STUDENT WORKBOOK
STUDIO MASAMI FUNDAMENTALS: OMBRÉ BROWS
STUDENT WORKBOOK
1451 S. KING ST. HONOLULU HI 96814 (808)202-2259
Table of Contents PART 1 GETTING STARTED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 1 Orientation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Powdered Ombre vs Solid Brows . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 Career Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Managing your Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Define Your “Why” activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 List Your Long Term and Short Term Goals Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Professionalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 PART 2 SCIENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3 Infection Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Bacteria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Infection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Bloodborne Diseases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Decontamination and Prevention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Discard, Disinfect, or Wrap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 4 Skin Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Layers of the Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Skin Reactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Inflammations of the Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Skin Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 5 Color Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Choosing the Right Color for Your Client . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Mixing Your Own Pigments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 PART 3 PREPERATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 6 Treatment Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Tattoo Shop Permit Qualifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Furniture and Equipment Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Table of Contents PART 4 PROCEDURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 7 Client Consultation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 8 Brow Shaping and Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Face Shapes and Corrective Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Thread Shaping Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 Brow Muscles and Asymmetrical Brow Bones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 9 Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Skin Stretching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 Hand Movements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Lifting and Landing Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 10 Powdered Ombre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 Machine Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Outline Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Shading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 Shading Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Patterns and Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 Patterns and Sections Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61 Ombre Fronts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 Advanced Shading Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Full Technique Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 PART 4 POST PROCEDURE 11 Aftercare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Client Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Healing Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 Touch Up Appointments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
PART ONE
ORIENTATION / 1
Permanent Makeup has been around for years, but has only recently started to boom in popularity due to improved techniques and updated styles. Of course, with any booming industry, comes a booming amount of providers eager to offer the service. Don’t stress or concern yourself with who is offering what, or that there won’t be enough clients to work on because the industry is “flooded”, etc. Every artist has their unique style, just concentrate on being the best version of yourself, provide quality work, pay attention to details, and always continue your education, this is what will set you apart from your competition.
POWDERED OMBRE VS SOLID BROWS In this training manual, you will be learning how to achieve the powdered/ pixelated ombré brow. The biggest concern of clients, is that they will leave the appointment with the outdated solid brow. This is where the ombre technique comes in and ultimately sets you apart from your competitors. Ensure your clients that you do not offer the solid brow style, where it is one solid shade throughout the brow. Your technique is Ombré, where the front of the brow is kept lighter than the mid/ end of the brow creating a natural, dimensional, semi-permanent tattoo. More information on this in chapter 10. DRAW A PAIR OF EYEBROWS Activity
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CHAPTER 2: CAREER MANAGEMENT
CHAPTER 2 / CAREER MANAGEMENT Career management and proper life skills is what will turn a PMU hobby into a career. If your only concern is to gain experience in the technical skills, it will be impossible to grow and sustain a successful career. As a career in working with live people, it is imperative to uphold yourself to a certain standard, and to be aware of how you handle and treat others around you.
MANAGING YOUR CAREER Unfortunately, PMU is a skill where you will learn the most in the treatment room while working on your clients, but no expert became an expert overnight. In the beginning, you will face new challenges with every client, you will feel discouraged, and will lose the motivation to work on new clients. It is important to overcome these challenges, and remember why you started in the first place. MANAGEMENT GUIDELINES • Define your WHY. Your why is the reason you got started in this industry in the first place. For some, their why might be “to be my own boss, so that I can make my own hours to spend more time with my family.” For others it might be “to grow and advance at my own pace and to be compensated for it, so that I can provide for my family.” Write it down somewhere, and keep it safe. Bring it out any time you feel discouraged, unmotivated, or after getting off the phone with an unhappy client. It’ll remind you that you came to far to give up now, and that you want this more than anyone else. *Go to a quiet place where you can spend at least 30 minutes gathering your thoughts with no interruptions or distractions, and fill out the activity sheet on page 7. • Learn from your mistakes. There is little to no room for error with PMU, but it is bound to happen. Of course, countless hours of practicing, and proper training will limit the chances but it is unavoidable. It is okay to spend a couple of minutes criticizing yourself and wishing you could’ve done better but that’s it, don’t spend any more time dwelling on negative thoughts. Instead, immediately write down what you did wrong, why the results were not up to standard, and what you will remember to do for the next procedure. Review your mistakes before each client, to ensure that it won’t happen again. Keep reviewing this list until it becomes embedded into your technique. • Remain humble. Never assume that you have mastered and learned everything that there is to know, or that you are too good. There will always be someone better than you, and there will always be something new to learn. Once that mindset sets in, it’ll be hard to get rid of, and you’ll start to notice quality depreciation. “Work like there is someone working twenty-four hours a day to take it all away from you.” -Mark Cuban
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CHAPTER 2: CAREER MANAGEMENT
• Avoid burnout. It is important to practice self-care, and to avoid overworking yourself. This career may not be labor intensive but it is mentally, and emotionally draining. Make sure you have an outlet when you feel overworked or exhausted, this can be reading a book, exercising, yoga, etc. But whatever it is, make time each week to do it so that you can reset and prepare to take on the new week. I wouldn’t want a burnt out, exhausted technician tattooing my face, would you? • Don’t be lazy. When making $300 - $550 per procedure, it’s easy to get greedy and take 5 clients a day. This will limit the time allowed for each client and will affect your quality of work. Always provide each client with your best work, and allow enough time to do so. Do not cut corners. Maybe you seen something very small that needs to be adjusted while checking out your client, take them back to the treatment bed and fix it, instead of sending them on their way because your next client is already there. Always provide your best work for each client, this is what will ensure a consistent flow of new client procedures. • Goal Setting. Setting goals allows you to monitor your progress, and map out your course of action of how you’ll get there. It is very beneficial to have a plan and to re-evaluate your progress from time to time to make sure you’re staying on track and gradually getting closer to your end goal. Short term goals are those you’d like to accomplish within one year, while long term goals are measured in sections of time such as 2 years, 5 years, or 10 years. Usually, you’ll start with your long term goals, and then your short term goals will be the accomplishments that will get you there. Example: Short term goals • 1 year goal: build a clientele of X amount per week. • 2 year goal: become proficient and master brow tattooing. • 3 year goal: take a restorative tattooing training course. • 4 year goal: become proficient and master restorative tattooing. • 5 year goal: find prime studio location and complete renovations by x date. Long term goal • 6 year goal: Open a medical setting studio to offer restorative tattooing. Complete activity sheet on page 7 • Time Management Proper time management is vital for any successful service provider. It is important to have time allowed for each appointment planned out and completed within the given time frame. When there is no plan, the appointment is at risk of running into the next appointment. This will cause you to lose focus, endure extra stress, and will possibly affect your quality of work. Break down the appointment into sections and acknowledge the time frame it takes you to complete each section, and be realistic. In the beginning, you may find yourself taking two hours or even longer to properly shape the client, followed by another two hours for the procedure. But instead of blocking out four hours, allow yourself at least five hours as insurance for picky indecisive clients. Once you become efficient and consistently complete each appointment within five hours, you can start lowering the appointment duration to four hours. But now, you need to be aware of how much time you have for each section, and completing them within that time.
