Module 1

MSF50218 - Diploma of Interior Design
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CATION ALL RIGHTS RESERVED
INDEX
PAGE
GETTING STARTED 4
WELCOME TO IDI! 4
MODULES 5
VIDEOS 6
OVERALL UNITS 7
UNITS COVERED 9
COURSE CONTRIBUTORS 10
HOW TO USE OUR COURSE 12
WHAT DO I NEED? 15
SOFTWARE AND DEVICES 15
MATERIALS 16
WHAT IS INTERIOR DESIGN? 19
QUOTES WE LOVE // BY DESIGNERS WE LOVE 25
PHILOSOPHY OF INTERIOR DESIGN 27
THE VISUAL LANGUAGE OF DESIGN 30
UNDERSTANDING DESIGN THEORY 35
THE DESIGN PROCESS 39
ELEMENTS OF INTERIOR DESIGN 49
SPACE 50
LINE 52
SHAPE 55
COLOUR 59
TEXTURE 61
LIGHT 62
PATTERN 64
PRINCIPLES OF DESIGN 66
BALANCE 66
VISUAL LANGUAGE OF INTERIOR DESIGN

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VERSION 2:3 - OCT 2022 – COPYRIGHT © ONLINE EDUCATION ALL RIGHTS RESERVED
RHYTHM 71
EMPHASIS 74
PROPORTION AND SCALE 76
HARMONY 78
ASSIGNMENT ONE 79
QUIZ 84
STEPS ON SUBMITTING 85
STAY CONNECTED 86

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GETTING
STARTED

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“
WELCOME TO IDI!
We are so excited to welcome you as a new student at

The Interior Design Institute (IDI)!
We believe good design is impactful and everyday

experiences should be enhanced by the beauty and
mood of your surroundings.
Not everyone has time to study a 4 year, full-time

course at university. So in 2006, we created the
ultimate online course in Interior Design.
It’s catered for those who are on the move, the

go-getters who have a side hustle, the stay at home
mums (and dads) who want to learn how to renovate
their own home or prepare themselves for a
refreshing career.
We provide the technical and practical skills necessary

to translate design ideas into reality, and our
commitment to providing a quality training program
has resulted in unique teaching and student support
systems that have produced unparalleled results.
Not only is our program unique and interactive, but

it’s fun, inspiring and provides you with the skills to
start your own business.
We hope you enjoy it!

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MODULES
There are 12 modules throughout this Diploma course, and each one is designed to be read
in consecutive order. This means that you will gain access to the next module only when the
previous one has been marked by your tutor.
You can access the modules and download them (when they become available) via your
student account. If at any time you have an issue downloading the modules, simply send
the student support team a message via the “Messages” tab.

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VIDEOS
We’ve teamed up with renowned designer and TV personality Darren Palmer to create a
video MASTERSERIES just for you!
The videos offer you the additional expert knowledge to truly inspire and take your design
skills to another level and were created to accompany the 12 modules that you’re about
to read.
These videos are included at no extra cost as part of this Diploma course and can be viewed
via your student account. You will also have access to his eBook.

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OVERALL UNITS
Under the Australian Qualification Framework (AQF), which regulates education in Australia,
all students who successfully complete this course will receive a MSF50218 - Diploma of
Interior Design and graduate as a professional interior designer.
The MSF50218 - Diploma of Interior Design has a requirement of a total number 27 units
of competency. 10 core units of competency plus 17 elective units of competency. The units
of competency selected by The Interior Design Institute for this qualification can be viewed
below:
CORE UNITS
MSFID5022 - Explore and Apply Creative Design Methodology to Interior Space
BSBDES303 - Explore and Apply the Creative Design Process to 3D Forms
BSBDES502 - Establish, Negotiate and Refine a Design Brief
MSFID5020 - Design Residential Interiors
MSFID4013 - Design Residential Interior Lighting
MSFID4016 - Design Colour Schemes for Interior and Exterior Spaces
MSFID5021 - Evaluate Site Structure and Services for Interior Design Briefs
MSFID5025 - Develop Residential Interior Design Project Documentation
MSFID4014 - Produce Digital Models and Documentation for Interior Design Projects
ELECTIVE UNITS
CUADES305 - Source and Apply Information on the History and Theory of Design
MSFFDT4012 - Research Furniture Styles and Movements

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MSFID4019 - Research Interior Decoration and Design Influences
CUADES411 - Generate Design Solutions
MSFID4012 - Decorate Residential Interiors
MSFID5027 - Research and Recommend Colour Applications and Finishes
MSFID4018 - Research and Recommend Hard Materials and Finishes for Interiors
MSFID5028 - Research and Recommend Artwork
MSFID4015 - Prepare Materials and Finishes Boards for Client Presentation
MSFID4017 - Research and Recommend Furniture and Accessories
MSFID4021 - Design Soft Furnishing Solutions for Interior Spaces
MSFID4022 - Prepare Quotation and Contract Documentation for Design Projects
MSFID5018 - Provide Interior Styling Service
CUAANM313 - Create 3D Digital Models
CUADIG304 - Create Visual Design Components
CUADES413 - Develop and Extend Design Skills and Practice
CUAPPR513 - Present a Body of Own Creative Work

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UNITS COVERED
The below unit/s are covered throughout this module:
MSFID5022 - Explore and Apply Creative Design Methodology to Interior Space

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COURSE CONTRIBUTORS
We have industry experts who have contributed throughout this 12 module course. Their
professional experience, passion for interiors and infectious enthusiasm will provide you
with the most up to date design education.
VICKI MULLINS
Vicki is excited to share her wealth of knowledge, gained

from her diverse background in graphic design and interior
design with the students of The Interior Design Institute.
As a teacher of interior design with Melbourne Polytechnic,
TAFE and The Interior Design Institute, she has a broad
experience teaching and mentoring students to help them
achieve their study goals in interior design.
WENDI SNYDER
Wendi had a 25 year career in theatre, working in costume

and set design, which took her around the world where she
educated herself in architecture and interior design. During
this time, Wendi received her real estate license and worked
on many interior design projects for theatrical personalities.
Along with buying and selling property and staging homes
for sale, she established Wendi Anne Snyder Interiors. In
2009, Wendi commenced tutoring at The Interior Design
Institute and, along with Vicki Mullins, has co-authored this
course.
JASMINE ABEL
Jasmine completed her Diploma in Interior Design and

Decoration in Sydney, Australia and has since become
the Social Media Manager and Creative Director at The
Interior Design Institute. She also has a background and
passion for photography, graphic design and enjoys all
things creative. Together with Vicki and Wendi, she has
compiled the modules that you’re about to read and hopes
you feel inspired by them.

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HOW TO USE
OUR INTERIOR
DESIGN COURSE

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HOW TO USE OUR COURSE
Our modules will help you build your knowledge and enable you to design a residential
space.
The information is designed to form the foundation that will lead to your qualification as a
professional interior designer.
There are assignments at the end of each module, which will require you to participate in
the design experience. It is through participation and interaction that you will learn to feel
confident and find your creative voice.
These exercises are also designed to help you build your first professional portfolio.
Whether you are taking this course because of:
■ A long-standing interest in design
■ A desire to begin a career in the design field
■ A need to be more informed in order to work on your own home design projects
The purpose of these informative modules is to offer you support and communication with
design professionals who will help and guide you to your first level of qualification.
We also offer many informative links to online articles to open the world of interior design to
you. We encourage you to look at and experience as much as you can on your own.

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Get out and visit important buildings in your area. Stay in touch with exhibitions in art
galleries and museums. Look at display homes and property developments.
Go to bookstores and look online for design references and information. Visit the showrooms
of fabric and furniture wholesalers to familiarise yourself with the collections, and how their
system works for specifiers.
If you explain you are studying interior design, you will often be granted access even though
it is unlikely you will be permitted to purchase goods. Visit homes that are for sale and see
how they are styled.
Form opinions and look at details. Over time, you will increase your awareness of colour and
design, and become more confident about making decisions. Experience the transformation
as your thoughts and opinions evolve while you gain more knowledge and skills, and enjoy
gaining these skills as they will enable you to communicate all your untapped creativity.
As you read through the modules, the chances are that there will be some terms that
you’re unfamiliar with. As such, we have created a list of interior design terms to add to
your vocabulary. Knowing how to clearly communicate with other interior designers and
decorators will help you execute your creative vision and streamline your design process.
We have also included a copy of our student handbook for you to download as well.
DOWNLOAD GLOSSARY HERE DOWNLOAD HANDBOOK HERE

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WHAT DO I
NEED?

