An
alternative 'Search' may also be initiated by pressing the 'Control'
key
and the 'F' key, enabling a search for a particular subject
___________________
‘A’
SECTION’
Extracted
from the AFAA Manual page 46
ABSTRACT
An
Interest Equated style emphasising the elements of line, form, space and
texture. The designer takes the
essence of the material used and communicates this to the observer. Colour may be muted or strong, textures strongly contrasted.
Balance is dynamic with no part of the design having so much weight or
attraction that it over-balances any other.
There may be more than one point of emergence from the container or
within the design. Manipulated material, unexpected placements and interesting
spaces are characteristic. Natural
growth habits of plant material are ignored and elimination of unnecessary
detail is essential. The
container can play an important role in the design.
A
dominating element should be evident (e.g. vertical lines) to ensure unity is
achieved but strong contrasts add excitement. Whilst the emphasis is on
plant material, manufactured or “found” objects may be used. The
design may be “expressive” in which the organisation of all elements
expresses an idea or theme, or “non-objective”, creating an awareness of
the essence (characteristics) of the material (e.g. form, line, texture,
colour, etc.).
Extracted
from the AFAA Manual Pages 13 & 1 4
ASYMMETRICAL
BALANCE
Asymmetrical
balance is visual, being unequal balance of weight by the placement of
materials. Though the two sides are dissimilar, there is the same amount
of visual weight on either side of the axis. This means that the greater
amount of light material (e.g. in form and/or colour) is on one side, with the
heavier material placed well down in the arrangement on the other side to give
stability and good balance. Refer diagrams page 85
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‘B’
SECTION’
Extracted
from the AFAA Manual Page 13
BALANCE
(Principle of Design)
Balance
gives a visual sense of equilibrium and a well-balanced design gives a feeling
of stability.
Balance
is attained by the use of size, colour, line and texture and should be
considered vertically (top to bottom), horizontally (side to side) and in
depth (front to back).
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‘C’
SECTION’
Extracted
from the AFAA Manual Page 120
CLASSICAL
STYLE
Characterised
by simplicity and symmetry of form. Long established and refined
style.
COLOUR
SECTION
Extracted
from the AFAA Manual Page 12
COLOUR
A
visual sensation dependent on light, texture and distance, infinitely
variable. It has strong emotional and symbolic associations. Colour may
be used to provide balance, dominance, rhythm, harmony and distinction.
The principles that apply to making a good design of forms, apply to making a
good design of colours. Texture is related to Colour as an Element of
Design. It modifies colour; rough or coarse textures in plant material
tend to reduce value and intensity whereas shiny, smooth textures can have the
opposite effect. The colour of plant material is also affected by the
type of light in which it is seen – natural and artificial lighting have
differing effects.
Extracted
from the AFAA Manual Page 22
COLOUR
HARMONIES
Colour
harmonies fall into two groups, related and contrasting. Related
harmonies use hues which are next to one another on the Colour Wheel and are
generally soothing to the emotions.
Complementary
harmonies are more stimulating as contrasting hues are used.
PLEASE
NOTE: In all Colour Harmonies: -
-
Tints, tones and shades of the chosen colour/s may be used.
-
Unless required by the Schedule, the chosen colour/s at full chroma do not
have to be included.
-
Whilst a container in a neutral colour is technically correct, a much better
effect will be achieved if the container is the same as one of
the chosen colour/s.
-
The container alone cannot represent one of the chosen colours in the
Harmony.
_____________________
Extracted
from the AFAA Manual Page 14
CONTRAST
(Principle
of Design)
Contrast
is achieved by using variations in colour, form, line, texture and space and
by placing the Elements together in such a way as to emphasise the
differences.
It
gives dramatic impact to any design by showing the use of opposites e.g.
·
Light
and dark colours
·
Smooth
and rough surfaces
·
Spike
and round forms, etc.
Too
many contrasts can cause confusion, conversely a design lacking in contrasts
or variations is often monotonous and uninteresting. Equal amounts of
contrasting textures, colours, etc may adversely affect dominance
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‘D’
SECTION’
Extracted
from the AFAA Manual Page 14
DOMINANCE
(Principle
of Design)
Dominance
is the emphasis in a design of one or more of the Elements. It is governed by
size, amount and density e.g.
