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In this level we will go over the basics of machine hairstrokes, the types of hair strokes used in Feather Brows as well as the basic movements necessary to execute these types of hairstrokes. Before you move into the realm of patterns it is imperative to understand the basic hair stroke types and the hand movements required to create them.

The 3-way stretch

This stretching technique will keep the skin taut, allowing for proper penetration of the needle into the skin and thus better looking work.

While performing the treatment, the skin must be stretched at three points, pulling the skin in three opposing directions. The hand holding the machine must pull the skin outward with the pinky finger.

• Hairstrokes and shading is performed in the center of the 3-way stretch.

• The fingers must be adjusted as you move to different areas of the brow.

• Be sure that you are using the brow bone as opposed to soft eye tissue for support for your stretch.

Holding your PMU Pen and body positioning

• Hold your machine low down on your grip closer to the needle. You lose control when you have your hand too high up on the machine.

• Use proper stabilization techniques for what type of work you are doing.

• Keep your elbow in toward your body. This helps with stabilization and thus helps you create more precise hairstrokes and results.
more precise hairstrokes and results.

• Using a saddle seat can help with your posture.

Holding your PMU Pen for hairstokes

It is not required to have your pinky all the way out, like it is for shading, for hairstrokes. Rather, your pinky will be under your hand slightly lifting your hand upward providing stabilization that way. Holding your machine for hair strokes is very similar to holding chopsticks.

Holding your PMU Pen for shading

When shading it is important not to the machine too tight but rather to hold it loosely while “driving” it with your index finger. Your pinky should be out for stabilization.


Proper depth is not a measurement of millimeters. You will only know the exact depth you need to work at once you make your first hairstroke, yet this depth will change depending on which part of the eyebrow you are working on.
You will know the depth you are at based on how the pigment looks in the skin, how it feels while implanting the pigment, and how the skin responds to you working in the skin. Pay special attention to reverse vibration and capillary response in the skin. Without consistent depth you will have either migration, when depth is too deep, or conversely, your work will disappear completely if you are working too shallow. Inconsistent depth within a single hairstroke will result in patchy healed results.

Depth on latex

1. Hairstroke with tapered ends and good saturation
2. Hairstroke is too shallow and depth is inconsistent
3. Good saturation but is not tapered enough
4. Inconsistent depth. Second pass was inaccurate creating a double stroke effect.

How to tell if your work is too deep into the skin

If the work was done too deep into the skin the color will turn dark immediately in that area. The pigment will look ashy, will look even cooler once it’s healed. The pigment will spread and will not stay put where it was implanted. This is a sign of pigment that went deeper in the dermal layer of the skin. If you went very deep into the dermal layer you will feel a bounce back effect. This should be avoided at all cost. Keep in mind the thickness of the skin varies with clients. A mature client will have thinner skin. It is much easier to go deeper when the client has thin or mature skin. It is always better to be work Shallow then working too deep. If you are unsure test your depth in the mid section of the brow where it could be hidden by brow hair and where the skin isn’t as thin.
Be careful working around the brow bone and the tail if the brow as it’s thinner compared to the brow head. In these areas use lighter pressure and work upward toward the hairline.

Proper depth

1. Decent saturation but hairstroke is wobbly due to an unsteady hand. Would result in a wobbly healed stroke in the skin.
2. Inconsistent depth, wobbly and double lines. Would result in a patchy and inconsistent healed stroke in the skin.
3. Inaccurate second pass creating double lines. Would result in a blurry healed stroke in the skin.
4. Wobbly hairstroke, better machine control needed. A more steady hand is needed. Would result in a wobbly inconsistent stroke healed in the skin.
5. Very deep hairstroke. Blown out, as seen by the shadowing around the line. Would result in a very thick migrated stroke in the skin.
6. Very shallow hairstroke. Little color payoff. Too little pressure and very light handed. Would result in no retention in the skin.

