Vantablack is often heralded as one of the darkest substances ever created – so black that it can make three-dimensional objects look like flat voids. This cutting-edge material has captured the imagination of scientists, engineers, and artists alike. What exactly is Vantablack, what makes it unique, and why has it spurred both groundbreaking innovations and heated controversies? This comprehensive report dives into the science behind Vantablack’s unparalleled blackness, its array of applications from space technology to art, the debates surrounding its use, and how it compares to newer ultra-black materials.
What Is Vantablack and What Makes It Unique?
Vantablack is a brand name for a class of super-black coatings developed by the British company Surrey NanoSystems (SNS). It gained fame for absorbing nearly 100% of the light that hits it – an unprecedented level of darkness . In fact, Vantablack can absorb up to 99.965% of visible light , leaving so little reflected light that the human eye perceives almost pure black emptiness. This extreme absorption causes any object coated in Vantablack to lose its visual features: 3D shapes appear completely flat, outlines vanish, and all sense of depth is lost .
Such an otherworldly blackness is what makes Vantablack unique. Common black paints or materials still reflect some light, allowing us to see texture and form. Vantablack, by swallowing virtually all light, creates the effect of staring into a void or a black hole. A crumpled piece of foil coated in Vantablack, for example, looks like a flat black silhouette, no matter its actual shape. This “superblack” quality earned Vantablack the title of the world’s darkest man-made material when it was unveiled, and it fundamentally challenges our visual perception in a way no ordinary pigment can . It’s not just a color; it’s an absence of color and light so complete that it evokes a sense of mystery and awe.
How Vantablack Works: The Science Behind the Blackness
The secret to Vantablack’s extreme darkness lies in its nanostructure and how it interacts with light. Vantablack is not a paint in the conventional sense, but a coating made of millions of tiny carbon nanotubes grown on a surface. Each carbon nanotube is a hollow tube of carbon atoms with a diameter measured in nanometers (billionths of a meter). Surrey NanoSystems developed a process using chemical vapor deposition (CVD) to cultivate these nanotubes in a vertically aligned “forest” on the target surface . Imagine a dense thicket of microscopic black straw-like tubes standing upright. There are roughly a billion nanotubes per square centimeter, packed so tightly that light cannot easily pass between them .
When light rays hit a surface coated in Vantablack, instead of bouncing off, they enter the gaps between the nanotubes. Inside this forest of tubes, the light is trapped: it bounces around from tube to tube, getting repeatedly absorbed and scattered until almost no photons escape back out . Essentially, the nanotube array behaves like a light trap or sponge, converting incoming light to minuscule amounts of heat. This mechanism leaves the surface virtually non-reflective and intensely black. It’s the structural arrangement of the material – not a special pigment – that achieves this effect.
Notably, Vantablack’s production initially required a high-tech CVD reactor and high temperatures (around 400 °C) to grow the nanotubes, meaning it could only be applied to substrates that withstand such conditions . This made it a complex, delicate process rather than a simple paint anyone could brush on. In later developments, Surrey NanoSystems introduced variants like Vantablack S-VIS, which uses spray application and doesn’t require perfectly aligned nanotubes. Though the sprayable versions sacrifice a bit of performance (for example, slightly less absorption in the infrared spectrum), they can still block 99.8% of ultraviolet, visible, and infrared light while being easier to apply more broadly . These innovations show how the material has evolved to balance extreme optical properties with practical usage.
Applications Across Science, Industry, and Art
Vantablack’s remarkable properties opened the door to a wide range of applications. From improving advanced optical systems to creating head-turning works of art, this super-black coating has proven to be far more than a laboratory curiosity. Below, we explore how Vantablack is being utilized or envisioned in different fields:
A BMW X6 coated in Vantablack VBx2 looks almost two-dimensional under bright light . The ultra-black coating absorbs so much light that the SUV’s curves and details disappear, leaving only a stark silhouette. This one-of-a-kind show car demonstrated Vantablack’s surreal effect at the 2019 Frankfurt Motor Show.
- Astronomy and Space Technology: Vantablack was originally developed with space-based optical instruments in mind, and it found early use in astronomy. By coating the internal components of telescopes, star trackers, and cameras, Vantablack can eliminate stray light and glare, dramatically improving the sensitivity and accuracy of observations . For instance, a telescope tube lined with Vantablack will prevent off-axis sunlight or earthshine from washing out faint stars. This super-black coating allows engineers to achieve a higher signal-to-noise ratio in sensors and even simplifies optical instrument design by reducing the need for baffles and shields . Its application in satellite calibration devices and imaging systems helps capture faint cosmic phenomena without interference. In fact, SNS is planning to launch a satellite called Jovian-1 coated in a Vantablack variant to reduce reflectivity and light pollution in orbit , highlighting how seriously the aerospace community takes this technology.
