design

Interior Design - the design process

2011-11-04T08:00:00.000-04:00

Interior Design is the planning, layout, and design of the interior spaces within a building........

including functional improvement,

aesthetic enrichment,

psychological enhancement of the interior space.

design is rational thoughts based on knowledge, gained through research and experience

design criteria

function and purpose
utility and economy
form and style

image and meaning

intuition and imagination adds dimension to your design

phases of design

statement of problem> - pre design
collection of data>
analysis of data>
programming>
design concept>
design development>
construction documents

pre - design
analysis
collection of data
field measurements
document existing conditions

tools - Internet, city/town hall, site visits, photos

programming
Architectural programming is the systematic process of gathering and analyzing information about a building or other setting, and then using that information to create guidelines for the performance of that setting. The total design process includes two stages: programming and design. In programming, the parts of a design problem are separated and identified. In design, these parts are put together to form a coherent design solution. The first task for any designer, and perhaps the most important, is determining the requirements of a proposed building or site—the programming.

conceptual design
brain storm
based on data program
basic ideas form

tools-
adjacency matrix - hierarchy of spaces
bubble diagrams - spatial relationships
quick sketches - look at many solutions
design images

schematic design
major functional and spatial relationships
develop your best concepts
start basic sketches
assign square footage

tools-
trace paper, design images

design development
finalize schematic - choose best design
start final drawings
chose materials, lighting, systems

tools-
auto cad, Internet, materials library

construction drawings
assign all dimensions
all materials selected

presentation

Lighting Design

2011-11-04T07:09:00.000-04:00

Church of Light - Osaka, Japan

Notre Dame Du Haut -Ronchamp, France

This is blog will cover the basics of interior lighting. It will provide terminology, design ideas, and drawing symbols. Lighting is one of the most important elements in designing interior spaces, it is truly a science of it's own right. Many Interior Designers will consult with Lighting Designers for a variety of ideas, and problem solving.

Design

Walt Disney concert hall

A Lighting Designer-Meets the needs of the people who use the space.
-Selects cost-effective and energy-efficient products most appropriate for the project.
-Creates an innovative lighting solution that achieves the perfect balance of function and aesthetics.
-Solves the unique lighting challenges of a wide range of interior and exterior environments.
-Strengthens and enhances any space through creative, yet functional, lighting plans.

Technical Information

Below are symbols for use in lighting plans; these symbols are standards that have been set up by ANSI - American National Standards Institute.
click on images to enlarge
Drawing Types
typical lighting plan
reflected ceiling plan

Terminology
Glossary of Typical Lighting Terms
BAFFLE: A single opaque or translucent element used to control light distribution at certain angles.BALLAST: A device used to operate fluorescent and HID lamps. The ballast provides the necessary starting voltage, while limiting and regulating the lamp current during operation.CANDELA: Unit of luminous intensity, describing the intensity of a light source in a specific direction.
COLOR RENDERING INDEX (CRI): A scale of the effect of a light source on the color appearance of an object compared to its color appearance under a reference light source. Expressed on a scale of 1 to 100, where 100 indicates no color shift. A low CRI rating suggests that the colors of objects will appear unnatural under that particular light source.
COLOR TEMPERATURE: The color temperature is a specification of the color appearance of a light source, relating the color to a reference source heated to a particular temperature, measured by the thermal unit Kelvin. The measurement can also be described as the "warmth" or "coolness" of a light source. Generally, sources below 3200K are considered "warm;" while those above 4000K are considered "cool" sources.
COMPACT FLUORESCENT: A small fluorescent lamp that is often used as an alternative to incandescent lighting. The lamp life is about 10 times longer than incandescent lamps and is 3-4 times more efficacious. Also called PL, Twin-Tube, CFL, or BIAX lamps.
CONTRAST: The relationship between the luminance of an object and its background.
DIFFUSE: Term describing dispersed light distribution. Refers to the scattering or softening of light.
DIFFUSER: A translucent piece of glass or plastic sheet that shields the light source in a fixture. The light transmitted throughout the diffuser will be redirected and scattered.
DOWNLIGHT: A type of ceiling luminaire, usually fully recessed, where most of the light is directed downward. May feature an open reflector and/or shielding device.FLUORESCENT LAMP: A light source consisting of a tube filled with argon, along with krypton or other inert gas. When electrical current is applied, the resulting arc emits ultraviolet radiation that excites the phosphors inside the lamp wall, causing them to radiate visible light.
FOOTCANDLE (FC): The English unit of measurement of the illuminance (or light level) on a surface. One footcandle is equal to one lumen per square foot.
GLARE: The effect of brightness or differences in brightness within the visual field sufficiently high to cause annoyance, discomfort or loss of visual performance.ILLUMINANCE: photometric term that quantifies light incident on a surface or plane. Illuminance is commonly called light level. It is expressed as lumens per square foot (footcandles), or lumens per square meter (lux).
INDIRECT GLARE: Glare produced from a reflective surface.
LED: Abbreviation for light emitting diode. An illumination technology used for exit signs. Consumes low wattage and has a rated life of greater than 80 years.
LENS: Transparent or translucent medium that alters the directional characteristics of light passing through it. Usually made of glass or acrylic.
LOUVER: Grid type of optical assembly used to control light distribution from a fixture. Can range from small-cell plastic to the large-cell anodized aluminum louvers used in parabolic fluorescent fixtures.
LUMINAIRE: A complete lighting unit consisting of a lamp or lamps, along with the parts designed to distribute the light, hold the lamps, and connect the lamps to a power source. Also called a fixture.
MR-16: A low-voltage quartz reflector lamp, only 2" in diameter. Typically the lamp and reflector are one unit, which directs a sharp, precise beam of light.
REFLECTANCE: The ratio of light reflected from a surface to the light incident on the surface. Reflectances are often used for lighting calculations. The reflectance of a dark carpet is around 20%, and a clean white wall is roughly 50% to 60%.
REFLECTOR: The part of a light fixture that shrouds the lamps and redirects some light emitted from the lamp.
RECESSED: The term used to describe the doorframe of a troffer where the lens or louver lies above the surface of the ceiling.
TROFFER: The term used to refer to a recessed fluorescent light fixture (combination of trough and coffer).
UNDERWRITERS' LABORATORIES (UL): An independent organization whose responsibilities include rigorous testing of electrical products. When products pass these tests, they can be labeled (and advertised) as "UL listed." UL tests for product safety only.WALLWASHER: Describes luminaires that illuminate vertical surfaces.
WORK PLANE: The level at which work is done and at which illuminance is specified and measured. For office applications, this is typically a horizontal plane 30 inches above the floor (desk height).
LIGHTING EDUCATION WEBSITE
ergonomic lighting survey

Final Project - Interior Design - SMCC coffee shop

2011-10-28T07:41:00.000-04:00

SMCC - Coffee Shop / Bus Stop

Located on

Fort Street

; the existing bus stop leaves something to be desired. With Maine winters being long and quite cold and spring rainy and wet; a new shelter is needed. You are given the challenge to create a new bus stop with seating for 20 in an enclosed heated shelter, and covered exterior seating for 10. Along with the bus stop you will create a coffee stand/shop that can be accessed from inside of the bus stop, as well as outside (walk up window). You will be given a basic footprint in which all programming requirements must be considered.

You will need to consider a variety of elements, such as-

-View and site line for those waiting for the bus.

-Surrounding buildings and vegetation

-Traffic flow at entrance and exits; also circulation in coffee areas.

- Equipment and storage to run a small coffee shop.

-Seating arrangements, will fixed or movable seating be more appropriate.

To begin -

- research and collect data on coffee/bus stops, ie. what equipment and furnishings are needed

-create a concept that will support your design decisions. retain any images that inspire you and support your concept

-create bubble diagrams to layout schematics of the space.

-create a drawing of the front facade, will your building emulate the details on the surrounding buildings, or stand out with its own defining elements.

Once the schematic design has been approved –

-create a rendered floor plan, elevations, and furniture plan to scale.

- research and collect images of furnishings that will be used.

- research and select appropriate finishes for your space, all spaces will be considered – ceilings, walls, floors

- create a finish board; include any lighting or signage ideas.

Drawings to include- (may be done by hand or on the computer)

Floor Plan – ¼” = 1’-0”

Lighting Plan

Floor Pattern Plan

Furniture Plan

Interior Elevations - ½”=1’-0”

Materials board

Bring to each class

Conceptual images, research, and ideas

Roll of trace paper

Sketch Book

Architectural scale ruler

Pencils, markers

Drawing equipment

Rendering tools

helpful hints and websites......

read my blog the design process

advanced fabrication

design layout

analogous color schemes

2011-10-21T08:05:00.002-04:00

color meaning

2011-10-21T08:04:00.001-04:00

Red
Red is the color of fire and blood, so it is associated with energy, war, danger, strength, power, determination as well as passion, desire, and love.
Red is a very emotionally intense color. It enhances human metabolism, increases respiration rate, and raises blood pressure. It has very high visibility, which is why stop signs, stoplights, and fire equipment are usually painted red. In heraldry, red is used to indicate courage. It is a color found in many national flags.
Red brings text and images to the foreground. Use it as an accent color to stimulate people to make quick decisions; it is a perfect color for 'Buy Now' or 'Click Here' buttons on Internet banners and websites. In advertising, red is often used to evoke erotic feelings (red lips, red nails, red-light districts, 'Lady in Red', etc). Red is widely used to indicate danger (high voltage signs, traffic lights). This color is also commonly associated with energy, so you can use it when promoting energy drinks, games, cars, items related to sports and high physical activity.
Light red represents joy, sexuality, passion, sensitivity, and love. Pink signifies romance, love, and friendship. It denotes feminine qualities and passiveness.Dark red is associated with vigor, willpower, rage, anger, leadership, courage, longing, malice, and wrath.Brown suggests stability and denotes masculine qualities.Reddish-brown is associated with harvest and fall.

