353-5 Fundamentals of Interior Graphics

Fundamentals of Interior Graphic
Student‟s Reference Material FIG/SRM/1

INDEX
Content Pages
Unit - I ...................................................................................................................................... 3
Lesson 1: Knowledge of Instruments .................................................................................... 4
Lesson 2: Free Hand Drawing on Paper ............................................................................. 15
Lesson 3: Lettering ............................................................................................................... 19
Lesson 4: Scales ..................................................................................................................... 24
Unit - II .................................................................................................................................. 30
Lesson 5: Colour Schemes .................................................................................................... 31
Lesson 6: Colour Psychology ............................................................................................... 42
Lesson 7: Pattern Tones and Textures ................................................................................ 49
Lesson 8: Texture & Pattern................................................................................................ 54
Unit – III ................................................................................................................................ 57

Lesson 9: Surface Development of Solid Forms ................................................................. 58
Unit – IV ................................................................................................................................ 66
Lesson 10: Sections of Solids, in Different Planes .............................................................. 67
Unit - V................................................................................................................................... 71
Lesson 11: Terminology of Perspective Drafting and Drawing ....................................... 72
Lesson 12: Steps in Drawing a Perspective of a Cuboid ................................................... 80
Lesson 13: Basic Technique, Texture .................................................................................. 88
Lesson 14: Tones ................................................................................................................... 93
Supplementary Material / Reference Books ..................................................................... 113

Unit - I
Lesson 1: Knowledge of Instruments

Lesson 2: Free Hand Drawing on Paper
Lesson 3: Lettering
Lesson 4: Scales

Lesson 1: Knowledge of Instruments
Objective:
To familiarize the students with the various instruments used in this subject.
To understand the use of graphics in interior design.
To teach the students about values or gradation.
To introduce the different rendering techniques.
Structure:
1.1 What is actually graphics?
1.2 Graphic Diagramming
1.3 Material required for free hand presentation
Introduction:
1. The fine or applied visual arts and associated techniques involving the application of lines
and strokes to a two-dimensional surface.
2. The fine or applied visual arts and associated techniques in which images are produced from
blocks, plates, or type, as in engraving and lithography. Also called graphics.
1.1 What Is Actually Graphics:-
Graphics is an inseparable part of the interior design process, an important tool which provides
the designer with the mean not only for presenting a designer proposal but also of
communicating with himself and others in the design studio
It is important to note that graphic communication requires mental skill as well as manual skill.
We must recognize that graphics, the physical end product we are always concerned with, is
itself the result of interior design process, a careful analysis of why, when and where a graphic
technique is employed, as well as the execution of a technique.
Although your hand and mind control the finished drawing, quality equipment and materials
make drawing a more enjoyable experience, and the achievements of quality work becomes
much easier.
Use of graphics in interior design:-
The finished sketches should (which are drawn by the designer) communicate their observations
and their point of view. Just as your hand should be able to record your observations graphically
quickly and accurately, your eye should be able to grasp quickly and accurately the nature of
those observations. In the beginning you often have difficulty in sketching accurately, since you
believe you can comprehend without careful observations, confusing psychological impression
in the mind with what you really see.

1.2 Graphic Diagramming
Graphic diagrams, because of the visual thinking they stimulate, are an important tool of the
designer. Graphic diagrams are visual abstractions which depict the essence of:-
1. Concept (idea, processes, events)
2. Objects (physical elements varying in scale)
The act of diagramming various aspects of an architectural idea enables a designer to investigate
and communicate at a very general level of the overall organisation of the scheme, both two –
dimensionally and three –dimensionally. A graphic portrayal of an interior (say residential etc.)
organisation through diagrams can be helpful not only in enhancing and keying the viewers
understanding of normal architectural presentation drawing but also in enabling the designer to
keep sight of his original intent during the design process.
A well developed ability to sketch enables a designer to investigate a number of alternatives
quickly, accurately, and efficiently. With a roll of inexpensive tracing paper and a soft pencil or
marker, you should able to start with a basic idea or scheme and, by a series of overlays and
transformations, arrive at a number of reasonable alternatives. Every drawing or sketch along the
way, whether the ideas it represents are accepted or rejected, helps you to gain further insight
into the problem and often generates new ideas while enhancing the chances of cross fertilization
among any number of previous ideas.
The primary purpose of graphics is communication. Although the drawings that compromise an
architectural presentation may be excellent two-dimensional graphics worthy of an exhibition,
they are merely communicative tools never primary ends in themselves.
Sketching Equipments:-
A variety of drawing instruments is available to the sketcher. As the start, you are encouraged to
try all of the following:-
Graphite pencil.
Fountain pen with black ink.
A black fiber tip pen.
A charcoal pencil.
Black and grey magic marker.
Sketch pen.
Crayon etc.
1.3 Materials Required For Free Hand Presentation
(a) You will need the following materials:

1. Pencils: HB, 2B and 4B.
The HB pencil is medium dark and appropriate for sketching. The 2B pencil is softer and darker
while 4B is the darkest of them all. 2B and 4B pencils are used for shading.
2. Eraser: - A good quality soft eraser is as important as the pencil.
3. A piece of cotton cloth:- To spread and softer the pencil shading.
4. Sharpener: - For sharpening HB pencils. It is advisable not to use the sharpener for 2B and 4B
pencils.
5. Cutter: - For making paper stencils and for sharpening 2B and 4B pencils. It is also used to
power the pencil lead which is required for shading.
HOW TO HOLD THE PENCIL

(b) Values (Gradation)
Any rendering in pencil looks attractive because of the use of light and dark shades. A thorough
understanding of the various gradations or values is therefore important.
There are three different ways to achieve gradation.
1. Varying pressure on the pencil.
2. Varying the grade of the pencil.
3. Repetition and overworking (a) Hatching (b) Cross hatching (c) Scribbling.
(1) Varying pressure on the Pencil.
Very light tone light tone middle tone dark tone very dark tone
This is the easiest method of shading. Rub 2B or 4 B pencil on paper to blunt the point. Without
lifting the pencil, draw short lines, closely placed and vary the pressure to obtain gradation. The
greater the pressure, the darker the shade you will get.
`For a larger area, complete the gradation in small sections.

2) Varying the grade of
the pencil
Different values can be
obtained by using different
grades of pencils.
(3) Repetition and
overworking:
In this technique you can create
a variety of textured shades by
repeating forcefully drawn
short lines. This technique
consists of drawing lines from
different angles in such a way
that they cross each other to
create deeper shades. The more
acute the angle, the greater the
depth of the shading.

(C) Scribbling

SMUDGING
Specimen of smudging.
For a small section of the drawing smudge in the following manner

SHADING WITH A DIFFERENCE - The use of stencils
Snap lines on the wall to align with the alignment marks on your stencil. Tape the stencil
in place along the top edge with removable masking tape.
Dab special stencilling brush into the paint, then pat off the bristles on a dry cloth. Leave
the brush almost dry.
Apply the paint to the stencil with light dabbing and swirling motions until the stencil
area is covered. Work in from the edges, brushing toward the centre.
Lift the stencil up on the tape hinges and check for paint drips and for clear, sharp edges.
Lay the stencil back down and touch up if necessary.
Allow the first colour to dry, then tape the stencil up on the same marks and apply the
second colour. Cover nearby areas of the stencil to avoid getting paint in them.
Sketching with an eraser
Just scribble away and cover an area of the paper with fast, furious
strokes.
Draw the outline of what you want to
portray.
Rub away with the eraser to show the
lit portions of your object.
Finish by shading the dark portions
with the pencil. Voila!
Tip: Use the eraser to rub away a border for your picture.

You can avoid it by:
Working downwards from the top to the bottom of the page whenever possible.
Or
Making it a habit to place a clean piece of paper under your hand white working.
Remember:
1. Don‟t be in a hurry while you shade your picture. It will result in an untidy picture. Go
about your work patiently and complete the picture part by part.
2. It‟s better to be neat in your work, though it might take a little longer, than mess it up in a
hurry. Speed will come only through practice.
3. Don‟t be disheartened if you are not happy with the shading in a certain part of the
drawing. Improve upon it with the help of an eraser or rub out that part totally and start
anew.
4. After you finish shading, compare it with the original reference and match the shades.
Make necessary changes to improve the picture.
Shades obtained by varying the pressure on the pencil:
Side of the Pencil Shading
The shading to the right was created with the side of a soft
pencil, held in an overhand grip and at a low angle.
Tip of the Pencil Shading
The second example was made with the dull tip of a soft
pencil. This time, the pencil was held in an underhand
grip. That's the way a pencil is normally held when
writing.
You can see that it creates a smoother texture than that

created with the side of the lead.
Combined Shading
The third example combines both of the shading techniques explained above.
When "tip of the pencil shading" is added over "side of the pencil shading,"
the texture looks a little smoother and darker. Additionally, this type of
shading is easier to control so you can use it to shade small areas and to create
finer detail.
The paper's texture will affect this type of shading tremendously, so make test
hatches on a few different kinds to find a texture you like before you begin.

Lines that are drawn close to each other with minimum pressure on the pencil, will give the
lightest tone while middle and dark tones can be obtained by increasing the pressure.
Study the four different techniques of shading shown below. Practice drawing these gradations
in the space on the right.
Object which is facing the light from right-up side:

A diffused shadow edge gives roundness to the form.
Light tone: This is seen on the part of the object which is facing the light. ( from left-up side).
Highlight: This is the area of the object which reflects maximum light. It is thousand brilliant
part of the object.
Shade: This is seen in the area of the object which is sheltered from the light.
Reflected light: This is the light which the object receives from the background and surrounding
objects.
Cast shadow: This is the shadow which is created by the object. It falls on the opposite side of
the light source and is darkest at the base of the object.

Lesson 2: Free Hand Drawing on Paper
Objective
To understand the different types of lines and their meaning.
To be able to draw free hand lines and make compositions.
To develop skills in free hand drawing and rendering.
Structures:
2.1 Free Hand Drawing on Paper
Introduction
Various types of lines are used in drawing. Line types like construction lines, dotted lines,
dimension lines, projection lines are used to make accurate clean and neat drawings. Different
grades of pencils are used to create variation in lines.
Straight Line: - Varying Use
The straight line is the most simple and basic line but often the most difficult to draw free hand.
Those who have trouble drawing straight lines may want to try looking to where the line will
terminate rather than at the line itself.
Sweeping
Tension
Electric
Bold line
Thin line
Undulating

Continuous Line: - Straight line
Horizontal
Vertical Line
2.1 Free hand drawing on paper.

Horizontal lines
The basic for most architectural/interior drawing is the lines and the essence of a line is its
continuity. In a pure line drawing, the interior designer conveys (volumetric space; definition of
planer elements, solids and voids, depth) depends primarily on the visual weight of line type
used and thus discenible difference.
Quick and meaningful use, of line is essential to design – graphics communication. Initially you
think of line as being an edge or an outlines but line can be extended to describe or a variety of
other elements.
Straight line
Parallel lines

Expressive line
Horizontal line
Vertical line
Number of forms can be created by using curved and straight lines

Curved lines
Curved lines, like straight and parallel lines,
are basic but difficult to draw. Apply the
suggestions for straight line technique to
curved lines but try to keep your hands and
fingers fluid and flowing with the curves.
Practice will undoubtedly improve your line
and speed.
Positive & Negative shape

In developing your understanding of the open environment it is often helpful to describe physical
objects as positive shapes, and the area about the object as Negative shapes. Another approach is
to describe the dark and the light variations in shapes as Negative & positive.

