Madhuri Pancholi ,Interior Design , Dezyne E'cole College.

1st Year Residential Design Diploma
NSQF Level-5 of NSDC
Dezyne E’cole College,
www.dezyneecole.com
Interior Design
DESIGN
Madhuri Pancholi
BASICS

Madhuri pancholi
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic - Primary Elements ( Line , Shape ,Form )
1. Point –indicates a position in space
2. Line – a point extended becomes a line with properties of-
Line
Direction
position
2 point with line Horizontal line Vertical line Diagonal line
3.Plane a line becomes a shape
With properties of-
Length and width
Shape
Surface
Orientation
Position
Top plan Plane Orientation of the shape
4. Volume a plane becomes a volume
With properties of-
Vertex
Edge
Face
Top
Surface
Bottom
Orientation of the form
Length width and depth
Form and space
Surface
Orientation
Position

Madhuri pancholi
www.dezyneecole.com
Shape :
The characteristics position or shape
Configuration of a particular form
shape Is the principal aspect by which
we identity
Forms
Square
Cube
Triangle
Pyramid
Circle
Cylinder Cone
Size :
The physically dimensions of length
Width and depth of a form. while there
there dimensions determine the
proportions of a form
Pillar Resized cube Floor WALL

Madhuri pancholi
www.dezyneecole.com
Position
The location of a form
relative to its environment
Or the visual field within which it seen.
Orientation
The direction of a form relative
To the ground plane, the compass
Points, other forms, or to the person
Viewing the form .
Visual inertia
The degree of concentration and
Stability of a form. The visual inertia
Of a form depends on its geometry
As well as its orientation relative to the
Ground plane, the pull of gravity,
And our lines of sight .

Madhuri Pancholi
www.dezyneecole.com
Dimensional Transformation :
A form can be transformed by
Altering one or more
Of its dimensions and still
Retain its identity as a member
Of a family forms.
Subtractive Transformation:
A form can be transformed
By subtracting a position of its
Volume. Depending on the extent
Of the subtractive process, the
Form can retail its initial identity .
Additive Transformation:
A form can be
Transformed by addition
Of elements to its volume.
Idea Generation
Idea Generation
Idea Generation

Madhuri pancholi
www.dezyneecole.com
Submitted By
Beam
Pillar
Floor
Ceiling
Wall
Idea generation
Idea generation
Idea generation
Topic - Primary Elements ( Line , Shape ,Form )
Dimensional Transformation
A form can be transformed by
altering one or more of its
dimensions and still retain its
identity as a member of a
family of forms.
Subtractive Transformation
A form can be transformed
by subtracting a portion of
its volume. Depending on
the extent of the subtractive
process, the form can retain
its initial identity
Additive Transformation
A form can be
transformed by the
addition of elements to
its volume.

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic –Plane
overhead plane:
The overhead plane can be
either the roof plane that
spans and shelters the
interiors spaces of a building
from the climatic elements or
the ceiling plane that forms
upper enclosing surface of the
room.
The wall plane, because of its
vertical orientations, is active
in our in normal field of vision
and vital so shaping and
enclosure of architectural
spaces.
Wall plane:
The base plane can be
either the ground plane
that serves as the physical
foundation an visual base
for building forms or he
floor plane that forms the
lower enclosing surface of a
room upon which we walk.
Base plane:

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – Horizontal Elements Defining Spaces
Base plane:
The horizontal laying as a
figure on a contrasting
background defines a
simple field of space .this
field can be visually
reinforced in the following
ways.
A horizontal plane
depressed into the ground
plane utilizes the vertical
surfaces of the lowered
area to define a volume of
space.
Depressed Base plane:

Madhuri pancholi
www.dezyneecole.com
A horizontal plane elevated
above the ground plane
established vertical surfaces
along its edges that rein
forces the visual separation
between its field and the
surrounding ground.
Elevated Base plane:
Overhead plane:
A horizontal plane located
overhead defines, a volume
of space between itself and
the ground plane.

Madhuri pancholi
www.dezyneecole.com
overhead plane
Depressed
plane
Base plane
Elevated plane

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – Primary Elements Basic Line, Shape, Form
overhead plane
Depressed
plane
Elevated plane
Base plane

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – Vertical Elements Defining Spaces
Top plan
Top plan
Top plan
Isometric view
Isometric view
Isometric view
Front view
Front view
Front view
Parallel plane:
U- shaped plane:
Four planes: closure:
Two parallel vertical planes define
A volume of space between them
That is oriented axially toward
Both open ends of the configuration.
A u- shaped configuration of vertical
Planes defines volume of a space that
Is oriented primarily toward the open
End of the configuration.
Four vertical planes establish the
Boundaries of an introverted space
And influence the field of space around
The enclosure.

