AFDE 312: DESIGN AND SOFT FURNISHINGS NOTES

INTRODUCTION

Furnishings, sometimes referred to as soft furnishings or upholstery, are components that

incorporate soft material and help create a pleasant and comfortable environment, and
complement the furniture and fittings inside buildings. Furnishings can be made of fabric,
chenille, velvet, silk, fur, faux-fur, cloth, foam, rubber, and so on.

Common types of furnishings include:

 Curtains.
 Cushions.
 Bedding and mattresses.
 Wall hangings and tapestries.
 Rugs.
 Chair coverings.
 Sofas.
 Bean bags.
 Carpets.
 Doormats.

Furnishings should be carefully selected and designed to enhance the quality of a room, often
adding color, texture and elegance to furniture. The soft material of some furnishings can also
enhance the energy efficiency of a room by retaining heat and keeping it warm. They may also
improve the sound insulation properties as soft materials absorb sound waves more effectively
than hard surfaces which reflect sound back into the space and can result in echoes (or a
longer reverberation time).

REASONS FOR USING SOFT FURNISHINGS

i. For decoration the colours of soft furnishings should be well chosen to blend well with the
colour scheme of the room to enhance the appearance of the room e.g. bedcovers, curtains,
loose covers etc.
ii. For privacy The soft furnishings e.g. curtains should offer maximum privacy.

iii. For comfort Cushions and pillows are used for supporting the body when sitting or sleeping.

iv. For protection loose chair, covers, bedcovers, etc are used to protect expensive upholstery and
bedding from wear and tear as well as dirt.

v. For easy maintenance loose covers are cheaper to launder than dry cleaning upholstery

vi. For improving the appearance of an unattractive furniture loose covers can be used to cover
ugly upholstery and enhance the appearance of the room as well as wall coverings for the wall.
vii. For filtering excessive light. Curtains control the amount of light coming into the room. This
is important especially at night.

viii. For warmth and reduction of noise. Carpets reduce noise and add warmth to a room.

THE ELEMENTS AND PRINCIPLES OF DESIGN

An interior designer applies one’s knowledge and skills of the principles and elements of design
to provide design solutions for diverse interior spaces and textile furnishings.
DESIGN ELEMENTS

These are the building blocks used by Interior Designers to come up with creative plan layouts,
and interior spaces that are functional ,aesthetical and fit for human use.

These are primarily the visual components used in creating a design or a composition. The
elements that are basic to all visual design are line, form, shape, color, texture and space. The
effect of each element is considered only in connection with the other elements and the unit
is judged as a whole. These elements, if used according to the principle of design, can ensure
a certain degree of beauty in the final product.

The Design elements are the basic units of a painting, drawing, design or other visual piece and
include:

 Colour
 Texture
 Line
 Shape
 Form
 Space

COLOR
It is important to learn the basics of color design before playing with colors while Designing.

With colors, you can set a mood, attract attention, or make a statement. You can use color to
energize, or to cool down. By selecting the right color scheme, you can create an ambiance of
elegance, warmth, or tranquility, or you can convey an image of playful youthfulness. Color can
be your most powerful design element if you learn to use it effectively.
The color wheel is an important piece of basic of color design. It is literally a wheel with twelve
colors on it made up of primary, secondary and tertiary colors.

THE COLOUR WHEEL

The color wheel or color circle is the basic tool for combining colors.

The color wheel is designed so that virtually any colors you pick from it will look good together.
Traditionally, there are a number of color combinations that are considered especially pleasing.
These are called color harmonies or color chords and they consist of two or more colors with
a fixed relation in the color wheel. It comprises of Primary, Secondary and Tertiary Colors.

PRIMARY COLORS
Primary colors are colors that cannot be created by mixing with other colors. These are often
referred to as the true colors, because you need them to create all the other colors. They are ;
(RYB)

 Red

 Blue

 Yellow

Primary colors are used to create simple, but effective designs in the home. For example
an accent wall of a bold, clear primary color such as red. They can also be toned down or
to get the hue that works best for a home.

