Gianni Maimeri, as a business man, was convinced that it was not industry helping art, but art which was helping to save industry, and this can be seen from the very early stages of his company, such as in the careful thought which went into creating the factory's trademark: the painter opted to use the geometrical shape of a tetrahedron because 'no matter which way one turns it, it always has the same shape, what's more, of the three engraved faces, at least two are always visible, so it is always possible to read Colori Stabili (stable colours), Colori Maimeri (Maimeri Colours) or Stabili Maimeri (Maimeri Plant)'. Another event which highlights Maimeri's line of thought goes back to the end of the 1920s when the two brothers got into huge debt with Baron Silvio a Prato who, as soon as the new F.lli Maimeri & C. was established, requested its immediate extinction. Gianni negotiated at length with the Baron and finally managed to convince him to accept forty of his best paintings in lieu of the bills of exchange. Their sensitivity to art and careful observation of the reality around them also gave the founders a certain predisposition to make subtle use of the first forms of advertising: they sent out informative posters and samples of their products to painters, academy professors and important politically and culturally influential people, such as Cipriano Efisio Oppo and Margherita Sarfatti. They also began to establish their first agreements with tradesmen, as can be seen from the "personalized" price lists held in the company's archives, a very first "database" of painters and merchants. Once sales in Lombardy had been launched, the partners decided to expand into other urban centres, particularly those famous for art, such as Venice, Florence, Naples and Turin, etc.. And so began the survey into the artistic commercial situation of the whole country, with people of known capacity visiting tradesmen and artistically influential people with posters, price lists and colour samples. On the back of the 1931 price list one can read: "Rules for mixing colours and using varnishes sent free of charge. Request them by simply providing a business card". Response from all over the country was quick to arrive, as the correspondence preserved in the archives proves: from Liguria, Pompeo Mariani, from Naples, Vincenzo Irolli, from Florence, Carlo Coppedè, from Lombardy, Leonardo Bazzaro and Arturo Tosi and from Rome, Antonio Mancini. Other letters of appraisal concerned the pigments of Maimeri's own making. In fact, in the early years, F.lli Maimeri also manufactured top-quality pigments such as emerald green, cobalt blues and purples, cadmium yellows and greens made from cobalt and chrome. Leone Maimeri (1926), Gianni's son, remembers in his unpublished work, Mio padre (My Father), how Piero, factory supervisor in the refineries once told him that "after my father's death, it was impossible to find pigments as beautiful as the ones we used to manufacture".

Up until 31 March 1945, the last day of bombing over Milan, Maimeri continued with its business activities. On that day however, a bomb hit the corner of the workshop, destroying it completely. Luckily there were no casualties, but the company was forced to shut down for some time. Leone Maimeri tells of how on that particular day he found himself not far from the factory and that after hearing the explosion all of a sudden he saw what looked like confetti come fluttering down from the sky: the coloured paper of Maimeri paint labels. The damage to the company was huge, but at the same time the demand for Fine Arts products at the end of the war continued to rise. The procedure for obtaining state funding was a long process so Gianni decided to rebuild the plant and the machinery at his own expense. In 1947 Gianni's young painter-entrepreneur son, Leone (1926) joined the company when he was a student studying Chemistry at Milan university. At that time the company had 15 employees, a number it had never before reached. Production increased by number and type. The most important new development in that period was the creation of the new line of watercolours called LM after Leone Maimeri. This series, with the addition of plasticizers such as honey and the use of extra-fine pigments was formulated to meet the needs of the most demanding customers. In this period Gianni and Leone were also working on the formula for a tempera grassa, a modern version of the egg tempera used in the Renaissance. The result was a new series of colours: the G SERIES - silver label TEMPERA GRASSA. This product, a mixture of innovation and tradition, went on to be hugely popular with the tempera artists of the day. As an informative brochure for merchants says: "MAIMERI TEMPERA GRASSA is water-soluble and can be diluted by adding this liquid, be it just a few drops or to maximum dilution so that it is similar to watercolour ['']. The dispersive power of tempera is enormous. To prove this, simply touch a water-saturated surface with a drop of paint to produce an instant spread of colour. This property is invaluable in obtaining uniform and suggestive gradations (for an effect similar to the one obtained using pastels). But the colour can be effectively used both as a diluted paste and in thick brush strokes with just a little added water. Water is however always a necessary medium for obtaining the complete and sharp surfaces characteristic of tempera. Excellent results can be achieved with both vegetable and mineral white spirit solutions. Dispersion is obviously less marked and painting done in this way is closer to oil painting while still maintaining the characteristics of tempera. His interest in artistic techniques had led Gianni Maimeri to investigate also the 'material' aspect of his art and his 'Trattato sulla pittura' (Treatise on Painting), written mainly in the early thirties and revised in 1946-47, shows to what extent he was an expert on the technical and scientific aspects of painting. (Gianni Maimeri. Trattato della pittura, Turino 2010 - edited by S. Baroni).

In the second half of the 1980s, after years of study and research, the so-called second generation acrylics were created based on acrylic resins and acrylic associative thickeners. These products were designed to meet new market needs which, starting in the United States (where Liquitex had already started to distribute them) demanded a product with the capacity to be applied thickly. The new series was named BRERA ACRYLIC - EXTRA-FINE ACRYLIC COLOURS FOR ARTISTS and was originally made up of a range of 47 shades. The new acrylic emulsions, much finer than the vinylic ones provided better performance, even though they were more light-sensitive and less stable. From the 1990s the range of this series of colours went on to include the iridescent colours (Luster) and the pearlescent colours (Perla) to meet the creative needs of the moment. With regards oil colours, the greatest new feature in those years was the introduction of big size (150 ml) tubes for oil colours (BRERA OIL) initially distributed with much success only on the American market and later on in Europe. Another series, COLORIN made up of water-soluble colourings increased the company's range further still. The studies and research executed, chromatic in particular, were a response to the high level of success achieved, even though it was a niche product. In particular they were used by graphic designers to draft adverts and other types of sample books, first for those aimed at textile factories which, in the golden years of fashion and design, were hugely successful.