Orange
Orange combines the energy of red and the happiness of yellow. It is associated with joy, sunshine, and the tropics. Orange represents enthusiasm, fascination, happiness, creativity, determination, attraction, success, encouragement, and stimulation.
To the human eye, orange is a very hot color, so it gives the sensation of heat. Nevertheless, orange is not as aggressive as red. Orange increases oxygen supply to the brain, produces an invigorating effect, and stimulates mental activity. It is highly accepted among young people. As a citrus color, orange is associated with healthy food and stimulates appetite. Orange is the color of fall and harvest. In heraldry, orange is symbolic of strength and endurance.
Orange has very high visibility, so you can use it to catch attention and highlight the most important elements of your design. Orange is very effective for promoting food products and toys.
Dark orange can mean deceit and distrust.Red-orange corresponds to desire, sexual passion, pleasure, domination, aggression, and thirst for action.Gold evokes the feeling of prestige. The meaning of gold is illumination, wisdom, and wealth. Gold often symbolizes high quality.

Yellow
Yellow is the color of sunshine. It's associated with joy, happiness, intellect, and energy.
Yellow produces a warming effect, arouses cheerfulness, stimulates mental activity, and generates muscle energy. Yellow is often associated with food. Bright, pure yellow is an attention getter, which is the reason taxicabs are painted this color. When overused, yellow may have a disturbing effect; it is known that babies cry more in yellow rooms. Yellow is seen before other colors when placed against black; this combination is often used to issue a warning. In heraldry, yellow indicates honor and loyalty. Later the meaning of yellow was connected with cowardice.
Use yellow to evoke pleasant, cheerful feelings. You can choose yellow to promote children's products and items related to leisure. Yellow is very effective for attracting attention, so use it to highlight the most important elements of your design. Men usually perceive yellow as a very lighthearted, 'childish' color, so it is not recommended to use yellow when selling prestigious, expensive products to men – nobody will buy a yellow business suit or a yellow Mercedes. Yellow is an unstable and spontaneous color, so avoid using yellow if you want to suggest stability and safety. Light yellow tends to disappear into white, so it usually needs a dark color to highlight it. Shades of yellow are visually unappealing because they loose cheerfulness and become dingy.
Dull (dingy) yellow represents caution, decay, sickness, and jealousy. Light yellow is associated with intellect, freshness, and joy.

Green
Green is the color of nature. It symbolizes growth, harmony, freshness, and fertility. Green has strong emotional correspondence with safety. Dark green is also commonly associated with money.
Green has great healing power. It is the most restful color for the human eye; it can improve vision. Green suggests stability and endurance. Sometimes green denotes lack of experience; for example, a 'greenhorn' is a novice. In heraldry, green indicates growth and hope. Green, as opposed to red, means safety; it is the color of free passage in road traffic.
Use green to indicate safety when advertising drugs and medical products. Green is directly related to nature, so you can use it to promote 'green' products. Dull, darker green is commonly associated with money, the financial world, banking, and Wall Street.
Dark green is associated with ambition, greed, and jealousy.Yellow-green can indicate sickness, cowardice, discord, and jealousy.Aqua is associated with emotional healing and protection.Olive green is the traditional color of peace.

Blue
Blue is the color of the sky and sea. It is often associated with depth and stability. It symbolizes trust, loyalty, wisdom, confidence, intelligence, faith, truth, and heaven.
Blue is considered beneficial to the mind and body. It slows human metabolism and produces a calming effect. Blue is strongly associated with tranquility and calmness. In heraldry, blue is used to symbolize piety and sincerity.
You can use blue to promote products and services related to cleanliness (water purification filters, cleaning liquids, vodka), air and sky (airlines, airports, air conditioners), water and sea (sea voyages, mineral water). As opposed to emotionally warm colors like red, orange, and yellow; blue is linked to consciousness and intellect. Use blue to suggest precision when promoting high-tech products.
Blue is a masculine color; according to studies, it is highly accepted among males. Dark blue is associated with depth, expertise, and stability; it is a preferred color for corporate America.
Avoid using blue when promoting food and cooking, because blue suppresses appetite. When used together with warm colors like yellow or red, blue can create high-impact, vibrant designs; for example, blue-yellow-red is a perfect color scheme for a superhero.
Light blue is associated with health, healing, tranquility, understanding, and softness.Dark blue represents knowledge, power, integrity, and seriousness.

Purple
Purple combines the stability of blue and the energy of red. Purple is associated with royalty. It symbolizes power, nobility, luxury, and ambition. It conveys wealth and extravagance. Purple is associated with wisdom, dignity, independence, creativity, mystery, and magic.
According to surveys, almost 75 percent of pre-adolescent children prefer purple to all other colors. Purple is a very rare color in nature; some people consider it to be artificial.
Light purple is a good choice for a feminine design. You can use bright purple when promoting children's products.
Light purple evokes romantic and nostalgic feelings.Dark purple evokes gloom and sad feelings. It can cause frustration.

White
White is associated with light, goodness, innocence, purity, and virginity. It is considered to be the color of perfection.
White means safety, purity, and cleanliness. As opposed to black, white usually has a positive connotation. White can represent a successful beginning. In heraldry, white depicts faith and purity.
In advertising, white is associated with coolness and cleanliness because it's the color of snow. You can use white to suggest simplicity in high-tech products. White is an appropriate color for charitable organizations; angels are usually imagined wearing white clothes. White is associated with hospitals, doctors, and sterility, so you can use white to suggest safety when promoting medical products. White is often associated with low weight, low-fat food, and dairy products.

Black
Black is associated with power, elegance, formality, death, evil, and mystery.
Black is a mysterious color associated with fear and the unknown (black holes). It usually has a negative connotation (blacklist, black humor, 'black death'). Black denotes strength and authority; it is considered to be a very formal, elegant, and prestigious color (black tie, black Mercedes). In heraldry, black is the symbol of grief.
Black gives the feeling of perspective and depth, but a black background diminishes readability. A black suit or dress can make you look thinner. When designing for a gallery of art or photography, you can use a black or gray background to make the other colors stand out. Black contrasts well with bright colors. Combined with red or orange – other very powerful colors – black gives a very aggressive color scheme.

Color

2011-10-14T07:28:00.000-04:00

Interior Design - how big is......

2011-09-22T09:00:00.000-04:00

Bathrooms
stand up shower 36"X36" minimum
tub 30"X60" minimum
sink 16" from wall X 18" wide
toilet 27" from wall X 19" wide

Kitchen
dishwasher 24"X24"
cook top 40"X24"
oven 21"X24"
refrigerator - freezer on top -32"X21"
side by side - 36" X33"
side by side counter depth - 72" X24"

washer 27"X30"
dryer27"X29"

closet depth 24"-36" deep
cabinets are dimension increments of 3"
counter depth from wall 24", height is 30"
working counter height 36"-42" transaction height
48" clear space dimension between adjacent counters
18" minimum from under cabinet from counter surface
maximum reaching height over counter to above cabinet 72"max.

mattress sizes
twin 39"X 80"
double 54" X 80"
queen 60" X 80"
king 78" X 80"

Reading a Scale Ruler

2011-09-22T07:14:00.000-04:00

Architects use a triangle scale to make their drawings. The triangle scale is the one most often used because it gives the architect the ability to use a variety of scales in one instrument. There are typically 11 scales on a single triangle scale, plus an ordinary 12-inch ruler. The scaled rulers are used to draw building plans and for checking the dimensions when a building is under construction. Architects use the scale to measure out and draw the lengths of walls, doors and windows on paper in a way that will represent the building's real-life proportions.

Find the edge of the ruler that has the 1/4-inch designation on it. On the 1/4-inch scale, increments of 4 feet are equal to 1 inch. Most floor plans are drawn at 1/4-inch or 1/8-inch scale depending on the overall size of the building and the size of the sheet. A typical set of blueprints is done on 24- by 36-inch sheets or 30 - by 40-inch sheets.
Place the 1/4-inch scale on the piece of paper that has the floor plan you want to measure. Start with one wall on the outside perimeter, making sure to measure the outside line of the wall.
Align the "0" mark on the 1/4-inch scale with one end of the wall you are measuring. The numbers that correspond to the 1/4-inch scale are in increments of 2 feet.
Find the end of the wall you are measuring. Read the number on the 1/4-inch scale that is closest to the end of the wall. If the end of the wall does not exactly line up with a number on the 1/4-inch scale you will need to move the scale to the nearest whole number less than the wall length because that means the remainder of the measurement will be in inches. The number that you read at the end of the scale is your total measurement in feet for the wall you are measuring. Write this number down.
Go back to the end of the wall where you started measuring. You will notice the "0" mark does not align with the end of the wall anymore because you moved the scale on the other end of the wall to align with a whole number on the scale. You will now need to measure from the "0" mark to where the wall ends to measure the length in inches for the total wall measurement. The longer tick marks are in increments of 3 inches. Count the number of tick marks from "0" to end of the wall and you will have your inch measurement calculated. Write this number down next to the feet measurement you wrote down earlier and you have the total scaled measurement of the wall in feet and inches.

E-HOW

Interior Design - Bubble Diagrams

2011-09-16T08:11:00.001-04:00

How to Draw a Bubble Diagram

Bubble diagrams are free flowing concepts to help you start getting ideas for your design.
Begin by taking your base floor plan and laying your tracing paper over the top of it. Keep your site programming and any notes and photographs you’ve taken handy as you may want to reference them throughout the process.

To start designing you begin with a “bubble diagram”. This bubble diagram defines spaces within the base plan. Later on, these spaces will be further developed to include specific rooms, circulation, and designated spaces. Start by sketching various shapes and sizes of bubbles. These bubbles represent areas within the base plan. But by using this freehand type drawing you are free to be creative and not confined to any specific elements. This is the time to have fun with the design process.

Bubbles can represent different areas, and any other amenities you would like to have in your building. This diagram will provide a general organizational structure for a design. It is similar in effect to what an outline is for a written report. Remember, you are not concerned about specifics at this time, but rather overall design concepts. This is a creative function; don’t over think the process; just put your pencil to paper and start drawing circles, ovals, etc. and get some ideas flowing.

