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1 | |
The theory of design is composed of: |
| | A) | a mixture of historical theories that have stood the test of time. |
| | B) | color, line, and space. |
| | C) | the principles and elements of design. |
| | D) | proportion and harmony. |
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2 | |
The primary distinction between a design principle and a design element is: |
| | A) | that principles are abstract and elements are concrete. |
| | B) | that principles are two-dimensional and elements are three-dimensional. |
| | C) | that elements are abstract and principles are concrete. |
| | D) | blurred; there is no clear distinction. |
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3 | |
The golden section refers to: |
| | A) | color. |
| | B) | proportion. |
| | C) | symmetrical balance. |
| | D) | light. |
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4 | |
A set of nesting tables of decreasing size is a good example of: |
| | A) | variety. |
| | B) | a focal point. |
| | C) | radial balance. |
| | D) | rhythm by gradation. |
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5 | |
The natural focal point in a dining room is usually: |
| | A) | the buffet or sideboard. |
| | B) | the window treatments. |
| | C) | the table. |
| | D) | the view out the window. |
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6 | |
Walls, floors, ceilings, and furnishings are examples of: |
| | A) | balance. |
| | B) | texture. |
| | C) | line. |
| | D) | space-restricting devices. |
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7 | |
It is useful to distinguish shape from form by saying that: |
| | A) | shape is three-dimensional and form is two-dimensional. |
| | B) | shape is massive and form is minuscule. |
| | C) | shape is two-dimensional and form is three-dimensional. |
| | D) | shape is textured and form is smooth. |
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8 | |
Massing is the process of: |
| | A) | putting slipcovers on furniture to increase their optical density. |
| | B) | grouping furnishings and other components to form a group mass. |
| | C) | making items appear less massive by spreading them over a large space. |
| | D) | filling a large room with massive pieces of furniture and accessories. |
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9 | |
Painted or printed tiny patterns whose details cannot be seen from a distance: |
| | A) | are more clearly visible in raking light. |
| | B) | should be avoided as they cause eyestrain. |
| | C) | read as texture although the surface on which they are applied may be smooth. |
| | D) | provide variety and unity. |
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10 | |
The psychological effect of a design using many vertical lines tends to be: |
| | A) | exciting, lively, rhythmic, or full of movement. |
| | B) | imposing, lofty, solid, formal, or restrained. |
| | C) | weighty, secure, restful, or suggestive of repose. |
| | D) | full of action, movement, interest, or angular stability. |
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11 | |
The design element that has the greatest effect on all other elements is: |
| | A) | line. |
| | B) | light. |
| | C) | pattern. |
| | D) | shape or form. |
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12 | |
The relative lightness or darkness of a hue is called its: |
| | A) | chromatic distribution. |
| | B) | intensity. |
| | C) | primary color. |
| | D) | value. |
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13 | |
Simple, functional, well proportioned, unadorned design is called: |
| | A) | structural design. |
| | B) | pattern psychology. |
| | C) | decorative design. |
| | D) | heavy massing. |
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14 | |
Which of the following are good ways to train your eye to discern great design? |
| | A) | Observe nature. |
| | B) | Analyze the media. |
| | C) | Visit public buildings. |
| | D) | All of the above. |
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15 | |
Which of the following is not a good way to find and express your personal style? |
| | A) | Identify the positive architectural aspects of your space and work with them. |
| | B) | Evaluate your belongings and give away those that you don't need or love. |
| | C) | Strive to impress and amaze those who will see your designs. |
| | D) | Identify what you need rather than what you want. |
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2002 McGraw-Hill Higher Education