This document discusses face powders, including their ideal properties, ingredients, manufacturing processes, and evaluation. It covers both loose and compact face powders. Key points include: - The main ingredients in loose face powders are talc, kaolin, chalk, zinc oxide, and titanium dioxide. Binders like stearates are also used. - Compact powders use binding agents like stearates, oils, gums, or emulsions to form cakes that are compressed. - Loose powders are mixed and sifted by hand or machine. Compact powders can be made by wet molding, damp compression, or dry compression in mechanical presses. - Properties of face

1. Dr. A. H. Hosmani
Associate Professor
Dept. of Pharmaceutics
Govt. College of Pharmacy, Karad

2. Face Powder
1. Face Powder:
 Loose face powder.
 Compact Face Powder.

3. Face powder
•A face powders is basically a cosmetic product
which it is prime function is the ability to
complement skin color.
•It should enhance the appearance of the skin
by masking the shine due to secretion of
sebaceous and sweat glands.
•A powder should achieve its effect by being
opaque enough to mask minor blemishes but it
must not impart a mask like effect

4. •It must possess reasonable lasting
properties, so that, frequent re-
powdering is unnecessary.
•Since there is no one ingredient that
possesses all the properties desired in
a face powder, a blend of constituents
is employed.

5. Ideal Properties of Face Powder-

6. Essential characteristics of
a good product
1. Covering power and Playtime:
 Covering power is calculated from the
refractive indices.
 Materials of high refractive index and
relatively small particle size are
referred in the preparation of face
powders.
 Playtime the amount of time that the
make up can be moved on the face
prior to sitting.

7. 2. Slip:
It is the quality of easy spreading and
application of powder.
3. Adhesiveness:
How well the powder will cling to the face.
4. Absorbency:
Eliminate shiny skin in certain facial areas by
absorbing sebaceous secretion and
perspiration.
5. Bloom:
Ability to impart a velvety peach like finish to the
skin.

16. Color in face powder
The use of color is important in face powder in order
compliment all skin tones
The quantity of color required depends to a great degree on
the type of base used in the formula.
A variety of synthetic iron oxide are available for face powder.
The use of fine quality inorganic blended with a smattering of
organic lakes allows for a broad variety of face powder shades.

17. The following organic lakes commonly used in face powder
formulation:
Red
Calcium lake
D & C Red No. 7
Barium lake
D & C Red No. 9
Barium lake
D & C Red No. 12
Strontium lake
D & C Red No. 13
Aluminum lake
D & C Red No. 19
Aluminum lake
D & C Red No. 21
Barium lake
D & C Red No. 36
Orange
Aluminum lake
D & C Orange No. 4
Barium lake
D & C Orange No. 17
Yellow
Aluminum lake
D & C Yellow No. 5

18. Perfume in face powder
 Its play an important role in sales potential of the
product
 Perfume used must be non-irritating, stable to mildly
alkaline condition and not undergo oxidation or
volatilize too easily.
 The fragrance must be compatible with all of the
powder ingredients since problem with rancidity,
heterogeneity of odor, and discoloration may result
from improper odor selection.
 0.2 And 1% is a reasonable perfume rang in a face
powder.

19. Loose face powder
The primary consideration in the manufacture of face
powder is the selection of the raw materials.
1. Talc:
 The first and foremost ingredient to be considered in the
formulation and manufacture of face powder.
 Easy slip and low covering.
 Particle size of a talc at least 98% should pass through a 200-
mesh.

20. 2. Kaolin (China clay ):
 Good covering power and adhesion.
 Grease-resistant and perspiration-absorbent properties.
 Remove the shine of talc.
 Has soothing effects on the skin.
 It is used in formulation to adjust fluffiness and control bulk.
 Kaolin is hygroscopic it should not exceed 25% of face powder
 The color of the Kaolin used should be as light as possible.

21. 3. Precipitated Chalk (Calcium Carbonate):
Reduces the shine of talc and has good covering
power.
It helps to absorb the perfume.
Grease-resistant and perspiration-absorbent.
Developing the bloom effect when face powder is
applied.
When this raw material is used in excess, the powder
may acquire a dry feel, but moderate usage is most
helpful to face powder formulas.

22. 4. Magnesium Carbonate:
Has fine absorbent properties and a mean of distributing perfume.
Should be employed in moderation, since use in excess may result in
a drying effect on the skin.
5. Metallic Stearates:
zinc and magnesium stearates are the most commonly used
stearates.
The most important characteristics is their adhesive and
waterproofing properties.
Highest quality should be used to avoid rancid and disagreeable
odour.
Also possesses a soothing quality.
Use in moderate amounts 4 to 15%.

