Elements of interior design by sumit ranjan

Elements of interior design

Sumbitted toAr Rimaljeet Kaur

Submitted bySumit Ranjan College of Architecture, Bhaddal 6th sem AR/12/834 sr

Interior design is "the art or process of designing the interior decoration of a room or building“  An interior designer is someone who coordinates and manages such projects.

Interior design is a multifaceted profession that includes conceptual development, communicating with the stakeholders of a project and the management and execution of the design.

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 In the past, interiors were put together instinctively as a part of the process of building.  The profession of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processes.  In ancient India, architects used to work as interior designers.  This can be seen from the references of Vishwakarma the architect - one of the gods in Indian mythology.  The interior design profession became more established after World War II. 4

 The elements of design are the fundamental building blocks of any composition.  These pieces work together to form a unified composition, and when utilized successfully, create a strong, dynamic visual layout.  The designer uses these elements as tools that control how a message is delivered to an audience.  These principles can be applied to fine art, photography and graphic design.

form

Line

line

Space Shape Form

space

Texture

shapes

colour

Color sr

texture

 One of most important element of design, line defines a subjectʼs form or shape on a flat, twodimensional surface. 

Lines can be thick or thin, smooth or jagged, rigid and mechanical or organic and hand drawn.

 When discussing line as it applies to interior design, we mean the lines created by the furnishings and architecture of a room.  Line sets form and shape.  Line is responsible for harmony, contrast and unity in interior design.  Line can be used to show movement and guides the eye throughout a room.  Line can be used to show mood.  Lines can be used to convey a sense of strength, serenity, gracefulness, or action.  Combining lines and placing them in a design in certain ways can create specific effects and feelings.  The use of line can also have an effect on how space is perceived.

 Different types of lines have different effects on design.

a mark, or stroke that is longer then it is wide. It is the path of a point moving in space. Objects and things are perceived by the line that describes them. Characteristics of line include: Width - thick, thin, tapering, uneven Length - long, short, continuous, broken Direction - horizontal, vertical, diagonal, curving, perpendicular, oblique, parallel, radial, zig-zag Focus - sharp, blurry, fuzzy, choppy Feeling - sharp, jagged, graceful, smooth ... can you think of others?

The difference in line quality have created works with very different impact. How you use line is very important while creating some artwork.

Vertical lines Vertical lines lead the eye up,  adding height  formality  growth  spirituality  grandeur  strength to a design.

Can be seen in: Tall furniture Columns Pillars Striped wallpaper sr

Long narrow draperies

This drawing room displays the use of vertical line. The example that stands out the most in this image is the glass window. Vertical line is also shown in the columns. 14

The back wall, glass window, furniture etc. give rise to verticality sr

Vertical railing showing vertical lines. These suppose to increase the height. sr

Vertical lines can make rooms seem more spacious than they actually are and ceilings appear higher.

Horizontal lines Horizontal lines lead the eye to the left or right, suggesting informality  calm  peace  gentleness  gravity  restfulness.

Can be seen in: Long,

low roofs Long, low furniture pieces such as sofas and chests

Horizontal lines can make buildings, rooms, and furniture seem wider and shorter. sr

Horizontal lines can make buildings, rooms, and furniture seem wider and shorter.

Horizontal lines depicts calm, peace, and relaxation sr

Diagonal lines Diagonal lines suggest  action,  activity,  movement  excitement  Creates a sense of speed

Can be seen in: Staircases

Cathedral

ceilings Gable Roofs

Diagonal lines can be overpowering and tiring, so they should be used sparingly in design

Diagonal lines creating action and excitement.

Depicting a sense of action

Curved lines Too many curved lines create  a busy look  Represent freedom  Natural  Flow  Appearance of softness  A soothing feeling.

Can be seen in: Doorway arches Ruffled curtains Curved

furniture Rounded accessories Staircases

Curved lines create natural flow and freedom.

The dynamic nature of diagonal lines creates drama and movement in room with a staircase

Curved line represent freedom Appearance of softness sr

Curved lines add a softening, graceful effect to designs.

Directional/jagged lines

Thick lines

Can be perceived as  forceful  chaotic  sharp  threatening

Can be experienced by  Rigid  Dependent  dominating

Thin lines Can be experienced by  Unstable  weak

 Space, in two-dimensional design, is essentially flat.  It has height and width, but no depth.  There are certain visual cues, however, that can create the illusion of space in the mind of the viewer.  By using those cues, artists and designers can create images that are interpreted as three-dimensional.

