Transcripts
1. Introduction: Selecting art for our home
can be a daunting task because it speaks volumes about our tastes,
our personality. And it's a great
conversation starter when we have guests over. But we often postpone
the decision to buy art. And when we do buy a certain piece, it can be difficult to decide how to make it fit with
the rest of our home. And that's a pity because
art isn't just a great, decor element, but it's
also hugely beneficial to our overall sense of
happiness and well-being. If you're one of
those people who doesn't quite know how to
place art in their home. Or maybe you do know,
but you want to see, how professional
thinks about it, then this class is for you. Hi, my name is Ana Marcu and I'm a licensed
architect living in the beautiful city
of Vienna, Austria. My background is in architecture
and Building science technology, and have
worked for over a decade, is an in-house architect on various projects
like private homes, office spaces, and hotels. Throughout my career, the one area that I have
been most passionate about has been interior design because it is a
layer of building that has the power to move
us on an emotional level and when done right,
it can inspire us to be the best version
of ourselves. If you've seen any
of my other classes, you know that one of
my favorite things to talk about is how the space around us
influences how we feel, how we think, and how we behave. In this class, I wish to talk about how the use
of art can support your overall sense of
well-being and give you some basic guidelines on how
to style your home with art. We're going to discuss where the best locations for art are. How to align art in relationship with other
objects in the room. How to create a beautiful
composition with art. Or how art can inspire
a composition with art. How to use colors and materials to make a
beautiful vignette. And how to integrate this
vignette in the rest of the room such that they look like they
belong together. The class is mostly
focused on wall art, but on occasion, I touch on
other decor pieces as well. At the end, I'm also
going to answer a question sent in by
one of my students. If you want your questions
answered in one of my classes, make sure to press
the "follow" button at the top side of the
screen, somewhere here. Alright, I hope you are
excited to take this class. Are you ready? Let's start the class.
2. Selecting Art: How should you select art? I think it's easy
to browse through magazines and
believe that art is a piece of decor
ment solely to make our home pretty and match
the room color scheme. While that is also
important and I will go into this topic
later in this class. The main reason why
you should buy art is for the emotions
that it evokes in you. For the stories that it tells, for the values that reminds
you of: maybe courage, kindness, compassion, or love. For example, let's take
the prints behind me. In fact, let me
show them to you. Now, the first reason why I bought these prints was because I wanted to support
Romanian artists. And the reason for it is
a very personal story. I'm originally from Romania and when I was about to finish high school and was deciding where to go for the higher
university I had a lot of discussions
with my father. He wanted me to study
economics and to stay away from all this artistic
nonsense because in his mind, artists don't make any money. At that time, I didn't have enough life experience
to disagree with him. And unfortunately, the artist biographies
I had read until then, those of van Gogh, Egon Schiele and Paul Gauguin, all artists who died in abject poverty were not
exactly helping my case. And I know other
creative people have or had these conversations
with their family too, quite possibly
these students. So I wanted to be the counter argument another
creative person will bring to their
family when they are being asked about how they
would support themselves. I also wanted a reminder for myself that times have
changed and plenty of people can
have a good life because of a not despite
their creativity. That creativity
doesn't have to be crushed in order to
put food on the table. So this is what this
prints represent for me. Now, try to think for
yourself, what emotions, stories, or values do you want the art in your
home to speak of? How do you want to
feel when you go into a room and looking
at a piece of art, Who do you want to be? Who do you want to become? In the following lessons, we're going to look at some ways in which art can be
placed in a room.
