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PRESIDENTS LETTER - PAULA REALI Hi to all our new and existing members… Another busy year ahead and unfortunately we are not off to a good start with our web page. We have had lots of problems with the web hosting company for us to update our web page. Please be a little more patient with us as I know it is an issue and we are working tirelessly to have this corrected. Members will be notified as soon as we have it up and running. We will be redoing the web page so it can be very user friendly and a lot more interactive for members and clients to reach us. On another note, we have great news that Sue Farley will be coming back in October for a two day Seminar and work shop. If you missed out on coming last year please try not to miss out this year. We had a wonderful time with Sue as Sue has a great passion for teaching and the knowledge to help guide you in
doing the best Brows you can. The Seminar is a stepping stone in many learning experiences you will have in your career. It is a great way in networking with peers and learning new techniques you might not be aware of in which will make designing, shaping and creating beautiful natural looking brows for your clients.“ It’s all about looking natural as if you haven’t got tattooed brows”. Clients love how their friends cannot pick they have tattooed brows these days. Looking beautiful, naturally. Attending Seminars and training events is a passion in this industry and to be the best you can be is hard work and dedication this is why the Association delivers the best Master Trainers we have in this industry. Sue is looking forward to catching up again with members she met last year and hopefully meets our new members this year. Sue is very approachable and if you have questions you would like Sue to answer please don’t hesitate in asking when she
is here.The lesson Plan will be sent out in next newsletter when we receive from Sue. We will be keeping costing the same as last year so hopefully you can attend.
Roselyn Norris Award Members who would like to enter the competition, we have a Novice Section and Advanced Section. Photographs and displays of your work with a copy of Client History forms must be displayed into a folder or book and sent to myself at: Association of Cosmetic Tattoo, 14 Princess Highway, Unanderra, NSW 2526. I will have all entrants work in my care and looked after until the event. Winners will be announced at the Awards Dinner on Sunday 12th. Entrants must be present the Dinner to receive their awards.
Treasurers Update Members are required to fill out a new Membership form every year with payment. It must be signed by you and sent with payment or bank transfer and emailed directly to the ACT office. All correct details must be on the form as this will be displayed on the ACT website. All membership renewals are due in January each year and if not paid on time the discount for continuing membership after 3 years of $50 will not apply.
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Analysing the Colour WheelUniversal Law of Colour!
There are 3 primary colours: Blue, Red and Yellow. The order of dominance of the primaries determines our pigment colour results. Blue is the darkest colour and the only cool primary. Red is a medium colour and a warm primary. Yellow is the lightest colour and is also a warm primary.
The Colour Wheel True primary colours cannot themselves be created from other colours, but are used to mix other colours. Primary colours are red, yellow and blue.Secondary colours are created by mixing two primary colours together. The secondary colour are orange, violet and green. Intermediate colours are created by mixing a primary and secondary colour together. The intermediate colours are yellow green, yellow orange, red orange, blue green, blue violet and red violet. Tertiary Colours are created by mixing two secondary colours together. Tertiary colours are dull or low in intensity. This is the result of there being three primaries involved in the mixtures. Complementary colours are located diametrically opposite from each other on the colour wheel. e.g.. Orange and Blue - Red and Green - think of Christmas Colours. Monochromatic colours are variations of any shade, tint or tone of one colour. Triadic colours are 3 colours at the end of each point of an equal triangle on the colour wheel. Analogous colours are any one chosen colour on the wheel with two colours to the right or two colours to the left of your chosen colour. Achromatic colours use a colour scheme of blacks, whites and greys.
Analysing the Colour Wheel/ Universal Law of Colour
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Hue: The identity or name of a colour.
Tint: A colour with white added to it.
Value: How light or dark a colour is.
Tone: A colour with grey added to it.
Intensity or chroma: How bright or dull a colour is.
Shade: A colour with black added to it.
Saturation: Intensity of colour.
Metallic: Highly reflective, cannot see through it.
Neutralizer/ Complimentary: Colours opposite each other on the colour wheel.
Opaque: Cannot see through.
Enhancer: Augment Colour
Translucent: Lightly fogged, can barely see through it.
Base or Key colour: Dominant Colour
Transparent: Can see through, like clear glass.
