1 of 4. Making mineral&coloured makeup

©Plush Folly Ltd Making Mineral Makeup Module 1

Making Mineral & Coloured Makeup A Distance Learning Course

Module 1

Version 1.0

The products you make and the ingredients you use during this course are for personal use only and must not be sold commercially. If you intend to make and sell cosmetic products, your product formulation must be certified by a cosmetic chemist and conform to the cosmetic regulations regulations laid out in the DTI guide. guide. See our EU Cosmetic Cosmetic Legislation workshop or distance learning course for more details. Plush Folly cannot be held responsible for any adverse reactions caused by handling and/or using the ingredients. ingredients. As with all new products, products, please do a patch test if you are unsure of suitability for your skin.

© Plush Folly Ltd


Module One 1 2 3 4 5 6 7

The history of makeup What is mineral makeup? Making cosmetics in your kitchen Working with micas Lip product ingredients and benefits Colour blending for lips Recipes – Recipes – making making lip products (lip gloss and lipstick)

1

The history of makeup

Makeup has been worn by women women for centuries. The earliest archaeological record of makeup goes back to Egypt to around around 4,000BC. Typically women painted their faces with charcoal and other burnt woods or with ingredients containing mercury and white lead. Whilst these might have been attractive, the latter two were particularly dangerous. Throughout the centuries, women (and men) have adorned and painted their faces in an effort to make themselves look and feel fee l beautiful, enhancing or altering certain features and hiding others. A well used quote from Plautus (c254- 184BC) states ‘A woman without paint is like food without salt’ so it would appear that makeup (paint) was a ‘must have’ from the very early ages. Let’s take a quick tour through the centuries c enturies to discover what natural ingredients were utilised as makeup. You’ll be very happy to know that there are stric t regulations now on what natural ingredients are safe and can therefore be used in today’s makeup products. Typical natural ingredients for makeup

Over the years women have used a variety of natural ingredients in their endeavours to perfect their looks. Ingredients, of which the safe ones may still be included in some form today, include:     

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Soot (for eye liner) Kohl (for eye liner) Chalk (for pale complexions) Ceruse (a combination of white lead and vinegar used for whitening the skin) Vermillion (a reddish orange substance obtained from sulphide of mercury used for colouring cheeks) Egg white (used to glaze the complexion complex ion creating a smooth, taught appearance and stretching out those wrinkles so that they diminished)

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Madder (from the root of the madder plant. This provided a red dye that that was used to colour cheeks and lips) Cochineal (a small beetle type insect that produces carminic acid as protection to ward off other larger hungry insects. Carminic acid is a rich dark pink colour and has has historically been used as a food dye as well as a colouring in cosmetics) c osmetics) Malachite (green ore of copper used to colour the eye lids or hide uneven skin tone) Lead (for colour to lips, cheeks and eyes) Arsenic (white face powder to give a pale complexion) Fish scales (pearlescent effect) Mercury (skin lightening) Beetroot (fabulous pinks for lips and cheeks) Berries (reds, browns, purples and blues for lips, cheeks and eyes) Saffron (yellow for eyes) Henna (for colour to eyes and cheeks chee ks – – and and of course, hair)

These days, although there is still some discrepancy d iscrepancy over the levels of toxicity in some makeup products, the cosmetics formulas are scrutinised by qualified professionals before the makeup can be legally sold. This helps to ensure that the individual ingredients and the combination of the product’s ingredients are safe to go on the skin and be used under normal conditions. Trends in makeup styles over the centuries

Many of the rather grizzly ingredients above have long been banished from cosmetics and there are now safer ingredients that can be used to perfect the results re sults that our makeup wearing pioneers were trying to achieve. Looking back through the annals of time nothing much seems to have changed in the world of wearing cosmetics and women today are a re still seeking to cover, beautify, decorate and attract via the means of makeup. Women today may opt for a more subtle and natural look or may be braver and bolder and go for bright colours. Throughout the ages one of the main purposes of makeup was to lighten the face and anything from the safer ingredients of chalk and zinc, to the more sinister poisonous ingredients of lead, arsenic and mercury were experimented with in order to achieve a pale complexion. From pale – pale – very very pale and even solid white faces – faces – we we move to colouring the cheeks to give the impression of a healthy glow – and – and thus a healthy healthy life. Far from a subtle, subtle, blushing type appearance, bold red cheeks were painted and with lips to match. That came to an abrupt halt in Victorian times where suddenly ‘pale and interesting’ became fashionable whilst wearing makeup was considered disdainful and and common. Far from whitening their

