Tag Archives: floral design

In A Vase On Monday—Vertical Challenge

In A Vase On Monday-Vertical Challenge

In A Vase On Monday-Vertical Challenge

Monday brings the chance to display cut flowers from the garden by participating in Cathy’s weekly invitation In A Vase On Monday.

Today’s arrangement of gladiolas and hydrangeas went together quickly, but I thought I might never get any pictures I could use to share them.

In A Vase On Monday-Vertical Challenge

In A Vase On Monday-Vertical Challenge

Gladiolas, adorable old-fashioned favorites, this year are blooming straighter and taller than ever, setting off today’s vertical challenge.

Though I have the perfect vase to accommodate the gladiolas’ height, photographing such a tall arrangement has been a test. I much prefer landscape format for my images, but the vertical nature of these flowers forced me into four different picture-taking sessions of mostly portrait format. Finding a satisfactory background with adequate light and capturing the rich intensity of color among the gladiolas were tricky.

Almost 200 photos later, realizing I needed to chill, I finally chose a handful to represent my Monday vase. The very first image gives a good idea of the overall size, proportion and shape of the design. The colors are truer in this version below.

In A Vase On Monday-Vertical Challenge

In A Vase On Monday-Vertical Challenge

Materials

Gladiolus
Hydrangea macrophylla
Glass vase (This glass vase is one I love using, especially as it commemorates last year’s visit from Christina almost 1 year ago.)

 

In A Vase On Monday-Vertical Challenge

In A Vase On Monday-Vertical Challenge

This should be a long-lasting arrangement. I like the way it turned out and now that I am no longer photographing it, I know I will enjoy it this week.

In A Vase On Monday-Vertical Challenge

In A Vase On Monday-Vertical Challenge

As always, thanks to Cathy for hosting this weekly flower obsession. Visit her at Rambling In The Garden to discover what she and other gardeners are placing In A Vase On Monday.

Peony In Pink

Pink Peony

Pink Peony

A mixup with two mail-order peonies several years ago left me with a Paeonia ‘Festiva Maxima’ instead of Paeonia lactiflora ‘Duchess de Nemours’ and masquerading as Paeonia lactiflora ‘Black Beauty’ (Nightlife Peony), this lovely pink mystery.

I think I went ahead and labeled it P. ‘Black Beauty’ last year when if bloomed, but it cannot be accurate. If you recognize it I would appreciate knowing its name. This is the pink mystery peony in and out of the garden.

Pink Peony with Stachys byzantina (Lamb's Ear) and pale yellow Iris

Pink Peony with Stachys byzantina (Lamb’s Ear) and pale yellow Iris

Veronica spicata 'Rotfuchs' (Red Fox Veronica) is companion to the pink peony, but mostly hidden by the peony foliage.

Veronica spicata ‘Rotfuchs’ (Red Fox Veronica) is companion to the pink peony, but its first blooms are mostly hidden by the peony foliage.

I included white P. ‘Festiva Maxima’ in Monday’s vase of Hippeastrum, but also had filled the house with vases of many other flowers, including the unknown pink peony.  Joining the pink peony in a Fenton vase are Phlox divaricata (Woodland phlox), Iris tectorum (Japanese Roof Iris), and Digitalis Foxlight ‘Ruby Glow’.

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Pink Peony Vase

Art In Bloom On Thursday

Arrangement along West Building Walkway

Outdoor arrangement along West Building Walkway

The second annual Art In Bloom at the NC Museum of Art in Raleigh began yesterday. I arrived early and was greeted by colorful outdoor displays.

The walk from the car to the West Building was made special with a row of black urns filled with rich colors.

A series of urns lined the walkway toward the West Building where the show was held.

A series of these urns lined the walkway toward the West Building where the show was held.

 

Museum Park Volunteers and JAGG Classi Wholesale, Raleigh NC. Primary floral materials: bamboo, upright switch grass, northern sea oats, maiden grass, palmates

Design by Museum Park Volunteers and JAGG Classi Wholesale, Raleigh NC. Primary floral materials: bamboo, upright switch grass, northern sea oats, maiden grass, palmates

Horticulture students from North Carolina State University assembled a friendly planting with allium waving in the breeze above a field of narcissus in front of a Henry Moore.

