1. Principles of Floral Design 4 Main Types of Flowers

2. Line flowers Long, slender spikes of blossoms with flowers blooming along the stem. Can also include bare stems. Used to establish the skeleton or outline of the arrangement. Determine height and width of the arrangement.

4. Mass flowers Single stem flowers with large, rounded heads. Also used when no line flowers are present to create outline of arrangement. Sometimes used as the focal point or main flower of an arrangement.

6. Filler flowers Used to fill gaps between mass flowers. Give depth to the arrangement. Should compliment the mass and line flowers They are bunchy or feathery (so ferns fall here). Usually the most inexpensive part of the arrangement.

8. Form flowers These flowers have an unusual or distinctive shape. They also help create the focal point. They need to be separated within the arrangement so they maintain their identity and uniqueness. Never bunch form flowers together. Many times they can stand alone such as in corsages and boutonnieres.

10. Elements & Principles of Floral Design

11. Elements of Floral Design Line Line Form Form Space Space Texture Texture Pattern Pattern Fragrance Fragrance Size Size Color Color

12. Line The visual pathway that directs eye movement through a composition Distance between two points

14. Line directions: Vertical lines—stress height and suggest power and strength Horizontal lines—stress width and are peaceful and calm, provide a sense of stability Diagonal line—dynamically energetic, causing more eye movement. Use sparingly Curved line—suggest motion, but are softer, more comforting. Eye moves quickly through design.

15. Vertical line-- Vertical line--Power and strength

16. Horizontal line Horizontal linePeaceful and calm

17. Diagonal line Diagonal lineDynamically energetic, suggest motion

18. Curved line Curved lineSofter suggestion of motion

19. Form the shape or configuration of an individual component of the composition. The overall, three-dimensional, geometric shape or configuration of a floral composition.

23. Space the area in, around, and between the components of the design, defined by the three-dimensional area occupied by the composition.  Positive space  Negative space

26. Texture The surface quality of a material, as perceived by sight or touch The surface quality of a material, as perceived by sight or touch  Smooth, coarse, waxy, rough, delicate, velvety

28. Texture

31. Pattern A repeated combination of line, form, color, texture, and/or space. A repeated combination of line, form, color, texture, and/or space.  Variegated markings, speckles  Any element used more than once

32. Pattern

33. Pattern—what is repeated

34. Fragrance A sweet or pleasing odor, perceived by the sense of smell. A sweet or pleasing odor, perceived by the sense of smell.  heightens our awareness  increases sensory enjoyment  triggers memory

35. Using all 5 senses

40. Size The physical dimensions of line, form, or space The physical dimensions of line, form, or space  First considerations  Emotional aspect

41. Color The visual response of the eye to reflected rays of light The visual response of the eye to reflected rays of light  most important design element  Optical sensation, originating in the brain’s perception of light energy reflected to the eye from a pigmented surface.  Emotional response

42. Color

43. Principles of Floral Design Principles of design-fundamental guidelines to aesthetic design that govern the organization of the elements and materials in accordance with the laws of nature. Some primary principals of design are associated with related secondary principles of design.

44. Principles of Floral Design Balance Balance Proportion Proportion  Scale Dominance Dominance  Emphasis  Focal Area  Accent Rhythm Rhythm  Depth  Repetition  Transition Contrast Contrast  Opposition  Tension  Variation Harmony Harmony Unity Unity

45. Balance gives a sense of equilibrium and repose, gives a sense of equilibrium and repose, a feeling of three-dimensional stability.. Physical also known as mechanical balance—sound Visual balance—sense of equilibrium

46. Easily falls over Or looks like it will easily tip over

47. Visually balanced

48. Balance symmetrical balance—known as formal balance, flowers are repeated on opposite sides of the floral arrangement. Using an imaginary central axis, one side of the arrangement is the mirror image of the other. Asymmetrical balance—known as informal balance. Formed by placing unequal visual weight on each side of a central vertical axis.