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faces, Victorian ladies preferred to keep out of the sun obscuring their faces from its rays by by sheltering under parasols or simply by staying indoors. A little beetroot juice may have been be en discreetly used to add a little colour to the lips to contrast with the pallor of the skin, whilst rice, ric e, potato or similar flours would be dusted onto the face to remove shine. Since flour ingredients tend to be translucent rather than than white when applied to the skin, no paling of the complexion was evident and therefore no potential divorce cases for daring to wear makeup! A big turning point came in the early 1900s when women realised that they could enhance their eyes by applying – applying – what what became known as – as – mascara. mascara. The original mascaras were a mixture of petroleum jelly (Vaseline which was a recent invention coming to the market in 1872) and wax with the coloured mascaras (black from kohl or charcoal) following very quickly. The shy, retiring, pale British ladies gradually took a leaf out of the newly liberated, emancipated American women’s book book and started to wear wear visible makeup. Visible makeup was mostly in the form of pressed skin tone coloured powders, panstick, blusher and lipstick. As women exercised their freedom to wear makeup and experiment with colours and styles, they became more daring and lipstick grew redder and more more noticeable. Fingernails got the treatment too and they were painted to match their lipstick. Eyeliner became fashionable to further enhance the mascara’d eyes and even mascara had a shift in application, application, as cake mascara could be applied to make lashes thicker thicker and more noticeable. The outbreak of WWII didn’t daunt the popularity of makeup and although scarce, women still sought out and wore morale-boosting, patriotic red lipstick and other ‘make me feel feminine’ makeup products. Post war optimism and an elated feeling of freedom and the growing range of products from cosmetic houses such as Elizabeth Arden and rival Helena Rubinstein gave women a huge choice in what they could afford to wear on their faces. ‘Ding dong, Avon Avon calling’ were words words that were were familiar in many households as cosmetics were tried and tested in the comfort of your own home. ho me. Hollywood stars broke the mould for those who believed that pale skins were more interesting and suddenly tanned, bronzed skins were considered to be more beautiful and healthy. Fake tan and darker darker coloured foundation foundation became popular. In fact, Hollywood set standards in all areas of beauty and film stars became idols. Leading Hollywood makeup

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artist, Max Factor, harnessed the enthusiasm and demand for the film star look and set up a cosmetics range. The rise of television advertising enabled the cosmetics industry to advertise makeup trends to a much wider audience and and the 1960s saw a trend trend in the appeal of eye makeup. From false eyelashes to thicker, very obvious obv ious eye liner and brighter coloured eye shadow, there was no stopping the more daring woman now! The swinging 60s brought the attention back to eyes and absurdly long false eyelashes and striking eyeliner (thanks to actress Elizabeth Taylor for her portrayal of Cleopatra). Cleopatra). This was teamed teamed up with pastel lipsticks and very short hemlines. Not content with keeping to the same style for long, the 60s look gave way to a more natural look in the 1970s and paler colours became as popular as the bolder hues. The 1980s economically self-indulgent times saw an increase in cosmetic and grooming products and the omnipresent blue eye shadow was replaced by hues of greens, purples, browns, greys and even pinks. Eye shadow moved from matt matt to shimmery, sparkly and glittery. Clever cosmetics became increasingly popular in the 1990s with makeup being heralded as enabling you to look younger. Not only was makeup intended intended to decorate and cover blemishes, but to reflect light, reduce the appearance of wrinkles and defy ageing. Today the cosmetic houses are constantly researching and developing new ideas, colours and concepts hoping to be the first to market something new and innovative.

2

What is mineral makeup?

So what exactly is mineral makeup makeup and why all the the hype? This is a question question I get asked regularly, followed quickly by ‘Is mineral makeup 100% natural?’ Let us address each of these questions in turn. So firstly – what exactly is mineral makeup?

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Mineral makeup is makeup that contains the earth’s minerals that have been finely ground and crushed into tiny particles particles (powders). It has been cleaned and filtered to remove any traces of unwanted compounds. These natural particles are free from unwanted materials, preservatives, chemicals, unnatural dyes and fragrances and and are found in fine powder form. Because mineral makeup is in powder form it is usually applied to the skin with a brush. That said, there are liquid makeup products available that are put into the mineral makeup camp too. Whilst the the liquids aren’t are n’t mineral, they should be natural (in my opinion) to be categorised as mineral makeup. OK – so why the hype?

There are many benefits derived from mineral makeup that can’t necessarily nece ssarily be obtained from ‘regular’ makeup that contains synthetic ingredient s. Mineral makeup: 

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Can offer protection against the damage caused by sun and therefore slow down the signs of ageing Contains no harmful chemicals and therefore can help reduce the amount of toxins exposed to your skin Can offer you an excellent coverage c overage without blocking your pores and helping to create a flawless complexion Looks very natural and illuminating and feels light and fresh on your skin Has natural light reflecting properties which help to improve the appearance of your skin Is a dry product and contains no water – water – it it does not require a preservative and is not an environment that will cultivate bacteria Is suitable for those with acne prone skin s kin as it will not increase or a ffect the skin’s natural sebum production Contains minerals that are anti-inflammatory and soothing on the skin Is suitable for all skin types and especially suitable for those with sensitive skin

That sounds like good news doesn’t it? The other question I said we were frequently asked is whether mineral makeup is 100% natural and there we open a whole new issue! So, is mineral makeup 100% natural?

I have to be honest here and say that it could be, it probably p robably is, but that also depends on your definition of natural.

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I mentioned that the minerals are cleaned and filtered to remove any traces of unwanted compounds – compounds – well well there is a train of thought that says the process by which the purification and cleaning takes place may render the final particles not entirely natural. Certain minerals can be produced by processing two or more other chemical compounds. This means that even though the ingredient has been created using natural elements, it is manmade rather than naturally occurring. And then of course technology allows us to synthesise replica replica mineral particles in a lab. lab. This means that – that – let let us take red oxide as an example – example – we we have red oxide that has been mined from the earth’s crust, pulverised, crushed, cleaned and filtered so that it is free of mercury, lead and other unwanted traces and then we have an identical red oxide that has been created in a laboratory and has never contained c ontained an unwanted particle in its life ensuring e nsuring that even the minutest nano particles of anything remotely unwanted simply do not exist within it. Both are identical at the end stage, both behave the same and have identical characteristics. Both are labelled identically on cosmetic labels and both are safe to use. Which is better for you? Neither one is better for for your skin as both both behave and treat your skin the same way. During this course, we do what we can to ensure we have provided you with the cleanest, purest, most natural ingredients. ingredients. Not everything provided as part of this course is 100% natural since we include a preservative, silicones, glitter etc, but as you progress through the course, you will be able to understand all the ingredients included and you will be able to identify their purpose and benefits so that you can decide dec ide whether you want to use them in your makeup products. Key ingredients in mineral makeup

The main ingredients in mineral makeup are titanium dioxide, zinc oxide, mica, ultramarines, iron oxides and clays. We will be discussing the merits of these (and variations variations of these) in this course.

