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Hair Stylist textbook

Hair Designs

Hair Stylist

One-length blunt cut

One-length blunt cut

A one-length blunt cut keeps every hair at the same level, so the hem reads as one clean line across the back and sides. It suits fine and medium straight hair best, because a single line at the bottom makes the ends look fuller and the whole shape look denser than it is. A client with a long face and a soft jawline gains width at the hem, while a client with a round face needs the length to reach the collarbone before the line stops widening the face. Straight hair cut to this line behaves predictably for months. Wavy hair can wear it too, but only if the client accepts that the wave will break the line into soft steps, and the photo is a reference, not a guarantee of the same fall on a different head.

Measure the finished length dry, with the hair parted where the client wears it, and agree the number in centimetres before the first cut: chin is about 10 cm below the jaw hinge, jaw length about 5 cm below the chin, and the collarbone sits roughly 28 to 30 cm from the crown on an average adult. Leave the hem where the agreed mark sits, with no shorter pieces inside it. Cut at zero elevation, which means the hair is combed flat to the body and the shears run along the same plane as the floor. All the weight stays at the perimeter, at the very ends, so the interior stays flat and the cut cannot lift the crown by itself. On a bob this weight is the shape; on long hair it is the line that keeps the ends looking solid.

Section the hair into four, from the crown to the nape and ear to ear, then take horizontal partings no wider than the comb. Start at the nape centre, comb the section straight down with firm, even tension, and cut the guide at the agreed mark. Bring each following section to that guide, hairline by hairline, and never lift the hair off the body. Straight hair usually shortens by about 1 cm as it dries, so cut the wet guide slightly longer than the agreed dry mark and refine the line after the blow-dry. The 30 percent wet stretch is only an elasticity check: healthy hair springs back. It is not a reason to leave the line 30 percent longer. Work with sharp shears and one clean closing motion, because two small bites in the same place leave a notch. Check the guide at the centre back after every second section, and keep the tension identical or the line will wobble.

This cut cannot create volume at the crown, cannot soften a heavy jaw on its own, and cannot give movement through the mid-lengths, because there are no interior layers to move. It also cannot be cut to a hard line on very curly hair: the curls pull up unevenly and the line turns into a staircase, so a curly client needs a dry, curl-by-curl shape instead. Fine hair that is also sparse can look flat and stringy at the ends after a few weeks, because the weight sits exactly where the hair is thinnest. If the client wants a fringe, it is a separate decision and a separate section, not part of the blunt line. Treat the photo as a reference and say plainly which parts of it this hair can and cannot reproduce.

Salon example: Meera's collarbone line

Meera came in with straight, medium-density hair that reached the middle of her back and asked for a blunt line at the jaw. I checked density at three partings and found it medium, then ran a wet stretch on one strand: it sprang back at about 30 percent, so the hair was healthy enough for a solid line. I refused the jaw length straight away, because her ponytail measured just over 5 cm and her front hairline was sparse, so a jaw line would have left two thin curtains around the face. Instead I held the comb at the jaw, the chin and the collarbone and we agreed 27 cm below the crown, which placed the hem at the collarbone. I cut the guide at the centre nape at zero elevation, carried it through the interior, and cross-checked the front sides at eye level. When the hair was dry the line sat level, the ends looked fuller, and nothing was layered. She rebooked in seven weeks and said the shape held its line with a simple blow-dry. I wrote the hem at 27 cm on her card so the next visit starts from the same number.

Caution: Do not blunt-cut very curly hair to a hard line, because the curls will spring up unevenly and dry into a staircase.

Long layered cut

Long layered cut

Long layers keep a solid outer line and take weight out of the interior, so the hair moves without losing length at the hem. This cut suits medium to thick hair, straight, wavy or loosely curly, with enough density that the interior can lose weight and still cover the scalp. A client who wants movement around the face, a softer jaw and hair that swings when she turns will feel the difference immediately. Fine hair can wear it only if the layers stay below the jaw and the elevation stays modest, because high layers on fine hair thin the ends and leave the mid-lengths looking empty. Curly hair needs the same plan cut dry and curl by curl. The photo is a reference for the idea, not a promise of the same movement on a different texture.

Agree the perimeter first: mid-back sits about 35 to 45 cm from the crown, the bra strap about 30 to 35 cm, and the collarbone about 25 to 30 cm. The outer line is cut at zero elevation and stays solid, which means no short pieces escape the hem. Then the interior is cut at elevation above 90 degrees, usually 135 to 180, so the shorter layers sit inside the length and the weight stays inside the shape rather than on the ends. The shortest layer should start at the jaw or below on most clients, and no higher than the cheekbone on thick hair. The difference between the shortest interior layer and the hem is the amount of movement the client will feel, so state that gap in centimetres before you cut.

Cut the perimeter first, all the way around, and use it as the anchor for every interior section. Take vertical partings from the crown forward and back, lift each section straight up at 135 to 180 degrees, and cut to the guide you have already established at the crown. Over-direct the front sections slightly forward so the face frame sits where the client parts her hair. Work one side fully, then mirror it on the other, checking the two sides against each other at the centre part. Sharp shears, even tension and clean closings keep the layers smooth; a razor is only for a soft, broken surface and never on porous or damaged hair. Dry the hair before you judge the balance.

This cut cannot make fine, sparse hair look thick, because the layers remove the density that was doing the covering. It cannot give a short, rounded silhouette, and it cannot sit sleek and flat without styling, because the interior is designed to move. On this length a bun or braids are a finish, not a different haircut: they change how the hair is worn for a day, not the shape that was cut. If the client wants a bob, that is a different consultation and a different perimeter. Also check the wet stretch before you begin: hair that stays stretched or snaps before 20 percent gets its ends dusted only, with no layers and no razor. A women's cut and blow-dry takes 45 to 75 minutes, with the consultation inside that time. Treat the photo as a reference and say what this hair can hold.

Salon example: Ananya's long layers

Ananya had thick, wavy hair reaching her mid-back and wanted movement without losing the length. I checked density and found it on the high side, ran a wet stretch and it returned at about 30 percent, so the hair could take interior layers. I refused the cheekbone layers she had seen in a photo, because her hair is coarse at the crown and a short layer there would sit as a shelf. We agreed the hem at 38 cm from the crown, which put it below the bra strap, and the shortest layer at the jaw, 12 cm above the hem. I cut the perimeter solid at zero elevation, then took vertical sections at 160 degrees and over-directed the front forward. Both sides were checked against the centre part, and the dry result swung cleanly with the hem still solid. She rebooked in eight weeks, and I told her a bun or braids were a finish, not a new cut. I wrote 38 cm and 12 cm on her card, and told her the shortest layer would reach the jaw first when it grew.

Caution: Never lift fine hair above 135 degrees near the crown, or the layers will collapse and expose the scalp at the parting.

