Apply Design Principles

Apply Design Principles
(C3ID004B)
This unit and its contents

remains the property of CATC.
This unit may not be used or
reproduced without the written
consent of CATC.
To do so may lead to legal
action.
COMMERCIAL ARTS TRAINING COLLEGE

e: / inter io r d e s ign /dipl o m a co ur s e in des ign 2/cer ti f i cate/apply d esi gn pr i nci ples/ the college for creati ve de velop men t
u nit co ntent / a ppl y des ign pr in c ipl es.in dd C ATCID 402.V1 07/11/09
CONTENTS
Unit Overview
Introduction
Space
Balance
The Elements of Design
• Line
• Shape and Mass
• Tone
• Colour
• Texture
The Principles of Composition
• Unity and Variety
• Aspect
• Emphasis and focal point
• Proportion and scale
• Harmony
• Suitability
• Rhythm
• Time and Motion
Two Dimensional Composition
Presentation Boards
Mood boards
Assessment Tasks
No part of this publication may be reproduced or copied in any form or by any means
without written permission from the Commercial Arts Training College. © 2004.
1 COMMERCIAL ARTS TRAINING COLLEGE

the col l ege for creative de vel opm e n t
Copyright – Commercial Arts Training College
1. UNIT OF COMPETENCY DETAILS
Unit Code
C3ID004B
Unit Title
Apply Design Principles
2. UNIT DESCRIPTOR
This unit will develop knowledge and skills in the application of the elements and principles of design to
interior spaces and professional presentations.
3. EMPLOYABILITY SKILLS
The required outcomes described in this unit of competency contain applicable facets of Employability Skills.
The Employability Skills Summary of the qualification in which this unit of competency is packages, will
assist in identifying Employability Skills requirements.
Relevant Employability Skill and facet applications in this unit relate to the ability to create a presentation
board of a concept only, which emphasises composition, balance an aspect.
UNIT CODE Communication Teamwork Problem Initiative & Planning & Self Learning Technology
& TITLE Solving Enterprise Organising Management
C3ID004B 1, 5 1, 2, 3, 5, 1, 3, 4, 5, 6, 1, 2, 3, 6, 9, 1, 2, 3, 4, 5 1, 2, 3, 4, 1, 2, 3, 4, 5,
Apply Design 7 7 10 5, 7, 8, 9 6
Principles
4. RELATIONSHIPS TO OTHER UNITS
Not applicable for this unit of competency.
5. APPLICATION OF THE UNIT
This unit addresses:
2D and 3D use of the elements and principles of design

Researching decorative styles
Evaluating presentation boards
E\curriculum\IDD curriculum 2007.doc

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COMMERCIAL ARTS TRAINING COLLEGE 2

t h e c o l l e g e fo r crea ti ve de velopment
6. ELEMENTS OF COMPETENCY
Elements Performance Criteria – The Participant:

C3ID004B/01 Analyse the communicating factors of 1.1 Analyses the use of the elements and principles of
basic design elements and principles of design in interior environments.
composition.
C3ID004B/02 Apply knowledge and understanding of 2.1 Applies a knowledge and understanding of the
the elements and principles of design to elements and principles of design through application
interior concepts. to design exercises.
2.2 Applies knowledge and understanding of the
elements and principles of design to develop a variety
of interior design concepts.
C3ID004B/03 Produce a presentation board. 3.1 Implements the elements and principles of design in
the layout and presentation of presentation boards.
3.2 Applies professionalism through accurate measuring,
cutting and mounting techniques.
7. RANGE STATEMENT
The Range Statement provides advice to interpret the scope and context of this unit of competency, allowing
for differences between enterprises and workplaces. It relates to the unit as a whole and facilitates holistic
assessment. The following variables may be present for this particular unit:
The elements of design refers to and may include:

the building blocks used to create a work of art; lines, shapes, direction, size, texture, colour, value
The principles of composition/design refers to:
balance, gradation, repetition, contrast, harmony, dominance, unity
8. EVIDENCE GUIDE
8.1 Critical Aspects of Evidence
Locate, interpret and apply relevant information, terminology and methodology

Identify requirements of the set task/s and organise work to achieve goals and results
Label and appropriately present work
Document process work in a visual diary
8.2 Underpinning Skills and Knowledge
The ability to retrieve, interpret and apply data

The ability to analyse and evaluate

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8.3 Methods of Assessment
Assessment should include direct observation of tasks and/or samples of work and questioning on
underpinning knowledge
Assessment may be in part oral or written
Assessment should be conducted over time
Assessment must confirm consistency of performance over time and in a range of industry contexts
8.4 Context for Assessment
Assessment should correspond with simulated work instructions and deadlines

Presentation board preparation may correspond with actual work instructions and deadlines
8.5 Resource Implications for Assessment
Desk space
Drafting boards
Drafting chairs
Light boxes
Adequate light levels
The participant must supply but this is not limited to:
Consumables necessary to complete this unit of competency

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1. PROCESS LEARNING
Interior Design and Decoration is best learnt through experiencing
the actual processes of developing concepts and having them
brought into reality. Workshops, discussions and research are
only part of the learning program. It is expected that as modules
require it, you will visit the various trades and suppliers and
discuss with them the tasks you are completing and actually
"experience" the process by which designers and decorators
operate.
A very important point - you must always remember in your
studies of Interior Design and Decoration - there are no rules, only
guidelines, when it comes to creative thinking.
This means that there are always a variety of solutions for every
task you are required to do. It is not appropriate to set up models
for you to copy.
Interior Designers and Decorators need to develop their own

creative flair and establish individual style. This may involve
developing new skills and practising them to a level of competency.
No one can do it for you - you need to practice for yourself.
Vocational training is for the work place in the "real-world". Time

Management is critical to your ability to perform in the work
place. Each module states the required number of "nominal hours"
required. You will need some of your own time to complete the
modules. You are expected to use this opportunity to organise the
completion of your modules as practice to organising your own time
schedule in real job situations.
2. SELF PACED LEARNING
Self paced does not mean that you have unlimited time to complete
a unit of your course. What it does mean is that you may organise
the tasks required to suit your own timetable and skills. You can
then progress at your own pace during the course.
Extensions for a unit will be at the discretion of the college Director

(or the Director’s Representative being the College Co-ordinator or
Operations Manger) in consultation with teaching staff.
ASSESSMENT
Assessment is the gathering of evidence of competent
performance. The assessment must be used to verify the
underpinning knowledge and skills, and competence in units
of competency. The assessment strategies must be valid,
reliable, flexible, fair and consistent. Assessment should
be done in an holistic integrated manner. If not conducted
on-the-job, then situations to realistically simulate the
working environment should be used.