3

Making Cosmetics In Your Kitchen

Making makeup is a bit like a practical art lesson only ten times more fun! fun! You get to choose and mix colours, blend different ingredients and materials to create your makeup medium which you then ‘paint’ onto your face. There is only one rule you need to follow – follow – keep keep it skin friendly and and safe to use. If the makeup is tainted with unwanted bits of kitchen debris and cooking smells you may not wish to wear it and all your hard work will have been in vain.

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To keep your makeup skin friendly and safe to use, make sure you have a good approach to health and safety and keep everything – your – your work surfaces, hands, pots, spoons, equipment etc as clean as possible. Preparing your work area

Your work area should be be clean and free from clutter. Tidy away any unwanted items items and wipe down your work area using an a n antibacterial spray. Before you use any piece of equipment, make sure that it is clean and dust free. Wipe it round with a piece of lint-free lint-free kitchen paper just to to make sure. Try to keep a set of equipment specifically for cosmetic use – use – keep keep it separately from the food cooking equipment. It is not necessary to sterilise your equipment, e quipment, but if you do wish to do so, you can use the same sterilising solution and me thod that you would when sterilising a baby’s bottle (full instructions are given on the back of the sterilising solution containers available from most chemists). Alternatively you can immerse your equipment into boiling water for 15 minutes and then leave le ave to cool. Wear a protective apron and be aware that oil splashes can permanently mark your clothing. Tie your hair back so that that no stray hairs fall into your products. Remember to clean any kitchen work surfaces with an antibacterial/anti-grease spray both before and after creating c reating your makeup products. It goes without saying that you should always wash your hands before embarking on any cosmetic making session. Clearing up

Most of your items will be easy to clean – either – either in hot soapy water or in a dishwasher. However, the products that contain waxes will take a bit more effort to get clean, especially those with carnauba and rice bran wax. To facilitate the cleaning of the waxy residue on the bowls, wipe the bowl with a piece of kitchen towel while the bowl is still warm and the waxy residue is still soft. soft. If the bowl is cold and the waxy residue has gone hard, place the bowl back into the double boiler and warm it through before wiping.

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The wiped bowl can then be washed up in hot soapy water as usual. Teaspoons with the waxy residue on can be wiped with a kitchen towel or placed into a jug of boiling water to allow the waxy residue to melt off it. Do not tip the cooling water down the sink as you will soon learn that it will congeal and cause a blockage. b lockage. Equipment

Luckily you can make makeup products without having to buy specialist equipment. That said, there are a few items that will make your life easier from the start of your making makeup venture. An accurate set of scales that can measure in tiny increments will help, but you can use u se tiny measuring spoons instead if you’re not ready to buy scales just yet. A grinder will help break down the oxide particles, but a sieve, pestle and mortar or back of a teaspoon will also do the trick (as well as muscle power and a bit of patience!). When starting out, it is likely that you are making very small quantities of your product. To give you an idea of size, a regular lipstick will weigh approximately 10g, lip gloss containers usually range from 5g – 5g – 15g 15g in capacity, eye shadows are usually 5g-10g and a bottle of foundation is usually in the region of 30ml-40ml. Since most lip gloss / lipstick recipes require butter and/or wax to be melted, you will need to make sure that you you have some very small heatproof bowls or dishes. dishes. A ramekin bowl is perfect for this and you may already have have these in your kitchen. We use heatproof glass beakers as they are taller than the ramekins ramek ins helping to prevent any water splashing into our product when we are using the double boiler method to melt the ingredients. To create a double boiler, you will need your little heatproof containers and a saucepan. You will need to pour a little water into the saucepan so that it comes about a third to half way up the outside of the heatproof container. Place the saucepan on the heat and bring the water up to simmering point, leaving it at this temperature until the ingredients in the heatproof container have melted. Be careful when handling as the equipment will be hot. Also be careful not to allow allow any water to come into contact with the ingredients in in the heatproof container. container. If the water splashes into the product, it may cause cause problems. If your product is waxy, the water and the wax will not blend together leaving the water trapped in little droplets that may trap or encourage bacteria to grow. If you have a heatproof glass beaker that can go directly on the heat (electric hotplate only) then you do not need to use the double boiler method.

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Weighing and measuring

It is likely that you will be weighing your ingredients – especially – especially the colours – colours – in in very small quantities, quantities which are probably far too small and light to register on most household kitchen scales. scales. If you want to be consistent consistent and reproduce the same same coloured makeup over and over again, you are going to have to find a way of recording how much you are using so that you can repeat that recipe at a later date. Reasonably priced scales that measure in tiny increments can be found online and are sold as jewellery (ok, jewelry for our American students!) scales. The sets we use were purchased from ebay, cost in the region of £8-£10 ($12 - $15 at today’s exchange rate), measure in increments of 0.01g up to a maximum of 100g and are battery operated.

