Interior Decorations

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Interior Decoration
Research · April 2017

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Interior Decoration
Kusum Rana and Surender S Dhankhar (Eds)
CCS HAU, Hisar, pp 1-4.
Flowers Management
Sudesh Gandhi
Professor & Head
Dept of Family Resource Management
CCS Haryana Agricultural University, Hisar
Flowers arrangement is an art of organizing flowers, other plant materials and receptacles
into compositions having harmony of form, colour and texture. They add cheerfulness,
and beauty to the surroundings It is important to bear in mind that an arrangement is not
just a nicely arranged vase of flowers, but it must suit to its surroundings, enhancing and
cheering the situation in which it is placed. Hence, one must know and understand the
skill of the art of flower arrangement.
Types of Flowers Arrangement
1. Line arrangement
2. Mass arrangement
3. Combination of line & mass arrangement.
4. Miniature arrangement
5. Japanese arrangement
1. Line arrangement: Arrangements in which the element of line is the most
important, is known as line arrangement. Line arrangement can be made easily and more
economically. The effectiveness of line design is achieved by the linear sketch of the
outline, which should be dramatically simple but not too rigid. Line arrangements are
often formed by twigs or leaves and are strengthened by the flowers.
For line arrangements, use gracefully curved material and arranges it so that adjoining
curves turn in the same direction. Generally it is better for the plant materials to occupy a
larger area than the container and base can do.
2. Mass arrangement: It is a full bodied composition of large amount of plant
material. All mass arrangements should have design- an overall pattern or shape and
frequently or line is made to run through the design either by means of the colours or the
flower groupings. In a mixed flower arrangement one kind of flower should predominate
is quantity, otherwise interest is lost and the design lost its, effectiveness. Avoid
overcrowding. Let each flower retain its individuality.
All-round arrangements: These arrangements can be viewed from any angle- all round-
and be equally pleasing. Into this category fall all table arrangements because these are
viewed from every side and it should be round, nor square nor two triangles back to back.
3. Combination of line and mass arrangement: This combination combines the
basics feature of line and mass type arrangements. Design is emphasized in these
arrangements which are usually stylized. Some of the popular shapes are fringe,
Pyramid, Circle, upright, semi-circle crescent etc.
4. Miniature flower arrangement: As the name indicates, it is a mini arrangement
in which everything that is used is in miniature form i.e. small flowers and containers.
These may be used on trays, dressing table, individual placements on dining tables,
1 Interior Decoration
beside table, nursery room, etc. The size of this arrangement should not be more than 5”
in any direction.
5. Japanese flower arrangement: The most common Japanese Flower arrangement
is known as Ikebana. It is arranged on the theme of heaven, Man and earth presented by
three main stems. The highest stem symbolizes heaven and it is arranged as Central axis
in the vase. Length is usually measured from one and one half to two and one half times
the height of a tall container. The second height represents man. It gives the greatest
width to the arrangement and is about three fourth the height of the tallest spray. The
lowest spray denotes earth and the spray is about half as tall as the one signifying man
and it extends very little beyond the diameter of the vase. It is placed opposite to the
branch signifying man and thus balances it. In Japanese flower arrangement, usually odd
numbers of flowers are used.
Basic Tools
 Equipment includes – Floral scissors, Florist’s wire, Wire mesh, Florist’s adhesive
tape, Knife, Mister-hand sprayer, Watering can with long and narrow spout.
 Pin holder or Oasisfix, Containers – flower vases, wooden basket
 Accessories e.g. candle or decorative figure
 Plant material: items including flowers, foliage, stems, fruits, seed heads, wood,
vegetables, berries etc. This material may be fresh, dried or artificial.
Tips for Flowers Arrangement

Certain guidelines are given for doing the flower arrangement i.e. from the time of
choosing the flowers &other material till it is completed.
Choosing flower: Colour is an important factor in flower selection and arrangement.
The colors used in an arrangement should harmonize with one another. Some colors are
much more dominating than others. Red flowers is an arrangement tend to dominate the
rest, but if this is not desirable one color can always be toned down by using a greater
proportion of some other parts of the flower and this helps to form both a link or a buffer
between one flower and another. Often the vase supplies a missing color too in a
arrangement. The darker richer hues should be used in the centre of arrangement to
provide a focal point and give the arrangement a sense of balance. The lighter, more
delicate hues may be used at the outer edge of arrangement. So choose the flowers
accordingly.
Plucking Flowers:
 Flowers should be plucked early in the morning or late in the evening when the
transpiration is minimum and the food reserves are maximum.
 Do not pluck tiny buds or over matured flowers.
 Cut stems as long as possible and on a slant so as to expose greater surface which
takes up more water easily.
 Place the stems immediately into water.
Transportation:
 Always carry them with their head down to prevent heavy heads from breaking
and to avoid draining down of their water.
 Pack them in strong transparent plastic bag according to their stem length of their
kind.
 If paper is to be used for packing it should be non-absorbent paper.
Conditioning of flowers:
 Remove every bruised petal and imperfect leaf.
 Allow the flowers to stand in warm water for about 2 hours in a dark place, it will
enable the arrangement to last longer as this treatment hardens them and fully
charge the stems, leaves and flower with water.
 For stems, which give out sticky material, hold their ends under running water for
few minutes to get rid of sticky substance.
 For woody stemmed flowers, split the tem ends before keeping in water to ensure
that they take in plenty of water for scrap off the bark for four-five cms from the
stem end.
 Burning the end of the stem also helps in preserving the flowers. The carbon,
thus formed at the base of stem is porous and water is easily absorbed through it.
 Avoid air in the lower stem. The simplest way to ensure this is to cut the 2 inches
of stem under water.
 Add salt in water before soaking flowers as it helps in keeping the flower fresh.
Arranging flowers
 Make a define plan for any flower arrangement based on the purpose, room, space
or location.
 Select the container, foliage and flower that express the mood of the room,
occasion and color scheme.
 It is better to start with perfect flowers. Arrange the tallest stem first and than
others according to the type of arrangement.
 Use flowers with stem of different size according to the size of the vase.
 Wipe large surfaced leaves lightly with a damp oily cloth to give them a brighter
look.
 Large and bright colored flower should be used in small numbers and at the centre
in tall vase and at lower height in wide vase: And smaller flower at the top.
 Never mix fresh flowers with artificial flowers.
 The arrangement should have one dominating color.
 The pin holder should not be visible in a finished flower arrangement. Use
pebbles, chips, shells, moss leaves etc. to hide it.
 Make the plant material more important than the container.
 Turn the flower heads to face different directions.
 Use some accessories alongwith the arrangement, so as to give a theme to the
arrangement.
Keeping the arrangement fresh
 Fill the container with water so that lower end of the stem is dipped in water.
 Do not change the water every day. This increased handling will damage the
flowers. Add water instead of changing it.
 Flowers should be kept away from direct sunlight and intense heat.
 Add either a small piece of charcoal or aspirin table (in gallon of water) or sugar
or juice or honey or salt to the water so as to prolong the life of arrangement. A
copper coin can be used in metal container.
 Leaves should not dip in the water as they will start decomposing which will
speed up the bacterial activity in water.
Interior Decoration
Furniture for Home

Kusum Rana
Associate Professor (Family Resource Management)
A major part of our life is spent at home and unlike most other forms of decoration, we
have to live day in and day out without furniture. Furniture is used for activities such as
sitting, relaxing, sleeping, eating, dressing etc. The acquisition of furniture is not very
easy hence it should be bought slowly as the family size and needs increase. Also before
buying furniture, the consumers should shop around and compare the prices. On the other
hand, many people when think of furnishing their homes, rush to a furniture shop, pay a
high price and bring the furniture home. It is no wonder if they have to repent for their
choice afterwards as they do not consider the matter from the point of view of their
requirements.
Selection of Furniture:
As furniture is a life time investment, it should be carefully selected. How to judge the
quality? This is the question which comes in mind at the time of purchasing furniture. It
takes time and effort to acquire the background knowledge that is essential if money is to
be spent wisely. The wide variety of furniture that is available – ranges in quality from
poor to very good. In upholstered furniture, it is very difficult for the consumer to judge
the quality because the materials fitted inside the framework, like the springs etc. are not
seen from outside. Also before constructing the furniture, the wood should be properly
seasoned or aged. This is also impossible to say just by looking at a piece of furniture
whether or not this conditioning process has been properly done. Sometimes cheap wood
is covered with plywood of various grades and given an artificial grain with a polisher.
Another practice is to cover the inferior quality wood with a laminated material. Only
that furniture should be selected which will give comfort to our body, pleasure to the eye
and helpful in preservation of health. Some guidelines for the selection of furniture are
given below:
1. Needs of the family:
Many people crowd their homes with furniture collected at random just to impress their
friends without any regard to its fitness, comfort or even form. The number of furniture
items that a family should have will depend upon the activities carried out in different
areas of the house. It is wise to make a list of essential pieces of furniture that are
required by the family for different areas. Examine the furniture that a family already has,
and then prepare a final list of the furniture that is to be purchased.
2. Space:
Before purchasing furniture, the space where the furniture is to be placed should be
measured and these figures on paper should be carried alongwith a measuring tape to the
furniture market. It should be kept in mind that the size of the furniture should relate to
the size of the room and the other furniture in the room. Furniture that is to be placed
against the wall should be in proportion to the wall.
3. Utility:
The most important factor in selection of furniture is its utility. Unless an article is useful,
it should not be given space in the home, regardless of its beauty and design. Double
purposed furniture are more valuable e.g. the low book-shelves can be used as a seat
when a large group is to be accommodated or a dining table which can be used as a work
table, a sofa-cum-bed which can be used as a bed at night and as a sofa in the morning.
When selecting furniture, one should think of its utility for particular purpose. Too many
unused furniture pieces clutter the house.
4. Suitability to purpose:
Be clear of the purpose for which you are buying the furniture. For example, if you are
buying a chair for relaxing, then it should be deep enough with high arms. A chair
required for studying should have a straight back and should allow for free elbow
movements.
5. Construction:
Furniture should never be purchased without making a complete examination of it.
Purchaser should look at the back, bottom, inside and front of each piece. Check that
doors (if any) are easily opened and drawers easily taken out. Also examine the surfaces,
edges, joints etc. The legs of the furniture should be checked in respect of its standing
firmly on a level floor. Hinges, handles and knobs should be checked for their proper
fixing. Also examine the surfaces, edges, joints etc. Firmness is another important feature
of good construction and depends on how the different parts are joined. The legs and
frame should be fastened together with glue and also with screws, clips and/or metal
plates.
6. Finish:
Furniture should also have a good finish. Finish used for wood furniture should be such
that it shows the natural quality of wood, its colour, texture and grain. Some of the
finishes used for wood furniture are spirit polish, varnish, enamel paint and synthetic
resin. Enamel polishes are also available which are durable water proof and also stain
resistant.
7. Comfort:
Comfort in furniture means more to most people than any other characteristic. The
livability of a home depends upon its comfortable furnishings. Most furniture is designed
to fit a person of average height. Furniture that does not conform to standard
measurements is procurable. However, a person, who is more or less than average in
height, should select his or her own pieces of furniture, particularly chairs. A chair to be
comfortable should have a sufficiently spacious seat and deep enough to reach to the back
of the knees of the seated person. The chair back should have a comfortable slant and
should support the back, shoulders or even the head, if desired. Similarly, a bed should be
comfortable which is necessary for complete rest. It should not be very hard or sagging.
Tables should be of proper height to allow one to eat meals or study comfortably. Storage
cupboards should have the shelves made up of adequate size, the depth of shelves should
be within easy reach and allow the visibility of items stored. The dressing tables should
have proper dimensions to sit or stand comfortably for dressing up. Children’s furniture
should suit their measurements. Sometimes furniture is provided with legs that can be
lengthened as the child grows. In general, the furniture should have smooth, finished
surfaces and should provide proper comfort.
8. Design:
The design of the furniture should be such that it harmonizes with the other furnishings of
the room. The lines, colour and texture of furniture should blend well with the mood of
all the other furnishings in the room. Its design should be dictated by common sense and
good taste. The essence of modern furniture is simplicity without ornament. Its shape is
important with clear-cut lines, outline, beautiful proportion and best functional utility.
9. Maintenance:
While selecting furniture, its maintenance problems should also not be forgotten. Proper
care of furniture in terms of dusting, polishing, timely repairs of loose joints or screws
etc. is essential. In order to be conducive to sanitation, it should be free from any carving
which does not add to the comfort but only increases the cost and acts as a depository for
dust and dirt. So carving, short recesses etc. in which the dust collects, should be avoided.
10. Mobility:
The weight of furniture and its mobility are features that also affect comfort and health.
For requirements of health, every piece of furniture should be so light so as to be easily
removable; of if bulky, it should have means to permit the floor below to be cleaned and
washed; should be supported on castors (wheels) which allow it to be moved aside so that
floor and wall behind may be cleaned. Some furniture items like tables have wheels
which are mobile and quite useful.
11. Reputation of the dealer:
Generally furniture buying involves an expenditure of a fairly large sum of money, so it
is essential to buy it cautiously from a well-established firm even if costs are somewhat
higher. The price labels, guarantee cards and quality should be compared from different
shops. The furniture item purchased should be carefully inspected by the consumer in the
showroom itself.
Material for Construction of Furniture
Furniture items are made from wide range of base materials and accessories or fittings.
1. Wood:
Wood is used for the construction of most of our furniture. It is popular because it is
flexible, has natural beauty, is not hard or cold to touch and is not noisy under impact. It
comes in variety of types, hard wood, soft wood, plywood, veneer solid wood, inlays and
carvings. In India, the commonly used woods are teak, mahogany, rose wood, deodar,
sheesham, kedar and walnut. These teak, kedar, mahogany and rosewood are the most
expensive. Softer woods from pine and other coniferous trees are also sometimes used.
There is now a focus on the naturalness, the pleasing colour and the texture of the wood.
In modern style, the designers show up the beautiful natural grain in wood and do not
cove up the natural colour with thick varnishes or paints. Some woods can be made much
stronger by impregnating them with resins. Furniture is finished by polishing, varnishing
etc. to protect it from vermin, dirt and wear, to facilitate cleaning, to add pleasing lusture
and to change colour.
2. Metals:
Metal furniture is highly utilitarian because it is fireproof, durable, light weight. Besides
it is not affected by humidity and change in temperature. Various metals and their
combinations (alloys) are suitable for furniture. Some of these are steel, aluminium,
chromium plated metals (iron and brass) wrought iron etc.
3. Plastics:
The most recent innovation in furniture materials is plastics. It is dent proof, unbreakable,
scratch proof, easily cleaned and light in weight. It comes in a variety of colours and is
also ideal from the designers point of view as it can be moulded, cast or cut into any
desired shape. It is tough and can be made both rigid or flexible. Some plastics are
resistant to chemicals.
4. Glass:
Apart from its use for windows, doors etc. it has been used for furniture making as well.
Such items tend to be collectors’ pieces and are not commonly seen. Glass tops are often
found on top of writing tables and dining tables. The glass fibres can also be mixed with
plastics to make a very strong light material which is now commonly being used for the
manufacture of furniture. It is commonly seen as brightly coloured, moulded chairs,
especially in public places like restaurants, auditorium etc.
5. Willow, Rattan, Reed and Cane:
Furniture made from these materials is called wickerwork. Willow is the only native
wood that can be woven. Rattan is a kind of vine that does not take any colour but can be
given a burnt effect by scorching it with a blow torch. Reeds are the core left after the
outer hard rattan fibre is stripped away. It is woven into durable, good looking furniture.
Whole or split bamboo is made into screens, furniture, baskets and mats. Reed furniture
is seen in most Indian homes like ‘moodas’ or garden furniture. Now these are becoming
popular because of the relatively low price than other materials but it may not be as
durable as solid wood furniture and may need frequent repairs of broken weaves of seats
or backs.
6. Upholstered Furniture:
Generally wooden and other furniture is not very comfortable to sit because of the
hardness of these materials and hence it is finished with cushioned surface. This is called
‘upholstering’. Many prefer to use removable cushioning of foam rubber (e.g. Dunlop),
rubberized coir instead of permanent upholstery. This upholstering uses springs, fittings
of fibre, finished by beautiful fabrics. Permanently upholstered furniture should be
checked, for its springs, because many times, it sags at places if springs are not properly
fixed. Ordinary cotton stuffed or foam rubber is becoming more popular.
Aarrangement of Furniture:
Furniture in a house can be arranged and grouped to look aesthetically satisfying and to
give comfort by following guidelines:
 Functional considerations of arrangement are more important than aesthetic
considerations in furniture arrangement e.g. sociability in living room, relaxing
and privacy in bed rooms. Hence grouping of pieces needed for an activity is
important in furniture arrangement.
 Furniture may be grouped for various activities with consideration of space.
 Size and shape of the furniture pieces should be in proportion to the wall area
against which it is being placed. Furniture against one wall balances doors,
windows and also the large pieces on the opposite wall. Each wall should also be
balanced by placing large pieces of furniture against big wall areas.
 All heavy furniture should be arranged parallel to walls and small pieces can be
placed at an angle, to match the architecture of a room.
 Interesting groups may be composed around important articles.
 Clearly defined and sufficient space for passage and activities must be allowed.
Approaches to doorways should be kept clear.
 Scatter upholstered furniture among wooden pieces of furniture.
 Avoid using too much of furniture in a room.
Furniture in a house can be arranged and grouped to look aesthetically satisfying and to
give comfort by following certain simple principles. Each family has first to study its
own activities and needs in order to arrange their furniture in a way that suits them best.
Key Points for Furniture Arrangement
Two of the most important factors that are to be taken into consideration before the
furniture is arranged are its design and its function. A room is composed of lines, shapes
and colours in its floor, walls, furniture and furnishings. The principles of design
discussed earlier must be observed in any type of arrangement of furniture. No matter
how beautiful a room is, it is useless if it is not functional as well. The room should
appear as if it belongs to the family. It should be able to provide for all the activities that
the family normally carries out. A livable lived-in look is as important as beauty.
Creating Canters of Interest
 Furniture should be in proportion to the room in which it is placed. For example,

massive pieces of old, carved furniture look out of place in the tiny sitting room of
a modern flat.
 A centre of interest should be created and all other interest should be subordinate
to it.
 The rules of balance should be observed. Large pieces of furniture against one
wall should be balanced on the opposite wall. For this, the doors and windows
need to be taken into account. Each wall also needs to look balanced from top to
bottom. The arrangement of pictures on the walls, of vases and other curious on
tables placed near the wall can greatly affect this balance.
 Proportions should be retained by placing large pieces of furniture against large
wall areas and small items against small wall areas. Generally large pieces need to
be placed parallel with the structural lines of the room.
 At the same time it is not necessary that all furniture should hug the walls. The
small tables and some chairs can often be effectively placed at an angle to the
wall. In such cases, it is important not to block traffic ways. The paths along
which people will move across or through each room should be clear enough so
that they can avoid knocking into furniture.
 It is equally important to avoid the use of too much furniture in any room. One
needs to get a feeling of space and unnecessary clutter can be avoided.
 Upholstered furniture can be mixed with wooden pieces and placed at right angles
to each other when desired. Straight chairs may even be placed against walls.
All furniture should be arranged keeping in mind its function and grouping it according to
the activity to which it forms the focal centre-conversation, writing, sewing, reading,
recreation etc.
Furniture Care:
Furniture care begins with the way you arrange the furniture. If it is too close to a heat
source, say, where the sun comes in through the window, the polish or varnish is bound
to become dull and even the wood may eventually crack. On the other hand, if it is close
to a moisture source like the bathroom, the wood tends to swell and drawers could get
stuck. The best place for you favourite furniture is somewhere cool and dry inside the
room.
Dust all wooden furniture as frequently as required – it depends on how dust-prone the
place is. Wipe clean with a chamois leather that is slightly damp and wipe dry
immediately after. Furniture for the living room generally has a wax polished surface.
Use a time-tested polish like Mansion once in six months.
If the furniture has a painted finish like the ones in the nursery, bathroom or kitchen, it is
quite safe to wash with mild detergent and water.
If the garden furniture is of cane or wickerwork, the best results are obtained by washing
it with warm water and detergent. Keep rinsing till all the soap is washed off or simply
varnish it.
Caring for Upholstery:
Cleaning upholstery would again depend on what kind of material has been used.
For leather upholstery, clean with a soft cloth dipped in soap suds. Follow this with
another wipe, this time with a cloth wrung out in clean water. Dry with a soft cloth. Since
this upholstery is like footwear material, use the same Cherry Blossom Leather
Nourishing Cream for the furnishing material as well.
If the upholstery is of imitation leather or of synthetic material, do not use abrasive
cleaners for they may scratc the surface. Just wipe with a damp cloth or use a car
upholstery cleaner available in special shops.
For fabric-covered furniture, take out the removable cushions and dust clean the interiors,
or vacuum it. Clean the dirty areas with dry detergent and a damp cloth.
As with most things in life, it is much better and easier to prevent destruction of furniture
and easier to prevent destruction of furniture than to fix it later. When furniture is not in
use for a prolonged period or when the house is being painted or spring cleaned, protect
the upholstery with loose covers. If there are young children or if the furniture is being
used frequently, these covers can be periodically removed and drycleaned. This is safer
than washing at home, unless you are absolutely sure that the material used has been pre-
shrunk and it will not run colour.
Removing Stains:
Unfortunately, furniture tends to get maximum stains during parties particularly on
festive occasions, when adults may get as irresponsible as children! Alcohol stains are
deadly for all wood finishes. So wipe immediately with a damp cloth and follow this with
another wipe of wax polish with a cloth.
For cigarette burns and ink stains, rub with very fine, dry, steel wood. Apply concentrated
liquid bleach on the raw wood for twenty minutes. Then neutralize it with a solution of
vinegar and water (50/50). Re-bleach, if required. Let it dry for twenty-four hours before
polishing it with Mansion Polish. In case of deep burns, fill the area with heated wax after
scraping the burnt area with a utility knife. After the wax dries, scrape off the excess with
a razor blade and polish with Mansion Polish.
White marks on polished furniture, such as lemon drops or milk can be removed with a
damp cloth dipped in vinegar. Pick up some cigarette ash on the fingertip and gently rub
into the stain.
For grease marks on sofa backs, arms and on bed heads, rub gently with a cloth and
drycleaning fluid. Use Robin Stain Remover. Work from the outer edge of the stain
towards the inner side.
Interior Decoration
Curtains and Draperies