SECONDARY COLORS
Secondary colors are created by mixing primary colors. They are:

 Orange

 Yellow

 Green

 Violet

Secondary colors allow you to branch out more in color design. For example, where red might
be too bold, orange might be a better fit. Most secondary colors have a wide range of variation,
owing to the amounts of primary color that are included in their base. For example, you can
have a green that is closer to yellow or a green that is closer to red. For a more subtle
approach to color, with less dramatic results than primary colors, introduce secondary colors as
wall, ceiling, and fabric color choices.

TERTIARY COLORS
Tertiary colors are colors created by mixing a primary and secondary color. They are:

 Yellow-orange

 Red-orange

 Red-violet

 Blue-violet

 Blue-green

 Yellow-green

Tertiary colors are the perfect way to tie together a color scheme in a room. For example, create
an ocean palette of pale blue walls and green drapes. Use the tertiary color blue-green in
accents such as lamps, throw pillows and in the walls art. Tertiary colors help cement the color
design within one space and can help you transition from one area of color to another.

TINTS SHADES AND TONES

Tints

A Tint is sometimes called a Pastel. Basically it's simply any color with white added to increase
lightness.

If you want to get a little more complicated, you can mix any of the twelve pure colors
together. Then simply add any amount of white and you have created a pastel or tint of the
mixture.

That means you can go from an extremely pale, nearly white to a barely tinted pure hue.

A color scheme using Tints is usually soft, youthful and soothing, especially the lighter
versions
Shades

A Shade is simply any color with black added to reduce lightness.

Just as with making tints, you can mix any of the twelve pure colors together.Then simply add
any amount of black and you have created a shade of the mixture.

That means you can go from an extremely dark, nearly black to a barely shaded pure hue.

Shades are deep, powerful and mysterious. Be careful not to use too much black as it can get a
little overpowering. These darks work well in a masculine environment.

Tones

urgundy = the root Color or Hue is RED

Navy = the root Color or Hue is BLUE

Rust = the root Color or Hue is ORANGE

NB

Mixing a color with any neutral color (including black, gray and white) reduces the chroma,
or colorfulness, while the hue remains unchanged.

The lightness or darkness of a colour is called a value.

Tints - adding white to a pure hue:

Shades - adding black to a pure hue:

Tones - adding gray to a pure hue:

COLOUR SCHEMES

The position where the colors are on the wheel and where they are in relation to the other colors
can tell us a great deal. It can tell us which colors will work well together.

Monochromatic colors

They are all the colors (tints, tones, and shades) of a single hue. Monochromatic color schemes
are derived from a single base hue, and extended using its shades, tones and tints (that is, a hue
modified by the addition of black, gray (black + white) and white. As a result, the energy is more
subtle and peaceful due to a lack of contrast of hue.
Complementary Colors
Complementary colors are the colors opposite each other on the color wheel. These colors often
work well together. Use complementary colors for bold design choices in your home. For
example, paint the walls of a room blue and use orange accents such as throw pillows or
wall art. Because blue and orange are opposite one another, they will complement and highlight
each other without competing for your eye.

Analogous Colors
These are colors next to each other on the color wheel. These colors also work well together but
do not offer the contrast of complimentary colors. Consider using analogous colors for a more
subtle palette. For example, use yellow, green and yellow-green together in one room. Select
one color for the main walls, a second for an accent wall and the third to be placed in draperies,
rugs and furniture. Alternatively, keep the wall color neutral and combine analogous colors
into the furniture and accents for a subtle breath of color in the room.

Triad Colors
Designing with a triad means that you use three colors off the color wheel that form a triangle.
This method can be difficult, but it creates a very balanced color look. This scheme is very
popular among artists because it offers strong visual contrast while retaining balance, and color
richness Triad colors can be as simple as including shades of red, blue and yellow - the
primary colors - in one room. Use one color, such as yellow, on the walls for the room's main
color. Use red furniture in the same hue as the yellow, and include throw pillows, rugs and
window treatments that include both red and yellow with pops of blue to enliven the design.

Split-Complementary color scheme

The split-complementary color scheme is a variation of the complementary color scheme.
In addition to the base color, it uses the two colors adjacent to its complement.This color
scheme has the same strong visual contrast as the complementary color scheme, but has less
tension.

