CONTINUING DISTANCE EDUCATION PROGRAM

Education Portal

COURSE OF
INTERIOR DESIGN

Student:

EaD - Distance Education Education Portal

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 COURSE OF
INTERIOR DESIGN

MODULE I

Attention: The material of this module is available only as a parameter for studies for this
Continuing Education Program. Any form of commercialization or distribution is prohibited.
without the express authorization of Portal Educação. The credits for the content contained here
are given to their respective authors described in the Bibliographic References.

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 SUMMARY

MODULE I
INTRODUCTION
1 HISTORY OF INTERIOR DESIGN
INTERIOR DESIGN AND AESTHETICS
2.1 CONCEPT OF BEAUTIFUL: PERCEPTION, PROPORTION, AND HARMONY

2.2 COLORS AND PSYCHOLOGY

2.2.1 Harmony for indoor environments, sensations that colors provide
(heat x cold)
[Link] Theory of Colors Applied to Interior Design

MODULE II
3 INTERIOR DESIGN FOR RESIDENTIAL AND COMMERCIAL SPACES
3.1 RESIDENTIAL INTERIOR DESIGN
3.2 COMMERCIAL INTERIOR DESIGN
4 CHARACTERISTICS OF INTERIOR DESIGN: HOW TO PERSONALIZE AND
PLANNING THE DECORATION
4.1 IMPORTANT QUESTIONS TO START THE PROJECT
4.1.1 Styles and Trends
4.1.2 Study of Space and Ergonomic Principles
[Link] Circulation and Measurements: Relationship Between Man / Objects and Furniture

[Link] Ergonomics rules for designing environments

[Link] Measurement of environments and area calculation

4.1.3 Artificial and Natural Lighting

4.1.4 Environmental Comfort
5 INTRODUCTION TO TECHNICAL DRAWING
5.1 READING AND INTERPRETATION OF PROJECTS
5.2 STUDY OF SCALES AND QUOTAS (MEASURES)
5.3 DRAWING MATERIALS
5.4 STANDARDIZATION OF THE PLATES

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5.4.1 Technical Calligraphy
5.4.2 Margins, Seals, and Stamps
6 GRAPHICAL REPRESENTATION
6.1 TYPES OF LINES AND CONVENTIONS APPLIED IN FLOOR PLANS
6.2 GRAPHICAL REPRESENTATION OF CONSTRUCTED ELEMENTS
6.2.1 Walls
6.2.2 Doors and windows
6.2.3 Stairs
6.2.4 Representation and Symbolism of Various Project Elements (pergolas,
fireplace, levels, sanitary ware, furniture)
6.2.5 Floor Pagination Representation
6.2.6 Decoration of floor plans

MODULE III
7 CONSTRUCTION TECHNOLOGIES APPLIED TO DESIGN PROJECT
OF INTERIORS
7.1 TECHNOLOGY AND SUSTAINABILITY
7.2 COATING MATERIALS FOR FLOOR, CEILING, AND WALL
7.3 APPLICATIONS AND RESTRICTIONS: MOST SUITABLE MATERIALS FOR EACH TYPE
ON ENVIRONMENT AND CLIMATE

7.3.1 Wet Areas and Dry Areas

7.4 ENVIRONMENT COMPOSITION WITH MIXTURE OF MATERIALS AND OTHERS
COATINGS IN DECORATION
8 ARRANGEMENT IN THE ENVIRONMENTS: THE ORGANIZATION OF OBJECTS AND

FURNITURE
8.1 BRIEF HISTORY OF FURNITURE
8.2 INTERIOR DESIGN AND JOINERY PROJECTS
8.3 STUDY OF FURNITURE ARRANGEMENT AND CIRCULATION IN ENVIRONMENTS
8.4 ALTERNATIVES FOR FURNITURE DISTRIBUTION IN SPACES
8.5 DECORATIVE ARTICLES
8.5.1 Fabrics, Curtains, and Rugs

MODULE IV

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9 PLANNING SPACES FOR PEOPLE
9.1 HOW TO CAPTURE THE CUSTOMER PROFILE
10 TECHNOLOGIES FOR INTERIOR DESIGN
10.1 MOST USED SOFTWARES
11 PROJECT FLEXIBILITY: THE FOUNDATION OF A GOOD PROJECT OF
INTERIORS
11.1 INTEGRATED ENVIRONMENTS
11.2 GLASS PANELS
11.3 BALCONIES
11.4 LANDSCAPING
12 ELABORATION, FINISHING AND PRESENTATION OF THE PROJECT
12.1 TYPES OF SERVICES AND FEES
12.2 HOW TO CONQUER AND FIDELIZE CUSTOMERS
12.3 HOW TO BE A SUCCESSFUL PROFESSIONAL
BIBLIOGRAPHICAL REFERENCES

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 MODULE I

INTRODUCTION

Interior Design is an art! An art of planning environments accordingly.

with aesthetic and functional standards; for the harmonization of spaces, furniture, objects
and accessories. It is a constant search for the reconciliation of comfort, practicality and
of beauty.
Talking about design is a daunting task, as it is a very
broad and in full development. Every day new ideas are born, new
trends, new materials, and new directions for the field of Interior Design.
Bringing all the relevant topics to him in this course would amount to nothing more than a great

and limited claim, as the way Design expresses itself is so broad and
complex that goes far beyond good taste or ideas sketched on paper. The
the true meaning of design promotes not just the mere act of planning
environments, but it also involves organization, intervention, revitalization and
restructuring of internal spaces.
The main objective of this course is for you to acquire knowledge about
interior design projects in a broad and specific way, for all types of environments
what to design. We want you to build a critical view on harmonization,
balance, aesthetics and, above all, creativity, an indispensable characteristic of a good
Interior Designers. It is expected that you, the student, develop a bifocal vision.
How? Let it be sufficiently broad, for only then will it be able to project.
environments as a whole! -, and that this vision is also specific, to the point of
to make him/her think about the details that enrich the interior design project (such as
details of the environments, flooring layout, lighting, etc.)

