How to mix pigments (inorganic)

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2. Pigment's basic components

On the left is a pigment bottle with its chemical contents explained down to the molecular level; on the right is an attractive woman.

When people discuss "pigments" in the context of semi-permanent makeup, it's essential to clarify what exactly is meant by the term. In common language, the term "pigment" is often used loosely, but in reality, what we're dealing with is a bit more complex. Specifically, a pigment in this context is always a mixture of two categorically different parts: additives and colorants.

Colorant

The colorant is the primary element that gives the pigment its color. Whether it's a bold black or a subtle shade of brown, the colorant is what you see when you look at the pigment. For example, in the case of Powder Brows, you might use black iron oxide as a colorant to achieve a dark, lasting brow color. If the colorant is, for example, organic CI 12475, it gives a red color, etc.

Additives

Additives is a collective term for different substances added to colorants to make it possible to be implanted into the skin. Additives play a crucial role in the makeup of a pigment, even though they usually do not directly contribute to the color. However, the additives also play a key role in how the pigment behaves during and after application, and thus., although not affecting the pigment’s color, they influence the pigment’s “character.” For example, a pigment with a fast-evaporating solvent might dry quicker but could also be more challenging to work with.

4. Colorants explained

So when we talk about the differences in pigments, what we're often really discussing are the differences in colorants because that's what most directly affects the color and intensity of the semi-permanent makeup. Let us see now how colorants are divided. Colorants inside the pigment can be pigments, dyes, or lacs (Lacquers, which are essentially dyes in solid form).

Pigments

Pigments are insoluble substances that are solid, finely ground, and do not let light pass through. They offer high covering power and are quite stable chemically. Based on their chemical composition, pigments can fall into two main categories. Inorganic Pigments. Typically derived from mineral sources, these are known for their stability and resistance to environmental factors like UV radiation. Common examples include titanium dioxide and iron oxides. Organic Pigments. These are carbon-based and are often derived from petrochemicals or even natural organic compounds. They are generally brighter but may be less stable over time than inorganic ones.

Dyes

Dyes are originally solid substances that are highly soluble, meaning they can dissolve in oils, water, and alcohols. While they may offer vibrant colors, they are generally less stable chemically and are less resistant to environmental factors like light. Additionally, dyes have lower hiding power, making them less effective in masking the underlying surface.

Lacquers

Lacquers are essentially dyes that have been turned into a solid form, inheriting some properties of pigments. Like pigments, they offer strong staining power and produce vivid, bright colors. These are insoluble in bodily fluids and are also resistant to agents that could break them down, thus prolonging the lifespan of the pigmentation. Lacquers are generally considered to be organic in nature, as they often originate from organic dyes.

5. Categorization of pigments

It is possible to categorize pigments that are often related to the categorization of colorants.

Solubility

Pigments can be sorted based on their solubility in various solvents. Some pigments dissolve easily in water, while others may only dissolve in oil-based solutions. Knowing the solubility of a pigment can help you understand how it will interact with the skin and other ingredients in the makeup.

Way of Production

Pigments can be either synthetic or natural. Synthetic pigments are created through chemical processes, often in a lab. Natural pigments, on the other hand, are derived from natural sources like plants or minerals. The production method can impact both the pigment's color vibrancy and how it interacts with the skin.

Origin of Colorant

The colorant in the pigment can be either organic or inorganic. Organic pigments generally come from carbon-based sources and are brighter but less stable. Inorganic pigments usually originate from mineral sources and are often more stable, but the colors may be less vibrant.

Particle Size

Some pigments have finer particles, while others have larger particles. The size of the pigment particles can affect the application and the final look of the makeup.

Toxicity

Pigments can also be categorized based on their level of toxicity. Some may contain heavy metals or other harmful substances, so it's crucial to know the safety profile of the pigments you're using.

Lightfastness

This refers to how much a pigment fades when exposed to light. Some pigments are more stable under light, making them more durable for long-term wear.

6. Chemical properties of colorants

To understand how inorganic pigments can be mixed, we must understand their basic chemistry. For that, we should clarify the following. Substances that contain hydrocarbons, which means a carbon molecule connected to a hydrogen molecule (C-H), are classified as organic. Inorganic pigments are generally mineral-based and don't contain hydrocarbons, making them inorganic. They are often metal oxides, sulfides, or other salts.

What is called “organic” in chemistry?

