E L E M E N T S O F D E S I G N

E L E M E N T S O F D E S I G N

VISUAL IMAGERY Visual imagery is a type of nonverbal communication Language of sight Image communicates a feeling Each room s visual image communicates a personality or mood and can have a psychological impact on the room s occupants Design is the basis for this visual image Understanding and creating good design requires knowing design characteristics and the elements of design

DESIGN CHARACTERISTICS Design has three characteristics: Function: How a design works Usefulness, convenience, and organization Good functional design accommodates the ages, sizes, and physical abilities of the users

DESIGN CHARACTERISTICS Design has three characteristics: Construction Includes materials and structure Materials Fabrics, woods, metals, plastics, or stones used to build a product or room Consider design function, quality, initial cost, maintenance, environmental implications, and such long-term costs as repair and replacement. Must meet industry standards, government codes, and regulations

DESIGN CHARACTERISTICS Design has three characteristics: Aesthetics Because each person has his or her own personal taste, aesthetics, or what is beautiful, is difficult to define Good aesthetic design, however, is pleasing to many people It may stimulate an emotion or communicate a message, such as excitement or relaxation, humor or seriousness Personalized design reflects the aesthetics a person wants to express in a room

L I N E F O R M S P A C E M A S S T E X T U R E C O L O R ELEMENTS OF DESIGN

LINE A line is the most basic element of design Forms when two dots are connected Lines connect the edges or outlines of objects and areas Show direction and cause the eyes to move from one point to another For example, a line can cause you to look from objects on one end of a shelf to objects at the other end

HORIZONAL LINE Horizontal lines Parallel to the ground Direct your eyes across a space Communicate feelings of peace, relaxation, calmness, and restfulness. For example, horizontal lines are associated with a sunset on the horizon, which suggests the end of a day and time for rest. This is the same feeling you get when sleeping in a horizontal position. Many home furnishings utilize horizontal lines. You can see them in fireplace mantels, bookcases, long sofas, shelving, fabrics, or wallcoverings that embellish a room.

VERTICAL LINE Vertical lines Perpendicular to the ground Cause your eyes to move up and down Suggests height, strength, dignity, formality, permanence, and stability Look for vertical lines in window treatments, striped wallcoverings, and decorative trims that carry your eyes upward. Grandfather clocks, highboys, armoires, and tall mirrors have vertical lines.

DIAGONAL LINE Diagonal lines Angle between horizontal and vertical lines Communicate different levels of activity, ranging from a low- to highlevel of energy Level depends on the degree of the angle and total number of angles For example, the symbol for a bolt of lightning has several sharp diagonal lines. This symbol communicates action, excitement, and sometimes agitation. Use of diagonal furniture placement in floor plans not only brings movement, interest, and excitement, but can also enhance conversational areas Diagonal lines create a feeling of transition from one level to another. They appear in rooflines, cathedral ceilings, staircases, lampshades, and various fabrics and paintings

CURVED LINE Curved lines A curved line is part of a circle - if you completely extend and connect a perfectly curved line, it becomes a circle. Extend it to form an oval Free-form shape and range from slightly curvy to very curvy. The different degrees of curves in lines communicate different ideas. Generally, curved lines seem softer than straight lines. A circle or oval reflects organization, eternity, and uniformity. Slightly curved, free-form lines have a natural, soothing, and flowing movement. They communicate softness, freedom, and openness

FORM Form is the physical shape of objects Outlines the edges of a three-dimensional object and contains volume and mass Form also has height, width, and depth Form can have a great psychological impact on the feelings individuals have when they enter a room or area There are four different types of form: Realistic Abstract Geometric Free form

REALISTIC FORM When a form looks very much like the real thing, it has realistic form Realistic form communicates a lifelike, traditional, and familiar feeling For example, a common chair has realistic form because of its specific form. It is easily recognizable as a chair.

ABSTRACT FORM Abstract form rearranges or stylizes a recognizable object. The abstract item has traits that look like the real item, but altered. Abstract form communicates a contemporary, changing, creative, and artistic feeling.