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WHAT DO I NEED?
SOFTWARE AND DEVICES
Our course is compatible with both PC and Mac devices, and basic computer knowledge is
required.
You will need:
■ Access to a powerful laptop or desktop computer with a dedicated graphics card
■ Microsoft Office, Open Office, Google Docs or similar software
■ Internet access
■ Printer
■ Scanner, digital camera or phone with a camera
■ SketchUp
Optional:
■ Canva
■ Photoshop
■ InDesign
Later in the course, you will need to subscribe to SketchUp, and as a student, you are
entitled to a discounted 1-year subscription. SketchUp is required for Modules 4, 10, 11 and
12, and it is recommended that you wait until Module 4 to subscribe and use the year-long
discounted subscription period for the duration of the course.

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MATERIALS
The course contains practical tasks, and we have compiled a list of materials required to
complete them. The list has been broken down into modules, to help you spread the costs
over the duration of the course.
You do not need these items just now, but it is a great idea to start gathering them when
you have some time.
Don’t stress if you cannot find these items and please ask your tutor if you need help or
have any questions.
If you want to start collecting samples and materials, we have put together a list, which you
can download here.
NOTE: There are tabs at the bottom with different countries.
MODULE 4
For Module 4, you are required to draw the floor plan by hand, then use a computer
application. You will need the following materials when drawing the plan by hand:
■ Scale ruler with 1:50, 1:20, 1:100 scale – The most common ruler size is 300mm
(30cm), but any size can be used for the assignment, as long as it has the specified
scales (1:20, 1:50, 1:100)
■ Standard ruler
■ Lead pencil or mechanical pencil 0.5mm
■ Black pen
■ Fineliner black pen 0.5mm
■ Eraser
■ A3 blank paper (or 2 x A4)
■ Graph paper with 1mm lines (10mm squares) – NOTE: This can be purchased from
quality stationery stores or alternatively, you can download and print it for free
from this link
MODULE 6
■ Artist’s colour wheel

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MODULE 10
■ Tape measure
■ Lead pencil
■ A4 blank paper
MODULE 11
In Module 11, you will make a materials board by hand to display your materials selections.
It is recommended that you wait until Module 11 to purchase the cardboard/foam board and
select a colour (available in black, white and grey) to suit your design.
■ Cardboard or foam board – A3 size and 5mm thickness (see note above about
choosing the colour)
■ PVA glue
■ Retractable knife or scissors
■ Colour pencils
■ Blank paper to draw on or a visual diary
■ Copic markers (optional). There are several sizes available, and it is recommended
that you purchase the “Ciao Dual Nib” range. There are also many colours available,
and it is recommended that you wait until you have completed the design for
assignment 11 and purchase the desired colour markers

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WHAT IS
INTERIOR
DESIGN?

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WHAT IS INTERIOR DESIGN?
Nearly everyone has experienced an interior environment that has been so balanced and
harmonious that the feeling of being in it was tangible.
You feel different in a space like this because it touches all your senses.
The sounds of moving across certain kinds of floor surfaces; the way the air smells infused
with the scent of flowers or the aroma of leather; the way the light falls on angles or
objects; how certain surfaces feel to the touch; how balanced the space looks, even if it is
a surprising combination of objects.
It can be a quiet and contemplative place full of natural light or a hot and sexy nightspot
full of people. Every interior space, regardless of its function, provides an opportunity for
creating a well-designed environment.
Just being in it is an unforgettable experience. You know it’s great because it just feels right.
Interior design is the art and craft of creating beautiful and functional environments.
The most masterful designs use materials with an understanding of both tradition and
originality. Interior design has a long and rich history. Once understood, the rules of design
can either be followed or broken with ease and awareness.

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New lifestyles, social attitudes and changes in technology and materials all create an
opportunity to experiment and evolve the way in which we live and use our interior spaces.
Interior design is about finding harmony in a space. This harmony comes from the fusion of
all the senses such as smell, touch, hearing, and in particular, sight.
Great design has an impact on all senses.
Interior design is a language, which enables us to create a home or work

environment to reflect our life and lifestyle.
Good design planning makes a space more useful in countless ways. It ensures the user can
find his/her needs met consciously or unconsciously as he/she moves through an interior
space.
A well thought out space can make you feel light-hearted or sleepy. It can encourage
contemplation or raucous fun. It can make you feel in awe or it can make you feel safe and
cocooned.
With a proper understanding of design, you can be inspired to work longer, sleep later or
feel clear-headed, calm and organised.

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As technology develops, so do expectations about the function of the place we each call
“home”. Fifty years ago, not even the wealthiest among us could begin to dream of living in
a house with:
■ A kitchen so sophisticated that one could easily entertain a large group without an
army of hired help
■ A specifically designed media room
■ A smart home office
■ A remote security system
■ A bathroom incorporating multi-function relaxation features like a spa, jet shower,

massage chair and tanning lights
The role of interior design in all applications is expanding, with constantly increasing
expectations about what one can expect from an interior environment.
Not only is the demand for expert interior design increasing for residential work, companies
and other public facilities have also recognised the influence an environment has on
productivity and morale.
The best retail shops and malls everywhere are designed to make you want to buy more
and stay longer.
New hospital facilities feature uplifting and invigorating colour combinations that stimulate
patients, staff and visitors to feel more optimistic and energetic. Non-verbal messages to
improve life and to suggest certain behaviour are part, but not all, of the language of design.
As designers, the more we learn about psychology and instinctive human response, the
more we need to know how to incorporate this thinking into our designs.
#IDIstudent @allison_ruda #IDIstudent @perriedesigns #IDIstudent @summittinyhomes

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Design is an abstract, symbolic and cross-cultural language, which can break
through cultural barriers.
An architectural example of this is the Vietnam War Memorial in Washington D.C. USA.
Another architectural example of this is the Lincoln Memorial in Washington D.C. USA.
Once you have learned the various techniques for communicating the visual language
fluently, a part of your planning is to choose which sort of message you wish to convey and
how you will go about expressing it in the space you are designing.

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Interior design has become crucial to the success of many environments.
Restaurants, hotels, shops, events, and film sets are all examples of environments where
inspired and expert interior design is often an essential aspect of the character and success
of the project.
Naturally, there are differences in the way residential, commercial and public spaces are
designed but, as the use of our homes becomes more complex and technologically advanced,
many of the same techniques can now be applied to any space.
Many images that speak volumes originated in residential design.
The configuration of doors, windows, finishes and window treatments indicates the design
style of a dwelling, and the feelings and activities the residents want to experience in their
home.
It is important to understand the array of design tools at your disposal and how to apply
them to achieve your vision.
For you to learn how so much is communicated without words, we will begin a journey to
make you aware of the basic elements inherent in residential design.

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Whether you are designing for yourself or a client, whether the space is being styled for
resale or on behalf of the end-user, even a small project requires a three-dimensional
understanding of the relationship of the varied conceptual and physical elements you must
consider when creating a beautiful, useful and memorable space for living.
When you understand how to recognise the presence of the different elements we will
discuss, your observation of the existing design will become more informed.
It will help you appreciate and begin to understand the complexity of successfully designed
spaces.
“We shape our homes and then our homes shape us.”
- Winston Churchill

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QUOTES WE LOVE // BY DESIGNERS WE LOVE
“Design is a plan for arranging elements in such a

way as best to accomplish a particular purpose.”
- Charles Eames
“When you’re building a room, you’re building

character, and character is the strength and
wisdom of a home.”
– Rose Tarlow
“Form follows function - that has been

misunderstood. Form and function should be one,
joined in a spiritual union.”
– Frank Lloyd Wright
“For a house to be successful, the objects in it

must communicate with one another, respond and
balance one another.”
- Andrée Putman
“An interior is the natural projection of the soul.”
– Coco Chanel

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PHILOSOPHY OF
INTERIOR
DESIGN

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PHILOSOPHY OF INTERIOR DESIGN
Interior design acknowledges that beauty is an essential part of daily life.
Some could argue that, in history, there was no separation between art and design until
furniture and household goods were mass-produced in the 19th century.
Until that time, art, architecture and interior decoration were all commissioned by the
wealthy and churches.
Is the Sistine Chapel ceiling art or interior design?
We know that we are fortunate to live in a time where we can make choices about our
environment and the objects we use.
In many cases, we can choose to use either mass-produced or hand-made items.
We can use mass-produced products and personalise them, such as embroidering

a bed sheet or use mass-produced items in an original way, such as installing laundry
sink in a stone outdoor entertainment area to hold drinks and ice.
Designers have also created enduringly beautiful objects that have been mass-produced
since the early 20th century.

