What does Andy mean by treating the whole head frame as 'the bang'?

Rather than limiting bangs to the traditional triangular front section, Andy considers everything surrounding the face — including side pieces, crown volume, and how hair falls at the jaw and cheekbone — to be part of the bang. This means a bang trim is not just a 15-minute snip of the front; it is a 30-minute session that takes up all of these interconnected face-framing elements together. Andy also considers the crown to be part of the bang because a flat crown visible from the side breaks the visual continuity of the front texture.

How does Andy use color placement to inform the haircut?

Andy builds the cutting direction around whatever color is already present rather than treating color and cut as separate decisions. In this class, Joelle's color — a multi-tonal blend with yellow highlights and a pink rectangle overlay — was used as a map: the soft-to-hard transition in the color inspired where to create a softer diffused feel from front to back and where to build stronger cut-in lines at the jaw. The goal is for the cut to reveal and amplify the color's dimension, particularly in how the face-framing pieces interact with the color panels below.

When should you choose a razor over scissors for cutting bangs?

Andy's preference is to use the razor for most wet cutting because it builds softness first and allows strength to be added afterward — whereas shears used wet tend to build in a lot of structural strength that then requires softening. The razor's C-motion and small gliding cuts create micro-variance in the ends, which is intentional: a perfectly straight line cut wet will feel heavy and will not move the way you want it to. Shears are brought in for dry refinement after the rough shape is established with the razor, and for situations where the hair is too damaged or shattered to withstand razor work.

Why cut wet first and then refine dry?

Andy describes the wet cut as the 'fun rough draft' — a sketch of the shape that intentionally leaves room to be refined. Trying to perfect the final shape while the hair is wet risks cutting too short once the hair dries and shrinks, or locking in a hard line that then needs to be buffed out. Cutting dry at the end allows the stylist to see exactly how the shape has settled, make intentional final adjustments, and ensure details like the center bang line are landing precisely where they want them.

What is the role of Hair Balm as a cutting lotion before the haircut?

Andy applies a small amount of Hair Balm to the hair before beginning to cut, using it as a cutting lotion rather than a full styling product. Applying minimal product at this stage allows the stylist to still see and react to what the hair is doing naturally — where the wave pattern wants to go, how it will behave without heavy product influence — while giving just enough slip and control to work with the hair. Applying too much product at this stage removes the ability to read the hair's natural behavior.

Why mix Hair Balm with Oil when blow-drying bleached or frizzier hair?

Hair Balm on its own provides a moderate hold that can cause the brush to stick slightly during blow-drying. Mixing it with Oil creates more slip, makes the brush glide more easily, and adds hydrating and nourishing properties — especially useful on bleached hair that may have more frizz or frazzled ends. The combination seals the cuticle down during heat styling while still allowing the hair to move. For an air-dry result, Andy would use Hair Balm alone and scrunch for curl memory rather than mixing in Oil.

How does Andy use Powder to boost volume without fully drying the hair?

Andy applies Powder to the roots at around 95% dry, finding that it causes the hair to behave as if it is closer to 100% dry — which allows more volume to be achieved without adding more drying time. This is particularly useful in a salon context where getting a client to fully dry takes significant time. For clients who prefer to air dry at home, Andy sends them out at 90–95% wet so the salon finish more closely mimics what their hair will look like when they style it themselves.

How does posting the work you want to attract help build your ideal clientele?

Andy found that after moving to Nashville and deliberately posting more of the cutting style they wanted to be known for — rather than relying on walk-ins — clients who resonated with that aesthetic started finding them. Andy's approach is to 'soft launch' new directions by integrating them gradually into an existing feed rather than making a hard pivot, so that previous clients are not alienated while new clients are drawn to the evolving work. The recommendation for stylists doing work that is not yet commonplace in their area is to actively post that type of work to create the demand and attract the clients who want it.

GO BEYOND BANGS WITH @ANDYDOESYOURHAIR

Name: Go Beyond Bangs with @andydoesyourhair
Uploaded: 2025-12-17
Channel: Hairstory
Description: Hairstory's Wes hosts Nashville-based hairstylist Andy for a live class that reframes what a "bang" can be — treating everything surrounding the face, including the crown, as part of the fringe zone rather than limiting it to the traditional front section. Working on model Joelle's long one-lengt...

Join Andy Judd to sculpt flattering bangs and effortless face framing bits for client hair that's post-worthy every single time

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Hairstory's Wes hosts Nashville-based hairstylist Andy for a live class that reframes what a "bang" can be — treating everything surrounding the face, including the crown, as part of the fringe zone rather than limiting it to the traditional front section. Working on model Joelle's long one-length hair with a multi-tonal color inspired by the longfin perch, Andy demonstrates a quadrant-based cutting system using a feather razor wet and scissors dry: beginning with a center guide in quad one, building face-framing hug pieces through quad two, and refining the final shape after a partial blow-dry. The conversation covers Andy's philosophy on using color placement to inform cutting direction, when to choose a razor versus shears, how to communicate in-process changes with clients, and how posting the work you want to attract changes your clientele. Products used throughout include Hair Balm as a cutting lotion, a Hair Balm and Oil combination for blow-dry slip and frizz control on bleached hair, and Powder to boost root volume without full drying time.

