A Unique Style

MY BROW DESIGNS ARE UNIQUE, BECAUSE: 

When I first became involved in cosmetic tattooing, (2002) we had to rely on our own artistic skills. 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.  

 

I inherently, knew, that by creating a PERFECT set of brows, does NOT ensure that they look REAL. I think that the MOST perfect set of brows, are the ones left with the right amount of imperfection, so the observers eyes are not drawn to suspicion. Istead, I like to create beautiful brows that support the face - where the woman gets the compliment - her brows should support her beauty, NOT take center stage.

So I made a personal pledge, that if I couldn't create something amazing, then I just wouldn't do it at all.

Since I couldn't find the support I was looking for I turned to the TATTOO WORLD thinking they would welcome me any talent with open arms.  Haha. NOPE!  DOORS be like SLAM SLAM SLAM!!  I suddenly realized that I was on my own.  So the next best thing was to admire the work from afar. THANK GOD for the internet.  I dove into world of on line portrait tattoos to observe JUST HOW the brows on tattooed portraits looked.  I studied portraits of ELVIS's brows, MADONNA's brows, even JACK NICHOLSON's brows.  Know what?  NONE of them (the GOOD ones)  looked like solid, filled in brows of one color.  Here, I found the dimension of reality that I was seeking and then I relied on my own artistic training to capture this realism in my own personal work. I had finally found a way to make brows look like either real hair or beautifully applied dimensional makeup. 

IN THE BEGINNING - I WAS INSTRUCTED TO WORK ON CLIENTS WHILE THEY ARE LAYING DOWN.

However, I soon realized - that when a client's face is at rest, the normal signs of facial tension will relax.  This makes it difficult to construct "living brows" that flow naturally with the face.  Have you ever wondered "why" brows are so difficult?  The answer is found in ANATOMY!  Under your brows, live a complex group of muscles that react with every emotion -  and pull your brows in every 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 TOXINS SUCH AS BOTOX, XEOMIN & DYSPORT. 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 alway 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 will 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 never took a class. 

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.