All assessment must be conducted in accordance with the
AQTF Standards for Registered Training Organisations
and within the parameters of relevant units from the
Training Package for Assessment and Work Place Training -
negotiating the assessment with the candidate, advising on
appeal mechanism and the like.
Students will be deemed competent (C) or not-yet-competent

(NYC) based on the evidence produced for assessment.
The college also offers an internal assessment system that
NB: If students receive a mark of Not Yet Competent “NYC”, they

should contact their Program Manager regarding the optionsfor
them to improve their grade.
After re-submission, if students are unhappy with the result, they

are required to make an appointment with their lecturer to discuss
the issues and the mark may be reviewed.
If the student is not satisfied that the issue has been resolved, they
are required to set out a letter to:
Program Manager
C/- Postal Address
of the Campus at
which they study.
This letter should set out in detail the issues of concern. A

meeting will then be arranged in which the student can voice their
concerns.

INTRODUCTION
Design can be described as a number of “items” arranged

together to create a “whole” - that it, the finished design
works to meet our needs for shelter, work, relaxation and
aesthetics.
Design does not consist of a series of rules that are rigidly

followed. It is a way of thinking that develops from keen
observation, a sense of atmosphere and history, together
with personal experience of being involved with design
problems.
Good interior design must always be an expression of the

designer and not a copy of past ideas. The designer may be
influenced by the past but their designs must always respect
the spaces in which they are working and the requests of the
client.
In order to achieve a sense of balance, or “rightness”,

in interior design, the designer must have a thorough
understanding of the Elements of Design and the Principles
of Composition. These elements and principles act as
guidelines to the creation of innovative and sympathetic
interiors.
THERE ARE NO RULES, ONLY GUIDELINES
A strong knowledge of the Elements of Design and the

Principles of Composition, and how to apply them in an
interior, will make design related tasks much easier and
more enjoyable. It should also boost confidence and provide
assurance that the end result will be as successful as
originally envisaged.
When used properly, the Elements and Principles should

result in a balanced, unified space that clearly communicates
a desired aspect or atmosphere.
That is, the finished space should look “right”, feel “right”
and appear as though everything belongs.
BALANCE, UNITY AND ASPECT ARE THE KEY AIMS

OF GOOD DESIGN.

HOW THE ELEMENTS AND PRINCIPLES WORK
The elements are used to create the principles.
ALL ELEMENTS ARE NOT USED FOR EVERY PRINCIPLE IN EVERY SPACE
PRINCIPLES ELEMENTS
LINE
SHAPE / FORM
REPETITION of TONE
TEXTURE
COLOUR
LINE
SHAPE / FORM
VARIATION of TONE
TEXTURE
COLOUR
LINE
SHAPE / FORM
CONTRAST of TONE
TEXTURE
COLOUR
LINE
SHAPE / FORM
MOVEMENT of TONE
TEXTURE
COLOUR
LINE
SHAPE / FORM
RADIATION of TONE
TEXTURE
COLOUR
LINE
SHAPE / FORM
EMPHASIS / FOCAL POINT of TONE
TEXTURE
COLOUR
LINE
SHAPE / FORM
PROPORTION of TONE
TEXTURE
COLOUR
All principles and elements, in varying degrees, work together to create

BALANCE, UNITY and ASPECT.

SPACE
All the elements and principles operate within a defined

space. The interior designer works within two (2) different
kinds of space.
1. Two-dimensional space has length and width and may
take the form of drawings, concept sketches or
presentation boards.
2. Three-dimensional space has length, width and depth,
such as in a room or building, a piece of furniture, or even
a scale model.
POSITIVE and NEGATIVE SPACE
To break space down further, both two dimensional (2D)

space and three dimensional (3D) space applications require
an understanding of the relationship between positive space
(subject matter or figure) and negative space (background or
ground).
A careful balance between these two (2) parts helps to create

a unified, harmonious end result, that achieves the desired
atmosphere with ease.
Spaces between objects are as important as the objects

themselves.
Spaces within and around objects are as important as the
objects themselves.

BALANCE
The main aim of every designer should be to create a

balanced interior space. Balance is achieved when each
part of either a two-dimensional or three-dimensional
arrangement has equal visual weight. Visual weight refers
to the apparent “heaviness” or “lightness” of items arranged
within a space.
Several characteristics can affect the visual weight of an

item.
1. Large shapes or masses are heavier than small ones.

Therefore, one big one balances a lot of little ones.
(See below.)

2. Dark, thick lines are
heavier than light, thin
lines when we think of
visual weight. Therefore
it takes fewer dark, thick
lines and more thin lines
to create a balanced
composition.
(See left.)
3. Dark tones are heavier

than light tones when we
think of visual weight,
which means it takes
a smaller dark area to
balance a larger light area.
(See below.)

4. Pattern, or heavy
visual texture (detail)
is heavier than plain,
smooth textures. This
means a small area of
detail will balance a
large area of non-detail.
(See left.)
5. Objects placed around

the perimeter of a space
are visually heavier than
objects placed within the
centre of a space. Therefore
it takes less of these things
to balance an arrangement.
(See below)

6. Irregular or contrasting shapes are visually heavier
than similar shapes. Therefore it takes less different shapes
and more similar shapes to balance a space.
7. Brighter or contrasting colours

are visually heavier than
similar, or harmonious colours
throughout. Therefore it requires
less strong or contrasting colour
to balance greater use of softer or
neutral colours.

