Student Dezyne E'cole College , www.dezyneecole.com

1. Model by- Milli Jain

2. Dezyne E’cole College
106/10, Civil Lines, Ajmer
Tel-01452624679
www.Dezyneecole.Com
2017- 2018
Project Report On:
Lighting Design
At
Dezyne E’cole College, Ajmer
Submitted To
Dezyne E’cole College
Towards The Partial Fulfillment Of
2nd Year Commercial Design
Diploma
NSQF Level 6 (NSDC)
By:
Milli Jain
Lighting Design

3. Synopsis
This Project Report On Lighting Design Has Been Created, Developed And Designed By Me,
During My Study Of Lighting Designing, Confirming To NSQF Level 6 Of NSDC.
In This Project I Have Discussed About The Various Lighting Aspects Used In Designing. I Have
Presented Here The Reasons For Using Lights In A Design And The Ways In Which Light Is
Distributed In Different Direction When Fixed. We Learnt About The Colour Rendering Index
And Colour Temperature And Their Impact On Design. Along With This We Have Studied
About The LED And Its Benefits And Why It Is Being Commonly Used Today. The Various Types
Of Light Controls Like Dimmers, Baffles And Louvers Are Also Discussed.
This Report Is A Learning Assignment Created During My Period Of Study Which I Have Used
While Creating Spaces Of Commercial Interest.
Lighting Design

4. I, Milli Jain, Student Of Dezyne E'cole College, Am Extremely Grateful ToEach And Every
Individual Who Has Contributed In Successful Completion Of My Project.
I Would Like To Express My Special Thanks Of Gratitude Towards Dezyne E’cole College
And Its Mentors For Their Guidance And Constant Supervision As Well As For Providing Me
The Necessary Information And Support Regarding The Completion Of Project.
I Also Want To Thank My Parents And My Friends Who Helped Me A Lot In Finalizing This
Project Within A Limited Time Frame.
Thank You.
Due Regards
Milli Jain
Acknowledgement
Lighting Design

5. What is lighting?
Lighting Design

6. Light Is Defined As The Electromagnetic Radiation With
Wavelengths Between 380 And 750 Nm Which Is Visible
To The Human Eye. The Main Source Of Light On Earth Is
The Sun. Lighting Or Illumination Is The Deliberate Use Of
Light To Achieve A Practical Or Aesthetic Effect. Lighting
Includes The Use Of Both Artificial Light Sources Like
Lamps And Light Fixtures, As Well As Natural Illumination
By Capturing Daylight. Day Lighting (Using Windows,
Skylights, Or Light Shelves) Is Sometimes Used As The Main
Source Of Light During Daytime In Buildings. This Can
Save Energy In Place Of Using Artificial Lighting, Which
Represents A Major Component Of Energy Consumption
In Buildings. Proper Lighting Can Enhance Task
Performance, Improve The Appearance Of An Area, Or
Have Positive Psychological Effects On Occupants.
During The Daytime, We Can Use Sunlight To See Things
And Do Our Work But During The Night Time We Need
Artificial Lights To Help Us In Seeing Things.
Lighting Design

7. Light Theory
Lighting Design

8. Perception Of The World Around Us Is Based Not On
The Quantity Of Light Entering The Eye, But On The
Quantity Of Contrast. What We Perceive As Light Is A
Narrow Band Of Electromagnetic Energy, Ranging From
Ranging From Approximately 380 Nanometres (Nm) To
760 Nm. Only Wavelengths In This Range Stimulate
Receptors In The Eye That Permit Vision These
Wavelengths Are Called Visible Energy Even Though We
Cannot Directly See Them. We Can See Different
Objects Only In The Presence Of Light. When A White
Light Beam Is Passed Through A Prism, A Band Of Seven
Colors Are Formed Is Known As Spectrum Of White Light.
Actually When A Beam Of Light Falls On An Object From
The Source Of Light Then This Light Gets Reflected In All
Directions After Striking That Object. The Reflected Light
Then Reaches Our Eyes And We Become Able To See
That Object.
White Light Coming In
Surface Absorbs
All Other 6
Colours And
Reflects Green.
Lighting Design

