IS IT DRAPES OR DRAPERIES?

IS IT DRAPES OR DRAPERIES?

WRITE DESIGN by Gail Ingis, ASID*

Nope, it’s not working. How do I do this writing thing?

Writing takes more than putting words on paper. Like broadly-scoped art, there are applicable concepts. Writing is creative, right? Creativity and art are parallel, and in all art, there are similarities. Which tools do you use, blank sheet of paper versus blank canvas, keyboard versus sketching pencil,  paint brush,  camera . . .

Alfred Stieglitz

Each week my blog will utilize those concepts, like in the books of Dixon and Bickham in their writing or Georgia O’Keefe or Albert Stieglitz or John Singer Sargent in their art. For me, having been degreed and experienced in several arts, such as interior design, architecture, painting, photography, dance, criticism, like the writing of Goldberger or Muschamp, the concepts are similar. Concepts that will impact descriptions in your books.

Today I’m writing about the word “Drape.”

Is it Drapes or Draperies?

I have a bone of contention with the English-speaking world. Drapes is a verb, Draperies is a noun. I’ll explain. I learned the use of the word, drape/draperies at the New York School of Interior design BFA program. I bet you’re thinking it’s jargon. No. It’s grammar.

Me being curious about everything, I checked online to see if this issue had ever been addressed. Low and behold, I found a blog by Mark Scott Drapery Design from December 2009, in total agreement with me, so this blob is a reblog. It’s obvious that Mark understands English grammar, and he most likely has worked with NYSID* interior designers. Thanks Mark Scott!

Needless to say that I was delighted to find someone in this world, other than my design colleagues, that understand the use of the words. No more confusion.

Mark Scott’s reblog: Whenever asked this question I unequivocally respond, “Most definitely, Draperies.” You see, drape is a verb. To drape. As in, He draped his coat over the chair and looked menacingly into her eyes, as if to say, ‘Don’t even think about calling those beautiful window treatments drapes!’  Or, She draped her shawl over her shoulder, rolled her eyes while lighting a cigarette, and loudly asked, in an accusatory voice, ‘Where the hell did you get those god-awful drapes?’

Traditional Draperies 19th Century Greek Revival

Now, if you sell window treatments for a living, as I do, keep in mind that people do not want to pay good money for a verb. Verbs are fleeting. Always in motion and seldom ready to stand alone. They need a subject or object to lean on. People want something self-reliant, long-lasting – something that’s gonna stick around for a while – like a noun. It’s stationary, fixed, not goin’ anywhere and proud of it.

I prefer terminology that suggests longevity and permanence (and that will increase my income potential, of course). Let vagabonds and Philistines have their drapes. Give me my draperies, sir, or prepare to be publicly draped in insult and shame!

So Mark, maybe now our public will refuse to be shamed because they know how to use the verb drape and the noun draperies. Of course you can save yourself anguish if you say ‘curtain.’ But those are usually shorties that shrink your window, Oops did I say something naughty? Next week, we can talk about the difference between floor-to-ceiling draperies and short curtains covering the window only. Tricks to fool the eye, spoken from a pro. Now we are talking about writing descriptions in your book(s).

Thumbs up Mark!

Mark, may I give you a thumbs up for your skill with draperies? https://www.draperyguru.com/

Sheer Curtain Panels, Contemporary design with a draped valance gives these draperies a traditional flare.

 

 

 

*American Society of Interior Designers

*New York School of Interior Design

Indigo Sky for reader who enjoy historical romance! @AmazonKindle http://amzn.to/2nWqbcq Indigo Sky available on Amazon buy link: http://amzn.to/2j0LXLE
Author page: http://amzn.to/1K4GVQA

 

 

 

 

 

 

 

 

COLOR FOR INTERIOR DESIGN

COLOR FOR INTERIOR DESIGN

fireworks

Downtown Miami July 4, 2007 — The colors here are analogous, red/white/blue

In the last couple of weeks, my blogs addressed dark tones and color distribution. Color distribution is the industry phrase for the Law of Chromatic Distribution.

In this blog, please note that the discussion is about color basics and its application. The basics are applicable to all the arts, as well as to interior design.

A room is divided up by four areas:

  1. Dominant Areas—Walls, floor and ceiling
  2. Medium Areas—Draperies and large upholstered furniture, bedcoverings, etc.
  3. Small Areas—Small upholstered furniture, chair-seats, pillows, table covers, etc.
  4. Accents—Piping, welting or fringes on draperies and upholstery, lampstands or shades, pattern motifs in wallpapers and textiles.
Monochromatic color distribution

Sample of a Monochromatic color distribution

A color scheme is principally formed by the color used in the dominant and medium areas. The colors in the small areas and accents add punch, but are of less importance in the general effect of the composition. They can accentuate the colors used in the larger areas and sometimes help to tie the colors together for unity and harmony.

The basic color schemes: Monochromatic, monotone, complementary, analogous.

Monochromatic bedroom design

Monochromatic bedroom design

 

 

 

 

 

A monochromatic color scheme uses a single color on most every room surface. In this type of scheme, various darker shades, grayer tones, and paler tints of the main color may be included in the palette. In addition, the one color is often paired with white or another neutral. For example, a monochromatic room in gray might use single shade of gray paired with white. Yet it might also include dark blue upholstery fabric, pale gray walls, medium gray draperies in contrast with the walls, sometimes edging the draperies with a contrasting fringe or piping and welt the seams of the upholstered pieces in the same manner, also use a patterned area rug that includes both gray and white. The window and door trim as well as the ceiling might be painted in white.

