NOVEMBER 5TH-NOVEMBER 26TH
INTRODUCTION TO TYPES OF LIGHTS
Starting this project, I was not aware of the different types of lights and their specific purpose. Although I knew there were decorative lights and lights that serves the purpose of bringing a general light source into a room, I did not know the technical names of all the lighting types.
From the discussion we had in class, I learned that lighting is categorized in the following:
- NAVIGATION
- AMBIENT/ATMOSPHERIC
- TASK
- DECORATIVE
I did some personal research to gain a deeper understanding of each type of lighting and I was intrigued by what results came up in the search. By seeing the consistent patterns of results that came up for each type of lighting, I was able to understand the purpose of each lighting type better.
NAVIGATION
_______________
When I looked up navigational lighting, I was expecting results that were more common and seen throughout various buildings. However, most of the results were very technical, like navigational lighting in boats.
As I thought some more, some examples of navigational lights that are more common are lamp posts, strobe lights, and pathway lights. These lights guide the person towards the right direction.
AMBIENT
___________
From the results for ambient lighting, I noticed a pattern of rooms and spaces that were lit up. It was a the type of lighting that was the closest to my mental representation of ‘light.’
I learned that ambient/atmospheric lights are lights that provide general lighting in a room. It is primary lit up as the main light source in a space. It can range from ceiling lights to lights that are more dim. The form of ambient lights depend heavily on the mood of the room.
TASK
_______
Task lighting from the results are lights that are made to help fulfill a specific task like reading a book, studying at night, or in general to limit the light source within a diameter. There were many results showing book lamps. The light is focused and targets one area. (e.g. book lamps, desk lamps)
DECORATIVE
______________
From the name itself, I had a general idea of what decorative lighting fixtures are. When I searched it up, a variety of results like fairy lights and chandeliers popped up.
I noticed that there were elements of the different lighting types mentioned before showing up in decorative lights. For example, there were many task lights that had decorative elements to them as well as ambient lights that stood as a focal point in the room. I observed that there weren’t many limits to decorative lights since in a sense anything can be used as decorations.
Not only did we discuss the different purposes of lighting, we also talked about the color of light.
There is a range of lights from red to violet. The extreme of either is infra-red and ultra-violet, respectively. The red lights are the lights that are more warm toned and the violet lights are more cool toned.
Ending our class discussion, we were assigned to go around CMU campus to take pictures of different lighting we found. From walking around and observing the different lights on campus, I compiled the following gallery of pictures:
LIGHTING AROUND CAMPUS
______________________________
With the knowledge on lights I gained from my research I was able to notice what lights were in a space and how some types of lighting were combined to create a space. At La Prima(Wean Hall) I realized there were three different types of lighting in one space: ambient, task, and decorative. All of these different types of lighting created the atmosphere of the space all while effectively creating a light source for the viewers. Most of the lights are turned on because it was dark when I took the picture. The images I compiled are very dim. I took pictures at Wean Hall, Margaret Morrison, McGill, Porter Hall, and the football field. Walking around campus being mindful of the lights was an experience that was very different to that I ever had because I was aware of all the different things that made a space the way it is.
EXPLORATIONS WITH PAPER
______________________________
Using the light bulb in the middle of the lazy susan attached to a crate, I conducted some experiments with different types of white paper. I wanted to see the relationship between the transparency of light and the thickness/material of paper. I wanted to see how the light becomes softer as different sheet of papers are stacked on top of it. Also I experimented with cutting to see how the light would reflect on to the surface.
One layer of copy paper=two layers of tracing paper
Two layers of copy paper allows less light to pass through. I played with the location of the second sheet of copy paper like shifting it up to allow only the first layer to be towards the surface. The generated more light on the surface than the top.
When I made the cut out, I expected the light to shine through and create a pattern on the surface. However, when I tried it out, the light was diffused and did not create the effect I wanted. For the pattern to shine on the surface I will try making the holes smaller so that the light that shines through will be more concentrated.
The white card-stock I used had a warm undertone which resulted in an orange glow when the light was placed under. It blocked the light more than any of the other experiments I conducted.
I was also curious of how texture shows up under the light. I chose to use tracing paper because it is thin and I thought that the texture would be more clear. The folded lines were very subtle and less obvious than I expected.
SKETCH MODEL/LEARNING ABOUT PAPER STOCK
My lighting engine prompt was to design a light that supports reading in bed. From this I categorized this type of light as a task light. In class, we were also told to think about the way the lighting looks when it is off. I will have to think about the decorative elements as well.
