R-996:
While the FDA maintains that the regulated use of titanium dioxide is safe, the European Food Safety Authority and some other experts warn of potential, serious health risks.
4.3 g/Cm3
In short, no, research demonstrates that E171 is safe when consumed in normal situations.
Moreover, how we're exposed to an ingredient matters significantly in terms of our health and potential toxicity.
Research shows that inhaling titanium dioxide particles in significant quantities over time can cause adverse health outcomes. Unless you work in an industrial setting, inhaling substantial amounts of titanium dioxide is highly unlikely.
Research supports that applying titanium dioxide to the skin in the form of sunscreens, makeup, and other topical products does not pose a health risk.
Overwhelmingly, research that's relevant to human exposure shows us that E171 is safe when ingested normally through foods and drugs (1,2).
Again, other research suggests that E171 could cause harm; however, those research processes did not design their studies to model how people are exposed to E171. Research that adds E171 to drinking water, utilizes direct injections, or gives research animals E171 through a feeding apparatus is not replicating typical human exposure, which occurs through food and medicine consumption.
Read more in-depth about the titanium dioxide risk at go.msu.edu/8Dp5.
Lithopone is rather nontoxic, due to the insolubility of its components. It has been used in medicine as a radiocontrast agent. Lithopone is allowed to be in contact with foodstuffs in the US and Europe.
Cet article traite de la découverte de lithopone phosphorescent sur des dessins à l'aquarelle, datés entre 1890 et 1905, de l'artiste Américain John La Farge et de l'histoire du lithopone dans l'industrie des pigments à la fin du 19e et au début du 20e siècle. Malgré de nombreuses qualités souhaitables pour une utilisation en tant que blanc dans les aquarelles et les peintures à l'huile, le développement du lithopone comme pigment pour artistes a été compliqué de par sa tendance à noircir lorsqu'il est exposé au soleil. Sa disponibilité et son usage par les artistes demeurent incertains parce que les catalogues des marchands de couleurs n'étaient généralement pas explicites à indiquer si les pigments blancs contenaient du lithopone. De plus, lors d'un examen visuel, le lithopone peut être confondu avec le blanc de plomb et sa phosphorescence de courte durée peut facilement être ignorée par l'observateur non averti. À ce jour, le lithopone phosphorescent a seulement été documenté sur une autre œuvre: une aquarelle de Van Gogh. En plus de l'histoire de la fabrication du lithopone, cet article décrit le mécanisme de sa phosphorescence et son identification à l'aide de la spectroscopie Raman et de la spectrofluorimétrie. En este artículo se discute el descubrimiento del litopón fosforescente en dibujos a la acuarela por el artista americano John La Farge, fechados de 1890 a 1905, y la historia del litopón en la industria de los pigmentos a finales del Siglo XIX y principios del Siglo XX. A pesar de tener muchas cualidades deseables para su uso en pintura para acuarela o pinturas al óleo blancas, el desarrollo del litopón como pigmento para artistas fue obstaculizado por su tendencia a oscurecerse con la luz solar. Su disponibilidad para los artistas y su adopción por ellos sigue siendo poco clara, ya que por lo general los catálogos comerciales de los coloristas no eran explícitos al describir si los pigmentos blancos contenían litopón. Además, el litopón se puede confundir con blanco de plomo durante el examen visual, y su fosforescencia de corta duración puede ser fácilmente pasada por alto por el observador desinformado. A la fecha, el litopón fosforescente ha sido documentado solamente en otra obra mas: una acuarela por Van Gogh. Además de la historia de la fabricación del litopón, el artículo detalla el mecanismo para su fosforescencia, y su identificación con la ayuda de espectroscopía de Raman, y de espectrofluorimetría. Este artigo discute a descoberta de litopônio fosforescente em desenhos de aquarela do artista americano John La Farge datados de entre 1890 e 1905 e a história do litopônio na indústria de pigmento no final do século XIX e início do século XX. Apesar de ter muitas qualidades desejáveis para o uso em aquarela branca ou tintas a óleo, o desenvolvimento do litopônio como um pigmento de artistas foi prejudicado por sua tendência a se escurecer na luz solar. Sua disponibilidade para e uso por parte de artistas ainda não está clara, uma vez que os catálogos comerciais dos vendedores de tintas geralmente não eram explícitos na descrição de pigmentos brancos como algo que contém litopônio. Além disso, o litopônio pode ser confundido com o branco de chumbo durante o exame visual e sua fosforescência de curta duração pode ser facilmente perdida pelo observador desinformado. O litopônio fosforescente foi documentado em apenas um outro trabalho até hoje: uma aquarela de Van Gogh. Além da história da manufatura do litopônio, o artigo detalha o mecanismo para a sua fosforescência e sua identificação auxiliada pela espectroscopia de Raman e espectrofluorimetria.
