How do forms, shapes impact décor?
A successful design for any space requires shapes and forms that are not only nice individually but fits well collectively and are appropriate in function within the setting. A form is basically a series of lines enclosing a space.
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In other words, form as an element is the combination or arrangement of lines in such a way that they represent a shape from simple geometrics to complex objects.
The outlines of a form may appear straight, as in a cube or box or pyramid or they may be curved as in an apple or ball or a combination of straight and curved lines, as in a cone or a cylinder. Interestingly, every view of any object may give a different look or impression of the lines that formed it.
How does “form” impact décor?
Even though colour may appear more perceivable than forms or shapes because they require less response emotionally, designers always try to work out the forms of the objects in the décor first before colour and other elements.
Colour can be easily changed but a form can be very disturbing if it is not in harmony with the general décor.
Forms are harmonious if they have either the same or similar lines. For example, a football and a rugby ball both have curved lines, even though their forms are somewhat different, they are related by the lines they have in common.
Conversely, the outlines of a box and a ball are unrelated in form: the box is composed of straight lines and the ball of curved lines. But the decorator/designer must know how to harmonise objects with unrelated lines.
Harmonising unrelated lines and forms is therefore a very important skill that every decorator must seek to possess.
In every design concept, the space to be decorated is considered as part of the forms included in the décor. Translating the basic forms of design into decorating, we must see the normal room itself as a box or cube, having length, width and height.
All other items in the décor must work to fit within the form of the room to be decorated. For example if the room looks cylindrical, we have to consider arranging curved forms along the perimeter or circumference of the room.
In everyway we must make it a point to observe and take note the basic forms of every object we see or intend to use. As a matter of principle, try to look for an object’s form before you fall in love with its color and texture.
When we have developed our eyes for handling and harmonising form, we will find ourselves automatically being able to choose unrelated forms that will be in harmony and yet provide variety.