Resource Guide For Floral Design

Transcription

1 Resource Guide For Floral Design 2

2 Resource Guide For Floral Design Complied By Randy Wooten AIFD, PFCI, CFD, GMF Index 3

3 Line pg 2 Form pg 3 Space pg 4 Texture pg 4 Pattern pg 5 Size pg 5 Color pg 6 The Principles of Design pg 9 Balance pg 9 Proportion pg 11 Scale pg 12 Dominance pg 12 Emphasis pg 13 Focal Area/Point pg 13 Accent pg 14 Contrast pg 14 Opposition pg 15 Tension pg 15 Variation pg 16 Rhythm pg 17 Depth pg 17 Repetition pg 18 Transition pg 19 Harmony pg 19 Unity pg 20 Design Techniques pg 21 Floral Design Terminology pg 24 4

4 Line The vital visual path, which directs eye movement through a composition. A line is simply the distance between two points. In floral design, line can both impart structure to an arrangement as well as imbue it with a sense of movement. Lines are generally described in one of two ways: a static line is either vertical or horizontal. Static lines create strength and stability in a floral composition, and as the name implies, are seen as being rigid, unchanging, and without much energy or motion. By comparison, dynamic lines may be curving, slanted, zigzag, contorted, or meandering. They move in more than one direction relative to the vertical/horizontal axis, and consequently are seen as more lively and energetic, especially when used in juxtaposition to a static line. A distinction is also made between actual lines and implied lines. An actual line is one which is physically, visually present, such as a branch or the stem of a flower. An implied line is one which is created in the mind s eye when it visually links two or more physical points within a composition, or it connects two or more visually similar elements, dot-to-dot fashion. In some cases, an implied line may be the dominant line in a floral arrangement. A line design is a floral composition in which line is emphasized over form as the more dominant element. Broken Cascading Continuous Contorted Curvilinear Hanging Implied Perpendicular S Line (Hogarth Curve) Spiral Weighted Diagonal Helical Interactive Primary Secondary Static Zigzag Connective Crescent Dynamic Vertical Horizontal Radiating Self-Completing 5

5 Parallel Form The shape or configuration of an individual component of the composition overall; three-dimensional, geometric shape or configuration of a floral composition. Form is essentially shape, and every component of a flower arrangement carries with it some form. As examples, consider the rounded form of a gerbera flower or the angular form of a bird-of-paradise inflorescence. The repetition of a form can lend unity to a design whereas variation among the forms can generate interest or contrast. Cut flowers are often classified by their forms, which may describe not only the shape of an inflorescence but also its use in floral design. For example, mass flowers, filler flowers, line flowers. A so-called form flowers are those that have a bold or graphic outline or a unique and distinctive shape which does not fit easily into one of the other categories. Bear in mind that a flower s apparent form may be affected by manipulation as well as by its position or application within an arrangement. With the exception of some abstract designs, most floral compositions themselves are categorized according to their form, meaning that they could be completely enclosed by a single, simple geometric outline. There are just a few basic geometric forms in nature: the circle (including ovals), the square (including rectangles and trapezoids), and the triangle (with all its infinite variations). The shape that would best enclose a floral design describes its form, which may or may not be clearly visible or outlined. A closed-form design expresses its overall geometric shape in a fairly literal sense, exhibiting relatively little open space among its components, whereas an open-form arrangement has a relatively spacious appearance and displays more voids in its construction. Often, the first few stem placements in a floral composition will determine its form, or geometric boundaries. A mass design is one in which form is emphasized over line as the dominant element and which incorporates relatively little negative space. 6

6 Space The area in, around, and between the components of the design, defined by the three-dimensional area occupied by the composition. In floral design applications, space is a three-dimensional phenomenon. It surrounds not just the two-dimensional outline of a composition, but it also defines the volume and depth of the design. A floral designer learns to visualize space and to fill it accordingly. Space is typically described as being either positive or negative. Positive space is that portion of a composition which is physically occupied by something a flower, a branch, a container, or some solid object. Negative space is the planned area within a composition that is devoid of any materials; essentially, empty space. It is negative space which allows individual materials in a design to be seen clearly. The term void is used to describe empty space that serves to visually separate areas of positive space. In a formalinear design, there is a relatively large amount of negative space present so as to emphasize, in an uncluttered manner, the strong forms and clean lines which are characteristics of that style. Texture The surface quality of a material, as perceived by sight or touch. A visual, as well as tactile experience, texture is emphasized either by contrast or by repetition. In floral design, textures are combined in certain ways in order to create interest and/or unity, and to communicate the emotional message of the composition. Just as with the order elements of design, the kinds and amounts of textural variations within a composition are determined by the choices of the designer, always with an eye for harmony. Too many different textures in one arrangement can be distracting. 7

