1. Shapes of Floral Arrangements
Compiled by: Mrs. Sheffield

2. Shapes of Arrangements
5th per. 10/31
Arrangements classified into geometric shape groups
Exception: some oriental, abstract, and modern designs
Silhouette is its basic shape
Knowing a definite shape can help you before you begin
Selecting container
Selecting flowers & foliage

3. Factors Influencing Shape
Placement or location
Dictates shape and size
of arrangement
Determines if it will be
all-sided (viewed from all
sides) or one-sided
(viewed from one side)

4. Factors Influencing Shape (cont.)
Table size and shape
Round table enhanced
with round arrangement,
rectangular table ideal for
horizontal design

5. Factors Influencing Design (cont.)
2nd per. 10/31
3rd per. 10/31
Eye level
The level at which the floral arrangement will be viewed
Helps determine:
Container,
Flowers,
Foliage,
How arrangement is assembled
Direction flowers/materials face
Overall shape

6. Factors Influencing Design (cont.)
Types of flowers foliage
Client may want specific flowers for specific meaning
Some work well in tall arrangements, others don’t

7. Factors Influencing Design (cont.)
Container choice
Tall vertical container = tall vertical arrangement
Round basket usually means circular design

8. Factors Influencing Design (cont.)
Occasion and purpose
Formality of an occasion
Symmetrical: formal (churches, funeral homes, auditoriums, hotel lobbies)
Asymmetrical: informal (casual occasions)

9. Basic Shapes of Arrangements

10. Choosing Your Design
Consider the factors that influence design then decide on a design shape
Use this idea to set the framework for your design (basic structure)

11. Most Common Classification
Triangular
Circular
Vertical
Horizontal
Based on their emphasis of shape or line
Some are a blending of several forms

12. Framework Keep chosen shape in mind
Can be constructed with flowers and/or foliage
Skeleton flowers/foliage: first few stems that establish framework
Create the main and essential outline for forming a specified design shape
Set geometric limits
Establish outer boundaries for a design including height, width, and depth

13. Framework (cont.) To increase depth in one-sided designs:
5th per. 11/3
To increase depth in one-sided designs:
Add a skeleton flower or foliage stem in the front of the arrangement near the rim of the container and angle it downward
To complete visual balance, angle the tallest stem slightly backwards
After framework is established:
Flowers may extend beyond framework edges, or stay within it
Simple framework gives foundation for construction, eases arrangement process

14. Triangular Designs

15. 1. Triangular Designs Popular Three distinct sides
Three corners, angles, or tips
Generally one-sided
Some can be arranged as two-sided
Many variations of height, width, size, and style exist
All are symmetrical (formal) or asymmetrical (informal)

16. Symmetrical Triangle Designs
Formal
When divided in half vertically, each side is a mirror image of the other
Keep framework a mirror image
Flowers within triangle do not need to be repeated exactly on both sides
Basic symmetrical arrangements that offer a traditional formal look
Equilateral triangle design
Isosceles triangle design
Cone design

17. Equilateral Triangle Design
Three sides that form the triangle are all equal in length
Usually one-sided, placed against wall or where people will see only one side
Example: buffet table, front of a church

18. Equilateral Triangle Design (cont.)
Generally has three skeleton flower or foliage stems to create three points of triangle
Three sides are equal, not the three stems that form the corners!
Materials forming the base line need combined length approximately the length of the stem forming the top center point of the triangle
Results in three sides fairly equal to each other
5th per. 11/10?

19. Equilateral Triangle Design

20. Isosceles Triangle Design
Symmetrical
Two sides equal in length, third or base unequal
Most common has two equal sides that form the height of the arrangement
One-sided isosceles designs popular because they’re easily created from few flowers
Small or large in scale, generally highly stylized and artistic

21. Isosceles Triangle Design

22. Cone Design Typical of Byzantine period of design
3rd per. 11/3
5th per. 11/10
Typical of Byzantine period of design
Three-dimensional vertical isosceles triangle
Require foam base for mass flower insertion
In the past, would gather pieces of foam into chicken wire to form foundation
Today, block of foam can be formed to a cone
Manufactured floral foam cones also available
Formal, generally all-sided

23. Cone Design

24. Asymmetrical Triangles
Informal
When divided vertically in half, one side heavier than other
To balance, something on less visually heavy side must be compensated
Color, texture, form, or length/angle of stem
Appear more natural
More planning necessary to achieve proper balance

25. 2. Asymmetrical Triangles (cont.)
Often one-sided, can be made all-sided
Rely on use of focal point for visual success
Height shifted to one side
Width of triangle extends out on opposite side
Basic designs:
Right triangle
Scalene triangle
2nd per. 11/3

26. Right Triangle Design
Named for right angle of 90° that forms the design
Generally vertical format
Tall vertical line perpendicular to base line of arrangement
Vertical emphasis or height usually seen on left side
Reason why they’re often called ‘L-shape’ designs
Can also be the right

27. Right Triangle Designs (cont.)
Can point to the right or left, according to display location
Can be made in pairs to give importance to a picture or object between the two
Also placed in opposite manner to provide direction and length, with the horizontal base line extending outward in opposite directions

28. Right Triangle Designs

29. Scalene Triangle Design
Unequal sides and angles
Generally has vertical emphasis
Apparent obtuse angle (greater than 90°, with height to one side)
Baseline extends downward on the other side opposite to the height
With flower stems facing downward, often necessary to use compote or taller container
If using a lower container, place on mantle or other location for flowers to fall freely

