2. INTERIOR DESIGNING
Interior Designing is systematic arrangement
of linen, forms, texture, colours etc. to create
beauty in interiors.
The OBJECTIVES of Interior Design and
Decoration is to create:
• BEAUTY
• EXPRESSIVNESS
• FUNCTIONALITY
6. BASIC TYPES OF DESIGN
STRUCTURAL DESIGN
It denotes the structure or
construction of objects. This
is comprised of size, form,
colour and texture of an
object, be it the object
itself, or the drawing of the
object worked out on paper.
DECORATIVE DESIGN
This is the surface
enrichment of structural
design. Any lines, colour, or
materials that have been
applied to structural design
for purpose of adding a
richer quality to it
constitute its decorative
design.
7. BASIC TYPES OF DESIGN
STRUCTURAL DESIGN DECORATIVE DESIGN
8. ELEMENTS OF DESIGN
LINES
In interior decoration
combination of the four
types of lines is generally
seen, each having its own
influences.
TYPES OF LINES
• VERICAL
• HORIZONTAL
• DIAGONAL
• CURVED
9. VERTICAL LINES
Vertical lines suggest
steadfastness,
sturdiness, or an
upward swing and has
masculine effect. In
hotels vertical line of
doorways, pillars,
columns, draperies, and
furniture give the
strength and height.
10. HORIZONTAL LINES
Horizontal lines suggest
rest, pose, or
steadiness. They help to
break the affect of
vertical lines. In hotels,
the horizontal lines of
tables, sofas, and other
furniture complement
the severely vertical
lines in other parts of
an area.
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 in
staircases and
sometimes in curtains,
draperies, and
wallpaper.
12. CURVED LINES
Curved lines suggest
flexibility, grace and
feminine effect. In
hotels curved lines
are seen in tied back
curtains, aches and
the graceful curves of
furniture.
13. FORM
• The term form is
applied to 3D area and
objects, where as shape
may refer to a 2D one.
Without the beauty of
form, good texture,
colour or decoration is
of no use. The form of
an object should suit its
function.
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 or actual
texture can be felt
by hand – be it
rough like unglazed
brick or smooth
like velvet.
16. VISUAL TEXTURE
Visual or illusionary
texture may be
absolute smooth to
touch, but gives
impression of
texture.
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 different
colours
18. PATTERN
This refers to any sort of
surface enrichment and
applies to both 2D and
3D objects. Patterns
used may be
naturalistic, stylized,
geometric, or abstract.
Generally pattern
should cover just about
a quarter of the total
surface area.
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 or
diffused.
20. SPACE
The organization of
space is basic to
architecture and
interior decoration.
Almost any space, if
sensitively handled
can be made
effective, liveable,
and even dramatic
21. PRINCIPLES OF DESIGN
The principles of
design help one in
determining the
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.
22. PROPORTION
The principle of
proportion is also called
the “ law of
relationships”. It states
that the relation between
parts of the same things
or between different
things of same group
should be aesthetically
satisfying. It deals with
relationships of size,
shape, colour, light,
texture, and pattern.
23. THE GREEK OBLONG
Also called the “Golden
Oblong”, it measures
two units on the short
side and three on the
long side (2:3). Its
proportion are
considered more
beautiful than a
completely
symmetrical shape like
square.
24. SCALE
• The sizes of all the
elements making up the
structure have a
consistent, pleasing
relationship to the
structure of each other.
• The size of the structure
be in pleasing
proportion to the
different objects
combined with it.
25. BALANCE
Also known as
equilibrium, balance
is a condition of rest
or repose. This restful
effect is obtained by
grouping shapes and
colours around the
centre or pivotal
point in such a way
that there are equal
attractions on each
side of the centre.
BALANCE
FORMAL
SYMMETRICAL
BI-SYMMETRICAL
ASYMMERTRICAL
OR
INFORMAL
RADIAL
26. FORMAL BALANCE
The “centre” of the
space under
consideration is the
pivot around which
attractions must be
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 formal
balance
• Bi-symmetrical formal
balance
27. SYMMETRICAL FORMAL BALANCE
When objects on
either side of the
centre are
identical or mirror
images of each
other and are
placed in equal
distances from the
centre, the result
is a symmetrical
formal balance.
28. BI-SYMMETRICAL FORMAL BALANCE
When objects
are not alike but
are equal in
their power to
interest and
attract, the
result is bi-
symmetrical
formal balance.
