Basics Design PDF

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Space Institute of Design and Innovation
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SIDI Essentials
Basics:
Design & Theory
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About SIDI Primary Study Material
At SIDI the process of learning follows the natural

learning curve. We must be remembering that our
learning habits are quite dynamic as compared to the
indexed study topic given in our books. So we develop
the study material not as projection of syllabus but as

reflection of your learning. We are very happy to present
before you the first edition of SIDI Essentials Study
Material for the programme One Year Diploma in
Interior Design. This has all essential inputs to make you
face the challenges of experimental learning in a most
confident and creative manner. There are many things
which are not so relevant for the current age designers,
we have tried to keep them at a lower attention level,
while the latest ideas and inputs have been emphasized to greater focus level. This will enable you to
match pace with the market demands. We are very much thankful to GPRSS for developing the study
material as per our suggested frames. We are very much grateful to our students, faculty members
for responding through their queries on various sessions held for the purpose. We hope that the
presented study material will boost your learning and make you stand with traditional and dynamic
assessment platforms.
Wish you all the best and
Happy Designing
Richa Pamnani
Director, SIDI
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SIDI Essentials
Basics:
Design & Theory
for the programme One Year Diploma in Interior Design

ESSENTIALS
First Edition , 2015
First Print Volume : 100 copies
Editorial Team
GPRSS Raipur
Graphics and Lay Out

WizDiz
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INDEX
ELEMENT 1 INTERIOR DESIGN AS OPPORTUNITY
ELEMENT 2 ELEMENTS OF DESIGN
2.1 Point
2.2 Line
2.3 Form, Shape and space
2.4 Movement
2.5 Colour

2.6 Pattern
2.7 Texture
ELEMENT 3 PRINCIPLES OF DESIGN
3.1 Balance
3.2 Proportion
3.3 Rhythm
3.4 Emphasis
3.5 Harmony
3.6 Contrast
3.7 Unity
ELEMENT 4 DESIGN PROCESS
ELEMENT 5 COLOR AND SIGNIFICANCE
5.1 Color Theory and vocabulary
5.2 The Munsell System of Color
5.3 The Color Wheel
ELEMENT 6 COLOR SCHEMES
6.1 Neutral Colour Schemes
6.2 Complementary Colour Schemes
6.3 Triad Colour Schemes
6.4 Analogous Colour Schemes
6.5 Monochromatic Colour Schemes
ELEMENT 7 COLOR PSYCHOLOGY
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Element |1
Role and work of Interior Designer
Learning Objective:
This Element is to make student understand the actual concept, roles & responsibility of an interior
designer, What all skills he need to possess for being successful in his profession.
1.1 Introduction:

The Professional Interior Designer is qualified by education, experience, and examination to enhance
the function and quality of interior spaces The Professional Interior Designer is qualified by education,
experience, and examination to enhance the function and quality of interior spaces. For the purpose
of improving the quality of life, increasing productivity, and protecting the health, safety, and welfare
of the public, the Professional Interior Designer:
 Analyses the client's needs, goals, and life and safety requirements.
 Integrates findings with knowledge of interior design;
 Formulates preliminary design concepts that are appropriate, functional, and aesthetic;
 Develops and presents final design recommendations through appropriate presentation
media;
 Prepares working drawings and specifications for non-load bearing interior construction,
materials, finishes, space planning, furnishings, fixtures, and equipment;
 Collaborates with professional services of other licensed practitioners in the technical areas of
mechanical, electrical, and load-bearing design as required for regulatory approval;
 Prepares and administers bids and contract documents as the client's agent;
 Reviews and evaluates design solutions during implementation and upon completion.
Practitioners may perform any or all of the following services:
1) Programming: Identify and analyse the client's needs and goals. Evaluate existing
documentation and conditions. Assess project resources and limitations. Identify life, safety,
and code requirements. Develop project schedules, work plans, and budgets. Analyse design
objectives and spatial requirements. Integrate findings with their experience and knowledge
of interior design. Determine the need for, make recommendations, and coordinate with
consultants and other specialists when required by professional practice or regulatory
approval.
2) Conceptual Design: Formulate for client discussion and approval preliminary plans and design
concepts that are appropriate and describe the character, function, and aesthetic of a project.
3) Design Development: Develop and present for client review and approval final design
recommendations for. space planning and furnishings arrangements; wall, window, floor, and
ceiling treatments; furnishings, fixtures, and millwork, colour, finishes, and hardware; and
lighting, electrical, and communications requirements. Develop art, accessory, and
graphic/signage programs. Develop budgets. Presentation media can include drawings,
sketches, perspectives, renderings, colour and material boards, photographs, and models.
4) Contract Documents: Prepare working drawings and specifications for non-load bearing
interior construction, materials, finishes, furnishings, fixtures, and equipment for client's
approval. Collaborate with professional services of specialty consultants and licensed
practitioners in the technical areas of mechanical, electrical, and load-bearing design as
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required by professional practice or regulatory approval. Identify qualified vendors. Prepare

bid documentation, collect and review bids.
 Assist clients in awarding contracts.
 Contract Administration
 Administer contract documents as the client's agent
 Confirm that required permits are obtained.
 Review and approve shop drawings and samples to assure they are
consistent with design concepts.
 Conduct on-site visits and field inspections.
 Monitor contractors' and suppliers progress.
 Oversee on their clients' behalf the installation of furnishings, fixtures, and
equipment.
 Prepare lists of deficiencies for the client's use.
5) Evaluation: Review and evaluate the implementation of projects while in progress and upon
completion as representative of the client.
1.2 Interior Design as a Career:

Interior designers need to be creative, imaginative and artistic. They also need to be disciplined,
organized and skilled business people. Combining aesthetic vision with practical skills and knowledge,
interior designers work with clients to develop design solutions that are "aesthetically appealing,
technically sophisticated and pragmatically satisfying."
Areas of Design Specialization:

Designers work in a wide range of settings, both commercial and residential. Surveys indicate that a
majority of designers practice at least part of the time in both the residential and commercial areas,
although they tend to favour one or the other. Because commercial designers must be
knowledgeable about their clients' business needs, most concentrate within design specialties, such
as designing for the hospitality or health care industries. Some restrict themselves to particular
subspecialties, for example, designing restaurants or residential kitchens and baths.
Skills for Success:

Designers must possess three important skill sets-
1) Artistic and technical skills,
2) Interpersonal skills
3) Management skills
Design Specialities:
Designers often specialize in one or more specific types of interior design.
Residential: Residential interior design focuses on the design, professional design team coordination,
planning, budgeting, specifying/purchasing and furnishings installation of private homes, including
the specialty areas of the kitchen, bath, home theatre, home office, and custom product design.
Interior projects include new construction, renovation, historic renovation and model homes, with
expertise in universal and sustainable design.
Commercial: Commercial design can be divided into the following sub-specialties:
Entertainment: Entertainment design brings together the use of interiors, lighting, sound and other
technologies for movies, television, videos, dramatic and musical theatre, clubs, concerts, theme
parks and industrial projects. Designing entertainment development differs from the design of more
conventional buildings and settings.
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Facilities Management: A facilities manager develops schedules for building upkeep and
maintenance, addressing safety and health issues and lighting and acoustics needs. A facilities
manager also plans and coordinates office moves or expansions, and serves as project manager
during construction or renovation. The most important skills required for a facilities designer are
good communications skills, working well within a team environment, the ability to make decisions
quickly, paying attention to details, the ability to handle multiple projects, and the ability to prioritise
and to complete projects by the deadline.
Government/Institutional: A government designer is familiar with the very specific needs and
requirements associated with working with government agencies, such as military bases, federal
buildings or government offices. An institutional designer focuses on projects such as childcare,

