86 tips to upgrade your snipscompiled by Angie Sterkel and Ellen Marth; edited by Jackie Summers

Slicing, nipping, sliding, chopping, layering, trimming, blending. You’ve never met a cutting technique you didn’t love. Your shears complete you—without a pair in your hands it’s as if you forgot to wear shoes.

Well it’s your lucky day. Here are 86 cutting tips from 13 of the world’s top cutters. You’ll gain insights into texturizing, dry cutting, over-direction, sectioning and tool selection, plus game changing ideas for upgrading your bobs, your pixies and your layers. For all of you who put your shears away with reluctance each night, and wake each morning eager to snip anew, these cutting tips are for you!

Damien Carney, Joico International Artistic Director

1. scissors only: I’m a purist and I stick to my shears—no razors or texturizing shears when layering so that texturizing is kept to a minimum. Therefore the original technique/concept is not altered and the original design concept remains intact. The secret to layering is removing weight, and with scissors one can remove weight and create any effect that can be done with razors or texturizers, but the integrity of the hair is maintained.

2. layer first: Keep in mind that hair will fall to its heaviest point. If the outline is solid, it is difficult to soften or lighten a line once it’s established. So create your internal layers first; by doing so you will create your outline at the same time. What’s more, the outline will be softer, your layers will be fluid and your look will be modern.

3. shape shifting: Round layers are excellent for softening hard, strong facial features or body shapes. Square layers will neutralize roundness in the facial features or body shape. Asymmetrical layering is excellent for producing modern, trendy long layers. Keep in mind that the objective is to create the illusion of an oval face shape, so you’re almost always neutralizing. Round neutralizes square, square neutralizes round.

4. weight watching: Layering is about removing weight, so the thicker the hair, the more you must layer. If hair is fine, longer layers will produce movement and texture. But if you over-layer fine hair, it could appear thin and lifeless, so balance and adjust your technique accordingly.

5. get vertical: Most layers are created by using vertical partings, the lightest form of cutting. Keep overdirection to a minimum because it creates length and weight. Remember that hair is most dense at the back nape area, and finer and less dense at the front hairline, so adjust your overdirection as necessary.

6. plan ahead: Plan your entire haircut before you start and then establish the correct length and angle with the first guideline. This will keep you on-track for your entire “journey” through the cut. In general, layering is done with a traveling guide. Follow the original guide and travel around the head to your last section. Do not cut into or lose the original guideline. Work in ¼-inch sections and keep them clean and neat. Working methodically means less cross-checking later. Cross check as you work, do not leave it until the end. Remember, cross-checking is refining, not changing your original haircut or concept. If you find yourself doing this, you are not controlling your technique.

7. crowning glory: Unless it’s part of your overall design, avoid cutting the hair too short at the crown. This will date your look. It’s a myth that lift at the crown and/or top of head slims the face. In truth, too much lift in these areas will exaggerate the look and throw the overall shape off-balance.

Daniel Roldan, Matrix Artistic Director8. consider the collar: When assessing the proper angle for

a classic bob, take a look at your client’s collar. From the side, a collared shirt will offer the perfect A-length angle for your perimeter line. If she’s not wearing a collar, place your comb at various angles until you find the one that suits her facial shape perfectly. And remember that the A-line bob is not suitable for all clients!

9. finish strong: Avoid drying a graduated bob with a round brush. If every section isn’t dried with the consistent amount of tension, the graduation can appear uneven and you will be tempted to “touch up” the cut unnecessarily. Vidal Sassoon always dried his cuts with a Denman brush because it produces a completely even blowout.

10. mix it up: When it comes to fringed bobs, the proportions should be personalized. I like to alternate the lines of the two so, for example, if I cut a bob with a strong line at the bottom, I’ll break up the fringe for softness, and vice versa.

11. find your guide: If you are working in horizontal sections in the back, each section becomes thicker as you progress, and it becomes difficult to follow your guideline. Therefore, I prefer to cut the nape in vertical sections, which produces a vertical line. That way, everything originates in the middle, which flattens the bottom and reduces bulk. Start by pulling the hair straight out at the nape and create a 3-inch section. Using a stationary guide, direct each subsequent section to the center. At the center of the parting, pull the subsections straight back, using the last subsection as the guide. Then cut a precise line using a freehand technique.

