History of Nail Polish Facts, Videos, and More

 

Hello everyone thank you for your support we are truly grateful for all your support, on week 237 we are sharing a post on the history of Nail Polish, from its origins to now, wow very interesting the developing of it and how much it has changed through the times, I am personally very thankful that it has because there were very toxic materials used to manufacture these products so nail polish has come a long way.

I usually let my nails breathe especially in winter. I only use nail polish for an event. I prefer it I am usually doing many activities with my hands and the nail polish doesn’t last me and I don’t favor the chipped nail polish look. With that said here we go with the post enjoy and please share so other people can learn about it.

 

 

 

from: https://en.wikipedia.org/wiki/Nail_polish

Nail polish originated in China, and its use dates back to 3000 BC. Around 600 BC, during the Zhou dynasty, the royal house preferred the colors gold and silver. However, red and black eventually replaced these metallic colors as royal favorites. During the Ming dynasty, nail polish was often made from a mixture that included beeswax, egg whites, gelatin, vegetable dyes, and gum Arabic.

 

A Time-Consuming Process

from:http://classroom.synonym.com/origin-nail-polish-9845.html
While modern nail polish typically dries in a matter of minutes, that definitely wasn’t the case with the rudimentary versions made in ancient China. Once women painted their nails, they typically had to wait for several hours. Some women even went to sleep hoping for it to dry fully by the morning.

Zhou Dynasty and Nail Polish

During the Zhou Dynasty of the 11th to 3rd centuries B.C., women of different classes wore nail polish, whether they were privileged or not. Nail polish color denoted the social status of a woman. In 600 B.C., royals painted their nails with silver and gold. Average Chinese women were permitted to wear light pink nail polish. The consequences of not abiding by the color regulations were extremely severe. Any lower-class Chinese girl who painted her fingernails in royal colors would have faced the death penalty. By the time of the Ming Dynasty (14th to 17th century), royal nail polish color preferences had switched to red and black.

 

 

 

Nail Polish in Ancient Egypt

 

 

Although the Chinese were pioneers in the origins of nail polish, Egyptian women (and men too) were also coloring their nails by 3000 B.C. Their methods for painting their nails differed from the formulas used by the Chinese, but the color still signified social status, with deep red hues reserved for those of high rank. Ancient Egyptians often immersed their fingertips in reddish-brown henna, a type of dye extracted from flowering plants. Cleopatra, for one, was a big fan of henna for nail coloring. Ancient Egypt also produced some nail polish blends that were lacquer-like in a formula. Egyptian women frequently used berries to color their nails, too.

 

 

from: http://www.nailbargamax.it/the-history-of-nail-polish.html
Different materials, techniques, and colors have transformed the use of nail polishes, always in line with the evolution of tastes and trends. The origins of Nailart were India and China. The history of ancient and millennial civilization. During the Bronze Age, the henna, obtained from the powder of dried leaves, starts to be used also for nails decoration and in 1500 B.C,  in Mesopotamia, China, and Egypt, appear the first nail polishes, obtained from a mix of powders of crystal, malachite, and sulfur.

Nefertiti and Cleopatra are remembered, among other things, as two of the most beautiful women of their time. It is no surprise, then, that they were the first to make something as iconic as red nail polish famous! During their respective reigns, a societal hierarchy was indicated by the specific color worn. The stronger the shade of red, the more power the person possessed.

Although the practice likely existed earlier, sources suggest that Nefertiti, Queen of Egypt (14th century B.C.) colored her fingernails a ruby-red color. Nefertiti and her royal court would use henna (and sometimes even blood!) to color their nails.
The colors, that go from black to green, from red to gold, were used to define the belonging of a social class while sometimes, symbolizing the individual or tribal power. The colored nail polishes consist in real and unique representations, as traditional Incas narrations.
During the Medieval Age this practice was abandoned, and only restarted gaining popularity during the Renaissance in order to embellish the hands of noblewomen of that time. In the Victorian era, as explained in Madame Bovary – of Gustave Flaubert – with the protagonist Emma Bovary, a new nail polish became popular, made out of oil and chamois.

 

 

 

From: http://www.cosmeticsandskin.com/ded/polish.php

Until the 1930s, polishing powders were the main preparations used to shine the nails plate. These were made in many forms including sticks, blocks, pastes, loose powder and even liquids but all used fine abrasives that were buffed on the nail to produce a shineDuring the 1930s powder polishes were largely replaced by liquid polishes that were painted on the nails to produce a more or less instant shine. Early forms of liquid polishes were made using a variety of materials but eventually most were formulated using nitrocellulose.

 

 

 

Wax polishes

Many paste polishing powders included waxes to help suspend the powder, thicken the paste and add shine. If the abrasive was left out of this mixture then any shine produced would be due solely to the wax, which polished the nail plate in the same way that a polishing wax makes wood furniture shine.

Wax nail polishes were made as pastes or liquids and what they lacked in effectiveness they made up for in simplicity of manufacture. Paste wax polishes were simple mixtures of substances like beeswax, ceresin, spermaceti and soft paraffin, melted together and poured into small pots.

Wax polishes could also be made as a liquid by dissolving the wax in a suitable solvent, either cold or gently warmed in a steam-heated mixing bowl. When applied to the nail plate the solvent evaporated leaving a thin layer of wax behind. As the solvent used was highly volatile, these liquid polishes had to be sold in sealed stoppered bottles.

 

Solvents and films

Liquid wax polishes were the first nail polishes that used a solvent to deposit a film on the nail plate. The film helped protect the nail and maintain the shine for a longer period of time, thereby reducing the need to rebuff the nail. Liquid wax polishes were often applied over a nail that had first been buffed with a polishing powder – so they simply helped to preserve the polished surface – but they could also be subjected to further buffing after the wax polish had dried.

When nitrocellulose polishes appeared, the need for buffing was reduced and eventually disappeared. However, old habits died hard and reference to buffing – either before or after applying a nitrocellulose polish – were still occurring up until the outbreak of the Second World War.
Before applying varnish, if it is to be used, the nails must be well polished with the buffer and one of the various preparations now in favour, which are generally made in stone, powder, or cream form. … Never apply varnish to a nail that has not been burnished in this way; otherwise, the natural gloss of the nail will eventually disappear. … Care must be taken in its application to obtain an even surface. Work is always from the lunule down towards the fingertips.
Many French women to-day varnish from the entire base right over the nail. This is not really very becoming. The half moon showing is always rather intriguing. Dip the brush in the varnish and then press against the bottle so that only a portion remains on it; this guards against and excess of varnish, which usually results in a blob on the nail. Make an even sweep with the brush from the half-moon down to within ½ in. from the edge, or where it can bee seen that the nail ceases to adhere to the flesh. The amount on the brush is usually sufficient for two lengths of the nail. Be careful not to allow the varnish to contact with the edges of the cuticle, as this spoils the effect. Allow to dry and apply a second coat, and once again when the enamel has completely dried use the buffer.

 

Varnishes and lacquers

 

 

Once the idea of applying a film of polish to the nail with a suitable solvent had taken hold, the door was opened to using other varnishes and lacquers, many of which had been developed in the nineteenth century. The range of materials used included shellac, gum benzoin and cellulose nitrate (nitrocellulose). Although these liquid nail polishes appeared early in the twentieth century it took a while for serviceable polishes to be developed and for the idea to catch on.

When industrial lacquers and varnishes began to be used, it became possible to source nail polishes from larger and older lacquer firms that had the technical knowledge to deal with this dangerous material and the facilities to produce polish in bulk. This left nail polish companies with the relatively simple tasks of bottling, packaging, selling and distributing the polish meaning that they could to start with relatively small overheads. A number of new nail polish firms began in this way, perhaps the most important of which was Revlon.
The wise manufacturer selects one of the private label house to make his enamel. Elaborations and special effects can be worked out.
The danger from fire—perhaps even explosions—is so great that the risk isn’t worth the result. Private label houses in many cases have spent years in perfecting their clear lacquer. They have studied every conceivable coloring material and know its behavior in nail lacquer. Most of all they know the dangers of the business and are adequately protected.
Many successful businesses have been built in this field by delegating the manufacture of nail lacquer to the private label house.

Given the relationship with the varnish and lacquer industry, it is understandable that many early liquid nail polishes were known as varnishes or lacquers. However, they were also referred to as polishes or enamels by cosmetic companies and beauty writers of the time. Unfortunately, the story of nail polish in the twentieth century is muddied by the fact that the terms polish, lacquer, varnish and enamel were used haphazardly and covered a wide range of nail products.

 

Benzoin polishes

 

Benzoin-based nail polishes provided a reasonably good shine to the nail but they took longer to dry, required buffing to bring out the shine and had a tendency to become brownish in color, so could not compete with cellulose nitrate polishes in the long run.

Poucher (1932) provides us with a formulation for a gum benzoin polish, tinted pink with a small amount of eosin, perhaps to hide the brown, but a similar product could be made that was completely clear.

Nitrocellulose polishes

 

Nitrocellulose – also known as cellulose nitrate – is produced by immersing cellulose in nitric acid, or a mixture of nitric and sulphuric acids, for a short time. A common source of the cellulose in the United States was cotton and when nitrated it was known there by such names as pyroxylin, nitrocellulose, nitrocotton, soluble cotton or guncotton, in part depending on the composition of the cellulose nitrate which varied according to how much the cotton had been acted on by the nitric acid.

A number of uses were found for cellulose nitrate in the nineteenth century including the manufacture of explosives, celluloid (an early plastic), nitrate film stock, varnishes and artificial silk. Some of these technologies relied on the fact that partially nitrated cellulose could be dissolved in organic solvents – like alcohol, ether, and acetone – and when these evaporated a clear film was left behind.

