Index. This Catalogue is not a complete list of what we stock nor of what we can source, but contains the most commonly sought-after materials.

Transcription

1 Brush Catalogue February 2014

2 Index Da Vinci brushes Page 3 Brush Care Page 4 The Right Brush for the Job Page 5 Brush Shapes Page 6 Hair Types Page 7 Synthetic Brushes Page 8 Cosmotop-Spin (all paint types) Page 8-10 Grigio (oil & acrylic) Page 11 Top-Acryl (acrylic) Page 12 Impasto (acrylic) Page 13 Cosmotop-Nova (all paint types) Page Junior, College & Hobby (all paint types) Page Bristle (Hog Hair) Brushes Page 20 Maestro-2 (oilcolour) Page 20 Student & Sketching (oilcolour) Page 24 Maestro (oilcolour) Page 25 Natural Hair Brushes Page 28 Sable & Sable Mix (watercolour, gouache & oil) Page Squirrel (watercolour) Page 34 Badger (oilcolour) Page 35 Specialist (gilding & faux effects) Page 36 Mahl Sticks Page 37 Brush Sizes Page This Catalogue is not a complete list of what we stock nor of what we can source, but contains the most commonly sought-after materials. If you require something not listed here, please contact us using the details on the back cover. 2

3 da Vinci Brushes These are brushes of the highest quality, all manufactured in Germany by this family company who ve been brush-makers since Their highly skilled workers make 2.7 million brushes a year by hand, using precious natural hair and highest quality hog bristle, while brush-making machines they ve developed over the last few decades produce da Vinci s unique blended-fibre & regular synthetic brushes at a rate of 3.5 million a year! Da Vinci is the largest range of artists and hobby brushes available in New Zealand, so offer you brushes for even the most specific job, as well as brushes that will suit many different applications. They also cover all price-points, so you can find a brush to suit your budget. Da Vinci brush handles are perfectly balanced and many models feature the unique hexagonal handle - flattened on the shoulders of the handle to prevent the brush rolling away, and very comfortable to hold. All but the student ranges feature nickel-plated brass ferrules and all brushes have FSC-certified wood handles. Da Vinci produce about 500 varieties - we stock the main brush series, listed below, and our staff, who work with these brushes themselves, are well-placed to advise you. We can also supply you with a copy of our How to Select, Use & Care for Artists Brushes which is full of useful product information. Your brush is your contact with the surface make it sing! Special Note No1 First of all The first thing you should do to your brush is wash it. All brushes are gummed, with gum Arabic, so you can see how they look when wet. Give them a quick wash out using the da Vinci Brush-cleaning Soap before use. Special Note No2 Brush Sizes There are no standardized sizes for brushes. It is very easy for one No8 to be a completely different size in another brand this can make it seem cheaper! Brush sizes differ not only between brands but also between brush types. A No4 in a short handled round synthetic may be completely different from its long handled counterpart. It may also be many times smaller than a No4 wash brush. Check the sizes chart further on for an accurate indication of size. The following brush sections are: Synthetic - for all painting media Bristle - for oils and acrylics Natural Hair - for all painting media Specialist faux finishing, gilding, & theatre 3

4 Brush-cleaning Soap Makes your brushes last so much longer - show your brushes you love them! 100g bar $ 8.99 Da Vinci Brush-cleaning Soap is made from vegetable oils specifically for cleaning and conditioning the brush head. It works extremely well at cleaning both oil and water-based paint from the ferrule of your brush, and rebuilds the natural fat protection of the hair and bristle, so the hair doesn t embrittle (ordinary soap will not do this). Simply build up lather with warm water on the brush head and massage it from the ferrule to the tip - new brush! Brush Care Acrylic colour is the hardest on your brush, and care should be taken not to let the paint dry in the brush-head. Wipe the brush-head with a damp cloth, removing the bulk of the colour, rinse with water, and, using da Vinci s special brush-cleaning soap and warm water, work a lather from the ferrule to the tip of the hair, paying special attention to paint clinging to the top of the ferrule (the steel part where the hairs emerge from). Rinse, shape the brush-head, and lie flat to dry. For oilcolour, simply wipe excess paint from the brush head with linseed oil and a rag, and clean using da Vinci brush-cleaning soap and warm water, working the lather from ferrule to tip, until the lather is clean. Get your fingernails in there! Be rough to your brush on the soap! As long as the cleaning action is from ferrule to tip and the brush is "dressed" (shaped) afterwards, this will not damage it. Make sure all soap is rinsed from the brush head, shape it and lay it out to dry. Note that no turps has been used. Brushes should not be left standing in a jar of water/turps, as this can irreparably damage the brush-head and wooden handle. When using acrylics, keep them wet and flat on a rag. If you re leaving your oilpainting brushes for a while, dip them in linseed oil. Don t clean oilpainting brushes with turpentine - just imagine washing YOUR hair with it! Frizzy brushes Here's an old tip for dealing with frizzy brushes. After a thorough cleaning using a brush cleaning soap (which will condition as well as clean) and paying special attention to where the hair meets the ferrule, shape the brush and tie a thin strip of cotton round the brush head so that it dries in shape. 4