U-cut

U-cut

A U-cut shortens the sides and leaves the centre back longest, so the hem forms one rounded curve across the back. The photo is the back view, and that is where the shape lives. It suits straight, wavy and softly curly hair of medium to thick density, especially a client who wants to keep her length but is tired of a straight-across line that drags the face down. The curve draws the eye to the centre back and makes the hair look softer from behind. On a client with a long neck and narrow shoulders the U adds width at the sides without shortening the overall length. Fine hair can wear it, but the curve must stay shallow, because a deep U on fine hair leaves the sides looking thin. The photo is a reference, not a guarantee.

Agree the centre-back length first, measured from the crown: shoulder is about 25 cm, mid-back about 35 cm, and the waist about 45 cm. Then agree the side length, usually 4 to 6 cm shorter than the centre, measured at the front hairline and at the ear. The hem rises gradually from the centre back toward each side and returns in one smooth curve, with no step where the sides meet the back. All the weight stays at the perimeter, and the longest, heaviest point sits on the centre back part. Cut at zero elevation for a clean edge, with only a slight 10 to 20 degree lift on the side sections to help the curve sit. Write both numbers on the client card.

Part from the crown to the nape and from ear to ear, then find the exact centre back with a comb. Cut the guide at the centre back at the agreed length, at zero elevation, and keep that section as the anchor. Working outward, take vertical sections and angle each one slightly toward the centre so the line rises steadily toward the sides. Do not lift a side section above 30 degrees, or the hem loses weight and the curve reads as layers. Take the two sides separately and compare them by combing both forward at the shoulders. Use sharp shears and finish the edge in one clean pass. Dry the hair and look at the back in the mirror before you declare the curve finished.

This cut cannot add thickness to fine ends, cannot create volume at the crown, and cannot hide a wide forehead, because everything happens at the back hem. On very curly hair the wet line will dry into uneven steps, so the U shape needs a dry finish or a different plan. It also cannot be a fringe or a face frame on its own; those are separate sections with their own guides. If the client wants a V or a straight line, decide that at consultation, because the two shapes are cut from different guides and cannot be swapped halfway. The photograph shows the back only, so agree what the front will look like. Treat the photo as a reference and state the centimetres aloud.

Salon example: Kavya's shallow U

Kavya had straight, medium-density hair at mid-back and asked for a U-cut with a deep curve, like the photo. I checked density at three partings, found it medium, and ran a wet stretch that sprang back at about 28 percent. I refused the deep U: her side sections were already thinner than the centre, and a 10 cm rise would have left the front looking wispy. We agreed 36 cm at the centre back and 31 cm at the sides, a 5 cm rise, and I showed both marks with the comb before the cape. I cut the centre guide at zero elevation, worked outward in angled sections, and kept the lift on the sides at 15 degrees. The two sides were compared at the shoulders, then the hair was dried and checked from behind in the hand mirror. The curve sat smooth, the sides kept their weight, and she rebooked in seven weeks. I wrote the centre and side numbers on her card, and told her the sides would need a small trim before the centre did. The front stayed as it was, with no face frame.

Caution: Do not build the U by lifting the side sections above 30 degrees, or the hem will lose its weight and the curve will read as layers.

V-cut

V-cut

A V-cut leaves the sides shorter and brings the centre back to a clear point, so the hem reads as a single V from behind. The photo is the back view, and the point must sit exactly on the centre back part or the shape looks crooked. It suits medium to thick hair that is straight or gently wavy, and a client who wants a sharper, more dramatic back than a U gives. A long V draws the eye down the spine and can make a narrow back look longer, while a short V at the shoulders looks crisp and modern. Fine hair can wear a shallow V only, because a deep point leaves the side sections thin and wispy. Very curly hair resists the sharp point, because each curl pulls up on its own. Treat the photo as a reference.

Set the centre-back point first, measured from the crown: shoulder is about 25 cm, mid-back about 35 cm, and the waist about 45 cm. Then set the side length, usually 5 to 8 cm shorter than the point, at the front hairline and the ear. The two lines from the point to each side should be straight, not curved, and they should meet at an angle of roughly 45 to 60 degrees. All the weight stays on the perimeter, and the heaviest section is the centre back below the point. Cut at zero elevation along each line, with a light 10 to 15 degree lift on the sides to keep the edge soft. Write the point length and the side length in centimetres on the card before the first cut.

Divide the hair into four and comb the centre back part into a clean line. Cut the point guide at the centre back at zero elevation and keep it visible. Working to one side, take vertical sections and comb each one flat, following the diagonal from the point up to the agreed side length. Keep the shears parallel to that diagonal and do not lift the section, or the line will bow. Finish the first side, then mirror the second side from the same point and the same side guide. Cross-check by combing both sides down and looking at the point from the back and from above. Take small cuts near the point so the two lines meet without a notch. Dry and check the back before finishing.

This cut cannot make the hair look thicker, cannot soften a square jaw, and cannot be worn as a bob, because the shortest points are at the sides where the face is widest. On fine hair a deep V leaves the front sides looking thin and the point looking stringy within weeks. On very curly hair the point cannot hold a sharp shape, and the cut needs a dry, curl-by-curl finish instead. It also cannot include a fringe as part of the same line; the fringe is a separate guide. If the client is growing out a V, warn her that the point takes longer to reach the next length than the sides. The photo shows one head with one density, so treat it as a reference and agree the numbers for this head.

Salon example: Ritu's gentle V

Ritu came in with straight, medium-thick hair just below her shoulder blades and wanted a V-cut from a photo. I checked density, found it medium to thick, and did a wet stretch that returned at about 30 percent. She asked for the point at the bra strap and the sides at the shoulder, which was a rise of about 10 cm. I refused that much rise on her hair, because a steep V would have taken weight off the sides where her front hair is finer. We agreed the point at 34 cm from the crown and the sides at 29 cm, a 5 cm rise, and I showed both numbers with the comb. I cut the point at zero elevation, followed each diagonal, and checked the two sides from above. Dried, the point sat exactly on the centre part, the sides kept their weight, and she rebooked in seven weeks. I wrote 34 cm and 29 cm on her card, and told her the point would be the last part to reach the bra strap. The front stayed blunt, with no face frame added.

Caution: Keep the point exactly on the centre back part, because a V that is even two centimetres off centre is visible from across the room.

Classic bob

Classic bob

A classic bob ends between the jaw and the chin, with a solid perimeter and no fringe. The line is level all the way around, or very slightly lower at the front, and the hair swings as one piece. It suits straight to gently wavy hair of medium density, and it is one of the most reliable shapes for a client who wants a clean, professional look that grows out well. On an oval face it shows the jaw and the neck; on a round face the length must reach the chin so the line does not widen the cheeks; on a square jaw a chin-length version softens the corners. Fine hair gains density from the solid line. Very curly hair will not hold the line wet, so that client needs a dry cut. The photo is a reference.