12. hard and soft: If you want a bob with softer lines, use a razor. For a heavy, blunt line, go for the scissors.

13. cutting the curl: When cutting curly hair, use minimal tension to establish the perimeter. Otherwise the hair will shrink and appear much shorter than you and your client anticipated! After establishing the base shape, dry the hair completely and then reshape the dry curls to balance and fine tune the shape.

Mitchel Wilson, Creative Director, TIGI Learning Lab, Dallas14. texturizing = personalizing: When texturizing, avoid looking at

the cut as a whole. Instead, focus on the specific area that requires texturizing. You will be creating shape or filtering weight, but not in every section. It’s all about addressing the needs of each area.

15. avoid the rhythm method: Stylists often make the mistake of repeating the same technique over and over in each section, whether it’s point cutting, slicing or using a texturizing shear, and they do it rhythmically. It’s easy to get caught up in “scissor wizardry” but it’s better to slow down and assess each area you’re working on and how best to suit the individual.

16. texturizing tool #1—shears: There are three main texturizing tools, and the first are your shears. Within TIGI’s personalizing repertoire, they are used for nine texture techniques, including channel cutting, slide cutting and back cutting.

17. texturizing tool #2—texturizing scissors: These tools feature a set number of teeth that release weight, making them less flexible than shears. While texturizing scissors are useful for several techniques, they are are not suitable for creating bespoke or tailored haircuts.

18. texturizing tool #3—razors: There are many strong effects you can attain with razors, depending upon whether the hair is wet or dry, or if the blade is sharp or dull. In some cases a dull blade is indicated—you can use it to release the cuticle on thick, straight, coarse hair. However, avoid using a dull blade on fine, fragile strands.

19. friction and direction: These are the two basic texturizing principles. Friction involves the amount of pressure that you place on the hair, which produces a specific type of release. Direction is the degree to which short hair can be manipulated to support longer hair. For example, by creating shorter internal lengths, it’s possible to support longer lengths even if the hair isn’t layered.

Rafe Hardy, Artistic Creative Director, Sexy Hair20. place to place: Remember that the natural fringe is located from

recession to recession, which is approximately from the outside corner of the brow on each side. Cut this area first and, if desired, continue to widen or connect to the sides of the fringe at natural falling position.

21. elevation: Elevating the fringe even slightly will automatically create softness in the perimeter and create a softer appearance without texturizing. Point-cutting breaks up the straight line but elevation breaks up the graduation. Combing the fringe straight down to cut will create a hard visual appearance that usually takes more effort to soften.

22. progression: To create a harder, more visual fringe transitioning to a softer, more expanded fringe, gather the entire fringe into your fingers horizontally and pinch. Laterally direct the fringe to the desired shorter side, choose a finger angle from shorter to longer and point cut. The longer side will be softer because it was directed away from its natural falling position.

23. soft and flat: For a very soft and flat fringe that frames the face, comb both sides to the middle and elevate to 90 degrees with fingers held vertically. Move the fingers out to the desired length and cut upward at 90 degrees between your hand and the head shape. The perimeter will be less bulky and the fringe will lay closer to the forehead.

24. challenging hairlines: To cope with cowlicks and widow’s peaks, cut with little or no tension and then blow-dry and flat iron to control direction. After drying, detail with no tension and be sure to educate the client on how to achieve the same results.

25. subtle design: To create an illusion of symmetry when dealing with asymmetrical facial features, always cut the fringe shorter above the lower eye, and progress longer to the higher eye. The features are usually condensed on the lower side; the shorter fringe will expand the area.

26. twist and cut: To produce an erratic, soft perimeter, elevate and direct the fringe to the shortest desired side. Twist the hair tightly and cut to the desired length. Twisting produces multiple lengths even if you cut a straight line.

