OSN ACADEMY PVT.

LDT
www.osnacademy.com
LUCKNOW
0522-4006074
SUBJECT – HOME SCIENCE
SUBJECT CODE – 12
UNIT – VI

9935 058 417

0522-4006074
 CONTENT
SL.NO. CHAPTERS

1. Design Fundamentals
2. Colour
3. Space, Planning & Design
4. Building Regulations
5. Housing and Environment
6. Energy
7. Product Design
8. Ergonomics
9. Furniture and furnishing
10. Research Methods

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 CHAPTER-1
DESIGN FUNDAMENTALS

DESIGN FUNDAMENTALS
ELEMENTS OF ART –
1. Space
Space is one of the most important elements of interior design. Space acts as a foundation
on which the entire interior design plan is built. Hence it is essential that the designer is
well aware of the space available, its dimensions and its utilities. Space is divided into
two types namely – Two Dimensional Space which covers the floor (includes length and
width) and Three Dimensional Space which forms the living space (includes length,
width and height). A space that is essentially filled with furniture/décor items is a Positive
Space and an empty space is a Negative Space. An equilibrium has to be maintained
between the positive and negative spaces and either overcrowding or skimping on the
furniture/décor items is going to affect this equilibrium.

2. Line
Lines give birth to forms and shapes and are responsible for establishing a sense of
harmony, contrast and unity (3 of the 7 principles) in a living space. They define shapes
and act as visual guides of an interior space. Lines are broadly categorized into three
types – Horizontal, Vertical and Dynamic. While horizontal lines adorn structures likes
tables, chairs and beds, vertical lines can be found on windows, doorways and almirahs.
While horizontal lines add a safe and secure feeling to the space, vertical lines emote free
and expansive nature. Dynamic or angular lines, which are action oriented add drama and
can be seen on structures like stairs. An interior designer must know how to utilize these
lines to define the forms, another important interior design element.

3. Forms
Forms mean shapes in general, an outline of any three dimensional object in the space.
Forms can be created by combining two or more shapes and can be accentuated with the
help of other elements like texture, patterns and colors. A well-defined form establishes
harmony and additional forms add balance to the space. There are two types of forms –
Geometric (man-made) and Natural (organic). Also forms are categorized as open and
closed; open forms are those that can be looked into and closed forms are those that are
enclosed by a closed surface

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4. Light
Light is one of the most obvious elements of interior design. Either natural or man-made,
without light other elements namely color, texture and pattern have no significance at all.
Light sets in the mood and ambience into a living space and highlights the every other
element including space, line and forms. While smart placement of doors and windows
should take care of the natural light, man-made or artificial lighting is broadly divided
into three major types namely – Task Lighting, Accent Lighting and Mood Lighting. Task
light as the name implies, includes light sources like table and bed lamps which have a
defined purpose, dedicated for a specific task. Accent lights are meant for highlighting a
particular piece or show item like artworks, structures, sculptures and so on. Mood or
ambient lighting basically set the mood of the living space and illuminate the overall
space.

5. Color
Colors don‘t need any special introduction. Colors establish an aesthetic connection
between objects and set the mood. Colors must be chosen based on the psychology and
the mindset of the dweller. For example, red is an excellent choice for dining room as it
encourages appetite and green for bedroom as it is the color of tranquility and health.
Each color has three distinct characteristics namely Hue, Value and Intensity, and an
interior designer must be well aware of these characteristics to perform various
permutations and combinations. Colors are broadly classified into Primary and Secondary
colors and also sub-categorized into Tertiary, Complementary, Analogous and
Monochromatic colors.

6. Texture
Texture mainly deals with surfaces and determines how a typical surface looks and feels.
Texture adds depth and interest into a living space and defines the feel/appearance and
consistency of a surface. Texture is broadly classified into two types – Visual Texture
where the texture is only visible and Actual Texture where the texture is both seen and
felt. Anything that has to do with textiles such as pillow cover, bed spreads or anything to
do with covers like drapes, wall paint or wallpapers have a texture. While there must be a
dominant texture to define a mood, a contrasting texture must also be included to avoid
monotony.

7. Pattern
Patterns add interest and life to interior design and work along with colors. Patterns tell a
story of their own and add the elements of continuity and smooth transition in a living
space. Patterns could be of any shape and mostly comprise of attractive and repetitive
designs. Paisley, a design pattern which takes the shape of a droplet-shaped vegetable is

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 one of the most commonly used patterns on wall paints, pillow covers and other
decorative surfaces.

