12.07.15
A whopping 85% of cosmetic purchases are based on color, according to Sue Wilcock, a director at Oriflame cosmetics. No surprise then, that color burst through in all of its glory last month when the New York Chapter of the Society of Cosmetic Chemists (NYSCC) held a symposium entirely devoted to the subject and its role in the successful creation of color cosmetics. The event featured experts from an array of disciplines including art, fashion and, of course, cosmetic chemistry.
Leading off, the National Gallery’s Michael Skalka reviewed the artist’s changing palette, explaining how 16th century artists such as Bronzino and Perugino used malachite to create rich, detailed images of nobility and the Madonna. In the 17th century, artists worked with ochre earth colors to create masterpieces such as Rubens’ Daniel in the Lions’ Den. Later, Vincent Van Gogh relied on emerald green and other shades for his breakthrough Impressionist work.
Taking a more modern approach to uses of colors, Trend Forecaster Sunny Maffeo, founder of Sunny Maffeo Partners LLC, predicted colors that will find their way into fashion in the upcoming seasons. These color families include:
• Artland—A cross-fertilization of music, fashion and art. The palette includes soft natural nudes, juxtaposed with a palette of bold contemporary chroma.
• Enchanted—A woodland that suggests both magic and danger; the palette includes browns and greens, along with rich purple and lavender hues.
• Cosmos—Similarly, this color family includes dark purplish hues coupled with grays and blues that evoke the limitlessness of space.
• Rendezvous—The palette reflects moods of lust and luxury; where Byzantine gold and blue-based reds join champagne shades.
Back in the Lab…
Attendees may have had their heads in the clouds after the initial symposium presentations, but Kobo’s Yun Shao brought them back to more practical issues with a presentation devoted to pigment surface treatment and dispersion. He noted that a variety of natural and synthetic surface treatments, such as post-milling of treated powders, hydrophobic treatment, dimethicone and methicone, jojoba and wax, can be used to improve skin feel, texture, pressability and dispersability of pigments and fillers.
According to Shao, surface treatment is essential for improving pigment performance and stability, as well as the tactile and wear properties, of finished cosmetic formulations. He reminded attendees that chemists must use the right dispersant and proper milling device. Finally, Shao noted that predispersion of pigment at a high solids enables the formulation of high impact color cosmetics and provides color consistency to the batch process.
Eye, Eye
A practical approach to formulating mascaras was provided by Paul Marotta, director of R&D, Estée Lauder Companies. He reviewed the patent literature as well as brush design. Marotta explained bulk development of oil-in-water emulsions, water-in-oil emulsions as well as processing issues, before detailing ways to avoid dry out, which he blamed on poor packaging design and inadequate filling. He explained the importance of the proper ratio of rod/brush maximum diameter v. internal tube diameter and advised that fill level should be 65-70% by volume.
Flawless perfection? Yes, it is the name of a Christian Dior makeup, but it also describes the move consumers are making to describe their idea of ideal skin, according to Sarah Jindal, an analyst with Mintel.
“The quest for the perfect skin finish will continue,” she told the audience. “But it will increasingly be described as flawless rather than refer to perfection.”
Furthermore, Jindal predicted that the distinction between face makeup and facial skin care will continue to blur, especially as the “no makeup” makeup trend grows. Fascination with all things Korean will continue, leading Westerners to replicate a nuanced version of the “chok chok” moist effect. As a result, more emphasis will be put on hydration claims and brightening effects, Jindal added.
What Works?
To capture that certain glow, fluorescent pigments have a place in cosmetics and personal care products, explained Tomas DiPietro of DayGlo Color. He explained how optical brightening agents absorb light in the ultraviolet and violet region (340-370nm) of the electromagnetic spectrum and re-emits light in the blue region (420-470nm).
By combining optical brighteners with epoxy polymers, formulators can get fluorescent effects of an optical brightener without staining or solubility problems. Furthermore, polymer encapsulated optical brighteners can be used to enhance formulation brightness, as a soft focus effect filler or simply to add fluorescence to an existing formulation, according to DiPietro.
Measuring and managing color through the product lifecycle is critical to ensure product quality. Dwight Davis of Konica Minolta explained how marketing, engineering, processing and production come together to get a product to market and keep it there. A variety of tools, such as spectrophotometers, and formulation and quality control software, are employed to confirm correct colors.
Davis concluded by providing stages of good color programs:
• Secure the needed color measurement equipment from your supplier;
• Specify the target color needed for the project;
• Establish with the client acceptable tolerances for the final product color;
• Measure raw materials against the tolerances needed to achieve final approval;
• Test your final product for the correct color as a final QC step; and
• Suggest your suppliers use the same color instruments you have to test materials on their end.
