In addition to pigments and sunscreens, titanium dioxide is also used in the production of paper, food products, and pharmaceuticals. In the paper industry, titanium dioxide is added to paper coatings to improve brightness, smoothness, and printability. In the food industry, titanium dioxide is used as a whitening agent in products such as candies, chewing gum, and icing. In the pharmaceutical industry, titanium dioxide is used as a coloring agent in tablets and capsules.

Titanium Dioxide is largely produced by the reduction of titanium tetrachloride, obtained in turn from chlorination of natural rutile, synthetic rutile derived from ilmenite or even slags rich in TiO2 produced by metallurgical treatment of ilmenite. TiO2 is also manufactured by treatment of ilmenite with sulfuric acid. Raw materials and the respective production processes employed in the manufacturing of Titanium Dioxide are listed below.

How can I tell if a product has titanium dioxide in it? How can I avoid the ingredient?

In addition to hiding power, titanium dioxide also plays a vital role in enhancing the durability of paints. It acts as a barrier, protecting the walls from external elements such as UV radiation, moisture and pollutants. Titanium dioxide's high refractive index allows it to reflect harmful UV rays, preventing them from fading paint and retaining its vibrant colors for a long time. This UV resistance is especially important for facades that are exposed to sunlight throughout the day.

Used for coloring paint, ink, rubber, etc. Inorganic white pigments are widely used as white pigments in plastics such as polyolefin, vinyl resin, ABS resin, polystyrene, polycarbonate, nylon and polyformaldehyde, as well as paints and inks. It is less effective in polyurethane and amino resins, and less suitable in fluoroplastics. It is also used for coloring rubber products, papermaking, varnished cloth, oilcloth, leather, watercolor paints, paper, enamel, etc. Used as an adhesive in the production of electric beads.

With 30% of the world's lithopone factories located in China, the country has become a major player in the global lithopone market. Chinese manufacturers are able to produce lithopone at a competitive price, making it an attractive option for companies looking to reduce their production costs. In addition, China's large production capacity ensures a steady and reliable supply of lithopone to markets around the world.

One of lithopone's outstanding characteristics is its exceptional whiteness. The pigment has a brilliant white color that brings vibrancy and brightness to any application. Whether you are producing paints, coatings, plastics, rubber or printing inks, lithopone will ensure that your end product stands out with its unrivaled pure white shade.

According to the American Chemistry Council, titanium dioxide (TiO2) is an inorganic substance that's used as a white powder in a variety of industrial and consumer goods, including in sunscreen, cosmetics, toothpaste, paint, plastics, food and more.

The price of Titanium Dioxide in Taiwan rose considerably throughout December 2018, reaching 3,750 USD per metric ton.  The price in Taiwan is 10% higher than the average price in the previous month and 1% higher than the average price one year before. In contrast, Titanium Dioxide prices in India were flat during December 2018, and were decline when compared to the average price in the preceding yeara decline of 3% from the previous year’s price. 

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.