Simon Miller, KMS California National Technical Training Manager27. face first: The most important step in cutting the perfect

pixie is assessing your client’s face shape. Look for focal points that you want to accentuate as well as anything you want to camoflauge. At this time, it’s also important to assess head shape, silhouette, and growth patterns. Because the pixie is so short, bone structure will play into the final shape of the cut. You may have to switch to a different cutting technique in certain areas of the head to create the best shape.

28. get to know your client: A pixie can be sophisticated or sassy, grown-up or girly, polished or messy. Decide what will best represent your client. This will dictate the tool you use and your technique. For instance, blunt cutting creates a strong overall look, while point cutting creates a loosely-structured effect.

29. main features: I like to start the haircut around the client’s face. This allows me to see how it works instantly. Establish the perfect length around the face and the rest of the cut will fall right into place.

30. finish strong: Save your detailing until the end. Try to avoid cleaning up the perimeter or hairline until you are finished. This is the time to perfect the cut for your client and add your signature and personal flair. Plus it’s the fun part!

31. check! After you dry the hair, check the shape. I love dry cutting and this is when I do the majority of the cut. Keep in mind that cutting wet hair is like using a chainsaw, and cutting dry hair is like using a chisel.

32. teach your client: Be sure to show your client how to style her pixie, especially if it is a new look. Put the product in her hands and help her style her hair. It’s the best way to ensure client satisfaction!

Karmela Lozina, Senior Craftsman, John Sahag NYC33. sectioning: With dry cutting, sectioning is one of the most

important aspects. You can easily become overwhelmed with the cut if sections are so thick that you can’t find the guide. In a nutshell, the key is taking small sections—small enough to see through each one. Another great tip: make sure you have LOTS of clips on hand!

34. tools: Your scissors will make or break your dry cuts. The best choice is a very light and small pair of shears. If they’re too heavy, chances are you’ll take off way too much hair and it will look very chunky. Tapering is the main technique used while dry cutting, and it’s a very quick movement that lends itself to a lighter tool. The late John Sahag developed his own shears—that’s how important they are to dry cutting.

35. tapering: This technique produces a seamless dry cut with no lines. It’s done by opening and closing the shears very quickly in a downward motion. Dry cutting is all about feeling; when you pick up a section you assess whether it feels too heavy or is not flowing nicely. If so, you know you need to go in and taper again. There’s no guesswork! Keep in mind though, that not all hair should be tapered; sometimes it requires a blunt cut. Knowing when to blunt cut is something that takes a lot of experience (or a really good mentor!).

36. dry vs. wet: For me, cutting hair dry produces a more natural and grown-out look. The lines are softer and less harsh which is flattering. Structured (wet) cuts are great as well, but when you’re dealing with clients who aren’t supermodels, a hard edge can be more difficult for them to pull off. It’s also great for clients with haircut phobia (we all have them). They can see how much you are cutting off and they feel like they are part of the haircut. They can see it take shape as you custom-tailor the cut for them.

37. triangle trick: John Sahag taught me this time saver if you don’t have time to taper a cut fully (depending on the hair a dry cut can be time intensive): Create slanted vertical sections around the face and top of the head and taper triangle pieces on the top of each. The pieces will blend perfectly into the rest of the cut.

38. proceed with care in back: When dry cutting, you must avoid tapering the area behind the ears by the neck because there is less hair in those sections and tapering will create holes in the cut. That’s why small sections are so important. Be very careful about the amount of hair you remove in those areas—it’s all about the little details!

39. customize carefully: Each hair type requires a slightly different method. When the client comes in for the first time, I always ask if they’ve ever had a dry cut, and explain what’s going to happen. Then I ask how they wear their hair. If you don’t ask your client this very important question, you can end up wasting a lot time, and may have to do more work than necessary. If the client wears her hair straight, wash and blow it out first (iron if needed), then cut it and she’ll be ready to leave. If she likes it wavy, cut it first, then wash and blow it out with a brush. If she wears it curly, cut it, then wash and let it dry under lights so you can see how it will fall. If necessary, go back and finish the cut. Some curly clients can be cut as is, no need to wash at all! If the client wears her hair curly and straight, cut the hair first then wash and blow it out straight.

