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Eyebrow overlap
in permanent makeup
Natasha Koldomova
founder of the international company iColor
I work daily with corrections and overlaps. These are clients who are already disappointed, afraid of making a mistake again, and come with skin that "speaks" louder than any pigment.
In such procedures, it is impossible to work according to a template. It's about understanding the skin's undertone, the optics of color (this is how the color looks in the skin, not what it looks like in a jar), and the ability to read what you see in front of you.
In such procedures, it is impossible to work according to a template. It's about understanding the skin's undertone, the optics of color (this is how the color looks in the skin, not what it looks like in a jar), and the ability to read what you see in front of you.
Unwanted pigment residue in the skin.
(01) Green eyebrows
The greenness in the skin most often appears after using pigments containing copper phthaocylanin CI 74260. If there is a lot of green in the pigment (for example, chromium) and the client has poor blood supply to the skin, then green blows on such skin more clearly and legibly than on dense, warm, healthy skin.
The mistake of the craftsmen is that they try to "cover" the green with warm brown. It doesn’t work.
The mistake of the craftsmen is that they try to "cover" the green with warm brown. It doesn’t work.
before
after / healed
1 removal procedure with a remover, 1 procedure with a bronza corrector
1 removal procedure with a remover, 1 procedure with a bronza corrector
WHAT TO DO:
The green is neutralized by the red-orange spectrum, but in the permanent we work more gently. Pigments with an orange base are used, muted, without bright saturation. Such a pigment is the BRONZA corrector. We've done a lot of really great work with him. Its saturation and density make it possible to cover even the dense green residue in the skin.
It is important not to go into pure red, but to work through a warm, warm orange without yellowness, so as not to get a metallic blue tone over time, since when yellow and green are mixed, we get blue.
The green is neutralized by the red-orange spectrum, but in the permanent we work more gently. Pigments with an orange base are used, muted, without bright saturation. Such a pigment is the BRONZA corrector. We've done a lot of really great work with him. Its saturation and density make it possible to cover even the dense green residue in the skin.
It is important not to go into pure red, but to work through a warm, warm orange without yellowness, so as not to get a metallic blue tone over time, since when yellow and green are mixed, we get blue.
WHAT TO DO:
The green is neutralized by the red-orange spectrum, but in the permanent we work more gently. Pigments with an orange base are used, muted, without bright saturation. Such a pigment is the BRONZA corrector. We've done a lot of really great work with him. Its saturation and density make it possible to cover even the dense green residue in the skin.
It is important not to go into pure red, but to work through a warm, warm orange without yellowness, so as not to get a metallic blue tone over time, since when yellow and green are mixed, we get blue.
It is important not to go into pure red, but to work through a warm, warm orange without yellowness, so as not to get a metallic blue tone over time, since when yellow and green are mixed, we get blue.
(02) PURPLE EYEBROWS
A purple hue occurs when a cold blue and red residue are mixed. This is often the result of old work or low-quality pigments, where the dose of black carbon black is not calculated for the dose of red iron oxide, resulting in purple eyebrows upon healing.
We often see these residues on poor-quality products, and less frequently due to incorrect removal protocols.
We often see these residues on poor-quality products, and less frequently due to incorrect removal protocols.
before
immediately after
WHAT TO DO:
Purple is neutralized by the yellow spectrum. However, if we are talking about an uneven mixture of Carbon Black and iron oxide, it is necessary to start by using a remover to remove the red and reduce the intensity of the black.
If it is not possible to remove the eyebrows, you can use the yellow corrector MUSTARD or its improved alternative, ORANGE NEUTRALISER.
Purple is neutralized by the yellow spectrum. However, if we are talking about an uneven mixture of Carbon Black and iron oxide, it is necessary to start by using a remover to remove the red and reduce the intensity of the black.
If it is not possible to remove the eyebrows, you can use the yellow corrector MUSTARD or its improved alternative, ORANGE NEUTRALISER.
