How Much Training is Needed for Powder Brows?
Author: Holistic PMU Research Center, fact-checked and reviewed by an expert panel.
Contributor: Siiri Tabri
Forever learner or doer?
On average, top earners in the Powder Brows industry took only 2.3 training classes over four years. In contrast, those with average earnings took 50% more classes within just three years, making them "professional learners" rather than experts in creating Powder Brows.
“While the focus of the classes may have differed, top earners all completed courses that covered the ten essential modules outlined in this article”
Background
The question of how much training is needed for Powder Brows, and PMU in general, has become increasingly relevant in recent years. The reason for this trend is straightforward. When artists experience fluctuations in their business, they often begin to search for underlying causes. This search commonly leads them to evaluate whether the "missing ingredient" in their formula for success is a lack of proper skills.
Research
In the years following the COVID-19 pandemic, we conducted research among artists who showed significantly higher growth and success rates compared to their peers. Specifically, these artists were part of a small group—around 22% of all active artists—who accounted for over 81% of incoming business in terms of revenue. This means that only a minority of artists consistently perform brow services—less than one in five, to be precise. The rest often have to compete for the remaining 19% of revenue not captured by top earners.
We gathered data through online tests and interviews with 41 successful artists. We compared their responses to 141 artists who earned less, many of whom were considering quitting the business. A common factor among all participants was a minimum of two years of experience in the field. Additionally, over 80% of the top earners had more than three years of experience, specifically in pigmentation and Powder Brows.
Geographically, most participants hailed from European countries and the UK, with about 10% of top earners based in the US. However, our research found very little correlation between an artist's location and their likelihood of achieving success in the field.
Results
Results - Just 2.3 Classes in 4 Years
The findings might initially surprise you. Contrary to what one might assume, the most successful artists were not particularly active learners. Over four years, these top earners attended an average of just 2.3 trainings related explicitly to Powder Brows and pigmentation. This might seem like a relatively low number, especially when you consider that these artists are the industry's top earners and must offer the best service to maintain that status.
The comparison with artists who aren't among the top earners is even more interesting. Those who continued to perform the procedure 24 months after their initial training had, on average, already completed over two trainings (2.1) by the end of those two years. Artists who had been more or less active in the field for 24 and 36 months had attended an average of 3.2 trainings. It's worth noting, however, that as the time since their initial training increases, fewer artists are willing to share information about their journey. Many consider their trajectory "less than impressive" if they haven't experienced a significant breakthrough in the field within three years and continue to offer the procedure as a supplementary service.
What "The Winners" Say?
When we dig deeper into what the top earners had to say about their training strategies, three key elements stand out: high-quality training, individualized attention, and ample practice.
High-Quality Basic Training
Interestingly, the initial training classes attended by most of these successful artists were priced above average; they didn't start their journey looking for bargain deals. Experienced trainers and well-known academies offered these classes. A significant majority of these classes (over 77%) fell into the "above average" or "high" price categories. Most often, these were 2-day or 3-day training that followed a relatively traditional structure for teaching the basics. Interviews with these top-earning artists helped us identify the primary topics covered in the theoretical portions of these trainings.
Skin Anatomy
In this foundational section, the courses universally cover the structure of human skin. Artists learn about the three primary layers of the skin: the epidermis, dermis, and hypodermis. Most courses focus on giving detailed explanations of the dermis and epidermis. Additional information about the basal membrane, papillary dermis, and reticular dermis might also be included depending on the instructor's approach.
Beyond grasping the basic structure of the skin, students are also educated about the differences between "oily" and "normal" skin. This foundational knowledge gives them an understanding of where the pigmentation for Powder Brows should occur. Generally, artists are taught that the pigmentation will be applied to the papillary layer of the dermis. However, as we've noted in other articles, this may be somewhat optimistic since the reticular layer of the dermis may also be affected to some degree.
Furthermore, the courses delve into common anatomical responses triggered by the body's immune system. Artists learn about the process of phagocytosis, how pigment molecules are captured in the skin, and eventually how they are broken down and transported to the lymph nodes.