 

Collodion and liquid court plaster

 

Collodion was first produced in 1846 when Louis-Nicolas Ménard [1822-1901] and Florès Domonte produced a clear gelatinous liquid by dissolving pyroxylin (a partially nitrated cotton) in a mixture of ethyl alcohol and ether. Its discovery was put to good use the following year when John Parker Maynard [1817-1898], a Boston physician, discovered that dried collodion formed a clear, waterproof, protective film over a wound. Maynard’s discovery gained wide medical acceptance and led to a number of commercial forms of this liquid medical dressing being put on the market, generally badged as liquid court plasters.

Early liquid court plasters tended to contract and crack on drying but a flexible form was later developed an important advance. It used plasticisers like Canada balsam and castor oil to produce a film that could bend and flex with the skin.

In 1882, John H. Stevens [1853-1932] patented the use of amyl acetate as a solvent for pyroxylin. It produced a more durable, transparent film than that generated from using ethyl alcohol and ether, and it found a number of industrial uses including the development of nitrocellulose-based wood and metal lacquers.

Liquid court plasters were also formulated using amyl acetate rather than ethyl alcohol and ether.

Given the developments in nitrocellulose-based medical dressings, and industrial varnishes and lacquers, it was almost inevitable that someone would produce a nitrocellulose-based nail polish. Exactly when the crossover happened is open to question, with most cosmetic chemists placing this landmark event in the history of nail polish in the late 1910s or early 1920s. However, evidence suggests that it took place a good deal earlier than this. For example, the Bijou Chemical Company of New York was putting their Bijou Fluid into a nail polish/enamel as early as 1903. Given that this preparation also formed the basis for their liquid court plaster, a metal lacquer, an adhesive, and a leather waterproofer, there seems little doubt that Bijou Fluid was a flexible collodion containing nitrocellulose, and that their nail polish was nitrocellulose-based.

Unfortunately, the situation regarding liquid nail polishes produced before 1920 is far from clear. As I have already noted, there were numerous liquid nail polishes on the market before 1919, but it is difficult to know whether they were made as liquid abrasive powders, liquid waxes, liquid benzoin polishes or liquid nitrocellulose polishes, without access to their original formulation.

 

Nail polish and automobile paint

 

One reason why some have suggested that nitrocellulose nail polishes were developed in the 1920s is the belief that they were inspired by developments in glossy car paint, specifically the Duco Paint that E. I. du Pont de Nemours developed for General Motors in 1923. This seems unlikely. Although it is true that Duco Paint is based on nitrocellulose, came in a wide range of colours, and was advertised as having a fast-drying, tough, durable, waterproof finish, Duco was designed to be sprayed on not painted on, required at least twelve hours not minutes to dry, and only had a satin sheen so required further polishing to develop a high gloss (E. I. du Pont de Nemours, 1925). This, and the 1923 date suggests that the development of Duco Paint coincided with a greater use of nitrocellulose in nail polish but was not directly responsible for it; both products evolved from the varnish and lacquer industries.

 

Celluloid film stock and nail polish

 

Nitrate (celluloid) film was patented by Hannibal Williston Goodwin [1822-1900] in 1898. It was later reinvented by the Eastman Kodak Company – which started a legal dispute which was not settled until 1914. Eastman Kodak reportedly made their celluloid film stock by dissolving pyroxylin in a mixture of methyl alcohol, amyl alcohol and amyl acetate (Sabin, 1904, p. 113). Camphor was added as a plasticiser and the resulting film was then coated with a photosensitive gelatin emulsion.

Given that nitrate film was liable to catch fire, it was dangerous to store and was often sold as scrap after a movie had played out in cinemas. A nail polish could be made from this film scrap by stripping off the gelatine and then dissolving the remaining film in amyl acetate and acetone or other solvents.
The preparation used by photographers which consist of celluloid obtained from scrap sources and dissolved in amyl acetate is widely employed.
The work consists of cutting up the scrap and charging into a comparatively large mixing pan, because of the space occupied. Amyl acetate and acetone are poured into the pan, and heat gently applied.
The consistency of the product can be varied by the amount of scrap added, and should be reduced to a syrupy condition. some selected perfume is then added in the usual manner, and the charge emptied.

Scrap celluloid was widely used to make nail polish early on but the practice began to disappear in the 1930s. Using scrap celluloid film was cheaper but the presence of any synthetic camphor adversely affected the brightness of the finish so its use had declined by the time the Second World War broke out. When nitrocellulose supplies were diverted for the war effort there was a renewed interest in using celluloid film stock but this faded when normal supplies resumed after 1945.

 

 

 

Color

The first nitrocellulose nail polishes were generally made in a clear ‘Colourless’ or pink ‘Natural’ shades. The pink colour was produced using dyes like carmoisine, safranine, erythrosine or phloxine. By the end of the 1920s nail colour had become more obvious, with many companies making enough shades enable nail polish to match the clothing colours that a woman was wearing. Mother of pearl polishes, made by adding in fish-scale essence, also made an appearance.

Although companies like Glazo made nail polishes in a wide range of colours, manicurists could also mix up colours to meet the needs of individual clients. Unfortunately, it is clear how a manicurist accomplished this for their society clients. Some materials such as gold, silver or pearl powder could be mixed directly into clear polish as could some colours. Its is also possible that manicurists first applied colour to the nail and then covered this with a clear nail polish. Clients could return the following day to have it replaced with something more suitable or use a remover.
Very pink fingernails and sometimes blood red nails have been popular for some time with women in London. The latest idea, however, is to have fingernails to match dresses. At a recent function, a lady was observed in a Parma violet chiffon frock, and Parma violet fingernails to tone exactly. The idea is an off-shoot of the matching craze which is sweeping over London and Paris just now.
A well-known London beauty specialist is pushing the craze, and her clients arrive with samples of the frocks they will wear in the evening to have their nails “done!”. Mauve, violet, blues, greens, orange, yellows and reds are used. One girl wearing a pearl-colored satin frock had her fingertips enameled a lovely pearly tint, which looked really pretty. The enamel comes off quite easily with a special preparation used for the purpose so that there is no fear of one’s blue or green fingers clashing next morning with one’s favourite orange jumper suit.

Some nail polish firms used this idea as well. Cutex, for example, sold a clear nail polish in the 1920s that came with a separate tint which could be used to produce a polish with different degrees of color.

In the more sombre depression years of the 1930s, bright colours went out of fashion to be replaced by subdued reds and smokey-reds.
Lately, the cult of the coloured fingernail—gold, mother of pearl, blood red, or tinted to match the gown—marks us as to hand consciously. Pointed fingers with nails trained like pencil tips, and coloured in unnatural tones, makes lovely hands look like the claws of some exotic bird and not the warm and human hands that have charmed lovers down the ages.

 

Transparent polish

With the exception of pearl and metallic types, most nail polishes used in the 1920s were transparent, either clear or coloured with dissolved dyes. They were generally applied across the center of the nail, leaving the lunula (half moon) and free edge visible Having color only across the center of the nail plate was believed to make the fingers look long and elegant.

 

 

Opaque polish

By 1930, opaque (cream) nail polishes were becoming fashionable in Europe. Initially, these cream polishes were made by European companies or smaller American firms that had a presence there and only became more common in the United States after Revlon started up in 1932 and Cutex began selling them after 1934.

 

 

Revlon

1932 When Revlon launched the first ever opaque nail enamel, it was referred to as cream enamel – the product was created using blended pigments, instead of dyes – this enabled a vast choice of colors. The nail enamels were only available in beauty salons to start with. 1937 The nail enamel was launched into department stores & pharmacies.

In 1939, when Revlon began to make lipsticks, they heavily promoted the notion that nail polish and lipstick should match, a fashionable French trend that had first appeared in the 1920s. Cutex had previously pushed this idea when it introduced its own line of lipsticks in in 1935.

Even earlier, two other American companies, Peggy Sage and Glazo, were producing nail polish shades to match lipsticks no later than 1930, even though neither firm made a lipstick at that date. Peggy Sage matched their nail polishes lipsticks from other companies in Peggy Sage salons and when Revlon became a much bigger threat in the late 1930s Peggy Sage entered into an agreement with seven cosmetic companies operating in the United States – Schiaparelli, Lelong, Lentheric, Charles of the Ritz, Du Barry, Dorothy Gray and Coty – to match Peggy Sage nail polishes with their lipsticks. This was a stop-gap solution with most of these lipstick manufacturers soon making their own nail polishes.

 

Modern nail polish

 

By 1930, there was a general agreement about the characteristics of an ideal liquid nail polish. It should be harmless, easy to apply, dry quickly and evenly, harden well, resist chipping and abrasion, be waterproof, have an even colour that did not stain the nail, be stable in the bottle, and have a pleasant smell. Unfortunately, early nitrocellulose nail polish formulations did not share all these qualities. Their adhesion was poor, if coloured they often stained the nail, and they took a relatively long time to dry. Many early nail polishes did not even have a dedicated nail polish remover, being lifted by applying another layer of polish or by using acetone.
The use of nail enamel is now almost universal. It is a rapid means of acquiring a brilliant lustrous finish and may if desired, be applied without previously burnishing the nails. The only disadvantage it possesses is that of coming off in streaks after a few days. This is not very noticeable when a colourless enamel is applied, but if a tinted one has been used the effect is grotesque. Before applying the second coating of enamel, the remains of the first must be removed. This may be done by painting on the enamel itself and then rubbing off with a cloth, or better still, by using Acetone in the same way.

By the end of the 1930s, dedicated nail polish removers had been added to most manicure lines.

 

Components

 

All modern nail polishes have four main components: a film former, solvents, resins and plasticisers. Coloured nail enamels also contain pigments and pearlescent materials and may also include suspension agents to help stabilise the suspended pigments. Other ingredients such as U.V. filters and proteins were added to more recent formulations.