8. Value–
Value is the degree of lightness and darkness in a color. The difference in values is called
contrast. Value can relate to shades, where a color gets darker by adding black to it, or
tints, where a color gets lighter by adding white to it. White is considered the lightest
value whereas black is the darkest. The middle value between these extremes is also
known as a half-tone, all of which can be found on a value scale.

PRINCIPLES OF DESIGN -
Organization is the art of keeping things in a certain order for reference purposes.
Planning is following organized steps to ensure that you have a certain outcome.

Principle 1 –
BALANCE - The visual balance in a room gives a sense of repose and a feeling of
completion. The elements of line, shape, color and texture all help to determine the
decoration of the space. Balance also refers to how and where you place the elements. To
maintain balance, try to distribute the elements throughout the room.

Principle 2-
Emphasis - Emphasis is the focal point of the room that should be obvious when you enter
the room or the area for which your eye is drawn. a fireplace, artwork or a window treatment
must be sufficiently emphasized so that everything else leads to the area presented.

Principle 3-
Proportion and Scale -Room Size is defined by proportion and scale. The ratio refers to how
the elements within an object relate to the object as a whole. The scale is related to the size of
an object when compared to the size of the space in which it is located.

Principle 4-
Harmony and Unity - A well designed room is a whole unified that encompasses all other
elements and design principles. The unit ensures a sense of order. There must be a
consistency of sizes and shapes, a harmony of color and pattern. The ultimate goal of
decorating is to create a room with unity and harmony.

Principle 5-
The Rhythm- Rhythm supplies the discipline that controls the eye as it moves around a
room. Rhythm helps the eye to move easily from one object to another and creates a
harmony. Rhythm is created through repetition of lines, shapes, color or texture.

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Principle -6
Colour – Can create an effect of on mood, reduce or increase tensions etc. Colours are
formed on a prism when light is passed through a prism to create violet, indigo, blue, green,
yellow, orange & red.

Principle- 7
Movement is the result of using the elements of art such that they move the viewer's eye
around and within the image. A sense of movement can be created by diagonal or curvy lines,
either real or implied, by edges, by the illusion of space, by repetition, by energetic mark-
making.

Principle– 8
Contrast - It is the difference between elements of art in a composition, such that each
element is made stronger in relation to the other. When placed next to each other, contrasting
elements command the viewer's attention. Areas of contrast are among the first places that a
viewer's eye is drawn. Contrast can be achieved by juxtapositions of any of the elements of
art. Negative/Positive space is an example of contrast. Complementary colors placed side by
side is an example of contrast.

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 CHAPTER- 2
COLOUR

Colour – Can create an effect of on mood, reduce or increase tensions etc. Colours are
formed on a prism when light is passed through a prism to create violet, indigo, blue, green,
yellow, orange & red.
Prang divided the colours into mainly yellow orange and red. They are the fundamental or
primary colours which are mixed to create other colours.
The Colour Wheel

The three dimensions of colour are hue, value &chroma/ intensity. There the name of
the coloureg burnt orange, shocking pink. Hues fall into two groups on dividing the colour
wheel. The cool hues near orange & red Blue & purple are coldest white red and orange are
warmest. The lightest value is white & the darkest value is black. Tints are obtained by
adding white to a colour giving a lighter colour. By adding black, navy blue shades etc are
obtained.
The brightness or dullness of a colour is known as its intensity. The effects of intense
colours can be reduced by adding grey or by blending them with white or black. Black white
grey are neutral colours. White means innocence, purity, & peace. Black is used for grief
death or evil. Yellow is the colour of the sun & indicates warmth & cheer. Blue & greens are
associated with repose & calm while red gives an expression of warmth, hospitality &
exhilaration.
Neutral colours are tan, beige, browns & wood colours. Bold hues can make a big
room seem smaller. Intensity is also known as chroma.

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TYPES OF COLOUR SCHEMES
1. Monochromatic colour schemes – They are originated from a single hue (single / mono)
or can be called a one colour scheme. Its value & intensity can be diverse but the hue is
same eg peach, beige, brown &Analoguscolour scheme - This is also called an adjacent
colour scheme which are based on three of more neighbouring hues eg blue-green, blue-
violet, blue etc. Since one hue is common thus adjacent colours are suggestive of
harmony. In this scheme the values intensities of the colours should be different.

