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HORT 203: Final Flashcards
FLORAL DESIGN
PRINCIPLES |
-Fundamental Guidelines
-Expressed visually
through the use of the
elements of design
-Govern organization of
materials |
Primary Principles |
Composition
Harmony
Unity
Proportion
Balance
Rhythm
Contrast
Scale
Focal Point |
COMPOSITION |
Organization or grouping of different components to achieve a unified whole. Each component should contribute to
the overall outcome of the design |
ORGANIZATION |
(An exact, thorough process starting with the selection of the container, floral materials, and accessories, and ending with the placement of these components in the design. Achieved through the DESIGN PROCESS |
HARMONY |
The aesthetic quality created through the pleasing interaction of a combination of components in a composition.
Answer the following questions in order to achieve harmony in a design:
-What is the mood/theme of the composition?
-What elements such as size, shape, texture, and color are to be used?
-Do the components go well together?
-Do added accessories enhance the existing components?
- expressed as the overall relationship between all of the components, the theme, mood and final effect of the design |
Harmony must consider: |
Container/Mechanics
Flowers and Foliage
Accessories
Placement |
UNITY |
State of being ONE
Relationship of parts to each other should produce a single, general effect.
- expressed more clearly as the relationship between the individual components
(color, texture, shape) |
UNITY can be achieved by: |
PROXIMITY
-Placing components close together
REPETITION
- of a component
- of an element
TRANSITION
-Gradual change from one component to the next |
UNITY WITH VARIETY |
TOO MUCH UNITY = DULL
Repeat colors -- but different tints, tones, and shades
Repeat shapes but different sizes
Use a FOCAL POINT!
Avoid geometric stiffness |
PROPORTION |
-Compares the relationship of the units of a composition to each other in size, quantity, and degree of emphasis with in the composition. It is the relationship of one part to another or of one part to the whole design.
-Setting the proportion in most designs begins with the container |
Horizontal Container |
-Correct proportion - Plant material should be 1 1/2 times the width of container plus the depth |
Tall container |
Correct proportion - Plant material should be 1 1/2 times the height of the container plus the depth |
Proportion can be achieved by: |
-Scaling flowers toward visual center
-Largest flowers towards focal point
-Buds and small flowers along the outside edges
- Not using equal amounts of each component |
BALANCE |
Placement of components so that a feeling of both physical and visual stability is conveyed. |
Mechanical
Balance |
Structural balance is gained by the proper placement of main stems forming a design |
Visual Balance |
established by the selection of correct sizes of materials, and the use of color, texture, etc. |
SYMMETRICAL
BALANCE |
Identical flowers and foliages are arranged and repeated in the same position on either side of an imaginary central vertical axis.
Restful, peaceful, formal
Strength and stability
Stiff and contrived |
ASYMMETRICAL
BALANCE |
Dissimilar elements on each side of
central vertical axis.
Component on each side must have
equal eye attraction or equal visual
weight to provide balance.
Informal, natural, movement, attracts
and holds attention |
RHYTHM |
Related, orderly movement that
implies continuity.
Expresses a feeling of motion not
confusion.
Eye should be led from:
Top to Bottom
Front to Back
Side to Side |
Rhythm is achieved
through |
REPETITION
TRANSITION |
CONTRAST |
The difference between objects
when they are placed next to each
other.