Often there are examples of shapes that have no definite limits or boundaries, but are merely
implied.
To wrap it up with a visual:

Lesson 3: Lettering
Objective:
 To understand the importance of lettering in a presentation.
 To learn free hand single stroke lettering styles in pencil.
Structure:
3.1 Lettering
Introduction
Writing of titles, dimensions, notes, and other important particulars on a drawing is called
lettering. It‟s an important part of drawing and should be done properly in clear, legible and
uniform style. It should be in plain and simple style so that it can be done freehand and speedily.
3.1 Lettering
All graphic presentation symbols and lettering must be considered elements in the composition
of a presentation their impact on the composition is dependent on their size, weight and
placement.
Size: -
1. Readability from the observer‟s point of view.
2. The proportional relationship of the graphic symbols or lettering to the overall size
and scale of the drawing.
Weight: - is determined by the size and value of graphic symbols or letters, i.e. if a large sized
typeface is required for readability from a certain distance, but a low value is mandatory for a
balanced composition, and then an outline letters should be issued.
Placement: - of title and graphic symbols should be determined on the basis of their overall
weight or tonal value and their role in the organization of the presentation. Fine hand lettering
has a quality not obtainable with type. Type tends to be Mechanical. Hand lettering can be more
beautifully adjusted in individual widths and proportions of letters when in combination with
other particular letters and words. It can also be individually styled to fit a particular purpose.
Everyone inevitably develops an individual style of lettering. The most important characteristics
of a lettering styles are:-
1. Readability
2. Consistency
(a) Style
(b) Spacing
The lettering should be an integral part of the advertisement as a whole, whether it be in the same
character or whether it be in a character which exaggerates and emphasizes through contrast the
character of the rest of the advertisement. It must have some harmony that unites it with the rest
of the layout, a harmony, for example, of direction or of colour or of character. Following are
some examples of type classified according to style.

block embroidery lettering style
brush-script lettering style:

Gothic Style:

Summary:
It is important for a designer to be able to present his ideas and creative thoughts on paper
accurately. Graphics helps in this process as it is an important tool which empowers the designer
with the basic knowledge of presentation techniques.
By means of drawing, sketching, shading, lettering and rendering, a designer is able to easily
Presents His Thoughts on Paper.
Revision Points:
 Use of different pencils like H, 2H, 4H, HB, B, 2B, 4B, 6B.
 Ways of achieving gradation.
 Types of lines
 Basic lettering styles
Keywords:
 Hatching
 Smudging
 Cross Hatching
 Highlight
 Positive and Negative shape
Intext Questions:
 Draw 2 compositions using curved and straight lines.
 What are basic rendering techniques?
Terminal Exercises:
1. Explain different types of lines with examples.
2. Discuss any 5 styles of lettering with examples.
3. In boxes of 10cms X 10cms , make at least 5 compositions with different types of lines.
4. Draw free hand sketches of a cube and pyramid and shade them using different
techniques.
Assignment
Students to learn how to place the drawing paper on the drawing board and be able to
draw a title block using basic equipment.
Students to practise different lettering styles in different sizes.
Suggested Reading:
1. Graphic Thinking for Architects and Designers
2. Universal Design Handbook
3. Graphic Communication (W J Bowman)
4. The Big Book of Design Ideas – David Carter
5. Drawing: A Creative Process – Francis D K Ching

Lesson 4: Scales
Objective:
To learn about the use of engineering scales-
Metric, foot and inch.
To learn measurement of everyday objects and activities.
To learn about planes of projection.
Structure:
4.1 Knowledge of use of Engineering Scales
4.2 Measurements of everyday objects and activities
4.3 Knowledge of Planar forms
Introduction:
A scale is defined as the ratio of the linear dimensions of an object as represented in a drawing to
the actual dimensions of the same element of that object. It is not always possible to prepare full
size drawings. Therefore they are always drawn proportionately smaller or larger as per the
requirement.
Practical drawing deals with the representation of points, lines, planes and solids (which are 3D)
onto a flat surface (which is 2D ) so that their true forms can be easily determined. The
knowledge of planes helps us in this.
4.1 Knowledge of use of Engineering Scales
Drawings of small objects can be prepared of the same size as the objects they represent. A 15
cm long pencil may be shown by a drawing of 15 cm length. Drawings drawn of the same size
as the objects are called full-size drawings. The ordinary full-size scales are used for such
drawings.
Reducing and enlarging scales: It may not be always possible to prepare full size drawings.
They are, therefore, drawn proportionately smaller or larger. When drawings are drawn smaller
than the actual size of the objects (as in case of buildings, bridges, large machines etc.) the scale
used is said to be a reducing scale. Drawings of small machine parts, mathematical instruments,
watches etc. are made larger than their real size. These are said to be drawn on an enlarging
scale.
Representative fraction: The ratio of the length of the drawing to the actual length of the object
represented is called the Representative Fraction (i.e. R.F.). When a 1 cm long line in a drawings
represents 1 meter length of the object, the R.F. is equal to 1cm /1m = I/100 and the scale of the
drawing will be 1:100 or 1/100 full size. The R.F. of a drawing is greater than unity when it is
drawn on an enlarging scale. For example, when a 2 mm long edge of an object is shown in a
drawing by a line 1 cm long, the R.F. is 1cm /2mm = 5. Such a drawing is said to be drawn on
scale 5 : 1 or „five times full-size‟.

Types of Scales:
The scales generally used for general engineering drawings are 1:1, 1:2, 1:2.5, 1:5, 1:10, 1:20,
1:50, 1:100, 1:200, 1:1000, 1:2000 etc. All these scales are usually 30 cm long and sub-divided
throughout their lengths.
The scale of a drawing is indicated on the drawing sheet at a suitable place near the title thus,
„Scale, 1:2‟ or „Scale, half full-size‟.
Scales on drawings: When an unusual scale is used, it is constructed on the drawing sheet. To
construct a scale the following information is essential:
i) The R.F. of the scale
ii) The units, which it must represent, for example, millimeters and centimeters, or feet
and inches etc.
iii) The maximum length, which it must show.
The length of the scale is determined by the formula:
Length of the scale = R.F. x maximum length required to be measured.
It may not be always possible to draw as long a scale as to measure the longest length in the
drawing. The scale is therefore drawn 15 cm to 30 cm long, longer lengths being measured by
marking them off in parts.
Plain scales: A plain scale consists of a line divided into suitable number of equal parts or units,
the first of which is sub-divided into smaller parts. Plain scales represent either two units or a
unit and its sub-division.
In every scale.
i) The zero should be placed at the end of the first main division, i.e. between the unit
and its sub-divisions.
ii) From the zero mark, the units should be numbered to the right and its sub-divisions to
the left.
iii) The names of the units and the sub-divisions should be stated clearly below or at the
respective ends.
iv) The names of the scale (e.g. scale, 1:10) or its R.F. should be mentioned below the
scale.

4.2 Measurement of Every Day Objects & Activities
Scales (above fig.): Scales are made of wood, steel, celluloid or plastic, Rustless-steel scales are
more durable. Scales may be flat or of triangular cross-section. 15 cm long and 2 cm wide or 30
cm long and 3 cm wide flat scales are in common use. They are usually about 1 mm thick.
Scales of greater thickness have their longer edges bevelled. This helps in marking
measurements from the scale to the drawing paper accurately. Both the longer edges of the
scales are marked with divisions of centimeters, which are sub-divided into millimeters.
The scale is used to transfer the true or relative dimensions of an object to the drawing. It is
placed with its edge on the line on which measurements are to be marked and, looking from
exactly above the required division, the marking is done with a fine pencil point. The scale
should never be used as a straight-edge for drawing lines.
Engineering scales:- Have different systems as MKS, FI System:- Measurement in Metric
system :-
1 m = 100 cms &
1 ft. = 12 inches.
First angle projection: We have assumed the object to be situated in front of the V.P. and above
the H.P. i.e. in the first quadrant and then projected it on these planes. This method of projection
is known as first angle projection method. The object lies between the observer and the plane of
projection. In this method, when the views are drawn in their relative positions, the top view
comes below the front view. In other words, the view seen from above is placed on the other
side of (i.e. below) the front view. Each projection shows the view of that surface (of the object)
which is remote from the plane on which it is projected and which is nearest to the observer.

4.3 Knowledge of Planar forms
Planes of projection: The two planes employed for the purpose of orthographic projections are
called reference planes or principal planes of projection. They interact each other at right angles.
The vertical plane of projection (in front of the observer) is usually denoted by the letters V.P. It
is often called the frontal plane and denoted by the letters F.P. The other plane is the horizontal
plane of projection known as the H.P. The line in which they interact is termed the reference line
and is denoted by the letters xy. The projection on the V.P. is called the front view or the
elevation of the object. The projection on the H.P. is called the top view or the plan.
Four quadrants: When the planes of projection are extended beyond the line of intersection,
they form four quadrants or dihedral angles which may be numbered. The object may be
situated in any one of the quadrants, its position relative to the planes being described as above
or below the H.P. and in front of or behind the V.P. The planes are assumed to be transparent.
The projections are obtained by drawing perpendiculars from the object to the planes i.e. by
looking from the front and from above. They are then shown on a flat surface by rotating one of
the planes as already explained. It should be remembered that the first and the third quadrants
are always opened out while rotating the planes. The positions of the views with respect to the
reference line will change according to the quadrant in which the object may be situated. This
has been explained in detail in the next chapter.
The front view of an object shows the width and height dimensions. The front view is the
projected on the frontal plane of projection

Horizontal Plane of Projection
The top view of an object shows the width and depth dimensions.
The top view is projected onto the horizontal plane of projection.

Profile Plane of Projection
The side view of an object shows the depth and height dimensions. The right side view is the
standard side view used. The right side view is projected onto the right plane of projection.
Arrangement of Views
A triangle and its development in pictorial projection.

Unit - II
Lesson 5: Colours
Lesson 6: Colour Planning for Interiors
Lesson 7: Pattern Tones and Textures Error! Bookmark not defined.
Lesson 8: Texture & Pattern

Lesson 5: Colour Schemes
Objectives:
To develop an understanding of how a colour scheme is developed based on colour wheel. To
understand how a colour affects the psychology of the viewer and what effects are produced in a
space by using different colours.
Structure:
5.1 Types of Colour Schemes Based on the Colour Wheel
5.1.1 Neutral colour schemes
5.1.2 Complementary colour Scheme
5.1.3 Triad Colour Schemes
5.1.4 Analogous Colour Schemes
5.1.5 Monochromatic Colour Schemes
5.2 A „Little‟ Technical Background on colour schemes
5.3 Colour Facts
5.4 Tips on using colours
5.5 Flooring & Colour
5.6 Walls & Colour
5.7 Ceilings & Colour
5.8 Window Treatments & colour
5.9 Furniture & Colour
5.10 Open Floor Plans & Colour
Introduction:
When you construct a circle out of the spectrum of colours (basically the colours of the rainbow),
you have a colour wheel. Primary colours on the colour wheel are red, yellow and blue. The full
spectrum of colours includes red, orange, yellow, green, blue, and violet. In a circle or wheel
arrangement, it is easy to see how the colours interact with each other. The chroma of a colour is
the intensity (amount of lightness or darkness in the colour) and purity in the hue. A neutralized
colour is a colour that has been muted or "greyed" so that it loses some of its intensity.
In the following descriptions, you can refer back to the colour wheel see how they fall in
comparison to each other. Lime green and shocking pink are complimentary colours because
they fall directly opposite on the colour wheel. They are ideal colours together because they
intensify and compliment each other.
5.1 Types of Colour Schemes Based on the Colour Wheel
In reading the following, you may want to go back and look at the colour wheel to see where the
colours (also their tints and values) fall compared to each other.
5.1.1 Neutral colour schemes: This colour scheme
can be easier to live with than vibrant colour
schemes. Neutral colours are often used as

background colours in rooms because they blend well with other colours. Touches of accent
colours are usually added in this colour scheme for interest.
5.1.2 Complementary Colour

Schemes - When schemes that are
built around two colours that are on
the opposite sides of the colour
wheel, the colours will intensify each
other and make an exciting and
stimulating room. Colours can be
pure and vivid or neutralized and
muted. Examples: burgundy and
forest green yellow and purple

5.1.3 Triad Colour Schemes - This scheme is
applied when a room's colours are based on three
colours on the colour wheel that are located at
equal distances from each other. Colours can be
pure and vivid or neutralized and muted. Example:
red, yellow and blue
5.1.4 Analogous Colour Schemes - This

colour scheme uses two or three adjacent
hues on the colour wheel. It is a very
harmonious scheme and can be very
restful. The accent colour in an analogous
colour scheme is often a complementary
colour from the opposite side of the colour
wheel. Colours can be pure and vivid or
neutralized and muted. Example: terra
cotta, orange and gold

5.1.5 Monochromatic Colour Schemes - This is
when only one colour family is used in a scheme.
Diverse tints and shades of one colour can be used
throughout the room. Colours can be pure and vivid
neutralized and muted. Examples: white, ivory and
beige pale pink, rose and burgundy.
5.2 A "Little" Technical Background on Colour Schemes

Most rooms will typically be made up of 3 to 5 colours. One (or two) of the colours should be
the dominant colour and will be used extensively throughout the room. It will cover the majority
of the space, such as the colour on the walls or wall-to-wall carpeting.
A secondary colour or colours are used a little less than the dominant and will provide interest
and balance to the colour scheme. It might be the background colour of a printed upholstery
fabric or the colour of the fabric for the window
treatment. It will not be the main colour in the
room, but will play a secondary role. There are
usually only 1 or 2 secondary colours.
Accent colours are used the least, so often, a
strong colour that makes a statement is used.
Accent colours breathe life into a room and are
used in pillows, rugs, art pieces, or as contrasts
on window treatments.
There is no hard set way to determine which
colours in a room fall into which categories, you
may have two designers think that a room has a
different secondary colour than the other. This
doesn't necessarily mean that one is right and
one is wrong. With colour - everything is very subjective - therefore, it helps to digest the above
information, but that doesn't mean that you can't bend the rules a little. ....after all, Picasso did.
Neutrals are used to anchor a colour scheme. Neutrals are not just white, ivory, off white and
grey. Almost any colour can become a neutral once it is "greyed" or neutralized with its
complementary colour. Neutrals are often used for trim work, but can also be used as the
dominant colour, the secondary colour, or even an accent in a room. A room that is built around
neutrals as the dominant and secondary colours is often a very sophisticated and elegant space
Often, in traditional interiors the dominant colour is neutralized and accents are more bold. There
is no reason why you cannot do the reverse and allow your accents to be the more neutralized
colours in the room and the walls more vivid. This is done frequently in contemporary design.

