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FLORAL
ART LESSONS - STEP BY STEP INSTRUCTIONS
'Step By Step' instructions for creating various
floral designs, which have been kindly prepared by Society members to inspire
and encourage participation.
To view instructions on subjects please select from the
following topics :
 |
'TOTE
BAG' - Instructions on creating this design using the new 'Clamping
Method' |
| CORSAGE
- Instructions on how to create a 'Corsage' |
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'PHOENIX
DESIGN (D)' - a 'Definition
Subject' which must be constructed under AFAA Manual guidelines |
CONSTRUCTIONS
/ STRUCTURES
Notes
and photos supplied by Alison Tweedie and Jan Steele for the October 2006 lesson
Basic 'Construction'  Finished Design
Other
'Constructions' /'Structures 
Basic 'Construction' 
Completed Design
,
'Basic
Constructions' and Design with plant materials
The
technique used in this structure can be found by following this link (Pins
/ Nails)
CONSTRUCTIONS
/ STRUCTURES :
These
designs use branches, stems, vines, reeds, cane and any other suitable material
attached together using a number of techniques to build a structure.
Structures may come in all shapes and sizes. they may be two dimensional
eg. square, rectangle, triangle, circle, semi-circle, polygonal or three
dimensional eg. cube, sphere, cylindrical, pyramid, cone, cornucopia or
polyhedral.
The
ideas are limitless and often dictated by the choice of material.
Attaching
the material may be done by,
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Tying
using, wire, coloured wire, paper covered wire, cable ties, tape, wool,
string, raffia etc. Ties and bindings will probably be visible so they
should be neat. they may form part of the colour scheme or blend in
with the background. All ties and h bindings should be very tight as
;most materials tend to shrink when they dry out thus loosening the whole
structure. If using raffia, wet it first as it will shrink when it
dries and tighten the binding. When using wire get the pliers and five that
"one more" twist. It may save you untold heart break.
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Nails
and pins. Select a pin or nail a suitable length as they can
pull out if too short. Decorative heads on pins may form part of
the design. Panel pins are thin nails that may also be used.
These come at several different lengths for each width.
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Glue.
It is often advisable to secure with glue as well as pins or binding.
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A
"V" nick in a stem may be a good way to nestle in a cross piece
before securing. It will create a little "shelf" for it to
rest on.
Tips
for bamboo
Bamboo
is a favourite material for structures but it can be very difficult to use
successfully.
To
cut without splitting. Bind around with sticky tape and cut through
the tape. If the bamboo is thin secateurs or a knife should be suitable
but if thicker a tenon saw should be used.
Try
using a nick to seat in cross pieces as it is very smooth and bindings will
slip;.
Use
glue to secure before binding. Use nails. Need to drill hole
first. Reinforce nails with glue.
It
is important to remember principles and elements of design while creating your structure. Space, Line, Form etc. When adding flowers to your basic
structure, texture, colour, pattern should be remembered.
A
basic structure may be created by using an existing form. eg. A largish
vase. Place the selected material (long pieces of Aniseed were been
used in the above 'construction' / 'structure')
around the case and hold in place with
elastic bands. Secure with the method of choice (eg 'Nails and Pins'
etc) then slip the vase out from inside. You have a useful structure.
Back to Top
CORSAGE
Demonstration
and notes supplied
by Eileen Wenn
at the
October 2006 meeting of the WA Floral Art
Society Inc
For
a quick access to various components of a Corsage follow these links : Wires,
Tape, Pins, Embellishments,
Plant Material, Conditioning,
Preparation, CONSTRUCTION,
Storing, Staging, Judging
A corsage is a small traditional or contemporary
design of flowers worn on the ladies shoulder for special occasions.
Corsages are really small scale flower arrangements and their designing,
like that of flower arranging, is the art of organizing the components (flowers,
foliage and embellishments in such a way that an impression of beauty is
achieved through harmonious and simple placement.
A corsage gains distinction through skilful and
creative handling of the materials chosen for your design and will be judged
according to the Elements of design –
line, form, pattern, colour and texture and the Principles of balance,
proportion, scale, rhythm, contrast and dominance.
The dominant flower in your corsage should face front
and the corsage should appear to have depth.
The overall form should taper gently at both ends with the addition of
properly sized foliage, buds or small flowers and embellishments.
The back of the corsage should be as flat as possible.
Wires
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Wire is used to substitute the natural stems to reduce
weight and bulk.
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Wired stems support the flowers to allow flexibility
so you can move the flower heads to the desired positions.
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The correct gauge wire is the lightest possible one
that will support the flower and therefore cause least damage to the bloom
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Wires come in gauges from 18g (the heaviest) through
to 28g(the lightest)
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18g (1.23mm)
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20g (0.90mm)
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22g (0.71mm)
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24g (0.56mm)
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26g (
0.4mm)
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28g (0.38mm) |
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Tape (Parafilm)
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Tape is stretched as it is wound around the wires.