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Buying beautiful home-ware is now a basic expectation for those who love design.
Interior design can be just as expressive and creative as fine art:
■ Interior design can be original, emotional and exciting.
■ It can follow fashion, acknowledge fashion or create fashion.
■ It is a three-dimensional way to express thoughts, feelings, dreams and memories.
■ It can last for centuries or it can last for the duration of a party.
Unlike fine art which is aesthetically pleasing, interior design is also functional; often in
many complex ways.
“Good design has to tell a story. It has to stop people, and it has to
make them wonder. Good design is a conversation.”
– Zahid Sardan

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THE VISUAL
LANGUAGE OF
DESIGN

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THE VISUAL LANGUAGE OF DESIGN
The language of design has a lot to do with nature, memory and history.
There are significant aspects of design that are linked to tradition and culture.
There are endless images, motifs and forms that we have been exposed to all our lives.
They form reference points that we all use subconsciously.
We all have the potential to speak this language fluently, although, just as in a language
based on words, some who speak the visual language is more poetic and persuasive than
others.
Some visual linguists are more conscious of the manner in which they express themselves.
With the language of sounds, some are more aware of the properties of the language.
Just as we have all experienced beauty and inspiration, we also have all seen
buildings or spaces where the beauty has been defaced by hideous alterations or
careless maintenance.
We are familiar with strips of road where all we see are power lines and commercial signs.
We know how bad a view can be when there has been no planning or thought involved.
We have all been in spaces where we couldn’t wait to leave. The colours, lighting, imagery,
sounds and smells are discordant and jarring.

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Even though we may not have been aware of the reasons, it is obvious that the language of
design has not been respected or recognised at all.
There are some uses for the language of design that are very subtle and subliminal.
Fast food restaurants are well known for finding ways to simultaneously motivate you to
want to buy their food but also move you through the system and out the door quickly.
They use large close-up pictures of food to encourage you to make your purchase.
When you find your way to a table, it is always small and fixed at a certain distance from
the chair. It is just comfortable enough for sitting to eat your burger and have your drink
but not so comfortable that you’ll want to sit there all day.
That is all part of the language. It says “Eat something fast. Have a good, upbeat 15 minutes
– see you next time.”
Remember, interior design is a physical as well as a visual experience.
Places like this use mostly red and yellow. These are the two brightest colours in the colour
wheel, which we will learn about in Module 6, and speak of having the basic needs of hunger
and stimulation met.
Colour is a major way of suggesting sensory response when speaking the visual language.
There are some responses to the visual language that are highly personal.
Using colour again, a certain shade of blue may trigger a childhood memory for one person,
involving a beautiful dress worn by their mother, and cause another person to think of the
sky over a beach they remember from a holiday.
Viewers will feel happy and slightly nostalgic when seeing this particular colour, yet it will
be for different reasons.

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Not all images are guaranteed to generate an identical response in every viewer.
It is when a combination of images and design choices add up consistently that
the message can be felt clearly in any environment.
There are many other visual images, which embody predictable, shared connotations. Some
of these things are subconscious, and yet they are very recognisable and powerful.
A small white house with a chimney, front porch, flower garden and a picket fence usually
portrays a welcoming home environment – even if you’ve never lived in a house like this.
Inside, the same homely message would be conveyed to most people if they saw a pine
kitchen dresser filled with blue and white patterned plates, an apple pie placed on a gingham
table cloth, lace curtains at the windows, and an old clock ticking on the wall.
A large building with a spire, bell and stained glass windows indicates a place of worship to
most people. Inside, the presence of pews and an altar would convey the same message.
This sort of image can be called a cultural archetype.
Its imagery can be used to elicit a certain understanding to a majority of viewers, as can
church pews and stained glass windows.

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Don’t take these images for granted.
Start to pay attention.
Start to notice how tall French doors indicate a kind of old-world elegance, while open walls
of glass with sliding wooden frames say something about a relaxed, modern and casual
mood.
Notice the difference sitting at a formal table compared with the way you sit at a breakfast
bar. Where do you prefer to dine? Where do you prefer to share a drink and a conversation?
Think about how differently you feel in one space versus another.
Start to observe the different elements and principles that may be affecting the way a total
environment looks, what it is saying to you, and the way you feel in it.
Some of these feelings may be personal preferences, and some of your feelings may be
cultural and shared by others. Pay attention and you will begin to discern which is which.
Giving your design work a consistent look and feel will give it authority and integrity.
One thing that can help you stand out is to develop your own visual language so that your
designs become easily recognisable as yours.

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UNDERSTANDING
DESIGN THEORY

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UNDERSTANDING DESIGN THEORY
We have already mentioned several times that interior design is a three-dimensional issue.
This is one of the most fundamental things you need to understand to be a good designer.
As a design student, you need to observe and analyse design details of buildings all around
you, both inside and out.
No doubt you already look through design magazines for inspiration. If not, definitely start
doing so immediately!
Read the descriptions of the photographs, and all of the written copy that describes what
each picture is portraying. Learn about new materials and products or technical terms you
haven’t heard before.
Keep a picture file of the images you find the most inspiring. Maintain a high standard
for what goes into your picture file. Make sure the image is really special and illustrates
something that adds to your understanding of what is possible in design.
But always remember that an image is a two-dimensional copy of a three-dimensional

experience.
You must actually be standing in a space to experience it completely and to know

whether or not it meets your needs while you are in it.
Design magazines and design books provide the minimum amount of input you need for
inspiration and to educate yourself about what is possible.
You must learn from what has been done before you. Start actively looking at interiors and
buildings wherever you find yourself.
■ Look up at ceilings and down at floors.
■ Look at junctions from one surface to another.
■ Look at furniture shapes, fabrics, materials, finishes and placement.
■ Look at scale and whether or not you think things could be improved.
■ Look at how things are attached to each other.
Don’t take these observations for granted. One day soon, you’ll have to draw details like this
to communicate what you want to a tradesperson.

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Everyone needs input for inspiration such as photographs of rooms but, as your knowledge
and confidence increases, your inspiration will become more personal and first hand.
Paintings, books, nature, raw materials, textile and porcelain motifs in museums are all
inspiration for design.
Don’t be afraid to form opinions of what you are observing, even if you keep them to
yourself.
When you are looking at an interior space or any form of design and don’t like something
about it, work out why that is so, and ask yourself how you would do it better. Keep a
journal, take notes and make sketches.
Conversely, when you see a pleasing design, ask yourself what makes it look so good. Learn
to analyse how design elements are used to achieve successful and harmonious interior
spaces.
Visit book stores and look through the huge numbers of design books that are available.
Remember the works of professionals you admire, and read about what inspired their work.
Go to the library and research the work of influential designers. Observe how interiors have
evolved over the years.
Find out about Thomas Chippendale, the Shaker Movement, Gustav Stickley, Eileen Gray,
Jean-Michel Frank, Sybil Colefax and David Hicks. Read up on how Frank Lloyd Wright
houses were discussed when they were first written about in House Beautiful (in the late
1950’s – early 60’s).
Visit the best quality furniture and home-ware shops, decorative fabric shops, antique shops
and art galleries, and browse through design-related websites.
Learn from the best sources. Even if your design budgets will be limited when you begin
design projects, get an inspired understanding of what is possible and what has been
achieved before you.

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Always remember, the best design solutions are original ones that suit the unique set of
circumstances a designer has been asked to address.
Guggenheim Museum in New York by Frank Lloyd Wright
When you start to develop your first designs, don’t ever copy someone else’s work and
ideas. Every commission and client is unique.
It is inevitable, even advisable, to learn from and be influenced by the work of influential
designers you encounter in your research but you will never get the best solution for your
design projects by copying.
Each design problem has its own unique set of variables.
You will become a much better designer and gain more confidence if you absorb the visual
and logical information presented by looking at the work of others, and then facing your own
design problems with an open mind.
In order to evaluate a space, you need to know about the elements and principles of design.