23. 6. Zinc Oxide:
Has certain therapeutic properties and help to clear up
minor skin disorders.
Excessive use can cause mask like effect, and leave the
skin dry.
It possesses moderate adhesive properties.
It should be high quality, as white in color as possible,
odorless, fine and free from grit
To avoid any drying effect and yet allow for sufficient
coverage, a formulation may consist of as much as
25%.

24. 7. Titanium Dioxide:
 Is three to four times better as a covering agent than zinc
oxide.
 It has less adhesion and does not blend as well.
 Used alone or in conjunction with zinc oxide.
 10 to 15 % titanium dioxide in preparation will allow for
sufficient covering.
8. Rice starch:
 It was widely used in the past but now its limited since it is
an ideal nutrient for bacteria and cause bacterial
decomposition problems.
 The bloom and absorbent properties that were contributed
by the use of the rice starch are now provided by calcium
carbonate and other materials.

25. 9. Silica and Silicates:
Maintain free flowing characteristics.
Perfume carriers.
 Silicates such as magnesium trisilicate have
extremely high water-and-oil absorption properties.
10. Frosted-Look Material:
Natural pearlessence (guanine) has been used in
face powder its needlelike colorless transparent
crystal which cause reflection of light.
but due to its cost and uncertain supply, guanine
could not be adapted to use in the cosmetic
industry.

26. The synthetic pigment bismuth oxychloride was
developed to replace guanine.
Metallic powders (mica, aluminum, bronze) are
used to formulate powders with a sheen.
The luster is harsher than that produced by the
pearl. The cost is very much lower than the
synthetic pearl.
Mother-of-pearl (thin layers of calcium carbonate
which are bound together) is usefull in produce
the frosted effect.
Synthetic pearl, Mother-of-pearl and mica must
not be milled, since milling would destroy their
optical lustrous effects.

27. Manufacture
The methods used to make loose face powder depended mainly on the
size of a company’s operation.
The traditional method for making face powder on a small scale was to
mix the perfume and colours separately into a portion of the powder
until each was evenly distributed, then combine the perfume mixture
and the colour mixture with the rest of the powder base, mix well and
sift.

28. In the manufacture of face powders on the large scale powder sifter and mixing
machines provided with spray arrangement for the perfume addition are used. Where
that is not applicable a large wood bin divided into two equal parts of about 3 to 4 ft.
square is most handy. The mix is made in one side, sifted into the next, then sifted
back again into the just emptied side, and so on. The colours are first ground down in a
mortar thoroughly with a small portion of the inert powder and gradually diluted out
to a few pounds. The perfume is mixed in the same way with another portion of the
powder, unless the spray is used as with the machine. The whole is then thoroughly
mixed and sifted at least three times through a fine sieve of 120 hole, a medium size
nail brush being the handiest for rubbing through the sieve; finally the whole is sifted
through a larger holed sieve, 30 or 40, twice, because the fineness of the sieve
previously used to ensure that the degree of fineness necessary, has a tendency to
separate the particles, yielding a powder unevenly mixed. In the case of machine-
made powder the rotary motion of the lower part as the powder is brushed
mechanically through the sifter part guards against that uneven mixing. In making the
better class powders they are usually made white in bulk quantity by machine, and
then coloured in smaller quantity, finely sifted, and then loosely sifted to ensure
thorough mixing, as required.

29. Face powder mixer
with dust extractor
(Thomssen, 1947).

30. Filling powder boxes
(Thomssen, 1947).

31. Compact powder

33. II. Compact powder
A Compact Face Powder which has been compressed
into a cake and is usually applied with a powder puff.
Raw Materials:
There are 2 characteristics for pressed powder:
1. Binding ability
2.Payoff.
Binding Agent:
There are 5 basic types of binders used:
1. Dry binders.
2. Oil binders.
3. Water-soluble binders.
4. Water-repellent binders.
5. Emulsion binders.

34. 1. Dry binders: such as metallic stearates ( zinc or
magnesium stearate).
2. Oil binders: such as mineral oil, isopropyl
myristate, and lanolin derivatives.
3. Water-soluble binders: solution of gums : such
as tragacanth, karaya, and Arabic.
Synthetic: such as PVP ( polyvinylpyrollidone),
methyl cellulose, and carboxymethyl-cellulose.
Preservative is essential in gum medium to
prevent bacteriological growth problem.

