Elem e n t s

of
in t e r i o r
  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.

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  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.

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 form

line
Line

Space

Shape
shapes
Form space

Texture colour

Color

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 One of most important element of design, line defines a subjectʼs form or shape on a flat, two-
dimensional 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?

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

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 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
This drawing room displays the use of vertical line. The
example that stands out the most in this image is the
 Long
glass window. Vertical line is also shown in the columns.
narrow draperies
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 The back wall,
glass window,
furniture etc.
give rise to
verticality

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 Vertical railing showing vertical lines.
These suppose to increase the
height.
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Vertical lines
can make
rooms seem
more
spacious than
they actually
are and
ceilings
appear
higher.

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 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

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

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

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 Horizontal lines depicts
calm, peace, and relaxation

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

Can be seen in:

 Staircases

 Cathedralceilings
 Gable Roofs

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

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 Diagonal
lines creating
action and
excitement.

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Depicting a
sense of
action

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 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
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Curved lines
create
natural flow
and
freedom.

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

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 Curved line
represent
freedom
Appearance
of softness

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 Curved lines add a softening, graceful effect to designs.

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 Directional/jagged lines Thick lines

Can be experienced by
Can be perceived as  Rigid
 forceful  Dependent
 chaotic  dominating
 sharp
 threatening

Thin lines

Can be experienced by
 Unstable
 weak

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  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.

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

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

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

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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.
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 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
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 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.
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 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.

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

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

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

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

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

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 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.

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  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.
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 Shape creating
pattern

Some
geometrical
shapes

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Color alone can create shapes.

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 Connecting one continuous line to make a circle also
creates shape

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

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

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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

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  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 (man-
made) 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.
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 It has volume and mass. 59
  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

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  Inorganic or geometric - man-made, non-living
forms.
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  Organic - natural, living
form.

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  Free-Form
- any non-
geometric
shape:
irregular,
amorphic

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

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  Open-forms - forms that can be looked into.

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

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 Other examples of forms are found in furniture and
architecture

Large, heavy forms provide stability to a design

scheme.

Thin, delicate forms appear fragile,

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  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’.

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

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

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

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

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

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 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.
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 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.

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  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

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  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,
orange- blue, 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.

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 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.
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  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.
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 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.

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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

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

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Tints and
tones add
interests
and breaks

monotony
.

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 Thank
you!
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