Tips for Colour Mixing
Most pigments are usually made up of oxides, iron oxides, alcohol, distilled or sterile water and glycerine.
Colour combinations can be endless. By changing the slightest degree of pigment colour, you will b e a b l e t o c re a t e d i ff e re n t dimensions of colours.
Keep all pigment in a dark area with bottles tightly sealed.
Blue pigment heals the darkest skin. Sometimes it looks as if it has disappeared. It is the lightest colour in tattooing.
Pigment viscosity should be on the thick side. Thin pigment will not have a proper saturation level and may take repeated applications. Once pigment is placed into the dermis the wetting agents evaporate and the oxide particles revert back to their natural state (dry). Pigment + Skin Tones = Final Result.
When inserting pigment, a certain sequence must be followed. Pigment should be applied from the darkest colour to the lightest colour. The proper sequence should be - Black, dark purple, blue, green light purple, brown, red, orange, beige and white. Never reuse or save used pigment, it may contain bacteria.
Each application of colour builds colour volume in the skin.
Always shake bottles well for proper dispersement of colour. When mixing colours always start with the lightest colour and gradually add the
darker colour to it. If you start mixing with the darker colour first you will waste pigment and probably not achieve the colour you desire. Do not look at he pigment through the bottles. The plastic may absorb the base colour (especially yellow) and not give you an accurate colour tone. Exercise caution if you add blue or black to your colour pigment formula. Blue can heal very dark in the skin. Almost all black pigment will heal with a bluish cast within 3 – 12 months. Caution! People of colour tend to have more melanin in their skin and tend to hyper pigment after any procedure application. You can mix pigments from the same manufacturer. However, you should not mix pigment from different manufacturers, you don’t know if the ingredients are compatible.
EACH APPLICATION OF COLOUR BUILDS COLOUR VOLUME IN THE SKIN…
Colour Terminology Each of us has a different perception of what a single colour looks like…
SKIN UNDERTONES - QUICK TIPS TO HELP YOU DECIDE COOL OR WARM?
SKIN TONES COLOUR TERMINOLOGY In permanent cosmetics, most technicians mainly use tertiary colours. Colours are components of white light, colour does not exist. Clients’ skin tones are not white like a sheet of paper. Their skin tones are made up of colours that can be cross-referenced on your colour wheel.
How We Perceive Colour Each of us has a different perception of what a single colour looks like. Rods: are located on the sides of the retina and perceive black, white and depth. This is your peripheral vision. Cones: are cells located in the centre of the retina and perceive colour. Aggressive Colours: Warm colours - Reds, oranges and yellows. Think of fire or the sun.
Peaches ‘n Cream – Yelloworange, orange and red-orange. This type of complexion is never uniform in colour. Multicoloured skin tones such as peach will have red or hot spots. Add yellow to cool these areas. Transparent – Redviolet, violet and blueviolet. This skin is also multicoloured in tones. Skin may be thinner, lip and eye area are often redviolet or blueviolet. Skin may be freckled with yelloworange or red.
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Rosy – Rose, red or pink. Skin may be ruddy and spotty. Olive – Yellow-green, green, bluegreen, also multicoloured. Translucent - Blue, extreme white or black.
To determine your skins predominate undertone, look at the back of your wrist. Skin with predominantly yellow undertones will appear more beige, slightly yellow to olive. A bluish complexion may have veins close to the surface and appear slightly pink o r r u d d y. P e o p l e w i t h b l u e undertones tend to have whiter coloured teeth and eyes. People with yellow undertones tend to have creamier coloured teeth and eyes. Always ask your client if they bleach their teeth. Winters and Summers which are the cool seasons have a blue or greyish undertone. Autumns and Springs which are the warm seasons have gold or peach undertones.
CLIENTS SKIN TONES ARE NOT WHITE LIKE A SHEET
Sallow – Yellow, warm and cool, may appear yellow-orange and yellow-green.
Skin Undertones - Quick Tips to Help You Decide: Cool? or Warm?
Receding Colours: Cool colours Greens, Blues and Violets. Think of the ocean, sky or grass.
