euroflora e-handbook

Common E- handbook

Flower composition around Europe

Didactical resources for florists

Date of issue: 11 of July 2014

Joint project of eight European institutions from Turkey Estonia Poland Spain Portugal Italy Cyprus

Leonardo da Vinci Partnership Project 2012-2014

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THIS PROJECT HAS BEEN FUNDED WITH SUPPORT FROM THE EUROPEAN COMMISSION UNDER THE LIFELONG LEARNING

PROGRAMME. THIS PUBLICATION REFLECTS THE VIEWS ONLY OF THE AUTHOR, AND THE COMMISSION CANNOT BE HELD

RESPONSIBLE FOR ANY USE WHICH MAY BE MADE OF THE INFORMATION CONTAINED THEREIN.

TABLE OF CONTENTS

CHAPTER 1 ..................................................................................................................... 3

A BRIEF HISTORY OF EUROPE’S TRADITIONAL FLOWER ARRANGEMENT STYLES .................................. 3

AUTHOR: İDA PEYZAJ CİCEKCİLİK, TURKEY

CHAPTER 2 ................................................................................................................... 14

ALPHABET OF FLORISTRY ........................................................................................................................ 14

AUTHOR: SHIPCON LIMASSOL LTD, CYPRUS

CHAPTER 3 ................................................................................................................... 27

BASIC RULES OF DESIGN FLORAL COMPOSITIONS ................................................................................. 27

AUTHOR: STOWARZYSZENIE VESUVIO, POLAND

CHAPTER 4 ................................................................................................................... 40

CONTEMPORARY DESIGN TYPES ............................................................................................................. 40

AUTHOR: ESVET SABRI AYTASMAN KIZ TEKNIK VE MESLEK LISES, TURKEY

CHAPTER 5 ................................................................................................................... 63

COLORS IN THE GARDEN AND FLOWERS COMPOSITIONS ..................................................................... 63

AUTHOR: MITTETULUNDUSUHING EURIKA, ESTONIA

CHAPTER 6 ................................................................................................................... 78

FLORAL DESIGN: MATERIALS AND TOOLS .............................................................................................. 78

AUTHOR: COMPETIR FORMAÇÃO E SERVIÇOS, SA, PORTUGAL

CHAPTER 7 ................................................................................................................... 91

MAKE A PLANT HERBARIUM ................................................................................................................... 91

AUTHOR: INSTITUTO DE EDUCACION SECUNDARIA FEDERICO GARCIA LORCA, SPAIN

CHAPTER 8 ................................................................................................................. 103

BASIC ARRAGEMENT FORMS AND STYLES. HOW TO KEEP FLOWERS LAST LONGER .........................103

AUTHOR: ACLI CAMPI FLEGREI, ITALY

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CHAPTER 1

A BRIEF HISTORY OF EUROPE’S TRADITIONAL FLOWER ARRANGEMENT STYLES

AUTHOR: İDA PEYZAJ CİCEKCİLİK, TURKEY

Traditional flower arranging style typically refers to all floral designs originating

worldwide prior to the early Twentieth Century. Our flower arranging style today is

influenced by the rich accumulation of flower arranginghistory from the past, primarily

Asian, European and Early American. Traditional “stylized” arrangements have been

criticized in recent years for conforming to the criteria of aconventional form. But to be a

style per se requires conformity to certain criteria. A good knowledge of the Traditional

styles will provide a base for your flower arranging skill and enable you to move forward

in floral design developing your own creativity.

Early Period

Greek 600-146 BC

Even though many types of vases remain from the Greek period, it appears that none

was made solely forholding flowers. Flowers and fruit were certainly collected in baskets

and cornucopias, but they were made primarily into wreaths and garlands, which were

worn on the head and around the neck. The custom of wearing wreaths was so common

that the wreath and garland makers could be considered the flower arrangers of this

period.

• Characteristics: The Greeks used cut plant material in homes as part of religious

rituals, feasts and celebrations, and in the community as part of athletic ceremonies

and religious festivals. Simplicity, symmetry and beauty ofform, in stylized patterns,

were the hallmarks of classical Greek design. Garlands, swags, and wreaths

werepopular, and fragrance was important. In addition to garland and wreaths that

were worn, they were also usedto decorate the interior and exterior of homes.

Texture and color were most important. Flowers of bright, variedcolors were mixed

together. Common design patterns used were stylized.

• Containers: Baskets, pottery containers, trays and cornucopia. Cornucopia baskets

came into used during thisperiod and were used in an upright position.

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• Colors: Strong, rich reds, black, dark green, golden beige, saffron, orange, and

purple.

• Plant Material: Foliage: ivy, laurel, olive, myrtle, oak, and various vines. Flowers:

rose (most popular), hyacinth, violet, lily, cornflower, iris, cyclamen, helenium,

saffron crocus, spring branches, poppy, daisy. aromatic herbs, such as rosemary,

mint, thyme and marjoram. Fruits: grapes, cones, acorns berries, pomegranates.

• Design Shape: To be determined by schedule, container, plant material and artistic

concept. Symmetrical, classical lines.

Roman 28 BC-325 AD

The Greek and Roman civilizations are very similar in their climate and flora. The Romans

admired and copied Greek, culture, architecture and sculpture and continued their

religious and civic use of wreaths and garlands ,which began very heavy and elaborate. A

basket of mixed flowers appeared for the first time in a Roman mosaic from the 2nd

century. It shows a charming mix of roses, anemones, tulips, dianthus and other flowers

in acombination of colors and forms.

• Characteristics: Wealth and power inclined Romans to greater luxury and

ostentation in their decorations, but remained classical nonetheless. Roman flowers

are weighty, grandiose, and boldly decorative. While Greeksused baskets primarily

for carrying flowers, Romans arranged their flowers in baskets. Proportion and

contour are classical with the use of voids between branches. Garlands and swags

were perfected forms of decoration in Roman work. Rose blossoms and petals were

scattered lavishly on banquet tables, streets and lakes duringfestivals and

ceremonies.

• Containers: baskets. Also terracotta bowls, jugs, amphora, and cornucopia.

• Colors: Set against walls of porphyry and colorful marble, Roman arrangements

were bright, bold even gaudywith contrasting hues and tones.

• Plant Material: Similar to the Greek. Fragrant blossoms in bright colors preferred.

• Design Shape: to be determined by the schedule, container, plant material

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Italian Renaissance 1400-1600

• Characteristics: The Renaissance saw non-religious art and art forms become more

important. Floral beauty, with symbolic meaning and rich textures defined the

arrangements of this era. Small flowers of bright, vivid colors were preferred and

designs featured contrasting colors based on triadic harmonies. Design shapes were

the arc, ellipse, and triangle. They were uncluttered, symmetrical and often

combined fresh and dried materialas well as fruits and vegetables, perhaps

influenced by the Della Robbia wreath. The arrangement was usually the same

height as the container or no more than two times the height.

• Containers: Flowers were arranged in classical, basic shapes made of pottery, metal

or glass. Pedestal vases, lowbowls, picking baskets, and salvers are typical.

• Colors: Bright, mixed colors in primary and secondary color triads were popular: red,

blue, yellow; and orange, violet and green.

• Plant Material: Anemone, apple, bell flowers, carnation, cucumber, daisy, iris, fig,

gentian, grape, lily, honeysuckle, jasmine, laurel, lily, marigold, melon, monkshood,

narcissus, olive, pansy, pinks, pomegranate,poppy, rose, violet and wheat. Tulips,

peonies and amaranthus are not seen in Renaissance arrangements.

• Design Shape: Triangle, arc and elipse

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Dutch / Flemish 1600s-1700s

• Characteristics: Oval Form with rhythmic S curve, usually tall with floral material 2-3

times height of container. May have several centers of interest with many large

flowers, some turned in profile or to the back. Some material may spill over rim of

container to the base.

• Accessories: Used many, such as fruit, birds’ nests, insects, shells, nuts, books, and

musical or scientific instruments. Some arrange ments appeared to be used as

displays of every available plant material.

• Containers: Stone or alabaster urns, bronze ewers, pewter jars, amber or green glass

bowls, vases, goblets; pottery bowls, Delft, terra-cotta urns (no shiny metals)

• Colors: Strong vibrant jewel tones with white and pink as contrast.

• Plant Material: anemones, carnations, chrysanthemums, dahlias, foxgloves,

hyacinths, iris, lilies, narcissus,peonies, roses, tulips, grapes, pineapple,

pomegranates, and other period materials

• Design Shape: Oval

French Floral Designs

The French arrangements, with exception of the later Empire period, were reflective of

the soft pastel color harmony of the interior decorative arts. Light, and airy, in contrast to

the other European styles of the era, these designs stressed the beauty of the individual

floral material.

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Baroque: Louis XIV 1661-1715

• Characteristics: Semi-ovoid mass; symmetrical; larger flowers used to define shape

• Containers: Bronze, gilded, or classical urns and containers of fine craftsmanship

• Plant Material: Anemone, carnation, lilac, poppy, snapdragon, tulip, and other

period flowers

• Colors: Harmonious blending of medium-range pink, lavender, blue, putty, rouge,

and gold.

• Design Shape: To be determined by the schedule, container, plant material and

artistic concept.

• Accessories: Candlesticks, baroque angels, boxes.

Rococo: Louis XV 1715-1774

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• Characteristics: Oval, airy, not strictly symmetrical; no focal area. S-curve often

evident. Much taller than wide. Lots of rhythm with curves, flourishes, and lines of

plant material. Sprays of flowers as well as individual flowers. Restraint shown in use

of plant material so each is clearly seen.

• Containers: Ceramic, porcelain, glass, crystal, and bronze urns, dolphins holding

shells, cupids, shepherds asstems of vases, bowls, basket shapes, and epergnes.

• Plant Material: Lilac, delphinium, peony, poppy, tulip, fern fronds, honeysuckle, and

other period plant material.

• Colors: Pale peach, buff, yellow, blue, pink; delicate color harmony; one color

dominates with minor contrasts.

• Design Shape: Oval

• Accessories: Fans, figurines, books, masks, boxes, needlework items.

Neoclassical: Louis XVI 1774-1793

• Characteristics: Flame-like shape; slim straight lines and tall curves; spiked flower

forms.

• Containers: Tall, slender urns and baskets of crystal, bronze, and silver.

• Plant Material: Anemone, stock, larkspur, lilac, and other period flowers.

• Colors: Medium tones of blue, turquoise, green, mauve and gray.

• Design Shape: Flame-like

• Accessories: Bisque figurines, porcelain birds and flowers.

Empire: Napoleon 1804-1814

• Characteristics: Triangular mass of formal balance; classic revival;

heavier and more compact than earlier Frenchstyles.

• Containers: Classical vases with Greek, Roman, Egyptian motifs in

marble, alabaster, or porcelain, or vases handpainted with

scenes and flowers.

• Plant Material: Ageratum, lily, ranunculus, rose, stock and other

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period flowers.

• Colors: Brilliant hues of red, green, white, gold, yellow, and purple.

• Design Shape: TriangleAccessories: Clocks, candlesticks and decorative boxes.

English Floral Designs

English designs exhibited the vast array of plant material growing in the lovely

gardens of estates and in the countryside. Most were formal, large, triangular in shape,

with symmetrical balance. They were influenced by decorative art of the Chinese and of

the Italian Baroque Period.

Early Georgian 1714-1760

• Characteristics: Triangular, symmetrical, heavy mass 1 to 2 times height of

container. Flowers spillover rim; noparticular focal area.

• Containers: Classic designs in silver, marble, porcelain vases with faces or scenes, no

brass.

• Plant Material: Rose, baby’s breath, Queen Anne’s lace, gladiola, tulip, salvia, and

other period flowers.

• Colors: Warm and cool color contrasts, often monochromatic, especially all white.

• Design Shape: Triangle

• Accessories: Medallions, statuettes, Chinese horses.

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Late Georgian 1790-1830

• Containers: Footed vases, chalices, goblets, wine coolers,

wide mouth bowls, tureens, lacquered turned wood,and

epergnes.

• Characteristics: Triangular shape with symmetrical balance.

Less compact and ponderous; influenced by French Rococo

to be more open. Sometimes combined flowers and fruit.

• Plant Material: Roses, snapdragons, lilies, carnations,

pomegran ates, and other period flowers; texture was

animportant factor.

• Colors: More harmonious and softer hues of color.

• Accessories: Figurines, rose jars, and flowers laid on table.

• Design Shape: Triangle

Victorian 1830-1901

• Characteristics: Victorian flower arrangements as a whole were compact, circular in

design, with almost equalproportion of plant material to the size of the container.

Flowers of different size and shape were massedtogether without a center of

interest. Flowers might trail over the rim. Ferns and grasses might also be used.

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Nosegays (tussie mussies) were very popular. Designs were evocative of emotion

and drama; used the“language of flowers.”Early Victorian designs showed a French

influence. They were lighter than later designs with more open spaces. Rich, heavy

colors were mixed with lighter hues and white. By the Mid-Victorian era,

arrangements were distinct in their casual placement of flowers with little

restraint.They were often overdone with a profusion of different types of plant

material. Late-Victorian arrangements were even more ponderous, with flowers

crowded in elaborate variety.

• Containers: Flowers were arranged in ornate, gilded vases, footed trumpet vases,

various forms of glass vases ofthe period, as well as compotes, epergnes, jars,

cornucopia. They were made of ceramic, glass, porcelain, silver, alabaster, and

various metals.

• Colors: Bold, dark color contrasts were seen with thick, heavy textures; however, all

white arrangements very popular.

• Plant Material: Often scented, plant material was full-blown. In addition to flowers

used in earlier periods, Victorians used bleeding heart, calceolaria, chrysanthemum,

cineraria, dahlia, ferns, foxglove, freesia, fuchsia, gardenia, heliotrope, honesty,

hydrangea, jasmine, lilac, passion flower, peony, salpiglossis, stephanotis,

stock,sweet pea, sweet William, tuberose, verbena and viola.

• Design shape: Globe or Circle

Tussie Mussie

A Tussie Mussie is a small circular nosegay of flowers and herbs,

tightly gathered and designed to carry a special message in the

language of flowers during courtship. These little nosegays with

meaning or “language” have their origin in England during the

Victorian era and were used as coy exchanges of flirtation. Tussie

Mussies were also sometimes carried close to the nose to ward off

the stench in the streets and the plague and were composed

primarily of scented herbs such as rosemary, thyme, and rue.

