This thesis demonstrates the effects of applying lighting principles developed for 3D computer graphics production to well-known historical 2D paintings. The visual analysis and cinematographic direction is derived from the iterative review-critique- review process used in production of 3D animated films and the imposition of a narrative purpose for re-lighting. This thesis focuses on five of the important fundamentals of lighting design, adapted and defined by Pixar Animation Studios Director of Photography Sharon Calahan in “Storytelling Through Lighting: A Computer Graphics Perspective.” The results are 2D images that are easily recognizable as adaptations from the original paintings, but that communicate a distinctly different visual impression. Each re-lit painting serves as an example of the lighting principle employed and offers a unique viewpoint on a well-known artwork.

This thesis represents the written documentation and evaluation of the lighting design for the Southern Illinois University Carbondale Department of Theater's production of Ken Ludwig's musical Crazy for You. It was produced on the McLeod Theater stage in October of 2010. The first chapter lays out my personal and artistic goals for the project, as well as my initial plan for the design process. The second chapter discusses my analysis of the text and my further research into the text, dance and musical styles found within the work. It includes a scene breakdown, a character breakdown, discussion of the theme, and use of metaphor in our production. The third chapter shines light on my design process and collaboration with the director and other designers. The final chapter is a self-evaluation of my design process and an assessment of the design and its implementation. It details my successes and shortfalls on the project and their implications for my future work as an artist and designer. The appendices of this document include the essential paperwork, and light plot.

“In the life of man, the house thrusts aside contingencies, its councils of continuity are unceasing.” (Gaston Bachelard, 1957) More than 20 cities have more than 10 millions inhabitants nowadays, and in the past few years, people have spent more time in residences (Hesam Kamalipour, 2020) finding the method to optimize the daylight without compromising spatial characteristics and human well-being is a task for architects and engineers. The importance of daylight in creating meaning and experience is not only an application to increase the indoor environment quality, but also a design message from architects.How can daylight in architecture be assessed for a "spatial fluidity" in domestic spaces is an important issue in human society. This thesis contains the investigation following visual-physical theory (M Madsen, 2007) of light-zone(s) as a tool to facilitate the analysis about the daylight conditions of the space and visual- perception of light parameters (Anders Liljefors). The investigation follows the case of Row House in Sumiyoshi by Tadao Ando which only addresses a patio in the middle and two small windows in each room that avoid humans being affected by the view from the outdoor environment. The comparative analyze in this research is an attempt to contemplate qualitative result with observation and calculation as an reference in relation to subjection perception and emotional response for architectural design process.

The beginnings of modern stage lighting emerged during the late 1800s when Adolphe Appia and Edward Gordon Craig theorized about the potential use of lighting to create plasticity in a theatrical production. Appia and Craig conducted experiments, only to find that the limitation of the instruments available at the time prevented the achievement of their theory. The next documented step was when Stanley McCandless proposed and published a system for implementing the Appia and Craig theory of plasticity. Stanley McCandless' lighting textbook, A Syllabus of Stage Lighting. The book broke down the elements and function of light; ultimately becoming the common practice of academic lighting designers. One of his students, Jean Rosenthal, studied the theory and became aware of its limitations. Jean Rosenthal attempted to apply the McCandless theory to dance and found that it was not useful for sculpting the body. She then developed a new technique that better served dance lighting and adhered to the ideas of Appia and Craig. Rosenthal's theory became the foundation of contemporary dance lighting practice. The aim of this thesis consists of four parts. First is to research the evolution of dance lighting, second is to explore and apply the Rosenthal Theory of Dance Lighting, third is to document the design process and the fourth part is the personal growth and development throughout this entire process. As the Lighting and Scenic Designer I will have extensive documentation of both the process of design and the production. I will also have documentation on my growth and development based on this thesis project.

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This Thesis presents the various materials that evolved while designing the lighting for the Theatre Arts - University Theatre's production of A Little Going Away Party. Through various meetings with production staff the design objectives and styles of the premiere production were established. We determined that the production was dealing with an upcoming death in a positive manner and that the production elements should reflect this. The lighting design created a coolly lit cellar that was warmed progressively to reflect the growth of one of the characters as the story developed. The design also aided in drawing the audience's focus to different areas of the stage when action and dialogue required it. / M.F.A.