5 The Right Brush for the Job There are a lot of brushes out there. It may take a while to figure out which ones are right for you, so here are some tips for you: Start with a small selection of good brushes. The sizes you need are dictated by the size of surface you will be working on, and the type of mark you wish to make. It will soon be apparent which brushes you are missing, and these can then be purchased. Avoid nasty brushes. Your brush is your contact with the surface it should respond to your every wish! A good brush will do so, and, with the right care, last many years. A bad brush will not, and is a waste of money, no matter how cheap it is. We have inexpensive brushes which will perform well. Make sure the brush you buy is suitable for the work you want to do. As a general rule, synthetic brushes work well with acrylic paints, hog hair for oilcolour, and natural hair brushes for watercolour; however, for example, if you re scumbling (applying small amounts of colour in a circular scrubbing motion) with acrylic paint, a synthetic brush will fur-up in no time, so a hog hair brush is more suitable. Talk with us about how you want to apply the colour, and we can suggest a suitable brush. Look after your brush. Although we d love you buying new brushes every time you started a painting, a good brush is a precious tool and will not only last longer with proper cleaning, it will become an extension of your touch as it wears into your painting method. Most good artist s brushes are hand made, so select your brush carefully - they will each be slightly different. We stock over 100 different types of brush in sizes from 10/0 to 300mm wide! By far our most preferred brush maker is da Vinci from Germany, a family of brush-makers for generations, making over 10,000 brushes a day by both hand and specially designed machine. They rock! Q. My brushes are not lasting! I look after them well, but they go "furry" after only one painting. I'm using synthetic brushes with oilcolour in very thin scumbled layers - is the oilcolour or solvent affecting them? To clean them I use turps and then brush soap. A. The problem is not that the brushes are being abused, but that they are unsuited to the type of work they're doing. A synthetic brush is usually used in oilpainting for wet-in-wet, detailing, and other delicate techniques. Scumbling is very hard on a brush and quickly frays the nylon filaments - hoghair brushes are best suited to this task. You will be pleased that hoghair brushes will not only last longer and perform better, but are generally much cheaper than synthetic brushes. Selecting the right brush for the job can be as important as selecting the right colour. 5

6 Basic Brush Shapes Round Round brushes are the original Renaissance painting brush shape. They hold the biggest reservoir of colour, and vary from large, blunt-ended glazing brushes to ultra-fine detail brushes. They can be used for large areas and fine detail. Rounds made from bristle or synthetic bristle are great for scumbling. Flat/Bright In the 19 th Century, flat brushes, used for lettering, became popular with plein-aire painters and the Impressionists, who were not interested in their brush holding a large amount of paint so much as specific mark-making: broken light effects and a dabbed colour. Flats are good for spreading colour. A large flat brush is called a mottler, and these are generally used for varnishing, softening, and large area painting. Filbert In the second half of the 19 th Century, a renewed interest in figure painting and modelling flesh, by the Pre-Raphaelites and Victorian painters, lead to the development of the filbert brush. These painters found that a flat brush left its shape in the wet paint, so was less than perfect for blending. Rubbing their flat brushes back and forwards on stone steps wore them into a cat s tongue shape, though this shape is now made by arranging the hair by hand. The filbert is perhaps the most versatile brush shape, being a combination of a flat and a round. It can blend, spread colour, draw, and is excellent for cutting-in. 6

7 Hair Types Natural hair Natural hair brushes possess unique characteristics, such as fluid-carrying capacity, softness and spring that make them the sole choice for many watercolour artists and a precious tool for oil painters. The main types of natural hair are: Red Sable is both soft and strong, with excellent colour-carrying qualities that make it the first choice for many watercolour artists. Black Sable combines the softness of red sable with the robustness of hog hair, making it ideal for wet-in-wet blending with oilcolour. Ox hair is a hardwearing, soft hair that is good for oilcolour blending and impasto work, and ideal for gouache. It is also makes a useful watercolour brush. We sell very few ox hair brushes these days, with synthetics like Grigio taking their place. Squirrel is very soft and holds the greatest amount of water of all the hair types, so makes the perfect watercolour wash brush. Badger hair has a slightly wavy character that imparts a gentle resistance essential for softening and blending of oilcolour in painting or traditional faux effects. Hog Hair or Bristle Hog bristle, in a variety of qualities, is the work-horse of oil painting. It is robust enough to resist wear on abrasive surfaces like canvas, absorbent enough to wipe back layers, and yet good quality bristle is soft enough to respond to delicate strokes. The more expensive bristle brushes have an inwardly curved shape that is made by interlocking the bristles - properly cleaned, these brushes will retain their shape even after much use and many washings. Synthetic Synthetic brushes are ideally suited for acrylic painting, and are available in a large range of strengths from stiff impasto brushes through to soft glazing brushes. For oil painting they offer a cheaper alternative to soft natural hair brushes used for detail and blending. Da Vinci are the only brush manufacturer making synthetic brushes in Europe. Their unique fibre-blending technology produces synthetic brushes that draw fluid up in a similar fashion to natural hair. These new generation synthetic brushes perform almost the same as natural hair, last longer, and cost less, helping to preserve the world s precious natural hair resources, such as sable. 7

