Soraa, creators of the white light that doesn’t keep you up at night.

9th March 2018

As lighting designers, we have the opportunity to use color temperature to alter perception, mood and the overall experience in a space.

Consider what you will be lighting:
Different colors and materials need different color temperatures.

  • Use warmer color temperatures (2,700 kelvin) when lighting warmer materials, such as wood.
  • For end-of-the-spectrum materials such as bright greens, blues, and black, use 3,000 kelvin.
  • Pick elements such as wall color and floor color/type under lighting conditions that are similar to what will be in the gallery to ensure an accurate depiction of the color and texture when everything is installed.

Plan for how you will be lighting:

  • Take a high-resolution photo and analyze the different portions of the object to be lighted, the size of the object, and most importantly, any conservation restrictions you may be held to.
  • Draw on printouts of the artwork to determine where you want to light it, where it will shadow and any possible issues.
  • Select your beam spreads and sketch out any potential problem scenarios.

Articulate why you chose the lighting you did:
Can you explain your lighting rational just as easily to a curator as to fellow lighting designers; why you chose this intensity, the job and purpose that every track head is performing, how the lighting fits into conservation requirements?

  • Slow down to consider the why, so you instill in others the same excitement about an artwork you felt while lighting it.
    Lighting designers must always remember our main objective is to provide rewarding lighting experiences for those experiencing a space or a specific piece of art. 

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