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There were two styles of the Tussie Mussie–formal and informal. The formal nosegays

had concentric rows offlowers with a rose or other fragrant symbolic flower in the center.

Rows of flowers, leaves and herbs formed tight rings around this central flower. Informal

Tussie Mussies were more casually arranged.

Art Nouveau 1890-1915

• Characteristics: Art Nouveau, an original style without any earlier reference, grew

out of a reaction to the crudemass products of the Industrial Revolution and the

weighty darkness of the mid-Victorian period. On both sidesof the Atlantic, leaders

in and exponents of the Arts and Crafts movement-William Morris and Charles

Rennie Macintosh (furniture and interior design); Tiffany and Lalique (glass and

jewelry); Whistler, Redon, Rosetti and Beardsley (painting), among others-reflected

a new empathy for things natural, simple, hand-made and organic.The art of Japan

was a major influence. In Art Nouveau arrangements, asymmetrical balance and

dominance of line are key. The style is easily identifiedby a curvilinear line, often call

the “whiplash,” which became the most expressive of the design elements. Alighter

arrangement than the Victorian and more energetic than the Hogarth curve, it

challenges the sphericalmass preferred by the Victorians, and reflects the general

interest in nature and botany, particularly in natural plant forms such as fronds,

vines and tendrils. Arrangements might consist of one pure, specimen bloom

arrayed against twining, undulating greenery, or of aseries of blooms of one flower,

stems cut the same length. Plant material was often less than the height of the

container and, sometimes, less than half. Plants might overhang the rim of the

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container considerably. The important thing is to be tasteful, scorning the excesses

of the Victorians.

• Containers: Art Nouveau vases, usually of rounded contour, were of a matte finish

and decorated with images offlowers, insects or birds. Ginger jars and tall, flaring

vases, popularized by Japanese porcelains, were used alongwith pottery and

opalescent glass, as in Tiffany designs. Cut glass was used in both vases and bowls.

The tallish, glass vase was most popular. Wedgwood enjoyed a revival.

• Colors: Excavations in the near East, which recovered ancient glasses of opalescent

hues, brought colors such aspeacock blue and celadon green to the fashion

forefront. Cool or warm, colors were always soft: mauve, gray, silver, violet, green,

buff, pale yellow, rose and peach. The whole range of colors was more subdues than

theVictorian period. Toning colors and harmonious color combinations important.

• Plant Material: Acacia, aster, anemone, acanthus, carnation, calla and Easter lilies,

daisy, freesia, fuchsia, honesty, iris, lilac, lonicera, poppy, tulip, fern, fruit branches

and blossoms (cherry, peach, plum); smoke tree, camellia, dahlia, hydrangea, pansy,

pussy willow and wisteria. Seedheads and berries.

• Popular foliage: Arum, asparagus plumose, acer palmatum, smilax, parthenocissus

vitacea, caladium, Coleus, Croton, Cyclamen.Design Shape: To be determined by

schedule, container, plant material and artistic concept.

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CHAPTER 2

ALPHABET OF FLORISTRY

AUTHOR: SHIPCON LIMASSOL LTD, CYPRUS

A FLOWER IS MADE UP OF

STEM : Known as a petiole

PETALS : The coloured part of the flower

CALYX : The outer part of the flower.

SEPALS : Part of the calyx

STIGMA : Female part of the flower

STYLE : Part of the flower in which the stigma is borne

CARPEL : Female part of the plant comprising of style and ovary.

OVARY : Part of female part of plant containing seeds

ANNIVERSARIES :

The yearly return of the date of some event, in this case weddings.

1ST PAPER

2ND COTTON

3RD LEATHER

4TH FRUIT/FLOWERS

5TH WOOD

10TH TIN

15TH CRYSTAL

20TH CHINA

25TH SILVER

30TH PEARL

35TH CORAL

40TH RUBY

45TH SAPPHIRE

50TH GOLD

55THEMERALD

60THDIAMOND

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ANNUAL : A plant that grows from seed to seed in one season.

AQUA PACK : A bouquet packed in cellophane, tied forming a pouch filled

with water for transportation

BASIC CONDITIONING:

-Remove lower foliage and packaging below the water line.

-Cut 2-5cm off stem at a sharp angle.

-Place in tepid water with flower food as soon as possible.

BOTANICAL DEFINITIONS:

ANNUAL :

A term used for a plant that completes its life cycle from germination to death in one

year.

ANTHER :

The part of the stamen that produces the pollen

AXIL :

The angle between the leaf and the stem.The bud that grows from this is called the

axillary bud.

BEDDING PLANT :

Plants, usually annuals, used to plant out mass displays.

BIENNIAL :

A term used for plants that complets its life cycle over a two year period. Stems, roots

and leavesare produced in the first year with the plant flowering and dying in the second

season.

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BONSAI :

A method of producing dwarf shrubs and trees by a technique which includes root

pruning and pinching out shoots.

BRACT :

A modified leaf at the base of a flower or flower cluster. They are often large and brightly

coloured [Poinsettia]

BULB :

A storage organ consisting mainly of swollen leaf bases and fleshy scales. Bulbs usually

grow underground.

CALYX :

The outer part of the flower that encloses the petals in bud and is formed by the sepals

CLIMBER :

A plant which scrambles up trees [trellis etc] and supports by tendrils or thorns.

CORM :

An underground storage organ consisting of a swollen stem base.

CREEPER :

A plant that grows along the ground, sometimes rooting as it goes.

CULTIVAR :

Meaning strictly cultivated variety. When written the cultivar should appear in inverted

commas and begin with a capital letter.

DEADHEAD :

Removing flower heads that have gone over.

DECIDUOUS :

Used to describe a tree thast loses its leaves each year.

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ETIOLATION :

A condition frequently found in plants grown in poor light conditions. Symptoms do vary

but generally include pale yellow or even white foliage,reduced leaf growth and

elongated stems.

EVERGREEN :

A plant or tree which keeps its leaves all year round.

FOLIAGE :

The botanical name for leaves.

FAMILY :

Unit grouping for the classification of plants and animals. A family consists of several

closely related or similar genera or occasionally a single genus. The family usually ends

aceae eg Rosaceae

FLORET :

A small individual flower than form s the part of a large head or cluster. Each can be

pipped and used separately.eg Hyacinth, Freesia

FOLIAGE :

The botanical name for leaves.

GENUS :

The generic name for the first part of the name given to a plant and is used like a

surname in identifying a group of closely related species e.g. Lillium or Ficus. The generic

name is always written first and always in Latin, If used repeatedly it is frequently

abbreviated to the capital letter only e.g. Asparagus plumose nanus A sprengeri

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HERBACEOUS PERENNIAL:

This is a term used for a plant that grows and flowers then dies back and uses the same

root system to grow and flower in subsequent years.

HYBRID :

This is a term used for a plant produced from two parents which are genetically different.

Seed produced from a hybrid plant is usually sterile,or does not breed true. A hybrid

between two species is called a bi-specific or inter specific hybrid. This is indicated by the

insertion of an ‘x’ before the specific name e.g. pelargonium x domesticum. A bi-generic

hybrid the result of crossing two generais indicated by by generic name e.g. x Fatshederd

lizei.

LOAM :

Usually used to describe non-sandy soil.

MERISTEM :

Region of plant tissue consisting of cells undergoing cell division. Cells produced by the

meristems are modified and used for construction the specialised tissues of the plant.

Apical meristems are located at the tips of roots and stems, forming growing points. If

removed, as in stopping stems to stimulate side shoot development of pruning roots for

Bonsai, the growth in the length of the stopped shoot or root ceases as the tissue is not

replaced. The cambium is a meristem lying between xylem and phloem in the stem and

results in the thickening of the stem. This is the point on a stem from which the leaf or

leaves grow. The space between nodes is called inter-nodes.

MULCH :

Bark, compost or other materials useful to cover soil between plants, keeping the

moisture in and suppressing weeds.

NOMENCLATURE :

A system of naming terminology.

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OSOMOSIS :

This is the process of water uptake by the root system of a plant. Water will flow by

osmosis from a lesser concentrated solution [the soil] to a more concentrated one [in the

root] througha semi-permeable membrane [the cell wall.

PERENNIAL :

A plant that dies down in winter but comes up again in the spring.

PETAL :

Usually the coloured part of the flower.

PHLOEM :

Plant tissue in the vascular sytem through which food materials are largely transported

from leaves to all other parts of the plant.

PHOTOPERIODISM :

A term used to describe the nature of a range of responses by plants to the length of day

and night. The most widely studied response is that of flower initiation. It is now

possible, by exposing plants to controlled periods of light and dark, to predict exactly the

flowering time of the plant. A good example of this technique is the production of the

spray chrysanthemum all year round.

PHOTOSYNTHESIS :

This is the food making process in green plants, involving the combination of two raw

materials-carbon dioxide from the air and water taken up by the plant, using light energy.

This energy is trapped by the green pigment [chlorophyll] present in the green tissue of

plants. Light energy for photosynthesis is normally obtained directly from the sun but,

the process can also take place in artificial light provided by lights. Photosynthesis

proceeds at a slower rate under poor light conditions and ceases in darkness. The

products of photosynthesis are sugars which are often converted into starch and stored

until required to provide energy for growth and respiration.

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POLLEN :

The grains produced by the anther which contain the male part of reproduction.

POLLINATIO :

The transfer of pollen from stamens to stigmas. Self pollination is the transfer of pollen

from any stamen to any on the same plant, but not necessarily the same flower.

RESPIRATION :

This is the process by which plants combine th sugars made in photosynthesis with

oxygen from the air to produce the energy they need for growth and other life processes.

Waste products carbon dioxide and water during the process. The only time the

respiration process stops is when the plant has died, although the respiration rate can be

slowed down considerable by low temperatures.

RHIZOME :

An underground creeping stem that acts as a storage organ, It will bear leafy shoots.

ROOT [S] :

Part of the plant that is underground and feeds the plant through its fibrous parts.

SEPAL :

These are green and leaf like and cover the flower during its development. They make up

the calyx.

SPECIES :

A group of plants whose members have the greatest mutual resemblance. The specific

name or epithet identifies individual plants within a genus e..g. Clematis patens, as

opposed to Clematis jackmanii. The specific epithet is written with a small letter and

often refers to the plant appearance [hirsute=hairy] the person who raised or discovered

it [jackmanii-after jackmans,nurseryman] or a place of origin [japonica=from Japan]

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STAMEN :

The male reproduction organ of a plant, consisting of a pollen bearing anther on a thin

stalk or filament.

TRANSPIRATION :

The process by which water is lost by avaporation from the aerial parts of the plant. Most

water is lost from the leaves but is also lost from the soft parts of the flowers, fruits and

green stems. The process of transpiration is accelerated in warm, dry and windy

conditions,

BOUQUETS: Floral tributes mainly created for weddings but can be used on other

occasions. Types: Line, Teardrop, Shower. These are more structured than the Free Style

hand Tie and are held in place by wiring and tapeing individual materials.

BEADS : Can be used as accessories in any flower arrangement, bouquet or corsage.

BINDING POINT: Is tone place/position of a hand tie where the stems are firmly tied with

a variety of material.eg raffia or ribbon

CELLOPHANE : Used to wrap flowers.

CUT FLOWERS : Flowers that are cut from their plants for use in floristry.

CONTAINERS : Items in which floral arrangement can be created and can be

ceramic,metal,baskets, plastic,wood, terracotta,glass,Perspex and modified foam base

[posy pad]

COLOUR :Is the eyes perception of wavelengths of light with different colours

corresponding to different wavelengths. Falling into the following categories.

PRIMARY : Red/yellow/blue

SECONDARY :These are achieved by mixing together 2 primary colours.eg

purple/green/orange

TERTIARY : These are obtained by mixing together 1 primary and 1 secondary

colour

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COLOUR PROPERTIES:

LUMINOSITY :

Makes colours visible in poor light. Yellow is the most luminous colour. Any tint because

it has white in will become more luminous.

TEMPERATURE :

Yellow-Ruby the hot side of the colour wheel

Violet-lime the cold side of the colour wheel.

SYMBOLISM :

Colours used for different occasions/ festivals eg

White/yellow – Easter

Red Christmas/Valentines Day

Pink- Mothers Day/ Female birth

Blue/usually added to white- Male birth

COLOUR ASSOCIATION LINK :

Meaning the association with colour and occasions.eg valentines is associated with red

RECEDING COLOURS :

Moving away, Receding colours are cold colours eg blue-violet

ADVANCING COLOURS :

Positive warm colours such as yellow-orange/red

COLOUR WHEEL: A colour wheel or colour circle is an abstract illustrative organisation of

colour hues around a circle that shows the relationship between primary,secondary and

complimentary colours etc.

CROSS CONTAMINATION: Definition. Stain. Pollute.infect.

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Cross contamination. If a dirty vase or bucket was used from previous flowers and not

washed out properly, bacteria will form and pass over to the new flowers.

CLASSIFICATION AND NAMING OF PLANTS [NOMENCLATURE]:

GENUS SPECIES CULTURE HYBRIDS

CONDITIONING: This is a term used for the treatment of flowers to make sure they are at

their optimum level of freshness. It is done to encourage the uptake of water therefore

making sure they last as long as possible. You need to check stem structure and be aware

of any specialist requirements eg hot water treatment, singeing, plugging, immersion etc.

SUBMERGING, SINGEING/BURNING, BOILING WATER

Varying methods of conditioning flowers/plants

FEATHERING : A technique whereby petals are removed from a whole flower and wired

into small groups to create a smaller flower.

FLORISTRY SCISSORS: Short blades, serrated edge,small notchat the base of the blade for

cutting wires [ordinary scissors can crush stems.]

FLORAL FOAM : A type of oasis[, can be obtained in many colours and is used as part of

the arrangement rather than being hidden.

FOLIAGE : Leaves, of many varieties, used in Floristry.

FROGS : Plastic pronged pin for holding/fixing oasis in containers.

HAND TIE : [BOUQUET.] 20 years ago a relatively new and informal technique introduced

from Holland. The Hand Tie. It is formed by a selection of flowers placed in a sequence to

form spiralled stems and arranged in the hand.

HEADDRESS : A decoration worn on the head of a bride or bridesmaid. Can be in the

form of a Circlet,Aliceband.Comb. Tiara.Coronet or a single flower

LEAF SHINE/SPRAY : Oily aerosol spray used to finish of some arrangements to give

leaves a high shine.

