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Ch 9 sculpture
Pivot Point ch 9 Sculpture
| Question | Answer |
|---|---|
| Sectioning | dividing the head into controllable areas for sculpting |
| apex | the top portion of the head |
| occipital | the bone in the back of the head |
| nape | the back of the neck |
| forward | head position most used when refining form lines |
| fringe | pivot point term for bangs |
| perimeter | outline of the sculpture |
| head position | the way the head is held while sculpting |
| partings | used for control of hair when sculpting |
| concave line | inside area of a curve |
| convex line | outside area of a curve |
| Basic | form or shape by observing the outer boundary or silhouette. |
| Detail | texture or surface appearance |
| abstract | viewed as if the hair stands straight out from the head at a 90* angle |
| Natural fall | the hair as it lays naturally from the head |
| normal projection | viewed abstractly as if hair were projected straight out from the head in a 90* angle. |
| weight | the concentration of lengths within a given area. |
| solid form | also known as 0* angle cut. all lengths fall to one level. |
| graduated form | shorter exterior lengths that progress toward longer interior lengths. also known as 45* or wedge cut |
| increased layer form | shorter interior lengths that progress toward longer exterior lengths. Also known as 180* cut. |
| uniform layer form | all lengths in the interior and exterior are the same. Also known as 90* cut. |
| shears | produce clean blunt edge |
| Taper shears | one straight blade and one serrated blade. |
| Razor | produces a tapering or angled effect on the end of each strand |
| Clippers | electric tool that can achieve a variety of effects. Generally sculpts hair fastest. |
| comb | used to distribute and control the hair before, during and after sculpting |
| palm down | palm of sculpting hand faced down as in solid form |
| palm up | palm of sculpting hand faces up as is sculpting diagonal lines |
| palm to palm | the palm of your sculpting hand faced the palm of your other hand as when sculpting graduated lengths |
| on top of the fingers | sculpting above the fingers when lifting lengths on top of the head |
| shampoo comb | comb used to detangle wet hair after shampooing |
| master sketcher | comb used for controlling large amounts of hair |
| sculpting comb | comb that has fine and wide teeth for distribution of medium sections of hair |
| Taper comb | a barber comb that allows sculpting close to the scalp |
| natural distribution | the direction the assumes as it falls naturally |
| perpendicular distribution | hair combed at a right angle from the parting. Not necessarily 90* from the scalp. |
| shifted distribution | hair combed out of natural fall and perpendicular distribution. used with exaggerated lengths. |
| direction distribution | used most often along a horizontal, vertical, or diagonal plane. |
| Planar sculpting | most often used along a horizontal or vertical plane. Square or rectilinear form |
| projection | the angle at which the hair is held. Elevation. high, medium, low |
| parallel finger position | fingers are positioned the same as the parting line. equal distance away |
| nonparallel finger position | fingers are positioned unequally from the parting line. |
| design line | length guide used when sculpting, can be stationary or mobile |
| stationary design line | all hair are directed to the same length guide. |
| mobile design line | using a small amount of previously sculpted hair as a length guide to sculpt the next parting. |
Created by:
annalder
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