The Art of the Perfect Match: FACE Pigments for PMU Professionals

Choosing a permanent makeup pigment is not simply a matter of finding an attractive colour. A professional must also consider the treatment area, the client’s natural colouring, the existing pigment in the skin, the intended intensity and the way a particular formula fits the artist’s technique. The FACE pigments collection at BVShop brings these decisions into one coordinated colour system for brows, lips, eyeliner and advanced camouflage work.

The current BVShop range includes FACE Organic, Hybrid and Mineral pigments; the FACE x Maria Kosko lip collection; FACE Camouflage Pigments by Tatyanina; targeted colour correctors; and practical supporting products. Instead of treating every bottle as an isolated shade, this guide explains how the collections relate to one another and gives a concise overview of every colour currently represented in the main FACE pigment range.

All FACE pigments discussed here are intended for trained permanent makeup professionals. Shade names are a useful starting point, but colour selection should always follow a client consultation and professional assessment of the natural lip or brow base, skin undertone, previous PMU, desired result and applicable manufacturer instructions.

Why the FACE System Is Organised into Different Collections

FACE does not organise its catalogue by colour alone. The same visual family—brown, pink, red or black—can appear in more than one collection because the bottles have different compositions, treatment roles and levels of colour intensity. This is why choosing between FACE Organic, Hybrid and Mineral pigments is as important as choosing between warm brown and cool brown. The collection tells the artist how the colour is positioned within the system; the shade name then narrows the aesthetic direction.

According to the manufacturer, the Organic Line is an organic-dominant hybrid system intended for quick application and high colour presence. The range sold by BVShop as the Hybrid Line is a mineral-dominant hybrid system designed as a versatile middle ground, while the Mineral Line consists of inorganic mineral pigments without organic colour additives. FACE presents indicative retention categories of approximately 90–100% for the Organic Line, 60–80% for the Hybrid Line and 50–60% for the Mineral Line. These figures describe the manufacturer’s line positioning; they are not a promise for an individual client. Actual healed retention is influenced by skin characteristics, implantation depth, technique, equipment, aftercare, lifestyle and the artist’s colour plan.

The three formula families also create different practical expectations. A highly colour-rich formula can be useful when the treatment brief requires visible saturation, but it leaves less room for casual overworking or imprecise colour choice. A mineral formula can support soft, controlled eyebrow work and gradual colour development, but it requires the artist to understand how understated healed results fit the requested design. A mineral-dominant hybrid offers a balance between these approaches and is represented across more treatment areas.

For that reason, the FACE catalogue is best read through four connected questions:

• Where will the pigment be used? Lips, eyebrows, eyelids and specialist camouflage work require specifically intended products.
• What formula behaviour suits the case? Organic-dominant hybrid, mineral-dominant hybrid and pure mineral systems occupy different roles.
• What colour family is needed? First choose a suitable nude, brown, pink, red, black or corrective direction.
• What undertone and depth will support the final goal? Warmth, neutrality, coolness and saturation must be evaluated against the client’s starting point.

FACE Pigments at a Glance

FACE Collection	Main Role	Colour Character	Useful When
Organic Pigments	Lips, brows and selected modifiers	Expressive, colour-rich palette	The brief calls for visible colour and a broad choice of warm, neutral and cool shades
Hybrid Pigments	Lips, brows, eyeliner and correction	Balanced mineral–organic system	The artist wants one versatile family spanning multiple PMU areas
Mineral Pigments	Brows and brow colour adjustment	Natural brown, blonde and modifier spectrum	Soft, controlled brow work and deliberate tone building are priorities
FACE x Maria Kosko	Lips	Four mineral-hybrid brown and nude tones	A contemporary, refined lip palette is required
Camouflage by Tatyanina	Advanced skin-tone camouflage	Five light-to-dark beige tones	A trained specialist is planning eligible scar, stretch-mark, vitiligo or areola work

Understanding Organic, Hybrid and Mineral PMU Pigments

The words organic, hybrid and mineral describe pigment systems, not a simple hierarchy of quality. No single composition is automatically the correct choice for every client or technique. The practical value of the FACE range is that artists can select within coordinated families rather than forcing one formula to cover every treatment.

FACE Organic Pigments

The FACE Organic Pigments collection is the most colour-forward family in the range. Its 21 shades cover both lips and brows, including expressive berry and red lip colours, quiet nudes, professional mixing shades and a compact eyebrow spectrum. This line is especially useful for artists who want strong colour identity and many possibilities for custom blending.

Despite the name, these are not pigments made only from substances of botanical origin. In pigment terminology, “organic” refers to the chemistry of the colour components. FACE describes the line as hybrid pigments with a predominance of organic components. This distinction matters because clients may incorrectly understand “organic” as meaning natural, plant-based or automatically gentler. A professional explanation should focus on formula type, intended use and verified compliance rather than using the word as a wellness claim.

