(EER's homepage, Astronomer's Education Notebook)
Elizabeth Roettger's Homepage
(EER's homepage, Astronomer's
Education Notebook)
Elizabeth Roettger's Homepage
The information on this page comes from four sources:
Basic information came from books (1) by Loretta Roome and (2) by Carine Fabius.
Most of the detailed information was gleaned from (3) the Henna Page Discussion Forum (HPDF). This is an incredible resource. The people contributing share their advice, thoughts, and experiments (some of which are pretty rigorous). I would have liked to cite the original sources, but so much of the experiences get shared, adapted, and expanded by others that it's hard to give credit to individuals. (The key contributors become obvious after about ten minutes of reading that forum.) Specific citations or quotes are listed by contributor's name and date/time stamp (GMT, I believe), or by message number (http://www.bioch.ox.ac.uk/~jr/henna/discuss/messages/00000.html).
(4) Personal experience. I won't ever be a professional artist, but I've tried many of the variations I list.
How I'm personally defining the different uses.
Optional.
These are the things one can do to the skin before a mehndi
application. A day or three ahead of time, it can be useful to
scrub and repeatedly moisturize the skin. On the day of the
application (or at least a few hours before), clean off all oils
and lotions so that the henna can stain the skin.
Optional, except for cleaning.
Immediately before a mehndi application, clean the skin. There
are also some ingredients that can be rubbed into the skin up to
an hour ahead of time. These may increase circulation, and thus
increase warmth. There may also be some chemical functions.
This is the henna itself. There's no substitute for good-quality henna, and no other ingredient is going to turn poor henna into good henna. The henna is wet to make a paste; this is usually done with an acidic ingredient such as lemon juice. Almost all other ingredients are for texture, scent, or other variations relevant to the particular application (skin type, location, and design) and personal preferences.
Optional.
I consider these more tools than ingredients because they're used
more for their mechanical properties than their chemical
properties. If I ever do a page on tools & techniques, I'll
include these with the more mechanical tools. For now:
Lots of different items can be used to draw guidelines. These include makeup and other pencils, various inks and paints (with some cautions), and mechanical means such as twist-ties and elastic bands. Some of these also serve as masks (intentionally or not).
Some items are used to protect parts of the skin from the henna stain. Waxes, oils, petroleum jelly, peel-masks, wheat paste, and liquid bandages have all been tried. The success depends on the particular use. Tape and other mechanical means are also used.
Quick data on wax: Beeswax melts at 120 degrees, paraffin at 145, and some other waxes at higher temperatures, such as 175 degrees. Not sure about cosmetic-grade paraffin (that has a melting point designed for use on skin). Use caution so you don't burn skin! Brush or apply thickly. Apply henna paste (paste does not have to have a fine texture, as you're not squeezing it through a small opening). Wax can be brittle and crack or peel off, especially in large continuous designs - can be kept flexible if kept warm.
Quick data on other masking liquids: Henna stains through New Skin, peel-masks, and Glove in a Bottle, but ends up lighter than on bare skin.
Other: tape seems to be effective (depending on permeability), but can be uncomfortable and can leave an adhesive residue, or pull skin and hair when removing.
Some ingredients, along with mechanical means such as flexible papers, can be used to make transfers. In general, these are not as satisfactory as direct application of the paste, but can be useful for uniformity or awkward places.
Optional, but usual.
Something is usually applied over the henna to help keep it in
place and intensify the color.
Optional.
Assorted ingredients can be applied just after the henna paste is
removed. These are intended to darken the design, speed the
darkening of the design, or improve skin texture.
Optional.
These are intended to protect the skin and make the design last
longer. They're mostly oils to slow exfoliation.
Optional.
After a while, a design can fade unevenly, or other things can
happen to make it desirable to remove the mehndi design. Time is
the best fader, but some things can be done to speed exfoliation
and thus lighten the design (or mistakes).
The henna is what stains the skin. See Catherine Cartwright Jones on August 02, 1999 at 21:27:18 or Catherine Cartwright Jones on October 21, 1999 at 15:35:52 for details - dead, dry-ish skin stains better, and skin that exfoliates slowly keeps the design longer. (Also see SeeSee on August 10, 1999 at 18:48:46.) The hennotannins bind with proteins.
