1. Interior Design: To create a functional and beautiful living environment. Interior Design Ms. Hederer

2. Is it beautiful? IndustrialTraditionalContemporary Country FrenchRococoAsian

3. Design Characteristics Design has 3 characteristics: function, construction, and aesthetics. All 3 characteristics should be considered to create a successful design. A room that is aesthetically pleasing but does not function well and is poorly constructed is not a good design

4. Function  Function is how something works, or it’s usefulness. A good design will consider the needs of the people using the room/item and make It easier to use.

5. Construction  The 2 nd characteristic of design is construction which includes the materials and structure.  When constructing a house/ room, materials need to be chosen to support the room’s function or purpose.

6. Aesthetics  The 3 rd characteristic of design is aesthetics, which is a pleasing appearance or effect.  Beauty is different depending on who is looking at it, however a good design will be pleasing to many different people.

7. Elements of Design The elements of are the building blocks of creating a successful design. They are:  Line  Form/Shape  Space  Mass  Texture

8. Line  2 points that are connected  They give direction and divide space.  Types Horizontal Vertical Diagonal Curved

9. Lines  Vertical lines are perpendicular to the ground  They cause the eye to move up and down  They imply feelings of power, dignity and masculinity, height  Vertical lines that rest on the ground imply stability

10. Lines  Horizontal lines are parallel to the ground  Direct your eye across  They imply a feeling of peace, relaxation, calmness, and restfulness

11. Lines  Diagonal lines angle between horizontal and vertical  They communicate a level of energy depending on the degree of the angle and number of angles  Diagonal lines create a feeling of transition, movement, interest and excitement

12. Lines  Curved lines are a part of a circle or oval  They imply various feelings of softness, freeness, and openness  Curved lines seem softer than straight lines

13. Using Lines  Applying lines in different ways can create different effects: Repeating straight lines can create an very strong, intense statement Combining various types of lines can create a subtle, diverse look Horizontal lines can make a space appear wider Diagonal lines can create a feeling of movement Curved lines create a soft, relaxing look

18. Form  The physical shape of objects.  It contains volume and mass and has height, width, and depth

19. Realistic Form: it looks like the real thing Abstract Form: alters a recognizable object to be more contemporary Geometric Form: uses geometric figures to create an object Free Form: random, untraditional with a sense of freedom There are 4 different types of form…

20. Form can create a feeling  Realistic form creates a traditional, familiar feeling  Abstract form creates a contemporary, creative, or artistic feel  Geometric form creates an organized, planned, and tailored feeling  Free form creates a free, untraditional, and unfamiliar feeling

21. Form is 3-Dimensional… It describes the shape and structure of solid objects. It contains mass and volume. Line is one dimensional: length Shape is two-dimensional: length and width Form is three-dimensional: length, width, and depth

22. Guidelines for using Form… Form follows function. The function of the object must be the first consideration, and the form is of secondary importance. The diagonal form of this bookcase, along with the colorful stains, are attractive and interesting. The function, however, has been ignored. The books would always be falling over without vertical side supports. The curved lines create a globe-type form for this vase. Although colorful, the opening at the top is not of an ample size for the flower stems. This vase, therefore, is only useful as a knickknack.

23. Guidelines for using Form… Related forms are more agreeable than unrelated forms. A room is more pleasing if the form of the dominant piece is repeated in minor pieces and accessories within a room. The curved lines and forms of the headboard are repeated in the nightstand and dresser, the chandelier, the tied- back curtains, the table lamps, and the pattern in the rug.

24. Guidelines for using Form… A gradual change in form smoothly directs the eye An abrupt change in form or too many different forms together may be unpleasant and confusing. When forms change, the eye has to work harder to follow. The vertical and horizontal lines are interrupted by the curved lines on the wallpaper which creates a very disjointed look

25. Space  The area around a form and the area inside a form.  When thinking about space consider the size of the space and its arrangement.  Larger furniture can make a room look smaller A room with small furniture appears larger

26. The Size of a Space  The size of a room affects how it can be used –for example a bedroom might be too small for 2 teenagers, but may be adequate for 2 small children.  The size of a space can create a positive or negative feeling- for example a large room can create a feeling of openness or freedom, but a large sport arena might make one feel small, lost, or overwhelmed.

27. Arrangement of Space  You can achieve various effect by dividing spaces differently.  You can use clustered furniture, kitchen islands, and even rugs to create a physically or visibly divided space.