Space is the area provided for a particular purpose. It may have two dimensions (length and width) such as a floor, or it may have three dimensions (length, width, and height), such as a room or dwelling. It refers to the area that a shape or form occupies. When space changes gradually, it is more pleasing than when it changes abruptly. When space changes suddenly, the eye shifts from one view to the other without making a smooth transition.

Space can be defined as positive or negative. ď ą Positive space is the filled space, the object(s) or element(s) in the design. ď ą Negative space is the empty space, or the open space between design elements or objects, such as a background.

Any space, no mater what size or shape, can be divided into distinct parts.

Designers can create the illusion of physical space and spatial relationships through:  Linear Perspective  Size & Vertical Location  Overlapping  Detail (Aerial or Atmospheric Perspective)

Shapes that contrast negative and positive space can create the illusion of perspective.

Linear perspective is based on the visual phenomenon that as parallel lines (such as railroad tracks) recede into space, they appear to converge at a distant point. Linear perspective not only evokes a feeling of great depth, but it also creates a strong focal point at the place where the lines converge. sr

â&#x20AC;˘Linear perspective in a photorealistic image.

Size is one of the easiest ways to create the illusion of space. A larger image will appear closer than a smaller one because we observed (very early in life) that objects appear to become smaller as they get farther away.

Overlapping is another easy way to suggest depth in an image. When objects overlap each other, the viewer perceives the one that is covering parts of other to be in front and the one that is covered to be in the back. sr

 Atmospheric perspective uses value, contrast and color to give the illusion of space.  Atmospheric perspective is based on the fact that the farther something is away from us, the more the atmospheric haze may obscure our view of it.  By lightening the value, lowering the value contrast, softening the edges, decreasing detail and muting the color, you can mimic the effect of atmospheric haze and create the illusion of increasing distance.  Increasing the bluish cast of an image also creates a sense of depth because cool colors recede and warm colors come forward.

Compositional location refers to where a form is positioned vertically in the image. The bottom is seen as the foreground, the part of the image that is nearest the viewer and the top as the background, the part farthest from the viewer. The higher an object is place in the image, the farther back it is perceived to be. sr

Too little space can create a feeling of being exposed. sr

Very large rooms designed for many people can produce a lonely feeling when a person is alone

Space is affected by the number and size of objects in it.

Many objects scattered throughout a room will most likely destroy the design effect because the space will have no apparent organization or unity.

Objects grouped into large units will create a more ordered space.

A shape is defined as  a two or more dimensional area.  All objects are composed of shapes and all other 'Elements of Design' are shapes in some way.  Shape is a flat image with two dimensions: Length and Width.  Any self-contained area with defined form or outline.  It refers to the nature of an enclosure, actual or implied, formed by a line/curve on a flat surface.  Examples of "shape" in this context include "a geometric shape" (eg square), "organic shape" (flower-shaped object).  Perceivable area.  Shapes can be created by enclosing line, or by color and value changes which define edges.

 Shape has size, which may connote significance or insignificance, strength or weakness.  A coloured shape on a white back-ground is itself a positive shape creating a negative shape (the background)

Types of shapes  Mechanical Shapes or Geometric Shapes are the shapes that can be drawn using a ruler or compass. Mechanical shapes, whether simple or complex, produce a feeling of control or order. [5]  Organic Shapes are freehand drawn shapes that are complex and normally found in nature. Organic shapes produce a natural feel. sr

Shape creating pattern

Some geometrical shapes sr

Color alone can create shapes.

Connecting one continuous line to make a circle also creates shape

These are perfect geometric shapes, which are very pleasing to the eye.

Imperfect geometric shapes tend to create tension and attract greater interest.

Shape may be:

 Shiny and reflect images- mirrors  Transparent and create visual effects - window glass  Textured and absorb light and sound window treatments and carpeting  Hard or Soft  Plain or patterned  Colored light or dark

 Form is the outlined edges of a three-dimensional object.  It has length, width, and depth (or height) as well as volume and mass.  Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth).  Form is also defined by light and dark.  It can be defined by the presence of shadows on surfaces or faces of an object.  There are two types of form, geometric (manmade) and natural (organic form).  Form may be created by the combining of two or more shapes.  It may be enhanced by tone, texture and color.  It can be illustrated or constructed.  It has volume and mass. sr

 Organic - natural, living form.  Inorganic or geometric - man-made, non-living forms.  Open-forms - forms that can be looked into.  Closed-forms - self-contained.  Geometric Shape - circle, square, rectangle, triangle, pentagon, octagon, other polygons.  Geometric Form - sphere, cube, pyramid, cone, cylinder.  Free-Form - any non-geometric shape: irregular, amorphic

ď ą Inorganic or geometric - man-made, non-living forms. sr

ď ą Organic - natural, living form.

