Dynamic Create charismatic environments using the elements and principles of design
Elements Of Design
Principles of Design
Letter From Editor Pg. 3
Design Thesis Pg. 4
Letter From the Editor
My name is Madeline Pettit and I grew up in the City of Richmond with in a part of the city referred to as Ginter Park. The house we lived in is to this day one of my favorite places on planet earth and inspires me constantly. The house was built in mid 1800’s, and decorated and furnished with as many anLques my parents could get their hands on, every room featured diﬀerent color. This house is the reason I have such a love for beauLful old houses. I spent all of my life in Virginia unLl I came to North Carolina to a"end East Carolina University. Though I love North Carolina I am very passionate about my Virginia roots.
I have always possessed a love of vibrant patterns and colors. I believe that they are a major contributor to what makes the world a more visually interesting place. Along with my love of pattern and color, there is a large place in my heart for antiques. I conclude that by pairing these three things with some modern elements as well one is able to create dynamic and interesting environments. However the most important factor in that equation is the elements and principles of design.
ELEMENTS of Design h"p://www.pinterest.com/pin/233202086928299963/
Curved lines have have a graceful and subtle eﬀect on a room. They can provide relief and soWness from simply straight lines. They have a quality about them that makes them easy on the eyes and pleasing to view. Trying to create a more visually interesLng space? Try using both curved and straight lines, for it creates complexity and adds interest.
Vertical Lines 9
VerLcal lines have an eﬀect on how spaces are perceived. They are used to visually lengthen the look of a room or object. Not only can lines visually alter how a room is perceived, but they also have psychological eﬀects on a room. VerLcal lines generate a feeling of strength, simplicity, and most of all height.
Horizontal Lines Lines have a great aﬀect on how one perceives spaces. Horizontal lines do so by making things appear wider than they might actually be. When aiming to create a calm environment, one could do so through the applicaLon of horizontal lines for they suggest rest and stability.
Sur face Quality Texture refers to the surface quality of objects, and every surface has a texture weather it be rough or smooth. They can be perceived by either touch or sight. Textures have the ability to add much visual interest in an environment. By combing diﬀerent textures one can have variety and create a more visually and tacitly interesLng and dynamic environment.
Like all object have a surface texture, each texture has a surface quality that eﬀects light reﬂecLon. Smooth, Shiny surfaces such as glass, mirrors, metals, highly polished woods reﬂect more light than rough and dull textures like stone or brick. When working with an environment with a strong natural light source one can add reﬂecLve elements to the space to really emphasize the light.
NON REFLECTIVE SURFACES Rugs are a great example of a non reﬂec4ve surface, and they play a very large role in environments for they can deﬁne environments and ﬁll up the nega4ve spaces in room . When choosing the right rug for your space be sure to look at all the op4ons for there are vast amounts of fabrics, pa@erns, and colors that can be incorporated to match the room one is working with.
Portable lighLng such as table lights can both purely funcLonal, decoraLve or both. They shine light upward and downwards creaLng ambient light to illuminate a small area. Light sources play large role in interior spaces, which is why it is important to put though into what light source is right for the environment. By choosing a light with and interesLng base or lamp shade one can add to overall aestheLc quality of the room. Beaded and stained glass lamp shades add a whole other quality to the room for when they are turned on not only do they project color they also project interesLng pa"erns onto the walls and ceiling which can aide in the creaLng a dynamic environment. By Choosing Lamps with beaded shades, one can create dynamic environments through the colors and patterns they project on their surroundings
Natural Light Natural Light has a way of enhancing the beauty of every interior. It consists of pure natural sunlight that shines through windows lighLng up the interior of a room through out the day. Natural light can be enhanced by using white, paler colors and reﬂecLve surfaces. When choosing the colors that will be used in the room it is very important to take into consideraLon the amount of natural light that the room receives.
Ambient Lighting Ambient lighLng provides an area or a space with overall illuminaLon. It can be accomplished through chandeliers, recessed or track lights, ceiling or wall mounted ﬁxtures; such as ceiling fans, like the ones seen below.
Jazz up your ceiling fan blades by adding rhinestones to add some sparkle to your space and project interesting patterns around the 18 room.
Analogous Analogous color schemes are produced from colors that are adjacent to each other on the color wheel. As a designer by using an analogous color scheme it is easy to create the feeling of harmony with in an environment for you can achieve a close relaLonship between a large variety of values and intensiLes
For example both of the rooms pictures were created using an analogous color scheme that ranged from redviolet to yellow.
Monochromatic MonochromaLc color schemes are formed from one single hue, but uLlize a range of diﬀerent values and diﬀerent intensiLes. They have a way of creaLng a feeling of unity with in a space. 21
Complementary or contrasLng color schemes are oWen used because they can oﬀer a lot of variety. It is a color scheme composed directly of colors that are directly opposite of each other on the color wheel. And example being orange and blue or red and green. With the two contrasLng colors placed side by side they enhance each other which can create a powerful and charismaLc environment
The Term crowding deﬁnes where in an area people are grouped together in restricted areas. It refers to a space where people are meant to gather, like dining rooms, family rooms, breakfast nooks in kitchens. h"p://www.pinterest.com/pin/233202086928569064/
Negative Space The negaLve space with in a room consists of the spaces that are not occupied by furniture that then turn into lanes of traﬃc or pathways that allot for people to move through out the space.
The NegaLve space with in the pictures is the area surrounding the table that is void of furniture, which the arrows point out.
