1. ABSTRACT DESIGN

2. WHEN THE SOURCE OF THE DESIGN IS NOT READILY IDENTIFIABLE

3. ACCENTED NEUTRAL

4. A COLOR SCHEME USING TWO OR MORE COLORS ADJACENT ON THE COLOR WHEEL (THREE NEIGHBORS)

5. ANALOGOUS

6. A COLOR SCHEME USING NEUTRALS WITH SPLASHES OR ACCENTS OF COLOR

7. BALANCE

8. THE FEELING OF EQUILIBRIUM AND REPOSE

9. COLOR

10. REFLECTED LIGHT

11. COLOR SCHEMES

12. SCIENTIFIC COLOR COMBINATIONS THAT HAVE BEEN JUDGED TO BE PLEASING TO THE EYE

13. COMPLEMENTARY COLOR SCHEME

14. COLOR SCHEME USING TWO COLORS OPPOSITE EACH OTHER ON THE COLOR WHEEL

15. CONVENTIONAL/STYLIZED DESIGN

16. WHEN THE SOURCE OF A DESIGN COMES FROM NATURE, BUT IS ADAPTED

17. COOL COLORS

18. BLUES, GREEN, AND VIOLETS

19. CURVED LINES

20. LINES THAT FORM AN ARC. THEY REPRESENT YOUTH, ACTIVITY, FEMININITY, SOFTNESS, NATURALNESS AND LACK OF RESTRAINT

21. DECORATIVE DESIGN

22. ORNAMENTATION ADDED TO THE BASIC DESIGN OR STRUCTURE

23. DIAGONAL LINES

24. LINES THAT ARE AT AN ANGLE
LINES THAT ARE AT AN ANGLE. THEY CAUSE THE EYE TO GO FAST FROM ONE CORNER TO ANOTHER, CREATING MOVEMENT, SPEED, ACTION, AND DIVERSITY

25. ECLECTIC DESIGN

26. USING DIFFERENT STYLES OR FEELINS WITHIN A ROOM, BUT STAYING WITH THE SAME FORMALITY

27. ELEMENTS OF DESIGN

28. SPACE, FORM/SHAPE, LINE, TEXTURE, AND COLOR (SHORT FUN LADY TRIES TO COLOR)

29. ASYMMETRICAL BALANCE (INFORMAL)

30. A FEELING OF BALANCE CREATED WHEN PARTS ARE BALANCED BY VISUAL WEIGHT, NOT MIRROR IMAGE

31. EMPHASIS

32. INTENSITY OF EXPRESSION THAT GIVES SPECIAL IMPRESSIVENESS OR IMPORTANCE TO SOMETHING, A PARTICULAR PROMINENCE

33. FORM

34. THE CONTOUR OF OBJECTS, SPECIFICALLY THREE-DIMENSIONAL FORMS

35. GEOMETRIC DESIGN

36. WHEN A DESIGN IS CREATED BY PLACING GEOMETRIC SHAPES IN A PATTERN

37. GOLDEN MEAN

38. THE GREEK MATHEMATICAL RATIO FOR DIVIDING SPACE TO MAKE IT MORE PLEASING TO THE EYE.

39. HARMONY

40. THE TOTAL UNIFIED FEEL OF THE ROOM, WHEN THE ELEMENTS OF DESIGN ARE EFFECTIVELY EXECUTED THROUGH VARIOUS PRINCIPLES OF DESIGN. THERE IS A GOOD BALANCE BETWEEN UNITY AND VARIETY.

41. HORIZONTAL LINES

42. LINES THAT FOLLOW THE HORIZON AND MOVE THE EYE HORIZONTALLY
LINES THAT FOLLOW THE HORIZON AND MOVE THE EYE HORIZONTALLY. THESE LINES REPRESENT RESTFULNESS, REPOSE AND ILLUSION OF WIDTH

43. HUE

44. ANOTHER TERM FOR COLOR

45. INTENSITY/SATURATION

46. THE STRENGTH OF A HUE

47. LINE

48. A NARROW TWO-DIMENSINAL FORM THAT APPEARS TO HAVE LENGTH AND MOVES THE EYE FROM ONE POINT TO ANOTHER

49. MONOCHROMATIC

50. USING ONLY ONE COLOR AND IT’S TINTS, TONES AND SHADES

51. NATURALISTIC DESIGN

52. WHEN THE SOURCE OF DESIGN COMES FROM NATURE

53. NEUTRAL COLOR SCHEME

54. A COLOR SCHEME USING WHITES, GRAYS, BROWNS, BLACKS, BEIGES, TANS, ETC.

55. PRIMARY COLORS

56. RED, YELLOW, BLUE

57. PRINCIPLES OF DESIGN

58. PROPORTION/SCALE, BALANCE, RHYTHM, EMPHASIS, AND UNITY WITH VARIETY GIVES US HARMONY

59. PROPORTION

60. THE RELATIONSHIOP OF ONE PART OF AN OBJECT TO ANOTHER PART OF THE OBJECT

61. RHYTHM THROUGH GRADATION

62. WHEN MOVEMENT OF THE EYE IS GENERATED THROUGH GRADATION OF SPACE, SHAPE, LINE, TEXTURE, OR COLOR (LARGE TO SMALL, SMALL TO LARGE, LIGHT TO DARK, DARK TO LIGHT)

