BASIC ELEMENTS OF INTERIOR DESIGN BY Andrew Callejo

1. INTERIOR DESIGNING

2. INTERIOR DESIGNING Interior Designing is systematic arrangement of linen, forms, texture, colours etc. to create beauty in interiors. The OBJECTIVES of Decoration is to create: • BEAUTY • EXPRESSIVNESS • FUNCTIONALITY Interior Design and

3. BEAUTY BEAUTY is organization, selection arrangement of materials into an appealing form. It should aesthetic appealing. and be and

4. EXPRESSIVNESS Selecting, decorating furnishing an area to express some definite idea or theme in it. These themes could be naturalness, sophistication, coolness, royalty, formalityetc. and

5. FUNCTIONAL All should the maximum of service, comfort pleasure the minimum of care. areas give and for

6. BASIC TYPES OF DESIGN STRUCTURAL DESIGN DECORATIVE DESIGN It denotes the structure or construction objects. This is comprised of size, form, colour and texture of an object, be it the object itself, or the drawing of the worked out on paper. This enrichment of structural design. Any lines, colour, or materials that have been applied structural design purpose of richer quality constitute its decorative design. is the surface of to for object adding a it to

7. BASIC TYPES OF DESIGN STRUCTURAL DESIGN DECORATIVE DESIGN

8. ELEMENTS OF DESIGN LINES TYPES OF LINES • VERICAL • HORIZONTAL • DIAGONAL • CURVED In combination of the four types of lines is generally seen, each having its own influences. interior decoration

9. VERTICAL LINES Vertical lines suggest steadfastness, sturdiness, upward swing and has masculine hotels vertical line of doorways, columns, draperies, and furniture strength and height. or an effect. In pillars, give the

10. HORIZONTAL LINES Horizontal lines suggest rest, pose, steadiness. They help to break the vertical lines. In hotels, the horizontal lines of tables, sofas, and other furniture complement the severely lines in other parts of an area. or affect of vertical

11. DIAGONAL LINES Diagonal line suggests movement and activity and action. Forward – slanting lines suggest push and backward- slanting lines suggest pull. In hotels, diagonal lines appear staircases sometimes in curtains, draperies, wallpaper. in and and

12. CURVED LINES Curved lines suggest flexibility, grace and feminine hotels curved lines are seen in tied back curtains, aches and the graceful curves of furniture. effect. In

13. FORM • The applied to 3D area and objects, where as shape may refer to a 2D one. Without the beauty of form, good colour or decoration is of no use. The form of an object should suit its function. term form is texture,

14. TEXTURE The word texture refers to the tactile quality of the surface of any object or area. It refers to the surface quality – how something feels to touch and how it behaves when light strike to it. Two categories of texture are: • TACTILE • VISUAL

15. TACTILE TEXTURE Tactile texture can be felt by hand – be it rough like unglazed brick or like velvet. or actual smooth

16. VISUAL TEXTURE Visual or illusionary texture absolute smooth to touch, but impression texture. may be gives of

17. COLOUR The appeal of colour is universal. Colour is the impression received by the brain from the certain simulations of the retina of the eye. Light rays that vary in wavelength and rates of vibration produce different sensation and appear as colours different

18. PATTERN This refers to any sort of surface enrichment and applies to both 2D and 3D objects. used may naturalistic, geometric, or abstract. Generally should cover about a quarter of the total surface area. Patterns be stylized, pattern just

19. LIGHT When light strikes an object, it may be reflected, absorbed, or allowed to pass through. Light has functional as well as an aesthetic effect. Light may be dull or sharp, bright diffused. or

20. SPACE The organization of space is basic to architecture interior decoration. Almost any space, if sensitively handled can be effective, and even dramatic and made liveable,

21. PRINCIPLES OF DESIGN The design help one in determining quality of design to access whether it is artistically good or poor in appearance. While using the basic elements or art, we should keep these principles in mind. principles of the

22. PROPORTION The proportion is also called the “ law of relationships”. that the relation between parts of the same things or between things of same group should be aesthetically satisfying. It deals with relationships shape, colour, texture, and pattern. principle of It states different of size, light,

23. SCALE • The sizes of all the elements making up the structure consistent, relationship structure of each other. • The size of the structure be in proportion different combined with it. have pleasing to a the pleasing to objects the

