In ter ior De co rat ion

The Elements of Design and Art

The element of art include line, form, texture and colour. In addition to these three some more
factors are to be considered in the planning and furnishing of a home; these are pattern, light
and
~pace. :inese ele~ents serve as tools conveying basic ideas in home furnishing. They are valuable aids
m helping t~ d~cide how, when and what one should do about furnishing the home. While using these
elements, pnnciples of proportion, balance, emphasis, rhythm and repetition are also involved .
The use of Elements Like
j,
Line, Form, Texture, Colour, Pattern, Light, Space
J,
According to the Principles of
j,
Proportion, Balance, Emphasis, Rhythm, Repetition
J,
Leads us to Attain the Goals of
J,

Functionalism Beauty Self-Expression

Lines. Lines are basic elements of design and contribute greatly towards the overall mood created
in any arrangement. Lines have been associated with the position of human body. Horizontal lines
suggest repose, steadiness, tranquality and solid stability. They are found in tables, low backed chairs
and book-shelves and balance the severity of vertical lines. Vertical lines suggest life, activity
and
dignity. They may be severe, strong, direct and disciplined in the effect they may produce. They create
a feeling of height. The door ways and draperies in a room give it strength and height. Diagonal lines
suggest movement and force. They disturb the discipline of vertical lines and the solidity of horizonta
l
lines. They may lend a feeling of sophistication and refinement to a room, thereby arousing interest.
In
the home they are often found in staircase and in some fabrics. Curved lines add grace and flexibilit
y
to a scheme of furniture or furnishings. They achieve a joyful, subtle and rich effect. Yet in order to
be
truly effective they must be designed carefully. They are often seen in tied-back window curtains
and
the legs and comers of furniture.
Crooked Lines express fluctuation of interest, uncertainty and indirected course. Such lines ar,;
regarded bad and unsatisfactory in any and every design.
Oblique Lines convey a sense of reserve and restraint. These lines can be used sparingly in the
construction of a furnishings for the desired effects.
 MOVEMENT OF LINE

Vertical~

Horizontal ~

U' \
ITt tfI
Fast moving

A B C D E F Spiral
Lines create optical illusions LINES
Horizontal Unes

II RAse/po

. ity
D1gn ~
j'
1/
/\ Iv MOV8ment

ZJgzag ~
A
B
N\A,/v
Jagged
,l:/ Free-flowing

~~/'
Segment
Curve of Energy

Vertical Unes
and vitality Radiating_light _of~ nsing.sun
Radiating Lines. Such lines express vigour, strength
liar with every one. These Imes give JOY besides
and radiating lines of a growing plant are all too fami
holding your interest and fancy.
Diagonal Lines. These lines slant out on the horiz
ontal or vertical lines . Refer to the figure of
ing effect. Horizontal diagonal s have just the
movement of lines, the vertical diagonals have a slant
t, produce a dramatic sense of motion besides
opposite effect. Diagonal lines add interest to an objec
tion.
adding length and width depending up the angle of direc
bination of lines that gives nse to fomu
Form. Form and line are closely related. It is a com
tangible. It is an important element in hotne
Tho~g~ hard t? define: ~orm is somet!ting ~olid and harmony of form in any room, an en
the
furmshmg . Without givmg_ due cons1deralton to
may make it clear :
arrangement may become pomtless. Two examples
(i) A beautifully shaped well polished mah
ogany table needs to be displayed again t I
INTERIOR DECORATION
A-101
backg_round of blue-green or against pastel shades. Its heauty would be lost against floral prints or dark
matenal.

(ii) ~e combination of furn11ure of different types in a single room needs to be well-planned so

that matenals, shapes, and styles do not clash.

