Program Overview

Makeup Engineering is a cosmetic chemistry curriculum designed for students in grades 9 through 12. Each kit is can operate as a standalone session. Students function simultaneously as chemists, formulators, and manufacturers throughout each session.

The kits build on each other conceptually but can be run independently. Unmakeup introduces polarity and surfactant chemistry. Gloss Theory introduces color science and manufacturing protocol. Pressed Eyeshadow Studio introduces iron oxide chemistry and dry press manufacturing.

Timing

Different classes move at different speeds through the planning and reflection portions. The hands-on phases tend to require the most time.

Generally, overview and branding can be 8 to 10 minutes. Safety and protocol review is 10 to 15 minutes. Hands-on work can take up to 50 minutes and longer depending on content, instructions, and details you include. Cleanup takes 15 to 20 minutes.

You can include research and reflection questions that can be assigned as pre-work or homework.

Facilitator Preparation

The day before the session, set up one student station as a test to confirm your layout works like you want it to.

Day of session, 30 minutes before students arrive: complete full station setup with paper towels and waste area designated. Student instructions are online at www.makeupengineering.com/lab PW: SPRING26.

General Safety

All ingredients used across all three kits are cosmetic-grade and skin-safe when used as directed. None of the kits use heat, open flame, solvents, or any ingredient that poses a significant hazard under normal conditions. Standard classroom lab precautions apply.

Before any session: ask students verbally if they have any known skin sensitivities, allergies to coconut or nut-adjacent oils (Unmakekup), or any known cosmetic ingredient allergies. Students who flag a sensitivity should not handle ingredients without facilitator review of the specific allergen concern.

Remind students at the start of every session: wear safety gear, wash hands before handling ingredients, and no shared applicators.

For Pressed Eyeshadow Studio specifically — iron oxides and mica pigments stain fabric, hard surfaces, and skin. Skin stains wash off. Clothing stains often do not. Remind students before they open any pigment base bag. Have a designated pigment waste area at every station before the session begins.

Allergen Reference: Quick Guide

Unmakeup: fractionated coconut oil and coco glucoside are both coconut-derived. Flag for students with known coconut or tree nut allergies. Jojoba is a wax ester and generally tolerated by nut-allergic individuals but confirm with the student. Sunflower oil — flag for students with known sunflower or seed allergies (rare).

Gloss Theory: Versagel (hydrogenated polyisobutene) has no known common allergens. Mica is an inert mineral. FD&C and D&C colorants — flag for students with known cosmetic dye sensitivities. Isopropyl alcohol used for sanitation only — not in the formula. Flag for students with severe alcohol sensitivity.

Pressed Eyeshadow Studio: iron oxides and mica are inert minerals with no known common allergens. Magnesium myristate and magnesium stearate are widely used in pharmaceutical and cosmetic applications with no known common allergens.

The Unmakeup Kit

Skincare Chemistry  ·  Bi-Phase Formulation  ·  Surfactant Science

What Students Make

A bi-phase oil cleanser formulated for their skin type. Students select one of three add-in oils.

Kit Components Per Student

One 2 oz clear bottle pre-filled with fractionated coconut oil (approximately 45 mL). One small pouch of coco glucoside. One mini bottle of jojoba oil. One mini bottle of sunflower oil. One mini bottle of Argan oil. Two cotton pads. One pouch of distilled water.

Facilitator Preparation FOR UNMAKEUP

Place Kit at each student station.

The Science

Polarity and bi-phase chemistry

This formula is called bi-phase because it contains two phases that do not fully mix at rest — the oil phase (fractionated coconut oil plus the add-in) and the surfactant phase (coco glucoside). They stay separate because coco glucoside is amphiphilic — it has both a water-loving and an oil-loving end — but without water present the water-loving end has nothing to connect to. When the student adds distilled water via the wet sheet, the surfactant activates — the hydrophilic end locks onto the water and the lipophilic end stays in the oil — and emulsification happens. This is the moment the formula works.

The oil phase removes makeup because oil and makeup share the same polarity — non-polar dissolves non-polar. Oil-based makeup (lip gloss, eyeshadow) is non-polar. The fractionated coconut oil, also non-polar, dissolves it on contact. The surfactant then allows that oil-makeup mixture to be lifted away from the skin using water.