However, when you are playing and experimenting e xperimenting with colours, you do not have to weigh everything accurately and you can adjust the colour visually. Whilst we have provided a few measuring spoons and spatulas as part of this course, you may want to have a selection of spoons available in varying sizes – the – the smaller, the better! If you don’t have scales or tiny spoons, you can always record your colours using the proportional method. To do this, find the smallest spoon that that you can and use that as your base measurement. When adding colours, you can simply record the quantity according to how many/what fraction of spoons you used ie. 1 teaspoon titanium dioxide, ½ teaspoon red oxide, ¼ teaspoon Bordeaux mica, 2 teaspoons ult ramarine pink and so on. Whilst it won’t be absolutely accurate, it will be more accurate than recording it as ‘a pinch’ or ‘a little bit’ bit’ or ‘half a handful’ etc. For the purpose of this course we will wil l assume –

1ml = 1g 5mls = 5g 5mls / 5g = 1 teaspoon 15mls / 15g = 1 tablespoon Please remember that your measurements do not have to be exact e xact – adding – adding a little too much mica or a little less oxide will make only a little difference to the texture and suitability of the final product. It will have an impact impact on the final colour but but you can adjust this to suit.

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4

Working with micas

The name ‘mica’ is derived from the Latin word ‘Micare’ meaning to glitter. glitter. Mica is used in different industries, notably in electronics (as an insulator), buildings (in window glass) and cosmetics. What is mica?

Micas are the backbone of mineral mineral makeup. Mica itself is a shiny silicate silicate crystal-style mineral found in granite, granite, rocks or stones. There are many rocks and stones stones that contain streaks of mica, the main one being be ing muscovite mica. As many of these stones are believed to have healing qualities and energies, there is a train of thought that suggests that the mica – and – and therefore the products that contain mica - will also contain these healing or beneficial properties. Mica is ground down into a fine powder and comes in a variety of colours. Mica may also be coated with other natural mineral colours, such as oxides to give additional colour. The grains of the fine mica powders are known as particles and the particles will vary in size from mica to mica. The smaller the particle size, the finer the mica powder. The particle sizes are measured in microns microns and are expressed as a range (eg 8-15 µm) where the smallest number is the size of the smallest particle and the largest number is the largest particle size of that particular mica. The smaller the particle size, the more opaque your cosmetic product will be if using mica to give it colour. Depending on the size of of the particle mica can give a smooth smooth sheen appearance (smaller than 50 µm), a satin brilliance (50-100 µm) or a very sparkling and glittery appearance (in the 100 – 100 – 150 150 µm range). However, as much as the the particle size is important, the pigment coating also plays an important role. Whatever its particle size, mica will retain its pearlescent appearance but will vary in types of matt, shimmery, sparkling and dazzling forms. Colouring with mica

Mica is skin safe and can be applied directly on the skin. It can be used used to give colour to all makeup products – products – eye eye shadow, blusher, foundation, lipsticks etc. It can also be used to colour bath products and and soaps. Some micas are are coated in other natural colours that may not be considered safe for some cosmetic products such as lip glosses glosses and lipsticks. lipsticks. If in doubt Magnified mica, what beautiful colours!

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about the suitability of the mica, do ask your supplier before making up your products. Mica ‘shimmers’ by reflecting the light and as such performs better in transparent products such as clear melt and pour soaps. Whilst it can be used in solid products such as cold/hot processed soaps, bath fizz, bath soaks and so forth, the shimmering properties are not as obvious. When used on skin, it is the movement of the skin (blinking eye lids - eye shadow, chatting mouths - lipstick, fidgety fingers - nail varnish etc) that catch the light and reflect the radiant beauty of the micas. Different types of mica

If you haven’t played with mica before you are in for a real treat. The colours, the shimmer effect, the sparkle and brilliance never fail to excite me! I need to refer back to a physics lesson I had at school about the refraction of light......I’m not entirely sure I was paying full attention then so I have done my best to explain ex plain it in my terms! Refraction occurs when light passes through a transparent transparent object. As light passes through through

the transparent form, it changes speed. As it changes speed it bends and appears to to shine through the object at an angle to the surface. How much it bends depends on the refractive index of the form and the angle of the light. This angle is known as the angle of incidence and will be between 0 o and 90 o. The bending of the light is known as refraction. Refraction causes illusions – illusions – depending depending on the angle of the incidence the refracted light can appear lighter or dimmer dimmer or even a different colour. The best example of an illusion illusion created in this way is sunlight refracting through raindrops creating a rainbow or white light passing through a prism emerging in rainbow colours. Reflection is light bouncing back off a solid form as it is unable to pass through it.

When light hits a surface, surface, some is reflected and the rest is refracted. refracted. Micas utilise the reflected and refracted light to create much of their unique and dramatic effects. White tone micas

Micas may be coated with titanium titanium dioxide, a natural natural white colouring. The white colouring blocks the light and allows allows a single reflection of many different different colours. Changing the thickness and size of the mica particles enable an optical effect and the mica displays an amazing lustre effect.

