Why Mapping Precedes Technique
Every brow technician knows that mapping comes before the machine. In lip blushing, this principle is less consistently applied — and the results show it. Freehand lip work produces asymmetric borders, inconsistent placement, and outcomes that depend entirely on the practitioner's eye rather than on a reproducible system. Mapping eliminates guesswork. It creates a framework that can be documented, communicated to the client, and precisely reproduced at touch-up sessions.
The VELONÉ lip mapping protocol establishes five reference points before any technique decision is made. This is not a symmetry tool — perfect symmetry is neither achievable nor desirable. It is an assessment tool that documents what exists, identifies what could be enhanced, and creates a plan that the client can approve before the procedure begins.
The 5-Point Lip Mapping Protocol
Point 1: Cupid's bow centre — the lowest point of the upper lip's central dip, directly below the philtral midline. This is the vertical anchor for the entire map. Point 2 and 3: Cupid's bow peaks — the highest points of the upper lip border, typically aligned with the philtral columns. These establish the peak-to-peak width and the bow depth. Point 4 and 5: Commissures — the lateral endpoints where upper and lower lips meet. These define the horizontal span.
Mark all five points with a removable cosmetic pencil before proceeding to any proportional assessment. Photograph the marked points from directly in front and from a 45-degree angle on each side. These reference photographs become the basis for your treatment plan and the client's consent.
Proportional Assessment
Three proportional measurements inform technique selection. First, the upper-to-lower lip ratio. The classical ideal places this at 1:1.6, with the lower lip being approximately 60% of the total lip height. Variations from this ratio are not defects — they are data points. A client with a 1:1 ratio (equal upper and lower) may benefit from Ombré on the lower lip to create a visual height difference, or they may prefer their natural balance enhanced with Lip Blush.
Second, the horizontal-to-vertical ratio. Lip width relative to lip height influences how the eye perceives fullness. Wide, thin lips read differently than narrow, full lips, and the technique selection should complement rather than fight the natural proportion. Third, the Cupid's bow depth ratio — the vertical distance between peak and trough relative to the overall upper lip height. A deep bow (greater than 30% of upper lip height) creates strong visual architecture that certain archetypes can emphasise.
The Vertical Thirds
The face divides into horizontal thirds: forehead to brow line, brow line to base of nose, base of nose to chin. The lips sit within the lower third, and their position within that third affects perception. Lips that sit high in the lower third (close to the nose) create a different aesthetic from lips that sit low (close to the chin). This position is fixed anatomically — you cannot change it with pigment — but it influences which archetype creates the most harmonious result in the context of the full face.
Marking Techniques
Use a white or off-white removable cosmetic pencil for mapping on darker lip surfaces and a brown or taupe pencil for lighter surfaces. The marks must be visible under your working light but not so heavy that they obscure the natural landmarks underneath. A thin, precise line is diagnostic. A thick, heavy line is concealing.
For the outer border, draw just outside the natural vermilion — this gives you a boundary reference without placing pigment guidance directly on the working surface. For the body, mark only the five reference points and any asymmetry notes. Do not draw the entire outline you intend to follow; this creates dependency on the map rather than on your assessment of the tissue as you work.
Documenting the Map
Photograph the completed map from three angles. Record the five-point positions, any asymmetries noted, the upper-to-lower ratio, and the horizontal span. This documentation serves three purposes: it records your assessment for your own reference, it provides the client with visual confirmation of the planned treatment, and it creates a baseline for comparison at the touch-up session.
Case Study: Asymmetric Cupid's Bow
A 32-year-old client presents for Lip Blush. Mapping reveals the left Cupid's bow peak sits 1.5mm higher than the right peak. The commissures are level. The upper-to-lower ratio is 1:1.4 — slightly less lower lip dominance than classical proportions. Natural border is well-defined bilaterally.
The mapping assessment identifies the peak asymmetry as the primary consideration. Options: map to the higher peak (raising the right side to match) which creates a more symmetrical bow but alters the natural shape on the right, or map to the lower peak (the more conservative option) which preserves both sides as-is. The third option is to split the difference — raise the right peak by approximately 0.75mm while accepting residual asymmetry.
The diagnostic decision: consult with the client showing the mapped options. Most clients prefer the split-the-difference approach because it improves symmetry without creating a shape that feels unfamiliar. Document the chosen approach, photograph the final map, and proceed with Lip Blush knowing that the first pass at the Cupid's bow must follow the mapped peaks precisely.
When the Map Conflicts with the Request
Occasionally the mapping assessment reveals that the client's requested technique does not suit their proportional anatomy. A client requesting Ombré with a 1:2.2 upper-to-lower ratio (very dominant lower lip) may find that the additional visual volume from the gradient effect makes the lower lip appear disproportionately large. The map makes this visible before the procedure begins. Use the documented proportions to explain your recommendation — the numbers are more persuasive than subjective opinion.