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WA FLORAL ART SOCIETY INC WORKSHOP
'TRADITIONAL
DESIGNS'
Workshop
conducted by Dianne Buckles & Debbie Skroza on the 18/4/09
Traditional
means different things in different countries with different cultures.
In Western-style flower arrangements, at least, it is taken to mean a
formal design, not necessarily triangular in outline; it may be oval or
fan-shapes or curving, but will have little space within the design.
Avoid
using too large a container. It can
dwarf the flowers and often makes it difficult to cover the mechanics.
The choice of container is very important in ‘Traditional Designs’
and some examples to complement your traditional design are: Cherub
containers, metal candle sticks, alabaster/marble containers etc.
Time
spent on condition and preparing the mechanics is never wasted.
If the mechanics are not right you will battle with the design !
Avoid
having any two stems of exactly the same length on the same level.
Mass
arrangements can be made in any style you like – mass tables, mass sideboards,
mass triangles, and so on – but the lines of the stems, whether naturally
curved branches, flower or leaves, should appear to meet at a point underneath
the tallest stem (at the focal point) and should appear to flow from it.
 There
should be transition in your design – the placement of flowers each shorter
than the other, so that the eye moves slowly, without sudden jarring, from the
top to the base of the arrangement and from the outside to the centre.
Floral Artists should also consider plant materials that best reflect the
style of ‘Traditional’ arrangement.
While
plant materials such as Xanadu leaves were available during the period these
designs were popular, their shape can suggest more of a ‘Modern’ feel
with their strong form – so please consider your plant materials carefully and
consider those that will complement your traditional design.
TRADITIONAL
DESIGN NOTES
Notes
extracted from the Australian Floral Art Association Manual (AFAA) - refer pages
37 to 45
TRADITIONAL
(Designs developed from the late 1940’s onwards)
Most
of these designs radiate from a central area.
There are three main types:-
1.
MASSED
Based
on any recognised geometric form
with
material used in quantity.
It
has depth, is a full but never crowded design, with a properly developed centre
of interest, with gradation from the focal area to the extremities and no
crossed lines. It may be
symmetrical or asymmetrical. Refer
diagrams page 85
2.
MASSED LINE
A
mass of material organised to form one quite recognisable line, the mass giving
greater depth and width. It is
characterised by openness of silhouette. R Refer
diagrams pages 85, 86
3.
LINE
An
arrangement in which the line is the dominant element.
It is characterised by openness of silhouette and restraint in the
quantity of material used. It has
little depth except at the focal. Refer
diagrams pages 85, 86
For
detailed information pertaining to the construction of these designs please
follow the relevant links:
Back
to Top
Symmetrical
balance is equal balance of weight, actual or visual, on each side of the
central axis, an imaginary perpendicular line through the centre of the design.
Symmetrical balance is generally used for formal settings.
In traditional designs, when the design is symmetrical, it should have
the focal area in the centre of the arrangement near the base of the main axis.
CONSTRUCTION
of a ‘SYMMETRICAL’ DESIGN:
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Choose
a container that best reflects the ‘traditional’ style of arrangement
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|
Place
oasis into your container – ensuring this sits above the rim of the
container to ensure material can be inserted either side of the arrangement.
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Secure
oasis to container with pot tape or chicken wire (for thicker stems) to
ensure the oasis remains fixed to the container.
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|
Make
an outline of your design by using the tallest and finest stems at least one
and a half time the height/width of the container.
|
|
Buds
and branches are ideal for this purpose.
|
|
Make
sure that your tallest stem is placed very firmly; for it is around this
that the rest of the arrangement is composed.
This is the arrangements strongest line – ‘the backbone’.
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Place
it down into the oasis to the back of your container (slightly backwards).
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This
will leave you room in front for filling in and a little space at the back
for adding leaves to give the finishing touch
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The
side stems can be two thirds as long as the tallest
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Once
the vertical and horizontal outlines have been established, you can see the
area that the arrangement is to fill.
