DESIGN ESSENTIALS IN - HOME DES IGN TRA INING | 2019
TABLE OF CONTENTS
TOP I C PAGE Introduction 3 Williams Sonoma Home Brand Aesthetics 5 Elements Of Design 11 Practice Activity: Identifying the Six Elements 17 Learning More About Color 19 Practice Activity: Identifying Color Schemes 25 Practice Activity: Color 33 Learning More About Finishes .35 Learning More About Pattern & Texture 37 Practice Activity: Why they Work 41 Principles Of Design 45 Practice Activity: Identifying the Principles of Design 51 The Consultation 53 4 Areas of Exploration 54 Design Service Request 55 Practice Activity: Complete Lead Sheet Form 59 The Consultation 61 Space Planning 65 Design Crew Room Planner 68 Presentations 69 Practice Activity: Create A Mood Board 73 Clienteling 75 Monica’s In-Home Design Rules 77 The Living Room 79 Styling The Living Room 81 The Dining Room 87 Styling The Dining Room 89 The Bedroom 95 Styling The Bedroom 97 The Kitchen 101 Styling The Kitchen 103 The Outdoor Space 107 Styling The Outdoor Space 109 The Entryway & Gallery Wall 113 Styling The Entryway & Gallery Wall 115 Lighting 119 Drapery & Hardware 125 Appendix 129
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INTRODUCTION
Welcome to the Williams Sonoma In-Home Design Certification Program! As Design Associate, you will offer inspiration and decorative recommendations for every space in the customer’s home. As part of the process, you will make color recommendations, provide space planning services, create client presentations and arrange Installation services. Upon completion of this training program you will be able to: • Perform in-store and in-home design consultations • Create space plans by hand and by using the 3D Room Planning tool • Ask the proper questions to understand the customers’ style, lifestyle, time frame & budget • Make product, color and design recommendations to suit the customer’s style & needs • Anticipate client needs for every room in the home — from furniture to finishing touches • Provide clear, reliable details about the quality, uses and care of Williams Sonoma products • Follow through with each client to ensure their experience is seamless from the initial shopping experience to the delivery and set up of their purchases • Build lasting customer relationships • Drive future sales through clienteling • Build your store’s Williams Sonoma Home business. The following training programs must be completed prior to completing this In-Home Certification training: • New Hire Orientation and On-boarding • Selling Essentials Program • Design Crew Training • Williams Sonoma Home Training Modules: • Operations of Selling Furniture • Upholstered Furniture Construction
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WILLIAMS SONOMA HOME BRAND AESTHETICS DECORATOR WILLIAMS SONOMA H ME
DECORATOR
HAND KNOTTED RUGS GINGER JARS COLONIAL FURNITURE CAMPAIGN CHAMBERS HERITAGE BRASS ACCENTS CRYSTAL IN LIGHTING AND DECOR CANE TRADITIONAL UPHOLSTERY PROFILES HAND KNOTTED RUGS GINGER JARS COLONIAL FURNITURE CAMPAIGN CHAMBERS HERITAGE BRASS ACCENTS CRYSTAL IN LIGHTING AND DECOR CANE TRADITIONAL UPHOLSTERY PROFILES
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WILLIAMS SONOMA HOME BRAND AESTHETICS COASTAL WILLIAMS SONOMA H ME
COASTAL
BLUE AND WHITE WOVEN MATERIALS - SEAGRASS, ABACA ROPE, RATTAN, GRASSCLOTH WHITE CORAL DECOR BLUE AND WHITE WOVEN MATERIALS - SEAGRASS, ABACA ROPE, RATTAN, GRASSCLOTH WHITE CORAL DECOR
SEA LIFE ICONS NAUTICAL ROPE TROPICAL CHIC IKAT SEA LIFE ICONS NAUTICAL ROPE TROPICAL CHIC IK T WHITE UPHOLSTERY NATURAL FIBER RUGS NICKEL ACCENTS WHITE UPHOLSTERY NATURAL FIBER RUGS NICKEL ACCENTS
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WILLIAMS SONOMA HOME BRAND AESTHETICS CONTEMPORARY WILLIAMS SONOMA H ME
CONTEMPORARY
BRONZE ACCENTS CELEBRATING NATURAL BEAUTY OF WOOD TEXTURAL LAYERED TEXTILES CLASSIC MODERN FURNITURE PROFILES CLEAN FORMS STATEMENT LIGHTING NEUTRAL PALETTE STONE, MARBLE, TRAVERTINE BRONZE ACCENTS CELEBRATING NATURAL BEAUTY OF WOOD TEXTURAL LAYERED TEXTILES CLASSIC MODERN FURNITURE PROFILES CLEAN FORMS STATEMENT LIGHTING NEUTRAL PALETTE STONE, MARBLE, TRAVERTINE MIXED MATERIALS EXOTIC VENEERS
MIXED MATERIALS EXOTIC VENEERS
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W S H S I G N A T U R E D E C O R WILLIAMS SONOMA HOME BRAND AESTHETICS
WSH S IGNATURE DECOR & L IGHT ING
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WILLIAMS SONOMA HOME BRAND AESTHETICS W S H S I G N A T U R E F U R N I T U R E & L I G H T I N G
WSH S IGNATURE FURNI TURE
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ELEMENTS OF DESIGN
There are six elements of design — SPACE , L I NE , FORM, T EXTURE , PAT T ERN , COLOR . Interior Decorators use these elements in their day to day work. The coordinating or contrasting use of these six elements will determine the total decorating theme for each client.
