ATING INTERIOR DECORATING

CRE017CRE017

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INTERIOR DECORATING INTERIOR DECORATINGAN INTRODUCTION AN INTRODUCTION

This module acts as an introduction to Interior Decorating as a profession. A good understanding and application of the processes involved in Interior Decorating will ensure professional competency within the discipline. The module will cover basic skills such as dealing with clients, ensuring that you understand and can implement their design requirements.

Within this module you will learn about Interior Decorating as a process, the elements and principles of design, client and space analysis and the psychology of colour. The desired outcome is to produce professional and creative architectural presentations which are to an industry standard.

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DECORATINGAN INTRODUCTION

a course in

A Course in An Introduction to DecoratingRevision 1

© inscape 2013All rights reserved.

No part of this book may be reproduced in any form without prior permission of the copyright owner.

First published 2013

Published by:Inscape Publishers

[email protected]

DTP: Inscape Education GroupPrinted: Credo

2 CRE017 INTRODUCTION TO DECORATING inscape education group ©

COURSE INFORMATION

ASSESSMENT STRUCTURE

PART 1: An Introduction to Interior Decorating as a Process EXERCISE 1: Developing Creativity

PART 2: Elements and Principles of Design SELF EVALUATION EXERCISE

PART 3: Client and Space Analysis ASSESSMENT CRE0171 (30): Research Client needs and requirements SELF EVALUATION EXERCISE ASSESSMENT CRE0172 (25): Analysing and Assessing an Existing Space

PART 4: Introduction into Colour Theory, What is Colour, The Perception of Colour ASSESSMENT CRE0173 (15): The Colour Wheel

PART 5: The Physiology of the Eye and the Psychology of Colour ASSESSMENT CRE0174 (30): Colour Schemes

PREREQUISITE: None

OUTCOME: Upon completion of this course (subject) students should:

• Think and work like an interior decorator – according to the design process,

• Conceptualise (creative problem solving) and be able to apply this practically,

• Understand practical research skills and techniques and understand the importance of research in the design process.

• Understand the design elements and design principles (visual order) and be able to apply this practically within

a space.• Understand the importance of dealing with a client professionally.• Consolidate a clients requirements and needs.• Thoroughly understand colour theory and terminology

when working with colour.• Accurately mix colours and utilise successful colour schemes within an environment.• Understand colour psychology and its inherent role within a

persons’ environment.

LEVEL: NQF level 5

EVALUATION: Continuous assessment.

CONTENTS& COURSE INFORMATION

CONTENTS COURSE INFO

Exercise: To be completed as a means to practically apply your acquired knowledge and build your skills.

Brief: Assignments that must be submitted for a formal evaluation.

Your Notes:Use this space to jot down important info, questions you might need to ask or just as a creative space you can fill with doodles.

ICON KEY

Lecturers’ Tips:Take note of some handy tips from the experts you can use in your work.

CRE017 3 INTRODUCTION TO DECORATING inscape education group ©

ASSESSMENT STRUCTUREINTRODUCTION TO DECORATING Practical

Part 1Exercise 1

Practical Part 2Self Evaluation Exercise

Practical Part 3 CRE0171CRE0172

Practical Part 4 CRE0173

Practical Part5 CRE0174

Developing Creativity

Analysing and assessing the clientAnalysing and assessing a space

Colour Wheel(submit colour copies)

ColourSchemes(submit colour copies)

Assessment criteria:

The ability to analyse and assess the needs of a client. •

The ability to present a well laid out document that is informative. •

The ability to analyse a given space, identifying both opportunities and limitations presented by the space.

•

The ability to mix colours accurately and neatly. •

The ability to present a visually pleasing piece of work demonstrating an understanding of composition through the use of design elements and principles.

• •

The ability to demonstrate knowledge of various colour schemes •

The ability to demonstrate an understanding of colour theory and terminology

• •

The ability to apply the information collected through measuring-up in accurately drawn plans and elevations.

•

NOTE: Exercises are for self evaluation purposes. Do not submit the exercises for assessment. An assignment with a CODE must be submitted for assessment.

ASSESSMENT


1.1 What is Interior Decorating?• The application of treatments to surfaces within a

given space.• The arrangement of elements within a space to pro-

vide aesthetically pleasing, functional environments. An interior decorator would select finishes, like tiles, paint colours, lighting solutions for an interior space.

1.2 Where would an Interior Decorator “fit” in?• Domestic (homes), Hospitality (hotels), Retail (window

dressing and exhibition), Commercial environments (offices, reception areas, canteens, pause areas etc).

1.3 How would an Interior Decorator become involved in a contract?• Directly with the end client.• Architects.• Estate agents.• Developers.• Interior Designers.

1.4 What market would an Interior Decorator target?

• Anyone who has an appreciation for a functional, pleasing space.

1.5 Who else may an Interior Decorator work alongside in industry?• Interior Designers.• Architects.• Contractors.

1.6 When would an Interior Decorator be involved in a building project?

• Planning can begin at drawing stage.• Sourcing of materials, making up of furniture and

window treatments, for example during construction phase.

• Final applications at the end of the construction phase. All building work is complete and no more dust is to be expected.

1.7 What equipment does an Interior Decorator require?

A sturdy toolbox with the following:• A measuring tape (we have included one for you)• Pens, pencils, scissors, string, needle and thread,

masking tape, rulers, spirit levels• Pliers, hand drill, sanding equipment, paint brushes,

rollers, mutton cloth,• And more…

INTRODUCTION TO INTERIOR DECORATING

Decorators' Tips

Decorating as a process Your Notes

Subscribe to a Decorating Magazine if possible to keep up to date on the latest trends.

PART 1



Design can be viewed as a strategy of problem solving in which creative ability utilizes art and science to generate solutions to problem situations.

Many studies have been written on design methodologies. These studies critically analyse, evaluate, compare, and propose alternative methods for creative problem solving to help designers understand their own style and to offer new alternatives for achieving solutions.

There are several approaches to designing or creative problem solving. The keyword is creative, which implies that designers not only solve problems or make designs, but create things where they did not previously exist.

Generally a design process can be thought of as two phases. Analysis and synthesis.

Analysis - problem is identified, researched, dissected and analysed.

Synthesis - put the parts together to implement a solution.

1.8 The design process – sequential steps

Commit (Creative)

State (Sketches)

ANALYSIS: Collect (Can) Analyse (Always) Ideate (Impart) Choose (Creative)

SYNTHESIS: Implement (Ideas) Evaluate (Easily)

Commit – accepting the problemPrioritisation - time management (time schedule,

priority list..)

Reward concept - what is in it for me?

State – Define the problemPerceive, define and state the problem

• Checklist – what needs to be resolved to solve the problem (physical, social, psychological and eco-nomic)

• Perception list – names everyone with an opinion about the problem (people to interview, viewpoints to investigate, user input)

• Visual diagrams – list the goals, objectives, and problem statement in diagrammatic form.

Fig. 1.1 Illustration: Van Der Merwe, C 2010

PART 1



Collect – Gather the facts

Pertinent information should be gathered at this stage. “Programming stage” and involves collecting data that are categorised and presented as a published program. (User survey, Interview notes..)

Analyse

A designer must now look over all the gathered information about the problem and organise it into related categories.

• Conceptual sketches (please see Glossary at the end of the notes for explanation of terms in italics)• Matrix• Pattern searching• Categorisation

At this stage, the designer begins to generate simple visual sketches of the plan, by developing it from conceptual diagrams to final design plans.

Ideate

The ideation step is perhaps the most exciting and creative segment of the design process. This involves drawing (schematics) and a concept statement (written or verbal).

Choose – Select the best option

The designer chooses the most appropriate or “best” option by going back to see how the selected concept fits the clients budget, needs, objectives, and desires. After all the schematic drawing options have been explored and one has been selected, the designer begins with preliminary drawings.

The schematics are refined in scale and proportion to present actual square footages of the spaces. Details begin to evolve, showing walls, circulation routes, windows, and the usage of spaces.

Implement – Take action

This refers to executing or taking action on the selected idea and giving it physical form.

This is final drawings, plans, renderings, and any other form of presentation to the client. (specifications, construction drawings, time schedules, contract administration)

Evaluate – critically review

The evaluation stage of the design process reviews and makes critical assessment of what has been achieved to see if it does indeed solve the original problem situation.

Fig. 1.2 Domestic dwelling: Concept Sketches, Shematic drawing and sample board: IDC student: Van Heerden J 2008

PART 1



Domestic dwelling: Shematic drawings, construction drawings, specifications: IDC student: Van Heerden J 2008

Fig. 1.3 Fig. 1.4

Fig. 1.5

PART 1



Domestic dwelling: Schematic drawings, construction drawings, specifications: IDC

student: Van Heerden J 2008

1.8 What is creativity when associated with Interior Decorating?

Creativity is when a given space represents the following four outcomes, successfully.

• Aesthetic quality.• Functionality.• Cost effectiveness.• Psychological stimulus.

How do we reach these outcomes?

• Define a problem.• Assess the situation.• Prioritize the requirements.• Develop a solution with the above in mind.• Evaluate the solution with the outcomes in mind. We will explore the application of creativity in Interior Decorating, further, as the course develops. However, make a point of remembering the four stipulated outcomes.

Fig. 1.6

PART 1


EXERCISE 1: DEVELOPING CREATIVITY

Have you ever tried to figure something out, a math problem is the most common one for most people, and it feels as if you are hitting your head against a brick wall. The problem may as well be in a strange language as you are not understanding it anyway! Believe it or not, everyone feels like this, at some point, and it is a very common problem.

Your brain creates neural thinking paths, and that is how it processes information, these are created all the time, the first time you do something new, you create one, like tying your shoe laces, it was hard the first time (a thinking path was created) it was easier the second time (the thinking path was used again) it was a piece of cake on the twentieth attempt (thinking path is nicely established) you do it now without thinking (thinking path is securely established and well used). In fact, you can use the action of tying a lace and apply it to other situations, like tying a ribbon or rope, or untangling Christmas lights.

If you imagine your brain as a pile of sand in front of you with a dropper mechanism dropping water onto it, the

water will create furrows and use those furrows over and over, as it is the path of least resistance. It becomes easy to use those established paths, much like the thinking paths in your brain. You will need to shake up that sand to create new furrows, very similar to the steps needed to create new thinking patterns.

