Spotlight face paint: Face Painting & Special Effects Projects


TensorFlow Community Spotlight program update — The TensorFlow Blog

In June we started the TensorFlow Community Spotlight Program to offer the developer community an opportunity to showcase their hard work and passion for ML and AI by submitting their TensorFlow projects for the chance to be featured and recognized on Twitter with the hashtag #TFCommunitySpotlight. Now a little over four months in, we’ve receive…

Posted by Marcus Chang, TensorFlow Program Manager

In June we started the TensorFlow Community Spotlight Program to offer the developer community an opportunity to showcase their hard work and passion for ML and AI by submitting their TensorFlow projects for the chance to be featured and recognized on Twitter with the hashtag #TFCommunitySpotlight.

Olesya Chernyavskaya, a Community Spotlight winner, created a tool in TensorFlow to track posture and blur the screen if a person is sitting poorly.

Now a little over four months in, we’ve received many great submissions and it’s been amazing to see all of the creative uses of TensorFlow across Python, JavaScript, Android, iOS, and many other areas of TensorFlow.

We’d like to learn about your projects, too. You can share them with us using this form. Here are our previous Spotlight winners:

Pranav Natekar

Pranav used TensorFlow to create a tool that identifies patterns in Indian Classical music to help students learn the Tabla. Pranav’s GitHub →

Olesya Chernyavskaya

Working from home and trying to improve your posture? Olesya created a tool in TensorFlow to track posture and blur the screen if a person is sitting poorly. Olesya’s GitHub →

Javier Gamazo Tejero

Javier used TensorFlow to capture movement with a webcam and transfer it to Google Street View to give a virtual experience of walking through different cities. Javier’s GitHub →

Hugo Zanini

Hugo used TensorFlow.js to create real-time semantic segmentation in a browser. Hugo’s GitHub →

Yana Vasileva created a fall detection surveillance system in which user data is never sent to any 3rd party cloud servers. Yana’s GitHub →

Samarth Gulati and Praveen Sinha

These developers had artists upload an image as a texture for TensorFlow facemesh 3D model and used CSS blend modes to give an illusion of face paint on the user’s face. Samarth’s GitHub →

Laetitia Hebert

Laetitia created a model system for understanding genes, neurons and behavior of the Roundworm, as it naturally moves through a variety of complex postures. Laetitia’s GitHub →

Henry Ruiz
Rigging.js is a react.js application that utilizes the facemesh Tensorflow.js model. Using a camera, it maps the movements of a person into a 3D model. Henry’s GitHub →

The DeepPavlov AI library solves numerous NLP and NLU problems in a short amount of time using pre-trained models or training your own variations of the models. DeepPavlov’s GitHub →

Mayank Thakur

Mayank created a special hand gesture feature to go with the traditional face recognition lock systems on mobile phones that will help increase security. Mayank’s GitHub →

Firiuza Shigapova

Using TensorFlow 2.x, Firiuza built a library for Graph Neural Networks containing GraphSage and GAT models for node and graph classification problems. Firiuza’s GitHub →

Thank you for all the submissions thus far. Congrats to the winners, and we look forward to growing this community of Community Spotlight recipients so be sure to submit your projects here.

Spotlight – River House at Odette’s

Are you obsessed with Glossblack, the artist that created the members graffiti wall, as much as we are? This quarter we wanted to shine a spotlight on this talented local artist in preparation for his exhibit in June. Don’t miss the chance to meet him and view more of his work at our Artist Series on June 15th from 6:00 pm – 8:00 pm.

Who is Glossblack?

Glossblack LLC is my art & mural business that was created in 2008 but became my career in 2015. People tend to think of Glossblack as my artist name or alias for some reason, but it’s just my business’ name. My name is Jimmy McMenamin and I am an artist-muralist from the Greater Philadelphia area. I have a history of painting graffiti for many years which I consider my foundation to my artistic style and fine artwork. I mainly focus on large-scale public artwork, with many themes being driven by typography, Americana, collage, and color.

How long have you been an Artist?

I’ve been drawing for as long as I can remember. I was always interested in art and learning new techniques and methods. I was very interested in graffiti and graffiti culture in high school and that’s definitely when lettering became my focus. I would draw graffiti and mess around with traditional wildstyle lettering, all in a sketchbook, never trying to paint it. I was accepted to Rutgers University where I studied Marine Science and Ecology. At the same time, I was being pulled towards graffiti in a stronger way, I was seeing it everywhere and a few friends were painting so we all formed a crew and started painting heavily. That was right around 2006, and I was painting graffiti weekly and working a full-time job pertaining to my major. Recently, I’ve changed gears and have refined my studio practices and art direction. So I’m truly starting to feel like an artist that’s found my footing, narrowing my view to canvas work that will only amplify larger mural work.

How would you define your brand?

I think I always relied on the idea that I would work for someone, maybe painting a movie set or learning faux finish, etc. Looking back, I feel like it was smacking me in the face for years, that spray painting large-scale work was my specific strength, and that’s the avenue I should be pursuing. That lettering and the way I approach letter structure/texture is unique to me, and no one else, and that’s what will become my brand or trademark.

What’s your favorite part about your work?

As much fun as it is to work on my own art, I actually enjoy the pressure and challenges of working with a client and their brand image. It’s a great honor to be trusted to that degree, that a major company is willing to collaborate or put their image in my hands. For someone to come to me and request my vision for their brand is the highest form of flattery and also a great reminder that I’m doing something right.

How did you get started in this industry?

I started painting graffiti around 2006. In 2008, I started to offer my paint services for mural jobs on Craigslist. This was my first step forward to interacting with clients and taking on almost any type of mural job that was offered. Many of my first clients were daycares, roller rinks, smoke shops, etc. all in the Philadelphia area. I was working a day job at the time and did so up until 2015 when I was able to make Glossblack LLC my full-time job. Since 2015, I’ve refined things more and more, so I no longer take on all types of mural jobs, but instead, I focus on what excites me and pushes my art forward.

What other businesses have you created Art for?

Over the years and years of painting, I’ve painted a wide variety of establishments including residential, local businesses, corporate offices, gyms/CrossFits, daycares, schools, universities, breweries, roller skating rinks, and the list goes on. I have been commissioned by Gap, Comcast, Red Bull, The Philadelphia 76ers, Wells Fargo Center, X Games, Nike, Under Armour, Reebok, Puma, Lyft, NBAonTNT, Justin Bieber, Pabst, Saks Fifth Ave, Bergdorf Goodman, Google, and the list goes on & on.

What was your initial thought/reaction when you were approached about doing the Founders Wall at Roof? 

To be honest, I was a bit intimidated. It is an absolutely beautiful space and wondered where my style of work would fit in. Once I saw the space in person, I knew it was the right call to wrap the walls with writing. Also, I had never been asked to paint that many words/names (200-300 with first and last names) in a designated space, so we had to figure out the best approach. Typically my word collage murals, like this one, are only 50 words provided by the client, then repeated over and over until the space is a wallpaper of writing. So in order to include everyone, it took a bit of problem-solving!


Rock band KISS grabs the ‘Biography’ spotlight

Chuck Barney’s TV and streaming picks for June 27-July 3

DON’T MISS: “Biography: KISStory” — “We were just four idiots off the streets of New York,” recalls Gene Simmons in this four-hour, two-night documentary that celebrates one of the most iconic rock bands of all time. Those idiots, specifically Simmons and fellow founding member Paul Stanley, are at the center of the new film, which claims to be the “definitive” account of nearly five decades of fire-breathing, blood-spitting drama. In addition to the four current KISS members, several other notable musicians show up to reflect on the band’s legacy, including Dave Grohl and Tom Morello. For viewers who wanna rock and roll all night and party every day, black-and-white face paint is optional. (9 p.m. Sunday, A&E).