3. Location: Where should we place
art in our home? There are essentially four areas that are great for placing art. Number one, opposite to
the entryway of a space. Because art has the power
to evoke an emotion, it's often a good
strategy to place art opposite to the
entrance of a space. It's great when you
enter into a room and the art is where
your eye rests naturally. Where might you see this? For example, you can see this
at the end of corridors. Art becomes that element
that attracts the eye and encourages you to walk through the space
and discover it. Another place might be opposite to the entryway of
the living room. When you walk into
the living room and the first thing your eye finds is art can be a wonderful thing. You'll have to check if
this makes sense for you. But often important spaces like the living
room or the dining room, will have an entryway on
the center of the wall. And if that is the case, then placing the
art opposite to the entryway will create a beautiful surprise
for the visitor. Because fireplaces are located
in the center of the wall. You will often see art
placed over the fireplace. This not only makes the
fireplace stand out more, but it enhances the dramatic
effect of surprise and delight that somebody has when
they enter into the room. The piece of art
and the fireplace often mark a symmetry
axe in the room, which adds to the balance and stability that you
feel when you walk in. Number two, focus
areas in a home. Some areas in the
home are particularly important and this is marked
by pieces of furniture that are bigger than average furniture that are
placed centrally in a room. Generally oversized
objects in our environment naturally attract our
attention and oversizing elements in
art compositions is a well-known way to create
focus and attract the view. So since these big pieces of furniture already
attract the attention, we want to use art to enhance the beautiful
atmosphere around them. So this is why you
will see art over the couch or over the bed or
next to the dining table. They are prime spaces
that attract our focus with their
size and importance. Number three, low-level
storage units. Low-level storage units
have a surface at hand level that just
naturally, attract objects. Now you can fill these
surfaces with random objects, or you can be intentional about creating beauty
around your home by turning these areas into stunning vignettes
made of flowers, books, and of course, wall art. You can start placing art
right in the entryway by enhancing the entryway
side table with art, plants, a lamp and
other objects. You might turn
the reading area with a low-level storage unit into a place to showcase beautiful black and
white photography. A living room storage
unit can have art instead of a TV over it. Some people choose the best
of both worlds to have a TV projecting beautiful
art pieces on it. Your buffet table
can be enhanced with beautiful
ceramics and plants, but also with art. Basically, any console tables, sideboards, little
corner tables, and even bedside
tables can become beautiful attraction
points throughout the room by adding art to them. Finally, number
four, odd corners. Finally, art I can make something beautiful out of an odd corner. What do I mean by an odd corner? A corner where you essentially could not place
anything important. It's either in the corridor
or between two doors. It's one of those
places that is quite visible but not really adequate
for using for anything. And so before it starts
gathering dust and spiders, you might want to turn it
into a beautiful composition, with art and other decor elements. This might be a corner on the corridor next
to the staircase, or it might be a corner in the living room that is
not really a main focus, but kind of visible you can
add a little bench and art, and suddenly this corner has
something special to it. Sometimes art can embellish entire hallways or
staircase roles. Often query doors can be
very dark and unfriendly and art softens them. It makes them more interesting. On the other hand, staircase
walls have a lot of visibility and many people use them to display
family photos. Placing art in these
spaces has the power to not only embellish the space, but also add meaning to it. So now that we know
where to place art, let's figure out how to do it. And then the next lesson, we shall talk about eye level.