BALANCE
There are three (3) types of balance:
• symmetrical
• asymmetrical
• radial
SYMMETRICAL BALANCE
Symmetry in design means that forms are in two (2) halves
of a composition - on either side of an imaginary vertical
dividing line - correspond to one another in size, shape and
placement. Sometimes the symmetry is so perfect that the
two sides are a mirror of one another. Since the two sides
are identical, or nearly so, they have the same visual weight,
therefore they are balanced. Symmetrical balance creates
a sense of formality and order and is sometimes
referred to as formal balance.

ASYMMETRICAL BALANCE
An asymmetrical design has two sides that do not match.
One cannot draw an imaginary centre line through the
arrangement. However, the design can still be balanced as
different parts of the design have different weight when used
in different ways. To achieve optical balance, asymmetrical
composition must carefully take into account the visual
weight of each item.
Elements which are visually forceful and attract attention

are unusual shapes, bright colours, dark values and
 Critical
Information
variegated textures and they must be counter balanced by
less forceful elements which are larger or placed farther
away from the centre of the composition.
Asymmetrical balance is not as obvious as symmetry and

is often more visually active and dynamic. It is capable of
expressing movement, change and even exuberance. It is also
more flexible than symmetry and can adapt more readily to
varying conditions of function space and circumstance.

RADIAL BALANCE
Radial balance results from the arrangement of items about

a centre point. It produces a centralised composition that
ultimately leads the eye to a focal point. Items can be placed
inward towards the centre, face outward from the centre or
simply be placed around a central item.
Items can also radiate out or away from a focal point located
in a corner or to one side.

BALANCE
Take a group of decorative items that are to be arranged

on a small occasional table. You should group the items off
centre. Then if you look down onto the table as if you were
looking at a plan view you should be able to see or imagine
an outline of a triangle around the arrangement.
(See below.)
Then, looking across at the arrangement in an elevation type

view the varying heights of the items should also be framed
by the outline of a triangle.
(See below.)
Designers need to develop an intuitive approach to arranging

items in three dimensional space. The principles outlined
above also apply to whole rooms. If you look down on the
plan of a room you may see a number of triangles, then as
you look across at the walls you will see more triangles. All
of which will work together to create balance and unity.

THE ELEMENTS OF DESIGN
The elements of design discussed on the following pages
are LINE, SHAPE AND MASS, TONE, COLOUR and
TEXTURE. These things are the most basic breakdown or
“bones” of what is needed to create good design.
LINE
Line is the most basic element of design. Line leads the eye
and suggests movement. It is the path left by a moving point.
Actual lines are only one type of line, and can play a minimal
role in interior design. Other types of line include implied
line and line created by edge.
actual line implied line implied line line created by edge
For example:
• A row of down lights above a bar create an implied line.
• The carved end of church pews in a regular arrangement
form an implied line either side of the aisle.
• Where two walls of different colours meet, a line is created
by edge.

• The direction of lines in an interior helps to create aspect
or atmosphere.
• Strong, vertical lines imply strength, awe, formality and
power.
• Predominantly horizontal lines create a sense of peace
and restfulness.
• Diagonal lines create a sense of dynamics and movement
Horizontal Line
Vertical Line
It is important to note that in order to create balance within

the design, some lines which travel in the opposite direction
are required. For example:
• Mainly vertical lines require the balance of some
horizontal lines and vice versa.

• Diagonal lines travelling upward to the right require the
stability of some diagonal lines travelling upward to the
left.
Diagonal Line

SHAPE AND MASS
A shape is a two dimensional area with identifiable

boundaries. Shapes are created by lines, coloured areas,
contrasting textures, or a combination of these.
A mass is a three dimensional solid with identifiable
boundaries. It is sometimes also referred to as a “form”.
(This can be confusing due to the large number of definitions
of “form”.) A mass therefore has actual depth and occupies
space.
Volume may refer to the same thing as mass, or it might

refer to a void - an empty but enclosed space.
Shape can be broken down into two (2) main categories:

Geometric and Organic.
Geometric Shapes are those that can be formed

mathematically or by mechanical drawing techniques, such
as a square, rectangle, circle or triangle.
Organic Shapes are those that occur in nature, rounded,
irregular and curving. They are rarely repeated in an
identical form.
Mass or Volume are created by joining a number of shapes

together along different planes.
Line Shape created by line Form / Mass created

by planes enclosing volume

Within an interior shapes are more often seen in three-
dimensions, that is as mass. These forms have length, width
and depth (or height) and occupy space.
Geometric forms can be seen in tables (rectangular prisms),

chairs (cubes), vases (cones/cylinders), etc. Organic forms
could be found in accessories such as flowers, sculptures and
bean bags.
A space filled with too many similar forms or shapes will

become boring. A variety of shapes should be included in a
design, but too much variety will make the interior appear
disjointed or unbalanced.
TONE
•The amount of light reflected off different surfaces affects
the tonal value of that particular surface.
•Pale smooth surfaces reflect more light than rough, dark
surfaces.
•Too much of any one tonal value will create a flat lifeless
interior.
•Both natural and artificial light sources must be taken into
account when designing interiors.
•Therefore a balance of tones should be incorporated into an
interior design.
•Is the lightness or darkness of a colour, object or group of
colours in a scheme.
•Allow us to determine if an object is 2 dimensional or 3
dimensional.
• Assists the identification of shapes and distinguishing
shapes from background simiar to the way colour does.
• Has important characteristics of creating emotional effect
(aspect), arising from tonal schemes.
Further information on this characteristic is included under

the heading “ASPECT”

GREY SCALE
0 1 2 3 4 5 6 7 8
shades mid-grey tints

NOTE:
This grey scale has only 9 spaces but always the lowest
number is at black and the highest number will be at white
regardless of the actual number
The following examples demonstrate how variety and

contrast of tone can be used to create balance.
Variety of tone
Contrast of tone

COLOUR
Colour is one of the most important elements of any design
and as such is covered in more depth in other modules.
However, in any design, colour must be planned. This
 Critical
Information
planning should be evident in the combination of colours
incorporated into the design. Commonly used colour schemes
include complementary, analogous, monochromatic, triadic
and split-complementary.
Full details regarding the detail of colour is included in

the unit Apply Foundational Colour Theory. This will most
probably be the next unit you study.
As you work through this unit you will understand how

colour relates to tone and how colour has tonal variations
within its own framework.

