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. If the article is not of our production, the origin will be indicated in the product sheet.

The checks, carried out on all products sold, are inspired by the passion for our work and by a self-discipline that goes well beyond the law regulations; in fact they include: the plastics, the woods and the handles varnishes, the ink used for markings, the metals and any other component of our articles.

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

BEYOND the bristle: since some years, the use of synthetic monofilaments has become increasingly important for the paint-brushes production: pure or mixed with the natural bristle. The increasingly restrictive regulations on pollution and the consequent plants adapting costs for the processing of natural bristles contributed to the price increase.

At the same time, the production of synthetic monofilaments has also increased in quality. In fact, contrary to what is believed, in the production of mixtures/blends is MUCH more important the quality' of the synthetic used, rather than the percentage present compared to the natural bristle.

For a quick qualitative mixture identification, we decided to take back what is also used in natural bristles, namely the "TOP": the percentage of "fullness"; then the amount of hair that reach the total visible length: So, for example, a Top 90%" means that 90% of the volume of the bristle present in the ferrule reaches the hairs ends. Normally, the natural bristle has a TOP of 60% ("normal") or 90% (first quality). The blends have our exclusive formulations and we remind, finally, when we talk about synthetic filaments, to be careful not to use them if the working temperatures are higher than 100/120 and C!!!

Pure Chinese bristle. The term "bristle" means EXCLUSIVELY 100% natural hair, in our case, of pig. Bristle is normally has the white, black or gray color, derived from the breed of the derived pig. We use medium quality bristles (single boiled and Top 60%) and first quality bristles (triple boiled and Top 90%). In summary, a triple boiled bristle has particularly straight hairs, adequately elastic; in addition, the 90% fullness helps in obtaining a further refinement of the elasticity, a greater firmness of the bristles (no effect 'artichoke') better absorption and release of paint products. We must specify that the use of natural bristles is increasingly in disuse both for an high cost reason, but also for an increasing quality in synthetic monofilaments.

COFFEE MIX (TOP 60%). Blend of natural bristle + synthetic PET+PBT monofilaments. This mixture has been particularly studied for the wood painting and treatments because the type of synthetic used is slightly more rigid and designed to better enter into the wood pores.
RECOMMENDED: For all types of paints especially if "for wood".

IDEAL MIX (TOP 60%). Blend of natural bristle + synthetic PBT+PET monofilaments slightly plumbed to preserve the bristle intrinsic quality to retain the paint product. Compared to the "normal" bristle, it has a greater capacity to maintain the "shape" of the brush as well as a higher ease of cleaning and washing after use.
RECOMMENDED: For ALL paint types with medium density, especially if "water-based".

NOBLE MIX (TOP 75%). "Components" are the same as the "IDEAL" mix, but with an even higher paint release because there is an higher percentage of natural bristle and with the same length as synthetic monofilaments.
RECOMMENDED: For ALL paint types with medium density, especially if "water-based".

SUPER MIX (TOP 90%). Blend of natural bristle + "HARMONY" mixture (see below). Compared to the "NOBLE" mix, it has an even higher paint release because it is composed of both an higher percentage of natural bristle (always of the same length of the synthetic) and also the synthetic used has excellent quality.
RECOMMENDED: For ALL paint types with medium density, both water-based and solvent-based paints.

GREEN PBT. Exclusive blend of PBT filaments with different diameters, lengths, characteristics and colours (green and white). Designed to be moderately flexible. Indestructible and easy to clean.
RECOMMENDED: Dense and viscous paint products such as quartz paints, glues and thick enamels.

HARMONY. Exclusive blend of 7 PBT+PET filaments with different diameters, lengths and characteristics. Designed to be as similar as possible to the pure bristle, both in colour and in the elasticity peculiarities during paints application. Indestructible and easy to clean.
RECOMMENDED: For the application of paint products like water-based, but also oil-based. Superior quality!

100% KREX®. Exclusive blend of only KREX® filaments (well-known and renowned product) composed of several monofilament types with differs lengths, characteristics and colors (blue and white). Indestructible and easy to clean. TOP/HIGH QUALITY!!!
RECOMMENDED: For all types of paints such as water-based, but also really appreciated with glues and resins for its high resistance to solvents.

Polyester resin. In our products, we use a “state of the art” polyester resin, where the percentage of styrene has been significantly: 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 (also if left in immersion for hours).

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).

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.

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.

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.

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!

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”). 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.

Acrylic and polyacrylic woven (twist pile) fabric. Cost-effective and hard-wearing fabric. Very good price/quality ratio with a middle durable. 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, primers and anti-rust paints. Also available in the “for corners” version.

Modified polyester fabric with open filaments. A new typology recently introduced that makes the price his flagship, but at the same time is really appreciated for its paint absorption and release high capacity.

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 and highly valued for its strength/durability, which makes it also apt for dense and aggressive products, such as one or two-component glues/resins. The R/760 series are widely used in external painting because of their foam PADDING, which improves their adherence also to rough or raw walls. Finally, the polyamide fabric can be used with many different kinds of water, quartz-based and silicate-based products.

Structured Polyamide and Nylon continuous filaments fabrics. These two types 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; they are appreciated for their strength/durability and lack of loss of fibers: indestructible.

Nylon woven (twist pile) fabric. 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.

Microfiber fabric. 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.

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.;

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;

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.

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).

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

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.

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.

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.

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.

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.

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.

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).

Some of the most important pieces of advice on artist’s brushes concern their care and cleaning. Brushes should be cleaned with tepid/hot water and Marseille soap – without using highly-aggressive degreasing detergents – before the colour starts to harden around the hair. With oil colours, the hair should be wiped with a cloth before washing; with acrylics ones, it may sometimes be necessary to use a special solvent after water cleaning in order to remove all the residues. We recommend to carefully clean the brush ferrule and its edge (where colour pigments often settle) as well.

After cleaning, reshape the brush hair with your fingers or a cloth, and stand it upwards to dry (do not use heat sources or hair-dryers, which could damage the hair and cause the handle to contract, losing its adherence to the ferrule).

Finally, we strongly recommend making sure your paint brush is completely dry before using it again, with the same colour if possible, so as to avoid putting the natural hair structure under excessive “stress”. Please remember that if bristles/hair (whatever the type) are left lying on a level surface or, even worse, inside the paint can, they will bend with no chance to recover their original shape!