Products; Organization and Efficiency; Store Di*Lays; Conditioning Appendd. Both Black and White and Color Photographs Illustrat

DOCUMENT RESUME

ED 330 809 CE 057 462

AUTHOR Anderson, Gary A. TITLE Floral Design and Marketing. INSTITUTION Ohio State Univ., ColUmbus. Agricultural Curriculum Materials Service. SPONS AGENCY Ohio State Dept. of Education, Columbus. Agricultural Education Service. PUB DATE e8 NOTE 858p.; Photographs will not reproduce well. AVAILABLE FROMOhio Agricultural Education Curriculum Materials Service, 254 Agricultural Administration Bldg., Ohio State University, 2120 Fyffe Road, Columbus, OH

43210-1099 . PUB TYPE Books (010) Guides Classroom Use Instructional Materials (For Learner) (051)

EDRS PRICE MF05/PC35 Plus Postage. DESCRIPTORS Adult Education; Advertising; *Agricultural Education; Design; *Distributive Education; *Floriculture; *Marketing; *Ornamental Horticulture Occupations; Plant Identification; Postsecondary Education; Salesmanship; Sales Occupations; *Sales Workers IDENTIFIERS *Floral Designers; Florists

ABSTRACT This profusely illustrated, 32 chapter book surveys retail floriculutre and makes a current statement of the industry. It can be used by students pursuing individualized study, in a classroom with instructor reinforcement and demonstrations, and by a former student or flower shop employee as a refresher tool and reference. Principles of flower arranging are explained and applied. Identification of floral material and supplies commonly found in flower shops is explained with illustrations. Information on care, handling, and selling of flowers is provided. Suggested activities in each chapter provide hands-on exercises. Following an introduction, chapter topics are: elements of design; cut flowers and foliage; mechanics, supplies, and safety; body flowers; bud vases and rose bowls; decorating potted plants; mass arrangements; line and line-mass arrangements; accessories, bases, and backgrounds; dried flowers; silk and other permanent flowers; table settings; wedding floral design; sympathy flowers; living plant groupings; novelty arrangements; special occasions and holidays; period arrangements; contemporary arrangements; retail floriculture industry; sales and service; wrapping and packaging floral products; pricing flora] products; organization and efficiency; store di*lays; conditioning and storing cut flowers; care of living plants; delivery; advertising and promotion; and keeping current with the industry. Lists of resource organizations and periodicals and 64 references are appendd. Both black and white and color photographs illustrate the text. (YLB) Floral Design and Marketing

Gary A. Anderson

U.S DEPARTMENT Of EDUCATION "PERMISSION TO REPRODUCE THIS Nik cA EducANonal ReasareA And ImoTcssema, MATERIAL HAS BEEN GRANTED BY ED./CANONAL RESOURCES INFORMATION CENTER IEFur, Th.s documeni Nit beim rpfoduced as ,oca.ved trnm the person or orwimt Ow, orginaling 4 r Mmor changel hire IMP,' milde to reproduchon (WIWI y

Poolt% of rtfror r), 01,InIons- 31111@d rI Mr% Moo, TO THE EDUCATIONAL RESOURCES mon! do nch nacess.,. ..prems.I &boa' INFORMATION CENTER (ERIC)." OERIPOSOzon ot

BEST COPY AVAILABLE John H. Davis, Assistant Director Roger D. Roediger, Director Vocational and Career Education, Ohio Agricultural Education Agricultural Education Service Curriculum Materials Service Ohio Department of Education The Ohio State University

Library of Congress No. 90-621762

Ohio Agricultural Education Curriculum Materials Service The Ohio State University

Ohio Agricultural Education Curriculum Materials Service The Ohio State University Room 254, 2120 Fyff e Road Columbus, Ohio 43210

19 88

The Ohio Agricultural Education Curriculum Materials Service, as a part of The Ohio State University, is an equal opportunity employer and does lotdiscriminate against any individual for reasons of race, color, creed, religion, national origin, sex, or handicap. Ail instructionalmaterials are available to all potential clientele on a non- discriminatory basis without regard to race, color, creed, religion, national origin, sex, or handicap.

Trade or brand names mentionei in this text are supplied with the understanding that no discrimination or endorsement by the Ohio AgriculturalEducation Curriculum Materials Service is implied or intended.

BEST COPY mmuni.r CONTENTS

Chapter Chapter 1 271 1 Int roduction 17 Living Plant Groupings Color Plate I 18 Novelty Arrangements 297 Elements of Design 11 19 Special Occasions and Holidays 303 2 325 3 Principles of Design 33 20 Period Arrangements 333 4 Cut Flowers and Foliage 57 21 Contemporary Arrangements Mechanics, Supplies, and Safety 77 22 The Retail Floriculture Industry 339 5 349 6 Body Flowers 97 23 Sales and Service Bud Vases and Rose Bowls 127 24 Wrapping and Packaging Floral Products 361 7 369 8 Decorating Potted Plants 133 25 Pricing Floral Products 26 Organization and Efficiency 375 Color Plate II 381 9 Mass Arrangements 139 27 Store Displays 10 Line and Line-Mass Arrangements 161 Color Plate IV Accessories, Bases and Backgrounds 177 28 Conditioning and Storing .7ut Flowers 387 11 393 12 Dried Flowers 187 29 Care of Living Plants Silk and Other Permanent Flowers 209 30 Delivery 397 13 401 14 Table Settings 217 31 Advertising arid Promotion Wedding Floral Design 225 32 Keeping Current with the Industry 407 15 412 Color Plate III References 16 Sympathy Flowers 251 Preface Acknowledgments

This book is designed to survey the area of retail floriculture and A great number of individuals have generously contributed to the make a current statement of the industry. The subject matter preparation of this book. The initial research to determine the need includes an interesting blend of art, science and business. Time for a new retail floriculture manual was done by Mr. James Scott, tested principles of flower arranging are explained and applied in now an area supervisor with the Ohio Department of Education. A exercises that will enable the beginning designer to comprehend statewide advisory corrmittee was appointed to provide input for the them. Identification of floral material and supplies commonly found project. Thanks is extended to the following committee members for in flower shops is clearly made with illustrations. Information on their suggestions, support and review of the final draft. care and handling as well as suggestions for selling flowers is treated with a straight-forward approach that can be understood by those Dr. Gary Anderson, OSU/ATI, Wooster preparing for a career in flower shops. Mr. Jim Bliek, Westerville South HS, Westerville Mr. Gene Houser, Eastland JVS, Groveport This book can be used in many ways and at different levels as Ms. Arlene Mercer, Natural Accents Florist, Marysville individual situations require. A great deal of knowledge can be Mr. Bob Niemeyer, Apollo JVS, Lima gained from the wealth of illustrations. For students pursuing an Mr. James Scott, State Department of Education, Columbus individualized study, clear directions starting at the ground level will Mr. Dennis Waldman, Plain Local HS, North Canton allow them to build a working knowledge of retail floriculture. In the Ms. Karen Wellbaum, Montgomery County JVS, Clayton classroom the ideas can be reinforced, demonstrated and expanded upon by the instructor. For a former student of the subject or a flower The two-year project of preparing the book for publication was shop employee needing a review, the book will serve as a vat able supervised by Dr. Roger Roediger, Director, Ohio Agricultural refresher tool and reference. Education Curriculum Materials Service, The Ohio State University. Editing and layout was done by Muriel N. King, whose scholarly The book is intended to be motivatinnal while presenting a attention to detail and willingness to venture into the realm of realistic picture of arranging and selling flowers and plants. graphic design resulted in this creative and exciting presentation. Suggested activities are located in each chapter to provide hands-on Special thanks to my wife, Cheryl Anderson, who spent countless exercises that will provide the experience and practice necessary to hours helping to write and type the original manuscript. She also master the concepts presented. It is hoped that all readers will be shared her artistic talent in rendering all the drawing6 included in challenged to put forth a dedicated effort to expand their knowledge, this book. Color Plate I-1 and the cover design were done by Ail the express their creativity, strive for perfection, and develop an King's Men. appreciation for the many ways flowers can be enjoyed. Appreciation is extended to all individuals, organizations and Gary A. Anderson businesses who in any way contributed to the arrangements, settings and photography involved. A wide variety of styles is presented ranging from very traditional to contemporary so that the reader will gain an appreciation of the diversity of the art. I have tried to take the student into the work room, the office and the sales area of a retail flower shop. Some arrangements are shown as they would be used in the home and public places. Hopefully a total picture is created which captures the scope of the retail floriculture industry and entices interested individuals to pursue this rewarding career opportunity. Nearly all the pictures in this book were taken during the Marie Ackerman, AIFD Oklahoma Cit, OK preparation of the manuscript with the purpose of illustrating the Allen Beck, AIFD Newport Beach, CA major points being presented. A number of opportunities for Jim Bliek Columbus, OH photographing the work of outstanding nationally known designers James Bridenbaugh, Kent, OH became available through the professional programs offered by The AAF, PFCI Ohio Florists' Association. Other special situations for photography Noreen Drake Columbus, OH included a filming session by Smithers-Oasis at The Agricultural Diana Ferich, A1FD Columbus, OH Technical Institute, the Ohio State Fair Professional Design Show, Hitomi Gilliam, AIFD British Columbia, CN the ATI Flower and Bridal Show, the Cleveland Home and Flower David Hale Columbus, OH Show, and flower shows at the Garden Center of Greater Cleveland Els Hazenberg The Netherlands and Kingwood Center, Mansfield. Jacqueline Headecker Ontario, CN Roger Houseman Columbus, OH Recognition is given to the following businesses in Ohio where Don Johnson, AIFD Lima, OH photographs were taken. Connie Lyon, AIFD Findlay, OH Keith Mueller, AIFD Cincinnati, OH Alexander's Flowers Cleveland Teresa Pante llo Wooster, OH Architectural Greenery Akron Alan Parkhurst, AIFD Medina, OH Boulevard Gardens Portsmouth C. Michael Polychrones, Springfield, VA The Bouquet Shop Wooster AAF', AIFD, PFCI Buehler's Flower Shop Wooster 'Jerry Prokuski Mendota, IL Com-patt-ibles Wooster Roger Roe Dayton, OH Connell's Flowers Columbus Rosemarie Schweitzer Dover, OH De Santis Florist and Gift Columbus Julia Smetzer Columbus, OH Don Johnson Flowers and Gifts Lima Joseph Smith, AIFD Nashville, TN Engel's Wholesale Florist Columbus Perry Walston, AIFD Houston, TX The Flower Garden Portsmouth Robert Wietholter Bluffton. IN The Flewer Gazebo Findlay Julie Wilkinson, Minneapolis, MN Flowers by Davids Square Columbus AIFD, PFCI Hemrnerly's Marion John Anderson Florist Canton Additional thanks to the following individuals who have Kiefet's Floral Coshocton contributed in special ways. Maple Lee Flowers Worthington Murray Funeral Home Lodi Agricultural Technical Institute personnel-Teresa Pante llo, Parkhurst's Flower Gallery Medina Robert McMahon, Kenneth Cochran, Ladonna Whitt. Schley's Greenhouse West Salem Dan Snyder, Beverly Winner United Wholesale Florist Canton Mr. and Mrs. Kenneth Cochran Mrs. Carol Correll Mrs. Mary Gresser Special thanks to the following designers whose artistic Mr. and Mrs. Richard Kauffman arrangement of materials is represented in this book. Mr. and Mrs. Charles 7,ee Mrs. Lucille Parry While many of the photographs were taken by the author, credit About thc Author also goes tthe following for theil photographic ..:ontribut,ons. Dr. Gary Anderson has taught floral uesign and marketing Dr. Thomas Bowman for over 20 years. CurrPrit:y he is chairman of the Horticultural Lora Yan Chen IndLstries Division at The Ohio State Ur 1vers1ty's Agricultural Charles Correll fechnical Institute ir. Wooster. Malcom Emmons Tel...esa Pa iello graduated Phi Beta Kappa from the University of Michigan Dr. Roger Rood lger and holds both M.S. and Ph.D. degrees in horticulaire from Thomas Tay' or Michigavi State University. He has lectured widely in the area of floral decign, written for several state and national publications, am!, designe 1 for numerous university and civic functions. Dr. Anderson has won several Best of Show awards in flower shows and Judged many competitions including the Ohio State Fair Professional r'esign Shc w, the Ohio Florist Short C Airse Design Contest, National Junior Horticultural Association State and National demonstrations, lim) regional America's Cup contest, and the Cleveland Home and Flower Show. Also he was awarded the Ohio State Honorary FFA Degree.

Dr. Anderson is ar ulvisor and advisory board member for the Ohio Junior Horticultural AssociAion arid member of the Ohio Florists' Association retailshort course committee, deorations committee and education committee. Heis chairman of the annual Spring Garden Preview presented by students uf the Agricultural Technical Institute. He also estallished the OhioE.....ate University/Agricultural Technical Institute Student Chapter of FTD and the widely acc:aimed ATI Flower and Bridal Show. Dr. Anderson is a member of the American Society for Porticuitural Science, the American Horticultural Society and the Ohio Florist Association. He has traveled ir Europe, South America and the r:aribbean as well as in Canada, Mexico and the U.S. He has given many programs for garden clubs, written a chapter ior Exhibitors and Judges I Mridbook of The Ohio 'Association of ilarden Clubs, and taught study courses for The Garden Club of Ohio. loli.. -6 , 0.4

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BEST COPY AVAILABLE 2 ikrallfd b. °b41;14)044 DISCOVERING YOUR CONCEPTS OF eilt-for.,'efce."! FLORAL DESIGN iao_ o,fe,-;t4 ' (0,0

1 Every field of endeavor has its starting point. As you embark on your study of floral 16114114Asa rifirp-s design and marketing, you begin with a set et.t. 41 of uniquely personal ideas about design based on your background and experiences up to now. These ideas are not static, but will change over time as you become more aware of what to look for in floral designs and gain more practical skill in arranging flowers. If you are motivated to become a skilled designer, and if you are willing to practice, the reward can be an ever-increasing ability to express yourself artistically and creatively with flowers.

Let's think about what may have influenced your ideas on flower arranging. Where have you seen flowers used? What bouquet or arrangement do you remember that especially impressed you?

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Write down at least five situations in which you remember seeing flowers used. After each, write briefly what your reaction was to these flowers. Share these thoughts with the other students as your teacher leads the discussion. Do you find that different class menthers react in different ways to flowers lii the same situation? Do you find that some people reinemlwr seeing many more flowers than Ideas about flower arranging come from personal observations of flowers others do?

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1. 4 Just like you, customers who buy and use flowers will have preconceived ideas about them, based on their different experiences. They may be shopping for floral products that are not the same as those you would buy. Therefore, people who arrange and sell flowers for others must be sensitive to the preferences of the customers. Even though many customers have no more formal training in floral design than you have today, they still have ideas about what they will or won't buy. Flower shops both large and small must keep in mind customer wishes as well as their own concepts of design. r Let's continue to explore the factors that may have influenced your personal concepts of floral design. Here is a list of some specific examples of places and occasions wher:' THE CONTEMPORARY LOOK flowers may be seen. How many of these can you relate to? How do you think the flowers you saw in these situations have aflected

4aak. your ideas on flower arranging? (See Color Plate II- I.)

Flowers Used In the Home AtHome * centerpiece for a special dinner

On the table On the mantel On the piano

1 9 LB BEST COPY AVAILABLE 5

* dried arrangement on the fireplace Church Flowers mantel

* simple vase of garden flowers on end table or desk eipi * crock filled with field flowers or interesting weeds on a porch table

* Christmas wreath or swag on the door

* florist arrangement delivered for a special occasion like a birthday party, '..,1 anniversary or holiday AINIP * small bouquet or loose blinch of flowers brought home "just to show I care" At Church L..

*weekly flowers on the altar Cross decorated at Easter Wedding Flowers

* lavish flower arrangements, bouquets and candelabras for a wedding

* sympathy flowers for a funeral At Parties * corsages and clutch bouquets at a dance or prom

* a dozen long-stenmied roses given to an honored guest Weekly altar flowers * candle centerpieces at individual small tables, or floral pieces on a buffet table .1 or near the punch bowl *creative suspended arrangement froIll 111V ceiling, or floating arrangement in the swimming pool at a lavish party Party Flowers - At a tea o BEST COPY AVAILABLE 6 Party Flowers In the Hospital * planter, bud vase or potted plant for adult patient

* chrysanthenmm clown or poodle dog or animal planter for a sick child * arrangements in the hospital's gift shop In the Media

* advertisement on television for a special bouquet being promoted by a florist wire service organization

7. * spectacular show of flowers used on floats in the Tournament of Roses Parade Birthday party Reception * tasteful placement of flowers on a conference table in a magazine picture showing some current event

* wedding flowers described or pictured in newspaper articles, bride's magazines or television shows At Businesses

*creative seasonal window display at your area florist

Flowers in * arrangement sent to the grand opening Public Buildings of a bank, r,staurant or store * silk or dried arrangements in a furniture store or interior design studio

* holiday corsages in the grocery produce section

BES 7 COPY AVAILABLE 7 At Flower Shows

* large Victorian mass arrangement entered in a state or local fair

* modem-looking interpretive arrangements at a fair flower show or show sponsored by a local garden club

* display of creative arrangements by florists at a large city home and flower show

)1.4 new European designs described by a floral commentator at a professional design show Flower Shops

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t BEST COPY AVAILABLE 8 After all arrangements are completed, con- ounctnetrn) tribute to a class discussion by explaining to olnyaNnitr .hotrryany the other students what is especially pleas- To demonstrate that your concept of design ing to you about the arrangement you is based on past experiences and may be designed, and where you think your different from that of other class members, arrangement might be used. Don't feel shy work entirely on your own to create an or intimidated! Today there is no "right" or arrangement that is pleasing to you. Use the "wrong."You are discovering your own containers and flowers provided by your personal concepts of design; just like the instructor. customer in a flower shop, you are entitled to your own opinion. Materials suggested for each student: Cut off one-third block of soaked floral foam. design compote 1 /3 block floral foam narrow waterproof tape knife 1 / 2 bunch pompon mums 1 / 4 bunch leatherleaf 1 /6 bunch purple statice or assortment of available flowers 6,444 and foliage Your instructor will have soaked the floral foam in water and will demonstrate how to cut it, place it in the container, and secure it Use watt proof tape to secure floral foam with the waterproof tape. You will also be to container. advised on proper and safe use of the knife.

Working independently, create an arrangement of your choice. If an assortment of materials is available, or ifyou are allowed to cut from a garden or field area, select those flowers and foliages which you feel look good together arid with the container you are using. As you work on your arrangement, start thinking about what occasion it could be used for and where it might be placed. Think about the choices you had in the selection of flowers and their placement in the arrangement. Why did you makethe choices you did?

BEST COPY AVAILABLE 9

uuntl:.,t'ovLnia).) iref.4..r.i..'wo.g)coi At\vientyrnr An interesting exercise that can be a useful educational tool later in the year is to photo- graph all the students with their first flower arrangements, preferably using print film. Have the film developed, but do not share the pictures until the end of the semester or school year.

After a skill is mastered, most people tend to forget the level at which they started. They believe they were always as skillful and knowledgeable at the beginning as they are later, so they may miss some of the benefits of recognizing that progress was made. Showing the students the pictures later on helps them see the progress that each made during the class. They feel rewarded for the effort they put into it.

Students proudly show their first arrangement of the class 2 BEST COPY AVAILABLE Plate I-1

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SHADES TINTS Plate 1-2

TYPES OF ARRANGEMENTS

Line-Mass Mass Line

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TRIANGLE VARIATIONS

Equilateral Diamond

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Scalene

Right Isosceles

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CIRCLE VARIATIONS

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Fan of roses, dendrobium orchids, freesia Oval of cherry blossoms and Dutch iris

Open mound of spring flowers in a basket Circular mound

'EST COPY AVMLABLE Plate 1-5

Ink STRAIGHT LINE VARIATIONS

414

Diagonal line of bougainvillea

Horizontal line of lilies, carnations and kalanchoes

L-pattern of roses, freesia and lnverted-T of roses and snapdragons Vertical line of g:adioli and anthuriurn foliage painted branches

IEST COPY AVAILABLE Plate I-6

CURVED LINE VARIATIONS

Crescent of roses Spiral of magnolia around a figurine Hogarth curve of roses Plate (-7

Shoulder corsage - Potpourrl Hair flowers Shoulder corsage - Shoulder corsage - Double spray Single spray

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BODY FLOWERS

Hair flowers - Stephanotis and dendroblum

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Waist flowers Ankle flowers Hair flowers with ribbon

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Rabbit

ACCESSORIES Bronze figurine

Bear Baseball mitt

Classical figurine German statue Madonna Rabbit and nest

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BEST COPY AVAILABLE 12 INTRODUCTION terms and definitions. In spite of this the concepts are very similar. The following An arrangement of flowers makes an presentation is an attempt to combine and artistic statement to the viewer. It is as- simplify these thoughts from the perspective sumed that the person arranging the flowers of an observer of floral designs. either had a plan in mind at tne start of the arrangement or experimented as he or she went along until satisfied with the results. SHAPE Although not all people react in the same way to a certain arrangement, there are One of the first things you notice about standards of expectation that have devel- a flower arrangement is its shape (Fig. 2-1). oped over the yearsstandards by which The outline of the design is called its arrangements are evaluated. Since flower silhouette. If you were to shine a bright light arranging is an art form, many of these ideas directly on an arrangement from the front, it have been taken from other media like paint- would cast a shadow. This would be the ing and sculpture. silhouette. It might be in the shape of a triangle or a circle, or it might reveal a Persons not trained in floral design or number of curving lines with blank space Figure 2-1Line mass arrangement. other art principles are still influenced by between. A Hogarth curve with them. They often form ideas about new an S-shaped silhouette designs they see based on comparison with This suggests that two very different traditional designs that have endured the types of arrangements exist. They originated test of time, or by comparison with modern in different parts of the world and very designs that others have judged successful. strongly influence design styles today. One The person who is aware of the parts of an type is the line arrangement (Fig. 2-2) and arrangement and can analyze what makes it the other is the mass arrangement (Fig. 2-3). successful is better able to absorb new ideas (See Color Plate 1-2.) from what he or she sees and eventually incorporate these ideas more effectively into his or her own work. At times the number of terms used to identify various aspects of design seems unnecessarily large.Furthermore, these 4t4e:r terms often overlap in meaning. Moving a )-44.11:41 flower an inch or two to the left in a design may affect several elements or principles of \ '`% the design! 1.

If you were to review several books and Figure 2-2Line arrangement articles mi floral design, you would find that. Figure 2-3 with interesting silhouette the different authors use their own set of Mass arrangementwithoval silhouette

BEST COPY AVAILABLE 13

LINE ARRANGEMENTS MASS ARRANGEMENTS The line arrangement usually uses few Mass arrangements contain many flowers and foliages. There are also quite a flowers and/or foliages. They may be one- few empty spaces, or voids, between the sided or designed to be viewed from all sides. materials. Often the flowers have interesting Very compact or very loose and open styles shapes. Also, the branches or foliage that may be seen in this typeof design. Many connects them attracts attention because of different kinds of flowers or perhaps just one its unusual curves (Fig. 2-4) or drama( kind of flower may be used (Fig. 2-7). straight lines (Fig. 2-2, 2-5). Because the eye of the viewer is led along these interesting If you were to shine a light on a mass lines,the arrangements are calledline arrangement, you would expect to see a arrangements. silhouette that resembles some geometric shape with few voids. These would be most One usually thinks of Oriental style commonly recognized as some variationof arrangements as a good example of line the triangle (Fig. 2-8) or the circle (Fig.2-9). arrangements (Fig. 2-6). In Japanese flower (See Color Plates 1-3 and I-4.) Figure 2-7 arranging, which has been practiced for over A large mass arrangement ofranunculu. 1500 years, the emphasis is on careful use of only a few ilowers. Each flower in the design has a special meaning. A general term for LINEARRANGEMENTS Japanese flower arranging is Ikebana.

During the twentieth century, the oriental concepts of flower arranging began to influence design styles in the United States and other parts of the world. Many modern arrangements are line designs. Exotic or very special flowers are most effectivelyfea- tured in a design with much open space. Birds of paradise, proteas and orchids are good examples of such flowers, This type of design directs more attention to the individ- tial flowers. In addition to using few flowers, there is often less time involved in making this kind of design because there are fewer placements. However, since line arrangement s often express a high degree of creativity. there may he more time involved in planning the design and more skill required Figure 2-4 Figure 2-5 Figure 2-6 to execute it successfully. (See Color Plate Curved lines of peeled root Papyrus and lilies forming Fantail willows with daffodils 1-5.) encircle hydrangea blossoms a strong vertical line in an Oriental design

BEST COPY AVAILABLE 14 Triangle variations include the equilateral triangle (all sides equal -Fig. 2-10), MASS ARRANGEMENTS the isosceles triangle (two sides equal but longer than the third side- Fig. 2-11), the right triangle (two sides forming a 90" angle- Fig. 2-12), the scalene triangle (each side of a different lengthFig. 2-8, 2-13), and the diamond (two triangles placed base to base- Fig. 2-14). The diamond is the silhouette created when you look directly down from Figure 2-10 above on a centerpiece suitable for use on a Equilateral triangle rectangular table. Th is is called the diamond centerpiece. In side view it looks like a low drawn-out triangle. Circle variations include the mound Figure 2-9 Fig. Figure2-8 (usually half or more of a globe form Round mound bouquet of Mass scalene triangle of iris 2-9, 2-15) and the oval (Fig. 2-16). The oval mixed flowers is often done in a raised container which suggests an elongation of the circle design into an oval shape. However, it may also be seen when looking directly down on a centerpiece designed for an oval table or looking down on an arrangement made in an oval basket.

Arrangements that were made in Europe Figure 2-11 Isosceles triangle over the past 500 or more years are now calledPeriodArrangements because they are typical of what was done with flowers in a certain period of history. Arrangements that suggest historical periods before 1900, Figure 2-13 whether done in Europe or the United Scalene triangle States, were essentially all mass arrangements.Design styles sua as Dutch, French, Georgian, Williamsburg and Victo- nan are often lumped together in a category calledOccidental (Western) Design(Fig. ----21L Figure 2-12 Right triangle *Or 2-17). The counterpart of this is Oriental Design (Fig. 2-6, 2-18) that features a line style and originated in (Japan arid China. We TRIANGLE VARIATIONS Figure 2-14 Diamond will examine period designs of bolh Oriental and Occidental styles in Chapter 20.

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CIRCLE VARIATIONS OCCIDENTAL & ORIENTAL DESIGNS

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Figure 2-15 Mound iMMISIMMINIPMEIMMION'PW

Figure 2-17 Figure 2-18 Oriental Figure 2-16 Oval Occidental

LINE-MASS ARRANGEMENTS

Amaryllis at the base of the straight-line pussywillow

Roses enhance lines of the driftwood

Flowing line of spring blossoms 16

LINE-MASS VARIATIONS LINE-MASS ARRANGEMENTS (See Color Plate 1-2) Based on Straight Lines Another group of designs is known as line-massarrangements. These have combined characteristics of the line and the mass styles. There is a definite line which is thickened or massed in with flowers and foliage. Few voids are found within the silhouette. The lines may gracefully taper off to a delicate point on each end. As in a mass t arrangement, the flowers may be compactly ist or loosely spaced within the outline of the design. A.Aglk- Line-mass arrangements whichare Figure 2-19 Vertical Figure 2-20 Diagonal Figure 2-21 L-shaped based on straight lines include the vertical (Fig. 2-19). the diagonal (Fig. 2-20), the L- shaped (Fig. 2-21), and the inverted-T (Fig, (2-22)arrangements. Line-mass arrangements based on curved lines are the crescent (Fig. 2-23) and the S-curve or Hogarth curve Based on Curved Lines (Fig. 2-24). (See Color Plate I-6.) The merging of line (Oriental) and mass (Occidental) design concepts occurred in the first part of the twentieth century. This happened primarily in the United States and resulted in the line-mass design style which is considered by many to be typically Ameri- Figure 2-22 Inverted-T can. Since there are no definite boundaries between line, mass and line-nmss design styles, it is possible to create or see designs which are difficult to put into one of these three categories. It is more important to evaluate these arrangements on their own merits than to be overly concerned about fitting them into arbitrary categories.

Figure 2-23 Crescent Figure 2-24 S-curve (Hogarth curve)

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stable colors of brown, beige and earth tones COLOR VARIATIONS COLOR for much of their decor. Almost everyone agrees that color is the single most important element in a flower Color choices in clothing are another way we frequently express ourfeelings. RED arrangement. People react differently to Normally the colors we choose are dictated color because of individual preferences and Brick by fashion and our individual taste.How- Burgundy past experiences in seeing different color alter these schemes. Their like or dislike for a particular ever, special circumstances may colors. Compare what you wouldchoose to Cardinal arrangement is often based largely on color. wear to a funeral with what youwould wear Carmine All people do not see color in the same way. those physical to a Hawaiian luau. Also, contrast Claret This may be due toactual people you know who tend to be daring in differences in color perception between Maroon their choice of clothing colors withthose who viewers. Also background colors near the combi- Pink arrangement may influencepeoplein seldom deviate from traditional color nations. Rose different ways. (See Color Plate 11-8.) Scarlet Colors of flowers are related to their Strawberry surface quality (texture). In addition, colors are affected by the lightingconditions under OTIQ:1(011.40(11'1.5:1) 11`11'\:( which the flowers are seen. Therefore, fol- when you lowing this discussion of color will be a Write down the feelings you have see each of thefollowing colors. What things 01111N.61 discussion of the effects of texture and light. or occasions do youassociate with each Apricot color? Do you think the color advances or Bittersweet recedes? Do you consider it a warm or acool PSYCHOLOGY OF COLOR Cameo color? Coral Colors are symbolic because we associ- Fawn ate them with objects and events withwhich RED VIOL11.71' Flesh we are familiar. Colors may appear warm or BLACK cold, exciting or restful, happy or somber. ORANGE Peach YELLOW METE Colors may even appear to move toward you CRAY Salmon (advance), move away from you (recede), or GREEN BROWN Shrimp stay put (stable). This may sound strange, Terra Cotta Nit interior decorat ors have long recognized Share your ideas in a groupdiscussion. this in selecting colors for a room. A large Then read the following paragraphs to seeif cement block classroom on the north sideof' with those usually make it your conclusions agree a school may be painted yellow to associated with the color. seem smaller, warmer and more cozy.A small bedroom on the southwest corner of a home is often paint ed light blue or green t make it appear more spacious. MM.(' conser- vative people are likely to select the safe, f r. t) t 18 Advancing, Warm Blue Receding, Cool VILLO Amber Examples of red objects are blood, the Blue is the color of sir: and water, both Buff Valentine heart and the matador's cape. of which appear to go on endlessly. The These all arouse strong emotions, Red is tranquil quality of blue often makes it the Buttercup frequently used as a color choice in church choice for the interior color of churches, Gold carpeting because it is associated with the where it takes on a "heavenly" feeling. Blue Lemon Holy Spirit and martyrs. However, it also is a color not heavily represented in common Maize helps to create a warmer feeling in an other- florist flowers available year round, though Mustard wise large and cold structure. Red is often there are some good true blue flowers. Chry- used in restaurants because it is thought to santhemums, roses and snapdragons, for Primrose stimulate the appetite. Red is used through- example, are not available in blue. Since Straw out the year in floral designs but is especially blue is a widely selected clothing color, flow- Sulphur eye-catchinginquantityat Christmas, ers are sometimes dyed or sprayed to pro- Valentine's Day and the Fourth of July. duce the color. Blue can be used effectively with all other colors. Its use in a garden SL41110 Advancing, Warm frequently gives unity to what would other- BIM wise be a hodge-podge of colors. Aqua Orange is associated with the warmth of Azure a crackling fire. It is most appreciated in Cobalt nature in the brilliance of autumn foliage Qat"' Receding, Cool Cornflower color. The Halloween pumpkin, clusters of bittersweet, and Thanksgiving squash and Gentian Green is the color of trees, grass and gourds all exhibit the color. Although orange rolling hills. These associations make it easy Marine is used most extensively in the autumn to understand why green is considered a Navy months, it is always a good companion color receding color. Since foliages and stems are Peacock for the brownish earth-tone colors, which green, it is part of almost all arrangements. Sky are brightened by the association. Usually green is not a strong color; it has the effect of tying the arrangement together. Turquoise GREEN. Advancing, Warrn Avocado Yellow Green, a symbol of living things, is greatly appreciated during the drab months of Emerald Yellow is a bright cheerful color associ- winter in northern climates. It shows up in Forest ated with rays of sunlight. Yellow is the color the Christmas tree and other holiday greens, Jade of the spring daffodil and the newly hatched where it is livened with red accents. One can Lime chick. It is widely used in spring arrange- hardly imagine interiors without the pleas- ments and at Easter. Yellow is used as a wall Moss ing effect of green foliage plants. Green re- color to make a large, stark room more ceives special attention on St. Pati ick's Day, Olive hospitable since it "advances" toward the when an all-foliage arrangement can feature Seafoam viewer, It is also a good choice for hospital interesting variations of just this one color. Shamrock arrangements intended to cheer the patient. Willow 19 rigid Receding, Cool 2mu Stable, Neutral Luna Violet is usually thought of as a restful Gray is a combination of white and Amethyst color because of its association with the last black. The result is a very sombercolor. Gray Grape fading rays of light at dusk. It is often used is a widely used color choicein men's and Lavender women's clothing. There is considerable in sympathy flowers. Violet also appears in Lilac many spring flowers like crocus.It also latitude in color choices to associate with effectively combines with yellow in spring gray. Gray is nost frequently usedin flower Magenta arrangements such as those madefor arranging to tone down the brillianceof Mauve Easter. Darker, more vibrant violet(purpH other colors. Mulberry may be associated with elegance orroyalty, Plum Stable, Warm especially when combined with gold. Atom Purple Brown is an earthy color associated with Wisteria Black Stable, Neutral soil and the somber Novemberlandscape. In flower arranging it is used widely in autumn Black is associated with the darknessof arrangements. Many dried materials are night and the unknown. Black represents available in browns and beiges. Brown is death and to many people is a funeralcolor. used throughout the year in interior deco- Halloween features black in cats, bats and rating. It is a very "safe" colorwhich can WHITE background for many witches. Nevertheless, black ean be a very serve as a suitable Bone useful color in flower arranging. Ablack other colors. The heavier-appearingdarker background, vase or accessory canoften browns can be used in flower arrangements Candlelight provide a striking contrast to a flower color. to give stability and depth to thedesign. Champogne Black may 1'2 used for its heavy quality as a Cream base to give stability in an arrangement. Ivory Black is often used in modern arrangements for its dramatic effect.

BROWN_ white Stable, Cool Chestnut White is usually associated with purity Cinnamon and innoceace. It has many religious conno- Fawn ORRY tations and is widely used inweddings. Mahogany Charcoal Snow gives white its associationwith cool- Russet Quaker ness. Although white can beused with all Silver colors, it is a very strong color and mustbe givfm special attention. As lightsdim in the Slate evening and other colors fade, thelast color Steel to be seen is white. 20 SPECTRUM versus PIGMENT COLORS

If you hold a prism up to a window so that bright sunlight passes through it, a portion of a rainbow will appear. Just like a rainbow in the sky after a rain, the colors always appear in the following order: violet, blue, green, yellow, orange and red (Fig. 2-25). The reason for this phenomenon is that the clear Figure2-25Rainbow light, sometimes called white light, coming from the sun (or even an artificial light source) is made up of wavelengths of light energy that include all these colors. See Figure 2-26. Clear light may also include other wavelengths of energy which the eye cannot see, like ultraviolet (which results in suntans) and infrared (associated with heat radiation). The wavelengths the eye can see make up the visible light spectrum. When clear light passes through the prism, the different wavelengths of light energy bend at different angles causing them to spread out SPECTRUM OF LIGHT into a rainbow (Fig. 2-27).

VISIBLE LIGHT Knowledge of the visible light spectrum helps in understanding the color wheel as well as how flower arrangements look in different lighting situations. Both of these topics will be discussed later.

It is important in understanding color to learn about the pigment theory of color. Pigments are minerals or other chemicals that reflect light in specific ways to create a sensation of color. Pigments absorb certain parts of the visible spectrum and reflect others which the eye detects. Ayellow flower NVVVNA like a daffodil contains naturally-occurring Sliorter wavelengths Longer wavelengths yellow pigments in the petals. As clear sun- MORE ENERGY LMS ENERGY light (composed of all the visible wavelengths alight) shines on the flower, all wavelengt hs Figure 2-25 The visible light spectrum are absorbed except yellow. Yellow light is 21 reflected back to the viewer's eye, so the flower is seen as yellow. The same reasoning applies to all other colors of objects we see: the color of the object is caused by the wavelengths that are being reflected from it. Spray paints contain pigments which are used to alter the natural color of the object being sprayed. Stem dyes, used mainly to color carnations, are taken up through the stem and deposited inside the flowerpetals. RED ORANGE The eye perceives the wavelengths reflected YELLOW by these artificial pigments as described, White GREEN and the flower color is changed. BLUE Light VIOLET

THE COLOR WHEEL Figure 2-27 Light passing throughaprism (See Color Plate I-1)

A color wheel is a circle divided into pie- shaped wedges of various colors arranged in a specific order. You canmake a simple color wheel using the colors of the rainbow by bendP ig it into a circle. Having usedthe rainbow as an example, it is noteworthy that Tertiary violet are called secondary colors(second PrimarySecondary color wheels are actually based on pigment Color Color Color colors rather than spectrum wavelengthsof order) because they can be madeby mixing together two primary colors. colored light like those in a rainbow. Color red + orange = red-orange wheels can be used to predict the outcome of Secondary yellow + orange = yellow-orange mixing different pigment. colorstogether. Primary + green = yellow-green Colors Colors yellow Some color wheels also show how theaddi- blue + green = blue-green t ion oNvhite or black will alter acolor. Floral + violet= blue-violet red + yellow orange blue designers, interior decorators and artists red + violet= red-violet find color wheels useful in developing inter- yellow + blue green work. blue + red violet esting color combinations in their Color wheels can be made more complex by mixing secondary and tertiary colors into Red, yellow and blue are called primary Tertiary colors (third order) arecreated fourth-order colors or by showing light or co!ors because they are the three from dark versions of each color. If the latter is which all ctL olors can be made by mix- by mixing a primary colorwith a secondary color next to it on the colorwheel. If the done, the darker color variations areplaced ingAtfirst this statement may not seem toward the center of each pie-shaped wedge possible. tiowever, a little experimenting tertiary colors were added tothe basic color wheel, it would be a twelve-spokecolor wheel and the lighter color variationstoward the with red, yellow arid blue paint will quickly outside of each wedge. show you that it is true. Orange, greenand (see page 22). 22

oucry.novsJD mrd-vyreavi3 Hue Hue is a general name for a spoke or pie- 1.Obtain an inexpensive set of paints. Kirk first the primary colors and then the shaped wedge of color on the color wheel. secondary colors. Use an artist's pallet or Thinking in terms of a six-spoke color wheel, other suitable surface to create the secon- the basic hues or families of color are: red, dary colors from the primary colors and the orange, yellow, green, blue and violet. Each tertiary colors from the primary and secon- of these hues can have many variations. The dary colors. lighter and darker color variations may have specific names but are still members of that hue. Colors that are muted with gray and 2.Use food coloring in jars or cylinders of water to show mixing of dyes to create secon- those that are very bright and intense are dary and tertiary colors. These could then be also im.rubers of that hue, Here are some labeled and put on display. examples: Hue 3.Place a prism in a sunny window where Some Color Members of sunlight can pass through the prism. It will the Hue A twelve-spoke color wheel bend the wavelengths of light at different angles, creating a rainbow on the wall, ceil- RED pink, scarlet, burgundy ing, floor or piece of white paper. Identify the ORANGEapricot, tangerine, rust spectrum colors and note their order of YELLOWprimrose, lemon, gold appearance. GREEN mint, kelly, emerald BLUE powder blue, azure, navy VIOLET (Note: The prism may riot create a very')right heather, purple, grape rainbow on a cloudy day or with artificial light. You may have to turn and move the An example of variation of the colorRED prism in many directions until you get a bright spectrum projected onto an area Variations of a Hue hue: red where all can view it. If the prism is propped 1.yijus tint: pink up for a longer display, the rainbow will shade: burgundy move or even disappear as the angle of the tone: dusty rose Thelightnessor darkness of a hue is sun's rays changes during the day.) called its value. If you think of colors as variations in "value": paints, a lighter color can be created by adding white to the pure hue and darker pink vs. burgundy COLOR TERMINOLOGY variations by adding black, The lighter val- variations in chroma: The vocabulary used for various aspects ues of a hue arc called tints. The darker red velvet ribbon vs. of color is somewhat detailed and is often values are called shades.The pastelcolors red satin ribbon used incorrectly by those not trained in the of pink, apricot, and mint are examples of subject. When used correctly, the terms can tints u their respective hues. The dark, rich aid in recognizing and understanding the colors of burgundy and navy are shades. many subtle variations in color. 23 2. Chroma VRIMIM-.3 Tell) Ar, VIM( Examples of Bright Chromas Chroma refers to the brightness or dull- Assemble a variety of objects from the class- ness of the color within a hue. It isaffected room that are just one color. This might * shiny gold ornaments by texture. Any color, including white, gray, include bolts of ribbon, candles, pieces of * mirrored surfaces and black, can have different chrornas. fabric, or articles of clothing, What is the * satin fabric Black patent leather, for example, has a name of the hue that has been chosen? * object sprayed with enamel paint hard, smooth, glossy chroma which may Attempt to select a specific name for the * florists' foil appear "more black" than black velvetwith color of each object. Decide if it is a tint or a its softer, more dull chroma. shade of the hue. How wouldyou describe its Examples of Dull Chromes texture (surface quality)? Docs it have a Plants often have many tiny hairs cove; - bright or a dull chrorna? Is there a hint of ing flower petals or leaves. These tiny hairs velvet fabric gray in the color? Would you call it a toneof moss reduce the brilliance of the color and give the hue? them a soft, dull or velvety chroma. Contrast leaves with hairs chenille stems that with hard glossy surfaces like shiny burlap ceramic containers. However, some leaves, COMBINING COLORS like camellia leaves, are naturally smooth and glossy. Other leaves can sometimes be Because arrangements are seldom just made glossy with plant shine. Both these one color, every floral designer isconfronted kinds appear brighter green than do dull, with making color choices from the materi- rough -text u red leaves. als available to him or her. Color combinations may be dictated by the holiday or the The full impact of chroma cannot be occasion, You can't go wrong with the tradi- shown on color wheels since they are printed tional combinations of red and green for in just one texture. Christmas, yellow and violet for Easter, and red, white and blue for the Fourth ofJuly. A 3. Tone customer may have a specific color request, reflecting personal prer(!rence. This takes Tone is a color variation of the hue the decision out ofyour hands. However, you resulting from addition of gray to the pig- may be given only a descriptionof the setting ment. The effect is a softer, dulled color. The in which the arrangement will be used. This toned color is more subtle and can usually leaves the choice of colors up to your edu- be conthined more safely with a wider range cated judgment. You now need a knowledge of ot her colors. Examples of tones are dusty of the range of acceptable color conthina- colonial blue, rose, heather, sage green and tions called color schemes. The followingcolorschcinesare frequently used in flower arranging, interior decorat ing, and fashion design. Sometimes the only matter of concern is the color 24 relationships of the arrangement with its Analogous Color Schemes container and accessories. This would be the case when the designer is making an An analogous color scheme includes assortment of arrangements for sale in a neighboring colors on the color wheel (Fig, shop.Othersituationsrequirecolor 2-29). It is perhaps easiest to understand coordinating the designs with a larger using a six-spoke color wheel. On such a setting. For example, in wedding work the wheel, analogous colors woi.ild be a primary bouquets, boutonnieres and corsages must and a secondary color positioned next to harmonize with the clothing. In party work, eat h other, such as yellow and orange, yel- the centerpiece must coordinate with the low and green, green and blue, blue and total table setting as well as the decor of the violet, violet and red, or red and orange. The room. Custom designedsilkordried scheme is never to be so large as to include arrangements must effectively enhance the two primary colors. However, it certainly can color scheme already existing in a room. include the tertiary colors between the primary and secondary colors, as well as all the Following are different categories of color different tints, shades, chromas and tones of scherws designed to help increase your these colors. A mess planting of mixed awareness of colors. No category is better or marigolds with its cheerful combination of Figure 2-28 Monochromatic worse than the others. They are only sugges- yellow, gold, orange and rust is a good ex- tions to open up to you new possibilities for ample of such a color scheme. creative and pleasing color combinations. Analogous color schemes are very safe in Monochromatic Color Schemes that they are usually pleasing to most people. An example of the use of yellow, Mono means "one". In a monochromatic yellow-green and green is yellow lilies, green design only on,, hue is featured (Fig, 2-28). gladiolus and dark green salal foliage. If However, that hue may appear in different foliage with yellow variegation could be ob- variations within the arrangement. Usually tained to add to the arrangement, it would the more variation there is in value, chroma add interest and also help carry out the and tone of hue, the more interesting is the analogous color scheme. result. Complementary Color Scheme An example of a monochromatic color scheme is an arrangement of pink snap- A complementary (or contrasting) color dragons,rose colored annual statice, red scheme is made by selecting colors generally roses and red huckleberry foliage, Rarely across from each other on the color wheel. does the foliage fall into the hue being There are two kinds of complementary color considered, but when it does, it can add a schemes:direct complementary and split special touch and added dimension. complenwntary. The direct complementary scheme involves two hues that are directly across from each other on tlw color wheel Figure 2-29 Analogous 25 (Fig. 2-30), such as red and green, yellow of another color. Such domination can be and violet, or orange and blue. If a twelve- avoided by the use of smaller white flowers spoke color wheel is used, combinations like such as baby's breath. blue-green and red-orange, or yellow-green and red-violet are also seen to be comple- If white containers are used, a more mentary. harmonious arrangement can be achieved when some white flowers are included with A twelve-spoke color wheel is essential to the other colors that have been chosen. An understand the second kind of complemen- even more subtle way to soften the contrast tary color scheme - the split complemen- of white is to include some white variegated tary scheme (Fig, 2-31). This involves three foliage along with the white flowers in such colors: a hue and the two colors that appear an arrangement. in the pie-shaped wedges on either side of the color that is directly opposite on the color The clean bright contrast of white with wheel. An example would be blue with or- other colors is one more color idea that ange-yellow and orange-red. Orange is di- designers can add to their mental list of rectly opposite blue on the color wheel but combinations to tly. would not be included in the color scheme. Triad Figure 2-30 Direct complementary A complementary color scheme emphasizes differences among colors rather than The color scheme called thetriad similarities. The floral designer may experi- involves three hues that are equidistant ment with these contrasts to produce re- from eacn other on the color wheel (Fig. freshing, bold and daring color combina- 2-32). A bold combMation of the three tions. primary colors f red, yellow and blue is an example of a triad, Another triad scheme Although white does not appear as a hue combines orange, violet and green. The three on color wheels, a commonlyused contrast- colors do not have to be vsed in equal ing color scheme conthines white with anyof amounts. In fact, the arrangement may be the colors on the wheel. The blendingof more effective if one color is used ingreater white mums with red carnations or white amounts and allowed to dominate the other gladioli with yellow roses is pleasing to most col ors. people. The concept of allowing one color to A red and white combination creates a dominate can be applied to the other color very strong contrast. However,white can schemes discussed as well as to 1 he triad. also be used wit h pastel colors to achieve a Experience has also shown that using too nmre subtle contrast, as inthe conthination few variations of a hue may be dull, while of pink carnations and white baby's breath. using too many may be confusing. The Because white has strong eye appeal, it can amount of eachcolor used and the variability within each color, regardless of dominate tlw arrangement if large white Figure 2-31Split complementilry flowers are used in equal quantity to flowers the color scheme chosen, is up to the

t-1I it 26 individualdesigner.Observation and These concepts will become even more clear experiencewill make thesequantity to you when you begin to critique your own decisions more obvious. work. Nevertheless, there are some general color guidelines that can be understood without drawing heavily upon the principles OW.00110'11'11'10 &T.ri.(4)1W1113/41A8 of design. Here are some suggestions that may assist you in your initial attempts to use 1.Collect an assortment of items (such as color. pieces of fabric, ribbons, candles, etc.), each of which is a single, solid color. Divide stu- 1. Repeat colors in a design. dents into groups of two or three and have each group draw the name of a color scheme Avoid using a color only once in a design. written on slips of paper placed in a basket. If the container is white and your flowers are Each group will look over the items and not, use a white fill/2r flower or use foliage select at least three of them to represent the with white variegation. Flowers that are color scheme that they have drawn. bicolored or have a different colored throat are useful in repeating a color. Don't ignore Have each group explain their color scheme significant colors that show up in containers tnd why they made the choices they did. or figurines you may be using. Figure 2-32Triad Colors can be pointed out on the color wheel as part of the discussion so that it is more 2. Don't use too many different colors. clear how the choices were made. Too many competing strong colors can What is the general class reaction to the lead to confusing res.: ills. Two colors can representativeexamples of eachcolor make a strong or a subtle contrast. Three scheme? well-chosen colors result in a slightly more complex color combination, but one which is 2.Using the twelve-spoke color wheel, have usually safe. Larger numbers of colors each student list three colors that can be should be used only when the colors are combined to represent a monochromatic, muted or toned down. For example, a dried analogous,directcomplementary,split arrangemerA made in the Williamsburg style complementary, and triad color scheme. can include many colors whose softened tones blend together in a pleasing overall effect. COLOR GUIDELINES 3. Let one color dominate. Color is important in helping attain most of the principles of design. It can influence When using more than one color, allow balance, proportion, rhythm, dominance, one of the colors to dominate by using more contrast, harmony and establishment of the of it. Equal amounts of color are difficult to focal point. These will all be discussed in the work with. An example is a cluirch ammge- next chapter entitled "Principles of Design." ment in which there are one dozen white 27 carnations and one dozen red carnationsof 6. Use largerflowers of a certaincolor to equal size. The results are often less than emphasize that color. Popular Color Combinations interesting. A larger flower has more density and * SantaFe colors of the Southwest desert - aqua, peach, adobe 4.rise darker coloredflowers deeper and more surface areathan a smaller flower; lower in the arrangement. therefore color appears stronger in the larger flower. One large white football mum has * Accented neutrals - earthtones, taupe, red of Darker colors usually appear heavier stronger eye appeal than several sprays * Contemporary contrast - black andwhite of white (with more visual weight) than do lighter white statice or even a whole bunch with any hue colors. Inserting the colored flowers further baby's breath. Small flowers, like starflow- into the arrangement than thelighter ers, may be clustered for morecolor impact. * Metallic - copper, silver, gold colored flowers will contribute to greater depth. Also, a lower placement of darker 7. Select either bold color contrasts or * Opalescent - pearlized effect, pinkblush colored flowers in the arrangement will give soft, subtle contrasts to suit the and lavender does situation. it more stability. This general guideline 1A/1-:tewashed effect - Wedgewood blue, not apply if the chroma of the material is mauve, pewter green and hyacinth moresignificantthanthevalue.For There is really no right or wrong when example, silver is a light color (it has a light comparing these two alternatives.Color value), but it can be very shiny (with a shiny combinations that match the mood of an chroma). The chroma gives it enough eye occasion will probably be moreappreciated appeal that it may carry more visual weight and longer remembered. A strong orange than a darker color. This means that flowers and black color contrast makes adefinite or foliages with a dominantehroma may :lso statement in a Halloween arrangement.A have to be placed deeper or lower in the bright arrangement of red, yellowand blue arrangement even if they are lighter incolor. might be suitable for an informaldaytime patio luncheon, but not for anelegant eve- 5. Use sparingly colors withhigh eye ning dinner. The gentleharmony of pink, appeal. lavender andpale bluemay be most pleasing at a bridal shower or in abouquet for a new Flowers,accessoriesor containers baby. which are very bright quickly attract the eye. They are most effectively used insmall qilantities and should be placed wherethey will attract attention to a key area in the h(LI'd'IITTIMAO arrangement (the focal point). A shinybrass of container may be overly dominant,while an 1.Based on the preceding discussion older one with an aged patina may be more color, examine several picturesof arrange- eilective. Flowers that are less bright can ments or slides of arrangements.Identify the usually be used safely in larger qu ant i ties in color scheme: that has been used.Critique arrangements than can verybright flowers. the arrangement based on thecolor guidelines given. 28 Another possibility is to have each student lights have a similar effect when used to react to one picture or slide and present his illuminate an arrangement. Those flowers Lighting surfaces withahigh chrome can or her observations to the class. It is helpful that are the same color as the light falling on produce the following effects: to be aware of how other people react to the arrangement appear intensified in color. color. Light colored and white flowers appear the * Glitzy color of the light. Other colors are distorted * Sparkly 2.Invite someone from outside the class and may appear dark or even black. * Shimmery who has not received any color instruction to * Shiny react to the colors used in several arrange- * Glittery ments. This may help you begin to under- Incandescent versus stand customer reactions to different color Fluorescent Lighting _} schemes used in floral designs. Artificiallightsourcesthatare commonly used where arrangements are viewed include both incandescent and LIGHT fluorescent lamps. Although the light they give off appears clear, it is actually different LIGHTING EFFECTS ON COLOR in the wavelengths of light it contains and therefore changes the way flowers and other It is sometimes surprising to see how objects look under it. Incandescent lights, different an arrangement looks at night on a the kind most often used in homes, give off dining table from what it did on the design large amounts of wavelengths in the red and bench, or how different an altar vase looks orange end of the spectrum. These highlight up in front of a church. Much of this can be the red and orange pigments in flowers, the explained by the change in lighting. Both warm colors. The result is a desired homey lightquality (color) and lightintensity feeling. Clear crisp blues, on the other hand, (brightness) affect color. are dulled under incandescent lighting. Fluorescent light is widely used be- LIGHTQUALITY cause of its higher efficiency especially in commercial settings, Fluorescent light is You learned earlier that clear light from much higher in the amount of blue wave . the sun is actually made up of many differ- lengths it contains. Blue flowers and blue ent wavelengths which include different objects are highlighted, while the red and colors of visible light. If the windows of a orange tones are subdued. room were made of red colored glass, the light in the room would be red and the Candlelight is high in orange and red objects in the room would appear reddish. wavelengths and affects flower color much This is because the glass absorbed all the like incandescent light does. However it is wavelengths except red. The red ones passed usually much less bright. through and were subsequently reflected from the objects in the room. Colored spot- 29 light inten- LIGHT INTENSITY merits for evening events where sity is likely to be low? Light intensity refers to the brightnessof be seen Shine the white spotlight on eachof the three the light, In general, all colors can the more easily in brighterlight than in dimmer flowers, How much easier is it to see light. Problems arise when light intensity is flowers? What is the effect of lightintensity which flowers can be seen? very low. on the ease with flowers, Some colors are very difficult to seewhen Shine the red light on the three have been de- What happens to the appearanceof e;ich the light is dim. Those that the tin ye scribed as receding colors (violet,blue and flower? Shine the blue light on of green) are most affected. Darkercolors are flowers. How does it affect the appearance affected more than lighter colors. Paleyel- each flower? low, light pink and white are amongthe last colors to remain visible as light intensity What conclusion can you drawregarding the objects it decreases. effect of light quality (color) on the shines on? Remember thatfluorescent light Certain flowers, like purple statieeand is higher in the bluewavelengths and incan- of what dark red roses, should be avoided in lowlight descent is higher in the red. In view situations, These flowers may appearto be you just observed, can youexplain why an black holes in the arrangement underthese arrangement of red rosesmight appear dif- than it does conditions, ferent under fluorescent lighting under incandescent lighting? Sometimes fluorescent lights arecolor- L-1) corrected to emit a higher amountof red Assemble spotlights that are red,blue light. These are sometimesused to light 1. also to light and white and flowers that are red,blue and displays of African violets and Use spotlights of different colorsand note the white (for example, a red rose, blueannual meat in grocery stores.How does this light change in appearance of the flowers. Other flowers change the appearance of theproduct? st a t ice and a white ('arnation). have on the can also be used,including silk flowers. What effect does the lighting Place each flower individually in abud vase. markf2ting of the product? Turning off lights, make the roomdark 2.Use one or two candles tolight up the I low is each enough ,,c) that most students arehaving ru,blue and white flowers. (ifficulty seeing the flowers clearly. Inthe flooxr affected? Can youPxplain the results remaining light, which of thethree flowers In terms of light intensityand light quality? can voil see best?Does this su:)port the st awn lent ni.a(1 c earlierabout which colors are inost ea seen in dim light?Which colors are ,uost diltieldt to see? Do youfeel !hese colo,should be used in arrouge- 30 TEXTURE Either bold or subtle textural contrasts are appropriate depending on the result the Texture refers to the surface quality of designeristrying toachieve. Textural any object. The major effect of texture on contrasts can be achieved not only in the color through a change in the chrorna has flowers and foliage, but also in the containet, already been discussed. The impact of tex accessories and background chosen for the Rough ture in a design goes beyond color and design. The velvety and shiny contrast deserves some special attention. (See Figure between roses and camellia leaves could be 2-33.) further developed by placing them in a shiny silvercontainer and displayingthe Some contrasting textures are sug- arrangement on a piece of rich velvet. gested in the following list:

fine or coarse smooth or rough olcsucv,Ivirs,o .4a-pa-nfresAo shiny or dull satiny or velvety 1.Examine pieces of cloth that may be downy or prickly used as backgrounds for arrangements. even or lumpy Answer the following questions about each sample. These textural qualities can be used to provide interesting contrasts or subtle com- What word best describes the texture of each patibility between the materials. The texture piece? of an object can also be associated wi.th the degree of formality thc.t the object repre- Does the texture suggest a formal or an sents. For example, an arrangement in a infoimal feeling? Mexican theme might include coarse pottery, cacti and other succulents with prickly What flowers, foliages or accessories would spines, coarse textured zinnias, and a be compatible with the cloth with regard to loosely woven serape with a lumpy surface texture? quality. Note that nothing has been mentioned about color. The textui e alone creates What flowers, foliages or accessories would a compatible grouping o items. provkle a strong contrast. to the cloth with Velvety regard to texture'? Velvety and satiny textures suggest a more formal situation. The soft, velvety tex- 2. Answer the same qtwstions listed above Figure 2.33-Textures ture of rose petals and shiny surface of bu'L in reference to articles of clothing worn camellia leaves are both associated wqh by students in the class. Clothing texture is elegance. They tre compatible when used One factor to consider in selecting flowers, oget but the contrast between the two foliage and rilkon for corsages and wv.!dding textures adds interest to the arrangement. bouquets.

t 3. Assemble an assortment of piecesof cloth, fresh, dry and silk flowers, ribbon, and other available accessories. Group these into the following textural combinations: A. A strong textural contrast. (Name the two contrasting textures selected.)

