The 7 Elements of Design

It is always a wise decision to use the elements of interior designs to guide you to make the right decision. It doesn’t matter whether you are working with already acquired possessions like furniture or starting from scratch. You can look to learn the basics of interior designs & renderings so that you manage to acquire an appealing decor putting into consideration factors like lighting, pattern, form, line, space, colour, and texture.

Let us expound more on the seven elements of interior design.


Colours don’t need a special introduction. It creates an aesthetic connection between objects and determines the mood and it must be chosen according to the psychology and mentality of the resident.

For example, red is a great option for the dining room because it promotes appetite and green for the bedroom because it represents calm and health. Each colour has three different properties, namely hue, value, and intensity, and an interior designer must know these properties in order to be able to make different permutations and combinations. Colours are roughly divided into two categories: primary and secondary.


A well designed and appropriately decorated room shows the basic elements of the interior, the horizontal and vertical lines. Good design in all styles, traditional, neoclassical, modern or contemporary, confirms to the world of interior design that these simple elements are represented. The two bases of the drawing are vertical and horizontal lines. When used correctly, these design elements emphasize space for the best visual balance. These are the design features that provide essential support for the interior and are used to highlight a specific interior. More important than focal points, a design without properly used horizontal and vertical elements is a faulty design.



The lighting, the next element, goes hand in hand with the colour palette in all facets of the interior design. However, lighting can be particularly important in commercial or office environments. It can be difficult to design a lighting system that provides enough light to enable productive work without affecting the tone defined by the palette. Some offices do not have rigid ceiling lighting and instead opt for lamps connected to individual offices and soft wall lights to ensure soft lighting. However, some commercial configurations require ceiling lighting. In these cases, it is important to find lights that provide adequate lighting without being too hard or blinding.


Most decorators only use one colour palette for the interior. In contrast to the same interior scheme, use different designs in the same room. Using different colour patterns in a room works best when it can be combined with colours, themes, patterns, or textures. If you creatively choose two different models for your room, you will find that two different models try to dominate each other to attract your attention in the room. You can start with the interior by choosing a large pattern of the primary colour, then finding one or a relatively small way to complete it and filling the open spaces with a secondary one.


The property plays an increasingly important role in the decoration of houses. The visual texture is the apparent softness or roughness of a material. Use fabrics with a more textured, dirty, or rougher visual texture to maintain and improve a relaxed feel. Smooth and shiny surfaces such as silk, moire, chintz and the appearance of silk promote a more formal feeling of space. Using multiple layers of complementary textures adds variety and maintains interest. However, it’s a good idea to avoid dramatic contrasts in the plot.


First, measure your room and trace the room level on graph paper, as long as each square in the graphic corresponds to one foot. Include all openings in the room, e.g. windows and doors and note the dimensions next to each opening and wall in the diagram. Make sure the chart you created is correct. Make many copies of your blank drawing. You can also try designing a room online using the various interior design websites available today for this function. Look at eye level on the ceiling and under the floor and don’t forget to look under the furniture. You will be pleasantly surprised at how much space you have already lost, and if you have tried to fix it, you can sit back and enjoy your new clean environment.


Shapes generally refer to shapes as outlines of a three-dimensional object in space. Shapes can be created by combining two or more shapes and highlighting them with different elements such as texture, pattern, and colours. The lines that come together form the shape of an object, which in turn affects the overall feeling of a room. You can decide to follow the concept of a line by sticking to varied options such as straight lines, squares, and triangles. It is also obvious if you settle with curved lines you will achieve circle and oval shapes.






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Every idea needs to be visualized before it is fabricated, and that process is what Conceptual Art is all about,... a drawn interpretation of an idea. This work is the foundation of Industrial and Automotive Design, as well as Architectural, Environmental, and Entertainment Design. Before the turn of the century, there were no books available on the subject of Concept Design. Now, several are available, with more on the way, as new conceptualists emerge to pick up the gauntlet, thrown down by film & television projects which have, because of the increased abilities of computer imaging, become more complex and spectacular. Consequently, with a stunning ability to put actors (what looks like actors) into virtually any environment, any vehicle, and any situation,... nothing is impossible. This means that fantastic scenarios are being written which compel Entertainment Designers to come up with any fantastic shape we want, assured that it will work as the script intends. We never have to concern ourselves with details like the shape & the size of a wing, and whether or not it will produce lift, or be concerned if a tiny racing vehicle, tethered to a pair of enormous jet engines, has any space allocated for the tremendous amount of fuel needed to get those engines powered up. We've seen spindly spacecraft, brisling with antennas and other protruding “stuff”, fly straight down to a planet's surface without exhibiting the slightest concern for, or evidence of atmospheric friction. But having said that, we don't want every flyer to look like the Space Shuttle; it would be boring. And while everyone knows about the Shuttle's protective tiles, and the consequences of having just one missing,... we designers are allowed to (sometimes ‘encouraged’ to) ignore that level of realism in favour of a ‘cool’ shape. Now, I appreciate the appeal of cool shapes as much as anyone, but I'm wondering why we can't produce vehicles that look cool but are also believable. Yes, rarely, that does happen, as exemplified by the cars in "Minority Report” or the Armored Personnel Carrier in “Aliens”. But, in that same movie, for example, the drop ship, while very cool looking, indeed, would realistically be thrown into a fatal spin, the moment it unfolded one of those retracted wings. An audience typically believes what it sees, however, so details like that are blurred for the sake of the plot line. On the other hand, there have been times when we've all seen fantastic vehicles do something that we inherently know they really couldn't do. Even though it doesn't feel ‘right’, the majority of us can't quite figure out why. As a designer, I keep trying to override that trend, because I've always felt that if I approach a piece of hardware as if it's real, the audience will believe it's real, on-screen. Therefore, I design movie hardware as if it was to be fabricated in the real world, at my level of understanding, with concerns for power systems, life support systems, personnel living & operating spaces, vehicle operations & performance, access panels, emergency escape systems, defence systems, and how all these things can be in a package that looks good yet not look like something you've seen before. No, I'm not an engineer, but I am familiar with some of the reasons why things are put together the way they are. This allows me to go for the “cool shape” while keeping in mind the practical side of what the vehicle is to do.