Other bets:

SUNDAY: In the “Batwoman” season finale, Ryan Wilder questions her place as the city’s hero as she, Luke Fox, Mary Hamilton and Sophie Moore join forces when Black Mask (guest star Peter Outerbridge) instigates chaos in the Gotham streets. Meanwhile, Alice’s attempt to rescue her sister means another encounter with Circe (guest star Wallis Day). (8 p.m., The CW).

SUNDAY: Taraji P. Henson is our host for the “BET Awards 2021.” Among the honorees is Queen Latifah, who will be presented with the Lifetime Achievement Award. (8 p.m., BET).

SUNDAY: “Lady Boss: The Jackie Collins Story” is an intimate documentary that delves into the life and career of the world-famous author who built an empire writing books in which female agency came first. Included: home movie footage, audio recordings of Collins’ novels, and excerpts from her personal diaries. (9 p.m., CNN).

MONDAY: If you can’t spend your summer on a 180-foot megayacht, you can at least live vicariously through “Below Deck Mediterranean.” Season 6 of the reality series takes viewers to Croatia, but expect some choppy waters along the way. (9 p.m., Bravo).

TUESDAY: Man’s best friend once again is in the spotlight for Season 2 of the competition series “America’s Top Dog.” In each episode, canines, along with their handlers, face off in a massive obstacle course and other challenges. (8 p.m., A&E).

TUESDAY: Yikes! As a new season of “Good Bones” begins, home-renovation experts Mina Starsiak Hawk and Karen E Laine find themselves dealing with a creepy old Victorian infested with insects. (9 p.m., HGTV).

WEDNESDAY: Fans of “The Bold Type” might want to have the tissues handy for the last episode of the drama series about a trio of millennials working for a women’s magazine. In the finale, Jane, Kat and Sutton each face huge choices and evaluate their paths. (10 p.m., Freeform).

THURSDAY: A popular culinary franchise expands with the debut of “Top Chef Amateurs.” In each episode, two amateur chefs compete head-to-head in some of the show’s iconic challenges. They’ll be joined by standout “Top Chef” alums who will cook alongside them and help them race the clock. (9 p.m., Bravo).

FRIDAY: Part music film, part historical record, “Summer of Soul” is a rousing documentary. It recalls how, in 1969 — the same year as Woodstock — the Harlem Cultural Festival celebrated Black history and culture and included performances by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, B.B. King and more. (Hulu).

SATURDAY: Diane Lane and Kevin Costner star in the 2020 neo-Western “Let Him Go.” Based on a Larry Watson novel, it follows a Montana couple determined to find their only grandchild, after their son dies, and rescue him from a family that has gone off the grid. (8 p.m., HBO).

Contact Chuck Barney at [email protected] Follow him at and

Wayne Montecalvo — R&F Handmade Paints

What other painters/photographers have influenced your work?

Les Krims, Hannah Wilke, Frank Owen, Judy Pfaff, Sean Sullivan, Carmen Lizardo, Cave Dogs, Leah Macdonald, Phyllis Galembo, and Mike Kelley. Some of these folks are well known, some are just friends, some are people I’ve worked with, some I’ve learned from, others I’ve worked for. Two of them I haven’t met or known personally. None of their artwork is similar to mine, but I like their approach to making art, the methods some of them use, the combination of materials, and I just like the work they come up with.

Can you share some of your favorite ways to combine encaustic with other mediums?

I like to combine things and see what happens. I bury some materials underneath a layer of thin paper and wax to make sure they stay put, especially certain materials that are either non-permanent or just don’t work well with wax. Some materials I’ve tried to use are India ink, alcohol, shellac, pepper, paprika, dye, paint. I use a lot of collage techniques.

I got interested in coffee stains a few years ago while I was in Japan, during a residency. I stain a lot of paper with coffee, sometimes it works, but it depends on the paper. I also like it when things don’t work. Then it becomes a challenge. Part of the problem working with digital imagery is that it is too planned out. So if I put something together and it looks like crap, then I need to get drastic and change the image into something new, something that I didn’t know was in my head. It makes things interesting. I don’t think it is possible to make a mistake on purpose, otherwise, it is not a mistake, but when they do happen, they are usually a welcome thing to work with.

Has the pandemic influenced your depiction of art? Does it generate new inspiration?

Most of the time, I make portraits. I’ve depended on using other people in one way or another in my artwork for a long time. Even when I was making videos or playing music a long time ago. Well, I still play music. But a lot of what I’m doing depends on photographing a person, and that option has been thrown out the window for now.

It made me rethink older images that I haven’t used, or at least try to come up with new ways to approach images of people that I’ve used a lot already. I’ve started using myself for some things, but I feel like I’m already too familiar with myself, I’ve already seen that face a million times. There are a bunch of options that should be explored. I prefer if my portraits aren’t really about the person or even a portrait at all but go beyond that to someplace else. I want them to go to a place where one might not consider the face as the main subject matter, or the person as the focus of the piece. It’s not an easy thing to do, I’m still trying to figure that out.

Campaign Spotlight: Alibaba Group, WWF, and F5 Shanghai shine a spotlight on pollution from disposable face masks

SHANGHAI, CHINA — Alibaba Group in partnership with WWF and F5 Shanghai has recently launched a campaign that exposes the problem brought about by disposable face mask pollution.

Because of the 2020 global situation, more than 1.5B masks found their way to the ocean in that year alone. Alibaba Group, being one of the largest sellers of disposable face masks, wanted to provide a solution to the problem. The corporation believes that a necessary item that protects human life doesn’t have to be something that will cause devastation to the environment, so they partnered with WWF for Earth Day 2021 to generate more awareness about the issue.

The campaign includes an event titled “Fading Sea Creatures”, a shocking live performance by emerging artist Qiurui Du. The performance-focused on jellyfish, the world’s most resilient sea creature, to convey the message of how even the oldest animal on earth that survived calamities, mass extinctions, and outlived dinosaurs, may soon fall to the consequences of mask pollution.

The performance featured Qiurui’s jellyfish painting which was on canvas made entirely out of disposable face masks. The painting was made with hydrochromic paint, which disappeared when the mask canvas was submerged underwater. The jellyfish painting reappeared when the mask canvas was removed from the water, conveying the message of how life will return to our seas when we remove the presence of masks from our oceans.

Sarah de Joya, Regional Creative Lead at F5 Shanghai, said that the campaign has been specifically tailored to startle via an emotional angle. The past year has been challenging for everyone, including Mother Earth, so the team wanted to clearly communicate to the world the importance of protecting the environment, the seas, and all that live in it.