How to Cut an Expanded Bang and Face Frame Using a Quadrant-Based Razor and Scissor System

A wet-to-dry cutting approach that treats all face-surrounding hair — including side pieces and crown volume — as part of the bang zone, using a feather razor for initial shaping and scissors for dry refinement to build movement, dimension, and a versatile styling result.

Prep and assess — apply Hair Balm as cutting lotion

Apply a small amount of Hair Balm to the damp hair before beginning. Use it as a cutting lotion rather than a full styling product — the goal is to add just enough slip and control without masking the hair's natural behavior. Assess the head shape, existing cut, color placement, and where the hair naturally wants to move. Consider color present as a guide: where color transitions soft-to-hard, your cutting can mirror that energy in the layers and lines you choose to build.

Pro Tip: Applying too much product at this stage prevents you from reading what the hair is doing naturally — wave pattern, density, and direction should all still be visible. Add more product at the styling stage, not the cutting stage.

Section and cut quad one — the center crown guide

Section from the highest point of the head down toward the recession to isolate the first quadrant. This is the top of the bang zone and will become the guide for the crown volume. Pinch the center section, hold with minimal tension, and use the feather razor with small C-motion cuts from underneath to begin removing weight and shaping the center. This motion encourages the hair to fan out and build pockets of volume rather than lying flat. Split the quadrant into three to four subsections depending on density — thicker hair requires smaller sections.

Pro Tip: Cutting from underneath rather than on top encourages the bang to hug inward and sit naturally rather than flare up. Cutting on top creates more of a retro upward flare — choose based on the desired effect.

Remove the corner to build volume

Once the center guide is set, pull longer sections straight out from the head and take the top corner off subtly — creating a soft V on the corner. This preserves the length and strength of the section while encouraging the top layer to lift and move forward over it. This is a micro version of the same technique used for long layers: removing just enough of the corner to create directionality and volume without shortening the overall section significantly.

Pro Tip: If you try to create too defined a shape on these sections while the hair is wet, you risk cutting a hard line that then needs to be buffed out — and buffing it out shortens the hair considerably. Leave refinement for the dry stage.

Move to quad two — the face framing hug pieces

Release the face-framing sections at the sides. For a softer result, cut a diagonal-back line subtly shorter underneath the length you just established. For a stronger, more graphic line — as demonstrated here — work in diagonal-back sections and use the lip and earlobe as visual guides, over-directing sections slightly forward toward the nose. Make the face-framing pieces subtly shorter than the top section so the top can swing over them without weight blocking the movement. Continue cutting with small C-motions using the razor to maintain texture and micro-variance rather than a hard line.

Pro Tip: Use visual guides rather than physical guides for these sections. Working in a more improvisational way — reacting to how each section lands rather than rigidly matching a prior length — gives the result more movement and prevents the over-blended, heavy feeling that too many matching sections can create.

Let the hair air dry partially, then evaluate

Allow the hair to air dry partially — or rough-dry with minimal product — before doing any dry refinement. This gives you a read on how the shape has actually settled: which sections are sitting heavier than intended, where the wave pattern is creating unexpected directions, and what the natural behavior of each area is. What looks like an issue when wet may resolve beautifully when dry, and vice versa. Resist the urge to finalize details while the hair is wet.

Pro Tip: Asymmetry at this stage is not necessarily a problem. Ask yourself: is this 'off in an interesting way' or just off? Some natural variance in the wave pattern can be left as-is and will look intentional once the shape is fully dry.

Apply Hair Balm and Oil mixture, then rough blow-dry

Mix a small amount of Hair Balm with a few drops of Oil in the hands. The Oil reduces the hold of the Balm slightly, adds hydrating properties, and gives the brush slip during blow-drying without stickiness. This combination is particularly useful on bleached hair where frizz and frayed ends are present — the Oil seals the cuticle during heat and prevents the brush from catching. Rough-dry to approximately 95% dry, directing the hair into the intended shape without pressing fully flat.

Pro Tip: For clients who air dry at home, use Hair Balm alone and scrunch for curl memory rather than mixing in Oil. Reserve the Oil combination for blow-dry finishes where you want sleekness and ease of brushing.

Refine dry — point cut, C-motions, and corner removal

With the hair at 95% dry, go through the full bang zone with scissors. Point cut any pieces that are reading heavy or straight. Continue using small C-motion cuts where volume needs to be encouraged. Use the arch of the brow as a guide for the center bang line, then point-cut that off to create the final shape. For any sections that still feel too heavy, over-direct back, take the top corner off, and cut deeper with small scissor C-shapings to encourage the color-highlighted layer underneath to show through. Refine the weaker side last, acknowledging that it may take one or two more passes than the stronger side.

