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Floriculture Elements of Design Shapes and Styles BASIC ARRANGEMENT SHAPES Professional arrangements do not “just happen.” There is always a “plan” for the design, and this concept is evident in the final shape of the arrangement.

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BASIC ARRANGEMENT SHAPES

  • Professional arrangements do not “just happen.”

    • There is always a “plan” for the design, and this concept is evident in the final shape of the arrangement.

    • Without a plan, the finished product is an “uncontrollable happening,” not a controlled, profitable design.


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BASIC ARRANGEMENT SHAPES

  • These are the basic arrangement shapes that professional floral artists should be qualified to create.

    • We are presenting the primary design shapes that are basic to professional floral designing.

    • Once these basic forms have been mastered, modifications and creative license can be taken to create the interpretive, more contemporary designs.


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BASIC ARRANGEMENT SHAPES

  • Symmetrical

    • In creating a symmetrical design, equal visual balance must be apparent on either side of a central axis.

    • An imaginary perpendicular line running vertically through the center of the design should visually divide a symmetrical arrangement into two equally balanced parts.


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BASIC ARRANGEMENT SHAPES

  • Round

    • When all the flowers and greens fall within the circumference of a circle, the shape of the design is identified as “round.”


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BASIC ARRANGEMENT SHAPES

  • Asymmetrical

    • In an asymmetrical design, the central axis moves to the right or left of center.

    • An asymmetrical arrangement falls comfortable within the boundaries of a right angle.

    • Technically, the height of the design meets with the length to form a right angle.


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BASIC ARRANGEMENT SHAPES

  • Fan

    • In creating a fan design, the flowers are placed to form a semicircular shape, with all stems flowing into a central focal axis.


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BASIC ARRANGEMENT SHAPES

  • Oval

    • A full oval arrangement is often difficult to design.

    • The typical oval arrangement is made with a primary flower to define the oval shape and other flowers and greens used as filler.


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BASIC ARRANGEMENT SHAPES

  • Vertical

    • A very distinctive design shape, the vertical arrangement emphasizes height.

    • Technically, all of the materials used should be contained within the width of the container.


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BASIC ARRANGEMENT SHAPES

  • Horizontal

    • The horizontal line creates a pleasing arc shape, therefore it is important to keep the arrangement low and ideally quite narrow to reinforce the horizontal impact of the composition.


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BASIC ARRANGEMENT SHAPES

  • Rectangular

    • Definitely a contemporary arrangement shape, the rectangular design is properly constructed when all flowers and materials pass within the line of an imaginary rectangle.


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BASIC ARRANGEMENT SHAPES

  • Hogarth Curve

    • A taller, cylindrical container is deal for the hogarth curve as it displays the full beauty of this interesting arrangement shape.

    • One important technique in creating the hogarth is to extend the arrangement foam above the container, so flowers can be inserted properly for the bottom part of the “s” curve.


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BASIC ARRANGEMENT SHAPES

  • Parallel Systems

    • A parallel systems arrangement is created by using two or more vertical designs in the same composition.

    • Technically, there should be “air” between each parallel grouping of flowers.

    • However, in interpreting this design sometimes the vertical groupings blend together.


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BASIC ARRANGEMENT SHAPES

  • Crescent

    • The crescent is one of the most difficult shapes to construct because it requires that flowers and greens are carefully shaped to form the crescent curve.

    • Sometimes, materials can be shaped naturally into a crescent line, other time wiring is necessary.


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HIGH STYLE DESIGNS

  • High style designs do not represent the majority of arrangements designed by typical flower shops throughout the country.

    • However, it is vital for the professional floral designer to know how to create high style designs.

    • If high style compositions are not shown in your shop, your customers will never be exposed to them and will never buy them.

  • However, when high style designs are shown, they sell.


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CLASSIFICATION OF DESIGN COMPONENTS BY USE:

  • Mass:

    • Begin with a mass flower.

    • Examples: rose, carnation, mum, salol, galax, boxwood, fern.

  • Line:

    • Directional movement to the flower - usually skinny - line materials are usually grouped.

    • Examples: liatris, cattails, gladiolus, eucalyptus, flax, twigs, bear grass.


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CLASSIFICATION OF DESIGN COMPONENTS BY USE:

  • Filler:

    • Usually used for texture and scale contrast.

    • Examples: gypsophila, statice, wax flower plumosus, asparagus, tree fern.

  • Form:

    • Materials that have very unique shape, usually used in focal area and in small amounts.

    • Examples: bird of paradise, protea, anthunum, variegated croton, split-leaf philodendron.