Watch the video of the performance here:


Client: Alibaba Group
Spot: “Fading Sea Creatures”
Agency: F5 Shanghai
Chief Creative Officer: Adams Fan
Regional Creative Lead: Sarah de Joya
Creative Group Head: Kelvin Co
Public Relations Head: Pan Gu

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Collection Spotlight: Antoine Vollon’s “Un Espagnol,” c. 1877-8

Not a portrait but a study posed by a professional model, this work has now been restored to what is presumed to be Vollon’s original title for it, Un Espagnol (A Spaniard), as cited in the sale catalogue of the dealer Prosper Léopold Éverard’s (1835-1881) inventory after his death. A half-length, preparatory sketch for the full-length painting entitled L’Espagnol (The Spaniard) in the Musée d’Orsay, Paris, exhibited in the Salon of 1878, it depicts a young Spanish male, theatrically dressed in seventeenth-century costume, topped by a cavalier-styled, plumed hat. The pose bears a striking resemblance to a portrait of Vollon (present location unknown) by his good friend Joseph Paul Marius Soumy (1831-1863) with whom Vollon briefly found lodging when he first arrived in Paris in 1859. The way the model’s face emerges out of the shadow into the light is certainly reminiscent of a similar treatment in the portrait. In The Heckscher Museum’s painting the outline of a nondescript object, held at the same angle as the pipe in the portrait was developed into the shape of a cigarette in the Salon painting. Both artists were alumni of the École des Beaux-Arts in Lyons. Tragically, Soumy committed suicide in 1863. The funereal black of the costume, although borrowed from Spanish old masters, may also pay retrospective tribute to Vollon’s long-deceased friend. Vollon kept Soumy’s portrait his entire life after which it was passed down to his son Alexis Vollon (1865-1945).

Although Vollon was known primarily as a painter of the lesser genre of still life, the Salon exhibition offered him the opportunity to prove himself capable of rivaling fully trained academicians by painting an impressive figure. L’Espagnol, with its tribute to the Spanish old masters and its predominant use of subtly calibrated blacks, eminently qualified him to pass this test. Spanish-derived tenebrism was a style well known to Vollon. Early in his career he had incorporated it into his own works through the influence of his friend and mentor Théodule Ribot (1823-1891). Moreover, in 1862 he had been commissioned by the French state to paint a copy (located in the Church of St. Jean-le-Blanc, Orléans) of Jusepe de Ribera’s Adoration of the Shepherds in the Louvre Museum. Created much later out of his own imagination, L’Espagnol further confirmed Vollon’s well-established status as a gifted master painter when it was unanimously hailed by the critics.

The model whom Vollon hired to pose for L’Espagnol also posed for the artist Charles Auguste Émile Durand, known as Carolus-Duran (1837-1917), in a bust-length composition entitled “Italian Model,” located in the George A. Lucas Collection in the Baltimore Museum of Art. In The Heckscher Museum’s painting, Vollon concentrates on the distinctiveness of the head, adorned by a broad-brimmed hat, cocked at an angle and draped by a feather. We are confronted by a proud, spirited, somewhat guarded individual. Heavy eyebrows, a mustache and the hint of a goatee describe the swarthiness of the complexion, accentuated by large, deep-set eyes. The warm flesh tones of the face glow within the confines of their dark surroundings. Two or three strokes of bright, creamy paint body forth the protruding bridge of the nose. Black pigments, marked by painterly flourishes of the brush, range from dense opacity to nearly translucent grey. The confident freedom of execution is reminiscent of Édouard Manet (1832-1883), a connoisseur of painting with black whom Vollon would have personally known through membership in the Société des Aquafortistes in the 1860s. Manet had set a precedent with his treatments of Spanish-derived themes throughout the 1860s. His Le Balcon (Musée d’Orsay), exhibited in the Salon of 1869 and inspired by Francisco Goya’s Majas on a Balcony (Metropolitan Museum of Art), would have left a lasting impression on Vollon, especially because his close friend Antoine Guillemet (1843-1918) had posed for one of its figures.

It seems somehow fitting that, before its donation to The Heckscher Museum, one of the painting’s former owners was the legendary and extremely wealthy James Buchanan Brady (1856-1917), known as “Diamond Jim” because of his love of precious jewels. The bravura of Vollon’s painterly style resonates with the bravado of Brady’s lavish lifestyle. His insatiable appetite for food, his stable of thoroughbred horses, his long-term relationship with the famous actress and singer Lillian Russell, and his somewhat shady business practices, all contributed to his notoriety. It is entirely possible that Brady spotted the reproduction of this painting in American Art News (reproduced at right) in 1909 and bought it directly from the Holland Galleries. The brief text that accompanies the illustration of the work, referring to it as “Portrait of a Man,” mentions the name of the prestigious New York dealership Cottier & Co. as part of its provenance. The Scottish artist and entrepreneur Daniel Cottier (1838-1891) began his career as a pioneer for the Aesthetic Movement, opening Cottier & Co. in London in 1869 and branches in New York and Australia in 1873. He specialized in the decorative arts, glass, furniture, ceramics, and interior design and began to collaborate with Louis Comfort Tiffany (1848-1933) on stained glass projects in the 1880s. Although Cottier himself died young, his New York business, which had become exclusively a fine-art dealership, continued until 1915.




Milwaukee youth release album to mark a chaotic year – Running Rebels

Editor’s note: This story is part of an  occasional series that highlights groups and people worth knowing in Milwaukee. To nominate a person or a group, email [email protected] and put “Spotlight” in the subject line.

MILWAUKEE, November 6, 2020 — When you think of the sounds of protest, you probably think of hundreds of people chanting in unison or a speech being delivered.

But with the release of “2020: The Vision,” Running Rebels Community Organization is stressing human connections during a time when our world has been rocked by a pandemic, protests and a nail-biter presidential election.

“Everyone was upset. Everyone was fed up. So we decided to come together and put it all into words,” said Victor Barnett Jr., who goes  by RB Vic and is a longtime Running Rebels youth and rapper featured on multiple tracks.

The album was released on Aug. 13, the 40th anniversary of Running Rebels, a nonprofit organization that engages, mentors and guides Milwaukee youth.

“2020: The Vision” is a collaboration with the 300 Strong project and several local musicians and focuses on issues that the creatives say have been building up within them throughout the year.

‘We’re the scribes and storytellers’

Britt Nicole, a spoken word artist who works with Running Rebels youth, said artists are uniquely positioned to stir people to action.

Projects like these make it difficult for people to ignore the subjects they touch on, she said.

“As a creative, we’re the scribes and storytellers. It’s up to us to paint a picture,” Nicole said. “Some people fail or refuse to see the world as it is, but when art is in your face, you can’t deny it.”

Nicole opens the album with “SOS,” a spoken word piece that sets the tone for the project.

“Black lives been mattering

you’re not a trend, never been

you’re more than marches and riots, mass incarceration

you’re change agents

shifting mindsets and policies and situations with your celestial presence.”

Nicole said she was motivated to participate in part because she felt hard conversations about racism in our everyday lives are not being had, and that the conversations that do happen often revolve around looting.

“The fact that we still have to constantly say ‘Black lives matter’? That’s exhausting,” Nicole said. “We’re making a spectacle out of it and not having real conversations. Until we’re having real conversations, the needle is not going to move.”

“2020: The Vision” is not the only example of young people creating art that accompanies larger social movements.

Leaders Igniting Transformation’s “C-Space” project launched earlier this year to provide a space for young Black and Brown creatives. The local nonprofit Arts @ Large’s Sacred Garden project allows poets to add their skills to social movements as well.

Alongside these and other projects, Dae Flywalker said the album is meant to be a time capsule capturing what young artists are thinking and feeling during a challenging year.

“When we do get to a point where we’ve healed as a country, we want to look back on projects like this as a kind of time capsule of reminders of where we came from,” Flywalker said.

“Twenty years from now people are going to be able to come back to this project and take words that inspire them to creative positive change in their own lives.”