Provides excitement
Prevents boredom
Prevents hodge-podge
Can be shown between different lines,
forms, colors, textures, sizes and patterns |
Dramatic design: |
can be accomplished with strong contrast |
Quiet design |
can be accomplished with less contrast |
SCALE |
The relative ratio of the size of a composition to its surroundings
-The size of the entire composition needs to be in scale with its surroundings
-A design should be in scale to the surrounding environment
-The flowers in a design should be in scale with the container |
FOCAL POINT |
-Area of greatest visual impact or weight; center of interest which naturally attracts the eye
-Often the strongest color or most fully developed blossom are used to define the focal point
-In asymmetrical arrangements the focal point is placed toward the high side of the arrangement |
Location |
-many times is located slightly above the rim of the container where the stems of the plant material seem to originate
- extends slightly out in front of the container to give depth to the arrangement |
Oriental style (line) |
Use plant materials to represent naturalistic theme |
European style (mass) |
Blossoms are used as the main component in
geometric designs |
DESIGN STYLES |
-Placement, location including table size and shape
-Viewing level
-Flowers and foliage
-Container
-Occasion, purpose
Six primary categories:
-Geometric
-Formalinear
-Naturalistic
-Parallel
-Modern
-Interpretive
-Abstract |
FLORAL DESIGN
STYLES |
Evolved into the blending of: Oriental style (line) & European style (mass) |
Geometric Design Styles |
Definite geometric shape
Composed of line, mass, or linemass
concepts
Radial stem placements
Three main skeleton flowers
-One - height
-Two - width
-Three - overall size |
Circular Patterns- round |
Round
-Symmetrical balance
-Radial stem placement
-All sided
-No focal point
Terminus of an axis
Centerpiece |
Circular Patterns- Fan Shaped |
Fan Shaped
- Line flower equal length and same type
-Symmetrical balance
-Radial stem placement
-One sided
- Focal point centrally located
Place emphasis in certain area |
Circular Pattens- Crescent |
Crescent
- Line most important element
- Line radiates from a point on the circumference
- Two main axis flowers |
Circular
Patterns
Hogarth Curve -
S-Curve |
-Developed by William Hogarth
- Flowing, grace, gentleness, softness
-Many variations
-Compote |
Triangular Designs- Symmetrical
Triangle |
Symmetrical Triangle
- Formal, equilateral, man-made
- Left and right sides
- mirror images
- Three primary axis flowers
-Additional material within framework
-One-sided
-Room accent |
Triangular
Designs
Asymmetrical Triangle |
Asymmetrical Triangle
- Less formal, more interesting
-Objects or flowers unequal size, number, or weight placed on opposite sides of a vertical axis. Still in BALANCE One-sided
Two variations
-Right Angle Triangle
-Scalene Triangle |
Right Angle
Triangle |
Tall main line is perpendicular to the base.
Focal point towards high side
Three primary axis flowers
A matching pair of right-angle
triangles frame an object and create
perfect symmetry |
SCALENE
TRIANGLE |
Central axis is at an oblique angle to the base.
Unequal sides and angles.
Four primary axis flowers. |
Vertical Designs |
Associated with perfect equilibrium
Can act like exclamation points
Dramatic, demand attention
Can also be developed by the placement of mass or form flowers
Can be one-sided or allsided |
PARALLEL DESIGN
STYLES |
Parallelism - new design theory
All stem placements run in the same direction
Negative space as important as flowers
Two types
-Parallel Systems
-New Convention |
Parallel Systems |
European floral designers late 1980's
- Clusters or groups of flowers
- One type in each cluster
- Vertical pattern
- Negative space between groupings
Can be used in different design styles
Base treated like naturalistic designs
Materials contained within container
Asymmetrical or
symmetrical
Centerpieces
Grander scale |
New Convention |
Vertical and horizontal groupings
Vertical clusters repeated horizontally
Sharp right angles at base
Form extensions to front, back, side
Horizontal lines
-Same materials and colors
-Usually shorter, less material
-Not all vertical groupings reflected
-Negative space between vertical and horizontal groupings
-Visual Strength
-Drama |
HORIZONTAL DESIGN |
Container important
Symmetrical or asymmetrical
Can have center of interest
All-sided
Centerpieces |
FORMALINEAR DESIGN
STYLE |
Holland & Germany - 1980's
Asymmetrically balanced design
- Few but interesting materials
-Grouped
-Negative space
-Strong lines, forms, and colors
Emphasize form and lines
"Less is more."
