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 (TiO2) is considered as an inert and safe material and has been used in many applications for decades. However, with the development of nanotechnologies TiO2 nanoparticles, with numerous novel and useful properties, are increasingly manufactured and used. Therefore increased human and environmental exposure can be expected, which has put TiO2 nanoparticles under toxicological scrutiny. Mechanistic toxicological studies show that TiO2 nanoparticles predominantly cause adverse effects via induction of oxidative stress resulting in cell damage, genotoxicity, inflammation, immune response etc. The extent and type of damage strongly depends on physical and chemical characteristics of TiO2 nanoparticles, which govern their bioavailability and reactivity. Based on the experimental evidence from animal inhalation studies TiO2 nanoparticles are classified as “possible carcinogenic to humans” by the International Agency for Research on Cancer and as occupational carcinogen by the National Institute for Occupational Safety and Health. The studies on dermal exposure to TiO2 nanoparticles, which is in humans substantial through the use of sunscreens, generally indicate negligible transdermal penetration; however data are needed on long-term exposure and potential adverse effects of photo-oxidation products. Although TiO2 is permitted as an additive (E171) in food and pharmaceutical products we do not have reliable data on its absorption, distribution, excretion and toxicity on oral exposure. TiO2 may also enter environment, and while it exerts low acute toxicity to aquatic organisms, upon long-term exposure it induces a range of sub-lethal effects.
1. 296 to 1.357 g/cm3 is obtained. The reaction solution is subjected to pressure filtration through a plate frame to obtain a cake-like lithopone powder having a water content of not more than 45%. The mixture is calcined in a dry roaster to change the crystal form of the lithopone, and then acid-washed with sulfuric acid at a temperature of 80 °C. Finally, it is washed with water, reinforced with coloring agent, pressure filtration, drying and milling.
Resumen–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.