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CHAPTER 2: CAREER MANAGEMENT
DEFINE YOUR “WHY” Activity
LIST YOUR LONG TERM GOALS, AND SHORT TERM GOALS TO GET YOU THERE. Activity
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PROFESSIONALISM
Your appearance, communication, and attitude will create a initial impression in the minds of your clients prior to the procedure. This will either ease their nerves or create anxiety and stress, this energy will transfer to you throughout the procedure. Word of mouth is an important gateway to new clients, having an unprofessional image may affect the way your clients speak of you or if they’ll speak of you at all to their friends and family. Your image • Professional dress code (proper attire, nothing provocative) • Personal hygiene (nail care, daily bathing, underarm deodorant, etc) • Hair tied back (for sanitation purposes) • Proper posture (never slouching) • Communication (talk with confidence, and in a calm tone)
COMMUNICATION Communication is imperative for a successful PMU procedure, you need to be able to successfully exchange information so that both parties fully understand. You communicate using words, body language, facial expression, and your tone of voice. When working with people, having proper communication skills is key. How does communication play a role for every procedure? • Consultation: Prior to booking an appointment, most clients will want to have a consultation first to answer some of their questions regarding the procedure. If you can’t communicate the answers properly, or with confidence, most likely they will go elsewhere. Being educated is obviously just as important, but being able to share that education with your clients is another skill in itself. • Brow shaping and mapping: Communication is imperative for this process. Every person has a different idea of what the perfect brow shape is to them, some might like high arches, while others might like the straighter style with no arches, and since we are not able to read the minds of our clients, we need to be able to understand their ideal brow shape through communication. Otherwise, you’ll find yourself mapping your client’s brows for hours. • Procedure: Then, you’ll have some nervous clients who are completely aware, paying attention to every detail throughout the procedure while asking questions. This is where you’ll need to be able to multi-task and hold a conversation while concentrating on the outcome of the procedure. You can determine which clients will need to be “babied” throughout the procedure by the shaping process and their body language on the bed, for these clients it is important to communicate with them and ease them through the process. • Aftercare: Following proper aftercare instructions is vital for optimal results. You’ll need to educate your client so that they fully understand the healing process. If not, they’ll come back with less than ideal results and blame you for not doing the procedure correctly. • Post procedure: It is very common for clients to stress out and panic during the healing process or immediately after once all the scabs have peeled off. They will call you constantly asking if what they are experiencing is normal, and why they aren’t healing properly. If you are not able to calm them down or reassure them that what they are experiencing is normal, this could lead to a negative review or even worse, them interfering with the healing process. Communication goals for each procedure should be that the client does not leave the appointment with any confusion of their new brows. Confusion will lead to insecurity, which then leads to panic, resulting in a negative experience. By properly educating your client, you’ll leave no room for confusion.
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CHAPTER 3: INFECTION CONTROL
PART TWO
CHAPTER 3: INFECTION CONTROL
Infection Control is the methods used to eliminate or reduce the transmission of infectious organisms. It is required by law, and is your duty and responsibility as a tattoo artist to practice and have a thorough understanding of infection control to ensure the safety of both you and your clients, as you are working with blood and blood borne diseases. Infectious disease: is caused by harmful organisms that enter the body. An infectious disease may or may not spread from one person to another, understanding the difference of each potentially harmful organisms present during every procedure is necessary to know how to prevent the spread of these harmful organisms.
BACTERIA Bacteria are one-celled micro-organisms that have both plant and animal characteristics. A micro-organism is any organism of microscopic or submicroscopic size. Some are non-pathogenic (harmless) and some are pathogenic (harmful). They can exist almost anywhere; on the skin, in water, in the air, body secretions, on clothing, under your nails, etc.. The life cycle of bacteria consists of two distinct phases: the active stage and the inactive (spore-forming) stage. The active stage is where bacteria grow and reproduce. Once they reach their largest size, they will divide into two new cells called daughter cells every 20 - 60 minutes, depending on the bacteria. Bacteria multiply best in warm, dark, damp, or dirty places. When conditions become unfavorable, bacteria will either die or become inactive. Inactive or spore-forming stage: Certain bacteria, coat themselves with wax-like outer shells, these bacteria are able to withstand long periods of unsuitable conditions. In this stage, spores can be blown about and are not harmed by disinfectants, heat, or cold. Once favorable conditions are restored, the spores change into the active form and begin to grow and reproduce.
INFECTION Since you are breaking skin, the area will be at risk of infection. There can be no bacterial infection without the presence of pathogenic bacteria. Being able to differentiate between erythema and inflammation from the procedure or infection is extremely important. Inflammation is a condition which the body reacts to injury, irritation or infection. Characterized by redness, heat, pain, and swelling. *It is normal (especially for sensitive clients) to have inflammation characteristics immediately following the procedure, but this should subside within 24 hours. Pus is a fluid caused by infection, and is a tell-tale sign that an infection is present. Most times, infection from the procedure will result in a localized infection, this means it is confined to a particular part of the body. To list a few, here are some ways that you or your client could accidentally create or spread an infection to the brow area:
Technician •
Touching the brows after the procedure with your bare hands
•
Applying a contaminated product to the area before, during, or following the procedure
Client • • • • • • •
Touching the brows after the procedure with their bare hands Not keeping the area clean Applying contaminated products to the area (makeup, aftercare product, etc) Submerging the area in dirty contaminated water (beach, pools, bathtubs) Applying the aftercare product before cleaning the area, this will lock in bacteria beneath the ointment Allowing the brows to come in contact with any dirty contaminated surfaces (towels, pillow cases, etc) Working out and excessive sweating
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CHAPTER 3: INFECTION CONTROL
BLOODBORNE DISEASES Bloodborne Pathogens are disease-causing microorganisms that are carried in the body by blood or body fluids, such as hepatitis and HIV. Viruses A virus is a parasitic submicroscopic particle that infects and resides in the cells of a biological organism. A virus is capable of replication only through taking over the host cell’s reproductive function. There are many types of viruses that infect humans, but the main ones to familiarize yourself with are HIV, and Hepatitis. The difference between viruses and bacteria is that a virus can live and reproduce only by taking over other cells and becoming part of them, while bacteria can live and reproduce on their own. Also, bacterial infections can usually be treated with antibiotics, while viruses are not affected by antibiotics. • Hepatitis Hepatitis is a blood-borne virus that causes disease and can damage the liver. There are 5 types of Hepatitis Viruses, but you will only need to concern yourself with Hepatitis A, B, and C, as these are transmittable through blood and bodily fluids. Hepatitis B is the most difficult to kill on a surface, be sure that the label of the disinfectant used is effective against Hepatitis B. Hepatitis can live on a surface outside of the body for long periods of time, ranging from days to months. It is vital that any equipment or surface that comes into contact with blood or bodily fluids from a client, is thoroughly cleaned and disinfected. HIV/ AIDS Human immunodeficiency virus (HIV) is the virus that causes AIDS, a disease that breaks down the body’s immune system. HIV is transmitted from person to person through blood and bodily fluids, and is able to survive on the surface for 5 - 6 days.
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CHAPTER 3: INFECTION CONTROL
DECONTAMINATION AND PREVENTION Many people are unaware that they are infected with a disease or virus. Many clients who are infected with Hepatitis B virus or other blood borne pathogens are asymptomatic, meaning that they show no signs of infection. To protect yourself and your clients, you must assume that all blood and bodily fluids are potential sources of infection. It is important to use caution whenever exposure to blood borne pathogens are likely, i.e. every permanent makeup procedure. Decontamination: the removal of blood or other potentially infectious materials on an item’s surface and the removal of visible debris or residue (dust, hair, and skin). Familiarize yourself with the following Decontamination methods, as it is not a one method fits all. *As you are working with blood and bodily fluids, you will need to use a combination of both decontamination methods 1 and 2. •
Decontamination Method 1: Cleaning and then disinfect with an appropriate EPA-registered disinfectant.
•
Decontamination Method 2: Cleaning and then sterilizing. This results in the destruction of all microbes through heat and pressure in an autoclave.