Acids and perhaps other ingredients (or at least the effect of the ingredients, such as increased heat) can speed or slow the colorant release from the henna. The colorant (hennotannins that bind with proteins in the skin and then darken) are only released from the henna in the presence of an acid, such as lemon juice. The colorant needs to be released from the henna at a time when it can then go into the skin.
After the dye is in the skin, it slowly oxidizes. This darkens the color. If the dye oxidizes before it is in the skin, it won't stain well. (see Catherine Cartwright JOnes on July 31, 1999 at 00:41:52)
The only way to get rid of the stain is to get rid of the skin cells containing the stain. Exfoliation removes the upper (dead) layer(s) of skin cells. Different skin types (in different areas as well as on different people) exfoliate naturally at different rates. Palms and soles exfoliate slowly, and so they maintain a mehndi design longest.
Adding fluid can pump up skin cells. This can sometimes slow exfoliation. It can also make the outermost (dead) skin layer somewhat more transparent, and thus make a mehndi design look better.
Various textures are desired for the different treatments, and especially for the henna paste. The texture should be varied to suit the particular use. For example, flexibility is useful for skin areas that are bent, stretched, or twisted frequently. Stringiness may be more important for fine designs on an area that will not be flexed while the paste is on. Knowledge and skill in adapting the textures to suit the particular application are important for a professional mehndi artist.
Affects how you apply the treatment. A smooth paste is crucial for squeeze-type applicators with fine tips, and a smooth sealer is needed for fine designs. Smoothness is relatively unimportant for dip-style henna or nails. Only moderate smoothness is needed for stick-designs. (Alternatively: if your paste isn't as smooth as needed for a squeeze-design, you can usually still use it with a stick.)
Moisture helps get the colorant into the skin, but it also leaves the paste susceptible to adjustment and smearing. The speed of your work and the drying time end up closely related. This is one of the variables that must be adapted to a particular application. Moisture content and drying time are also important variables in a sealer.
Paste and sealer must stay in contact with the skin to work. Stickiness helps adhere the treatment. It also can keep the treatment from cracking. (See also moisture.)
Skin that bends, stretches, or twists needs a flexible treatment or immobility for the duration.
Fine lines can be made by stretching a string of henna paste. Stringy or gummy paste, sometimes achieved with okra, can help keep the threads intact as the paste is stretched into fine lines. Moderate stringiness can also deter cracking in regular lines.
Provides the hennotannins that act as a dye (see Catherine Cartwright Jones on August 09, 1999 at 12:37:42). The dye degrades with time, so freshness is important. For most uses, the henna needs to be finely ground into a powder and well-sifted (by the user, generally) in order to make a smooth paste. Both hue and saturation vary widely with the particular batch of henna powder. HPDF contributors have several recommended on-line sources [Henna powder, pre-mix paste, or mud from: Castle Arts, LifeArt Mud, Frontier Herbs], as well as "your local Indian or Middle Eastern grocery store". Beware old henna in the local store, however. Henna kits seem to be overpriced and the henna can be old, but some have reported good results. One HPDF contributor suggests a rough guideline of 1 oz. henna powder to 2 oz. liquid (sondarya on October 14, 1999 at 03:38:10).
Provides moisture and acid. The acid releases the dye. This is apparently the most common liquid in North American pastes. (In Middle Eastern regions, the water may be acidic enough to promote dye release.) For most uses, juice should be strained to remove pulp. HPDF report no detectable difference between fresh and reconstituted lemon juice. Lemonade mixes (frozen or powdered) have also been used, with varying degrees of success (check other ingredients, especially sugar vs. corn syrup in the frozen mixes - sugar dries, corn syrup may not). Some of these have enhanced citric acid.