The Organic Line is built for colour confidence. Its lip selection contains delicate neutrals, modern pink-browns, cool berries, ruby and red-brown shades, as well as specialised colours for changing the temperature or depth of a mix. The brow side follows a compact light-to-dark progression: PITT and LEO occupy the light end, JOHNY supplies a central neutral brown, SERKAN adds warmth, KEANU adds cool depth and Orange provides corrective warmth.

FACE positions this formula family with the highest indicative retention category in its catalogue. That makes disciplined shade choice especially important. An artist should not select a cool, dark or dominant shade simply because it looks attractive in the bottle. The natural base, target intensity and potential need for warming must be considered before implantation, particularly with powerful modifiers such as NOIR and SHAYK.

• Best represented by: vivid lip colours, nuanced nude lip shades, brow browns and modifiers.
• Undertone range: warm, neutral and cool options are all present.
• Professional value: the palette can move from understated enhancement to more saturated colour without leaving the same coordinated collection.
• Important distinction: NOIR and SHAYK are presented as modifiers rather than straightforward standalone lip colours, while Orange is a targeted warmth-restoring corrector.

FACE Hybrid Pigments

The FACE Hybrid Pigments collection is the broadest multi-area system. It combines 29 core Hybrid Line shades with the four FACE x Maria Kosko mineral-hybrid lip pigments. Within the core line are lip colours, eyebrow shades, two eyeliner blacks and three colour-correction pigments. For a studio building one versatile FACE palette, this is the most functionally diverse starting point.

FACE describes its core hybrid system as having a higher mineral-pigment content. In practical catalogue terms, it sits between the colour-rich Organic Line and the pure Mineral Line. The manufacturer positions it as faster to implant than the Mineral Line and suitable for artists across experience levels, while still requiring professional training and area-specific technique.

Its greatest strength is breadth. A lip artist can move from pale SCHERBET and soft QUARTZ through caramel and pink-brown nudes to scarlet CHILI, cool CHERRY or aubergine DETROIT. A brow artist can work through SANDY, HAZEL and MOCCO before reaching ESPRESSO, using CINNAMON where added warmth is appropriate. Eyeliner specialists receive two purposeful blacks instead of a large collection of minor variations, and corrective specialists have yellow, red-orange and olive-green tools.

This breadth does not mean every shade can be moved freely between treatment areas. The line contains area-specific pigments within one formula family. SPACE and COAL are intended for eyelids; the lip wardrobe is developed for lips; SANDY, HAZEL, MOCCO, CINNAMON and ESPRESSO form the principal brow palette; and MUSTARD, BRICK and OLIVE have corrective roles. Product purpose must always take priority over apparent colour similarity.

• Lip palette: nude, pink, berry, red, brown, peach and lilac directions.
• Brow palette: five shades ranging from soft blonde-friendly SANDY to deep ESPRESSO.
• Eyeliner palette: SPACE for saturated definition and COAL for a softer black result.
• Correction palette: MUSTARD, BRICK and OLIVE address different unwanted residual colour directions.
• Collaboration palette: Cream No.1, Taupe No.2, Mousse No.3 and Brownie No.4 create a cohesive modern brown-nude lip wardrobe.

FACE Mineral Pigments

The FACE Mineral Pigments collection is centred on eyebrow PMU. The current core range contains 13 shades: nine principal blonde-to-dark-brown colours and four pigments used to modify depth, warmth or overall balance. This structure helps artists select a suitable starting brown and then refine it deliberately instead of relying on one universal bottle.

FACE identifies the Mineral Line as an inorganic system without organic colour additives. The collection is intended for artists who understand how to construct eyebrow colour through bases and measured adjustments. Rather than promising maximum saturation, the manufacturer emphasises a softer retention category and gradual, even fading without unwanted grey direction when the products are selected and used correctly.

The line is not merely a row of brown bottles. BLOND and DARK BLOND address the light end of the spectrum; LIGHT, MEDIUM and WARM cover frequently requested light-to-medium brow plans; WARM BROWN, BROWN, DARK and BRUNET build increasing richness and depth. BLACK BROWN, GRAPHITE, BRONZE and GOLD then act as precision tools. The artist can add cool depth, neutral depth, warmth or lightness without abandoning the mineral system.

This makes the Mineral Line especially relevant to studios that favour delicate powder effects, natural-looking structure and conservative colour planning, as well as artists working with mature clients who may request subtle definition. It should not, however, be reduced to “the light option”. DARK, BRUNET, BLACK BROWN and GRAPHITE allow strong depth when the client and technique justify it.

• Main brow colours: BLOND, DARK BLOND, LIGHT, MEDIUM, WARM, WARM BROWN, BROWN, DARK and BRUNET.
• Adjustment shades: BLACK BROWN and GRAPHITE add depth; BRONZE brings warmth; GOLD helps lighten and balance darker mixtures.
• Colour direction: the range spans soft wheat and light brown through neutral medium tones to cool or dark brunette options.
• Professional value: artists can build subtle changes in depth and temperature while remaining within the Mineral Line.