·
One
line as compared to other lines should dominate
·
One
colour should dominate
·
One
form or one shape should dominate
One
texture should dominate over all others.
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‘E'
SECTION’
Extracted
from the AFAA Manual Page 11
ELEMENTS
OF DESIGN
The
Elements of Design are: SPACE
, LINE
, FORM
, PATTERN
, TEXTURE
and COLOUR
.
The
Elements are the ingredients which a designer combines and organises according
to the Principles of Design to form a complete design.
Extracted
from the AFAA Manual Page 55
SOME
EUROPEAN INFLUENCE DESIGN TECHNIQUES
BASING
Decorative
coverage of the foundation of a design such as clustering, layering, paving
, stacking, terracing and tufting for the purpose of hiding mechanics.
Good basing techniques are especially important in parallel designs because
the distinct lines as well as the voids (space) call attention to the base.
BINDING
To
fasten together several stems and/or pieces of other material for the
purpose of strengthening (as in tying) or to decorate with a band (also
called banding
).
BLOCKING
One
type of plant material used closely together so that the shape and number of
individual stems are unimportant but used as one unit creates a larger area
of colour and/or texture.
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‘F'
SECTION’
Extracted
from the AFAA Manual Page 126
FEATURE
/ FEATURING
To
give prominence, to feature a specific type of flower or accessory etc. in
which case it should occupy the centre of interest.
Extracted
from the AFAA Manual Page 53
FOLIAGE
DESIGN
Only
foliage may be used but as foliage is available in many colours, shapes,
sizes, forms and textures, there is wide scope for creativity. Refer
definition of “Foliage” on page 100. Embellishments may be
included only if allowed by the show schedule.
Extracted
from the AFAA Manual Page 59
FORMAL
LINEAR
This
design is where the line and form of the material are exploited to their
limits.
·
Line can travel in any direction.
·
Generally asymmetrical balance
(symmetrical balance is possible) – a few simple forms only used and shown
to maximum effect.
·
Design is all-important.
Usually Radial – starts from the centre of growth that holds the
design together.
·
The lines can be curved, straight or
in parallel forms.
·
Materials are grouped together in
their own area.
·
Lines should not be crossed.
·
Restraint is important
·
‘Less is more’ is
very pertinent to this design.
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‘G'
SECTION’
Extracted
from the AFAA Manual Page 130
GOLDEN
SECTION
The
division of a straight line into unequal parts – loosely, the ideal division
is in the ratio (proportion) of one third to two thirds, or five parts to
eight parts. Considered more harmonious than the line being halved.
‘H’
SECTION’
Extracted
from the AFAA Manual Page 16
HARMONY
HARMONY
is the inter-relationship found in a design when the component parts
complement each other and are well integrated, resulting in a unified and
complete design.
It
deals with the effective use of the Elements in the design and also with the
expression of a particular mood or theme.
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‘I’
SECTION’
Extracted
from the AFAA Manual Pages 86,87, 88
INTERPRETATIVE
DESIGNS
An
Interpretive design translates or conveys a message about the designer’s
feelings of the subject title.
This
is achieved by the selection of the Elements - line, form, texture, colour,
space and pattern - using the Principles - balance, dominance, contrast,
proportion, rhythm, scale, unity and harmony.
Plant
material chosen for the Elements is uppermost in conveying the message.
Related objects or accessories may be used with restraint to enhance or
strengthen the meaning of the title.
Floral
Design is in itself expressive (interpretative) in all its forms.
On
being given a title to interpret, how do we convey these abstract thoughts to
the viewer of our floral design?
USE THE DICTIONARY
– Look up the salient
words in the title. Often we
confuse the true meaning of words and sometimes dictionary definitions will
give a new insight. Several references are better than one.
RESEARCH
– Research the subject
thoroughly. Study nature, read
all you can, listen to music, train yourself to see not only the obvious but
the more subtle show of beauty. Consider
the effect of sunlight or shadow on a scene at different times of the day. Notice the change of colour in various lights or when an
object is wet. Things look
different in different settings. Become
aware of beauty in whatever surrounding you find yourself.
“Impressions
stored in memory can be of inspiration later”
– Marion Aaronson.