The foliage is now strengthened with vertical, horizontal and
recessed foliage.
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Flowers
should be chosen to follow the same line of the foliage.
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The
first to go into the arrangement are the lighter materials, placed
vertically and gradually flowing to the sides.
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The
design should now be ‘Symmetrical’ in shape and the principal flowers
can start to be included.
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Insert
some larger flowers down the centre, making the lower ones point forward
over the rim.
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At
this stage you can also add some larger leaves around the centre,
emphasizing the central interest
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This
also gives a feeling of stability and covers up mechanics
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Finally,
fill in by working slowly down from the top to the centre, and in from the
outside to the centre, with less important flowers, placing some that they
tilt forward.
|
|
Insert
others closer in, near the oasis, giving a third-dimensional effect.
|
|
Make
sure that a few of the low flowers are placed almost horizontally at the
side and in front, for some should appear to flow forward over the rim.
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|
If
creating a mass arrangement entirely from one kind of flower such as roses,
gladioli, iris or chrysanthemums, you should follow the same method, but try
to use some fine foliage to give the outline, adding larger leaves around
the centre for emphasis.
|
|
The
flowers should be cut to varying lengths and a number of them recessed or
placed in, near to the oasis.
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|
This
gives them a smaller appearance than those, which point forward. In
this way,. Even with only one kind of flower and no leaves, you can obtain
the effect of some flowers being smaller and some larger by placing them
‘in’ and ‘out’. |
Notes
extracted from various Floral Art books and developed from personal observations
Dianne Buckles
For
detailed information pertaining to the construction of these designs please
follow the relevant links:
Back
to Top
 According
to the dictionary, the word “asymmetrical” means ‘absence of symmetry’.
The dictionary definition of ‘symmetry’ states “such structure
as allows object to be divided into two (or more) parts exactly similar in size,
shape, or relative position; quality of having correct proportions; balance,
harmony, symmetrical.
Asymmetrical
Arrangement – is defined by equal weight on either side of an imaginary axis
but placed differently. A straight stick or pencil held vertically in the centre
defining the axis can be used to check this.
Many
different designs have Asymmetric Balance for example Modern, Formal Linear,
Free style, etc however if a schedule asks for an ‘Asymmetrical Arrangement,
it is usual to interpret this as an ‘Asymmetrical Triangle’.
Factors
that
can affect the visual weight - and
therefore balance:
Colour
can play a very definite part in giving good balance to an arrangement. Rich,
dark colours have a heavier appearance than the same flowers/colours in paler
shades, and therefore it is necessary to place the darker colours near the
centre of gravity or otherwise counter-balance by using a greater number of
paler shades.
The
Container can also guide the balance of an arrangement. A handle
on one side of a jug will counter balance plant material on the other side.
Caution should be exercised when using a container such as a jug, as essentially
it is already ‘asymmetrical’ and could affect the overall balance of your
design. An urn with two handles would be considered a ‘symmetrical’
container and therefore may lend itself to a formal or symmetrical
arrangement.
The
Focal area is often off-centre.
In
Floral Art, a design of Asymmetrical Balance is referred to as an ‘informal’
arrangement, (as opposed to a ‘symmetrical’ arrangement which gives a sense
of solidity and formality often being referred to as a ‘formal’
arrangement).
TIPS
for successful Asymmetrical Design
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Taller
containers as opposed to shallow bowls work well – gives clear lines and a
sense of elegance, and provides more scope.
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Tallest
material should be at least 1.5 times height of the container.
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Oasis
should be 1-2 inches above the rim of your container to allow for horizontal
placement of material.
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Good
variation of flower/foliage forms and textures will add interest and result
in a more distinctive design.
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Don’t
overcrowd with material. Each flower should be shown to it’s best
advantage and allowed a little breathing space.
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Recess
some flowers to give depth to your design.
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Ensure
foliage and/or flowers mask the rim of your container, thus unifying the
whole arrangement and avoiding the stop/start line of container to
arrangement.
