Уроки татуажа – мягкая стрелка с растушевкой/  Soft Butterfly Eyeliner

Уроки татуажа – мягкая стрелка с растушевкой/ Soft Butterfly Eyeliner

Hello everyone my name is Elena Nechayeva.

I'm the founder and owner of permanent makeup studio chains Today we're going to perform eyelids permanent makeup We have the classic Asian hollow eyelid It's to be lifted up a bitWe'll do it by means of the broad butterfly eyeliner The classic eyeliner with clear borders will look too “heavy” for this eyelid.

so we will have an eyeliner with soft, gradually fading borders.

It will be quite broad.

When the eye is open, it is almost invisible and when closed, it'll be clear that a great work has been done here.

You can see this video tutorial and other videos on our website PMU3 You'll find the link to it in the description below.

You can also follow us on periscopewhere we share much information online You can also ask any question you like in social networks: facebook, vk.

Com, Instagram.

The eyelids permanent makeup treatment usually lasts for about an hour and a half.

The time needed depends on the amount of work to be done, of course.

The broader an eyeliner is, the longer we will work This hour and a half includes: – sketch drawing; – anesthesiaand the work itself.

Today we are going to have a butterfly eyeliner It's a sort of soft sputtering without any clear borders Sometimes it can be colored, or monochromatic: black or black-brown.

We aren’t going to make the colored one, As it should be performed if a person asks for it very much Who wants it very much Who's ready to wear it for a long time.

As for an artist, in any case, he can't offer such experiments or insist on it.

Because the colored eyeliner stays on the face for a long time As all the types of permanent makeup stay long on eyelids And the client may become sick and tired of it And as for the removal treatment, it'll be long and complicated So you can offer broad colored eyeliners only to those who're exactly sure that they want to have it.

The advantages of this technique are the following: it looks quite airy, it does not have any distinct borders, looks soft and comes off earlier than a densely coloured eyeliner.

Colouring densely, an artist leaves much pigment in the skin, Due to what it stays longer on the face A butterfly eyeliner can come off in a year or 1,5 a year A densely coloured eyeliner will stay two times longer Amateur artists usually do the following mistakes: an incorrectly fixed sketch.

An artist must pay it much attention as if the sketch is fixed incorrectly, eyeliners will have different directions, one can be a bit lower or higher than the other one and it'll be almost impossible to correct Also, much attention must be paid to the zone where an eyelid meets the lower lid, in the lateral angle of eye You either must not work with it or must be a very experienced artist because the beginners often try to match the lines of upper and lower lids But they mustn't be matched.

Now we're going to draw a sketch.

It must be drawn very carefully and it must be absolutely clear for your clients.

It can't be 5 dots showing the borders of the eyeliner.

You must show the colour intensity, an approximate colour that'll be on the face after the healing.

So that if it's a coloured eyeliner, a proper shade will be chosen, that will make a good accent of the eye colour, the iris colour to be exact Today we're going to have a usual, not coloured eyeliner.

While drawing we'll see and decide.

In the lashline, it is always done with a black pencil.

A black zone between eyelashes and the lower rise of the eyeliner.

Don't do it brown, for when the brown colour fades, the warm reddish shade is left.

It'll look like inflammatory eyes.

Let it be something with a slight grey hint after a while, Than a skin redness effect.

We draw a sketch with a usual gel pen, a black refill.

It's easily smudged, To achieve airiness, colour gradient.

You're always to begin with a "difficult" eye If I'm a right-hander I begin with a right one.

Why? Because I'll begin drawing and cover this part of the face.

As a result, if I start with the other eye and see all the face well and when I finish it I'll have to "mirror" it to the right side and it will be very difficult.

By the way, it also works with eyebrows.

And, in general, we draw this way: I put dots, where the eyeliner must end, then I'll lay the client and then draw it steadily.

Because when you draw, the eyes reflexively wink, It's a tickling movement, the eyeliner sketch may become uneven and rough.

It makes the working process longer.

So we employ this method for a long time.

There's no use drawing in this eyelid crease, We should draw under it or do an airy blurry upper part, The main thing that it mustn't have a distinct border that would be spoilt by the eyelid crease.

So if I draw a broad straight line here, it will look like a sort of zigzag when the eye is open.

It won't look nice.