Neelam M Rose
Professor (Textile & Apparel Designing)
Dressing doors and windows is practical as well as decorative as they are focal points of
the room and deserve a treatment that will display them at their best. Curtains are the
most commonly used way of interior decoration treatment; it is a covering for door and
windows, usually unlined and made from lightweight fabric.
Many people use the terms curtains and drapes synonymously, but in fact there are some
differences between the two. Curtains and drapes are both made for the same purpose,
which is to cover windows and doors. Drapes, however, tend to be heavier than curtains
and are typically used in rooms that are more formal. Curtains are often made of very
lightweight material and are common in kitchens, bathrooms, and other areas of the home
not typically used for entertaining guests. Drapes are often made with lined fabric and
might be designed to open and close with a cord, while curtains are often unlined and
sheer and are typically opened and closed by hand.
Drapes are often used in rooms where guests might be entertained, such as a living or
dining area. For this reason, they tend to look more formal than curtains and might also
be more expensive. Patterns and fabric options for drapes are also typically much more
elaborate than what a person would find when selecting curtains. Drapes are often
attached to rods with the use of hooks, which can be decorative. Another difference
between curtains and drapes is that drapes tend to be pleated at the top, while curtains are
usually gathered.
Types of Curtains
Curtains are a wonderful way to decorate a room. Four types of curtains are described
below:
a. Draw Curtains: These are the curtains which slide on rods and can be drawn as and
when the needs arises. The primary purpose of these curtains is flexible control of light,
heat, and privacy. Strong, durable and flexible fabrics are generally used for these types
of curtains as they can withstand constant pulling back and fold. The draw curtains can be
of any color which suits the home and its occupants. Draw curtains looks best and
effective when hanged in straight folds covering the entire window frame beginning
either sligl1tly above the top of frame or at the ceiling and end slightly below window
frame or at floor level.
b. Draperies: These are used on cold walls for the purpose of warming the room both
physically and visually. Draperies are similar to draw curtains but they differ as they are
sometimes heavier than draw curtains and they need not cover the entire window. Heavy
fabrics are used for these curtains with wide hem to hold the weight of the curtain. It is
also provided with a lining to protect it from fading and to increase strength and
durability of the curtain.
c. Hourglass Curtains: It includes permanently installed treatment attached at the top
and bottom of doors and windows and pinched together in the middle to create the
hourglass look. It is generally used for decoration but sometimes it provides privacy
during the day. It softens the light and modifies the hardness of the frame and the shade.
Plain white translucent material gives the most desirable effect in this type of curtain.
d. Roll-ups: These are shades made of a sturdy fabric and lined with a contrasting fabric.
The shade can be rolled or unrolled to the desired position and held in place by means of
a sash. When rolled up, the contrast- coloured lining and top fabric are shown off
together.
Curtain Headings
The very top of a curtain is called the headings. It is formed by pleating, pinching,
gathering, grommeting or tying. Stiff effect is created by inserting or wrapping the
buckram into the heading.
a. Pleated headings: These are custom made curtains which are pleated at the heading
sometimes finished with pleated tapes. The various types of curtain pleats are:
i. Pencil pleat: These are narrow, evenly spaced gathers, which looks good with pelmets
and are also called standard gathers.
ii. French Pleat: It is a threefold pleat found at the top of a drapery and also known as a
Pinch pleat.
iii. Goblet Pleat: It is similar to pinch pleat with variation of goblet shape pleat top.
Sometimes the goblet is filled with batting to provide bulk, or a contrasting fabric for
emphasis.
iv. Inverted Pleat: It is a reverse box pleat, also known as a pick pleat, which conceals
the extra fabric in back. The pleat meets in the middle, rather than is folded back at the
sides.
v. Knife Pleat: These pleats are evenly spaced, tight, crisp, narrow that run the length of
the top of a drapery.
b. Grommet heading: In this type of curtain headings, rings are inserted into a hole hem
which hangs from the curtain poles, hence the name eyelet curtains.
c. Rod pocket: A rod is passed through a hollow tube-like sleeve located at the top of a
curtain. As the rod is attached to the wall ceiling, the suspended curtain is able to
transverse back and forth.
d. Tab top: It includes a series of tabs at the top of the curtain, either a closed loop or a
tip, through which a rod slides.
e. Shirred heading: It is a hand sewn decorative heading which consists of four rows of
shirring and gives the appearance of smocking.
f. Puffball: In this type of heading, an extra fold of fabric is used to form gathers giving
it a frothy effect.
g. Flip topper: It is a typical flat contrast lined fabric panel that is flipped over a rod and
the flipped portion is decorated to draw attention, such as using beads or other trims and
also sometimes cinched or triangulated in some way for adding emphasis.
Dressing Curtains
Curtains are designed in a number of ways to suit one's personality, need and the use of
the room. Even though the choice of curtain style is a matter of personal preference, but
the weight of the curtain fabric should be suitable for the style to be created. The curtains
are dressed in different manner as given below:
a. Tie-back: Tie-backs curtains are tied back in graceful folds which lend dignity and
formality to a window and thus to a room. Panels are draped aside and held to the frame
or to the wall with extra piece of fabric or special fixtures. These curtains are often made
of sheer fabric, self fabric, decorated with ruffles which are extremely ornamental.
Placement of the tie-backs may be high, low or centered, as per the room proportions.
b. Criss-cross: This is a variation of the tie back type of curtain. Both the curtain panels
overlap each other at the top along the entire width of the window and then they criss-
cross each other when they are tied back. These curtains generally make a window seem
wider and also insure an impression of fullness.
c. Bishop sleeve curtain: Another variation of tie -back curtains that is bloused vertically
at least twice resembling the puffy sleeve of a fancy garment.
d. Tent fold: This type of curtain resembles an old fashioned peep tent opening in its
appearance where the middle edge of the curtain is pulled back and secured simply,
overlapping the rest of the curtain, rather than pulling it all back. It conceals much of the
doors and windows, even when open.
e. Jabots: These types of curtain dressings include pleated and draped lengths of fabric
that hang down the side of the window. It can be up to floor length or only a foot above
the floor level. They are used more for decoration or other effects than for concealing
light or view, hence requires some other window dressing for concealing the view.
f. Cafe curtains: These curtain dressings are designed as a two-tier treatment, set at a
variety of heights for maximum privacy and light control, although usually at the top of a
window, and then again midway.
Curtain Top Treatments
Curtains are given various top treatments providing softer decorative look to doors and
windows using relatively little fabric. They are also called crowning glory of a curtain
arrangement as they are positioned at the top of the doors and windows fitting neatly over
the curtain headings. Three categories of top treatments are described below:
a. Cornices: These .are horizontal bans several inches wide placed at the top of window
or door to conceal curtain tops and rods from which they hung. These are made of wood,
plastic, or mirror glass. Wooden cornices are commonly used. Width of cornices is
generally one-eighth of the overall length of curtain.
b. Valances: It includes a piece of fabric that hangs across the top of a window to hide
window hardware, as well as to add softness, color, and pattern. It can be either simple or
attached to a rod with clip rings or pinch pleats.
c. Swags or Cascades: These are decorative, curtain treatments meant to hide the curtain
headings arid usually taper to a cascade. These cascades loop and fall luxuriously over a
curtain pole, ending in elaborate tails. As they look heavy in small or normal sized rooms,
hence they are used in large formal rooms with high ceilings. The depth of the swag in
the centre after it is draped is generally one-seventh of the distance between the top of the
frame and the floor and its width at the top coincides with the width of the drapery when
hung.
Decorative Treatments for Curtains
a. Rosettes: These are primarily separate embellishments made of same or contrasting
fabric that of curtain for focusing attention on a particular area within a curtain
arrangement. These are of three types namely knife, choux and bow shaped.
b. Ruffles: These are made of light weight fabric expressed in tiers, in a single ruffle at
the bottom of a plain curtain or as a valance giving an appearance of softness and
feminity to the curtain. They are the delight of a young girl's domain.
Importance of Curtains
The use of curtains in a room fulfills various purposes:
a. Provides privacy
b. Controls entry of light and heat
c. Absorbs noise depending on the thickness of material and depth of folds
d. Covers bareness of window
e. Changes apparent size, shape and character of room
f. Conceals architectural awkwardness
Curtains for Different Rooms
Decorations of doors and windows depend upon the type and use of room.
a. Living room: Living rooms are generally impersonal therefore tailored curtains with
pleated headings are most appropriate. Laced curtains of rayon, satin, brocade or damask
can be used in strictly formal rooms. Ruffled curtains can be used in colonial homes. In
modem homes however, venetian blinds with curtains of interesting texture and pattern or
strips can be used.
b. Dining room: Curtains are similar to living room. Plain curtains look better if the
walls are papered with patterned wallpaper.
c. Bedroom: The master bedroom should have curtains which is neither too feminine nor
too masculine. Tailored curtains and gathered valance give both daintiness and
masculinity. Glass curtains are preferred when the walls are patterned while cheerful look
is provided by gay printed chintz or cretonne curtain when walls are patterned.
d. Guest room: As the guest room is for the comfort of either sex hence the curtains are
predominantly feminine or masculine with in between treatments. Curtains with plain or
shaped cornice, a pleated or gathered valance or a swag effect with a heavy cotton cord of
contrasting color are used. Curtains are also made more interesting by adding a gay
colored pleated or ruffled valance with matching tie-backs.
e. Children room: This room is of utmost importance regardless of one's age, specially
for a child it is like a playground, a place of wonder where children feel free to explore
their imagination. Curtains with different motifs such as nursery prints, cartoon, flowers,
fairies, princess, sea creatures motifs etc. in bright colors are preferred by boys and girls.
It can be concluded that the variegated forms of window and door treatments are
functional as well as offer aesthetic satisfaction. Whatever may be the style of a home,
curtains and draperies have the power to enliven a room. Innovative products and
imaginative treatments can be effectively tried and trusted styles into sensational window
and door coverings.
Interior Decoration
The Elements of Design and Principles of Art

Binoo Sehgal
Professor (Family Resource Management)
The Elements of Design /Art
Art is a man-made expression of something beautiful. To an engineer, it may seem the
construction of a bridge to the sculptor or painter it may mean their self-expression in
stone or on canvas; to the architect, it may be the lines of a building he has designed. To
the homemaker, a beautiful home is an expression of her feelings, her hopes and her ways
of living.
The elements of art include line, form, texture and colour. In addition to these, three
more factors are to be kept in mind in the planning and furnishing of a home; these are
pattern, light and space. These elements serve as tools conveying basic ideas in home
furnishings. They are valuable aids in helping to decide how, when and what one should
do about furnishing the home. In using these elements, certain principles – proportion,
balance, emphasis, rhythm and harmony – are involved. This is summed up in the
figure given below:
The use of Elements like
Line, Form, Texture, Colour, Pattern, Light, Space
According to the Principles of
Proportion, Balance, Emphasis, Rhythm, Harmony
Leads us to attain Goals of Interior Decoration

DDecoratiDecoration
Functionalism, Beauty, Self-expression
The elements are explained below:

1. Line
Line is a basic element of design and contributes greatly towards the overall mood
created in any arrangement. Lines have been associated with the position of the
human body. Horizontal lines suggest repose, steadiness, calmness and a solid
stability. They are found in tables, low-backed chairs and book shelves and
balance the severity of vertical lines. Vertical lines suggest life, activity and
dignity. They may be severe, strong, direct and disciplines in the effect they may
produce. They create a feeling of height. The doorways and draperies in a room
give it strength and height. Diagonal lines suggest movement and force. They
disturb the discipline of vertical lines and the solidity of horizontal lines. They
may lend a feeling of sophistication and refinement to a room, thereby arousing
interest. In the home, they are often found in staircases and in some fabrics.
Zigzag lines suggest excitement. Curved lines add grace and flexibility to a
scheme of furniture or furnishing. They achieve a joyful, fine or delicate (subtle)
and rich effect. Yet in order to be truly effective, they must be designed carefully.
They are often seen in tied back window curtains and in the legs and corners of
furniture.
2. Form
Form and line are closely related. It is a combination of lines that gives rise to
forms. Though hard to define, form is something solid and tangible. It is an
important element in home furnishing. Without giving due consideration to the
harmony of form in any room, an entire arrangement may become pointless. Two
examples may make this clear.
 A beautiful shaped, well-polished wooden table needs to be displayed against a
light background of blue-green or against pastel shades. Its beauty would be lost
against floral prints or dark materials.
 The combination of furniture of different types in a single room needs to be well
planned so that materials, shapes and styles do not clash.
Forms in a room should carry the eye from one object to another and this becomes
pleasing when the shapes are well distributed and balance each other. Generally a
dominance of one kind of form or shape unifies the total effect.
The form of any object should suit its function, that is, the use to which it is put.
Similarly, the form of an object is influenced by the material out of which the object
is made.
3. Texture
Texture generally leads one to think of the ‘feel’ of a fabric – its roughness,
smoothness, shine or dullness, softness or stiffness, its weight, its fall and so on. In
home furnishings, the word ‘texture’ may be used in a wider sense and refers to the
finish of walls, rugs or other floor coverings, wood work, paintings, ceramics and
any other surfaces in the room. It is often possible to give certain illusions of texture
through the clever use of colour or other techniques. Examples of this are seen in
wood which is given an artificial grain; laminated surfaces which are streaked or
made to look like marble and highly polished metallic surfaces which look like
mirrors.
Given below is a list of words which are often used to describe textures of various
surfaces:
 Blistered, bristly, bumpy
 Sparse, corrugated, cracked, creepy, crisp, crumpled, curly
 Delicate, dense, downy, dull, dusty
 Feathery, filmy, fine, firm, flexible, foamy, frilly, furrowed, fussy
 Glassy, glossy, granular, grooved
 Lacy, leathery, lumpy
 Marbled, messy, metallic
 Perforated, pierced, plaited, pleated, polished, porous, powdery, prickly
 Quilted, quiet
 Ribbed, ridged, rippled, rough, rubbery
 Sandy, satiny, scaly, shaggy, shiny, silky, socked, smooth, solid, spongy, stiff
 Thorny, tough, twisted
 Unpolished, velvety, waxy, woody, wavy, woolly
Texture gives character and beauty to objects, interiors, buildings and is even important
in landscape gardening. The roughness or smoothness of a material affects its capacity to
reflect or absorb light. Students of design and interior decorators are aware of this and
also of the importance of combining textures suitably. Coarse textures and dainty fabrics
do not blend well, while fine textures and pastel tints are harmonious. This explains why
even in the clothes, we wear it is important to combine the right kinds of fabrics in
appropriate colours.
In furnishing a room, the homemaker needs to remain aware of the texture of the
upholstery she buys and how it will blend with the wooden surfaces of the furniture, the
floor coverings and the walls.
4. Colour
Colour plays a profound role in our lives. Used in a planned, controlled arrangement
colours can produce many moods; can reduce or increase tensions; cause excitement or
soothe a tired person. Colours may be used to create illusions of shape, luxury, warmth or
coolness. Since colour is a source of pleasure to almost everyone, all homemakers should
try to have beautiful colours in their homes. This will give them much delight and ward
off dullness in their lives.
Let us first understand what colour is. When light is passed through a prism, the white
rays of sunlight are separated into the colours of the rainbow – violet, indigo, blue, green,
yellow, orange and red. In other words white light is a combination of these colours. All
objects in the world around us have the capacity to absorb one or more of these colours.
Rays that are not absorbed are reflected to the eye. These rays falling on the retina (the
light sensitive layer inside the eye) stimulate the optic nerves. This in turn produces the
sensation of light and colours in the brain.
An object that appears green to our eyes is one that absorbs all other colours present in
white light and reflects only the green rays. Black is seen when all the rays are absorbed
completely. White objects can reflect all the rays of different colours, their combination
appears to our eyes as white. The colour of an object depends on the light falling on it
and also the pigments (dyes) used in its making.
Three colours – red, yellow and blue – are the primary colours available in pigments
which are used to colour the various objects we see in a room. All other colours are made
by mixing one or more of these basic colours in various proportions. When they are
mixed two at a time, in equal quantity, we obtain the following which are also known as
secondary colours:
Red + Yellow = Orange
Yellow + Blue = Green
Blue + Red = Purple
If a primary colour is combined with a secondary colour, a tertiary colour results. The
combinations are shown clearly in the figure given above. The largest petals of the flower
represent the primary colours. The medium sized petals represent the secondary colours.
When the colour of one large and one medium sized petal are combined, tertiary colours
– shown in the smallest petals are obtained.
The Colour Wheel – Primary, Secondary and Tertiary Colours
Properties of Colour:
Colours are often described in three particular terms. These are hue, value and intensity.
Hue refers to the name of a colour like ‘red’ or ‘orange’. Sometimes, dyes and paints are
named after materials from which they are made or given other descriptive names. Some
examples of these are burnt orange, shocking pink, lime green, yellow ochre and so on.
The value of a colour has to do with its lightness or darkness. The lightest value is white
and the darkest is black. There can be as many variations of a particular colour as the
artist or designer wishes to have. By adding white to the colour, one obtains tints which
are lighter than the normal value of the colour. By adding black one obtains shades which
are below the normal value. It is by this process that we get navy-blue and light or pastel
tints.The intensity of a colour means the brightness or dullness of the colour. The effects
of intense colours may be reduced by adding grey to them or by blending them white and
black.
Our emotional reactions to certain colours are partly due to symbolic meanings that have
come to be associated with them. For example, white has come to mean innocence, purity
and peace while black may be used for grief, death or evil. Yellow, the colour of the sun,
is often associated with warmth and cheer; blues and greens with restfulness, repose and
calm. Red gives an impression of warmth and hospitality. Every colour changes in
emotional value if its hue value of intensity is changed.
5. Pattern
Patterns in a room may be seen in designs and motifs, repeated on cloth, in the
arrangement of pictures on a wall, in the arrangement of curious and decorative items and
also in the arrangement of furniture itself. However, patterns (prints or designs) refer
generally to additional enrichment added to any surface. The judicious use of patterns
lends liveliness and interest to a room. Generally, patterns should be used for about one-
fourth of the total surface area. If the walls and carpet are plain, then draperies and
upholstery may be patterned.
Naturalistic designs such as flowers, fruits, animals or scenes may look good in rooms
intended for young children.
Geometric designs are combinations of pure forms like lines, circles, squares, rectangles
and triangles. There are usually endless variations of stripes, dots, checks and so on
available in the market.
Stylized designs are distorted and may even be combined with geometric motifs. They
may include outsized patterns, flowers and forms in colours which are not natural but are
intended to create certain effects.
6. Light
Light is an artistic as well as an utilitarian element. Rooms need to be well-lit in order
that people using them may do so without undue strain. A variety of moods and effects
may be obtained by the clever use of light and shadow, bright and dark areas. Some
people like to have diffused, soft lighting, especially in the dining area. Lights may be
used to focus attention on certain objects of art displayed in the sitting room. Perforated
metal lamps cast interesting shadows in porches and verandahs.
Light – natural and artificial – can alter the colours and sometimes the textures of fabrics.
Blues, purples and greens tend to look very different under tube lights and when buying
such colours one needs to think of the effect at night time. Lights can be used to bring
rhythm and continuity to the furnishings linking them together at various points of
emphasis.
7. Space
The importance of space is often overlooked. The use of an optimum amount of furniture
creates empty spaces for movement, gives rooms a sense of freedom and can affect the
moods created by any scheme of interior decoration. Space can be increased by using few
partitions, providing larger openings between rooms, providing glass walls and also by
the building of porches, verandahs and similar extensions. Often in small cramped rooms,
the effective use of mirrors on opposing walls creates an illusion of space so that the
room appears larger than its true size.
The Principles of Art:
Through the centuries, certain principles of design have evolved through careful
observation of both nature and art. These principles are not actually formulae for creating
beauty, but they help one to judge why an object or an area of the house is artistically
good or bad. One can acquire this taste by experience and become sensitive to beauty.
The five major principles are: proportion, balance, emphasis, rhythm and harmony. In
order to make any room more attractive, an understanding of these principles is useful.
1. Proportion
Proportion is the relationship between various things in a group. This relationship may
be in size, shape, colour, light, texture or pattern. All these need to be pleasingly related
to each other and to the whole. The principle of proportion underlines all other principles
and is used in the arrangement of furniture, the laying of rugs, the location and shape of
windows and the combination of colours and accessories.
In the first picture, the lamp, picture and table are too small in proportion to the
chair.
Proportion can also be termed as scale that is, consistency in size in interior design and in
furniture design. In home furnishing, proportion is applied in different ways. i) Each
article in a room must be in proportion with the size of the room. ii) The structural parts
of each item of furniture must be in proportion with each other and also with the whole.
iii) Every little item of decoration should be in proportion with the other objects in the
room and especially with those near which it is placed. Mistakes are often made by
placing large lamps on small tables, hanging small pictures on large spacious walls,
placing tiny decorative pieces on large tables and so on. It is important to remember that
only things which are related in size can be placed together as parts of a group. Items that
are widely different in sizes, shapes, forms need to be blended together – if that is
possible.
2. Balance is the principle of design that produces a feeling of rest, repose, steadiness and
contentment. It is the result of placing articles of equal interest on either side of a central
point. Balance deals with the quality or number of objects in a room, the arrangement of
furniture, colour and the distribution of patterned and plain surfaces.
i) Formal balance results when objects of equal weight are placed on either side of the
centre at equal distances from it. It is easier to group objects in a formal balance. This
creates an air of restfulness and order.
Formal Balance
ii) Informal or asymmetrical balance results when one large object is placed near the
centre balances a smaller object at a greater distance from the centre. It is like a see-saw
with two children on it. The heavier child sits nearer the centre while the lighter one sits
further away in order to maintain the balance.
Informal Balance
It is easier to group objects in a formal balance. This creates an air of restfulness and
order. Informal balance is more creative and is most desirable in a small home or in
places that should be bright, happy, young or casual.
iii) Radial balance results from the arrangement of elements about the central point.
When things are arranged in a circle around a central point, Radial Balance is created. It
can also be seen in top arches of doors and windows and in furniture.
3. Emphasis
Emphasis is the principle of design that leads one to have a centre of interest in any
home. This may mean a dominating object in the room, a dominant colour on which the
rest of the room depends, or special lines and forms. All other parts are subordinate (or
less important) to the centre of interest. Centre of interest can be created from paintings,
attractive curtains, interesting grouping of furniture and so on. A large room may even
have secondary centre of interest. Other ways of creating emphasis lie in the use of large
or unusual forms, surface patterns, light and shade, unusual textures and bright
contrasting colour. By making the wall opposite the door which is leading into a room a
‘picture wall’ it becomes the most dominant feature of the room and strikes the eye of the
person entering the room.
4. Harmony (Unity):
Effective interior decoration demands a unity or harmony between all the objects,
materials, surfaces, sizes, shapes and colours in a room. It is a pleasing combination of
ideas that can be related to each other. When such harmony is obtained, the effect of the
room should be extremely satisfying to those who designed it and to those who use it.
Harmony is the expression of the sense of wholeness in the design. Every room should
appear complete. The line, form, colour and texture of furnishings should blend with
these elements of the room in a harmonious manner.
5. Rhythm
Rhythm means organized movement in continuity. Rhythm is what gives one a feeling of
connected movement from one object to another in the room. It helps the eyes in moving
easily about a room from one area to another, creating a flowing quality. All lines do not
produce this feeling. The effective application of rhythm creates continuity and interest.
Rhythm can be achieved through following ways:
i) Repetition is one of the simplest means of producing rhythm. Repeating shapes,
colours, lines and sizes makes the eye move from one object to another, producing a link
between different parts of the same room. This principle is found everywhere in nature
and is also the basis on which all kinds of man-made surface patterns are produced – on
fabrics, on wood and various other surfaces.
ii) Gradation/ Progression implies a sequence or a regular progression of objects in a
series. We see this when pictures are arranged on the wall in step-like fashion. Often
objects of varying sizes can be arranged in ascending or descending order of size to form
a series. These may be dolls, wooden elephants or even a set of small tables.
iii) Alternation means the use of two different lines or shapes alternately e.g. (i) vertical
and horizontal lines ( I – I – I – I) and (ii) star and circle ( * O * O * O). Other elements
may also be alternated: black and white, warm and cool, tall and short, large and small or
light and dark. We see rhythm created by the dark and light stripes of the zebra.
iv) Parallelism refers to the use of parallel lines and forms. Symmetry results from two
similar vertical halves.
v) Opposition: objects may be arranged in opposition so that lines come together at right
angles. Square and oblong furniture shapes, draperies hanging down straight are
examples of this type of opposition.
(vi) Radiation: When lines extend outwards from a central point of axis, it is called
radiation. Although diverging lines do not tend to carry the eye smoothly from one part of
a design to another, they are sometimes useful in creating a particular effect. Radiation is
frequently employed on a basis of design in lighting fixtures, structural elements and
many decorative objects. This is sometimes seen in arched doorways of houses.
Interior Decoration
Table Settings and Table Etiquettes