 

Film former

 

The film-former is the glossy coat that is left on the surface of the nail after the solvents have evaporated. As previously noted, before the Second World War a range of substances was used to generate the film – including gum benzoin, shellac, and waxes – before nitrocellulose became the film-former of choice. Since then, other film-forming substances have been proposed as substitutes for nitrocellulose – one of the earliest being cellulose acetate, also used in ‘safety film’. Although there are nitrocellulose free nail polishes on the market today, nitrocellulose is still the commonest film-former used; it has a low solvent retention and dries quickly to form a waterproof, tough film.
Nitrocellulose is outstanding for its hardness, toughness, resistance to abrasion, and excellent solvent release. It is interesting to note that nitrocellulose is also the oldest man-made substance among the film-forming agents which dry solely by evaporation and without any subsequent oxidation or polymerization.

As noted earlier, nitrocellulose comes in a range of grades depending on how nitrate it is. This affects its volatility and solubility; highly nitrated nitrocellulose being more volatile and less soluble, lower nitrate forms being less volatile and more soluble.

The second characteristic of nitrocellulose that affects its use in nail polish is the length of the polymer chains that make it up. Shorter chains result in a more brittle film that has a lower viscosity, while longer chains make it softer and more viscous. Polishes that have a low viscosity will not adhere well to the brush and will not give a thick enough coat, while those that are very viscous will not flow easily and leave a coat that is too thick and streaky. Nitrocelluloses with medium length polymer chains are the types most commonly used in nail polishes, identified as E27 and E32 in Europe or ¼ and ½ RS grades in the United States.

Plasticisers

Nitrocellulose produces a tough transparent film but as it is also brittle, the polish will crack and flake if it is used alone. To make the polish more flexible, solid and liquid plasticisers are used. Liquid plasticisers, such as castor oil, produce a soft flexible polish, while solid plasticisers, such as camphor, generate a harder film. To get the best of both worlds both types were used. Camphor and castor oil were two of the commonest plasticisers used in early nail polishes. Castor oil is no longer used and although camphor is still found occasionally in some polishes, both of these early plasticisers have been largely replaced by better substitutes.

Resins

Resins are added to nail polish to help it adhere to the nail plate so that chipping or peeling are reduced. They can also make the polish tougher and improve gloss. Two main forms are used: natural resins – like benzoin, de-waxed dammar, mastic sandarac, shellac and benzoin – and synthetic forms.

Until the 1930s, most of the resins used were natural and they suffered from a number of drawbacks. Some, like benzoin, darkened when exposed to light and most required some burnishing of the nail plate after the polish had dried to bring out the full gloss. Being natural products there was also the issues of batch uniformity and rising costs.

In 1938, the synthetic resin, toluene-sulphonamide-formaldehyde (TSFR or TSAfr), was introduced into nail polishes and gained wide use. As well as being colorless and transparent it made the nitrocellulose film tougher and improved its adhesion. Unfortunately, in 1943, TSFR was identified as a common cause of allergic contact dermatitis. Symptoms could appear around the nail but a common site of an allergic reaction was the eyelids, due to users rubbing their fingers against their eyes when their eyes were ‘tired’.

TSFR is still found in nail polishes today, generally listed either as tosylamide/formaldehyde resin or toluene sulfonamide/ formaldehyde resin, but some manufacturers avoid it. Some go even further and along with camphor and dibutyl phthalate (DBP) – an early plasticiser banned by the European Union in 1976 – sometimes specifically list TSFR as being absent.

Solvents

There are a large number of solvents that can be used for nitrocellulose-based nail polish. Selecting which to use and in what proportion depends on a number of factors including drying time, cost and odour. It might be thought that fast drying solvents would be ideal but this is not necessarily the case. If the nail polish dries too quickly the film may be streaky and the rapid evaporation can cool the polish below the dew-point causing clouding (blushing), particularly on humid days when the water content of the air is high. Best results are therefore obtained by including a range of solvents, some of which have a slower rate of evaporation.

 

Color

As mentioned previously, until the 1930s nail polishes were largely coloured with soluble dyes like carmoisine, safranine, erythrosine, and phloxine. These were easy to incorporate into nail polish, the only major problem being that they often stained the nail.

The first nail polishes that included suspended particles first appeared in the 1920s. These were the pearl polishes – made with fish essence from fish scales – and metallic polishes – that used bronze, silver or gold metallic pigments. The use of other suspended pigments such as titanium dioxide and iron oxides occurred in the late 1920s when opaque cream polishes were developed. In the United States, these became more common a few years before the 1938 Food, Drug, and Cosmetic Act (FDCA) and the introduction by the American Food and Drug Authority (FDA) of an approved list of colours that could be used in cosmetics. By this time, the fashion for matching nail polish and lipstick had taken hold in the United States and similar pigments began to be used in both lines.

The early pearl and metallic polishes experienced a degree of sedimentation – settling out of the solid particles – but the problem became acute when cream polishes replace transparent forms. The issue was made more difficult by the fact that that sedimentation occurred at different rates for different particles. For example, pearl essence made from fish scales settled more slowly that made from bismuth oxychloride.

Of particular concern was titanium dioxide. Being white and heavier than the iron oxides it settled first, and once settled it was difficult to get it to back into the mixture. A number of solutions to the problem were tried over the years: some early polishes included a stirring stick to mix the polish before use; the iron oxides were deliberately coarse ground so that they would settle with the titanium dioxide to produce a residue that was reddish rather than stark white; the titanium dioxide was dyed so that when it settled it was not as noticeable; new ingredients were added to try to reduce the problem; bottles were designed to hide any sediment that might appear; and instructions were added that suggested shaking the bottle vigorously before use.

The ultimate solution to the problem was to develop a nail polish that was highly thixotropic, that is, one that was thick and viscous when still, but thin and less viscous when applied. A number of compounds were tried over the years but synthetic bentonite and hectorite clays proved to be the most effective and, although not without their problems, many nail polishes contain stearalkonium hectorite or stearalkonium bentonite to this day.

 

Base coats and top coats

 

One way to achieve good adherence, reduce staining and improve hardness, colour and gloss were to use a base coat before applying the polish and then follow that with a top coat. The three products contained similar ingredients but differed in the amounts used. The base coat had more resin to help it adhere to the nail and reduce chipping, while the top coat contained less resin but more plasticiser and nitrocellulose to improve gloss and resistance to wear. In between these two, a layer of colour was applied although top coats often contained colour as well.

 

The first base coat (undercoat or foundation coat) appears to have been developed by Perma-Nail in New York in 1946. It was quickly followed by others including Everon (Revlon, 1946), Fulpruf Undercoat (Elizabeth Arden, 1947) and many others. I make note of this product mainly because they were the cause of numerous reports of allergic contact dermatitis. Subsequent products of this type showed similar problems.

Base coats and top coats formed a part of many professional manicures well up to the end of the twentieth century but for the average consumer they were too much trouble and in the 1950s many manufacturers made the point that their polishes did not require either, Charles of the Ritz being one of the first to do so with their Fresh Paint polishes.

 

Bottles

 

No discussion of nail polish can be complete without a mentioning their bottles. Nail polish is now sold in bottles capped with a screw top lid – to help reduce solvent evaporation – with a brush attached to the cap. However, early nail polishes came with a brush that was not integrated with the bottle but was included in the box as a separate item.

 

With the introduction of titanium dioxide and iron oxide pigments in the 1930s, triangular shaped bottles became more common for a number of reasons: they ensured that pigments settled on the bottom of the bottle, rather than on the sides of the glass containers; the shape also minimised any signs of floating artifacts or streaks that might appear at the top of the polish; and it also gave the bottle a low center of gravity that helped prevent it from tipping over and spilling.

The introduction of thixotrophic nail polishes made the use of triangular bottles to disguise artifacts largely redundant and enabled nail polish manufacturers to experiment with the wide variety of bottle shapes we see today.

 

 

Moon Manicure

The first modern manicure was known as the “moon manicure”. To achieve this look the cuticles were cut, free edges filed into points, and polish was applied to the nail but not to the moon and tip.  Covering the entire nail with lacquer was considered extreme and improper. Red was considered the most ladylike color, but pale pink, nude, white and peach were also popular. It was considered important to choose a lacquer that would complement your outfit as well as match your lipstick.

In the 1940s and 1950s, the half moon style was still popular and there were dozens of colors introduced, including green, yellow, blue, mauve, and black. Matching nails with your clothes was still in vogue.

 

 

1960s

The fashions of the 1960s were far more relaxed than in previous decades. Instead of the half moon manicure, it was customary to paint the entire nail. Colors were less vibrant, including coral, purple and frosty blue hues.

 

1970s

 

Eventually, colors evolved to the full spectrum, such as various reds, oranges, and eventually the French manicure style polish, says Pattie. “The shape changed from almond-shaped to  square nails around the mid-70s through to the 90s, and French manicures became extremely fashionable.”

 

1980s

In the 80s creativity abounded and women went wild with nail art. This included multiple polish color applications to one nail, airbrushing, hand painting, embellishments, feathers, foil art, bright shades of pink, neon hues, real gold nails, and nail charms, Just about anything has experimented with to create designs. Longer lengths were in and a square shape. Various products were introduced to enhance the nails and their length, to include gels, tips, ‘organic’ nail powders and advanced types of acrylic blends.

 

1990s

After the run of nail art, consumers became more aware of their nail ‘health’ and products advanced in this direction. “Late 90s to early 2000, natural nails became popular again.” Black also had its heyday with the grunge crowd.

 

2000s

 

Into the 2000s, nail polish colors evolved to every and all shade. Various gel products and gel polishes were introduced, 3-D nail art, glitter, and Japanese style art are now seen on all types and classes of women. The shape has also gone back to the original almond shape and even to a more dramatic stiletto shaped nail.