A butterfly eyeliner and eyeshadows, in general, are good as you can draw it's upper part right in the eye crease It can be like… here we have quite an open eye but sometimes a hollowing eyelid can look like this.

Still an artist can achieve almond-shaped eye look by means of this technique.

It'll be very easy with the butterfly eyeliner.

By the way, I advise amateur artists to follow this rule: The external part of the lower lid, its continuation must create the necessary line.

You can attach like this and put a dot at the place where the external tip of the eyeliner will be.

It rarely happens that a client wants a curved eyeliner like this.

And theoretically, you are to talk the client out of this.

Our aim is to stretch an eye and raise it a bit, Almost all the peoples consider an almond-shaped eye to be nice.

No one draws it moving down.

No one stretches it aside.

We just need to raise and stretch it up a bit.

And now when the client is lying, eyes are closed and don't move, we can draw a clear line if we need it, as in case it's an eyeliner, Or out a series of dots and not colour it completely because I'll have to smudge it using a cotton stick For this to look airy.

We don't work with the skin between the eyelashes because it's always black.

It's just black and dense from the first eyelash to the last one, And as for the upper part of the eyeliner, the width, and the borders must be discussed with the client.

Now as we've drawn the sketch on one eye, sat down and approved it… We can't draw on two eyes at once as the client can say that it won't do And it turns out that you wasted time drawing it.

So with the open eyes, we find… Look like through me or far away …we find an external dot Where it will be.

Because eyes creases are different, on the first eye it's a bit lifted and on the other eye it's lower, it's true for all the faces.

We must find an approximate dot where our eyeliner ends, So that the eyeliners would be drawn in one direction.

That's all, I've found the direction It's very provisional.

I mean it may happen that one eyeliner must be a bit longer, than the other one, So that in result eyes would look similar to each other.

As eyes are usually asymmetrical and very often they can be absolutely different How do we fix the sketch? We do it using a waterproof white pencil.

It's very important not to draw on the skin where the pen refill lies.

You see that somewhere it has been smeared, where it mustn't be.

As for this external border, it must be clear and clean.

Otherwise, the eyeliner will dribble the white pencil and the pencil won't fix the sketch.

And you fix the sketch clearly and carefully, like this.

We usually fix only the eyeliner tip because there will be a gradually fading smoke effect or the eyeliner blends with the lash line.

And here… What a split.

… the line to the very eye angle is very important, So I'll fix the whole sketch Because I need to fix the sketch in the very beginning.

As for the treatment on eyelids, edema may often happen, But you can't improve anything later, You can't do it wider.

You just work with colour later.

So it's critically important to fix the sketch at the very beginning Before the treatment, you must find out whether your model wears lenses or not, As if she wears it, We don't have them here, she has removed contact lens already, If there are lenses, they must be removed.

It's prohibited to work with lenses on eyes, it's very important to remember, as the pigment can get between the lens and the eye cornea, And damage it.

I've seen some artists that work this way, It's wrong, you mustn't work so.

Before the treatment, you're to tell the client in details about the importance of what you're going to do.

The client must understand that she can't open her eyes, mustn't narrow his, or touch the eyes with her hands.

You'll tell about each of your moves, As people feel afraid when their eyes are closed and he doesn't see what's going on around him and what will be done to him.

So he can flinch or try to open the eyes.

You must make your client feel relaxed and tell about each of your moves, about everything you're going to do.

Anesthesia mustn't strike the eyes at all, neither an applicational anesthesia, nor the secondary one, applicational as well, but a more liquid one.

We apply anesthesia on eyelid skin from above, We'll even try to avoid applying it on the zone between the eyelashes.

We apply it using a syringe with the anesthesia inside.

We put it before the treatment.

A syringe needle is cut off in order to apply anesthesia with a fine line, which's very convenient.

The ingredients of all types of anesthesia include material that makes skin like more spongy, To let it come through deeper into skin.

That's the reason why it mustn't get on the eye.

It may also lead to an allergic reaction which is fraught with eye cornea burn.

So it's critically important to… You must explain it to your client how important it is, because.

The eye cornea burn, depending on its degree, may lead to a physical disability.

I was a witness to the situation when a client through the cover-up… she has an applied anesthesia, there's a cover-up above and she looks on her phone screen, reading a message.

