Name: Phạm Nguyễn Minh Hùng

Student ID: 18142028

SUMMARIZE THE MAIN IDEAS OF 8 VIDEO CLIPS ABOUT

"CREATIVE LIGHTING DESIGN”

Part 1: Form and Direction

How the direction of light can help to create and enhance the form of an object or
surface?

→ We do this by creating shadows.

 It is the presence of the shadow that gives us the information we need to

determine the shape and form of an object.
 However, shadows should not be random, they should be planned by carefully
choosing the right light source.

The shadow depends on the direction of view. For example, we can see a person's
shadow because we look in a different direction from the direction the sun is shining, and
vice versa if we look in the same direction as the sun, we will not see the shadow.

From the example:

 With the light coming in the same direction as the object, we don't see any
shadows.
 With Key Light we can see that normally the light we want is between 30 and 60
degrees horizontally and 30 to 60 degrees above the horizontal.

→ We should get some good shadows and not too deep.

 With the other side light, called fill light, it softens the shadow and is one-third the
intensity of the main light.
 If we shine the light from behind, called backlight, we won't see any facial
features, which helps to create a third dimension by modeling the object.

So, we have:

 Direct Lighting – No shadows

 Wall Washing – Shadows
 Grazing – Texture
 Part 2: Accents

Accent lighting focuses light on a particular area or object. It is often used to highlight

art or other artifacts.

We should think about the things that we are lighting and how they fit against their
background because eventually everything we see will have some kind of background to
it. It is the relationship between the subject and the background that also helps to create
their shape and form in the lighting design.

We use something called the axe fact an accent factor. It is the ratio between the light
on the subject and the light in the background. We have five types accent factor:

 Accent factor 2:1: double the brightness on the object as we have on our
background. Example, the mannequin in the store is also illuminated but not
outstanding. Since it's also backlit this is a noticeable effect.
 Accent factor 5:1: Five times the level of light on the dust as we have on our
background, you can see the beam of light and shadow on the background. In a
supermarket, the fruit and vegetable section are illuminated directly from above.
So, when it comes to finding the stress factor and getting the intensity you want,
the harder it gets. So, in stores there are often localized lights on the vajjis to help
them stand out. The effect it gives is like a low theater.
 Accent factor 15:1: Increase fifteen times the level of light on the dust as we have
on our background. Example, in the store, where the bags were displayed, not only
was the light shining directly from the ceiling, but there was also lighting under
the shelves that made the higher light levels stand out more on the display than
anywhere else in the store. Seen as a theatrical.
  Accent factor 30:1: Keep the light on the statue itself but reduce the background
light to provide a higher stress factor. Often used to display mannequins in shops
on dark streets. To direct people's eyes to places where there are brighter spots in a
natural and subdued way. Its effect is called dramatic.
 Accent factor 50:1: This is a very impressive accent factor, 50:1 this has almost no
background light and just shines on the subject itself. Example, in stores, only the
subject lighting and the room space are dark. To stand out and capture your
interest. This technique is often used in haute couture in retail. Its effect is called
very dramatic.

The goal may be to eliminate light pollution, in some locations light pollution cannot
be avoided altogether. The environmental consequences of the pollution, however, need
not be equally detrimental across all locations.

Description of the lighting environmental zones, as adapted by IESNA

(Illuminating Engineering Society of North America).
Environmental Description Average luminance Maximum
zone Cd/m2 Luminance cd/m2
E1 Countryside 0 0
E2 Urban Fringe 5 10
E3 Town 5-10 60
E4 City 10-20 150
 Part 3: Designing Shadow

The role of shadow:

 Shadows help us see better by defining things more clearly and by revealing or
conceiting texture.
 Shadows make space and everything more beautiful by creating contrast, depth in
space and highlighting details.
 Also need a lack of light to ensure health. Darkness is important for our bodies to
make the hormone melatonin which acts as the circadian clock and protects from
disease.