8 Synthetic Brushes for all painting media Da Vinci are the only brush manufacturer producing synthetic brushes in Europe, as opposed to importing brush heads from Asia. Their unique fibre-blending technology produces synthetic brushes that draw fluid up in a similar fashion to natural hair. These blended fibre synthetic brushes perform almost the same as natural hair, last longer, and cost less, helping to preserve the world s precious natural hair resources, such as sable. They also produce single fibre brushes of very good quality at very good prices. Synthetic brushes are ideally suited for acrylic painting, and are available in a large range of strengths from stiff impasto brushes through to soft glazing brushes. For oil painting they offer a cheaper alternative to soft natural hair brushes used for detail and blending. Blended fibre synthetic brushes can be used admirably for watercolour and gouache techniques, as the capillary-action of the blended fibres enables them to hold larger amounts of colour than single fibre brushes. Cosmotop-Spin These very popular blended fibre brushes suit many types of paint and painting techniques fluid & soft-body acrylics, watercolour & gouache, oilcolour, and inks. The extra-fine fibres are soft but with great flex and fine edge for excellent control of fluid colour. The short, red, hexagonal handles are well balanced and comfortable to hold. Cosmotop-Spin round Brush Series 5580 These blended fibre rounds are suitable for most painting techniques using fluid & soft-body colours. No0 $ No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No18 $ No20 $ No24 $ No30 $ Cosmotop-Spin flat Brush Series 5880 Blended fibre flats are good for spreading & dabbing techniques with fluid & softbody colours. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No20 $ No24 $

9 Blended-fibre brush ranges Cosmotop-Spin and Nova are suited to all fluid painting techniques. 9

10 Cosmotop-Spin pointed oval Brush Series 5584 A pointed filbert, blended fibre brush is a versatile brush for blending as well as fine work using fluid & soft-body colours. No8 $ No10 $ No12 $ No14 $ No16 $ No20 $ No24 $ No30 $ Cosmotop Wash Brush Series 488 Extra-long and flexible blended fibre, bound in the traditional French manner, and set on a shaped lacquered handle. These fine tipped brushes are superb for using with ink and watercolour! No0 $ No2 $ No4 $ No5 $ No6 $ No8 $ No10 $ N.B. These are extra-large French wash sizes a No5 is the same in girth as a No20 Cosmotop-Spin round (above) and longer in length! Cosmotop-Mottler Series 5040 Extra-strong yet soft dark blended fibre set on short red & black handles, these are superb for applying colour, and lays down varnish smooth as glass! 20mm $ mm $ mm $ mm $ mm $ mm $ mm $ mm $ Cosmotop-Mottler Series 5080 The slightly softer hair than the Series 5040 above makes this Mottler ideal for watercolour washes, and other large area techniques using fluid & soft-body colours. 20mm $ mm $ mm $ mm $ mm $ mm $ mm $ mm $ Cosmotop-Spin Dagger Striper Series 5587 Dagger striper can be used for both accurate and loose line work. No10 $ No14 $ No20 $ The latest in brush technology the Grigio blended-fibre synthetic brush for oils & acrylics. 10

11 GRIGIO The Grigio is the very latest in blended fibre technology, using dimpled fibres that perform in a very similar fashion to natural hair a cross between sable and ox hair perhaps and look like mongoose hair (no mongoose were harmed in the making of these brushes!). Grigio is soft yet strong, and perfectly suited to both oil and acrylic colours, whether heavy body or fluid consistency. Long polished handles featuring the unique da Vinci hexagonal shape. Grigio round brush Series 7795 Blended fibre rounds for line work, filling, and other oil and acrylic techniques. No1 $ No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ Grigio flat brush Series 7195 Flats are well suited for Impressionist techniques, such as alla prima and dappled light effects. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ Grigio filbert brush Series 7495 This blended fibre filbert is excellent for blending with soft acrylic and wet-in-wet oilcolour. Larger sizes are especially full in the ferrule to emphasis this technique. No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ No24 $ Grigio angle shader brush Series 7197 Angle shaders are designed for ease in painting straight lines and cutting in. No8 $ No12 $ No16 $ Grigio mottler brush Series 5096 We can only really say: mmmmm about this! A gorgeous brush for area work, softening brush strokes, and varnishing. We look forward to larger sizes soon! 30mm $ Grigio fan brush Series 495 Fan brushes originally were used for blending wet colour, and are now also used for paint effects, e.g. foliage. No3 $