So the phones are to be switched off and put away, As many people can try to see and know who's calling, opening eyes reflexively.

Also before the treatment, a client must visit a WC for not to want to get up and go there.

So, we apply anesthesia.

We don't touch this border between black and white, It has a consistency of thick gel: it's a "Light dep", I apply it on the whole surface of the eyelid.

It doesn't anesthetize right where is applied on, Its action locality is a bit wider, So you can work at the zone which anesthesia wasn't lying exactly on without any doubts.

this place is the least sensitive so, as you see, I almost don't' put anesthesia here near the tip.

If I apply anesthesia everywhere it may happen that this border will become blurred Which will make it more difficult for me to see where to work.

I apply it on two eyes at once, a bit more here where it's close to the eyelashes, But not between them.

For the anesthesia to be more effective and not to become dry, we cover it with a cling wrap.

Two pieces.

Anesthesia must lie on the skin for about 10-15 minutes, It's the time during which you're preparing your working place, Do it carefully, for not to stand up while working.

With soft moves you like stick it a bit.

You must explain to your client that if it will be a burning feeling in the eye, He is to inform you about it at once not thinking about you having drawn a sketch, Anesthesia mustn't strike the eye.

So if there's the burning feeling, it must be washed emergently.

You must have some eyedrops for abstersion near you, For such needs, we usually use aseptic water for injections.

Having an ampoule for every certain treatment, It's very convenient, Because I often saw that artists touch it with the same eyedrops can, it becomes dirty, It's unacceptable, both, for one client and especially for different clients.

So we have one-use injectional water, here it is, A usual one.

If anesthesia gets into an eye, we're to be ready to use it, And after the treatment we also use it So that the pigment wouldn't stay on the eye.

Is there any burning feeling? Is everything ok? You must warn that every strange feeling on the skin like burning, itching or tingling is ok, But on the eye, on the mucous membrane, There mustn't be any feelings like this, tingling or burning.

If they occur, the eye must be washed emergently, amply, by a stream, not by little drops.

If the sketch you have is very complicated, but it burns on the eye, You turn the head like this for not to spoil the eyeliner sketch, Raise the piece of cling wrap, And wash the eye it by the stream.

This part will be probably blurred, but this one will be saved.

The same is about this eye.

If the anesthesia gets on it, you turn the head, open the eye and wash by the stream.

So it's possible to save the sketch, even if it gets there.

But the most important thing to remember, that the anesthesia mustn't be put between the eyelashes and that's all, It'll be difficult for it to get inside.

Before the treatment, after having applied anesthesia that lies for about ten minutes, We give our clients the recordings with the information about skin reactions, about what is to be expected after the healing, how it will look like, what skin care is necessary etc.

We do it so in our studio chains for our artists not to become tired talking a lot.

Before the treatment, we wrap everything we use and touch up with a cling wrap, a barrier protection.

Because such things as stands, for example, are made of plastic and can't be sterilized.

We sterilize them before and after the treatments with special solutions however, we also wrap them up.

You also must show the client that we have one-use materials, for him to be sure that all the expendable materials are one-use only.

We're going to work with a #1 module today, a machine pen like this, a permanent makeup machine is called NPM.

#1#1 with 0,25 needle, 0,3 can be used as well.

It makes no odds.

For the zone between lashes we've chosen a black pigment, we do it always, in 100% of cases, as for the gradient, it'll be brown-black with some green shade in the middle.

theoretically, after having healed it'll have a nice tint, avoiding drawing a distinct black eyeliner.

It can always be made a bit brighter, but not looking too bright and pretentiously.

It's preferable to cover a client's chest like this because we're going to lean our elbows and because you can dribble the clothes, so it's better to cover like this.

Well… I've prepared everything necessary for the treatment: pigments.

we're going to have a black and a brown one, and a warm green shade that we'll put in the middle.

anesthesia, vaseline micro brush we're going to apply the anesthesia with, for it not to get on the eye.

It's not a cotton stick, but a micro brush that we use on the eyelid.

cotton pads cotton sticks, it's a cup of usual water that we use to wet the sticks and wipe the anesthesia off.

I've chosen the Aqua pigments, we have an NPM PMU machine, #1 module, 0,25 needle for eyeshadows.

