1. Chapter 14 Principles of Hair Design

2. “The optimist sees opportunity in every danger; the pessimist sees danger in every opportunity.” – Winston Churchill

3. Objectives Describe the possible sources of hair design inspiration.
List the five elements of hair design.
List the five principles of hair design.

4. Objectives (continued)
Understand the influence of hair type on hairstyle.
Identify different facial shapes and demonstrate how to design hairstyles to enhance or camouflage facial features.
Explain design considerations for men.
LEARNING MOTIVATION (WHY?)
The art of dressing hair has been around for centuries. The beautification procedures used by various civilizations have been recorded on scrolls, in detailed paintings, and even on cave walls. Hairstyling, as we know it today, involves arranging the hair to complement the client’s face, head shape, and body. You must be able to design a look that enhances the positive features while minimizing unflattering features. You will be able to do this once you have an understanding of the elements and principles of design.
The styling unit of study is where the student will learn the “art” in the art and science of cosmetology. Today’s lesson focuses on analysis and design more than on technique, which will be discussed later.
The most important thing to remember about the principles of hair design is that even though you may be able to create the most perfect cut, achieve a perfect chemical texture service, and formulate the most flattering color for a client, if he or she is not satisfied with the end result – how he or she looks when leaving the salon – you will not have met your challenge as a professional cosmetologist. Very likely, the client will not return either. Learning to create a design that flatters and satisfies the client is paramount to your success.

5. Inspiration Inspiration: can come from anywhere at any time
Visual understanding: what styles work best with different face shapes
Strong technique and skills: explore new possibilities; develop customized styles
INSPIRATION: Inspiration for design can come from anywhere at any time. It might be from a movie, a magazine, or even a stranger.
VISUAL UNDERSTANDING: You need to know which hairstyles work best with different face shapes. Learn from experience and grow.
STRONG TECHNIQUE AND SKILLS: Don’t confine yourself to the basics; explore new possibilities and customize each client’s individual needs and style.

6. Elements of Design: Lines
Horizontal
Vertical
Diagonal
Curved
ELEMENTS OF DESIGN: LINES. Lines create form, design, or movement; can be straight or curved.
Horizontal: Parallel to floor or horizon. Create width; the eye follows the line from center out to ends.
Vertical: Straight up and down; make a style appear longer and narrower; eye follows lines up and down.
Diagonal: Positioned between horizontal and vertical; used for emphasis or to minimize facial features; also create interest.
Curved: Soften a design; can be large or small; full or partial circles; can be placed horizontally, vertically, or diagonally.

7. Repeating Curved Lines
Curved lines repeating in opposite directions to create a wave

8. Designing with Lines Single line Parallel lines DESIGNING WITH LINES
Single line: Best for minimum care, such as a one-length style.
Parallel lines: Repeating lines in a style that are straight or curved. Repetition creates interest; finger wave is an example.

9. Designing with Lines (continued)
Contrasting lines
Transitional lines
Directional lines (forward or backward movement)
Contrasting lines: Horizontal and vertical lines that meet at a 90-degree angle; create a hard edge and strong look; best reserved for clients with a strong personality.
Transitional lines: Usually curved lines; used to blend and soften horizontal and vertical lines.
Directional lines: Lines with a definite forward or backward movement.

10. Designing with Lines (continued)
Form: outline or silhouette of the style
Space: area surrounding the form or area the hairstyle occupies
FORM: The outline or silhouette of the style as seen from all angles. Form should be in proportion to the shape of the head and face, the length and width of the neck, and the shoulder line.
SPACE: The area the style occupies; may contain curls, curves, waves, straight hair, or a combination.

11. Design Texture and Tools
Styling tools
Chemicals
Designing with wave patterns
DESIGN TEXTURE AND TOOLS
Hair texture or wave patterns must be considered. Straight to curly hair reflects light in different ways.
Styling tools: Texture can be created with heat and/or wet styling techniques. Curly hair can be straightened with a blow-dryer or flat iron. Crimping irons create interest; wet-set or hot rollers create curls or waves.
Chemicals: Chemical wave pattern changes are considered permanent. Curly hair can be straightened; straight hair can be curled. (See Figures 14–18 through 14–21.)
Designing with wave patterns: Use of many wave patterns creates a busy look. Smooth wave patterns accent the face and are good for narrowing a round head shape. (See Figure 14–22.) Curly wave patterns take attention away from the face and might be used to soften square or rectangular features. (See Figure 14–23.)