Notice how this room uses soft, light, neutral tones with low contrast to make the space seem larger.
SPACE Space is the area in which we work. It defines boundaries and sets the limits of our design. It is limited by width, length and height. You must learn how to assess the space, how to make space smaller or larger and how to use it most effectively. TO MAKE THE SPACE SE EM SMAL L ER ASSESS THE SPACE
TO MAKE THE SPACE SE EM L ARGER • Use soft, light, cool colors • Keep the eye moving by using colors with low contrast
• Properly measure, include ceiling heights • Note all architectural elements, such as columns, fireplace • Note location of windows and skylights— natural light affects the interpretation of space
• Use patterns or dark, warm colors or intense contrasting colors that will make walls, etc., seem to advance visually
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ELEMENTS OF DESIGN
The strong vertical lines in this room suggest formality, while the horizontal line of the dining table creates a relaxed and inviting feel.
L INE Line suggests movement and leads or moves the eye around the room. When studying the space, ask questions about the existing architectural lines that cannot be adjusted, such as beams, archways, a curved stairwell, and built-ins with strong line. Build each design plan with these in mind so as not to place furniture in a space that could fight with the architecture. • Straight lines are considered to be more masculine • Vertical lines suggest formality and dignity • Horizontal lines are more restful, relaxed and casual • Diagonal lines create a sense of drama • Curved lines add interest and relief and are considered to be softer and therefore more feminine
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ELEMENTS OF DESIGN
Notice the contrast of form in this living room. The organic curves and shape of the coffee table are offset by the angular shape of the sectional.
FORM The shape of an object is its form in any one room the various forms should be harmonious and composed of similar types of lines. One of the most important tenets of interior design is that comfort and function should not be sacrificed in order to use a certain form. For example, if a chair is pleasing to look at but uncomfortable to sit in, it is not functional, and is not good interior design. • Rectangles are frequently the dominant shape in a room and many consider them more pleasing to the eye than squares. • Square shapes generally suggest a rational, stable form. • A circle implies unity and completeness. • A triangle is a stable, but dynamic shape. • Often the design plan starts with form, a particular furniture piece that the client loves.
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ELEMENTS OF DESIGN
TEXTURE The surface of an object, its smoothness or roughness, is another important decorating tool. The use of several complementary textures can add variety and keep interest alive. • Heavily textured, nubby, rough surfaces absorb more light. They are more casual in feeling and they are good at absorbing sound. • Coarse textures also tend to make objects feel heavier create a feeling of warmth in a space. • Smooth and shiny surfaces are more formal; they appear to be lighter and are more reflective of light. They are also associated with a more modern design aesthetic. Notice the variety of textures used in this space. The soft wool rug provides a strong textural base that’s complemented by the plush materials of the pillows and drapery panels. Smooth surfaces like the metal and glass coffee table and leather sectional balance out the softer textures.
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ELEMENTS OF DESIGN
Notice the variety of pattern accented through this space. We see a large geometric pattern on the floor a medium, organic pattern in the artwork and a small pattern in the animal print on the pillow. All of these combine to bring interest and variety to the space.
PATTERN Pattern is the repetition of a decorative motif on a surface. Pattern provides the spice in decorating. As with using spices in cooking, you must be careful with its use. Scale is important in the use of pattern. • If a large print is used on a small object the pattern will get lost. • Be careful not to create an effect that is too busy. • Pattern should be in the same color family.
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ELEMENTS OF DESIGN
The high contrast of the pillows and artwork in comparison to the rest of the room make the space feel vibrant. Imagine how different it would look if they were replaced with neutral tones.
COLOR Color is one of the most powerful tools used in interior design and decorating. It is critical to understand the relationships among colors, the effect particular colors and color schemes have on a space, and the way colors make people feel. • Dim lighting reduces a color’s value and diminishes its hue while high lighting levels intensify the hue or can wash it out. • Take the client to the location in the store that best reflects the lighting in the room they are designing to determine the best scheme. • The amount of area covered affects color. Variations may be negligible in a small color sample but may be overwhelming in the finished product; color intensifies as the area of color increases.
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PRACTICE ACTIVITY
IDENT I FY ING THE S I X ELEMENTS Utilizing brand catalogs or interior design magazines, find pictures depicting each of the six E L EMENTS OF DES IGN outlined below. After completing the exercise, review with your manager or training partner.
F IND DEP I CT IONS OF
1 SPACE A small area room and a large area room. 2 L INE Examples of rooms where each of the following line styles is noticeable: vertical, horizontal, diagonal and curved. 3 FORM Objects of different shapes and sizes in a room such as tables, lamps and sofas. Observe how the form affects the feel of the space. 4 T EXTURE Rooms where texture is evident, Search out casual settings and formal settings. How are the textural choices affecting the casual or formal feel? 5 PAT T ERN A room that has used only one pattern and one that has multiple patterns — what effect does this have? 6 COLOR Look for examples of different color palettes and consider how they make you feel. It’s great if you can find identical spaces using different colors, e.g. the same room painted in different tones will illustrate the effect.