Forms m a room should carry the eye from one ohject to another and this becomes pleasing when
Generally a dominance of one kind of form or
the shapes
shape unifies well
arcthe total effect and balance each other.'
distributed

The form of any object should suit tts function ; c., the use 10 which it 1s put. Similarly the form of
an object is influenced by the material out or which the ohject is made.
Texture. Texture generally leads one to think of the 'feel' of a surface-such as roughness,
smoothness, shme, dullness, softness or stiffness, its weight, fall and so on. In home furnishing the
word texture may be used in a wider sense and refers to the finish of walls, rugs or other floor
coverings, woodwork, painting, ceramics and any other surfaces in the room. It is often possible to
give certam illusion of texture through the clever use or colour or other techniques, e.g. Wood which
is given artificial grain; laminated surfaces which are streaked or made to look like marble and highly
polished metallic surfaces which look like mirrors.
Given below is the list of words which are often used to describe textures of various surfaces:
(a) blistered, bristly, bumpy ;
(b) coarse, corrugated, cracked, crepey, crinkly, crisp, curmpled, curly;
(c) delicate, dense, downy, dull, dusty ;
(d) feathery, filmy, fine, firm, flexible, foamy, frilly, furrowed, fussy;
(e) glassy, glossy, granular, gritty, grooved;
(f) hairy ;
(g) lacy, leathery, lumpy ;
(/z) marbled, messy, metallic;
(,) perforated, pierced, plaited, pleated, polished, porous, powdery ;
(J) quilted, quiet ;
(k) ribbed, ridged, rippled, rough, rubbery ; . . .
([) sandy, satiny, scaly, shaggy, shiny, silky, smocked, smooth, solid, spongy, stiff'
(m) thorny, tough, twisted;
(n) unpolished, velvety, waxy, woody, wavy, woolly. . . d. . portant in
. . . d b t to objects interiors, bmldmgs an is even !Ill
Texture give~ charactenstlc an eau y hness ~f a material affects its capacity to reflect or
landscape gardemng. The ro~ghness ~r s~oot s need to be aware of this and also of t~e
absorb light. Students of design a~d mtenor decorator d dainty fabrics do not blend well, while
importance of combining textures smtably. Coarse texture an

Use these According to these To a~ain_ th ese

elements principles obJect1ves

Line Design Beauty

Form and Shape Unity Functionalism
Colour Balance Self expression
Textile Proportion
Emphasis
Harmony
Rhythm
 A-102 TEXTBOOK OF HOME SCfENr,,7
~

ins why even in the clothes we We<1r, it ;

!'int' tc\turc nnd pastel lints arc hannonious. This expla
priate colours
tmportnnt to combint' the right kinds of fabrics in appro s
aware of the tcxtur~ of uphol tery she buy,
In furnishing a room. the home-maker needs to remain
furniture, th<., floor covcnngs and the walls.
and how it will hlcn<l "ith the wooden surfaces of the
rn in a room may be seen m design~ and
Pattl'rn~ Ponns put together make up a pattern. Patte wall, in the arrangcme~t r>f cum, anc1
res on a
motif.. t'l'pcatcd on cloth, in the arrangement of pictu
of furniture itself. Howc~er,_ p.altcrns <prm Lc; or de 1g11 ,J
decora1t\l' items and also in the arrangement
surface The, Judicious use <>f p,ittern len,f
rdcr gnwrnll) to additional enrichment added to any 1
ld be used for about / 4 of the t<>tal t.urfU(:e
ltvclincss and interest rn a room. Generally pattern shou
and upho lstery may be patterned .
art'a ff the walls and carpets are plain, then draperies
scenes may look good in room s intended fr.1r
Naturaltstic motifs such as flowers, fruits, animals or
young children.
like lines, circles, squares, rec!angles and
Gl'Ometric motifs are combinations of pure fonns
s, dots, checks, and so on avallable in the
tnangks. There arc usually endless variations of stripe
market.
ined with geometric m?tifs. They amay
Stylized motifs are distorted and may _even be co~b
which are not natural but are mtended to create
include outsized patterns, flowers and form s m colours
certain effects.
Light is an artistic as well as an utilitarian element.
Rooms need to be well-lit in order that people
of moods and effec ts may be obtained by the
using them may do so without undue strain. A variety
Some people like to have diffused, soft lighting
cle,·er use of light and shadow, bright and dark areas .
attention on certain objects of art displayed i~
especially in the dining area. Light may be used to focus
g shadows in porches and verandahs.
the sitting room. Perforated metal lamps cast interestin
sometimes the textures of fabrics. Blues
Ligh t-nat ural and artificial-can alter colours and
r tube-lights and when buying such colours on~
purples and greens tend to look very different unde
needs to think of the effect at night time.
to the furnishing linking them together at
Lights can be used to bring rhythm and continuity
various points of emphasis.
Unity
The illlportance of space is often overlooked.
The u1-e of an optimum amount of furniture creates
empty spaces for movement, gives room a sense of
freedom and can affect the moods created by any Balance Rhythm
~cheme of interior decoration. Space can be
mcre_ased by using few partitions, providing larger Principles of
openmgs between rooms, providing glass walls and Design
also by building of porches, verandahs and simil
ar
Proportion Harmony
exten ~ions. Often in small cramped rooms, the
eff~ctJ ~e use of mirrors on opposing walls creates
an Il~us10n o~ space so that the room appears larger
than its true s1ze. Emphasis