Esta dissertação propõe uma leitura sobre o tema da iluminação artificial, destacando o seu papel em espaços museográficos, por estes elevarem a um expoente máximo, as potencialidades e exigências do desenho da luz. No final do século XVIII, quando os museus começaram a surgir como veículos de divulgação cultural, o seu funcionamento dependia das condições da luz natural. Na transição para o século XX, uma das grandes transformações nesses espaços resultou da introdução da iluminação elétrica, cujo desempenho, desde então, não cessou de melhorar. Hoje, a tecnologia LED surpreende-nos com resultados quantitativos e qualitativos inéditos. Em pleno século XXI, com a atual evolução das sociedades, das tecnologias e das condições ambientais mundiais, enfrentamos um novo momento de viragem. Neste sentido, a pesquisa elegeu cinco tópicos gerais de análise cuja reflexão, em nossa opinião, revela-se determinante para o resultado do projeto de iluminação de um museu contemporâneo. Começa-se pelas Pessoas, porque a luz é, antes de tudo, um elemento essencial à condição humana e, a sua vertente artificial, resulta da invenção do homem. Explora-se o tema da Arquitetura, cujas formas apenas são perceptíveis sob o efeito da luz, originando esta relação indissociável. Avalia-se o Contexto, uma vez que as condicionantes locais influenciam qualquer projeto, mesmo o de iluminação. Prossegue-se com a Tecnologia, indispensável para o desenvolvimento de uma intervenção contemporânea. Enfim, examina-se a Obra de arte, o foco derradeiro de uma exposição museográfica, por excelência. Por último, alguns exemplos contemporâneos procuram ilustrar os temas explorados. E é das iniciais desses cinco temas que surge a palavra-síntese deste trabalho: PACTO. Com efeito, acreditamos que o triunfo do projeto de iluminação museográfico dependerá do pacto, por outras palavras, do acordo e da sintonia entre os elementos cruciais envolvidos no processo: as Pessoas, a Arquitetura, o Contexto, a Tecnologia e a Obra de arte. Através de uma metodologia apoiada na permanente atualização teórica com bibliografia específica, mas acima de tudo, numa participação ativa em conferências e workshops internacionais especializados sobre o tema, procuramos absorver e aqui relatar as mais recentes descobertas e aplicações práticas de um elemento tão dinâmico e interdisciplinar como é a luz artificial. Num museu do século XXI, além da inevitabilidade do pensamento sustentável e eficiente, junta-se ao processo o desafio de adequadamente valorizar a arquitetura, enaltecer as obras de arte com máxima preservação e, com toda a sensibilidade possível, tornar a experiência do visitante funcional e, principalmente, inesquecível. / This work proposes a reading about artificial lighting, emphasizing its role in museographic spaces that raise, in a maximum exponent, the potential and exigencies of lighting design. In the late XVIII century, when the museums began to emerge as cultural spreading vehicles, their operation depended on the natural light conditions. In the transition to the XX century, one of the major changes in those spaces resulted from the introduction of electric lighting, whose performance didn\'t stop to improve since then. Today, LED technology surprises us with unprecedented quantitative and qualitative results. In the XXI century, with the current evolution of societies, technologies and global environmental conditions, we are facing a new turning point. In this sense, this research selected five general topics of analysis whose reflection, in our opinion, is decisive to contemporary museum lighting design results. It begins with People, because, first of all, light is an essential element for the human condition and the artificial version is its own invention. It explores the Architecture theme, whose forms are only perceptible under light, resulting in this inseparable relationship. It evaluates the Context, since the local conditions affect any project, even the lighting design one. It continues with Technology, essential for the development of any contemporary intervention. It examines the Artwork, the ultimate focus of a museum-exhibition, par excellence. Finally, some contemporary examples try to illustrate the explored themes. And with the initials of those five themes it comes the word that synthesizes this work: PACTO (in english: PACT). Actually, we believe that the triumph of a museum\'s lighting project will depend on the pact, in other words, the agreement and the harmony between the five crucial elements involved in the process: People, Architecture, Context, Technology and Artwork. Through a methodology supported by the permanent theoretical update with specific bibliography, but mainly through an active participation in international conferences and workshops specialized on this topic, we tried to absorb and here report the most recent discoveries and practical applications of such a dynamic and interdisciplinary element as artificial light. Besides the sustainable and efficient thinking, a 21st century museum must add to the process the challenge of adequately enhance the architecture, rise the art works perception with maximum preservation and, with total sensitivity, make the visitor experience functional and, above all, unforgettable.