Classics, baroque, modernist style, minimalism, - in any style it is necessary to operate by base rules of construction of the inhabited space, one for all. Bases of design start with psychology of perception of the information the person. And, as laws of the nature, remain constant and uniquitous.

Influence of an environment to overestimate it is impossible. Our sincere condition and even health directly depends On it. The person who lives in the correct, comfortable environment, it is possible to allocate at once from thousand. There is it along the street, and to it it is good. Goes to the underground, sits on work, - the first, that in such it is visible - to well person. It has time "to be charged" at home for all day. Why it such? You at once will understand it, if will visit on a visit. There so it is good, that already the spirit grasps. Walls, a floor, a ceiling - all as is usual. If separately. And together all interior fills soul with remarkable feelings.

Let's study. To create beauty. And to live beautifully.

Bases of design. A rule of gold section

When we look at a picture, or on a wall of a room, all over again the information processes the right hemisphere, "technical". For multiple and precise proportions, recurrence of identical elements. Then, if right will not find for itself anything interesting, enters left, "humanitarian". It is responsible for an associative number, imagination, and other lyrics. If the artist will draw the most beautiful landscape on light, but the line of horizon in a picture will halve it exactly - anybody simply will not see beauty of this. The brain of the spectator will not apprehend any beauty because the "humanitarian" hemisphere "not will join" at all.

The rule of gold section says: any equal or multiple divisions. Only assimetrija and irrationality. It is necessary to combine two colors of wall-papers on walls on third on height? Measure third and still hardly.

Bases of design. Psychology of perception of the visual information Let's disassemble things and the phenomena from the grounds of a daily life. The picture Is pleasant or not. Conveniently, cosy in a room or not so. In consciousness the result acts only, and the head thus makes really greater analytical work.

At a sight at a picture we run a sight from the top left corner in bottom right. Always. Bar none. Right-handed persons and lefthanders. Then we start to wander on a picture a sight, stopping all over again it is simple on bright spots, and then on the elements bearing semantic loading.

Let's disassemble it on an example of geometrical figures.

Attitudes between these geometrical can be rather dramatic. Depending on their position, the image of a square and round get any emotional sounding.

And all because we look at a picture from the top left corner in right bottom, and figures we perceive by turns, means - in time, - means in operation.

In the first case the big square "hangs" above a ball. As though now will crush. Round, soft forms, and the smaller sizes of a ball it with small and good. An angular square here - "malicious", dangerous.

And in the second the ball "soars", as though departs from a square. The square now gives us feeling of confidence, validity, rest.

Bases of design. Energy and its absence

One in a minor, the second - in a major. The second - it is vigorous, on an arch, aspires upwards.

Bases of design. A major-minor

We perfectly know all, that this such. Here only we can not explain. What means it is possible to express emotional painting in an interior? First of all - color. Cold are a minor. Warm - a major. And a combination of colors of separate elements as an orchestra, we express already deep and rich emotional conditions.

Not less important carrier of emotions is the form.

In a picture " in a minor " the line of horizon ALWAYS falls from top to down. The major - a line of horizon rises

Arabs read from the bottom right corner in top left. And all perception of the visual information at them occurs just what isn't needed.

You only imagine - near to us there live people who perceive the world literally inside out.

I here all think - can, at them and in music the same? These viscous, abstruse minor songs invigorate them?

The form and color are indissolubly connected. If in painting artists subconsciously use all these receptions for expression of an emotional and sincere condition in an interior we reasonably limit emotional components. Imagine environment which constantly stimulates fun-loving mood. The joke about the girl whom on construction the brick has fallen to a head is involuntarily recollected. It only ïîñìåÿëàñü. And goes till now - laughs.

And still, using these expressive means, we can fill an interior with the rich, sated taste. Or, for gourmets, on the contrary - refined.

I beg you. Do not start repair, yet have not thought over the project entirely, down to furniture. Color of a floor or walls finally approve after will choose case furniture, colors of a upholstery on sofas. Kitchen. Let the preparatory stage will a little be tightened. But all will turn out well. I admit to you, I have made a mistake against which now you I warn.

In the autumn did repair in an apartment, in modern style. In a living room has decided to use the decision of type " Invisible furniture ". Assumed light facades on cases. Has bought there wall-papers of color " natural flax ". Has come it is time to order furniture - and I with horror have understood, that if to hang light facades - all room becomes too white. Boring. I live while with furniture without doors. I think what to do. I use, probably, doors in colour " a bleached oak ". It absolutely does not differ almost from my wall-papers. The "invisible" furniture really will turn out. "Will sit down" on walls, as poured in. Such business.

And how many at us was cases when clients all the same re-stuck new wall-papers after purchase of furniture!

Bases of design. Not decorative role of painting in an interior

Work of the present artist, instead of the handicraftsman, works wonders. It is possible to look at other picture simply since morning instead of çàðÿäêè. And all - has already woken up and it is ready to labour feats. Why it occurs? We shall not press in parapsychological underlying reason and any indemonstrable mysticism. You collide with other display of this mysterious energy every day ïîìíîãó time. It " feeling of a sight ". Look in the street in a back to the passer-by. Or on the fellow traveller in the underground. The person will turn back. And you, not noticing it, answer on hundred times on day to another's eyes.

Here such they - the main rules. Let we also were ran only on tops, gallop across the Europe, but you have already received the general representation. To a theme of this we shall come back yet time. If our reasonings have really interested you, Vasily Kandinsky's book " About spiritual in art " will be certainly interesting to you. It is one of few program works under the theory of painting. In a paper kind it to find it is already impossible.