Color Correction for Powder Brows (Expert Advice)

“If the ‘old brow’ doesn’t align with the newly mapped ‘new brow,’ it may be best to decline the procedure, regardless of client optimism. Your reputation as a professional artist should always come first.”

— siiritabri.com

Background

This article focuses on the colorimetry specific to the Powder Brows procedure. It is based on the expert insights of 36 seasoned PMU artists, each with over five years of experience in the field. All have performed multiple procedures to correct eyebrow colors. The advice provided in this article reflects a consensus among these experts.

Pigment visibility in the skin

The Importance of Individual Client Characteristics

Contrary to popular belief, colorimetry isn't just a one-size-fits-all formula that guarantees excellent results when applied correctly. Many experienced artists emphasize that understanding the individual characteristics of each client is crucial when utilizing any colorimetry techniques.

Skin Thickness, Layers, and Aging

The skin's properties, such as its thickness and overall tone, play a significant role in how pigment colors are perceived. Factors like the client's skin, prototype, and age are also crucial. Two main rules generally apply: First, the thicker the skin, the less visible the pigment will be. This is because a thick epidermis often results in an opaque, "milky" layer on top of the applied pigment. Since the pigment molecules are placed in the upper part of the dermis, their visibility is strongly affected by the epidermis' thickness.

Second, while epidermis thickness varies from person to person, aging often influences it. Starting in one's 50s, the skin's natural collagen network begins to break down. This affects the skin's hyaluronic acid levels and its ability to retain water. As the skin loses water, it becomes thinner, making wrinkles and other inconsistencies more visible. Consequently, any pigment applied to thinner, older skin will be more readily seen.

Pigmentation Depth

A common rule in the industry is that deeper pigmentation results in a cooler pigment tone. However, it's crucial to note that the real impact of this rule becomes apparent only after the skin has fully healed. This means that any strategy for evaluating pigment color should be cautiously approached. The pigment's color generally turns cooler as the skin goes through the healing process.

Particle Size and the Tyndall Effect

The Tyndall Effect is a physical phenomenon where light scatters when passing through a medium with particles of varying sizes. This is most commonly seen when light beams go through substances like colloidal solutions, where the particles are larger than the light's wavelength. In simpler terms, the Tyndall Effect makes these particles visible by scattering the light.

Regarding Powder Brows, the smaller the particle size of the pigment, the more light these particles will absorb. This often results in eyebrows appearing more bluish or violet. This can happen when pigments with very small particle sizes are used, as these particles can "sink" deeper into the skin. The same effect can occur if too many particles are applied to a specific skin area.

Primary Colors - RYB

Understanding Primary Colors in PMU - RYB

Different fields use different sets of "primary colors." For instance, the additive color system RGB (Red, Green, Blue) is commonly used in digital media and computing, while the subtractive system CMYK (Cyan, Magenta, Yellow, and Black) is the standard in color printing. In the realm of Powder Brows and other pigmentation procedures, the RYB (Red, Yellow, Blue) model is most relevant. This model has its roots in the color theory of art and design education.

The Target Color: Brown

To grasp the fundamentals of PMU colorimetry, it's essential to understand that the target color is usually brown. Brown is a color you can achieve by mixing red, yellow, and green. This makes it easier to determine which color is missing when you're trying to achieve a particular shade of brown.

Derived Colors: Orange, Purple, and Green

The process of color neutralization in the skin isn't solely reliant on primary colors. That's because you won't find Powder Brows pigments that are purely red or blue, for example. It's essential to understand that secondary colors like orange, purple, and green can be derived by altering the ratio of primary colors. The modification of pigment color within the skin is based on the principle that mixing primary colors with secondary colors will result in shades of gray.

Opposite Location on the Color Wheel

The concept of achieving "shades of gray" hinges on mixing opposite colors found on the color wheel. Combining these opposing hues often yields a neutral tone, like gray or brown. Let's delve into some practical examples.

