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      127 article   /   614 Variants
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      • Set di pennelli in setola, manico lungo
        white China bristles, sheet metal ferrule; long matte varnished wooden handle
        4 Variants
        Set di pennelli in setola, manico lungo
        from 3,30 €
      • Pennello per acquerello Da Vinci Nova, tondo
        extra-fine gold coloured synthetic fibres, round, pointed, seamless silver-coloured ferrule (= drawn brass tube, nickel-plated); short wooden handle in a polished green finish, international size assortment, sizes...
        18 Variants
        Pennello per acquerello Da Vinci Nova, tondo
        from 2,40 €
      • Pennello DaVinci Fit For School And Hobby, tondo
        grey synthetic fibres, seamless aluminium ferrule (= drawn aluminium tube), green matte varnished wooden handle, sizes 0-12, exposed hair length 9.5-26 mm, total length 180-203, protective cap, w = width of ferrule
        8 Variants
        Pennello DaVinci Fit For School And Hobby, tondo
        from 1,15 €
      • Spugnette per acquerello
        natural sponge from the Mediterranean Sea, irregularly round
         
        Spugnette per acquerello
        from 1,80 €
      • Pennello in setole naturali, sottile, (n° 1021 G)
        boar bristles, standard quality, silver aluminium sheet cramp, long raw wood handle, w = the cramp width
        7 Variants
        Pennello in setole naturali, sottile, (n° 1021 G)
        from 0,95 €
      • Pennello largo Da Vinci Fit for Hobby
        grey synthetic fibres, stainless steel ferrule; matte green glazed wooden handle, sizes 2050, exposed hair length 21-27 mm, total length 180-204 mm. hole for hanging, w = width of ferrule
        4 Variants
        Pennello largo Da Vinci Fit for Hobby
        from 5,70 €
      • Pennello DaVinci Fit for Hobby And School, piatto
        grey synthetic fibres, seamless aluminium ferrule (= drawn aluminium tube), matte varnished green wooden handle, sizes 2 to 24, exposed hair length 8 - 24 mm, total length 180-230 mm, protective cap. w = width of ferrule
        9 Variants
        Pennello DaVinci Fit for Hobby And School, piatto
        from 1,30 €
      • Chinese calligraphy brush set
        Brush tip
        mixture: marten and sheep hair
        Handle
        bambus, decorated, with hanging loop
        Packaging
        cellophane wrapped
        2 Variants
        Chinese calligraphy brush set
        from 7,70 €
      • Pennello acquerello Da Vinci Cosmotop-Mix B, tondo
        a mixture of natural hairs and synthetic fibres, seamless silver ferrule (= drawn brass tube, nickel-plated); short, blue-glazed wooden hexagonal handle, international size assortment, sizes 6-30 mm, exposed hair...
        12 Variants
        Pennello acquerello Da Vinci Cosmotop-Mix B, tondo
        from 7,95 €
      • Pennello per incollaggio
        light coloured boar bristles, round, silver sheet steel ferrule; short, raw wood handle, w = diameter of the ferrule
         
        Pennello per incollaggio
        from 1,05 €
      • Rullo di gommaspugna
        foam paint roller, black plastic handle
        3 Variants
        Rullo di gommaspugna
        from 0,85 €
      • Pennello di setole Da Vinci, largo
        white China bristles, stainless steel ferrule, short, raw wood handle, size is 15-60, exposed bristle length is 20-35 mm, total length is 150-185 mm, with hole for hanging, w = width at the ferrule
        7 Variants
        Pennello di setole Da Vinci, largo
        from 3,30 €
      • Set pennelli di gomma
        elastic silicon tips, seamless silver ferrule (= drawn brass tube, nickel-plated), varnished wooded handle
         