35. 4. Water-repellent binders: mineral oil, fatty esters of all
types, and lanoline derivatives are used and are mixed
with a considerable quantity of water, preservative and
wetting agent to form solid smooth cake
5. Emulsionbinders:
Allow uniform distribution of both oil and water phase.
Emulsion binding agent may employ soaps (such as
triethanolamine stearate), nonionic emulsifiers and
glyceryl monostearate in mineral oil-water
combination.
Preservatives: p-hydroxybenzoate-type is essential in
compact powders.

36. Methods of compact powder
preparation
There are 3 general procedures for compression:
1. The wet molding process: (most widely used)
 The mixture is made paste like with water and cast into molds.
 The upper surface of the paste is coated with an adhesive,
then pressed down by properly shaped metal or glass plates to
which the tablets adhered.
 The tablets are then allowed to dry and are withdrawn from
the molds.

37. 2. The damp compressing method:
The mixture is wetted down with a liquid binder, then
blended until the proper plasticity of the mass has
been attained.
The powder is then screened and passed to
compression machines the finished tablets are dried at
elevated temperature.
3. The dry compressing method:
The mixture are milled and the milled powder may be
moistened with binder, the mixture is then thoroughly
blended and the powder is pressed. This method is
prefer since very little binding agent is required.

38. Example of Preparation for Compact face powder
Mineral oil 1%
Polyoxyethylene stearate 2
Water 97
Preservative q.s.

40. Manufacture
When making a compressed powder, manufacturers could
elect to make tablets by casting them wet into moulds, or
use a mechanical compressor, methods that were also
used in the manufacture of rouge. As wet moulding or
casting did not required expensive machinery it was
popular with small cosmetic firms that made products
largely by hand but larger manufacturers generally avoided
it and used either damp or dry compression.

41. Wet molding or casting
In the wet molding process the powder was made into a
paste which was then poured or forced into shallow
glass, porcelain or metal moulds (godets) to form tablets.
It was a common practice to mix in a small amount of
plaster of Paris when making powders of this type.
However, although this added strength, the resulting
tablets were generally of poorer quality, as the presence
of plaster made the powder harder to lift from the
tablet, and the powder felt coarser when applied to the
skin.

42. An early kneading device used to mix up a
thick paste (Winter, 1935).

43. The wet casting process consists of making a wet, heavy paste of all
the ingredients. The paste is poured or pressed by rolling into
lubricated nickel molds, in which the cakes are allowed to dry. Just
before putting the molds into the dryer, dextrin or gum arabic
adhesive is painted over the surface … and glass, porcelain or metal
plates, properly shaped, are pressed down on the glued surface of the
cakes. When the cakes are dry they adhere to the plates.
The selection of the glue was very important. It needed to have good
adhesion, preserve well and not interfere with the perfume, e.g., a
resin-water-glass glue. Early forms were often not very satisfactory
and the tablets were prone to come free with use.

44. Damp and dry compression
The first compressed powders made with mechanical presses were
presumably made using a hand or foot press.
Larger manufacturers used automatic mechanical compressors. Hand,
foot and automatic models had previously been used to make pills and
other products for the pharmacy trade and I imagine that the first
machines used to make compressed face powders were developed
from these.

45. Larger manufacturers used automatic mechanical
compressors. Hand, foot and automatic models had
previously been used to make pills and other products for the
pharmacy trade and imagine that the first machines used to
make compressed face powders were developed from these.

46. Face powder evaluation
Laboratory Tests:
A. Shade control:
The color of the powder is checked by:
1. Spreading the powder out and flattened on a white
background.
2. By applying the powder to the skin.
 In each case the sample being assessed is
compared for shade to the standard.

47. B. Dispersion of color:
Color dispersion is checked by spreading the
powder onto a white surface and examining
under magnification.
C. Pay off:
It is the transfer of powder from the
container to the puff. Pay off should be
assessed on the skin using the correct
applicator.

48. 1871 Milliac &
Young powder
box.

49. 1896
LaBlache Face Powder.

50. 1903
Poudre D’Amour.

51. 1917
Tetlow Pussywillow Face Powder

52. 1919
Jonteel Face Powder.

53. 1920 Nadine Face Powder

54. 1920
Pierrette Face Powder.

55. 1921 Freeman’s Face Powder. 1923 La May loose powder compact with sifter

56. 1929 Richard Hudnut Poudre LeDébut 1929 Mello-Glo Face Powder

57. 1931 Seventeen Face Powder, perfume and
compact.
1933 Yardley Face Powder, English Peach
shade.

58. 1933 Guerlain Shalimar Powder scented with
Shalimar perfume.
1934 Coty perfumes and face powders. Each
perfume and matching face powder had a
differently designed package.