PRINCIPLES OF DESIGN
1 ment and to be pleasant. This relates to the
A. H~rmon,:. To be ~ hannony ~eans to be in agree cts of d · viz. · h ·
effect or 1mpress10 n of umty created m design · It embraces five aspe es1gn s ape size '
d 1 as t li t d · d' ·gn.
t tur ·d
ex e, 1 eahan Id co our. It usually refers to. the repetition of any one of the pee s s e m ·a es1
R ,;~ s ou not m · d
uce monotony. This could be reduced by introduci·ng contras t occaswnaII y ·m
epeuuon . .
h · d M of colour could be reduced by way of accent.
s ape, size an texture. onotony due to repet1t1on
, s to how
sh·1ps , re1er
B.. Prop ortion. The princ iple of proportio.n, also known as the 'law ofrela•:on
u
·d • d to size, numbers, quantity etc. It is the ratio of
an o b1ect, 1 ea. or colour ts related to other with regar
INTERIOR DECORATION
A-103

com_para~ve size or.of o_ne thing considered alongside another. The ratio considered moS t appro~riate
for mtenor decoration is l : S and 1 : 3. This ratio should he ohservcd in designing of furniture,
amount of_ colour, sp_ace, and structure. Mounting of pictures should depict good proportion with
regard to size _a~d ?esign of frame chosen. Space allowed on all the sides of picture mounted should be
such that stab1hty 1s present.
~- Balance. A balanced arrangement provides a sense of restfulncss and repose. It refers 10
steadiness and calmness-the sum required to make two sides of an account to he or appear equal.
This is attained by grouping shapes and colour around a central point in such a way that the general
effect has the semblance of cquilihrium. Balance is of three types :
(i) F01111al Balance. Herc objects of equal interest and weight (rather identical) arc placed at equal
distance from a central point of interest.
(ii) Informal Balance. Herc objects arc not placed at equal distance, but placed such that t~ey
appear to be in equilibrium. Lighter or smaller objects arc placed more closer to the central pomt,
while heavier and bigger objects are placed further away.
(iii) Optical or obvious balance. This is a slight variation of fonnal balance, wh~n objects which
are not identical in shape and colour, but are placed equidistant from the central pomt, as they have
equal value of interest and attraction.