educational, religious, correctional and recreational facilities, fire and police stations, courts,
embassies, libraries, auditoriums, museums and transportation terminals. Institutional interior design
involves the programming, planning, design, and management of space used by public and private
organizations.
Educational Facilities: This group consists of childcare facilities, schools, and collegiate institutions.
Facilities are often divided into distinct categories, such as "pre-school" and "K-12" (kindergarten to
class 12) facilities, which encompass all levels below college. Practitioners usually distinguish colleges
or universities as "higher education" facilities because of the differences in programmatic complexity
and size required.
Governmental Facilities: This category includes city, county and state municipal offices, the judicial
courts, federal office buildings and operating facilities, including parks, museums and recreational
areas. Offices of the judicial, legislative or executive branches of the federal government, including
cabinet agencies (i.e., the Departments of Commerce, State and the Treasury) would fall into this
category. Other federal government buildings such as the uniformed military base installations, the
national monuments, and the Postal Service offices would also be included in this category.
Accessible design: There has been an increased awareness for accommodation and universal design.
Design professionals continue their vigilance in maintaining universal design standards that uphold
the intent and spirit of this important civil rights legislation.
Environmentally responsible design: Public and private institutions come under great scrutiny for
responsible conduct. In recent years, institutions have become increasingly aware of the need to be
good citizens of the world and address environmental issues. Since most of these facilities are very
large and often operate continuously, issues concerning the use of energy and resources come into
sharp focus. Many institutions search for ways to limit waste, reduce energy consumption, recycle,
and use recycled products in their facilities.
Health Care: Health care designers create environments for hospitals; clinics; examination rooms;
surgical suites; mobile units; hospice care homes; nursing, assisted living or long term care facilities;
or any other health care environment. Recent research shows that interior design impacts human
behavior in the built environment. Design for the health care market impacts the wellbeing of not
only patients and their families but also of the care provider, therefore, the quality of care. The field
of health care interior design typically focuses on acute care (hospitals), ambulatory (medical office
buildings, or MOB's) and out-patient facilities, and long term care facilities (assisted living, skilled
nursing, critical care, etc.).
Surgical suites in a hospital: The primary goals of health care design, naturally, are to ensure that the
built environment contributes toward improving patient health and well-being, making patients and
those who care for them feel at ease, and allowing adequate accessibility and manoeuvrability. Not to
be forgotten, healthcare facilities are also places where individuals work and so other factors come
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into play, such as promoting the effectiveness and efficiency of providers and staff, reducing
employee injuries, and eliminating wasteful spending. As most facilities are in use twenty-four hours
a day, seven days a week, with high levels of abuse to the environment, maintenance and code issues
are important considerations in one's successful design solution.
Hospitality/Restaurant: Hospitality design focuses on environments that entertain or host the public,
including nightclubs, restaurants, theatres, hotels, city and country clubs, golf facilities, cruise ships
and conference facilities. Hospitality design includes such projects as hotels, resorts, restaurants,
country or golf clubs, athletic and city clubs, as well as casinos and cruise ships. For an interior
designer in this specialty, it is important to understand the client's business, including operational
procedures, image and use requirements as well as budget and financial constraints.
Office: Office design focuses on the public and private areas utilized by corporate and professional
service firms. Office design, by its very nature, cannot be neatly categorized or defined, for just as
there are an almost endless number of workplace types, so must their design reflect this variety. The
first task of the office designer, however, is always the same: to determine the user's specific needs
and requirements. This exercise, called programming, can be as simple as personal interviews with
the people involved or a highly sophisticated and comprehensive study of every aspect of the
business. Data is gathered and work processes are studied through surveys, questionnaires and direct
observation. During this process the designer will ask the client to define his or her business
objectives and goals for the project, and then will integrate this information with the programming
data to begin the schematic design. A broad variety of workspace options have emerged in recent
years that have moved away from the concept of the private office and have re-engineered the
workplace.
The most commonly used include:
 Non-Dedicated Workspaces:
 Interactive Workspaces
 Autonomous Workspaces
Retail/Store Planning: Retail design and store planning concentrate on retail venues, including
boutiques, department stores, outlets, showrooms, food retailing centres and shopping malls. Retail
design is a somewhat narrow term to describe a very wide and intriguing practice area of interior
design. Retail design encompasses the design of specialty stores, medium and large footprint retail
businesses, department stores, factory-outlet stores, discount retailing, retail malls and shopping
centres, service businesses both large and small-virtually any commercial enterprise engaged in
hands-on customer commerce. A big field indeed! (Today, even healthcare and corporate designers
are using retail design principles to better "connect" to their customers and clients.
1.3 Interior Design as visual art:

Interior design is a specialised branch of architecture or environmental design; it is equally important
to keep in mind that no specialised branch in any field would be very meaningful if practised out of
context It is important to emphasise that interior design is a specialised branch of architecture or
environmental design; it is equally important to keep in mind that no specialised branch in any field
would be very meaningful if practised out of context. The best buildings and the best interiors are
those in which there is no obvious disparity between the many elements that make up the totality.
the field can be thought of in terms of two basic categories:
 Residential
 Non residential
The latter is often called contract design because of the manner in which the designer receives his
compensation (i.e., a contractual fee arrangement), in contrast to the commission or percentage
arrangement prevalent among residential interior decorators. Many design firms have become
specialised in such fields as the design of hotels, stores, industrial parks, or shopping centres. Others
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work primarily on large college or school projects, and still others may be specialists in the design of
hospitals, clinics, and nursing homes. In contrast, interior designers who undertake residential
commissions are likely to work as individuals or possibly with two or three assistants. The size of the
firms involved in non-residential design is a clear indication of the relative complexity of the large
commissions. In addition to being less complex, residential design is a different type of activity. The
residential interior is usually a highly personal statement for both the owner and the designer, each
of whom is involved with all aspects of the design; it is unlikely that a client who wished to engage the
services of an interior designer for his home would be happy with an organised systems approach.
Kinds of Interiors:

Although the foregoing sections have mentioned different kinds of interiors, in reference to both
aesthetic and physical components of design, there has been no specific discussion of different design
considerations for varying interiors. The aesthetic criteria suggested in earlier sections are subject to
considerable variation, depending on the kind of interior involved.
Residential Interiors: Residential interiors are obviously much freer and much more personal for both
the interior designer and the occupants than other types of interiors. The planning of modern houses
or apartments must take into consideration the location of certain needs in relation to others. The
dining space should be near the food-preparation area, and the food-preparation area should be
accessible to the entrance used to bring in food supplies and remove waste. Access to bathrooms
should be close to the bedroom areas and should not be through living or dining spaces. The furniture
arrangement for a living space must take into accounts the occupant's lifestyle and preferences.
There are several types of residence, and each one may require a different approach, partially based
on economic considerations. The private house owned by the occupant warrants not only built-in
designs and other permanent design features (lighting, flooring, etc.) but, in general, lends itself
naturally to anything within the imagination of the designer and the budget of the owner.
Public Interiors:
Space Planning: Space planning for business firms, governmental agencies, and institutions is a
significant aspect of office design and is concerned primarily with planning, allocation of spaces, and
interrelations between offices, departments, and individuals. The aesthetic or design phase varies
with the degree of importance attached to offices by the clients. In a large firm, the clerical,
accounting, or filing areas tend to be well designed in terms of lighting, efficiency, space, and function
but have few frills or design features.
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Decisions relating to size of offices and their furnishings are basically arrived at through functional
considerations. An executive frequently must seat groups of people in his office. A department
manager or clerk will rarely need more than one or two extra chairs. Pre-architectural planning has
taken on such importance that many design firms provide this service. Through careful study and
analysis, standards of typical offices, relationships of offices and departments to each other, the need
for flexibility and storage, and many other aspects of work within a given business can be arrived at,
and such a study then becomes the program for the actual design of a new building or premises.
When truly large firms or governmental agencies are involved, space studies preceding the actual
design may take several months or even years.
Governmental Interiors: A notable characteristic of interior design for public buildings--such as court
rooms, assembly halls, city halls, and cultural buildings--is that the consumer is excluded from
participation in decision making. Another is that in all cases the interiors try to present a very definite
image or symbol. Governmental buildings, especially in the past, were designed to present a solemn,
awe-inspiring, majestic, and even slightly ominous look, both in their architectural composition and
their interior treatment of spaces.
Institutional Interiors: Schools, hospitals, and universities are examples of institutions now
extensively using the services of interior designers and architects. Many universities have staff
designers dealing with the institution's many design needs, from office spaces to dormitories. Certain
institutional needs, such as operating rooms in hospitals, are strictly functional, yet the patients'
rooms and many other hospital facilities are very much within the scope of interior design. A greater
recognition of the influence of the environment upon human behaviour has brought about increased
emphasis on interior design for all kinds of institutional interiors.
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GLOSSARY
1) Integrate: Combine one with other to form a whole.

2) Interpersonal Skills: Skills a person uses to communicate & interact with others.
3) Autonomous: Having freedom to control its own affairs.
4) Vigilance: Carefully Watching for Possible dangers or difficulties.
5) Foregoing- The things that are just mentioned.
Structured Element Assessment

1) Multiple Choice Questions:
1. Boutiques, departmental stores, Outlets, Showroom are examples of
planning.
2. , & are the skills that a designer
must possess.
3. An interior designer the client’s needs, goals, life & safely requirements
& design accordingly.
4. Designing of schools, hospitals, universities, comes under .
5. Interior Design field can be thought of in terms of 2 basic categories
________________ & .
2) Brief Question:
1) What are the role & responsibility of interior designer.
2) What are the services a designer must perform.
3) Essay Type:
1) Explain interior design as a career.
2) Explain types of interiors.
4) Practical:
1) No Practical Work.
5) Field Work:
Make a report on basis of your observation of working style of any designer. It include:
 How he manage balance between clients, Contracters & Dealers.
 How he manage his office & interns.
 What are his business moto, etc.
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Element |2
Elements of Design
Learning objective:
To study the basic components of design. This element will help student learn to know what
designing is.
Introduction:

The elements are components or parts which can be isolated and defined in any visual design or work
of art. They are the structure of the work, and can carry a wide variety of messages The elements are
components or parts which can be isolated and defined in any visual design or work of art. They are
the structure of the work, and can carry a wide variety of messages.
The elements are:
 Point
 Line
 Form, shape and space
 Movement
 Colour
 Pattern
 Texture
1) Point: Even if there is only one point, one mark on a blank page there is something built into the
brain that wills meaning for it, and seeks some kind of relationship or order, if only to use it as a
point of orientation in relation to the outline of the page. If there are two points, immediately the
eye will make a connection and "see" a line. If there are three points, it is unavoidable to
interpret them as a triangle; the mind supplies the connections. This compulsion to connect parts
is described as grouping, or gestalt.
2) Line: A line is a mark made by a moving point and having psychological impact according to its
direction, weight, and the variations in its direction and weight. It is an enormously useful and
versatile graphic device that is made to function in both visual and verbal ways. It can act as a
symbolic language, or it can communicate emotion through its character and direction Lines can
be combined with other lines to create textures and patterns. The use of line in combination
results in the development of form and value, which are other elements of design.
Different types of lines used in interiors:
 Horizontal line suggests a feeling of rest or repose. Objects parallel to the earth are at rest in
relation to gravity. Therefore compositions in which horizontal lines dominate tend to be
quiet and restful in feeling.
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 Vertical lines communicate a feeling of loftiness and spirituality. Erect lines seem to extend
upwards beyond human reach, toward the sky. They often dominate public architecture,
from cathedrals to corporate headquarters. Extended perpendicular lines suggest an
overpowering grandeur, beyond ordinary human measure.
 Diagonal lines suggest a feeling of movement or direction. Since objects in a diagonal

position are unstable in relation to gravity, being neither vertical nor horizontal, they are
either about to fall, or are already in motion, as is certainly the case for this group of
dancers.
 Curved lines do vary in meaning, however. Soft, shallow curves suggest comfort, safety,
familiarity, relaxation. They recall the curves of the human body, and therefore have a
pleasing, sensual quality.
3) Form, Shape and Space: Form and shape are areas or masses which define objects in space.
Form and shape imply space; indeed they cannot exist without space. There are various ways
to categorize form and shape. Form and shape can be thought of as either two-dimensional
or three dimensional. Two-dimensional form has width and height. It can also create the
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illusion of three dimension objects. Three dimensional shape has depth as well as width and
height. Form and shape can also be described as either organic or geometric.
Form,is the outlined edges of a 3d objects.It can be measured by height,depth and width.

Example of form
Types of forms:
 Geometric
 Organic
 Open form
 Closed form
Two Dimensional Form: Two-dimensional form is the foundation of pictorial organization or
composition in painting, photography, and many other media. It is created in a number of ways. It can
be defined by line, in all the ways described above. Line, either explicit or implied, provides the
contour of forms. Space ,two dimensional, is essential flat.It has height and width but no depth.
Space can be defined as positive and negative.
 Positive space, is the filled space.
 Negative space is the empty space, the open space such as background.
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4) Shape is defined as two or three dimensional area. Shape is a flat image with only length and width.
Types of shapes:
1) Geometric shapes: shapes that are drawn using ruler or compass.
2) Organic shapes: shapes are freehand drawn shapes that are complex.
5) Movement: Movement is the design element that operates in the fourth dimension - time.
Movement is the process of relocation of objects in space over time. We can speak of movement as
literal or compositional.
Compositional movement may be classified as static: that is, movement of the eye that jumps and
hops between separate components of the image, attracted by similarities and simply shifting to
shapes with related shape or colour Compositions exhibiting static movement are characterized by
repetition of closed, isolated shapes and contrasts of colour and/or value.
Movement may also be classified as dynamic. Dynamic movement is characterized by movement of
the eye that flows smoothly from one area of the composition to another, guided by continuations of
line or form, and by gradations of colour or form. Dynamic movement is characterized by open
shapes or shapes that closely relate to adjacent shapes.
6) Colour: Colour is one of the most powerful of elements. It has tremendous expressive qualities.
Understanding the uses of colour is crucial to effective composition in design and the fine arts. Each
colour has three characteristics: Value, Hue and Intensity. Value is defined as the relative lightness or
darkness of a colour. It is an important tool for the designer/artist, in the way that it defines form and
creates spatial illusions. Contrast of value separates objects in space, while gradation of value
suggests mass and contour of a contiguous surface. In the drawing on the right, value contrast
separates the artichoke from the background, and the separate leaves from one another, while
gradation suggests the curves of leave surfaces and of the whole form.
Hue is the name of color, has value. A hue will be same, whether color may be lightened or darken.
(Tint(color+white) is high value color, shade(color+black) is low value color.) Hue is the term for the
pure spectrum colours commonly referred to by the "colour names" - red, orange, yellow, blue, green
violet - which appear in the hue circle or rainbow. Theoretically all hues can be mixed from three
basic hues, known as primaries. When pigment primaries are all mixed together, the theoretical
result is black; therefore pigment mixture is sometimes referred to as subtractive mixture. Intensity
refers to brightness or dullness of a color. Examples: Engine Red(high intensity),rust(low intensity).
COLOR TYPES:
 Primary Colors: Hues which all other colors can be made.(Red,BlueYellow)
 Secondary Colors: Mixing equal parts of primary colors.(orange,green ,violet)
 Tertiary Colors: Colors between primary and secondary color.(yellow-orange,red -orange etc.)
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Colour Proportion refers to the impact of the relative quantity of a given hue or value used in colour
compositions. In order to achieve over-all unity, and/or create emphasis, one should make a clear
decision as to which colours should be assigned the largest and least areas. The colour proportion
choice will also affect the impact of the colour composition.
Optical mixture is the phenomenon which occurs when small particles of different colours are mixed
in the eye; this type of mixture differs from pigment mixture in that it is based on light primaries.
However, optical mixture differs from light mixture in which the primaries will mix to white, and from
pigment mixture, in which the primaries mix to black. In optical mixture there is an averaging of hue
and value, resulting in grey. Optical mixture is experienced when observing many textiles, such as this
example, a detail from a hand woven tapestry. It can also be seen in natural objects, colour television,
and printed colour pictures.
7) Pattern: Pattern is an underlying structure that organizes surfaces or structures in a consistent,
regular manner. Pattern can be described as a repeating unit of shape or form, but it can also be
thought of as the "skeleton" that organizes the parts of a composition. Pattern exists in nature as well
as in designed objects; it is useful to look at the parallels.
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Branching is an obvious form of patterning in the plant world, but it can also be seen in geological
formations such as river deltas and certain crystalline formations. Spiral patterns can be seen from
the scale of galaxies to the opening "fiddlehead" buds of ferns, to the forms of microscopic animals.
8) Texture: Texture is the quality of an object which we sense through touch. It exists as a literal surface
we can feel, but also as a surface we can see, and imagine the sensation might have if we felt it.
Texture can also be portrayed in an image, suggested to the eye which can refer to our memories of
surfaces we have touched.
Textures are of many kinds:

Bristly, rough, and hard -- this is what we usually think of as texture, but texture can also be smooth,
cold and hard, too. Smooth, soft, and/or warm and Wet or dry are also textures; in fact, any tactile
sensation we can imagine is a texture. In other words, all surfaces can be described in terms of
texture. Many artists and designers make use of texture as a dominant element in their work.
Creation of the illusion of texture is also an important element in many paintings, drawings, textile
designs, and other surface designs. This can be observed and discussed separately from the tactile
qualities of the actual materials and surface of the work.
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GLOSSARY
1) Gestalt- an organized whole that is perceived as more than the sum of its parts.
2) Versatile- able to adapt or be adapted to many different functions or activities.
3) Loftiness- affecting grandness.
4) Explicit- stated clearly and in detail, leaving no room for confusion or doubt.
5) Bristly- having a stiff and prickly texture.

1) is the quality of an object which we sense through touch.
2) has tremendous expression qualities.
3) The shapes that are drawn using ruler or compass are .
4) is an element that operates in fourth dimension, time.
5) A line is a mark made by .
2) Brief Question:
1) What are the different types of lines used in interiors.
2) Define:
 Negative and positive space.
 Value, hue and intensity of color.
 Monochromatic color.
 Optical mixture of color.
 Rhythm
3) Essay Type:
1) Explain different types of elements of design.
2) Explain Psychological implications of color.
4 ) Practical:
1) Draw sheet of one composition that include all the elements that are:
 Point
 Line
 Form & Shape
 Color
 Texture
 Pattern
5) Field Work:
No Field Work.
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Element |3
Principles of Design
Learning Objective:
Objective of this element is to understand some basic concepts that are used to organize & arrange
elements of design.
Introduction:

The Principles are concepts used to organize or arrange the structural elements of design. Principles
are the ways of arranging design elements.
The principles of design are as follows:
 Balance
 Proportion
 Rhythm
 Emphasis
 Unity
Balance: Balance is the concept of visual equilibrium, and relates to our physical sense of balance. It is
a reconciliation of opposing forces in a composition that results in visual stability. Most successful
compositions achieve balance in one of two ways:
Symmetrically or asymmetrically balance: Symmetrical balance can be described as having equal
"weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance.
When the elements are arranged equally on either side of a central axis, the result is Bilateral
symmetry. This axis may be horizontal or vertical. It is also possible to build formal balance by
arranging elements equally around a central point ,resulting in radial balance.
Asymmetrical balance, also called informal balance, is more complex and difficult to envisage. It
involves placement of objects in a way that will allow objects of varying visual weight to balance one
another around a fulcrum point. This can be best imagined by envisioning a literal balance scale that
can represent the visual "weights" that can be imagined in a two dimensional composition. Unequal
weights can even be balanced by shifting the fulcrum point on our imaginary scale.
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The rule of thirds refers to the idea of dividing a composition into thirds based on grids.A slightly off
centre balance is more visually interesting than centred composition. The rule of third states that
the centers of interest for any rectangle lie somewhere along these lines.
Golden mean: Relationship between sizes that is pleasing to eye.This concept was earlier recognize
by Greeks.The ratio of 1 to 1.618,most often we call it golden ratio or golden mean.
Proportion:
Proportion refers to the relative size and scale of the various elements in a design. The issue is the
relationship between objects, or parts, of a whole. This means that it is necessary to discuss
proportion in terms of the context or standard used to determine proportions. Our most universal
standard of measurement is the human body; that is, our experience of living in our own bodies. We
judge the appropriateness of size of objects by that measure. For example, a sofa in the form of a
hand is startling because of the distortion of expected proportion, and becomes the centre of
attention in the room.
Rhythm:
Rhythm can be described as timed movement through space; an easy, connected path along which
the eye follows a regular arrangement of motifs. The presence of rhythm creates predictability and
order in a composition. This link will take you to a short movie of a West African playing the "talking
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drum"; if you try it, pay attention to the way in which sound, movement, and gesture all work
together to support the idea of rhythm. Rhythm depends largely upon the elements of pattern and
movement to achieve its effects. The parallels between rhythm in sound/ music are very exact to the
idea of rhythm in a visual composition. The difference is that the timed "beat" is sensed by the eyes
rather than the ears. Rhythm can be created by following means:
 Repetition: use of certain objects of decor elements.
 Alteration: altering two or more elements in regular pattern.
 Progression: elements placed according to sizes.

