Basic
elements and principles of design
When thinking about interior design, words
like creativity and flair immediately spring to mind. However, you would be
surprised to find there is a degree of science involved. Professional interior
designers will usually follow a set of informal rules, based on specific
interior design principles and elements. These interior design elements include
space, line, forms, light, colour, texture and pattern; and keeping them
balanced is the key to creating an aesthetically pleasing interior. Besides
enhancing the appearance of a room, getting these elements to work together in
harmony also brings an increased functionality. Therefore, an interior designer
assesses a room according to these interior design elements, and applies them
to disguise or enhance the various features or flaws of the space. As a
minimum, the ensuing elements must always be considered in the creation of any
interior.
Space
The foundation of an interior, space is a
fundamental concept to comprehend, ensuring you are best equipped to take advantage
of what is available to you. The available ‘space’ usually cannot be easily
changed; though sometimes a designer may have the luxury of doing so, thus, the
need to work with what you have within the physical boundaries of the room. In
interior design one has the luxury of working within three-dimensional space - length,
width and height. This three-dimensional space can be filled or left
empty, depending on what you need to achieve from a functionality and design
perspective.
Space can be divided into two categories: positive
and negative
space. Positive space is space containing objects, whilst negative
space is the open/empty space including any space between objects. Striking a
balance between the negative and positive spaces of a room is essential to
avoid overcrowding, or on the other end of the spectrum, sparseness. This
balance will be influenced by the client’s needs in the specific area/room and
its required functionality. For instance, negative space is required for
traffic paths. It is also crucial to consider the scale and size of the
furniture and objects placed in a room, as this can be used to make the space
appear larger or smaller given the desired outcome. A tall object such as a
bookcase can give the illusion of height.
Different design styles will lend themselves
to different uses of space. For instance, a minimalist design will have far
more negative space than an average eclectic design. However, no matter what
your design brief is, how they are used and balanced with the space available
can be the difference between hitting the mark with your design concept or
missing out on your next commission.
Line
All lines create movement. Lines can be real
lines or implied and they occur everywhere in design, including doors, windows,
columns, arches, paneling, flooring, furniture, wallpaper and fabric. Too many
lines make a room look too busy; too few lines leave a room looking empty. Line
contributes towards the overall mood created in any arrangement to either
create harmony or contrast.
Lines can be associated with the position of
the human body. Horizontal lines suggest tranquility, firmness and serenity.
They are found in tables, low-backed chairs and bookshelves, and balance the
severity of the vertical lines. Vertical lines suggest life, activity and
dignity, like when a person is standing and ready to act. They create an
illusion of height, as in draperies and doorways. A diagonal line suggests
movement and energy, as when a person bends forward to run. They give a feeling
of sophistication and refinement to a room, as in staircases and in some
fabrics. A curved line seems gracious and flexible, relaxed. They are found in
tied-back curtains and in the legs and corners of furniture. Line can be a
unifying factor in home decoration. Horizontal, vertical and dynamic lines help
to shape a room and guide the eye.
Creating lines using the room’s furnishings and structural design can
form harmony, unity and contrast.
Horizontal lines, created by tables and other surfaces, give a
sense of stability, formality and efficiency. Interior designers highlight
horizontal lines to make a room appear wider and longer, and to draw the eye to
a focal point. But be careful, overemphasis of horizontal lines has the ability
to make the space seem boring and uninspired.
Vertical lines, created by features such as windows and
doorways, evoke feelings of freedom and strength. On a functional level,
accentuating vertical lines often gives the illusion of a room being taller.
Often suited to use in dining rooms, entries and offices, vertical lines must
be incorporated wisely so as not to leave inhabitants feeling uneasy.
Dynamic lines refer to diagonal, zigzag or
curved lines. Such lines can be found in stairs, for
example, and provide energy and movement. Stimulating to the eye, dynamic lines
capture our attention longer. However, too many dynamic lines in one room can
be distracting, and overpower horizontal or vertical lines.
