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Ink Mugi

Previous work

If you already have brows you regret

The honest position: some of this is workable, some of it needs lightening somewhere else first, and some of it is better left alone for a while. Which of the three yours is cannot be worked out from a description, only from looking at it.

So the first step is a photograph, not a booking, and it costs nothing.

Send photos of your current brows

Bare, no makeup, in ordinary daylight, straight on. Tell her roughly when the work was done and what was done, if you know. You will get a straight answer about what is possible, including if the answer is that this needs a removal specialist rather than her.

A photo of your bare brows (optional)

No makeup, ordinary daylight, straight on. It lets Mugi see the shape you already have and the hair she would be working around.

Up to 3 photographs. Straight from a phone is fine — they are resized here before sending, which keeps the detail and drops the file size. If one will not go through, inkmugi@gmail.com takes it.

Who reads this, and what happens next
Who reads it.
Mugi, and she answers it herself.
What happens next.
She replies with what she would suggest, what she would want to see in person, and what it would cost. If you would rather not wait, (571) 283-8228 reaches her directly.
What a photo can tell her.
The shape you have now and roughly how much hair there is — enough for a first opinion, not enough to settle anything. Skin is judged in person.
Where the photo goes.
To Mugi, so she can answer you. It is not published, and asking about your brows is not permission to show them — that is a separate conversation, and a separate yes.

If a form is not convenient, email the photographs to inkmugi@gmail.com or text them to (571) 283-8228.

What is usually workable, and what is not

Usually workable in one or two sessions

  • Faded microblading that has gone soft and patchy but is still in a reasonable shape
  • Grey or ashy tones from an older pigment, where the shape underneath is sound
  • Brows that healed thinner or sparser than you wanted
  • Slight asymmetry that can be corrected by building one side rather than removing the other
  • Work that has faded a long way and just needs rebuilding

Usually needs lightening first, somewhere else

  • Dark, dense or heavily saturated pigment, especially if it was placed deep
  • A shape drawn well outside your natural brow, particularly a tail that sits too high or too long
  • Strokes that have spread and blurred into a solid block
  • Anything you want made noticeably smaller rather than fuller

Lightening is not done here. If yours needs it, you will be told so plainly rather than sold something that will not work, and you will be told what to look for in whoever does it.

A cover-up is not a correction

This is the distinction that decides whether you end up happy. New pigment does not erase old pigment; it goes over it, and whatever is underneath shows through as it all fades together. A cover-up is therefore only a good idea when what is underneath is already close to right.

A correction starts with what is there: the tone, how deep it sits, and above all the shape. Shape is the thing people actually regret, and it is the one thing adding pigment cannot fix, because a brow can only be made bigger, never smaller.

Anyone who agrees to cover anything without seeing it is not looking carefully enough.

Why there are no before-and-afters on this page

There used to be three, described in detail, with no photographs attached to any of them. They have been removed.

Correction runs over several sessions, and a pair of pictures is only worth looking at if it shows the same face in the same light at a stated interval, with the client's written permission. When cases meet that standard they will appear on the results page. Until then, the useful photograph is one of your own brows.

Questions about existing work

Often, but not always, and not from a description. It depends on how dark the old pigment is, how much of the brow it covers, whether it has gone grey or blue, and how deep it was placed. Work that is light and evenly faded is usually straightforward. Work that is dark, dense or sitting outside your natural shape usually needs lightening before anything new can go on top, because new pigment does not hide old pigment, it sits over it.

A cover-up puts new pigment over old and hopes the old stops showing. A correction deals with what is underneath first: the tone, the shape and the density, and sometimes the answer is to remove some of it elsewhere before anything is added. A cover-up over a shape that is wrong leaves you with a bigger version of the wrong shape.

Grey and blue-grey are usually an old pigment losing its warm components, leaving the cool base visible. It can often be neutralised by working warmer tones over it, and it is one of the more workable cases. How much can be done in one session depends on how saturated the original was.

No. Neither is offered here. If your work needs lightening before anything else can happen, that is what you will be told, and it is a job for a removal specialist rather than for this studio.

There is no price on this page, because a price set before seeing the work would be a guess. What can be said is that nothing gets quoted until Mugi has looked at what is actually there.

Then that is what you will be told. Some work is better left to fade, some needs a year of patience, and some is close enough to right that adding to it makes it worse. Being told not to spend money is a real outcome here rather than a formality.

Related, if you are trying to work out what happened to yours: why microblading goes grey, why it heals patchy, why it faded so fast, and the rest of them.