Floral Designs

Table of Contents

• Egyptian
• Greek
• Roman
• Italian_Renaissance
• Dutch Flemish
• French
  • Baroque
  • Rococo
  • Neoclassical
  • Empire
• English
  • Early Georgian
  • Late_Georgian
  • Victorian
  • Edwardian
• American
  • Early Colonial
  • Late Colonial
  • Federal
  • Victorian

• Traditional Line
• Traditional Line Mass
• Free Style 
• Free Form
• Creative Flower Designs
• Abstract
• Creative Line
• Creative Line Mass
• Creative Mass
• Parallel
• Synergistic
• Echo
• Floor Designs
• Underwater
• Framed Spatial
• Free Standing Abstract
• Modern European
• Modern French
• Mobile
• Stabile
• Pot-et-Fleur
• Tussie Mussie
• Table Classes
• Miniature and Small Arrangements

 

Principles and Elements of Design

The principles and elements of design guide arrangers in creating and judges in analyzing flower arrangements. It is imperative that all flower arrangement judges be thoroughly familiar with these concepts. The following outline should be referred to when judging and writing comment

Principles of Design

1. Balance – visual (and actual) stability; symmetrical, asymmetrical
2. Contrast – differences emphasized by placing unlike elements together
3. Dominance – the apparent importance of one element (implies subordination of others)
4. Proportion – relative amount of one area of a design to another and to the whole
5. Rhythm – visual movement through the design
6. Scale – relative size of one individual part of a design to another

Elements of Design

1. Color – visual sensation CLICK HERE for Color Wheel
   • Hue (color name)
   • Value (tints and shades/lightness or darkness)
   • Intensity (chroma, tone); warm/cool
2. Form – form of the whole arrangement; forms of the individual components: open, closed, linear, solid, etc.
3. Light – natural, artificial
4. Line – the structure of the design
5. Pattern – designs formed by solids and spaces, colors, or textures within the plant material and other components, and the arrangement as a whole
6. Size – apparent or actual dimension
7. Space – total space, spaces intrinsic to the components of the arrangement, and spaces created by the arranger
8. Texture – surface effects

 

History of Traditional Flower Arrangements

European

English

American

 

Period Arrangements

This material is to be used as a guide and should be supple­mented with your own research and careful reading of the flower show schedule.

Egyptian 2800-28 BC

Characteristics: The Egyptians used flowers and plant material to express an exotic, god-like spirit. Arrangements in containers had an orderly outline of materials and were dignified. There was no bunching or overlapping of material.

Containers: wide-mouthed basins, bowls, and jars of bronze, pot­tery, faience, slate, and baskets may be used.

Colors: Designs featured only two or three strong, bright colors with jewel-toned harmonies; no mixed or blurred effects.

Plant Material: acacia, acanthus, fig, ivy, lily, lotus, mallow, man­drake, morning glory, oleander, olive, palm, papyrus, pomegran­ate, poppy, reeds, rose, violet, water lily, fruits and berries, and other natural materials.

Design shape: to be determined by schedule, container, plant ma­terial and artistic concept.

Greek 600-146 BC

Classical Greek was the bridge between the ancient Egyptian and Roman periods.

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 of form, in stylized patterns, were the hallmarks of classical Greek design. Garlands, swags, and wreaths were popular, and fragrance was important. The purpose of most of their designs was to enhance or embellish their architecture. Texture and color were more important than shape. 

Containers: Baskets, pottery containers, trays and cornucopia.

Colors: Strong color accents were achieved by the use of fruits grouped together.

Plant Material: ivy. laurel, olive, and various vines, grains, nuts, cones or berries were common. There is very little evidence of flowers being used for decoration.

Design Shape: to be determined by schedule, container, plant material and artistic concept.

Roman 28 BC-325 AD

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 Greeks used baskets only 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.

Containers: Scarves are shown regularly as a means of carrying flowers, as are baskets. Also terra-cotta bowls, jugs, amphora, and cornucopia.