To think of the feeling/mood this type of lighting would portray, I thought of words associated to the task:
- relaxation
- comforting
- clarity
- warming
- functional
SKETCH MODELS
___________________
I first wanted to first play around with the transparency of light through the different number of layers. I made a cylinder with three layers of papers: three on the bottom, two in the middle, and one on top. I noticed that because of the type of paper I used (copy paper), having one layer contained a lot of the light. Because the light was not able to go past the paper, it did not let much light through. This resulted in a very soft light source rather than a light that was very intense. It was very similar to a paper lantern.
I made more explorations out of copy paper using a variety of techniques.
For the iteration on the far left, I have two layers of paper: one that has cutouts and one underneath that does not. I was curious to see what effect the lighting fixture would have if the cutout pattern was layered on top of the other layer. Instead of a drastic change in light, I got a light that was very dim. It was more decorative than functional.
The iteration in the middle is a prototype that I wanted to try out from my last assignment (shown on the far left). In my last iteration, I was hoping that when the lights shone through the cutouts, the pattern would show up on the ground. However, I did not get the effect I was hoping for. Because I cut out the patterns fairly large, I was curious to see what effect it would have if it was done smaller. Like the previous prototype, the pattern did not show up on the ground but the light was more contained due to the smaller openings the light can pass through.
With the three iterations above, I took more of a creative approach. The first two light fixtures towards the left has a hole in the middle where the light could immediately shine through. Unlike the previous sketch models, these models do not have much containment of light.
The left exploration does not have a physical barrier between the lights and its surroundings except for the rings of paper. There is more intense lighting coming out from this exploration because the brightness of the light bulb is fully shone in its surroundings.
For the iteration in the middle, I took several paper strips to attach them into a shape like a ball where the top is blocked from light shining through. The light is mostly coming from the sides of the fixture.
The last iteration, unlike the previous explorations, has many barriers between the light and the surroundings. With the paper cones and the cylinders blocking the light, the light is very dark. The only place where the light is coming through is towards the bottom where the paper cone does not reach the bottom. The lighting in this fixture is very soft and dim.
CARDSTOCK EXPLORATION
_____________________________
DIFFERENCES:
- Color
- Texture under and off the light
- The flexibility of the paper
- Transparency
From these cardstock explorations, I am leaning towards using bristol because it is easily malleable yet holds its form. However, I am also thinking about using warmer toned paper because it might project a more relaxed feeling to the overall lighting engine. The tan and white stonehenge might be a good candidate of a warm paper I might end up using.
11/12/19–11/14/19
For this assignment until the next class, I made several iterations exploring various formal qualities and ideas.
1ST ITERATION
__________________
PAPER: TRACING PAPER
Based off of my sketch models, I was inspired to further explore the concept of layering paper in my lighting engine. Using the technique people use to make folded paper people, I cut out circles to reveal a chain of circles that were connected. I connected these chains of circles to sheets of tracing paper of various sizes, tall to short. Once I had my layers of tracing papers with circles, I folded them into cylinders and placed the tallest sheet of paper in the middle and the shortest on the outside.
The problem with this iteration was that the tracing paper was very unstable to hold a definite shape leading to a lopsided lighting engine. The tracing paper was also very wrinkly after the chain of circles were glued onto it.
In terms of lighting, it did not fulfill the task of reading in bed because the light was too spread out everywhere. Because I used only one material, tracing paper, there was no hierarchy of light within my engine. The bulb on the inside was visible as well which is something I want to avoid.
2ND ITERATION
__________________
PAPER: BRISTOL/TRACING PAPER
Keeping the idea of the hanging light from my first iteration, this time I decided to explore a form that was more structured. Unlike the cylindric form from before, this iteration had edges and corners. Because the form was so different, the challenges were distinct to its form as well. I had to maintain the sharp edges and think about the measurements so that everything fit together at the end. The form had no room for compromises in measurements because at the end, the structure would fit or it would not.
From exploring sketch models, one of my models had a pattern cutout. Stacie during one of the critique sessions placed a sheet of paper inside to diffuse the light. Taking inspiration from this, I made a box out of tracing paper to diffuse the light on the inside. I also attached a sheet of copy paper on the inside of the pattern layer to diffuse the lighting a little more.
As for the naked bulb on the bottom of the page, I decided to fix that problem by wrapping the bulb with tracing paper but I need to figure out a more organized way of hiding the lightbulb with paper.