How to tell if your work is too shallow

You will feel a slight vibrational change when you’re at the correct depth, also referred to as a reverse vibration. This is a hard feeling to translate through text, but it will feel different than just the vibration of machine. Really pay attention to the feeling you get when you’re working. Remember that when you go deeper into the skin, this dIfference is in millimeters. The skin is very thin, the epidermis is only about the width of a rose petal. But even this varies from person to person as well as the area of the brow you are working on.
This is especially important if you are working with crisp hairstrokes. If you’re at proper depth, you will have good color retantion once you wipe away. It is normal to have to do multiple passes over each hairstroke to really build up saturation of color, but you should see each hairstroke after your first pass. It is important to practice proper depth so that you can retain your skeleton and the brow shape after you wipe the skin. Remember that the fewer passes the less trauma which equates to better healed results.
In your healed results:
If you are working at inconsistent depth and your hand and device is moving up and down slightly along the length of each hairstroke you will find that your healed results will reflect this. This is why it is very important to practice on latex continuously and have a steady hand. Your depth should be consistent and steady throughout the length of the hairstroke, aside from the entrance and exit point which will taper in and out to varying degrees, depending upon the look you are wishing to achieve.


If the pigment implantation looks spotty in some parts of the hair strokes, it means you are dipping in and out of the skin with an inconsistent depth throughout the stroke. Some skin takes the pigment easier than others. And sometimes it is not predictable from the type of skin the client has. We will talk more about this subject on Level 15.

What can block your ink flow?

Wrong needle hang (length):
If pigment is not properly flowing from your cartridge, first check and adjust your needle hang (length). If pigment is not flowing properly it will block pigment implant. If there is not enough pigment coming out of the cartridge tip make the needle hang (length) slightly shorter.

Rinse cup:
Your needle cartridge may be clogged. Be sure you are periodically utilizing a rinse cup throughout the procedure.
– How to use a rinse cup: Fill a 1⁄2 ounce cup with water and green soap. Hold just the tip of the cartridge in the liquid while machine runs. After a few seconds remove the tip of the cartridge from the cup and place it, while running still, on gauze or a wipe. This will help draw out excess pigment.

Try the following things to have better pigment implantation

• Work with a fluid motion and staying parallel to the skin at all times, at 90 degrees so that your hand piece is not leaning to either side.

• Make sure that your hand is not dipping in and out of the skin with your needle while working. This movement of going too deep or too shallow in the skin will result in inconsistent hair strokes.

• Try working slowly through each hairstroke, do a slow 5 second count in your head. (This counting

tip applies to crisp type hairstrokes).

• Adjust your voltage (Remember to adjust your hand speed accordingly).

• Try a different needle configuration or diameter. If their skin is oily and/or thick in nature, try

using a larger needle diameter (.30mm-.35mm). If their skin is thin, mature or reactive, use a thinner needle diameter (.20mm-.25mm) and/or a flex needle.

A heavy hand VS a light hand

When an artist tends to naturally apply too much pressure, they are considered heavy handed. If they use light pressure, they are light handed. Always work at a steady pace and do not rush.

How to know if you’re heavy handed

• If you are creating pigment blowout (migration), it is often immediately noticeable.
• If your hair strokes appear dark and cool in tone. This may be more common on the areas of the
brow with thinner skin but can happen anywhere in the brow.
• If there is intense color implantation after just one pass .
• Healed work comes back ashy and migrated.

If you are heavy handed it may be helpful to use a machine with a shorter stroke length. To overcome these issues, always pay attention to your depth for each stroke.

How to know if you’re light handed

• Little color retention after your first pass, or even multiple passes
• Clients return with light results, or all pigment is gone. There may be more color retention in the tail and over the brow bone area

If you are light handed it can be helpful to use a machine with more power and a longer stroke length. This will give a stronger “hit” to the skin and can help to implant pigment more readily. Some machines have multiple stroke length options or cams that can be swapped out, like the Beauty Angels PMU Pen Pro!

A few basic principles

• When you go faster, the pigment implantation becomes less and the line will be lighter.
• When you increase your pressure and go deeper in the skin the line will appear thicker and darker. If you go too deep, spreading and ashing
out (cooling of the pigment color) of the
pigment will occur.
• When you work at an inconsistent depth, with an unsteady hand, or work too shallow, your line will have patches and spots. You can have
both blowout and no retention of pigment within a single hairstroke.
• Your hair stroke may just appear red and irritated with little color retention.
These things listed above are why it is important to pay close attention to your hand speed and make
sure your hand is always steady.