12 Strong blended-fibre Top-Acryl brushes are perfectly suited to acrylic painting. Top-Acryl Blended fibre synthetic with amazing elasticity yet soft touch, based on traditional bear-hair (fortunately no longer available!). A very versatile brush for all acrylic techniques, whether using fluid or heavy body colour. Top-Acryl s dark hair is set on long, beautifully balanced anthracite handles with the unique da Vinci hexagonal shape. Top-Acryl round Brush Series 7785 These blended fibre round brushes are great for all acrylic painting techniques. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ No24 $ No28 $ No35 $ No50 $

13 Top-Acryl flat Brush Series 7185 Flats are commonly used for spreading and dabbing techniques. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No20 $ No24 $ No28 $ No30 $ No35 $ No40 $ No50 $ Top-Acryl filbert Brush Series 7485 The most versatile brush shape - perfect for blending and cutting in. No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ No24 $ No30 $ No40 $ No50 $ The stiff synthetic bristle of the Impasto easily copes with heavy body colours and gels. IMPASTO The Impasto is made from synthetic bristle, and is a hard-wearing, extremely strong brush for use with thick acrylic gels & mediums it s the flexible painting knife! IMPASTO flat Series 7105 & IMPASTO round Series 7705 Strong stiff fibres specifically developed for use with thick acrylic gels and pastes. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ Larger sizes available in Series 7105 flat only: No14 $ No16 $ No18 $ No20 $ No22 $ No24 $ No26 $ No28 $ No30 $ IMPASTO Mottler Series 5025 For manipulating heavy acrylic gels over large areas. 20mm $ mm $ mm $ mm $ mm $ mm $

14 Cosmotop-Nova Our most popular brush, the blended fibre Cosmotop-Nova series possess unexpected elasticity, and are especially good for fine work with acrylics, and are also good for smooth work with oils. Cosmotop-Nova brushes come to a fine tip and clean edge, and are distinctive with their green polished handles. Cosmotop-Nova round short-handle Series 5570 For detail and glazing techniques with fluid colour. No10/0 $ 8.99 No5/0-00 $ 8.50 No0 $ 8.99 No1 $ 9.50 No2 $ 9.99 No3 $ No4 $ No5 $ No6 $ No8 $ No10 $ No12 $ No16 $ No20$ No24 $ No30 $ Cosmotop-Nova round long-handle Series 1670 Long handles can be held many ways, so increase the versatility of the brush. No6 $ No10 $ No12 $ No16 $ No20 $ These brush sizes are smaller than for the Series 5570 above. Cosmotop-Nova flat short-handle Series 122 These flats are good for spreading techniques with fluid colour. No2 $ 9.99 No4 $ No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ No24 $ Cosmotop-Nova flat long-handle Series 1870 Long handles can be held many ways, so increase the versatility of the brush. No2 $ 9.99 No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No18 $ No24 $ Cosmotop-Nova filbert short-handle Series 1375 Filberts are best for blending techniques. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No20 $ Cosmotop-Nova filbert long-handle Series 1875 I like the balance of a long handle. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No16 $

15 Flats are good for dabbing & spreading, filberts for blending, angle-shaders & riggers for lines. 15

16 Cosmotop-Nova Rigger Brush Series 1270 Extra long blended fibre for creating lines with fluid colour. No10/0 $ No5/0 $ No2 $ No4 $ No8 $ No12 $ Cosmotop-Nova angle-shader Series 1373 Angle shaders are good for straight line and filling. No4 $ No8 $ No12 $ No16 $ Cosmotop-Nova flat transparent handle Series 18 The flattened end of this handle is useful for removing masking fluid. No8 $ No16 $ No18 $ No20 $ Vario-Tip Brush Series 1381 A multiple-tip flat brush made from Nova and Top-Acryl fibres in different lengths, for producing varied parallel lines. Very useful in painting grass, hair, waves etc. with fluid acrylic or watercolour. No12 $ No16 $ No20 $ Vario-Tip Fan Brush Series 1385 While the Vario-Tip flats can clump when used with Heavy Body acrylic or oilcolour, the fan shape is well suited to these. No5 $ Award-winning Vario-Tip brushes make textured effects easy to achieve. 16

17 Junior Synthetic Don t be put off by the name - these traditional single fibre brushes are made specifically for rough student handling! Although inexpensive, they are excellent brushes - soft yet hard-wearing, a good, economical brush for all media. Junior round Brush Series 303 Round brushes for all painting techniques. No1 $ 4.99 No2 $ 4.99 No3 $ 5.50 No4 $ 5.99 No5 $ 6.99 No6 $ 7.50 No8 $ 9.50 No10 $ No12 $ No14 $ No16 $ No18 $ No20 $ Junior flat Brush Series 304 Flats are best for spreading & dabbing techniques. No2 $ 5.50 No4 $ 6.50 No6 $ 7.99 No8 $ 8.99 No10 $ No12 $ No14 $ No16 $ No20 $ No24 $ Good, hardwearing synthetics, not just for Junior artists! Junior Jumbo round Series 300 These extra large brushes are for working large in any media. No24 $ No30 $ No40 $