Lithopone is a mixed zinc sulfide-barium sulfate brilliant white pigment that contains about 30% zinc sulfide. The original light sensitiveness of this pigment has been mitigated by purification and by the addition of such agents as polythionates and cobalt sulfate.
Titanium dioxide (E171) is an additive that is used in food as a colour. The function of food colours is to make food more visually appealing, to give colour to food that would otherwise be colourless, or to restore the original appearance of food. Titanium dioxide is used to provide whiteness and opacity to foods.
In the meantime, the chemical factories of Continental Europe, principally in Germany, Austria and Belgium, had taken hold of the novelty and under the collective name of lithopone or lithophone, by numerous processes, produced various grades of the pigment, branding the respective qualities as red seal, green seal, yellow seal, blue seal, etc., or selling them under some fancy name. Of this we shall speak later on. The crusade against the use of white lead in the various countries of Continental Europe, assisted the manufacturers, to a very great extent, in marketing their products, not only to industrial concerns, as has been the case in this country, until recently, but to the general painting trade. Up to 1889 the imports into this country were comparatively small. At that time one of the largest concerns manufacturing oilcloth and linoleum in the State of New Jersey began to import and use Charlton white. Shortly after that other oilcloth manufacturers followed suit, replacing zinc white with lithopone in the making of white tablecloth, etc., and later on abandoning the use of white lead in floor cloth and linoleum. This gave an impetus to several chemical concerns, that erected plants and began to manufacture the pigment. Competition among the manufacturers and the activity of the importers induced other industries to experiment with lithopone, and the shade cloth makers, who formerly used white lead chiefly, are now among the largest consumers. Makers of India rubber goods, implement makers and paint manufacturers are also consumers of great quantities, and the demand is very much on the increase, as the nature of the pigment is becoming better understood and its defects brought under control. Large quantities find their way into floor paints, machinery paints, implement paints and enamel paints, while the flat wall paints that have of late come into such extensive use owe their existence to the use of lithopone in their makeup.
Lithopone, a white pigment composed of a mixture of zinc sulfide and barium sulfate, has become an indispensable ingredient in the paint industry. Its unique properties, including excellent opacity, high brightness, and resistance to weathering, make it highly valued among paint manufacturers. As the demand for sustainable and efficient paint products grows, the role of lithopone and its suppliers has become more critical than ever.
Although barium sulfate is almost completely inert, zinc sulfide degrades upon exposure to UV light, leading to darkening of the pigment. The severity of this UV reaction is dependent on a combination of two factors; how much zinc sulfide makes up the pigments formulation, and its total accumulated UV exposure. Depending on these factors the pigment itself can vary in shade over time, ranging from pure white all the way to grey or even black. To suppress this effect, a dopant may be used, such as a small amount of cobalt salts, which would be added to the formulation. This process creates cobalt-doped zinc sulfide. The cobalt salts help to stabilize zinc sulfide so it will not have as severe a reaction to UV exposure.
In addition to its aesthetic benefits, lithopone also offers practical advantages for leather suppliers. Due to its low cost and wide availability, lithopone is a cost-effective option for leather manufacturers looking to minimize production expenses without compromising on quality. Its stable chemical properties also make it easy to work with during the manufacturing process, resulting in a smooth and efficient production line.
titanium oxide rutile. When exposed to ultraviolet light, it can catalyze reactions that break down organic pollutants into carbon dioxide and water, thereby helping to purify air and water. This feature is utilized in self-cleaning surfaces, air purification systems, and even in the development of certain antimicrobial products.Genotoxicity refers to the ability of a chemical substance to damage DNA , the genetic material of cells. As genotoxicity may lead to carcinogenic effects, it is essential to assess the potential genotoxic effect of a substance to conclude on its safety.
zinc barium sulphate manufacturers. Rigorous testing protocols are in place to assess factors such as brightness, tinting strength, and oil absorption. These tests help maintain consistency from batch to batch, ensuring customers receive a reliable product every time.