Why distilled water and not tap water

Tap water contains dissolved minerals — calcium, magnesium, chlorine. These mineral ions bind to surfactant molecules and reduce their ability to emulsify. Distilled water is pure H2O with no competing ions. This is the standard in professional cosmetic manufacturing. The pouch of distilled water is the chemically correct water for this formula. This distinction is worth raising as a discussion point with students.

Sufactant Activation

Surfactant activation — the distilled water activates the coco glucoside at the skin surface, organizing the oil phase into micelles ready for removal. Students may observe mild lathering or foam as they remove the cleanser with a moistened cotton pad. That is the surfactant completing its work.

The three add-in oils

Jojoba: technically a wax ester, not a true oil. Structurally similar to human sebum. Recommended for oily or combination skin because it signals the skin to regulate its own oil production.

Sunflower oil: high in linoleic acid. Acne-prone skin is specifically low in linoleic acid — this addresses that biochemical deficit directly. Recommended for acne-prone skin.

Argan oil: fast-absorbing. Recommended for dry or sensitive skin.

Common Questions UNMAKEUP

Why does the formula look like two separate layers in the bottle?

That is the bi-phase formula behaving correctly. The oil phase and the surfactant phase have different densities and polarity so they naturally separate when not agitated. Shaking the bottle mixes them temporarily. This is intentional. Shake before applying.

Why does my formula look cloudy after I added the coco glucoside?

Coco glucoside is slightly opaque and will make the formula appear milky or cloudy. This is normal and expected.

I saw foam when I lifted the cotton pad — is that normal?

Yes. That is the surfactant activating — the coco glucoside reducing surface tension at the oil-water interface as the two phases emulsify. More foam generally means more complete surfactant activation and more complete removal.

Why do we have to use distilled water? Can I just use water from the sink?

Tap water contains mineral ions that interfere with surfactant chemistry by binding to the surfactant molecules and reducing their effectiveness. Distilled water is pure H2O with no competing ions. It is the standard in professional cosmetic manufacturing. You can use water from the sink for rinsing.

My skin feels oily after the formula — did I do something wrong?

Not necessarily. If the rinse step was incomplete, some coco glucoside or oil phase may remain on the skin surface. Have the student rinse more thoroughly with water and pat dry. After the jojoba finish is applied correctly — pressing rather than rubbing — the skin should feel balanced, not oily.

Session Flow Notes UNMAKEUP

The add-in selection step takes longer than expected for most classes. Students want to think about their skin type and discuss the options with each other. This is a good science conversation.

Gloss Theory

Lip Color Science  ·  Mica & Light  ·  Fill and Finish Manufacturing

What Students Make

Two lip glosses — an experimental version and a deliberate final version. Students blend cosmetic-grade mica colorants into Versagel base, fill two lip gloss tubes using a syringe filler, evaluate both versions on skin, and document both formulas in INCI format. They have access to two base mica colors and one sparkle topper, and may swap colors with classmates.

Kit Components Per Student

One pre-measured container of Versagel (hydrogenated polyisobutene, approximately 18g total for two fills). Two empty lip gloss tubes. Two mixing cups. Two spatula. Two syringe fillers. Two isopropyl alcohol pads. Mica Color A. Mica Color B. Sparkle Topper mica.

Facilitator Preparation Gloss Theory

Place Kit at each student station.

The Science

Versagel and refractive index

Versagel is the trade name for a gel made from hydrogenated polyisobutene combined with styrene copolymers. It is a clear base for lip gloss formulations. Its key property is a high refractive index — the measure of how much a material bends light as it passes through it. A high refractive index means more light is reflected off the surface, producing the wet-look, high-shine finish characteristic of a gloss. It is stable at room temperature and is approved for lip area use.

Mica and shimmer

Mica is a phyllosilicate mineral that forms in flat, parallel sheets at the molecular level. Those flat crystal plates act as microscopic mirrors, reflecting light at consistent angles across the surface. This is what produces shimmer — not a dye or colorant effect, but a physical light-reflection effect produced by the geometry of the mica crystal structure. Larger mica particle sizes produce more visible shimmer. Smaller particle sizes produce a satin or sheen effect. The synthetic form of mica, fluorphlogopite, is used in professional formulation for consistent particle size.

GMP sanitation

GMP stands for Good Manufacturing Practice. It is the regulatory standard that governs professional cosmetic manufacturing. The isopropyl alcohol sanitation step at the start of the Gloss Theory session is a direct parallel to GMP protocol. Isopropyl alcohol at 70 percent concentration denatures microbial proteins on contact.