IN CASE YOU MISSED IT: Running Rebels’ vision: To see the best in kids, even if they don’t see it themselves

About Running Rebels
The Running Rebels Community Organization engages the community, youth, and their families; prevents involvement in gangs, drugs, violence, and the juvenile justice system; intervenes and guides youth by assisting them with making positive choices; and coaches youth through their transition into adulthood. We accomplish this through building relationships with youth and providing the resources and skills necessary for them to become thriving, connected, and contributing adult members of our community. For more information visit

Do you need a certificate for face paint?

Perfumery and cosmetic products, as well as substances or a mixture of substances that are used for the production of cosmetics, and subsequently sold on the territory of the countries of the Customs Union, fall under the requirements of the regulation TR CU 009/2011 “On the safety of perfumery and cosmetic products.” Within the framework of the current regulations, depending on the product, a declaration of conformity or a certificate of state registration (SGR) of products is issued.If a check comes to you from Rospotrebnadzor, then you will have to submit documents confirming the quality of the product, in accordance with the law. This article contains information on what documents you need to apply for face painting.

Face painting is not a product, it is a technique for applying paint to the face. Face painting is very popular among children. Often a specialist is invited to a holiday who can beautifully apply paint to the face. Adults also apply makeup on the face, for example, to complement a costume for a holiday.

Important: paint for face painting must be degreased, water-based, and the dyes included in the paint must be hypoallergenic.

Do I need to issue a paint certificate?

No certificate is issued for the paint that is used to apply face painting. If the product is intended to be applied to the skin of a child, then it is subject to state registration. In accordance with Technical Regulations 009/2011, a certificate of state registration must be obtained for the legal sale of the product.

In case the product is intended for use by adults, then the TR CU 009/2011 declaration is drawn up in accordance with the same regulations.

What is required to issue a certificate of state registration?

For registration, you will need technical documents according to which the product is manufactured. Also, it is required to provide paint test reports, in which organoleptic and physicochemical indicators are prescribed. The tests are carried out in an accredited laboratory.According to the regulations, in addition to the test reports, hygienic examination acts, scientific reports, expert opinions on compliance with the requirements of the regulations should be provided. And, of course, a sample of consumer packaging labeling, which must comply with the Technical Regulations. Additional information may be required during the registration process.

If the paint does not pass according to the indicators, or an incomplete package of documents is provided, then you will be written out a negative decision and you will have to go through the registration process again.To prevent this from happening, contact our specialists, we will prepare the necessary documentation, as well as we will conduct the entire process from start to finish, and in case of any questions from the experts, we will promptly resolve them.

What is required to complete the declaration of conformity?

For the declaration, it is required to provide the documentation according to which you manufacture the products, and research protocols. The declaration of conformity is drawn up in a certification body that has TR CU 009/2011 in the field of accreditation.

If you do not produce according to GOST, then you need to develop technical specifications (TU). Our specialists are qualified and can develop or modify regulatory documents as soon as possible.

To register the declaration, you need test reports. Research should be carried out in an accredited laboratory that can test products in accordance with the requirements of the regulations. We can carry out tests, for this you need to provide samples.

Important: The applicant is responsible for the authenticity of the information provided for the registration of documents confirming the safety of paints.

Our center will help you to prepare a full package of documents, which is necessary for the SGR. If you do not have any documents, products have not been tested, our specialists will help you. We will carry out the tests in an accredited laboratory, and we will develop the missing documents in accordance with the standards.

First, you need to send a request with information about the product (product description; composition; TN VED code (if any)) to the email address info @ or contact our specialists by phone 8 800 200 24 94, and you can also fill out the form on the website.

Best regards, Certification Specialist Alena Sokolova.

90,000 Why blushing and embarrassment is good for you
  • David Robson
  • BBC Future

Photo Credit, Getty

An awkward, stupid situation can suddenly play into your hands, giving you extra charm and showing you in a more favorable light, says observer BBC Future.

A few days after I went to my first job, one of my colleagues came to our department to complain about the “incident” in the toilet.

I will not bore you with unappetizing details; it seems that mom did not manage to potty train someone.

We never found out the name of the offender, but in the middle of this woman’s tirade, for some reason I felt like a small flame was kindling under my skin.

Soon waves of fire swept through my chest and reached the top of my head; I had painful pink spots on my neck and cheeks, and my ears were the color of a radish.

No, no one presented any accusations aloud to me – everything was read on the faces of those present.

How did they know that I tend to flare up at the slightest provocation. In my teens and the next ten years, I seem to have been almost always embarrassed.

Why did man evolve in such a way that his awkwardness is obvious to everyone around him?

In my case, the flushing cheeks seemed to indicate my guilt, although in fact it was not my fault in what happened.

Charles Darwin could not understand why embarrassment is good for us. “A person who is blushing suffers, but the observer feels uncomfortable, and this does not bring any of them the slightest benefit,” he wrote.

However, modern psychologists have found that the feeling of excruciating embarrassment can be extremely beneficial in the long run.

According to one theory, our confusion is a natural reaction to the fear that we have been “figured out”.

Psychologist Ray Crozier from Cardiff University (UK) interviewed many respondents about situations in which they blush.

Author of the photo, Getty

Caption to the photo,

Why do our cheeks, as a result of evolution, turn red so that it is noticeable to everyone around? Even Darwin could not find the answer to this question

As it turned out, embarrassment usually arises when something very personal can be revealed (for example, a pregnant woman turns red when talking about children), and not as a result of an oversight or misunderstanding.

In this case, the blush may be a physiological reaction to the shock that your secret might go public – even if it’s good news.

“Among the responses I received, there was often one common theme – fear of publicity,” he says.

In such cases, you feel very different than when you dream of sinking into the ground – for example, by accidentally calling your teacher or boss “mommy” (if this happened to you, I sympathize with you).

As Darwin pointed out, blushing seems to only add to our awkwardness. It seems that in reality everything is completely different.

Some information can be gleaned from the animal kingdom by observing how the lower primates in the hierarchy behave in conflict situations.

Mark Leary, professor and researcher at Duke University (USA), notes that dominant chimpanzees who have been hurt by minor members of the pack often choose not to express their anger immediately, instead staring at their opponent.

So they try to say “get out of my territory”, “leave my food alone” or “give in to me.”

Photo author, iStock

Photo caption,

The fall can certainly embarrass us, but more often than not, the feeling of embarrassment is caused by the fact that others may learn about something deeply personal

The most interesting is the subsequent attempts of “subordinates” mitigate the situation with actions that resemble a person’s reaction to embarrassment: they avoid eye contact and bow their heads guiltily.

“In addition, often [primates in such cases] bare their teeth sadly, which is very similar to the embarrassed human smile,” – says Leary.

All of the above actions look like an attempt to apologize and indicate unwillingness to engage in direct confrontation.

Man could have inherited this strategy from primates, says Mark Leary: our blush acts as a “non-verbal apology” designed to defuse an embarrassing situation.

Perhaps this is where the explanation lies as to why the thought of someone’s oversight can make you blush – like in my toilet story.

“Even if you are not to blame, there is some sense in conveying to those around you that you are embarrassed about the accusations,” the researcher explains.

Perhaps I subconsciously tried to avoid aggression.According to Leary, this logic can be applied to the situation when we blush because of the fact that people are looking at us (for example, during a work meeting at which we need to express our position ), or even because we are praised.

A flushed face in such cases makes others understand that we would like to avoid unnecessary attention.

In addition, blushing makes us appear less narcissistic and does not jeopardize the credibility of others.

