 Uh, something, something fun today that we're going to do, uh, excited about it. Um, I got, so basically with free slot education, what we do, um, to make money because we're free is we either create content for brands or we, um, we create content for brands basically. So it's either me creating the content, putting it out there for you guys and, uh, I get to work with the brands that way or they come to the studio, which is behind this wall and we have a full video studio and we create content with companies. Well, um, I had the pleasure of working with Sam Villa, um, who all of you guys know I'm sure and, uh, we create some content for him and his private audience, uh, beyond his YouTube. So I'm pretty sure I'm not sure if this video has ever been seen these besides those people. Um, so I'm going to take you take you guys into a class that we filmed with Sam Villa. Um, he was kind enough to say, Hey, go ahead. Um, and Andrew Carothers and all those guys. So, uh, super excited to share with you guys that, um, class. So we're going to talk about, I'm going to go over a shag haircut. I'm going to hang on here live so that I can, uh, see all of your questions on here and then I'll come on, uh, at the end. So it's a full class. So you guys are going to get that. Uh, and then I'm going to come on at the end and answer some of your questions, um, you know, maybe I can't do it as well as Sam, but, uh, I can do my best and, uh, hang out with you guys while we watch the, the entire video as well. So this is a shag haircut by Sam Villa and I hope you guys enjoy that. So let's get started. Here we go. Hi, my friend, Sam Villa here, Redken Global Artistic Ambassador. And I'd like to welcome you to our artist studio here at Sam Villa. It's all about sharing ideas, sharing some cuts with you, some long hair. Dressing, some finishing from beginning to end. So here's a great longer version of education. So today I'm going to walk you through a haircut that has a very soft moulay effect to it where you're seeing everything getting a little bit shorter in the front, working to lengthen the back. And this is a great way that we're going to approach it. We're going to approach it through a concept called reverse graduation. You're going to see me leaving each section just slightly longer. So we create a soft edge with a creative idea like this. It is still important to respect the principles and the fundamentals and let's get back into our craft. So let's get started and watch how we create this. Let's get right into the haircut. And obviously it's going to begin with sectioning. We want a section because we section for control. So what I'm going to do is I'm going to go and separate the side area from the back area. And when we talk about that at Sam Villa, when we talk about side area, we're actually going all the way to their transition to where the comb comes off of the head and you can see that from a top view. So it's all the way to what we refer to as that right corner back. That's going to be the side area. So let's isolate the side area. When we go in and we clip, we're going to suggest take the clip and the legs of the clip, they go up so that you capture the hair. Now we're going to come through and do the same thing on the opposite side. And what you can do is figure it out two ways. I love to comb the hair in its natural falling position, meaning that when we're combing, notice how I'll comb with the way that it grows and then when I get to the round of the head and gravity takes over and we come straight down. This way you're going to get the hair in its true natural falling position. At that point, I have a visual where that corner back is. I simply blouse that and you can see where that splits. If we want to find it another way, simply look at the top view, place your comb in your hand, where they intersect, that's going to be that transition point of side to back. We've discovered by doing that, what it does, it really enables us to not getting holes back behind the ear because we're extending this side area further back. Now this is going to be my back area. And now we're going to separate the left side area. Once we have that, now we're going to go into the haircut. We're going to go vertical, excuse me, we're going to take a horizontal section. With this particular shape, we're going to work the graduation diagonal. And you're going to see we're going to take an elevating low. We're not going to be elevating vertically as high as you've seen us be doing in the past. So now we're going to come through and just take a horizontal section. Notice how I used my comb where it transitioned and came off the head. That's exactly where we take that curved horizontal line. We're going to isolate the back. So let's just recap. We have the right and the left side area. Remember where that comb comes off the head from a top view. You can see that that's where you separate that vertical line. Once we have that, we come to the comb using the comb where it comes off the head, that's going to be the nape area. We're now going to start in the nape area working diagonal and just cutting basically give you a back view of this. We're actually cutting a triangle that does this into it. So imagine these lines. That's what we're going to cut. So let's take our first section, beginning with a center part and down that center nape area. That's where we want to start that now because I'm right handed. I'm going to start on the right side. We believe in really setting yourself up with the success. Not a believer in starting on the weak side and going to the strong side. So let's go through the right side first and look how I'm going to take a diagonal forward section. So I take a diagonal forward section and I'm just going to take the excess hair and just section that. Let's talk about how we're going to elevate this. Let's take a look at a side view of this in terms of how we're elevating this so you