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pivotpoint chapter#9
sculpture chapter#9 pivotpoint
| Question | Answer |
|---|---|
| abstract | theorectical; not of concrete substance |
| adaptable | to adjust or fit to the individual's anatomical structure,growth patterns, hair density and lifestyle |
| anatomy | the science of bodily structure |
| asymmetry | lack of symmetry |
| balance | equilibrium of design elements; harmonious positioning of parts around a center axis. |
| blend | to meet or join both lines and textures can be blended or not blended in hair sculpture |
| Celestial Axis | a two-dimensional measurement system that identifies levels of space that surrounds the head |
| lines | horizontal,vertical,diagonal right, diagonal left |
| angles | o degrees, 45 degrees, 90 degrees |
| direction | upward, downward, forward, backward, left, right |
| clipper-over-comb | a sculpting technique that achieves closeness to the head. A comb is used as a guide to hold the lengths while the hair protruding over the comb is sculpted with the clippers |
| comb control | sculpting technique in which the teeth of the comb, as opposed to the fingers hold the hair in position while sculpting; places minimal tension on the hair |
| component | an element; a simple part of elements to form a whole |
| concave | curved like the interior of a sphere |
| concept | a general idea or understanding especially one derived from specific instances or occurrences |
| converge | to come together toward a common point |
| conversion layering | the primary sculpting technique used in increase layering. Hair is directed to a stationary design line opposite the area of the desired length increase |
| convex | having a surface that curves outward like the exterior of a sphere |
| Crest Area | the widest part around the head it divides the interior from the exterior |
| interior | the area of the head above the crest |
| exterior | the area of the head below the crest |
| cross-check | a final stage in sculpting in which the accuracy of the sculpture is checked by using the line opposite the original sculpting pattern |
| curvilinear | characterized by curved lines |
| density | the degree to which any area is occupied the amount of hair per square centimeter |
| design | an arrangement of shaped, lines and ornamental effects that creates an artistic unit |
| design decision | the determination made through proper consultation with the client in regard to the end result of the hair design |
| Design Element | major components of an art form in hair design they are form, texture, and color |
| Form | a three-dimensional representation of shape |
| Texture | the quality of a surface influenced by sculpting techniques and curl patterns |
| Color | the visual effect achieved when light reflects off a given object |
| Design Line | the artistic pattern or length guide used while sculpting it can be mobile or stationary |
| Mobile Design Line | a length guide used in sculpting that moves throughout a given component area of the sculpture and serves as a design line to follow in creating the form |
| stationary design line | a constant stable design line lengths are directed to this line in order to create a lengths are directed to this line in order to create a length increase in the opposite direction |
| Design principles | arrangements or patterns for design elements to follow |
| alternation | sequential repetition |
| contrast | a desirable relationship of opposites, which creates variety and stimulates interest in a design |
| progression | a succession of lengths that increases or decreases by proportional steps |
| repetition | of identical nature throughout a unit identical in all ways except position |
| diagonal | a line with a slanted or sloping direction |
| diagonal back | a diagnonal line that travels away from the face resulting in a backward flow of hair |
| diagonal forward | a diagonal line that travels toward the face |
| diagnonal left | a diagnonal line that travels to the left |
| diagnonal right | a diagonal line that travels to the right |
| direction | the path taken by a line or plane |
| distribution | the direction the hair is combed in relation to its base partings there are four types of distribution: directional, natural, perpendicular and shifted |
| directional | the hair is combed straight up or straight out from the curve of the head |
| natural | the direction the hair assumes in relation to its natural growth patterns |
| perpendicular | the direction hair assumes when it is combed at a 90 degree angle to its base parting |
| shifted | the direction hair assumes when it is combed out of natural distribution in any direction but perpendicular to its base parting. shifting is primarly used for extreme lengths increases and blending in activated forms |
| fade | a sculpting technique in which the eye and hand are the only means of control |
| form line | the outline or outer boundary of a form |
| freehand sculpting | technique in which the eye and hand are the only means of control |
| fringe | hair that partially or completely covers the forehead in a design the fringe is one of the most variable portions of a style |
| gradated | a progression of shorter lengths toward the top of the head creating an activated surface |
| graduated texture | a progression of lengths in which the ends of the hair appear to stack upon one another it creates a combination of unactivated and activated sculpted texture |
| Graduation | the sculpting technique that produces a stacked effect in hair |
| decreasing graduation | graduation within two nonparallel lines; diminishes as it moves back from the face |
| increasing graduation | graduation within two nonparallel lines; it increases as it moves back away from the face |
| parallel graduation | graduation within two parallel lines for an equally graduated effect throughout a given area |
| Horizontal | near, on or parallel to the horizon |
| layered texture | texture in which the ends of the hair are most visible there are two types of layered textured : uniformly layered and increase layered |
| line | a series of points |
| line of inclination | the angle at which graduation progresses in length the three basic types are low, medium, and high |
| mass | the quantity of matter in any given body |
| multiple design lines | two or more stationary design lines used with a conversion layering technique to achieve increase-layered texture |
| natural fall | the natural position the hair assumes due to gravitational pull |
| nonparallel sculpting | angling your fingers in any direction other than parallel to your base parting while sculpting |
| normal projection | hair held uniformly at 90 degrees in relation to the position of the head normal projection views are used to analyze the structure of a sculpture of a sculpture it is also the projection angle at which uniform layering is performed |
| one-finger projection | a projection angle equal to the width of one finger |
| parallel | a line or point on a line that maintains an equal distance from another line or point |