5.3 Colour Facts
If you want a room to appear larger - the floor colour should be similar to the wall colour.
For instance: a room with an ivory carpet will look larger with the walls painted the same
shade of ivory. A room with wood floors will look larger if the walls are painted in a
shade (although you can go a bit lighter) similar to the wood floor. This will create an
unbroken line and will room will not seem as fragmented.
The darker the colour of a room, the more intimate and smaller the room will appear.
Light colours recede visually and will make a room appear more spacious.
As an elderly person ages, the lens of the eye yellows, therefore, when selecting paint
colours an elderly person is seeing more "yellow" in the colours than a younger person
would.
Warm colours typically have a yellow or orange undertone to them and cool colours
typically have a blue undertone. Example: Blue red (cool red) and Orange red (warm
red).
A room on the North side of a house will generally be more comfortable in a warm
undertone colour. A room on the South side of a house is more comfortable in a cool
colour scheme.
White will make colours around it seem paler. Black makes adjacent colours appear
darker and bolder. The same shade of yellow will appear soft next to white, but can
appear bright and vivid next to black.
Matte (non shiny) surfaces look darker because they do not reflect as much light, while
shiny, high gloss surfaces appear lighter.
If you want to look great all the time, paint all your walls in your house peach. This is the
most complimentary colour to all skin tones. Think about how much candlelight helps!
Blue will tend to make the skin look pale and sallow. Blue also happens to be an
unappetizing colour. If you use it in your Kitchen, throw in accents of yellow or peach.
However, blue is our favourite colour (according to colour research) and is perfect for the
bedroom because it is soothing and calming.
Orange has the unhappy honour of being our least favourite colour - but this is only true
in its vivid and strong value. Generally people are very fond of terra cottas and peach.
Colours in the yellow or orange family may become too glaring and bright if used in a
pure, vivid colour over an extensive area. It may be wise to go a bit more neutral in an
orange or yellow colour than you originally intended.
5.4 Tips on Using Colours
If you're frustrated when attempting to select a colour scheme for a room, let any favourite
fabric, print or even a scarf be your inspiration. Begin by pulling 3 to 4 colours you like from the
print by matching the colours to paint chips. Decide which colours you will use on the flooring,
wall colour, upholstery, etc. Whether you use the actual fabric in the finished room doesn't
matter, but by pulling a few colours from the print you have the benefit of an exciting colour
scheme.

5.5 Flooring & Colour
Floors can add quite a bit of colour to a room. The floor is the foundation and base for an entire
room and its furnishings. It is always wise to use a more neutral coloured flooring for the simple
reason that it creates a foundation for everything else. Remember, even a forest green or a muted
blue can be considered neutral if muted enough. Kelly green or sky blue are not. If you decide to
change your colour scheme in a few years, it will be easier to work around a neutralized colour
floor. Don't feel you have to remain neutral with area rugs though. These are easily moved and
replaced with another in a different style or colour if you want to change the room. To make your
house appear more spacious and less choppy, select one colour of carpet or flooring to go
throughout your entire home. This is another reason to go with a neutralized colour on the floor
so that each room's colour scheme will complement it.
Ceramic tile floors will last for many years, so it is usually safer to go with a neutral or classic
colour that enables you to easily change the colour scheme of the room in the future. You can
help to make your tile flooring safer by selecting a floor tile with a slip-resistance surface.
5.6 Walls & Colour
Walls are an extremely important part of a room. The colour or pattern you use on the walls can
easily become the dominant part of a room, because of the large amount of space covered.
Decide if you want the pattern in a room to be on the walls, the furniture, a rug, or a lavish
window treatment. Typically, two very bold patterns in one space will fight each other and will
not create a harmonious room.

When you think of colour on the walls, don't rule out all the possibilities. You can expand the
feel of a room and add architectural interest to a plain room by adding a mural to the space, such
as the tree and faux stone door moulding added to the kitchen wall below.
Flaws in the wall can be disguised (or, unfortunately, can be amplified) depending on the sheen
of the wall finish. The flatter or more matte the finish, the less the flaws in the plaster or drywall
will show. If there are quite a few bumps or ridges in your dry wall surface, you should go with a
flat or satin finish, avoiding any shine. Flat and matte paints also allow furniture and wall
decorations to become the focal points in the room.
Entrances, foyers, guest baths and corridors are transitional parts of the house, and those walls
can be bolder or darker than areas in which you spend a great deal of time. A bolder or darker
colour will also help a small space make a bigger visual impact.
If you have a dark room that doesn't receive much sunlight, paint the walls in a light colour satin
or semi-gloss paint. The reflective surface, along with a lighter colour, will reflect more light into
the room.

5.7 Ceilings & Colour
There are many ways to alter the perception of the height of a room. Ceilings have traditionally
been painted white to create an illusion of more height. However, if you do not want more
height, then consider painting the ceiling a darker colour. Always paint the ceiling before the
walls. If you paint the walls first, it is extremely hard to keep ceiling drips and splatters off of the
wall surface.
In a child's room, it is a nice
touch to paint the ceiling in a
deeper colour. This will make
the ceiling seem lower and
the room will be a more
intimate space for a child.
Consider painting a faux sky
or cloud effect on one of your
ceilings. This paint technique
is especially nice in
bathrooms and bedrooms.
If you have a low ceiling you
would like to visually lift,
paint the wall from floor to
ceiling in one colour. If there
is a chair rail or dado, use the same colour or pattern on the wall above and below the moulding
and paint the chair rail in a colour close to the wall colour. If there is large crown moulding, you
can paint or stain it the same colour as the wall which will also make the room appear to have
more height.
5.8 Window Treatments & Colour
Windows are a natural focal point in a room. Depending on your furniture arrangement, window
location or view from the window, you may want to either enhance the window as a focal point
or have it blend into the background of the room. If you have a beautiful view, use window
treatments to frame the view, without covering it up. Similar to how you would frame a work of
art.
Don't ignore the view, light or the colours in nature your home receives from windows and
skylights. These magnificent features that windows provide in a room should affect the colour
and window treatment choices you make.
If you have multiple layers on your windows consisting of sheers, draperies and top treatments,
you can downplay the proportions and significance of the window by allowing all layers to be of
the same colour. To make the window a focal point, use contrasting colours on the different
layers.

If you choose to have the window treatment blend in with the room's decor, the fabric colour
should be close to the same colour as the wall surrounding the window. This will also help to
make the room visually larger, because the wall will be an unbroken, continuous colour, even
with an elaborate window treatment.
Regardless of the colour of your drapery fabric, always use a white or ivory drapery lining. This
will assure that the windows blend with each other on the exterior of your home. Even coloured
window blinds can give your home an inconsistent appearance on the outside.
Before purchasing sheers, you should do the following to view their true colour, which may be
hidden. Roll the sheer fabric up in a ball, this will show the precise colour of the material. Ivory
sheers can have a hidden warm or a cool undertone colour that will become more obvious once
hanging.

5.9 Furniture & Colour
Don't be afraid to mix furniture styles and finishes within one room or space. Most homes that
are expensively decorated do not have matching pieces of furniture, but have unique pieces that
compliment each other. An eclectic design style may seem to some as the easiest style to pull off,
because anything goes. To others, a traditional room is the simplest, because there are rules and
guidelines to follow. Whatever your style, the following tips on using colour on furniture will
help you make decisions.
For seating, a textured or patterned upholstery is best to hide soil and can also pull together your
colour scheme. However, a solid colour or small print upholstery will make the room look larger.
Small patterns and muted colours on furniture will create a more restful environment, while bold
patterns and vivid colours will create a room full of energy.
Furniture that is upholstered in dark colours, heavy textured fabric or skirted with fabric will
look more massive and can crowd a small room. Furniture in light colours, smooth textures and
exposed legs will tend to give even a small room a light, airy appearance.
If you would love a white sofa, but have small children or pets that make it impractical, use
white accent pillows and throws on a neutral beige sofa instead.
All the wood on furniture in one room does not have to match exactly, in fact, it usually looks
more interesting to have a mix of woods and stains. Just make sure the woods undertones
complement each other. The orange undertones of oak next to the burgundy undertones of
mahogany may not blend well to your eye.
5.10 Open Floor Plans & Colour
Many homes built in the last few years are designed with open floor plans. An open floor plan
usually involves a great room or living area, that is open to the kitchen and dining room. Often,
open floor plans can create a problem in selecting a colour scheme, because one room flows into
the other. If you do have an open floor plan, you'll want to make sure that all areas flow well
aesthetically, which can be difficult. There are several things you can do to create uniformity
while allowing each room to have its own unique personality.

You don't have to use the same colour throughout, but do choose a colour scheme that you enjoy
and use it in the entire open area, changing the dominant, secondary, and accent colours to give
distinction to each space. Use paint or apply wallcovering on the walls in each area with a
different colour within the pallet. For instance, the kitchen could be a light beige, the dining
room a rich bronze and the living room a shade between the two. Just find a natural transition
point, such as a corner, to vary the colour of the walls. A long straight wall, without a natural
transition, will look awkward in two different colours or textures and is best kept one colour.
However, if there is a horizontal break (such as a chair rail) the colours and/or textures can be
different above and below the chair rail.
There are a few details that you will want to pay attention to in order to retain flow in an open
floor plan. Have all trim work painted or stained the same colour and the flooring should remain
close to the same colour if you cannot continue the same floor in all open areas. For instance, if
the living room has a light beige carpet and the dining room has a wood floor, it would look best
to have a light wood floor as opposed to a dark wood floor.
A consistency in the style and mounting height of all the window treatments in an open area is
important. You can vary the top treatment some, but overall, draperies should compliment each
other in length and style. This does not mean that they have to match exactly, just make sure they
complement each other. The same colour will look slightly differently in different areas of your
home, depending on the lighting. This adds interest to your colour scheme and helps each room
become unique. A wall painted peach in a room that receives natural daylight all day will look
different than the same peach paint will in a room on the north side of the house.
Avoid using conflicting styles or colours within an open area. If you have a country kitchen, it
will look out of place flowing into a contemporary dining room. Use colour in your accents
(pillows, rugs and artwork) to pull the different spaces together if your main colour schemes are
different. Install dimmers on your kitchen lighting to create a soft ambiance when you're not
cooking or preparing meals. This enables an open kitchen to blend in with the living area in the
evenings, particularly when you want to create an elegant mood.
If your kitchen is open to the living area, make sure that the kitchen cabinets complement the
colours and style in the adjacent rooms. If the cabinets are wood, determine if they are a warm or
cool stain and then select warm or cool colours for your schemes. If painted, make sure the
colour complements the colours in the other rooms. For instance, if you have soft ivory in your
colour scheme in the living area, you will probably not want to paint the open kitchen cabinets
bright white, or they will look out of place. It would be better to paint them a soft ivory. If the
refrigerator is visible from the living area, think about having the doors fitted with front panels to
match and blend in with the kitchen cabinets.

