August 22, 2024 • 21 mins
Learn the Principles & Elements of Design with Sharon McGukin AIFD, AAF, PFCI
Pablo Picasso said it best, “Learn the rules like a pro, so you can break them like an artist.”
While it may seem simple enough to drop flowers in a vase and call it an arrangement, even more pleasure can be derived once you’ve learned the fundamentals of design.
These guidelines, the Principles and Elements of Design, are the technically correct manner of placing materials in a design. Learning the proper principles, elements, mechanics and techniques to achieve floral design mastery will help you expand your skills and truly enjoy the artform. This podcast is a great place to start learning the basics.
How we Bloom podcast is an oasis of flower ideas. Host Sharon McGukin of Smithers-Oasis North America interviews floral guests who dare to do things differently. We listen, learn, explore new opportunities and that's how we bloom!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
sharon--_4_08-12-2024_160 (00:10):
We've all heard the old adage, you
must learn the rules to breakthe rules.
But I think Pablo Picasso hadthe best idea.
He said, learn the rules like apro, so you can break them like
an artist.
(00:32):
Welcome to How We Bloom, anoasis of flower ideas.
I'm your host, Sharon McGukin,AIFD, AAF, PFCI, and I believe
that every great success storystarts with one simple idea.
That's why we interview thosewho dare to do things
differently, inspiring peoplewho plant seeds, grow ideas, and
(00:55):
bloom.
to their full potential.
In this podcast, we listen,learn, explore new
opportunities, and that's How weBloom.
I appreciate subscribers whomake podcast requests for
specific topics or guests.
(01:15):
Recently, an avid listener askedif I could share a podcast
explaining the Principles andElements of Design.
I've taught this class acrossthe country many times, so I am
happy to honor her while it mayseem simple enough to drop
flowers in a vase and call it anarrangement, even more pleasure
can be derived once you'velearned the fundamentals of
(01:39):
design.
To acquire a professional levelof skill, you can start with the
basics.
The principles and elements ofdesign are the technically
correct manner of placingmaterials in an arrangement.
Learning the proper principles,elements, mechanics, and
techniques to achieve floraldesign mastery will help you to
(02:01):
expand your skills and trulyenjoy the art form.
We've all heard the old adage,you must learn the rules to
break the rules, but I thinkPablo Picasso had the best idea.
He said, learn the rules like apro, so you can break them like
an artist.
The stability and beauty of aflower design begins with its
(02:24):
foundation and radiates up andout.
That foundation is establishedby adhering to the principles
and elements of design.
Focused learning leads toproducing quality work.
Artistry inspires expression.
And professionally made designsinspire repeat sales.
(02:45):
It may seem okay to createsomething that looks beautiful,
but isn't well made, as long asit holds up for the duration of
a video or presentation.
But what are the long termeffects for those learning these
shortcuts?
For a floral retailer,arrangements must be
structurally sound enough tosurvive delivery and being moved
(03:06):
about in the home.
Poorly made designs have thepotential to discourage
consumers from making futureflower purchases.
Flowers are often given towedding guests to take home.
If the flowers haven't beenarranged in a water source,
their life span is cut.
short by dehydration.
The disappointed recipientdoesn't say"your flowers don't
(03:28):
last very long." They say"flowers don't last very long."
Frequent'flower failures' likethese are damaging to future
sales industry wide.
When one learns to design byshortcuts, they short circuit
their potential.
Learning to designprofessionally is rewarding, but
(03:49):
it does require an investment oftime and talent.
Malcolm Gladwell suggests thatthe key to achieving true
expertise is a matter ofpracticing a skill correctly for
at least 10, 000 hours.
Even Gladwell admits thatspecific number is actually just
a metaphor for the fact that youmust invest a lot of time in
(04:10):
learning to master your craft.
There are many ways toaccomplish a professional
design.
One must first learn the rulesin order to choose how best to
apply them when designing.
I was taught the principles andelements of design in my early
years in a flower shop.
Today, some designers reversethe words and refer to the
(04:31):
guidelines as Elements andPrinciples of Design, possibly
because elements are thecharacteristics we physically
see.
I and many other floraldesigners subscribe to the
traditionally taught conceptthat the strength and stability
of an arrangement is mostimportant.
That solidity begins with theprinciples such as balance, The
(04:55):
artistic elements of personaltaste, such as color, form, and
texture, come next.
Neither set of natural rules arelimited to floral design.