Colors: Set against walls of porphyry and colorful marble, Roman arrangements were bright, bold, even gaudy with contrasting hues and tones.

Plant Material: Similar to the Greek style and with the addition of acorns, ivy, jasmine, pine cones, pinks, quince and roses.

Design Shape: to be determined by the schedule, container, plant material and artistic concept.

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 material as 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, low bowls, picking bas­kets, 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 ellipse

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 arrange­ments 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

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 Materials: Anemone, carnations, lilacs, poppies, snapdrag­ons, tulips, and other period flowers

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

Accessories: Candlesticks, baroque angels, boxes

Design Shape: to be determined by the schedule, container, plant material and artistic concept. 

Rococo: Louis XV 1715-1774

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 as stems of vases, bowls, basket shapes, and epergnes.

Plant Material: Lilac, delphinium, peonies, poppies, tulips, fern fronds, honeysuckle, and other period plant material.

Colors: Pale peach, buff, yellow, blue, pink; delicate color harmony; one color dominates with minor contrasts

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

Design Shape: Oval  

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 Materials: anemone, stock, larkspur, lilacs, and other period flowers. 

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

Accessories: Bisque figurines, porcelain birds and flowers.

Design Shape: Flame-like  

Empire: Napoleon 1804-1814

Characteristics: Triangular mass of formal balance; classic revival; heavier and more compact.

Containers: Classical vases with Greek, Roman, Egyptian motifs  in marble, alabaster, or porcelain, or vases hand-painted with scenes and flowers.

Plant Material: Ageratum, lilies, ranunculi, roses, stock and other period flowers.

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

Accessories: Clocks, candlesticks and decorative boxes.

Design Shape: Triangle 

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 ½ to 2 times height of container. Flowers spillover rim; no particular focal area.

Containers: Classic designs in silver, marble; porcelain vases with faces or scenes, no brass.

Plant Material: Roses, baby’s breath, Queen Anne’s lace, gladi­olas, tulips, salvia, and other period flowers.

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

Accessories: Medallions, statuettes, Chinese horses;

Design Shape: Triangle

Late Georgian 1790-1830

Containers: Footed vases, chalices, goblets, wine coolers, wide­mouth 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, pomegran­ates, and other period flowers; texture was an important 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 equal proportion of plant material to the size of the container. Flowers of different size and shape were massed together without a center of interest. Flowers might trail over the rim. Ferns and grasses might also be used. Nose-gays (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 of the period, as well as compotes, epergnes, jars, cornucopia. They were made of ce­ramic, glass, porcelain, silver, alabaster, and various metals.

Colors: Strong, dark color contrasts were seen with thick, heavy textures.

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: Circle 

Edwardian: Art Nouveau (Deco) 1890-1915

Characteristics: Art Nouveau, an original style without any earlier reference, grew out of a reaction to the Industrial Revolution and the weighty darkness of the mid-Victorian period. On both sides of 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 identified by a curvilinear line, often call the “whiplash,” which became the most expressive of the design elements. More energetic than the Hogarth curve, it challenges the spherical mass 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 a series 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 container considerably.

Containers: Vases, usually of rounded contour, were of a matted finish and decorated with images of flowers, insects or birds. For­mal dining room designs might feature the towering trumpet epergne, complemented by low bowls of fruit. Ginger jars and tall, flaring vases, popularized by Japanese porcelains, along with pot­tery, opalescent glass, as in Tiffany designs, also became part of the Art Nouveau vocabulary.

Colors: Excavations in the near East, which recovered ancient glasses of opalescent hues, brought colors such as peacock 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.

Plant Material: acacia, aster, anemone, carnation, calla and Eas­ter lilies, daisy, freesia, honesty, iris, lilac, poppy, tulip, fern, fruit branches and blossoms (cherry, peach, plum); smoke tree, camel­lia, dahlia, hydrangea, pansy, pussy willow and wisteria.