 

Now

Recently, the evolution of nail appliqués has become the biggest trend,  The first appliqués were introduced by the Minx brand in 2007, and now Dashing Diva is the innovator in the field, offering appliqués with embellishments to make producing the popular 3-D art styles a breeze for anyone.  Gel polishes are also trendy, although removal is difficult.

 

 

Modern nail polish

 

from: http://www.encyclopedia.com/topic/Nail_polishes.aspx

 

Modern nail polish is sold in liquid form in small bottles and is applied with a tiny brush. Within a few minutes after application, the substance hardens and forms a shiny coating on the fingernail that is both water- and chip-resistant. Generally, a coating of nail polish may last several days before it begins to chip and fall off. Nail polish can also be removed manually by applying nail polish “remover,” a substance designed to break down and dissolve the polish.

 

 

Raw Materials

There is no single formula for nail polish. There are, however, a number of ingredient types that are used. These basic components include film forming agents, resins and plasticizers, solvents, and coloring agents. The exact formulation of a nail polish, apart from being a corporate secret, greatly depends on choices made by chemists and chemical engineers in the research and development phase of manufacturing. Additionally, as chemicals and other ingredients become accepted or discredited for some uses, adjustments are made. For example, formaldehyde was once frequently used in polish production, but now it is rarely used.

The primary ingredient in nail polish is nitrocellulose (cellulose nitrate) cotton, a flammable and explosive ingredient also used in making dynamite. Nitrocellulose is a liquid mixed with tiny, near-microscopic cotton fibers. In the manufacturing process, the cotton fibers are ground even smaller and do not need to be removed. The nitrocellulose can be purchased in various viscosities to match the desired viscosity of the final product.

Nitrocellulose acts as a film forming agent. For nail polish to work properly, a hard film must form on the exposed surface of the nail, but it cannot form so quickly that it prevents the material underneath from drying. (Consider commercial puddings or gelatin products that dry or film on an exposed surface and protect the moist product underneath.) By itself or used with other functional ingredients, the nitrocellulose film is brittle and adheres poorly to nails.

Manufacturers add synthetic resins and plasticizers (and occasionally similar, natural products) to their mixes to improve flexibility, resistance to soap and water, and other qualities; older recipes sometimes even used nylon for this purpose. Because of the number of desired qualities involved, however, there is no single resin or combination of resins that meets every specification. Among the resins and plasticizers in use today are castor oil, amyl and butyl stearate, and mixes of glycerol, fatty acids, and acetic acids.

The colorings and other components of nail polish must be contained within one or more solvents that hold the colorings and other materials until the polish is applied. After application, the solvent must be able to evaporate. In many cases, the solvent also acts a plasticizer. Butyl stearate and acetate compounds are perhaps the most common.

Finally, the polish must have a color. Early polishes used soluble dyes, but today’s product contains pigments of one type or another. Choice of pigment and its ability to mix well with the solvent and other ingredients is essential to producing a good quality product.

Nail polish is a “suspension” product, in which particles of color can only be held by the solvent for a relatively short period of time, rarely more than two or three years. Shaking a bottle of nail polish before use helps to restore settled particles to the suspension; a very old bottle of nail polish may have so much settled pigment that it can never be restored to the solvent. The problem of settling is perhaps the most difficult to be addressed in the manufacturing process.

In addition to usual coloring pigments, other., color tones can be added depending on the color, tone, and hue of the desired product. Micas (tiny reflective minerals), also used in lipsticks, are a common additive, as is “pearl” or “fish scale” essence. “Pearl” or “guanine” is literally made from small fish scales and skin, suitably cleaned, and mixed with solvents such as castor oil and butyl acetate. The guanine can also be mixed with gold, silver, and bronze tones.

Pigment choices are restricted by the federal Food and Drug Administration (FDA), which maintains lists of pigments considered acceptable and others that are dangerous and cannot be used. Manufacturing plants are inspected regularly, and manufacturers must be able to prove they are using only FDA approved pigments. Since the FDA lists of acceptable and unacceptable pigments change with new findings and reexaminations of colors, manufacturers occasionally have to reformulate a polish formula.

 

Today’s Manufacturing Process

 

 

The modern manufacturing process is a very sophisticated operation utilizing highly skilled workers, advanced machinery, and even robotics. Today’s consumers expect a nail polish to apply smoothly, evenly, and easily; to set relatively quickly, and to be resistant to chipping and peeling. In addition, the polish should be dermatologically innocuous.

Mixing the pigment with nitrocellulose and plasticizer
1 The pigments are mixed with nitrocellulose and plasticizer using a “two-roll” differential speed mill. This mill grinds the pigment between a pair of rollers that are able to work with increasing speed as the pigment is ground down. The goal is to produce a fine dispersion of the color. A variation of this mill is the Banbury Mixer (used also in the production of rubber for rubber bands).
2 When properly and fully milled, the mixture is removed from the mill in sheet form and then broken up into small chips for mixing with the solvent. The mixing is performed in stainless steel kettles that can hold anywhere from 5 to 2,000 gallons. Stainless steel must be used because the nitrocellulose is extremely reactive in the presence of iron. The kettles are jacketed so that the mixture can be cooled by circulating cold water or another liquid around the outside of the kettle. The temperature of the kettle and the rate of cooling are controlled by both computers and technicians.
This step is performed in a special room or area designed to control the hazards of fire and explosion. Most modern factories perform this step in an area with walls that will close in if an alarm sounds and, in the event of an explosion, with ceilings that will safely blow off without endangering the rest of the structure.

Adding other ingredients
3 Materials are mixed in computerized, closed kettles. At the end of the process, the mix is cooled slightly before the addition of such other materials as perfumes and moisturizers.
4 The mixture is then pumped into smaller, 55-gallon drums, and then trucked to a production line. The finished nail polish is pumped into explosion proof pumps, and then into smaller bottles suitable for the retail market.
Quality Control

Extreme attention to quality control is essential throughout the manufacturing process. Not only does quality control increase safety in the process, but it is the only way that a manufacturer can be assured of consumer confidence and loyalty. A single bottle of poor quality polish can lose a customer forever. Regardless of quality control, however, no single nail polish is perfect; the polish always represents a chemical compromise between what is desired and what the manufacturer is able to produce.

The nail polish is tested throughout the manufacturing process for several important factors (drying time, smoothness of flow, gloss, hardness, color, abrasion resistance, etc.). Subjective testing, where the mixture or final product is examined or applied, is ongoing. Objective, laboratory testing of samples, though more time consuming, is also necessary to ensure a usable product. Laboratory tests are both complicated and unforgiving, but no manufacturer would do without them.

 

 

DIY Nail Polish

 

from: http://www.girlishh.com/how-to-make-natural-fingernail-polish/

 

Recipe 1
Mix a tablespoon of Olive Oil, cold and pressed, with half a tablespoon of Kaolin Clay Powder, or White Clay and make them into a paste. Olive Oil helps moisturize cuticles and nails, while clay will bring shine to the nails.
Add henna dye to the nail polish to get a color. Henna comes in different colors and can give a natural shade to your nail polish. Make a paste from Olive Oil and henna that is smooth.
Use an old brush or cotton swab for applying polish on nails evenly. Keep it on for fifteen minutes. If you are going to use henna for tinting nails, wipe out leftovers on skin and air dry the nails.
If you are coloring your nails with henna, moisturize them often. A cotton swab immersed in warm water is enough to dab on the surface. You should leave the polish on for a minimum of one hour.
When the paste dries off, use a damp cloth to wipe away the nails. Gently rub to buff your nails. To get natural gloss, you should repeatedly apply this.



Recipe 2
Gather 3 tbsp Olive Oil, 2 tsp Alkanet Root, 1/4 tsp Beeswax, and two drops of Vitamin-E Oil. Heat the Olive Oil and Alkanet Root. When they are warm, remove from heat and allow them to set.
Use a good mesh strainer to strain the blend and separate Alkanet. Strained oil should once again be put into the boiler. Add beeswax to the oil and let it melt. After this, you can mix in the Vitamin E Oil. Mix and remove. With an old brush, apply the nail polish evenly on the nails. Do not smear it on the skin that surrounds it.



Recipe 3
Henna has been growing in popularity as a natural dye. It has been widely used in the East for many centuries. It is found to be very safe while giving an attractive color to your nails. It is easy to make a natural nail polish from henna.

Firstly, mix water and red henna in a small container. Stir the mixture until a fine paste form. Henna is made from herbal leaves that are dried before being ground to fine powder. You can purchase red henna from most of the local health food shops or online.

Next, paint the henna carefully on your nails; fingers or toes. Use a clean and small paint brush; paint slowly so that no henna will get onto your skin. When you are done, let your nails dry naturally.
Once the henna polish is dry, wash your hands. As the henna polish is really a stain, there is no worry of chipping or smearing like the commercially prepared nail polish. Henna polish will stay permanently on your nails as you have applied it until your nails grow out. Do not keep the remainder of the henna polish. Make a fresh paste each time you want to polish your nails again.

 

 

 

 

 

https://youtu.be/maHStEQ9_dM

 

 

 

 

 

 

 

 

Zoya Naked Manicure Mini Professional Kit

 

The ultimate custom color blending kit for any Naked Manicure lover including 0.25oz bottles of all six perfectors (Pink, Buff, Nude, Mauve, Lavender and White Tip), plus Naked Base, Satin Seal Topcoat, and Glossy Seal Topcoat. Perfect for travel or for gifting!

 

Heavenly Haze – Nail Polish; Non-Toxic, Vegan, and Cruelty-Free

 

Karma Organic Nail Polishes are 7 free contain no toluene, formaldehyde, DBP (phthalate), camphor, formaldehyde resin, n0 xylene, and parabens. are safe for pregnant women, kids, cancer patients, and allergy sufferers. Chip resistant, durable, and with no harsh odors, they are available in glossy, matte and glow-in-the-dark shades. The non-yellowing formula is cruelty-free (not tested on animals). Packaging is 100% recyclable. This nail strengthener contains calcium and coffee extract to help strengthen natural nails without the use of Formaldehyde. Weak, thin, splitting nails or peeling nails will benefit from the use of this product which is free of Toluene and DBP, as well as Formaldehyde.

