Floral design
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| Water: | ◍ | ?"?" is not in the list (wet, moist, moderate, dry, less when dormant) of allowed values for the "Water" property. |
Read about Floral design in the Standard Cyclopedia of Horticulture
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Design, Floral. An important feature of the work of a retail florist is the making of floral designs or "set pieces." Fig. 1242. This work is directly opposed to the informal arrangement of flowers which is so much admired at the present time. See Bouquets, Vol. I. By artistic arrangement, however, these designs are now made less formal than in the earlier history of the retailer's work. These designs lend themselves well to the working out of various inscriptions and legends in flowers; therefore, these are most frequently used as tokens of affection sent to friends or relatives at the time of a death. These designs are also much in demand by various fraternal orders and other societies, when the emblems of the order or society are worked out in flowers and sent as a tribute to the house of sorrow. They therefore have their place in the work of every flower-shop. As has been stated, the present-day tendency in the arrangement of flowers in designs is to get as far away as possible from a stiff, set formality. A design must, of necessity, be distinct in outline, but by a careful and free use of ferns and other florists' "green," the effect may be made somewhat informal and pleasing. Various forms of the "shower" wreath illustrate this, as well as a loose arrangement of flowers, and even foliage and flowering plants about the base of a standing emblem. The most common forms of floral designs in use at the present time are flat and standing wreaths, pillows, casket-covers, crosses, anchors, and the emblems of various fraternal orders, such as the Masonic square and compass, and the Odd Fellows' three links. The flowers, of which these designs are made, vary in different stores. The price which is to be paid for the design usually governs the species and varieties used. Orchids, lilies, lilies-of-the-valley, roses and Farleyense ferns compose the most expensive designs; while carnations, stevia, Roman white hyacinths and other more common flowers, with asparagus fern, comprise the cheaper designs. Usually the florist determines the price the customer wishes to pay and selects the flowers in accordance with this. Within recent years there has come to be a demand for unusual material in designs, and boxwood, galax, leucothoe and magnolia leaves, ericas and other woody plants have been much used. In making these designs, the arrangement must necessarily be quite formal: therefore, wire frames are used. These are made in large quantities by various wire-working firms and are sold at wholesale at a comparatively low figure. In order to emphasize the particular formal outline and to hold the flowers permanently in place, the flower-stems are usually removed and the flowers then wired with 9- or 12-inch, No. 22 or No. 24 wire. The wire forms are first filled with sphagnum moss, which is moistened so that the flowers will retain their freshness, and the wired stems of the flowers are inserted in this moss. The wiring is an art, and the design-worker becomes so proficient in this that many flowers may be wired in a short period of time. This is necessary when many designs must be made quickly, as is so frequently the case in a flower- shop at the time of the funeral of a distinguished person. Design work usually brings the retailer a substantial remuneration. In many instances, flowers of a lower quality may be used in designs than are demanded by persons buying cut-flowers. They must always be fresh, however; but, when roses are used, those having short stems are just as desirable as long-stemmed flowers. In carnations, many having a split calyx may be used when they would be salable in no other way. If Roman hyacinths are used, the main truss may be sold as cut-flowers, and the secondary trusses used in designs. The green elements in the design, which are used to emphasize the beauty of the flowers, vary much in different stores. Each designer has his own ideas regarding the uses of this material, but often he is compelled to use what is available at the precise moment when it is needed. Because of its excellent keeping qualities, the "dagger," or Christmas fern, is frequently used; but, when this is plainly visible in the finished design, it has a coarse appearance which cheapens the effectiveness of the piece. It may, however, be used as a cover for the frame and moss, with excellent effects. The "fancy dagger," or spinulose wood fern, is more attractive than the common dagger fern. One of the earlier greens used was smilax, but this has inferior keeping qualities to other kinds and is not so popular at the present time. It does not lend itself readily to a loose, formal arrangement. Both Asparagus plumosus and A. Sprengeri make excellent backgrounds for all design work. For softening effects to be worked among the flowers, nothing adds value to the design so much as a few sprays of Adiantum Croweanum or A. Farleyense. Often the foliage of the plants from which the flowers come adds a more pleasing effect than does the green of any other species. This is especially true when roses or lilies-of-the-valley are used. Of the many designs made by the retailer of flowers, wreaths are probably the most in demand. They exhibit good taste, and many have excellent keeping qualities. One of the earlier forms was made of English ivy, and the effect was pleasing. This was especially so when the wreath was enriched with a large bunch of violets, arranged in a loose, artistic manner. Because of the difficulty of getting a sufficient quantity of these leaves, the ivy wreath has been largely replaced by that made of galax leaves. These have excellent keeping qualities and are obtained in large quantities by wholesale dealers from the mountains of North and South Carolina. Both bronze and green galax may be secured, but the green is most satisfactory as it makes a more pleasing contrast with a larger number of colors of flowers. It is customary to make these in rather large sizes, a 16-inch frame, or even larger, being used. Usually the right-hand side of the wreath is decorated with roses, lilies-of-the-valley, or