I If. ' I I

Formal Balance

Informal Balance

Optical or Obvious Balance

. ment-used to create
m as an art principle is defined as an orga~1zed mov~ition of either colour,
D. Rhythm. Rhyth d duce monotony. Variations are had m the rep~ It could be simple
Interest and movcm~nl, an :a be repeated alternatively or one after ano er.
d 1gn or size, that is, th ey Y
 A-104 TEXTBOOK OF HOME SCrnNcR
~
rcpctiticm, continuous or in progression of size. Line move
ment c~uld be created-where the eye
moves from one point to another finally resting on a special
object of·mtere 5t
Rhythm is possible by the use of:
1. Repetition ; Repetition of lines, colours and shapes create
mtere~t and movement of the eye,
2. Opposition : The opposing lines joined by curved lines
are pleasing to the eye, because there
is rhythm of transition.
3. Radiation Radiating lines create
4. Alteration ·me placement of spacerhythm . .
between lines produces interesting rhythm.
5. Gradation Gradual changes in colour, width, height, size and pattern also
produce rhythm .
E. Colour. Colour ,s the quality which an objec_t h8:5 only
when light ~alls on it: Sc1cntifi~ ~tudics
of colour by artists have revealed that certain combinations,
when use~ give a feeling of cqu1hbriurn
and harmony. for the home-maker, the Prangs Colour
Chart system 1s both ea~y to understand and
use This colour chart has been used to explain some
common colour harmonies to be used in the
home (interior and exterior) decoration.
F. Emphasis. Emphasis is defined as the art principle by which
the eye is carried first to the most
important thing in any arrangement, and from that point
to any other detail, in the order of its
importance. The importance is laid through the use of plain
background, amount of background space
allowed, colour contrast due to contrasting values, opposition
of lines, grouping of objects or amount
of decoration used. Overemphasis should be avoided as this
creates a feeling of disequilibrium, and
thus makes the eye move away from the object of intere
st before any details can be observed.
DESIGN Designs can be classified
A design is defined as an orderly
arrangement of lines, forms, colours, textures etc. as
creating beauty. Designs are mainly of two types :
I. Structural design. Structural Abstract
2. Decorative design.
Structural design. It denotes the structure or Realistic/Stylised Decorative
construction of objects. It is made up of size,
fonn, colour and texture. Basic requirements are :
l · That ~n add!tion to being beautiful, it must be suited to
the purpose it is supposed to serve.
2. That it be simple.
3. That it be well proportioned .
.f. Tha~ it ~e suited to the material of which, it is made and
to the processes which will follow in
making 1t.
:');corative design. A decorative design is achieved by lines,
colours or materials that have been
app 11e to a structur~l design for the purpose of adding a richer
quality to it. Basic requirements are :
1. The dccoratwn should be in moderation.
2. The decoration should be placed at structural points, to streng
then the shape of the object.
3. dTh~re should be enough background space to give an effec
t of simplicity and dignity to the
es1gn.
4. Surface patterns should cover the surface quietly.
5. Th~ background shape should be as carefully studied and
agarnst them. as beautiful as the p tt I d
a ems P ace
Realistic stylised and abstract designs are also used for decor
ating at home.
The Objectives of Planning and Furnishing a Hom
e
Apart from providing shelter to its occupants, every home
·· I .represents a place 'or th · phys1c
mtcllectua I an d spmtua grow th • The way m. .
which a home 1s furnished needs tol' be elf
· al ,
a successful
INTERIOR DECORATION A-105
,
combination of functionalism d b ts generally an expression of the personality
of home-
an caut y. It
maker and her/his family.
Functionalism. The homes Of sure in
the min imu m care . Ev t~da y mu~ t prov1df maximum comfort, service and plea
return for th at 1,5, planned on terms of furniture and furnishings should
be related to the function of the ir:ry, mf s is dependent
d. Ihe arrangement of rooms and other area
on how the family lives . They nee :: s~ c~te cise or play, a place
to study or do other serious work P ace to cat, a ~lace to sleep, a place to exer relax.
furn iture is arran gect ~ pf
I
ace ~o keep their belongings and perhaps a place to sit and
Accordi ngly n to ensure
al ~r?ups. While doing this, care must he take
that no area becomes so uncomfor::bl~:llon_ do not wish to use it;
um?vllrng that members of the family
nor should there be so many bits a d . r ement diffi cult.
The materials used to r fiurn1.1ure n pieces lymg around as to make mov . . .
must d d h which the furniture is put. Garden
t-we ight epen on t e use to
furniture needs to be ligh rs should
f and ~erhaps foldable. Desks, tables and chai
be of a suitable height so that th water proo s must
d roug h use and mig ht p he usehr may work 111 comfort. Furniture in children's room
with stan er aps ave a washable finish.
. . .
Beauty. Wh ile this 1s cert ainl y nO1 th 1 . . doubt that
orta nt role . It prov ide e s_o e obJective of furnishing a home, t~ere is no
it plays an imp
a~ sth et1c pleasure to the members of the family and to those who
• 't the hom e It hel s in de 1 . s to the eye.
taSles a~d an appreciation o~ all that is pleasing
;~:ther on, w~ will ~onside:\~pmg_ vi~uales of design or art upon which are based the methods of
. ff ·r d f . hi~ principl
seIect1on o urm ure an urn1s ngs. · ·
Expression of Per sonality· .Most fu rn1s· h'mg sc hemes attempt to express a defimte idea, a theme
. give rise to
~nse in the viewer and in the user. They may
or a_mood. They excite_ an ~motiona! r~sp ality , delicacy,
n or intimacy and warmth; coolness, fonn
feelings of rep_os~ or ammatwn, sophist1cat10
strength or antiqmty.
lives a
g scheme is generally sought by a family that
Fo~mality._ 1?i_s type of decor a~d furnishin s express dignity and reserve and are impressive.
room
conventional, dignified and ordered hfe. The lly combined with traditional furniture arranged
in
es sym met ry and unb roke n lines are usua
Large spac lly conservative.
a formal manner. Colour schemes are usua itality,
rma lity is mor e com mon toda y, espe cially with younger people. Friendly, hosp le
Info
m, unp rete ntio usne ss and a warm welc ome are expressed through bright colours, simp
intimate char asymmetry.
size where there are often broken lines and
and comfortable furniture, rooms of modest rised by simp licity, the
primitive materials and is characte
Naturalness sometimes involves the use of itive ' as used here
casual arrangements. The word 'Prim
use of rugged handmade goods, original and .
state
means unrefined unpolished or in a natural riment
acteristic of the young person, willing to expe
Modernism. This type of furnishing is char is now poss ible
in furniture and fabrics. Even in India, it
with new materials, new designs and shapes miu m-p lated
er materials like plastic, leather, glass, chro
to obtain individualistic items made of new
metals and so on. e, if well-
styles a home-maker chooses for her hom
No matter which style or combination of
family is happy, comfortable and relaxed.
planned, it will prove to be a place where the
Good Taste