They can be found universally inall forms of design.
I like to compare the principlesto the alphabet.
The letters of the alphabetrepresent the many options
(05:17):
available for you to choose fromwhen forming words.
The elements represent theletters you choose, to write
your own name, for example.
There are 26 alphabet letters,but I choose to use only 6 to
spell my name.
Similarly, these two guidelines,principles and elements,
influence each other in theconstruction of a single design.
(05:40):
In essence, we say, there are alot of design options, I choose
these.
Let's explore how that works.
We'll start with the buildingblocks, the principles of
design.
The principles of design arefundamental guidelines to
aesthetic design that govern thereorganization of elements, and
materials in accordance with thelaws of nature.
(06:03):
Let's first consider the primaryprinciples.
Harmony, proportion, balance,dominance and emphasis, rhythm,
contrast, unity.
Harmony, the selection ofmaterials that form a unified
composition where all parts areconsistently related.
Proportion, the sizerelationship of one part of a
(06:26):
floral design to another, or ofone portion of the whole.
The size and relationship of theflowers to each other.
The size of the flowers incomparison to the container that
holds them.
A traditional rule of proportionfor tall arrangements is that
the flowers are one and a halftimes the height of the
(06:46):
container.
A ratio of 1.
5:1 in a low arrangement such asa mound or a cube design.
For a vase arrangement, thesuggested vase measurement is
one third to one half the heightof the design.
Inverse proportion is achievedwhen the container is the one
(07:07):
and a half times measure and theflowers are the lesser
measurement on top.
Sometimes botanical materialsare draped over the side of the
container to increase the visualsize of the flower arrangement.
Balance, a state of equilibrium.
Actual or Visual.
A feeling of three dimensionalstability.
(07:31):
Actual balance means your designis stable and well balanced.
Visual balance means that itlooks balanced, although it
isn't from a physicalperspective.
Sometimes an arrangement canlook stable, but an off kilter
placement of materials makes thedesign physically or visually
unbalanced.
Continuing with options forachieving balance, let's look at
(07:54):
asymmetrical.
A scalene triangle that featuresthree unequal sides and angles.
An unequal volume of material oneither side of the vertical
axis.
Or symmetrical.
Design materials placed equallyon either side of the central
axis for visual and physicalweight distribution.
(08:15):
The elements are placed in thesame position on each side of
this mirror image.
This is sometimes calledbilateral symmetry or referred
to as formal balance.
Dominance and emphasis is theplacement of sharply contrasting
materials of size, color, ortexture, guiding the eye to a
(08:36):
specific floral area in thedesign.
Rhythm.
Visual movement through acomposition is usually achieved
through repetition, gradation,or pattern.
Contrast.
Placing two visually differentopposing elements in a design to
emphasize or accentuate theirdifferences and allow a feature
(08:58):
of the design to stand out.
Unity.
Oneness of purpose, thought,style, and spirit.
A cohesive relationship of allparts.
A sense of connectedness.
The feeling of a single unit.
Now let's look at the secondaryprinciples.
Scale, focal area and focalpoint.
(09:20):
Repetition, accent, depth,transition, variation,
opposition, tension, simplicity.
Scale, the relative ratio ofsize or the relationship of the
size of a composition to itssurrounding area or environment.
For example, a small arrangementmight be in proportion in its
(09:42):
container and look great on yourwork table, but when it's
installed in a large cathedral,its small size is dwarfed by the
expansive environment.
It looks out of scale andinexpensive.
A large wedding party in anelaborate setting would look out
of scale if the bridesmaidscarried a single flower.
(10:03):
It's important to help yourclients understand that the
wedding budget must beconsistent in all areas to
achieve harmony.
If the setting is grand, thewedding party and the guests
numerous, the food and alcoholplentiful, the volume of flowers
must be in scale as well toachieve visual balance.
(10:26):
Focal area or focal point.
The area of greatest visualimpact or weight.
The center of interest to whichthe eye is most naturally drawn.
In a parallel style design, thefocal area becomes more of a
focal plane than a focal point.
Forms, colors, and textures areconcentrated at the base plane
(10:49):
or platform of growth of thearrangement.
Lending a sense of gravity andstability to the foundation from
which the other materialsextend.
Repetition.
Repeated or recurring elementsgrouped together to create
rhythm within a composition.
A sense of unity, organization,cohesiveness in a design by
(11:12):
repeated color, texture, form,or pattern.
