A Unique Style

Our Brow Designs are Unique because... 

When I first became involved in cosmetic tattooing, (2002) I didn't find much in the way of good solid training on an artist's level. The internet was alive, however social media didn't exist yet and permanent makeup was NOT AMAZING.   "Natural hair stroke" classes were still very primitive because the hair strokes didn't resemble realistic brows at all... they looked more like a picked fence that had fallen down. That was so disappointing... so I decided to try to find a way to translate that my own knowledge of art - into a way that worked in the SKIN.

One thing I had going for me, is that I inherently, knew, that a PERFECT set of brows, does NOT ensure that they look REAL!  I thought instead, that the MOST perfect set of brows, are the ones left with just the right amount of imperfection, so the observers eyes are not drawn to question. Now I do my best to pass that understanding on to others.

You've probably seen more permanent makeup than you think you have. THE BEST is close to undetectable. Wouldn't you rather keep someone guessing?

CHECK OUT THESE QUICK LINKS TO LEARN MORE ABOUT HOW TO PLAN FOR AND TAKE CARE OF YOUR NEW PROCEDURE! 

As always, we are constantly searching for new and interesting ways to improve, so if you have any suggestions at all, please let us know.  

At Permetika, we like to create beautiful brows that enhance your Natural Beauty, NOT take center stage. No one should wonder where you got your brows done, unless they already know you. So in the beginning of my career, I made a personal pledge:   If we couldn't create something unique and amazing, then we just won't do it at all! 

In 2002, I launched a search to find excellent permanent makeup training. I got the basics, however I couldn't find anyone who impressed me enough to follow and learn from. The missing dimension that I was looking for was REALISM. Then it hit me... one does not acquire that skill from a class.

I just needed to rely on my own artistic training to capture this realism in my own personal work. I turned to the world of TRADITIONAL TATTOOS. At first, I thought they would welcome me and my talent with open arms.  Haha. NOPE!  DOORS were like SLAM SLAM SLAM!!  I suddenly realized that I was on my own.  So the next best thing was to admire their work from afar. THANK GOD for the internet.  I was able to observe on line, portrait tattoos. I tried to imaging HOW the brows on tattooed portraits looked so natural - when most permanent make up looked so ...UNnatural. I watched as many videos as I could, but back then, tips were very guarded. No one wanted to share their knowledge... So I studied tattooed portraits of well known people like ELVIS, MARILYN MONROE, MADONNA and even JACK NICHOLSON so I could have a realistic point of reference as to how accurate the work was. During my studies, I found that not one set of eyebrows (on the good portraits) looked like solid, filled in brows of all one color like I was finding in the field of permanent makeup.  ALL of the brows had minor flaws. But the secret is,  those flaws ADD to the look of realism. They don't take away, IF mimicked correctly. 

MOST tattoo artists become amazing because they already possess the passion, drive, artistic mindset and skills necessary prior to becoming an amazing tattoo artist. No one would ever venture into the field without those qualities and they are expected to work long hard hours proving themselves as an apprentice, for months ( and in many cases YEARS) before they get to work on live skin. 

 

In contrast, the field of cosmetic tattooing, it's an easy entry field. ANYONE  can attempt it, and most think of the money they can make rather than considering their own artistic skill. The passion for money will dry up when they mess up af few faces. Others will do moderately good work, and only a few will excel. 

 

 

HAVE YOU EVER WONDERED WHY BEAUTIFUL BROWS ARE SO DIFFICULT TO CREATE?  

The answer is due to each person's UNIQUE ANATOMY!  Under your brows, live a complex system of muscles that react with every emotion. Each different emotion pulls your brows in varying different angles and direction. Even a slight bit of difference in muscle tension, will make a huge difference in expression, therefore changing the shape.  This challenge is even further intensified to various degrees, depending on client's age, expression, animation, muscle tension and skin laxity - AND ADD THE USE OF BOTOX, XEOMIN & DYSPORT.

WHAT HAPPENS WHEN YOU WORK ON CLIENTS WHILE THEY ARE LAYING DOWN?