TEXTURE
Texture is the quality of a surface, be it rough, smooth, hard,

soft, dark, light, wet, dry, dull, shiny, etc. Texture can be
broken into two (2) categories:
REAL TEXTURE
Real texture is texture that can be felt, such as the softness
of velvet, the roughness of raw timber and the cool feel of
glass. Real texture can also be seen due to the reflection of
light off a surface and the subsequent creation of shadows.

SIMULATED TEXTURE (PATTERN)
This is texture that can be seen. It is most often found in

textiles and painted finishes. Examples include stripes,
checks, floral prints, sponging, combing.
Heavy textures absorb more light than smooth textures. The

shadows on a rough surface make it appear darker. Glossy
surfaces reflect more light and appear lighter than matt
surfaces.
Textures in an interior design should be varied to provide

interest. Combining a variety of textural finishes to an
interior space is often a decorators’ delight. It does, however,
take practice to easily select a variety of harmonious,
contrasting textures appropriate to a given space.

TUTORIAL
Before you read any further we will work through a tutorial
exercise to ensure that you have an understanding of the
principles and elements of design. It is important that you
see how they work together.
Resources required:
• A view finder.
Make your own view finder with a piece of black light
weight card. The paper should be A4 in size. If necessary cut
to size. Cut a 3cm x 3cm hole on the centre. (See diagram)
Scaled View Finder
• Magazines for cutting

• Matrix with headings as shown on the following pages
• Unit booklet • Blue tac
• Scissors • Scissors
• Glue stick
Directions:
1. See page 8 of the unit and note how the matrix has been
set up. Make sure that your matrix is correct.
2. Using magazines and the view finder randomly select and
cut out about 20 or 30 squares that will fit the spaces in your
matrix. You may need to refer to the unit booklet for further
details and information to check your squares.
3. Blue tac your squares into the matrix where you believe
they should be. When you have filled all the spaces check to
see if you can read the images both across and down. Make
changes until you have them all correct.
4. When you are happy with the matrix glue down the
squares.
5. Prepare a cover sheet titled Matrix Exercise and staple
the cover sheet to the Matrix.
6. Submit the Matrix for review by an assessor before
proceeding with the assessment tasks.
THIS EXERCISE SHOULD TAKE APPROXIMATELY

1 - 1.5 HOURS

MATRIX
Repetition Varation Contrast
LAYOUT
Line
Shape /
Form
Tone
Texture
Colour

Emphasis/
Movement Radiation Proportion
Focal Point

EXAMPLE - COMPLETED MATRIX

EXAMPLE - COMPLETED MATRIX

THE PRINCIPLES OF COMPOSITION
“Composition” refers to the art of composing, or putting

together all of the elements of design to create a balanced
and unified concept that clearly communicates a desired
aspect.
The following pages address the use of -

UNITY AND VARIETY, ASPECT, EMPHASIS
AND FOCAL POINT, PROPORTION AND SCALE,
HARMONY, RHYTHM, SUITABILITY, TIME AND
MOTION.

UNITY & VARIETY
Unity occurs when there is a sense of “belonging” within a

design. It is a sense of oneness, of things belonging together
and making up a coherent style statement. Objects of the
same, or similar style work together to create a unified
design. Unity most often co-exists with variety. This provides
interest and stops too much of the “sameness” becoming
boring. The designer and artist achieves unity by holding
one or two of the elements of design constant and varying
the others. For example, the colour red may be applied to a
number of spaces and objects within a house, but the shapes,
textures, proportions and tones of red used may be varied.
In this case the red may also be referred to as the “linking
factor”. That is, the spaces have been unified by the use of
a variety of red objects and tonal applications. Unity and
variety exist on a spectrum, with total blandness at one end
and total disorder at the other. The designer must strive
to find just the right point on the spectrum - the point at
which there is sufficient visual unity enlivened by sufficient
variety.
ASPECT
Aspect is the atmosphere, mood or type of environment
created by a particular design. A designer must know
what aspect is required by the client and work towards the
creation of such. All parts of a design help create the aspect
- style, colour, finishes, lighting. For example, a client may
desire a fresh aspect for their house near the beach; or, a
sophisticated, sleek lounge/dining space that is free from
clutter.
The feelings, memories or associations evoked by a space

help make the space “belong” to the client. It is important
that an appropriate aspect is developed to reflect the
client’s needs - not the designer’s - especially in domestic or
residential settings.
It is the individual characteristic of aspect that makes each

 Critical
Information
design different from all the others. The designer who does
not consider the desired aspect usually ends up developing
fairly bland, run-of-the-mill design solutions. When
producing graphic communication for a client, the addition of
accessories, personal belongings, plants and human figures
help bring an image to life - this is also referred to as aspect.