can really see the degree of elevation. I'm going to give you a side view and notice that I'm not going to cut my perimeter edge first. I'm going to go in and really start to graduate the hair working with the fine teeth of the comb because we want the tension working with white teeth of the comb when we want less tension. Notice the angle I'm going to cut. I'm going to work with a white comb on dark hair so I could actually see the extension of the line that I'm cutting because I'm elevating the hair. Let's not let our last combing angle be on top. That's going to have a natural tendency to drop the degree of elevation. Let's take a reverse our comb and let's come back in from underneath to guarantee that we're getting the elevation up. Once we're here, we're going to come through and we're actually going to scan this. So notice the angle of this year, how I place it in. And now I just move across the sheer. What we discovered by going in and scanning, it's just going to give me a little bit more of a softer edge rather than cutting everything so blunt. The next section I'm going to take is going to be another diagonal section to maintain the consistency. What I'm going to suggest we do is once we cut the guide on the right, now I want you to come back and switch over to the left. Because that angle is in your mind, you can come back through and create the balance a lot easier from one side to the opposite side. So let's go through. Let's isolate that, get that out of the way. Now watch how I'm going to be able to keep my balance. So I'm just going to come through, take that same angle. And once I've got that section, let's isolate that up and away. One of the most difficult things is to create a consistency on the right side with a diagonal to the opposite side with a diagonal. So watch what Sam's going to do. I'm going to come through. I know I've got a point of reference of a guide here at the top, but I don't have a point of reference of the angle going to the bottom. So what I'm going to do is I'm just going to pinch a section of hair at the bottom of that section. Come over to where I've cut, making sure that that section is level. So you can see how important my section is, pinching this together. And then once we have that together, just coming through, keeping my elevation low and just softly cutting that. Now I've been able to create a guide that gives me from one point of reference to another point of reference. And this way I'm going to be able to create the consistency of the angles. What we're trying to share with you is just the idea of how important it is that we're getting back into discipline and we're getting back into the craft of what we do. So the idea then, once again, is the diagonals are the most inconsistent lines from one side to the other. We're such a symmetrical society, meaning that we can cut something vertical, very consistent and something horizontal consistent. But when you throw a diagonal line at us, it's difficult to maintain the consistency from one side to another. Creating this system of cutting from one point to another point, especially when working with diagonals, will help you to create the consistency of balance from right to left. Now, once we've elevated that, now we're going to maintain that same degree of elevation and we're going to over direct to a stationary guide. Yet, what we're going to do is we're going to extend each section that we bring. We're going to extend it. Watch what I mean. Watch how I'll take a slice diagonal forward underneath, comb coming in immediately underneath to get the elevation up rather than being habitual. The comb coming on top. What we want you to do is we want you to come in right underneath. Now watch, once I'm right underneath, now I've got my elevation where I want. I'm bringing to a stationary point. Now just clean the top one more time underneath. Now watch me fold so I can see the guide. I slide to that. Now here's the concept. Once I'm there, I'm going to slide half of the finger, the depth. I'm going to go past my guide. So watch the comb. I want my guide. My guide is here. I want my guide to end up in between my fingers there. So I'm extending the length of this next section. So Sam, you mean that you're not following the guide? I'm following the balance of the guide, but each section is getting slightly longer. Why? So that I get a softer, textured edge to it immediately. So I'm not blending it. Blenders necessarily, but it's got a really nice balance to it. Once I've created my guide on one side to the opposite side, now I can complete one side because I have the balance, I can complete one side and go back to the opposite side. Watch how I'll take a slice diagonal underneath, immediately back underneath, combing for consistency. Now I'm looking for that guide of the last section that I just cut. Now watch how I'll elevate. There I slide to my guide. You can see from a top view or straight in. Now watch how that guide is going to go halfway in between my fingers. And now I've extended this section. So I want you to think about it like this. Have you ever been told when you cut a bob, how you've been told, leave the next section slightly longer, next section slightly longer? So you get a much softer, pliable edge. Here I'm thinking the same way, but except we're doing it and we're thinking it with graduation in terms of how we're graduating the hair. So I'm stepping away from being precise, but balance and function are so, so critical. And what I want you to remember is, you know, remember that with discipline is important in terms of what we're doing and how we're doing it so that you can create consistency. Okay. Opposite side, diagonal forward. Now watch once again, I'm going to come through, take a diagonal line underneath. I'll give you a three quarter view of this. So I go diagonal underneath. Now I go diagonal on top. So I don't want you to think you're taking the entire