These diagrams are very critical to the overall design process. The reasoning behind doing several bubble diagrams is that they encourage you as a designer to explore various design solutions. This is an excellent time to experiment with overall shapes and decide things such as whether you want the design to be formal or informal. One common mistake people make is to get too specific while drawing the “bubble” diagrams. Getting too specific too soon makes you forget that there are other design possibilities available for the design.

As you are playing with your design, label your “bubble areas”. If you like, use colored pencils to distinguish your different areas. Compare the various sizes of your “bubbles” to make sure your areas are proportional. It is important to keep the appropriate scale of features and areas as you will transfer these ideas over to your final drawing.

Remember, several of the types of spaces to incorporate into your bubble diagram area as follows:
1) Private areas.
2) Public areas.
3) Circulation areas.

Interior Design - Assignment 1

2011-09-02T06:00:00.001-04:00

Google......Research....
head to the library,
or your favorite bookstore, check out...

Modern Architecture
Interior Architecture
Interior Design
Design Styles
American Designers
Interior Design Magazine
Dwell Magazine
Architecture Magazine
Frank Gehry
Michael Graves
Phillip Stark
and any other ideas, people, resources that will help you.....
Document your favorite Interior space.

Using a 8.5" X11" format, record this information in a graphically pleasing layout.
All photos must be accompanied with title, designer,
any pertinent information, and printed in color.
Be prepared to discuss your information with the class. This assignment is meant to be a way to share information with classmates, and in return learn from your classmates.
Due: September 9

Interior Design - Assignment #2

2011-09-01T09:00:00.001-04:00

Procure images of Architecture, Interiors, Art, or "Things" that convey the elements, and principles of design. You will record, and label your findings in your sketch book. You should be prepared to share your findings with the class.
Please read the text below, which shows images, and defines the elements and principles.
Due: September 16.

Principles of design are the laws of designing anything! In other words, to have a good design, you should consider these principles for the best design possible. Elements of design on the other hand are things that are involved within making a design. The major difference between principles and elements is that principles are rules you have to follow and elements are things that will help you complete those rules for the best project outcome.

Principles of Design, as said before, are the laws of designing anything! When making a design the seven principles are contrast, emphasis, balance, unity, pattern, movement, and rhythm. Consider each of these carefully for any design and you'll be a guaranteed a great project!

Contrast means showing differences in two different sections of the design or showing somehow that the design being created is very different from other designs because of its contrast. Contrast can also be used to show emphasis in any part of the design.

Emphasis is given to an area within the design because that area is meant to be seen or is more important to be noticed when compared to other places of the design. For example, your design might be to have white parallel lines going up and down. In the center of this design, you could have a circle. This circle would be a part on the design that is emphasized.

symmetrical

asymmetrical
Balance means keeping your design like a pattern. A balanced pattern would be if you had a border on your pattern in black. Unbalanced would be if approximately one-third of the border was orange and the other two-thirds in pink. To keep your design balanced, make your measurements as accurate as possible. Keeping your design symmetric is a good technique for good balance, but not necessarily the best for all types of designs.

Unity means keeping your design in a sort of harmony in which all sections of the pattern make other sections feel complete. Unity helps the design to be seen as one design instead of randomness all around your design.

Pattern is simply keeping your design in a certain format. For example, you could plan to have wavey lines all around your design as a pattern, but then you must continue those wavey lines throughout the design for good patterns. It wouldn't look good if suddenly you stopped all the wavey lines and drew a picture of a dog.

Movement is the suggestion or illusion of motion in a painting, sculpture, or design. For example, circles going diagonally up and down from right to left could show that the design moves up and to the right or down and to the left.

Rhythm - Repetition is the movement or variation characterized by the regular recurrence or alternation of different quantities or conditions. In simpler words, it's just like pattern and shows that the design has a 'beat' or 'flow' going with it. A plain white box has almost no rhythm what so ever.

Elements of Design, as said before, are things that are involved within making a design. The seven elements of design are color, value, texture, shape, form, space, and line. Elements of design will help your design look a lot more unique from other designs, and can help make the design symbolize anything!

Color is an easy one. Just make sure your designs color is right for the mood! Also make sure that each section's color matches another section's color. Colors is probably the biggest element to pay attention to.

Value is the relative darkness or lightness of a color. Just as said in the paragraph above, make sure the colors you put on your design are dark or light enough for the proper mood. If you want to show a sad figure in your design, most people would give the design a darker value. On the other hand to show happy children playing around most people would recommend lighter colors.

Texture helps your design to be distinctive or have identifying character and characteristics. With the proper texture, your design will look more fascinating than the average design.

Shape is something distinguished from its surroundings by its outline within your design. You can make your whole work a certain shape besides the common square, and then have shapes within the design shape. This makes the design more complex.

Form is similar to the idea of shape. Form is the structure of your design and how everything in the design looks like it's meant to go together. If the form is well planned and then carried out, it almost guarantees your design in black and white will be a success.

Space has to be included in your design. Space means leaving some blank areas. Why would you wanna leave parts of the design blank? Sometimes a humans eye needs space to feel comfortable, and space will let the humans eye distinguish the part that's meant to be noticed compared to just the background. Sometimes not including space in your design is ok, but make sure it doesn't make it look messy.

Line defines the position and direction of the design. If you have lines or shapes that seem to be running horizontally, then the design would seem like it's running in a left and right line. Make sure your design identifies some sort of line so that the human eye can recognize which side is the top of the design or on which side the design is suppose to start with interest.

Intro to Interior Design Syllabus AED 140.1

2011-08-19T09:44:00.001-04:00

Title: Introduction to Interior Design
Catalog Number: AED-140.1
Credit Hours: 3 (100 level)
Lecture (or Lab):
Instructor: Julie Brown - Zinchuk /Monica Dominak
Office Hours: by appointment
E-mail: jbdesign@maine.rr.com / mdesigns@maine.rr.com

Course Syllabus

Course Description and Objective

This course will introduce the student to the professional world of Interior Design. A brief History of Interior Design through out the years to the practical contemporary practice that it has become today will be taught. We will learn about all aspects of interior design: space planning, design phases, drawing types, space sequence, color theory, designing for the Americans with Disabilities Act (ADA), life safety codes, furnishings, materials, lighting, computer application, and the certification process.

Students will have a number of assignments, along with a sketch book to record and document the class information. A final presentation will demonstrate the variety of skills and information that the student has come to understand through out the class. Internet and personal research along with class participation is a major element for success in this class.

Required Materials

 Course Manual – 9” x 12” hard cover spiral bound sketch book
 Tools –Architectural Scale, “Sharpie” fine point markers, graph paper, and sketch paper, and various types of fasteners (glue, tape runner). You will need access to a printer. I will be forwarding information to you through email that will need to be printed out. There will also be other materials needed for you final project; these will be discussed in class.

Optional Textbook - Interior Design Illustrated by Francis Ching

All assignments and articles will be posted on my blog
check the blog often!
smccdesign-brown.blogspot.com

Grading
Your final grade for this course will be based on a combination of the following:
Class Participation / Research (30%) Attendance (20%)
Course Manual / Sketch Book / Final Presentation (50%)

Course Grade: A 93 - 100 A- 90 - 92.9 B+ 87 - 89.9
B 83 - 86.9 B- 80 - 82.9 C+ 77 - 79.9
C 73 - 76.9 C- 70 - 72.9 D+ 67 - 69.9
D 60 - 66.9 F 0 - 59.9

“I” Grades: A temporary grade of “I” may be given when a student has, due to extraordinary circumstances, failed to complete all required course work by the end of the semester. This assumes that the student has made a consistent and persistent effort up to the point the “circumstances” occurred and that MOST course work has been completed. The remaining work must be completed and a new grade submitted by the mid-point of the semester following receipt of the “I” grade. An “I” grade which is not changed during this period automatically becomes an “F”.

Projects/Sketch book (50 points)
You will receive a maximum of 50 points for your course manual (journal, sketch book), and Final Presentation. For these assignments I will be using the following grading criteria:
• Was the assignment submitted on time?
• Was there maximum effort and thought put into the assignment?
• Satisfactory completion of assignment content?
• Has the student fully research and developed an understanding of material?

Class Participation (30 points)
Class participation is mandatory. With open discussions and presentations students will develop and retain a better understanding of the course material. If you are not in class you can not participate!

Attendance (20 points)
Mandatory!
Attendance Policy
Attendance is critical to your success in this course. More than Three consecutive UNEXCUSED absences is reason enough to be dismissed from the course with a course grade of F. If you come into class after attendance has been taken, you will be considered absent for that day. If you don’t contact me as soon as you know you’re going to miss class, or at least by the day of class, it is likely that your absence will be considered unexcused.
Students are expected to attend all regularly scheduled classes. Poor attendance generally results in poor grades. Students having difficulties because of absenteeism should discuss this matter with their instructor and advisor. The faculty member or department chair has authority to establish attendance standards appropriate to their course, which will be included in the course syllabus.
A family emergency or personal illness may cause a student’s extended absence. Students who know that they will be out of class for three or more consecutive sessions must call the office of the Dean of Students to report the extended absence. The dean’s office will notify the faculty of the absence. Upon return to campus, the student is responsible for making arrangements to complete all course requirements at the discretion of the faculty member. In some cases it may not be possible to successfully complete all assigned work.
Students who register for a specific course section but do not attend any of the class meetings during the first three weeks of school will be considered and reported to the College Registrar as no shows. No grade will appear on the student's transcript nor will these courses be counted as credits attempted.

Teacher Evaluation
Students may evaluate the instructor online and anonymously by going to “Resources for Current Students” at the SMCC homepage and choosing “Evaluate Your Courses.”