18 Synthetic Mottlers in both single filament and blended-fibre, depending on your needs. Synthetic Mottler Series 5076 Mottlers are wide, flat brushes for area work, and this soft-haired mottler is great for washes and softening. 20mm $ mm $ mm $ mm $ mm $ mm $

19 Synthetic Mottler Series 5036 A strong-haired mottler for thicker colour, blending and varnishing. 20mm $ mm $ mm $ mm $ mm $ mm $ Hey! Cheap as China Made In Germany! Produced by da Vinci s special partially-automated machines, these Brushes are real European quality but at a very hot price! College rounds Series 8730 Long handled soft synthetic brushes, excellent for fluid colours. No0 $ 4.99 No1 $ 4.99 No2 $ 4.99 No4 $ 5.99 No6 $ 6.50 No8 $ 8.50 No10 $ No12 $ College flats Series 8740 No2 $ 4.99 No4 $ 5.99 No6 $ 7.50 No8 $ 8.99 No10 $ 9.99 No12 $ No16 $ No20 $ College Filberts Series 8750 No04 $ 9.99 No06 $ No08 $ No10 $ No12 $ No16 $ No20 $ Hobby rounds Series 373 No0 $ 3.99 No2 $ 3.99 No4 $ 4.50 No6 $ 4.99 No8 $ 6.50 No10 $ 8.99 No12 $ Hobby flats Series 374 No2 $ 3.99 No4 $ 4.50 No6 $ 5.50 No8 $ 6.50 No10 $ 6.99 No12 $ 8.99 No16 $ No20 $ No24 $ Hobby Filberts Series 375 No04 $ 8.99 No06 $ 9.99 No08 $ No10 $ No12 $ No16 $ No20 $ Hobby mottlers Series 5073 Fantastic value! 20mm $ mm $ mm $ mm $ mm $ mm $

20 Bristle (Hog Hair) for oilcolour (and acrylics) Hog bristle, in a variety of qualities, is the work-horse of oil painting. Bristle brushes can be used for acrylic also, however they are more difficult to clean acrylic from than synthetic. Bristle is robust enough to resist wear on abrasive surfaces like canvas, absorbent enough to wipe back layers, and yet good quality bristle is soft enough to respond to delicate strokes. Good quality bristle will have split ends called flags, so although the edge of the brush may look fuzzy, this is a good thing, as the flags are what hold the paint. Maestro-2 Bristle Brush Using modern techniques, the top-quality bristle is formed into an interlocking effect that ensures clean shape and excellent response. The Maestro-2 brushes hold plenty of colour in their flags and can be used for both sensitive and robust work with oilcolour. Their distinctive black & red handles are perfectly balanced. Maestro-2 Round Brush Series 5723 Rounds were the only painting brush used from the Renaissance to the beginning of the 19 th Century, so there is no end to the techniques that a round brush lends itself! No1 $ No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ N.B. These are larger American-sizes, so a No10 is about 10mm across the ferrule, as opposed to the usual 6-7mm. Maestro-2 Flat Brush Series 5023 Flat lettering brushes were popularized by the Impressionists in the 19 th Century, who used them for bold strokes and dabbing effects to describe dappled light. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ No24 $ No30 $ N.B. These are larger American-sizes, so a No10 measures about 20mm across. Maestro-2 Filbert Brush Series 5423 Filberts were developed later in the 19 th Century for the renewed interest in blending colour, as the mark from a flat brush is too obvious. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No16 $ No20 $ No24 $ N.B. These are larger American-sizes, so a No10 measures about 20mm across. 20

21 Maestro-2 Hog brushes represent the workhorse of oilpainting resilient and responsive to your touch. Properly maintained, these brushes will last many years. 21

22 Filbert Brush Series 7467 Short length top quality hog bristle set in long maroon handles. Filbert shapes can be used either for flat or point effect, and short-hair brushes are also good for applying colour very thinly and taking colour off. No0 $ No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No18 $ No20 $ No22 $ No24 $ Fitch Brush Series 2015 Not to be confused with fitch hair, fitch brushes are formed from long, good quality bristle set in a round ferrule, as a traditional Renaissance-style glazing brush. These extra large sized brushes hold large amounts of colour, so are good for large areas, and are fitted with comfortably-shaped plain round handles. They are also useful for painting large areas in acrylic. No0 $ No2 $ No4 $ No6 $ No8 $ N.B. These are large sizes No0 measures 18mm across the ferrule and No8 31mm! Good hog brushes are hardy enough to work on a dry surface yet soft enough to blend wet colour. Mottler Brush Series 2470 Top quality, sturdy short hair bristle brush for applying size & grounds, and thin layers of paint. Short plainwood handle. 30mm $ mm $ mm $ mm $ mm $ mm $ mm $ mm $ mm $

