(310) 452-7059 | Fax (310) 395

ON_SET HAIR ACADEMY
Phone (310) 452-7059 | Fax (310) 395-3104
145 Bay Street #10 | Santa Monica, CA 90405
www.onsethair.com
The film, TV, video and print industry has never needed more qualified and knowledgeable professionals than
right now and the demand is growing every day. On Set Hair Productions is the ultimate and only educational
resource for hair stylists to learn the newest creative techniques specifically for film, photography and fashion
environments. Built for hairstylists by a working hair stylist, On Set has one driving vision: to provide the best
training and educational resource to stylists to prepare them for a long and successful career in their chosen
field.
Like the industry professionals who have attended On Set classes and gone on to expand their careers, ignite
your creativity with a well-spent week working with motion picture master hair designer and salon owner, Susan
Lipson.
She will share behind-the-scenes insider techniques and trends for film, television and fashion
photography while teaching you how to script your styles and offer clients the current celebrity hair fashion looks
they really want.
The week-long Master Class teaches what every newcomer and veteran hairstylist needs to know to work on
set. The class teaches practical hands-on applications and includes demonstrations and lectures that explore
all aspects of the hairstylist’s responsibilities on the set, from pre-production through shooting and post
production.
Techniques covered include all phases of wig working, temporary color application, script
breakdown, period hairstyling, industry who’s who, building a resume, union vs. non-union and much more. The
Master Class tuition is $3500.00. Master Class kit rental is $200 or kit purchase is $800 plus tax. Shipping
charges apply for classes outside of Los Angeles.
This packet has been sent to you including a schedule of classes and student testimonials. Please log on to
www.onsethair.com for instructor bios and a gallery of our students’ work. We are happy to answer questions
regarding tuition and class fees toll free at (888) 271-7977. The email address is: info@onsethair.com.
Thank you for your inquiry.
145 BAY ST. #10
SANTA MONICA, CA 90405
310.452.7059 TEL
WWW.ONSETHAIR.COM
MASTER CLASS WORKSHOP OUTLINE
MONDAY
TUESDAY
WEDNESDAY
THURS-FRIDAY
PRODUCTION
EDUCATION
9AM – 12PM
PRODUCTION
EDUCATION
9AM – 12PM
WIG WORK
9AM – 12PM
PERIOD &
CONTEMPORARY
HAIRSTYLING
9AM – 12PM
Introduction
Avenue of Interest
How to Break into “The Biz”
Looking for Work
Union & Non-Union
Knowing Your Lighting
Darkening w/ Temporary
Colors
Lightening w/ Temporary
Colors
Graying
Hiding Bald Spots
Production Meetings
Budget
Schedules
1. Shooting Schedules
2. One Line Schedule
3. Reading a Call Sheet
4. Script Breakdown
5. Re-writes (page
colors)
6. Continuity
7. Polaroids
(Continued from Tuesday)
(Continued from Wed.)
Synthetic vs. Human Hair
Measuring for a Wig
Lace Front Fracture Wrap
Application of Lace Wig
Blocking Lace Wig
Styling Periods from 3000 B.C.
to Present
Creating a style from Clean,
Dry Hair
French Twist & Updo’s
Switch & Cluster
Script Breakdown Review
Practice Makes Perfect
WIG WRAPS
1PM – 5PM
WIG WORK
1PM – 5PM
PERIOD &
CONTEMPORARY
HAIRSTYLING
1PM – 5PM
PERIOD &
CONTEMPORARY
HAIRSTYLING
1PM – 5PM
Pincurls
Wig Wraps
1. Stunt
2. Lace-Front
3. Fall
Synthetic vs. Human Hair
Measuring for a Wig
Lace Front Fracture Wrap
Application of Lace Wig
Blocking Lace Wig
Styling Periods from 3000 B.C.
to Present
Creating a style from Clean,
Dry Hair
French Twist & Updo’s
Switch & Cluster Application
Script Breakdown Review
(Continued)
145 BAY ST. #10
SANTA MONICA, CA 90405
310.452.7059 TEL
WWW.ONSETHAIR.COM
“ON_SET” STUDENT COMMENTS AND TESTIMONIALS
Excellent, excellent. I will tell everyone I know how wonderful it was! The technical aspects
were extremely necessary, excellent and clear. Period was most fun and excellent.