Exotic flowers
and foliage |
Naturalistic Design |
Based on nature
Can appear wild and uncultivated
Not contrived or artificial
Slice of outdoors -
beauty of flowers without manipulation
Three types
-Botanical
-Vegetative
- Landscape |
BOTANICAL DESIGN |
New and Contemporary
Study of the life of a plant
Bulb flower
Buds, blossoms, foliage, stems, bulbs and roots are visible
Natural environment forms base
Select low container or basket
Floral foam
Secure bulbed plant
Add more of the same flower
Add other bulbed flowers and potted plants
Base - Naturallooking environment |
VEGETATIVE DESIGN |
Presents plants as they grow in nature
Simulates a small slice of nature
Seasonal compatibility
All-sided
Low container - floral foam
Work from top downward
Place tall flowers off center
Do not alter flowers, buds, leaves, or stems
Layer heights, bunch similar materials together |
LANDSCAPE DESIGN |
Depicts larger area of nature
Represent parts of a natural landscape
Groomed garden
Organized in color groupings
Base
Season and environment
Generally one-sided
Large, low, rectangular, oval or rounded container
Tall materials in back
Asymmetrical positioning |
MODERN DESIGN
STYLES |
Reflect contemporary fashion, colors, and attitudes
Trendy and faddish
Some become part of design palette |
MILLE DE
FLEURS
DESIGN |
A thousand flowers
Rounded, multicolored
Flowers close together or touching |
BIEDERMEIER
DESIGN |
Austria and Germany - 1815-1848
Compact, rounded, or slightly conical in shape
Concentric rings of flowers
Each circular row - same flower
Colors, forms and textures promote visual interest |
PHOENIX DESIGN |
Ancient Egyptian mythological bird
Base - rounded
Center - tall, flowering branches or line flowers
Party centerpiece, home decoration |
WATERFALL
DESIGN |
Early 1900's -
Bridal Bouquets in Europe
Romantic and naturalistic
Downward flow of materials Depth created by layering
Non-botanical elements
Compote
Formal or informal |
SHELTERED
DESIGN |
"Protected" within container
Materials below container rim
Privacy and protection
Incorporated into other design styles |
PAVE |
Borrowed from art of jewelry making
Setting of rhinestones and jewels so closely together in a piece that little or no metal is visible
Flowers, leaves, other materials arranged closely together in a flat, jewel-like pattern
No floral foam is visible
Emphasizes shapes, sizes, textures and colors |
Interpretive |
Inspired by unconventional ideas, styles, and patterns yet adheres to elements and principles of design |
Abstract |
Nonrealistic use of natural or man-made materials to create new images |
Interpretive /Free Form
Designs |
No geometric pattern
Materials organized to suggest given theme or mood
Two types
-Realistic
-Non-realistic |
Realistic Interpretive
Design |
Follows rules of nature
Free of geometric patterns |
Non-realistic Interpretive
Design |
Unusual use of materials
Form is striking and bizarre
No illusion to reality
Approaching abstract |
Abstract Designs |
Depends on imagination of artist and viewer
Eye can only see what the mind understands
Open broader vistas and increase awareness and appreciation of order
Artist takes natural forms and manipulates them
Not hampered by set of rules
Approach with open mind |
ADVANCED DESIGN
TECHNIQUES |
The manner with which a designer implements specialized procedures and methods of placing plant materials and decorative accessories into a composition
Basing
Grouping/Zoning
Uniting/Tying
Strengthening Visual Movement |
BASING |
Techniques used to make a decorative surface for the foundation from which a floral design emerges
Decorative and/or functional
Visual stability and balance
Maximum visual appeal
Parallel/vegetative designs
3 types
-terracing
-clustering
-layering |
Terracing |
Placing like materials in a stairstep fashion
Horizontal lines
Creates depth |
Clustering |
Placing a collection of small textural flowers or foliage or a single kind close together.