section. Okay. Now, once I'm here, watch the comb come underneath. Guarantees I get my elevation up. Now watch what I'm going to do. Let's just fold and look for that guide. You see the guide. Now watch. There's where I would normally cut, but I want a softer edge. So why not to create a softer edge, started creating it immediately. And now just slide so that just sits about an eighth of an inch longer if you want to get into measurement, but use your fingers, the width of your fingers to, so that sits inside. And next section, diagonal forward, diagonal forward underneath. Watch the comb come underneath. And look how I fold and look for that guy on top to set. I'm ready to cut underneath to guarantee. Now look how I'm looking for that. You can see the edges soft already. It might, it's going to save the idea of coming back in and point cutting or slicing or adding a softer edge to it. What's the idea and the concept of building a soft edge as you go through in your cutting? Okay. Last section. All right. Diagonal forward section underneath on top. Once again, underneath, and now remember, this is the idea to see the guide. Because it's such a soft guide, I want you to get in the habit of just folding that and now looking for the guide slide to it so it slides inside. Remember, you're leaving it just slightly longer to create that soft edge. I want to save you the time of coming back in and point cutting this, this idea and the idea of going back in and texturizing and texturizing and texturizing. Remember, texture is all visual and feel. There's just no way we can cross-test, cross-check texture. So if you want to check this, I suggest you go back in and you check it the way that you cut it. Now I'm going to continue that same process. Now I'm going to work up with the second half of the back section, which can be considered the back area and the crown area. So I'm going to divide this in half. Okay. And let's start on the right side and we're going to continue the same process by dividing it at the nape area first. It gave you the control and you can start to see how the shape is setting in already. Let's continue to go diagonal forward. Okay. And now let's continue to bring everything. The elevation now is going to start to drop down to a diagonal, to a stationary guide, continuing the same line and the same concept of extending each section. And we refer to this as reverse graduation. So the first section, I'm going to stay right on that line because it's a continuation of it. So see, I didn't slide past that particular guide. Now my next section that sits on top of that, that's the section that we're going to go through and we're going to extend it. Sam, how far do you extend it? Remember what I said? You're extending it so it sits inside of that finger position or finger angle. Hey, I'm coming through and now I'm going to start to sit on top. So now I want to extend. So look how we fold, see it and extend and come in. So Sam, this is giving me a lot more length on top. I'm going to give you a nice silhouette underneath, but you're going to get more length on top. But then watch how we'll come back in to the top with another set of triangles. So you can start to see the triangles concept is starting to happen here. Diagonal forward and coming through, combing underneath, looking at it. Now, watch again, don't get confused and stay here and cut with it. I need you to fold so you can see it. You have to see the degree of softness that you're creating and slide inside. Now look how much longer I'm getting in that top area. So I'm building some weight now. So idea of reaching back to the past, the past is where we learn and the future is where we apply it. So I remember doing something like this back in the 80s. And it seems to me a lot of people are talking about the 80s coming through. And sliding, this is an awesome way to cut natural curly hair. Let's say one is straight, let's create a gauge of curl. One is being straight, ten is being really kinky. So this works great on anything that's like any between a five and an eight. It's a great way to cut natural curly hair because you're getting a much more deconstructed type of shape with natural curly hair by extending each section. We continue to work the same process all the way through. Now we completed our back area, give you a view of how it's looking profile. Now we're going to continue into the front area in that side area here. And now what we're going to do is we're just going to continue to over direct diagonal. So we're just creating just think like a graduated Bob in terms of what we're doing. So we're going to start with a diagonal forward section on the right side. So right now I'm just creating all my silhouette through this bottom area. And then you'll see how we're going to go after the top area. And so we're over direct back. So now my over direction point is going to be right to where that backside area ended where they connected. That's where I'm going to bring everything to. And I'm going to continue to overlap. So I'm going to throw some length to the front, but then you're going to see how I'm going to come back in and start to personalize that length in the front. And we just continue to over direct back, diagonal forward, parallel sections. Each section extends itself longer. So now let's talk about this for a moment where I really want to affect this, make this graduation has some effect is in this back area. You'll see how I'm going to come back in and just the entire side area in terms of length, but really what I'm working more is in this area here, just getting the graduation where I want it. And then you'll see how we're going to come back through and layer that top area out. So give me a lot of length in the front to kind of play with and work with. And then you can get creative with it and change it any way that you want. Consistency is important. The three basic movements that we work with are elevation