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THE DESIGN
PROCESS

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THE DESIGN PROCESS
Any interior design execution is basically a solution to a space problem, as expressed in a
client brief. This involves balancing form and function (or aesthetics and function) to any
interior design (ID) challenge. This balancing is fundamental to the application of interior
design and involves:
■ Solving problems that a space presents;
■ Synthesising concepts;
■ Enabling new creative insights.
“What’s it all about Alfie?” … a famous movie line may come to mind as you are exposed
to yet more new practices and ideas. But, with the application of our design process as
a discipline, it will all make sense, and you will achieve your design objectives as well as
minimising waste in time and effort and getting rid of guesswork. Our design process is a
discipline to apply to fulfil the client needs as expressed in the brief.
As we are going to deal with creativity and synthesis, we will first briefly look at how our
brains work to see how they enable our design process discipline that will never let you
down.
HOW OUR FABULOUS BRAIN WORKS AND DESIGN THINKING
Our brains have a right and left side that specialises in different ways of thinking. These two
halves make us think in two ways:

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Convergent – is reasoning, rational, logical and purposeful. It is concerned with inwardly
directed problem-solving.
Divergent – is imaginative, intuitive, unstructured and at times aimless. This mode of

thinking is more outwardly directed.
These two ways affect how you will apply any design process.
Controlling and combining these two modes of thought is one of the most important skills of
the design thinking process and will lead to problem-solving, synthesising of concepts and
enabling new creative insights.
OUR DESIGN PROCESS DISCIPLINE
The notion of any discipline is to apply logical processes or steps to achieve any objective
with minimum waste. You can also see it as a journey which starts with the first client
meeting and a brief to the final presentation of the interior design concept for execution.
No project will be the same, and each one will present its own unique problems, but with full
application of our design process, you will achieve your objective.
Some of the steps may not apply in full, but they should still be applied in the order as a
discipline.
OUR DESIGN PROCESS
STEP 1 – ANALYSIS (Convergent Thought Process)
Get to know your client and what he/she wants. The success of any interior design project
will depend not only upon your skills and creativity but your ability to fulfil the client’s brief.
A good brief will be as detailed and project-specific as possible.
It will outline the client’s requirements and aspirations (let’s call them needs), set down a
budget for works and the time scale in which the project must be realised. How do you get
there?
Research, Research, Research.
Gather sufficient information, both facts and feelings, for developing a complete view of the
client’s needs.

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You may need to help the client refine or consolidate their needs and it may be necessary
to make further enquiries about the needs of the client as some clients may have no design
experience.
■ What exists?
– Document physical context.

– Describe existing elements.
– What can/cannot change?
■ What’s desired?
– Identify client needs and preferences.

– Identify functional requirements.
– Identify aesthetic image and style.
■ What’s possible?
– What can be altered… what cannot?

– What is allowed… what is prohibited?
– Define parameters/restraints: time, economic, legal.
■ Identify the key issue(s) and determine the essence of the problem.
STEP 2 – CONCEPT (Divergent Thought Process)
Having analysed your client’s needs and identified the “problem”, you will now have extracted
a “meaning” for the client’s brief.
The next step is to develop a relevant concept.
The concept is an essential ingredient to provide direction to fulfil your client’s brief
successfully. Or, in other words, you can see it as the vehicle through which the final solution
is generated. How do you develop it further?
■ It requires forming an attitude or taking a stand.
■ It requires developing a point of view as a bridge between the problem developed

from the client needs and the solution.
■ This attitude or point of view underlies the overall strategy to solve the briefs
problem.

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At this stage, you should now be brainstorming, doing ideation and exploring ideas gathered
in the analysis and research stage. Only in doing this, in this order, does one start to
develop a concept. The concept does not just appear on its own without the necessary
brainstorming. Once you have a concept and you have created mood boards to illustrate it,
you then share the concept with the client for approval. Once it is approved, you can then
continue with the project.
CASE STUDY
Nestled in the CBD in Melbourne, Hecker Guthrie have crafted a rich, interior
atmosphere combining contemporary design and local artistry transcending
notions of a gelaterias. Informed by site, scale, and location the project is a
detuned approach to gelaterias while staying true to Piccolina’s spirit.
This was an opportunity to explore the concept of a balance between raw

but romantic and faded but fresh through a restrained palette.

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It is now time to generate as many possible alternatives to solve the problem.
This requires a divergent mode of thinking and deferring judgement until a number of
options are generated.
Think of all the things you could do within the concept strategy. How do you get there?
■ Ideation. Generate many possible alternative ways to create a concept that will
eventually develop into your design solution.
■ Search for ways to combine several good ideas into a better one.
■ You may need to assign values like importance levels to prioritise.
As you can see, step 2 involves a creative, divergent thought process and even though it is
easy to say “get creative”, you should be aware of the following elements that can help or
get in the way to getting creative.
STEP 3 – SYNTHESIS (Convergent Thought Process)
This is when you put your concept to work by further developing the design by means of
sourcing materials, furniture, accessories and then drawing up the necessary drawings -
floor plans, elevations, RCPs, 3D models, etc.
You can then develop your ideas using traditional perspective or 2D or 3D digital graphics to
successfully display your ideas in a way that the client can understand and visualise.
BLOCKS TO CREATIVITY
It is normal to hold back because of being wary of:
■ FEAR of making mistakes or being seen as a fool
■ FEAR of being criticised for failure
■ FEAR of being exposed as ignorant
■ FEAR that your ideas are no good
Of course, these fears are forever allayed by confidence built from successful experience
but, until you get a few successful projects under your belt, you have to take a stand.

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Brainstorming is the universal idea-generating method, and it has two basic requisites:
1–
Ask an idea-seeking question: “What are all the ways…” This ensures a non-restrictive,
open-minded approach.
2–
Adhere to the 4 rules below of brainstorming:
■ Defer judgement. Do not be critical or make any judgements at this stage.

Decision making comes later.
■ Stay free and loose. Allow your ideas to flow. Behave freely, that is, give yourself
permission to let your mind wander, even if it might appear uncontrolled, just
for now.
■ When the flow stops, grab onto part of a previous idea and continue.
■ Work hard and fast. Establish a time limit – perhaps 10-15mins and don’t stop.
Quantity is wanted. Use adjectives/descriptive words.

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CREATIVITY TIPS
TIP 1 – No limits
■ Try not to hold back any idea no matter how crazy it might seem.
■ It is often precisely these ideas, those that are normally discarded as “crazy” that
become unique, provocative and offer the most creative potential.
■ In actual fact, be on the lookout for ideas that are offbeat!
■ Creativity involves exploration. Give yourself permission to explore ideas.
■ There is no right or wrong. A design is only ‘right’ in as far as it fulfils the

requirements of the design brief.
■ So, do not fear being ‘wrong’.
TIP 2 – Take a break!
Get away from the problem for a while – you can gain insight by way of ‘out-sight’. Often,
it’s easier to see possibilities from outside the problem.
Many of the alternative solutions can be previously blocked from view by you being too close
and can in this way be now examined.
TIP 3 – Trust your gut feelings
Use your intuition.
TIP 4 – Welcome and enjoy risk
Inventiveness is a state of mind. A willingness to accept something else from what is normally
expected. It means to take a risk and to not fear uncharted territory.
Ask yourself what can I do that hasn’t been done before?

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STEP 4 – COMMUNICATION AND PRESENTATION FOR FINAL CLIENT APPROVAL
Communication is a two way process and to make sure you deliver what has been agreed as
to as “the brief”, get feedback from the client before proceeding with the final presentation.
This will include sample boards to help present your final design.
Now, as you may have already found out, not all clients know what they want, and you may
or need to provide some direction.
In any case, it is crucial to bring your client along, so you are both on the same page. This
will minimise wasted time and effort.
This is the Institute’s design process to create a design that meets the client’s brief. The
next stage is implementation or, the fun part, to see your design come to life. It brings its
own challenges:
■ Depending on the size of the project, it may have to be split into sub-stages as a
critical path diagram to schedule the project’s activities in the order required.
■ Budgeting and ordering.
■ Staff and supplier hiring.
Finally, an important final element of all your designs should include an evaluation process.
Your reputation as an interior designer will only be as good as your last design and learning
from past design experience, including any mistakes and bottlenecks, so that future designs
are better, is crucial to your design capability and ultimately your business reputation.

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THE ELEMENTS &
PRINCIPLES OF
INTERIOR DESIGN

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PRINT/SAVE ME!
ELEMENTS OF DESIGN
Space
Line
Shape
Colour
Texture
Light
Pattern
PRINCIPLES OF DESIGN
Balance
Rhythm
Emphasis
Proportion and Scale
Harmony

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ELEMENTS OF INTERIOR DESIGN
Creating beautiful designs are not just about inspiration or a great idea; it’s about
understanding the fundamentals of the subject.
Although it’s possible to spend years studying the nuances of design and the many varying
takes on how to be successful at it, there are a handful of basic elements and principles that
every designer should know before beginning any project.
Elements are the ‘building blocks’ of a space when you assess it, and principles are the
‘tools’ used by an interior designer, which are applied to the space as ideas are developed.
The seven design elements are:
Space Line
SHAPE COLOUR LIGHT
Texture Pattern

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SPACE
As you would normally expect, the concept of space is the area within a room. It is determined
by the boundaries of the room and provides you with the subject area you have to work
with. As such, your input to any space will bring together all the design elements. Your input
will determine how the space will feel when the design is completed. Will it be airy and light?
Will it be secure and cosy? In what setting and for what activity would it be best to achieve
a sense of grandeur versus a sense of intimacy?
An existing space must be understood before it can be manipulated. The work area requiring
your input consists of the floor, walls and ceiling. You must also consider the dimensions of
the work area when deciding what furniture and accessories will fit into the space.
Diagrammatically, space can be depicted in two dimensions (length x width) or in three

dimensions (length x width x height), which produces a “volume” work area.
POSITIVE AND NEGATIVE SPACE
Space volume can include positive and negative space. They work together to create a
visual sense of comfort and harmony, allowing the interior design of a space to meet the
client’s design brief. Positive space involves the objects like furniture, fittings, artwork, and
accessories that help meet the design goal but negative space also plays an important role.
WHAT IS NEGATIVE SPACE AND WHY DO WE NEED IT?
Negative space is the empty or open space around objects. You can think of it as the breathing
space of the room. It is the space above cabinets and bookshelves that is intentionally left
blank, the window that is intentionally left without a window treatment, the wall that is
intentionally not wallpapered, to name a few. This absence keeps things balanced, helps
us focus, rests our eyes, creates harmony, but more importantly, for design, it can provide
balance and relative proportion in a space.