28. Mass  The amount of pattern or objects in a space.  How crowded or empty a space appears. High Mass- visibly crowded Low mass- simple and sparse

29. Texture  The way an object feels and looks.  May be rough, smooth, shiny, hard, soft, etc.  Formal Smooth texture  Informal Rough texture

30. Texture  Tactile texture- when you can see and feel the texture  Visual- texture that can only be seen

31. When to use texture  The use of texture can affect the visual size of the room.  You can create a variety and interest by using both visual and tactile textures  Textures can be soft, sheer, rough, nubby, crinkled, quilted, ribbed, rigid, crisp, uneven, harsh, limp

32.  Heavy, rough textures absorb light so they tend to make a room look smaller.  The rough textures absorb the light

33.  Smooth surfaces make a room appear larger.  Light reflects off the smooth surfaces and creates a more open look

34. Color  One of the most important tools  Influences how people feel and the mood of the room

35.  Find examples of 5 different textures and label with what you think they will feel like.  It does NOT need to be a whole room, it can just be an object.

36. Your turn  Find a picture of a room and explain the color, shape/form, line, texture, and space/mass that you see.

38. Principles of Design  Proportion/ Scale  Balance  Emphasis  Rhythm

39. Proportion  The relationship of one part to another part or one part to the whole  This is an important factor when selecting and positioning furniture and accessories in a room.

40. Proportions  Proportions can be described as a ratio of one part to another or of one part to the whole (i.e. 1:1 or 2:3)  Ratios that are uneven are more aesthetically pleasing than even ones.  When developing a design scheme, ratios such as 3:5, 5:8 and 8:13 are more effective that ratios of 1:1 and 1:2  Which do you like better?

41. Greek Proportions  The Greeks have mastered the use of proportions. They have developed guidelines that have worked for centuries: the golden mean, the golden section, and the golden rectangle

42. The Golden Mean  The golden mean is the division of a line midway between one half and one third of it’s length  This is often used in wall arrangements.

43. Golden Rectangles  A golden rectangle has sides with a ratio of 2:3 or 1:1.618. The short sides are two-thirds the length of the long sides.  The Parthenon in Greece is a classic example of a golden rectangle.

44. Golden Section  The golden section is the division of a line or form so that the ratio of the smaller section to the larger section is equal to the ratio of the larger section to the whole  This is based on the progression of the numbers 1, 1, 2, 3, 5, 8, 13, 21, 35, 55 and so on. This can help you create more pleasing proportions in designs.

45. Scale  The way an object relates to another object  When designing, you should consider not only how objects relate to one another, but also to the people using them

46. Scale An example of scale: A chair is a small piece of furniture in comparison to a twin size bed. A twin size bed is small in comparison to a king size bed, but the twin is still bigger than a chair.

47. Scale  The furnishings in a room need to be in scale with one another.  Furnishings should also be in scale with the people using them (for example a large adult should not use a child’s size chair).

48.  The creative use of color, texture, pattern, and furniture arrangement can create illusions of properly proportioned space.

49. SCALE & PROPORTION Too Big, Too Small, Just Right  This chairs massive scale diminishes everything around it.

50. Too Small.  The chairs light palate accentuates its skinny scale.

51. Just Right.  This club chair matches the scale of the sofa.

52. Too Big.  Coffee table is over- scaled for the sofa.

53. Too Small.  Table not only looks out of proportion, it functions poorly as well.

54. Just Right.  The table is substantial enough to anchor the furniture grouping, yet it leaves room for traffic flow around both ends.

55. Too Tall.  Used as an end table, this wood pedestal towers over the sofa, making the sofa appear small and the pairing awkward.

56. Too Short.  A person seated on this couch would be able to reach the table comfortably.

57. Just Right.  The perfect pairing, visually and physically, is a tabletop that is a couple of inches shorter than the sofa arm.

58. Too Big.  This 5-foot- wide double pendant chandelier overpowers the table.

59. Too Small.  The fixture is too small too adequately light the table.

60. Just Right.  In general, a chandelier’s width or diameter should be at least 2 feet narrower than the table length.

61. Proportion/Scale  On one side of your paper you are finding at least 5 things that are proportionate or the right size to each other- people, furniture, stuff, etc. Label as proportionate.  On the other side you are finding at least 10 things that are disproportionate or not the right size to each other. Label as disproportionate.

