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55 Cards in this Set
- Front
- Back
- 3rd side (hint)
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The shape of a hair design describes the : A, texture B, structure C, silhouette D, length arrangement |
Silhouette |
Shape |
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The structure of a hair design can best be seen: A, on wet hair B, on short hair C, in natural fall D, in normal protection |
In normal protection |
Structure |
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The placement of volume within a hair design is also known as: A, weight B, direction C, activation D, surface texture |
Weight |
Placement of Volume |
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Sculpture transformation is about changing the hairs: A, length B, surface texture C, shape and structure D, shape, surface texture, and structure |
Shape, surface texture and structure |
Overall |
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The surface texture of a hair design can best be seen: A, on long hair B, on curly hair C, in natural fall D, in normal protection |
In natural fall |
Surface texture |
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Section,position head,part,distribute, project, position fingers/shears, and sculpt design line comprise the: A, structure B, four basic forms C, design principals D, seven sculpting procedures |
Seven sculpting procedures |
Seven |
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Natural, perpendicular, shifted and directional are all different types of: A, sectioning B, distribution C, length guides D, paying patterns |
Distribution |
When sculpting |
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The type of design line that establishes more weight is known as: A, mobile B, vertical C, stationary D, directional |
Stationary |
Weight at the bottom |
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In natural fall, all the lengths in the solid form fall from the same: A, level B, angle C, length D, texture |
Length |
Solid form |
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The distribution used to sculpt solid form is: A, 45° B, natural C, directional D, perpendicular |
Natural |
Solid |
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Sculpting one form in one component area and another form elsewhere in the design refers to sculpting a: A, basic form B, long sculpture C, combination form D, a similar structure throughout |
Combination form |
Two or more |
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In combination forms, The head is sectioned relative to the desired changes in line, shape and: A, angle B, structure C, length guides D, finishing design |
Structure |
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When in increase layers are sculpted over a solid form, The overall texture is: A, short B, rounded C, activated D, unactivated |
Activated |
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The base is usually texturized in short - to - mid - length forms to create: A, mobility B, lift and volume C, soft end texture D, chunky end texture |
Lift and volume |
Texturized |
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Razor etching should be done on hair that is: A, dry B, layered C, very fine D, every damp |
Evenly damp |
You cut wet hair |
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The planar sculpting technique results in a form that appears to be: A,oval B, rounded C, triangular D, rectangular or square |
Rectangular or square |
Box shape |
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The angularity of a planar form can be more or less evident depending on the: A, head position B, styling direction C, distribution used D, sectioning pattern |
Distribution used |
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To refine the form in a shear - over - comb technique designers use a: A, trail comb B, large comb C, small comb D, wide - tooth comb |
Small comb |
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Generally the tapper - shear - over - comb technique it's used for : A, blending B, removing bulk C, length reduction D, outlining the perimeter |
Blending |
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In a fade the shortest lengths are usually positioned: A, in the lowest zone B, in the highest zone C, at the front hair line D, throughout the design |
In the lowest zone |
Fade |
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Hair design is a temporary change in: A, shape B, volume C, design principal D, form, texture and direction |
Form, texture and direction |
Temporary |
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Which of the following is not one of the main purposes of hair design services: A, drying the hair B, regular upkeep C, special occasions D, completion of another service received |
Completion of another service received |
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Shapes within hair design are grouped into the following two main categories: A, angular and round B, squares and triangles C, circles and rectangles D, straight and curvature |
Straight and curvature |
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Curvature shaped are used to imply movement in either of the following two directions: A, up and down B, straight and curved C, clockwise and counterclockwise D, diagonal forward and diagonal back |
Clockwise and counterclockwise |
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Oblongs used within a design create: A, volume B, a distinct part C, wavy movements D, movement of half the hair towards the face |
Movement of half the hair towards the face |
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Hair preparation requires the proper choice of products, tools, drying techniques and: A, patterns B, detailing C, distribution D, thermal rollers |
Patterns |
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In long hair design, a filter: A, is used to cover pins B, provides support and shape C, provides strength and texture D, fills in empty spot in design |
Provides support and shape |
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An on - the - scalp overbroad creates a/an: A, viable effect B, projected effect C, crisscross D, inverted appearance |
Inverted appearance |
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Hairpins are usually used to secure: A, ponytail b, large areas C, heavy areas D, delicate areas |
Delicate areas |
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If the chin is tilted down while securing a ponytail, the nape area will: A, be tight B, be even C, be smooth D, sag or buckle |
Sag our buckle |
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Based on the color patterns and placement chosen, designers can visually change the hair designs: A, length B, overall volume C, texture and form D, finishing direction |