Narcissus and Allium - NCSU Horticultural Dept

Narcissus and Allium – NCSU Horticultural Dept

Overnight and early morning rain and winds had knocked over some urns, even breaking one, along either side of the main entrance. While visitors lined up to enter the show, designers were frantically making some last-minute repairs. I liked the grapevines nests at the bottom of each one filled with roses and ranunculus.

West Building Entrance

These urns featured a grapevine nest of flowers. Partha Daughtridge, patio and Hearth Shop. palm, fiddlehead fern, grapevine, tulip, lily, iris, English rose, poppy, ranunculus.

Once inside it was impossible not to admire the floor to ceiling display of orchids, designed by Steve Taras at Watered Garden Florist.

Steve Taras, The Watered Garden Florist, Raleigh, N.C. ncma sponsor: Witherspoon Rose Culture

Steve Taras, The Watered Garden Florist, Raleigh, N.C.
ncma sponsor: Witherspoon Rose Culture

Steve Taras, The Watered Garden Florist

Steve Taras, The Watered Garden Florist

Steve revealed at a talk later in the morning, he had ordered 400 purple and white orchids and received only 30. The stress of creating for events like this must be intense. The museum’s Facebook page has a photo of the design team assembling this work the day before the show opened.

Orchids. Steve Taras

Orchids. Steve Taras

There were 56 floral designs. I selected only a couple to share to illustrate the variety of creations. The inspiration for the first one is The Garden Parasol, by American Impressionist painter, Frederick Carl Frieseke. The summer scene was painted in the artist’s garden at Giverny circa 1910.

Teresa Godfrey, AIFD, Floral Innovations, Washington, D.C. Floral-Innovations.com primary floral materials: mini calla lily, ranunculus, jasmine vine inspiration: The Garden Parasol, Frederick Carl Frieseke ncma sponsor: C.T. Weekends

The inspiration: The Garden Parasol, Frederick Carl Frieseke

Teresa Godfrey, of Floral Innovations, Washington, D.C., captured the light and the color of the painting using mini calla lily, ranunculus, jasmine vine.

Teresa Godfrey, AIFD, Floral Innovations, Washington, D.C. Floral-Innovations.com primary floral materials: mini calla lily, ranunculus, jasmine vine inspiration: The Garden Parasol, Frederick Carl Frieseke ncma sponsor: C.T. Weekends

Teresa Godfrey, AIFD, Floral Innovations, Washington, D.C. 
primary floral materials: mini calla lily, ranunculus, jasmine vine

Teresa Godfrey, AIFD, Floral Innovations, Washington, D.C. Floral-Innovations.com primary floral materials: mini calla lily, ranunculus, jasmine vine inspiration: The Garden Parasol, Frederick Carl Frieseke ncma sponsor: C.T. Weekends

Teresa Godfrey, AIFD, Floral Innovations, Washington, D.C. Inspiration: The Garden Parasol, Frederick Carl Frieseke

The curving line of the flowers and a thin wire framework suggests the Japanese parasol without being too heavy or too literal. Jasmine foliage recreates the shade trees of the painting.

Teresa Godfrey, AIFD, Floral Innovations, Washington, D.C. Floral-Innovations.com primary floral materials: mini calla lily, ranunculus, jasmine vine inspiration: The Garden Parasol, Frederick Carl Frieseke ncma sponsor: C.T. Weekends

Elements suggest the Japanese parasol and shade trees of the painting.

Dowels placed at the base perfectly match the color of the garden furniture and glass pieces reflect the scattered, dappled light.

Teresa Godfrey, AIFD, Floral Innovations, Washington, D.C. Floral-Innovations.com primary floral materials: mini calla lily, ranunculus, jasmine vine inspiration: The Garden Parasol, Frederick Carl Frieseke ncma sponsor: C.T. Weekends

The designer used color and interesting materials to sensitively recreate the seating and the dappled sunlight.

Another example from the show is by Michael Whaley, AIFD, Fresh Affairs, Raleigh, N.C. Whaley’s inspiration is Antefix in the Shape of a Satyr’s Head, Etruscan.

 inspiration: Antefix in the Shape of a Satyr’s Head, Etruscan

inspiration: Antefix in the Shape of a Satyr’s Head, Etruscan

Whaley used folded Cordyline fruticose (Ti leaves, palm lily) in a dramatic way.