Decontamination Method 1 Step 1: Cleaning is the mechanical process (scrubbing) using soap and water or detergent and water to remove all visible dirt, debris, and many disease-causing germs from tools, implements, and equipment. Nail brushes are a useful tool when cleaning implements, as this allows you to scrub any grooves or hinges. A surface is properly cleaned when the number of contaminants on the surface is greatly reduced, this reduces the risk of infection. The surface must be properly cleaned before it can be properly disinfected. Using a disinfectant without cleaning first is like using mouthwash without brushing your teeth first, it does not work. Step 2: Disinfecting: Disinfection is the process that eliminates most, but not all, microorganisms on nonliving surfaces. Disinfectants are products that destroy all bacteria, fungi, and viruses on surfaces. *But does not destroy spores. Always wear gloves when using disinfectants, never use on human skin, nails, or hair. There are many disinfectants available on the market, be sure that your chosen disinfectant is Bactericidal (destroys bacteria), Virucidal (destroys viruses), and Fungicidal (destroys fungi). Each disinfectant label should have the mixing ratios and contact time (the amount of time the surface must stay moist with disinfectant in order for the disinfectant to be effective) for proper efficacy (the ability to produce an effect). If the label does not have the word concentrate on it, the product is already mixed. Decontamination Method 2 Step 1: Cleaning Step 2: Sterilizing is the process that completely destroys all microbial life, including spores. The most effective methods of sterilization use high-pressure steam equipment called autoclaves. Simple steam will not work, to be effective against disease-causing pathogens, the steam must be pressurized in an autoclave so that the steam penetrates the spore coats of the spore-forming bacteria. **If any tools, supplies, or equipment come in contact with blood, they must be properly sterilized or discarded. Cross Contamination Cross contamination occurs when you, or your client touches a contaminated surface i.e. opened skin, and then touches another object, product, or equipment with the same hand or glove. For example, if you pick up your pigment bottle mid-procedure with a contaminated glove, the pigment bottle is now contaminated. If you follow the same process and pick up the same pigment bottle during the next clients procedure, that client will be at risk of contracting any blood borne diseases that the initial client may have. **even if the blood is not physically visible** Aseptic Procedures is the process of properly handling sterilized and disinfected equipment and supplies to reduce contamination.
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CHAPTER 3: INFECTION CONTROL
DISCARD, DISINFECT, OR WRAP? For each client procedure, you will need to understand how to prevent cross-contamination to your supplies and equipment, and also which supplies will need to be discarded after the service. There are two types of items used for each treatment: • Multiuse (reusable) are items that can be cleaned, sterilized, and used on more than one person even if the item is accidentally exposed to blood or bodily fluids. Examples include tweezers, brow scissors, and calipers. • Single-use (disposable ) are items that cannot be properly cleaned, and must be discarded after each client. Examples include cotton rounds, paper towels, pigment cups, needles, and cartridges. Porous items that come in contact with blood or bodily fluids are single use. Porous means that the material of the item has pores or openings, and are absorbent. Blankets and towels for the treatment bed can be clean, sanitized, and used again, though any contact with blood or bodily fluids should be avoided. • Wrapping: There are some equipment that cannot be autoclaved. The treatment light, treatment bed, permanent makeup machine, electrical cords, to name a few. For this reason, equipment that cannot be properly sterilized after each use must be wrapped or covered with a barrier film/ plastic material to ensure that the equipment itself does not come into contact with blood or bodily fluids. During the decontamination process following each procedure, gloves must be used to carefully remove any barrier film, the gloves must then be discarded, and the equipment should be wiped down with appropriate disinfectant wipes for an added precaution. Personal Protective Equipment (PPE) Personal protective equipment is clothing that protects and isolates the technician from possible blood borne diseases or viruses. PPE is worn any time contact with blood, bodily fluids, secretions, excretions, mucous membranes, or non-intact skin is likely. Pathogenic bacteria, or viruses can enter the body through: • Broken, cut, scratched, or inflamed skin • Mouth • Nose • Eyes Since blood and bodily fluids have a tendency to flick during procedures, protect yourself by wearing PPE for every permanent makeup procedure. This includes a face mask to cover your mouth and nose, eyewear, and covering any open cuts or wounds. Disposable aprons and sleeves are a great added sanitary precaution as well.
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CHAPTER 4: SKIN ANATOMY
CHAPTER 4: SKIN ANATOMY Understanding skin anatomy and what happens in the skin after the pigment is placed is essential for any permanent makeup procedure. Knowing the proper depth is also very important, going too shallow will lead to poor retention and premature fading, and going too deep will cause excessive scar tissue and will reflect blue pigment tones.
LAYERS OF THE SKIN The skin is compromised of two main layers that you will need to familiarize yourself with, the Epidermis (upper layer) and the Dermis (lower layer).
Epidermis The epidermis is the outermost layer of the skin, and cannot retain pigment since the epidermal cells are prone to migration. As they move towards the surface, the pigment will naturally exfoliate with the outer layer of dead skin cells and will dissipate within about 2 - 3 months (this will vary with each individual client). The Epidermis is composed of five layers within itself: • Stratum Corneum: the top, outermost layer of the epidermis. It is very thin, waterproof, regenerates itself, and detoxifies the body. This layer is covered with “dead” protein cells, also referred to as dead skin. These cells are continuously shed from the skin and replaced by new cells going to the surface from the lower epidermis layers. This process and replacement is called cell turnover, the average adult cell turnover rate is 28 days depending on a person’s age, lifestyle, and health. The cell turnover rate slows down with age. • Stratum Lucidem: a thin, clear layer of dead skin cells. • Stratum Granulosum: where cells are being prepared for upper migration, the cells lose their organelles, nuclei, and die. • Stratum Spinosum: the largest layer within the epidermis. • Stratum Germinativum: also known as the basal cell layer. This layer is where upward cell migration starts.
Dermis The dermis is the support layer of connective tissues below the epidermis. It is about 25 times thicker than the epidermis and consists of two layers: the papillary layer (upper) and reticular layer (below). • Papillary Layer: also known as the epidermal /dermal junction, this layer connects the dermis to the epidermis. • Reticular Layer: this is the deeper and denser layer of the dermis. *implanting pigment in this layer will cause pigment migration. The goal for proper depth is the upper third of the dermis (the upper papillary layer). If the pigment is implanted deeper, the color will appear bluish/ greenish. It is also important to note that the thickness of the epidermis varies in different parts of the body and even alongside the same area. The skin around the tails of the eyebrows, close to the temples tend to be thinner than the skin in the forehead region and front of the brows.
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CHAPTER 4: SKIN ANATOMY
SKIN REACTIONS Whenever you implant pigment into the skin, the body will naturally try to fight off this foreign object, this will cause a reaction in the skin. How intense, will depend on the sensitivity of the client. • Edema: Swelling from a fluid imbalance in the cells or from a response to injury, infection, or medication. • Erythema: Redness caused by inflammation. • Contact Dermatitis: Inflammatory skin condition caused by an allergic reaction from contact with a substance or chemical. *if your client is allergic to the pigments or supplies used
INFLAMMATIONS OF THE SKIN There are some skin conditions and disorders that are not suitable for the permanent makeup procedure. Understanding how to identify them will save a lot of time and stress, as it may keep you from completing the service. • Eczema: An inflammatory, painful, and itchy disease of the skin. If the client has eczema around the brow area, the treatment should be avoided. The skin is already compromised and most likely will not heal properly. • Psoriasis: An itchy skin disease characterized by red patches covered with white-silver scales, caused by an over-proliferation of skin cells that replicate too fast. If the patches are irritated, bleeding will occur. For this reason, psoriasis is a contraindication to the pmu procedure. Since the skin will be aggravated during treatment, the client will likely bleed excessively, diluting and pushing the pigment out. • Seborrhea: Severe oiliness of the skin. Treatment on these clients is still possible, but it will make the procedure very difficult. It would be a good idea to bump up the color in shade, as these clients will experience extreme fading during the healing process. • Keloids: A thick scar resulting from excessive growth of fibrous tissue. Keloids are usually found in those that are genetically predisposed to them and may occur following an injury or surgery. **Do not take clients who are prone to keloid scarring. You will be causing injury to the skin, and the client will be at risk of developing keloids on their eyebrows.
