8 DEFINITION AND CLASSIFICATION OF DESIGN, ELEMENTS OF DESIGN

Sarasvathi. V

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Introduction

 

Art is a man-made expression of something beautiful, but beauty seems to be different for different people. An understanding of what make up a good design is essential if any decoration has to be successful. Certain basic concepts make up the language of design. They are known as the art elements and principles. Design is made up of certain constituents such as line, form, colour, texture etc. These are the basic elements and form the infrastructure for creating a design. They are essential to all visual objects. However, pattern, light and space have also taken an increased importance as elements of art in the modern world. Pattern is not so different an element as others, but it is an important component and an essential term in interior designing and decoration. Light and space are not usually included among the elements of art, but a general appreciation.

 

1.   Objectives

 

•      Develop knowledge and understand the principles of art

•      Help to learn skills in using the elements and methods of creating beautiful interiors.

•      Apply the theoretical knowledge to practical situation.

 

 

Each of the basic elements is a well defined and a unique feature of every art object. The entire class of elements i.e. line, form, shape, space, light, pattern and texture, should be studied together because they function inter-dependently. An understanding of the role of each of these elements helps to predict the impact of design or style to be created. These design elements combine with colour to produce an overall effect. These are important in all areas of creativity and thus, become universal in all their applications. By recognizing and realising the meaning and beauty of these elements of art, one can understand their value in approaching and developing design knowledge and sensitivity.

 

Line

 

Line is the basic as well as an important element of art. Line is formed by a point when it moves. The exact meaning of the word line is a series of points joined together. A point extended becomes a line. A line is a set of points, straight or curved, visualized as having length without breadth or thickness.

 

Theoretically a line has only one dimension, i.e. length. In reality, a line’s length visually dominates whatever thickness it must have to be made visible. The width or thickness of line may introduce a second dimension. Unlike a point, which is motionless and directionless, a line is capable of expressing movement, direction and growth. Therefore, a line can describe emotion and excitement, rhythm and strength, decoration and unity. As visible forms, lines may vary in weight and character. Line is the beginning point for designing, because it establishes shape or form and is a valuable element of work of art. The human eye involuntarily travels the length of a line and different lines give different impressions.

 

Lines are used to create form and shape. They divide the space within a room and lead in a definite direction. They create visual impressions. All lines fall into the category of straight, curved or a combination of these two. Straight lines can take three directions-vertical, horizontal or diagonal. Each direction of a straight line (vertical, horizontal, diagonal) creates an optical effect or false impression that must be judged by the individual to learn exactly the effect of a particular object or a room. Lines, shapes, colours and textures may form false impression to produce certain effects, but we cannot be certain that the effect will be recognized in the same manner by everyone.

 

In interior designing, straight lines are considered logical rather than emotional, classic rather than romantic and sometimes severe and masculine. Curves, on the other hand, are used to achieve a more joyful, subtle and rich effect. The diagonal lines express decided restlessness.

 

(A)   Straight Lines

 

Straight lines are the ones which extend uniformly in the same direction without curve or bend. They are subdivided into three, viz. vertical, horizontal and diagonal lines. An emotional significance is attached to these lines based on the position of the human body while carrying out various activities.

 

(i)   Vertical Line—Vertical line symbolizes a human body in standing position. The body is in a state of balance with itself and with the forces of gravity. The human being is at attentive and ready to work. Hence, the vertical line expresses the ideas of stability, uprightness, life and activity. It suggests dignity and strength. Vertical lines give a masculine effect. Vertical lines look rational. Hence it can be used in library & offices. They also express formality. Thus, they are used in formal room.

 

An optical false impression can be created by using vertical lines to add height to an object as the eyes move up and down in vertical direction. Such an illusion can successfully be created in a room which has low ceiling, by using vertical lines in curtains and wall papers.

 

(ii)   Horizontal Line — when a human being lies down to rest or sleep, his position resembles a horizontal line. Hence, horizontal line suggests rest and relaxation, composure and steadiness and repose and peacefulness. A horizontal line can represent the ground plane hence may give a down-to-earth feeling. It expresses solidness and stability. But if horizontal lines are short and interrupted, they become a series of dashes which generate a restless feeling. Horizontal lines express informality, hence when one wants to highlight informality, comfort and relaxation in a room, horizontal lines should be emphasized. Low tables, low book cases, cornices of windows, low ceilings, broad openings and stretched out furniture emphasize horizontal lines in a room.

