The most common foods containing titanium dioxide are chewing gum, candies, pastries, chocolates, coffee creamers, and cake decorations (1Trusted Source, 3Trusted Source).

0.1% Max

Studies suggest that people are more likely to buy and eat foods that are brighter or more vibrant in color. And titanium dioxide is one way to make that happen. You can find it in food products like candy, coffee creamer, baking and cake decorations, and white sauces.

Wegman’s puts titanium dioxide in its Original Macaroni and Cheese. Campbell’s Healthy Request Chunky Chicken Corn Chowder has it, as does Food Club’s Chunky New England Clam Chowder. Marzetti uses the color agent to brighten its Cream Cheese Fruit Dip. Dairy products usually don’t need titanium dioxide to look white, but Kroger has decided to add titanium dioxide to its Fat Free Half-and-Half. And titanium dioxide isn’t only in especially white or brightly colored foods: Little Debbie adds it to Fudge Rounds and many other products. According to the Food Scores database maintained by Environmental Working Group, more than 1,800 brand-name food products have titanium dioxide on their ingredients list. That said, it can still lurk as an unspecified “artificial color,” or labels might simply say “color added.”

One of the most common worries about titanium dioxide is that it could be a cancer-causing agent. The link between cancer and titanium dioxide traces back to a 1985 study where rats were exposed to high levels of titanium dioxide for two years, causing lung cancer. However, not all experts are convinced by this study.

In order to contribute with experimental evidence that could help to achieve a better understanding of the field for future regulation, in the present work, the biocompatibility of commercial P25TiO₂NPs (one type of TiO₂NPs used in sunscreen formulations) and two novel functionalized P25TiO₂NPs were evaluated under solar simulated irradiation. White light, generated by red, blue, and yellow LEDs, together with UV ones, was chosen to simulate the solar spectra. Functionalization of TiO₂NPs was made with antioxidant vitamins in order to prevent the expected photo-initiated ROS production when nanoparticles are exposed to the simulated solar spectra. Vitamin B2 (riboflavin) and vitamin C were chosen to carry out the functionalization because they are water-soluble, low-cost, and are a constitutive part of biological processes. In addition, it is known that both have the potential to prevent macromolecular oxidation by ROS [23], [24], [25], [26].

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Solids were stable and did not show visible signs or changes in their spectra after being kept at room temperature for over 60 days. The absorbance at the maximum absorbance wavelength remained unmodified.

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.

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.  

Nanotoxicology 

However, humans are not exposed to E171 in drinking water at any significant quantity over a long duration, so this potential effect is irrelevant to the human experience. It’s important to understand that a potential hazard is not the same thing as an actual risk.