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Relative proportion is how objects relate to one another or how they sit within the space
surrounding them, producing clutter or even space.
Imagine the largest wall in your living room completely empty. You decide to hang one very
large painting in the middle of it above the sofa. The negative space is represented by the
part of the wall with nothing on it, which in effect frames the painting.
Now, imagine the same wall but with 9 small framed family photographs on it instead.
The arrangement you choose will alter and ultimately dictate the use of negative space
surrounding them.
Another use of negative space for relative proportion is to subtly emphasise the positive
objects in a room. For example, a large-scale artwork is hung low and off-centre to leave
negative space for a tall and dramatic floral arrangement and for the quirky angles of the
light to shine through.

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LINE
Lines define a space and create a sense of direction and feeling of a design.
Lines can lead the eye, outline an object, divide a space and communicate a feeling or
emotion.
A line is a point that is extended or a series of points joined together. While a point is static
and directionless, a line leads the eye and expresses movement, direction and growth.
Lines can also convey various feelings and emotions: a delicate, smooth line seems serene
and soothing, while a bold, frantic line can suggest anger or energy.
The dominant line in most situations is straight (vertical, horizontal or diagonal) rather than
curved. The way you choose to emphasise the direction of lines will determine the mood
you want to create.
Vertical lines can make rooms seem taller, wide spaces seem narrower, suggest a
feeling of strength, dignity and height. They draw the eye upwards, creating a more formal
atmosphere. Additionally, vertical lines extend away from our visual plane. For these reasons,
the length of a line applied vertically is often extended, lending to the feeling of height in a
space.
EXAMPLE OF VERTICAL LINES

USED IN A SPACE

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Horizontal lines do the opposite: they widen narrow spaces, bring the eye-level down,
create a sense of intimacy and are very contemporary. Lines applied horizontally often
evoke feelings of stability, grounding, emphasis and direction. So, although horizontal lines
tend to create length and lower the ceiling in the space, they can also be applied to direct
the viewer to a particular focal point.
EXAMPLE OF HORIZONTAL
LINES USED IN A SPACE
Diagonal lines suggest a feeling of movement, direction and freedom. Too many diagonals
may create a feeling of unrest and imbalance; however, they can really bring life to a space!
They can direct the eye upwards or downwards, and add volume to a space, making it feel
larger than it is.
EXAMPLE OF DIAGONAL LINES

USED IN A SPACE

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Curved lines have a softening, graceful effect and suggest movement and rhythm. If you
are looking to make a space flow, curved lines are a great way to do it. They are also very
voluminous, taking up space within an interior. They also give a human quality to interiors;
they can be easy on the eyes and pleasing to view. A series of curved lines, such as an
arcade (a procession of arches), gives a rhythmic cadence to an interior, suggesting graceful
movement.
EXAMPLE OF CURVED LINES

USED IN A SPACE
Lines can also be combined to create shapes and planes or form.
Structural elements, applied finishes, and even lighting, can all be applied to create strong
lines within a space.

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SHAPE
As with all interior design concepts, shapes are another element to use and apply to the
development of visually pleasing and suitable interiors in accordance with the client brief.
To explore shapes, we first have to consider structures. Structures enclose rooms and
spaces that are the basis for your design application. They can present opportunities but
also limitations to what can be achieved in an interior.
Limitations include parameters you have to work with, but opportunities afford you the
ability to change the perception of any space to achieve your design goal.
Firstly, you must evaluate the structure and its attributes. Your evaluation of any structure
involves observation and questions like:
Windows: Observe and note the style of windows, the depth of the sills, window
surrounds, mullions (vertical bars between the panes of glass in a window).
Doors: The height and type of doors.
Finishes: The materials used to construct the walls. The finishing details to the floors,
skirting boards, architraves and cornice.
Ceilings: Does it have an exposed ceiling, a feature ceiling?
Point of Interest: Does it have architectural interest or is it just a box with four walls and
a ceiling?
Normally, interior design takes a structure as given, but, if structural changes such as
moving windows, doors, knocking out walls, etc. are necessary to achieve the design goal
as per the client brief, then a detailed analysis with an engineer may be required.

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Assuming no structural changes are required, your evaluation of the structure’s attributes
will start your design process to achieve the design goal with the client brief. This may
involve altering or improving the appearance of the structure’s attributes, using design
devices.
For example, using curtains hung high at the top of a wall to create the illusion of longer
windows when the actual windows are short. The application of design on space is done by
considering and using shapes.
Shapes are created by connecting lines to enclose a space within a structure. Diagrammatically,
they come in two forms:
■ Two-dimensional - shapes have height and width but no depth;
■ Three-dimensional - with mass or volume (or perceived as such) with height, width
and depth for the appearance of depth;
Furthermore, these two forms can create the following shapes:
Curvilinear shapes are made of curves and rounded forms.
Rectilinear shapes are created from straight edges and angular corners.
Geometric shapes add the discipline of mathematics for circles, squares, triangles and
rectangles with straight edges and consistent curves, making them crisp and precise.
Natural or organic shapes are found in nature, such as rose flowers, tree branches or
bamboo leaves.
Abstract or stylised shapes are natural shapes that have been altered or simplified to
reflect the essence, rather than the actual representation, of an object.

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Personal perception of shapes is limitless, but your use and application in design will develop
with more exposure and experience. This will guide your “designer’s eye” to present solutions
that can exceed the client brief.
Consider how perceived variation, historical and period factors, to name a few, you have to
consider in your shape decisions.
You can look at shape literally as in the Lincoln Monument or you can look at shapes in a
more abstract way and just decide if the straight lines or curves are aesthetically pleasing.
The shape of furniture can match or contrast with other pieces in proximity to each other.
Think about fine wrought iron furniture with thin curved legs in the same space as big
square modern sofas with solid arms and sides.
Do you prefer rooms full of coordinated furniture or do you like a solid and simple item next
to a contrasting style, which is softer, lighter and curved in appearance?
A contemporary room may only require one, two or four chairs with this shape to strongly
communicate a sense of elegance and formality.
A room with lots of simple, square, minimal furniture may need a contemporary round
coffee table for contrast.
Alternatively, the piece could be a round table from the turn of the 20th century. Both options
are the same shape but different styles.
Consistency vs Variation: When you are familiar with the history of style, decoration and
architecture, you may choose to be consistent in your reference to one period of design or
blend shapes and styles from several periods and references.
Different shapes can indicate recognisable characteristics from styles or historical periods of
furniture, architectural details, mouldings and decoration.

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Dentil cornice mouldings, which are actually reminiscent of rows of teeth, are an English
18th-century Georgian detail, and always indicate a certain tailored formality.
Versailles in France is full of furniture with S-shaped legs, considerable ornamentation and
reflective surfaces.
Cabriole legs are the S-shaped leg that nearly everyone understands to be French, even
though it is also used in other important antique styles such as Georgian.
Many square panes of glass within a window frame are seen as a contemporary arrangement,
even though the same shapes were found in medieval battlements.
I stress again how, with exposure to different shapes and with experience, you will control
how the objects in your design relate to each other, resulting in a pleasing composition that
meets or exceeds your client brief.
The golden rule still remains, regardless of the design style, shapes should be selected
because they are visually pleasing, and suited to the interior in accordance with the client
brief.
“Comfort and function are the most critical ingredients to a beautiful

room.”
– William W. Stubbs

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COLOUR
Without light, there is no colour. Colour can alter the perceived shape, size, and location of
an object.
Colour is the fun element that everyone wants to play with.
Yet, if colour is so much fun, why are so many interiors beige? There is absolutely nothing
wrong with beige, so please don’t be offended if your house is beige!
Why does everyone say they love red or blue, and then, when the painter shows up, the
walls often end up being painted in a neutral colour?
The truth of the matter is that colour is extremely complex, and fun to work with but
experimentation requires confidence.
Using colour as a three-dimensional design tool has so much impact that you really need to
know how to use it before getting to the point of pure enjoyment. It’s like learning how to
drive a car or use a computer.