7 Pattern 1. A repeated combination of line, form, color, texture, and/or space. 2. The silhouette of a flower or an arrangement as observed against its background, including solids and spaces. These tow definitions actually grow from the same broad idea: a pattern is a composite of features resulting in a decorative design of natural or artistic origin, be it symmetrical or asymmetrical. We see patterns all around us: sycamore bark, snakeskin, butterfly wings, snowflakes, fern fronds, seashells, maple leaves, etc. Because we are conditioned to discern patterns, we are naturally drawn to them, and so by creating patterns within a floral composition, we generate appeal. The concept of repetition is important in that design elements placed in a repeated pattern can generate a sense of rhythm as well as interest. Any element that is used more than once can suggest a pattern. A silhouette represents a pattern as well, such as the paper patterns used to cut out fabric from which to make a dress. The outline of an arrangement defines its boundary and shape, and the patterned interplay between filled spaces and gaps can also create interest and lend a certain character to a design, independent of its colors and textures. The pattern of a formalinear style design would be much more open and bold than that of a compact nosegay. As with each of the elements of design, the decision whether to emphasize pattern or to minimize it, rests with the designer. Size The physical dimensions of line, form, or space. Size is one of the very first considerations in creating a floral design. The sizes of the selected flowers must be right for the arrangement. The composition itself must be of an appropriate size for its use or for its surroundings. In a commercial sense, an arrangement s size is part of its perceived value. Of course, bigness is not always the most desirable trait in a flower arrangement; the preciousness of a delicate, highly detailed corsage may convey a real sense of value, due in part to its smallness. There 8

8 is an emotional aspect to size, arising from a customer s expectations, which should be considered in planning a design to be sold. The appearance of size may be influenced by the use of the other elements. For example, darker colors, coarser textures, and visually heavier components can express a sense of larger size. Physical weight and density enter into the equation as well. The use of large flowers or bold foliages can make even a small arrangement look big. Size is the element from which the principles of proportion and scale are derived. Color The visual response of the eye to reflected rays of light. When color is understood as visible light energy, the terms which are related to color become easier to understand. Black, white, and gray are referred to as neutral or achromatic (without color). They do not appear in the rainbow. Black is darkness, reflecting no light back to the viewer and absorbing all wavelengths of light energy. It is the absence of color, and by contrast, it can sharpen other colors placed against it. White, conversely, absorbs none of the wavelengths, reflecting all light back to the viewer s eye, including all the blended colors of the spectrum. It dilutes the strength of other colors near it. Gray is a combination of light and darkness to varying degrees, remaining neutral and refracting (bending) none of the light s wavelengths. It can soften and blend other colors which are next to it. Color can evoke an emotional response in the viewer, which may be based on the memory, experience, personal preferences, trends, etc. Certain sets of colors are understood to have psychological effects on humans; aesthetic responses that are universal and seemingly instinctive. The socalled warm-colors (red, orange, yellow) seem to advance toward us, exciting or alerting us, whereas the cool colors (blue, green, violet) tend to visually recede, relaxing and calming us. Purple the color of magic, mystery, and royalty, and midway between the warm and the cool hues seems to convey either or booth moods. The names of colors are the hues. As an aid to artists and designers, the hues are often represented on a twelve-hour color-wheel, a color system which was originally developed by the American printer Louis Prang in Prang s color wheel graphically represents the hues in their proper spectral order, enabling a designer to discern relationships among them and create color harmonies. A fully saturated hue is a color of the highest 9

9 chroma or intensity; it reflects the maximum amount of light back to the viewer s eye, and is unadulterated by the presence of black, white, or gray. A typical artist s color wheel displays twelve hues in their saturated state, along with tints, tones, and shades for each. It originates with the three primary colors red, yellow, and blue which are spaced equidistantly on the color chart and cannot be created by mixing any other colors together. In between the primaries are the secondary colors orange, green, and violet which are created by the mixing of two primary colors. Each secondary color is positioned directly across the color wheel from the one primary color which is not part of its make-up. Situated between the primaries and the secondaries are the six tertiary, or intermediate, colors red-orange, red-violet, blue-violet, blue-green, yellow-green, and yelloworange which result from the mixing of a primary color with an adjacent secondary hue. Familiarity with the color wheel allows the floral artist to create effective color harmonies, which are groupings of specific hues and/or different values of one hue. In most cases, one color dominates and the others exist in relation to it, according to their positions on the color wheel. Colors are combined similarly to the way musical notes are blended, which is a very useful analogy when one considers that light and sound are but two manifestations of the same vast continuum of energy that animates the universe. Sometimes colors, and notes, are assembled in a closely related, melodious way, while at other times intentional contrast or dissonance is created. Think of color harmonies as musical chords. There are several classically recognized color harmonies, each of which can impart its own unique character to a floral composition and evoke a different response from the viewer. They are as follows: Achromatic: a grouping of colors without hue; white, black, and any values of gray. Monochromatic: a grouping of different values of one hue, and which may include achromatic colors. Dyadic: two colors that are two colors apart on the color wheel. Analogous: A grouping of three adjacent hues on the color wheel; one color dominates. Extended analogous: a grouping of four to five adjacent hues on the color wheel. Complementary: a pair of hues directly opposite each other on the color wheel. Near-complementary: a hue combined with another hue which is one side or the other of its direct complement. 10