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CHAPTER 4: SKIN ANATOMY
SKIN TYPES Client skin types are important to identify and consider with every procedure, each skin type will typically heal different. In order to achieve optimal results, the technique, color, or density will need to be adjusted per skin type. • Dry skin does not produce enough oil. If you can barely see the follicles or they are small, this indicates a dry skin type. The texture may also be slightly rough and tight. These clients retain pigment really well, and its important not to over saturate the brow as they will usually experience minimal to no fading. • Normal skin has a good oil-water balance, it can fluctuate and sometimes be a little drier or oilier. With smaller to medium sized follicles just on the edge of the T-zone by the nose, measuring outward from the center to the face. Follicles are not usually that visible towards the cheeks or the outside of the face. Normal skin clients are the most ideal for retention, and will require no adjustments to the procedure. • Combination skin can be both oily and dry, or both oily and normal at the same time. The T-zone is oiler, with the outer areas of the face normal or dry. The follicle size is more obvious and looks medium to larger outside the T-zone on the cheeks. These clients should be treated as an oily skin type, and are prone to fading and pigment loss during the healing process. • Oily skin produces excess amounts of oil, and the follicles are visibly larger over most of the face. This is the least ideal skin type for permanent makeup, and will usually require the most adjustments during the procedure. Since the client will be prone to pigment loss and fading, bumping up the color in shade and adding more density will help to achieve better retention.
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CHAPTER 5: COLOR THEORY
CHAPTER 5: COLOR THEORY PMU artists need to have a thorough understanding of color theory because you are permanently implanting colored pigments beneath the skin. Unfortunately, color theory is one of the most overlooked aspect of PMU. This is why there are so many procedures that eventually fade to funky colors like red, orange, blue, or purple. Even if your technique and blending is done properly, not choosing the right color for your client will bring down the quality of the procedure. First, here are a few definitions that you should familiarize yourself with. Primary colors: fundamental colors that cannot be obtained from a mixture. Primary colors are red, yellow, and blue. Secondary colors: colors made from mixing equal parts of two primary colors. Yellow mixed with blue makes green, red mixed with blue makes violet, and yellow mixed with red makes orange. Complementary colors: a primary and secondary color directly opposite of each other on the color wheel. When mixed, these colors cancel each other out. These are red and green, blue and orange, and yellow and purple.
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CHAPTER 5: COLOR THEORY
CHOOSING THE RIGHT COLOR FOR YOUR CLIENT To make the color brown, the color needs to have red, yellow, and blue. Ideally, each client should have a neutral brown shade for their brows. Each brow pigment has different amounts of each color, this will cause the pigment to have either a warm (red), cool (yellow), or black (blue) base. If the base of the color is too dominant, the brows will eventually fade to the base color (red, blue, purple, green, etc). It is important to color swatch each pigment color before using it on your client, this will show you the base color of the pigment. • Red base = soft warm brown • Yellow base= light brown • Blue base= dark brown In addition to the base color of the pigment, the skin undertone will also affect the pigment color. Undertones present beneath the skin are either warm (red), pale (yellow), or cool (blue). If you were to use a pigment color with a red base, on top of a client with a warm (red) undertone, the pigment will pull to a warm toned brown that will likely fade red over time. If your client has a warm undertone, using a dark brown with a yellow base will heal to a neutral shade since the clients undertone provides the red needed to make a neutral brown (red, yellow, blue). Examples using Permablend Pigments: Clients with RED undertone Forest brown (yellow x blue) + red undertone = neutral brown Clients with PALE (yellow) undertone Brunette (red x blue) + yellow = neutral brown African American Espresso (dark) (red x blue) + yellow = neutral brown
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CHAPTER 5: COLOR THEORY
MIXING YOUR OWN PIGMENTS Once you have a thorough understanding of undertones and base colors, you can start mixing your own pigment colors to cater to each individual client. The benefits to this is that you only need 5 different pigments, and won’t have to worry about not having the right premixed color for your client. The colors you’ll need are: Base colors • Red base brown/ Brunette • Yellow base brown/ Forest Brown • Blue (dark) brown/ Espresso Modifiers • Lightening modifier/ Tina’s gold • Darkening modifier/ Blackish Brown Modifiers are colors used to adjust the shade of the pigment. They should still have a mix of red, yellow, and blue. Start with 10 drops of the base color, and add 1 - 3 drops of the modifier (never pass 3 drops of the modifier). Examples: Blonde client with red undertone Forest Brown (10) + Tina’s gold (1 - 3) Medium complexion client with cool undertone Brunette (10) + Blackish Brown (1 - 3) Light complexion (dark hair) with neutral undertone Brunette (5) + Forest Brown (5) + Blackish Brown (1 - 3)
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CHAPTER 5: COLOR THEORY
COLOR CORRECTIONS Corrections can be intimidating, but as long as you have a firm understanding of how color theory works, it is actually quite simple. If your client has previous permanent makeup that has faded to funky colors (red, purple, blue, orange, etc), the goal of this procedure will be to neutralize the previous pigment. You will be using your knowledge on complementary and secondary colors to achieve this. Remember, complementary colors cancel each other out. Use the complementary color to neutralize the previous pigment. You can also use your understanding of mixing neutral shades of brown if you don’t have a color wheel available on hand. Client with RED faded eyebrows Complementary color: green Red + green (yellow x blue) = neutral brown Client with BLUE faded eyebrows Complementary color: orange Blue + orange (yellow x red) = neutral brown Client with PURPLE faded eyebrows Complementary color: yellow Purple (red x blue) + yellow = neutral brown Secondary colors will play a role when you need to mix your own correction color, not every premixed correction pigment will be the right shade for every correction brow. As discussed earlier, if the base color is too dominant, the pigment will most likely fade to the base color. If a client comes in with red eyebrows and a hint of purple (this is very common since it is basically a dark warm toned brown), you will need mix green with more yellow to neutralize all the shades in the previous pigment, a simple olive green will not work.
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Chapter 6: TREATMENT ROOM
PART THREE Chapter
6: TREATMENT ROOM
Preparing a professional, organized, and fully stocked treatment room is necessary for a smooth and efficient appointment. You are also responsible for maintaining a clean and sterile environment to limit the risk of infection. There are also restrictions requirements that need to be followed to hold a Tattoo Shop Permit, without it your establishment is not legally permitted to provide PMU procedures.