Creativity is making new thinking patterns.

WHY do I need to be creative or think creatively as a decorator?

A rut is the enemy of creativity, creativity demands out of the box thinking. A rut encourages the re-use of those established thinking patterns you will need to challenge that in this exercise.

Think about things you do on ‘autopilot’:• The sequence in which you perform your bedtime

routine.• Changing gears in your car.• Washing yourself in the shower.• Chewing your food and swallowing.

Something as simple as buttoning up your shirt, do you do it top to bottom? Bottom to top? What if you buttoned every second button first?

WHY?That feeling that we spoke about in the beginning of this section, the feeling of bashing your head against a brick wall, that feeling, is the feeling of creating new thinking paths. Recognise that feeling, cherish that feeling, that feeling is you, growing your creativity.

Exercise

INTRODUCTION TO INTERIOR DECORATINGDeveloping Creativity

Before continuing with the course notes, complete the exercise below. This Evaluation is not for submission purposes. DO NOT SUBMIT IT.

PART 1


Let us try the following exercises, it is very importantto remember that one is never done with creativity exercises, they should really be done often to keep your ideas, fresh, exciting and new.


1. Hair tie

2. Bracelet

3. Cheap engagement ring

4. Obstacle course for an ant

5. Tooth floss

6. Wind them, to make a bouncing ball

7. Poor man’s belt

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A: List 100 uses for a rubber band; let us help you get started

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Fig. 1.7

PART 1



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Illustration: Van Der Merwe, C 2010Fig. 1.8

PART 1



B: Write a comic strip to link the images below.

Your Notes

Illustration: Van Der Merwe, C 2010

Fig. 1.9

PART 1



C: Study the image below, for 30 seconds. Then, close your eyes. Redraw what you remember in the block on the right. Do not cheat and open your eyes.

Remember, it’s not about what the picture looks like. It’s about the thought process your brain uses.

Fig. 1.10 Illustrations: Martyn R 2010

PART 1

REMEMBER



D: Study the image below, for 30 seconds. Then, close your eyes. Redraw what you remember in the block on the left. Do not cheat and open your eyes.

Remember, it’s not about what the picture looks like. It’s about the thought process your brain uses.


PART 1

REMEMBER



E: Redraw this image to the right, using your non-dominant hand, for example, if you are right handed, use your left hand.

F: Make a quick line drawing using only the letters in your name to create a small creature.


PART 1


ELEMENTS AND PRINCIPLES OF DESIGNIntroduction

2.1 Communicating visually using Elements and Principles of design

Communication can be considered to be the life-blood of any relationship. Without communication any relationship will deteriorate and eventually perish. Effective communication increases the quality of any relationship. Think of the relationships between you and your spouse, your children, your friends and colleagues.

You will find that the more you communicate the better the relationship. However, communication alone is not enough. It is the effectiveness of communication that enhances the quality of the relationship. As an interior decorator you will be reliant on your communication skills to be effective at several points during a project;

1. Initial contact with the client (first impressions last).

2. Assessment of your client’s needs (good listening skills required now).

3. Selling your ideas to the client (both verbally and visually).

4. Closing the deal (you need to be assertive and convincing at this point).

5. Collecting payment (a business-like approach is imperative).

Effective communication skills form the foundation for good business practice. Obviously, effective communication includes many themes, concepts, frameworks and practices. It falls beyond the scope of this text to do an extensive study of all the related

aspects in this regard. We are simply trying to identify the most relevant aspects that will help you to develop your communication skills in your chosen field.

2.2 What is communication?

The transmitting of an idea by someone (sender), and the understanding thereof by another (receiver), can be described as communication. Any idea, no matter how great, is useless until it is transmitted and understood by others. Communication is the transference and understanding of meaning. It can be described as an event that occurs whenever people assign meaning to each other’s behaviour, words and actions, in other words as the effective transference and understanding of meaning. Itis argued that perfect communication exists when a thought or an idea is transmitted so that the mental picture perceived by the receiver is exactly the same as that envisioned by the sender. One should add that perfect communication is never achieved in practice. Tounderstand why this is so, we have to understand the communication process.

2.3 A basic model for effective communication

Before communication can take place, a purpose, expressed as a message to be conveyed, is needed. This message passes between a source (the sender) and a destination (a receiver). It is encoded (converted to a symbolic form) and is passed by way of some medium (channel) to the receiver, who re-translates (decodes) the message initiated by the sender. The result is a transference

Your Notes

PART 2


ELEMENTS AND PRINCIPLES OF DESIGN

of meaning from one person to another. In a model for understanding communication the communication process is described as the steps between a source and a receiver that result in the transference of meaning. Seven elements or parts can be identified, which include encoding and decoding in the communication process. It can be illustrated as follows:

2.4 The communication process model

The model below gives us a basic understanding of the communication process and clearly indicates why perfect communication is virtually impossible. It also focuses our attention on what to do to improve the effectiveness of communication. An important aspect is the choice of channel or medium of communication.

By using channels such as face-to-face talk or a phone call, we can transmit a greater amount of information during a communication episode than we could if we were to make use of memos or letters.

Multiple information cues (words, postures, facial expressions, gestures, intonations) offer immediate feedback and a personal touch when the face-to-face channel is used. Impersonal written media or channels such as bulletins or memos do not have such channel richness. For routine and unambiguous messages, media or channels with low channel richness are appropriate, but complicated and non-routine messages should be communicated through channel-rich media such as face-to-face communication.

2.5 Feedback

Barriers to effective communication include:• filtering• selective perception• information overload• defensiveness• language abilities• poor listening skills

2.6 Guidelines for effective communication

Give a clear message; include your feelings.Listen carefully and actively. Repeat the specific message and expressed feelings. Clarify whether you have heard correctly. Give of yourself. Express your feelings about the message that you received. Respond to the message (facts and feelings).

As a decorator, you will communicate verbally with your client, suppliers and contractors on a regular basis. To assist us in communicating effectively, we make use of visual imagery. In the same way that verbal information needs to be logical, ordered and clear to be effective, so do visual explanations.

The type of visual imagery we will be using includes;1. Mood boards (referenced images to

represent a particular style or feeling).2. Conceptual sketches (proposed ideas).3. Scaled schematic drawings (plans and

elevations).4. Perspective drawings (3D representations

of a space).5. Sample boards (including any materials

and finishes to be used for a project).

To create logical, ordered and clear visual imagery, one must first understand the elements that contribute to a successful composition. A composition is the clever placement of elements to create an image that is easily read and understood. A good composition results in a visually pleasing visual communication.

The following notes refer to the design elements and principles that we need to be familiar with to create successful compositions.Fig. 2.1

PART 2


ELEMENTS AND PRINCIPLES OF DESIGNElements of design

Line, form, colour, texture, pattern, light, and space – the elements of design – reach us through sight and touch.They all exist in nature and it is from our relationship with nature that we have learned to analyse them.

2.7 Line

The most common element of design is line. Line involves motion and leads the eye. A line may be straight, curved, horizontal, vertical, or diagonal.

Horizontal line – appears stable and restful.A vertical line seems to resist gravity and suggests strength and dignity.

Line and shape – line is important because it can describe shape, and by shape, we recognise objects.

Line and direction – horizontal, vertical and diagonal.Line can create or destroy the effect of a room.

2.8 Form

Similar to line, form is a series of lines defining a space.Form can be a combination of straight or curved lines, like a cone or a cylinder. Forms are harmonious if they have the same or similar forms. However harmonising unrelated lines is a very important skill, be aware of an object’s form before you see colour and texture. After a while, you will find yourself automatically choosing harmonious forms.

2.9 Colour and Value

Value is the artistic term for light and dark. Value is one of the properties of colour. Value is the amount of lightness or

darkness in a colour. Colour and value translate in interior decorating into the colours and values of floors, walls, ceilings, furniture, and accessories. The colour and value of each factor must be considered in terms of its relationship to the unified whole.

Value as emphasis – using dark-and-light contrast, a focal point can be created to be centre of attention in the design.

Value and space – through using gradations of dark and light volume and space can be suggested. On a flat surface value can be used to impart a three-dimensional quality of shapes.

2.10 Texture

Texture is the surface feeling or appearance of an object.

Texture can appeal to the sense of touch, the sense of sight, or both.

Texture can be rough, smooth, shiny, dull, soft, or hard. There must be a balance of textures.

In achieving a balance of textures, you must remember to consider the comfort of the textures. Textures may be a visual illusion. Another aspect of the texture of an object, which you must consider when decorating a space, is its relation to maintenance, durability and hygiene.

The practicality of each texture must be considered, as well as its appeal and appearance.

Fig. 2.2 Line: Stead. L 2010

Fig. 2.3 Form: Van der Merwe C. 2010

PART 2



Tactile texture – texture that can actually be felt.

Visual texture – the impression of texture is purely visual, it cannot be felt or enjoyed by touch. It is only a suggestion to your eyes.

Texture and pattern – usually defined as a repetitive design, with the same motif appearing repeatedly.

NB! While every texture makes a pattern, not every pattern could be considered a texture.

2.11 Pattern

Pattern is closely linked to texture.Pattern is the appearance of organised design on a surface.Pattern in interior decorating may be woven into a fabric or painted on various surfaces. Laying down tiles or wood strips in different designs may form the pattern.You should consider the size of patterns in relation to the size of the room in which they are used.

2.12 Light

Light drastically affects the objects on which it falls.The amount and colour of light can change the appearance and colour of the object it touches.

The colour of a white house at noon on a sunny day is quite different from its colour when bathed in moonlight.

2.13 Space

Space is an enclosed area. Always remember that space is three-dimensional. It has width, length and depth.When you look at a floor plan, do not just think of the length and width of a room, think also of how the furniture rises in height to fill space. The ability to visualise objects three-dimensionally is an invaluable asset to any decorator.Illusions of space can be created through:

Devices to show depth:

Size – the easiest way to create an illusion of space or distance is through size.

Overlapping – is a simple device for creating an illusion of depth.

Transparency – when two forms overlap and both are seen completely.

Spatial puzzles – through using confusion of spatial relationships a visual puzzle is created to create interest and an illusion of space.