| parallel sculpting | a technique in which a section is sculpted parallel to its base parting |
| perimeter | circumference border or outer boundary the hair around the hairline |
| pivotal parting | a parting pattern that radiates from a central point and conforms to the curve of the head allows easy sculpting around the crown creates triangular sections |
| planar sculpting | a technique in which the lengths are sculpted along a plane |
| plane | a surface containing every line connecting any two points lying within it any flat or level surface |
| project | to extend forward or out |
| projection | the angle the hair is held in relation to the curve of the head while sculpting |
| zero | flat to the surface of the head |
| natural fall | the position the hair assumes due to gravitational pull this may be 0degrees in some of the head |
| high | above 60degrees or below 90degrees |
| medium | above 30degrees or below 60degrees |
| low | above 0degrees or below 30degrees |
| proportion | the relationship between things or parts of things in respect to comparative magnitude quantity or degree |
| qualitative analysis | to list all the parts of a whole |
| quantitative analysis | determining the amount of each part and the proportion of the parts to the whole |
| razor etching | a razor sculpting technique in which lenth is removed with a short razor stroke performed on the ends of the hair |
| rectinlinear | characterized by straight lines usually more adaptable to men because straight lines are considered more masculine than curved lines square forms are considered rectilinear |
| ridge line | the line that divides two textures in graduated forms |
| seven sculpting procedures | sequential steps used to perform a hair sculpture |
| sectioning | dividing the head into workable areas for control |
| head position | the position of the clients head while sculpting |
| parting | lines that subdivide the sections to separate distribute and control in relation to its base parting |
| projection | the angle at which the hair is held while sculpting |
| finger/shear position | the finger position and the sculpted line in relation to the parting pattern |
| design line | the artistic pattern or length guide used while sculpting it can be stationary or mobile |
| shape | the contour of an object in hair sculpture shape implies two dimensions |
| shear-over-comb | a sculpting technique that achieves closeness to the head a comb is used as a guide to hold the lengths in position for sculpting the angle of the comb determines the amount of length removed |
| silhouette | the outer contour of an object or design |
| slide cutting | sculpting technique in which the shank of the shears slides along the strand to remove length vertically often used when rapid length increases are desired |
| space | a coninuum in three dimensions distance extending without limit in all directions |
| structure | the arrangement of lengths across the curve of the head |
| structure graphic | a diagram that represents the proportional relationship of the lengths within a sculpture as they occur across the curve of the head this graphic serves as a blueprint for the final sculpture the structure graphics that identify the length arrangements |
| solid form | a lenth progression that increases toward the top of the head with all lengths falling to the same level in natural fall produces an unactivated sculpted texture it is color-coded blue |
| graduated form | a form in which the lengths gradually become longer toward the interior in natural fall the ends stack above one another produces an unactivated and activated sculpture texture it is color-coded yellow |
| gradated form (gradation) | a very short graduated form that gradually progresses in length toward the top of the head produces an activated sculpted texture it is color-coded yellow |
| increased-layered form | a form in which lengths becom progressively linger toward the exterior produces an activated sculpted texture it is color coded red |
| uniformly layered form | a form in which all lengths are equal produces an activated sculpted texture it is color coded green |
| combination form | a form in which two or more basic forms are combined by using different techniques or by sculpting along a plane |
| planar form | a combination form that is the result of sculpting along horizontal and/or vertical planes multiple forms occur automatically due to the curves of the head short planar forms are also called square forms |
| surface | the outer or the topmost boundary of an object the boundary of any three dimensional figure |
| symmetrical | a balanced or harmonious arrangement |
| symmetry | having equal sides or parts |
| tapering shears | a tool used for irregular removal of lengths within a form one blade is straight and the other is serrated these shears include taper 8(teeth are spaced 1/8" apart),taper 16 (teeth are spaced 1/16 apart) and taper 32 (teeth are spaced 1/32" apart). |
| tension | the art of stretching or the condition of being stretched |
| texture | the quality of a surface influenced by sculpting techniques and curl patterns may be unactivated activated or a combination |
| sculpted texture | texture achieved through sculpting |
| unactivated | a smooth surface in which the ends are not visible |
| activated | a rough hair surface in which the ends are visible |
| combination | unactivated and activated surface |
| texturizing | sculpting at the perimeter or within the form to achieve textural qualities desigh mobility or expansion |
| contour tapering | texturizing technique that reduces hair density to achieve a degree of closeness within a form |
| expansion tapering | texturizing technique that produces volume through sculpting shorter lengths which then support the longer ones within a form |
| form line tapering | texturizing technique that reduces the concentration of bulk or weight at the ends encouraging mobility |
| notching | technique used to create irregular lengths usually for a chunkier texture at the hair ends |
| pointing | a texturizing technique in which the tips of straight shears are moved from the fingers toward the ends |
| razor rotation | a texturizing technique in which a comb and razor are rotated with light pressure in a circular motion to reduce bulk and blend the form |
| slicing | a texturizing technique in which the open shears glide along the surface of the hair to achieve mobility |
| three-dimensional | having length width and width(flat) |
| uniformly layered texture | a totally activated surface created by uniform length throughout |
| vertical | upright perpendicular to the horizon |
| volume | mass or fullness |
| weight | mass in form and space also the lenth concentration in a hair design |
| weight area | the area within a sculpture where there is a concentration of longer lengths |
| zone | intervals of 2"(5cm) that echo out in space from the curve of the head and are used to analyze hair lengths |
Created by:
arlenebermudez
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