FACE Lip Pigments: Four Distinct Colour Wardrobes

The FACE Lip Pigments collection should not be read as one long sequence from light to dark. It contains distinct palettes with different creative roles: the Organic Line for colour-rich versatility, the Hybrid Line for an extensive mix of modern neutrals and expressive colours, the Maria Kosko collaboration for brown-nude refinement, and selected modifiers or correctors for customisation.

FACE x Maria Kosko Lip PMU Pigments

This four-shade collaboration is organised as a deliberate progression through contemporary brown and nude lip colour. Each pigment may be used as a considered individual choice or as part of a custom mix, subject to the artist’s assessment and the manufacturer’s directions.

The Maria Kosko palette is narrower than the main FACE lip ranges by design. Instead of trying to cover every red, pink and berry direction, it concentrates on refined brown-based colours that echo the modern lip-pencil and understated nude-lip aesthetic. The four shades are mineral-based hybrids, allowing artists to create a coherent consultation story from barely-there caramel to deep chocolate brown.

The collection is useful for clients who ask for “brown nude” but mean very different things. On one person, that request may describe an almost invisible caramel veil; on another, a cool brown-pink contour; on another, a balanced mucosal brown; and on another, a visibly saturated chocolate nude. Cream, Taupe, Mousse and Brownie give the artist four separate answers rather than forcing one brown pigment to perform every role.

• Cream No.1: a delicate caramel-brown shade developed for exceptionally soft, natural colour, with particular relevance to pale or very lightly coloured lips.
• Taupe No.2: a deep, refined brown that develops into a subtle brown-pink direction and can support the modern nude lip-liner aesthetic, especially on cooler lip bases.
• Mousse No.3: a universal pure brown without a pronounced pink or orange direction, designed to remain close to a natural mucosal tone.
• Brownie No.4: the richest chocolate-inspired brown in the group, intended for more pronounced yet sophisticated brown-nude results.

Together, the sequence moves from light caramel through taupe and natural brown to a deeper chocolate brown. This makes the collection easy to understand during consultation: first establish the desired depth, then evaluate whether the client’s natural lip base calls for warmth, restraint or further customisation.

Cream No.1 is particularly nuanced. Although it is the lightest shade, BVShop’s product information describes it as highly covering during implantation and recommends building the colour gradually while allowing it time to develop visually. Taupe No.2 is not intended to create the appearance of dark lipstick; its appeal is the subtle brown-pink direction it can produce on an appropriate natural base. Mousse No.3 avoids an obvious pink or orange bias and therefore acts as the most neutral brown anchor. Brownie No.4 adds the greatest depth and is the natural choice when a client’s idea of nude is richer and more defined.

These pigments should still be evaluated against the unaltered lip colour. Pale lips, vascular cool lips, naturally bright mucosa and strongly pigmented lips do not respond identically. The same bottle may appear warmer, cooler, lighter or more muted once seen through the client’s natural base.

FACE Organic Line Lip Shades

The Organic Line lip family contains 15 lip colours and mixing shades. Rather than listing them randomly, it is more useful to view them as four tonal groups.

This is the most expressive FACE lip wardrobe. Its light and neutral side supports subtle enhancement, while the berry and red side is capable of far stronger colour identity. Several shades are designed to stand alone on a suitable base, but the line becomes more versatile when artists understand which pigments anchor a mix, which brighten it and which should be handled as dominant modifiers.

The neutral group—VIKTORIA, JENNIFER, SAMANTHA, CARRIE and MIRANDA—is commercially important because “natural lips” is not a single colour request. It can mean muted brown-pink, pale warm nude, balanced pink-brown or softly warmed beige-pink. Keeping several neutral directions helps the artist avoid solving every consultation by merely diluting one universal pink.

The saturated group provides genuine tonal variety rather than a sequence of similar reds. JOLIE is peony pink, BELLUCCI is ruby-cherry, PARIS is pink-berry, MEGAN is pink-red berry, TYRA is grape, and CHARLOTTE is red-brown. COSMOPOLITAN brings warmth to pale or cool-looking lips. MOORE, NOIR and SHAYK then extend the palette by changing warmth and depth.

Natural Browns and Nudes

• VIKTORIA: a balanced neutral brown-pink for timeless, muted lip results and custom mixes.
• JENNIFER: a universal muted brown-pink with a natural, polished character.
• SAMANTHA: a light warm pink-nude for delicate enhancement.
• CARRIE: a neutral pink-brown for a sophisticated nude direction.
• MIRANDA: a muted warm nude with a soft pink undertone.

Pinks, Berries and Reds

• JOLIE: a cool peony pink with a refined floral quality.
• BELLUCCI: a cool ruby red softened by cherry-pink nuances.
• PARIS: a vivid cool pink-berry for energetic colour.
• MEGAN: a juicy cool pink-red berry shade.
• TYRA: a deep cool grape direction for bold berry-toned work.
• CHARLOTTE: a deep cool red-brown for saturated lip colour and blends.
• COSMOPOLITAN: a warm pink that can refresh pale or cool-looking lip bases.