TATTOO SHOP PERMIT QUALIFICATIONS (State of Hawaii, as of 2018) SECTION 11-17-3: TATTOO SHOP PERMIT; FEE 1. Shop permitted; fee paid ($75), renewal ($7.50) SECTION 11-17-4: TATTOO ARTIST LICENSE; FEE 2. Artist licensed; fee paid ($75), renewal ($7.50)
SECTION 11-17-6: SANITATION REQUIREMENTS 3. Maintained in a sanitary condition 4. Walls and ceiling, easily cleanable, smooth, light colored, clean, in good repair 5. Floor, smooth, non-absorbent material, clean, in good repair 6. Adequate lighting and ventilation 7. Hand washing/ prep sink for tattoo artist provided, with hot and cold water, mixing valve, hand cleanser 8. Toilet and hand basin available, sanitary, and in good repair 9. Work table, smooth, light colored, non-absorbent, corrosive resistant, easily cleaned; 10 feet from observers or customers, or separated with a barrier at least 6 feet high 10. Closed cabinets for the storage of instruments, dyes, pigments, carbon, stencils, and other paraphernalia (miscellaneous articles); clean 11. Covered receptacles for disposal of waste materials 12. Hand brush and fingernail file provided, disinfected after each use 13. “No smoking” signs posted in tattooing area 14. Only tattooing permitted in shop SECTION 11-17-7: RESTRICTIONS 15. Intoxicated persons not tattooed; written consents of patrons under eighteen (18) years of age, kept on file 16. Operators free from communicable disease
SECTION 11-17-8: EQUIPMENT 17. Not less than twenty-four (24) sets of sterilized needles and tubes or tips provided, rusty, dull or faulty needles not used, approved sterilization method:____________
SECTION 11-17-9: DYES 18. Certified dyes or pigments used
SECTION 11-17-10: ASEPTIC TECHNIQUE 19. Operator’s hand properly washed and rinsed, then rinsed in an approved antiseptic solution before working on each customer 20. Customer’s skin area prepared by washing with warm water and approved soap, sterile hand brush used 21. Shaving done with a sterile razor blade, shaved area thoroughly cleansed 22. Prepared skin area treated with 70% alcohol or other approved germicidal solution, applied with sterile cotton or gauze 23. Petroleum jelly in collapsible metal or plastic tubes used on area to be tattooed, applied in an approved manner 24. Stencil thoroughly cleansed and rinsed in an approved germicidal solution, dried with a sterile gauze 25. Single-service or individual portions of dyes or pigments used, unused discarded 26. Excess dye or pigment applied to the skin removed with sterile material 27. Completed tattoo washed with sterile material saturated with an approved germicidal solution. Approved antibiotic ointment in collapsible tube properly applied to the tattoo area, entire area covered with sterile gauze fastened with an approved adhesive 28. Customer informed on care of tattoo
SECTION 11-17-11: MINIMUM OPERATING STANDARDS 29. Use of approved aseptic techniques in operations 30. Use approved supplies and equipment SECTION 11-17-12: RECORDS 31. Proper records kept of each customer; (a) date of tattooing, (b) name, address, age (c) branch of service, rate or rank, and serial number if in armed services; (d) design and location of tattoo; (e) name of artist; (f) signature of customer 32. Records entered in ink or indelible pencil, in a bound book, available for examination and kept for two years from the last entry. Written consents for persons under eighteen (18) years of age kept on file for two years
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Chapter 6: TREATMENT ROOM
FURNITURE AND EQUIPMENT CHECKLIST
Single-use items
Equipment
• Cotton swabs
• Treatment table or bed
• Razors
• Esthetician chair
• Sticker ruler
• Mobile light system
• Makeup wedge or disposable concealer brush
• Utility cart
• Seran wrap
• Autoclave (optional)
• Barrier film
• Covered waste container
• Dental cord wrap
• Sharps container
• Needles and cartridges
• Paper towel dispenser
• Dental bibs
• Wet sanitizer container
• Treatment bed cover
• Nail brush and filer
• Aprons and sleeve wraps
• PMU machine
• Face masks
• Caliper
• Pigment cups
• Tongs
• Hair nets for client
Supplies
• Nitrile gloves (many people are allergic to latex)
• Towels or linens (depending on the setup) • China Sharpie marker • Concealer
• Cotton rounds
• Paper towels • Bottle water
• Thread • Tweezers • Eyebrow scissors • Blanket • EPA-registered disinfectant • 70% alcohol individual prep wipes • Hand sanitizer • Individual aftercare ointment • Lotion • Eye protection • Pigments • Anesthetic (numbing)
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CHAPTER 7: CLIENT CONSULTATION
PART FOUR
CHAPTER 7: CLIENT CONSULTATION
The chapter will cover and focus on the full appointment procedure, and the technique necessary to achieve the powdered/ pixelated ombré brow.
CLIENT CONSULTATION Before starting the appointment, it is important to ensure that your client is eligible for treatment, and to have them sign a consent form to the procedure. Contraindications Contagious diseases, skin disorders, medical conditions, and medications can contraindicate the permanent makeup service. Working on clients who are not suitable for the procedure, puts you and your client at risk, and may hold you liable in the event of a lawsuit.
Contraindications to the procedure: • Under the age of 18 years old • Diabetic • Pregnant or lactating • Epileptic, or experience fainting spells • Makeup or pigment allergies • Taking blood thinning medications • Active skin conditions such as eczema, or psoriasis on the brow area • Active skin cancer on the brow area • Undiagnosed rashes or blisters on the brow area • Transmittable blood borne diseases such as Hepatitis, HIV, etc. • Accutane within one year • intoxication at the time of the procedure
Consent Form A consent form is a customary written agreement between the client and technician for providing a specific procedure. It is a legal document that is kept in the client’s chart, and typically states that the client agrees to the procedure, and understands and accepts all risks involved.
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CHAPTER 8: BROW SHAPING AND MAPPING
CHAPTER 8: BROW SHAPING AND MAPPING Brow shaping and mapping is an art in itself. It can easily become the most stressful portion of the appointment, and can sometimes take longer than the actual tattooing procedure itself. Understanding face shapes, brow styles, and your clients preference will help ease the process.
FACE SHAPES AND CORRECTIVE TECHNIQUES With brow shaping, you can either follow your clients natural hair flow, or make subtle adjustments to give them a different look, but avoid going too much outside of the hair line..
Face Shapes • Round face: Arch the brows high and more angular to make the face appear narrower. • Square face: Giving a higher brow arch will make the face appear more oval. • Long face: Go for the straighter brow with less arch to create the illusion of a shorter face. Do not extend the eyebrow lines farther than the outside corners of the eyes.
Forehead • Small forehead: A low arch gives the illusion of more height and space to a small forehead. • Natural high arches: Remove excess hair from the top of the brow and fill in the lower arch.
Eyes • Wide-set eyes: Extend the eyebrows closer together past the inside corners of the eyes. But be cautious, too close can create a frowning look. • Close-set eyes: To make the eyes appear farther apart, widen the distance between the eyebrows and extend them slightly outward beyond the outside of the eyes.
Brow Shape Styles Every person has their ideal brow shape, or an idea of what they think is nice and complementing to the face. If they come in saying “I trust you, and will go with whatever shape you feel is best”, they still have a predisposition of preference. • Straight brow/ Korean, Thai, Chinese This brow style is very popular in asian countries, and is highly requested with asian clientele. The top of the brow has minimal to no arches, the bottom is kept as straight as possible from the bottom head of the brow to the tail, and is commonly on the thicker side. Always try to incorporate a slight arch, as this will open up the clients eyes. • Distinct arches/ American As the most common brow shape, this is the brow shape majority of clients will be requesting. Some clients will prefer high bold arches, while others will prefer a softer arch, all in all it is the same brow style. • Extended arches/ European This brow style is similar to the straight brow, but the arch is pulled out slightly more and is more prominent. Usually the placement of the arch is about 2/3’s into the brow, but for European styles, it is pulled out further making the body of the brow longer with a shorter tail. This style falls between the lines of the soft arch American brow and the straight Korean brow.
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CHAPTER 8: BROW SHAPING AND MAPPING
Tools • China Sharpie marker • Razor blade • Sticker ruler • Thread • Caliper • Phi app • Concealer • Makeup wedge or Disposable concealer brush
THREAD SHAPING METHOD There are many methods to brow shaping available, and not every method will work the same for every artist. It is beneficial to experiment with different methods and find the one that works best for you. At this time, Studio Masami uses the Thread Method to shape the clients brows. To prep, you will cut about a forearms length of thread, and mark the thread using the black china marker (you will find that light colored thread works best since you’ll be able to see the pigment more clearly). You will be making a series of horizontal lines first, followed by vertical lines, and then diagonal lines. Initially you will only shape one brow at a time until the client likes and confirms the design, it is usually best to start with the clients “favorite” brow. Horizontal Lines • Line 1: Mark symmetry of eyes. • Line 2: Mark bottom base of head/ front (if client wants arch, pull the line lower). • Line 3: Mark top of head/ front, this determines the thickness of the brows. • Line 4: Mark top of the arch (have client open their eyes, if the line raises or bends, this indicates client has a protruding brow bone or muscle pull). • Line 6: Mark the bottom of the arch, this determines how thick and the type of arch the client will have. • Line 7: Mark bottom of tail (always above or same height as bottom of front).
Vertical Lines • Line 1/ Mark the center of the eyes/ nose. • Line 2/ Mark the start of brow: straight line from corner nose to forehead, then mark straight of how close your want the brows to come in (ideally two fingers should fit between the brows). • Line 3/ Mark the arch: highest point should line up with white corner of the eye. • Line 4/ Mark the end of the brow: form a straight line starting at the center of the cupids bow, grazing the corner of the nose and corner of the eye.
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CHAPTER 8: BROW SHAPING AND MAPPING
Diagonal Lines/ Forming the brow Line 1/ Mark the bottom brow line: cross the center nose line and graze horizontal line 3, forming the bottom brow line. Line 2/ Mark the top brow line: cross the center nose line and graze horizontal line 4, forming the top brow line. Line 3/ Mark the bottom tail line: hold the thread where horizontal line 6 and vertical line 3 meet and graze where you want the tail to start. Line 4/ Mark the top line of the tail: hold the thread where horizontal line 6 and vertical line 3 meet and graze where you want the top tail to start (this will determine how thick the tail will be).