During critique, I was told to explore more with 3D form rather than the realm of 2D patterning on paper. There was a suggestion of using the pattern I created to construct form within the paper by folding and bending it to reveal gaps. The distance I was thinking of from the book and the light was a good distance because it provided good lighting for reading.
One thing I can work on for this iteration is how stable the overall form is. Although the form is a box, because I used paper on the top to hold everything together, it began to become lopsided. I will use foam board on the top for my next iteration.
3RD ITERATION
__________________
PAPER: BRISTOL
For this iteration, I explored the way the light shone through the gaps of the form. Because my task was reading in bed, I thought it should have a relaxing aspect aside from providing light to read. I took strips of bristol paper and connected them by the edges. Taking these pieces, I cut slits into them so I can connect them together. This method of attachment was very unstable. It resulted in many pieces falling out when I was inserting other things in.
The curvy form of this lighting engine provides a relaxing aspect because of the organic/fluid shape. The lights were very dim so it provided a very relaxing aspect to the light. The repetition found in the form also projected a relaxing vibe. In terms of reading, however, the lights were not bright or directed enough to support the task of reading in bed.
REFLECTION
From these three iterations I created, I was able to try out some of the ideas by taking my abstract thoughts and turning them into something physical. Although all of these iterations had no correlation to each other, at this stage, I am just trying to make as many iterations as possible. I want to get out all the ideas in my head and make them so that I can determine whether it is an idea worthy of refining later on. I witnessed many things firsthand about types of cardstock that I had assumed before. For instance, I always knew tracing paper was very flexible and hard to hold form with. With my first iteration, I had a experienced this firsthand. Furthermore, attachment methods that I thought would work like cutting slits into paper to insert other pieces in sounded like a stable method of attachment in my head but it was totally debunked once I physically made it. The iteration with most merit however was my second iteration because the structure was the most stable and idea has a lot of room to grow later on.
11/14/19–11/19/19
Based off of the critique I received, I made a few responses with my iterations. I also created new ideas that I always wanted to try out in this round of explorations.
EXPLORING 2D TO 3D (RESPONSE TO CRIT)
____________________________________________
PAPER: BRISTOL
From my iteration with the 2D patterning (shown on the left above), I attempted to turn it into more of a 3D version. Just like Steve suggested, I cut into pieces of paper and bent around with the paper to see how the paper would act accordingly. This was a new concept to me so I did not know how the paper would act based on the way I bent it, rolled it, or folded the whole sheet of paper.
With the exploration of this technique, it became apparent to me that it looked very messy and not relaxing at all. The contrast of the part that is cut out and the remaining portion of the paper created a very distinct look that reminded me of trypophobia. This was a look I was not going for and had no intention of continuing further with.
NEW IDEA/ITERATION 1
_________________________
PAPER: TRACING PAPER
Until now most of my ideas followed a general form, however, I wanted to examine more of an abstract form. I took sheets of tracing paper and folded it to attach to a general base which was the foam board on top. The purpose of this iteration was for me to physically make an iteration on a concept I was curious about from the start. I always wanted to make something that was unique and abstract enough for my hands to do most of the work not my planned ideas.
However, this iteration was not fit for my task because it was neither relaxing or supported the task of reading in bed. The pointy edges is not fit to have near a bed because the user would be very anxious.
NEW IDEA/ITERATION 2
_________________________
PAPER: DRAWING PAPER
This iteration is one I made out of pure curiosity. If my most valid iteration until now was the hanging box with the 2D cutouts, I wanted to construct something that was the opposite of what I had. Just in case I might like what I did not try out yet, I took a step and crafted something that was a standing, cylindrical, and minimalistic.
The making of this task had its own challenges that were pertained to its differences from my previous iterations. Because it was a standing light, I had to think about where the bulb would enter and how it would stand within the form. I had to create a base that would support the entire engine as well as the bulb inside.
I used foam board because the material is strong enough to hold everything together. I cut out a part for the bulb to enter and to elevate it enough so that the other part of the bulb would be hidden as well.
CLASS CRITIQUE
___________________
During class today, we were split into groups and were assigned several people to review their work. Walking around and seeing my classmates’ works made me realize what was important in creating my lighting engine.
