/Basic principles of brow pigment blending

When working with eyebrows, correctors are almost always used, unlike lip pigments. This is due to the fact that each client's skin is unique, and it is important for us to take into account its individual characteristics in order to create the most suitable shade.

golden blond

natural brown +
golden blond 1/1

natural brown

/These are the key parameters we focus on when selecting and mixing pigments:

(1) Skin saturation according to the Fitzpatrick scale, which categorizes skin by brightness: from lightest (Scandinavian type) to darkest (Negroid race). Depending on the brightness of the skin, we choose the saturation of the pigment so that it harmonizes with the natural skin color.

(2) Skin temperature. Skin can have yellow, olive, blue, violet, and other subtones that affect the perception of pigment color after application.

(3) The client's skin type also influences not only the choice of pigment, but also the technique and even the needle. Here we divide the skin into dangerous and conditionally normal skin. Dangerous skin includes vascular skin, age-related skin, thin skin, and oily skin.

brunette

blondes

deep brown

black and brown

natural brown

bronze

golden blond

dark blond

terra
brown

bronze

mycmapg

brown

Examples of work with bronze

To achieve warm brown eyebrows on skin with yellow or olive undertones, brown pigments with an orange or red base, such as the popular BROWN pigment or the BROWN + BRONZA mix, are the best choice. When working with yellow-based pigments, do not expect warm eyebrows, you will get ordinary russet eyebrows, because the pigment does not have enough “warmth” to give it to yellow or olive skin.

2.

When working with blue undertones, it is important to avoid pigments with a high red content, as this will lead to the appearance of a violet shade on the eyebrows. In such cases, it is better to use pigments with an orange base.

1.

Using correctors in work. When mixing pigments for cool skin, we add more correctors. For example, for purple undertones, you may need up to 50% of BRONZA corrector per mix to “warm up” the color. It is also necessary to warn the client that immediately after the procedure the color will be warmer, but so with time it will stabilize. The thing is that violet and olive tone are the most difficult to work with and it is extremely difficult to get a warm brown color. Therefore, we use the corrector to the maximum.

3.

/ Basic mixing rules for brow pigments

We call such skin “hungry”, because collagen and elastin fibers are already very depleted, and therefore pigment adhesion is very high, up to 100%. Such skin does not forgive mistakes, that's why we often use diluent or tints, which are ideal for age skin, because they are difficult to penetrate, they lie in the necessary layer very thinly and they are moderately warm. Tints help to avoid blemishes, tightness when healing, and a too dark saturated color.

You may not use correctors on young skin if it does not have any distinctive features. However, in case of vascular skin, MUSTARD or BRONZA correctors should be added to neutralize the cold undertones characteristic of such skin.

Working with ageing skin has its own peculiarities.

Peculiarities of work with young skin.

mycmapg

golden blond

dark blond

terra brown

natural brown

Thus, the selection and mixing of pigments  is always an individual approach, taking into account the subtleties of each client's skin.

In the following article, we will discuss the basic principles of mixing lip pigments.