Oil absorption g/100

This article discusses the discovery of phosphorescent lithopone on watercolor drawings by American artist John La Farge dated between 1890 and 1905 and the history of lithopone in the pigment industry in the late 19th and early 20th centuries. Despite having many desirable qualities for use in white watercolor or oil paints, the development of lithopone as an artists’ pigment was hampered by its tendency to darken in sunlight. Its availability to, and adoption by, artists remain unclear, as colormen's trade catalogs were generally not explicit in describing white pigments as containing lithopone. Further, lithopone may be mistaken for lead white during visual examination and its short-lived phosphorescence can be easily missed by the uninformed observer. Phosphorescent lithopone has been documented on only one other work-to-date: a watercolor by Van Gogh. In addition to the history of lithopone's manufacture, the article details the mechanism for its phosphorescence and its identification aided by Raman spectroscopy and spectrofluorimetry.

The safety of the food additive E 171 was re-evaluated by the EFSA ANS Panel in 2016 in the frame of Regulation (EU) No 257/2010, as part of the re-evaluation programme for food additives authorised in the EU before 20 January 2009.  

2: Clarification mechanism of coagulant

Chemical coagulation is a process in which chemical agents (coagulants) are added to water treatment to make colloidal dispersion system destabilize and agglomerate. In the coagulation process, small suspended particles and colloidal impurities are aggregated into larger solid particles to separate particulate impurities from water, which is called coagulation clarification.

After adding coagulant into water, colloidal particles and other small particles can be polymerized into larger flocs through the comprehensive action of mixing, coagulation and flocculation. The whole process of coagulation and flocculation is called coagulation.

(1) Destabilization and condensation of colloids

Adding electrolyte to water can compress the electric double layer and destabilize the colloid. The main mechanism is that the electric double layer of colloidal particles in water is compressed or neutralized by adding aluminum salt or iron salt coagulant. The coagulant and raw water are mixed rapidly and evenly, and a series of chemical reactions are produced to destabilize. This process takes a short time, generally about 1 min. Some cationic polymers can also play a role in the destabilization and condensation of colloids in water. These polymers have a long chain structure and positive charge in water. Their destabilization and condensation of colloids in water is due to the interaction of van der Waals force adsorption and electrostatic attraction.

(2) Flocculation and formation of floc (alum)

The particle size of the initial flocculate formed by colloid destabilization and coagulation in water is generally more than 1 m. at this time, Brownian motion can no longer push them to collide and form larger particles. In order to make the initial flocs collide with each other to form large flocs, it is necessary to input additional energy into the water to produce a velocity gradient. Sometimes it is necessary to add organic polymer flocculant into water, and the adsorption bridging effect of long chain molecules of flocculant is used to improve the probability of collision and adhesion. Flocculation efficiency usually increases with the increase of flocculate concentration and flocculation time.

Compared with polyaluminum chloride, polyaluminum chloride has the advantages of high density, fast settling speed and wide pH adaptability; the coagulation effect is less affected by temperature than that of polyaluminum sulfate; however, when adding ferric salt, it should be noted that when the equipment is not in normal operation, the iron ions will make the effluent color, and may pollute the subsequent desalination equipment.

While lithopone and anatase titanium white gained traction between the 1920s and 1950s, by the advent of the First World War, rutile titanium white had started to overshadow them. Their significance in the artist’s palette has since dwindled, and their use as an artist’s pigment is currently nearly obsolete.