Mary Meiwan Leong
I have a new outlook on hair, it’s a shame that this knowledge is or was on the verge of being
lost for all time. I’m proud to say I was a student in your class. I feel very motivated about
something I’ve never even attempted to approach.
Marvin Mason
I liked the direct, honest, get-to-the-point approach w/ the class. Loved that I’ll always have
your manual and at lest 15 people I can call for advice.
Wren Owens
Learning of a completely different aspect or arena within my current profession was eye
opening. I liked the one on one personal attention and best of all, finding an environment
where mutual interest fosters mutual growth. I hope I’ve been able to express my gratitude –
it’s been many, many years since I’ve been so inspired! I’ve never felt so much at my best.
And I made a few good friends, as well.
Catherine Hackworth
Best class I ever attended in my career!
Young Park
I feel very privileged to have participated in this class because education for the motion picture
is so limited. I feel much better going back to work after this, I feel like I have a lot more
knowledge under my belt. I just want to say thank you very much for opening this school, we
really needed it.
Cindy Marschlik
I loved every minute of it. I learned so much, I really feel very professional. I love what I do I
loved everybody here, I felt very comfortable.
Pilar Benskin
Before attending this class, I could not imagine how I could learn all of these things, in one
week. Well, you made a believer out of me. I would recommend this class to anyone that has
a true love for the business and this profession.
Adruitha Lee
The amount of information given. It can be utilized in all aspects of hairdressing. I wish the
class was longer.
Angela Weatherman
This has been my favorite hair class I’ve ever taken. There’s a lot of information presented in
a format that’s easily digestible. The teachers are very approachable with a refreshing lack of
ego. I feel that I’ve learned so much.
Marie Larkin
“ON_SET” STUDENT COMMENTS AND TESTIMONIALS continued
The whole class was great. The time went by to fast. I feel I have learned a great deal and
can’t wait to come back for more!!! You have inspired me in many ways, Thank you!!!
Jean Webber
I learned things I would have never imagined I would learn just working out in the field or on
the job! The class was a challenge for me which I always love to take on to put me at the next
level. I absolutely loved the class. I feel a lot more comfortable if I have to do hair & makeup
on a shoot. I will now promote myself as a hair & makeup artist. Susan’s instruction is
wonderful and Claire helped me through the week tremendously. I can’t wait to take more
classes from you because I will definitely redeem my free classes. Lastly, I feel I now know the
steps to create a lot of different hairstyles. I really appreciate the knowledge I now have.
Thank you so much!
Lisa Morgan
-Thank You Card Sent by Mail
Susan,
I have no words for how much gratitude I have for you. I called you in such a panic 10 zillion
times, and you always had time, patience, answers, and encouragement. Thank you – thank
you – thank you! You are an angel & I’m glad we met. My movie went well & I had nice
compliments from the director and producer. I look forward to my next 40 hours at ON SET!!
All my love,
Jennifer Salvon
-Thank You Card Sent by Mail
Susan, Barbara & Julia,
I wanted to let you all know how much I enjoyed your “ON SET” class! After attending, I was in
N.Y. and I got connected with the Wig Master for the broadway production of ‘The Scarlet
Pimpernel.’ I went to the theatre in his workroom to find myself surrounded by some wonderful
period wigs and all those things I had learned in your class! I picked his brain for a while & he
gave me more inspiring insight on the business. I am working on re-vamping my resume,
which he would like a copy. I will fax it to you when it is finished. Once again, thank you for
opening up a whole new world of opportunity & excitement! Your class was great! I will keep
in touch.
Rick Wellman
Hollywood Hairdressing
Scene 8: When the Saran Wrap is tight and flat on the
head and the entire hairline is covered and secured with
tape, Lipson uses a permanent pen to draw in the hairline, the earline, the part and the front-to-back center.