over direction and finger angle. Be aware of the position of your finger. So right now the position of my finger is diagonal. The finger angle is matching that they're parallel and they're diagonal. So when we go through and we over direct, remember, over direction is just simply a side to side movement. The simple thing to remember is whenever you want to maintain weight or you want to create length, just pull away from where you want the length. Which is what I happen to be doing now. Continue to work to the opposite side now, working diagonal forward and then maintaining the sections parallel as we move towards the front of the face. Continue to move all the way to the front face frame area, keeping those sections parallel as we move forward. And then the over direction point was where that side transitions into that back area. So making sure one of the things I'm trying to do is make sure that my fingertip sits right on top of that. Then just a matter of remember what we've been doing is we've just been extending the guide each time so that we're getting just slightly longer. And then just after you're done, just come back. If we need to rebalance anything, just come back and just rebalance what you need to rebalance from one side to the opposite side. And then we're going to get into our top area. And then we'll readjust our side area. Okay. So you can just see the shape that we've been created just going through and just working with a triangle. Now what we're going to do is we're going to resection back from the side area to the back, and then we're going to start to work triangles into that top area by simply going through and creating a degree of shortness that works from short to long. So now let's just start thinking about a shag effect up on the top area here. So I'm just going through once again and separating where that side comes back all the way back to that corner. That's where I'm going to go here. Okay. Then I'm going to come back on the opposite side. Repeat the same thing, same section on the opposite side. Okay. Then I go down the center. Okay. So let's just talk about this for a moment. So we have a section down the center. Okay. Then we separated our side from our back area. So now what I want to do is I just want to go in and take a diagonal back section here and a diagonal back section here. So when I do this, you'll see there's the triangle. Then what I'm going to do is I'm going to go in the same thing. I'm going to go diagonal back, diagonal back in that top area from a top view, you can see that I'm going to create a triangle here. So everything in this front side area is going to be elevated and cut diagonally looking from a top view. I'm going to do the same thing on this side, same thing. So I'm actually going to cut a diamond inside of this top area. So let's start in the front area. And then I'll come back in and adjust my side area, but let's get rid of some of the length first. So there's my first diagonal back section. And I'm going to take this fairly short on the top. Okay. So I'm going to elevate right from that point from where I'm at. I'm going to elevate this. So meaning that I'm going to take this and I'm going to be square standing to this and I'm going to elevate this. Be aware of your degree of shortness inside. Every section that I'm taking is going to get longer. Now, because this is a triangle, if we take a look at this, because it's a triangle and we have this happening, less mass of hair is getting short, more massive hair as I take my diagonal sections down, bringing them up are getting longer. So instead of me creating a horseshoe and going horizontal and keeping it square, I want to create something that just fans out that goes from short to long. By working with thinking this as a triangle and elevating it up, you're getting less hair short, more massive hairs getting longer. That's the concept behind this. So let's go through and let's take our diagonal back section. Okay. I'm going to stand on the opposite side of that section. I'm going to come through and we're going to still use the scanning and the reverse graduation. So each section is just going to get slightly longer. And we're going to take this short on top. The degree of shortness on top. I would suggest that you base that degree of shortness. I was just checking my angle to make sure that I'm on a diagonal from the top view. You can see that, but the degree of shortness on top. I think you get that a lot of times depends upon the personality. So it's just a personality that you're working with that can determine the degree of shortness that you take something on top. The other thing that I would suggest that you look at is the style of a client. You know, I think if a client is in a business suit, obviously I probably wouldn't take it this short. The other thing to look at is to ask is ask a client if they use a round brush to get volume on the top area. And if they use a round brush to get volume in the top area, ask them what size a round brush, then use that round brush as a measuring tool. So it ensures that they're able to get their favorite brush around it. Now, everything is coming up to a stationary guide. I'm elevating vertically from the apex of where these lines meet. I'm not going to lay this flat on the head. I'm going to elevate that straight up because I want this to fall short to long. And remember, because it's a triangle, you're getting more massive hair is getting longer. So I'm just going to separate this. You can just see where I'm at. So let's just clip this back away and let's continue to work with this front side area. Or in this case, we're going to look at it as a triangle. I'm not concerned about the fringe area. I think by cutting this way, you'll see that it really allows you to leave a lot of length in that fringe area. So you can come back there and you can personalize that basically any way that you want. Look at the comb, how