COLOUR THEORY

Colour is one of the most complicated and difficult aspects of predicting the outcome of brow treatment. We’ll go over the fundamentals of colour theory when it comes to applying pigment to the skin in this chapter. All skin is like a blank canvas on which we can paint. The colour of the pigment we implant into the skin is affected by the hue, shade, undertone, and existence of melanin.

When dealing with pigment colours, we must consider the natural skin colour and undertones, since these will all play a role in the final colour that will be microbladed into our client’s brows. It’s critical to remember that microblading always heals with a cool tone, so take that into account when deciding how much warmth to add to our final pigment hue. Colour is crucial because it is your ultimate colour choice that creates your initial impression. You must get your colour right the first time; there is no room for error when it comes to colour.

To create the correct shade, we must be very careful while blending colours. We strongly advocate using higher-end pigments that are already cold or warm and designed to correct / neutralise undertones, which are currently accessible on the market. When using pigments, based on the client’s natural undertone, you should always consider adding a drop of warm or cool colour tones to your chosen pigment.

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  • Red, yellow, and blue are the primary colours. Primary colours are the 3 pigment colors that cannot be mixed or formed by any combination of other colours. All other colors are derived from these 3 hues.
  • Secondary colours are created by combining two primary colours, or contrasting colours, to create a variety of hues. (When you combine blue and yellow, you get green, purple is created by combining blue and red and when you combine red and yellow, you get orange.)
  • Tertiary colours – yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green. These are the colours formed by mixing a primary and a secondary colour. That’s why the hue is a two word name, such as blue-green, red-violet, and yellow-orange.
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Colour Correction – cold colours are corrected or neutralised by warm colours, and warm colours are corrected or neutralised by cold colours. Therefore, any pigments with a warm undertone can be neutralised with a cool undertone pigment and vice versa. The neutralising colour can be found directly opposite on the colour wheel.

The Fitzpatrick scale (also Fitzpatrick skin typing test; or Fitzpatrick phototyping scale) is a numerical classification schema for human skin color. It was developed in 1975 by American dermatologist Thomas B. Fitzpatrick as a way to estimate the response of different types of skin to ultraviolet (UV) light. It was initially developed on the basis of skin colour to measure the correct dose of UVA for PUVA therapy, and when the initial testing based only on hair and eye colour resulted in too high UVA doses for some, it was altered to be based on the patient’s reports of how their skin
responds to the sun; it was also extended to a wider range of skin types. The
Fitzpatrick scale remains a recognized tool for dermatological research into human skin pigmentation.

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We as technicians will match for the client based on these six categories as well as the client’s personal preference and the natural colour of the client’s hair.

  • For Brown Hair – If you’re aiming for a natural look, selecting one shade lighter works best. Meanwhile, if you’re after emphasis and volume, you can choose up to two shades darker.
  • For Black Hair – Avoid selecting the exact color of your hair for your microblading pigment. It will only look unnatural. Shades ranging from medium to dark brown could be your best bet.
  • For Red Hair – To compliment the red tones of your hair, we highly suggest light blonde, ginger, and warmer brown hues. It’s great for face-framing while maintaining a natural look.
  • For Blonde Hair – Taupe is the go-to shade for people with blonde hair color. Not too dark, not too light, but just right!

Aside from the Fitzpatrick scale, determining the warmth (or tone) of the client’s skin is another approach to determine the hue of your pigment. Warmth refers to the redness of the face, which we can verify by merely looking at the client’s skin. Some clients have pale or rosy complexion, while others have olive or tanned skin. Of course, there are others whose complexion is black and deep-hued. Basically, the quantity of red in a person’s skin will aid in selecting the appropriate microblading pigments.

An easy way to identify the undertones of your microblading pigment is by placing a drop of the pigment onto clean white paper and allow it to dry, and you will then be able to see its undertones. You can also smear a small amount of pigment onto the client’s skin to determine a good match.

Cool tones – the cool palette’s colours are ideal for persons with fair skin and rose complexions. They typically have ash-grey or even green to ultramarine blue undertones and are devoid of red pigmentation. The colour of your brows will be affected by the undertones in your skin once the colours have been applied. In addition, once applied, the hues in a cool palette will appear soft blonde or light brown.

Neutral tones – People with fair skin can also use the neutral palette. However, persons with darker undertones, like as blue and brown, will benefit the most from it. Some of the colours in this palette have red pigmentation. Red undertones, such as alizarin crimson and cadmium red, integrate well with darker fair complexion tones, but they are far too prominent on the fairest skin tones.

Warm tones – People with darker skin who have olive, umber, or chocolate-colored undertones should use the warm palette. This includes a lot of clients with brown and black hair. Furthermore, skin that tans easily is a suitable fit for this palette.

  1. Which pigment will suit your client’s skin tone best: a warm, cool or neutral colour?
  2. How dark would the client like their brows to be?
  3. Your client’s age – often, softer colours suit older clients
  4. Always remember to advise your clients to start with a softer colour as this can be built up over time if the client wants to go darker. However, it’s difficult to lighten the colour once it has been applied.
  5. Remember, swatch testing is your friend. Try before you apply.