Common Questions Gloss Theory

My gloss looks very sheer — did I not add enough mica?

Possibly. Sheer finish is a valid result and some students intentionally produce a sheer gloss. The base and use of mica produces a sheer to semi-sheer finish.

The Versagel is very thick and hard to mix. Is that normal?

Yes. Versagel is a high-viscosity gel and requires thorough mixing to fully incorporate mica. Students should mix for longer than they think is necessary to fully disperse the mica. If the Versagel is unusually firm, it may be slightly cold. Allow it to sit at room temperature for a few more minutes.

Can students combine Color A and Color B together?

Yes. Combining the two colors is one of the options in the color direction selector in the student packet.

How does the classmate swap work?

Students can trade one of their mica color containers with a classmate before filling their tube.

The syringe filler is getting air bubbles in the gloss. What should I do?

Air bubbles in the tube are a common fill-and-finish issue. Students should fill slowly and avoid lifting the syringe while filling.

Session Flow Notes Gloss Theory

The GMP sanitation step at the beginning sets the tone for the session. This is the moment that distinguishes the session as professional manufacturing framing.

The color direction selection step generates the most student discussion and the most energy. Allow it to breathe. The color swap between classmates is optional but when it happens it creates natural color conversations.

Pressed EYESHADOW Studio

Iron Oxide Color Science  ·  Dry Press Chemistry  ·  Studio Manufacturing

What Students Make

A three-pan pressed eyeshadow palette. Students plan three shades, blend pigment bases with mica colorants, press each pan using a dry pressing technique, and assemble the pans into a magnetic palette case.

Kit Components Per Student

Pigment base bags. Three mica color options. Three empty eyeshadow pans. One magnetic palette case. One pressing tool. Three pressing paper squares. Three craft sticks.

Pigment bases are shared across the class.

Facilitator Preparation PRessed EYESHADOW STUDIO

Place Kit at each student station.

The Science

Iron oxides

The three cosmetic iron oxides are red (CI 77491), yellow (CI 77492), and black (CI 77499). These are inorganic mineral pigment synthesized for cosmetic use to ensure purity and consistency. They are stable, non-reactive, highly pigmented, and approved for eye area use. Combined in varying ratios they produce the entire spectrum of browns, taupes, tans, bronzes, and neutral shades used in cosmetic formulation. Red and yellow together produce warm orange-brown tones. Red and black produce deep burgundy-brown tones. Yellow and black produce olive and khaki tones. All three together produce neutral grey-browns. Shifting the dominant oxide shifts the entire palette in that direction. Manganese Violet is also used here for purple tones.

The binder system

Magnesium myristate is the primary binder. It has a finer particle size than magnesium stearate, coats pigment particles more completely, and produces a smoother pressed surface with better skin adhesion. It flows under pressure, filling the microscopic gaps between pigment particles and forming the binding film that holds the pressed cake together when pressure is released. Without this binder system, pigment particles compress temporarily under pressure and spring apart when pressure is released. No amount of force will produce a stable pressed pan without a metal soap binder. The presence of this system in the pre-blended bases is what makes the pressing step chemically viable.

What happens during pressing

Three things happen simultaneously when pressure is applied to a pigment blend containing a metal soap binder. Particle compaction: pressure forces pigment particles into close contact, eliminating air gaps between them. Binder flow: the metal soap flows slightly under pressure, filling the microscopic gaps between compacted particles and forming the binding film. Surface film formation: the top layer develops a smooth, dense film that gives the shadow its characteristic texture — smooth to the touch, picks up cleanly on a brush, and resists crumbling. The pounds per square inch applied determines the density and hardness of the finished pan. Too little pressure produces a soft, crumbly pan. Too much produces a hard, chalky pan with poor color payoff.

What mica adds to a pressed formula

Mica changes two things in a pressed base: the color (mica has its own hue, often metallic or iridescent) and the finish (mica platelets reflect light directionally, adding shimmer or sheen to a base that would otherwise be matte). Mica alone does not press — its flat crystal plates have no mechanism to adhere to each other under pressure without a metal soap coating them. This is why mica requires the metal soap binders already in the base. More mica means more shimmer and a lighter, more reflective shade. Less mica means a deeper, more matte result.