Blue Mixed with Orange: Blue is a primary color, while orange is a secondary color formed by blending red and yellow. Mixing blue and orange in equal parts cancel out each color's vibrant characteristics, resulting in a grayish tone useful for achieving brown. Real-Life Example: If you're painting a sky and find it's overly blue, adding a touch of orange will mellow it down to a more natural, grayish-blue color.

Red Mixed with Green: Red is a primary color, and green is a secondary color created by mixing blue and yellow. When you blend red and green, the colors neutralize, leading to a gray or brown shade. Real-Life Example: In digital artwork, if you're dealing with an element that's too red, adding a green layer will neutralize the color, rendering it more grayish.

Yellow Mixed with Violet: Yellow is a primary color, while violet is a secondary color derived from red and blue. Combining yellow and violet neutralizes both colors, resulting in a gray or brown shade. Real-Life Example: When decorating a room, if a yellow piece of furniture feels too bright, incorporating violet accessories can mute the color, leading to a more grayish or subdued tone.

The Correct Ratio - Multiple Corrections

The proportions of colors mixed together can significantly influence the final result. Starting with a 1:1 ratio usually produces a neutral gray, but this ratio can be tweaked to create lighter or darker shades. Regarding Powder Brows, selecting the correct ratio is always an individual decision. For this reason, neutralization in pigmentation should typically occur over at least two sessions. The artist must assess how the "correcting" pigment heals and alters within the skin after the initial session. Overloading the skin with too much pigment carries the risk of not achieving the desired correction but instead making the brows overly dark.

Neutralization of Unwanted Colors

The same principles discussed earlier apply to neutralizing unwanted colors in eyebrows. Typically, there are four kinds of unwanted eyebrow colors: "Salmon" pinkish, Grayish-Blue, Greenish Tone, and Purple undertone. To correct each, we use a two-step strategy based on the color wheel: first, we identify the color, and then we choose its opposite from the wheel.

How to Neutralize "Salmon" Pink Eyebrows?

These usually have a red base color. You should use an olive shade of yellow and blue to turn them into a natural brown. To achieve this, choose a pigment modifier with a strong olive base or directly use an olive-dominant pigment.

How to Neutralize Grayish-Blue Eyebrows?

This hue is generally tied to a blue base. To counteract it and get a brown shade, add an orange pigment. Orange, a blend of yellow and red, is the opposite of blue on the color wheel. Use a warm-colored pigment rich in orange tones or an orange-specific modifier.

How to Neutralize Greenish-Toned Eyebrows?

These eyebrows usually have a green base. To offset this, use a warm chestnut color with reddish undertones. Chestnut combines brown and red, balancing out the green and resulting in a natural brown. Choose a pigment or modifier containing these warm, reddish undertones to neutralize the greenish hue effectively.

How to Neutralize Purple-Toned Eyebrows?

These eyebrows are tied to a purple base, a combination of blue and red. To get a brown color, the missing element is yellow. Using a yellow "flax" pigment modifier will cancel out the purple tones. Opt for a modifier rich in yellow, mustard, or "flax" tones to attain a natural brown look successfully.

Neutralization Procedure

For beginners in the field, it's safer to carry out the neutralization process over two separate sessions. This approach is particularly important if the skin is thick, oily, and has large pores with an "orange peel" texture. It's also advisable if you have no information about the initial pigments used.

On the other hand, if the skin is flawless, has normal moisture levels, and you knows what type of pigments were originally applied, then it's possible to perform the correction in just one session. We will explore both methods in the following discussion.

Neutralization in One Session

If you opt for a one-session neutralization, ensure there are no issues with the client's skin—like excessive oiliness or irregular texture. In this case, the first step is to remap the client's eyebrows. This is crucial because a successful correction largely depends on whether the existing brow shape fits within the borders of the new design. If it doesn't, attempting a correction can lead to disappointing results and could harm your professional reputation. So, the initial phase is accurate brow mapping.

