Insights



When buying one of our articles, you improve the chances of getting a good final result, and you have a Made in Italy tool (which follows all the prescribed regulations) or, however, a product guaranteed for the compliance of the employed materials with the qualitative data declared in the product sheet, and for its healthiness both for the environment and for the final users.

These checks (inspired by the passion for our work and by a self-discipline which goes well beyond the law regulations) include: the plastics, the wood and the handles varnishes, the ink used for markings, the metals and any other component of our articles.

For example, we and our wooden-handles suppliers are FSC® (Forest Stewardship Council® HYPERLINK “https://ic.fsc.org/”https://ic.fsc.org) certified. FSC® is a non-profit international association, promoting an environmentally appropriate, socially beneficial, and economically viable management of the world’s forests.

All these attentions allow us to provide our kind customers (from the beginner to the professional user) with safe and qualitatively guaranteed articles.

Pure Chinese bristle. The term “Bristle” means natural pig hair, whereas the adjective “Chinese” reveals the country of origin of this material. Since China is actually the only bristle producing Country left worldwide, we have been sourcing for years directly from carefully selected Chinese suppliers able to offer consistent high quality. Bristles can be “white”, “natural black” or “grey” in colour, depending on the breed of the pig they are obtained from. We employ bristles both of middle quality level (single boiled) and first quality (triple boiled bristles + top 90%), the latter being used in professional and “MASTER Series” items.

The top percentage shows the hair quantity “on top” with regard to that on the bulbs side; therefore, a “top 90%” means that the 90% of the bristle volume into the ferrule reaches the hair tip. How are these technical data converted into qualitative characteristics? In brief, triple boiled bristle hairs are particularly straight and suitably elastic; moreover, the top 90% helps in reaching a further elasticity improvement, a better absorption and spreading of varnishes.

 

Mixed synthetic bristles. They are obtained by mixing synthetic mono-filaments with natural pig bristles. Increasingly used in the production of paint brushes for the construction industry, because of their performance (often better than those with “pure bristle”), mixed synthetic bristles differ one from another both for quality and percentage of the synthetic fibre in the mixture. This is why we use several mixtures of natural and synthetic fibres in our production, in order to satisfy the varied demands of the market. In any case, the quality level of each product is clearly stated on the relevant data sheet to help in identifying the intended use. In general, synthetic mixtures are mostly appreciated when used with water-based paints and enamels, since they are hard-wearing (being partially produced using plastic material), and have more effective colour pick-up and release (on the contrary, pure bristle tends to be too absorbent, shows an uneven release, and covers a smaller area with one brushstroke). However, their use can be extended also to other kinds of paints and enamels.

A handy piece of advice to better appreciate the distinctive character of products made with synthetic mixtures (and of “pure synthetic” that we are going to specify) is to apply paints or enamels by using the “tip” of the fibres (about 15 to 25 mm).

Mixtures may be evaluated both for their quality and for the percentage of synthetic filaments contained; for example, we use several kinds of mixtures (all customized in percentages, in synthetic mono-filaments kinds and diameters and thus EXCLUSIVE) to fulfil the different market needs:

BROWN MIX: Common cheap mixture, useful for wood primers and/or very liquid paintings. In fact, the feathered (plumed) fibres help in spreading and prevent paint dripping: the mixture “top” is only pure synthetic feathered and natural bristle is a size less (to obtain a “tank effect”);

Link to series: 190     194     233     EXPORT_1

IDEAL MIX: good quality mixture (top 60%), with a bristle-like colour, suitable both for water-based paintings and for solvents. Really appreciated for its quality-to-price ratio;

Link to series: 4378/M     2000/M     29/M     2111/PM     236/M

 

TOP MIX: high quality (top 90%) mixture, quite similar to the “Ideal mix” as far as colour and suitability are concerned, but with a greater percentage of pure bristle till the “top”: therefore, this lends a perfect absorption and release. Suitable for achieving the desired results faster and easily with respect to other mixtures.

Link to series: 59/M     239/M

SUPER: very high quality mixture, superior to any kind of natural bristle in the market. In fact, it is realized with a big percentage of natural Chungking bristle top.90% reinforced (and in this case the term is really adapt) with a PET synthetic (also this of high quality). It’s aimed at a very particular and demanding user (that prefer to save time and energy to obtain a perfect result).

Link to series: 249/M     249/ML

 

Pure synthetic mixtures. Miscellaneous of different types/sizes of all synthetic mono-filaments (without the presence of natural bristles). During last years they are more and more requested for the different, but easy, way of use and maintenance (lifetime, cleaning, etc. etc.)

KREX®. We have designed a unique and exclusive mixture of pure synthetic fibres, to give brushes the right amount of elasticity during use and to get excellent performance from them.