Pro Tip: If a section comes out longer than intended at this stage, that is far preferable to shorter — you can always cut more. And a slight length difference between sides that is visible while wet will often close significantly once the hair fully dries.

Finish with Powder at the roots

Apply Powder to the roots at approximately 95% dry. At this level of moisture, Powder acts as if the hair is closer to 100% dry — giving more root volume and lift without the additional time required to fully dry the hair. Work through the top and crown sections to build the volume established by the cut. This is especially useful in a salon appointment where drying time is limited, as it allows a polished, voluminous finish without the full blow-dry process.

Pro Tip: For clients who prefer to air dry at home, send them out at 90–95% wet so the salon result mimics what their hair will look like on a regular day. Fully diffusing or blow-drying creates a finish that is difficult to replicate at home, which can leave clients feeling like the cut only looks good when styled.

Frequently Asked Questions

What does Andy mean by treating the whole head frame as 'the bang'?

Rather than limiting bangs to the traditional triangular front section, Andy considers everything surrounding the face — including side pieces, crown volume, and how hair falls at the jaw and cheekbone — to be part of the bang. This means a bang trim is not just a 15-minute snip of the front; it is a 30-minute session that takes up all of these interconnected face-framing elements together. Andy also considers the crown to be part of the bang because a flat crown visible from the side breaks the visual continuity of the front texture.
How does Andy use color placement to inform the haircut?

Andy builds the cutting direction around whatever color is already present rather than treating color and cut as separate decisions. In this class, Joelle's color — a multi-tonal blend with yellow highlights and a pink rectangle overlay — was used as a map: the soft-to-hard transition in the color inspired where to create a softer diffused feel from front to back and where to build stronger cut-in lines at the jaw. The goal is for the cut to reveal and amplify the color's dimension, particularly in how the face-framing pieces interact with the color panels below.
When should you choose a razor over scissors for cutting bangs?

Andy's preference is to use the razor for most wet cutting because it builds softness first and allows strength to be added afterward — whereas shears used wet tend to build in a lot of structural strength that then requires softening. The razor's C-motion and small gliding cuts create micro-variance in the ends, which is intentional: a perfectly straight line cut wet will feel heavy and will not move the way you want it to. Shears are brought in for dry refinement after the rough shape is established with the razor, and for situations where the hair is too damaged or shattered to withstand razor work.
Why cut wet first and then refine dry?

Andy describes the wet cut as the 'fun rough draft' — a sketch of the shape that intentionally leaves room to be refined. Trying to perfect the final shape while the hair is wet risks cutting too short once the hair dries and shrinks, or locking in a hard line that then needs to be buffed out. Cutting dry at the end allows the stylist to see exactly how the shape has settled, make intentional final adjustments, and ensure details like the center bang line are landing precisely where they want them.
What is the role of Hair Balm as a cutting lotion before the haircut?

Andy applies a small amount of Hair Balm to the hair before beginning to cut, using it as a cutting lotion rather than a full styling product. Applying minimal product at this stage allows the stylist to still see and react to what the hair is doing naturally — where the wave pattern wants to go, how it will behave without heavy product influence — while giving just enough slip and control to work with the hair. Applying too much product at this stage removes the ability to read the hair's natural behavior.
Why mix Hair Balm with Oil when blow-drying bleached or frizzier hair?

Hair Balm on its own provides a moderate hold that can cause the brush to stick slightly during blow-drying. Mixing it with Oil creates more slip, makes the brush glide more easily, and adds hydrating and nourishing properties — especially useful on bleached hair that may have more frizz or frazzled ends. The combination seals the cuticle down during heat styling while still allowing the hair to move. For an air-dry result, Andy would use Hair Balm alone and scrunch for curl memory rather than mixing in Oil.
How does Andy use Powder to boost volume without fully drying the hair?

Andy applies Powder to the roots at around 95% dry, finding that it causes the hair to behave as if it is closer to 100% dry — which allows more volume to be achieved without adding more drying time. This is particularly useful in a salon context where getting a client to fully dry takes significant time. For clients who prefer to air dry at home, Andy sends them out at 90–95% wet so the salon finish more closely mimics what their hair will look like when they style it themselves.
How does posting the work you want to attract help build your ideal clientele?

Andy found that after moving to Nashville and deliberately posting more of the cutting style they wanted to be known for — rather than relying on walk-ins — clients who resonated with that aesthetic started finding them. Andy's approach is to 'soft launch' new directions by integrating them gradually into an existing feed rather than making a hard pivot, so that previous clients are not alienated while new clients are drawn to the evolving work. The recommendation for stylists doing work that is not yet commonplace in their area is to actively post that type of work to create the demand and attract the clients who want it.