If the existing brow shape aligns well with the new design, then proceed to the next phase. Start by gently outlining the brows with the target color, which is usually a shade of brown. Once that's done, apply the neutralizing pigment or modifier inside the outline. Execute this step in multiple passes until you achieve the desired color change. But remember, older skin tends to be delicate and thin, so be extra cautious when working with mature clients.

The final step involves applying the target color to the entire brow area, ensuring a seamless transformation that aligns perfectly with the outline.

Neutralization in Two Sessions

If there are concerns about the initial pigment used or if the client's skin is oily, thick, or has large pores resembling an "orange peel" texture, it's best to opt for a two-session approach for correction.

In a multi-session strategy, the first session is focused on applying the neutralizing pigment until you achieve the intended brownish tone on both brows. After this initial session, the brows should be allowed to heal. A 4-6 weeks healing period is typically adequate for younger clients. For older clients aged 50 and above, it's advisable to allow an extended healing period of 8-10 weeks.

Once the healing phase is completed, you can apply the correct target color. At this point, you'll better understand how the client's skin has responded to the initial neutralizing treatment, allowing for more precise color application.

Understanding the Concept of Neutralization

It's crucial to grasp that you're only adding more pigment molecules to the skin during neutralization. These molecules don't interact to form new particles; you're simply increasing the number of existing particles. Therefore, assessing the amount of pigment already present in the skin is essential. If the brows are already dark due to a high concentration of particles, achieving a significant color transformation becomes nearly impossible.

Adding more pigment, whether it's yellow or olive modifiers, will only darken the brows beyond a certain point. In such instances, or when the initial brow shape is too large or misplaced, it's best to decline the procedure to maintain your professional reputation. Instead, recommend that the client opt for brow removal techniques, like saline or laser treatments.

In the realm of Powder Brows and color neutralization, understanding the fundamentals of colorimetry is vital. Factors like the Tyndall effect and the depth of pigmentation significantly influence how colors appear beneath the skin. More profound pigment molecules tend to look cooler, and the thickness of the skin layers also plays a role in the final appearance.

The three primary colors for pigmentation are Red, Yellow, and Blue. Blending these creates neutral shades of gray that result in a brownish tone. Neutralization revolves around counterbalancing the dominant "wrong color" with its opposite on the color wheel. To summarize:

"Salmon" Pink: Use an olive modifier or pigment with a strong olive base.
Grayish Blue: Add orange pigment to achieve a brown tone.
Greenish Tone: Use a warm chestnut color with reddish undertones.
Purple Tone: Incorporate a yellow, mustard, or "flax" modifier.

Remember that neutralization doesn't create new pigment mixtures but adds more particles. It's effective only if the existing brows are light enough and if the "old brow" shape fits within the "new brow" when mapped before the procedure.

Opt for a two-session approach for clients with oily, thick skin that resembles "orange peel" or when the initial pigment is unknown. On the other hand, a single session may suffice if the skin is normal and the initial pigmentation is light.

Conclusions

In the realm of Powder Brows and color neutralization, understanding the fundamentals of colorimetry is vital. Factors like the Tyndall effect and the depth of pigmentation significantly influence how colors appear beneath the skin. More profound pigment molecules tend to look cooler, and the thickness of the skin layers also plays a role in the final appearance.

The three primary colors for pigmentation are Red, Yellow, and Blue. Blending these creates neutral shades of gray that result in a brownish tone. Neutralization revolves around counterbalancing the dominant "wrong color" with its opposite on the color wheel. To summarize:

"Salmon" Pink: Use an olive modifier or pigment with a strong olive base.

Grayish Blue: Add orange pigment to achieve a brown tone.

Greenish Tone: Use a warm chestnut color with reddish undertones.

Purple Tone: Incorporate a yellow, mustard, or "flax" modifier.

Remember that neutralization doesn't create new pigment mixtures but adds more particles. It's effective only if the existing brows are light enough and if the "old brow" shape fits within the "new brow" when mapped before the procedure.

Opt for a two-session approach for clients with oily, thick skin that resembles "orange peel" or when the initial pigment is unknown. On the other hand, a single session may suffice if the skin is normal and the initial pigmentation is light.