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Black tone micas

If the titanium dioxide is replaced with black oxide the mica displayed appears to be black. However, upon closer inspection it isn’t black at all, but a wonderful exhibition of sparkling alternative colours. Mica sparks

Mica can be rendered extremely glittery and sparkly by including a proportion of larger coloured mica particles (up to 200 - 250µm range). Even though these are the largest largest mica particles, they are still tiny – they – they catch the light and positively twinkle. Interference micas

Technology plays a large part part in the beauty of micas too. For an even more diverse, exciting experience, mica can be coated or embossed with a range of oxide colours and metallic pigments or can be modified to cause c ause the splitting of the refracted light rays. Why? These clever techniques can bring about the appearance of holographic three-

dimensional colours, acquire a rainbow effect, a two-tone colour effect and even a threethree tone colour effect. The latter two types of mica are also known as interference interference micas. Micas that have a three-tone colour changing effect are known as ‘travel’ micas. micas. For the creation of three-tone colour effects, two variables must be used use d - first, the thickness of the mica flake and secondly, the thickness of the coloured layers. Since different thicknesses control the variety of reflected and refracted rays, the result is that the colour will change depending on the angle from which it is viewed. I have lost hours walking around with three-tone colour changing mica applied to the back of my hand. In one light it appears green, in another light it appears appears purple and then – my – my mouth open wide in awe – awe – a a slight movement of the hand to a different angle and I see it as pink. Quite, quite amazing and beautiful. Pearl mica

Natural mica coated with titanium dioxide to produce a silvery-pearl silvery -pearl lustrous powder which adds shimmer to your products. You can blend pearl mica with finely ground oxides to produce your own micas! See module 2 for handling, crushing and grinding oxides – but – but once ground into finer particles, simply mix with the pearl mica and and hey presto, you have made made your own mica. Do not crush or grind the pearl mica. Serecite mica

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Serecite mica is a low luster mica mica giving more of a matt rather than than shimmer effect. This is useful in foundations or eye shadows where you do not want sparkle or shine. Handling mica

Because the micas are made up of fine particles there is a chance of them – and – and other powders used on this course - becoming airborne when moving them from container to blending bowl. If you are at all concerned c oncerned about breathing in these particles then please do wear a protective ‘breathe easy’ mask. Whilst it is always wise to take precautions, I do want want to put it all in perspective. I suffered badly with asthma as a child and had enough bouts of bronchial pneumonia that my earliest memory is of the inside of an oxygen tent. tent. That said, it never troubles me and I rarely find myself reaching for my ventolin spray (ok, the occasional cold, damp day d ay set me off). I have handled more kilos of mica, glitter and the tiniest tiniest of dusty colour particles in the last eight years than I could possibly wear in a life time and I have never ne ver – and – and I will repeat that – that – never had a breathing problem or wheeze during - or within hours of - handling mica and I do not wear a mask. However, I do remember working in the Plush Folly shop one morning decanting a kilo of Blue FCF powder from cellophane bag to screw top jar....in the afternoon a friend of mine came in and asked me what I had been doing. After the usual response she asked me again what I had been doing and suggested I look in the mirror. To the mirror I went and well, what a sight! The inside of my lips and gums were blue – bright blue! The colour that smarties (a popular British chocolate candy if you weren’t sure) used to be before the colours changed to 100% natural (the blue is now from spirulina, a seaweed). Knowing that I hadn’t eaten smarties or anything blue for that matter, it made me wonder.......Of course! The blue FCF is a very fine fine and concentrated coloured powder and tiny airborne particles had been breathed into my mouth causing an instant and dramatic change of colour. Goodness knows how many customers customers I had served and and smiled at, who didn’t say a thing.......... So the morale of that story is - the particles will will be airborne. Only you can decide whether or not you need to wear a mask. If in doubt, wear one. If you are working in a room with an open window as ventilation, ven tilation, do make sure that there is no draft which may cause your mica to blow around or worse, blow into your face.

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Mica will not stain your skin and will wash off. You may wish to wear a pair of protective gloves if you do not wish to get mica on your hands – but believe me, it won’t stain skin. I certainly advise wearing an apron to protect your clothes from the colours, just in case! Mica can be applied directly to the skin, but since it doesn’t have good adhesion, it wouldn’t stay on the skin for long. long. In mineral makeup products, products, mica is blended with other other ingredients so that it will stay on the skin, feel silky, absorb excess sebum, reflect light and so on. Oh the beauty of multi-functional mineral makeup. Photographs just don’t do mica justice as you need to witness the sparkle, shimmer, glisten and sheer radiance first hand; I feel fee l it is worth including some here to give you some idea of its beauty if you haven’t yet dived into the mica provided as part of the course.

For those of you lucky enough to receive a piece of raw mica with this course, you need to study it in different lights, move it around in sunlight or by a reading light, roll your sleeve up and wipe it onto your your arm to see if it it leaves any glittery residue. residue. The mica you have received has not been coated with any other colour or mineral, it is pure mica in its natural form. Amazing, thank you Mother Nature! Have fun!

Take a tiny bit of mica and rub it onto the back of your hand. Take a little bit of mica and place it onto a piece of paper or into the lid of the pot. Now take a clean, thin brush (makeup brush or paint brush) and wet it. Dip the wet brush into the mica that you have removed from the pot and now paint this mica onto the back of your hand next to the other other mica. Can you see see the difference? The wet mica is far shinier shinier and more metallic looking and will dry without losing its brilliance. Whilst mica is used extensively in all mineral makeup products, we shall start our makeup making sessions by making products suitable for lips.

5

Lip product ingredients and benefits

We all want soft, smooth, kissable lips and what better way to indulge your lips than by treating them with a natural, moisturising lip gloss or lipstick?

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Lip gloss and lipsticks are made from a combination co mbination of oils, butters, waxes and colours. For a softer liquid lip gloss you can reduce the amount of wax or miss it out altogether. The ingredients in the following recipes rec ipes have been selected for their moisturising and hydrating capabilities. Their texture and consistency will enable enable the final product to be suitable for the container we have suggested. Most ingredients can be substituted substituted like for like. That means that one one wax can be exchanged for another wax, one oil for another oil and a butter for a butter. Do be aware that butters have different consistencies and therefore by exchanging ex changing a soft butter (olive butter as an example) for a hard butter (such as cocoa coco a butter) you will change the texture and hardness of the final product.