If you blush because of someone else’s oversight – say, your father blew gas loudly in a public place – this is an unspoken signal that you realize his mistake and that you are uncomfortable because the rules of decency have been violated.

The blush cannot be imitated, so it is one of the few signs of honesty that is beyond suspicion.

As a result, people who tend to blush are treated more warmly than everyone else.

Moreover, embarrassment may indicate your altruistic nature.

In preparation for his doctoral dissertation at the University of California, Berkeley, Matthew Feinberg videotaped people’s stories of past missteps, after which the panel decided how embarrassed the respondents looked during the story.

The easier the subjects were embarrassed, the more altruistic their views turned out to be, judging by the subsequent survey.They were also more likely to play fair when there was a cash prize in the game.

Feinberg then conducted another experiment in which he showed participants photographs of people with embarrassed expressions.

He asked the respondents a series of questions, for example: “If this person studied with you at the university, what is the likelihood that you would invite him to participate in a seminar where you yourself go?”

Those who looked a little confused in the photographs received more “invitations” than the calm and unflappable characters.

It’s amazing how an awkward blush can increase our sex appeal in the eyes of someone we sympathize with.

“When a person is looking for a long-term partner, [blush] speaks of prosociality and willingness to cooperate, about a reluctance to change,” says Feinberg, now an assistant professor at the University of Toronto.

Another thing is people interested in short-term relationships: they will like brighter, more confident partners.Compare, for example, the elegant, unflappable Daniel Cleaver (Hugh Grant) in The Diary of Bridget Jones and his awkward rival Mark Darcy (Colin Firth).

Photo Credit, iStock

If that knowledge doesn’t help you come to terms with the humiliation of an embarrassed blush, think about the fact that you are probably suffering from the so-called “spotlight effect”.

A person is inclined to exaggerate the attention given to him; this is especially true in situations where we are confused.

Roughly speaking, we are not at all as interesting to others as we would like to think.

For myself, I decided to compare the moments of intense embarrassment with the high fever characteristic of the flu: these temporary inconveniences have to be endured in order to get better further.

“We absolutely do not want to experience these emotions and would give a lot to suppress and control them,” explains Matthew Feinberg.

I’m sure we all know people who never show others that they are ashamed – would you really like to be like them?

Worse than embarrassment, there can only be an inability to experience it in principle.

Dine Light passing the game: missions (saviors, fiery face), tasks, quests, gameplay secrets, tips, description


You find yourself on the pier. Go in search of people who can help you to get to Sector Zero. After passing in the right direction, you need to climb onto the roof of the marked building. From there you can reach the door. Knock and talk to the guy who will open the door. His name is Senk. Go to the tunnel that leads out of the slum.

[sc: SignosAdaptiveUp]

A collapsed overpass leads to the tunnel. To climb on it, you must first get to the roof that is on the neighboring building. It looks like a warehouse. Passage of the game Dying Light – jump over to the overpass and you can get to the tunnel without any adventures. Run over it and get to the door. Through it you go down into the sewers.

Go down the corridor, knock on the marked door, meet the guides. His name is Hasan. After that, follow him along the sewers.As a result, it will lead you to the right place. After that you will go alone. When the grate is moved from the floor, jump down, swim along the tunnel to a small room. Get out of the water, cling to the yellow pipe. From it you can climb onto the platform where the searchlight is. The arrow that you see on the wall indicates where to go next. If you cannot jump to the platform opposite, you can get to it, then climb from below along the pipe, as well as the broken railing.

When you pass through the tunnel, find yourself in a small room with a fork. Only one exit will be open in it. He has an arrow that points down. There and go down the stairs. Further moving along the narrow corridor, fight the zombies, or go around them from above along the platforms. At the end you will come across a closed hatch. There will also be a huge zombie dressed as a fireman. Get rid of it, turn the yellow valve. Then open the grate. Go through the tunnel again, after killing the zombie so entrenched and exploding.Do not feel sorry for everyone else either. The passage of the game Dine Light continues.

At the end of the tunnel you will find yourself in a small room. This is a dead end. However, you will find a large number of supplies in it, including cartridges and firearms. Go back a little and in the small room again climb the yellow pipe. So you will get to the upper platform, which is marked with an arrow on the wall. Then through the knocked out door you get into the room where the spitting zombie. Set the ghoul to rest and climb along the yellow pipes to the platform under the very ceiling.

Next room. You need to get through the fence. To begin with, climb onto the platform from above, then jump over, cling to the yellow pipe that is from the opposite wall. Climb over the fence along it.

When you pass the next tunnel, you will receive a message from Hasan. He is a traitor. Rotate the yellow valve again. The grill will open. Jump down after her. You fall into the water and swim. At first, you cannot come up, otherwise you will be shot. You can only emerge after you swim through the tunnel, and then get out of the water, go into the next room, wet the people that set up an ambush.

[sc: ZnakosAdaptiveMiddle]

Dying Light continues to progress. Move along the sewers. Be guided by the arrows on the walls. This will take you to the surface. Soak all enemies in the yard, go up to the second floor in the building, inspect all the rooms. Climb the stairs to the door that leads to the roof. So you have discovered the path leading to Sector Zero.


In this mission you will have to reach the Tower, which is the largest building in this part of the city.You will see the tower from afar. It is better to wade through the roofs to it. When you arrive at the place, climb up the scaffolding until you find yourself at the entrance to the premises. Troy and her people are seated in it. Talk to Troy. You will find out that Jade is at the university now. This is where you go.

Higher education

The best way to get to the university is by the rooftops. But you can go down the street, but then you have to fight the zombies. So, you got to the place. In any case, you need to climb the building, or move to it using the wires of the building that is in the neighborhood.

You will not find Jade inside. Talk to Fidan. That will tell that the girl has left, but does not know where. Get out into the street, talk to Troy on the radio. She will call back to the tower in order to show the news coverage of the captured wise guy through the interference. The passage of the game Dine Light continues.

Fire Face

You have received instructions. Go meet Michael. He’s waiting in the sewers. Get to the place again on the roofs. When you come running to the construction site that is surrounded by a fence, climb over the fence.Ignore the spitting zombies. Jump into the sewer hatch. Swim through the tunnel with sewage, emerge to the surface. Find yourself in a room with a door. Open it and find yourself in the sewers.

To get through the fenced in front of the passage, dive under the grate on the floor, swim forward. When you emerge from the other side of the tunnel, move in the direction indicated until you reach a room full of zombies. One zombie immediately explodes. Kill everyone, go further along the tunnel.Then climb through the ceiling hole, you will fall into the building. You need to find Michael.

After talking with Michael, go to install explosives on the switched on gas stoves in apartments with numbers 105, 106, 134, 137. Take the explosives from the bedside table, go up to the first floor, call the elevator. During the passage of the game Dine Light, the elevator breaks down during the ascent. You will have to climb up the mine. Cling to yellow-black ledges. This will take you to the 9th floor. Go around all the rooms.In one room you will see a hole in the ceiling. Through it you will get to the 10th floor. Here you will see the first two apartments where you will have to install explosives.

When the explosives are installed in the 105 and 106 apartments, return to the corridor. So move in the given direction. Get to the stairs. Climb along it to the 12th floor.

This time look for apartments 134 and 137. Place the explosives on the gas stoves. By the way, a child zombie will attack you there. On the way back, beat all the zombies, return to the basement.To do this, first jump into the elevator shaft, go down the cables down.

