The Method
Never in one sitting. Three sessions, every time, in a colour chosen from your skin before the first impression goes in.
The work itself
This is what every session is made of: no speed-ups, no cuts. Each impression is placed at follicle scale, at the angle your growth would follow, in a color chosen from your skin before the first one went in. Around thirty thousand of these, built across three sessions, resolve into a hairline.
As far as the camera can follow.
Real treatment, macro. The needle vanishes at the surface; the model carries on below it.
The ink has an address. Session one lands on it.
The papillary dermis, just under the junction. In the epidermis it sheds out with the skin; in the reticular dermis it migrates and blurs blue-grey. It stays put in one thin band, and that is where every release goes.
Layered again. Never larger.
Sessions two and three build over the same coordinate. Structure deepens; the mark’s size never changes.
It stays where he put it, for years.
Held in the band, the whole field heals sharp and reads as growth in any light.
Impressions placed at follicle scale, at the angle and spacing your own growth would follow, until the area reads at full coverage. Everything that follows is built onto this, which is why placement, angle and density are decided here and never fought later.
This is where layering starts. Impressions are laid over the healed foundation to build up a structure that matches a hair follicle. Not more dots, and not bigger dots. Structure. The impression gains depth while its size and shape stay exactly where session one set them.
Layering continues until the field resolves into one even, believable read: the grain of real growth rather than a pattern of marks. What comes out of session three is what you live with, healed, weeks later.
Through all three sessions, one decision made before the first impression carries the color: pigment engineered to your skin tone and the result being targeted, using the color theory Stevey G created. Modern Color Theory has its own page.
Move across the specimen: the light follows you
Drag your finger across the specimen: the light follows
Same size. Same colour. No structure.
Both impressions are identical in diameter and pigment value. Only one of them has been built.
Session two: the structure goes in.
Layering over healed work raises a shaft core inside the deposit, angled the way growth is angled.
Now move the light.
The flat one is dead. The layered one highlights and shadows, because it has relief to catch the light with. That is the whole difference between a tattoo and a follicle.
A flat mark can be the right size, the right colour, the right place, and still read as a tattoo. Structure is what reads as hair. Layering, his process, is how structure is built.
Placed with the Apollo, the machine he co-designed, in pigment developed hand in hand with Perma Blend’s chemists.
The method
Because realism is built, not placed. Session one lays the foundation. Sessions two and three layer impressions over that healed work to build up a structure that matches a hair follicle. Skin has to heal and settle between sessions: each one is placed onto healed work, which is exactly what makes layering possible.
Laying impressions over the existing work to build up a structure that matches the hair follicle. It happens on sessions two and three. The impression never changes size or shape: only its structure and value deepen. That structure is why the healed result holds light the way a real follicle and shaft do inside a shaved scalp, instead of sitting flat like a tattoo.
Before any work begins. The color is chosen from your skin tone and the result being targeted, then carried through all three sessions. It is not adjusted session to session: it is a decision made at the start, using Modern Color Theory, which is the framework Stevey G created and the industry now trains on.
No. Session one is the foundation. Session two builds the structure in detail. Session three locks in the overall texture and realism. They are three different jobs, and the result depends on all three being done in order on healed skin.
Treatments start at $2,500, and all sessions are included in that figure. Most land between $2,500 and $5,000, that reflects the scope of the work, not a per-session charge. Scar and correction work is scoped separately.
Because realism is built, not placed. Session one lays the foundation. Sessions two and three layer impressions over that healed work to build up a structure that matches a hair follicle. Skin has to heal and settle between sessions: each one is placed onto healed work, which is exactly what makes layering possible.
Laying impressions over the existing work to build up a structure that matches the hair follicle. It happens on sessions two and three. The impression never changes size or shape: only its structure and value deepen. That structure is why the healed result holds light the way a real follicle and shaft do inside a shaved scalp, instead of sitting flat like a tattoo.
Before any work begins. The color is chosen from your skin tone and the result being targeted, then carried through all three sessions. It is not adjusted session to session: it is a decision made at the start, using Modern Color Theory, which is the framework Stevey G created and the industry now trains on.
No. Session one is the foundation. Session two builds the structure in detail. Session three locks in the overall texture and realism. They are three different jobs, and the result depends on all three being done in order on healed skin.
Treatments start at $2,500, and all sessions are included in that figure. Most land between $2,500 and $5,000, that reflects the scope of the work, not a per-session charge. Scar and correction work is scoped separately.
Free consultation and quote, Miami and New York
Free, private and no obligation, online or in-studio. Tell us about your scalp and you’ll get a quote in writing, with a plan and an honest read on the healed result.