Every Man Should Know These 5 Design Rules — Transcript

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1. 0:00Have you ever felt like your room is
2. 0:01just okay? Fine on the surface, but you
3. 0:04know it could be better. What's missing?
4. 0:07Why is it not coming together? My name
5. 0:09is Chad Audrey, and today I'm giving you
6. 0:10five design rules that will build the
7. 0:12room you've always wanted. If you're a
8. 0:15returning subscriber, hit the thumbs up.
9. 0:17If you're new here, hopefully by the end
10. 0:18of this video, you'll be a subscriber.
11. 0:21Remember that if you would like our help
12. 0:22in designing your room, you can have
13. 0:24that help by clicking the link in the
14. 0:26description below. Design rule number
15. 0:29one is to match undertones, not just
16. 0:31colors. Most people think that they're
17. 0:33matching colors. They're not. They're
18. 0:35mixing temperatures. You can have two
19. 0:37browns in a room that clash. One leans
20. 0:40red, the other leans gray. On paper,
21. 0:43they're both brown. In reality, they
22. 0:45fight each other. Same thing with white.
23. 0:47Warm white, cool white. Put those
24. 0:49together and something doesn't feel
25. 0:51right. How do you fix this? You pick a
26. 0:53temperature and stay consistent. Warm or
27. 0:56cool? Warm looks like walnut, brass,
28. 0:58cream, and taupe. Cool would be
29. 1:00charcoal, black, chrome, and crisp
30. 1:03white. You can bend it slightly, but if
31. 1:04the undertones don't agree, it's
32. 1:06difficult for the room to lock in. Okay?
33. 1:08So, now we have a decision to make. Warm
34. 1:10or cool? How do we choose? You're not
35. 1:12starting from scratch here. The room
36. 1:14already has a direction. Your floor,
37. 1:17your cabinets, your stone countertops,
38. 1:19they've already decided. What you're
39. 1:21doing now is deciding how far to push
40. 1:23it. So, here's a test that you can do.
41. 1:26Put a warm and cool sample next to your
42. 1:28floor sofa. One will feel natural, the
43. 1:30other's going to feel slightly off. That
44. 1:33reaction is your answer. One of the most
45. 1:35common issues we see is choosing the
46. 1:37right paint color. It's easy to go wrong
47. 1:39because there are so many options out
48. 1:41there. I put together something simple.
49. 1:43Five paint colors that consistently
50. 1:45work. If you want a starting point that
51. 1:47you can rely on, there's a link in the
52. 1:49description. Design rule number two,
53. 1:52every seat should have a purpose. Have
54. 1:54you ever seen a room that felt full, but
55. 1:56it wasn't functional. Where seating had
56. 1:58been added without purpose. An extra
57. 2:00chair here, a bench there, something
58. 2:03that looks good, but serves no purpose.
59. 2:06Be careful of that. Every seat should
60. 2:08answer a question. Where do I sit to
61. 2:10read? Where do people talk? Where do I
62. 2:13relax at night? If it doesn't clearly
63. 2:15serve a role, remove it. Fewer seats
64. 2:18with purpose will always feel better
65. 2:20than more seats without it. There is one
66. 2:23exception. Not every chair needs to be
67. 2:26used, but every chair needs to justify
68. 2:28its presence. There are two types,
69. 2:31functional seating used daily, and then
70. 2:33atmospheric seating used rarely, but
71. 2:36carries visual weight. An antique chair,
72. 2:39a worn leather piece. It might not be
73. 2:41sat in often, but it adds identity and
74. 2:44history and presence. Where do people go
75. 2:47wrong in this? They add something random
76. 2:49and call it for the look, but it doesn't
77. 2:52carry weight and it doesn't tell a
78. 2:53story. So, it just becomes clutter.
79. 2:56Here's the standard. Remove the chair.
80. 2:58If the room improves, it didn't belong.
81. 3:01If the room weakens, it was essential.
82. 3:03Every seat should either be used or be
83. 3:05worth looking at. Design rule number
84. 3:08three is to repeat shapes across the
85. 3:10room. This is subtle, but it's powerful.
86. 3:13When shapes repeat, a room starts to
87. 3:15feel connected. When they don't, it
88. 3:17feels scattered. Think of a room with a
89. 3:19round mirror, a square table, a curved
90. 3:22sofa, and an angular chair. Nothing is
91. 3:25relating, so the room never settles.
92. 3:27Here's what you can do instead. Pick a
93. 3:29shape and repeat it. Do you want a
94. 3:31softer room? Include curves, rounded
95. 3:34edges, and arches. Do you want something
96. 3:36structured? Use straight lines, clean
97. 3:38geometry, and sharp edges. You don't
98. 3:40need perfection, you need repetition.