KREX® is having a great success also in the shoe sector – for glue spreading – and, more in general, in the whole manufacturing industry. This is because its durability over time (abrasion resistance) and ease of use made this synthetic fibre indispensable and definitely a step forward compared to natural bristle. Also, it is even easier to clean than natural and synthetic bristles mixtures, as it is a non-absorbent plastic material, from which paint/enamel/glue/resin residues can be easily removed. KREX® may be safely used with both water-based paints/enamels and other kinds of varnishes/glues. This is a HIGH quality product!

Link to series: 195     ACQUA     EXPORT_1     EXPORT_2     EXPORT_3

 

 

 

Polyester resin. In our products, we use a “state of the art” polyester resin, where the percentage of styrene has been significantly reduced (styrene is a toxic substance commonly used in resins): this represent another example of the attention we pay for the healthiness of our products. Its composition makes it resistant to the majority of solvents used in the building industry.

Bi-component epoxy resin. This resin is of a higher quality level than the polyester one, it has a better penetration into the fibres and it is even more healthily, since it is solvent-free. It exceeds the polyester resin also for its higher resistance to solvents (the paint brush may rest immersed in acetone for several hours with no damage). In each product data sheet we point out whether this resin is used or not.

 

Plastic Ferrule (Moplen = moulded polypropylene plastic). Moplen is a special type of plastic, with strong resistance properties against shocks, chemical agents, high temperatures and, of course, rust! All these properties make it valuable for the production of tools for the building industry, such as paint brushes. Also the wall-brushes heads (when not wooden made) are produced with this kind of plastic.

Link to series:  ACQUA     630     2111/PM     233     239/M     249/M     249/ML     238/T

Metallic Ferrule. This represent the cheapest type of ferrule. Obviously, it still assures its “technical” role in containing the hair, but it is more susceptible to rust than any other type of ferrules.

Nickel Ferrule. Aesthetically, it is very similar to the above-mentioned ferrule, but it has better rust-resistance properties.

Links to series: 42/S     40/1     42     193     194  and many others.

 

Copper-coated Ferrule. Easily recognisable due to its copper colour, it has always been considered a top-grade ferrule. Even if it is a bit less resistant to rust than the Nickel ferrule, it is definitely attractive due to its mutable appearance of natural oxidation.

Links to series: 43/B     47/B     37     49     59/M     2115     2118     2121     213

 

Inox Ferrule (stainless steel). This type of ferrule is particularly valuable for the applications with water-based products, due to its rust-resistance properties. To verify if a steel ferrule is actually stainless, just bring it near a magnet: there should be no attraction between them!

Link to series: 195

Although a variety of constantly updated materials can be used in their production, paint rollers are mostly made with specially-designed synthetic fabrics, which are able to fulfil any kind of quality and application requirements.

There may be several pile lengths for the same type of fabric (from mm.4 to mm.22): of course, the shorter the fibre, the more it suits for applications on smooth surfaces (and/or for smoothings); on the other hand, longer fibres are more suitable for raw surfaces (up to outer walls, often particularly coarse).

 

Polyester fabric (also called “Vestan”) h. mm. 18. Cheap, versatile fabric, suitable for most “Do It Yourself” applications, especially on smooth surfaces or middle-rough with water-soluble paints or enamels. It has a good resistance to usage, with a little absorption so it is also used as disposable rollers for resin (and viscous paints) spreading and wherever finishes are not so important, e.g. in industrial flooring.

Link to series: 692     PERSET

 

Polyacrylic woven (twist pile) fabric. Cost-effective and hard-wearing fabric. Very good price/quality ratio with a middle durable usage especially on smooth and middle-rough surfaces. Easy to use with a good paint absorption and release with a reasonable price. Available with woven surface, for improved product efficiency. Suitable for use with dispersion, water-based, breathable and anti-rust paints. Also available in the “for corners” version.

Link to series: R/685

 

Acrylic woven (twist pile) fabric h. mm 20. Middle-quality fabric, suitable for a number of uses and applications with dispersion paints, water-based paints and primers. Excellent price-to-performance ratio.

Link to series: R/680     694

 

Polyamide fabric. High quality fabric with hard-wearing and high-efficiency properties. A valuable partner whenever you aim at getting the best from your efforts. It comes in 4 nap heights: mm.6 and mm.13 perform better on smooth or semi smooth surfaces, the shorter version being highly valued for its strength/durability, which makes it also apt for dense and aggressive products, such as one or two-component glues/resins; mm.18 and mm.21 (twist pile), are widely used in external painting because of their foam PADDING, which improves their adherence also to rough or raw walls. Finally, this fabric can be used with many different kinds of water, quartz-based and silicate-based products.