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www.dezyneecole.com
Submitted By
Top plan
Top plan
Isometric view
Isometric view
Front view
Front view
L- shaped plane:
When two edges of the field
Are clearly defined by the
two
Planes of the configuration,
Its other edges remain
ambiguous
Unless further articulated by
Additional vertical elements,
Manipulations of the base
plane,
Or an overhead plane.
Configuration of vertical
Planes defines a field of
Space along a diagonal
From its corner outward.
While this field is strongly
Defined and enclosed at the
Corner of the configuration.
Its dissipates rapidly as it
Moves away from the corner.
The introverted field at
The interior corner becomes
Extroverted along its outer
Edges.
Topic – L-shaped Configuration Of Planes

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – L-shaped Configuration Of Planes
Top plan
Top plan
Isometric view
Isometric view
Front view
Front view
If a avoid is introduced to one
Side of the corner of the
Configuration, the definition
Of the field will be weakened.
The two planes will be isolated
From each other and one will
Appear to slide by and visually
Dominate the other.
If neither plane extends to
the corner, The field will
become more dynamic And
organize itself along the
diagonal Of the
configuration.
L- shaped configuration of plane:
L- shaped configuration of plane:

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic - Parallel Vertical Planes
2D view
Top plan Isometric view Front view
A Pair of parallel
vertical planes
defines a field
space between
them. The open
ends of the field,
established by the
vertical edges of
the planes. Give
the space a strong
directional quality.
Its primary
orientation is
along the axis
about which the
planes are
symmetrical.
Since the parallel
planes do not
meet to form
corners and fully
enclose the field.
The space is
extroverted in
nature.
parallel vertical
plane:

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – U-shaped Planes
3D view
The spatial field can be
expanded by extending
the base plane beyond
the open ends of the
configuration. This
expanded field can in
turn be terminated by a
vertical.
If one of the parallel
planes is differentiated
from the other by chance
in form , color , or
texture a secondary axis ,
perpendicular to the flow
of the space , will be
established within the
field
3D view

Madhuri pancholi
www.dezyneecole.com
3D view
Top plan Isometric view Front view
A u- shaped configuration
of vertical planes define a
volume of a space that is
oriented primarily toward
the open end of the
configuration..
U- shaped plane:
The open end is primarily
aspects of the configuration
by virtue of its uniqueness
relative to the other three
planes. It allows the field to
have visual and spatial
continuity with adjoining
space.

Madhuri pancholi
www.dezyneecole.com
3D view
If the plane of the opening is further defined with columns or overhead elements, the definition of the original field will be reinforced and
continuity with the adjoining space will be interrupted.
If the configuration of planes is rectangular and oblong in form, the open end can be along its narrow or wide side. In either case, the open
end will remain the primary face of the spatial field, and the plane opposite the open end will remain the primary face of the spatial field,
and the plane opposite the open ends will be the principal element among the three planes of the configuration.

Madhuri Pancholi
www.dezyneecole.com
Submitted ByTopic – Color Wheel
Primary
Analogous
Hue
Secondary
Intermediate
Complementary
Split-Complementary
Tint
Shade

Topic – Color Scheme
Y
B R
RV
V
BV
RO
O
YOYG
G
BG
NEUTRALIZING COLORS
Red + Green
Red – Orange + Blue – Green
Orange + Blue
Yellow – Orange + Blue – Violet
Yellow + Violet
Yellow – Green + Red - Violet
PRIMARY
The three colors from which all colors are created
SECONDARY
Created by mixing equal portions of two primary colors
BLUE YELLOW RED
YELLOW + RED = ORANGE RED + BLUE = VIOLET BLUE + YELLOE = GREEN
Madhuri pancholi
www.dezyneecole.com
Submitted By

Topic – Color Scheme
TERTIARY
Created by mixing equal portions of one primary and secondary color
YELLOW + ORANGE =
YELLOW - ORNAGE
RED + ORANGE =
RED - ORANGE
RED + VIOLET =
RED - VIOLET
BLUE + VIOLET =
BLUE- VIOLET
BLUE + GREEN =
BLUE- GREEN
YELLOW + GREEN =
YELLOW - GREEN
COMPLEMENTARY
Colors that are directly opposite each other on the color spectrum. When two complementary colors are mixed ,
they neutralize each other by creating brown. For example
VIOLET + YELLOW = NEUTRAL RED + GREEN = NEUTRAL BLUE + ORANGE = NEUTRAL
Madhuri pancholi
www.dezyneecole.com
Submitted By

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – color Scheme
v
Y- Yellow
YG – yellow green
G – green
BG – blue green
C – cyan
B – blue
v
v
v
G
v
Color Wheel
V
M
RM
R
RO
Y
YG
BG
C
B
VB
Complementary contrasting color
Spilt complementary colors
Analogous colors
Triad colorsVB – violet blue
V – violet
M – magenta
RM – red magenta