10 Split-complementary/alternate-complementary: a trio or hues, consisting of a hue and the two hues on either side of its direct complement. Analogous complementary: one hue, its direct complement, and the two hues on either side of the complement. Double-complementary: two pairs of complementary hues. Triadic: a grouping of four hues which are equidistant on the color wheel; effectively, a double-complement. Polychromatic: a multicolored grouping of many hues which may otherwise be unrelated. A color harmony may incorporate any of the different values of the given hue(s). Thus, pink and crimson (values of red) combined with celadon and emerald (values of green) would still generate a complementary harmony. Bear in mind also that white, black, and gray, being achromatic, can be legitimately included in any color harmony without disrupting it. In addition to the color harmonies, colors exhibit other relationships among each other when used together in a floral design, such as value opposition. Cool-warm contrast and simultaneous contrast phenomena that were first identified by Johannes Itten, a Master of the Bauhaus School, in the mid 1900 s. Because it is often the first thing that a viewer notices about a floral design, color also has a strong impact on the application of the design principles, such as proportion (the relative amount of one color as compared to another), balance (the visual weight of a color and its position in a floral composition), rhythm (the manner in which color is used in a repeating pattern), and contrast (the differences between colors that add interest to a design). Note also that the colors within a floral composition exhibit an interaction with the colors of the surrounding environment into which the design is placed. The palette of colors in a bridesmaid s bouquet, for example, may be selected to harmonize with her dress in an analogous fashion; dining table centerpiece may be created in shades that create a monochromatic harmony with the color of the china. Furthermore, ambient light plays a critical role in the perception of color. A hue that appears vivid in bright light can become very muted in dark surroundings. This is especially true of the receding colors green, blue, and violet. Even the darker values of warm colors can become gray or black in dim light, such as candlelight, or when viewed from a distance. A color that seems bold under incandescent light can appear dull under fluorescent tubes. 11

11 The Principles of Design Fundamental guidelines to aesthetic design that govern the organization of the elements and materials in accordance with the laws of nature. Some primary principles of design are associated with related secondary principles of design. Primary and secondary principles of design Balance Proportion Dominance Scale Emphasis Contrast Focal Area Opposition Focal Point Tension Accent Variation Rhythm Harmony Depth Unity Repetition Transition Balance A state of equilibrium, actual or visual; a feeling of three-dimensional stability. Every successful floral design conveys some sense of balance, or physical and visual stability. A floral design is physically balanced if it does not fall over under its own weight. For example, a front-heavy threesided flower arrangement may tumble off a credenza or an altar if it isn t counter-weighted at the back. An unbalanced bridal bouquet will be uncomfortable in a bride s hand, tipping forward or sideways as she carries it. 12

12 Still symmetrical Visual balance imparts a sense of optical equilibrium the felling that the composition is stable in its placement, without creating a feeling of unease that it might fall. Thus, in traditional floral design, larger elements and darker tend to be used near the bottom or interior of an arrangement so as to avoid the appearance of top-heaviness. Visual balance in a radial floral design relates to the concept of a central vertical axis, a real or imaginary line which bisects the design at the point of convergence of the stem s and which is perpendicular to the horizon. When the overall size and shape of the materials on one side of the vertical axis are roughly equivalent to those on the other side, presenting nearly a mirror image as it were, the balance is described as symmetrical. When the materials on one side of the vertical axis are dissimilar in overall size or shape, yet the composition conveys a sense of visual equilibrium because both sides express a similar visual weight, the balance is said to be asymmetrical. Symmetrical balance tends to be characterized of more formal or traditional styles of floral design, whereas asymmetrical balance is often a feature of informal or contemporary design. Asymmetrical balance often has a dynamic quality about it, while symmetrical balance takes fewer risks. As an example, imagine that a floral arrangement is like a seesaw on a children s playground. The fulcrum, or pivot point, of the seesaw the focal point of the design. If two children of equal weight sit on opposite ends of the seesaw, the balance is symmetrical. Likewise, if a pair of children sits at one end while two other children of equal weight to the first pair sit at the opposite end, the balance is. However, if two small children occupy one end of the seesaw, and a much larger child or adult occupies the other end to successfully counterbalance them, the balance is asymmetrical; the size and shape of the elements (people) on one side are unequal to those on the other side, yet the arrangement (the seesaw) is balanced Balance in floral design is a function of visual weight, and is influenced by many factors. An object in a floral arrangement may appear heavier if it is relatively larger in size, stronger in color, or coarser in texture than other objects. Distance from focal point or from the vertical axis will also influence the perception of visual weight, with those elements that are further always appearing heavier than identically sized elements positioned closer to the axis. Thus, an aggregate of small flowers placed far to one side of an arrangement may be successfully balanced by the presence of a single, very large blossom inserted at the focal center. A heavy-appearing container can balance the visual weight of a relatively large number of floral materials. 13