Parameters for shadow design:

 Modeling: is the design of light and shadow to emphasize shapes and details
without shadows. Shadows show depth and influence the perception of space and
architecture. They describe using the quality of modeling of light and shadow to
beautify the space. Used in museums to illuminate works or used in movies to
create drama and emotion.
 Texture: This is modeling of material and surface properties. Light, shadow and
shade can change the appearance of a surface. The texture rendering reveals the
nature of the material and helps to explain the character. Texture with light and
shadow is also important for us to know if the surface is rough or soft and
complements our touch.
 Pattern: There are countless patterns in life. There are many silhouettes of
naturally occurring patterns such as the sun shining through trees and plants. Can
model from sunlight inspiration and go through trial and error to find materials
and objects with shadow potential and see what happens when light shines through
them, varying distances, angle and light source
 Distribution: This is how we create areas and patches of local highlights and
shadows in a space. We can think of it as light geography. It helps to break up the
space and make it interesting. The spatial distribution is also important in stage
lighting, where light draws attention and shadows to reduce emphasis, creating a
backstage.
 Density: Example, light shining through fog and fog can create 3D shadows or
when beams of light shine through clouds or a dusty room it makes the light
almost look like a substance. Shows that the density of light is thick.
 Dynamics: The shadows we see can also be dynamic, changing over time. So light
is like a natural clock, natural shadows change direction and length slowly during
the day and give a subtle sense of the time of day. Shadows also show certain
places depending on their geographical location and aspect.
 Part 4: Surfaces

Surfaces play a major role in the composition of light. Understanding the interplay
of light, surfaces and materials can help us to express attraction and wonder. The surface
of things is made of different materials. Materials that significantly affect the perception
of light effects by absorbing, transmitting or reflecting light. Light makes characteristics
of materials visible according to its brightness, incidence of light and color.

Material properties:

 Color: Guide the possible use cases of the same lights and materials. The example
talks about how the natural appearance of different materials can be dramatically
enhanced or changed using white or green light. The red light produced by the
interaction of candles and red shells during the Golden Knights of Candace event
in Ventura is a special example of the use of 25% red and white light.
 Texture: The appearance of textures in materials can be altered by light. The
depiction of the surface's structure using shading is like an exacerbating agent of a
flattering release. They are looking at the same level of depth perception, not
intending to distinguish locations.
 Transmission mode: Life gets to is a medium in which transmits no radiation in
the spectral range of interests some examples of make the material can be reflex,
put concrete or metal. We have opaque, translucent and transparent.
 Luster in surfaces: most of materials can be described as a specular reflection in
another technique way is a reflection in accordance with the law show geometrical
optics without depletion. This component can be widely used in combination with
lighting effects. this is almost similar to specular of spaces but it's lightly more
diffuse similarity of reflection can be easily perceived, described by human eyes as
you can see in the right picture
 Reflection coefficient: The reflectivity of light from a surface depends upon the
angle of incidence and upon the plane of polarization of the light. For purposes
such as the calculation of reflection losses from optical instruments, it is usually
sufficient to have the reflectivity at normal incidence. This normal incidence
reflectivity is dependent upon the indices of refraction of the two media.
 Part 5: Light and Space

In this section we will look at how we perceive patterns and how this affects the
integration of luminaires into a space.

In lighting design, two different processes are required but are often not thought of
together.

 The first thing that comes to mind is that it is a calculation tool. Calculation of
light uniformity and luminance. To ensure the final effect will provide the right
light in the right place and the number will help us to judge.
 Either start with an imagination of how the space should be and how you
would like to see the lights light up with surfaces of brightness and color. But
no experience will not guarantee results.

Gestalt theory that is the combination of parts other than individual parts, the light
is usually provided by a large number of luminaires that we find in configurations and
models. let's simplify what we see and we do this subconsciously the way we perceive
shapes. Called the law of perception

The law of continuation asserts that the human eye follows lines, curves, or a
sequence of shapes in order to determine a relationship between design elements. The
continuation can carry through both positive and negative spaces in designs.

The law of proximity describes how the human eye perceives connections between
visual elements. Elements that are close to each other are perceived to be related when
compared with elements that are separate from each other.
 Equality law states that the same elements are recognized and grouped in spirit.
The larger the difference, the clearer the message we tend to have to group similar shaped
materials together.

Choosing makes a big difference in the perception of space, when you make a
design you look at a two-dimensional ceiling plan but imagine that you look at the ceiling
in the perspective of seeing the directional lines they make longer space and more
beautiful square. There is no direction when placed in a grid, nor does the inner shape
give direction. So, depending on how powerful the tutorial you want to create.

The presentation showed the importance of combining calculation and aesthetics

to create an imaginative design that fits the space and makes use of it.
 Part 6: Contrast

In this presentation we will get some information regarding the understanding, role
of contrast and its integration in the concept of lighting.

Contrast is a powerful design tool a. Scales of contrast are the essential force in the
articulation of design and communication. Example, the Jewish Museum in Berlin, the
white contrast will glow on the ceiling to help create a powerful message with a hidden
story in it.

