Ch 8 Elements of Design Flashcards
1
Q
Formis the:
A
Basic shape and configuration of an object or space. It is often the way we first distinguish one thing from another.
2
Q
What element of design gives the designer a valuable tool to create order, establish mood, and coordinate the diverse components of a finished space?
A
Form
3
Q
Cylindrical, Flat, Square or Linear - these terms describe what element of design?
A
Form
4
Q
What factors can affect form?
A
Light, Color, Human Perception, and other elements
5
Q
When do people perceive a third dimension?
A
When the second or third dimension greatly exceeds the theoretically nonexistent dimension.
6
Q
Point (theoretical Aand practical)
A
Theoretically, a point is a position with no dimension, but practically, a point is perceived when a two-dimensionally perceived object appears relatively small in relation to the plane against which it is seen. Points can be any shape as long as its dimension is very small in relation to its background. The perception of points in arch and design depends on distance. A single point creates a location or position. Two points create both a distance between them and an implied direction between the points as well as an implied direction between the points perpendicular to the imaginary line connecting them. When several points are used close together and in alignment, they can create a line according to the principles of Gestalt psychology. Points used in groups can create either a static composition or a dynamic one.
7
Q
Line (and where they are percieved)
A
Object or form whose actual or visual length greatly exceeds its width or depth. Line are also formed and perceived where one plane meets another, where edges occur, and where there is a change in material, texure or color.
8
Q
Horizontal lines are seen as:
A
Restful, stable and related to the plane of the earth.
9
Q
Vertical Lines connote:
A
strength, equilibrium, permanence, and a strong upward movement
10
Q
Diagonal lines are _____________ and often represent __________
A
Dynamic — Movement
11
Q
Curved lines can be _________ or ____ - _____
A
Geometric or free-form
12
Q
Vertical Lines tend to make a space feel ____ than it is.
A
Taller
13
Q
Horizontal Lines tend to make a space feel ____ than it is.
A
Lower
14
Q
_____ lines appear longer than _____ lines of the same length.
A
Vertical; Horizonal
15
Q
In what two ways do diagonal lines exist in interior design and architecture?
A
(1) Actual diagonal lines relative to the horizontal and vertical (2) They always exist in the field of vision because of the way people perceive vertical and horizontal lines in perspective.
16
Q
When used effectively, how can diagonal lines affect a space?
A
They can enliven a space, create a sense of movement, and direct the eye. Use them carefully to avoid imbalance in a space.
17
Q
How can lines be introduced to a space?
A
Use objects with strong linear forms, structural elements, applied decoration and finishes, and lighting.
18
Q
A plane is:
A
A form with two dominant dimensions: length and width.
19
Q
Unlike lines, _______ help determine the form of a space with the additional characteristics of shape, texture, color and pattern.
A
Planes
20
Q
Volume is the:
A
True 3D aspect of interior design.
21
Q
An object with volume is clearly perceived as:
A
A spatial form having length, width and depth.
22
Q
What can volume be percieved as?
A
Volume can be solid or void, positive or negative space, or figure-ground.
23
Q
An object with ______ is clearly perceived as a spatial form having length, width and depth.
A
Volume
24
Q
A form that has mass and appears to occupy space.
A
Solid
25
Space itself, defined by planes or other elements.
Void
26
An object with _______ has definite shape and is usually perceived and categorized as regular or irregular, or by a dominant characteristic.
Volume
27
The unique characteristic of an object or space that defines it as distinct from adjacent objects or spaces. They are clearly distinguished by planar or volumetric forms and can be geometric or irregular or natural.
The unique characteristic of an object or space that defines it as distinct from adjacent objects or spaces. They are clearly distinguished by planar or volumetric forms and can be geometric or irregular or natural.
28
_____ can convey powerful symbolic or emotional qualities which can vary depending on the background, culture or experiences of the person viewing it.
Shapes
29
The relative size of something as related to another element of known size.
Scale
30
The relationship of parts of a composition to each other and to the whole.
Proportion
31
What is the most common scale?
Human Scale
32
What is an example of direct and indirect human scale?
Direct scale would be a person standing in a room; Indirect scale would be a chair in the room - something inanimate that has a direct relationship with a human.
33
Why is the judgement of scale always complex?
Because of the multitude of objects within a space, the form of the space itself, and the way the perception of objects and space is affected by color, lighting, value, texture, repetition, and other factors.
34
_______ is one of the most dominant perceptions of the physical world and one of the most powerful tools for interior design.
Color
35
A physical property of visible light that is one part of the larger electromagnetic spectrum, which also includes other radiation like X-rays and infrared light is ________
Color
36
How is each color differentiated from the others?
Wavelength
37
What color has the longest wavelength of the visible spectrum?
Red
38
What color has the shortest wavelength of the visible spectrum?
Violet
39
The eye and brain perceive variations in _________ to give the sensation of _______.
Wavelength; Color
40
When all the colors of light are present in equal amounts we percieve _______
White Light
41
Colors created with light are _______ _________
Additive Colors
42
How is the color of an object conveyed?