9. Visible Light Is Just A Small Part Of
Electromagnetic Radiation, Which Includes
Gama Rays, X Rays, Ultraviolet Rays, Infrared
Rays, Microwave Rays, Television FM Radio, AM
Radio And Long Wave Radio. Radiation With
Wavelength Between 380-750nm Is The Only Part
Of Spectrum That We Perceive As Light. Infrared
Radiation Is Experienced As Heat.
Gama Rays
X Rays
Ultraviolet Rays
Infrared Rays
Microwave Rays
Television
FM Radio
AM radio
Long Wave Radio
IncreasingwavelengthIncreasingenergylevel
400nm
500nm
600nm
700nm
Violet
Blue
Green
Yellow
Orange
Red
Visible Light
Lighting Design

10. Types of Lights
used in
Commercial
and
Residential
Spaces?
Lighting Design

11. There Are Basically Three Types Of Lighting Which Are Used In Commercial And Residential Design And These
Are As Follows:
• General Lighting: General Lighting Provides An Area With Overall Illumination. Also Known As Ambient Lighting,
General Lighting Should Provide A Comfortable Level Of Brightness, Enabling You To Perform Tasks And Move About
Safely. General Lighting For Indoors Can Be Accomplished With A Chandeliers, Ceiling Or Wall-mounted Fixtures,
Recessed Or Track Lights, And With Floor And Table Lamps. General Lighting Fixtures Outside Your Home Can
Include Spotlights, Hanging Fixtures, Post Lanterns, Wall Lighting, And Recessed Fixtures Used In Overhanging
Structures.
Lighting Design

12. • Task Lighting: Task Lighting Helps You Perform Specific Tasks And Activities Such As Reading, Writing, Sewing,
Cooking, Homework, Or Balancing Your Check Book. Task Lighting Is Usually Achieved With Recessed And Track
Lighting, Pendant Lighting, Portable Lamps, Or Desk Lamps. Task Lighting Should Be Free Of Distracting Glare And
Shadows And Should Be Bright Enough To Prevent Eyestrain. It’s Useful To Have Task Lighting On Controls That Are
Separate From The General Lighting.
Lighting Design

13. • Accent Lighting: Accent Lighting Is The Use Of A Concentrated Light On An Area Or Subject To Create A Visual Point
Of Interest. Accent Lighting Is Often Used To Spotlight Architectural Features, Paintings, Plants, Sculptures Or
Collectables. Accent Lighting Adds An Extra Dimension To A Room, And Proper Use Of Accent Lighting Can Help
Make A Room Look Larger.
Lighting Design

14. Light Fixtures
Lighting Design

15. • Track Lights- Mounted Or Suspended From The Ceiling, Track Lighting Consists Of A Linear Housing Containing
Several Heads That Can Be Positioned Anywhere Along A Track; The Direction Of The Heads Is Adjustable Also. Track
Lighting Is Often Used For Task Or Accent Lighting.
• Pendant Lighting- Suspended From The Ceiling, A Pendant Light Directs Its Light Down, Typically Over A Table Or
Kitchen Island. A Pendant Can Enhance The Decorative Style Of A Room. Pendants Can Provide Ambient Or Task
Lighting.
Lighting Design

16. • Cove Lighting- Cove Lighting Is Located In A Ledge, Shelf Or Recess High Up On A Wall, And The Light Is Bounced
Toward The Ceiling Or Upper Wall.
• Soffit Lighting- Soffit Lighting Is Located In A Soffit Or Cornice Near The Ceiling, And The Light Radiates Downward,
Washing The Wall With Light.
Lighting Design

17. • Valance Lighting- Valance Lighting Is Located In A Wood, Metal Or Glass Valance (Horizontal Shield) Mounted
Above A Window Or High On The Wall, And The Light Bounces Both Upward And Downward.
• Recessed Lighting- Installed Above The Ceiling, A Recessed Lighting Sends A Relatively Narrow Band Of Light In One
Direction; It Can Be Used To Provide Ambient, Task Or Accent Lighting.
Lighting Design