Lesson 6: Colour Psychology
Objectives
To understand the psychological affects created by different colours on different persons and
places.
Structure
6.1 Red
6.2 Orange
6.3 Yellow
6.4 Green
6.5 Traditionally Blue
6.6 A combination
6.7 Literally
6.8 White
6.9 Grey
A remarkable number of references to colour are expressed in our language using slang,
metaphors and colloquial expression. Some of them, such as feeling blue, seeing red, or green
with envy, associate colours with specific human emotions. Others, such as blue blood, white
cockade, and red carpet originated in the Middle Ages. And still others, among them yellow
journalism, the Red guard, Purple Heart, Black Market all have an interesting, although more
recent history.
Colour is the single most powerful decorating tool. Colour can affect your mood, make rooms
appear larger or smaller, provide continuity or jumble, and provide welcoming warmth or
alienating cold. This is a lot of pressure to put on selecting your colours!
First, colours can evoke emotions and moods. Colour conveys moods that affix themselves quite
automatically to human feeling. Some of the responses to colour are inborn, while other
responses are cultural perceptions or personal preferences. We'll review some basic colour rules,
but remember that these are only guidelines, and that your personality and cultural upbringing
can influence your perception of these colours.
6.1. Red: The colour Red has been part of the English language since about A.D. 900. It is the
primary colour at the lower or least deflected end of the visible spectrum. Its name is used for
shades ranging from very bright, bold red, to reddish yellow or reddish brown.
Found not only in the lores of ancient medicine but in the
superstitions of modern times, red has been viewed as
the vigorous colour of health. Red wool was applied to
relieve sprains in Scotland, sore throats in Ireland, and to
prevent fevers in Macedonia. The ruby, a precious
gemstone with a brilliant red colour, was worn in China
to promote long life. The colour red has also been a
representation of love within a relationship between two
people. A red rose, given to the bearer's lover or mate
has always been known as a symbol of love. As well as

the ever-popular red heart on Valentine‟s Day. Red is a stimulating warm colour, defined by
heat and fire in nature. Red exudes passion, desire, royalty and sexuality. Want to spice up your
bedroom? Paint a wall red! Red can add drama to a room by creating a hot focal point, perfect
when used sparingly in bedrooms, kitchens, and vibrant living spaces. However, if you want a
room to provide peace and comfort, the drama of the red colours can upset the balance.
6.2 Orange: Orange is the only colour of the spectrum whose name was taken from an object,
the well known and popular fruit called the orange. The fruit come from an evergreen tree, Citrus
aurantius, and the word "orange", comes from the Old French
orenge. Since about 1300 it has used as part of the English
language. Because the tree is evergreen and ever bearing, the
colour orange became associated with fruitfulness.
On the visible spectrum this reddish-yellow colour lies
between, red and yellow the two colours that when blended
together are the creators of the colour orange. In folklore the
colour orange stands for fire and flames, lust, vigour,
excitement, adventure and wholesomeness. Orange is an
active colour denoting motion and unrest. Used in softer shades it can be used as an accent
colour to create a cool trendy décor, think of pumpkin, terra cotta, and peach.
6.3 Yellow: The bright golden colour yellow lies between green and orange on the visible
spectrum and is, along with red and blue, one of the primary colours. Since about A.D. 900 the
colour yellow has been integrated into the English language, stemming from closely related
words in the Latin and various Germanic languages. In heraldry, where it is called or (for gold)
the colour yellow stands for the positive
virtues of faith, constancy, wisdom, and
glory. It also has been thought of as
being a colour that represents
playfulness, light, creativity, warmth
and an easy going attitude about life.
The colour yellow also has many
negative associations as well. Among
them are jealousy, treachery, cowardice,
aging, and illness.
Yellow is the colour of the sun, stimulating and comforting all at the same time. Yellow, and
related tints such as cream, brown and beige, represents a good base colour, balancing feelings of
activity with tranquility. However, we have seen this colour at times overused, with various
shades of beige and yellow room after room. In homes with this colour scheme, the mood can be
shallow, unless dramatic artwork and furniture, or more substantive shades such as red or blue
accent walls are added to liven up the monotone appearance.
6.4 Green: Green is the colour of freshness and renewal, and has been in Western culture
since the earliest of times. The word "green" comes from the Old English gréne, in turn from
grêne in Old Frisian and various related Germanic languages. Reappearing in springtime, after
the dull, seemingly colourless winter, it became a symbol of fertility and growth, of abundance
and external life. The colour green represents harmony, nature and radiates a feeling of fullness.
When thoughts of nature come to mind, green, being the colour of grass, trees and plants, 99% of
the time is the dominant colour of one's mental images.

On the visible spectrum green lies sandwiched in between
blue and yellow. Green is the colour of the forest and
meadows, and as such, provides natural, restful comfort.
Green acts as a great colour for blissful bedrooms, family
and living rooms, providing a place of peace, rest and
relaxation. Green is perfect for balancing the power and
heat of red, particularly with yellow-greens like sage,
celadon, or avocado. It can also be used to transition the
depth of true blues by creating turquoise or aqua.
6.4 Blue: Traditionally blue is the colour of constancy
and faith, the colour painters used for the Virgin Mary's
robe, the colour of the heavens and the oceans. The
soothing colour blue stands for sensitivity, peace, loyalty
and ones desire to nurture.
The word "blue", from Middle English blew and Old
English Blaw, has been used since about 1300 to describe a
colour of the spectrum. In the symbolism of heraldry blue
is called azure and signifies piety and sincerity. Around the
twentieth century it became a symbolic representation of
the male gender. Pink being the colour representative of
the female gender. Young children are usually dressed
using these two colours to distinguish the "boys" from the
"girls".
Blue is the colour of the ocean and the sky, generating
moods of coolness and rest. The colour is associated with
sensitivity and thoughtfulness. Many corporate logos use blue to denote feelings of depth and
stability. Blue can be used as an accent to relax the heat of red, orange, or yellow colour
schemes. Used in dark shades with abundance however, the colour can cause a room to look
small, and produce melancholy in your guests.
6.6 Purple:A combination of red and blue, purple is a colour that has been associated with
royalty since ancient Roman times.
The colour purple is symbolic of power, leadership, respect and
wealth and has been worn by emperors, military commanders, and
other high ranking officials. The word "purple" comes from the
Greek porphura, a species of shellfish that yielded, through an
elaborate process, the dye called Tyrian Purple. Very expensive to
produce, it was reserved for special cloth and garments, such as
those of kings. Violet - the colour of flowers, violet has
traditionally been used for celebrations, ceremony and royalty. It
is the coolest of colours in the spectrum. Violets and purples can
add a twist of the unexpected to a neutral room. However, violet is
difficult to work with to create the correct blend and mood, so if
you are wanting to add violet colour and accents, consult with
friends or even a professional to be sure the effect is as intended.

6.7 Black: Literally, black means absorbing all light, without reflecting any of its rays.
Yet long before the physics of light was understood, the word black was in common use. In Old
English it was blaec, closely related to its equivalents in Old High German (blah, blach) and Old
Norse (blakkr). In many languages and cultures, black was associated with evil (and white with
good). Both in art and in religion black signified
despair, sin and mourning. Its use in mourning is
very old, it probably comes from the ancient Semitic
custom of blackening the face with dirt or ashes to
make it unrecognisable to the malignant dead, as
well as a mark of grief and submission. The tradition
of today's funeral is the wearing of black garments
to mourn the loss of a family member, relative, or
close friend. Despite the colour's many negative associations, in heraldry black, called sable, also
stands for virtues of constancy, prudence and wisdom. Black - black is actually not a colour, but
the absence of colour. When light hits a black object, none of the light is reflected back, it is
absorbed. Black is a very modern and stylish colour creating a dark, mysterious mood. However,
for those mysterious amongst us we should remember that black absorbs light, and when used in
abundance such as on a large sofa or a wall covering, it will make a room appear smaller and
require significantly more lighting. It is for this reason that we suggest using black sparingly, for
accent furniture and accessories.
6.8 White is, literally speaking the absence of all colour. Or rather, it is the "colour" produced
by reflecting almost all kinds of light found in the visible spectrum.
This is why white clothing is considered cooler
than other colours on a hot summer day; since it
reflects back sunlight (and heat) rather than
absorbing it; as black does. The word white comes
from the Old English hwít, which in turn is related
to very similar words in old Germanic languages.
Symbolically white has long represented purity,
goodness, light and innocence. In heraldry white is
also called argent. This word comes from the Latin
argentum, for silver. The colour white projects
feelings of calmness, relaxation and an inner peace
with ones surroundings and inner soul. White is a combination of all colours. When light hits a
white object, as opposed to black which absorbs all of the light, the white object reflects all of
the light. White is the colour purity, peace and joy. White rooms appear larger, requiring less
artificial light to create a bright airy feeling. White however can be difficult to maintain in its
clean pristine state.
6.9 Grey is a non-colour, a combination of black and white. Grey is
the colour of rain clouds, creating a sombre mood.
Grey is a shade that needs to be used carefully, although it will not
make a room appear dark, too much grey within a room will have a
dull, monotonous feel. Grey is easy to use as an accent, such as on a
wall, combined with colourful more dramatic art and window
treatments.

Summary:
Colour schemes are based on colour wheel. Study of these colour schemes will help in making
the best use of colours. The basic colour schemes are monochromatic, analogous,
complementary, split complementary, double complementary, triadic, and accented neutral as
they relate to the colour wheel.
Revision Points
a) Neutral colour schemes are easy to live with. They are used as background colours.
b) Complementary Colour Schemes are those that are built around two colours that are on
the opposite sides of the colour wheel. Examples: burgundy and forest green yellow and
purple.
c) Triad Colour Schemes - This scheme is applied when a room's colours are based on three
colours on the colour wheel that are located at equal distances from each other. Example:
red, yellow and blue.
d) Analogous Colour Schemes - This colour scheme uses two or three adjacent hues on the
colour wheel. Example: terra cotta, orange and gold.
e) Monochromatic Colour Schemes -This is when only one colour family is used in a
scheme. Diverse tints and shades of one colour can be used throughout the room.
Examples: white, ivory and beige pale pink, rose and burgundy.
f) There are warm and cool colours, which affect the temperature of the room. Warm
colours typically have a yellow or orange undertone to them and cool colours typically
have a blue undertone. Example: Blue red (cool red) and Orange red (warm red).
g) Matte (non shiny) surfaces look darker because they do not reflect as much light, while
shiny, high gloss surfaces appear lighter.
h) Colours have their own language. They speak for themselves. So we should always select
the colours very carefully keeping the factors like flooring, ceiling, furniture and
furnishings. They all should blend with each other.
i) Colour is the single most powerful decorating tool. Colour can affect your mood, make
rooms appear larger or smaller, provide continuity or jumble, and provide welcoming
warmth or alienating cold. This is a lot of pressure to put on selecting your colours!
j) Some of the responses to colour are inborn, while other responses are cultural perceptions
or personal preferences. Different psychological effects are produced by different colours
Red is a stimulating warm colour, defined by heat and fire in nature. Red exudes passion,
desire, royalty and sexuality.
k) Orange is the only colour of the spectrum whose name was taken from an object, the well
known and popular fruit called the orange. Orange is an active colour denoting motion
and unrest.
l) Green is the colour of freshness and renewal. The colour green represents harmony,
nature and radiates a feeling of fullness.
m) A combination of red and blue, purple is a colour that has been associated with royalty
since ancient Roman times. The colour purple is symbolic of power, leadership, respect
and wealth and has been worn by emperors, military commanders, and other high ranking
officials.

n) Blue is the colour of constancy and faith. Blue stands for sensitivity, peace, loyalty and
ones desire to nurture.
o) Literally, black means absorbing all light, without reflecting any of its rays. Black is a
very modern and stylish colour creating a dark, mysterious mood.
p) White is, literally speaking the absence of all colour.The colour white projects feelings of
calmness, relaxation and an inner peace with ones surroundings and inner soul. White is a
combination of all colours.
Assignments and learning activities
a) Students will understand the importance of colour and its many uses in interior
design.Using design plates, students will experiment with changing the hue, value, or
intensity of colour.
b) Paint the colours on the colour wheel beginning with primary colours and then mixing
two of those to create the secondary combining a primary and a secondary colour to
create intermediate colours.
c) Students will identify the basic colour schemes: monochromatic, analogous,
complementary, split complementary, double complementary, triadic, and accented
neutral as they relate to the colour wheel.
Terminal Exercise
a) What is colour psychology? Describe in detail the psychological effects of the following
colours”
i. Red
ii. Green
iii. Blue
iv. Yellow
v. Purple
b) Draw and colour compositions using the following colour schemes:
c) Monochromatic colour scheme
d) Analogous colour scheme
e) Contrast colour scheme
f) Split-complimentary colour scheme
Intext Exercise
a) Explain in detail any five kinds of colour schemes based on the colour wheel.
b) How can colour schemes help an Interior Designer in creating „optical illusions‟ in a
room? Explain by giving examples.
c) What kind of colour schemes would you provide in the following areas:
i. Children room
ii. Library
iii. Office
iv. Bedroom of a teenaged boy
v. Kitchen
vi. Dining room
d) What factors would you keep in mind while designing an interior space and what colour
facts would you keep in mind related to to any given space?