2. Contrasting colour schemes – These are of 5 types

(a) Single complementary scheme – Opposite colours on the colour wheel are used in
this scheme. It is stimulating type of colour scheme. Eg red & green, blue & orange.
(b) Double complementary scheme – It involves 2 or more pairs of complementary
colours. Colours that are directly adjacent with their complements when used together
form double complementary harmonies eg orange – blue & red - orange.
(c) Split complementary colourscheme – Combining primary or intermediate with
colours on either side of the complement of a hue into its component parts gives split
complementary colour schemes eg – yellow, red-violet & blue violet.
(d) Triad colourscheme – Any 3 hues, equidistant from one another on the colour wheel
are known as triad colour schemes eg yellow, red & blue, green, violet & orange etc.
(e) Tetrad colourscheme – Any 4 hues equidistant from each other on the colour wheel
produce a tetrad colour scheme. eg yellow-orange, green, blue-violet & red.
(f) Analogous color schemes – They use colors that are next to each other on the color
wheel. They usually match well and create serene and comfortable designs. Analogous
color schemes are often found in nature and are harmonious and pleasing to the eye.
(g) Square color scheme – It is similar to the rectangle, but with all four colors spaced
evenly around the color circle.

Warm & Cool Colors

 Warm colors — such as red, yellow, and orange; evoke warmth.
 Cool colors — such as blue, green, and purple (violet); evoke a cool feeling.
Warm colors advance and cool colors recede, affecting the perception of depth. This
theory is based upon that fact that the eye adjusts when focusing on colors of different
wavelengths. Red light waves have a longer wavelength than blue ones. An image containing
both cool and warm colors would demonstrate contrast of temperature or warm/cool contrast
creating more complex relationships between the color (warm colors can read cooler against
a higher intensity warm colors and cool colors sometimes can advance against predominately
warm palette.

Grayscale - It is a range of shades of gray without apparent color. The darkest possible shade
is black, which is the total absence of transmitted or reflected light. The lightest possible

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shade is white, the total transmission or reflection of light at all visible wavelength s.
Intermediate shades of gray are represented by equal brightness levels of the three primary
colors (red, green and blue) for transmitted light, or equal amounts of the three primary
pigments (cyan, magenta and yellow) for reflected light.
Tints are lighter versions of the color that are made by mixing a color with white,
whereas shades are darker versions of the color that are made by mixing a color with black.
For example, pink is a tint of red, while maroon is a shade of red.In color theory, a tint is a
mixture of a color with white, which reduces darkness, while a shade is a mixture with black,
which increases darkness. Both processes affect the resulting color mixture's relative
lightness.
A tone is produced either by mixing a color with grey, or by both tinting and shading.
Mixing a color with any neutral color (including black, gray and white) reduces the chroma,
or colorfulness, while the hue (the relative mixture of red, blue and yellow) remains
unchanged.

The Denman Ross Value Scale – The values or tonal values are intervals on the scale of
light to dark. They say how light or dark an object is regardless of its colour.

THE MUNSELL COLOR ORDER SYSTEM

At the beginning of the 20th century, Professor Albert H. Munsell brought clarity to
color communication by establishing an orderly system for accurately identifying every color
that exists. Munsell based his system on what he defined as ―perceived equidistance,‖ the
human visual system‘s perception of color. The Munsell Color Order System is a three-
dimensional model based on the premise that each color has three qualities or attributes: hue,
value and chroma. Munsell established numerical scales with visually uniform steps for each
of these attributes. In Munsell notation, each color has a logical relationship to all other
colors. This leads to endless creative possibilities in color choices, as well as the ability to
precisely communicate these choices.