12. Color
Color psychology (creates texture and lines, ties design elements together, evokes reactions)
Creating dimension with color (warm colors create volume, cool colors recede)
COLOR
COLOR PSYCHOLOGY
can create texture and lines
can tie design elements together
can evoke certain reactions. Lighter colors seem youthful and exciting; darker colors may seem seductive and mysterious. Warm colors tend to be soft; cooler colors are bold and dramatic.
CREATING DIMENSION WITH COLOR
Light or warm colors create the illusion of volume.
Dark or cool colors recede or move in toward head and create illusion of less volume.
When colors that are warm and cool alternate with those that are light and dark, the illusion of dimension is created. (See Figures 14–24 and 14–25.)

13. Lines and Tones Creating lines with color (color can attract the eye)
Color selection (tone should be compatible with skin tone).
CREATING LINES WITH COLOR: Using lighter color, you can draw a line in the direction you want the eye to travel; can create interesting or dramatic accent. (See Figure 14–26.)
COLOR SELECTION: Tone must be compatible with client’s skin tone. When using two or more colors, they should be within two levels of each other. If using high-contrast colors, use one sparingly. (See Figure 14–27.)

14. Proportion
Proportion: Relationship between objects relative to their size
Body proportion (hair and body portion must be compatible)
PROPORTION: Relationship between objects relative to their size. Hairstyle can be designed to correct out-of-proportion face shapes.
BODY PROPORTION: Hair and body proportions should be compatible. For instance, someone with large hips or broad shoulders might look best with a larger hairstyle. Hair should never be wider than center of shoulders. (See Figures 14–28 and 14–29.)

15. Balance Symmetrical Asymmetrical
BALANCE: Harmony or proportion in styling; signifies the proper degree of height and width; can be symmetrical or asymmetrical. If you divide the face into four equal parts, where the lines cross is the central axis. If style is symmetrical, both sides are the same distance from the axis and same the length and volume.
Symmetrical balance: Design is similar on both sides; both are the same distance from the center, the same length, and the same volume (even if a different shape).
Asymmetrical balance: Features unequal proportions designed to balance facial features. Opposite sides are different lengths or volume; can be horizontal or diagonal.

16. Rhythm The regular, recurrent pattern of movement in a style
RHYTHM: The regular, recurrent pattern of movement in a style; it can be fast or slow. Fast rhythm moves quickly (tight curls). Slow rhythm can be seen in larger shapings or long waves. (See Figures 14–36 and 14–37.)

17. Emphasis Wave patterns Color Change in form Ornamentation
EMPHASIS: The place the eye sees first. The eye then travels to the rest of the design. Emphasis can be created in several ways.

18. Harmony
The most important principle in hair design; the orderly and pleasing arrangement of shapes and lines
Form with interesting lines
Pleasing color and textures
Balance and rhythm to strengthen design
HARMONY: The orderly and pleasing arrangement of shapes and lines; holds all elements of the design together and is the most important art principle. A harmonious style is in proportion to the client’s facial and body structure.

19. Physical Characteristics
Shape of head
Features
Body posture
Influence of hair types
Texture
PHYSICAL CHARACTERISTICS: Analysis of face shape, head shape, body shape, and features is critical to creating harmony in a hairstyle.
Consider:
shape of head: front view (face shape), profile, and back view
features (perfect and imperfect)
body posture

20. Guidelines for Hair Types
Fine, straight hair (no body or volume)
Straight, medium hair (more versatility in styling)
Straight, coarse hair (hard to curl and carries more volume)
GUIDELINES FOR HAIR TYPES
Your client's hair type is a major consideration in the selection of a hairstyle. Hair type is categorized by two defining characteristics: wave patterns and hair texture.
All hair has natural wave patterns that must be taken into consideration when designing a style. These wave patterns are straight, wavy, curly, and extremely curly. Hair texture, density, and the relationship between the two are also important factors in choosing a style. The basic hair textures are fine, medium, and coarse. Hair density, or hair per square inch, ranges from very thin to very thick.
Keep in mind the following guidelines for different types of hair:
Fine, straight hair: This combination usually hugs the head shape due to the fact that there is no body or volume. The silhouette is small and narrow. If this is not appropriate for the client based on the facial features or body structure, think about what styling aids or chemical services can be recommended to achieve the most flattering style. Left natural, this hair type may not support many styling options.
Straight, medium hair: This type of hair offers more versatility in styling. It responds well to blow-drying with various-sized brushes and has a good amount of movement. It will also respond well to rollers and thermal styling.
Straight, coarse hair: This hair is hard to curl and carries more volume than the previous two types. It casts a slightly wider silhouette and responds well to thermal styling. Flat brushes are better for this hair type because of a wide diameter in the hair shaft. Blow-drying with round brushes can create too much volume for this hair type. Chemical services may also take a little longer to process.