Ideally, interior designers will strike a
balance with the incorporation of different lines. This is typically done by
selecting one dominant feature line, in accordance with the client’s brief and
the desired feeling they wish to convey in the space.
Form
Form is the shape of the room, as well as any
objects within the room. In other words, it relates to the physical form of
anything that is three dimensional. Forms can usually be described as either
geometric or natural. Geometric refers
to hard lines and square edges, often looking man-made, while natural relates
to more organic forms that seem to be created by nature. Forms can also be open – objects that can be
looked into or closed – self-contained.
Form is sometimes referred to as area or
shape. It is closely related to line, as in combination they create certain
effects in the overall design of a room. Lines joining together define the form
or shape of objects. The most common shapes found in homes are squares,
rectangles and triangles – created by straight lines – and circles and ovals –
created by circular lines. The square represents the pure and the rational;
like the triangle, it is a stable, serene figure however it becomes dynamic
when standing on one of its corners. All rectangles can be considered to be
variations of the square; nevertheless, rectangular shapes are more pleasing to
the eye than square ones.
Rectangular shapes are clearly the norm in
architectural and interior design, however too many rectangular shapes can
become boring. Add interest by varying their size, proportion, colour, texture,
placement or orientation. The triangle represents stability, but it is also a
dynamic shape because of the different angles formed by its sides. A triangle
resting on one of its tips implies motion, too. The circle is a compact shape
that represents unity and continuity; although it is normally a stable shape,
it can appear to have motion when combined with other lines and shapes.
Curvilinear shapes, like curved lines, express softness and fluidity.
Nonetheless, too much variety in form creates
chaos in interior decoration. Without the beauty of form, excellent colour,
texture and decoration are of no use. Furniture form should echo the
architecture. Tall straight slender chairs seem formal, and fit well in an
elegant high-ceilinged room while short, squat, curvy chairs seem casual and
fit in rooms with lower ceilings and relaxed mood.
Another thing to take into consideration with
form is the proportions and scale of the room compare to the objects being
placed within it. Adding forms of similar shapes can create harmony and balance,
while adding too many differing shapes can have a confusing result. A space is
typically more pleasing if the dominant form is repeated in minor objects
throughout the room.
Light
Natural or man-made light is a critical aspect
of any space. Without it, all of the
other elements would not be able to shine to their full potential. Light can be
broken into the categories of task lighting (defined purpose), accent lighting
(emphasizing objects) and mood lighting (adding ambience).
When considering lighting, it is important to
address the activities that will be undertaken in the space. Both the quality
and quantity should be assessed here. For example, an office will require
bright lighting so that the workers can see clearly and act alert. On the other hand, living room
lighting can be applied with a softer touch.
Applying a dimmer has the ability to make a space much more versatile. Natural
lighting should always be taken into consideration, and can be manipulated
through clever placement of doors, windows and even mirrors. Beyond its
functional purpose, light has the ability to set the mood and atmosphere of a
space while defining colour, line and texture. Plus, any good interior designer
also knows that the lighting fixtures are a visual feature in themselves, which
can add the right touch to any design.
Colour
Colour is a science all on its own, and is
another extremely important element that interior designers master. It has the
ability to create mood, define unity and alter the perception of how large or
small a space is. The psychology of colour should not be underestimated, and
will be used to full advantage by any skilled interior designer. Colour can evoke memories and stir emotions,
stimulating a physical and psychological response in our bodies. For instance,
greens and blues entice calmness and are suited to bedrooms, whereas red
entices appetite and therefore often features in kitchens.
Chromatics: The Science. The study of colour is called
chromatics and it is a very complex process involving how our brains perceive
light waves. All we need to know about the science is that light is broken up
into colours like a rainbow. When we bend a rainbow into a circle, we have a
colour wheel. The colour wheel makes seeing colour relationships much easier.
Hue: The name of the colour; red, yellow and blue are hues or names of
colours.