 

Horizontal lines break the severe effect of vertical lines since they carry our eyes right to left, they help to add width to any object. This feeling can be used to create optical illusion in a room which has too high ceiling and one wants to reduce its height

(iii)   Diagonal Line—A man bends forward to run or to pull or push something making his body in a diagonal position. Therefore diagonal line suggests force and movement in a particular direction. A diagonal line is a deviation from either vertical or horizontal. It can be perceived as vertical line falling on the ground or horizontal line rising from the ground towards the sky. In interior design such lines go well on the wall near the staircase. The area where one is going to stay for short time, diagonal lines can be used.

 

(iv)   Zigzag lines

A zigzag line is a series of connected diagonal lines. A zigzag line forces the eye to shift direction alone aptly and repeatedly in an unpredictable and jerky movement. Because of the eye-activity caused by zigzag lines, they tend to increase the apparent mass or size of the area covered by them. The use of diagonal lines in designing an object in home decoration can be pleasing. It is one of the best lines to fit in when trying to conceal poorly proportioned parts of the structure

 

(B) Curved Lines

 

Curved lines represent movement deflected by side forces. They tend to express gentle movement. Depending on their course, they can be uplifting or represent solidity and attachment to the earth. Small curves can express playfulness, energy, or the patterns of biological growth. They achieve not only a joyful subtle and artful effect, but also a mysterious and rich effect. The curved lines can assume controlled curved lines and free-form curves.

 

Controlled Curved Lines

 

These lines have a light hearted look. Softly curved style is often considered the ultimate in decorative furniture and has remained popular ever since they were created.

     Free-Form Curves

 

The free-form curves reflect the flowing lines of nature made by waves against the shores and clouds against the sky. These irregular forms are considered modern, although many so far combine a suggestion of free-form curves with their tightly-controlled scrolls. Yet, in order to be truly effective, curved lines—free-form or controlled, must be designed carefully. When the curved lines become exaggerated towards a full circle, they become very active and intense and may easily be overdone in a design. A restrained curve is graceful, flowing and gentle. A gradual transition in the change of direction of a curved line adds a pleasing quality to a design.

 

PURPOSE OF LINE:

 

To be beautiful and functional a line must appear to have some purpose. The line can be used to create a shape, a pattern or movement or to divide space.

 

(i)  To create a shape

(ii)  To create a Pattern

(iii) To divide space and create movement

(iv)  To create optical illusions

 

FORM AND SHAPE

 

Shape and form are the terms that are used inter-changeably with some differences. The term ‘form’ is generally considered to apply to two-dimensional areas or shapes as well as to three-dimensional volumes or masses as “shape”. When lines are joined to enclose space, they result in an outline, a line, or shape. When a two dimensional shape acquires a third dimension, it becomes a form. The form of an object usually suggests its use. Form may be viewed as an enclosure of volume surrounded by limiting factors. Shape is the primary means by which we make a distinction one form from another. It may refer to the outline of a line, the outline of a plane, or the boundary of a mass. In each case, shape is defined by the specific configuration of the lines or planes which separate a form from the background or surrounding space.

 

Form is an important element of home-planning and decoration. Without beauty of form, application of excellent colour, texture and decoration are of no use. Therefore, it can be said that two essentials of good form of an object are that it

 

•  should suit its function

•  should be strongly influenced by the material wih which it is made.

 

There are three broad categories of shapes and forms. Natural Shapes represent the images and forms of our natural world. These shapes may be abstracted, usually through a process of simplification, and still retain the essential characteristics of their natural sources. The second type of shape and form is abstract. This type of shape and form is derived from objects in nature or from other things that are familiar to us; however, they have been deformed, exaggerated, and reorganized, and at times beyond recognition. The third type of shape and form is called non-objective. Non-objective shapes make no obvious reference to a specific object or to a particular subject matter. In this grouping, geometric forms and biographic shapes are found.

 

Geometric shapes dominate the built environment of both architecture and interior designing. There are three separate and distinct types of geometric shapes:

 

• Rectilinear – square or rectangle
• Angular – triangle or pyramid
• Curvilinear – circle, sphere, cone, cylinder

 

In their most regular form, curvilinear shapes are circular while rectilinear shapes include the series of polygons which can be inscribed within a circle. In all these, the most important geometric shapes include the circle, triangle and square. Extended into the third dimension, these primary shapes generate the sphere, cylinder, cone, pyramid and the cube. Seldom can one find a room with only one form. Most interiors illustrate a combination of forms—curved lamp shades, rectilinear sofa and area rugs and angular ceiling or staircase, are some of the examples. Each of these groups of forms suggests certain unique characteristics.

