When designing the lighting for anything, I've found it useful to discuss, in writing with proper syntax, spelling, and grammar, how I intend to use the four Controllable Properties (Intensity, Color, Distribution, Movement), and five Functions of Illumination (Selective Visibility, Revelation of Form, Illusion of Nature, Mood, Composition); to assist the Playwright, Director, and Actors, [and Box Office!] achieve their goals. Some would call this a "Lighting Concept" or "Lighting Statement." This is a process for lighting an Arthur Miller play, a pharmaceutical conglomerate's new product launch, a manufacturer's latest concept car, the latest mouse-created performing sensation, or the rock-star who has not had a hit in thirty years. An old dead guy (Stanley McCandless) from Yale taught this seventy-six years ago, and another old dead guy (Howard Bay) from Brandeis refuted the Yalie's achievements in 1974. For those who suffer from insomnia, I highly recommend reading Feeling and Form, by aesthetician Suzanne K. Langer. (New York: Charles Scribner's Sons, 1953); and attempting to define "the space that exists beyond the mirror," "virtual time," and "virtual space." The objective(s) of man-made lighting has not changed since our first ancestor told a story to the second in front of a fire. More wise words on "the design process": Unabashedly purloined from the SML: In response to a question about how to light a subway car for a production of Godspell, the following advice was offered: Wise words from one of the best lighting educators ever, the late Gilbert Hemsley: For a summary of the entire design process, see Lighting Design: Table of Contents, courtesy of Harvard.