USING TONAL SCHEMES TO CREATE ASPECT
• When colours of varying †ønal values are combined in a

scheme, diferent aspects are created.
For Example:
1. A tonal scheme of light, pale colours can evoke feelings of
peace, delicacy, airiness and softness.
2. A tonal scheme of dark, heavy colours, can give feelings of
seriousness, mystery, intimacy and depression.
The combination of tonal values is called a chord.
1. Schemes that combine tonal values within three (3) steps
of each other on the grey scale are called minor cords.
2. Schemes that combine a wider range of tones (eg five (5)
steps or more) on the grey scale are known as major cords.
USING THE GREY SCALE TOOL

Value Cord & Scale Aspect Created General
TONE NUMBER ON SCALE CHARACTERISTICSS DESCRIPTION
Mainly light colours (pastels),
High Key no apparent contrast in tone.
Airy, peaceful, delicate,
Minor Chord eg.pale cream, lemon yellows
feminine
Eg. 9, 8, 7 and apricots, pale blues, lilacs,
pinks, turquoise
The addition of a dark cheerful
High Key
colour, bold accent or contrasting
Major Chord Positive, sttimulating
tone to a High Minor Scheme
Eg. 9, 7, 5, 4
eg. dark blue or brown
Tones of scheme relate to the
Inermediate Key middle section of the grey scale,
Minor Chord Subdued, dreamy with no apparent contrast in
Eg. 6, 5, 4 tone
Darker or lighter tonal contrast

Intermediate Key introduced to an intermediate
Major Cord Strong, rich, frank minor scheme
Eg. 8, 6, 4, 2
Mainly dark colours; minimal

Low Key tonal contrast
Intimate, nocturnal,
Minor Chord
mysterious, macabre
Eg. 3, 2, 1
A dark schemewith explosive

High Key accents of lighter colours/s as
Major Chord Dignified, dramatic contrast
Eg. 5, 3, 2, 1

GREY SCALE TOOL
0 0
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10

USING THE GREY SCALE TOOL - Examples of analysis




EMPHASIS AND FOCAL POINT
Emphasis refers to the element within a design that the

designer has made dominant.
 Critical
Information
It is important for the designer to designate one or two
dominant elements and include other subordinate elements.
A design without any dominant elements would be bland and
monotonous. If there are too many assertive elements, the
design will be cluttered and chaotic.
An example may be the placement of emphasis on a strong

colour scheme where the use of varied textures and forms
play a subordinate role; or, a strong emphasis may be placed
on the use of horizontal lines within a space, while colour is
kept purposely neutral or even monochromatic.

A focal point is a specific spot to which one’s attention
is directed. It is sometimes referred to as the “centre of
interest” and as such becomes dominant, allowing other
parts of the design to become subordinate.
For example, a large mirror placed over a mantle-piece

instantly draws attention to itself. Similarly an elaborate
vase of flowers centrally placed on a dining table also draws
attention in the first instance.
The eye may then wander around the remainder of a space

but will always return to rest on the focal points.
 Critical
Information
Artworks, unusual acquisitions or even carefully arranged
accessories can create strong focal point. A space with more
than one focal point, however, may become fractured because
different parts fight for attention creating a lack of unity.

PROPORTION AND SCALE
Proportion has to do with size. It refers to the size

relationship between an object and its surroundings.
For example, a very small chair in a very large room
would appear out of proportion, whereas a larger chair,
perhaps fully padded and upholstered would appear more
proportionally correct. Similarly, a large painting hung over
a small hall table would appear disproportionate or top
heavy, whereas a smaller painting or a larger table would
balance the arrangement.
Scale is related to proportion. It refers specifically to the size

of something, relative to some known standard or recognized
constant. In interior design we are concerned with human
scale. We must design for the human body and the size and
proportion of spaces developed must be compared to the
human form. An example is the standardisation of cabinetry
heights in kitchen design. For ergonomic reasons, it has
been determined that 900 millimetres (mm) is the most
appropriate height for a bench top. This is because it is the
height at which the average human body can most easily
carry out kitchen type activities without risk of neck or back
injury. Imagine working at a kitchen bench that was as high
as your armpits! Proportionally, it would look “wrong”, and
functionally it would be totally inappropriate.
The proportion of objects within a space can also determine

the aspect that will be created. A very large, open space
with soaring ceilings and an emphasis on vertical lines, will
inheritently create an atmosphere of grandeur, awe and
inspiration. Alternately, a small room with average ceiling
heights, decorated with warm, darker colours and oversized
padded chairs will create a very cosy, cocooned environment
for the occupants.

Proportion and scale must be considered together because
they nearly always operate simultaneously.
A painting that is, say, 3 metres (m) x 5 metres (m), is

certainly a large scale artwork. The designer is responsible
for taking into account where the artwork is to be hung. If
it is hung in a small house, it will be out of proportion to its
surroundings. But if it is hung in a huge auditorium, the
proportions may be just right.

HARMONY
A team working together without conflicting actions or cross-

currents, is the best way of describing harmony.
Harmony in interior design is achieved through careful
selection of colours, surfaces and finishes that share a
common trait or characteristic such as shape, colour, texture
or material. It is the repetitive use of these things that
produce both unity and visual harmony.
Harmony can be developed through the use of

complementary timber finishes, repetition of furniture
shapes, continuity of decorative style and careful use of
colour. For a client wanting a “beachy” aspect to their
seaside home, it is far more appropriate to use the colours
of the environment (surf, sky and sand) than deep formal
colours. These would pull the decor in a conflicting direction.
On the other hand, the use of muted earth and deep, metallic
colours would harmonize well with the environment and
more formal atmosphere inherent to a city appartment block.
SUITABILITY
Items chosen by the designer must be right for the people
who use the space. All elements and furnishings in a
particular design must be suited to the use or function of
the space. (No white carpet for a family of boys and dogs!)
Big and small items must fit in, nothing in the room is
unimportant.
RHYTHM
Visual rhythm depends on the repetition of accented
elements - usually different shapes or lines.
Repetition occurs when one or more elements of design are
used more than once. There could be repetition of line, shape/
form, texture and/or colour. However, repetition should be
used with care, as too much can create a boring interior.
Movement (or visual rhythm) is the natural flow of
direction our eye takes when looking at an interior or our
viewing is guided by how and where shapes or lines are
placed within a space. Movement usually begins from the
focal point within the interior.

The simplest form of repetition consists of the regular
spacing of identical elements along a linear path, as shown
in the illustration below.
The eye is easily led up the path towards the focal point at
the top of the stairs.