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LEARNING MORE ABOUT COLOR
Color has the power to calm, comfort, energize, and inspire, it is one of the most powerful Elements of Design. The tricky thing is that every human being sees color differently, what you see is not necessarily what your customer sees, it’s totally perceptive. Keep this in mind when discussing color and remember your customer makes the ultimate decision based on their taste. COLOR HARMONY Harmony can be defined as a pleasing arrangement of parts; whether it is music, poetry, color or even an ice cream sundae, some flavors just don’t work together! In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer; it creates an inner sense of order; a balance in the visual experience. When something is not harmonic it’s either boring or chaotic. At one extreme is a visual experience that is so bland and boring that we are not engaged. At the other extreme is a visual experience that is so overdone, so chaotic that we can’t stand to look at it. There are many theories for color harmony. The following illustrations and descriptions present some basic color palette formulas and color schemes to help us achieve harmony. The higher the contrast in colors the higher the energy will be.
ANALOGOUS COLORS Any three colors that are side-by-side in a 12-part color wheel, such as green, yellow- green and yellow. Usually one of the three colors dominates the other two. COMPL EMENTARY COLORS Any two colors that are directly opposite each other, such as purple and yellow. The contrast between the yellow and the purple is in this orchid striking.
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LEARNING MORE ABOUT COLOR
COLOR SCHEMES TR I AD I C COLOR SCHEMES These are achieved when an equilateral or an isosceles triangle is placed in the center of the color wheel. The three colors touched by the triangle points at once create a harmonious color theme. They are lively and contrasting and provide the strongest contrast in terms of hue. Contrasts are the key to making art and decorating visually interesting. The triangles may be rotated at will, with each resulting three colors creating new harmonious triadic color schemes. TETRAD COLOR SCHEMES When placing a square or rectangle in the center of the color wheel, the four colors touched by the four corners at once are known as tetrad colors. These four color combinations also create a harmonious color theme. The squares and rectangles may be rotated at will with each resulting four colors creating new harmonious triadic change to quadratic color schemes.
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LEARNING MORE ABOUT COLOR
MONOCHROMAT IC COLOR SCHEMES A monochromatic color scheme is a one-color scheme. It is based on just one color but achieves variations of that color by adding white or black or by adding a touch of that color’s complement. Three different tones of a color is a workable number to use in a space: deep colored areas, mid-tones, and highlights. The higher the contrast between the tones, the more energy you create in a room; the more subtle the differences in the tones, the more subdued the mood of the room becomes.
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LEARNING MORE ABOUT COLOR
WARM COLORS Warm colors, also called “active” colors, create a warm, welcoming atmosphere which invites people to linger. Research has shown that people actually feel warmer in a room painted with yellows, reds or oranges than they do in a white or blue room. The lighter, pastel shades of warm encourage relaxation, while deep, vibrant colors (e.g. deep mauve and bright yellow) create more of a stimulating, exciting environment. Choose warm colors to: • Make a large room look smaller, cozier and friendlier • Brighten-up a sunless room • Create a warm effect T I P When planning a warm color scheme; remember that the closer the color is to a warm primary (red or yellow) the stronger it is. Large amounts of such colors can be hard to live with, it’s often best to reserve the stronger colors for accents only.
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LEARNING MORE ABOUT COLOR
COOL COLORS Cool colors, also called “passive” colors, create a calm atmosphere and make a space feel fresh and restful. Psychologically, the color blue is considered calming, relaxing and serene, and is often recommended for bedrooms and bathrooms. It is actually known to bring down blood pressure and slow respiration and heart rate. Choose cool colors to:
• Create a calm atmosphere • Create a cool feeling space
T I P Cool colors always appear farther away than warm ones. If a room faces away from the light, cool colors could look bleak. Rooms that benefit from a lot of light can use cool colors without appearing cold.
NEUTRALS Neutral and earthy colors are hues based in nature and evoke a grounded sense of well-being — white, stone, cream, gray, walnut, espresso, and black, are all good examples. Neutral schemes are agreeable and easy to live with; these tones are the most versatile color choices and create a naturally soothing space with their relaxing effect. Choose neutrals to: • Bring a sense of tranquility to a room • Use as a great base upon which to layer more intense colors • Create a quieter effect or lighten a dark room by using on just a single wall T I P Adding touches of warmer neutral hues gives depth to a room; in general, warm neutrals like creams and tans pair well with red and yellow accents. Cooler neutrals like grays and whites are best accented with crisp blues and hues from the cooler end of the palette.
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PRACTICE ACTIVITY
IDENT I FY ING COLOR SCHEMES Utilizing brand catalogs or interior design magazines, find pictures depicting each of the six COLOR SCHEMES outlined below. After completing the exercise, review with your manager or training partner.
1 WARM COLORS F IND DEP I CT IONS OF
2 COOL COLORS
3 NEUTRAL COLORS
4 MONOCHROMAT I C COLORS
5 COMPL EMENTARY COLORS
6 ANALOGOUS COLORS
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LEARNING MORE ABOUT COLOR
ADDI T IONAL TERMINOLOGY REGARDING COLOR
HUE
Another term for ‘color.’
