1. Floriculture, Design & Management
Original Power Point Created by
Andy Harrison
Modified by the GA Agriculture Education Curriculum Office
July 2002

2. History of Floral Design
Occidental style – evolved during Egyptian and Middle East cultures; further developed by European cultures
Oriental style – began in China and later explored by the Japanese
How do we design a floral arrangement
Basic design laws , fundaments or truths existed for long periods , time tested and accepted as design principles

3. Egyptian Period
2800 BC – 28 BC
Arranged different colored flowers in separate rows in shallow bowls
Used fruits and vegetables piled in low baskets
Several flowers were considered sacred
Water lilies
Lotus flowers

4. Ancient Greeks
600 BC – 146 BC
Limited by rituals; did not arrange flowers in vases
Flowers were scattered on tables
For special occasions flowers were arranged into garlands and wreaths and presented to athletes
Cornucopia (horn of plenty)

5. Roman Period
28 BC – 325 AD
Continuation of Greek customs but more elaborate
Scattered rose petals on banquet tables and floors
Scarves filled with blossoms were offered at alters as part of Roman religious ceremonies

6. Byzantine Period 320 AD – 600 AD Cut flowers were re-used
Formal conical designs with clusters of blossoms were used

7. Middle Ages
476 AD – 1400 AD
Not much known

8. Renaissance
1400 AD AD
Designs were tall, large, pyramidal, and symmetrically balanced
Arrangements were loose, un-crowded, and airy
The important flower was located centrally at the top of the bouquet with its flower heads turned out

9. Baroque 1600 AD – 1775 AD Began as oval, symmetrical designs
Later asymmetrical curves in shape of “S” or crescent were adopted
Abundance of flower types and colors were used
Variety of accessories utilized

10. Flemish 1600 AD – 1750 AD Not as loose and open as Baroque
Better proportioned and more compact
Rich colors and massed oval-shaped bouquets

11. Baroque - Flemish
1600 AD – 1750 AD
Massed, compact, oval bouquets

12. Baroque - French
Lighter, airier versions of Flemish designs

13. English Georgian Refers to reigns of King George I & II
1714 AD – 1760 AD
Influenced by Chinese arts
Symmetrical and triangular shaped
Usually only one flower type used
Small nosegay-type bouquet placed in small bowls were stylish

14. English Georgian Also influenced by colonial America
Williamsburg, VA
Created fan-shaped and triangular arrangements
Arrangements of boxwood, magnolia, and ivy

15. Victorian Period 1820 AD - 1914 AD Designs were unappealing
Improperly proportioned, contained large amounts of flowers crammed into compact arrangements
Appeared unplanned

16. Chinese Large symmetrical arrangements
Used one or two types of foliage and flowers placed around a central axis
Bright colors contrasted with the urn

17. Japanese
Minimum use of plant material with careful placement of branches and flowers
Each placement has meaning as does the angle of placement (line arrangement)
Ikenabo (Buddhist priests) began the first school of floral design in Japan

18. Mass Arrangements From the European style
Large round or oval masses of flowers
Placement not as rigid as Oriental

19. Line Mass Mostly used in the United States
Uses more material than Oriental but less than Europeans
Often built around a linear pattern

20. Design Principles Balance Proportion and scale Focal point Emphasis
Rhythm
Harmony
Unity

21. Balance
Actual Balance – refers to the physical or mechanical balance; equal weight on both sides of central axis
Prevents arrangements from toppling over

22. Balance The stability of the arrangement
Visual – ways the arrangement appears to the eye, proper use of color, and placement of materials by size
Visual also refers to color weight – darker colors and coarser textures appear heavier

23. Symmetrical Balance Formal balance on both sides of vertical line
Can be different but similar materials
Presents dignity and formality
Should display against a symmetrical background
Alter of church or head table

