DAYLIGHT MODEL 2

LIGHT SKETCH SERIES 4

SIX TYPES OF LAMPS

HALIDE LAMP

A MEMBER OF THE HIGH-INTENSITY DISCHARGE (HID) FAMILY OF LAMPS

-PURPOSE- BASKETBALL COURT

-AMBIENT LIGHTING

-EACH LIGHT SOURCE REFLECTS OFF OF THE GYM FLOOR.

-IT ALSO REFLECTS OFF OF THE CEILING

-THE ILLUMINATION LEVEL IS AT A GOOD LEVEL FOR THE SPACE

-I THINK THE SPACE IS WELL LITE

HALOGEN LAMP

-HALOGEN LAMPS ARE AN INCANDESCENT LAMP IN WHICH A TUSGSTEN FILAMENT IS SEALED INTO A COMPACT TRANSPARENT ENVELOPE.

-DECORATIVE/ACCENT LIGHTS

-LOOKS LIKE A RELAXING SPACE

-NOT BRIGHT

-I ENJOY THIS LIGHTING FIXTURE, IT WOULD BRING A GREAT ACCENT TO A SPACE.

ELECTRODELESS LAMP 

-POWER NEEDED TO GENERATE LIGHT IS TRANSFERRED FROM THE INSIDE OF THE LAMP ENVELOPE BY MEANS OF (ELECTRO)MAGNETIC FIELDS

-THESE LIGHTS GIVE OFF BRIGHT LIGHT

-THE LIGHT SOURCE LIGHTS THE SPACE, ONLY IN THE DIRECTION OF THE LAMP

-NOT AMBIENT

FLUORESCENT LAMP

-A GAS-DISCHARGED LAMP THAT USES ELECTRICITY TO EXCITE MERCURY VAPOR

-OFFICE SPACE

-AMBIENT LIGHTING

-EACH LIGHT SOURCE CONTRIBUTES TO THE OVER ALL ILLUMINATION

-THE SPACE CAN USE SOME WORK WITH THE LIGHTING

COLD CATHODE LAMP

-AN ELEMENT USED WITHIN SOME NIXIE TUBES, GAS DISCHARGE LAMPS, GAS FILLED TUBES, AND VACUUM TUBES.

-SPACE - HALLWAY

-ACCENT LIGHTING/COVE

-THE LIGHT IS BRIGHT AROUND THE AREAS OF ACCENT, NOT AMBIENT LIGHITNG

-ILLUMINATES THE CEILING

-I LIKE THE WAY THEY USED THIS TYPE OF LIGHTING IN THE PHOTOGRAPH

INCANDESCENT LAMP

-A SOURCE OF ELECTRIC LIGHT THAT WORKS BY INCANDESCENCE, (A GENERAL TERM FOR HEAT-DRIVEN LIGHT EMISSIONS WHICH INCLUDES THE SIMPLE CASE OF BLACK BODY RADIATION)

-A PUBLIC SPACE

-AMBIENT AND ACCENT LIGHTING

-SPOT LIGHTING AND COVE LIGHTING

-THE LIGHTING ISN'T TOO BRIGHT BUT HIGHLIGHTS CERTAIN AREAS OF THE SPACE

-THE MATERIALS IN THE SPACE REFLECT LIGHT

LIGHT SKETCH SERIES 3

LOCATION -JACKSON LIBRARY

OBSERVING THE LIGHTING AGAINST THE MATERIALS AND FABRIC IN THE JACKSON LIBRARY ON UNCG'S CAMPUS.  THE FLUORESCENT LIGHTING LIGHTS THE SPACE WELL WITH LIGHT FIXTURES DOWN EVERY ISLE OF THE LIBRARY.  WITH THE BACKGROUND, TAKING THE FABRIC AWAY FROM THE WHITE FLOOR A LITTLE, IT LETS THE LIGHT BLUE FABRIC BE MORE VISIBLE.  ALSO THE YELLOW IS ALOT MORE VISIBLE IN THIS SPACE THAN THE GROCERY STORE.  THE GREEN AND RED FABRIC ARE THE MOST CONTRASTING COLOR, JUST LIKE IN THE GROCERY SOTER AND RETAIL STORE.