23 Mottler Brush Series 2476 As above but with long, very soft hair. Excellent for applying wide areas of colour. 30mm $ mm $ mm $ Extra Large Mottler Series 2475 When you ve got a big area to cover Top quality bristle mottlers for spreading colour over large areas. 150mm $ mm $ mm $ Traditional Gesso Brush Series 2410 Strong, long bristles set into a 4-thickness ferrule (approx. four times the thickness of the mottler brushes above). Holds a large amount of primer and flows it onto your support with the minimum of brush strokes. Also very useful for large areas of acrylic. 25mm $ mm $ mm $ mm $ Short hair brushes are best for thin layers, longer hair lays down more paint. Fan Brush Series 403 Top quality soft bristle fan for blending colours, set on a long black polished handle. No1 $ No5 $ Stencil Brush Series 111 Short round ferrule with a flat brush head for stippling and stencilling techniques. No6 $ 9.99 No10 $ No14 $

24 Student Quality Bristle Brushes Good, economic, hardwearing brushes with plainwood handles and well-set bristle for preliminary work and rough treatment! These brushes don t feature as many flags as the Professional Bristle Brushes, not the inter-locking effect, but they make great work-horses for your oilpainting. Student Flat Brush short handle Series 29 Hoghair flats on short plainwood handles. Good clean edge and won t lose hairs like similar cheap brushes - ideal for student use. Flats are commonly used for spreading and cutting in. No2 $ 2.50 No4 $ 2.70 No6 $ 2.90 No8 $ 2.99 No10 $ 3.20 No12 $ 3.50 No14 $ 3.99 No16 $ 4.60 No18 $ 5.20 No20 $ 6.70 Student Round Brush short handles Series 128 Hoghair round brushes on short plainwood handles, that won t lose hairs like similar cheap brushes - ideal for student use. Rounds are great for all painting techniques. No2 $ 3.50 No4 $ 3.99 No6 $ 4.50 No8 $ 4.99 No10 $ 5.50 No12 $ 6.50 No14 $ 8.50 No16 $ 8.99 No18 $ No20 $ Student Flat Brush long handles Series 23 Hoghair flats on long plainwood handles. Good clean edge and won t lose hairs like similar cheap brushes - ideal for student use. Flats are commonly used for spreading and cutting in. No2 $ 3.20 No4 $ 3.30 No6 $ 3.40 No8 $ 3.60 No10 $ 3.80 No12 $ 3.99 No14 $ 4.80 No16 $ 5.99 No18 $ 6.99 No20 $ 7.99 No22 $ 9.50 No24 $12.99 Sketching flat Brush long handle Series 7179 Extremely robust bristles for sketching and simple forms of painting. Set on long plainwood handles. Flats are commonly used for spreading and cutting in. No2 $ 4.20 No4 $ 4.30 No6 $ 4.50 No8 $ 4.99 No10 $ 5.50 No12 $ 5.90 No14 $ 7.50 No16 $ 8.50 No18 $ No20 $ No24 $ Sketching round Brush long handle Series 7779 Extremely robust bristles for sketching and simple forms of painting. Long plainwood handles. Rounds are great for all painting techniques. No2 $ 5.50 No4 $ 5.50 No6 $ 5.99 No8 $ 6.50 No10 $ 7.50 No12 $ 8.50 No14 $ No16 $ No18 $ No20 $

25 MAESTRO Quality Bristle Brushes MAESTRO white bristle brushes are built with the natural curve of the bristles turned inwards. Two equally-sized tufts of top quality bristle are set against each other without tension and made to interlock. Properly cleaned after each use, the brush will retain its shape even after long use and many washings. The MAESTRO range represents the finest bristle brushes master brushmakers can produce. MAESTRO Round Brush Series 7700 Rounds were the only painting brush used from the Renaissance to the beginning of the 19 th Century, so there is no end to the techniques that a round brush lends itself! No1 $ No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ MAESTRO Flat Brush Series 7100 Flat lettering brushes were popularized by the Impressionists in the 19 th Century, who used them for bold strokes and dabbing effects to describe dappled light. No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No18 $ No20 $ No26 $ No28 $ MAESTRO Filbert Brush Series 7400 Filberts were developed later in the 19 th Century for the renewed interest in blending colour, as the mark from a flat brush is too obvious. No1 $ No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No18 $ No20 $ No22 $ No24 $ No26 $ No28 $ No30 $ Extra & Extra Extra Long Handles A 600mm or 1000mm long handle may seem ridiculous, but this allows the painter to draw on a very large canvas from a distance that enables them to view the entire surface while doing so. MAESTRO Filbert Extra Long Handle Series 7906 Extra-long top quality bristles mounted on long 600mm varnished handles. No20 $ MAESTRO Round Extra Extra Long Handle Series 7708 A No24 round MAESTRO bristle brush set on a 1 metre long plainwood handle! No24 $

26 26 Maestro are the finest bristle brushes available, and with proper care will last many, many years!