I often think of repetition whenI see a row of large flower
filled planters lined up markinga public space or at the
entrance of a building.
Accent, a distinctive, regularlyoccurring, but subordinate
(11:33):
pattern, motif, or color, oftenrecognized in the dominant or
focal area of a design.
Depth.
The placement of materials atdifferent levels in and around
an arrangement to create a threedimensional visual depth effect.
Adding depth to a design givesit a more natural look, like a
(11:54):
microcosm of the garden.
Transition.
A smooth, rhythmic visualmovement creating gradual
degrees of change between one ormore of the elements, connecting
one part of a design to another.
Opposition.
The contrast between elementswhich are counterpoint in
(12:15):
relation to each other.
This contradiction adds vitalityto a design.
It creates tension.
Variation.
The use of different,dissimilar, or contrasting
elements in a design.
A change or slight level ofdifference in the attributes or
characteristics of elements in adesign.
(12:37):
Tension.
The dynamic, aesthetic qualityachieved by opposing materials
that implies energy in a design.
Simplicity.
The elimination of unnecessarydetail.
Now let's focus on the artistictools, the elements of design.
The Elements of Design aredefined as the directly
(12:59):
observable components,ingredients, and physical
characteristics of design.
These artistic tools personalizean arrangement to express the
message of the designer.
The Elements of Design includeform, line, space, texture,
size, color, pattern, andfragrance.
(13:23):
Creative use of these elementshelps to establish a unique look
for your design.
Learning why and how to applythese characteristics increases
your skill and helps you todevelop your own signature
style.
We'll start with Form, the shapeor configuration of an
individual component of thecomposition, the overall three
(13:46):
dimensional geometric shape.
In other words, a specific 3Darea defined by outline or
contrast.
Geometric Form is the basis ofWestern design.
Think triangle, circle, square,rectangle.
Floral forms exist in threedimensions, Height, Width and
(14:08):
Depth.
Line, the visual path thatdirects the eye movement through
a composition.
The basic outline or strength ofthe design.
These lines may be(straight),Static,(curved), Dynamic, or a
combination.
They may be Actual,(physicallythere), or Implied,(created in
(14:29):
the mind's eye by visuallylinking two similar elements).
You can look at a design andvisualize an imaginary line
connecting.
A strong, straight, static linecreates visual stability in a
design, while a dramatic,dynamic line creates visual
(14:49):
energy.
If you're unsure of the strengthof your line in an arrangement,
a good way to check it is toplace the design on the floor,
look down at the line fromabove.
Sometimes viewing it fromanother perspective lets you see
the strength, or lack of it, ofthe line in your design.
(15:10):
Space the area in, around andbetween the components of the
design, defined by the threedimensional area occupied by the
composition.
In this 3D form, there can bePhysical Space, the area filled
in by botanical materials,Negative Space, the area where
there are no materials, or aVoid, the empty space that
(15:32):
visually separates areas ofpositive space.
Materials such as curly willow,branches, or grasses can be used
to expand the size of a designby connecting more empty space
to the physical space that'sfilled with flowers.
The design now fills a largerspace from tip to tip of the
(15:53):
radiating materials.
Because this technique oftenexpands the sellable size of an
arrangement, some florists liketo joke that they're selling
empty space for more money.
Texture.
The surface quality of amaterial as perceived by sight
or touch.
Texture is the richness ofdesign.
(16:15):
The eye is drawn by the contrastof tactile qualities.
Just as you might mix the lookand feel of different fabrics or
accessories to complement anoutfit, you'll want to use
texture to add physical andvisual quality to your designs.
Size.
The physical dimensions of line,form, or space.
(16:36):
As we discussed earlier, it'simportant that the size of your
floral materials be inproportion to the container, and
the whole composition be inscale with the environment where
it will be placed.
When retailing an arrangement,size may be dictated by price.
The size of the design issomewhat relative to the amount
(16:58):
of materials the consumer iswilling to pay for.
Color, the visual response ofthe eye to reflected rays of
light, described as hue, value,or shade.
Hue denotes the origin of colorthat we see, the dominant color
family.
Tint, a hue or mixture of colorsto which white is added.
(17:21):
For example, pastels.
Value, the overall intensity ofhow light or dark a color is.
Shade, a color or mixture ofcolors to which black has been
added, deepening the color.
Tone, the lightness or darknessof a hue to which gray, which is
equal amounts of black andwhite, has been added.