Primary: All other colours are made from red, yellow and blue.
Secondary: If you mix equal amounts of any two primary
colours, you will get a second group of hues known as secondary colours –
green, violet and orange.
Tertiary: When primary and secondary colours are mixed,
a third group of colours known as intermediate or tertiary are produced. These
have hyphenated names, for instance, yellow-green, blue-violet and red-orange.
Value: Value is the lightness or darkness of a colour, in relation to black
and white. The nearer to white, the lighter or higher in value. As it
approaches black, it becomes darker or lower in value.
Tint: If a colour has had white added, it is known as a tint. If you add
white to red, you get pink, a tint of red.
Shade: If a colour has had black added, it is known
as a shade. If you add black to blue, you get navy, a shade of blue.
Intensity: This is trickier. Intensity refers to the
amount of pure colour. A colour on the wheel is an intense or pure colour. A
colour is made less intense by adding its complement (the colour directly
opposite it on the colour wheel). If these two colours are mixed in equal
amounts, a neutral or grey colour will result. Colours can also be greyed by
adding grey.
Tone: A colour which has been greyed is known as a tone. (One of North
America’s most successful paint companies has built their success on their
expertise with tones when creating new colours)
Warm colours are reds and yellows. Cool
colours are blues and greens. If you draw a line down the middle of the colour
wheel, one side is warm and the other cool. Every warm colour has a cool
compliment. Mild warm colours stimulate; intense ones motivate. Warm colours
are relaxing, friendly and more informal. They advance toward the viewer, speed
up heart rate and create excitement. Cool colours are more refreshing and
emotionally distant. They seem to recede from the viewer, slow the heart rate
and relieve tension. Mild cool colours soothe; intense ones sedate.
Scheme: Colour Schemes: A combination of colours. Decorators talk about colour
schemes in terms of where colours are in relationship to other colours.
Monochromatic: One-colour schemes, a single colour or tonal variations.
Complementary: Complementary colours are opposite each other
on the wheel. When using two complementary colours together, it works best to
use more of one complementary colour than the other because equal amounts
create tension. Red and green are complementary and unless you are making
Christmas decorations you need more of one than the other to create a pleasing
colour scheme.
Analogous: Colours are next-door neighbours on the
colour wheel like red and yellow. Mix them together and you have orange.
Because they are so closely related they work well together.
Triad: Uses three colours the same distance apart on the wheel, for example,
orange, green and violet.
Colour can help you create a
desired mood in interior design.
White
You can use the colour white to
create a fresh, clear, serene atmosphere. The colour white can make a room seem
larger than it is. You do not need a lot of white to take advantage of its
dramatic effects. White accents like door and window cases can perk up the look
of the whole room. Too much white, especially with a modern decor can look
sterile and high-maintenance. White can create a crisp, clean feel in your
room.
Grey
You can use the colour grey to
lend an elegant formality. It is the colour of understated elegance. However,
you need to be careful
with the shade of grey used. It
can have an undertone of yellow, brown, blue or green and can look quite muddy
when used with the wrong colours. Try to find a clear grey that contains only
black and white. Grey can create a subtle, sophisticated look for your
room.
Black
Black gives an air of
sophistication and elegance to any interior design scheme. Used wisely, black
can act like “eyeliner” for a room drawing attention to details like picture
frames, small furniture or the pattern in a cushion or upholstery. Black can also
vary in shade or intensity so try to keep your blacks the same for an elegant,
bold look in your room.
Brown
You can use the colour brown to
create warmth and depth in your room’s design scheme. Brown consists of a
mixture of colours, and so doesn’t actually have a spot on the colour wheel.
Nature is full of the colour brown and in most parts of the world, brown is the
colour of the earth or soil itself. The many shades of brown can be a source of
rich, organic and warm interiors.