The lightness or darkness of a color — light and medium values live most comfortably with each other, but to keep a light-value scheme from becoming boring, include an accent of a darker value. In a room decorated in light blue and light yellow, for example, a touch of navy blue or cobalt blue will ground the scheme and give it depth. The brightness or dullness of a color — LOWER I NT ENS I T Y colors generally create a calm restrained mood that is subtle and serene. H IGHER I NT ENS I T Y (more saturated) colors generate more energy and can feel dynamic or richly elegant.
VALUE
INT ENS I T Y / SATURAT ION
T INT
Color + white, resulting in a lighter value.
TONE
Color + grey, resulting in a darker value.
SHADE
Color + black, delivering the darkest versions of color.
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LEARNING MORE ABOUT COLOR
RED Dynamic, Passionate, Powerful,Hunger
P INK Energetic, Dynamic
ORANGE Fun, Lively, Radiant, Receptive
YE L LOW Cheerful, intellectual, Youthful
GRE EN Tranquil, Harmonious, Fresh, Relaxing
BLUE Quiet, Calming, Deep, Introspective, Loyal, Wise
BROWN Steady, Secure, Stable, Masculine
BL ACK /GRAY Powerful, Elegant, Prestigious, Formal
WH I T E Light, Goodness, Pure, Clean
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LEARNING MORE ABOUT COLOR
T I PS FOR DI SCUSS ING COLOR Color is one of the easiest and most affordable decorating tools but it requires careful thought and planning. It is also a very personal choice based on the mood and ambience the customer wants to create in their home. CHOOS ING A COLOR PALETTE Choosing a room’s color palette is one of the first steps when decorating a space. A color palette is a planned, pleasing combination of a few colors used to decorate a room or a house. This can be an intimidating step but remember that there are no absolute rules of color. Follow the lead of the client-some will be more willing to take color risks than others. There are two simple methods that may help the client identify a color palette: 1. Use photos to identify colors in rooms that appeal to the client 2. Use the colors from a pattern or piece of artwork that appeals to the client ME THOD 1 USE A COLOR PALETTE FROM PHOTOS OF ROOMS THAT APPEAL TO THE CL I ENT ST EP 1 — COL L ECT PHOTOS Have the client bring in photos they like from catalogs, magazines, websites. ST EP 2 — NOT E COLORS THE CL I ENT L I KES AND D I SL I KES Analyze similarities in the photos, this is an indication of the sort of color scheme they are comfortable with. Do most of the pictures they’re drawn to reflect warms, cools or neutrals? Do they like rooms with low or high contrast? ST EP 3 — SE L ECT A COLOR PAL E T T E Once the client has landed on a general color grouping, select a palette of 3 or 4 main colors to be reflected in the walls, upholstery and accessories. ST EP 4 — DEC I DE WHERE EACH COLOR WI L L BE USED IN THE ROOM The general guideline when decorating is to use 3 different values: light, medium and dark. But, keep in mind; there are no hard and fast rules when it comes to color.
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LEARNING MORE ABOUT COLOR
ME THOD 2 PULL COLORS FROM A PATTERN OR ARTWORK TO F IND INSP I RAT ION Another simple way to create a color palette is to pick up 3 or 4 major colors from the print of a pillow or rug, or even a scarf or piece of art.
For instance, the blues and neutrals from this painting give a soft, fresh color scheme for this bedroom. The raffia bed, night stand and rug pull from the neutral tones in the painting and add a natural appeal. The cloud white paint on the wall, white alabaster table lamp and crisp white pillows temper the palette and incorporate the lightest aspects of the painting. Reflecting the darker tones in the artwork, the decorative pillow and pattern on the duvet add contrast to the room.
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LEARNING MORE ABOUT COLOR
US ING COLOR TO UPDATE A ROOM THAT I S ALREADY FURNI SHED • If the client plans to keep their furniture in a room but wants to update the textiles, find a patterned fabric or piece of artwork in the room and then select a window hardware and panels, a rug or textiles that brings out one of these colors. • If everything in the room — the floors, the sofa, and the chairs — is solid and has no pattern, consider choosing a patterned drapery, rug or textile that incorporates colors from the sofa, chair, and floor. • Don’t spend too much effort trying to match colors exactly. Having varying shades of a color gives a space a less artificial look. • Focus on an accent color that the client already has and bring out more of it with a few accessories. For instance, bring out green as an accent color with a coordinating shade of green hydrangeas. • Place colorful pillows and throws on furniture throughout the room for an easy color update. A solid pillow for a patterned side chair, or different colored pillows for a solid, neutral sofa will add comfort and just the right splash of color. T I PS FOR MAK ING PAINT COLOR RECOMMENDAT IONS • When suggesting darker furniture, suggest a lighter paint color for the walls and vice versa with lighter furniture. • Whites and neutrals are the most common paint color used, as other colors can be easily brought into the space with the furnishings (pillows & décor). • Match the paint color to an accessory in the room, such as a pillow or the client’s “inspiration” pattern such as the rug or a piece of art (typically the lightest color in the pattern is used.) • Tell clients to bring the item they are trying to match the paint color with to the paint store to improve color accuracy. • If there is an adjoining room or hallway they would like to coordinate with the room they are painting, recommend they bring a paint chip of the existing paint color as well. • Advise the client to purchase the correct amount of paint at the outset and select tins with the same batch number; otherwise there might be slight variations in the color. If the color is pre-mixed, recommend they record the batch number in case additional paint is required. • Customers should paint the ceiling before doing the walls to avoid splashing new paint work. • Lighter colors are typically for ceilings, because ceilings are seen in shadow. If the client would like the ceiling to match the wall color, recommend buying an additional paint color one or two shades lighter than the wall paint.