AS THE GROCERY STORE AND HARRIS TEETER, THE LIBRARY USES A WHITE CEILING AND FLOOR TO CREATE MORE LIGHT REFLECTION IN THE SPACE.  THIS GIVES MORE LIGHT FROM THE OVERHEAD LIGHTING. 

LIGHT SKETCH SERIES 3

LOCATION  - RESIDENCE

MY APARTMENT

PUTTING THE FABRIC INTO A RESIDENTIAL SPACE TO OBSERVE THE COLOR AND MATERIAL, I CHOOSE MY APARTMENT.  THIS SPACE, MY LIVING ROOM, WITH AMBIENT LIGHT, OVERALL, WORKS THE BEST WITH THE FABRIC AND COLORS.  I THINK THE WHITE BACKGROUND FROM THE OTHER SPACE WAS BAD FOR THESE COLORS.  THE COLORS LOOK MORE SATURATED AND RICK THIS THIS SPACE.  THE LIGHTING IS WARMER THAN THE OTHER SPACES.

LIGHT SKETCH SERIES 3

LOCATION -PAC-SUN

RETAIL STORE

THE RETAIL STORE I USED TO EXPLORE THE FABRIC SAMPLES IS PAC-SUN.  AGAIN WITH ALOT OF WHITE SPACE SURROUNDING, OR BEING THE BACKGROUND OF THE LIGHT BLUE FABRIC, IT WASHES IT OUT, LIKE IN THE GROCERY STORE.  THE DARKER LIGHTING DOES NOT WASH OUT THE YELLOW AS MUCH AS THE BRIGHTER LIGHTING.  OVERALL, THE YELLOW FABRIC WORKS BETTER IN THIS SPACE RATHER THAN THE GROCERY STORE.  ALSO, THE DARKER OF THE COLORS, ONCE AGAIN THE RED AND GREEN FABRIC, CONTRASTS MORE WITH THE BACKGROUND AND WORKS BETTER WITH THE SPACE THAN THE OTHER TWO FABRIC SAMPLES.

OVERALL, THE SPACE IS VERY INTIMATE.  THERE IS NO AMBIENT LIGHT, IT IS LITE BY DROP DOWN FIXTURES AND TRACK LIGHTING.  THE STORE USES A DARK FLOORING AND DARK CEILING TO HELP CREATE THIS MOOD.  PAC-SUN USES LIGHTING TO EMPHASIZE  ITS MERCHANDISE.  THE TRACK LIGHTING IS A GOOD WAY TO DO THIS.  ALSO BEHIND THE CLOTHING THERE IS WHITE WALL.  THE WALL MAKES IT LIGHTER AROUND THE CLOTHES, ALSO HELPING THEM STAND OUT WITH THE LIGHT REFLECTING OFF OF THE WHITE.  THE LIGHT FIXTURES ABOVE THE CHECKOUT COUNTER NOT ONLY PROVIDE LIGHT FOR THE EMPLOYEE AND COSTUMER BUT ALSO COULD BE USED AS WAY FINDING.

LIGHT SKETCH SERIES 3

LOCATION -HARRIS TEETER

THE LIGHTING IN THIS SPACE IS FLUORESCENT LIGHTS AND  THE SPACE IS WELL LITE.  THE FOUR DIFFERENT COLORS OF FABRIC ALL WORK IN DIFFERENT WAYS IN THE SPACE.  THE LIGHT BLUE FABRIC IS WASHED OUT WITH THE FLOOR COLOR AND THE BRIGHT LIGHTING IN THE SPACE.  ALSO THE YELLOW FABRIC BLENDS IN WITH THE FLOOR AND IS A LITTLE WASHED OUT AS WELL, BUT NOT AS BAD AS THE LIGHT BLUE BLENDING INTO THE FLOOR AND BEING WASHED OUT.  ON THE OTHER HAND, THE DARKER COLORS, THE RED AND GREEN FABRIC WORK BETTER IN THE SPACE.  THEY CONTRAST WITH THE FLOOR AND ADD COLOR TO THE SPACE.