Warmth and Colour Adjustment

• MOORE: a warm maple-toned pigment that can be used to introduce warmth or support colour adjustment.
• NOIR: a deep cool lilac-brown modifier for darkening compatible lip mixtures; it is not positioned as a pure standalone shade.
• SHAYK: a highly saturated cool brown modifier for controlled depth in custom lip blends; it is likewise intended for mixing rather than solo use.

FACE Hybrid Line Lip Shades

The Hybrid Line offers one of the widest lip palettes in the FACE system. It can be divided into understated everyday shades, brighter pinks and reds, deeper statement colours and pigments with a corrective role.

The mineral-dominant hybrid construction gives this collection a different role from the Organic Line. FACE positions it in a medium retention category and describes it as quicker to implant than the pure Mineral Line. For the artist, the important advantage is not a numerical promise but the ability to work within a broad, coordinated colour family that contains both everyday commercial shades and more complex corrective directions.

The neutral section is deliberately broad. QUARTZ and BLUSH occupy soft pink territory, SUGAR and CARAMEL move into warmer brown-based nudes, LAST LOVE introduces a restrained red core, MARSALA deepens the mood with wine and dusty rose, and SCHERBET provides a lightening direction. This allows a studio to build a nuanced nude menu without presenting every client with the same healed pink.

The bright section is equally structured. TOKYO is an unapologetic cool hot pink; CHILI is a warm scarlet; CHERRY is a cooler wine red; GRANATE and STRAWBERRY explore bright red-pink territory; PAPRIKA is warmer and fuller; RASPBERRY centres on vibrant warm pink. DETROIT, LILAC and AMSTERDAM introduce purple and lilac dimensions that require careful undertone assessment. TOFFEE and APRICOT supply warmth for appropriate deeper or cooler lip bases.

Cold shades should never be stacked automatically on a cold lip base. FACE specifically cautions against indiscriminately combining several cool pigments such as AMSTERDAM, LILAC, TOKYO, DETROIT and TYRA. Warm or neutral support may be required, and strongly cool or dark starting conditions demand an individual neutralisation plan rather than a fashionable shade selected in isolation.

Nudes and Soft Everyday Shades

• LAST LOVE: a nude with a crimson core, balancing quiet neutrality with restrained red.
• QUARTZ: a muted pink nude for a fresh, softly flushed effect.
• SUGAR: a warm caramel nude with a gentle confectionery warmth.
• MARSALA: a deep cool nude with wine and dusty-rose nuances.
• CARAMEL: a natural pink-brown created around the classic nude-lip direction.
• BLUSH: a balanced neutral soft pink that functions as a versatile nude.
• SCHERBET: the lightest bright-neutral pink in the line, useful for soft nude results or lightening compatible blends.

Bright Pinks, Reds and Berry Shades

• TOKYO: a saturated cool hot pink with a distinctly expressive character.
• CHILI: an intense warm scarlet for unmistakably red results.
• CHERRY: a cool cherry-wine shade offering depth without losing elegance.
• GRANATE: a juicy bright red with a pink undertone.
• PAPRIKA: a warm, saturated red-pink with strong visual presence.
• STRAWBERRY: a bright warm red-pink suited to energetic lip colour.
• RASPBERRY: a vibrant warm pink that can be used alone or adapted through mixing.

Deep, Cool and Corrective Directions

• DETROIT: a deep cool purple-aubergine shade for dimensional, dramatic lip colour.
• LILAC: a cool pink-purple for a softer, more refined take on violet.
• AMSTERDAM: a cool light-lilac pigment used in carefully planned lip work and custom correction; it should not be treated as a universal standalone shade on cool lips.
• TOFFEE: a warm pink-brown designed to add flattering warmth, particularly where the natural lip base is cool or deeper.
• APRICOT: a warm peach pigment used to address blue, purple or grey-looking lip undertones and to warm compatible mixtures.

FACE Brow Pigments: Choose the Base Before the Depth

The FACE Brow Pigments collection combines three approaches: the Mineral Line for measured, natural brow construction; the Hybrid Line for a concise five-colour working palette; and the Organic Line for more colour-rich brow shades. It also gathers the FACE correctors that professionals may use when old PMU has shifted into an unwanted colour direction.

These subcollections let a brow artist choose formula strategy before selecting colour. The Mineral Line offers the greatest number of conventional blonde-to-brunette bases and the most detailed modifier system. The Hybrid Line condenses the everyday spectrum into five adaptable colours. The Organic Line provides a similarly compact light-to-dark journey but with an organic-dominant formula and stronger manufacturer-positioned retention.