Elements of Art
PrincipI of Art
I I I
I I I Space
Texture Colour Pattern Light
Line Form
I 1
Emphasis Rhythm
f
I I
Proportion Balance
I
Factors
Importance Colour Colour
of colour Wheel Schemes influencing the use of colour
 ,,; :;;;i[0)j(i!:
. . • . • . • . • • . • .• ' . .
1 :;·.,
... I

~!'. CHAPTER--: 1

~·?1·,!,,· <:3;
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I
~
,:;
i

·:;~l_,~. ;y;~ :' ·_:

'. .-_· i:;:. _

Colour in the Home

~:-l: i f.
~ . :. ~ ;' . : ; .

: ~ j 7 ' ' : •
. . .
.. '

Colour, a basic element of design, be it structural or decorative, comprises of :

I. Hue or basic colour such as red, blue etc.
2. Value or shade referring to the darkness or lightness of a colour. White added to colour
generally produces what is referred to as a tint, and black added to a colour produces shades.
3. Intensity which includes the strength or purity of a colour viz. bright blue, reddish brown etc.

The Colour Wheel or the Prangs Colour System

Primary Colours. All colours are created out of combinations of three primary colours-red
yellow and blue, with white or black added. '

0 Yellow
Orange r-~-~--® Green

®
Red Blue
Primary Colours ® Purple
Secondary Colours

@
Yellow orange
Yellow green

§_~ (§)
Red Orange
Blue Green

Tertiary Colours Blue Purple

t~;:;;;:O:.;:;U;,;;.R_I~N~T~H~E~H=O =-M~E~------------------__:~~
-- A-107
Secondary colours. By combining ti1 .
+ Red), Green (Blue+ Ycllow) p c Plrtmary colours, we get the secondary colours-Orange
(1.•elloW
l ' urp c (Red RI ·
Tertiary or Intermediate colours. Tl . + lit')
1csc colours , O h . .
colours. · ,ire tmnc<l hy mixing primary and secondary
By combinations in this way it i,
, s poss1hlc to mnk I
colours. ' e a co our wheel of an infinite number of
colour Schemes
The basis for choice of colours a,1d 1
· of co1ours from a wall paper
mbina1ton • co. hour
. 'sciicmcs arc many. One can select a pleasin 6
c. Oa magazmc.
. It 1s ' or 1a nc
. advisablc to let one colou d • an. oncntal rug, a nower, a scene or even a picture
inore colours with their values and shades Sr pre ommatc, and limit the whole scheme to two or three
m · ome rules for choice of colour arc ·
1. Always choose colours that please ou ·
prefer a restful atmosphere and int y prson~lly. Choose subtle and calm colours if you
't be afraid f l • . ense co ours if you like liveliness and cheer.
2. Don ° co our. Expenmentin
larger batches of colour are mo . t
· ·
g on paper ~ill give you confidence. But remember
with them", that is, look at th re/n ense. Try out vanous colour combinations and then "Live
em requently before you actually start buying.
3. Colours of walls etc. should harmomze · with .
· furniture, draperies and carpets.
4. Colours cho:;en should be colourful and definite and not dull and wishy-washy.
5. Generally, darkest colours are used lowest in the room.
6. If walls. are favoured
furn. hi by dark and bng · ht co1ours, then these should be softened by light
1
co ours m IS ngs, and remember dark walls look richer by night.