- Scientific Imaging and Sensors: Beyond astronomy, infrared and hyperspectral imaging systems benefit greatly from Vantablack coatings. The material can coat the insides of sensitive sensors or analytical instruments to absorb background light and prevent internal reflections. This yields cleaner signals in devices like infrared cameras, spectrometers, and microchip sensors . For example, thermal imaging devices with Vantablack-coated baffles can better detect subtle temperature differences without stray thermal radiation interfering. The coating’s ability to absorb nearly all incident light means it can serve as an almost perfect blackbody reference or a calibration target in labs. Even emerging technologies like LiDAR and photonic chips can use micro-scale Vantablack structures to minimize optical crosstalk and noise. In the realm of electronics, the material’s use in ultralight wiring and photonic circuits is being explored, since the same forest of nanotubes that absorbs light can also dissipate heat and potentially carry current in unique ways .
- Architecture and Design Installations: Vantablack’s mind-bending visual effect has been harnessed in architecture and public installations to create experiences unlike any other. A famous example is the “World’s Blackest Building” – a temporary pavilion at the 2018 PyeongChang Winter Olympics designed by architect Asif Khan. This Hyundai-sponsored pavilion was coated in Vantablack VBx2 and studded with tiny LED lights, resembling a slice of outer space with stars . Visitors described the sensation of looking into an infinite void; the structure’s contours were imperceptible, as if the building itself vanished into darkness. Similarly, art installations like the “Black Ops House” (an entire Vantablack-coated gaming environment for a video game launch) immersed participants in an uncanny pitch-black room . These projects demonstrate how Vantablack can turn ordinary surfaces into mesmerizing displays of total darkness, opening new creative possibilities for architects and designers to manipulate space and perception.
- Art and Luxury Products: Perhaps the most buzzworthy uses of Vantablack have been in the art world, where it sparked both excitement and contention (as discussed in the next section). Sculptor Anish Kapoor, who secured exclusive art rights to Vantablack, has created sculptures coated in it that appear as void-like holes, challenging viewers’ perceptions of form and light. His Vantablack-coated pieces debuted at the Venice Biennale in 2022, astonishing onlookers with shapes that were visually there and not there at the same time . Beyond fine art, luxury designers have flirted with Vantablack for its dramatic statement. For example, a Swiss watchmaker released a limited-edition watch with a Vantablack-coated dial, resulting in a watch face that looks like a bottomless black hole (making the hands appear to float in empty space) . In the automotive world, BMW made headlines by unveiling a Vantablack-coated concept car (the VBX6 mentioned above). Painted in Vantablack VBx2, the car’s typically bold contours disappeared; only details like its headlights and backlit logo stood out, giving it a surreal, almost 2D appearance . While that was a one-off showpiece rather than a commercial product, it exemplified how corporate marketing and design have used Vantablack to grab attention and spark conversation about the future of materials.
- Military and Specialized Equipment: Although much of what the defense sector does with Vantablack is not public, it’s known that the material’s origin had a military purpose in mind . Ultra-black coatings can potentially be used to camouflage satellites or aircraft sensors, reduce glint off of surveillance equipment, or improve the performance of night-vision systems. By absorbing detection laser pulses or concealing optics from reflection-based spotting, Vantablack could enhance stealth capabilities. Additionally, in laboratory settings, Vantablack is used on components of high-power lasers and optical benches to prevent unwanted reflections that could introduce errors or pose safety hazards. Its ability to absorb energy so completely makes it attractive for any scenario where controlling light is paramount.
Across all these applications, a common theme emerges: Vantablack enables technologies and creative works to push beyond ordinary limits. Whether it’s bringing distant galaxies into clearer view or transforming a sculpture into a seeming portal to another dimension, this material has expanded our toolbox for manipulating light and human perception. However, even as it opens new frontiers, Vantablack’s exclusivity has also sparked debate.
Exclusivity, Controversy, and Legal Restrictions
The excitement around Vantablack took a contentious turn when exclusive rights for its artistic use were granted to one artist, Anish Kapoor. In 2016, Kapoor – a renowned British-Indian sculptor known for exploring themes of reflection and void in his work – struck an agreement with Surrey NanoSystems to become the only person allowed to use Vantablack in artworks . This meant that other artists, no matter how interested, could not obtain the coating for their own projects. The rationale, according to the company, was that they could not logistically collaborate with many different artists and that Kapoor’s established focus on “nothingness” made him an ideal partner .
