How to mix pigments? — SiiriTabri.com

““Is it possible to mix pigments from different makers? It all comes down to chemistry. With the right knowledge about the ingredients, main additives, and particle sizes, it’s entirely doable.””

— siiritabri.com

Background

The topic of mixing Powder Brows pigments can seem bewildering at first. This confusion often leads to unnecessary complications in the field. For this article, we gathered data from interviews with 36 Powder Brows artists who have been in the profession for over four years and have tried various pigment brands. We also consulted with two chemists to better understand the mechanics, phases, and possibilities of mixing pigments from different origins and manufacturers. Most of the participating artists are from European Union countries, with eight based in the U.S. and six in the U.K. We've summarized advice that was commonly recommended and drawn conclusions that were agreed upon by virtually all artists.

Understanding the Basics of Color Mixing

Before diving into pigment mixing, one must grasp two different aspects: colorimetry and chemistry. Colorimetry gives us theoretical insights into how colors appear based on color theory. On the other hand, chemistry focuses on the actual substances that constitute those colors. What often trips up artists is the realization that different factors influence the physical and chemical properties of colorants than what color theory dictates.

Colorimetry - Red, Yellow, Blue

According to the colorimetry used in arts, and when analyzing pigments is based on the concept of the primary colors and the derivate or secondary colors and tertiary colors as mixes of those.

Primary, Secondary, and Tertiary Colors

The three primary colors are red, yellow, and blue. These colors serve as the foundation for all other colors. In colorimetry, these primary colors cannot be created by mixing other colors. When these primary colors are combined, they usually yield brown. But it doesn't stop there. When you mix them in specific ways, you produce what we term "secondary colors," such as orange, purple, and green. Understanding these principles is crucial in the Powder Brows field, especially when it comes to neutralizing unwanted shades in the brows.

Moreover, when you mix primary and secondary colors, you end up with tertiary colors. For instance, these combinations can lead to various shades of gray. Mixing blue with a hue that leans towards orange gives you one type of gray. Likewise, red combined with green or yellow mixed with violet will also result in different kinds of gray. Familiarity with these color combinations will enable you to fine-tune the shades, achieving the desired look. These resultant colors are what we refer to as tertiary colors.

Color wheel and the logic of complimentary colors

The pigment selection is fundamentally rooted in the chromatic wheel, categorizing colors into primary, secondary, tertiary, complementary, and neutral groups. Complementary colors, which are opposite to each other on the wheel, help neutralize unwanted shades. For example, red is neutralized with an olive (green) co-color, violet with yellow, and blue with orange.

Colors are also categorized into warm, cool, and neutral temperatures. Orange is the warmest, while blue is the coldest. Knowing the color temperature is your first guideline in choosing a pigment. Light colors tend to enlarge and emphasize features, whereas dark colors diminish and retract them.

Knowing how to modify existing tones effectively is important to achieve the right eyebrow color. This is generally done in two steps: understanding the base color and counterbalancing it with its complementary color, which is the opposite color of the “chromatic wheel”. Here are four examples that make it easier to understand.

Salmon Pink Eyebrows are fundamentally red-based. You'll want to use an olive color to get them to a brown shade. Olive is a mix of yellow and blue, and it will neutralize the red to give you brown. To do this, opt for a pigment or a rich in olive tones modifier.

Gray or Cool-Toned Eyebrows have a blue base color. To turn them brown, you'll need an orange shade, which is a combination of yellow and red. Orange is opposite to blue on the color wheel, making it the perfect choice for neutralization. Reach for an orange modifier or a warm pigment with a high orange content to achieve this.

Greenish-toned eyebrows have a green base, and to offset this, you need to use a warm chestnut color with reddish undertones. Chestnut combines brown and red, balancing out the green and resulting in a natural brown. Choose a pigment or modifier containing these warm, reddish undertones to neutralize the greenish hue effectively.

Purple or Dove-Colored Eyebrows have a purple base color, which is a mix of blue and red. What's missing here is yellow. You'll need to cover the purple with a yellow shade to get to brown. Look for a yellow or mustard-colored modifier for this purpose.

Chemical Colorants - Red, Yellow, and Black

When it comes to semi-permanent makeup pigments, like those used in Powder Brows, the color palette is fundamentally rooted in three chemical colors: Black, Red, and Yellow. Understanding the primary sources and substances that make up these colors can help you better understand pigment properties and the chemical side of mixing colors.

Organic and Inorganic origin of colorants

First, it's important to clarify the terms "organic" and "inorganic" as they pertain to pigments. From a chemical standpoint, these classifications hinge on the presence or absence of carbon-hydrogen bonds.