I noticed that engines that had good craft as well as a consistent form was very appealing to me. Aside from these two, I also noticed that based off the certain type of task, the direction/strength of the light should be altered as well. The worksheet above was the critique I received for my 2nd iteration. My form was associated with hats, the pope, candles, and bamboo shots. It was also brought to my attention that the direction of the light was not suitable for reading in bed. I knew very soon after I made this iteration that I would not be using it so I decided to scrap this idea altogether.
REFLECTION
These couple of days I’ve been very lost with what I wanted to do for my lighting engine. Although the hanging box idea had the most merit in my mind, I felt as though the form was very conventional. I tried to turn my 2D pattern into 3D but I had trouble in creating something that was relaxing using this technique.
The new ideas I crafted were made in hopes of scavenging an idea that was new and unique. However, I fell off track and I was left with ideas that seemed like it popped out of nowhere. However, I am glad that I took initiative to try out these ideas that were “what ifs” in my head. I learned a lot about the way paper behaves and how to make a base that is stable. In my next steps, I will focus on the hanging box idea because it shows the most merit and it can be developed more to be unique to my task.
11/19/19–11/21/19
Although in between, I fell off tangent with my new ideas, I hopped back on track in the direction I was planning to go in. The idea with the most merit before the iterations I made out of curiosity was the hanging patterned box with the 2D cutouts (shown on the left). I wanted to further develop this idea in my next couple of explorations.
IMPROVEMENTS THAT CAN BE MADE
- try out paper with warmer undertones
- find a way to cover the bulb
- keep the layering idea but try out a different decorative element
RESPONSE 1
PAPER: BRISTOL/DRAWING/ TRACING PAPER
With this development process, I chose to use a different type of paper that was more warm than my previous iteration. The warm lighting provides a relaxing feeling to the overall lighting engine that is perfect for bed.
I chose to mask the bottom of the form with tracing paper so that the user would not see the naked bulb when he/she is underneath it. This is something the previous iteration did not have.
I liked the layered idea of the tracing paper on the outside so I decided to have a decorative element on this layer. Inspired from the art at my grandma’s house, I took my own approach on layered and jagged mountains by incorporating ripped paper in the form. I chose to use the type of art found at my grandparent’s house because I always felt a sense of relaxation within the repetitive patterns of the mountains. I created a gradient effect from the top to the bottom, decreasing in opacity as we got closer to the light source on the bottom.
CLASS CRITIQUE
___________________
In terms of my craft, there were many things that were pointed out. The edges of the box was very messy because I did not leave tabs to be attached together. There were gaps in between the edges. This was a distraction because while everything was diffused, the gap led raw light to shine where it was not intended to be.
There were a few suggestions on how to fix this:
- In the corners, add pieces of ripped paper to cover the raw light while extending the decorative element downwards.
- Like the seams of a shirt, attach the excess pieces of paper inside.
I used a variety of papers in this iteration. I used bristol and drawing paper for the base of the form. However, the paper difference led to different colors of light within the engine which was not aesthetically pleasing and very distracting.
TALKING WITH ZOE
_____________________
While talking to Zoe, we both brainstormed ways to incorporate the socket portion to the rest of the form. After talking to her, I came up with 3 designs to cover the top portion of the socket.
We also talked about a different attachment method which involves combining two pieces of paper by overlapping them in the middle. However, this method will incorporate the decorative elements by involving the tears of the paper within the design of the engine itself.
Lastly, Zoe and I talked about the outer layer of my lighting engine. She suggested that instead of limiting the tears to one side, I continue the tears to two sides so that my design would be more fluid and coherent. It is only a matter of a fact whether I should continue it on two sides, three sides, or all four sides.
IMPROVEMENTS THAT CAN BE MADE
- Find different attachment method
- Use one consistent type of paper
- Cover the socket completely
- Make the decorative elements more fluid throughout
11/21/19–11/26/19
This is the final weekend before the final iteration for the lighting engines is due. I have a general idea of what I want to do, however, there are many adjustments I have to make starting with the top of the light.
I thought of different ways to design the top of the lighting engine to cover the socket but also work with the form of engine as a whole. Like Zoe said, the top of the light can look like a backyard lamp post (shown on the left.) Taking inspiration from this, I came up with three different ways to design the top.
Before starting anything, however, I changed the way I attached my foam board onto the socket.
While until now I have been attaching the foam board in between the bulb and the socket, thanks to a classmate who brought it up to my attention, I was able to realize that there was a gap I could place the foam board within the socket itself.
This resulted in a more stable method of attaching the board to the light.