Lesson 7: Pattern Tones and Textures
Objective:
To explore texture and its application to interior design.
To study types of textures and their psychological impact.
To know about shapes and patterns derived from natural forms.
To study pattern & texture derived in relation to colour.
Structure:
7.1 Pattern tones
7.2 Textures
Introduction:
Texture like colour is an important tool in the hands of an interior designer. Texture gives us a
sensation of touch. Surfaces with texture bring visual interest to a room keeping the overall
visual harmony. However texture, like colour should not be overdone. A delicate balance of
smooth and rough should be sued each one enhancing the other.
Pattern is the combination of motifs like shape, lines, colours, textures and relief used to form a
composition. It can be effectively used in interiors to add rich visual interest.
7.1 Pattern tones
Shapes:- Shape is the characteristic that gives individual identity to form, Physical shape is
determined by the outward boundaries of an object. The boundaries are outlines or outer contour.
Shape is primarily concerned with external features without shape, space is formless.
Natural forms and shapes:- Characterized by Softness and irregularity manmade geometric
shapes are with some exceptions, usually distinguished by hardness, and appear regular and
rectangular.
Shape and forms has meaning or significance, that it is the shape which tells us something. A
circular shape in a geometric equation only tells us that the shape is the problem e.g. All living
rooms have similarities in form, but not all have the same shapes. Shape is specific identity.
Form which is the generic idea of the arrangement of parts that differentiates one object or
identity from the other. Form indicates the whole idea both the internal structure and the
external parts integrated into the whole. Natural forms are animals, vegetables including human
forms.
Form or shape – These may be seen in the overall arrangement of a building or in its parts where
these have recognizable geometric shapes. Repetitions or variations of particular form can
provide a very strong element of composition. While shapes may contribute to proportion or
direction, they do provide a separate characteristic arising from the way in which we are able to
recognize distinctive forms.

For instance, the pitch of a roof will provide a certain form which we will recognize quite easily
and relate to other roofs which have a similar pitch. When a roof is of a distinctly different shape
it will appear strongly dissimilar repetitions of gables or oriels may be seen as a series of
matching shapes, even related shapes of different sizes.
Architecturally forms/shapes may be line, surface, or volumes but they must always passes the
dimension of times which signifies movement of life. A design element that is very important,
especially when related to environmental design. Form in design represents the aspect of volume
and three dimensions length, width and depth.
Static or Dynamic Shape. As you
evaluate shapes you will discover that
they, like lines, have expressive
characteristics. Static shapes are
those that appear to be at rest or
without movement, while dynamic
shapes have characteristics suggesting
instability or motion. Evaluate the
shapes in the preceding examples and
analyze the characteristics the shapes
in the preceding examples and
analyze the characteristics that
produce the image. Notice that the
amount of expression in the shape is
directly related to the amount of
expression in line.
Often shape which is created from
line which is actually created or
suggested without the actual physical
appearance of an edge or outline.
For example, a row of trees may
imply a line or boundary, point in
close proximity may communicate, a
line, or contrasts between values may
create an edge or line.
Another example for Static or
Dynamic:
7.2 Texture
Another important design element to
understand utilize is “texture”.
Texture usually suggests a tactile
sensation that accompanies a surface.
For example, sandpaper a rough or
coarse texture when compared to the
smooth or fine texture of polished
marble. Comparison of the textural characteristics of objects are a fundamental part of
understanding and applying texture to design. The same sandpaper, for instance, may be
described as having a fine texture when compared to the coarseness of a cobblestone road.

In the environment there are numerous examples of textures and textural relationships. The size
and shapes of the foliage on plants may describe various textures and tactile sensations.
Value & Texture:-
On the facing page are four techniques for giving value and texture to a surface: all tour are non
directional except for lines used only in parallel. When lines are used only in parallel, the
direction of those lines should reinforce the direction of the plane for which they are providing a
value (i.e. vertical lines for
vertical planes/horizontal
lines for horizontal planes).
Between white and black
exists a whole range of
greys. None of the
following four illustrations
shows a smooth transition
from white to black. In all
of them, however, at a
point between white and
black the individual lines,
scribbles, or dots lose their singular identity (not their identity as technique) and merge to form a
field of grey. At this point there is sufficient contrast with a white field so that a line is not
necessary to define the edge of the grey field. This should be remembered in the rendition of
shades and shadows to avoid giving too much weight to the edge of a shade or shadow and
allowing it to compete with the more important edge of a plane.

Shapes:-
By examining some of your work in the line exercise you will undoubtedly begin to see line take
on characteristics of shapes and environment.
Natural:-
Many shapes in natural environment are not square
or rounded, however, but irregular or organic. As
the design process develops, you should also
analyze the design elements of these shapes in
relationship to the overall design. In developing
your understanding of the environment, it is often
helpful to describe physical objects as positive
shapes, and the area about the object as negative
shapes.
An enclosure of trees may imply a shape, or a
succession of lines may create shape or they may be
defined by the contrasts of shapes. Another
approach to defining shape is to divide a basic shape
into component shapes. The technique is similar to
drawing implied shapes, in that often there are cues
as to how the division might occur. Other
calculations or may simply be an experimental
approach.
By examining some work from the lines
undoubtedly begin to see line take on characteristic
of shape and form. As you continue to develop a
sense for the three dimensional environment, it is
necessary that one should understand the two dimensional qualities that create it. Lines in
environment help you to understand the environment, evaluate and consider.
Natural shapes.

Lesson 8: Texture & Pattern
Objective:
Patterns derived from natural forms.
Patterns and textures in relation to colour
Types of textures and their psychological impact.
Structure:
8.1 Texture
8.2 Type of Texture and their Psychological Impact
Introduction:
Texture refers to surface, means surface. Everything that has a surface has texture. Pattern is
recognizable motif regularly repeated produces a pattern. Pattern requires repetition in design
as in life (a pattern of behaviour). The more regular the repetition, the stronger the pattern.
Compare this field of flowers with a checkerboard. Both have a repeating motif.
8.1 Texture:-
Materials are rarely usable in interiors in a completely natural state. When processed to make
them appropriate for use, their inherent properties are altered and may become hidden or
enhanced.
a) Straw: The stems or stalks of grains such as oals, wheat rye, and some
grasses are dried, cut to size, and woven into straw. The type of straw
and the type of weave together create material of distinct character.
Fine straw may take on a fabric-like quality when woven, but still retain
its natural identity.
b) Marble.: A quarried stone, marble is a material for building, for interior
architectural components, and for parts of furniture. The less veined
marbles have a capacity for structural use. Those with more patterning
are more decorative, and are prized for that reason. Colours deepen
when polished to a high, glass like sheen.
c) Rock.: The grainy surface of cut rock has an uneven, textural richness.
Though never used for bearing construction, fine grained rock has an
ancient tradition of use as roof tile, flooring and furniture tops.
Protective finishes darken and deepen its colour tones.
d) Fiber: cotton, silk, flax, animal hair and manmade fibers are woven into
fabrics. These are suitable for exterior or interior use, as well as in
industry. The qualities of woven fibers are so distinct that they remain
identifiable even when dimmed by inappropriate designs.

e) Metal; Reflective metals may have surfaces of a low sheen or be polished
to a brilliant, slick shine. Patterns can be added to give a layer of imposed
texture. Metal is characterized by hardness, coldness, and, in some forms,
strength.
f) Wood: Dressed wood can have a finish that is lustrous, satiny, glossy, or
dull in texture. The graining is a pattern-like texture that ranges from fine
to bold, depending on density. New wood has a freshness and vibrancy.
It ages with dignity and refinement.
8.2 Type of Textures & their Psychological Impact:

Summary:
Both texture and pattern help to define shape and space .Except for colour nothing adds so much
interest to a room as pattern and texture. Everything has texture-smooth surfaces lack the three-
dimensional interest of rougher surfaces. Some textures spell enjoyment to us and we are drawn
to touch them; other indicate by their look that we dislike them and would like to avoid contact
with them.
Pattern also contributes to the textured look of the materials. The presence of a design or pattern
adds variety and excitement to any surface. Like colour and texture pattern can play tricks on our
eyes and can be used to disguise architectural effects.
Revision Points:
Form and Shape
Value and texture
Psychological aspects of texture and pattern
Assignment:
Students to make a collage of samples of visual and tactile textures. .Discuss the mood
created by using these textures.
Students to collect and create a collage of two or more patterns. Explain the results of the
mood created.
Key Words:
Texture
Static shape
Pattern
In Text Questions:
1. What is Shape? Discuss with examples.
Terminal Exercises:
2. Explain different types of textures with the help of examples.
3. Sketch Textures of Timber, Wood, Stone, Brick, Carpet, Rugs.
Suggested Reading:
1. Rendering with Pen & Ink - Robert W. Gill.
2. Drawing: A creative process - Francis D.K. Ching
3. Interior Design: Illustrated - Francis D.K. Ching

Unit – III
Lesson 9: Surface Development of Solid Forms

Lesson 9: Surface Development of Solid Forms
Objective:
Surface development of solid forms.
Simple drafting of objects - orthographic, oblique, axonometric and Isometric projections
Structure:
9.1 Development of the Cylinder
9.2 To develop any right pyramid
9.3 To develop a tera Hedron WABC
9.4 To develop an octahedron
9.5 Simple Drafting of Objects
Introduction:
9.6 Problem
Surface development deals with the laying out of the surface i.e. opening up of the surface of a
solid in one plane such that the shape of the entire surface is attained as a single figure. It helps
us to understand the solid forms much better and also enables model making.
A development is a “lying out” of the surface of a figure or solid in one plane, in such a manner
that the shape of the entire surface is obtained as a single figure.
For example, a CUBE has six squares for its surface; therefore the development of a cube will
consist of six squares lying in one plane. Care is required, however, in the arrangement of the six
squares in the development, as many six-square arrangements will not be true developments of
the cube; e.g. Figs 208 and 209 cube if they were folded along the sides of the squares, On the
other hand, Figs 210 and 211 are all true developments of a cube, as each could be folded or bent
in such a manner as to form a cube.

Blow Fig shows a cube and its development in pictorial projection.
9.1 Development of the Cylinder

The development of a cylinder consists of a rectangle, in length equal to the circumference of
cylinder, and in breadth equal to length of cylinder. ( Blow Fig.)
9.2 To develop any right pyramid

Take a pentagonal pyramid ABCDEV. Draw plan an elevation.
Centre V, radius VE, vabat E to e3, and project e3 to e. With
centre radius V‟e, describe are ee. Step off distances around this
are equal to AE. Complete as shown (Fig. 215).

9.3 To develop a tetra Hedron VABC. (Fig. 216)
The development of a tetrahedron is an equilateral triangle
whose length of side is equal to twice the length of an edge of
the tetrahedron. In fig. (216). V1V2 = 2AB
9.4 To Develop an octahedron

The development consists of eight equilateral triangles arranged as shown in Fig. 217. In a
development of this nature where it is difficult to visualize the assembled development, it is
advisable to cut out the development in paper, and experiment until the correct solution is
reached.

Surface Developments

9.5 Simple Drafting of objects
1. Orthographic Projections
2. Oblique Projections
a. Axono Metric Projections Metric Projections
b. Isometric Projections
1. ORTHOGRAPHIC PROJECTIONS
Orthographic projections is the method of drawing three dimensional objects in 2-dimensional
form by means of related views called PLANS, ELEVATIONS and SECTIONS. This simply
means a paralled or perpendicular projection. Most building, furniture and fittings designs are
prepared in this way.
The Development of an orthographic projection of a simple solid object.
2. METRIC PROJECTIONS
Metric projections are methods of drawing
buildings or objects so as to give a three-
dimensional appearance yet in such a way as
to allow length, breadth and height to be
measured. They are set up from orthographic
projections and can be drawn to any scale
required. The most used projections are :
ISOMETRIC, AXONOMETRIC AND
OBLIQUE.
ISO METRIC PROJECTIONS are
particularly suitable for mechanical assembly
drawings, complicated machine parts and cut
away views of objects because it gives a
realistic effect. The drawing is made with a
T-square and a 30O set square. The base
lines of the
object are
drawn at
30O to the
horizontal
Length,
breadth and height are drawn to actual scale in forming the
three dimensional view of the object.
Axonometric projection has the advantage of containing a
true plan of the object and is therefore more easily set up from
existing drawings. It is particularly suitable for showing
diagrammatic interiors of buildings. Axonometric projections
can be made at any angle to the horizontal, but for
convenience they are usually drawn at either 450/450 or 300 /
600 (Figure 2b shows an axonometric projection of a simple object using both 450/450 and 300 /
600 angles).
OBLIQUE PROJECTION, as in isometric projection, the plan is distorted. There are two
variations of the method: (1) the oblique lines are drawn at 450 to the horizontal, and distances
along them are measured at half scale of that used for the horizontal and vertical lines; (2) the
oblique lines are drown at 300 to the horizontal, and distances along them are measured at the
same scale as that used for the horizontal and vertical lines.
The use of metric projections is limited and is usually not acceptable, for various reasons, to an
architect or designer, or to his client whose main interest is in the actual appearance of the
completed building or object.
Isometric drawing:
1. Problem. Draw on isometric of the object shown in the multiview drawings.
2. Problem; Draw on isometric of the pier and footing from the views given.