4. Simplicity: I've talked about the idea
of ordered complexity as a way for our mind to process beauty in several
classes of mine, like minimalism
versus maximalism or interior design
for more creativity. And I wish to talk about it here in the context of Wall Art. Wall art per se is
typically an element that adds a bit more
complexity to the room. The less elements a room has, the simpler it is, the more elements it has, the more complex
it starts to look. However, with art, you can create multiple
levels of complexity. I want to show you how to
pick and style art to create progressively more complexity or more simplicity in your space. I feel like some people, minimalists will
avoid to add art because it makes the
space look less minimal. Or maybe it's the feart that having art is an act of
self-indulgence, not fit for a minimalist. And I want to show
you guys that you can make your space
look simple with art. And at the other end
of the spectrum for the people who love a lot
of colors and details. I want to show you how
to make maximalist spaces look amazing and keep chaotic
looking spaces at bay. Let's say you have
a wall art group. What are the features
that are going to influence its complexity? Number one is the
contour of the group. Two is the underlying framework. Number three is the color
and style of each frame. And four is the piece
of art that contains. So let's start with the most simple looking way
to style the art. We start with a group of white, equal-size frames placed equally distance from each other, we have a clear
simple contour in a clear simple framework that we can recognize
at one glance, the purpose of this type
of composition is to create a light
detail on the wall, but generally it
stays at the back. It is very muted
in the composition and it allows for the
elements in the front to take center
stage. It is the kind of composition that works really
well in minimalist spaces and combined with line art or black and white photography, it can become a very
light, decore element. You can also use
different size frames. And it still looks more like a muted surface pattern than the prominent
element in the room. This technique is great for
corridors or office spaces. Next up we have two
black frame group, and this can become more
evident in the room. A black frame is not
something you can oversee. However, here you can have different levels of complexity. We start with the repetition
of the same size frame. And this adds a simple
regular structure, on which more complex objects
like the furniture pieces are projected. In combination with black and
white photography, it can be perceived
as one element that is very subdued
and in the background, letting other elements
in the room shine. The moment we start
breaking this framework is the moment we realize that things are getting
more interesting. So different size black frames can keep our
gaze a little longer. We don't grasp the
pattern at one glance. When we keep the outside
contour as a regular rectangle, we can play with the size of
the frames in the interior, turning it into a very
interesting surface. Here, we can also alternate between black and white frames, which together with
the black and white art, can become a really
interesting surface pattern. Another way we can raise the complexity is to use
different size frames and colourful art. When the color in the art
reflects the color in the room, the art composition stops becoming an independent element. It turns into an integral
part of the room. Lovely. Let's raise the
complexity even higher. We keep a clear contour, but now we now we add not just different size frames,
but the frames have different thicknesses
and different colors. That is quite a complex surface. So because of that,
I might want to keep the furniture
elements in front a little blant, focusing
the camera on the art. I want the furniture
to be a little blurry and let my
eye focus on the art. The art is the foreground and the furniture is the background. Personally, this is
my preferred level of beauty and complexity. But for the maximalist
lovers among you, you can go higher than this. You can start covering the entire surfaces not
just an area with art. So you can cover the wall in the dining room or the
walll in the living room. But as you can see
in this example, the table and the floor
have just one color. You don't see the
room filled with tiny elements competing
with the art for attention. The same with this situation. The floor is white, just like the walls. You don't have many
elements in the room. And so the art wall
can stay in focus. In a room, just
like on a canvas, you have to decide
where your focus will be: is it on the big piece
of furniture or is it on the wall and on the art. The element
that you want to be center stage will be the biggest or the
most colorful one. And everything else
becomes smaller, more subdued in colors, and less in numbers. So what I want to show you
with this exercise is that wall art can create different
levels of complexity just by how it is arranged and the types of frames
that you use. And giving that a little bit of
thinking ahead of time, deciding if you want it to be the foreground or
the background. If you want it to be the
center stage or the backstage, it can really add to how
cohesive your entire room looks. So we talked a little
bit about framework and contour in this lesson as a way to arrange elements
among each other. I think it's fair to say that arranging art
in relationship to other elements in the room continues
throughout the home. So in the next lesson, we're going to talk
about alignment.