Michael Whaley, AIFD, Fresh Affairs, Raleigh, N.C. freshaffairs.com inspiration: Antefix in the Shape of a Satyr’s Head, Etruscan

Michael Whaley, AIFD, Fresh Affairs, Raleigh, N.C. freshaffairs.com
inspiration: Antefix in the Shape of a Satyr’s Head, Etruscan

On Thursday I also attended two interesting presentations. Will see two more tomorrow and two on Sunday. Perhaps I can describe them at a later time.

To wrap up I leave you with a scene from the Triangle Bonsai Society’s display in the courtyard garden.

Triangle Bonsai Society

Triangle Bonsai Society

 

A Preview of Art In Bloom

Meadow Near Front of North Carolina Museum of Art - 2015 Art In Bloom

Meadow Near Front of North Carolina Museum of Art – 2015 Art In Bloom

Art and flowers are a winning combination in my book. Later this week the North Carolina Museum of Art is hosting the second Art In Bloom festival featuring 56 works from the museum’s permanent  collection. Each piece has been paired with a floral designer who will interpret the art in flowers.

The exhibition opens Thursday and I have had my tickets for weeks. (Yes, tickets, plural. I signed up when February had a stranglehold on me and it seemed the weather would never warm up, much less there would be flowers in the garden again.)  In addition to the main show there are many master classes and demonstrations, each of which is ticketed separately. Participating in the hands-on master classes would probably be the most valuable, but honestly the idea was intimidating.

Instead I have opted to attend a number of presentations, including two by the Steve Taras, owner of Watered Garden Florist in Raleigh and the museum’s primary floral designer. The session titles are Re-Creating Nature and Celebrating with Flowers. I have seen him demonstrate flower arranging 3 other times at the museum. Had I realized Steve would be the guest presenter at last week’s garden club meeting, I might not have elected to attend both of these Art In Bloom sessions, but I am sure each will be distinctive. At the club meeting he designed 7 arrangements, all the while entertaining us with humorous stories and interjecting useful design tips.

Steve showed us an interesting twist on using tulips in arrangements. (Sorry for the terrible image quality.) Fold every other petal back, then go around and fold the remaining 3 petals back.

Steve Taras At Chapel Hill Garden Club

Steve Taras At Chapel Hill Garden Club

The tulips were added into a container filled with hippeastrum (amaryllis) in a rich red to orange palette, accented with deep red ranunculus. Here you can see him reaching for another orange tulip. I regret not getting better photos.

Steve Taras At Chapel Hill Garden Club

Steve Taras At Chapel Hill Garden Club

In preparing the hippeastrum Steve trimmed away much of the long stem. He then rummaged through the waste pile for stem cuttings trimmed from an earlier arrangement (hydrangeas, nerine lilies and tulips). He inserted a salvaged stem inside the large open stem of each hippeastrum for extra support and to help them continue taking up water.

These are the other events I am looking forward to at Art In Bloom, with descriptions excerpted from the museum website. Click on the titles if you would like to find out more about each presentation.

Presentation by Olivier Giugni: Living Art

Floral demonstration and illustrated presentation by Olivier Giugni, whose talent and dramatic style transported him from Paris to Tokyo to New York. Olivier is the pioneer of the leaf-wrapped vase, which is now reproduced worldwide.

Olivier Giugni’s designs are considered the haute couture of floral creations. Raised in Brignoles, France, Olivier rose to floral stardom when Pierre Cardin tapped him to create the look of Les Fleurs de Maxim’s restaurants in Paris, Tokyo, and New York.

Presentation by Erica Anderson: Impressions of an Heirloom Garden
As the first horticulture intern on Appledore Island, Erica Anderson stepped into the garden of 19th-century poet Celia Thaxter. Using photographs of her time on the island, Erica transports us to the beloved island and garden featured in the exhibition American Impressionist: Childe Hassam and the Isles of Shoals.

Presentation by David Beahm: Extraordinary Flowers, Extraordinary Destinations

Floral demonstration and illustrated presentation with David Beahm, whose trademark lavish floral creations are featured at some of the most luxurious and exclusive properties in the world.

Your DIY Wedding
Carol Dowd and Stephanie Garrett of the American Institute of Floral Designers demonstrate simple steps to make your wedding flowers perfect, no matter what your style.

Art In Bloom For Spring

Meadow Near Front of North Carolina Museum of Art

Meadow Near Front of North Carolina Museum of Art

Vernal equinox March 20, 2015, 6:45 PM EDT. Earlier in the week it was sunny and 80°F. Now, following a rainy afternoon yesterday, our first day of spring is overcast and 46°F. Tomorrow the weather should be nice again and warmer, 70°F.