The three families overlap visually but are not duplicates. A neutral medium brown in one formula is not necessarily a direct replacement for a neutral medium brown in another. Base chemistry, concentration, skin response and compatible mixing partners all matter. An artist changing lines should study the colour chart and test the new system rather than transfer old ratios automatically.

A reliable brow selection process begins with the client’s natural features and skin rather than the shade name alone. Establish whether the target should be light, medium or dark; determine whether warmth, neutrality or coolness is required; then decide whether the case needs a base pigment, a modifier, a corrector or prior removal/lightening. A dark bottle is not automatically appropriate for dark hair, just as a warm bottle is not automatically the solution for every cool-looking result.

FACE Mineral Line Brow Shades

The Mineral Line provides the most graduated brow palette in the FACE catalogue. It is suitable for artists who prefer to begin with a carefully selected mineral base and adjust it with a small number of purposeful modifiers. Its light end is not limited to blondes: it also supports softer briefs, low-contrast faces and mature clients where an excessively dark starting point could dominate the features.

The principal colours can be read as three levels. BLOND, DARK BLOND and LIGHT provide restrained depth. MEDIUM, WARM, WARM BROWN and BROWN cover the centre of the commercial brow spectrum in different temperature directions. DARK and BRUNET serve clients who need richer structure. The modifier group then changes the chosen base rather than replacing it.

• BLOND: a soft neutral wheat-blonde for understated definition on light to medium blonde clients.
• DARK BLOND: a soft neutral light brown for dark blondes, redheads and light brunettes.
• LIGHT: a neutral, yellow-based light brown for dark blonde or light brown hair and fair-to-medium complexions.
• MEDIUM: a neutral medium brown with broad relevance to medium and darker brunette colour plans.
• WARM: a universal warm brown that adds gentle golden warmth without being positioned as an overt orange or red.
• WARM BROWN: a richer warm brown for dark blonde-to-brunette clients and cooler skin contexts where deliberate warmth is required.
• BROWN: a cool brown intended for brunettes and light brunettes who need clean definition without additional warmth.
• DARK: a rich cool brown for stronger brow definition on dark brunettes.
• BRUNET: a deep neutral brown for bold yet balanced work on dark brunettes.
• BLACK BROWN: a concentrated cool black-brown modifier used in small amounts to deepen compatible brow mixtures.
• GRAPHITE: a neutral darkening pigment for adding depth while preserving control over the mixture’s undertone.
• BRONZE: a warm modifier used to counter overly cool, ashy or grey-looking brow directions.
• GOLD: a balancing and lightening modifier for overly dark or saturated brow mixtures.

FACE Hybrid Line Brow Shades

The Hybrid Line brow system is compact enough to learn as a progression. SANDY starts with a warm golden-brown for the lightest plans. HAZEL functions as a flexible light brown. MOCCO provides the main rich neutral brunette direction. CINNAMON is the warmth-building partner, and ESPRESSO supplies maximum depth. Because HAZEL and MOCCO have green bases while CINNAMON and ESPRESSO contain warmer red direction, the line gives artists a logical way to regulate temperature through controlled combinations.

This is not permission to use fixed ratios on every client. FACE’s example combinations illustrate relationships inside the palette—such as HAZEL with SANDY for light brown, MOCCO with HAZEL for greater depth or ESPRESSO with CINNAMON for a warmer dark brown—but the final formula must be adjusted to the client’s skin and intended result.

• SANDY: a warm golden-brown with a soft yellow base, particularly relevant to blonde clients and gentle brow designs.
• HAZEL: a flexible neutral light brown with a green base balanced by yellow and red nuances.
• MOCCO: a rich neutral brown with a green base for dark blondes and brunettes across varied undertones.
• CINNAMON: a warm golden-brown with a subtle red base for redheads, fair clients, cool undertones or custom warming.
• ESPRESSO: the deepest Hybrid Line brow shade, a saturated coffee brown intended for strong brunette definition.

FACE Organic Line Brow Shades

The Organic Line brow collection mirrors a familiar hair-colour journey: sandy blonde, wheat blonde, neutral brunette, warm brunette and deep cool brunette. This makes it approachable during consultation, while the Orange corrector adds a separate tool for residual cool colour. The manufacturer places this line in its highest retention category, so accurate depth and temperature choices are central to responsible use.

PITT and LEO create two different light starting points—sandy and wheat—rather than one generic blonde. JOHNY is the balancing centre of the group. SERKAN introduces the strongest warmth and can also warm compatible mixes. KEANU sits at the deep, cool end. Orange is not another natural brow shade; it is a corrective colour and should remain clearly separated in both storage and consultation language.

• PITT: a neutral sandy-blonde pigment for soft definition on blonde and warm-brunette clients.
• LEO: a light neutral wheat shade classified in BVShop’s FACE Brow Pigments collection and suited to the lightest natural brow directions.
• JOHNY: a neutral brown designed as a broadly useful option for light brunettes and brunettes.
• SERKAN: the warmest organic brow brown, developed for redheads and warm brunettes or for warming compatible mixes.
• KEANU: the deepest cool organic brown for defined brunette brows.
• Orange: a warm corrector for addressing blue, purple or green-looking residual colour in previously pigmented brows.