However, the move was immediately controversial, triggering outrage in parts of the art community. Many artists and observers felt it was unfair for a single individual to monopolize the “world’s blackest black.” After all, pigments and colors are usually universal tools for creative expression. The idea that such a profound color (or rather, absence of color) could be put under lock and key rubbed people the wrong way. Anish Kapoor’s exclusive deal “ruffled a lot of feathers” and even “kicked off an art supply feud” in the words of one report . The most vocal opponent was British artist Stuart Semple, who saw the exclusivity as against the egalitarian spirit of art.
In response, Stuart Semple famously developed his own line of paints to democratize ultra-black pigments. He created pigments and paints like “Black 2.0” and “Black 3.0,” which, while not as absorption-efficient as Vantablack, were extremely black, affordable, and available to any artist… anyone except Anish Kapoor, that is . Semple even cheekily released the “Pinkest Pink” and other vibrant materials with the stipulation that they not be sold to Kapoor, turning the feud into a public spectacle . The feud escalated on social media – at one point Kapoor obtained some of Semple’s pink paint and posted an image of his middle finger dipped in it, to which Semple and the internet reacted with further mockery and memes. While the drama had a humorous edge, it underscored a genuine debate: Should any artist have exclusive access to a color or material? Many argued that no single person should corner such a scientifically significant innovation .
Legally, Surrey NanoSystems maintained that Vantablack was not a simple artist’s paint but a complex technology – “highly technical in its application – it is not a paint,” as Kapoor himself noted . The company wasn’t selling tubes of Vantablack over the counter; it was applying coatings for clients in controlled conditions. In that sense, the exclusivity deal was as much about managing practical use as it was about rights. Moreover, Vantablack is expensive and difficult to produce, so even outside of art, it isn’t something easily accessible. As of now, Surrey NanoSystems does not offer Vantablack freely on the market – it only provides coating services or limited samples for research and display . This scarcity and controlled distribution add to the aura of exclusivity (and indeed, mystique) around the material.
Over time, the furor has subsided a bit. Kapoor has begun showcasing his Vantablack-coated sculptures publicly, proving that his long development process bore fruit in the art world . Meanwhile, other artists and manufacturers moved on to developing alternative super-black materials that anyone can use. In the wake of the controversy, one positive outcome has been a flourishing of innovation in ultra-black coatings available to the broader community. As we’ll see next, Vantablack is no longer the only ultra-black game in town – and in some measures, it’s not even the blackest any more.
Beyond Vantablack: Newer Ultra‑Black Materials
Ever since Vantablack set the bar, researchers and innovators have been racing to create even darker and more accessible materials. How does Vantablack compare to the latest ultra-black substances, and what alternatives exist for those who can’t get their hands on the original? Here are a few notable examples that have emerged in recent years:
- MIT’s 2019 “Blackest Black” (Blackest to Date): A team of engineers at MIT announced a breakthrough in 2019 – they accidentally grew a forest of carbon nanotubes on aluminum foil that turned out to be even blacker than Vantablack. This new material was measured to absorb 99.995% of incoming light, making it about 10 times darker than Vantablack under certain testing conditions . The discovery was so striking that the team collaborated with artist Diemut Strebe to coat a $2 million diamond with the material, effectively making the sparkling gem disappear into an utterly black void . While Vantablack held the record for years, MIT’s nanotube coating nudged the bar even closer to a perfect black. The researchers noted that the “blackest black” is a moving target and that eventually we may understand how to engineer the “ultimate black” . Importantly, MIT’s process grew the nanotubes on a chlorine-etched aluminum substrate using a different technique, indicating that multiple pathways to extreme blackness are being explored. This material was created for optical science applications (like reducing glare in space telescopes) and shows that academia can leapfrog commercial developments in the race for darkness.