Key ingredients used in lip product recipes

Waxes

Waxes such as beeswax, jojoba wax and olive wax will harden up your product and add shine shine to your lips. The more wax you use, the harder harder your product will become – become – although although this can be counterbalanced by adding more liquid oils. The waxes are pretty much interchangeable and you can swap the beeswax for jojoba wax or olive wax if you wish. If you intend to make products produc ts suitable for vegans then you will need to omit the beeswax and replace it with an alternative wax such as olive or jojoba. Carnauba wax is the hardest wax of all and will help prevent your lip products from melting in in hot climates. We recommend that you use carnauba wax in any lipstick formulations where you absolutely want to avoid the lipstick softening. Rice bran wax is also a very very hard wax. You can usually identify the the hardest waxes as they are formed into little flakes to help facilitate their melting. The smaller the flakes, the quicker they will melt. This is important for high melting point waxes such as rice bran and carnauba as you do not want to leave the ingredients on the heat for too long. Rice bran wax and carnauba wax wax are interchangeable. If you substitute substitute rice bran wax or carnauba wax for jojoba, olive or beeswax your product will be a little softer as these waxes are not as hard.

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Candelilla wax has a higher melting point than beeswax and is therefore harder. It will add a gloss to your product. You can substitute substitute beeswax for candelilla wax, but use slightly less to get the same texture and hardness. Lip glosses are usually softer than lipsticks and are more easily applied if they are slightly soft. You can adjust a lipstick lipstick recipe by reducing the amount of wax, substituting the carnauba wax for a softer wax or by increasing the quantity of oil. Emulsifying wax (e-wax) is not suitable for lip products. products. This wax is only used in a product where you need to combine water and oil. Butters

There are an abundance of different butters that you can include in your lip products. These will make your products very moisturising. Butters are processed from the fatty elements of different varieties of fruits. They are rich, hydrating and soothing and can be applied directly to the lips. Butters available include cocoa butter, shea butter, mango butter, olive butter, aloe butter, avocado butter, coffee butter, almond butter and the more exotic and less well known butters such as mumuru, ilipe, mowrah and sal, and fruit butters such as pomegranate, cranberry and blueberry butters. The butters can be swapped around too but as mentioned above, swapping a soft butter for a hard butter will have an impact on the hardness of your final product. Some butters may go a little grainy if not heated for long enough (or heated very quickly). Your cosmetic product may feel a little little gritty. Whilst the product is still fine to use, it won’t initially feel smooth as it is rubbed onto the the skin or lips. lips. To prevent this thi s ‘grittiness’, make sure that any butters are melted over a low heat for at least 20 minutes before pouring into the container.

Oils

You can pretty much use any skin safe oil such as castor, jojoba, rosehip, cherry kernel, jojoba, and blackcurrant (or any fruit) seed oils. You can also include vitamin E oil but I would add this at a much lower level – and at no more than 5% of your total recipe. Castor oil is a much thicker oil than most other oils and makes a great

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barrier oil to protect your your lips against chapping. It also adds a great shine to your lips. All these oils are moisturising and whilst none of the oils o ils should have a taste, you may want to smell the oils for any apparent (and possibly unwanted) odour. Micas

Micas usually form the main colour ingredient in a lip gloss. Mica gives a translucent, shimmery sheen, frosted look to cosmetic products. Micas come in a wealth of different colours but can also be blended together to create new shades of colour

Glitters

Cosmetic grade glitter suitable for adding a sparkle to your lip products

6

Colour blending for lips

Any of the mica colours can be blended together to form other colours. To blend micas simply add the the two (or more colours) together in a bowl and stir together. Don’t crush the colours – colours – they they are already fine enough to be applied to skin without streaking or staining and need to be treated fairly gently. gently. Gentle stirring is all that is needed to mix the micas into other ingredients.

To view how the colours will look when blended together dip a clean finger in the mica and then wipe a stripe of the first colour on a piece of white paper or on the back of your hand or arm.

Using a different clean finger, dip it in the second colour mica and wipe a stripe of the second mica onto the piece of paper or back of your hand/arm making sure that it overlaps the original colour mica at some point. Rub the micas together when the two different colours intersect each other. As you rub, the two individual colours with blend together to form a new colour.

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Blending tips for mica lip colours:

Add red to white/pearl mica to get pink

Add red to black to get dark red

Add red to gold to get orange

Add gold to pink to get coral co ral

Add blue to pink to get mauve

Add pink to white to get pale pink

7

Recipes – lip products (lip gloss and lipstick)

For the practical session you will need some mica colours suitable for lips. We suggest you select the following micas and pick two or three for your lip product to use either on their own or o r blending them with one or more of the others. Lip Micas

Blush spark mica Russet mica Gold mica Bordeaux mica Purple mica Red sheen mica Pearl mica Blends

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Although Although I have measured the micas in the following blends b lends in ‘parts’ a part can be as big or as small as you wish. If you want to make enough to use and to keep, then you could use a teaspoon as your measurement in which case the ‘baby pink’ blend below woul d be made of one teaspoon of blush spark mica and one teaspoon of pearl mica. However, if you were making a tiny amount then you may wish to measure in small white spoonfuls (the spoons that were provided as part of the course) in which case your blend would be one tiny white spoonful of blush spark mica with one tiny white spoonful of pearl mica. When you start manufacturing in much larger quantities then you will be measuring by weight – weight – and and as this blend is equal parts of both colours you just need to make sure you have the same weights of each. Baby pink