        Set pennelli di gomma
        from 8,10 €
      • Pennello scuola Da Vinci Junior Synthetics, piatto
        elastic gold-coloured synthetic fibres, seamless aluminium ferrule (= drawn aluminium tube), clear varnished hexagonal wooden handle, sizes 2-24, exposed hair length 8-22 mm, total length 185-240 mm, up to size 4 with...
        10 Variants
        Pennello scuola Da Vinci Junior Synthetics, piatto
        from 1,60 €
      • Pennello per olio/acrilico Da Vinci Nova, tondo
        extra fine gold-coloured synthetic filaments, seamless silver ferrule (=drawn brass tube, nickel-plated), long polished greeen wooden handle, sizes 0 to 24, exposed filament lengths 6 to 31 mm, total length is 288-325...
        12 Variants
        Pennello per olio/acrilico Da Vinci Nova, tondo
        from 2,60 €
      • Pennello hobby Da Vinci Forte Basic, tondo
        robust red-brown synthetic fibres, seamless aluminium ferrule (= drawn aluminium tube), wooden handle varnished a matte blue, sizes 3/0-12, exposed hair length 9.5-26 mm, total length 180-208 mm, protective cap, w =...
        8 Variants
        Pennello hobby Da Vinci Forte Basic, tondo
        from 1,50 €
      • Pennello per olio/acrilico Da Vinci Nova, piatto
        extra fine gold-coloured synthetic filaments, seamless silver ferrule (=drawn brass tube, nickel-plated), long polished greeen wooden handle, sizes 0 to 35, exposed filament lengths 6 to 39 mm, total length is 285-342...
        15 Variants
        Pennello per olio/acrilico Da Vinci Nova, piatto
        from 2,50 €
      • Pennello per uso scolastico (n°235)
        simple school quality, sheet metal ferrule, raw wood handle, for applying solvent
        3 Variants
        Pennello per uso scolastico (n°235)
        from 1,05 €
      • Pennello acquerello Da Vinci Harbin-Kolinsky,tondo
        Harbin Kolinsky red sable marten hair, seamless gold-coloured ferrule (drawn brass tube, 24 carat gold-plating); short anthracite glazed wooden handle, sizes 3/0-12, exposed hair length is 6 - 30 mm, total length is...
        11 Variants
        Pennello acquerello Da Vinci Harbin-Kolinsky,tondo
        from 3,60 €
      • Pennello scolastico per acquerello Da Vinci, tondo
        mixed squirrel hairs, nickel ferrule with soldered seam; short red-lacquered wooden handle, sizes 0-14, exposed hair length 8-31 mm, total length is 165 - 210 mm, protective cap, w = diameter of ferrule
        11 Variants
        Pennello scolastico per acquerello Da Vinci, tondo
        from 1,25 €
      • Coltello da pittore Liquitex standard
        flexible stainless steel blade without welding seam, brushed, rust-free, wooden handle with hole for hanging
        18 Variants
        Coltello da pittore Liquitex standard
        from 3,60 €
      • Pennello piatto in setole naturali, largo (n.1149)
        boar bristles, standard quality, silver aluminium sheet cramp, long raw wood handle, w = the cramp width
        4 Variants
        Pennello piatto in setole naturali, largo (n.1149)
        from 1,85 €
      • Pennello di setole Da Vinci, manico corto, piatto
        white China bristles (Chungking), seamless aluminium ferrule, natural wood handle, sizes 2 to 24, exposed bristle length 9-25 mm, total length 163-219 mm, w = width of the ferrule
        13 Variants
        Pennello di setole Da Vinci, manico corto, piatto
        from 0,90 €
      • Da Vinci Casaneo watercolour brush
        Ferrule
        silver coloured aluminium, seamless
        Barrel
        short, shiny black hexagonal handle made of wood
        Brush tip
        extra-soft, elastic synthetic fibres
        Contents of ...
        set of 3: series 5598 (roung/p ...
         