the comb goes underneath because the hair is captured into the comb. Coming through, folding. So notice how I still use a folding effect. I'll fold. There's my guide. I'm going to slide that inside. As soon as it's gone, I can't see it, it's gone. Next section. Sometimes it just helps if you hold the hair in the hand and now come back in and take your guide because you're picking all of this up and using it anyway. So keep it in your hand. Just makes it a little bit more simple for you to get to it. Notice I'm cutting that same triangle from the top view. You can see that. And then I'm going to come back on the opposite side and cut the triangle, the other side of the triangle going this way. So what you want to think about is the diamond shape that you're creating in this top area. Remember, now you've got some graduation. Just follow the guide. Whatever reaches to this is what's going to get cut. So you might have some of this top layer be a little bit shorter, but whatever reaches to it, you take. Watch how I'm going to continue the diagonal section. I'm not going to take all of it at once. I continue to work it section by section. Be aware of where you're at in relation to that apex where those lines meet. Now, watch how I'm getting different variations of that in terms of my layering. There's some of that layering from the graduation from the back over directing. So you got to look and see where you're at. And let's stay here and just follow that line. Notice how just cutting what reaches into this and just slightly whatever doesn't reach, we're not going to cut. Now, notice how what I've done is I've gone through and I've taken all of that out. Now you can just start to see how much softer that's getting. But we've got that strong silhouette that happens in the back area. All right, so here we go on the opposite side. First, let's go through and stay in control. So what do I mean by that? What I mean by that is let's make sure that this is clipped back so I know where I'm at and what here I'm actually taking in that top area. And then once again, clipping from bottom up so that we capture all that here. So now take a look at the section that we did in the front. Here's what we did here on the right side. We're going our way down. Now what I want you to do is I want you to think we're going to do the exact same thing on the opposite side. We're going to take that point of reference that we created as a guide. That's going to be our guide. So now we're going to go diagonal back. Watch how I'm going to pick up some of this that I've already cut on the opposite side. Using my comb, I can see my guide. There is the guide and now scanning through it. Okay, coming through, taking another diagonal back section. And now this section we're going to extend. So now Sam, are you concerned with this section, like matching this section and matching the exact length? Guys, you really have to think about this. I'm looking for a loose shape. So when you texturize something, you're always loosening up the shape. So I want you to loosen up your mindset. So when you're cutting, loosen up your mindset so that you get a looser shape. And I really want you to understand that so that you have to understand, you know, we've been brought up, at least I was brought up precise, precision. So in order to get a loose shape, I have to think, relax, be a little bit relaxed. Every time that everything's so matching and it becomes much more of a stiff or solid silhouette. I'm looking for softer silhouette. So loosen up that mindset today when you're working and cutting. Okay, last section, whatever reaches up is what we're going to take and we're good to go. So now we've got that triangle happening in the front area. So we've got, so we're here. That's what we just cut. Now we're going to reverse that and we're going to do the same thing to this back area. So you can just see the diamond shape that I'm cutting into this top area. So we're working with a vertical section in the back. Once we have that vertical section, now you've got the right side of the back and the left side of the back. So now we'll go diagonal back. And now elevate up to that center apex and then I have a piece as my guide. So take everything that reaches up into this. So anything that reaches up to it, that's what we're going to cut. And then remember, slide just past that. Each section is slightly longer. Think reverse graduation, think softer edges. Okay, don't take out that V, that's that diamond shape. So no more hair reaches into that area. Now we come to the opposite side. So now we're going to go diagonal back, opposite side, elevating up to that center point and whatever reaches we're going to take. Notice when I scan, I like to face the palm of the hand towards me. If I'm here, I tend to go more into point cutting when I'm here. Scanning, I just want small little notches. So I tend to have a little bit more control when I face that palm towards me. So here's where I have more control. So now watch how I'll use. My guiding blade sits on my ring finger and now my action blade is the thumb. So it makes it a lot easier for me to control this. Next section, whatever reaches we're going to take. Sliding past, and let's see if there's one more section that has anything that reaches. We're good. So now let's just take a look at the shape. And when you look at this, now all we need to do is start working with our perimeter. So you can just really start to see how we're getting the shape in terms of it just being really loose. I need to adjust some balance, but I know I'm going to take my, do we have shortest in the side area? So now we're going to come back through. And the last thing we're going to do is just start to work into that side area. And I'm going to come back into my fringe area. So let's isolate the fringe. Which is going to be a triangle section working from the corner of the eye to the corner of the eye. How wide do