Subtractive vs. additive color mixing

Additive color mixing applies to light — red, green, and blue light combine to produce white. Subtractive color mixing applies to pigments — pigments absorb certain wavelengths of light and reflect others. When you combine pigments, the result absorbs more wavelengths than any single pigment alone, producing a darker result. This is why mixing red and yellow iron oxides produces a darker orange-brown rather than a brighter one. Students working with iron oxide pigments are always working in subtractive color mixing.

Common Questions Pressed EYESHADOW Studio

My pan cracked after pressing. What do I do?

Two most common causes: the pan was underfilled, or pressure was applied unevenly. To fix: add a small amount of additional pigment blend to the cracked or low areas. Place pressing paper over the surface and press again. A second pressing almost always resolves surface cracks when caused by underfilling or uneven pressure.

My pan surface is hard and the color barely shows up on my finger. What happened?

Over-pressing. Too much pressure was applied, compressing the pan too densely. This produces a hard surface that does not pick up well on a brush or fingertip. The student can start over and try again.

The pressed surface looks streaky — I can see unmixed pigment. What do I do?

The pigment blend was not fully homogenized before pressing. Mix again and retry pressing.

Can students swap pigment base bags with each other?

If a student wants to swap a base color with a classmate they can do so before pressing begins for that pan.

How do I know if I used the right amount of mica?

There is no single correct ratio — it is a formulation decision.

Session Flow Notes Pressed EYESHADOW STUDIO

The palette planning step is the most commonly rushed step in this session. Students want to get to the pressing and skip the planning. Hold the line on this.

Assembly into the magnetic palette is satisfying and students respond well to it. Allow a moment for students to look at the assembled palette as a finished product before moving to the final questions. The visual of three pressed pans in a professional palette case lands differently than evaluating individual pans on a table.

Iron oxide cleanup: have students use dry paper towels first to remove bulk pigment from surfaces before introducing any water. Water spreads iron oxide stains. Dry wipe first, then damp wipe. Isopropyl alcohol removes dried iron oxide stains from hard surfaces effectively.

Career Pathway Talking Points

These are optional discussion prompts built into the student documents.

The Studio Manufacturing Model

Successful beauty brands can start from studio sized facilities. A student who understands pressing chemistry, surfactant science, and color formulation has an introduction into professional manufacturing.

Supply Chain Ethics — Synthetic vs. Natural Mica

Natural mica mining has documented labor issues. Synthetic mica (fluorphlogopite) performs equivalently or better than natural mica, with more consistent particle size and no supply chain ethics concerns.

Career Pathways Connected to This Curriculum

Cosmetic chemist or formulation scientist. Pharmaceutical formulation (many of the chemistry principles are directly transferable — preservatives, emulsification, binder systems). Quality control and GMP manufacturing. Supply chain management and ethical sourcing. Regulatory affairs and cosmetic compliance. Product development and R&D. Entrepreneurship — indie beauty brand founder. Color science and color formulation. Materials science. Dermatology and skin science.

INCI Nomenclature Reference

INCI stands for International Nomenclature of Cosmetic Ingredients. It is the standardized naming system used on cosmetic ingredient labels worldwide.

UNMAKEUP INCI Names

Fractionated coconut oil: Caprylic/Capric Triglyceride

Coco glucoside: Coco Glucoside

Jojoba oil: Simmondsia Chinensis (Jojoba) Seed Oil

Sunflower oil: Helianthus Annuus (Sunflower) Seed Oil

Distilled water: Aqua

Gloss Theory INCI Names

Versagel base: Hydrogenated Polyisobutene (and) Styrene/Ethylene/Propylene/Styrene Copolymer

Mica (synthetic): Fluorphlogopite

Mica (natural, if used): Mica

Iron oxides in mica: May Contain / Peut Contenir (+/-): CI 77491 (Red Iron Oxide), CI 77492 (Yellow Iron Oxide), CI 77499 (Black Iron Oxide), Manganese Violet

Isopropyl alcohol (sanitation only, not in formula): Alcohol Denat.

Pressed EYESHADOW Studio INCI Names

Red iron oxide: CI 77491

Yellow iron oxide: CI 77492

Black iron oxide: CI 77499

Manganese violet: CI 77742 (Manganese Ammonium Pyrophosphate)

Mica (synthetic): Fluorphlogopite

Mica (natural, if used): Mica

Magnesium myristate: Magnesium Myristate

Magnesium stearate: Magnesium Stearate

May Contain Notation

When a formula contains colorants that vary between shades or versions as in Gloss Theory and Pressed, the label uses the May Contain notation followed by the colorant list.