If you look at the shapes, textures, patterns and colours in our artificial environment, you will realise that we have surrounded ourselves with imitations of natural elements. This knowledge will enable you, as a decorator, to recognise and satisfy people’s basic needs, developed from familiarity with the elements of a more primitive age.Fig. 2.4 Light: Stead. L 2010

Fig. 2.5 Space: Stead. L 2010

Fig 2.6 Texture: Stead. L 2010

Fig. 2.7 Pattern: Stead. L 2010

PART 2


ELEMENTS AND PRINCIPLES OF DESIGNPrinciples of design

The principles of design are guidelines that will help you create satisfying rooms even while you are still developing natural instincts for design.The principles of design are balance, scale, emphasis, and unity.

2.14 Balance

Good balance implies a state of equilibrium or poise, the ‘just right’ place between extremes.Good balance requires distribution of visual weights of form, colours or textures throughout a room.

There are three types of balance that can be used in a room:

• Formal balance• Informal balance• Radial balance

2.15 Formal balance

In formal balance, a centre line divides an area into two matching parts. Equal objects are placed at equal distances from the centre line. One half is the mirror image of the other half. The centre line is the balance point or pivot for the arrangement. This balance is static and formal.

2.16 Informal balance

In informal balance (asymmetrical), objects are placed at unequal distances from a centre, but arranged so that they balance each other visually by distributing the weight of

size and colour of the objects in such a way that the weight is equal on both sides.

Compared to formal balance which is rather static and passive, informal balance is more active and has more movement.

This can be created through:• Balance by Value and colour• Balance by shape and texture• Balance by position and eye direction

2.17 Radial balance

In radial balance, the objects are balanced around a central pivot point. It is most often found in a square or almost square dining room.

Decorators' Tips

Fig. 2.9 Formal balance

Fig. 2.10 Informal balance

Fig. 2.8

Look around your own environment and name design elements and principles that you recognise.

PART 2


ELEMENTS AND PRINCIPLES OF DESIGNProportion and scale

Proportion is the relation of the size of one part of an object to the size of the other parts of the objects.For example, a rectangle may be twice as high as it is wide. This describes the proportions of the rectangle.

Scale, on the other hand, concerns the size of one object when compared with the size of one or more other objects, or in relation to the size of the space in which it is enclosed.

2.18 Proportion

There are many theories about what proportions are ideal for an object. One of the most influential theories is that of the Golden Section developed by the ancient Greeks.The Greeks considered any enclosure with proportions, which could be easily determined or evenly divided to be uninteresting.

They sought the best proportions for a rectangle. Here are some of their conclusions. A rectangle with its sides in a ratio of two parts to three parts is an interesting shape. For example 600mm wide x 900mm long, or 1200mm x 1800mm, or 2400mm x 3600mm to be considered ideal.

Other proportions that Greeks found pleasing were three to four, such as 450mm x 600mm, three to five, and five to eight. These proportions can be applied to any object: a chair, a table, an ashtray, or an entire room.

Thinking in terms of the Golden section will help to train your eye for interesting and pleasing proportions in rooms, furniture, and accessories.

2.19 Scale

Scale is the relation of the size of one object to the size of another. Choosing pieces in scale to each other and to the room creates a feeling of unity and harmony. Furniture grouped together should be similar in scale. This means that not only their size, but also their visual weight, should be compatible. Sometimes the decorator deliberately ignores scale, or rather, uses the knowledge of scale to create a special effect.

Your Notes

Fig. 2.11

Fig. 2.12 Scale

PART 2


ELEMENTS AND PRINCIPLES OF DESIGNEmphasis (Focal Point)

The development of a focal point is a natural result of the way the human eye sees. The focal point provides the necessary emphasis that holds a room together. The focal point should be so important and strong that you will notice it upon entering a room.

It is usually better to have only one strong focal point in a room, but sometimes a second focal point naturally emerges. When there are two focal points in a room, one focal point should be the dominant one, but they also should be united in some way. Although each room should have only one focal point, the room should be interesting and balanced, regardless of the angle from which it is viewed.

The focal point can be developed through the following:

• Arrangement of furniture and accessories• Size or scale of objects• Contrasting lines or forms• Patterned areas and non-patterned areas• Contrast of furniture styles• Colour• Light

2.20 Unity

Unity is the feeling that elements belong together.To achieve unity, all parts of a room’s décor should belong together. The floor, walls, window, fabrics, furniture, colours, lighting and accessories should work together to achieve a unified whole.

Your Notes

Two additional tools that assist the decorator are knowledge of harmony and rhythm, which are two aspects of unity.

Ways to achieve unity:

Proximity by placing elements closer together.

Repetition repeat elements in various parts of the design to relate to each other.

Continuation usually a line, an edge, or a direction con-tinues from one form to another.

Variety there is an obvious, underlying feeling of unity, yet variations enliven the pattern.

Fig. 2.13 Focal Point. Stead L. 2010

Fig. 2.14 Unity

PART 2


2.21 Harmony

Harmony lends a feeling of oneness or unity to a room. Harmony contains desirable variety, rather than unnecessary confusion. Harmony may be achieved by combining elements that have something in common. This may be line, form, size, value, texture, colour, or pattern. There must be a consistency of mood in a room to achieve harmony.

There must be one dominant theme: richness, simplicity, strength, delicacy, or have ultra-modernity. This dominant theme may be enriched by a subtle, subordinate theme.

2.22 Rhythm

Rhythm is movement in measured intervals. It is the directed movement of the eye through a room. Rhythm is achieved by the repetition of elements with similar qualities. Rhythm may also be created by a progression of lines, shapes, colours or values.

Use all this design criteria to evaluate every piece you choose. Always remember the importance of function in a room’s design.

The ability of a room to meet a client’s needs.

Always keep versatility and durability in mind.

ELEMENTS AND PRINCIPLES OF DESIGNHarmony & Rhythm

Fig. 2.15 Harmony

Fig. 2.16 Rhythm: Stead L. 2010

Your Notes

PART 2

REMEMBER


By now, you will have worked through Part 1 and Part 2 of CRE017. Complete the following exercise to determine your knowledge and understanding of the courseware thus far. If you cannot remember the information, return to the relevant section and brush up on your notes.

Name five ways that an Interior Decorator may become involved in a Decorating contract

Describe the Design Process.Exercise

COMMUNICATING VISUALLY USING ELEMENTS &PRINCIPLES OF DESIGN

To assess the amount of knowledge you have man-aged to retain thus far, complete this Exercise. This Exercise is not for submission purposes. DO NOT SUBMIT IT.

PART 2


ELEMENTS AND PRINCIPLES OF DESIGNExercise

Name the four outcomes successfully represented in a space when creativity has been implemented well.

The correct use of design elements and principles is an integral part of creating a visually pleasing space. Name the design elements and principles.

Fig. 2.17

PART 2



The following images are examples of spaces where the design elements and principles have been used. See if you can identify where and how they have been used.

Fig.2.18 Mclellan.P (Blue Barn Interiors)

PART 2





PART 2





PART 2


CLIENT AND SPACE ANALYSISClient and space analysis

3.1 User Requirements

A successful decorator needs to complete several important steps during the process of a project to ensure a good quality outcome is achieved. As with most things in life a successful outcome is dependent on sound preparation and planning.

Think of the following scenario. You are Planning a birthday party. You need to know several things before you can send out the invitations. How old are you turning? what will the theme be? What type of party are you having? A dinner party? Cocktails and snacks? Swimming party? What should people wear? Where is the venue? What is your budget? How many people will be at the party? The answers to these questions will determine the next step in your party planning.

Similarly, a decorating project has requirements. To determine the requirements of the project, we need to firstly consult the client and secondly understand the space to be used. Each client has their own ideals and dreams and expectations for the space that they live and work in. It is important for you to have a good understanding of their requirements and to listen to them carefully.

We use the following tools to assist us in gathering the information required.

1. A personal interview with the client, including relevant and appropriate questions. This interview may include showing them a series of images to determine the style they prefer.

2. An analysis of the space to be decorated. This analysis will usually present you with limitations set by the space as well as opportunities to revamp, renovate etc. Limitations may include, position of plug points, switches, windows, doors etc.

The following are guidelines to assist you in determining the needs of a client as well as a basis for possible questions you may want to include at the interview with the client.

Identify users• Individual or group• If group, how many?• Specific or anonymous• Age group

Identify needs• Group needs• Specific individual needs

Territorial requirements• Personal space• Privacy• Interaction• Access• Favoured objects• Favourite colours• Special places• Special interests

Remember, each client is an individual and will express different functional needs as well as a difference in style. Your job as a decorator is to interpret their thoughts to create the space they require.

Your Notes

PART 3

REMEMBER


CLIENT AND SPACE ANALYSIS

3.2 Activity requirements

Identify primary and secondary requirements• Name and function of primary requirements• Names and functions of secondary or related activities

Analyse nature of the activities• Active or passive• Noisy or quiet• Public, small group, or private• If space is to be used for more than one activity, how

compatible are the activities• How often is the space to be used• What time of day or night

Requirements for:• Privacy or enclosure• Access• Flexibility• Light• Acoustic quality

3.3 Furnishing requirements

Determine furnishing and equipment requirements for each activity• Number, type and style of:• Seating• Tables• Work surfaces• Storage and display units

• Accessories• Window treatments• Other special equipment required:

• Lighting• Electrical• Mechanical

Determine desired qualities of pieces• Requirements for:• Comfort• Safety• Variety• Flexibility• Style• Durability• Maintenance

Determine possible arrangements• Functional groupings• Tailored arrangements• Flexible arrangements

3.4 Space Analysis

Document existing or proposed space• Measure and draw plan, sections and interior elevations

Analyse space• Form, scale, and proportion of the space• Doorway locations, points of access, and the circulation

paths they suggestFig. 3.1 Client analysis: IDC student: Bense J 2008

PART 3



• Windows, and the light, views, and ventilation they afford

• Wall, floor and ceiling materials• Significant architectural details• Location of electrical and mechanical fixtures and outlets• What modifications would be feasible, if necessary?