18. • Wall Washers- Wall Washing Is A Technique Typically Used To Light Flat Walls. You Get A Nice, Even Distribution Of
Light From Floor To Ceiling, Bringing Your Attention To A Large, Smooth Vertical Surface.
• Spotlights- A Lamp Projecting A Narrow, Intense Beam Of Light Directly On To A Place Or Person, Especially A
Performer On Stage.
Lighting Design

19. • Chandeliers- Suspended From The Ceiling, Chandeliers Direct Their Light Upward, Typically Over A Table. They
Can Enhance The Decorative Style Of A Room. Chandeliers Provide Ambient Lighting.
• Wall Sconces- Surface-mounted To The Wall, Sconces Can Direct Light Upwards Or Downwards, And Their Covers
Or Shades Can Add A Stylistic Touch To A Room. Wall Sconces Provide Ambient Or Task Lighting.
Lighting Design

20. Light Distribution
Through
Light And Fixtures
Lighting Design

21. Distribution Of Light A Luminaire (Lighting Fixture) Emits Light In One Of Three Directions- Downward,
Upward Or Multidirectional- And In One Of Two Distributions-concentrated Or Diffuse. Downward Light From A
Properly Designed Luminaire Has A Restricted Angular Spread; Direct Glare Is Prevented By Both This Restricted And
The Shape Of The Human Eyebrow. Upward Light Usually Covers A Large Area Of The Ceiling; The Light Reflected
From The Ceiling Is Of Low Luminance And Is Unlikely To Cause Distracting Glare. Multidirectional Light Is Emitted In
All Directions, But It Cannot Emit Much Of Its Output Sideways Without Causing Objectionable Glare.
The Seven Directions And Distribution Of Light.
Lighting Design

22. • Concentrated Downward Distribution Luminaires With Narrow Beam-spreads That Lack An Upward Component Of
Light Produce A Concentrated Downward Distribution. When Located In Low Ceilings, Concentrated Downward
Beams-with Spreads 30 Degree Or Less- Create Areas Of High Luminance On The Floor With Dark Areas In
Between.
• Diffuse Downward Distribution Luminaires With Diffuse Beam-spreads And A Downward Distribution Produce Diffuse
Downward Light. It Spreads From 80-120 Degrees-offer A More Practical Light Distribution For Many Purposes. A
Luminaire With 100 Degrees Beam-spread, Emitting Most Of Its Light Below A Cut-off Angle Of 40 Degree From
Horizontal Is Offered By Most Well Designed Downlights.
• Concentrated Upward Distribution A Concentrated Upward Distribution Directs Light Toward The Ceiling. With
Light Directed Upward And The Downward Component Removed, The Ceiling Becomes Visually Prominent. It Also
Becomes A Secondary Light Source Because Of Its Reflective Properties. When Mounted In Close Proximity To The
Surface Being Lighted, Concentrated Upward Beams Create Isolated Areas Of High Luminance.
• Multidirectional Concentrated Distribution Multidirectional Distribution Created With Concentrated Beam-spreads
Is Called Multidirectional Concentrated. It Is Also Called Semi Direct If 60-90% Of The Lumens Are Directed
Downward, And Semi Indirect If 60-90% Of The Lumens Are Directed Upward.
Lighting Design

23. • Direct/Indirect Distribution Luminaires That Deliver Both Direct And Indirect Components Of Diffuse Light, But No
Side Lighting Is Called Direct/Indirect Distribution. They Provide Efficient Use Of Light On Work Surfaces While
Relieving Contrast By Reflecting Light From The Ceiling Plane.
• Diffuse Upward Distribution A Diffuse Upward Distribution Directs Light Towards The Ceiling And The Upper Side
Walls. This Technique Is To Create Uniform Ceiling Luminance For The Prevention Of Glare In Areas With Video
Display Terminals And To Emphasize Structural Form Or Decorative Detail On Or Near The Ceiling Plane.
• Multidirectional Diffuse Distribution Multidirectional Diffuse/General Diffuse Distribution Is Produced By Luminaries
That Deliver Both Upward And Downward Components Of Light. These Luminaries Emit Light In Several Directions
At The Same Time- Toward The Ceiling And Walls As Well As Toward The Floor. The Reflected Light From The Ceiling
And The Inter-reflection Of Light In The Space Diffuse The Downward Distribution, Reducing Shadow And Contrast
And Creating A Uniform, High-brightness Interior.
Lighting Design