Given yesterday’s rainy forecast it was a perfect time to travel to Raleigh to view a special floral show on opening day at the North Carolina Museum of Art.

Outdoor Display Near Entrance -  North Carolina Museum of Art

Outdoor Display Near Entrance – North Carolina Museum of Art

For this 4-day inaugural event called Art In Bloom, 45 floral designers each were paired with works of art from the museum’s permanent collection and invited to create interpretations of the art using flowers. (This has been done in other cities for a few years, but it was the first time for our state museum).

The displays were fascinating. They were large, rich in color and texture, featuring familiar and exotic materials (such as anthuriums, calla lilies, orchids, roses, proteas, tropical leaves) and they were presented in an array of interesting containers and frameworks.

Included among the 45 designers were my two teachers who, for the last several years, have offered flower arranging classes through the local garden club. Seeing their work in this exhibit was particularly exciting.  Unfortunately the quality of the dozens of photos I took were extremely disappointing and does not show their work to best advantage.

Jinny was assigned a Roman statue of Herakles. She responded to the white marble by using shiny and rough metal sculpture and anthurium with foliage. Sorry I cut off the top of the design–I could joke about where my eyes were but I truly was trying to include the description on the front of the stand.

Jinny Marino's Design

Jinny Marino’s Design

'Herakles' - Inspiration for Jinny Marino's Design

‘Herakles’ – Inspiration for Jinny Marino’s Design

Jinny Marino's Design

Jinny Marino’s Design

 

In a different gallery, Betsy’s arrangement was facing a different work of art than her assigned inspiration piece, Sunset (Medusa) (1945) by Eugene Berman. She seems to have played off both works of art.

Design by Betsy Ninninger

Design by Betsy Ninninger

‘Sunset (Medusa)’ – Inspiration Artwork for Betsy Ninninger’s Floral Design

Design by Betsy Ninninger

Design by Betsy Ninninger

Ikebana

This morning I returned to the museum for another Art In Bloom event.

Ikebana: Classical to Modern. Kyoko Petersen of the American Institute of Floral Design is a professor in the Ikenobo Ikebana school in Kyoto, Japan, the birthplace of ikebana. The presentation highlights classical ikebana arrangements along with newer styles introduced in the 20th century.

The demonstration was marvelous. It was enlightening to watch and listen as Kyoko created a dozen spectacular designs. She worked with many beautiful flowers, including orchids, anemones, peonies, quince and her favorite, camellias.

In some arrangements she strictly adhered to traditional principles set out hundreds of years ago, where nine elements of nature are represented (such as shady side, sunny side, waterfall). There are specific instructions for placement that cannot be altered. She began with this traditional design representing landscape.

Classical Ikebana - Landscape

Classical Ikebana – Landscape

Several of her designs illustrated 20th century adaptations made by the head master of the Ikenobo Ikebana school where she teaches. (The head master is forty-something generation.) The newer style takes into account people live not in castles, but rather in smaller houses. Also today the designs can take advantage of a wider repertoire of materials than those historically available. Kyoko also demonstrated free-form creations.

This design illustrates the modern simplification the master created in the 20th century.

Modern Ikebana

Modern Ikebana

This was one of my favorite designs. I tried to remember what the unusual leaves are called, perhaps begins with “Renaissance”? The surprising use of yellow pansy at the bottom adds finishing touch.

Modern Ikebana With Three Elements

This final design of the morning was an effusively abundant celebration of Spring, using camellias, peonies, variegated pine and orchids over a framework of weeping willow and weeping cherry. (Sorry for poor photo quality but perhaps you can get an idea.)

Ikebana: Homage to Spring

Ikebana: Homage to Spring

Ikebana: Homage to Spring

Ikebana: Homage to Spring

Ikebana: Homage to Spring

Ikebana: Homage to Spring

Kyoko’s presentation has inspired me to try to learn more about Ikebana.  Another event today that was sold out but would have been fascinating, was a hands-on master class with Shane Connolly, Royal Florist. He designed the flowers for the wedding of the Duke and Duchess of Cambridge.  If you happen to be local to the Raleigh area, Art In Bloom is well worth your time.

So that is how I welcomed the changing season. And tomorrow I hope to back in my garden.