30. Scalene Triangle Design

31. Circular Emphasis Designs

32. 2. Circular Emphasis Popular Many diverse styles exist, including:
symmetrical,
mass,
asymmetrical,
curvilinear,
all-sided,
and one-sided

33. Mass Styles Circular or rounded silhouette Symmetrical
Can be made in a variety of sizes & styles
Most categorized as:
Round
Cube
Oval
Fan
Topiary ball

34. Round Design Appears the same on all sides and from all viewing angles
Also called: circular, round mound, roundy- moundy, nosegay, and tussie-mussie
No front or back
Can be placed virtually anywhere
Arranging in circular manner adds interesting element of repetition that’s pleasing and harmonious
Avoid feeling of monotony by using foliage that offers pleasant contrast to dominant flower forms

35. Round Design (cont.)
5th per. 11/11
If one-sided, appears unfinished and lacks balance
Consider another design if wanting a one- sided arrangement

36. Cube Design Not actually in the shape of a cube
Round, circular mass design made in a glass cube or other cube-shaped container
Container may be elongated into a tall rectangle
Versatile, variety of sizes and styles
Usually made without floral foam
To prevent tipping, stems must be angled and interlocked within the container to form a tight grid

37. Cube Design

38. Oval Design Symmetrical
2nd per. 11/10
3rd per. 11/10
Symmetrical
Commonly made in both all-sided and one- sided arrangements
Offer extension of round form, with circular shape elongated vertically
All flowers/foliage placed to radiate out from central location similar to round designs
Stem lengths more varied to form the oval

39. Oval Design

40. Fan-Shaped Design Also called radiating design
One-sided, similar in shape to fan or half-circle
Line flowers/foliage often used to set framework
Stems should appear to radiate from a central location
Symmetrically balanced with formal, planned appearance
Voids or negative spaces between stems give importance to radiating lines, emphasizing fan appearance

41. Fan-Shaped Design

42. Topiary Ball Design Perfectly round sphere
Shape appears the same from any viewing angle
Round topiaries are symmetrical and offer formal decorating in a variety of styles, sizes, and applications
Can be hung if attached properly
Floral pomander: small topiary that can be carried
Ribbon or string must be inserted into the ball before the arrangement is completed

43. Topiary Ball Design

44. Curvilinear Styles
Gives emphasis to curving lines of the design, rather than mass
Generally highly-stylized, one-sided, may be all-sided
Curved lines create unique and sophisticated appearance and display graceful rhythm
Require curving stems to form important rhythmic lines
Some naturally curved, others are not

45. Curvilinear Styles (cont.)
Main types of curvilinear designs:
Crescent design
Hogarth design

46. Crescent Design
Portion of a circle with one concave edge and one convex edge
Similar to shape of the moon just before first quarter or after last quarter phases
May be used in pairs
Requires skill and experience
Also referred to as a C-shape design
Variety of sizes, heights, widths, and styles
Requires a lot of negative space
Focal point near container rim for visual balance

47. Crescent Design (cont.)
When inverted, use upright container and flowing plant material to create downward curve

48. Hogarth Design Also called S-curve or Hogarth curve design
Sophisticated asymmetrical appearance
Must be constructed in a compote or tall vase
Rhythmic line easiest to achieve with vines, pliable branches, and naturally curving flower stems
Formal type of design
Only design shape named for a person rather than geometric shape

49. Hogarth Design (cont.) 1697-1764 Shape comes from self-portrait
Portrait of a Painter and His Pug(1745)
“all beauty based on serpentine s-line”
“Line of Grace”
3D s-line
William Hogarth

50. Hogarth Design (cont.) Not as popular as other designs
2nd per. 11/11
Not as popular as other designs
More difficult to construct
Requires curving stems
Requires taller/heavier container (adds expense)
May tip easily during delivery

51. Vertical Emphasis Designs

52. 3. Vertical Line Emphasis
5th per. 11/14
Height emphasized by exaggerating vertical emphasis
Creates dynamic appearance of strength
Vertical container enhances/strengthens vertical line
Space-saving
Variety of sizes, heights, and styles
Bud vase designs: small
Stylized vertical designs: larger

53. Bud Vase Design Simplest vertical design
Single flower or limited grouping
Flowers repeat shape of tall slender vase in which they’re placed
Generally one-sided, can be made all-sided
Placed on small table or in small room or area
Containers are tall and narrow
Holds flowers in place

54. Bud Vase Design
Some containers may be too narrow for number and thickness of stems
Rule of thumb
If you cannot fit your thumb down the neck of the vase, it is probably not suitable for more than 1-2 stems of plant material
Forcing flowers can crush stems

55. Stylized Vertical Design
Constructed in vertical containers with or without floral foam
Generally one-sided, may be all-sided
May have narrow line of plant material
To achieve visual interest and balance, often require focal point near rim of container or at upper edges

56. Horizontal Emphasis Designs

57. Horizontal Designs Parallel with tabletop or other surface
Restful, peaceful feeling
Generally symmetrical, can be asymmetrical
All-sided, can be one-sided
Can be combined with triangular or circular shape to give slight height
Made in low, long containers
Candles commonly used
Keep low so they don’t interfere with conversation across a dinner table

58. Horizontal Designs