63. Visual Weight  Visual weight is the perception that an object weights more or less than it actually does.  A wooden chair and an upholstered chair might have the exact same dimension, but the upholstered chair is going to appear larger and heavier.

64. Using Visual Weight  Thick lines, bold textures, and large patterns add to visual weight.  When creating a design plan for a small room, choose furniture that has light visual texture- this will keep the room from looking crowded.  Choose accessories that “to scale” to the furniture

66. Balance  Equilibrium among parts of the design  Equal weight on all parts of the room  When there is balance, there is a sense of equal weight on both sides of a center line. There is no visual pull in one direction or the other

67. Types of Balance  Formal/ Symmetrical Both sides are the same  Informal/ Asymmetrical Sides are different Informal Balance Formal Balance

68.  There are identical proportions and arrangements of objects on both sides of a center point.  Also known as symmetry  Elegant and formal rooms often use this type  Very easy to achieve and tends to make people feel comfortable because of its orderliness

71. Informal Balance  There is an arrangement of different but equivalent objects on each side of a center point.  Also called asymmetrical  Although the sides are not alike, neither side overpowers the other.

72. Informal Balance  You can achieve this in a variety of ways: With a heavy and light objects, place the heavier object closer to the center line Several small objects will balance a single large object If objects are equal size, but unequal distance, the closer object will appear larger Bold colors appear heavier than dull colors Decorations added to an object add visual weight

75.  The same Accessories can be arranged in many different ways to create symmetry.

76. Is this formal or informal balance?

81. Your Turn!  Find 2 examples of a room with Symmetrical/ Formal Balance and 2 examples of a room with Asymmetrical/ Informal Balance  Cut, paste, and label

82. Emphasis  Creates a center of interest  Also called a focal point  This is the feature that is seen first and repeatedly draws attention

83.  Every well designed room has a focal point with one area of emphasis that immediately draws attention when people enter the room  Follow these guidelines for using focal points: The focal point should be worthy of the attention it will receive Should dominate the room but not overpower it or the other designs Should not compete with other features, which results in confusion

84.  The focal point gives order and direction to a room. Everything else in the room should relate to it through color, texture, proportion, scale, and theme.

85.  The size of the focal point should be in proportion to the room and furnishings. A massive focal point will overpower a small room. However, a large room or a room with a high ceiling demands a focal point that will not be dwarfed by its size.

86. What’s wrong with this focal point??

89.  Architectural features such as picture windows and fireplaces are often points of emphasis.  You can also create focal points through the use or special placement of various items. Furniture grouping, colorful rugs, striking works of art, mirrors, shelves of books, and unusual accessories or objects are good examples of this.

91. Where is the focal point?

92. Your turn!  Draw a complete room with focal point that is appropriate color, texture, proportion, scale, and theme. Once you are finished with your drawing, turn in your balance and emphasis and finish your proportion assignment from yesterday!

94. Rhythm  The sense of movement that smoothly leads the eye from one area to another in a design  This results when elements of the design form an organized pattern.

95. Types of Rhythm  There are 5 types of rhythm: repetition gradation radiation opposition transition

96. Repetition  Repetition — repeating an element of design such as color, line, form, or texture.  This is the easiest form of rhythm and is considered the basis of all rhythm.

97. Transition  Transition– a curved line that carries the eye from one part of an object to another.  Transition leads the eye in, through, and over an object until they have seen the whole.

98. Radiation  Radiation—lines flow out from a central point

99. Gradation  Gradation—the gradual increase or decrease of design elements  The eye travels trough a level of progression. - Colors may change light to dark or vice versa - Lines change thick to thin or vice versa - Objects change small to large or vice versa - Textures change from smooth to rough or vice versa

101. Opposition … Opposition- lines meet to form right angles -often found in the construction of a room as well as furnishings

102. What kind of Rhythm?

106. Rhythm Booklet  You will create a poster about rhythm. The poster needs to include: A definition of rhythm An explanation of each of the 5 types of rhythm and at least 2 examples of each. Examples may be drawn or found out of magazines.

107. Rhythm Poster  Find an example of each of the types of rhythm. Label the type of rhythm. Repetition Gradation Radiation Opposition Transition

108. Harmony Combination of variety and unity  Unity: The room is tied together with a common denominator  Variety: There are different shapes, colors and objects in a room