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 Let's start our course by talking about the World History of Design
Interiors. Are you ready to "board" this adventure? I believe so!
We wish you great success in your learning. Happy studying!

1 HISTORY OF INTERIOR DESIGN

It is not exactly known when the history of Interior Design really began.
it has begun. It is only known that this is an art as ancient as Architecture and that
it goes back to ancient times, when the concern with already stood out
organization of internal spaces. The interior decoration, the furniture and the
accessories became remarkable in civilizations around the world, since the times
older until our days.
The credit for the birth of interior design is often
attributed to the ancient Egyptians, who decorated their humble huts with
simple furniture, such as chairs and tables reinforced with animal hides or
fabrics. There were already paintings, murals, sculptures, and decorative vases present.

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 FIGURE 1–EGYPTIAN DECORATIVE PANEL

SOURCE: Available at: <[Link] Access

Nov 22, 2012.

This rudimentary decorative style contrasted with the rich ornaments of

gold, beautiful relics found in sarcophagi like that of King Tutankhamun.
All the wealth and luxury of these ornaments demonstrated ostentation, dominance and

power of the higher layers of the ancient Egyptian Empire.

Centuries later, Greek civilization established its entire expression.
about Egyptian art of interior decoration, and there was a remarkable improvement
in this area. The once rustic and randomly made furniture began to occupy a large
part of the concern of its makers: its development has started to be done with more
care, and some finer furniture already featured details in noble metals, such as
ivory and silver.

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 The Romans took a step further in the development of design.
interiors, as they were the pioneers in caring about the comfort of spaces.
For the first time, great emphasis was placed on the combination of aesthetics with comfort.

two rooms.
Over time, the decoration of interior spaces has become essential,
synonym of wealth socialstatus. It can be said that Roman furniture was
innovative, as the furniture begins to be perceived not only as a utility, but
as ornamental adornments. They were made of stone, wood, or bronze.

During this period, the use of became popular.

cushions, curtains, and various tapestries.
Interesting to note that both Romans
how the Greeks used decorative vases,
mosaic floors and murals or frescoes

FIGURE 2 - GRECO-ROMAN DECORATIVE STYLE

FONTE: Disponível em: <[Link] Acesso em: 22 nov.2012.

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 FIGURE 3–CLASSICAL GRECO-ROMAN DECORATIVE STYLE

SOURCE: Available at: <[Link] Accessed on: November 22, 2012.

After this period of splendor and ornamental richness, there was a movement
brusque with the austerity caused by constant wars in Medieval Europe and
the rise of the Church. The 'Dark Ages' was a time of retaliation and stagnation
of the expression, and this was directly reflected in the world of Arts, Music, of
Letters, of Architecture and, consequently, of Interior Design. The houses,
once so richly adorned, now bore dark wooden panels,
minimal furniture and nothing more that could display any kind of fancy or
refinement. The dictates imposed on this inconspicuous furniture reached even the
highest classes of the time, which limited itself to using little or no touch
decorative. The floral fabrics, the tapestries, the printing of the wallpaper and
other paintings - so common in the Greco-Roman decorative style, practically
they disappeared, and there were only soft colors and simple fabrics available.

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 FIGURE 4–DARK ENVIRONMENTS AND UNEXPRESSIVE FURNITURE
IN THE AGE OF DARKNESS

SOURCE: Available at:

Accessed on:
November 22, 2012.

Only in the 12th century, with the end of the Dark Ages, did Europe return
introducing colors and ornamentation into their homes with the arrival of Gothic Style.
This style was creative and innovative, bringing the use of natural light capture by
beams, 'strokes' in the masonry, glazed vaults and open courtyards.

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 FIGURE 5–USE OF NATURAL LIGHT PRESENT IN THE PERIOD
GOTHIC. CATHEDRAL OF VALENCIA–SPAIN

SOURCE: Available at: <[Link] Accessed on: November 22.

2012.

In the 15th and 16th centuries, the Renaissance proposed a renewed focus on the
interior design. There have been optimizations and notable advances in this area, in which

architects created spaces with elaborate decorative elements. Floors and panels
in marble, cuts, complex floor layouts, built-in wooden niches,

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perspective paintings and sophisticated furniture made from the best
materials could be found in the royal palaces, villas, and chapels of Europe.
This decorative style of the Italian Villas continued even after the
The Renaissance, and the contributions of the Italian Baroque style soon became popular.
throughout Europe. The Baroque generously made use of colored marble,
stained glass, painted ceilings and domes, and twisted columns. In the 18th century there was the

favoring the Rococo style, showing particular appreciation for the porcelains
Asian, floral designs, furniture made from elegant materials, such as
madrepérola e casca de tartaruga. Até o final do século 18, o estilo Neoclássico
predominated, that is, a development of the classic design of ancient Rome,
making generous use of bronze, silk, velvet, and satin. Thus, the Design of
Interiors regain all their monumentality and ornamental richness as in the
initial periods of its history.
The Neoclassical style prevailed until the early 1800s, when in
Europe and America a new trend has emerged, bringing more freedom and eclecticism
interior design. The Victorian Style (1835–1903) marked an era very
important for European culture. Queen Victoria of Great Britain witnessed in
his reign the peak of the arts, sciences, and technology, breaking
definitely the link between the traditions of the past and the innovations of modernity.
The Victorian style directly influenced objects, furniture, clothing, fabrics,
graphic design, arts, architecture, landscaping and interior design. Its influence
it reached many other continents and lasted for more than a century.