Cool & Warm Undertones The Seasonal Palettes for Colours
Ta n n i n g : Cool undertones will tan to a reddish bronze and warm undertones will tan to a golden bronze. Jewellery: Cool undertones usually prefer white metals such as silver, platinum and white gold. Warm undertones usually prefer gold tone metals such as gold, brass, copper, wooden jewellery and tortoise shell. Hair: White hair on a Winter (cool undertone) will be a beautiful salt and pepper or silver grey, on a Summer (cool undertone) it will be a golden grey or oyster white, on a Spring (warm undertone) it will be a dove grey or creamy white. by Donna Martin
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THE CHARACTER OF COLOUR VS WHITE
Colour Mixing Blue heals darker in the skin. It is a very dense colour, the heaviest colour in tattooing. Yellow heals much lighter in the skin, giving the illusion of raised or scarred skin. This is because it is opaque or solid in nature, where all the other colours are transparent in nature.
SEE THE LIGHT: WORKING INSIDE SKIN Adjusting tattooed pigments to “shine through the skin” and to reflect the intended colour and tone is difficult and a multiple step process. If the colour you select is not a good tonal match with the skin, it may draw increased attention to the area you are trying to normalise. One of the first problems encountered by the permanent makeup technician is improper lighting in the studio. Working with natural light is best. If a good natural light is not available, shop around and spend the money for a true white light. However, as good as artificial light is, it will never replace natural lighting. Do you work under a bank of fluorescent lights? Do you know what happens to colour under this type of lighting?Fluorescent lights contain no red tones, so when reflected on the skin, they cause blues, violets and taupe (cool) browns to appear darker and almost black, due to the fact they pick up and enhance blue tones.This is why some women complain that their eyebrows look purple at the office, or that the lip line looks like blackberry sauce in their lips.Beware
of women who want a brown or violet cast to their lip lines. You run a better than average chance of producing an optic effect similar to a charcoal pencil around the mouth. How do you prevent this from happening? Learn to say NO to certain colours on certain skins. For example, educate clients with translucent (blue) skin that the application of a mauve colour into their lips could produce an undesired effect based on the fact that unlike conventional makeup, permanent makeup literally incorporates skin tones into the final tattooed product.
SKIN TONE + PIGMENT = FINAL TATTOOED PRODUCT
BASIC COLOUR INFORMATION The major difference between cosmetic makeup, which can help disguise flaws in the skin, and cosmetic tattooing, is the fact that tattooing pigment lies under the skin, not on top of the skin. This means that the final colour of the tattooed area is affected by the layers of epidermis which grow over the top of the pigment. If you are re pigmenting a white scar, for example, you must add a colour which is several times darker than the final colour will be. Healing time for purposes of checking the accuracy of the colour used is approximately 8 weeks. Re pigmentation of skin tone takes a minimum of three sessions, and many times can take up to a year in order to create the subtle colour shifts present in natural skin tones. Colouring sessions are generally scheduled one month apart.
During on-going treatment in a tattooing studio, care should be taken by the dermatologist when prescribing topicals, such as Retin “A’ or Tetracycaline, performing light peels, or doing any other procedures or prescription which could effect the ability of the skin to “drop the pigment” through the epidermis in the healing process.
HAVE YOU EVER SEEN THIS? A pair of ash-blond eyebrows suddenly takes on a mauve cast? Or g o l d e n b ro w n b ro w s b e c o m e orange? Dark brown eyeliner which turns red? This is because with the exception of the three primary colours (red, yellow and blue) all other pigments are a compilation of many tones and hues, and all have an inherent undertone.
WHAT CAUSES THIS? It is usually a photo-sensitive reaction. A trauma to the skin through sunburn, or even consistent exposure to the sun, can break down the stability of the yellow, to disappear virtually. When undertones begin to show, the client should review her care of the tattooing with her technician, and then reapply the colour.
THE IMPORTANCE OF SKIN TONES? Our clients are not blank sheets of white paper on which we place pigment. Skin has its own colour (skin tone), and these skin tones can be identified and named on a colour wheel.