40. practice, practice, practice: If you’re interested in dry cutting, get as much education as you can. Go to a salon that specializes in dry cutting where you’ll be in a training program and working on models before you get to the floor full-time. A great training program after cosmetology school is one of the wisest investments you can make for your career. Your mentor or teacher will be by your side to guide you and correct mistakes. By the time you’re finished training, you’ll be miles ahead of the competition as a capable and confident cutter.

Rose McGowan

Fernando Romero, Salon Owner and President of Bio Ionic41. precision cutting: For precision cutting I recommend using a 5- or 5½-inch scissor. This

is the best way to produce very tight graduation when creating half circles, asymmetrical lines and angles. Small scissors are essential when sculpting the hair—they offer control.

42. invisible layering: I love this technique for thick hair. The object is to maintain length while removing weight from the midshaft. Create a vertical section, weave the section through the midshaft and “walk” the scissors along the section without closing them. Maintain continuous movement with the thumb. I recommend a 6- or 6½-inch scissor when doing invisible layering because the longer blade allows you to weave more hair onto the blade.

43. the cutting comb: I recommend a cutting comb that has both narrow and open teeth, which allows you to achieve precision and graduation on tight strands and wider spacing on thicker ends. Open teeth produce more texture and narrow teeth are ideal for tight graduation and precision.

44. the texturizing shear: Use this tool to remove weight and produce texture. Tip: rest the shear on top of your wrist and practice your thumb movement. Remember, one blade cuts while the other keeps the hair in place.

45. Denman styling brush: Blow-dry your geometric cuts with this type of brush for maximum control and polish. You’ll avoid fullness, but you will be able to bend the ends if desired. Never use a round brush to finish a geometric cut.

46. flat irons: A thermal iron with beveled edges is a multi-purpose styler. You can smooth, curl, bevel and lift.

47. clips: Clips are essential for precision haircutting because they give you complete control over each section. They also help you work faster. A clear view of each individual section is essential when performing a precision cut.

48. your body: Many stylists are too stiff. Cutting hair is like dancing—you must move your body to achieve specific angles and shapes. Use your upper body, your arm and wrist in order to determine the angle of the cut. Bend your knees. And be sure to place your client’s chair at a comfortable height.

Renee Africa,UNITE Senior Artistic Director49. body language: Body position is critical when you’re creating

straight perimeter lines. Keep your elbows up, your shoulders square and bend your knees slightly to keep your lines balanced.

50. the right direction: The direction in which you cut the hair defines the way it moves. So if you want the hair to flip out, slice it from underneath so that the shorter hair supports the longer lengths. If you want the hair to move forward, use a forward motion to cut.

51. starting point: Begin your cut at the shortest point of the haircut. This is usually the focal point, whether it’s the front, back or side. From the shortest point, you can work into the lengths. Short to long is the most natural progression and produces the best “flow” for the cut.

52. product timing: Avoid applying finishing products until the cut is complete, especially if you are dry cutting. The comb and scissor must be able to glide through the hair and finishing products can inhibit this motion, causing the strands to rip and tear. Once the cut is complete, go ahead and apply your finishers!

53. over-direct in line. The correct body position will help you maintain your original line or section when overdirecting so that you don’t lose your way. Pull the hair towards you instead of pushing away so you can always keep track of your point of origin. This point can be the previous section that you re-part every time, or it can be a point on another part of the head that you return to each time.

54. point-cutting to perfection: To prevent point-cutting from looking like a ragged blunt line, hold the elbow high so that the scissors are placed at a high angle. The scissors should be almost parallel with the hair that protrudes from between the fingers. And be sure there is enough hair poking out—the amount of hair standing out from the fingers should be equal to the length of the blade of the scissors. This will create softness by reducing the bulk of the ends, but will not produce a choppy effect. This applies to wet and dry hair.

Traci Sakosits, Sassoon North American Creative Director

55. length choices: Choose the length of the bob line to enhance the anatomy. For example, if the client has great lips, choose a lip-length bob.