24. What is Colour
Temperature?
Lighting Design

25. The Colour Temperature Of A Light Source Is The Temperature Of An Ideal Black-body Radiator That
Radiates Light Of Comparable Colour To That Of The Light Source. Colour Temperature Is A Characteristic Of Visible
Light That Has Important Applications In Lighting, Photography, Etc.. In Practice, Colour Temperature Is Meaningful
Only For Light Sources That Do In Fact Correspond Somewhat Closely To The Radiation Of Some Black Body, I.E.,
Those On A Line From Reddish/Orange Via Yellow And More Or Less White To Bluish White; It Does Not Make Sense
To Speak Of The Colour Temperature Of, Ex. A Green Or A Purple Light. Colour Temperature Is Conventionally
Expressed In Kelvins, Using The Symbol K, A Unit Of Measure For Absolute Temperature. Colour Temperatures Over
5000 K Are Called Cool Colours (Bluish White), While Lower Color Temperatures (2700–3000 K) Are Called Warm
Colours (Yellowish White Through Red). Warm In This Context Refers To Radiated Heat Flux Rather Than Temperature;
The Spectral Peak Of Warm-coloured Light Is Closer To Infra-red And Most Natural Warm-coloured Light Sources Emit
Significant Infra-red Radiation.
Lighting Design

26. Interior Spaces With Different Colour Temperature.
Lighting Design

27. What is Colour Rendering
Index?
Lighting Design

28. A Colour Rendering Index (CRI) Is A Quantitative Measure Of The Ability Of A Light Source To Reveal The
Colors Of Various Objects Faithfully In Comparison With An Ideal Or Natural Light Source. The CRI Of A Light Source
Does Not Indicate The Apparent Color Of The Light Source; That Information Is Under The Rubric Of The Correlated
Color Temperature (CCT). The CRI Is Determined By The Light Source's Spectrum. If The Colour Temperature Of A
Given Source Is 5000K Or Less, The Reference Source Is The Blackbody Radiator At The Nearest Colour Temperature. If
It Is Above 5000K Then It Is Nearest Simulated Daylight Source. The Comparison Is Expressed As A Scale Of 1- 100,
Which Indicates How Closely The Given Light Source Matching The Colour-rendering Ability Of The Reference Light
Source. Is An Average Of The Colour Rendering Ability Of Eight Test Colours; Better Performance At Some
Wavelengths Is Concealed When Average With Poorer Performance At Other Wavelengths.
Lighting Design

29. Lamp Types
• Incandescent Lamps
• Fluorescent Lamps
• LED
Lighting Design

30. Incandescent Lamps Emit Energy In A Smooth Curve Beginning With A Small Amount Of Deep Blue
Radiation In The Near Ultraviolet Range And Increasing Into The Deep-red Portion Of The Spectrum. It Complements
The Appearance Of Warm Colours And Human Faces. Incandescent Lamps Enjoy One Slight Advantage Over Other
Lamps In Colour Rendering-not Because They Render Colours More Naturally But Because More Than A Century Of
Use Has Established Them As A Norm. Tungsten-halogen Lamps (3000k) Have More Blues And Less Red Energy Than
Standard Incandescent Lamps; They Appear Whiter Than The Slightly Yellowish Standard Incandescent Lamps
(2700K). All Incandescent And Tungsten – Halogen Lamps Are Assigned A CRI Of 100.
Parts of an Incandescent Lamp
Lighting Design

