Cutting for Motion: Using Diagonals, Radials, and Over-Direction to Direct Fall
Every haircut has movement—even when it’s not moving. How hair falls, swings, and responds to gravity depends on how it was sectioned and cut. Understanding motion design means shaping the way hair behaves after the client leaves the chair, not just how it looks in the mirror at the salon.
1. The Role of Motion in Hair Design
Motion isn’t random—it’s engineered. A well-cut shape guides the eye and the weight distribution so the style moves naturally, whether it’s a sharp bob or flowing layers.
Motion defines how light reflects through the shape.
Motion reveals the internal structure of the cut.
Motion determines how the style settles when air-dried or heat-styled.
To create intentional motion, you must think in planes and directions, not just lengths.
2. Diagonals: The Directional Blueprint
Diagonal sections are the foundation of movement.
Forward diagonals create progression and softness—ideal for face-framing or internal layering that draws attention toward the front.
Backward diagonals build weight and volume toward the crown or perimeter, enhancing structure and body.
Pro tip: Slightly altering the angle of a diagonal (even by 5–10 degrees) changes how the hair swings when it drops. Forward motion softens, backward motion strengthens.
3. Radials: Building Roundness and Flow
Radial sections—those that pivot from a central point like spokes on a wheel—control how the haircut expands around the head shape.
Short to long from crown to nape: Encourages backward movement and lift.
Short to long from crown to face: Encourages forward drape and layering.
Radials are especially powerful in round or layered shapes, giving the cut fluid motion that follows the natural curvature of the head rather than working against it.
4. Over-Direction: The Motion Amplifier
Over-direction is how stylists manipulate where weight lives in the haircut.
Over-directing forward: Keeps length and weight in the back—ideal for clients who want volume or a sweeping shape.
Over-directing backward: Preserves length toward the face, creating movement and softness in front.
The amount of over-direction determines how exaggerated or subtle that movement becomes. Think of it as tension applied with intention.
5. Combining Techniques for Controlled Flow
The best motion designs blend these principles:
Use diagonals to establish direction.
Use radials to contour to the head shape.
Use over-direction to refine balance and weight.
Together, they create cuts that move with purpose—not just layers for the sake of layering.
6. Talking Motion with Clients
Clients don’t understand “over-direction,” but they do understand flow:
“I’m cutting this so it falls forward and frames your face when you move—it won’t just sit still when it dries.”
This language communicates mastery without jargon.
