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The basic shape and configuration of an object or space.
-cylindrical, flat, square, linear
Form is a tool to create order, establish mood, and coordinate the diverse components of a finished space.
Generated with lines, planes, volumes, and, to a lesser extent, points. |
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An object or form whose actual or visual length greatly exceeds any actual width or depth it may have.
Horizontal - restful, stable, and related to plane of the earth
Veritcal - strength, equilibrium, permanence, and upward movement.
Diagonal - dynamic, represent movement up or down depending on direction.
Curved - Graceful and suggest general movement. |
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Help determine the form of a space with the additional characteristics of shape, texture, color, and pattern.
A major factor in determining the CHARACTERISTIC of a space. |
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A spacial form having length, width, and depth.
A VOID is space itself defined by planes and other elements. |
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| Can have powerful symbolic or emotional qualities. |
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The relative size of something as related to another element of known size.
PROPORTION is the relationship between parts of a composition to each other and to the whole.
Human scale is the MOST common scale, in which objects and spaces are judged relative to the size and form of the human body. |
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One of the most dominant perceptions of the physical world and one of the most powerful tools for interior design.
Each color is differentiated from the others by its wavelength. Red has the longest of the visible spectrum, violet has the shortest.
The color of an object is perceived by the color of light it absorbs and the amount of light it reflects to the eye.
Color has three basic qualities: HUE, VALUE, and INTENSITY (or Chroma) |
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| The basic color, that attribute by which we distinguish blu from red, for example. |
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| Describes the degree of lightness or darkness in relation to white and black. |
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Defined by the degree of purity of the hue when compared with a neutral gray of the same value.
Reference "Modifying Values of a Hue" graphic. |
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Random Color POI's:
-COMPLEMENTARY colors are opposite eachother on the wheel.
-When a small area of one color is placed on a background
of a complimentary color, the small area of color becomes
more intense.
-When NONCOMPLEMENTARY colors are placed together, each appears to TINT the other with its own complement.
-Two primary colors seen together will tend to appear TINTED with the third primary.
-A light color placed against a darker background will appear lighter than it is, while a dark color against a lighter background will appear darker than it actually is. This is known as SIMULTANEOUS CONTRAST. |
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-A Neutral gray will appear warm when placed on a blue background and cool when placed on a red background.
-Color selections should be made under the same type of lighting that is going to exist in the final interior installation.
-Dim lighting reduces a color's value and diminishes its hue.
-High lighting levels can either intensify the hue or make the color appear washed out.
-Cool colors are considered to be restful and quiet. Warm colors are seen as active and stimulating.
-Lighter colors make a room appear larger while darker colors make the room seem smaller. |
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A color scheme that employs one hue with variations only in intensity and value.
-can become monotonous if used in an area that is continuously occupied.
-A MONOTONE scheme is a variation of this type, but it consists of only a single hue of low intensity (near gray) in one or a very limited range of values.
It is best used where a neutral background is needed for other activities, as in an art gallery where the space should not compete with the artwork. |
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A color scheme that uses hues that are close to each other on the color wheel.
-generally, the colors in an analogous scheme will not extend beyond one 90-degree segment of the color wheel. |
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| When a color on one side fo the color wheel is used with two hues that lie on either side of the complementary color. |
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A color scheme that uses colors equally spaced around the color wheel such as yellow-orange, blue-green, and red-violet.
Because of the potential for producing a confusing, glaring appearance, triad schemes, like complementary schemes, employ low chroma tints or shades except for possibly one intense color that is used as an accent. |
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A color scheme that uses four colors that are equally spaced around the wheel.
As with triad and complementary schemes, one or two colors should dominate and be of lower chroma. |
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The surface quality of a material.
-Affected by its relationship to nearby textures through scale relationships.
-The further away a surface, the smoother it gets.
- Very diffuse or strong, direct lighting tends to wash out texture, while strong side lighting will emphasize the actual texture.
-Texture affects our perception of light.
-Adds interest to a space, reinforces the design concept , helps differentiate objects and surfaces from each other, modulates light, and adds scale. |
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| The repetition of a decorative motif on a surface. Can be two-dimensional or a linear composition. |
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Strongly affects HOW we perceive space and objects.
-Powerful design tool
-Can be used with other design elements to provide emphasis, rhythm, balance, and contrast.
-A good lighting design can:
-set or enhance the mood of the interior space
-Add interest to the visual environment
-accent and emphasize objects and areas
-de-emphasize undesirable areas or architectural features
-highlight surfaces and textures
-enhance color
-affect spatial perception |
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