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MOSS : A small non flowering plant of the class Musci [10.000 species]. The stem of each

plant bears Rhizoidswhich anchor it.There are no true roots. Most mosses flourish in

damp conditions where other vegetation is thin. There are many different types

Bun/Sphagnum/Reindeer/Lichen are examples

MISTING : Spraying a fine mist of water on arrangement to keep them fresh.

OASIS : The trade name for foam in which arrangements can be made

PINS. Usually decorative to embellish arrangements

PLANTCARE AND NUTRITION. Plants are living thinga and, as such, require the basics of

life namely food,water, light and warmth.

LIGHT :

Is needed for plant growth and feeding processes and so good daylight and usually

protection from full sun

WARMTH :

As a general guideline plants need a fairly constant temperature during the growing

season and a slightly lower temperature during the resting period.

MOISTURE :

Roots need air as well as moisture, which means the growing medium should be kept wet

but not saturated and some plants need to dry out between watering

HUMIDITY :

This is the amount of water vapour held in the atmosphere, dry air conditions will cause

plants to transpire-losing moisture through their leaves and therefore misting with a

water spray is an ideal solution.

FOOD :

Plant nutrition is concerned with the process by which the plant makes and obtains

foodstuffs.

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PHOTOSYNTHESIS : The process by which plants use carbon,hydrogen and oxygen from

carbon dioxide and water to make carbohydrates and are usually sourced by the roots

from the growing medium.The essential nutrients are.

NITROGEN [the leaf maker]

PHOSPHOROUS [the root maker]

POTASSIUM [the flower maker]

The most popular way of feeding potted plants is to add fertiliser to the water water

when watering.

POISONOUS/IRRITANT PLANTS:

POT PLANTS

POT TAPE :A tough tape used to fix. eg. Oasis into a container.

RA-CEME: A flower cluster ,having a central stem along which individual flowers grow.

RAFFIA : Natural material used to support or decorate arrangements

STEM STRUCTURES: All floristry flowers/foliage are divided into the following categories.

Soft/Hollow/Latex/Semi-Woody/Woody

SPACE:

Negative space- space in design for a reason

Positive space-gives the outline of the shape such as symmetrical

SPIRALLING: The technique by which Hand Ties are created.

STORAGE OF MATERIALS: [FLOWERS AND FOLIAGE]

Ideal temperature 40-45 F.

Use a cooler,garage,cellar or any cold, stone floored room.

Do not cool orchids or anthuriums as they are too fleshy and contain too much moisture.

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Ensure there is space between buckets and vases.

Avoid ethylene gas, this is an ageing gas, produced from old flowers and mature fruit and

veg [particularly apples].

TOOLS AND EQUIPMENT:

SECATEUR : Useful for cutting extra thich stems

KNIVES : Sharp knife used ofr scraping a cleaning plant materials.

WIRE CUTTERS: Useful for cutting wire,stub wire reel wire.

GERMAN PINS:‘U’ shaped heavy duty wire pins used for fixing heavier material.

GLUE GUN : Used when fixing some materials.

VICTORIAN POSY : A single flower followed by four concentric rings of flowers and a

collar of foliage or lace.

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CHAPTER 3

BASIC RULES OF DESIGN FLORAL COMPOSITIONS

AUTHOR: STOWARZYSZENIE VESUVIO, POLAND

1. Cutting Flowers and Foliage

Successful floral arrangement begins with fresh plant materials that have been

properly handled and prepared. Beauty and good composition of an arrangement is not

determined by the cost or rarity of plant materials used, but by the way they are

selected, cared for and arranged. Cut flowers and foliage the evening before the

arrangement will be made to allow time for proper conditioning. Most flowers will keep

best if cut when nearly fully open. Many tight buds or young leaves wilt rapidly and will

not take up water. Some flowers will keep best if cut in the bud stage or when they are

just beginning to open. Fully open or faded flowers are past prime and usually will not

keep well. Experiment with various types of plant materials to determine the best stage

of maturity for cutting!

Cut flowers and foliage with a sharp knife or flower shears. Cut stems on a slant to

enable flowers to absorb more water. Cut stems longer than required for arrangement.

Cut extra stems in case of damage.

Stand flowers and foliage in a bucket of cool water as they are cut from the garden;

place indoors in a cool, dark place. Re-cut stems indoors at a 45-degree angle. Cut stems

under water to prevent air from entering the stem and interfering with water uptake.

2. Conditioning Plant Materials

Conditioning is an important factor in successfully arranging and exhibiting cut plant

materials. The purpose of conditioning is to allow the cut plant material to absorb as

much water as possible. Proper conditioning will also prolong the life of the arrangement.

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Stand cut plant materials in lukewarm water to a depth of half their length overnight in a

cool, dark place. This allows the stem, leaves, and blossoms to absorb water to enable

them to retain optimum beauty. The next morning, cut stems again under water at a 45-

degree angle. Remove all foliage below the water level of the container; submerged

foliage decays, creating foul water. Leave the cut plant materials in water until ready to

use them. Wait until the plant materials feel stiff before arranging them.

3. Containers

The container should have been thoroughly washed since

its last use. Fill the container with water before beginning to

arrange the plant material. The size of the container should be

in scale with the table or location where it will be used.

Remember that the larger container, the more plant material

will be needed. Suit the shape of the container to the

arrangement to be made. Simple shapes are easiest to work

with. Avoid ornate containers as they may detract from the

floral arrangement. Neutral colors like tan, brown, gray or green

are easy colors to harmonize with plant materials and with most

backgrounds. White can be very stark and call attention to the container rather thanto

the arrangement. Colored containers are available, but should

be used with care so as not to detract from the arrangement.

Containers come in many materials, such as glass, pottery clay,

porcelain and metal. Clear glass containers are generally

undesirable as the stems are visible. Containers can be thin and

dainty, or thick and sturdy. The spirit of the arrangement and

the container should go together. For example, an arrangement

of miniature roses would be more suited to a delicate silver vase

than a bulky clay bean pot.

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4. Holders

A good holder should give the freedom to position stems where they are wanted and

hold them in place securely. Choose a holder suitable for the style of arrangement

planned, the plant materials to be used and the container to be used. Pinpoint Holders

Pinpoint holders are most often used for line and line-mass arrangements in low bowls or

shallow containers. Use a waterproof floral clay to fasten the holder to the base of the

container. A heavy metal pinpoint holder is easiest to keep in place in the container.

Stems are either stuck directly onto the pins or are wedged between the pins. Thin stems

may be placed on a pinpoint holder by binding several stems together with a rubber

band, string or floral tape.

5. Floral Foams

Wet floral foams hold stems in place and supply water to the flowers. Floral foams

are available in wet or dry forms; wet foams are used for arranging fresh plant materials,

while dry floral foam is used for dried or silk floral arrangements. Wet and dry types of

floral foams are not interchangeable –their intended use is specific. Wet floral foam

should not be reused because existing holes in the foam will not supply water to the

stems of plant materials. Floral foam is inexpensive and may be purchased from floral

supply stores, arts & crafts stores or florists. Floral foam is best used for line-mass or

mass arrangements, but may be used in some line arrangements also. Before use, soak

the foam in a pail of water until it barely floats. A clear floral preservative should be

added to the water to extend the freshness of the floral arrangement. Cut a piece to of

foam fit the container tightly and force it into place; the container should be mostly filled

with the foam. Cut off a small piece of the corner of the foam so that water may be

added to the arrangement later as needed. Floral tape may be used to secure the foam if

needed. Fill the container with water. Insert stems to the bottom of the foam; it is more

important with heavy or large flowers that the stem be placed all the way to the bottom

of the foam for added support. Do not pull a stem part way out of the foam after placing

it, as this may remove the stem end from contact with the water or foam, causing the

flower to wilt.

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6. Floral Arrangement Styles

Geometric designs -Line, Line-mass, and Mass –form the foundation of all floral

designs.

Line Arrangements

Line arrangements are adaptations of Japanese styles. Linear pattern is dominant.

Line arrangements are characterized by restraint in the quantity of plant materials used,

with an emphasis on the beauty of individual blooms or foliage. Line arrangements are

usually bold and dramatic, with importance placed on the contrast of form and texture,

with an open silhouette. Often line arrangements will have three lines or placements.

Most linear arrangements have asymmetrical balance. Typically, they are viewed from

the front only.

Line-Mass Arrangements

Line-mass arrangements combine the strong line of Japanese styles with the

massed effect of European designs. Line- mass arrangements have a clean, uncluttered

look, with definite line, a well-defined mass, and plenty of open spaces. The dominant

line is combined with a mass of plant material at the focal area; additional material is

used to enhance and develop the linear shapes. A design combining unusual components

and using more plant material than a Line Arrangement. Contrast of texture, color and

line are important features.

Mass Arrangements

Mass arrangements are adapted from European designs. They have a thick, full

look, with a closed silhouette. Mass design uses more plant material. The emphasis is on

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the whole colorful mass of flowers and foliage, rather than on individual components.

Color is important in mass arrangements. Round or mass shapes usually dominate, but

spiky or linear forms are good for triangular arrangements.

7. Design

A floral arrangement is made whenever selected flowers and foliages are placed into a

container according to a plan. Flowers casually placed in a container are attractive

because of their beautiful color and shape, but the same flowers are even more

appealing when arranged in a stylish way.

Design is the selecting and arranging of objects and deals with the form of their

composition. Good floral design is the result of a well thought-out plan, with two aims in

mind :order and beauty. Good design doesn’t just happen, there must be a relationship

between all of its component parts: a feeling of security, naturalness, balance and

simplicity. The floral arranger must have a basic idea, a mental picture of what they wish

to create, where the arrangement will be placed, and the function it will serve. Most

floral arrangements are made for a particular purpose or place. The arrangement should

be suitable for its intended use. A good floral arrangement should be expressive of a

theme or idea and of one’s own personality. In order to arrange flowers in such a manner

it is necessary to become acquainted with all the elements of good design. The elements

of design are color, light, space, line, form, pattern, texture, and size. The principles of

design are balance, dominance, contrast, rhythm, proportion, and scale. These same

elements and principles of design apply to every art form.

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Elements of Design:

- Color

Colors have different effects on the viewer. Effective use of color is important in floral

arrangement design.Reds, oranges and yellows are generally bright and stimulating, and

are considered warm colors. Warm colors tend to be advancing colors (to the eye), and

have more visual weight than cool colors. Blues, greens, and violets are usually tranquil,

peaceful and restful and are considered cool colors. Cool colors tend to be receding and

have less visual weight than warm colors. Primary colors: red, blue and yellow. These

three primary colors may be combined to create all other colors. Secondary Colors:

orange, green and violet. The result of combining two primary colors in equal proportion.

- Light

Light affects design in many ways. Light may change apparent colors of materials,

enhance form, texture, or depth. While light is a design element to be considered, in the

fair setting, lighting is not under the control of the designer. Typically, lighting will be

limited to artificial lighting in the form of overhead fluorescent lights. If the display area is

open-air, indirect natural light may be present during the day.

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- Space

Space describes the open area in around the design. Total space may be limited by

restrictions imposed by the class schedule, the class description, fair rules, etc. Space also

refers to the spaces within individual plant materials selected for use in the design. The

designer also establishes spaces within the design through the placement of materials.

- Line

The primary foundation of design is line, which creates a visual path for the eye to

follow through a design. Lines also function to establish the structural framework or

skeleton of a design. Line characteristics may be long or short, straight or curved, weak or

strong, etc.

- Form

Form describes the three-dimensional aspect of a design. A form may be closed –

compact, massed, with few open spaces –typical of a mass design. It may also be open

with spreading parts which produce spaces between the parts - typical of a line or line -

mass design. A closed form appears heavier than an open form of the same size. Form

also applies to the shape of individual components of a design. Forms or shapes are

generally put into three main groups according to their shape:

Spiky/Linear Shapes : Useful for line and line-mass arrangements. Often used to form the

skeleton of an arrangement.

Examples: gladiolus, iris, ornamental grasses, twigs and branches.

Mass/Rounded Shapes: Useful for line-mass or mass arrangements. May be used to

develop the focal point in line-mass arrangements or make up almost all of a mass

arrangement.

Examples: chrysanthemum, marigold, rose, zinnia, hosta leaf.

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Spray or Filler Shapes: Useful for mass and line-mass arrangements. Use as background

fillers and as space fillers in mass arrangements. Prune and thin to use in line-mass

arrangements.

Examples: baby’s breath, ageratum, ferns, asparagus leaves, parsley.

- Pattern

Pattern is the design formed by solids and spaces. Individual components in a design

have a pattern of their own; individual components are combined into an overall pattern.

- Texture

Plant texture refers to the surface quality of plant material. Textural contrast and

variety can add interest to a design. A plant’s texture may be fuzzy, glossy, smooth,

rough, etc. Texture also applies to the overall effect of the arrangement of the petals or

florets;

Examples : a spray of baby’s breath has an airy texture, a rose has a velvety texture, a

zinnia has a dense texture.

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- Size

Select flowers and leaves of different size. Usually buds and small flowers are used at

the top and edges of an arrangement, while large leaves or fully opened flowers are

placed low in the arrangement. A large element is often used as a focal point. In floral

design, size also applies to apparent or visual size. A flower’s size may be expressed as

delicate, heavy or bold.

8. Attributes of Design

- Expression

Expression is an attribute of design. Through the artistic and creative selection of

components, a mood, feeling or idea may be expressed, and communicated to the

viewer. For example: daffodils and pussy willows suggest spring; cattails make one think

of a swamp; sunflowers are casual and suggest summer; white roses are formal and

elegant.

- Harmony

Harmony is an attribute of design, and is the principle that produces a feeling of unity

throughout the entire composition. To obtain harmony, all components must have

something in common either in size, shape, texture, idea, time of flowering or color.

Flowers and plant materials should be selected that have something in common such as

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flowering habit and blooming date. The narcissus harmonizes nicely with a spring

flowering shrub.

- Unity

Unity is an attribute of design, and is that quality that expresses congeniality,

cooperation, and a spirit of working together as a unit. Unity is the fitting or bringing

together of all of those principles and elements which go into making up the design or

composition.

Ask yourself the following questions:

1)Are all of the components in the arrangement of good quality?

2)Is there unity between the container and material used?

3)Is the arrangement beautiful and well suited to its purpose?

4)Is the arrangement simple, impressive, and dignified?

5)Will it leave a pleasing effect on you, or is it only passive in nature? Is it well

proportioned, well balanced and stable?