31. Lighting Design

32. • SHAPES OF LAMPS
The Family Of Large Lamps Contains About Hundred Combinations Of Glass Quartz Shapes And Sizes. These
Variations Are Designated By A Two-part Abbreviation: The First Part, One Or More Letters, Indicates The Shape Of The
Bulb And Second Part, A Number Which Says The Diameter Of The Bulb In Eighths Of An Inch.
A-Arbitrary (With Familiar Teardrop Shape)
AR-Aluminum Reflector
B-Flame (Smooth)
C-Cone Shape
CA-Candle F-Flame (Irregular)
G-Globe Shape
GT-Globe–tubular
MR-Multifaceted Mirror-reflector
P-Pear Shape
PAR-Parabolic Aluminized Reflector
PS-Pear–straight Neck
R-Reflector
S-Straight Side
T-Tubular
Lighting Design

33. • LAMP BASES
Incandescent Lamps Have A Base At One End, Although Some Tubular Lamps Have Bases At Both Ends. All Bases
Conduct Current From The Electrical Supply Into The Lamp; Most Bases Also Support The Lamp Physically, But Many
Kinds Of PAR Lamps Can Be Supported By Their Bulbs. The Most Frequently Used Is The Medium Base; Its Name
Describes Its Size. Smaller Lamps Have Smaller Bases, Including Bayonet, Bipin, Candelabra, Intermediate, Miniature,
Mini-candelabra (“Mini-can”), Twist-and-lock (TAL), And Two-pin Bases. Larger Lamps Have Larger Bases, Including
Mogul Screw And Medium And Mogul Bipost Bases. The Bipin And Bipost Bases Orient The Filament Position, Providing
Rotational Alignment For Optical Control. Bayonet And Prefocus Medium And Mogul Bases Also Locate The Filament
In The Exact Predetermined Position Required For Optical Instruments And Searchlights.
Lighting Design

34. In Electric Discharge Lamps, Light Is Produced By The Passage Of An Electric Current Through A Vapor Or Gas, Rather
Than Through A Tungsten Wire As In Incandescent Lamps. A Fluorescent Lamp Is A Low-pressure Mercury Arc
Discharge Source. Its Operation Relies On An Electrical Arc Passing Between Two Cathodes, One At Either End Of A
Glass Tube. Fluorescent Lamps Require A Ballast To Provide The Proper Starting Voltage And Regulate The Lamp
Operating Current. When The Voltage Difference Between The Two Cathodes Is Sufficient To Strike An Arc, An Electric
Current Passes Through Mercury Vapor Within The Bulb. As The Arc Current Passes Through The Vapor, It Causes
Changes In The Energy Levels Of Electrons In The Individual Mercury Ions. As The Electrons Change Levels, They
Release Several Wavelengths Of Visible And Ultraviolet Energy. This Radiation Strikes The Tube Wall, Where It Causes
Phosphor Material To Fluoresce (Become Luminous) And Emit Light.
Lighting Design

35. Lighting Design

36. • LAMP SHAPES
In Electric Discharge Lamps, Light Is Produced By The Passage Of An Electric Current Through A Vapor Or Gas, Rather
Than Through A Tungsten Wire As In Incandescent Lamps. A Fluorescent Lamp Is A Low-pressure Mercury Arc
Discharge Source. Its Operation Relies On An Electrical Arc Passing Between Two Cathodes, One At Either End Of A
Glass Tube. Fluorescent Lamps Require A Ballast To Provide The Proper Starting Voltage And Regulate The Lamp
Operating Current. When The Voltage Difference Between The Two Cathodes Is Sufficient To Strike An Arc, An Electric
Current Passes Through Mercury Vapor Within The Bulb. As The Arc Current Passes Through The Vapor, It Causes
Changes In The Energy Levels Of Electrons In The Individual Mercury Ions. As The Electrons Change Levels, They
Release Several Wavelengths Of Visible And Ultraviolet Energy. This Radiation Strikes The Tube Wall, Where It Causes
Phosphor Material To Fluoresce (Become Luminous) And Emit Light.
Lighting Design