5. Alignment: Alignment is one of those things you can feel
immediately in a room. So I'm going to share with you some guidelines you might like to keep in mind when styling
your home Are they rules? No, people break
them all the time. But if you're wondering
whether you should place your art higher, lower, more to the
left more to the right, you might want to keep
these guidelines in mind. Sticking to the
alignment rigorously is going to make your home
look more orderly. Choosing to break
the alignment is going to make it
look more complex. Both decisions could work, but they should be intentional. They should contribute to an overall look you
are trying to create. They should not be
an afterthought. Normally when deciding where to place a piece of
art on the wall, you should have in
mind two things. Number one, the
piece of furniture that you try to
accentuate the room. Might this be a couch
or a side table? Number two is the other
surrounding elements, like other pieces of lighting, furniture or decor. So how might you place art in relationship with a
piece of furniture? Let's assume you have
a simple side table or a console table. And you wish to play
some art above, what might you need
to watch out for? The first is the alignment
to the central axis. We find the center of your console table and you
align your art to this axe. Now, can you place art that
is not aligned to this axe? Yes, but this is the
beginner's class and not align art is more the
exception, not the rule. The rule is that
you align your art. So the first thing you have
in mind is this centre axe. Now if your site table
is alone against the wall like this
entryway table, then you might want to
make the centre axe of the side table the same with
the center axe of the wall. We have a mirror here, not a piece of art, but you have the same
guidelines for both. The second alignment you
need to remember are the sides of the side
table or the couch, or whatever piece of furniture you are trying to embellish. The piece of furniture acts
like the frame of a canvas. You want to keep your wall art or other decor elements
inside these lines. Some people will find
a piece of art exactly as big as
the side table. Others create a composition
with multiple pieces of art. Others use art and lamps
to other decor elements. But the whole composition
is seen as one when the art and the other elements
are between these lines. Do people ignore
this? All the time. For example, in this case, the three black art
frames look very dominant and seem to
escape our composition. The way to improve
the situation might be choosing the three
frames in the color white, not black to make them more subdued and in the
background and look like they're from
the same family with the moulding below or the table. Sometimes you can
turn the art into a gallery wall that
covers a surface. And so the art is aligned
to the edges of the wall. Now with the piece of
furniture in front of it. This is always a nice
exception to the rule. Or in this case, the
molding on the wall is the defining contour
of the wall art. So the little storage unit and the toy horse become a part
of this bigger composition, defined by the moulding. When you turn the wall
art into a surface, you can get away with
that misalignment. Finally, you want
to align the art to the other decor
objects in the room. Especially if you
have other elements in your little
vignette composition. Or you see the edges
of some elements being very close to
the edges of your art. It makes sense to align them. It helps the eye find the framework behind
the composition. So try to see where you can align objects
among each other. It helps bring clarity and
intention to your composition. You want to give the eye
an invisible framework, that orders
the complexity of the space. It makes your mind
feel calm and relaxed. Now, you have here three
alignment guidelines that I hope you will keep in mind next time you create a vignette. I want you to have the
basics because respecting these three guidelines will always make your
home look beautiful. Now that we understand
the concept of alignment, let's have a look
at how we can place objects in a beautiful
composition.
6. Composition: In this lesson, I want
to show you how you might arrange a couple of
things on a side table. I'll talk more about style, color, and materials later on. But for this lesson, I wanted to focus
solely on composition. In order to explain
the concept of composition of
objects in a home, I have to talk a
little bit about the concept of
composition in art. You see, long before we all had decor
elements in our home, wondering how to
group them together artists were trying
to figure out how to place various objects on their Canvas in a way that would evoke an emotion and
would please the eye. And because of the many extraordinary works
of art in the world, we now have some great
composition ideas that we can take over from the world of art and apply in our
home decor vignette. Let's assume you
have a console table and you would like to
add the painting or a piece of art together with other objects on it,
how would you do it? The first thing you need to
think about when creating a composition is
the focal point. We've talked about this topic in our lesson called Simplicity
versus complexity. But the focal point of a
painting is the section of the painting which naturally
draws the eye of the viewer. In art, elements can become focal points by
the use of light. One object is lit and
the others are darkened, or it can be
