Your #1 supplier of all your semi permanent/micro-pigmentation cosmetic tattoo supplies.




How to use Pigments

Colours are optional for every skin tone. A client’s needs are always considered and this is a general guideline for choosing colour in semi permanent makeup for lips, brows and eyeliner



Chocolate Brown is the darkest shade to use on brows. It consists of ½ black ½ brown.

Use Deep brown, Dark Brown, Brown, Expresso, Coffee, Mocha, Light Brown

Golden Brown and Taupe.


Chocolate Brown

Use this colour for Asian, African American, Latino and/or olive skin persons. A light brown wash can be added to achieve a softer look. Add red or orange to prevent any grey/blue tones.


Dark Brown (Ash Base)

This colour is lighter than chocolate brown. Can be used with all skin tones, mostly Asian, Latino and/or olive skin. Adding orange or light brown will produce a more natural look.


Brown (Reddish Base)

Mostly used for people with red hair because the warm red tone in this pigment compliments red/brown shades of eyebrows. If skin has a lot of yellow tones, this colour will add a warmer, brown tone.


Light Brown (Golden Base)

Used for persons with highlighted hair, light skin or younger people for a softer look.


Golden Brown (Golden Base)

Soft muted colour for light browns to blondes.


Taupe (Yellow Base)

For persons who have blonde hair and fair skin. Also used for younger persons enhancing the eyebrow shades.



For people with salt & pepper grey hair.





Use Midnight Black, Wet Black, True Black, Jet Black, Chocolate Brown, Black, Blue and Green.

These eyeliner pigments can be used according to the person’s preference.

We suggest no colour lighter than Chocolate Brown.


Midnight Black

Blue base and will fade out to a blue/black.


True Black

Consists of violet and red which stops fading and colour change.


Wet Black

Consists of red which keeps a slight shine and darkness.


Jet Black

The only carbon-based pigment in the Bio Touch range. It holds longer in the skin and is used to outline all body tattoos.


Chocolate Brown

Comprises ½ brown and ½ black pigment.


Blue and Green

These colours appear much darker in the bottle and do not hold well without the addition of black.

If your clients chooses Blue or Green it will require multiple applications to achieve the degree of colour required or add a drop of black.



Use Blush, Red Wine, Pink Mauve, Rose Red, Burgundy, Japanese Red and Dark Red.


(Note: It is important to check on natural lip colour to determine usage of pigment.

  For lips with very little natural or no colour

  • Use Rose Red for a soft look. Or Pink Mauve or Pink for more colour
  • For a more dramatic look, use Red Wine, Japanese Red or Red.

For lips with rust or earthy lip colour

  • Use Rose Red, Blush or Dark Red. Add Beige or Skin to create a softer look.
  • For a more dramatic effect try Red Wine, Japanese Red, Burgundy, Strawberry or Mystic Red.

For lips with a dark brown or purple tone use

  • Strawberry, Pink or Japanese Red.

The above lip tone tends to turn all pigment into a brown colour. Use Red or Orange to prevent this from turning too dark. Lips will still be able to have a nice rust shade if desired.


Red Wine & Burgundy (Blue Base)

Avoid mixing Burgundy with Dark Red. Burgundy has blue base Dark Red has brown base. 


Rose Red

Use on fair skins.


Blush Or Dark Red (Brown Base)

Mostly used on people with olive skin but when used on dark natural lip colour it might turn into a darker brown shade.


Pigment Do’s & Dont's


Pigment Do's:

Store pigment tightly sealed and in a cool dark cabinet.  Always shake bottles well for proper disbursement of colour.


Determine if your pigment is a ‘Cool’ or ‘Warm’ based pigment prior to use.

Using multicolours on one procedure will create a much more realistic effect but will take more time.


Mix colours using your lightest colour first, followed by your darker colours. You will mix less pigment.


Each application of pigment builds colour volume in the skin i.e. gets darker with each application.

Use pigments with a macron range of 6-8, this should ensure against possible migration of the pigment in the skin. All Bio touch pigments are in this category,

The undertones of all black pigment starts out blue based, but with True black there is red and violet added to counteract this happening, therefore this colour will always stay black. Wet black has red added to give more of a shine effect whereas True Black is a matt colour.