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 FIGURE 6–VICTORIAN STYLE (1835–1903)

SOURCE: Available at: <[Link]

Accessed on: Nov 22, 2012.

John Ruskin, A.W. Pugin, and the renowned architect and designer William Morris
they were the pioneers of Victorian design, proclaiming the importance of the relationship
between architecture and design that existed in the Greco-Roman and medieval classical culture.

This nostalgia for past times was part of the romantic culture related to
Victorian period, a period full of contrasts with the period that followed it: the
period of the Industrial Revolution. The industrial society took pride in progress
material brought by the revolution, as it was believed that this would nullify the
spiritual concerns, considered a threat to the social fabric of the time.
These same thinkers (Ruskin, Pugin, and William Morris) did not conceive
the new ideals imposed by the Industrial Era, which exalted the beauty of production
on a large scale and of machines. For them, art should be an imitation of
nature, and furthermore, it should be a 'return to life in contact with nature',

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for this was the only way out of the alienation of the metropolises, from the cold and artificial

the beauty of iron, of mass industrial production and the misery caused by the
exploration e hair work machining the factories
([Link]
Although the Industrial Era encouraged the rationalization of design
mass production, the Victorian taste was still growing in the heart of the bourgeoisie

19th century British. In architecture, in decoration, in landscaping, in the arts.

graphs and the objects were dominated by stylized organic shapes of lines
marked and the arabesques with austere decoration and geometric volumes.
These ideas initiated the movement known as Arts and Crafts.
Guilds), in which in 1861 the architects William Morris, Philiph Webb and others
associates established a large design studio. They supported the
purpose of restoring the ties between beautiful work and the worker, and returning to
the honesty of design that mass production denied. The studio of Morris and
Webb became known for the idea of the house as a total work of art, with everything
objects designed by architects and crafted by experienced artisans, using
traditional methods and nature-inspired methods.
The social mission of the Arts and Crafts movement:
Provide a solution to the ills of the Industrial Revolution;

Improve the quality of life of workers;

Bring culture to everyone;
Restore the union of the arts and the crafts lost since the
Renaissance.
The Arts and Crafts movement had not only the support of the monarchy
Victorian, but also achieved great success among the higher classes.
Unfortunately, the dream of offering unique design pieces to everyone was not
financially viable, since only the wealthiest could afford this luxury.
Still, the taste for Arts and Crafts objects has grown and spread in the
Germany and the United States, where specialized magazines on the subject were published,
reaching a large female audience.

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 FIGURE 7 - INTERIOR DESIGN FOR THE ARTS AND CRAFTS MAGAZINE
FROM MUNICH, GERMANY (1844)

SOURCE: Available at: <[Link]

Accessed on: Nov 22, 2012.

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 FIGURE 8 - THONET CHAIR CATALOG (ARTS AND CRAFTS)

FONTE: Disponível em: <[Link]

Accessed on: Nov. 22, 2012.

The ideas of the Arts and Crafts movement, the romantic winds, and the swift
the modernization of Europe in the late 19th century inspired a movement in France
even larger and more comprehensive. The Art Nouveau movement (1890–1918) began-
it originated in France and spread throughout Europe becoming a style
international.
This movement is closely linked to the artistic currents of the end of
century that promoted imagination, expression, and symbolism in art, but
also to mass industrial production and the use of modern materials such as the
iron, glass and cement. Unlike the Arts and Crafts movement, the Art movement
New established a close articulation between art and industry, resulting in
a high aesthetic quality of objects.

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 FIGURE 9 AND 10 - POSTERS: TOULOUSE LAUTREC FOR JANE AVRIL AND
ALPHONSE MUCHA FOR JOB CIGARS

SOURCE: Available at: <[Link]

Accessed on: Nov 22, 2012.

The curved lines, the arabesques, the organic and geometric shapes and the
floral motifs that characterized the style of the Arts and Crafts movement emerged.
more daring and sensual in Art Nouveau. Architecture, furniture, objects, jewelry, clothing,
machines, urban furniture, everything has been dressed in wavy lines. It was a generation
that accepted the machine, but dressed it in floral adornments to make it feel natural.

All these characteristics directly influenced the way to

plan the indoor environments: floral and sinuous prints could be seen in
curtains, upholstery, and wallpaper. The originality stemming from the sinuosity of
organic compositions were present in the design of furniture and objects
decorative. Great names stood out in the Art Nouveau movement, such as the
Spanish architect Gaudi, French artist Henry Toulouse Lautrec, and the designer
English graphic artist Aubrey Beardsley, among others.