Working angle

The angle at which you implant pigment is a very important principle. You can angle your handpiece anywhere from 90 – 60 degrees along the
hairstroke, but you must always work at 90 degrees from side to side. Your pigment will be implanted in the direction that your handpiece is
If you practice different angles on latex at the same speed you will see that the steeper your angle the more intense the pigment implants. 90
degrees will produce the thinnest lines with the least amount of pigment. 45 degrees will produce the thickest lines. When working at 45
degrees, it is very easy to go too deep and create unnecessary trauma to the skin.
The most delicate and thinnest areas of the skin must be treated carefully and with caution. Hairstrokes in these areas should always be done
at a 90 degree angle. An exception to this would be if the pigment was not implanted and/or the skin is exceptionally thick. In this case use a
slight angle, between 90 and 60 degrees.


These delicate areas include

•Along the bottom edge of the brow shape, closest to the eye
• Along the brow bone where skin is thinnest
• The brow bone (near the arch of the brow)
•The tail of the brow
The hair in the central part of the brow grows the fastest, is the most dense and is the thickest in diameter. In this area it makes sense to
angle your handpiece to achieve thicker, more saturated hairstrokes. Thicker pixelated strokes stand out best behind coarse hair.

Advanced methods for better pigment implantation

For skin that is not taking pigment as easily, only if comfortable, work at a 600 angle towards your body and do not tilt the PMU Pen to either
side. Take special care in the areas of the brow that are most prone to pigment migration: the under arch, above the top arch (brow bone
area), and the tail.
Pay attention to capillary response. Excessive capiliarry response may be indicative of damage caused in the skin and trauma. This may be
more common in those with alopecia.

Tapering hair strokes

All lines and hair stroke types should be tapered at the ends, especially the top ends. Long, feathery tapers on your hair strokes are good
because some of this extra length will be lost in healing.
In the photo below you will notice below that each hairstroke is the same length. However, the one that is tapered on both ends actually looks
shorter in length due to less color saturation. When working on a client you will need to add 2-3 millimeters in additional length to the ends of
your hairstrokes.

Tapering hair strokes on paper

Notice the perceived change in the length of each hairstroke based on whether or not they are tapered, despite each
hair stroke being the same length. Tapering the ends gives the illusion that the hair stroke is shorter. The longer the taper, the shorter the hair
stroke will appear, especially once healed in the skin.
1. hair stroke with taper on the top only

2. hair stroke with no taper on either end

3. hair stroke with taper on both ends

Hand Movements and Hair Stroke Types – 2.2

Different hand movements are used to create different outcomes and hair stroke types. Your second pass will perfect the hair stroke and will
often require a different movement than your first pass.

Manipulating outcomes by speed and depth

The end result of each hair stroke is dictated by your hand speed, machine speed, and depth.
When you increase your speed towards the end of a hair stroke, you will get a longer taper and more pixelation.
• The angle you are exiting the skin and the speed at which you do so matters.
• Faster movement = more pixelation.
• Long slow exit out of the skin means a
longer, gentler taper.
• A quick, steep angle out of the skin will
still create a taper but it will be shorter.

Various outcomes of different hand speeds and voltage

1. Tight and controlled short whips – Hand speed: slow
– Machine speed: fast
2. Tight but slightly longer whips than #1 – Hand speed: medium
– Machine speed: fast
3. Longer whips
– Hand speed: fast
– Machine speed: medium
4. Loose and long whips – Hand speed: fast
– Machine speed: slow
5. Long whips
– Hand speed: fast
– Machine speed: medium (same as #3)
6. Controlled long whips – Hand speed: medium – Machine speed: slow

Anatomy of a Feather Brows hair stroke

There is a specific anatomy and structure within each Feather Brows hair stroke. The ends are tapered, which is achieved by going in and out
of the skin, for crisp hairstrokes, or by using pixelation, which equals to less saturation of color on the ends.
Let’s go over the different types of hair strokes that can be applied in The Feather Brows method.
Although pixelated hair strokes are the primary type of hair stroke for the Feather Brows method, you can also utilize crisp hair strokes. You
can also mix up the types of hair strokes you use to construct your brow as long as it is blends well together.
You might first do a mono movement to create a crisp hair stroke on your first pass, do an etching motion for the second pass to add density
to the body of the hairstroke, and then finish off with pixelation at the ends to add dimension and taper to the hair stroke. Each and every hair
stroke is made up of different parts and it is important to understand its composition.
*Please note: voltage recommendations are not necessarily the ideal voltage choices for everyone. Your technique, hand speed, machine,
and among other factors, will have an effect on your results and the outcome of each and every hair stroke. Please see “considerations”
below for more information.