Madhuri pancholi
www.dezyneecole.com
Submitted By
Hues Opposite The Color Wheel Complementary
Colors More Intense And Vibrate When Placed
Next To Each Other As They Complete For Your
Attention.
Complementary colors
Spilt Complementary colors
One Of The Complementary Colors Is Spilt Off
Into A Pair Of Neighboring Hues.
Analogous colors
Colors That A Neighbor One Another On The
Color Wheel
Hues Appears To “Push” At Each Other, Creating
An Optical Illusion Where Each Zone Appears
Larger When It Has Your Attention.
Triad colors
Hues equidistant on the color wheel.
Topic – color Scheme

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – Warm Cool Neutral Colour
Warm
Colors
Cool
Colors
Neutral colors
Cool colors
Warm colors
Neutral colors
Cool/ Warm/ Neutral
Colors

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – Tints Tone And Shades
Tints
Tones
Shades
Tints Tons Shades
Colors
Adding Grey
Tones
Adding Black
Shades
Adding White
Tints

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – Psychology Of Colour
Tints
The psychology of
Colour
RED ORANGE
RED
Conveys Boldness,
Drama, Romance,
Power, Passion, &
Even Danger.
VIBRANT
Reds Can Heighten
Senses, While
Earthy Red Tones
Create Warmth
And Comfort
PERFECT
For A Dining Area,
An Accent Color
On One Wall, Or As
The Main Color In
A Small Space
ORANGE
Conveys
Friendliness,
Happiness,
Innovation, Energy,
& Fun
WARM
Orange Colors
Attract Attention,
Making A Space
Feel Approachable
And Welcoming
PERFECT
For An Entryway,
The Kitchen Or As
An Accent For
Bookcase And
Shelves

Madhuri pancholi
www.dezyneecole.com
Submitted By
Tones
Shades
BLUE PURPLE
The psychology of
Colour
BLUE
Conveys Strength,
Dependability,
Tranquility, Calm,
Freshness, &
Serenity
VERSATILE
Blues Can Create A
Mood That Is
Cheerful And
Refreshing Or
Reflective And
Intellectual
PERFECT
For The Main
Bedroom Ceilings
And Making Small
Rooms Feel Larger
(With Pale Shades)
PURPLE
Conveys Mystery
Regality,
Eccentricity,
Luxury, Exoticism
& Sophistication
ASA
Combination Of
Red And Blue ,
Purple Can Be
Dramatic Or
Subtle, Exciting Or
Calming
PERFECT
For A Formal Living
Room, A Kid’s
Bedroom, Or As A
Backdrop For
Antique Silver
Topic – Psychology Of Colour

Madhuri pancholi
www.dezyneecole.com
Submitted By
Tints
Ton
Shades
YELLOW GREEN
The psychology of
Colour
Conveys Optimism
Timelessness Hospitality,
Peacefulness, & Creativity
SUNNY
Uplifting Yellows
Can Promote
Communication
And Improve
Concentration
PERFECT
For A Breakfast
Nook Or To Brighten
Dark Hallways And
Rooms Without
Windows
GREEN
Conveys Growth
Renewal,
Relaxation
Gentleness,
Reassurance,&
Safety
SOOTHING
Greens Are The
Color Of Nature.
So They Create A
Calming Feel-good
Atmosphere
PERFECT
For A Spa- Like
Bathroom Or A
Hushed Den Or
Library
YELLOW

Madhuri pancholi
www.dezyneecole.com
Submitted By
BROWN
Tones
Conveys security,
robustness,
warmth, stability,
earthiness, and
comfort
ORGANIC
Inviting browns
evoke scenes of
nature,
encouraging you to
slow down and
relax
PERFECT
For
counterbalancing
contrasting,
highlighting, or
toning down
others colors
Brown
The psychology of
Colour

Madhuri pancholi
www.dezyneecole.com
Submitted By
Shades
Colour Schemes
Analogous
ANALOGOUS
One Might Think Of Analogous Colors As Neighbors
Since They Are Adjacent To Each Other On The Color
Wheel. Analogous Colors Inherently Look Good
Together Since They Have Similar Origins. This
Scheme Is Often Found In Nature.
ANALOGOUS
Orange Yellow Orange Yellow Green
ANALOGOUS

Madhuri pancholi
www.dezyneecole.com
Submitted By
Colour Schemes
Complementary
Complementary
Any two colors located opposite of each other On the
color wheel are termed complementary Colors. As
implied, complementary colors enhance Each other
and almost always look great together. You see this
scheme in many aspects of your everyday Life. For
example, the reds and greens of Christmas.
Complementary
Violet Green
ANALOGOUS