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Color

Harmony

Shape/form

Size/scale

Texture

Seasonal availability

Cost

Stem length

Vase life

Fragrance

Meaning, psychological associations

Specific design problems or handling procedures

CONSIDERATIONS IN FLOWER/ FOLIAGE SELECTION FOR DESIGNS:


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FLORAL DESIGN CONTAINERS

  • A container is anything that will hold plant materials, plus water if fresh flowers are used.

  • There are several different shapes and materials used to make them.


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FLORAL DESIGN CONTAINERS

  • The following lists should give you a good concept of the basic types.

    • Low Bowl: May be round (berry bowl), oval, square, rectangular, or free form; with straight, flaring, or cupped sides.

    • Compote: A shallow, round, or square bowl on a pedestal. It may be either low or tall depending on length of stem.


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FLORAL DESIGN CONTAINERS

  • Vases: (Bud vases or rose vases). May be square, rectangular (pillow vases), or cylindrical; having straight or curved sides, with or without stems or bases; narrow necked or wide mouthed.

  • Baskets: Varies greatly in both design and materials, quite often wicker.

  • Trays: Has many shapes and sizes, is always flat without a rim.


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FLORAL DESIGN CONTAINERS

  • Brandy snifters: A footed vase, having a wide base and tapering off at the mouth.

  • Rose bowl: Varies in size, is round in shape without a base, with or without a lid.

  • Novelties: Such containers as heads, animals, figurines, etc.


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FLORAL DESIGN CONTAINERS

  • Certain materials used in making containers require a liner for them to hold water. They are:

    • Silver

    • Copper

    • Brass

    • Bronze

    • Wood

    • Wicker

    • Marble


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CHOOSING AND USING ACCESSORIES

  • An accessory is any object added to, or included in the design.

    • They should not take attention away from the arrangement itself.

    • Containers are not accessories, but figurines, container lids, sea accessories.

    • Accessories should be used only if they improve the design, are needed to interpret a theme or convey a feeling.

    • Unless the accessory definitely improves the design and looks as though its use had been planned, it should be left out.


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CHOOSING AND USING ACCESSORIES

  • Successful use of one or more accessories requires careful planning and depends on several things:

    • It must add something to the design.

      • It must look as though you had planned to use it--not added it as an afterthought or because it was pretty.


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CHOOSING AND USING ACCESSORIES

  • When the arrangement is finished and the accessory is in place, ask yourself if it really helps.

    • If it doesn’t, take it out, even though you had included it in your original plan.

    • It must not only add to the design, it must have a definite purpose--to help the balance, add to the artistic effect, or to carry out a theme.

    • It must be appropriate to the plant materials used. You would not use a bear with a bowl of roses, a frog in a Christmas scene, a ship on a piece of driftwood, or a beautiful antique with a modern design.


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CHOOSING AND USING ACCESSORIES

  • The accessory must have a planned relationship in:

    • Size. It must not be so large that it demands all attention, not so small that it seems lost.

    • Shape. It must fit in with the shape of the arrangement.

    • Color. It should repeat or pick up one or more colors of the plant materials or the container.


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CHOOSING AND USING ACCESSORIES

  • Texture. It, too, must be in good relationship with the plant materials and the design. A bright polished accessory with a driftwood container would be contradictory, but would be right with elegant silver or porcelain.


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CHOOSING AND USING ACCESSORIES

  • Placement of the accessory is of great importance.

    • It must always be kept within the boundary lines of the entire composition and not look as though it were walking out of the picture.

    • It can be used as weight to improve the balance or stability, or it can be used to replace or continue a main line.

    • Placed near the front, it has a greater eye appeal; placed toward the back, it will add a feeling of depth.

    • It must never stop and hold the eye to long.


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CHOOSING AND USING ACCESSORIES

  • It is important that the lines of the accessory be will related to the lines of the arrangement.

  • A tall or standing figurine can be used instead of a piece of plant material to establish or continue a line, and should be used in the same manner as you would use flowers, foliages, or branches.

  • A tall figurine is dominant and plant materials might well be used to outline it, or be clustered at its base.


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    CHOOSING AND USING ACCESSORIES

    • A seated figurine can be used to form a focal point or used on one side or the other to complete the balance.

    • Structurally, it lacks the dominance of the tall one but it can add interest if used to fill a space or to continue a line.

    • Horizontal accessories can be effective because they, like the vertical ones, can determine the lines of the arrangement and become an important part of the design.


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    CHOOSING AND USING ACCESSORIES

    • A horizontal accessory can be used dramatically, in combination with vertical plant material, to form a triangle.

    • Curved or rounded accessories should be used in a design that repeats their lines to give a rhythmic effect.

    • Long curved or arched figures are most interesting, for they combine the strength of the vertical with the grace and beauty of the curving lines.


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