Design Shape: to be determined by schedule, container, plant material and artistic concept.

American Floral Designs

Early Colonial 1607-1699

Characteristics: Seventeenth-century colonial American arrange­ments were informal, reflecting a lifestyle with few luxuries. Flow­ers, fruits, seeds, pods and grasses, cultivated and wild, fresh and dried (sometimes together) were arranged in simple, mixed bou­quets.

Containers: Common household utensils such as kettles, bean pots, wooden bowls, glass bottles, bark baskets, earthenware pitchers, Delftware, pewter mugs and bowls, as well as copper, brass, or iron vessels.

Colors: Warm, bright or muted contrasting colors, including red, vermilion, rose, blue, delft blue, lavender, purple, orange, saffron, apple-green and brown. Often complementing those found in house­hold fabrics such as homespun, chintz, embroidery and India prints.

Plant Materials: Often native or wild. amaranthus, artemisia, bachelor’s button, baptisia pods, bellflower, bittersweet, calendula, canna, cattails, celosia, cherry blossoms, convallaria, corn, daffo­dils, daisy, dame’s rocket, dianthus, digitalis, ferns, feverfew, flax, foxglove, geranium, gourds, grasses, hemerocallis, herbs, holly­hock, honeysuckle, hydrangea, hyacinth, larkspur, lavender, lily, lunaria, lupine, magnolia, mallow, marigold, mertensia, mock or­ange, monkshood, nasturtium, nuts, pansy, pokeberry, primula, roses, rudbeckia, salvia, tansy, tulip, viola, yew.

Accessories: Candlestick, Inkwell, Quill pen

Design Shape: Circle  

Late Colonial (Williamsburg) 1700-1780

Characteristics: Reflective of their English and European roots ­particularly Georgian and French designs, but less formal-eigh­teenth-century American floral designs became more symmetrical and sophisticated. Fan-and triangular-shaped flower arrangements were lightly grouped at the top, sometimes 1 ½ to 3 times the height of their containers, with flowers massed at the container’s rim, often almost concealing the container. Some arrangements featured bouquets of one flower type, with a filler flower.

Containers: Chinese export porcelain bowls, vases and urns; epergnes in silver and porcelain; cornucopia, cachepots, Defltware and “bricks,” wall pockets, finger vases, pewter and other metal chalices, mugs, bowls; stoneware jugs; Spode; Lustreware.

Colors: Colors tended toward muted contrasts with greens, blues, rose, and yellow-oranges, and whites.

Plant Material: In addition to the Early-American list (see previous page): aquilegia, asclepias, aster, azalea, buddleia, chrysanthe­mum, clematis, coreopsis, cranberry; currant, dicentra, elderberry, gallardia, godetia, gypsophila, hyacinth, iris, kalmia, knifophia, lily, larkspur, phlox, poppy, mahonia, monarda, rhododendron, snap­dragon, stock, tuberose, verbena, viburnum, yarrow.

Accessories: Hourglass, Needlework, Often fruits and flowers were arranged on the table around the centerpiece.

Design Shape: Triangle, Fan

Federal 1780-1830

Characteristics: The Federal Period in America was a culmination of several influences, both here and in Europe. Allied by their re­spective revolutionary experiences, France and the United States inspired each other in tastes and styles of the day. The excava­tions at Herculaneum and Pompeii re-ignited a passion for the ide­als of patriotism, republicanism and Arcadia. The decorative arts began to reflect this interest with Greco-Ro­man motifs. With all this “classic” adornment came sparseness, an uncluttered and clean formality, beautifully suited to the interior styles of the day. Martha and George Washington are credited with the innovation of the Federal Style; he with importation of foreign plant material and she, with formal floral arrangements adorning their home, Mount Vernon.  Designs remained traditional symmetrical masses but were elon­gated or tall, flame-like shapes as would be found in a pair of man­tel arrangements. In single arrangements, the triangle might be elongated in the horizontal direction as for a dining table. In both cases, the plant material would gently overhang the rim of the con­tainer. Within the stable mass shape, the plant material reflected “slim elegance.” 