Emphasis:
Emphasis is also referred to as point of focus, or interruption. It marks the locations in a composition
which most strongly draw the viewers attention. Usually there is a primary, or main, point of
emphasis, with perhaps secondary emphases in other parts of the composition. The emphasis is
usually an interruption in the fundamental pattern or movement of the viewers eye through the
composition, or a break in the rhythm. Emphasis can be achieved in a number of ways. Repetition
creates emphasis by calling attention to the repeated element through sheer force of numbers. If a
colour is repeated across a map, the places where certain colours cluster will attract your attention,
in this instance graphing varying rates of mortality from cardiovascular disease. Contrast achieves
emphasis by setting the point of emphasis apart from the rest of its background. Various kinds of
contrasts are possible. The use of a neutral background isolates the point of emphasis.
Harmony:
Harmony is visual design means all parts of the visual image relate to & complement each other.
Harmony pulls the piece of visual image together. It can be achieved through repeatition & rhythm.
Repeatition re-emphasize visual units, connecting parts & creating an area of attention.
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Contrast:
Contrast of colour, texture, or shape will call attention to a specific point. Contrast of size or scale will
as well. Placement in a strategic position will call attention to a particular element of a design.
Prolonged visual involvement through intricacy (contrast of detail) is a more unusual form of
emphasis, not as commonly used in Euro-American design, though it is common in many other
cultures. In this case, many points of emphasis are created that are to be discovered through close
attention to the intricacies of the design.
Unity:
Unity is the underlying principle that summarizes all of the principles and elements of design. It refers
to the coherence of the whole, the sense that all of the parts are working together to achieve a
common result; a harmony of all the parts. Unity can be achieved through the effective and
consistent use of any of the elements, but pattern-- that is, underlying structure-- is the most
fundamental element for a strong sense of unity. Consistency of form and colour are also powerful
tools that can pull a composition together.
However, unity also exists in variety. It is not necessary for all of the elements to be identical in form
providing they have a common quality of meaning or style. Unity can also be a matter of concept.
Some of the ways to achieve unity includes:
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1) Alignment
2) Similarity
3) Proximity
4) Repetition
5) Continuation
6) Overlapping
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GLOSSARY
1) Equilibrium- a state in which opposing forces are balanced.

2) Reconciliation- the action of making one view or belief compatible with another.
3) Fulcrum- a thing that plays a central or essential role in an activity, event, or situation
4) Envisage- conceive of as a possibility or a desirable future event.
5) Re-emphasize- place emphasis on (something) again.

1) The presence of rhythm create & in a composition.
2) Point of focus is also known as .
3) largely depends upon the element pattern & movement to achieve
itse affects.
4) Balance have two types & .
5) Is a principle that summarize all others.
2) Brief Question:
1) What is balance? Explain its types with suitable examples.
2) Explain the means by which rhythm can be created.
3) Essay Type:
1) Explain all principles of design with proper sketches.
2) Explain all possible way to achieve unity.
4) Practical:
Draw & present composition of all the principles in sheet with proper theme.
5) Field Work:
Observe all the principles present near by or around you. In your home, locality, anywhere,
click them & make a presentable collage.
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Element |4
Design Process
Learning Objective:
To study in detail all the stages involved in designing & process of solving design problems in terms of
analysing, synthesizing, evaluating the existing design.
Introduction:

The design process can be divided into eight parts, namely:
1) Commit
2) State
3) Collect
4) Analyse
5) Ideate
6) Choose
7) Implement
8) Evaluate
Commit: The first stage in any design process is the commitment of the designer to the client that he
(the designer) is ready to take on the design project, as per the mutually agreed terms.
State: The designer then prepares a design statement, also called the design brief, describing a
particular set of circumstances, which creates a need. The brief outlines the needs related to the
design problem. As the name suggests, a brief is simply a short statement of intent; i.e. what the
designer intend doing in order to solve the problem.
Collect: The next step is the collection of information/data relating to the existing circumstances of
the project. It is very important for the designer to understand the exact requirements of the client,
therefore it is imperative that all the available information regarding the desired design outcomes are
collected and studies carefully. The design constraints such as the available time and resources and
budget are also taken into account.
The various methods of collecting data are:
1) Interviews
2) Observation
3) User questionnaires
4) Literature search
5) Client records
6) Activities
7) Relationships
8) Problem issues
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Analysis:
The ability to define and understand the nature of the design problem adequately is an essential part
of the solution. The design problem is first defined. This definition should include a specification of
how the design solution should perform. Goals and objectives should be set. An analysis of the
problem requires that it be broken down into parts, issues clarified, and values assigned to the
various aspects of the problem, analysis also involves gathering relevant information that would help
us to understand the nature of the problem and develop appropriate responses to the problem. As
we cycle through the design process, a clearer understanding of the problem should emerge. New
information may be uncovered or be required which could alter our perception of the problem and its
solution. The analysis of a problem, therefore, often continues throughout the design process.
Synthesis:
Design requires rational thought based on knowledge and understanding gained through experience
and research. Also playing equal roles are intuition and imagination, which add the creative
dimension to the rational design process. From the analysis of the problem and its parts, we can
begin to formulate possible solutions. This requires synthesizing – bringing together and integrating –
responses to the various issues and aspects of the problem into coherent solutions. There are several
approaches one can take to generate ideas and synthesize possible solutions to a problem: Isolate
one or two issues which have value or importance attached to them, and develop solutions around
them.
Ideate: Once the data relating to the design problem has been collected and analyzed, the designer
can begin to formulate the first idea of the design solution. There are a number of techniques which
can help a designer in this process like:
 Role playing: In this process the designer(s) can think from the point of view of the client or
the people who will be using that space by putting himself/herself in the client‘s/users‘ place.
 Brainstorming: This is a very useful method as it allows the designer to come up with diverse
ideas for the design solution.
 Group Discussions: A number of good ideas are likely to emerge during a group discussion, as
each individual will put forward his/her own solution and from these the most suitable can be
chosen. Synectics: In this technique the designer tries to unify or reconcile different schools of
thought to come up with the solution which best suits the design problem.
Choose:
After various solutions have been arrived at for a particular design problem, the best solution has to
be chosen. There are again a number of methods which can be utilized for this purpose:
Personal choice: This is one of the most common method where the personal preference of a client
or the user dictates the choice of the design solution. Critical comparison: In this methods two or
more design solutions are compared on the basis of their inherent qualities and out of these the one
best suited is picked. In some cases a combination of two or more solutions may be used.
Once the choice has been made the process of making the preliminary drawings can begin. The
preliminary plans of a design solution will have:
 Scaled proportions of spaces and elements.
 Addition of internal architectural details.
 Walls, windows and built-in items are shown.
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 Furniture might be indicated in some areas

Implementation:
Techniques include final design drawings, time schedules, construction drawings, specifications.
Evaluation:
Design requires a critical review of alternatives and careful weighing of the strengths and weaknesses
of each proposal until the best possible fit between problem and solution is achieved. Given a range
of possible solutions, each must be evaluated according to the criteria set forth in the problem
statement and further clarified in the problem analysis Successive explorations of the problem and

the evaluation of alternative solutions should help narrow down the choices for design development.
While the initial stages of the design process encourages divergent thinking about the problem, this
latter phase requires a convergent focus on a specific design solution.
Implementation: Final Drawings:
Once a final decision has been made, the design proposal is developed, refined, and prepared for
implementation. This includes the production of working drawings and specifications, and other
services related to purchasing, construction, and supervision. No design process is complete until a
design solution which has been implemented is evaluated for its effectiveness in solving a given
problem. This critical appraisal of a completed design can build up our knowledge base, sharpen our
intuition, and provide valuable lessons that may be applied in future work. One of the idiosyncrasies
of the design processes is that it does not always lead simply and inevitably to a single obvious,
correct answer. In fact, there is often more than one valid solution to a design problem. How then can
we judge whether a design is good or bad?
A design may be good, in the judgement of the designer, the client, or the people who experience
and use the design, for any of several reasons:
 A design may be good because it functions well- it works.
 A design may be good because it is affordable – it is economical, efficient, and durable.
 A design may be good because it looks good – it is aesthetically pleasing. At times we may
judge a design to be good because we feel it follows current design trends – it is in fashion – or
because of the impression it will make on others – it enhances our status.
 As the foregoing suggests, there are several kinds of meaning which can be conveyed by a
design. Some operate at a level generally understood and accepted by the general public.
Others are more readily discerned by specific groups of people. Successful design usually
operates at more than one level of meaning and thus appeal to a wide range of people.
 A good design, therefore, should be understandable. Knowing why something was done helps
to make a design comprehensible. If a design does not express an ides, communicate a
meaning, or elicit a response. Either it will be ignored or it will be a bad design.
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GLOSSARY
1) Imperative- giving an authoritative command.
2) Constraints- a limitation or restriction.
3) Adequately- satisfactory or acceptable in quality or quantity.
4) Rational- based on or in accordance with reason or logic.
5) Convergent- approaching a definite limit as more of its terms are added.