Skin Types
Besides understanding skin anatomy, another vital topic falls under its own category: understanding the client's skin phototype based on the Fitzpatrick Scale. This topic also covers nuances like determining the best pigment mixture and pigmentation strategy for individual clients. While the depth and focus of this section vary depending on the trainer, the fundamental goal remains the same: to minimize mistakes when evaluating skin moisture, pore size, and underlying undertones. A universal guiding principle is the need to counterbalance the warmth of the skin with the chosen pigment—adding warmer tones for cooler skin and vice versa.
Pigmentology Basics
In almost every course, participants gain a solid understanding of pigment retention in the skin. This is closely tied to grasping the essential differences between various types of pigments. All classes cover the basic distinctions in particle size, color brightness, and application methods for organic, inorganic, and hybrid pigments. According to the successful artists we interviewed, the choice of pigments often reflects the trainers' brands. The trainer might often affiliate or represent a specific "academy brand."
However, artists report that professional trainers usually maintain objectivity. They introduce fundamental tactics and often recommend using organic pigments with smaller particle sizes for thick and oily skin while suggesting hybrid pigments for other skin types. Over time, a growing focus has been on hybrid pigments in training programs. This likely reflects the fact that most pigments available on the market today are hybrids.
Colorimetry Basics
A third key topic covered in almost all classes deals with the fundamentals of colorimetry. Most trainers present similar content, focusing on Yellow, Red, and Blue as the foundational colors. They teach students how to mix opposite, warmer colors and modifiers to prevent the brows from turning red, bluish, or purple. Although rooted in colorimetry theory, the application is influenced heavily by specific pigment brands and their unique properties. This part of the training addresses two crucial aspects: first, understanding how to mix pigments to achieve the desired colors for the initial procedure, and second, how to mix pigments for color correction. Most experienced trainers emphasize the need for a customized approach in each situation.
Brow Shape and Mapping
Classes universally move on to brow shape and mapping, typically consisting of two main components. The first involves learning how to draw the shape of an individual brow and then its symmetrical pair. The second focuses on understanding the brow's position on the human face. Methods for measuring the starting and ending points of the brow, as well as the peak of the upper arch, vary significantly. Some trainers advocate the use of golden ratio measuring devices, sometimes referred to as compasses. Others suggest measurements based on facial landmarks like the eyes, nostrils, skull structure, and ear placement for the brow's endpoint.
Despite the various measuring techniques, the end results don't vary substantially. This is because all methods ultimately rely on human anatomy and skull structure—most notably, the eye sockets and the shape of the orbital bone. Professional trainers take into account the unique features of each client's face and rarely suggest using pre-made shapes or templates. They strongly discourage a "just wing it" approach when determining brow location.
Pigmentation Machines and Needles
Every training program included a section dedicated to explaining the key features of pigmentation machines and needle cartridges. Although some variations occurred due to trainers’ affiliates of specific brands, the core concepts were consistent across all programs. For example, the idea that the diameter of the stroke wheel in a pigmentation machine affects the stroke length was well-covered. This allows machines to be classified into categories like short, medium, and long-stroke machines.
In addition, participants were taught the basics of needle types. They learned about the needle stroke and what various abbreviations related to needle formation in cartridges mean. The depth of discussion on cartridges not directly related to the procedures being taught varied somewhat among different programs. However, the primary focus was always practical. Artists were educated on which cartridges to use, from which brands, and under what circumstances. They were also guided on what should be the typical voltage setting on the power unit of their pigmentation machine for different skin types and areas.
Basic Pigmentation Techniques on Latex
This section was a staple in every program and covered hand positioning and movement techniques. The training often began with exercises designed to help artists get a feel for the pigmentation handpiece and needle movement. These exercises usually started with practicing on one's own hand, then moved to balloons, and finally to latex sheets. The exercises primarily focused on mastering two types of whipping motions—toward oneself and away from oneself—and a pendulum motion, essentially a back-and-forth movement.