Major Skin Tone Groups Sallow: Yellow, warm and cool. Peaches & Cream: Yellow-orange, Orange, Red-Orange. Variegated skin tone as peach has red spots. Peaches and Cream complexions are never uniformed. Rosy: Rose, shell pink, and spotty or ruddy. This complexion is decidedly red. Look at the ears. Translucent: blue, extreme white or extreme black, no medium value range - element of density to this complexion. Transparent: RedViolet, Violet, Blue Violet. Again a variegated skin tone. Skin is often thin,eye and lips area are often redviolet or blue-violet. Sometimes freckled with Yellow-orange or red. Olive: Yellow-green, green, bluegreen. Also variegated complexion. Can be masked by red. Use red to neutralise and green to enhance. Pale olive complexions (yellow-green) are the most misunderstood and difficult complexions to work with. Each skin tone classification is also defined by value and saturation. Dark skin is not always olive or translucent and light skin is not always transparent or sallow. Skin Tones, unlike colours, can change through sun exposure, age or illness. When a client comes in and complains that her tattooed eyebrows suddenly appear to orange, too dark or to violet, find out if she got a tan , changed jobs began working under fluorescent lights, or is taking medications. All of these elements affect the skin tone relative to her cosmetic tattoo application.
PIGMENTS & THE SKIN ENHANCERS & NEUTRALISERS Much of permanent makeup is made up of tertiary colours, like khaki, taupe, and fawn. We create these “muddy” tones through combination of multiple colours, which include
complementary colours. A colour will destroy itself with the introduction of its complementary partner and thus create grays and neutrals. The best browns are created by combinations of yellow and violet, green and red, and orange and blue. By understanding the following terminology, we can begin to see how different elements of colour work when tattooed into the skin. Neutralisers: describes colours which when used in combination with their complement, neutralise an existing colour. For example, green tones can ‘neutraliser can also be used to dull the brightness or intensity of a colour.’ Enhances: describes colours which enhance or “bring out” an existing colour, such as a colour which would bring out blue of an eye. Enhancers can also be used to make a pigment appear richer and more vibrant.
TRANSPARENT & OPAQUE COLOURS Certain colours are prized for their transparency in permanent makeup, while others are valued for their ability to mask or obscure problems. When combinations of transparencies and opaque colours are combined we achieve semi-transparent or semiopaque colours. Light Reds, Cadmium Reds and Cerulean Blues are Opaque; C a d m i u m Ye l l o w s a r e s e m i transparent; and Violets are transparent. Other transparent tones are Cobalt Blue (the most true blue), Burnt Sienna (fiery rich red to orange brown) and Blue greens. Once the transparent nature of these colours is clearly understood, it becomes clear how a too-orange brow can be tinted with a neautralized blue because it is transparent and will
not totally obscure the pigment already existing in the skin.
STAINING COLOURS Certain Pigments possess phenomenal strength and density and must be used with caution. In my experience the colour blue (or more specifically a blue-violet-green combination) causes the most trouble. This is because blue is a “staining” colour. It stains more deeply and darkly in the skin when tattooed in and it stains other pigments into which it is added. However, there are certainly other problem colours on our arsenal of pigments.
DARKENING COLOURS TINTING WITH BLACK The addition of black to a hue gives widely varying results: • Violet is darken with little damage • Blue loses its brilliance • Green takes to black rather well • Yellow suffers badly and is damaged out of recognition by black. It becomes a series of dirty greens. Although there is no such thing as an incorrect colour mix, the easiest and best way to darken colour without upsetting the balance and harmony of all colours is with the addition of its colour complement. “And Don’t It Make Your Brown Eyes Blue” The colour brown is an often misunderstood and a misused colour. This is because brown is a tertiary colour. Tertiary colours composed of innumerable combinations of the primary colours. This is what makes selecting the proper tone of brown such a challenge. Having a “good eye for colour” is not enough.
