MOBILE/STATIONARY
SIDES/EXTERIOR
MOBILE/STATIONARY
INTERIOR
MOBILE/STATIONARY
TOOLS
RUBRIC
EVAN
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
• PERIMETER: Comb control - head upright; use natural distribution, minimal tension; position comb horizontally at
center fringe; notch; position comb diagonally back, work toward one side then toward other side;
extend diagonal-back line on right side, work to center nape; repeat on left side
• SECTIONING: Section interior from exterior with horseshoe shaped parting at upper crest • SIDES/EXTERIOR: Head upright; part vertically at center back; distribute straight out, position fingers vertically,
sculpt parallel using notching technique; use mobile design line, work toward one side; at side use nonparallel
finger position to maintain perimeter; repeat techniques to front hairline; work from center to opposite side
• INTERIOR: Pivotal partings; distribute perpendicular, project at 90˚, position fingers parallel; sculpt using notching
technique; use mobile design line; work from center front to one side, around crown toward opposite side to center front
• TEXTURIZE: Distribute lengths naturally; slide cut from midstrand to ends; work through entire sculpture
• SIDEBURNS: Distribute back and forward; remove excess length with tips of shears; remove excess facial hair
with trimmers; notch diagonal-forward line
TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 7 = __________________________%
NOTES FOR IMPROVEMENT
126
| 127
DESIGN DECISIONS
DAVID
Draw or fill in the boxes with appropriate answers.
SHAPE
HEAD POSITION
TEXTURE
PARTING
STRUCTURE
DISTRIBUTION
SECTIONING PATTERN
PROJECTION
FINGER/TOOL
POSITION
DESIGN LINE
SIDES/EXTERIOR
MOBILE/STATIONARY
INTERIOR
MOBILE/STATIONARY
TOP
MOBILE/STATIONARY
FRINGE
MOBILE/STATIONARY
N/A
TOOLS
RUBRIC
DAVID
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 a horseshoe-shaped parting along upper crest
• SIDES/EXTERIOR: Head upright; part vertically in front of right ear; distribute and project straight out, use
nonparallel finger position; work to front using mobile design line; shift each parting slightly forward; work
from ear toward center back using mobile design line; project each parting straight out; extend partings to
nape hairline; repeat techniques on opposite side
• INTERIOR/FRONT: Horizontal partings, project straight out; use length guide from top of exterior; position
fingers along sculpted line; work to center part; repeat on opposite side
• INTERIOR/CROWN: Section into three pivotal sections - center section: horizontal partings; distribute and project
straight out; position fingers horizontally; use exterior as length guide, sculpt; slightly raise projection angle working
toward top of section; left section: extend parting into side and sculpt to blend; right section: use same techniques
• TOP: Horizontal partings starting behind apex; distribute and project straight up; use crown as length guide, notch;
use mobile design line; work toward front; shift last parting back
• SIDEBURNS: Distribute lengths forward then back; use freehand technique; refine sideburn area and around ears;
use shear-over-comb technique to blend sideburn with longer exterior lengths; repeat on opposite side; shift longer
lengths around ears forward; use low projection to connect lengths
• NAPE HAIRLINE: Head tilted forward; use trimmers to define and remove superfluous hair
• FRONT LENGTH: Distribute forward; use low projection; position fingers horizontally; notch to remove point; extend
line to sides • FACIAL HAIR: Tilt head as needed; position clippers flat against neck; work up to jawline from one side to center
then to other side; use trimmers to define; extend sideburn toward jaw; work toward mouth removing hair at cheek;
repeat on opposite side; check for symmetry TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 10 = __________________________%
NOTES FOR IMPROVEMENT
128
| 129
DESIGN DECISIONS
ADAM
Draw or fill in the boxes with appropriate answers.