Manju Mehta
Principal Scientist (Family Resource Management)
Table setting style is the focus of any party where food is served. Tableware and setting
plan depends on the event or occasion and it can be as important as the food you serve.
The first step to do in putting together a beautiful and well-planned meal is to understand
the different styles of table settings. Setting a nice table for a dining occasion can be as
formal or informal as you wish to make it. There are a few things that should be taken
into consideration before planning a table setting.
1. Type of table setting i.e. formal or informal dining
table
2. Availability of the appropriate silver or flatware and
dishes to accommodate the type of table setting
desired.
3. kind of centerpiece to be used.
4. Kind of candles to be used
5. Kind of linens to be used.
Setting the table influences:

 appearance of the food served
 sets the tone/feeling of the meal
 makes people feel important
There are three components of a place setting:

 Dinnerware—plates, cups, bowls, saucers, platters and other serving pieces
 Flatware—butter, dinner and steak/Fish knives; salad/dessert, dinner forks;
soup, dessert and teaspoons
 Glassware—water goblet, milk and wine glasses, and sherbet glass
Cover - arrangement of a place setting for one person; dinner plate is generally in the
middle of the cover. Allow 20 -24 inches of space for each cover.
Set the table with what is needed for the meal. Flatware is arranged in the
order it is used, starting at the outside and working toward the center.
Type of table setting
 formal
 informal
 buffet
Formal Table Setting
This is the table setting for festive family dinners, holiday celebrations, weddings and
semi-formal events. A variety of specialty pieces are used depending on the formality of
the occasion or event and meal plan.
Formal table setting includes dinner plate and fork; salad plate and fork; knife; bread
and butter plate; butter knife; spoon; water and wine stemware; and linens.
 Lay cutlery in order used, from outside to inside.
 To the left of dinner plate (outside in): individual salad fork (when salad is served
before the main course), and dinner fork.
 Above salad fork and dinner fork is bread and butter plate and butter knife.
 A salad plate is not set. If salad is served before the main course, the salad plate is
placed on top of the service plate.
 At the center: service plate, with napkin or soup bowl at the center. Appetizer or
other first course is placed on top of the service plate.
 When it is time for the main course, the used appetizer, soup or salad plate is
removed along with the service plate. The entrée is immediately served on the
dinner plate.
 To the right of dinner plate (outside in): soup spoon (if serving an appetizer in
lieu of soup, place cocktail or oyster fork to the right of knife), place or dinner
knife.
 Dinner spoons and forks may be placed horizontally above the place setting, with
spoon facing right and fork facing to the left, or may be brought in on the dessert
plates.
 To the right above knife (from left to right forming triangle): water goblet,
(white) wine glass, and champagne flute.
 Cup and saucer with teaspoon may also be brought in with dessert, or served
separately.
 Save space by placing the dessert spoon and fork at top of table setting. If table
seems too crowded, bring when serving dessert.
 Napkins can be placed on dinner plate or to the left of forks.
Informal Table Setting

This table setting is designed for everyday use and is suitable
for any meal.
Casual table setting includes dinner plate and fork; salad
plate and fork; knife; spoon; water and wine
glasses; and linens.
 This less formal option provides more space for guests
around the dinner table.
 Dessert spoon and fork are optional and can be placed above the dinner plate.
 Bread and butter plate is optional and can be placed above the forks on the left.
 To the left of the dinner plate: napkin, salad fork, place fork. Napkin can also be
placed on top of the plate.
 At center: Dinner plate with salad plate or
appetizer - if one is to be served - should already
be in placed.
 Set bread and butter plate to the upper left of a
dinner plate. Lay butler spreader horizontally
across bread and butter plate with handle to
the right.
 To the right of dinner plate (outside in):
teaspoon (can be placed on the table or brought in
later with dessert), dinner knife.
 To the top of dinner knife and teaspoon: water
goblet and wine goblet may be placed.
 Napkins can be placed on dinner plate or to the
left of forks.
 Paper napkins are appropriate for a casual setting, folded and set to the left of forks.
Buffet Table Setting

This table setting is based on your needs and space limitations. Food are arranged down
the table in succession. Using your creativity, you can work with what's best for the
situation.
A buffet table setting includes flatware, multiple dinner plates, stemware, and linens
(number of settings will depend on number of guests expected).
 Buffet table style is the easiest
to serve a large number of
guests.
 The food being served and the
logical sequence of serving
yourself usually determine the
layout of the buffet table.
 Dinner plates should come first
followed by entrée and serving
pieces.
 Napkins should be large enough
for placement on guest's laps
and, along with flatware, should
come last so that they need not
be carried the entire length of the table. It is also helpful to guests to have flatware
wrapped in napkin or tissue.
 If choosing to use paper napkins, the napkins may be placed between each plate in
the stack to conserve space (not more than 12 plates per stack).
 Leave enough room between serving bowls so that guests can rest their plates as
they move through the line.
 Set up a side table for coffee, tea, and other beverages to avoid congestion.
 Dessert can also be set at a side table or the main buffet can be cleared and reset for
the dessert.
There are 6 rules in proper dinnerware placement:
1. Allow 20-24” for each place setting with the plate in the middle.
2. The rule of thumb: the plate should be 1” from the table edge (use thumb).
3. Bread/butter plate—top left, above the salad plate.
4. Salad plate—lower left, above the napkin.
5. Soup bowl—on plate or separate.
6. Cup/saucer—separate or glassware.
There are differences in flatware:
1. Soup spoon—larger than teaspoon
2. Salad/dessert fork—smaller than dinner fork
3. Butter knife—shape and size smaller than dinner knife
There are 4 rules in proper flatware placement:
1. Also a rule of thumb—place items 1 to 1 1/2 ” from the table edge so that handles
are lined up and the utensils are even with the plate.
2. Forks—to the left of the plate; dessert fork is sometimes placed above the center
of the plate
3. Knives, spoons—to the right of the plate; dessert spoon is sometimes placed
above the center of the plate
4. Arrange flatware in order of use, from outside toward plate—(salad fork at the left
of the dinner fork if the salad is the first course, otherwise, to the right of the
dinner fork if the salad is served with dinner)
5. Forks—tines up
Knives—sharp cutting edge toward plate
Spoons—bowls up
Butter knife—on bread/butter plate
There are rules of glassware placement:
1. Water goblet at the tip of the knife blade.
2. Other beverage glasses at right of goblet and slightly forward in a diagonal.
NOTE: cup and saucer—lower right.
3. If glassware contents are cold, serve with saucer to catch moisture
condensation.
Placement of the napkin:
1. Left of the forks
2. Center of the dinner plate or cover
3. In the water goblet
The napkin is placed so that when it is removed, it will not disturb any of the
flatware!
Guidelines For All Table Settings
 To avoid overcrowding, allow 24" to 30" for each setting. Place settings should be
1" from the edge of the table, and avoid centerpiece arrangements that obstruct
the view of guests.
 Do not place items such as coffee cups, tea cups, and/or dessert plates on the table
if it crowds your guests. It is appropriate to bring those items to the table after the
main course has been cleared and dessert is served.
 If a shortage of place settings is a problem, mix in pieces that do not match. Mix
and match place setting has become a popular trend.
 When deciding on a table centerpiece, keep it low. Large, tall centerpieces
obstruct the view of your guests.
 Choose an atmosphere that is appropriate for your gathering, an atmosphere that
compliments your meal and encourages conversation.
Table Manners and Etiquette
Table etiquette - courtesy shown by good manners at meals. Table manners reflect
part of personality to others; makes eating a pleasant experience for everyone, most
rules of etiquette involve common sense and consideration of other people.
Table manners rules are not complicated, but will help to make a great impression.
The following is a step-by-step table manners guide, from seating to final thank-you.
1. Seating etiquette
Host may have seating arrangements in mind, so allow him to direct to seat. As the
host, one should suggest the seating arrangements. The guest of honor should sit in
the best seat at the table. Once the guest of honor's seat is determined, the host should
sit to her left. Other people are then offered seats around the table. Sit down from the
left side of the chair
2. Napkin etiquette
At informal meals, place the napkin in lap immediately upon seating. During formal
occasions, before unfolding the napkin, wait for the hostess to remove her napkin
from the table and unfold it in her lap. Cover mouth and nose if you must cough or
sneeze. Leave the napkin on the chair if leaving the table and returning during a meal.
Leave to the left of the plate when finished with the meal
3. Food service etiquette
During service of a formal dinner, the food is brought to each diner at the table; the
server presents the platter or bowl on the diner's left. At a more casual meal, either the
host dishes the food onto guests' plates for them to pass around the table or the diners
help themselves to the food and pass it to others as necessary.
4. The table setting
Deciding which knife, fork, or spoon to use is made easier by the outside-in table
manners rule – using utensils on the outside first and working your way inward.
5. When to start eating
At a small table of only two to four people, wait until everyone else has been served
before starting to eat. At a formal or business meal, either wait until everyone is
served to start or begin when the host asks to start.
6. Handling utensils
The continental table manners style prevails at all meals, formal and informal,
because it is a natural, non-disruptive way to eat.
 Use flatware from the outside in
 Hold fork in left hand, tines downward.
 Hold knife in right hand, an inch or two above the plate.
 Extend index finger along the top of the blade.
 Use fork to spear and lift food to mouth.
 If knife is not needed, it remains on the table.
7. Passing the food
Pass to the right. One diner either holds the dish as the next diner takes some food, or
he hands it to the person, who then serves herself. Any heavy or awkward dishes are
put on the table with each pass. Special rules apply to passing salt and pepper and
passing bread and butter.
8. Resting utensils
When you pause to take a sip of beverage or to speak with someone, rest utensils by
placing knife and fork on plate near the center, slightly angled in an inverted V and
with the tips of the knife and fork pointing toward each other. Place spoon on soup
plate rather than the bowl/cup when finished eating. Place the knife and fork on the
plate with the handles parallel to the edge of the table when finished eating
9. Meals end
At a formal affair, plates are removed by a professional staff. But as most informal
meals are served without help, the hostess clears the plates, often with the help of a
guest or two. At a family meal, members clear their own plates.
Leaving the dining room. To signal dinner is concluded, the hostess catches the eye
of the host, lays her napkin on the table, and suggests that everyone go into another
room for coffee and after-dinner drinks. The hostess rises from her chair.When it's
time to leave, rather than detain one's host with a lengthy good-bye, make the
departure brief but cordial.
Common Rules of Etiquette:
 When eating with a small group wait until everyone is served before eating
 Follow actions of host/hostess as a guide when dining in someone’s home
 Avoid talking with food in your mouth; chew with your mouth closed
 Cut food into pieces as you eat; cut into small bite-size pieces; but meat one bite
at a time
 Sit up straight; avoid leaning on elbows while eating
 Break one piece of bread/roll and butter one piece at a time
 Place butter on your own plate before buttering your bread/roll
Besides eating, these things should also be taking place at the table:
 Communication via conversation
 Relationship development
 Values development (I care enough to spend time with you)
 Exchange of ideas
Interior Decoration
Home Furnishings for Decoration