I like using this one for eyeshadows a lot, I can't work using bunches, as the blots occur more often.

I consider #1 module to be the best variant for drawing a fine tip or making an airy shading.

The speed will be 100, the minimal one, for not to traumatize the skin a lot.

As for the needle boom where the pigment flows, I like the maximal one, I like seeing a needle, apart from controlling the penetration depth judging by the vibration in the finger tips, I also like seeing it.

So I don't work with a little boom, I'm going to fix the sketch with a brown one, the whole external part is brown.

I'll put the black colour between the eyelashes, but I can't work the black one in the part supposed to be brown and green, looking airy.

So, I'll begin working using the brown pigment.

I'll wrap the machine itself and that part of the cord I'm going to touch up.

of course, after the treatment and before it, everything is treated with a liquid, in our case, it's "Estilodez" (*Russian disinfection solution) There're many disinfection solutions, it's for you to choose.

As all these parts are made of rubber and plastic, they are impossible to put into any hot-air sterilizer, we try to come up with something.

And now I just have checked whether the pigment flows well, actually, it'll be clear only while working with the skin but still it's quite useful.

All's ok.

You are to check if there're no spatters, drops, for it not to be a problem, because if the drop of pigment gets on the skin, you'll have to wipe it off and probably lose the sketch.

So you must prepare as carefully as possible so that everything will be perfect.

Here we have some water that we'll use to wash eyes in the process of treatment.

That's all.

We're ready for the treatment.

We don't wipe anesthesia off, we sponge it with such light moves, it must soak into the skin, for not to blur the sketch, in any case.

Actually, the skin.

in general, if it's clean… even if some part of the gel ink sketch blurs, I like to see clearly the result is left after working.

If you work above the sketch made by pen, eyeliner or eyeshadows, you may lay pigment too brightly, make a mistake.

So ideally the skin must be clean, you must have the white pencil border,until reaching which you work.

You must dry it completely so there won't be any extra cream.

Hands must also be dry so that they wouldn't slide on the skin and the sketch would be fixed properly.

As we're going to draw with the brown colour, it may be unseen on the black one.

the machine must leave a series of dots, I have a big boom now, I'm to make it smaller.

To leave a well seen mark.

And the external line, the brightest one, it's very important so it's to be fixed distinctly.

As we have the brown pigment, I penetrate the skin with a needle and draw with small strokes Stretching the skin is very important during the butterfly eyeliner treatment.

I stretch the skin into four directions, I fix it with fingers, Alright? and stretch in the opposite directions.

With this finger, I also pull it and I also pull it toward me with a working hand.

It's for me to work with a stretched skin.

You can check after having covered it all.

The strokes must create a lattice, they must lie on each other to make it look even.

the better the skin is stretched, the better the pigment will lie and the easier it will be to apply it.

I dry a cotton stick a bit and in the place, I'm not afraid to lose the sketch at, I wipe the pigment off and check, whether it lies well or not The skin is traumatized a bit, in fact.

The brown colour is difficult to work with… I didn't work here, and the skin has a blue tint and here it's brown.

The brown shade suits the skin complexion.

I'd better not overdo it.

Tiny skin bruises appear here, and the green colour will be almost invisible on their background, So, we must be careful with the green colour too.

Not to put too much of it.

After having fixed the sketch, I'm not afraid to wipe it off and check regularly, because it's necessary to check the colour intensity.

Well, your skin is awesome If there's a teardrop, for example, and the fingers slide, you can stretch the skin with a cotton pad, it's very convenient.

If the pigment doesn't lie well, it's possible to apply it at an angle to the skin, into it, but only in that place where we have a densely coloured with the black pigment eyeliner.

Now it will burn everywhere, ok? I'll wave a bit.

This anesthesia burns for about 10-15 seconds and then it's ok.

We apply anesthesia on the surface we were working at.

As I have the black pigment, first I fix the external part of the eyeliner, then I wash and draw with the brown one.

The same, I put the colour and in the place I'm not afraid to lose the sketch at, I wipe it off a little, Well, the lower part of the eyeliner is fixed.

This lower part near the external eyeliner border must have distinct borders, it must be densely coloured and its tip must be distinct and fine.

So here, in the eyeliner end, I start working slower and, with small and light moves, not with big ones, with little strokes, I cover the skin till the very tip of the eyeliner, for it to be fine.