SHAPE
HEAD POSITION
TEXTURE
PARTING
STRUCTURE
DISTRIBUTION
SECTIONING PATTERN
PROJECTION
FINGER/TOOL
POSITION
DESIGN LINE
SIDES/EXTERIOR
MOBILE/STATIONARY
INTERIOR
MOBILE/STATIONARY
TOP
MOBILE/STATIONARY
FRINGE
MOBILE/STATIONARY
TOOLS
RUBRIC
ADAM
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 a horseshoe-shaped parting along upper crest
• SIDES/EXTERIOR: Head upright; part vertically at front of right ear; distribute and project straight out,
position fingers vertically; sculpt using razor-etching technique; use mobile design line; work to front
hairline; work from ear toward center back, extend partings to nape hairline; project at 90˚ in nape;
sculpt parallel to head; repeat on opposite side; cross-check
• INTERIOR: Subsection center top with narrower horseshoe-shaped parting; vertical parting at right ear;
project at 90˚; position fingers nonparallel; sculpt with razor-peeling technique; work toward face,
using mobile design line; shift front lengths back to retain length; work from ear to back using same
technique; use trapezoid-shaped partings in crown area; work to front hairline on left; distribute last parting back • TOP: Horizontal partings; project straight up; use previously sculpted lengths as guide,
sculpt with razor-peeling technique; use mobile design line; work toward front; shift last parting back
• TEXTURIZE INTERIOR: Horizontal partings; project straight up; etch with tip of razor from midstrand to ends
• FRINGE: Horizontal parting; distribute forward with medium-high projection; razor arc upward; direct subsequent
partings to stationary design line; connect diagonally to right side only
• REFINE HAIRLINE: Razor etch parallel to front hairline; at sideburn, razor etch with freehand technique;
work to nape hairline; repeat on opposite side
TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 8 = __________________________%
NOTES FOR IMPROVEMENT
130
| 131
DESIGN DECISIONS
JAMES
Draw or fill in the boxes with appropriate answers.
SHAPE
HEAD POSITION
TEXTURE
SCULPTING DIRECTION
STRUCTURE
GUARD POSITION
SECTIONING PATTERN
PROJECTION
FINGER/TOOL POSITION
LINE OF INCLINATION
SIDES/EXTERIOR
GUARD
N/A
NO GUARD
INTERIOR
GUARD
NO GUARD
PARTING
TOP
TOOLS
DISTRIBUTION
PROJECTION
FINGER/TOOL POSITION
DESIGN LINE
MOBILE/STATIONARY
RUBRIC
JAMES
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
• SCULPT EXTERIOR: Gradation - head tilted forward; position clippers with #1 blade at center nape and move up toward
occipital; gradually move clipper slightly away from head; work toward right; at side of nape, tilt head slightly to left,
work to back of ear; work from center back to opposite side using same technique
• REFINE EXTERIOR: Use shorter clipper strokes along line of inclination; work from center back to either side
• SIDES: Right side - use curved movement to work around ear; follow line of inclination in nape; repeat same
technique at sideburn; adapt position of clippers to work with growth patterns; repeat same techniques on opposite side
• UPPER EXTERIOR/CROWN: Tilt head forward; use vertical panels; at center back use clipper-over-comb technique with
wide teeth of comb and 90˚ projection; position comb for subtle length increase; move comb and clippers in unison
working toward top; flip comb, use fine teeth to refine; work toward right; work to front hairline; use freehand clipper
technique; repeat on opposite side
• FRONT HAIRLINE: Head upright; use clipper-over-comb technique; extend gradation through to front hairline; use
guide from left side and work across to right side; angle comb to achieve shortest lengths at hairline with gradual
increase toward apex
• BLENDING: Blend interior with exterior starting at one side; use wide teeth of comb and 90˚ projection; position comb
for subtle length increase toward center top; blend to shorter lengths at front hairline; work to the back, then to the
opposite side; blend to lengths at front hairline
• TOP: Head upright; horizontal partings; project straight up; position fingers horizontally; notch;
work toward front, exclude front hairline
• TEXTURIZING: Comb exterior lengths forward; slide cut diagonally through interior; repeat in opposite direction • REFINING: Use shear-over-comb technique with taper comb; move shears and comb in unison starting on one side;
work to center then opposite side; angle comb to adapt to growth patterns; at front hairline use shear-over-comb
technique with sculpting comb; notch to blend with longer interior lengths
• PERIMETER: Use trimmers and freehand technique to define perimeter; blend gradation at hairline without creating line
• FACIAL HAIR: Tilt head toward one side; position clippers against skin; work against natural growth pattern; remove
hair up to gradation at sideburn and under chin; work from either side; use trimmers to outline and detail shape;
check for symmetry
TOTAL POINTS IN “COMPETENT” COLUMN _____________ ÷ HIGHEST POSSIBLE SCORE 12 = __________________________%
NOTES FOR IMPROVEMENT
132
| 133
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 | 2nd Printing, September 2012
Printed in Hong Kong
This publication is protected under U.S. and worldwide copyright law and may not be copied, reproduced, stored in a retrieval system, transmitted, broadcast or quoted whole or in part in any form, or by
any means: electronically or mechanically, printed, photocopied, recorded, scanned or otherwise, without written permission from Pivot Point International, Inc. More detailed information on copyright can
be found at: pivot-point.com/copyright.html.
Trademarks: Pivot Point, the Pivot Point Logo, the P Design, and Meta are trademarks or registered trademarks of Pivot Point International, Inc., in the United States and other countries, and may not be
used without written permission.
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