Workshop On Creative Design

Creative Design, Workshop II, January 20, 2015

Creative Design, Workshop II, January 20, 2015

Tuesday I attended the second session of a Workshop II floral design class offered through my garden club. We began the class by practicing leaf manipulation, then used the altered leaves to develop a Creative Design.

As a novice student in the area of floral design it is difficult to know, much less explain, exactly what creative floral design is. The goal I believe is to fabricate a design no one else has ever done (conceptual originality), using basic design principles that apply to any artistic endeavor (foundational standards), and exhibiting consummate craftsmanship. None of these criteria are met by the arrangement I created on Tuesday, but after having been throughout the exercise I do believe I am beginning to internalize the goals.

Our teacher, Betsy, has a network of floral suppliers and for a small fee she provides each student the flowers and foliage to complete the design. This is helpful so that we all start out with the appropriate materials each time. Betsy is a garden club member, an experienced floral designer and a flower show judge. Two other members assist with the class, both of whom are also flower designers, and one is also a judge. I really appreciate that these women volunteer their time and expertise to help educate club members in floral design.

For class this week we were asked to bring an interesting branch, 1-2 inches thick and at least 20 inches high. Yesterday my husband helped me prune an outlier branch from a Lagerstroemia (Crape Myrtle) to use for this project. Unfortunately choosing a 20-inch section that had interesting curves proved challenging, but I sectioned a piece from the top that seemed to meet the criteria. I saved some of the wood for another project.

Branch pruned from Lagerstroemia (Crape Myrtle)

I cut a portion from this large branch pruned from Lagerstroemia (Crape Myrtle)

Once in class the base of the branch had to be scored or split to allow the branch to be inserted into a 3-inch florist pin holder. The lines of the branch established the line of the design. What I learned as I moved through the course was that the branch I chose proved to be too wispy and busy, not really strong or hefty enough to compete with the weight of the leaves and flowers we used. Thankfully the teachers gave lots of helpful comments, explanations and hands-on assistance, so I probably learned more by having to compensate for the size of the branch.

With the branch in place we turned our attention to leaf manipulation. We began trimming, folding, cutting, braiding, weaving and looping our leaves. This activity could have consumed the entire two hours of the class. My teacher Betsy demonstrated an interesting technique using an aspidistra leaf. She applied peel-off UGlu adhesive patches along the back spine of the leaf and lay medium weight florist wire down the spine. Next she trimmed an inch-wide strip from the length of a second aspidistra leaf and used it to cover the wire. With the wire in place the leaf can be then be folded, scrunched, twisted or otherwise manipulated and the shape will hold.

Wired and folded aspidistra leaf

Wired and folded aspidistra leaf

Without a clear design idea in mind it took me a while to get started with the alterations I was so afraid of “messing up” which is always something I must always overcome when learning a new activity. By nature I am usually very reflective and like to weigh all the possibilities, but the class time was extremely limited of course. I finally conquered my timidity and began preparing the leaves.

Eventually I inserted an Fatsia leaf (without manipulating it), added an accordion-folded, wired Aspidistra leaf and add a couple of other rolled Aspidistras. I also made a loose loop using half-dozen strands of beargrass and used a quarter section of a fan palm to complete the foliage.

Fatsia and Fan Palm Leaves

The looped beargrass did not survive the car ride home so I learned a valuable lesson. The leaves have to be stapled, glued, wired or otherwise securely fastened.

Looped Bear Grass

Looped and Wrapped Beargrass

Manipulated leaves in Creative Design

Manipulated leaves and Asiatic lily in Creative Design

I really liked working with aspidistra leaves. Each one has a unique pattern.

Bicolored Aspidistra was trimmed to make it narrower, then rolled and glued.

Bicolored Aspidistra was trimmed to make it narrower, then rolled and glued.

By this time I became more decisive and ended up trimming away quite a lot of the wispy branches and several major ones. Less is more in creative design. With a great deal of conversation and guidance from the instructors the arrangement began to take shape. Betsy helped me place three tightly closed Asiatic lilies, the only flowers used in the design. Each lily was cut to be a different height. Two were placed in front and one was added in back near the base. It will be interesting to see how the design changes as the lilies open. After two days they have opened only slightly.

Creative Design

Creative Design

I brought home some leftover flowers and leaves so I can experiment with creative design some more this week. (The leaves were featured for January Garden Bloggers Foliage Day.)