In chemistry, substances containing carbon-hydrogen (C-H) bonds are considered "organic." Organic compounds are generally derived from living organisms but can also be synthesized in a laboratory. They often have complex structures and can be found in various products, ranging from pharmaceuticals to dyes.

On the other hand, substances that lack carbon-hydrogen bonds are categorized as "inorganic." These compounds are typically simpler in structure and are not derived from living organisms. They can occur naturally, like minerals in the earth, or be synthesized in a lab.

This classification has practical implications in the world of semi-permanent makeup pigments. Organic pigments tend to offer brighter, more vivid colors but may fade more quickly. Inorganic pigments, while generally offering more muted tones, often last longer and are less likely to cause skin sensitivities.

So, when you come across the three fundamental pigment colors - Black, Red, and Yellow - remember that each can be either organic or inorganic. Knowing the origin and chemical structure of these pigments can help you make informed choices, whether you're mixing colors or considering the longevity and safety of a particular pigment.

Black, Red, and Yellow - organic and inorganic sources

Black. Carbon Black (CI 77266) is the primary source of the black color in organic pigments. Derived from the incomplete combustion of carbon-based materials like tar and oils, Carbon Black provides a deep, intense black.

Iron Oxide Black (CI 77499) is often used for inorganic pigments. It is essentially iron that has been oxidized and processed to create a stable, black pigment. It's popular because it's non-toxic and has good color retention.

Red. D&C Red No. 7 (CI 15850) and D&C Red No. 6 (CI 15850) are commonly used for red shades in organic pigments. These synthetic dyes made from coal tars are known for their bright, vivid red hues.

Iron Oxide Red (CI 77491) is the primary source of inorganic pigments. This pigment is created by oxidizing iron to create a stable red color. It's often favored for its natural appearance and longevity.

Yellow. Tartrazine (CI 19140) is a frequently used organic source for yellow. It is a synthetic lemon yellow azo dye known for its high-intensity color.

Chrome Yellow (CI 77600) is often used for inorganic yellow pigments, which are essentially lead(II) chromate. However, toxicity concerns make it less common in cosmetic products. Iron Oxide Yellow (CI 77492) is a safer alternative, providing a warm, earthy yellow tone.

To effectively select and mix these colors, it's essential to know the percentage of each color in your pigment. This is key because it influences the final shade. So, if you have a pigment that is 60% red and you're aiming for a brown shade, you'll know you need to add a bit more yellow or even a touch of black to balance it out.

Additionally, from the chemical perspective, green and white colors can be added to pigments. When we compare that approach to colorimetry, we can see that Green is the complementary color of Red, which basically means that a mix of blue and yellow achieves it. When it comes to white - that is often achieved with titanium dioxide, its goal is to help make particles more reflective of color and prevent those from fading into dimmer and less bright versions of themselves.

Understanding bundles

In the world of semi-permanent makeup pigments, you might come across a dizzying array of bottles, each with a unique name, promising different shades and effects. However, it's crucial to understand that these pigments are often variations on the same basic colorants: Black, Red, and Yellow. The source of these colorants can be either organic or inorganic, but their presence remains constant across various bottles and brands.

So, what makes each bottle different? The answer lies in the ratio of these three primary colorants. The difference between "Cherry Blossom Red" and "Ruby Red" is often not a unique chemical formulation but a tweak in the black, red, and yellow colorant ratio. Both pigments may contain the same three primary colorants but in different proportions to achieve distinct shades.

Why do makers offer such a wide range of pigment bottles, then? The primary reason is commercial: it allows them to sell more products. Manufacturers can create bundles or specialized collections by offering an extensive range of labeled pigments, enticing consumers to buy more to achieve the "perfect" shade. This variety not only expands the product line but also boosts profitability for the makers.

In reality, you can often replicate these specialized shades with some know-how. You can create various shades with just three primary pigments - one dominant in black, one in red, and one in yellow. By understanding the ratios and how these primary colors interact, you can mix them in specific proportions to produce nearly the same range of colors that you'd get from buying multiple specialized bottles. Thus, the next time you find yourself overwhelmed by the array of pigment bottles, remember that understanding the basics of color theory and ratios can give you the flexibility to create a wide range of shades without needing a dozen different products. Luckily, many makers have understood that the naivety of consumers is limited and, over time, substantially decreased the creative selections of pigment mixes.

Practical suggestions for mixing

Always move from ligheter to darker when mixing.