Shade in the brow • Using the brow marker, shade in the brow. More definition in the tail, and softer as you near the front (Do not shade the front too bold, clients will be nervous and have difficulties envisioning the end result). • With a q-tip and micellar water, clean off the lines touching the brow so that just the shape is left Then using your precision q-tip, critique the brow to your clients face how you see fit. • Use a clean q-tip, and brush the center of the brow to soften vertical line 1. Show your client, and make adjustments based on their request. *TIP: You want to have your client figured out by the end of this process. The hardest and longest portion of shaping is the next step (matching the brows). You do not want to match the brows and then have your client tell you that they want them thinner, archier, thicker etc. It will push you back time wise. To ensure that your client is not skeptical, communicate and ask them as many questions as possible to ensure they will not ask to make adjustments later. Examples: • How do you feel about the thickness and the arch? • If you could change 3 things about them besides the color, what would you change? • If you were getting ready, and I wasn’t here, what would you add to remove from them with this brow pencil or q-tip? Most times, if the client is skeptical, it is because the brows are too thick. Ask them if they want to stay more conservative and go a little thinner. Remember, it is better to be safe than to be sorry. It is always easier to add at the touch up than to erase, which you are not able to do.
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CHAPTER 8: BROW SHAPING AND MAPPING
Matching the other brow • Mark all vertical lines 1 - 7, so that it is marking across the clients face in a straight line. Make sure the lines do not tilt. This process is easier if your clients eyes are kept open looking centered at you, and for you to eyeball the distance between the top lash line to the vertical line, and the distance will need to be equal on both eyes. Then, use that initial vertical line as a base line to ensure that each gap between the lines are even. • Remark vertical line 1 on the finished brow, and measure the distance from horizontal line 1. Complete and mark the same measurement on the unfinished brow. • Mark the start of the arch on the finished brow in a straight vertical line: The start will be where the top brow line (diagonal line 2) FIRST touches the top arch line (horizontal line 5). Measure the distance from vertical line 1 with the caliper, then measure and mark the same distance on the unfinished brow. • Mark the end of the arch on the finished brow in a straight vertical line: The end will be where the top brow line (diagonal line 2) LAST touches the top arch line (horizontal line 5). Measure the distance from start of the arch, then measure and mark the same distance on the unfinished brow. • Mark the end of the tail: Using your caliper, measure the distance from the corner of the eye to the end of the tail on the finished brow. Follow the same measurements on horizontal line 7 of the unfinished brow. Forming the unfinished brow: • Remark the forming brow lines of the finished brow, crossing the center nose line. • Complete the forming brow lines on the finished brow, crossing the center nose line and making complete x’s where the lines meet the forming lines of the finished brow. • Follow the process of “shading the brow” for both, and show the client. • Make adjustments as requested.
Applying concealer to the finished brows: Why would you apply concealer around the newly shaped brows? Because it gives you a crisp straight outline to follow, and the contrast will highlight any differences between the eyebrows. Once your client is happy and satisfied with the shape, you will conceal around the edges. ONLY use disposable applicators, do not reuse makeup brushes, do not double dip into your concealer container. • Deposit concealer to the back of your glove • Dip the straight edge of the sponge applicator without applying too much product • Start from either the end of the tail and work inward, or start at the front of the brow and work outward • Hold the skin taute *very important*, work in small areas, and glide the sponge along the outline • Create a straight bridge from the top and bottom starting point of one brow to the other. You are ensuring that they are even and same thickness. • Remark vertical line 1, and mark another vertical line slightly behind. The second line marks where you’ll want the top outline to stop. *you do not want to pull the top line as far out as the bottom, this will create a sharp square front (unless the client wants this look). • Explain these two lines to your client and have them take a look to confirm the shape.
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CHAPTER 8: BROW SHAPING AND MAPPING
BROW MUSCLES AND ASYMMETRICAL BROW BONES It is rare that clients will have a perfect symmetrical face. Sometimes you’ll find yourself correctly doing all the measuring options available, but the eyebrows still do not seem symmetrical. Most likely the reason for this is that the client either has a muscle pull or asymmetrical brow bones. Determining if your client has a muscle pull • Mark your initial horizontal line 5 with your clients eyes closed. Have them open their eyes, and if the line forms a hump, but is straight with their eyes closed, they have a muscle pull where the hump forms.
What to do: • You will need to mark all vertical lines and forming brow lines with the clients eyes open and looking at you dead center. Determining if your client has asymmetrical brow bones Mark your initial horizontal line 5, if the line curves at any point and does not move with your client’s eyes open and closed, most likely your client has a protruding brow bone or flesh. How do asymmetrical brow bones affect the shape? Depending where the protrusion is, that brow will either have more of an arch look or rounder look. Example: If the client has a protruding brow bone around their arch of the left brow, but has a flat brow bone on their right. The left will have a more distinct incline going up the bone, this will cause the brow to look archier, while the right brow will look rounder as there is no dimension or incline.
What to do: • You will need to “round in” or “round out” areas of the brow to make them more symmetrical. • Following our previous example, you will need to “round out” diagonal line 2 of the left brow so that it will appear rounder. Then you will need to “round in” diagonal line 2 of the right brow to have it appear archier. If the protrusion affects the tail as well, you will need to “round out” diagonal line 4 of the left brow, and “round in” (or as I like to call it “back arch”) the right brow. If you take a side profile picture of each eyebrow, they will look different. Advise the client of their facial symmetry and that this is necessary to help the brows look more symmetrical facing forward.
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CHAPTER: 9 TECHNIQUE
CHAPTER 9: TECHNIQUE Understanding each step is important to execute a beautifully blended Ombré. It will take some time and a lot of practice for your hand to build muscle memory, but as long as you fully understand each step, you can avoid making up things as you go which will create bad habits.
SKIN STRETCHING Proper skin stretching is a necessity when implanting the pigment. If not done correctly, you’ll risk poor retention, the pigment not sticking in the skin, fuzzy blurred lines, or asymmetrical eyebrows once completed. Always do a three point stretch and work in small areas. Divide the brow into 3 sections and use your pointer finger (or middle finger) and thumb to hold the start and end of each section while the pinky of the hand holding the machine stretches between the two fingers. Your pinky of the hand holding the machine is very important, and helps stabilize and control the needle/ machine, keep the pinky as close to the needle as possible.
HAND MOVEMENTS Your hand movement should be similar to a whipping motion, so that the landing and lifting of the needle is soft with most of the contact in the center. Landing hard, and lifting at sudden stops will create harsh starting and stopping points, these are called waves. You’ll also notice that you’ll have an easier time either whipping towards you or away from you, follow whichever direction is easiest for you. The speed of your hand also affects the look of the shading: • Slower hand speed: compact shading or solid outline • Faster hand speed/ more swing: more droplets/ soft outline
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CHAPTER: 9 TECHNIQUE
PRACTICE LIFTING AND LANDING SOFTLY ACTIVITY
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CHAPTER 10: POWDERED OMBRE
CHAPTER 10: POWDERED OMBRE What is Ombre?
Ombré is a style where the front of the brow is kept lighter in density than the rest of the brow, and gradually gets denser and darker towards the tail. You can keep the front as light or dark as you or the client prefers. As long as you keep the mid/ end of the brows denser/ darker than the fronts, you’ll be able to achieve a true ombre.
What is Powder/ Pixelation? Ombré is a style, while powder or pixelation brows is a technique. To achieve the powder droplets, you’ll need to stroke your hand faster than the speed of the machine, this is because the needle does not have enough time to make consistent contact with the skin. When the needle skips the skin, the blank gaps between each contact is what creates the powdered look. The more you fill the brows and run the area, the blank gaps will start to fill up, and you risk losing the powdered look.
MACHINE CONFIGURATIONS Most machines on the market have the option to adjust the machine speed. This is necessary to customize different looks and to cater to different skin types.