In chemistry, the term "organic" typically refers to compounds that contain carbon-hydrogen (C-H) bonds. These compounds can also include other elements like oxygen, nitrogen, and sulfur, but the key feature is the presence of C-H bonds. Methane (CH4), for example, is an organic compound because it contains these crucial bonds.

Contrast this with "inorganic" compounds, which don't contain C-H bonds. Elemental forms of carbon, like graphite and diamond, fall into this category and are considered inorganic, even though they are made entirely of carbon atoms. It's worth mentioning that elemental carbon itself is not generally classified as either organic or inorganic; rather, it serves as the basis for organic chemistry.

So, in the context of pigments, those containing C-H bonds are classified as "organic," irrespective of any other elements that may be part of their molecular structure. Organic pigments can indeed contain other elements like oxygen and nitrogen, but they retain their "organic" label as long as C-H bonds are present.

Thus, the classification of a compound as organic or inorganic is primarily determined by the presence or absence of C-H bonds, not by the sheer quantity of hydrocarbons or elemental carbon.

7. Ionic and covalent molecular structure

To understand how pigments mix together, we have to go a bit deeper and understand the next level of complexity in the chemical sense— their molecular structure.

Ionic is weak, covalent strong - an oversimplification

Many artists claim that inorganic pigments with ionic structures break down more easily in the skin, while organic pigments with covalent structures are more stable. Some have said that molecules with ionic structures get removed from the body while molecules with covalent structures remain. Such claims are a bit of an oversimplification.

It's true that ionic and covalent bonds have different properties: ionic bonds are generally more soluble in water and may be less stable under certain conditions than covalent bonds. However, the stability and retention of pigments in the skin depend on various factors, including the specific formulation of the pigment, the skin type, and external environmental conditions.

Both are formulated to last

Both inorganic and organic pigments used in semi-permanent makeup or tattoos are formulated to maximize their retention in the skin. Various additives, such as stabilizers and binders, are often added to improve the stability and longevity of both types of pigments.

So, while the chemical nature of the bonds in these pigments can play a role, it is not the sole determining factor for how long a pigment will last in the skin. It's crucial to consider that these pigments are part of complex formulations designed for optimal performance and retention, regardless of whether they are inorganic or organic.

Ionic structure can be very stable

Many inorganic pigments like iron oxide have ionic structures; this doesn't necessarily mean they will dissolve in the skin and be removed from the body. Iron oxides used in semi-permanent makeup, for example, are engineered to be stable and are not readily soluble in water or bodily fluids. They are specifically formulated to be long-lasting when embedded in the skin.

Organic pigments generally have covalent molecular structures, but this also doesn't directly relate to their solubility or permanence in the body. Like inorganic pigments, organic pigments used in semi-permanent makeup are designed to be stable and not to dissolve easily.

Removal from the body

Whether a pigment will be removed from the body or not depends on various factors, including the size of the pigment particles, the depth at which they are inserted into the skin, and the body's immune response, among others. It is not solely determined by the pigment's organic or inorganic nature. So, both inorganic and organic pigments can be formulated to be stable and long-lasting when used in semi-permanent makeup applications. The body's ability to remove them depends on multiple factors and not just their molecular covalent or ionic structure.

8. Understanding chemical complexity

A picture of an Iron oxide powder and molecule structure on the left, and a picture of an attractive woman in red clothing on the right.

Things are not so simple - Red Iron Oxide as an example

Before we jump to conclusions about inorganic and organic substances in pigments, let's take a closer look at Red Iron Oxide—a well-known inorganic compound. One might assume, at first glance, that it has an "ionic molecular structure" that "breaks down easily" and "is readily removed from the body." However, that's not quite the case! As with many aspects of pigments, the situation is more complex. For instance, Iron Oxide doesn't neatly fit into the category of compounds with purely "ionic molecular structures."

Ionic vs. Polar-covalent structure

Iron(III) oxide, or Fe2O3, does not have a purely ionic molecular structure; rather, it's best described as having an ionic-covalent mixed bonding character. In Fe2O3, the iron and oxygen atoms are held together in a crystal lattice where both ionic and covalent interactions are present.

In ionic compounds, atoms are held together by the electrostatic forces between positively and negatively charged ions. However, the bonding in Fe2O3 also exhibits some degree of covalency (sharing of electron pairs), especially when considering the polarizing power of the iron cations.

So, while it's common to classify Fe2O3 as an ionic compound for simplicity, particularly in introductory chemistry courses, the reality is a bit more nuanced due to the mixed ionic-covalent character of its bonding.