37. • COMPACT FLUORESCENT LAMPS
Compact Fluorescent Lamps Provide High Efficacy, A CRI Of 82,
And 10,000- To 20,000-hr Lives In A Single-ended, Multi-tube
Fluorescent Lamp. They Operate In The Preheat And Rapid-start
Circuit Modes; Many Have A Starter Built Into The Lamp Base.
Compact Fluorescent Lamps Have Significantly Higher Lumen
Output Per Unit Length Than Conventional Small Fluorescent Lamps.
This Is The Result Of High Phosphor Loading, Which Is Necessary
Because Of Their Small Diameter And Sharp-concerned, Multi-tube
Bulb Shape. As With All Fluorescent Lamps, Compact Ones Require
A Ballast In order To Start And Operate Properly. The Compact
Lamp Use The Same High –Colour-rendering Rare-earth Phosphors
As The T5 And T8 Lamps Mentioned Earlier. Colour Temperature
Varies According To The Relative Balance Among The Phosphors.
The 2700K Colour Temperature Is Often Used To Stimulate The Colour
Of Standard Incandescent Lamps; 3000K Is Compatible With
Tungsten-halogen And Linear, Straight Tube 3000k Fluorescent
Lamps; 3500k And 4100k Are Compatible With Straight Tube 3500k
And 4100k Fluorescent Lamps, Respectively.
Lighting Design

38. Coloured Lamps
Lighting Design

39. Coloured Fluorescent Lamps Emit Only A Particular Portion Of The Spectrum; The Colour Is Determined
By The Selection Of The Phosphors Used. Different Mixtures Of Phosphors Composition Produce Different Colours Of
Light. In A Few Cases, Additional Filtering Is Required To Absorb Mercury Radiations That Will Otherwise Desaturate The
Colour. For Red And Deep Blue Lamps, A Filter Coating Is Applied To The Outside Bulb Wall. The Gold Fluorescent Lamp
Achieves Its Colour By Subtraction, Because No Phosphors Emit Mainly Yellow Light. A Yellow Filter Coating On The
Inside Of The Tube Absorbs The Unwanted Wavelengths From A Warm-white Phosphor. Whenever Subtractive Filtering
Is Used, Luminous Efficacy Is Reduced. Black Light Fluorescent Lamps Use A Special Phosphor That Emits Primarily Near-
ultraviolet Energy, Plus A Small Amount Of Visible Blue Light. Coloured Fluorescent Lamps Vary Widely In Lumen Output.
For Example, Twenty-five Red Lamps Are Required To Equal The Lumen Output Of One Green Lamp. Different Colours
Of Light Have Different Degrees Of Effectiveness In Attracting Attention; This Is Independent Of Brightness Intensity.
Lighting Design

40. Coloured Filters
Lighting Design

41. A Colour Filter Is A Sheet Of Transparent Material That Modifies A Light Beam By Selective Absorption Of Some
Colours In Relation To Others. A Neutral Filter Absorbs All Wavelengths Equally And Merely Serves To Reduce The
Intensity Of A Beam Of Light Without Changing Its Colour. Colour Filters Are Usually Designed For Incandescent Lamps.
Other Types Of Light Sources, Lacking A Truly Continuous Spectrum, Are Seldom Used With Coloured Filters. The Various
Kinds Of Colour Filters Available Are As Follows:
• Gelatine Filters (Gels): The Are Thin, Coloured, Transparent Plastic Sheets Available In A Wide Variety Of Colours As
Well As Multi-coloured And Diffusing Sheets. Deeper Saturation Are Obtained By Using More Than One Thickness.
They Have Short Service Life Because Their Colour Fades Rapidly Due To Light And Heat Transmit.
• Coloured Plastic Panels: They Are Available For Use With Fluorescent Lamps But Are Unsatisfactory For Use With Hot
Incandescent Filaments.
• Coloured Glass Filters: They Can Withstand The Heat Of Incandescent Lamps, Come Smooth, Stippled, Prismatic Or
Split; They Are Highly Stable.
• Interference Filters: It Consist Of One Or More Layers Of Ultrathin Film Coating On Clear Glass That Reflect Rather
Than Absorb The Unwanted Wavelengths. The Number And Thickness Of The Film Coatings Determine The
Transmission Because Unwanted Wavelengths Are Not Absorbed, Interference Filters Remain Cool.
• Broadband/Dichroic Filter: They Are Designed To Reflect A Portion Of The Spectrum; Infrared Or Ultraviolet Or Both.
They Are Also Called Dichroic Because They Transmit One Colour And Reflect The Complimentary Colour.
Lighting Design

