Illustrated interior design

Author: Cheng Da jin
Publisher:
Publish Date: 2003-10-01
Features: When designing color coordination for indoor spaces, we must carefully consider the key tone and color distribution of the colors to be established, as well as the allocation of colors. Color coordination must not only meet the functional requirements of the space but also take into account its architectural characteristics. It is necessary to determine the colors of the main planes in the indoor space and how to use colors to modify their visual size, shape, scope, and distance. Which elements constitute the background, middle ground, and foreground respectively? Do they have architectural or structural characteristics? Should these characteristics be emphasized? Are they unnecessary elements that will be reduced in size? Traditionally, the largest surfaces in a room, such as its floor, walls, and ceiling, have a relatively neutral brightness. Against this background, the colors of secondary elements, such as large furniture or large-area rugs, can have stronger saturation. Finally, to achieve balance, small items, accessories, and other small-scale elements that need to be emphasized can have strong color saturation, thereby creating some eye-catching focal points. Neutral colors are flexible when combined. To achieve a more striking effect, the main areas of the room can use higher brightness, while secondary elements have weaker saturation. It is important to use large areas of strong colors with caution, especially in small rooms, as they can shorten visual distance and strain the eyes. Equally important as chromatic distribution is tonal distribution, which refers to the light and dark patterns in the space. Generally speaking, it is better to use colors with different brightness levels and use a series of medium-brightness colors as intermediaries. Unless a block effect is desired, avoid using equal areas of light and dark regions. Typically, large areas of low brightness are complemented by smaller areas of medium and high brightness. When the efficient use of light is particularly important, high-brightness colors are especially suitable. Dark colors can absorb most of the light in the space, leading to significant light loss. Another method of distributing brightness is to adopt the pattern of nature. In a tonal sequence, the color of the floor has low brightness, the surrounding walls have medium brightness, and the ceiling above has relatively high brightness. Of course, the distribution of brightness and their contrast will also depend on the size, shape, and scale of the space. Since low brightness (light values) tends to contract and high brightness (dark values) tends to expand, their layout can change our perception of the spatial volume. Texture is a specific quality of a surface that comes from its three-dimensional structure. Most of the time, texture is used to describe the relative smoothness or roughness of a surface. It can also be used to describe the surface qualities of common materials, such as the roughness of stone, the texture of wood, and the weaving method of textiles. There are two basic types of texture. Tactile texture is real and can be felt through touch; visual texture is what is seen with the eyes. All tactile textures are also