24. Asymmetrical Balance Sometimes referred to as informal arranging
Describes equal visual weight on both sides, but each side is made of a different material and a different arrangement
Arrangement is active and suggests movement of the eye

25. Proportion & Scale How the arrangements fit to a particular location
Example: dining room table

26. Proportion Interrelationship of all parts of arrangements
Flowers
Foliage
Accessories
Container
Should be 1 ½ times the height of a tall container or 1 ½ times the width of low a container

27. Scale
Relationship of the arrangement and the area where it is to be displayed

28. Focal Point
The area that attracts and holds the interest of the viewer
Dominates the design
Also called the center of interest
Location where stems or main lines meet

29. Strength of Focal Point
Dictated by style of arrangement
Round arrangements generally do not have a focal point – viewed from all sides
Modern arrangements – strong focal points; lines should dominate

30. One Focal Point in A Design
Bring the main lines of the design to a point
Place largest flower at this point
Concentrate the plant material at this point
Place darkest or brightest color at this point
Contrast colors around this point
Place unusually shaped flower at this point

31. Emphasis Closely related to the focal point
Focuses the attention on one feature and keeps everything else secondary
Focal point can create an emphasis in a arrangement
Can be achieved by use of one color, texture, or kind of flower

32. Rhythm
Movement of the eye through the design toward or away from the focal point
Flow of lines, textures, and colors that evokes sense of emotion
Stimulates eye moments on the arrangement
Created by repetition, radiation, progression, and transition

33. Repetition
Repetition of leading color, strongest line, or dominant form
Colors or texture of container may be repeated
Crystal works well with delicate flowers
Heavy pottery works well with coarse flowers

34. Radiation
Attempting to make all stems appear as though originating from a central axis
Point of origin is focal point of design
Creates a strong sense of unity in the arrangement

35. Progression
Involves a gradual change by increasing or decreasing one or more qualities
Size
Color
Texture of material used
Creates movement in a certain direction

36. Progression in Size Using flowers of increasing size
Placing buds and small flowers at the edge of the arrangement, large flowers at the bottom and the center, and medium flowers in between
Flowers of the same size can be faced in different directions to alter its “visual weight”

37. Transition Making gradual change to harmonize unlike things
Blending of colors, line patterns, and textures
Helps to avoid a sectioning design
Should also exist between container and arrangement
Edge of container should be covered

38. Harmony Blending of the components of the design
Should be a pleasing blend of color, texture, shape, size, and line

39. Unity All parts of design achieve a oneness in idea or impression
Establishment of a central focal point
Can repeat colors in the design but do not layer flowers of similar color or texture

40. Design Elements
Line
Form
Texture

41. Line Provides a visual path for the eye to follow
Creates motion in the design
Is the framework that holds the arrangement together

42. To Create Lines Use linear materials Branches
Line flowers- long spikes of blossoms with florets blooming along them
Long slender stems

43. Line Sets Emotional Tone
Can imply swift motion, repose, reverence, or gentleness
Vertical lines can imply strength, dignity, or formality
Curved lines can imply a feminine dimension
Horizontal lines can imply informality
Makes people feel restful
Usually used for table arrangements

44. Lines (Cont.) To maintain movement – never break lines
Lines should appear to originate from one point

45. Form Shape or silhouette of arrangement
Circular
Triangular
Number of curved lines
Geometric shapes, circles, triangles all have a European influence
Linear arrangements have an Asian influence

46. Texture
Surface appearance of flowers, foliage, container, and accessories (ribbons, balloons, etc.)
Textures
Fine or course
Smooth or rough
Shiny or dull
Satiny or velvety

47. Texture Generally referred to as Rose: fine and smooth
medium
coarse
Rose: fine and smooth
Zinnia: coarse and rough

48. Texture and its Emotional Response
Fine textures and smooth shiny surfaces elicit elegance and formality
Coarse textures and rough or dull surfaces elicit informality and casualness
Contrasting textures can call attention to themselves