non slip shower mat for textured surface

The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper.

The Market Landscape

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.

How are we typically exposed to titanium dioxide? 

Freshwater algae show low-to-moderate susceptibility to TiO₂ exposure, with more pronounced toxic effects in the presence of UV irradiation. It has also been shown that nano-sized TiO₂ is significantly more toxic to algae Pseudokirchneriella sub-capitata than submicron-sized TiO₂. Hund-Rinke and Simon  reported that UV irradiated 25 nm TiO₂ NPs are more toxic to green freshwater algae Desmodesmus subspicatus than UV irradiated 50 nm particles, which is in agreement with Hartmann et al. UV irradiated TiO₂ NPs also inactivated other algae species such as Anabaena, Microcystis, Melsoira and Chroococcus. It was demonstrated that smaller particles have a greater potential to penetrate the cell interior than submicron-sized particles and larger aggregates. Studies have shown that the amount of TiO₂ adsorbed on algal cells can be up to 2.3 times their own weight.

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.

As a food additive, titanium dioxide and its nanoparticles in particular have been associated with DNA damage and cell mutations, which in turn, have potential to cause cancer. When used as a food coloring, it is known as E171.

A 2022 review on past studies of titanium dioxide and rat lung cancer, for instance, said the original study was under extreme conditions and its effects were not replicated in other animal species. Additionally, the review concluded that the few studies which did directly focus on titanium dioxide's impact on humans did not end up showing any increased cancer risk.

Le produit obtenu par cette méthode est constitué de 29,4 % en masse de ZnS et 70,6 % en masse de BaSO₄. Il existe des variations, par exemple l'adjonction de chlorure de zinc à la pâte avant chauffage produit un pigment plus riche en ZnS³.

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So what does this have to do with you?

In its statement to USA TODAY, the FDA maintained that, in all post-approvals for food additives, our scientists continue to review relevant new information to determine whether there are safety questions and whether the use of such substance is no longer safe under the Federal Food, Drug, and Cosmetic Act.

China's titanium dioxide enterprises are currently in the stage of capacity expansion and upgrading. With the recovery of the world economy, Caiqing Technology seized the opportunity to occupy the market, titanium dioxide has been exported to more than 90 countries and regions, and has been recognized and unanimously praised by customers in the United States, Singapore, India, Saudi Arabia, Vietnam, Brazil, and other countries. Our company will continue to increase the research and development of titanium dioxide, and provide high-quality titanium dioxide for various industries around the world.

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.  

When used as a base or colorant in a product, titanium dioxide becomes handy in formulas meant to offer a lot of brightness and opacity. Titanium dioxide is so pigmented, in fact, that it’s used not only in white and pastel-colored products but also in darker shades, as well.

There are many uses of titanium dioxide that we don't know about because they were made exempt from being on the package in 1977, said Faber, who added that nothing much has changed since – other than the FDA approving some other uses of the color additive, such as expanding the use of mica-based pearlescent pigments (prepared from titanium dioxide) as color additives in distilled spirits over recent years.