Sunday, September 23, 2012

Light Series 3

For this light series I chose Daylight, Compact Fluorescent, HID High-Pressure Sodium, Fluorescent, and Mr-16 to compare my fabric samples with.  I wanted to use fabrics with different colors, patterns, and textures in order to get the various changes on camera.

Daylight obviously had the best color range and really brought out the the hues in all of the fabrics.  The brightness of it also had the added affect of bringing out the textures fairly well.  I consider daylight to be the standard at which the other sources can be compared to.

The CFL lighting was warm and gave a golden tone to the fabrics.  The green and yellow rendered well within this light, but the red and blue were change from their original hue.

The street light with HID Sodium lamps applied the most dramatic visual affliction to the fabrics.  Everything appeared either orange or a sickly yellow.  Needless to say high-pressure sodium lighting is not suitable for visual clarity in design.

These particular Fluorescent lamps had a white light a bit on the warm side.  It rendered the colors just alright on the fabrics, but not as well as daylight.  Also for some reason the blue swatch gained an orange appearance under this lighting.

The Mr-16 lighting was strong and bright, but it left the colors in the fabric washed out.  This source would be appropriate if the need was simply to illuminate and colors were not important, but as designers colors should always be considered important in an interior space.

Saturday, September 22, 2012

Interior Light Model: Mixing Light

Light Mixing
Light Bo
The principle behind our light box was to create an area that displayed the primary colors of light, the secondary colors of light, and also white light at the same moment.  We were able to accomplish this by setting up barriers which restricted the path of our light sources (red, green, and blue lamps) so that they interacted and mixed in a very specific way.  The barriers allowed the red, green, and blue light to be shown whilst also having them mix to create yellow, magenta, and cyan in certain locations.  Finally in the center all of the light emitted mixed to create the visible white light. 

Our lamps were Christmas tree lights which we rearranged.  Originally all of the lamps were used, but later we adjusted the number to make the amount of emitted light about equal.  The colors on the exterior of our box represent the exact color which shines on the interior of the same wall and help to light proof inside.  The shape of the box represents a quartz prism used to fracture light and worked perfectly for our desired design.

Light Box Poster

Tuesday, September 18, 2012

Scavenger Hunt: Illuminance, Reflectance and Transmittance


8.8 fc  Studio Sink
11.7 fc  4th Year Studio
20.6 fc  Pinup Space
36.2 fc  Lab
48.4 fc  Room 204
53.2 fc  Critique Room
76.1 fc  Studio Window
163.1 fc  Desk Lamp


4% = 1.4/31.4 Screen Cover
30% = 9/30.2 Desk
57% = 11.4/19.7 Metal Frame
65% = 11.2/18.2 Whiteboard
94% = 18/20.2 Mirror


0% = .3/242  204 Shades
28.5% = 12.7/44.5  Paper
42% = 13.2/31.2  Screen Cover
76% = 540/710  Light Box
92% = 23/24.9  Glass