Following the filtration, the precipitate is washed thoroughly to remove any impurities and excess reagents. This is a crucial step, as thorough washing ensures that no contaminants interfere with the final mass measurement. Once washed, the precipitate is dried in an oven at a controlled temperature to remove moisture, ensuring that the mass recorded reflects only the titanium content.

One of the primary advantages of lithopone is its excellent thermal stability. It performs well under high-temperature conditions, which is essential for paints that will be exposed to extreme weather. Lithopone’s resistance to UV radiation helps maintain the brightness and color integrity of paints, making it a preferred choice for outdoor applications. As a result, many suppliers are focusing on providing lithopone that meets the specific needs of manufacturers in the architectural, automotive, and industrial paint sectors.

The US and Canada, however, approve the use of titanium dioxide as a food additive. Canada's recent review of titanium dioxide reconfirmed its safety and pointed out that many of the toxicity studies the EU reviewed were not relevant to the safety of titanium dioxide as a food ingredient, and that the ban is based on an abundance of caution and uncertainty.

TiO₂ has been well accepted in the food industry and can be found as the E171 additive in various food products, mainly for whitening and texture. It is present in some cottage and Mozzarella cheeses, horseradish cream and sauces, lemon curd, and in low-fat products such as skimmed milk and ice-cream. Even if the product is labelled as containing E171, no information is usually given about the quantity, particle size and particle structure. FDA claims that TiO₂ may be safely used as a colour additive for colouring foods in quantities up to 1 % by weight of the food. Interestingly, TiO₂ is frequently declared as a “natural colouring agent” and is therefore well accepted by consumers.

Resumo–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 author thanks Marco Leona, Scientist-in-Charge of the Department of Scientific Research at the Metropolitan Museum of Art for conducting fluorescence spectrometry on Wheel of Fortune and a valuable discussion of the research, as well as Silvia Centeno, Research Scientist at the Metropolitan Museum of Art, who performed Raman analysis on the watercolors and also contributed her insight. The phenomenon of the phosphorescing lithopone was originally discovered during the author's fellowship in the Sherman Fairchild Center for the Conservation of Works on Paper, funded by the Andrew W. Mellon Foundation. The author thanks all her colleagues for their ideas and support during the research of this paper, and special thanks to Rachel Mustalish for her assistance in editing this work.