Light, pigment and settling
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Light and fugitive colorants
Some dyes and pigments shift or fade with light exposure, and a product that sits in a shop window for a season has had a real exposure. The shelf offers 14 amber and 16 black containers against 16 clear.
Clear sells, opaque protects
Buyers of ink and paint want to see the color, which is a genuine commercial argument for clear. Where the colorant is light sensitive that argument has a cost, and the honest answer is to say which you chose and why.
Settling is normal and reads as a defect
Heavier pigment particles drop out, and a clear bottle shows the layer. Saying "shake well before use" in the instructions is better than hoping nobody notices, and it is accurate.
Headspace and shaking are related
A bottle filled to the neck cannot be shaken to remix. Leaving enough headspace for the product to move is a functional fill decision in this category rather than a cosmetic one.
Neck width decides whether it can be stirred
A narrow cylinder round cannot take a stirrer; a wider packer can. With 38-400 the largest group at 46 containers and 24-410 next at 43, both ends of that choice exist on this shelf.
Drying in the neck
Anything that films on exposure to air will skin in the threads and in the orifice. A liner that seals properly and a neck that wipes clean are both worth more here than they look.
Test a filled bottle through a full shelf life
Upright, on its side, in light and in the dark, opened occasionally. Settling, skinning, fading and permeation are all slow, and none of them shows on the day you fill it.