Flower Arrangement Guidelines
2007 Principles of Design These have been developed over time to explain the way we see the world, proportions we enjoy looking at, juxtapositions that strike us as harmonious. They apply to everything we see, including a flower arrangement.
BALANCE A state of equipoise between weights, different elements or opposing forces; equilibrium; stability. The look of stability is necessary. We notice when something looks top heavy, bottom heavy or lopsided. This can be because a part of an arrangement draws our eye more strongly, unbalancing the design. If all other design elements are equal then: Larger forms attract the eye more quickly than smaller ones.Shinier textures are more eye-catching than duller.Colours that are stronger, warmer or more luminous have more emphasis than those that are weaker, cooler or lack luminosity.A point draws the eye more than any other form.Enclosed space (think a lily facing you) attracts the eye more than an open space.Compact forms have more force than airy forms.An object further away from the central axis has more eye pull than one near it We like to see balance on either side of an imaginary vertical or horizontal axis. This does not mean we need to see the same shape on each side, but that each side should have equal powers of attraction. A symmetrical arrangement is in static balance. An asymmentrical arrangement – think Ikebana – is in dynamic balance.
RHYTHM A harmonious correlation of parts as a result of a series of accents and pauses, or motion and rest. It is movement marked by regular features and elements, and has repetition so that there is unity and co-ordinated movement Rhythm is basic to art. To sustain interest and hold the eye of the viewer, a design must have motion and rest. The arrangement doesn’t move, so to be successful it must prompt our eyes to travel round it. Some repetition of line and curve, color and texture helps the eye to do this.
SCALE AND PROPORTION Good scale results when there is a pleasing relationship between the size of individual units in an arrangement. They all need to be within a certain range. One large flower and two very small ones would look odd. Add some intermediate sized flowers to complete the scale. The same principle applies to the other parts of the arrangement – the container, other plant material, accessories should all fit together. Proportion describes larger areas and volumes than scale. In a flower arrangment the size of a flower in relation to another flower, or a leaf, is scale, each flower in relation to the container is scale, but the total amount of plant material in relation to the container is proportion. It has been established that our eyes most enjoy a proportion of roughly 3 to 2. Well, we are not going to get out the measuring tape, but it is something to remember, and occasionally check. DOMINANCE AND CONTRAST Dominance provides a sense of order. Two equally large flowers in one arrangement destroy its unity. But one dominant feature requires support from lesser components or we quickly lose interest. Contrast gives vitality to an arrangement, but needs to be used within the unity of the design. Don’t forget dominance. Contrast can be built into an arrangement by
Using long thin leaves or branches at an angleUsing texture – very effective because texture is not a dominant quality, so rough or crinkled enhances smooth, velvety leaves enhance satiny petals.Colour – a nobrainer. Think variations of green
HARMONY Harmony is sometimes considered a design principle, and sometimes as the successful outcome when the other principles are well used. We know it when we see it. Some edgy modern designs challenge us with their dissonance. If we want to go there maybe we should talk about it first.
ELEMENTS OF DESIGN These are inherent in the material used. We look at the texture, form, color and space, enclosed and open, of flowers and other plant material, plus any containers and accessories we may choose for an arrangement.
TEXTURE We have a great array of surface textures to play with. Avoid too little contrast, or too many different textures. A container can supply welcome contrast. Subtle colour schemes without really strong colour impact need greater textural contrast. This applies particularly to dried arrangements. A spare, open arrangement needs a play of textures. Where similar shapes are used, perhaps as in a bowl of fruit, varying texture breaks the monotony. Refer back to the notes on contrast, they apply to texture.
FORM This refers to the shape of something, the arrangement of its parts, its total outline or contour. Our arrangements are made up of forms within a form. This element covers points, lines, curves, volume. We need to have an idea before we start of the form we want our arrangement to take, and the shapes of components we will need to put it together.
