Color Theory: The Art of Proper Pigment Matching for Permanent Makeup

Professional knowledge in the field of color is one of the main points for permanent makeup masters. This is an understanding of how to avoid fatal errors, or what to do next if the desired color result is not achieved, how to correct color errors that can be corrected. In other words, masters must know which colors create the desired effect for a blonde, redhead or burning brunette, which shades can lead to problems, and which shades will help solve existing problems. Artists must anticipate how the color components of pigments can change over time and under the influence of UV radiation.

Perhaps we will not say anything new in this article. But, nevertheless, many masters constantly neglect the principles of the correct mixing of pigments. In order not to harm - you need to know! And to know - you have to study! And it’s better not from a friend or on the advice of forums, but from professionals. It is necessary to develop color vision in yourself, the notorious “feeling of the skin”, to listen to your clients and your intuition.

Fundamentals of color theory

Choosing the right way to mix pigments or the right combination of pigments involves evaluating the client's skin. And this includes an assessment of the degree of melanin content, the degree of blood supply, thickness, health status, age, relief, the presence of scar tissue, disease processes and overall skin tone.

Tattoo artists have spent a lot of time finding the right color combinations, refining the technologies that work best. One of the most important aspects of the PM master's work is color. Color theory at its core contains the knowledge of mixing and matching colors in such a way as to produce the desired result. Color is at the heart of the micropigmentation profession. Paradoxically, this is one of the areas in which many of the specialists do not have serious training. So let's start with the basics.

We see colors when light hits an object and is reflected back into our eyes. Although we perceive sunlight as colorless, it actually contains all the colors of the spectrum. The simplest visual representation of the basics of color theory is the color wheel. For the first time, a circular configuration of all colors of the spectrum was proposed by Isaac Newton back in 1666. Cold colors in his circle are located on one side, warm colors - on the opposite; dark colors are opposite the light ones.

The basic idea is that any two colors on opposite sides of the color wheel interact. Any three colors evenly distributed on the color wheel also interact. You can use the color wheel as a guide to help you determine which colors interact to achieve your goal.

The idea of color theory

The theoretical knowledge of obtaining color is absolutely necessary in the work of a tattoo artist. But this is not enough! It is necessary to know not only how colors interact with each other, but also how different shades of pigments interact with skin tones or with the color of the pigment already in the skin.

The three primary colors - red, yellow and blue - are basic colors that cannot be obtained by mixing any other colors. Second-order colors are colors obtained by mixing primary colors. Third-order colors are colors obtained by mixing primary colors and second-order colors.

Colors obtained by mixing black and white are not considered true hues, but are used to change the lightness value of a color. When black is added, the original color becomes darker. Adding white allows the original color to become lighter, i.e. the color takes on a lighter shade. Here lies the source of many fatal mistakes in the practice of permanent makeup. The extreme degree of lightness of black is blue. And the addition of any, even the minimum amount of black pigment to darken the color will inevitably “give blue” in the skin. As for diluting the color with white pigment for lightening, in the future this is fraught with the appearance of a yellowish tint.

Playing with colors

Monochromatic color combinations are combinations of colors that differ in the saturation of one color. This term is most easily thought of as a scale, from light to darkest. Saturation, or the strength of a color, is often determined by the amount of pigment or how much "darkness" is present in a color. Monochromatic color combinations are easy to work with and produce a visually soothing and graceful result.

The so-called "genderless" color is the result of mixing contrasting colors located on opposite sides of the color wheel. Using the principle of mixing contrasting colors, you can, for example, fight against undesirable cool tones in the skin.

Thus, the most common color errors, such as red eyebrows, purple lips, blue eyebrows, are corrected by obtaining a "genderless" color.

Triadic color combinations use three colors that are evenly distributed throughout the color wheel. The use of a triad of colors offers strong contrast, but the result looks very balanced.

You can darken a color by using a darker shade of the same color (remember the monochromatic combinations?). But when mixing, you should be especially careful, because by mixing too many colors or choosing the wrong color combination, the master ultimately risks getting "dirt".

Foreseeing the color result of the "behavior" of color in the skin is an absolutely necessary quality of a competent master. For example, professionals know that using a cool color on warm skin can give a more flat result than desired.

And remember - any problem can be foreseen if you know and think about it in advance.