WHAT TO DO:
Purple is neutralized by the yellow spectrum. However, if we are talking about an uneven mixture of Carbon Black and iron oxide, it is necessary to start by using a remover to remove the red and reduce the intensity of the black.
If it is not possible to remove the eyebrows, you can use the yellow corrector MUSTARD or its improved alternative, ORANGE NEUTRALISER.
If it is not possible to remove the eyebrows, you can use the yellow corrector MUSTARD or its improved alternative, ORANGE NEUTRALISER.
(03) Blue eyebrows
The blue residue in the skin is most often caused by the artist’s traumatic and dense use of rich pigments that contain a lot of black. Less commonly, blue eyebrows are caused by the presence of copper phthalocyanine CI 74 160.
before
immediately after
after / healed
WHAT TO DO:
Blue is neutralized by the orange BRONZA corrector, and if the density of the old residue is up to 50%, you can use the ORANGE NEUTRALISER pigment.
Blue is neutralized by the orange BRONZA corrector, and if the density of the old residue is up to 50%, you can use the ORANGE NEUTRALISER pigment.
(04) Grey eyebrows
Gray tattooing is almost never "just gray." What you see as gray is an optical illusion that masks the cold residue, which is often blue or blue-green, that the skin has dulled and "dusted" over time.
Gray is not a color; it is a loss of light. The biggest mistake that tattoo artists make is treating it as a neutral base.
Gray is not a color; it is a loss of light. The biggest mistake that tattoo artists make is treating it as a neutral base.
before
After / healed
before
After / healed
ЕWHERE DOES THE GRAYNESS COME FROM:
Gray old tattooing is the result of:
The skin is always the first to lose:
- deeply applied pigment;
- strongly cold (black) mixes;
- thick skin with poor blood circulation;
- a time when the warm spectrum was "lost" from the color.
The skin is always the first to lose:
- red;
- yellow.
- black, which may contain traces of blue, white, green, or purple.
WHY CAN'T YOU OVERLAY BROWN WITH GREY?
Brown is a mixture of several colors.
If it contains ash or cold, it enhances the grayness.
If it contains ash or cold, it enhances the grayness.
HOW TO WORK WITH A GREY PERMANENT MAKEUP:
STEP 1: RETURN THE HEAT TO YOUR SKIN
The primary goal is not the shape or color of the eyebrows, but to enhance the background.
The following colors are used:
- orange BRONZA ;
- yellow-orange ORANGE NEUTRALISER ;
- in rare cases, pigment from the areola palette TRUFFLE.
STEP 2. COLOR FORMATION
The main color is not required, and it is often possible to leave only the corrector in the skin, as there is usually no space for it. However, if you decide to use pigment, it is best to wait until the corrector has fully healed before deciding on the color.
It is important to remember!
If you and your client want to achieve light brown eyebrows, do not use BRONZA, as it is thick. Instead, use the ORANGE NEUTRALISER corrector.
It is important to remember!
If you and your client want to achieve light brown eyebrows, do not use BRONZA, as it is thick. Instead, use the ORANGE NEUTRALISER corrector.
AN IMPORTANT POINT
Gray permanent makeup doesn't like density.
The denser you work, the more the skin:
Sometimes the best result is not an overlap,
but lightening and softening with BLUR remover.
Gray permanent makeup doesn't like density.
The denser you work, the more the skin:
- extinguishes light;
- increases cold;
- heavens the result.
Sometimes the best result is not an overlap,
but lightening and softening with BLUR remover.
CORRECTION AND OVERLAY ARE NOT ABOUT PIGMENT.
IT'S ABOUT THE MASTER'S THOUGHT.
CORRECTION AND OVERLAY ARE NOT ABOUT PIGMENT. IT’S ABOUT THE MASTER’S THOUGHT.
It’s about being able to see the skin, understand what has already happened, and not repeat other people’s mistakes. If you can’t see the undertone, you’re working blindly, and both the artist and the client always lose in a blind permanent.