B. A subtle compatible textural grouping. (What word best describes the texture that you have developed?) C. A textural grouping that suggests formality. (Have you selected a contrasting or a compatible textural combination?) D. A textural grouping that suggests informality. (Have you selected a contrasting or a compatible textural combination?) 2P1?2ISM.UP' ©LP' LIZICOR

Kiefer's Floral, Coshocton

BEST COPY AVAILABLE 34 INTRODUCTION not of lesser importance but a:e related to more specific aspects of design than are the The principles of design are funda- major headings. It is unlikely that you will mental truths that have evolved over the consciously consider every one of these prin- centuries as the various art forms have ciples when you make a design. However, if developed. They aretime-tested given you are not satisfied with the result, it is statements that are universally accepted. likely that one or more of these principles Good art, whether it is painting, sculpture or have not been satisfied. flower arranging, is judged against these statements. PRINCIPLES OF DESIGN

Although artists agree on the definition Balance of the terms commonly used to identify Symmetry principles of design, they do not agree on the Stability exact listing of major art principles. Differ- Depth ences arise because these principles are so interrelated and must all function at one Scale time for a successful product. Changing one Proportion flower placement in an arrangement can affect the way two or three principles are Rhytlun Well balanced designs expressed in the arrangement. Transition by Hitomi Gilliarn, AIFD Your understanding of the principles of Harmony design will grow as you continue to practice Repetition different kinds of designs and observe de- Unity signs that others have made. An important long-range goal for you is to be able to use Emphasis the principles of design to help you evaluate Contrast your own work as well as the work of others. Dominance You will become aware of the expression of these principles in arrangements youseein books, magazines and design shows.By BALANCE seeing and understanding how skilled floral designers have been able to successfully A well balanced design is comfortable to apply the principles in their work, you can look at. It does not look like it will tip forward increase the number of valuable ideas you or sideways. The materials selected. the can extract from their examples and apply amounts of each used, and their placement them in your own creative work. in the arrangement all affect balance. All materials used in floral designs have weight- The major principles of design are listed real weight that can be measured by scales, here. Within each major category are one or and visual weight which is measured by the more minor principles of design. These are eye. In order to understand balance, you

3 BEST COPY AVAILABLE 35 BILATERAL SYMMETRY need to understand the concept of visual appear to radiate out from this point(Fig. weight. 3-1). As you look down on these arrangements, it would be possible to cut them in half in many different ways and still have the Figure 3-3 The visual weight of an object - whether Equilateral triangle it appears heavy or light to the eye depends halves looking basically alike. This is an on its size, color, texture andwhat we asso- example o. radial symmetry (sometimes ciate the object with. An example of how calledequidimensional symmetry). An visual weight and actual weight may differ is example of this is the Williamsburg kissing a dark gray fiberglass rock,which could be ball in which stems of boxwood, allof used at the base of an arrangement. Because approximately the same length, are placed of its dark color, rough texture, and our in a styrofoam ball (Fig. 3-2). Theboxwood perception of rocks as heavy, the rock has appears to radiate outlike rays of the sun. high visual weight. If we actually picked it up, we would discover that it isnot heavy. In both equilateral (Fig. 3-3) and isos- The larger the rock, the more visual weight it celes triangle arrangements, the design can would have. be cut into two equal halves by a line running down the middle from top to bottom. This Flowers or leaves that have open forms imaginary line is called the axis. These have less visual weight than those which design shapes are examples of bilateral appear more solid with smoothoutlines. symmetry. Unlike radial symmetry, with Lilies and iris appear lighter and more airy bilateral symmetry there is only one way the than most chrysanthemums and carna- design can be divided into two equal parts. tioris. A stem of camellia leaves appears The human body is an example ofbilateral Figure 3-4 he.ovier than an equal amount of leatherleaf symmetry (Fig. 3-4). The human body or asparagus fern. RADIAL SYMMETRY To better understand the effect of flower placement on balance, an understanding of two major categories of balance - symmetry and asymmetryis important.

SYMMETRY Synmwtry is a design principle that deals with parts that correspond to each other on rich side of an axis. Refer back to Chapter 2 where the various design shapes are listed. Within each designthere can be identified a point or a line around which the flowers are placed in a predictable manner. In circular arrangements the point is inthe center of the design. The flowers andfoliage Figure 3-1 Hound table centerpiece Figure 3-2 Boxwood kissing ball

BEST COPY AVAILABLE 36 Another type of symmetry is spiral symmetry a concept in three dimensions. 81.un(cly8svIrD 4U.i'SjV1d'Y The axis is in the middle with the flowers or foliage spiraling around it in a predictable Consider the following objects. Identify them as examples of either radial, bilateral or spiral manner. Garlands of boxwood around a symmetry. pillar in a church and Christmas greens around a porch railing are examples of spiral Typeof Symmetry TypeofSymmetry symmetry (Fig. 3-5). A. Daisy C. Orange stuck full of cloves Other examples of spiral symmetry are not as simple as the garland and pillar fit> example. Sonic line-mass arrangements like q 0 the S-curve can be shown to have spiral tr.) 0 10 symi net ry. An arrangement called thespirctl t5 4t. will be descdbed for you to make in a later "au (:).70.61Y isly chapter. Ribbon spiraling around a wreath U. Striped candy cane is an example of spiral symmetry (Fig. 3-6); the axis is a circle rather t han a straight line. D. Fan-shaped arrangenwnt

SPIRAL SYMMETRY

F.. Rose inSi(1(7 l'ieW

Figure 3-5 Pine mping around a porch support Figure 3-6 Ribbon spiraling around a (axis is a straight line) Wreath (axis is a circle)

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Asymmetry smaller flowers are placed farther away. Since groupings of flowers have more visual Symmetrical and Asymmetrical Balance Asymmetrical means NOT symmetrical, weight than do single blossoms, groupings not divisible into equal parts. Asymmetrical may be used to balance smallerflowers arrangements are balanced in that theydo farther away from the focal area. not appear to lean in any direction. However, ://a.WWW,IloWelIZZIWYWIAVIIWZIZASe zzzz/.40,//eivwznow.vezel/f.www. issometimes the balance is created by using placements Symmetrical balance 011 called formal balance; asymmetrical bal- 6160:611 of unequal visual weight at varyingdis- 1.C1.14.01.06 tances from the central axis. ance is sometimes calledinformal balance. Large period arrangements of the Occidental Figure 3-7Symmetrical A common example used to explain style associated with formal, classical eras asymmetrical balance is the see-saw. The in history show symmetrical balance. Mass pivot point maybe at the middle of theboard, arrangements of oval and round shapes as or the board may be moved sothe pivoi point well as many triangular arrangements (Fig. is off-center. The balance depends ontwo 3-10) and centerpieces are symmetrical. things: (1) how much weight is placed on each side and (2) how far thatweight is Line arrangements in the Oriental style placed from the pivot point. and many contemporary arrangements have asymmetrical balance (Fig. 3-11, 3-12). Figure 3-8 Asymmetrical If the pivot point is in the middle and This gives either a modern or a naturalistic equal weight is placed on eachside at an effect. Garden designs also have different equal distance from the center, the see-saw feelings depending on whether they are sym- will be balanced (Fig. 3-7). This is an ex- metrically or asymmetrically balanced. Per- ample of symmetrical balance, Iflighter haps you can identify with the difference in weight is placed on one side, it mustbe feeling between a naturalistic landscape and farther from the pivot point than theheavier a more formal symmetricalphn. weight to result in balance (Fig. 3-8). This is Figure 3-9 Asymmetrical asymmetrical balance. The board also Symmetrical Balance could be moved so that the pivot point is not in the middle (Fig. 3-9). If equalweight is then placed on each end, the see-sawwill tilt toward the longer end. To balance the see- saw, the weight nearestthe pivot point must be greater to counter the greaterforce of the V weight farther away.

Lind erst an d ing balance is important in deciding where to place flowers in adesign so thatit does not appear to tipsideways, forward or back. In a flower arrangementthe flowers with greatest visual weight are usually placed nearest the central axis,while the Equilateral triangle Diamond centerpiece

BEST COPY AVAILABLE 38 Symmetrical and asymmetrical balance can also be found in the setting for a flower acmgrirma arrangement or in the placement of an accessory that is an integral part of the total 1.Make a see-saw small enough to set on a design. An arrangement placed at the center table and use it to illustrate how different of a buffet table with a candle at either end weights arid distances from the pivot point is an example of symmetrical balance (Fig. will change balance. For each example that 3-13). Formal fireplace mantels or church is set up, relate the amount and positioning altars (Fig. 3-14) are often treated the same of physical weight to the positioning of simi- way. It is possible, however, to create an lar visual weights in a flower arrangement. Figure 3-10 Symmetrical - Equilateral triangle asymmetrical setting that is balanced. Using the buffet table again as an example, an 2. You will be given a selection of flowers asymmetrical arrangement and several and foliages. Rank them in order from the candles grouped together could be placed greatest visual weight to the least visual off-center on the table. This grouping might weight. List your reasons for doing so. then be balanced by a punch bowl at the Remember to consider size, color, texture opposite end of the table (Fig. 3-15). and form.

Figure 3-11 Figure 3-12 Asymmetrical Asymmetrical Right angle triangle Right angle triangle showing lower place- showing lower placement of large and small ment of flowers of flowers similar size

Fgure 3.13 Symmetrical balance

Figure 3-14 Symmetry of two right angle arrangements on either side of the cross on the altar

Contemporary design - Asymmetrical Figure 3-15 Asymmetrical balance

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3.Look at pictures of several floral designs. Stability may be lost if large, showy Where is the imaginary axis or point around flowers are placed high in an arrangement which the flower and foliage placements are with nothing to balance them lowerdown. arranged? Is the arrangement symmetrical Constricting the arrangement near the base or asymmetrical? Is the balance formal or will also lead to lack of stability. informal? DEPTH 4.Look at several pictures of floral designs that have accessories like birds, animals or Using flowers with greater visual weight figurines next to them. Cover up the acces- to draw the eye into an arrangement, espe- sory with a pieceof paper. Does the cially near the base, will produce depth. This remaining arrangement look balanced? also is likely to produce a betterbalanced How importantisthe accessoryin arrangement. Depth is the third dimension establishing an overall balanced effect? of an arrangement. It involves leading the eye both into an arrangementand around- 5.Look at srveral flowers of the same kind behind it. and size that are of different colors, for example, light, medium and dark pink car- A flat arrangement lacks interest. De- base nations. Which color has the greatest visual signs should usually be broader at the Oriental design - Asymmetrical weight? Which has the least? Where would not only in silhouette but also inside view you use the ones that have the greatest (Fig. 3-17). Flower placements should not visual weight - closer or farther away from appear to be pasted on asolid form. They the central imaginary axis of a floral design? should be spaced in a pleasingly in-and-out manner to lead the eye intothe arrangement. This "in-out-edness" is one aspectof In traditional arrangements, materials depth (Fig. 3- 18). It takes advantage of allthe with higher visual weight are used lower in three-dimensional space in an arrangement the arrangement to create a stable effect; and allows the individual flowers to bedis- they are sunken a little farther into the played to a better advantage. arrangement for depth. Both stability and depth are significant principles of design Changing the direction that flowers face that are related to balance. can lead the eye acrossand around an arrangement. This must be donegradually (Fig. 3-19). Special attention shouldbe given STABILITY to the sides of the arrangement.Some flowers should face sidewaysand eventually a In simple terms, a stable arrangement is few should face backward. These changesin one that does not look top-heavy. Its visual facing directions should never be abrupt. weight is well distributed so that more of the Arrangements in which the flowers allface heavier elements are placed lower in the the same way are flat. They also give youthe Flgure 3-16 arrangement (Fig. 3-16). Usually the base of uneasy feeling that your eyewill "fall off the Good stability with smaller flowers at top an arrangement is the broadest part. edge" whun it reaches the sidesof the design. and a broad base

BEST COPY AVAILABLE 40 Aspects of Depth Variations in color and texture in an arrangement will enhance the feeling of imnruyinin depth (Fig. 3-20). Coarser textures and darker, duller colors appear heavy. They 1. The instructor will construct a symmet- should be used deeper in an arrangement to rical triangular arrangement that shows draw the eye into the arrangement. The cool good depth. Each student should examine it receding colors of blue, violet and green draw for the following aspects of depth. the eye back, while the warm advancing colors of red, orange and yellow stand out. A. Look for the broad base in side view, The result is depth. Does it gradually taper up to the tallest point? The lighting on an arrangement can also affect depth. Lighting from behind will create B. Are there spaces behind the flowers? maximum depth because shadows are pro- Look to see if some flowers are sunken in. duced which attract the eye and add interest (Fig. 3-21). Lighting from the front will direct C. Looking from the front, examine the shadows straight back where they usually sides of the arrangement. Is there a are not seen, So, strong front lighting pro- gradual change in flower facing as you go Figure 3-17 Figure 3-18 duces a flatter appearance with less depth. toward the back? When you look at the Broad base in In-out-adness arrangement in side view, do some flow- side view of placement Candlelight is soft and often has the added intrigue of slight flickering of the flame. The ers appear to be directly facing you? resulting change of shadow patterns adds depth and interest to the design. D. What different colors and textures are represented in the arrangement? Where are the receding colors placed? Where are the advancing colors placed?

2.Shine a spotlight directly on the arrangement from the front. Can you detect a change in the feeling of depth? Now direct the light from behind the arrangement. Do you see shadows? Under which lighting (front or back) does the arrangement seem to have more depth? Which lighting makes it appear flatter?

Figure 3-19 Figure 3-20 Figure 3-21 Gradual change in facing Varying color and texture Back lighting to create shadows 1 4°

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SCALE that small arraligements can rely on their dainty charm to cover up violations of the Scale deals with the size relationship of principles of design. The truth is that a lot of Figure 3-22 an arrangement to its setting. Obviously, an skill is required to execute a good design in Miniature arrangement for a large stage needs to be a very small space (Fig.3-22). arrangements big, and an arrangement for a small coffee table needs to be petite. Flowers for a wed- Color and texture are important consid- ding held in a cathedral will be on a much erations in the decision of what amountsof grander scale than flowers for a wedding in each flower to use. The more any one color or a small country church. There is alogical texture is used, the more dominant that and harmonious relationship between a color or texture becomes and the greater design and its surroundings. If they have a importance it takes on. correct size relationship, the arrangement is Another important decision in creating said to bein scalewith its setting. Figure 3-24 an arrangement is theselection of the con- Oriental arrangement in PROPORTION tainer. The size of the container sets certain limits on the size of the arrangement. A shallow, rectangular The size relations between the different container that is taller than it is wide sug- container components within an arrangement are gests an arrangement with some height. A design is to make also important. The size of the container, the common guideline in floral size of the bow or accessory, the number of the height of the arrangement at least 1 1/2 flowers, and amount of foliage are all choices times the height of the container (Fig. 3-23). the floral designer has to make. The size and When a container is low and wide but is being used for an arrangement with height, amount of each of these used is called should be at proportion. If an arrangement isscaledup the rule is that thearrangement (made larger), the sizes of the components least 1 1/2 times taller than the container is will all increase but the proportions between wide. This type of arrangement is frequently (Fig. 3-24) with them will not. For example, the ratio of the seen in the Oriental style flower surface area to the container surface water showing in part of the container. area will remain the same even though more Flower placements even taller than 1 1/2 flowers and a larger container will be used in times the container are often acceptable and the scaled-up arrangement. usually result in a stately arrangement. Shorter heights are also possible if flowers Picture a miniature arrangement (less and foliage are extended down below the rim than 4 inches in any direction) that is then of the container (Fig. 3-25). enlarged twenty times. The size relation- How massive or delicate the container is ships within the enlarged design should still of the ar- be as artistically pleasing to the eye as they also dictates the size limitations rangement. A stoneware urn can be appro- were in the miniature arrangement. If this is not the case, the proportions in the mini- priately filled with a large, heavy line-mass ature arrangement were not ideal. This arrangement (Fig. 3-25). By contrast, a crys- Figure3-23 Using Figure 3-25 Arrange- tal vase is more suitable for an airydisplay a tall container ment extending below example is mentioned to dispel the myth rim of container

1 w L..4 BEST COPY AVAILABLY (1 42 of delicate flowers on long wispy stems (Fig. filler flowers, like star-flowers, remember 3-27). that they can be clustered together and used in loose bunches for a more pleasing size The container should not be so large and relationship with large flowers. heavy in appearance that it overpowers the arrangement. On the other extreme, the Open spaces or voids are as important arrangement should not overpower the as flower and foliage placements in deter- container. This has happened if the con- mining the use of the area within an arrange- tainer appears lost under a heavy load of ment, Open spaces often give added interest flowers and foliage. to the flowers that are featured in or near them, Also, as discussed earlier, voids are an Another aspect of size relationship is important element of depth. that of flowers to foliage. In general, large flowers look best when combined with foli- Proportion and scale become critical if age that has larger leaves (Fig. 3-28). Small an arrangement is displayed in a well-de- fine-leaved foliage is usually more effective fined unit like a niche or alcove. Similarly, Figure 3-26 Stoneware urn with heavy with smaller, more delicat,2 flowers (Fig. proportion and scale are of primary concern line-mass arrangement 3-29). when creating a design of pressed flowers in a picture frame (Fig. 3-30). The design must Size relationships also exist between the not be too large or too small; it must never various flowers used in an arrangement. A crowd the frame or disappear under it. A very iarge flower next to a very small flower helpful guideline for designing an arrange- of the same type is usually not desirable. ment in a well-defined space is this: the Even a very large flower next to a very small arrangement should occupy about two- filler flower of a different type is often unde- thirds of the area, while the background sirable. If you must work with very small should make up the remaining one-third.

Figure 3-27 Crystal vase with delicate open arrangement

Figure 3-28 Large iris and lupine combined with bold Figure 3-29 Arrangement cf delicate Figure 3-30 Floral picture showing good linear foliage columbine with fine sprengeri foliage proportion and scale 105

QESi"t"i.-Mr44A AlAtAB'i E 43

3.Consider the following settings for an C. An isosceles triangle in a wall niche OVIVIllettql6 arrangement. Sketch in the arrangement shape indicated. Give special attention to 1.Using small pieces of dried flowers, the scale of the arrangement (its size in grape vine tendrils, small shells, buttons relationship to the area where it is being and other miniature objects, have each displayed). student create a small arrangement less than five inches in any direction. When the A.Diamond centerpiece on a rectangular arrangements are finished, try to imagine dining room table each one five times larger than it is. (The proportions are the same but the scale has been increased five times.) Is the arrangement still pleasing to you?If the answer is yes, your proportions were probably acceptable in the small arrangement. If the answer 3 no, the proponions were probably not ideal in thesmall arrangement.

2.Consider the following containers for B. Crescent arrangement of pressed arrangements. Using the guidelines estab- flowers in an oval picture frame D. A vertical arrangement to beplaced on lished for height in relationship to container the floor between two doors size, sketch in the appropriate heightof an arrangement for each of the containers \.. -7 below.

[ -

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0 {___L____ 44 Arrangements ShowiN Rhythmic Flow RHYTHM A well-designed arrangement has the ability to lead the eye of the viewer around and through it by the careful selection of materials and their placement. This feeling of motion in the design is the principle of rhythm. Size, shape, color and texture of the materials, as wen as spacing between materials and the way they are angled, are all factors In leading the eye in some direction. As in music, the pattern that is developed is usually regular and predictable.

A In line arrangements the rhythmic flow is easy to see. The eye follows the straight or curved lines of branches, flowers or foliage. Willow branches, gladiolus and eucalyptus are examples of materials that naturally form lines, Round flower forms can also be used to form a line and therefore direct the eye along it. The repetition of the same flower will attract the eye and establish some type of movement, depending on the size, spacing and facing direction of the flowers. Major lines in line-mass and even in mass arrangements are sometimes caned trunk lines. They lead to or pass through the focal point (center of interest in an arrangement). They are usually established early in the construction of a design and are made using j ust one I ype of flower. Trunk lines arc useful in studying ow rhythm or visual flow is created. (See an example in Figure 3-31.)

Many different factors affect rhythm in a design.Todiscuss them more easily, we wiil look at an example of a specific arrange- Figure 3-31 Crescent arrangement with ment:- a vertical arrangement of roses and a C-shaped trunk line; focal point just assort ed foliages in a tall container with the above rim of container localpoint at the rim. Some techniques fur

10 45 achieving rhythm involve spacing,size, example, rose buds are smaller thanfull- 0 A shape, facing, depth and color. These willbe blown roses. A nice size rhythm along the considered individually in the following sec- line can be created with roses; buds should tions. be placed at the top, then gradually more open blossoms in themiddle, and finally 0 0/ Spacing Rhythm fully opened flowers at the rim of the container. The closer together flowers are spaced, the more visual attention they receive. If filler flowers are used, they are likely to 0 01, Therefore, the closest spacing should be at be smaller than the principal flowers,but the focal point with a gradual increasein they are an entirely different elementof the filler, spacing as the eye travels up thevertical design. If you were to look at only the 1. rhythm line. Although flowers near thefocal point it too should show size and space Figure 3-32 Flgure 3-33 Figure 3-34 ought to be close, they should never press on along the line. At times pieces of filler are Gradual Even spacing- Irregular bunched together near the focal point so increase in No rhythm spacing- each other and give a crowded effect. Going Jerky rhythm outward from the focal point, the distances that their size is larger than piecesused spacing- Good rhythm between flowers should gradually increase farther out in the design. in a smooth and predictable manner inorder to achieve rhythm (Fig. 3-32).Flowers that Shape Rhythm are evenly spaced result in aline that does not lead the eye because there is norhythm Changes in shape can also be regular (Fig. 3-33). Flower spacing that is irregular and predictable, and therefore rhythmic. Consider again the example of the roses. and unpredictable results in jerkyrhythm MI% (Fig. 3-34). Buds gradually opening to full-blown roses, with their change in shape, can be usedto If you had to make an arrangement with achieve rhythm. The narrowest pointed flowers of all one size, like graded carna- buds can be used farthest away fromthe tions, you would have to dependheavily on focal point. The more rounded forms arebest spacing rhythm to lead the eye alongthe used nearer the focal point. These canbe line. Size variation used along with spacing made to look even larger and more round by variation is best to create a rhythmiceffect. tilting them so they are viewed head on.This Figure 3-35 is related to another aspect ofrhythm- facing Rhythmic change in leaf shape Size Rhythm rhythm - that is discussed next. from linear to round

Larger flowers have more visual weight Foliage shapes can be changed in a and so are used closer to the focal point. vertical arrangement to help develop shape Smaller flowers of the same kind areplaced rhythm (Fig. 3-35). Long narrow leaves,like farther away. A gradual change in size from those of snake plant(Sansevieria)are used large to small should occur as the eye moves to establish the tallest partof the line; oval finally Figure 3-36 away from the focal area. Ingeneral, the shapes are gradually worked in; and Useof shape rhythm farther from the focal point, the smallerthe round shapes are used near the focal point to lead the eye flowers of any one type become,For (Fig.3-36).The predictable change in shape to the focal point 46 helps lead the eye to the focal point, while not arrangement. This is called depth rhythm distracting from the vertical line. and involves the arrangement of flowers in many designs to appear to radiate out from Facing Rhythm a common point. Depth rhythm gives unity as well as directional flow to the arrange- The suggestion has already been made ment. In a mass arrangement like the that tilting a rose to face forward in an mound, the eye is pulled inward to the focal Figure 3-37 arrangement is a way to increase its eye area which exists in the heart of the design. Side view of an arrangement appeal. It is especially desirable for flowers showing good near the focal point to face the viewer ir Color Rhythm facing rhythm order to gain maximum attention. As the eye travels up the vertical line, there should be Color can be used very effectively to lead a gradual and predictable change until the the eye from one part of a design to another. tallest flower is facing upright (Fig. 3-37). Usually colors with the greatest eye appeal This facing change is most evident in side are placed near the focal point, with a grad- view. The stem angles make a 909 change in ual change to less intense colors farther out direction. If the facing changes are abrupt, in the design. Colors that appear heavier are the result is an uncomfortable feeling called used low in the design and sunken in for jerky rhythm (Fig.3-38). depth. Using too many colors can create a confusing effect where color rhythm is not Facing changes also occur as the eye obvious. travels to the sides of the arrangement. While the focal flower may face directly Color rhythm may be created by a toward you, the side flowers will face side- change in value (such as pink to rose to dark Figure 3-38 ways or even backwards. This change of wine) or a change in chroma (such as soft Jerky rhythm resulting from facing leads the eye around the arrangement yellow to medium yellow to bright yellow). uneven facing and creates depth. Again this facing change Color needs to be repeated predictably must be gradual or jerky rhythm will result. throughout a design so that it does not occur in a random or spotty fashion. Depth Rhythm Rhythm is most effective when several or Depth in an arrangement can be all of these aspects of rhythm work together. achieved by an "in-and-out" placement of When the flowers to be used are all the same the flowers. Besides the effect on depth of the size and color, the designer must work facing of the flowers, there is another aspect harder on spacing and facing to ensure that of depth that leads the eye in and out of an the eye is led smoothly to the focal point. A.Identify the focal point. Is the tallest QIEITh(OLSOUMID .&©211MIT'111110 flower farther from the focal point than 1.Use seven carnations all of one color and the side points of the triangle? In consid- one size and a low container filled with a ering size rhythm should the tallest piece of floral foam. Arrange the carnations flower be larger or smaller than those at in a vertical line s. that they show spacing the side points? rhythm. Measure the distance between flowers, beginning at the bottom, and write them B. Is there a gradual change in spacing down in order. The figures should gradually as you move in toward thefocal point in become larger. If two numbers are the same all directions? Is the focal area crowded? or if a number sucki:-_nly shows up that is less If flowers are touching, consider remov- than the one before it, you probably have ing some or sinking some in for greater Jerky rhythm. If this happens, go back and depth. alter the placements to correct the situation. C. Do the flowers gradually change the 2.Use the same flowers to check facing direction they face as you go to the sides rhythm. Turn the container sideways. Do of the arrangement? Is the eye led behind the stems gradually change in angle from or does it stop abruptly at theedge of the straight up for the tallest flower to directly arrangement? out sideways for the shortest? If not, change the angle of placement without changing the D. Turn the arrangement to a side view. flower spacing. After you have done this, Can you see a facing change from top to look at the arrangement from the front. The bottom? Is the lower focal area sticking results should be pleasing. Can you relate all out the farthest or is it overshadowed by this to depth rhythm? placements above it? A pushed-in focal point usually is associated with facing 3.Use seven flowers of various sizes in changes that are not rhythmic. different degrees of openness. Arrange them in order from the smallest bud to the largest E.If there is any color variation, has it fully opened bloom. Do the stem lengths been used to lead the eye to the focal allow the smallest flower to have the tallest point? Describe the qualities of the placement in an arrangement? This is a flower color nearest the focal point and problem that frequently confronts floral those of the flowers farthest away. If designers. You may have to start your size there is a difference, are the intermediate progression with a slightly larger flower and values or chromas seen in between? eliminate the bud. Another option is to extend the stern length through the use of a F. Analyze the arrangement for depth. water pick attached to a hyacinth stake. Do the stems appear to radiate out from a common point? Are theflowers spaced 4.Look at a demonstration arrangement of so the eye can see into thearrangement? a symmetrical triangle like the equilateral and analyze it for the various aspects of depth.

115

BEST COPY AVAILABLE 48 TRANSITION and foliages that repeat colors found in a Harmony in Tropical vase or accessory will give a more unified and Arrangements Transition is a principle which is essen- harmonious appearance to a floral design. Allen Beck, AIFD tial to rhythm, but it has a wider significance Corsages which include colors that match or in floral design. Any change in size, shape, coordinate with the colors in the wearer's direction or color involves transition. A clothing will be harmonious. A silk arrange- smooth transition is created by using inter- ment to be used as part of the decor of a room mediate sizes, shapes and colors. A sharp is more likely to be harmonious with the change (as in the direction of a line, for setting if it contains some of the same colors example) results in an abrupt trarsition that are found in the carpet, wallpaper or which has been intentionally created for its furnishings. dramatic effect. The style of an arrangement must also be Transition is also very closely tied to appropriate fir the setting and the occasion. repetition and unity. In a case where the Two major categories of design styles are major flowers of an arrangement are of a formal and informal. A table centerpiece for different color from that of the container, a large wedding dinner would need to be repeating the color of the container in the formal, while a buffet piece for a back yard foliage or filler flowers will create a smoother barbecue would. most likely be informal. transition. For example, a yellow vase is Design shapes and materials chosen for an holding bright orange flowers. Choice of a arrangement influence how formal it ap- foliage with yellow variegation will make for pears. a smoother transition. Transition is perceived as the eye moves from one part of an On the next page is a list of considera- arrangement to another. The result should tions that may help distinguish formal from be a total unified statement. informal settings.

Many flowers can be used in both formal HARMONY and informal settings. A pompon chrysanthemum can appear totally appropriate in Harmony is the principle of total com- an informal, open arrangement for a picnic, patibility of all parts of an arrangement with placed on ared and white checked each other. It also relates to the appropriate- tablecloth. The same mum can be equally at ness of the arrangement with regard to its home in a formal silver candelabra with surroundings and the occasion. Any jarring roses and carnations, placed on a lace table- elements or disregard of any design prin- c loth .Theselectionof container, ciples will lead to lack of harmony. accessories, foliages and design style along with the flowers will determine which feeling Color harmony is often given special is given. If the combination is pleasing to attention. Refer to the unit on color and color viewers, the result is harmony. combinations to review color schemes generally regarded as pleasing. Using flowers

1"*"/

BEST COPY AVAILABLE 49 Combining contrasting texturesin beautifully.It would be much less har- flowers, foliages and containers may be monious to combine these with geraniums, harmonious if the materials are compatible autumn colored chrysanthemums, or red in formality. Velvety textured roses provide a poinsettias which represent other seasonsof nice contrast with the shiny silver of aformal the year. Tropical plant materials from warm container. In a corsage roses contrast appro- climates generally look inappropriate priately with the smooth leaves of camellia or combined withplants from northern ivy. However, a coarse textured sunflower temperate climates. Tropical foliage like would be inappropriate in a smooth silver or croton or philodendron harmonizes with delicatecrystalcontainer because the birds of paradise, orchids and ginger, while sunflower is informal and the containers are native greens such as euonymus or juniper formal. The sunflower would be more suit- look best withtheflowersof bulbs, ably used in an earthenwarepottery perennials and annuals that grow in container. northern areas. Dry-climate plants like cacti and succulents look most harmonious with Certain flowers and foliages are harmo- stoneware pottery, driftwood andother Formal nious because of where they grow orwhen coarse textured, earthtoneaccessories that they bloom. Spring flowers liketulips, suggest their natural habitat. daffodils, irises and pussy willows combine

Formal Informal

Design Shape arrangement usually arrangement often symmetrically asymmetrically balanced balanced

Placement of arrangement usually arrangement may Design placed symmetrically be placed off-center in center of the setting or in balanced pairs Informal Flowers Used those associated with those associated with formal occasions - informal occasions roses, orchids, daisies and garden carnations, lilies flowers like marigolds, zinnias, geraniums, sunflowers

Textures smooth, shiny, or coarse, rough velvety 1 , ) 50

Harmonious Or.1001.-Virl.C1) &q.1.'111\7111111tg C. Sundaybrunch for close friends Flower Combinations D. Hawaiian luau 1.Haveeach person think of and then E. pizza party describe a situation that would require a F.National Honor Society tea formal floral arrangement and one that would require an informal floral arrange- 3.Describe the types of arrangements that ment. Tell for each what flowers and con- would be suitable for the following settings: taineryou would use, what design shape you would select, and where you would put the A.hospital room design. Explain how each arrangement B.Williamsburg mantel Formal roses and exhibits harmony with its setting and occa- C.principal's desk snapdragons sion. Did you remember to use color and ) D.Easter dinner texture to enhance !'rarmony? E.brunch for Ohio Conservation Club F.animal judging team banquet 2.Describe the types of arrangements that would be suitable for the following occa- 4, From the list below of flowers, contain- sions: ers, design styles and accessories, pick one from each column to make a harmonious A. New Year's Eve party grouping.Tryto find at least four groupings. 13.opening of a new bank Summer garden flowers

Flowers Containers Accessories DesignStyles

daisies palm spathe antique velvet line covered picture roses Oriental urn album open line-mass

fuji mums silver Victorian coconut open mass compote birds-of- papier-mache compact mass paradise hollowed-out mushrooms log long-legged bird figurines

Spring flowers

12 BEST COPY AVAILABLE 51

REPETITION surroundings. Repetition is anessential element of unity. Harmony in styleand Repeating a color, texture or shape suitability for the occasion as well ashar- throughout an arrangement is desirable and mony in color and texture are necessaryto necessary to give the arrangement afeeling create a feeling of oneness in adesign. that it is tied together. Using the sameflower throughout the arrangement is one way to The establishment of a focal pointand accomplish this. The flowers, however, must the selection of one dominantflower in an be placed rhythmically (with predictable arrangement will unify thedesign. Avoid differences in spacing) to avoid monotony. using a flower in only one partof a design and do not layer colors. Try toachieve a More subtle repetition may be evident rhythmic transition so that the viewer's eye when different materials having the same is led throughout thedesign in a predeter- qualities are used. The yellow color of a mined manner. As you can see, thegoal of container may be repeated in a yellowfoliage unity is achieved only if severalother prin- variegation, the coarse texture of a pottery ciples of design have been wellcarried out. container may be repeated in the roughness of a dried leaf, or the oval shape of a container may be repeated in an oval design EMPHASIS shape selected for the arrangement. A well-planned arrangementwill have Accessories and backgrounds present one material that dominates overthe others additional opportunities for clever repeti- and one area that has the strongest eye tion. Table settings have the possibilityof appeal. Therefore, that area andthat domi- repeating colors not only within the arrange- nant material are emphasized.Other mate- ment but also in the china, napkins, napkin rials in the arrangement mayprovide con- holders, candles and other accessories. A trast but take a second orthird place in dried or silk arrangement for a room should terms of attracting the eye. Figure 3-39 contain colors and textures that arefound in The largest rhododendron at the rim of the the wallpaper, carpeting and furniture. The area of emphasis in an arrangement container is the focal flower Wedding flowers, including not only the is called the focal point orcenter of interest. larger arrangements for the sanctuary but In traditional flower arrangingit is usually also the flowers worn by the women and men located just above the rim of the container attendants, are tied together as a total state- and is where the largestflowers are placed ment by repeating colors throughout.Repe- most closely without crowding.(See Figure tition is a key factor in esLablishing unity. 3-39.) The flowers in this area areusually phlced facing directly outwardand they UNITY stand out closer to the viewerthan other flowers in the arrangement. Afocal area that Unity is a statement oi togetherness that does not stand out like this, butinstead is results when all parts of the design arc pushed in is called a recessedfocalpoint. If compatible with each other and with their flowers that arc too small areused in this

BEST COPY AVAILABLE 52 area, it is called a weak focal point. Re- In one-sided mass arrangements the cessed or weak focal points are mdesirable focal point is usually in the centerjust above and are considered to be serious flaws in a the rim of the container. Symmetrical trian- floral design. gular arrangements and fans exhibit this very well (Fig. 3-41), In line-mass arrange- Color can be used to give more emphasis ments the focal area is also usually just to the focal point. If there is color variation in above the rim of the container, but it may not the design, the brighter colors with more eye be centered and there may be s;gnificant appeal should be concentrated here, If flow- extensions of the arrangement both above ers are at various stages of opening, the more and below the area. In crescent and Hogarth fully opened blossoms should be used near curve designs, approximately two-thirds of the focal point. the arrangement is above the focal point and one-third is either to the side or below it, Although the eye of the viewer is immediately attracted to the focal area, it should A common flaw in establishing a focal not stop there, A good design soon leads it area is to crowd the flowers together very Figure 3-40 through the arrangement in a rhythmic closely. This is likely to happen if you have The focal point is deep in the design manner to the outermost points. Then a not left enough space between the flowers at good design directs the eye of the viewer the upper and outer extremities of the de- back to the focal area by a gradual increase sign. Crowding the point flowers at the start in size and decrease in spacing of the flow- of design construction can result in a very ers, and by predictable differences in facing, crowded look by the time you work toward shape and color. the focal point. A possible way to correct the flaw is simply to remove flowers from the The focal point can be most easily iden- crowded area. You could also pull some tified in a line design that has few flowers. It flowers out farther and sink others in *s_ is usually represented by the single largest deeper. (The pulled-out flowers should be flower. In Oriental and modern line designs completely removed and then reinserted in the focal point is elevated well above the the floral foam so that an air pocket does not container and is surrounded by consider- form right under the cut stern.) The latter able space. solution will maintain the visual weight of the flowers while improving another impor- In an all-around mass arrangement the tant principledepth. center of int erest is represented by an imaginary point deep in the design from which all Designers are sometimes faced with 111.1111110111=MINOISIMIMMOININIII the flower placements appear to arise (Fig. flowers which are relatively small and have 3-40). The actual spot may not be seen, but little size variation to help establish a focal it is clear from t he angle of stem placement point. Such small flowers can be clustered that the design is unified by this point of into different sized bunches, with larger radiation. units used near the focal area. Figure 3-41 The focal area is low in the arrangement where the largest rose3 are facing the viewer 1 r)5

BEST COPY AVAILABLE. 53 B. Equilateral Color near the focal point is a little more D. Oriental complicated since eye appeal is determined triangle by various aspects of the hue.Usually arrangement darker colorsarethoughtto bethe "heaviest" and therefore most suitable for using near the focal point. This is notalways true, since the darker colors may bedull and often are hard to see in dim light.Dark flowers are usually good for sinking down int o the arrangement for depth.Flowers that have a bright chroma would be natural choices for using near the focal point. The designer must look at the materials available to work with, evaluate thelighting conditions under which the arrangement is to be viewed, and then decidewhich flowers E. Inverted-T will have the highest eye appeal,The de- arrangement signer will then use moreof these flowers near the focal point. C. Line arrangement gltUUll'O`'2`Lq;a) J,VCITTYllifila1;0

1.Draw a circle around the focalpoint (center of interest) in thefollowing arrangements. lithe focal point is not a flower or a group of flowers but is an F. Modern imaginary point within the design,draw arrangement an arrow to where youthink the focal point is in the arrangement. J. Scalene triangle

11 A. Diamond centerpiece

BEST COPY AVAILABLE 54

Examples of Dominance 2.Look at a demonstration arrangement used without restraint, it leads to confusion which was well-planned and shows a lot of and busyness. motion. Or find a large picture of such a design in a book or magazine. Concentrate DOMINANCE on how your eye travels through this arrangement. Is your eye attracted first to the When several forms, colors or textures focal point? Does it then travel to the outer- are used, one should be used in greater most points and then back again to the focal quantity than the others. Thus, one domi- point?An interesting variation on this nates while the other elements take a secon- exercise is to have someone watch your eyes dary position. as you look at the arrangement for the first time. Your eye movements will confirm A classic example of lack of dominance whether or not you have experienced the can occur when an arrangement is to be arrangementinthe manner thatis made with equal numbers of red and white encouraged by the principles of design. carnations. They are of equal size and when Larger calla lilies dominate roses and orchids used in equal quantity, they compete with each other. While a skillful designer could CONTRAST manipulate the materials into a desirable product through placement, it would be Differences in color, texture and form are much easier to have unequal quantities or used in flower arrangements to introduce two different types of flowers. variation and interest. Often the difference will highlight the dominant material. The The flower used in largest quantity is the contrasting colors of red and green are an dominant flower and those used in lesser example. Red 1ryiks more intense next to quantities are the secondary flowers or filler. green than it does in the absence of green. The secondary flowers should, however, either iollowthe pattern of the arrangement Contrast can also add interest to materi- or be introduced as a secondary line of color als that are not as dominant in the arrange- or form. ment. For example, the linear form of yucca or snake plant leaves is emphasized by the In line arrangements, because of their presence of round galax leaves at their base. elevated position, taller flowers tend to A rough-textured leaf looks coarser next to a dominate shorter flowers. If two flowers have smooth background than it does against a the same stem length and are placed side by woven background. A curving branch of side, they will not lead the eye down the lines wisterialooksmore interesting when it in- of the arrangement. Stern lengths should be tersects a strong vertical line of iris leaves gradually decreased as yogi near the focal than it does by itself. point. This establishes dominance in height and helps create a clean-cut, distinctive Taller heliconia dominates shorter placements Contrast should be used somewhat pattern. sparingly to enhance the dominantform, color or texture ina design. When contrast is

BEST COPY AVAILABLE "TG THE PRINCIPLES OF DESIGN Guidelines The principles of design are interwoven 1. An arrangement should be at least one and a half times the one with another. The designer, somewhat height of a tall container or one and a half times as tall as the like a computer, is faced with hundreds of width of a low elongated container. possible correct choices in the selection and placement of materials. If each member of 2. Use odd numbers of flowers if you are using less than tenof the class made the same style arrangement, one kind in an an'angement. Thiswill avoid the lining up of and if everyone correctly employed the prin- flowers in awkward geometric shapes. ciples of design, still no two would be exactly alike. There are many very good, but differ- 3. Avoid crossing lines and lines that abruptly changedirection. ent, products that could be created, even if each student were given the same kinds of 4. Use smaller flowers farthest from the focal area andgradually materials. increase flower size as you move toward the focal area .

It is impossible to describe every possible 5. Flowers farthest from the focal area should be farthest apart, way that the universal art principles can be gradually getting closer together as you move toward the focal expressed in flower arranging. Even so, area. Avoid equal spacing of flowers. every good design will adhere to the principles. It should be your goal to analyze your 6. Flowers should not crowd or touch each other. Sink some work and the work of others based on the flowers in for depth. Leave space around the flowers. principles of design. Practice using the terms so that you become comfortable with 7. The focal point should be prominent, standing out closest to their meaning. Then you should be able to the viewer. Don't push in the focal point by overshadowing it apply the principles creatively in your own with other flowers. original work. 8. Filler or secondary flowers should repeat the shapeof the t1adittQni design in a rhythmic way. If you looked at just the filler, it should reveal the design shape with closer spacing near the As the art of floral design has become focal area. mor e formalized through practice,teaching and writing, there has developed a group of 9. Keep flowers from lining up in distracting patterns. traditional guidelines that are frequently cited by people involved in flower arranging. 10. Gradually face backward some of the flowers nearthe edge These guidelines may be especially bene- of the design to increase depth. ficial to beginners in helping them avoid certain cournon mistakes. The advanced 11. Don't use too many colors. (An assortment is permitted in designer knows when and how to use historical period designs.) exceptions to these guidelines in specialized design styles. These guidelines, listed in 12. Hide mechanics used to support the flowers. random order, arc an important part of your floral design training. Ilk

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Form flowers like lilies dominate round filler flowers

BEST COPY AVAILABLE CHAPTER 4

CCTI,14 El'ILTirg2f30 CIECI l'&71.1A,g1.1 58 There is a vast array of cut flowers and The following listing of cut plant mate- may be found in the identification section foliageavailabletofloraldesigners. rials available to florists is intended to be at the end of Chapter 17, "Living Plant Choices continue to multiply as marketing an introduction to some of the more com- Groupings." Garden books listing annual channels expand. Efficient transportation mon flowers and foliages used in arrange- and perennial plants are an additional systems rapidly deliver plant materials ments. The list is divided into two parts: source for the identification of flowers and from all parts of the world to local whole- Cut Flowers and Cut Foliage. The plants foliagethat can be incorporated into salers. are listed alphabetically by genus.For arrangements. those unfamiliar with scientific names, Availability of some flowers varies with each section includes an alphabetical list- If you are cutting material from the the time of year because of their natural ing (index) of common names with the garden or from greenhouse plants, be care- blooming time or the production schedules corresponding scientific names (genus and ful to condition it properly by placing it in that have been set based on demand for the species). water with added floral preservative for a product. For example, it is still easiest to few hours before using it. Any material that obtain poinsettias and holly at Christmas, The picture of each flower is accompa- is to be stored overnight or longer should be tulips and daffodils in winter and spring, nied by information regarding the primary placed in a cooler to prolong its life.For and asters in summer and fall. Occasion- use of the flower (line, mass, filler or form), further information on this subject, refer to ally it is possible to get some flowers out of the common colors it comes in, its availa- Chapter 28, "Conditioning and Storing Cut season, but there is usually an increase in bility, the unit in which it is bunched, and Flowers." price as availability becomes more limited. in some cases special notes about the Other plant materials like leatherleaf fern, flower. The foliage pictures are accompa- huckleberry, chrysanthemums and carna- nied by information on the bunching unit tions are available year-round. When a and availability. flower is in high demand, like roses at Valentine's Day, the price is likely to in- With experience, you will likely en- crease si ibstantially. counter exceptions to the listed information. There is much variation in many of It is good to have a general knowledge of the plant materials.New cultivars are the flowers and foliages available at a given frequently introduced, and new design time of year, how they are bunched, and styles sometimes create new uses for the what colors they commonly come in, Then materials. Also there is a general lack of one must become familiar with the local universally accepted grading and packing wholesalers and learn what they can sup- standards. For example, many things are ply. The wholesalers' selection of material sold by the bunchThis unit may vary is based on the demand in the area they greatly between suppliers and with the serve and the vohnne of business they do. time of year. Therefore, the selection and price in a wholesale house that serves a large metro- This list can be used as a reference in politan area may be quite different from the identification of floral design mate- those in a wholesale house that serves a rials. It can give you ideas of different alter- number of smaller connnunities, natives to the basic materials you are used to working with. Additional cut material 59

Agapanthus atricanus 3 Acacia dealbata Achillea Illipendullna 2 LILY-OF-THE-NILE ACACIA YARROW Family: Compositae Family: Amaryllidaceae Family: Leguminosae Use: Mass Use: Form Use: Filler Color: Gold Color: Blue, white Color: Yellow Availability: Fresh - summer, fall; Availability: Spring, summer Availability: Late winter, spring Dried - year-round Unit: 10/bunch Unit: Bunch Unit: 10/bunch Note: Thick sturdy stems, large flowers Note: Sheds easily; store in plastic baguntil Note: Sturdy stems; long lasting; may used be air dried

Anemone coronarla 6 Alliumsp. 4 Aistroemerla sp. 5 ANEMONE PERUVIAN LILY FLOWERINGONION Family: Ranunculaceae Family: Amaryllidaceae Family: Alstroemeriaceae Use: Mass, fbrm Use: Form Use:Form, filler Color: Yellow, pink, orange, white, lavender Color: Purple, red, pink, white Color: Lavender, White Availability: Spring Availability: Spring, summer Availability: Year-round Unit: 10/bunch Unit: 10/bunch Unit: 10/bunch Note: Collar of leaves under flowers; petals 8" across Note: Interesting delicate form; long-lasting; Note: Various sizes ranging from 1" to easily reflex backward sturdy stems

Ft E 60

t!" 7 Bouvardia sp. Anthuriurn sp. Antirrhinum major 8 9 ANTHURIUM SNAPDRAGON BOUVARDIA Family: Araceae Family: Scrophulariaceae Family: Rubiaceae Use: Form Use: Line Use: Mass, filler Color: Real, pink, white Color: Yellow, orange, red, pink, white, lavender Color: Pink, white, rose Availability: Year-round Availability: Year-round Availability: Spring Unit: 10/bunch or individually Unit: 10/bunch Unit: 10/bunch Note: Stiff waxy spathe; long lasting; store Note: Tips bend upward (geotropic response) Note: Delicate star-shaped flowers in clusters above 559F

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Ca ilistephus chinensis 10 Centaurea cyanus 11 Chaenomeles speciosa 12 ASTER BACHELOR'S BUTTON or CORNFLOWER QUINCE Family: Compositae Family:Compositae Family:Rosaceae Use: Mass Use: Mass Use: Line Color: Pink, purple, white Color: Blue, pink, white Color: Pink, peach, scarlet Availability: Summer, autumn Availability: Spring, summer, autumn Availability: Spring Unit: 25/hunch Unit:Bunch Unit: Bunch Note: Single, douMe u d powderpuff Note: Delicate, good source of true blue for Note: Flowers clustered on the stem with inuch types available corsages and wedding work wood showing; can be forced in late winter Cattleya sp. see Orchid CATTLEYA UHOHID 14 r , 13 ;11.tt-4.1 61 STANDARD MUMS- Large flowers SPRAY MUMS - Several small flowers on Chrysanthemum frutescens-see next page stiff stems branch off main stem (13-15) usually over 3" across (16-19)

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Chrysanthemum morifolium CHRYSANTHEMUM, MUM Family: Compositae Use: Mass, filler Color: White, yellow, lavender, bronze, orange Availability: Year-round Unit: Bunch 13 Note: Long-lasting, always available, and INCUIWED (FOOTBALL) 17 SINGLE (DAISY) relatively inexpensive One or more rows of petals around central Petals curve upward and inward form- disk ing a large globular flower

' 4. .4 P. -:".:". r

14 SPIDER 18 POMPON Long tubular petals with hooked ends, Double, ball-shaped flower center petals shorter

DECORATIVE 16 .. Double flowers with outer petals longer than inner ones

15 FUJI 19 ANEMONE Tubular petals with a brushlike appearance Like single, but central disk is a cushion of short tubular petals

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Chrysanthemum frutescens 20 Convallarla malalls 21 Dahlia pinnate 22 MARGUERITE DAISY LILY-OF-THE-VALLEY DAHLIA Family: Compositae Family: Liliaceae Family: Compositae Use: Mass Use: Filler, line Use: Mass Color: White, yellow Color: White Color: Red, orange, pink, yellow, lavender, Availability: Spring, summer Availability: Spring white, bi-colors Unit: Bunch Unit: Bunch Availability: Summer, autumn Note: Delicate daisy flowers; do not last as long Note: Turns brown easily; dip in glue/water or Unit: Bunch as single mums spray with clear sealer to retard discoloring Note: Flowers easily bruised and knocked from stems; large hollow stems; stem ends may Cymbidlum sp. seeOrchid be burned to seal; keep in deep water CYMBIDIUM ORCHID