3.5 Dimensional requirements

Determine required dimensions for space and furniture groupings• Area required for each functional grouping of furniture• Space required for:• Access to and movement within and between activity

areas• Number of people served• Appropriate social distances and interaction

Determine fit between activity and dimensions of space• Study ways activity groupings can be accommodated

within the shape and proportion of the floor area and the vertical dimension of the space

3.6 Desired qualities

Determine qualities appropriate to spatial context and compatible with clients or users’ needs or wishes• Feeling, mood or atmosphere• Image and Style• Degree of spatial enclosure• Comfort and security

• Quality of light• Focus and orientation of space• Colour and tone• Acoustical environment• Thermal environment• Flexibility

3.7 Desired relationships

Desired relationships between:• Activity areas• Activity areas and space for movement• Room and adjacent spaces• Room and the outside

Desired zoning of activities• Organisation of activities into groups or sets according to compatibility and use.

3.8 Utility and Economy

A proposed solution to a space may be good because it is cost effective. The economic benefit may be noted in the following areas:

• Initial cost of the project • The efficiency or productivity allowed by the functionality

of the space• The durability of the materials used within the space• The life span of the space with reference to the style or

theme• The low maintenance costs of the space

Your Notes

Decorators' Tips

Cutting costs due to the use of inferior or incorrect materials initially could result in long-term expenditure, which the client may not foresee.

PART 3


Brief


If you are a DISTANCE STUDENT, submit a colour copy of the assignment with a barcoded assignment label and a student label attached. Put it in an envelope and place an olearn address label on it to ensure it is posted to the correct address. Send it to us to reach us by the next Assessment date on the calendar.

If you are a CONTACT STUDENT, submit your assignment directly to your lecturer as per the deadline date. Ensure you have your Assignment Submission Form signed as proof of submission.

ASSESSMENT CRE0171

You are now ready to complete BRIEF CRE0171.Complete the assignments as per the brief below.

Remember, the assignment is for submission purposes and will receive a full assessment according to the As-sessment Criteria specified in the brief.

On completion of Brief CRE0171, complete Brief CRE0172 and submit it for assessment.

THIS BRIEF MUST BE SUBMITTED FOR ASSESSMENT

CODE BRIEF MATERIALS VALUE

CRE0171 Analysing your Client Images (magazines), board, glue, scissors 30 etc, other materials

OUTCOME: ASSOCIATED ASSESSMENT CRITERIA:

Upon completion of this project the student will• Understand and have applied the

given process of analysis and as-sessment with a client, with refer-ence to personal style and tastes.

The student will be assessed according to the following criteria:• Use of creativity with reference to the “creative process “

provided• Neatness• Compiled document which visually and in terms of content

describes their client

BRIEF

Interview someone who would like a space in their home decorated. Choose someone who you do not know well. For example a work colleague, a friend of a friend, or a complete stranger.

You are to use the tables provided later in this module, along with fabric swatches, colour chips and images from magazines. Compile all of your findings into an A4 document which is to be neatly bound.

Analyse your client under the following guidelines :• Fill in the tables found in the module with your client• Have your client choose images from design magazines which appeal to them visually• Do a colour analysis on your client by asking them to choose their favourite colours, bearing in mind it is

not the colours they think will best suit their space it is the colours that most appeal to them

Make sure that you have not missed anything and ask you client if there is anything you might have missed that they would like to add to the analysis. If your space is a family home, remember to take everyone who lives there into account, their likes and dislikes.

You can include imagery that is representative of your client, their personality and their style and taste.

PART 3

REMEMBER



Decorators' Tips

1. Be prepared - before seeing the potential client, work through the documentation.

2. Prepare suitable questions to encourage your client to open up to you.

3. never make the client feel intimidated or offended by telling them how awful their place is. (you may think it - never say it!)

4. Lead the conversation - this way you will be in control of the outcome.

5. Never be pushy - listen to the client. Remember you may have wonderful ideas - but your client has certain requirements that you need to address.

6. Take notes - this gives the impression that you are interested in their requirements and it will be easier to remember everything that was said at a later date.

Fig. 3.2 Client analysis: IDC student: Botha J 2008

PART 3


Analysing your client


Whose who?Family Profile

CLIENT CLIENT CHILDREN OTHER

NAME

APPROXIMATE AGE

PHYSICAL TYPE

PERSONALITY

OCCUPATION

WORK AT HOME?

HOW OFTEN?

WHAT TYPE?

Entrance Area

FACILITIES CHECK NEED

SEATING

MIRROR

COAT HOOKS

CABINET

SURFACE TO PLACE THINGS ON

STORAGE

TELEPHONE

OTHER

LIGHTING

CHANDELIER

DOWN LIGHTS

DECORATIVE

LAMP

OTHER

PART 3


CLIENT AND SPACE ANALYSISLiving Room

CHECK IF APPLIES ACTIVITY ± NUMBER OF PERSONS PARTICIPATING

TELEVISION VIEWING

FAMILY CONVERSATIONS

STUDYING

READING

LISTENING TO MUSIC

VIEWING MOVIES

PLAYING PIANO…

VIEWING SLIDES

ENTERTAINING

ADULT FRIENDS

CHILDREN’S FRIENDS

OTHER FAMILIES

BUSINESS GUESTS

WOMEN’S GROUPS

SOCIAL OR RELIGIOUS GROUPS

OTHER…

OTHER ACTIVITIES

GAMES

HOBBIES

CRAFTS

COLLECTIONS

LIGHTING NEEDS SUFFICIENT NEEDED

TABLE LAMPS

OVERHEAD LIGHT

SPOTLIGHTS

FLOOR LAMPS

OTHER… special memories...

PART 3


CLIENT AND SPACE ANALYSISDining room

TYPE OF AREA CHECK

DINING/LIVING ROOM COMBINED

SEPARATE ROOM

OTHER

SEATING FOR MEALS CHECK NUMBER OF PEOPLE

BREAKFAST

LUNCH

DINNER

OTHER

STORAGE CHECK SPECIFY

CUTLERY

GLASS WARE

TABLECLOTHS…

TYPE OF DINING CHECK

FORMAL

INFORMAL

BOTH

OTHER CHECK SPECIFY

READING

STUDY

DISPLAY/HOBBIES

ELECTRICAL NEEDS CHECK NEED

CHANDELIER

DIMMER

OTHER

Remember this...

PART 3


Kitchen

MEAL PREPARATION ONLY?

EXTENT OF COOKING?

SIMPLE, FAST FOOD…

SIMPLE, OCCASIONALLY ENTERTAINING…

GOURMET – STYLE

LARGE QUANTITIES FOR ENTERTAINING…

DINING?

SNACKS

CASUAL LUNCHES & SUPPERS

BREAKFAST

SOCIALISING IN KITCHEN WHILE COOKING?

COOKING UTENSILS?

BASIC

EXTENSIVE COLLECTION

SEATING?

TYPE/NUMBER?

OTHER?

can’t live without...

CLIENT AND SPACE ANALYSISPART 3


Bedrooms

MAIN BEDROOM CHILDREN’S ROOM GUEST BEDROOM

DRESSING

LISTENING TO MUSIC

MAKE UP

SITTING

READING/WHERE?

SEWING

SNACKING

TELEPHONING

STUDYING

TELEVISION VIEWING

OTHER

Bathrooms

NUMBER OF BATHROOMS?

EN SUITE

FAMILY

GUEST TOILET

DRESSING ROOM?

MAKE UP?

MINOR LAUNDRY?

STORAGE OF TOWELS & LINEN?

HAIRSTYLING?

WASHBASINS?

OTHER?

things to consider...

Red Freestanding Faucet by Zucchetti

CLIENT AND SPACE ANALYSISPART 3


CLIENT AND SPACE ANALYSISDOUBLE/SINGLE?

BATH & SHOWER?

COUNTER SPACE?

CUPBOARD SPACE?

OTHER?

Mood Preferences: Room

TRANQUIL

ELEGANT

SOPHISTICATED

INTIMATE

WARM

EXCITING

CASUAL

FORMAL

RELAXED

COSY

CHEERFUL

OPEN

UNCLUTTERED

OTHER:

Do not forget...

PART 3


CLIENT AND SPACE ANALYSISFurniture Style Preferences

PRESENT PREFERRED

ART DECO

ART NOUVEAU

VICTORIAN

MEDITERRANEAN

COUNTRY

TRADITIONAL

ECLECTIC

HI-TECH

DÉCOR

ORIENTAL

MODERN /

CONTEMPORARY

FRENCH PROVINCIAL

TRADITIONAL ENGLISH

MIXTURE:

OTHER:

Absolute must have...

Roxy Swivel Chair in red

PART 3


CLIENT AND SPACE ANALYSISColour preferences

ROOM - ROOM - ROOM - ROOM -

BRIGHT?

BOLD?

MELLOW?

SUBDUED?

LIGHT?

MEDIUM?

DARK?

WARM – RED…

COOL – BLUE…

NEUTRAL – BEIGE…

WHAT COLOURS DO YOU DISLIKE?

What colours do you like?

RED

ORANGE

VIOLET

PUMPKIN

PALE YELLOW

GREY

SILVER

NAVY BLUE

OLIVE

SKY BLUE

GREY

RUST

BEIGE

orders to place...

PART 3


CLIENT AND SPACE ANALYSISFabrics, textures and pattern preferences:

Pattern

STRIPES

ABSTRACT

PICTORIAL

FLORAL

OTHER:

Fabrics

SYNTHETICS

WOOL

SATIN

VELVET

COTTON

OTHER:

Textures

ROUGH

SMOOTH

WOVEN

CRISP

SLICK

OTHER:

PART 3



3.9 Introduction

i. If you are working on an existing structure, plans may be available from council or you may be required to measure the site/structure and draw plans.

ii. It may appear to be a simple task however there are com-mon errors which you can avoid, if you are to follow the guidelines & observations discussed below.

iii.As a junior staff member you are likely to be asked to measure a site. Always record measurements as if some-one else will be working from your sketch.

3.10 Requirements

i. A tape measure, (or laser) in order to measure the dis-tances, and knowledge of how to calculate angles that are not 90 degrees are required.

3.11 Site sketch

i. Draw a rough outline of the site to record information. The sketch should preferably be in proportion. The ability to draw in proportion will develop with practice.

ii. Leave enough space on the page to record dimensions and observations.

iii.The sketch should include wall widths.

iv.If measuring a large site, you may find that you require several pages. Record which pages follow or join each other.

v. Below is a typical sketch of a portion of a site measure-ment exercise. Notice the following:- In small areas, it is difficult to record all distances –

draw large enough to write inside of the drawing.- Some of the overall dimensions may not tally exactly.

