Design Basics, first year Interior Design , Dezyne E'cole College. www.dezyneecole.com

1. Interior Design
Paras Keswani 1st Year Residential Design Diploma NSQF Level-5 of NSDC
Dezyne E’cole College, www.dezyneecole.com
DESIGN BASICS

2. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic - Primary Elements ( Line , Shape ,Form )
1.Point – Indicate A Position In Space
2.Line – A Point Extended Becomes A Line With
Properties Of
• Line
• Direction
• Position
3. Plane A Line Becomes A Shape With Properties Of-
• Length & Width
• Shapes
• Surface
• Orientation
• Position
Top Plane Plane Orientation of the Shape
Vertex
Bottom
SurfaceEdge
Face
Top
Volume Orientation of the form
4. Volume – A Shape Becomes A Volume With Properties Of -
• Length , Width And Depth
• Form And Space
• Surface
• Orientation
• Position

3. Paras keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic - Primary Elements ( Line , Shape ,Form )
Shape:
The Characteristics Outline
Or Surface Configuration Of A
Particular Form Shape Is The
Principal Aspect By Which We
Identify And
Categorize Forms.
Square
Cube
Triangle
Pyramid
Circle
Cylinder Cone
Size:
The Physical Dimensions Of Length
Width, And Depth Of A Form. While
These Dimensions Determine The
Proportions Of A Form, Its Scale Is
Determined By Its Size Relative To
Other Forms In Its Content.
Floor WallCylinderPillar

4. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic - Primary Elements ( Line , Shape ,Form )
Position:
The Location Of A Form Relative To
Its Environment Or The Visual
Within Which It Is Seen.
Orientation:
The Direction Of A Form Relative
To The Ground Plane, The Compass
Points, Other Forms, Or To The Person
Visual Inertia:
The Degree Of Concentration And
Stability Of A Form. The Visual Inertia
Of A Form Depends On Its Geometry
As Well As Its Orientation Relative To
The Ground Plane, The Pull Of Gravity,
And Our Line Of Sight.

5. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic - Primary Elements ( Line , Shape ,Form )
Dimensional Transformation:
A Form An Be Transformed By Altering
One Or More Of Its Identity As A
Member Of A Family Of Forms.
Subtractive Transformation:
A Form Can Be Transformed By Subtracting
A Portion Of Its Volume. Depending On The
Extent Of The Subtractive Process, The Form
Can Retain Its Initial Identity
Additive Transformation:
A From Can Be Transformed By The Addition
Of Elements To Its Volume.
Idea generation
Idea generation

6. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic - Primary Elements ( Line , Shape ,Form )
Dimensional Transformation – A Form
Can Be Transformed By Altering One Or
More Of Its Dimensions And Still Retain
Its Identity As A Member Of A Family Of
Forms.
Subtractive Transformation– A Form Can
Be Transformed By Subtracting A Portion
Of Its Volume. Depending On The Extent
Of The Subtractive Process, The Form Can
Retain Its Initial Identity
Additive Transformation –A Form Can Be
Transformed By The Addition Of Elements
To Its Volume.
Idea Generation
Idea Generation
Idea Generation

7. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic -Plane
Overhead Plane -
The Overhead Plane Can Be Either The
Roof Plane That Spans And Shelters The
Interior Spaces Of A Building From The
Climatic Elements, Or The Ceiling Plane
That Forms The Upper Enclosing Surface
Of A Room.
Wall Plane -
The Wall Plane, Because Of Its Vertical
Orientation, Is Active In Our Normal Field
Of Vision And Vital To The Shaping And
Enclosure Of Architectural Space.
Base Plane -
The Base Plane Can Be Either The Ground
Plane That Serves As The Physical
Foundation And Visual Base For Building
Forms, Or The Floor Plane That Forms The
Lower Enclosing Surface Of A Room Upon
Which We Walk.

8. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
BASE PLANE
A Horizontal Plane Lying
As A Figure On A
Contrasting Background
Defines A Simple Field
Of Space. This Field Can
Be Visually Reinforced In
The Following Ways
BASE PLANE
DEPPRESED BASE PLANE
A Horizontal Plane
Depressed Into The
Ground Plane Utilize The
Vertical Surfaces Of The
Lowered Area To Defines
A Volume Of Space
DEPPRESED BASE PLANE
Topic – Horizontal Elements Defining Spaces.

9. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
ELEVATED BASE PLANE
A Horizontal Plane
Elevated Above The
Ground Plane Establishes
Vertical Surfaces Along Its
Edges That Reinforce The
Visual Separation Between
Its Field And The
Surrounding Ground
ELEVATED BASE PLANE
OVERHEAD PLANE
A Horizontal Plane
Located Overhead
Defines A Volume Of
Space Between Itself
And The Ground Plane
OVERHEAD PLANE
Topic – Horizontal Elements Defining Spaces.

10. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
ELEVATED BASE PLANE
OVERHEAD PLANE
BASE PLANE
DEPPRESED BASE PLANE
Topic – Horizontal Elements Defining Spaces.

11. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic - Primary Elements ( Line , Shape ,Form )
DEPPRESED BASE PLANE
ELEVATED BASE PLANE
OVERHEAD PLANE
BASE PLANE

12. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic – Vertical Elements Defining Spaces.
Top Plan Front ViewIsometric View
Top Plan Front ViewIsometric View
Top Plan Front ViewIsometric View
Parallel Plane
U-shaped Plane
Four Plane
Two Parallel Vertical Planes
Define A Volume Of Space
Between Them That Is Oriented
Axially Toward Both Open Ends
Of The Configuration
A U-shaped Configuration Of
Vertical Planes Defines A Volume
Of Space Is Oriented Primarily
Toward The Open End Of The
Configuration
Four Vertical Planes Establish
The Boundaries Of An
Introverted Space And Influence
The Field Of Space Around The
Enclosure

13. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic – L-shaped Configuration Of Planes
L-shaped Configuration Of Planes
An L-shaped Configuration Of Vertical Planes
Defines A Field Of Space Along A Diagonal
From Its Corner Outward. While This Field Is
Strongly Defined And Enclosed At The
Corner Of The Configuration, It Dissipates
Rapidly As It Moves Away From The Corner.
The Introverted Field At The Interior Corner
Becomes Extroverted Along Its Outer Edges.
L-shaped Configuration Of Planes
While Two Edges Of The Field Are Clearly
Defined By The Two Planes Of The
Configuration, Its Other Edges Remain
Ambiguous Unless Further Articulated By
Additional Vertical Elements, Manipulations
Of The Base Plane, Or An Overhead Plane.
Top Plan
Top Plan
Isometric View
Isometric View
Front View
Front View

14. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
If A Avoid Is Introduced To One Side
Of The Corner Of The Configuration
The Definition Of The Field Will Be
Weakened
The Two Planes Will Be Isolated From
Each Other And One Will Appear To
Slide By And Visually Dominate The
Other
If Neither Plane Extends To The
Corner, The Field Will Become More
Dynamic And Organize Itself Along
The Diagonal Of The Configuration
Top Plan Isometric View Front View
Top Plan Isometric View Front View
Topic – L-shaped Configuration Of Planes

15. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
Top Plan Isometric View Front View
Parallel Vertical Plane:
A Pair Of Parallel Vertical
Planes Defines A Field Space
Between Them. The Open
Ends Of The Field, Established
By The Vertical Edges Of The
Planes. Give The Space A
Strong Directional Quality.
Its Primary Orientation Is
Along The Axis About Which
The Planes Are Symmetrical.
Since The Parallel Planes Do
Not Meet To Form Corners
And Fully Enclose The Field.
The Space Is Extroverted In
Nature.
Topic - Parallel Vertical Planes

16. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
3D view
The Spatial Field Can
Be Expanded By
Extending The Base
Plane Beyond The
Open Ends Of The
Configuration. This
Expanded Field Can In
Turn Be Terminated By
A Vertical.
If One Of The Parallel
Planes Is Differentiated
From The Other By
Chance In Form , Color ,
Or Texture A Secondary
Axis , Perpendicular To
The Flow Of The Space ,
Will Be Established
Within The Field
3D view
Topic – U-Shaped Planes

17. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic – U-Shaped Planes
3D view
Top plan Isometric view Front view
A U- Shaped Configuration
Of Vertical Planes Define A
Volume Of A Space That Is
Oriented Primarily Toward
The Open End Of The
Configuration..
U- Shaped Plane:
The Open End Is Primarily
Aspects Of The
Configuration By Virtue Of
Its Uniqueness Relative To
The Other Three Planes. It
Allows The Field To Have
Visual And Spatial
Continuity With Adjoining
Space.

18. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic – U-Shaped Planes
If The Configuration Of Planes Is Rectangular And Oblong In Form, The Open End Can Be Along Its Narrow Or Wide Side. In Either Case, The
Open End Will Remain The Primary Face Of The Spatial Field, And The Plane Opposite The Open End Will Remain The Primary Face Of The
Spatial Field, And The Plane Opposite The Open Ends Will Be The Principal Element Among The Three Planes Of The Configuration.
If The Plane Of The Opening Is Further Defined With Columns Or Overhead Elements, The Definition Of The Original Field Will Be Reinforced
And Continuity With The Adjoining Space Will Be Interrupted.
3-D View

19. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic – Color Wheel
Primary
Analogous
Hue
Secondary
Intermediate
Complementary
Split-Complementary
Tint
Shade

20. Topic – Color Scheme
Y
B R
RV
V
BV
RO
O
YOYG
G
BG
NEUTRALIZING COLORS
Red + Green
Red – Orange + Blue – Green
Orange + Blue
Yellow – Orange + Blue – Violet
Yellow + Violet
Yellow – Green + Red - Violet
PRIMARY
The three colors from which all colors are created
SECONDARY
Created by mixing equal portions of two primary colors
BLUE YELLOW RED
YELLOW + RED = ORANGE RED + BLUE = VIOLET BLUE + YELLOE = GREEN
Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By

21. Topic – Color Scheme
TERTIARY
Created by mixing equal portions of one primary and secondary color
YELLOW + ORANGE =
YELLOW - ORNAGE
RED + ORANGE =
RED - ORANGE
RED + VIOLET =
RED - VIOLET
BLUE + VIOLET =
BLUE- VIOLET
BLUE + GREEN =
BLUE- GREEN
YELLOW + GREEN =
YELLOW - GREEN
COMPLEMENTARY
Colors that are directly opposite each other on the color spectrum. When two complementary colors are mixed ,
they neutralize each other by creating brown. For example
VIOLET + YELLOW = NEUTRAL RED + GREEN = NEUTRAL BLUE + ORANGE = NEUTRAL
Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By

22. Topic – Color Scheme
Hues opposite the color wheel
Complementary colors are more intense, and ‘vibrate” when placed
next to each other as they compete for your attention
One of the complementary colors is split off into a pair of
neighboring hues
COMPLEMENTARY COLORS
SPLIT COMPLEMENTARY COLORS
ANALOGOUS COLORS
TRIAD COLORS
Colors that neighbor one another on the color wheel
Hues appear to “push” at each other, creating an optical illusion where
ache zone appears larger when it has your attention.
Hues equidistant on the color wheel
Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By

23. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic – Color Scheme
Y
B
R
C
V
BV
RO
M
RM
YG
G
BG
Y – Yellow
YG – Yellow Green
G – Green
BG – Blue Green
C – Cyan
B – Blue
VB – Violet Blue
V – Violet
M – Magenta
RM – Red Magenta
Complementary contrasting color
Spilt complementary colors
Analogous colors
Triad colors

24. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
Warm
Colors
Cool
Colors
Neutral colors
Cool/ Warm/ Neutral
Colors
Cool colors
Warm colors
Neutral colors
Topic – Warm Cool Neutral Colour

25. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted By
Tints Tons Shades
Colors
Adding Grey
Tones
Adding Black
Shades
Adding White
Tints
Tints
Shades
Tons
Tints
Tones
Shades
Topic – Tints Tone And Shades

26. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
The Psychology Of
Color
RED ORANGE
RED
Conveys Boldness,
Drama, Romance,
Power, Passion, &
Even Danger.
VIBRANT
Reds Can Heighten
Senses, While
Earthy Red Tones
Create Warmth
And Comfort
PERFECT
For A Dining Area,
An Accent Color
On One Wall, Or As
The Main Color In
A Small Space
ORANGE
Conveys
Friendliness,
Happiness,
Innovation, Energy,
& Fun
WARM
Orange Colors
Attract Attention,
Making A Space
Feel Approachable
And Welcoming
PERFECT
For An Entryway,
The Kitchen Or As
An Accent For
Bookcase And
Shelves
Psychology Of Colour

27. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
BLUE PURPLE
BLUE
Conveys Strength,
Dependability,
Tranquility, Calm,
Freshness, &
Serenity
VERSATILE
Blues Can Create A
Mood That Is
Cheerful And
Refreshing Or
Reflective And
Intellectual
PERFECT
For The Main
Bedroom Ceilings
And Making Small
Rooms Feel Larger
(With Pale Shades)
PURPLE
Conveys Mystery
Regality,
Eccentricity,
Luxury, Exoticism
& Sophistication
ASA
Combination Of
Red And Blue ,
Purple Can Be
Dramatic Or
Subtle, Exciting Or
Calming
PERFECT
For A Formal Living
Room, A Kid’s
Bedroom, Or As A
Backdrop For
Antique Silver
The Psychology Of
Color
Psychology Of Colour

28. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
YELLOW GREEN
Conveys Optimism
Timelessness Hospitality,
Peacefulness, & Creativity
SUNNY
Uplifting Yellows
Can Promote
Communication
And Improve
Concentration
PERFECT
For A Breakfast
Nook Or To Brighten
Dark Hallways And
Rooms Without
Windows
Conveys Growth
Renewal,
Relaxation
Gentleness,
Reassurance,&
Safety
SOOTHING
Greens Are The
Color Of Nature.
So They Create A
Calming Feel-good
Atmosphere
PERFECT
For A Spa- Like
Bathroom Or A
Hushed Den Or
Library
YELLOW
The Psychology Of
Color
Psychology Of Colour

29. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
BROWN
Tones
Conveys security,
robustness,
warmth, stability,
earthiness, and
comfort
ORGANIC
Inviting browns
evoke scenes of
nature,
encouraging you to
slow down and
relax
PERFECT
For
counterbalancing
contrasting,
highlighting, or
toning down
others colors
Brown
The Psychology Of
Color
Psychology Of Colour

30. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
Colour Schemes
Analogous
ANALOGOUS
One Might Think Of Analogous Colors As Neighbors
Since They Are Adjacent To Each Other On The Color
Wheel. Analogous Colors Inherently Look Good
Together Since They Have Similar Origins. This
Scheme Is Often Found In Nature.
Orange Yellow Orange Yellow Green
ANALOGOUS
color Scheme

31. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
Colour Schemes
Complementary
Complementary
Complementary
Any two colors located opposite of each other On the
color wheel are termed complementary Colors. As
implied, complementary colors enhance Each other
and almost always look great together. You see this
scheme in many aspects of your everyday Life. For
example, the reds and greens of Christmas.
Red Green
color Scheme

32. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
Principles Of Design
Balance
BALANCE
Balance In Interior Design Refers To
Proper Distribution Of Objects In A
Room To Create Visual Balance Refers To
The Distribution Of Visual Weight Within
A Composition.
A Work That Is Unbalanced Visually
Creates Tension. Balance Is Created
When There Is An Equilibrium Of
Elements That Need Each Other And
Together They Create Unity.
Balance
Every Single Design Elements
Should Complete With Home
Interior .
Must Have Symmetrical And
Asymmetrical Balance
Pillow colors in
Exciting print to set
Off neutral colors
Use And Tables On
Either Side Of The
Sofa
Principles Of Design

33. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
Principles Of Design
Harmony
HARMONY
Harmony
Elements Should Work Together
Without Clashing
Create A Sense Of Peace
All Major Furniture In
The Same Color
Textures And Fabrics
Can Still Vary
Principles Of Design
The Name Implies Stresses On The Fact That
There Should Be A Sense Of Uniformity Or
Harmony Among All The Elements Used.
Interior Design Should Serve As A Visual
Guide For A Person To Understand A Living
Space, Without Harmony, The Visual Guide
Will Only End Up Confusing The Person.

34. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
RHYTHM
Principles of Design
Rhythm
The Design Principles That Suggested Connected
Movement Between Different Parts Of Design By
Using Colors, Lines, Forms, Or Texture Also Referred
To As Continuity. Rhythm Is Visual Flow. The Eye
Should Be Able To Flow Smoothly Across The Room.
Regular Repetition Of Lines, Shape., Or Colors That
Create A Movement. Patterns Have Rhythm.
Rhythm Refers To A Way Of Utilizing The Art
Elements To Produce The Look And Feel Of
Rhythmic Movement With A Visual Tempo Or Beat.
Rhythm Is A Feeling Of Structured Movement
Created By The Repetition Of Elements. Rhythm Can
Be Used To Design Repeated Elements And The
Space Between Then Make Patterns That We
Experience As Rhythm. This Helps To Give A
Composition Visual Harmony By Creating Unity In A
Layout. Examples Include The Repetition Of Similar
Shapes, Colors Or Textures.
Rhythm
Use Combinations Of Colors
Prints Or Shades
Use Different Shades And
Pattern To Create Best Visual
Integration
Fabrics Used In Sofa Curtains
Should Match With Your Sofa Wall Painting And Wall Art
Color Must Complete With
Your Sofa Upholstery
Principles Of Design

35. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
Principles of Design
Scale & Proportion
SCALE & PROPORTION
Proportion & Scale
Design Elements Should Match With The
Proportion Of The Residential Area
Avoid Using Large Patterns
And Oversize Cushions In A
Small Area
Principles Of Design
The Principle Of Scale And Proportion Ensure That
Objects Placed In A Space Look Like They Belong
To Each Other. Be It The Size, Dimension, Shape Or
Colour Of The Objects, A Harmony Should Be
Established Between Them And A Proportion Has
To Be Maintained. For Example, A High Ceiling
Environment Implies That High Rise Furniture
Should Be Preferred Over Low Rise Furniture
Should Be Ottomans. Also Under Stuffed Pillows
Would Make As Sofa Look Empty And Under
Accessorized, Thus Disrupting The Harmony And
Proportion That Is Supposed To Exist.

36. Paras Keswani
1st Year Residential Design Diploma
Dezyne E’cole College
www.dezyneecole.com
Submitted ByTopic –
EMPHASIS
Principles Of Design
Emphasis
Emphasis Is Also Referred To As Point Of Focus Or
Interruption. It Made The Locations In A Composition
Which Most Strongly Draw The Viewer’s Attention.
Usually There Is A Primary, Or Main Point Of Emphasis
With Perhaps Secondary Emphases In Other Parts Of
The Composition. The Emphasis Is Usually An Interruption
In The Fundamental Pattern Or Movement Of The Viewer’s
Eyes Though The Composition Or A Break In The Rhythm.
The Artist Or Designer Uses Emphasis To Call Attention To
Something Or To Vary The Composition In Order To Hold The
Viewer’s Interest By Providing Visual “Surprises”.
Emphasis
Some Designs Elements Should Be
More Important The Others
Decide On A Central
Point For A Room
Use A Furniture In Color
That Complement The
Central Point
Principles Of Design

37. Submitted ByTopic –
1st Year Residential Design Diploma NSQF Level-5 of NSDC
Dezyne E’cole College, www.dezyneecole.com
THANK YOU
PARAS KESWANI