21. Guidelines for Hair Types (continued)
Wavy, fine hair (looks fuller with layering)
Wavy, medium hair (offers most versatility)
Wavy, coarse hair (can appear unruly if not shaped properly)
Wavy, fine hair: This type of hair can appear fuller with the appropriate haircut and style. With layering, it will look fuller, and it responds well to blow-drying and chemical services. This hair can be fragile, so be careful not to overdo any of these services. If the desired result is straight hair, this type of hair will straighten easily by blow-drying, but you may sacrifice volume. If diffused, the hair will have a fuller appearance.
Wavy, medium hair: This type of hair offers the most versatility in styling. This hair can be diffused to look curly or easily straightened by blow-drying.
Wavy, coarse hair: This hair type can produce a silhouette that is very wide, and the hair can appear unruly if it is not shaped properly. Although blow-drying can be effective with this hair type, blow-drying is often much easier for the stylist than for the client. If the client is not good at working with his or her own hair, try to work out a flattering shape that is easy to maintain. Clients with this hair often feel that their hair leaves them trapped between being too wavy to be left in a straight style but not curly enough for a curly style. A soft perm could easily bring the client to a wash-and-wear curly style. A chemical relaxer might work very well if the client prefers a straighter look.

22. Guidelines for Hair Types (continued)
Curly, fine hair (responds well to mild relaxers)
Curly, medium hair (creates a wide silhouette)
Curly, coarse hair (needs heavy styling products)
Curly, fine hair: When this hair type is worn long, it often separates, revealing the client's scalp unless the hair is thick in density. This hair type responds well to mild relaxers and to color services. Blow-drying the hair straight may be difficult unless the hair is cut into short layers. Blow-drying is not an effective solution if the client is going to be in a humid environment.
Curly, medium hair: This hair type creates a wide silhouette. When left natural, this type of hair gives a soft, romantic look. The wide silhouette should be in proportion to the client's body shape and not overwhelm it. When shaping the hair, keep in mind where the weight line of the haircut will fall. This hair responds well to relaxers and color.
Curly, coarse hair: This hair needs heavy styling products to weigh it down. It is easy for this type of hair to overwhelm any client. Keep in mind while cutting this hair type that the hair will shrink considerably when dry, making it appear much shorter.

23. Guidelines for Hair Types (continued)
Very curly, fine hair (best cut short)
Extremely curly, medium hair (chemical relaxers and hair pressing are good options)
Extremely curly, coarse hair (chemical relaxing recommended with other thermal services)
Very curly, fine hair: The most flattering shape for the client must be determined before you begin styling. Keep in mind that for ease of styling, this hair type is generally best cut short. If the hair is long, the silhouette will be wide and extremely voluminous. Chemical services and hair pressing (temporary straightening) take well, but be careful because the hair may be fragile.
Extremely curly, medium hair: This silhouette can get very wide because the hair can look wider rather than longer as it grows. Chemical relaxers work very well to make the shape narrower, and hair pressing is also a good option. Thermal styling could follow the pressing. If the hair is left in its natural state, cropping it close to the head in a flattering shape is great for ease of styling and low maintenance.
Extremely curly, coarse hair: This silhouette will be extremely wide. Chemical relaxing is often recommended to make it easier to style with other thermal services. This hair type is often too thick to tie back in a ponytail, so if the client does not want any chemical services and wants easy care, suggest short, cropped layers to make the silhouette narrower.