(17:43):
Color is the most eye catchingelement.
The color harmony of design isoften the personal choice of
either the designer or thecustomer.
Pattern.
Repetition of line, space,texture, or color combinations.
Through repetition, anything canbe turned into a pattern.
For example, the silhouette of aflower against a background
(18:06):
creates a delicate pattern whenit's repeated.
This visual element comes in twotypes of pattern.
Natural, patterns that occur innature.
Man-made, pattern created by ahuman, and used in art for
structural or decorativepurposes.
Fragrance, a sweet or pleasingodor or scent, perceived by the
(18:29):
sense of smell.
Nature uses flower fragrance toattract pollinators.
Floral fragrances attract flowerbuyers as well.
Designers must consider possibleallergies, food aromas and
personal preference whendetermining a fragrance to use.
(18:50):
Smell is the element thattriggers memory.
Bring pleasure to clients byidentifying memorable smells and
incorporating them at thecustomer's direction, such as
fragrant lilies for a wedding orcinnamon scents for holiday
decor.
I know this is a lot ofinformation at one time, but the
(19:10):
written document is alsoavailable in the transcript of
this podcast and in our blog.
You can download a copy for yourfuture review of these terms.
If you're looking for a resourceof professional floral
knowledge, I recommend the AIFDGuide to Floral Design Terms,
Techniques, and Traditions.
(19:32):
Invest in yourself.
Purchase this book and read itfrom cover to cover.
You'll be surprised at all thevaluable information you learn.
The price is$129.
99.
Go to www.
aifd.
org, the American Institute ofFloral Designers website, and
(19:54):
you can also get a great amountof information from Texas State
website.
Please share this Floral Hubblog for readers, or How We
Bloom podcast for listeners withother designers.
The podcast is available onBuzzsprout, Spotify, Apple
Podcasts, and similar apps.
Both are available atoasisfloralproducts.
(20:16):
com, along with lots of othergreat information.
To our audience, Smithers OasisNorth America and I want to
thank you for joining us today.
If you've enjoyed this episode,please share it with a friend
(20:36):
and be sure to hit subscribe.
You don't want to miss theinspired solutions our upcoming
guests will share with you foryour personal or business
growth.
Just as a subscriber asked forthis segment of the principles
and elements of design, pleasemessage me if you have topics or
guests you want to hear.
We'd love to hear yoursuggestions.
(21:00):
Until next time, I'm SharonMcGukin reminding you that like
the unfurling petals of aflower, we grow by changing
form.
Soaking inspiration in likeraindrops.
Absorbing energy from otherslike warmth from the sun.
This growth opens us up to newideas and that's How we Bloom.
We've all heard the old adage, you
must learn the rules to breakthe rules.
But I think Pablo Picasso hadthe best idea.
He said, learn the rules like apro, so you can break them like
an artist.
(00:32):
Welcome to How We Bloom, anoasis of flower ideas.
I'm your host, Sharon McGukin,AIFD, AAF, PFCI, and I believe
that every great success storystarts with one simple idea.
That's why we interview thosewho dare to do things
differently, inspiring peoplewho plant seeds, grow ideas, and
(00:55):
bloom.
to their full potential.
In this podcast, we listen,learn, explore new
opportunities, and that's How weBloom.
I appreciate subscribers whomake podcast requests for
specific topics or guests.
(01:15):
Recently, an avid listener askedif I could share a podcast
explaining the Principles andElements of Design.
I've taught this class acrossthe country many times, so I am
happy to honor her while it mayseem simple enough to drop
flowers in a vase and call it anarrangement, even more pleasure
can be derived once you'velearned the fundamentals of
(01:39):
design.
To acquire a professional levelof skill, you can start with the
basics.
The principles and elements ofdesign are the technically
correct manner of placingmaterials in an arrangement.
Learning the proper principles,elements, mechanics, and
techniques to achieve floraldesign mastery will help you to
(02:01):
expand your skills and trulyenjoy the art form.
We've all heard the old adage,you must learn the rules to
break the rules, but I thinkPablo Picasso had the best idea.
He said, learn the rules like apro, so you can break them like
an artist.
The stability and beauty of aflower design begins with its
(02:24):
foundation and radiates up andout.
That foundation is establishedby adhering to the principles
and elements of design.
Focused learning leads toproducing quality work.
Artistry inspires expression.
And professionally made designsinspire repeat sales.