As you stretch the tape it sticks to itself and binds the wires
together
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Taping of the wires should always be firm but as fine
as possible
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Tape prevents scratching and tearing by the wires |
Corsage Pins
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A corsage pin should be placed into the wired stem,
ready for the attachment to the gown.
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Corsage pins come with many different coloured tops. |
Embellishments
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Small pieces of twisted willow, dodda vine, twigs,
small structures, berries, decorative wires, beads, ribbons etc can be added
for interest
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Always trim ribbons neatly
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Plant Material
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Small flowers are suitable with Rose buds and orchids
being very popular. There are
many small flowers or succulents suitable if conditioned well.
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A mini carnation can be made by ‘Feathering’ a
small group of petals from a sim carnation to form a small bloom
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Filler flowers suitable for a corsage are geraldton
wax, baby’s breath, misty blue etc
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Choose foliage that lasts well when conditioned - e.g.
ivy leaves, camellia leaves, asparagus leaves, joey fern and other.
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A corsage can be made of foliage only |
Conditioning
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Select unblemished plant material
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Clean dusty leaves etc with a soft damp cloth
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Recut single blooms and foliage and place in water
preferably overnight.
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For extra conditioning of firm leaves immerse in water
for a short period and then place stems in water
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Grey foliage should not be immersed in water |
Preparation
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A methodical approach is recommended – lay a towel
on the work table
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| Have a container or piece of oasis ready to support
the individual wired pieces. This will avoid damage during construction |
CONSTRUCTION
OF CORSAGE
|  To wire leaves, cut the stems to approx 1 cm in
length. Using the correct
gauge wire make a stitch w
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| Fold wire down over the short stem and tape. To keep
your wire work neat do not twist the wires.
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To wire ferns, make a hairpin bend through the base of
the fern and tape.
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Wire flowers by piercing a wire through the top of the
calyx, making a hairpin and then tape.
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Select the leaves for your base and put together
making sure all wires meet at the tie point.
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All
additional material should meet at this same tie point – do not travel or
walk down the stem with your joins and taping.
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Place buds at the extremities, adding other material
with the main flowers slightly elevated in the central (focal) area.
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Add a backing leaf to protect the gown and give your
design a neat finish.
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Trim the wired stem to required length, tape all
together firmly and add pin. |
Steps
to Constructing a 'Corsage'
 1.
 2.
3.
4.
1. Preparation 2.
'Stitch' the Leaves 3. Form
backing 4. Completed Corsage
To
view other images of 'Corsages'
DEMONSTRATED please
follow this link To
view images of 'Corsages'
staged at a meeting please follow this link
Storing
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You can make a corsage the day/night before required
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Lightly spray the finished corsage with clean water
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Place the finished corsage in a airtight container or
plastic bag and put on a shelf at the bottom of your refrigerator until
required
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DO NOT PLACE IN THE FREEZER
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Staging
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Corsage should have no wilting flowers or foliage
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A small box, base, scarf or fabric is suitable to
display your corsage
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A small
piece of bark, driftwood etc would create an original base.
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Remember scale is important – do not have your base
too large for your design.
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Colour harmony and texture is very important with your
base
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Judging
The Floral Art Judge will pick up your corsage so that
the back of the design can be viewed.
Have Fun!
Its always lovely to either wear a corsage of fresh flowers or to give it
to a special person.
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'CORSAGE'
Reference extracted
from the Australian Floral Art Association (AFAA) Manual (page 82)
CORSAGES/SPRAYS
CORSAGE
:
Formed
in many ways depending on the material used and the occasion for which it is
required. The back should be as
flat as possible and the spray light and dainty with all wires taped. It can be made of foliage.
Any size requirement or occasion should be stated in the Schedule.
Also, corsages may be attached to fans
, muffs
, parasols
, etc. or used for cake
or gift
decorations.
Other
references can be found in the AFAA Manual relating to :
Handbag
Spray, Modern Handspray, Prayer Book Spray and Traditional Handspray.
Back to Top
TOTE
BAG
A
Horticultural 'Tote Bag' - Notes supplied by Jean Shine
as
she constructed her Award Winning Innovative 'Tote Bag' Design.
Measurement,
length 35cm, width 30cm
MATERIALS
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2.1/2
bags moss
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Backing
material flower wrapping 3 mil net,
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Wire
netting
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Decorative
stitching wire around 28 gauge
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Matching
paint colour, spray paint,
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Eucalyptus
nuts,
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Acacia
Wattle pods,
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Fungus,
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Leucadendron.
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Eucalyptus
Lehmannii (Bald Island Marlock) seed pod. |
METHOD
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Dry
out the back of the moss, hair dryer or leave in sun on a airing rake.
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Cut
the wire mesh to size, including an extra 12 cm, (for the top turn over)
spray the wire mesh both sides and repeat once dry until satisfied with
colour.
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Cut
the backing material to the required size.
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Drill
holes in the nuts and thread on wire to measure 30cm leave 4 or 5 cm to
end with.