Link to series: R/688     R/801     R/740     R/760     695

 

Structured Polyamide mm.6 and Nylon h. mm.13 fabric. These two kinds of fabrics are comparable with each other since they are both highly-valued for their strength/durability, which make them suitable for particularly dense and aggressive products, such as one or two-component glues/resins; the former fabric is used for smooth surfaces, whereas the latter may also be used  up to surfaces of middle roughness.

Link to series: R/682     R/750

 

Nylon woven (twist pile) fabric h. mm.20. Very hard-wearing with excellent versatility and cost-effectiveness properties. It can be used with any kind of water- and quartz-based paints, as well as on any type of internal and external surface.

Link to series: 693

 

Microfiber fabric h. mm.8. A fabric specifically designed to provide an excellent result with highly fluid products (such as wood primers, liquid glues and enamels). Suitable for use on any surface.

Link to series: R/689     R/755

 

Foam. Suitable for both dispersion and synthetic paints. Available in different versions, so as to better match and satisfy customers’ varied requirements:

Extra-fine: Recommended if aiming to achieve a visually-homogeneous result (without stripes) on smooth surfaces, such as plasterboard walls, boats, etc.;

Link to series: R/687     PERVASC

Flocked: With its particular “star-shaped” structure, this foam is ideal for creating a “smooth effect” even on slightly rough surfaces. An improving characteristic of this flocked-fabric mini roller is its patented, concave-shaped lateral profile, which makes it excellent at drawing perfect lines while laying the painting;

Link to series: R/681

Fine, Middle, Coarse and Honeycomb (super-coarse): these different fibre densities allow the achievement of various effects, such as “bucciato” or “orange peel” textures. Also available in the “for corners” version.

Link to series: 722     723     725     726     727

 

Satin 100% natural wool. Natural wool fabric, suitable for spreading even aggressive products, such as primers, resins, wood primers and rust preventers. Particularly highly-valued by parquetry craftsmen and in boat restorations, being nearly indispensable for an accurate and smooth finishing on both wood and parquet. Solvent-resistant.

Link to series: R/684     686

 

Plastic spike head. It shall not be used for paint spreading, but for eliminating the bubbles which may develop during very dense products applications (like resins).

Link to series: R/697

 

Synthetic (and natural) buckskin. Used in several ways in decorative rollers/pads, it provides many different types of special effects.

Link to series: 701     702     703     704     705     712

All our products reflect high standards of workmanship and materials, as well as our commitment to customer service, which is focused on meeting the demands of any kind of customers, amateurs or professionals alike. However, when choosing a brush, you should carefully consider the importance you place on your work and the result you want to achieve. In fact, the right tool, combined with a good painting technique, will definitely help in reaping the harvest of your labour!

A valiant suggestion to buy any article in the market: a product without any brand and/or any writing, none characteristics or use indication, probably it is “hiding” something: dubious origin, poor quality, etc. etc.

Buying a brush: First of all, you should choose your brush according to the types of applications and painting techniques it is designed for. For example, it is not advisable to buy a flat brush to paint small surfaces and use it edgeways (i.e. on the narrow side), as it will certainly lose its ideal hair shape very quickly. On the contrary, you should buy a round or oval brush, which will enable you to effortlessly paint also the areas more difficult to reach. The same advice applies to the choice between natural or synthetic bristles: both kinds of hair have properties which make them more suitable for one particular surface or paint than the other, although synthetic materials, pure or mixed with natural bristles, are now gaining an increasing foothold in the market. For a better understanding of synthetic bristles and their differences from natural ones, please refer to the “materials used for paint brushes production” section.

Buying a roller: here again the choice is among several types of natural and synthetic fibres, each of them having specific quality characteristics and purposes of use (see the “materials used in PAINT ROLLERS / MINI ROLLERS production” section). Thus, the selection of the paint roller (or mini-roller) most suitable for your needs depends on the surface type and size you are going to paint, and most of all on the kind of paint/enamel/resin you will use. And please remember that, the larger the roller, the heavier and more difficult to use it will be (also in paint/enamel/resin application).

In this section, we would like to take the liberty of giving you some – we hope –useful tips on how to use paint brushes and rollers properly, mainly to guarantee the maintenance of their characteristics over time and to get the most from their value.

Before using your paint roller or brush for the first time, especially for construction painting projects, it is essential to wash and brush it effectively, in order to remove any residual bristles/fibres which could have remained from the trimming stage of production.

During use, your painting tool, in particular if it is a roller, should be pressed hard enough to get complete coverage. The best way to distribute the paint or enamel evenly over the area is to first draw a large “W” and then to go back and fill in all the blank space with horizontal and vertical strokes.