 

Nail Polish Remover – 100% NATURAL & Plant Based – USDA BioCertified – NonAcetone – Also Acts As Conditioner & Strengthener For Nails & Cuticles

 

• UNLIKE MOST OTHER ACETONE FREE REMOVERS Pure Vitality Beauty nail polish remover is also free from Acetate, Ethyl Lactate & Petroleum Chemicals – all of which are harmful with repeated or prolonged exposure.
• HIGH PERFORMING WITHOUT DRYING OUT YOUR NAILS – Will strengthen & moisturize your nails, unlike traditional nail polish removers which leave you with weak, brittle fingernails and toenails. Even removes stubborn UV gel nail polish!
• ALL INGREDIENTS RATED 0 OR 1 IN THE COSMETIC SAFETY REVIEW by the Environmental. Working Group’s Skin Deep database. Pure Vitality Beauty nail polish remover is nonhazardous, non-toxic, non-carcinogenic and pregnancy safe.
• ECO-FRIENDLY – biodegrades quickly and fully. No chemical fumes to pollute the air. Cruelty-Free.

 

100% Pure Creamy Nail Polish – Pepper

 

Apply 100% Pure Horsetail Base Coat first for strong, healthy nails with a smoother surface. Apply one coat of nail polish color. After the first coat dries, apply a second coat. Finish with 100% Pure Glass Top Coat for a chip-free high gloss finish.

 

 

 

Hello everyone on week 235  we are sharing Tips, videos on what makeup foundations is, what it does and how to selective one that suits you best.

Through the years that I have worked as a makeup artist I got to try hundreds of different foundations, and I, like many other artists, have my favorite one in particular and that is RCMA, from the Research Council of Make Up Artist. I have worked all over the world with different lights, different shades of skin and always RCMA worked perfection. I have used it in photo shoots in the water for commercials such as Victoria Secret and much more. The models were in salt water for hours and it didn’t move at all. Okay enough of my preference on foundation I just thought I would give them recognition since their products have helped me for close to 40 years.

Foundation is our canvas, so it is best to invest the time trying what is the best match for you. Today’s foundation is multipurpose, offering far more than color correction and coverage, with built-in sun protection, moisturizer, and many with vitamins and claimed anti-aging formulas. For the most part the claim is that they allow the skin to breathe and look “NATURAL” that is the case if we apply a good light moisturizer that has SPF build into it so we don’t apply too many coats that may not get along and make the foundation look unnatural, to say the least.  Blending is the secret to a good foundation finish, aside from choosing the foundation that matches your undertone color and there is the key to a smooth transition from a foundation that glides on your skin and you can not tell the difference as it goes over because it MATCHES your underton., In certain cases some skin has two and sometimes three undertones and here is where you can use a concealer to even spot covering and apply your foundation once you have a more even canvas. Let’s keep in mind less is more here. Finesse is at work once you finish the overall look with the eye makeup and lips you can go over and tweak it so it doesn’t look cake and muddy and this will still allow the skin to breathe.  Foundation aids with protecting the skin from the elements and environmental pollutants .

It is crucial to find your undertone, here are some charts and examples of what I am talking about.

 

 

 

 

 

Let’s talk a little about your skin type first

 

 

First things first Types of skin: 

Find what is your skin type

what color undertones do you have in your skin

How much coverage do you spect

What type of finish you want by that we mean silky finish, matt finish semi-matt finish, the kind that has a glow, the thin kind that looks like you have nothing on.

The answers to this questions will help you to choose the ideal product for you bellow we share the type of finish to help you make a happy decision on what to choose.

 

Dry Skin

Dry skin:

Is usual to think in mature skin first, my experience taught me that even teenagers ca be owners of dry skin due to dehydration and lack of healthy fats and oils.However the age is if we deal with skin that lacks emollients and is less elastic that feels tight after cleansing and has small pores it usually indicates that needs more moisturizing foundations   with a formula that contains emollients and some antioxidants like tinted moisturizer, liquid moisturizing ones, mousse kinds they are you fluffy I like them, try them first some dry pretty cakey.

Those with a dry skin type will often experience flaking, as well as sensations of tightness after washing. This skin tone is prone to the development of a sallow complexion, fine lines and wrinkles and fine pores. An ideal DIY face cleanser for dry skin like coconut oil will moisturize and nourish dry skin, keeping it healthy and vibrant and will minimizing cracked skin, dry patches, and flakiness.

Normal Skin

Normal Skin

Is the kind of skin that has a few breakouts; neither too oily nor to dry with medium size pores with a smooth quality to it consequently smooth texture with a healthy color, generally this skin can use a cream powder foundation, tinted moisturizer, all types of liquid foundations, cream kind, the dual finish types, stick foundation and mousse, so this type of skin has quite a bit of selections as you can see.

Normal skin types don’t suffer from any particular afflictions, they are not prone to extreme or frequent breakouts, and don’t experience any oiliness or dryness. The complexion is fresh, elastic and supple. This is the ideal skin type that most people aspire to attain, and is the easiest to take care of. Face cleansers for normal skin types are meant to cleanse, refresh and moisturize the overall skin rather than treat any specific conditions or problem areas.

 

 

Oily Skin

 

Oily Skin

 This type of skin is more prone to blackheads, larger pores, tends to get shiny fast, breaks out often, the good news is that it has less tendency to wrinkles due to the fact that is more elastic, so here is best to select foundations oil-free , non-comedogenic ( denoting a skin-care product or cosmetic that is specially formulated so as not to cause blocked pores.) so we mean products enriched with oil absorbers like cream to powders foundations, liquid oil free, water based,  dual finished  and good all mousse foundation.

Oily skin comes in many variations and is one of the most distressing to those who have it. Those with oily skin are most prone to breakouts and bouts of acne, as well as an overall course, greasy and/or shiny appearance.

Although it can be difficult to tackle at first, once you find the right oily skin face regime, you should experience minimal complications. The keys to treating oily skin are having a good cleanser and cleaning ritual, minimizing of carbohydrate, sugar and process foods consumption, and avoiding rich creams, moisturizers, and many standard face washes.

 

 

Sensitive Skin

 

Sensitive skin

The kind of thin skin that burns easily and it gets blotchy and it obviously has dry patches, this type of skin is more susceptible to rosacea and is very sensitive to products , it flushes easily is thin and very delicate, so consequently this type of skin needs non-allergenic  products because even the hypoallergenic still can create allergies, is good to to use any products that contain fragrances, good to use moisturizing formulas, and avoid the formulas with sunscreen included.

Usually, sensitive skin types suffer from acne, leading them to require special products that are higher priced than standard skincare lines. Tightness, inflammation, redness, and irritation are all common problems for those with sensitive skin, so a very particular type of care is needed to avoid any further irritation.

Combination Skin

Combination Skin:

 

Here we recommend using a combination of foundations to accomplish the final finish you desire

Those with combination skin tend to experience a mixture of oiliness and dryness in their “T-zone”, the area comprised of the forehead, nose, and chin. Different types of face washes and cleansers are needed to treat the different areas of the face. A face cleanser that moisturizes and freshens the skin will be best on the cheeks and nose, where combination skin types usually experience the most dryness, and a non-irritating, simple cleanser is best for those portions of the face that are oily.

 

 

Different types of foundation finish

Matte finish:

this finish is a great choice for normal to oily skin. It works best on skin with imperfections such as breakouts,scars, and discolorations. It gives you the best coverage and is great for oily skin due to the fact that it doesn’t contain oils.However use a very light hand, because if you apply too heavily it will look like a mask.

 

Dewy finish:

This foundation works great on dry skin because it adds moisture. It works wonders for most types of skin,  except oily skin, where it can increase the shine and showcase any flaws such as surface bumps or blemishes.   Dewey foundation is not such  a good thing in the hot weather climates or in humidity locations because it can become to shiny and oily looking and no so much dewy.

 

Satin:

This foundation works for almost all skin types , with the exception of excessively oily skin. It gives the skin a soft, smooth appearance different than the dewy look it looks like healthy skin.The finish is not as flat as matte, or shiny as dewy, it falls in between the two.

Satin is the most common foundation finish

 

Luminous:

 

This foundation works well for any skin type. Its light-reflecting properties help hide tiny flaws and little lines by reflecting light off the surface of the skin.

 

 

 

Tip:

 Foundation can also be applied  to your lips. It creates a blank canvas for any reshaping you want or needs to do. It’s also useful as an anchor for lipstick since it makes the lipstick stay longer, I sometimes put a pretty gloss on it and it looks like the pale lips you see on JLO, some lips have lots of colors and can change the color of the desirable lipstick this can help that.

Which Foundation Type is Best for You?

 

 

 

from:  http://www.paulaschoice.com/expert-advice/face/_/makeup-tips-tricks-foundation-selections

Without question, the right foundation is essential for a beautiful makeup application. Foundation serves as the canvas for the rest of your makeup and the best ones blend on smoothly and evenly, blending with your skin. If you’ve never tried foundation or if you don’t think you’ve found the best one for your skin type color yet, prepare to be surprised at the difference the right foundation makes!

Besides finding a foundation that matches your skin color exactly, it’s also important to choose the type of foundation that is best for your skin type and color, and that also matches your personal preferences.

For example, if your skin is oily, you don’t want to use the same type of foundation someone with dry skin prefers it won’t blend correctly. If you have acne or struggle with rosacea, you most likely won’t go for a sheer coverage foundation. And if you have normal skin with an even skin tone, you may not want the level of coverage some foundations provide.