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There are two ways to view colour. Factual Fact, this is what colour actually is and Actual Fact, this describes how our eye perceive colour. The colour brown is one of the few colours that seems to change in actual fact more than the others. Practical reasons for this have more t o d o w i t h e x p o s u re t o d r u g theory,sunlight, and ware and tear of the skin than instability in the essence of the colour. You must learn how to select and mix browns so that they heal into other colours supplied in the skintones to create a third and final colour. Once you understand the true nature of browns you can then instruct your clients as to their colour choices in an articulate and intelligent manner. There is some basic information which you must understand about each brown you select. Colour Value: lightness and darkness of a hue created by adding black or white. Relative Temperature of Colour: amount of warmth and coolness each hue possesses. Neutralisers: When used in combination with each other, neutralise an existing colour. For example Green tones neutralise a red colour. Primary Colours: The building blocks of all colours, these are red, blue and yellow. Blue: the most depth and density of the primaries, adds coolness. Yellow: The lightest and brightest. Yellow is the only primary colour with both warm and cool tendencies. Just looking at your pigment in the bottle is no help. Neither can you assume that a bottle labelled “warm Red” is in fat warm. One way to figure out the exact combination in your arsenal of browns is to put a drop of each brown at the top of a white sheet of paper, and slowly thin them down with water as you pull them down the page. At the bottom you will see mauves, yellows, oranges, and even greens and blues. This is vital information to have.
If you select a mauve-based brown for a women with a translucent (blue) complexion, there is a good chance her eyebrows will heal purple. Your eyebrow colour will heal into the existing skin tonecolour to create a third colour. Remember this basic rule: Makeup is applied onto the skin and covers the skin tone. Permanent makeup is applied under the skin, the final colour is a combination of the skin tone and the colour selected.Skin tones can change through sum exposure, age or illness. When a client comes in and complains that her tattooed eyebrows suddenly appear too orange, too dark or too violet, find out if she got a tan, lost her tan, changes jobs and began working under fluorescent lights or is taking medications. All of these elements affect the skin tone relative to her permanent makeup application. Eye brow fade is largely due to sun exposure. Daily exposure on the way to and from the store or work is enough to damage this exposed area of skin. And while there is nothing that will 100% protect an eyebrow from the abuse of the sun, sunscreens used everyday are a big help. Why does sun exposure destroy colour? Because it causes you skin cells to die. Yes a beautiful tan is the result of dead and dying skin cells. The more your body cells die and disperse. Tattooed eyebrows and skin tones are created by injecting colour into the cells of your body. As the body cells die and disperse, the colours die and disperse with them, resulting in the fading of your tattoo. Learn to recognise the key colour elements in each of your browns. Examine your client’s skin to select its underlying colour. Recognise that the final healed colour is a combination of skin tone and pigment. Instruct clients to protect their skin every day from the sun –damaging their skin damages their permanent colour. Encourage your clients to return to get their colours adjusted if they find
their permanent work changing or deteriorating.
BEAUTY & THE BEAST Eyeliners, eyebrows, lip liners and cheek blush. Cosmetic tattooing is always fun and exciting! Of all the re pigmentation procedures done, putting the finishing touches on breast reconstruction of the skin is the most rewarding. Losing one or both of your breasts to cancer can be devastating. Chemotherapy and reconstructive surgery are indeed a Godsend, but surgeons only restore shape. They cannot restore the natural tones and colour to the skin and their work leaves behind the inevitable scar. Tattooing restores the natural looking breast by giving them areola colour, and blending in the scars. Some doctors don’t understand how psychologically damaging it can be to look “unfinished”. Physicians who perform reconstruction use their skills primarily to save lives and secondly to rebuild a shape which allows the patient to feel normal in their clothing. This is important, but many times physicians are unaware of the one further step they can advise their patient to take. Cosmetic tattooing.
TRANSPARENT COLOURS: WASH OR WHITE Tints can be produced by either adding white into the pigment mixture or by allowing white to “shine through’ a wash of colour (for example, a white scar). In both cases, the brilliance of a colour is diminished by the addition of white. Many times you can also diminish brilliance by simply using a wash of colour. This also does not risk cooling down a red to a creamy pink, thus changing the essential element you may want for the cheek blush you are attempting. Using a transparency gives you the cleanest method of colour lightening.