99. 3:43Here's why this works. The brain is
100. 3:45constantly trying to simplify what it
101. 3:48sees. When shapes repeat, your brain
102. 3:50groups them. These belong together. Now,
103. 3:53instead of seeing separate pieces, it
104. 3:55sees one system. That's why the room
105. 3:57feels calm and controlled and
106. 3:59intentional.
107. 4:00>> [snorts]
108. 4:00>> When everything is different, your brain
109. 4:02keeps scanning, trying to find a
110. 4:04pattern, trying to understand the logic,
111. 4:06and that creates tension. Of course,
112. 4:08there is an ideal balance. You don't
113. 4:10want your entire home to feel like one
114. 4:12giant hamster wheel, just this
115. 4:14never-ending shape that you can't
116. 4:16outrun. Use your dominant shape 60 to
117. 4:1970% of the time, then include a
118. 4:21secondary contrast 30 to 40% of the
119. 4:24time. Your brain gets structure from the
120. 4:26repetition, but it also is fed interest
121. 4:29through variety. Design rule number four
122. 4:32is to layer textures, not colors. When
123. 4:35people want depth, they usually add more
124. 4:37color. That becomes a problem because
125. 4:39they end up with a blue rug, a black
126. 4:42lamp, brown table, white walls, gray
127. 4:44sofa. Now, the room is busier, but still
128. 4:48flat. Why do people do this? Why is this
129. 4:50their first reaction to use color to
130. 4:53achieve depth? Because color is the
131. 4:55easiest thing to change, and people
132. 4:57confuse contrast with depth. Contrast is
133. 5:00obvious, but depth is subtle. Here's the
134. 5:04rule. Keep the palette right. Build
135. 5:06depth through materials. Instead of more
136. 5:09colors, use leather, wood grain, wool,
137. 5:12stone, linen, metal. Now, everything can
138. 5:15stay within two to three colors, but the
139. 5:18room still feels rich and layered. This
140. 5:20is one of the biggest differences
141. 5:22between average interiors versus
142. 5:24high-end interiors. Let me give you two
143. 5:27examples for a better understanding.
144. 5:29First, a living room. The color palette
145. 5:31has brown, cream, and black accents.
146. 5:34Now, let's layer in the textures. A
147. 5:36smooth leather sofa, a rough wool rug, a
148. 5:38matte wood coffee table, soft linen
149. 5:41curtains, and aged brass lamp.
150. 5:44Everything is staying within the same
151. 5:46color family, but each surface reflects
152. 5:49light differently. That difference is
153. 5:51what your eye reads as depth. Another
154. 5:54example, a bedroom. The color palette is
155. 5:57deep charcoal, walnut, and off-white.
156. 5:59You layer in an upholstered fabric
157. 6:02headboard, crisp cotton bedding, a
158. 6:04chunky knit throw, wood nightstands, a
159. 6:07ceramic or stone lamp. No new colors
160. 6:10added, but the room feels complete. The
161. 6:13simple way to think about it, color
162. 6:15changes the identity of a room, texture
163. 6:17changes the quality of a room. So, if a
164. 6:20room feels flat, don't ask, "What color
165. 6:22should I add?" Ask, "What material is
166. 6:25missing?"
167. 6:26Design rule number five is that art
168. 6:28should feel collected, not purchased all
169. 6:30at once. This is where a lot of rooms
170. 6:32lose authenticity. Everything matches,
171. 6:35same frames, same sizes, same spacing.
172. 6:39It looks correct, but it doesn't feel
173. 6:41personal. Art should feel collected over
174. 6:44time, even if it wasn't. You can do this
175. 6:46by mixing frame finishes, varying sizes
176. 6:49and proportions, combining subject
177. 6:52matter, letting some pieces stand alone
178. 6:54while others are grouped. You're
179. 6:56creating the illusion of history, and
180. 6:58this isn't just paintings, it's anything
181. 7:00that expresses taste. Art, objects,
182. 7:03books, sculptures, textiles. The brain
183. 7:05is asking one question, was this built
184. 7:08over time or was it done all at once?
185. 7:11When everything matches, it reads as one
186. 7:12decision. The story has been removed.
187. 7:16Time never took place, and character is
188. 7:19missing. So, what do you do instead? You
189. 7:21introduce variation, different sizes,
190. 7:24different finishes, different spacing,
191. 7:26but still tied together by tone. Now it
192. 7:29feels collected and earned. When every
193. 7:32part of your room begins to relate,
194. 7:34serve a purpose, and contribute to a
195. 7:36larger idea, your room becomes rich,
196. 7:39visually and emotionally. "Okay" will be
197. 7:42a thing of the past. If you like the
198. 7:44video, hit the thumbs up. If you feel
199. 7:46like sticking around a while, feel free
200. 7:48to subscribe. See you in the next one.
201. 7:53>> [music]
202. 7:59[music]