- Balance

Balance means that the finished arrangement does not fall over or look as if it will fall

over. Consider the balance from top to bottom, side to side, and front to back. Balance is

a feeling of rest, security or stability. There are two types of balance :

- symmetrical (or formal) balance

- asymmetrical (or informal) balance.

Symmetrical balance (formal balance) means that one side of the arrangement is nearly a

mirror image of the other. Symmetrical balance requires a repetition of flowers, buds,

and foliage on both sides of the central axis with the two sides as nearly alike as possible.

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Asymmetrical balance (informal balance) means that the plant material and placement

are different on each side of the central axis. Although the sides of the arrangement

differ, they should have equal visual weight to maintain a sense of balance. Asymmetrical

arrangements balance different flowers, buds, and foliage. The axis in informal balance

does not need to be through the middle of the container.

In floral arrangement, formal balance is the most easy to execute, is dignified and

impressive, but appears very mechanical. While formal balance is inspiring, its

effectiveness depends greatly on one’s ability to recognize values and arrange them in a

restful manner. In informal, or asymmetrical balance, the two sides may be distinctively

different, but they have an equal weight such that the sides balance one another.

- Visual Balance

Visual balance depends upon placement of flowers and foliage. A form (flowers and

foliage) the same size and color used higher or further away from the axis will appear

heavier than the same form (flower or foliage) used lower in the design and closer to the

axis. Using larger or darkerplant material just above the container creates visual stability.

However, too much weight placed low in the design can make the design too bottom

heavy.

- Focal Point

That area or portion of a design which first attracts attention. The focal point is usually

placed low in the arrangement near the center, just above the container in such a way

that it breaks the horizontal line of the container. Normally the focal point is composed

of some massive material such as a large flower, bright color or something that will

immediately attract attention, have weight and give stability to the arrangement.

- Dominance, Accent or Emphasis

Dominance in floral arrangement is the greater force of a design element, such as

more round forms, or more curved lines. Dominance may be achieved through the use

of a dominant color, size, shape or texture, or by using larger forms or stronger colors.

Accent may also accomplished by introducing sharp contrast in form, size or color.

Arrangements should have a focal point to attract immediate attention or interest.

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Accent or emphasis is used to first attract attention to the most important feature in an

arrangement (focal point) and from that point to every detail in order of its importance.

- Rhythm

Rhythm refers to movement. The swing or motion in an arrangement should create a

dominant visual path, so that the eye is first attracted to the focal point and then carried

throughout the entire arrangement. Rhythm in floral arrangements may be obtained

through repetition of shapes, hues, line direction, etc. Rhythm may also be achieved

through a gradual change or progression (gradation) in size, weight, texture, or color. A

continuous line movement of flowers, stems, twigs, or color may also create rhythm. In

every arrangement there should be a feeling of swing or motion. Motion is lacking in the

arrangement on the left. By rearranging a few materials, motion is quickly recaptured in

the arrangement on the right.

- Contrast

Contrast or difference, is achieved by placing opposite or unlike elements together so

as to emphasize or accentuate their differences. Contrast stimulates interest. Too much

contrast divides attention.

- Proportion

Components in the arrangement should be in good proportion to one another.

Proportion is important in the use of color, texture or form. Consider the amount of plant

material in relation to the container. Also consider the height of the arrangement in

relation to its width.

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40




CHAPTER 4

CONTEMPORARY DESIGN TYPES

AUTHOR: ESVET SABRI AYTASMAN KIZ TEKNIK VE MESLEK LISES, TURKEY

Abstract Designs (1950 onward)

Creating abstract designs is an innovative and creative

process in which unusual or reformed plant material is

arranged in a non-naturalistic way to create new and exciting

shape. To abstract is to reduce

something to its simplest form, to

render it unrealistic, to extract its

essence and create a new image.

Designing “with” space as well as “in”

space makes a complete break with

traditional floral design. Any plant

material that interests the designer

may be used. Plant material is utilized

as pure line, form, and texture to create new images.

Characteristics: Abstract designs are bold in color and form. An abstract arrangement

distills a concept to its essence, thereby releasing the

design from nature and reality to become pure art.

Everything used must be essential to the design. Plant

material is no longer seen for what it is, but rather for

what it represents—color, line, texture, form. Fresh and

dried plant material may be used in a non-realistic

manner, i.e., upside down, sideways, suspended, moving,

or clustered to create a new form. Clipping, stripping,

bending, tying, folding, placement, etc. may abstract fresh

plant material. Fresh plant material may never be treated

with substances to change color or texture. Containers, if

used, are usually non-traditional and appear to be part of

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the design. Components may be man-made or natural items not often associated with

flower arranging. Each item should be selected for its contribution to the design. When

mechanics are used, they need not be entirely hidden if they appear to be a part of the

design, are neat, and do not detract from other components or the design as a whole.

There should be no one focal point; interest is equally distributed throughout the design

Abstract can be divided into two categories:

- Objective designs are interpretive. The may have specific meaning, represent a

theme or emotion, or interpret a class title.

- Non-Objective designs are purely decorative and inspired by the materials used.

Containers: Abstract designs are cleaner and stronger without the use of a

container. Plant material may arisedirectly from the base and/or background.

Assemblage

A three-dimensional creative, abstract design combining disparate, “found” objects and

plant material into a unified whole. Influenced by artists Picasso and Braque’s early

prototypical assemblages, which incorporated a variety of objects from everyday life,

flower arrangers adopted the style and made them unique with the addition of plant

material.

• Characteristics: The design is made up of several unattached parts, or several parts

fastened together to form asingle unit. Components are juxtaposed in

non-realistic, non-naturalistic, and non-representational way. Usepreviously

unrelated “found “ non-art objects and plant material for artistic effect. “Found”

objects are non-artitems not produced for decorative purposes and not

previously used together. The arranger creatively relatesthe items through their

unique elements of line, form color and texture.

• Material: Found objects may be man-made such as metal, plastic, rope, wire,

electrical or mechanical parts orthey may be natural objects, such as shells,

stones, and wood. The objects may be painted but should remainrecognizable

and not contrived.

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• Containers: None

• Types: Free standing, sculptural, niche displayed, or mounted to a panel. A

combination of these may be used.

Biedermeier

A design in which pavé techniques are used to create concentric rings of flowers arranged

in a compact rounded or slightly conical shape.

• Characteristics: Beidermeier style originated in Austria and Germany during

post-war years of 1815 to 1848 and is associated with a heavy style of furniture. In

these bouquet style arrangements each ring contains one type of flower, which

contrasts with the ring adjacent to it. The contrast of color, form and texture creates

interest in the design. Many variations of the design are possible with spiral patterns

or looser mixed flower placements while keeping planned alternating patterns.

Berries, leaves, nuts, small vegetables or fruits may be used in the concentric rings.

• Containers: Low bowls or footed compotes

Cascade/Waterfall

A design style derived from the floral cascades of the Art Nouveau period.

• Characteristics: Characterized by a downward, loose-trailing flow of materials, often

heavy with foliagerepresenting a cascading waterfall. Plant material flows from the

center of the design out and over the container edges. Layers of alternating flowers

and foliage create depth and texture. Try to build up an arrangement comprised of

many levels, which is cohesive in spite of the variety of plant material and textures.

There may beuse of veiling, sheltering, decorative binding or other techniques.

• Plant Material: Long, pliable flowers and foliage. Bear grass, sprengeri fern, plumosa

fern, conifers, vines, ivies, twigs, orchid sprays, string smilax, clematis, Small

fragments of mirror, feathers, yarn, or metallic thread can be incorporated to give

the appearance of reflected sunlight off the cascading water.

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• Containers: Tall container generally needed. Container can be contemporary glass,

pottery, metal, etc. If arrangement is displayed on a pedestal a plant saucer or low

bowl may be sufficient. Make sure there is adequate room for the materials to

cascade downward.

Construction

A creative design in which a strong architectural quality is the dominant feature.

• Characteristics: Use of geometric form or forms combines to create a single unit,

which must be “grounded”with strong stability. It must have a foundation like an

architectural structure and not seem to be floating inspace. Internal or volumetric

space is vital to the design. It must appear to be a single unit but is a creation with a

minimum number of bold plant and man-made materials. Additional plant material

must be added to enhance the construction regardless of what the form is made of.

• Plant Material: Man-made materials such as lumber or plexiglass or strong-lined

plant material such as bamboo, tree branches, mullein, palm spathes, etc.

• Containers: The construction is the container.

Creative Designs

Developed in the mid 20th century, creative floral design refers to designs in which

creativity, imagination, and originality are basic. Traditional rules and patterns do not

apply. The arranger creates new concepts and forms by borrowing from different styles

and/or periods. Arrangements are not a copy of a design previously created, but rather

an expression of the individual designer. The relationship between form and space plays

a major rolein creative arrangements. Today’s creative designs are continually changing

inspired by the current design world and the imagination of today’s floral arrangers.

• Characteristics of Creative Designs:

- Creative designs have few rules and no set patterns.

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- Plant material may be used only for its inherent design qualities.! Bold in form, size

and use of color.

- Strong contrast in colors, plant materials! Restrained use of plant material and

components.

- May have more than one focal point and more than one point of emergence, but

clarity of designparamount.

- May have some abstraction.

- Little transitional material.

- Asymmetrical balance is emphasized.

- Rhythm may be irregular and unpredictable.

- Tension between elements creates impact.

- Any part of the design may be dominant.

- Space is incorporated within the design and becomes an important part of the

overall impact. Both elements, solids and space, are considered solids and are

equally important to the arrangement. That iswhy you often hear the phrase,

“Creative designs are an arrangement of space, not an arrangement inspace.” The

goal is to create rhythm and movement through the use of solid and space.

• Containers: The container may play an important role in the design or there may be

no container used at all. If a container is used, it is usually non-traditional and may

have several openings. It should be bold and dramatic. Sometimes two or more

containers may be used together in a creative manner. Pottery, ceramic, wood,

metal are appropriate.

• Plant Material: Bold materials are essential. Often exotic flowers and leaves, such as

protea, antherium, birds of paradise, calla lily, fatsia, croton, caladium, palm, ti

leaves, aspidistra, grasses, bear grass, etc. Dramatic branches like wisteria vine,

willow vine, kiwi vine, and monkey puzzle vine. Branches may be fresh, dried and/or

manipulated. Other creative materials such as driftwood, bamboo, weathered

45




wood, seed pods, vegetables, and manmade objects like wire, cable, plastic, and

rope.

• Design Shape: Creative designs, like all designs, are based on the geometric forms of

the cube, cone, cylinder, and sphere. However, in creative design, these basic forms

may be distorted and combined and are more difficult to discern than in traditional

design. While creative designs break from traditional rules of flower arranging, the

basic principles and elements of design are the benchmark for evaluating these

non-traditional designs. The arrangers should demonstrate a creative and

imaginative use of plant material and design principles as well as effectively using

color, form, line, texture, and space.

While the following designs are listed specifically as creative, remember that these

design characteristics apply to many other contemporary design styles in this handbook.

Creative Botanical

A creative design style in which plant material is chosen for its superior horticultural

quality. Plant material must dominate the arrangement and create excitement by its

color, form, texture or placement. The design represents nature by showing all the

phases of the plant material’s life, but it does not put the flowers in theirnatural

environment. Remember this is a creative design with boldness and simplicity and other

creative characteristics. It differs from the Naturalistic Botanical, which presents the plant

material in its natural setting.

- Characteristics: Arrangement does not appear contrived or artificial. Varying

stages of plant development are shown, emphasizing the botanical features

of the plant material. Man-made or natural line material may be used to

highlight the featured plant but not dominate it.

- Plant Material: Home grown plant material only. No abstracting of plant

material. Rooted plants may be used.

- Containers: creative containers which harmonize with the flowers and other

materials of the design.

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Creative Line :

A creative, open design style that emphasizes line and visual movement.

• Characteristics: Creative line arrangements are boldly dramatic. They have no set

pattern and may have more than one focal point, and possibly more than one point

of emergence. The emphasis is on line, contrast of form and texture. Plant material

is kept to a minimum, with the emphasis on their beauty and form. Don't over do

these arrangements! Let the beauty of the flowers and the line material prevail. The

line may be horizontal,vertical, oblique (movement halfway between horizontal and

vertical) or zigzag. Unless the schedule specifiesthe direction, the choice is up to the

arranger, and the only criterion is that the design be predominantly line.

• Plant Material: minimal material, beauty of blossoms or foliage emphasized by

skillful placement. Line materialmay be natural, man-made or found objects.

• Containers: Modern, creative

Creative Line Mass :

Follow the rules for a Creative line arrangement; however, more plant

material is used, which results in slightlyde-emphasizing the line.

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Creative Mass:

A creative design characterized by massed bold forms grouped in type arranged to give a

sculptural appearance emphasizing

contrast in form and texture.

• Characteristics: Creative mass designs give the designer a chance to use more

material than the Creative line orCreative line mass require. The use of enclosed

space is considered part of the mass, a significant change from Traditional Mass

design. Asymmetrical balance is typical with color and textural groupings of

components providing counter-balancing weight and rhythm. Striking contrast,

simplicity, restraint, and a lack of transitional material are other characteristics of

the Creative Mass design. Small amounts of several plant materials or larger

amounts of fewer types are used. Plant material is grouped by like color, form, or

type, and then massed along lines or spaces created by lines.

• Plant Material: Manipulated leaves, dried leaves of contorted forms, bold blossoms,

fruits, vegetables. Material can be bundled, layered, terraced looped, pinned,

stapled, or otherwise manipulated.

• Containers: plain ceramic or pottery, geometric containers or irregular assemblages

of glass, wood and metal. Bold containers.

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Echo

Much like a synergistic, but may have only two containers, or more. The containers

may be the same shape, but a different size or color, usually the smaller one would be

place in front of the larger and off-set, echo like, no connecting material is used.

Floor Design

Floor Designs are typically very tall and staged directly on the floor. They are given

unlimited height unless prohibited in the schedule. They are often attached to a base for

stability. Underlays may be used as long as they do not elevate the design. The design

originates from the floor. The show committee may choose to define each exhibitor’s

allotted space on the floor with tape. Proportion is the most important element of

design. Because of their size they require bolder individual components or groupings of

smaller components to satisfy the greater dimension offered to the designer.

Framed Spatial

This is a minimalist design organized as a single unit suspended

within a frame. A non-traditional, light airydesign with an

unconventional use of plant material combined into a single, unified

design, which is then staged within a volume of space defined by a

frame.