Monotone livingroom

Monotone living room

A monotone color scheme uses a single neutral color, such as gray or taupe, in the same tones, values and intensity. Although it is well unified, to avoid monotony, add accents or create textural variety in fabrics, such as velvet, satin, tweeds, linen, tapestries, etc., or in types of furnishings, such as plexiglass, glass, chrome, bronze, or a variety of exotic woods. This type of color scheme can be elegant by its simplicity. It is useful as a backdrop for art of exceptional merit.

The Night Café, (1888), by Vincent van Gogh, used red and green to express what Van Gogh called "the terrible human passions."

The Night Café, (1888), by Vincent van Gogh, used red and green (complementary) to express what Van Gogh called “the terrible human passions.”

 

 

 

 

 

 

 

A complementary color scheme uses colors opposite each other on the color wheel, or the complement, such as green and red, blue and orange and purple and yellow. The distribution of these colors would vary in tone and value, as in pale green and soft pink, etc. In this scheme, a more agreeable harmony will be attained if each color is slightly tinged with similar colors to make them more appealing. So in that green and red scheme, it’s more visually appealing if the red is slightly tinged with yellow, (red-russet) and the green is also slightly tinged with yellow (citron). Or if the red is on the blue side (re-mulberry) the green should also be on the blue side (green-slate). For color

Impression, Sunrise by Claude Monet (1872) featured a tiny but vivid orange sun against a blue background. The painting gave its name to the Impressionist movement.

Impression, Sunrise by Claude Monet (1872) featured a tiny but vivid orange sun against a blue background (complementary). The painting gave its name to the Impressionist movement.

harmony, the same principle should be applied to the other complementary schemes and the proper color may be easily selected by inspecting the color wheel. Here’s a great website for you to explore about complementary colors: http://color-wheel-artist.com/complementary-colors.html.

Color wheel 1908

Color wheel 1908

color wheel wikiBezold_Farbentafel_1874

Color wheel

And for my artist colleagues, please note in the color circles what happens when you mix two complementary colors together on your palette. The three primaries when mixed with their secondary colors (complementary colors) all do the same thing, they neutralize each other. Yet, placed side-by-side they intensify each other. The color schemes can also be used in your paintings.

Analogous interior-resource, Pinterest

Analogous interior-resource, Pinterest

An analogous color scheme are any three adjoining hues in a 12 color wheel, or any three of six adjoining colors in a wheel of 24, as in the Miami fireworks image above. The colors can be used in any tonal or chromatic (intensity) values, as long as the law of chromatic distribution is maintained, (medium intensity on the dominant areas, etc.). In this type of scheme the colors close to each other always harmonize well. Using three colors of mutual tonal relationship is the safest selection. To avoid monotony, tonal variety is helpful, and it’s usually better to use one of the tones to dominate the others, by limiting the color of the walls to one color and repeat in small accents in other areas.

Pinterest illustration

Pinterest illustration of analogous color scheme. Any three colors from a 12 or 24 color wheel.

A basic color scheme will use two colors that look appealing together. More advanced color schemes involve several related colors in “Analogous” combination, for example, text with such colors as red, yellow, and orange arranged together on a black background in a magazine article. The addition of light blue creates an “Accented Analogous” color scheme.

There is much to explore in the color world, but hopefully, this blog gives you some understanding about how to color your life! Feel free to ask questions . . .

Fireworks: By Averette at English Wikipedia – Digital photo taken by Marc Averette.Transferred from en.Wikipedia; en:File:Miamifireworks.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=10573309

COLOR FOR INTERIOR DESIGN

COLOR FOR INTERIOR DESIGN

Ebony wood library shelves, white upholstery, colors from books and accessories. Varying textures to reflect and absorb light.

Color must be an integral part of room design and never an after-thought.  Colors that you choose are dependent on the adjacent colors. All colors have three parts, hue, intensity and tonal value.

Hue identifies the color, intensity is the brilliance of a hue, tonal value refers to the lightness or darkness of a color.

Light colors reflect light, dark color absorb light. Color is never experienced independently, but in combination with one of several textures, in different material types. For example, a glossy satin will have luster and light, while rough textures with its shadows will appear darker. Textured fabrics appear darker than smooth fabrics in similar colors (hues). Smooth surfaces that have a glaze or sheen reflect maximum light causing colors to appear lighter than fabrics with a dull finish.

Most rooms have natural and artificial light. Natural light is white, but in comparison to artificial light, it has a bluish appearance. Today artificial light comes in many choices, from encapsulated incandescent and fluorescent (white to warm tones if dimmed) and LEDs (white).

Mark Hampton sunny space with upholstery and draperies that reflect and absorb light.

The amount of natural light in a room depends upon window placement, the size of the windows, and the window coverings. Rooms with sunny exposure will be warmer than those with no sun, as in a northern exposure. In a room where natural light is not plentiful, the colors for walls and ceiling should be light in tonal value, on a scale from 1 (darkest) to 10 (lightest), use an 8 or 9 value. Upholstery and color accents may be slightly darker and brighter in intensity.

Mark Hampton dark walls, tall windows, natural light

Darker tones on the walls (value 4 or less), depending on the character of the room, can be painted in a semi-gloss or satin finish for light bounce. Paint in a semi-gloss gives light reflections that help to maintain the luminosity.

What do you think? Did this color talk arouse your curiosity, would you like more. How do you think artificial light affects color?

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