GEOMETRIC FORM Geometric form uses squares, rectangles, circles, and other geometric figures to create form. It communicates organization, order, planning, and a tailored look. You can find geometric forms in home furnishings, such as square tables, round lampshades, and various shapes of pillows.

FREE FORM Free form is random and flowing You can find it in nature in plants, stones, and wood It does not have geometric design Free form communicates a sense of freedom Free form is untraditional, unfamiliar, and different from realistic form

F O R M A N D L I N E B R E A K : C H E C K F O R U N D E R S TA N D I N G

SPACE Space refers to the area around a form, such as the area around a table. It also refers to the area inside a form, such as the area inside a room. When discussing space, consider these two closely related factors: the size of the space and its arrangement.

SIZE OF SPACE Size of space: Height, length, and width often define the size of interior space. The size affects who will use the space and how they will use it. A bedroom that is 10 by 12 feet is probably too small for two teenagers who each need a bed, dresser, desk, and chair. The same size bedroom is likely adequate for two small children who only need beds and one shared dresser. The size of a space can also communicate positive or negative feelings. For example, a large space can communicate feelings of openness, grandeur, or freedom. A large space, in contrast, such as a sports arena, may make a person feel small, lost, or overwhelmed. Small spaces can offer a cozy, intimate, or comfortable feeling in a space. Adding more people and furnishings to a small room, however, might feel very crowded

ARRANGEMENT OF SPACE When using space in design, first evaluate the space and decide what design effects you want to achieve. By arranging the space differently, you can achieve various effects or feelings about a space. Arrange space to make large spaces look smaller and small spaces look larger Open and expand spaces - enlarge a window area, use mirrors, or remove walls Create the feeling of cozy quarters - divide the space into separate areas Using area rugs, grouping furniture, or even building a kitchen island can physically and visually divide space

HIGH MASS Mass is the amount of pattern or objects in a space. It also refers to how crowded or empty a space appears. High mass refers to a space that is visually crowded. Fabrics with a high-mass have a lot of pattern or lines. A room with high mass has many items in it and may look congested. High-mass rooms may reflect a full, crowded, or cluttered feeling. High mass may communicate an impression of formality and weightiness.

LOW MASS Low mass refers to a space that is simple and sparse. Low-mass designs use only the most essential furnishings. Low mass communicates clean and airy feelings. The traditional design style called Minimalism reflects low mass. Designers can use either high mass or low mass to create a strong design statement. Blending high and low mass can create variety in a room design. For example, placing a low-mass design above a high-mass design creates a very open feeling in the room. The two extremes often complement each other.

TEXTURE Texture refers to the way a surface feels or appears to feel. There are two kinds of texture: tactile and visual texture.

TACTILE TEXTURE Tactile texture is the way a surface feels to the touch. You can see and feel tactile texture. For instance, think of yourself standing next to a stone wall. You can see the ridges and crevices in the stone with your eyes, and you can feel its coolness and roughness with your hand. A surface might feel bumpy, rough, soft, smooth, grainy, porous, or hard. When selecting items for a residence, consider the way they feel. For example, some fabrics may be too rough and uncomfortable to use in upholstery. Tactile textures can also be functional, such as those used in slip- resistant flooring.

VISUAL TEXTURE Visual texture is texture that you see, but cannot feel. You can find it in scenic wallcoverings or pattern design in fabric. A plaid pattern in a fabric has visual texture although the tactile texture of the fabric could still be smooth to the touch. Visual texture is also evident in photography. In a photograph of a stone fireplace, for instance, you can visually see the texture without feeling its coolness and roughness, as you do with actual stone.

TEXTURE Use of specific textures can communicate different feelings in a room Rough surfaces can create a more casual feeling Smooth surfaces may communicate an elegant feeling Polished stone or marble can communicate both elegance and strength The use of textures can impact the visual size of a room Heavy or rough textures absorb more light than smooth textures. They do not reflect light throughout the room, so the room looks smaller. Smooth surfaces make small rooms look larger. The light reflects off the smooth surface, creating the illusion of a larger space. You can create variety by using both visual and tactile textures. When a designer uses more than one texture in a room, the room has a more interesting look. Too many kinds of textures in one room, however, may be a distraction.

COLOR See Role of Color in Housing and Design PPT.