Vivek Singh
Assoc Professor (Textile & Apparel Designing)
Some textiles are used in interior environment, such as homes, offices, hospitals, hotels,
schools, aircraft and automobiles interiors. These textiles are generally referred to as
interior furnishing textiles and also called home furnishing textiles, household textiles,
household linens, domestic linens and soft furnishings. The best way to make our house
into a home is with beautiful soft furnishings. It is a effective way to completely
transform our home. Furnishings used to decorate home signify elegance, décor,
harmony, and grace. By using a wide range of skills such as sewing, crochet, embroidery,
knitting, appliqué and canvas work, one can create an endless variety of home furnishing.
Home furnishing creates comfort and beauty in home so that home looks homelike and
inviting. They gives personalized touch to the home that encourages individual and
family interests which stimulate personal growth and create a sense of security and
continuity in our life. A beautiful home is a social force of great value in providing
pleasant surrounding.
The textile industry in India one of the largest segments of the Indian economy
and accounts for over one fifth of the country’s industrial production. The Indian
craftsmen help produce one of the largest, most fascinating varieties of home furnishings.
Fabrics used in the home are very important in the sense that it somewhat reflect the
personality of a person. It controls mood, sets style, indicates taste, it is what is seen and
is most maneuverable, the most easily changed, replaced or added. Fabrics play an
important role for home textile like :
 Fabric protects interior colours from fading.
 Fabric lends privacy to any degree needed.
 It shields people from heat and reduces heat loss in winter.
 It can make summer room cooler and reduces an air conditioning load.
 It increases liveability and workability of a small place, reduces noise, makes
music and even speech more resonant than all acoustic materials.
Home furnishings include:
Bed Covers and Pillow Covers
The first thing that catches the eye in a bedroom is the bedspread because it usually
covers the largest mass of colour. The colors and textures of the bed covers set the mood
of the bedroom as these add the final touch and the look on a bed.
Experiments in terms of design, colour combinations, blending of fabrics and other
materials make the bed covers, totally distinct in many aspects. They beautifully portray a
harmonious co-existence of modern, contemporary and ethnic Indian styles. The
decorative bed covers are made in a multitude of fabrics ranging from cotton, polyester,
silk, crocheted lace, taffeta, elaborate jacquards, quilted with different thread counts. The
variety of prints used to beautify bed covers are- tie and dye, sanganer print, batik
printing, block printing, embossed printing, screen printing and leheria (waves) print.
The material should be of a texture that will not wrinkle or crush easily. It should be
cleanable and the spread should be large enough for the bed. Cotton is widely preferred
fabric for bed linen as cotton fabrics have a pleasant mat luster, a soft drape and a smooth
hand. It has excellent absorbing capabilities. Bedspreads are also prepared by combining
polyester fibers with cotton (80% cotton, 20% polyester) to produce a material that has
easy care properties. Polyester is a strong fiber that is resistant to crease, stretching and
shrinkage, hence has the ability to hold its shape well. Flounce ruffles, pillow shams, and
draperies may be made of the same fabric as the spreads.
One can change the feel and look of the room, by changing the pillow covers. This is one
of the fast and quick way. While selecting the pillow covers, colours, texture, pattern and
fabric weight etc should be kept in mind. These should match the colour and texture of
bed sheets so as to enhance their beauty. The pillow covers should be a nice thick
material which doesn’t fray, sang or rip easy. Based on the existing color of the room,
decoration of the house, the material like cotton, cotton polyester blend may be selected.
Quilts, Comforters and Blankets
Quilts are a warm bad coverings designed with soft padding enclosed between layers of
fabric created by lines of decorative stitching. Indian quilts are usually handmade articles.
The designs are very attractive, with various floral, geometric, paisley patterns in
colourful backgrounds. Sometimes the borders have interesting geometrical patterns in
vibrant colours. The floral embossed work is available in many soft colours like pinks,
pale blues, sea greens, beige and ivory. These are adorned with embroidery, appliqué,
patchwork and distinct flawless finishing that adds to their aesthetic look.
Comforter is a light quilt, with a washable cover. It can be used in place of a bedspread
and top sheet. Comforters are a quick and easy way to redecorate a room. These are not
big and bulky and can be easily stored. These are available in different designs and
patterns to enhance the beauty of the room. They often embroidered or appliquéd or even
painted with bold motifs. They may be adorned with stars and sequins.
Old sari can be used for a comforter. Zari borders, wave patterns, and colours of sari
bring a unique touch to the comforter. Comforters can be custom-designed with the
specifications and demands of customers.
Wool is popular in the manufacture of blankets as it is warm, lightweight, durable and
resists wrinkle. It absorbs moisture, is flame resistant, and has a natural stretch and
elasticity.
Floor Coverings
Rugs and carpets can be the foundation for the decorative treatment of a room. These are
often used as softening devices in spaces where hard flooring can dominate. They also
help delineate seating areas. These make a room seem warm and luxurious. Various
fibres are used in carpet making, like nylon, polyester, acrylic, PP, rayon, wool, silk,
cotton, jute, coir and its blends. Vast majority of carpets are now produced from man
made staple, textured or BCF (Bulk Continuous Filament). At present, woven carept
production has been drastically reduced after the advent of tufting machine.
India is one of those countries where people customarily sit on the floor. The Indian
carpet waver ties his knots with great dexterity, on upright wooden looms of traditional
design. The Indian namdah, a kind of felt rug, durrie or carpet, is an all purpose article,
indispensable to daily life. It can be used as a floor bed, pillow and a dining table. It is
made of layers of compressed wool stuck together with natural gum. After being
completed, embroidery is executed in woolen yarn. Rajasthan and Gujarat are also
famous for making namdah that is appliquéd, printed or embroidered. Carpets from the
Punjab and Haryana are woven in traditional stripes as well as with stylized birds,
animals and human forms used as motifs. In Rajasthan too, carpets are given hunting
patterns with trees and floral motifs. In Kashmir, carpet design is guided by Talim, the
special script for carpet weaving. Designs and pattern of carpets in Kashmir are inspired
by Central Asian and Persian rugs. Shahjabanpur in Uttar Pradesh, is also famous for
luxurious carpets. The designs are attractive, with geometrical patterns in black on a
maroon background. Agra, the famed city of the Taj Mahal, specializes in the use of silk
mixed with woolen yarn. The carpets of Eluru and Warangal, of Andhra Pradesh have a
storng local flavour.
Many varieties of fine prayer carpets are made in India. The asana, a square of pile
carpet, drugget or durrie material, is in a plain single colour or austere design. It is
traditionally used, while performing rituals during worship. Jute carpets, in intricate
Persian designs, are woven in West Bengal.
Traditional rugs are pileless cotton woven in a single colour, with or without a contrast
border or in stripes of different colours and varying thickness. Chain stitched rugs are
made on a Hessian base with an additional lining of gunny sack cloth. Skillfully stitched
rugs serve as floor coverings, wall decorations and mattresses. They are used as horse and
camel saddles and wall hangings besides traditional floor coverings. Masts are also made
of wheat or rice straw, weeds and fine sliced bamboo. The mats have a fine upper layer
and a coarse bottom one, and are stitched at the edges. Rolled and made to stand upright
in a corner, when not in use, the chattai is used as an instant sitting space. Mats in India
are even made of wheat or rice straw, weeds and fine sliced bamboo. Madder grass is
collected, immersed in water and woven into mats in its natural red colour, in Bengal and
Assam.
Curtains and Draperies
Door curtains may add a warm touch to the room. These provide ventilation to the house
and prevent insects. Curtains allow a perfect separation in mid of that hall instead of
walls and also give a very attractive appearance. Problems windows can have their
problems solved or a room can be given a specia character, with imaginative use of
fabrics and window fittings.
The choice of curtain fabrics and styles would depend on the kind of window that is
being dressed. If privacy is necessary, then we need to go in for thick curtains. Olefin
velvet can endure heavy use and is a good choice for humid places. Olefin is strong,
lightweight, comfortable, quick drying and resistant to stains, soil, chemicals, mildew,
weather, sunlight and abrasion. Nylon can be also used for curtains. It has historically
developed as a synthetic substitute for silk. It is lightweight, drapes well, and has low
absorbency. It also dries quickly, and is resistant to dirt, chemicals and perspiration.
Crocheted curtains are an alternative to materials such as nylon and velvet. White lace
curtains which inspire the relaxed and comfortable feeling can also be used. Silk has a
high natural luster and sheen of a white or cream colour. It has a reputation as a luxurious
and sensuous fabric. It retains its shape, drapes well and shimmers with a luster all its
own therefore it is also sometimes used for curtain.
Cushions
These are available in a wide variety of designs depending on shape and size. The shapes
are from rectangle to different shapes of flowers. They are further embellished with the
help of mirror work, prints, embroidery and patchwork. They are generally made in the
colours which match the colours of the furnishing.
In India, cushion covers, a significant constituent of exquisite home furnishings of the
décor, are synonyms of comfort and elegance. Beautiful and potent, the range of
aesthetically designed cushion covers is skillfully set in uncommon designs and hues.
Traditional Indian craftsman engaged in making cushion covers that make use of bold
motifs, geometrical designs and large stitches. These artisans of embroidery create
cushion covers with a conscious aesthetic approach making it a beautiful utility item. The
colours used are brilliant, bold and gay, without a hint of garishness, making their appeal,
universal.
Table linen
Table mats, table runners, napkins and table cloths are all part of our table linen range.
Table cloths can be made in any size depending on the requirements. Table mats and
table cloths in plastic coated fabrics are attractive and require minimum care. Traditional
mats and cloths are made up of linen, cotton and rayon, and now the synthetics arte also
used.
Towels
It forms an important class in home textiles. As per definition, a terry towel is described
as a textile product, which is a warp pile fabric in which loops are created by varying the
relative position of fell and the reed. A high tension is applied to the ground warp ends
and a very tension to the pie warp ends.
Terry towel can be classified according to weight; pile presence of fabric surfaces, pile
formation, production and finish, the classification of which is as under.
Upholstery
Fabric used for covering upholstered furniture and cushions and for slip covers are
classified as upholstery fabrics. They include the following types : light weight, medium
weight and heavy weight. Further light weight fabrics include – antique satin, broad
cloth, chintz, moiré, oxford cloth, poplin, rep and stretch.
Medium weight coverings include – brocade, canvas, cretonne, damask, denim,
embroidery, satin, serge. Heavy weight upholstery includes – boucle, corduro6y, frieze,
matelasse, plush, tapestry, tweed, velour, velvet, velveteen, etc.
Generally speaking, all textile fibres can be used in the upholstery provided the cloth is
sturdy enough to resist friction, sun light, dry cleaning, etc. Wool, cotton, nylon and PP
are mostly used. Locally, upholstery are being manufactured as knitted velvet fabrics,
made on warp knitting machine.
Latest trends in home furnishings
Current trends in Home Furnishing textiles include the use of fiber blends to create
fabrics with improved properties, feel and texture.
 The use of a variety of weaves and blends create fabric richness. Fabrics with
intricate jacquard patterns are also gaining in popularity.
 The use of rich metallic yarns is being used to create surface interest, with hues of
silver, gold, bronze, and copper.
 Presently leather is being used in vibrant colours such as orange, metallic pearl,
white and turquoise for fashioning couches, beds, chairs and coverings for
cushions etc.
 Silk embroidered bedspreads to block printed cushions, curtains and drapes in
bright hues are hitting the stores.
 There is an increased use of stretch fabrics for upholstery.
 Green textiles (renewable fabrics) are gaining importance. As a result, wool, linen
and silk are becoming more popular.
 Colour trends from apparel are being transferred to interior design. Inspiration for
colours is also coming from the outdoors, with the use of citrus, neutrals and
autumn tones.
 Eco-friendly dyes and finishes are also being used.
 New developments in finishes are creating fabrics with a soft texture and hand.
 Antimicrobial technology is also being used in a variety of home furnishings.
 High performance fabrics provide stain resistance for easy care, and fade
resistance from sunlight.
 Smart textiles have moved into home furnishings.
Tips for intelligent buying
Before we actually decide to invest on furnishing our house, we should ask ourselves:
 How long do I plan to live in it ?
 What are the really essential things that I would require to furnish my house
 Where can I get good deals on discount home furnishings and exclusive furniture?
 Have I planned my budget well ?
 Have I checked out the various furnishing styles and have I decided on the one
that suits me the best and with which I am most comfortable?
 Colour is really important as it affects our mood, so we should give some thought
to the look and feel that we would like to create.
 Eco friendly furnishings should also be considered.
Conclusively, in planning of home furnishings, creation, selection and arrangement of
form, space, colour and texture to achieve beauty, comfort and individuality is important.
Home furnishing is all about adding that extra decorative touch to make our home,
stylish, beautiful and elegant.
Interior Decoration
Floor Coverings
Binoo Sehgal
The floor is the foundation of the room both from architectural as well as decorative view
point. A floor or its covering is a background for the furnishings of a room. Floor
coverings are of three types:
(I) Soft floor coverings (Carpets and Rugs)
(II) Resilient Floor Coverings
(III) Hard Floor Coverings
(I) Soft floor coverings (Carpets and Rugs):
Since ancient times, people have been concerned with covering floors of homes and
buildings with carpets and rugs. What is the difference between carpets and rugs?
This is a confusing question. As a matter of fact, a carpet is a soft floor covering
having a pile, laid on the entire floor and sold by the roll in widths of 27 inches to 18
feet or more. The examples are wall to wall, stair and hall carpets. While a rug does
not usually cover the entire floor and is available (cut) in standard sizes like 2¼’ x
4½’, 9’ x 6’, 9’ x 12’, 12’ x 15’, 12’ x 18’ etc. A rug is also a soft floor covering but
does not have a pile. It can also be laid on the floor from both sides, unlike the
carpets. Also a rug has finished edges.
Use of carpet or rug:
(a) Functional
(i) Makes a room comfortable to walk on.
(ii) Absorbs noise from walking and echoes.
(iii) In winter, it is usually well to have a carpet or rug in the rooms as it gives a
feeling of warmth.
(iv) Provides safety from accidental falls, slips and skidding.
(v) Wall to wall carpet can hide the irregularities in the floor and can conceal (hide) a
worn floor.
(vi) Permits to have inexpensive floors in a new house.
(b) Decorative:
(i) If properly chosen, it contributes to the general decorative scheme.
(ii) It gives a finished appearance to a room.
(iii) Carpets that cover the entire floor make rooms appear larger than do the smaller
coverings and thus, these are most suitable in small rooms.
(iv) It gives a feeling of richness and luxury.
Selection of Carpets and Rugs:
For the decorative reasons and because floor coverings usually involve a substantial
(large) sum and become more or less a permanent possession, it is important to make a
wise decision in their choice. Personal likes and dislikes are very important when
selecting floor coverings. Some people cannot bear to live in a room without a soft rug;
others enjoy the cool, clean feeling of a smooth hard floor. Some people dislike having a
floor become an accented area with brilliant colour or pattern while others like such
colours and designs under foot.
Before buying a floor covering, it is necessary for a housewife to be familiar not only
with the decorative effects produced by its pattern, colour and texture but also about its
weaving qualities and special uses. The following factors should be kept in mind while
selecting the floor covering:
(1) Size: One of the first problems to settle in the selection of floor covering is
whether to have a large rug or a wall to wall carpet. The advantage of a rug is that it can
be reversed to prevent wearing in spots and it is more easily handled.
How much of the floor should be covered? There is no one answer but here are some of
the factors to be considered. A wall to wall carpet is a good choice for any room that one
wants to make appear larger. If the same carpeting is extended throughout adjoining areas
and rooms, the effect of spaciousness is increased still further and the floor will provide a
feeling of unity.
If a rug seems to be more desirable than wall-to-wall carpeting, it should be chosen in
relation to the size of the room. Floor coverings cut exactly to fit the shape of the room
presents an attractive appearance but the traffic lanes will show signs of wear more
quickly.
Small scattered rugs are sometimes desirable in halls, bedrooms or living rooms. Those in
the same room should be identical or as nearly alike as possible. If used on a plain carpet,
it should be like it in its background colouring. A rug should have a minimum margin of
6”-12” all around it in the room. On a stairway, a strip of narrow carpet is sufficient
unless the lower hall is carpeted from wall-to-wall.
(2) Colour: As the floor is a relatively large area of any room, the colour decision is,
indeed, an important one. Besides, the rug will remain for a longer time than other colour
areas. It is wise, therefore, to choose a versatile colour that will lend itself to a variety of
colour combinations. A deep, rich cherry red, for example, combines beautifully with
white, pale blue, pale green, grey or light pink.
Light tones in carpets or rugs make rooms seem spacious and cheerful. The floor
covering should be selected before the wall paints or the home fabrics because the range
of colours is more limited in rugs and carpets than in other furnishings. In all such areas
which receive heavy traffic, one should choose floor coverings that do not show soil and
can be easily maintained.
(3) Durability: Durability in a carpet or rug is greatly affected by the density, depth
and the compactness of the pile. It is also dependent upon the quality of yarns used.
Another important factor is the amount of twist given to the yarn. It may be one, two or
three-ply, according to the number of strands twisted together. Fibres or yarns may be
natural, like wool and cotton or man-made like nylon and rayon. Sometimes two or more
different fibres are combined in one rug or carpet. Wool is generally considered to be a
superior fibre for carpets because it is resilient, durable and colour-fast. Cotton fibres are
soft and crushable, they soil easily and are likely to fade but wear fairly well. It also
washes easily. Nylon is very durable, easily cleaned and resists mildew and moths. It is
used alone or added to other fibres to give them strength. It resists abrasion and does not
show signs of wear rapidly. Rayon is crushable and generally undesirable so it is used in
the less costly rugs. But it has good luster and take dyes well. It shows signs of wear
rapidly. The acrylic fibres are long wearing and have stain removing properties and thus
can be easily cleaned. They look like wool and have some similar qualities. Jute and
hemp help to make firm backs for carpets and rugs. Jute is strong and inexpensive but
will decay under moisture. The rug with the largest percentage of the most durable fibres
will wear the best.
The height of the pile is also important but it is not as important as thickness. High pile is
luxurious but it crushes somewhat more easily than short pile.
(4) Pattern: It is a matter of personal preference whether or not one wants to
emphasize the floor with pattern but there are some practical points that must be
considered. Patterned rugs have less tendency to show soil or foot marks thus such rugs
may be desirable for certain areas. Floral designs may provide a charming atmosphere
that is both interesting and tasteful. Large designs in floor coverings are more attractive
in large rooms. A patterned rug draws attention to the floor. A good rug or carpet may
last many years. There is always a possibility that a pattern that is most appealing in the
beginning will become tiresome after a few years. Plain carpets and rugs are, therefore,
considered better but occasionally patterned rugs are usable and even desirable.
(5) Mothproofing: As a carpet is a lifetime investment, mothproofing is very
essential in carpets.
(6) Fire resistance: Carpets should also be fire resistant. Wool is fire resistant and
thus ensures the safety of the home.
(7) Resilience: It is the degree of springiness with which a carpet returns to its
original condition after the weight is being removed. It is necessary that a carpet recovers
quickly to its original form after being subjected to pressure loads. Wool due to its high
resilience quality, maintains the appearance of the carpet.
(8) Texture: The combination of cut and uncut loops or the combination of straight
and twisted yarns or several heights of pile can be turned into very interesting texture
patterns in one-tone carpets.
(9) Character: It is also a very important factor and should go in expressiveness with
the room and its furnishings where it is to be used and should not be in conflict with it
e.g. jute rugs have a cottage flavour; deep pile suggests luxury; Mexican rugs look
primitive.
(10) Cost: The consumer today is faced with a wide range of possible floor coverings.
Most floor coverings are relatively expensive and represent an investment of a fairly
large proportion of the furnishing budget.
When buying soft floor coverings; it is best to choose better-quality carpeting for high-
traffic areas. Sturdy carpets should be used in playrooms, children’s rooms etc. Before
buying a carpet, it is better to take a piece of carpet sample home and examine it under
natural and artificial light in the room in which it is to be used. It should blend with the
furnishings of the room. It is better to buy the best quality of floor covering in whatever
class the budget allows. For producing an effective room, ample size of rug is more
important than quality. For a very low budget home, felt, string, jute, rugs and carpets are
good.
Care of Carpets and Rugs:
Good care extends the life of carpets and rugs. Where and how one lives determines the
amount of cleaning needed. Amount of soiling depends upon number of family members,
condition of grounds around the home as well as the family activities. Soil can be
minimized by using mats near doorways and in heavy traffic areas. Carpets and rugs
should be weekly or fortnightly cleaned with a vacuum cleaner and these should be
lightly broomed daily with a soft brush or broom. Cotton carpets can be even washed at
home but the instructions given with the carpets and rugs must always be kept in mind.
(II) Resilient Floor Coverings:
Sometimes, it is desirable to cover the flooring with something other than a rug or carpet.
The resilient surfaced floor coverings offer several advantages in that they are durable,
easily cleaned and cool.
(1) Linoleum: A mixture of flour, cork and oil is applied to some sort of a backing
such as jute or fibre, to form linoleum. In inlaid linoleum, the pattern is impregnated
through the thickness of the substance and stands up under many years of hard wear. Thin
linoleum with the pattern applied to the surface is much less expensive but cannot stand
heavy use.
(2) Vinyl: It is available in either rolls or tiles. Luxurious vinyls in magnificent
designs and colours are used in the most elegant rooms. Vinyl is a synthetic that resists
abrasion, scratch, denting and spotting from acids and grease. Different types of vinyl
flooring vary in durability as well as in cost.
(3) Asphalt Tile: Asphalt tile is a serviceable and relatively inexpensive floor
covering that is damage resistant and easy to maintain. It has been widely used in
kitchens and other floor areas exposed to grease and oil. It is available in a wide range of
colours and patterns and is generally less expensive than linoleum or rubber tile. It cracks
or shows scratches easily.
(4) Rubber Tile: In general characteristics, rubber tile is somewhat similar to
linoleum but it is more resilient. It may be used on almost any type of floor and the range
of colour and design is practically unlimited. Often the colours are brighter than those in
linoleum. It is extremely durable and attractive.
(5) Cork: Sievings and granules of cork are compressed into sheets and treated with
sealers to form a cork flooring. It may be coloured but it is usually used in various natural
tones of light and dark brown. The chief advantages of cork are lovely texture, high
resilience and good sound absorption. Some types are difficult to maintain and need
frequent waxing to preserve colour and texture.
(III) Hard Floor Coverings:
(1) Stone: Marble, slate and flagstone provide desirable flooring for some areas.
These materials are usually expensive if they are at all attractive or unusual in
appearance. They are very durable but also cold and uncomfortable to stand on for any
length of time.
(2) Terrazzo: It is a floor made of concrete with chips of stone or marble introduced.
The surface is polished to a smooth finish for very elegant effects. It is durable and easy
to maintain but non-resilient and quite expensive.
(3) Ceramic Tiles and Clay Bricks: Ceramic tiles and clay bricks are used for floors
in certain areas. Various colours and effects are possible. They are highly durable, easy to
maintain when glazed. They are, however, non-resilient, cold and often expensive.
(4) Hard Wood (Parquet): Floors require extra care when it comes to cleaning
because of the technique of fusing different types of wood pieces together. Clean daily
with a soft broom and pick up loose dirt with a soft mop. Do not clean with water. Most
common trees harvested for wood floors are red and white oak, eucalyptus, bamboo,
maple.
Interior Decoration
Optical Illusion in Interior Decoration

Savita Singal
Optical illusion can be defined as a ‘trick played upon eyes of the observer’ to make
something appear what it actually is not. By creating optical illusion, attention can be
focused on best features and diverted from bad features of the room.
Most of the flats users, with a small size of the area are not completely satisfied with their
rooms. Usually, spaces seem to be too small, too tight, or simply they have the wrong
proportions. There are many design problems in these small interiors and they constitute
the greatest challenge for designers. In addition to the selection of equipment for the
interiors, designer should consider several important factors that can create optical
change in the size and proportions of rooms, without redesigning or destructions. Proper
use of various principles and elements of design like color, lighting, materials, pattern,
texture, forms, shapes, placement of interior elements, horizontal or vertical lines, mirrors
and even styles of interior equipment and finishing materials can correct the interior
space because they can create a significant impact on the size and proportion of a space.
A room can be visually enlarged, heightened, deepened, broadened, narrowed, or lowered
by creating optical illusion
Use of proper lighting: Lighting has a decisive influence on the final image of the
rooms. Appropriate use of lighting can optically improve the size and proportion of the
space. By suitably manipulating the location of light and number, type and size of light
points, and intensity, the appearance of the interior can be improved optically. After all,
an attractive appearance of the inside depends on lighting and lighting determines how
we feel in the room.
Below is a list of common problems and ways of how to deal with them through use of
lighting -
• The room is too small
There's no doubt that cramped or dark spaces cause discomfort to users. Designer can
create the perception of a larger space with use of lighting. If the room is too small, then
one should go for number of lamps highlighting the room shape, instead of central
lighting in the ceiling. Focus of light on the walls allows for impressive interior
magnification.
Even and regular illumination of the interior by adding multiple light sources, powered at
the same time, make the interior more spacious. A small room seems larger, if we focus
the light on design elements placed in different locations.
Directing light on the ceiling makes the interior seem enlarged.
The effect of inside spaciousness can also be obtained by using the light reflected in the
mirrors. Therefore, strategically placing a mirror, or even a collection of mirrors, in the
relevant, appropriate part of the room is an easy way to use the reflection of light to
advantage in decorating a small space.
Designer can also create the perception of a larger space with the use of natural lighting.
Maximizing the natural light will emphasize the space and make the room appear larger
and brighter. Just like the optical illusion created by lightened ceiling, large bright
windows and natural light creates the sense of openness and spaciousness. Use of floor to
ceiling windows gives the room a ‘grander’ feel as well as allows natural sun light to
come in which gives the illusion of a larger room. The usage of floor to ceiling windows
makes any room seem larger and more spacious.
• The room is too low
The effect of increasing the visual height of a room is made with the help of strongly
illuminated ceiling. Ceiling decoration with integrated lamps apparently heightens the
interior. This effect can also be created with the use of 3-D structure of suspended
ceiling, illuminating the top part of a room or by creation of a shiny surface.
The impression of heightened room can also be obtained by darkening bottom ends of
walls while simultaneously their upper parts are strongly illuminated.
Light stressing the vertical divisions (e.g. doorways between rooms or pillars) causes the
impression of raising the ceiling.
• The room is too narrow
Lighting points creating cross stripes on the ceiling in combination with the longer wall
and firmly lighted with diffused light, creates effects which make the interiors seem
wider.
Bright lighting of smaller walls with a few lighting points and comparatively poor
lighting of longer walls optically corrects the proportion of the room.
Even illumination of walls and lower corners of the room with small lamps makes room
look wider visually. If the space, on the contrary, must be narrowed, we should illuminate
upper corners of the room.
To make a rectangular room look more square, the designer should add an expressed light
stress on the fourth, the farthest wall, while having monotonous and equal illumination on
the three walls.
• The room is dis-proportionately high
The ceiling illumination directed towards the bottom visually brings the ceiling down.
Directing the illumination onto the floor gives the impression of darkening and reducing
the room.
Putting the main lighting point below the line dividing colors of walls and the ceiling
makes the room appear lower than it is infact.
Color - An extremely effective instrument enabling the improvement in the interior
proportions: Color is probably the most important factor to consider when trying to
change room's proportions through optical illusion. Color has the ability to manipulate
our sense of space. So it’s possible to visually change the space in all three dimensions by
correctly controlling ground-colors and color stresses. Color selection of walls, floors,
items of equipments and accessories is an easy way to change the visual size and
proportions of the rooms. Using visual effect of colors and appropriately selecting and
comparing cold and warm, light and dark, complementary and contrasting colors,
designer can easily manipulate the length, width and height of painted interiors.
The effect of light and dark colors in a room
Light, pale or pastel colors make rooms and objects look larger than they are. Light
colors visually broaden the space and a room seems wider and larger. Therefore, a
brightly colored wall will appear larger than it actually is and using light wall colors with
matching light trim will also make space seem larger.
Light colored ceiling creates the effect of a higher ceiling. Light ceilings will raise the
apparent height of a room.
Dark objects appear heavier. Dark color on the ceiling visually lowers it and makes a
room seem lower. Darker and deeper colors on walls make room look smaller and
narrower than it actually is.
Combination of a dark floor and ceiling can greatly reduce the apparent height of a room.
The effect of contrast
Although the lighter and brighter colors help to create spacious and airy interiors, this
does not mean that interior designers are limited to using lighter colors when they arrange
and decorate a small room. In practice, dark colors contrasting with lighter colors can
also emphasize the effect of spaciousness. For example, a dark couch or armchair placed
on light colored flooring and on light wall behind it (i.e., as a single dark element against
a light background) will seem smaller than it actually is. This means that a small room
will appear more spacious. Therefore, it is possible to use dark color against contrasting
light background to create the sense of openness and spaciousness in a smaller space. The
essential principle is to use darker color in contrast with lighter colors to create the
illusion of more space. It is also important to restrict the use of dark color to a small
surface or to a few small items.
The effect of warm and cool colors
Besides the effect of light and dark colors and regardless of the use of light and dark
contrasts, designers can shape and modify the visual experience of interior space through
the careful and correct use of warm and cool colors.
Cool colors appear to move away. For example, blues and greens recede and seem more
distant. Warm colors seem to advance or approach. For example, colors like red, yellow
and orange appear to come closer. This allows designer to easily manipulate the length,
width and height of painted or colored interior. Walls covered in warm colors seem to
move inward, making a large room appear smaller. A strong, warm color on an end wall
will shorten the apparent length of a room by drawing that wall forward. Cooler color on
the wall will cause it to recede, thereby expanding our perception of the room. Walls
painted in cool colors appear more distant than they really are. Cool colors can make a
small room seem larger.
If a room is small, its walls can be optically broadened by using light cool colors in
finishing like grey-blue, pearl, or pale green.
If a room is larger, pastel or deep colors in a warm spectrum seem to be appropriate for it.
Light, cool spaces are generally perceived as expansive, while the dark, warm spaces as
diminishing.
There are also neutral colors that don’t quite change the space perception. These are
green, purple-red, violet and grey.
Application of light and warm colors in the main room makes the flat look wider, larger
and more spacious.
Blue and all its shades on the floor are cold and unpleasant in the reception, especially on
the large part of floor, but, at the same time, it seems big and wide.
Warm yellow and all its shades on the floor make a room bright and sunny; however,
light color visually doesn’t give a stable support for legs or heavy elements.
Unifying a space in order to enlarge the interior
In order to obtain a wider area, high contrast between the wall color and painted
woodwork, furniture and decorations should be avoided.
The interior designer should also avoid wall patterns, borders and anything that draws too
much attention to the walls.
The visual broadening or unifying effect of living space can be achieved by using a
common color or grade in all adjacent rooms, for example sitting room, kitchen, and
dining room. Especially the color of floors and walls in these areas should be the same as
the color of major part which is usually the living room.
Use of color in special cases
• Room or hallway is too long and too narrow
In case we need to shorten the long and narrow room or long, narrow hallway, the end
short walls should be painted in a deeper and warmer or darker color than the side long
walls. The darkened walls will seem to come into the room, making them appear closer.
The distance between the end walls will appear to decrease, thereby, making the room
appear in proper proportion. The short end wall can also be turned into an accent wall by
using decorative wall painting ideas.
To widen a room or hallway, light, pale colors on the walls, ceiling, and floor should be
provided. Treatment of ceilings with a deeper color than the walls will create a more
square shape.
• Hallway or corridor is too short
In the case of short corridors, we can paint the end wall with a lighter, cooler shade and
elongate the space by painting horizontal stripes on the side walls.
• Floor surface is too large
To make a large floor surface seem smaller, a floor covering that is darker than the
room’s wall should be selected. The floor color will define the boundaries of the room,
moving the eye downward.
• Ceiling is too low
To create the illusion of raising a low ceiling, a paint color that is lighter than the walls
should be selected. Use of lighter ceilings and floors also create the effect of a higher
ceiling.
• Ceiling is too high
Dark colors on the ceiling visually lower it. A high ceiling can be lowered by not only
selecting a tone that is darker than the walls, but painting it down to either picture or plate
rail height.
Finishing materials, texture, pattern, mirrors – elements that allow creating optical
illusion and improving visual size and proportion of the rooms
Finish of materials and paints will also influence the proportions of a room. The surfaces
of the same color, but with varying degrees of gloss are perceived in different ways.
Matte or flat surfaces and finishes absorb light and reflect the least amount of light,
making a room seem slightly smaller, but also more comfortable.
Shiny surfaces and high gloss paints reflect the most light, so add more space to the
interior and make a room look larger.
One of the best ways to enlarge a small room is the use of equipment with transparent
and translucent materials. Transparent or translucent furniture and appliances will seem
smaller and lighter than comparable full-colored ones.
To expand a room, horizontal stripes on the walls can be used. At the same time, they
should not be too wide.
In the small room, it is better to avoid large patterns because they visually reduce the
space.
Interior decoration with stripes on walls, ceiling and floor dramatically transform inside
and seem to increase room’s dimensions. Stripes on walls or floor visually expand small
spaces.
Vertically striped wall-paper or painting stripes on walls create optical illusions of higher
ceiling and larger room, so they can be used in the room with very low ceiling. Likewise,
vertical stripes on the walls also make the room look narrower.
Horizontally striped wall-paper or painted stripes on the wall stretch the space, making
the room look wider and more spacious.
The use of stripes on the floor, by using striped carpet, is also useful for creating optical
illusion that visually increases living space.
Framing the window by hanging drapery panels at each edge of the window (but instead
of starting at the edges and moving in, we should start at the edges and move outward
along the wall) creates the optical illusion that the window is bigger. Ordinary blinds and
window-covers minimize window exposure and moderate natural light, so the window
coverings should be used to the minimum possible extent in smaller rooms.
Appropriate usage of drapery and blinds can also give an optical illusion of increased
height. Long, light curtains hanged above the window close to the ceiling flowing onto
the floor optically increase the height of the room.
Curtain links suspended at the eye level in high room ‘stop eyesight’ and visually reduce
the room height.
Another tool that is usually used to create spectacular changes with little effort, is a
mirror. Mirror illusions are a specific way of enlarging room space. Mirror tricks can
make the room appear bigger (even twice the size) through reflection. Experiments with a
mirror and mirror surfaces are justified especially in very small-scale rooms.
Conclusively, correction of room’s size and proportions, without redesigning or
destructions, is possible with the help of optical illusions that change visual perception of
interior space. Too small room can be visually enlarged, too low room - heightened, too
narrow - broadened, disproportionately high room - lowered. Things like lighting, color,
textures, patterns, finishing materials, draperies and even mirrors can correct the interior
space because they can have a significant impact on our perception of room’s size,
dimension, scale and proportion. With understanding of the effect of these factors on the
perception of space and proper planning, designers can shape and modify the visual
dimensions of a room.
Interior Decoration
Wall Finishes
Kusum Rana
Assoc Professor (Family Resource Management)
As far as the time when people lived in caves, walls have been treated or decorated in some way
to add to their beauty and importance. We have a wide variety of wall finishes in different colors,
textures and patterns. Modern technology has improved on the old standbys of paint, wall paper,
wood paneling, fabric and tile, so today we have wall surfaces that are both beautiful and easy to
maintain.
Paint:
Almost any interior wall can be painted in any color. There are many advantages of using paint
especially in certain areas. It is easy and quick to apply and it is relatively inexpensive. Many
paints can be washed and some can be scrubbed with soap and water. When it is necessary or
desirable to refinish the wall, there is no problem of removing the old finish. In addition to the
wide range of available colors, paint can be had in different degrees of glass ranging from a dull
mat finish to one with a high degree of luster. Various textural effects can be produced.
Types of paints
Emulsion paints are water-thinned. Emulsion paints are available in a wide range of colours and
various degrees of sheen from malt to semi-gloss or silk finish. They are quick drying and low in
odour, and so are very suitable for the redecoration of rooms which cannot remain long out of
use.
Alkyd paints are based on synthetic resins combined with a vegetable oil, such as linseed oil.
These paints are generally easier to apply and have better durability and wearing properties than
older types. Alkyd paints are available as gloss, silk and flat finishes.
Multicolor paints – Usually this type of paint must be spray-applied. It is extremely hard
wearing and the multi-colour effect helps to mask surface irregularities and imperfections.
Corridors, entrance halls, hospital wards and cloakrooms are ideal places in which to use this type
of finish.
Micro-porous paints have a rubberized base which gives little glass but offers elasticity,
allowing movement when the surface expands or contracts.
Care and cleaning of painted surfaces
 Remove light dust with a wall broom or suction cleaner.
 Damp wipe or wash when necessary, with warm water and suitable detergent to remove
heavily ingrained or tenacious dust.
 When washing, start from the bottom and work upwards, using a sponge or distemper
brush. Change the solution frequently.
 Low sheen finishes, especially emulsion paints, may tend to ‘polish up’ if isolated areas
of bad soiling are rubbed vigorously with a damp cloth.
 Never apply wax polishes or oil to gloss painted surface to ‘revive’ them.
 Do not use harsh abrasives, strong solvents or strong soda solution to clean paint work, or
the film may be damaged or softened.
Wallpaper:
The history of wallpaper dates back to ancient times, but its popular use can be traced back only
to about the 17th century. They may be used to create any atmosphere, they may also be used in
new and different ways to create an infinite variety of novel effects. Wide range of textures,
colors, patterns and interesting special designs are available. There are wallpapers that stimulate
wood, marble and fabric. Some papers introduce architectural features into a room and still others
provide scenic effects.
Paints Wall Papers