After use, wash your brush or roller carefully in tepid water or using a specific diluent, so to ensure that all paint residues are removed. Otherwise, fibres will stiffen and intertwine to the point that it will be impossible to use the tool anymore. In other words, the way you clean and store your painting tool will considerably affect its working life. So, for example, be very careful to dry your brush or roller well after washing, to prevent metal parts from rusting. In this regard, we strongly recommend you to use paint brushes having a rust-proof plastic, nickel or stainless-steel ferrule with water-based colours.

In addition, do not forget to thoroughly wash away any trace of residual material before changing from one type of colour to another. After removing all the impurities from the fibres of your paint brush/roller, it should be combed using a suitable brush (not irony, if possible) and wrapped in a sheet of paper to absorb any possible moisture left over.

A simple but effective “trick” to preserve the shape and characteristics of paint brushes/rollers consists in storing them in a bag equipped with hermetic seal. In any case, the ones used in the construction industry should be stored hanging with its fibres/fabric downwards. Never leave them lying on an even surface or, even worse, inside the paint can, otherwise their fibres/fabric will get crushed and will never be able to recover their original shape again. In short, an improper washing and storing of your painting tools will lead them to a very short working-life expectancy!

Pure whitened bristle. This particular bristle is treated in order to eliminate any impurity from the hair and to increase its elasticity. The peculiarity of this bristles is its resistance and its suitability for different types of paintings/colours.

Link to series: 766     577     115/T     115/P

 

Brown and Black Ox Hair. Natural hair, highly-valued for its quality-to-price ratio. Particularly indicated for amateur painting with sufficiently diluted tempera, oil and water-based colours.

Link to series: 106     116/T     116/P     116/LG     135     166     171

 

Kolinsky Marten Hair. Very high quality natural hair. Highly-valued and sought-after not only for its perfect elasticity and shape-keeping properties, but also for its bellied form, which gradually gets thinner until becoming very sharp. This characteristic enables the artist to easily change from a “strong” touch (with hair slightly spreading out) to a “soft” touch (thin line). Particularly suitable for water colours, silk painting and ceramic decorations; it can be used also in the dentistry sector, in nail micro paint art, and in make-up brushes production.

Link to series: 110     102     120/T     120/P     120/LG     137     MAKE-UP     NAIL ART

 

Blue Squirrel and Kazan Hair. Natural hair, characterized by a marked softness (therefore requiring a good sensitivity in brushstroke pressure), and a high effective colour pick-up; these features make it is indispensable for ceramic decorations and gold/silver leaf applications.

Link to series: 170     172

 

Pony/Goat Hair Mixture. A mixture of hair specially designed for the production of our make-up articles, in order to achieve the perfect fibre elasticity and softness required by brushes mainly used for blush, bronzer and powder spreading. Also used in the production of “bombagini” and flat brushes designed for shellac or varnishes application, which must be done delicately.

Link to series: 105     MAKE-UP

 

Synthetic Toray. A first-class elastic synthetic fibre, with good shape-keeping properties. Suitable for acrylic colours, but highly-valued also in the production of brushes for nails reconstruction.

Link to series: 108     108/P     121/T     121/P     121/LG     121/VEN     173     NAIL ART

Flat. Ideal for laying colours, priming and glazing. Marked stroke.

Round. Ideal for detailing, retouching and finishing. Soft stroke.

Short Round. Ideal for retouching and valuable finishing touches.

Cat tongue. Ideal for retouching, finishing and glazing. Uniform stroke, (it leaves a thinner brush stroke mark).

Fan. Ideal for mottling, softening and glazing. Multiple stroke.

In order to choose the type of brush you really need, it is essential to take into account what you want to realize with it, as well as your painting method and style. These are the variables that actually determine the length of the brush handle, the kind of hair and the shape of its ferrule. LONG HANDLED brushes should be preferred when painting on large canvas, using an easel and quite thick colours, whereas they are less suitable for smaller detailed paintings. On the contrary, SHORT HANDLED brushes are the best choice when painting over a board using techniques which require the brush to be held very close to the canvas (in such cases, a long handle would throw the brush off-balance more easily and also hamper the artist’s movements, being too close to his/her face). They are particularly suitable for watercolours and detailing.

As far as the types of hair/fibres are concerned, soft hair (such as Kolinsky or Vayo), are traditionally preferable for water-based paints; stiffer hair (for example Ox, pure whitened bristle and Toray®), are indicated for thick paints (mainly oil and acrylics). However, the choice of hair is quite subjective, depending on both the painting method and the artist’s habits (for instance, whether he/she prefers an incisive brushstroke rather than a soft one).