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FIGURE 11 AND 12 - ON THE LEFT: GUSTAVE KLIMT, 'HYGIEIA' (1907). ON THE RIGHT:
AUBREY BEARDSLEY "O MANDO DO PAVÃO" (1894)

SOURCE: Available at:<[Link]

Accessed on November 22, 2012. year

Just like the Victorian style, Art Nouveau was a unique success for
the nobles and the consumption of the rising bourgeoisie. Only at the turn of the 20th century,

with the imminence of World War I, this movement diminished its

force. After the war, Art Nouveau focused on the United States, and in the decade of
20 derived in the decorative style called Art Deco.
In Brazil, the Art Nouveau style, and later the Modern style, arrived
to the country at the beginning of the 20th century with many novelties. Modern design

culminated until the beginning of the 1930s through the Bauhaus, the design institution
most important of the 20th century. This school was responsible for a huge
development of the modern movement through better methods of
production and materials of better quality, such as tubular metal, the use of steel and
of glass. The functional efficiency of the Bauhaus became synonymous with modernism.

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 Around 1927, an International Style of modernism emerged that
distinguished by Essentialism (or 'Minimalism'), based on the modern concept of
to obtain the most for the least. Linked to environmental design, I tried to find
innovative design solutions, using the minimum possible of energy and materials.

FIGURE 13–BAUHAUS SCHOOL

SOURCE: Available at[Link] on: 23

Nov. 2012.

The industries were in search of a very peculiar aesthetic.

Modernism, in which its organic representation projected itself from architecture
up to the design of books. From furniture to the sophisticated design of jewelry,
everyday objects to decorative sculptures. This provided a response
consistent plastic to the exact need for the popularization of design.
Centuries later, we are witnesses in our days of the total
popularization of design. Technological innovations have made it cheaper
the cost of materials and the automation of furniture production, reducing

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directly the final cost to the consumer class. Popular stores invest in
the quality of your products, and today it is already possible to acquire high-quality parts and even

customized furniture with affordable prices and numerous ways to acquire.

As we can see, throughout the centuries and even to our days, a series
Innovative styles have emerged and gone, proving that design is not
reserved only for noble houses or people: it can be said that today the design
interiors reached the masses and is becoming increasingly accessible to everyone.

INTERIOR DESIGN AND AESTHETICS

Since ancient times, the interest and concern of human beings is remarkable.
human in relation to what truly pleases him. Envisioning the history of
Design, it can be said that there has always been this disposition for questioning the
beautiful, this incessant search for the understanding and delineation of the concept of beauty.

Aesthetics has influenced the transposition of human life in all eras, as

my creation, as an ideal or as a break with patterns and concepts
preconceived. Understanding the concept of beauty, of the creation of the beautiful was and still is

task for the brightest thinkers, who try to demonstrate in words the
so vast and immeasurable universe of aesthetics.
For Plato, the beautiful is the good, the truth, perfection; aesthetics exists in itself.

the same, separate from the sensible world, residing, therefore, in the world of ideas.
the supreme idea of beauty can determine what is more or less beautiful.
For Aristotle, the beautiful is something inherent to man, since art is
a particularly human creation and, as such, cannot be in a world
set apart from what is sensitive to man. Thus, the beauty attributed to something would be
subject to criteria such as perception, proportion, and harmony, everything in its right measure

measure.
It is interesting to note that everything related to the terms perception,
proportion and harmony must be understood as an inherent set and
essential for the formation and development of a designer's critical eye

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of Interiors, that is, this would be the basis of all concepts applied to a
professional.
Without these three pillars, developing, planning or even seeing the Design.
Interiors will become obsolete. Thus, there is a need to
develop in the professional in Interior Design the perceptive ability and
refined creators, since they allow individuals to progress through
themselves consciously. This awareness arises from the awakening of the
creative and perceptive development of the human being, since Design must be
thought out in a planned and felt way, not to the mere chance of the arrangement of objects,

but considering all the issues of perception, proportion, and harmony and their
relationships with the environment.

2.1 CONCEPT OF BEAUTIFUL: PERCEPTION, PROPORTION, AND HARMONY

At the core of every creative process, it begins first with the

perception. Without perception, it is impossible for any creative process to occur,
including the creation of interior projects. But, how to develop a critical eye and
the perception?
The development of perception is inherent to human beings: it is a pursuit
individual, because each person sees the world in their own way, and transcribes what they see
based on their understandings and experiences. As one puts oneself alongside
to the world, whether positively or not, each person experiences new sensations and
challenges, and thus you will be able to develop perceptively. Therefore, the
the expressiveness of the Interior Designer must be the manifestation of the

intentionality of what one feels and thinks. It is the expression of one's sensitivities
aesthetics, sentimental and emotional harvested from experiences and interactions with the
world.
For the Interior Designer, this perception, memorization, and imagining
natural things are essential, as they grasp the possibilities about form,
ordering and composition with objects. Thus, we can say that the more
the more perceptive or designer related to the world, the more creative he will be.

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 The Interior Designer must understand the environments and transform them
perceptions in something new, with new colors, new textures, and visual forms,
developing projects with innovative and creative competence. The caveat is interesting.
That with each new artistic experience the designer hones their ability and
aptitude for creative processes. With that, your intellect begins to store and
associate elements through multiple consecutive stages, which will produce
new ideas and infinite combinations.
That is why the constant search for news is so important, since the
the ability to capture and interpret information from the brain is entirely
visual. Magazines, event visits, and even searches for materials and ideas.
related to interior design enrich the mind and –believe it!– create a
a vast and indelible archive in your mind. Thus, in a short time it will be possible to create
environments with a lot of creativity and diversity, making each creation unique, and the
melhor: a cada nova criação, novas ideias e conceitos já estarão para sempre
recorded in your mental 'archive'. The correct combination of common elements in
interior design such as: furniture, objects, rugs and paintings, is the key to the
composition of a truly harmonious and balanced environment.
Balance and harmony are the second great step towards production
an ideal environment, and comes right after the professional in design has trained his
look and perception, as we have just mentioned. It is necessary to emphasize that these
concepts will become vivid and clear as you work on your
creativity, getting to know materials and textures, and being able to identify and differentiate the

style of excess. Only with practice in projects will you be able to dare without
fearing, mixing different materials, creating a play of colors and shapes and thus,
will easily manage to avoid obvious and monotonous compositions.
To achieve excellence in the art of designing and planning environments, first of all

It is essential that you know the space you have to decorate. It will be a
work or residential environment? For someone more classic or bold,
Modern? And the size of the space? Big or small? These basic questions
they will be able to assist you in the conception of your first ideas, for it is from them that
you will know how to avoid excesses or shortages in your project.