Advantages of Wall Papers:
There are many advantages and relatively few disadvantages to using wallpaper as a finish for
interior walls. Among the reasons why wallpaper is a popular choice, we might include the
following:
 Color, texture and pattern lend a distinct individuality to the character of the room.
 There is a wide variety of designs from which to choose.
 It may be used to emphasize or to minimize architectural features that are either pleasing or
unattractive. A large room may be made to appear smaller and a small room may be made to
appear larger. The design of the paper may change the apparent proportions of the room; for
example, an emphatic treatment of one wall will make it more advancing.
 Defects and blemishes in the wall surface can be easily covered.
 A problem area can be made interesting and attractive. A small foyer or a long, narrow
passageway can become a dramatic centre of interest without the use of furniture. Difficult or
uninteresting places can be given importance.
 Wallpaper can be used both to separate and to coordinate areas when other means are
impractical. One end of a small living room can become the dining area without a room
divider simply by the use of a different wall covering.
 One can try large samples of wallpaper taped to the wall to study the effects of pattern and
colour in relation to the rest of the furnishing.
 Wallpaper can emphasize a furniture arrangement or make a centre of interest more dramatic.
Disadvantages of Wall Papers:
 Perhaps the only major disadvantage of wall paper is that after two or three layers have been
applied to a wall, they may be removed before a new finish is applied. With professional
steam equipment, old wall paper can be removed quite easily but sometimes the amateur
without equipment must soak the paper with hot water and scrape if off. This can be very
time consuming.
 There are some new strippable papers on the market that can be taken off and reused in
another area. There may be some difficulties however in fitting sections of wall papers in new
location. One more disadvantage is that the wrong choice of pattern may become tiresome
and irritating. The same objection may be raised for the colour of painted walls but the
repainting may be easier and less expensive than repapering.
Care of Wall Papers:
• Remove surface dust with a wall broom or suction cleaner.
• Remove marks by rubbing with a piece of soft bread. If the paper is spongeable, wipe with a
damp cloth or sponge.
Plastic wall covering
Many types of plastic wall coverings are available. Some are more decorative then others and
some afford sound insulation but all, owing to their abrasion resistance, are more hard wearing
and more easily cleaned than most other wall covering. They are obtainable in a variety of sizes,
with a great price range, and many require special adhesives.
Expanded polystyrene, in sheet or tile form, used on walls to give heat and sound insulation and
to help eliminate condensation. It can be painted with emulsion paint or covered with paper
Care and cleaning of plastic wall coverings
 Remove surface dust with wall broom or suction cleaner.
 Damp wipe or wash, when necessary, with warm water and synthetic detergent. A soft
brush may be used on these surfaces.
Ceramic Tile:
Although it is expensive and time-consuming to apply, true ceramic tile is both durable and easy
to maintain. It is highly desirable finish for floor walls and counter tops in certain areas, such as
the kitchen and bathrooms. Tile table tops have also become increasingly popular because of their
high resistance to heat, alcohol and moisture.
Wood Paneling: The lovely grain textures of woods make an effective wall finish that is both
beautiful and easy to maintain. In modern architecture, the beautiful colors and grain patterns of
the more exotic woods have provide an interior finish that meets the requirements of exquisite
texture plus easy maintenance. Wood paneling seems to meet modern requirements for
informality or for formality with richness and warmth.
The color, texture and pattern of wood answers a need for beauty in a natural form. This natural
form of elegant has found its way into modern buildings that are designed for both public and
residential use. Various types of precut and pre-finished panels are available for finishing walls.
Sometimes a room may have all the walls finished with wood or one wall in a wood finish may
be combined with another wall in paint, wall paper etc. The exotic patterns of different types of
wood are available.
Glass Panels
Glass wall coverings: Glass can be used in the form of decorative tiles, sometimes in the form of
mosaics, and tiles should not be confused with glass bricks which allow the passage of light and
form the wall itself. Colored opaque glass sheets or tiles may be used as a wall covering in hotel
bathrooms.
Glass as a wall covering is frequently used in the form or mirror tiles which reflect light and can
alter the apparent size of a room or corridor. Sometimes ‘antique’ mirror tiles are used, giving a
duller surface with less reflection. Large unframed mirrors may cover part of a wall, e.g. over a
vanitory unit or dressing table, while large framed mirrors are sometimes found on the walls of
corridors etc.
Cleaning of glass wall covering :
 Dust or wipe with a damp chamois leather or scrim. Proprietary cleansers or methylated
spirit may be used.
 Care should be taken when cleaning mirrors that the backs do not become damp
Metal wall coverings
Metal may be used for their decorative and their hygienic qualities. Metals such as copper and
anodized aluminum are decorative and may be used for effect in such areas as bars, where the
metal is combination with rows of bottles and interesting lighting can be most impressive. Other
metals, usually stainless steel in the form of tiles, may be used in kitchens where they present a
durable, easily cleaned hygienic surface in areas where splashing is likely. Metal foil can be
elegant, if used sparingly as a wall covering, it is available in a variety of colors
Cleaning of metal wall covering:
 Dust or wipe with a damp cloth.
 Polish is not necessary on metal surfaces as they either do not tarnish or will have been
treated against it.
Fabric wall covering
It is possible to cover a wall with any fabric and its durability will depend on the fiber and weave
used in its manufacture. Many types of cloth have been used to add interest and warmth to walls.
Fabrics may be tacked on frames, pasted directly to wall or glued to heavy paper and applied as
wall paper. Felt, grass cloth, burlap and canvas are popular wall fabrics. Damasks and brocades
are also used for rich elegance. There is no limit to the variety of color and texture that fabrics can
provide.
Fabric may:
 Be hung loosely or in folds which may cover ugly features.
 Be attached to a frame secured to the wall.
 Bring warmth and better acoustic properties to the area.
 Have sound deadening properties which help against noise in adjoining rooms.
Cleaning of fabric wall covering:
Remove surface dust with a brush or suction cleaner.
 For the more beautiful hangings, dismantle when necessary and send to a firm of dry
cleaners who specialize in this type of work.
Where Hessian is stuck to the wall, scrub very lightly where necessary using warm water and
synthetic.
Ceramic tiles Wood panelling Fabric wall covering
Tips for Wall Finishes

 To make a room appear larger we should have light or cool color wall covering as these are
receding colors.
 Nervous/confused people should have plane wall covering without any patterns. A large,
brightly colored pattern keeps the eyes too busy.
 The wall covering should be harmonious with rest of the room decoration.
 Warm colored wall covering e.g. red, yellow and orange can be used in cold places and
cool colors e.g. light blue, green and purple should be used in hot areas. The color of
flooring should go with the color scheme of the room.
 Using a stronger and more easily cleaned material for the lower part of the wall, possibly
up to 150 cm, which is called a dado.
Selection of right wall finish
Appearance: The appearance or the aesthetic of the wall covering can be described in terms of
pattern, color scheme, shape and size. The only criterion for this is what pleases you. The size,
shape and color scheme should be in harmony with the intended surroundings.
Durability: Some of the questions that you need to ask about your wall coverings durability are :
Has it been treated with soil retardants, stain repellants etc. How cleanable is the wall covering?
Are the colors fast?
Cost : The total cost involved can be divided into the following categories:
Purchase price : It is the actual price.
Installation cost : It may includes charges for removing old carpet or wall covering and apply
new floor covering / wall covering.
Maintenance expenses : Cost of cleaning and any repairs required.
Interior Decoration
Lighting in Interior Designing

Sudesh Gandhi
Professor and Head
Department of Family Resource Management
Lighting is an essential element in the field of interior design. Light, like color, can alter
psychological and physiological reactions. Proper lighting can enhance task
performance or aesthetics. The quantity and quality of light affect the apparent size,
shape and character of an object. Interior designers can alter the perception of space in a
room, focus attention, set moods, define texture, or create a specific atmosphere through
the appropriate use of light. Additionally, the fixtures that house the actual light source
can be designed to serve as decorative art or sculpture.
Types of Light
A space can be illuminated by natural and /or artificial light. Day light is the natural
light and it enters in a room through windows, doors and skylights. Depending on the
orientation of these and the time of the day, the season, and the weather, natural light can
have a gentle or harsh effect.
 Direct Light- light which shines directly into an object or surface.
 Indirect Light- light which is reflected onto an object an object or surface.
To be able to see comfortably and efficiently, the eye must receive a certain amount of
light from the scene. There are standards of level of illumination that is required for
efficient seeing under various circumstances.
Different usage will demand different illumination as given below.
Description Lumens/m2 ( Lux)
Average living room 125-150
Corridors and passages 75-100
General Offices 75-95
Computer Workstation 350-450
Machine shop ( fine work) 150-450
Machine shop ( rough work) 100-150
Hospital operating table 1000-2000
Bathroom 100-125
Kitchen 150-200
Reading room 150-250
Class rooms and laboratories 250-300
Main thoroughfare 10-15
To begin to understand how to use light, designers must be familiar with the basic
terminology and basic principles of the quantity and quality of the light source.
Definitions
 Lamp- The light bulb itself is called the lamp. It is the source of light. This term is also
used to describe fluorescent tubes.
 Fixture- The physical structure that holds the lamp and other necessary and decorative
accoutrements (such as the shade, reflector, or lens) is called the fixture.
 Lamp holder- the device into which you plug the lamp.
 Shade- that conceals the lamp from direct view- often intended to be decorative in itself.
 Luminaire- the whole thing – lamp, lamp holder body, shade etc.
 Central pendant- a luminaire suspended from an outlet, fixed to the ceiling.
 Down-lighter- a luminaire that the designed to shine downwards only.
 Recessed down-lighter- a down light mounted within the ceiling cavity.
 Up-lighter- a luminaire designed to shine up-wards only.
 Surface-mounted up-lighter- one mounted directly to the floor or track.
 Free- standing up-lighter- an up- lighter with a short decorative body.
Lumen: A measure of flow of light produced by one lamp. Lumens also determine the efficacy
of a lamp. To determine the efficacy of a lamp, divide the lumens by the watts ( the amount of
energy consumed by the lamp). For example, suppose a new 75- watt incandescent lamp
produces 1,180 lumens; 1,180 lumens divided by 75 watts equals an efficacy rating 15.7. The
higher the efficacy rating, the more efficient the lamp. In practice, to select the most energy –
efficient lamp, select the lamp with the lowest wattage and the highest lumen.
Foot-candle: The unit of measurement for the amount of light falling on a surface. One foot-
candle is equal to the amount of light falling on one square foot of surface, one foot away from a
candle. The farther the surface is from the light source, the lower the foot-candle measurement.
Foot-lambert: The unit of measurement for the amount of light reflected from a surface.
Generally, this is the amount of light actually seen. For example, a light- colored shiny wall may
reflect 80% or more of the foot-candles; a dark-colored, rough-textured wall may reflect less
than 2% of the foot-candles. Reflectance values of common colors are;
White 89%
Ivory 87%
Light gray 65%
Sky blue 65%
Intense yellow 62%
Light green 56%
Forest green 22%
Coconut brown 16%
Black 2%
Glare: One of the most common faults to be seen in lighting systems is glare due to one cause or
the other. The most obvious glare is caused by the light from the source of light entering he
person’s eye directly as well as the reflected light from the object to be seen. By raising the
lamps to ceiling height and by fitting them with proper shade, the condition for seeing is very
much improved. Another form of glare occurs when an object contrasts too strongly with its
background. For example, in a low and dark or dirty ceiling the lamps and their diffusing fittings
may still contrast too much and cause eye strain. The same sort of glare can occur if one has to
look at a dark object against a white background.
Functions of Light
Light source can serve three functions to meet human needs. Any interior should include a
combination of these lighting types in each room.
1. Ambient lighting.
2. Task lighting is used for specific work like reading or.
3. Accent lighting like a spotlight is used highlighting certain objects.
1. Ambient Lighting
Ambient light is used for general illumination of an area. It is primary source of light for any
room and does not have any recognizable source. Ambient lighting washes the area in even,
shadow less, soft and glare-free light. This can be provided by an up lighter or a fixture on the
ceiling. The resulting light is bright enough to comfortably watch television in, but at the same
time, soft enough to make the room look more spacious.
2. Task Lighting
Task lighting is mainly functional and is usually the most concentrated, for purposes such as
reading, sewing or inspection of materials. For example, reading poor-quality reproductions may
require task lighting levels up to 1500 lux (150 footcandles), and some inspection tasks or
surgical procedures require even higher levels. Oopaquely shaded table lamps, or lamps with
reflector bulbs work very well.
3. Accent Lighting
Accent lighting is mainly decorative, intended to highlight pictures, plants, or other elements of
interior design
Lighting for Areas and Activities
The light outside the entrance door should be bright enough to illuminate house numbers, door
locks and name plates. The light should be warm, welcoming and bright enough to illuminate
corners, steps or changes in level to prevent people from tripping. Photographs, paintings,
decorative pieces, etc. can be accentuated by spot lights. Concealed down lighters, lanterns or
bulbs of 70-100 watts can be used to achieve the right light intensity.
Foyer & Stairways
Staircases, which are often considered unimportant, can prove to be fascinating if lit properly
because of their many planes. Staircases should be lit from the top, so there is a shade variation
on the stairs. Also, the top of the stair should be brighter than its vertical surface. A down lighter
at the top of the staircase can emphasize the edge of each stair, thus help in preventing accidents.
Halogen lamps are recommended for staircases as they burn longer, and consume less energy.
Corridors
If not lit properly, corridors often tend to look like dim passages, which are not only unattractive,
but also dangerous. All the corners and turnings of corridors should be adequately lit, and all
ornamentation like tables, artifacts, paintings, etc. should be highlighted
Dining Rooms
It is often said that presentation is the key to an enjoyable meal. Food always seems more
sumptuous when enjoyed in a well- designed, well- lit interior. The dining area requires two
basic lighting sources: one for the table, and the other for the rest of the room. The overall
lighting can be ambient, but the dining table needs an additional lighting source, like a pendant
or a down lighter. Chandeliers add sparkle, but because of their radiance, to avoid glare, it is
best to fit them with dimmer switches.
Living & Family Rooms
Living and family rooms are used for varied activities hence, it is essential that the lighting
systems are flexible, functional and aesthetic. It is ideal to have at least two options for general
lighting- one that gives a bright, festive look, and another, a more subtle, sophisticated
atmosphere. Up lighters could double as background lights and with the use of dimmers, can
create a subdued, romantic mood while floor lamps can make for a soft, intimate atmosphere.
Well concealed task lights, spotlights or table lamps could be added for close work.
The most common lighting method- a single light on the ceiling often makes the room look
gloomy, and unattractive. Also, most of the pictures, objects and other bric-a-brac that usually
grace the living room get lost in general lighting. Single light looks good only if the flooring is
shiny enough to reflect the light. With the right lighting, even walls can add to the aesthetic
beauty of the room. The recommended level of illumination in the living room is 70-80 lux,
while for the dining room it can be slightly lower.
Study
The study is an area where reading activity takes place. Hence harsh lights, glare and deep
shadows should be avoided. The work surface, or the desk, needs to be illuminated by a sharp,
clean light. A desk lamp along with a flexible floor lamp is useful. Apart from task lights,
fluorescent lights work well if one is looking for a bright, even light over a large area. The desk
should be placed against a wall, which serves as a reflector for the ambient light. Contrary to
popular practice, desks should be placed at right angles to the natural light and not directly
against a window. The minimum amount of light recommended for reading is 200 lux, although
it varies with the age of the person reading. The recommended amount of light for writing is
even higher at 400 lux.
Kitchens
The most important feature in kitchen lighting in task lighting. A central light is not a very good
idea because work areas are usually around the edges of the room, and central lighting would
cause too many shadows. Essentially, work surfaces like the sink and counter tops should be lit
with directional sources that illuminate them rather than the person working.
Fluorescent tubes should be installed under wall cupboards or shelves to direct light to the work
areas. Two watts of electricity for every linear foot of counter is recommended. If
incandescent lighting is preferred, bulbs with white glass or plastic diffusers that spread the light
can be used. Also, natural light can be harnessed by placing windows above the sink and other
work areas.
Bedrooms
The best way to light a bedroom is by having more than one light sources instead of a single
central light which may cause unnatural shadows. The range could vary in intensity from a
strong, task light for dressing or working, to a soft, subdued light for reading. Generally, lighting
for the bedroom can be dimmer than that of the living room or the kitchen. The shade should be
deep enough to prevent glare, and its bottom should be at eye level, so it’s easy to read whilst in
a reclining position. Also, the shade should be of a neutral colour, not too dark or too light, and
should be in accordance with the décor of the room.
One thing to remember is that there should always be two sets of switches: one by the door, and
another by the bed. It is extremely tedious to have to get out of bed to switch off the lights right
before one is dropping off to sleep.
Bathrooms
The bathroom needs soothing and functional lighting, as here one wants to relax as well as
performs grooming chores, which require ample light. Low voltage halogen lighters work well
in bathrooms as they cause the porcelain and polished surfaces to sparkle. The most important
lighting in the bathroom is near the mirror. Ideally, the light should be at the height of the face.
For bathrooms with large mirrors, fixtures on either side of the mirror provide ample light, but
one should avoid using fluorescents that shed blue light because they give an unnatural look.
Children’s Rooms
The most important consideration for lighting children’s rooms is safety. The room should be
brightly lit so toddlers do not stumble in the dark. Safety shields covering wall sockets are
essential, as children have a habit of sticking their fingers and objects into exposed sockets. Also
all flexes need to be covered, so that children don’t trip. Light switches should be at a low level
for easy access. A low voltage bulb, or a night light can be left on so that children who are
scaled of the dark, or in a hurry to get the bathroom at night, can find their way around.
Energy Conservation
One of the simplest and quickest ways for a household to become more energy efficient is to
adopt CFLs as the main lamp source. Compact fluorescent lamps (CFLs) use less power to
supply the same amount of light as an incandescent lamp. Due to the ability to reduce electric
consumption, many organizations have undertaken measures to encourage the adoption of CFLs.
Some electric utilities and local governments have subsidized CFLs or provided them free to
customers as a means of reducing electric demand. For a given light output, CFLs use between
one fifth and one quarter of the power of an equivalent incandescent lamp.
Interior Decoration
Colours and their Application in Interiors