FACE Eyeliner Pigments: SPACE or COAL?

The FACE eyeliner range is intentionally concise. Both options belong to the Hybrid Line and are pre-warmed black pigments, but they produce different levels of visual weight. This makes the consultation less about choosing between numerous nearly identical blacks and more about deciding how much definition is appropriate for the client.

Pre-warmed does not mean that the pigments are visibly brown or orange. It describes how warmth is incorporated into the formulation to support a balanced black result. It also does not remove the need to assess the client, use an eye-area product and follow the manufacturer’s technique. The primary decision between the two pigments is opacity and contrast.

• SPACE: a rich, saturated black for classic eyeliner, stronger lash enhancement and clearly defined eye accents. It is the more decisive of the two.
• COAL: a softer, semi-transparent warm black for delicate lash enhancement, shaded eyeliner and smokier work. It can be especially useful when strong black would create excessive contrast.

SPACE naturally aligns with bold, graphic or high-contrast requests and is presented by FACE as especially relevant to brunette clients. COAL is designed for softer shading and airy lash-line enhancement and may harmonise more easily with blonde, red or low-contrast colouring. Technique can change the visual weight of either shade, but it cannot turn an area-specific pigment into a different product category.

FACE also presents mixing relationships for artists seeking a softer brown-black direction: SPACE may be combined with CINNAMON, while COAL may be shifted browner with BRICK. These are manufacturer examples, not universal recipes. Artists should confirm current instructions and adapt any compatible mix to the procedure and client.

Eye-area pigment work demands exact product selection and strict adherence to the manufacturer’s professional-use instructions. Pigments intended for brows, lips or camouflage should never be assumed suitable for eyelids merely because their colour appears appropriate.

FACE Correctors: A Colour-Theory Toolkit

The FACE Correctors collection includes targeted shades drawn from the Hybrid, Organic and Mineral families. They are not interchangeable. Each corrector answers a different residual colour or mixing problem, and a professional assessment must determine whether direct correction is appropriate or whether old pigment should first be lightened or removed.

Correction begins by identifying the unwanted colour accurately. Purple is not the same as blue-grey; salmon is not the same as red; a brow that appears dark and cool because it is oversaturated is not necessarily a candidate for an orange pass. The artist must distinguish colour temperature from density, depth and skin-related visual effects before choosing the opposing colour.

FACE divides correction tools across its formula families. MUSTARD, BRICK and OLIVE are mineral-dominant Hybrid Line correctors for visible residual directions. Orange belongs to the organic-dominant range. BRONZE and GOLD provide mineral warmth or balance, while GRAPHITE and BLACK BROWN change depth. Lip shades such as APRICOT and MOORE can support warming in suitable lip plans; NOIR and SHAYK serve a different purpose by deepening compatible mixes.

• MUSTARD: a warm yellow-based Hybrid Line corrector for purple or blue residual pigment in brows or eligible lip cases.
• BRICK: a red-orange Hybrid Line corrector for cool grey, blue or ashy residual colour in brows and lips.
• OLIVE: an olive-green Hybrid Line corrector for red, orange or salmon-looking residual tones, particularly in brows.
• Orange: an Organic Line corrector that restores warmth when previously pigmented brows present blue, purple or green directions.
• BRONZE: a Mineral Line warm modifier for cool or ashy brow tones.
• GOLD: a Mineral Line shade for lightening, stabilising and balancing overly dark brow mixtures.
• GRAPHITE: a Mineral Line darkening modifier for adding controlled neutral depth.
• BLACK BROWN: a concentrated cool mineral modifier for deepening compatible brow formulas in measured amounts.
• APRICOT: a warm peach Hybrid Line pigment for blue, purple or grey-looking lip undertones and compatible warming blends.
• MOORE: a warm maple-toned Organic Line pigment that can support warmth adjustment in lip work.
• NOIR and SHAYK: cool Organic Line modifiers for deepening suitable lip mixtures rather than routine standalone use.

Correction Is Not the Same as Covering

A corrector changes the colour direction; it does not make every previous PMU case suitable for immediate repigmentation. Density, depth, age of the previous pigment, skin condition and the desired final shade all matter. Dense or strongly saturated old work may require professional removal or lightening before a colour-correction plan can produce a controlled result. Artists should follow FACE mixing guidance and avoid universal ratios applied without case-by-case evaluation.

The manufacturer specifically positions its principal correctors for lighter residual colour. MUSTARD addresses purple, BRICK addresses cool grey and blue, and OLIVE addresses reddish and orange residues. When the unwanted pigment is bright, dense or heavily saturated, additional colour may only increase the total pigment load and complicate the long-term result. Corrective PMU therefore requires the confidence to decline direct coverage when removal or further fading is the more responsible route.