27 27

28 Natural Hair for watercolour & oilcolour Natural hair is a precious resource that provides the true professional with a tool that performs to the highest standards. While da Vinci s synthetic technology has enabled them to emulate natural hair to a degree, natural hair brushes possess unique characteristics, such as fluid-carrying capacity, that make them the sole choice for many artists, for watercolour, oilcolour and, to a much lesser extent, acrylics (especially inks). Da Vinci buys Winter tails directly from the Siberian traders, and dresses the hair using traditional German techniques, ensuring the highest quality for these brushes. Sable & Sable-Mix Brushes Sable is both soft and strong, with excellent colour-carrying qualities that make it the first choice for many watercolour artists and a very useful oilpainting tool for blending and detail work. As a limited natural resource, these brushes should be cared for and only used where they are best suited. Sable brushes are not ideal for acrylic painting because its rapid drying will quickly destroy the brush. Maestro Kolinsky Sable round Series 10 Finest pure Siberian Kolinsky red sable hair from selected male winter tails. These are formed in a slim European body, hold a perfect point and have lots of spring and life. Each brush has been tested carefully. No5/0 $ No3/0-0 $ No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ No8 $ No10 $ Maestro Kolinsky Sable round Series 11 Using the same select hair as the Series 10 (above) but shaped into a fuller English body and with a tell-tale gold-plated ferrule, the Series 11 are the highest quality sable brushes on the market. Used and maintained properly, these brushes will last a life-time. No5/0-0 $ No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ No8 $ No12 $ No14 $ No16 $ Maestro Kolinsky Sable round Series 35 Using the same selected Kolinsky hair as the Series 10 (above) but shaped into super tapered points, these brushes are great for line and detail work, holding plenty of colour behind a super-fine tip. We can t resist using these for ink work! No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ No8 $ No12 $

29 The super-taper tip of the Maestro Kolinsky Series 35 makes it perfect for detail and line work. Restauro Kolinsky Sable round Series 5506 Finest selected Kolinsky sable (as per Series 10 above) made with a shorter length for greater control of the fine tip. No00-0 $ No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ Kolinsky Sable round Series 36 Using a slightly lesser grade of Kolinsky sable provides a more economical brush, still with a good point and flex at a very reasonable price. No00-0 $ No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ No8 $ No10 $91.50 No12 $ No16 $ No20 $ Sable Flat Brush Series 1311 Finest quality Kolinsky sable flat brushes set in short black handles. A sharp edge and perfect spring make them great for spreading and cutting in. No4 $ No6 $ No8 $ No10 $ Sable Rigger Brush Series 1115 Slim long-length finest Kolinsky sable that comes to a sharp point, for producing long straight lines. No0-1 $ No2 $ No4 $ No6 $ No8 $

30 Sable Pocket Brush Series 1503 Finest Kolinsky sable, with a double-sectioned robust handle that covers the brush when in transport and extends the handle when in use. Fits in most sets. No4 $ No6 $ Long-handled Sable filbert Series 1825 Harbin-Kolinsky sable in a short filbert (cats tongue) shape, for wet-in-wet oilcolour blending and cutting in, fitted to long dark red hexagonal handles. No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ Ideally suited to watercolour work, with perfect spring, fluid retention, and fine tip. 30

31 31

32 Black Sable Oil-painting round Series 1640 Once bristle brushes have laid one or two layers of colour on, a softer brush must be used to continue if you don t want to disturb the initial layers. Black sable has been favoured since the 19 th Century for its strength & softness, making it an ideal brush for wet-on-wet oilcolour. Long polished handles. No 000/00/0 $ No1 $ No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ Black Sable Oil-painting flat Series 1840 Black sable has been favoured since the 19 th Century for its strength & softness, making it an ideal brush for wet-on-wet oilcolour. Long polished handles. No4 $ No6 $ No8 $ No 10 $ No12 $ No14 $ No16 $ No18 $ No20 $ No22 $ No24 $ No30 $ No14 $ No16 $ Black Sable Oil-painting filbert Series 1845 Black sable has been favoured since the 19 th Century for its strength & softness, making it an ideal brush for wet-on-wet oilcolour, especially in the filbert shape. No1 $ No2 $ No4 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No18 $ No20 $ No22 $ Cosmotop-Mix The Series 5530 is our most popular watercolour brush. A mix of sable, squirrel and synthetic that combines the flex, water-holding capacity, and resilience of the relative components to provide the perfect all-round watercolour brush. Cosmotop-Mix Round Series 5530 A great alternative to pure sable watercolour brushes; these brushes hold plenty of colour behind a fine tip, allowing you to achieve many techniques with the one brush. No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ No8 $ No10 $ No12 $ No14 $ No16 $ No18 $ No20 $ No24 $ No30 $ Cosmotop-Point Brush Series 5535 Extra-long & pointed brushes are ideal for long flowing marks. No16 $ No20 $ No24 $