Kiran Singh
Why study colour
Colour like music, is an international language. Throughout the world, birds, animals, trees,
flowers, jewels, signals and many other objects are identified by their colouring. Colour is
perhaps the most powerful tool at the disposal of an artist. It affects our emotions beyond thought
and can convey any mood. It can be subtle or dramatic, capture attention or stimulate desire.
Colour bathes our vision with an infinite variety of sensations. Colour is now being extensively
used in everyday life to help us grasp information. Signs in Airports and supermarkets may be
colour coded to help us find our way. We add colours to our charts and diagrams to emphasize
the differences between the factors. Doctors use colours in X-rays, MRI etc. to spot and track
tumours because we can see contrasts more clearly in colour than in black and white. In art,
colour is a vehicle for expressing emotions and concepts as well as information and it is a very
powerful element of design. Psychologists are studying the impact of various colours on our
emotions and health, but they find that individuals differ in their responses.
Actually working with colour, exploring its characteristics and potentials, carefully observing
how colours work together will help us to discover the realities of colour and the journey is
endless. Colour is perhaps both the most emphatic and the most subjective element in interior
design. It is the most important ingredient in an interior. A thorough understanding of the
complexities of colour theory and interaction is essential to the successful practice of design. It is
the designer who synthesizes the science with art of colour to produce effective results.
Three Attributes of Colour
HUE : Hue or the colour name is that characteristic that sets each colour apart from all the
others.
Primary hues : red, blue & yellow. These cannot be created by mixing any other hues together.
Secondary hues or (binary) : Green, violet and orange. Each of these stands mid way between
two primary hues of which it is product.
Tertiary or intermediary hues : yellow-green, blue-green, blue-violet, red-violet, red-orange
and yellow-orange. These stand mid way between a primary and a secondary hue of which they
are products.
Hues are actually changed, or new ones produced, by combining neighboring hues e.g. Red
becomes red-violet when combined with violet. If more violet is added, the hue would change
again.
The effect of light and background also lead to apparent changes. Cool light will make any blue-
based hue seem bluer and any yellow or red-based hue seem gray, while warm light enhances the
yellow and red hues graying blue.
Warmth and coolness of hues : Each hue has its own temperature that affects us and our homes
in several ways. Red, yellow and orange warm and active and are called advancing hues because
they seem nearer to us than they actually are. Blue, green and violet seem cool and restful and
are called receding hues because they appear to be farther away than they actually are. They
reduce the apparent size of subjects but when used on walls they seem to increase a room’s
dimensions.
Any hue can be made warmer or cooler in effect by – Mixing it with another hue, e.g. green
mixed with yellow will look warmer.
- Placing it next to another colour e.g. green next to yellow will make green look cooler and
green next to blue will make green look warmer.
Value
Value is defined as relative lightness or darkness. Value gradations are determined by the
amount of light the colours reflect. There are 10 steps on the value scale with white at the top
given the number of 10 and black at the bottom with 0. In a room all light values will make it
look bright, airy and cheerful but if not handled skilfully then it will look cold and clinical. If the
room is decorated with all dark values then it will result in sense of security and solidity but if
not handled properly then the room many look gloomy and claustrophobic.
Sharp contrasts of dark and light look dramatic and stimulating and emphasize the shapes of
furnishings. A few middle values are usually needed to provide a transition and avoid harshness.
Generally close values blend together even when hues are different, light values increase the size
(because they reflect light) and dark values decrease the size (because they absorb light).
Value gradation become very important in a monochromatic colour scheme or in a design based
primarily on neutrals.
Tints : are values lighter than normal as indicated on colour wheel.
Shades : are values darker than those as indicated on colour wheel. For example pink is a tint of
red, maroon a shade of red, sky blue is a tint and navy blue a shade.
Values are changed by making colours reflect more or less light. With paints, actual changes are
made by adding black, gray or by adding another hue lighter or darker than the original.
Apparent changes can be made by :
- reducing or raising the amount of natural or artificial light reaching the colour surface (less
light will lead to darker appearing colour).
- placing the colour against backgrounds of differing degrees of light or dark.
Values also affect one another like the hues do. The contrasts accentuate differences, the same
gray looks much darker when seen against a light surface than when seen against black. Value
contrasts are vital in distinguishing form, judging depth, especially for the very young, elderly or
anyone with limited vision. In full daylight, all three aspects of colour are distinguishable but in
less light value contrasts are most distinguishable. The cones or colour receptors in human eye
do not function in less light but rods which distinguish light from dark operate in dim lighting.
Intensity
Any hue can vary in its purity and strength – in other words, the degree to which it differs from
gray. E.g. Pink is always red in hue and light in value but it can be pure pink or neutralized
grayed pink. A pure hue is at its fullest intensity, as on colour wheel. Tone is often used to
described intensity; a jewel tone is a brilliant colour while muted tone denotes a grayed colour.
Scale of intensity can have many or few steps. Full intensities which are possible only at normal
value of each hue, are described as high or strong, the more neutralized ones as low or weak.
Intensities can be actually heightened by adding more of the dominant hue. They can be
apparently raised by :
1. Illuminating the object with bright light of same hue,
2. Throwing it into contrast with its complementary hue,
3. Throwing it into contrast with a grayed tone of the hue,
4. Throwing it into contrast with a completely neutral colour.
For example a wall grayed yellow can be intensified by repainting it with a purer yellow or by :
1. Casting a yellowish light on it,
2. Placing chairs upholstered in violet in front of it.
3. Placing chairs upholstered in less intense yellow in front of it.
4. Placing chairs upholstered in gray in front of it.
Actual and apparent intensities can also be decreased in several ways by :
1. Adding varying amounts of its complementary hue; (e.g. yellow with violet & vice
versa);
2. Mixing a colour with gray, black or white;
3. Illuminating an object with less light, more diffuse light, or light of complementary hue;
4. Introducing something – a painting, a wall hanging, a chair or sofa of more intense colour
than the wall.
Changing any one dimension of a colour almost inevitably changes the other two, at least
slightly. One of the dimensions can be modified much more than the other two, but it is difficult
to change one and hold the others constant. It is important to remember that bright colour can be
very tiring and confusing if over used.
Creating a Colour Scheme
Colour is the first thing we respond to when we enter a room. It affects the way we feel and is
the most powerful decorating tool we can use.
Colour Harmony is essential in the flow of your theme, mood and style throughout your home.
Colour harmony includes the mixture of colour, patterns and texture in a well-balanced scheme.
A Colour Scheme can be created from the following :
 Colours we like
 The colours in our furniture
 A piece of artwork
 A special fabric
 The mood we want to project
Colour should be distributed in the following way :
 Dominant Colour – largest area of colour, walls and floor
 Secondary Colour – window treatments, bedding, large upholstery
 Accent Colour – small chairs, pillows, lamps and accessories
Some colour scheme guidelines :
 Fewer colours are easier to work with
 Carry a key colour throughout the home
 Use all of the colours in your scheme in the entry
 Use colours to define a focal point
 Do not use equal amounts of colour in each room. A dominate colours should be 60% of
a room.
 Connecting rooms should have a common colour.
 Repeat colours in wallpaper, fabrics and accessories.
The main goal is for your colour scheme to flow harmoniously from area to area in a well
balanced fashion.
Your colour scheme must also flow with your theme, mood and style.
Colour Harmonies
Planning the colours to be used in a room or a series of rooms can be a delightful part of
furnishing a home.
Colour that is satisfying and exhilarating costs no more than colours that are depressing and
without character. But, colours are not used alone. We need to know what happens when colours
are combined to be able to produce the effect that is wanted. The colour harmonies or colour
schemes give us an orderly way of discussing and predicting what will happen when various
hues are combined. Any hue can be made to harmonize with any other hue by manipulating
value and intensity. Two hues that appear incompatible at normal value, can be more harmonious
if grayed or if one is darkened and the other lightened.
Different colour schemes :
1) Monochromatic : (Literally means one hue) this scheme evolves from a single hue,
which can be varied from high light to low dark and from full saturation to almost
neutral. White, grays, black and small amounts of other hues add variety and accent. We
can also use applied and natural textures and decorative patterns. Advantages of this
scheme are that some degree of success is almost sure because unity and harmony are
firmly established and generally, spaciousness and continuity are emphasized and effect
is quiet and peaceful. Major danger is monotony, but it can be avoided by using varying
values and intensities and by differences in form texture and spatial relationship.
2) Achromatic : Achromatic or neutral colour schemes utilize only value variations,
without intensity. Neutral harmonies usually need accent colour in accessories or a few
furnishings (accent is a strong or vivid contrasting colour used in limited amount to
highlight or accentuate predominant colours. Accent is introduced to give visual
excitement and may be used with all colour harmonies). True neutrals are – black, white
and gray. But very low intensities of the warm colours (from ivory to dark brown) are
neutral in effect when used for the majority of surfaces and furnishings.
3) Analogous (adjacent or related) : This scheme is based on two or more hues each of
which contains some degree of a common hue. The hues fall within a segment of the
colour wheel that is no more than halfway around it. e.g. BG, B, BV (related closely) and
YG, B, RV (Separated). These schemes have more variety and interest than
monochromatic. The effect is usually unified because of the shared colour. This scheme
can be used throughout an entire home, carrying the common thread of colour from room
to room, and the rooms can have some variety also.
4) Complementary (Direct complement) : Scheme is built on any two hues directly
opposite each other on the colour wheel, e.g. orange and blue, yellow and violet (can be
intense or dull). It provides the balance of opposites and of warm and cool hues. These
schemes tend to be livelier than related harmonies but their success depends upon careful
handling of value and intensity (if used in equal amounts and in strong intensity,
complementary colours will clash).
5) Double complementary : It is simply two sets of complements e.g. orange and red-
orange with their respective complements, blue and blue-green. Generally we use the
colours that are near each other on the colour wheel.
6) Split complementary : It is a composed of any hue and the two hues at each side of its
complement. E.g. yellow with RV and BV. This makes the contrast less violent than in
the simple complementary type and adds interest and variety.
7) Alternate complement : It is another four-colour scheme combining the triad and the
direct complement. The possibilities of creating interiors from this scheme are numerous.
8) Triad : Any three hues those are equidistant from one another on the colour wheel. We
do not use full intensity hues in homes. Red, blue and yellow might be used as
mahogany, grayish blue and cream. The effect is balanced with variety and systematic
unity.
9) Tetrad : Any four hues which are equidistant from one another on the colour wheel. e.g.
Y-O, G, B-V & R. Such combinations lead to rich, varied, unified, fully balanced
compositions.
Shibui Colour Scheme
Shibui or Shibusa expresses in one word the Japanese approach to beauty as well as the intrinsic
nature of their culture. The word shibui suggests an appreciation of serenity and a protest against
ostentation.
In this scheme, colours are brought together to enhance each other in a harmonious whole that
will be quietly pleasing to live with for a long time. These scheme have depth and complexity
otherwise they will soon become tiresome. To get shibui effect following ideas are incorporated :
1. Looking to nature : shibui uses found in nature, combining them in same ratios. Colours
found in the largest areas are quiet and undemanding (neutralized). Bright, vibrant
colours are found in small proportion.
2. Nature has thousands of colours, but none of them match or are uniform.
3. In nature, the darker, more solid colours occur underfoot. As one looks upward, colours
become lighter and more delicate.
4. Most of the natural landscape is a matte finish with little high shininess or glitter.
5. Pattern in nature is not uniform. No two patterns are identical, yet unity prevails
throughout.
6. Nature’s colours, textures, and patterns appear simple and natural, but on close scrutiny
prove highly complex.
Shibui concept means following principles found in nature and applying them to the
interiors. Whatever method of creating a colour scheme is followed, the result should be a
liveable colour scheme appropriate for the particular function of a room and for the people who
will use it.
Neutralised colours
The colour harmony cannot be achieved without understanding the roles that both neutralized
colours and neutrals play in interior design. Neutralized colours are those that are made less pure,
are dulled in intensity or grayed, and are influenced by other colours. Neutralized colours, or
tones, are achieved in number of ways.
1. By mixing any two hues on the colour wheel, the resultant hue is less pure than either
original colour. A small amount of the complement will effectively neutralize in degrees,
where the hue becomes less and less pure and finally becomes a deep tone that still
maintains its identity.
2. By adding black to a hue, a shade is created, effectively neutralizing the hue. Adding
white only to a hue yields tints, or pastels, which are less pure than the hue but still rather
intense.
3. By adding gray or brown, a colour becomes neutralized.
4. Adding one or more other hues will neutralize a colour. Adding yellow and violet to blue,
for example, will neutralize the blue and produce undertones. Some very interesting
tones, shades, pastels, and tints can be achieved this way.
5. Adding white to neutralized tones yields beautiful soft or grayed pastels in medium to
very light neutralized colours. These often make beautiful and livable wall colours,
backgrounds such as floors, walls, ceilings, and draperies are less-intense colours or tones
and pastels; large areas such as upholstery are somewhat brighter, intense colours and are
used in smallest amounts.
Neutrals
Neutrals are the families of whites and off-whites, grays, and blacks and off-blacks. Browns and
beiges are also often considered neutrals, even though they are actually neutralized coloured
hues.
Whites and off-whites give interiors increased visual space. Whitened floors, ceilings, and walls
look light and spacious and seem farther away than they are. Off-whites are produced by adding
other neutrals (gray, black, brown) to white or by mixing colour and neutrals or colour into
white. Thousands of different off-whites are sued in today’s interiors. These are seen in paints,
wall coverings, and accessories. It is usually wise to avoid using off-white and a dirty neutralized
pinkish off-white will be disturbing; one will appear as the wrong colour. However, off-whites
with similar warmth, clarity, and colour undertones will blend harmoniously.
Grays are achieved by mixing together various amounts of black and white, which makes true
achromatic (no colour) grays. As such, gray is often an ideal background colour against which to
show other colours.
Blacks and off-blacks give deep, dark value to the set of neutrals. Black sharpens and adds
richness to other colours placed next to it. Black used generously may create a dramatic and
theatrical setting, although it might produce feelings of depression in some people. Accents of
black give richness to interiors.
Browns and beiges are often favoured because of the warm qualities that they bring to an
interior. Browns are achieved by mixing several colours on the colour wheel or by neutralizing
orange. Often browns are introduced into interior through stained woods, which do not need to
match as long as they harmonize with one another.
Many beautiful interiors are created using achromatic whites, grays, and blacks and the
brown/beige group. These environments make fine backgrounds for colourful artwork and
accessories. One major advantage of selecting neutrals for interiors is the flexibility to change
colour schemes without being locked into a set colour. Interiors where neutrals are used in very
room allow furnishings to be moved from one room to another.
Planning a scheme for your interior home design
Start planning your scheme for your interior home design with that indispensable tool, the mood
board.
Using a mood board will give you a direction for your creativity, somewhere to crystallise your
thoughts and a way to share your ideas with others.
Begin by choosing your main base colour from the colour wheel. This might be a colour you
particularly like. Most people are always drawn to a certain colour. Look around you, what
colour do you wear the most? Is there a colour that you’d love to wear but doesn’t suit you that
you’d love on your walls instead?
It is rare we get a total free rein or start with a totally blank slate, the base colour might be
dictated by something you’re stuck with such as a grey carpet or an avocado bathroom suite.
However, this doesn’t have to hold you back. Use the colour wheel to look at what colours go
with this colour and decide whether to go for a tonal, harmonious, or complementary scheme.
For best results, choose one of the following schemes.
1. Tonal – use just one colour but varying tones of it throughout a room or use more than
one colour but all with the same depth of tone.
2. Harmonious – pick colours next to each other or near each other on the wheel. These
schemes generally give a look that’s easy to live with and are tranquil and restful.
3. Complementary – or ‘contrasting’ colours lie opposite each other on the colour wheel.
Complementary colours generally inject some life into a scheme, are more daring and
will make more of an impact but might not be so easy to live with.
Colour is easiest and most effective way of instantly creating a mood for every room in home.
Try using warm, advancing colours in areas where you want people to feel welcomed such as
living rooms, dining rooms and halls. You may want to make your bathroom a relaxing, stress
free spa with watery colours reminiscent of the sea. Or you may want to nudge your family to get
going in the morning and inject some energy with splashes of zesty acid pastels. Take your
inspiration from nature. You may want your dining room to be smart and formal for lots of
corporate entertaining with navy blue or you may want a relaxed, informal feel where all the
family can chill. A chic, contemporary bedroom could be conjured from layering neutrals or
create a dramatic boudoir with purples and reds. Play around with lighting to create moods for
different situations, for example, romantic, practical, formal, entertaining etc. You may have
loads of ideas for different colour schemes in each room of your house and be dying to give them
all a try. But stop and think of the overall effect when all the doors are open and you can see into
each room. In a smaller house this can tend to look a bit of a mish-mash. If you’d like to draw
the whole scheme together, choose an overall colour for the entire house and then use it in
different ways in each room. Larger houses are slightly more forgiving as long as you pay
attention to the meeting points. Choose harmonious colours. You could paint one room blue,
the adjacent one a greeny blue, the next purple etc. Alternatively stick to one colour but use a
different tone of it for each room, for example, going from a pale shade of blue to a dark one.
This works especially well if your rooms open into one another. If one room is wallpapered, try
picking out one shade from it to paint the next room or use the background colour of the
wallpaper as your base colour.
To unify your whole house, keep all the woodwork the same colour – preferably white. If you
are going for neutrals on your walls, get some paint mixed up for your woodwork that is a ratio
of one part of your neutral colour with three parts white. You can use the same shade on your
ceiling. Don’t forget the colour on the opening side of the door into the next room – it doesn’t
have to match but pick a shade that won’t jar. Once you’ve done your mood board and decided
on your colour(s) you are ready to go. But, before you start painting :
1. By some tester pots of your chosen colour. Use the whole pot and paint quite a big stretch
of wall (no smaller than four feet square).
2. Don’t paint lots of different striped colours in a rainbow. Paint onto pieces of non-
absorbent white paper and stick onto the wall.
3. Leave the sheets up for a few days, move them round the room and look at the paints in
all lights. See Light and Colour.
4. Remember if you want to keep up with fashion but don’t want to have to start from
scratch every time, keep the floor and large items of expenditure, such as the sofa, in a
neutral colour. That way you can simply change the colour of the walls and accessories.
Colour Influencing Factors
Effect of adjacent colours on each other colour is not important in itself. The eye perceives
colour in relation to its environment. The eye is sensitive to colours not singly but in pairs. This
perception is explained by afterimage. When two primary colours are placed side by side, they
appear tinted with the omitted primary. When contrasting or complementary colours in strong
chroma with same value are used against each other, they will clash, producing a vibration that is
fatiguing. But when contrasting colours with strong difference in value are used side by side or
against each other, the colours will stand out but not clash. Harmoniously blended colours of
middle value against each other will tend to blend together, and at a distance, the difference will
become almost indiscernible. When black and white are placed side by side, the white looks
whiter and black looks blacker. The juxtaposition of colours affects not only hue but also value
e.g. place a gray circle on a white background, the gray circle appears lighter. Colours that are
closely blended will conceal an object and contrasting colours will emphasize an object.
Effect of Natural and Artificial Light on Colour
Both are important elements in any room composition. Light can be sued to make :
rugs look deeper ; fabrics more luxurious; metals exotic and woods softer.
A room with few or small windows (little light) will look better with light reflecting colours.
A room with large areas of glass will look better with dark and light absorbing colours.
Percentage of light reflected by different colours : White (89), Ivory (87), Light gray (65), Sky
blue (65), Intense yellow (62), Coconut brown (16) and Black (2)
It is wise to plan the colour scheme for each room in relation to the reflective characteristics of
the large elements in the room particularly the background e.g. dark walls will absorb most of the
light and light walls will reflect most of the light. Understanding the interrelationship of colour
and artificial light is necessary to achieve beautiful colour schemes. The colour of artificial light
is determined by :
1. The source of light
2. The surface reflecting it
3. The type of diffusion
4. The amount of diffusion
The colour of an object is the result of :
1. The spectral qualities of the light source
2. The reflective traits of surface materials
3. The level of illumination
4. The method of lighting
Effect of Texture on Colour
Smooth surfaces reflect light, so fabrics with a deep, textured surface like velvet, cast tiny
shadows.
These materials will appear darker than a smooth fabric of the same hue, value and chroma. A
rough textured wall may appear grayed or soiled under artificial light because of shadows cast
from the uneven surface.
- A shiny surface will reflect light,
- A dull or matte surface will absorb colour
Effect of Distance and Area on Colour
Near colours appear darker and more brilliant than the same colours at a greater distance.
Brighter and darker colours used in large rooms seem less demanding than same colours used in
small rooms. Colours appear stronger in chroma when covering large areas. When selecting
colour for walls from a small colour chip, it is best to choose one several tints lighter than the
colour desired for the entire room.
Effect of Colour on Temperature
When used in large amounts red, orange, yellow and brown tend to make a room feel warm.
Colours like blue, lavender, and gray tend to make a room feel cooler.
Tricks with colour
There are plenty of tricks with colour that can be used to enhance the size of rooms in a house.
Careful use of colour can offer a simple, but effective, way of making a home feel more cosy.
Following these design rules to transform an existing living space into a dram home :
 Choose colours from the cool end of the colour wheel.
 Paint all surfaces the same colour.
 Keep flooring dark and walls light, the floor space will appear to expand.
 A low ceiling will appear higher if painted a lighter shade than the walls or put some
mouldings up and paint them a darker shade than the ceiling.
 Use the deepest tone of colour near to the floor and the lightest shade on the ceiling. This
will give the illusion of space. Try it the other way around to see how a room can be
made to look smaller.
 Large pieces of furniture will appear smaller if they are the same colour as the walls.
 A small room doesn’t have to be painted in light colours. Emphasize its cosiness by
painting it a midnight blue or deep red.
 Choose colours from the warm side of the colour wheel.
 A sunny yellow will ‘heat up’ a room, but don’t go overboard, complement it with a
white ceiling and woodwork to keep it looking fresh.
 A warmer shade used on the ceiling will bring the height of a room down and make it feel
cosier.
 When using bright colours such as orange and red, remember to maintain balance by
keeping the floor and carpet neutral.
 The far end of a long corridor will seem closer if painted in a darker shade.
 In a long corridor-like room, paint the two, shorter end walls in a slightly darker shade to
make the room appear squarer.
Interior Decoration
Rangoli - Traditional Form of Floor Decoration