(Posted by Catherine Cartwright Jones on August 01, 1999 at 02:42:01:) "rainwater dye release is ok. At suburban American room temperature henna will release a little dye with just water (7 brown dots in a 50X microscope field in 4 hours) but an acidic paste mix is far more efficient (30+ brown dots and a general color change in 4 hours)" Also see microscope (Catherine Cartwright Jones on August 05, 1999 at 00:42:59 and Catherine Cartwright Jones on September 07, 1999 at 02:08:29)
Moisture and acid; a less-fragrant substitute for lemon juice. (Does not appear to be very popular for mehndi, though often used for hair.)
Acid for dye release, texture. (See E. on September 04, 1999 at 09:25:47 + discussion following.) One report (Lotus Flower on September 06, 1999 at 06:03:43) of too much citric acid preventing stain and affecting paste texture.
Darkens the henna stain; adds fragrance. Clove powder can be added to paste or sealer, if a fine texture is not required. Cloves (whole or powdered) can be boiled in liquid that is then used for paste or sealer. Clove oil can be added to a pre-treatment, paste, or sealer. It is found in New Skin (liquid bandage), some topical anesthetics (especially those used for toothache), some teas, and occasionally other commercial products. Note that clove oil (from oil or from the cloves) can produce an allergic reaction in some people, and undiluted clove oil can produce a rash.
"Cloves contain gallotannic acid, which is a companionable cousinto hennotannic acid. The addition of clove in one form or other makes the henna a tad blacker." (Catherine Cartwright Jones on August 01, 1999 at 16:02:35)
Clove oil can be ordered online from http://www.frontiercoop.com; see 11595.html. Also available in health food stores.
Adds moisture. Hot water also adds heat to aid dye release. Tap water may contain all sorts of chemicals that can affect the henna, so filtered or distilled water is sometimes recommended. For a paste, the water is usually boiled with other ingredients, then strained, then mixed with the powder and further ingredients.
Promotes exfoliation. Having your hands (or skin) in water, particularly water containing chlorine or cleaners, tends to make the skin exfoliate faster and fade the design.
Adds tannins and increases acidity somewhat. Adds moisture, fragrance, and perhaps texture. Tea is also a traditional paste ingredient, probably because it's a handy hot liquid to mix into the henna powder. (The heat helps dye release.)
Adds moisture, fragrance, and perhaps texture. May add some initial color, but does not darken the actual stain. Another traditionally hot liquid (see Tea). Some HPDF contributors report alertness or sleeplessness due to the caffeine absorbed through the skin. (The caffeine effect could possible increase circulation and thus heat, but that's theoretical.)
Probably promotes oxidation. (Lotus Flower on September 06, 1999 at 06:03:43 - don't use alone.)
Add acid (dye release), texture, fragrance, initial color. Dried limes produce a red color in the water when boiled.
Most commonly mixed with lemon juice and used as a sealer. The sugar dries to make a coating that protects the paste below. Sugar also adds some stickiness to a paste. It can be cooked to change the texture (see the candy section of a general cookbook) or heated gently to dissolve more sugar into a given amount of liquid (affects drying time).
If outdoors, the sugar can attract insects. Wrap, or substitute New Skin or a peel-mask if this becomes a problem.
Preservative; also smooths, adds stickiness, and slows drying time. Good for texture adjustment. Honey can slow the dye release from the henna, so you may need to let a honey-paste age (3-5 days?) to get a normal stain; see the HPDF (12184.html thread) for details. Mixing in the honey after the paste has developed will probably not affect the color or timing.
Adds stickiness and stringiness to the paste, slows the drying and reduces cracking of the dried paste. Okra is boiled in water or water-based mixture, then strained.
Fragrance; adds stickiness and stringiness to the paste. Fenugreek seeds or powder are boiled in water or water-based mixture, then strained.
Fragrance; opens pores, can stimulate circulation (heat). Can be used as a pre-treatment, in the paste, or in the sealer. Mixed reports as to effect on color. Some people have allergic reactions. As a pre-treatment, use sparingly and wait a few minutes before applying design; avoid having the oil sit on top of the skin (it can be a barrier).
Drying time, texture. (Smoothness?) As a pre-treatment, may help in paste removal, but it may also interfere with dye absorption. Also post-treatment to aid removal of paste & sealer, and to help make the skin water-resistant.