Measure the finished length dry: jaw length sits about 2 to 4 cm below the jaw hinge, chin length about 5 cm below the jaw, and both are roughly 15 to 20 cm from the crown at the back. The perimeter is cut at zero elevation with even tension, so every hair reaches the same line. The weight stays at the perimeter, which is what makes the bob swing, and there is no interior layering in the classic version. A slight 5 to 10 degree lift at the front corners keeps the line from digging into the jaw. Agree the exact number of centimetres below the jaw before the cape goes on, and check it with the comb on both sides, because a bob one centimetre too short is a different haircut.

Section into four, then take horizontal partings from the nape upward, no thicker than the comb. Cut the centre-back guide at the agreed mark at zero elevation, then carry it around the head section by section, keeping tension identical all the way. At the front, comb the hair straight down and follow the same line, with the option of a 5 to 10 degree lift at the corners so the bob tucks. Do not point-cut the perimeter; the line must stay solid. Cross-check the left and right front by combing both sides forward. Dry the hair with a brush under the ends, then look at the line from the front, both sides and the back. Trim any step that the dry line exposes.

This cut cannot hide a strong jaw if the length stops at the wrong point, cannot give volume at the crown, and cannot include a fringe as part of the same line. It also cannot be cut wet on very curly hair, because the line will dry unevenly and the perimeter will break. On fine sparse hair a chin-length bob can look thin at the ends within a few weeks, so the client needs to know the maintenance rhythm. If the hair is porous or damaged, cut the line with sharp shears and skip any razor work at the hem. If the client wants layers inside the bob, that is a different shape with a different name. Treat the photo as a reference and say what the line will do on this hair.

Salon example: Divya's chin bob

Divya had fine, straight hair at shoulder length and wanted a classic bob from a photo. I checked density and found it medium in the back but lighter at the front, and the wet stretch returned at about 30 percent. She asked for a jaw-length bob with a soft fringe. I refused the jaw length, because her front hairline was sparse and a line at the jaw would have shown the scalp at the corners. We agreed a chin-length bob, 17 cm from the crown at the back and 3 cm below the jaw at the front, with no fringe. I cut the centre-back guide at zero elevation, carried the line around, and lifted the front corners by 8 degrees so they tucked. The dry line sat level from the front, both sides and the back, and the ends looked fuller. She rebooked in six weeks. I wrote the chin line and the 8 degree corner lift on her card, and told her the ends would start to bend inward at about five weeks. She left with the same line she could brush flat at home.

Caution: Do not cut the perimeter with a razor or thinning shears, because a solid bob line relies on every end reaching the same point.

Angled bob

Angled bob

An angled bob is shorter at the back and longer at the front, so the hem runs in a diagonal from the nape to the chin. It suits straight to gently wavy hair of medium density and a client who wants a sharp, modern line without going short all over. The angle lengthens the neck at the back and frames the jaw at the front, so it flatters a round face and a strong jaw as long as the front reaches the chin. Fine hair can wear it if the angle is gentle, because a steep diagonal on fine hair leaves the back looking thin. Coarse hair holds the angle well but needs weight removed inside so it does not sit like a helmet. The photo is a reference and the angle in degrees matters more than the picture.

Set the front guide first, at the chin, measured from the crown at about 20 to 23 cm, then set the back at the nape, usually 5 to 8 cm shorter. The diagonal between those two points is the whole shape. The weight stays along the diagonal line, thickest at the front where the hair is longest. Cut at zero elevation at the front and with a slight 10 to 15 degree lift at the back so the shorter hair tucks toward the neck. Write both lengths in centimetres on the card, and state the difference aloud, because the client is agreeing to a diagonal, not to one number. The angle should be the same on both sides; if it is not, the head looks tilted even when it is straight.

Part in the centre and lift a clean section at the front to establish the chin guide. Then work back toward the nape in diagonal sections, each one connecting the front length to the shorter back. Keep the shears parallel to the diagonal and the tension even, or the line will wobble. Mirror the second side from the same front guide rather than from the first side, so any small error does not double. Cross-check both sides by combing the front sections forward and holding them at the chin, then look from behind at the nape line. Dry the hair and check the angle from the front, both sides and the back, with the head level. Trim only what the dry check shows.

This cut cannot be a one-length bob, cannot be reversed without cutting the front shorter, and cannot hide a wide jaw if the front stops above the chin. On very curly hair the diagonal will not hold, because the curls spring up at different rates, so that client needs a dry shape instead. On fine hair a steep angle leaves the nape thin and the front heavy, so keep the difference small. It also cannot include a fringe without a separate guide, and it cannot be maintained by trimming only the back, because the front sets the whole line. Growing it out means keeping the front and waiting for the back, which takes months. The photo is a reference; agree the two numbers and check both sides.

Salon example: Sneha's soft angle

Sneha had straight, medium-density hair at shoulder length and asked for a sharp angled bob with the back cut close at the nape. I checked density, found it medium, and the wet stretch returned at about 30 percent. I refused the close nape, because her hair is fine at the back and a steep angle would have exposed the neckline and left the back looking thin. We agreed the front at the chin, 21 cm from the crown, and the back 6 cm shorter, a gentle diagonal. I cut the front guide at zero elevation, worked back in diagonal sections with a 12 degree lift at the nape, and mirrored the second side from the front guide. The dry check from both sides showed the same angle, and the back line sat clean below the occipital bone. She rebooked in six weeks. I wrote the front and back lengths on her card, with the 12 degree lift at the nape, so the next visit could start from the same diagonal. She wanted to be able to tuck one side, and the angle allowed it.

Caution: Measure both sides from the same front landmark before cutting, because a one centimetre difference in the diagonal shows clearly when the head turns.

Graduated bob

Graduated bob

A graduated bob is built on a shorter back with stacked layers at the nape, while the front stays longer, usually at the chin. The stack creates volume and a rounded shape at the back, so the head looks fuller from the side. It suits medium to coarse straight hair best, and a client who wants movement at the back without losing length at the front. Fine hair can take only a low graduation, kept in the last few centimetres of the nape, because a high stack on fine hair removes the density that covers the scalp. A round or flat back of the head gains shape from the stack. Wavy hair can wear it if the wave is controlled, and very curly hair needs a different, dry-cut plan. Treat the photo as a reference and check the density before agreeing to any stack.

Agree the front length first, at the chin, about 20 to 23 cm from the crown, then set the nape shorter by 3 to 6 cm. The stack itself is built in the lowest 4 to 6 cm of the nape, below the occipital bone on most heads, so the weight line stays low and the shape stays soft. Elevation for the graduated sections stays under 90 degrees, usually 30 to 45, which is what creates the stack without cutting into the upper back. The weight stays at the nape weight line and along the lower perimeter, and the front keeps its solid, longer line. On fine hair keep the difference small, 2 to 4 cm, and keep every degree low. Write the front length, the nape length and the stack height on the card.