        Da Vinci Casaneo watercolour brush
        from 21,00 €
      • Set pennelli universali, sintetici, manico corto
        gold-coloured synthetic fibres, seamless silver ferrule; short, black wooden handle; diameter of ferrule on round brushes: 2/3/5/8 mm, width of ferrule on flat brushes: 2/3/7/10 mm
        2 Variants
        Set pennelli universali, sintetici, manico corto
        from 6,20 €
      • Pennello tipo │Francese╩ Da Vinci, tondo
        pure blue Russian squirrel hairs, in plastic quills (French binding); short, clear varnished wooden handle, exposed hair length is 19-31 mm, total length is 177-197 mm, w = diameter of ferrule
        4 Variants
        Pennello tipo │Francese╩ Da Vinci, tondo
        from 15,20 €
      • Pennello in setola sintetica, piatto
        golden synthetic bristles, silver tin ferrule, painted wooden handle, w = width of the ferrule
        2 Variants
        Pennello in setola sintetica, piatto
        from 5,10 €
      • Pennellessa di tasso per velatura Da Vinci, piatta
        pure badger hair, reworked onto small plastic plates, short brown lacquered wooden handle, exposed hair length 65-75 mm, total length 230-250 mm, w = width of ferrule
        2 Variants
        Pennellessa di tasso per velatura Da Vinci, piatta
        from 53,00 €
      • Pennellessa piatta con impugnatura di cartone
        bristles held in place by firm, rose pink cardboard; flat/blunt, w = width of the cardboard
        4 Variants
        Pennellessa piatta con impugnatura di cartone
        from 6,50 €
      • Pennello bombasino ovale Da Vinci, capra + legno
        black goat hair, red-dyed wired natural quill; short, untreated wooden handle, exposed hair length 25-35 mm, total length 190-205 mm, protective cap, w = width of quill
        2 Variants
        Pennello bombasino ovale Da Vinci, capra + legno
        from 6,00 €
      • Pennello di setole Da Vinci, manico lungo, piatto
        white China bristles, seamless aluminium ferrule (drawn aluminium tube), long, natural wood handle, sizes 1 to 24, exposed bristle length is 6 to 30 mm, total length is 280 to 330 mm w = width of ferrule
        14 Variants
        Pennello di setole Da Vinci, manico lungo, piatto
        from 0,95 €
      • Da Vinci School Brush Junior Synthetics, Set
        Ferrule
        aluminium, seamless
        Handle
        clear varnished hexagonal wooden handle
        Fibres
        synthetic
        Sizes
        set with various sizes
        2 Variants
        Da Vinci School Brush Junior Synthetics, Set
        from 7,90 €
      • Coltello da pittore Liquitex extra grande
        flexible stainless steel blade without weld seam, brushed wood handle, rust-free with hole for hanging
        18 Variants
        Coltello da pittore Liquitex extra grande
        from 9,90 €
      • Set pennelli di gommaspugna per superfici
        contents: 2 brushes with 25 mm width, 2 with 40 mm width, 1 with 60 mm width, 1 with 75 mm width; natural wood handles
         
        Set pennelli di gommaspugna per superfici
        from 4,70 €
      • Stupfpinsel-Set
        natural wood handle; body (cushion?) made of fine-pored beige foam, round, flattened at end), given measurements: diameter of the useable surface area of body, l = total length
         
        Stupfpinsel-Set
        from 2,80 €
      Page 1 of 4
      Informazioni su Pennello

      Whether natural hair, bristle or synthetic fibre brush: there are many important criteria that make up a good and long-lasting paintbrush. The capability of a brush to satisfactorily fulfil its function - which is to take up paint, hold it and deliver it - is not only dependent on its type, appearance and workmanship or the origins of its hairs or bristles but also on their length (within and outside of the ferrule), the type of ferrule, the quality of the brush´s production (some are still made by hand) and, not least, on the brush´s correct care and maintenance. Please note: the word “bristles” is the general term for the filaments of any brush but can also be used to specify the hairs from hogs.

      Ferrule, Binding and Gluing High quality brushes are produced with seamless metal sleeves that are made of either drawn brass or aluminium tubes. Depending on whether a brass sleeve is nickel-plated or gold-plated, it is referred to as a “silver ferrule” or “gold ferrule”. Sheet metal or nickel ferrules with a welded seam that are used in producing basic quality brushes tend to split apart if they are left too long in water because the water can penetrate through the welding seam and cause the handle (shaft) to swell.

      The bundle of hair or bristles is itself glued and then glued again into the ferrule – in the case of high quality brushes only solvent-resistant adhesives are used for these jobs. Supplementary to that gluing, the bristles are also bound in high quality brushes. For this process, the bristles are pre-formed in a brass bushing, bound with thread by hand and formed into the typical paint brush shape by twisting. The quality brush maker never ever uses a scissors or knife for shaping purposes.