The following diagram illustrates how direction of lines
creates a more subtle rhythm that can lead the eye into and
around an interior space.
Focal Point

TIME AND MOTION
In the three dimensional arts such as sculpture, architecture

and interior design, time is always a factor in the observer’s
reaction. When you walk through a building, your viewpoint
changes with every split second that elapses. Usually, you
cannot experience every aspect of the structure from one
vantage point or at one moment. You must spend time to
assess all the different points of view and appreciate how
they all work together.
TWO DIMENSIONAL COMPOSITION
When composing 2D graphic work such as concept sketches

and presentation boards, the following guidelines may prove
useful.
1. Proportion and Scale

Make sure that the proportion of your presentation board is
proportional to the size and scale of the samples and finishes
that will be attached to it.
A large number of small objects will appear “bitsy” on a large

board and the negative space will become too dominant.
Similarly, very large samples, or samples all the same size
will appear unbalanced on a small board.
Consider the proportion of colour or finish that will be

proposed for the design concept and arrange your samples in
a manner that indicates this.
The use of perceived lines can direct the eye into (or outside)
the board or drawing.
When developing concept sketches, ensure that the size of

the finished sketch is proportional to the page on which it is
drawn.
Too much surrounding “white” space will draw attention

away from the image, making it appear insignificant.
Images that go all the way to the edges of the paper appear
stiff and cramped.
2. Unity
Unity can be achieved in several ways.
Consider overlapping samples and finishes to create a visual
link between them.
Consider creating a rhythmic flow to your layout that leads
the eye in and around the board from the focal point.

3. The “Third’s Rule
Never place a focal point in the centre of a composition.
There is a reason for saying the “dead centre”!
Instead, draw attention to one of the junctions created
by dividing the a 2D space into thirds vertically and
horizontally.
Use radial or assymetrical balance to arrange the
subdominant parts of the composition.

ASSEMBLING A SWATCH
A swatch is a group of materials that reflect the finishes

to be applied in an interior. It should clearly indicate the
colours, textures/patterns, tones and proportion of uase.
It represents the general application of the elements and
principles of design but not for specific placement.
Combining swatches is often time consuming and requires

much toought an deliberation. Sometimes however,
designers activate their intuition and it becomes quick and
easy. Once your swatch has been developed you should
carefully evaluate the proposal before you deide that it
is finished. The swatch should reflect balance, unity and
aspect.
The order in which the samples are selected may simplify

the process.. A suggested order is listed below:
1. Patterned fabrics
2,. Floor finishes
3. Plian fabrics
4. Furniture finishes
5. Lastly, paint.
In order to unify the swatch, the following principles of

design should be considred;
a. Repetition of line, shape, tone, colour and/or size.
b. Variation of line shape, tone, colour and/orsize
c. Harmony of texture and pattern
d. Proportion of hue, value and intensity
The result should be a group of finishes that:

• look “right”,
• look as if they “belong” together
•“feel right”.
On the following pages examine the two pairs of swatches.

Note how most of the selections have remained the same.
But some small changes have been made.
Carefully consider how the changes to the swatch have
altered the “rightness”, the “belonging” and the “feel”.
It is appropriate that you make a number of changes to your

swatch until you are happy with the look and feel of the
swatch. More importantly, be as sure as you can that this
will appeal to you client.

ASSEMBLING A SWATCH - EXAMPLE 1




SCHEME SHEETS
Once a swatch is completed and approved it is time to

become more specific in the application of the finishes. The
scheme sheet is the tool by which you communicate the
detail of the applications.
Using an A4 document ruled appropriately, attach your

samples in an attractive ,manner. Think about the elemts
& principles of design when organising the layout. Use an
appropriate lebelling format to create a labelling procedure
to provide details about the samples and where they may be
used.
See an example of a well planned scheme sheet on the

following page. A template for the scheme sheet can be found
in your Template Folder.

SCHEME SHEET - Example

PRESENTATION BOARDS
A presentation board is a visual aid in the communication

and “sale” of your design ideas to your client. Your board
should therefore not only be visually exciting, but also
clear, easy to read and accurate. Above all, it should be
professional.
Each board consists of a variety of samples attached

securely to a support.
Samples
All major items in the room should be represented on
a presentation board. Each board could have a sample
for ceiling colour, wall coverings, window treatments,
upholstery, floor covering, lighting, accessories and
furniture. An illustration or plan of the space may also be
included, although they are not necessary.
The aim of the board is to give an impression of the design

concept, not recreate a mini version of it.
Critical
Information
The decorative style and aspect of the concept should be
obvious. The presentation does not, and cannot take the
place of thorough, detailed documentation.
Supports
Your choice of support is dependant on the size and weight
of your samples. For example, core board is not really
strong enough to support a fully glazed 300 X 300 tile, but if
coloured paper or card are first glued to the MDF, the weight
of the tile may tear the paper away from the board.
Core board (foam core) is a strong, light weight support,
available from art stores and Office Works in a variety of
colours and sizes. It consists of a layer of foam sandwiched
between two pieces of card. It is a very good support for the
majority of boards.
Craft wood or MDF, is a stronger (and cheaper) alternative,

but it may require some added decoration to “finish” your
board. It is available from most hardware stores in a variety
of sizes and densities. A 3 millimetre sheet is sufficient in
strength for the majority of boards.
The most appropriate size for a presentation boards is A2

 Critical
Information
(420mm X 594mm). This size is often requested by clients
and developers for commercial projects.
The larger the board the more difficult it becomes to create
balance, unity and aspect.

Glues
The type of glue used must be appropriate to the materials
being adhered and being adhered to. Samples must be
 Critical
Information
secured such that they could remain attached for indefinite
lengths of time. Nothing is more unprofessional than a board
with samples lifting from the corners, or worse, falling off!
Paper based samples may be glued using PVA or even a glue
stick.
Fabrics can be glued with certain craft glues (check for

staining) or spray adhesives. They should first have masking
tape placed around the edges and then be trimmed squarely
to stop fraying.
Heavier items such as tiles are best attached to boards with

liquid nails or maxbond - both of which are available from
your local hardware store.
For items such as plastic or glass, speak to someone at your

hardware store about what you are trying to do and get some
recommendations.
Velcro (stick on hook and loop) is also very useful adherent.