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 In the early stages of a designer's life, it is common for their first ...
projects have many excesses, such as furniture, objects, colors, and textures
unnecessary, or it could be that the project becomes empty and uninteresting,
with few pieces of furniture and not many decorative appeals. The balance in the choice of

every detail of a project is essential to its success

composition.

Remember that an environment with too many excesses passes

an idea of 'pollution' and confusion, and it can even

compromise the circulation of people and become a
tiring space. On the other hand, a spacious environment
with few furniture it runs the risk of becoming a
cold and monotonous space.

What is worth remembering is: train your gaze a lot, really a lot! Research
images on the internet, search in magazines... Invest time in looking at projects of
professionals who have been in the market longer, as this will greatly enrich
your collection of ideas. Pay close attention to each project: What kind of texture and
What coating was used? And the colors and shades? Do they match or contrast? Objects
Can modern items be used with vintage and revamped objects? And the pieces.
exclusive, planned? How do they behave in this environment? These types of
observations mature a person as a professional, as ideas seen may
they can be reformulated and reused in later projects. It's like the old saying goes
Nothing is created, everything is transformed...!
And this is very valid in relation to Interior Design! Besides being a
attentive observer, there are some principles that are the basis of composition for everything

Interior Design project, namely:

a) Rhythm - It is the repetition of a shape or element, like colors that

repeat, lines, curves, in short, elements that suggest there is a 'movement' in the
composition of an environment.

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 b) Harmony - It would be an ideal balance between style and moderation.
shapes, textures, colors, lighting, the arrangement of furniture and objects, the materials
used, must act as a homogeneous and balanced set. Nothing should be missing
or remain in the environment.

FIGURE 14–RHYTHM IN CIRCULAR FORMS THAT REPEAT IN

Diverse items and harmony among the elements

SOURCE: Available atPrinciples of Design

interiors/>Accessed on: November 23, 2012.

c) Balance - The distribution of furniture and objects is basically similar to

all angles. Observe the environment below: a darker-toned sofa becomes
the main piece in this room, while the other two sets of sofas are distributed to
an inversely proportional distance. Although they are not identical parts, the

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the sofas have the same tone, and this creates a sense of continuity and balance
in space.
The same applies to the accessories: Note that the mirror on the right side,
being a clearly striking piece, it balances with the orange lamp in its
opposite side. Completely different pieces, but of equal value of prominence, which
end up balancing each other. Finally, two identical frames in the background, which
they conclude the balance of the set.

FIGURE 15–ITEMS IN HARMONY AND BALANCE AMONG THE ELEMENTS

SOURCE: Available at: <[Link]

Interiors/>. Accessed on: November 23, 2012.

d) Unit - Every planned space must be coherent, making sure that

all items used, from textures, colors, finishes, furniture, objects and
complements 'interact' with each other, as if each item were part of a whole.
e) Contrast - It is interesting, as long as it is used correctly, because
contrasting elements when together are enriched. Dark walls with

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light frames, solid tones combined with prints and textures and contrasting colors
they are examples of the use of contrast in composition.

f) Centers of interest - Some, if not just one object in the composition

should be the center of attention. It is interesting that there is no competition among the

elements of a project, so avoid exaggerations.

g) Variety - Always seek to bring as much variety as possible to your
project, but with minimal exaggeration. How? Using your good taste. It is worth
Yes to the mixes of shapes, textures, colors, and patterns, as this escapes monotony.
But all of this with balance, without something standing out too much from the whole.

Observe the environment below carefully. Note how all were used.
the last three principles mentioned here: contrast, center of interest and
variety. The wall in dark blue enhances the light frames on the wall, and
the yellow sofa still stands out, the focal point of this project.
The yellow of the upholstery "calls" the floral panel in a shade of yellow.
burned on the right side of the composition. Floor apparently uncarpeted.
added to the dark wall makes all the objects in this room, no matter how simple,
They stand out for being light in color, like the vases and the curtain.

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 FIGURE 16–ENVIRONMENT BRINGING THE PRINCIPLES OF CONTRAST,
CENTER OF INTEREST AND VARIETY

SOURCE: Available at: <[Link]

interiorsAccessed on: November 23, 2012.

h) Scale – Essential for the composition of a project! Note

always the size of the space to be designed, as this will determine the choice
correct and the quantity of furniture, decorative objects, colors, textures, and everything
but that will be used in the composition.
i) Proportion - This concept goes hand in hand with scale.
Let's say, for example, that you are going to design a room, but it has a very high ceiling.

high, that is, the "ceiling height" is high. You should visually reduce this height.
using dark color on the ceiling. Another example: room too small. Don't think
twice: use light colors, as they create the idea that the space is larger. From
In the same way, dark colors 'narrow' environments, modifying them.
perception of the ratio between width and length.