“You will send this mold to the wigmaker and they’ll make a
lace-front wig that fits exactly,” says Lipson.
“Make sure that any time you use a wig in production you
buy at least two. It’s cheaper to buy an extra (they cost
between $2,500 and $7,500) than to stop production for two
weeks.”
Hollywood
Hairdressing
Scenes from the Set
BY DANIELLE MURPHY
Scene 8
Scene 9: In applying the actual wig, Lipson shows the
class how to secure the wig on the pincurls, how to pull
and tuck so it lays flat on the face, and how to secure
the mesh with glue around the face.
“Use Bob Kelley Spirit Gum,” says Lipson as she applies the
wig to Kristin. “It’s matte and doesn’t shine. Also remember
that if this wig were fitted to her head, you wouldn’t have
to do all this pulling and tucking for size. It would fit almost
perfectly.”
Scene 10: Even though the wig is not
made for Kristen’s head and has not
been styled, the class is amazed by
how real it looks once it is secured.
The hairline looks natural and the
lace is invisible.
Scene 9
Before
H
“It’s really like magic,” says Tammy. “So
is this like what Michelle Pfeiffer wore in
‘Up Close and Personal?’”
“I worked on that movie on and off, and it’s very
similar to the wig she wore,” says Lipson.
“This is so amazing,” says Janan.
“I am trippin’ over myself with dark hair,” says
Kristen.
By the end of the day, each student gets a chance
to apply, style and wear a wig. After class on the
final day, Lipson hooks up the students with tickets
for a taping of “Dharma and Greg.” Janan is
disappointed that she won’t be able to attend, but
explains she has to rush off to work on her first
movie.
“I told the producer I was busy until this class
ended on Friday,” says Janan, “and he said, ‘Great.
That works out perfectly. We have a night shoot
from 5 p.m. until 5 a.m.’”
Mannequins sporting period
wigs, ready for their close-up at
On_Set Hair Productions.
For more information about ON_SET Hair
Productions, call 310-452-7059 or visit
www.onsethair.com. !
MODERN SALON | JUNE 2001
ave you dreamed of becoming a hairdresser
for movies or TV? Are you looking for new
techniques to energize your career? Then
you might want to schedule a trip to the ON_SET
Hair Productions in Santa Monica, California.
Hollywood hairdressing pro Susan Lipson (whose
production credits range form “Dharma and Greg”
to “NYPD Blue” to the “Charlie’s Angels” movie)
offers a Master Class and a behind-the-scenes
look at the ins and outs of Hollywood hairdressing. The course-designed for all levels of styliststeaches students set etiquette, how to prepare
for production deadlines, how to read and follow
scripts and how to join the union plus on-set
technical skills such as period hairdressing and
wig wraps.
Here, we spend a day at ON_SET with four students that are attending the week-long Master
Class. Join us for “Scenes from the Set.”
MODERN SALON | JUNE 2001
Hollywood Hairdressing
Hollywood Hairdressing
Scene 4: After Lipson’s demonstrations and much practice on
mannequins, the students begin wig wraps on each other.
They find that doing a wrap on real hair is more difficult
than they’d anticipated.
Scene 1: Instructor Susan Lipson (second
from left) poses with her assistant Veronica
(far left) and her Hollywood hairdressing
protégés (from center): Gioia Gomez of
Portland, Oregon; Tammy Whittaker Griggs
of Los Angeles; Kristen Wrightson of
Escondido, California; and (seated, center)
Janan Srour of Los Angeles.
Each student has come to the class for a
different reason. “I’ve been doing hair and
make-up in the same salon for the past seven
years,” says Kristin. “ I love doing weddings and
special-occasion work. I’m not really trying to
get into film, but I wanted to find something to
jazz up my career.”
Scene 1
“Susan, I’m getting so frustrated,” says Janan at one point. “It
takes practice, you’ll always have that fear. Just think, if you’re
scared here, wait until you get an actor in your chair.”