ADA Syllabus Statement
Southern Maine Community College is an equal opportunity/affirmative action institution and employer. For more information, please call 207-741-5798.
If you have a disabling condition and wish to request accommodations in order to have reasonable access to the programs and services offered by SMCC, you must register with the disability services coordinator, Mark Krogman, who can be reached at 741-5629 (TTD 207-741-5667).
Further information about services for students with disabilities and the accommodation process is available upon request at this number.
Any part of this syllabus is subject to change at any time, and at the instructors discretion.

Interior Design Class Supply List

2011-08-18T09:05:00.000-04:00

Materials list for Introduction to Interior Design
Please bring to each class

Basic writing tools (pencil, pen)

eraser
scissors /x-acto knife

Spiral bound blank page sketch book 11X14 or larger.

rolling ruler

Architectural scale— Plastic 12" scale divided in
3", 1-1/2", 1", 3/4", 3/16", 3/32", 1/2", 1/4", 1/8" to the foot.
One division in 16 parts to the inch.

a variety of sharpies

Tape Runner or Rubber Cement

Graph/Grid Paper

2 Sheets of Foam Core (you will need this mid-semester)

Optional - Text Books

Interior Design - Yurt Project

2011-08-17T18:54:00.002-04:00

Project # 1
Not a tent, not a teepee, but a yurt. Yurts were originally nomadic shelters used on the high plateaus of Central Asia. Having proven themselves over centuries, they remain one of the oldest indigenous forms of shelter still in use today.
To Start......
Research Yurts, and yurt sizes.
select a location for your yurt. (e.g. mongolia, san fransisco, vermont)
Gather all your research and images and fix them into your sketch book.
Look for "mood shots" - images that show the type of mood/style you would like your yurt to emulate.

all design decisions will reflect the characteristics of the location.
research location for customs, design trends and styles.
You may choose a design style to style your yurt after (modern, art deco, primitive)

Yurt requirements..
Kitchen
refrigeration
cooking
food storage
food preparation
eating area

Living
central fire/heating element
seating
study
Bathroom
toilet
sink
shower
storage
Sleeping
accommodate 4 people
clothing storage

Drawing requirements
research/concept board
site plan
floor plan 1/4"=1'-0"
4 elevations (Including bath and kitchen) 1/2"=1'-0"
material/furnishings board

interesting blogs
the yurt foudation
long winter farm blog
spider springs yurtliving

Lighting

2011-04-19T07:46:00.005-04:00

Basic Types Of Lighting

Three are three basic types of lighting that work together.

Ambient (general lighting)
Task
Accent

A good lighting plan combines all three types to light an area according to function and style.

	Ambient lighting provides an area with overall illumination. Also known as general lighting, it radiates a comfortable level of brightness without glare and allows you to see and walk about safely. In some spaces such as laundry rooms, the ambient lighting also serves as the primary source of task lighting. It can be accomplished with chandeliers, ceiling or wall-mounted fixtures, recessed or track lights and with lanterns mounted on the outside of the home. Having a central source of ambient light in all rooms is fundamental to a good lighting plan.
	Task lighting helps you perform specific tasks, such as reading, grooming, preparing and cooking food. It can be provided by recessed and track lighting, pendant lighting and undercabinet lighting, as well as by portable floor and desk lamps. Task lighting should be free of distracting glare and shadows and should be bright enough to prevent eye strain.
	Accent lighting adds drama to a room by creating visual interest. As part of an interior design scheme, it is used to draw the eye to plants, paintings, sculptures and other prized possessions. It can also be used to highlight the texture of a brick or stone wall, window treatments or outdoor landscaping. To be effective, accent lighting requires as least three times as much light on the focal point as the general lighting surrounding it. Accent lighting is usually provided by recessed and track lighting or wall-mounted picture lights.

Fixture Shapes and Forms

Pendants can provide both task and ambient lighting. They are extremely popular and available in an unlimited range of styles, shapes and colors.

Equipped with shades or globes to avoid glare, they are suspended from the ceiling over kitchen counters, breakfast areas, game tables or other work areas. When used over bedside tables, they provide good task lighting and also free up the space occupied by table lamps.

The use of a dimmer provides you with the flexibility to vary the light to suit the occasion.

Bath/vanity fixtures supply task lighting, while supplementing the general lighting provided by ceiling fixtures. They are available in a wide range of styles, colors and shapes and are being used much more frequently today than the older bath/vanity lighting strips.

Newer versions of bath/vanity fixtures are available with either glass or fabric shades, which provide glare control as well as excellent task lighting for grooming, applying makeup or shaving.

Track lighting has undergone many changes in recent years. The trend in track lighting has been toward smaller fixtures, which are much less noticeable in the space. Track lighting is excellent for its flexibility and can provide ambient, task or accent lighting.

You can move, swivel, rotate and aim the individual fixtures in any direction along the track, giving you the versatility to change the lighting scheme when the need arises. With special attachments, you also can hang chandeliers and pendants from the track.

Rail lighting is increasing in popularity. As the demand grows for bendable, flexible rail lighting systems, rail lighting has been rejuvenated not only for function, but to add an additional decorative element to the space.

Recessed lighting can provide general, task and ambient lighting in a very subtle manner.

Installed in the ceiling with only the trim showing, recessed fixtures can be used anywhere in the home, including outdoors, under eaves and on porches. They are ideal for any type of ceiling, including tall ceilings, shorter ceilings and sloped ceilings.

Undercabinet fixtures offer both task and accent lighting. Mounted under kitchen wall cabinets, they provide excellent task lighting at the countertop. Used in display cabinets, they provide accent lighting for three-dimensional art and sculpture. In workshops or laundry rooms, they are an ideal source of task and ambient lighting.

They include slim, energy-efficient fluorescents, miniature linear lighting and strips of line or low-voltage xenon, halogen mini-lights or LEDs.
Portable lighting can deliver ambient, task and accent lighting while giving you the flexibility to move the light wherever you want. Table lamps, floor lamps and torchieres (floor lamps with an uplight component) are available in a variety of styles to complement your interior design. Small specialty lamps, such as clip-on-lights, adjustable task lights and desk and accent lamps, fill a variety of task, ambient and accent lighting needs.

Ceiling-mounted fixtures are excellent as a source of ambient lighting and are especially practical in areas with much activity, such as foyers, hallways, bedrooms, kitchens, baths, laundry rooms, playrooms and dens.

Wall-mounted fixtures can provide a unique sense of elegance and sophistication to any home. They can also furnish ambient, task and accent lighting. Many are designed to match and supplement chandeliers and other fixtures in sets or families.

They are excellent sources of light in foyers, hallways, bedrooms, living rooms, home offices and home theaters. Wall brackets also are often used for task lighting at the sides of bathroom mirrors.

Light Sources/Light Bulbs

The performance of any light fixture depends very much on the light source (bulb) used. Different bulbs produce different lighting effects, and many bulbs have widely varying performance. To save energy, select the most efficient light bulb that will provide the type of lighting you need.

Lighting Measurement Terminology
Wattage: The amount of electricity consumed by a light source
Lumens: The amount of light that a light source produces
Efficacy: Lumens per watt
Footcandles: The amount of light reaching a subject
Types of Bulbs
INCANDESCENT

Incandescent bulbs produce light when an electric current passes through a filament and causes it to glow. Because they are less energy efficient than other light sources, they are best used for task lighting that demands high levels of brightness.

Beginning in 2012, the U.S. Energy and Independence Act of 2007 will require most incandescent bulbs to produce the same amount of light using less wattage. Click here to learn more.

The types of incandescent bulbs available include:

General service incandescent bulbs are the inexpensive, readily available light bulbs that most of us think about when we hear "light bulb." They produce a warm, yellow-white light that is emitted in all directions and are available in either a clear or frosted finish. There are three basic shapes:

General (A)
Globe (G)
Decorative (Flame, teardrop and other shapes)
Reflectorized incandescent bulbs have a reflective coating inside the bulb that directs the light in one direction rather than all around.

Reflector (R) bulbs put approximately double the amount of light (footcandles) on the subject as General Service (A) of same wattage.

Parabolic Reflector (PAR) bulbs control light more precisely. They produce about four times the light of General Service (A) and are used in recessed and track lighting. Weatherproof casing makes them suitable for outdoor spot and flood fixtures.
Tungsten-halogen incandescent bulbs produce a brighter and whiter light than other incandescent bulbs. They also have a longer life and provide more light per watt than standard incandescent bulbs, making them a more efficient choice. Halogen bulbs are available in two types: line voltage (120 watt) and low voltage (12 volt).

Line Voltage (120 volt)

PAR 16, 20, 30 and 38 reflectorized bu lbs provide better beam control than regular incandescent PAR bulbs. They are available in numerous spot and flood beam spreads and are used in track, recessed and outdoor spot and floodlights.

T-3 Double-Ended bulbs are available in a variety of base types and are used in wall sconces, torchieres and outdoor flood lights. The direction of the light is controlled by the fixture.

T-4 Single-Ended bulbs come in both "mini-can" and "bayonet" base types and are used in wall sconces, bath brackets, torchieres and pendants. The direction of the light is controlled by the fixture.

Low Voltage (12 Volt)

MR8, MR11 and MR16 (mini-reflectors) provide excellent beam control, and their miniature size allows them to be used in smaller track and recessed fixtures. They are also used in outdoor landscape accent lighting fixtures.

PAR36 bulbs provide superior beam control, especially over long distances. They are used in track, recessed and outdoor landscape accent fixtures.

T-4 Bi-Pin bulbs are miniature bulbs used in pendants, halogen desk lamps and linear, low-voltage track systems. They are widely used in cove lighting and undercabinet lighting.

Xenon rigid-loop, festoon and wedge base bulbs have a white light similar to that of halogen but have a much longer life rating (some up to 20,000 hours, much like fluorescent) and operate at lower temperatures than halogen. These miniature bulbs are popular for strip, under-cabinet and cove lighting applications.
FLUORESCENT

Fluorescent bulbs produce light when an electric arc passes between cathodes to excite mercury and other gases producing radiant energy, which is then converted to visible light by a phosphor coating.