By the color of light the object ABSORBS and the amount of light it REFLECTS TO THE EYE. (e.g. a blue object absorbs, or subtracts, most of the color of light EXCEPT blue, which is REFLECTED TO THE EYE.
43
Colors created with pigments are ___________ _____________
Subtracted Colors
44
When all colors of a pigment are present in equal amounts, the viewer perceives:
No Color / Black
45
What are the three primary colors of LIGHT?
Red, Blue and Green
46
What colors of light create white light when combined equally?
Red, Blue and Green (the primary colors of light)
47
What are the three primary colors of PIGMENT?
Red, Blue and Yellow
48
What are the three basic qualities of color?
Hue, Value and Intensity (Chroma)
49
The basic color, that attribute by which, for example, blue is distinguished from red.
Hue
50
Describes the degree of LIGHTNESS or DARKNESS of a color in relation to white and black.
Value
51
Defined by the PURITY of the hue when COMPARED with a NEUTRAL GRAY of the SAME VALUE.
Intensity (Chroma)
52
When white is added to a hue and its value is raised.
Tint
53
When black is added to a hue and its value is lowered.
Shade
54
Adding gray of the SAME VALUE to a hue. A tone can also be created by adding its complement.
Tone
55
Which two color systems must a designer be familiar with?
The Brewster System (aka the Prang Color System) and the Munsell System
56
What color system is illustrated in the color wheel?
The Brewster System (aka the Prang Color System)
57
When primary colors are mixed in equal amounts, they produce _______ colors.
Secondary
58
When a primary color is mixed with a secondary color, a _________ color is created.
Tertiary
59
Defines color more accurately than the Brewter System (color wheel) and uses three scales in three dimensions to specify the values of hue, value and chroma (intensity). There are five principle hues (yellow, green, blue, purple and red), designated by a single letter, and five intermediate hues, designated by two letters, all arranged in a circle. Each of these ten hues is subdivided into four parts and given the numbers 2.5, 5, 7.5 and 10. Each of the ten basic hues is given the number 5, indicating that they are midway between the adjacent hues and represent the most saturated color of that particular hue. When necessary, the colors can be further subdivided into 100 different hues.
Munsell Color System
60
What are the five principle hues of the Munsell Color System?
Yellow, Green, Blue, Purple and Red
61
How many principle hues and how many intermediate hues are in the Munsell Color System?
5; 5
62
Principle hues of the Munsell Color System are designated by _______.
A single letter
63
Intermediate hues of the Munsell Color System are designated by _______.
Two letters
64
How are the ten hues of the Munsell Color System subdivided?
Into four parts and given the numbers 2.5, 5, 7.5 and 10.
65
Each of the ten basic hues of the Munsell Color System is given the number __.
5 - this indicates that they are midway between the adjacent hues and represent the most saturated colors of that particular hue.
66
How is value represented in the Munsell Color System?
Value (The degree of lightness or darkness) is represented by a scale at the HUB of the circle and consists of nine neutral grays plus white and black. White is at the top of the scale and is given the number 10; Black is at the bottom of the scale and given a value of 0.
67
How is chroma represented in the Munsell Color System?
Chroma is represented on a scale extending OUTWARD from the value axis. At the outside of the chroma scale the color is most saturated; as the color moves towards the center, it comes closer to a neutral gray of the same value.
68
Why does the number of chroma steps vary with the hue on the Munsell Color System?
Because different hues have different maximum saturation strengths at different value levels. This is why the Munsell color solid is NOT a symmetrical form.
69
Any color in the _______ color system can be designated with a combination of letters and numbers.
Munsell
70
What does a color number of G/6/3 represent on the Munsell Color System?
G (principle hue of green); 6 (Value); 3 (Chroma)
71
A single _____, like all other aspects of interior design, does not exist in isolation.
Color
72
________ colors re-inforce each other.
Complementary
73
When is an afterimage seen?
When someone stares at one color for some time, then looks at a white surface. The afterimage of the color's complement is seen.
74
An object's color will induce its _______ in the background.
Complement
75
What happens when two complementary colors are seen adjacent to each other?
Each appears to heighten the other's saturation.
76
What happens when a small area of one color is placed on a background of a complementary color?
The small area of color becomes more intense.
77
What happens when two noncomplementary colors are placed together?
Each appears to tint the other with its own complement. This means that the two colors will appear farther apart on the color wheel than they are.
78
What happens when two primary colors are seen together?
They will tend to appear tinted with the third primary.
79
What happens when a light color is placed against a darker background?
It will appear lighter than it is.
80
What happens when a dark color is placed against a lighter background?
It will appear darker than it is.
81
When an identical value is shown against two contrasting backgrounds (e.g. - a small gray box within both a black and a white large box) what does the viewer see?
Simultaneous Contrast
82
How does a background color absorb color?
It will absorb the same color in a second, noncomplementary color placed over it. (e.g. an orange spot on a red background will appear more yellow because the red "absorbs" the red in the orange spot).
83
When will a neutral gray appear warm?
When it is placed on a blue background.
84
When will a neutral gray appear cool?
When it is placed on a red background.
85
The human eye often perceives all light as ____, although each light source carries some colors more than others.
White
86
Midday sunlight is predominantly _______.