The split-complimentary color scheme is often a good choice for beginners, because it is
difficult to mess up.
Rectangle (tetradic) color scheme

The rectangle or tetradic color scheme uses four colors arranged into two complementary
pairs.This rich color scheme offers plenty of possibilities for variation.Tetradic color schemes
works best if you let one color be dominant.

You should also pay attention to the balance between warm and cool colors in your design.
 Square color scheme

The square color scheme is similar to the rectangle, but with all four colors spaced evenly
around the color circle. Square color schemes works best if you let one color be dominant.

You should also pay attention to the balance between warm and cool colors in your design.

Neutrals
Neutrals are often used in home decorating because they work so well with each other and are
fairly easy to use. Neutrals include colors like:

 White

 Brown

 Gray

 Black

Neutrals make a great background for accent colors, and give the eye a place to rest.

Neutrals are obtained by mixing pure colors with white, black or gray, or by mixing two
complementary colors.

SHAPE
A shape is defined as a two or more dimensional area that stands out from the space next to
or around it due to a defined or implied boundary, or because of differences of value, color, or
texture. All objects are composed of shapes and all other 'Elements of Design' are shapes in some
way.

Categories

 Mechanical Shapes or Geometric Shapes are the shapes that can be drawn using a ruler
or compass. Mechanical shapes, whether simple or complex, produce a feeling of control or order.
 Organic Shapes are freehand drawn shapes that are complex and normally found in
nature. Organic shapes produce a natural feel.

TEXTURE

This is the surface quality of a material -the way a surface feels or is perceived to feel.
Texture can be added to attract or repel interest to an element, depending on the
pleasantness of the texture.
Every surface has a texture whether it be smooth or rough, bumpy or flat.

Types of texture
Texture, can be described as either tactile or visual.

 Tactile texture is the actual three-dimension feel of a surface that can be touched.
Painter can use impasto to build peaks and create texture.
 Visual texture is our perception of what a texture might feel like. In other words, we
often make assumptions about the texture of a material based on our memory of touching similar
surfaces.

Any texture shown in a photo is a visual texture, meaning the paper is smooth no matter how
rough the image perceives it to be.
Most textures have a natural touch but still seem to repeat a motif in some way. Regularly
repeating a motif will result in a texture appearing as a pattern.

Effects of Texture
Our perception of texture is influenced by the textures of adjacent surfaces, our viewing
distance, as well as the lighting applied.
For example, rough surfaces seem more

 textured next to smooth surfaces,

 when viewed up close,
 When grazed with light (i.e. lit from the side).

Texture helps to
 differentiate various objects and surfaces,
 transform light,
 Influence scale- Because of the way they absorb and reflect light, textures make a room
feel smaller. You can use this principle to make a large, well-lit living room feel less spacious.

 communicate a particular design style.

 Textures can suggest temperature as well as alter the perception of space. A smooth
texture reflects light and can look metallic, while a soft and raised texture absorbs light and
suggests comfort.

SPACE

In design, space is concerned with the area the design will take place on. For a two-dimensional
design space concerns creating the illusion of a third dimension on a flat surface:

 Overlap is the effect where objects appear to be on top of each other. This illusion makes
the top element look closer to the observer. There is no way to determine the depth of the space,
only the order of closeness.
 Shading adds gradation marks to make an object of a two-dimensional surface seem
three-dimensional.
 Highlight, Transitional Light, Core of the Shadow, Reflected Light, and Cast
Shadow give an object a three-dimensional look.
 Linear Perspective is the concept relating to how an object seems smaller the farther
away it gets.
 Atmospheric Perspective is based on how air acts as a filter to change the appearance of
distance objects.

FORM.

Form may be described as any three-dimensional object. Form can be measured, from top to
bottom (height), side to side (width), and from back to front (depth).

Form is also defined by light and dark. It can be defined by the presence of shadows on
surfaces or faces of an object.

There are two types of form, geometric (man-made) and natural (organic form). Form may be
created by the combining of two or more shapes. It may be enhanced by tone, texture and color. It
can be illustrated or constructed.