Once the color is correct, color matching is critical, explained Lyudmila Velikoselskaya of Sensient Cosmetic Technologies. She reviewed how primary, secondary and tertiary colors are related, and how understanding the difference of warm and cool colors can help create foundations and concealers, and color match for different skin tones.
Velikoselskaya advised attendees to use at least three pigments in lipcolor formulations in order to have room for adjustment due to color variations from lot to lot. She also explained how there are different colors in mass and payoff when it comes to lipcolor and other cosmetics.
Do You Understand?
Attaining the correct shade for a lipstick or eyeshadow is one thing, but understanding color and all of its implications as a product moves from the laboratory to the consumer is another. Matthew Adby of X-rite noted that our reaction to color is nearly instantaneous and has a profound impact on the choices that we make every day.
“Marketing psychologists state that a lasting impression is made within 90 seconds,” he noted.
The challenge for chemists is that most color measurements of cosmetics occur through glass or plastic, and unfortunately, according to Adby, this process does not provide data that correlates with what the human eye sees.
“The only way to truly measure a color and get a colorimetric result that correlates to the human eye is to measure the sample in its natural form, without contacting the sample, using 45° geometry,” Adby insisted.
More on measurements was provided by Sam Cauchi, BYK Additives & Instruments, who reviewed color perception (remember that blue or gold dress test), color memory and color harmony. He noted that visual impression depends on more than just L*a*b color.
“Measuring drawdowns is useful, but so is measuring the final product that the customer sees,” Cauchi reminded attendees. “Digital standards will never replace actual samples, but are vitally important to any color management system.”
Quality is key, but color cosmetics marketers and their suppliers must keep an eye on regulations, too. David Funk of BASF told attendees that without significant innovation, there are unlikely to be new color cosmetic petitions. That’s because the cost and time barriers to filing petitions are prohibitive for incremental improvements.
According to Funk, innovation is primarily focused on modifying the structure of existing color additives or combining them with other suitable substances in novel ways. He added, however, that purity requirements continue to tighten.
The two-day event also featured a full-day technical course on colorants and their use in decorative cosmetics, which was taught by color expert Ed Faulkner, a 40-year veteran of the color industry.
The NYSCC has several events scheduled for 2016. They include:
• Product Development Symposium, Jan. 26, 2016.
• Mintel PC Products Symposium, Feb. 18, 2016.
• Perfumery Association Joint Seminar Dinner Meeting, March 22, 2016.
• Dinner Cruise, Preservation: David Steinberg, June 8, 2016.
To learn more about these and other NYSCC events, visit the website, www.nyscc.org.
Leading off, the National Gallery’s Michael Skalka reviewed the artist’s changing palette, explaining how 16th century artists such as Bronzino and Perugino used malachite to create rich, detailed images of nobility and the Madonna. In the 17th century, artists worked with ochre earth colors to create masterpieces such as Rubens’ Daniel in the Lions’ Den. Later, Vincent Van Gogh relied on emerald green and other shades for his breakthrough Impressionist work.
Taking a more modern approach to uses of colors, Trend Forecaster Sunny Maffeo, founder of Sunny Maffeo Partners LLC, predicted colors that will find their way into fashion in the upcoming seasons. These color families include:
• Artland—A cross-fertilization of music, fashion and art. The palette includes soft natural nudes, juxtaposed with a palette of bold contemporary chroma.
• Enchanted—A woodland that suggests both magic and danger; the palette includes browns and greens, along with rich purple and lavender hues.
• Cosmos—Similarly, this color family includes dark purplish hues coupled with grays and blues that evoke the limitlessness of space.
• Rendezvous—The palette reflects moods of lust and luxury; where Byzantine gold and blue-based reds join champagne shades.
Back in the Lab…
Attendees may have had their heads in the clouds after the initial symposium presentations, but Kobo’s Yun Shao brought them back to more practical issues with a presentation devoted to pigment surface treatment and dispersion. He noted that a variety of natural and synthetic surface treatments, such as post-milling of treated powders, hydrophobic treatment, dimethicone and methicone, jojoba and wax, can be used to improve skin feel, texture, pressability and dispersability of pigments and fillers.
According to Shao, surface treatment is essential for improving pigment performance and stability, as well as the tactile and wear properties, of finished cosmetic formulations. He reminded attendees that chemists must use the right dispersant and proper milling device. Finally, Shao noted that predispersion of pigment at a high solids enables the formulation of high impact color cosmetics and provides color consistency to the batch process.
Eye, Eye
A practical approach to formulating mascaras was provided by Paul Marotta, director of R&D, Estée Lauder Companies. He reviewed the patent literature as well as brush design. Marotta explained bulk development of oil-in-water emulsions, water-in-oil emulsions as well as processing issues, before detailing ways to avoid dry out, which he blamed on poor packaging design and inadequate filling. He explained the importance of the proper ratio of rod/brush maximum diameter v. internal tube diameter and advised that fill level should be 65-70% by volume.