- Accessible Super-Black Paints (Black 2.0, 3.0, 4.0): Artists and independent inventors have developed their own super-black coatings to offer alternatives to Vantablack. The aforementioned Stuart Semple’s Black 3.0 (released in 2019) is a paint that anyone can brush or spray on, achieving a very high level of blackness (~97–98% light absorption in tests) . It’s a flat, acrylic-based paint that creates a super-matte, non-reflective surface. Building on that, Semple introduced Black 4.0 in 2021–2022, claiming it to be even darker and on par with Vantablack’s visible light absorption . (Independent measurements suggest Black 4.0 still reflects slightly more light than Vantablack – on the order of a few hundredths of a percent – but it’s extremely close .) The trade-off with these paints is that they achieve blackness through a high pigment load and ultra-mattifiers, so while they’re **“pretty darn black” and convenient to use, they are not as near-total in light absorption as a nanotube coating】 . Nonetheless, for artistic and decorative purposes, paints like Black 3.0 and 4.0 create an impressively black effect without specialized equipment. They have empowered creators worldwide to experiment with ultra-black visuals on a budget – something not possible during Vantablack’s exclusive early years.
- Musou Black – The Blackest Acrylic Paint (2020): In 2020, a Japanese company (Koyo Orient) introduced Musou Black, which they advertise as “the world’s blackest paint available to the public.” This water-based acrylic paint can absorb up to 99.4% of visible light when applied with proper technique . Musou Black can be brushed or airbrushed onto surfaces, and it yields an astonishingly flat, dark finish that rivals some of the best laboratory-grown coatings. While it’s marginally less absorbent than Vantablack (which is in the 99.9+% range), Musou Black produces a very similar visual impression of nearly total darkness. Enthusiasts have used it to paint objects, from model cars to walls, achieving Vantablack-like optical illusions (such as making a piece of textured art look like a void). The key difference is that Musou Black is commercially available and relatively affordable – anyone can buy a bottle and use it with basic painting skills, though the manufacturer warns that the finish is delicate and not suited for outdoor use . The existence of Musou Black underscores how the demand for ultra-black finishes spawned consumer-level solutions that, a decade ago, seemed impossible.
Aside from these, there are other notable mentions. NASA and various aerospace contractors have developed their own “super-black” coatings (often based on nanotubes or ultrafine carbon powders) for space telescopes and sensors. For example, NASA’s Goddard Space Flight Center created a carbon-nanotube coating for stray-light suppression around the same time Vantablack was announced. Companies like Acktar and Edmund Optics offer deep black foils and coatings that, while not as absorptive as Vantablack, are used widely in optical engineering. Each new material seeks a balance of extreme blackness, ease of application, durability, and cost that suits its intended domain.
What all these developments show is that Vantablack kicked off a kind of “black rush.” By demonstrating that near-total light absorption was achievable, it inspired others to push further. Today, if someone wants to work with an ultra-black material, they have options beyond Vantablack – whether it’s a record-setting lab material or a paint they can order online. The quest for the ultimate black continues, driven by both scientific curiosity and creative hunger. As one researcher put it, achieving the blackest possible black is a “constantly moving target” , and each new discovery not only shatters old records but also propels our understanding of optics forward.
Conclusion
Vantablack remains a symbol of human ingenuity at the nanoscale – a material that literally changed how we see (or don’t see) the world. Its ability to erase shape and depth, absorbing light like nothing before, has made it legendary in modern material science and art. We’ve seen how it was made from vertical carbon nanotubes, why it’s so uniquely black, and how that unprecedented darkness has practical payoffs in astronomy and technology. We’ve also seen how it captured artists’ imaginations and incited debates about creativity and ownership, ultimately leading to greater innovation in the field of ultra-black materials.
Perhaps the most inspiring takeaway is that Vantablack’s story is still unfolding. In the span of just a decade, it went from a lab curiosity to a cultural phenomenon, and in turn, spurred the creation of even darker and more accessible blacks. This dialogue between science and art – from laboratories growing forests of nanotubes to painters seeking the perfect void – highlights the power of a single idea to ignite progress across domains. Vantablack, in all its mystery, challenges us to ponder the nature of darkness and light. It invites us to imagine what new technologies and artistic expressions might emerge when we can literally turn invisibility into a coating. In pushing the limits of darkness, we are really expanding the spectrum of human innovation.
In the end, Vantablack is more than the sum of its carbon nanotubes. It represents a trailblazing step into a new realm of materials – one that encourages us to keep exploring the frontiers where physics meets perception. As developers of even blacker substances strive to capture that last fraction of a percent of light, one thing is clear: the future will only get darker – and with it, perhaps, brighter with creative possibilities.
Sources:
- Britannica – Vantablack (Encyclopedia Article)
- Surrey NanoSystems – Vantablack official info via HowStuffWorks
- MIT News – MIT engineers develop “blackest black” material to date (2019)
- Artnet News – Anish Kapoor’s Controversial Vantablack Works… (2023)
- Britannica – Vantablack special projects & controversy
- Musou Black (Koyo Orient) – Product description and specifications