42. Dichroic Filter
Interference Filter
Gelatin Filter
Yellow Filter Cyan Filter Magenta Filter
Secondary filter:
Lighting Design

43. What is LED?
Lighting Design

44. An LED Lamp Is A Light-emitting Diode (LED)
Product Which Is Assembled Into A Lamp (Or Light Bulb)
For Use In Lighting Fixtures. LED Lamps Have A Lifespan
And Electrical Efficiency Which Are Several Times Greater
Than Incandescent Lamps, And Are Significantly More
Efficient Than Most Fluorescent Lamps. Leds Use Only
About 10% Of The Energy An Incandescent Lamp
Requires. Like Incandescent Lamps And Unlike Most
Fluorescent Lamps (E.g.. Tubes And Compact Fluorescent
Lamps Or CFL’s), Leds Come To Full Brightness Without
Need For A Warm-up Time; The Life Of Fluorescent Lighting
Is Also Reduced By Frequent Switching On And Off. The
Initial Cost Of LED Is Usually Higher. Degradation Of LED
Dye And Packaging Materials Reduces Light Output To
Some Extent Over Time.
Lighting Design

45. Lighting Design

46. Characteristics Of LED
• Light Colour: ‘White LED’ Light Is Produced By Led Lights That Deliver Blue Light Which Is Then ‘Shifted’ Into The
Broader Spectrum By Phosphors. This Is Much The Same As The Way Fluorescent Technology Produces ‘White’ Light.
LED Lamps Are Usually Available In A Variety Of Colour-temperatures.
• Light Output: Light Output Is The Main Aspect Of Led Performance That Is Still Developing. LED Technology Will
Increasingly Provide Lighting Solutions As Light Output And Efficacy Improves.
• Heat Production: Led Lights Generate Very Little Heat When Compared To Other Light Sources. However,
Minimizing The Temperature At The Internal Junction Between The Power Supply And The LED Material Is Critical To
Ensure Long LED Life.
• Glare: Glare Can Be A Problem With Led Lights Because Of The Small Size Of Each Light In Relation To The Amount
Of Light They Produce.
• Operating Life: The Operating Life Of Leds Can Easily Exceed 50,000 Hours. Compared To Other Light Sources, Leds
Very Rarely Fail. Only The Luminous Flux Is Slightly Reduced Over The Operating Period. In Practice, Leds Are Virtually
Service-free During Their Entire Period Of Use, Depending On The Particular Application.
Lighting Design

47. Benefits Of LED
• They Require Less Energy To Power, Leds Will Save You Electricity.
• Compared To Incandescent Bulbs, Led Lights Will Save You Around 80% Of Electrical Power.
• In Comparison With A Halogen Lamp, There Is A 75% Saving On Electricity.
• Hey Contain No Hazardous Solids, Liquids Or Gases – Which Can Be Harmful To The Environment.
• Led Lights Are Available In A Number Of Different Colours And Shades That Can Define The Style, Setting And
Ambience You Desire.
• There Is No High-powered Discharge That Can Have A Detrimental Effect On The Eyes.
• Leds Use Direct Light Meaning There Is No Light Pollution.
• Leds Have No UV Light, Eradicating The Possibility Of Skin Damage.
• They Are Easy To Install – Simply Screw On.
• Leds Have A Thick Epoxy Which Makes Them Incredibly Durable And Pretty Much Impossible To Break.
• They Have The Ability To Be Dimmed
• They Can Last Up To 50,000 Hours
• Leds Immediately Switch-on With No Warm-up Time
• Leds Last 2400% Longer Than Regular Halogen Bulbs
Lighting Design