ď ą Free-Form - any nongeometric shape: irregular, amorphic

Related forms tend to look better together than unrelate d forms.

ď ą Open-forms - forms that can be looked into.

A room is more pleasing if the form of the dominate piece is repeated in minor pieces and accessories in a room.

Other examples of forms are found in furniture and architecture Large, heavy forms provide stability to a design scheme.

Thin, delicate forms appear fragile, even when built of sturdy materials

 It is the surface quality or appearance of an object.  Texture can be used to enhance a room’s features or provide added dimension.  The element of texture is defined as “the feel, appearance, or consistency of a surface.”  Texture is a surface’s tactile quality.  Tactile refers to the perception of touch.

types  Visual texture is a quality of the surface that you can ‘see’, but not necessarily ‘felt’.  Actual texture is a quality of the surface that you can both ‘see’ and ‘feel’.

Texture may be :  rough/smooth,  wet/dry,  hard/soft,  shiny/matte (dull),  slick/sticky,  slippery/abrasive,  coarse/porous ...

In design, texture appeals to sight as well as touch.

A room with the same texture throughout is monotonous, but too many different textures can appear disjointed and distracting.

Most well-designed rooms have a dominate texture with accents of contrasting textures. sr

Often patterns or colors are used to create the illusion of texture.

Rough surfaces absorb more light, making them look darker and less intense.

Smooth surfaces reflect more light than rough surfaces, making them look lighter and brighter. sr

 Color is the key element of interior design.  It is used to create aesthetically pleasing combinations and also works on a psychological level.

 Each color has three characteristics: hue, value, and intensity.  It can give emphasis to create a hierarchy and the piece of art  Colour Saturation gives a color brightness or dullness.  Colour may connote emotion (excitement, rage, peace) and stimulate brain activity (action, relaxation, concentration).  Light is additive – working towards white.  Paint or pigment is subtractive – working towards black.  Mixing red blue and yellow can create any pigment colour.  Tints are made when white is added to a pure hue to make light values.  A Shade is when black is added to a pure hue to make dark values. sr

 Hue is the name of a color.  Red, green and blue-violet are examples of hues.  A color may be lightened or darkened, brightened or dulled, but the hue will remain the same.  Colour is said to have value, which refers to the lightness or darkness of the colour (hue).  Tint (colour plus white) is high-value colour, whereas shade (colour plus black) is low value colour

 Primary colors are hues from which all other colors can be made: red, yellow, blue.

Secondary colors are made from mixing equal parts of the Primary colors: orange, green, violet.

 Tertiary colors are those colors between Primary and Secondary colors: yellow-orange, red-orange, etc.  Complementary colors are colors that are opposite each other on the color wheel: red-green, orangeblue, yellow-violet.  Analogous colors are colors that are adjacent (side by side) to each other on the color wheel.  Monochromatic colors are variations in value of one color by adding either white to make tints or black to make shades.

Intensity

 refers to the brightness or dullness of a color.  Intensity is the brightness or dullness of a hue.  Adding some of its compliment can lower the intensity of a hue. The compliment of a hue is the color directly opposite it on a standard color wheel.  Examples of high intensity colors include hot pink and fire-engine red. Low intensity colors include rust and smoky blue.

Colors have degrees of transparency  A color is Transparent if the viewer can see clearly through it.  A color is translucent if it admits light but the image is diffused and can not be seen clearly.  A color is opaque if it can't be seen through.

Descriptors: brilliant, medium, dull. sr

 Value is the lightness or darkness of a hue.  The value of a hue can be made lighter by adding white. This produces a tint.

 Pink is a tint of red, made by adding white to red.  A hue can be made darker by adding black. This produces a shade.  Maroon is a shade of red.

Google knows how to apply colour in a way that not only enforces their brand, but also to create a fun and interesting working environment that benefits their employees. sr

The offices of Octavian Advisors utilizes a monochromatic colour scheme, except for the bright green elevator entrances. This is an effective way of using colour for way finding.

The Red Prime Steak restaurant takes advantage of colour psychology by using the colour red to increase appetites. sr

This carpet adds a pop a colour and also provides a sense of direction within the space

Colour can be applied to surfaces or as light to create 85 interested and dynamic spaces.

Color schemes look best when one color dominates. Dominate color should cover about two-thirds of the room area.

Tints and tones add interests and breaks monotony.

Thank you! sr

Sumit Ranjan Architecture student at College of Architecture, Bhaddal, Ropar , Email-ar.sumitranjan@gmail.com Fb-www.facebook.com/sumiran46.muz