Now that we have determined that the selection of the needle configuration can affect the color and the curing tone in general, examine the properties of the brown pigments. The basic theory of color teaches us that the opposites in the chromatic circle are neutralized. If your customer’s tone is red or red, the best is a green brown or yellow green. If the tone of your client’s skin was green (green), the neutralizing brown would be more red. Although, in theory, if the tone of your client’s skin is translucent or transparent (with more blue or violet tones), the right base for the pigment would be more yellow, you might find that these customers actually prefer a dark gray green). This is common because more mature clients seem to feel that their eyebrows should match their hair color. Many shades of translucent and transparent skin have white hair ends, or silver salt and pepper (silver and black). However, the skin tones are strong in blue and violet tones and even if you use other colors like the blonde, they will tend to reduce the ash to a gray appearance during healing. While it is easy to resist the request of a gray eyebrow, since, as we know, gray is not the most beautiful color to the skin, if that is what the client uses to request forever, it is possible to find a change.
Pigment based on any pigment judging can be difficult if the manufacturer does not provide a corresponding pigment base backgrounder. The most manufactured products provide managers pigment tables that point in the positive transition of our industry for full disclosure and support. In the past, we were all in the room pouring background pigments into small cups to see how it is separated brown in the water to try to determine the primary base color. What we did not know that the brown with which we work have been made from a process of carbonized change of red, yellow or copper red. Most likely under these circumstances and without the assistance of the manufacturer, to determine the true basis of brown did not happen.
Chestnuts can be complex. They can be made from a red copper that has been calcined (roasted), or precipitate yellow ocher (formed in an aqueous solution of ferrous salt and an alkali). The rough unbreath is a greenish-brown color, but when it is calcined at 500-800 degrees F it produces rich burnt umber walnut tones. Burnt ochres can produce pink, red, brown and even black. Some reddish brown look hot but actually have a blue base. The base blue red iron oxide are suitable for lip blends but do not take place in eyebrow colors (or mauve shades of brown eyebrows). Calcination and precipitation simply mean changing one color to another. Although these color pigment processes are supposed to produce final bleached colors, one must wonder if there are no exceptions to this when the eyebrows heal or fade away before an unwanted color. Then of course we have the best known formulations of a secondary color with a primary to brown color.
Keep in mind that certain colors of brown pigments are in pigments made of ferrite zinc and magnesium. Although not technically iron oxides, ferrite pigments have similar characteristics and chemical compositions with synthetic iron oxides and can be included in the iron oxide family.
It is recognized that all this information may seem too technical to many, but knowledge is power, and more technical know the pigments they use, they will be more successful. Because these are valuable information, Elizabeth presents an overview of all the pigment processes mentioned in this article and more at the Philadelphia SPCP conference in September. In addition, with the new guidelines of the pigment manufacturer in effect later this year, you, as a consumer, will begin to see more and more information on labels containing pigments that provide useful advice.