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Colour can completely change the character and the feeling of a space. It can visually bring
things forward or make them recede.
Colour is also a psychological consideration and affects our mood.
In your observations, learn about the use of colour in art as well as its application in design.
As a starting point, look at paintings by Monet and Matisse. Look at as many decorative
textiles as you can.
Observe the combinations of colour that make you respond positively.
Ask yourself what each of these colours brings to mind. Collect paint fan decks, charts and
samples from different paint manufacturers. Keep them for reference and inspiration.
In Module 6, you will learn the technical and physical properties of colour, along with ways
to work with paint and colours to prevent making the wrong choices and to combine them
with confidence.
For now, it is best to evaluate how others use colour and note what you think about their
choices.
Observe how colour, pattern, repetition and balance interrelate.
The starting point for using colour successfully is to have an idea in advance of what you
are trying to achieve.
If you build your design by evaluating and planning all the elements and principles of design,
then your colour choices will flow from that and make more sense.
Your use of colour, when grounded by logic and an understanding of what colour does to a
space, will be more successful and less scary.

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TEXTURE
Texture refers to the characteristic of anything we feel or touch. It is visual as well as

sensory – we feel through seeing.
Texture in a design can be likened to an artist’s brush stroke on a painting.
The texture of all surfaces and finishes in a space can be chosen carefully to create another
dimension of the design.
Walls can be shiny or rough, floors can be hard, soft, gloss or matt, and fabric can be
smooth or textured.
The choices you make have a huge impact on the mood and implied use of the space.
Texture can tell you whether the room is urbane and sophisticated or rustic and relaxed.
On a more abstract level, the texture of a space can be construed to include acoustic
textures such as the sound of a water feature, the muffled sounds of a room with heavy
drapery, and the echoing sounds of a stone colonnade over a mosaic floor.
Sound absorbency is another consideration for a designer when choosing the textures of
floors, walls and window treatments.
Observe how textures and finishes relate to each other and what they say to you about the
level of formality or informality, style, balance, scale, pattern and design period.

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LIGHT
Light is an element that encompasses two separate aspects of design. As the designer, you
usually have both natural and artificial light to consider and manipulate.
Light is essential to any interior space, as it is the means by which we can see our surrounding
environment. The feeling of a space can be completely transformed by altering the intensity,
placement and colour of light, which makes it a very powerful tool.
When thinking about lighting, it tends to be artificial light that comes to mind. Optimising
the use of natural light, however, is also key, both in terms of practicality and in order to be
able to appreciate the beauty of the space.
When creating an interior design scheme from scratch, take both artificial and natural
lighting into consideration. Even within an existing design, there is still much that we can
do to improve matters.
NATURAL LIGHT
First, you must assess how much natural light is in a space. What is the orientation of the
walls with windows? Does the space have north, south, east or western light? Does the
space have any light at all?
The characteristics of natural light vary in an interior space as the angle of the sun changes
throughout the day. Depending on where you live, the sun rises in the east and then sets
in the west.
The angle and intensity of sunlight also varies from summer to winter.
The availability of natural light in a space is one of the starting points that guides and
constrains many fundamental design decisions.

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ARTIFICIAL LIGHT
The use of artificial light is completely unconstrained.
The quality of artificial light sources can be controlled to be as clear and bright as morning
light or as soft and warm as a sunset.
The intensity of light can also be increased or decreased by the use of a dimmer control.
It can highlight a space like a skylight or glow softly to outline an architectural feature.
Light can create the illusion of colour, texture, movement and pattern.
It is also essential for specific tasks, safety and security.
Using a painting metaphor to describe the design process:
■ Space is a designer’s canvas.
■ Light is how the designer creates highlight and shadow.
While we all understand that light is an essential component in a design, it can also be
a powerfully dramatic decorative element in any interior space. Because of its important
effect, we will go into great detail about light in Module 5.
“There is one fundamental fact about lighting: Where there is no light,

there is no beauty.”
- Billy Baldwin

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PATTERN
The history of pattern in design is rich.
Pattern is the repetition of a graphic motif on a material.
Whereas the design element ‘texture’ refers to the tactile 3D quality of a surface that can
be felt, pattern relates to a visual perception and depending on the scale of the pattern it is
often called ‘visual texture’. The role that pattern plays in a design is to add interest, create
contrast and bring together multiple elements like colour, line and shape.
If the source of the pattern is understood, it can lead to a better and quicker appreciation
of the design communication.
The most common and widely accepted example of pattern is fabric design used in garments,
and in our homes on furniture, drapes, bed linen and accessories.
If your appreciation of pattern is based on patterned decorative textiles, you already have
a useful base to build on and apply to design.

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However, patterns do not only occur on textiles. They can be created in many ways. Review
these pattern executions to get an idea of the possibilities:
■ Stones cemented into a wall, woodgrain in floorboards, brick and tiles.
■ Cut-out shapes in a metal screen.
■ Buttons on the back of a tufted sofa.
■ Pattern can also be structural and found in architectural detail like mouldings,
balustrades and ceiling beams.
■ Pictorial pattern where a theme is developed, i.e., a nautical theme in a

beach house or a car racing theme in a child’s bedroom.
■ Shadow on walls from natural light create pattern as do the luminescence from
artificial light in the evening.
As a designer, you are not obliged to design spaces with overtly patterned fabrics. However,
Module 8 is dedicated to the enormous and fascinating topic of decorative textiles and their
use in interior design.

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PRINCIPLES OF DESIGN
As discussed, elements are the ‘building blocks’ of a space when you assess it, and
principles are the ‘tools’ used by an interior designer, which are applied to the space as
ideas are developed.
The five design principles are:
Balance
RHYTHM EMPHASIS
Proportion & Scale
Harmony

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BALANCE
Balance is the idea that when you walk into a room and everything has its place. It is
achieved when careful consideration is given to the placement of objects within a space. It
gives a feeling of stability and a sense of equilibrium.
When a design composition has balance, it just feels right.
There is a sense of aesthetic appeal that the design would otherwise lack.
For designers to achieve balance in design, they need to arrange positive and negative
elements so that they do not compete with each other.
Everything should just complement one another and come together to form a cohesive final
result. In other words, the individual parts will contribute to make up the sum, but they do
not try to become the sum all on their own.
When there is no balance in a design, there can be a lot of friction. The elements then start
to dominate the design individually and also compete for attention. As a result, the final
composition becomes less than the sum of its parts. Now, as an exception to the rule, there
may be some designs that intentionally do not have balance. This may be because of the
particular message that needs to be conveyed. In general, though, most people prefer a
well-balanced design.

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Balance can be:
SYMMETRICAL BALANCE
This is the most common type of balance that you will see in a design. The visual weight here
will be distributed equally in all of the design. If you draw a line vertically or horizontally,
you should see that the weight balances equally on both sides of the line. This is the prime
example of a well-balanced composition. And for that reason it is extremely pleasing to the
human eye.
Using symmetry in an interior is the idea of having a mirror image, and it’s a great tool to
create visual pairs. Bedrooms, for example, lend themselves to symmetry, as the bed is
commonly placed in the middle of the room with night stands on either side.
Keep in mind that if a room has too much symmetry, it can feel very flat and predictable.
If you find that everything in a room has a pair, shake things up by introducing a different
colour or pattern to a pair. Rearranging your furniture is another way to break up symmetry.

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ASYMMETRICAL BALANCE
This type of balance is used in a design or in photography to create movement or tension.
This means that the focal points in the design or the different elements in it, are not as
evenly balanced as with symmetrical balance.
That said, even though one side of the design or image will be visually heavier than the other,
there is still a strong sense of balance and appeal that can be created with asymmetrical
design.
If we were to explain this in simpler terms, we’d say that asymmetrical balance is almost
like multiple smaller elements on one side, balancing one big element on the other. While
this is not actually perfectly balanced, our eyes treat it as if it is.
The creativity here is more unanticipated and so, it also generates more interest than in the
case of the simple symmetrical balance.
To achieve asymmetry in an interior, use items that share some similarities such as being
the same colour or the same height.
You can test your asymmetrical design skills, by curating a gallery wall, this way, you can
easily swap out framed prints and photos if something doesn’t look right on the first try.
You’ll want to choose artwork that has something in common such as colour palette and
vary the size and frames of each piece.

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RADIAL BALANCE
Radial is a visual balance based on a circle with its design extending from the centre.
Items are distributed around a central point either extending outward or inward such as:
■ Chairs placed around a table.
■ A circular light fitting.
■ A circular sunken living area.
■ The structure of a rotunda.
Applying radial balance will create a focus on a central item.
Balance requires careful thought and keen observation, and is evident when an interior
space looks harmonious. Pay attention to how balance has been achieved when you observe
the masterworks in your research.