Orange
Orange is generally experienced
as the warmest colour on the colour wheel. It is emotionally stimulating,
energetic, vibrant and fun. However, the effects of orange are much gentler in
its pastel, and earthier shades like peach and terra cotta. Use orange to provide
a warm, energizing feel to your room. Orange is generally experienced as the
warmest colour on the colour wheel. It is emotionally stimulating, energetic,
vibrant and fun. However, the effects of orange are much gentler in its pastel,
and earthier shades like peach and terra cotta. Use orange to provide a warm,
energizing feel to your room.
Red
Red is an extremely powerful
colour. It is the colour of blood and, therefore life itself. The colour red
often signals danger. Red is also a very immediate colour and appears closer
than it actually is. It is a favourite of the food packaging and restaurant
industry because it is believed to enhance our appetite. As with other colours,
the effects of the colour red depend very much on its intensity. Use it to
create a vibrant, stimulating feel in your room.
Pink
The colour pink is a “tint” of
the colour red, also called a pastel, a colour that has been mixed with white.
That is why it does not appear on the colour wheel but it is the only tint of a
primary colour with its own name. Pink has been considered a “girly” colour
only since the 1940s. Before that blue was the colour for girls! The colour
pink is described as soothing and comforting, however like red it comes in many
different hues. Use the colour pink to create a fresh, soft look for a room.
Purple
The colour purple has been the
colour of royalty since ancient times probably because the dye was once very
difficult and expensive to obtain (it was made from crushed mollusks!). The
psychological effects of the colour purple depend on how warm or cool it is.
Bluish purples can be serene, calming and a bit mysterious. Reddish purples can
demand more attention and dominate a room. Purple is a rich, satisfying complex
colour that can add real luxury to your room.
Blue
Blue is the universal
“favourite” colour. Probably because of the association with the sky and the
ocean, it has a calming effect. The colour blue can create a reflective,
intellectual atmosphere. It has been shown to lower blood pressure and heart
rate. Light blue can expand walls and cool down a hot, sunny room. It can
provide a meditative, spiritual environment. Use the colour blue to create a
cool, serene feel for your room.
Green
The psychological effects of
the colour green are similar to those of the colour blue. Green is perceived as
calming and reassuring. It is
the natural colour of safety, a
“feel good” colour. The lighting in a room influences any colour but none more
so than green. Colours change their personalities under different lights so
always test your green paint under all light conditions. Use the colour green
to create a gentle, relaxed feel in your room.
Yellow
People respond strongly to the
colour yellow and it tends to be a love it or hate it colour. But if you like
yellow, use it Yellow can add a burst of sunshine to any room and is often
described as optimistic and life-affirming. It’s not a good colour for a sunny
south-facing bedroom but yellow accents can be added anywhere. Yellow can
brighten any dark spots. Use yellow to provide a bright, cheerful feel to your
room.
When considering the colour of a room, first
think about what the room will be used for and the activities that will occur
in that space. Secondly, consider how both natural and artificial lighting will
affect your selected colour across the day and night, given that light can
alter our colour perception. Finally, consider the size of the space. Interior designers will often incorporate
lighter or brighter colours in smaller spaces to give the illusion of more
space. Darker colours can give a powerful dimension to a larger space.
Texture
Texture refers to the tactile surface of an
object or finish. It is an element that
is often overlooked, but has the ability to bring a unique dimension to the
room. Just like mixing colour and pattern, an interior designer mixes the
textures within a space to give a subtle sense of depth. Think glossy, coarse,
smooth. From furniture to accessories to fabric, texture has the ability to add
interest and detail, making it visually pleasing to the eye. In essence, it
gives a room feeling. Texture comes in two forms – visual texture and actual
texture. Visual texture refers to texture that is perceived by the eye. In
other words, this is the impression of texture one gets by only viewing an
object. This effect is usually found in
the form of pattern. Actual or tactile textures can be seen or felt and has 3D
characteristics. For example, a fluffy, colourful cushion can be appreciated
not only with the eye but also with touch. Texture is the surface
characteristics of objects, and appeals strongly to the senses of sight and
touch. Texture refers to the roughness or smoothness, shine or dullness,
softness or hardness. Texture gives character and beauty to objects.