The posiLve space of a room is any area that is occupied by furniture, as one can see demonstrated in this room. 26
By combining different geometric shapes, as seen in the pillows to the left, one is able to add an element of variety, and complexity to the space
A shape can be deﬁned as an enclosed area created by line, texture, color, or even and area enclosed by other shapes. Everywhere one turns geometric shapes can be found with in any type of environment. As illustrated by the geometric shapes discovered with in the face of a clock, artwork hanging on a wall, or the mere pain of a window.
Natural shapes are commonly found with in nature, however in no way are they limited to that. These shapes found with in nature oWen serve as inspiraLon and therefore can be found in many man made items. They have a diﬀerent type of eﬀect on space, verses that of the geometric, or organic shape.
GEOMETRIC A form is any 3 dimensional composiLon or object. Geometric form is the most the common type of form and can be seen almost any where you go. With in this space a basic form can be seen, in the oval of the coﬀee table.
Natural Form is often inspired by natures own designs.
Natural from creates a bridge between interior and outdoor environments, in a way providing the best of both worlds. I believe it to be the most beauLful and graceful type of form. Also providing a tranquil energy to the space 33
from consists only of intrinsic from, with minimal to no attempt at realistic representation. It is visually intriguing and adds to the overall interest of an environment. 34
Principles Of Design h"p://www.pinterest.com/pin/233202086928299963/ Â
Visual Symmetry As demonstrated in the image below symmetrical balance is created through repeLLon, by arranging idenLcal objects on either side of the dividing line, almost like creaLng a mirror image. With the night stand acLng as the dividing line, each side is nearly idenLcal from the radial design above the headboard, to the ballet shoes hanging from the footboard. Balance such as this brings a sense of order to an environment
Asymmetrical balance is achieved through contrast. It involves the placement of objects with varying visual weights, in away that is will allow the objects to balance one another around a speciﬁc point. Asymmetrical balance is more casual while at the same Lme more interesLng and dynamic than symmetrical balance
The two matching arches on either side of the room create structural symmetry. The Line of symmetry being right down the center line of the book case.
Achieving harmony involves the selection or design of elements that share a common trait. In this case the trait is line.
Harmony is this room can be seen through the use of line throughout the enLre environment. There are strong verLcal and horizontal lines within the bookcase. The verLcal lines are echoed with in the fabric of the chair, while horizontal lines can also be seen with in the blinds on the window. Through the use of all of these lines it creates a visually sLmulaLng and harmonious environment 42
With in this room, the colors, Maroon, Magenta, Golden Yellow, and Orange are used consistently throughout the space with in a variety of diﬀerent objects. This creates a harmony via unity through color. In addiLon these colors have a warming and energeLc eﬀect on the room
UNITY THROUGH COLOR
Rectangles are common shapes than can be found in all types of environments. With in this space we can see the unity that is created through shape, via the collage of pictures, rectangular in shape that is hanging on the wall. 44
Focal Point Structural
When creaLng a focal point it is important to have furniture that will lead the observers eye to the intended focal point. The chairs with in the image act as frame to the focal point and draw you eye straight into the focal point, which is the ﬁre place and intricate collage.
Emphasis in a room refers to the focal point and supporLve furnishings that work together to create the center of a"enLon. The focal point should be placed at the head of the room, and be one of the largest pieces with in the room, like it is in the picture below
This beauLful upholstered couch is a wonderful example of actual density, for it is a solid volume and doesn't have any crevices like opLcally dense objects due. 49
OPTICAL DENSITY OpLcal Density is a type of visual density that can be witnessed when an object appears dense and heavy, but in reality its an illusion. Book shelves being a good example for while they do take up a large amount of space with in the room, they leave open space on their shelves for one to store things.
Other Examples: Cabinetry Trunks Armoires
Repetition is Rhythm established by the harmonious recurrence of elements like color, pattern, texture, line, light, form.
Contrasting Rhythm One can create a contrasLng rhythm simply by placing two objects in opposiLon of one another, like the two pillows composed of contrasLng shapes. OpposiLon can also be implied by contrasts in from, pa"ern, color, etcetera .
Transitional Rhythm TransiLonal Rhythm tends to ﬂow smoother, where your eye naturally glides from one area to another. The most common transiLon through the use of curved line to gently lead the eye.
With in this room you can see transitional rhythm through the smooth curved line with in the table.
ProporLon encompasses the the relaLonship of an object in comparison to another object or space, over size. It is more speciﬁcally is the RelaLon of size between and object and its parts. ProporLon can be witnessed all through out this room, for one there is not more negaLve space than there is furniture. Also proporLon can be seen with in the book shelves and the books displayed on them.
Un-proportional Space This living room is an example of an un-‐proporLonal space. The size of the furniture in the room in comparison to the amount of negaLve space with in the room is a indicator of how un-‐ proporLonal it is.
HUMAN SCALE With out consideraLon of scale, most parLcularly human scale, our every day lives would be more diﬃcult. Human scale is used ﬁrst and foremost to spot light the accessibility of furniture used by the average person. For example chairs have been scaled to ﬁt the human body
Symbolic scale To best explain Symbolic Scale, imagine a scaled miniature model of any object, building, or environment. For example this realisLc looking piano music box is an example of symbolic scale. It is proporLonal with in itself, the keys being proporLonal to the size of the piano. It even houses things that are of proporLonal size. However in reality and compared to human scale it is very small.
References All pictures not labeled with links in magazine were taken by Madeline PeUt in these ciLes: The images can be found on these pages. Richmond VA: 15, 42, 48, 49, 50, 51, 54, 59. R aleigh, NC: 12, 13, 14, 17,18, 22, 25, 26, 28, 30, 31, 39, 52, 53. Gr eenville, NC: 7, 8, 9, 10, 11, 12, 16, 19, 20, 23, 30, 32, 34, 41, 43, 44, 45, 59, 60.