      The hair, bristles or synthetic filaments of the finished brush is then sized with a gum Arabic solution. This binding agent must be washed out with warm water before the brush´s first use.

      Handles and size designations: A brush with a long handle is recommended for painting on an easel because it will enable a longer reach and allow the painter to stand a greater distance from the painting substrate. Brushes with shorter handles are best used when, for example, you are sitting at a table trying to achieve fine details with watercolours.

      The size designations of brushes refer to the width of the brush body at the ferrule. For example, a specification of “3/0” means that the width of the brush is three times smaller than the size “0”. Brush widths and the amount of bristles in the brush are not standardized, which means that a brush from different suppliers with the given size of ”10” can in fact vary in size and have more or less filament strands.

      Elasticitiy, paint intake and delivery capabilities: These attributes depend primarily on the length of the hairs or, alternatively, the bristles. The longer the treated bristles and the deeper they sit in the ferrule, the greater is their degree of resilience (which is called “snap” in artist circles). For manufacturers that pride themselves on quality a rule of thumb applies: the amount of the bristle that is invisible within the ferrule should be at least as long as the visible bristle sticking out. Only then will the body of the brush maintain its original shape without the hair or bristles fatiguing.

      Additionally, the longer the hair and the greater the mico-roughness of its surface structure, the better the paint´s intake and holding capability will be. The interstices within the bundle of hairs work like capillary tubes in which the paint rises and is held until the hair or bristles are bent during the painting process and the capillaries are thereby contracted. This action presses the paint out of the capillary tubes and it then “flows”. The rough and scaly surface of natural hairs and bristles plays an important role in the delivery of the paint because it serves to more efficiently hold paint between the hairs and only deliver it a little at a time. This is where synthetic hairs are at a disadvantage, one that especially impacts watercolour painting: their smooth surface is less able to hold such thin paint than the rough natural hairs. The paint therefore flows faster and is less controllable.

      Paintbrush head material: natural hairs, bristles, synthetic filaments

      Biologically there is no difference between hair and bristles. Both consist of a medulla that is enveloped by squamous and cortical layers (fine scales). Technically speaking, only the stiff hairs from domestic pigs and boars are called “bristles” but in the brush manufacturing field any hair with a diameter of at least 0.2 mm counts as a bristle or, in common parlance any filament of a brush. Natural hog bristles grow conically, being thicker at the root or butt end than at the tip. The tip of each individual bristle ends in a so-called “flag”: this means that it is naturally split into two or more thin branches. This flag contributes significantly to the ability of a brush to yield a more even application without leaving grooves.

      Natural hairs also grow conically but instead of ending in a “flag” they only have a more or less fine tip. The long hair from the tail of the Siberian Kolinsky (a red sable marten) represents a true novelty. This hair does not taper from the root to the tip but instead has a natural thickness in the “belly” in the middle. This “belly” is responsible for the resilience and elasticity of the red sable marten brush hairs; it must be stuck far down into the ferrule so that a Kolinsky brush can yield its unique quality of brush stroke.

      Considering that natural hairs become more and more expensive every year because the demand far outstrips the supply, synthetically produced brush bristles have become every more popular as a resource-saving and economically attractive alternative. Synthetic filaments can be produced with a taper so that they, like natural hairs, can hold a needle-fine point. They have a high degree of stability and extraordinary spring tension, are easy to care for and maintain and are less expensive than natural hairs. Even though they fall short of natural hairs in their ability to take up a lot of paint and deliver it accurately, the synthetic filament brushes have proven themselves to be particularly great for painting with acrylic paints and on coarse substrates.

      Kolinsky red sable hair: Kolinsky red sable hair is the most valuable and expensive hair for brush production. You might think of them as the brush equivalent of a Stradivarius. It is made from the tail hair of the Siberian red marten “mustela sibirica” (a large Siberian weasel) that mainly lives in eastern Siberian river landscapes. It is only the winter tail of the male animal that reaches the famous level of quality. Furthermore, the following rule of thumb applies: The more northern and colder the habitat, the more durable and better the quality of the long and extremely fine and tapered hair. Good Kolinsky red sable hairs are between 30 and 55 mm long and one marten tail only yields between 1 and 1.5 usable hairs that will find their way into the highest quality watercolour and oil paintbrushes. Kolinsky red marten hairs are golden red, extremely elastic and resilient (“spring”) and, when used in paintbrushes, are able to retain their shape (“snap”) even in wet conditions.