Cut the front and side perimeter first at zero elevation, using the chin guide, so the longest line is fixed. Then work the nape in horizontal sections, starting at the bottom, and lift each section 30 to 45 degrees to the guide above it, building the stack section by section. Keep the elevation identical across the nape, or one side will look heavier. Blend the stack into the sides with a diagonal section so there is no step where the graduation meets the longer front. Use sharp shears and check the weight line with the comb flat against the head. Cross-check both sides by combing the nape down and looking at the curve. Dry the hair and check the back from the side and from behind before finishing.

This cut cannot make sparse hair look dense, cannot be worn as a one-length bob, and cannot hold its shape on very curly hair cut wet. On fine hair a high stack removes the little density the client has, and the scalp shows through the nape. It also cannot be maintained by trimming the front only, because the stack grows out and the weight line drops. A client who ties her hair back every day will flatten the stack, so ask about her routine before you agree. If the ponytail measures under 5 cm, do not stack a short crown on it; keep the shape low and the length longer. The photo shows one density and one head shape, so treat it as a reference and say which parts this hair can hold.

Salon example: Priya's low stack

Priya had straight, medium-thick hair at shoulder length and asked for a graduated bob with a high stacked nape like the photo. I checked density at the nape and found it medium, and her ponytail measured 5.5 cm, which is close to sparse. I refused the high stack, because cutting the graduation above the occipital bone would have removed the density covering her nape and left the back looking thin. We agreed a chin length at 22 cm from the crown and a nape length 4 cm shorter, with the stack kept in the lowest 5 cm. I cut the front perimeter at zero elevation, then built the stack at 35 degrees in horizontal sections, blending the sides diagonally. Dried, the back looked rounded from the side and the chin line stayed solid. She rebooked in five weeks. I wrote the chin length, the nape length and the 5 cm stack height on her card, and told her the stack would drop first at about four weeks. The front line stayed solid and the sides were blended by hand, not by clipper.

Caution: Do not stack above the occipital bone on fine or sparse hair, because the graduation will remove the little density the client has.

French bob

French bob

A French bob ends at the jaw and carries a full, soft fringe across the forehead, so the face is framed on three sides. It suits straight to gently wavy hair of fine to medium density and an oval or heart-shaped face, and it gives a strong, deliberate look rather than a casual one. The fringe covers the forehead and shortens the face visually, which helps a long face and can crowd a short one. The jaw line keeps the neck visible and the fringe keeps the style soft. Fine hair gains density from the solid perimeter and the fringe, while coarse hair can look heavy unless weight is removed inside. Very curly hair will not hold a wet-cut fringe, so that client needs a dry shape. The photo is a reference and the fringe width must be agreed.

Measure the perimeter dry at the jaw, about 2 to 4 cm below the jaw hinge and roughly 18 to 21 cm from the crown, and keep it solid at zero elevation. The fringe is a triangle from the centre part to each temple, cut to sit at the brow with a 2 to 3 mm margin left above the agreed mark so it can be refined dry. The fringe should be full but not so wide that it reaches past the outer corner of the eye on either side. The weight stays at the perimeter and along the fringe line, and the interior is left mostly solid so the bob keeps its swing. Write the jaw length and the fringe width in centimetres on the card. A French bob is a precise shape, so a 2 mm error at the fringe is visible every day.

Cut the perimeter first at zero elevation, using the centre-back guide and carrying it to the jaw at the front. Then take the fringe triangle and comb it straight down with the client's head upright, not tipped back. On straight hair, cut the fringe wet and leave the 2 to 3 mm margin, because wet hair springs up as it dries; then dry it and refine to the final mark. On wavy hair or a cowlick, cut the fringe dry instead. Blend the fringe corners into the side line with a small diagonal section so there is no gap at the temple. Use sharp shears and point-cut only the last few millimetres of the fringe for softness. Check the fringe from the front with the client's eyes open and closed, and check the jaw line from both sides.

This cut cannot be low maintenance, because the fringe needs styling every morning and trims every 3 to 4 weeks to stay out of the eyes. It cannot be cut wet on very curly hair, cannot be tied back cleanly, and cannot hide a cowlick that splits the fringe in two. On a very short face the full fringe can crowd the features, and on a wide jaw the jaw-length line can emphasise the width. It also cannot be a one-length bob with a gap in the fringe, because the two lines are cut from different guides and must be balanced. If the client wants to grow it out, the fringe is the slowest part. Treat the photo as a reference, agree the fringe width, and say how often it needs a trim.

Salon example: Aisha's soft fringe

Aisha had fine, straight hair at collarbone length and asked for a French bob with a fringe cut just above her brows. I checked density, found it medium at the back and lighter at the front, and the wet stretch returned at about 30 percent. She asked for the fringe exactly on the brow line. I refused that, because her hair has a small cowlick at the left temple and a hard wet line would have sprung up and sat unevenly. We agreed a jaw length at 19 cm from the crown and a full fringe with a 3 mm margin above the brow, cut wet and refined dry. I cut the perimeter at zero, took the fringe triangle to the temples, then dried and refined the left side a little shorter to let the cowlick settle. The finished fringe sat soft across the brow, and she rebooked in five weeks for a trim. I wrote the jaw length and the 3 mm fringe margin on her card, and told her the fringe would need a trim in three to four weeks. The back was left solid and level.

Caution: Cut the fringe 2 to 3 mm longer than the agreed mark on wet straight hair, then dry and refine, because wet fringe springs up shorter than it looks.

Lob with internal layers

Lob with internal layers

A lob is a long bob that ends at the collarbone, with internal layers for movement and a solid outer line so the hem stays clean. It suits most straight, wavy and loosely curly hair of medium density, and it is the easiest shape for a client growing out a shorter bob without going back to long hair. The collarbone length draws the eye along the neck and works on round, oval and square faces, as long as the front sections are angled to soften the jaw. Fine hair can wear it if the internal layers stay low, and thick hair needs more weight removed so the shape does not widen at the shoulders. The outer line matters more than the layers. The photo is a reference and the finished length must be agreed on the comb.

Set the perimeter at the collarbone, about 25 to 30 cm from the crown, measured dry with the hair parted where the client wears it. Keep the outer line solid at zero elevation, cut around the head in the same way as a bob. Then cut internal layers at 90 to 135 degrees, starting no higher than the chin, so the movement sits inside the shape and the hem stays visible. The weight stays at the perimeter and in the lower half of the interior; nothing is stacked at the crown. On fine hair keep the shortest internal layer below the jaw. Write the perimeter length and the shortest layer length in centimetres on the card, and state the gap between them before cutting.

Cut the perimeter first, all the way around at zero elevation, and keep the centre-back guide clipped. Then take vertical sections inside the shape and lift them to 90 to 135 degrees, cutting to a guide at the crown so both sides match. Over-direct the front sections slightly forward to build the face frame. Remove weight with the shears, not a razor, and stop the layers at least 10 cm above the perimeter so the hem stays solid. Check both sides at the centre part, then dry the hair and look at the hem from the front, both sides and the back. If the ends look stringy, take small vertical sections and dust only the last centimetre, rather than cutting a new, shorter layer.