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STANDARD CARNATION 24 MINIATURE CARNATION 25 23 Unit: 25/bunch (graded blue, red, green, white) (MINI-CARNATION) Note: Large single flowers; watch for split calyx; Unit: Bunch Delphinium elatum Use: Line may be stem dyed Note: Branched stems with small flowers in DELPHINIUM Color: Blue, hivender, white various stages of opening Family: RanunculaceaeAvailability: Spring, summer Unit: 10/bunch Dianthus caryophyllus Use.. Mass, filler I CARNATION Color: Pink, red, white, yellow, orange, lavender, bi-color Dendroblum sp. see Orchld Family: Cartophyllaceae DENDROBIUM ORCHID

1 4 1

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27 Eucharis grandiflora 28 Diosma sp. 26 Erica sp. HEATHER AMAZON LILY DIOSMA Family: Amaryllidaceae Family: Rutaceae Family: Ericaceae Use: Line, filler Use: Form Use: Filler Color: White Color: Pink, white Color: Lavender, pink Availability: Winter, spring Availability: Spring, summer Availability: Winter, spring Unit: Individual Unit: Bunch Unit: Bunch Note:Florets shed easily Note: Special flower for corsages or wedding work

r Ai/ 4-1' Freesia x hybrids 31 29 Forsythia x intermedia 30 Euphorbia fulgens FREESIA EUPHORBIA FORSYTHIA Family: Iridaceae Family: Euphorbiaceae Family: Oleaceas Use: Form Use: Line Use: Line Color: Yellow, lavender, orange, white, rose Color: White, orange, yellow Cf)lor: Yellow Availability: Winter, spring Availability: Spring, winter Availability: Winter, spring Unit: 10/bunch Unit:10/bunch Unit: Bunch Note: Single or double with sweet fragrance Note: Seal stems in hot water Note: May be forced in winter 64

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Gardenia grandiflora 32 Genista fragrans 33 Gerbera jamesonli 34 GARDENIA GENISTA GERBERA DAISY Family: Rubiaceae Family: Leguminosae Family: Compositae Use: Form Use: Filler Use: Mass Color: Creamy white Color: Pink, yellow Color: Red, yellow, salmon, pink, white Availability: Year-round Availability: Winter, spring Availability: Year-round Unit: Individual bloom or box of 3 Unit: bunch Unit: Bunch or individually Note: Sweet fragrance; easily bruised and Note: Store upright; protect flower with collar; turning brown dip stem in alcohol

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G!adlolus x hortulanus 35 Gloriosa rothschildiana 36 Gypsophila paniculata 37 GLADIOLUS, GLAD GLORIOSA LILY BABY'S BREATH Iridaceaci Family: Liliaceae Family: Caryophyllaceae Use: Line Use: Form Use: Filler Color: Red, yellow, white, pirA, salmon, orange, Color: Red and yellow Color: White, pink lavender, green Availability: Winter, spring, summer Availability: Year-round Availability: Year-round Unit: Individual Unit: Bunch (1nit:1 0/bunch Note: Open at 1:(5)1n temperature in W11111 water; will curve upward (geotropism) 1 1-4 Trj. ,TA 411.- r,,-%., n t: 65

Hippeastrum x hybridum 39 Hyacinthus orlentalls 40 AMARYLLIS HYACINTH Family: Amaryllidaceae Family: Liliaceae Use:Form (Ise: Form, mass orange Color: Blue,pink, white, purple Use: Form 38 Color:Red, pink, white, Helicon la sp. Availability:Winter, spring Availability: Winter,spring HELICONIA Color: Yellow, red Unit: Pot or cut bunch Availability: Year-round Unit: Individual or bunch Family: Musaceae Note: Fragrant; individual florets used in Unit:Individual corsage andwedding work

Leptospermum scoparIum 43 Iris hollandica 41 Lathyrus odoratus 42 SWEET PEA LEPTOSPERMUM DUTCH IRIS Family: Myrtaceae Family: Iridaceae Family: Leguminosae Line,filler (Ise: Form, mass Use: Filler Use: Color: Pink, white, lavender, red Color: Pink, white, red Color: Blue, yellow, white Availability: Winter, spring Availability: Winter, spring Availability: Spring, summer Unit:Bunch Unit: 10/bunch Unit:Bunch Note: Fragrant and dehcate

Liatris splcatasee next page

17)1) 66 Lillum sp. (44-46) LILY Family: Liliaceae Use: Form

Lillum longlflorum 44 LIllum sp. 45 Lillurn rubrum 46 EASTER LILY ASIATIC LILY RUBRUM LILY Color:White Color: Yellow, orange, white, pink Color: Pink Availability: Spring Availability: Winter, spring, summer Availability: Spring, summer Unit: Bunch or pot Unit: 10/bunch Unit: Bunch Note: Fragrant; remove anthers to avoid Note: Remove anthers Note: Remove anthers staining

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Llatrls spicata 47 Limonlum sinuatum 48 Matthiola Inoana 49 LIATRIS ANNUAL STATICE STOCK Family: Compositae Family: Plumbaginaceae Family: Cruciferae

Use:Line Use: Filler Use: Line Color: Lavender, white Color: Purple, yellow, rose, white Color: Purple, white, lavender Availability: Year-round Availability: Year-round Availability: Winter, spring, summer Unit:10/bunch Unit: Bunch Unit: 10/bunch Note: Stiff sterns, long lasting Note: Stiff, winged stems, long lasting; will keep Note: Fragrant color when dried 67

51 Narcissus tazetta 52 Molucella laevis 50 Narcissus sp. DAFFODIL PAPER-WHITENARCISSUS BELLS OF IRELAND Family: Amaryllidaceae Family: Labiatae Family: Amaryllidaceae Use: Form, mass Use: Form, mass Use: Line Color: White Color: Green Color:Yellow,white, bi-color Availability: Winter, spring Unit: 25/bunch Availability: Winter, spring, summer Note: Fragrant Unit: 10/bunch Unit:10/bunch Note: Remove leaves to expose bells; pungent

ORCHID (54-58) Family: Orchidaceae =1IMAMM- /

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54 Cymbicilum sp. 55 Nerine sp. 53 Cattleya sp. CYMBIDIUM ORCHID NERINE LILY CATTLEYA ORCHID Family: Amaryllidaceae Use: Form Use; Form Color: Pink, green, yellow Use: Form Color; Lavender, white Availability: Year-round Availability: Year-round Color:Pink Unit: Individual or spray Availability: Winter, spring, summer Unit: Individual Unit: Bunch Oncidium sp. see Orchid ONCIDIUM ORCHID

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Dendroblum sp. 56 Oncldlum sp. 57 PhalaenopsIs sp. 58 DENDROBIUM ORCHID ONCIDIUM ORCHID PHALAENOPSIS ORCHID Use: Line, form Use: Line, form Use: Form Color: White, pink, 'lavender Color: Yellow Color: White, pink Availability: Year-round A vailability: Year-round Availability: Year-round Unit: Spray, bunch or individual Unit: Spray, bunch or individual Unit: Individual

Protea sp. 59 IIYBRID TEA ROSE 60 FLORIBUNDA ROSE (SWEETHEART) 61 PROTEA Unit: 12 or 25/bunch Unit: 25/bunch Proteaceao Note: Graded by stem length Use: Form Rosa hybrida Color ()range, pink, red, purple, whitP ROSE Availability: Year-round Family: Rosaceae Unit: Individual Ranunculus- see next page Note: Long-lasting Use: Mass, forM Color: Red, pink, yellow, white, orange Availability: Year-round

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63 Stephanotis floribunda 64 Ranunculus asiaticus 62 Sallx sp. STEPHANOTIS RANUNCULUS PUSSY WILLOW Family: Asclepiadaceae Family: Ranunculaceae Family: Salicaceae Use: Filler, form Use: Mass, filler Use: Line Color: Gray Color: Creamy white Color: Pink, yellow, orange, red, white Availability: Year-round Arailability: Spring Availability: Winter, spring Unit: Bunch Unit: 25/package Unit: Bunch Note: Turns brown easily Note: Delicate Note: Will hold up well dry

67 Strelitzia reg !nee 65 Syringe vulgar is 66 Tuiipa sp. TULIP BIRD-OF-PARADISE LILAC Family: Liliaceae Family: Strelitziaceae Family: Oleaceae Use: Forrn Use: Mass, filler Use: Mass, form Color: Purple, white Wor: Yellow, red, pink, lavender, white, orange Color: Orange Availability: Winter, spring, PA Availability: Year-round ArailabilitN: Spring, winter Unit: 10/bunch Unit: 10/bunch Unit: Individual or bunch Note: Problems: stein elongation and bending Note: Long-lasting; may require manual upward; keeps better if stored dry and opening wrapped at 32" F

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41' 70 Alphabetical Index of Cut Flowers -Common and Scientific Names

1 ACACIA - Acacia dealbata 69 GINGER - Zingiber sp. 39 AMARYLLIS - Hippeastrum x hybridum 36 GLORIOSA LILY - Gloriosa rothschildiana 28 AMAZON LILY - Eucharis grandiflora 27 HEATHER - Erica sp. 6 ANEMONE - Anemone coronaria 38 HELICONIA - Heliconia sp. 48 ANNUAL STATICE - Limonium sinuatum 40 HYACINTH - Hyacinthus orientalis 7 ANTHURIUM - Anthurium sp. 43 LEPTOSPERMUM - Leptospermum 10 ASTER - Callistephus chinensis scoparium 37 BABY'S BREATH - Gypsophlla paniculata 47 LIATRIS - Liatris spicata 11 BACHELOR'S BUTTON - Centaurea cyanus 66 LILACSyringa vulgaris Zantedeschla aethloplca 68 50 BELLS OF IRELAND - Molucella laevis 44-46 LILY - Lillum sp. CALLA LILY 65 BIRD-OF-PARADISEStrelitzia reginae 3 LILY-OF-THE-NILE - Agapanthus africanus Family: Araceae 9 BOUVARDIA - Bouvardia sp. 21 LILY-OF-THE-VALLEY - Convallaria 68 CALLA LILY - Zantedeschla aethlopica majalls Use:Form 24-25 CARNATION - Dianthus caryophyllus 20 MARGUERITE DAISY - Chrysanthemum Color:White 54 CATTLEYA ORCHID - Cattleya sp. frutescens Availability:Late winter,spring Unit:Individual or 10/bunch 13-19 CHRYSANTHEMUM Chrysanthemum 53 NERINE LILY - Nerine sp. Note: Thick,fleshy stems; bruises easily; keep morifollum 57 ONCIDIUM ORCHID - Oncidium sp. in deep water for longest life 11 CORNFLOWER - Centaurea cyanus 52 PAPER-WHITE NARCISSUS - Narcissus 55 CYMBIDIUM ORCHID - Cymbidium sp. tazetta 51 DAFFODIL - Narcissus sp. 5 PERUVIAN LILY - Alstroemeria sp. 22 DAHLIA - Dahlia pinnata 58 PHALAENOPSIS ORCHID - Phalaenopsis sp. 23 DELPHINIUM - Delphinium elatum 59 PROTEA - Protea sp. 56 DENDROBIUM ORCHID - Dendroblum sp. 63 PUSSY WILLOW - Salix sp. 26 DIOSMA - Diosma sp. 12 QUINCE - Chaenomeles speciosa 41 DUTCH IRIS - iris hollandica 62 RANUNCULUS Ranunculus asiaticus 29 EUPHORBIA - Euphorbia fulgens 60-61 ROSE - Rosa hybrida 4 FLOWERING ONION - Allium sp. 8 SNAPDRAGON - Antirrhinum major

'106. 30 FORSYTHIA - Forsythia x intermedia 64 STEPHANOTISStephanotis floribunda 31 FREESIA - Freesia x hybrida 49 STOCK - Matthiola incana 35 GLADIOLUS - Gladiolus x hortulanus 42SWEET PEA - Lathyrus odoratus 32 GARDENIA - Gardenia grandiflora 67TULIP - Tulipa sp. 33 GENISTA - Genista fragrans 2 YARROW Achillea filipendulina 34 GERBERA DAISY Gerbera jamesonii

Zingiber sp. 69 GINGER Zingiberaceao Me: Form Rcd, pink, yellow Year-mund Unit: Individual or bunch

1 (3 71 CUT FOLIAGE

Ables sp. 70 Asparagus asparagoldes 71 Asparagus denslflorus "Sprengerr 72 FIR (BALSAM, NOBEL, SILVER) SMILAX Family: Pinaceae Family: Liliaceae Family: Liliaceae Unit: Bunch or case Unit: Bag or per yard Unit:Bunch Availability: Winter/seasonal Availability: Year-round Availability: Year-round Note: Soft, holds needles well Note: Keep in plastic bag; very perishable

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Asparagus macowanli 73 Asparagus setaceus 74 Asparagus virgatus 75 MING FERN PLUMOSUS TREE FERN or TIKI Family: Liliaceae Family: Liliaceae Family: Liliaceae Uri it: Bunch Unit: Bunch Unit: Bunch Availability: Year-round Availability: Year-round Availability: Year-round Note: Watch iVr thorns

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Buxus sempervirens 76 Calathea sp. 77 Camellia Japonica 78 BOXWOOD CALATHEA CAMELLIA Family: Buxaceae Family: Marantaceae Family: Theaceae Unit: Bunch or bale Unit: Bunch Unit: Bunch Availabi lity: Year-round Availability: Year-round Availability: Year-round Note: Dries out easily if not in water; leaves Note: Exotic markings on leaves Note: Dark green, shiny, long-lasting remain on stem when diy

Chamaedorea sp. 79 Cordyllne terminalls 80 Cytlsus scoparlus 81 EMERALD, COMMODORE, JADE TI SCOTCH BROOM Family: Palmae Family: Agavaceae Family: Leguminosae Unit: 25/bunch Unit: 10/ bunch Unit: Bunch Availability: Year-round Availability: Year-round Availability: Year-round Note: Store in moist boxes Note: Can be bent into curved shapes 73

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Eucalyptus sp. 82 Galax urceolata 83 Gaultherla shallon 84 SALAL OR LEMON-LEAF EUCALYPTUS GALAX Family: Myrtaceae Family: Diapensiaceae Family: Ericaceae Unit: Bunch Unit: 25/bunch Unit:Bunch Availability: Year-round Availability: Year-round Availability: Year-round

86 Junlperus sp. 87 Hedera hellx 85 Hex aquifollum JUNIPER ENGLISHIVY ENGLISH HOLLY Family: Araliaceae Family: Aquifoliaceae Family: Cupressaceae Unit: Bunch or in pots Unit: 5 or 10 lb. case Unit: Bunch Availability: Year-round Availability: Winter/seasonal Availability: Winter/seasonal Note: Spray with sealant or dip in glue/water Note: Store in plastic bags; dries out easily mix to prevent drooping of young growth

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Lycopodiurn sp. 88 Magnolia grandiflora 89 Myrtus communis 90 LYCOPODIUM MAGNOLIA MYRTLE Family: Lycopodiaceae Family: Magnoliaceae Family: Myrtaceae Unit:10/bunch Unit:Bunch Unit:Bunch Availability: Year-round Availability: Year-round Availability:Year-round

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Nephrolepls sp. 91 Picea sp. 92 Pinus sp. 93 BOSTON FERN, SWORD FERN, FLAT FERN SPRI ICE (WHITE, BLUE) PINE (SCOTCH, WHITE, Family: Polypodiaceae Family: Pinaceae Family: Pinaceae Unit:25/bunch or in pots Unit:Bundle orcase Unit: Bundle or case AvailaWity:Year-round Availability:Winter/seasonal AuaiYfility: Winter/seasonal Note: Spray with sealant or dip in glue/water mix to prevent drooping of tips

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111111,1111 96 Rumohra adiantiformis 95 Ruscus sp. Pittosporum ft:4)1ra 94 (Italian Ruscus pictured) LEATHERLEAF, BAKER'S FERN RUSCUS PITTOSPORUM Family: Liliaceae Family: Pittosporaceae Family: Polypodiaceae Unit: 25/bunch orcase of 20 or 40bunches Unit: Bunch Unit: Bunch Availability: Year-round Availability: Year-round Availability: Year-round

Vacciniutn ovatum 99 Seitz matsudana 'Tortuosa' 97 Thula occIdentalls 98 CEDAR, ARBORVITAE HUCKLEBERRY CURLY WILLOW Family: Ericaceae Family: Salicaceae Family: Cupressaceae Unit: Bundle Unit: Bunch Unit: Bunch Availability: Year-round Availability: Winter/spring Availability: Year-round 76

Alphabetical Index of Cut Foliage -Common and Scientific Names

98 ARBORVITAE - Thula occidentalls 95 LEATHERLEAF - Rumohra adiantiformis 95 BAKER'S FERN -Rumohra adiantiformis 84 LEMON-LEAF - Gaultheria shallon 100 BEARGRASS - Xerophyllum tenax 88 LYCOPODIUM - Lycopodium sp. 91 BOSTON FERN - Nephrolepis sp. 89 MAGNOLIA - Magnolia grandiflora 76 BOXWOOD - Buxus sempervirens 73 MING FERN - Asparagus macowanii 77CALATHEA - Calathea sp. 90 MYRTLE Myrtus communis 78 CAMELLIA - Camellia japonica 93 PINEPinus sp. 98 CEDAR - Thula occidentalis 94 PITTOSPORUM - Pittosporum tobira Xerophyllum tenax 100 79 COMMODORE - Chamaedorea sp. 74 PLUMOSUS - Asparagus setaceus BEARGRASS 97 CURLY WILLOW - Salix sachalinensis 96 RUSCUS - Ruscus sp. Family: Liliaceae 'Sekka' 84 SALALGaultheria shallon Unit: Bunch 79 EMERALD - Chamaedorea sp. 81 SCOTCH BROOM - Cytisus scoparius Availability:Year-round 86 ENGLISH HOLLY - Ilex aquifollum 71 SMII AX - Asparagus asparagoides 85 ENGLISH IVY - Hedera helix 72 SPRENGERI - Asparagus densiflorus 82 EUCALYPTUS - Eucalyptus sp. 'Sprengerl' 70 FIR - Ables sp. 92 SPRUCE Picea sp. 91 FLAT FERN - Nephrolepis sp. 91 SWORD FERN - Nephrolepis sp. 83 GALAX - Galax urceolata 80 TICordyline terminalls 99 HUCKLEBERRY - Vaccinium ovatum 75 TIKI - Asparagus virgatus 79 JADE Chamaedorea sp. 75 TREE FERN - Asparagus virgatus 87 JUNIPERJuniperus sp. CHAPTER 5 fellECOSIltlICCO9 V.EKPL6g2g Cc1M ; &14L-P1,1W

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Of 78 As a beginning designer, you need to Oasis Company. Their products have such become informed about basic techniques widespread use that the word "Oasis" is and tools used in commercial flower arrang- often used interchangeably with"floral ing. Specifically, you neeu to learn what foam," supplies are available for positioning flowers in a design in a stable way so that they will Different kinds of floral foam are made to not shift around. Also, you must learn how accommodate different types of plant mate- to handle tools and equipment not only rials. For example, Smith ers-Oasis makes a efficiently but also safely so you do not injure product called Springtime for soft-stemmed yourself. Although arranging flowers is not .1 bulb crops. They also make Regular Oasis dangerous occupation, beginning designers and Deluxe Oasis for holding more sturdy can easily cut themselves with a knife or sterns and branches. For dried and silk Figure 5-1 burn themselves on a hot glue gun. The flowers this company manufactures a prod- Various types of mechanics techniques and precautions described in uct called Sahara. Sahara II is a stronger this chapter are intended to help you avoid loam suitable for larger dried arrangements these experiences. or leavier stems. Both Saharas are brows in color and are used dry. There are many tools, pieces of equipment and supplies available to the floral Floral foam isavailablein various designer, each with its specific use. To get shapes and sizes (Fig. 5-2). The 9"x4"x4" started you will need only the basic supplies block is mnost common. Cylinders are also of a cutting tool for stems and something to made thai will fit into standard containers hold the flowers firmly in place. Materials without eulting. It is also possible to pur- used to control the placement of flowers, chase foam t hat is already enclosed in plas- foliage arid accessories are collectively called tic cages for the convenience of designers mechanics. Floral foam, tape, wire and hot who are making certain special arrange- glue are examples (Fig. 5-1). In general, the ments. The Srnithers-Oasis Company pro- mechanics should be inconspicuous or not duces a European Designer Collection (see Figure 5-2 visible in the finished arrangement. listing of floral foam, page 85) which con- Various shapes and sizes of floral foam tains caged arid plastic-supported floral MECHANICS foam in different shapes arid sizes. Using these is simpler than preparing special FLORAL, FOAM mechanics from foam and chicken wire, and they are easier to attach to surfaces like Tl e most widely used mechanics item walls, mirrors and candelabras. forsi .pp9rting flowers in arrangements produced by retail flower shops is a material To be effective, floral foam should be called floral foam. Floral foam is a light- thormighly soaked before fresh flowers are weight material that is capable of absorbing placed into it. A product known as "instant quit e a lot of water, which it can then supply foam" absorbs water so quickly that. it can to plantst ems inserted intoit, A large first be placed diy in the cont airier and is ManUfacturer of floral foam is the Smithers- then ready for use as soon as water has been

1°*) 1. 1 0 HSI. COPY AVAILABLE 79 pow:ed over it. Other regular types offloral more closely to theintended shape of the foam should be soaked using the free-float design. It also helps the designer achieve a method (Fig. 5-3). This is done by placing smoother transition in the placement angles the dry foam on the water surface in asink of stems. or bucket. As the foamabsorbs water it will gradually sink. The foam should not be For certain arrangements, such as large forced under the water. Complete saturation designs or designs to be hung on candela- is usually achieved in twentyminutes or bras, the floral foam may be coveredwith foil less. foil, chicken wire or both (Fig. 5-5), The slows evaporation of water from the surface A floral preservative, which will getthe of the foam and helps keep any attaching arrangement off to a good start, maybe wires that may be used from cuttingthrough added to the water in which thefoam is the foam. The chicken wire will hold several Figure 5-3 soaked. Maximum flower life can beob- blocks of foam together in a large design, Free-float method for soaking floral foam tained if the arrangement is thenperiodi- callywatered with preservative water. This is FLORAL TAPE AND CLAY especially important if the arrangementis being displayed where environmentalcondi- Waterproof tape is commonly used to tions like warm temperatures, lowlight, dry hold floral foam in place. It is placed across air and drafts are not goodfor promoting the soaked foam and extended down overthe long flower life, sides of the container (Fig. 5-6). It is important to keep the container dry, sincewater- The soaked foam is soft and can easilybe proof tape will not stick to a moistsurface. cut with a knife to fit the containerbeing The more contact the tape has withthe used, The foam should extend an inch or surface, the more securely itwill hold. Figure 5-4 more above the rim ofthe container so that However, running it too far down thesides of the some stems can beangled downward. If the the container will make it difficult to hide foam is wedged into the container, itwill tape with flowers and foliage. Figure 5-5 have more stability, but it. should nottotally fill the container (Fig. 5-4). A spaceshould Waterproof tape is available in several be left for adding water. This space iscalled widths and in the colors of green, white and width a reservoir. lithe containeris very large, the clear. Although the wider half-inch bottom may be filled with foam scraps, can be used in most cases,the narrower styrofoam, perlite or gravel, with thefloral quarter-inch width has the advantageof foam then placed on top of the fillermaterial. covering less area on the foam. If onlythe Sometimes the added weight inthe lower wider tape is available, it can be splitlength-. pulled part of the container is necessaryto give the wise into two narrow strips as it Is arrangement more stability. from the roll. It is best to use as little tape as possible to hold the foam, because itis After the foam has been placed inthe frustrating and a hindrance to gooddesign container, its edges can be cut On anangle to keep running into tape whentrying to Figure 5-6Using waterproof tape to hold (bevekd). This makes its shapeconform insert, stems in the foam. floral foam in container

.001 " 80 Some containers do not need tape or based compounds are useful in removing other mechanics to hold the foam in place. the residue if the surface can tolerate these Foam can often be securely wedged into substances without damage. ,00011."_ small containers that have some depth. 11,... Other containers have prongs molded in the bottom upon which the foam can be secured. OTHER MECHANICS An example of a different style is the0-Cage made by Smithers-Oasis. It is a cage-like Because of the widespread use of floral circle of molded plastic that will accommo- foarn, it is easy to lose sight of other mechan- Figure 5-70-Cage date a #5 cylinder ofOasis(Fig. 5-7), ics for holding flowers. In past eras arrangements were largely held in place by the criss- There are several other alternatives to crossing sterns of the materials themselves. waterproof tape for securing foam to a con- Some containers were fashioned with nar- tainer. A shallow container can have one or row openings to make the task easier (Fig. more plastic four-pronged anchor pins fas- 5-10). Early mechanics for some arrange- tened to the bottom wit h floral clay. One kind ments involved filling the container with of clay is Cling, which is available as a sand, gravel, rolled cedar, layers of chicken flattened strip wound onto a spool (Fig. 5-8). wire, shredded styrofoam, or glass marbles It is kept from sticking to itself by a layer of to help keep the sterns in position. waxed paper.Oasisdouble-faced tape can be used to get the same result (Fig. 5-8). Some contemporary arrangements are Small pieces of clay or tape are placed on the made in clear glass vases with the stems bottom of the anchor pins, which are then showing as part of the beauty of the arrange- firmly pressed onto the dry container. Floral ment (Fig. 5-11). For these designs glass clay will not stick to already-moist surfaces, marbles may help give stability without Figure 5-8Materials that can be used to but will hold if water is added after attach- being distracting, Another kind of arrange- fasten anchor pins to a dry container ment. Soaked floral foam can then be ment that can be most effectively displayed pre:ised onto the anchor pins. These will hold the foam in place reasonably well, but not as securely as waterproof tape. Yet another method of binding floral foam to a emnainer is hot melt glue (Fig. 5-9). Pieces 1.4 glue arc melted in an electric frying pan. The soaked foam is dipped into the niched glue and then placed in the container.

Both wat erproof tape and floral el;-iy have 1 he pot ent ial for fastening many t hings, onle should be aware that tlwy often kave st icky mark when removed. These products should l)e used with discretion when va Figure 5-9Hot melt glue able surface areas are involved. Alcohol- Figure 5-10 Williamsburg vase

1 Ir BEST COPY AVAILABLE 13 o 81 Attachingwooden stakes to eucalyptus in a clear glass container is the hand-tied long sterns or those that have heavy flowers bouquet. This is made by carefully binding orleaves onrelatively-small-diameter the flower sterns in position with a wire or stems. These stems can be made more se- cord so that the lower stems flare out in a cure and their placement morecarefully sheaf-like manner. Hand-tied bouquets are regulated if a wooden stake is attached to often sold without the glass container (Fig. them before they are inserted in thefloral 5-12). The recipients may have to provide it foam (Fig. 5-14). The stake is attached to the themselves. Because the sterns are held in lower stem with floral tape orwaterproof place by the cord, this arrangement can tape (Fig. 5-15). The whole unit(stem with simply be lowered into a clear vase that has stake) is then placed firmly into thefoam. a large enough opening. If thisbouquet is well made, the flowers will not shift around. Figure 5-14

Other stem-holding devices include pinpoints, frogs and small plastic or metal cages (Fig. 5-13). These can be fastened to the bottom of a dry container with floral clay. Pinpoints usually have a fairly heavy metal base with many sharp needle-like pins sticking up. They come in many shapes and sizes, and sonic are surrounded by a cup that can hold water. Pinpoints are good for using with figurines, for a larger holder could distract Figure 5-13 Metal pinpoints and glass frog from the figurine. Figure 5-15 Frogs are round holders made of heavy glass, flat on the bottom with a convex top. The top has a number of holes into which flower stems can be placed. Frogs are less seci ire than pinpoints and give lessflexibil-

ity in the phicemerit of stems. Both frogs and w, pinlmilits are iynerally too expensive to use jilarrangenients sent out by retail flower t shops. I lowever, they are usefill for making arrangement s at honie or lOr I aking to flower shows because they can be reused.

SPECIAL TECHNIQUES for REGULATING PLACEMENTS

-;()111(' flowur stetw; turn slightly in floral loam. This is sometimes a problem with veiy Figure 5-12 Hand-tied arrangement Figure 5-11 Contemporary arrangement

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Extending a rose stem If a stern needs to be extended in length, roses is that the flower head is held up even a water tithe (pick) may be placed on the cut if the neck becomes weak (bent neck), or if end of the stern (Fig. 5-16). The flower with the flower heafi is bumped and breaks. attached tube can then be taped with water- Usually #20 or #18 gauge wire is required to proof tape to one or rnore wooden stakes (Fig. hold the flower stem. 5-17). This procedure should be attempted only as a last resort because the limited Wiring has several drawbacks. First, water supply will shorten flower life. there is the likelihood that the wire will show. Second, the flower may not look natu- In certain arrangements, the designer ral after its stem has been bent into a curve. may want to change the curvature of a stem. Finally, there may be damage to the flower, This is especially important for the longest a likely happening if too heavy a wire has flower placements in a curved line arrange- been used. Figure 5-16 ment like a crescent or Hogarth curve, Since most flowers seldom curve exactly as the TOOLS designer wants, wire can be used to control the stems. Wire may also be needed to add HOT GLUE GUN support to long sterns that are weak. In either ca!;e, the wire is inserted into the The hot glue gun is a widely used tool in flower head (Fig. 5-18) and then spiraled floral work (Fig. 5-20). Heated by electricity, down the stern (Fig. 5-19). Roses and carna- it has a plug for inserting into an electrical tions frequently have wires added to their outlet.Likeallelectrical equipment,it sterns. An additional benefit in the case of should never be used water.near. Glue sticks

Figure 5-17

Attaching a wire to a carnation Alrfort_

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'411Fi Figure 5-20 A hot glue gun Figure 5-18 Figure 5-19

E 4 -64111.16 83 are inserted into the gun, andmelted glue at a slight angle so they can be easilyin- oozes out of the point whenthe trigger is serted into floral foam. If you watch skilled pressed. designers at work, you will notice their econ- omy of motion; the knife iskept in one hand, Hot glue can be used to join many sur- as laying it down can meanwasting time. faces that are dry and not too porous or too smooth. The glue dries quickly and will hold Whether you are an expert or a beginner, indefinitely. The hot glue gun saves time and learn to handle the knife carefully and prop- facilitates work with silk and dried materi- erly to avoid cutting yourself. Obtain a good als. Attaching accessories such as ribbon, quality, sharp folding knife that is easy to artificial birds and mosses is simple with hot carry around and convenient to use.A sharp glue. However, the high temperatures of the knife will cut more easily and is probably less Figure 5-21 Ribbonshears glue may cook fresh plant material. Floral likely to slip and cut you than is a dull knife. adhesives like Oasis glue are better to use with fresh materials although they take The knife should be held between your longer to dry. thumb and forefinger. Cut toward yourself at an angle (Fig. 5-24). Aim justbelow the If melted glue comes in contact with your thumb so you do not slice into your own skin, you will be burned. E. ti_x_Lurgrautiga skin. With time and practice, you willde- should be exercised to avoid touching the velop skill at handling a knife. Ifyou have not hot glue until it is completely dry.If had experience, proceed slowly until you strands of glue form, allow them to dry gain confidence. before removing them. Tools, equipment and supplies that may CUTTING TOOLS be found in florist shops are listed in the following pages. Sonic items have special- Figure 5-22 Wire cutters There are many specialized cutting tools ized uses while others represent alternative for various purposes. If a person were lim- ways to accomplish a certaintask. This ited to two tools, the most useful ones to listing can be used as a shopping guide to have on hand would be a sharp knife and a help you decide what you need for your pair of floral shears that will cut bothribbon individual situation or project. arid wire. Ribbon shears that cut wide rib- useful bon and cloth evenly are also very .41116:: (Fig. 5-21). More heavy duty cutting usually takes wire cutters (Fig. 5-22) and pruning shears (Fig.5-23). Some shops have a counter-mounted cutter (see page 77) that is strong enough to cut through thehandle of a wired and tapedbridal bouquet.

A knife is the most important tool ofthe Figure 5-23 Pruning shears designer. Skilled designers havelearned how to use the knife efficiently to cut steins Figure 5-24 Making a correct cut

1: ,1s," I. 1 io : 84 SUPPLIES CANDLES CHRISTMAS SUPPLIES CORSAGE SUPPLIES

Candle holders S-1 Greening pins S-4 Artificial leaves and corsage S-7 accessories

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Candles S-2 Straw wreath ring S-5 Corsage boxes and bags 5-8 I

Votive lights S-3 Wire wreath ring S-6 Corsage pins S-9

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CORSAGE SUPPLIES (cont.) FLORAL FOAM (cont.) FLORAL FOAM (cont.)

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S-16 S-10 Floral foam S-13 Styrofoam Floral tape for dried and silk flower arrangements (sheets and shapes) FUNERAL SUPPLIES

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Floral preservative S-14 Casket saddle S-17 Wristlets S-11

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S-15 Funeral baskets and vases S-18 Floral foam S-12 Oasis European Designer Collection for fresh flower arrangements . 11 r 4 I A. ).1'4 86 FUNERAL SUPPLIES (cont.) FUNERAL SUPPLIES (cont.) PACKAGING ITEMS (cont.)

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Rosary S-19 Styrofoam symbols S-22 Care tags S-25

Satin pillows,hearts S-20 Wire easels S-23 Deliveryboxes S-26 PACKAGING ITEMS

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Script S-21 Card holder S-24 Enclosure cards S-27 1 91 87

(cont.) PAPER AND FOIL PACKAGING ITEMS(cont.) PAINT AND GLUE

S-31 Cellophane S-34 Flower boxes S-28 Glue sticks

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Pl ANT" ....1111111116, POt ISM

Foll S-35 Plant polish S-32 Plant sleeves S-29 PAINT AND GLUE

)101. ADHESIVF P14LIy STRKSI clefign manef, enamel der ma _-_, Colortau, fr/p " # ' Order forms S-36 Spray paint S-33 Floral adheslve S-30

f L. '0...1! 88 PAPER AND FOIL (cont.) PERMANENT FLOWERS & ACCESSORIES PERMANENT FLOWERS & ACCESSORIES (cont.) (cont.)

Aar

Paper on roll S-37 Birds S-40 Plastic flowers/foliage S-43

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J V "Mr Waxed paper S-38 Feathers S-41 Silk flowers S-44

PERMANENT FLOWERS & ACCESSORIES RIBBON

HAriv c PATRO 5 D7r

fel c ii> ta fiti) r )\ ) jot 1 1 1;,7 Artificial fruit S-39 Picked novelties S-42 Lace ribbon S-45

i r 4.

, 89 RIBBON (cont.) RIBBON(cont.) STAKES AND PICKS(cont.)

S-52 Picot ribbon S-46 Velvet ribbon S-49 Steel picks

Satin ribbon S-47 Velvet tubing S-50 Water picks S-53 STAKES AND PICKS

II" Wooden picks S-54 Tulle S-48 Hyacinth stakes S-51

r- 90 WEDDING SUPPLIES WEDDING SUPPLIES (cont.) WEDDING SUPPLIES (cont.)

/ to-

Aisle runner S-55 Lace fan, pillows, parasol S-58

Wedding order forms S-60

Bouquet holder S-56 WIRE, CORD, TAPE

Palm buckets S-59

Designer bouquet stand S-57 Chenille stems S-61 WIRE, CORD, TAPE(cunt.) WIRE, CORD, TAPE(cont.)

Chicken wire S-62 Straight wire S-65

GI RNIAlho TIWIST.EMS., 4..01

.--

GiithlAtki .

Y_ 411111.1111111111111 Florist cord S-63 Twistems S-66

Paddle wire S-64 Waterproof tape 5-67 40

Pm tr.rri r v7r r,. v r, :j1;11:0,,i4Ulastm 92 CONTAINERS

Bud vases C-1 Fireside basket C-4 Papier macho baskets C-7

Centerpiece bowls C-2 Lomey container C-5 Pot cover C-8

-Iirepwr

Compote C-3 Novelty planters C-6 Pot saucers C-9

40 0 BLI, 93 EQUIPMENT CONTAINERS (cont.)

Candelabra E-1 Planters C-10 Rose vase C-12

.AAP

ArnlaiIMILIA1110.alialmaa-

Paper cutter E-2 Plastic liners C-11 Vlchek containers C-13

Pick machine E-3

4,0 94 EQUIPMENT (cont.) TOOLS

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Plant stand E-4 Storage buckets E-6 Floral shears Ti

Hot glue gun T-2 Ribbon rack E-5 Wire holder E-7

.4kio

Knife T-3 2 2 )7 95

TOOLS (cont.)

T-7 Wire cutters T-10 Pruners T-4 Stapler

Ribbon shears T-5 Stem stripper T-8

--""''"\

Staple gun T-6 Styrofoam cutter T-9

0 r 4# ) t r-- 98 INTRODUCTION present trend is toward smaller, more stylized corsages. Some women have been dis- Flowers can be worn by either men or couraged from wearing flowers after an women. Such flowen worn on the person are experience witha heavy corsage that ccllectivelycalled body flowers. Those weighted down their clothing and interfered designed for women are referred to as with their activities. Florists should make an corsages. Flowers worn by men, usually effort to determine customer preferences in pinned on thelapels,arecalled this matter. Then the florists can design cor- boutonnieres. sages that women will enjoy wearing and will want to continue to order. Corsages are most commonly worn on the lady's left shoulder; however, they may A corsage should never be heavy or be modified for attachment to the wrist (Fig. bulky. Natural stems are removed from flow- 6-1), hair (Fig. 6-2), waist (Fig. 6-3), neck or ers or foliage pieces and replaced by wires Boutonniere pinned to a man's lapel ankle (Fig. 6-4). Sometimes a woman prefers that are as light as possible yet sturdy to carry the flowers in a small clutch bouquet enough to control the position of the flower. or attach them to her purse (Fig. 6-5). She Floratape, a stretchy, non-sticky tape, usu- also may choose to wear coordinating flow- ally 1 / 4 inch in width, is used to bind the ers in two or more places (Fig. 6-6). For wire to flowers or foliage and also to bind example, a wrist corsage of roses and baby's taped materials together into a unit. Tape breath may be effectively complemented by should completely cover the wires, but must a small cluster of baby's breath and a single be used sparingly so as not to add unneces- rose in her hair. (See Color Plate 1-7.) sary bulk and weight.

When a woman has a dress style or type of fabric that will not support a shoulder WEARING A CORSAGE corsage, the florist has the opportunity to suggest one or more creative alternatives. Shoulder corsages are worn on the left (See Figure 6-7.) Even with the shoulder shoulder. They should be pinned relatively corsage there are many choices of styles, high and may curve slightly over the shoul- ranging from the single flower backed by a der (Fig. 6-9). This will allow them to show to few leaves to a multi-parted falcon shoulder maximum advantage and be partially visible piece that extends down the arm and back from behind. Since the shoulder is curved, (Fig. 6-8). Different choices of ribbons and the back of the corsage should conform to accessories can give the corsage a sweet this curve instead of being perfectly flat. romantic flavor or a sleek contemporary flair. While the direction a corsage is worn is Corsage pinned to a woman's shoulde' the wearer's choice, it is usually designed to Individual preferences of the wearer, be worn upright, so most of the flowers are in formality of the occasion, and clothing to be a position similar to that in which they grew. worn will all influence the style, size and If the corsage is designed to have taped materials chosen to make a corsage. The stems showing, the stems should be at the 99

FLOWERS WORN ...

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Figure 6-1At the wrist

Figure 6-2in the hair Figure 6-3 At the waist

Figure 6-8 A large falcon shoulder piece

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Figure 6-4 On the ankle 4

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Figure 6-6 Coordinating hair floweis Figure 6-7 A single rubrum lily in the hair Figure 6-5 On the purse and shoulder corsage

, 100 bottom. At one time, wearing corsages upside down with the bow at the top was in vogue, but this is generally not done at S. present.

At least two corsage pins should be included with each corsage. If attached to the clothing at two points, the corsage will not rock or pivot. It is important to avoid a bulky knob of wires on the back of the corsage that will hold it out from the wearer or cause it to rotate. Corsage pins have white pearl heads to make them look attractive and keep them from slipping through the sterns. Bouton- atV, niere pins are smaller and have black heads. The gathered-bouquetlook of a springflower corsage Usually one pin will hold a normal-size boutonniere in place.

01. Corsages and boutonnieres can be packaged in lightweight cardboard boxes (Fig. 6-10), plastic boxes (Fig. 6-11), or cello- ^Mr- 71"-- ,P( phane br 's. Whcn cellophane bags are

ok. used, the pins may serve double duty. They Creative use of hair flowers seal the bag and then can be used to pin the flowers on the wearer. When boxes are used. the pins are placed directly on the back of tl corsage or boutonniere so they are readily available. Figure 6-10 Corsage placed in a cardboard box

THE WORK AREA for CORSAGE MAKING

It is important to have t he materials used for corsage making well organiz.ed and within arm's reach. Since corsages are small and held in the hand when constnicted, the designer should not have to stand while making t hem. A work area shwild be set up at a desk or table with a st ool of suit able height, A swivel chair on rolling cast ors Figure 6-11 Corsages cushioned by orchid might be prefrrred t o help t he designer move Figure 6-9 A shoulder corsage grass in clear plastic boxes easily to nearby supplies.

; 101

The work surface on which flowers and THE PARTS OF A CORSAGE foliage are laid should be cushioned with several layers of moist newspaper covered by THE BOW a layer of damp paper towels.These will protect the delicate plant materials from Corsages usually are accented with a bruising and moisture loss. This area can be bow. Depending on the style of corsage, the kept damp by misting the surface periodi- bow may be incorporated in the middle or it cally. Care should be taken to work quickly may be toward the bottom.The bow should and return flowers to the cooler as soon as always be integrated as part of the total possible. Misting flowers with a fine spray of corsage design, not appearing tobe stuck on water also helps keep them fresh and crisp. top as an afterthought. The bow color can either harmonize with the flower color or As flowers are wired and taped they can provide a striking contrast. Figure 6-12Misting wired Figure 6-13 be placed in narrow-necked containers like and taped flowers bud vases for storage in the cooler until the Number 3 satin ribbon, 5/8 inch wide, is corsageisassembled. Each container frequently used, but narrower ribbon used should be loosely filled - not so full that alone or in combination with the widerrib- flowers push on each other or become bon can also give an interesting effect. Rib- tangled. The vases of wired and taped flow- bon may be velvet, lace, cotton, burlap or ers can then be misted (Fig.6-12), covered metallic (lame"). It is available printed with with a light-weight plastic bag (Fig. 6-13), dots, plaid, stripes, gingham ar -7.! hundreds and returned to the cooler until they are of other patterns. The edges of some ribbons needed. A stake that extends above the contain little loops called picots. Bows may flowers in each container will keep the plas- also be made from satin or velvettubing. tic from resting on delicate blossoms, A wire or twistem can be used to securethe plastic Some corsages do not have a bow atall; around the neck of the container. other materials may be used to give the effect Flgure6-14 A tropicallookwith bird oi of a bow, For example, a line of contrasting paradise petals With these precautions and techniques, flowers may be used in the area where a bow flowers can be wired and taped several hours might othetwise be found (Fig. 6-14), such or more in advance of making up corsages, as a grouping of purple statice in acorsage and shonld remain in good condition. The of pink roses. Interesting foliage may give a often time-consuming Job of wiring and bow-like appearance, as when variegated 4 taping can be started the day or nightbefore spider plant leaves are looped to simulate a big design project,such as a wedding, is ribbon (Fig. 6-15). completed. In a classroom set ting, the wiring and t aping can be done in one lab in prepa- rat ion for assembly of thc corsage in motlier ACCESSORIES RibboIl Can be used in iii expanded way so that it becomes MOTCof an accessory, Examples include using separate loops of Figure 6-15 Astylized corsage using spider plant leaves

2 ;. 0,) 102 Different Types of Ribbon ribbon or streamers throughout the corsage, combining two or more colors or widths of ribbon, or adding loops of braided ribbon.

6110111011 A traditional addition to a corsage is tufts of nylon net (Fig. 6-16). Squares of net u tulleare cut, gathered in the center, wrapped with a wire, and secured by floratape. Not only are .the net tufts decorative, Wf but they also perform a function in orchid corsages of helping support the delicate petals.

MI Many commercial accessories already Satin and velvet ribbon Patterned ribbon on wires are available for corsage work. Examples include hearts, shamrocks, small animals, tiny cones and clusters of little pearls. Distinctive corsages with a contemporary feeling sometimes utilize small shiny ornaments made from bits of mirrors.

Dried materiais such as pods, nuts and colored starflowers are interesting additions to corsages. Small bits of moss create a naturalistic feeling while tendrils extend the line in a graceful way. If a wire cannot be easily attached to these materials by a tradi- Burlap, lame', moire' and iridescent ribbon Picot ribbon tional method, they can be glued on with liquid or hot glue.

FOLIAGE

Foliage used in corsages must be of a type that does not wilt easily. It also must be of a relatively small size and with a shape that will work into most corsage designs. Commonly usedfoliagesinclude camellia, ivy, leatherleaf fern and huckleberry. Leaves may be sprayed or dipped into Velvet tubing Lace ribbon a plant shine product to make them look

,!) :

14. , 6PA 2 103 polished and help them retain moisture. Ivy Once a flower is wired and taped, it and some fern tips are known to wilt rather cannot take up additional water like flowers easily; after wiring, these may be dipped in a in floral foam or vases of water. The lasting white glue and water mixture (equal parts of quality of the flower therefore depends to a water and glue). After drying, the transpar- great extent on the storage conditions in ent barrier of glue will help reduce water loss addition to the freshness and inherent keep- and retard curling and wilting for a while. ing qualities of the flower. Some corsage orchids are placed in small plastic water Artificial leaves are often used to save tubes containing sponges. These can be time and eliminate any chance of wilting worked into corsages, but because of the (Fig. 6-17). Some silk leaves are very realis- added bulk, they are practical only for tic, closely resembling rose leaves and ivy. In single-flower corsages in which one rela- addition to traditional green, artificial leaves tively large and special flower is used. Small come in many colors, with different shapes moist pieces of cotton are sometimes placed at the base of the cut stem of a flower or in the and textures. Silver, gold and pearlized ver- Figure 6-16Hair piece with loops of sions are definitely for special effects. Artifi- throat of certain blossoms to prolong fresh- net tulle cial leaves may add to the cost of a corsage, ness. but may be worth the convenicnce and labor saved. Some flowers can be taken apart and reassembled into smaller, larger, or different-looking contrived flowers. Carnations FLOWERS are a good choice for this technique.They can be broken apart into smaller unitsof Flowers used in corsages should be able various sizes. Two large carnations used to hold up well out of water in the finished full-size in a corsage would be very chunky. corsage. Favorite for t heir lasting quality are Splitting them into units of various sizes carnations, chrysanthemums and statice. gives the designer a chance to develop size Roses and orchids are also frequently used rhythm and create a more pleasing design. because of their widespread appeal. If prop- Gladiolus florets can be wired or glued to- erly handled, these and many other flowers gether to form a large double flower called a can last reasonably well. glamellia. Making these contrived floral noveltk.s takes additional time but results in Figure 6-17 Artificial leaves used in corsages Proper conditioning, beginning after a different Product that can be sizedto the harvest and continued by wholesale and specific project. retail florists, is essential if the flowers are to hold well. (Refer to Chapter 28, "Condition- ing and Storing Cut Flowers," for details.) WIRE Basically, flowers should be kept at least overnight in a cooler to harden oils, and floral Green enamel-coated wire of various preseivatives should be used. sizes isused for corsage work. It will not rust . and is rather inconspicuous in most situations. This florist wise is commonly sold in 0

. . 4 104

GflUGES OF WIRE boxes containing straight pieces 18 inches off. The actual length of wire used will be long. Wire on wooden paddles, called paddle determined by the wiring technique. With wire, can be used, but since it comes off the some techniques only a single length of wire paddle slightly wavy, it is not as easy to use is used, while with others the wire is doubled in many situations. on itself, resulting in a wired stem length only half the length of the original wire. Wire comes in different even-number diameters called gauges. Thin wires have To increase the efficiency of corsage higher gauge numbers and thick wires have making, 18-inch florist wires can be precut lower gauge numbers. Florists commonly into thirds or halves and stored upright in have on hand wire ranging from #18 to #28, vials or short bud vases that are clearly specifically, #18, #20, #22, #24, #26 and #28 labeled with the gauge number of the wire. It wire. Most corsage work requires only the is both convenient and efficient to pull from #1 8 # 20 # 2 2 # 2 4 #2 6 # 2 8 thinner wires no larger than #22. A beginner a marked upright container, a wire of known or someone doing a small project could get gauge and length. Keep the gauges separate Wire gauge numbers increase as wire diame- by with #24 and #28. If you were limited to and correctly labeled, since considerable ters decrease. Note the inverse relationship. one gauge, #26 would be a good choice. time can be lost and wire wasted when wires of different gauges are mixed together. Less damage to flowers occurs when delicate flowers are wired with fine wire for the initial attachment. Then a heavier wire is TAPE usually added beside the fine wire for more support, but without piercing the flower. The Floratape is a stretchy, non-sticky tape goal in corsage work is to use the lightest that is widely used for corsage work. The possible wire that will still give adequate sup- tape covers stems, binds wires to flower port and control of the flowers and foliage. sterns, and binds wired and taped flowers Using a wire that is heavier than necessary together when used in making a formal will add undesirable weight and may dam- corsage. The tape must be stretched while it age the flower when attached. If a wire is not is being applied so that it adheres securely. heavy enough, the flower will sag under its own weight and will not stay in position. A Floral ape comes wound onplastic flower will also exert greater force on a long spools (Fig.6-18), The mostcommon widt h wire than on a short wire of the same gauge. is 1/2 inch. Floratape 1 inch wide can also For this reason, a carnation on a short wire be purchased for use in larger projects such in a corsage may be adequately supported by as bridal bouquets. #26 wire, while the same flower in a bridal Figure 6-18Spools of floratape bouquet on an 8-inch wire of the same gauge Greenisthefloratapecolor most will droop. frequently used, as it is least conspicuous among naturally green stems and leaves. Wires 6 to 9 inches long are adequate for There is a choice between foliage green arid most corsage work. Using longer pieces is moss green. White tape can be used with wasteful, since much of the length will be cut white flowers, especially in wedding work.

2r) BEST COPY AVAILABLE 105 Lavender tape is sometimes used with Consider using the ribbon this way once in orchids of that color. Brown tape is good to a while for a differenteffect. use with dried flowers, Manyother colors are availableforuseinspecialeffect Ribbon is wound on cardboard spools arrangements. calledbolts.Bolts of ribbon can be efficiently stored on ribbon racks that keep thebolts A clear stretchy tape called parafilm neat and afford a view of the entireribbon accomplishes the same thing as floratape selection at a glance. Adding or removing but is much less frequently used. It has a bolts of ribbon from such a rack is as easy as waxy consistency and seals cu v. stem sur- taking books off a library shelf.If large faces when stretched over them. amounts of one kind of ribbon arefrequently needed, however, it may be more efficient to put the bolt on a stationary bar orspindle. A convenient corsage-making area in a shop RIBBON Then the ribbon can be reeled off asneeded without having to remove the bolt from a Ribbon width is identified by number. rack, or wind it back up and return it. Number 3 satin ribbon (5/8 inch wide) is often used ibr corsage bows. This is usually the widest ribbon used for corsages. Number TOOLS 1 ribbon (1/4 inch wide) and #2 ribbon (7/16 inch wide) are also good possibilities. Even Scissors satin ribbon as narrow as 1/32 inch can Every floral designer needs a good pairof make an interesting bow; however, many scissors that makes a clean cut. Scissors more loops arc necessarywhen narrower with long blades, called ribbon shears, are ribbon is used. Bows of larger ribbon are useful for making straight cuts on wider used to decorate potted plants and inlarge ribbons or for cutting fabric. Floristshears arrangements such as those for weddings with serrate edges can cut ribbon asl.vell as and funerals. Number 9 and #40 ribbon are light-weight wires, but they are not asgood widths that florists usually have. See the chart to the right for ribbon numbers of WIDTHS ribbon widths shown at one-half actual size. NUMBERING SYSTEM FOR RIBBON Actual 1/4" 5/8" 7/8" 1 3/8" 2" Florist ribbon is made in many fabrics width including satin, velvet, burlap and cotton. in inches Most are single faced; that is, theyhave different front and back sides. The front side is usually considered the mostdesirable, and bows are made to feature thisside, There are a few occasions where the dull textural quality of the "wrong side" of common satin florist ribbon mayenhance cer- Ribbon # 1 #3 #5 #9 #16 tain flowers better than does the satinside. number

2 `.: 106 for making straight, clean cuts on ribbon The open end can also be squared off neatly wider than #3, and secured with two corsage pins.

Wire Cutters Light-weight cardboard boxes made Hand-held wire cutters should be able to especially for corsages may be used instead. cut Mdividual wires as fine as #28 as well as They can be lined with sheets of waxed paper heavier wires and groups of wires. Sturdy to retain moisture, and shredded waxed counter-mounted wire cutters are best for paper to cushion the corsage, cutting through large masses of wires like those encountered when making bridal /bouquets or some styles of larger corsages. TAPING

Knife Taping flowers and wire with floratape Use a good quality, sharp florists' knife. requires skill that must be developed with Corsage-making supplies practice. The key to good taping is learning to maintain proper tension on the tape while OTHER SUPPLIES turning the wire or flower at the same time, You must also learn to overlap the tape just Corsage Pins enough to catch the base of the previous Long pins with white pearl heads are turn, covering the wire and stem without used for corsages. They are usually sold in developing an overlapping thickness of tape. boxes containing a gross (144 pins). A selection of different lengths and head sizes is available. Boutonniere pins are smaller and usually have a black head, VSPIIVIGTS.1) Mist Bottle is a good idea to mist plant materials Follow the steps listed here for taping down periodically during wiring and taping. Also the length of a #18 florist wire. Read over the the completed corsage should be misted suggested procedure, then watch your before it is placed in a bag or box. Use plastic teacher demonstrate thetechnique. bottles with a mist insert, filling them with Continue taping over the same wire until you water. Also use them to dampen the moist acquire some confidence. You will have paper towels covering the work area. many opportunities to perfect this skilland develop more speed when you practice the Corsage Bags or Boxes different methods of wiring flowers and Cellophane bags are available in differ- foliage. ent sizes. They make inexpensive packages for one or more corsages. They should be Steps for taping a 018 florist wire (for a opened fully and have the corners squared riyht-ltancled person) off before a corsage is placed inside, so that the cellophane does not press on the flowers, 1.Pick up the wire in your left hand.

2 107

2.Place a roll of floratape over two fingers 7,Keep turning the wire and maintaining tension on the tape until you have reached farthest from the thumb on your right hand. 4 A,. Pull out enough tape to hold between your the bottom, ending by pulling sharply on the thumb and forefinger (Fig. 6-19). tape to break it.