Take care that the velcro dots are applied in sufficient
quantity to support the weight required.
Layout
When designing your presentation board, follow the KISS
principle. (Keep it simple, silly.)
• Consider a border with top and sides equidistant from the
edge of the board, and the bottom a little wider. It may be
a frame, an inked line or simply space around the edge.
• A title box (and any other labelling techniques) should be
considered as part of the overall layout. A title box should
include client’s name, project title, job number, your
name/business logo and the date. Ensure that font styles
and sizes are consistent and or appropriate.
• Consider principles of balance discussed on page with
reference to the size and shape of your samples.
• Cut out all samples/illustrations, title box and labels, and
position them on a base board using blue tac to hold them
in place.
• Consider the negative shapes/spaces around the samples
- do they affect the balance of the board positively or
negatively?
• Move the samples and labels around until you are happy
with the balance.
• If possible, check your board vertically before finally fixing
samples in place.
• Make sure the theme/decoration of the board does not
detract from the content.

MOOD BOARDS
Mood Boards are another type of board that can

communicate ideas graphically. You will often see mood
boards used as a marketing tool in retail businesses. The
design and layout of a mood board is done in the same
manner as a Presentation Board. We use to elements and
principles of design to assist us in developing an arresting
and interesting layout.
Mood boards are used by designers to clarify the ideas that

a client wants to inspire the space. It should capture the
ambience or “feel” of a space or design concept. A mood board
is basically a collage of iotems such as photographs, sketches,
clippings, fabric swatches and colour samples that inspire
the design concept. Sometimes a floor plan can be included.
By following the guidelines below, a mood board that is
isually pleasing, and less cluttered can be achieved.
Before you begin you should evelaute the examples of mood

boards on the following in terms of:
• Professionalism
- Have the samples been cut neatly & squarely?
- Have the samples And images been attached securely,
ensuring all corners are firmly glued in place?
- Are the headings clear, neat and legible?
• Communication
- Has a clear ‘aspect’ been presented thrugh the various
inclusion on the board?
- Is the board ‘easy’to read?
• Layout
- Is the board balanced? unified?
- Is a clear focal point identifiable?
- Does the layout allow your eye to move freely around the
board in a rhythmic and natural manner?

LAYOUT PROCESS
1. Select your design theme.

2. Develop a collection of images and samples that will
reflect the mood of the design concept.
3. (a)
Start with a piece of A2 paper or put two (2) A3 pieces of
paper together
(b)
Divide the paper into thirds horizomtally vertically and
horixontally. Either portrait or landsacpe will do. Draw
pencil ines aling the dividing lines. You have divided your
support area to allow you to apply the “thirds rule”.
(c)
Place the focal point, that is , the most importants image or
sample where two (2) of the dividing lines cross.
(d)
Using a range pf shapes, textures and geights for greater
interest, carefully arrange your other images/samples
around the first one that you placed at the focal point.
(e)
Try to create perceived lines that lead to the focal point.
Ensure that all images are cut and/or mounted ready for
attachment to your board
Your final layout should represent the overall feel (aspect) of
the design concept and be clear and easy to “read”.
4. Now, using an A2 support board of either foam core (core
board or light MDF use the layout that you have designed to
transfer all items to your final board and carefully glue them
in place with a recommended strong glue.

ASSESSMENT PLAN
Course: Certificate 111 in Commercial Arts

(Interior Decoration)
Level:
Unit: Apply Design Principles C3ID004B
Relationship to other
units:
Unit Descriptor: This unit will develop knowledge and skills in the
application of the elements and principles of design to
interior spaces and professional presentations.
Completion Date:
Critical Aspects of • Locate, interpret and apply relevant information
Evidence: terminology and methodology.
• Identify requirements of the task/s and organize
work to achieve goas and results.
• Label and appropriately present work.
• Document process work.
Context for Assessment: • Assessment may correspond with simulated work
instructions and deadlines.
• Presetation board preparation may correspond with
simulated work instructions and deadlines.
Methods of Assessment: • Assessment should include direct observation of
tasks and/orsamples of work and questioning on
underpinning knowledge.
• Assessment may in part be oral or written.
• Assessment should be conducted over time.
• Assessment should confirm consistency of
performance over time in a range of industry
contexts
Underpining Skills and See course documentation
Knowledge:

ASSESSMENT TOOL - COLLECTIVELY
Apply Design Principles C3ID004B
Assessment Task 1 Performance
Tasks: Find picture from a magazine of an interior space Criteria:
that you like. Analyse the space in terms of the
To be done in con- application of the elements and principles of design. 1.1
Your response should be approximately 150 - 200
junction with the
words. You should use the questions below as a
unit booklet for
guide:
this unit and the
Work practices a) What elements of designcan you identify?
Manual Where?
b) What principles of composition can you identify?
Where?
c) What kind of balance has been used?
d) How has the space been unified?
e) What aspect has been achieved?
f) What is the focal point?
Task 2
Use a variety of samples and materials (such as
fabric, laminate, carpet/vinyl, paint chips etc.) to
assemble a swatch that demonstrates your ability 2.1, 2.2
to combine a variety of textures and patterns. The
swatch should be presented so that the size of each
sample is in proportion to its use. If you have a
paint colour that will cover three walls that will
need to be larger than the upholstery fabric.
Taks 3 (a)
Find three (3) magazine images and identify which
of the following chords and keys has been used to
2.1
create aspect.
• High Minor
• High Major
• Intermediate Minor
• Intermediate Major
• Low Minor
• Low Major
Task 3 (b)
Use the grey scale and the extra chips provided, to
assemble the dominant tones used in each image.
2.1