As a semi-permanent makeup artist specializing in Powder Brows, it's crucial to have a clear understanding of how pigments work, especially when it comes to mixing them. A common misconception is that mixing pigments somehow alters their chemical structure, but that's false. When you mix pigments, you're actually adding different color molecules to the skin. This changes the way the color appears in the brows but doesn't change the fundamental chemistry of the pigments involved.

Here's an essential point to remember: because the pigments' chemistry remains unchanged when mixed, the resulting color can only get darker, never lighter. This is why starting with lighter base colors, such as pigments with yellow-based or red-based orange and light brown hues, is advisable. Starting lighter allows you greater flexibility to add black colorant in darker (or often close to black-looking) pigment and gradually approach the desired color.

Trying to do it the other way around - starting with darker pigments and attempting to lighten them - isn’t effective. In fact, it's practically impossible and can result in far too dark brows. Always remember that adding more darkness to a color is easier than lighting it up.

So, the best practice is to start with a lighter base color and carefully add darker tones, working your way up to achieve the precise shade you aim for. This approach not only helps you get the color right but also conserves pigment and minimizes the risk of ending up with brows that are darker than intended.

Mixing together two pigments is enough.

When you want to make the color warmer and create a new shade, then mix together just two pigmetns. The reasons for that are the following. Firstly, mixing multiple pigments doesn't produce new colors from a chemical standpoint. The basic chemistry of the pigments remains the same; you're simply introducing more color molecules into the skin. So, combining more than two pigments doesn't offer any unique advantages in terms of creating new shades.

Secondly, limiting the number of pigments in your mix makes replicating that shade easier for future clients. When you start mixing three or more pigments, the complexity of your formula increases, making it difficult to reproduce the same results consistently.

You may wonder why some pigment training courses or trainers encourage mixing multiple pigments. Often, the reason has less to do with science and more with business or marketing motives. By making the field of pigmentology seem more complex than it is, trainers have more material to teach. Moreover, if the training is affiliated with a pigment maker offering a wide range of products, encouraging the use of multiple pigments can increase sales.

Thus, keep it simple. Stick to a maximum of two pigments to maintain the integrity of the shade, simplify future applications, and avoid unnecessary complexity that doesn't benefit you or your clients.

Keep the ratios simple.

When it comes to mixing pigments for Powder Brows, simplicity is key. Experienced artists generally recommend using straightforward ratios like 1:1 or 2:1, where the lighter pigment forms the larger part. These ratios are measured in drops straight from the pigment bottle.

Why opt for simple ratios? The first reason is consistency. Sticking to uncomplicated ratios like 1:1 or 2:1 makes it much easier for you to recreate the same color mix for future clients. The more complex the ratio, the more variables you introduce, making it increasingly challenging to replicate the color accurately.

Secondly, simple ratios are more efficient and result in less waste. Imagine using an uneven ratio like 3:5 or 4:7. If you run out of pigment partway through the procedure and need to mix a little more, you'll end up wasting pigment. That's because these uneven ratios require you to prepare more pigment than you need, leaving some to waste.

“Secret ratios” debunked

Now, you might hear about trainers advocating for more complex ratios. It's important to note that these recommendations are rarely based on chemistry or any scientific rationale. The push for complicated ratios is often a marketing tactic designed to make the training content seem more exclusive or specialized. But in actual practice, such "secret" ratios are unnecessary and can complicate your work without offering any real advantages. Thus, when mixing pigments, stick to simple, easy-to-remember ratios. This approach not only aids in consistent results but also minimizes waste, helping you work efficiently and effectively.

Choosing the color

Understanding skin subtone

When mixing colors, the guiding principle here is opposite to that of traditional makeup: you generally want to add warmer tones to counterbalance the colder skin tone rather than match it. Next, let us see how to understand skin subtones and complete the correct mixture.

Pink Subtone (primary color: red). Features pinkish skin that easily reddens and often has cool eye colors. For clients with pink subtones, olive pigments neutralize the redness.

Greyish/Bluish Subtone (primary color: blue). Exhibits pale skin, cool lip and eye colors, and blue wrist veins. For these clients, opt for a warm pigment with a high orange content to achieve a neutral shade post-healing.

Golden Subtone (primary color: yellow). It possesses warm skin and eye tones, and veins on the wrist appear green. These clients can usually pull off neutral or warm colors based on yellow, green, or orange bases.

Olive Subtone (primary color: green). Has a swarthy complexion with warm eyes and lip tones. For olive subtones, neutral colors with an olive base work best.

Color matching

The ideal mix result and drawdown comparison is natural brow hair color. Contrary to what some artists might think, focusing on the client's natural brow hair color - not their overall hair color- is the most reliable way to get that perfect match.

