The well-known artist, Tina Davies, likes to classify her client’s skin according to foods;
Fitzpatrick’s Skin Phototypes
Another commonly used system to describe a person’s skin type, especially in terms of response to ultraviolet (UVR) exposure is the Fitzpatrick’s Skin Phototypes.
|EGG: THINNEST, HYPERSENSITIVE|
Pinkish skin tone
Translucent with barely any upper skin layer
Invisible pores on eyebrows
Could have or be susceptible to Rosacea or dermatitis
Fitzpatrick Scale 1
Bleeds immediately on needle contact
|GRAPE: THIN, BUT NOT SENSITIVE|
Ivory/fair skin tone
Fitzpatrick Scale 1 – 2
Can bleed easily
Non-translucent Fitzpatrick Scale 2 – 6
Doesn’t bleed easily
Can be sensitive
Fitzpatrick Scale 2 – 6
Either be non-sensitive or sensitive
Can bleed easily
The most difficult skin to work on is the EGG and the ORANGE.
- The egg skin is difficult because the client is likely to bleed very easily, which can push out the pigment that you are placing into the skin during the procedure and therefore, your strokes will not retain as well.
- The orange skin, oily due to the large pores make it difficult to retain pigment as well as due to excessive oil production in the skin, which pushes pigment out of the skin faster than dry skin types over time.
- These skin profiles will have A LOT to do with how deep you will be implanting pigment into your clients skin once you have fully assessed their skin.
Note: Fitzpatrick skin type system does not apply in all cases. You can have Latin or Asian skin that is sensitive as well. The Fitzpatrick skin type is just one piece of the puzzle when assessing your client’s skin overall.
- The client’s assessment should be looked at as a whole picture, and each piece does not necessarily deem them a good or bad candidate for the microblading or digital machine technique. It will be all the factors working together that will help you determine your client’s skin type, profile, and tolerance.
- The most important way to understanding how deep you should be implanting pigment into your client’s skin is to assess how thick your client’s skin is. Once you know your client’s skin ‘food’ (Egg, Apple or Orange) profile, you will know its tolerance and will automatically adjust your pressure to the proper depth. A tell-tale sign that you have implanted your blade deep enough into the skin, or not too deeply into the skin, is when you see a fine split in the skin. Your stroke should look like a fine paper cut. On the second pass of the procedure is when you will define the depth of your stroke, and making sure that the whole stroke created is the same depth throughout. You don’t want to overwork the brow, therefore 2 passes over the skin are more than enough.
- Pay attention and start noting in your files which food profile your client most closely resembles, and you will be able to predict their healing and retention patterns. This will help you be a better artist and you will be able to recognise which technique will best suit your clients skin type, ie the microblading technique, or the digital machine technique.
- As a new artist, it can be challenging, but it is important to practice on models and get as much experience on the skin as possible. This will allow you to make note of how you interacted with different skin types, continuously learn more as you practice, and have better results with each client!
The thinnest part of the eyebrows is from the arch to the tail, so this is where you need to pull back your pressure so as not to implant too deeply into the dermis, otherwise, it may heal too dark/concentrated/ashy, also causing migration. This is even more evident and important in mature/F1-F2 skin types as this skin is very thin.