Containers: Floral arrangements were often placed in tall, footed or pedestal vases, or handled urns, epergnes or tiered pieces, cachepots, baskets and bowls of ceramic, silver, metal, or tole.

Colors: Restraint manifested itself in muted, restricted color schemes. Matted or grayed greens and blues with outlines of white or ivory were most popular.

Plant Material: Choice of material emphasized favorites of the an­cient world, such as golden wheat sheaves, ivy, oak and laurel leaves, and with fruits such as pomegranate, fig, peach and quince. Flowers included anemone, bachelors button, camellia, hellebore, hemerocallis, hyacinth, lily, narcissus, platycodon, poppy, primrose, rose, and violet.

Design Shape: upside down cone 

Victorian 1830-1900

See English Victorian.

 

Non-Period and Creative Designs

Traditional Line Design

In a line arrangement, the line predominates. The line is emphasized by a restrained use of plant material. The silhouette is open. A set pattern is usually required, e.g., triangle, vertical, horizontal, crescent ­curve, zigzag, etc.

Traditional Line Mass

A line mass arrangement is similar to a line arrangement, but there is more massing of the material, creating a greater depth-the third dimension that is practically nonexistent in line designs. Additional material is used at the rim of the container to enhance and strengthen the line and creates a center of interest. It follows the set patterns of the line ar­rangement (see above).

Free Style

Free Style evolved from the traditional Japanese school of flower de­sign. The designs became less contained, less ordered with an open, dynamic, linear quality. They radiate from a given point, but may have more than one area of interest. The natural flow of the plant material creates the shape of the design. The designation of Free Style allows the arranger to choose any contemporary style that will appropriately interpret the class.

Free Form

Free Form is much like Free Style except that it has a closed form. Think of a rubber band or an amoeba. Plant material may be bent, twisted or secured. The form is bold with open, negative space within the overall closed design. It may have more than one area of interest. Focal plant material is usually placed within or on the closed form of the amoeba. Balance is asymmetrical. Some restraint should be used in the amount of plant material so as not to confuse the design.

Containers: Often natural objects such as weathered wood or pieces of fungus. Oriental-style, self-made containers that reinforce the line are often used, as well as simple bowls or containers that don't detract from the arrangement. Man-made containers may have several opening and might typically be rustic pottery. Free form arrangements may be interpretive or purely decorative.

Plant Material: Most flowers, vines, branches, etc.                     

Creative Flower Designs

In the middle of the 20th century, flower arranging became increas­ingly recognized as an art form. Arrangers found themselves inspired by Nature and freed from the past restrictions of specific period de­signs. As abstract art developed, some arrangers began to be inspired by this. Other arrangers wanted to break away from traditional rules, but did not feel drawn to abstract forms. Today's creative designs are an outgrowth of these two influences. So we see that the achieve­ments of yesterday are a part of the ever-evolving art of flower arrang­ing.

Creative designs have few rules and no set patterns. They are bold (in color) form and size and use of color with restrained use of (plant) essential material. (Only essen­tial material is used.) The container may play an important part in the design. Still, keep in mind the elements and principles of design. A card of intent may be used.

Spatial relationships play an essential role in Creative designs. Space is incorporated within the design and becomes an important part of the overall impact. 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

Abstract Designs More Photos

To abstract is to reduce something to its simplest form, to render it unrealistic, to extract its essence and create a new image. Spatial relationships play an important role.

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 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. 

Creative Line More Photos

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 overdo 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 specifies the direction, the choice is up to the arranger, and the only criterion is that the design be predomi­nantly line.

Creative Line Mass

Follow the rules for a Creative line arrangement; however, more plant material is used, resulting in slightly de-emphasizing of the line.

Creative Mass

Creative mass designs give the designer a chance to use more mate­rial than the Creative line or Creative line mass require. It blends well with present-day architecture and furnishings. The use of enclosed space is considered part of the mass. 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.