They use 1/5 to 1/3 as much electricity as incandescents with comparable lumen ratings and last up to 20 times longer. Compact types are used in smaller, trimmer fixtures such as recessed downlights, wall sconces, close-to-ceiling fixtures, and track lights. Screw-in types can be used in place of incandescents in standard lamp sockets. Available in a wide spectrum of colors. Warm white tones best duplicate the color of incandescents.
Today's fluorescent bulbs come in a wide selection of sizes and can produce warm tones of light similar to those of incandescents.
If your fixtures are on a dimming system, look for fluorescent bulbs labeled "dimmable."
Because fluorescent bulbs contain mercury, it is important to dispose of them properly.
Compact Fluorescent Lamps (CFLs) are small fluorescent bulbs that can be used in most types of lighting fixtures. The screw-in types can be used to replace incandescent lamps in standard lamp sockets.

T8 bulbs with electronic ballasts are commonly used in larger ceiling fixtures. Because of the electronic ballasts, they turn on instantly and do not hum. They are commonly used in commercial projects and are now being widely used in residential applications.
HIGH-INTENSITY DISCHARGE

High-Intensity Discharge (HID) bulbs produce light when an arc passes between cathodes in a pressurized tube, causing metallic additives to vaporize. They have long lives and are extremely energy efficient, but - with the exception of metal halides - they do not produce pleasing light colors. In residential settings, HIDs are most often used for outdoor security and area lighting.

There are four types of HIDs:
Metal Halide
High-Pressure Sodium
Low-Pressure Sodium
Mercury Vapor
LED

Light Emitting Diodes (LEDs) produce light when voltage is applied to negatively charged semiconductors, causing electrons to combine and create a unit of light (photon). In simpler terms, an LED is a chemical chip embedded in a plastic capsule. Because they are small, several LEDs are sometimes combined to produce a single light bulb.

LED lighting in general is more efficient and longer lasting than any other type of light source, and it is being developed for more and more applications within the home. LEDs are currently popular in under-cabinet strips and some types of downlights.

To ensure that you are purchasing an LED bulb with good color quality and energy efficiency that is as good or better than fluorescent bulbs, look for the ENERGY STAR symbol.

lighting design link

CEILINGS Materials

2011-04-12T08:52:00.002-04:00

Ceilings make up 1/6 of the planes in a space that we are able to make design decisions for.

Often they are just painted white, and basically ignored. In the following post I will show you some great ways to add substance to your ceiling.

Vaulted, Arched, or Domed

Wood Ceiling System

Acoustical Ceiling Tile - Suspended Ceiling

Pitched

Coffered

Tray Ceiling

Applied Moldings

Applied Wood Beams

Iron Canopy

Tin Ceilings

suspended

painted

Stucco

Trompe L'oeil

Bead board

interior finishes/materials WALLS!

2011-04-12T07:34:00.001-04:00

The painted wall

painted stripes

painted - faux finish

painted walls in prayer hall

painted adornment

stencils

decals

painting and stencils

adornment

paint tape- design

GLASS!
mirrors and trim pieces - great use of repetition

recycled bottles

glass blocks

etched glass

back lit glass

decorative glass

recycled glass

colored glass

mirror

tiles

frosted with company logo

glass floor

colored glass wall

water wall

wallcovering, wall paper, glued to the wall

paper tile

aluminum cans

crocodile

woven wood

wallpaper

wrapped fabric panels

jeweled wallcovering - maya romanoff

3d tiles

book

wood

stone

water

tiles

cork

denim

recycled metal

basic color theory

2011-03-08T09:37:00.000-05:00

color theory
What is color theory?
Color Theory is a set of principles used to create harmonious color combinations. Color relationships can be visually represented with a color wheel — the color spectrum wrapped onto a circle.The color wheel is a visual representation of color theory:According to color theory, harmonious color combinations use any two colors opposite each other on the color wheel, any three colors equally spaced around the color wheel forming a triangle, or any four colors forming a rectangle (actually, two pairs of colors opposite each other). The harmonious color combinations are called color schemes – sometimes the term 'color harmonies' is also used. Color schemes remain harmonious regardless of the rotation angle.

Monochromatic Color SchemeThe monochromatic color scheme uses variations in lightness and saturation of a single color. This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect. The monochromatic scheme is very easy on the eyes, especially with blue or green hues.

Analogous Color SchemeThe analogous color scheme uses colors that are adjacent to each other on the color wheel. One color is used as a dominant color while others are used to enrich the scheme. The analogous scheme is similar to the monochromatic, but offers more nuances.
Complementary Color SchemeThe complementary color scheme consists of two colors that are opposite each other on the color wheel. This scheme looks best when you place a warm color against a cool color, for example, red versus green-blue. This scheme is intrinsically high-contrast.

Split Complementary Color SchemeThe split complementary scheme is a variation of the standard complementary scheme. It uses a color and the two colors adjacent to its complementary. This provides high contrast without the strong tension of the complementary scheme.

Triadic Color SchemeThe triadic color scheme uses three colors equally spaced around the color wheel. This scheme is popular among artists because it offers strong visual contrast while retaining harmony and color richness. The triadic scheme is not as contrasting as the complementary scheme, but it looks more balanced and harmonious.

Tetradic (Double Complementary) Color SchemeThe tetradic (double complementary) scheme is the most varied because it uses two complementary color pairs. This scheme is hard to harmonize; if all four hues are used in equal amounts, the scheme may look unbalanced, so you should choose a color to be dominant or subdue the colors.

Chroma, intensity, saturation and luminance/value are inter-related terms and have to do with the description of a color.

Chroma: How pure a hue is in relation to gray

Saturation: The degree of purity of a hue.

Intensity: The brightness or dullness of a hue. One may lower the intensity by adding white or black.

Luminance / Value: A measure of the amount of light reflected from a hue. Those hues with a high content of white have a higher luminance or value.

Shade and tint are terms that refer to a variation of a hue.
Shade: A hue produced by the addition of black.
Tint: A hue produced by the addition of white.

Proportion & Intensity
When colors are juxtaposed, our eyes perceive a visual mix. This mix will differ depending on the proportions of allocated areas.
The color with the largest proportional area is the dominant color (the ground).Smaller areas are subdominant colors.

Accent colors are those with a small relative area, but offer a contrast because of a variation in hue, intensity, or saturation (the figure).
Placing small areas of light color on a dark background, or a small area of dark on a light background will create an accent.
If large areas of a light hue are used, the whole area will appear light; conversely, if large areas of dark values are used, the whole area appears dark.Alternating color by intensity rather than proportion will also change the perceived visual mix of color.

elevations

2011-03-02T17:55:00.000-05:00

Human Dimensions

2011-02-23T09:23:00.000-05:00

The following images are from Francis Ching's Book - Interior Design Illustrated
I highly recommend purchasing this book for any one in the design profession.
select on image to enlarge.

40 Guidelines of kitchen planning

2011-02-16T08:02:00.000-05:00

NKBA National Kitchen and Bath Association

1a.   Doorways at least 32" wide and not more than 24" deep in the direction of travel.
1b.   Walkways at least 36" wide.
1c.   Work aisles at least 42" wide for one-cook, at least 48" wide in multi-cook kitchens.
2.   Work triangle 26' or less, with no single leg shorter than 4' nor longer than 9'.
3.   No major traffic patterns should cross through the work triangle.
4.   No entry, appliance or cabinet doors should interfere with one another.
5.   In seating area, 36" of clearance from counter/table edge to wall/obstruction if no traffic passes behind seated diners. 65" clearance for walkway behind seated diners.
6.   Kitchens under 150 sq. ft.: 144" of wall cabinet frontage with cabinets at least 12" deep, 30" high with adjustable shelving. Kitchen over 150 sq. ft.: 186" wall cabinet frontage, with cabinets at least 12" deep, 30" high with adjustable shelving.
7.   At least 60" of wall cabinet frontage with cabinets at least 12" deep, 30" high, included within 72" of the primary sink centerline.
8.   Kitchens under 150 sq. ft.: 156" base cabinet frontage with cabinets at least 21" deep. Kitchens over 150 sq. ft.: 192" base cabinet frontage with cabinets at least 21" deep.
9.   Kitchens under 150 sq. ft.: at least 120" of drawer or roll-out shelf frontage. Kitchens over 150 sq. ft.: at least 165" of drawer or roll-out shelf frontage.
10.   At least five storage/organizing items located between 15" - 48" above the finished floor.
11.   At least one functional corner storage unit should be included.
12.   At least two waste receptacles should be included in the plan: one for garbage and one for recyclables.
13.   Knee space should be planned below or adjacent to sinks, cooktops, ranges and ovens. This space should be a minimum of 27" high by 30" wide by 19" deep.
14.   Clear floor space of 30" x 48" should be provided at the sink, dishwasher, cooktop, oven and refrigerator.
15.   A minimum of 21" clear floor space should be allowed between the edge of the dishwasher and any object which is placed at a right angle to the dishwasher.
16.   The edge of the primary dishwasher should be within 36" of the edge of one sink.
17.   The primary sink should be located between or across from the cooking surface, preparation area or refrigerator.
18.   At least 24" clearance between cooking surface and a protected surface above; or 30" clearance between cooking surface and an unprotected surface above.
19.   All major appliances used for surface cooking should have a ventilation system, with a fan rated at minimum of 150 CFM.
20.   Cooking surface not placed below an operable window unless window is 3" or more behind the appliance and more than 24" above it.
21.   Microwave ovens placed so bottom is 24" to 48" above the floor.
22.   At least two work counter heights: one at 28"-36" above the floor; and one at 36"-45" above the floor.
23.   Kitchens under 150 sq. ft.: at least 132" of usable counter frontage. Kitchens over 150 sq. ft.: at least 198" of usable counter frontage.
24.   At least 24" counter frontage to one side of the primary sink and 18" on the other side. The 24" must be at the same height as the sink.
25.   At least 3" countertop frontage on one side of secondary sink, 18" on the other side.
The 18" must be at the same height as the sink.
26.   At least 15" of landing space, minimum 16" deep, above, below or adjacent to
microwave oven.
27.   Open-ended kitchen: at least 9" counter space on one side of cooking surface and
15" on the other, at the same height as the appliance. Enclosed kitchen: at least 3" of clearance space at an end wall protected by flame retardant material; 15" on the other side at the same counter height as the appliance.
28.   At least 15" counter space on the latch side of the refrigerator or on either side of a side-by-side; or at least 15" counter space no more than 48" across from refrigerator.
29.   At least 15" of landing space, minimum 16" deep, next to or above oven if it opens into a primary traffic pattern. If it does not open into traffic, 15" x 16" landing space needed.
30.   36" continuous countertop at least 16" deep for the preparation center. This center should be immediately next to a water source.
31.   For two adjacent work centers, determine a minimum counter frontage: longest of the two required counter lengths and adding 12".
32.   No two primary work center separated by a full-height, full-depth tall tower configuration.
33.   Minimum clearances for seating areas:a. b. c.
30" high table/counter: 30" w x 19" d table/counter for each seated diner with 19" clear knee space. 36" high counter: 24" w x 15" d counter space for each seated diner with 15" clear knee space.
42" high counter: 24" w x 12" d counter space for each seated diner with 12" of clear
knee space.
34.   Open counter corners should be clipped or radiused; eliminate sharp corners.
35.   Controls, handles and door/drawer pulls operational with one hand.
36.   Wall-mounted room controls 15" - 48" above the finished floor.
37.   Ground fault circuit interrupters specified on all receptacles within the kitchen.
38.   Fire extinguisher visibly located in the kitchen, away from cooking equipment and 15"- 48" above floor.
39.   Window/skylight area equals at least 10% of total square footage of kitchen or total living space which includes the kitchen.
40.   Every work surface in the kitchen should be well illuminated by appropriate task and/or general lighting.