How to construct a circle in a cube:
Method -1
Method -2

Intext Questions
2. Draw the projections of a straight line AB 55mm long when end A is 15mm behind VP
and 12mm below H.P and V.P respectively at angles of 450 and 300 respectively..
3. Draw projections of a hexagon of side 25mm when its base is included with H.P at an
angle of 300.
4. Draw development diagram of a cylinder of 50 mm and height of 80mm.
5. Draw the projections of a square pyramid when its base side is included at an angle of
300 with the ground it is base side is 25mm horizontally from the centre. Draw the
sectional view of the pyramid.
6. A cube, 25cm edge is placed centrally on the top of another square block, of 40m edge
and 15mm thick. Draw the isometric drawing of the 2 solids.
7. Draw the isometric drawing of the frustum of a right regular hexagonal pyramid, side of
Base hexagon is 20 mm, side of top hexagon is 10mm of height of the frunsdtum is 40
mm.
8. A right circular zone of 30mm base and height 36mm rests centrally on top of a square
block of 48m side and 22mm thick draw the isometetric projection of two solids.
9. A right regular hexagonal prism, edge of base 20mm and height 50mm, has a circular
hole of diameter 20mm drilled centrally through it, along its axis. Draw its isometric
projection.
10. A cube of 30mm edge is placed centrally on top of a cylindrical block of diameter 52mm
and 20mm height. Draw the isometric drawing of the solids.

Unit – IV
Lesson 10: Sectioning of solids, in different planes

Lesson 10: Sections of Solids, in Different Planes
Structure:
10.1 Cutting plan
10.2 Offset Sections
10.3 Half Sections
10.4 Broken out Sections
10.5 Revolved Sections
10.6 Removed Sections
Introduction:
The external features of the object are represented by selecting a limited number of the views
previously discussed. It would be very confusing for many objects to be shown with the
interiors of the object dashed on the projected views. These interiors may be best shown by
drawing one or more views of the object by making an imaginary cut through the object by to
reveal the interior.
10.1 CUTTING PLANE

Basically, this is accomplished by cutting through the object and viewing it. Seeing the figure of
concrete piece sliced through with part of the conceit removed, showing the interior. The view of
the interior of the object is referred to as a SECTION.
The section should be taken through the object at a point that
will best show the required information. The line along
which we cut through the object is referred as the CUTTING
PLANE. This cutting plane is drawn on the view of the
object to present where the section is being taken from.
Cutting planes are most commonly represented by a heavy
line with dashes and some type of arrow at the end. The
arrow represents the direction of view in which the section
was taken by the draftsman. Effect, the draftsman cuts the
object, along the cutting plane (SECTION LINE), picks up
the portion that the arrows point to, looks at it, and draws the
section. This is the view that we see in the completed section drawing.
The cutting plane may be taken at any direction through the object, placing it wherever it will
best show the derived information. For some objects, the location of the cutting plane on the
object is obvious, and in such cases it may not be necessary to show the location of the cutting
plane on the related views you should keep in mind that what is obvious to you may not be as
obvious to the person who may need to use information contained in the drawing.

To avoid confusion, wherever there is more than one section on a drawing, they should be
identified by a number or letter placed near the arrows on the section line and as part of the
section title under the section drawing (Fig. C) Drawings of buildings that require multiple sheets
of drawings with section views on different sheets from the related drawings need an
identification system for cross reference.
10.2 Offset Sections
Often it is desirable to show several features that a
straight-line cutting plane would miss. The cutting plane
may be placed in any manner that will best show the
features. It may be bent or OFFSET in any direction
designed. Except when drawing building floor plans, the
location of the cutting plane shorces the related views.
Two method of showing offset cutting planes on the views
are shown in Fig D.
As drawn, the section must clearly
show the solid portion of the object
cut and must also show the features
of the object, which are located
beyond the cutting plane and are seen
in elevation. The portion cut through
is differentiated from the portion
shown in elevation by use of
crosshatching, lines, or symbols (Fig.
D) to represent the material being cut
through.
Hidden lines are usually not shown
on the section drawings because they
tend to confuse the person reading
the drawing. However, there will be
lines, particularly in construction
drawing, when hidden lines are
actually necessary for completeness
and clarity of the section. The use of
a hidden line may even make it
possible to leave out a view.

10.3 Half - Sections
A HALF-SECTION shows one half of the interior of the object and
the exterior of the other half by placing the cutting plane only to the
centre of the object for symmertical objects this provides the
advantage of reducing the number of views required and elemintes the
drawing of a full section for a symmetrical object. The exact details on
each side of the center are of little value.
Typically, the hidden lines are omitted from both halves of the
drawing unless they are necessary in the unsectioned portion for
dimensioning. Note that a centerline or visible line is used to divide
the unsectioned half from the sectioned half of the drawing.
10.4 Broken out sections
The necessary interior shapes and features may by known by
breaking out a small portion of the elevation (Fig. F) and exposing
the interior shapes. This type of section is referred to as BROKEN
OUT. The limits of the sectioned area are shown with irregular break
lines or a combination of break lines and centreline.
This type of section offer flexibility, allowing drafting to show all
important exterior shapes and features while using the same view to Fig. F. Broken-out
show interior shapes and features. Hidden lines are submitted from section
the section portion of the drawing but are commonly included in the elevation portion.
10.5 Revolved Sections
A revolved section shows the sectional shape of elongated objects, such as wood mouldings,
steel members, and burs on the elevation. The elevation is drawn in the standard method, but
when the section is drawn in the standard method, but when the section is taken through any
portion of the object, the object is revolved at 90O to the centerline or axis of the object and
drawn on the elevation (Fig. G). Remove any elevation lines that impose, or go through, the
section. The visible lines of the object that are immediately surrounding the revolved section
may be taken out or broken out when desired are used when only the exterior profile of the
material is required, such as wood trim for
cornices, doors, and
Fireplaces The profile of the material is drawn
directly on the elevation and may be
emphasized by the placing of short cross-
hatched section lines places on the inside of the
profile line. Fig. g. Revolved sections.
Revolved sections show the information required without the need for additional views. The
sections are drawn in a place where they are easily identified with the object with little carfusion
for the person using the drawings.

10.6 Removed Sections
Sections of an object removed from their normal projected positions,
or not revolved on a view but placed in other positions are referred to
as REMOVED SECTIONS. The cutting (Section line) shows where
the section was taken and the identification numbers are used to
related the various actions to the other views of the object.
The removed section is used extensively in architectural and
construction drawing. It offers the advantages of enlarging the
section, allowing it to have more detail and be more easily
dimensioned and noted. Sections of buildings often have to be placed
on a sheet of separate from where the section line is shown. Fig. H; Partial
Revolved Section

Unit - V
Lesson 11: Terminology of perspective drafting and drawing

Lesson 12: Steps in drawing a perspective of cuboids
Lesson 13: Basic Technique, Texture
Lesson 14: Tones

Lesson 11: Terminology of Perspective Drafting
and Drawing
Structure:
11.1 Cone of Vision
11.2 Picture Plane
11.3 Height Line
11.4 Ground Line
11.5 Eye Level or Horizon Line
11.6 Vanishing Points (VP)
11.7 Bird‟s Eye View
11.8 Worm‟s Eye View
11.1 Cone of Vision

The cone of vision is required to obtain the limits of the drawing. The field of vision is known to
be more than 180O, but it is not possible to see clearly over this whole range. The normal
maximum range written which it is possible to see clearly and easily is accepted as being less
than 900 and is seldom shown as more than 600 for the purpose of perspective drawing it is
usually invited to 60o or less. This means that any object or part of an object which we would not
normally see clearly because of its lying outside this cone of vision will be distorted if we try to
draw it.
When deciding on the position from
which to view the building or object
it is necessary to fit the whole or the
part which it is intended include in
the drawing - inside the CONE OF
VISION. This fact governs the
distance from which one should
view the object. The centre line of
this cone is know as the CENTRE
LINE OF VISION OR THE
DIRECT LINE OF VISION. This
line is represented in plan by a
vertical line and in elevation by a horizontal line. This means that the direct line of vision is
parallel to the ground plane. The apex of the cone of vision is known as STATION POINT, the
SPECTATOR POINT or the VIEWING POINT. The position of the STATION POINT (S.P.)
should always be considered in relation to the nature of the subject. A large building or a and
scape would normally be expected to occupy the entire range of cone of vision where as a piece
of furniture or small equipment, would not fill the field of vision unless viewed at very close
range. The S.P. shows therefore picture is obtained.

When the position of the S.P. is chosen too near a
small object it tends to five a dramatic appearance
in the perspective projection. When a position is
choosen for near a large object it results in part of
the object using distorted as shown in Fig „a‟.
Correcting this is simply a matter of moving
further back, but this changes the view of the
object (See fig „b‟) The station point is usually
accepted as being at normal eye-level, which is for
perspective purposes, 5 feet above the ground this
however can be varied to suit the particular
requirements of the object or the draughtsman,
providing the object still falls within the core of
vision.
11.2 Picture Plane
The picture plane is an imaginary plane

on which the perspective is supposed to
be drawn. The figure above shows a
theoretical drawing of an object being
projected on to the picture plane. To
relate this to perspective projection it
should be realized that this plane is
shown as a lin in plan and is always at
right angles to the direct line of vision.
Usually, in end elevation, the picture
plane is also shown as a line at right
angles to the front plane.
As shown in the diagram., the location of the picture, controls the ultimate size of the picture
plane where it will be seen that the door to the observer the picture plane is placed the smaller
the perspective drawing will be.
However, it is only the size of the drawing which is affected the view of the object remaining
constant. The draughtsman should thoroughly understand this point as it is through this fast that
he can control the drawing size from the beginning and should be able to fit a perspective to any
time required without difficulty. The position in the sheet of paper where it is intended to draw
the perspective is the picture plan.

11.3 Height Line
The height line is the
line in the perspective
projection, used for all
vertical heights, which
are measured using the
same scale as the plan
from which the
projection is being
made. The location of
this line is found by
projecting a line as the
continuation of one to
this lines it is were to
small position in which
this can be done with
the least effort. This
line represents the
height of the observer‟s
eye and all heights are
measured in relation to
this line.
11.4 Ground Line
The ground line in perspective
projection is the line of the ground
in relation to the eye - level. Under
normal circumstances, as already
mentioned, this is considered to be
5ft. below the EYE LEVEL or
HORIZON LINE. The ground line
is located in the perspective
projection by measuring down the
height line from the distance of
5feet. This point, when joined to the
vanishing point and projected
through to the drawing, forms the
general ground line of the object in
perspective. It should be
remembered that all height
measurements of the object should
be measured from the ground line
up.

11.5 Eye - Level or Horizon Line
The eye- level, which coincides with the horizon line in the perspective projection, is a
horizontal line drawn at a convenient point above or below the plan of the picture plane.
The location of this line on the paper is entirely
at the discretion of the draughtsman and the
main consideration is the space and equipment
available to him. As all lines projected on plan
have to be projected vertically of the plan of the
object back or forwards to next the picture plane
from this point where the two lines intersect a
vertical line is drawn to cross the eye-level or
horizon line. The height line is usually
considered more accurate if placed on the side
of the plan which has the longer distance to the
vanishing point
11.6 Vanishing Points (V.P.)
Vanishing points are points located on the
picture plane and the horizon line to
which the lines of the perspective
projection of the object will converge. All
lines on plan in one direction will
converge in the perspective to the
vanishing point in the same direction. The
number of varnishing points in a
perspective projection varies from one to
two in a „TWO-POINT PERSPECTIVE‟
of a simple rectangular object, or more for
a complicated object. The vanishing
points are found by drawing lines from
the station point parallel to the sides of the
simple rectangular object to meet the
picture plane in plan. The point where
they meet is the vanishing point. The
angle between the two lines from the
station point must always be a right angle.
Where angle of the object are not right
angles it is necessary to select one side
only and set up a line parallel to is side;
the other line can then be at right angles to this line. The same should be done for the second
side, giving a pair of vanishing points for the second idea. This sounds rather complicated, but
if it is done in the correct sequence it is much easier than it sounds. The best way to learn to
make perspectives, however, is to study the essential principles from the examples shown, and
then practice their application.
Another method of projection, which is more suitable for interior views or for buildings seen in a
straight elevation view, is known as ONE-POINT OR PARALLEL OR INTERIOR perspective.

11.7 Bird’s Eye View
It is the view of the object from above. The horizon line is placed above from the object.
One Point Perspective

11.8 Worm’s Eye View
It is a view of the object from the GROUND LINE or below.
Example:

Intext Questions
1. A rectangular block, 32mm x 22mm x 16mm is lying on ground on one of its largest
faces. One of its vertical edges is in picture plane and the longer face containing that edge
is inclined at an angle of 300 to the picture plane. The station point is 52mm in front of
the picture plane. The station point is 32mm above the ground plane passing through the
centre of the block. Draw the perspective view of the block.
2. A square is resting on ground plane on one of its corners and is some distance V.P. Its
plane is perpendicular to H.P and inclined at 300 to the V.P. and the sides containing the
corner are equally inclined to the H.P. Determine the line of height for points lying in its
top view and then draw its perspective view from the given position of the station point.