1) First stage of any design process is to client.
2) Design brief contain , which creates a need.
3) Various methods of collecting data include & .
4) A design is considered good when it , &
_ .
5) After analaysing & collecting ideas is done.
2) Brief Question:
1) “Analysis” is a very important stage in design.comment.
2) Elaborate various methods for collecting data.
3) Essay Type:
1) What are different stages of design & why are they needed. How they help in designing.
2) Write a brief note on “Last stage of design process, i.e. implementation”.
4) Practical:
No practical Sheets.
5) Field Work:
No field Work.
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Element |5
Color And Significance
Learning Objective:
To understand how color affect the character of a room. To know how colors can hide the defects of a
structure.

Introduction:
Colour is one of the most vital tools in the hands of an Interior Designer. It is the most perceptible and
prominent aspect of any interiors, and hence is central to the success or failure of a design scheme. It
is therefore very important that an Interior Designer has the full knowledge and understanding of this
tool.
Experience of Colour:
Touching, tasting, smelling, hearing, and seeing—these are the ways we get our information about
the world, about where we live and where we work. But the world of humans is primarily a world of
sights, with 90 percent of what we know of the world coming to us through our vision.
What we see is colour. Objects, landscapes, faces all register in our brains through the light that
enters the eye, sent to us from a luminous —or light-producing—object (such as a red-hot iron or a
glowing incandescent light) or as light reflects off a non-luminous object (such as a tree or a table).
The eye‘s retina absorbs the light and sends a signal, or sensation, to the brain. This sensation makes
us aware of a characteristic of light, which is colour.
The visual equipment we use to see light and its characteristic colour is the same for everybody, and
when it‘s working, it works very well—the human eye can distinguish over 10 million different
colours. However, colour does more than just give us objective information about our world: It affects
how we feel. To know this, we need only recall how a string of grey, overcast days lowers our spirits
or how working in a drab, dull room leaves us listless. With so much of what we know and feel
coming from what we see, you‘d think we‘d all be experts on colour. In a way, we are. No one has to
tell you what you‘re seeing or how you‘re feeling as you sit in the glow of a late summer sunset. But
how would you describe the pink of that sky? Dazzling? Fleshy? Glistening? Iridescent? The qualities
we assign to our perceptions of colours—to the way they make us feel—are called indeterminate
attributes. They cannot be measured; rather, they arise from our intuitive experience of colour.
These indeterminate attributes provide the mystery of colour and range from the poetic language we
use to express our perceptions of colour to the psychological effects of colour on our mood.
Determinate attributes are another matter. They can be measured by various instruments and
include hue, value, and chroma—(as some describe them) warm/cool, light/dark, and brilliant/dull
colours. They have given rise to optics, a branch of science that analyses the mechanisms we use to
perceive colour—the rods and cones on the eye‘s retina—and colourimetry, which measures the
colour systems developed to precisely communicate colour.
The mystery and the mechanics of colour are tightly entwined. We seldom see a single colour in
isolation, completely independent from the influence of other colours or other external factors, such
as the light source, the surface of the object, and the surrounding objects. Also, we never perceive
colour without the modifying influences of psychological and symbolic factors. In other words, our
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response to colour depends on who we are and what our culture tells us certain colours should mean.
As simple as it may seem on the surface, colour has a depth that is worth fathoming. The more we
understand colour, the more we can appreciate the joy it brings to our lives and the better use we
can make of it. That use can be as focused as knowing what to put on in the morning in order to look
our best or as broad as knowing how colour in environments, particularly the office, can influence
motivation and performance.
1) Sensing colour:
Walk into an office and what do you see? Well, if your eyes are open, in one sense you see
everything. Natural light streaming in through the windows and artificial light from lamps flood
into your eyes and bounce off everything in the room and then into your eyes. But in another
sense, you see only what you want to see—the carpet, done in the same lush green as the one
you just installed in the family room; the fluorescent blue of the pin the receptionist is wearing on
her red dress; the curious yellow of the reception seating fabric. Light allows us to sense colour.
To a large degree, sensing colour depends on four key factors:
1. The spectral energy distribution of the light, i.e., the conditions under which the colour is
perceived;
2. The spectral characteristics of the object in terms of how much light it absorbs, reflects,
and transmits;
3. The sensitivity of the eye in registering light and then turning it into electrochemical
impulses and sending them via the optical nerve to the brain; and
4. The psychological factors, namely the experiences and the personality of the viewer, all of
which affect how colour is perceived.
2) Surfaces Define the Colours We See:
The second factor influencing our perception of colour is the spectral characteristics of objects,
some mes called ―surface‖ and ―surround.‖ How a surface reﬂects, absorbs, or transmits light
and how the colours and textures surrounding the surface influence its colour give us the
information we need to understand the objects we perceive.
They help us know an object‘s shape and location, although the interaction of surface and
surround can also distort our perceptions— as when a yellow office makes the faces of the
people who work in it appear jaundiced.
3) The Eye Records colour Stimuli:
In considering the third factor upon which our perception of colour depends— eye-brain
neurology—the focus turns from the world around us to the world within. Light, whether from a
luminous object or reflected from the surface of a non-luminous object, enters our eyes and
photochemically activates key nerve cells on the retinas known as rods and cones.
Rods operate at low light levels—for example, at night or in a darkened, windowless room—and
sense blacks, whites, and greys, also called achromatic colours because they have no hue (the
property of colour that is perceived and measured on a scale ranging from red through yellow,
green, and blue to violet). The cones in our eyes operate at higher light levels—for example,
during the daytime or in a lighted room—and sense chromatic colour, or hues. When the cones
are active during the day, the rods are dormant. At night, the rods take over and the cones rest.
4) Three Types of Receptors Produce Our colours:
Humans see colour with three types of reception systems (red/green-, yellow/blue-, and
black/white-producing) from three types of cone photoreceptors (red/blue/green-making).
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Because we create all the colours we see from red-, blue-, and green-sensing cones, humans are
known as trichromats. When one set of colour-sensing cones fails or is missing, a form of colour
blindness occurs—either monochromatism (when only one of the three photoreceptors works) or
dichromatism (when two of the three work).
5) Feeling colour:
Life would be dull if our brains merely registered the signals sent to them by the rods and cones
through the optic nerve. Instead, our minds bring memory, imagination, and reason to the
activity of sensing colour. According to art historian Rene Huyghe, ―from the moment the
sensation comes into consciousness it is connected in time with what no longer exists except in