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 Hue (H) is the actual ―color‖ that follows a natural order of red (R), yellow (Y), green
(G), blue (B) and purple (P); designated principle hues. Between each were intermediate hues
yellow-red (YR), green-yellow (GY), bluegreen (BG), purple-blue (PB) and red-purple (RP).
Arranged in an equally divided circle, these colors form the Munsell Hue Circle. Hue Symbol
Red R Yellow-Red YR Yellow Y Green-Yellow GY Green G Hue Symbol Blue-Green BG
Blue B Purple-Blue PB Purple P Red-Purple RP Munsell Hue Circle.
Chroma (C) is the degree of departure of a color from the neutral color of the same
value. Colors of low chroma are sometimes called ―weak,‖ while those of high chroma are
said to be ―highly saturated,‖ ―strong‖ or ―vivid.‖ The chroma scale starts at zero, for neutral
colors, but there is no arbitrary end to the scale. As new pigments have become available,
Munsell color chips of higher chroma have been made for many hues and values. The chroma
scale for normal reflecting materials extends beyond 20 in some cases. Fluorescent materials
may have chromas as high as 30. How Munsell Color Notation Works All colors are arranged
three-dimensionally according to hue, value and chroma creating the Munsell Color Space.
Each color has a specific Munsell color notation from which you can easily visualize the
color. Using the Munsell nomenclature HV/C, our vivid red example would have the Munsell
notation 5R 6/14. 5R is the hue (red), 6 is the value (moderately light), and a 14 chroma
indicates a highly chromatic color. When a finer division is needed for any of the attributes,
decimals are used. For example, 5.3R 6.1/14.4. When the hues of the primary hue circle are
used, the notation is written in the same way, for example 2B‘ 5/4. The notation for a neutral
color is written: NV/. The chroma of a neutral color is zero, but it is customary to omit the
zero in the notation. The notation N 1/ denotes a black, a very dark neutral, while N 9/
denotes a white, a very light neutral. This notation for a middle gray is N 5/. Value Value (V)
indicates the lightness of a color. The scale of value ranges from 0 for pure black to 10 for
pure white. Black, white and the grays between them are called ―neutral colors.‖ They have
no hue. Colors that have a hue are called ―chromatic colors.‖ The value scale applies to
chromatic as well as neutral colors. Munsell Color Space Munsell hue, value and chroma can
be varied independently so that all colors can be arranged according to the three attributes in
a threedimensional space. The neutral colors are placed along a vertical line, called the
―neutral axis,‖ with black at the bottom, white at the top, and all grays in between. The
different hues are displayed at various angles around the neutral axis. The chroma scale is
perpendicular to the axis, increasing outward. This three-dimensional arrangement of colors
is called the ―Munsell color space.‖
Munsell Color Solid - All colors lie within a specific region of Munsell color space
called the ―Munsell color solid.‖ Hue is limited to one turn around the circle. The scale of
value is limited on the lower end by pure black, which is as dark as a color can be, and on the
top by pure white, which is as light as a color can be. For a given value, there is a limit to the
chroma that is possible, even with theoretically ideal coloring agents. Real coloring agents,
with less than ideal characteristics, impose further limitations on physical representations of
the color solid.

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 The Munsell Color Order System itself is applicable to all possible colors. The highest
chroma yellow colors have rather high values, while the highest chroma blue colors have
lower values. An International Standard The Munsell color order system is recognized
internationally by the following standards:
• American National Standards Institute — ANSI Z138.2
• Japanese Industrial Standard for Color — JIS Z872
• German Standard Color System — DIN 6164
• Several British national standards The Munsell Color Order System has been widely used in
many fields of color science, most notably as a model of uniformity for colorimetric spaces
and has, itself, been the subject of many scientific studies.

Psychological effects of colour

The human mind is incredibly complicated. The way a person thinks and how they
perceive the world can be shaped in many unexpected ways. Color can have a huge impact on
how you feel and act. The color in your surroundings will have significant psychological
effects.
Most colors can be roughly divided into two types: warm colors and cool colors.
Warm colors (also called saturated colors), like red, yellow, and orange, evoke feelings of
activity and passion, and perhaps even anger. Cool colors are colors such as blue, green, and
purple. These cooler colors are associated with calm, harmony, and peace, but also lassitude,
inaction, and sadness
Red is certainly the warmest of the colors — in fact it could be called ‗hot‘. Red is
stimulating and invigorating, but the color can also shorten tempers and increase irritability.
Using red in a bedroom (or any room oriented towards relaxation) would probably be unwise.
Because it can increase hunger, red might be suitable for a kitchen. Strong reds should be
used moderately, since most rooms should not inspire the hectic, intense feeling such reds can
elicit.
Bright yellows tend to inspire optimism and foster an upbeat attitude. Still, too much
yellow can quickly become grating. Yellow is best used in moderation, or in very light tones.
Orange, a fun and stimulating color, should be treated in the same way.

The color blue has many connotations and aspects, but in general it impresses feelings
of clarity, order, and calm. Blue is the perfect color for rooms where thinking or hard work
are done. The sensation of quiet and peace that blue can impart makes it a good choice for a
bedroom, too. Green will have similar effects to blue, though green also has strong
associations with the outdoors and the natural world, and provides a slightly more soothing
effect than blue. In general, be wary of the downbeat, depressing sentiments blue and green
can sometimes evoke.
Neutral colors tend to simply fade into the background and do not have a strong
psychological impact. For example, if you walk into a white-colored room, you may not

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consciously register the color‘s presence at all. This phenomenon makes white and other
neutrals ideal for rooms used for many different purposes, or for a room where simplicity is
needed.
Black, though technically a neutral color, will have somewhat different emotional and
psychological effects. Blacks are good for bold, dramatic effects since the color stands out
and attracts the eye. Black has certain negative connotations (like with death) and has a
weighty, serious aspect, but can also create a mood of refinement and elegance.
How light or dark a color is also matters. Darker colors tend to make a room feel compact
and small — maybe even cozy. Lighter colors, especially if they are on the cool spectrum,
will make a room feel large and airy. You may almost feel as if the walls are receding in a
room decorated with a cool blue or the like.

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