you want to make this? Would depend upon obviously facial feature and client. Let's isolate this. We're going to come back to that. And now we're going to come in our side area. And this is where I want to take this all off. You could simply stop here. But I really want to get a lot of this, just get it off and create a little bit more of a soft front leading to the length of the back. So think a little bit more Moulin. So now I'm going to come back. I'm just going to reverse everything and take the length off where I want the length. So I come back and I elevate. And once I elevate, I'm going to scan. And now I'll start to see how I'm just getting that softness. So I'm going to take diagonal back. Everything is going to come up to this degree of elevation. And once again, I'm going to extend. So watch how I determine how I extend this. So I'm going to come through fold. I elevate up till I get to that guide. And I continue to elevate until that guide is gone. Once it's gone, I scan. So I'm taking all of that length that I left in the front, just taking that off. But I like working with that afterwards, doing this afterwards, because it gives me that silhouette in the back area and it gives me the degree of softness that I want. I can just select the length that I want to take in that front side area. Elevating up. Now watch once again, look at the comb underneath and how I'm holding the comb this season. And a lot of it is because I'm elevating a lot of things really high or vertically. Sliding once again past that guide. So it's now, Sam, are you working back into that diagonal, this corner back here? Yes, I'm just working right back into it. Continue to elevate everything that comes into this. Whatever reaches, I don't cut. But once again, I'm going to elevate up. And now I'm going to just start probably just taking hair more off towards the back. Now I've just opened up this side area just to go in and create a little bit more of a soft kind of shape that goes more from short to long. Coming off to the opposite side. Now here's the tough part, is once again, diagonal on that side and diagonal on this side. Watch what I'm going to do. I'm going to take a diagonal back section. Gonna isolate this back and away. Come back to what we've already cut. Take that section. I'm going to elevate horizontally straight out. I'm gonna slide out. There's my length. Come back to the opposite side. Elevate out horizontally. And I know my length is that center. See, I placed that comb in the center. Come right to that. Whatever reaches is what I'm going to cut. So let's go and give you a view of it here. I'm gonna come back and get my measuring. So notice I'm using the comb as a measuring tool. Look at where that's the length on that opposite side. I'm gonna go to the center. I'm gonna trust it and cut there. This sets the guide up. But now I gotta get my elevation back up. And now come back and just re-solve it. Okay, now come back and I'll continue to go diagonal back. Elevating. Extending. Let the degree of elevation tell you when to stop. So when you see that guide as you elevate, that's when you stop. Look how the comb comes underneath. Watch me elevate, fold. Two points of reference. Okay, let's see if anything else reaches into that. So you can see how that just opened it up in that front area. And one thing when you go in and do this, don't take off what you've already created in terms of the softness of the texture. So be aware of that when you go through that. Okay, now you're starting to see the silhouette from the front view. Now let's go after the fringe. In that fringe, I know I want this to set more kind of here, but I want it kind of bitten and chewed into. So I'm gonna take a triangle section. I'm gonna start at the point of the triangle. Take a small section. Whatever length I have, I'm gonna take it right to the hairline. So there's the hairline. That's gonna act as my guide. I'm now going to take a horizontal section. I'm gonna bring this back to that, looking for that guide. And now let's just point cut into that. So everything is gonna come back to a stationary guide. So rather than going through and taking a horizontal section at the perimeter and creating my length and then bringing everything to that, we've created too much weight. So what Sam's gonna do this season is think inside out, meaning that we're gonna go through, we're gonna graduate or layer the inside, then come back in and adjust our perimeter edge. So just continue to take my horizontal sections within this area, over directing back to a stationary guide. What I love about doing it this way is it just really gives me that degree of softness on the front. Remember, when you build something one length, we tend to build too much weight into it. Now you're going in there and you're trying to take all that weight out. And you're spending too much time doing that. Soften inside first, then come back and adjust your perimeter edges, especially on these shacks too. Start thinking inside, outside. Now watch, if you thought that guideline was short, when I cut that to the hairline, now watch when we release this and you can just start to see how much length that I've got inside of that. Now what I wanna do is I just wanna start to come through and I just wanna start to just, excuse me, just bite that length off. So I'm gonna come through. And I want this fringe to look, awaken this shape. So I want it to almost look like she cut it herself. So now you can just start to see how that's just awakening that shape. I think fringes have the opportunity, the way you can sell them and communicate them is let's awaken your shape by simply just cutting a fringe. So you can see how the fringe was really soft and then just coming in, creating a little bit more of a softer edge into it. So it just has it look, it's making it look like it's just kind of been almost cut by herself, but not quite. So now think of this really