3.Place the end of the tape under the wire 8.Check results by rubbing your finger at the top of the length. down the taped wire. A smooth, tight taping job is a sign of good work. 4.I3egin rotating the wire clockwisebe- tween thumb and forefinger of yourleft 9.Repeat the process over the same wire hand. several times until you feel comfortable with it. 5.Pull firmly and uniformly downward and outward on the tape (at about a 45' angle) as PREPARING FLOWERS AND FOLIAGE it is taken up by the turning actionof the Figure 6-19 Taping a wire with tloratape wire. FOR WIRING AND TAPING

NOTE these two points: Use conditioned flowers that have been hardened off in a cooler for several hours, The tension you maintain on the tape is as Select quality flowers of the color and size important to the success of the tapingjob as appropriate for the corsage beingmade. the tension on a sewing machine is to pro- Since corsages are viewed at close range, it ducing quality sewing. Pulling toohard is important that flowers be totallyfree from could break the tape, but pulling toolightly blemishes and spray residue. Using a sharp will result in loose tape that will not stay on knife, cut the flower stein to within about a the wire. half inch of the flower. Leave the same amount of stem on the foliage ifpossible. The angle at which you hold the tapedeter- mines the amount of overlap youwill have. If you hold the tape straight out at a90' BASIC WIRING METHODS angle to the wire, it will keep going overthe previous turn, becoming verythick and PIERCE METHOD requiring many turns to get down thewire. Try for the minimum amount ofoverlap that Depending on the structure of the will hold securely, since this saves time as flower, a wire is inserted through the flower petals at well as tape. stem, calyx or ovary just below the a 90' angle to the stem.The wire is pushed through to the midpoint of its length, then the 6.Let the spool turn freely on yourtwo both ends are bent down parallel to smallest fingers when the tape is pulledfrom flower stern and taped. If additional support tums on a from a second wire is needed, the second it, just as the spool of thread above or sewing machine. wire can be pierced through just ci(Th BEST COPY AVAILABLE 108 below the first wire at a 909 angle to the first wire. Then all four wire segments are bent down parallel to the stem. (See the examples PIERCE METHOD on this page.)

HOOK METHOD

Daisy-type flowers can be wired by pushing a wire up through the flower head near Example: the flower stalk so that several inches of wire Rose, using #24 wire appear above the center of the flower. Then make a small hook in the end of the wire and pull gently downward on the other end of the Pierce ovary, bend wire down, and tape wire until the hook just sinks into the disk florets. The hook will scarcely be noticed unless it was made too big. Tape the wire to the flower stalk and continue on down the wire.

Some people like to begin by pushing the wire up through the cut end c. the stem instead of beside the stem. Although this method will also work, the first method described may allow for more secure taping Example: Carnation, using #24 wire of wire to stem. (See the daisy chrysanthemum example on the next page.)

Pierce calyx, bend wire down, and tape

Example: Cymbidium orchid, using two #26 wires (A small piece of moist cotton may be placed at cut end of stem before taping to keep the flower fresh.) Pierce flower stem, bend wires down, and tape

BEST COPY AVAILABLE 109

INSERT METHOD HOOK METHOD

Flowers with sturdy stems can be wired vely simply by pushing a wire up the stem and into the flower, If the stern bends so that the flower faces outward, as is the case with daffodils, you may not be able to push the wire up as far without having it come out the Examp?e: top of the bend. Chenille pipe sterns can be Daisy chrysanthemum, used instead of florist wire to insert into the using #24 wire calyx of carnations or into the ovary of a rose for a quick wiring method. Push wire up through flower center near stem, make a hook, gentlypull hook down into center, and tape Inserting wires into or beside the stem without making a hook is not as secure as other methods. The flowers can pull loose if INSERT METHOD not tightly taped to the wire. (See the examples to the right.)

WRAP-AROUND METHOD Small delicate flowers can be wired by wrapping a thin wire around the flower stem and blossom. Place the middle of the wire just under the flower, bring half the wire Example: down parallel with the flower stem, and wrap Pompon Example: the other half around the stem and wire with chrysanthemum, Daffodil, a few twists, Tape the two wiresand stem using #24 wire using #22 wire together. This method is good for flowers that grow in a cluster (such as statiee or baby's breath). Itis also used to bunch WRAP-AROUND METHOD several flowers together, wiring them as a group. (See the example of statice.)

Modified Wrap-Around Method

If the material is very deliLate and likely to break when the wire is bent around it, the wire may lw bent in half first. Thenthe hairpin-shaped wire can be passed through Example: the 1, .yer leaflets or florets and wrapped Statice, using #28 wire around to se:mrc the lower part of the stern.

d A BEST COPY AVAILABLE 110 MODIFIED WRAP-AROUND METHOD When wiring leatherleaf fern, it is often a small stitch under the midrib about half- Example: helpful to press firmly on the bend of wire way up the leaf. Pull the wire through to its Leather leaf fern, using #28 wire against the foliage piece with one hand while midpoint. Bend both halves of wire down wrapping one half of the wire around the parallel to the petiole. Wrap one half of the remaining wire and stem with the other wire around the other half and the petiole hand. The bottom two leaflets will keep the with just a few twists to hold them together. wire from slim mg down. Finish by securely Tape the wires and petiole and continue taping wires and stem together. taping on down the wires. HAIRPIN METHOD WITH STITCH If the petiole is about 1/4 to 1/2 inch (for Foliage) long, there will be good attachment. If there is no petiole, the leaf may rock loosely on the Turn the leaf over to the underside. wire. Some types of leaves can be cut away at Using a thin wire like a sewing needle, take the base, leaving a section of midrib showing that can be taped over to help attach the leaf to the wire.

Example: Baby's breath, using #28 wire This method works best on leaves that are somewhat leathery. If the leaf is too delicate, the wire may tear through. Using too heavy a wire may also cause this.

A nice feature of this method is that once wired, the position of the leaf can be controlled. Not only can the leaf be bent sideways at the base, but it can also be arched or curved backward by rolling the leaf overyour HAIRPIN METHOD WITH STITCH finger. This shaping potential with wirecan help improve the overall design of the finished corsage.

Example: Cameilia leaf, usiro,#28 wire

Working on back side of the leaf, take a stitch under the midrib about halfway up. Bend the wires down. Wrapone wire around the other with a few twists. Tape. Only a small stitch should show on the front. The leaf can be curved and the wire will keep it inthat position. 2,(!t; 0 n 4. BEST COPY AVAILABLE 111

OW. Ti-0_210=1.1) ZAVS1171`1.nY Flower or Foliage Wiring Method Wire Gauge

Practice each of the wiring techniques that carnation pierce #24 have been described and work on your tap- daisy mum hook #24 ing skill by wiring and taping as many of the pompon mum insert #24 following flowers or foliages as are available. statice wrap-around #28 Have your instructor check each one and baby's breath modified wrap-around #28 determine if you need more practice on that rose pierce #24 flower or lea.f. leatherleaf modified wrap-around #28 camellia hairpin with stitch #28 huckleberry wrap-around #28 ivy hairpin with stitch #28

especially at SPECIALIZED WIRING prized for corsages or bouquets, TECHNIQUES weddings. Use a #26 wire and the hookmethod (Fig. Some flowers require special wiring pro- 6-20). A small piece of moist cotton is usu- cedures because of their shape, size or and pulled fragile nature. Combinations of basic tech- ally inserted under the hook niques and different wire sizes can be used to hold these unusual flowers in place. Small pieces of moist cotton may be added to the base of the flower stalk or pushed down into the flower throat to prolong freshness. Spraying flowers with a clear spray like John Henry Cherish willalso help keep flowers looking fresh longer.

Following are directions for wiring some of the special or delicate flowers that require additional wiring procedures. Taping a carnation thathas been wired by the pierce method Amazon Lily (Eucharis Lily)

The Amazon lily is a white flower about 3 inches across. It is related to the daffodil and has a similar short cup. The flower is rela- Figure 6-20 Wiring an Amazonlily tively expensive and has been traditionally ( ) r r) r 0. , 112 Wiring stephanotis gently down into the shallow cup of the scribed for stephanotis (Fig. 6-24). Stepha- flower. The moist cotton helps keep the notis picks are too large for the hyacinth flower fresh and cushions the wire so it will flower tube and will usually split it. not pull through the flower. The white cotton is not conspicuous in the finished product. Chains of hyacinth florets may be made by using the hook method for wiring the first After this initial wiling one or more floret, then pushing more up the wire from heavier wires can be laid alongside the #26 the bottom. The chains may be bent into wire and taped to it for added wire strength. loops if desired for a different effect that simulates ribbon (Fig. 6-24). Stephanotis Cattleya Orchid The delicate flowers of stephanotis easily separate from the calyx and flower stalk (Fig. The cattleya orchid is large, often meas- 6-21). So the first step is to gently break off uring 4 or 5 inches across. Because of its the flower at the base of its tube. A wire will large fragile petals, at least two wires should be attached directly to the flower tube. Bend be attached (Fig. 6-25). A heavier wire (such a #26 wire like a hairpin and insert down as a #22), usually taped and bent into a hook through the tube from the top (Fig. 6-22). or into several loops, is used for support. A The wire ends are angled downward through finer wire is then used to attach the flower to the lower part of the tube. the heavier wire without damage.

Place a moist piece of cotton under the The heavier wire is usually wrapped with loop of the 'hairpin'. Gently pull the wire loop white, lavender, or another color of floratape Figure 6-22 down into the flower tube until the cotton to cushion it and make it less conspicuous. disappears. Tape over the wire and up The floratape should be the same color as slightly over the base of the flower tube. the orchid. If moderate support is wanted, a hook can be bent into the end of the taped A quicker method is to use stephanotis wire and placed behind the uppermost petal picks (Fig. 6-23). These are pretaped wires (Fig. 6-26). A fine wire will then be used to with a piece of cotton on the end. Soak the attach the orchid to the heavier taped wire. cotton ends in water. Separate the blossom Several additional loops of taped wire can be from its calyx and insert the cotton from added to support the wing-like petals if they below through the hole at the bottom of the seem floppy or in danger of becoming limp. flower tube. This must be done gently, as the flower tubes split easily. Longer or heavier An additional step that some florists wires may be taped to the flower after the take is to place a piece of moist cotton at t he pick has been inserted. base of the flower stem, This provides a limited amount of water to prolong fresh- Hyacinth Florets MSS. Small. soft plastic water tubes with sponge inserts can be used instead for a Figure 6-24 Hyacinth florets Wire individual hyacinth florets as de- larger water supply. However, they are bulky 113 and are not usually necessary for the natu- Phalaenopsis Orchid rally long-lasting orchid. These delicate flowers require special An easy method of wiring a cattleya care in the attachment of a wit e sothat it will orchid with moderate support is to wrap a not cut through the fbwer. Tape a #26 wire #22 wire with floratape. Then bend the end with w.e floratape and bend it into a hair- over to form a hook andplace the hook pin shape (Fig. 6-27). Working from the front behind the uppermost petal withthe of the orchid, slip the ends of the 'hairpin' straight end of the wire coming down parallel through the natural openings in the throat of with the flower stem. Pierce the flower stem the orchid. Then gently draw the hairpin just below the petals with a #26 wire just down until the U-bend rests securely be- enough to secure the wire. Wrap this wire tween the arched column and fringed lip around the flower stem and larger taped petal. Finish by taping the wires and stem wire. together. Figure 6-25 A variation is to insert an untaped #24 Phalaenopsis petals easily become limp. wire up into the cut flower stern untilit A moist piece of cotton at the base of the enters the flower. Then pierce a #24 wire to flower stem may prolong freshness. Taped its midpoint through the flower stem,bend- loops of #26 wire can also be added behind Wiring a cattleya ing one side down and wrapping stemand the two largest petals to provide additional orchid ior support wires together with the otherside. This support (Fig. 6-28). Figure 6-26 method really does not support the petals, however. They may need to be made more secure by backing themwith tulle or with foliage worked into the corsage design. If taped loops of wire are desired for additional support, they should be bent into loops a little smaller than the petals and then taped on to the wires that have already been attached oy one of the previous methods. If a water tube is going to be used, various methods can be used tofasten the orchid to the tube. Because of the buL., and weight of the tube, it is unlikely that wire loops will be added. An unwrapped wire can simply be pierced through the upper stem to its midpoint. Then both halves canbe bent down and Lped to the tube.

Figure 6-27 Wiring a phalaenopsis Figure 6-28 Backview oi phalaenopsis

j KS I 114 Gardenia I. Glue/Water Dip A mixture of half white glue and half water Gardenias are very fragile and easily can be used as a dip for delicate flowers turn yellowish, (See Figure 6-29.) Try to which turn yellow easily (lily of the valley) or minimize this by keeping the work area and foliage tips which wilt easily (ivy and leather- petal surface misted. Also work as quickly as leal). The mixture dries quickly to form a possible so the flowers are not exposed to transparent barrier to water loss. room temperature for a long period of time. 2. Aerosol and Pump Sprays Gardenias are usually packaged and Commercially available sprays like Stay shipped with plastic or cardboard collars. Fresh or Cherish form an invisible covering These may be left on the finished corsage for over the plant material which prevents con- continued support. A collar can also be tact with the air and retards water loss. made from a round piece of cardboard with criss-crossed slits in the center and several 3. Plant Shine Products (Fig. 6-31) gardenia leaves stapled to the outside (Fig. Plant shine compounds like Green-Glo are 6-30). available as dips, mists or aerosols. They can Figure 6-29 be applied to foliage to reduce water loss. A gardenia backed by leaves for support If you are working with a gardenia that This clear, shiny coating also makes the has no collar, first remove the bulky green leaves glossy. This may enhance some plant calyx. Pierce two #26 wires through the material but may be undesirable in situ- flower tube at right angles to each other. ations where a more textured look is wanted. Bend them down, wrapping one of the wires around the other three and the stem. Tape 4. Water Mist the stem and add a gardenia collar made as Clear water in a misting bottle may be described above. sprayed on flowers and foliage while they are being worked on. The fine mist will reduce water loss and provide a slight cooling from SPECIAL TREATMENTS for the evaporation. Misting the finished cor- WIRED and TAPED FLOWERS sage before it is bagged or boxed will help it remain fresh and crisp. Most corsage rib- Various products are available for spe- bons will not be damaged by a light mist. cialized care:- to prolong freshness, prevent petal shattering, add a glossy shine, or re- 5.Floral Adhesives F!gure 6-30 pair damage in flowers and foliages that The petals of some flowers shatter easily. A Back view of a cardboard collar have been wired and taped for corsages. floral adhesive like Oasis Glue may be Sometimes homemade preparations work brushed on the back of petals near their just as well. No matter how careful you are, point of attachment to hold them on (Fig. occasions will arise when you will need to 6-32). The glue can also be used to reattach apply one of these treatments to protect or a petal that has fallen off, as is often the case repair the plant materials. with lily petals. 2,, 115

Mum Mist and other spray adhesives(Fig. can be cut lengthwise toproduce ribbon of a 6-33) can be applied to the back of mums more desirable width. and other flowers to help hold the petals on. Some people drip a little candle wax atthe Corsage ribbon is available in awide base of the petals to accomplish the same range of colors andfabrics, such as velvet, thing. In anemones the hardened waxwill lace, burlap, cotton and metallic.The tex- also retard the opening of the petals into a ture and characterof the ribbon is also polka-dot, A reflexed position. affected by the print(plaid, striped or figured) or plain surfaceof the 6. Paints ribbon. A light coat of white floral spray paint over a slightly browned or yellowed gardenia or look. white orchid may restore a fresher OUV.T...0`1.11111.) uwuy be Other colors of floral spray paint may Figure 6-31 Plant shine products used on fresh materials to produce a color Make several bows according tothe follow- that is not available naturally or toslightly ing directions until youfeel reasonably alter a flower color for a special effect. confident and satisfied with the product. To make a bow (directionsfor a right- BOWS handed person)

Many corsages include a bow. Thebow 1.Cut a piece of #3 satin ribbon11/2 yards should be blended into the design so that it long. Cut a 9-inch piece of #28florist wire. (luridMilo enhances the flowers and does not stand out by itself. Thus a corsage bow is less fullthan 2. Wrap the end of the ribbonaround your a bow designed to befeatured by itself, such left thumb to form a loose loop overthe voll* as a bow on a package. Theloops may vary thumb with the shiny sideup(Fig. 6-34). The Figure 6-32Oasisglue in length but are generally about2 inches long. The loops are held together by afine wire which is often concealed by asmall loop of the ribbon. Streamers may bemade by leaving a length of ribbon at the beginning and end of the bow-making process, orby making one of the loops much larger and clear then cutting it to form two streamers. ife

Single-faced #3 satin ribbon is most SI commonly used for corsage bows, The shiny ia. *Is

side is usually placed outward. This requires nat. twisting the ribbon over after eachloop is made. Bows made from narrower widthrib- Figure 6-33 Aerosol productsadhesives and bon are also very appropriate. Widerribbon Figure 6-34 Making a loose ribbonloop surfacesealers 116 remainder of the ribbon will be coming to- thumb and forefinger just enough to hold you can twist them as they are made so that ward you with the dull side up. Hold loop this loop as you did the first one. they fan out slightly. between thumb and forefinger. 8.Continue making loops on opposite 9. End wii h one large loop which you will 3.Pinch the ribbon together under your sides by first twisting the ribbon so that the later cut at a sharpdiagonalto form two thumb using thumb and forefinger so that shiny side is up, holding all loops between strt amers. the length of ribbon coming toward you thumb and forefinger. Loops can vary in size narrows into a crease where it comes off the (the smaller ones should be made first), and 10. Without letting go of any of the loops, thop. slide the #28 wire under your thumb and over all the gathered bases of the loops (Fig. 4. Make a sharp twist in the ribbon so that 6-38). Pull wire to its midpoint and then the shiny side is up (Fig. 6-35). Use fore- bend it so the two halves come together. finger to hold ribbon in this position. 11. You may need to turn your left hand over for the next step so you can see what you are doing. Pinch the wires together tightly, close to the ribbon, and twist sharply several times so that the loops are firmly held. If the wire is not tight enough, the loops will come undone. A tight wire will cause the loops to %k,ANAL stand up giving a fullness to the bow. About four loops on one side and five on the other will make a very good corsage bow. Figure 6-36

A Figure 6-35 5. Form a 2-ineh loop by bringing the ribbm back to and under the thumb (Fig. 6-36).

U. Lift your liii nub enough to let the ribbon in under it. The ribbon length is now going away from you with the dull side up. -41/PFP*7

7.Again pinch the ribbon inider your thumb and twist it so tlw shiny side is lip. Make U iot her 2-inch hmp on the opposite 017 side from the first loop (Fig. 6-37). Olwn Figure 6-37 Figure 6-38

2 4 117

To make streamers 6. The streamers can beadded separately to the corsage by taping themin, or they can floratape, 1.Cut the large loop near the middle on a first be attached to the bow with sharp angle to make two streamers. Bend into desired position. To make net tufts(Fig. 6-40) 2,If additional streamers are wanted, or if a bow was made withoutthe large loop, 1.Cut a 6-inch piece of waterproofnetting streamers can be made and added sepa- (tulle). Waterproof netting comes onbolts rately (Fig. 6-39). Cut a piece of ribbon twice and is 6 inches wide, as long as the desiredlength of the stream- between ers, 2.Gather the center of the net your fingertips. 3. Bend and tuck the ribbon piece inthe middle so that the two halves come down at 3.Twist a #28 wire around thegathered net Tight a 45° angle to eachother, with a triangular about 1/2 inch up from the point. point at the tuck and the shiny side toward wiring is necessary to hold the netand make Net tufts of waterproof tulle you on both halves. it puff out. Flgure 6-40 4. Wrap a #28 wire tightly around thetuck 4. Use floratape to tapethe wire and the about 1/4 inch from the point and twist the lowest point of the net. wire tightly.

5.Cut ends of streamers with ribbon BOUTONNIERES shears at a sharp angle. Traditionally boutonnieres havebeen single flowers worn in thebuttonhole of a man's lapel. The simplestform of a boutonniere is a flower, such as a rose,carnation or orchid, broken off theflower stemmid pinned on with a smallblack-headed pin.

Flowerstorboutonnieres may be wired and taped to provide a morefinished look to the stem and to give somecontrol over the position of the Hower. One or moresmall pieces Of foliage may beadded for interest, 11 the foliage is wired, its position canbe more careht lly regulated. Bontormi('res may consist of moretInm One 1)10550111, such asthree stephanotis or Figure 6-39Addingstreamers to the bow

BEST COPYAVAILABLE 118 even a small collection of different flowers. B. Discuss your reaction to the following There has been a recent trend toward more questions. complex boutonnieres. Even though they are much smaller than a corsage, they still 1. What jacket and what occasion give a designer the opportunity to be more would each boutonniere be suitable for? creative. 2.Are any of the boutonnieres larger or Flowers chosen for boutonnieres should smaller than you think appropriate? coordinate with the color of the man's clothing and reflect the appropriate formality for 3. There are different ways of finishing the event. Wedding boutonnieres should be off the bottom of a boutonniere, some of coordinated with the other flowers, usually which have probably been tried by your by having the boutonnieres consist of one or classmates. Consider the following pos- more flowers used in the bouquets. sibilities. Which ones are the most appealing to you? I3outonnieres are usually pinned on the left lapel of a man's jacket (to your right as * blunt or straight on the bottom you face the wearer). * individual taped wires showing, spread out as if they were stems * single taped wire bent into a curl * base of flower concealed by foliage A. Construct the five boutonnieres listed below. Practice pinning them on other Single and multiple-flower boutonnieres people in the class,

Style Suggested Flowers Suggested Foliages

Single flower standard carnation none

Single flower rose ivy with foliage

Double flower mini %:arnations huckleberry

Mixed flowers mum, rose, baby's breath sprengeri

Creative one or more unusual materials one or more unusual materials such as dendrobium orchids, such as small spider plant small daffodils, freesias, leaves, grape tendrils, or alstroPmeria, stephanotis, or succulents hyacinthiflorets 119

SINGLE FLOWER CORSAGES ouvneumm &VirIIVIITIllte Single flower corsages are designed to Single Flower Corsages feature one special flower, such as an orchid cho- or gardenia. If a standard carnation is A.Make a single carnation corsage using sen, the corsage will be relatively small, but the following procedure. if the featured flower is a cattleya orchid, the corsage will be quite large. Materials: (Fig. 6-42) 1 standard carnation Single flower corsages can be enhanced 3 small pieces of leatherleaf fern by foliage, ribbon, tulle or other accessories. 1 1/2 yards of #3 satin ribbon The ribbon is normally placed at the base of corsage kit the flower and should not be out of scale by being overly dominant or too small. Tufts of 1.Wire and tape a standard carnation netting (tulle) are sometimes used behind using #24 wire and the pierce method. Flgure 6-41A corsage kit flowers to set them off with a delicate background. The tulle will also give some support 2. Wire three small pieces of leatherleaf to large petals, such as those found on using the modified wrap-around orchids. method. The bottom of the corsage should he 3. Make one bow from the #3 satin wrapped with tape and cut off to a length ribbon. Loops should be about 2 that is relatively short and inconspicuous. inches long. Tape over the cut end so there are no exposed wires to snag clothing. 4.Place the smallest piece of leatherleaf behind the carnation so that it extends about 1 inch above the flower. CORSAGE KIT (Fig. 6-41) 5. Use floratape to bind the foliage and Supplies for making corsages should be flower together. Use only a couple of assembled in one place so they are readily turns of the floratape as each new available while the corsages are being con- piece is added. structed. They consist of the following: 6. Add the bow in front of the flower and #24, #26, and #28 florist wire just underneath it, securing the wire floratape to the other stems with a few turns of corsage pins floratape. corsage bags or boxes mist bottle filled with water 7. Add the second piece of leatherleaf s4-.Issors between the loops of the bow and off to wire cutters one side of the flower. Figure 6-42 Materials for a single carnation sharp knife corsage 120 8. Add the third piece of leatherleaf 3. Make a bow with two streamers from between the ribbon loops on the other 1 1/2 yards of picot ribbon, side. 4.Place one of the small pieces of 9. Cut all the wires off about 1 1/2 sprengeri behind the orchid and tape. inches below the flower and tape over Add a second piece slightly below the the cut end. first and a little to the right, then tape.

10. Bend ribbon loops and foliage pieces, 5. Add the bow by taping it below the arranging them into a pleasing design. flower. (See Figure 6-43.) 6. Add the remaining three pieces of 11. Mist the corsage lightly with water. sprengeri below the flower, arching forward through the bow. 12. Add two corsage pins, place in cn, 1.dge 7. if Figure 6-43 A finished single carnation bag or box, and store in cooler. Adjust the flower and foliage pieces corsage necessary. (See Figure 6-45.)

B. Make a corsage containing asingle 8.Mist, add pins, aridpackage. cymbidium orchid, using the following directions. Materials:(Fig. 6-44) 1 cymbidiuni orchid 5 pieces of sprengeri 1 1/2 yards of nbbon corsage kit

1.Wire and tape a cymbidium orchid using two #26 wires pierced through the flower stalk at right angles just below the flower. (If other flowers like cattleya orchids, phalaenopsis orchids, Amazon lilies or gardenias are used, select a *Ai& wir;ng technique appropriate to those flowers. See the specialized wiring techniques described earlier in this chapter.)

2.Wire live pieces of sprengcri using 1128 wire and the wrap-aroundmethod. These shot be of various sizes that are Figure 6-44 Materials for a single in scale with the flower, Figure 6-45 A finished single cymbidium cymbidium corsage corsage

2J 4 121

SINGLE SPRAY CORSAGES OVUULT,01.1'1110 4,\Q1nvuvw Single spray corsages contain more than Single Spray Corsage one flower arranged in atriangular design with the bow incorporated into the lower Materials: (Fig. 6-46) area. There is a gradual progression insize 1 stem of pompon chrysanthemums from smaller flowers at the top to larger ones 3 stems of annual statice at the base. 7 camellia leaves of assorted sizes (use smaller rather than very The lower part of the corsage is consid- large leaves) ered to be the focal area. There should be 1 1 / 2 yards of #3 satin ribbon closer spacing of materials in this area than corsage kit higher up, but never let them appear crowded. The bow is also located here, While 1.Wiring; it enhances the focal area, it shouldnot be the focal point. A larger flower placed over a) Wirefivechrysanthemums of vari- the bow is the center of interest. ous sizes using the insert or hook Spring flowers grouped into a single spray, method. worn upright The bottom area can be finished off with foliage that comes forward or arches slightly b) Wire seven pieces of annual statice downward. The flowers gradually face sideof different sizes using the wrap- ways as you go to either sideof the corsage. around method. Leaves wired by the hairpin method canbe rolled away from the focal area to cover c) Wire seven assorted camellia leaves mechanics and give a rhythmic feLling to the by the hairpin method. piece. 2. Make the bow. Depth is created in a single spray cor- Figure 6-46 sage by the gradual thickeningof the cor- 3.Place one of the smaller statice pieces in Leaving some Materials for a sage toward the focal area. front nf a small camellia leaf and tape. single spray space around theflowers contributes to Add the smallest mum; tape (Fig. 6-47). corsage depth, as does the in-and-out placementof Remember to leave the greatest distance the filler flowers. between flowers at the top so there can be gradual and rhythmic progression The corsage should be relatively flat on toward closer spacing as you near the the back or arched slightly to conform tothe focal area. The corsage will also become shape of the shoulder. All wiring and taping wider and thicker as you go downward. must be securely done so the placements Since this all occurs within about 5 stay in position and give a well constructed inches, you must plan your first place- look. nients carefully. Figure 6-47 Work begins at the top of the corsage

Z.0 :" 122 4.Continue adding second and third has more opportunity to develop a stylish leaves, mums andstaticeinan piece with rhythmic flow. It is important to alternating manner. Also stagger the select relatively small materials which have placements from right to left, gradually good size variation. leaving more wire length free of the tape so there is a gradual widening and In the following exercise a special tech- thickening of the corsage. nique will be introduced which allows the designer to create tailored size placements 5. Add the bow below the third chrysan- from ordinary larger materials. A standard themum flower and tape. carnation can be taken apart (shattered) into various sized segments for individual 6.Place remaining flowers, foliage and filler wiring and taping. Enough shattered carna- over the bow to incorporate it into the tion segments can be obtained from two design and create a triangular look. (See standard carnations to make a double spray Figure 6-48 Figure 6-48.) Some leaves should have corsage. A finished single spray corsage been added with the bow, arching out from the focal area between flowers or through the loops of the bow so that the leaves don't form a collar around the 0110(.011'0VICD &CC VIIVIrinY corsage. Double Spray Corsage Using 7.Mist, add pins, and place corsage in a Shattered Carnations bag or box to be stored in the cooler. Materials: (Fig. 6-50) 2 standard carnations DOUBLE SPRAY CORSAGES 1 stem of boxwood 1 stem of baby's breath A double spray corsage is slightly larger 11 / 2 yards of #1 satin ribbon than a single spray corsage and consists of corsage kit two parts with the focal area near the middle. Figure 6-49 (See Figure 6-49.) The final product may be A double spray corsage worn on the wrist bent into a crescent or S-curve if desired. Special precautions must be taken to avoid making the corsage too large. Another potential problem is the development of a large stern of wires. This will hold the corsage away from the wearer, causing it to rock on the shoulder.

Sincemore placements are involved than ina single spray corsage, the designer Figure 6-50 123 have 1.Divide one carnation in half, removing These should be small pieces that the seeds but keeping the calyx on the three to seven flowers on each piece. petals as much as possible (Fig. 6-51). They will be compatible in sizewith the Divide one of the halves into two equal small shattered carnations. Donot parts. Try to keep the claw-shaped bunch the baby's breath tightly sothat it petals together and facing the same looks unnatural and loses its light,airy direction. effect. Figure 6-53 Ailh..1411k 7. Make the bow andstreamers.(See Figure 6-52 for all the materialswired and ready for use.) ANL.

8. Alt ernate pieces offoliage,filler and flow- 41,41" ers as you did forthe beginning of the single spray corsage. Tape each piecein Figure 6-54 as you go with one ortwo turns of the 11. Add the bow in the central area by taping ing4 tape. Set this top piece aside(Fig. 6-53). it in. 9. Make a second piecethat resembles the 12. Place ti.e largest flower over the bow. Figure 6-51 Two carnations shattered piece you made in step 8(Fig. 6-53 also). This will be tne bottom portionof the 13. Add remaining foliage, flowers andfiller doubie spray. It will be attachedupside to join together rhythmically the topand 2.Pick up one segment of petals and wrap down with the smallest flowertoward the bottom sections. Create depth by leaving around the nar- a few turns of floratape bottom. some space around theflowers and by row part near the base. gradually facing the flowers sideways as 10. Place the two sectionstogether face to you go away fromthe focal area. 3. Wire the segment with #28 wireusing face with their wire bundlesjoined and the wrap-around method. Place wire parallel. Bend the bottom sectiondown 14. Bend corsage into a crescent orS- over the tape so that itdoes not cut sharply over your thumb (Fig.6-54). shaped curve if desired. Arrange individ- through the delicate petals. Tape. Then tape the wire bundlesof the two ual placements to enhance the design. sections together. (See Figure 6-55.) 4.Divide the second carna± ion intofive different-sized pieces (Fig. 6-51). Wire 15. Mist, add pins, and place corsage in a and tape as described above. bag or box. Store in a cooler.

0.Wire boxwood to produce nine sections in various sizes. It may be necessaryto hunch two or three pieces together, wiring them as a unit to get a fullenough section. 41;14111 6. Wire nine pieces of baby's breath using the modified wrap-around method. Figure 6-52 Materials assembled Figure 6-55

0 r) BEST COPY AVAILABLF 124 POTPOURRI CORSAGE elm:111E3=10 zauLmniny A potpourri corsage can be made from a few small blossoms and assorted foliages. Potpourri Corsage They are arranged in a rounded shape with the taped wires spread out to simulate the Materials: natural stems of a mixed bouquet (Fig. 2 miniature carnations 6-56). The overall size should be kept rela- 1 full-blown rose 1 large piece of baby's breath .3 tively small. elo 1 stem of statice ellert 45, Baby's breath, small pieces of statice, 1 large piece of sprengeri chrysanthemum buds, shattered carna- corsage kit tions and rolled rose petals are possible components of the potpourri. Small pieces of 1.Remove some petals from the rose. Roll sprengeri or plumosus will contribute to the them up, using two or three petals to- delicate, informal look. gether to make a miniature rose bud. Wrap a #28 wire around the base of the 41%4 In a corsage of this style, the wired flower petals (wrap-around method) and tape and foliage stems radiate out from a com- securely. Make five of these rose petal mon point like a miniature bouquet. Taping buds. them together will be limited to a narrow area just under the point where the wires 2. Wire and tape the following: converge. This taped area will be concealed * three miniature carnations (pierce method) by the lower flowers in the corsage. Individ- ual taped wires are allowed to fan out below * five small pieces of baby's breath Figure 6-56 the corsage as part of the design. (modified wrap-around method) Apotpourri corsage * five pieces of statice (wrap-around method) * five pieces of sprengeri (wrap-around method) (See Figure 6-57.)

3.Gather ti, e three carnations together, joining them at a common point so that they can be spread out equally from each other. Start taping the sterns together just below where the wires are joined and stop one inch further down. This will Figure 6-57 leave thelower ends of the wires frtso Materials ready for a potpourri corsage that they can be fanned out.

2 r) ,A; Oa Jur 4. Add rolled rose buds, distributingthem uniformly to create a generally rounded shape. Some placements should be bent down from the point of common attachment to create a full form and helphide the taped area. 4 5. Add sprengeri,statice and baby's breath. Distribute each uniformly and tape them in at the same point asthe other stems after each two or three placements are added.

6. Adjust individual placements to create a Figure 6-58 one-sided bouquet that is somewhat flat A potpourri corsage - top view on the back. This corsagewill not have a bow. (See Figure 6-58.)

7.Clip off the wires about 11 / 2 inches below the taped area and fan them out to look like the natural stems of the potpourri of flowers and foliage.

BEST COPY AVAILABLE 23WD \Mal= &dad 1 MD= MOW/10

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(De Santis Florists, Columbus) 128 Bud vases and l'ose bowls are used tc of the vase. Also, the stern should be long display one or a few flowers in a simple but enough to insert deeply into the vase while tasteful way. Customers looking for a rela- still holding the flower well above the rim of tively inexpensive floral piece that is in water the container. Flowers with thick sterns and ready to display often select bud vases may not fit well into very narrow-necked and rose bowls. They take up little space, bud vases, especially if several flowers are * making them suitable on office desks and in involved or foliage is added. 4 Figure 7-1 hospital rooms. They also can be used Bud vase with individually or in small groupings on food Flowers frequently used in bud vases liatris and tables for a simple floral accent. include: marguerite daisies Baby's breath Carnations Daffodils BUD VASES Dendrobiurn orchids Iris Abud vase is a tall narrow contain(' r with Pompon mums a small neck which can hold one blossom or Roses a small grouping of flowers and foliage (Fig, Statice 7-1). A typical example is a single rose in a bud vase with a piece of sprengeri and a bow The plant material is held in place by the narrow neck of the container. FOLIAGE FOR BUD VASES k Bud vases are made ofvarious materials, One or more pieces of foliagewill with clear glass and white milk glass being complement the beauty of the flowers and the most. common (Fig. 7-2, 7-3), Clear glass help hold them in place. Foliage with small bud vases may be plain or patterned. They leaves in an alternating or spiralleaf allow the sterns of the flower and foliage to attachment is preferable to foliage with a show. An extension of the vertical line is thus definite front and back like leatherleaf fern. Figure 7-2 Crystal and milk glass bud vases established by the plant material. Bud vases Leaves should not be overly large or heavy in may also be made of colored glass, plastic, or appearance. various kinds of pottery and china. The type of container chosen should be harmonious The foliage choice can have a significant with the color and type of flowers used. Fine effect on the overall impact of a bud vase. quality containers are nice, but add consid- For instance, adding an old or (lamaged erably to the price of the bud vase arrange- piece of leatherleaf fern to a bud vase con- ment. taining flowers that are fresh and nice will seriously detract from them. L. FLOWERS FOR BUD VASES s' kre arc a kw suggestions of the more Many flowers arc suitable for bild vases. interesting foliages and how to use sonic of A.-igure 7-3Assorted styles of bud vases They must be in good proportion to the size them.

BEST COPY AVAILABLE 129

Boxwood ACCESSORIES Eucalyptus Galax Bows and other accessories are optional Huckleberry but are used often. Use a long piece of wire Lycopodium to fasten the bow when you make it. Donot Plumosus twist the wire around the neck of the vase; Ruscus instead, insert it into the bud vase with the Scotch broom flower stems. A bow may enhance the color Sprengeri scheme or may even help establish the theme for a particular occasion. The bow 1. Trim a piece of huckleberry down to a should be approximately the same size as a narrow vertical section. corsage bow. It should have atlast two streamers 3 to 4 inches in length. Cut the 2.Use sprengeri or plumosus for a soft ends of the streamers at a sharp angle for a arching effect. more graceful look. 1 Place galax leaves near the rim of the Accessories like glittered branches, arti- vase, providing a horizontalline of ficial fruit, hearts, shamrocks and butter- opposition and adding depth to the flies can be added. A heavy wire or wooden design. stake may be attached to the accessoriesif Bud vase with plastic-picked accessory they are not on sterns long enough to position them where they are wanted. Small Groupings of Flowers In Bud Vases ----'-"......

Figurines give balanced look to bud vase Dendrobium orchid spray, S-curve of oncidium orchids Pussywillow, daffodils, arrangement pittosporurn, spider plant ruscus, galax, ivy and acacia in classic vase

7 !I fw " l 130 ROSE BOWLS

Rose bowls are round clear glass bowls 1,Make a single flower bud vase using a that can be used to feature a single rose rose and several pieces of sprengeri (Fig. blossom or other special flowers. A small 7-4, left). Cut the rose so that it is one-and- amount of foliage may be used around the a-half times the height of the bud vase. Re- bas-, of the flower. A ribbon may be tied move the thorns and the foliage on the lower around the neck of the container and fas- half of the stem. Insert it in the bud vase tened with a bow. Cut three pieces of sprengeri to different lengths. Insert them so they arch out away The blossom should not be submerged from the rose. in or floating on water. The short stem of the flower can be inserted into a small piece of 2. Make a bud vase with a bow using two soaked floral foam with small pieces of carnations, huckleberry and baby's breath foliage radiating out from it. This can be (Fig. 7-4, right). Trim the huckleberry into done outside the bowl; then the whole unit two slender pieces, the taller one the same can be lowered into the container. A four- height as the container. Place the huckle- pronged anchor pin could first be fastened berry upright in the vase. Place the carna- to the bottom of the container with floral Figure 7-4 tions at different heights so that one is a few Two examples of bud vases clay.Double-faced mounting tape can inches above the rim of the vase. Make the provide even greater stability if desired. The bow with #3 corsage ribbon. Use a full floral foam is then pushed down onto the length of wire. Make 4-inch-long streamers. anchor pin. Glass marbles or small pebbles These may be wired separately from the can be used instead of an anchor pin to help bow. The wires should be inserted in the hold the foam in place. These would be bud vase. Add two or three pieces of baby's added after the foam unit is inside the bowl. breath as a filler. Keep a light airy feeling by A small amount of water can then be added using the baby's breath sparingly, not to the bowl to supplement what is in the crowding it. floral foam and keep the flower fresh longer.

3. Make a creative bud vase for one or more Another way to position the flower is to of the following situations or occasions: use glass marbles instead of flofal foam. Put a shallow layer of glass marbles in the * new baby bottom of the rose bowl. Arrange small * modern office pieces of the foliage first. Then position the * Mexican restaurant flower by pushing its stem down through * Secretary's Day the foliage and marbles. Lastly, add some * Doss' Day water to keep the flower fresh, but not above * Sweetest Day the level of the marbles. Some rose bowls have a neck with a slightly flared rim. This is a convenient place 131 to tie a #3 satin ribbon with anattached bow 2. Make a rose bowl using a rose,huckle- 7-7). Select a to give a finished look. berry and baby's breath(Fig. rose bowl with a neck thatwill hold a ribbon. Other flowers that may be featured in a Use glass marbles for support. clear glass bowl include orchids,begonias, lilies and carnations. Place glass marbles in the container to a depth of one inch. Arrangesmall pieces of huckleberry in a low flat plane so that the ends are anchored in the marblesand the tips radiate out from the center.Cut the rose stem to 1 1 / 2inches and place in the QkrAcil0A0`11'1110 hAni'll\Ylnr11110 middle with the stem pushed down inthe 1.Make up a rose bowl using a roseand marbles. leatherleaf (Fig. 7-5). Arrange a flatradiating circle of foliage in a small piece offloral foam. Add three pieces of baby's breath to create Figure 7-7 The overall size must be smallenough to fit a cloud effect. Itshould not look crowded or Materials for a rose bowl including ribbon huckleberry and glass marbles into the bowl without crowding.Cut the rose hide the rose. Tie a piece of #3 satin stem about 1 1 / 2 inches longand place it around the rim of the container.Make a foam. Place small bow from the same ribbon andfasten upright in the center of the floral that is tied about 1 / 2 inch of water in thebottom of the it with wire onto the ribbon 7-8.) rose bowl. Lower thefoam with the flower around the rim of the bowl. (See Figure and foliage into the bowl. (See Figure7-6), Short streamers may also be used.

Figure 7-8 Completed rose bowl with a bow

Figure 7-5 Figure 7-6 Materials for rose bowl - rose andleatherleaf Completed ro ,e bowl

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Flowering and foliage plants thatare FOILING POTS sold as gifts may be made more attractive by wrapping the pot with foil or setting the pot The most cormnon and economical in a decorative container. A bow or various method of covering a pot is to use aluminum accessories may be added if desired. The florist foil. Foil is available in different thick- wrap, ribbon and accessories can be very nesses and a wide range of colors. Some foil simple or elaborate to develop the theme of is embossed with a textured design. Foils a special holiday or occasion. may be lined with plastic to make them more waterproof. Heavier foils are more expensive Gift plants are usually produced in 4-or but are less likely to be punctured and to let 6-inch plastic pots. However, these utilitar- water through. ian containers do not provide the finished look that most people expect when buying Foil color should harmonize with the Grouping of kalanchoes and ivy or displaying one of these specimen plants. in a wicker suitcase flower and foliage colors. The foil should not Without foil, clay pots are more acceptable have a color or texture stronger than that of for display, though less frequently used. the flowers or it will command more atten- They should be clean and in good condition. tion than the plant.

It is a good idea to advise customers to Plants to be foiled should be well watered place a saucer under the potted plant. A and allowed to drain, and should have their selection of saucers should be offered for flowers and leaves groomed. Spent blooms sale. Most potted plants must be watered and damaged leaves should be removed. several times at least bcfore being discarded. Leaves should be wiped clean of dust arid The decorative foil covering cannot always spray residue. Using plant shine products or be relied upon to keep moisture from seeping oily compounds to makc the leaves glossier through, damaging wood table tops. Clear or is not recommended since these products green plastic pot saucers are inexpensive clog stomates and may interfere with the and will not detract from the plant or its long-term health and beauty of the plant. African violet set in a wooden rabbit planter decorations. Plants that will not stand upright ean be Sometimes unglazed clay saucersare staked with an inconspicuous wooden or sold tomatch clay or terra-cotta containers. metal stake and twistems. Bushy plants These areporous and will allow some mois- may require three or more short stakes ture to seep through.In order to protect around the outside connected by green t able surfaces, therefore, clay saucers must string. Hyacinth stakes are good for this be set on some kind of waterproof mat. It is purpose. They are round wooden stakes, easier to use the non-porous plastic saucers stained green and pointed at one end. Their that closely match real terra-cotta in color name comes from their frequentuse to and texture. supportbulb crops like hyacinths, tulips and daffodils. Green colored bamboo st akes can be used for taller plants. Metal rods with Bromeliads in a seashell 135 a hook at the end are good for supporting individual flower stalks, such as sprays of THE BOW orchids. Wooden and fiber poles are some- A bow can be added at the rim of the pot times used to support large climbing foliage to further dress up the potted plant (Fig. plants. 8-3). Size #9 ribbon is commonly used for 6- inch pot bows. The bow must be in good After theplantsarewatered and proportion to the size of the pot and plant. groomed, they are ready to be foiled. To A begin, cut a square of foil large enough to The bow and streamers are wired to a 4- should cover the pot being decorated.The foil inch wooden stake. The stake is then pushed come up over the edge of the pot. Tall plants into the soil on the best side of the potted with less in .eresting lower stems, like Easter plant. If you wish to encircle the pot with a lilies and tulips, should have the foil ex- separate piece of ribbon, do this before the tended higher up the stern than is done with bow is added. Cut a piece of ribbon a little shorter bushy plants. longer than you need. Bring itloosely around the pot and tie it in a double knot. Fold over all edges of the foil 1 / 2 inch for down Secure the ribbon from slipping down by a finished look (Fig. 8-1). Press edges inserting the stake with its attached bow and neatly. Center the plant on the foil and bring corners up around the pot one at a time. streamers under the knot and into the soil. Figure 8-4 A colorful bow decorating a gift basket of meat, cheese and a potted kalanchoe Using both hands, one on either side of each Bows can be made from all kinds of rib- point, take tucks in the foil as it is brought bon including satin, cotton and burlap. up around the pot. This will result in a neat Printed or patterned ribbon (Fig. 8-4) may pleated appearance around the pot (Fig.8-2), suggest a particular theme or holiday. For rather than a rough, crumpled look. The variety, two ribbons of different colors or four pointed corners can be flared out widths may be worked into a single bow. slightly, or two corners can be stapled together to form three points of foil (instead of four) around the plant.

Figure 8-3 Figure 8-1 Figure 8-2 136 ACCESSORIES water and better keep it from running (See Color Plate 1-8) through the foil or plastic. Various accessories such as artificial A jardiniere (jar-duh-neer) is a deco- birds or fruit or dried materials can be added rative container into which a potted plant as an accent to the bow. A mini-sheaf of can be set. Jardinieres may be made from wheat or cattails placed diagonally across pottery, china, metal or plastic. They do not the bow will add an interesting line of oppo- have drainage holes so will retain any water sition. Twisted branches, bamboo or drift- that comes through the pot. Often fine wood inserted into the pot will lend more gravel, perlite, shredded styrofoam, or sim- height to the plant or extend its boundaries ply an overturned saucer is put in the bot- in other interesting ways. tom of the jardiniere to keep the plant from sitting in drainage water and becoming Accessories are usually attached to a waterlogged. Another advantage of adding wooden stake which is inserted into the soil. these materials is that they raise the pot so Bamboo and branches can also be inserted that its rim is even with the rim of the jar- directly into the soil. Birds, butterflies and diniere. However, the rim of the pot should A wooden troll used as an accessory to a silk flowers may be hot-gluedto the not be raised so that it is visible above the basket of begonias and foliage plants branches if desired. rim of the jardiniere. The pot should be slightly smaller than the jardiniere so that Many plants have bushy lower leaves there is no pressure put on it (especinfly if that cover up the soil in the pot. Plants the jardiiiiere is an expensive ceramic con- without these may look more attractive if tainer). Jardinieres are easy to use and save sheet moss, Spanish moss, lichens or wood time, but add significantly to the cost of the chips are added to cover the soil and give a plant. more finished look.

OTHER POT COVERINGS

Other materials besides foil can be used 1. to wrap pots. Burlap, crepe paper and cellophane give different effects but do not cling to the pot as readily as foil. When a fabric like burlap is being used, the pot should first be covered by plastic or foil so that moisture will not dampen the cloth. Several layers of newspaper or cardboard, cut the same size as the bottom of the pot, will serve as a blotter if placed direct ly A jardiniere with begonia under the pot. The paper will absorb excess A jardiniere with cyclamen 0 1.! tj r- - ; RI4 A 2' 137 Wicker baskets are suitable containers 5. Make a bow from #9 satin ribbon. The for plants (Fig. 8-5) if they come with a plas- bow should have loops 21 / 2 to 3 tic liner. Trying to line a basket yourself with inches long so that the finished bow is layers of foil or plastic is time-consuming. It a little less wide thanthe diameter of also may be somewhat questionable as an the pot. Make two 3-inch streamers. effective barrier to moisture. Attach the bow and streamers to a 4- inch wooden stake. Wrap a length of Straw hats with plastic liners are avail- #9 satin ribbon around the pot and tie able as a covering for various sized pots (Fig. it off.Insert the stake with attached 8-6). They fit snugly around the pot and may bow and streamers into the soil at the be decorated with ribbon and accessories rim of the pot so that it holds up the just as with a foiled plant. ribbon that has been tied around the pot. The bow should be placed on the Figure 8-5 Primula malacoides in a best side of the plant. wicker basket tunavre.v.g) Jacrsuwuvinte B. Decorate one or more potted plants to carry out one of the themessuggested below. A. Decorate a potted plant that has been Using bows and accessories, be as creative grown in a 6-inch plastic pot. as possible. 1. Clean the pot and groom the plant so * autumn harvest buffet that it is free of spent blooms, damaged * Easter breakfast leaves, and spray residue. Water the * contemporary office plant and let the excess water drain * Mexican theme through. * Oriental look r*: * young child's birthday 2. Cut a square of foil that will extend up over the edge of the pot. Turn the edges Figure 8-6 Kalanchoe in a plastic-lined in about 1 / 2 inch and press firmly straw hat down to form a smooth edge. 3. Cut a circle of cardboard or layers of newspaper the size of the bottom of the pot. Place the pot on the paper in the center of the

4. 13ring ev.ch corner of foil up to the side of the pot by taking a tuck in the foil on each side of the comer. Develop a pleated look around the pot. Flare the ; irk points out gently. Hyacinths with Spanish moss at the base, A rabbit sitting by a log basket a satin bow and duck accessory of potted spring plants n

BEST COPY AVAILABLE Plate 11-1

ARRANGEMENTS IN SETTINGS

Lobby

Living room Writing area

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Living room Foyer Hallway

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DESIGNS

by Teresa Paniello The Ohio State University Agricultural Technical Institute

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ARRANGEMENTS

by Hitomi Gilliam, AIFD Ohio Florists' Association Retail Discovery Series

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ARRANGEMENTS

by Perry Walston, AIFD Sympathy Symposium ." A Ohio Florists Association ,.m.Aritor Retail Discovery Series 911

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*c Plate 11-5 THE OHIO FLORIST SHORT COURSEDESIGN SCHOOL (1987)

40.

Richard Milteer - Commentator Robert Wietholter - Designer Arnencan Floral Services, Inc. Country Squire Florists, Bluffton, Indiana

Rosemarie Schweitzer - Designer Els Hazenberg - Designer Flower Council of Holland Baker Florist and Greenhouse, Dover, Ohio

1 ." 1 I 4 J5 . or, Plate 11-6

CONTEMPORARY DESIGN

4.0 Plate 11-7

The Ohio Florist Short Course

SIMPLICITY IN DESIGN Plate 11-8

CREATIVE AND COLORFUL DESIGN

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.. 140 A mass arrangement contains many in traditional flower arranging. The round flowers organized into a geometric form or mound design is frequently created for table shape. It may be one-sided or an all-around centerpieces, wire service specials, and design. Different styles can be expressed wedding bouquets. In many areas triangles depending on whether the mass arrange- and fans remain traditional favorites for ment is large or small; whether it has much sympathy flowers and church decorations. depth or is very compact; and whether it consists of one type of flower or a mixture of A contemporary trend in mass arrange- flowers. ments is to create very open designs with much depth. More open space means fewer There are two groups of such arrange- flowers. But these flowers often have inter- ments: 1) those based on the triangle and 2) esting forms which receive more attention those based on the circle. The basic design because of the open space around them. shapes that fall under each category are Being "modern" sometimes involves going listed below. (See examples in Chapter 2.) back to lesser-known antique styles. An example is the current interest renewed in Mangle Variations the compact Old German style called the Equilateral triangle Biedermeir (Fig. 9-1). One-sided triangular arrangement Isosceles triangle Right triangle Following is a discussion of the basic Scalene triangle shapes of mass arrangements. A suggested Diamond centerpiece activity accompanies each one as an introduction to the style and as a means to Circle Variations developskillin flower arranging. The Mound Oval Fan

Containers such as low bowls, pedestal containers and baskets are used for mass arrangements. They come indifferent shapes, sins and materials. The shape or form of the arrangement is modified to fit the chosen container. For example, the lower flower and foliage placements in a taller container will be brqught down over the rim; All-around circular mass arrangement flowers in a basket with a handle will be placed so they do not crowd the handle.

Although the mass arrangement had its origincenturiesago in early Western cultures, it still is the most conunonly seen style Figure 9-1 The mass Biedermeir style 3: 3(:,(; BEST COPY AVAILABLE 141

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ivlantel arrangement Triangular mass design in a basket 4.

Tea centerpiece

Hand tied mass in crystal vase .44-- m&A.dier 'WOW

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Open mass design of ranunculus on a pedestal Delicate mass of baby's breath FTD "Perfect Prescription" Bouquet

BEST COPY AVAILABLF 142 arrangements can easily be varied by using different containers, flowers, foliages and accessories from those suggested in the exercise.