Texture is not as visible as colour, so people
often do not notice texture until they feel it which can be surprising. Nubby
chenille, fine silk, rough hemp, cool marble and warm wood provide a tactile
experience and, like colour, are powerful mood-changers. Texture is very
important in a room with little or no pattern. Texture can be created in wall
finishes, rugs, woodwork, oil paintings or furniture etc.
Traditionally, texture is used in a room with a fine texture on the
ceiling so it never seems heavy, a medium texture on the walls (so they seem
supportive) and a heavier texture on the floor (hard, smooth, even and sturdy).
But you can be more creative with texture too. Consider the use of texture in
flooring: smooth ceramic tile, rough quarry tile, embossed vinyl, warm wood or
downy carpet. Walls and ceilings can be finished with bricks, wood paneling,
ceramic tile, wallpaper, grasscloth, stucco, mirror and fabric. Furniture
provides a huge range of options for texture: wool, velvet, linen, leather,
brocade, vinyl and cotton. Window coverings can involve many of the preceding
plus wood. Accents such as pottery, baskets, cushions and plants are other ways
texture can be added to your room.
Rough texture absorbs more light, and smooth surface reflects light. So,
in small dark rooms, smoother textured material should be used to reflect more
light, whereas large rooms with more light can show rough textures gracefully.
Texture is all about contrasts, and contrast means less unity. With less unity,
a space seems smaller so keep contrasts subtle in small spaces, but go bolder
in larger ones.
Generally, if there is a sense of something
missing in a room, a good interior designer will be able to distinguish that it
will be due to lack of texture. Texture plays a part in every object selected for
a room, and therefore is best managed with careful consideration from the
ground up. The placement of each object
in comparison to the texture of the object beside it will also add emphasis and
contrast to the finished design.
Pattern
Paired with colour, pattern offers a similar
use to texture in that it can add appeal to a room. A pattern is created by the use a repetitive
design and can be found in wallpaper, soft furnishings, rugs and fabrics.
Patterns come in various types, such as stripes, geometric, pictorial, organic,
motif and animal prints. When implementing pattern, it is best to firstly
consider the size and style of a room. Introducing pattern in a small room
should be done sparingly, to avoid overwhelming the space. However, as discussed in the element of line,
patterns that create vertical or horizontal lines can be used to give a
heightened sense of space. Complex patterns made up of contrasting colours and
lines can liven up a room, however they are best used in the form of a feature
wall. Large scale patterns can flourish in a large space and become a distinct
focal point to the room.
In regards to style, it is vital to know what
category the pattern falls into to ensure that the essence of the room is
maintained. For instance, for traditionally styled rooms, incorporate organic,
floral prints. For a contemporary touch,
geometric and abstract prints should be experimented with.
Fun to use and with an element of
functionality, patterns can bring a room to life. As a rule of thumb however, it is best to
include a maximum of three patterns, all drawing from the same colour scheme.
Mass
Mass is the bulk of an object
that occupies space. All objects have mass or bulk which refers to how much
space an object occupies, or seems to occupy, how much weight an object seems
to have. Often people perceive an object’s mass not by its weight or how much
space it actually takes up, but by its appearance. A couch with exposed legs,
for example seems to take up less space than the same couch with a skirt. A
dark-coloured object appears to take up more visual space than the same object
in a lighter colour. It is important to balance mass in a room by distributing
heavy-looking objects evenly throughout the room.
Balance
Balance is a sense that
everything in the room is placed properly. Balance is the appearance of equal
visual weight between areas of the decor. A feeling of steadiness is created
when the elements of a design are properly balanced. Large pieces of furniture
or groups of furniture on one side of a room need to be balanced with
furnishings of matching visual weight on the other side, or the room can seem
lopsided.