24. Facial Types Oval Round Square FACIAL TYPES
A client’s facial shape is determined by the position and prominence of the facial bones. A good way to determine facial shape is to pull all of the client’s hair completely off the face using a towel or hair band, so that you can better observe just the face. There are seven basic facial shapes: oval, round, square, triangle (pear-shaped), oblong, diamond, and inverted triangle (heart-shaped). To recognize each facial shape and to be able to style the hair in the most flattering design with that facial shape in mind, you should be acquainted with the characteristics of each. Remember, when designing a style for your client’s facial type, you generally are trying to create the illusion of an oval-shaped face.
To determine a facial shape, divide the face into three zones: forehead to eyebrow, eyebrows to end of nose, and end of nose to bottom of chin.
OVAL FACIAL TYPE
The contour and proportions of the oval face shape form the basis and ideals for evaluating and modifying all other facial types. (See Figure 14–42.)
Facial contour: The oval face is about one-and-a-half times longer than its width across the brow. The forehead is slightly wider than the chin. (See Figure 14–43.) A person with an oval face can wear any hairstyle unless there are other considerations, such as eyeglasses, length and shape of nose, or profile. (See the Special Considerations section later in this chapter.)
ROUND FACIAL TYPE
Facial contour: Round hairline and round chin line; wide face.
Objective: To create the illusion of length to the face, since this will make the face appear slimmer.
Styling choice: A hairstyle that has height or volume on top and closeness or no volume at the sides. (See Figure 14–44.)
SQUARE FACIAL TYPE
Facial contour: Wide at the temples, narrow at the middle third of the face, and squared off at the jaw.
Objective: To offset or round out the square features.
Styling choice: Soften the hair around the temples and jaw by bringing the shape or silhouette close to the head form. Create volume in the area between the temples and jaw by adding width around the ear areas. (See Figure 14–45.)

25. Facial Types (continued)
Triangular
Oblong
Diamond
Inverted triangle
TRIANGLE (PEAR-SHAPED) FACIAL TYPE
Facial contour: Narrow forehead, wide jaw and chin line.
Objective: To create the illusion of width in the forehead.
Styling choice: A hairstyle that has volume at the temples and some height at the top. You can disguise the narrowness of the forehead with a soft bang or fringe. (See Figure 14–46.)
OBLONG FACIAL TYPE
Facial contour: Long, narrow face with hollow cheeks.
Objective: To make the face appear shorter and wider.
Styling choice: Keep the hair fairly close to the top of the head. Add volume on the sides to create the illusion of width. The hair should not be too long, as this will elongate the oblong shape of the face. Chin length styles are most effective for this facial type (Figure 14–47.)
DIAMOND FACIAL TYPE
Facial contour: Narrow forehead, extreme width through the cheekbones, and narrow chin.
Objective: To reduce the width across the cheekbone line.
Styling choice: Increase the fullness across the jaw line and forehead while keeping the hair close to the head at the cheekbone line. Avoid hairstyles that lift away from the cheeks or move back from the hairline on the sides near the ear area (Figure 14–48.)
INVERTED TRIANGLE (HEART-SHAPED) FACIAL TYPE
Facial contour: Wide forehead and narrow chin line.
Objective: To decrease the width of the forehead and increase the width in the lower part of the face.
Styling choice: Style the hair close to the head with no volume. A bang or fringe is recommended. Gradually increase the width of the silhouette as you style the middle third of the shape in the cheekbone area and near the ears, and keep the silhouette at its widest at the jaw and neck area (Figure 14–49.)

26. Facial Profile Straight profile Convex profile Concave profile
FACIAL PROFILE: The outline of the face, head, or figure seen in a side view. There are three basic profiles: straight, convex, and concave.
Straight profile: Considered the ideal. The face when viewed in profile is neither convex (curving outward) nor concave (curving inward), although even a straight profile has a very slight curvature. Generally, all hairstyles are flattering to the straight or ideal profile. (See Figure 14–50.)
Convex profile: Has a receding forehead and chin. It calls for an arrangement of curls or bangs over the forehead. Keep the style close to the head at the nape and move hair forward in the chin area. (See Figures 14–51 and 14–52.)
Concave profile: Has a prominent forehead and chin, with other features receded inward. It should be accommodated by softly styling the hair at the nape with an upward movement. Do not build hair onto the forehead. (See Figures 14–53 and 14–54.)

27. Special Considerations: Top Third of Face
Wide forehead
Narrow forehead
Receding forehead
Large forehead
TOP THIRD OF FACE
Wide forehead: Direct hair forward over the sides of the forehead. (See Figure 14–55.)
Narrow forehead: Direct hair away from the face at the forehead. Lighter highlights may be used at the temples to create the illusion of width. (See Figure 14–56.)
Receding forehead: Direct the bangs over the forehead with an outwardly directed volume. (See Figure 14–57.)
Large forehead: Use bangs with little or no volume to cover the forehead. (See Figure 14–58.)