highlighted by size. One element is much
bigger than the others. Or maybe it is the only
element in the composition, thus leaving any
distractions out. So how do you create a focal
point on your side table? One way to do it is to have
one painting all alone. You can also make the
art stand out more by making the painting a lot bigger than all the other
elements on the table. You can also make one
painting stand out by placing the art centrally and using color to
make it stand out. In this case, the black painting with the horse comes closer visually while the
smaller white paintings fade into the background. Which bring us to our
second strategy, balance. The second way to create a beautiful composition
is through balance. This is almost
always expressed by a symmetrical or almost symmetrical
composition. Symmetry can add a sense of
calm and orderliness, whereas asymmetric and lend a sense of unease and imbalance. So how might this look
on your side table? For example, on this side table, you have two paintings of exact size depicting
a similar theme, which together mark a strong symmetry axe so to support that, the designer added two
lamps on each side to create an almost perfectly
symmetrical composition. I say, although symmetrical, because not all the elements on the table are exactly
the same left and right. But the biggest elements
are arranged symmetrically. And so that sets
the composition as looking very symmetrical
for the eye. However, here I have a Pro
trick for you. You can create a
sense of balance without using the
exact same element. So for example, in
this composition, the lamp is matched
on the other side by a vase that seems equal
in volume with the lamp, partly because of the branch which extends in all directions, but also because of the
darker color of the vase. On one side, the massive
volume of the lamp attract our eye and
on the other, the vase seems to pull almost
the same weight with the help of a darker color
and voluminous branches. It's a subtle trick, but when you know it, you know, use it wisely! The rule of thirds. But what if you want to have an asymmetrical focus
slightly on one side, then you could use
the rule of thirds. The rule of thirds, you
divide your canvas in three, on the x and y-axis, and then place your focal point close to one of
the middle lines. The resulting
composition is then shaped by a downward
flowing line, making the eye create a
triangular movement from the tip of our
focal point downwards, back to the base of
the focal point, upward to the tip
and back again. Another type of triangle
you might like to create is the
isosceles triangle. This type of composition encourages the eye
of the viewer to move from 1 point of the triangle to the next
in a continuous flow. How do you create this
on your side table? You place the biggest objects at the center and the smallest
towards the sides in such a way that the
tip of the triangle is close to the center
acts of the side table. Here's another example. Often what you will see in such compositions
is the layering of multiple pieces of
art and objects to create a sense of
depth in the composition, but also for richness
of textures and colors because some elements are ahead and others
are further behind, it becomes a 3D composition. It encourages us to come closer
and explore each element. So now that you
understand how to place your elements
in the composition, let's look at
materials and colors and their role in
unifying the composition.
7. Colour: Color is one of those elements that you need to pay attention to because it's a major factor in making your
composition cohesive, like all the objects
belong together, or it can make it look
like it's a bunch of objects randomly placed
next to each other. Before I reveal the big
secret about color, I need to go into a
short excursion in history. In the human evolution, seeing color has helped us
make sense of the world, and one of the reasons why that is, it is because it has
helped us group items. A herd of bison is not different
individuals next to each other, but they are one. They share one common trait. They move as one. Trees and flowers are
usually in groups with younger plants
having lighter colors, while more whichever ones
have intense colors. So gradients of the same shade of color inform us about a group. The last essential feature that
they share is proximity. So seeing groups of
elements close together, sharing similar
features like texture, color, or shades
of similar colors, usually told us this is
an interconnected group. They are one element,
not different elements. They should be viewed as such. And so now, moving back to our composition what will typically make our
composition like one, like a unified composition,
are similar textures, colors, or shades of colors, and of course, proximity. So when deciding what to
place on our side table, console table, credenza
or whatever it might be, is to look for
elements that share some common feature
among themselves. Let's have a look
through some examples. Let's start with
this composition with the black painting. Because of the size
and dominant color, the painting becomes
a strong focal point. Now, look at the
choice of frame. It's a very thin frame, closing the black painting, we see those clean, sharp edges very well. Where else in this
photo do we see them? We see them at the little
side port below it. And we also recognize the thin black lines at
the frame of the armchair. Equally the color black is on all the major