Machine speeds: Be careful with long swings on speed 3. If the client is turning red but the pigment is not taking in the skin, your hand speed needs to be more slow and controlled. Machine speed droplets Fastest: ………………….. Medium: . . . . . . . . . . . . . . Slowest: . . . . . . . . . .
Needle length Oily, Sensitive skin: 1.5 mm Normal, Dry: 2mm
• Speed 1/ Fastest speed: Using the fastest speed of the machine will most likely not create any droplets in the finished result. This speed is suitable for clients who want a bold look with no visible droplets. Apply less pressure. • Speed 2/ Medium speed: Speed 2 is perfect for clients who like the powdered droplets but want more definition. The droplets are still visible, and won’t be as solid filled as using speed 1. Apply normal pressure. • Speed 3/ Slowest speed: The slower the speed, the more droplets will be visible. Once you master the technique, you should be able to create the droplets at whichever speed you choose. Even though the goal is to stroke your hand faster than the machine speed, be cautious not to move too fast or you’ll risk tearing the skin which will then cause excessive scar tissue. Apply more pressure than speed 2.
Types of needles Needles come in many different sizes and quantities, each creating different looks. 1RL and 3RL are usually the two sizes used for eyebrow procedures, the RL stands for round liner. The 1RL is just that, one needle. The 3RL is three needles grouped together, this will complete the procedure a lot quicker, but it is very difficult to create powdered droplets with the 3RL.
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OUTLINE Experimenting with different outline styles is a fun way to customize each style based on the clients preference. You’ll be able to adjust the sharpness of the outline simply by adjusting the machine speed and your hand movements. Remember, you can always sharpen the outlines but you cannot soften it once its there. When in doubt, start with softer outline and you can sharpen them later if the client prefers. Always work in small sections, overlapping the previous stroke 1 - 2 centimeters. • No outline: This is for clients who want their shape as natural as possible mimicking brow powder makeup, with no distinct outlines. Use speed 3, and stroke the outline in one direction. Avoid stroking your hand too fast. You want the skipping to keep the online soft, but large skips will risk changing the brow shape. The biggest risk with this style, is that the outline won’t be visible enough to see once the shape is wiped off. • Soft outline: This is the safest outline to start with, you can still keep the finished result as light and natural as the client prefers by adjusting the shading, but theres a better chance that the outline will be visible once wiped off if compared to the no outline look. You can use either speed 2 and just stroke in one direction, or you could use speed 3 stroking back and forth. • Sharp outline: This style is very risky if you have not mastered your pressure or controlling your machine, not recommended for beginner artists. There are two ways of executing a sharp outline, either move the machine in a slow and steady constant back and forth stroke in speed 2 or 1, or wiping back and forth in speed 1. Be mindful of how dark you make the outline, you will need to shade in the brows to the same darkness. As mentioned earlier, you can always sharpen and add definition to the outline later but once it’s there, you won’t be able to soften it. PRACTICE STROKING STRAIGHT OUTLINES ACTIVITY NO OUTLINE:
SOFT OUTLINE:
SHARP OUTLINE:
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CHAPTER 10: POWDERED OMBRE
SHADING One of the biggest challenges for artists who are just starting out is to achieve seamless blending. Incorporating patterns and transition strokes will help with picking up the technique. It is common for artists to get excited and move ahead of themselves, they’ll start jumping around to random areas of the brow, this will cause inconsistent areas and clients will return with blotchy healed brows. It is important to remember that the procedure is not a rush, take your time and follow the patterns.
What are waves? When you shade the brow, you will work in sections. Waves are when you can visible see the start and end point of each section, and it will be even more noticeable when the clients heal. Once the waves are there, it is harder to blend out without making the brow too dense and dark.
Transition strokes / v gaps Transition strokes are when the starting and stopping point of each stroke is staggered. This blends the sections together so that there isn’t a distinct sharp line separating each section. V gaps are made by leaving enough space between each stroke so that the new row of strokes will fit well between and blend the rows seamlessly.
Single strokes vs pendulum Single strokes are when you make one single stoke in one direction, and is also easier to pick up. Once you’re comfortable, and able to blend an entire brow without any waves with single strokes, you can consider and experiment with pendulum shading. Pendulum is when you stroke the machine back and forth, this shades the brow in a lot faster but is riskier in creating waves if you’re still struggling with blending. Be sure to complete consistent full coverage before moving to the next row. Start from the outline of the bottom of the brow, and move to the top outline of the brow, then back down to the rows initial stoke. Be sure to work bottom to top, or top to bottom, do not shade diagonally. Every time you reach an outline, inch your way forward. PRACTICE SHADING V-GAPS Activity
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CHAPTER 10: POWDERED OMBRE
PATTERNS AND SECTIONS As covered earlier, you are only able to achieve the pixelated powder eyebrow when there are still empty gaps between each contact made between the needle and skin. The more that you run the brow area, filling those gaps, the more you’ll start transitioning from a powdered pixelated style to a solid filled style. There are three ways to achieve Ombré shading, by working in layers, stroke lengths, or both. The brow will need to be broken up into three sections regardless which method you choose, they are: the tail, body, and front/ head of the brow. Use the pigmented thread to mark the sections.
Layering Rechnique Layering the eyebrow is the easiest way to achieve an Ombré. Depending on which style shading you’re going for, you will run more passes over the end of the brow than you will in the front. • First pass: Start from the tip of the tail, work your way from bottom to top, then top to bottom in complete rows. Once you reach the end mark of the tail section, and wipe the eyebrow. • Second pass: Start from the tip of the tail again, completing bottom to top, and top to bottom passes until you reach the end mark of the body section, and wipe the eyebrow. • Third pass: Start from the tip of the tail, and complete rows until you reach the end mark of the body. Once you reach the end mark of the body, you will fill the fronts ONLY using single strokes. This sequence is considered “one complete pass”. Depending on your clients skin type, and the desired look, you will need to do 2 - 5 complete passes (sometimes more). Variety of Stroke Lengths Technique Creating an ombré with different stroke lengths requires more control and focus than simply layering the eyebrow. Shorter stoke lengths will produce a darker compact filled shading, while longer strokes will keep the shading light and airy.
One pass: • Tail section: Complete rows of strokes that are less than 1 cm. • Body section: Complete rows of strokes that are 1 - 1.5 cm. • Front section: Complete rows of SINGLE strokes that are 1.5 - 2 cm. Depending on your clients skin type, and the desired look, you will need to do 2 - 5 passes (sometimes more). Layering With a Variety of Stroke Lengths (Both Techniques) Using both techniques to create an ombré eyebrow will yield the best results and will complete the procedure in the shortest amount of time. This is achieved by layering the eyebrow with different stroke lengths. • First pass: Perform complete rows of strokes that are less than 1 cm to the end of the tail section, and wipe the eyebrow. • Second pass: Perform complete rows of strokes that are 1 - 1.5 cm to the end of the body section, and wipe the eyebrow. • Third pass: Perform complete rows of strokes that are 1.5 - 2 cm to the end of the body section. Once you reach the end mark of the body, fill the fronts with single strokes that are 1.5 - 2 cm. This sequence is considered “one complete pass”. Using both techniques will usually complete the eyebrow in 1 - 3 passes.