So what are the different types of foundation and how do you choose? Following is a rundown of the types of foundations you will find anywhere you shop for makeup. Remember, knowing your skin type, the level of desired coverage, and your personal preferences are key to finding a foundation you’ll love to use!

 

 

Oil-Free, Matte-Finish Liquid Foundations

The best foundations in this category should have a smooth finish with no shine or dewy appearance. Ideally, the matte finish should last for at least a few hours, but that depends on how oily your skin is. Most oil-free liquid foundations provide sheer to medium coverage, but you can build coverage to the level you desire.

The best foundations in this category have these traits:

Lightweight texture and finish (this type of foundation doesn’t feel heavy).

Easy to apply and blend with a sponge or brush.

Buildable coverage.

Helps control excess oil to keep your skin shine-free for at least a few hours.

Generally a safe choice for breakout-prone skin.

Works great with pressed powder, powder blush, and bronzers.

Possible negatives to watch out for:

Depending on the formula, this type of foundation may make your skin look or feel dry. It can help to use a primer (such as a mattifying serum loaded with antioxidants) that adds a soft finish to the face, definitely, you can prep the skin with a light nonoily moisturizer let it sit and with a tissue.

Tip:

Here you can prep the skin with a light nonoily moisturizer or a light serum, let it sit and with a tissue or a sponge absorb the excess, in the meantime, you can do you brows or eyes.

If your skin is very oily, it could help a great deal to use an oil-control “primer”

Foundations with a matte finish can exaggerate little lines and flaws if the finish is too dry.

Not the best if you want to use cream blush or bronzer, as the finish makes it difficult to blend on smoothly.

 

 

 

Long-Wearing, Matte-Finish Liquid Foundations

These liquid foundations are almost always oil-free and the best ones are truly long-wearing and stay put. Most have a thin consistency that sets in place quickly, so blending must be fast and precise. Most blending mistakes can be fixed, but not as easily as with other types of liquid foundations. Those with oily to very oily skin typically do best with this type of foundation.

Tip:

Here is important to keep in mind the blending again be aware not to rub or pull the skin too hard when applying the foundation and less is more.

 

The best foundations in this category generally have these traits:

Excellent if you have very oily skin or if you prefer your foundation to look “just-applied” all day.

Thin texture and matte finish make this type of foundation a safer bet for breakout-prone skin.

Can be great for those who live in humid climates and cannot get their foundation to last.

Perfect for those who prefer a strong matte finish.

If the foundation is rated SPF 25 or greater, it is a great way to ensure your oily skin gets the sun protection it needs without adding layers of products.

Great for use with sheer matte powder blushes and bronzers.

Possible negatives to watch out for:

Because these set quickly, blending must be fast and precise without rubbing or pulling a tapping motion is best.

Will magnify even the slightest hint of dryness (so prepping dry areas with a moisturizer or serum is essential).

Tip:

Use the lightest moisturizer or serum possible to hydrate without adding a moist, slippery feel.

The long-wearing finish can make powder blush and eyeshadow application tricky. Blush and eyeshadows with a soft silky finish are your best bets like cream or mouse kinds.

This is a challenging type of foundation to remove. For best results use a makeup remover as well as your regular cleanser with a soft washcloth to be sure you’re getting all your makeup off each night again be gentle, you may want to play the cleanser and let it sit for a few minutes to soften the makeup.

The long-wearing, relatively unmovable finish of a truly long-wearing foundation makes blending a cream blush or bronzer over it skillful.

 

 

 

 

Moisturizing Liquid Foundations

These liquid foundations usually have a slightly thicker texture than oil-free foundations and typically are easy to blend due to the amount of slip they have. The best in this category also offer helpful skin-repairing ingredients as well. Because this type of foundation offers a satin or satin-matte finish, they’re perfect for women with normal to dry skin.

The best foundations in this category generally have these traits:

 

Typically provide light to medium coverage so your great skin shows through.

Easy to blend because most have great slip without being greasy.

Can be used with cream or cream-to-powder blush and/or bronzer.

The soft finish and slight sheen add a healthy glow to your skin.

Possible negatives to watch out for:

 

Generally not the best option for women with combination skin (the finish makes oily areas look worse).Here you can apply a different product in the oily areas that match the foundation.

A tricky option for those with blemish-prone skin because the moisturizing ingredients can perhaps contribute to clogged pores.

Satin finish is a beautiful look for women of color (strong matte finishes can make dark skin look ashen if the undertone is not correct for the color of skin).

Works with powder blush or bronzer only if you set the foundation with a sheer application of loose or pressed powder so the blush or bronzer doesn’t grab and look too heavy.

 

 

Pressed Powder Foundations

These foundations come in a compact and work like regular pressed powders, only with a bit more coverage and ability to stay put. The best ones in this category have a wonderfully silky feel and are easy to blend. Pressed powder foundations provide light to medium coverage and can work for normal to slightly dry or slightly oily skin types. If you have oily skin, powder foundations can look thick and clumpy; if you have dry skin, the powder will absorb moisture, making your skin drier.

The best foundations in this category have these traits:

For those with normal to slightly oily or slightly dry skin, this type of foundation is a fast, easy way to get a smooth finish.

Some pressed powder foundations have a slight shine, which can add a soft glow.

Portable and extremely easy to apply with a brush (sheer coverage) or sponge (medium to full coverage, but be sure to blend well to avoid a heavy, powdered look) I like to use a damp sponge with it very lightly misted so it doesn’t make streaks or uneven application.

Feels light and makes skin look even but not heavy, if applied carefully.

Excellent to use over a daytime moisturizer with sunscreen. These foundations help reduce the shiny finish of some sunscreens.

Works beautifully with powder blush or bronzer.

Possible negatives to watch out for:

 

Not a good option if you have any amount of flaky skin because the absorbent finish “grabs” and exaggerates this unwanted issue.

The finish can be too absorbent and feel uncomfortable on dry skin.

Can look too thick or change color on those with very oily skin. The color change occurs when pigments in the foundation mix with the excess oil and oxidize.

The powdery finish doesn’t work well with cream blush or bronzer, is best with powder kinds .

If you want more coverage, building too much powder on your skin can look thick and overdone.

Tip:

Here again is huge to determine the undertone of the skin or it will look like like a plank over your skin cardboard like, no so pretty.

 

Cream-to-Powder Compact Foundations

 

These foundations are a cross between a pressed powder and a creamy liquid foundation. They have a very creamy, almost greasy, appearance, but if you’re using the best ones in this category, the creaminess will disappear after you blend them on, leaving you with a slightly matte, powdery finish. Coverage can go from sheer to full depending on the formula and how much you apply.

 

The best foundations in this category have these traits:

 

Blends quickly and easily with a sponge or brush, setting to a semi-matte or powdery finish.

Great for those with normal to slightly dry or slightly oily skin if you don’t want a true matte or dewy finish.

Typically doesn’t need to be set with powder, which saves time and prevents the powder look.

A wide range of coverage, from sheer to full.

Portable, so touch-ups on-the-go are easy.

Generally works well with powder blush or bronzer.

Possible negatives to watch out for:

 

Depending on the formula, can blend on too thick and look more obvious than other types of foundation.

Not for very oily skin because the cream portion exaggerates shine and the powder finish isn’t strong enough to keep excess oil in check.

Not for dry to very dry skin because the finish exaggerates dry areas, even when they’re prepped with moisturizer.

Depending on how powdery the finish is, this type of foundation can impede smooth application of cream blush or bronzer.

 

 

Stick Foundations

Stick foundations are essentially cream-to-powder foundations in stick form. If you want a cream-to-powder foundation and prefer the convenience of a stick these are an option.

Most stick foundations go on a bit thicker than powder or cream-to-powder foundations, which make them a little more challenging  for those with oily or blemish-prone skin. Plus, some stick foundations feel thick and heavy, so are use your discretion when you choose perhaps you can get a sample and try it is what I recommend for products anyway, apply it and see how it wears and then make your decision. You will save lots of money in the process, Sephora usually is more than willing to give samples .

Because of their size and the type of packaging, stick foundations do travel well, but overall, even the best ones in this category should be approached with common sense.

The best foundations in this category have these traits:

 

Silky, smooth texture that you can “stripe” on the skin and blend with a sponge or brush.

Lightweight, soft matte finish that makes skin look refined.

Portable and can double as your concealer.

Possible negatives to watch out for:

 

Some stick foundations have a thick, waxy texture that looks heavy and can lead to clogged pores and/or can worsen acne not to mention look overdone.

Blending can be tricky because most stick foundations set quickly, so you don’t have as much play time as with liquid foundations.

If the finish is too creamy, it can crease into lines around the eye, so carefully blend.

This type of foundation is not the best for blemish-prone skin.

Sheer Foundations and Tinted Moisturizers

 

Sheer foundations and tinted moisturizers are basically interchangeable. They are an excellent choice for a touch of color along with moisture and, more often than not, sun protection. For casual weekend makeup, sheer foundations or tinted moisturizers are excellent options for normal to dry or slightly oily skin that does not need significant coverage.

The best foundations in this category have these traits:

 

Sheer foundations and tinted moisturizers are extremely easy to choose and use because they are so sheer you must pay attention again to undertones of your skin because they blend on almost invisibly but it will show streaks if is not match.

Great for adding a touch of color to pale or sallow skin.

Combines soft color, hydration, and sun protection in one product, although you must apply liberally to get the amount of sun protection stated on the label.

Works beautifully with cream or cream-to-powder blush or bronzer.

Possible negatives to watch out for:

 

Coverage can be too sheer for major apparent flaws, including skin discolorations, broken capillaries, or red marks from acne, rosacea, or dark circles etc.

Generally, these are too moist or creamy for oily or breakout-prone skin, putting you at risk for further breakouts.