COLOUR A colour wheel is a huge help in thinking about colour, particularly one which shows the pure hues, the tints, which have white added, the tones, which have grey added, and the shades, which have black added to the hues. Colour schemes that please us can be monochromatic, using the tints, tones etc. of one colour. Here strong textural contrast makes a huge difference.An adjacent colour scheme uses the colours lying next to each other on the wheel, plus their tints etc. This is very visually pleasing.Complementary schemes use colours approximately opposite to each other, which can be visually exciting.Triadic is the primary red, blue, yellow. Don’t go there. But mixing tints and tones of these colours can work, and be most unusual and satisfying.Polychromatic schemes, using many colours, are difficult to handle, unless the colors are soft. Colours are warm – red end of the spectrum, or cool – from the blue end. Warm colours appear closer, cool colors recede. A warm arrangement will seem larger than a cool one. We are hugely affected by colour. Maybe we should discuss it further.
SPACE The first space to think about is that in which an arrangement will be placed. The size of a table, the dimensions of a niche, the height of a mantle need to be considered. Look at it as a block or a cube to be filled pleasingly. Don’t try to pack it tight. Or make the arrangement so small it looks insignificant. Then there is space within a design. We generally don’t produce a solid form, there is space between the elements. Open space lies between, perhaps, two flower sprays, leading out of the design. Enclosed space, the heart of a forward facing lily, or phormium leaf pinned into a circle, has eye-pull and can add emphasis, balancing a solid. This is a beginning. I hope you have come this far with me – I know it’s a long read. Please join in the discussion and help us all open our eyes. Many thanks to Helen Carroll for sharing these thoughts with us.
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Preparing (conditioning) Flowers for Arranging
All flowers, wild, cut from the garden or bought at the florist should be “conditioned” before being placed in a vase or arranged in a container. This cannot be stressed enough if one wants their flowers to last for at least one week. It takes very little time and pays off in the end.
Cut all flowers stems at an angle so to open as much stem as possible – should be done underwater to minimize air intake but if done quickly is okay. Strip stems of leaves and place in clean container filled with warmish water (cold for tulips and other bulbs). If possible leave overnight or at least two hours to absorb water even if arranging in water not oasis. Now flowers are ready for arranging and will be cut again before putting in vase or container.
Branches such as forsythia or lilac etc. should be immersed in water (flowers ,leaves & branches for at least two hours) then removed; smash the stems and place in container overnight.
Roses: Cut stems at a sharp angle, remove thorns and place up to their necks in hot water. Leave overnight if possible and should last at least one week.
Tulips: Cut stems carefully so not to bruise just above white part – place in cold water and wrap in paper if slightly curled – they will straighten.
Peonies: Cut just as bud is showing color and place in container of warm water. If you wish to keep them for a long period, place in plastic bag with leaves removed and tie with twisttie or elastic and place in fridge. When ready to use, remove, cut stem and place in warm water overnight. Flower heads will be like new – can last up to two months.
Hollow Stemmed Flowers: such as delphiniums, lupins and amaryllis, fill stems with water and plug opening with cotton or Kleenex.
Daffodils: Freshly cut daffodils should be placed in container alone for the first 24 hours before mixing with out flowers. They emit a poisonous substance that kills other flowers.
Miscellaneous Hints: When using glass vases, crumble clear cellophane into vase to hold stems or use shells, marbles, stones or fruits such as cranberries, limes or lemons. Another idea is to insert broken branches at various angles to support flower stems.
When using an opaque container, crumble chicken wire inside to support stems. Water flows easily.
Remember 4 basic requirements of a flower arrangement regardless of shape or size – line (branch or tall flower(establishes the form) consealer (usually leafy green used to hide oasis and edge of pot) focal (flowers, large near base and small throughout arrangement and filler (flower clumps or greens, adding depth & fullness to arrangement).
It is more interesting to use odd numbers of flowers and greens.
Try and remember as arranging that all stems of a plant grow from one point.
Remember each stem has a positive view – i.e. Grew in one direction – try not to place it backwards
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Notes
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| sample fall boquet |
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| january brightened |
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| march hall table arrangement 2009 |
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| march 2009 arrangement |
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| march 2009 centrepiece |
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