‘Patch test’ clients with known sensitivities/allergies to cosmetics, drugs etc.



Pigment Don’ts

Colours from the same manufacturer can be mixed together. Try to keep organics to organics and iron oxide to iron oxide. DO NOT mix colours together from different manufacturers unless specified by the manufacturer.


Never reuse or save used pigment, it may be contaminated with bacteria and/or body fluids.

Do not use a ‘Red Brown’ pigment around the eye area as the eyes will appear bloodshot looking. Never use lighter colour than a Chocolate Brown which is ½ black ½ brown.


Do not use body tattoo colours purchased from the internet or from regular tattooist as they are different to those used for semi-permanent cosmetics.  However, semi-permanent cosmetic pigments may be used for body tattooing.


Do not look at your colour through your pigment bottle. Plastic bottles tend to pick up a yellow or greenish cast from the plastic. To view correct colour, open the bottle and view colour.

If your client wants a ‘blue-toned’ healed colour, do not add any other colour to their ‘cool’ pigment formula.


If you are concerned about blacks ‘appearing’ blue, patch test the client and wait 4-8 weeks for a final assessment of colour.


Do not add White to lighten pigments for the face. If your client ever has Laser on the face the pigment will turn Black. Only use White for petite body tattoos.

Colour - Trouble Shooting


Blue pigment heals the darkest in the skin; it is the heaviest densest colour in tattooing.


Yellow pigment heals the lightest in the skin.


Use caution when using white pigment colours alone or mixed in other colours. White has a tendency to float on the skin; almost giving it the appearance of raised or scarred skin tissue. If you use a pre-mixed colour with white in it from the manufacturer you should be safe to use it.


If pigment gets too thick in the cap while working, we use a few drops of a re-wetting solution or liquid anaesthesia to make the pigment thinner/creamier.


If the pigment gets too thick in our bottle we use a few drops of re-wetting solution.  We save the anaesthesia for actual application time. Re-wetting solution is the proper levels of alcohol, glycerine, deionised, sterile or distilled water.

Do not add straight glycerine to your pigment. It may make your pigment creamy for application and may take longer to heal in the skin and may cause photo sensitivity.


If a client has irregular lip tones, choose a colour that has some white in it. You will have greater success to even out the lip colour. Ask your pigment supplier which pigment colours these are.


You may mix any camouflage colours together to create the proper skin tone and balance for your client.


DO NOT mix colours from different manufacturers together unless they tell you that it is alright to do so.


When inserting pigment for a traditional tattoo, a certain sequence must be followed. Pigment should be applied from the darkest colour to the lightest colour. The proper sequence should be: Black, dark purple, blue, green, light purple, brown, red, orange, yellow, beige, skin tones and white. The exception to this is when you are camouflaging skin tones.

When camouflaging, always start with the lightest colour.


Always check the base colour of your pigment before you begin application.


Do not look at the colour through the bottle. Many plastic bottles pick up certain hues of colours (especially yellows) and look very misleading.





1. Shake the bottle well and place a drop of pigment on ‘the top’ of a white piece of paper.


2. Place a drop of distilled or sterile water on the pigment and let it run down the page.


3. When the drop of pigment and water reach the bottom of the page you should be able to         tell what the base colour is.





If a client complains about their pigment colour changing, check these things out with the client:


During the healing process, did the client?


Follow their after care instructions exactly?

Pick off any crust/scabs?

Use any skin lightening products? (AHA’s, Renova, Retin A etc..)

Touch their procedure area with their fingers as the area was healing?

Smoke while the lips were still healing? The paper on a cigarette filter may pull out the colour on the lips as the procedure area is healing.

Start any new medication?

Become ill?

Go in salt water or chlorine?


After the procedure has healed, did the client?


Get a tan?

Lose their tan?

Change jobs, and are now working under different lighting conditions?

Take, add or change medications or herbal products?

Use a total sun block on the procedural area?

Use any skin lightening products? (AHA’s, Renova, Retin A etc…)




We all want to help people who have unsatisfactory semi-permanent make-up results.


But, beware, you are now taking on the added responsibility of that client.


Who does the client sue if they are unhappy?


…the last person who has worked on them!!!!