13 Whether symmetrical or asymmetrical, a well-balanced floral design is composed of elements arranged in such a way as to visually anchor each other in a state of equilibrium. Proportion The comparative relationship in size, quantity, and degree of emphasis among components within the composition; the relationship of one portion to another, or one portion to the whole. Good proportion describes the agreeable or harmonious relationship among parts of a whole, with respect to magnitude, number, or degree. There exists a traditional rule of thumb regarding proportion which dictates that, in order for a composition to be in good proportion, the flower part of the arrangement should be one-and-a half to two times the height plus the width of the container. This guideline is based upon the observance of its expression throughout nature, and in particular, in the human body. In a well-proportioned human, the face is roughly one-and-a-half times as long as it is wide. The eyes divide the top and bottom of the face into a one to oneand-a-half ratio. The principle of proportion applies to the relative amount of one color to another, the use of one texture against another, the preponderance of one kind of line as opposed to another, and so on. It can be applied to virtually every one of the elements of design. Proportion may be expressed in other, non-conventional ways. For example, in reverse proportion the floral material are subordinate in size to the container. Inverse proportion features flowers that cascade down beyond the height of the container in proportion to the usual positioning seen in most floral designs. Bear in mind that proportion is a flexible construct, and just like balance, can be affected by the expression of the other principles of design. Darker colors, for example, appear to carry more visual weight that lighter values, and so may be used in relatively smaller proportions than the norm, creating a pleasing interplay among the elements. 14

14 Scale The relative ratio of size, or the relationship of the size of a composition to the surrounding area. Scale is a secondary principle of design, derived from proportion. It describes the perceived size relationship of a floral design to its surroundings. As there is really no mathematical equation to use as a guideline for scale, the understanding and application o this principle are somewhat intuitive. In essence, a properly scaled design is appropriate for size of its surrounding area. Obviously, an arrangement which is of appropriate scale for the altar of a grand cathedral would be out of place on the average breakfast table. Conversely, a bud vase design would be out of scale in the cathedral. In exhibition work, props or accessories are sometimes employed as a means of emphasizing the theme or accenting the composition. Care must be taken to ensure that the props do not overwhelm the floral designing, or vice versa. In particular, when more than one prop or accessory is used, they should be identical in scale so as to avoid an incompatible or contradictory effect. In garden-themed design, for example, a miniature wheelbarrow would be out of scale next to a life-size trowel. The principle of scale may also be applied to the size of the flowers and foliages within a composition. For example, extremely large flowers such as upright heliconias may be out of scale for a small or confined space such as a powder room. They may also be too large a scale to appear comfortable in a delicate crystal candy dish. In the understanding of scale, a modicum of common sense of useful. Dominance The visual organization within a design that emphasizes one or more aspects. When one element is emphasized, others are subordinate. As with the preceding principles, dominance exists in the relationship between one element and another. Though a floral composition is made up of many elements lines, colors, the plant materials themselves it is normally important that the expression of one be stronger or more emphatic 15

15 than that of the others. Without dominance, there is confusion in the mind of the viewer as to the important areas within the design, and different parts of the arrangement may seem to compete for attention. Colors, for example, are typically used in unequal amounts; one dominates another in a pleasing, asymmetrical organization. In a mass design, the element of form dominates the element of line. In a line design, the reverse is true. In a monochromatic design, color may be dominant feature. The effective use of dominance conveys a clear message to the viewer that one or another of the elements is the most important aspect of the design. Emphasis The special attention or importance given to one or more areas within a design. Emphasis is a secondary principle of design, derived from dominance. The use of emphasis serves to direct the eye to visually important areas within the design, such as the focal point, or center of balance. Emphasis is achieved through the use of relatively larger or darker materials, or placing materials in relatively closer proximity to one another as compared to the other areas of the composition. Emphasis can also be expressed through the repetition of one or more elements within design, such as lines, colors, or forms. Contrast may also serve to emphasize the character of a particular element, by using it with another which is different. Focal Area/Focal Point The areas of greatest visual impact or weight; the centers of interest to which the eye is most naturally drawn. The concept of a focal point or focal area is a secondary principle of design, derived from dominance. Typically, it is the center of gravity or balance within a composition, and it is the area to which the eye of the viewer is drawn due to the fact that it is given special emphasis. In traditional radial style design, the focal area is the point of convergence of the lines within the arrangement, similar to the hub of a wagon wheel, 16