Every trainer emphasized the goal of achieving small, round pixels through the correct interplay between hand movement and machine speed. While the teaching approaches and materials varied, this part of the training was largely systematic and technical. Artists often recalled being advised to move their hands more hoveringly and gently. The aim was to perfect a "brushing" motion, ensuring that the needle's entry and exit would cause minimal tissue damage.
Advanced Techniques on Latex
After mastering the basics, most trainers then moved on to slightly more advanced techniques on latex. Here, students could integrate the skills they'd learned so far. The exercises involved drawing symmetrical brow outlines for Powder Brows and then filling them in using the specific techniques recommended by the trainers.
Generally, the process started with making shorter, horizontal movements at the tail end of the brow. As artists moved toward the brow's head, they varied their movement speed and direction. Trainers often explained the concept of a "softer" or "ombré" look. According to this method, the brow is divided into three sections: the tail, lower part, and upper section. The upper section, particularly the head, should appear the softest and most pixelated, with no visible outline.
The techniques for moving the cartridge across the skin, in terms of stroke length and direction or pendulum movements, were remarkably consistent across different trainers.
Practicing on Models
The final and undoubtedly most crucial step comes when trainers shift the focus from practicing on latex or artificial skin to practicing on live models. In every case, trainers first perform the full procedure as a demonstration. Then, participants get the chance to replicate all the steps themselves. Successful artists often highlight the importance of minimal intervention from the trainer. They point out that learning by doing—completing the full procedure independently—helps them learn faster and builds the confidence needed to start offering the service professionally.
Taking Photos and Marketing Advice
About three-quarters of artists reported receiving marketing advice and instructions on taking before and after customer photos. Over time, this part of the training has gained more focus. However, trainers often admit that much of the advice given is either too general or addresses issues that may not be immediately relevant to someone just starting out. These "luxury problems" include tips on increasing prices, choosing clients, managing customer feedback, upselling to existing customers, or utilizing social media platforms that already have a significant following. Successful artists acknowledge that it's challenging for trainers to tailor their advice to each individual's unique situation. As a result, many find themselves essentially starting from scratch when it comes to marketing once the training is over.
The Logic Behind Success
When we look at top earners in the field, they often recall these exact ten training sections, although the emphasis and specific techniques may vary. Commonly, these ten categories provide the essential technical foundation for starting the Powder Brows business.
However, it's crucial to understand that completing these courses doesn't guarantee success. Essentially, this training prepares you to "enter the race," but the rest largely depends on the individual artist's efforts. After adequate preparation, the main hurdles to success are often unrelated to skill level or technical know-how. Instead, they pivot towards branding and client acquisition.
No Standstill in Skill Level
When an artist struggles to attract enough clients, her progress can stall due to a lack of practical experience. In these situations, the artist often mistakenly believes that her skill level is the issue, leading her to seek more training. This is why "average and low-income earners" are often more active in additional training than top earners. However, most of these additional courses generally reiterate the ten basic training modules with slight variations in focus. Evidence strongly suggests that this approach is highly suboptimal. It leads to becoming a "professional student" rather than an expert in the field of brow creation.
Conclusions
Research shows that top-earning artists, on average, take only 2.3 Powder Brows training classes within their first four years in the business. This is around 50% fewer classes than artists with average earnings take in their first 24 months.
The reason for this primarily relates to the largely similar content across various Powder Brows courses. While 77% of high earners opt for a more expensive initial course, the core content remains unchanged.
These foundational courses generally cover ten basic modules: Skin Anatomy, Skin Types, Pigmentology Basics, Colorimetry Basics, Brow Shape and Mapping, Introduction to Pigmentation Machines and Needles, Basic Techniques on Latex, Advanced Techniques on Latex, Practicing on Live Models, and Sales and Marketing Advice. Though emphasis may differ from course to course, the content is identical.
"average earners" enroll in more classes mainly due to their inability to attract enough clients to maintain their skills. This leads them to believe that their limited success is due to a lack of skill. As a result, they end up retaking essentially the same course content with different trainers.