Going Beyond the Periodic Table

An initial glance at the periodic table might suggest that Fe2O3 has an ionic structure, as it's a compound formed from a metal and a non-metal. However, when we delve into the electronegativity of this compound, we find that according to many classifications, the structure can be described as polar-covalent.

9. Mixing mono colors

Let us look at some practical suggestions now regarding mixing inorganic pigments.

When you mix two or more pigments, each of which is already a blend of multiple colors, you're introducing a variety of color compounds. The more compounds there are, the more challenging it is to predict the end result. This could lead to a 'muddied' or grayish color because the diverse range of hues in each mix may neutralize each other, especially if the colors are complementary or opposite on the color wheel.

However, when you mix mono colors (single, unblended colors), you have a much clearer understanding of the colors you're starting with. This allows for more precise control over the final shade. For example, mixing pure mono-color yellow iron oxide CI 77492 with black color gives a much more predictable and repeatable result than mixing two light brown pigments that may result in a mix with a similar color. This level of control is harder to achieve with pre-mixed pigments because each one already contains multiple color compounds.

Additionally, when you use mono-colors, you can create your customized shades, tailoring the color to each client's needs. This is especially important in services like semi-permanent makeup, where a slight color variation can significantly impact the final result.

10. Practical mixing suggestions

Organic can be mixed with inorganic

Mixing inorganic and organic pigments is possible, as well as mixing pigments from different brands. However, there are caveats to consider, especially regarding compatibility and stability. Inorganic and organic pigments have different chemical structures and properties, so mixing them may not always yield stable or predictable results. For instance, many artists have said that they have had difficulty in achieving stable mixes when trying to blend inorganic mineral colors with furnace black (Carbon Black as Black 2).

Read the labels - Additives should match

When it comes to mixing inorganic pigments, the additives matter a lot. Understanding the chemical components of the "carrier" part of the pigment is crucial for achieving the desired results. Thus, always make sure of the compatibility of additive compounds in the pigments you're mixing. For instance, if one pigment lists glycerin and alcohols as its primary additives, it's essential that the other pigment you're combining it with has the same additives listed first as well. This is important because incompatible additives can lead to unpredictable reactions, making it difficult to achieve a stable, reliable mixture.

Micronization - Particle sizes can not be very different

Another factor to consider is the particle size of the pigments you're mixing. It's generally not recommended to mix pigments with vastly different particle sizes. From a chemical standpoint, different particle sizes can result in uneven dispersion and could complicate both the application and the healing process. Before attempting to mix pigments, it's advisable to research their micronization levels to understand their particle sizes. This knowledge will help you determine whether certain mixtures are feasible or should be avoided altogether, saving you both time and potential complications down the line.

In the simplest terms, when you do the research regarding micronization, you can save a lot of time not playing a "smart scientist" trying to create mixes that make no chemical sense whatsoever.

Not all pigments mix well

Furnace Carbon black (black 2) is a pigment with an elemental carbon base and high organic hydrocarbon consistency. On the other hand, inorganic mineral colors often contain salts. These different chemical compositions can result in interactions that may affect the stability hue of the resulting color blend. The issues could range from color changes over time to inconsistent application. However, many have observed that Channel black and Thermal black (both CI 77266) can be mixed with inorganic pigments well.

Therefore, the best way is always to test and also consider the quality and formulation of the pigments, particularly when mixing different brands. Each brand has its own formula, which might include various additives like stabilizers, binders, or fillers. These additives could interact in unpredictable ways when mixed together.

Do not use too many colors in the mix

Simplifying the color palette makes the process more controllable and repeatable, as it minimizes the variables at play. When you use fewer colors, it's easier to pinpoint which pigment is contributing to what effect, making any needed adjustments simpler to carry out. Additionally, fewer colors can mean less complexity regarding potential interactions between pigments, increasing the likelihood of achieving a stable and desirable result.

Using a maximum of three colors, sometimes augmented by a neutralizer or corrector, can offer a focused and effective way to achieve the desired shade. This limited palette is often easier to analyze and replicate for future applications, ensuring consistency in your work.

Perform patch-tests

If you're considering mixing pigments, especially those of different types or brands, it's a good idea to perform patch tests and stability tests. Check the blend on a small area first to ensure there are no adverse reactions and to assess the color's stability over time.