56. lines: Intersecting lines can frame a particular area of the face. If your client has great eyes and cheekbones, you can frame those features with lines. A bob with a square fringe would be perfect in this case.

57. graduation: For a face shape that is very narrow around the chin, a graduated haircut that creates volume and width will produce a fuller, more flattering look.

58. short cuts: Graduation is an integral part of enhancing the bone structure on short haircuts for women. It can create volume and width where the skull is naturally flatter. For example, if the bone structure is flat at the temporal or parietal bones, a perfectly-placed internal graduation will round out these areas.

59. neck tip: One of my favorite exercises in balance is the use of graduation to elongate and enhance a beautiful neck. Using the classic box bob as an inspiration, graduate the hair high on the back of the head and create a line that runs to the front, above the hairline.

60. angles: A very angular face shape can be softened by creating a long or short layered look that frames the face.

61. roundness: An overly rounded area of the head or face shape can be elongated with the use of layers. If you’re working with a client looking for a more artistic effect, disconnected lengths can be used to achieve the same elongation.

62. profiles: Here are a few tips for working with the profile view that we assess in the mirror. A round shape will help direct fullness towards the back of the head, complementing a flatter profile. At certain lengths, round shapes will open up the face shape and can balance those that are really narrow. A square shape can compensate for natural roundness of the head by building corners. Square shapes are used frequently on men to give a more angular and masculine look, and they can also be used on an overly round head to make the head shape look leaner. A triangular shape will flatten the back of the head and direct fullness towards the face. Triangular shapes tend to curtain the face shape, making it look narrower. This shape works well on a rounder head and face shape.

Tracey Hughes, Three-Time Australian Hairdressing Awards Educator of the Year63. disconnect: To create most undercuts, you will need to incorporate

disconnection into the design. The sectioning pattern you choose to create will determine how your undercut will impact the shape and where the undercut will sit within the shape.

64. play the triangle: Triangle sections are ideal when disconnecting. For example, you can section a large triangle in the crown area and then undercut the back nape. The triangle will create a longer disconnected panel that is heavier in the middle due to the low point on the triangle. You could also use triangles in the sides of the back to produce disconnection in the left and right back corners. The undercut will sit in the middle nape area; this will maintain length at the back of the ears. For a more interesting result offset your triangles on each side to create asymmetry within these longer corners.

65. c-it: Undercutting through the sides can be subtle or distinctively obvious. Curved c-shaped sections from the temples to the front of the ear, cut with a scissor-over-comb undercut technique, are ideal. This allows the length to fall over and hide the section, which can be exposed when the length is tucked behind the ear.

66. skinnier: Undercutting is ideal for removing bulk and weight. To slim your shape, increase the elevation above the horizontal line, maintaining a 90-degree finger angle. The top section can then be dropped over to maintain length. This is also a fantastic option for a more commercial look.

67. bob business: Bobs work beautifully with undercuts. Create graduation through the nape area with 90-degree elevation from the horizontal line and a finger angle of 45 degrees. Follow the head shape, and then disconnect the top with a round layer. Elevation should follow the curve of the head to fall over the undercut graduation. This will produce amazing movement within the shape.

68. bespoke styling: The objective of undercutting can vary depending upon the desired result. Innovative sections can be incorporated into a cut to suit your client. Remember that disconnection can be extreme or subtle, depending on your desired result.

Amie Breckenridge Goltz, Director of Field Education and Scruples Academy69. take the tour: It’s important to think about how the cut and

color work together before starting the service. At Scruples, we call this the “Self Tour”—it includes analysis of the client’s bone structure, face shape, growth patterns, skin tone and eye color. The consultation is also key. The client may come in with a photo of a cut and a different photo of haircolor and expect them to work together. Be sure the client’s texture can support the cut and that color design follows the flow of the haircut.

70. ombré rules: Ombré isn’t for every cut. For example, lighter ends may not suit a classic bob. On a short cut, the lighter color could expand the face, making it appear wider than desired. Placing darker color on the sides of a round or square face may actually be more desirable—it has a narrowing effect. On the other hand, ombré can flatter a longer face by giving the illusion of a wider shape.