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2.2 COLORS AND PSYCHOLOGY

In the last topic, we emphasized that the use of colors is a significant factor.

importance in the composition of interior projects. With their proper use, it is

it is possible to make an environment visually larger or smaller, more or less pleasant,

more cozy or less high-tech, for example. Each color conveys

different sensations, and they can be used to calm, cheer up or stimulate,
bringing balance and harmony to environments.
In fact, it is impossible not to notice how much colors have an impact
in our lives, much greater than we imagine. And that is why the Theory
the Cores is so tied to Psychology that it tries to explain the phenomena
sensitives related to them.
In this course, we will not specifically focus on psychological assignments.
the cores and we will not even address its phenomenology. Our intention here is

demonstrate, in a very didactic way, how we can use colors in our

projects designed to promote positive psychological reactions in individuals. By their
expressiveness, colors have the ability to, more than any other element,
freeing people's creative reserves. Using this and recognizing that
each color has its potential to trigger psychological reactions in people,
you will design much better and more specific environments for your future
clients.
It is important to remember that each of us responds to color in a different way.

particular. People also tend to be attracted to certain colors due to

some determining factors, such as your personality type, conditions
circumstantial aspects of your life or in your innermost desires and mental processes,
profound and even unconscious. In this way, it can be said that colors have
influences on our physical, mental, and emotional components.
The importance of colors in interiors and their influence on our lives
it becomes evident also when we remember that, on average, we spend about
two thirds of our time in indoor environments. Thinking exactly that

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we spend more time inside buildings than outside them is that the issue of
comfort becomes indispensable in Interior Design!
And for this reason, the care in choosing the colors for your project must be
doubled, depending on the feeling you want to create and the environment you will
design. It is common to see terrible mistakes in color choices, such as, for example,
all the walls in very strong and vibrant tones, which will inevitably cause
sensation of discomfort. Combinations of colors that do not harmonize either.
causing the same negative effect in indoor environments. A good solution to avoid
these situations involve understanding the theory of colors applied to Interior Design, and the

more effective ways to achieve harmony through a chromatic palette.

Let's see all of this in the next topics!

2.2.1 Harmony for indoor environments: sensations that colors provide

(hot x cold)

Have you ever closely observed a Color Palette, or Color Wheel?

"Chromatic Cycle" or Color Palette emerged in the 18th century, and it is a tool
quite useful today.
Isaac Newton, English scientist, discovered that white light is composed of
a spectrum of colors: red, orange, yellow, green, blue, indigo, and violet.
Newton organized the colors in increasing (darker) or decreasing shades.
(brighter), and made the Color Palette serve as an instrument for
establish securely balanced combinations.

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 FIGURE 17 - CHROMATIC PALETTE

.
SOURCE: Available at: <[Link] Access
November 23, 2012.

To use the color palette, it is very simple:

1) If you wish to compose an environment using the tone-on-tone effect, just
choose a color game from the disc (shades of red, for example). Select one
the shades of red, and then, choose the adjoining color scheme (the so-called
analogous cores) to compose the harmony.

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 In this case, the neighboring palettes would be of the orange colors (to the left)
or dark red (on the right). These colors are easily balanced in
composition, since their matrices are close to each other.

FIGURE 18–ANALOGOUS COLORS

FONTE: Disponível em: <[Link] em: 23 nov.

2012.

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 FIGURE 19–HARMONY USING ANALOGOUS COLORS FROM THE PALETTE
CHRONICLE

FONTE: Disponível em: <[Link]

Accessed on: November 23, 2012.

FIGURE 20 – ANALOGOUS COLORS

SOURCE: Available at[Link] on: Nov 23.

2012.

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 2) Now, if you want to create a bolder and more contrasting environment,
choose the shades from the opposite side of the cycle, that is, the complementary colors.
example: If you choose the purple tone palette, the complementary (or opposite) tone
it would be the light orange tone. This type of harmony is a physical phenomenon.
surprising: exposed to a color, the eye automatically seeks its color
complementary.

FIGURE 21–HARMONY WITH COMPLEMENTARY COLORS

SOURCE: Available at:[Link]

decorationAccessed on: November 30, 2011.

Another important detail regarding the chromatic palette is the division of colors.
warm or cool. Warm colors remind us of sunlight and fire. They are more

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stimulating, exciting, and convey dynamism, vitality, and joy. The colors
cold days are more connected to nature, the sky, the trees and provide a feeling of
freshness, calmness and tranquility.

HOT CORES

FIGURE 22–WARM AND COOL COLORS

SOURCE: Available at: <[Link]

decoration/>. Accessed on: November 23, 2012.

COLD CORES

FIGURE 23–WARM AND COOL COLORS

SOURCE: Available at: <[Link]

decoration/>. Accessed on: November 23, 2012.

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 FIGURE 24–PALETTE OF WARM AND COOL COLORS

SOURCE: Available at: <[Link]

Accessed on: November 23, 2012.

Just for informational purposes, colors are divided into three groups:
Primary Colors (natural colors that we cannot obtain through mixtures)
like red, blue, and yellow), Secondary Colors (mixture of two colors
primary colors, such as green, violet, and orange) and Tertiary Colors (colors obtained
by mixing a secondary color with a primary one.
The colors may still undergo changes that differentiate their properties.
regarding some specific characteristics, namely:
Hue: it is the pure color, without the addition of white or black.
Intensity: the more intense a color is, the more 'alive' it is.

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Darkening: variation of hue obtained by the addition of black.
Lightening: variation of hue obtained by the addition of white.
Saturation: The more gray is added to the color, the more neutral it becomes.