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CHAPTER 10: POWDERED OMBRE
DRAW A PAIR OF EYEBROWS Activity Layering Technique
Stroke Lengths Technique:
Stroke Length with Layers
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OMBRE FRONTS Keeping the fronts lighter in color and density plays the biggest role in differentiating between the solid brow style and the ombre eyebrow. When working on the fronts, being conservative is key. Remember, you are always able to add color and density, but once it is there it cannot be reversed. It is best to start with the lightest shading possible, only one or two passes, then showing your client and allowing them to confirm if they’d like to go darker. Of course, different scenarios will require different densities of shading. Creating the Ombré front Just as the eyebrow is broken up into three sections, the front will need to be broken up into three sections. Mark the sections using the pigmented thread. *Always fill the front using single strokes, do not perform pendulum strokes. • Section/ line 1 (marks the starting point of the eyebrow): Start at the end mark of the body, and work your way to line 1 using single strokes with gaps big enough to fit two lines between them. • Section/ line 2: Start at the starting mark of the body, and work your way to line 2 using single strokes BETWEEN the existing strokes from line 1. • Section/ line 3: Start at the mid-tail section, and work your way to line 3 using single strokes between the existing strokes from line 1 and line 2. • Clean up: Start at the tip of the tail, and work your way to the front using single strokes to clean up any gaps and blend all the front lines together. Square:
Soft Square:
Round:
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ADVANCED SHADING STYLES LECTURE NOTES: Natural:
Bold Natural:
Bold Compact:
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European: (Distinct outline on the bottom of the brow, powder outline on the top, fan/ diagonal shading)
Definition Brow: (sharp distinct outline and compact shading at the bottom, powder outline and semi-compact shading on the top)
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FULL TECHNIQUE PROCEDURE Outline • Start at the tip of the tail, and work your way to the front in small overlapping sections on the bottom of the brow. Once you reach the front, start back at the tip of the tail and work your way to the front on the top of the brow. • Use a precision q-tip with a smudge of lotion and wipe a small section of the outline to ensure that the pigment and shape took in the skin. If the outline isn’t visible, rerun the outline again and apply more pressure. • Once the shape and outline is in the skin, scratch areas of the brow with the needle (not dipped in pigment) to create openings in the skin for the numbing to take effect. • Apply the primary anesthetic, place seran wrap over the brow, and take a mental note of the time or start a timer. • Perform the same outlining process on the other eyebrow, apply the primary anesthetic and seran wrap, and take a mental note of the time allowed for the anesthetic. Shading (for training purposes we will use the layering technique) • Remove the numbing and pigment from the first brow, and begin the shading process. *Remember to keep an eye on the time for the second eyebrow, don’t leave the numbing on for too long. • Skin assessment: start at the tip of the tail and shade about two centimeters, wipe and check your work asking yourself if you need to apply more pressure, adjust the color, or speed. • Using pigmented thread, mark the three sections of the eyebrow. • Start from the tip of the tail, perform complete rows till you reach the end mark of the tail section, and wipe the brow. • Start at the tip of the tail, perform complete rows till you reach the end mark of the body section, and wipe. • With the pigmented thread, mark the three sections in the front of the brow. • Start at the tip of the tail, perform complete rows till you reach the end mark of the body section, then begin creating single strokes to line 1. • Start at the starting mark of the body, and create single strokes to line 2. • Start at the mid-tail section, and create single strokes to line 3. • Start back at the tip of the tail, and clean up any gaps working your way to line 1 with single strokes. • Apply the primary anesthetic, and move on to the other eyebrow completing the same process.
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Quality control • Remove any anesthetic or pigment from the eyebrows, and clean up any hairs that might lay outside of the shape. • Sit your client up, and remark your horizontal lines ensuring that the eyebrows are even. • Apply pigment to the back of your glove or work tray, and lightly dip one end of the razor blade into the pigment, and dab off any blobs of excess pigment. • Hold the skin taut, and use the blade with pigment to remark the outline by gently dabbing the skin (DO NOT SWIPE, you will slice the skin open if you swipe the blade). Shading • Perform another shading pass on each eyebrow till you reach your desired density, and sharpen the remarked outline (if you chose to). You may also leave the fronts alone, only working on the body if you are nervous of losing the ombre.
Client approval • Sit your client up, and have them take a look at the results. Ask them how they feel about the color, fronts, or if they’d like to go darker. • Step back and take a look at the eyebrows yourself. Ask yourself: Is the shading even? Do the fronts have the same shape? Is there any adjustments that need to be made to make the results better?
Clean up pass • Adjust and clean up any areas necessary.
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CHAPTER 11: AFTERCARE
PART FOUR
CHAPTER 11: AFTERCARE
Each procedure consists of three parts; Pre-Procedure (consultation, and booking), Procedure (the actual PMU procedure), and Post-Procedure (happy/ unhappy client feedback, aftercare, healing complications, retention scenarios, touch ups). Post-Procedure can either be very rewarding or extremely stressful, knowing what to expect can help ease the process.
AFTERCARE It is imperative that the client understands the importance of aftercare. If the client does not properly follow aftercare instructions, it can lead to excess scarring, poor pigment retention, or infection. Print out an aftercare sheet for each procedure and read through it with your client, this is where having proper communication skills is key.
Types of aftercare Though the aftercare instructions is the same for each procedure, there are two different instructions that will vary depending no the clients skin type and desired outcome: general or dry healing. General aftercare Applying ointment to the brows during the healing process is a safe precaution, and is suitable for all skin types but is best for dry skin clients. The ointment will aid in the process and speed up the duration of the healing time (which clients will prefer). The only downside to this is that, though it will promote healing, the ointment will also promote fading. It is safer in the sense that if the brows came out too dark, or a little uneven, the ointment will fade them out allowing you to make adjustments during the touch up. However, if you had a client who requested the bold brow look, they may complain of the brows coming out too light once healed. Dry healing If your client’s skin type is prone to pigment loss (oily/ combination), or the client wanted to stay conservative with a very natural shading style, you can have them opt out of applying any ointment during the healing process, this is called dry healing. The healing time will take slightly longer, but its insurance that the pigment won’t fade much while healing. This is also a good option for clients who really like the density of the finished results, and want to experience minimal to no fading. It is not advisable for clients with dry skin, since the skin already tends to retain a lot of pigment, there is a possibility that the color may actually heal darker than what they leave the appointment with.
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CLIENT NOTES Immediately following each client procedure, it is a good idea to take notes and attach it to that clients portfolio. It is helpful to have some information to review from the appointment when the client returns for their touch up, or if the client should complain about the results. Here are some important things to note after each procedure: If the client had any previous work done If so, what was the color of the previous pigment and intensity of the scar tissue Does the client bleed, swell, or take pigment easily Is the client sensitive to pain What was the clients skin type Did the client prefer to stay with a natural style or did they want to them darker The pigment mixture, and brand used Was the client happy with the results
HEALING PROCESS The healing duration may vary with each individual client, and some may experience more of an intense process than others, but overall you can expect each client to go the same healing phases: (Time frames may vary) Day 1 - 4: Eyebrows will remain a similar shade of color to what the clients leaves the appointment with. Usually clients are very happy with the procedure and results at this time. Day 5 - 6: The eyebrows will start to darken in color as the scabs form. Day 7 - 14: The eyebrows will start to scab and peel, leaving patchy areas, or streaks. The fresh skin beneath the scabs will be initially lighter before the color resurfaces. This is the start of where most clients will freak out, and may contact you complaining or questioning if the procedure did not take in certain areas. Reassure them that this is process is completely normal, and the color will begin to resurface over the next few weeks. Day 14 - 28: Once peeled the eyebrow pigment will be very light in color, with pigment returning to the surface over the next following weeks.
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TOUCH UP APPOINTMENTS Touch up appointments are scheduled at least 5 - 6 weeks following the procedure to adjust any areas that may have lost pigment during healing process. Most times, clients who wanted to stay very natural and conservative during the first appointment will feel more comfortable and want to add color and thickness. The skin will need to fully heal and go through a complete cell turnover cycle before it can be worked on again, between 28 - 40 days. Touch up appointments are a lot quicker than the initial appointment depending on how much adjustments will need to be made. Touch up procedure (only if adjusting the color and patchy areas): • Scratch the surface of the skin with the machine needle, and apply your primary anesthetic. Once the allowed numbing time has passed, follow the ombre shading protocol to darken the brows, or fill in any patchy areas as needed. Touch up procedure (if client wants to adjust the shape and thickness) • The initial shaping process will need to be performed again. It is important to inform the client that if they decide to go thicker, fresh skin will heal to a different shade than the skin that already has pigment. This is because the areas that have been previously worked on already have pigment in the skin resulting in more layers of color, whereas the fresh skin will only have pigment from the touch up session. Perform the outlining process, and apply the primary anesthetic. • Fill in the fresh skin first to get it to a similar density of the healed pigment, then shade the whole brow following the ombre shading protocol.
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