This cut cannot give the volume of a short bob, cannot make fine sparse hair look thick, and cannot sit sleek without styling if the internal layers are cut high. On fine hair, layers above the jaw make the ends look thin and the lob loses its clean line. On very curly hair the solid outer line will break as the curls spring up, so a dry, curl-by-curl shape is the better plan. It also cannot be maintained by trimming the perimeter alone once the internal layers have grown out. If the client ties her hair up often, ask whether she wants the front to reach a ponytail. Treat the photo as a reference, and check the wet stretch before agreeing to any interior work at all.

Salon example: Nandini's collarbone lob

Nandini had wavy, medium-density hair at chest length and wanted a lob at the collarbone with movement. I checked density, found it medium, and ran a wet stretch that returned at about 30 percent. She asked for layers starting at the cheekbone, because she wanted the front to frame her face. I refused that height, because her front hair is finer than the back and cheekbone layers would have thinned the face frame and broken the outer line. We agreed the hem at 27 cm from the crown, which sat on the collarbone, and the shortest internal layer at the jaw, 10 cm above the hem. I cut the solid perimeter at zero, then the interior at 110 degrees, over-directing the front forward. Dried, the hem stayed clean, the mid-lengths moved, and she rebooked in seven weeks. I wrote the collarbone length and the jaw layer on her card, and told her the internal layers would grow into the hem in about six weeks. The front was over-directed forward so the face frame fell where she parts it. Two small vertical sections were dusted at the ends, with no new, shorter layer cut.

Caution: Keep the internal layers at least 10 cm above the perimeter, or the solid outer line will break and the cut becomes a shag.

Curtain fringe

Curtain fringe

A curtain fringe parts in the centre and sweeps away from the face, longer through the middle and shorter at the sides, so it opens toward the cheekbones instead of sitting as a hard line across the brow. It suits almost any hair length and most face shapes, and it is a good first fringe for a client who is unsure about covering her forehead. Straight and wavy hair both work, and the fringe can be added to a bob, a lob or long layers without changing the rest of the cut. A round face gains softness from the opening at the cheekbones, and a long face gains width from the sweep. Fine hair needs enough density at the front to cover the parting. The photo is a reference, and the centre length must be agreed with the client's own parting.

Set the centre length first, usually 2 to 4 cm longer than the side length, so the middle reaches the bridge of the nose or the inner corner of the eye and the sides fall to the cheekbone or the jaw. The fringe triangle should start at the centre part and end at each temple, no wider than the outer corner of the eye on each side. Leave a 1 to 2 cm margin if the client has a cowlick, and cut that fringe dry rather than wet. The weight stays in the fringe itself, soft at the ends, and nothing is layered into the rest of the cut. Write the centre length and the side length in centimetres on the card, and show both on the comb before cutting.

Take a triangle section from the centre part to each temple and comb it straight down, keeping the client's head upright. On straight hair without a cowlick, the fringe can be cut wet with a small margin and refined dry; on a cowlick, cut it dry and leave 1 to 2 cm more than the final mark so the spring is visible. Start at the centre and cut the longest point, then angle the shears up toward each side so the fringe opens. Point-cut the last few millimetres for a soft edge, but do not thin the fringe through the middle. Check both sides by combing them apart and letting them fall. Dry and refine, then look at the fringe from the front and from the side with the client's eyes open.

This cut cannot be a full fringe, cannot sit flat over a strong cowlick, and cannot stay in place without a little styling every day. On very curly hair the fringe will not lie as a curtain unless it is cut dry and kept long enough to hold its pattern. On fine, sparse front hair the parting can show through, and on oily hair the fringe separates by midday. It also cannot be cut on a client who parts her hair far to one side without moving the triangle to match. If she wants a hard brow line, that is a different fringe with a different guide. The photo is a reference, and the margin on a cowlick is the difference between a fringe that opens and one that splits.

Salon example: Pooja's curtain fringe

Pooja had straight, medium-density hair at collarbone length and wanted a curtain fringe like the photo. I checked her front density, found it medium, and noticed a cowlick at the right temple that pushed the hair outward. She asked for a fringe cut wet to the bridge of the nose. I refused, because on her cowlick a wet cut would have sprung up 1 to 2 cm shorter and opened unevenly on the right side. We agreed a dry cut, with the centre at 12 cm from the hairline and the sides 3 cm shorter, ending at the cheekbones, and a 1.5 cm margin on the right. I cut the centre guide dry, angled the sides, and point-cut the ends. The finished fringe parted cleanly and swept away from both cheekbones. I booked her in three weeks for a trim. I wrote the centre and side lengths on her card, with the 1.5 cm margin on the right, and told her the next trim would be at three weeks. The rest of her cut was left exactly as it was, and no layers were added to the fringe.

Caution: On a front cowlick, leave the fringe 1 to 2 cm longer and cut it dry, because wet hair hides the direction the hair takes when it dries.

Pixie cut

Pixie cut

A pixie keeps the sides and nape short and leaves the top longer, so the shape sits close to the head with movement and texture on top. It suits straight to gently wavy hair of fine to medium texture, an oval or heart-shaped face, and a client with enough density at the crown to carry the top length. Strong features and a long neck carry it well. Fine hair looks fuller when the top is point-cut and the sides are kept tight, while coarse hair needs weight removed from the top or it stands up. Very curly hair needs a dry cut and a longer top. The photo is a reference: the same shape looks different on fine and coarse hair, and the client must be ready for a cut that shows the scalp at the sides.

Agree the top length first, usually 4 to 6 cm, and the side length, usually 1 to 3 cm above the ear, then the nape, which tapers to the neckline. The weight stays on the top and at the fringe line, while the sides and nape are cut close with a clipper or shears. If the client has two whorls at the crown, keep that area longer, 6 to 8 cm, so the hair can lie with the growth instead of standing against it. Show the top length with the comb and the side length against the ear before the first cut. On a client whose ponytail measures under 5 cm, do not choose a pixie, because the short sides will expose the scalp and the top will look thin. The photo is a reference only.

Cut the side guide first, above the ear, at the agreed length, and use it to set the nape taper. Work from the nape upward with shears or a clipper, keeping the neckline natural and following the head shape rather than a straight line. Then cut the top in sections, lifting the hair 90 degrees or more so the crown stays long and the fringe can be point-cut. Blend the top into the sides with a small diagonal section, and check the two sides against each other. Point-cut only the last centimetre for texture, and keep the shears off the sides if the client wants a soft edge. Dry the hair and check the shape from the front, both sides and the back before finishing.

This cut cannot be tied back, cannot hide thin sides, and cannot hold a soft, long fringe, because the sides are cut close to the head. On very curly hair it needs a dry cut and a longer top, and on fine hair a short top can look flat within two weeks. It also cannot be cut with a single clipper length all over, because that is a different shape with a different name. The client must be ready to book every 4 to 5 weeks, since the neckline and sides show regrowth first. If she wants a pixie but keeps her hair in a ponytail every day, the shape will not suit her routine. Treat the photo as a reference, and agree the top length in centimetres on the comb.