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Thread
the Leucadendron just below the flower in the same manner.
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Lay
2 bags of moss on the backing material, and lay the plant material on top
of moss moving design around to get desired pattern. ( a good idea to draw
pattern on paper first).
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Measure
the depth of the bag and mark the half way point to have two exact front
and back, start the pattern from the middle (the bottom) and work up to
the top, check the measurement to finish the correct size with a top turn
over with only moss and wire. |
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Cover
the design with the painted wire mesh and stitch with the decorative wire
to clamp the entire design.
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Make
a handle using the same method. Using the ½ bag of moss
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Turn
the top over nice and straight and firm |
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Attach the handle and stitch up
the sides with the decorative wire, use the extra wire lengths of the nuts
to hold the bag together and keep it straight.
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SIMPLIFIED
INSTRUCTIONS
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Dry moss and prepare all the other material
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| Work out a design on paper |
| Play with the materials before attaching to the moss.
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When totally satisfied, clamp the wire over the design and
stitch in place with the decorative wire.
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| Using the 'Clamping Method' from the AFAA
Manual (see notes on page 69) |
Back to Top
Demonstration
and notes supplied
by Dianne Buckles
at the September 2006 meeting of the WA Floral Art
Society Inc
Phoenix
Design by Dianne Buckles (incorporating Strelitzias, Iris, Carnations and
foliages)
The
following information on the PHOENIX DESIGN has been extracted
from the Australian Floral Art Association (AFAA) National Manual listed under
a 'Traditional Massed Type of Design'
See
reference on Page 40
'This
style received its name from the fabled bird that lives for 500 years or more
and then destroys itself by fire, rising from the ashes to begin life anew.
The Phoenix design is the regeneration of a round symmetrical form with
a burst of material from its centre. The base design is a traditional, compact, radial design with very
little space between the flowers. It is fresh and eye-catching: the rebirth of a traditional form.'
Method
of Construction :
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FORM,
SCALE AND PROPORTION are important factors in this design
eg.
FORM : Form is three-dimensional (length, breadth and depth
).
Geometric forms
– the sphere, cube, pyramid, oval and variations and portions of
these – are often used. ‘Shape
’ is two-dimensional (length and breadth but virtually no depth). A
closed form is solid, compact, massed with few open spaces, making it appear
heavier than an open form of the same size. Conversely, an open form
has spaces between spreading parts and appears lighter. Most flowers
have form whereas many leaves are only flat shapes which are visually
restful. Plant material forms have varying degrees of impact, from low
(e.g. forget-me-nots) to medium (daffodils) to high (strelitzia flower and
leaf).
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.
PROPORTION:
the relative amounts of one area to another and is different from SCALE
, which is the relative size of one individual item to another. It is
the visual relationship of colour, texture and form areas, while SCALE deals
in size alone.
PROPORTION deals with:
·
The amount of light colour area to dark
·
The amount of plant material to the container
·
The amount of rough texture to smooth
·
The height of a design relative to its width
·
The amount of space to solids etc.
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Select
plant materials that reflect a 'strong line movement' eg.
Strelitzias, branches etc |
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Choose
other 'compatible' plant materials that are similar in form and scale |
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Select a suitable container that will complement the
design eg. compote, urn etc |
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Fill
the container with floral foam |
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Allow
the foam to extend slightly above the container. |
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Extending
the foam will allow plant
materials to be placed around the container and fall softly over the rim.
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Cut the foam to the shape of your container.
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Secure the foam by using ‘pot tape’ or wire mesh
etc.
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Either the tall material or base flowers can be
inserted at this point. |
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If placing the taller materials first, ensure enough
room is left to conceal their origin.
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Insert tall stems deep into the centre of the foam.
This material will reflect the 'Phoenix' as it emerges from it's origins.
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The stems should radiate outward slightly at the
top.
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Insert flowers and foliage at the base of the design
to form a traditional round, compact arrangement.
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Place the flowers at the
top of this round design close to the base of the line material to hide
foam and blend with the upward branches. |
Notes regarding the Phoenix......
In
ancient Greek and Egyptian mythology, the phoenix is a mythical bird and
associated with the Egyptian sun-god Re and the Greek god (Apollo). According to the Greeks the bird lives in Arabia, nearby a cool well.
Each morning at dawn, it would bathe in the water and sing such a beautiful
song, that the sun-god stops his chariot to listen. There exists only one
phoenix at the time.
When
it felt its death approaching (every 500 years), it would build a nest
of wood and set it on fire, and was consumed by the flames. When it was
burned, a new phoenix sprang forth.
In
Egypt is was usually depicted as a heron, but in the classic literature as a
peacock, or an eagle. The phoenix symbolizes immortality, resurrection, and
life after death.
Phoenix
Design by Dianne Buckles (incorporating Blossom, Azalea and foliages)
'Phoenix
Design' by Val Roy
Quote by Christina Baldwin
........ Change
is the constant, the signal for rebirth, the egg of the phoenix…….
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