(02:45):
It may seem okay to createsomething that looks beautiful,
but isn't well made, as long asit holds up for the duration of
a video or presentation.
But what are the long termeffects for those learning these
shortcuts?
For a floral retailer,arrangements must be
structurally sound enough tosurvive delivery and being moved
(03:06):
about in the home.
Poorly made designs have thepotential to discourage
consumers from making futureflower purchases.
Flowers are often given towedding guests to take home.
If the flowers haven't beenarranged in a water source,
their life span is cut.
short by dehydration.
The disappointed recipientdoesn't say"your flowers don't
(03:28):
last very long." They say"flowers don't last very long."
Frequent'flower failures' likethese are damaging to future
sales industry wide.
When one learns to design byshortcuts, they short circuit
their potential.
Learning to designprofessionally is rewarding, but
(03:49):
it does require an investment oftime and talent.
Malcolm Gladwell suggests thatthe key to achieving true
expertise is a matter ofpracticing a skill correctly for
at least 10, 000 hours.
Even Gladwell admits thatspecific number is actually just
a metaphor for the fact that youmust invest a lot of time in
(04:10):
learning to master your craft.
There are many ways toaccomplish a professional
design.
One must first learn the rulesin order to choose how best to
apply them when designing.
I was taught the principles andelements of design in my early
years in a flower shop.
Today, some designers reversethe words and refer to the
(04:31):
guidelines as Elements andPrinciples of Design, possibly
because elements are thecharacteristics we physically
see.
I and many other floraldesigners subscribe to the
traditionally taught conceptthat the strength and stability
of an arrangement is mostimportant.
That solidity begins with theprinciples such as balance, The
(04:55):
artistic elements of personaltaste, such as color, form, and
texture, come next.
Neither set of natural rules arelimited to floral design.
They can be found universally inall forms of design.
I like to compare the principlesto the alphabet.
The letters of the alphabetrepresent the many options
(05:17):
available for you to choose fromwhen forming words.
The elements represent theletters you choose, to write
your own name, for example.
There are 26 alphabet letters,but I choose to use only 6 to
spell my name.
Similarly, these two guidelines,principles and elements,
influence each other in theconstruction of a single design.
(05:40):
In essence, we say, there are alot of design options, I choose
these.
Let's explore how that works.
We'll start with the buildingblocks, the principles of
design.
The principles of design arefundamental guidelines to
aesthetic design that govern thereorganization of elements, and
materials in accordance with thelaws of nature.
(06:03):
Let's first consider the primaryprinciples.
Harmony, proportion, balance,dominance and emphasis, rhythm,
contrast, unity.
Harmony, the selection ofmaterials that form a unified
composition where all parts areconsistently related.
Proportion, the sizerelationship of one part of a
(06:26):
floral design to another, or ofone portion of the whole.
The size and relationship of theflowers to each other.
The size of the flowers incomparison to the container that
holds them.
A traditional rule of proportionfor tall arrangements is that
the flowers are one and a halftimes the height of the
(06:46):
container.
A ratio of 1.
5:1 in a low arrangement such asa mound or a cube design.
For a vase arrangement, thesuggested vase measurement is
one third to one half the heightof the design.
Inverse proportion is achievedwhen the container is the one
(07:07):
and a half times measure and theflowers are the lesser
measurement on top.
Sometimes botanical materialsare draped over the side of the
container to increase the visualsize of the flower arrangement.
Balance, a state of equilibrium.
Actual or Visual.
A feeling of three dimensionalstability.
(07:31):
Actual balance means your designis stable and well balanced.
Visual balance means that itlooks balanced, although it
isn't from a physicalperspective.
Sometimes an arrangement canlook stable, but an off kilter
placement of materials makes thedesign physically or visually
unbalanced.
Continuing with options forachieving balance, let's look at
(07:54):
asymmetrical.
A scalene triangle that featuresthree unequal sides and angles.
An unequal volume of material oneither side of the vertical
axis.
Or symmetrical.
Design materials placed equallyon either side of the central
axis for visual and physicalweight distribution.
(08:15):
The elements are placed in thesame position on each side of
this mirror image.
This is sometimes calledbilateral symmetry or referred
to as formal balance.
Dominance and emphasis is theplacement of sharply contrasting
materials of size, color, ortexture, guiding the eye to a
(08:36):
specific floral area in thedesign.
Rhythm.
Visual movement through acomposition is usually achieved
through repetition, gradation,or pattern.