Salon example: Shruti's soft pixie

Shruti had fine, straight hair at chin length and asked for a short pixie with the sides almost shaved. I checked the crown density and found it medium, ran a wet stretch that returned at about 30 percent, and measured her ponytail at 6 cm. I refused the almost-shaved sides, because her front hair is fine and the temples would have shown scalp, and because she has two whorls at the crown that needed length to lie flat. We agreed sides at 2 cm above the ear, a natural nape taper, and a top of 6 cm at the crown with 7 cm through the whorls. I cut the side guide, tapered the nape, and cut the top at 90 degrees, point-cutting the last centimetre. Dried, the crown lay with the whorls instead of standing up, and she booked in four weeks. I wrote the top length, the side length and the two whorl measurements on her card, and told her the sides would show regrowth first. The fringe was point-cut and left soft, not cut into a straight line.

Caution: Check the scalp before the first cut; sores, weeping, ring-shaped patches or sudden patchy loss mean no service today and a referral to a dermatologist.

Wolf cut

Wolf cut

A wolf cut is a short shag through the crown and the face with a long back, so the top moves and the length stays behind the shoulders. It suits wavy, medium to thick hair with natural texture and a client who wants a bold shape that looks undone on purpose. Straight hair can wear it, but it needs styling to keep the crown from falling flat. The short face layers open the cheekbones and soften the forehead, while the long back keeps the weight and the length. Fine hair can look thin through the crown, because the layers remove density where the hair is already light. Frizz-prone and damaged hair must be handled with shears only. The photo is a reference, and the gap between the crown layers and the back length must be agreed.

Set the back length first, usually 30 to 40 cm from the crown for shoulder-blade length, and keep it solid at zero elevation so the long back stays heavy. Then cut the crown and face layers between 5 and 10 cm, with the shortest pieces around the fringe and the cheekbones. The weight stays at the back perimeter and low in the crown; the removal happens through the top and the face frame, at 90 to 180 degrees elevation. On wavy hair the layers can be shorter; on straight hair keep them longer so they do not spike. Show the client the back length and the shortest crown layer on the comb before cutting, and say both in centimetres, because the gap is the whole design.

Cut the back perimeter first at zero elevation and clip the centre guide. Then part the crown from the front hairline back to the occipital and take thin vertical sections, lifting them 90 to 180 degrees and cutting to a guide at the crown. Point-cut the ends of the crown and face sections so they separate, and keep the shears off the long back except for the perimeter. Do not use a razor on frizz-prone or damaged hair, because the blade opens the cuticle and the crown will frizz. Work from the face backward, checking the fringe and the cheekbone layers against the client's face. Cross-check both sides, then dry the hair and check the crown from the front and the length from behind.

This cut cannot look sleek or formal, cannot be worn without some styling, and cannot be cut with a razor on frizz-prone or damaged hair. On fine straight hair the crown layers can fall flat and look like a grown-out mullet, so the layers need to be longer and fewer. It also cannot be a one-length shape, and it cannot be maintained by trimming only the back, because the crown sets the whole balance. If the client wears her hair tied up, the short face layers will not reach the band and will need pinning. Very curly hair needs a dry cut, curl by curl, or the crown will spring into a different shape. Treat the photo as a reference, and say what the crown will do on this texture.

Salon example: Tanvi's wavy wolf

Tanvi had wavy, medium-thick hair at mid-back and asked for a wolf cut with a very short crown. I checked density, found it thick, and ran a wet stretch that returned at about 30 percent. She asked for the crown layers at 4 cm, almost at the root. I refused, because the short layer would have stood up on her wave and the face frame would have sprung into a fringe she could not control. We agreed the back at 36 cm from the crown and the shortest crown layer at 9 cm, with the face frame at 8 cm, all cut with shears and point-cut at the ends. I cut the back perimeter at zero, then the crown at 120 to 160 degrees, and checked both sides of the face frame. Dried, the crown moved without standing up, and she rebooked in six weeks. I wrote the back length and the 9 cm crown layer on her card, and told her the crown would lose its shape before the back did. The face frame was kept wide so it could be pinned back on busy days.

Caution: Never use a razor on frizz-prone or already damaged hair in this shape, because the blade opens the cuticle and the crown frizz will double.

Shag

Shag

A shag keeps the layers inside the shape and softens the perimeter, with a piece-y fringe that breaks over the forehead. It suits medium to thick hair with a natural wave or curl, and a client who wants texture without a set, polished finish. The layers start around the cheekbone and run back through the crown, so the surface breaks into pieces while the hem stays soft and uneven on purpose. Straight hair can wear a shag, but it needs styling to stop the layers from sitting flat. Fine hair can look stringy, because so much weight is removed. Thick frizz-prone hair needs the weight taken with the layer, not with a razor. The photo is a reference; the amount of weight removed must be agreed before cutting.

Agree the perimeter first, usually at the shoulder or collarbone, and keep it soft rather than solid: cut the length at zero elevation, then point-cut only the last centimetre so the hem breaks. The fringe sits at the brow or the cheekbone, cut piece-y and slightly longer at the sides. The internal layers start at the cheekbone and rise to the crown at 90 to 135 degrees, with the shortest layer no higher than the temple on most clients. The weight stays at the perimeter and in the lower back; the crown and face frame carry the movement. On thick hair remove the weight with the layer itself, not with thinning shears through the surface. Write the perimeter and the shortest layer in centimetres on the card.

Cut the perimeter first at zero elevation, then soften the ends with point cutting in the last centimetre only. Take vertical sections from the front hairline to the crown and lift them 90 to 135 degrees, cutting to a guide at the crown; the layer itself removes the weight. Work the fringe last, cutting it piece-y and dry if the hair has a cowlick. On thick frizz-prone hair, do not run a razor or thinning shears through the mid-lengths, because the surface will frizz within days. Cross-check both sides and the fringe, then dry the hair and shake it out rather than brushing it flat. Look at the shape from the front, both sides and the back, and check that the hem still reads as a line.

This cut cannot look sleek or formal, cannot be worn without some product or styling, and cannot be cut short through the crown on fine hair without looking stringy. On straight hair the layers can fall flat into a long bob with gaps, so the client needs to know the styling routine. It also cannot be maintained by trimming the fringe alone, because the internal layers grow into the hem and change the shape. Very curly hair needs a dry cut, and damaged hair needs the razor kept away entirely. If the client wants a solid hem, this is the wrong shape. Treat the photo as a reference, and say how much weight the layers will remove before you start.