49. Balance Radial balance—radiate from a central point like the spokes of a wheel or the rays of the sun.

50. Symmetrical-one side mirrors the other Asymmetrical-two sides are dissimilar but have equal visual weight or equal eye attraction which creates visual balance

51. Symmetrical vs. Asymmetrical

53. Radial Balance Radial balance--Not separate from symmetrical or asymmetrical, but merely a fine distinction of one or the other

54. Radial Balance

55. Symmetrical but too perfect—rendering a contrived and fake appearance

56. Near symmetrical Not symmetrical in placement but arranged in a near-symmetrical pattern to form a balanced, formal shape

57. Proportion The comparative relationship in size, quantity, and degree of emphasis among components within the composition; the relationship of one portion to another, or of one portion to the whole. The comparative relationship in size, quantity, and degree of emphasis among components within the composition; the relationship of one portion to another, or of one portion to the whole.  design should be 1 ½ to 2 times the height or width of the container

58. Greek golden section in which the ration of vase to flowers is 3 to 5 or roughly 5 to 8

59. Golden mean refers to the division of a line somewhere between ½ and 1/3 its length Flower design slightly off center

60. Overall size of a floral arrangement or its parts compared with other objects or their parts. Scale floral elements with each other

61. Scale The relative ratio of size, or the relationship of the size of a composition to the surrounding area or environment. The relative ratio of size, or the relationship of the size of a composition to the surrounding area or environment.

62. Arrangements should fit on the table physically and visually and be in proportion to the surrounding area

64. Small table small room small arrangement

65. Large to permit viewing from a distance

66. Dominance The visual organization within a design that emphasizes one or more aspects. When one element is emphasized, others are subordinate. The visual organization within a design that emphasizes one or more aspects. When one element is emphasized, others are subordinate.

67. Emphasis The special attention or importance given to one or more areas within a design. The special attention or importance given to one or more areas within a design.  Directs eye to more important areas

68. Focal Area The area of greatest visual impact or weight The area of greatest visual impact or weight; the center of interest to which the eye is most naturally drawn.  Center of gravity or balance  Where eye is drawn  Where the eye rests  One element different than others

70. Focal Point

73. Accent Detail added to a design to provide additional interest, affecting the total character of the composition. Detail added to a design to provide additional interest, affecting the total character of the composition.  Enlivens  Dash of something

74. Accessories

75. Accent

78. Rhythm Flow or movement characterized by regular recurrence of elements or features Use repeated patterns and graceful spacing. The goal is to create a visual pathway that leads the viewer’s eye around and through the design, then back to the focal point.

80. Depth Three-dimensional arrangement Three-dimensional arrangement  overlap or angle flowers  place bright, dark flowers on the bottom of the arrangement, lighter and smaller at the top

82. Repetition The recurrence of like elements within a composition The recurrence of like elements within a composition

84. Repetition

85. Transition The ease of visual movement which results from gradual degrees of change among one or more of the elements The ease of visual movement which results from gradual degrees of change among one or more of the elements

87. Contrast Emphasis by means of difference Emphasis by means of difference.

88. Contrast--color

89. Opposition Contrast between elements which are counterpoint in relation to each other. Contrast between elements which are counterpoint in relation to each other.  Call attention to each other by being opposite whereas contrast is simply different from each other

91. Opposition—black & white

92. Contrast in color simplest way to create strong focal point

93. Tension Implying or suggesting a sense of energy Implying or suggesting a sense of energy  Polarity—drawn together or pushed apart  Knot a leaf-energy has been exerted or applied  New bulb forcing out of soil  Ready to spring or snap

94. Tension—something is waiting to happen

97. Variation Dissimilarity among attributes or characteristics. Dissimilarity among attributes or characteristics.  Diversity among elements  Vary stages of development  All one color of flower, but different flowers

98. Proximity-combining flowers into one design Repetition-repeating similar elements such as color Transition-providing a gradual change from one part of a design to another

99. Harmony Compatibility; a pleasing or congruent arrangement of parts. All parts should go together or “harmonize” with each other. All parts should go together or “harmonize” with each other.

100. Lack a sense of harmony

101. Harmony by added accessories which support football or homecoming theme

102. All component parts of a floral composition should harmonize with one another. It is vital that the flowers in a design are compatible with one another in order to support an overall design style.

103. Terra-cotta post and blush tones flowers create a casual garden ambiance for this celebration setting. Harmony of the parts displays unity in design

104. Unity --the state of being one, united, or complete in itself. The arrangement is seen as a whole piece instead of only individual parts. The arrangement is seen as a whole piece instead of only individual parts. Oneness of purpose, thought, style, and spirit. Oneness of purpose, thought, style, and spirit.

105. Accessories Candles Plums, kiwi enhance an overall harmonious theme

106. Examples of Line and Sticks Design Assignment