elements in the room. The painting, the side
table and the armchair. So they feel related. Let's look at this example
with the brown painting. First of all, we see the shimmery shade of
brown from the painting, also on the glass vase. But what really unifies
this composition, is the metallic matte copper that we see on the door handles
on the sideboard, as well as the frame of the painting and the little
flake decor elements. Let's have a look at
this composition. The noisy pattern in the painting is repeated
by the chair on the right. But the pattern on the chair
is actually an imitation of a zebra skin, a wild
African animal. And the idea of
an animal skin is repeated on the bench in
front of our composition. What else do we see? The three paintings in
the composition have the same color and
thickness in the frame, which makes them look like
they belong together. Also, the legs of the table seem to be related to the frames because of the color and the proportion isn't
very far off either. Various shades of brown
are repeated throughout the composition with a deep
dark brown on the floor. Slowly becomes lighter
towards the top, making the composition
feel airy but grounded. Let's look at this composition. And just like all
the others are, our vignette is not standalone. It relates to other
elements in the room, the wall, the floor,
the nearby chairs. They are all related
in some way, shape or form with the
elements in our composition. In this case, the
color of the wall, the blue, is visible in the shades of blue
in the painting, the flowers and the little
painting by the vase. Even the carpet has
some blue stripes from the same shade
of dark gray blue. So our little vignette is
spreading into the environment. Then we have the golden accents which are visible in
the hanging lamps, the metal bottle, and the door
handles of the side board. So the entire composition
is connected by using one material
in multiple places. The brown of the floor
is moving upwards, the blue of the wall
is moving downwards, making the vignette
look connected, not only among its elements, but also with the
rest of the room. I hope you understand
by now how color, texture material
support the composition to look like it's
part of a unity, but also part of the room. But should we pick art
that matches the room? Or should we adapt the
room to the art we buy? This is a question we are going to explore in the next lesson.
8. Aesthetic: I think the question that
comes often is: do you pick the art style of your home, or do you adapt the room design to the art piece that
you just bought. Now a lot of people buy
art because it would match a certain corner of the room, or it's in the dominant
colors of the room, and there's nothing
wrong with it. However, I would encourage
you to find art that has a deeper meaning to you
above and beyond to look. If you remember the
lesson two of this class, selecting art should
be a matter of the heart. If you do
find art that you love, but it doesn't quite match
with the rest of your home, I can share with you a
couple of tricks you can do to make that piece of art look like it's part of the ensemble. Let's look at some
ways you can do that. The first way to integrate your art in the setup
of your home is to consider using a frame that matches nearby furniture
or decor elements. If you have a lamp or a
vase that has a bit of a golden metallic shimmer
than having a frame with gold metallic
shimmer is going to make your painting
look like it's part of the composition. Or maybe there's a predominant
color in your composition. and a frame in that shade
of color is going to make it look like it was
destined for that place. Or maybe if it's located next to other pieces of art in a group, then selecting the same type
of frame the other paintings have can make your
new painting look like it's part of the family. Now, what if your
art comes without a frame or the frame
is already set? And you think: "You know what,
that's quite practical. I don't want to
change the frame." What are some low-cost changes
you can do to your surroundings to make
your art feel at home? Well, in that case,
make a note of the dominant colors and
the style of the art, and find ways to add
decore pieces with those shades of colors and
styles in its vicinity. These elements can be books, plants, and their
adjacent pots or vases, lamps, candles, or
other decor pieces that might match the mood
and colors of the art. If the painting is a vintage piece, maybe bring other vintage
looking elements in the vicinity like books
or other pieces of art. They're going to make
the newly acquired art look like it's part
of a unified group. So these are some low-cost
changes you can make. Of course, if that piece
of art means a lot to you, you can also make some
more expensive changes like changing the upholstery
of a specific chair, or changing the carpet. You will be surprised
how a small change in your environment will generate a tsunami of changes
in your home. But what I want to leave you
with in this lesson is that the elements you can
bring in the room to make the art look
like part of the room, don't have to be either expensive or fixed in their place. You can always change
a pillow cover, are put away a blanket, or change the frame, or bring a table lamp
from another room. You are not stuck in a setup. Your room can change
and evolve with new elements that you
introduced to the room. Right! Enough teaching. In
the next lesson, I'll be answering some questions you guys sent in
preparation of this class.