16 leading the eye to the center. Visual weight tends to be concentrated ion this area, through the use of larger forms, stronger colors, coarser textures, and/or closer spacing among the elements. Thus, the focal area serves to anchor the arrangement in its container or upon its location. In a parallel style design, the focal area becomes more of a focal plane than a point. Forms, colors, and textures are concentrated at the base plane, or platform of growth, of the arrangement, lending a sense of gravity and stability to the foundation from which the other materials extend. Accent Detail added to a design to provide additional interest, affecting the total character of the composition. Accent is a secondary principle of design, derived from dominance. Just as in speech, music, or cooking, accent adds interest and punctuation. An accent is a dash of something that is different from the other elements in a composition, but which enlivens it and is compatible with the overall mood of the design. It can give the design character. A bit of ribbon tied into a bow, for example, can be an appropriate accent on a basket of flowers which is being given as a gift. A bird s nest might accent a naturalistic, spring-themed design, or a cluster of shiny millimeter balls could serve to accent a Christmas design. Floral or plant materials themselves can be used as accents if they are used sparingly and are different from the other flowers and foliages in the design. A touch of purple statice can provide a spark of interest to a design that is composed primarily of other kinds or colors of flowers. Or a few stems of eucalyptus could be added as an accent to a vase of roses. Contrast Emphasis by means of difference; strength through opposition. The use of contrast in a floral composition can help give it a lively appearance, as it strengthens the impact of an element by placing it in juxtaposition with another which is dissimilar. For example, dynamic lines 17

17 can appear to express even more energy and movement when placed near static lines. The color blue can appear stronger when used alongside orange, its direct complement, than when it is positioned near green, to which it is spectrally closer. The soft texture of baby s breath may seem even softer when it s placed next to a coarsely textured lotus pod. As with most of the other principles of design, contrast can be applied to any of the elements, according to the decision of the designer. The use of contrast must be balanced against the use of repetition. Whereas the judicious application of contrast creates interest through opposition, in can lead to lead to confusion or a sense of disharmony if it s overdone; too many competing textures, for example, can result in a messylooking design. Of course, the use of no contrast at all is a valid design choice think of the dramatic impact of a monofloral arrangement, such as a tall cylinder vase filled with red gladioli. Opposition Contrast between elements which are counterpoint in relation to each other, bringing about a sense of tension in a design. Opposition is often the vehicle by which contrast is employed. It is a secondary principle of design, and it generally refers to the physical positioning of the elements within the composition. Materials that are used in opposition call attention to each other by their differences. A dynamic sense of energy may be generated by the interplay between the two. The opposition of two lines which cross at some point in an arrangement, for example, can create interest and a sense of movement. Colors may be used in opposition to each other in a sort of visual tug-of-war which piques the interest of the viewer. Tension The dynamic, aesthetic quality achieved by the skillful use of opposition, implying or suggesting a sense of energy. 18

18 A secondary principle of design, tension is derived from contrast. But more then contrast, it implies contradiction. Tension creates interest in an arrangement by suggesting that some force of energy is present. It may be quite overt, as seen in the knotting of flax leaves or at the binding point of a bundled sheaf of wheat evidence that energy has been exerted or applied. However, tension is frequently expressed in more subtle ways. For example, two identical flowers placed across from one another with a short expanse of space between them may seem to exhibit a sort of polarity a tendency toward being drawn together or pushed apart in the mind s eye of the viewer. In moribana style arrangement, tension exists on the exposed water surface at the point where the stems emerge. The new leaves of spring bulb flowers display a sense of tension as they push their way through the soil the strength to overcome the obstacle. The contorted stems of corkscrew willow or kiwi vine suggest their own kind of tension, implying that their growth has been deformed by some unseen force. Just as the stretching of a rubber band conveys the exertion of energy and even generates the anticipation that will snap back to its original shape the use of tension in a floral design communicates a message of energy which seems to animate the composition while sparking the curiosity and interest of the viewer. Variation Dissimilarity among attributes or characteristics. Variation is a secondary principle of design which is derived from contrast. It refers to the fact that variety among the ingredients in an arrangement can create interest. In a sense, it is the opposite of repetition, for, rather than creating unity, variation can generate appeal by incorporating diversity among the elements of the design. Variation does not convey the sense of opposition that is the hallmark of contrast, but rather to the blend of sizes, shapes, colors, and spacing which characterizes many flower arrangements. Adding filler flowers to a vase of roses, combining half-opened buds with fully-developed blossoms, or using a mixture of different foliages and mosses in the basing of a vegetative style design are examples of variation. Once again, the amount of variation which is used in the composition is a decision made by the designer, depending on the desired effect. Sometimes no variation whatsoever is the most dramatic choice of all. 19