Parallel

Parallel designs have three or more units of strong line, paralleling one another, with open spaces between each unit. Units may be of the same length, or varying length. 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 The container itself may provide the same effect.

Units may be organized in one of four ways. Each may be a combina­tion of several different plant materials, none repeating, or all may be of the same type of plant material. Each within itself may be a single plant material, or one plant may be repeated in each of the units in combination with other plant material. In a Parallel design, all units emerge from what is or appears to be a single container. Two or more containers may be stacked or placed against one another, but they must appear to be one. 

Synergistic

Synergistic designs are made up of several parts which, taken together, have a greater impact than the sum of their individual effects. A syner­gistic design must have at least three parts or groupings. Plant mate­rial, containers, and other components share a common characteristic and create an artistic whole. Color, plant material, form, or repetition can contribute to this synergism. A component that actually leads from one grouping to another may be of assistance in unification. One con­tainer may be left empty as long as there are at least three that contain plant material.

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 not connecting material is used.

Floor Designs

Underwater

Underwater designs submerge only a part or parts of the arrangement, not the entire design. There is no rule as to what portion should be submerged; the amounts are dictated only by the design principle of proportion. When you assemble the design, plant material should be assembled in the container before you add the water. It is vital that upon completion, all materials, both in the water and out, have the appearance of a unified design.

Containers: Clear glass containers are used. Round containers magnify so watch the scale of the material that you submerge in them.

Plant material: Plant material must have hard surface qualities, or it will quickly become waterlogged. Some tropical flowers that work well are anthuriums, birds-of-paradise and heliconia. Lilies, roses, evergreens and citrus fruit also work. Experiment and see what else you can use. Whatever you use, be sure that the mechanics don't show and that all your components are meticulously clean. The arranger may need to attach a small weight (fishing sinker, rock, marble, etc.) with an ornament hanger to anchor plant mate­rial underwater.

Framed Spatial

A light airy design 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. No part of the design should touch
the frame. The only connection is the unseen means of suspension,
usually strands of nylon monofilament. The suspended design must be creative. A traditional design would not fit this classification.

Free Standing Abstract

This type of arrangement meets all the criteria for an Abstract design, often created in or with a non-traditional container, but does not fall into any of the other Abstract style categories. As with any style that is free standing-meaning it can be viewed from any side-it is critical that such a design be well balanced and pleasing from every angle.

Plant Material: Plant material for Creative Designs must conform to the show schedule. However, bold, bright colors or white give a more contemporary feeling to the design. Interesting shapes and forms help make the arrangement striking. If no flower is specified, tropical plants are often used. Painted, stapled, tied, etc. plant material may also be used

Containers: Modern glass, pottery, metals, or home-created con­tainers are used. Let your imagination be your guide.

Modern European

New-millennium European arrangements are distinguished by shape: tight and round with an emphasis on texture. Colors can be monochro­matic or contrasting. This style is evolving and changes are inevitable. As of 2002, another, more daring style is emerging. It offers many way-­out creative possibilities. Imagination and creativity are vital ingredi­ents. The key characteristic is the use of flowers in a bizarre way, i.e., upside down.

Modern French

The desired outcome of an arrangement in the Modern French style is to create the illusion that the flowers were casually thrown together with no attention given to the arrangement of the blooms. The natural, casual style projects the feeling that one merely strolled through the garden picking bunches of blooms and casually stuffed them in a con­tainer or vase.

Mobile

Characteristics: Perfectly balanced suspended forms. Air currents can cause free movement. Forms, colors, and materials are re­peated to unify designs. Mechanics and conditioning of material are most important.

Stabile

Characteristics: Design is stationary but appears to move. Motion is implied by the selection of plant material. Very restrained use of plant material.

Pot-et-Fleur

A combination of two or more rooted plants growing in soil, artistically arranged with cut plant material in a single container. 