other flowers. A standing galax wreath, with a base of galax leaves, cocos palms, white roses and "valley," and the wreath itself decorated with white roses, lilies-of-the- valley, with shower sprays of "valley" and maidenhair ferns on dainty narrow ribbon, makes an effective design. If a single spray of cattleyas is placed among the roses and "valley," the effect is enriched wonderfully. Magnolia and leucothoe leaves, are also used extensively for wreaths, but this foliage is heavier and less pleasing than galax. However, the buying public is tiring of the galax, and the retailer is searching the continents for something to replace it. Boxwood also makes a rich and attractive wreath. Wreaths made principally of flowers are often in demand, and when varieties are carefully selected, the results are pleasing. Fig. 1242 (redrawn from American Florist). In selecting the flowers for any design, certain rules must be observed. In the first place, a designer must realize that, as in all other flower-arrangement, a lavish use of material is not essential to good effects. A flower has an individuality of its own, and this should be just as pronounced in a design as in a loose vase arrangement. At no time should the material be crowded. When an inscription is to be placed over the flowers, as, for example, in a pillow when carnations are to be the background, even then each carnation should show its form and the background should not be a mass of petals without definite shape. As a general thing, it is best to place the flowers in position first, after having covered the mossed frame with green, and then to work the foliage among the flowers where it is needed for the best effects. This method requires fewer flowers, and the effect is more artistic. In making a design, it must be remembered that there may be contrast of forms as well as colors. As a rule, there should not be over three contrasts of forms and two contrasts of colors, although there may be variations to this rule in special cases. As regards shapes and forms, it is quite essential that larger, heavier blooms, such as lilies and roses, should be contrasted with sprays of a light and graceful character, like lilies-of-the-valley and Roman hyacinths. The larger flowers are to be placed low in the arrangement, and the finer sprays higher. Often the center of a design is made of one particular species, as, for example, pink roses with their foliage; and the borders of the design are filled with sprays of lighter flowers, like lilies-of-the-valley with their foliage or that of the maidenhair fern. If in the arrangement of the larger flowers a few buds of the species used are added, the effectiveness of form is increased. In selecting colors for designs, the lighter shades are the most desired, although in recent years there has come to be a freer use of darker colors. For example, a large wreath of Richmond or other red roses contrasted with lilies-of-the-valley or white Roman hyacinths, is very effective and is not considered out of place for a funeral design. The amateur should, however, avoid striking contrasts or to endeavor to harmonize unusual forms in flowers. The experienced designer may bring these together with pleasing effects, but this ability comes only after years of study and experience. Large designs are more easily arranged than small ones, and in them may be used a wider range of colors. The most striking colors are, however, widely separated, and between these the flowers should be of such tints that they assist in blending. Flowers with a strong fragrance should not be used in designs if they can be avoided. They are especially objectionable if they are to be used in a dwelling-house where the rooms are often crowded. In a church or other large room, the fragrance is less noticeable. Polyanthus narcissi, tuberoses and freesias are especially objectionable. The more delicate odors of violets, lilies-of-the-valley and Roman hyacinths are less so. The funeral designs most frequently ordered by the immediate family are pillows and casket-covers. Both of these demand careful treatment in making, the pillow being especially difficult. The smaller the pillow, the harder it is to produce a pleasing result. The flowers should be of a rich character, and it shows better judgment to select a less expensive wreath as a floral tribute than to purchase a pillow made of cheap flowers. Casket-covers should also be made of expensive flowers. These covers are not lasting, for they must of necessity be light in character; and moss, which is so necessary to retain moisture and freshness in the flowers, cannot well be used. Light wire of a fine mesh, such as mosquito netting, is cut of the desired size and the flowers which are usually of one species, like Easter lilies or roses, are wired to this with sufficient foliage or other green to cover the wire. A flower of some contrasting color may be used for a border; or a rich outline of smilax is effective. The construction of many fraternal emblems in a pleasing, artistic way, demands all the fine points of the professional designer's skill. Often all rules of flower-arrangement have to be disregarded. Special emblems have to be made of special colors; and when an emblem must be made which calls for definite parts to be blue, others to be yellow, red, white and green, the problem to harmonize these is a serious one. The designer has no choice in such a case, and can meet this demand only with an attempt to reduce to the minimum these clashing contrasts in color. As has been stated, formal designs in the arrangement of cut-flowers are a necessity, and for these there will probably always be a demand. The designer should have in mind, however, that it is possible to arrange flowers in a pleasing way and still emphasize the formal lines. Artists in this line of work are just as truly "born, not made," as in any other branch of art; and unless one has a genuine love for flowers and the artist's skill in their arrangement, the making of formal designs should not be attempted. E. A. White.
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References
- Standard Cyclopedia of Horticulture, by L. H. Bailey, MacMillan Co., 1963
External links
- w:Floral design. Some of the material on this page may be from Wikipedia, under the Creative Commons license.
- Floral design QR Code (Size 50, 100, 200, 500)
