The Society of Figurative Arts’ mission here is to support product lines that maintain a focused commitment to the professional artist.

The Society of Figurative Arts’ mission here is to support product lines that maintain a focused commitment to the professional artist.

What we have listed below are the manufacturers’ blurbs, followed by TSoFA’s assessment.

TSOFA OBSERVATIONS: ‘stiff and course’ only slightly more so than ESCODA CLASICO, and RAPHAEL D’ARTIGNY (EXTRA WHITE). This could be a stiffer bristle itself or the result of the ‘extra-thick tuff’ and ‘the most hairs per square inch.’ it does indeed have excellent spring as do the Escoda Clasico and the Raphael D’Artigny. All the brushes parity in handle length ‘extra long’ but the Isbabey Yellow Handle is fatter and weightier than the others. This brush feels very good in the hand and has a balanced feel.

TSOFA OBSERVATIONS: ‘Superb Spring‘ our overall consensus is that Isabey (Yellow Handle) Chungking, Escoda Clasico, and Raphael D’Artigny have similar spring while the Da Vinci Maestro 2 has a noticeable softer spring or bounce. ‘maximum brushstroke control’ is marketing mumbo jumbo which has a number of variables. Pigment load based on tuft thickness being a major factor here. It one wishes to work more painterly the Isabey Yellow Handle or the previously tested Raphael Paris Classic are the better choices the other three have excellent load capacities as well. Chungking Hog-Bristles are brushes for Painters who like paint. All the brushes tested offer good brushstroke control. If one needs maximum control and is devoted to detail they will be more content with synthetics or sables. Hog-Bristles are for oil painters that love brush-strokes and the pull of paint coming off the brush. ‘Superior quality’ that applies to all brushes tested. ‘Priced for value‘. The cost was not a criterion here but if it is a factor for you the Raphael Extra-White may fit the bill. We did not find any quality differential with other brands tested.

‘Interlocking natural curve.’ All professional-grade brushes look good at retail because they are sized with gum arabic to maintain their shape. (this is the only time the brush will ever look like this and the sizing should be removed before their first use.) The top manufacturers use top quality materials and select extra-long hairs based on their natural curve. Many also use ‘cupping’ to help form and shape the brush. ‘Strong and long-wearing’ is a given for top-tier professional-grade brushes.

TSOFA OBSERVATIONS: ‘handcrafted’ In itself, this is meaningless. The critical aspect here is who’s hands. Escoda makes many outstanding brushes, and their Bristles are no exception. ‘Curing Process’ We are not sure why this claim is needed or what it means. 

‘Memory of the bristles‘ Brushes tested are at parity. 

‘Retains original shape.’ As we stated earlier, none of these brushes retain the shape they had at point-of-purchase. Handles have no unique characteristics, but the ‘triple crimped ferrule’ is an Escoda trademark.  

TSOFA OBSERVATIONS:‘extra strong yet elastic’ These brushes have a softer bounce back, which we guess they referral’s to as more spring. ‘Double-Boiled’ This creates a more delicate brush that has little to do with its life span. ‘Interlocking Bristles.’ It is our understanding that the double boiling process straightens out bristles, and we noticed this brush loses a little of its curve after a few uses. ‘Removing Stiffer Fatter hairs’ to ensure better flags. We will take them at their word on this one. These brushes do have a little softer stroke, which will appeal to some painters.

IN SUMMARY:

‘Bristles‘ Raphael D’Artigny, and Escoda similar; Isabey Yellow Handles stiffer, Da Vinci Maestro 2 softer.

‘Handles‘ Isabey Yellow Handles thicker and balanced weight.

‘Ferrules’ Escoda Clásico – triple-crimped.