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PRACTICE ACTIVITY
COLOR
1. Define complementary colors:
2. When using a monochromatic color scheme how many different tones of a color are a workable number?
3. What emotions do the following colors evoke? RED GRE EN YE L LOW WH I T E 4. Which color classification would you recommend to make a large room appear smaller and friendlier? WARM COOL NEUTRAL 5. What are two simple methods for developing a color palette?
6. The higher the the higher the energy of a room. 7. After the color palette has been determined, there is a general guideline on WHERE to put the colors in the room. The general guideline when decorating is to use different shades: , and . 8. What are some easy ways to do a simple color update to a room?
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LEARNING MORE ABOUT FINISHES
CHOOS ING F INI SHES Choosing finishes, much like choosing a color palette can be very intimidating to your clients. One of the challenges you will be faced with is creating a finish scheme that is a mix of new furniture the client is purchasing and the furniture that they already own and plan to keep in the room. The aesthetic of finish also includes the texture & distress level of the furniture piece, so consider this along with the actual color: • Smooth and Glossy versus Dry and Rough • Heavily Distressed or Slightly Rubbed at edges • What style does the texture/distress level emanate? Below are some guidelines to help you create a workable finish scheme that satisfies your client’s style:
• Two Core Finishes create interest and energy in a space. Show this option to clients in store by using wood swatches to show the look. Creating “contrast” is important- be sure the finishes are not ‘almost the same’ or they can look mismatched.
• Multiple Finishes create a more unique look. One common place you will see this scheme is with a variety of chair finishes placed around a dining table. Or a dining table of one finish with chairs from another finish. • Found/unique pieces can be a different finish all together. • Have the client bring in a picture of their existing pieces in natural light (if possible) if an in-home consultation is not possible.
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LEARNING MORE ABOUT PATTERN & TEXTURE
WORK ING WI TH PATTERN & TEXTURE Using pattern and texture in a room allows the client to indulge in their taste for variety while maintaining an overall sense of harmony. Patterns are a great tool to tie the different colors of a room together. In general, a solid color always coordinates with a pattern, so a solid blue pillow, for instance, would look fine next to an ikat or a striped pillow with a similar shade of blue in it. Mixing and matching patterns in the same room makes the space more visually interesting and gives it more of a polished look. Keep in mind, whatever pattern the client chooses will work for them. Understanding color and pattern mixing and matching will allow Design Associates to successfully advise the client, even if they have different tastes.
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LEARNING MORE ABOUT PATTERN & TEXTURE
MI X ING PATTERNS Creating your client’s pattern mix is really easy! Start with the print they love, and then work in color-related fabrics in two other scales. Follow the guidelines below to guide your client to a room that has scale and balance.
SOL I DS may be the upholstered piece or bed covering. For greater depth, use solid fabrics with tactile interest such as a basketweave mohair, matelassé, or hair on hide. OVERAL L PR INTS small motifs repeated over large areas. These are very versatile when used in a mixed pattern scheme. Quilted and embroidered fabrics and embossed leathers display pattern through texture. STR I PES perhaps the most versatile of all patterns, stripes come in a great range of widths & colors from narrow ticking to broad awning stripes, making them friendly companions to many other fabric patterns. GEOME TR I C PR INTS another easy mixer, these include a large range of patterns from simple checks & plaids to complicated angular patterns like Greek key prints found in rugs window coverings and bedding. ORGANI C PR INTS patterns like Iznik and Izlara florals take inspiration from the natural world and mix well with many other patterns. They add richness and romance to any setting.
• The color palette is the most important aspect of using pattern; all the patterns in a room should share a common color scheme. It is not important that the colors match, but that they are similar. The differences will add interest to the combinations. For the client who prefers a more bold look, venture outside the color range while ensuring the color complements the existing design. • One method to balance the patterns in a room is to follow the 60/30/10 Rule: Use the customer’s favorite pattern in 60% of the room, their second favorite in 30% of the room and the third in only 10% of the room.
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LEARNING MORE ABOUT PATTERN & TEXTURE
MI X ING PATTERNS CONT INUED • Vary the scale of the pattern. Too many small prints can be dull or busy, while two or more large prints fight for attention. A family of large, medium and small patterns can coexist without that kind of rivalry. Remember to use a common color scheme and you will create a pleasing combination. • Large-scale patterns are perfect for large-scale furnishings including duvets and rugs. • Medium prints on medium sized furnishings such as a chair or duvet. • Smaller scale prints work well as accent pillows or coverings for occasional pieces like a bench cushion. • It works best to leave some space between the patterns. On a wall covered in bold wallpaper, hang simple curtains. Or, put the patterned curtains on a different wall with a solid color or small print. • Most interior designers recommend incorporating no more than four patterns into a single space. Too many points of visual interest can be overwhelming and detract from the beauty of the design. MI X ING TEXTURES As previously mentioned, texture refers to the way an object feels. Texture adds interest to the overall color/pattern scheme of a room and can completely change the feeling of the space. Mixing textures adds visual weight to a room and can help the space feel grounded. Incorporating a variety of textures in a single space is a growing trend in interior design. The key to mixing textures successfully is incorporating items with different elements. For example, a rustic stone fireplace is complemented by a smooth leather of a sofa with silk and velvet decorative pillows. The contrast of a metal and glass coffee table adds additional texture and visual interest to the room. Incorporating a variety of textures is particularly important in spaces where the color scheme is monochromatic. The following photos show how multiple textures can be incorporated into a single space while still maintaining a cohesive look.