48. What Is Light Control?
Lighting Design

49. Quality Lighting Is An Important Aspect Of Our Daily Life, And Is Often Taken For Granted. Light Control Is The Ability To
Regulate The Level And Quality Of Light In A Given Space For Specific Tasks Or Situations. Controlling Light Properly Not
Only Enhances The Experience, It Helps To Save Energy By Using Light When And Where It Is Needed Most. Light
Control Mainly Have Two Purposes:
• To Direct The Light Where It Is Wanted And
• To Block Light Where It Is Unwanted- To Shield The Lamp From Viewing Angles That Would Otherwise Cause Glare.
The Control Of Light Direction Is Accomplished By Three Methods: Reflection, Transmission And Refraction.
Lighting Design

50. Light Dimmers
Lighting Design

51. A Dimmer Provides Variation In The Intensity Of An Electric Light Source. Full-range Dimming Is The Continuous
Variation Of Lighting Intensity From Maximum To Zero Without Visible Steps. All Dimming Systems Operate On One Of
Two Principles For Restricting The Flow Of Electricity To The Light Source:
• Varying The Voltage Or
• Varying The Length Of Time That The Current Flows During Each Alternating Current Cycle.
Lighting Design

52. Baffles and Louvers
Lighting Design

53. Baffles And Louvers Shield Glare At Normal Viewing Angles, Thereby Contributing To Visual Comfort. Baffles
Provide Shielding In One Direction, Along A Single Axis. For Small-aperture Luminaires, A Baffle Around The Perimeter
Provides Shielding From All Directions. Louvers Are A Series Of Baffles Or Shielding Elements Placed In A Geometric
Pattern To Provide Shielding From Many Directions With Minimum Interference To The Desired Beam Distribution. Baffles
And Louvers Conceal The Light Source From Direct View Within This Specified Zone, Horizontal Work Surfaces Are Still
Directly Exposed To The Source. The Mirrored Image Of The Light Source Becomes A Source Of Reflected Glare From
Glossy Paper, Photographs, Objects Behind Glass, And Polished Table tops.
Baffles And Louvers May Be Black Or Made From Reflective And Transmitting Materials. The Intensity Of Light Directed
Toward The Eye Is Determined By The Luminance Of These Surfaces. The Choice Of Materials Is Based On Various
Considerations Including Visual Comfort And Design Harmony With The Space. To Achieve Concurrent Glare Control
And Lamp Concealment With Minimal Change In The Diffuse Beam, Use Open Louvers, Or Plastic Or Glass With A
Slight Degree Of Diffusion. Whether The Beam Is Modified By Diffuse Reflection Or By Diffuse Transmission, The
Distribution Of Light Is the Same.
Lighting Design

54. Baffles
Louvers
Lighting Design

55. Practical Working
Lighting Design

56. After Getting Knowledge About Light And Its Structure I Developed Some Light Structures (Pendant
Lights) During Identity Exhibition 2017.
Their Detailed Drawing, Orthographic Projections, Assembling And The Rendered Views
Are Displayed In Further Pages. The Materials Required And The Type Of Light Used In This Fixture Is
Also Well Defined.
Lighting Design

57. First Model
Lighting Design

58. Detailed drawing
Rings with dimensions
Outer ring
Lighting Design

59. Orthographic projection
Top and bottom view
Right and left view Front and back view
12”
12”
Isometric view Isometric view with material application
Materials used
• Wood
• Resin to stick wood
Light used:
• Company- Philips Lumen- 300lm
• Colour- warm Watt-3 w
• Bulb technology- LED
Lighting Design

60. Rendered views
Lighting Design

61. Prototype Development
Lighting Design

62. Lighting Design

65. Second Model
Lighting Design

69. Bibliography
• Interior lighting for designers (fourth edition)
• Wikipedia
Lighting Design

70. Thank you
- Milli Jain
Commercial Design Diploma
NSQF Level 6 (NSDC)
Lighting Design