TRIANGLE VARIATIONS x-> EQUILATERAL TRIANGLE Figure 9-2 Equilateral triangle Figure 9-5 Overhead view The silhouette of an equilateral triangle design is a triangle with all sides equal (Fig. 9-2). It may be constructed in a low container or in one raised up on a pedestal. This symmetrical design has its center of interest (focal areaFig. 9-3) low in the arrangement, directly under the tallest point and near the rim of the container. Larger flowers with closer spacing are used in this area. As you move up and away from the focal area, the flowers gradually become smaller with larger spaces between them, An ?,quilateraltriangle should have Figure 9-4 Side view depth. which is apparent when you look at Figure 9-3 Focal area Figure 9-6 Flaw: the arrangement in side view (Fig. 9-4), You Recessed focal area can see a right triangle with the focal area near its base where there is the greatest distance between front and back. Looking directly down on the arrangement from above (overhead view), the design shows yet another triangular pattern because of the forward placement of flowers in the focal area (Fig. 9-5). If the larger flowers near the focal area are pushed in, the arrangement lacks depth and is said to have a recessed focal area (Fig. 9-6). Another way of creating depth in an arrangement is to leave some space around

Figure 9-7 hi-and-out Figure 99- the individual flowers. Some flowers should piacement tor depth Figure 9-8 Gradual facing upward Change in facing be sunkenin,whileother flowers are

3 ) BEST COPY AVAILABLE 143 brought out. This must he done with care to oua(n-wirIND Materials: keep the overall triangular pattern intact low pedestal container and avoid creating a shaggy look. Depth A. Equilateral Triangle - Sticks floral foam or styrofoam resulting from the in-and-out placement of sticks or hyacinth stakes flowers (Fig. 9-7) is much better than the flat For your first practice in making an equilat- rigid appearance of flowers placed all at the eral design, use sticks to help you judge the 1.Place a piece of foam or styrofoam in the same level. The flowersshould not look as if precise length and angle of individual place- low pedestal container so that the foam they were glued to a styrofoam form. ments. Without foliage in the way, you will be sticks up about one inch above the rimof the able to see just where the placements are put container (Fig. 9-11). Secure it with narrow Gradual change in the facing of flowers is into the foam and the angle at which they are waterproof tape attached to the rim and important in the creation of an interesting inserted, criss-crossed over the foam. and rhythmic arrangement. Flowers in the focal area face directly forward. As the eye Stems should radiate out from the foam travels up the design, the flowers are gradu- without crossing each other (Fig. 9-10). They ally faced upward (Fig. 9-8). The tallest should be inserted throughout the foam, flower will face directly upward. This is a 90' utilizing the entire block, even in one-sided angle change in facing between the larger arrangements. If stems are placed in just the flowers at the focal area and the tallest flower forward half of the foam, the arrangement Figure 9-11 on top (Fig. 9-9). will look as if it is perched at the front edge of the container. Another potential problem 2.Establish the height (placement 1). (See As you move sideways away from the to avoid is placing too many stems in one Figure 9-12.) Cut one stick two times the ibcal area ,t h ere is another gradual change in part of the foam, causing it to split. height of the container plus about 2 inches. facing to the side and even to the back. The (The end of the stick will be pushed about2 edges of the arrangement should not end Use this exercise to visualize clearly the inches into the foam.) Place directly upright abruptly with sideways placements.Some order, angle and length of placements as well at the back of the foam and centeredfrom flowers should begin to angle backward for as the size, silhouetteand depth of the where the edges of the triangle will be greater fullness and depth. design. This skeleton arrangement will help located. (continued) you master some basicskills before you Flowers or foliage which should begin working with flowers and foliage. comefirst? The order in which materials are added depends on the type of flowers used, ewe... arm.. alamte ameam /ammo am... mom.. how open or tight the an-angement is,and whether the arrangement is being completed in one operation or at different times. During busy holidays or whenworking on large projects, it's po3sible to "green in" of the arrangements several days in advance Overhead view 1 final placenwnt of flowers. By using wed soaked foam, floralpreservatives, plant shine On foliages. and properrefrigeration, greens can outlast most flowers. Front view Figure 9-10 Figure 9-12 144 3.Establish the width (placements 2 and angled slightly more forward. There will be, a 3). (See Figure 9-13.) Cut two sticks of equal 90" change in angle of placement. The stick length that will form the lower points of the length also becomes shorter so that in side triangle. They will extend 2 to 3 inches view a right triangle is formed. This line of beyond the rim of the container. The dis- pla,ements down the vertical axis is called a tance between the ends of these two stick.; trunk line. should be equal to the distance between the end of either of them and the highest point of 6.Establish the silhouette.(See Figure the triangle. Thus all three sides of the 9-16.) Use three sticks on each side to con- equilateral triangle are of equal length. nect the tallest point with the lower points of These sticks should be inserted into the side the triangle. It is important to sharply de- of the foam toward the back and should be crease the length of the side placements so angled slightly downward and backward. that the triangular shape does not give way Figure 9-16Silhouette

1 toafan shape. In side view these placements shou:d be staggered forward or backward, looking nmeh like the trunk line did from the front. This gives depth to the arrangement and avoids the feeling of dropping off the edge of the arrangement when going beyond the placements forming the silhouette. Even though this Arrangement has symmetrical balance, it is better not to identically match placements across from each other. The same nunther of phicements on each side is not necessary as long as the basic triangular shape is evident. 4.Establish the depth (placement 4). (Sce Figure 9-14.) Cut another stick shorter than 7.Establish the base.(See Figure 9-17.) the previous two. Insert it in the front and Use twoor three short sticks to bridge the center of t he foam at the rim of the container. gap bdween the forward-facing focal stick Bring it directly mit toward you so that it is and the lower points of the triangle, In about 1 1/2 inches beyond the rim of the overhead view these should form a triangi container. lar shape. They should not all be lined up in

5,Establish the main vest ical line by staggering about five placenwnts down the center of the triangle, connecting the tallest placement. with the lowest forward-facing one (Figure 9-15), As you work down, alternate from left to right with each placement Front view Side view being shorter than the one above it and Figure 9-15 Trunk line Figure 9-17 The base in overhead view , 4/3 4 ./ 3 145 an arrangement canbe greened in several the same plane at the rim of the container. days before finishing the design. Bothfoliage They should be alternated slightly up and and flowers will exhibit a triangulardesign, down to achieve depth and to tie the arrange- with one superimposed on the other inthe ment to the container. finished product. 8.Fill in the design. On each side of the arrangement are two areas to befilled in. Materials: Gradual changes in spacing, facing and low pedestal container the area floral foam stein length should smoothly bridge waterproof tape between the trunk line and edges of the carnations (12-14) design. huckleberry (1/8 bunch) Figure 9-18 Soaked foam in container 9.Check the design. 1.Place soaked foam in the containerand tape with waterproof tape(Fig. 9-18). Are the three sides of the triangleequal in length? 2.Establish height of the arrangement with a fairly straight piece ofhuckleberry Is there an overall triangular appear- that has been selected and trimmed.Do not ance to the design? use bushy pieces or piecesthat sharply angle in one direction. The heightshould be Are there any crossing lines? about one and one half to two timesthe height of the container. Dosticks appear to radiate out from a common point within thefoam? 3.Establish width with shorter piecesthat are angled slightlydownward and back. Have you used the whole piece of foam Figure 9-19 Triangle of foliage for placements? 4.Establish depth with a short piece coming straight out toward you justabove the Is the overall size of the arrangement in good relationship to the size ofthe rim of the container. containei? 5.Create a triangular shapewith pieces of huckleberry radiating out o.s if from acentral B. Equilateral Triangle - point (Fig. 9-19). Thereshould be no cross- Flowers and Foliage ing lines. Fill in so that thefoam is not The foliage equilat- visible, Keep a light airy feeling. Use flowers and foliage to create an is only a background forthe flowers. Sink eral triangle. The order and positioningof some shorter piecesof huckleberry in deep .04 placements will be similar to that outlined in to cover the foam withoutcreating a bulky detail for the sticks. appearance. The foliage will lie placed first becat Iseof its carnations how 6,Ru,leat the above steps using Figure 9-20 Completed equilateral triangle linear nature. Doing this also illustrates (Fig, 9-20). Establish height,width, depth

tr.3

BEST COPY MUMS 146 111011101.... and trunk line; then fill out the remaining area. The longer linear pieces of huckleberry OTIZelt(Virit6 AVOVIi\cre.17 will extend slightly beyond the flowers at the points. Most of the other huckleberry pieces Isosceles Triangle veth Filler should be behind the flower placements. Youwill be constructing an isosceles tri- If the flowers are the same size, the focalarea angle acsign by placing the flowers in first, will be created by closer spacing and forward then the foliage, and finally the filler. Each facing of flowers in that area. If the flowers material (flowers, foliage and filler) should vary in size, use smaller flowers toward the individually form an isosceles triangle with a points of the triangle and gradually larger developed focal area. For example, a look at flowers toward the focal area. the filler by itself should give you this triangular shape with smaller pieces and greater Do not crowd the flowers. Sink some in for spacing as your eye moves away from the F igure 9-21 A completed isosceles triangle focal area. Flowers should be placed at dif- arrangement depth rather than having them all at the same level. Avoid both irregular groupings of ferent depths so that even in the focal area, flowers and the appearance of a line-up in where there is the greatest concentration of the arrangement. Remember to change the flowers, there will iv )t be crowding. Sterns of facing from forward to sideways or upward flowers and foliage should appear to radiate as you move away from the focal area. out from a point within the design behind the focal area. 7. Check the arrangement, using the same guidelines as you did for the stick arrange- Materials: ment. (Apply the questions in SectionA-9 on pedestal container the previous page, to this activity.) floral foam waterproof tape pompon mums (1 bunch) ISOSCELESTRIANGLE annual statice (1/6 bunch) leatherleaf fern An isosceles triangle has two sides of equal length and one side that is shorter. As 1.Place soaked floral foam in the container an arrangement form it is a variation of the so that it sticks up about an inch above the equilateral triangle. The highest point of this rim; secure it with crossed waterproof tape. triangle istaller than in an equilateral triangle and the lower points are closer to the 2.Begin the design with pompon chrysan- focal area. themums. First separate the stems in the bunch and examine them. You will need to This one-sided symmetrical arrange- break down the stemsby cuttingsome flow- ment emphasizes an upward vertical thrust ers or flower clusters off, using a sharp knife. X and usually appears more stylized than does Leave smaller flowers on long stems to use in Isosceles triangle an equilateral design. The isosceles triangle the outermost parts of the arrangement; may be constructed in a low container or in reserve larger flowers on shorter stems for one that has a pedestal.

BEST COPY AVAILABLE 147 use closer to the focal area.Remember as 7.Establish the silhouette. Keep the out- you cut that a stem that is too long caneasily iine sharp so that it is triangular,not fan- be cut shorter, but lengthening a stem that shaped. Alternate placements forward and was cut too short is not so easy. backward to avoid a rigid appearance and to establish depth. As you work, always re- 3.Establish the height of the arrangement member to continue size and space rhythm (Fig. 9-22). Select a small mum on a long by using larger flowers and closerspacing stem at least two and a half times theheight near the focal area, andsmaller flowers with of the pedestal container. Place this with the farther spacing away from the focal area. flower facing directly upward near the back of the foam where the center of the triangle 8.Establish the base by joining lower will be. points to the front flower. Stemsshould not form a collar but should alternate slightly up they Figure 9-22Establish height, width and depth 4.Establish width (Fig. 9-22) by placing and down. Viewed from overhead, fairly small flowers into the side of the foam, should form a triangular shape. angled down and back so that the lower points extend 1 1/2 inches beyond the rimof 9.Fill in the remaining area (Fig.9-24) so the container. At this point stand backand that the eye is rhythmically led tothe focal check your three placements. Make sure area with no large gaps orirregular crowding they establish an isosceles triangle.If the of flowers. lower placements have been extended too far, the design will look more equilateral, 10. Fill in with foliage so thatmechanics are and the resulting triangle may be too large covered but flowers are notcrowded. The for the container. foliage should appear to radiate outfrom a common point behindthe focal area. Avoid that stick 5.Establish depth and focal area(Fig. using large pieces of leatherleaf 9-22) by placing one of the larger flowers in out beyond the flowers. Do not use more Figure 9-23 Establish the vertical trunkline the center of the arrangement just above the than you need to cover the foam. riii. of the container. This flower shouldface di' ectly forward or even very slightly down- 11. Add statice to enhance depthand bridge w ird and extend out 1 1/2inches over the gaps between the rril'Ins.Remember to sink rim. some statice in deeperand bring some out farther for greatest depth. Make sure you 6.Establish the tnmk line of the arrange- have used some statice throughout the ar- ment, staggering flowers downward fromthe rangement, not just in one spot.This filler highest flower to the focal flower (Fig. 9-23). material should repeat the triangularde- Gradually increase flower size and decrease sign, exhibiting size and spacerhythm simi- spacing as you progress downward.Also lar to that established by the mums.(See Fig. gradually tilt the stems so that there is a 9-21 for completed arrangement.) transition from upward facing flowers near the top to forward facing flowers in the focal Figure 9-24Flowers complete the isosceles area. triangle

BEST COPY AVAILABLE 148 RIGHT TRIANGLE the back in the right side of the foam, angling it slightly downward and backward. The tip A right triangle arrangement is a one- may be pinched out of the snapdragon to sided mass arrangement that is basically prevent its curling upward. This can be done one half of an equilateral or isosceles tri- to any of the stems that will be placed at an angle. There is a 909 difference in angle angle. between the vertical and horizontal sides of the arrangement (Fig. 9-25). 4.Most right triangle arrangements look more relaxed if the right angle is not rigidly Right triangle arrangements can be established. Therefore some material will be designed either right or left sided (Fig. 9-26). brought out a little to the left of the tallest Figure 9-25 Figure 9-26Complementary Thus they can be used in completnentary flower placement. Establish this lower left Right triangle pair of right triangles pairs, as on a mantel, stage or church altar. point with a snapdragon that is about 3 This design form may also be used beside a inches long (Fig. 9-27, placement 3). Place it 1 painting or some other object to help visually toward the front of the foam and angle it balance the total setting. slightly forward.

5.Establish the trunk line with snap- eltasmneic_o &cvavrsily dragons (Fig. 9-28). Alternate placements from left to right. Connect the tallest point Right Triangle in a Low Container with the lower left point by gradually spacing flowers closer together and angling them Materials: forward. Do not let the flowers extend too far low container out on the left or you will lose the neat floral foam triat.gular form. The focal area is at the base Figure 9-28 waterproof tape of this trunk line. Figure 9-27 Establishing the snapdragons (10-14 sterns) First 3 placements trunk line pompon mums (1/2 bunch or 14- 6.Establish the silhouette by joining the 16 flowers) upper point with the lower right point (Fig. huckleberry 9-29). Make sure the triangular outline is maintained. 1.Place foam in the low container and tape. 7.Establish the base by connecting the two Figure 9-30 2.Establish height by placing the tallest lower points of the triangle (Fig. 9-30). Keep Establishing the base snapdragon (about 12 inches long) in the this line fairly straight. back left corner of the foam. (See Figure 9-27, placement 1.) It should point directly 8.Fill in the arrangement lightly with snap- upward. dragons. Leave room for pompon mums and foliage. 3.Establish the lower righi point of the Figure 9-29 triangle with a snapdragon about 5 inches 9. Add foliage by sinkingit down intothe Establishing the silhouette long (Fig. 9-27, placement 2). Place it toward arrangement to cover the mechanics.

3 10, Add chrysanthemums. Divide and cut the sterns as you did before to get an assort- Figure 9-31 Right triangle ment of stem lengths and flower sizes. Place Scalene Triangle with Bow arrangement mums first at the points of thetriangle, then establish the trunk line, followed by the in a Fireside Basket silhouette and base, Finally fill in the central Materials: area so that there is arhythmic progression fireside basket toward the focal area at the base of the trunk floral foam line. Place flowers in and out for depth. Use waterproof tape larger flowers or more flowers spaced closer snapdragons (10-12) together near the focal area,(See Figure carnations (10-14) 9-31.) myrtle #9 satin ribbon (3 yards) #24 wire 3-inch wooden stake SCALENE TRIANGLE low plastic container chenille sterns Figure 9-32 A scalene triangle is composed of three Scalene triangle sides of different lengths (Fig. 9-32). The 1,Place soaked foam in a smallplastic design form is a one-sided mass arrange- container and tape it in withwaterproof ment with the tallest point off-centerfrom tape. The foam should beabout an inch the focal area. higher than the rim,

The balance is asymmetrical and there- 2.Place container of foam in the centerof a fore more informal in appearance than the wicker fireside basket (Fig. 9-33). Runche- equilateral or isosceles triangle. The finished nille stems (two twisted together if neces- arrangement must not look asthough it will sary) under the basket and threadthrough tip sideways even though the tallest point is wicker on each side of the container.Bring angled outward. ends up and twist together firmly ontop of the foam. Repeat with a secondchenille stern Scalene triangle arrangements are often at right angles to the first sothe container is of done in raised containers, allowing a side firmly anchored, the design to be skinted downward. In the following exercise this design will be made in 3.Establish the upper left point (Fig,9-33) a fireside basket turnedsideways. The de- by placing a snapdragon spike at adiagonal show, sign shape will allow the handle to so that the tip is higherthan the handle and since tile upper edge of the triangle will cut just beyond the edge of thebasket. Insert it down at a diagonal under the handle. toward the back of the foam andangle it slightly backward, (cant inued) Figure 9-33 The first 3 placementsestablish the scalene triangle

3; BEST COPY AVAILABLE 150 4.Establish the lower right point (Fig. 10. Fill in the design sparingly with a few 9-33) with a snapdragon spike about one- more snapdragon spikes (tips or lower third the length of the first. Insert it in the pieces). foam so that the tip extendsa couple of inches beyond the edge of the basket. Angle 11, Add foliage pieces between flower spikes it slightly downward and backward but not to cover the mechanics. Use some longer enough to rest on the table. pieces to emphasize the points of the triangle. 4 5.Establish the lower left point (Fig. 9-33) with a snapdragon spike slightly shorter 12. Repeat the scalene triangle with the car- A.; than the previous one. Place it in the left side nations (Fig. 9-35). Use them to bridge the of the foam toward the front. Angle itsome- gaps between the snapdragon spikes. Place what forward. them at different depths to avoid a flat look. Figure 9-34 Satin bow added to basic Space the larger flowers more closely near scalene shape 6.Establish the silhouette so that the the bow since this is the center of interest. upper edge of the triangle is a diagonal line Incorporate the bow into the design by work- cormecting the upper left point with the ing flowers and foliages through it, but don't lower right point. This line should come hide it. As in a corsage, the bow should under the handle and not crowd it. Stems enhance the focal area but &lould not be the should appear to come from a common point focal point. and should not cross.

7. Make a bow from #9 satin ribbon. Make DIAMOND CENTERPIECE five or six loops on a side, each loop about 3 inches long (Fig. 9-34). Attach the bow to a The diamond centerpiece is a low elon- 3-inch wooden stake using the wire that is gated arrangement that emphasizes a hori- holding the bow together. zontal line. It is considered a variation of the triangle: viewed from above the outline looks Figure 9-35 Completed scalene triangle 8.Insert stake in foam just to the left of the like two triangles, base to base (Fig. 9-36). In handle near the edge of the basket. side view the diamond centerpiece looks like The diamond centerpiece from: a short isosceles triangle with a very drawn- 9.Establish depth with a short section of out base (Fig. 9-37). From either end this snapdragon spike coming out toward you design looks like a small equilateral triangle from the central area of the bow. This could (Fig. 9-38). be a section of the spike that does not Figure 9-37 Side view include the tip (that might otherwise be This design shape is low and thus well discarded). When using these lower pieces, suited for use as n centerpiece on an oval or cut the stern at a sharp angle just above the rectangular dining table. The arrangement, AFigure 9-38 End view upper floret to make the cut stern less con- which is finished off on all sides, is made in spicuous. a low cont ainer that often is largely concealed by the flowers and foliage. Even when Flgure 9-36 Overhead view the container is visible, sonic flowers or 9 3 10 BEST COPY AVAILABLE 151 foliage should be angled downward to soften Together these placements determine the 1 the rim of the container and hide mechanics. widthof the arrangement. The four Plant materials should be firmly anchored in placements establish the four points of a the foam so that they do not rest on the table. diamond shape when viewed from the top Figure 9-39 (overhead view). 4 Establish the height (Fig, 9-39, place- 3 5 wuir 4. okunaltwinno ment 5). Select two pieces of huckleberry Diamond Centerpiece about 5 inches long. Place them back to back and insert them cirectly upward in the Materials: middle of the foam. The five placements now low rectangular container form the major points of the diamond center- 2 floral foam piece (Fig. 9-40). A low drawn-out triangle waterproof tape can be visualized in side view. heather roses 5.Lightly establish the diamond shape annual statice with huckleberry (Fig. 9-41). Keep the over- huckleberry all shape smaller than the size you plan for the final arrangement, since the flowers /./°- should eventually stand out above the foli- re+, 1.Place foam in container and attach with waterproof tape. Foam should be about one age. Radiate lines of foliage outward in the inch above the rim of the container. foam without crossing stems. Figure 9-40 First 5 placements 2.Establish the horizontal line (Fig. 9-39, 6.Establishthe diamond shape with placements 1 and 2). Select two pieces ofheather (Fig. 9-42). The first five heather huckleberry that are fairly straight. The total placements should repeat the first five foli- length of the arrangement will be the sum of age p:acements, establishing height, width the lengths of these two pieces of foliage plus and depth. the length of the foam, Overall length of the design can vary; for this exercise cut each 7.(Join lower points to the tallest point by piece 6 inches long. Insert one piece at each staggering about three placements from side end of the foam, as low as possible. These to side much as you did when you estab- pieces should come straight out or angle lished the trunk line in the previous triangu- slightly downward without touching the lar arrangements. Flowers should form the table. The two pieces should form one elon- triangular silhouette with enough in- and- gated horizontal line with the foam between. out variation in placements to establish depth and relieve stiffness. Figure 9-41 Diamond shape established with 3.Establish the width (Fig. 9-39, place- greens nwnt s 3 and 4). Cut two pieces of huckle- 8.Establish the base. LGwer placements berry about. 3 inches long and insert in the should join the four points and conform to a wider sides of the foam opposite each Other. general diamond shape from an overhead Place them kny and angled downward. view. Some of these flowers should be angled

t.)

BEST COPY AVAILABLE 152 downward over the side of the container. Is the diamond shape evident? Did you Vary depth of placement slightly to create avoid rounded outlines and an interest and to avoid forming a heavy collar arrangement 1hat appears oval? of plant material around the rim of the container. Have you created depth in the arrangement? 9.Lightly fill in the four quadrants so that there are no large gaps and the diamond Are the flowers too crowded? form is evident. The center of interest is actually within the arrangement:- the area Are the larger flowers used near the from which all stems appear to radiate. center of interest? Figure 9-42 Heather added in diamond shape Flowers near this area should be the larger ones and have the closest spacing. Those Are the mechanics covered? flowers forming the width of the arrangement or those sunken in close to this area Are all placements firmly implanted in are closest to the center of interest. the foam?

10. Use roses to repeat the diamond shape Are any pieces of plant material resting (Fig. 9-43). Use the same order of placement on the table? suggested for the heather length, width, height, trunk lines, base and fill-in. Use larger flowers near the heart of the design. Gradually create a transition to smaller CIRCLE VARIATIONS flowers with greater spacing out on the Figure 9-43 Completed diamond centerpiece points of the diamond. Insert roses at differ- CIRCULAR MOUND ARRANGEMENTS with roses and statice ent depths, leaving space around each flower to show off its individual beauty. The roundedcircular arrangement known as a mound is based on the form of a 11. Lightly fill the arrangement with stance sphere or globe. It is designed to be viewed (Fig. 9-43). Statice placements should also from all sides (Fig. 9-44, 9-45). It may feat u re repeat the diamond shape. Use this filler to just one flower or several kinds of flowers. create depth and to fill conspicuous gaps. The design may be fairly compact (typical of The statice should never crowd other flow- Victorian arrangements) or light and airy ers. Extend some pieces beyond the triangii- with considerable depth. lar silhouette and sink some in deeper than this imaginary line. Larger pieces or clusters The focal area is in the center (heart) of of smaller pieces may be used near the these designs. This is the spot from which center of interest. the flower and foliage placements seem to arise. Since all the flowers are about the 12. Check tlw arrmigeinent: Figure 9-44 Figure 9-45 same distance from this focal area. their Overhead vir w Side view various sizes are somewhat evenly distrib- The circukirmound arrangement uted throughout the arrangement. In other

BEST COPY AVAILABLE 153 words, size rhythm (placing larger flowers spherical form closer to the focal area with near the focal area and smallerflowers far- other flowers extending through and above ther away from the focal area) is not a it, thus repeating the circular pattern at two dominant feature of this type of flower ar- levels in the arrangement. rangement. Circular mnund arrangements are fre- When more than one kind of flower is quently made in flower shops (Fig. 9-46). used, each type should be evenly distributed They are offered by wire service organiza- over the circular form. This canbest be tions as relatively inexpensive standard accomplished by arranging all of one kind of bouquets that can be produced fairly consis- flower at one time rather than switching tently in flower shops throughout the coun- back and forth between kinds of flowers. try. The mound is also the basic form of Start with the larger flowers and finish with many promotional arrangementsfor holi- the smaller filler flowers. days and special occasions. The globe shape should extend down Circular mound designs may be ar- over the rim of the container to avoid asharp ranged in low containers with or without a dividing line between arrangement and short pedestal. If the container is taller than container. This is accomplished by angling it is wide, an oval arrangement would be Figure 9-46 Circular mound arrangement in a some of the stemsdownward, a technique more appropriate than acircular one. This flower shop referred to as "breaking the rim of the con- style of arrangement best fits containers tainer" or "softening the edge of the con- that are round in shape or that have a globe tainer." form. Mass and filler flowers like mums, carnations, roses, statice and baby's breath are commonly used in a round mound bouquet. O'SJI.M`SOT5.)1) J.,\Q""Xl.111.1"4.1'1' Avoid using large flowers in a small arrangement because of the difficulty in making a Circular Mound Arrangement smooth transition from flower to flower while following the circular outline of the design. Materials: Flowers with interesting forms, like iris and low pedestal container daffodils, are appropriate if the arrangement floral foam is open enough to show off theirindividual waterproof tape shapes. Spike flowers are not recommended pompon chrysanthemums because they can create a porcupineeffect. carnal ions annual statice or baby's breath Fine filler materials may be used in leatherleaf moo ad designs. Baby's breathcreates a cloud effect over stronger placements,which 1. Place foam in container with upper sur- may give the design a lighter appearance. face an inch above the rim, Tape with water- German statice can be massed in asmall proof tape. (coot in twd)

BEST COPY AVAILABLE. 154 2.Use leatherleaf to establish the form of a The seven carnations should be adequate for globe(Fig.9-47). This form should be this arrangement. If more are used, how- smaller than the planned finished size of the ever, they should be distributed throughout arrangement since the foliage is meant to the design but at different depths to avoid a cover the mechanics and forrn a background rigid product that may resemble a styrofoam to the flowers. ball.

The leatherleaf should be placed so that it 4.Use pompon murns to enhance the cir- Figure 9-47Side view Figure 9-48 radiates out from the central area much as cular form. Distribute rnums between car- Overhead view it would growing on a living plant (Fig. 9-48). nations. Vary depth slightly to avoid crowd- Keep the top side of the frond up. These ing. If buds are used they should be evenly pieces should be slanted so they arch up and distributed, perhaps in clusters of three. out, giving a layered appearance. Do not create a dense mound. Use the nicer end tips 5.Use stitice to further refine the globe in more conspicuous places, but sink the form (Fig. 9-51). Create depth by sinking remaining cut pieces in for depth. There is no some in and extending some out beyond the reason to waste pieces of foliage as long as it mum and carnation placements. Usually Figure 9-49First three placements is in good condition. thelarger,heavier-lookingpiecesare sunken in, while smaller pieces are extended 3.Use carnations to repeat the rounded slightly beyond other flowers. form. These should stand out beyond the leath erleaf. 6.Check the design:

Begin by placing three carnations equidis- Is there an overall form of a globe? Did tant from each other so they are angled you successfully avoid a flattened look outward just above the rim of the container on top or a bulge on one side? (Fig. 9-49). Is each kind of floral material evenly Place a fourth carnation directly upward, distributed? Figure 9-50 Carnations create roundedform centered in the foam to establish the height. Check these four points to see that they are Does the arrangenwnt have depth'? Do equidistant from the heart of the design. any flowers appear crowded? Can you They are the guide posts around which the see down into the design? rest of the bouquet will be built. Are the mechanics covered? Place three more carnations, each iit a point equidistant from the top flower and two of Does the design (70tIle CRAM over the the bottom flowers (Fig. 9-50). Each place- rim of the container?

A ment must further establish the circular pat t ern.

Figure 9-51Finished circular mcund arrangement

BEST COPY AVAILABLE 155 pedestal OVAL ARRANGEMENTS it. A delicate container on a narrow would best be filled with alight, open An oval arrangement is appropriate arrangement. Large flowers are moresuited when a taller design with curving lines is to a sturdy containerthat is heavier in desired. The additional height presents an appearance. opportunity to create an open arrangement which can feature a wide range ofplant material with interesting forms.Arching GIU0(.01tOtPLg.25.) branches and flower stems can complement a the oval silhouette and lead the eyedeep into MI-Around Open Oval the arrangement. Materials: Some oval arrangements,especially upright oval container or container with a pedestal those typical of historic periods, maybe 4 quite compact, just as the Victorian version floral foam of the circular mound is compact. If this is waterproof tape 1 your goal, then many closeplacements such mixture of flowers and foliage as the concentric ringsof the Biedermeir including some form flowers Figure style are appropriate. (Refer back to with 9-1.)However, a more popular trend is 1.Place foam in container and tape waterproof tape. toward open styling (Fig. 9-52) which re- Flgure 9-52 Open oval arrangement ofcherry quires fewer flower placements. blossoms 2.Select interesting form flowersthat have Containers may be oval in shape or have high eye appeal. Insert these inthe foam in pedestals that are tall enough to makethe a position wherethey will show to maximum height of the container greater than its advantage. They must bewithin the oval width. The higher the container, thetaller shape you have envisioned for thecontainer. the arrangement that is required tobalance Stems should not cross butinstead radiate out from the center of thefoam or from a central axis directly up from thispoint. Place all of one kind of flowerbefore deciding on the positioning of the nextkind.

3.Add arching branches orinteresting foliage clusters (Fig. 9-53), positioningthem as carefullyas you would aflower placement. Do not crowd anyof the materials. The space around theplacements is as important asthe flowers and foliages themselves. If they are nol toorigid, spike ilowurs may be used to leadthe eye down into the design. Figure 9-53Open placement of foliage Outline of an oval arrangement r 3 BEST COPY AVAILABLI 156 4.Use filler flowers last to smooth out the recent times fan-shaped arrangements in design and refine the oval shape. (See Figure papier-mache or metal baskets have been 9-54.) If any foam is still exposed, sink short produced as traditional funeral tributes. foliage clusters deep into the arrangemmt to cover it. Spike flowers such as gladioli may be used to form the outline of a fan. Mass 5. Check the design: flowers like carnations and chrysanthemums are frequently used to complete the Is the oval shape evident? design. A bow may be used to strengthen the focal area. The focal area is low in the design Is the arrangement balanced? and is the point from which the flowers appear to radiate. Is the arrangement free of bulges or projections on any side? Some fan arrangements appear very flat. They lack depth and would be improved by Does the arrangement have a light airy greater development of the focal area. An- feeling? other corn:non flaw is weakness of the silhouette part of the design. This may result if Is the eye led down into the design? too few spike flowers are used, leaving large pie-shaped gaps in the outline. Another Flgure 9-54 Open oval arrangement of mixed Do flowers and foliage pieces appear to problem of the silhouette is having all the flowers radiate out from a common point? outline flowers in the same plane, once again resulting in a flat, rigid appearance.

FAN ARRANGEMENTS There should be good integration of the spike flowers with the mass and filler flow- The fan is a one-sided mass arrange- ers. If gladioli are used, shorter pieces of the ment based on a circular design shape. The spike can be inserted near the focal area and construction of a fan arrangement is similar throughout other parts of the arrangement 4 to that of an equilateral triangle. The major as well as the outline, This is especially difference is the establishment of a rounded important if the spike and mass flowers are silhouette instead of the sharp linear con- of contrasting colors. * nection of points that is characteristic of -Jangle designs. If a bow is used, it should be incomo- rated into the arrangement. The bow color Fan arrangements had their origin in may harmonize with the flowers or comple- European period designs, The Williamsburg ment them. The entire arrangement should style of fan arrangement, sometimes made appear to fit down over the container. This is in a five-fingered vase (Fig. 9-55), is known to accomplished by angling flowers and foliage those interested in that period. In more downward over the rim of the container. Figure 9-55 Williamsburg fan in a five- fingered vase

BEST COPY AVAILABLE 157 4. Use a short piece ofgladiolus spike to lower outline flowers (Fig. 9-59). Remember forward to upright 01.UCOUL' '63'4.1'86 establish the depth. Bring itstraight out to change the facing from toward you through loops of thebow. Use gradually. These placements willestablish a Fan Arrangement slightly longer gladiolus pieces to createthe framework for the mums. lower outline of the arrangement,consisting Materials: of placements projecting outward overthe 6. Add salal leaves to coverthe foam (Fig. heavy container to hold one blockof foam rim of the container. Tilt these piecesslightly 9-59). Keep them sunken in. Avoid a floral foam up and down to avoid arigid feeling, but crowded look by using no more leavesthan waterproof tape conform to a curved outline in anoverhead are necessary. gladioli view. pompon mums 7.Repeat the fan shape with pompon clusters of pompons salal 5.Use gladiolus spikes ofintermediate mums (Fig. 9-60). Use #9 satin ribbon length as a bridge between the upperand #28 wire wooden pick

1.Place foam in container andfasten with waterproof tape (Fig. 9-56).

Figure 9-59

Figure 9-56

2.Use gladioli to create the fansilhouette (Fig. 9-57). Establish heightand then width. The lower placementsshould be angled down over the side of the containerarid slightly backward. 3. Make a #9 satin bowwith 3-inch loops and two streamers. Attachthe bow to a wooden stake and insert intofront center of the foam. Angle the bow slightlyforward and a little over the rimof the container (Fig. Flgure 9-58 Figure 9.60 )-58).

L.)

BEST COPY AVAILABLE at the end of a single stem as if they wereone Many baskets come with plastic liners; larger flower, giving each stema single these are handy if the arrangement is to be placement. This is necessary to get sufficient made of fresh flowers. If there is no liner,a stem length and to have good size relation small plastic container filled with foam can with the larger gladioli. Large stems cfmums be attached to the basket with chenille should probably have some of the flowers stems or hot glue. removed so that the overall size of the cluster is reduced. Sometimes the main stem can be If the basket is to be viewed from one cut, creating two usable clusters. side, a wedge of styrofoam can be wired to the bottom of the basket to tilt it forward. 8.Check the arrangement: This is sometimes done to large fireside baskets. An arrangement designed in an Is the overall fan shape evident? angled basket will show better if it is displayed on a stage or as a funeral tribute, Is the outline tied together and not overly rigid? Have the spike flowers been integrated mcontgrinstn &ctrun. with the mass flowers? Fireside Basket Does the arrangement have depth? Materials: Is the focal area well established? fireside basket low plastic container Is the bow coordinated with the chenille stems arrangement? Is it tied in with the floral foam rest of the arrangement (not overly waterproof tape conspicuous)? pompon mums leatherleaf glycerinized autumn leaves colored wheat BASKET ARRANGEMENTS 1.Place foam in plastic container and tape A mass arrangement in a basket often with waterproof tape. Anchor container to follows an oval design shape; that is,an oval the basket with criss-crossed chenille stems shape is apparent as you look downon it. worked through the wicker (Fig. 9-61). Since many baskets have handles, this situation deserves special attention. A handle 2.Green in the arrangement creating a low should not be crowded or buried by flowers. oval mound of leatherleaf that conforms to So, the arrangement in a container involving the shape of the basket (Fig. 9-62). Maintain a handle maybe shorter than if the container a light layered look to the greens. They had no handle.

341

BEST COPYMAILABLE 159 should radiate out from the center of the flowers even though some placements Are materials uniformly distributed foam in a natural way. extend beyond its boundaries. throughout the arrangement? Does the arrangement have good 3.Use mums to establish the lower hori- 7. Add small clusters of autumn leaves to zontal line (Fig. 9-62). Extend these about 2 repeat the design shape (Fig. 9-63).These depth? may be used at differentdepths but should inches beyond the edge of the basket, and angling them slightly downward over the not crowd or hide the mums. Does the arrangement appear neat well-ordered rather than shaggy? rim. 8.Fill in all parts of the arrangement with be 4.Establish the width. Place mums at1.;ach pieces of colored wheat. These must side of the basket, extending them just sunken in deep enough so that they do not beyond its rim near the point where the give the design a bristling appearance. handle is attached, These flowers may be Wheat that has long awns provides an airy angled slightly upward since the edgesof a extension of the design. fireside basket are rolled up. 9. Check the design: 5.Establish the height of the design with a mum placed directly inthe center of the Is the basket featured well rather than foam. The mum should be at least one inch buried? below the handle of the basket. Is the handle clearly visible rather than 6.Flinn with more mums at various depths crowded? (Fig. 9-63). The overall shape should appear oval from an overhead view. In side view you Does the overall shape of the arrange- will see a low arching form under thehandle. ment conform to the shape of the The shape should conform to thatof the basket? basket. The basket should not be hiddenby

Figure 9-63 FIgure 9-61 Flgure 9-62

3 BEST COPY AVAILABLE al (diIiial'cali\llizIc38 d;11-12/12,FICTsTriVAR1110

3 Je) BEST COPY AVAILABLE 162 STRAIGHT LINE VARIATIONS CURVED LINE VARIATIONS

Horizontal

L-Pattern Spiral

Hogarth Curve

Vertical

Diagonal inverted-T Crescent 3 BEST COPY AVAILABLE 4 163

Basic designs that lead the eyeof the variation. If designed with a moreopen, center- viewer along an obvious trunk line arecalled contemporary feeling, the diamond into a horizontal line or line-mass arrangements.The major piece could be transformed line may be straight or curved.Line-mass line-mass arrangement. arrangements contain more flowersthan do flowers are An arrangement may consistof lines of line arrangements, and the A usually closer together, Some arrangements flowers and foliage that meet or cross. fall clearly into one category or the other,but horizontal line and a vertical line are com- be- bined to form the L-pattern andinverted-T other arrangements are intermediate curved diagonal tween the two. design. When a straight or line crosses a strong verticalline, the cross- The basic design shapes of line orline- ing line is called theline of opposition. An fall under straight example (which you can try in oneof the mass arrangements that diagonal line of and curved line categories are asfollows: suggested activities) is a (See illustrations on the oppositepage.) flowers and foliage arranged to cut across a candle on a pedestal (Fig. 10-3). Straight Line Variations Curved lines are usuallygraceful and of Vertical flowing (Fig. 10-4). The predictable curves a spiral, crescent orHogarth curve arrange- Horizont al These designs L-pattern ment are pleasing to the eye. may be produced aslong, drawn-out line lnverted-T line-mass de- Diagonal arrangements or as heavier Figure 10-1 Oriental line arrangement signs with more flowers nearthe focal area. Curved Line Variations

Spiral STRAIGHT LINE VARIATIONS Crescent Hogarth Curve VERTICAL ARRANGEMENTS The basic design shapesdescribed in A vertical line emphasizes astraight this unit are considered to betraditional upward thrust. Thesedynamic arrange- American designs. Other stylesof line and ments are usually designedin tall, narrow line-mass arrangements are found inOrien- containers, which thedesign repeatstall tal (Fig. 10-1) and contemporary(Fig. 10-2) and thin (Fig. 10-5). The resultis that the eye designs, some of which arediscussed in of the viewer 15, directed upand down the Chapters 20 and 21 on period andcontem- arrangement.Nppropriate materials for porary arrangements. establishing the vertical lineinclude narrow straight pieces of foliage andflowers, such A common horizontalarrangement is asgladioli,liatris,Scotch broom and consid- be added, but the diamond centerpiece, which was eucalyptus. Mass flowers can Figure 10-2 Contempolaryirle arrangement ered in Chapter 9, massed in, as atriangle they need to be stepped downrhythmically

C.3?Y 164 toward the focal area, which is normally at create a smooth rhythmic progression. This the rim of the container. line of flowers is similar to the trunk line of triangular arrangements, but the transition A common flaw in a vertical arrangement from upward- to forward-facing occurs over is to overdevelop the focal area. It should not a much narrower depth from front to back. extend significantly beyond the width of the Flower stems must be carefully tilted, with container. Although the mechanics must be upper placements facing mostly upward and covered, this should be done with short tufts lower placements making most of the facing of foliage or moss to avoid excess visual transition to forward so the arrangement weight in this area. does not lose its slender profile in side view.

The rhythmic placement of flowers down Vertical arrangements can become quite the vertical line is very obvious and impor- interesting when more exotic materials such tant (Fig. 10-6). Flowers near the top shout as sansevieria leaves, bamboo sticks or be smaller and spaced farther apart; then a:, horsetails are used to create the line. There the eye approaches the focal area, the flow- is also an opportunity to develop shape ers should become larger and closer to- rhythm if suitable materials are available gether. Since there may not be many flower from the greenhouse or garden. You may be placements, itis especially important to able to find leaves that will gradually grade from linear to oval and eventually round Figure 10-3 Diagonal line of opposition shapes. If incorporated into the design, this gradual change in shape will help lead the eye to the focal area.

Vertical arrangements of suitable size may be used on church altars, in front of lecterns, or in front of narrow sections of wall. Since the base is narrow, little surface spaceis takenup.A small vertical design would be very appropriate for a hospital room with its limited surfacespace. 4

1111155 Figure 10-4 Curved lines of Figure 10-5 Tall, thin, wisteria surround a vertical parallel lines in a Figure 10-6 Rhythmic placement of line of iris contemporary arrangement allium down a strong vertical line 1)i. iJ I)

BEST COPY AVAILABLE 165 line (Fig. 10-9), Gradually increase the size extending the width of the arrangement and `1,.:11) &co' ti'jvirs'Ye of the flowers and place them closertogether adding too much bulk at the focal area. as you approach the rimof the container. Vertical Arrangement There should be a transition in facingof the 6. Check the arrangement. flowers fromupright at the topto forward at Materials: the focal area. Do not extend flowers toofar Is this a tall narrow arrangement with an tall narrow container forward (especially the upper placements) so upward thrust? floral foam that the arrangement retains aslender pro- waterproof tape file in side view. Does the arrangement have enough myrtle, huckleberry or Scotch broom height for the container? daisy mums 4.Use statice between mum placements as annual statice a filler to createadditional depth. Some Is the arrangement too wide or bulky at statice placements should be angledtoward the focal area? 1.Place foam in the container and secure the back to help lead the eyearound the with waterproof tape (Fig. 10-7). The foam arrangement. This will give it moredepth Do the placements form parallel lines should rise above rim of container, but not and avoid a flat appearance. Becareful not rather than being united in one main very much or it will be difficult to cover. to extend the width withthese placements. axis?

5. Add foliage pieces sparinglythroughout Is there a rhythmic transition downthe the line and in small tufts near thefocal area line to the focal area? to cover the foam. (See Figure10-10.) Avoid Is the arrangement also slender in side view without disturbing bulges?

Does the arrangement have depth rather than Fgure 10-7 appearing flat? 2.Establish a straight vertical line with a

long, narrow piece of foliage that is two times I1 the height of the container (Fig, 1O-8),This should be inserted toward the back of the loam Slightly off to the left, place a second piece of foliage about half the lengthof the first. Keep the vertical line straight and narrow.

3.EstAlish the tnink line by first placing a small flower in front or thefoliage a few inches down from its tip. Then slightly stagger tlw remaining Int 1ms downthe vertical Figure 10-8 Figure 10-9 Figure 10-10

) BEST COPY AVAILABLE 166 L-PATTERN is used, both kinds should be found in both parts, not segregated into just one area. The L-pattern is a line-mass arrangement that is very similar to a right triangle A low rectangular container is appropri- arrangement except that it is not filled in ate for an L-pattern arrangement. The foam between the two major points. The result is may be anchored off-center allowing a por- a silhouette that resembles the letter L. The tion of the container to show. The mechanics focal area is at the point where the vertical can be a four-pronged plastic anchor pin and horizontal lines meet. stuck to the bottom of the container with floralclay. Soaked foam may then be The two lines increase in mass as they pressed onto the prongs. Although this is not approach the focal area from the outer quite as secure as using waterproof tape, it points. The vertical portion may be thought does eliminate the problem of attaching tape of as an elongated cone, while the horizontal in places where it may be hard to conceal. Figure 10-11 An L-pattern arrangement section resembles a shorter, stouter cone consists of 2 cone-shaped segments (Fig. 10-11). The angle formed above the point where the two sections meet should be algtoonvintn Avovintrany kept somewhat angular;it is important to preserve the void in this area. Do not fill it in L-PatternArrangement like a right triangle arrangement. Materials: The L-pattern has asymmetrical balance low rectangular container (Fig. 10-12). Larger flowers with closer spac- four-pronged anchor pin ingatthe base of the arrangement in the floral clay focal area will have enough visual weight to huckleberry, myrtle or Scotch broom balance the smaller extended placements of pompon mums the horimntal line. This horizontal line may annual statice go off to the right or to the left forming a backwards L. Complementary pairs of L- 1.Fasten four-pronged anchor pin to the pattern arrangements may be used on a container with floral clay, positioning it church altar or mantel. slightly off to the left.

The I-patternis lighter and more styl- 2. Cut and soak a piece offoam.Press it ized in appearance than its right triangle down over the anchor pin (Fig. 10-13). counterpart. The arrangement may be very thin and delicate or it may be more massive. The same flowers must be used throughout the design in a similar way for a unified AIM effect. In other words, the horizontal and vertical parts of the arrangement should Figure 10-12 L-pattern arrangement have about the same degree of delicacy or surrounding a praying cherub massiveness, If more than one kind of flower Figure 10-13 35 BEST COPY AVAILABLE 167

3.Establish height with a piece of foliage 7.Establish height with a small mum that is two times the width of the container placed so that it is a couple of inches below (Fig. 10-14). Place this toward the back left the tip of the tallest foliage piece, Establish corner of the foam. width with a medium-sized mum that has a stern a few inches shorter than the horizon- 4.Establish the horizontal line of the Lwith tal foliage placement. Establish depth with a a piece of foliage about one-thirdthe length large mum at the lower left corner. (See of the tallest piece (Fig. 10-14). Stand back Figure 10-16.) and check to see whether the two pieces form a shape that is in good proportionwith the 8.Develop a rhythmic trunk line of mums container. from the tallest placement to the focal area (Fig. 10-17), Then develop a shorter horizon- 5.Establish depth and balance by bringing tal trunk line from the farthest mum to the a short piece of foliage outtoward you from focal area. the lower left corner of the foam. Figure 10-18 Figure 10-19 6.Insert several pieces of foliage of different lengths down the vertical axis and along the horizontal axis to establish the framework of 10. Fill in the arrangement lightly withfoli- the arrangement (Fig. 10-15). These place- age and statice to covermechanics and to ments illustrate a good rule to follow in create additional depth (Fig. 10-19). traditionalarranging:repeat materials throughout all parts of a design, not segre- 11. Check the arrangement. gating any material into just one area. Does the overall shape of the arrangement resemble the letter L?

Is there good transition between the two sections? Does the arrangement have good depth?

Figure 10-16 Figure 10-17 Is the arrangement in good size proportion to the container? Is its positionwell balanced with respect w the container? 9.Position additional tnums at the focal area to develop good balanceand depth (Fig. 10-18). These should smoothly blend the two major trunk lines into one total design. However, make sure you leave a distinct void in the angle formed by the ti,vo Figure 10-14 Figure 10-15 trunk lines, developing a clean L shape.

v BEST COPY AVAILABLE 168 INVERTED-T 1.Place soaked foam in the 0-cage (Fig. 10-21). There are cylinders of foam available The inverted-T is a symmetrically bal- that will just fit into the plastic 0-cage, anced line-mass arrangement. It consists of leaving a small shallow reservoir for water. a vertical axis arising from the middle of a horizontal axis. In construction it is very 2.Establish the height, width and depth of similar to the L-pattern except that it has a the inverted-T pattern with foliage(Fig. horizontal extension on both sides of the 10-22). Develop the focal area so that it is a vertical axis. It looks like the letter T upside smooth blending of the three cones. Angle down. some foliage toward the back for depth. Maintain distinct angles and open voids The inverted-T arrangement (Fig.10-20) between vertical and horizontal axes where is more stylized than a triangular mass they meet so that an upside-down T shape arrangement and requires fewer flowers can be clearly distinguished. < ' than a triangle of comparable size. This style can be adapted to a wide range of sizes. A low container with short sides will allow the horizontal placements to come straight out on each side. Figure 10-20 Inverted-T arrangement with roses, heather and eucalyptus Emphasis should be on straight angular placements rather than curves. Attention must be given to preserving the angular voids between the vertical and horizontal lines. It is important to tilt some flowers a little backward near the focal area to increase depth. However, if the focal area becomes too large or bulky, it can keep the eye from traveling freely throughout the T pattern. Aria* -.1.0111^-

1.\cgir.(W1inY

Inverted-T Figure 10-22

Materials: 3.Establish the height, width and depth low 0-cage with snapdragons (Fig. 10-23). Gradually small cylinder of foam increase the thickness and depth of each eucalyptus, huckleberry or Scotch cone-shaped segment as you get nearer to roses broom the focal area (where the vertical and hori- Figure 10-21 snapdragons zontal lines intersect).

9 BEST COPY AVAILABLE 169

4.Fill toward the center of the arrangement with snapdragons(Fig. 10-24).

5.Repeat the inverted T patt.,;:rn with roses (Fig.10-25). Use smaller flowers at the points and larger flowers near the focal area.

6.Check the arrangement.

Does the overall shape of the arrangement resemble an inverted T?

Is there good transition from one section to another?

Does the arrangement have gooddepth?

Figure 10-23 Figure 10-24 Figure 10-25 DIAGONAL The diagonal line-mass arrangement is dynamic and interesting, but it is notfre- quently seen by itself. It is more commonly used in combination with a strongvertical line, When used this way the diagonalline forms a line of opposition across the vertical line. An example of this is a diagonal arrangementofflowers across a 9" X 2" candle in a pedestal candle holdt,r.

Diagonal Arrangement on a Candle

Materials: 9" x 2" candle carnations pedestal container baby's breath floral foam #9 satin ribbon II2 8 wire waterproof t A diagonal line of bougainviHea A diagonal line used in a modern stabile hueldebeny or juniper wooden picks featuring allium (continued) extending from a brass mosque light

BEST COPY AVAILABLY 170 1.Attach foam to container with water- the candle that willdistract from the proof tape. dynamic diagonal line.

2.Attach four wooden picks to the bottom 9.Check the arrangement. of the candle by overlapping them 1 1/2 inches around the outside of the base of the Is the diagonal line clean-cut and candle. Secure them with waterproof tape obvious? wrapped around the candle and the stakes. Is the diagonal line of opposition well 3.Insert picks into the foam so that the balanced and in good proportion to the base of the candle sits firmly on the foam candle and container? (Fig. 10-26). Are the stakes and tape at the base of 4,Establish a strong diagonal line of foliage the candle covered? cutting through the center of the foam (Fig. Figure 10-26 Figure 10-27 10-27). The upper piece should be about 6 Is the candle in good balance with the inches long and the lower piece about 3 flowers, not buried in them? inches long. Insert these near the back of the foam so that future placements will be in Is the bow worked into the design? front of them. Do the candles, flowers and ribbon 5. Make a bow with 2 1/2-inch loops and coordinate with each other? 4 streamers. Attach the bow to a wooden stake and insert it in the foam at the base of the candle (Fig. 10-28). Figure 10-28 6.Place smaller carnations near the outer points of both upper and lower sections of the diagonal line. Place a third and larger carnation over the bow facing directly forward. The bow area will be the focal area of the finished arrangement.

7.Establish a trunk line of carnations from both points toward the focal area (Fig. 10-29). Spacing should become closer together near the focal area.

8.Fill in with baby's breath and foliage (Fig. Figure 10-29 10-30). Bring these materials through loops of the ribbon and around the candle to conceal the foam. Avoid a heavy look around Figure 10-30 171

curves. The five-pointspiral is also a good CURVED LINE VARIATIONS arrangement to demonstratethe ways of creating rhythmic visual flow in adesign. SPIRAL ARRANGEMENTS The spiral design shape is a simpleline of flowers that curves downward andaround like a drawn-out stripe on a barber'spole. With as few as five flowers the eye canbe led OUTII(51131WeLVI) along one spiral rotation around acentral vertical axis. In a spiral arrangementthe Five-Point Spiral central column around which theflowers Figure 10-31 are placed is kept openand is therefore a Materials: Shaping Scotch broom into a flowing curve 0-cage void. floral foam cylinder Flowers must be rhythmically placed eucalyptus with closer spacing of larger flowers atthe 5 daisy pompon mums is at sheet moss base of t he arrangement. The focal point greening pins or #22 wire the rim of the container where thelargest flower should be faced directlyforward. As plastic the lower edge of the spiral begins to curve 1.Place foam cylinder into the backward, the spacing of flowersshould 0-cage (Fig. 10-32). Figure 10-32 gradually increase and their sizeshould 2.Select a slender piece ofeucalyptus gradually decrease. about 10 inches long. Insertthis piece into "12-o'clock" be the foam toward the back in the Line material in spiral designs must (Fig. 10-33, #1). slender and must conform to thecurvature position in the circle of foam of the spiral, Sonie branches curvenatu- Figure 10-33 3.Insert a very short curved pieceof euca- rally, while others (likeeucalyptus and foam at the "3- Scotch broom) can be made to curveby lyptus in the side of the o'clock" position (Fig. 10-33,#2). Angle this shaping them with your fingers(Fig. 10-31). curved piece toward the back,This piece and Foliages and filler materials are used spar- the upper and ingly in spiral arrangements so thatthey do the taller placement establish lower extremities of thespiral. not detract from the slendercurving line. Add two or three more piecesof eucalyptus A simple spiral made with onlyfive flow- between these two pieces tobegin establish- ers is a good way to beginpracticing curv d ing a gently curvingspiral (Fig. 10-34). line arrangements. Establishing aplea - (contintwd) ;wily cuived trunk line is the first stepin creating more complexinved line-mass ai rafw.:ments likecrescents and Hogarth Figure 10-34

BEST COPY AVAILABLE 172 4.Place the five chrysanthemums a ng Does the lower part of the arrangement the spiral line (Fig. 10-35). Use the smallest lead the eye backward from the focal one at the top and work down to the larger point along a line that appears to be a ones at the base of the spiral. These place- continuation of the upper part of the ments should be positioned toward the edge curve? of the foam at the positions of 12-, 10-, 8-, 6- and 4-o'clock. The central area is left open because the central axis around which the flowers are spiraling is a void. From the top CRESCENT ARRANGEMENTS to the base the flowers should gradually face Figure 10-35 more forward until the fourth flower faces A crescent arrangement is a curved line- directly toward you. The fifth flower should mass arrangement which resembles the start to angle backward, following the lower crescent moon in silhouette. From a design piece of eucalyptus. standpoint, the crescent resembles two animal horns fastened together base to base 5.Use moist sheet moss to cover the foam. (Fig. 10-37). The upper part is twice as long Either greening pins or 2-inch pieces of #22 as the lower part. The area where they meet wire bent into hairpin shapes can be used to is the focal area. Thus, two-thirds of the line anchor the moss to the foam. Moss is an is above the focal area and one-third below alternative to short bushy pieces of foliage it. which might create a heavy look and overpower the beauty of the slender spiraling The trunk line follows a circular or oval line, (See Figure 10-36.) curve, If the upper and lower points of the trunk line were extended, they would meet. 6.Check the arrangement. Neither the ends of the trunk line nor any sections of it should be straight. Straight Figure 10-36 Do the flowers form a pleasantly curving sections would produce a rough feeling that line around an imaginary central axis? could lead the eye along a disturbing tangen- tial line away from the curve. Is the arrangement free of all sharp angular sections to the curved line? The horn analogy is useful because the arrangement also has mass, which gradu- Did you avoid having any materials ally increases as you approach the focal appear to be shooting straight off from area. Within this mass some of the flowers the basic line, forming distracting tan- should face toward the back to keep the Figure 10-37 gential lines? crescent from appearing flat. A crescent Is the base in good propoinon to the rest The crescent should be built so that its of the arrangement, not appearing heavy curv ing line cuts diagonally across the foam. and over-developed? To achieve this, the taller placements of the upper curve will b,! in a back corner of the loam while the shorter placemerts of the

BE I COPY AVAILABLE 173 lower curve will arise from the opposite front corner, The entire block of foam will thusbe 011(.011`AginVi.)) used, and the arrangement is less likely to Crescent Design appear flat. The focal area should becradled in the crescent directly over the center of the Materials: foam. low oblong container four-pronged anchor pin Figure 10-38 Anchor pin in container Both low .and pedestal containers are floral clay suitable for crescent designs. The foam may floral foam be placed off-center if an oblong container is eucalyptus or Scotch broom used. The foam should not be unnecessarily carnations or pompon mums large or it may become too massive when it annual stat ice is greened in or covered with moss. Crescent huckleberry arrangements may curve either to the right achieved or to the left, Greater depth maybe 1.Fasten the anchor pin left of center with if the design is slightly angled across the floral clay. Place a medium-sized piece of container when viewed from the front, so foam over the anchor pin (Fig. 10-38). that one looks into the crescent instead of just at its side silhouette. 2.Select a slender piece of eucalyptus about12inches long (Fig. 10-39). Work it between your fingers to produce a gentle -.urve. Insert it in the back left-hand corner Figure 10-39 First two placements of of the foam so that even though the center eucalyptus establish the trunk line part of the stem arches out away from the arrangement, its tip comes back in directly 1.4LA aI over the center of the foam.The curved portion of the stem should also be angled slightly toward the back, not straight out to the side, in order to begin building a crescent line that will cut diagonally across the foam.