THE WHITE CEILING REFLECTS THE LIGHT TO MAKE THE SPACE BRIGHTER.  ALSO HAVING A WHITE POLISHED FLOOR REFLECTS THE LIGHT MORE THAN THE CELING.  IT CREATES SHADOWS AND LIGHT REFLECTIONS ON THE FLOOR.

LIGHT SKETCH SERIES 2

A RETAIL STORE

PLATO'S CLOSET

THIS STORE HAS AN ENTIRE WALL, THE FRONT OF THE STORE, AS A GLASS WALL.  THIS LETS LARGE AMOUNTS OF NATURAL LIGHT INTO THE SPACE.  THERE ARE SPOT LIGHTING ALONG THE WALLS TO EMPHASIZE THE CLOTHING DISPLAY BUT ON SOME WALLS THE NATURAL LIGHT OVER POWERS IT AND IT DOESN'T WORK VERY WELL TOGETHER.  ABOVE ON THE CEILING THERE ARE LIGHTING OVER EACH ISLE OF CLOTHES.  THE STORE IS WELL LITE BUT COULD WORK ON THE MOOD OF THEIR STORE WITH THEIR LIGHTING FIXTURE CHOICES.

LIGHT SKETCH SERIES 2

A RESTAURANT

BRIXX PIZZA

THIS SPACE HAS SEVERAL DIFFERENT TYPES OF LIGHTING.  AS YOU SEE IN PICTURE ONE DROP DOWN LIGHTING IS USED IN AREAS WITH TALL CEILINGS AND ALSO ABOVE THE BOOTHS.  WALL SCONCES ALONG SOME WALLS ARE USED AND RECESSED LIGHTING AROUND THE BAR AREA.  THESE DIFFERENT LIGHTING IS MUCH MORE AFFECTIVE AT NIGHT BECAUSE THERE ARE LARGE WINDOWS IN THE SPACE THAT IS A GREAT SOURCE OF NATURAL LIGHT.  THE WINDOWS HAVE SHADES ON THE TO CONTROL THE AMOUNT OF LIGHT THAT COMES INTO THE SPACE.

I THINK THE DROP DOWN LIGHTS ABOVE THE BOOTH TABLES AND THE LIGHTING ABOVE THE BAR WORKS FOR THE SPACE.  THE DROP DOWN MAKES IT MORE INTIMATE AND THE BAR LIGHTING IS LESS INTIMATE BUT STILL RELAXING.

LIGHT SKETCH SERIES 2

ART MUSEUM

WEATHERSPOON ART MUSEUM

THIS SPACE HAS NATURAL LIGHT COMING INTO IT THAT GIVES THE SPACE ITS MAIN LIGHTING SOURCE.  TO HIGHLIGHT THE ART WORK THERE IS TRACK LIGHTING TO EMPHASIS THE WORK ON THE WALL.  THE IDEA TO HIGHLIGHT THE WORKS OF ART ON THE WALL IS A GOOD IDEA.  THE MAIN PROBLEM WITH USING NATURAL LIGHT IS THAT YOU CAN NOT CONTROL IT AT ALL UNLESS YOU USE SHADES TO ELIMINATE IT, THERE IS NO WAY TO MAKE IT MORE INTENSE. WHEN WANTING THE TRACK LIGHTS TO BE MORE NOTICEABLE AND HIGHLIGHT THE WORK MORE,  THE SUNLIGHT OVERWHELMS IT.  AS SEEN IN THE PICTURE THREE OF THIS POST THERE IS NO SPACE OR ANY WAY TO BLOCK OUT THE SUNLIGHT.