(In this case 5-10mm)

Elevation of window meas-ured from finished floor level. (Drawn parallel to wall, in line with window)

First line of dimensions are running dimensions. Recording both running & individual dimensions may not be necessary. HoweverBeing thorough avoids a second trip to site

Overall dimensions must be recorded

Measuring up a site

Fig. 3.3

PART 3



3.12 Observations to be recorded (Note that these observations will be more familiar to

you, once the course has been completed and all compo-nents and terminology has been discussed in detail.)i. Structural composition / materials – e.g. brick vs dry

wall, ceiling eg flush plaster or grid ceiling.ii. Draw door swings (note which side it is hung and

which direction it swings).iii. Note type of window: fixed or open & frame material.

This information may be useful at the design stage.iv. Record wall thicknesses. Wall thicknesses can be

measured at window and door openings. v. Services: - db board, lighting, switches, plugs, a/c

units, a/c control points, plumbing points. (a/c - air conditioning)

vi. North point.vii. Fixed elements are usually recorded, whilst free-

standing ones are not.viii.Count the number of risers for level changes and

record riser heights as well as tread depths. ix. It is a good idea to photograph the site as this saves

you going back several times.

3.13 General guidelinesi. Measure internal and external distances as required

to complete the drawing of the structure.ii. A common mistake is to omit a required measure-

ment. To avoid this commence at a point and move consecutively round the building or space until you reach the original point.

iii. Measure the structural elements rather than the non-

structural. e.g. Measure the wall not skirting. It may be useful to record which walls have skirting, as well as the height & width as an observation.

iv. Running dimensions allow you to roll out the tape measure once and record the various intervals, and the overall dimension. (This method allows less room for error.)

The top line shows a running dimension.The lower line shows individual dimensions, where each measurement begins from zero

v. Always record overall dimensions as a check.vi. Diagonals are useful as they allow you to triangulate.

(A method of determining angles.)vii. Measure the ceiling height first as you are less likely

to forget it. viii. Heights may be required not only for ceilings but

also for, heights of archways; windows; doors or any other vertical elements. You may wish to draw the elevation adjacent to the length of the wall.

ix. Tape measure should always be straight – if skew, inaccuracies result. This can be challenging, but will affect your drawing.

EXERCISE: MEASURING UP A SITE

1. You should pick a space in the home of the person who you interviewed for the last brief (CRE0171) and measure up accordingly.

2. Measure it up without using existing plans.

3. Ensure your information is relevant and correct. (The sketch will be used at a later stage in the course).

4. If possible include photos of the space, or draw 3 dimensional sketches thereof.

Exercise

This Exercise is not for submission and assess-ment purposes. However, it is imperative that you complete it to the best of your ability as it forms an important part of your preparation to complete drawings for assessment at a later stage. DO NOT SUBMIT IT.

Complete a written component ex-plaining any observations you have made regarding the space that may be of relevance to an interior decorator.

Measuring up exercise

PART 3


Brief

ASSESSMENTAssessment CRE0172


Remember, the assignment is for submission purposes and will receive a full assessment according to the Assessment Criteria specified in the brief.



CRE0172 Analysing and Assessing Images, board, glue, scissors 25 an Existing Space etc, other materials


Upon completion of this project the student will

• Understand and have applied the given process of analysis and assessment of an existing space with reference to architectural elements, purpose and function, styles and finishes.

The student will be assessed according to the following criteria:

• Use of creativity with reference to the points provided• Neatness• Compiled document which visually and in terms of

content describes their chosen space.

BRIEF

You should pick a space in the home of the person who you interviewed for the last brief (CRE0171), measure up the space and analyse:

• The layout• Architectural elements (windows and doors, etc)• Electrical points, switches and light fittings used (include heating and cooling systems)• Surface treatments Used• Furniture and accessories• General atmosphere created within the Interior

Take pictures of the space, and compile these pictures and information into a neatly bound A4 document.

Good Luck

If you are a DISTANCE STUDENT, submit a colour copy of the assignment with a barcoded assignment label and a student label attached. Put it in an envelope and place a address label on it to ensure it is posted to the correct address. Send it to us to reach us by the next Assessment date on the calendar.


PART 3

REMEMBER


INTRODUCTION TO COLOUR THEORYWhat is colour?

The perception of colour

4.1 IntroductionColour, is defined as: physical phenomenon of light or visual perception associated with the various wavelengths in the visible portion of the electromagnetic spectrum.(Microsoft Encarta Encyclopedia.)

4.2 What is colour?

Colour is light. Light is a form of energy and, according to theory, travels in waves. Light waves emanate from a source such as the sun, a light bulb, a white candle, etc. In any of these sources of light, there are many different wavelengths. Wavelength is measured from crest to crest in nanometres (billionths of a metre) or in mill microns (millionths of a millimetre). The visible spectrum range is usually considered to be between 380 mill microns and 770 mill microns and is part of the much larger electromagnetic spectrum. In the seventeenth century, Sir Isaac Newton established that a beam of “colourless” light passing through a prism is refracted or bent into separate bands of colours. These are called the colour of the visible spectrum. Each colour has its own wavelength. When all the wavelengths are combined in suitable proportions, they produce “white” light. All individual and combinations of colours are inherent n white light. We occasionally see this spectrum in nature in the form of a rainbow. (Hecker, 2001)

From reading the introduction above one realizes that colour theory is a complex subject. It contains objective laws of psycho-optics as well as subjective value judgments. This document is just a quick overview of this large and complex topic…

4.3 Colour harmony

Harmony can be defined as a pleasing arrangement of parts, in visual experiences; harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order or balance. Colour harmony delivers visual interest and a sense of order.

There are many theories for harmony. The following illustrations and descriptions present some basic formulas:

Hue: It is the quality that distinguishes one colour from another. It is, for example, what differentiates blue from yellow.

Chroma: It refers to the position of a hue relative to the vertical grey scale. Value allows to qualify hues as pale or dark, or light and dark.

Value: It describes the horizontal spread between a hue

of the same scale value as neutral grey. Chroma allows us to describe a colour as saturated or unsaturated, or as bright or grey-tinted. Adding grey makes the hue less saturated or more unsaturated. A hue can also be modified with the addition of some of its complementary colour.

Fig. 4.1

Fig. 4.2 Smit Q. 2010

PART 4


4.4 The Colour WheelA colour circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colours in 1666. Since then scientists and artists have studied and designed numerous variations of this concept. In reality, any colour circle or colour wheel which presents a logically arranged sequence of pure hues has merit. Thus in short, the colour wheel is a graphic representation of colours and colour combinations: (Adapted: Itten, Johannes; 1973)

4.5 Primary Colours

RED, YELLOW, BLUE

In traditional colour theory, these are the 3 pigment colours that cannot be mixed or formed by any combination of other colours. All other colours are derived from these 3 hues.

4.6 Secondary Colours

GREEN, ORANGE, PURPLE

These are the colours formed by mixing the primary colours in equal amounts.

4.7 Tertiary Colours

YELLOW-ORANGE, RED-ORANGE, RED-PURPLE, BLUE-PURPLE, BLUE-GREEN, YELLOW-GREEN

These are the colours formed by mixing primary colour with an equal amount of a secondary colour.

4.8 Saturated or bright colours

Pure hues containing no white, black, grey or complementary colours. However, this definition can be stretched to extend the range of complementary colours. For example, the range of saturated blues is not limited to pure blues. Blues containing white or black may still be considered saturated. On the other hand, orange containing black, even in small quantities, is considered unsaturated because it becomes brownish.

4.9 Unsaturated or grey-tinted colours

Hues containing more or less grey, or of their complementary colour. Theoreticians also use the expression “dull colours” to designate those colours.

INTRODUCTION TO COLOUR THEORYWhat is colour?

Fig. 4.2

PART 4


Brief

ASSESSMENTAssessment CRE0173





CRE0173 The Colour Wheel Watercolour or Acrylic paint and paint brushes, 15 drawing paper, pencil, containers for water and for mixing colours. Mounting board, Mixed Media (anything that will represent colour in an interesting way).



• Have a full understanding of the colour wheel: primary, secondary and tertiary colours. Intensity and Values of colour.


• Knowledge and understanding of the colour wheel.

• Neatness and presentation of the colour wheel

BRIEF

Draw a circle on an A3 paper approximately 200mm in diameter. Divide the circle into 12 pie shapes and divide the circle into 10 smaller circles on the inside.

In the middle circle, paint the 3 primary colours in each fourth block. Mix secondary colours, and ter-tiary colours until you have a colour wheel in the middle circle.

Add white to the inside of the circle and black to the outside of the circle to create the different values of the colours.

Once you have completed your colour wheel in paint, create a second colour wheel using mixed media. Obvious materials to use would be coloured paper or fabric. Be as creative as your brain allows and source alternative materials to use. Consider the texture you are creating by using various materials.

The types of materials you might use could include; beads, fabric, bits of paper, sweets etc

The above to be mounted and submitted on an A3 board.



PART 4

REMEMBER

Good Luck


THE COLOUR WHEEL

Decorators' Tips

1. Practice using your acrylic paint before completing the final submission to ensure that the consistency of the paint and water is perfect.

2. When dry, acrylic paint should not be too thick or streaky.

3. Always mix darker colours into lighter colours to avoid wasting paint.

4. Always clean your brushes with water directly after you have finished working to avoid them becoming clogged.

Image: Egberinck.P IDC student 2009

PART 4


THE COLOUR WHEELYour Notes

PART 4


INTRODUCTION TO COLOUR THEORYColour

4.10 Colour Schemes

Monochromatic ColoursThese are tints and shades of one pure hue, giving variety and contrast of tonal value. Analogous ColoursAnalogous colours are any four colours or hues which are side by side on a 12 part colour wheel, such as yellow-green, yellow, and yellow-orange. Usually one of the three colours predominates.

TriadsIf an equilateral triangle is taken from anywhere on the colour wheel, these colours are known as triads. This arrangement of colours will satisfy the eye since some form of all the primaries is seen.

Complementary ColoursColours that are opposite one another in the colour circle are called complementary. For example, green (resulting from the mixing the primary colours yellow and blue is complementary to red.)

Double Complementary ColoursThese are pairs of adjacent hues opposite each other on the colour wheel.

