Overall, the use of TiO2 in factory settings plays a crucial role in enhancing the quality, performance, and appearance of a wide range of products. Its unique properties make it an invaluable ingredient in various industrial processes, allowing manufacturers to create high-quality, durable, and visually appealing finishes. As technology continues to advance, the demand for TiO2 is expected to grow, further solidifying its importance in the manufacturing industry.
Lithopone was developed in the 1870s as a substitute for lead carbonate (lead white), to overcome its drawbacks of toxicity and poor weathering resistance. Within a few years, titanium dioxide displaced lithopone to become the white pigment (PW6) par excellence in the industry and the world’s best-selling inorganic pigment. However, titanium is a product whose price is subject to large price variations due to product availability. These price increases affect the competitiveness of finished products, and so the search for an alternative to titanium dioxide has generated a variety of possibilities to optimise its use.
In their role as risk managers, the European Commission and Member States will now reflect on EFSA’s scientific advice and decide upon any appropriate regulatory measures or advice for consumers.
Lithopone or sulphide of zinc white has been in general use for twenty years or more in many industries where a white pigment of considerable body or hiding power is required that is not subject to change like lead carbonate and has not the brittle character of zinc oxide, besides being sold at a lower figure than either of these. Nevertheless it is still comparatively new to the general painting trade. Because of our tariff protection its manufacture in this country has made great progress. Yet in spite of this and the duty imposed on it, the imports are still in excess of the quantity manufactured here. A short history of its origin will no doubt prove of interest to our readers.
Résumé–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.