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".