Individual components become a mass |
Layering |
Covering a surface with foliage or other materials horizontally by overlapping the individual units
Little or no space between components |
GROUPING AND ZONING |
Create an organized, planned feeling
Emphasize forms and colors
Flowers keep their identity |
GROUPING |
The placement of identical material within a specific limited area
Each piece maintains individual identity
Negative space
Vegetative, formalinear, parallel designs |
ZONING |
Confining like materials to specific areas within the composition
Larger scale treatment |
UNITING or TYING
TECHNIQUES |
Joining materials together, functionally, visually or both
Types:
- banding
- binding |
BANDING |
Encircling plant or other component consecutive rings
Merely decorative
Draw attention |
BINDING |
Physically joining or fastening stems together
Mechanical technique |
STRENGTHENING VISUAL
MOVEMENT |
Increase rhythm
Stimulate visual movement
Types
- framing
- shadowing
- mirroring |
FRAMING |
Uses branches, foliage, or manmade materials
Enclose, or partially enclose, delineate or showcase material within |
SHADOWING |
3-D appearance
Close placement of one identical material directly behind another but lower or higher |
MIRRORING |
Placement of materials such that one appears to reflect the other |
CONTAINERS used for |
STARTING POINT OF 3-D PICTURE
HARMONIZES WITH DESIGN AND SETTING
CREATE SENSE OF HARMONY AND UNITY |
FUNCTION |
ANCIENT TIMES
PRESENT TIMES
HOLD WATER
APPROPRIATE OPENING
APPROPRIATE WEIGHT
HELP CONCEAL MECHANICS |
SHAPE AND SIZE |
FLOW VISUALLY
CREATE HARMONY
FORM RELATIONSHIP
SCALE AND PROPORTION
SIZE FUNCTIONS BOTH PHYSICALLY AND VISUALLY |
STYLE |
SHAPE, SIZE, COLOR, PATTERN, TEXTURE ALL HELP DETERMINE MOOD OR THEME
COLOR AMOUNT OF CONTAINER SEEN VARIES
CAN BE VISUAL EMPHASIS
CAN BE TOTALLY HIDDEN (FUNCTIONAL) |
Common Container Materials |
Glassware
Plastics
Baskets
Brass
Ceramics |
GLASS |
COMMON
AFFORDABLE
VERSATILE
VAST SELECTION OF SHAPES, SIZES,
STYLES AND COLORS
CLEAR GLASS OFFERS CHALLENGE
FLORAL PRESERVATIVE |
PLASTIC |
WIDE VARIETY OF SHAPES, SIZES, STYLES, AND COLORS
CAN TAKE ON APPEARANCE OF GLASS, BRASS, AND CERAMIC
LOW COST
UNBREAKABLE
LIGHTWEIGHT |
BASKETS |
WIDE RANGE OF STYLES, SIZES, SHAPES, AND FIBER COMBINATIONS
GENERALLY INEXPENSIVE
VARIOUS COLORS AND TEXTURES
CAN PRESENT STABILITY PROBLEMS
MUST HAVE LINER |
BRASS |
HIGHLY REFLECTIVE SURFACE
FORMALITY AND ELEGANCE
SEVERAL SHAPES, SIZES, AND
STYLES
GENERALLY INEXPENSIVE
USE PLASTIC LINERS |
The Art of Ceramics |
One of the first inventions
• One of the first art forms |
Ceramics |
Ancient china
• Pottery wheel
• Porcelain/chinaware
• Celadon
Three basic categories
- Earthenware
- Stoneware
- Porcelain |
The Process |
Throwing, Slipcasting |
Earthenware |
Porous
• 1740-21300f |
Stoneware |
Hold water
• 2200-23000f
• Table safe
• Rugged look and feel |
Porcelain |
Most vitreous - glass-like
• Highest quality
• Strongest
• 2200-25000f |
Ceramics in
Floral Design |
Many styles and types
- Stylized lines and forms
- Decorative designs and patterns
- Novelty/special occasion |
CONTAINERS types |
TRADITIONAL OR CONVENTIONAL DESIGNS
• CONTEMPORARY DESIGNS |
CONTAINERS |
OFTEN CHOSEN AFTER FLOWERS AND FOLIAGE HAVE BEEN SELECTED
• NEEDS TO RELATE IN COLOR, TEXTURE AND/OR SHAPE
• CONTAINER PRIMARY FEATURE |