Salon example: Isha's soft shag

Isha had wavy, thick hair at collarbone length and asked for a shag with a very short, choppy fringe. I checked density, found it high, and the wet stretch returned at about 30 percent, but her ends were porous from old heat damage. She asked for the fringe at 4 cm above the brow and a razor through the sides to make it piece-y. I refused the razor, because her porous ends would have frizzed along the whole surface within a week. We agreed the perimeter at 26 cm from the crown, the shortest layer at the temple, and a piece-y fringe at the brow cut with shears only, point-cut at the ends. I cut the perimeter at zero, layered at 110 degrees, and checked the fringe dry. The finished shape had movement without frizz, and she rebooked in six weeks. I wrote the perimeter and the temple layer on her card, and told her the fringe would grow out of shape first. The ends were point-cut only, with the mid-lengths left alone. She booked six weeks, with a fringe trim at three.

Caution: On thick frizz-prone hair, remove weight with the layer itself and keep the razor off the mid-lengths, or the surface will frizz for weeks.

Butterfly layers

Butterfly layers

Butterfly layers are two lengths in one shape: a shorter face frame on top and a longer length underneath, so the hair opens around the face and still keeps its length. It suits long, medium to thick hair with a wave, and a client who wants a rounder, softer face frame without losing the back length. The top layer usually falls between the chin and the collarbone, while the underneath length stays at the collarbone or below. On a round face the shorter frame narrows the cheeks, and on a long face the two levels add width. Fine hair can look thin in the top layer, so keep the difference small. The photo is a reference, and both lengths must be shown and agreed before any cut.

Set the underneath length first, at the collarbone or below, measured from the crown at 25 to 35 cm, and cut it solid at zero elevation. Then set the face frame 10 to 15 cm shorter, usually between the chin and the collarbone, and keep the top layer thick enough to read as a separate shape. The weight stays in the underneath length and at the perimeter, while the top layer is lighter and moves over it. Cut the top layer at 90 to 135 degrees so it sits over the length rather than blending into it. Show both lengths on the comb, side by side, and say the gap in centimetres before cutting. On fine hair reduce the gap to 6 to 8 cm and keep the face frame wide.

Cut the underneath length first, all the way around at zero elevation, and clip the centre guide. Then part the top section from the crown forward and cut the face frame at 90 to 135 degrees, using a guide at the cheekbone or the chin. Keep the top layer wide across the front so it reads as a frame, not a thin curtain. Blend only the last few centimetres where the frame meets the underneath length, so both levels stay visible. Check both sides of the face frame by combing them forward, then dry the hair and let it fall naturally. Look at the shape from the front and both sides, and check that the underneath length still shows below the top layer at the back.

This cut cannot work on short hair, cannot be cut in one pass, and cannot make fine sparse hair look fuller in the top layer. On very curly hair the two lengths can collapse into one another unless the cut is done dry and curl by curl. It also cannot be maintained by trimming only one level, because the gap between the frame and the underneath length is the shape. If the client ties her hair up, the short face frame will fall out and need pinning. Straight, heavy hair may need the top layer point-cut so it does not sit as a ledge. Treat the photo as a reference, show both lengths on the comb, and say plainly that this is two shapes working together, not one.

Salon example: Neha's two lengths

Neha had long, medium-thick wavy hair and asked for butterfly layers with the face frame at the chin. I checked density, found it medium, and the wet stretch returned at about 30 percent. She wanted the frame at the chin and the underneath length left at the waist, a gap of about 25 cm. I refused that gap, because her top layer would have been very light and would have separated into a thin curtain over the long back. We agreed the underneath length at 32 cm from the crown, just below the collarbone, and the face frame at 18 cm, at the jaw, a 14 cm gap. I cut the underneath at zero, then the frame at 120 degrees, and showed both marks on the comb before the first cut. Dried, both levels read clearly, and she rebooked in seven weeks. I wrote both lengths on her card, and told her the face frame would need a trim before the underneath length did. The top layer was kept wide across the front so it framed the cheeks instead of hanging as a curtain.

Caution: Show the client the face-frame length and the underneath length on the comb before any cut, because the gap between them is what makes or breaks this shape.

Feather cut

Feather cut

A feather cut softens the face frame and the ends with point cutting, while the outer line stays visible, so the hair looks light without losing its shape. It suits medium hair that is straight to wavy, and a client who wants a softer version of a long cut rather than a shag. The face frame starts at the cheekbone or the jaw and blends into the length, and the perimeter stays at the collarbone or below. The weight stays at the perimeter and in the lower shape; only the last 1 to 2 cm of the surface is point-cut. Fine hair can look fuller when the ends are feathered, and coarse hair can look lighter. Porous or damaged hair must not see a razor. The photo is a reference, and the outer line must stay visible.

Agree the perimeter first, at the collarbone, about 25 to 30 cm from the crown, or at the chin for a shorter version, and cut it clean at zero elevation. Then set the face frame at the cheekbone or the jaw, and point-cut only the last 1 to 2 cm of each section so the outline stays intact. The weight stays at the perimeter, and the interior is left mostly solid; this is not a layered cut. A light 45 degree elevation on the surface sections helps the point cutting sit, but do not lift above 90 on fine hair. Show the client the perimeter mark and the face-frame mark on the comb. Write both in centimetres on the card, and say that only the ends will be softened, not the length.

Cut the perimeter at zero elevation first, all the way around, and keep the centre-back guide clipped. Then take vertical sections on the surface and point-cut the last 1 to 2 cm, moving the shears down the section rather than across it. Keep the outer line visible: do not point-cut above the last 2 cm, and do not thin the mid-lengths. Work the face frame from the cheekbone forward, point-cutting the ends so they fall softly around the jaw. Use sharp shears and no razor on porous hair, because the blade will rough the cuticle. Cross-check both sides, then dry the hair and check the perimeter from the front, both sides and the back. Trim only what the dry ends show.

This cut cannot create volume at the crown, cannot shorten the length, and cannot be maintained without regular trims, because point-cut ends thin out first. On porous or damaged hair, point cutting is the only safe option and a razor must be avoided entirely. On very curly hair the softened ends can disappear into the curl pattern, so a dry cut is the better plan. It also cannot be cut with thinning shears through the mid-lengths, because that removes the outer line the shape depends on. If the client wants a shag or a wolf cut, that is a different set of guides and a different amount of weight removal. Treat the photo as a reference, keep the outer line visible, and say how much of the end is being softened.

Salon example: Rhea's soft ends

Rhea had straight, medium-density hair at mid-back and asked for a feather cut with very light, wispy ends. I checked density, found it medium, and the wet stretch returned at about 22 percent, which is on the low side. She asked for a razor through the last 10 cm to make the ends feathery. I refused the razor, because her stretch was weak and a razor would have roughened the cuticle and split the ends further. We agreed the perimeter at 30 cm from the crown, the face frame at the jaw, and point cutting only the last 1.5 cm with sharp shears. I cut the perimeter at zero, point-cut the surface sections at 45 degrees, and kept the mid-lengths solid. Dried, the hem stayed visible and the ends fell softly. She rebooked in seven weeks. I wrote the perimeter and the face-frame marks on her card, and told her the point-cut ends would need a trim in six to eight weeks. The mid-lengths were left solid, so the outer line stayed visible from behind, and no thinning shears were used anywhere.