After analyzing the client's skin and natural brow color and identifying their skin's subtone, the next step is understanding the subtone of the pigments you're considering mixing. Pigments appear in their concentrated form as "mass tones" when you look at them in the bottle. However, their true color or "subtone" can be revealed through a technique called “drawdown."

Performing a Drawdown for Real Color Insight

To perform a drawdown, use a cotton stick to draw a line of the original pigment on a piece of paper. Continue the line until the pigment runs out. This will show you the pigment's "real color," or subtone, helping you to make a more informed decision about which pigments to mix.

The goal is to select pigments based on their real colors revealed by the drawdowns rather than their mass tones. This approach ensures that you're working with the pigment's true color, giving you a more accurate match with the client's natural brow color.

Artists can perform drawdowns on the original, unmixed pigments and their preferred mixtures to simplify this process. These readily available drawdowns can make selecting the right mix much easier and more efficient.

Diluters and modifiers

When mixing pigments, you can introduce two types of additional substances: diluters and modifiers. Both serve distinct roles, and it's crucial to understand their functions to achieve optimal results.

Dilurers

Diluters are substances that don't alter the pigment's chemistry. Their primary function is to make the pigment more fluid, essentially serving as an extension of the pigment's liquid carrier, particularly the solvent part. A diluter can be handy if your pigment is too thick to create hair strokes or shading.

Modifiers

Modifiers, on the other hand, have a potent impact on the pigment's color. They must be used cautiously because even a small amount can significantly alter the final shade. For example, introducing a yellow or greenish-olive modifier is often advised in cases of oily or thick skin where pigments can appear grayish. These modifiers can help achieve a more natural look by counterbalancing the grayish undertone often seen on such skin types.

Lightfastness

One critical element that affects the durability of the mixed color permanent makeup is lightfastness. Simply put, lightfastness is the ability of a pigment's components to resist fading or color alterations when exposed to light sources, such as the sun's UV rays or artificial lighting.

Pigment ingredients with consistent lightfastness ensure the color remains stable and true-to-tone over time. Ingredients that are more resistant to light-induced fading usually have higher lightfastness. This trait is particularly important in pigments with larger and more complex chemical structures, as these are generally more stable and less susceptible to breaking down.

Measuring Lightfastness: The Blue Wool Scale

The industry-standard method for measuring a pigment's lightfastness is through the Blue Wool Scale, which ranges from 1 to 8. A score of 1 indicates the least lightfast or least stable, while a score of 8 signifies the most lightfast or most stable. This scale is an essential tool for artists when custom-blending colors because it informs you of each pigment's resistance to fading, affecting the permanent makeup's longevity.

Once the pigment is in the skin, it will naturally begin to fade and degrade over time. This process is accelerated by exposure to various light sources. If a pigment's ingredients have varying levels of lightfastness, they can fade at different rates. This uneven fading can lead to an inconsistent color that may appear patchy or discolored. For example, some existing pigments and inks are known to age into either an ashy or warm hue over time due to this inconsistency.

A reason to be hopeful: High Lightfastness Ingredients

To mitigate the issue of color instability, some pigments are formulated with ingredients chosen for their high lightfastness and compatibility. Such pigments are designed to fade gradually into a softer version of the original color. This allows artists to easily retouch the client’s brows, ensuring the color stays beautiful and true-to-tone for years.

The only true indicator: Practical testing in skin

You can get some idea about the pigment's lightfastness properties and how it will fade in the skin by looking at your drawdowns of pigments. However, most seasoned artists stress that there is only one way to really understand it - by using the pigment on clients and monitoring how the color changes in the skin over time.

Tyndall Effect and “natural cooling”

One essential factor that can impact the final appearance of permanent makeup is the Tyndall Effect, which is the scattering of light in colloidal dispersion. In simpler terms, it's how light interacts with the pigment in the skin. The deeper the pigment resides in the skin, the darker and cooler it appears.

Natural cooling

Another key consideration is what we call the “natural cooling" of pigment. As the skin heals, typically over 30-45 days, the pigment often looks duller and can take on a cooler or ashier tone. This color shift is what we refer to as the Natural Cooling.

When selecting pigments, it's crucial to consider this additional cooling effect to avoid ashy or overly cool outcomes. To combat this, many artists opt to add a few drops of warm modifiers or warm-toned pigments to their selected colors. This addition serves as a sort of "warm insurance," helping to maintain the desired tone after the pigment has fully settled into the skin.