Lipson says one of the main differences between film work and
the salon is that in film you’re working with dry hair and no
products. “In film, you must keep the hair soft, dry and clean.”
Scene 4
Scene 5: Another difference between film work and salon
work is the tool kit. For instance, in film you need to use special bobby pins that won’t reflect light and don’t slip. Students
at On_Set Productions are encouraged to purchase a tool kit
from the academy. Because Janan wanted to know where she
could find the items, she decided not to purchase the kit and to
shop for the tools on her own before the class began.
“I’m starting on my first movie this week,” says
Janan Srour. “I think this will really help because
I don’t have a clue about what goes on.”
Scene 2: Lipson says the profile of the students in this
class is pretty typical of her enrollment.
“The course focuses on the film industry, but we have
quite a few students who don’t want to get into the
industry,” says Lipson. “Hairdressing in general is coming
back and it’s important to know. But if you are here to
break into the industry, it’s a great opportunity because I
always have projects come up during my class and I get
to furnish the new students with opportunities.”
Scene 5
“I went all over the place looking for what we needed,” says
Janan. “You need a lot of obscure things like twill tape, a specific
wig wrap, silk pins, moustache wax.” Lipson, who also carries
items like pliers in her own tool kit, also highly recommends using
a cotton bobbinette wig-wrap that retails for $100 per yard.
Scene 6: Throughout the day, the students have been taking
thorough notes and mid-afternoon when they’ve finished
their wraps, Gioia uses her camera to take photos to document what they’ve done. Realizing that the students have
been inundated with new information this week, Lipson asks,
“Did you guys dream about wigs last night?”
Today Lipson asks the students if they would be
interested in helping her style 15 models for an LA
Weekly fashion show. All of the students jump at the
chance for experience.
“I dreamt I was doing Janet Jackson’s hair for a video and I was
extremely scared,” says Tammy.
Scene 2
Scene 3: Lipson explains that today’s focus is wig
wraps, and specifically, a “fracture wrap”, which
she says “can give older actresses and instant
facelift (because it is pulled so tightly); if you can’t
do this, some actresses may not work with you.”
Scene 6
Scene 7: Back to work and with their wig wraps complete,
the next step is to learn to apply the actual wig. But first,
Lipson shows the class how to create a wig mold, out of plastic wrap, to send to the wigmaker.
One of the first steps in an effective wig wrap, says
Lipson, is pincurling, which creates a base for the wig.
“Usually in beauty school, pincurls are taught for sets,
but here they’re used for anchors,” says Lipson.
Scene 3
MODERN SALON | JUNE 2001
She demonstrates her precise version of pincurling.
“They must be very tight with not loose hairs,” she
says. Lipson estimates that about 75 percent of hair
styles on film are wigs.
“When you’re working on a film and need to get a wig made for
an actress, it’s really important to know how to measure because
if you don’t know how, the director will have to fly in a wigmaker,
which takes time and money,” says Lipson.
Scene 7
MODERN SALON | JUNE 2001
Hollywood’s Hairdresser
Coiffeuse à Hollywood
Susan Lipson
& Vivienne
Mackinder at \ à
The IBS Show
in \ à Long Beach
On the lower western seaboard lies California, a sunny state famous for its cinematic history. The lure of the film industry
with its glamour and prestige has always been tempting. Hollywood is California’s golden peach, a tantalizing fruit
that everyone wants a bite of, including Susan Lipson.
La Californie s’étend sur la côte ouest des États-Unis, un État ensoleillé réputé pour son industrie du cinéma.
Ah Hollywood, les actrices, les acteurs, le luxe, le prestige, la beauté... Hollywood, c’est le paradis californien,
un fruit terriblement tendant dans lequel tout le monde aimerais mordre. C’est ce qu’a fait Susan Lipson.
Five years ago Susan Lipson had an idea. She would take her years of experience in hair design and
open up a salon. Then she would delve into training hair students for the motion picture industry, an
unexplored niche market that, in Hollywood, should have been apparent to every entrepreneur
scooping California’s money-making environs. She would build a salon that surpassed the old standard,
a combination salon/school that trained both rookie and veteran cosmetologists alike on the ins and
outs of styling for film production. So was the birth of ON_SET Hair Productions.