LINE

It is the pattern created by a series of dots.

This consist of :

 horizontal, vertical, curving, diagonal lines

Each has an impact on how you perceive space. Lines can also be combined to create shapes and
planes, or form .
Structural elements, applied finishes, even lighting can all be applied to create strong lines within
a space.
Horizontal Line
Lines applied horizontally often evoke feelings of stability, grounding, emphasis and direction.
So, although horizontal lines tend create length and lower the ceiling of a space they can also be
applied to direct the viewer to a particular focal point.
Vertically and upwards onto the ceiling create a strong line that really adds to the feeling of
height

Vertical Line
Vertical lines are often associated with strength (think pillar of strength), stability, balance, and
elevation. It has been hypothesized that viewing vertical lines is unnatural compared to viewing
horizontal lines. Additionally, vertical lines extend away from our visual plane. For these
reasons, the length of a line applied vertically is often extended lending to the feeling of height
in a space.
Diagonal Line
Diagonal lines typically create a sense of dynamic movement, transformation, and freedom.
Diagonal lines can really bring life to a space, direct the eye upwards or downwards, and add
volume to a space, making it feel larger than it is. That being said if applied incorrectly,
diagonal lines can conjure a sense of confusion and imbalance.

This undulating seating element design creates a playful environment in this interior space.
Curved Line
Curving lines whether freeform, arcing, circular, or elliptical often feel natural, organic, playful,
and soothing. If you are looking to make a space flow curving lines are a great way to do it. They
are also very voluminous taking up space within an interior.

By applying lines in a way that relates to your brand message, you can create a space that appeals
to your customers and highlights the product you sell.

PRINCIPLES OF DESIGN

These are the guide lines on how to use the elements of Design in an Interior Space.

 Balance
 Proportion
 Rhythm
 Emphasis
 Unity

Principles applied to the elements of design that bring them together into one design. How one
applies these principles determines how successful a design may be.

UNITY/HARMONY

 When all elements are in agreement, a design is considered unified. No individual part is
viewed as more important than the whole design. A good balance between unity and variety
must be established to avoid a chaotic or a lifeless design. Unity is the underlying principle that
summarizes all of the principles and elements of design. It refers to the coherence of the
whole, the sense that all of the parts are working together to achieve a common result; a harmony
of all the parts.
Unity can be achieved through the effective and consistent use of any of the elements.

Methods

 Proximity: sense of distance between elements

 Similarity: ability to seem repeatable with other elements
 Continuation: the sense of having a line or pattern extend
 Repetition: elements being copied or mimicked numerous times
 Rhythm: is achieved when recurring position, size, color, and use of a graphic element
has a focal point interruption.
 Altering the basic theme achieves unity and helps keep interest.

BALANCE

Balance is the concept of visual equilibrium, and relates to our physical sense of balance. Most
successful compositions achieve balance in one of two ways: symmetrically or asymmetrically. .

Symmetrical balance can be described as having equal "weight" on equal sides of a centrally
placed design.It may also be referred to as formal balance. When the elements are arranged
equally on either side of a central axis, the result is Bilateral symmetry. This axis may be
horizontal or vertical. It is also possible to build formal balance by arranging elements equally
around a central point , resulting in radial symmetry.

Asymmetrical Balance- produces an informal balance that is attention attracting and dynamic.
Assymmetrical balance, also called informal balance, is more complex and difficult to
envisage. It involves placement of objects in a way that will allow objects of varying visual
weight to balance one another around a fulcrum point.

It is a state of equalized tension and equilibrium, which may not always be calm.

A good design contains elements that lead the reader through each element in order of its
significance. The type and images should be expressed starting from most important to the least
important.
SCALE/PROPORTION

Proportion refers to the relative size and scale of the various elements in a design. The issue is
the relationship between objects, or parts, of a whole. Scale is the relationship between objects
and parts to the whole. This means that it is necessary to discuss proportion in terms of the
context or standard used to determine proportions.