29. INFORMAL BALANCE
This is also referred
to as “active balance”
or “occult balance”.
Asymmetry results
when the visual
weights of two
objects do not attract
the same amount of
attention and so they
have to be placed at
different distances
from the centre.
30. RADIAL BALANCE
This is the type of
balance that grows
out of a central point
or axis. It may be
observed in the
diverging lines that
from the pattern of
spokes in a wheel, the
petals of flowers, and
so on.
31. EMPHASIS
This is the design
principle that directs
to create a point of
interest such that the
eye is carried first to
the most important
thing in any
arrangement and from
that point to every
other detail in order of
importance.
Emphasis can be achieved
by:
• Placing together of grouping
• Use of contrasting colour
• Having sufficient
background
• Using unusual elements.
32. EMPHASIS BY GROUPING
The objects
grouped together
thus must have
some common
characteristics or
similarity so that
the group does not
create confusion in
the mind of the
observer.
33. EMPHASIS BY CONTRSTING COLOURS
The eyes are equally
attracted by
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 a
background with
which it contrasts.
35. EMPHASIS BY UNUSUAL ELEMENTS
Emphasis can be
achieved by the
use of unusual
lines, shapes,
colours, or size to
heighten the
affect.
36. RHYTHM
Rhythm helps to
achieve underlying
unity and variety.
Rhythm is “related
movement” that directs
the eyes towards the
lines suggested in the
pattern they make
together.
It can be achieved by
following ways:
• Repetition of shapes
• Progression of sizes
• Continuous line of
movement.
37. RHYTHM BY REPITITION OF SHAPES
When a shape is regularly
repeated at proper
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.
38. RHYTHM BY PROGRESSION OF SIZES
Progressing sizes
create a rapid
movement of the eye.
Progression can be
created by increasing
or decreasing one or
more of the object’s
qualities. It is also
known as an
“ordered” or
“systematic” change
39. RHYTHM BY CONTINUOUS LINE
MOVEMENT
Lines compel the eye to
follow the direction
they take. The design of
a room is usually
composed of many
different lines, but a
predominance of one
type will cause the eye
to move in that
direction.
40. HARMONY
To create harmony,
appearance as well
as its use have to
considered. It
produces an
expression of unity
through the
selection and
arrangement of
discrete objects and
ideas.
Harmony has five
aspects:
• Harmony of line and
shape
• Harmony of size
• Harmony of texture
• Harmony of ideas
• Harmony of colours.
41. HARMONY OF LINE & SHAPE
• Lines that follow or
repeat each other
• Lines that contrast
with each other
• Transitional lines that
soften or modify
others.
In producing harmony
of shapes, there should
always be an effect of
organization.
42. HARMONY OF SIZE
When sizes are too
different used together,
they appear inconsistent.
The aspect of proportion
called “scale” is allied to
harmony. The
understanding and
application of principles
of proportion will assure
harmony of sizes.
43. HARMONY OF TEXTURE
Coarse and fine
materials used
together do not
give harmonious
effect and so
should be
avoided.
44. HARMONY OF IDEAS
It is not enough that
sizes, shapes and
texture have something
in common: there must
be harmony in the idea
presented together.
Things that may appear
appropriate in royal
suite would be
distinctly out of place in
a cottage setting.
45. HARMONY OF COLOURS
Colour combination
giving the most pleasure
are likely to be those
possessing harmony or
unity. They give the
impression that all the
colours really belong
together, yet at the same
time, there must be
sufficient variety to avoid
producing a monotonous
arrangement.
46. UNITS OF DESIGN
There are four units
of design:
naturalistic, stylized,
geometric, and
abstract. an
individual design
may be based on any
one of the units or
may contain a
combination of two
or more units.
48. STYLIZED
These designs resemble
natural objects, but
usually the lines are
simplified and
conventionalized.
Sometimes they are
distorted. The designer
uses various degrees of
stylization, depending
upon the materials
employed and the
purpose of the article.
49. GEOMETRIC
These are based
on such pure
forms as the
circle, rectangle,
and triangle,
although endless
variations and
combinations of
them are used.
Geometric motifs
include stripes,
dots, checks etc.
50. ABSTRACT
Many abstract designs
are based on
geometric forms.
Abstract implies an
element of
impressionism and a
greater freedom than
is found in most
geometric forms. The
shapes and pattern,
although derived from
the geometric, may be
less rigid and formal.
