French researchers studied how and where E171 nanoparticles enter the bloodstream, first studying the route through pigs and then in vitro with human buccal cells, for a 2023 study published in the journal Nanotoxicology. The research showed that the nanoparticles absorbed quickly through the mouth and then into the bloodstream, before damaging DNA and hindering cell regeneration.
- The Evolution and Impact of TIO2 Industry Factories
Lithopone B301, Lithopone B311 powder is white powder, non-toxic, odorless, insoluble in water, no reaction with H2S and lye, release H2S gas when reacting with strong acids.
- In conclusion, the top 20 titanium dioxide manufacturers represent a cross-section of innovation, reliability, and commitment to quality. These companies are instrumental in driving the development of new products and applications while ensuring the consistent supply of this crucial material. As the demand for titanium dioxide continues to grow across various industries, these manufacturers will undoubtedly play a significant role in shaping the future of this versatile compound.
Anyway, it doesn't matter if it reflects or absorbs, Titanium Dioxide is a pretty awesome sunscreen agent for two main reasons: it gives a nice broad spectrum coverage and it's highly stable. Its protection is very good between 290 - 350 nm (UVB and UVA II range), and less good at 350-400 nm (UVA I) range. Regular sized Titanium Dioxide also has a great safety profile, it's non-irritating and is pretty much free from any health concerns (like estrogenic effect worries with some chemical filters).
According to CCM, many enterprises, which belong to the top exporting producers of TiO2 in China, will speed up their efforts to go public. Reasons are the strong rebound of the TiO2 market in China as well as the positive view on 2017.
- In conclusion, the Chinese OEM titanium white market is expected to continue growing in the coming years, driven by the country's rapid industrialization, urbanization, and infrastructure development, as well as the increasing demand for high-performance materials and eco-friendly products. Companies operating in the market should continue to focus on innovation, cost reduction, and expanding their product portfolio to capitalize on these growth opportunities.
When used in food specifically, titanium dioxide is known as an additive called E171 and can be found in products like candy, chocolate, coffee creamer, cake decorations, chewing gum and even vitamin supplements. E171 is often used as coloring additive in foods, to lend the processed item a natural whiteness and opacity — such as in Skittles candy, where it's used as a white base to help give the candies their signature bright, colorful hue.
② Plastics: At present, it is the second largest user of titanium dioxide pigments, accounting for about 20% of the total demand for titanium dioxide. The amount of titanium dioxide used in plastic products will vary with the use requirements, generally between 0.5% and 5%. According to data from the National Bureau of Statistics, the production of plastic products in China increased from 57.81 million tons in 2012 to 81.84 million tons in 2019, with a compound annual growth rate of 5.1%. The amount of titanium dioxide increases accordingly.
- Sachtleben's journey into the world of TiO2 production began with a clear vision to manufacture high-performance pigments that not only meet but exceed industry standards. Their commitment to excellence is evident in the rigorous processes employed at their state-of-the-art facilities. Using cutting-edge technology, they have refined the traditional chloride process for producing TiO2, ensuring unparalleled purity and consistent color strength in their products.

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.