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PRACTICE ACTIVITY
WHY THEY WORK
I DENT I FY THE FOL LOWING: 1. What color schemes are they using? 2. What textures and finishes are incorporated? 3. What combinations work and why?
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PRACTICE ACTIVITY
WHY THEY WORK
I DENT I FY THE FOL LOWING: 1. What color schemes are they using? 2. What textures and finishes are incorporated? 3. What combinations work and why?
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PRACTICE ACTIVITY
WHY THEY WORK
I DENT I FY THE FOL LOWING: 1. What color schemes are they using? 2. What textures and finishes are incorporated? 3. What combinations work and why?
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PRACTICE ACTIVITY
WHY THEY WORK
I DENT I FY THE FOL LOWING: 1. What color schemes are they using? 2. What textures and finishes are incorporated? 3. What combinations work and why?
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PRINCIPLES OF DESIGN
In this chapter, we will work with the five Principles of Design — BAL ANCE ; SCAL E ; PROPORT ION ; UN I T Y, RHY THM, AND HARMONY; FOCAL POI NT . These principals are the tools with which the five Elements are applied. BAL ANCE Balance is defined as visual equilibrium in design. It is visual weight that will make an object appear heavier or lighter than others and affect the balance of the room. • Large objects, bright colors and rough textures have heavy visual weights. • Small objects, cool colors and smooth surfaces are visually lighter. There are three types of balance: SYMME TR I CAL BAL ANCE Creates a mirror image from one side of an axis to another. It is formal and rigid and can add stateliness or dignity to a room. Notice how the symmetrical furniture and lighting in this room create a more formal feel.
ASYMME TR I CAL BAL ANCE Creates a feeling of equilibrium by using different objects of same visual weight on both sides of the axis. It is created through variation in shape, color and pattern. Asymmetrical balance tends to be more interpretive and less formal. Notice the varying shapes and sizes in this space and how it creates a more casual feel. RAD I AL BAL ANCE Created by working outward in a circle from a central point, it creates a good gathering space, conducive to conversation. It can be achieved not only with a round table but with rectangular or square pieces placed in a circular manner. Notice how the round dining table acts as the central point with the chairs working their way around it.
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PRINCIPLES OF DESIGN
Notice the scale of the chandelier, artwork and furniture. They are all appropriately scaled to the size of the space.
SCALE Scale is the size of an object when compared with the size of space it is in. A grand piano placed in an alcove would be out of scale with its surroundings. The same piano would be in scale in a large room with high majestic ceilings.
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PRINCIPLES OF DESIGN
A small table with a large chandelier over it would not be in proper proportion. This light fixture is in perfect proportion to this dining table.
PROPORT ION Proportion is the relation of the size of one part of the object to the size of the remaining parts of the object. Furnishings, while being in scale with the room, must also be in proportion to one another. A small table with a large lamp on it would not be in proper proportion.
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PRINCIPLES OF DESIGN
A relaxed and casual rhythm is created here with the repetition of color and employment of organic forms and texture.
UNI T Y, RHY THM AND HARMONY Rhythm is created through the repetition of color, line, form and texture; carefully positioned in the room. These elements move the eye around a room either comfortably or in a jumpy manner. Like the various rhythms associated with music, visual rhythm moves the eye at a variety of tempos. A slow relaxed rhythm can be created with connection of color and lines. A faster allegro rhythm can be created by the vivid contrast of light and dark, by lines that abruptly change direction or which are broken and scattered around a room. Too much unity can be boring; too much variety can create anxiety. Finding the proper balance of each with the other is the key to good design.
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PRINCIPLES OF DESIGN
The focal point in this room is the dramatic architecture of the window. Notice how everything else in the room is predominantly neutral which allows the window to be impactful as the focal point.
EMPHAS I S/FOCAL POINT The focal point is the center of activity; special attention or prominence given to a particular furniture, accessory or architectural element. The focal point “holds” a room together visually by drawing the eye to it. Examples would include a fireplace, great view, a painting, mirror, chandelier or even a rug.
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PRACTICE ACTIVITY
IDENT I FY ING THE PR INCI PLES OF DES IGN Utilizing the Williams Sonoma Home catalogs and the five questions below, find pictures depicting each of the Principles. After completing the exercise review with your manager or training partner.
F IND DEP I CT IONS OF
1 BAL ANCE Find one example that depicts each type of balance: symmetrical, asymmetrical and radial. 2 SCAL E A situation where a piece of furniture is in or out of scale in a space. 3 PROPORT ION A situation where furnishings within a space are in or out of proportion with each other. 4 UNI T Y, RHY THM AND HARMONY A room that has a slow relaxed rhythm and one that has a faster allegro rhythm. 5 FOCAL POINTS Two examples of a strong focal point.
