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The concern from animal studies is that high amounts of titanium dioxide have increased inflammation and colon tumor formation, said Dr. Johnson-Arbor. A 2021 review, meanwhile, suggested that using titanium dioxide as a food additive weakens the gut lining and worsens the progression of inflammatory bowel disease.

The biological activity, biocompatibility, and corrosion resistance of implants depend primarily on titanium dioxide (TiO₂) film on biomedical titanium alloy (Ti6Al4V). This research is aimed at getting an ideal temperature range for forming a dense titanium dioxide (TiO₂) film during titanium alloy cutting. This article is based on Gibbs free energy, entropy changes, and oxygen partial pressure equations to perform thermodynamic calculations on the oxidation reaction of titanium alloys, studies the oxidation reaction history of titanium alloys, and analyzes the formation conditions of titanium dioxide. The heat oxidation experiment was carried out. The chemical composition was analyzed with an energy dispersive spectrometer (EDS). The results revealed that titanium dioxide (TiO₂) is the main reaction product on the surface below 900°C. Excellent porous oxidation films can be obtained between 670°C and 750°C, which is helpful to improve the bioactivity and osseointegration of implants.

Is titanium dioxide safe?

Titanium dioxide is used in the production of paper and textiles to improve whiteness, brightness, opacity and durability. It’s often used in fabrics, yarns, paper and other fibers.

Of the two methods of extraction, the sulphate process is currently the most popular method of producing TiO₂ in the European Union, accounting for 70 percent of European sources. The remaining 30 percent is the result of the chloride process. On a global level, it is estimated about 40-45 percent of the world’s production is based on the chloride process.

Resumo–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.

This route affords a product that is 29.4 wt % ZnS and 70.6 wt % BaSO₄. Variations exist, for example, more ZnS-rich materials are produced when zinc chloride is added to the mixture of zinc sulfate and barium sulfide.

So if you’re worried about titanium dioxide, don’t be! With current research and industry recommendations, titanium dioxide is a safe food additive. And if you want to avoid it, that’s ok too! Just don’t expect certain foods to be so white, smooth, and bright.

Above 10%, 1 kg of TiO2 should be replaced by 1.3 kg of lithopone supplier 30%, reducing the amount of polymer accordingly. 

Blanc de lithopone, blanc de Comines, zincolith, blanc de Charlton, blanc de Becton, tithopone

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.