“I felt that over the course of my hair career and my involvement in film, I needed to provide a segue
into film. A standard cosmetology school doesn’t have film and production language which trains
students the skills needed to work on a film set, such as on set etiquette and learning how to read a
script. Continuity, for example, is crucial to hair success on film,” explains Lipson. Continuity basically
means that every scene smoothly merges into the next. Unless a director deliberately skews the time
sequence there should not be any choppy breaks during a scene. In reality, throughout the duration of
shooting a movie there can be hours, days or weeklong intervals. The on set hairdresser has to capture
the exact hairstyle that was created two days ago (for example). Even though in film time the two days
have not elapsed-tricky indeed. Style synchronism is imperative because an audience can readily detect
poor visual consistency.
Film Lingo |
In addition to continuity Lipson guides
students’ on wig application, “a skill high in
demand for period films.” ON_SET also
“places emphasis on researching different
classes of people and different cultures so that
stylists feel comfortable working with wigs or
natural hair from diverse cultures.”
Flashing: Before you take a picture it is customary to yell
“flashing!”
Picture’s up: When the director yells “picture’s up!” that’s
everyone’s (hair, makeup, wardrobe, prop people, set dressers)
turn to go in to make final touches.
The Fluff “n Puff (also known as the Vanity Crew) refers to the
hair and makeup crew. There’s a department head and a second
head. One for all the extras, especially on a big period piece like
Wild, Wild, West. There could be a third in charge of all the
extras, especially if they need to be in period hair and makeup.
There are sometimes 16-25 hairdressers and makeup artists on a
film production.
Though wigs are generally used in film and theatre stylist can also apply their ON_SET training to
everyday clientele. “Many women lose hair to alopecia [a condition where hair falls out], so that
students get practical day-to-day training. We also dress cancer patients.” Lipson takes pride that
ON_SET Hair Productions “services everyone. Production heads send actors in for fittings. Also there
is always a walk-in salon for the public.”
ON_SET is an organization that fulfills both a public and industry need. But don’t think that it’s all
glamour and glory. Working in film assures that you’ll be missing your 6 o’clock dinner and 9 o’clock
movie. It’s not uncommon for a film ‘day’ to go 16 hours. There is also the stress caused by
temperamental bosses and demanding actors. Don’t even think about selling your insider information
about an actress’ on set diva behavior. Says Lipson, “there are confidentiality forms you have to fill in
and abide to. If you want to never work in this business sell your stories to the tabloids.” Just how busy
is ON_SET and more importantly how easy it is to crack the industry? “There is such a need for us,
we’re overwhelmed. We send our student hairdressers out there to build their resumes, if they’re good
they’ll bloom.”- IB
ON_SET is located at 2901 Ocean Park Boulevard Suite 119 in Santa Monica, California. For
information phone 310-452-7059 or email: infor@onsethair.com. You may also want to visit:
www.ONSETHAIR.com.
Susan’s Production Credits Include:
Charlie’s Angels (color specialist)
Dharma and Greg
Anywhere but Here
NYPD Blue
The Wonder years
Up Close and Personal
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All students please read the following and sign below:
Full balance is due the first day of class if paying by credit card (or 1 week prior if outside of Los Angeles), money order or
cashier’s check. If paying by personal check, balance must be in at least two weeks prior to class date.
I understand that if I am not able to attend my original class date, I may request a transfer. We then can re-register you for
another class date. There is a $100.00 registration fee per transfer or cancellation. Notification of withdrawal or request of
refund must be made in writing and received at least two weeks prior to the first day of instruction. We will then send a
refund by mail. Both transfers and cancellations must be requested in writing (at least 2 weeks prior to class date) in order
to receive credit towards another class or a refund.
BY SIGNING BELOW, I ACKNOWLEDGE THAT I HAVE READ, UNDERSTAND, AND AGREE TO THE ABOVE.
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