51
THE CONSULTATION
Our Homes allow us the unique freedom to surround ourselves with our favorite colors, textures, objects, and memories. At Williams Sonoma Home we offer complimentary design services to help our customers achieve this and to create a comfortable, welcoming home that reflects their unique character. In-home consultations are an even more personal way to serve the client. In Home consultations tend to drive larger sales and create the opportunity to design additional rooms in the home. Before performing any off-site consultations, Design Associates must: • Read through the Off-site Client Consultations Policy and Procedure in its entirety. • Sign the Off-site Consultation Waiver. Once signed, this document should be given to the General Manager and placed in the associate file. • Williams-Sonoma, Inc. requires associates to have liability insurance if driving a personal vehicle for company business. For Design Associates who will be driving a personal vehicle to off-site appointments, the associate must provide the GM with a copy of the state required
auto liability insurance or proof of financial responsibility. IN-HOME CONSULTAT ION T IMEL INE
A typical consultation should include, but not be exclusive, to the following steps: 1. Information gathering in store or over the phone and set up an appointment
2. In-Home appointment 3. Create the presentation 4. Present back to the customer
5. Place the order! 6. Track the order 7. Follow up – 2.0
STANDARD EXPECTAT IONS FOR ALL CONSULTAT IONS • Ask questions from the key Areas of Exploration to determine the client’s style, lifestyle, priorities, budget, and time frame. • Inquire about existing pieces the client would like to incorporate into the new design. • Take notes using a Design Crew Lead Sheet or Customer Profile Form. • Ensure that you have accurate measurements. Include all doorways, elevators and stairwells to ensure a successful delivery. • Suggest additional items to complete the look — don’t forget to make recommendations for décor, wall accessories, and lighting. • Always offer the Williams Sonoma Visa Card, and calculate the potential savings and Rewards earned from the purchase. • Add each customer to your Clientele Book and indicate how they prefer to be contacted and for what reasons. • Invite guests to future events which may be of interest to them. • When performing an in-home consultation, bring along another Design Associate if possible. The second team member may be an expert from another brand or a visually talented associate who may bring some fresh ideas. • Ask what other rooms they need help with.
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4 AREAS OF EXPLORATION
AREA OF EXPLORAT ION
POT ENT I AL QUEST IONS
ST Y L E When exploring your customer’s style it is very helpful to see photos from blogs, websites, magazines or social media sites like Pinterest. When learning about style, a picture is worth a thousand words! S I TUAT ION OR L I F EST Y L E You need to learn specifics about the room they are designing, who will use the space/how often, or the party they are hosting or the gifts they are purchasing in order to make the right suggestions. T IME FRAME Knowing the time frame will guide you in the product selection, you must suggest only items that will confidently arrive in time for their deadline.
• How would you describe your style? • How do you want the room to feel? • What are your favorite colors? What colors do you already have in your home? • What are your favorite types of fabrics? Why? • Do you have an inspiration piece? • Do you like to use pattern? • How will you use the space? • What is the size (sq ft) of the space? • Do you have pets? (If so) Are you looking for easy care fabrics? • What is your style of entertaining — formal or casual dinners, weekend guests? How often? • If gift shopping: Show me your list. Do you want to have a theme with your gifts? • ASAP or no time limitations? • Is there a certain deadline like a move-in date? • When will construction be complete? Or at what stage of the construction are you in? • Any special events coming up like a holiday, wedding, party or guests for which the client would want his/her home looking extra special?
When working with a guest, you must be sensitive to the subject of budget. While knowing how much a customer is willing to spend can be very helpful, it is not always something the customer is willing to discuss. With experience, you will be able to read customer cues and confidently ask budget related questions as needed. When the time comes, the following are some ways to politely broach the subject.
BUDGE T Knowing a customer’s budget can be very helpful but this question is more appropriate in some circumstances than others. Always remember not to make assumptions about how much your customer is willing to spend; make suggestions based on your understanding of their needs and priorities!
• How much were you looking to spend on this? • I’d like to keep my suggestions within your budget — what are you hoping to spend? • Tell me about your budget. • Give me a sense of your range. • How important is budget in your decision making process? • Where else are you shopping? (This can give you an idea of their budget)
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DESIGN SERVICE REQUEST
We offer a wide range of Design Services to meet the design and styling needs of each guest. We happily offer our services to all customers-regardless of the size of the project. It is the responsibility of the Design Associate to evaluate each customer’s needs and provide the service that best meets the client’s needs. The following chart provides examples of different design service requests. Review each situation and the recommended actions.