Correction also has two stages: neutralising what is visible and designing the final target colour. A correction shade may balance the residue without producing the finished brow or lip colour on its own. Depending on the approved protocol, a suitable base colour or later session may be needed after the residual tone has been addressed.

FACE Camouflage Pigments by Tatyanina

FACE Camouflage Pigments by Tatyanina form a specialised five-shade collection for trained professionals working in aesthetic and paramedical-style camouflage. The line is designed to help visually blend eligible areas affected by scars, stretch marks or vitiligo-related colour contrast and to support advanced areola restoration work. These are not everyday brow or lip pigments, and their use requires suitable specialist education, careful colour matching and an appropriate client assessment.

The collection was developed as a tonal system in collaboration with a specialist in aesthetic skin and areola restoration. Its purpose is visual colour harmonisation: reducing contrast between an eligible area and the surrounding skin. It should not be presented as medical treatment, as a way to alter scar tissue itself or as a guaranteed method of making an area invisible.

Five shades provide anchors across a broad depth and temperature spectrum, but they do not replace custom matching. Skin contains beige, peach, yellow, olive, pink and brown influences that vary by body area, lighting and season. The artist may need to compare several tones, account for how implanted pigment will be viewed through the skin and plan conservatively.

• Shade 01 – Light Tone: the lightest option for fair skin-tone matching.
• Shade 02 – Warm Beige: a medium-light beige with a warm direction.
• Shade 03 – Cool Rich Beige: a fuller beige for medium skin tones with cooler undertones.
• Shade 04 – Cool Beige: a cooler beige designed for careful blending into cool-toned surrounding skin.
• Shade 05 – Warm Dark Tone: the deepest shade in the range for darker, warmer skin-tone plans.

The five bottles should be understood as a mixing and matching system rather than five fixed “skin colours”. Real skin is dimensional, changes across an area and may contain several undertones. A natural-looking plan may therefore require custom blending, test evaluation and realistic expectations about how the implanted colour will develop.

Camouflage work also has a different decision process from decorative PMU. The condition and maturity of the target area, its texture, stability, colour contrast and the client’s expectations all require assessment. Not every scar, stretch mark, vitiligo-affected area or areola case is automatically suitable. Only specialists trained for the relevant indication should decide whether and how to proceed.

Within the range, 01 provides the palest anchor, 02 adds warm beige, 03 introduces a richer cool beige, 04 offers another cool beige direction, and 05 supplies the deepest warm tone. The presence of two cool beiges is useful because increasing depth is not the same as adding warmth. Artists can choose a closer tonal starting point before considering any custom adjustment.

FACE Prep, Finishing and Pigment Support

The FACE Prep & Aftercare collection complements the pigment system with products used around the professional workflow. In the main FACE pigment collection, two supporting items are particularly relevant.

This collection should be viewed separately from colour. Pigments create the implanted result; support products help the artist manage consistency, presentation or other stages around the procedure. Treating every liquid in the FACE range as mixable pigment can lead to misuse, so the intended role of each product should be checked before it reaches the workstation.

• FACE Pigment Diluent: a professional solution for adjusting the consistency and apparent intensity of compatible FACE pigments. It can help create a smoother, softer-working mixture, but it should be added gradually and only according to manufacturer guidance.
• FACE Photo Oil Rose: a shimmer finishing oil designed to give completed lip work a glossy, light-catching appearance for portfolio photographs and video. Its purpose is presentation and finishing rather than pigment correction.

These products solve different problems: Diluent changes how a compatible pigment mixture behaves, while Photo Oil changes how finished lip work appears in visual content. Neither replaces correct pigment selection, technique, hygienic practice or the client’s prescribed aftercare instructions.

Diluent should be used to make a controlled adjustment, not to rescue poor colour planning. Too much can alter the working character and visible intensity of a mixture, so additions should be incremental, documented and compatible with the manufacturer’s protocol. Photo Oil Rose belongs at the presentation end of the workflow: its shimmer and gloss catch studio or natural light, helping lip photographs show contour and colour more clearly. Because gloss changes reflection, artists should still retain honest documentation that represents the result without excessive filters or misleading colour editing.

How to Build a Practical FACE Pigment Palette

A complete catalogue is useful, but a working studio palette should reflect the clients and procedures an artist actually serves. A new FACE selection can be built in layers.

1. Start with treatment areas. Decide whether the immediate priority is brows, lips, eyeliner or advanced camouflage. Do not buy by colour alone.
2. Choose the core formula. For brows, compare Mineral, Hybrid and Organic options. For lips, compare the Organic and Hybrid wardrobes and the more focused Maria Kosko collection.
3. Cover useful depths. Select light, medium and deep base shades relevant to the studio’s clientele rather than several near-duplicates at one depth.
4. Add temperature options. Include at least one warm, one neutral and one cool direction where the chosen treatment and formula allow it.
5. Add correctors only with the required knowledge. Stock the specific colour-theory tools that match the correction cases you are trained and equipped to accept.
6. Expand through observed demand. Add specialised brights, modifiers, statement shades and support products as consultations show a genuine need.