19 In a monochromatic design, it can be useful to emphasize variation in form or texture so as to add interest which may be lacking due to the sameness of color. Rhythm Visual movement through a design usually achieved through repetition or gradation. Just as in music, rhythm in floral design is created by intervals or space. The intervals between the notes of a melody or the beats of a drum create the rhythm of a musical composition. Similarly, the distances or spaces between elements generate rhythm within a floral composition. When viewing a floral design, the eye tends to visually connect the elements which are the same or similar. Rhythm is established by the controlled placement of repeated elements within the composition. The eye tends to move slowly between elements which are placed more closely together and faster when they are spaced further apart. Thus, a certain regular and measured rhythm is created when seven red carnations, for example, are placed at even, symmetrical distances from each other within a design. But a different sort of rhythm occurs if two red carnations are paired high at the top of the arrangement, four are clustered in the focal area, and three are placed in a group to the far right. In the first case, the movement is slower as the eye progresses steadily along the path of carnations from top to bottom, like a person walking down a flight of stairs. In the second case, the movement is more rapid as the eye makes the leap from top to bottom and then jumps to the right in a more acrobatic fashion. Neither is right or wrong, but each imparts its own sense of rhythm to the design. Rhythm may be used to help bring emphasis to the focal area of the design. By positioning materials more closely together at the focal center than they are at the perimeter of the arrangement, the movement of the eye is slowed down at the area of focus. Certain line material may be said to have a rhythm of its own, which is also related to the concept of interval. The line of a piece of corkscrew willow, for example, seems to have movement in relation to the contortions of its stem, including the sizes of the bends and twists and the distances between them. Depth 20

20 The placement of materials at different levels within and around an arrangement. Incorporating depth is the technique which imparts a threedimensional quality to a floral composition. It is secondary principle of design which is derived from rhythm. By placing some of the materials deep into the center of the design, while positioning others out at the edges, the viewer s eye is lead to experience the arrangement at many different levels, establishing a rhythm of movement between interior and exterior. Depth is a desirable trait in most floral designs because it references the natural spacing among flowers growing in a garden. The design appears to have more volume and the flowers appear more graceful with space around and between them. Various design techniques, such as shadowing, mirroring, and terracing may be employed to enhance the experience of depth in a design. In each case, the eye is led into the space between the elements, imparting a sense of dimensionally. In a very compact design such as a beidermeier style, depth is deemphasized in favor of texture and pattern. Volumetric designs typically display very little, or no depth, as the geometric form of the composition is quite literally expressed and becomes its dominant characteristic. Repetition The recurrence of like elements within a composition. A secondary principle design, repetition is derived from rhythm and is the means by which rhythm is achieved. It is also the principle which leads to the appearance of unity in a design. By repeating the elements of line, form, color, texture, etc., or using specific flowers more than once, the designer imparts a sense of cohesiveness to the composition. Elements that are repeated seem connected to each other in a compatible feeling of organization. Repeating the color of the container with that of some flower or other element within the arrangement helps to visually unify the entire presentation. Repetition may also be conspicuous by its absence. Sometimes, a designer may wish to call attention to a particular flower or foliage by isolating it for dramatic effect. But at times the lack of repetition, though 21

21 well intentioned, appears to be a glaring error, as in the case of a single yellow rose nestled into a vase full of red ones. Transition The ease of visual movement which results from gradual degrees of change among one or more of the elements. Transition, a secondary principle of design which is derived from the rhythm, facilitates the passage of the viewer s eye through the composition by the gradual change in some aspect of it. For example a transition in size from smaller flowers to larger ones may lead the eye to the focal center of the design. Similarly, a gradation in the spacing between the flowers can be useful in leading the eye as well as establishing a sense of rhythm. Lighter shades may transition to darker ones. Transition can occur among any of the elements of design, ad though typically thought of as being a gradual shift, it may also be quite sudden or abrupt, according to the choice of the designer, as in the case of some contemporary design styles. Harmony Compatibility; a pleasing or congruent arrangement of parts. Perhaps most obvious when it is lacking, harmony is a principle which is essentially intuitive in nature. It is the aesthetic quality that results when there is a satisfying agreement among the parts of a composition, achieved through a pleasing combination of elements. The analogy to music is again useful in that euphonious harmonies are created when compatible notes are played together. Likewise, when the various components of an arrangement seem to go together, the resulting harmony is pleasing to the viewer. Harmony can be a rather subjective judgment; what is pleasing to one may not be so satisfying to another. But in general, when the design elements share certain traits, such as season of bloom, climate of origin, boldness of form, strength of color, etc., a certain sense of compatibility can be observed. Harmony must also be considered in the relationship between a floral design and its surroundings. A bold, architectural, contemporary design would seem out of place in an ornately decorated, Victorian boudoir. 22

22 Unity Oneness of purpose, thought, style, and spirit. Unity may be described as the organization of components into a harmonious whole resulting from the cohesive relationship of all parts. It is the feeling that all of the elements of the design contribute to its perceived unique identity and that the whole is greater sum of its ingredients. Very often, unity can be achieved through repetition, as demonstrated above. A floral composition should show unity in relation to its container as well as among its component elements. 23