REMEMBER: The Essence of colours is changed by adding white. When Is White Right? Avoid white in skin re pigmentation and camouflage work because it makes light skin tone colours appear opaque. White reflects light and ‘shines up like a tiny pearl’ when applied in the skin. It is impossible to create natural transparent skin tones in cosmetic tattooing when the colour white is the base colour. When using white to lighten a red for a cheek blush or lip colour, the nature of the colour can change radically from a warm to a cool. We have all experienced a too cool (blue/purple) effect in lips, so this is worth noting. The addition of white diminishes the “brilliance” of most colours. Using a transparency gives you the cleanest method of colour lightening. If you want a light tan for a skin pigmentation, consider using a 75% liquid 25% pigment combination, instead of loading browns with white. If this technique doesn’t produce enough coverage, use yellow in place of white. It is almost impossible to use too much yellow in a skin re pigmentation, but a tiny drop of white can go a long way to getting you into trouble. IMPORTANT: The essence of colours is changed by adding white. Warmer colour, in particular, are cooled by adding white. Once white is added to a pigment, it makes the area more difficult to correct through laser or by over-pigmenting with a darker colour.
THE CHARACTER OF COLOUR VS WHITE Contrary to popular assumption, most tattoo colours are transparent. When applied over existing colour, they do not block from view the previous pigments tattooed into the skin but instead blend with existing colours to create new tones. Transparent colours build up in the skin when more colour is applied. This is known as “volume” in colour theory.
VOLUME COLOURS Most colours are volume colours. To understand this, compare the colour coffee when viewed in a cup vs, a teaspoon. In reality, the colour of the coffee is the same, but the fact is that your eye perceives then as totally different colours. The coffee in the teaspoon might appear light brown, while the coffee in the cup appears almost black. The actual volume of a colour changes how our eyes perceive it.
WHITE IS NOT A VOLUME COLOUR White is a trick of nature. Volume means nothing. Whether you look at milk in a teaspoon or a glass, it appears the same. The tiniest drop of white has the same intensity and density as a large amount. This is what makes it a dangerous colour to use in mixing skin tones. WATCH OUT! Once white has been tattooed into the skin it is almost impossible to neutralise it with another colour placed over the top, and even worse it turns black when exposed to a laser. When attempting a cheek blush, thin the pigment down 75% so as to put less volume of pigment in the skin. It will appear lighter than its original colour.
BEIGING OUT – ARE THE RISKS WORTH IT? There is a great deal of talk about the “secret weapon” for correcting quirks of nature such as under eye circles. The term for this secret weapon is “Beiging out”. It means the application of opaque skin tone pigment over a darker area to cover previous pigment colour or discoloured skin. In some circumstance, application of a flesh tone or lighter tone can soften a too dark eyeliner, and if performed accurately and sparsely, may even block out unwanted eyebrow hair. What has been far less successful is
the application of skin tones into areas such as dark under-eye circles. While in theory it sounds like a good idea, there are many reasons to avoid practice.Natural skin tones and the epidermis are transparent in nature, while the application of any beige tone which includes the colour white is opaque in nature. The word opaque means the light cannot pass through it. This results in what appears to be a white scar or pimple that shines up from under the skin.Natural skin tones change colour constantly throughout the day because of vascular activity, medication, the sun, or even the lights one works under. Beige tones tattooed into the face never change. Even if the pigment matched the skin perfectly under the eyes on the day the client was in, when she becomes flushed, tanned, or her blood sugar gets low, the tattooed areas will b e c o m e n o t i c e a b l e a n d m o re unsightly than the problem you attempted to correct. Application of beige tones with the dot method or pointillist method does not help. This technique tends to look like tiny milia under the skin. Once healed under the skin, it is difficult to neutralise or adjust with another colour placed over the top. Attempts to remove the white or beige pigment with a laser are difficult since the application of a laser turns white pigments black in the skin. If you have a problem with misplaced pigment, do not attempt to correct areas which lie outside the pigment line, or which overlap onto natural skin tones. The correction will be quite noticeable. It will look as if there is a giant blob of makeup or other solid tone under the skin. For the same reason, avoid any beige or skin tone corrections over under eye circles or other vascular areas which are subject to change on a daily basis. We as permanent cosmetic technicians, cannot cure every problem. It is important to understand which problems are correctable by permanent cosmetic and which should be referred to a different skin care specialists…
ASSOCIATION OF COSMETIC TATTOO PH: 0488 111 525 E: TATTOOASSOC@GMAIL.COM
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TELEPHONE PAULA REALI (NSW) 0413 007 358 DONNA MOODY-MARTIN (NSW) 0419 433 081