28. Middle Third of Face Close-set eyes Wide-set eyes Crooked nose
Wide, flat nose
MIDDLE THIRD OF FACE
Close-set eyes: Usually found on long, narrow faces. Direct hair back and away from the face at the temples. A side movement from a diagonal back part with some height is advisable. A slight lightening of the hair at the corner of the eyes will give the illusion of width. (See Figure 14–59.)
Wide-set eyes: Usually found on round or square faces. Use a higher half bang to create length in the face. This will give the face the illusion of being larger and will make the eyes appear more proportional. The hair should be slightly darker at the sides than the top. (See Figure 14–60.)
Crooked nose: Asymmetrical, off-center styles are best, as they attract the eye away from the nose. Symmetrical styles will accentuate the fact that the face is not even. (See Figure 14–61.)
Wide, flat nose: Draw the hair away from the face and use a center part to help elongate and narrow the nose. (See Figure 14–62.)

29. Middle Third of Face (continued)
Long, narrow nose
Small nose
Prominent nose
Long, narrow nose: Stay away from styles that are tapered close to the head on the sides, with height on top. Middle parts or too much hair directed toward the face are also poor choices. These will only accentuate any long, narrow features on the face. Instead, select a style where the hair moves away from the face, creating the illusion of wider facial features. (See Figure 14–63.)
Small nose: A small nose often gives a childlike look; therefore, it is best to design an age-appropriate hairstyle that would not be associated with children. Hair should be swept off the face, creating a line from nose to ear. The top hair should be moved off the forehead to give the illusion of length to the nose. (See Figure 14–64.)
Prominent nose: To draw attention away from the nose, bring hair forward at the forehead with softness around the face. (See Figure 14–65.)

30. Lower Third of Face Round jaw Square jaw Long jaw LOWER THIRD OF FACE
Round jaw: Use straight lines at the jaw line. (See Figure 14–66.)
Square jaw: Use curved lines at the jaw line. (See Figure 14–67.)
Long jaw: Hair should be full and fall below the jaw to direct attention away from it. (See Figure 14–68.)

31. Lower Third of Face (continued)
Receding chin
Small chin
Large chin
Receding chin: Hair should be directed forward in the chin area. (See Figure 14–69.)
Small chin: Move the hair up and away from the face along the chin line. (See Figure 14–70.)
Large chin: The hair should be either longer or shorter than the chin line to avoid drawing attention to the chin. (See Figure 14–71.)

32. Head Shapes Not all are round Design for volume and lack of volume
HEAD SHAPES: Not all are round. Design for volume in areas that are flat or small, and reduce volume in areas that are large or prominent. (See Figure 14–72.)

33. Styling for Eyeglasses
Consider eyeglass arms.
Consider hair length around ear.
STYLING FOR EYEGLASSES: Eyeglasses have become a fashion accessory. Keep in mind that the arm can push the hair at the ear and cause hair to stick out.

34. Hair Parts and Fringe Triangular Diagonal Curved
HAIR PARTS AND FRINGE: Can be focal point for a hairstyle because eye is drawn to it. Parts should be clean and neat. Use natural part whenever possible.
Triangular: The basic parting for bang sections. (See Figure 14–74.)
Diagonal: Gives height to a round or square face and width to a long, thin face. (See Figure )
Curved part: Used for receding hairline and high forehead. (See Figure 14–75.)

35. Style Parts Center Side Diagonal Zigzag STYLE PARTS
Center: Classic; usually used for an oval face; give an oval illusion to wide and round faces; do not use with prominent noses. (See Figure 14–76.)
Side: Used to direct hair across top of head; develop height on top and make thin hair appear fuller. (See Figure 14–77.)
Diagonal: Used to create illusion of width or height in a style. (See Figure 14–78.)
Zigzag: Create a dramatic effect in a style. (See Figure 14–79.)

36. Designing for Men Styles Mustache and beard shapes DESIGNING FOR MEN
STYLES: Should be flattering and appropriate for client’s career, hair type, and lifestyle.
MUSTACHE AND BEARD SHAPES: Can discreetly disguise a facial flaw. (See Figures 14–80 and 14–81.) Facial hair should always appear well groomed and flattering to the client regardless of the current trend.