Texture and form |
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A repetition of just one color throughout a design and darker colors draw attention away from the texture of a design and focus it on the: A, design line B, form or silhouette C, movement of the design D, focal point in the design |
Form or silhouette |
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The texture of a design can either be emphasized or de-emphasized based on the choice of color patterns and: A, field B, tonality C, processing time D, the degree of difference between the colors |
the degree of difference between the colors |
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The first step during the color design decision process is to assess: A, the existing hair color B, the desired color pattern C, the desired color placement D, the design principal to be used |
The existing hair color |
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Applying one color within a given area or throughout results in: A, contrast B, repetition C, alternation D, progression |
Repetition |
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The standard procedures use to color hair are: A, section, part, apply, remove and condition, finish B, distribute, scale, part, apply, remove and condition C, distribute, scale, process, test, remove and condition D, section, part, apply, process, test, remove and condition |
section, part, apply, process, test, remove and condition |
Spaptrc |
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Which of the following do designers use to identify sectioning in hair color? A, product B, density C, facial features D, geometric shapes |
Geometric shapes |
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To determine if the color had sufficiently processed, you should: A, check the timer B, rise and condition C, perform patch test D, perform a stand test |
Perform a stand test |
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Applying a repetition of color to a sold form will: A, remove weight B, soffen the form C, enhance the form D, enhance activated texture |
Enhance the form |
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Which of the following is not a common shape used within color design for the graduated form? A, circle B, square C, triangle D, rectangle |
Square |
[ ] |
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When a designing color for a combination form, which of the following is NOT a consideration designers follow ? A, how often the client shampoos her hair B, where a distinct weight build-up occurs C, in which direction(s) the hair will be worn D, where longest lengths fall once the hair is finished |
How often the client shampoos her hair |
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Colouring the base of short, layered interior darker in contrast to lighter end creates the illusion of: A, less volume B, more length C, smoother texture D, increased texture activation |
Increased texture activation |
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Applying deeper colors at the perimeter will: A, make the hair fuller B, add width to the form C,reduce visual weight in the perimeter D, add visual fullness or thickness to the perimeter |
add visual fullness or thickness to the perimeter |
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Which of the following is NOT requirement for a successful freehand coloring technique? A, a delicate touch B, a color design plan C, artistic vision and ability D, a difficult application procedure |
A difficult application procedure |
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A double - process virgin lightener application requires the designer to closely monitor decolorization and: A, highlighting B, recolorization C, the hair length D, freehand coloring |
Recolorization |
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When designing color for the male client, it is important to remember that men tend to : A, like brighter colors B, spend more time on their hair C, have more time on their hands D, want color designs that are easy to maintain |
Want color designs that ate easy to maintain |
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To ensure that a color design for a male client looks natural: A, use reddish- Brown tones B, use less contrast in the design C, use more contrast in the design D, color one level darker than the natural color |
Use less contrast in the design |
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Generally, The two effects that a male client may want to achieve are a natural effect and: A, fashion effect B, looking younger C, looking more distinguished D, making bold color statement |
Fashion effect |
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To create the look of Sun - kissed, natural highlights, apply: A, less to the interior B, more highlights at the sides C, more highlights in the interior D, highlights evenly throughout the head |
More highlights in the interior |
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Gray reduction or Gray blending positions darker tones: A, only in the interior B, only along the front hair line C, from base to ends throughout D, along selected strands to achieve a natural effect |
along selected strands to achieve a natural effect |
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The four major categories of hair texture are: A, slow, wavy, fast, fastest B, slow, wavy, medium, fast C, straight, wavy, curly, spiral D, straight, wavy, curly, tightly curled |
straight, wavy, curly, tightly curled |
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Unactivated and activated describe hairs: A, health B, volume C, texture speed D, surface appearance |
Surface appearance |
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Wavy hair is characterized by: A, an "S" pattern B, "O"- shaped curves C, a combination of straight and curly hair D, a combination of activated and unactivated hair |
An "S" shape pattern |
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Spiral curls resemble the shape of: A, paper clips B, corkscrew C, flower petals D, alternating waves |
Corkscrew |
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Witch of the following statements about tightly curled hair is NOT true? A, tightly curled hair has a fast speed B, tightly curled hair can be relaxed into a variety of wavy and curly results C, the pattern of tightly curled hair can only be determined after the hair is sculpted D, the "s" or "z" pattern of tightly curled hair is most notable when the hair is stretched |
the pattern of tightly curled hair can only be determined after the hair is sculpted |
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