ASSESSMENT TOOL - COLLECTIVELY
Assessment Task 3 (c) Performance

Tasks: For each of the three (3) cords created , list three Criteria:
(3) words that describe the aspect or the emotional
impact created by the tonal combination.
To be done in con-
junction with the Task 4
unit booklet for Prepare a simple mood board that presents a
this unit and the chosen aspect from the list below. The board should 2.2,3.1,3.2
include colour and texture samples and some
Work practices indicitative images that convey the chosen mood.
Manual Elements and principles of design should be
applied in the assemblage of the board.
Aspect selections:
• Modern Chic • Coastal Retreat
• Cosy Corner • City Skyline
• Animal Magnetism • Island Escape
• Lush Luxe • Industrial Edge
• Social Hub • Country Vista
• Desert Oasis • Urban Ghetto
• Safe Refuge •Forest Scantuary
• Desert Oasis • Social Hub
2.1, 2.2
Task 5
Source a selection of five to six accessories such
as vase, picture frame, decorative items etc, then
arrange the items on a coffee or sofa table to create
a balanced, unified layout. Your arrangement
should have an easily identified focal point and
demonstrate the application of elements and
principles of design.
ON CAMPUS STUDENTS:
Present your arrangement to your peers, verbally
explaining how you have applied the elements and
principles of composition to help createthe desired
aspect.
DISTANCE LEARNING STUDNETS

Present a photograph of your arrangement. Write
your explanation of how you applied the elements
and principles of composition to create the desired
aspect. One (1) A4 page maximum written work.
Submit your photograph and explanation for
assessment.

Name of Candidate
Supervisor:
Assessment is by way of the completion of the Task/s in the students unit

booklet whcih fulfills the Methods of Assessment contained in this unit.
Elements or
Did the candidate? Yes No
Performance Criteria
Analyse the use of the elements and principles
1.1
of design in interior environments?
Apply the knowledge and understanding of
the elements and principles of design through 2.1
application to design exercises?
Apply knowledge and understanding of the
elements and principles of design to develop a 2.2
vaiety of interior concepts?
Implement the elements and principles of
design in the layout and presentation of 3.1
presentation/mood boards?
Apply professionalism through accurate
Critical Aspect
measuring, cutting and mounting techniques?
Locate interpret and apply relevant informa-
Critical aspect
tion, terminology and methodology?
Identify requirements of set task/s and
Critical aspect
organize work to achieve goals and results?
Label and appropriately present work? Critical aspect
Document process work? Critical aspect

Name of Unit:
Name of Student:
The candidates overall performance met the standard? Yes / No

Name of assessor:
Signed by assessor:
Date:
Students must satisfactorily complete all the above requirements for this
unit to be deemed competent.
C = Competent
NYC = Not Yet Competent
Comments:
Signed by student:
In the case of an NYC = Not Yet Competent (tick as appropriate)

Understands/accepts recommendations
Has been provided with feedback
Has been advised of appeals process
Comments:
Signed by student:


Apply Design Principles

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This unit and its contents

COMMERCIAL ARTS TRAINING COLLEGE

The Elements of Design

• Shape and Mass

The Principles of Composition

• Unity and Variety

• Emphasis and focal point

• Proportion and scale

• Time and Motion

Two Dimensional Composition

1 COMMERCIAL ARTS TRAINING COLLEGE

1. UNIT OF COMPETENCY DETAILS

Apply Design Principles

4. RELATIONSHIPS TO OTHER UNITS

Not applicable for this unit of competency.

5. APPLICATION OF THE UNIT

This unit addresses:

 2D and 3D use of the elements and principles of design

E\curriculum\IDD curriculum 2007.doc

COMMERCIAL ARTS TRAINING COLLEGE 2

Elements Performance Criteria – The Participant:

 The elements of design refers to and may include:

8.1 Critical Aspects of Evidence

 Locate, interpret and apply relevant information, terminology and methodology

8.2 Underpinning Skills and Knowledge

 The ability to retrieve, interpret and apply data

E\curriculum\IDD curriculum 2007.doc

3 COMMERCIAL ARTS TRAINING COLLEGE

8.3 Methods of Assessment

8.4 Context for Assessment

 Assessment should correspond with simulated work instructions and deadlines

8.5 Resource Implications for Assessment

The participant must supply but this is not limited to:

 Consumables necessary to complete this unit of competency

E\curriculum\IDD curriculum 2007.doc

COMMERCIAL ARTS TRAINING COLLEGE 4

Interior Designers and Decorators need to develop their own

Vocational training is for the work place in the "real-world". Time

Extensions for a unit will be at the discretion of the college Director

5 COMMERCIAL ARTS TRAINING COLLEGE

Students will be deemed competent (C) or not-yet-competent

The college also offers an internal assessment system that

NB: If students receive a mark of Not Yet Competent “NYC”, they

After re-submission, if students are unhappy with the result, they

This letter should set out in detail the issues of concern. A

COMMERCIAL ARTS TRAINING COLLEGE 6

Design can be described as a number of “items” arranged

Design does not consist of a series of rules that are rigidly

Good interior design must always be an expression of the

In order to achieve a sense of balance, or “rightness”,

THERE ARE NO RULES, ONLY GUIDELINES

A strong knowledge of the Elements of Design and the

When used properly, the Elements and Principles should

BALANCE, UNITY AND ASPECT ARE THE KEY AIMS

7 COMMERCIAL ARTS TRAINING COLLEGE

All principles and elements, in varying degrees, work together to create

COMMERCIAL ARTS TRAINING COLLEGE 8

All the elements and principles operate within a defined

POSITIVE and NEGATIVE SPACE

To break space down further, both two dimensional (2D)

A careful balance between these two (2) parts helps to create

Spaces between objects are as important as the objects

9 COMMERCIAL ARTS TRAINING COLLEGE

2D and 3D use of the elements and principles of design

The elements of design refers to and may include:

Locate, interpret and apply relevant information, terminology and methodology

The ability to retrieve, interpret and apply data

Assessment should correspond with simulated work instructions and deadlines

Consumables necessary to complete this unit of competency