memory. The sensation of colour does not just affect our psychology at the time when it occurs, it
connects with all of our experience in time.‖ To look without preconceptions, then, is virtually
impossible. Colour is something we see, but we adjust what we see based on our experiences.
Because our experiences occur within the context of the culture we live in, we develop symbolic
ways of sensing colour.
6) Colour and Object Become Cultural Symbol:
Symbolic ways of sensing colour are almost always tied to specific objects— white mourning
clothes in India, white wedding dresses in the United States—which is why one colour may have
widely different connotations from one culture to another, or even within the same culture. To
Americans, for example, black is a symbol of death, yet a chair upholstered in black leather
suggests affluence and sophistication. According to colourist and art educator Patricia Sloane,
―Response to colour symbolism is a response to colour preconcep on, and is a predetermined
response based on literary and psychological ideas about colour, rather than a response to the
nature of colour itself.
7) Two colours Can Mix and Appear Like a Third:
The third brain activity that influences our perception of colour—optical mixture—is the opposite
of simultaneous contrast. When an object‘s patches of colour are so small that they pass below
the threshold of conscious perception, we see the colours as optically mixed.Sometimes, as when
the two colours on a topspin too fast to be seen individually, we perceive a third colour. This also
happens when viewing a multicoloured brick building from a distance. The building appears to be
one colour, optically mixed.
Understanding optical mixture in interiors is necessary for determining where best to use
patterns, especially in regard to their scale and location in a room. Choosing a coloured pattern
without evaluating it in the position it will occupy in a space can be risky. A tack board covered in
a fabric with a small pattern may look red and blue close up, but from a distance the red and blue
will mix and the tack board will look purple among the other red and blue elements in the space.
That combination may not be what the designer intends at all, or it can be a way of achieving a
new colour without actually using it in the scheme.
8) Some colours Make Objects Appear Closer:
Spatial dimension, the fourth of these internal phenomena, occurs when our brains add or
subtract distance, depending upon the colours perceived. We tend to perceive warm-coloured
objects—red, orange, and yellow—as closer than cool-coloured ones—green, blue, and purple.
This may have more to do with the focal point at which we see the colours than with their
perceived ―temperatures,‖ however. Red, orange, and yellow may be ―warmer‖ in the sense
that they are closer to us, since red has a longer wavelength and therefore a closer focal point
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than blue does. The shorter wavelength of blue and its longer focal point may mean, ―cool as in
―distant.
Colour Vocabulary:
Hue: This is what we usually mean when we ask "what colour is that?" The property of colour that we
are actually asking about is "hue". For example, when we talk about colours that are red, yellow,
green, and blue, we are talking about hue. Different hues are caused by different wavelengths of
light. Therefore, this aspect of colour is usually easy to recognize.
Hue Contrast - strikingly different hues
Hue Constant - different colours, same hue (blue)
Chromaticity: Think about a colour's "purity" when describing its "chromaticity" or "CHROMA". This
property of colour tells us how pure a hue is. That means there is no white, black, or grey present in a
colour that has high chroma. These colours will appear very vivid and well, ... pure. This concept is
related to and often confused with saturation. However, we will continue to use these terms
separately because they refer to distinct situations, as explained here.
High Chroma - very shiny, vivid
Low Chroma - achromatic, no hue
Constant Chroma - medium chroma similar vividness despite differences in hue; less purity than top
mage.
Saturation: Related to chromaticity, saturation tells us how a colour looks under certain lighting
conditions. For instance, a room painted a solid colour will appear different at night than in daylight.
Over the course of the day, although the colour is the same, the saturation changes. This property of
colour can also be called intensity. Be careful not to think about SATURATION in terms of light and
dark but rather in terms of pale or weak and pure or strong.
Saturation Const. - same intensity, different hues
Saturation Contrast - various levels of fullness, same hue
Value: When we describe a colour as "light" or "dark", we are discussing its value or "brightness". This
property of colour tells us how light or dark a colour is based on how close it is to white. For instance,
canary yellow would be considered lighter than navy blue which in turn is lighter than black.
Therefore, the value of canary yellow is higher than navy blue and black. Click here to find out why
humans are very sensitive to a colour's VALUE/BRIGHTNESS.
Low Value, Constant - same brightness level
Contrast of Value - grayscale = no chroma
Contrast of Value - stark differences in brightness
Luminance: Although brightness is often used interchangeably with luminance, we prefer to use the
term "lightness." This concept deals with many of the same variables as value but using a different
mathematical equation. Check out our own definition of LUMINANCE/LIGHTNESS or more simply,
think about the colour Wheel as colours having equal luminance. Adding white will increase lightness
and adding black will decrease it.
Tints, Tones and Shades: These terms are often used inappropriately but they describe fairly simple
colour concepts. The important thing to remember is how the colour varies from its original hue. If
white is added to a colour, the lighter version is called a "tint". If the colour is made darker by adding
black, the result is called a "shade". And if grey is added, each gradation gives you a different "tone."
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Tints (adding white to a pure hue)

Shades (adding black to a pure hue)
Tones (adding gray to a pure hue)
Tints, Shades, Pastel Colours, Pastel Tints and Pastel Shades:
Tints: Tints are chromatic colours to which a quantity of white has been added. A tint, then, is a pure
colour to which only white has been added.
Shades: Similarly to a tint, a shade is formed by adding black only to a pure colour. Similarly, when
white is added to a dark colour it reaches a stage when it, too, becomes discordant. A shade, then, is

formed by the addition of black only to a colour.
Pastel Colours: Pastel colours are again pure colours but in this case both white and black have been
added in equal proportions. They become greyer, softer, subdued colours and are generally very
pleasant.
Pastel Tints: Having already dealt with tints it is quite easy to deduce that a pastel tint is a colour to
which has been added a mixture of both black and white. Black and white added in equal proportions
to a colour, as we have seen, produce a pastel colour, so to produce a pastel tint the proportion of
white must be greater than the black.
Pastel Shades: A pastel shade is formed in a similar manner to a pastel tint, except that in this case
the proportion of black must exceed the white.
5.2 The Munsell System Of Color:
The Munsell colour-order system is a way of precisely specifying colours and showing the
relationships among colours. Every colour has three qualities or attributes: hue, value and chroma.
Munsell established numerical scales with visually uniform steps for each of these attributes. The
Munsell Book of Colour displays a collection of coloured chips arranged according to these scales.
Each chip is identified numerically using these scales. The colour of any surface can be identified by
comparing it to the chips, under proper illumination and viewing conditions. The colour is then
identified by its hue, value and chroma. These attributes are given the symbols H,V, and C and are
written in a form H V/C, which is called the Munsell notation. Utilizing Munsell notations, each colour
has a logical relationship to all other colours. This opens up endless creative possibilities in colour
choices, as well as the ability to communicate those colour choices precisely.
Hue:
Hue is that attribute of a colour by which we distinguish red from green, blue from yellow, etc. There
is a natural order of hues: red, yellow, green, blue, purple. One can mix paints of adjacent colours in
this series and obtain a continuous variation from one colour to the other. For example, red and
yellow may be mixed in any proportion to obtain all the hues from red through orange to yellow. The
same may be said of yellow and green, green and blue, blue and purple, and purple and red. This
series returns to the starting point, so it can be arranged in a circle. Munsell called red, yellow, green,
blue, and purple principal hues and placed them at equal intervals around this circle. He inserted five
intermediate hues: yellow-red, green-yellow, blue-green, purple-blue and red-purple, making ten
hues in all. For simplicity, he used the initials as symbols to designate the ten hue sectors: R, YR, Y, GY,
G, BG, B, PB, P and RP. Munsell arbitrarily divided the hue circle into 100 steps, of equal visual
change in hue, with the zero point at the beginning of the red sector Hue may be identified by a
number from 0 to 100, as shown in the outer circle. This may be useful for statistical records,
cataloging and computer programming. However, the meaning is more obvious when the hue is
identified by the hue sector and a step, based on a scale of ten, within that sector. For example, the
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hue in the middle of the red sector is called five red, and is written 5R. (The zero step is not used, so
there is a 10R hue, but no 0 YR.)
Value:
Value indicates the lightness of a colour. The scale of value ranges from 0 for pure black to 10 for
pure white. Black, white and the grays between them are called neutral colours. They have no hue.
Colours that have a hue are called chromatic colours. The value scale applies to chromatic as well as
neutral colours.
Chroma:
Chroma is the degree of departure of a colour from the neutral colour of the same value. Colours of
low chroma are sometimes called weak, while those of high chroma are said to be highly saturated,
strong or vivid. Imagine mixing a vivid yellow paint, a little at a time, with a gray paint of the same
value. If you started with gray and gradually added yellow until the vivid yellow colour was obtained,
you would develop a series of gradually changing colours that increase in chroma. The scaling of
chroma is intended to be visually uniform and is very nearly so. The units are arbitrary.
5.3 The Color Wheel:

A colour circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Colour wheels
show how visible colours are related. Primary, secondary, and intermediate colours are organized on
a circular chart. Colour wheels help artists remember how to mix and think about pigments. Colour
wheels are based on colour theory, which is based on the physics of light. There are two common
types of colour: additive colour and subtractive colour. Additive colour refers to the mixing of colours
of light. The colour wheels above are examples of subtractive colour. Subtractive colour refers to the
mixing of colours of pigment, such as paint or the ink in your computer's printer. This type of colour is
what is used in the art and design world. When learning basic colour theory, students typically use
familiar colours like red, yellow, and blue.
The colour wheel is divided into 6 triangular segments. The three primary colours that occur in nature
(red, yellow, and blue) occupy 3 of the triangular segments. Each of the 3 primary colours, (red,
yellow, and blue) are then combined in equal amounts with their neighbouring primary colours, to
create the secondary colours:
Red + Yellow = Orange
Yellow + Blue = Green
Blue + Red = Purple
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This image shows pure red, orange, yellow, green, blue, and purple, as they exist in the centre band
of the colour wheel. The colour wheel accounts for the need to create shades of these colours by
adding light to colours as they extend outward from the centre band of the colour wheel, and
removing light from colours as the extend inward toward the centre of the colour wheel. The point at
dead centre inside the colour wheel, the point where light no longer exists, is pure darkness or pure
black. The area outside the confines of the colour wheel, where light drowns out all colour, is pure
lightness or pure white.
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GLOSSARY
1) Vital- full of energy; lively.
2) Luminous- very bright in color.
3) Retina- a layer at the back of the eyeball that contains cells sensitive to light, which trigger
nerve impulses that pass via the optic nerve to the brain, where a visual image is formed.
4) Drab- lacking brightness or interest; drearily dull
5) Listless- lacking energy or enthusiasm.