Manju Mehta
Principal Scientist (Family Resource Management)
Rangoli, (ran-goal-i) also known as Kolam in Tamil Nadu, Chowkpurana in Northern India,
Madana inRajasthan, Aripana in Bihar, Alpana in Bengal is the ancient Hindu religious floor art.
The word rangoli may have come from rang-aavalli, which means row of colors or from rang—
avalli, which means creepers of colors. Rangoli is a traditional Indian art of decorating
courtyards and walls of Indian houses, places of worship and sometimes cating places as well.
Rangoli, apart from being a medium of decoration of the home also has religious significance.
Traditionally, down the ages in India, rites and rituals have been worked around the home and
hearth to propitiate the deities and bring peace and harmony. One such ritual to ward off evil
spirits is the drawing of Rangolis on the floor at the entrance of the house. Rangolis are believed
to make the surroundings aesthetic and auspicious. It enhances the beauty of the surroundings
and spreads joy and happiness all around. Rangoli has been developed as an art form – it is not
uncommon to see very intricate street paintings (rangolis) with religious themes. Traditional
Indian henna patterns parallel rangoli patterns, though rangolis are sacred and henna is not.
A symmetrical design or picture (Gods, Goddess, Dancers, Diyas (lamps), chariots, temples etc.)
is drawn and coloured rice powder /sand is then layered on top to form picture.
Women use their bare fingers or a brush to create various designs from sandstone powder colour
powder rice flour, lime stone or grain-flour. Sometimes colors and petals are used in addition to
flour paste. In the evening of festival occasions, when oil lamps are lit and the atmosphere is
cool and Pleasants such floral designs create the atmosphere of a well-planned divine garden.
In a traditional household, the lady of the house starts her daily chores with purifying herself,
drawing some Rangoli lines in front of the prayer room. Her regular routine beings after this
ritual. With this her entire day remains fresh and lovely.
One- characteristic of Rangoli is that it is pained by commoners. On some special occasions it is
painted in every home with or without formal training in Rangoli art. The art is typically
transferred from generation to generation and from friend to friend. Popular magazines public
new designs of Rangoli every week and on special occasions there are Rangoli contests.
Materials to create a Rangoli
Rangoli is an ephemeral art, much like the sand sculptures or street paintings of the West. In the
South, rice flour – both wet and dry – is the preferred medium for doing Rangoli’s. Elsewhere
powdered limestone is used for drawing the basic outline in white, which is then filled with
colours. The fine powder is held pinched between the thumb and the index figure and sprinkled
delicately by maneuvering the hand skillfully to draw lines. When the powder is released more
freely, a layered colour is filled in
The rangoli patterns are usually made with rice powder that has been coloured with dyes. You
can get lovely, bright colours to make your designs with. You can even use flower petals cereals
(the orange and yellow coloured lentils), turmeric powder, to lend colour to your rangoli. You
will also need a piece of chalk to draw the outline of the rangoli design on the floor.
Creating the Rangoli
The day-to-day Rangoli or Kolam designs are simple or intricate. The most common rangoli or
koman designs start with dots which are connected to form lines and other geometrical shapes
such as swastika, aum, stars, squares, circles, triangles etc. These geometrical shapes must be
formed in continuous, unbroken lines. During Diwali (Festival of lights) and other festivals
much more intricate shapes and designs are implemented.
Though the design vary in different sections of India, the basic methodology is common in all
areas. Its designs are passed down from generations, with some of them being hundreds of years
old.
 Choose a design that you want to draw. You may find designs from books, magazines
and the internet or you may try to create your own design. Rangoli designs are
symmetrical in nature and geometric in shape.
 If you want to try out a design of your own first draw it on a piece of paper and fill in the
design with coloured sketch pens to get an idea about how the rangoli will look.
 Wipe the floor (where you want to create the rangoli with a wet cloth and wait for the
area to dry.
 With a piece of chalk, first draw the outline of the rangoli design
 Now it’s time to fill in the outline with rangoli powder. The most challenging part of the
whole exercise. Pick up some powder with your thumb and index finger in the design by
rubbing the two fingers together and sprinkling the powder on the floor. Take care to
sprinkle the powder carefully don’t let powder of two different colours merge with each
other.
 You may create spaces within the rangoli design to place diyas (lamps/candles. You
could also use flower petals of different colours (golden marigolds, bright red roses) to
add that extra dimension to your design.
 With a little bit of imagination a dash of aesthetic sense and dollops of patience. You can
create a piece of art that will add lots of colour.
 A symmetrical design can be drawn on paper or card and then decorated by children.
Also sand could be used mixed with paint or coloured with food colourings. (Mix sand
with water and food colourings pour off excess and leave to dry in a warm place). Chalk
could also be used to draw a Rangoli directly on to paving stones in a secure outside area.
Patterns of Rangoli
1. Ritualistic: these are based on rituals, festivals and cultural practices for which out
country is famous. Various festivals like Dusshera. Diwali, Karvachautha and other
traditional ceremonies like births, marriages, house warming etc. Are all depicted through
artistically sketched rangolis.
2. Naturalistic: when patterns are naturalistic in nature, they are based on design of objects
naturally occurring in nature like plants, animals and even human beings. Rangoli based
on foot prints of human beings is very popular for expressing welcome to guests in a
traditional tree of life pattern.
3. Geometrical: most of these designs are made by dots and lines forming decorative
patterns. The patterns may be based on lines, dots, dash, triangles, squares and circles. All
these enhance the beauty of the rangoli pattern by balancing the use of the available
space and colour.
4. Ornamental or Decorative: this is the kind of pattern which is not primarily based on
traditional rituals but rather the emphasis is on purely decorative purpose. Floral rangoli
especially made for welcoming delegates of conference or other official functions in hotel
lobbies etc. lend a very beautiful ambience.
5. Abstract: The basic significance is still retained and a symbolic representation of ideas
takes place. Although symbols are dependent upon one’s views and frame of reference
but the ability to symbolize is cultivated in all cultures.
Techniques and materials used in Rangoli making
1. Dry: Rangoli was traditionally done with rice powder. Dry powders of lime, white stone
or other coloured powders are also used to make rangoli. It is made mostly in white
colour. For adding colour to the rangoli, rice can be dyed or some naturally occurring
mediums are used. Some of the traditional ones are: Geru Mitti, Coffee powder etc. Mica
powder or marble chips are used to give a sparkling effect.
2. Wet Rangoli: for preparing a wet rangoli, traditionally rice grains are soaked in water for
an hour or so and then ground to get a fine paste. Rice powder in wet form is thus used to
make a rangoli. In modern times wet poster colours are used increasingly to make a
rangoli. Normally flral figures or geometrical patterns are drawn using wet rangoli paste.
No brush is used. But the patterns are drawn with finger tips. Wet rangoli is made on
special occasions like festivals, marriages, house warming etc.
3. Floral Rangoli: This kind of rangoli is the oldest one. Natural materials like flowers and
leaves, dry twigs etc. are always the foremost sources of inspiration for human beings for
all kinds of arts. It is therefore not surprising that natural materials were initially used to
fill in the rangoli patterns. Natural materials like flowers not only provide a colourful
appearance but also a fresh fragrant atmosphere. They are also easy to work with. This
gives a very warm and welcoming look.
4. Rangoli on Thali: when people want to make rangoli other than on floors the best choice
is to make it in a thali a brass plate.
5. Rangoli with Etching: Apart from the traditional rangoli. There is etching work with dry
powder. It can be done on floor, thali or on a platform. The powder is first evenly spread
on the surface and the pattern is then etched on this surface end the pattern is then etched
on this surface powder. Etching may be done with dry felt pen, spoon, fork, comb, match
stick or with the help of the tip of the fingers on white powder.
Tips for great Rangoli ideas
1. Rangoli can be done in any design and any colour, be it white or any pleasing
combination from coloured saw dust or different coloured pulses and spices or coloured
rice or petals of different flowers. Decorate the entrance of your house along the pathway,
around the food display, at the place of worship.
2. Traditionally, rice flour/wheat flour, red colour paste (made out of lime stone & turmeric
mixture) and turmeric are used at the place of worship. They are considered auspicious.
3. Raw rice is also soaked for an hour and then ground to a thin fine paste. Using a wad of
cloth soaked in the paste and adjusted along the ring finger, designs are drawn. On
drawing the white line designs look very nice. A dash of colour can be added if desired
with red colour paste and turmeric.
4. You can also colour rice at home using food colours. Wet the food colour powder with a
few drops of water and rub the rice in it till it is uniformly coloured. Do not forget to
wear gloves to protect your hands from getting coloured. Dry the rice on paper in shade
before use.
Caution: If the rice is not completely dry it may leave coloured stains on the floor.
5. Rose petals, marigold petal, small purple paper flowers, finely cut greens-grass, leaves-
even spinach leaves just fill up the large designs. Use strings of marigold and if you like
strings of rose/jasmine flowers to outline. And add lamps to any design that you make for
the soft sparkle.
6. Special floating candles are also available in the market. Float them in Urlis (big
containers of water) along with flower petals.
Thematic 3-Dimensional Rangoli
When the pattern of rangoli is made in such a way to create a 3-dimensional effect. In 3-d
rangoli, the use of floor as well as wall is done effectively and simultaneously to create a general
interest. The foremost point that needs to be considered is the theme that has been selected
because it is the starting point from where the whole idea will emerge about how to go about the
decoration of a 3-dimensional rangoli.
 Fabrics can be stretched to the walls. They can be put as it is or can be decorated before
or after putting it on the wall.
 Water bodies around the floor decoration can be made or created e.g. small fountains etc.
 The making of a 3-d rangoli costs more than a 2-d rangoli so the person should see all
the aspects and adapt his/her rangoli according to the availability of the materials as well
as the money.
New Trends of a 3-dimensional Rangoli
 Use of mosaic and ceramics, which are cut, painted or carved is done at professional level
as it needs a skilled hand. Hence, this is not practiced generally.
 The effective use of tiles is also very common.
 Permanent 3-d rangoli made of paints, clay lamps, small antiques, handicrafts etc. is also
done at the doorstep or corner of the house outside or inside the entrance in many houses
as according to Feng-Shut it is considered very auspicious.
Interior Decoration
Interior Accessories
Kiran Singh
Accessories are added elements that have various effects to the original element. The small
items that add utility and comfort in a room…vases, plants, throw pillows and pictures.
Functional accessories:
 Lamps, ashtrays, waste baskets
Decorative accessories:
 Pictures, sculpture, collections
- Once the layout, furniture, lighting, artwork, electronics, accessories, paint and other
elements have been established, accessories are then used to finalize the design. Ceramics
(Vases), Mirrors, Art and Pictures, Sculptures, Clocks and Candles and Indoor plants
Role of Accessories:
- Emphasize focal point
- Give the room balance
- Emphasize the foreground or background
- Orchestrate colors, patterns, textures
- Act as a personal expression
Mirrors and its Applications in Interior Design
A mirror is flat or curved surface usually produced of glass that has a reflective coating
applied to it.
1. To reflect light : Mirrors brighten a room, and therefore are placed near lamps or light
fixtures or in places where they’ll reflect natural light.
 They also improve the inside lighting of a room. For instance, a room that’s painted in a
dark color may seem smaller as well as feel oppressive. Adding mirrors to a number of
walls can counteract the darkness and
o boost the color of wall space.
 The best method to improve a room’s lighting without needing more electricity would be
to place mirrors reverse windows. The mirrors may reflect natural sunlight streaming
with the windows and brighten the entire room. Some homeowners actually report a cost
savings in energy costs simply by reflecting the free light in the sun.
 Use a large, full-length mirror in entrance ways to instantly give a person a sense of
increased space when they enter.
2. To Increase space A wall of a mirror or mirrors in a small space, such as a bedroom or dining
room or hallway that is really squashed opens it up and creates a sense of
flow and increased area.
3. To create warmth : Placing a mirror on a mantle can make the
fireplace area, which can often feel cramped and dark, more inviting.
4. For an artistic effect: This can be achieved by hanging a series of
mirrors on a wall. They can be the same or vary in size and shape. They
can be arranged in symmetrical or asymmetrical patterns depending on
the tone of the room. Each of the separate mirrors reflects a slightly different perspective, so
there is experience of a burst of color and shapes wherever the mirrors are placed.
5. Accessorize using decorative mirrors. You can use simple frames, add mosaic tiles to the
border, or use other materials to make a mirror fit the room’s theme.
6. Vanity Mirrors In Bathrooms

Since full-length vanity mirrors are standard, embellishments and thoughtful staging can
be applied to make the bathrooms stand out.
7. In designing:
 Group small mirrors together in different shapes and sizes to create an interesting feature
on a wall but also bring light to the room.
 Glue mirrored tiles to your kitchen cabinet doors so reflect the whole room to create a
mosaic look in your kitchen.
 Fit a mirror behind your stove, this is traditionally a rather dark area in your kitchen so
add a mirror to bounce any available light around the room. This will also give you more
light for when you’re cooking a meal.
 Place a big mirror beside your dining room table, this adds to the mood of a dining room
and keeps it light and bright.
Sculptures in the Interiors
Sculpture is the branch of the visual arts that operates in
three dimensions and one of the plastic arts. Durable
sculptural processes originally sed carving (the removal of
material) and modelling (the addition of material, as clay)
but since modernism, shifts in sculptural process led to an
almost complete freedom of materials and process.
Materials used in Sculptures like metals especially bronze,
stone, Wood, Bone, Precious materials such
as gold, silver, jade, and ivory are often used for small
luxury works, terracotta and other ceramics, wax, Stained
glass
Types of sculpture
Sculpture in the round- free-standing sculpture that is meant
to be viewed on all sides, and is surrounded entirely by space.
Free-standing sculpture, such as statues, not attached (except
possibly at the base) to any other surface
Apart from their obvious decorative qualities, sculptures are
used as expressive pieces. They may be used to express
one’s culture, religion, beliefs, ambitions and likes
Paintings, Art and Pictures

 Paintings or any artwork makes a living space more pleasant and
intriguing.
 They often well with other colors, shapes and textures you choose to put in a certain area. They
are included in an interior precisely because they are complementary to almost any room.
 Inside a house, in particular, the normal entryways and hallways often are the new display
location for paintings, photos or any artwork like sculptures.
 A beautiful large abstract painting can spark some interesting conversation with your guests in
your office or living area.
 In the bathroom, attention to the naturally high humidity is important.
 A well-protected piece of abstract wall art or whimsy and color that will make the room come
alive can therefore be used.
 Displaying a lot of small, framed art can be a fun way to add interest to a
bathroom, especially in small spaces. Frame works on paper behind acrylic or plexiglass (a
transparent acrylic plastic often used in place of glass), which can hinder condensation build
up. Painting behind a bed inspired by nature and can be used to fill up empty corners,
hallways and walls for a lively feel.
 Indoor Plants : They are a quick decorating tool. They have an air-purifying quality that
can absorb and strip toxins like formaldehyde from materials in the home like carpets.
Some like the aloe have medicinal value. Different plants require different care and
lighting conditions. Enough research should therefore be made before purchasing any
new plant.
Clocks and Candles
 Clocks are used on walls for time as well as to accessorize the walls.
 Candles on the other hand provide more lighting, enhance the mood and can produce a
good scent in the atmosphere of a room.
Clocks on shelf with indoor plants, pictures and candles. The combination can create an
interesting effect.
Interior Decoration
Sustainable Interior Design - Today’s Efforts for Better Tomorrow