Split Complementaries

These consist of one hue’s plus the hues situated on either side of the original hue’s complementary on the colour wheel.

Your Notes

Decorators' Tips

Using colour in a space correctly is the dif-ference between mediocre and WOW!

Fig. 4.3

PART 4


INTRODUCTION TO COLOUR THEORYColour Schemes4.11 Interiors illustrating various Colour Schemes

Fig. 4.4 A contrast of complements is illustrated in the above colour scheme, the colours involved being red and green. The green used is, however, unsaturated which helps to tone-down this contrast.

Fig. 4.5 A monochromatic purple colour scheme adds a calming atmosphere to this room.

Fig. 4.6 An analogous colour scheme of greens, yellow and blue is shown in the room above. In such an example one colour usually dominates – here green is dominant.

Fig. 4.7 An analogous scheme over powered by a highly contrasting floor creates a room that is unsettling.

Fig. 4.8 A triadic colour scheme ; yellow, pink and greens allows for a vibrant space.

Fig. 4.9 A complementary colour scheme including two sets of complementary colours can often be overwhelming and create a visually cluttered space.

Perspective Drawings: : IDC student: Van Niekerk R & Esterhuizen A 2007

PART 4


INTRODUCTION TO COLOUR THEORY

4.12 Colour and space

The effect of colour on space perception, (the apparent, versus the actual size and distance of objects) and their distance form a viewer is a very complex relationship and will vary with different users.

When hues are placed closer to the viewer, they will appear more brilliant and darker than the same hues placed at a greater distance. More intense and darker colours will appear less demanding when used in very large spaces than in small spaces. Spaces with white or very light cool colours on the walls generally appear more spacious than those with darker warmer hues.

Colours also appear more intense or stronger in chroma when covering large areas. For this reason caution should be used when selecting wall colours based on very small samples or colour chips, for the colour will often appear darker when applied to large areas.

4.13 Colour and texture

The textural quality of an object or surface will also affect the visual appearance of colour. Rough-textured material will generally appear darker because they absorb light and colour rather than reflect it, as do shiny surfaces and materials. Also, textured materials, such as rough fabrics, pile carpet, and velvet, will cast small shadows within themselves and appear darker than a smooth material of the same hue, value and chroma.

4.14 Colour distribution

Colour distribution is important in creating a feeling of unity within an interior environment. Every colour plan should ideally include some light, some dark and some median values to create the desired effect.

There are primarily two popular methods utilised for colour distribution. The first specifies that the backgrounds (floors and walls) should be the most neutral colours. The large pieces of furniture should be in middle values and the strongest chroma should be used in the accents such as accessories or small furniture items.

The choice of one method over the other depends on personal preference and what is to be emphasized in a space- the background or the object in it, light values against dark values produce the strongest contrast. Then as values become closer to each other, such as a light value chair against a light value wall, the shape of the object will tend to merge with its background. A dark value chair placed against a light background will produce a dramatic effect but be less contrast than a light value chair against a dark background.

Generally speaking, most successful spaces are planned around one dominant colour and two subordinate colours that are varied in value and intensity. These colours do not have to be present in every piece of furniture but they should be repeated at least once to create a unified feeling. Remember, however, that an even distribution of colour could become boring and create a monotonous feeling. Fig. 4.10 Perspective Drawings: : IDC student: Caryl (Bobbi)

van der Watt

PART 4



4.15 Colour application in interiors

Colour is a design tool. Its practical application ranges from using luminescent colours for safety in highway signs and markers to using specific colours for hunting gear, life jackets and reflectors for bicycles in order to be seen instantly.

A number of studies have been done on using colour so that it is conducive to activities designed for specific interior environments. For example, hospital interiors have been painted in specific colours because studies have shown that particular colours can affect behaviour and personality. The following discussion mentions some examples of colour usage in commercial spaces.

4.16 Offices

Job performances are closely associated with satisfaction in the working environment. Because the work environment has a direct relationship to employee efficiency, drab offices can be counterproductive. It is important to design office spaces that will lift spirits, not depress them. Off-white, buff, and grey surroundings are not very stimulating if additional colour is not used effectively.

Earth colours can be comforting in an office environment, and yellow has been found to create a cheerful atmosphere and improve work concentration.

Greens and blues are thought to be calming, but that effect depends on the value and saturation level of the hues. Too much white in a workplace can produce too much glare. More saturated colours such as deep green or purple, are often used as accents, especially in executive or reception areas, to give a feeling of status and dignity. Another way to express prestige and status is through the use of natural material, such as marble and wood.

In some office environments, creating a corporate image is important. Black, grey and white with one or more accent colours might be used. However, the brightness contrast ratio needs to be proportionate. Because white reflects 80 percent of light, and black approximately 5 percent, a brightness contrast ratio of 16 to 1, there could be physical eye discomfort. Gray can be ideal for desk tops and working surfaces since it is a neutral colour and not distracting. And because it creates a good balance in contrast between black and white, grey is able to keep the eye at a comfortable and uniform brightness level.

In offices where a great deal of concentration is necessary, cool hues tend to be a better choice. In general office areas, either warm or cool hues can be used, depending on users’ preference. High stress environments can use colour to achieve a calming atmosphere. Low reflective surfaces should be used in areas where workers must use their eyes a great deal for visual tasks. Also, to ease the strain of working long hours at a computer terminal, flat, absorptive colours can be effectively used.

Fig. 4.11 Educational facility Perspective Drawings: : IDC student: Matlabe,T 2008 & Eksteen J.D. 2009

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4.17 Educational facilities

Traditionally a pale green has been thought to be a good colour for school walls because it creates a quiet mood that enhances concentration. However, pale green can also create a very monotonous environment and should be used for specific situations, not a general scheme for all spaces.

Warm, bright colour schemes are thought to be good choice for preschools and elementary grades since children in these age groups tend to be more extroverted. Such schemes also reduce anxiety and stimulate activity.

In secondary schools, beige, light greens and blue-greens are often used to create a more passive effect while enhancing the ability to concentrate. Brightly coloured accents can add cheerfulness and encourage participation among students. Using a different colour for the front walls in classrooms where students face a specific direction not only draws attention to the front of the room but creates an effective contrast with visual aids, such as chalkboards and bulletin board materials, to allow students to relax their eyes when looking up from their desks. Visual monotony can be lessened also by adding a contrasting colour to the front wall. The side and back walls then could be more neutral, such as tan or beige.

The use of colour can become functional, for example in education as a teaching aid, for example if one were teaching children the primary, secondary and tertiary colours, doors, walls and furniture could be painted appropriate colours to aid in the learning process.

4.18 Medical facilities

The correct application of colour in medical facilities contributes to the wellbeing of the patient and the efficiency of the staff. In the study “Effects of Colour”,M. N. Bartholet hypothesizes that colour could be used to motivate sick people to get well and, possibly, to improve nursing care. It was also concluded that since green is frequently associated with sickness and nausea. Patients’ rooms should not be painted this colour. After doing research into colour preferences of a depressed group, Dr. Deborah T. Sharpe reported in The Psychology of Colour and Design that the group members had a strong preference for bright, happy colours.

In general, warm neutrals, light greens, and blues are used in health-care environments. Blue walls create a calming effect and give an impression of expanded space that will help keep patients from feeling confined. This does not necessarily mean, however, that all walls should be blue. Medium tones of green or blue- green are recommended for operating rooms, as discussed under “Successive Contrast or Afterimage”.

Large expanses of yellow used in hospital patient areas can give patients a sickly pallor. Pure white is seldom used for hospital walls because it is highly reflective and harsh on the eyes. Even though white has been traditionally associated with sterile environments such as hospitals and health care facilities, it, too, can make a patient appear sickly. Gray is not a good colour to use in large applications for health care facilities, for it appears cold and harsh.


Fig. 4.12 Education facility and medical facility Perspective Drawings: : IDC student: Bense C 2010 & Fraser, M 2008

PART 4


Purple or lavender can produce a yellow-green afterimage and disturb the eye’s ability to focus. Public areas of health care facilities, such as waiting rooms and corridors, generally use more brightly saturated colours to create a cheerful atmosphere.

4.19 Restaurants

Colour is a major factor in our evaluation of the freshness, ripeness, and palatability of food. Experimental studies show that people’s appetites are stimulated by viewing food under normal light. Even coloured light is substituted, unnatural food colours are produced, such as dark grey meat or violet potatoes. Even though people knew the food was edible, many would not eat it and indicated a feeling of nausea.

Other studies on appetite and colour reveal certain trends to stimulate appetites. Red, red- orange, and orange tend to produce the most favourable appetite sensations. Blue- greens, such as aqua and turquoise, can be used successfully as backgrounds for food displays because their afterimage of red- orange enhances these colours. Green salads will appear greener on cool pink backgrounds.Another consideration for colour in restaurants is the use of colour flattering to human complexion. An elegant atmosphere uses pink or warm lights to shine on warm neutrals or soft reds and oranges. However, in a fast food establishment, bright, stimulating colours and light tend to encourage rapid eating and movement.

4.20 Retail

Colour can also be an important element in the marketing and selling of merchandise. We are bombarded daily by a huge variety of colours on products and in those retail outlets that sell them. Yellows and reds are used for aggressive, attention-grabbing messages. Earth tones are often used for subtler product messages. Brighter more saturated hues are often used for store identification, traffic patterns, and shopping bags to assist in image making and ease of purchasing.

4.21 Industry

Colour is important in industrial plants and related manufacturing areas. Using intense colours for warnings in hazardous areas or on potentially dangerous machinery and products emphasizes safety. Light colours (except stark white) can be used overall to reflect light and can be accented with bright, cheerful colours. Eye fatigue can be lessened by reducing contrasts and afterimage effects of dark and saturated colours. Matte surfaces are also preferred over shiny, reflective ones where workers must concentrate on a specific task or product.

Colour can also be used to create a sense of place in industrial areas or to identify position on an assembly line. Colour coding can be more effective than words to designate specific work or storage areas and to break up a large area into smaller spaces.


Fig. 4.13 Restaurant Perspective Drawing: : IDC student: Blom,J 2008 Retail Design Perspective Drawings: : IDC student: Bense,J 2008, Fraser,M 2009

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4.22 Communicating colour decisions

After understanding the theory of colour and proposing a suitable scheme for a particular project, designers must communicate these decisions to others. An effective way to do this is through the preparation of sample boards.