37. Summary and Review
What are some of the possible sources a hair designer might use for inspiration?
What are the five elements of hair design?
What are the five principles of hair design?
What influence does hair type have on hairstyle?
SUMMARY AND REVIEW
Of vital importance to the professional cosmetologist is the ability to select, adapt, and execute a hairstyle that is both suitable for and desirable to the client. You will apply the elements and principles of design learned in this lesson to add creativity, dimension, and uniqueness to your work. In this lesson, you learned that form, space, line, color, and wave patterns are all essential elements in creating a successful style. You also learned that proportion, balance, rhythm, emphasis, and harmony are used to create total looks that are pleasing to the eye. It is essential for the successful cosmetologist to be able to analyze the client’s face and head shape when designing a suitable style. It will take practice, but ultimately you will develop an innate sense for design lines that will flatter and satisfy the client.
What are some of the possible sources a hair designer might use for inspiration?
Answer: Some possible sources of inspiration a hair designer might use are movies, TV, magazines, videos, a person on the street. Nature is another possible source of inspiration: the movement of ocean waves; the shapes, colors, patterns, and textures of plants, animals, and minerals. Hairstyles or fashions of the past and present are also great sources of inspiration.
2. What are the five elements of hair design?
Answer: Form, space, line, color, and texture.
3. What are the five principles of hair design?
Answer: Proportion, balance, rhythm, emphasis, and harmony.
4. What influence does hair type have on hairstyle?
Answer: Hair type is a major consideration in the selection of a hairstyle because, depending on its wave patterns and hair texture, the hair may or may not be able to hold the desired form and shape of the hairstyle.

38. Summary and Review (continued)
List and describe the seven facial shapes and explain how hair design can be used to highlight or camouflage facial features.
How do the elements and principles of hair design apply to men?
5. List and describe the seven facial shapes and explain how hair design can be used to highlight or camouflage facial features.
Answer:
Oval facial type: The contour and proportions of the oval face shape form the basis and ideals for modifying all other facial types. A person with an oval face can wear any hairstyle unless there are other considerations, such as eyeglasses, length and shape of nose, or profile.
Round facial type: The contour and proportions of the round face shape form a round hairline, round chin line, and a wide face. A person with a round face should wear a hairstyle that has height or volume on top and closeness or no volume at the sides.
Square facial type: The contour and proportions of the square face are wide at the temples, narrow at the middle third of the face, and squared off at the jaw. A person with a square face shape should soften the hair around the temples and jaw by: bringing the shape or silhouette close to the head form, creating volume around the areas between the temples and jaw, and adding width around the ear area.
Triangle (pear-shaped) facial type: The contour and proportions of the triangle face shape are a narrow forehead, and wide jaw and chin line. A person with a triangle face shape should aim to create the illusion of width in the forehead with a hairstyle that has volume at the temples and some height at the top. To disguise the narrowness of the forehead, a soft bang or fringe may be used.
Oblong facial type: The contour and proportions of the oblong face shape are a long, narrow face with hollow cheeks. A person with an oblong face shape should aim to make the face appear shorter and wider by keeping the hair fairly close to the top of the head and by adding volume on the sides to create the illusion of width. The hair shouldn't be too long, as this could further elongate the oblong shape of the face.
Diamond facial type: The contour and proportions of the diamond face shape are a narrow forehead, extreme width through the cheekbones, and narrow chin. A person with a diamond face shape should aim to reduce the width across the cheekbone line by increasing the fullness across the jaw line and forehead while keeping the hair close to the head at the cheekbone.
Inverted triangle (heart-shaped) facial type: The contour and proportions of an inverted triangle face shape are a wide forehead and narrow chin line. A person with an inverted triangle face shape should aim to decrease the width of the forehead and increase the width in the lower part of the face by styling the hair close to the head with no volume, possibly using a bang or fringe, and gradually increasing the width of the silhouette at the cheekbone and the jaw and neck area.
6. How do the elements and principles of hair design apply to men?
Answer: In basically the same way as for women. For men, however, styling facial hair is an option. For example, if a man does not have a prominent chin, a neatly trimmed full beard and mustache could be a good solution.

39. You have completed one unit of study toward course completion.
Congratulations!
You have completed one unit of study toward course completion.