7. Ceiling may be white or natural, or tinted with the colour of the walls of the room.
8. U:se the dulle~t tones for the l~gest areas i.e. floors, wall and ceilings, next brightest for large
pieces of furniture, and the bnghtest colours for small accessories.
The u11e of colour helps to achieve the following three effects :
1. Contrast Here different colours are used as foils or background, to flatter each other.
. 2. Blend. Her~ various shades _and tint of one colour are used. For example, one could use
vanous shades and tI.nt of the rug colour for the walls, upholstry and draperies.
3. Accent Here gradations of one colour, plus one sharp contrasting colour for shock value is
used. This contrast effect may be obtained by use of complementary colours, light and dark shades,
bright and dull, warm and cool colours, pure and greyed down colours.

Colour Harmonies
In making a colour scheme, the following combinations may be used effectively.
(i) Monochromatic Colour Harmony. This harmony is achieved by the use of different tints or
shades of one hue or colour. It is a colour harmony of the judicious and harmonious use of different
values of a single colour. This colour harmony is often termed as monotonous, and an antiseptic
combination. It is difficult to use; effectiveness if achieved, then it provides a subtle and glamourous
background. Here the major colour is allowed to predominate, and the sequence of shad_es and tints is
gradual. Sometimes, it is usual to add a small amount of a complementary or contrastmg colour for
accent. It is suitable for a very vivid personality.
(ii) Analogous Colour Harmony. This colour harmony implies the use of colours lying close to
each other on the colour wheel. Such colours harmonize well if not widely separated in spectrum, or
~se they ~ay clash creating restlessness and stimulation: Effecti~e~ess and use_of judicious ampunt of
lours lying adjacent to each other on the colour wheel imply d1gmty and spaciousness.
 A-10 8
TEXTBOOK OF HOM E SCIE Nct
~

COLOUR HARMONIES

MONOCHROMATIC ANALOGOUS COMPLEMENT

LIGHT
I DARK
YELLOW
LIGHT
I DARK
RED
LIGHT
I DARK
BLUE
LIGHT
I DARK
PURPLE
LIGHT I DARK
ORANGE
LIGHT I DARK
ORANGE

SPLIT COMPLEMENT DOUBLE COMPLEMENT TRIA D

@0 YG

® ~
.-- --@
®
®
MUTUAL COMPLEMENT
SPLIT MUTUAL COMPLEMENT

YO

@)

(iii) Complementary Colour Harmony. This colo

ur harmony is achieved by the use of two
olours, which lie directly opposite each other on the
colour wheel; for exam ple- yello w and purpl e
r red and green when used together. However, judg
ement must be used as to the quantities and
sitio n of the colours used. One colour looks good
in the presence of a small amount of its
plement rather than in equal portion. The best rule to
follow is to use the complement of a colour
anngly so as set off the original colour.
~~O:;:.UR:;.;..-IN_T_H_E_H_OM_E_ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _~A:l•l~Og
(iv) Split Complementary Colour Ha .
nsists of the use of a single hue, used al rmony. This harmony involv
es the use of three colours. It
complement on the colour wheel. Thus the 0t ngw tth two hues lying adjace
co nt on either side of its true
bl e with its comp Iement orange, this harm rue .compl . emc nt 1s
· omitte
· d: for examp ·
\ge) and yellow orange (lying lo right ;ny tnlphes the use of blue le, instead o f using,
·
ora 0 with reel orange (lying to left of
orange) the true • I f hi
(v) Triad Colour Harm .
ony H h '
• ere l rec colours a comp ement o uc.
. <.I
harmony of colours which are at points of an e u:I r~ use . together
to get a hannonious cf feel. It 1s
a h as green-orange and purple. By movi ti q 1 _atcral triangle, supenr
npos~d on the colour wheel
su~ours of any hue can be detennined. Forng le t~ia~glc on the wheel,
the two triadic harmonizrng
collow-green, it is found that red-orange ande~t"mp c, 11 the triangle
is moved so that one point is .it
ye for triadic colour harmony uc-purple arc the colours to he comhined with yellow
green ·
psychological Properties and Significance of Colour
In addition to the proper combination of c 1 . •
e will be the psychological pro erties f ~ our, a pnme . 1