space planning

2011-02-15T21:38:00.000-05:00

basic drafting

2011-02-15T19:36:00.000-05:00

kitchens
island

u shape

eat in

galley kitchen

kitchen triangle

typical layout and dimensions

appliances

washer and dryer

refrigerators

ovens

cabinet sizes and elevations

LETTERING
PLEASE PRINT, AND HAND LETTER.

typical examples of floor plans

2011-01-23T12:41:00.000-05:00

Things to note:
all solid walls are poche'd , or solid
please note how windows are drawn
all doors swing into a room towards the wall
all rooms should be labeled
line hierarchy.....
solid walls/permanent items have darkest lines
mill work, cabinets, doors a draw a bit lighter, with
the lightest lines being movables furniture etc.
dashed lines represent items above counter top height
(example cabinet above, items on ceiling)

Introduction to Visual Art Syllabus

2011-01-18T18:12:00.001-05:00

Southern Maine Community College
South Portland, Maine 04106

Fine Arts Department
Title: Intro to Visual Art
Catalog Number: ARTH- 105
Credit Hours: 3    Total Contact Hours: 3
Instructor: Julie Brown-Zinchuk
Lecture (or Lab): Wednesday 3:00-5:45
Phone: E-Mail: jbrownzinchuk@smccme.edu

Course Syllabus

Course Description
The class serves as an introduction to the world of visual art. Through the use of a unique thematic approach we will explore topical threads that cross cultural and historical boundaries, leading from cave drawings to the present. Each class will feature a different inspirational theme – which will be explored through presentations, readings, writings, and studio projects in a variety of different media.

Course Objectives
Recognize and articulate an understanding of the concepts of visual art in academic and studio settings.
Employ comprehension and vocabulary of visual art concepts to engage in critical discussions.
Develop skills and experience working in a variety of art media.
Produce a portfolio of studio art work and a collection of critical writing.
Present and display finished work in a professional manner.

Course Requirements
Complete studio projects for critique deadlines; submit all completed projects for final critique.
Complete required readings and demonstrate comprehension in class discussion.
Complete a weekly journal of writing about art, participate in discussion about writings.
Actively participate in studio work, discussions and critique.
Deliver a research presentation/project.

Semester Outline
Introduction to Visual Art is organized thematically. Each week we will explore a different topic that has served as an important component to visual art. In class, we will explore the weekly topic through two components: the research and discussion of art history and theory, and the creation of a studio project. Outside of class students are required to spend a minimum of 2 hours a week working on projects. Each individual will be required to take a field trip to Portland-area gallery, museum, or artist studios.

Grading
Criteria for evaluation include: completion of assignments; level of self-challenge, time and effort spent; quantity and quality of work produced; understanding of concepts covered; and growth and development of aesthetic sensibility. Grades will be assigned as follows:
A   The highest level of commitment, effort and enthusiasm, demonstrated by working independently and carrying through ambitious and challenging projects. All assignments are complete, often taking more than the expected three hours per week.
B   A high level of effort and enthusiasm. The student demonstrates a sincere level of commitment and a devotion to learning the skills of the class. All or most assignments are complete.
C   A sufficient level of achievement in quantity and quality of work. Multiple assignments are incomplete or rushed.
D   Deficiency in commitment and accomplishment. Many assignments are incomplete.
F   Extreme deficiency in commitment, understanding and accomplishment. Very few assignments are attempted.

Your grade will be calculated as follows:
Studio Projects        40%
Research Project   40%
Participation        20%

Studio Projects Portfolio
Your Studio Projects Portfolio is defined as all of the studio art projects created in this class throughout the course of the semester. Each project will explore art-making in a different media. Ample class time, resources and access to facilities will be allotted for each project, but the student should plan to spend at least 1-2 additional hours per week working on studio projects, either at the Art Studio or at home. We will critique each studio project at the following class, and students are expected to rework projects based on class feedback. All studio projects will be presented at the end of class for the final review.

Participation
Your participation grade is made up of three parts: Participation, Preparedness and Attendance.

Participation:    Playing an active role in class discussions, exercises and critiques is essential to success in this class. The majority of seminars will consist of in-class lectures and studio projects that occur under the guidance of the instructor and in tandem with your classmates. Studio classes, group critiques, field trips and lecture days are all equally essential toward meeting the learning objectives of the course.

Please practice civility when in class. Honor your classmates’ opinions by listening during discussions and offer your own critique respectfully.

   And turn off your cell phones! Seriously.

Preparedness:    It is your responsibility to refer to the syllabus to know what assignments and readings are due and what materials are to be brought to each class. It is your responsibility to obtain the reading and proper art materials for the class. It is expected that you will arrive to class with the completed projects required for each group critique. Tardiness, un-preparedness, and nonparticipation will lower your participation grade.

Attendance Policy*: You are allowed two unexcused absences. After two absences your Participation grade will be automatically lowered by five points for each class missed. A student who misses five or more classes will be advised to drop the class. A student who misses three classes in a row will be automatically dropped from the class. Late arrivals and early departures may be considered as absences. If you miss a class, it is your responsibility to complete the assignments. You are expected to complete all exercises from classes you missed.

Research Project
Your Research Presentation consists of two parts: 1) a short 5-7 minute presentation on a topic of your choice. Your presentation must consist of equal parts historical/factual information and your own thoughts and opinions on your topic. Presentations are required to have a visual component, preferably a PowerPoint presentation. 2) A studio project of your own design inspired by the artist. Details will be discussed in class.

Materials
You are required to provide all of your own art supplies.
supplies may also be purchased at these fine stores:

Artist & Craftsman Supply, 772-7272, 540 Deering Avenue in Portland, at Woodfords Corner.
Art Mart, 775-4244, 554 Congress Street in Portland, in Maine College of Art’s Porteous Building.
Michael’s and A.C. Moore, two large art and craft supply stores, are out by the mall.

End-of-Course Evaluation
In order to gain access to final course grades, students must complete evaluations for all courses. Students can now evaluate their SMCC courses online and anonymously by going to Academics on the SMCC homepage and choosing Course Evaluations. This feature is typically available the last two weeks of every class (in most cases, this will be the last two weeks of the semester).

ADA Syllabus Statement
Southern Maine Community College is an equal opportunity/affirmative action institution and employer. For more information, please call 207-741-5798.

If you have a disabling condition and wish to request accommodations in order to have reasonable access to the programs and services offered by SMCC, you must register with the disability services coordinator, Mark Krogman, who can be reached at 741-5629. There will be some documentation for your teachers that must be supplied before accommodations can be given. Further information about services for students with disabilities and the accommodation process is available upon request at this number.

SMCC Pay-for-Print Policy
Students can print 100 pages per semester for free. If you print over 100 pages, you will be charged 10 cents per page to your Beacon Bucks account. Left over pages will roll over to the following semester but will zero out at the end of the academic year. A pilot project tracking public printing has shown that this amount of free printing meets the needs of the vast majority of students. The College's pay-for-print system monitors printing on all public printers (i.e., those in general access labs, library printers, the LAC, and technology labs). Each time you log in to the system, the print station displays the remaining print quota. Once the printing quota has been exceeded, users will be charged $0.10 per page on their Beacon Bucks accounts. Color printouts will be charged at 11-page units. This means each color printout will count as 11 pages toward the quota and cost $1.10. Students can add money to their cards using a credit card online.

Add-Drop Policy
Students who drop a course during the one-week “add/drop” period in the fall and spring semesters and the first three days of summer sessions receive a 100% refund of the tuition and associated fees for that course. Please note any course that meets for less than the traditional semester length, i.e., 15 weeks, has a pro-rated add/drop period. There is no refund for non-attendance.

Withdrawal Policy
A student may withdraw from a course only during the semester in which s/he is registered for that course. The withdrawal period is the second through twelfth week of the fall and spring semesters and the second through ninth week of twelve-week summer courses. This period is pro-rated for shorter-length courses. To withdraw from a course, a student must complete and submit the appropriate course withdrawal form, available at the Enrollment Service Center (no phone calls, please). The designation “W” will appear on the transcript after a student has officially withdrawn. A course withdrawal is an uncompleted course and may adversely affect financial aid eligibility. Failure to attend or ceasing to attend class does not constitute withdrawal from the course. There is no refund associated with a withdrawal.