1) Sensing color depend upon characterstics of the object.
2) Combination of any two primary colors forms colors.
3) Technical term for color is .
4) Adding white, black & grey in any line called , ,
& .
5) In pastel colors & colors are added in equal proprotions.
2) Brief Question:
1) What is Munsell system of color notation? Explain Its Importance.
2) Define the Valve & Chroma.
3) Essay Type:
1) Why it is important for an interior designer to have through knowledge about colors.
Explain with examples.
2) “Some colors can change visual dimension of an area”. Comment
4) Practical:
1) Draw a geometric composition using tints & tones.
2) Draw color wheel in ivory sheet & label primary, secondary & tertiary colors.
5) Field Work:
To understand the importance of colors in interior, students are instructed to collect pictures
from various books, magazines & make collage in any particular theme.
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Element |6
Color Schemes
Learning Objective:
To develop an understanding of how a color scheme is developed based on color wheel.
Introduction:

This image shows pure red, orange, yellow, green, blue, and purple, as they exist in the centre band
of the colour wheel. The colour wheel accounts for the need to create shades of these colours by
adding light to colours as they extend outward from the centre band of the colour wheel, and
removing light from colours as the extend inward toward the centre of the colour wheel. The point at
dead centre inside the colour wheel, the point where light no longer exists, is pure darkness or pure
black. The area outside the confines of the colour wheel, where light drowns out all colour, is pure
lightness or pure white.
Types of Colour Schemes Based on the Colour Wheel:

In reading the following, you may want to go back and look at the colour wheel to see where the
colours (also their tints and values) fall compared to each other.
Neutral colour schemes:

This colour scheme can be easier to live with than vibrant colour schemes. Neutral colours are often
used as background colours in rooms because they blend well with other colours. Touches of accent
colours are usually added in this colour scheme for interest.
Complementary Colour Schemes:

When schemes that are built around two colours that are on the opposite sides of the colour wheel,
the colours will intensify each other and make an exciting and stimulating room. Colours can be pure
and vivid or neutralized and muted. Examples: burgundy and forest green yellow and purple
Triad Colour Schemes :

This scheme is applied when a room's colours are based on three colours on the colour wheel that are
located at equal distances from each other. Colours can be pure and vivid or neutralized and muted.
Example: red, yellow and blue
Analogous Colour Schemes :

This colour scheme uses two or three adjacent hues on the colour wheel. It is a very harmonious
scheme and can be very restful. The accent colour in an analogous colour scheme is often a
complementary colour from the opposite side of the colour wheel. Colours can be pure and vivid or
neutralized and muted. Example: terra cotta, orange and gold
Monochromatic Colour Schemes:

This is when only one colour family is used in a scheme. Diverse tints and shades of one colour can be
used throughout the room. Colours can be pure and vivid neutralized and muted. Examples: white,
ivory and beige pale pink, rose and burgundy.
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Colour Facts:
If you want a room to appear larger - the floor colour should be similar to the wall colour. For
instance: a room with an ivory carpet will look larger with the walls painted the same shade of ivory.
A room with wood floors will look larger if the walls are painted in a shade (although you can go a bit
lighter) similar to the wood floor. This will create an unbroken line and will room will not seem as
fragmented. The darker the colour of a room, the more intimate and smaller the room will appear.
Light colours recede visually and will make a room appear more spacious. As an elderly person ages,
the lens of the eye yellows, therefore, when selecting paint colours an elderly person is seeing more
"yellow" in the colours than a younger person would. Warm colours typically have a yellow or orange
undertone to them and cool colours typically have a blue undertone. Example: Blue red (cool red) and
Orange red (warm red).
A room on the North side of a house will generally be more comfortable in a warm undertone colour.
A room on the South side of a house is more comfortable in a cool colour scheme.White will make
colours around it seem paler. Black makes adjacent colours appear darker and bolder. The same
shade of yellow will appear soft next to white, but can appear bright and vivid next to black. Matte
(non shiny) surfaces look darker because they do not reflect as much light, while shiny, high gloss
surfaces appear lighter.If you want to look great all the time, paint all your walls in your house peach.
This isthe most complimentary colour to all skin tones. Think about how much candlelight helps!
Blue will tend to make the skin look pale and sallow. Blue also happens to be an unappetizing colour.
If you use it in your Kitchen, throw in accents of yellow or peach. However, blue is our favourite
colour (according to colour research) and is perfect for the bedroom because it is soothing and
calming. Orange has the unhappy honour of being our least favourite colour - but this is only true in
its vivid and strong value. Generally people are very fond of terra cottas and peach. Colours in the
yellow or orange family may become too glaring and bright if used in a pure, vivid colour over an
extensive area. It may be wise to go a bit more neutral in an orange or yellow colour than you
originally intended.
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Tips on Using Colours:

If you're frustrated when attempting to select a colour scheme for a room, let any favourite fabric,
print or even a scarf be your inspiration. Begin by pulling 3 to 4 colours you like from the print by
matching the colours to paint chips. Decide which colours you will use on the flooring, wall colour,
upholstery, etc. Whether you use the actual fabric in the finished room doesn't matter, but by pulling
a few colours from the print you have the benefit of an exciting colour scheme.
Walls & Colour:
Walls are an extremely important part of a room. The colour or pattern you use on the walls can

easily become the dominant part of a room, because of the large amount of space covered. Decide if
you want the pattern in a room to be on the walls, the furniture, a rug, or a lavish window treatment.
Typically, two very bold patterns in one space will fight each other and will not create a harmonious
room. When you think of colour on the walls, don't rule out all the possibilities. You can expand the
feel of a room and add architectural interest to a plain room by adding a mural to the space, such as
the tree and faux stone door moulding added to the kitchen wall below.
Flaws in the wall can be disguised (or, unfortunately, can be amplified) depending on the sheen of the
wall finish. The flatter or more matte the finish, the less the flaws in the plaster or drywall will show.
If there are quite a few bumps or ridges in your dry wall surface, you should go with a flat or satin
finish, avoiding any shine. Flat and matte paints also allow furniture and wall decorations to become
the focal points in the room. Entrances, foyers, guest baths and corridors are transitional parts of the
house, and those walls can be bolder or darker than areas in which you spend a great deal of time. A
bolder or darker colour will also help a small space make a bigger visual impact. If you have a dark
room that doesn't receive much sunlight, paint the walls in a light colour satin or semi-gloss paint.
The reflective surface, along with a lighter colour, will reflect more light into the room.
Ceilings & Colour:
There are many ways to alter the perception of the height of a room. Ceilings have traditionally been
painted white to create an illusion of more height. However, if you do not want more height, then
consider painting the ceiling a darker colour. Always paint the ceiling before the walls. If you paint the
walls first, it is extremely hard to keep ceiling drips and splatters off of the wall surface. In a child's
room, it is a nice touch to paint the ceiling in a deeper colour. This will make the ceiling seem lower
and the room will be a more intimate space for a child. Consider painting a faux sky or cloud effect on
one of your ceilings. This paint technique is especially nice in bathrooms and bedrooms. If you have a
low ceiling you would like to visually lift, paint the wall from floor to ceiling in one colour. If there is a
chair rail or dado, use the same colour or pattern on the wall above and below the moulding and
paint the chair rail in a colour close to the wall colour. If there is large crown moulding, you can paint
or stain it the same colour as the wall which will also make the room appear to have more height.
Window Treatments & Colour:
Windows are a natural focal point in a room. Depending on your furniture arrangement, window
location or view from the window, you may want to either enhance the window as a focal point or
have it blend into the background of the room. If you have a beautiful view, use window treatments
to frame the view, without covering it up. Similar to how you would frame a work of art. Don't ignore
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the view, light or the colours in nature your home receives from windows and skylights. These
magnificent features that windows provide in a room should affect the colour and window treatment
choices you make. If you have multiple layers on your windows consisting of sheers, draperies and
top treatments, you can downplay the proportions and significance of the window by allowing all
layers to be of the same colour. To make the window a focal point, use contrasting colours on the
different layers. If you choose to have the window treatment blend in with the room's decor, the
fabric colour should be close to the same colour as he wall surrounding the window. This will also
help to make the room visually larger, because the wall will be an unbroken, continuous colour, even
with an elaborate window treatment. Regardless of the colour of your drapery fabric, always use a
white or ivory drapery lining. This will assure that the windows blend with each other on the exterior
of your home. Even coloured window blinds can give your home an inconsistent appearance on the
outside.
Before purchasing sheers, you should do the following to view their true colour, which may be
hidden. Roll the sheer fabric up in a ball, this will show the precise colour of the material. Ivory sheers
can have a hidden warm or a cool undertone colour that will become more obvious once hanging.
Furniture & Colour:
Don't be afraid to mix furniture styles and finishes within one room or space. Most homes that are
expensively decorated do not have matching pieces of furniture, but have unique pieces that
compliment each other. An eclectic design style may seem to some as the easiest style to pull off,
because anything goes. To others, a traditional room is the simplest, because there are rules and
guidelines to follow. Whatever your style, the following tips on using colour on furniture will help you
make decisions. For seating, a textured or patterned upholstery is best to hide soil and can also pull
together your colour scheme. However, a solid colour or small print upholstery will make the room
look larger. Small patterns and muted colours on furniture will create a more restful environment,
while bold patterns and vivid colours will create a room full of energy.
Furniture that is upholstered in dark colours, heavy textured fabric or skirted with fabric will look
more massive and can crowd a small room. Furniture in light colours, smooth textures and exposed
legs will tend to give even a small room a light, airy appearance. If you would love a white sofa, but
have small children or pets that make it impractical, use white accent pillows and throws on a neutral
beige sofa instead. All the wood on furniture in one room does not have to match exactly, in fact, it
usually looks more interesting to have a mix of woods and stains. Just make sure the woods
undertones complement each other. The orange undertones of oak next to the burgundy undertones
of mahogany may not blend well to your eye.
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ANALOGOUS
Complementary
Monochrome
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Triad
Neutral Color
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GLOSSARY
1) Vibrant- full of energy and life.
2) Stimulating- encouraging or arousing interest or enthusiasm.
3) Harmonious- free from disagreement or dissent.
4) Amplified- enlarge upon or add detail to.
5) Massive- exceptionally large.