In formal balance, one side of the room or
furniture grouping is the mirror image of the other. Classical symmetry or
formal balance achieves a sense of proper relationship by having each half of
the room mirror the other half. Traditional and historic settings rely on
symmetry because it creates a dignified, stable and restful feeling.
Informal balance achieves a sense of steadiness by placing different
elements at uneven distances from the centre point. Asymmetrical or informal
balance calls for a perceived, not real, relationship of balance, and has two
unequal but balanced halves, for example, a heavier object balanced by a group
of smaller objects. Informal balance suggests movement and excitement, and is
used in more casual settings.
Focal Point
All compositions need a focal point. Think of
a focal point as home base where your eye can rest. A focal point occurs
architecturally with a fireplace, a bay window or a built-in wall unit. A focal
point can also be a beautiful view, a large work of art or a special object
like a grand piano. Use contrasting colours to make the focal point stand out.
For example, use a light wall colour behind a dark wood dresser. If an outdoor
view is a focal point, orient the furniture inside and outside to take
advantage of window areas. Remember to try choosing the ‘first thing’ you see
or the biggest item for a focal point.
Scale/Proportion
Decorating is about relationships and size is
always relative. We tend to compare the size of everything else to ourselves
and we need a certain amount of space around our bodies for physical and
psychological comfort. People consciously or unconsciously compare the size of
objects in a room too. In decoration, actual size isn’t as important as
relative size. Scale is the relationship between humans, objects and the space
they occupy. When the furniture scale is too small, you may feel like you are
in a large dollhouse, but when it is too big, you feel like you shrunk.
Throughout history high-end furniture tended to be quite large because it was
being made for the large high-ceilinged homes of the wealthy. In the past century,
more ordinary folks with more modest homes have been buying better furniture
and the scale has been reduced.
Rhythm
When you look at a room, your eye follows a
certain path around, and across the decor. It moves across lines, shapes and
textures. Your eye notices placement and colour. Rhythm is the quality that
makes your eye travel over the design along a specific path. In order to have
rhythm, you must have movement.
Repeated visual elements establish rhythm. It
is the way colours, patterns and shapes occupy a room. This constant eye
movement keeps the space interesting. The tempo can be lively and playful with
bright colours and patterns, or slow and restful with soft colours and
textures. Usually, curved or connected lines allow the greatest amount of
movement and rhythm.
Harmony/Unity
Harmony describes how various elements and
principles come together to make a totally unified look like when several
different voices come together to sing a song. Harmony refers to the blending of
elements, while unity refers to the overall sense of belonging together. All
the parts within a design must have at least one thing in common to look like
they belong together. When a design is not harmonious, the various items appear
to have fallen together accidentally without any purpose or forethought.
Harmony is the goal we keep in mind when adding each new piece of furniture or
accessory. We ultimately strive for “gestalt”, a German term meaning that the
whole is greater than the sum of the parts.
Contrast
Contrast places opposites side by side, such
as rough and smooth, hard and soft. Putting two elements in opposition to one
another, such as black and white pillows on a sofa, is an example of this
design principle. Opposition can also be implied by contrasts in form, such as
circles and squares used together. Contrast can be quite jarring, and is
generally used to enliven a space. Be careful not to undo any hard work you
have done by introducing too much contrast! Contrasts need to be balanced to
maintain a sense of overall unity.
High contrast puts two diametrically opposed
colours, textures or shapes together, for example, red and green, or satin and
stone. Low contrast uses subtler differences, for example, light blue and a
darker blue, or glass and metal.
Variety
Variety is the spice of life and the spice of
rooms. You can add variety with colour, texture, pattern, mass and line.
Variety is achieved by variation in the other design elements of colour, line,
texture, form and mass. Vary your colours, shapes, patterns and themes within
the room, but don't sacrifice unity to do it. The right combination of variety
and unity will bring harmony to a room. A good balance between unity and
variety must be established to avoid a chaotic or a lifeless design.