Plagiarism Statement
Adherence to ethical academic standards is obligatory. Cheating is a serious offense, whether it consists of taking credit for work done by another person or doing work for which another person will receive credit. Taking and using the ideas or writings of another person without clearly and fully crediting the source is plagiarism and violates the academic code as well as the Student Code of Conduct. If it is suspected that a student in any course in which s/he is enrolled has knowingly committed such a violation, the faculty member should refer the matter to the College’s Disciplinary Officer and appropriate action will be taken under the Student Code of Conduct. Sanctions may include suspension from the course and a failing grade in the course. Students have the right to appeal these actions to the Disciplinary Committee under the terms outlined in the Student Code of Conduct.

READING #1 /Assignment #1 - Principles and Elements of Design

2011-01-17T11:23:00.003-05:00

Assignment 1

Find an image for each principle and element of design. Attach the images to an 8 1/2" X 11" sheet.

Label each image, and why it represents the element of principle. Total 12 sheets.

Due: next class

lighting symbols

2010-11-17T10:40:00.000-05:00

wall washing

wall mounted sconces

track lighting

ceiling mounted fixture

ceiling mounted pendants

The image below is a great example of a flexible lighting installation.

There is overall/ambient lighting in the ceiling with the use of recessed incandescent lighting.

Task lighting is achieved with under cabinet lighting, and decorative/task lighting with the ceiling mounted fixtures. There is also lots of natural lighting in this well lit kitchen.

Lighting Legend

lighting in elevation

check out this lighting plan

Interior Design Class 10/13/2010

2010-10-11T11:52:00.000-04:00

There is no formal class this Wednesday.
Your Assignment is to go out and find color images, paint, fabric, and finish swatches.
Paint swatches can be found at any paint, or hardware stores. Finish swatches can be found at Home Depot, or Lowes. Please bring as many magazines(any kind) as you can find to class on Monday.
Also bring your sketch book, scissors, double sided tape or paper glue.

On Monday Oct. 18th your yurt project is due, along with your color wheel project.

hand lettering

2010-09-25T09:48:00.000-04:00

Important tips for hand lettering.

keep your pencil sharp
always use guidelines
always use a straight edge for all vertical strokes
all letters are approximately the same size - square...except for M and W
do not erase guide lines
leave equal space between letters
use a hard pencil for guidelines - such as 2H, 4H
use a HB pencil for lettering
Press line slightly - ease up slightly then go again...Hit -Go -Hit
develop your own style concentrate on readability and consistency
horizontal lines should all be parallel to each other

Poor lettering can truly ruin a well drawn and rendered project.

most important PRACTICE !!!!

drawing types, reading a scale, lettering

2010-09-22T17:51:00.000-04:00

Plan View -
A view from above the building after a horizontal cut has been made 4' above the floor and the top part has been removed.

Interior Elevation -
A view from the front, back or side(wall).

Plan Oblique -
Paraline oblique drawing where parallel lines are projected from the plan at a 45 degree angle.

Freehand Sketching -
Drawing with only pencil and paper without the tools of manual drafting.

great website for drawing guidelines

Architectural Lettering -
Style of hand lettering/writing that is particular and standard to Architectural and Interior Design Drawings.
How to on you tube

Dimension -
Drawing information that gives the size and/or location of elements in plans, elevations, sections and details.

Line Weight -
Primary/Secondary/Rendition. The weight/thickness of the line communicates architectural information.
Line Quality -
Crispness/Blackness/Density. The quality of the line is in its consistency and appropriate line weight.

Scale -
Drawings are scaled so that the plan or elevation can be drawn on a standard sheet of paper. Architectural scales are generally given in fractions and Engineering scales are generally given in whole numbers.

reading an architectural scale video

Principles and Elements of Design

2010-03-22T08:04:00.001-04:00

Principles & Elements of Design

Principles of design are the laws of designing anything! In other words, to have a good design, you should consider these principles for the best design possible. Elements of design on the other hand are things that are involved within making a design. The major difference between principles and elements is that principles are rules you have to follow and elements are things that will help you complete those rules for the best project outcome.

Principles of Design, as said before, are the laws of designing anything! When making a design the seven principles are contrast, emphasis, balance, unity, pattern, movement, and rhythm. Consider each of these carefully for any design and you'll be a guaranteed a great project!
Contrast means showing differences in two different sections of the design or showing somehow that the design being created is very different from other designs because of its contrast. Contrast can also be used to show emphasis in any part of the design.
Emphasis is given to an area within the design because that area is meant to be seen or is more important to be noticed when compared to other places of the design. For example, your design might be to have white parallel lines going up and down. In the center of this design, you could have a circle. This circle would be a part on the design that is emphasized.
Balance means keeping your design like a pattern. A balanced pattern would be if you had a border on your pattern in black. Unbalanced would be if approximately one-third of the border was orange and the other two-thirds in pink. To keep your design balanced, make your measurements as accurate as possible. Keeping your design symmetric is a good technique for good balance, but not necessarily the best for all types of designs.
Unity means keeping your design in a sort of harmony in which all sections of the pattern make other sections feel complete. Unity helps the design to be seen as one design instead of randomness all around your design.
Pattern is simply keeping your design in a certain format. For example, you could plan to have wavey lines all around your design as a pattern, but then you must continue those wavey lines throughout the design for good patterns. It wouldn't look good if suddenly you stopped all the wavey lines and drew a picture of a dog.
Movement is the suggestion or illusion of motion in a painting, sculpture, or design. For example, circles going diagonally up and down from right to left could show that the design moves up and to the right or down and to the left.
Rhythm is the movement or variation characterized by the regular recurrence or alternation of different quantities or conditions. In simpler words, it's just like pattern and shows that the desing has a 'beat' or 'flow' going with it. A plain white box has almost no rhythm what so ever.

Elements of Design, as said before, are things that are involved within making a design. The seven elements of design are color, value, texture, shape, form, space, and line. Elements of design will help your design look a lot more unique from other designs, and can help make the design symbolize anything!
Color is an easy one. Just make sure your design's color is right for the mood! Also make sure that each section's color matches another section's color. Colors is probably the biggest element to pay attention to.
Value is the relative darkness or lightness of a color. Just as said in the paragraph above, make sure the colors you put on your design are dark or light enough for the proper mood. If you want to show a sad figure in your design, most people would give the design a darker value. On the other hand to show happy children playing around most people would recommend lighter colors.
Texture helps your design to be distinctive or have identifying character and characteristics. With the proper texture, your design will look more fascinating than the average design.
Shape is something distinguished from its surroundings by its outline within your design. You can make your whole work a certain shape besides the common square, and then have shapes within the design shape. This makes the design more complex.
Form is similar to the idea of shape. Form is the structure of your design and how everything in the design looks like it's meant to go together. If the form is well planned and then carried out, it almost guarantees your design in black and white will be a success.
Space has to be included in your design. Space means leaving some blank areas. Why would you wanna leave parts of the design blank? Sometimes a human's eye needs space to feel confortable, and space will let the human's eye distinguish the part that's meant to be noticed compared to just the background. Sometimes not including space in your design is ok, but make sure it doesn't make it look messy.
Line defines the position and direction of the design. If you have lines or shapes that seem to be running horizontally, then the design would seem like it's running in a left and right line. Make sure your design identifies some sort of line so that the human eye can recognize which side is the top of the design or on which side the design is suppose to start with interest.

color images

2010-02-22T07:38:00.000-05:00

RED

BLUE

YELLOW

GREEN

BLACK

WHITE

PINK

ORANGE

PURPLE

Furniture Dimensions

2010-02-07T21:51:00.000-05:00

drawing types

2010-01-29T18:50:00.001-05:00

Floor Plan – A drawing showing the length and breadth of a building and the location of the rooms which the building contains. Each floor has a separate plan.

Details – Are separate designs and are referenced on the plans. For the purposes of clarification, they are typically enlarged to identify specific materials or provide greater description. Details are often used in structural considerations…

Interior Elevations start at the finished floor elevation and stop at the ceiling. Interior Elevations show individual walls in specific rooms.

Balance

2010-01-24T10:28:00.002-05:00

Radial Balance
A circular composition in which the elements project
outward from a central core at regular intervals
like the spokes of a wheel.

Symmetrical Balance
is seen in perfectly centered compositions or those with mirror images.
In a design with only two elements they would be almost identical or
have nearly the same visual mass.

Asymmetrical Balance

is typically off-center or created with an odd or mismatched number of disparate elements. However, you can still have an interesting design without perfect symmetry.

proportion and balance

2010-01-23T17:38:00.000-05:00

A mysterious ratio of 1:1618 hovers between any two numbers in the series, reproducing the harmonious proportion known as "The Golden Mean". Thought to be a reflection of God's divine intention for an ordered cosmos, it was called "The Divine Proportion", and was given the name Phi.
This proportion
(roughly 3 to 5) has intrigued mathematicians and philosophers for centuries and was utilized by artists and architects in ancient Greece and Egypt. It can be observed in plant and flower design, proportions in the human body, and almost everything considered beautiful in the natural world and it is seen in the incremental spiral of the Nautilus shell.
Fibonacci spiral design demonstrates nature's way of building quantity without sacrificing quality. It has been deemed the most perfectly harmonious relation between a whole and its parts and is universally pleasing to human sensibilities.A well-proportioned human face adheres to this ratio. The dancing Shiva of Hindu mythology holds a Nautilus shell in one hand as an instrument through which he initiates creation.

Rule of Thirds and Balance
The rule of thirds says that most designs can be made more interesting by visually dividing the page into thirds vertically and/or horizontally and placing our most important elements within those thirds.For the rule of thirds, imaginary lines are drawn dividing the image into thirds. The most important elements are placed where these lines intersect (see diagram a.) In addition to using the intersections, it also helps to use a 2 to 1 ratio (thus dividing the image both horizontally and vertically into thirds) so that nothing is dead center, which makes for a static image. Instead, when placing the horizon line of a landscape, or the eye line of a person, use the lower or upper third as an approximate guide.

