Diagonal Lines

Diagonal Lines within Interior Decorating

Diagonal lines suggest movement and action. Because they are associated in the mind with motion of with the effort to counterbalance resistance they give animation to any composition in which they appear. Over-emphasized, they are restless and fatiguing. Used sparingly, as when a small poised figure like the Flying Mercury is placed in a quiet corner of a room, they possess an extraordinary charm.

Unless too strongly emphasized by color contrasts diagonals are often effective in rug design; partly because they are subordinated to and restrained by the straight lines of the border. They are objectionable in all-over carpets and especially objectionable in wall papers. Repetition of the same figure is a mechanical necessity in weaving or printing piece goods, and in the very large class of designs technically knows as drop patterns each motive or figure comes above and to the right and left of the same figure in each of the adjoining breadths. Unless the pattern is very skilfully drawn and colored, this arrangement is likely to create a series of diagonals, more or less marked according to the size and character of the design and vigour of the coloring. These diagonals give to any room in which they appear a quality of energetic and rhythmic movement always inartistic and tiresome and often almost intolerable. It must of course be noted that this objection does not lie against patterns formed by intersecting diagonals which result in a diaper of small diamond forms or rhombs, because the effect of movement created by the opposing lines.

In practice the decorator must also be on guard against inartistic diagonals in choosing upholstery fabrics. It is a common practice to use a boldly designed printed linen at the windows of a room and also as slip covers for some of the over-stuffed furniture. Many of the most strikingly decorative linens, especially those adapted from old Persian textiles, contain a sharply accented vine which runs obliquely from one side of the fabric to the other. This is of course unobjectionable in hangings, because the folds break the movement; but when the same pattern runs vigorously from the bottom of one side of a wide chair back to the top of the other side the effect is unpleasing, because it destroys the atmosphere of repose which it is one of the functions of such a chair to create.

Three Dimensions >>>>

Interior Decorating Course Interior Decorating Course
1. The Nature and Method of the Art | The Nature of Interior Decoration | The Method of Interior Decoration | 2. Fitness to Purpose | Interior Decoration Factors | Interior Decorator | Decorative Materials | 3. The Grammar of Decoration | Grammar of Decoration | Form and Color | 4. Line and Form | Line and Form | Curved Lines | Broken Vertical Lines | Diagonal Lines | Three Dimensions | 5. Color | The Nature of Color | The Study of Color | Complementary Colors | Color Constants | Color and Emotion | Color Binaries | 6. The Significance of Texture | The Significance of Texture | Harmonious Textures | 7. The Elements of Beauty | Elements of Beauty | The Human Mind | The Human Mind II | The Dominant Element | The Dominant Element 2nd Method | Reccuring Lines, Shapes and Echoed Colors | Repetition of Color | Perception of Beauty | Variety in Decoration | 8. The Law of Contrast | The Law of Contrast | Contrast and Comparison | Tone Contrast | Tranquility | Individual Feeling | 9. Proportion | Proportion | The Laws of Proportion | Proportions-Creation of a room | Proportions-Creation of a room II | Increasing & Diminishing The Apparent Size of a Room | The Arrangement of Furniture | Proportion-Individual Decorative Units | Instinctive Insistance of a Dominant Element | Basic Importance of Structure | Walls of a Room - Decoration and Proportion | 10. Balance | Balance | Decorative Weight or Power of Attraction | Fixed Decorations, Furniture & Small Unimportant Pieces | Bisymmetric and Formal Balance | Balanced Distribution of Pictures and Rugs | Structural Emphasis and Repose of Background Surfaces 11. Light and Shade | Light and Shade | Quantity and Intensity of Illumination | The Nature and Distribution of Light | Secondary Contracts between Background and Ornamental Objects | 12. The Dominant Hue | The Dominant Hue | Temperament in Decoration | Color to Supplement or Correct Nature | Choice of the Dominant Hue | Background Color | 13. Color Harmony | Color Harmony I | Color Harmony II | Diversity and Animation of Harmonies | Complementary of a Room | Triads in Decoration | Distribution and Intensity of Colors | Contrast - A Principle of Composition | Connecting Rooms Using Harmonious Color | 14. Ornament | Ornament | Naturalistic Ornament | Knowledge of Historic Ornament | 15. Excellence in Design | Excellence in Design - 1st Test of Excellence | Proper Use of Decorative Materials - 2nd & 3rd Tests of Excellence | Beauty in Design - 4th Test of Excellence | Designs with Walls and Wall Paper | Designs with Floor Coverings | Designs with Hangings | 16. Period Decoration Period Decoration | Different Styles in Different Periods | Decorating Traditions Handed Down from the Kings | Peculiar Styles and Decorations of Different Periods | 17. Conclusion | Conclusion

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