71. first things first: I believe you should always cut the hair first so you can see how it falls. When cuts are one length, I will then go ahead and create dimension with slices that follow the head shape, working off the top of the head in a pinwheel pattern. If the hair is layered, place color with deliberation, keeping in mind that light expands and dark minimizes. So if you are creating volume with layers, lighter color will enhance that expansion.

72. place partial foils: Use foils to create peek-a-boo pieces or panels that highlight a fringe. I like to do this with a long layered cut, placing “pop” pieces on the sides or in the fringe to accentuate the layers and play up eyes and cheekbones. A long cut can sometimes draw the features downward—strategically-placed color will prevent a flat, solid look.

73. work together: If you’re working in a departmentalized salon, consult with your team members. As a colorist, I prefer to color after the hair is cut. I request that the hair is dried in the style in which it will be worn so that I can assess the best color placement strategy.

Sam Villa, Redken Education Artistic Director, founder of Sam Villa brand74. know what to cut and what to leave: Sixty percent of North American women

claim to have fine hair. Understanding which areas of fine hair to cut, along with the areas that should be left alone, will make you the hero and the go-to stylist for these women who are constantly searching for a stylist who can give them the volume they desperately seek.

75. disconnection and detaching: By simply detaching the crown area, we can create a sense of frothiness. Disconnection and detaching areas allow more interior movement, less weight, a sense of frothy volume, and most importantly, a sense of texture that is easy to re-cut! If we blend fine hair, we make it finer, then we cut the length to put the weight back into the perimeter. Disconnection can give the illusion of a blended look. It’s a superior method because it not only provides a sense of movement, it also delivers versatility.

76. length: High density fine hair can be worn shoulder length or longer. Be aware that too many layers will collapse the shape. Short cuts and asymmetrical cuts work best with styles that do not require much volume. Asymmetrical cuts allow the heavy side to become the focal point.

77. irregular front hairlines: In this case, brush all the hair from the crown forward and create a heavy fringe to conceal the irregularity.

78. texture: A longer look gets a kick from a smooth shiny surface.

79. balance: Sink the nape area to create an illusion of volume at the crown.

80. hunt and gather: Notch or chisel into the ends – this will help to “gather” the ends to help camouflage the fact that hair is fine. Blunt ends will cause the ends to separate.

81. finishing: Blast or rough-dry fine hair 80% dry without a nozzle for maximum volume—this roughs up the cuticle. Then apply a light styling foam from back to front and continue to blow-dry with a round thermal brush for controlled volume.

Johnny Othona, AllilON Education, co-owner of Ena Davines Flagship Salon, UK82. external factors: When producing an asymmetrical

cut, the position and height of your chair, the client’s head and body position and your own body position will all affect your end result.

83. mix it up: Asymmetry works best when there is an obvious difference between the lengths you have chosen. This is a defining aspect of making asymmetry look purposeful instead of like a mistake.

84. extreme cutting: The extremities at which you use cutting lines, overdirection and elevation will influence the look of the haircut and the degree of asymmetry within the shape.

85. finger position: The angle of your fingers will assist in creating your horizontal and/or vertical shape. This, along with your choice of length, over-direction and elevation will determine the distribution of length and weight maintained within your shape. If your method of working is more advanced, reducing or increasing the difference in lengths between zones will influence how extreme the asymmetry appears.

86. flatter points: The careful placement of length and weight can accentuate/compliment key features on the face—enhancing cheekbones, eyes, lips etc. Consider suitability when using asymmetry, as it can have a major influence on the quality of the final look—especially in regard to the proportion, positioning and distribution of length and weight. Obviously, suitability and taste are subject to personal opinion. One of the benefits to using asymmetry is that it can be a great way to flatter off-balance face shapes. Placing a balanced symmetrical shape on an asymmetric face will generally highlight imperfections. But the use of cleverly placed asymmetry can disguise imperfections and distract the eye.