Lesson 12: Steps in Drawing a Perspective of a
Cuboid
Structure:
12.1 The object touching the picture plane
12.2 The object from the picture plane
12.3 The object cutting through the picture plane
12.4 Laying out a One Point Perspective
12.5 Perspectives of circles ad cylinders
Introduction:
Linear Perspective describes the apparent diminishing of scale as the distance from object to
viewer increases. Atmospheric perspective attempts to duplicate the visual effect of near objects
being crisp and clear while distant objects may be less distinct and muted.
12.1 The object touching the picture plane.
12.2 The object from the picture plane

Steps in drawing a perspective:
Plan through the picture plane (continued).

12.3 THE OBJECT CUTTING THROUGH TH PICTURE PLANE
Find the height of the corner on the right by drawing a line from the correct height on the true
height line to the right vanishing point (VPR). Since the right corner is the same height as the
corner on the true height line, the top and bottom of the front corner are projected to the VPR.
Where these lines intersect the right corner line establishes the top and bottom of that corner.
Next project the heights from the true height line to the VPL and establish the height limits of the
left corner.

Step 1: Move the plan closer to the picture
plane and the perspective is larger.
GURE 28-4e Steps in drawing a prespective
: Plan through the picture plane.
Step 2: Bring down all major
features.
Step 3: Locate true height.

Complete the object.
The two back sides of the building are completed by vanishing the right corner toward the VPl
and the left corner toward the VPR. Where the projection lines intersect will be the fourth corner.
Now, from the station point locate this fourth corner on the picture plane and drop it down
vertically. If the perspective has been accurately drawn to this point it should pass through the
point of intersection of the corners already drawn. This comer may not be visible in the finished
drawing for the left vanishing point.
It it finally time to begin on the actual drawing of the perspective. The first portion of the
building to be located is the corners. This is done by drawing a straight line from the station
point to the corners; these lines are referred to as right lines; from the point where this right line
crosses the picture plane, a vertical line is dropped down and should be extended through the
ground line. At this point these are construction lines (light).
The corner of the building that touches the picture plane is brought vertically down. This corner
will be the true height line and will be used to find the height of the other. corners.
The height of the corner is projected horizontally from the side elevation placed on the ground
line. That height is projected horizontally to the true height line and the top and bottom limits of
the corner are known.
But it should be noted that many height along any wall connected to the outside wall may be
located by locating it on the true height line and vanishing it around the building.

Now the roof shape needs to be added. The first thing that is needed is a new true height line. In
this case the ridge of the roof should be located so that a true height line for it will be established.
Extend the ridge line until it touches the picture plane and then drop it vertically. This will
provide a true height line for the ridge. the height of the ridge is projected to the true height line
ridge is projected to the true height line from the elevation. Next, that height is projected from
the true height line to the vanishing point, in this case the VPL, sice its ridge goes in that
direction.
The extent, or length, or the roof along the line is determined by projecting from the station point
to the edges and dropping verticals down from where the sight lines intersect the picture plane.
Where these vertical lines pass through the vanishing ridge lines that are drawn established the
limits of the ridge. Next, locate the from the limits of the roof over hang. The height of the
overhang may be determined by dropping a horizontal line down from the intersection of the
overhang and the picture plane. New bottom of the care to the tone height, establishing the
heights at that point. Vanish the top and bottom of the leave to the VPR and VPL as shown in the
figure.
The length of the eave along the eave along the vanished line is determined by projecting from
the station point to the front & back angle of the fascia. Verticals are dropped down from the
point where the sight lines intersect the picture plane. Where these vertical lines pass through the
varishing eave lines already drown establishes the limits of the eane.
This perspective will be completed when the other left corner of the building is located and then
it is connected to the ridge. The edge of the left corner is found by sighting on it from the station
point and dropping the vertical line from the picture plane. The height of the corner is obtained
by vanishing the front edge of the fascia already drawn in to the VPL. Since they are the same
height, this will give the fascia already drawn in to the VPL. Since they are the same height, this
will give the fascia height on the left. New, in order to complete the perspective, connect the
fascia and ridge.
12.4 Laying out a one-point perspective
1. Prints or drawings must be obtained of the floor plan and elevation views of the area the
perspective is to show.
2. Draw the picture plane in on the plan. It may be located at any point in relation to the
plan, but remember that this is one of the variables. Placed much in front of the plan and
the perspective might be too small; put in back of the plan, it may be too large.
3. Next, locate the station point. This is another of the variables. If located toward the left,
that portion will be emphasized. Put close to the plan, the perspective is large, farther
away, it is smaller.
4. The vanishing point is located in line with the station point at the desired distance above
the ground line. No horizon line is required.
5. As with the two-point perspective, any point or feature that touches the picture plane will
be true size and ture heights may be measued from it.
6. Also, the points on the plan are located by projecting from the station point through the
picture plane to the feature, and vertical lines are dropped vertically to the ground line.

7. Heights are projected over from the side elevation to the true length line and then
varished to the proper heights. The heights are carried along the walls, floor, and ceilings
to where they are needed.
8. Let‟s go through the procedure for laying out the perspective step-by-step. Project a
vertical line down for the true height line to the ground line and project the verticall
height of the room over from the side elevation to locate the top and bottom of the wall at
the true height line.
9. The floor and ceiling lines have been vanished from the true height line to the vanishing
point.
10. Next, locate the back corner of the wall by projecting a straight line through the picture
plane to the back corner and dropping a vertical line from the inter section of the straight
line area the picture plane. Where trais line intersects the vanishing floor and ceiling
lines, it locates the back corner.
11. To locate the other back corner, project the straight line from station point to corner and
drop a vertical from the picture plane. New draw the ceiling and floor lines horizontally
across from the back corner just complete, and the other corner is found. Note that the
rear - wall height does not vanish but goes parallel.
The other side wall of the room is then found by vanishing the back corner heights of the room.
Vanish true height.

Another example‟s of One-Point perspective (continued).

How to take projections from plan:
Let's draw a box using one-point perspective.
First, draw a horizon line about one-third down
your page. Mark a spot roughly in the middle of
the line. That's your vanishing point.
Now, draw a rectangle about two-thirds down
the page, roughly in the middle. Lightly draw
lines from the top two corners to the vanishing
point.
Draw a horizontal line between these two
orthogonals ('vanishing lines'). This is the back
of the box. Darken the lines between this
horizontal and the box, and erase the rest of the
vanishing lines up to the horizon. There! A 3-D
box.
If you draw a box to the side of the vanishing point, you will need to also draw a vanishing line
from the bottom corner, as show in the example. When you draw the horizontal to make the back
of the box, just drop a vertical line from where it meets the top orthogonal down to the bottom
one, to give you the rear edge of the box.
12.5 PERSPECTIVES OF CIRCLES AD CYLINDERS

To draw a perspective of a circle it is necessary to construct a square around the circle.
Using the method previously described for 2-point perspective, it is possible to set up the square
containing the circle as required.
At this point it is necessary to draw lines AC, FH, BD etc. on the plan.
Project up to the picture plane in the usual way and locate these lines on the perspective.
From point S project up to the picture plane through the point of intersection of the circle on line
AC and locate this point in the perspective.
Each of the other intersection points can be found in the same way. When all of the required
points have been located it is possible to draw in free hand the outline of the circle in
perspective.
When required to draw a larger or more accurate perspective of a circle it is necessary to use
larger number of diagonals. These are obtained in the same way as previously described and
from th example shown, in which only light points are used to obtain the outline, it cn be seen
that the more points which are located the more accurate the perspective.
Using the same method it is possible to set up perspectives of cylinders. The bases is as before -
a circle in plan projected to obtain a perspective view . Then, by measuring up the height line the
required height, it is possible to locate the top plane of the cylinder.
The shape of the circle in perspective can now be outlined by the method previously describe or
by projecting up from the base.

Lesson 13: Basic Technique, Texture
Structure:
13.1 types of textures.
Introduction
Texture consists of semiabstract graphic symbols that signify the surface or material of the
drawn object. The tonal effect of texture also helps to enhance the sensation of depth in two-
dimensional representation.
There are two basic types of textures: LINES and DOTS (Screens). The meaning upon the
interpretation of size, over all density, line orientation, spacing and overall tonal effect.
Line texture can be divided into parallel and non parallel (better known as “squiggles: or
scribbles”) patterns. Parallel lines (including cross - hatching) are often used to express vertical
or horizontal planes that have a smooth surface. The spacing between the lines and the line width
should be kept consistent throughout a rendered plane. It is an abstract expression, and the artist
should not be too concerned with the literal meaning of the material. Non parallel lines are a
bundle of loose threads. The line width and the spacing are often varied in order to achieve a
desired density and tonal effect. These lines are ideal symbols to depict vegetation and for
undulating surfaces.
Textures drawn with a fine - point marker
Texture drawn with a pointed - NIB Marker

13.1 Types of texture:

Example’s by using textures:

Lesson 14: Tones
Structure:
14.1 Basic technique: Tone
14.2 Gray Markers
14.3 Perceptual Interpretation
14.4 Techniques of Perspective Rendering
14.5 Colour Perspective Drawing
14.6 Human Figures, trees and vehicles, as spot back grounding
14.1 Basic Technique: Tone

Tonal value can be achieved either through textural density or varying line widths.
Textural density or varying line widths. It is used in most sketches, to increase the feeling of
depth and to bring out the three-dimensional quality of the various components. Generally
speaking , the sun side should be brighter (less diuse) than the shaded side. The shadow pattern is
after rendured in black, gray, or dense, thick lines. Tonal contrast is important in reading depth,
so a substantial white area should be preplanned and reserved in order to achieve this special
effect.

14.2 Gray Markers
A grey marker is ideal for the creation of
tone however, the result is often
unpredictable and the effects are
inconsistent. The warm - gray and cool-gray
ranges are excellent tone media. There is
not much perceivable difference between
two consecutive grays for better and sharper
differentiation,, try skipping at least one
shade. Warm gray is better for blending
with other colors. Cool - Gray has a metallic
appearance and tends to stand out
Some perspective views are:

14. 3. PERCEPTUAL INTERPRETATIONS
According to Erwin Pan of sky (Studies in Iconology, Humanistic thernes in the Art of the
Renaissance I con Editions 1972), there are two major ways of interpreting perceptual experience
in terns of either formal or factual meaning.
Formal perception is a conglomerate of certain patterns of colour, line, and volume that
constitutes an image. It captures the silhouette of the image and carries no specific meaning or
message. This experience takes place during the first instant of an entire perceptual sequence. It
is followed immediately by factual perception, during which the viewer begins to understand the
experience. Factual perception involves identifying of certain visible objects known from
pervious experience, as well as relationships between these objects and ones within the image.
MASS, LINE, SHAPE and TONE, MASS, refers to the figure/ground relationship. It separates
the object (Mass) from the space (ground). It categorically groups objects that share similar
features without differentiating materials, details and intervening spatial edges. (Fig b). Line
concerns the predominant orientations of the major structures (Fig c.) shape expresses the
character of each object within the picture frame (Fig d.), while tone identifies the logical light
source and creates the sensation of depth (Fig e.)

Artists of similar experience using comparable matenals and-from the same- viewpoint, it may
be noticed that subtle distinctions in personality emerge limited, however, to certain differences
in drawing techniques. Therefore, if you wish to express your own personality in the drawing
and that you may be able to do is to change the drawing medium, concentrate on detailing, or
select another viewpoint. As for the viewpoint, if you try to indicate, as much as possible, the
interior space and its elements in a giving.
Drawing, there are not so many different view points that may be chosen. Thus, eventually, the
first and the second alternatives are left. But, materials used for rendering are not so variable,
therefore the most effective way of individualizing your drawing is, after all the expression of
spot back grounding.
Now, I will explain this process by following step by step the production of an actual example.
(1) Either Watson or Canson white paper on illustration board should be prepared. Both papers
have a rough surface that absorbs water colour and can be uniformly and vividly rendered in that
medium. The draft perspective should be begun according to your favorite manner of perspective
drawing. Care should be taken during the drafting process to draw lightly in pencil (H.B or F)
and not to erased often, for these surfaces are unexpectedly soft. Too much use of the eraser will
damage the surface and result in blurred inking and colouring. If you are obliged to erase many
times during the layout, it would be very advisable to change paper and begin over again.