Contrast.
Placing two visually differentopposing elements in a design to
emphasize or accentuate theirdifferences and allow a feature
(08:58):
of the design to stand out.
Unity.
Oneness of purpose, thought,style, and spirit.
A cohesive relationship of allparts.
A sense of connectedness.
The feeling of a single unit.
Now let's look at the secondaryprinciples.
Scale, focal area and focalpoint.
(09:20):
Repetition, accent, depth,transition, variation,
opposition, tension, simplicity.
Scale, the relative ratio ofsize or the relationship of the
size of a composition to itssurrounding area or environment.
For example, a small arrangementmight be in proportion in its
(09:42):
container and look great on yourwork table, but when it's
installed in a large cathedral,its small size is dwarfed by the
expansive environment.
It looks out of scale andinexpensive.
A large wedding party in anelaborate setting would look out
of scale if the bridesmaidscarried a single flower.
(10:03):
It's important to help yourclients understand that the
wedding budget must beconsistent in all areas to
achieve harmony.
If the setting is grand, thewedding party and the guests
numerous, the food and alcoholplentiful, the volume of flowers
must be in scale as well toachieve visual balance.
(10:26):
Focal area or focal point.
The area of greatest visualimpact or weight.
The center of interest to whichthe eye is most naturally drawn.
In a parallel style design, thefocal area becomes more of a
focal plane than a focal point.
Forms, colors, and textures areconcentrated at the base plane
(10:49):
or platform of growth of thearrangement.
Lending a sense of gravity andstability to the foundation from
which the other materialsextend.
Repetition.
Repeated or recurring elementsgrouped together to create
rhythm within a composition.
A sense of unity, organization,cohesiveness in a design by
(11:12):
repeated color, texture, form,or pattern.
I often think of repetition whenI see a row of large flower
filled planters lined up markinga public space or at the
entrance of a building.
Accent, a distinctive, regularlyoccurring, but subordinate
(11:33):
pattern, motif, or color, oftenrecognized in the dominant or
focal area of a design.
Depth.
The placement of materials atdifferent levels in and around
an arrangement to create a threedimensional visual depth effect.
Adding depth to a design givesit a more natural look, like a
(11:54):
microcosm of the garden.
Transition.
A smooth, rhythmic visualmovement creating gradual
degrees of change between one ormore of the elements, connecting
one part of a design to another.
Opposition.
The contrast between elementswhich are counterpoint in
(12:15):
relation to each other.
This contradiction adds vitalityto a design.
It creates tension.
Variation.
The use of different,dissimilar, or contrasting
elements in a design.
A change or slight level ofdifference in the attributes or
characteristics of elements in adesign.
(12:37):
Tension.
The dynamic, aesthetic qualityachieved by opposing materials
that implies energy in a design.
Simplicity.
The elimination of unnecessarydetail.
Now let's focus on the artistictools, the elements of design.
The Elements of Design aredefined as the directly
(12:59):
observable components,ingredients, and physical
characteristics of design.
These artistic tools personalizean arrangement to express the
message of the designer.
The Elements of Design includeform, line, space, texture,
size, color, pattern, andfragrance.
(13:23):
Creative use of these elementshelps to establish a unique look
for your design.
Learning why and how to applythese characteristics increases
your skill and helps you todevelop your own signature
style.
We'll start with Form, the shapeor configuration of an
individual component of thecomposition, the overall three
(13:46):
dimensional geometric shape.
In other words, a specific 3Darea defined by outline or
contrast.
Geometric Form is the basis ofWestern design.
Think triangle, circle, square,rectangle.
Floral forms exist in threedimensions, Height, Width and
(14:08):
Depth.
Line, the visual path thatdirects the eye movement through
a composition.
The basic outline or strength ofthe design.
These lines may be(straight),Static,(curved), Dynamic, or a
combination.
They may be Actual,(physicallythere), or Implied,(created in
(14:29):
the mind's eye by visuallylinking two similar elements).
You can look at a design andvisualize an imaginary line
connecting.
A strong, straight, static linecreates visual stability in a
design, while a dramatic,dynamic line creates visual
(14:49):
energy.
If you're unsure of the strengthof your line in an arrangement,
a good way to check it is toplace the design on the floor,
look down at the line fromabove.
Sometimes viewing it fromanother perspective lets you see
the strength, or lack of it, ofthe line in your design.