[Janet on July 06, 1999 at 16:29:22] reports that adding peanut oil to the paste results in a darker stain than the same amount of vegetable oil in the paste. (1 Tbsp. oil per cup of paste.) Can make the skin look more transparent (Catherine Cartwright Jones on May 18, 1999 at 19:33:13).
Not recommended for henna in general; petroleum jelly is reported to have adverse affects on a stain (possible fader). Check handcreams for ingredients if you're trying to make a design last extra-long. Petroleum jelly can be used for removing a liquid latex sealer, however, as petroleum products tend to destroy latex.
Two kinds: regular (typically cucumber, such as Freeman's Cucumber & Ginseng) and Alpha hydroxy.
Sealer. Transparent and flexible, so it can be good on clients. May be diluted (typically with other sealers and a bit of clove oil). Can wet and smear very fine lines. Can take a while to dry, especially in humid or cold air (hair dryer can help). Can re-absorb moisture and become sticky in humid air. Can be dusted with powder to prevent this (but loses transparency, see HPDF Natasha Papousek on September 26, 1999 at 23:42:36, also Lauri on September 28, 1999 at 20:39:57) It may reduce staining. Can help removal of paste.
Exfoliant (alpha-hydroxy). Also reported to dissolve New Skin. (Example: St. Ives Alpha Hydroxy exfoliating peel-off masque.)
Sealer. White glue is quite similar to a peel-mask. Can be thinned with lemon juice or water.
Texture, fragrance. No reported color effects. Fruit or paste - usually boiled with liquid for the paste.
Sealer and bandage. See, for example, (Posted by Catherine Cartwright Jones on August 02, 1999 at 22:39:00). Does not affect color except to the extent it keeps the skin warm and henna moist. Some people have allergic reactions to latex. Also has depilatory effects (pulls out hair). Can blur the henna if applied directly, without a primary sealer. Highly flexible and tenacious. Adheres to self and peels, so inappropriate for some uses (may be powdered). Henna may stain through latex. Can aid paste removal when peeled off. See also Petroleum Jelly.
Sealer; also darkener, as it contains clove. Highly flexible and sticks to skin; transparent, so designs can be seen through it (clients are less likely to peel the bandages prematurely - but if the New Skin starts peeling around the edge, some people will pick at it). Does not attract insects. Comes in liquid and spray. The spray is unbeatable for preserving fine lines, but needs GOOD ventilation. Liquid version cannot be sprayed, but painting it on can be psychologically useful to promote good post-care in clients (possibly due to good, developed nail-polish habits). There are other brands; clove content may vary. Can smear wet henna. Can stick an outer bandage to the sealer. May fail in a hot, humid environment (such as Houston or a dance club). Typically peels the dried paste off when removed (aids paste removal). Henna may stain through New Skin. (It does not make a good resist, and does not, by itself, protect nearby skin, other parts that may rest against the henna'd skin, or fabric that's in contact with the New Skin & henna for an extended time. New Skin can also stick down makeup on top of a henna design for a temporary cover-up (make sure there's some skin without makeup so the coating can adhere well).
To remove: you can peel it if you're patient or have applied a mask or latex over it. You can stick tape on top and pull, but don't let the tape stick to your henna stain (tape will also remove the topmost skin, and so will lighten your stain). Oil or cocoa butter helps remove New Skin - it may take several applications during the day, and some gentle massage - don't scrub or you'll take the henna design off with it. Some peel-masks seem to dissolve it. A second application of New Skin will dissolve it, but you must wipe it away before it dries again. In general, New Skin will flake off in a day or two even if you do nothing. (On really dead, thick skin, it may not come off at all.)
Oxidizes and exfoliates. On palms and soles, a brief (few minutes) post-treatment of dilute (10%) ammonia can darken the stain. On other skin, the exfoliation overwhelms the oxidation rate, and you lose skin rather than darkening the stain. Ammonia is the key ingredient in many animal urines, which have been used historically to darken the stain of henna. Ammonia is NOT good for your skin, so use with caution. Do NOT mix with chlorine (swimming pools) or bleach, as this creates poisonous chlorine gas. Ammonia is a base and will tend to counteract the effects of acids (ammonia inhibits release of colorant), so it's best avoided in paste and sealers. It's also quite pungent, so have good ventilation if you do use it. (The smell fades quickly as the ammonia evaporates.) On the other hand, if you're going to be scrubbing the floor anyway...