63. RHYTHM THROUGH OPPOSITION

64. ABRUPT INSTEAD OF GRADUAL CHANGE (CIRCLE BY SQUARE, RID BY GREEN, RIGHT ANGLES)

65. RHYTHM THROUGH REPETITION

66. OBJECTS OF THE SAME SHAPE, COLOR OR TEXTURE USED REPEATEDLY

67. THYTHM THROUGH TRANSITION

68. LEADS THE EYE FROM ONE AREA TO ANOTHER WITHOUT INTERUPPTION, USING ANY ELEMENT OF DESIGN (LIGHT GREEN TO DARK GREEN, LARGE ROUND SHAPE TO SMALL ROUND SHAPE, ETC.)

69. SAUTRATION/INTENSITY

70. THE PURENESS OR BRIGHTNESS OF A COLOR

71. SCALE

72. THE DIMENSINS OF A UNIT OF FURNITURE IN RELATION TO HEIGHT AND WIDTH OF THE AREA IN WHICH IT IS TO BE PLACED. THE PROPORTIONAL DIFFERENCES IN TWO PIECES OF FURNITURE TO BE PLACED NEXT TO EACH OTHER IN A ROOM.

73. SECONDARY COLORS

74. MADE BY MIXING TWO PRIMARY COLORS (ORANGE, GREEN, VIOLET)

75. SHADES

76. HUES PLUS BLACK

77. SHAPE

78. THE FLAT OUTLINE OF AN OBJECT

79. SPACE

80. A BOUNDLESS THREE-DIMENSIONAL EXTENT IN WHICH OBJECTS AND EVENTS OCCUR AND HAVE RELATIVE POSITION AND DIRECTION

81. STRUCTURAL DESIGN

82. AN INTEGRAL PART OF THE STRUCTURE ITSELF
AN INTEGRAL PART OF THE STRUCTURE ITSELF. STRUCTURE AND DESIGN CANNOT BE SEPARATED

83. SYMMETRICAL BALANCE (FORMAL)

84. MIRROR-IMAGE BALANCE

85. TERTIARY (INTERMEDIATE) COLORS

86. COLORS MADE BY MIXING A PRIMARY AND A SECONDARY COLOR
COLORS MADE BY MIXING A PRIMARY AND A SECONDARY COLOR. THE PRIMARY COLOR IS ALWAYS SAID FIRST. (RED-ORANGE AND RED-VIOLET, BLUE-GREEN AND BLUE-VIOLET, YELLOW-ORANGE AND YELLOW-GREEN)

87. TEXTURE

88. THE SURGACE QUALITY OF OBJECTS (ROUGHNESS AND SMOOTHNESS)

89. TINTS

90. HUES PLUS WHITE

91. TONES

92. HUES PLUS GRAY

93. TRIAD COLOR SCHEME

94. A COLOR SCHEME USING THREE COLORS EQUIDIDSTANT FORM ONE ANOTHER ONT EH COLOR WHEEL (RED, YELLOW, BLUE AND ORANGE, VILOET, GREEN)

95. UNITY

96. OCCURS WHEN OBJECTS ARE RELATED BY ONE IDEA

97. VALUE

98. THE LIGHTNESS (HIGH VALUES ARE TINTS) AND DARKNESS OF A HUE (LOW VALUES ARE THE SHADES)

99. VARIETY

100. THE VITALITY, DIVERSITY AND STIMULATION BROUGHT TO A DESIGN BY UTILIZING AS MANY OF THE ELEMENTS AND PRINCIPLES OF DESIGN AS POSSIBLE WITHOUT COMPROMISING THE UNTIY OF THE DESIGN

101. VERTICAL LINES

102. LINES THAT MOVE THE EYE UP AND DOWN
LINES THAT MOVE THE EYE UP AND DOWN. THESE LINES EMPHASIZE HEIGHT, GIVE THE ILLUSION OF STRENGTH, ASPIRATION, DIGNITY, AND FORMALITY

103. WARM COLORS

104. REDS, YELLOWS AND ORANGES

105. RHYTHM THROUGH RADIATION

106. WHEN THE MOVEMENT APPEARS TO RADIATE FROMA CENTRAL POINT