4.23 Colour samples

Designers must first have readily available paint chips, upholstery and drapery fabric swatches, and samples of carpets, wall coverings and accessory colours. With these colour samples at hand, the designers can put together several trial schemes for client viewing. Most manufacturers will supply large “memo” samples of fabric, carpet, plastic laminate, wall vinyl’s and wood panels. It is sometimes a good idea to see a larger sample of patterned objects because their appearance may change drastically from the small sample. It is important to select colours under lighting conditions that approximate those in the actual project space. As light directly affects colour, a variance in light conditions where colours are chosen and where they are applied can create colour discrepancies. This phenomenon known as metamerism, means that colours look different under different lighting systems. Many designers have several types of lighting (incandescent, fluorescent, and natural) available in their offices to use when matching colours.

4.24 Sample boards

Samples of actual materials, along with colour samples representing paint or other solid colours, are then arranged and attached to a sturdy sample board. The actual board

colour should be neutral and not distract from the colours of the material samples. These are presented as an overall “pallet” in small projects or are detailed with a key to a floor plan in more complicated or larger projects. Careful attention must be given to making sure the sample material is not outdated or has not been discontinued by the manufacturer. Most designers maintain an updating system in their resource libraries to weed out outdated material samples. A record is made of each sample attached to the board unless the manufacturer’s identification is readily apparent. This record later serves as a guide for the actual specifying and ordering of materials and furniture.

Ideally, large areas of colour or texture, such as walls and floors, should be represented by large samples, and small samples or swatches should represent smaller areas or accents. However, it is not always possible to obtain samples in the desired proportions. Sometimes larger than proportional samples are needed to show accurately how a particular pattern or texture would look.

In some projects, sample boards are not used for presenting colour selections to a client. For example, a large fabric sample might be draped over a client’s existing sofa for colour selection.

The sample boards are presented to clients to explain the designers overall colour and materials concepts. When approved, the boards and the colour chart can then become a record of the final selections. In small projects, additional colour specification charts or floor plan keys are made to assist in getting the selected colours to the proper location.


Fig. 4.14 Sample Boards: : IDC student: Bense, J 2008, Blom,J 2008,

Decorators' Tips

Ensure availability of products before presenting them to the client on a sample board.

PART 4


PHYSIOLOGY OF THE EYEColour Theory5.1 How the Human eye interprets colour

How visible colours are contained in “white” or “colourless” light. Light energy travels in waves with each perceived colour having a dominant wave length which differs from the wave length of any other perceived colour.

The human eye and brain together translate light into colour. Considered to be part of the brain itself, the retina of the eye is covered by millions of light-sensitive cells, some shaped like rods and some like cones. These receptors process the light into nerve impulses and pass them along to the cortex of the brain via the optic nerve which produces the familiar sensations of colour.

The rods are sensitive to very low levels of light and are most highly concentrated around the edge of the retina but are monochromatic and cannot see colour. That’s why at very low light levels, humans see things in black and white.

The retina contains three types of cones concentrated in the middle of the retina. Different light sensitive pigments within each of these three types responds to different wavelengths of light. Red cones are most stimulated by light in the red-yellow spectrum. Green cones are most stimulated by light in the yellow-green spectrum. Blue cones are most stimulated by light in the blue violet spectrum. This phenomena describes the special sensitivity of the eye. These cells, working in combination with connecting nerve cells, give the brain enough information to interpret and name colours.

Thus it can be seen that sight depends upon the quantity of light and the quality of light available to the observer. Without any light there is no visual perception at all, let alone of colour. (Hecker, 2001)

5.2 How objects “get” colour

Newton observed that colour is not inherent in objects. Rather, the surface of an object reflects some colours and absorbs all the others. We perceive only the reflected colours.

Thus, red is not “in” an apple. The surface of the apple is reflecting the wavelengths we see as red and absorbing all the rest. An object appears white when it reflects all wavelengths and black when it absorbs them all.

Fig. 5.1 Illustrations: Van Der Merwe, C 2010

PART 5


PHYSIOLOGY OF THE EYE

Splitting of white light through a prism

Light from many sources, such as sunlight, appears white. When white light passes through a prism, however, it separates into a spectrum of different colours. The prism bends, or refracts, light of different colours at different angles. Red light bends the least and violet light bends the most. (Parker, 1995)

Selective absorption by coloured surfaces

The colour we perceive an object to be is determined by which wavelengths of light are absorbed or reflected by the object. Only the reflected wavelengths reach our eye and are seen as colour. For example, inks, pigments, apples, and almost anything else you can think of are perceived as a certain colour because we “see” the wavelengths they reflect or transmit. We do not “see” the wavelengths that are absorbed. These characteristics of the object are referred to as its spectral reflectance.Thus something that appears white reflects all of the colours of light. However, something that appears red reflects only red light (all the other colours of the spectrum are absorbed). A black object does not reflect any light at all – it absorbs all the colours of the spectrum.

Additive and subtractive colour mixing

There are other aspects of light and colour, and to understand them we must return to Sir Isaac’s spectrum. Not all of the colours of the spectrum have “equal status”. Red, green and blue are the additive primary colours of the colour spectrum. Combining balanced amounts of red,

green and blue lights also produces pure white. By varying the amount of red, green and blue light, all of the colours in the visible spectrum can be produced.

There is a basic difference between the colour behaviour of light and the colour behaviour of the “red” apple (i.e. of pigments). It is basically a difference between something that adds or subtracts colour that results from adding light energy is called additive colour while colour that results when an object subtracts light energy is called subtractive colour (Parker, 1995). With coloured lights the combination of the primary colours (red, green and blue) combine differently to those of the primary colours (red, yellow, blue) of coloured pigments.

Additive colour mixing: A mixture of green and red light produces yellow light, this is because when you mix coloured light the result is the sum of its components. The result is also more brilliant than the component parts, thus colour has been ADDED. If the three primary colours of light are mixed you obtain white light. Thus, red, green and blue are called the primary colours of the visible spectrum. A combination of any two primaries produces an intermediate colour which

Fig. 5.2 Illustrations: Van Der Merwe, C 2010

PART 5


we call a secondary colour. Red and blue produce magenta, green and blue produce cyan, and, believe it or not, green and red produce yellow.

Subtractive colour mixing: All materials that are not sources of light energy obtain their colour by means of the subtractive method. As there are three additive primary colours of light (red, green and blue), which together produce all the other colours of the visible spectrum, so three subtractive colours (pigments) may be selected which, in proper combination, can also produce the colours of the visible spectrum.

These subtractive colours are the secondary colours of light and are commonly known as cyan, magenta and yellow.

Each of these colours reflects two-thirds of the spectrum and absorbs one-third of the spectrum:.

i.e.: cyan reflects blue and green and absorbs red

magenta reflects red and blue and absorbs green

yellow reflects red and green and absorbs blue

This explains how pigments like paints are mixed, for example:

Cyan reflects blue and green and absorbs red. Yellow reflects red and green and absorbs blue. The only colour that both have in common or that both can reflect is green – therefore the visual result of overlapping or mixing these two subtractive colours is green.

If we overlap or mix all three subtractive colours, then there is no one colour common to all three; therefore, they in effect cancel each other out and the result is black.

But if you mix all the colours of paint together you do not achieve black as is explained above. This is because pigments and dyes are full of impurities thus pure spectral colour cannot be created. In reality mixing paint results in a muddy brown. (Adapted: Reprotech

Digital Media Services, 2000)


Fig. 5.3 Van der Merwe C. 2010

PART 5


PHYSIOLOGY OF THE EYEThe Psychology of colour5.3 Introduction

Our personal and cultural associations affect our experience of colour. Colours are seen as warm or cool mainly because of long-held (and often universal) associations. Yellow, orange and red are associated with the heat of sun and fire; blue, green and violet with the coolness of leaves, sea and the sky. Warm colours also seem closer to the viewer than cool colours, thus colour can be used to enhance the perception of depth. Although red, yellow and orange are in general considered high-arousal colours and blue, green and most violets are low-arousal hues, the brilliance, darkness and lightness of a colour can alter the psychological message. The psychological association of a colour is often more meaningful than just the visual experience.

Colours act upon the body as well as the mind. For example: Red has been shown to stimulate the senses and raise the blood pressure, while blue has the opposite effect and calms the mind.

Colour is light and light is energy. Scientists have found that actual physiological changes take place in human beings when they are exposed to certain colours. Colours can stimulate, excite, depress, tranquillie, increase appetite and create a feeling of warmth or coolness. This is known as chromodynamics. (Chiazzari, 1998).

5.4 Psychological Effects of Colour

BLUE

Blue is first and foremost a calming colour, one that promotes physical and mental relaxation, inner security and confidence. Colour therapy uses blue to stimulate healing, relieve pain and lower blood pressure.

People who wear light blue clothing are often creative, sensitive and imaginative. They need a peaceful environment. Those who tend to favour dark blue clothing are known to be intelligent, independent and very responsible. They look for tranquillity and like to be surrounded by affection and tenderness.

Light blue promotes creativity. That is why it is recommended to decorate offices and studies. Ideally, it should be associated with yellow, which stimulates the mind and raises one’s organisational capacity. Turquoise seems to facilitate communications between people who surround themselves in it.

Dark blue is a welcome addition to the bedroom as it encourages deep and peaceful sleep. Be careful however not to use it in a room where you plan to spend your days. You could fall prey to its un-stimulating and powerful sedative effects.

Your Notes

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ORANGE

Psychologically speaking, colour therapists claim that orange is supposed to shore up the immunity system and stimulate digestion.

Orange is the “happy” colour par excellence. It frees emotions, promotes self-

esteem and the capacity to forgive. This stimulating colour fights depression and cultivates good humour. Lighter hues, such as peach and apricot, help restore nervous

energy.

YELLOW

Yellow is bright, happy and stimulating. It is associated with intellect and the expression of thoughts. It improves memory, judgment and the capacity for decision-making.

Yellow also promotes the assimilation of new ideas and the capacity for under-standing varying points of view. Moreover, it seems that yellow helps people become more organized and to adopt an optimistic attitude, something one can appreciate in any room. People who like to wear yellow are interesting and stimulating. They thrive on being active and taking up challenges. They search for happiness.