O I factor in setting_ the atmosphere of your

horn ur 'rsonalit and P e colours chosen. So the choice of a colour not only
reflects yo h~ . Y I t
.aS e but also c;reates an emotional feeling about your home. Listed hclow
are the psyc O ogica1properties of some of the comm only used colours :
Red-Ora~g~. Heat, ~timulation, i:ctivity, richness, splendour and dignity
.
Pink. Damtmess, gaiety and animation.
Yellow-yellow, green. Dryness, crispness, relaxation, wannth, light and
cheer.
Green, blue. Coldness, spaciousness, passivity and tranquility.
Violet. Coolness, limpness, dullness, daintiness, femininity and reserva
tion.
Brown. Warmth. ·
Decorative Use and Effect of Colour
Red. Stimulating or cheering to the melancholy or lazy, upsetting to
the nervous or overactive,
attention, compelling. Use in small quantities in dining room, library and
kitchen .
Blue. Soothing to the nervous, depressing to morose. It has an intellectual
is the colour of truth, which is the result of calm reflection. appeal. Symbolically it
,
Yellow. In certain values, the sensation of glory, cheerfulness, and in other
variations cowardice
and cheapness. It connotes splendour radiance and vividness. It is of
great healing value to the brain.
Use in masses or small quantities when light is poor.
Green. Cooling, not productive of extreme reactions, Symb0lic of serenit
y and rebirth . Suggestive
of hope.
Orange. Associated with life, well being and energy, avoid bright orange
in masses.
Brown. Depressing if used a lot, best combined with orange, yellow
or gold; use sparingly to
avoid drabness in living room and library.
Purple. Associated with heroism and passion, mystery, pomp and gorgeo
usness . It has a soothing
influence. It must be used sparingly.
Pink. Slightly stimulating. Could be used in masses in bedroom and nursery .
Principles of Colour Harmony
Guiding principles for colour hannonies are :
1. Paint larger areas with dull colours and smaller areas with bright colour
s
2. It is always safe to use any colour with black, white or gray.
3. Paint large areas with light colours and smaller areas with dark colour
s.
 TEXTBOOK OF HOME SCIENct
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e.
'1. Use d.u kcr colours on light hackgrounds, lo enhance contrast jn a colour schem
from a close
5, D_righl coJom!'> ,1ppc,11 hl·llcr from a diswn cc and appear harsh when seen
<hst,mec.
6 · The contrast of hut." and rnlur should he in proportion.
th other or
7· ~)o not list' ,111 hli~ht or primary colours in their pure form. Tone them wi each
mtroduct" grey in tht' scJ1L·mc.
rs on black, grey or
8· At1rnc-t1\'c L'ffrrl cnn ht• crentcd by using small quantities of bright colou
white: hal'kground.
ce.
9. Soft pastel shades crcah.' a pl<.'asing effect when viewed from a short distan
10. Colours thnt cause a pleasing effect in a smaJJ area may not do so
when enlarged and vice
versa.
or colour, then use
l l. \Vht.·n two or more colours are not pleasing either, for want to proper tone
black. white or grey between to improve them.
12. AH)id colour clash by not using any one colour on a large area.
13. Dul1 colours appear better on smooth or glossy surfaces but look
less attractive on a rough
surface.
14. Complementary colours should be used in proper proportion, or else
they will create harsh or
excessively vibrant effects.
on a cloudy day. The
15. A colour appear:s br!ght and ~arm_ on a su~ny day and dull and cool
lOne of a colour is ra.rsed by bnght light and 1ts value is reduced by
lack of light.