24. BALANCE Also equilibrium, balance is a condition of rest or repose. This restful effect is obtained by grouping shapes and colours around the centre or point in such a way that there are equal attractions on each side of the centre. known as BALANCE ASYMMERTRICAL OR INFORMAL FORMAL RADIAL pivotal SYMMETRICAL BI-SYMMETRICAL

25. FORMAL BALANCE The “centre” of the space consideration pivot around attractions adjusted. when objects are alike or are equally forceful in appearance and attraction, they are placed equidistant from the centre. Formal Balance can be achieved in two ways: • Symmetrical balance • Bi-symmetrical formal balance under the which is formal must be

26. SYMMETRICAL FORMAL BALANCE When objects on either side of the centre identical or mirror images other and placed in distances from the centre, the result is a symmetrical formal balance. are of each are equal

27. BI-SYMMETRICAL FORMAL BALANCE When are not alike but are equal their power to interest attract, result symmetrical formal balance. objects in and the bi- is

28. INFORMAL BALANCE This is also referred to as “active balance” or “occult balance”. Asymmetry when the weights objects do not attract the same amount of attention and so they have to be placed at different from the centre. results visual two of distances

29. RADIAL BALANCE This is the type of balance that grows out of a central point or axis. It may be observed diverging lines that from the pattern of spokes in a wheel, the petals of flowers, and so on. in the

30. EMPHASIS This principle that directs to create a point of interest such that the eye is carried first to the most important thing arrangement and from that point to every other detail in order of importance. is the design Emphasis can be achieved by: • Placing together of grouping • Use of contrasting colour • Having background • Using unusual elements. sufficient in any

31. EMPHASIS BY GROUPING The grouped together thus must some characteristics similarity so that the group does not create confusion in the mind of the observer. objects have common or

32. EMPHASIS BY CONTRSTING COLOURS The eyes are equally attracted contrasts of light and dark and contrasting colours. One of the most striking means of calling attention to any object is to place it against background which it contrasts. by a with

33. EMPHASIS BY SUFFICIENT BACKGROUND Usually walls preferred as the details of the objects against can be properly observed. plain are placed them

34. EMPHASIS BY UNUSUAL ELEMENTS Emphasis can be achievedby use of unusual lines, colours, or size to heighten affect. the shapes, the

35. RHYTHM Rhythm achieve unity and variety. Rhythm is “related movement” that directs the eyes towards the lines suggested in the pattern they together. helps underlying to It can be achieved by following ways: • Repetition of shapes • Progression of sizes • Continuous line of movement. make

36. RHYTHM BY REPITITION OF SHAPES When a shape is regularly repeated intervals, a movement is created that carries the eye from one unit to the next in such a way that one is not conscious of separate units but of a rhythmic advancement, making it easy for the eye to pass along the entire length of the space. at proper

37. RHYTHM BY PROGRESSION OF SIZES Progressing create movement of the eye. Progression can created by increasing or decreasing one or more of the object’s qualities. It is also known as an “ordered” or “systematic” change sizes rapid a be

38. RHYTHM BY CONTINUOUS LINE MOVEMENT Lines compel the eye to follow the they take. The design of a room composed different lines, but a predominance of one type will cause the eye to move direction. direction is usually many of in that

39. UNITS OF DESIGN There are four units of naturalistic, stylized, geometric, abstract. individual may be based on any one of the units or may contain combination of two or more units. design: and an design a

40. NATURALISTIC These nature- leaves, animals, landscapes, and so on. Efforts made to motifs realistic. These lend themselves to either formal or informal themes. represent flowers, fruits, are keep patterns

41. STYLIZED These designs resemble natural objects, usually the lines are simplified conventionalized. Sometimes distorted. The designer uses various degrees of stylization, upon the employed purpose of the article. but and they are depending materials and the

42. GEOMETRIC These are based on such forms circle, rectangle, and although endless variations combinations of them are used. Geometric motifs include dots, checks etc. pure the as triangle, and stripes,

43. ABSTRACT Many abstract designs are based geometric forms. Abstract implies element impressionism and a greater freedom than is found in geometric forms. The shapes and pattern, although derived from the geometric, may be less rigid and formal. on an of most

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