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Ensure
style and colour of container is suitable for your choice of horticultural
material and vice versa -
adds to overall harmony of design.
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If
using a base, an asymmetrical design needs to be placed on the end of the
base coinciding with the heavier, shorter side of the design, whereas as a
symmetrical design would be placed in the centre of the base so that there
is equal visual weight on either side of the central axis of the design.
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And
last but no least –Practice, practice, practice!
CONSTRUCTION
of a ‘ASYMMETRICAL’ DESIGN:
|
Choose
a container that best reflects the ‘traditional’ style of arrangement
|
|
Place
oasis into your container – ensuring this sits above the rim of the
container to ensure material can be inserted either side of the arrangement.
|
|
Secure oasis to container with pot tape or chicken wire (for thicker stems)
to ensure the oasis remains fixed to the container..
|
|
Make
an outline of your design by using the tallest and finest stems at least one
and a half time the height/width of the container.
|
|
Buds
and branches are ideal for this purpose.
|
|
Make
sure that your tallest stem is placed very firmly; for it is around this
that the rest of the arrangement is composed. This is the
arrangements strongest line – ‘the backbone’.
|
|
Place
it down into the oasis to the back of your container (slightly backwards and
slightly to the left side of the oasis.)
|
|
This
will leave you room in front for filling in and a little space at the back
for adding leaves to give the finishing touch
|
|
The
left side stem can be one third of the tallest placement and the right stem
can be two thirds as long as the tallest. The Placement to the right side
should be angled down slightly over the rim of the container.
|
|
Once
the vertical and horizontal outlines have been established, you can see the
area that the arrangement is to fill. The foliage is now strengthened
with vertical, horizontal and recessed foliage.
|
|
Flowers
should be chosen to follow the same line of the foliage.
|
|
The
first to go into the arrangement are the lighter materials, placed
vertically and gradually flowing to the sides.
|
|
The
design should now be ‘Asymmetrical’ in shape and the principal flowers
can start to be included.
|
|
Insert
some larger flowers down the centre and to the right slightly, making the
lower ones point forward over the rim and out over the right side.
|
|
At
this stage you can also add some larger leaves around the centre,
emphasizing the central interest
|
|
This
also gives a feeling of stability and covers up mechanics
|
|
Finally,
fill in by working slowly down from the top to the centre, and in from the
outside to the centre, with less important flowers, placing some that they
tilt forward.
|
|
Insert
others closer in, near the oasis, giving a third-dimensional effect.
|
|
Make
sure that a few of the low flowers are placed almost horizontally at the
side and in front, for some should appear to flow forward over the rim.
|
|
If
creating a mass arrangement entirely from one kind of flower such as roses,
gladioli, iris or chrysanthemums, you should follow the same method, but try
to use some fine foliage to give the outline, adding larger leaves around
the centre for emphasis.
|
|
The
flowers should be cut to varying lengths and a number of them recessed or
placed in, near to the oasis.
|
|
This
gives them a smaller appearance than those, which point forward.
In this way, even with only one kind of flower and no leaves, you can
obtain the effect of some flowers being smaller and some larger by placing
them ‘in’ and ‘out’.
|
Notes
extracted from various Floral Art books and developed from personal observations
Debbie Skroza
For
detailed information pertaining to the construction of these designs please
follow the relevant links:
Back
to Top
PHOTOGRAPHIC GALLERY
Selection
of photographs taken during this workshop
Symmetrical
Designs
by
Mary
Kanair
by Julia Wates
by Sallyanne Goddard by
Sinta Limas
Asymmetrical
Designs
by
Maureen
Young
by Valerie
Roy
by Alison
Tweedie
by Jane Merralls
by
Nicki
Martin
by Margaret
Cockburn
by Dina Gastev by
Pam Heath
For
detailed information pertaining to the construction of these designs please
follow the relevant links:
WA
Floral Art Society Website 'Site
Map'
Back
to Top
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