3.Select anotherpiece of eucalyptusand '1 cut it toa length of about 5 inches.Shape into a curve and insert it at the front right . 41; comer of the foam (Fig,10-39). This piece should be angled slightly forward. Its curva- 4. ture should match that of the upper piece so that If both pieces were extended from the tips, they would meet.

These arc the two most important place- A crescent design of Scotch broom and A crescent design of roses and eucalyptus ments because they establish the major line pompon mums

BEST COPY AVAILABLE 174 of the arrangement. Stand back and see if trunk lines together. The largest flowers you have established a curve that resembles should be placed where the two trunk lines the crescent moon. meet right over the center of the foam in the focal area. The finished design should lead 4. Add a few more pieces of Scotch broom the eye into the arrangement, then up, over between the first placements to further es- and back to the focal area. tablish the crescent line (Fig. 10-40). These placements should come diagonally across 7.Fill in the arrangement lightly with the foam (Fig. 10-41). statice (and huckleberry, if needed)(Fig. 10-43). Use these placements to smooth out the curve, develop depth, and cover the 3 foam. Figure 10-40 4 8. Check the arrangement.

Is the eye led along a curved line that Figure 10-41 resembles a crescent moon? 5.Establish a trunk line down the upper part of the crescent by starting with the Did you avoid any obvious straight lines smaller flowers and gradually increasing of material, either on the inside or the size and decreasing spacing as you come outside of the crescent? down the line to the focal area (Fig. 10-42). Face some flowers toward the back on both Are the line and focal area well developed the inside and outside edges of the crescent so that the eye is led over and back to to lead the eye around a three-dimensional this area? horn shape. If all the flowers are in the same Is the focal area "right" for the arrange- Figure 10-42 plane, the crescent will lack depth and appear flat. ment (not too heavy)?

Straight sterns can be overcome by inserting Has depth been developed so that the a #20 wire up into the flower head and then crescent does not appear flat? spiraling it down the stem. This will allow you to bend the stem into a curve that will Does the main trunk line come diago- stay that way. No taping of the stems is nally across the foam so that the necessary as the green wire is fairly incon- arrangement appears set well in the spicuous. container?

6.Establish a trunk line from the lower point in toward the focal area. Blend the two

Flgure 10-43

" BESI COPY AVAILABLF 3 175

HOGARTH CURVE ARRANGEMENTS olciacbtvvws.) &ccolva\sinr The Hogarth curve is a curvcd line-mass arrangement that resembles oie Litter S. It is Hogarth Curve Design quite similar to a crescent = xcept that the Materials: lower trunk line is curved forward and down. tall pedestal container or Two-thirds of the total length of a Hogarth one-third is cherub vase curve is above the focal area and floral foam below (Fig. 10-44). waterproof tape eucalyptus A tall container is necessary for a roses Hogarth curve arrangement since thelower down. annual statice Figure 10-45 part of the design must be curved pittosporum Figure 10-44 Containers with pedestals, cherub vases, Hogarth curve cylindrical containers, and tall oval vases Place foam in the container and tape have enough room 1. are all good choices if they with waterproof tape. to hold a piece of foam large enoughfor the many placements that are necessary. 2.Select a piece of eucalyptus that is two Hogarth curve of times the height of the container. Cutoff any eucalyptus and Curved flowering shrub branches like daisy mums in a side shoots. Work the piece between your design compote forsythia and cherry are nice for establishing fingers, especially at the lower end, so that a the line. Eucalyptus and Scotchbroom work gentle curvature is evident. Place it in the well and are available to the florist year- back left corner of the foam so that the tip is round. Taller flowers may require a wire so (Fig. the directly over the center of the foam that they can be bent to conform to 10-46). required curves. by itself If the thin stem of this tall foliage piece does The I Iogarth curve can be used not hold the branch securely in position, it as an elegant designstyle or in combination in the foam by of can be more firmly anchored with a verticallineto form a line using waterproof tape to attach twowooden opposition. For example, a Hogarth curve stakes about 3 inches long to the bottomof line could be substituted for the diagonal the stem. Insert these stakes into thefoam. used in combination with a 9" x 2" candle in Other flower or foliage stems may be substi- a previous exercise (Fig.10-45). The Hogarth tuted for the wooden stakes if they arenot curve may also be found as avisual pattern Figure 10-46 within a larger mass arrangement. For available. example, you might create an S-curveof 3.Select a second piece of eucalyptus a yellow roses within a larger oval massdesign little less than half the length of thefirst. of mixed flowers, Work a curve into the piece. insert it inthe front right corner of the foam so it conies forward and down (Fig. 10-46). Thislower

BEST COPY AVAILABLE 176 foliage piece should curve enough to bring Is the arrangement free of any straight the tip in below the center of the foam, in line lines of material that distract from the with the center of the foam and with the flowing curve? upper tip when looking at the arrangement from the front. Is there smooth transition between the upper and lower parts of the arrange- 4, Add several other curved pieces of euca- ment? lyptus to establish the 8 line (Fig.10-47). The line should swing diagonally across the Does the eye travel freely along the piece of foam to ensure that the arrangement length of the curve, not stopped by an has depth and is well situated on the con- overly heavy fbcal area? tainer. Is the design well balanced, with upper 5.Establish the upper trunk line with and lower points in line with the focal roses (Fig. 10-48) in the same way os with area? the upper part of the crescent. Is there good depth rather than a flat 6.Establish the lower portion of the trunk look? line, starting out near the tip and working back to the focal area (Fig. 10-48). The focal Does the arrangement have an elegant Figure 10-47 area should be over the center of the foam. It appearance? should have good depth without being unnecessarily heavy in appearance. Remember to increase flower size and &- crease spacing near the focal area, Also turn some flowers to the side and back on both edges of the curve to give the design shape a three-dimensional mass instead of a flat appearance.

7. Add statice and pittosporurn to increase depth, smooth out the curve, and cover the foam (Fig. 10-49), Make sure you have concealed the waterproof tape used to attach foam to the container. 8. Check the arrangement. JI Does the majortrunkline resemble the letter 5? Figure 10-48 Figure 10-49

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f t, BEST COPY AVAILABLF 178 Flower Arrangements In Unusual Containers The character ofan arrangement can be Accessories, bases and backgrounds developed and often made more interesting should harmonize with the flowers, foliage by incorporating an accessory like a figu- and container in color, texture, size and rine, bow, candle or piece of driftwood into degree of formality. A total impression the design. Selecting from a vast choice of By the sea should be created that can be visually com- accessories, the floral designer is able to set Lilies and maiden municated to anyone who views the arrange- grass in a seashell a theme, create a mood, or suggest a holiday. ment. For example, an elegant formal feeling with seagull The accessory may be a large dominant will be conveyed hy a classical bronze statue, figurines feature around which the arrangement is marble vase, and velvet background, while a built, or it may be a subtle addition to the cheerful, informal mood is created by a design. Examples of the latter might be a wicker picnic basket, loaf of French bread, bow at the handle of a basket or artificial and gingham table cloth. fruit clusters worked through the arrangement as additional placements. The accessories, base and background should not overpower the rest of the ar- Arrangements are sometimes set on rangement in size. Neither should any one of bases. Oriental arrangements are often dis- the three be so small that they appear weak played on black larquered bases. Wicker and insignificant. The use of small animal mats, wood or styrofoam, used as bases for figurines dwarfed by large arrangements A touch of country a traditional design, also serve to anchor the creates an unnatural picture because the Geraniums, dusty container and accessories. The base may proportions are so unbelievable. miller and snake plant give stability to an arrangement and lie in a coffee grinder together the various units of a multi-parted A good test of the successful use of an arrangement. accessory, base or background is to visualize the arrangement with that unit removed. The background against which an If the arrangement appears lacking, that arrangement is seen is an important factor particular unit is probably an important in the total impact of the arrangement on the part of the design. If the arrangement looks viewer. A certain floral arrangement may as good without it, or if a better alternative have detail and beauty that can be appre- comes to mind, a change should be made. ciated when placed against a plain b,,ne- colored wall. But the same arrangement may Holland revisited appear busy and unappealing in front of a Tulips and ACCESSORIES alstroemeria in heavily patterned wallpaper. If an arrange- pair of wooden ment is being made for a display, such as a FIGURINES shoes shop window or flower show, the designer can select a background which shows the A figurine is a molded or carved likeness arrangement to its best advantage. In other of a person, bird or animal. Sometimes a cases where the background has been figurine is merely placed next to an arrange- established first, the arrangement should be ment to complement the color and style of made with this in mind so that the design the design or to createa certain mood, chosen will suit the background. Oriental, religious, brass, and fine porcelain iJiinIfl BEST COPY AVAILABLE 179 figures are often used this way. It is usually more successful to createthe arrangement ...... 0110 with the figurine in mind so that itsoverall size and style will appropriatelyfeature the figure. The base of a figurine is usuallyplaced near the focal area of thedesign. The lines of the design should repeat any dominantlines of the figurine. A tall slenderfigurine could be complemented by a narrow vertical arrangement. A cherub figure posed in anS- shaped position could be enhancedby a Hogarth curve with the same degreeof cur- Art In the Garden Arrangementsthat complement an art piece vature. Garden Center of Greater Cleveland Some figurines suggest motion. A running figure or a windswept girlholding on to her hat can be coniplemented by an arrangement which develops visual motionin the same direction.Possibilitiesincludea creative crescent with sweeping lines or a dynamic diagonal line. The arrangement must not overpower the figure by appearing to bury it.This can happen if the lines of the arrangement are too heavy or the figure appearscrowded. If the figure appears to be gettingburied, move it out slightly from the arrangement.Turn it to show its most interestingside so that its lines and the lines of the arrangementeffec- 4,44. tively complement each other.

In traditional arranging,religious figurines such as Madonnas aregiven special prominence (Fig. 11-1). Be careful neverto rest flowers or foliage on thehead. Also do not let any part of the design appearto crowd the figurine. Young horsechestnut leaves Figure 111Madonna is An arrangement of magnoliaaround arranged sparingly around prominent in an arrangement figure of a girl gathering flowers head of a horse

BEST COPY AVAILABLF 180 ATTACHING ACCESSORIES Holding a Figurine in Place Ribbon, ribbon loops (Fig. 11-4), and net tufts are usually secured by a wire. This wire Figure 11-2 Figurines can be attached directly to a can be inserted directly 1nto floral foam or With wooden stakes base or the bottom of a container with floral attached to a heavier wire or wooden stake if clay, floral adhesive or hnt glue. Mechanics more strength and length are needed. When for the arrangement (usually a small con- ribbon is used on a basket handle, itcan be tainer holding floral foam) can be attached to wired directly to the handle. a base in the same way or wired on with chenille stems if the base is wicker or bam- Driftwood requires more sturdy anchor- boo. ing because of its weight. Heavier pieces need to be secured to bases large enough or The mechanics for attaching figurines to heavy enough to support them by means of floral foam involve first attaching a piece of screws or dowel rods. Lighter branches may styrofoam to the bottom of the figurine with be inserted directly into floral foam. If added floral clay, adhesive or hot glue. Insert support is needed, use styrofoam in the wooden stakes into the bottom of the styro- bottom of the container and place soaked foam, leaving two or three inches of the stake foam on top. Use waterproof tape to fasten extending out from the bottom. Then push two wooden stakes to the base of the branch. Figure 11-3 With four- the figurine with its attached styrofoam and Then insert the branch down through the pronged plastic anchor pins extended stakes down into the floral foam soaked foam until it is firmly anchored in the (Fig. 11-2). The height of the styrofoam can styrofoam. be adjusted to raise the figurine to whatever position is desired. The styrofoam will also Plastic candle holders with winged protect the figurine from moisture that is in points are available for holding candles in the floral foam. Four-pronged plastic anchor floral foam. If these cannot be obtained, pins can be used for smaller figurines (Fig. attach wooden stakes to the candle base 11-3). Attach them with floral clay and push with waterproof tape (Fig. 11-5). The stakes the prongs into the foam. are necessary to anchor any tall candle firmly in foam. Even a reguthr 12-inch din- Accessories that are intended to be used ner taper should not be inserted directly into throughout an arrangement (like hearts, floral foam, since even slight movements will clusters of artificial candy or fruit, or shiny enlarge its hole, causing the candle to tip. Christmas balls) may come on wire picks that can be inserted directly into floral foam Two wooden stakes are sufficient for or styrofoam. Often these accessories will regular dinner tapers: for larger diameter need to be wired to wooden stakes or heavy candles, attach three or more wooden stakes wire to extend their length for some of the with waterproof tape. Grooves can be cut placements. Floratape can be used to cover with a knife in the candle base for the stakes the wire. Or the wire can be replaced with to fit into. Both stakes and waterproof tape waterproof tape to attach the picks to should not extend up the candle more than wooden stakes. Figure 11-4 Ribbon loop Figure 11-5 Wooden an inch. If they do, they will be difficult to attached to wooden stake stakes attached to candle conceal, and the candle will end up buried in

t/ 181 floral material. Push stakes down into the Using a Large Candle in a Centerpiece floral foam until the candle base rests firmly on the foam. Wooden stakes are placed The stakes are inserted Vt tive lights containing candles can be in grooves that have been into the floral foam until carved at the base of the the bottom of the candle attacned in the same way as porcelain figu- rests on the floral foam. rines. Stick a circular piece of styrofoam to candles. They are held in the base of the votive with floral clay (Fig. placewithwaterproof tape. 11-6). Insert wooden stakes in the styrofoam and push the whole unit into the floral foam. The candle can be raised higher by lengthening the stakes. Plastic or glass rods are available to extend votives above the flowers in an arrangement. Bases made especially for these rods are glued to the bottom of the container for support. When using new votive cups, it is a good idea to spray the inside with a non- stick vegetable oil. Th is will keep candle wax from sticking to the glass, making removal of spent candles easier.

The diamond shape is created with greens The centerpiece is completed with roses and USING CANDLES IN ARRANGEMENTS alstroemeria placed around the candle Candles add color and interest to a design even when they are not lighted. When lighted, they give a special charm and di-

mension to the design by creating shadows, 0-i

Candles must be in good proportion to i', the overall size of the arrangement. Both height and diameter of the candle should be great enough that it does not appear to be overpowered or buried by the flowers and Figure 11-6 foliage. While a single 9-inch taper may be Staking a appropriate forsmall centerpiece, two or votive light more candles would be betterfor a larger floral piece. When more than one candle is used,consider placing them at different heights for more interest. An alternative to A Christmas centerpiece with two candles 3. 3_ BEST COPY AVAILABLE 182 several narrow candles is to use a single A centerpiece of larger one that is taller and larger in dia- greens and artificial meter. fruit arranged around a brass candelabra For a special effect, very long, narrow floral tapers can be inserted at different angles in the foam. Because of their small diameter, these tapers burn completely and 11GBI will not drip even if tilted. Wooden stakes 41/111.4-: taped to their bases make them more secure in the foam. Votive lights can be extended above the arrangement on rods and also scattered around it on the table top for a Cer.terpiece with larger, more lavish effect. Adding mirrors or picked accessories accessories that sparkle with reflected light built around one creates a very festive mood. Always arrange large candle the candles so that their flames do not endanger people, curtains or other furnishings, as well as the plant materials and accessories in the arrangement itself. Arrangement using Lomey container with plastic rods When candle holders or candelabras are and votive lights used, the candles sometimes fit too loosely in the holders. Make them secure and straight by wrapping the candle base with floratape or waterproof tape. If neither is available, take the cellophane covering that new candlesareilsually wrapped in and twist it around the candle base so the candle will fit securely in the holder.

BASES Sometimes arrangements are displayed on a special platform called a base. There is great variation among purchased or homemade bases. They can be many different shapes, colors, sizes, and textures. Theycan be constructedfrom many different materi- Candle arrangement with floral tapers and Crescent arrangement featuring a figurine; als. Whatever base is chosen, it should be votive lights at its base; set on a mirror placed on a black rectangular base harmonious withtheoverall theme or mood

BEST COPY AVAILABLE 183 of the arrangement. It should not be so large with the background or provide a pleasing or neavy in appearance that it overpowers contrast to it. the flowers and foliage. If the background is patterned, the Bases may be round, rectangular, oval, ax A'angement should have boldoutlines; also triangular or free form. They may be raised one of the background colorsshould be very on legs or stacked off-center. Bases are dominant in the design. Backgrounds and commercially available in various Oriental arrangements coordinate best when they styles, usually painted black, as well as create the same mood or express the same mirrored contemporary types or natural tree degree of formality. Velvet and satin are trunk cross sections. Any shape can be cut formal; burlap and gingham are informal. A from styrofoam or plywood. It can be covered brightly colored serape would make a suit- with moss or painted in any color that is able background for a Mexican design. Soft desired. Creative bases have been fashioned chiffon would harmonize better with a from bamboo, cinnamon stick3, and dried spring arrangement and a woolen blanket shelf fungi. with an arrangement in a football motif.

Arrangements are often placed off-cen- Mirrored backgrounds can add depth to ter on bases. The exposed base on one side a design and multiply theimpact of the may be an important element in the overall flowers. It is especially important for ar- balance of the design. The base may be rangements placed in front of mirrors to turned at an angle to create a different and have the back well finished off with some perhaps more interesting effect. flowers placed there to reflect in the mirror. Mexican thome Bold forms of driftwood, Bases are often neutral color.; like black, snake plant and birds of paradise against a gray and brown. These colors do not com- serape background

pete with flower colors. Silfver may be used ellalnel.N.C.0 &WTI! \UZI= r 5 for a hi-tech look. Other colors are possibilities if they coordinate with the an angement 1.Choose a figurine 6 or more inches in and provide visval stability to the design. height. Anchor the figurine to a base or directly to foam in a container. (See page 180 for the mechanics for anchoring figurines in BACKGROUNDS foam.) Study the shape and feeling of the figurine and then create an arrangement .41 Possible backgrounds for an arrange- that will feature the figurine. ment include the wall behind a design, fabric hung behind a design in a display, the table Suggestedfigurirtes: covering under a centerpiece, or the clothing D. rabbit that a corsage is worn against. These back- A. Madonna grounds can vary in color, texture and pat- B. classical statue E. clown tern. The arrangement should harmonize C. duck F. Oriental figure (cont(nued) A cascading Oriental design displayed on a base 0 BEST COPY AVAILABLE 3 f, ,c) 184 2.Use a stuffed animal (like a teddy bear) as a featured accessory in an arrangement (Fig. 11-7). Treat it just as you would a figurine. The stuffed animal may be wired to wooden stakes for support. Use styrofoam under it so that it will not rest on wet foam.

If the arms and legs of the stuffed animal are flexible, position them creatively to suggest animation, and try to complement these lines in your arrangement. Cover wire and other mechanics with flowers and foliage but don't let them crowd or bury the stuffed Figure 11-8 animal. Arrangement on a base 3. Make an arrangement that features ribbon. Use a bow near the focal area or on the Ale ISA handle of the basket in which the arrangement has been made. Make individual rib- Use of a figurine Figure 11-7 Use of a stuffed animal bon loops and use them as you would a filler flower throughout the arrangement.

, gef 4. Make an arrangement on a base (Fig. S. 11-8). The arrangement should be compat- ft 444, . ible in fecling with the base, and in good size ve I ' , , relationship to it. Decide whether to center #. the arrangement on the base or perhaps to r achieve an effect more creative and effective s I s. off-center. Try turning the base at different r e angles until you are most satisfied.

Some of the followingbases youmay have available or may wish to make:

A. black Oriental base B. bamboo mat C. wicker mat D. wood slab, cross section E.styrofoam, cut and painted F. weathered barn siding Indian theme Large hibiscus in a brass An arrangement that blends in with its container against a patterned background busy background

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5. Make an arrangement featuring driftwood (Fig. 11-9). Anchor an interesting piece of wood on a base or in a container of foam. (See page 180 for suggestions for securing the wood more firmly.) Repeat the linesof the wood in your design. The heavier the appearance of the wood, thelarger your design must be. 6. Make an arrangement that suggests a holiday or special occasion by using accessories to accent the design. Fasten accessories on wires or wooden picks to extend them to the lengths you need.

Possible accessories include: Figure 11-10 A. candy canes (Christmas) B. noise makers (New Year's) C. hearts (Valentine's Day) D. shamrocks (St. Patrick's Day) E. baby chicks (Easter) F. pencils (Secretary's Day) G. stars (Fourth of July) 7. Make several arrangementsfeaturing candles. One can be a small diamond centerpiece with one 12-inch taper(Fig. 11-10). Then make a larger centerpiece withthree 12-inch tapers. Position the candles atdif- ferent heights for interest.

In another design use a largecandle, 2 or 3 inches in diameter, and construct a circular Flgure 11-9 arrangement around the base to create a candle ring effect. Or try working withthe candle on a pedestal container.Either a An arrangement featuring ribbon diagonal or an S-curve line of opposition is a possible design choice for this arrangement. Accent the design with a bow if you wish.

BEST COPY AVAILABLE 186 Each student can make all these arrangements, or the different designs can be assigned so that each student will make only one. In either case, evaluate the designs upon their completion, paying special attention to the number and size of candles in relationship to the shape and size of the design.

8.Create an arrangement suitable for a festive buffet table and incorporate votive lights into the design (Fig. 11-11). Try raising some up at different heights within the arrangement. If you have Lomey extenders, this will be much easier. Scatter three or more votives around the base of the arrangement to extend the boundaries of the design.

Arrangement with "picked" Figure 11-11 Usingvotivelights 9. Design an arrangement to be shown off accessory with an arrangement against a specific background that you have chosen. Identify the theme or mood that you intend to develop. See if other viewers get the same feeling you have tried to create. If they do, you have been successful. Kyr"-

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r BEST COPY AVAILABLF 188 Dried Arrangements Beautifullong-lasting arrangements lucky four-leaf clovers need to be pressed as can be created from dried plant materials. keepsakes. Interest in dried flowers usually peaks during autumn and continues into the winter In addition to their sentimental value, months. A vast array of dried flowers, foli- floral pictures make beautiful accents to the ages and pods is available commercially to interior decoration of almost any style satisfy every decorating need. Many are house. The interesting shapes and subtle imported from various parts of the United colors of the plant material can be combined States and from countries around the world. into designs that reflect either historic, tra- Some materials are natural, while others ditional or contemporary design styles. have been contorted, contrived and colored or glittered to give special effects. Pressed floweis have also been used to decorate stationery, placemats and lamp Some materials, like ripened pods and shades. These gifts show a very personal cones, are naturally rigid and mostly free of touch that is appreciated by those fortunate moisture. They require merely gathering enough to receive them. and storing until they are used. Other mate- Lavish Victorian wreath of dried materials rials must be gathered at specific stages of development and require special treatment SELECTING FLOWERS FOR PRESSING to produce satisfying results. The following sections will outline various methods for Flowers that press best are those that preserving plant material. If possible, try can be easily flattened and that do not have each of them. By experience you will better a great deal of bulk. They should not have understand the techniques and you will thick, fleshy areas where the petals are accumulate a nice collection of dried mate- attached, like a daffodil with its knobby rials. These can eventually be made into ovary. Sometimes, however, good results arrangements and floral pictures. can be obtained by cutting the entire flower

in half right through the trumpt.and ovary. It is best if the silhouette of the flower PRESSING remains interesting when the flower is flattened. Flowers that contain considerable Sometimes when leafing through a book water in their petals often give disappointing one finds flowers pressed between the pages results. Examples are the easily obtainable where someone has tried to preserve the linpatiens and wax begonia. Very bright or memoty of a special event, person or place. very dark colors may come out faded or To commemorate a wedding, flowers from almost black, and some white petals turn the bouquet can be pressed, arranged brown. An ideal flower for pressing is pan- around the wedding invitation, and then sies, which are naturally thin and flat, with framed. A floral picture made from small an interesting shape and markings. pressed wildflowers seen on a vacation Vertical line of allium seed heads accented Pieces of stems and leaves should also be with the moiion of curved day lily stems anda makes a pleasant remembrance of that dried banana leaf experience. And of course those rare and pressed for use with t he flowers. These must

3 3(:; BEST COPY AVAILABLE 189 Dried Wall Pieces ue in good size relationship tothe flowers. layer so they do not overlap (Fig.12-1). Thick woody stems are not desirable since Lightly press flowers with your thumb so they will prevent the uniform application of that they will not be crushed in an unnatural position when the paper is folded over them. pressure on adjoining leavesduring the ". ^ pressing process. Leaves may be pressed separately from the stems and used either individually or matched up with lighter Aktig wcight pressed steris in the final product. Some materials suggested for pressing 17 are:

African violets ksZN. annual statice (small pieces) baby's breath celosia, plumed (pieces) daffodils (cut in half) dusty miller Figure 12-1 A single layer of flowers for Sea grapeleaves and tropical pods arranged heather pressing on weathered wood leatherleaf fern pansies 2.Fold newspaper over the plant material. Queen Anne's lace Place the newspaper with enclosed flowers rose petals between two layers of corrugatedcardboard, snapdragon florets with the corrugations facinginward. This violets "sandwich" makes up one unit. Anumber of additional units may be layered on topof the first. The corrugated cardboard lets air penetrate Pressing Flowers and Foliage to the flowers so they will dry morequickly. If you have blotting paper, this canbe cut to wer Materials: the size of the newspaper and put oneither flowers and foliage side of it between the cardboardlayers. It will newspaper give even better results but is notabsolutely corrugated cardboard necessary. blotter paper (optional) weights (books or blocks) or 3.Distribute the weight uniformly over the plant press stacked layers. This can be done withheavy books or blocks. Or you can makeand use a of 1.Take a piece of newspaper folded in half plant press instead. Plant presses consist Nature theme Moss covered wreath form and open it up. On one side of the paper two pieces of wooden latticework which are entwined with grape vine and accented with arrange flowers, foliage and steins in asingle the same size as the cardboard pieces(Fig. mosses and lichens

4u 4 BEST COPY AVAILABLE 190 12-2). These lattice pieces are placedon will reabsorb moisture and consequently either side of the stacked cardboard "sand- lose color or even grow mold. wiches" (Fig. 12-3). Pressure is then applied by kneeling on the press while it is tightly ormilionsisirai tied with several ropes or straps. This is DRYING by HANGING another way to have uniform pressure on the UPSIDE DOWN 4," plant material. An added benefit is ease of moving the pressed material from place to place. Certain plant materials can be preserved in their three-dimensional shape simply by 4sizassa JL 4. The plant material under pressure hanging them upsid, down and allowing should be kept in a warm, dry location with them to air dry. Hanging is also a convenient as much air movement as possible. Under way to store the material without getting it tangled up. If the material should become Figure 12-2 Plant press these conditions moisture will be quickly absorbed from the flowr!rs and evaporated, limp during the drying process, it will develop a more natural shape if dried by hang- resulting in nice specimens with good color. (The press can also be stood on edge over a ing rather than in a vase or lying on a shelf. warm - not hot - register for fast drying.) The corrugated cardboard (and blotting paper, if Many essentially dry pods, seed heads BOOKS FOR WEIGHT used) speeds up this process and will give and even leaves can be found in the garden much better results than pressing the mate- and along roadsides, needing only to be rials between pages in a book where no air gathered (Fig. 12-4). They are usually beige ZWALVIA2=21,1corrugated cardboard can reach them. or brown in color, but may have interesting FIRST Iblotting paper (optional) forms arid textures. If stiff enough, theymay LAYER CIZPIX-CAZ eic-7 Cr, C5-tt:a!folded newspaper be placed upright in containers, styrofoam withplantmaterial 5.Within a week the plant material should blotting paper (optional) or buckets of sand. Once completely dry they .TAZ --1N-LAA.-1001 corrugated cardboard be dry. You may check drying progress at any time. You may even wish to create some can be bunched and stored in boxes. 1311N,6=1160-.7= interesting curves in stems by repositioning Examples of materials that require little SECOtIO them a day or two after you have put them in LAYER rz:rw=civz:x5-..e....34t.r'S the press. Flower shapes can also be im- treatment to preserve are: aZILIMAAAZIAZZCZ proved at the same time by straightening out folded petals. The plant materials will be cattails pampas grass dock pine cones Figure 12-3 Cross section of layers limp enough to do this early in the drying in a plant press process and will continue to dry in the lotus pods teasel positions you have arranged. milkweed pods wheat Cattails and dock are examples of plants 6.Once materials are thoroughly dry, they may be removed from the press. They Jo not that must be gathered at the correct time to need to be kept under pressure. It is usually prevent their shedding seeds.Cattails should be gathered in midsummersoon convenient to store them between the sheets alter they form. If collected later they will of newspaper placed in a box or drawer. They must be stored in a fairly thy location or they fuzz out as they dry. Dock that is gathered in late summer just as it is turning brown will

4(1,, BEST COPY AVAILABLF 191 not drop its seed heads as much, Also it will turn a prettier shade of cinnamon brown, Certain aerosol surface sealers can be used to help stick delicate seeds and other plant parts together (Fig,12-5), When sprayed on dried materials, these sprays form an inconspicuous layer over the surface. Hair spray can be used for the same purpose, but neither product can resurrect a specimen that has already started tofall apart. Figure 12-5 Aerosol surface sealers

EVERLASTINGS A vertical arrangement of cattails, lotus pods and Some flowers are known to dry well and blackberry lily keep their color and shape when harvested at the proper time. These plants are often referred to as everlastings. Strawilowers are probably the best known example. Their stiff papery bracts, which contain little moisture, -etain color very well when air dried. Figure 12-4 Plants found in the field and along Here are some common everlastings that roadsides can be grown in the garden. All areannuals unless otherwise indicated. 44

aimu al statice baby's breath (perennial) bells of Ireland Wile salvia Chinese lanterns (perennial) cockscomb (crested and plumed types) German statice (perennial) globe amaranth st rawflowers yarrow (perennial)

Everlast ings should be picked when t hey A wreath of dried hydrangea are reaching their peak ofbloom. Strawflow- and "flowers" made by gluing ers dry best if picked beforethey are fullyA wreathand decorated hat featuringeverlastings seeds to teasel heads ot- BEST COPY AVAILABLE 192 open. If the flowers are too mature at har- throwing them away, they can be spread out vest, the colored bracts may reflex backward and air dried on newspapers or trays for later and show too much of the yellow center. use as background filler in dried wreaths or Some everlastings are dried on their own dried topiary forms. Even individual petals stems, while others are dried on a wire that can be air dried for use in a potpourri. The issubstitutedforthenaturalstem. petals will add color and interest, and the Strawflowers and globe amaranths are fragrance can be added in drops of scented usually dried on wires. The insert method of oil that is sold to refresh commercially pro- wiring is usually adequate since the flower duced potpourri mixtures. head shrinks upon drying and will cling to the wire. Wooden stakes or heavier wires can be attached later if longer or sturdier stems VIJO "erArd'ifVr41114;a. are needed. Air Drying Everlastings are usually bunched and Everlastings air drying hung upside down in a warm, dry place with 1.If everlastings are available from the good air circulation. Keep them out of strong garden, cut these, strip off foliage, and light which fades their colors and very hot bunch them together with a twistem or wire. places which may cause the bloom to open Hang the bunches from a wire or clothesline too much. installed in the classroom near the ceiling. If this is not possible, smaller amounts of bunched everlastings can be dried on a AIR DRYING OTHER FLOWERS standing clothes-drying rack,

Many flowers which are not considered If strawflowers or globe amarant hs arc avail. everlastings may be air dried. The more able, remove them from their natural stems. delicate ones are likely to shrink and shrivel Insert a 9-inch piece of 4$22 wire in each to some extent;however, the color and flower head. As the flower dries, it will shrink overall form may be retained. These dried firmly around the wire, Bunch the flowers materials can be used effectively in mass loosely in groups of ten and either hang arrangements and wreaths. Some examples upside down or place in bud vases to dry. of non-everlastings that can be air dried by the hanging method include delphinium, If flowers are not available from the garden, larkspur, carnations and marigolds. Even use purchased annual statice.It can be air-dried roses with shriveled leaves still rebunched into smaller bundles and hung t o attached have received considerable accep- dry. The colors preserve veiy well and the tance and are commonly offered for sale by natural stems are relatively strong. wholesale and retail florists, 2.Air dry pieces of foliage and flmvers that Lett over scraps of foliages and flowers might otlwrwise he discarded. Even blos- that Itave broken frmn their sterns are com- soms that are too old to sell can be dried and mon by-products in a flower shop. Instead of put to good use. Spread them out on a

4 f ' I Li BEST COPY AVAILABLF 193 newspaper until they are dry. Then store carefully. The gel should be dried out occa- them in a cardboard box until you are ready sionally to continue yielding good results. to glue them onto a wreath. The cost of this pi oduct is great enough that drying it out rather than throwing it out is 3.Air dry individual petals, like those from likely to be well worth the effort. roses and carnations. Includesmall pieces of statice. After these small pieces are thor- Containers for drying should be big oughly dry, they can be put in a covered enough to get a hand inside easily. They glass container and sprinkled with scented should have lids that seal tightly. Two-quart oil to make a charming potpourri. plastic freezer cartons or small round cookie tins work well.

BURYING FLOWERS Flowers may be buried side by side and in layers as long as they do not crowd each in SILICA GEL other. The flower will crry in the position in which it is buried. Better results are usually Most flowers can be preserved in their Figure 12-6 Silica gel usedtopreserve obtained if you face flowers upward, gently delicate flowers three-dimensional shape if they are buried sifting the silica gel between petals and also carefully in a drying compound that will around the outside so the flower is not remove moisture from the petals (Fig. 12-6). flattened or bent into an unnatural shape. Silica gel is the preferred choice for quality They cannot be reshaped after drrtng as they dried flowers. It is a white crystalline sub- will be quite brittle. The container should be stance that is available under a numberof sealed during the drying process so that the trade names. Manufacturers of cameras and silica gel does not draw moisture from the other equipment frequently include small outside air. Drying usually takes from four packets of silica gel to absorb moisture and protect the equipment. It is also used in to ten days. refrigeration units. Its absorbing and mois- Natural stems would be awkward in the ture-holding capabilities make silica gel an small container. These are usually removed ideal flower desiccant. The fine crystals sift and replaced with a wire before the flower is easily between the petals when flowers are buried. Wires are attached as you would wire being buried, and they do not leave a residue flowers for a corsage. Then roll up the loose after the flowers are removed. end of the wire and tuck it under the flower so that it takes up little space.It can be Silica gel sold as floral desiccant con- carefully unrolled after the flower is dry. ains indicator cryst als tliat are blue incolor Wire could also be glued on after the flower when the gel is dry. When these cryst als turn is dry, but that might be more difficult since pink, the silica gel should be placed in a the dried flowers are so fragile. 2{-4rF oven for thirty minutes or trid to an hour to dry it out. When the crystals turn Flowers that_ have been dried in silica gel blur again, the compound is dry. Repeated are often displayed in clear glasscontainers rise of silica gel to dry flowerswill dampen it, with lids. A small amount of silica gel can be so I he indicat or cryst alsshould be watched

BEST COPY AVAILABLE 194 added to the container to keep the air dry. It roses, pompon mums, mini-carnations, is a help in preserving the color and shape of snapdragon florets. Attach wires as you thedried flowers.If used in open-air would if wiring the flowers for a corsage. Roll arrangements, the flowers usually reabsorb wire around your.finger, then tuck the roll of moisture, causing drooping and loss of wire up near the base of the flower. color. Clear acrylic sprays may help seal the flowers from surrounding air so that they 2.Pour a half-inch layer of dry silica gel into will last longer in the open air, but arranging the bottom of a freezer carton. in glass containers with lids will give the longest-lasting product. 3.Place one to three flowers on the silica gel not touching each other. Dried flowers usually change color to some extent when they are dried. Yellow, 4.Use the spoon to sift silica gel gently pink and white flowers usually retain their around and between the petals (Fig. 12-8). Figure 12-7 Materials for drying flowers in colors quite well. Dark colors like red and Try to preserve the flower's natural shape. silica gel purple may become very dark when dried. Dumping the compound from the top may Color changes that can be expected when flatten flowers. Continue filling until the Dowers are dried are as follows: flowers are covered.

Before Drying After Drying 5. Add and cover more layers of flowers on top of the first one until you have buried all yellow gold your flowers or Lntil the container is full. pink rose Place lid on the container and set aside for white cream drying. green olive red 4 veiy dark red 6.After a week remove the lid and tilt purple almost black container sideways as you gently tap it so that the silica gel falls away from the top Figure 12-8 Spooning silica gel between the layer of flowers. If the first flower exposed petals OVIVOIAGV1 V1)) feels dry, continue uncovering. Allow flowers to gently flow out with the silica gel. Drying Flowers in Silica Gel 7.Store flowers in the second freezer car- Materials: (Fig. 12-7) ton with a little silica gel in the bottom (Fig. 2 two-quart freezer containers 12-9). Keep lid on so that moisture is not 2 quarts of silica gel absorbed from the air. Clear plastic shoe spoon boxes are even better for storage because the wire flowers can be spread out more and you can flowers for drying see what you have in the box without removing the lid. 1.Select for drying five to seven small to Figure 12-9 Storing silica gel dried flowers med Unn size flowers from the following list:

c(1 BEST COPY AVAILABL E 195 GLYCERINIZING FOLIAGES penetrated all areas of the leaf, those areas not treated will shrivel up. Foliages and even some flowers can be Glycerin-treated materials take on vari- preserved in a leathery condition by treating and bronze. them with glycerin. Eucalyptus, oak and ous colors including olive magnolia leaves are the most commonly Results vary depending on time of year and treated foliages, and baby's breath is the condition of the material. Dyes are some- most commonly treated flower. The soft pli- times used in the solution or as a dip to able condition of these preserved materials produce other colors. makes them easier to work with than other, more brittle dried materials. ouvraatms.), 4,,\cvilvacny Only certain plants have a structure that enables them to take up and support a Glyeerinizing Foliage (Fig. 12-10) glycerin solution. Even these plants must be 1.If trees in your area are in active growth, in active growth and taking up water for the select some branches of oak or beech and treatment to be successful. Oak and beech cut them about 12 inches long. During other leaves can be glycerinized during the sum- seasons use pine or purchased fresh euca- mer, but they will not take up thesolution lyptus or Scotch broom. well in the fall when water is no longer Wreathof glycerinized baby's breath moving up the stems in large amounts. 2.Mix one part of glycerin to two parts of solution to Glycerin is a clear viscous substance warm water. Fill a vase with the available in drug stores and chemical supply a depth of 6 inches. houses. The preserving solution is macir 3.Recut stems and crush ends with a from one part glycerin to two parts water. hamm?r. Place cut ends of the branches in Place the lower 5 to 6 inches of the branches into the solution just as you would put them the solution. gradually in a vase of water. The solution will Place the vase of branches in a place be taken up through the vascular system. As 4. water evaporates fflan the leaves, glycerin where there is good air circulation. Watch the level of solution in the vase and add more will be drawn into the plant cells and will if the level declines. remain there. 5. Watch the movement of glycerin up Absorption of the glycerin may take two through the leaves as indicated by a color weeks or more It is critical to a good product that the plant materials are not left in too change. The process will take about two long or too short a time. If the treatment is weeks. leaf too long, glycerin may ooze out onto the 6. When most of the leaves appear to be surface, making it sticky and more likely to fullypenetrated byglycerin,remove Figure 12-10 Gut branches preserved in a catch and hold dust. If glycerin has not (continued) glycerin solution

BEST COPY AVAILABLE 196 branches from the solution. Hang branches upside down to encourage movement of glycerin out into the leaf tips. After a weekor so the branches will be ready for immediate use, or they can be stored in boxes for future use.

ARRANGING DRIED FLOWERS

The mechanics for arranging dried flowers can be a dry material such as styrofoam, or a product called Sahara developed especially for this purpose. Styrofoam isvery sturdy and will hold large stems. HOV/Cver, it is difficult to insert delicate stems directly Arrangement of dried flowers Dried foliage and pods in Sahara Hand-tied bouquet of twigs into styrofoam. Sahara is a brown foam that under a glass dome foam accented with oak leaves, etc. is easily penetrated by fine stems; however, it does not hold large branches well. Sahara is a similar foam that is stronger and made Criss-crossed twigs decorated with pods, to hold sturdy stems. mosses and a bird If these foams are wedged into deep containers, usually no additional support is required. Foam can be secured in shallow glass or plastic containers by first sticking one or more four-pronged anchor pick.s to the bottom. The foam is then pushed down over the prongs. Another method is to criss- cross the dry foam with waterproof tape in the same way as you would fasten soaked foam. When using baskets, it is possibleto Dried material arranged on run a chenille stem or taped wire through a grapevine wreath placed on a table the wicker and over the foam to fasten them Aar" together.Dryfoamcan bemore permanently fastened to containers with hot glue froma AA hot glue gun or by dipping the bottom of the piece inapan of melted glue before joining it to the container.

Glycerinized ruscus and dried The foam can be hidden with dry sheet f.awers in a duck planter moss, sphagnum moss or Spanish inoss it it

BEST COPY AVAILABLF 197 will not be covered by flowers andfoliage. Greening pins or "hairpins" of wire are good Dried Wall Pieces for holding the moss on the foam. An alternative is to use German statice massed over the foam to hide it. Statice is also a goodfiller material to serve as a background to the flowers.

The following activities will you to ri4:.1 The natural look of a different botanical wreath made work with dried materials in several .; from Sweet Annie, with situations. Pressed flowers requirespecial a bird and nest handling and gluing techniques. Floral picture making is a good exercise in space relationships. Your goal is to try to create a feeling of depth while working in only two dimensions. Arranging flowers dried insilica gel in a glass apothecary jar willchallenge you to ufeate a good designwith proper size relationships while working inside a small enclosed space.

Diamond-shaped wall hanging featuring A. Floral Picture a pheasant pelt Materials: (Fig. 12-11) pressed flowers and foliage Acontemporary wall piece with picture frame at least 5"x 7" with flat strong parallel lines glass that liftsstraight out (not in- Sert(d by sliding)

piece Offabric a little larger than the V.1 picture frame cardboard or heavy poster board r scissors white ghic that dries clear 44r small paint1jrUS11 WaXpaper knifeOriWeezers KNOW

1, Assenilih' all materhils. Lay flowers (iiit have to work with, Figure 12-11 Materials for afloral picture Grapevine wreath with a romantic look so you can see what you (cont fru mq-1)

; BEST COPY AVAILABLE 198 Lift flowers gently with the tip of a knife or tweezers to avoid damaging them.

2.Select a background fabric that will Suggested Designs harmonize with the flowers you intend to for Floral Pictures use. You may decide on a sharp contrast (like black or white) or you may choose a more subtle color scheme.

3.Cut a piece of cardboard or poster board the same size as the picture backing that comes with the picture frame. Cut a piece of fabric that is just a little larger than the cardboard (Fig. 12-12). Spread a thin layer of white glue over the cardboard and press it 4.1 onto the fabric. Do not use too much glue or it will soak through the fabric.

-4 Figure 12-12 tsfi. P... Trim off any fabric sticking out beyond the wirexcvar Ad. cardboard. Do not try to overlap It to the back as the additional thickness will make it hard to assemble the picture and frame. Place wax paper over the fabric; then, to prevent curling, weight it down with a book while it dries. The wax paper will not stick t o the fabric if sonic glue should seep through.

A 4. On a piece of paper, trace the area that will show inside the picture frame. Use this

4.1 a BEST COPY AVAILABLF 199 as a guideline of the space to be designed in. Practice arranging the pressed flowers on this paper to achieve a satisfactory design before you do any gluing. Select a design shape that fits the shape of the frame. Shapes of basic arrangements and corsages are possibilities. See the accompanying illustrations for suggestions.

5.Arrange flowers into the design you have chosen, which should fill about two-thirds of the area. NEVER crowd the edge of the frame r.1. or let the flowers disappear under it,

g Try to create a feeling of depth by overlap- Figure 12-13 ping petals and foliage. Develop a focal area in the same way as in a flower arrangement: 8.Place a piece of waxed paper over the space larger flowers closer together nearthe finished product and weight it down until center of interest. However, do not overlap so the glue dries. Drying overnight under pres- much that you make a thick layer of plant sure should be sufficient to keep flowers and materials that will hold the glass away from cardboard from curling. the fabric. The floral picture will last longer in good condition if the glass presses evenly 9.Place the floral picture in the frame on the flowers in the completed picture. behind the glass. Secure with picture back- Completed floral picture ing or whatever mechanism is supplied with 6.After you are satisfied with your practice the frame. design, you will want to start transferring it to the cloth-covered cardboard. However, your first placements are now lyingbeneath B. Dried Arrangement Inside Clear all the other flowers. To get the materials in Glass Jar the order you need without totally destroy- ing your tentative design, place a piece of Materials: paper or cardboard over the practicedesign flowers and foliage dried in silica gel and carefully flip it over. The flowers you silica gel need to glue on first should now be on top. clear glass jar with lid Sahara 7.Apply a light layer of white glue on the four-pronged anchor pin back of each flower and foliage piece with a floral clay paint brush (Fig. 12-13). Place glued flowers dried moss on the background one by one. Avoid using excessive glue. Gradually recreate your 1. Wash and thoroughly dry the glass con- planned design, tainer and lid.

, BEST COPY AVAILABLE 200 2. Assemble the flowers you have dried in Work for in-and-out placing of materials to silica gel. If you have wired the material it create depth. Keep it light and airy to harmo- should be ready to use. If it needs a longer or nize with the delicate clear glass of the heavier stem, attach it to another wire or container. thin wooden stake. 7.Again using a pencil stuck into the If the flowers are riot wired, you can use Sahara, lift the completed arrangement off white glue or floral adhesive to attach a wire the table and lower it into the jar. Since to them. Make a small loop in one end of the materials are delicate and brittle, they must wire and bend it at a 90Q angle to the wire be handled gently as they are passed length. Glue the flower to this loop, which through the mouth of the container. will provide more points of contact between Figure 12-14 flower and wire, thus making the attach- 8. With the eraser end of the pencil, push ment more secure. the Sahara down over the anchor pin. Repair any damage that occurred during the move. 3. Attach a four-pronged anchor pin with Add more placements if necessary. floral clay to the bottom of the dry container (Fig. 12-14). If anchor pins are not available, 9. Use a funnel or rolled paper to directa a small amount of hot glue can be placed on small amount of silica gel under the arrange- Figure 12-15 the bottom of the Sahara piece before it is ment. The silica gel will help keep the inside lowered into the container. air dry, extending the attractive life of the arrangement. 4.Cut a piece of Sahara that will eventually be placed over the anchor pin. 10, Place small pieces of moss around the base of the arrangement to conceal the 5.Place the piece of Sahara on the table in Sahara and silica gel. front of you and create the arrangement (Fig, 12-15). The design should be made to be 11. Place the lid on the container. Your fin- viewed from all sides. It is very important ished product is ready to enjoy for monthsor that the arrangement does not crowd the even years (Fig, 12- 18). Avoid placing the sides or top of the container. Check its sides arrangement in bright light so that the flow- by lowering the arrangement into the con- ers do not quickly loL.. their color. tainer after you have established the first few placements. Use a pencil stuck in the Sahara to lower it. After checking size, again place the arrangement in front of you on the table and finish it outside the jar.

6.Continue filling in the arrangement. The Figure 12-16 overall shape will conform to the shape of the container - basically oval or conical.

'66 BEST COPY AVAILABLE 141 ' 201 C. Dried Flowers in a Cricket Box D. Dried Arrangement in a Basket E. Dried Arrangement on a Broom

Materials: Materials: Materials: small brass cricket box small wicker basket with handle small straw broom Sahara Sahara styrofoam small air dried flowers such as German statice chenille sterns strawflowers, statice, globe assorted small everlastings colored wheat amaranth, buttons, starflowers mini oak leaves strawflowers or other dried flowers dried moss 1.Cut and wedge a piece of Sahara down into the basket. burlap ribbon wire 1.Cut and place a piece of Sahara in the bottom of the cricket box so that it is wedged 2.Create a low bed of German statice over firmly in place. Leave the lid open. the Sahara. This will be an all-around mass 1.Cut a small piece of styrofoam and at- arrangement that fits comfortably under the tach at the base of the broom handlewith 2.Cover the Sahara lightly with moss. A handle of the basket. German statice will chenille stems. form a background to the more brightly few wire hairpins may be used to anchor it; from the however, the flower stems will probably be colored everlastings. Place this material so 2. Make a bow with streamers burlap ribbon. Ribbon width and bow size sufficient to hold it in place. that it appears to radiate out from a common point inside the basket and arch gently over should be appropriate for size of the broom. The ribbon can be cut lengthwise tomake it 3.Create a one-sided L-pattern arrange- the side of the basket. The German statice ment using the materials you have available. should mostly conceal the Sahara without narrower,if necessary. Wire bow and Do not hide the open lid as this is partof the looking overly crowded. streamers to the middle of the piece of styro- unique beauty of the container. The ar- foam. (continued) rangement should flow from the inside of the 3.Insert everlastings over the German box and riot appear overly heavy. statiee in a uniform manner. They shouldbe brought out from the statice, which forms a background to the flowers, rather than being embedded within the statice. Start with larger flowers and end with the smaller ones just as you did in the basic circularmound (Iesign. Create a feeling of depth as youdistribute each type of flower, The shape of the arrangement should conform to the shapeaf the basket without crowding the handle(Fig. 12-17).

.be amaranth and German statice in a Figure 12-17 Completed basket arrangement brass cricket box

BEST COPY AVAILABLY 202 3.Establish a diagonal line with the wheat. 2. Make a bow and a set of two or more 1.Attach the dry foam to the mat in the This diagonal trunk line should cut through streamers. Tack the streamers on first so back left quadrant of the mat. Hot glue the the center of the bow. A line of opposition is that they flow from the back of the crown off duck to the foam near the front right corner. evident in this design, since the diagonal the back of the brim. Glue the bow on over The head of the duck should be pointed floral line cuts across the vertical line of the the place where the streamers were at- toward the front right corner of the mat. broom. tached. 2.Establish an I.-pattern arrangement 4.Fill and develop the diagonal line with 3. Use hot glue to attach pieces of dried around the duck. Use three cattails to estab- inini oak leaves. Use the leaves to cover baby's breath in a half crescent around the lish the vertical axis. Use dock, glycerinized mechanics and establish depth. back half of the hat. Make the crescent leatherleaf, or similar linear dried material symmetrical with its focal area developed to fill in the vertical line and establish the 5.Repeat the diagonal line with strawflow- around thL bow. horizontal line. This lower line should come ers or other dried flowers and pods. (See from behind the duck and extend to the edge Figure 12-18.) Develop a focal area around 4. Add other dried flowers to further de- of the mat to complete the L-pattern. the bow Just as you do when making a velop the design. (See Figure 12-19.) Fasten corsage. each piece using a small amount of hot glue 3.Repeat the L-pattern with yarrow or on the stem of each individual placement. strawflowers. Since the arrangement features the duck, it should not be buried in flowers but blended into the arrangement by the flower placements. (See Figure 12-20.) Although this arrangement is designed to be viewed from the front, it should be finished to look attractive from all angles.