As discussed in this article, cool pigments on cool skin can exacerbate Natural Cooling, leading to an undesirably cool result. Therefore, always consider the client's skin undertone and the pigment temperature you're using. Always remember that the healed result is influenced by a combination of the client's skin undertone, the temperature of the pigment, and the cooling effect.

Mixing Pigments from Different Makers

You'll often hear that mixing pigments from different brands is a bad idea. Many pigment manufacturers and artists with brand affiliations strongly advise against it. The common reason? They want you to stick to their products. The question concerns getting enough information about the pigment contents, chemical properties, and practical trials. Seasoned artists know that as long as the pigments have the exact colorant origin, mixing different brands often isn't a problem. As one very experienced artist said: “Pigment molecules and elemental atoms don’t know brand names, and actually also do not care about those.”

Combining organic and inorganic pigments is doable

It is just important to be mindful of compatibility and stability issues. Organic and inorganic pigments differ in their chemical makeup and characteristics, so blending them might not always result in consistent or expected outcomes. For example, artists often encounter challenges in obtaining stable combinations when mixing inorganic mineral hues with furnace black, also known as Carbon Black or Black 2.

Check the Ingredient List - Matching Additives is Key

When it comes to blending inorganic pigments, additives play a significant role. It's crucial to comprehend the chemical elements of the pigment's "carrier" part for optimal results. Hence, always confirm that the additive compounds in your combined pigments are compatible. For example, if one pigment has glycerin and alcohols as its main additives, it's vital that the other pigment you're mixing it with also lists these additives as primary. Incompatibility in additives could trigger unpredictable chemical reactions, making it hard to obtain a reliable and stable blend.

Particle Size Matters - Avoid Mixing Drastically Different Sizes

Another important aspect to consider is the size of the particles in the pigments you're mixing. Generally, it's not advised to blend pigments with extremely different particle sizes. Chemically speaking, variations in particle size can lead to uneven distribution and could interfere with both the application process and healing. Before mixing any pigments, it's recommended to investigate their micronization levels to gauge their particle sizes. This information will enable you to determine if specific combinations are practical or should be sidestepped, ultimately saving you time and potential hassles.

Real-Life Testing Matters

How the pigment mix heals in the client's skin really counts. No amount of marketing hype can substitute for real-world results. Many experienced artists agree that the only way to know for sure how a mix will turn out is to see it heal over time in actual clients. Most marketing narratives around this topic are just that - marketing. Your own real-life observations and experiences best determine the truth.

Conclusions

Mixing pigments in Powder Brows involves understanding both colorimetry and chemistry. From the colorimetry angle, we use the color wheel with primary colors—Red, Yellow, and Blue—as the foundation. These primary colors have complementary colors like Green, Purple, and Orange. This framework helps in 'neutralizing' colors and selecting the ideal shade for different skin types. For instance, if you see salmon pink eyebrows, you can add olive green; for cool gray eyebrows, add orange; for greenish eyebrows, add red; and for purple or dove-colored eyebrows, add yellow.

On the chemistry side, there are three main colorants: Red, Yellow, and Black. These colorants can be organic or inorganic, each containing different chemical elements. Generally speaking, pigments with the exact colorant origin are mixtures of these three colors in varying ratios. That means you can often achieve similar results by combining pigments with dominant black, yellow, or red colors.

Practical Tips for Mixing:

Start with a lighter base color and add darker shades. You can always darken a mix, but you can't easily lighten it.
Usually, mixing two pigments is enough. Trying to mix three or more gets complicated and is hard to replicate.
Stick to simple ratios like 1:1 or 2:1 when mixing.
Consider the skin's undertone—warm or cool—when selecting pigments.
Use a pigment drop drawdown on paper to understand its true color.
Aim for the natural color of the client’s own brow hair, not their hair color.
Diluters and modifiers can sometimes be helpful. Diluters are good for creating pigments for hairline techniques, while yellow and olive modifiers are often suitable for oily and thick skin.

Additional Factors:

Lightfastness: The resistance of the pigment to fading under UV rays.
The Tyndall effect: Pigments appear darker and cooler the deeper they are in the skin.
Natural Cooling: Pigments have a tendency to look cooler once they are healed in the skin.

Seasoned artists often question manufacturers' claims about ideal lightfastness and minimal cooling. They prefer to rely on their practical experience and the results they see in their clients' skin. The same skepticism applies to mixing pigments from different makers. While many experienced artists do mix pigments from various sources, the ultimate test for quality and longevity lies in how these mixtures heal and fade in real-life applications. Additionally, never try to mix pigments with drastically different colorant particle sizes or different main substances of liquid carriers.