HOW TO PREVENT PIGMENT MIGRATION & DEFECTIVE CAMOUFLAGE
A GUIDE FOR THE PERMANENT MAKEUP PRO
Many Permanent Makeup artists reach me asking for guidance on correcting previous work, wheres frequent consultations are increasing in their offices. Also, people from all over the world contact me for help to fix faulty permanent makeup jobs, and every time I get a case like this, it makes my soul ache.
This is the story of a client who, five years ago, decided to have upper eyeliner done and who had had a previous positive experience with the lower eyelid.
The procedure was performed at the end of the night, around 9:00 p.m. By the time they finished, she looked at herself in the mirror, and everything was fine. She went to bed around 10:00 p.m.
The following day she was surprised when she looked again and found a large black spot around her eyes. She called the artist who performed the procedure the same day but never answered. From that day, her life changed.
In desperation, she looked for another person to help her solve this problem, and two weeks later, he performed a "camouflage" on her. The result is what you can see in the picture. Since then, she only wears sunglasses, and when she does not wear them, she puckers her skin to pretend that it has nothing, but obviously, the damage is done, and it is enormous.
I'm telling you about this case because you can learn from it and remind yourself that you have a big responsibility as a permanent makeup artist.
Remember that the essential difference between a painter and you is the canvas used. He can change the canvas fabric whenever he wants, but you cannot change your client's face, and what you do will impact their life, positively or negatively.
1. THE MIGRATION OF PIGMENT
It is the condition where the pigment particles move to different areas where the pigment was initially implanted.
It produces a blurry appearance of the line or a colored spot on nearby skin.
It is most common in procedures around the eyes because the skin in that area is the thinnest in our body and tends to be flaccid due to a lack of subcutaneous fat.
The pigment may migrate to the eyes' inner or outer corner or even the upper eyelid or cheek.
Based on the above-mentioned factors, procedures in the eye area must be performed carefully and with high precautions.
Be very careful in clients with flabby, thin, highly vascularized skin and when working on older adults. These are the skin types that are most prone to migration.
There is a high probability of migration with the use of machines and mainly if fine and single-prong needles are used.
Implant the pigment just in the superficial dermis. For this, you must calibrate your machine to the minimum depth and if you use manual techniques, work the skin gently.
The application should be carried out at an angle of 90 degrees.
Avoid generating trauma and drain the inflamed areas.
Recommends the client to remain standing or sitting for the next few hours.
Use high-quality creamy pigments. It is not recommended to dilute pigments with pigment thinners or other substances.
Very liquid pigments are more likely to migrate. Once it comes into contact with loose connective tissue, it can move freely.
The pigment migration may seem complex, but following the above recommendations can significantly decrease the risk of this adverse reaction.
2. DEFECTIVE CAMOUFLAGE
If you don't know how to do it, please do not do it.
When working on the camouflage of migration, you must talk to the client and explain that this is a long process requiring several sessions and a lot of patience. Therefore, it is always better to work little by little than trying to cover the entire area in one session.
The Softap technique is ideal for performing this type of procedure since you can have better control applying the pigment.
Use straight needles.
The needle size depends on the size of the area to be camouflaged.
Use multiple tips to camouflage larger areas and a single row for small spaces.
Perform the procedure enmeshed to avoid generating a compact stain. Little by little, as you progress throughout the sessions, you will cover all the spaces.
Just like a painter has many colors available, a micropigmentation artist who performs camouflage must have multiple skin tone pigments.
As the color base, you must select a pigment with an identical tone to the skin color, and you should have slightly lighter and darker tones available to achieve the natural skin effect.
Never try to use pigment remover in a migration situation since this product works by interacting with the pigment on the skin's surface. In the case of migration, the pigment is much deeper, and you would only harm the skin.
Only commit to this procedure if you have received supervised training and practice.
In general, I have seen many artists sing without really having the knowledge and necessary experience to solve this problem. Usually, the consequences are disastrous. Remember that your responsibility is to make the best results for your clients. Your reputation depends on it.