The water test

Some artists suggest performing a water test with a mixed pigment to see how it reacts and if it even remains intact. The water test may give you an idea of the immediate solubility or miscibility of the pigments, but it doesn't necessarily mimic the conditions the pigments would face when applied to the skin. Skin is a more complex environment, with varying pH levels, oils, and other factors that can affect the stability of pigments differently than water can.

Thus, when you drop a pigment mix into water, separation or dissolving does, however, indeed indicate poor compatibility between the pigments, but it's not a foolproof method to predict long-term stability in the skin. Additionally, additives, binders, or stabilizers present in the pigments could behave differently in water than in the skin.

Do not rely on water tests solely

While it might be tempting to rely solely on a water test, it would be better to perform additional tests specifically designed to mimic the conditions the pigment will experience when applied to the skin. Patch tests and stability tests on a small skin area are still the gold standards for determining the compatibility and safety of pigment mixtures. So, while a water test might offer some initial insights, it should not replace more thorough testing methods that more accurately simulate the actual conditions the pigments will face. Some artist have used their own skin to perform such tests; some have performed it on their friends and relatives, making small lines behind the ears, for example. Many well-known male artist have tested that on their tights and legs.

However, if the pigments separate immediately in water, it is generally a warning sign that they will not be a stable mix in the skin, which warrants further investigation. If they don't separate, that's a more encouraging result, but it's not definitive proof that they will be stable in the skin.

11. Color mixing suggestions

Capillaries seen - add orange

Adding mono-color orange to the mix when there are capillaries in the skin can help balance the coloration. Orange tends to neutralize the bluish color of the capillaries, creating a more natural skin tone. Many artists have successfully used this technique.

Iron oxide yellow - a good mono-color corrector

Regarding iron oxide, yellow is often used as a mono-color corrector. Iron oxide pigments are generally stable and provide consistent color; mono-color yellow has produced stable mixes, too.

Red can be problematic

Red can be problematic in certain circumstances, especially if the person's natural skin undertones are reddish. In such cases, adding more red could lead to an overly red end result, which may not be desirable. But red could be helpful or even necessary in other contexts, so it's not universally to be avoided.

Often best mix: Orange + Yellow + Magenta + Black

Orange + yellow + magenta + Black is an interesting blend that many artists have found success with. Many artists have used in this mix not only Iron Oxide Black (CI 77499) but also Carbon Black (CI 77266). When carbon black is used, they have often selected Thermal Black (Black 7) for this mix; sometimes, they have used Channel Black (Black 6), too. Not-so-good results have been achieved so far with Furnace Black (Black 2), as its properties make it harder to mix.

Keep in mind that these recommendations are not one-size-fits-all solutions. Each client's skin is unique, and what works well for one person may not be effective for another. Try different pigments, as long as you use high-quality mono-colors. Regarding the quality of pigments, it can be said it often correlates with the price. At least no good pigments we have tested have been cheap.

12. Conclusions

Pigments can be organic or inorganic, each with its own molecular structure. Organic pigments often have covalent bonds, while inorganic ones usually have ionic or crystalline structures. Despite these differences, both types are engineered to be stable and long-lasting when implanted in the skin. Factors such as the depth of implantation, the size of the pigment particles, and the body's own immune response also play a critical role in the pigment's longevity.

When it comes to mixing pigments, using mono colors is generally more effective than starting with pre-mixed colors. Pre-mixed pigments are more likely to produce grayish results when combined. While it's possible to mix organic and inorganic pigments, as well as pigments from different manufacturers, caution should be exercised. Different pigments can contain various additives that might interact, so patch testing is highly recommended for gauging the true end result.

Water tests can offer preliminary insights into the stability of a pigment mix. If the pigments separate in water, it's likely they won't be stable in the skin. However, if they don't separate, it's not a guaranteed indicator of their stability.

Finally, the color selection should be tailored to the individual's skin type and undertones. For skin with visible capillaries, a warmer tone, like orange, can be beneficial. Red should be avoided in skins with red undertones. Iron Oxide Yellow serves as an effective mono-color corrector. A well-tested combination of colors for Powder Brows includes Orange, Yellow, Magenta, and Black, with Thermal or Channel Carbon Black as preferred options.

How to mix pigments (inorganic)

"Mixing various pigments from pre-made ranges may look impressive on social media, but it's not the hallmark of true expertise. To master the art of mixing pigments, you need a deeper understanding of the principles involved. This article is designed to guide you through that process."

1. Background

2. Pigment's basic components