23 Design Techniques Abstracting Technique: Removing parts or pieces so as to distort or alter the surface. Baling: Compressing and tying plant material into an overall geometric shape, simulating a bale of toed grasses or hay. Banding: Ornamentally encircling material in concise and consecutive rings drawing attention to a particular component, usually a decorative addition rather than mechanical. Basing: Finishing the foundation of a composition with intricate, textured details, which provide a decorative surface from which the composition of a design emerges. Using techniques such as clustering, layering, terracing, and pave. Binding: Tying materials together, primary mechanical. Braiding: a decorative technique of interweaving strands of fiber, ribbon, foliage, etc. Bunching: a gathering of several similar materials together and inserting them into an arrangement as one Clustering: placing a collection of small, textural flowers and/or greens of a single kind close together so that the individual component becomes indistinguishable from the mass Collaring: completely encircling a flower, bouquet, or container edge with foliage or other decorative materials creating a finished appearance. Detaching: removing a flower s petals to give the flower a new shape. Facing: turning or directing of a flower head in a certain way in order to increase interest and visual movement within a design. Framing: using branches or flowers to enclose or showcase the materials within. Gradation Technique: design technique of placing flowers or foliage in an ordered progression, from largest to smallest, darkest to lightest. Grouping Technique: placement of identical materials within a specific, limited area, with each material maintaining its individual identity. Hand-tying: placing stem of materials, such as flowers, foliage, and accessories, in the hand using a disciplined method of diagonals and spiraling around the center of the design where the hand grasps the stems, also known as the binding point. 24

24 Lacing Technique: a technique of interweaving and crossing stems to forma framework for holding plant materials in position in a container. Layering Technique: Covering a surface with foliage or other materials by overlapping individual units with little or no space between them creating an impression of being one layer thick, something making a scale like appearance. Leaf work Technique: process of creating a surface by applying foliage in an overlapping manner to give texture and/or form to a container or surface by means of sewing, stapling, gluing, etc. Massaging Technique: bending or curving of a branch or stem by applying pressure and warmth with the thumbs, fingers, and hands. Working with plant materials at room temperature helps this process. Mirroring Technique: placement of materials in a composition such that one appears to reflect the other. Pave: basing technique using parallel or surface contoured insertions which creates a uniform area with little or no variation of depth. Petalette Technique: flower petal which is rolled, taped, and wired, often for use in corsage work. Petalling Technique: covering of a surface with petals using floral adhesive. Pillowing Technique: tightly organized radial placement of clustered materials in a composition. Clusters may range from tight basing to taller dimensional contours with emphasis on texture and color. Plaiting Technique: decorative technique of interweaving strands of fiber, ribbon, foliage, etc., by braiding, folding, and pleating. Pruning Technique: selectively removing branches, foliage, florets, or petals to create a desired negative space and produce materials that appear to be more sculptural. Pruning reveals a stronger line and more interesting shape. Reflexing: rolling back the petals of a flower to create a more open look. Sectioning Technique: segregating types of materials within a group. Sequencing: placing flowers and materials in an orderly succession. Sewing Technique: fastening or gathering materials together using wire, thread, staples, straight pins, and/or hairpins. 25

25 Shadowing: close placement of one material directly behind the primary material, giving a three-dimensional appearance. Sheltering Technique: placing one or more materials over or around another, lightly enclosing the materials within, to create an impression of protection Stacking Technique: placing like materials of a similar size on top of one another, without space between each component. Stem Placement: Method of putting plant material into a design. Tailoring: modifying or altering of a material s appearance by trimming, gluing, or stapling. Terracing Technique: placing like materials in stair-step fashion, creating spaced horizontal levels. Tipping Technique: painting the edges of the flower petals or leaves. Tufting Technique: radial clustering or bunching of short elongated stems at the base of a design to emphasize color and texture. Tying Technique: securing or fastening materials together with cod, rope, straps, etc. Veiling Technique: Layering light materials, such as bear grass, sprengeri, plumosa, metallic threads, angel hair, over more solid forms creating a light, almost transparent screen. Weaving Technique: interlacing of materials to create a new dimensional or sculptural form. Wrapping Technique: covering a single stem or bundle of stems from end to end with decorative materials, such as ribbon, raffia, wire, etc. Zoning: confining like materials to specific areas within the composition. 26

26 Floral Design Terminology Abstracting Technique: Removing parts or pieces so as to distort or alter the surface. Accent: Detail added to a design to provide additional interest, affecting the totality of the design, secondary principle of design. Achromatic Colors: Free of color or lacking hue; white, black, and gray. Actual Line: a visible line, for example a stem or a branch of a flower. Advent Wreath: A horizontally displayed wreath design featuring four candles usually three purple and one pink which may be burned, one per week, during the month prior to Christmas. Frequently a white candle may be placed within the center of the wreath, to be burned on Christmas day. Analogous: A color harmony featuring adjacent colors on the color wheel and including at least one primary color. Arbor: A natural or manmade sheltering structure of trees, branches, vines, or latticework. Arm Bouquet: A bouquet of bound flowers carried in the fold of the arm. Armature: A decorative and/or supportive framework for a floral composition. Asymmetrical: Without Symmetry; having no mirror image on both sides of a plane or axis. Asymmetrical Balance: A state of equilibrium where both sides of the arrangement are different and unequal and not a mirror image of each other, yet both sides of the vertical axis maintain similar visual weight, principle of design. Axis: A bisecting line, either real or imaginary, which divides a composition at its central point of convergence. Balance: A state of equilibrium, actual or visual; a feeling of three dimensional stability; primary principle of design. Baling: Compressing and tying plant material into an overall geometric shape, simulating a bale of toed grasses or hay. Banding: Ornamentally encircling material in concise and consecutive rings drawing attention to a particular component, usually a decorative addition rather than mechanical. 27

