Bleach And Blush

Whitewash and blush are used to disguise unsightly places on the skin and for makeup. These are the same pastes, ordinary and shaken powders. A paste of white powders and fats - that's what whitewash is. For example: zinc oxide - 12 g, starch - 13 g, white petroleum jelly - 25 g.

If you add coloring substances to the same pastes and powders - carmine, eosin and others in an amount of 1% (a little more or less), or take red powders for pastes - red clay, red iron oxide and others - or one way or another, to taste combine both and you get blush.

Shaked white and red powders are already liquid white and blush.

Constant use of white and rouge is unacceptable in dry form. The constant use of liquid, water and alcohol shaken white and rouge is also unacceptable. The constant use of oily, thick white and blush gives even the healthiest young skin an ugly appearance. In general, whitewash and blush can be applied only for a temporary effect or when “there is nothing left to lose,” but whitewash and blush still provide “comfort.”

Whitewash and rouge clog the outlets of the sebaceous and sweat glands in the skin, and thereby interfere with skin respiration, delay the secretion of skin secretions, and limit skin movement. However, we also recognize that in many cases in life we ​​cannot do without them. For example, on stage.

Removing white and blush from the skin must be done very carefully. Plain powders can be removed by swiping or lightly rinsing with warm water. Many shaken powders can also be washed off with warm water. But all greasy whitewash and blush must first be diluted on the face and removed from the skin with vegetable oils (Provençal, etc.) or fresh cold cream, or, finally, good white Vaseline. And only after that you can wash with soap and water.

Whitening and blushing must be done with a sense of proportion (not counting makeup on stage). Off stage, you need to whiten and blush so that an outsider cannot say with certainty whether you are whitened, rouged or not, otherwise it makes a negative impression.

Let us also note that in bright artificial light, oily blush is more suitable than dry blush.

1. Zinc oxide - 25 g, white clay - 2 g, powdered orris root - 25 g, gum arabic - 1 g. Ordinary dry white.

2. Cocoa butter - 50 g, Provençal butter 30 g, white wax - 50 g, ammonia - just a little, carmine - a little. Ordinary blush.

3. Talc - 9 g, zinc oxide - 1 g, sweet almond oil - 10 g, spermaceti - 10 g. Ordinary thick white.

4. Alcohol of wine - 250 ml, rose water - 125 ml, carmine - 2 g, oxalic acid - 0.5 ml, aluminum sulfate - 0.5 g, Mecca balsam - 1 ml, ammonia - 1 ml. Ordinary red paint.

5. White wax - 100 g, sweet almond oil - 200 g, carmine - 1 g, rose essence - just a little. Ordinary red paste paint.

6. Eosin - 1 g, cherry laurel water - 20 ml, rose water - 30 ml, glycerin - 50 ml. Ordinary liquid blush: apply a little and rub.

7. Glycerin - 50 ml, orange blossom water - 13 ml, rose water - 30 ml, gum arabic. - 1.6 g, eosin in solution - 3 ml, musk - 0.1 ml.

8. Solo bullish. - 50 g, white wax - 10 g, indigo blue paint - 0.1 g. Ordinary red paint (especially recommended).

9. Vaseline -50 g, ivory soot -50 g, white wax - 51 g, lavender oil - 1 g, geranium oil - 0.2 g. Ordinary blue paint.

10. Carmine - 2 g, ammonia - 3.5 ml, talc - 50 g, wine alcohol - 40 ml. Ordinary black paste paint.

11. Cocoa butter - 50 g, Provencal butter - 30 g, white butter - 50 g. Melt, mix and when it cools, pour in carmine in a solution with ammonia - 20 ml. Fragrant oils