You should also be careful to avoid dirt on the triangle or T-scale. The layout should be faithful
to the architect‟s working drawings taking into account the central position of human figures or
goods to be fully incorporated later as spot back grounding.
(2) When the pencil layout has been accomplished, inking follows. Only the linear
elements are to be laid in, so T-scale, triangle, drawing pen (different brand names according to
the maker) or felt-tip pen are required. The ink should be waterproof, for gently and without
force as this is not so easy, it is recommended that you practice first on another paper, quickly.
It is better to begin first with human figures or goods on display, as the work should proceed
smoothly, if you ink foreground toward the vanishing point. Then do the background, such as
walls, ceiling and show cases, shelves and the like. For curbed lines, a flexible template is
available.
I would like now to mention the
technique of drawing spot details -
human figures and goods. These
techniques should naturally be
practiced apart from the perspective-
drawing exercises. Daily practice in
making drawings or sketches is
desirable. Exercises using styling text
books are also helpful, but in any case,
free sketching is indispensable. The
work shown here, in which styling
drawing features are incorporated, has
something of illustration like quality.
You need to bear in mind how goods
are displayed in a shop. Therefore, it
is necessary, in addition to drawing
exercises, to obtain of the practical design and planning of shops. In this sense, the interior
designer possesses
14.4 Techniques of Perspective Rendering
There are two sets of conditions regarding
production of perspective renderings for shop
design. On the one hand to the shop designer
or the architect himself produces both the
design and the drawing, and on the other: the
design and the rendering are executed
separately by different parties. Here the latter
case will be dealt with. In both cases, what is
important is that the intention regarding the
design and its execution should be properly
expressed of the drawing.
First, comes the discussion with the architect.
Here, you have to ask him or her what is the
most important point being sought in the
design of the shop, so that the designer‟s
polity and objectives are clearly understood.

This is quite important as regards of the perspective rendering, since in many cases the
designer will expect that matter that may be hard to describe in words to be effectively expressed
in the work of the perspective renderer.
Next, you should have a thorough knowledge of the type of articles to be displayed in a
particular shop. This is indispensable for the graphic expression of any shop design, it is,
therefore, desirable to acquire the habit of collecting data concerning size, form, colour and the
type of merchandise to be displayed. Although there are some where the good need not
necessarily be drawn, these articles should generally be shown in as much detail as possible, for
almost all architects or shop designers base their scheme upon knowledge of the situation in
which these goods are displayed and eventually sold. But in case these items of goods pose an
obstacle in the way of depicting design elements thereby detracting from the impression of the
shop space itself, I believe that the drawing should be executed first and foremost in: the interest
architectural qualities.
Next, especially in the case of interior perspectives, it should be noted that the role of spot
backgrounding has too often been underrated. By means of spot back grounding, whether it is
human figures or physical objects, the surroundings of the shop, the category of objects, the
surroundings of the shop, the category of clientele and standard of the goods may be tacitly
expressed. This also is the medium whereby a perspective renderer may best express his
personality, character and style. When the same design is rendered by several a natural advantage
as a perspective renderer.
Colouring Process 2
Returning to the theme, after finishing your line drawing in felt - tip pen, pencil lines should be
rubbed out. In this case, you will want to use an eraser of as fine quality as possible, and be
careful not to erase over the same spot. This is, as stated before, in order not to damage the
surface of the drawing paper. With all pencil thoroughly rubbed out, the draft is finished.
(3)From here on, takes place the colouring stage. First, transparent watercolors are to be readied.
These are sold as paste (in a tube) or in cake or powder form (in a container), either of which
may be selected according to your favorite working technique. Taking into account time and
convenience, however, the cake or powder type is generally easier to handle. Moreover, this type
seems to yield a more luminous finish. The works shown here have all been painted using cake-
type water colours. As for white, „poster-colour‟ or gouaches‟, which have high opacity, should
be chosen, for white is usually not applied except for the correction of exceeded lines. Used for
its own sake, white is limited to application for highlighting parts of figures or indicating spot
lighting, added to the drawing at the very end.
As for brushes, flat-tip „Gothic‟ type (No. I to No. 6) are suitable. These differ from flat
brushes generally sold for rendering in that the brush head is longer and stiffer. They are
usually used for lettering. Round tip brushes are not for general use, but one or two of them
(No. 4) are helpful. Among the above-mentioned flat-tip brushes, you will need two or three
each of No. 1 and No. 4.
In addition, a grooved scale and a glass stick, three to four palettes and multi-hollow dishes are
needed. The more dishes, the greater the convenience. Concerning the grooved scale, 40cm
seems to be most the useful length. Then you moisten the brush with water, and begin colouring.
First, begin colouring broad areas, such as floor, ceiling or walls. You should be careful not to
exceed the outlines of the areas to be coloured. Especially where complementary colours meet,
chance mixture of colours should be carefully avoided, since with transparent watercolour,
neither colour will appear stronger nor consequently the mixture looks very dirty. This should be
kept in mind until the very end. Broad areas, such as floor and ceiling, should be coloured
quickly using a wide brush and colours diluted with as much water as possible. If you apply the
brush too slowly, it will result in uneven colouring, because paper like „Watson‟ absorbs water
rapidly.
When you apply colours to the grain of a wood ceiling, the same colour in a darker tone should
he apply using a fine brush or a flat loose-tip brush? The colours for the floor should not be
mixed beforehand, but rather several different tones be applied separately to give an overall
pleasing tone as a whole. As for toning a floor covering, such as carpet, the succeeding colour
should be applied before the formerly applied colour dries completely.
(4) What is important, when you try to express furniture, lighting or glass, is that if you use
vermilion or orange, brushes must be thoroughly rinsed to avoid an accidental mixture of
colours. In the case of transparent watercolour, such mixing should be avoided at all cost.
Shades of colour are differentiated only by lhe amount of water absorbed. If it is impossible to
obtain the desired colour in this way, at most two colours should then be applied. Broad areas
like walls are expressed not by the appliciltion of gouache, hut by leaving the original while
drawing surface. And for lighting, the light itself need not be painted, instead leave this part
uncoloured or apply a water-diluted yellow. As for transparent glass, cerulean blue, mixed with a
little sepia highly diluted, should be employed. In order to differentiate the tone of a brightly lit
area, double application of the same colour should be made. This method is valid for windows
facing the exterior, for instance. When you paint glass walls of show-cases, water-diluted
colour should be applied as well to the floor, boxes and goods then through the glass.
Shaded parts of furniture, shelves, boxes and the like, should be painted more thickly with the
same colour. High-lighting on the boxes or tables should also be treated by double application, or
thickening, of the original colour. Up to this phase little concrete expression appears, but as

goods on the shelves and the human figures are painted in, the type of commercial premises will
become apparent.
(5) Before colouring goods are category of clientele and the standard of goods in the shop should
be taken into account. For these goods and spots on any given drawing. Therefore, first, you
Colouring Process 3
should begin with lighter colours like yellow, dispersing the spots on the board. If you use
related colours successively, such as yellow to orange, you may be able to save trouble in rinsing
brushes and consequently save working time. For showing goods, it is advisable to use primary
colours. Even if the actual colour of goods, especially those of dark coloration, is faithfully
employed, it would certainly be difficult to make for visual recognition of the goods themselves
in the limited space of a drawing. Except for those of distinct form in the foreground, the colour
of goods should be vivid, as you will find through experimenting yourself. However, simple
repetition of primary colours is relatively ineffective. You should apply colour in regard to the
colour balance of the whole drawing. Human figures should be painted not aimlessly, hut
instead taking into consideration both the appealing mood of the perspective drawing itself and
the situation of the shop. Because above everything else, the most important role of these human
figures is to suggest contemporary manners and fashions and allow the chief to visualize the
relation between the customer and goods in the shop. And at the same time, because this is the
domain where the perspective rendereer should be able to display his ability freely and in a
somewhat personal way. Colouring for these human figures should follow the manner described
above for goods and furnishings. It is, however, necessary to a certain extent to make these
figures characteristic by taking into account, for example, the softness of materials and so forth.
(6) This is the last phase of execution. In this finishing phase the author‟s personality appears
most distinctly. First, about twelve colour-markers should be readied for detailed accents on
items, such as goods, which must be expressive. For instance, such treatment is applied to
stripes, flower patterns and the like, and also to the expression of wood grain or carpet texture.
Finally, each of these areas must be shaded. The shadows on a green carpet should be
emphasized with the same colour more thickly applied. For the shadows under tables and chairs
cerulean blue and sepia should be added to the carpet colour. These shadows must be coloured as
evenly as possible. the same method is also applicable to those shadows cast by hanging
devices on walls or on the tops of shelves. It should be noted that as lighting is set in tile ceiling,
these shadows cannot be produced in reality. On the perspective rendering, however, these have
been added, ignoring this fact, in order to give heightened volumetric effect. Similarly, the plant
drawn in the foreground will not actually be in this position, but it has been added in the
drawing for purely cornpositional reasons. The trick of completing the perspective rendering .is
not to colour the ceiling or floor areas as far as the edge of the drawing surface.
14.5 Colour Perspective Drawing
Execution plans shall be begun, when the basic shop design is fixed, and when the budget is set,
after detailed discussions with the client on the basis of the preliminary plans. the perspective
drawing, which is based upon these execution plans, is not merely a rough image of complete
design but should represent very faithfully the shop, which is to be built according to the
working drawings. Therefore, high technique of perspective and visually interpreted colour
rendering technique are by all means required. The perspective drawing, which is over or
understated using only fragmentary knowledge and techniques, appears often ugly and
unbalanced. Its principle, a visually correct composition should be made for taking into acount
the balance between the drawing paper and the perspective drawing to be laid-out. As for
colouration, too fresh primary colours should be avoided, and it is essential to find out the natural
colours of objects which receive the man-made lightings or the natural sunshine. However, it
would be the first steop of technical progress to try to find out unique colour effects using a
variety of colours, not limiting oneself to water nor oil, and avoiding a muddy mixture.

14.6 Human Figures, Trees and Vehicles, As Spot Back grounding
Spot backgrounding plays an important role in the perspective rendering of shops. Although it is
a supporting role in contrast with the shop itself as the main role, it‟s use is not mastered
effectively, the whole shop designing would appear spoiled in the drawing.
As the spot backgrounding could constitute a beautifuly contrast to the shop‟s physical
environment (size an height), especially in the case of highly fashionable types of business, the
contemporary fashion in style and design of people and vehicle should always be kept in mind.
Finished Perspective Drawing (Interior)

Finished Perspective Drawing (Exterior)
The importance of perspective drawing for shop design has not only in being a medium, by
which the designer shows the visual effects of his architectural and decorative design, but also in
playing an indispensable role as a media, by which he can reach the client. Actually, the virtual
creation of a whole shop building requires a set of technical execution plans, but in order to
transmit to the client the shop‟s space composition and the designer‟s objectives and concept,
which could not be sufficiently expressed by these technical drawings only, the effect of
perspective drawing is very high and helpful. The designer‟s approach to the client, by means of
perspective drawing, seems to be dependent on the technique which gives to the latter a variety
of impression accordingly. Therefore, in the process to procure the design contract with the
client, the presentations should be done by way of the most effective technique. For it, the
designer should make constant efforts to elaborate and master ever higher perspective
techniques.
Perspective Drawing by Croquis and Rough Sketch
First, the designer carries forward the discussion with the client on the basis of preliminary plans
(floor plans, perspective drawings, interior elevations, equipment plans and rough written
estimates). At this stage, the perspective drawing to be presented could be a simple croquis as
shown in Fig. A.
This perspective drawing shows the designer‟s motif of glass using triangles as the basic form
pattern. The reason why it is not coloured is that the drawing should be used as a basis of the
discussion, in which the client‟s demands and conditions for the shop design are to be brought
out, and changes and modifications are to be added successively. It represents an example of
shop exterior design.

Cafes:

Tea Houses

Bar sittings and views:

Supplementary Material / Reference Books
1. Thames and Hudson Manuals
2. Graphic Thinking for Architects and Designers
3. Universal Design Handbook
4. Graphic Communication (W J Bowman)
5. The Big Book of Design Ideas – David Carter
6. Drawing: A Creative Process – Francis D K Ching
7. Engineering Drawing by N.D. Bhatt
8. Rendering in Pen and Ink by Robert W.Gill
9. Interior Design: Illustrated by Frances D.K. Ching

353-5 Fundamentals of Interior Graphics

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Fundamentals of Interior Graphic

Student‟s Reference Material FIG/SRM/1

Unit – III ................................................................................................................................ 57

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Lesson 1: Knowledge of Instruments

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(a) You will need the following materials:

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`For a larger area, complete the gradation in small sections.

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You can see that it creates a smoother texture than that

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Object which is facing the light from right-up side:

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2.1 Free hand drawing on paper.

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Number of forms can be created by using curved and straight lines

Positive & Negative shape

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brush-script lettering style:

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A triangle and its development in pictorial projection.

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5.1.2 Complementary Colour

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5.1.4 Analogous Colour Schemes - This

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5.2 A "Little" Technical Background on Colour Schemes

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