The moist finish makes application of powder blush or bronzer difficult. For best results, set with a dusting of loose or pressed powder or go for a cream blush or bronzer.

 

 

 

Mineral Makeup

Despite widespread marketing to the contrary or what you may have heard, mineral makeup isn’t a special type of foundation—it is merely a powder foundation sold in either loose or pressed form.

The same ingredients used in mineral makeup show up in other powder-based foundations, too. Although there is no compelling reason to choose mineral makeup over other types of foundation (it isn’t better or safer for your skin, even if it is sensitive), many women like the natural-themed names of these products and are attracted to the branding.

As mentioned above, mineral makeup comes in loose or pressed versions, although the loose powder version is more common. Both typically provide heavier coverage than what you can achieve from regular pressed-powder foundations.

The best foundations in this category have these traits:

 

Most mineral makeup provides medium to nearly full coverage without looking too powdery or making skin appear dull.

Mineral makeup with sunscreen rated SPF 25 or greater is an easy way to add to the sun protection from your daily moisturizer and/or liquid foundation.

Can add a soft shine finish to the skin, but be careful because many mineral makeups impart too much shine.

Works beautifully with powder blush or bronzers.

Possible negatives to watch out for:

 

Mineral makeup can be drying and too absorbent for dry skin or dry areas.

The color can oxidize, pool in large pores, and change color or look streaky over oily areas.

The loose mineral foundation is by far the messiest type of foundation. It can be a pain to travel with because the powder tends to “leak” and the component gets messy.

This type of foundation is not at all compatible with cream blush or bronzer.

The other drawback for us is that most people don’t clean the brush that buffs the makeup on the skin and it will collect bacteria, just keep in mind the powder itself contains Mica which is like tiny little crystals like particles and the rubbing into the skin that is aggressive causes tiny lacerations, not our favorite.

 

 

 

 

Self-Adjusting Foundations

 

These foundations supposedly stop or claim to control oil production and also moisturize skin wherever it’s dry. We have yet to see one perform as promised, but it would be great if someone came up with one that did! Ignore the wild claims and focus on the other attributes of these types of foundations—they’re almost always lightweight, oil-free liquid foundations best for normal to slightly dry or slightly oily skin.

Be wary of foundations that claim to adjust to your ideal skin tone. They can come close if the shades are neutral and natural-looking, but you almost always will get a better match from a foundation that doesn’t make hocus-pocus skin-matching claims.

Last, avoid color-correcting foundations; that is, those with a mauve, mint green, bright peach, or strong yellow tone. For these to mask a skin-tone issue, they must provide enough coverage, and if they provide that much coverage, then the color-correcting product looks obvious and unnatural. For best results, look for neutral to slightly yellow-toned foundations to diffuse a ruddy, dull, or sallow skin tone.

 

 

Applying Foundation

from: http://www.marieclaire.com/beauty/news/a14852/foundation-how-to-apply/

 

Foundation—it’s the all-important canvas for the rest of our makeup, but when it comes to technique, it always seems to be shrouded in mystery. Between what products to use and how to use them, it’s something you’ve got to get down to a science in order to achieve that flawless, yet miraculously natural-looking skin.

 

Step 1: Remove Makeup and Cleanse

Pro Tip: “It’s best to make sure the skin is completely clean and prepped before applying moisturizer. Even if you aren’t wearing makeup, you can use a cleansing water like a Rose one, almost always removes leftover makeup, dirt, and grime from the skin. Behind the scenes, at fashion week this cleansing water is what makeup artists use to remove makeup.”

Step 2: Moisturize to Prime the Skin

After the skin is cleansed properly, use a rich,or light nourishing moisturizer depending on the skin to rehydrate the skin.

Pro Tip:

 

“It’s best to warm up the moisturizer in between your hands then press it into the skin. If you’re more on the oily side, use a gel-based moisturizer that is matte and applies with just your fingertips or a foundation brush.”

 

 

Step 3: Apply Foundation with a Foundation Brush

Pro Tip:

“Use a foundation brush and apply the foundation starting in the center of the face and blend out.”Please don’t forget the neck and go behind raping around the ear so it doesn’t look behaved!!.

When it comes to choosing a formula, look for something that looks natural, has a flawless finish, and feels weightless.

Step 4: Gently Blend in a Rolling Motion

 

Start with a *damp* sponge because it softens the sponge and won’t absorb any of the product you just applied to your face.A good brush will also do.

Pro Tip:

 

“Blend the foundation with a rolling motion and press it into the skin.” you can also use a foundation brush.

Step 5: Conceal Blemishes and Redness

Tap on concealer to conceal any blemishes or redness that’s coming through.

Pro Tip:

 

“I like to use a clean fingertip as the warmth of the hand helps blend it. It also adds just the right amount of product to cover the blemish.”

Don’t don’t always use fingers duet cross contamination not only to the product but to my clients.

 

 

Step 6 : Set

You can set  the foundation with a noncolor powder or anti-shine. Using a soft, small, and synthetic hair brush, gently tap any excess product off then sweep the setting powder only over areas that tend to be shiny: in between the eyebrows, down and around the nose, under the eye, and on the chin.

Pro Tip:

“Be sure not to over-powder! we are not pastries.You still want your skin to look like skin.”

 

 

Step 7: Voilà

 

Congratulations—you’ve *officially* got glowing, skin—own it.

 

 

 

BLEND YOUR FOUNDATION WELL!!

 

 

from: http://beautyeditor.ca/2013/06/05/how-to-blend-your-makeup-like-a-pro-and-look-1000-times-more-flawless

Obviously, the purpose of foundation is to make your skin look magically radiant and even-toned—not like it’s coated in an opaque, all-one-colour mask.

To keep things natural (i.e., your skin looking like skin), it needs to be blend in. This means applying your foundation—whether it’s a liquid, cream, gel or powder—and then making small circular motions  or whatever motion is easy for you the idea is to blend well, with your tool of choice to gently blend the product into your skin. It should look and feel seamless as if it’s melted in instead of just sitting on top.

Let’s talk about the tools you can use:

Flat foundation brushes: Require a skilled hand to “paint” on the product, otherwise you’ll be left with streaks or lines. My abilities with a flat brush extend only to using it to apply liquid foundation before then working it in with a buffing brush or a blender sponge. However, I’ve seen pros wield this brush alone to apply and buff in foundation—practice (and great lighting) makes perfect. 

Buffing brushes: Have densely-packed bristles cut at an even length, which enables you to buff the product into your skin. Buffing brushes can work powders, liquids, creams and gels into the skin for an airbrushed effect. They do all the hard work for you—just gently swirl the brush over your face and watch your makeup blend beautifully. For extra coverage, try tapping the brush on your skin to add more product—you may not even need concealer!

Fingers: Great for cream products, since your body heat warms the product to help it blend easily into your skin. Your fingers are also good for hard-to-reach spaces, such as around your nose. Dab the product in a diamond shape on your face (forehead, cheeks, chin) and then use your index, middle and ring fingers to blend it into your skin, making small, circular motions. Maybe a good idea when you don’t have any other tool, I don’t favor this technique for the simple reason of cross contamination for the makeup and the skin especially skin with breakouts.

 

 

The Best Way to Apply Foundation Depending On Your Skin

 

 

from: http://stylecaster.com/beauty/best-way-to-apply-foundation-depending-on-your-skin/

Who doesn’t want perfect skin? Or at least what we perceive as perfect for us. When you splurge on a foundation that’s supposed to be life-changing and it doesn’t perform well, it’s natural you get frustrated. Your first instinct is probably to march right back to the store and return it, right? But just wait one second. Have you ever thought that maybe it’s not the foundation that’s the problem, but the way you’re applying it?

It’s obvious that not every foundation will work with every skin type. Just as you have to choose a product that works with your skin, you need to choose an application method that does the same. The way someone with oily skin puts on makeup won’t necessarily work the same for someone with dry skin. And with all the different types of brushes and sponges nowadays, the ways you can apply foundation seem endless. So what do you choose? A brush? A sponge? Or what about nature’s best makeup tool, your fingers? And not even that, what’s the best way to actually go about applying the product? Do you buff? Stipple? Swipe? 

If you have dry skin, use downward strokes. Buffing in foundation may be tempting, but it can actually cause micro-exfoliation, which will lift the dead skin and emphasize any dry patches even more. Using downward motions with a paddle foundation brush will ensure that any flaky, dry skin lays flat and in the same direction.

If you have oily skin, there’s really no set way to apply foundation. If you deal with larger pores, it might be a good idea to use a brush or your fingers to press the foundation into the skin, rather than sweep it on. This will help “fill” the pores and make them less noticeable.

If you have acne prone skin, the most important thing is that whatever tool you use, it’s clean! This means cleaning your brushes after every individual use and steering clear of using your fingers (Even if you wash them, you’re still going to be handling products that carry germs). If you want maximum coverage, use a dense, round or flat-top brush and make sure you’re patting and blending the foundation into the skin, rather than sweeping or buffing. This will ensure that the foundation stays in one place and will keep the main concentration of coverage on your problem areas. With breakouts the bacteria involved actually is called strep! so you definitely should be conscious of this fact,contaminating the makeup for later use that won’t help you clear your skin is the other way around it will add to the exact opposite.

If you have mature skin, it will tend perhaps to lack moisture and elasticity. Try using a sponge, like the BeautyBlender, and make sure it’s damp. Wetting it beforehand will add moisture back into your skin while ensuring all the product doesn’t get soaked up. Pounce and roll the sponge on the skin for an even application.

 

 

How to Use a Foundation Brush

from: http://makeup.lovetoknow.com/How_to_Use_a_Foundation_Brush

Learning how to use a foundation brush can mean the difference between a completely flawless face and an unpolished look. Foundation application can be tricky for everyone, from novices to seasoned makeup aficionados. Blending it into dry spots, sliding it over oily skin and trying to cover those nooks and crannies can be quite a challenging task, but a foundation brush can make it easier, practice makes perfect.