Tussie-Mussie

A small, hand-held, compact bouquet, often tied with a ribbon or placed in lace or silver holders. Materials might be small, fragrant flowers or herbs, violets, roses, and miniature flowers.

Table Classes

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.

As the objects used are for decorative effect, they may include several plates, napkins, mats or serving dishes, but should not include flatware and food items, such as cut fruit or cut vegetables. Imaginative place­ment of the components should adhere to the principles of design. Avoid overcrowding. Vary height of appointments to give interest both vertically and horizontally. Make sure the condition of components and plant material is pristine.

There are two types of table classes:

1. Functional table—A table arranged for dining, including dishes, glassware, linens, and floral design(s) with or without other components. (Flatware may be included.)
   The schedule will specify what function the table should serve (breakfast or other tray [components must be stable], buffet table, tea table dinner, etc.). The number of place settings required may also be indicated. The exhibitor has the option of setting the table for ‘sit-down’ or ‘buffet’, but customarily, buffet settings are used only for rive or more persons. The overall space allotted to the arranger should be included in the schedule as well as anything not permitted.
   
   2. Exhibition table—a display using the components of dining in an artistic presentation as a coordinated design, staged on a pedestal, in niche or on a table (with or without a back board). There may be a completed flower arrangement, but, alternatively, plant material may appear throughout the design. The practical service of food must not be implied.

Miniature and Small Arrangements

Miniature Arrangements are not to exceed five inches in any direction. Small Arrangements are not to exceed eight 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 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 halftimes the height or width of the container. A small amount of plant mate­rial is desirable. Avoid crowding.

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 wildflow­ers, 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. GCV rules permit altering plant mate­rial unless the schedule states otherwise. You can cut a flower down with scissors to ensure proper scale.

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

1. Research the schedule. Then find a container and create your “zinger”-the novel idea that gives the design distinction.
2. 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.
3. Flower choice: Blossom size must not be more than one-half to three-fourths inch.
4. Display: Know your space, background color, and staging. Back­grounds of soft gray and celadon are most popular. Use no more than two-thirds of the space allowed. A display base can enhance the arrangement and is not considered an accessory.
5. Conditioning is essential to harden plant material. Soak material up to heads in warm water for several hours. Arrange, mist, cover with damp facial tissue in covered cooler overnight.
6. Bases and Accessories: Choose carefully. Never use an irreplace­able item. You may need to stabilize with glue, clay or stick-‘um.
7. 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.
8. Mechanics: Water with a medicine dropper. Mist with a perfume atomizer. Use fingernail scissors, tweezers, toothbrush bristles and toothpicks for tools. Use tweezers for placing flowers and mani­cure 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.
9. Practice, practice, practice. Develop your eye to see possibilities in tiny flora, containers and accessories.

 

Ikebana

Ikebana is the Japaness art of flower arrangement.  It is an art and discipline with a long history and considerable body of literature. The word itself means “living flowers.” Ikebana, while working with ephemeral materials, flowers, leaves, etc., accepts the transience of all things and in attempting to express their essence, acknowledges man’s place in nature. Where western flower arrangers rely on massed flowers for their impact, presenting a completed work to be admired, Ikebana uses line and space. By making the viewer the focal point, it draws us in and invites us to share in the creative act.

In the traditional Ikebana, the basic arrangements and many of the variations use three main lines.  If connecting lines were drawn between these three, they would form an asymmetrical triangle. Much shorter supporting material is also used.

• Line 1, usually a branch, should be between 1 ½ to 2 times the width and the depth of the container.
• Line 2 can be the same material as line 1, should be about ¾ as long as line 1.
• Line 3, which could be a branch or a flower, should be ½ to ¾ the length of line 2.

Characteristics of Ikebana

• Considered an art and a discipline leading to self­ awareness.
• Asymmetrical balance
• Space is a very important part of Ikebana. It’s a dynamic ele­ment in the composition, not just emptiness.
• Material follows the growth line of the plant, reaching up­wards towards the sun.
• Arrangements are