FIGURE 25–GENERAL PROPERTIES OF COLORS

SOURCE: Available at: <[Link]

decoration/>. Accessed on: November 23, 2012.

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 Now that we already know a little about the universe of colors, let's go
to deepen even more in the knowledge about the meaning and sensations
provided by each color, and its application in Interior Design!

[Link] Color Theory Applied to Interior Design

We have already seen that color can alter the entire context of an environment. Each
color has the unique ability to trigger with its mere presence
sensations, the most diverse possible, and it is up to the Interior Designer to know
apply these colors appropriately to your projects.
To succeed in creating an environment, it is not enough just to like it.
from a color in the catalog and then apply it to the desired environment. It is common to fall in love with

If you choose a color when you see it in the sample, and then feel disappointed with the result.
obtained from the application.

How to avoid making mistakes? An interesting tip that can help in

choosing the right colors in a space is to 'experiment' with each shade on the wall.
This old trick works, and it is worth observing the painted area during the day and at night.
with artificial lighting. This eliminates any doubts that may exist, as it should
consider that the effect on the wall is almost always very different from the color
presented in the color catalog.
I would like to conclude this module by providing a glimpse into the
colors and the sensations they convey when used in environments.
Knowing the potential and characteristics of each color will prepare you for the
next stage of your knowledge: the Interior Design Project.

WHITE
White reflects peace, purity, calm, innocence, and dignity. It is a color
smooth, and has the power to make a small environment visually larger. Because it is
composed of all colors, white reflects light, and is an excellent alternative
for low-light environments. In Interior Design, the color white

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composes sophisticated, illuminated, and vibrant environments. White also has the great
advantage of enhancing all other colors associated with it.
A major trend today for those who want to innovate, but without being too bold.
they are the off-white tones, that is, white with a slight touch of other pigments.
An observed advantage of off-white is that this type of hue
White significantly controls the brightness of environments. For example, if
someone does not give up on white, but is facing a problem of
obfuscation (or excessive clarity), off-white may be the solution for this
problem.

FIGURE 26–DECORATION IN WHITE TONES

SOURCE: Available at: <[Link]

[Link]> Accessed on: Nov 30, 2012.

BLACK

This color, when used coherently, is ideal for composing environments.

noble, luxurious and classic. The color black can even become joyful and expressive, and
when combined correctly with other colors can even enhance them. There is no

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It's been a long time since designers 'discovered' that the color black responds very well.

in work environments, commercial spaces, and even residential ones, when modern
and sophisticated. It's no wonder that black in Interior Design refers to power,
responsibility and majesty.

FIGURE 27–PREDOMINANT DECORATION IN BLACK GIVES A MODERN AIR

THE JOVIAL WITH TURQUOISE DETAILS

SOURCE: Available at: <[Link]

Accessed on: Nov. 30, 2012.

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 FIGURE 28–BLACK AND WHITE IS A CLASSIC IN DECORATION, AND
REFERS TO SOPHISTICATED AND ELEGANT ENVIRONMENTS

SOURCE: Available at: <[Link]

rooms/Accessed on: November 30, 2012.

GRAY

As a neutral color, gray when used alone evokes sadness,

anguish and discouragement. However, gray has the power to perfectly highlight the
other colors. It responds very well when combined with strong and vibrant colors,
like purple, green, and lemon yellow. These combinations and so many others
harmonies with gray refer to wisdom, refinement, and sensibility.

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 FIGURE 29–HIGH TECH ENVIRONMENT OBTAINED WITH GRAYSCALE

SOURCE: Available at:[Link]

[Link]>.Accessed on: November 30, 2012.

RED

Red is one of the most eclectic and vibrant colors in harmony of

interiors. Strength, vitality, sensuality, passion, and warmth are what red represents.
represents. In furniture and objects, red has the power to enhance shapes, and
This is due to the fact that it is a color with a lot of strength and visual weight. The 'favorite' of

bold environments, red is popular in commercial spaces like bars and

restaurants, as they can stimulate the appetite and create extremely
cozy.

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 In residential environments, red is also popular. Used in
rooms will certainly make them more stimulating. In rooms, it can be combined
with other neutral tones, such as whites, beiges, and grays.

FIGURE 30–MODERNITY AND ENERGY CAN BE ACHIEVED WITH THE

GOOD USE OF RED

SOURCE: Available at: <[Link]

Accessed on: November 30, 2012.

Some favorable aspects that red suggests are motivation and the
stimulus, since this color stimulates vitality and energy and is an invitation to
activity, alleviating inertia, melancholy, and sadness. They want a cheerful environment and
modern? Bet on red!
Be more careful when choosing the shade of red. There are noble reds and
intense, while other 'lighter' tones may allude to indecency,
vulgarity and lack of politeness on certain occasions. Red provokes reactions
emotions in people, and for this reason it should be used with caution. Anger,

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brutality, cruelty, rancor, revolt, and intense discomfort can be some
possible reactions.

ORANGE

Almost as vibrant as red, orange tones exude pleasure,

ecstasy, luminosity, and remind of the very flicker of fire. Represents heat, light,
party and euphoria. For this reason, it is an excellent color for commercial environments, such

like casual stores, snack bars, and restaurants.

Orange promotes creativity, comfort, joy, and expressiveness.
Communication, movement, and initiative are usually elements of this color, since
that orange energizes the body and helps in the processes of assimilation and distribution.
To promote all this energy, orange is not suitable for people.
easily irritable or stressed.