[sc: SignosAdaptiveBottom]

Take the elevator again and fall down. After that, destroy the zombies at the entrance, go to the indicated point. Find Michael’s detonator there. Go to the next room, jump into the hole, so find yourself in the sewer. When you get through the tunnels into the rooms with a large corpse, kill him, climb to the upper platform. Jumping from one platform to another, you will reach a tunnel that will lead to the surface.There and detonate the shells. The Dying Light game continues.

Dying Light 1 Walkthrough

Dying Light 2 Walkthrough

Dying Light 4 Walkthrough

Dying Light 5 Walkthrough

90,000 PPE for face and eyes – types and uses

One of the main rules at an industrial facility during construction and repair work in a private house or apartment sounds like this: safety is above all.This concerns the preparation of the working location, as well as the protection of the body and organs of vision from the effects of negative factors.

It is the eyes during welding, wood processing, interaction with bulk materials that are most at risk. Small pebbles, dust, chips, spark can get into them. The consequences in this case are very serious and often irreversible.

To avoid injury, you need to choose personal protective equipment for your eyes and face.

Eye and face protection – accessories that provide protection against laser radiation, ultraviolet radiation, dust, sand, chips, small particles of bulk materials and other substances that can cause irreparable harm to health.

Eye protection products are divided according to several criteria:

  • Open : There are small gaps in these PPE. Thanks to them, air penetrates inside, and the lenses do not fog up;
  • closed : sealed constructions.Fit snugly to the face. There is side or top ventilation.
  • goggles that cover only the eyes;
  • Half face protective masks.

Accessories designed to protect the face are also divided into several groups:

by type of protection :

  • shields and goggles to protect eyes and face from sparks flying during welding;
  • helmet for protecting the face and eyes from sparks and small substances that appear when working with metal or wood;

by size :

  • helmets and face shields;
  • helmets for protecting the face and head when working with various materials.

Accessories designed to protect the face and eyes are also of different types:

  • eye protection goggles : Used for turning and locksmithing work. They do not fit tightly to the face, they have good ventilation. They do not fog up during operation.
  • Goggles : Recommended to wear when working with wood, metal and bulk materials. They fit snugly to the face.They have durable, impact-resistant lenses. Goggles use side, direct or indirect ventilation to prevent fogging of the lenses during operation.
  • Face shield : This product is made of transparent plastic or metal wire. Fixed on the head with elastic straps. The mask is used in work by employees of metallurgical enterprises, chemical laboratories. It is also worn during woodworking. They protect the eyes, neck, face from the effects of chemical components, splashes, sparks, small fractions.
  • Face Helmet : Made of transparent plastic. Protects the face and eyes from dust, aggressive chemical components, small substances. Recommended for use when processing wood, metal, working with chemicals. Details about the types of masks of the welder.
  • hand guard : construction to protect eyes, neck, face during welding. He is lightweight. There is ventilation, which makes the work process more comfortable;
  • helmet for the head : an obligatory attribute in industrial enterprises.It protects the head from strong impacts, falling building materials and structures. Made of plastic. Withstands loads of up to 100 kg, and some models even more. Details of what a construction safety helmet is.

PPE for visual organs is designed to create a protective barrier between the mucous membrane of the eyes, the eyeball and substances that can harm them. These include:

  • Harsh chemicals in liquid or vapor state: if they get into the eyes, they cause severe pain, irritation, redness, a feeling that the eyes are baking a lot.Contact with aggressive chemical components, in addition to unpleasant sensations, provokes loss of vision;
  • High temperature substances: These are metal particles or sparks flying during the processing of metal structures. Getting into the eyes, they “eat away” the mucous membrane and provoke burns;
  • fine substances: crushed stone, sand and other materials used during construction work. They cause discomfort, their ingress can lead to deterioration or loss of vision;
  • Infrared radiation generated during work with sources of high temperature.

recommended products

Eye protection also softens impact contact, preventing serious eye injury. The main purpose of face products is to protect against factors that cause discomfort during work and are harmful to health:

  • aggressive chemical compounds;
  • small and large particles of metal, wood;
  • sand, gravel, stones used for decoration;
  • laser and infrared radiation;
  • weighty building materials and structures.

It is important that the selected products are of the correct size. In this case, the protection will be at a high level.

The purchase of personal protective equipment for the eyes and face is a concern for the comfort and health of the company’s employees. Protective equipment for the eyes and face has a wide range of applications. They are necessary for employees in areas such as:

  • construction : during the laying of the foundation, the construction of walls and ceilings, working with various materials, mixtures, structures, there is a high probability of injury.This work involves interaction with caustic chemical components that are contained in building mixtures and materials. Another threat is hot particles generated during welding, as well as bricks and various structures. In the construction industry, it is recommended to use safety goggles, welding shields, helmets;
  • Metallurgical : Working with metal is hazardous to the face and eyes. Hot metal particles contact the skin or eyes and cause burns. For reliable protection of the skin of the face and organs of vision, special glasses and closed helmets are needed, made of durable materials;
  • woodworking : small and large chips fly in different directions during wood processing by hand or with special equipment.When in the eyes, they cause irritation and discomfort. They also damage the skin. To avoid such consequences, use protective goggles and masks during work;
  • chemical industry : working with aggressive chemical components is detrimental to the mucous membrane of the eyes and skin. To protect them, it is recommended to use goggles and masks made of plastic. This material prevents the penetration of chemical components into the mucous membrane of the eye and the skin around them, which is especially sensitive to the effects of these components.

The choice of eye protection products is regulated by GOST 12.4.253-2013 . It describes the requirements for protective equipment (design, lens thickness), their purpose and scope.

You can find out the basic requirements for face protection equipment during welding work in GOST 12.4.254-2013 . It specifies the requirements for the design features of masks that protect the eyes and face from negative factors.

On our website you can purchase protective equipment of different formats for the eyes and face:

Goggles with indirect ventilation are designed for work with bulk materials, wood. They fit snugly to the face and provide a high degree of protection.

Safety glasses with temples: they are used for working with wood, bulk materials, during repair and decorative work.They protect the eyes from dust, small substances, paint, shavings. Made of impact-resistant polycarbonate.

Gas welding goggles with folding mechanism: they protect the eyes from dust, sparks, metal fragments, bright glow. Welders use special folding glass to immediately check the quality of the finished seam. They are lightweight and can be adjusted to fit. During operation, they do not fog up, do not cause eye and skin irritation. The only nuance that needs to be taken into account is that it is not recommended to work with glasses in subzero temperatures.

Choose accessories for eye and face protection taking into account their technical characteristics, parameters, operating conditions of the products.

90,000 Faces of Russian design. Valery Pavlovich Syomushkin

We continue the series of articles by Sergey Helmyanov about the legends of Russian design with the publication about Valery Pavlovich Syomushkin.

Valery Pavlovich Syomushkin, a graduate of the Faculty of Industrial Art of the Leningrad High School of Art and Industry named after V.I. Mukhina, is one of the brightest representatives of our School.For many years he worked in automotive design, headed one of the art and design departments of the AvtoVAZ Scientific and Technical Center. He is also the author of the concept of “crossover”, he is also the designer of the VAZ-2121 “Niva” and “Chevy NIVA”. I, of my own free will, turned the interview with him into direct speech.