 

Squares and rectangles

 

The square form represents the pure and the rational. The equality of its four sides and its four right angles contributes to its regularity and visual clarity. A square shape has no preferred or dominant direction. It is a stable, still figure when resting on one of its sides, but becomes active when standing on one of its corners. The square form epitomizes strength but, used exclusively, it tends to become boring.

 

All rectangles can be considered to be variations of the square with the addition of width or length. While the clarity and stability of rectangular shapes can lead to visual monotony, variety can be introduced by varying their size, proportion, colour, texture, placement or orientation. Rectangular shapes are clearly the norm in architectural designing. The rectangular forms have more extensive acceptance as they are easily measured and handled, fit together, have a sturdy, secure relationship of exactly 90° which gives a sense of definiteness and certainty and establish unity and rhythm when repeated. Inspite of its definiteness and regularity, it can encompass great diversity. They can rest with stability on one side, insecurely on one side or unsteadily on one corner, each position calling forth a different emotional response.

 

To the ancient Greeks, the oblong or rectangle was the form most pleasing to the eye. The Greek ‘golden oblong’ is ideally 2 units to 3 units, or 3 units to 5.

 

Triangles

 

Triangles contribute unity and balance. The triangle represents stability. Triangular shapes and patterns are often used in structural systems since their configuration cannot be altered without bending or breaking one of their sides. The dynamic quality of a triangular shape is also due to the angular relationships of its three sides. Because these angles can vary, triangles are more flexible than squares and rectangles. In addition, triangles can be conveniently combined to form any number of square, rectangular and other polygonal shapes. Pyramid and triangles differ from rectangles and squares in their pointed, dynamic character and express greater flexibility.

 

The circular forms are also useful to change a room’s pace and offset the rigid right angles of square and rectangular furniture. The circle is a compact, withdrawn shape which has as its natural focus on its counterpoint. It represents unity, continuity and economy of form.

 

Other curvy lines and shapes can be seen to be remains or combinations of circular shapes. Whether regular or irregular, curved shapes are capable of expressing softness of form, fluidity of movement, or the nature of biological growth.

 

Textures

 

Each material has a surface quality, that is, the tangible quality, which is referred to as texture. Texture refers to the qualities that are noticeable through the sense of touch. Texture describes how one feels when one touches any material and how the surface affects the light that strikes it. Sometimes the term texture is also applied to the effects on the surface which give illusion of texture, for example, a laminated sheet having illusion of wooden or stony texture. On touch the surface is smooth but visually it gives an illusion of roughness. Thus, the texture can be actual or visual.

 

There are two basic types of texture — ‘tangible texture’ that is real and can be felt by touch, and ‘visual texture’ that is perceived and can be seen by the eye. All tactile textures provide visual texture as well. Visual texture, on the other hand, may be real or illusory. Texture is the sensory impression that is understood by sight as well as by touch. Actual texture is the one in which the three-dimensional surface qualities can be felt whereas visual or illusionary or simulated texture is the one in which a material reveals a textural pattern under a smooth surface.

 

COLOUR

 

Colour is an important art element which no one can ignore. Appreciation of colour, largely an emotional process, is felt by nearly everyone, whereas appreciation of other art elements such as line form, texture etc., a large logical process, is not so common. Colour is a source of universal pleasure. Colour is something which is used by everyone to delight them and also to fortify their living environment by its stimulating effect.

 

Like other art elements colours exhibit their qualities. The three basic qualities of colour — hue, value and intensity or chroma — can be measured with considerable exactness. These three are distinct from one another. Hue is identical with the word colour itself, and so, refer to the name of colour. While value refers to the amount of lightness (white) or darkness (black) in a colour, intensity refers to its brightness or dullness. Some colours like red, orange and yellow are warm and advancing colours, and the colours like blue, green and purple are cool and receding. Darker colours (shades) are heavier and lighter colours (tints) are lighter. These colours can successfully be used in home interiors to create warmth or cool feelings or to reduce or increase the size of a room.

 

Colours also create emotional effects. White is a symbol of innocence, purity and peace, whereas black is used for mourning, evil etc. Red colour may represent love, and blue, sincerity or hope. Colour, because of its emotional effect on us, is largely responsible for the atmosphere of a room. A colour scheme of room may be soothing or irritating, cheering or depressing, charming or boring, welcoming or repelling. Different colours excite different colour emotions, though it may differ in its degree on different people.

