Eyebrows are the most important feature of the face...
We just don't think they should take center stage. Beautiful brows should enhance your Natural Beauty and do not overpower any other feature. No stranger should ever wonder where you got your brows done. In fact, you've probably seen more GOOD permanent makeup than you think - and just didn't know it! THE BEST WORK is that which is close to undetectable. Wouldn't you rather keep someone guessing - than to wonder who tattooed your brows?
PROPER BROW PLACEMENT DEFINITELY RELIES ON WHAT IS KNOWN AS GOLDEN RATIO CALCULATIONS.
While these equations are good "starting" points, I find that when measured TOO perfectly, the brows take on a rigid, mechanical and 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.
I START ALL OF MY BROW WORK WITH CLIENTS FACING ME, SITTING IN AN UPRIGHT POSITION, FILLING IN ONE STROKE AT A TIME!
WHY? FACES ARE ALIVE... They MOVE!
Makeup artists don't even draw brows with clients laying down. Why shouldn't this also apply to brow design?
Traditional artists will use an easel because they know that there is no better way to create a masterpiece than to paint it in the same way it will be viewed.
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 working my way out.
The final shape does not fully materialize util the last few strokes are applied. This is when the puzzle is complete.
OUR normal MO is: CONSERVATIVE!
ALL People are different, and most people will need customization depending on various skin types, lifestyle patters, medical needs, etc... Therefore, I've always felt that it is better to add pigment in layers, The first session is always applied conservatively to see how the skin responds once healed.
Also, a heavy first application may cause too much trauma to the skin. When the skin is overworked, it takes longer to heal, which result in more color loss.
It's a catch 22 that requires all parties to be patient with this process. The next session will reveal new possibilities... we will then know how the skin healed and which new colors to add (if any) and what intensity to apply... rather than try to apply too much color in one session.
It's important to realize that first sessions could result in one of the three following outcomes:
TOO DARK: Very Rare
TOO LIGHT: Most Likely
JUST RIGHT; Very Rare
WHAT TO DO TO FOR 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 follow-up appointments that will be required.
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.
TWO OF THE MOST IMPACTFUL COMPLIMENTS OF MY LIFE came from two doctors that flew their wives in for brows.
1, A plastic surgeon who brought his wife from Atlanta.
As we were getting settled in... He said, "Do you know why we're here?" I said, "I think so... she wants brows." He smiled and said, "Yes... that but do you know why we are HERE? He proceded to tell me how wonderful his wife was and that she is the best, she deserves the best and from what I can tell, You're the best artist that I've seen. That was an amazing compliment - especially coming from a successful plastic surgeon.
Once my client was prepped and ready for her procedure, I started working the way I normally would. The doctor immediately realized that I wasn't performing the usual mapping techniques that he'd seen online. He stopped me to ask why wasn't going to map her face. He said he felt like these markings were necessary in order to find the best possible brow shape for his wife's face. I explained that since I already "SEE" the best shape, I don't need to do all of the preliminary markings. I assured him that she was in good hands and started working. I could feel him study my every move, so I invited him to come stand next to me for a closer look. , That might make some people nervous, but I took it as a great compliment! This surgeon was learning something from me. At the end of the procedure - he was in awe - and made a comment that seemed to describe up my mindset when it comes to creating natural looking brows.
He said that it seems to him, that I work using a Gestalt Theory or Method. To be honest, I had to Google that one.
THE DEFINITION OF GESTALT:
"An organized whole that is perceived as more than the sum of its parts". In general, it means WHOLE or FORM.
Here's a simple explanation: Every individual is as a unique blend of the mind, emotions, body, and soul blended with unique experiences and realities that form a whole individual.
THE GESTALT THEORY EMPHASIZES THAT "THE WHOLE" OF ANYTHING, IS GREATER THAN THE SUM OF ITS PARTS.
AND GESTALT THINKERS SEE THE WHOLE PICTURE AS MORE IMPORTANT THAN ALL OF ITS INDIVIDUAL COMPONENTS!
A GESTALT METHOD IT "THE WAY" THINGS ARE ASSEMBLED...
HOW DOES ALL THIS PERTAIN TO BROWS?
All the "typical mapping steps" that go into creating a "perfect set" of brows do not necessarily create a natural look. True perfection comes from creating the look of realism, not evenly placed stoke patterns. The human brain has an innate ability to fill in the blanks. The brain can perceive patterns that are not there... the brain makes these connections based on PROXIMITY, SIMILATIRY CONTINUITY, CLOSURE & CONNECTION. The all for one & and one for all "paint by number" system of drawing "perfect" stroke patterns disrupt the flow of natural looking brows. Having the ability to create the look of realism requires a special talent. You have to visualize it in your mind, before you can create it on a client's face.
1. Another brought his fiancé from Pennsylvania, twice!
We had another great conversation! He observed me as I worked - then said that he had been studying microblading techniques from varioius other artists. He said he chose me because my work looked the most natural, but he didn't know why until he watched me work. He said that I surprised im at every corner and nothing I did looked familiar based on what he had observed online. He impressed upon me, "YOU need to become a "DISRUPTOR" in your field! I have never seen anyone work the way you do..."
So one day, I hope to have the opportunity to share my processes and help a lot of people create beautifully realistic brows too. Until that day... you heard it here first!
PERFECT BROWS DON'T LOOK REAL!
REAL BROWS DON'T LOOK PERFECT!
YOU HAVE TO STRIKE A BALANCE!
Perfect precision doesn't exist in human anatomy. The more one strives for perfection, the less human one looks. Tiny imperfections prevent you from looking manufactured... like a doll. I inherently knew this from the start. My thoughts instead are that the MOST perfect set of brows is the ones left with just the right amount of imperfection. Not so much to draw attention or to make someone question why the brows are different, but to TRICK the eye to make the brain "think" everything is perfect. Now I do my best to pass that understanding on to people who apprentice with me and to our clients as well.
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 directions. 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 the 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 artists 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!
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 are both happy.