Yellow, therefore, is an excellent choice in decorating a room that is dedicated to intellectual pursuits. However, it is important to use it in connection with a colour such as blue that brings a measure of security and calm to the décor. Used alone in large quantities, yellow can prove to be too stimulating for the nervous system.

RED

Our body is affected in different ways by different light wavelengths. Red light has the longest wavelength and the slowest vibratory rate. Red light has been shown to stimulate the heart and thus blood circulation. It also fortifies the body and helps build up red blood cells.

Colour influences our emotions and psychological state too. Red is a very powerful colour, associated with a high level of energy and stimulation. It goes hand in hand with adjectives such as courageous, antidepressant, assertive, determined, friendly, warm, and sensual.

On the other hand, too much of some reds can make people feel irritable, impatient and even angry. Try to use somewhat subdued shades of red, like terra-cotta, or, if you wish to use bright red, assess how much you can use to make it a profitable addition to your environment without getting overwhelmed.

Your Notes

People who like to wear red tend to be ambitious, impulsive, excitable, and energetic. They tend to be high achievers, courageous and extroverted, which can make them good leaders.

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GREEN

Green stands as a symbol of life, growth and harmony. It brings us comfort, relaxation and wellbeing. When we think of green, we imagine many of nature’s offerings such as forests, trees, grass, olives, apples, lichen, jade and emerald. Green’s strong link with nature

seems to bring us closer to nature and to one another. In addition to fostering peace of mind, green seems to balance certain of our physiological functions, among them our heart, lungs and blood circulation. Certain studies even suggest that green promotes deep, slow breathing. Colour therapists use green to cure a number of ailments.

Those who dress in green tend to be careful, inclined to observe rather than act. They also display a humanitarian spirit, enjoy helping others and tend to notice details that others simply overlook.

VIOLET

Violet is thought to be antiseptic. In some operating rooms, ultraviolet rays are used to purify the air. In psychiatry, violet is used to treat patients who suffer from fears and obsessions because of its calming effects.

According to psychologists, violet contributes to mental equilibrium. In addition, it is associated with a sense of the artistic, music, intuition and spirituality. It promotes sensitivity and compassion. People who wear violet are described as very sensitive and charitable. Their sensitive nature could make them vulnerable; that is why they are often advised to wear magenta, which contains red, to improve their self-confidence.

BLACK

Black creates diverse characteristics: it provides a feeling of protection, comfort, and yet, a sensation of mystery. It is associated to silence, infinity as well as to the feminine vital force. Since its effects are dramatic, black should be used carefully.

Some believe its powers can also be associated with restraining personal evolution or as a deterrent to change.

Wearing black clothes in certain occasions demonstrates self-control and an authoritarian personality; it represents a determined, disciplined individual with a strong will and firm ideas.

Your Notes

PART 5


Assessment

CLIENT AND SPACE ANALYSISAssessment CRE0174




CODE BRIEF THEME MATERIALS VALUE

CRE0174 Colour Schemes Sample boards Samples, board 30



• Have selected various samples used within the interior decorating industry and compiled them according to various colour schemes.


• Knowledge and understanding of colour schemes• Creativity in terms of creating sample boards• Variety of materials selected• Neatness and presentation of project.• Have presented the samples in such a way that an understanding of colour

is demonstrated.• Have created a visually pleasing presentation demonstrating knowledge of

design elements and principles

BRIEF

1. Using the following colour schemes: a. Monochromatic b. Monotone or neutral c. Analogous d. Complementary e. Split Complementary f. Triads g. Tetrads h. Warm or cool colours

2. Select a variety of materials and finishes that you have sourced from accessible suppliers that you could use for a decorating project.

3. Combine the samples using four A3 boards to present the eight schemes discussed above. Divide the A3 boards into halves each. Each half should be representative of a different colour scheme.

4. Neatness is essential.

Good Luck

Decorators' Tips

Take note of the colour of the samples and think about the combinations you have selected. Consider the impact a material would have when used in a larger space and in larger quantities.


If you are a CONTACT STUDENT, submit your assignment directly to your lecturer as per the deadline date. Ensure you have your Assignment Submission Form signed as

proof of submission.

PART 5

REMEMBER



Decorators' Tips

1. Collect a variety of samples of finishes and materials before commencing with the project. this way you will have more to select from.

2. Shop around - your local carpet / fabric / paint / tile shop will provide you with samples.

3. Use sturdy, thicker board to mount your samples on.

4. Search the internet and local suppliers and manufacturers for new and exciting products that you can include in your assignment submission.

5. Trim the samples neatly.

6. Align samples both vertically and horizontally to create a visually pleasing and professional presentation.

7. Be creative, by including the names of the colour schemes in an appropriate manner.

Fig. 5.4 Images above and to the right: Alfonso.B IDC student 2009

PART 5


FREQUENTLY USED TERMS

The following terms are frequently used in the building industry and specifically in architectural drawings. The glossary will assist you in understanding their meaning in this context.

• Aesthetic quality – The study of art or beauty; that which appeals to the senses; concerned with beauty, artistic impact, or appearance.

• Categorisation – The process in which ideas and objects are recognised, differentiated and understood. Categorization implies that objects are grouped into categories, usually for some specific purpose.

• Conceptual sketches – Preliminary drawings that help to clarify thinking and avoid ambiguity. They provide a communication interface and allow a shared vision to be created.

• Contract administration – Ensuring contractual duties and responsibilities are met by the contractor during the construction phase of a project. Includes the review of change order requests, preparation of payment certificates and tracking of Letters of Credit and providing support for financing.

• Contractors – Someone (a person or firm) who contracts to build things or service a product. E.g.: tilers, plumbers, builders, electricians.

• Corporate image - A corporate image refers to how a corporation is perceived. It is a generally accepted image of what a company stands for. Marketing experts who use public relations and other forms of promotion to suggest a mental picture to the public

• Interior elevations – A vertical view of an object or structure, specifically interior walls, defining heights.

• Matrix – A rectangular array of quantities or expressions set out by rows and columns; treated as a single element and manipulated according to rules to define an outcome.

• Pattern searching – The ability to identify activities conducted out of habit.

• Plan – A set of two-dimensional diagrams or drawings used to describe a place or object, or to communicate building or fabrication instructions. Usually plans are drawn or printed on paper, but they can take the form of a digital file.

• Proportion – Adjust in size relative to other things.

• Pure hues – It is the quality that distinguishes one colour from another.

• Schematic drawing – A diagram that represents the elements of a system using abstract, graphic symbols rather than realistic pictures.

• Sections – A vertical ‘slice’ through a structure exposing internal elements.

• Specifications – A set of requirements defining an exact description of an object or a process.

• Time schedules – A period of time set for meeting an outcome, may include lead times for purchasing or manufacturing, e.g. fabrics.

• Construction drawings – A drawing indicating construction methods of an object or structure.

• Dimensions – Measurements defining the size of an object/structure

• Drawing views – An object/structure can be viewed from different angles. The top, side and back. In architectural drawings we refer to these views for an object as top, side and back view and for a structure, plan and elevation views.

• Drawings – A series of lines and symbols

• Scale – The measurement at which a drawing is drawn proportionally to a life size object

• Scaled drawings – A drawing that is proportionally a representation of a life size object.

• The client – The person, people or organisation that commissions a project. They usually are responsible for the brief and for payment of the project.

• Working drawings – A series of drawings indicating the details of a structure. These can include, plans, elevations, sections and construction details.

GLOSSARY


SOURCES CONSULTED

Charlotte and Peter Fiell, Design of the 20th Century, Taschen, London/Koln, 2001.

Chiazzari, Suzie; The Complete Book of Colour; Element Books, 1998 Internet.

“Colour,” & “Separation of White Light into Coloured Light”, Microsoft® Encarta® 96 Encyclopaedia. © Microsoft Corporation.

De la Croix & Tansey; Art through the ages, seventh edition; Harcourt Brace Jovanovich inc.; 1980; pg. 786 – 788, 816,

Gair, Angela; 1988; The Watercolour Painter’s Question and Answer Book; Collins, Britain; pg. 16 – 18.

Hecker, Miles; 2001 (Bachelor’s degree in Electrical Engineering. He also holds a M.Ed. in Science Education from the University of Wyoming) Internet.

Itten, Johannes, Kunst der Farbe, studienausgabe; Dessain & Tolra, Paris; 1973. Internet.

Joyce, Peter (ed); 1991; The Complete South African House Book; Struik Timmins Publishers, Cape Town; pg 101 – 105.

Kirsby, Sean; 2001 (Welsh School of Architecture Year 3) Internet.

Kilmer & Kilmer, Designing Interiors, ISBN 0-03-032233-2.

Stead, Naomi; 2001 (associate lecturer in architectural theory at the University of Technology, Sydney, and a

PhD candidate in the department of architecture at the University of Queensland). Internet.

Sudjic, Deyan (ed); 1984; The House Style Book; Centaur Publishers. Cape Town; pg 305 – 313.

Thomas C. Mitchell, New thinking in Design: Conversations in Theory and Practice, Van Nostrand Reinhold, London, 1996.

Terence Conran, The House Book, Mitchell Beazley Publishers Limited, London, 1978.

Patricia Rodeman, Patterns in Interior Environments: Perception, Psychology, and Practice, John Wiley & Sons, London/New York, 1999.

Patricia K. Gilbert, Successful Interior Projects through Effective Contract Documents, RS Means Co, Kingston, MA, 1995.

Tom Porter and Sue Goodman, Design Drawing Techniques for Architects, Graphic Designers and Artists, Butterworth Architecture, Oxford, 1992.

Van Arsdale, Sarah; 2001 (Sheffield School of Interior Design) Internet.

Your Notes

BIBLIOGRAPHY

CRE017CRE017

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INTERIOR DECORATING INTERIOR DECORATINGAN INTRODUCTION AN INTRODUCTION

This module acts as an introduction to Interior Decorating as a profession. A good understanding and application of the processes involved in Interior Decorating will ensure professional competency within the discipline. The module will cover basic skills such as dealing with clients, ensuring that you understand and can implement their design requirements.

Within this module you will learn about Interior Decorating as a process, the elements and principles of design, client and space analysis and the psychology of colour. The desired outcome is to produce professional and creative architectural presentations which are to an industry standard.

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