Neha Gahlot1 and Kusum Rana2
1
PhD Scholar, 2Associate Professor
Family Resource Management
CCS Haryana Agriculture University, Hisar, Haryana
‘Going green is about the health impact of what we do and the products we use!’
‘GOING GREEN is to express respect for the air, the water and the human being within his
environment.’
Sustainable interior design creates interior spaces using design principles such as functionality,
accessibility, and aesthetics and expands the focus to include environmental considerations. For
example, sustainable design projects are influenced by such factors as planning efficient use of
space, choosing materials with low environmental impacts, and reducing energy consumption,
pollution, and waste. Sustainable interior designers are committed to finding ways to balance
aesthetics and functionality with choices that reduce the environmental impact of their designs.
In today’s modern society of interior design the practice of Green environments has been
experiencing substantial growth due to the increased awareness of the importance. This
importance of interior spaces that are both healthy and sustainable, gives our spaces that stylish
craze that we need in our homes. The need to use practices, products that are both eco-friendly,
promote better health in our homes and the workplace is coming more and more clearer. Green
designers create comfortable, healthy and environmentally conscious
spaces in addition to providing the overall benefits of mainstream interior
design. And since Green interior design trends are ever increasing in
popularity it is very important to recognize that sustainable materials and
alternatives are currently making our home safer as well as reducing
harmful effects on the environment. Considering that interior designing
is concerned with the indoor aesthetics of a building, green building
technique is based on the philosophy of designing a building whose
highest aesthetic quality is in harmony with the principle of environmental friendliness. There
are various ways of achieving this. Constructors use plants, ensure that loads are reduced, one of
the principles of Green Building system is fully optimized and is able to produce a desired indoor
renewable energy.
Green building interior designing calls to mind a multiplicity of practices and styles aimed to
reducing construction effects that may negatively impact on the environment and the health of
occupants. Generally, it is overemphatic about using renewable resources, active solar and
photovoltaic techniques that ultimately give the interior of a house a naturalistic look and touch.
In addition, constructors have stressed on the importance using trees through green roofing and
rain gardens as way of putting the problems of water run offs under. Generally, Green Building
concept uses packed gravel instead of the traditional concrete in order to gird the earth water.
With the advent of Corporate Social Responsibility, many industries including the building
industry have been assigned the responsibility of conserving the environment by default. Like
any other industry, the building industry has social right to participate the bettering of the
environment since it benefits from it. Interior designers have also been curved into this newly
formed movement of self-supervision. Green Building interior designing integrates the
construction life circle and each step of designing is motivated by the need to have a synergy in
almost all approaches.
Here are so many different aspects of our home that we can turn and change eco-
friendly that we may not be able to recognize.
Window Designing: Designers have realized that for their relevance in this
world to be meaningful, they must embrace the use of trees and plants to
allow for active solar and photovoltaic techniques. Since the DOE considers
window shades the simplest and most effective way to save energy with
window treatments, proper installment is key. Mounting shades as close to
the glass as possible and right up against the adjacent wall creates a tight
seal that minimizes both heat gain and loss. Shades with dual layers of
fabric—a light color on one side and a darker color on the other—add more functionality. Try
reversing the shades based on the season; the light color will reflect heat in summer, while the
dark color will absorb heat during winter.
Window Treatments:
 Whether it's a pair of drapery panels hung to frame a pleasant view or shutters to complement
the aesthetic of the home, homeowners often dress up their windows for beauty rather than
function. But with the right materials and proper placement, these decorations might actually
help lower your monthly energy bills. The impact can be significant.
 According to the United States Department of Energy (DOE), something as simple as a set of
medium-colored drapes backed with white plastic reduces solar heat gain by as much as 33
percent.
Wall Treatments: There are eco-friendly options for all of the standard wall
treatments, including paint, plaster, wainscot, wallpaper, and tile. Adding a fresh
coat of paint is one of the least expensive ways to improve the look of a room,
so it's one of the most popular home improvement projects. When you buy
paint, you are expected to know three things to place your order—the color you
want, the sheen (flat, eggshell, semi-gloss, or high gloss), and whether you
prefer oil or latex. You can also choose low- or no-VOC (volatile organic
compounds) paint to improve air quality and protect your own health (VOCs are
used in paint to help bind pigment and resin together, but have been linked with cancer and other
health issues).
For example one important GREEN option that we can change very easily is our PAINT options.
Green Paint options use low or zero VOC (volatile organic compounds) paints is a great way to
become more eco-friendly within the home. These paints remove many different hazardous
toxins that have been recently linked to cancer. These paints also have strived to accommodate
low order guidelines, making them certified as asthma and allergy friendly. Good indoor quality
is very important when trying to achieve a green interior environment.
Examples of Good Paints: -
 Valspar available at Lowes. Also asthma and allergy certified.
 Natura by Benjamin-Moore. A zero -VOC paint that is odorless.
 ProMar200 Zero VOC by Sherwin-William is Leadership in Energy and Environmental
Design compliant.
 YOLO Color house found at The Home Depot. Contains no VOC's This high latex paint
is also GREEN seal certified
FLOORING: There are so many factors to consider when you are choosing a new floor. Will it
be exposed to moisture or heavy traffic, or be used to exercise or play on? Beyond the level of
anticipated use, location, and installation issues, there are style and aesthetics to consider.
Luckily, many eco-friendly flooring options are available today, so finding one that you like the
look of and that serves your purposes should be easy.
 Since flooring is currently a large industry with endless options,
however only a few can really be considered GREEN. One of the most
eco-friendly standard flooring products around is Bamboo. The reason
for this is because of its ability to renew and regenerate itself too
quickly. It is also a very contemporary style of design in today’s
interiors.
 Another type of flooring that is very ecofriendly is reclaimed wood.
Many modern companies are not specializing in reclaimed timber
from old structures that are refinished, re stained, and resold to others.
 Sustainable woods are available as well. The hard or soft woods are harvested and created
under strict guidelines to eliminate depletion of resources and minimizes environmental
damage and waste. This is probably the least green out of all of them. Some other types of
flooring are floors such as Linoleum, cork, and some carpet tiles as well.
Note: Even if money is tight, try not to pick something you think of as a short-term solution.
Buying high-quality, long-lasting building materials will save you money in the long run and is
better for the environment, as well. Reclaimed wood, cork, bamboo and recycled carpet tiles are
a great place to start.
Furniture: Just like floor and window coverings, the furniture that we sit
on and live with can be made with materials that are bad for the
environment and our health. Couches are often filled with petrochemical-
based foam and covered in toxic flame and stain retardants. Wooden
tables and chairs are coated in oil-based finishes, and low-cost furniture
made of particleboard or MDF (medium-density fiberboard) can off-gas
formaldehyde. There's a certain smell we associate with newness when we
get a piece of furniture delivered, but that smell may be negatively
affecting your indoor air quality. Fortunately, a number of conscientious furniture companies are
coming to the rescue by making organic upholstered and FSC-certified wooden furniture with
nontoxic finishes.
Accessories: There are bowls, placemats, towels, and sheets made of bamboo; plates and night
lights made of recycled glass; placemats, waste baskets, and bags made of old candy wrappers
and billboard posters; candlesticks and bowls made of recycled aluminum; and much more in
any category you can think of. Repurposing items you already have in your home is another
sustainable and authentic way to design your space.
Lighting: Lighting is a great importance of GREEN in Interiors. With light fixtures that are
made from recycled, natural or sustainable materials are important; but not as important as the
energy requirements. A Type of light that is not green lighting is halogen bulbs. Halogen lamps
are used in most of track lighting, but they are frustrating because they use 250-watts of wasted
electricity. They also have a harsh and narrow stream of light best suited to be used as accent
lighting. But with the halogen it has allowed us to look for another alternative.
 To minimize the total primary energy consumption, the many passive and active day lighting
techniques are the first daytime solution to employ. For low light level days, non-day lighted
spaces, and nighttime; the use of creative-sustainable lighting design using low-energy sources
such as 'standard voltage' compact fluorescent lamps and solid-state lighting with Light-
emitting diode-LED lamps, organic light-emitting diodes, and PLED - polymer light-emitting
diodes; and 'low voltage' electrical filament-Incandescent light bulbs, and compact Metal
halide, Xenon and Halogen lamps, can be used.
 Solar powered exterior circulation, security, and landscape lighting - with photovoltaic cells on
each fixture or connecting to a central Solar panel system, are available for gardens and outdoor
needs. Low voltage systems can be used for more controlled or independent illumination, while
still using less electricity than conventional fixtures and lamps. Timers, motion detection and
natural light operation sensors reduce energy consumption, and light pollution even further for
a Low-energy house setting.
 Appliance consumer products meeting independent energy efficiency testing and receiving Eco
label certification marks for reduced electrical-'natural-gas' consumption and product
manufacturing carbon emission labels are preferred for use in Low-energy houses. The eco
label certification marks of Energy Star and Eco energy are examples.
 One great eco friendly bulb that can be used in track lighting are CFL bulbs. Which only waste
75 watts of electricity compared to the 250-watts.
 An even better type of bulb that can also be used in track lighting are LED bulbs. LED bulbs
last longer than any other. They last 50,000 hours compared to 2,000 of the halogen lamps.
Conclusion:
An eco-friendly environment requires a certain commitment and social involvement on your part.
You should prioritize your interests towards becoming eco-friendly and the following points will
help you define them:
 Energy efficiency and renewable energy
 Energy efficient lighting
 Water efficiency
 Reduce your carbon footprint impact
 Give priority to local manufacturers
 Reuse all you can in your home.
 Reuse all your old furniture and be creative.
 Recycle your leftover building material from the backyard or
garage.
 Indoor air quality by finding your interiors pollutants sources
 Hire a certified green interior design and much more.
Interior Decoration
Indoor Gardening
DS Dahiya
Professor (Horticulture)
Shade loving plants that are grown for indoor decoration are called house plants. But all the
shade loving plants cannot be called as house plants, as all of them do not survive inside
atmosphere of the rooms with walls on the sides and the top covered which is less favourable for
growth and development of the plants. Shade loving plants which are hardy in nature, can
tolerate more shade and adverse conditions are usually used for indoor decoration. Most of the
house plants have beautiful and attractive foliage. House plants are mainly grown in pots and are
highly prized for their ornamental foliage. Many plants also produce attractive flowers too. Pot
grown house plants are mostly used for interior decoration. Pots are kept in wooden crates, brass
made pots, plastic tubs and in other containers.
Indoor Environment:
Indoor environment is the most important factor which should be taken into consideration prior
to start of indoor decoration by using house-plants. Temperature, light, air and humidity are the
determining factors that affect the growth and development of the house-plants.
Temperature:
Most of the house plants grow well at day temperature ranging from 18o-25oC and night
temperature of about 10oC. A few plants like Philodendron, Ficus elastica, Dracaena,
Scindapsus, Aglaonema, Caladium, Ferns, Coleus and Cacti and succulents thrive well at a
higher day temperature from 21o-26oC. Geranium, Begonia, Poinsettia, Aspidistra and
Sansevieria require a cool temperature from 15o-20oC. The room becomes too hot during
summer and quite cold in winter. Plants get injury at day time due to warmer temperature and not
due to cold. The heat causes scorching, drying and browning of the leaves. The plants become
weak and spindle shaped.
Light:
The plants need light for their growth. But the intensity of light required by them is not the same.
Light is always inadequate in the room. In summer, rooms receive a few hours of direct sunlight.
Intensity of sunlight falls as you move away from the window. In winter, the problem is more
acute.
Plants like Aspidistra, Agloanema, Dieffenbachia picta, Sansevieria, Philodendron and
Syngonium require more light as compared to other plants. Ficus elastica, Coleus, Poinsettia,
Saintpaulia and Kalanchoe need full sunlight for their growth.
Usually green foliage plants require less sunlight than those having variegated or coloured
leaves. Shade loving plants are kept on the north side of the room. Plants requiring plenty of
sunlight can be grown best on south window. Those requiring medium light may be placed near
east or west window.
House-plants need 15-25 foot candles light for 16 hours for a day for their growth. The plants
grown in poor light, will show the signs of weak growth, pale leaf, etiolating and lanky growth
etc. The older leaves will die and drop off. If the plants are grown in the bright sunlight, the
leaves become scorched and brown in colour and dry up eventually.
If the plants don’t get sufficient sunlight in the room, artificial arrangement of light may be
made. For this purpose, fluorescent tubes or incandescent bulbs may be used. Use of one
fluorescent tube of 80 watts or an incandescent bulb of 40 or 60 watts for 16 hours a day will
provide sufficient light for the growth of the house plants. Tube or bulbs should be placed about
30-45 cm above the plants. Do not place the plants too close to the source of light as the heat
may cause damage to them.
Humidity:
Relative humidity of 40-60% is best for the plant growth. The humidity of the room is to some
extent is related to temperature. During rainy season it is very high, while in summer it remains
low. The humidity can be increased by spraying water on the foliage, sponging the leaves with
water, applying water in the containers or keeping the containers in a large tray containing water.
In kitchen and bathroom the relative humidity is higher than in the living room. low humidity
causes tip-burn in the leaves of the plants like Dieffenbachia, Dracaena, Aglaonema and
cordyline.
Air:
Plants need fresh air for their survival. Hot air fume and gas from the stoves or furnaces are
harmful to the house-plants. The affected plants become yellow, drop their leaves, and appear
pale. Drought should be avoided. Doors and windows should be kept open for sometime early in
the morning to allow fresh air movement inside the room.
Growing Media:
The growing media for indoor decorative plants is completely different from the plants that are
grown in the ground. Here the quantity of soil in the container is usually limited. The root growth
of the plants is much more restricted than in the ground. Hence the growing media should be
more ideal for indoor plants. Soil mixture should be rich, porous, light and well drained with
good water holding capacity. However, this is not true for most of the cacti, orchids and aquatic
plants. The pH of the growing medium should be according to the need of the plants. However,
for most of the plants pH should be with a range of 6.0-7.5. Good garden soil with ⅓–¼ part of
organic matter is suitable for growing most of the house plants. Where quick drainage is
desirable some coarse sand is mixed. Add lime or gypsum to help promote aggregation of clay
particles in soil for good drainage and also to rectify the soil pH. Charcoal is also added with the
potting compost to absorb the foul gas of the medium and make it favourable to the plants.
For growing plants like Dieffenbachia, Aglaonema, Calathea, etc. use garden soil, sand, leaf
mould and cowdung manure in the ratio of 2:1:1:1. Much of the leaf mould is not necessary in
the compost of palms. Compost should contain two parts garden soil, one part leaf mould and
one part well rotten cowdung manure, respectively.
For growing Pandanas, Codiaeum and Sansevieria you can use a mixture of one part leaf mould,
two parts garden soil, and one part well rotten cowdung manure as growing medium. Also mix
one table spoon full of bonemeal per 20 cm pot.
Fern will show healthy growth if you use the growing medium containing one part garden soil,
one part coarse sand and one part leaf mould. If possible old roof rubbish and pounded up lime
mortar may be used as a better substitute for sand. Charcoal and small pieces of broken bricks
can also be used in the potting compost.
For Begonia rex potting medium should be porous and contain one part garden soil, one part
coarse sand and two parts leaf mould, respectively.
The soil compost for cacti and succulents should contain two parts loam soil, two parts coarse
sand, one part crushed brick, half-part old lime mortar rubble, half part charcoal dust and quarter
part of bone meal. The said ingredients should be mixed well and matured under moisture with
periodical stirring for 2-3 months before use.
Epiphytic orchids are grown in pots for indoor decoration. For growing orchids in the pot, the
growing medium should be of such a kind that it can afford nutrition, water, drainage and proper
aeration to the pants so that the root will not rot or suffocate. Two third portion of the pot should
be filled up with broken brick pieces and rest with a potting compost containing half-part river
sand and one part leaf mould. Pieces of bark or chopped fern-stem or charcoal can also be used.
Some epiphytic orchids can also be grown in pots by sinking the wooden blocks in the pots.
Coconut husk and stout coir rope can also be used as medium for growing epiphytic orchids.
Bromeliads are the most attractive and unusual addition to your home garden. They are epiphytic
but can be grown in pots. The potting mixture should contain two parts garden soil, one part
coarse sand, one part leaf-mould, one part moss and a little charcoal.
Nutrition:
Nutrients present in the pot-soil and the organic matter applied are adequate for the satisfactory
growth of the house-plants. The plants do not need extra feeding unless they become pot-bound.
If the plant shows matted roots in the earth ball, it will indicate that the plant is pot-bound. Pot-
bound plant should be immediately shifted to a larger pot.
If repotting is not done, then remove the top soil and replace it with a soil-mixture containing one
part of soil, one part of rotten cowdung or leaf mould and one table spoon of bonemeal. Pot-
bound plants should be applied a complete fertilizers containing three essential plant food
elements like nitrogen, phosphorus and potassium. The dose of this fertilizer will be one
teaspoon per pot. Complete fertilizers are now available in the market.
The fertilizer should be applied to the soil, away from the base of the plant and mixed with the
soil by raking. Then water the plant immediately. It should be given once after 45 days. Do not
apply fertilizer in a dry soil or when the plant remains dormant during winter. Fertilizer should
be applied only when the plant remains in active growth stage.
Application of well rotten cow dung or oilcake as liquid manure is beneficial, especially for
foliage plants. Mix one tea-spoon of Ammonium Carbonate with 1.5 litre of water and then
apply it to the plant. It will help to brighten the leaves. Liquid fertilizer or manure should be
applied once after 10 days.
Care should be taken during application of fertilizers, because excess application causes rapid
foliage-growth which is undesirable.
Watering:
Scientific watering is most important for growing house-plants. Successful growth or failure of a
house-plant depends largely on watering. Most of the house-plants are damaged through faulty
watering i.e. by under or over-watering.
The requirement of water varies with the type of plant. Different species have different
requirements. Water requirement depends on the stage of growth of the plant, size of the plant,
size of the pot, type of soil, light, temperature and humidity. In small pot soil dries out more
quickly and thus need watering more frequently. Plants in flowering stages need more water than
those in young stages. Similarly in the summer months when the temperature is high and relative
humidity is low, plants need watering more frequently than during winter. Heavy soil with plenty
of clay particles will need less watering than light soil. Cacti and succulents need less frequent
watering than others.
It is most important to know about the indication of depletion of soil moisture before you go for
watering. Several ways are there by which you can judge the deficiency of soil moisture. They
are as follows:
(a) Wilting of the plants is a common indication of depletion of soil moisture.
(b) Knock on the side of the pot with a wooden hammer or a sharp rap. If it produces a
metallic or hollow sound instead of a dull, it is the indication of lack of soil moisture.
(c) By inserting the fingers in the top soil of the pot, you can also judge the amount of soil
moisture.
(d) By seeing the colour of the top soil. A dry soil will appear grayish-white.
(e) Turn the plant out of its pot by tapping the rim of the pot to loosen the plant with earth-
ball intact. Examine the soil of the earth-ball and decide whether the plant needs water.
Then replace it in the pot.
(f) It is most important to know clearly about the time of watering, amount of watering and
also the method of watering for growing house-plants. But unfortunately, more house-
plants are killed through faulty watering than any other causes. Most of the plant growers
have no clear idea about correct watering.
1. Time of Watering: Always keep the compost or soil just moist while the plants are
growing actively i.e. from summer to autumn. Most of the plants will suffer if they are
too dry or too wet. The only exceptions are those plants adapted to wet conditions and
that are in rest.
During the summer months, some plants require watering every day, although every
second day will be adequate for most of the house-plants. Some plants like cacti should
be watered if they show the sign of shriveling.
In winter, due to cool temperature and dry air the soil or compost dries up quickly and
many house plants probably die. It is advisable to water the plants once after 7 to 10 days
during winter.
2. Amount of Watering: Before proceeding for watering you should know about the
amount of soil moisture present in the soil, type of the plants to be grown and also the
environmental conditions. Before watering the amount of soil moisture should be
calculated by using moisture meter. Water the plants just to keep the soil wet.
3. Method of Watering: Potted plants can be watered both from the top and bottom. Place
the pots in a large container full of water. The level of water should be kept below the
soil surface of the pot. Water rises up through the bottom hole and soon reaches the top-
soil. Remove the pot from the water and allow it to drain off the excess water. In this way
large number of plots can be watered quickly. Plants which have pot-hugging leaves like
this method of watering. Pots can also be watered by using rose-can having a long and
thin spout so that only the soil is soaked without splashing the plants.
For indoor gardens, it is a common problem to water their plants when they remain outside the
home on a holiday. In such conditions, water the plants through a wick. It is very useful. The pot
is kept in a dish. A moisture wick is placed in this dish. One end of the wick is kept immersed in
a large container filled with water. The water slowly passes from the container to the dish and
rises up in the pot and replenishes moisture through this wick when the soil is dry.
Another easy method is to keep the pot stand on a wooden block. The block is kept in a large
container filled with water. Water is allowed to come just to the top of the wooden block. Water
rises up through the bottom hole and moistens the soil. The roots will absorb the necessary
moisture whenever needed.
Repotting:
Repotting is a time-based operation required for growing house-plants successfully. House-
plants require repotting occasionally, which depends on certain factors like growth of the plants,
their size and the environment. Some plants like Succulents, Cacti and Aspidistra are slow
growing and do not need frequent repotting, while others like Begonia, Geranium, Syngonium
and Chlorophytum are fast growing in nature and therefore require repotting, at least once in a
year.
Time of Repotting:
The plants are usually repotted during rainy season, because it is easier for the plants to get
established and form new roots.
Sings of a Pot-bound Plant:
Repotting should be done when a plant becomes pot-bound. Therefore, it is essential to know the
proper signs of a pot-bound plant before proceedings for repotting.
(a) Sign of root growing through the bottom hole of the container is a useful guide.
(b) It is said that a plant becomes pot-bound only when its roots get matted around
the outside of the earth-ball.
(c) When the plants (Sansevieria, etc.) force to split the pot.
(d) If the plant tends to make slow growth even though it is fed at right time and the
soil dries very quickly.
Method of Repotting:
Repotting should be done with stage-wise operations. These operations are:
(1) Firstly, water the potted plants lightly a day prior to repotting to facilitate easy removal
of the earth-ball intact from the pot.
(2) Prepare the pot by placing crocks over the bottom hole. Place a layer of partly moist
compost mixture in the bottom.
(3) Remove the plant from the old pot by turning its upside down. Then hold the pot with
your left hand and the plant with right hand, respectively. Knock the edge of the rim
gently against the edge of a table. The plant will come out soon with earth ball intact.
(4) Tangled root around the root ball should be gently teased out. Then place the plant in the
new soil mixture in a new pot and fill around the roots with this mixture.
(5) Soil around the plant should be pressed firmly with the fingers.
(6) One centimeter space below the pot rim should be left for watering.
The plant should be thoroughly watered and kept in shade until it gets established.
Interior Decoration
Bonsai Making
Vivek Kumar
Hisar
Bonsai is a Japanese art using miniature trees grown in containers, similar in some ways to the
Chinese art of penjing and the Vietnamese art of hòn non bộ. The Japanese tradition of bonsai
cultivation contains many specialized terms and techniques for creating bonsai and enhancing the
illusion of age and the portrayal of austerity that mark a successful bonsai. Some of these
methods are the deadwood techniques, which create, shape, and preserve dead wood on a living
bonsai.
Bonsai can be defined as a tree grown in a shallow container for aesthetic purpose. This
definition has two parts, the horticultural and the aesthetic part
Characteristics of old trees

History – from China to Japan to western world to the rest of the world
 Misconceptions
 Genetic manipulations
 Size
 Feeding requirements
 Cruelty
Bonsai Styles Inspired from nature - can be developed form observation on trees growing in
nature
Formal upright style
Informal upright style
Twin trunk style
Broom style
Wind swept style
Semi Cascade style
Cascade style
Forest style
Bunjan style Driftwood style

Bonsai propagation
Through cuttings -- Disease free healthy cuttings as taken for normal propagation
Use cuttings with a taper to achieve quick results( sample)
Other methods -- through seeds, buying from nursery and collected from nature
Bonsai accessories
Soil Tools
Jin and Jin making
Jin is a bonsai deadwood technique used on branches or the top of the trunk (the "leader").A jin
is meant to show age, or show that the tree has had a struggle to survive. Jins are created in
nature when wind, lightning, or other adversity kills the leader or a branch further down the tree.
A jin requires the complete removal of bark from a given start point to the end of the branch or
leader. The remaining wood dies and dries out to form the jin.
Creating a jin from the leader (a "top jin") can produce a shorter, more visibly tapered bonsai in a
single step. The change in proportion can greatly improve the illusion of age in the bonsai
specimen. Removing the active leader distributes vigor to lower branches, which will grow more
quickly and help increase trunk diameter, reinforcing the illusion of age. A top jin also provides
an aesthetic solution for a tree with two leaders, an unaesthetic shape that the designer can
modify by turning one of the two into a jin.
When used on branches, the jin technique allows the grower to remove some of a bonsai's
unwanted branches while increasing the illusion of age. A remaining jin may be long, with a
pleasing shape bent or carved into it, or short, like the dead remains of a branch broken off near
the trunk.
Interior Decoration
Career Options in Interior Designing

Surender S Dhankhar
Assoc Director (Students’ C&P)
Space for residential and commercial places is shrinking due to rapid urbanization. This
anomalous situation calls for professional help to make the living and working space more
comfortable, beautiful and practical. Earlier, it was the task of an architect to do the entire
exteriors along with the interiors of a house, office or any other functionally useful edifice. Now-
a-days people have become more and more particular about the designs and the layout of the
living or working area. This has led to an increasing requirement for professionals in interior
designing. Interior designers work with architects to plan the layout of interiors for optimum
utilization of area, for creating spaces for functionality as well as utility. Interior decorators on
the other hand plan color schemes, furniture, furnishings, decorations and arrangements. As an
interior designer, one should be trained to design exclusive furniture artifacts and fittings besides
learning managerial skills. The basic job of an interior designer is to make optimal utilization of
available space. Further, one has to make the space more functional and in accordance with the
taste and budget of the client. Besides visualizing and conceptualizing the designs for new
structures, interior designers also plan the interiors of existing structures that are undergoing
renovation or extension.
Simple Interior Decoration
The popularity of interior designing as a discipline is not confined to urban cities but it has
rapidly spread to small town and cities across the nation. This is largely because of the changing
lifestyle of people and their want to customize their residence with the help of an expert who can
understand their taste and preference. Various components and expertise in this specialized field
include:
1. Interior designers
 Plan interior spaces, ventilation, electrical circuits and installations, drainage and water
supply, air-conditioning and heating systems etc. They work on the basis of technical
knowledge of building and structures
 They prepare layout plans, elevations, and perspectives and even prepare sample models,
keep themselves updated about the latest materials and products available in the market for
interiors.
Interior Designer
2. Interior decorators
 Give advice for the use of colour, textures, fabrics and decorative materials, light effects,
layout and furniture in creating an attractive and functional interior
Interior Decorators
3. Theatre and set designers
 Work on the conventional stage decor and for sets of film and TV
 They work according to the director's plan, e.g., for a play, musical show or even a news
item. The aim is to make the design fit into the scene
 Briefs the carpenters, lighting technicians and set dressers and decorators
Theatre and set designing

4. Exhibition designers
Plans entire exhibition sites to design individual stands, display panels for creating an image
within the exhibition itself.
Exhibition designing
5. Window display designers

 Decorate shop window for enhancing marketing drive
 Fashion shops often have spring, summer, autumn and winter collection on display
 Innovates new ways of presentations
Window display designing
 Skills required for successful interior designing professionals:
 Scientific aptitude
 Ability to deal with technical details
 Ability to work as part of a team
 Drawing aptitude
 Ability to work as part of a team
 Colour sense
 Ability to work in a given budget
 Good communication skills
 Analytical mind
 Knowledge of trends
 Visual sensitivity
 Good communication skills
 Visual sensitivity
 Knowledge of textures, materials and trends
 Drawing aptitude
 Strong Business skills
 Personal networking, as well as flair and perseverance
Besides, above skills; one should complete an internship or some sort of apprenticeship and
course in an interior designing course from a reputed institute. Acquire good knowledge of Auto
CAD and other computer related programs which can help to provide new dimensions to the
professional career.
There is a scarcity of professional interior designers in our country. With more and more people
willing to get their residence and working areas designed according to their taste, there has been
a great demand for experienced interior designers.
 Job avenues
 Work with top notch architects and architectural firms
 Work with renowned builders
 Hospitals and other medical facilities
 Town and city planning bureaus
 Hotels and health resorts
 Design studios and exhibition organizers
 Event management companies
 Innumerable public and private sector establishments
There is enormous demand for qualified interior designers in India. So to be professionally
qualified from a reputed institution is a must. With professional qualification comes the
assurance of a good job. And with adequate experience, one can start his/her own interior
decoration business. Employment prospects are plentiful and in various fields including teaching
in a government or a private institute that offer courses in interior designing and employment in
private or public sector firms. Setting up own business is also a very lucrative option in interior
designing industry.
*-*-*
For students’ Counseling & Placement Related Information
Visit Web Portal of
Students’ Counseling & Placement Cell @
http://hau.ernet.in/dsw/dccp.php
*-*-*
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Research · April 2017

Agrometeorological & Climatological Studies View project

Weather based Farm Advisory Services View project

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Tips for Flowers Arrangement

Furniture for Home

Creating Canters of Interest

 Furniture should be in proportion to the room in which it is placed. For example,

Curtains and Draperies

The Elements of Design and Principles of Art

Line, Form, Texture, Colour, Pattern, Light, Space

According to the Principles of

Proportion, Balance, Emphasis, Rhythm, Harmony

Leads us to attain Goals of Interior Decoration

The elements are explained below:

The Colour Wheel – Primary, Secondary and Tertiary Colours

Table Settings and Table Etiquettes

Setting the table influences:

There are three components of a place setting:

Informal Table Setting

Buffet Table Setting

Home Furnishings for Decoration

Optical Illusion in Interior Decoration

Paints Wall Papers

Ceramic tiles Wood panelling Fabric wall covering

Tips for Wall Finishes

Purchase price : It is the actual price.

Maintenance expenses : Cost of cleaning and any repairs required.

Lighting in Interior Designing

Colours and their Application in Interiors

Rangoli - Traditional Form of Floor Decoration

6. Vanity Mirrors In Bathrooms

Paintings, Art and Pictures

Sustainable Interior Design - Today’s Efforts for Better Tomorrow

Characteristics of old trees

Informal upright style

Wind swept style

Bunjan style Driftwood style

Career Options in Interior Designing

Simple Interior Decoration

Theatre and set designing

5. Window display designers

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