wholesale types of titanium dioxide

The aim of this work was to examine particularly the Degussa P25 titanium dioxide nanoparticles (P25TiO2NPs) because they are among the most employed ones in cosmetics. In fact, all kinds of titanium dioxide nanoparticles (TiO2NPs) have gained widespread commercialization over recent decades. This white pigment (TiO2NPs) is used in a broad range of applications, including food, personal care products (toothpaste, lotions, sunscreens, face creams), drugs, plastics, ceramics, and paints. The original source is abundant in Earth as a chemically inert amphoteric oxide, which is thermally stable, corrosion-resistant, and water-insoluble. This oxide is found in three different forms: rutile (the most stable and substantial form), brookite (rhombohedral), and anatase (tetragonal as rutile), of these, both rutile and anatase are of significant commercial importance in a wide range of applications [3]. Additionally, the nano-sized oxide exhibits interesting physical properties, one of them is the ability to act as semiconducting material under UV exposure. In fact, TiO2NPs are the most well-known and useful photocatalytic material, because of their relatively low price and photo-stability [4]. Although, this photoactivity could also cause undesired molecular damage in biological tissues and needs to be urgently assessed, due to their worldwide use. However, not all nanosized titanium dioxide have the same behavior. In 2007, Rampaul A and Parkin I questioned: “whether the anatase/rutile crystal form of titanium dioxide with an organosilane or dimethicone coat, a common titania type identified in sunscreens, is appropriate to use in sunscreen lotions” [5]. They also suggested that with further study, other types of functionalized titanium dioxide could potentially be safer alternatives. Later, Damiani found that the anatase form of TiO2NPs was the more photoactive one, and stated that it should be avoided for sunscreen formulations, in agreement with Barker and Branch (2008) [6,7].

...

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.

...