ELEMENTS OF DESIGN
4 LINES USED IN DESIGN
HORIZONTAL, VERTICAL, DIAGONAL, CURVED
CREATES SYMMETRY
BALANCE
CONSIDERED THE IDEAL FACE SHAPE, 1 1/2 TIMES LONGER THAN ITS WIDTH ACROSS THE BROW
OVAL
THIS TYPE OF FOREHEAD NEEDS OUTWARDLY DIRECTED BANGS.
RECEDING FOREHEAD
FORM A MIRROR IMAGE OF EACH OTHER
SYMMETRICAL BALANCE
FORM
THE MASS OR GENERAL OUTLINE OF A HAIRSTYLE
PROPORTION
COMPARATIVE RELATIONSHIP OF ONE THING TO ANOTHER
THE OBJECTIVE TO THIS FACE SHAPE IS TO CREATE THE ILLUSION OF WIDTH AT THE FOREHEAD.
TRIANGULAR OR PEAR SHAPED
CLOSE-SET EYES
CREATE WIDTH, SLIGHT LIGHTENING OF HAIR AT CORNER OF EYE.
CONTRASTING LINES
HORIZONTAL AND VERTICAL LINES, MEET AT 90% ANGLE, HARD EDGE
THE AREA SURROUNDING THE FORM
SPACE
CAN BE FAST OR SLOW
RHYTHM
STYLING CHOICE FOR A SQUARE FACIAL TYPE
CREATE VOLUME IN THE AREA BETWEEN THE TEMPLES AND JAW BY ADDING WIDTH ACROSS THE BROW
THIS PARTING GIVES HEIGHT TO A ROUND FACE
DIAGONAL
REPEATING LINES, STRAIGHT OR CURVED
PARALLEL LINES
DIRECTIONAL WAVE PATTERNS IN THE HAIR
DESIGN TEXTURE
DRAWS THE EYE FIRST
EMPHASIS
ILLUSION OF LENGTH TO THE FACE WILL MAKE THIS FACE TYPE APPEAR SLIMMER
ROUND
DO THIS TO CAMOUFLAGE A LARGE CHIN
HAIR SHOULD BE LONGER OR SHORTER THAN THE CHIN LINE.
DEFINITE FORWARD OR BACKWARD MOVEMENT
DIRECTIONAL LINES
USED TO DEFINE TEXTURE AND LINE IN A DESIGN, VISUALLY AND PSYCHOLOGICALLY
HAIRCOLOR
THE MOST IMPORTANT OF THE ART PRINCIPLES
HARMONY
THE 3 TYPES OF PROFILES
WHAT IS THE SPECIAL CONSIDERATION FOR CLIENTS WHO WEAR GLASSES
THE ARMS OF THE GLASSES CAN CAUSE THE HAIR AT THE EARS TO STICK OUT.
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