Types of machine hair strokes

1. Pixelated (sometimes referred to as dot-work or shaded hair strokes) – can be a fine or thick hair strokes
2. Crisp hair strokes
3. Detailed strokes (airy strokes)

Close up of different types of machine hair strokes

1. Airy (detail) hair stroke
2. Pixelated hair stroke (thick)
3. Pixelated hair stroke (thin)
4. Crisp hair stroke


There are a few different hand movements that can be used to create this type of hair stroke. Failure to maintain perfect depth along the
length of each and every hairstroke will result in gray-ish dots due to going too deep into the dermis, inconsistent saturation, creating
inconsistent and unattractive healed results.
Keep your hand movement smooth at all times, paying special attention to areas of the brow that curve along the contours of the face. Adjust
your body positioning and hand position as often as necessary to maintain proper form while working. Remember, you want to be pulling
directly toward yourself, into your body. You can also maintain this same position and flick away from yourself as well, although many find this
to be a more difficult hand movement.
You can use tight and controlled, short “whips” to create pixelated hair strokes. Increasing your length of hand movement has the potential of
increasing the level of trauma to the skin. A longer hand movement can also make it more difficult to be precise in your work and your lines
have the potential to become wide, messy, and less saturated. The faster the hand movement, and the longer your whip, the more space will
be created between pixels. You can also slow your machine speed down to achieve more space between pixels. A good time for this would
be when tapering the ends of each hair stroke.
You can also use a smoother working hand motion, this will require a lower voltage. Pay very close attention to depth using this technique.
This is a very soft, fluid motion with a slow machine speed (low voltage).
It will take multiple passes to reach the desired level of saturation for this type of hair stroke when using a 1RL. Be patient while darkening
your hair strokes and remember that some skin will take pigment more quickly and will be faster than other skin types.
You can also use other needle configurations for pixelated hairstrokes. Here are needle configurations in order of size for what implants
pigment slowest to quickest:
1RL, 3RL, 3RS, single row 3UM, single row 5UM. (UM = curved magnum or “mag”).
Note about mags: Magnums implant more quickly and can be useful for certain desired outcomes or more difficult skin types (textured, thick,
oily). Bear in mind they are an advanced method and take a detailed eye and extreme hand control to be used correctly for hair strokes. This
is even more true for regular mags compared to single row mags. Single rows are easier to work with and thus are a better place to start
when first playing around with magnums for hair strokes.
Voltage: Set your machine to 4 – 5.5 volts for pixelated hair strokes.

Pixelated (shaded)

In Feather Brows, pixelated hair strokes, also referred to as dot-work by some artists, will be most commonly used. There are a few reasons
for this:
• Pixelated hair strokes work great for a wide range of skin types
• They cause less trauma to the skin (when performed correctly!)
• They create an airy, soft effect that can still be highly pigmented
• They easily create dimension in your work
• They create varying levels of saturation for different types of hairstrokes (ie: the skeleton,
secondary, tertiary, and detail)
They create thick or thin hair strokes with this method easily
• They can create narrow hair strokes but can widen hair strokes easily


• Pixelated hair strokes can create less trauma than crisp hair strokes when performed correctly. They need to be very densely saturated with
pigment for proper healed results and a desired effect. The skeleton will be the most densely saturated with color, followed by the secondary
strokes and tertiary strokes.
• Shaded hair strokes need to be pixelated on the ends of the hair strokes, especially on the top and bottom of the brow where they end.
• Work between a 90-60 degree angle. 90 degrees is much easier to learn and master for pixelated strokes. Only begin working at an angle
for pixelated strokes when you are comfortable with the method of pixelated strokes at 90 degrees.