Blue
87
How does a light with a particularly strong hue affect color?
It will intensify colors with similar hues and neutralize colors of complementary hues. This is why color selection should be made under the same lighting that is going to exist in the final interior installation.
88
How does the amount of light affect color?
Dim lights reduce a color's value and diminishes its hue. High lighting levels can either intensify the hues or make the color appear washed out.
89
In many cultures, red mean .....
Danger / Stop
90
What are some of the variables that exist when talking about color?
Physiology of color perception, the situation under which color is seen, cultural values, the value and chroma of the colors viewed, and the environment.
91
What is a general statement regarding color that generally hold true for most people?
People distinguish between warm and cool colors.
92
Color that is exciting and hot.
Red
93
Color that is cheerful.
Yellow
94
Color that reflects nature and sometimes connotes cool, restful environments.
Green
95
Color that is cool and restful and can imply dignity.
Blue
96
A dark color will make a room appear ______.
Smaller
97
A light color will make a room appear ______.
Larger
98
Bright, warm colors tend to make an object appear _______.
Larger
99
A dark color will make an object appear _______ and __________.
Smaller and Heavier
100
Light, neutral colors ______ the apparent space of a room.
Extend
101
Dark values make a space feel _____ __.
Closed In
102
_____ colors advance.
Warm
103
_____ colors recede.
Cool
104
How can a long, narrow room be "widened" by color?
Paint the end walls with a bright, warm color and paint the side walls a lighter, cooler color.
105
A high ceiling can be lowered by painting it a _____ color.
Darker
106
How can you make individual pieces of furniture be more prominent?
Make the furniture much lighter that a background of dark floors adn walls.
107
How can you make a large object appear smaller?
If its color is light and similar to its background.
108
What ar (ne five common methods of using color, which are applicable regardless of the specific hues employed?
Monochromatic, Analogous, Complementary Triad and Tetrad color schemes.
109
Color scheme that employs one hue with variations ONLY IN INTENSITY AND VALUE. They are easy to develop and almost always work, but become monotonous in an area used continuously.
Monochromatic Color Scheme
110
A variation of a monochromatic scheme, except that it consists of only a single hue of low intensity (near gray) in one or a very limited range of values. It is best used where a neutral background is needed for other activities, as in an art gallery where the space should not compete with the artwork.
Monotone Color Scheme
111
Color scheme that use hues that are close to each other on the color wheel. It could be one primary, one secondary and the tertiary color between them. Generally the colors of an analogous scheme do not extend beyond one 90 degree segment of the color wheel, and they work best if one color is dominant and the others are subordinate.
Analogous Color Scheme
112
Color scheme that uses hues on opposite sides of the color wheel. Complementary colors can be harsh when viewed together so large areas of color are generally of lower chroma (grayer) and are a tint or shade of the higher chroma. Smaller areas/accents may have a higher chroma.
Complementary Color Scheme
113
A variation of a complementary color scheme in which a color on one side of the color wheel is used with two hues the lie on either side of the complementary color.
Split Complementary Color Scheme
114
A variation of a complementary color scheme that uses four hues; a pair on either side of two complements. In either case, one color should be dominant and used at low levels of chroma.
Double Complementary Color Scheme
115
Color scheme that uses colors equally spaced around the color wheel, such as yellow-orange, blue-green, and red-violet. Like complementary color schemes, triad schemes employ low-chroma tints or shades except for possibly one intense color that is used as an accent.
Triad Color Scheme
116
Color scheme that uses four colors that are equally spaced around the whole. They are difficult to do well because a wide range of color is used. One or two colors should dominate and be of lower chroma, like in complementary and triad schemes.
Tetrad Color Scheme
117
The surface quality of a material, and results from the inherent structure of the material from the inherent structure of the material or from the application of some type of coating over the material.
Texture
118
What elements affect the perception of texture?
The texture's visual qualities, the relationship of the texture with the surrounding textures, the viewing distance, and the lighting. Altering any one of these can affect the final perceived appearance of the material.
119
Texture can be __________ or ___________.
Actual or Visual
120
The physical quality that can be sensed by touch.
Actual Texture
121
What people imagine a surface to be simply by looking at it based on a memory of similar textures.
Visual Texture
122
The repetition of a decorative motif on a surface. It is closely related to texture, but the individual elements of a pattern are usually discernable as individual items, whereas texture appears as an overall tone. Texture is also generally considered a 2D quality of plane surfaces, while pattern can be a 2d or linear composition. Pattern can be built into a material or it can be applied.
Pattern
123
The means by which all other aspects of the environment are seen, and it strongly affects HOW space and objects are perceived.
Light
124
What is an important aspect of light?
Quality - situations with excessive contrast can cause eye soreness, fatigue, etc. However, at the same time, absolute uniformity in lighting levels can be monotonous and dull.
125
What are examples of a light source?
A point, line, plane, or colume adn can have the qualities of brightness and color.
126
What can a good lighting design do?
Set or enhance the mood of the space, add interest to the visual environment, accent and emphasize objects and areas, de-emphasize undersirable areas or architectural features, highlight surfaces and textures, enhance color, & affect spatial perception.