Large-scale model of the promising “Niva” V.P. Syomushkin is on the right. 1972 year. V.P. Syomushkin. Sketches. 1970-1990

Curriculum Vitae: Valery Pavlovich Seomushkin was born on February 27, 1940 in the village of Spirino, 130 km from Novosibirsk.He graduated from high school in the village of Verkh-Aleus in 1957. Year mastered virgin soil, in the state farm “Proletarsky”. In 1958-1959 he studied at a technical school at the Aviation Plant. V.P. Chkalov. He worked as a turner, adjuster, designer and designer in the new technology department at the same plant. In 1964 he entered the Leningrad Higher Art School. Mukhina at the Faculty of Artistic Design of Transport Means and Industrial Equipment. In 1964-1967 he served in the army. He served in Lomonosov.In 1967 he returned to the Leningrad Higher Art School, again for the first year. In 1971 he graduated from the Leningrad Higher Art School. From 09/06/1971 to 09/06/2009, he worked at VAZ for exactly thirty-eight years.
In the early sixties, for the first time, our government paid attention to design. There was a decree on the introduction of methods of artistic design in industry, which gave rise to the formation of the profession. All the bosses saluted. Working at a giant aircraft factory, I saw how the workshops began to transform instantly. They began to wash the glass lanterns on the roofs, paint the walls and machines – always green.It took artists. It was necessary to design a workshop, a red corner. I painted one and a half meter tablets in different colors and wrote ad texts in white gouache. For this he received a portion of criticism in the city newspaper. After that, a whole delegation visited my dorm room (in the presence of the district police officer), in order to discover abstract painting! And they found it! A.S. saved me. Chernobrovtsev is the head of the art studio in which I studied. He was a member of the regional party committee, from where they called the plant to leave me alone.The head of the design department for the new technology of the aircraft factory sometimes appeared in the art studio. He invited me to work as a designer-artist. The work record says: “designer-artist”, so far they were afraid to call it the other way around! It was a great school, although not very long. My decision to enter Mukhinskoye was adamant.
About school
First impressions of the Mukhinsky school are a temple of art and talents. Stunning interiors. You do not just enter the school, but climb the monumental solemn staircase.The architect did not come up with this in vain – you have to get up! Leave everything momentary below. I consider Joseph Alexandrovich Vaks as my Teacher. After the detour, we, the students, flew into the nineteenth room and saw the grades. Wax wrote “good” or “bad” with a sweeping hand. It was always very accurate! No words were needed. Sometimes he wrote: “graphics?” – all clear!

When I came to production after studying at the Leningrad Higher Art and Industrial School named after V.I.Mukhina – approx.S.Kh.), then he was completely ready for it. But this is my case. I already knew what production was: apart from five years at an aircraft plant, during my studies I worked for almost five years at the Stroymash Central Design Bureau on Fontanka. He worked as an artist-designer, although he often had to make ostentatious drawings. It was a very useful practice. There I did several patentable developments. For example, a belt conveyor with rolled profile sides, co-authored with an elderly designer.It was nice to see my development at the construction site of the VAZ.

About VAZ
After Mukhinsky, he got a job at VAZ. And there I discovered that my profession was not on the staff list. I had to fight a lot for the normal state of affairs. But the name of the profession is one thing, and the assertion of oneself in the environment of designers is a separate and big story. It was difficult. Up to the point that the designers did not accept my projects. I made on large tablets all the elements of the interior of the future “Niva” in full size.Airbrush, with the transfer of the texture of leather and plastic, in black and white graphics with shadows, highlights on the glass devices. The chief designer Vladimir Sergeevich Solovyov was informed: “We do not accept what the designers have imagined there.” He came, looked, grunted and left without a word.

As I later found out, he instructed the designers to draw the interior themselves, as they see fit. A few days later, the projects were displayed in a large hall (including our tablets).All authors gathered at their masterpieces. Soloviev came. There was a long, endless silence. “Well, is everything clear? Work! Do your job! ” And left. After that, a lot has changed, it has become much easier. I felt like a winner. Some designers then came up to me and apologized: “Sorry. I didn’t want to participate in this shame, but the boss ordered, I had to ”. I said: “Nonsense, forget it, let’s think about how to do it better.” He was a bright and wise man – Soloviev. Unfortunately, there were no such main ones in my life.

About Niva
When they worked on the Niva, they did not know the word “crossover”, and all the participants in the process did not have a single concept. The task was to develop a car for the countryside. It was possible to make another “Volhynia” with a canvas top. So, by the way, many imagined the future car. I had to conflict with my boss, although I respected him very much. When I almost finished the drawing with an airbrush, and he saw the first sketches, he got very angry and ordered: “Cut (from the tablet) and stop!”Cut, but did not stop. I made a layout myself on a scale of 1: 5. The chief designer Soloviev found out about the layout and came to see. It was May 5, 1972. He made sure that everything was done to scale and worked out in advance in the layout diagrams, said: “Make a model in full size. We will meet in August. ”

Running prototype of the future “Niva” – E-2121. 1973
In August there was a technical council. The chief ordered to cover the mock-up of an open version with a canvas top (which I also developed) with a cover.So the design of the future “Niva” was approved with comments, which were given a month to eliminate. That was the beginning. Further, prototype, running samples were made, which were already presented to the general director, then to the minister, then to Brezhnev. He said, slapping his palm on the roof: “Make this car.” Before that, I rode for twenty minutes in an unknown place, to the horror of the guards.
About designers
We do not know the names of the designers for many reasons. Several years ago, the name of the designer began to be published on the last page of the instruction manual for a VAZ car.It was for cars 2106 and 2107, it did not last long. Then, apparently, very important bosses caught the eye and removed. Demidovtsev had a good idea – to create creative workshops for specific designers. There were several of them: Yartsev, Ruzanov, Lobanov, Pleshanov, Selin, Semushkin. But the bony bureaucratic system and passion for his creative activity buried this good idea. Only two design departments were created. I was appointed to lead one of them, Lobanov to the other.

The departments worked on the entire car as a whole: body and interior. As a result, I got the guidance of designers working on a variety of topics, plus overseeing the production of the VAZ 2110 family. Instead of design – plans, schedules, protocols, discipline, safety, reports. In short, no time for creativity. But the work on the new “Niva” was mine, I myself wanted it. After work, everyone leaves, you extinguish the extra light, the instrument in hand and to the model. It is necessary to check what the layout designers have done during the day, prepare the foremen for the next work.

VAZ racing car (international formula 2).
Little is known about the name of Viktor Kryazhev, the author of the G8. It was a breakthrough at the time. The body design was more complex, not as dry as we see in the metal. It was changed on the direct orders of the superiors, and the designer was unable to prevent this. The names of the authors are also unknown because everything that is Russian is not considered to be of great value. Of course, this is not normal. Well, do not issue the same law – if you mention the appearance, then be sure to mention the name of the author of the design, otherwise it is a prison.
About the profession.
The profession of “industrial designer” is very responsible. Only the word “designer” in the title is not correct. On the one hand, theorists scared with globalism – they say, everything should be subject to designers from a fountain pen to the system of government. On the other hand, the word that simply means “designer”. Industrial designers should distance themselves from this word, but I don’t know how to do it. Design centers in the world are organizations where a product is completely designed, down to the technology of its manufacture.VAZ was built in the Italian image and likeness. And our unit was called the Style Center. The Italians called the specialists of this system stylists. That corresponded to the nature of their work – the designers receive an assignment from above, develop the layout of the product and its design, outlining the general features of its external appearance, then this layout is transferred to the stylist with the task “Make it beautiful”. And the stylist usually does not interfere with constructive developments.