LIGHT SKETCH SERIES 1

DAY 4

DATE -MARCH 3, 2009

TIME -12:15 PM

TODAY WAS A SUNNY DAY, HOWEVER, THE BLINDS WERE ALL CLOSED BLOCKING OUT ALOT OF THE SUNLIGHT.  THERE ARE STILL ALOT OF SHADOWS AND SUNLIGHT BOUNCING OFF OF THE CHAIR IN THE FIRST PHOTOGRAPH.  IN THE SECOND PHOTOGRAPH, YOU CAN SEE HOW THERE IS ALOT OF LIGHT REFLECTING OF THE CARPET FROM THE WINDOW.  THE ANGLE AND POSITION OF THE SUN DOESN'T BRING THAT INTENSE LIGHT THROUGH THE TWO DOOR WINDOWS.

LIGHT SKETCH SERIES 1

DAY 3

DATE -FEBRUARY 18, 2009

TIME -12:15 PM

TODAY WAS ANOTHER OVERCAST DAY.  THE SPACE IS DARKER TODAY THAN IT HAS BEEN TEH PREVIOUS TWO DAYS.  WITH THE BLINDS ALL OPEN YOU CAN TELL HOW CLOUDY IT IS OUTSIDE.

THE SUNLIGHT IS STILL REFLECTING OFF THE ROUND TABLE AND ALSO OFF OF THE FINISH OF THE BLACK END TABLE.  THE REFLECTION IS NOT AS INTENSE  AS THE REFLECTIONS FROM DAY ONE.

THERE IS ALSO MORE STUFF IN THE SPACE IN THIS PICTURE.  THE BLUE TRANSPARENT CUPS ARE AN ELEMENT THAT DRAWS YOUR EYE IN THE PHOTOGRAPH BECAUSE OF THE SUNLIGHT GOING THROUGH IT, MAKING MORE EMPHASIS ON THE CUP.

LIGHT SKETCH SERIES 1

DAY 2

DATE  -FEBRUARY 13, 2009

TIME   -12:15 PM

TODAY WAS MORE OF AN OVERCAST DAY.  IT WAS BRIGHT OUTSIDE THROUGH THE CLOUDS.  ALTHOUGH THE LIGHT THAT HAD BEEN MORE DIRECT IN THE FIRST PHOTOGRAPH HAD REFLECTED OFF THE TABLE CREATED A GLOW OF BROWNISH LIGHT ONTO THE WHITE WALLS THAT I DIDN'T NOTICE UNTIL TAKING A SECOND PICTURE WITH LESS DIRECT LIGHT FROM TH SUN.

ALSO THE BLINDS ARE ALL OPEN IN THESES TWO PICTURES, MAKING THE WINDOW IN PICTURE ONE OF DAY TWO IS MUCH BRIGHTER THAN IN PICTURE ONE OF DAY ONE.  THERE ARE NO SHADOWS ON THE FLOOR WITH THE OVERCAST INTO THE SPACE.

LIGHT SKETCH SERIES 1

DAY 1

LOCATION - APARTMENT LIVING ROOM/SUNROOM

TIME           - 12:15 PM

DATE         - FEBRARY 9, 2009

TODAY IT WAS SUNNY OUTSIDE.  THE TIME OF DAY IS ABOUT NOON, SO THE SUN IS STRAIGHT ABOVE THE APARTMENT.  THE SUN STILL MAKES SHADDOWS ON THE FLOOR AND LIGHTS THE SPACE WITH NATRUAL LIGHT.  IN THIS PICTURE THE BLINES ARE CLOSED ON THE WINDOW BUT OPEN ON THE DOOR.  THERE WOULD BE MORE LIGHT COMING IN WITHOUT THE BLINDS.  THE FINISHED WOOD TOP ON THE ROUND TABLE REFLECTS ALOT OF THE SUNLIGHT, A WHOLE LOT MORE THAN THE CARPET, WHICH BEING A DARK COLOR ABSORBS THE LIGHT.  THE WHITE WALLS ALSO HELP TO REFLECT THE LIGHT INTO THE SPACE.

LIGHT MODEL 1