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RHYTHM
Rhythm can be described as a pattern that provides visual movement that invites your eye
to move across the space in a pleasing, choreographed way.
This will help create the desired mood that will affect the use and emotional content of the
space.
By taking into account the end use and desired mood of a space, the designer decides to
decide what rhythm to introduce to a space.
Choreographically, you can ask yourself if the eye should move to the rhythm of a waltz,
salsa, rock, march or get the user to drift off on a cloud rocked gently by the wind! This will
determine the visual tempo between elements that have different visual weights.
Rhythm can be achieved in any living space by following these three methods:
■ Repetition
■ Alternation
■ Progression

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Repetition creates patterns through predictability.
Repetition is the simplest way to attain rhythm, and can be achieved by repeating any of the
elements of design – line, colour, texture, pattern and light.
For example, repetition of wooden slats on a staircase creates a playful rhythm, drawing
your eye throughout the space and up the staircase.
Repeating colour sets the tone of the composition with a rhythmic undercurrent.
Alternation is used to create rhythm by alternating two or more elements in a regular

pattern.
The pattern may be ABCABC or ABBABB, but always repeated in the same order.

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Progression can create rhythm with the graduation of objects from small to large or low
to high. For example, gradients of colour, candlesticks ascending in height, a set of nesting
tables or a three piece animal sculpture ascending in size.
“There are two things that make a room timeless: a sense of history
and a piece of the future.”
– Charlotte Moss

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EMPHASIS
Emphasis in a room refers to the focus point that creates the centre of attention. It should
be the focus to which your eye is attracted. A space or room can have a built-in focal point
or a created one.
Where are your eyes being drawn to when observing the below images?
A room with a built-in focal point enables you to design your concept around to feature it.
It could be:
■ A view – if a room has a view, make the windows as large and unobscured as
possible.
■ A fireplace – the best way to feature a fireplace is with furniture placement, which
frames it with the correct pieces.
■ Vaulted ceiling – the beams can be stained in a contrasting colour to the ceiling to
feature them rather than blend.

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If there is no focal point, you will need to create one and use props like:
■ Artwork – a statement piece of artwork sized correctly to suit the wall it is being
placed on. You will learn about sizing artwork in Module 8.
■ Accent wall – created with colour, patterned wallpaper or texture. The wall needs
to be positioned furthest away from the entry point for the most impact.
■ Furniture – a statement dining table featuring a centrepiece. A sofa positioned

between two windows with a piece of art or mirror between them.
■ Light fitting – a traditional or modern chandelier that is positioned at the correct

height.
By definition, a focal point should be singularly emphatic about creating drama or interest
and leaving an everlasting impression.
If the emphasis is a design feature, a room or space should not present alternatives to
confuse.

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PROPORTION AND SCALE
Proportion refers to a general relationship in size between objects or between parts within
an object. Scale is relative and compares an item or space to something of a known size,
which could be a measure or another object. Human scale is a common reference you will
find in spaces.
For example, standardised heights have been created for countertops, chair widths are
scaled to fit the average person, and hallways are sized to allow people to pass each other
comfortably. Both scale and proportion are integral in creating a successful interior, and a
nearly foolproof method is applying the ‘Golden Ratio – 1:618’.
GOLDEN RATIO – 1:618
Used since the times of the ancient Greeks and Romans, the golden ratio is found in nature,
many famous works of art, musical sequences, web design, and integral to describing the
proportions of the human body. Without dwelling too much on mathematics, the number is
roughly 1.618 with a ratio of roughly 60/40. You can find out more on the beautiful math on
this link. For our purposes, it applies to room design.
If you look at a room and it doesn’t feel right, you will most likely find something in the
wrong size or out of proportion. You can use this ratio in your styling to make the room
more aesthetically pleasing, however, it has already been developed for interior design as
the 60/30/10 rule.

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THE 60/30/10 RULE
The 60/30/10 rule is something of a mantra among interior designers.
You don’t need to be a mathematician to use the rule in your design, nor do you need a ruler
or a calculator.
The rule states that for the most balanced, appealing look, you should choose a three-colour
palette for decorating a room, and use it as follows:
■ Decorate 60% of the room with the dominant colour
■ Decorate 30% of the room with the secondary colour
■ Use the remaining colour as an accent in 10% of the space
Like all guidelines, the rule is not written in stone, and you don’t need to measure the space
and figure the exact percentages.
Just follow the basic idea: one dominant colour for the majority of the space, a secondary
colour that fills roughly half as much space as the dominant colour, and a third colour (if you
want to use two accent colours, then each gets 5% of the space) to add splashes of interest
around the room.

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HARMONY
Have you ever looked at a room and thought that the design was successful even if outwardly,
the design appears to “break the rules” with an eclectic style?
The success of the design could be attributed to the principle of harmony. Harmony is the
combination of similar parts or elements used in the design. The more similarities used, the
more the composition is said to be harmonious.
So, even if a designer has broken some rules, the success is because they have used other
parts that are similar to achieve harmony.
Here are examples of “parts” of the design that we use as interior designers to achieve
harmony:
■ The common element of shape
■ The common element of colour
■ The common element of texture
■ A common size
■ Similar materials
■ Similar detail characteristics
■ A common decorative style
The more of these that are alike, the more the design is said to be harmonious, and, as
interior designers, we use this principle to create a cohesive design within a single room or
across multiple rooms.

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ASSIGNMENT ONE
PART A - INTERIOR ANALYSIS
STEP 1 STEP 2 STEP 3 STEP 4

LEARN THE ELEMENTS SELECT YOUR WRITE ABOUT EACH HIGHLIGHT THE
AND PRINCIPLES INTERIOR IMAGES INTERIOR IMAGE FEEL/STYLE/MOOD
Select five residential interior spaces that you feel have been successfully executed and
analyse them based on the elements and principles of design.
Please make a note of the main feel/style/mood at the start of your analysis; as that will
affect how you relate the elements and principles back to that. This exercise will help you
appreciate and begin to understand the complexity of successfully designed spaces.
STEP BY STEP GUIDE
The marks for this assignment are based on the quantity and accuracy of the analysis that
you provide, and we have put together a step by step guide to help you with the assignment:
1. Read through the module and for each element and principle write a short summary
to use as a reference for the analysis.
2. Select your images of successfully designed rooms.
3. Take your first image and write a list of all of the elements and principles.
4. Use the reference guide that you wrote in step 1 to try and identify how each of the
elements and principles has been used in the space.
5. Repeat steps 3 and 4 for each of the remaining images.
WRITTEN ANALYSIS TIPS
The analysis is to be broken down into each of the design elements and principles, and we
recommend that you list them as subheadings and use either dot point or short paragraph
format to write the description of how it has been used in the space.

79
It is recommended that you use design terminology in your description of the elements
and principles to demonstrate your understanding of the concepts, and we have compiled a
guide to help with the task:
Elements and Principles Overview
In its simplest form, the elements make the individual parts of the design and the principles
describe how the (individual) elements have been used.
If we were to use an analogy of the elements and principles of design, we could liken it to
a cooking recipe, where the elements are the individual ingredients, and the principle is the
cooking method that describes how to use the ingredients.
Space
Space is a 3-dimensional form, and when you are describing it, you would look at the overall
volume of the room and separately how the negative and positive space has been used and
the effect it has on the overall design of the room.
Line
When describing line, be specific about the direction of the line (vertical, diagonal, curved
or horizontal) and the effect it has on the overall design.
Shape
When describing shape, be specific about the type of shapes used in the room (curvilinear,
rectilinear, geometric, organic or abstract).
Colour
Describe the dominant and accent colours used in the room.
Texture
When describing texture, be specific about the type of visual and tactile textures in the
room.
Light
Describe the visible natural and/or artificial lighting in the room.

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Pattern
Pattern is the regular repetition of a motif onto a surface. These can be created in many ways
outside of the patterned fabric, and some examples include timber floorboards, panelling,
stair balustrade, cut out screens, ceiling beams etc.
Balance
When describing balance, specify the type of balance has been used (symmetrical,
asymmetrical or radial) noting that in some rooms you might find that more than one type
has been used, in this instance describe all of them.
Rhythm
When describing rhythm, specify the type of rhythm that has been used (repetition,
alternation or progression).
Emphasis
To emphasise something is to make it stand out from its surroundings, and by attracting
your attention, you are creating a focal point. For your analysis, identify where the focal
point of the room is and why it stands out (emphasised).
Proportion and Scale
Scale refers to the size of an item or space, and we use proportion to compare the scale
of one item to another. In your analysis, you can refer to this separately, or if a proportion
method like the golden ratio or 60/30/10 rule has been used explained how in your analysis.
Harmony
The success of the design can be attributed to the principle of harmony, which is created by
using elements and materials that have a commonality. In your analysis, you are to list and
describe each of these that have contributed to the success of the design, and you will find
the greater number of commonalities, the more harmonious the design is.