      The price of a Kolinsky depends on the length of the hair used, the place of the hairs´ origin and its workmanship. In the case of truly high quality Kolinsky paintbrushes, a large portion of the hairs are stuck into the ferrule and, in addition to being glued, are also bound.

      Squirrel hair: Squirrel paintbrush hairs come from the tails of Canadian and Russian squirrels and are not as resilient (less “snap”) and elastic as the red sable marten hair – but do feature an extreme capacity for holding paint. Because of this, they are often used in so-called “watercolour wash” brushes for large area painting whereby they must be able to take up a great deal of liquid. Squirrel hair is the finest of all natural hairs used in paintbrush production and can be as long as 60 mm long.

      The blue squirrel and Kasan (brown) squirrel hairs represent the best quality in this group. Blue squirrel hair comes from squirrels with blue-black fur that live in Siberia, China or Mongolia. The mottled grey Kasan squirrel hair has reddish brown tips – its name comes from the Russian city of Kasan on the Wolga River.

      Badger hair: Badger hair is one of the most expensive and valuable hair types in the field of paintbrush production. Because of its peculiar elasticity and firmness it is rated as being between a bristle and a natural hair. The hairs are slightly wavy and have beautiful markings that are specific to the badger, which belongs to the marten family. Its habitat is the temperate zones of Europe and Asia. Only the fully developed winter hair from the back and flanks of the animal are used for making brushes. The back hair, which can be as long as 120 mm, is primarily used for making shaving brushes and for the so-called (German) “badger blender”, a wide flat brush used for veining techniques (grain varnishing).

      Pony hair: This hair, which is often mistakenly called “camel hair” comes from Chinese ponies and is used in the production of economical school brushes.

      Natural bristle: The highest quality bristles used in paintbrush production come from Chinese and Russian hogs. They are distinguished by their robust structure, excellent elasticity and high degree of resilience. The high quality of the hair is a consequence of the hogs being kept in the open air, which leads to the development of a very resilient and robust bristle covering, especially in the rough climatic conditions of the Chinese highland. The white and especially robust Chungking bristles (named after the Chinese city) are used for high artist quality oil painting brushes. Bristle brushes are mostly found being used with pasty paints like acrylic and oil colours.

      Care and maintenance of brushes: In order to assure the long life of a brush, particular attention should be given to a few basic principles for their use and maintenance:

      • Brushes should never be stood on their bristles or hairs – always on the handle.
      • Never allow remaining paint to dry in the brush. When washing, the head of the brush must be carefully rubbed and twisted in order to remove all left-over pieces of pigment at the ferrule end of the hairs. Hardened paint residue will cause the hairs or bristles to spread apart or break.
      • Water soluble paints are best cleaned with running water, then smoothed out and formed back to their original shape. Natural hair brushes should occasionally be cleaned with a moisturizing CURD SOAP in order to assure the brushes will retain their elasticity for a long time.
      • Acrylic paints should always be washed out with water as long as the paint is still wet. Dried paint can only be removed with special brush cleaners (see BRUSH CLEANING AND STORAGE in our shop). In the process, care should be taken that the brush never remains in the solvent for a long time because it will negatively effect the glue in the ferrule.
      • Oil paint residue should first be wiped off of the brush´s head with a cloth before employing a moisturizing CURD SOAP and warm water or, alternatively, washing it out in a brush cleaning solution until it becomes clear. During the washing process, the head of the brush must be thoroughly rubbed and twisted in order to remove any pigment residue at the ferrule end of the hairs. The brush should then be wiped clean with a soft cloth and formed back to its original shape. Standing the brush for a long time in, for example, terpentine oil, is very harmful because such solutions will dry out the hairs or bristles, thereby making them brittle or even causing them to break.
      • After every washing and re-shaping, the brush must be allowed to dry thoroughly. A brush should never be placed on a heater to dry it out because this can cause the handle to shrink, which will loosen the head of the brush.
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