kind of 70s, late 70s, 80s in terms of that, in terms of how it looks, definitely very tuckable. Now we're gonna go through, we're gonna apply product and we're going to dry. When I apply product, I'm gonna use Redkins Iron Shape 11. I'm using that more as a blow dry lotion and you'll see I'm just gonna go through, blow dry that, primarily working with my hands. So now let's continue and we'll blow dry. All right my friends, now we're gonna go through working with a diffuser so I get a much more natural kind of blow dry, natural finish. You're going to start to see that in the future, people embracing their natural movement in their hair. Now we cap the haircut. We took a center section, worked the sides to the back and then I want you to remember something. With any creative idea, it is still important to respect the principles and fundamentals. So you could see working with this particular haircut, saw me work quite differently, working a lot with discipline and a lot in terms of getting back into the crafts section by section. Now let's go through and let's diffuse. When I work with the diffuser, I'm gonna keep the low speed, high heat, but the speed is low. Let the diffuser do the work. We completed our diffusing and now it's time to go in and just detail and tweak the shape. So maybe in some areas you might see some weight, maybe some areas you might see your off balance. So this is where you go in and you detail the shape. When you detail it when it's dry, because then you can see the expansion and you can actually see the edges where we need to take it. So I'm gonna go into this front side area in these areas here and I'm gonna go through and just extract weight. I'm going to work with our invisibility shear. Now with the invisibility shear, it's important to understand this shear is great when you go through and you layer hair. What we've done is we've taken the blunt blade of it and we've overpolished this. And we overpolished this so it actually pushes the hair. So when you push the hair, you know when your shears are dull and you go to close, it pushes hair, you get a curved line. So what's happening, the difference between this and our blending shear is that you're gonna get curved or scalloped edges rather than straight square edges. So it's great when you wanna go in in detail, especially after you're layered, especially on those blondes. So I'm just gonna come through and I'm just gonna take weight out where I wanna extract weight. So I'm gonna place the shear in and I actually slide this shear out. And I'm working with smaller sections, not working with larger sections. Remember, texture is all visual and feel in terms of how you see it. And then it's not something that you can cross check as I was talking about earlier. It's something that you really just go in and you feel it. So when I close, I actually am sliding that shear out. So I can just take out and extract the weight. I want this area to just sit a little softer and I want it to sit a little bit closer to the head. So sometimes it's just a matter of just extracting your weight to get that to take place. Now you can just start to see the difference on one side to the other, how we just narrowed this side down in this area. So now we're gonna come back to the opposite side and do the same thing. And a lot of times when we do this, it's very important that you're using the mirror. Very visual and very feel. Look at how much my hands go into that and just feel that texture as I'm working with that. I find that with the Invisibland, the smaller the section, the easier it is to slide out. So you don't want to take large sections. So when you're using your mirror, look in the mirror and then when you see weight, where you see you need to take weight out or take length, just point to it. Then look at it and I'll tell you exactly where to go. So here's a finished diffused look, working with a diffuser. Our proxy choice were red can stay high 18. Think of it more like a gel and a mousse and I love diffusing with this. Iron shape 11 and I'm using this as a blow dry lotion. Remember, it's a thermal heat protector. So it's great also for blow drying. Working a lot with my hands and the diffuser, working that natural texture. Remember, we're talking about that natural texture. There's a movement that's going to be happening. You're going to be seeing a lot of that. Let's recap the haircut. We went in, started with a vertical section all the way down from center part to vertical down to center back. We separated our side area at the right corner back and the left corner back where that cone transitions, where it transitions off the head, that's where you're going to take that vertical section. Once we've done that, we started through that back area. In that back area we went through and we created a triangle. Remember our elevation was horizontal. We over directed to a diagonal finger position, diagonal finger angle. And we went through and we used reverse graduation. When you think about the layering is all about cutting tears into graduation. What do we mean by that? It's about short to long. It's about the amount of space we're creating within each horizontal section. By using reverse graduation each section slightly longer, you're creating much more of a serrated edge. So you're letting the perimeter edges just simply fall away as you're cutting. It's a great way to create a soft edge. We did that with each diagonal section we over directed back. And then we went through and we took a diamond shape working with diagonal lines up in the top. We elevated vertically with a diagonal finger position and we simply cut a series of triangles. So we formed a diamond shape into that top. It's a great way to go in and create a degree of shortness on the top that works from short to long. So the idea once again, my friends, is this. When you have something as a creative idea or creative approach, it's so important that we