The reaction liquid is filtered through plate and frame pressure to obtain lithopone in the form of a filter cake with a moisture content of no more than 45%. It is then roasted in a drying furnace to change the crystal form of lithopone, and is then pickled with sulfuric acid at a temperature of 80°C. Finally, it is washed with water, reinforced with colorants, filtered, dried and ground into powder.

The FDA first approved the use of titanium dioxide in food in 1966, following its 1960 removal (along with the removal of other color additives) from the agency's original Generally Recognized as Safe list. In 1977, titanium dioxide joined the list of color additives that are exempt from certification, which means titanium dioxide doesn't have to be listed on the packaging of every product it's used in, Faber noted.

Chloride process. This process requires a high titanium feedstock. Rutile is reacted with hydrochloric acid to produce titanium tetrachloride, which can be hydrolyzed with steam or oxidized with air to render the dioxide. A rutile form of titanium dioxide is obtained.

Hiding power

Lithopone B301, Lithopone B311 powder’s 2 main components:

Due to its low binder requirement, lithopone provides paints with good flow and application properties. In the plastic processing industry, it is added to plastics to increase the plastic product’s UV tolerance, thus increasing its outdoor life. In the leather industry, it is one of the sulfide-based white pigments. It is also used in the production of linoleum floorings. 

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A great number of other brands with fancy names have gone out of the German market, because of some defects in the processes of manufacture. The English exporters, as a rule, offer three or four grades of lithopone, the lowest priced consisting of about 12 per cent zinc sulphide, the best varying between 30 and 32 per cent zinc sulphide. A white pigment of this composition containing more than 32 per cent zinc sulphide does not work well in oil as a paint, although in the oilcloth and shade cloth industries an article containing as high as 45 per cent zinc sulphide has been used apparently with success. Carefully prepared lithopone, containing 30 to 32 per cent sulphide of zinc with not over 1.5 per cent zinc oxide, the balance being barium sulphate, is a white powder almost equal to the best grades of French process zinc oxide in whiteness and holds a medium position in specific gravity between white lead and zinc oxide. Its oil absorption is also fairly well in the middle between the two white pigments mentioned, lead carbonate requiring 9 per cent of oil, zinc oxide on an average 17 per cent and lithopone 13 per cent to form a stiff paste. There is one advantage in the manipulation of lithopone in oil over both white lead and zinc oxide, it is more readily mis-cible than either of these, for some purposes requiring no mill grinding at all, simply thorough mixing with the oil. However, when lithopone has not been furnaced up to the required time, it will require a much greater percentage of oil for grinding and more thinners for spreading than the normal pigment. Pigment of that character is not well adapted for use in the manufacture of paints, as it lacks in body and color resisting properties and does not work well under the brush. In those industries, where the paint can be applied with machinery, as in shade cloth making, etc., it appears to be preferred, because of these very defects. As this sort of lithopone, ground in linseed oil in paste form, is thinned for application to the cloth with benzine only, and on account of its greater tendency to thicken, requires more of this comparatively cheap thinning medium, it is preferred by most of the manufacturers of machine painted shade cloth. Another point considered by them is that it does not require as much coloring matter to tint the white paste to the required standard depth as would be the case if the lithopone were of the standard required for the making of paint or enamels. On the other hand, the lithopone preferred by the shade cloth trade would prove a failure in the manufacture of oil paints and much more so, when used as a pigment in the so-called enamel or varnish paints. Every paint manufacturer knows, or should know, that a pigment containing hygroscopic moisture does not work well with oil and driers in a paint and that with varnish especially it is very susceptible to livering on standing and to becoming puffed to such an extent as to make it unworkable under the brush. While the process of making lithopone is not very difficult or complicated, the success of obtaining a first class product depends to a great extent on the purity of the material used. Foreign substances in these are readily eliminated by careful manipulation, which, however, requires thorough knowledge and great care, as otherwise the result will be a failure, rendering a product of bad color and lack of covering power.