Our most universal standard of measurement is the human body; that is, our
experience of living in our own bodies. We judge the appropriateness of size of
objects by that measure. For example, a sofa in the form of a hand is startling
because of the distortion of expected proportion, and becomes the center of
attention in the room. Architectural spaces intended to impress are usually
scaled to a size that dwarfs the human viewer. This is a device often used in
public spaces, such as churches or centers of government. The same principle is often applied to
corporate spaces through which the enterprise wishes to impress customers with its power and
invincibility.

In contrast, the proportions of a private home are usually more in scale with human measure, and
as a result it appears more friendly, comfortable, less intimidating.

Using the relative size of elements against each other can attract attention to a focal point. When
elements are designed larger than life, scale is being used to show drama

EMPHASIS

Dominance is created by contrasting size, positioning, color, style, or shape. The focal point
should dominate the design with scale and contrast without sacrificing the unity of the whole.
Emphasis is also referred to as point of focus. It marks the locations in a composition, which
most strongly draw the viewers attention. Usually there is a primary, or main, point of
emphasis, with perhaps secondary emphases in other parts of the composition. The emphasis is
usually an interruption in the fundamental pattern or movement of the viewer’s eye through the
composition, or a break in the rhythm.

The artist or designer uses emphasis to call attention to something, or to vary the composition in
order to hold the viewers interest by providing visual "surprises."

Emphasis can be achieved in a number of ways.

 Repetition creates emphasis by calling attention to the repeated element through sheer
force of numbers. If a color is repeated across a map, the places
where certain colors cluster will attract your attention.

 Contrast achieves emphasis by setting the point of emphasis apart from the rest of its
background. Various kinds of contrasts are possible. The use of a neutral background isolates
the point of emphasis.

Contrast of color, texture, or shape will call attention to a specific point.

Contrast of size or scale will as well.

  Placement in a strategic position will call attention
to a particular element of a design.

RHYTHM

Rhythm can be described as timed movement through space; an easy, connected path along which
the eye follows a regular arrangement of motifs. The presence of rhythm creates predictability
and order in a composition. Visual rhythm may be best understood by relating it to rhythm in
sound.

Rhythm depends largely upon the elements of pattern and movement to achieve its effects. The
parallels between rhythm in sound/ music are very exact to the idea of rhythm in a visual
composition. The difference is that the timed "beat" is sensed by the eyes rather than the ears.

Visual rhythm can be created in a number of ways.

Linear rhythm refers to the characteristic flow of the individual line. Accomplished artists have
a recognizable manner of putting down the lines of their drawings that is a direct result of the
characteristic gesture used to make those lines, which, if observed, can be seen to have a rhythm
of its own. Linear rhythm is not as dependent on pattern, but is more dependent on timed
movement of the viewer's eye.It can be created by ;

 Repetition involves the use of patterning to achieve timed movement and a visual "beat".
This repetition may be a clear repetition of elements in a composition, or it may be a more subtle
kind of repetition that can be observed in the underlying structure of the image.
  Alternation is a specific instance of patterning in which a
sequence of repeating motifs are presented in turn; (short/long;
fat/thin; round/square; dark/light).

 Gradation employs a series of motifs patterned to relate to

one another through a regular progression of steps. This may be a
gradation of shape or color. Some shape gradations may in fact
create a sequence of events.

Contrasts

 Space
 Filled / Empty
 Near / Far
 2-D / 3-D
 Position
 Left / Right
 Isolated / Grouped
 Centered / Off-Center
 Top / Bottom
 Form
 Simple / Complex
 Beauty / Ugly
 Whole / Broken
 Direction
 Stability / Movement
 Structure
 Organized / Chaotic
 Mechanical / Hand-Drawn
 Size
 Large / Small
 Deep / Shallow
 Fat / Thin
 Color
 Grey scale / Color
 Black & White / Color
 Light / Dark
 Texture
 Fine / Coarse
 Smooth / Rough
 Sharp / Dull
 Density

Transparent / Opaque

 Thick / Thin
 Liquid / Solid
 Gravity
 Light / Heavy
 Stable / Unstable

Movement is the path the viewer’s eye takes through the artwork, often to focal areas. Such
movement can be directed along lines edges, shape and color within the artwork