Simple mid pattern
– all pixelated strokes

Mid pattern
– mix of crisp and pixelated strokes


This type of hair stroke is also used when creating Feather Brows. This hair stroke type is a continuous, and heavily saturated, line that forms
the hair stroke. Pixels are hardly noticeable, or not at all noticeable. It is important to create soft tapered edges on this type of hair stroke to
create a realistic look.


Crisp hair strokes can be executed in a number of ways. The two main hand movements when creating a crisp hair stroke will be with one continuous mono movement or an etching movement. When performed correctly, the end result of both movements is a smooth, evenly saturated, crisp hair stroke. You can go back in to darken the center of the hair stroke with a shaded technique to create more depth, pixelation, and to blend out and further taper the ends of the hair stroke.
Voltage: Set your machine to a higher voltage for crisp hairstrokes, between 6 – 8 volts.
Whe the pigment pixels are packed close together, they look most similar to microblading. The major difference, however, is that you have much more control on the taper of each end of the hair stroke and can manipulate it to suit your needs. The ends of your hair strokes can be either pixelated, long and wisp, or a combination. This style of hair stroke will look solid and fine. To achieve this type of hair stroke you must go in and out of the skin to achieve a tapered effect to the ends of each hair stroke to best mimic natural hair. You also increase your hand speed at the ends of the hair stroke to create a taper.
• You can add pixelation on the ends of crisp hair strokes for a soft effect.
• It can be performed anywhere from 90-60 degrees. Working at 45 degrees is not ideal.
• It is important to go slowly. When your hand movement is too quick you are not going to be able to implant enough pigment to fully saturate the hair stroke.
• To widen, you can go back over on a second and third pass (if necessary) with a back and forth movement in the center of the hair stroke.


Detail (airy) strokes

Detail strokes, also referred to as airy strokes, are the final strokes to be completed on Feather Brows. They are lighter in saturation than the
rest of the brow, extra airy, and are noticeably pixelated. There is more space between pixels, giving them a light, airy look. They will always
heal softy and lighter than your skeleton, secondary, and tertiary hairstrokes


Detail strokes are done with soft pixelation and are performed by a controlled whip and slower machine speed. You can also utilize pointillism
to add to these soft hair strokes.
Voltage: Set the machine between 3.5 – 4.5 volts for detail strokes and increase the length and speed of your whip.
•Detail strokes are optional and only necessary if desired by the artist or by the client. They may be required where there is less natural brow
• Adding airy strokes will help you to achieve a more full or finished end result. • Because this angle produces the softest results, only work at
a 90 degree angle
for this hair stroke type.
Note: detail strokes are best performed when using a 1RL.


As with all aspects of permanent makeup, your client’s skin must be taken into consideration. Do what works for your client to best achieve
the desired result, without compromising the integrity of the skin or abandoning proper technical aspects of the Feather Brows technique.
It is important to remember that your technique and machine will also play a role in how your hair strokes turn out. You could take the above
recommendations but have a very different result than someone else using the same voltage. A few things that can affect your results:
• Hand speed
• Hand positioning and angle • Your machine’s wattage
• Your client’s skin
• Machine working voltage
Key things to remember for achieving pixelated results in both hair strokes and pixelated shading:
1. Slow hand speed
2. Low voltage
3. Soft landing on the skin or latex
4. Having a soft/gentle touch
5. Soft and fluid movement

Checking your work

Before you come to the determination that you have completed a set of brows, or even an individual hair stroke, it is important to double
check your saturation and depth. Ensure that each and every hair stroke is properly saturated with pigment and at the correct depth in the
papillary dermis to show retention in your healed results. The biggest things to check are hair stroke saturation and symmetry.

Checking hair strokes

• Examine each hair stroke up close, utilize magnifying devices such as Beauty Angels PMU & Beauty magnifier (these can also be used while
• Take a photo of the brows, zoom in, and check the hair strokes. Your camera can sometimes pick up on inconsistent saturation that we
cannot see with our eyes.
• Utilize a macro lens attachment when taking photos to get an even closer view. This is best for checking individual hair strokes. It will take
multiple photos to get clear photos of the entire brow for examination.