1) Colors are generally used as backgrounds.
2) Complimentary color schemes include any colors of color wheel.
3) Schemes involve thress colors, placed equidistance in color wheel.
4) In Analogous color schemes three Hues on the color wheel are involved.
5) & colors schemes affect the temperature of the
room.
2) Brief Question:
1) Explain the importance of color schemes in interiors.
2) What are the factor kept in mind while choosing color concept for a kid’s bedroom.
3) Essay Type:
1) Explain in detail any 3 color schemes based on color wheel.
2) “color schemes can create optical illusion”. Comment
4) Practical:
Draw & color composition with any 4 color schemes.
5) Field Work:
No field work.
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SIDI Essentials
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Element |7
Color Psychology
Learning Objective:
To understand how color affect the psychology of the viewer & what effects are produced in a space
by using different colors.
Introduction:

Colour is the single most powerful decorating tool. Colour can affect your mood, make rooms appear
larger or smaller, provide continuity or jumble, and provide welcoming warmth or alienating cold.
This is a lot of pressure to put on selecting your colours! First, colours can evoke emotions and
moods. Colour conveys moods that affix themselves quite automatically to human feeling. Some of
the responses to colour are inborn, while other responses are cultural perceptions or personal
preferences. We'll review some basic colour rules, but remember that these are only guidelines, and
that your personality and cultural upbringing can influence your perception of these colours.
RED: The colour Red has been part of the English language since about A.D. 900. It is the primary
colour at the lower or least deflected end of the visible spectrum. Its name is used for shades ranging
from very bright, bold red, to reddish yellow or reddish brown. Found not only in the lores of ancient
medicine but in the superstitions of modern times, red has been viewed as the vigorous colour of
health. The colour red has also been a representation oflove within a relationship between two
people. A red rose, given to the bearer's lover ormate has always been known as a symbol of love.
Want to spice up your bedroom? Paint a wall red! Red can add drama to a room by creating a hot
focal point, perfect when used sparingly in bedrooms, kitchens, and vibrant living spaces. However, if
you want a room to provide peace and comfort, the drama of the red colours can upset the balance.
ORANGE: Orange is the only colour of the spectrum whose name was taken from an object, the well
known and popular fruit called the orange. On the visible spectrum this reddish-yellow colour lies
between, red and yellow the two colours that when blended together are the creators of the colour
orange. In folklore the colour orange stands for fire and flames, lust, vigour, excitement, adventure
and wholesomeness. Orange is an active colour denoting motion and unrest. Used in softer shades it
can be used as an accent colour to create a cool trendy décor, think of pumpkin, terra cotta, and
peach.
YELLOW: The bright golden colour yellow lies between green and orange on the visible spectrum and
is, along with red and blue, one of the primary colours. In heraldry, where it is called or (for gold) the
colour yellow stands for the positive virtues of faith, constancy, wisdom,and glory. It also has been
thought of as being a colour that represents playfulness,light, creativity, warmth and an easy going
attitude about life. The colour yellow also has many negative associations as well. Among them are
jealousy, treachery, cowardice, aging, and illness. Yellow is the colour of the sun, stimulating and
comforting all at the same time. Yellow, and related tints such as cream, brown and beige, represents
a good base colour, balancing feelings of activity with tranquility. However, we have seen this colour
at times overused, with various shades of beige and yellow room after room. In homes with this
colour scheme, the mood can be shallow, unless dramatic artwork and furniture, or more substantive
shades such as red or blue accent walls are added to liven up the monotone appearance.
GREEN: Green is the colour of freshness and renewal, and has been in Western culture since the
earliest of times. Reappearing in spring time, after the dull, seemingly colourless winter, it became a
symbol of fertility and growth, of abundance and external life. The colour green represents harmony,
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nature and radiates a feeling of fullness. On the visible spectrum green lies sandwiched in between
blue and yellow. Green is thecolour of the forest and meadows, and as such, provides natural, restful
comfort. Green acts as a great colour for blissful bedrooms, family and living rooms, providing a place
of peace, rest and relaxation. Green is perfect for balancing the power and heat of red, particularly
with yellow-greens like sage, celadon, or avocado. It can also be used to transition the depth of true
blues by creating turquoise or aqua.
BLUE: Traditionally blue is the colour of constancy and faith, the colour painters used for the Virgin
Mary's robe, the colour of the heavens and the oceans. The soothing colour blue stands for
sensitivity, peace, loyalty and ones desire to nurture. Blue is the colour of the ocean and the sky,
generating moods of coolness and rest. The colour is associated with sensitivity and thoughtfulness.
Many corporate logos use blue to denote feelings of depth and stability. Blue can be used as an
accent to relax the heat of red, orange, or yellow colour schemes. Used in dark shades with
abundance however, the colour can cause a room to look small, and produce melancholy in your
guests.
PURPLE: The colour purple is symbolic of power, leadership, respect and wealth and has been worn
by emperors, military commanders, and other high ranking officials. violet has traditionally been used
for celebrations, ceremony and royalty. It is the coolest of colours in the spectrum. Violets and
purples can add a twist of the unexpected to a neutral room. However, violet is difficult to work with
to create the correct blend and mood, so if you are wanting to add violet colour and accents, consult
with friends or even a professional to be sure the effect is as intended.
BLACK: Literally, black means absorbing all light, without reflecting any of its rays. Despite the
colour's many negative associations, in heraldry black, called sable, also stands for virtues of
constancy, prudence and wisdom. Black - black is actually not a colour, but the absence of colour.
When light hits a black object, none of the light is reflected back, it is absorbed. Black is a very
modern and stylish colour creating a dark, mysterious mood. However, for those mysterious amongst
us we should remember that black absorbs light, and when used in abundance such as on a large sofa
or a wall covering, it will make a room appear smaller and require significantly more lighting. It is for
this reason that we suggest using black sparingly, for accent furniture and accessories.
WHITE : is the "colour" produced by reflecting almost all kinds of light found in the visible spectrum.
This is why white clothing is considered cooler than other colours on a hot summer day; since it
reflects back sunlight (and heat) rather than absorbing it; as black does. The colour white projects
feelings of calmness, relaxation and an inner peace with ones surroundings and inner soul. White is a
combination of all colours. When light hits a white object, as opposed to black which absorbs all of
the light, the white object reflects all of the light. White is the colour purity, peace and joy. White
rooms appear larger, requiring less artificial light to create a bright airy feeling GREY is a non-colour, a
combination of black and white. Grey is a shade that needs to be used carefully, although it will not
make a room appear dark, too much grey within a room will have a dull, monotonous feel. Grey is
easy to use as an accent, such as on a wall, combined with colourful more dramatic art and window
treatments.
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GLOSSARY
1) Jumble- mixes up in a confused or untidy way.
2) Affix- an addition to the base form.
3) Superstitions- a widely held but irrational belief in supernatural influences.
4) Spectrum- a band of colors, as seen in a rainbow, produced by separation of the
components of light by their different degrees of refraction according to wavelength.
5) Constancy- the quality of being faithful and dependable.


1) Blue is color of & .
2) Is a primary color at the least deflected end of visible spectrum.
3) Purple color is symbol of & .
4) Is a color produced by reflecting all kinds of light found in visible
spectrum.
5) is most heat absorbing color among all visible spectrum.
2) Brief Question:
1) What is the difference in psychology of red & blue.
2) “Orange exhibit the properties of both red & yellow equally”. Comment.
3) Essay Type:
1) What is color psychology? How it helps in selecting colors for interior.
2) Write a brief note on “Last stage of design process, i.e. implementation”.
4) Practical:
Form a single compositon & illustrate psychology of colors by repeating the composition
with various colors.
5) Field Work:
Make a report on color psychology on basis of interview of random peoples by asking their
point of view for different colors.
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About SIDI Primary Study Material

At SIDI the process of learning follows the natural

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Wish you all the best and

for the programme One Year Diploma in Interior Design

First Edition , 2015

First Print Volume : 100 copies

Graphics and Lay Out

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Role and work of Interior Designer

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required by professional practice or regulatory approval. Identify qualified vendors. Prepare

1.2 Interior Design as a Career:

Areas of Design Specialization:

Skills for Success:

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1.3 Interior Design as visual art:

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1) Integrate: Combine one with other to form a whole.

Structured Element Assessment

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 Diagonal lines suggest a feeling of movement or direction. Since objects in a diagonal

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Textures are of many kinds:

Structured Element Assessment

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1) Equilibrium- a state in which opposing forces are balanced.

Structured Element Assessment

1) Multiple Choice Questions:

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 Furniture might be indicated in some areas

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Structured Element Assessment

1) Multiple Choice Questions:

Color And Significance

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Tints (adding white to a pure hue)

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5.3 The Color Wheel:

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Structured Element Assessment

1) Multiple Choice Questions:

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Types of Colour Schemes Based on the Colour Wheel:

Neutral colour schemes:

Complementary Colour Schemes:

Triad Colour Schemes :

Analogous Colour Schemes :

Monochromatic Colour Schemes:

Tips on Using Colours:

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Structured Element Assessment

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