Moving to the external part, the airiest on, I make light moves, work not deeply and the step is a bit wider, so that the dots would remain.

Later they will blur in skin, but as for the lash line, here we need a distinct and intensive black colour, so here I draw dense strokes and even at a slight angle to the skin.

To analyse the situation you must wash the skin well, especially in the lash line, between the eyelashes, as the pigment here is usually not well washed, then it disappears with the crust and the gaps occur.

Now we can see that there are some gaps, I'll return here and colour it up locally making light strokes moving with a wave of the hand.

They sometimes give a nice result.

because an eyelid has its particular form and it's impossible to stretch it ideally, so you can return and fill in the gaps a bit If you swing like this covering the brow body, the bright spots will look more intensive and the pale ones will remain pale.

So you must be careful.

If your fingers slide you need either to put a cotton pad or to wipe the surface a bit to see where to work.

If it happens that the pigment drop falls, like now, I don't do anything there for not to spoil anything, I just take it away and put the pigment between the eyelashes.

For not to waste time wiping off.

While working in the lash line zone I focus on the feels in fingers.

My left-hand fingers are right near the place I work at and due to them i feel that I'm working in skin, not swinging in the air.

Between the eyelashes, it's possible to make vertical strokes following the eyelashes growth direction, as I'm doing now, or horizontal ones along the eyelid edge here is the place near the nose where you're to put black pigment densely, making it look gradually fading, moving to the inner part of the eyelashes, right to the kajal line, not in the external part.

As for the external part, at best we achieve the smoke effect here.

There mustn't be a distinct and thick line in this part near an eye angle, near the nose, where eyelashes end.

And you are to wipe it off and check regularly, Whether the pigment lies well or not.

I Draw it over with a one-use micro brush using a gel pen refill, just a drop of it squeezed on my glove Everything is one use.

In any case, you work with a traumatised skin with something reusable.

Each client must be provided with his own one-use set of materials including the pigment, instruments, etc.

Here I've lost this external line, there's no edema at all so I mark… as here a big area is covered with colour, can you see it? … edema usually occurs on the eyelid edge, you work in this part, So I need to find the tip of the eyeliner, As I've lost it here, and the width.

You can't correct anything if there's edema, you can't do it if you perform eyelid permanent makeup.

An eyelid is quite thin and on this edge and between the eyelashes the edema is maximum.

And if you begin here making it wider or narrower you can make very asymmetrical eyeliners or make them looking too thick.

We have eyeshadows so I don't correct anything just draw it a bit on the moving eyelid, Where edema doesn't occur.

Look, here it isn't covered, I'll put some green pigment here, this will be covered with the brown one.

Can you see the line? it turns out that I pull away from me with this finger and with these two I flip the lid out a bit and stretch it to fix it.

As this place near the nose is the most sensitive one and the person is a bit afraid, the eye starts twitching, which makes it difficult to get into this hidden part.

Especially while working with the hollow eyelids, it's difficult to get there.

Bur we need to paint it over, until the last eyelash, so that in case she looks up, or we work with the eye open, there wouldn't be the feeling that something is missing When such gaps appear on the black smoke zone, they can be filled in well with the help of the brown pigment.

My moves are made toward me, in one direction, an I return swinging in the air.

Like this: in the skin, in the air, and go back.

I make light moves resembling a pendulum, I penetrate the skin and move out with a wave of the hand.

Long story short, you're to make sure that everything is coloured evenly, as sometimes because of the small skin bruise it looks somewhere pale, somewhere dark… And it complicates the work of course Micro blood boils occur on the eyelids sometimes.

Before adding this light colour, a machine pen spout must be washed well for it not to draw with dark pigment.

I add this light colour with little strokes it will make it like a bit airier, and will change the shade a bit.

At the outer outline, this green colour will be almost everywhere, in small quantity, but the emphasis will be above the iris.

We must wipe it off to check whether the pigment lies well or not, isn't it too much of it.

On the brown colour, here we have a brown one and reddish tone of the traumatized skin.

it always becomes red, anyway It's difficult to see how the green pigment lies so be careful not to overdo, as after the healing, it may turn out to be very bright so at the first treatment, we often check how it looks like.