Some of the materials had shifted around during the car ride so I reworked them before photographing the arrangement once I got home. The angle I worked from is hard to recapture in the photographs. Slight shifts in the camera angle really change the effect so the design integrity needs to be strong from all frontal and side points of view.

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Materials

Aspidistra (Cast Iron Plant)
Fatsia japonica
Arecaceae (Fan Palm)
Xerophyllum tenax (Beargrass)
Lilium (Asiatic lily)
Lagerstroemia (Crape Myrtle) branch, 1-2 inches thick, at least 20 inches high
3-inch florist pin holder
Oasis Lomey 11″ Round Designer Dish – Black
UGlu Adhesive Strips

Having gone through the class this week I realize I have a lot of work to do to prepare for an upcoming Floral Design Guild event. For this I have to come up with a concept, select a container and appropriate background, devise necessary mechanics to ensure the arrangement stands up properly and select the flowers and foliage. February will be here soon. Hoping to come up with a bold and dynamic design, I also have to keep reminding myself to relax and enjoy the journey.

 

Crescent Design

I took a beginning-level floral design workshop two years ago through my local garden club. When I could not attend class on the day we studied Crescent Design, my teacher invited me to return for a make-up class. Yesterday I finally made it back.

Crescent is a fun design to make and everyone’s arrangements turned out well. All designs shared the basic crescent form, yet we commented how different each result was. Given that we started with the same instructions and same materials, each person’s unique approach was apparent.

The crescent design is asymmetrical. Think of the way the crescent moon looks. The longer curve is usually on the left in this design.

Crescent Design

Crescent Design

We formed the line of the crescent using stems of Israeli Ruscus and Bells of Ireland. Bells of Ireland have some natural curve and the ruscus can be slowly bent to encourage it into shape. It does not mean it is easy to keep that line curving though. Next the line was reinforced with flowers. We used spray roses, alstroemeria, and several sizes of carnations. The largest carnations were reserved to create a focal point near the bottom.

Left curve of crescent. Line was formed using Israeli Ruscus and Bells of Ireland.

Left curve of crescent. Line was formed using Israeli Ruscus and Bells of Ireland.

In a class like this the atmosphere is a bit frenzied since there is a limited amount of time to complete the assignment.  I always think I could have fixed this or that with a bit more time and even before I photographed the flowers I could see some changes that would improve the design. I let the bottom of the crescent become a little too heavy and should have left some negative space to help keep the eye moving from one side of the crescent to the other.

Nevertheless I was excited by the result.

Bottom of the crescent ended up a bit heavy.

Bottom of the crescent ended up a bit heavy.

I brought home some leftover flowers and several stems of Ruscus so I can play with crescent design some more this week.

Materials

3 stems Ruscus sp. (hypoglossum or hypophyllum) (Israeli Ruscus)
3 stems Moluccella laevis (Bells of Ireland)
3 stems White Spray Roses – petite flowers, 3 to 5 flowers per stem
3 stems White Large Carnations – one large flower per stem
3-4 stems White Spray Carnations (Mini Carnations) – many smaller flowers
3 stems Green Dwarf flowered Carnations – several small flowers on one stem
3 stems Alstroemeria (Peruvian lily)
6-inch clear, shallow dish
Floral foam brick

Carnations, Bells of Ireland and Alstroemeria

Carnations, Bells of Ireland and Alstroemeria

Lesson Notes

The instructor began the lesson by introducing two design principles, dominance and contrast, along with two design elements, color and texture. From last time she also reviewed the principles of balance and rhythm and the elements, color and form. We looked at many examples in the textbook and had an interesting discussion about why they worked. (Interestingly, some of the examples, we agreed, did not really work successfully and it was helpful to have the teacher and the other two women who were assisting her point out some quibbles they saw with some of the arrangements pictured in our book.)

It is hard to keep all these concepts in mind once flowers are in hand, but over time reviewing these design principles and elements improves and refines our sensibilities and taste.

Elements of Design
In flower arranging the basic design components or building blocks are balance, contrast, dominance, proportion, rhythm, scale.

Principles of Design
The principles guide how the elements are structured or arranged, leading to a cohesive design (color, form, line, space, texture).

Crescent Design

Crescent Design

As I mentioned today’s workshop was a make-up class from the beginner level class. Actually this year I am taking the second level workshop series and I look forward to meeting with that class next week. I feel fortunate to have the opportunity to study with the women from the garden club who conduct these classes for the members.