Example Starting Logic for Brow Artists

• A light base for blonde or very soft brow briefs.
• A neutral medium brown for frequently requested everyday results.
• A deeper brunette option for stronger definition.
• A warm shade or modifier for colour balancing.
• A cool or neutral darkening modifier for controlled depth.
• Targeted correctors only for cases supported by the artist’s correction training.

Example Starting Logic for Lip Artists

• A light nude, a pink-brown and a balanced natural pink.
• A warm peach or maple direction for suitable cool-lip plans.
• A classic red, a berry shade and a deeper brown or wine option.
• A focused modifier for darkening or cooling compatible blends.
• One or more Maria Kosko brown-nudes if contemporary neutral lip work is central to the studio’s style.

Professional Responsibility and Realistic Colour Planning

Online swatches and bottle colours cannot predict an implanted result on their own. The same pigment can appear different depending on the client’s natural base, skin undertone, existing PMU, technique, saturation, equipment, lighting and post-procedure colour development. The artist should document the selected pigment and mix, use sterile single-use supplies as required, observe local regulations and follow current FACE instructions for storage, preparation, application and aftercare.

Before every procedure, check the product label, batch and expiry information; confirm that the specific pigment is intended for the planned treatment area; review client contraindications and sensitivities; and complete the appropriate consultation, consent and patch-testing process required by the manufacturer and local rules. Never use a pigment solely because a similarly named colour worked in another formula or on another client.

Frequently Asked Questions About FACE Pigments

Are FACE Organic, Hybrid and Mineral pigments interchangeable?

No. They form related but distinct colour systems. The formula, intended treatment area and role of each shade should be verified before use. Even when two pigments look similar in the bottle, they may be positioned differently within a professional palette.

Which FACE collection is designed primarily for eyebrows?

The FACE Mineral Line is the most clearly brow-focused collection, offering blonde, brown and dark base colours plus modifiers. FACE also provides Hybrid and Organic brow shades for artists who prefer those systems.

Which FACE lip collection is best for natural nude results?

There is no single universal best choice. The FACE x Maria Kosko group is particularly focused on caramel, taupe, pure-brown and chocolate-brown nude directions. The Organic and Hybrid lines also include several pink-browns, warm nudes and soft neutral shades.

What is the difference between SPACE and COAL?

SPACE is the more saturated and decisive black, while COAL is softer and more translucent in character. The intended eyeliner style, client contrast and professional technique should guide the choice.

Can FACE correctors cover any old permanent makeup?

No. A corrector addresses colour direction, but it cannot make every dense, deep or strongly saturated previous result suitable for direct correction. Some cases require removal or lightening first, and others may not be appropriate for additional pigmentation.

Can FACE pigments be mixed?

Many FACE product descriptions include compatible mixing roles, but artists should only mix pigments in accordance with current manufacturer guidance and professional colour theory. Record exact ratios and never assume that arbitrary products or formulas are compatible.

How should an artist choose between warm, neutral and cool pigments?

Assess the client’s natural base, undertone, hair and skin colouring, existing pigment and requested outcome together. A shade’s labelled undertone is one part of the decision, not a substitute for a full professional assessment.

Are FACE Camouflage Pigments ordinary cosmetic PMU colours?

No. The Tatyanina camouflage range is a specialist skin-tone system for trained professionals performing eligible aesthetic camouflage and areola work. It requires different knowledge and should not be treated as a general brow or lip palette.

What does FACE Pigment Diluent do?

It is used to adjust the consistency and intensity of compatible pigment mixtures. It should be added sparingly and according to FACE guidance; it is not a corrector and does not replace sound colour selection.

What is FACE Photo Oil Rose used for?

It is a finishing product that adds a glossy, light-reflective effect to completed lip work for photographs and video. It is not a PMU pigment or a product for changing the implanted colour.

Are all FACE pigments suitable for every PMU area?

No. Products must be used only for the treatment areas specified by the manufacturer. Eyeliner pigments, brow pigments, lip pigments, camouflage shades and support products each have their own intended roles.

Build a More Intentional FACE Colour System at BVShop

The strength of FACE is not simply the number of available colours. It is the way those colours are organised into professional systems: expressive Organic shades, versatile Hybrid pigments, measured Mineral brow tones, focused Maria Kosko lip nudes, targeted correctors and specialist Tatyanina camouflage colours. Understanding these roles makes it easier to select a compact starter palette, expand an established studio collection and explain colour choices clearly during consultation.

Explore the complete FACE Pigments collection at BVShop, then narrow the selection through the dedicated brow, lip, eyeliner, Hybrid, Mineral, Organic and corrector collections. Select every product according to the planned procedure, the client’s individual colour profile and current manufacturer guidance.