 

There are some neutral colours like white, black and grey. Such colours are more valuable in interior decoration as background colours. Some earthy colours such as umbers and ochres, and almost all of reds, yellows and greens, suggest natural earthy characters. The so-called acid colours such as magenta, blue-green, cyan blue etc. give an idea of artificiality. These ideas should be considered by the interior decorator in the use of colours.

 

LIGHT

 

Light, as an element, is universally studied by people of every walk of life, since light is an art element as well as a useful element. A variety of moods and effects may be obtained by the clever use of light and shadow, bright and dark areas. Light is an integrated and important aspect of planning any interior. Among the various sources of light, day light is an important factor which contributes to the appearance of a room. It is important for an interior designer to consider the exposure, the number of windows, the amount of sunshine that enters the room, the trees/vines that shut out light and in what season of the year the room is used most, etc. Light can be provided either through day light or through artificial light. The modern artificial light, particularly electric light plays an important role in dramatizing the effect that a room reflects. It can bring rhythm and continuity to a room’s furnish-ing by linking together various points of emphasis.

 

Modern artificial light is not only a remarkable functional utility, but also a marvellous flexible art medium. It should be used in a room in such a way that the effect produced is different in different areas. Light can also be used to highlight an important area or an important object, or subdued to camouflage a defect. It can decide the amount of emphasis that an area or an object requires or vice versa.

 

SPACE

 

“Space is defined as the emptiness, void or interval between things. Space is the most vital element in home design”

 

Most of us, at some time or the other, feel that we suffer from a lack of space in our homes, yet there are probably parts of the house or a flat that are rarely used. At certain times, some corners and alcoves that are dark or awkwardly placed are not utilized fully. On the other hand, there seems to be a clutter everywhere, that a house, whatever its size, does not create an impression of space. Every one of us is conscious of space.

 

The element, space, can be used successfully to increase the size of the room visually and to give the room a quiet feeling of rest and beauty. Large bare openings, black and white effects in rooms, encourage the eye to explore the distance beyond, especially when the same material or colour is carried throughout. Hence, a feeling of spaciousness is created by the way we decorate a room and the way we arrange the furniture in it. For example, light colours, low furniture, shiny surfaces, reflective images and well-planned storage, all contribute to a feeling of extra spaciousness. Lighting is another device that can be used to provide a feeling of space. Lighting that emphasizes the ceiling can make the room look larger.

 

The implications of space are —

  • – A pleasant relationship needs to be maintained between space and pattern. Too much pattern is as bad as too little.
  • – Space may give a feeling of being exposed to a large area which is not provided with a boundary or fence.
  • – Space may give a trapped feeling if there is a high wall surrounding a small space.
  • – Gradual change of space is more pleasing than an abrupt change.

Conclusion

 

At the end, in addition to interior decoration, an architect and landscape designer should utilize the element of space. Therefore with good spatial arrangement a feeling of quietness and beauty can be created.

 

Creating a design is an art. To make it scientific, there is a great need for understanding its fundamental components. A thorough knowledge of these components, namely the elements of art and design, would help a person to create beautiful things and enrich her surroundings.

 

you can view video on DEFINITION AND CLASSIFICATION OF DESIGN, ELEMENTS OF DESIGN

 

Web links

 

  • https://en.wikipedia.org/wiki/Art www.thesaurus.com/browse/unique
  • https://dictionary.cambridge.org/dictionary/english/application
  • http://www.dictionary.com/browse/composure
  • https://www.collinsdictionary.com/dictionary/english/deviation
  • https://dictionary.cambridge.org/dictionary/english/extend
  • https://en.oxforddictionaries.com/definition/emotion
  • https://en.oxforddictionaries.com/definition/impression
  • https://en.wikipedia.org/wiki/Deductive_reasoning
  • https://www.thefreedictionary.com/motionless
  • https://dictionary.cambridge.org/dictionary/english/masculine
  • www.dictionary.com/browse/optical-effects http://www.dictionary.com/browse/relaxation
  • https://www.vocabulary.com/dictionary/restrained https://www.merriam-
  • webster.com/dictionary/stability
  • https://dictionary.cambridge.org/dictionary/english/subtle
  • https://dictionary.cambridge.org/dictionary/english/seldom www.dictionary.com/browse/theoretically
  • https://www.merriam-webster.com/dictionary/tangible