• Characteristics: No movement is permitted, but is implied. The

unit is secured by using monofilament or thread so it appears to

be floating within the frame.The design may not touch the frame, but may exceed

the depth of the frame.The feeling of this creative arrangement is light and airy. The

suspended design must be creative.

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Free Form

As the name implies,

this design is a closed

silhouette in which

outline is free and

flowing, like an

amoeba, not

ageometric shape.

• Characteristics: It is a closed design, with no intersecting or straight lines. Plant

material is manipulated by bending or twisting. Negative space is very important,

and balance is asymmetrical. Plant material is usually placed on or within the

enclosed form. There may be more than onepoint of interest. Restraint is used in

the amount of plant material so as not to confuse the design.

• Containers: Natural objects such as weathered wood or pieces of fungus. Self-made

containers that reinforce the line and may have several openings. Oriental style

containers. Simple bowls or rustic pottery that don’t detract from the design.

• Plant Material: Most flowers, vines, and branches

Free Style

This is similar to a Japanese style of arrangement in that there is one point of emergence,

and heaven, earth andman are suggested.

• Characteristics: Designs are less contained, less ordered than the Japanese with an

open, dynamic, linearquality. The natural lines of the plant material are emphasized,

and create the shape of the design, which radiates from a given point. May have

more than one area of interest. Simplicity is emphasized with a limited amount of

plant material. Designs are not two-dimensional, must have depth.

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Hanging Design

A design that is suspended and viewed at eye level or a little above. There are two types

of hanging designs: one that has no movement and is suspended from a flat surface such

as a door, wall, easel, etc. The other may have one or more moveable parts and is

suspended from above, on a hook, from a light fixture, or within a frame. In both types of

hanging designs, there may be two or more designs that are combined to create a unified

composition.

Illuminary

A creative design, which incorporates light as an integral part of the design.

• Characteristics: Not just a design with a light focused on it. Lights of various types

are incorporated into the design itself. Lights can be placed above, underneath,

behind, or within the design, but not in front as a spotlight. Emphasis is on color,

pattern and balance. Mechanics must be concealed. Light sources may include LED

lights, rope lights, lighted tubing, colored lights, strings of lights and should be

battery-driven if possible. The lights contribute an additional quality to the design,

extending areas of interest, adding balance of color, and creating a greater depth.

Be mindful that the primary colors of light are different from those of the pigment

system, and you should be aware of the resulting colors when you combine lights

and plant colors.

Kinetic

An abstract design with real (mobile) or implied (stabile) movement.

Mobile

A free hanging design suspended from above with real movement created by air

currents. This is achieved by creating perfect balance among the groupings of the freely

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moving parts. It must have equal interes throughout. Forms, textures, and colors are

balanced as well. Mechanics and conditioning of plant material are most important.

Stabile

A creative design with a fixed base, but motion is

implied. The direction may be vertical, horizontal, or

diagonal and must be dynamic or flowing. The sense of

movement is achieved by the selection of components

and a very restrained used of plant material. The design

may rise from a container, stand alone on a pedestal or

table-top, be suspended from a base, or stabilized in

another creative manner. All components including the base and mechanics should

contribute to this dynamic feeling of implied motion.

• Plant Material: Ferns, grasses, or vines are some examples of plant material that

could be used to imply motion.

Miniature Arrangements

Any style arrangement which does not exceed five inches in any direction.

• Characteristics: Miniatures can be of any style or any design (“period,” oriental,

mass line, etc.) Employ all the rules of artistic design. Scale and proportion are the

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most important. The largest bloom should not exceed one third the size of container

and the arrangement should be approximately one to one-and-a half times the

height or width of the container. A small amount of plant material is desirable.

Avoid crowding. Conditioning is essential.

• Containers: The container should be small, so that it does not dominate the design.

Use miniature vases or create from household items: matchboxes, saltcellars,

snuffboxes, perfume bottles, toothpick holders, buttons and natural materials

(shells, driftwood, stones, etc.).

• Colors: One color should dominate the design. Use of too much contrast can

overpower a miniature or small design. This, of course, does not apply to some

“period” designs.

• Plant Material: Some successful plant material includes lily of the valley, baby’s

breath, miniature roses, boxwood, small wild flowers, violets and herbs. Larger

flowers such as lilac or yarrow may be separated into smaller parts. Some “dwarf’ or

miniature flowers may be too large for design.

• Accessories: Accessories can enhance the theme but must be in the same scale and

too many accessories will detract.

Special Tips and Helpful Hints for Miniature and Small Arrangements

- Research the schedule. Then find a container and create your “zinger” the novel

idea that gives the design distinction.

- Scale: the most common fault is an out-of-scale design. Usually, for a five-inch

miniature arrangement,the container is no more than two inches and the material

no more than three inches high.

- Flower choice: Blossom size must not be more than one-half to three-fourths inch.

- Display: Know your space, background color, and staging. Back grounds of soft gray

and celadon aremost popular. Use no more than two-thirds of the space allowed. A

display base can enhance the arrangement and is not considered an accessory.

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- Conditioning is essential to harden plant material. Soak material up to heads in

warm water for severalhours. Arrange, mist, cover with damp facial tissue in

covered cooler overnight.

- Bases and Accessories: Choose carefully. Never use an irreplaceable item. You may

need to stabilize with glue, clay or stick-‘um.

- Transporting: It is so much easier on the nerves to do the arrangement at home.

Use a Styrofoam container, a muffin tin or an egg carton with doughnut-shape

cotton support to keep arrangement from moving en route. Carry in your cooler

with ice.

- Mechanics: Water with a medicine dropper. Mist with a perfume atomizer. Use

finger nail scissors, tweezers, toothbrush bristles and toothpicks for tools. Use

tweezers for placing flowers and mani cure scissors for pruning. Use cut potato,

oasis, sand, steel wool or grapes to support material. There are miniature kenzans.

Use a sturdy box or cake stand to elevate arrangement as you work.

- Practice, practice, practice. Develop your eye to see possibilities in tiny flora,

containers and accessories.

Mille Fleurs

This is French meaning “a thousand flowers.” This design is rounded or fan shaped. Many

different kinds of flowers and colors are employed. They should be arranged in a light,

airy fashion in a contemporary vase. A three-dimensional effect is desired and achieved

by the careful placement of flowers and use of color.

Modern European

New millennium European arrangements are distinguished by shape: tight and round

with an emphasis on texture. Colors may be monochromatic or contrasting. As of 2002,

more daring styles have been emerging, offering many creative possibilities. The key

characteristic isthe use of flowers in a bizarre, unexpected way, i.e., upside down.

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Modern French

The desired outcome of this style is to create the illusion that the flowers were casually

thrown together with noattention given to the arrangement of the flowers. The natural,

casual style projects the feeling that one merrily strolled through the garden picking

flowers and casually stuffed them in a vase.

Naturalistic

Designs that are based on nature and capture the essence of a natural landscape scene.

The design does notseem contrived or artificial, but represents a slice of nature. The

plant material should be of high quality butdoes not have to be a horticultural show

quality specimen. The proper scale is vital for these designs to besuccessful.

• Containers: minimal containers which compliment the flowers and other materials.

As little of the containershould be seen as is possible. Avoid over-basing the design

with too wide or thick a base or with too many levels.

• Accessories: should be in keeping with the naturalistic design. If you wish to add

birds or animals, use thosewhich look realistic with a matte finish and keep them in

scale. There are three types of naturalistic designs, and they all reflect some aspect

of the natural world.

• Botanical Characteristics: The entire life cycle of a single flower (often a bulb flower)

is represented. The design includes the stem, foliage, buds, blooms and roots in

varying stages of development and emphasizesthe beauty of the flower. There is no

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manipulation of the plant material, use it as it appears in nature. Other flowers may

be used as long as they are subordinate to the main flower. The materials are

arranged as if growing in nature, with the use of moss, pebbles, twigs, etc. The

featured flower must have been grown by the exhibitor, not a florist or professional

grower.

• Landscape Characteristics: This design depicts a large area of nature, but in a

planned manner. Use a large, low container. Materials are organized so that taller

materials are in the back. Asymmetrical placement is important. Group like colors

and materials to reflect nature. Materials used must grow in same environment and

during same season. Finish design with moss, pebbles, etc. Avoid creating a scene

where a branch representing a tree is the same height as the flowers.

• Vegetative Characteristics: As in a Landscape design, use a large, low container.The

arrangement should not look planned, but as if you took a photo of a natural setting

with no improvements. Lots of variation in height and texture. Materials may

overlap and intermingle. Plant materials should not be altered and should be shown

with blemishes, holes, etc. It should be finished to be viewed from all sides.

Panel

Panel is a creative design, which includes a panel or panels, plant material, and other

components. The panelsmust be integrated within the design. The panel/s can either be

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self-supporting or be supported by the other components in the design. A background

does not constitute a panel.

Parallel

• Characteristics: Parallel designs have three or more units of strong, parallel lines

with open (negative) spaces between each unit. Units may be of the same or varying

lengths with clear, dominate, directional thrust. They may be horizontal, vertical, or

oblique or a combination of these. Unit composition may be one of four possible

compositions:

- Units having several different plant materials, none repeating in the other units.

- All units having the same types of repeating plant material.

- Each unit having a single plant material.

- One plant material, repeated in each unit, combined with other plant material.

Units must appear as one composition, emerging from a single container or what appears

to be a single container. Units appear to be independent of each other but related by

color, texture, pattern, form or another element of design. Plant material or other

components may be placed at the base of the design to connect the units, achieve visual

weight and balance, and unify the design. Vegetative Parallel follows natural plant

growth habit while Decorative Parallel may be stylized, abstract or manipulated.

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• Containers: Two or more containers may be stacked or placed against one another

but they must appear to be one. Plant material can be blocked, bunched, bundled,

bound/tied, layered or terraced, and massed/clustered. Plant material: Achillea

heads, small hydrangea flowers, heuchera, ivy, mahonia leaves, conifer, hebe,

poppyseed heads, berries, chili peppers. Allium, Bells of Ireland, and bamboo sticks,

are excellent verticals. Carnationsand roses are favorite flowers for massing in

groundwork and using in vertical placements. Lichen, and assortedmosses may be

used to create areas of ‘rest’ and to cover the floral foam. Vegetables, fruit and

items such asspheres, stones or pebbles add interest.26

Pavé Design

This arrangement requires placing individual

materials closely together to create a flat,

jewel-like pattern in which no mechanics are

seen. This tight clustering style emphasizes

contrast, color, and texture. The Pavé

designand the technique developed from the

jewelry industry, which uses the term to

describe setting gems closely together.

• Characteristics: Tight clustering of plant

material. Contrasting type, color, and texture for added interest. Can be helpful to

lay out pattern before you begin to arrange.

• Container: low, flat, inconspiciuos containers

• Plant Material: blossoms, leaves, fruit, pods, mosses, stones.

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Phoenix

This design is based on the mythological bird, which lived for 500

years or more, set itself on fire, and rose from the ashes to live again.

Rebirth and a round symmetrical form are the basis of this design.

The plant material atthe base is traditional and compact, a radial

design with very little space between the material. A burst of

material emerges from its center. Form, Scale, and Proportion are

important elements and principles of this design.

• Characteristics: This design has a base of flowers, which is compact and round.

Rising from the center are tall, flowering branches or other linear material,

representing rebirth, renewal. The stems should radiate out at thetop.

• Containers: Low containers are suggested.

Pillar (Columnar or Tubular)

A creative design featuring the dominance of the cylindrical (tubular) form. Plant material

may be densely packed within the tube and soaring upward, but still echoing the cylinder

shape. Plant material must be kept within the visual boundaries of the form. The design

may have more than one unit.

• Containers: tubes may consist of metal, cardboard, plastic, glass, or fabric.

Pot et Fleur

This design consists of two or more rooted

plants and cut plant material in a single

container. It should not be organized as a

landscape or terrarium. Rooted plants may be

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all flowers, all foliage or a combination of the two. Plants may be kept in their pots,

placed in plastic bags or placed in a planting medium. Cut fresh flowers may be inserted

in small bottles, floral tubes, or floral foam, and hidden among the plants. Other plant

material such as fruit, nuts, or branches may be added for embellishment. Moss may be

used to cover the top.

• Containers: Baskets or pottery bowls often used.

Reflective

This is a creative design containing material, which

reflects an image or light back to the viewer. These

reflectivecomponents are integral to the design and must

appear throughout the design. There are few plant

materials with a reflective quality, so arranger must use

man-made items. Some materials that may be used might

be:plexiglass, foil, metallic paper, or broken pieces of

mirror. Reflective bases, background, containers may be

used but do not, by themselves, fulfill the design

requirements.

Small

A small arrangement may not exceed eight inches in

any direction. Scale and proportion, as in miniature

arrangements, are of utmost importance, and good

conditioning is essential.

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Stretch

A creative design, which consists of two units, one larger than the other, and having a

component connectingthe two. (the “stretch” component). This connective between the

two units should be dynamic and implytension as if the two units were involved in a “tug

of war”. The units should appear as if they had been one, withsome of the same plant

material in each, but have been pulled a part. The placement of the two units is key so

asto enhance the tension.

Synergistic

This creative design consists of three or more units, which have a greater impact

when viewed together thanthey would on their own. All the units share the same colors,

textures and forms, creating balance, rhythm, and harmony, but each unit should not

appear as a completed design in itself. A connective (either man-made orplant material)

may be used to connect the units.

Table Design

A table exhibit is one in which the components - dishes, linens, plant material, etc. are

artistically arranged to present a coordinated concept. The practical service of food need

not be implied. Objects are used for decorative effect, but flatware and food items

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should not be used. There are two types of table designs, functional and exhibition, and

both require decorative components. A functional exhibit’s components are set logically

as if food would be served. For exhibition, components are arranged artistically with

nonfunctional placement. The principles of design should be adhered to in the artful

placement of the components. Avoid overcrowding. Vary heights to add interest.

Underwater

An underwater design must have some or all of its components,

including plant material, visible underwater. Underwater designs may

submerge only a part or parts of the arrangement. The amount of

plant material submerged is dictated by the design principle of

proportion. Plant material should be assembled in the container

before adding water. Upon completion, all materials in andout of

water should appear as a unified design. If transporting to a show,

water should be added when arrangement is

in place. It is important that all components

are pristine. Add water close to the level of

the rimunless the design is enhanced with another height. The

water line becomes part of the design and is distractingif poorly

placed. Your mechanics should not be visible. Often a small

weight such as a fishing sinker, marble or rock attached to fishing

line is used to anchor plant material underwater. Water and glass

have a wonderful and unique way of distorting a design and can

give an additional, and sometimes unexpected, dimension.