First let me ask...  Have you ever seen a makeup artist lay a client down to do their brows? No! You haven't... So why do PMU Artist do that? I think mainly, it's because they practice the way they were taught. And, it is definitely easier to create a beautiful stroke when the client is in a supine position. But when a client's face is at rest, it changes drastically. Especially when lying flat. The normal signs of facial tension will relax.  This makes it difficult to construct "living brows" that flow naturally with the face. Bottom line - brows are HARD! 

TRADITIONAL BROW MAPPING RELIES ON THE GOLDEN RATIO CALCULATIONS.

These equations are good starting points. However, I find that when measured too perfectly, the brows take on a rigid, unnatural look. You can tell right away when someone has undergone over mapping. I want my clients to look great, not done. So I opt for a softer look by using the ratio as "a guide" without making the brows look like mirror images.​

NOW, I START ALL OF MY BROW WORK WITH CLIENTS FACING ME

SITTING IN AN UPRIGHT POSITION, FILLING ONE STROKE AT A TIME!  WHY?  FACES ARE ALIVE... They MOVE! 

  • An artist uses an easel because there is no better way to create a masterpiece than to paint it in the same way it will be viewed.  

  • Makeup artists don't even draw brows with clients laying down.  Why shouldn't this also apply to brow design?

  • I want my work to look BELIEVABLE, so I start building the brow by first filling in missing spots, starting from the middle spine - and work my way out, with the final shape occurring within the last few strokes. This is when the puzzle is complete. 
     

OUR normal MO is:  CONSERVATIVE!

 

I've always felt that it is better to add layers, once the last session has healed, rather than try to apply too much color in on one session. The skin becomes too traumatized, and causes a delay in healing . . . which in turn, causes more color loss.  It's a catch 22. We can always add more color later. So please try to be patient with this process. Any first session could turn out a little darker than expected, but will most likely turn out far lighter than preferred. In SOME rare cases, its JUST RIGHT!  In other cases there is barely any color left.  ALL People are different, needs are different. SKIN is different. 

THERE ARE THINGS YOU CAN DO TO HELP GAIN OPTIMAL RESULTS!

I'm not saying you will obtain PERFECT results, by following all the rules. I am saying that I feel, that there are things that you can do to HELP you receive better results than if you didn't prepare at all.  It does mean that YOU will do better if you at least try to do some of the things recommended. Even a marginally better result makes a difference and may even reduce the number of followup appointments that will be required.​​

THE SIMPLE EXPLANATION IS . . .

 I START ALL OF MY BROW WORK WITH CLIENTS FACING ME - SITTING IN AN UPRIGHT POSITION. WHY?  FACES ARE ALIVE... They MOVE! 

  • An artist uses an easel because there is no better way to create a masterpiece than to paint it in the same way it will be viewed.  

  • Makeup artists don't ever draw brows with clients laying down.  Why shouldn't this also apply to brow design in cosmetic tattooing?

  • I want my work to look BELIEVABLE, so I start building the brow stroke by stroke. The puzzle is complete when the client and I I are both happy. 

AND THIS IS HOW I DEVELOPED MY OWN MICROBLADING STYLE: 

One day, I was shopping for supplies at a tattoo shop and I noticed something a little "different" sitting in the display case.  It was a row of 12 hot pink handles that resembled Xacto blades. I asked the owner about them and he told me that he thought they were called Tattoo Knives, but he didn't know how they were used.  I thought that was strange, but I kept wondering WHY THEY WERE HOT PINK? The words Hot Pink and Tattoo Knife, just don't belong in the same sentence.  So I asked to take a closer look at the blades. I remember thinking the blades sort of reminded me of a calligraphy pen.  As I thought about it... it dawned on me that since I was trained in calligraphy, I might be able to create some really fine strokes with these tools, so I bought all 12!  

 

IT WAS A NATURAL AND EASY TRANSITION FOR ME: 

I had three things going for me. I knew calligraphy. I'm an artist who understands color AND at that point, I'd already had 13 years in the skin!  I instantly knew what to do. And I felt the freedom to work on my clients as if I were applying brow makeup, not tattooing laying down. THE PROCESS, STUCK!  (no pun intended...). This all happened a couple of years before the world caught on fire with Microblading, and I suddenly realized that I didn't invent it. LOL But I do believe that I was the first in my area to use the Microblading tools.  And this explains why I didn't require training.