Interior Design Career Options

2010-01-10T18:15:00.000-05:00

Residential Design

Kitchen Design

Color Consultant

Commercial Design / Office

Health Care

Retail

Hotel / Resorts

Restaurant

Spa

Set Design

Furniture Design

Travel - Boat/ Cruise Ships / Air Plane

Lighting Design

Education

Historic Renovation

Museums

Audio Visual

Shipping Containers - Interior Design - AEDD140

2010-01-07T16:56:00.025-05:00

Create a residential dwelling and design studio using shipping containers.
shipping container video
container city
cubic inspirations website
Firmitas

Create a strong concept that will carry your ideas throughout all phases of the design.

Start by selecting a location for your dwelling

Is there a design style that you prefer?

mid century modern

rustic

Is there an image or photo that you like that could be your inspiration for your design?

typical dimensions

Research your location, and style. learn all you can and document it in your sketchbook.
Research information on container standards, sizes, materials...etc...

shipping container architecture

amazing artists

2009-11-30T20:10:00.001-05:00

Eric Daigh- push pin artist

devorah sperber - spools of thread, push pins, beads

Art 100 - on the grid

2009-11-23T18:25:00.000-05:00

Technical Illustration

2009-11-11T17:58:00.001-05:00

Final Project

Document existing conditions
1. sketch in 2 point perspective existing conditions of building.
2. In elevation locate and document all openings
3. plot and draw a site plan, include all existing conditions
4. document the space as needed, ie. photos, google maps...etc.

Design
A visiting artist studio space/ classrooms on the 1st floor,
and a residential apartment on a newly designed 2nd floor.
( 3rd floor ROOM may be considered)

Things to Consider
1. must maintain existing footprint
2. design a vestibule and entry space
3. amazing views
4. maximum flexibility in space
5. privacy in residential space
6. design style
7. circulation and layout

Great Concept = Great Design

Drawings and Criteria
1. Keep all conceptual work, including sketches, notes and research
2. Hand draw a minimum of one exterior 2 point perspective.
3. Exterior Elevations (all sides)
4. Basic floor plan of first floor studio classrooms, include basic furniture layout
( must include 2 classrooms @ 20ppl, and 2 ADA restrooms)
5. Extensive floor plan of residential space including
full kitchen, full bath, dining space, living space, bedroom, office, storage, and closet
6. Interior 45 degree paraline drawing of kitchen.
7. Basic Interior and exterior finishes which will be rendered on drawings.
8. One point perspective of interior view.

You will be graded on the following...
Quality of hand drawings
Quality of design
Quality of overall presentation
Attitude, attendance, and individual progress
(this post may change, please view often for updates)
Due Dates to be determined.

Interior Design

2009-11-11T17:29:00.000-05:00

Monday's class will be held at Capozza Flooring, on Warren Ave. in Portland.
The presentation begins at 9:30 promptly!

Capozza Flooring

pattern and motif

2009-10-26T17:23:00.004-04:00

Pattern is repetition of a form or shape.
It can be complex or a simple shape
It can be mirrored, or on a diagonal.
It can be used to form a grid, or a pattern from the repetition of the shape
It can be a single color or multiple colors
It can be a pattern printed on a pattern
It can be a motif
A Motif is a repeated idea, pattern, image, or theme.

a basic motif

Pattern can be a series of motifs used to create a image used in repetition of a pattern

quilt pattern

color wheel & value scale

2009-10-18T10:55:00.000-04:00

use 45 degree angle when shading your value scale

create this color wheel use the 3 primary colors only.
use 45 degree stroke with many layers to achieve the correct color.

print the drawing above on an 8.5 X11 sheet of paper.
render it to the best of your ability.
remember the following.....
color pair/compliments
color match/repeat
work from light to dark
leave white space
use earth tones.

color theory

2009-10-13T18:21:00.001-04:00

What is color theory?

Color Theory is a set of principles used to create harmonious color combinations. Color relationships can be visually represented with a color wheel — the color spectrum wrapped onto a circle.
The color wheel is a visual representation of color theory:
According to color theory, harmonious color combinations use any two colors opposite each other on the color wheel, any three colors equally spaced around the color wheel forming a triangle, or any four colors forming a rectangle (actually, two pairs of colors opposite each other). The harmonious color combinations are called color schemes – sometimes the term 'color harmonies' is also used. Color schemes remain harmonious regardless of the rotation angle.

Monochromatic Color Scheme
The monochromatic color scheme uses variations in lightness and saturation of a single color. This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect. The monochromatic scheme is very easy on the eyes, especially with blue or green hues.

Analogous Color Scheme
The analogous color scheme uses colors that are adjacent to each other on the color wheel. One color is used as a dominant color while others are used to enrich the scheme. The analogous scheme is similar to the monochromatic, but offers more nuances.

Complementary Color Scheme
The complementary color scheme consists of two colors that are opposite each other on the color wheel. This scheme looks best when you place a warm color against a cool color, for example, red versus green-blue. This scheme is intrinsically high-contrast.

Split Complementary Color Scheme
The split complementary scheme is a variation of the standard complementary scheme. It uses a color and the two colors adjacent to its complementary. This provides high contrast without the strong tension of the complementary scheme.

Triadic Color Scheme
The triadic color scheme uses three colors equally spaced around the color wheel. This scheme is popular among artists because it offers strong visual contrast while retaining harmony and color richness. The triadic scheme is not as contrasting as the complementary scheme, but it looks more balanced and harmonious.

Tetradic (Double Complementary) Color Scheme
The tetradic (double complementary) scheme is the most varied because it uses two complementary color pairs. This scheme is hard to harmonize; if all four hues are used in equal amounts, the scheme may look unbalanced, so you should choose a color to be dominant or subdue the colors.

Chroma, intensity, saturation and luminance/value are inter-related terms and have to do with the description of a color.

Chroma: How pure a hue is in relation to gray Saturation: The degree of purity of a hue. Intensity: The brightness or dullness of a hue. One may lower the intensity by adding white or black. Luminance / Value: A measure of the amount of light reflected from a hue. Those hues with a high content of white have a higher luminance or value.

Shade and tint are terms that refer to a variation of a hue.

Shade: A hue produced by the addition of black.
Tint: A hue produced by the addition of white.
Proportion & Intensity

When colors are juxtaposed, our eyes perceive a visual mix. This mix will differ depending on the proportions of allocated areas.

The color with the largest proportional area is the dominant color (the ground).
Smaller areas are subdominant colors.

Accent colors are those with a small relative area, but offer a contrast because of a variation in hue, intensity, or saturation (the figure).

Placing small areas of light color on a dark background, or a small area of dark on a light background will create an accent.

If large areas of a light hue are used, the whole area will appear light; conversely, if large areas of dark values are used, the whole area appears dark.
Alternating color by intensity rather than proportion will also change the perceived visual mix of color.

SMCC Gateway

2009-09-21T12:04:00.049-04:00

The Elements at Play 1999,
Brighton Jetty
Gavin with Margaret Worth

Assignment: Design a gateway to SMCC

Drawing Requirements:

Plan view showing landscape features

elevations

orthographic projection drawing

one point perspective

two point perspective

include....

hand lettering

shade and shadow
rendering techniques

Format 18"X24" poster

What is a Gateway?

gate·way (gāt′wā′)

noun

an entrance as in a wall, fitted with a gate
a means of access

Webster's New World College Dictionary

Thesaurus.com

Main Entry:	gateway
Part of Speech:	noun
Definition:	entry to place
Synonyms:	arch, entrance, entry, portal, pylon, toran

From Wikipedia, the free encyclopedia

A gateway is a point of entry or exit at which a gate may be hung.

Gates of LSU

St Louis Arch - Eero Sarrinen

The Gateway Arch is a massive stainless steel structure that towers 630 feet above the surrounding landscape. To the east of the Arch is the Mississippi River. Curvilinear, graceful staircases of toned concrete at the north and south ends provide access
to the Arch grounds from the riverfront.

rural ranch gateway

Japanese gateway details

dale chihuly

2009-09-15T09:31:00.000-04:00

Visual Art - doodling

2009-09-06T07:34:00.007-04:00

Bring to class on Tuesday sharpie pens.......extra fine, fine, and another size of your choice all in black. If you have a heavy weight white paper bring it along. If you have some favorite pieces of nature bring that as well...examples...driftwood, shells, flora and fauna, also wear comfortable shoes.
doodling helps you pay attention

design

Interior Design - the design process

Lighting Design

Final Project - Interior Design - SMCC coffee shop

analogous color schemes

color meaning

Color

Interior Design - how big is......

Reading a Scale Ruler

Interior Design - Bubble Diagrams

How to Draw a Bubble Diagram

Interior Design - Assignment 1

Interior Design - Assignment #2

Intro to Interior Design Syllabus AED 140.1

Interior Design Class Supply List

Interior Design - Yurt Project

Lighting

Basic Types Of Lighting

Fixture Shapes and Forms

Light Sources/Light Bulbs

CEILINGS Materials

interior finishes/materials WALLS!

basic color theory

elevations

Human Dimensions

40 Guidelines of kitchen planning

space planning

basic drafting

typical examples of floor plans

Introduction to Visual Art Syllabus

READING #1 /Assignment #1 - Principles and Elements of Design

lighting symbols

Interior Design Class 10/13/2010

hand lettering

drawing types, reading a scale, lettering

Principles and Elements of Design

Principles & Elements of Design

color images

Furniture Dimensions

drawing types

Balance

proportion and balance

Interior Design Career Options

Shipping Containers - Interior Design - AEDD140

amazing artists

Art 100 - on the grid

Technical Illustration

Interior Design

pattern and motif

color wheel & value scale

color theory

SMCC Gateway

Synonyms:

From Wikipedia, the free encyclopedia

A gateway is a point of entry or exit at which a gate may be hung.

dale chihuly

Visual Art - doodling