9. Questions: In preparation of this class, I have asked you
guys if you have any questions and Patel asks, I would love for you to
touch upon how we can group different types of
decoration pieces together. For example, I have some
crystal pieces, some metal, some are more
floral decorations, some are more edgy, modern ones. I have tried assigning
them different areas, but I still feel like
something is lacking. Maybe I'm not grouping
them correctly. I asked Patel
if he could send some photos of
these decorations, as I could not picture in
my mind what he meant. So here are the photos he sent. I can see that in preparation
for your question, you already grouped
the decor pieces together. You intuitively noticed
that some elements share some common features with each other and they belong together, but at the same time, they form little groups
that are radically different from the
groups around. Like the three crystals are different from
the three cubes, which themselves
are different from the semitransparent
brown objects. But you have at
least two elements from each family,
which is great. Although these
groups are radically different from each other, they also share
one common trait, and that is that they are
very shiny and glittery. Now shiny and glittery things tend to attract our gaze immediately as
we walk into a room. And as you remember
from the previous lesson, a vignette needs to have a focus point and a background. When you have a lot of shiny
objects in a vignette, our eyes don't
really know where to look. Do I look at the swans, do I look at the crystals,
do I look at the clock? Each of these objects
becomes very important, and not so important
at the same time. And the entire surface
turns into a glittery soup. So my advice is to
take just two elements of each group and add them
to a little vignette. If you have a side table or a coffee table or a
shelf composition, with a paintings, some
books, a candle, add two, maybe three of these decor pieces like
two crystals or two cubes. Keep them in groups of
two, maximum three, and always pair them
with art, books, vases, plants and
other decor elements that are not shiny. That way, these elements
can act as focal points. Also when it comes
to shiny metals like gold or silver looking, the best practice is to have just one type per composition. If you want to keep
the clock and the Taj Mahal painting together
in a composition, perhaps you can change
the frame of the painting into a silver color
like that of the clock. The way they will look more like they're from
the same family. Alright, you guys, I hope
you enjoyed this lesson. Let's have a look at
the class project.
10. Class Project: For the class project, I would like you to share a little home vignette
and most importantly, try to explain the
thinking behind it. What composition
was right for you? How did you use the alignment? What was your focus point? What is the foreground and
what is the background? How did the little vignette
integrate with the rest of the objects in the room? Share a photo and a
couple of thoughts. And if you happen to
have any questions, don't hesitate to let me know.
11. Final Thoughts: Congratulations, you have made it to the end of the class. I hope you learn some new things and already feel
inspired to apply them. If you wish to expand
your knowledge even further on this topic, I encourage you to go to my
Skillshare teacher profile. There you will find
more classes on complimentary topics which I
have no doubt you will love. If you're craving even more, I highly recommend that
you explore the wealth of resources available
on my website, and within the attached
bonus resources PDF. There you'll discover
more classes, books suggestions, and free
complimentary worksheets. Particularly, the
worksheets will help you deepen your understanding
of the topics discussed in the class
and identify the changes that will have the
biggest impact on your personal well-being. If you're interested in more
freebies or live classes, I encourage you to sign
up to my newsletter. Each Sunday I send out home design ideas
straight to your inbox, all tailored to promote a home that will help you
become happier, healthier, and more creative. You'll be kept in the loop about my monthly Zoom calls
and special events. That's where I have
the free resources, book recommendations,
and I'll let you know about upcoming classes. If you liked this class, I would appreciate a review. It tells Skillshare that
you like my class and it encourages other people
to discover my work. Please use the discussion
section to let me know your thoughts and
questions about the class. I'll be happy to help you clarify any concepts
you do not understand. Additionally, if you
leave a class project, I will be able to help you with more personalized and
in-depth support to encourage you to share your
home design progress with me. We are at the end. See you in the next class.
