Multiple Choice
Identify the
choice that best completes the statement or answers the question.
|
|
|
1.
|
The element of hair design that defines form and space is a:
a. | texture | c. | space | b. | line | d. | color |
|
|
|
2.
|
Lines a constant distance apart in the same direction that are used to create
width in a hair design are:
a. | vertical lines | c. | horizontal lines | b. | diagonal lines | d. | arc lines |
|
|
|
3.
|
Curved lines repeating in opposite directions create a(n):
a. | element | c. | dimension | b. | diagonal | d. | wave |
|
|
|
4.
|
The type of line used to make a hairstyle appear longer and narrower is
a(n):
a. | open line | c. | contrasting line | b. | vertical line | d. | curved line |
|
|
|
5.
|
An example of a style using curved, parallel lines that creates interest in the
design is a:
a. | finger wave style | c. | softened line | b. | single-line style | d. | one level
design |
|
|
|
6.
|
Curved lines that are used to blend and soften horizontal or vertical lines
are:
a. | contrasting lines | c. | transitional lines | b. | single-lines | d. | diagonal lines |
|
|
|
7.
|
Contrasting lines are horizontal and vertical lines that create a hard edge and
form a:
a. | 45-degree angle | c. | curved angle | b. | 90-degree angle | d. | 30-degree angle |
|
|
|
8.
|
The part of the overall design that the client will respond to first is
the:
a. | silhouette | c. | texture | b. | space | d. | combination |
|
|
|
9.
|
The form or mass of a hairstyle may also be called:
a. | space | c. | angle | b. | volume | d. | color |
|
|
|
10.
|
The area surrounding the form is:
a. | texture | c. | silhouette | b. | line | d. | space |
|
|
|
11.
|
The wave pattern used to accentuate the face and narrow a round head shape
should be:
a. | smooth | c. | combination | b. | curly | d. | alternating |
|
|
|
12.
|
The element used to define texture and line and tie design elements together
is:
a. | form | c. | space | b. | color | d. | curves |
|
|
|
13.
|
A single line of color, or a series of repeated lines, creates a:
a. | thinner and straighter accent | c. | bold, dramatic
accent | b. | closer-to-the-surface accent | d. | soft, warm
excitement |
|
|
|
14.
|
Colors that recede or move in toward the head, creating the illusion of less
volume are:
a. | lighter colors | c. | alternating colors | b. | warmer colors | d. | cooler colors |
|
|
|
15.
|
To draw a line in a hairstyle in the direction you want the eye to travel, use
a:
a. | light color | c. | recessed color | b. | dark color | d. | warm color |
|
|
|
16.
|
The comparative relationship in scale of one thing to another in hair design is
called:
a. | contrasting | c. | volume | b. | principles | d. | proportion |
|
|
|
17.
|
Establishing equal or appropriate proportions to create symmetry in a design is
called:
a. | balance | c. | asymmetrical | b. | volume | d. | silhouette |
|
|
|
18.
|
The hair design where both sides of a hairstyle form a mirror image of each
other is known as:
a. | elevated balance | c. | asymmetrical balance | b. | symmetrical balance | d. | visual balance |
|
|
|
19.
|
The regular pulsation or recurrent pattern of movement in a design is
the:
a. | design | c. | rhythm | b. | pattern | d. | harmony |
|
|
|
20.
|
The principle of hair design that holds all the elements of design together
is:
a. | rhythm | c. | emphasis | b. | balance | d. | harmony |
|
|
|
21.
|
The two defining characteristics of hair type are:
a. | wave patterns and hair texture | c. | hair texture and hair
length | b. | wave patterns and hair color | d. | hair color and head
profiles |
|
|
|
22.
|
A client’s facial shape is determined by the position and prominence of
the:
a. | head shape | c. | profile | b. | chin line | d. | facial bones |
|
|
|
23.
|
The facial shape that is one and a half times longer than its width across the
brow is the:
a. | square face | c. | diamond face | b. | oblong face | d. | oval face |
|
|
|
24.
|
The styling choice for a client with a round facial type would be a style that
has:
a. | volume on top and volume or length at sides | b. | no volume on top and
volume and softness at sides | c. | volume on top and closeness or no volume at
sides | d. | volume between temples and jaw |
|
|
|
25.
|
To offset or round out the square facial type, choose a style that has:
a. | the illusion of width in the forehead | b. | volume around areas between the temples and jaw
and adds width around ears | c. | the illusion of length to the
face | d. | no volume around the area between the temples and no width around
ears |
|
|
|
26.
|
The outline of the face, head, and figure seen in a side view is the:
a. | profile | c. | silhouette | b. | shape | d. | convex |
|
|
|
27.
|
The facial shape that is considered to be ideal is the:
a. | diamond face | c. | heart-shaped | b. | oblong face | d. | oval face |
|
|
|
28.
|
The profile that is considered to be ideal is the:
a. | straight profile | c. | concave profile | b. | convex profile | d. | balanced
profile |
|
|
|
29.
|
Lighter highlights may be used at the temples to create the illusion of:
a. | height | c. | width | b. | division | d. | space |
|
|
|
30.
|
A curved part is used for a high forehead or:
a. | round face | c. | square face | b. | long face | d. | receding
hairline |
|