Things to avoid

Refer to following video


Checking for symmetry

It is helpful to have the client sit up multiple times throughout the procedure to check symmetry and make adjustments. Checking for symmetry earlier on will allow you to correct mistakes and asymmetries in your work before they become a permanent problem
Have your client sit up: halfway through the procedure, 3/4 of the way through, and again at the end for final adjustments and perfection.
Draw on any adjustments to shape and hair stroke lengths with your pencil.
• Beauty Angels Symmetry App can be utilized to check the symmetry. Take photos straight on and while the client is sitting or standing, with their eyes open.
Important: Never make adjustments to shape and hair stroke lengths while the client is lying down. What we perceive with the client lying
down is often different. Have your client sit upright and draw with a pencil where adjustments to hair stroke length is needed. After you have
done this, have your client lay back down and proceed on making the adjustments to the hairstrokes with machine.
Avoid showing your clients their brows at any point throughout the procedure. Because the client does not understand the process and may
be alarmed by the look of their unfinished brows, it can make it difficult to maintain control of the situation and can create unnecessary stress.


There are a few different exercises for this level. You will be focusing on creating straight and curved lines, both on paper and latex.  Do not rush through these exercises. They are imperative for creating muscle memory and learning how to properly execute hair strokes with your machine.
Make sure you are tapering your ends and maintaining a steady hand and an even depth throughout the hair stroke. Be sure to avoid leaning the machine to either the left or right side, keeping the machine at a perfect 90 degrees from side to side. You can go back and watch the videos in this level on how to properly execute your straight and curved lines if needed
How to submit work: Go back and click the + icon on the upper right corner of your screen to send a photo to your Master Trainer.
There are three exercises for this assignment.
In the first exercise you will be perfecting curved line on paper.
In the next er two exercises, you will be practicing and submitting straight and curved lines ON LATEX as shown below. You will be
performing ONE PASS for these hair strokes so pressure and depth can be better analyzed. When complete, take a clear photo and submit
your work to your Master Trainer using the Beauty Pro App. make sure to thoroughly clean your latex using oil and a paper towel. Baby oil,
coconut oil, or cooking spray work well for this. There should be no pigment residue on the latex once clean.

Part 1 – “S” curves with pencil on paper

Setting Up – Using a standard 8 1/2 X 11 white sheet of paper and a standard ruler, draw out 10 straight lines (on each side) running the width
of your paper. Ensure they are evenly spaced.
You will use these lines to create soft “S” curves off of, as shown in the image below. Each “S” curve that connects to the line is creating a
connection point. Focus on them connecting smoothly. The “S” should be very subtle. These are the same types of curves and connections
you will be using when creating Feather Brows.

Note: the darker “g” curves represent the lines that have Trainer using the Eyebrowlab training.  All rows should have two passes of pencil to be considered complete.


1. Draw “S” curves coming down from each of the 10 lines you have drawn.
2. Draw “S” curves coming up from each of the 10 lines. Ascending and descending lines should not share a connection point. They should
be staggered as shown in the image below.
3. Make a second pass over each “S” curve to darken and perfect. Focus on accuracy and not creating double lines


Hold your pencil the same way you hold your PMU Pen. Do not tilt your pencil to either side and only angle it 600 towards, or away from, your
body if necessary and comfortable.
When complete, submit your work to your Master Trainer on training day.

Parts 2 & 3 – Lines on latex

Setting Up – With a pencil, draw out 12 straight lines running the width of your latex. These lines will create rows where you will perform your exercise and will help keep your work organized.
When working on latex, remember to taper your lines, keep consistent depth, and to work slowly and methodically.

Part 2 – Straight Lines on Latex

With your machine and pigment make rows of crisp and pixelated straight lines. Remember to taper your lines, keep consistent depth, and
work slowly and methodically.
• Rows 1-3 are crisp, straight lines.
• Rows 4-6 are pixelated straight lines.
When complete, submit your work to your Master Trainer Eyebrowlab academy app.


Part 3 – Curved line on latex

 Rows 7-9 are crisp, curved lines
• Rows 10-12 are pixelated, curved lines.
When complete, submit your work to your Master Trainer using the Eyebrowlab academy app.