INT270_LF

This week, we covered the fundamentals of interior design in class. Any designer should be able to comprehend them. Interior designers adhere to certain laws and criteria known as principles to create places that are both visually beautiful and useful. Balance, harmony, rhythm, proportion and scale, emphasis, contrast, and details are the seven major tenets of interior design. To feel at ease in a space, one must possess balance. It involves arranging several objects in a room in a way that creates visual balance. Balance may be achieved by utilizing texture, color, and geometry. Balance comes in three flavors: radial, asymmetrical, or informal, and symmetrical or formal.  When visual components are positioned on each side of a central line in a symmetrical manner, equivalent mass. When two sides appear complete and logical while having distinct visual weights, this is known as asymmetrical balance.  In radial symmetry, the design parts radiate either inward or outward from a ...

Today's Blog is about our guest speaker but also about "perception of spatial relationship" from our book.  The guest speaker talked about the differences in color perception between generations and age groups. Bright colors are appealing to young children, yet the hues of the Great Depression and the 1970s have changed dramatically. Every culture has a different interpretation of color; in China, India, and Africa, red is associated with fury, passion, good fortune, longevity, or death. Interior designers may establish color palettes for multicultural situations with the assistance of an understanding of various cultural views. The speaker emphasized that comparable life experiences and values—which go beyond ethnicity—have a cultural effect on color response. Architectural views can be laid out freely or using a standard technique, and they are essential to interior design. Because it includes floor plans, sections, and elevations, the usual approach is more accurate th...

The dimensions of hue—pure colors, blended hues, and tonality—are covered in Chapter 6. Primary colors offer strong contrast and are regarded as stable. Value, which can be altered by using black and white to create various tints and hues, describes how bright or dark a hue is. Shading aids in the creation of patterns and spatial clarity, whereas light levels in compositions mix together. The intensity dimension—which describes how bright or dark a hue is—is covered in Chapter 8. Chroma strength may affect saturation, or intensity, which can be added to flat pure colors. Glazing is the process of building depth and harmony by stacking translucent complimentary colors. Chapter 9 concludes with a discussion of the temperature dimension, which relates to a color's warmth or coldness. It is often believed that cool colors are related with coldness and warm hues with heat. The temperature of a color may be altered by combining it with other colors and hues, and in a composition, it'...

This week, we studied color theory and how people perceive space. Chapter 1 of Color Studies covered the physiology of color, how our eyes interpret color, how light imparts color to objects, and how an object's color can vary depending on the type of light it receives. The distinctions between arbitrary, optical, and local color were also taught to us. In contrast to optical color, which replicates hues as seen in lighting conditions other than white daylight, arbitrary color enables the artist to impose their feelings and interpretation of color onto the image. Local color replicates the effect of colors as seen in white daylight, precisely as we expect them to be.  Color Studies, Chapter 2, discussed color schemes and their varieties This week, we studied color theory and how people perceive space. Chapter 1 of Color Studies covered the physiology of color, how our eyes interpret color, how light imparts color to objects, and how an object's color can vary depending on the ...