• Containers: usually clear glass and any shape, but a circular container provides the

best effect.

• Plant material: this is the major challenge for the arranger. Tropical flowers such as

anthuriums, birds of paradise, and heliconia work well. Also lilies, roses, evergreens

and citrus are good choices.

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Western Line

A Western Line is a contemporary linear arrangement, which

emphasizes line and visual movement.

• Characteristics: A Western Line arrangement is a dramatic,

distinctive design, either symmetrical or asymmetrical, based on

an open scalene triangle. Clean, taut lines combined with uncluttered negative

space within the triangle are very important to the design and add distinction to the

arrangement. The body of the arrangement is not filled in. No gradation of plant

material is used to develop the line. Tall height is emphasized, and strong downward

line material adds drama to the design.

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CHAPTER 5

COLORS IN THE GARDEN AND FLOWERS COMPOSITIONS

AUTHOR: MITTETULUNDUSUHING EURIKA, ESTONIA

There is no right or wrong when it comes to color in the garden and flowers’

compositions. Color choices are a matter of personal taste.

For some, a riot of color is just the ticket.

Others prefer to work with a simpler palette.

Understanding the basics of color theory (which artists often use to guide them when

they mix paint) can help explain why certain combinations work for you, and why others

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don't. It can help you combine different colors of blooms, foliage and other elements in

ways that you find pleasing.

Don't limit your color thinking to just blooms. You have

extensive color choices with foliage, too. Beyond the

many shades of greens, foliage comes in countless

yellows, reds, blues, grays, and earth tones. Bark,

buds, fruit and other plant parts contribute to your

palette, as well.

Use color on structures for interesting effects. Split rail fences, arbors, seating, structures

and enhancements don’t have to be dull

brown or black. Painted pots and boldly

colored window boxes can complement or

contrast with plantings. A vivid blue bench,

brightly painted birdhouse or purple dog

house can liven up your landscape.

Keep in mind as you plan that most landscape and

garden designers agree that color schemes are more

effective when you use large masses of color, and not

single plants or blossoms in a scheme. Group plants in

drifts for maximum impact.

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Warm Colors

Warm colors (reds, oranges, and yellows) catch your attention. They are lively and

energetic.

Warm colors appear to come forward in the landscape, and seem closer than they really

are. They make big spaces feel smaller. Use them to draw the eye toward features you

want people to notice or away from eyesores. Here, your eye follows the yellow flowers

to the trees in the background, de-emphasizing the buildings on either side.

Let’s start with a simple color wheel which is essentially the colors of the rainbow

arranged around a circle. Note that on one side of the wheel are what we call warm

colors - yellows, oranges and reds.

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Keep in mind that each color -- whether warm or cool - has a range of warmness and

coolness. The effect of these vermilion blooms - an orangish red - is far hotter than the

reds in these flowers, which are more toward the violet end of the spectrum.

Cool Colors

On the other side of the wheel are the cool

colors -- greens, blues and purples. Cool

colors (violets, blues, and greens) appear

to recede in the landscape. They seem

farther away than they really are, and can

make small spaces feel bigger. Cool colors

have a calming, soothing effect. If your

flowers are mostly warm colors and you

want to soften their intensity, consider

adding some cool-color blooms and foliage

to provide contrast. Here, the fiercely hot

orange celosia is cooled by the purples of

surrounding blooms. If you garden in a

small space, using cool colors will make it seem bigger.

Taking a closer look at the color

wheel, you can see a triangle made

up of the three primary colors -- red,

blue, and yellow. They are called

primary because they can't be made

by mixing other colors together.

Between the primary colors on the

wheel are secondary colors, which

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are made by mixing two primaries:

� orange = red + yellow

� green = yellow + blue

� violet = blue + red

Going one step farther, there are tertiary colors, such as blue-green and yellow-orange,

between the primaries and secondaries, and an infinite spectrum of colors between

those. In our gardens, we find more of these types of colors than the "pure" primary and

secondary colors. (Artists also use

the term tertiary colors to mean

colors created by mixing all three

primary colors to produce many of

the colors found in nature from

mustard yellow, browns -- from

yellowish to reddish to deep

umber -- and finally black.)

Image: Courtesy Don Jusko

A full color wheel that shows more of these gradations is a closer representation of the

spectrum of colors than the simple one we’re using to understand the basic concepts.

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Color Complements

Complementary colors are located directly opposite from each other on the color wheel.

(Follow the black lines that go through the center of the simple color wheel.) For

example:

� Blue complements orange.

� Green complements red. � Yellow complements violet.

Because the secondary color in each complementary pair is made up of the other two

primary colors, you can think of these combinations as having all three primary colors.

The complements "complete" each other.

Analogous and Adjacent Color

To avoid jarring combinations use analogous or adjacent colors -- colors near each other

on the full color wheel.

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When used together, complementary colors intensify each other. Red flowers, for

example, look brighter against a green background. The red foliage of the coleus makes

the green moss stand out. When yellow and purple flowers bloom in close proximity, the

whole effect of these complementary colors is greater than the sum of its parts. Blue

looks more striking in close proximity to its complement, orange.

To avoid jarring combinations use analogous or adjacent colors -- colors near each other

on the full color wheel. Analogous combinations harmonize or blend together. In this

example, we have the yellow flower, the yellow-green leaf margin, and the green leaf

interior represent all colors found close to each other on the color wheel.

If using three adjacent colors, try using the middle one as the predominant color, and the

others on either side of it to a lesser extent. Here, blossoms on the bluish side and

reddish side of violet are subordinate to the violet blossoms.

When using analogous colors, try keeping their intensities the same. Intensity refers to

the amount of gray an instance of a color contains. An intense or saturated color has

little or no gray. Desaturated colors (called tones) have more gray added, and appear

muted.

Monochrome

Even simpler than combining adjacent colors is to use a monochromatic theme, which

focuses on just one color, here yellow. The monochromatic "moonlight garden" features

all white blossoms that are particularly attractive at dusk or at other times when light is

low. Differences in plant form and texture become more pronounced in the

monochromatic garden as the garden deemphasizes differences in color.

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Color Variety

The triad theme uses three colors evenly separated on

the color wheel, such as all three primaries (red, blue and

yellow) or here, the three secondaries (violet, orange and

green). Using triads in full intensities yields a very vibrant,

energetic harmony.

Another strategy is the split complementary theme: Start out with a complementary pair,

such as yellow and violet. But take one of the colors and use the colors close by on either

side on the full color wheel. In this case, the yellow flowers in the foreground form a split

complementary pairing with the reddish-violet and bluish-violet flowers in the

background.

Shades and Tints

Another aspect of color involves adding white

or black to pure hues. Adding white lightens color, and the result is called a tint. Adding

black darkens the color and the result is called a shade. For example, pink is a tint of red

and maroon is a shade of red. Note the full color wheel includes increasingly lighter tints

toward the outside and darker shades toward the center.

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Shades in this case a rather dark shade of yellow have a low-key effect, making the scene

more somber. Their color holds up in the middle part of the day when there is plenty of

light. But they fade toward black as light decreases in the evening.

Tints in this case the lighter yellows in the foliage and flowers - have a brightening effect.

When the sun is high and unobscured these plants may appear washed out, but later in

the evening they will remain evident when the darker shades have disappeared.

Neutral Color

In addition to the colors on the wheel, you can make use of neutral colors -- black, white,

and gray -- and earth tones such as brown, tan and olive to create certain effects. All

make good backgrounds to accentuate other colors. Here, a dark background makes the

foreground appear lighter. Lighter backgrounds will appear to darken blooms in the

foreground. The dark grass, earth, and shadow in the foreground accentuates the lighter

foliage of the shrub.

You can use neutral colors as "punctuation" in the garden. Here, gray foliage plants and

white flowers are useful to help separate combinations of plants using different color

schemes.

White flowers or foliage with white variegation are especially good for lightening up dark,

shady areas. Yellows and light tints of other colors do the same. This pachysandra with

variegated green and white leaves lightens up deep shade under a tree.

Design As A Factor In Flower Arrangement. Composition And Color

And now we would like to share with you some pages from the book "Composition,"

written by professor Arthur Wesley Dow. He chosed this title because that word

expresses the idea upon which the method presented was founded—the "putting

together of lines, masses and colors to make harmony.

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"Much has been written on the subject of color and its production and it is not my

purpose to discuss causes of color. Sufficient it is to say that the person arranging flowers

must take material furnished by the garden, study the colors, note each peculiar quality

and then arrange and combine the species so there will be harmony and the eye be

pleased“ wrote Dow.

Hurst in his discussion of color says: "The simplest color effect is produced when a single color only is employed, but such color effect varies considerably in the impression it

makes upon our eyes, or, perhaps, more strictly speaking, upon our sense of color. This color sense varies very considerably in different individuals, in some being more highly

developed than in others; and we find a color or combination of colors makes a different impression upon one individual than it does on another, and what may be pleasing to the one is far from harmonious to the other. In this respect the sense of color resembles the

sense of sound; a combination of musical notes which would grate upon the ears of one person, whose sense of musical harmony is strongly developed, would be passed over by

one whose sense of music is in but a rudimental condition."

"The impression which a color makes upon the eye depends upon several factors—first, its character, whether it be red, orange, yellow, green, blue or violet; whether it is

brilliant or luminous, dull or somber. Different colors of themselves convey different impressions to the mind; yellow for instance, conveys the impression of luminosity or brightness. Blue, on the other hand, conveys the impression of coldness. Again, red

conveys the impression of warmth."

"Then again, colors convey an impression of distance; thus, red and yellow always convey an appearance of nearness, while blues and greens convey an appearance of distance."

Notan, Professor Dow defines as the "dark and light," and this is given particular

emphasis in "harmony building." In flower arrangement it is particularly important, for often the beauty of a composition is rendered far more effective if there be a careful

spacing of material, so that contrasting light and dark tones are present. In discus-sing the value of flowers in art compositions, Professor Dow says: "Flowers having great variety of line and pro-portion are valuable as well as convenient subjects for elementary

composition. Their forms and colors have furnished themes for painters and sculptors since the beginning of art, and the treatment has ranged from abstractions to extreme

realism; from refinement of Lotus-derived friezes to Poppy and Rose wallpapers of the present time. The flower may be rendered realistically, as in some Japanese design, or

reduced to an abstraction as in the Greek, without in the least affecting the purpose in

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view; namely, the setting of floral lines into a space in a fine way, forming a line scheme

on which may be played many notan-variation."

The notan of colors, or the percentage of white and black ranging in nine intensities for each tone of the primary colors from white to the full color and then to black are given by

Ridgway in his "Color Standards and Nomenclature." These may also be spoken of as the nine values„ As an example of these gradations in notan, that is the value from white to black in the scale of red, the following is given :

"White—100% white. Hermosa Pink—45% white, 55% red. Eosine Pink—22.5% white, 77.5% red.

Begonia Rose—9.5% white, 90.5% red. Spectrum Red—100% red.

Carmine—55% red, 45% black. Ox-blood Red—29.5% red, 70.5% black. Victoria Lake—12.5% red, 87.5% black.

Black—0% white."

Each of the other colors is listed under definite names, in four intensities: full, approximately two-thirds, one-half and one-fourth.

Flowers exhibit a wide range of color, consequently there is much confusion in color

names. In one seeds-man's catalog a variety of annual flowering plants may be given under one color name, and in another catalog, the same variety may be described by a

different name.

There have been many attempts to standardize color names, and among the best of the published works are "Repertoire des Colors," by Oberthur and Dunthenay, and "Color

Standards and Nomenclature," by Robert Ridgway. Ridgway's book has been quite generally used in the United States and is accepted at Cornell University as a standard for student's work in flower arrangement. It is the result of many years of painstaking study

by Mr. Ridgway and seems best suited for work with flowers. Were it generally adopted by publishers of plant catalogs, there would be far less confusion in color nomenclature

of varieties of ornamental plants. For the benefit of those interested in the study of color in flowers, copies of Ridgway's book should be available. In many instances this is not

possible; therefore, the following quotations are taken that there may be a clear understanding of the meaning of the definitions in their use in flower arrangement.

Color

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The term of widest application being the only one which can be used to cover the entire

range of chromatic manifestation; that is to say, the spectrum colors, (together with those between violet and red, not shown in the spectrum) with all their innumerable

variations of luminosity, mixture, etc. In a more restricted sense, applies to the six distinct, spectrum colors (red, orange, yellow, green, blue, and violet), which are some-times distinguished as fundamental colors or spectrum colors.

Hue

While often used interchangeably or synonymously with color, the term hue is more properly restricted by special application to those lying between any contiguous pair of the spectrum colors (also between violet and purple and between purple and red); as an

orange hue (not shade or tint, as so often incorrectly said of red), a yellow hue of orange; a greenish hue of yellow, a bluish hue of green; a violet hue of blue, etc.

Tint

Any color (pure or broken) weakened by high illumination or (in case of pigments) by

admixture of white, or (in the case of dyes or washes) by excess of aqueous or other liquid medium; as, a deep, medium, light, pale or delicate (pallid) tint of red. The term

cannot correctly be used in any other sense.

Shade

Any color, (pure or broken) darkened by shadow or (in the case of pigments) by admixture of black; exactly the opposite of tint; as a medium, dark, or very dark (dusky)

shade of red.

Tone

Each step in a color scale is a tone of that color.* The term tone cannot, however, be properly applied to a step in the spectrum scale, in which each contiguous pair of the six

distinct spectrum or `fundamental' colors are connected by hues." Hence tone is exclusively applicable to the steps in a scale of a single color or hue, comprising the full color (in the center) and graduated tints and shades leading off therefrom in opposite

directions or of neutral gray similarly graduated in tone from the darkest shade to the palest tint.

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Scale

A linear series of colors showing a gradual transition from one to another, a similar series

of tones of one color. The first is a chromatic scale (or scale of colors and hues); and second is a tone scale; the third kind of color scale is represented by adding progressive

increments of neutral gray to any color." These different scales are fully illustrated by plates in "Color Standards and Nomenclature"

Full Color

A color corresponding in intensity with its manifestation in the solar spectrum.

Pure Color

A color corresponding in purity with (or, in the case of material color, closely

approximating to) one of the spectrum colors.