 

Simple Steps for How to Use a Foundation Brush

Alicia Silverstone Eco Brush

If you haven’t used a foundation brush before, it’s important to know the basics so that your makeup can be applied easily and flawlessly.

 

 

Preparing the Face

Before you begin the foundation application process, prep your skin so the foundation has a smooth and healthy canvas to adhere to.

Wash the face and gently pat dry with a towel until completely dry.

Apply a lightweight moisturizer onto the skin (this is important even if you have oily skin, in this case, you may choose a serum) and let dry for several minutes.

Apply a foundation primer to your skin if your type of skin is suitable for it. This can be done with a small foundation brush. Apply an even coat to the entire face and let dry completely.

If you need to add concealer to any problem areas or under the eyes, do so now, I prefer to use foundation in the correct tone so they get along better. Some concealers don’t really have the same consistency and it shows. A small foundation brush, concealer brush or even an eyeshadow brush make the ideal brushes for applying concealer. When applying concealer, always dab on and then blend.

 

 

Applying Foundation

Once your face has been prepped, it’s time to apply the foundation. Even if you’re a beginner, you’ll be able to follow these simple tips and create a smooth and even application.

Pour a small amount of foundation (assuming you are using a liquid) onto the back of your hand.( we prefer a palette that you can purchase at the art store or make your own)

Pick up some foundation with the brush or a small spatula so you don’t cross-contaminate. If you prefer light coverage, dip only one side of the brush in the makeup. If you want fuller coverage, use both sides of the brush to pick up the makeup.

Start applying the makeup in the center of the face so that you can blend outwards and avoid noticeable makeup lines.

Make sure to apply it even and blend down the chin to the neck and in the direction behind the ears you don’t have different shades a dead give away that this is not your skin, that defeats the purpose won’t you say?

Use the tapered edges of the brush to blend the makeup into those hard-to-reach areas, like the corners of the nose, corner of eyes, hairline and around the eyes and mouth.

Check for tiny makeup lines that are left behind after the foundation has set. If you see any of these lines, use a clean end of the foundation brush or a blender sponge and lightly blend these areas with small, circular motions.

If you’re using a cream or powder foundation, simply run the brush over the product in its container and follow the above steps. Several companies now offer brushes designed specifically for use with cream foundation, such as the CoverFX version available at Sephora. Its soft texture and short bristles allow for perfect application without streaking.

 

 

Caring for Your Foundation Brush

Once you know how to use a foundation brush, you’ll also want to take note of how to keep it clean. Cleaning all of your makeup brushes is imperative in order to keep them bacteria-free. Lingering bacteria not only poses the risk of causing acne breakouts, it also generally suggests that there is excess makeup building up on the brush.

Most high-end lines offer their own foundation brush cleaners I personally clean my brushes with 99% alcohol for a few reasons 1 that they dry very quickly 2 they get fully disinfected, 3 there is no water involved to get in the ferrule ( the metal part that connects the fiber hairs to the handle) that doesn’t dry and promotes bacteria and deterioration to the brushes I have brushes that I have used for over 40 years and they are in perfect shape . If you’re a frequent traveler, consider LBC Brush Shampoo by Sian Richards.

Perfect Application

By knowing how to properly apply foundation with a makeup brush, you can get the amount of coverage you want and flawless-looking skin. Practice the application steps until you’re comfortable, and your makeup will look professionally and beautifully applied every time.

 

 

The 9 Most Common Foundation Mistakes (and Exactly How to Avoid Them)

from:http://www.teenvogue.com/story/how-to-avoid-common-foundation-mistakes

 

 

You test it under the wrong light.

This is a huge deal when going to the makeup counter, the tendency is to try the products on the back of our hands!!!! well the color and texture of the skin there is very different than the skin on the face so it won’t tell you a true reading, not on color or the fish need it on your face, the next fact is that most stores have fluorescent lights which have a green hue and by that it won’t give you and accurate reading of the color you need, ask the salesperson if you can get a sample and if you can check it outside in natural daylight by that you will get an accurate reading on color and the texture that  matches you, trust me you will be happy.

Not everyone has a Glam Room with proper selfie lighting built into their houses like Kylie Jenner, but good lighting does play an important role when picking the right foundation “Then there’s the yellow-ish bedroom or bathroom lighting you typically have at home that can make you think you need more foundation than you actually need.” Bring a mirror to a window to observe your makeup in natural light to make sure it matches your neck and body in tone and consistency.

You don’t use it with the right tools.

Navigating the makeup tools section at Sephora can be as confusing as calculus class. While a Beautyblender has recently proved to be the closest one-size-fits-all option we’ve seen in recent years, certain formulas truly shine if you’re willing to invest in the right tools. “However, if you need more coverage or help to even out your skin texture, a synthetic brush with a cream or liquid foundation might blend more easily for you. Then there’re powder foundations, which works best with a synthetic fiber or kabuki brush to buff it flawlessly onto your skin.” It’s all about nailing the perfect formula for your skin type, and figuring out if a brush, sponge. 

You don’t switch your coverage with the changing weather.

You swap your skincare routine for the colder weather—the same should go for your foundation. “If you live someplace that experiences all four season, I recommend having a ‘winter’ foundation and a ‘summer’ foundation. Not only should you be thinking about how your skin color is darker in the warmer months thanks to the stronger sun, but humidity or dryness in the air also plays an important role,” says celebrity makeup artist Mai Quynh. In the winter, your dry skin might be craving coverage that’s more hydrating like a tinted moisturizer or liquid foundation, while powder formulas work well to counteract sweat and humidity during the spring and summer months.

 

You don’t throw out your foundation when you’re supposed to.

Not only is it possible for an ancient compact to be a petri dish of bacteria, but as foundation is exposed to air, it can dry out and change color. “Foundation can oxidize and get darker as it reacted with air. Now when I apply foundation I always put the product on the back of my hand and check the borders of the foundation after about 10-15 minutes,” says celebrity makeup artist Fiona Stiles. “If the borders are a shade or two darker than the center then I know the formula isn’t stable and I’ll use something different.”

You lay it on too thick.

“Apply makeup to your face based on the thickness of the supporting tissue. This means the lightest and thinnest application of makeup should be where the skin itself is the thinnest—for example, your forehead, around the eyes and bridge of the nose,” says French. “Use a heavier application of foundation on the thicker areas of the face (cheeks, nostrils, upper lip, chin, and jaw) where more coverage may be required because the skin structure can better support a more opaque product.” If you’re using a liquid foundation, try placing a couple of drops on the back of your hand or on a palette instead of directly on the sponge or brush to control the amount of makeup you apply on your face.

You use it to cover your pimples.

It’s tempting to double up on foundation on zits when the formula looks similar to that of a concealer. “But using an ultra-thick layer of foundation to cover up imperfections just ends up appearing cakey, dry and sits in your pores and lines,” says celebrity makeup artist Charlotte Tilbury. “Instead of masking zits and pimples with a heavier layer of foundation, target imperfections with a concealer that is designed to reflect light in a flattering way. Concealers have greater pigment than foundation so you can spot treat certain areas that need more attention and coverage without cakiness.”

You don’t blend your foundation past your jawline.

When it comes to makeup, there isn’t a word in the English language that’s more important than “blend.” “The space around your jaw and neck are usually overlooked, and blending those areas are particularly the key to a seamless look. You don’t want it to look like your neck and face are two entirely different colors and textures,” says Tilbury. “And of course, blending foundation across the cheek area and tricky places like around the eyes, nostrils and mouth are important, too.”

You don’t set it correctly.

A light dusting of finishing powder is great, but if you’re not careful, it’s easy to make skin look dry and settle into fine lines. “Plus, a powder can leave a ghostly white reflection in flash photography that’s a no-no for your selfies. Instead, try a makeup setting mist like e.l.f. Mist & Set, which not only hydrates your skin in dry, cold weather, but it reactivates your foundation throughout the day without having to apply a fresh layer of coverage,” says e.l.f. global artistic director Achelle Dunaway.

 

 

 

 

 

 

 

 

 

 

 

NARS  Sheer Glow Foundation

• A sheer makeup that provides buildable coverage
• Helps even out skin & impart a glowing, satin-finish
• Contains skin care benefits & NARS Complexion Brightening Formula
• Improves skin brightness & texture with daily use
• Fortified with powerful anti-oxidants to fight against free radical damage
• Makes skin softer, smoother & hydrated
• Suitable for normal, normal-to-dry & dry skin types
• Dermatologist tested, non-comedogenic, fragrance-free

NARS  Radiant Cream Compact Foundation (Case + Refill)

 

• Creamy, lightweight compact makeup
• Advanced Emulsion technology formula allows for wet or dry application
• Provides medium & buildable coverage
• Blends well with skin to boost radiance
• Moisture content makes skin feel soft & comfortable
• Reduces the appearance of fine lines & wrinkles
• Leaves you a smooth & luminous complexion

YOUNGBLOOD Purely The Basics Kit

• Purely The Basics Kit – #Light:
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• 1 x Crushed Mineral Blush 3g/0.1oz (#Sherbet)
• 1 x Mineral Rice Setting Powder 3g/0.1oz (#Light)
• 1 x Mini Size Kabuki Brush
• 1 x Hi Definition Hydrating Mineral Perfecting Powder Sample 5g/0.02oz (#Translucent)
• Ideal both for personal use & as a gift

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• 1x Secret Camouflage 4.61g/0.16oz (# SC2)
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• 1x Travel Size Secret Camouflage Brush
• Ideal both for personal use & as a gift

LAURA MERCIER  Silk Creme Moisturizing Photo Edition Foundation

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