SOCKET COVER 1
PAPER: BRISTOL
For this top cover, I chose to have tapered sides and a flat top. To make this, I cut out measurements with tabs on the each side so that the attachment will be easier. The form of this will give the overall lighting engine a homey feeling because it will subconsciously remind the user the form of a house.
However, the flat edge makes the form look very incomplete.
OVERALL CONSENSUS: MAYBE
SOCKET COVER 2
PAPER: BRISTOL
For this top cover, I just extended the form of the engine upwards and closed it off at the top. Although this is very simple, the top attached with the form was very awkward.
Since there is no distinction between the actual form of the lighting and the top, it just looked very disportionate. The top portion of the lighting engine was too tall and the form became uncomfortably long. The top was also very distracting from what I wanted to be highlighted: the decorative element.
OVERALL CONSENSUS: WILL NOT USE
SOCKET COVER 3
PAPER: BRISTOL
For this top, I chose to connect all the sides at one point at the top. Out of all the top iterations, this one looked like it took up the least amount of room within the overall form. Because it tapered in all the way, the length from the top to the bottom was less than the rest.
However, one thing that concerns me it that the pyramid shape on the top makes the overall form look too representational of a house. Maybe because the box portion of the engine is too long and narrow, the overall form looks unnecessarily long.
OVERALL CONSENSUS: MAYBE
Out of all the tops I made, I am debating between the tapered/flat, or pyramid one. Both have their own flaws. For example, the tapered flat looks like there needs to be something coming out of the flat edge. The pyramid makes my lighting engine look too representational of a house. The good part in using the pyramid top, however, defeats the good of using the of the tapered/flat top because it is less distracting and takes up less room visually within the overall form.
I will go with the pyramid top, however, there will need to be some alterations within the proportions of the form or the top itself.
I am thinking of either making the top edges curved in or the box portion shorter.
ATTACHMENT METHOD 1
__________________________
PAPER: BRISTOL/TRACING
I tried what Stacie talked about in class to find a method that would not create shadows when the light is turned on. When I cut out the papers, I left excess paper on each side so that I could attach them together on the inside. Since there were two layers, I used the same method to attach the outer layer inside the inner layer (as shown above.)
Once I finished attaching these together, I turned on the light and it was SUCCESSFUL in that there were no shadows created.
One problem with this method, however, was that the outer layer became very flimsy because the attachment method was not very stable. However, maybe it was the length of the paper not the attachment method. I want to try to make the outer layer shorter so that there is less room for the paper to move around. Another way I might fix this is through folding excess length.
Other than this, however, this attachment method shows great potential and I am considering using this method in my final.
ATTACHMENT METHOD 2
__________________________
PAPER: DRAWING PAPER
This attachment method was the technique I talked about with Zoe. The overlapping parts transitioned nicely with the tears in the paper. I want to incorporate some tears in the inner layers of my engine, however, with this method I would not be able to attach the outside layer without using tabs which might be visible.
I will be using the first attachment method which is attaching the excess paper on the inside. However, I will use a more controlled method in gluing teared paper inside. This approach combines what I like from both methods.
OVERALL CONSENSUS: WILL NOT BE USING BUT WILL INCORPORATE SOME COMPONENTS INTO FINAL
TRYING TO EXTEND THE LIGHT TO THE TOP
____________________________________________
One thing I noticed about the socket cover of my lighting engine was that there wasn’t any lighting reaching it. The bottom portion would be lit up and the socket cover was not. The foam board was blocking the light from reaching it. I cut out pieces of the foam board to see if that would solve the issue and to my surprise, it worked really well.
OVERALL CONSENSUS: WILL BE USING THIS METHOD IN MY FINAL
COMBINING THE DIFFERENT COMPONENTS
From my last complete iteration of my engine, I explored the different shapes of the top, different attachment methods, and even the ways I will alter the decorative elements to make my engine more coherent and complete. Taking what I like best from each category, I will attempt to make my final lighting engine that includes the various methods I explored.
MAKING THE FINAL ITERATION (THING TO CONSIDER)
______________________________________________________
PAPER: WARM WHITE STONEHENGE/ TRACING PAPER
- Attach 6inx6in paper onto a 5inx5in base to make the top cover overhand from the rest of the form.
- Stack 2 or 3 foam boards so that there is height for a tapered edge connecting the socket cover and the box.
- Shorten the box because it is too long with the top. The outside layer (tracing paper) will be shorter than the inside layer (Stonehenge) with a 1:1 ratio on each end.