Mix 1 part blush spark mica with 1 part pearl mica Add more pearl mica to make it even lighter Autumnal tones

Mix 2 parts russet mica with 1 part gold mica Sealed with a kiss

Mix 2 parts bordeaux mica with 1 part purple mica and 2 parts pearl mica Enchanting

Mix 2 parts gold mica with 1 part bordeaux mica Do you dare

Mix 2 parts pearl mica with 1 part purple mica and 1 part gold mica Spice is nice

Mix 2 parts gold mica with 1 part bordeaux mica, 1 part blush spark mica and 1 part russet mica Berry beautiful

Mix 1 part purple mica with 1 part blush spark mica Caramel

Mix 1 part russet mica with 1 part gold mica and 1 part pearl mica

Making lip products

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Making lip gloss and and lipsticks lipsticks is very easy and doesn’t doesn’t take long. Whilst it shouldn’t go wrong, there are a few important bits of information that can help ensure your product turns out as you hope. Firstly, do make sure that the recipe you y ou plan to use will produce the right consistency of the final final product. If you plan to pour your lip gloss into a pot and then apply it to your lips using a brush or clean finger then it needs to be soft enough to transfer from pot to brush/finger without you having to dig/gauge the product out. However, if you are using a twist up lip balm style applicator, then the product needs to be hard enough to hold its own shape and not collapse when pressing it to your lips. If you intend to use a lip gloss container where a wand/sponge tip applicator is inserted into the lip gloss before being wiped across your lips, then you need to make sure that your lip gloss is fairly soft, but not liquid enough to leak out of the container. You may make a few consistency errors as you perfect your formulation – but – but always remember that the lip gloss / lipstick can be taken out of the container, placed back into your heatproof container, re-melted and adjusted to be more suitable. Flavours

We have used a specialist flavour oil in this course, but if you prefer a completely natural flavour you can use: 







Dark chocolate – chocolate – a a tiny piece of dark chocolate. chocolate. Melt the chocolate with the butters butters and waxes Honey – Honey – start start with half a teaspoon which should be added to the mixture after it has been removed from the heat. Runny honey will make your product product softer, set honey will not have too much of an impact on the final texture Maple syrup – syrup – use use in the same way that you would use runny honey Essential oils – oils – any any essential oil that is extracted from a product that you would consider eating. Do remember that that the citrus fruits are usually usually expressed from the peel of the fruit and will be more intense and far more bitter than the fruit itself. Always use sparingly – sparingly – just just a drop or two of essential oil per single lip gloss will suffice. Essential oils that you can use include orange, lemon, grapefruit, lime, mandarin, peppermint, lavender, rose, ginger, cinnamon leaf and clove bud.

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Ultra Shiny Lip Gloss

This is a lovely moisturising lip gloss with just a hint of colour, although you can add more colour to give more intensity. Ingredients

3g cocoa butter 3g shea butter 3g beeswax 3ml cherry kernel oil 6ml castor oil 2 tiny white spoonfuls blush spark mica (or mica colours of your choice) Method

Place all the ingredients EXCEPT THE MICA COLOUR in your heat-proof jug or bowl and place the jug/bowl in a pan of simmering water. Allow the butters and and wax to melt, stirring occasionally. Leave for at least 20 minutes minutes over a very low heat. After 20 minutes, remove the heatproof container from the saucepan and stir in the mica colour. Stir to ensure thorough distribution distribution of the colour – you don’t want any sinking to the bottom. If the mixture starts to set, place the heatproof container back into the double boiler and warm to re-melt the ingredients. Pour the melted lip gloss mixture into i nto a suitable container and leave to set before putting the lid onto the container. Container: use a pot with a screw lid or tin Application: apply with suitable lip brush or clean finger Shelf life: 18 months

Tasty Lip Flourish

This is gorgeous light lip lip gloss designed to keep your lips smooth and soft. I often use cherry kernel oil instead of the melon seed oil – oil – it it makes no difference to the end product but there’s something about the colour and shine of cherries that goes so well with lip products!

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Ingredients

3g shea butter 3g mango butter 4ml castor oil 5ml melon seed oil 3g jojoba wax 12 drops flavour oil ½ tiny white spoonful russet mica (or mica colours of your choice) ½ tiny white spoonful gold mica (or mica colours of your choice) Method

Place the wax, oils and the the butters in a heat proof jug or bowl. Place the jug or bowl into a saucepan of hot water to melt. Stir occasionally. Once the jojoba wax and butters have melted, remove from the heat and add the mica colours. Stir well. Add the drops of flavour flavour oil and stir again again to ensure that the the flavour oil is thoroughly mixed in. Pour into suitable containers and place to one side (without the lid) until set, but still soft. Put lid on jars once the lip gloss has set. The lip gloss is best used at room temperature but can be left in the fridge to harden it up slightly. Container: use a pot with a screw lid or tin Application: apply with suitable lip brush or clean finger Shelf life: 18 months

Super Softie for Stressed Lips

This is designed to keep your y our lips smooth and soft, preventing chapped lips throughout the different seasons. It has no flavour but flavour oil, honey/maple syrup etc. can be added if required. Ingredients

3g cocoa butter 3g mango butter 5g jojoba wax 3ml cherry kernel oil

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4ml jojoba oil ½ tiny white spoonful gold gold mica (or mica colours of your choice) ½ tiny white spoonful mica (or mica colours of your choice) Method