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 FIGURE 31–BATHROOM EXUDES VITALITY AND JOY WITH DETAILS
ORANGE

SOURCE: Available atOrange in Decoration

[Link] on: November 30, 2012.

YELLOW

Associated with sunlight itself, yellow represents energy, joy, summer,

is the color of light, the brightest color of the color wheel. Just like red, the
yellow has the ability to enhance the shapes of objects and furniture in a
environment, due to its great capacity for expansion.
The use of this color in halls, corridors, and places with low lighting is
interesting, because in addition to illuminating, yellow also provides the feeling of
expansion of space. This color is associated with intellect, ideas, and inquiry.
mental, and it is no coincidence that many adopt yellow to "serve as a substitute" in their
private office.

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 Despite being vibrant, yellow is capable of conveying various sensations of
well-being, hope and the feeling that everything will be fine. Other sensations
The ones obtained by yellow are related to brightness, youthfulness, and joy.

FIGURE 32–ROOM EXUDES JOY AND COMFORT WITH SHADES OF YELLOW

SOURCE: Available at:[Link]

Trends in Interior DesignAccessed on Nov. 30, 2012.

GREEN

Green is a very welcome color in warm environments and regions. This

cor reflects freshness, calmness, serenity, stability, health, and well-being. With
easy green-toned environments promote mental balance, harmony, and
a sense of rest and relaxation. This color softens emotions, facilitates the
correct reasoning expands awareness and understanding. Green is the very

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image of security, protection, and comfort that many aspire to create in a
environment.

FIGURE 33 - LIVING ROOM WITH A FRESH AIR, ACHIEVED WITH

Citrus Green Tone

SOURCE: Available at[Link]

[Link]#>Accessed on: Nov. 30, 2012.

BLUE

The blue refers to cold, to the sea, to the sky, and produces feelings such as peace, the

serenity and harmony. Just like green, blue conveys freshness and serenity,
however, with a dynamism greater than green. Blue conveys trust, respect,
tranquility and sophistication and for being part of the cool spectrum, for its quietness and

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trust, promotes devotion and faith. Blue is a popular color associated with duty,
to beauty and to skill.

FIGURE 34–BLUE CREATES CALM, SERENE, AND A

PECULIAR BEAUTY

SOURCE: Available at: <[Link]

Accessed on November 30, 2012.

PURPLE/INDIGO

Purple, violet, and lilac tones are the clear figure of fantasy, mystery,
spirituality, dream, mysticism and at the same time, delicacy. Depending on the

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tonality can also create calm and serene environments. Artistic gifts,
tolerance and consideration are associated with the colors purple and violet.

FIGURE 35–SPACIOUS AND SOPHISTICATED BATHROOM ABUSES THE TONES

ROSES, VIOLETS AND LILACS IN THE SLATE COATINGS,
MARBLE, CERAMIC AND TILES

SOURCE: Available at[Link]

purple-decoration-total/>Accessed on: November 30, 2012.

BEIGE

Beige (or pastel) tones are the great wildcard of design projects.
Interiors. Used to balance and also to compose masterfully, neutral tones.
as greens and raw foods are always welcome in sober and classic compositions, and
never go out of style.

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 A great advantage of neutral tones is also that hardly anyone
will get "tired" of a project with these tones. Beauty, nobility, sophistication, and tradition.

These are some sensations conveyed by this admirable color.

FIGURE 36 - CLASSIC BEDROOM IN NEUTRAL TONES ALLUDES TO

Comfort, coziness, and sophistication

FONTE: Disponível em: <[Link] Acesso em: 30 nov. 2012.

BROWN

Just like beige hues, brown provides the sensation that

everything is permanent, solid and secure. It is the color of stability, especially when
used in furniture and accessories. The brown color also accepts combinations with colors

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opposite and contrasting, such as this pistachio green used in the composition of
living room below:

FIGURE 37 - CLASSIC COMPOSITION WITH FURNITURE, UPHOLSTERED AND

WOODEN PANEL IN COFFEE BROWN TONES CONTRASTS WITH
DETAILS AND LIGHTING IN PISTACHIO GREEN

SOURCE: Available at: <[Link]

Accessed on: November 30, 2012.

ROSA / PINK / MAGENTA

Pink tones, from the lightest to the most intense, never go out of style.
unnoticed in a design composition. Long labeled as a
in strictly feminine and delicate colors, the shades of pink, fuchsia, and magenta have gained strength

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in the world of design, thanks to discoveries of new combinations and uses.
Regardless of the tone, pinks express delicacy, affection, warmth and
energy.
Yellowed roses (known as "antique rose") belong to the category of
light tones, and they pair very well with dark and heavy tones, like blue
marine or brown coffee. Roses derived from the simple mixture of white with
red is a classic in girls' room decoration. When mixed with other
colors, like citrus green, for example, bring an air of joy and freshness, and still leave
from the monotonous and predictable line.

FIGURE 38 - CLASSIC COMPOSITION WITH ROSE IN FEMALE ROOMS

SOURCE: Available at: <[Link]

Accessed on November 30, 2012.

The pink and magenta tones are dramatic, modern, and stimulate the
people, and in commercial ventures, raise the vibrations. Pink and magenta
they are also welcome in residential settings and, when combined with
more modern furniture gives the environment a bold and sophisticated air. It adapts
very well with touches of black, which brings a lot of glamour to the composition.

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FIGURE 39–PINK AND MAGENTA TONES FLEE FROM USUAL DELICACY
ROSE

.
SOURCE: Available at: <[Link]
Accessed on: November 30, 2012.

END OF MODULE I

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