59. 1935 Max Factor Face Powder.
1939 Dorothy Gray Portrait Face Powder.

60. 1943 Yardley Face Powder. 1944 Elizabeth Arden Face Powder.

61. 1944 Lucien Lelong Face Powder.
1947 Bourjois Face Powder. Part of a matching
range of cosmetics all scented with Evening in
Paris perfume

62. 1951 Charles of the Ritz – Made to order face
powder.
1954 Germaine Monteil Face Powder.

63. 1929 Norma Shearer ‘ touching-up’ on the set
of ‘The Last of Mrs. Cheyney’.
1921 Jonteel compressed powder

64. 1923 Colgate Compact Powder.
1924 Lablache Toilet Requisites including
Lablache Compact Powder.

65. 1924 Djer-Kiss Compact Powder and Rouge 1926 Gainsborough Powder Puff.

66. 1927 Coty loose and compressed powders. 1934 A range of Houbigant compacts and
other ‘Purse requisites’.

71. Forms of rouge
Rouge was available in a number of forms in the nineteenth century.
Red pigment could be mixed with talc or French chalk to form a powder
(rouge en poudre), combined with an fatty/oily material and wax to
form a pomade (rouge en pommade), or dissolved in a solvent to
produce rouge infusion (rouge liquide) usually referred to as a bloom.

72. Liquid rouge
Early liquid rouges were relatively simple solutions of eosin, carmine or
some other dyestuff to which a little glycerin was sometimes added to
make the product easier to handle.
Early liquid rouges were also made with an alcohol-water base, which
enabled the use of alcohol-soluble dyes. Liquid rouge was used in the
cheeks but also the lips although in the later case gums were often
included to thicken the fluid so that it would stay in place.
For much of the twentieth century liquid rouge was not as popular as
compact or cream/paste forms; however it under went something of a
resurgence after liquid foundation was introduced in the 1940s and
1950s as it could be applied over the liquid foundation and smoothed in.

73. Powder rouge
Powder rouges did not differ radically from face powders apart from
being more highly coloured and opaque. This required higher
concentrations of dyes and pigments along with opacifiers like zinc
oxide and titanium dioxide.
Loose powder rouges do not appear to have been very popular in the
twentieth century, with most women preferring their rouge powder
compressed into a compact.

74. Compact rouge
Compact powder rouge was the most popular form of rouge but also
the most difficult to manufacture. Essentially, they use the same
formulation as a powder rouge but a binder was needed to hold the
powder together when it was compressed into a firm cake.
Paste rouge
The paste or salve type of rouge is the easiest rouge to make. A simple
anhydrous base can be made by blending mineral oils and waxes
together to make an ointment.
Paraffin wax 48 parts
White beeswax 6 parts
White oil 160 fluid parts
Perfume 5 fluid parts
Colour 107-214 parts as required

75. Cream rouge
Although a cream rouge looks very similar to a paste rouge and, when
advertised, little distinction was made between the two, cream rouges
are emulsions so contain water. Technically almost any type of face
cream could be made into a rouge by adding colouring. Although most
early cream rouges were made using a cold cream or vanishing cream
base – that is, they were oil-in-water emulsions – some were also made
as water-in-oil emulsions.
Cold Cream Type %
White beeswax 17.0
Oleic acid refined 14.0
Petrolatum, white 22.0
Water 31.25
Triethanolamine 6.0
Borax 1.5
Cosmetic lake color 8.0
Perfume 0.25

77. 1870 Bourjois Rouge de Théàtre. 1919 Ingram’s Rouge. Shades: Light, Medium
and Dark.

78. 1920 Rigaud Rouge. 1922 Dorin of Paris Rouge.

79. 1922 Kerkoff Djer-Kiss cosmetics including a
compact rouge.
1926 Pompeian Bloom Rouge. Shades: Dark,
Medium, Orange, Oriental and Light.

80. 1935 Savage Rouge. Shades: Tangerine, Flame,
Natural and Blush.
1950 Coty ‘Finger Blend Make-up’ which
includes ‘Rouge-Tint’, a cream-based blush.
Shades: Raspberry, Geranium, Coral Red and
Medium.

81. 1972 Yardley Pot o’Gloss. Shades: Red Shriek,
Boistrous Bronze, Emphatic Pink, Noisy Peach,
Screechy Pink and Clamerous Coral. This is a
return to the older tradition of using a rouge
on the lips.
1978 Maybelline Creme Blush and Fingertip
Powder Blush.