A slightly different approach took shape at the VAZ.A design artist is not just a stylist, but an equal participant in design from the moment an idea emerges. We, and I in particular, understood the term “designer-designer” literally. At first they told me: don’t get in here, don’t touch this, draw beautifully. Then I said: “Who are you? Constructor? And I am an artist-constructor! Therefore, you need to do as I think! My work is the essence of the product, not just the style and form. And it’s up to you to design to make it work mechanically. I work for the pleasure of the person who will use the product, for a favorable impression, for the conformity of form and content. “The engineer thinks differently.

V.P. Syomushkin. Sketches. 1970-1990.
Developed “New” cars 2105 and 2107. The chief engineer of the press production Krausch comes to a meeting with the chief designer Mark Demidovtsev. Having examined the samples carefully, he literally exclaimed: “Well, Mark, well done! You have surpassed all FIATs! Everything has changed, everything is new! Well, why didn’t you change the roof? For me, this is the simplest detail. Here are the doors and openings, why did I change it – is this the most difficult thing? “The responsibility of an automotive designer is special. You can ruin the mood of a lot of people with your work! And you? You will look at what you have done all your life. At every step it will be before your eyes.

Sergey Helmyanov.

First published in Projector magazine # 4 (21) 2012

How to choose bathroom fixtures? (IP44; IP65)

Lighting in any room is associated with a lot of nuances and specific tasks. This is especially true for bathroom lighting.Such a situation is associated with high humidity in the room, as well as with the often accumulating large amount of heat and, undoubtedly, complicates the task when choosing luminaires. The bathroom, of course, must be sufficiently lit, but at the same time it is necessary to comply with the requirements of safety measures.

The status of the bathroom is changing. We spend more and more time there and pay more and more attention to the high-quality interior of this room. Lamps in this regard are no exception.As a rule, the finishing of the premises is carried out with the expectation of 10 – 20 years of service, so the investment in high-quality lighting will pay off many times over. Indeed, of all interior elements, light has the most powerful effect on our mood. Lack of lighting can be a very depressing factor, and vice versa: the right lighting will allow you to start the day on a positive note.

Mysterious IP

Modern design combined with reliable and safe performance are the hallmarks of the British company Astro, which specializes in the production of waterproof bathroom fixtures with a high degree of IP [1] .This manufacturer was one of the first to conditionally divide the bathroom into several zones, which makes it easier to choose one or another lamp:

In zone 2, it is recommended to use luminaires with a degree of protection IP44 (sometimes it is labeled as IPX4, since moisture protection is indicated by the second digit of the IP marking). The degree of protection IP44 means protection against splashing water from all directions or, in other words, that the luminaire is designed to work in the humid conditions of a typical household bathroom.In general, such lamps can be installed anywhere, except for the immediate area of ​​the bathroom and shower cabins. Luminaires with IP65 marking have a higher degree of moisture resistance: protection against water jets. Luminaires with an IP65 rating are recommended for use in the bathroom and shower area.

Astro’s portfolio includes a wide range of luminaires with various lighting functions. They can be divided into two large groups: functional luminaires and general lighting luminaires (i.e.e. ceiling lamps, which will be discussed below, in the final part of the article).

Functional bathroom luminaires

Sconces and wall lights IP44

We’ll start with functional bathroom wall lamps, the importance of which cannot be overestimated. Take a look at the two images below:

In the left image, no wall lights are used, and the ceiling light is positioned directly over the head of the person standing in front of the mirror.Such a lighting solution seems to be extremely unprofitable, since it will inevitably create unnecessary shadows. The result, as they say, is obvious. On the other hand, the lighting solution shown in the right image is made with the functional use of wall lamps located on the sides of the mirror and ensures uniform illumination. In our store, you will find numerous waterproof sconces with a degree of protection IP44, both in classic and modern designs:

In this case, the lamps can be installed not only next to the mirror, but also directly on the mirror using special adapters.This will allow you to make the most of the wall space and install the mirror in the size you need. Also in our catalog you will find a wide range of IP44 over-mirror luminaires, which represent another elegant solution for illuminating this area:

Illuminated mirrors IP44

In the bathroom, great importance is attached to the mirror: women use it to apply or remove makeup, men need it when shaving.Considering all these nuances, the Astro factory produces mirrors of various sizes and purposes with built-in illumination. The use of energy-saving lamps, as well as LED (light-emitting diode) lighting, can be considered an undoubted advantage. The sink in the bathroom is the same as the writing desk in the study: the main work area. That is why it is important to find the right lighting for this area, and the Astro illuminated mirrors are an ingenious two-in-one solution:

Get to the point (IP44 illuminated vanity mirrors)

When shaving, applying makeup and other delicate procedures, illuminated cosmetic mirrors are invaluable helpers.It’s like an air conditioner in a car: if you try it once, it will be difficult without it. Astro cosmetic mirrors have 3x or 5x magnification and an IP44 waterproof rating, i.e. can be located in the 2nd zone:

Atmospheric bathroom lighting

In this section, we will focus on small surface-mounted and recessed wall lights for highlighting specific areas of the bathroom. Such light sources provide an alternative to full-fledged lighting at night, when the use of general lighting only gets in the way and can wake you up.With these waterproof luminaires, you can play a little with the light, unleash your creativity and personalize your bathroom.

At this point, we order to talk about functional waterproof luminaires IP44, IP65 and move on to general lighting.

General bathroom lighting

Ceiling lights IP44

Considerable attention should be paid to ceiling lighting. As a rule, it is the ceiling light that performs the main function – lighting the entire room, but not always good for functional lighting and accents.

Astro offers a variety of bathroom ceiling light options, which can be easily combined according to the desired effect and the brightness of the lighting.

Ceiling luminaires with degree of protection IP44, located in the 2nd zone:

Spotlights IP44

Replacement for a ceiling lamp – spot, recessed or surface-mounted waterproof lamps, with a high degree of protection – IP65, which can be located in all 3 zones:

A typical bathroom often requires no more than four of these fixtures.If you place them a little closer to the walls, you can get an interesting light effect on the surface of the walls. In doing so, you will maintain a high level of illumination and create a softer, more sophisticated atmosphere. Recessed luminaires designed for use with replaceable lamps can operate from 220V mains voltage and from a voltage safe for humans – 12V, using transformers:

Spots IP44

Sometimes you need to illuminate a specific object or a specific area.For this, there are so-called spots – directional lamps (from the English spot – a spotlight), with a degree of protection IP44, designed to be placed on walls or on a ceiling, including in zone 2:

In addition, a triple ceiling lamp of this type can act not only as a functional, but also as a budget solution, thanks to which three zones can be illuminated at once from one point. This way, you not only get the backlight where you need it, but you can also create a more interesting lighting scene.

A collection of bathroom fixtures in matt black.

An interesting solution can be a new series of lamps from the 2020/2021 catalog in black. The latest addition to the Astro portfolio, matt black dynamically renews the traditional approach and provides a striking lighting solution for the bathroom interior. The collection includes several existing models in a new finish – matte black, as well as a number of new products, which allows the original lamps from this collection to both take a central place in the interior and emphasize other details favorably.

We hope that our recommendations will help you decide on the choice of bathroom fixtures and design a lighting solution that is right for you. If you have any questions, we will always be happy to answer them by phone, skype, e-mail or through the feedback form on the “Contacts” page.

[1] International Protection Marking is a classification system for the degree of protection of the enclosure of electrical equipment against the penetration of solid objects and water in accordance with the international standard.

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