33 Cosmotop-Mix Flat Series 5830 Flat brushes are commonly used for laying in washes and for cutting in. No8 $ No10 $ No12 $ No16 $ No20 $ No24 $ Cosmotop-Mix Oil-painting Series 1833 The Cosmotop-Mix is also a good blend of hair for oilcolour, as this extra-thick filbert (quadruple thickness) proves. This shape was used extensively in the 19th Century for oilcolour blending. Fitted with long blue hexagonal handles. No8 $ No12 $ No16 $ No20 $ Black Sable Oilpainting Brushes were highly prized in the 19 th Century for working wet-in-wet, not as coarse as hog hair yet not as elastic as red sable. They are also useful with Golden OPEN Acrylics. 33

34 Squirrel Hair & Wash Brushes Squirrel is very soft and holds the greatest amount of water of any hair, making the perfect wash brush. It is too delicate for use with oilcolour or acrylic. French Wash Brush Series 418 Finest petit gris blue Russian squirrel hair, bound in the traditional French manner. The large body provides a huge reservoir and it s soft enough to put washes over preceding colours. The fine tip makes it a useful brush for spontaneous and loose wet-in-wet watercolour too. The ultimate watercolour wash brush! No1 $ No2 $ No3 $ No4 $ No5 $ No6 $ No8 $ No10 $ No12 $ N.B. These are extra-large French wash sizes a No5 is the same in girth as a No20 Cosmotop-Mix round (above) and longer in length! Squirrel Series 418 are best used just for watercolour, as the hair is too delicate for other colour. The Cosmotop-Spin Series 488 takes its shape from the Series 418, but can be used with fluid acrylics and performs spectacularly as an ink brush. Silk Star Wash Brush Series 806 Onion-shaped brush in finest black ox hair specifically for silk painting, but also very suitable for watercolour techniques. No10 $ No14 $ No18 $ Dagger Striper Series 700 Kazan squirrel hair brush traditionally used for striping with enamel, but can also be used as a rigger and will hold more fluid. Used on its side to produce long stripes. Short cedar handles. No0 $ No1 $ No2 $ No3 $ No4 $ Liner Brush Series 20 Body made of Kazan squirrel that holds a large amount of water, with an extra-long tapered point of ox hair protruding from the body, allowing the painting of continuous lines 3 metres and longer! No8 $

35 Badger for blending The slightly wavy character of pure badger hair imparts a gentle resistance essential for softening and blending of oilcolour in painting as well as its traditional use in faux effects (marble, etc). Badger Softener Series 96 Pure badger hair set in the perfect classical block of 5 rows, as used by the 19th Century masters. 40mm $ mm $ mm $ mm $ mm $ Badger Blender Series 92 A smaller, round badger blender with natural quill ferrule set on short plainwood handle. No5 $ Badger Fan Blender Series 408 Large thick fan blenders that can be used for both small and large area blending. No16 $ Badger brushes gently smooth out brush strokes & ridges. 35

36 SPECIALIST BRUSHES Theatre Brushes The longest brush fibres available for painting! Special extra-long mixed naturalsynthetic brush heads suited to acrylics, inks, and oilcolours. Produced for setdesign and direct-wall painting. Series 1000 No35 $ mm visible hair length and 37mm ferrule on long anthracite polished handle. Series 1002 No60 $ Over 110mm visible hair length and 60mm ferrule on 1100mm screw together handle. Faux Effects Brushes for producing wood-grain and marble effects Wavy Mottler Series 2468 Used for randomly taking colour off and laying it on in parallel broad lines to imitate wood burr. 110mm $ mm $ Pencil Overgrainer Series 2466 The multiple hog hair tips on the overgrainer are used to take off colour to produce wood grain. 50mm $ mm $ mm $ Flogger Series 2491 Extra long Calcutta bristle used in a slapping action to produce wood grain. 40mm $ mm $ mm $ Gilding The art of gold leafing Gilder s Tip Series 500 Fine long squirrel hair on a card handle for picking up and brushing down gold leaf. 25mm $ mm $ mm $ mm $ Gilder s Mop Series 710 Soft squirrel mops for dusting down the gold leaf onto the glue size. No4 $ No10 $

37 Mahl Stick The Third Hand $ A mahl stick is used for steadying your hand when painting any detail or fine line. The head of the stick is rested against a dry part of the painting or on the easel, and your hand, wrist or arm is rested on the stick. Our mahl sticks are made with chamois leather, cotton, and cork heads for a soft yet stable touch and 80cm shafts. 37

38 38

39 39

40 40 PH FX Crummer Road, Grey Lynn, Auckland 1021, Aotearoa/New Zealand On Facebook? Befriend our alter ego Will Paynt! Open Monday to Friday 8:30am to 5:30pm Saturday 9:00am to 4:00pm