Figure 12-18 Figure 12-19 F. Dried Arrangement on a Hat

Materials: G. Dried Arrangement on a Wicker Mat small su aw hat ribbon (satin or cotton) in a width that Materials: is in good proportion to the hat size small wicker mat dried flowers including babys breath duck figurine about 4" long hot glue gun small cattails small yarrow or strawflowers 1.Run a piece of ribbon around the base of dock or other dried linear filler the crown of the hat. Tack it on using the hot Sahara II or styrofoam glue gun. hot glue gun Figure 12-20

BEST COPY AVAILABLE 203 DRIED MATERIALS

4 7 Annual Stance 1 Bittersweet Cattai's

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Cedar - Cross Section 8 Baby's Breath (Gypsophila) 2 Sunnytails 5

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6 Celosia 9 Bamboo Cardone Puffs

.t BEST COPY AVAILABLF 204

0 Chinese Lantern 10 Fantail Willow 13 Globe Amaranth 16

Dock 11 Fungi 14 Grape Vine 17

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Ile .144 ON0701! 4 J111. 4

Eucalyptus 12 German Statice 15 Gypsy Bloom 18

e.; BEST COPY AVAILABLY 205

22 Raffia 25 Lotus Pods 19 Oak Leaves

Reindeer Moss 26 Manzanita 20 Palm 23

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24 River Cane 27 Money Plant 21 Pine Cones

4 (III kJ BEST COPY AVAILABLE 206

Sea Grape 28 Starflowers 31 Teasel 34

Sheet Moss 29 Strawflowers 32 Ting-ting 35

04' ,1,40' t7'2. #, *q 1.0474 '#41011 .#' Cw.. 11** '1111 AVAP i e.*158' 'P.1S10:"": '1 dit *, 14' 4f 415C TO * 4121

Spanish Moss 30 Strelltzia 33 Yarrow 36

BEST COPY AVAILABLE Weathered Wood 37

Wheat 38

Wisteria 39

BEST COPY AVAILABLE 11.k Flowers by Davids Square, Columbus

BEST COPY AVAILABLE 210 Silk Flowers with a Spring Theme Silk Flowers Artificial flowers and foliages are most by Roger Swearingen, commonly made from plastic or silk. They The Flower Garden, New Boston can be used to create any design that can be made with fresh flowers. Their advantages are that they last indefinitely even under harsh conditions and they do not require all r' the special care and handling that fresh

« plant material does. On the other hand, they cannot completely replacethespecial beauty of living plants and flowers.

Plastic flowers and foliages can be used outdoors during the winter months when weather conditions would be too harsh for Cleveland Home and Flower Show fresh or silk materials. Cemetery wreaths, crosses and vases are often made of plastic. They do fade over time and can seldom be used outside more than one season. Plastic flowers, when they first appeared on the market, were popular for interior decoration. Now they are seldom used indoors, having lost their appeal to the more realistic and artistic permanent silk flowers.

The popularity of silk flowers has mush- roomed as their quality has improved, along with an ever-greater selection of colors and

The Bouquet Shop, Wooster

r) (N %. I, BEST COPY AVAILABLE 211

Silk and Dried Combinatic ns from the Bouquet Shop, Wooster

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Mass Designs

Contemporary Silk Design by Hitomi at Ohio Florists' Association Retail Discovery Series (See Color Plate 11-3)

BEST COPY AVAILABLE 212

Party Silk Designs styles. The close-up beauty of silk flowers Silk flowers are effective and practical for MP and their enormous range of decorator col- use in store window displays, in department ors have found widespread appeal. There are stores, and on stages where relatively large silk flowers and foliages that simulate nearly displays are needed for a fairly long period of every living flower, plus many additional time. They also are useful in locations where specimens that have no counterpart in the conditions would be very harsh on fresh real world. flowers or living plants, such as near heating units, near exterior doors, or in buildings Interior decorators like to use silk mate- that experience significant day/night or rials for residential and commercial custom- weekday/weekend fluctuations in tempera- ers. Long-lasting silk arrangements can be ture. an important part of the total interior design and color scheme, making it much more Artificial silk plants are being used to effective. The only disadvantage of using silk decorate offices, restaurants and other inte- flowers in this way is that the people who see riors instead of living foliage plants. While these arrangements frequently may tire of most people still prefer living plants to arti- Don Johnson Floral, Lima them. Changing or replacing the arrange- ficial, silk plants may be more practical ments periodically is the remedy. Silk flow- where the light is too dim to maintain real ers still can be used for longer periods of time plants. Silk plants do not need to be watered, than fresh flowers and will be easier and less fertilized or sprayed for insects, thus reduc- expensive to replace than most other parts of ing maintenance costs. However, they do the interior decoration. Occasional changes need to be dusted and replaced if t heir colors in the silk flowers can also give thti, opportu . fade. An alternative to using all-silk or all- nity to introduce welcome seasonal changes. living foliage plants is usini; real plants where there is more light or where they will be seen more closely, and artificial plants in f-"- dimmer, mare distant locat ions. If the art ifi- r cial plants are of good quality, most people probably will not notice t he difference. Costs may be reduced by having fewer living plants to maintain, rotate and replace as required. Silk plants are more desirable than plastic ones because they are more realistic. Florists often use silk designs as a framework for their window and store dis-

plays. They also use silk bouquets and ar. rangernents as samples wh, n sc11ng wedding work, Photographerhave various styles of silk bridal bow-..ts for hojes to pose with Ibr pre-weddinpict ures. Alexander's Flowers, Cleveland Gilliam

. AVAloPqr 213 of per- Christmas is a major holiday for which replace fresh flowers, the popularity Silk Wedding Designs florists use large quantities of artificial plant manent flowers for certain settingsand at the Ohio State Fair materials. Customers are looking for deco- occasions is great enough that everyde- Professional Design Show rative pieces that will last several weeks or signer should learn how to work withthem. more, maintaining goodquality either in the Artificial materials can be used effectively warm dry air of a home or inbelow-freezing and tastefully in artistic arrangementsthat temperatures outdoors. Weeks in advance of are useful and practical.The price may the season, flower shops start creating arti- initially exceed that of a comparablefresh ficial arrangements, wreaths and wall hang- flower arrangement, but its value maybe ings for this busy time. This is one timeof extended over a much longer period of time. year when plastic is as popular assilk. There are fairly realistic plasticChristmas greens, Artificialarrangements usually lose fruits, cones and berries. Plastic items have some of their appeal if they are seentoo long the advantage of being able to withstand by the same people. They becomL Yenless snow or rain and ofcrushing less during desirable if they become dusty urfaded. to storage. Consider rotating artificial arrangements other locations, putting them awayfor a of Silks are available to complement every while, or taking them apart and usingthe or* ;.!.. season. Delicate pastelsfor spring and flowers in new creative designs. vibrant colors for summer are refreshing 4,41*til seasonal changes for interiors or door decorations. In the autumn artificial silk materi- SOME SUGGESTIONS '4* 410' 41141, als can be effectively combined with natural for WORKING WITH dried plant materials to expand the rangeof SILK FLOWERS colors, shapes and textures available to the floral designer. 1.Heavy-duty wire cutters may be needed to cut through sturdywire-reinforced Silk flowers are sometimes used to give a stems on silk flowers. color accent to living foliage plants either singly or grouped in planters. If the flowers Cut multi-flowered stems apart to pro- quite 2. are carefully chosen, they can appear duce the size of flower clusters you need of natural. Corsages and hair pieces made for the arrangement you are making. silk flowers can be useful accents to a ward- Us. t...0.0 robe whenever a certain color or style is 3.Single silk blossoms can be glued onto 4 wanted. Since the flowers are permanent, natural bare branches with floraladhe- they can be saved for future occasions. sive or hot glue to give the feelingof early spring. There cant innes to be a steady demand tor silk flowers and other permanentplant itkvt 4.Flowers that need longer orsturdier 0,19 .4- materials, giving floral designers yet another sterns can be attached to a heavy wire or niedil an with which to express their creativ- wooden stake, Floratape will holdsmall, ity. Though permanent flowerswill never ell 7r ) 2 ;: 4 4 ;) BEST COPY AVAILABLE 214 light-weightflowerstowires,while waterproof tape will hold heavier flowers 4Vd`11\71.(IrillEgg to stakes. If the wooden stakes already have wires attached to them, the flower I..All-around Mass Arrangement of Silk ot stem and stake can be bound together by Flowers (Fig. 13-1) ,1 the wire. 4 Select an opaque pottery container that is 5. Flowers with short stems that are going cylindrical or oval. Fill the container with to be used in wreaths can be attached to Sahara so that the foam sticks up about 2 a metal pick using a pick machine. Metal inches above the rim of the container. Cover picks are good for inserting into strawor the Sahara with dry sheet moss. Wicker baskets decorated with silk flowers styrofoam forms. Hitomi Gilliam, AIFD Use a mixture of silk flowers to create a mass 6.Silk flowers used in corsages or bou- arrangement that can be viewed from all quets should have a small length of the sides. Refer to Chapter 9 for information on artificial stem left on. Then a fine wire mass arrangements. can be attached by the wrap-around method. This wire will be more flexible than the stern of the flower itself and will give you more control in positioning the flower. If a sturdier stem is needed, start with the fine wire as described and then attach it to a heavier wire with floratape.

7.Silk flowers that need to be revitalized or altered in appearance can be tinted with spray paint. If edges are frayed, singe and remove the loose threads with a lighter.

8.In a flower shop where many silk arrangements are being made, hang one of each type of' silk flower from a wire above the design table with a price tag in large numbers so the designers can more easily estimate the cost as they are Figure 13-1 working.

9.Display silk flowers upright in a display unit or flower cart in the shop. Many customers like to buy these individually to arrange themselves or forcraft Work.

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BEST COPY AVAIIABLE 215 2, Line-Mass Arrangement in a Wicker 4, Line Arrangement with Silk Flowers Basket (Fig. 13-2) on Branches (Fig. 13-4) Using chenille sterns, attach a piece of Select an interesting leafless branch that is Sahara foam to a wicker basket. Create a 10 to 15 inches tall. Choose a base or a line-mass design that is compatible with the container that is in good proportion to the basket in size and shape. If the basket has a branch and capable of supporting it. handle, be sure to let it show in the finished arrangement. Refer to Chapter 10 fordetails Attach styrofoam to the base (or fill the vase on line-mass design. with it) and insert the branch firmly into the styrofoam. Cover the styrofoaht with thy sheet moss. Hot-glue silk flowers sparingly onto the branch to give it the look of a tree starting to bloom in spring. Arrange compatible silk flowers in the styrofoam to follow the line of the branch and give the total arrangement stability, Emphasize the line effect with considerable space around each flower.

r Ak Figure 13-4

Figure 13-2

3, Teacup Arrangement withSilk and Baby's Breath (Fig, 13-3) Fill it china teacup with Sahara. Create ;.1 elottd of dried or glycerlinzed baby's breath over tlw cup to aheight of 11 /2 to 2 1 /2 Arrange seven to nine small silk flowers in a eirenlar inonnd design sothey stand ont ali(wr the baby's breath . Figure 13-3

el BEST COPY AVAILME BEST COPY AVAILABLE 218 INFORMAL A well-appointed table includes a floral retirementparty? Have anyof the piece that coordinates with the dishes, participants exp;essed a preference for tablecloth, flatware and napkins, creating a certain colors, accessories or flowers? All of pleasant environment for dining. Harmony this must be considered in determining between the flowers and their setting is very possible choices of materials. important in creating a total unified look. Experimenting with different table settings is an excellent way to explore the importance SIZE and SHAPE of coordinating floral designs with the oftheTABLE environment in which they will be used. This exercise is designed to help you What are the dimensions of the table and htA create a single place setting, complete with how many people are going to be seated at it? For a sit-down meal at least two feet should flowers, dishes, flatware, napkin and table Brunch on the patio be allowed for each guest. A buffet table, of covering, that artistically and creatively course, would not involve seating people. establishes a mood suitable for a specific The size of the table should be determined by occasion. Size relationships, color, texture, FORMAL design pattern, and accessories are all the amount of food, floral pieces, dishes and elenrnts that you should consider carefully other items it is to hold. This should be carefully planned in advance. A buffet table foi- a successful result. The degree of formal- should not look crowded. Also at a buffet ity, season of the year, time of day, and table the arrangement maybe off-center and location of the table will affect the choices taller than it would be on a table where you make. (See Color Plate III- I.) guests are seated, since at a buffet the arrangement will not interfere with conver- )c"mir- THE OCCASION sation. One must first identify whether the meal is a breakfast, brunch, lunch, afternoon tea, dinner, or evening meal. In most situations I4tHIt itttt the evening meal is more formal than those 111" earlier in the day, but this can vary, depend- Dinner with white linen cloth, crystal and silver ing on the circumstances. For example, is this a quiet family gathering or is it a special event with invited guests? The number of people being served and their relationship to the host or hostess will also help establish the degree of formality of the table setting.

Determine the reason for the occasion. Is it centeredaround a special holiday or a particular theme? Is it a child's birthday, A round table with an open bouquet of spring Easterbrunch, graduation luncheon, or flowers

1 I It4. BEST COPY AVAILABLE 219

A large table will require a largercenter- piece than a small table. If thetable is longer than 8 feet, it may be best to use two or more arrangements. The arrangement (or sumof the arrangements) should not take up more than one-third the length of thetable. The width of the arrangement shouldbe such that it doesn't crowd the place settings.

A round table will generallycall for an arrangement that is rounded ortri-symmet- Flgure 14-3 Diamond centerpiece 14-2). The rical in overhead view (Fig. 14-1, Figure 14-1 diamond centerpiece works well on arectan- Round mound design gular table (Fig. 14-3) and an ovaldesign on an oval table (Fig.14-4).

CHINA AND FLATWARE

The choice of china andflatware is usually limited to what is available andtherefore must be considered early in thedecision- making process. High quality chinalike Wedgewood, Haviland, Liinoge and Rosen- Figure 14-4Ovalcenterpiece thal is suitable for veryformal occasions. White china with a simple goldband is Figure 14-2 versatile, easy to work with,and always in Tri-symmetrical arrangement good taste. Inttresting patterns inthe china may impose some restricticus onthe choice of floral materials and designs, butthey can also be worked with in creative ways.Pat- tern, color and quality of thechina must ail be considered in order to makeharmonious flower decisions. .Aws ZrinalnigieN s's r Ironstone and stoneware areless formal, but they have a wide range ofpossible uses. Corn ingware and plastic are even morein- 1111111111PP' formal. A creative setting may bedone even with paper plates. A table settingis not Dramatic contemporary look -black placemat, successful or unsuccessfulbecause of its colored handled flatware, and acreatively degree of formality. Each situation canbe folded napkin

BEST COPY AVAILABLE 220

artistically developed if all elements are well mats. Those that are made of wickeror coordinated. woven fiber have an interesting texture and can create a natural effect. Table runners or Flatware should be compatible with the ribbons can be used instead of place mats to china. Silver or goldware is appropriate for add a festive note, either withor without formal settings, stainless for less formal, tablecloths. They can extend the length of and plastic for least formal occasions. Bone, the table or be criss-crossed torun under wood or colored plastic handles are found in each place setting. some flatware and are good for special

Imo MIR VII 111011. effects when combined with appropriate Occasionally napkin rings are used to 111,1 Via7.1. "1114' 1.6 dishes and flowers. add yet another dimension to the setting. A single blossom or small cluster of flowers may be attached to the napkin ring for a TABLE COVERING special occasion. and NAPKINS

If a table covering is used, it should be a FLOWERS for the TABLE A plain white plastic plate, napkin and white good background for the dtshes. White linen geraniums stand out against the strong and lace are formal. Colored cloths should The size and shape of the design will be gingham check repeat a color in the china or provide a largely determined by the size and shape of pleasing contrast.Off-white china may the table. This was discussed ina previous appear discolored on a pure white cloth. section, but some additional guidelines on the height of the arrangement will be given Napkins may match the cloth or be of here. In general, the overall height ofa table another compatible color in the overall arrangement should be less than 12 inches scheme. Changing the napkins is a relatively so it does not interfere with conversation. An easy and inexpensive way to vary the color exception would be the use of very wispy scheme or pick up a secondary color in the materials that extend higher than 12 inches china or in the arrangement. Napkins are but can still be easily seen through. Other usually placed to the left of the fork with the exceptionsinclude two-parted arrange- folded side on the outside so they can be ments where the top part is elevated above picked up and unfolded easily at the begin- eye level on slender rods, tall-pedestaled ning of the meal. For special effects napkins candelabras, and hanging arrangements can alsu be folded into many interesting suspended from the ceiling. On buffet shapes. tables, of course, the height of the arrangement is not as important since people will Place mats may be used at the indMdual not be seated. place settings either with or without a tablecloth. The outside edge of the place mat A designer will also take into considera- should be one inch from the edge of the table. tion the china, flatware, table covering, An oblong diamond centerpiece of lilies, The guidelines previously described for napkins, arid reason for the occasion when carnations and kalanchoe selecting tablecloths also apply to place deciding on the flowers, design style and

C. (1 ; $ BEST COPY AVAILABLY 221 accessories. Containers may match or coor- floral piece for a table. However, a numberof dinate with the dishes. Avery close match is alternatives are available, some of which are achieved when a serving piece from the set of discussed here. dishes is used to hold the flowers. Often very plain, inexpensive containers are sufficient, 1.Use a small collection of bud vasesof because many centerpiece designs have low different heights. Fill each with flowers. The flower placements that largely conceal the collection could be "tied together" moreby container. If the container shows and does placing all of them on the same baselike a not match the dishes, it should stillbe mirror. Votive candles can be usedbetween harmonious in color and formality. and around the vases if desired. Thismakes a quick and economicalcenterpiece. Several historic styles of centerpieces for tables are of interest. One of these is the 2.For a casual centerpiece, Ilse acollection epergne (e-purn") (Fig. 14-5), an ornatesil- of potted plants in a basket. flothblooming ver, porcelain or glass containercomposed plants like African violets, and i oliageplants of a number of joined parts, each of which like ivy are good choices. First line thebasket can hold flowers or fruit.Epergnes were with foil or plastic. Sheet moss canbe used popular during different eras, including to hide the pots if necessary. Williamsburg and Victorian times. Another typically Williamsburg centerpiece can be 3. Lay greens down the middleof the table constructed from a wooden cone from which in a linear or serpentine pattern.Accent the nails project. Apples and other fruits are greens with votive candles orcandle'; in Figure 14-5 An epergne pushed onto the nails, and the area between holders, fruit, nuts, and/or fresh flowerslike the fruit is filled in with greens such as chrysanthemums or carnations that hold up boxwood. well out of water.

Flowers are selected on the basis of their For a very personalized effect,include items color, texture, shape, degree of formality, of special significance to the personbeing and, of course, availability. Roses, orchids, honored:-items suchas photocubes, lilies, carnations and snapdragons are suit- awards and small figurines or toysthat able for formal settings, but can also represent the person's interests.If the occa- adapted to less formal situations, Daisy and sion is a birthday or anniversaryparty for pompon immis and gardenflowers like ,Ati- which a special cake has beenpicpared, nias or geraniums are good choices for the place the cake in the center of the greensand informal table. Actually, ate degree of forflowers so it can be enjcd longer before um I it y for most blowers is determine,I by the being served. w;iy they are used rather than anyii herent quality. 4.Try a hanging arrangementfor an unusual effect, if there is a way tosuspend The geometric design styles (di.amond it, Keep it. above eye level. A hanging arrangement suspended above a iteiptece, mound, tri- symmetrical and buffet table iiiverte(I-T) are most commonly used in the

; BEST COPY AVAILABLE 222 CANDLES Another source of light is the so-called (See Color Plate 111-8) "uncandle," This is a clear glass container filled with water, on top of which is a layer of Candles are appropriate any time the oil and a floating wick. The water may be area is dark enough for them to be effective. colored with food coloring. Traditionally they were reserved for evening and more formal affairs. Candles create a OTHER ACCESSORIES soft glow and interesting shadows. Colors in the room as well as flower colors are sub- Table arrangements can be accented dued in candlelight, Dark flowers, especially with a wide variety of accessories including purple and dark red, may appear black in fruit, nuts, sea shells, decorative rocks and dim light. Pastel colors and white are more figurines. Decorative birds are a favorite of Candles are a part of this arrangement. The easily seen under low light conditions. many people. Seasonal holidays like Christ- container is a four-branched mas and Easter suggest a wealth of acces- candelabra Candles should be placed above or below sory materials. Whatever the occasion, it is eye level so the guests are not looking considered inappropriate to use Madonna directly into the flame,When several candles figurines or the American flag on food tables. are used, they may look more interesting if they are set at different height s. Votive lights There are several different ways of set- can be placed down the table to extend the ting a "correct" table. These will vary de- impact of a design. A different use of votive pending on the type of occasion, time of day lights is to elevate them on glass, plastic or of the meal, number of pieces of china and wooden rods above eye level. flatware to be used, and degree of formality. Here are some suggestions for meals served The larger the table, the more candles at different times of the day. should be used. A centerpiece built around a single taper may be adequate for a small table for two, but a table for twelve should have more candles- perhaps three on each side of the centerpiece. Votive lights can be used in combination with I apers to increase the overall effect of candlelight. For safety, plant materials should be kept away from the flame. Candles should never be left unattended. When they burn low, they should be extinguished, Draftson candles will cause them to burn rapidly and may result in wax dripped onto the tablecloth.

Breakfast

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Be especially conscious of color, textureand pattern coordination. Repeat thesewher- Each student will create one place setting ever possible for aunified look. Use spray complete with a floral design that is in scale paint on flowers or dried materialsif you with the setting. Students should bring in cannot obtain the color you wantin fresh the dishes, flatware, napkins and table cov- flowers. ering (or place mat) that they willneed for their single place setting. As part of evaluating the table settings,bring in some people who are not trained infloral Identify the occasion the setting is for. Be design. Have them pick two or three favorites. Ask them to explain why theychose the rather specific. Design an arrangement that rib.aro creates the mood you have envisioned.Use ones they did. This will give you someinsight into preferences of the generalflower-buying Father's Day Breakfast accessories if they will help establishthe Stoneware on a wicker mat. Duckmotif feeling without causing a cluttered look. public. repeated in napkin and accessory to arrangement. Teasel and kalanchoe

Formal Dinner A baroque feeling with Dresdenchina, gokiware and arrangement of roses and carnations

Mother's Day Brunch A delicate S-curve of spring Dinner blossoms in a pewter pitcher f -t'l I) BEST COPY AVAILABLE I*

CHAPTER 15

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BEST COPYAVAILABIS 226 Brides-to-be want their wedding flowers The basic design principles apply to all to be special and to reflect their image of the wedding work. Likewise, all proper care and perfect wedding. That image may be the handling techniques should be carefully most traditional round colonial bouquet, or observed, since flowers must be in prime it may be a unique hi-tech contemporary condition on this special day. design. Successful florists need to be skilled in designing a wide range of styles, so that A florist must assess a number of factors each individual wedding can be dealt with in concerning the wedding in order to assist the a creative way appropriate to the situation, bride-to-be in the selection of suitable budget and preferences of the bride-to-be. flowers that will enhance her wedding. Some of those considerations are listed below. Weddingfloraldesigninvolves arrangements, body flowers and bouquets. 1. Location of the wedding Traditional church wedding (See Color Plates 111-2 through III-5.) Many (Concordia Lutheran Church, Wooster) arrangements are basic design shapes with Is the wedding to be held in a church, variations in the types of flowers used, synagogue, home or outdoors? What is the accessories chosen, and color scheme denomination of the church? Does it have selected. Bouquets may be thought of either any particular rules about the use or place- ascorsagesscaled upinsizeor ment of flowers? What is the size, style and arrangements modified so that they can be color scheme of the building or the character held comfortably. of the outdoor location?

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AN& 2. Size of the wedding ZAUVIIVIN'W

Is this a small wedding with only the atten- Whether the bride prefers a romanticlook in dants and the innnediate family, or is it a soft pastels or selects a daringcombination large one with 500 guests expected? of bold colors, the goal should be tocreate a total image with every detailconforming to 3. Formality of the wedding the overall style of the wedding.Some possible wedding styles are listedbelow as Is it a formal church wedding with all the examples. Try to imagine what theother embellishments, or is it a small ceremony in details might be and what typesof flowers a country church? and arrangements would be appropriatefor the setting. 4. Time of year 1 * A formal Catholic churchwedding held Will the theme of the wedding be influenced during the Christmas season. 750 in- by the season or nearby holidays, like vited guests with a sit-downdinner to Christmas, Valentine's Day or autumn? follow at the country club. What flowers are available at a reasonable cost at this time of year? * A Protestant ceremony in theafternoon with family and friends in a medium- 5. Customs and traditions in the area sized traditional church. Receptionin the church basement. Contrast the formal look (above) with the What has the bride seen at other recent informal look (below) weddings? Are there certain styles or cus- * A Jewish wedding in June inthe syna- toms that are currently popular in the area? gogue for 500 guests. Tentreception to follow on the lawn of the bride's parents. 6. Budget range of the wedding * A September garden weddingin an This is a sensitive subject that mustbe arboretum. Reception in an enclosed handled tactfully. The florist must assess picnic pavilion. the situation and sell within a price range that is reasonable fbr the individuals in- * An August wedding inthe parents' volved. It will also affect. whether the wed- home. Pool-side party to follow inthe ding is serviced by the florist or the flowers back yard. are simply delivered.

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9EST COPY AVAIIARI r THE BRIDE corsage, corsages for the mothers and grandmothers, and all boutonnieres. The ; BRIDAL INTERVIEW groom's parents sponsor the rehearsal din- at this When the bride-to-be is ready to discuss ner and pay for the flowers used her wedding flowers with the florist, she event. 1 Ideally, comes to the shop for a consultation. The bride's parents typically pay for all the florist has a separate area in which to conduct the interview, with comfortable the other bouquets, corsages and flower furniture and decorations in a bridal motif. arrangements at the church and reception. This area should allow the florist to be free of interruptions while showing the bride-to-be FLOWERS for the pictures and sample silk designs as ex- WEDDING PARTY amples of what is available at that shop. The bridal interview conducted in a separate room(De Santis, Columbus) THE BRIDE'S FLOWERS A wedding order form, such as the one (See Color Plate 111-3) shown on the opposite page, sold by the John Henry Company, is an efficient and The bride's flowers set the style for the organimd way to determine the flower needs other floral selections. Her bouquet should for the wedding. The more information the complement the style of the gown and figure bride can supply regarding the wedding, the of the bride. Bouquets which are commonly better the florist can serve her. Swatchesof used can be placed in the following groups: fabric taken from inside seams of the gowns should be brought to the florist and stapled 1.Colonial bouquets (page 230) to the wedding order form. * round * oval The discussion of flower needs should start with the bride's bouquet and progress 2.Cascade bouquets (page 231) in the following order: * single slim cascade * full cascade * brides flowers * honor attendant's flowers 3. Arm bouquets (page 232) * bridesmaids' flowers * diagonal * flower girl and ring bearer's flowers * crescent * boutonnieres * S-curve * corsages * decorations for the ceremony 4. Basket bouquets (page 233) * reception flowers ):c rehearsal dinner flowers 5. Arrangement on a prop, such as a Bible, fan, or parasol (page 234) EXPENSES A formal theme is carried out in boththe It is customary for the groom to payfor 6.Composite flower (page235) clothing and the flowers the brid.'s bouquet, the bride's going-away (continuedon page 236) /I '2 n BEST COPY MAILABLE 230

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Round mound bouquet Cloud

COLONIAL BOUQUET VARIATIONS

Colonial with lace ccllar Starburst

Oval Teardrop

Hand-tied

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Spray cascade

Slim cascade

Full single cascade

T-cascade

CASCADE BOUQUETS

Multiple cascade

Drop bouquet Triple-drop bouquet

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f Crescent (See also page 250) Arm bouquet featuring feathers Diagonal Slim arm bouquet

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ARM BOUQUETS

S-curve Contemporary sheaf Vegetative arm bouquet 233

Baskets SPECIALTY BOUQUETS

Vertical basket with slim line of Basket of spring flowers with stams extending roses, ivy, baby's breath and from one side; to be cradled in arm ming fern

Candle Eouquet with a hurricane globe; ranunculus and cyrnbidium orchids surround the candle and continue down in a single cascade

Satin pillow for the ring bearer with an Decorated basket and body flowers for a flowergill attached crescent of flowers

Children's Flowers

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S-curve on a prayer book Aio.0 Crescent of spring flowers 4411411 on a purse Or Slim cascade on a velvet muff BOUQUETS ON A PROP

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Clustering flowers on top of a parasol A closed parasol treated like a basket Clust3r of flowers under the parasol extending with roses spraying upward outward with the spokes

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Abasquet,a bouquet with satin handle simulating a basket arrangement

UNUSUAL BOUQUETS Triple colonial drop of roses, hyacinth Double ring of ivy with grouping and florets, and baby's breath drop of spring flowers

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Duchess rose made from rose petals; Composite flower made by gluing a lycopodium foliage included rose petal to each camellialeaf

BEST COPY AVAILABLF 236 Some general suggestions for selecting Additional Body Flowers for the Bride the style of bouquet are as follows: The bride may elect to wear additional 1.The bouquet should emphasize the best flowers that complement the bouquet and features of the dress and the bride, not create a unified total look. Flowers attached stopping at a dominant place on either to the hair or on headpieces, hats, orveils are the dress or the figure. the most common. Such flowers add visual interest during the ceremony when the bride 2. The size of the bouquet should not over- has her back to the guests. power the bride or hide the features of the dress. (See Figure 15-1.) The going-away corsage should coordinate with the dress the bride will wear after 3. The bouquet should not be stiff and the wedding. It can be made as a detachable rigid. It should flow visually and also part of the bridal bouquet. have some physical motion when ca--

ATTENDANTS' FLOWERS Figure 15-1 4. The bouquet should be comfortable to carry. (See Figure 15-2.) It should be The attendants' flowers should not light and should fit securely into the compete with those of the bride. They should hand. be harmonious with the style and formality of those selected for the bridal bouquet. The 5.Graceful extensions of the line up the attendants' gowns and bouquets are usually arm or downward in a cascade should be the most colorful part of the wedding party; used, rather than tightly packed shapes they carry out the color scheme that has that draw attention to one small area. been selected for the wedding.

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11%. %mom Bridal headpiece of silk flowers and tulle Fresh hairpiece of dendrobium orchids Figure 15-2 and stephanotis

17 " a BEST COPY AVAILABLE 237 The attendants' flowers may include given flowers. These may include the organ- hairpieces and other body flowers. The ist, soloist and hostesses. Flowers may coor- flower girl will have a smaller bouquet - dinate with the colors of their dresses if they perhaps an arrangement in a basket. Each are known. If not, the corsage colorshould of the men in the wedding party will have a be neutral, like white or ivory, or it can boutonniere and sometimes other "fashion include colors from the wedding color flowers" that coordinate with the other scheme. wedding flowers. If there is a ring bearer, there may be flowers on the pillow he carries. FLOWERS for the CEREMONY CORSAGES and BOUTONNIERES for SPECIAL GUESTS If the wedding is to be held in a church, the customs of the congregation and style of Corsages areselected for mothers, that particular churchEhou 1 d be taken into grandmothers and other close female rela- consideration. The arrangements should tives and friends. Close male relatives and not clash with the colors and architectureof special guests are given boutonnieres. (See the building, although there is a great deal of examples on the next page.) Those assisting latitude in the simplicity or elaborateness with the ceremony or reception are also that is possible within each setting. Some churches have altar guilds that can assist florists in knowing what props are available at the church and whether the church has any special rules regarding the use of flowers. Candelabras, aisle postsand Sporty attendants' flowers include arm bouquet and hair flowers for the bridesmaid, and full boutonniere and hat flowers for the groomsman. ..1111 Av.

A purse corsage of MM. cymbidium orchids

Going-away corsage of roses, Mother's corsage - a gardenia and rolled stephanotis and camellia leaves rose petals

BEST COPY AVAILABLE 238 kneelingbenches are props available at 3. Arrangements many churches. If these props are not available, most florists commonly have them for Flower arrangements can be placed on ped- rent along with materials like palm buckets estals, in front of lecterns, or in windows. and foliage plants. 4. Foliage The following list identifies some of the 421 props and floral c.t_corations that might be Living potted foliage plants can be used, or used for a wedding ceremony. cut greens can be placed in palm buckets or styrofoam. Palm buckets are designed to 1. Altarflowers have emerald leaf inserted in the wire holders to simulate a living plant (Fig. 15-4). These can consist of one large arrangement These are easier to transport than living or two smaller arrangements, either in con- plants and make a good show with height cealed plastic containers or in altar vases that can be seen from a distance. that belong to the church. 5. Flowering potted plants 2. Candelabra flowers (Fig. 15-3) Foiled flowering plants decorated with bows Branched candelabras are often decorated are often used in various locations, either simply with bows, or bows combined with singly or grouped. flowers and greens. Be very careful not to scratch or otherwise damage the metal of the candelabra. IIOUTON N'ttittS Boutonniere of a cascading spray of oncidium orchids

a..

Single flower- ranunculus Three flowers- rose and Sweet peas and leatherleaf Figure 15-3 and maidenhair fern stephanotis with camellia leaves

BEST COPY AVAILABLE 239 Figure 15-4 Figure 15-5 6. Pew bows (Fig. 15-5) Emerald loaf for Pew bow sot apalm bucket Bows alone or with flowers and greens may be attached to the pews down the center aisle. Sometimes they are used only to mark the family pews. 7. Aisle posts (Fig. 15-6 15-8) Posts that clamp onto the pews and hold a candle at the top add a special touch to the church decorations. An arrangementof flowers and/or foliage may be attached to the base of the candle. Ribbon or greens may be spiraled down the post. 8. Kneeling bench (Fig. 15-9) THREE AISLE POSTS For some ceremonies a kneelingbench is used. It can be decorated with clustersof flowers and ribbons, with ribbons or greens swagged between the clusters. 9. Flowers for the Blessed Virgin A single flower or a presentation annbou- quet may be placed at the feet of theVirgin Mary in a Roman Catholic ceremony. 10. Canopy A wooden canopy called a chuppah isused Figure 15-8 for Jewish wedding ceremonies. The canopy Figure 15-6 can be decorated with greensand flowers. 1.11=1111W r, 71PRIMENI4 11. Aisle runner ra Vara 4 Florists often provide the aisle runner.They pin or tape it in place so it can bepulled 11:9 k 3 AL easily at the proper time. Most aisle runners A.3k 3 now used are plastic. Figure 15-9 a AL Kneeling bench isumen. v.wog

k) BEST COPY AVAILABI E 240 FLOWERS for the RECEPTION cluster of fresh flowers may also be attached to the serving knife used by the bride and The naturf. and extent of the reception groom to cut the first slice of cake. flowers will depend on the location of the recept'.on, the theme of the wedding, and the 4. Guest book

- degree to which the bride's family wishes to decorate. Obviously, the decorations for a The guest book is usually positioned by the country club dinner, a reception in the entrance to the reception hall. A small ar- church basement, and a poolside party will rangement of flowers may be placed near it, differ. The object is to create a festive atmos- or a mini-corsage could be attached to a phere for a joyous occasion. ribbon to use as a bookmark.

Reception table with large centerpiece and Following is a listing of some possible 5. Punch table coordinating candelabra uses for flowers at a reception. Laying greens or flowers around the punch 1. Serving table bowl is a simple way to extend floral decorations to this area. If there is room on the The buffet table may have one or more table, a flower arrangement can also be used arrangements. Candles may be used in or there. Silver 4-branchedwith the designs, or the arrangements may candelabra with be made in pedestaled candelabras so that 6. Room decorations central grouping ofthey show well without taking up much table flowers that flow space. Additional flowers may be placed in windows out between the or on walls, hung from the ceiling, or used to candles 2. Centerpieces accent special features like balconies, stair- cases, pianos or stages. Individual table centerpieces where guests are to be seated are effective in repeating the 7. Rehearsal dinner color and romance of flowers throughout the room. Flowers for the rehearsal dinner usually consist of one or more centerpieces. There 3. Cake table may be corsages and boutonnieres requested for the bride, groom and some Greens and flowers laid around the base of family members. The groom's family typi- th.:: cake help set it off Use only unblem- cally hosts the -ehearsal dirmer and makes ished materials whenever you are placing flower seleetmns. them near food. The cake table can also be decorated with festoons of ribbon, cloth or fresh green roping like smilax or sprengeri Animmoil (Fig. 15-10). Fresh flowers for the top of the 4,4610"% cake are an attractive alternative to the Figure16-10 Cake table traditional plastic tops usually seen. A

BEST COPY AMIABLE 241 SUGGESTIONS FOR DOING Wire and tape all of one kind offlower or foliage at a time. Cut all the flowers from the WEDDING WORK stem at one time, wire them all, andthen tape. lir' 4624'4;71 1. Mist flowers and keep them cool so they r will remain fresh and in top condition. Place wired and taped flowers andfoliage upright in the bud vases, mist the material,

Keep flowers in the cooler as much as pos- and cover with a plastic bag before returning 41., 44. sible. After they have been wired and taped, them to the cooler. A hyacinth stake that is f return them to the cooler. taller than the flowers maybe placed in with them to keep the bag from resting onthe Mist the flowers with water as you work with flowers. them. Use a mist bottle to spray a fine layer of water on the wired and taped flowers as 4. Use a bouquet stand to anchorbouquet well as the made-up bouquet. holders while you are working on thcm. A cakefor the rehearsal dinner decorated with fresh flowers Work over a layer of moist paper towels or A heavy pottery vase filled withstyrofoam newspapers. The paper will cushionflower can accomplish the same purpose. petals, and the moisture evaporating from the paper will reduce water loss by the S. Use mists, dips and adhesives tomake flowers. flowers look their best and preserve their quality. 2. Have all supplies and equipment in close proximity to the work area. Flowers that turn brown easily, like lily-of- the-valley, can be dipped in a half water-half Wire holders are convenient for storing vari- white glue mixture to form a transparent ous gauges of wire in avertical position. barrier to air over the flower. Delicate foliage Shorter lengths of wire can be kept in bud like ivy and fern tips can be dipped in the vases that are labeled with thenumber same solution to reduce waterloss and slow gauge of the wire. wilting. Scissors, wire cutters, floratape and corsage There are aerosol and mist productsthat 1 pins are frequently used and should be kept form an invisible layer over flowers andhelp within reach, keep them fresh longer. Green-Glo andother plant shine compounds are suitablefor use A heavy-duty counter mounted wire cutter is on foliage. They givefoliage a glossy appear- useful for cutting the thick stem of a finished ance and keep it freshlonger bouquet. White spray paint can be used lightly over Ribbon should be displayed on a ribbon rack flowers like gardenias, stephanotis and or- so that it can be easily seenand removed chids that may have a slightly browned area. when needed. Adhesives can be used to repair broken Anopen arrangement of silk flowerswith 3. Set up an assembly line procedurefor petals or to keep petals from fallingoir or candles in bud vasessimple but elegant efficiency. bending back. Lily petals often needthe decoration for reception or rehearsal dinner (Hitomi Gilliam)

1-1

BEST COPY AVAILABLE 242 extra support of an adhesive. Mum Mist 1. Wire and tape each flower using hook prevent s mum shattering, A couple of drops method for the mums, pierce method for the of candle wax low on the backs of the petals carnations, and wrap-around method for can be used to prevent the reflexed action of the baby's breath and foliage. Use lengths of anemone flowers. wire sufficient to give each flower at least a 9- inch wire stem when you are done. Figure 15-12 6. Store finished bouquets carefully in the If cooler. attached wire bends under the weight of the flower or foliage, tape on an additional heav- Cushion the bouquet on a layer of crumpled ier wire. or shredded waxed tissue. 2.Begin by arranging the carnations in a Cover the bouquet with a thin plastic bag. It circular pattern. Hold one flower upright in is important not to crush the flowers with a your hand, then add another, bending it heavy covering. down to form the lower part of the round bouquet. Secure the stems with floratape by turning the bouquet two or three times after Figure 15-13 W1001.Vril'IMP.) AVCrir 11 '71111g ca the addition of one or two placements. Ther:e 110t1 first placements will establish the overall I.5 A. Colonial Bouquet (wired and taped) size of the finished bouquet. Be careful not to make it too large, but also avoid making it so Materials:(Fig. 15-11) small that the flowers appear to be crowded 15 daisy pompon mums tightly together. 12 carnations baby's breath 3.Continue adding carnations to form the leatherleaf fern circular framework of the design (Fig.15-12). huckleberry Sink some carnations in for depth. 4.2 wire, sizes 20-28 white florat ape Figure 15-14 #3 and satin ribbon 4. Repeat the circular form with mums (Fig. oilott corsage pins 15-13). Do not crowd the flowers but place at AL. different levels to lead the eye into the bouquet. far

to. 5. Add the greens (mg. 15-14). They should be kept deep in the design and not be allowed to crowd the flowers or give an untidy look. 6. Add baby's breath (Fig. 15-15) just as you would add filler materials in an arrange- Figure 15-15 ar,t, wa ment. Keep a light, aity, cloud-like feeling throughout the bouquet. tl

Figure 15-11 243

7. Make a bow of #3 satinribbon with 3- B. Oval Clutch Bouquet (BouquetHolder) inch loops. Also make a set of sixstreamers of different lengths ranging from 4 to16 Materials: (Fig. 15-18) inches. Tape the bow and streamers into the bouquet holder bouquet (Fig. 15-16). 15 daisy pompon mums annual statice Figure 15-19 8. Cut the handle of bunched wiresto a baby's breath length of 5 inches. Wrap it with #9satin pittosporum ribbon, being careful to cover the rough cut lace collar ends of wire with the ribbon (Fig.15-17). This can be most easily accomplishedby 1.Soak the bouquet holder. Place handle starting right under the flowersand wrap- in styrofoam that has been firmlyanchored ping down the stem and thenback up. Tuck in a heavy vase or in a commercialbouquet the ribbon in neatly over the cut wires as you holder stand. start back up the stem. To finish, tie aknot around the handle with the ribbon, trimthe 2. Green in the holder to loosely coverthe end, and fasten it with a corsage pin.Make foam and cage (Fig. 15-19). sure that the pin isembedded in the handle, not sticking out anywhere. 3.Create an oval shape with the mums depth by (Fig. 15-20). Remember to create Figure 15-20 the in-and-out placement offlowers.

4.Fill in the design with statice andthen baby's breath (Fig. 15-21). (con t (nued) Figure 15-16

Figure 15-21 4111616dV----.4

Figure 15-17 41, 4.

16, Figure 15-18

rir - 14:r A 244 5.Place a lace collar under the bouquet by 1.Wire the carnations androses with #24 pushing the bouquet holder handle through wire using the pierce method. Wire camellia the hole in the lace collar (Fig. 15-22). leaves with #28 wire (hairpir ....ethod)and statice and ivy with #28 wire ( wrap-around 6. Bend the plastic handle intoa comfort- method). Add a #24 wire to the camellia,ivy able position for holding by running hot and statice for added strength. Spray wired water over it before bending it. camellia leaves and ivy with plant shine. 1bev

2.Start the long cascading section (Fig. 15-24 bottom) in the same wayas for a single Figure 15-24 spray corsage. Alternate the ivy, camellia leaves, statice pieces, carnations androses, taping after each placement is added. Leave a greater distance between placements toward the end of the cascade. As you approach the other end, gradually leave more of the individual placements free on longer stems from the main trunk, so that Figure 15-22 greater depth is created where the cascade will be joined to the main body of thebouquet. The total length of the cascadingpiece C. Cascade Bouquet should be about 10 inches. Ideally thewiring and taping of this section should be light Materials: (Fig. 15-23) enough to allow graceful movement ofthe 25 mini-carnations 10 pieces of ivy bouquet when it is carried. Figure 15-25 12 roses #9 satin ribbon 25 camellia leaves corsage pins 3. Make a shorter cascading piece about6 25 annual statice pieces inches long (Fig. 15-24 top) withan alternating mix of ivy, camellia, statice, carnations and roses. 4. Join the two cascading pieces, leaving about an 8-inch gap between them to fillin the main body of the bouquet (Fig. 15-25). The longer cascade will flow downover the skirt of the gown, while the shortercascade sitti will arch up and over the hand. image 5.Fill in the main body of the bouquet, first with carnations and then withroses and tlw Figure 15-23 other materials (Fig. 15-26). Blend I he 1 t- wo Figure 15-26 245 NIMfr..M.11 cascades together by developing a gently 1.Gather the stems of liatris in your hand arching silhouette. Check the design to be and bind them together about 6 inches from sure you have created depth andfullness. the cut ends with 1-inch-wide floratape (Fig, 4 Make sure the bouquet is well balanced and 15-29). comfortable to hold. 2, Add the alstroemeria and springflowers. 6. Wrap the handle with #9 satin ribbon Fasten them in with floratape after each two (Fig. 15-27) and secure with corsage pins. or three additions. Thebouquet is designed to be cradled in the arm with thenatural stems extending beyond the hand asif Figure 15-29 freshly gathered. 3. Add arching pieces of sprengeri tosoften the bouquet and give it some movement. Tape these on at the same place asthe previous additions. Make a #9 satin bow and attach it at the 4. Ala point of taping. (See Figure 15-30.)The bouquet should rest in the arm and beheld Figure 15-27 just under the bow.

D.ArmBouquet Figure 15-30

Materials: (Fig. 15-28) 3 liatris #9 satin ribbon 5 tulips or daffodils 1-inch wide 3 stems of alstroemeria floratape 6 pieces of sprengeri E. Basket Bouquet Materials: (Fig. 15-31) wicker basket with plastic liner floral foam daisy pompon mums annual st at ice baby's breath ivy pittosportim #1 satin ribbon chenille stems (con( inued) Figure 15-31 Figure 15-28

'4 4/. ' U. , , to«.. 246 Basket Bouquet (continued) F. Bouquet on a Bible

1.Fill the plastic liner with soaked foam Materials: and secure it to the container with chenille white Bible stems that are fastened to the wicker. 15 stephanotis (or hyacinth) florets 1 white cattleya orchid 2.Green in the bouquet with pittosporum. ivy Irk Create a low bed of foliage that arches 12 variegated pittosporum leaves through the basket well below the handle #3 eggshell satin ribbon (Fig. 15-32). moist cotton floral adhesive Figure 15-32 3. Use the pompon mums to establish an arched trunk line through the handle of the 1.Wire and tape stephanotis, individual basket with one side cascading down longer pill osporum leaves, and ivy branches. Use than the other (Fig.15-33). The overall the following wiring techniques: shape is a crescent. * orchid - criss-cross #24 wire 4.Fill in the bouquet with statice and * stephanotis form a hairpin of #28 baby's breath (Fig. 15-34). wire and pull down into the throat of the flower over a moist piece of 5.Spray the ivy with a plant shine com- cotton pound. Position the strands of ivy to hang * pittosporurn leaveshairpin method down over the side of the basket. using #28 wire * ivy strands - use #28 wire and wrap- 6. Make a bow with many loops (six to eight around method Figure 15-33 on each side) and several streamers. Attach these to the base of the handle on one side of Spray the foliages with a plant shine com- the basket (Fig. 15-35). pound.

2. Make a bow md three streoinffs of varying lengths up to 10 inches long.

3,'Tape two #18 wires with white floratape 24r.1i and fashion into a figure-eight larger than s '14 4 likleuk. the Bible (Fig. 15-36). 4,Make an elongated double spray corsage that. will fit on the cover of the Bible (Fig. 15-37). Bend the corsage into an S shape, Figure 15-35 Figure 15-34 5.Fasten corsage to middle of the figure- eight with floratape. r° 247

6.I" corsage on cover of the Bible and G. Composite Flower (Glamellia) bend ends of figure-eight over the cover. Materials: (Fig. 15-38) 7.Tie five loose knots (lovers knots) in the gladiolus florets ribbon streamers at different levels. camellia leaves cardboard 8. Use floral adhesive to attach an unwired floral adhesive stephanotis blossom and a small pitto- floratape sporum leaf at each knot. #18 and #28 wire ..M.111

1.Pull off individual gladiolus florets and line uri in order of size (Fig. 15-39). Beginby Figure 15-38 piercing with #28 wire a floret that is just starting to open. Bend the wires down.Open up additional florets and wrapthem around the bud in concentric circles. Cross-pierce through the base of the flower to hold them in place, using #28 wires that are thenbent downward. After several layers havebeen added, tape the base of the glamellia and continue taping on down the bunched wires (Fig. 15-40). Figure 15-36 2.Cut a circle of cardboard 6 inches in diameter. Punch a hole in the center. Figure 15-39 3.Spread floral adhesive around the outer edge of the cardboard circle and lay down a circle of Petals. 411.

.1% Glue down three more rows of petals , sal 4. ,z;agMelisk inside the first with each row coveringthe fie base of the petals on the previous row. (contued)

Figure 15-37

AIL

Figure 15-40

4 248 Composite Flower(continued) H. Pew Decoration

5.Insert wired part made in Step 1 through Materials: the hole in the cardboard (Fig. 15-41). Con- #40 white satin ribbon tinue adding petals outward, securing them salal with floral adhesive, until the composite leatherleaf fern 4 flower is completed (Fig. 15-42). -S 2" x 4" piece of 2-inch-thick styrofoam 6. Aak two full-length #18 wires to the stem #18 wire Figure 15-41 and tape. Cut to desired length. floratape

7.Glue camellia leaves to the back of the 1. Tape two 9-inch lengths of #18 wire with cardboard so that they extend only slightly floratape. Bend each piece into a U and beyond the edge (Fig. 15-43). Wire and tape insert into long sides of the styrofoam (Fig. three leaves, then attach them by taping to 15-45). The styrofoam will sit on top of the the stem (Fig. 15-44). Bend the stem slightly pew with the taped wire loops bent down on for a natural appearance. either side to hold it in position. They can be taped to the pew for extra support.

Figure 15-42 2. Make a bow and two 12-inch streamers. Insert these into the styrofoam.

3.Insertsalalleaves and leatherleaf around the bow to cover the styrofoam. Arch sonic greens over the wire loops to cover them and extend some branches downward to follow the streamers (Fig. 15-46).

ANIL

Figure 15-43

staiiliattlm

Figure 15-44 Figure 15-46 Figure 15-45 249 I. Candelabra Decoration MaterkJs: plastic floracage containing soaked foam salal huckleberry 5 gladioli 1 bunch of pompon mums #40 satin ribbon chenille stems wooden pick

1.Use chenille stems to hang the floracage containing soaked foam on the candelabra where upright post and crossbar meet (Fig. 15-47). Use salal to form a vertical line which 2. Figure 15-48 Figure 15-49 extends about 6 inches above the cage and Figure 15-47 12 inches below the cage (Fig. 15-48), Then establish a diagonal line of salal that cuts across the center of the foamand follows the line of the candle-holding crossbar. Repeat the shape with gladioli (Fig, 15-49).

% 4 oviZA 3. Make a bow with #40 satin ribbon. Then make a pair of streamers that are 15 inches 4** long. Attach the bow and streamers to wooden picks and insert in the middle of the "4 foam (Fig. 15-50).

. Work some of the gladioli through t he bow. The spikes may be cut into sections to ohi aM shorter lengths.

Fill in t he arrangement with sidal, h tick- h'berry and pompon mums (Fig, 1 5-13 1). Work the greens and flowers through t he bow, 6. The st reamers may be rolled up and led so I hat t hey will not wrinkle when the Figure 15-50 Figure 15-51 11-1,a1 1ge1 1)ent is transported.

t) I 51 250

CRESCENT BOUQUETS

Amazon lilies and caladium leaves Phalaenopsis orchids, roses and stephanotis

Gloriosa lilies, acacia and eucalyptus

r- I.,t o Plate 111-1

TABLE SETTINGS

Mt,

Diamond centerpiece

't r 04 0E3;1' IA Informal luncheon

Victorian dinner

Family dinner

Single place setting with formalfeeling Plate III-2

*4 0 I ti,iity'-b-)if

WEDDING , FLORAL DESIGN f i.r ,It , a wog The Ohio State University vj n IIII I 1,1 Agricultural Technical Institute 41.

Flower and Bridal Show

Starburst of violets

art

Corsage from rose petals

Cascade of gardenias, stephanotis and roses Arm bouquet of mixed flowers Fan arrangement on a palm leaf Plate III-3

BRIDAL BOUQUETS

IIP

Drop bouquet with small clusters suspended Arm bouquet featuring gerbera daisies from the larger mass of flowers

Gatherie with a freshiy gathered look

AIL

N0.

NI" J'y

Basket with stems showing Basket with a shower cascade Round basket of calendula and statice Plate III-4

Ring bearer's pillow WEDDING FLOWERS

Composite flower of rose petals Single cascade on camellia leaves

Colonial bouquet

Arm bouquet of calla lilies Wreath Oval bouquet Slim cascade

,-sr 7.`-'.17"

4 4 .; Plate III-5

te,

WEDDING DESIGNS by Julie Wilkinson, AIFD, PFCI The Ohio Florists Association Retail Discovery Series

409

for% A. 11,,l/

0!xri%1 , t J . Plate III-6

LIVING PLANT GROUPINGS

Hanging baskets

Office building

Church altar at Easter Library

AIS

" 464. 4, o

Primroses Primroses and ivy Hydrangeas

ry. Iri C i Plate III-7

Classical French Oriental PERIOD ARRANGEMENTS

Dutch Williamsburg

t7, r.'Mt V

4.. in i-1 ' Plate Ill-8

ARRANGEMENTS WITH CANDLES

,L414,

Dlamond centerpiece with large candle Advent wreath

-arr.

A,._

Sliver candelabra on tea table Troplcal arrangement with votive lights Flowers forming a dlagonal line of opposition across candles

11,,o v r' 64 44 4 4 r OTielia-))41T3/7 124617E1'20

(De Santis, Columbus)

r- J 4 k. s

H. e 252 The sending of flowers when someone for the top of a closed casket or to be hong has died is not only a tradition, it is also a above the lid of a fully open casket is called tangible way of showing respect for the de- a full couch spray. Funeral homes provide ceased and expressing sympathy to the a wire rack above the lid of a fully opened family,Itis here that flowers can most casket to which the spray can be attached. If powerfully display their ability to convey only the upper half of the casket is to be feelings that peoph; are unable to say in opened, a smaller arrangement called a half other ways. Sympathy flowers fill a very real couch spray can be designed for the closed need for relatives ai td friends to express love end. and caring for the fi mily. Also, through their selection of floral pieces for the casket, the The casket spray is ordered by those family is better able to express their feelings closest tn relationship to the deceased. They Figure 16-1 for the one who has died. may also choose to order one or more Casket with lid fully open companion pieces that coordinate with the The florists who prepare flowers for a casket spray. These may be standing sprays, funeral have as great an obligation to send symbols, or arrangements in vases or out quality work for their customers on this baskets. sad occasion as they do for happy occasions like a wedding. Even though the flowers do Other relatives, friends and associates not have to last a long time, they will be select floral tributes of their choice. These displayed next to the work of other florists, can be arrangements, baskets, vases, set and are almost certain tc be noticed by many pieces (flowers worked into different shapes, people. (See Color Plate 11-4.) like a cross, supported by a wire str.nd), potted plants, dish gardens and terrariums. Sympathy flowers often comprise a sig- These are usually displayed on stands and nificant part of the business of a flower shop pedestals on either side of the casket or on It is important for a new business to learn tables throughout the funeral home. Figure 16-2 the traditions of the local area, which can Casket with upper half of lid open vary significantly from region to region. Here is a listing of the floral tributes that These traditions may influence not only the are frequently provided for funerals: style of the floral pieces but also the mechan- Alb& ics. F lorists must cooperate with funeral * Casket sprays directors to satisfy their preferences as well * Flowers for inside the casket as the preferences of the customers. (pillows, hearts: Bible, rosary, corsage, boutonniere) A major variation in practice between * Standing sprays regions involves the opening of the casket. * Baskets In some areas the entire lid is typically open * Vases (Fig. 16-1). In others only the top half is open *Arrangements (which can include (Fig. 16-2) to show only the upper half of the candles, driftwood or other meaning- body. In still other situations the lid is ful accessories) Casket spray of red roses and huGkloberry closed. An arrangement of flowers designed t' BEST COPY AVAILABLE 253 Funeral Tributes * Set pieces (wreaths, pillows, crosses, Polychrones, AAF, A1FD, PFC1; Joseph Smith,AIFD) hearts and emblems) (James Bridenbaugh, AAF, PFCI; C. Michael * Decorated potted plants * Dish gardens and terrariums t Design principles and techniques for arranging funeral flowers are the same asfor i/ any other type of design.Florists should select their mechanics from the large assortment of modern and convenient devicesthat save time and allowfor creativity in design.