Madhuri pancholi
www.dezyneecole.com
Submitted ByTopic – Principles Of Design
Shades
Principles Of Design
Balance
BALANCE
Balance In Interior Design Refers To
Proper Distribution Of Objects in A
Room to Create Visual Balance Refers to
The Distribution of Visual Weight Within
a Composition.
A Work That is Unbalanced Visually
Creates Tension. Balance Is Created
When There Is an Equilibrium Of
Elements That Need Each Other And
Together They Create Unity.
Balance
Every Single Design Elements
Should Complete With Home
Interior .
Must Have Symmetrical And
Asymmetrical Balance
Pillow colors in
Exciting print to set
Off neutral colors
Use And Tables On
Either Side Of The
Sofa

Madhuri pancholi
www.dezyneecole.com
Submitted By
Shades
Harmony
HARMONY
Topic – Principles Of Design
Harmony
Elements Should Work Together
Without Clashing
Create A Sense Of Peace
All Major Furniture In
The Same Color Textures And Fabrics
Can Still Vary
The Name Implies Stresses On The Fact That
There Should Be A Sense Of Uniformity Or
Harmony Among All The Elements Used.
Interior Design Should Serve As A Visual
Guide For A Person To Understand A Living
Space, Without Harmony, The Visual Guide
Will Only End Up Confusing The Person.

Madhuri pancholi
www.dezyneecole.com
Submitted By
Shades
RHYTHM
Principles of Design
Rhythm
The Design Principles That Suggested Connected
Movement Between Different Parts Of Design By
Using Colors, Lines, Forms, Or Texture Also Referred
To As Continuity. Rhythm Is Visual Flow. The Eye
Should Be Able To Flow Smoothly Across The Room.
Regular Repetition Of Lines, Shape., Or Colors That
Create A Movement. Patterns Have Rhythm.
Rhythm Refers To A Way Of Utilizing The Art
Elements To Produce The Look And Feel Of
Rhythmic Movement With A Visual Tempo Or Beat.
Rhythm Is A Feeling Of Structured Movement
Created By The Repetition Of Elements. Rhythm Can
Be Used To Design Repeated Elements And The
Space Between Then Make Patterns That We
Experience As Rhythm. This Helps To Give A
Composition Visual Harmony By Creating Unity In A
Layout. Examples Include The Repetition Of Similar
Shapes, Colors Or Textures.
Rhythm
Use Combinations Of Colors
Prints Or Shades
Use Different Shades And
Pattern To Create Best Visual
Integration
Fabrics Used In Sofa Curtains
Should Match With Your Sofa
Wall Painting And Wall Art
Color Must Complete With
Your Sofa Upholstery

Madhuri pancholi
www.dezyneecole.com
Submitted By
Shades
Principles of Design
Proportion & Scale
PROPORTION
Proportion & Scale
Design Elements Should Match With The
Proportion Of The Residential Area
Avoid Using Large Patterns
And Oversize Cushions In A
Small Area
The Principle Of Scale And Proportion Ensure That
Objects Placed In A Space Look Like They Belong
To Each Other. Be It The Size, Dimension, Shape Or
Colour Of The Objects, A Harmony Should Be
Established Between Them And A Proportion Has
To Be Maintained. For Example, A High Ceiling
Environment Implies That High Rise Furniture
Should Be Preferred Over Low Rise Furniture
Should Be Ottomans. Also Under Stuffed Pillows
Would Make As Sofa Look Empty And Under
Accessorized, Thus Disrupting The Harmony And
Proportion That Is Supposed To Exist.

Madhuri pancholi
www.dezyneecole.com
Submitted By
Shades
EMPHASIS
Emphasis
Emphasis Is Also Referred To As Point Of Focus Or
Interruption. It Made The Locations In A Composition
Which Most Strongly Draw The Viewer’s Attention.
Usually There Is A Primary, Or Main Point Of Emphasis
With Perhaps Secondary Emphases In Other Parts Of
The Composition. The Emphasis Is Usually An Interruption
In The Fundamental Pattern Or Movement Of The Viewer’s
Eyes Though The Composition Or A Break In The Rhythm.
The Artist Or Designer Uses Emphasis To Call Attention To
Something Or To Vary The Composition In Order To Hold The
Viewer’s Interest By Providing Visual “Surprises”.
Emphasis
Some Designs Elements Should Be
More Important The Others
Decide On A Central
Point For A Room
Use A Furniture In Color
That Complement The
Central Point

YOUMADHURI PANCHOLI
NSQF Level-5 of NSDC
www.dezyneecole.com
THANK

Madhuri Pancholi ,Interior Design , Dezyne E'cole College.

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Madhuri Pancholi ,Interior Design , Dezyne E'cole College.