The articles here have been written by members of the design team. Some have been published in various journals, others form the core to talks and lectures given over the last several years. Please fell free to refer to these and use them giving credit to the authors and KSLD. We are also glad to hear any opinions and commentary you may have on the content. ... click on a headline to view article
Technical issues in the supply and use of LEDs.
Let us look at fixtures first. Generally theatrical use means running fixtures for a few hours a day quite often at less than full intensity. This is a dramatically different pattern of use to that experienced in an architectural environment where prolonged use is more common. Some theatrical fixture manufacturers are now addressing the architectural requirement in the design of fittings, however they do not check every ...
In all the fields of lighting design Rock & Roll concert lighting is the one area where the lighting designer
becomes a performance artist. In many ways the lighting designer taking his place behind the
lighting board is doing the same thing and experiencing many of the same feelings as the musicians.
At its finest the changes of lighting follow ...
During my career as a concert lighting designer I came across many problems attempting to balance different colours and intensities in lighting scenes. I found myself trying to understand the relationships between the apparent brightness of different lights on the stage which could not be reconciled by either the wattage of the lamps or transmission factors of the colour media used ...
Lighting for Museums and Art Galleries has a unique set of priorities, those of conservation and effective display. In many ways these two requirements conflict as there is a necessity to restrain lighting levels to promote the former whilst the latter requires sufficient light of a high quality to provide optimum viewing conditions. The process of lighting design becomes something of a balancing act to provide an effective ...
Our approach to lighting museums is one of embracing light and moulding it to meet the apparently conflicting requirements inherent in the museum environment. Light is on one hand a destructive force and thus conflicts with the museums role in preserving our heritage on the other it is essential to vision, the principal means of communicating the information held within and around the objects in the museum¹s collection ...