USE THE PRINCIPLES AND ELEMENTS OF DESIGN
– Consider the
endless possibilities provided by the various lines, forms, textures,
colours found in plant material. Select
plant material for its characteristics relevant to the subject title or
theme. For example the colour
red could be used to interpret “danger”, pink to signify
”femininity”, the straight vertical lines of a sansevieria leaf
“dignity”, drooping lines of willow “sorrow”.
The use of Pattern, Space and quantities (proportions) should also be
considered.
PLANT MATERIAL
– Plant material has
tremendous symbolic possibilities – after all, it is our main medium of
expression. Its most important
aspects are its form, line, texture and colour.
It should be chosen for its design qualities as well as its
suitability for the theme. E.g.
“By the Stream” – choose waterside plants such as bulrushes, arums,
sedges, etc; for “Parched Land” choose succulents, cacti and dried
material, while tender green shoots and small buds and flowers suggest
“Spring”. Victorians used
the Language of Flowers to send a message, e.g. roses for love, violets for
modesty, pansies for thoughts.
Examples
of Design Quality Material
:
·
Sansevieria
Dignity, manliness
·
Flax
Aspiration
·
Spiky
Yucca with thorny edges
Danger, hatred
·
Jasmine
Femininity
·
Round
flower heads
Mellowness and softness
·
Formal
flowers Arums, gladioli, lilies, roses,
carnations, tulips
·
Informal
material Grasses, daisies, marigolds,
nasturtiums, zinnias, petunias
·
Modern
Anthuriums, sansevieria, succulents, strelitzia, flax, heliconia,
large bold leaves.
CONTAINERS
These
play an important role in interpretation. The container is part of the
design, therefore, it is part of the interpretation. All should blend
into one unified whole. For a simple, rustic, informal theme use
basketware, pottery, wood. Metal and other heavy containers denote
strength and stability. Porcelain, silver and fine delicate china containers
suggest fragility, femininity, lightness, elegance, wealth and
sophistication. Glass is fragile and delicate but modern heavy glass
containers can denote strength and stability.
BASES
Bases
should be in keeping with the theme. Do
not use a satin-covered base with basketry or a rough grass mat under a
crystal goblet.
INTERPRETING
QUOTATIONS
Do
not break up the quotation – use the complete piece and try to capture the
atmosphere suggested, perhaps emphasising one aspect.
Avoid confusion of ideas. Sometimes
it is useful to read the full text to get a general feeling for the theme,
other times it does not help at all, as this may result in too many ideas
vying for attention. Try to
portray the essence of the meaning the words suggested when you first read
them. Try to keep the design
simple, using the minimum amount of material.
A clutter of material tends to obscure rather than bring to light and
viewers tend to read more than was intended into the interpretation.
Having made your suggestion clearly and strongly, but not too
literally, leave the rest to the imagination of the viewer.
If necessary, check with the Show Secretary, if it is not mentioned
in the schedule, whether you need to refer to the main body of the
quotation, or whether it is simply to be interpreted as it stands.
USE
OF ACCESSORIES
Never
rely on accessories alone to interpret your theme.
The plant material, choice of line, colours and textures are your
best tools. Nevertheless, a
well-chosen accessory of high quality, well integrated into the design,
could add to the beauty of the display and perhaps reinforce the
interpretative idea. Period
Designs particularly lend themselves to use of accessories e.g.
Dutch/Flemish with their birds’ nests, eggs, etc.
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‘J’
SECTION’
Extracted
from the AFAA Manual Page 69
JOINING
/ CONNECTING
Suitable
plant material is joined together to form an irregular mesh, often used to
cascade from a design or bouquet or as a garland. Vials may be attached
so that other decorative material can be added. Branches can be joined
together to create a different form.
‘K’
SECTION’
Extracted
from the AFAA Manual Page 50
KINETIC
DESIGNS
These
are styles evolved from the work of Alexander Calder
, an American sculptor and abstract painter.
In
kinetic designs, actual movement, or the appearance of movement, is dominant.
Movement may be created by air current or be motorised.
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‘L’
SECTION’
Extracted
from the AFAA Manual Page 11
LINE
(Element of
Design)
Line
direction
is the primary foundation of design. All lines have direction and
can be horizontal, vertical or diagonal, straight or curved, thick or thin,
active or passive. Line direction is used to obtain good rhythm
and is attained by the dynamic use of materials to carry the eye in a definite
direction. Lines can also be expressive. A restful, soothing line is
expressed in a horizontal
design; a vertical line has a dignified and/or dramatic effect.