Place the wax, oils and the butters in a heat proof jug or bowl. Place the jug or bowl into the double boiler saucepan and leave leave on a low heat to melt. Stir occasionally. Once the wax and butters have melted, remove from the the heat and stir well. well. Add colours and flavouring (if using). Pour into twist up lip balm tube and leave to set (without the lid). Put lid on once the lip gloss has set. The lip gloss is best used at room temperature but if it gets too warm, put it in the fridge to set it. Container: twist up lip balm tube or small pot with lid Application: apply directly to the lips lips from the container container or lip brush Shelf life: 18 months

Now You See Me Lip Hint

Use the red sheen mica to give a hint of colour that changes in different lights – a – a kind of ‘now you see me, now you don’t’ effect. Ingredients

2g cocoa butter 4g mango butter 3g beeswax 4ml rice bran oil 3ml jojoba oil ½ tiny white spoonful red sheen mica Method

Place the wax, oils and the the butters in a heat proof jug or bowl. Place the jug or bowl into the double boiler saucepan and and leave on a low heat to melt. Stir occasionally.

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Once the wax and butters have melted, remove from the heat heat and stir well. Add the red sheen mica. Pour into pot and leave to set (without the lid). Put lid on once the lip gloss has set. Container: lidded pot Application: apply to lips lips with clean finger finger or lip brush Shelf life: 18 months

Shiny Lip Pout

The addition of the essential oils will help to boost blood circulation circulation to the lips. Do be aware that there will be an initial tingling sensation – this – this is supposed to happen but if you find it unpleasant, wipe the lip product off and rinse your y our lips with warm water. Ingredients

5g shea butter 5ml castor oil 4ml avocado oil 5ml rice bran oil 1g beeswax 2 drops cinnamon leaf essential oil 1 drop peppermint essential oil ½ tiny white spoonful bordeaux mica (or mica colours of your choice) ½ tiny white spoonful blush spark mica (or mica colours of your choice) Method

Place all the ingredients EXCEPT THE MICA COLOUR AND THE ESSENTIAL OILS in your heatproof jug or bowl and place the jug/bowl in a pan pan of simmering water. Allow the butters and wax to melt, stirring stirring occasionally. Leave for at least 20 minutes minutes over a very low heat. After 20 minutes, remove the heatproof container from the saucepan and stir in the mica colour. Stir to ensure thorough distribution of the the colour – you don’t want any sinking to the bottom. Now carefully add the essential essential oils and stir stir again. Pour the melted lip gloss mixture into a squeezy tube and leave to cool before putting the lid on.

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Container: squeezy roll-on tube or small lidded pot Application: direct from tube or lip brush Shelf life: 18 months Note: If you omit the colour (and also omit the the flavouring if you wish) this can be applied

over the top of other lip products p roducts to give added shine.

Liquid Lip Sparkle

This is a lovely moisturising moisturising coloured lip gloss with a touch of sparkle. You can also add a few drops of flavour oil if you wish. Ingredients

2g jojoba wax 12ml fractionated coconut oil 6ml castor oil Micas of your choice ½ tiny white spoonful glitter Method

Place the ingredients except the colour co lour and glitter into a heat-proof jug or bowl and place p lace the jug/bowl in a pan of simmering water. Allow the wax to melt, stirring frequently. When melted, remove the bowl from the heat and add the colours and glitter. Stir well to ensure thorough distribution of the colours. Pour the melted mixture into the container and insert the little little bung. The bung is designed to wipe off any excess lip gloss gloss from the wand applicator. applicator. Leave the lip gloss to cool. Insert the wand applicator and screw the lid on. You may find that the wand applicator takes some some stirring and dipping to get it properly loaded up with the product when you use the lip gloss for the first few times. Container: lip gloss tube with sponge tipped wand applicator

from the applicator applicator Application: apply directly to the lips from Shelf life: 18 months

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Luscious Lips Lipstick

First the bad news - your lipstick won’t be packed in a typical lipstick twist -up container. This is due to the lack of availability in the UK of the items required to make these. The lipstick in these containers has to be poured into a bullet shaped shaped mould. Once set, the lipstick is removed from the mould and carefully placed in the lipstick container. Pouring the hot lipstick directly into the container cannot be undertaken since the twist up part of the container has holes in it. Any hot lipstick would pour through the the holes and block up the twisting mechanism. Special sets can be purchased from the United States of America allowing you to make six lipsticks at once. See the suppliers section in the appendix for details of where you can purchase these. For this recipe you can choose to use the slim black twist container included with the course. You can apply the lipstick lipstick directly to your lips from the slim black twist container. container. Alternatively you can use one of the small lidded containers and apply to the lips using a clean finger or lip brush. This is a wonderfully moisturising, moisturising, coloured glossy lipstick. You will make more than than the slim black twist container holds so I suggest you have a spare container ready for the excess. Ingredients

3g beeswax 2g carnauba wax 1g cocoa butter 3ml cherry kernel oil 3ml jojoba oil 10ml castor oil 1ml vitamin E oil 1 teaspoon mica colours of your choice Method

Place all the ingredients EXCEPT THE COLOUR in a heat-proof jug or bowl and place the jug/bowl in a double saucepan saucepan of simmering water. Allow the butters and waxes to melt. When the butters and waxes have melted, remove the bowl from the heat and add the colours. Stir to ensure thorough thorough distribution of of the colours. Pour into your container. Do not put the lid on until the product has set.

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Container: twist up slim black container or small screw on lidded pot

lips from the applicator applicator or via a lip brush or clean finger Application: apply directly to the lips Shelf life: 18 months

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1 of 4. Making mineral&coloured makeup

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