Flawless perfection? Yes, it is the name of a Christian Dior makeup, but it also describes the move consumers are making to describe their idea of ideal skin, according to Sarah Jindal, an analyst with Mintel.
“The quest for the perfect skin finish will continue,” she told the audience. “But it will increasingly be described as flawless rather than refer to perfection.”
Furthermore, Jindal predicted that the distinction between face makeup and facial skin care will continue to blur, especially as the “no makeup” makeup trend grows. Fascination with all things Korean will continue, leading Westerners to replicate a nuanced version of the “chok chok” moist effect. As a result, more emphasis will be put on hydration claims and brightening effects, Jindal added.
What Works?
To capture that certain glow, fluorescent pigments have a place in cosmetics and personal care products, explained Tomas DiPietro of DayGlo Color. He explained how optical brightening agents absorb light in the ultraviolet and violet region (340-370nm) of the electromagnetic spectrum and re-emits light in the blue region (420-470nm).
By combining optical brighteners with epoxy polymers, formulators can get fluorescent effects of an optical brightener without staining or solubility problems. Furthermore, polymer encapsulated optical brighteners can be used to enhance formulation brightness, as a soft focus effect filler or simply to add fluorescence to an existing formulation, according to DiPietro.
Measuring and managing color through the product lifecycle is critical to ensure product quality. Dwight Davis of Konica Minolta explained how marketing, engineering, processing and production come together to get a product to market and keep it there. A variety of tools, such as spectrophotometers, and formulation and quality control software, are employed to confirm correct colors.
Davis concluded by providing stages of good color programs:
• Secure the needed color measurement equipment from your supplier;
• Specify the target color needed for the project;
• Establish with the client acceptable tolerances for the final product color;
• Measure raw materials against the tolerances needed to achieve final approval;
• Test your final product for the correct color as a final QC step; and
• Suggest your suppliers use the same color instruments you have to test materials on their end.
Once the color is correct, color matching is critical, explained Lyudmila Velikoselskaya of Sensient Cosmetic Technologies. She reviewed how primary, secondary and tertiary colors are related, and how understanding the difference of warm and cool colors can help create foundations and concealers, and color match for different skin tones.
Velikoselskaya advised attendees to use at least three pigments in lipcolor formulations in order to have room for adjustment due to color variations from lot to lot. She also explained how there are different colors in mass and payoff when it comes to lipcolor and other cosmetics.
Do You Understand?
Attaining the correct shade for a lipstick or eyeshadow is one thing, but understanding color and all of its implications as a product moves from the laboratory to the consumer is another. Matthew Adby of X-rite noted that our reaction to color is nearly instantaneous and has a profound impact on the choices that we make every day.
“Marketing psychologists state that a lasting impression is made within 90 seconds,” he noted.
The challenge for chemists is that most color measurements of cosmetics occur through glass or plastic, and unfortunately, according to Adby, this process does not provide data that correlates with what the human eye sees.
“The only way to truly measure a color and get a colorimetric result that correlates to the human eye is to measure the sample in its natural form, without contacting the sample, using 45° geometry,” Adby insisted.
More on measurements was provided by Sam Cauchi, BYK Additives & Instruments, who reviewed color perception (remember that blue or gold dress test), color memory and color harmony. He noted that visual impression depends on more than just L*a*b color.
“Measuring drawdowns is useful, but so is measuring the final product that the customer sees,” Cauchi reminded attendees. “Digital standards will never replace actual samples, but are vitally important to any color management system.”
Quality is key, but color cosmetics marketers and their suppliers must keep an eye on regulations, too. David Funk of BASF told attendees that without significant innovation, there are unlikely to be new color cosmetic petitions. That’s because the cost and time barriers to filing petitions are prohibitive for incremental improvements.
According to Funk, innovation is primarily focused on modifying the structure of existing color additives or combining them with other suitable substances in novel ways. He added, however, that purity requirements continue to tighten.
The two-day event also featured a full-day technical course on colorants and their use in decorative cosmetics, which was taught by color expert Ed Faulkner, a 40-year veteran of the color industry.
The NYSCC has several events scheduled for 2016. They include:
• Product Development Symposium, Jan. 26, 2016.
• Mintel PC Products Symposium, Feb. 18, 2016.
• Perfumery Association Joint Seminar Dinner Meeting, March 22, 2016.
• Dinner Cruise, Preservation: David Steinberg, June 8, 2016.
To learn more about these and other NYSCC events, visit the website, www.nyscc.org.