Curving lines have grace and gaiety. Lines that have movement (rhythm)
generally have a greater appeal. Refer “Examples of
Interpretations” page 89
. Refer diagrams page
85
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‘M’
SECTION’
Extracted
from the AFAA Manual Pages 39,40
MINIATURE
A
very small design, 7.5cm to 10cm overall (height, width and depth). It is the
reproduction of any style of design in a much smaller size. Scale is the most
important Principle of Design in relation to all components used.
Extracted
from the AFAA Manual Page 46
MODERNS
(Designs of the 20th Century developed 1960's & 1970's)
These
Modern designs were developed during the late 1960’s
and 1970’s
.
Modern
designs show materials used in a well-defined manner with DEPTH
AND SPACE
VITAL TO THE DESIGN. Container, if used, should be compatible with
the modern concept.
Modern
styles fall into two main groups:-
(1)
Those of RADIAL CONSTRUCTION
– material apparently radiating from a single point of
emergence which coincides with the focal area.
(2)
Those that are INTEREST EQUATED
, often with more than one point of emergence from the container or the
design.
Not
to be confused with 'Contemporary Designs'
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‘N’
SECTION’
Extracted
from the AFAA Manual Page 138
NICHE
A
recess formed from suitable backing (with sides) in which an exhibit is
staged. The exhibit should occupy approximately two-thirds of the space
within but not touch the sides or back of the niche. Refer Page 53
Extracted
from the AFAA Manual Page 138
NON-SPECIFIC
DESIGNS
May
be Traditional, Modern, European Influence or Contemporary in concept. Refer
page 53
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‘O’
SECTION’
Extracted
from the AFAA Manual Page 138
ORIGINALITY
To
bring into being, to initiate. The newness of a creative concept or
idea; applies both to the material used and the manner in which it is combined
and to the design created. Imagination and flair. Refer
Page 123
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'P'
'Q'
SECTION’
Extracted
from the AFAA Manual Page 139
PEDESTAL
A
plinth, stand, column or vertical structure to elevate a design. May be
(a)
An integral part of the design – Refer “Pedestal Design”, page 53
(b)
Merely a stand on which an exhibit is staged – refer “Design on a
Pedestal”, page 53
Extracted
from the AFAA Manual Page 139
PEDESTAL
DESIGN
A
Non-Specific Style of Design in which the pedestal is an integral (essential)
part of the design. Refer page 53
Extracted
from the AFAA Manual Page 141
PLANT
MATERIAL
The
medium used by designers in the art form of Floral Art (Flower Arranging or
Floral Design). Refer page 98
for definitions of different types of plant material. Plant material
should predominate over all other components in a design, EXCEPT for
Still Life and Assemblage designs where this is optional.
Extracted
from the AFAA Manual Page 141
PRINCIPLES
OF DESIGN
Balance,
Dominance, Contrast, Rhythm, Proportion, Scale, Unity and Harmony. Refer
page 13
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‘Q’
SECTION’
‘R’
SECTION’
Extracted
from the AFAA Manual Page 15
RHYTHM
Rhythm
is the organisation of design elements to create a visual path. This may be
achieved by use of line or accent in such a way that the observer gets the
effect of motion, though the materials are static. Rhythm
is usually attained by the use of repetition, gradation and line
direction.
REPETITION
is the repeated use of a form or shape, hue, value, line, space etc in
a linear direction. To avoid monotony the repeat should be modified, as in
the use of a lighter value of colour or a grouping of small, round forms for
a repeat of a large round form etc.
GRADATION
is a sequence in which the adjoining parts are similar or harmonious.
It implies gradual change in size, colour, texture or form and applies more
in traditional work.
LINE
DIRECTION is attained by the dynamic use of line material, to carry the
eye in a definite direction.
A
restful, soothing line is expressed in a horizontal design and a vertical
line makes a dignified and/or dramatic effect.
Curving
lines have gaiety and grace. Lines that have movement and rhythm generally
have greater appeal.