Many times the client complains to the new technician about how bad their semi-permanent make-up is.They want the new technician to fix their problem and not charge them for the repair or correction, because they have already paid the initial technician.


This has nothing to do with you!


Do not let the client talk you into any repair or correction work that is above your expertise or you just choose not to work on.

Camouflage Techniques

Technicians are encouraged to join our training course for proper camouflage education.

Using Pigment to Camouflage.


Basic Technique for color correction and minor mistakes:


  • Use 1 drop of “Beige” Micro Pigment or “Pure Nude". Add 10–20 drops of water, depending on how dark the area is to be concealed or corrected 
  • Too much beige can result in white patches, and too little may require more touch-ups, so it is best to really evaluate the color and dilution.
  • Use a 7 prong needle in a circular motion a shading method of blending. 
  • To get good coverage, concentrate on the area to be corrected by layering lightly, adding additional layers as needed. Then gradually spread out to blend in the edges with the rest of the client’s skin tone. 
  • Concentrate on the blending!  Even with conventional makeup, concealers have a tendency to look too thick or blotchy if not blended properly. This is essential when doing correction with permanent makeup for a natural appearance.
  • After the first procedure when the skin has healed, you should see great results and coverage. However, if you determine the camouflage is not satisfactory, it is most likely due to the following:
  1. Not enough pigment was used so the original demarcation is showing through.  A second application will be required.
  3. Too much pigment was used causing a caked, blotchy appearance. If this occurs, take an empty needle, allow the area to bleed a little, and the patchy color will eventually peel off.

Loss of pigmentation on the skin whether caused by accidents, medical procedures, birthmarks, or a multitude of other skin irregularities are frequent problems that can be helped with permanent make up and an experienced technician.

Keep in mind there are constant changes in body temperature, such as sun exposure etc., that can cause subtle changes in the coloring of the skin.

The color you select to use for camouflage should best represent the skin tone in its most common or day-to-day colour. 


Colour Lift


Use alone without the use of a needle for penetration. Colour Lift can be used as a topical gel that works with the skin’s pH balance causing problem areas to be exfoliated off at the surface. 


Needle Procedure:  With a dry needle, break open the skin enough for deep penetration. The properties in the gel can enhance camouflage procedures in the following ways:


  • As a pre treatment before getting a camouflage procedure done. This will help to begin the lightening and exfoliation process. Helps prepare the area by giving the technician a cleaner “beginning” tone to match.  
  • Use as a “after care” treatment to promote more peeling and fading of the procedure area. 
  • Use if the pigment for camouflage turns out to be too dark or the wrong color after a month or so of healing.    

Important Considerations:


Some skin conditions and corrections are best handled by a laser doctor or medical advisor.  Permanent pigment camouflage cannot disguise extremely elevated scarring or texture of the skin, nor can it ever restore a person to what they were before the loss of pigment or scarring occurred. This would include burn victims, cancer patients, breast reconstruction or scar   tissue. 



  • Evaluate the skin type before using permanent pigment.
  • Perform a skin patch test before a procedure.
  • Do NOT work on individuals with keloid formations or persons known to have medical conditions. 

Colour Corrections:


When a brow tattoo starts to look pink or salmon or even purple!

Remember all browns are made up of red, blue and yellow. If a client has a tendency to throw the red colour or you have used a prominent red based brown, correct using Pure Olive Drab corrector.

This is a olive tone which when implanted over the red tone or pink tone will turn it back to a brown like magic !!

If you study the colour wheel or are an artist or hairdresser all this makes sense. Go lightly over first run to see how the colour is taking then proceed as if putting in the full brow colour. If you just have patches of this red tone only go over the areas that require a colour change.


When a brow tattoo starts to look blue!

If the client is holding the blue from the brown or maybe the initial therapist used a black (we never encourage black for brows) use Blue Eyebrow Corrector as this has a warm orange red tone and will bring the brow back to brown.

Usually one treatment is all that is required. Leave for 4 weeks and if further colour is needed continue.

Often this is all that is required, maybe just add a few hair strokes.


A lip may start to look blue!

Remember all lips have a blue base, so if you used a blue base colour like a red, you can expect many clients especially a Fitzpatrick 3-4-5 to have a tinge of blue, correct with the Blue Lip Corrector.