81
TIPS FOR SELECTING IMAGES
We recommend Pinterest to source your pictures, however, you can go to Google Images
or explore the websites from the ‘Resources’ section within the student site. Alternatively,
you can take your own photographs, or scan and upload pictures from magazines or books.
When selecting your images, make sure the entire space can be seen as opposed to a
cropped view of only one area within a space.
Another tip is to find rooms that are visually interesting as this will help you to identify the
design elements in the image. You are best to work with professionally designed spaces to
get the most out of this exercise.
NOTE: There are submission examples for this assignment towards the end of this module!

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PART B - INTERIOR ANALYSIS
You can choose one of the four images below or source an image of your own to base this
assignment task on. Analyse the image, by breaking it down into the design elements and
principles and identify which of these have not been applied to the design process.
1. x 2. x
3. x 4. x
Apply the design process and experiment with ideas that you could use to improve the
styling and make the space harmonious.
In your design process, identify the part of the room that should be the focal point and how
you would emphasis this area more. Also detail the other changes you would make to the
colours, furniture, artwork and accessories to bring all parts of the room together and make
a harmonious design.
You can refer to this example on how to set out your assignment.
WHAT YOU NEED TO INCLUDE
■ Image of the room.
■ Analysis using the design elements and principles to identify what the underlying
issues are.
■ Identify what part of the room that you think should be the focal point and list the
changes you would make to create emphasis in that area.

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■ Suggested overall decorative changes to include: colours, furniture, artwork and
accessories.
■ Describe how you have achieved harmony with your proposed changes.
QUIZ
Throughout this course, there will be questionnaires for you to complete. Some of the
questions will either require you to check a box, put things in order or write a written answer.
Refer to the below file for the questionnaire on Module 1:
Module 1 Quiz Q&A
You will be required to complete this questionnaire by filling out the form and uploading it
to the assignment page for Module 1.

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SUBMISSION REQUIREMENTS
This assignment requires you to upload:
Part A = 1 file containing your 5 images and written analysis.

Part B = 1 file with your image and written analysis.
Quiz = 1 file.
ONLINE WORKSHOP ALERT
Did you know we have an online workshop called ‘The Fundamentals of Design’, which is
completely optional and has been designed to accompany this module as an additional
resource?
In this workshop, hosted by IDI tutor Vicki Mullins, you will learn how to identify and apply
the elements and principles of design and how to create a finished look that is aesthetically
pleasing as well as functional. The workshop costs $29 USD and includes a downloadable
booklet. Head to the “Workshops” tab within the Student Site for more info.

85
STEPS ON SUBMITTING
To submit this assignment, please log in to your student account and click on the ‘Assignment’
tab for Module 1. Once you have clicked on the ‘Upload Assignment’ button, you will be
directed to the assignment overview, where you can upload your work.
STAY CONNECTED
See what your peers are getting up to by following the #IDIstudent tag, and joining our
exclusive, international Facebook group where you can discuss your assignments, talk all
things design, and enter our monthly giveaways. We also have an Australian Facebook
group, which you are welcome to join as well. Note that the assignments for the international
course are slightly different, so do not compare your assignments in that group.
We absolutely love seeing your images and discovering what projects you’re up to, so please
feel free to tag us on Instagram at @theinteriordesigninstitute and #IDIstudent!

86
THINGS TO NOTE
Word Count
During this course, a part of the challenge is to develop your skill to produce engaging
writing that is informative while being relevant and concise. The target word count for this
assignment is between 500 and 1500 words per image. If your word count exceeds 1500
words, you may be asked to re-submit your assignment with more concise answers.
Format
We encourage you to type your assignments in a word document or equivalent, then export
it as a PDF file. While making your assignment aesthetically pleasing is a plus, you will not
be marked down on the overall presentation, so don’t stress about making it pretty.
Sourcing Images
When finding your images for the assignments in this course, please cite where you sourced
your images from, and follow the steps on this referencing guideline.
Assignment Examples
You can refer to the examples on the following pages to draw inspiration and see what other
students have submitted.
Assignment Marks
Please note that your course is a competency-based program, which focuses on the
learner’s ability to receive, respond to and process information in order to achieve a specific
competency. Your tutor will determine your competency for each assignment submission. It
is not possible for your tutor to preview your assignment submission, however, if your tutor
sees that you have obviously misunderstood an assignment task or question, he/she will
give you some pointers, and encourage you to resubmit your assignment.
Assignment Turn-around Time

Your tutor will provide you with feedback and your results within 2-5 days once all tasks are
submitted. Don’t forget you can ask your tutor or the student support team any questions
if you are unsure about something. We are here to help!
Support Group
We also have a student Facebook group where you can chat with other students about your
assignments.

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ASSIGNMENT EXAMPLE FOR PART A
Please refer to this example, which shows one residential interior space. Just remember you
will need to find five in total.
#IDISTUDENT ASSIGNMENT EXAMPLES
We have included a few assignment submissions by fellow students to give you an idea on
ways to set your assignment out. Use them as inspiration only and do not copy word for
word. Note that most of these examples are snippets and do not contain the full submission.

88

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IMAGE SOURCES
COVER IMAGES
Module Cover Image by #IDIstudent Leanne Abrahams
Getting Started Cover Image by #IDIstudent Nikki Astwood
How To Use Our Interior Design Course Cover Image by #IDIstudent Nikki Astwood
What Do I Need Cover Image by #IDIstudent Nikki Astwood
What Is Interior Design Cover Image by Adobe Stock
Philosophy of Interior Design Cover Image by Blackband Design
The Visual Language of Design Cover Image by Dylan James
Understanding Design Theory Cover Image by Design Milk
The Design Process Cover Image by 123rf
The Elements & Principles of Interior Design Cover Image by Dylan James
OTHER IMAGES SOURCED FROM
Darren Palmer Pinterest

Dylan James Instagram
Leanne Abrahams Google Images
Nikki Astwood Shutter Stock
Anna Moore Adobe Stock
Nardia Nelson 123rf
Backdrop
West of Main
Blackband Design
Construction Zone
The Design Files
Anson Smart

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MSF50218 - Diploma of Interior Design

HOW TO USE OUR COURSE 12

SOFTWARE AND DEVICES 15

WHAT IS INTERIOR DESIGN? 19

QUOTES WE LOVE // BY DESIGNERS WE LOVE 25

PHILOSOPHY OF INTERIOR DESIGN 27

THE VISUAL LANGUAGE OF DESIGN 30

UNDERSTANDING DESIGN THEORY 35

THE DESIGN PROCESS 39

ELEMENTS OF INTERIOR DESIGN 49

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

PROPORTION AND SCALE 76

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

We are so excited to welcome you as a new student at

We believe good design is impactful and everyday

Not everyone has time to study a 4 year, full-time

It’s catered for those who are on the move, the

We provide the technical and practical skills necessary

Not only is our program unique and interactive, but

We hope you enjoy it!

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

MSFID5022 - Explore and Apply Creative Design Methodology to Interior Space

BSBDES303 - Explore and Apply the Creative Design Process to 3D Forms

BSBDES302 - Explore and Apply the Creative Design Process to 2D Forms

BSBDES502 - Establish, Negotiate and Refine a Design Brief

MSFID5020 - Design Residential Interiors

MSFID4013 - Design Residential Interior Lighting

MSFID4016 - Design Colour Schemes for Interior and Exterior Spaces

MSFID5025 - Develop Residential Interior Design Project Documentation

MSFFDT4012 - Research Furniture Styles and Movements

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

CUADES411 - Generate Design Solutions

MSFID4012 - Decorate Residential Interiors

MSFID5027 - Research and Recommend Colour Applications and Finishes

MSFID5028 - Research and Recommend Artwork

MSFID4015 - Prepare Materials and Finishes Boards for Client Presentation

MSFID4017 - Research and Recommend Furniture and Accessories

MSFID4021 - Design Soft Furnishing Solutions for Interior Spaces

MSFID4022 - Prepare Quotation and Contract Documentation for Design Projects

MSFID5018 - Provide Interior Styling Service

CUAANM313 - Create 3D Digital Models

CUADIG304 - Create Visual Design Components

CUADES413 - Develop and Extend Design Skills and Practice

CUAPPR513 - Present a Body of Own Creative Work

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design

MSFID5022 - Explore and Apply Creative Design Methodology to Interior Space

BSBDES303 - Explore and Apply the Creative Design Process to 3D Forms

VISUAL LANGUAGE OF INTERIOR DESIGN

MSF50218 - Diploma of Interior Design