Currently (11/99) under discussion in the HPDF as a darkener (reasons not yet clear). Also known as smelling salts.
Can darken stain; may also shorten the life of a stain (though stain may stay dark until it disappears). Pungent. Dangerous if concentrated or applied to delicate areas, so use with great care. Several forms; best success seems to be with camphor spirits (10% camphor in alcohol) or various rubbing lotions. HPDF are experimenting - pre-treatment, paste, sealer, and post-treatment; pre and post seem the most encouraging. May increase circulation and raise skin temperature (although reports are that it feels cool and tingly). Camphor is absorbed quickly and deeply into skin, and can carry other ingredients with it. Because of this, it can be rather nasty to play with - use only in diluted form. Found in many varieties (white camphor essential oil, camphor crystals) and as ingredients in other things, such as muscle rubs (Vick's Vapor Rub, Campho-Phenique, Ben Gay, Icy Hot, White Flower brand oil - Chinese stores, Axe Brand Oil - Singapore). Campho-phenique may also exfoliate (the phenol) deeply (the camphor), counteracting the darkening effect. Camphor can make a paste get lumpy (put the camphor in last if at all); can also speed the process so the paste maxes out faster (it seems to oxidize the paste and make it separate). Honey may slow the lumping. See October & November 1999 threads (several) on the Henna Page Discussion Forum.
Can lighten stain. Use hydrogen peroxide with caution. Generally considered gentler than bleach. (Soak a cotton ball in peroxide and apply to stain several times per day to lighten a stain.)
Can lighten stain. Use a dilute solution, and use with caution; this is nasty to skin. Do NOT combine with ammonia; together they make poisonous chlorine gas. Bleach is an ingredient in many scouring powders, so wear gloves if scouring, to protect your hands & design. (Alternatively, if you're trying to get rid of a henna stain, it may be a good time to clean some grungy stuff and get two jobs done at once.)
Can promote exfoliation. Minimize if you want a design to last; protect with oil if you must submerge skin in water with detergents.
Things like gasoline, kerosene, and turpentine are used in many places to make a darker stain, but they are nasty to the skin and not recommended.
Hair dyes, inks, and the like have been used in conjunction with henna. Some are quite nasty and these are not recommended. (May contain "ppd" - this has had some truly appalling effects on skin, leaving scars.) Do not combine henna even with safe dyes unless you've done a sample first, as the chemical reactions can give you some weird colors...like green.
Also abbreviated (AH?). This exfoliates the skin. Comes in cleaning scrubs, peel-masks, and other forms. (Is it an ingredient in hair straightener?) Don't use too often at once; exfoliating the outer dead layer of skin is fine, but exfoliating too much is damaging. Can help remove opaque light-colored dead skin (especially around the feet) to make a later henna design more visible. Removes the skin that is stained, so it tends to lighten an existing henna design.
Shel on October 23, 1999 at 08:02:30 says "to quickly fade a design, sunscreen and benadril cream (for skin allergies) seemed to do the best at fading out the stain."
Skin protection. So-so as a masking fluid before a henna treatment - stain reported to be lighter, but present. As a post-treatment, softens skin but does not seem to slow exfoliation.
NOT recommended, as they are potentially toxic. Some metal salts or oxides are used in various dyes, and apparently do make a stain darker, but are not worth the risk unless you really know what you're doing. Mixing an acidic paste in a brass, copper, or aluminum container - or letting the paste sit in one - can add metals unintentionally to your paste. (Glass, plastic, glazed ceramic, and stainless steel are usually safe.)
Go (back) to Elizabeth Roettger's Homepage.
Page by Elizabeth E. Roettger, roettger@ix.netcom.com
URL: http://www.nthelp.com/eer/EERingredie.htm