Broken Color

Any one of the spectrum colors or hues dulled or reduced in purity by admixture (in any proportion) of neutral gray, or varying relative proportions of both black and white; also

produced by ad-mixture of certain spectrum colors, as red with green, orange with blue, yellow with violet, etc. These broken colors are far more numerous in Nature than the

pure spectrum colors, and include the almost infinite variations of brown, russet, citrine, olive, drab, etc. They are often called dull or neutral colors.

Fundamental Colors

The six psychologically distinct colors of the solar spectrum: red, orange, yellow, green,

blue and violet.

Primary Colors

Theoretically, any of the spectrum colors which cannot be made by mixture of two other colors. According to the generally accepted Young-Helmholtz theory, the primary colors

are red, green and violet; orange and yellow resulting from a mixture of red and green, and blue from a mixture of green and violet. There is considerable difference of opinion, however, as to this question, and further investigation of the subject seems to be

required; at any rate, authorities fail to explain why red may be exactly reproduced (except as to degree of luminosity) by a mixture of orange and violet, exactly as yellow

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results from a mixture of red and green or blue from green and violet, green being, in

fact, the only spectrum color that cannot be made by mixture of other colors.

Chroma

Degree of freedom from white light; purity, intensity or fullness of color.

Luminosity

Degree of brightness or clearness. The relative luminosity of the spectrum colors is as follows: Yellow (brightest); orange-yellow; orange; greenish-yellow, yellow-green, and

green; orange-red; red and blue (equal); violet-blue, blue-violet, violet.

Warm Color

The colors nearest the red end of the spectrum or those of longer wave-lengths (red, orange, and yellow, and connecting hues) `and combinations in which they predominate.

Cool, or Cold Colors

The colors nearer the violet end of the spectrum or those of shorter wave-length, especially blue and green-blue. `But it is, perhaps, questionable whether green and violet may be termed either warm or cool.

Complementary

As white light is the sum of all color, if we take from white light a given color, the remaining color is the complement of the given color.' When any two colors or hues which, when combined in proper proportion on the color-wheel produce, by rotation,

neutral gray, these two colors each represent the complementary of the other."

Constants of Color

The constants of color are numbers which measure (1) the wave length, (2) the chroma, and (3) the luminosity.

In addition to the terms defined there are many others, for which the reader is referred to the chapter on "Color Definitions," on pages 23-30 of Milton Bradley's excellent and most useful book, "Elementary Color."

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With these definitions clearly in mind, the student of flower arrangement is prepared to

make a critical analysis of any combination of plant material.

It will be interesting to note that when there is an abundance of flowering material in the garden, there are certain color combinations which are discordant. Each species in itself

may be attractive or when combined with certain hues or tones, the whole falls into accord, and the result is pleasing. It is only by a critical analysis of the color factors that discordant notes can be eliminated in the grouping of species in the flower garden.

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CHAPTER 6

FLORAL DESIGN: MATERIALS AND TOOLS

AUTHOR: COMPETIR FORMAÇÃO E SERVIÇOS, SA, PORTUGAL

You don’t need to have lots of tools, countless containers and an abundance of plants to

create a beautiful floral arrangement. All you really need to get started is a good cutting

tool (knife or clippers), one container and a few healthy plants. But if you’re hoping to

arrange flowers on a regular basis, why not be prepared? Put together a toolbox

containing various floral-design tools, and designate at least one shelf in the pantry for

your other materials. By having all the necessary design equipment in one place, you’ll

have everything at your fingertips the moment you’re ready to start creating!

CUTTING TOOLS

Florist knives are used for many floral design tasks. Their primary use is for cutting stems.

Folding knives and paring-type knives are the two choices for designers. A folding knife is

easily carried in one’s pocket. To be effective a florist knife must be kept sharp. Because

of this, safety is an issue. The correct cutting method involves holding the stem with one

hand. With the other hand, the knife is held at an angle to the stem. The cut is made as

the stem is pulled away.

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Shears are cutting tools used to cut woody stems. They look like scissors with short,

serrated blades. They are recommended over regular scissors, cause they can cut

through plant material without pinching the stem.

Scissors are useful tools specially in the design area. Ribbon scissors have a sharp, long

blades which are design to cut all kind of ribbons (plastic, net and fabric). Utility scissors

are design to cut all other kinds of materials like paper and leaves.

Underwater cutters they are design to cut flower stem when they are still in water. This

kind of practice is especially recommended for roses, since extends the flower life.

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Guillotine Flower Bunch Cutter, typical usage would be for the finishing of bouquets and

bunches of flowers by the florist prior to packaging and presentation. May also be used

by larger scale growers, in the preparation of volume bunches, for supermarkets and the

multiples.

Wire Cutters, are used when shortening wire and trimming several thicknesses of wire.

Scissors are not recommended for these tasks.

Pliers are used to form round ends and loops of wire or for beading and wire wrapping

designs.

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FLORAL FOAMS

Floral foam (fresh flowers). This type of foam absorbs water. It provides stability and

support for the stems.

Floral foam (dried and silk flowers). This type of foam is perfect for dried and silk flower

designs. It has a fine, dense texture and is perfect for holding stems. It’s available in light

green and brown, and it doesn’t absorb water.

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Styrofoam. Styrofoam is available in a variety of preformed shapes – blocks, spheres,

eggs, wreaths, hearts, crosses, etc. Used mostly for silk designs, it has a coarse texture

and is available in green and white.

ANCHOR MATERIALS

Waterproof tape is an all-purpose method used to secure wet

foam to containers. It comes in three colors: white, green and

clear. The tape is waterproof and pressure sensitive. Once

adhered to a dry surface, it will remain firm and in place even

when exposed to moisture. It sticks on pottery, metal, plastic,

wood, glass, ceramics... almost anything. Available in 1/4-inch

width, this tape is used to secure foam into a container by

securing the tape to one side of the container, over the foam, then securing it to the

other side. Most often, it is criss-crossed for added stability. It can be used to anchor

flowers in vases and can also be used to anchor pillar and taper holders securely in place.

An anchor pin is a plastic four-pronged design mechanic secured to the bottom of a

container with floral clay or glue. It is particularly useful with a low bowl.

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Pan-melt glue is an adhesive that can be used to secure floral foam to a container. Dry

foam is dipped into the pan-melt glue and promptly placed in the plastic container or

liner. Pieces of pan-melt glue are heated to a temperature of 135°C in a skillet.

MECHANICS FOR FLORAL SUPPORT

There are two more mechanics, other than floral foam that can be used supporting the

flowers. A needlepoint holder is a mechanism consisting of heavy base made of metal,

with many sharp, closely spaced upright pins.

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Chicken wire is a wire mesh used alone in a vase or in combination with floral foam. It

provides added support for heave or/and thick floral materials.

OTHER SUPPLIES

A greening pins are slender stakes 3 inches or longer. They are used to secure flowers

with fragile/weak stems to give them strength.

Wood Picks are slender stakes 3 inches or longer. They are secured to fragile/weak stems

to give them strength.

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Hyacinth Stake is a long green wooden stick to which flowers can be attached for

additional support.

Water tube is a tube made of plastic with a rubber cup on the top. The cup has a small

opening hole that allows the flower tem. The tube holds water and is mostly used for

flowers that need constant water supply.

Rose stripper easily removes the thorns and leaves without damaging the stems.

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Stemming machine places a sharp steel pick on the end of an artificial flower stem, a

wire or a wood pick. This allows for an easier and more secure insertion of stems into

floral foam, dry foam or Styrofoam.

SUPPLIES FOR BOUQUETS

Floral wires or stem wires are used to lengthen and support stems and for holding up the

heads of flowers. In addition, floral wired can be used to attach arrangements to forms

and for hanging arrangements, such as wreaths or swags. Floral wire comes in different

gauge sizes, colors and styles. The higher the gauge number the more flexible and thinner

the wire is. Floral wires come covered and uncovered as well as in different painted

colors. Choose between spooled or pre-cut wires.

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They are also new kind of wires that has been covered with paper. That allows to find the

perfect color to our composition, and sometimes this kind of wire can be used as a

decorative element.

Corsage tape. Available in a variety of colors, this material is mostly used for corsage and

boutonniere construction. It can also be used in displays to fasten one stem to another to

increase stem length with artificial flowers. Is a strong stretchable tape that adheres to

itself without sticking to your fingers. It is

the ideal way to lengthen and strengthen

stems. It is used when creating corsages,

bouquets, headpieces, cascades, nosegays or

boutonnieres. As the tape is stretched, the adhesive

material is activated. Floral stem tape is available in

several colors.

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Spray or liquid adhesive. This product is perfect for

adhering moss to the outside of a container. Just

spray it on and let it set for a few minutes until it

becomes tacky, then press the moss onto the

container.

Sure-Stik is a green adhesive clay or gum that can be used for temporary or permanent

bonding of dissimilar objects (for example: flowers to the exterior of a display pot or

arrangements to funeral objects).

Ribbons are adding the perfect finishing touch to your floral craft. They can be made

from many different materials. Usually they are made from satin, cotton, silk or plastic.

Common ribbons sizes are #1, #1½, #3, #5, #9.

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A floral foam holder is a plastic cage, usually with handle. The floral foam is placed

inside, and that add support to design and allows to insert stems all sides.

Floral sprays are materials used to modify or change the natural colors of our flowers.

The floral paint completely changes the natural flower color. A floral tint allows some of

the flower color to show (its translucent). A glitter spray contains glittery to the flower.

Stem dye is a solution that is transported to the flower petals thru the stem.

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FLORAL CONTAINERS

Floral containers, flower pots, ceramic floral containers,

design bowls, plastic floral containers are the mainstay of

the floral industry. There

are dozens of types, shapes

and colors of floral

containers these days. You

can choose if the container will be just a simple water

support or it add an extra value to your composition.

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CHAPTER 7

MAKE A PLANT HERBARIUM

AUTHOR: INSTITUTO DE EDUCACION SECUNDARIA FEDERICO GARCIA LORCA, SPAIN

Making a herbarium is exciting and rewarding, as each plant you press provides you with

a valuable experience, allowing you to connect more closely with the plant through

bserving and working with it, and helping you to understand and remember it in a way

that is never possible from just reading about it in a book.

A herbarium is a collection of

preserved plant specimens. Herbarium

specimens’ form an important

recorded of what plants grew where

over time. They may have been

produced as a voucher for an

environmental survey or botanical

research, and serve as a ermanent

record allowing anyone to go back and

check the identification, re-sample or

repeat research. The production of

herbarium specimens is therefore an

important, but often forgotten aspect

of botanical studies.

There are four main aspects to making good herbarium specimens:

1. Collecting

2. Pressing & Preserving

3. Mounting

4. Labeling

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Quality herbarium specimens are an important recourse and require both skill and

dedication to produce. They require care when collecting and pressing together with

accurate, detailed labels.

1. Collecting

When collecting plants for herbarium or voucher specimens there are two basic points to

remember:

• Include all available parts of the plant (i.e. all reproductive structures such as fruits,

flowers, as well as bark, leaves, etc.).

• Include detailed notes about the plant and its surroundings.

When in the field it is a good idea to collect two samples of the plant, one for dissection

and identification, and another for the herbarium specimen. While in the field, always

record details of the plant in your field note book. Do not rely on your memory! This

information will later be included on the specimen label.

Before venturing out in to the field, always consider the laws and ethics governing the

collection of plant material. Collecting illegally can result in hefty fines and even jail.

The ideal specimen for identification and research is an entire plant, roots and all. Leaves

alone are virtually useless. You should try to collect as much of the plant that is practical

and possible given the size of the plant and which parts are most informative. In general

aim to collect:

• At least the terminal parts of the aerial shoots including leaves and reproductive

parts (leaves, flowers, buds and fruits).

• A representative sample (do not simply choose the biggest or prettiest).

• More than one specimen from a single plant if the plant is variable (e.g. juvenile

leaves at the base, adult leaves higher up).

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• One specimen from different plants, if you are trying to show variation within a

population.

• Collect at least a couple of specimens of each plant. Put one specimen in a plastic

bag and keep it in the fridge for identification, and press the other.

Without detailed, accurate information a herbarium specimen is almost useless. You

should write notes while in the field collecting. Do not rely on your memory! A hard

backed exercise book makes a great field note book. In your field note book you should:

• Use a waterproof pen or pencil so your notes are not lost in the rain or mist.

• Write your contact details in the front cover so the book can be returned to you if

lost.

• Stick a copy of a herbarium label in the back cover to remind you what information

is required.

• Use one page per specimen so you have additional room if you need to add

information later.

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Record numbers are used to identify different herbarium specimens to their information

in your field note book.

The best numbering system is the simplest: start from number 1 and continue for the rest

of your collecting career.

As a general rule, the same number is given to parts collected from a single plant on the

same day. If small herbs or grasses are being collected, such that several entire plants can

fit onto a single sheet of mounting card, these specimens may be given the same

collecting number if obtained from the same population.

Prior to collecting, it is important to consider the legislation, ethics and health and safety

aspects associated with plant collecting. When taking plants from public or private lands

always seek consent of the landowner. This may mean contacting the Local Council that

looks after the garden, speaking to the gardener in charge, farmer, caretaker, etc.

Always respect and care for the environment from which you are taking flora. No matter

where you are collecting, always take only the minimum amount of material required

and never collect more than 25% of a single population or more than 10% of the

reproductive material.

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2. Pressing & Preserving

Herbarium specimens are generally preserved by pressing until dry, or pickling in a liquid.

Pressing means to apply enough pressure to hold the plant in a position that best displays

the botanical features while drying. The keys to achieving well pressed plants are:

• Dry them as quickly as possible in a good plant press.

• Care for the specimens as they dry.

Plant presses come in various forms but usually consist of two wooden boards or lattices

(30 x 45 cm), cardboard and newspaper arranged like a sandwich (pictured below). Straps

or belts are wrapped around the press to hold it together.

Once in the press it is important that specimens are dried as quickly as possible to

prevent them from going mouldy. Normally specimens take 7-14 days to dry depending

on the air temperature, humidity and the dampness and/or succulence of the plants.

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The following suggestions will help to dry your specimens quickly:

• Use a lattice press.

• Use cardboard with internal corrugations.

• Use blotting paper to absorb the moisture.

• Stand the press in a warm, dry place, e.g. a cabinet-type clothes drier set at low

heat. Be careful not to burn the specimens or press.

Replace the newspaper to remove moisture and fungal spores.