continue to respect the principles and fundamentals and get back into the craft. Thanks for watching The Artist Studio, Sam Villa and know that we appreciate your time. Remember, my friends, a team is more than a collection of people. It's a process of give and take. Once you've watched this video, make sure you share it with your team. All right, guys. So, give myself back on here. What'd you guys think? Let me know in the comments. I'd love to see your thoughts on this video. And do you guys like that we're doing these kind of artists showcases? I know that they're not on live, but I'm on live and I can answer your questions. So I did see, let's see here. Few questions. So I'm gonna go through an answer and I also wanna talk about a few of my favorite things. So if you guys wanna post your favorite parts about this video, maybe something that you learned about it, a question that you have post those so I can see it. I took a couple notes because every time I watch these videos, even though we made the video in the studio, every time I watch it, I learn something new. So one of my key things that I liked listening to with Sam here is that he started on his strong side. So think about that when you're cutting hair. That's something that I never do. I actually go left most of the time. I start on the left section. So I thought that that was really cool because everybody kind of has their strong side, their side that works the best for them. So I think moving forward, I'll start on the right hand side and kind of work that and then work my way through the haircut. So I thought that that was a cool tip and then cuts the guide and then elevates the soften. So that was another thing I thought was kind of neat. Obviously when we do layer cutting, some people start with the baseline and then they elevate and they use that as a guide to then soften it. For me, I like the idea that he was kind of keeping it lower, cutting that blunt line and then just slightly elevating it to soften it. So it wasn't so much that he was just pulling it up and layering it, but he was just cutting it blunt and then lifting it just slightly, cutting it just to soften the edge or and he actually did more of a point cutting technique. So it was more like, let me back out a little bit. So it was more like he had his scissor, he cut his blunt line here. Then when he elevated up, he's shifted to point cutting and then just soften the line. So it didn't really change it too much. It just again, softened it. So I thought that was cool. Let's see a few questions. What's the description that a client might use to ask for this haircut? So I would say that this is a shag haircut, definitely short layers with a kind of a broken fringe. So that's what I would call it. This can, so the variation of this cut, some of you guys might be like, wow, that's really short layers. For me, I always look at like, if I watch Sam do a haircut or if you watch me do a haircut or whatever, don't take it so literal that that's exactly the way you should do it. Think about the fact that if you just went a little bit longer with that cut, it would completely change the vibe of it. It would be a little bit longer layers, but you'd still kind of have that outcome. So it'd be more of a layered shag. Might be a little bit more client friendly. Some people did ask, is this good for curly hair? I think in my personal opinion, professional opinion, I would say that it's a great haircut for curly hair, but you have to be careful what type of curly hair it is. So if it's extra curly, then you might want to adjust it a little bit, maybe cut it a little bit longer. If it's got a really nice wave to it, then this is a perfect technique. You can see that he even diffused it to make it a little bit wavy. It's really gonna pop some life into it. And I don't think you're overlaying it at that point. So that is that. Somebody else said, I need that Invisiblend. Yeah, that's a pretty sweet scissor. Let's see, 80s vibe for sure. Cool, like that. I loved how we went in and cut the fringe. So somebody said they love that fringe cutting technique. He literally just kind of grabbed pieces of hair and slid cut the fringe. So I thought that was really cool in there. How was the maintenance on this kind of cut? Honestly, when you have an extra layered haircut, then it grows out pretty nice because of the layering. So depending on maintenance wise, if you want to keep that exact shape, then you're gonna want to go into the salon every four weeks and get it recut. If you don't mind that shape growing out, kind of becoming a new shape, it would evolve really nicely because of all the layers that are in it. I like the front longer, but cute cut. So that's the thing, guys. That's what people do. They watch these videos, and I'm not saying this person is, but they watch these videos and then they think, oh, I was gonna like the haircut, but I don't because it went shorter in the front. Think about it this way. You didn't have to cut the front, right? So you could have left it and maybe for your client or whoever you're working on, that could be the way that they want it. They want it a little longer in the front. So just use the first part of that haircut and then customize it for your client. Everybody saying thanks to Sam. I'm saying thank you to Sam for letting me play the video on the channel. Hope you guys enjoyed that. I think that's it. Hope you guys are all staying safe and healthy, staying in your house, enjoying family, and hopefully we'll be all back in the salon very soon. I'll be live again very soon, like bringing you guys all these videos and we have a collection of 900 videos. So I wanna keep playing them, showing them to you guys. I know you haven't seen them all. So let's just keep studying up, keep practicing, keep getting better and stay in positive and that's pretty much it. Thank you guys for being on the podcast and I will see you guys soon. Goodbye.