(15:10):
Space the area in, around andbetween the components of the
design, defined by the threedimensional area occupied by the
composition.
In this 3D form, there can bePhysical Space, the area filled
in by botanical materials,Negative Space, the area where
there are no materials, or aVoid, the empty space that
(15:32):
visually separates areas ofpositive space.
Materials such as curly willow,branches, or grasses can be used
to expand the size of a designby connecting more empty space
to the physical space that'sfilled with flowers.
The design now fills a largerspace from tip to tip of the
(15:53):
radiating materials.
Because this technique oftenexpands the sellable size of an
arrangement, some florists liketo joke that they're selling
empty space for more money.
Texture.
The surface quality of amaterial as perceived by sight
or touch.
Texture is the richness ofdesign.
(16:15):
The eye is drawn by the contrastof tactile qualities.
Just as you might mix the lookand feel of different fabrics or
accessories to complement anoutfit, you'll want to use
texture to add physical andvisual quality to your designs.
Size.
The physical dimensions of line,form, or space.
(16:36):
As we discussed earlier, it'simportant that the size of your
floral materials be inproportion to the container, and
the whole composition be inscale with the environment where
it will be placed.
When retailing an arrangement,size may be dictated by price.
The size of the design issomewhat relative to the amount
(16:58):
of materials the consumer iswilling to pay for.
Color, the visual response ofthe eye to reflected rays of
light, described as hue, value,or shade.
Hue denotes the origin of colorthat we see, the dominant color
family.
Tint, a hue or mixture of colorsto which white is added.
(17:21):
For example, pastels.
Value, the overall intensity ofhow light or dark a color is.
Shade, a color or mixture ofcolors to which black has been
added, deepening the color.
Tone, the lightness or darknessof a hue to which gray, which is
equal amounts of black andwhite, has been added.
(17:43):
Color is the most eye catchingelement.
The color harmony of design isoften the personal choice of
either the designer or thecustomer.
Pattern.
Repetition of line, space,texture, or color combinations.
Through repetition, anything canbe turned into a pattern.
For example, the silhouette of aflower against a background
(18:06):
creates a delicate pattern whenit's repeated.
This visual element comes in twotypes of pattern.
Natural, patterns that occur innature.
Man-made, pattern created by ahuman, and used in art for
structural or decorativepurposes.
Fragrance, a sweet or pleasingodor or scent, perceived by the
(18:29):
sense of smell.
Nature uses flower fragrance toattract pollinators.
Floral fragrances attract flowerbuyers as well.
Designers must consider possibleallergies, food aromas and
personal preference whendetermining a fragrance to use.
(18:50):
Smell is the element thattriggers memory.
Bring pleasure to clients byidentifying memorable smells and
incorporating them at thecustomer's direction, such as
fragrant lilies for a wedding orcinnamon scents for holiday
decor.
I know this is a lot ofinformation at one time, but the
(19:10):
written document is alsoavailable in the transcript of
this podcast and in our blog.
You can download a copy for yourfuture review of these terms.
If you're looking for a resourceof professional floral
knowledge, I recommend the AIFDGuide to Floral Design Terms,
Techniques, and Traditions.
(19:32):
Invest in yourself.
Purchase this book and read itfrom cover to cover.
You'll be surprised at all thevaluable information you learn.
The price is$129.
99.
Go to www.
aifd.
org, the American Institute ofFloral Designers website, and
(19:54):
you can also get a great amountof information from Texas State
website.
Please share this Floral Hubblog for readers, or How We
Bloom podcast for listeners withother designers.
The podcast is available onBuzzsprout, Spotify, Apple
Podcasts, and similar apps.
Both are available atoasisfloralproducts.
(20:16):
com, along with lots of othergreat information.
To our audience, Smithers OasisNorth America and I want to
thank you for joining us today.
If you've enjoyed this episode,please share it with a friend
(20:36):
and be sure to hit subscribe.
You don't want to miss theinspired solutions our upcoming
guests will share with you foryour personal or business
growth.
Just as a subscriber asked forthis segment of the principles
and elements of design, pleasemessage me if you have topics or
guests you want to hear.
We'd love to hear yoursuggestions.
(21:00):
Until next time, I'm SharonMcGukin reminding you that like
the unfurling petals of aflower, we grow by changing
form.
Soaking inspiration in likeraindrops.
Absorbing energy from otherslike warmth from the sun.
This growth opens us up to newideas and that's How we Bloom.
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