It's poured into and blends with the brown one.

After almost having finished the treatment, we must ask the client to sit down and look up.

Please, look up.

Then you'll see if the colour lies evenly in the inaccessible areas near the nose, it usually happens that one eyeliner is longer or shorter, wider or narrower, we don't need such a result.

Because of the edema an artist wants to make something wider or narrower but if it's so because of the edema, we do nothing until the correction treatment.

As for the eyelids and lips permanent makeup, if the sketch is fixed, you follow it while working, If you had lost the sketch and made your clients sit before the edema occured, it was ok.

But after the treatment, you mustn't do anything, just wait before the healing, before the edema comes off, when an eyelid narrows, as now it's blown as a balloon.

After having narrowed it will become brighter here and the form will become more clear, you must explain it to your client, that it's forbidden to work with an edema on the face.

As it may have a negative result.

And of course, it can be retouched if you see, for example, let's flip it a out bit, in the lower part, this line must reach the kajal line, it's fully coloured here in the lash line.

it must be distinctly black everywhere.

In the eyelid body, there can be little spots, but an artist doesn't need to correct them at once as they may occur because of the micro blood boils there're many blood vessels, and because of them, it may look spotty.

So we wait for the correction treatment where we improve the make up and fill in the gaps if necessary.

To get into this angle we are to pull skin toward us and flip the lower lid out a bit, and It's a must to work with a dry surface, because if it's wet and the pigment gets there, it may look like a uddle, it becomes difficult to work, and to get here in the very corner not having pulled the skin is impossible.

If I don't pull it, the skin crease covers the place I need to work at.

And it often happens that when a client lies it looks like the work is done perfectly bu later it turns out that… And this lower line must be clear and black, very distinct, thick it must be very clear near the kajal line.

Here it's the same, I stretch away from me, flip the lower lid out a bit to see the surface really well.

And here, because of the eyelid structure peculiarities, it's difficult to get here, if there's a drop and I don't see well where to work, I leave this place and move to the place I can work with, where I can fill in the gaps for example.

So, don't work if you don't see well.

it's very difficult to get into, at this side this external line must be distinct and clear, without any burrs or curves.

We have finished our treatment, as for the result, the space between eyelashes is black, there's some brown pigment a bit higher and also there's almost translucent green shade.

It's not very bright now, but as I've already said, if you cover the traumatized skin with much of the green pigment after having healed it looks too green, exaggerated.

As it wasn't our aim to make it look brightly green, we just added a bit of a green shade, for not to have a very brown eyeliner.

These eyelids are difficult to work with I'm not satisfied with some zones as there are little blood boils, and because of this it looks a bit spotty But I'm not going to make it darker, but I'll wait until everything is healed.

And in a month we'll work with a healed skin and fill in the gaps, check the symmetry, because this eye is a bit puffier than this one and there's an aspiration to make this eyeliner a bit longer, because here it looks like long and sharp, but we won't change anything now trying to achieve the symmetry to avoid removing it later.

So you must remember well that you mustn't change anything if there's an edema and explain it to your clients for them not to have any questions when an edema occurs.

Because it will come off and everything will bounce back.

or maybe some asymmetry will be left, for her not to be surprised and for her to understand that the treatment has at least two stages.

And the correction treatment is really necessary, in a month, to make everything ideal.

because it happens really often that, although the space between eyelashes has a vivid black colour and is fully covered with colour, but the pigment is likely to "fall out" the lash line and the eyeliner becomes uneven.

But it must be even, black and distinct.

You got everything, right? The correction is the thing that makes us who we are! After-treatment skin care is very simple: now we'll apply a very thin layer of vaseline on the external part just for it not to become dry.

We're also going to perform eyebrows permanent makeup procedure, and in about three hours she'll just wash it off with a light soap solution so that it won't get into the eye, or it can be wiped with chlorhexidine.

And that's all, in fact.

Just like the eyebrows: dry, 5-7 days until the crust comes off, they aren't to be torn off in any case, or to be wet, not to use decorative cosmetics, not to go to pool or sauna, well, everything as usual.

You can watch our video tutorials on this youtube youtube channel Also, you can follow us on periscope where we hold online transmissions regularly , answering many questions.

And you may ask us questions in social networks.

Thank you for watching,Bye!.

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