- Keep in mind the attachment method (combine attachment method 1 and 2)
Making the base portion of my engine, I started off with 3 foam boards, 5inx5in each, with cutouts in each one. I layered these boards on top of each other because I thought in order to connect the box portion and the socket cover portion there should be height so I have space to connect them with a diagonal edge. The cutouts I incorporated into the base will allow light to reach the socket cover.
For my attachment method, I chose to attach them with the excess amount of paper I left on each side. This, however, neglects the aspect I liked about the 2nd option which was the option of having decorations (teared paper). To add this decorative element, I took a more controlled approach and manipulated ripped paper into the form so that it could be seen while maintaining the craft of my engine.
This is the outer layer of the box. I tried making the decorations more continuous from one side to the next to create a fluid motion of tears. This resulted in a lighting engine that was consistent all throughout.
FINAL
________
This final took me a total of 9 hours to make. I knew I wanted to be precise with every step so that I wouldn’t make silly mistakes especially since there were so many new things to consider like the different attachment methods, the top cover that has a larger base than the rest of the form, ways to connect different components, and decorative elements.
One thing I tried very hard in was my craft. With my previous iterations, I just wanted to try out the idea for the sake of seeing if it worked or not. However, with my final, I knew it had to be presentable and have merit as an engine. To build this merit, I focused heavily on my craft. Every step, I tried to keep the papers as pristine as possible and scoring every line before folding it.
However, although I thought I was being attentive with my measurements, there were many times throughout my time making this final where the pieces did not fit perfectly. The pieces were sometimes off by even by a millimeter which brought down the craft instantly. I worked through this problem by compromising along the way by folding and adding more pieces of paper.
After I finished, I noticed that my lighting engine heavily reflected oriental qualities that I was very surprised to see. Although the tears in the outer layer was inspired by Korean art, I did not expect to see a oriental forms. The form reminds me of a lantern I would see in an Asian restaurant. Furthermore, the top that is slightly larger than the rest of the form creates a tapered effect in between these two pieces reflecting the houses stereotypically found in Asian countries.
The oriental qualities of my engine is fit for my task because my task, reading in bed, has relaxation qualities to it as well. When people think of relaxation, they often think of zen or a bonsai garden which are originated from Japan. These things that are reflected within my engine makes the user feel more relaxed.
IN CONTEXT
__________________
CREATING THE EXPERIENCE:
In a world that is so chaotic and socially demanding, it is hard to find alone time. Rarely do we ever find time to fully catch up with ourselves, our wellbeing, and our current state of mind. Although personal wellbeing is one of the most important things to take care of, we are constantly distracted by harsh deadlines, social demands, and even personal expectations. As a college student, I rarely get the time to spend time with myself because I am too busy chasing my goals as a student and participating in social events. One of the only times I am alone and have time to reflect is right before I go to sleep at the end of the day. This is where I like to spend time with myself either by watching an episode of a thrilling show or reading a book that intrigues me. My lighting not only helps one to read in bed, but it also creates an environment for someone to take a break from the chaotic world we live in. My lighting illuminates a soft glow of warm light and a scenic view of mountains. This helps people feel relaxed and truly “breathe” as they cozy up in bed at the end of the night. My light supports the idea of having a cup of hot tea by the bedside table, a warm blanket covering the legs, and a good book in hand. The lighting is built so that it is small enough to feel personal, yet big enough to guide the user through whatever task they intend to do. This lighting is all about the person: it will help them self-reflect, take a break, and be comforted.
FINAL REFLECTION
__________________________
This project reminded me of the cardboard carrier project from earlier in the semester. The specific task we were given made us think about the different requirements of each task. The crafting portion was very similar as well because constructing 3D form out of 2D material. One thing I learned from the cardboard project was craft and for this project, I learned the properties of paper. Most of the project, however, I was very lost as to what idea to follow. I was mostly focused on coming up with an idea that had never been done before while fulfilling my task perfectly. This pressure resulted in me being super stressed out a majority of the project. Most of the ideas were already done on pinterest and I did not want to follow something that has been done before. However, I realized in hindsight that I focused more on the light itself rather than the function. I was more focused on making my light more aesthetically pleasing than focusing on the purpose of my light.
Overall, I am really pleased with my final iteration. I pushed myself in terms of craft. I tried to get really clean folds and to make every piece of the form purposeful. I think my light fulfills its function of reading in bed because it feels very relaxed aspect but also provides good lighting to support the task of reading in bed due to the opening on the bottom.