Caution: Point-cut only the last 1 to 2 cm and leave the outer line visible, because short point cutting up the length turns the perimeter into a see-through fringe.

Curly bob

Curly bob

A curly bob is cut dry, curl by curl, and ends between the jaw and the collarbone when the curls are in their natural spring. It suits 2C to 4C hair with medium or high density, and a client who wants a rounded shape that follows her pattern instead of fighting it. Cutting dry lets you see the true length, the shrinkage and the direction of each curl, so the finished shape is the one the client sees in the mirror. A wet cut on tight curls almost always ends too short, because the hair pulls up as it dries. Fine curls need a longer shape and fewer layers; coarse curls can carry more volume. The photo is a reference, and one stretched curl must be shown beside its spring before any cut.

Measure the finished length dry, at the jaw or the collarbone, and show the client how much shrinkage to expect. For 3C to 4C hair shrinkage is 30 to 50 percent, so a curl that reaches the collarbone dry may sit at the jaw when stretched, and the reverse is also true: cutting a stretched curl to the jaw can leave the dry bob above the ear. Take one curl, stretch it beside its natural spring, and point to both lengths on the same strand. The weight stays at the perimeter and in the lower shape, and layers stay low so the bob keeps its round silhouette. Write the dry target and the stretched measurement in centimetres on the card.

Cut the hair dry and work curl by curl, taking small sections and following the direction each curl falls. Cut the perimeter curl by curl with sharp shears, never a razor, so the ends stay blunt enough to hold the shape. Keep the layers low, at the cheekbone at most, and only where the client wants volume. Check the shape by letting the hair fall and looking at it from the front, both sides and the back, not by combing it straight. If one section sits longer, cut that individual curl rather than the whole section. Finish with leave-in on wet hair, scrunch, then diffuse on low heat or air-dry. Do not towel-rub, because friction breaks the curl pattern and creates frizz.

This cut cannot be done wet, cannot hold a sharp, straight perimeter, and cannot be styled with a brush the way a straight bob is. On loose curls a dry cut still works, but the shape needs more length at the front to allow for the spring. On very tight curls the shrinkage is so large that the client must accept a shorter visible length than the stretched measurement suggests. It also cannot be maintained by trimming the perimeter on wet hair, because the same mistake will repeat. A curly dry cut takes 60 to 90 minutes, and the consultation sits inside that time, so book it properly. The photo is a reference; show one curl stretched beside its spring and agree the dry target before cutting.

Salon example: Sana's dry curl cut

Sana had 3C curls, medium density, at shoulder length when stretched, and wanted a curly bob at the jaw. I checked the curl pattern, found shrinkage of about 40 percent, and measured a stretched curl at 24 cm from the crown while the same curl sat at 14 cm when dry. She asked me to cut it wet, because she was in a hurry. I refused, because a wet perimeter at the jaw would have dried above her ear and left the bob much shorter than she wanted. We agreed a dry target of 16 cm from the crown, which sat just below the jaw, and I showed her the stretched curl beside the spring. I cut curl by curl, kept the layers at the cheekbone, and used no razor. After leave-in, scrunching and a low diffuse, the bob sat round and even, and she rebooked in seven weeks. I wrote the dry target and the stretched measurement on her card, and told her the next cut would be measured the same way. She left with the shape she could see in the mirror, not a promise.

Caution: Never cut a 3C to 4C bob wet, because 30 to 50 percent shrinkage can land the finished length 5 to 10 cm shorter than agreed, so show a stretched curl and cut dry.

Low fade crop

Low fade crop

A low fade crop keeps a short textured top of about 2 to 4 cm and fades the sides shorter toward the ear, with a natural neckline at the back. The photo shows that shape: a soft, textured top, a low fade that starts around the ear and a neckline that follows the head instead of a hard line. It suits straight to wavy hair of medium or coarse texture, and round, oval or square faces, because the tight sides slim the head while the top keeps some height. Fine hair can wear it, but the fade must be gentle or the scalp will show through the sides. It is not a buzz cut and not a tall quiff. Treat the photo as a reference and agree the top length and the fade height before the clipper starts.

Set the top at 2 to 4 cm, textured with the shears or a clipper comb, and keep it longer at the front so it can be pushed up or worn flat. The fade is low, starting at the sideburn and the nape and blending upward to about the top of the ear. Know the guards: 0.5 is about 1.5 mm, 1 is about 3 mm, 2 is about 6 mm and 3 is about 10 mm. The same guard looks different on fine and coarse hair, because fine hair shows the scalp at a shorter length while coarse hair still looks dark. The weight stays on the top, and the neckline stays natural. Say the top length in centimetres and the guard numbers aloud before cutting, and write them on the card.

Set the guideline at the sideburn and the nape first, using the guard you agreed, and keep it visible as the reference for the whole fade. Work upward from that guideline, blending the sides with the next guard or with the clipper lever, and check the blend by looking across the head at eye level. Do not gouge a hard line between the fade and the top; blend it with a small diagonal section and the shears. Keep the neckline natural and follow the head shape rather than cutting a straight bar. Sideburns end at the middle of the ear unless the client asks for something else. A men's cut like this takes 20 to 40 minutes, including the consultation. Dry check the fade from the front, both sides and the back.

This cut cannot be a buzz cut, cannot be a tall quiff, and cannot hide a thin patch at the crown, because the top is short and textured. On fine hair the same guard that looks soft on coarse hair can expose the scalp at the sides, so choose one guard longer and blend more gently. It also cannot be maintained at home for long, because the fade grows out in 3 to 4 weeks and the neckline shows first. If the client wants a hard line at the temples or a sharp bar in the neckline, that is a different finish and must be agreed. If he plays sport daily, the fade will need a trim sooner. Treat the photo as a reference, state the top length and the guards, and rebook in 3 to 4 weeks.

Salon example: Arjun's low fade

Arjun had straight, coarse hair and wanted a low fade crop with the top at 2 cm and the sides taken down with a number 1 guard. I checked the scalp at the nape and found it clear, set the sideburn and nape guidelines, and confirmed the top at 3 cm so it could still be textured. He asked for the sideburns cut to the top of the ear and a hard line across the neckline. I refused the hard neckline, because his hair grows in a whirl at the nape and a bar line would have left a visible gap within ten days. We agreed a natural neckline, sideburns to the middle of the ear, a number 1 at the sideburn blending to a number 2 above the ear, and shears on top. The cut took 30 minutes, the blend read smoothly from both sides, and he rebooked in three weeks. I wrote the top length and the guard numbers on his card, and told him the neckline would show regrowth first. The top was point-cut by hand so it stayed textured, not flat.

Caution: Check the nape and scalp before the clipper starts; sores, weeping or ring-shaped patches mean no cut today and a referral to a dermatologist.

This is a Nandu Nai textbook. It is a private brand book, not a government licence, and it does not give the right to give medical treatment.

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