Contrast is a powerful means of expression in the structuring of compositional

unity and in the intensification of meaning. Example, shopping malls in Singapore are a
good reference on how dynamic facades can play an emotional role.

Contrast also makes it possible for us to perceive subtle differences and sudden
differences.

Contrast is central to our visual perception as the basic functioning of the eye,
changing, transforming particular contexts into complex webs, where its existence
contrasts with our neighbors. Illusion model is converted by the brain into 3D space, the
rate of appearance this visual model responds to light, shape and is distinguished by size,
pattern.

Wise mentioned in the book made of light: “Through the relationship between
light and dark we are able to determine the form of architecture, by the manner in which
space and surface is revealed”.
 In visual perception of contrast determined by the difference in color and
brightness of the subject and other objects in the same environment. The human visual
system is more sensitive to contrast an absolute luminance.

Contrast made by accent factor. The set of images were by local increasing or
decreasing the strength of light. It is possible to create different brightness and shadow
patterns. Add some elements so that the visual effect is achieved when the subject
exhibits three specific shape opacity and it depends on the brightness between the object
and the background. We often call it contrast.
 Part 7: Color

In this section we will look at color, discuss color impressions, color temperatures
and emotions, and how to use color in your lighting design.

A world without color is a bad thing and depression affects everything we see and
our perception. This colorful world is all established in our minds that color is
experienced only by our visual senses. So, no one wants to go back to the black and white
era.

As you can see in the presentation, daylight can have many different colors in a
day and also depending on the season and weather. The area that attracts the observer
depends on the color that falls on it. Incandescent lights evoke comfort and intimacy. As
opposed to blue, the white of the day is considered cool.

You can imagine the iron rod being heated in a fire, first it glows when the
temperature of the iron increases, the color from black to red to blue is white.
Temperature helps to determine the color of the light which determines the color at the
moment of absolute temperature. This is called color temperature and is quoted in Kelvin
(K).

Color temperature chart:

 2500-3000K: warm white, application at museum, hotels, homes.

 3000-4000K: neutral white, application at shops, hospitals…
 4000-5000K: cool-white, application at fine industry, several medial areas.
  >5000K: daylight cool, application at art atelier, color inspection.

Apply colored light is to enhance the aesthetics and address emotional responses.

Warm colors like orange red and yellow have a activating effect while cool colors
like green and purple have a more relaxing effect on people. Yellow red is associated
with fire and sin. Cool colors like blue and purple are associated with the sky, and green
tends to associate with nature. when lighting design will usually be:

 Color rendering should be from good to excellent depending on importance.

 The color impression depends on the activity going on in the space.
 The higher the illumination level, the higher the color temperature.

Color temperature is usually suitable for general light but it is also less warm or
cooler, will even create color contrast.
 Part 8: Glare

Glare is a phenomenon that is difficult for the naked eye to see when there is direct
sunlight or artificial light from lamps. Human eyes do not feel glare when the eyes adapt
to the brightness: luminance (cd/m2) from 0.000001 to 100000000. Pupil size ~1s
response (1:10 variation), neutral adaptation 200ms (1:100-1000), photoreceptor
~minutes (1:1000 and more).

Glare have two types:

Discomfort glare: All discomfort glare ratings use average luminance. Examples
direct glare indoor, direct glare outdoor and indirect glare. The rating of each type of
luminance will be different and based on different criteria.

Disability glare

There are more and more studies on the luminance of heterogeneous light sources.
Many researchers found a way to fix it. Philips studies on glare by non-uniform office
luminaires: UGR (Unified Glare Rating) is a method of calculating glare from luminaires,
light through windows and bright light sources. The UGR rating helps to determine how
likely a luminaire is to cause discomfort to those around it.

o Test 1: concentrate light in center (step in glare well predicted by UGR)

o Test 2: LED matrix (Step in glare not predicted by UGR)
Conclusion of these studies:

 UGR is still a good predictor for “global” luminance variations.

 UGR underestimates glare for an array of bright dots.

Conclusions of this discomfort glare study:

 Average luminance good glare predictor for indirect view.

 Luminous pattern important for glare perception in direct view.

Summary:

 Discomfort glare rating use average luminance of a source.

 Perceived glare of uniform and non-uniform sources is often the same except for:
 Luminaires with extreme contrast between dark and bright parts.
 In applications where the luminaire is close.
 A committee in CIE is working on a proposal to correct UGR.

Glare and harsh brightness contrast should be avoided in offices, school and hospitals.
But accents and sparkle are essential for hotels and stores.