27 Basing: Finishing the foundation of a composition with intricate, textured details, which provide a decorative surface from which the composition of a design emerges. Using techniques such as clustering, layering, terracing, and pave. Bicolor: Two colors appearing on the same petal or on the same flower. Biedermeir: A bouquet similar to the nosegay and named for a German Style of interior design. May be designed with compact spiraling or concentric circles, each featuring a particular flower color. Binding: Tying materials together, primary mechanical. Blanket: Funeral design made with draping base, such as burlap, on which flowers and/or foliage are fastened. May cover entire top and sides of a casket. Body Flowers: Flowers Designed to be worn or carried. Botanical Design: A late 20 th Century American design concept which features at least five parts of the plant; for example stems, leaves, buds, blossoms, and roots. This design represents the life cycle of the plant. Bouquet: A group of flowers. Boutonniere: A flower or cluster of flowers and/or foliage designed to be worn on the lapel. Bracing: Placing a floral-taped wire loop behind a large delicate blossom or foliage for support, wiring technique. Braiding: a decorative technique of interweaving strands of fiber, ribbon, foliage, etc. Bunching: a gathering of several similar materials together and inserting them into an arrangement as one Cascading Bouquet: a hand-held wedding bouquet style in which the flowers cascade below the main portion of the design. Cascading Design: an arrangement that features descending lines of plant materials in the manner of falling water. Casket Spray: an arrangement or spray of flowers often displayed upon the closed portion of the lid or above the open portion of the lid of a casket. Cathedral Cascade: a long cascading bouquet with more than one extension. 28

28 Central Vertical Axis: a vertical bisecting line, either real or imaginary, which divides a composition at its central point of convergence. Chaplet: a teardrop-shaped memorial design or funeral tribute. Chromatic Colors: colors characterized by the presence of both hue & chroma. All colors other than black, white, or gray. Circlet: a ring of leaves and/or flowers worn on the head. Clustering: placing a collection of small, textural flowers and/or greens of a single kind close together so that the individual component becomes indistinguishable from the mass Clutch bouquet: a hand-held bouquet composed of a cluster of flowers bound together simulating a casually gathered bouquet. Clutch Wiring: a wiring technique used to secure clusters of delicate flower stems. Collaring: completely encircling a flower, bouquet, or container edge with foliage or other decorative materials creating a finished appearance. Colonial Bouquet: Americanized version of the English nosegay. Color: visual response of the eye to reflect rays of light. Composed of hue, value, and chroma. Color Harmony: various compatible and/or useful combinations of colors. Color Wheel: diagrammatic guide to color system in which all hues appear in their proper spectral order. Commentator: a speaker who educates, analyzes, & interprets floral designs, floral industry products, and news at design shows and other industry events. Complementary Colors: a color harmony featuring tints, tones, and/or shades of colors opposite each other on the color wheel. Complete Flower: a botanical term for a blossom containing all flower parts: sepal, petals, stamen, & pistil. Composite Flower: a hand-tailored flower created by reassembling detached petals. Conditioning: refers to the process of holding flowers at room temperature to take up water and ensure maximum turgidity. 29

29 Cone Design: a three-dimensional geometric figure having a circular base and sides figure having a circular base and sides that taper evenly to an apex. Connective Line: line used to unite different parts of a design into a unified whole. Contemporary Design: generic term for design which is up to date or currently favored.\ Continuous Line: an uninterrupted succession of lines. Contemporary Design: generic term for design which is up to date or currently favored. Continuous Motion: single directional visual flow in a design created through the use of continuous line, form, or color. Contorted Line: line which bends severely; a twisted shape or expression, example curly willow. Contrast: emphasis by means of difference. Contrast in a design adds impact through contradiction. Cornucopia: container, usually a basket, shaped like a goats horn or cone overflowing with fruits, flowers, foliage, & grains. Coronet: crown worn on the head usually with a floral emphasis in the front. Corsage: decorative floral accessory often worn on a garment. Crescent Bouquet: design emphasizing the shape of a quarter moon. Flowers usually tapered and extended at each end while the center is more compact. Can be either asymmetrical or symmetrical. Crescent Design: form which is shaped like a quarter moon. Crescent Line: segment of a circular line. Crossing Lines: intersection of two lines other than at the point of growth or the binding point. Cross-Piercing: wiring method used to support heavy blossoms. Two wires are inserted perpendicularly through the calyx and bent down parallel to the stem. Curvilinear Line: continuous line consisting of bends and arcs that flow in more than one direction. Deadheading: removing dead and dying flowers and foliage from a plant. 30