S I TUAT ION
ACT ION
The customer knows what they want and only needs to place an order
• This can be done in the moment, no need to schedule a consultation • Offer to place the order in the moment • Suggest additional items to complement their purchase • Offer a follow-up in-home appointment • Begin this process in the moment; ask preliminary questions to understand using the four key Areas of Exploration • If the guest has measurements, work together on a space plan and share your product suggestions • If the guest does not have measurements, offer to conduct an in-home appointment where you can take measurements and assess the space • Use the Room by Room Guide to build the room and identify additional decorating opportunities • If an in home is not an option, ask additional questions to better understand the guest’s needs, preferences and space, and schedule another consultation when the guest can bring the necessary information • This can be done in the moment, no need to schedule a consultation • Ask preliminary questions in the four key Areas of Exploration • Offer to demonstrate in the store how to place items/style the space. Recommend that the client take photos to help them replicate the look at home • If the customer needs more time or would benefit from seeing the product in their home, offer to schedule an in- home appointment
The customer only wants to focus on the foundational pieces (furniture)
A customer that would like to freshen a room or change the color palette
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DESIGN SERVICE REQUEST
S I TUAT ION
ACT ION
A customer that has purchased items from your store and now needs help styling the space
• This can be done in the moment, no need to schedule a consultation • Offer to demonstrate in the store how to place items/style the space; recommend that the client take photos to help them replicate the look at home • If more assistance is needed, or the guest has multiple rooms that need styling, offer to schedule an in-home appointment • Focus on teaching the guest how to do it themselves so they feel empowered to make future changes/updates • This type of project will likely require 2 or more consultations • Ask preliminary questions in the four key Areas of Exploration; this will allow you to better understand the space, customer’s style, scope of the project, etc. • As a part of the exploration, ask the client to describe the existing pieces they wish to keep • Capture product and color palette ideas/suggestions that immediately come to mind • Set up your next consultation-preferably an in-home appointment • Take measurements of the space and note dimensions of existing pieces that will be incorporated into the new design • Use the General Checklist to build the room and identify decorating opportunities the client may not have considered • Set a third consultation to deliver a design proposal/ presentation
A customer is designing a space where they will incorporate our product with theirs
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DESIGN SERVICE REQUEST
S I TUAT ION
ACT ION
A customer has a completely empty space and needs help with the entire project
• This type of project will likely require 2 or more consultations • Ask preliminary questions in the four key Areas of Exploration; this will allow you to better understand the space, customer’s style, and scope of the project, etc. • Determine the budget for the project • Capture product and color palette suggestions that immediately come to mind • Offer an in home to better evaluate the space and take measurements; this will also provide the opportunity to view the style of the home and décor of the adjoining spaces • Use the General Checklist to build the room and identify decorating opportunities the client may not have considered • Continue conversations with the client to identify products of interest as you start to formulate a design plan • Schedule a consultation to review the design proposal/ presentation Large scale projects include hotels, lobbies of public spaces or highly visible homes that may be shot for magazines or shown on television. • Contact your District Manager to discuss the client’s request and determine who will oversee the project and what additional manpower may be needed • Always take partnership with Corporate Visual Partners and the Business Sales/Contract Sales Teams The Gift Registry process is a great opportunity to set a design consultation as a part of the Registry appointment. • A Design Specialist can help registrants meld their belongings and style their new shared space- recommending furniture, and home furnishings to complete the home • Consultations can also be set up in conjunction with the Gift Registry completion
Large Scale Projects
Registrants
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PRACTICE ACTIVITY
DATE
NAME
ADDRESS
PHONE
PROJ ECT DE TA I LS
NEW HOME
REMODEL/REFRESH
REGISTRY
PARTY PLANNING
INSTALLATION
BUDGET:
TIMEFRAME: (move-in date or deadline)
ROOMS OF INT EREST
LIVING ROOM
DINING ROOM
KITCHEN
MASTER BEDROOM
GUEST BEDROOM
BATHROOM
NURSERY
KID’S ROOM
OFFICE
OUTDOOR
ENTRYWAY
OTHER
ST YL E PRE F ERENCES
MODERN
ECLECTIC/GLOBAL
INDUSTRIAL
CLASSIC
MID CENTURY
NATURALIST/PURE CONTEMPORARY
LUXE/POLISHED
ROMANTIC/CHIC
TRADITIONAL
RUSTIC
COASTAL
COLOR PRE F ERENCES
WARM
COOL
NEUTRAL
COLORFUL
ADD I T IONAL INT ERESTS
COOKING CLASSES
TRUNK SHOWS
DECORATING CLASSES
BUSINESS SALES / TRADE
NEW PRODUCT
SALE/PROMOTIONS
PRE F ERRED ME THOD OF CONTACT PHONE EMAIL
ASSOC I AT E USE
APPOINTMENT DETAILS IN-HOME
KEY MEMBER CREDIT CARD HOLDER ADDED TO CLIENTELLING
NOTES
IN-STORE
DATE TIME ASSIGNED TO
REGISTRY CREATED REGISTRY NUMBER
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THE CONSULTATION
BEFORE THE IN-HOME APPOINTMENT SE T T ING THE APPOINTMENT
• Schedule up to a 60 minute appointment time that works with the client’s schedule. • Explain what will take place during the consultation so the customer’s expectations are clear:
• Measuring the space • Taking photographs • Discussing product and color recommendations
• Ensure that all decision makers will be present at the appointment. • Contact the client the day prior to the consultation to confirm the time TOOLS /RESOURCES • Prior to the time of departure, gather the materials needed for the consultation • Tape measure • iPad • Fabric, rug and wood swatches • Business cards • Graph paper or previously created 3D space plan • Writing tool • Sherwin Williams paint swatch fan decks • Catalogs from appropriate brands • Painters Tape
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