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Flower
Arranging is a fully realized art form through which we can express our
personal feelings, ideas and individual choices, hopefully evoking an
emotional response from the viewer. Flowers placed in a vase without any
particular design are intrinsically beautiful, but the same flowers,
arranged according to the basic principles of design, become a work of
art.
All artists in any endeavor, using any medium, apply the Elements and
Principles of Design when creating their work. These are factors already
found in nature and given names and definitions by man.
Elements of Design
The following are ingredients of a design, in the context of flower arranging.
Color
This
is the first thing one notices about a floral design. Do the colors
work together or do they seem unrelated? It is best to use either all
pastels or all brights as these groups are hard to mix together. Choose a
harmonious mix of colors close together on the color wheel such as red,
orange and yellow or green, blue and purple. For a more powerful
effect, chose opposing colors such as purple and orange. Study a color
wheel to help understand how colors work together.
Form
This
is the overall shape of the design. Usually, it is a three dimensional
geometric form such as a sphere, pyramid or cube (square or rectangle).
Consider the shapes of the individual blossoms themselves; roses are
round, irises are triangular, snapdragons are elongated triangles, and
lilies are a circular arrangement of small triangles. A combination of
different forms will create interest. They can emphasize the form chosen
for the overall design.
Line
Natural
material such as stems, branches and leaves have inherent linear
features. These lines create the framework of the composition. A
straight vertical placement provides a static and stable line, while a
slanted or cascading placement creates a dynamic and moving line. It is
important to pay close attention to the relationship between all of the
composition’s linear elements. They must work together to produce the
arranger’s desired effect. Careful pruning of unnecessary leaves and
shoots helps to strengthen the line.
Space
Space
in a floral design is three dimensional, as opposed to a painting where
it is two dimensional. An arrangement must fit well in the space where
it is to be viewed. The space within the design itself is usually
divided between areas filled with plant material and empty shapes
created by linear elements; for example, the open space between the
limbs of a branch. Negative and positive spaces are of equal importance
in making the design interesting.
Texture
The diverse surface quality of each different material
in a design creates textural interest. Juxtaposition of shiny and dull,
rough and smooth, coarse and fine, regular and irregular material makes
the arrangement exciting, evoking the tactile senses e.g. consider the
multi-petaled Zinnia with the large smooth overlapping petals of a rose.
Principles of Design
The principles organize the elements. They are the recipe for a cohesive and successful design.
Balance
Balance, both visually and physically, is a critical
factor to the arrangement’s staying power. Balance can be achieved both
symmetrically and asymmetrically. Imagine a vertical line through the
center of the design. Are the two sides visually balanced? Does one side
seem heavier or more important than the other? The same material need
not be used on both sides but needs to be of equal importance. A larger
negative space can balance a smaller filled space.
Contrast
Visual excitement is created by differing materials
placed together. Contrast can be achieved through color, shape, size and
texture. The play of these elements provides interest throughout the
design.
Dominance
A clear decision is made to make a certain material
predominate in the design. It can be a special flower, texture or color.
It may also be the illustrious “focal point.” It might be the form of
the design itself or the spaces within. The special interest feature
should be accented or supported by its subordinate elements. To create a
well-designed whole, be careful that the special feature does not “over
dominate” the rest of the design.
Proportion
This is the relationship of size and quality between
all materials in a design. Is the container a good size for the plant
material? Consider the choice of a rose or King Protea in a crystal bud
vase. Is the finished arrangement in proportion to its surroundings?
Consider a cache pot on the hall table versus a monumental garden urn.
Are the materials in the arrangement proportional to each other?
Consider a combination of Babies Breath with hanging Heliconia. Are
there enough Daisies mixed in with the Babies Breath, or are they
overpowered by the small white blossoms?
Rhythm
Rhythm gives vitality and excitement to an arrangement.
It is the path your eyes follow through the total design. Rhythm is
movement through size gradation, repetition of color or material and
linear direction. If the beautiful sinuous line of a large calla lily is
abruptly interrupted by an ill-placed leaf, the eye is jolted out of
the composition and not sure how to return.
Scale
Scale is the size relationship of the smallest material
to all other elements of the design. Too much diversity of size will
affect the success of the design. Consider trying to put a sunflower in a
teacup or babies breath combined again with the Lobster Claw Heliconia.
Beginning Flower Arranging
Try simple basic designs at first. Set as your goal a
conscious effort to create an even pattern of color, texture or specific
blossoms in a sphere. Use a 4”-6” wide mouthed container no more that
6” high. A terra cotta flower pot shape is an easy choice. Soak the floral foam
by laying in on the surface of the water, letting it draw on its own.
Dry air pockets will be created if it is forced down. Cut the foam to
fit loosely in the container rising 1”-2” above the rim to facilitate
the all around sphere form with material breaking the edge of the
container to integrate material and vase together. Insert all stems
towards a central binding point much the same way a plant grows to
achieve a natural effect.
Intermediate Flower Arranging
Once the basic design has been mastered, concentrate
less on patterning and more on composition. Consider using negative
spaces balanced with filled areas. Try different textural and color
combinations. Use a line as your design’s skeleton. Lay chicken wire on
top of the floral foam and tape it to the container for extra support
for tall and/or thick stems. It is crucial at this point to keep the
Principles and Elements in mind.
Advanced Flower Arranging
Advanced
design is rethinking the ordinary and challenging conventions. Explore
new containers or construct a design with no container at all. Water
sources may become glass test tubes or small foam domes affixed high in a
branch. The possibilities are endless. Think of floral art as temporal
sculpture. Tell a story. Even an advanced mass arrangement can tell a
story of color, form, texture, rhythm or balance. Through correct
application of the Principles and Elements of Design, along with
technical finesse, one can create truly extraordinary works of floral
art.
In Conclusion
Flower
Arranging is a very accessible art to practice. Chances are that you
already have most of the needed equipment in your home and garden.
Pachysandra is a beautiful rosette of its own accord; a kitchen glass
makes a nice contemporary container. As you grow in your skill, you will
need more sophisticated equipment. Growth is a process that happily
never ends and enriches one’s inner creative life. Through practice you
will learn to love floral design.
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