LIGHTING AS A TEXTURE CREATING LIGHT AND SHADE


Texture is one of the elements of a room that gives it soul. A sense of depth and interest. Usually, we think of textures as fabrics and materials, rich in pile or grain, but there is another way to introduce texture into a room, and that’s with clever lighting, an element of interiors which is often overlooked.


Layering light sources and the thoughtful placement of lamps can add depth to a space with a simple flick of a switch. Interiors experts at Neptune share their thoughts on using light in your homes to best effect.


When it comes to layering lighting, there are three distinct levels: ambient, which will include overhead shades; task, which is more specialised, and accent lighting, which doesn’t have to be functional but adds a decorative touch. A note before you begin layering: do consider what time of day you’re in the room most and how the room will be used as this will determine the intensity and variety of light sources you’ll need, then start planning.


AMBIENT GLOW


Ambient lighting doesn’t just come from the central ceiling shade, it includes recessed ceiling spots, flush-mounted ceiling fixtures and wall lamps. In other words, any lighting source that offers a general glow and will light a room on its own to a decent level. Because this light can cast a more uniform glow, washing out corners and interesting shadows, it’s important to have ambient lights on a dimmer switch so you can control the mood of the room.


107


LIVE24-SEVEN.COM


HOME S & INTERIORS CREAT ING L IGHT AND SHADE


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140