Andrea Toth: “Doing the eyeliner right.”

The eyelids are two thin folds of skin which are covering the eyes and protect them. They protect the cornea from injures and balance the amount of light that gets into the eye.

When it comes to permanent makeup – the most important thing we must be aware of in our work is the lacrimal caruncle known also as the tear duct.

Professionals must pay attention and not block the tear duct as it causes dry eyes and terrible problems like pigment leakage and we don’t want that.

Another phenomenon we see in the last few years is that artists often risk working on the mucosa. You can just take a short look at the picture below and understand the risks you take when you do this kind of job, so think twice!

Interview and article by Sharon Vann



The eyeliners upgrade the look for every lady. It can be thin and gentle to the extent where you can hardly see it, but still it can give the eyes this hot and sensual look. On the other hand, it can be thick for a “drama queen” effect.

The eyeliner helps us to make a balance between the eyes and creates an illusion of bigger and more impressive eyes. Therefore, the most important thing is PRACTICE! Practice makes us perfect!

There are basic principles for eyeliner application depending on type of eyes:

Small eyes –  We do very thin eyeliner;

Close-set eyes – We start eyeliner from the middle of the eye and out;

Wide-set eyes   – We start the eyeliner from the inside corner;


bezimeni-1Andrea Toth is a well-known artist & trainer in Grantham UK and her remarkable eyeliner is known worldwide.

I have asked her to kindly share her experience with us and heard very interesting things, here are the things she said:

“Just like the “little black dress” that we all need in our wardrobe, classic eyeliner will always have its place and play a vital role in permanent makeup. It can give the illusion that round eyes are sleeker, that close set eyes are wider and small eyes are brighter. The classic eyeliner will never be “out of fashion”; it is simply beautiful and time honoured. I am very happy to share my approach to performing this classic eyeliner.

What kind of pigments do you use and how do you avoid the “bluish”?

For this procedure I used a Goldeneye pigment, nr 270 black.

This is a pure into black colour which is perfect for eyeliners. To warm up the colour and prevent it from fading slightly bluish I add a few drops of Goldeneye 340 Red. When starting this procedure I like to have the client sitting upright in front of me so I can properly examine the shape of both eyes. I prefer to remove any makeup by wiping over the eyes with a special cleanser called WASH which has powerful detergent properties.


How do you draw your border line? What is the best way to do this properly?

For me, the best and most hygienic way of pre-drawing the eyeliner is by using special disposable sticks using the pigment I have selected. I always start my pre-drawing in the middle of the eye and work outwards filling in the whole of the area I need covered. Eyes are never exactly the same so sometimes the larger eye needs to be slightly thicker than the smaller eye to give the illusion of symmetry. My pre-drawing is always an exact guide, never a rough drawing, this way the client can visualise the end result much better. Also it gives me an exact template for my procedure.

Close to the inner corner, where there is just 1 set of lashes always needs to be thinner than the middle and again on the end of the eyeliner we go thinner than the middle giving the eyeliner an elegant finish. For me the inner and outer parts are the elements that can turn this classic eyeliner into a work of art.


before-after photo

Tell us the “Step by step” procedure, please.

I begin the procedure using a 1 point needle and without stretching too strongly put in my guide line along the top. This is a very fine line setting my template in place. I work with a long needle and literally just use the tip of the needle. Wipe the area clean using a cleanser and repeat the same outline. This outline needs to be slightly stronger and as crisp as possible, so try to stay on the exact guide line.

After this I begin to work one tiny area at a time, using a good three point stretch and tiny movements. I like using zigzags for this and work lightly and very slowly so the colour flows in with every movement. I often use a single needle for this as well, but you can also use a 3 micro needle for the filling.

After completing an area I wipe any excess pigment away with diluted WASH (using sterile water as dilution) and I apply a product called PUSH. This gel helps to calm the skin, aids penetration and locking of pigment and prolongs the effects of any soothing creams used.

After completing the first eye I move on to the next and repeat the same techniques, always working from the outside inwards.

Once the whole design is covered I will do the final lash enhancement and the inner eye. This needs a really good stretch and a good support position of my client just in case the move. It is always important to stabilize both elbow and wrists while working!

Once I feel that I have covered all of the eyeliner I take a picture with my camera and zoom in so I can check very carefully if I have missed anywhere. As extra control I use a pigment detector to check on even pigment application. If there are any areas that need perfecting I lay the client back down on the bed and use a very light, almost scribbling, technique to fill the weaker areas.

Andrea’s Top Tips

1. Pre-drawing is extremely important!

Don’t rush this part of the treatment. You have to draw the exact eyeliner as you want it and once you have done the first pass to define the guide line stick to it. If the client’s eyes swell at any time you always know your guide line is there.

2. Always work from the guideline downwards.

Save the lash enhancement till the end as your client will likely be more relaxed and the lash area is where most of the swelling will occur.

3. Make yourself comfortable with your client.

Use their body to support your arm so you can only use your fingers to make the tiny movements with the hand piece whilst applying correct pressure.

4. Keep rinsing any excess pigment off thoroughly and frequently during the treatment.

This way you reduce the risk of pigment drying out between the lashes which means you cannot mistake this for implanted pigment.

5. At the end of the procedure sit your client upright and check every little part of the eyeliner for even implantation and crisp defined edges.

6. For after care advise your client to wipe the eyes gently in the morning and night with sterile water, apply the Goldeneye SOS after care cream or similar product.

7. Use a pigment detector to check for even implantation of pigment.


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