It is important that specimens are checked regularly while drying to ensure that insect or

fungal attack does not occur, and to reposition the plants. Initially Newspaper sheets

should be replaced daily to remove moisture and spores. After the third day this can be

done every 2-3 days until the specimens are dry.

When changing the newspaper re-position the specimens while they are still pliable.

When rearranging, aim to achieve the following:

• Ensure all botanical features are showing, including both lower and upper leaf

surfaces.

• Make sure the specimens will fit on the mounting card when dry, remembering to

leave space in the bottom right hand corner for the label!

Keep a picture in your mind of what you want the final herbarium specimen to look like -

once the specimen dries you won’t be able to move it.

If your specimen is too big to fit on a single sheet of herbarium card pruning, overlapping

or folding the specimen when pressing may help.

If all else fails, cut the specimen in half and mount it on two sheets of card. If you do this,

however, you will have to put a label on each sheet and note the total number of sheets

on each label (eg. "Sheet 1 of 2").

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For long specimens (eg. grasses, sedges, and daisies) fold the flowering stalk into a zigzag

when drying to fit it on a single sheet.

Always handle your specimens with care to prevent them from breaking or parts from

falling off. As they dry however, some plants inevitably drop their leaves, seeds or

flowers. If this happens, collect these parts and put them into a labelled paper envelope

alongside the drying specimens. These will be added to the herbarium specimen at the

mounting stage.

3. Mounting

To mount a specimen means to adhere it onto a sheet of herbarium card. A well

mounted specimen should display both artistic and botanical qualities. It should be

arranged on the card in a balanced, aesthetically pleasing way, paying attention to:

• Orientation and type of mounting card.

• Arranging and attaching the specimen.

• Position of label and accompanying annotations.

• Keeping loose parts in specimen bag.

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Official herbarium specimens are mounted on 29 x 43 cm archival quality (acid free)

white mounting card (250GSM). The direction of the card is "portrait" (vertical).

If pressed correctly, the plant specimen should fit perfectly on the mounting card. When

arranging the specimen:

• Leave a 1cm border around the edge to allow space for holding when picking up the

card.

• Single specimens should be centred on the mounting card and are usually placed

vertically or diagonally across the sheet.

• Small plants with multiple specimens should be arranged in evenly spaced rows

spread over the whole card.

• Orientation of the plants should represent their habit, i.e. usually flowers to the top

and roots towards the bottom.

• Flip the specimens onto the side that displays the most botanical features (i.e.

flowers, fruits, both sides of leaves, etc.).

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Specimens can be attached to the mounting card by gluing, sewing

or with tape. Although gluing is the quickest method, it is also the

least flexible as glued specimens cannot be removed to expose the

underside and cannot be remounted.

Any parts of the specimen that break off must be kept. When dry

place loose parts in a small polyethylene plastic bag or a paper

envelope, fasten to the label and herbarium card with the

specimen. Points to remember regarding the specimen bags

include:

• Use the smallest sized bag appropriate to the contents.

• Place a small label inside the plastic bag or write on the envelope details such as

species name, collector/s and date to identify which specimen the bag belongs.

• Hang from top left hand corner unless this overlaps with the specimen.

• Fasten the bag with a plastic or 'owl' type paperclip as these don't have sharp edges.

Paper envelopes may be stuck to the mounting card with glue.

• Do not place parts in a plastic bag until they are completely dry as they will go

mouldy.

The label contains information about the specimen that has been copied from the field

note book plus additional notes relating to the specimen's name and identification. When

attaching the label you should always:

• Place label in the lower right hand corner.

• Place 1cm in from the edge of the card to allow space for holding and to prevent

damaging the label.

• Use archival clear gum glue.

• Glued down along the top edge only.

• Keep the label free from mounting tape and specimens.

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4. Labelling

Without accurate information accompanying a herbarium specimen, it is almost

worthless.

Traditionally herbarium labels were hand written, but today most herbaria use database

systems from which labels are printed.

At a minimum your label should include:

• Family and scientific name of the specimen, including the authority.

• Collector's name/s.

• Date of collection.

• Locality where the plant was

collected, including latitude

and longitude.

If possible also include:

• Collector's specimen record number

• Name of the person who determined the identification

• Altitude

• Habitat or type of plant community

• Habit

• Any other details about the plant that may be important

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Remember that the information on the label is specific to your specimen and may differ

from the species description. Also, the more information you include the better. When

complete the herbarium label is attached to the bottom right hand corner of the

mounting card.

Nomenclature refers to the name of the specimen. Nomenclatural information includes

the family and species names on separate lines. The family should be in CAPITAL letters,

and the genus and second part of the species name (species epithet) should be in italics

or underlined. Make sure only the genus name starts with a capital letter, not the species

epithet.

On your label the authority name/s are written after the species nam. Authority names

are frequently abbreviated so ensure you have the correct abbreviation. The authority is

the person or people who first described the species name.

The collector is the person or people who picked the specimen.

Date on the label refers to when the specimen was collected.

Determinavit (Latin) refers to the person who determined the name, or identified this

specimen. If this is the same person as the collector, Det. can be left blank, or just the

collector’s initials written.

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Latitude and Longitude refer to the grid reference where the specimen was collected.

They are best obtained by a GPS while out in the field, but can be calculated later using

maps.

Altitude is the height in metres above sea level where the specimen was collected. These

can be obtained from a GPS or maps.

Locality is the place where the specimen was collected. When writing the locality, start

from the largest area and conclude with the details. Include country, state, region,

nearest town, etc. You should include enough detail that someone else could relocate the

population or even the exact plant you collected from.

The bottom part of the label is for additional information about the plant that is not

evident from the specimen itself but may be important to botanists, entomologists,

gardeners etc.

Habitat refers to the vegetation type within which the specimen was growing, while habit

refers to the growth form of the plant from which the specimen was taken. If the plant

was collected from a garden, lawn or gravel roadside state this.

Other information may be ecological, taxonomic or general. For example flower colour,

soil type, slope, aspect, plant height and width, associated species, bark colour and type,

sap (eg. milky, resinous, etc.), distinctive odour, dioecy, abundance, pollinators,

herbivory, etc.

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CHAPTER 8

BASIC ARRAGEMENT FORMS AND STYLES. HOW TO KEEP FLOWERS

LAST LONGER

AUTHOR: ACLI CAMPI FLEGREI, ITALY

FLORAL ARRANGING TECHNIQUES

Anchoring

The anchoring techniques allows a stem to be immersed into a

froth using wood pikes or wire. Since the calla lily stem is soft,it will be better to a cellophane ribbon on it.

Armature

An armature is a structural framework used in an

arrangement generally for decorative purpose.

Banding Banding is the technique used to circle materials for decorative purposes using copper wires, ribbons, tapes etc

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Grouping

Grouping is done when we place the same materials

together. As you can see in the picture although flowers are close to each other, they are arranged in a such a way that still they show their individuality.

Binding

Binding is simply tying the materials together. As generally is done with hand bouquets.

.

Radial Insertion

Radial insertion is a technique of stem insertion

from a same place but the effect spreads around. The anthuriums are spread around the

arrangement but the point of origin is the same.

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Collaring

Collaring is a technique used when you are making a 'collar' surrounding the materials.

You can use any kind of decorative leaves, tuberoses or paper.

Weaving

To weave is to interlace materials to create, a surface or a structure.

Spiralling

Spiralling is a single circling line movement. Movement can be

upward, downward, outward, and inward.

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BASIC ARRANGEMENT FORMS AND STYLE

Pyramids

A pyramid is an

arrangement which we rarely see but it actually

exists. The base is triangle and is very tall.

It can be used as a table centrepiece.

Dome

The container used for this type of arrangement is best medium in height. The dome

arrangement is an all-round arrangement with the same distribution of flowers all around.

A dome interpretive arrangement is different from the classical dome

arrangement. The shape of the dome is almost the same but

there are less flowers but more lines and spaces.

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Crescent

The Crescent arrangement is also known as a C shaped design. It

has the moon shape.A curve arrangement is quite difficult to make because it is asymmetrical. The

proportion must be balanced from whichever angle you look at. The weight must be balanced too in order to make

the arrangement stable. A crescent inverted arrangement is in the shape of

a crescent arrangement but upside down. Instead of flowers going upward, its direction is

downward.

Horizontal

In a horizontal arrangement the length is usually 2 times

the height. A classic horizontal arrangement is symmetrical; the length on both sides is the same. Moreover, the

placement of flowers is mirrored to the other

side. An asymmetrical horizontal arrangement is

the so called horizontal interpretive arrangement. It is asymmetrical; the length on both sides may

not be same. It has more personality. The horizontal arrangement is low.

Inverted T Inverted-T arrangement is in the shape of the

letter T, but upside down. It looks like a

triangular arrangement but slightly different.

A classic inverted T arrangement has the

same type of flowers on all 3 sides. Whereas

an inverted T interpretive is an asymmetrical

arrangement. The length on one side may be

different with the other.

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L shape

An L shaped arrangement has the letter L shape. It is not symmetrical,

but you must know how to position your flowers so that it looks well

balanced.

Fan

The fan arrangement is shaped into a fan. In order to build the fan, you must

use flowers with long and strong stems like.

Triangular

To make a triangular shaped arrangement, position the line flowers

to form a triangle. The height of the arrangement should be more than the width. The tallest flower is placed at the

center and other flowers are cut to size to arrange around the center to give the

triangular shape.

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Oval

The oval design is a variation of a circular form with its shape being elliptical to the

eye. It is generally one sided but it can also be all sided

too.

Vertical

The vertical arrangement is a

tall arrangement with small width. It can be a classic vertical arrangement or an interpretive

vertical arrangement. The vertical style most often

requires a focal point either near the top of the arrangement or the rim.

HOW TO MAKE FRESH FLOWER LAST LONGER

Florists use a lot of techniques to make flowers look fresh and last longer. All the techniques described create the conditions for a

better water absorption.

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By bending stems under water

Water will be absorbed by the exposed surface in the water. This technique is

appropriate for flowers whose stems can be easily manipulated, like carnations.

Steps

1. Prepare a clean container of water. 2. Hold the stem with two hands. Bend the stem under water.

3. By twisting action, break off the stem.

You can see that fibre from the stem are exposed. The more fibre exposed, the better the water absorption will be.

By cutting stems under water

Just cut the end of the stem and put it under water. By doing this, the cut surface is bigger so that more water could be absorbed by the stem. This technique

is suitable for flowers with long stems such as gerbera, freesia, hyacinth, anemone, gladiolus, etc.

Steps

1. Prepare a clean container of water.

2. Immerse stem into water. 3. Cut the stem under water using floral scissors.

By putting stems in deep water

This technique is usually used when simple techniques are not satisfying. It is suitable for

flowers with long straight stems. The depth of the water should be more than half of the height of the flowers, better if right up till the position below of the flower.

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Steps

1. Wrap the flowers with paper until the stem is about 10cm exposed.

2. Cut off the end of the stem using floral scissors. 3. Flowers must be placed in a tall container filled with clean water and leave for

about 1 hour.

By spraying back of leaves with water

Thanks to this technique, we create a layer of water at the back of the leaves surface. Do not spray water on the surface of the leaves, because they might fall off due to the

weight of the water. Suitable flowers for this method are ivy, roses, etc.

Steps

1. Hold flowers upside down. 2. Spray water onto the back of the leaves. Be careful not to spray onto the flowers.

3. Move energetically the flowers to remove excess water. 4. Wrap the flower with paper, leaving about 10cm exposed.

5. Cut the end of the stems under water and leave it there for about 3 to 4 hours.

By splitting stems, open

This technique is used for flowers which have stems or branches that cannot be broken with hands and require more water absorption Suitable flowers for this technique are

Cherry Blossom, Camellia, etc.

Steps

1. Cut the end of the stem using a sharp scissors. If the stem is thick, rotate the stem, at the same time.

2. Next, cut the end of the stem into half. 3. Rotate the stem 90 degrees, and cut into half again. Now, there is a cross-shape at

the cut surface.

4. Using the scissors cut the split to make it open wider. A wider opening means better water absorption

112




By crushing stems with hammer

This technique is used for flowers, which have hard fibres in the stem or thick branches

difficult to cut with scissors, peach flowers and plum flowers for example. The exposed area is the surface area for water absorption.

Steps

1. Cut the end of the stem

2. Place the stem on a hard surface and crush it with a hammer if necessary hit with the hammer more times.

3. After that, place the crushed stem in a container of water.

By using hot water

If you soak the stems in hot water, the air will be pulled out. The stems empty inside, will be immersed in plain water so that they will reduce and the level of the water will grow

higher. The important point is that do not let the heat get too near to the flower. Suitable flowers for this technique are Cosmos, Clematis, Mimosa, Stock, etc.

Steps

1. Wrap the flowers with paper, leaving about 10cm of stems exposed.

2. Prepare hot water (not boiling water) in a container. 3. Place about 3 to 4 cm of stems into the hot water.

4. After a few seconds, remove from hot water and place in cold water. Leave the flowers there for about 1 hour.

By putting stems in alcohol water

This method is used to treat flowers having white sticky resin naturally. (Blue Star,

Agapanthus, Daffodil, etc.) . By using only water the sticky resin becomes more resistant. If you mix alcohol in water, and place the stem into the alcohol water, the hardened resin can be dissolved and the flowers benefit from water absorption.

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Steps

1. Mix alcohol/ethanol with water.

2. Put stem in the alcohol water. 3. After pulling out from the water, clean the end of the stem and place in plain water

for 1 hour to allow water absorption.

By burning stems

Burn the end of the stem so that the air will go out and the stem will remain empty. At this point, the water pressure will be used in order to increase the level of water

absorption. Flowers suitable for this technique are Roses, Clematis, Mimosa, etc...

Steps

1. Wrap flowers with paper leaving about 10 to 15 cm of stems exposed. 2. At the stove, put fire to the end of the stems about one-five cm until the stems

turn black. 3. Place the burnt part in water about 1 hour.

4. Cut off the burnt part in case you want to use a transparent container for your arrangement.

By using alum

Alum is hydrated aluminium potassium sulphate and it is acidic. It allows the water to be

absorbed by the stem even though it is very soft. All the flowers that easily wither are suitable for this treatment (Snowball, Hydrangea, etc.)

Steps

1. Alum will have to be dissolved into water. This is a hard step because it is difficult

to dissolve Alum into water: for that, you will need some strength. The higher the

concentration, the better results you will get.

2. Put the stem in dissolved alum for a few minutes.

3. After that, remove from the dissolved alum and put in plain water for about 1 hour.

114




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