Good
traditional massed arrangements have an easy gradation from bud to open
flower, from thinness or delicacy at the extremities of the design to
solidity at the focal
area. In modern arrangements rhythm is achieved through
repetition of line, form, space, colour, pattern and texture, but this may
not necessarily apply to Contemporary designs.
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‘S’
SECTION’
Extracted
from the AFAA Manual Page 15
SCALE
Scale
refers to the relative sizes only, such as the size of the arrangement to its
placement, the individual size relationship of the plant materials to each
other, to the container and to accessories used. When variation in size
it too great or too small, components are out of scale. Dominance and
Unity and Harmony are adversely affected as the size variation is so
noticeable.
Extracted
from the AFAA Manual Page 11
SPACE
Space
is the three-dimensional expanse within which a design is organised – the
open areas in and immediately around the design. This three-dimensional
space may be within a niche or set by the position in which the design is to
stand. A vertical space, that is a frame which has more height than
width, will usually demand a vertical design.
'Positive'
space
is the area occupied by the flowers, foliage, container and added
material. It is total occupancy within a defined area.
‘
'Negative' space
is space within a design that is left totally empty between the
materials used in the design. This lack of material in any design
allows you to ‘catch your breath’ and rest and then continue.
The
allotted space should be stated in schedules for it will influence the size,
proportion, shape and line direction of the design. A design should
use approximately two-thirds of its allotted space.
Extracted
from the AFAA Manual Page 13
SYMMETRICAL
BALANCE
Symmetrical
balance is equal balance of weight, actual or visual, on each side of the
central axis, an imaginary perpendicular line through the centre of the
design. Symmetrical balance is generally used for formal settings.
In traditional designs, when the design is symmetrical, it should have the
focal area in the centre of the arrangement near the base of the main axis.
Refer diagrams page
85
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‘T’
SECTION’
Extracted
from the AFAA Manual Page 12
TEXTURE
All
surfaces – flowers, foliages, containers and any accessories - have textural
quality. A texture can be appreciated visually and by touch. Shiny
textures are more dominant than dull ones and rough textures hold the eye’s
attention longer than smooth. Texture can be smooth, shiny, rough, dull,
velvety, silky, fluffy and prickly, etc. Variety is needed to avoid
monotony but too much can cause confusion.
Extracted
from the AFAA Manual Page 148
TRANSITION
The
gradual change of size, form, colour, space, texture; links various areas of
the design to its focal area/s providing rhythm; the link between one extreme
to another e.g. from largest to smallest. Relates to “Rhythm”, a
Principle of Design. Refer page
15
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‘U’
SECTION’
Extracted
from the AFAA Manual Page 149
UNIT
An
exhibit of any number of designs (or as stated in the schedule). Any may
predominate. Plant material, containers, drapes, etc. should harmonise
and be unified.
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‘V’
SECTION’
Extracted
from the AFAA Manual Page 151
VOIDS
Deliberately
planned spaces between solid elements in a design. Should differ in size
and shape to form a definite part of the design but not appear as a
distracting gap. Voids often help produce strong and dramatic
visual effects.
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‘W’
'X'
'Y' 'Z'
SECTIONS’
Extracted
from the AFAA Manual Page 151
WAFA
World
Association of Flower Arrangers of which the Australian Floral Art Association
Inc is a founder member. Refer page 166
Extracted
from the AFAA Manual Page 151
WARM
COLOURS
Red-Violet
through orange to yellow-green. Refer page 18
Extracted
from the AFAA Manual Page 152
WIRING
Wire
is used to support, control and anchor plant material in designs, bouquets,
etc. Wires may be inserted internally, semi-internally or externally.
Individual leaves may be “stitched” through or up the main vein.
Single or double “leg mounts” are used to support, lengthen or anchor
plant material. “Pinning” is wire formed into a “hairpin” shape
and used to secure e.g. moss to a base, sepals to petals to retard development
of a flower. Floral tape is used to cover visible wires and to seal stem
ends, not in water or water-retaining material, to retain moisture.
Floral tape may be cut in half for a finer finish especially when covering
fine wire. Wiring should be as inconspicuous as possible, well
covered or cleverly concealed, with the exception that exposed decorative
wires may be used for wiring plant material and for special effects.
'X'
SECTION
'Y'
SECTION
'Z'
SECTION
Extracted
from the AFAA Manual Page 152
ZONING
European
Influence technique. Refer page 58
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