111.'

4. < It Satin cross with diagonal line Line-mass arrangement of Satin-wrapped wreath with gladioli, carnations and spray in Oasis Iglu of carnations and Queen Anne's Lace pompon mums

Casket spray of carnations, roses and dendrobium orchids

Grapevine wreath on easel; Spray of roses in Floracage Standing spray of gladioli, accents - gladioli, freesia holder carnations and clipped Wreath of mixed spring blossoms on an and spider mums Oasis ring emerald 254 the deceased. These can be easily re- finished piece dripping. This is especially moved by the funeral director to give to important when it is displayed above the lid the family before the floral pieces are dis- of afully opened casket(Fig.16-5). persed after the funeral. Styrofoam is also lighter than soaked floral foam. Since the arrangement has to last only CASKET SPRAYS a few days, most of the foliage can be inserted directly into the styrofoam without FULL COUCH Full couch casket sprays are usually oval or diamond-shaped. Though they should not exceed 8 or 9 inches in height, they can still exhibit depth within the design through skillful placement of flowers. When they are made to be placed on a closed Figure 16-3 casket, a gently arching silhouette from Full couch spray on a closed casket head to foot and side to side should be evident. The design may extend the length of Figure 16-4 The John Henry casket saddle made of plastic Some special considerations related to the casket and arch down over the front side funeral work include the following: (Fig. 16-3). A bow may be used in the design but is not necessary. 1.Casket sprays must be constructed on mechanics that will not scratch or other- The mechanics for a full couch casket wise damage the casket. spray commonly consist of a saddle that will hold two blocks of floral foam and which can 2. The floral foam must be well drained so be set without slipping on the arched lid of that it has finished dripping before it is the casket. (See Figure 16-4.) These are delivered to the funeral home. available in plastic with a slight water reservoir to catch drips of water. Other casket 3. Each funeral piece should be tagged with saddles are made of wire with plastic protec- the name of the person it is for and the tors over the legs. Styrofoam, floral foam or name of the sender. A card that also soaked sphagnum moss can be wired to the includes on it a brief description of the saddle to serve as the foundation of the arrangement will help the family remem- arrangement. Another technique is to carve ber it when they send out acknowledge- a piece of styrofoam to fit the curvature of the ments. The card should be on a pick or casket. This will then serve as the base into cardholder so it can be easily removed which foliage and flowers in water picks can fromthearrangement. Two-parted be inserted. 11e 1.kYa ilablein which. t ht!sendev's name arid a description of the arrange- Phcing water-picked flowers and foliage Flgure 16-5 ment can be separated from the nameof in styrofbam eliminates the dangerof the Full couch spray mounted above the lid of the casket

f, BEST COPY AVMLABLE 255 any serious declineinquality.Some The half couch spray, like the full couch disadvantages of using styrofoam are the spray, should not be over 8 or 9 inchestall added time and expense of placing flowers and should consist of gracefully flowing in water picks, and limitations on the ease lines. Stiff flowers either should be avoided or with which placements can be made. should be wired and bent to conform to the arching lines. Size and space rhythm within The suggested activities which follow the design and good depth created by the in- include different combinations of mechan- and-out placement of flowers and foliage are ics so that you can gain some experience distinguishing characteristics of a well- with each kind and evaluate their pros and designed casket spray. cons for yourself. The goal is to be versatile and flexible enough so that you will be able to adapt to the expectations of the public, funeral directors and flower shop owners in whatever area you may work. Flowers and Foliage for Casket Sprays Figure 16-6 HALF COUCH (Fig. 16-6) A wide range of flowers and foliage is Half couch spray available for use in casket sprays, but some Half couch sprays are used when only materials are used more frequently because the upper half of the casket is open. They of their availability, keeping quality, cost and rest on the lower, unopened part of the preference by the customer. Chrysanthe- casket. Saddles for half couch sprays are mums, carnations, roses, gladioli andbaby's therefore smaller than those used for full breath are often used. Commonly used foli- couch sprays, but they are made of the ages include emerald palm, salal, leatli&leaf, same kinds of materials. They usuallyhold huckleberry and sprengeri. only one block of floral foam instead of the two needed to make larger full couch The foliage can be kept fresher by spray- sprays. ing it with Green-Glo or another plantshine product. This can be done after thefoliage The design of half couch sprays is asym- has been arranged but before flowers are metrical. Since they rest on the unopened added, since the initial framework of the part of the casket, their focal area is toward design is usually first created with foliage. the opened side (usually toward the left), with a long arching line of flowers extending Roses are usually wired by inserting a toward the foot of the casket. Another cas- #18 wire into the ovary and spiraling itdown cading section may extend forward from the the stem. This technique will hold the rose in focal area, draping down over the front of position in the event that the stem becomes the casket. If a bow is used at the focal area, weak just below the flower. This situation, it may be enhanced by ribbon loops and called bent-neck, is not uncommon if the streamers workedintothedesign, water supply to the rose becomeslimited. extending out from the bow.

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(1 BEST COPY AVAILABLY 256 Roses and other flowers may be placed in Script is available in individual lettersor in water picks (Fig. 16-7). These are green complete names, like "Grandmother" or plastic tubes that are pointed on the closed "Father." Some will stick to the ribbon when end and have a rubber cap on the open end. moistened, while others have a peel-off back To use them, remove the cap, fill the tube which exposes a sticky surface when the with water, and replace the cap. Then insert back is removed. Aglitter glue pen is another the stem of the flower through the small hole alternative for writing special wordson in the cap. Do not push the stem end to the ribbon. bottom of the water tube because that area will run out of water first if the tube is slanted downwad. The rubber cap will cling to the stem and prevent water running down any Olt.1001.tall'AL stems that are angled downward (Fig. 16-8). Water picks are also useful for supplying A. Half Couch Casket Spray Figure 16-7 Figure 16-8 water to flowers that must be extendcd far- Plastic water pick ther than the length of their natural stems. Materials: The water picks can be fastened with water- plastic saddle frame proof tape to one or more hyacinth stakes. 1 block of floral foam green florist foil Flowers should be in good condition and #24 and #18 wire in general fully opened for funeral work. 1 bunch of salal Because of the short viewing time, under- 1 bunch of leatherleaf fern developed blossoms may never make their sprengeri maxim In show during the time when most 3 bunches of pompon mums people will see them. #40 satin ribbon 4-inch wooden picks with wires Green-Glo Ribbon for Casket Sprays Flgure 16-9 Gold script on a ribbon streamer A how of wide ribbon is often used at the 1.Soak and thoroughly drain the floral focal area of a casket spray with two or more foam. Wrap it in a single layer of green florist streamers radiating out from it. Number 40 foil. Tightly pinch shut theexcess foil along satin or velvet ribbon is a popular choice for the corner edges so it does riot overlapon the this purpose. Additional ribbon loops or flat sides. This is done to eliminateany streamers maybe wired to wooden picks and double layers of foil that might make inser- used to extend the ribbon throughout the tion of stems difficult. design. 2.Place the foiled block of foam ina plastic Gold letters called script are sometimes saddle (Fig. 16-10). Securely wire the two applied to the ribbon streamers (Fig. 16-9) to together by passing #24 wire through the Figure 16-10 indicate the relationship of the deceased to holes of the saddle, wrapping the ends to- Afoiled block of foam in a saddle the person who has provided the flowers. gether on top of the block of foam. The wire

41; t-) BEST COPY AVAILABLF 257 may first be wrapped with floral tape tohelp Next the height should be establishedby 5) keep it from cutting through the foam. placing a 6-inch piece of salal (placement ,44 upright in the foam, to the left of the center 3.Use salal to establish the foliage back- of the foam. All further placements should titICArr ground. (See Figure 16-11.) First place the appear to radiate outfrom this point, which horizontal branches that will run parallel to will be the focal area, (See Figure 16-13.) the flat surface of the casket, from the open side to the foot end. One branch should 4. Continue filling in the form withleath er- extend about 6 inches to the left (placement leaf fern. Use leatherleaf to cover the foiled 1) and another branch about 18 inches to foam and create a layered look between the the right (placement 2). Then establish an salal placements (Fig. 16-14). Avoid making arching line that will follow the curvature of a heavy solid blockof greens. The greened- the casket by placing two curved branches in form may then be sprayed withGreen-Glo into the foam, one extending toward the or a similar product sothat it will last longer back and one cascading over the front (Fig. and look shiny. (continued) 16-12).The back curving branch (placement 3) should be about 6 inches long and the front cascading branch (placement 4) about 12 inches long. Figure 16-13 END VIEW Fill loosely with salal

3 5

4 Figure 16-14 Figure 16-11 OVERHEAD VIEW Figure 16-12 FRONT VIEW A layered iook The first four placements of foliage Establish an arching silhouette withsalal

r- h e u;12 411 258 5. Make a full bow using #40 satin ribbon. attaching a #18 wire near the end and spiral- (See Figure 16-15.) The longest loops should ing it down the stem. When using roses or be from 4 to 5 inches long. Wire the bow to carnations, insert the wire into the ovary of rA 4-inch wooden pick. Make a set of 12-inch the flower. This method of wiring has the streamers from the ribbon and fasten them added benefit of helping prevent the snap- to a separate pick. If lettering (script) is to be ping oir of flower heads when the piece is used, it should be applied at this time. transported. Place the bow at the focal area (placement 5) Stagger flower clusters in the main trunk angled slightly to the front.Insert the lines with a gradual (rhythmic) increase in streamers so that they flow forward with the spacing as you approach the focal area. front cascading section of the spray (place- Placements at the focal area should extend Figure 16-15Add the bow ment 4). up through and above the bow. Incorporate the bow into the design, just as you would in 6.Establish the main lines (horizontal line a well-constructed corsage. and forward cascading line) with chrysanthemums. (See Figure16-15.. First divide Create depth by the in-and-out placement of the pompon mums by stem length into units flowers. (See Figure 16-16.) Avoid a flat or of one to three flowers. Those with long2r crowded look. The eye should be led down stems can be used for the outermost place- into the design. ments in the design. Those with shorter sterns can be saved for use near the focal 7.Fill in the design with sprengeri. (See point to create depth. Figure 16-17.) Use long graceful pieces to enhance the forward cascade section and As you place the stems of murns, be very the longer horizontal section that extends conscious of developing a gently arching toward the foot of the casket. Use shorter Figure 16-16 silhouette inall directions. The longer pieces to create depth,fillvoids, and Complete the design with pompon mums stems of mums can be made to curve by enhance the graceful arching lines of the silhouette.

Figure 16-17 Fill with sprengeri

BEST COPY AVAILABLE 259 netting to B. Full Couch Casket Spray 3. Cut a piece of green poultry cover the foiled foam andstyrofoam. Cut out it will fit Materials: the corners of the netting so that wire saddle frame (for 2 blocks smoothly over the rectangularblock. of foam) (Fig. 16-18) Place the poultry netting over thelayers of 2 blocks of floral foam (Fig. styrofoam, 2-inch-thick sheet foam, newspaper aridstyrofoam 16-19). Tie green florists' cord to thesaddle green florist foil forth over newspaper frame and lace the cord back and wire) the chicken wire and alternatelyaround the green poultry netting (chicken is to have the green florists' cord wire of the saddle. The goal foam that is covered with chickenwire 1 bunch of emerald led Figure 16-19 10 ti leaves securely bound to the saddle. 2 bunches of leatherleaf fern 4.Establish a foliage backgroundwith 50 carnations emerald leaf that will result in asymmetrical oval form (Fig. 16-20).In this design the focal area is directly in the center of thefoam; all stems radiate out from this point.

1- - The overall length may beabout 5 feet and the width about 3 feet. Emeraldleaf is used .6 primarily to form the basic shape. Itgently arches downward enhancing thecurved lines of the oval. Bring some shorterpieces inward to begin the arch to thefocal area.

Figure 16-18 5.Use leatherleaf fern to establish more Figure 16-20 foam and 1. Cut a piece of styrofoam to fit on the arching lines and to conceal platform of the wire saddle frame. Cut sev- saddle. Work the leatherleafbetween the eral thicknesses of newspaper the same size. emerald leaf pieces to increaseinterest arid add depth. Create a layered lookat the focal Foil each block of soaked, well-drainedfoam area but do not exceed aheight of about 6 with a single layer of green florists'foil. inches. Completely enclose each block and place the folded seam on the bottom of theblock. 6. Use ti leaves to emphasizethe long hori- Pinch the corners shut so that there are no zontal lines. Shorten some leavesfor place- double layers of foil on the flat facesof the ment close to the focal pointby trimming block that might make insertion of stems them at the base (Fig. 16-21).Roll some bringing the tip more difficult. leaves over to form a loop by to the base.Fasten them together to a 2. Place styrofoam, newspapersand foiled wooden stake with wire andwaterproof tape. foam on the wire saddle frame in that order. Insert the ti leaves betweenthe other foliage Figure 16-21

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BEST COPY AVAILABLE 260 pieces to give a similar effect to that of ribbon STANDING SPRAYS (Fig. 16-22). This will serve to accent the focal area. Standing sprays are sometimes called easel sprays because they are displayed on 7. Use carnations to establish the basic oval wire or wooden easels (Fig. 16-25). They are shape (Fig. 16-23). Place the flowers as you often placed alongside the casket and may would for an oval centerpiece. Be conscious coordinate with the casket spray. Diamond, of the gently arching silhouette. Create oval and triangular outlines are most com- depth while rhythmically grouping flowers mon, although many creative variations are closer together at the focal area. See Figure possible. 16-24 for the finished full couch casket spray. Sprays can be hand tied with the natural Figure 16-22 stems showing. The same look can be 8. Hang the spray to drip. Some water will created by placing both flowers and cut run down the stems after they are pushed stems in floral foam, with the added benefit into the foam. Water should stop dripping of staying fresh longer. The work can be A after an hour or two. made easier by using commercial products such as plastic Oasis Floracage holders or John Henry spray bars. These support the "4111106. foam and can be easily attached to the easel with wire or chenille stems.

Figure 16-23

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Figure 16-25 Standing spray of mixed spring flowers in an Oasis Floracage

Figure 16-24

t) ' 261

Another way to make an easel spray is to 2. Securely attach the Floracage to the easel insert the greens and flowers directlyinto a using chenille stems (Fig. 16-26). piece of styrofoam. Wa:er picks canbe put on more sensitiveflowers like roses before 3. Use salal to establish the diamondshape they are inserted into the styrofoam. You can of the design (Fig. 16-27). have also use soaked foam even if you do not Figure 16-26 a Floracage or othercommercially produced 4. Make a bow using #9 satin ribbon.The mechanics. Just wrap the soaked foam in longest loops should be about 3 inches long. foil and then in chicken wire foradded Wire the bow to a wooden pick. Make a pair support. Securely wire the chicken wire- of 15-inch streamers and wire them to a enclosed foam to the easel. wooden pick. Insert the bow and streamers at the focal area of the spray(Fig, 16-28), Ribbons or other accessories maybe which is at the intersection of the vertical added to the spray. An interesting example and horizontal lines. is the placement of a sheaf of grain orsimi- larly bunched dried material acrossthe 5.Establish the diamond shape with gladi- spray in a diagonal lineof opposition. If a clus spikes (Fig. 16-29). Break some gladioli bow is used, script may be added tothe into smaller sections to usecloser to the streamers just as it was on thecasket spray. focal area. The gladioli should be well opened. The design will not be attractive if long spikes of unopened buds are used. Figure 16-27 (continued)

Diamond Shape StandingSpray

Materials: Oas(s Floracage holder wire easel chenille sterns salal huckleberry Figure 16-28 10 gladioli 1 bunch of pompon mums 4/9 satin ribbon wooden picks Thonnighly soak the Floracage withits enclosed loam and allow it to drain. Figure 16-29

tJ ` t) 4. F 262 6.Fill in the design with huckleberry and create a large, showy display using a moder- then pompon mums. Bring some huckle- ate number of flowers. The design style is berry and mums through the bow. The spray usually a fan or triangle. Baskets made of should display fullness and greatest depth wicker, grapevines or twigs are alternat ive at the focal area. Taper the outline gradually choices to the more traditional funeral away from the focal area toward the extremi- basket. ties of the design. Also gradually change the facing by 90Q as you move from the focal area Gladioli are often the line flowers with to the outer points. See Figure 16-30 for the chrysanthemums used to enhance the focal completed standing spray. area and fill in between the spikes(Fig. 16-31). A bow may be added at the focal 7. Arrange the ribbon streamers down the area. Greens commonly used include salal, arr.- vertical line and cut their ends on a sharp emerald palm, huckleberiy and leatherleaf diagonal. They usually look best if they are fern. of slightly different lengths. When a basket has a handle, it should be allowt..d to show and not be crowded or buried. An asymmetrical design like the scalene triangle is distinctive and allows the Figure 16-31 handle to be featured. In fan and triangular Triangularsympathy arrangement designs, the outennost placements extend (Kielor's Floral, Coshocton) up behind the handle, while the shorter _AAIL-4 placements near the focal area are in front of the handle (Fig. 16-32). Traditional plastic, metal or papier- mache baskets come in a variety of sizes and styles. They are presumed to be waterproof. Non-traditional wicker, twig or vine baskets will need to be securely lined with plastic. The most convenient mechanics to use are one or more blocks of soaked floral foam. Whether one or two blocks are used and Figure 16-30 whether they are placed in the basket up- The completed standing spray right or sid'-ways will depend on the size and shape of tibasket. If the foam extends a little above the rim of the basket, the de- BASKETS signer will have more freedom of placements since this will allow some sterns to be angled ..11111E Flower!: arranged' plastic, metal or downward. It the is not necessary to fill Figure 16-32 papier-machebaske,t:it'll! traditional :kym- entire basket with foam. Shredded styro- Fan-shaped sympathy arrangement pathy tributes in mmy areas. They can foam or discarded pieces of tham can be (Maple. Loo, Worthington) 263 Repeat the triangular form with leather- used to fill the empty spaces and help stabil- A. Triangular Funeral Basket 4, ize the blocks that will hold the flower stems. leaf fern and pompon mums (Fig. 16-37). Materials: Some mums may be left in larger clusters to give greater strength near the focal area. The floral foam can be further secured plastic basket with handle by criss-crossing waterproof tape over it. 1 block of floral foam Develop the focal area without a bow in this The tape will stick to the rim of a plastic or waterproof tape arrangement. metal basket, but usually not to papier- 10 gladioli mache. In this case the ends of the tape can 1 bunch of emerald palm 5. Check to make sure the arrangement is 1/2 bunch of leatherleaf fern not flat. Have you developed a smooth trian- be stapled to the basket. Or a sharp tool can gular outline without large gaps between be used to make small holes in the papier- 1 bunch of pompon mums mache, and through them wires can be spike flowers? Does the arrangement have inserted to cross over and secure the foam. 1.Place soaked foam in the basket and good depth? secure it with waterproof tape(Fig. 16-33). In the past other materials have been used to support stems in funeral baskets. 2. Use ribbon shears to cut theends of the These includerolled-upevergreens, leaflets to form tailored pieces offoliage (Fig. crumpled chicken wire, sand, and shredded 16-34). Establish the triangularform with styrofoam. the clipped emerald palm (Fig.16-35). 4111/4.10 When basket arrangements are con- 3. Add gladiolus spikes to repeatthe trian- 41, structed, every attempt should be made to gular shape (Fig. 16-36).Use sections of create a good design with qualityflowers. gladiolus spikes to develop the focal area The current decrease in demand for funeral and create depth. baskets may be linked to public reaction Figure 16-34 against the many baskets of less-than-top quality that have been sent to funeral homes.

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Flgure 16-36 Figure 16-37 Figure 16-33 Figure 16-35 264 B. Fireside Basket with L-shaped 2.Work chenille stems through the wicker Arrangement and twist the ends firmly over the foam so the liner and foam are securely anchored to Materials: the basket, fireside basket Scotch broom 3.Establish the L-pattern with Scotch huckleberry broom (Fig. 16-39. 25 standard mun.s plastic liner 4,Lightly fill in the form with huckleberry floral foam (Fig. 16-40), chenille stems 5.Repeat the L-pattern with mums (Fig. 16-41). Refer back to the discussion of the Figure 16-38 1.Place soaked foam in a plastic liner basic L-pattern design in Chapter 10, The and set it on the bottom of the fireside scale is larger for this arrangement, but the basket (Fig. 16-38), order, spacing and facing of the placements is the same. Do not crowd the handle,

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Figure 16-39 Figure 16-40 Figure 16-41

I r 1,4 A , e ir. It. etet1811/1 265

VASES and OTHER ARRANGEMENTS Here are some suggestions: Arrangements of flowers in a variety of * arrangement with driftwood design shapes are appropriate to send as * arrangement with a candle "to sympathy flowers. They can be displayed on * arrangement suggesting interest tables at the funeral home and taken home in nature or the outdoors Figure 16-42 by members of the family after the funeral. * arrangement suggesting interest Gladia in a t. in a certain animal triangular * arrangement in a contemporaly arrangement dr- The traditional vase arrangement is NAL:AA usually a triangle (Fig. 16-42), fan or oval style design. However, any of the basic design * arrangement for an antique shapes could be used. Creative arrange- collector ments featuringspecialcontainers, * arrangement for an artist accessories or seasonal flowers should be * arrangement for a politician considered (Fig. 16-43), Driftwood makes a * arrangement for a religious leader nice framework for an arrangement (Fig. 16-44). A candle is also an acceptable addition to a sympathy design. PIECES for INSIDE the CASKET (See illus(rations on next page) Dried or silk arrangements are being selected by some people as a lasting piece Close relatives or friends of the deceased that can be kept by the family. These are may order a small floral piece tobe displayed sometimes sent directly to the homes of the inside the casket. This may be a corsage, family members rather than to the funeral boutonniere or flower held in the hand. parlor. Decorated satinpillows or heartsare sometimes pinned inside the lid. Bibles or Sympathy arrangements can be made in rosaries may also be included. a wide range of styles and prices.To best Figure 16-43Arrangement featuring a Madonna meet the needs of the clients, the florist Satin pillows and hearts are most easily should be prepared tolistentotheir decorated by making a wired and taped preferences, offer suff,gestions, arid finally corsage-style piece that can be pinned to the supply designs that are appropriate for each satin shape. This produces a relatively light - situation. weight design that will not drip water. The piece can be designed so that it can bebent Figure 16-44 into a crescent or S-eurve. Styrofoam Bible Stylized arrangement with forms ean be decorated with similar con- anthurium and Sympathy Arrangement structions or with flowers glued to a ribbon driftwood that is pinned on as a bookmark. Large Have eachstudentcreateadifferent rosaries are available with clamps forfasten- arrangetnentsuitablefor sendingtoa ing on a single blossom at regular intervals hineral home, Spec* the relationship of the along the chain. These can be pinned to the sender to the deceased and the time of year. inside lid of the casket. 266 symbol of a broken wheel is sometimes used MUGellelata).) &(011'1171`1M to represent the passing of one member of a group (Fig. 16-47). Some unusual symbols, Figure 16-45 Lach student will design one piece to be less commonly seen today except in certain Masonic Lodge displayed inside the casket. Even if the same regions where they may be popular, include emblem foundation is used, try to be creative in the the "Gates Ajar" symbol that shows a partly way you treat it. open gate, "Jesus Calls"-a telephone with the receiver off the hook, and the "Vacant Some suggestions are: Chair." * corsage * boutonniere Styrofoam Forms and Mechanics * flower-in-hand * pillow Some symbols can be purchased ready- Figure 16-46 * heart made in styrofoam while others must be cut Eastern Star * Bible using an electric or battery-powered hot wire emblem * rosary or a hand-held styrofoam cutter with a thin serrate blade. If the symbol is cut in several sections, the pieces can be joined using SET PIECES wooden stakes and glue.

There are a number of different symbols The styrofoam form may be covered en- and emblems of special significance that can tirely with flowers and foliage. Also it may be be rendered in flowers. Wreaths, crosses, wrapped with ribbon or moss with one or hearts and stars are the most common. more clusters of flowers attached. As an Fraternal emblems like those of the Masons, interesting variation, try using the back side Odd Fellows and Elksare examples of of the ribbon to take advantage of the dull pieces sometimes requested for members of' textural quality, which can enhance certain these organizations (Fig. 16-45, 16-46). The Figure 16-47Broken wheel flowers. On wrapped wreaths, an Oasis Iglu

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A crescent of roses, statice and A styrofoam heart outlined with A cross covered with carnations, Scotch broom on styrofeam Bibleieatherleaf, covered with carnations; outlined with pittosporum A rosary of carnations, double-spray corsage of red roses baby's breath and leatherleaf

kj . 267 is easy to attach to serve as themechanics show. Greening pins also work well to attach for holding an arrangement of flowers(Fig, materials to straw wreath forms. 16-48). A piece of floral foam, soaked and foiled, can be wired on to accomplishthe A hot glue gun is useful for attaching same thing. If the pieceof foam is large, it accessories to styrofoam. It also works well should be reinforced by wrappingwith when adding dried or silk flowers to wreaths chicken wire before wiring it to the styrofoam made of twigs. form, Completing the Set Piece Oasis ring sets are convenient to use when a relatively small wreath of fresh ma- Finishing off the edges of the shape is terial is needed. The ring is soakedand important. This can be done with ribbon, drained. The flowers and foliage areinserted used either straight or ruffled, or by pinning directly into the Oasis foam andwill stay overlapped leaves around the edge. The edge fresh for several days. can also be beveled andfilled in completely with flowers. Figure 16-48 Figure 16-49 Attaching Flowers and Foliage Bows can be used as accents where An easy way to fiisten flowersand foliage desired. Wreaths give an especially good to a styrofoam form is to usefloral glue. Glue opportunity to be creative with the place- such as Oasis floral adhesive canbe ment of bows and streamers. One sugges- brushed on the backs of flowers andwill tion is to make a larger and a smallerbow. become tacky quitequickly. Another These can be placed on opposite sides of the method to attach flowers is to insert atooth- wreath and connected with several stream- pick into the underside of theflower and ers of ribbon across the wreath(Fig. 16-51). push the other end of the toothpickinto the Another variation is to use twodifferent styrofoam. This method workswell on widths and colors of ribbon in a bow, with bottom which nrakes streamers of each color running toanother mums that have a flat Figure 16-50Plastic-covered straw wreath them quite stable on the styrofoam.Flowers part of the wreath. covered with salal leaves attached with either glue ortoothpicks should be sprayed with a clear acrylic spray It takes fewer flowers to place one or two to increase their keepingquality. Mum Mist flower clusters on a symbol than itdoes to will also prevent shattering ofpetals. cover the entire symbolwith flowers. The flower groupings can resemble crescents, Leaves can be added by usinggreening S-curves or diagonal lines. The shapecho- pins (Fig. 1(3-49). These U-shaped pinswith sen shouldcomplement the shape of the A S-shaped heads are very good forattaching symbol and not be so large as to overpower leaves like salal, camellia andgalax t o forms. it. Some suggested flower groupings on Overlap the leaves just enough to cover up symbols are given on the next page. the pin used to fasten on eachpreceding leaf pills (Fig. 16-50). In the finished product no Figure 16-51 Satinwrapped styrofoam wreath with ribbon streamers 268 Suggested Floral Groupings on Symbols

Crosses Hearts

Wreaths

r, 6 269

amotean &ovi1Wins7 Each student will make one set piece. Use different methods of attaching the flowers including floral adhesive, toothpicks and hot glue. Cover some forms entirely with flowers, others with ribbon or moss accented with flowers. Be creative in the use of ribbon.

Some suggestions are: Terrarium Dish Garden Living Plants * mixed fresh flower wreath in an Oasis ring * foliage (salal) covered wreath with floral accent * moss covered cross with diagonal line of opposition * flower (mums) covered heart with S- curve of roses * fraternal symbol (Masonic) * satin covered straw wreath with two floral accent pieces and connecting streamers Potted Plant

jsggi POTTED PLANTS, DISH GARDENS and TERRARIUMS

Living plants are appropriate and long- la st ing sympathy tributes. The decoration of potted plants with foil and ribbon 13 described in another unit of this book. Dish gardens and terrariums that are being sent to a funeral may be accented with religious figurines, OA flowers, or items of special significance. Guidelines for the construction of dish gardens and terrariums are given in be delivered to the Funeral directors transport flowers from the next chapter,Living Plant Groupings. Casket spray ready to funeral home to cemetery funeral home (Murray Funeral Home, Creston) (De Santis, Columbus)

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r 5 272 Dish Gardens Express Themes Small living plants can be combined artistically in dish gardens, terrariums and hanging baskets. They are popular gift items because of their decorative value and the fact that they can be expected to last several months or more. Dish gardens and terrariums make suitable sympathy tributes and are appreciated in offices, business estab- lishments and homes. (See Color Plate 111-6.)

DISH GARDENS 1 Dish gardens are shallow containers that hold two or more living plants. Some- times they are referred to as planters, and although this is correct, the word "planter" is Dish garden with a country look in a also used to describe much larger contain- spatterware crock eis capable of holding plants as big as trees. The word "planter" will therefore be reserved for those larger containers that are used for interior plantscaping.

The figurine adds interest and motion. Dish garden containers are made from Note the unity given by repetition of white. various materials including glazed and unglazed pottery, metal, glass, wood and plastic, but they all lack drainage holes. Wicker has become popular for dish gardens, but a plastic liner must be used inside it to keep moisture from seeping through. Unglazed clay or terra-cotta, which alsomay become damp on the bottom, should be set on a moisture-proof mat. Whatever the container, it should be at least 3 inches deep so that the plants' root balls can be accom- modated without severely disturbing the roots.

',0,04100b Small flowering and foliage plants that are to be ilsed in dish gardens should be grown, well rooted, in 2- or 3-inch pots. Plants are selected to give a full but not Dish garden with a tropical look r Dish garden with an Oriental theme crowdedr r look. There should be harmony r .! LI. 'lir ILSal 273 between the container and the plants. If your own, a mixture of equal partsof soil, figurines or other accessories like driftwood, coarse sand and peat moss is onepossibility. branches or ribbon are used, they should The amount of sand should be increased for complement the total look being created. cactus and succulent dish gardens. Since Some possible themes that dish gardens the root balls of the plants frequently take up might express are: most of the space in a dish garden, you actually may not need much additional soil. tropical The soil mix should be moist but not overly woodland wet at the time of planting. desert Oriental Gravel or small pebbles may be used in religious a layer on the bottomof a dish garden if there is enough depth. Since overwatering is a Some dish gardens are merely a collec- common problem with dishgardens, a tion of plants of various forms, textures and gravel layer provides a reservoir for some of colors, like a simple combination of varie- the drainage water. If the container is very gated snake plant, green emerald ripple shallow, the gravel can be omitted since it peperomia, and trailing ivy in a green would take up room needed for the soil balls A collectionof dish garden containers ceramic container. Alternatively, dish gar- of the plants. dens can be made to resemble miniature landscapes or scenes. When figurines are Plants used, they must be in good proportion to the size of the plants. For example, a miniature Plants for dish gardens must be grown in frog may be dwarfed by too-large plants small pots either 2 or 3 inches in diameter. looming over it. Sheet moss or pebbles are Following are some good choices for dish frequently used to cover the soil surface for gardens: a special effect. Aluminum Plant (Mica) Fresh-cut flowers can be added to dish Chinese Evergreen (Aglaonerna) gardens by planting in the soil a piece of Croton (Cod(aeum) soakcd floral foam into which flower stems Dracaena (Dracaena) are inserted. Flowers may also be placed in Dumbcane (D(efienbachia) waterpicks that are pushed into the soil. Silk English Ivy (Hedera) flowers and wired bows can be anchored Jade Plant (Crass ula) directly in the soil. Neanthe Bella Palm (Chamaedorea) Nephthytis (Syngon(urn) Soil Peperomia (Peperomta) Philodendron (Philodendron) Soil used in dish gardens should be a Prayer Plant (Maranta) sterilized potting mix that is not excessively Snake Plant (Sansev(eria) fertile. Bagged potting mixes can easily be Ti Plant (Cordyline) purchased for small projects. If you make Wax Plant (Hoya)

574 n 0-1 6111 274 Design 7.Figurines are optional; most dish gardens look attract ive without them. However, Here are somesuggestions for combin- if a figurine is needed to carry outa special ing plants in dish gardens: theme, it should be used ip such a way that IL it becomes an important part of the total 1.Choose plants that are compatible with design. It should be large enough so as not each other in cultural requirements, since to be dwarfed by the plants, but not so large the water, light, and temperature conditions as to overpower them. A figurine, when used will be the same for all. In general, do not mix properly, is important enough that the de- cacti and succuleAts (Fig. 17-1) with tropical sign will appear lacking without it. (See foliage plants. Use alllow-light-tolerant Figure 17-4.) Figure 17-1 plants for dish gardens that will be used on Cacti and succulents combined in a desert look office desks.

2.Let one plant dominate over the others in height (Fig. 17-2). This taller plant may be placed in the middle for an all-around garden or to one side for an asymmetrical look.

3.Select plants that have enough difference in form, leaf shape, color and texture to produce an interesting mixture. However, do not select too many plants with very strong features (bright colors, dominant textures or variegation) or they will compete with each other. The result may be confusing and I. busy. One or two of the showier plants combined with plainer ones will give more Figure 17-2 Figure 17-3 Driftwood adding height to a Snake plant creates a strong vertical line pleasing results. cactus dish garden 4.Use one or more trailing plants to soften the rim of the container.

5.Clean the leaves of the plants with a soft damp cloth. The use of plant shine products is not necessary since clean healthy plants t are attractive without it.

6.Consider usingdriftwoodor bare branches to add height and interest to dish gardens (Fig. 17-3). Vining plants can also be twined around the wood. Fantail willow branches create interest Figure 17-4 Dish garden in a log basket r- fr! 0 I C) -te , rt,sIIi 97"A 275 in the gravel.) If the container is veryshal- unetmacalsa &vilivnyt low, omit the gravel layer. Planting a Dish Garden 4. Remove plants fromtheir containers by turning them upside down, holdingthe stem kfaterials: (Fig. 17-E.) between your fingers near the soillevel, and shallow waterproof container rapping the edge of the pot onthe counter sterilized potting soil edge to loosen the soil ball from the pot. gravel (disinfected) or perlite small potted foliage plants 5.Place plants in the container sothat accessories of your choice their soil line is about 3/ 4 inchbelow the rim w. of the container. You may have to place some soil in the bottom or perhaps remove alittle from the soil balls, depending on thedepth of the container. Do not plant levelwith rim Completed dish garden showingvariation in of container or the dish gardenwill be hard height, texture and plant form to water.

6.Fill in around the plants withsterilized potting soil. Press the soil lightlyaround the plants to anchor them, leaving thesoil level at k.ast 1 / 2 inch below the rimof the con tainer. settle the soil Figure 17-5 7. Water the dish garden to around the plants. Remember thatthere is overwatering. 1. Assemble all materials. no drainage, so avoid and foliage clean 2, Arrange potteci plants inthe empty con- 8. Wipe the container tainer to get a generalidea of their place- with a soft damp cloth. ment, The tallest plant can be inthe center 9. Add accessories if youdesire. or off-center.'The design can be one-sided or made to be viewed all around,However, even one-sided designs should bemade interesting in the back. If they areplaced near a window, they will have to beturned occasionally as the plants bend towardthe light.

3.Place a thin layer of disinfectedgravel or perlite in the bottom of thec,intainer. (Gravel The interesting duck basketis featured instead can be disinfectedby washing it in bleach of covered with plants water. Rinse well so that nobleach remains biS 5 7 k.)" 276 =IL EUROPEAN DISH GARDENS wheat are appropriate in the fall. Bows can be added for color and to help carry out the A European dish garden is an interest- theme. ing variation on the traditional dish garden. The difference is that the plantsare left in their pots, wedged in with mossor styro- auesawirmn &mammy foam, and then covered with sheetmoss to give a planted look. I lowering plants like Planting a Pot-et-Fleur Design African violets, small kalanchoes, poinsettias or chrysanthemums are frequently Materials: added to rrake a colorful combination. Cut lined basket or shallow waterproof flowers can also be added by wedging ina An efficient work area for making dish gardens container vase or piece of floral foam among the pots. assorted foliage plants in small When temporary splashes of colorare used containers to accent a collection of foliage plants, the one or more flowering plants in small combination can also be called a pot-et-fleur containers arrangement. The addition of branches, soaked floral foam in a small container birds, nests, and/or figurines makes the cut flowers (mums, carnations, etc.) pot-et-fleur assemblage into a true floral styrofoam auangement. sheet moss 49 ribbon for a bow European dish gardens are often done in baskets. A plastic liner is best in the bottom. 1.Arrange plants in the basket. If the bas- However, several layers of heavy foil are good ket has cl handle, do not bury it in plants. for short-term usage, such as a table center- Place the flowering plants and bow at the piece. The liner, foil, pots and styrofoam focal point of the design, usually toward the European dish garden in a low twig basket should be covered with sheet moss after the plants are arranged.

Colorful flowers have high eye appeal and usually become the focal point of the design. Therefore, their position is impor- Ara.- tant enough to be given special thought. 4 I

Trailing plants are effective in softening the 114. rim of the container and leading the eye beyond its boundaries. mmum4141111.. Accents can be used to develop certain themes or feelings. Holly berries and glittered branches suggest Christmas, birds A colorful begonia with croton and velvet holding strands of raffia represent nest building in the spring, arid autumnleavesor Pot-et-fleur design with a bow and spray of plant in a rectangular woven basket cut flowers at one side of the design

!lb tak 277 front of the basket. Use trailing plants over display a single special plant. The soil Types of Terrariums the edge of the basket. should be deep enough to hold the root system without coming too far up the side of 2. Add a small container of soaked foam the jar. Too much soil looks heavy and near the taller foliage plants.Wedge this unattractive and may not leave enough room container and the pots firmly into position inside the jar for the tops of the plants. In with pieces of styrofoam. general, the soil should not be deeper than one quarter the heightof the container. A 3.Place cut flowers in the floral foam to well-drained potting mixture that has been develop a vertical line of color. sterilized should be used, since diseases can spread rapidly in the moist environment of a 4.Cover the pots and styrofoam with sheet terrarium. A layer of disinfected gravel can moss. be used in the bottom for drainage. Athin layer of charcoal (tin kind used in aquari- Wardian case 5.Wipe the foliage clean with a damp soft ums) could be spread on top of the gravel. It cloth. will help absorb odors that may develop in damp soil. Another optional material is sheet moss used to line the bottom of the terrarium so that the gravel, charcoal and RARIUMS soil do not show through the glass.

Terrariums are clear glass or plastic Plants containers with plants inside them.They may have a lid or be open at the top. Ineither Terrarium plants are usually grown in case the environment inside the containeris small containers, often only 2 inches across. protected and usually more humid than the This results in little disturbance of the root surrounding air. Therefore, the terrarium is system. Transplant shock is alsoreduced by that dry a good place to grow small plants the humid atmosphere inside the terrarium. Bubble bowl out easily or that require high humidity. Plants must be small when planted. They should also be rather slow-growing so they Terrariums may be made using bubble do not overrun the terrarium in a short time. bowls, brandy snifters or rectangular aq- 4 uariums, Specifically designed terrarium The plants that are chosen for terrari- 4 eases with hexagonal sides anddomed tops ums should thrive inmoist, humid condi- are available. I3ottles with narrownecks or tions and moderate to low light. Infact, small openings are a challenge to the de- terrariums are ideal for growingplants that signer, requiring special long-handled tools are ot.1'twise difficult to grow in pots in the to carry out the planting. open air, such as smallferns, fittonia and baby's tears. Cacti and succulents are poor If large enough, a terrarium can be de- chokes for terrariums; they will grow much signed as a miniature landscape. Very small better in an open dish garden. Terrariums terrarituns may serve just to proieetand are reserved mainlyfor twu categories of Rectangular aquarium 278 plants:1) small tropical foliage plants and Needlepoint Ivy (Hedera) 2) native mosses, partridge berries and other Selaginella (Selaginella) plants that can be collected from the forest Small Ferns (Pterts, Pellaea, Adiantum, floor to make an attractive "winter garden." etc.) Small Peperomias (Peperomia) The plants should have enough color and textural variation to be interesting. Accessories Baby's tears, selaginella and mosses can be used to simulate patches of turf. Small Special landscape features may be de- palms, ferns and other more upright plants veloped within the terrarium, such as buried serve as trees and shrubs in the mini- containers for pools, stones to build ledges, landscape. A few more colorful plants can be caves or bridges, and pieces of branches, used as accents:-miniatureflowering driftwood or bark to simulate fallen logs. gesneriads in tropical terrariums or par- Paths can be developed using fine gravel or tridge berries and red-capped British soldier small pebbles, but avoid gaudy, unnatural- lichens in a woodland terrarium. Very spe- looking colored gravel. The use of figurines is cial, more expensive, humidity-loving plants entirely optional. If used at all, they should can be displayed individually in small be in scale with the surrounding plants, terrariums. They can be left in their growing enhancing them rather than drawing atten- pots, which are hidden by sheet moss or tion away from them.Natural-looking Spanish moss. This will allow for easy ceramic or stoneware mushrooms, snails, Bottle garden removal from the terrarium for periodic frogs, rabbits, deer or other animals in cleaning and grooming. Miniature orchids, earth-tone colors and non-glossy textures bromeliads or gesneriads are plants that can are examples of accessories in good taste. be grown this way. These can harmonize well with plants. Plants that are suitable for terrariums include:

Aluminum Plant (Pilea) GursoaLnw,n.111)

'La 279 1. Wash and thoroughly dry the HANGING BASKETS terrarium. Plants that are suspended have a special 2.In the lottom place a layer of gravel charm. Vining plants are effectively dis- one inch thick and top it with ashallow played in containers that are hanging; how- layer of charcoal. ever, other plants with afull cloud-like gtowth habit can also be used in the center 3. Add a layer of soil one inch thick. (See of a hanging basket with vining plants F4, ire 17-7.) Consider sloping the soil in around the edge. one direction or terracing it with stones or pieces of bark. The term "hanging basket" comes from an old method of lining a wirebasket with 4. Arrange the plants to form a miniature moss to hold in the soil.Many plastic, pot- landscape. Fill in around the plants with tery and wood versions of hanging contain- soil. ers are now on the market.These are collectively referred to as hanging baskets. The 5. Add the accessories if they are to be a hanger can be rope, wire or chain. Macrame part of the design. hangers made of cord knotted into patterns are often used to suspenddecorative pots. 6.If soil has fallen on foliage or on sides of the container during planting, rinse it Containers that are to be hung indoors off with a little water from a watering can. should be waterproof or should contain a waterproof liner so that there is no dripping. A foliage hanging basket with spider plant 7. Water the planted terrarium lightly so A well-drained sterile soil mix should be (Chlorophytum comosum) which produces the plants are settled in. Do not overwater used for planting. Often more than one plant small plantlets at the ends of runners and make the soil muddy. (See Figure is placed in the container to make itlook 17-8 for the finished terrarium.) more full. The plants can beangled out over

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FIgure 17-8 Figure 17-6 Figure 17-7 280 the edge of the container to help them cascade more quickly. Hanging baskets containing bedding plants are mainly used outdoors (Fig. 17-9). These may hold just one kind of plant (like cascading petunias or hanging-basket tuberous begonias) or a mixture of many different kinds. Since dripping is usually not a problem outdoors, these containers com- II monly have drainage holes. And a container with attached saucer frequently overflows. The old-fashioned wire hanging basket lined

.1% with sheet moss is still sometimes used. It has an advantage in that some of the speci- Figure 17-9 Moss-lined hanging baskets planted with a mixture of annuals in Victoria, mens can be planted through the moss to British Columbia cover and hide the bottom of the basket. This is the part people usually see, since hanging Bolivian Jew (Callisia repens) showing baskets are usually hung above eye level. teardrop silhouette Foliage Hanging Baskets Plants that are suitable for indoor hanging baskets include:

Asparagus Fern (Asparagus) Boston Fern (Nephrolepis) English Ivy (Hedera) Flame Violet (Eptscia) German Ivy (Senecio) Inch Plant (Tradescart(ia) Philodendron (Philodendron) Piggyback Plant (Tolmiea) Pothos (Epiprernnum) Spider Plant (Chlorophyturn) Strawberry Begonia (Saxilraga) Velvet Plant (Gyrtura) Wandering Jew (Zebrina)

String of Beads (Senecio rowleyanus) showing Wandering Jew (Zebrine pendula) with a column of soft stems falling straight down bushy pendulous habit r

Pal 281 LARGE PLANT GROUPINGS Medium-sized plants in 6-inch or 8-inch pots can be placed inJardinieres.These Larger plants can be displayed singly or decorative ceramic or metal containers, in groupings as an important element in which lack drainage holes, are designed to interior design. Planter sizes range from hold a single specimen plant left in its grow- those suitable for smrilfoliage plants to ones ing pot. They are safe to use on furniture and for large trees. These may be made from look attractive in the home or in the office. fiberglass, terra-cotta, plastic, lined wicker or wood. Plants may be planteddirectly in Following are some general guidelines the planters, or the growing pot is simply set for creating plant groupings for interior inside the decorative container. The latter environments. method gives greater ease in replacing plants. 1.Foliage plants soften harsh lines of modern interiors and bring a fresh, living The same technique can be used for look to the space (Fig. 17-10). larger planters designed to hold more than 1116 911.111. one specimen. The plants are madeto look direct-planted by filling in around the pots it\ 114, with styrofoam or wood chips, covering the top with bark mulch. This allows you to raise the plants first to the desired level by placing to- A decorative jardiniere with festoons of fruit other pots or saucers under them. The result holding a specimen of dumbcane is less total weight and more flexibility. The planter may even have a way to remove excess drainage water, thusreducing the chances of overwatering and development of odors from stagnant water. Colorful plants like azaleas, poinsettias, spring bulbs and Figure 17-10 (Hyatt, Columbus) chrysanthemums can be added and removed from the display as the seasons 2. Use plants with large leaves and bold change. forms to give a contemporary look or to hold attention when the background is patterned Wicker has become increasingly popular as an inexpensivebut attractive container or "busy" (Fig. i 7-11). for larger plants. To prevent rotting of the 3.Carefully select a few choice foliage wicker and damage to furnishings by mois- - plants to decorate a room or office in prefer- ture seeping through, such containers must plants of be thoroughly lined with a commercial liner ence to the "jungle look" with many lesser quality (Fig. 17-12). or layers of plast ic and aplastic saucer in the bottom. Plastic saucers are preferable to 4. When three or more plants in separate unglazed clay since moisture can gradually (Williamsburg, Virginia) work its way through the porous clay. containers are used in a group, create a Figure 17-11 282 visual spiral from the tallest to the shortest (Fig. 17-13). N&. 5.Use plants as room dividers or to direct foot traffic or to focus attention on a certain area (Fig. 17-14). t' 6. Use plants near windows to take advan- * tage of' the natural li,f,ht and to carry the outdoors feeling inside (Fig. 17-15). 7. Suspend plants from the ceiling (Fig. Figure 17-12 Three choice 7)lants in wicker 17-16) or mount them on walls (Fig. 17-17) containers (ATI, Wooster) when space is limited. 8. Do not attempt to introduce plants into , areas that are too dark, cold or drafty, or they will go into rapid decline,Many tropical *MN foliageplants need a minimum of 50 footcandles of light and temperatures in the 60-70°F range just to survive. Most will look Figure 17-13 much better if they receive more light and (Garden Center of Greater Cleveland) temperatures higher than this.

mill ..ovraillate - Figure 17-14 Plants dividing large open areas (Belder Village Mall, North Canton) , -

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'No Figure 17-16 (Chi-Chi's, North Canton) ' if rzilk Figure 17-17 Plants attached to wrought iron Figure 17-15 Plant groupings in a dining room wall sculpture window (Garden Center of Greater Cleveland)

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1614. Plants Convey Themes

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,1 i4 o' r; I $ (Pikr Medieval Mexican " Statue of St. Francis surrounded by orchids Plant grouping around a metal statue and caladiums (Chi Chi's, North Canton) t/ (Garden Center of Greater Cleveland)

Oriental Bonsai against bamboo screen (Longwood Gardens, Pennsylvania) Aii

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Planter box of succulents (Longwood Gardens, Pennsylvania) %.4

Large Areca palm installed in a ground bed by Architectural Greenery, Akron Foliage plants on cylinders of variousheights (Stark County Library, Canton) (Garden Center of Greater Cloveland)

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, .13,- A 1011' "'A \ Copper container filled with foliage plants in a A fern displayed on a wooden pedestal library (Garden Center of Greater Cleveland)

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Hotel Library Office Building Balustrade planter of pothos (Hyatt, Columbus) Large foliage plants in built-in planters Planter boxes attached to railing at differ- (Stark County Library, Canton) ent levels (State Office Building, Akron)

r-; 285 INDOOR FLOWERING PLANTS

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Crossandra Infundlbullformls CROSSANDRA Aechmea fasclata SILVER VASE anerarla cruentus CINERARIA Family: Acanthaceae Family: Bromeliaceae 1 Family: Compositae 4

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Cyclamen perslcum CYCLAMEN Calceolarla crenatlflora POCKETBOOK PLANT Citrus mills CITRUS 5 Family: Primulaceae 8 Family: Scrophulariaceae 2 Family: Rutaceae

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CROCUS Euphorbla pulcherrlma POINSETTIA Chrysanthemum rnorlfollum CHRYSANTHEMUM Crocus sp. 6 Family: Euphorbiaceae 9 Family: Compositae 3 Family: lridaceae

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Exacum affine PERSIAN VIOLET Hippeastrum vittatum AMARYLLIS Kalanchoe blossfeldiana KALANCHOE Family: Solanaceae 10 Family: Amaryllidaceae 13 Family: Crassulaceae 16

Gardenia fasminoldes GARDENIA Hyacinthus orientalls HYACINTH Lillum longillorum EASTER LILY Family: Rubiaceae 11 Family: Liliaceae 14 Family: Liliaceae 17 ,711111,,r7lrk AA..

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v COM Hibiscus rosa-sinensis HIBISCUS Hydrangea macrophylia HYDRANGEA Narcissus pseudonarcissus DAFFODIL Family: Malvaceae 12 Family: Saxifragaceae 15 Family: Amaryllidaceae 18

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Sinning la speciosa GLOXINIA Narcissus tazetta PAPER-WHITE NARCISSUS Rhododendron sp. AZALEA Family: Gesneriaceae 25 Family: Amaryllidaceae 19 Family: Ericaceae 22

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40. 04.1, Solanum pseudocapsicum JERUSALEM CHERRY Pelargonium hortorum GERANIUM Saintpaulla lonantha AFRICAN VIOLET Family: Solanaceae 26 Family: Geraniaceae 20 Family: Gesneriaceae 23

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Streptc,carpus hybridus CAPE PRIMROSE Primula malacoldes PRIMROSE Schlumbergera bridgesli CHRISTMAS CACTUS 24 Gesneriaceae 27 Family: Primulaceae 21 Family: Cactaceae

(3 288 Indoor Flowering Plants

Listed Alphabetically by Common Name and including Scientific Name

23 AFRICAN VIOLET - Saintpaulla lonantha 13 AMARYLLISHippeastrum vittatum 22 AZALEA - Rhododendron sp. 27 CAPE PRIMROSE - Streptocarpus hybridus 24 CHRISTMAS CACTUS - Schlumbergera bridgesil Tulipa sp. TULIP 3 CHRYSANTHEMUM - Chrysanthemum morifollum Family: Liliaceae 28 4 CINERARIA - Cineraria cruentus 5 CITRUS - Citrus mills 6 CROCUS - Crocus sp. 7 CROSSANDRA - Crossandra infundibuliformis 8 CYCLAMEN - Cyclamen persicum 18 DAFFODIL - Narcissus pseudonarcissus 17 EASTER LILY- Lilium longiflorum 11 GARDENIA - Gardenia jasminoides 20 GERANIUM - Pelargonium hortorum 25 GLOXINIA - Sinningia speciosa 12 HIBISCUS- Hibiscus rosa-sinensis 14 HYACINTH - Hyacinthus orientalls 15 HYDRANGEA- Hydrangea macrophylla 26 JERUSALEM CHERRY- Solanum pseudocapsicum 16 KALANCHOE - Kalanchoe blossfeldiana 19 PAPER-WHITE NARCISSUS- Narcissus tazetta 10 PERSIAN VIOLET - Exacum affine 2 POCKETBOOK PLANT - Calceolaria crenatiflora 9 POINSETTIA - Euphorbia pulcherrima 21 PRIMROSE - Primula malacoides

1 SILVER VASE - Aechmea fasciata 28 TULIP -Tulipa sp.

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BEST COPY AVAILABLE 289 INDOOR FOLIAGE PLANTS

Begonia masonlana IRON CROSS BEGONIA Aglaonema commutatum CHINESE EVERGREEN Araucaria heterophylla NORFOLK ISLAND PINE Family: Begoniaceae 35 Family: Araceae 29 Family: Araucariaceae 32

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Brassala actinophylla SCHEFFLERA Aloe barbadensis ALOE, BURN PLANT Aspidisti a elatior CAST IRON PLANT Family: Ara lie a e 36 Family: Liliaceae 30 Family: Liliaceae 33

BIRDSNEST FERN BROMELIADS Aphelandra squarrosa ZEBRA PLANT Asplenium nidus 34, 37 Family: Acanthaceae 31 Family: Polypodiaceae 290

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CACTI AND SUCCULENTS Chlorophytum comosum SPIDER PLANT Cordyllne terminalls TI PLANT 38 Family: Liliaceae 41 Family: Agavaceae 44 4 - 4.146._AX AM.

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Caladium hortiulanum CALADIUM Cissus rhombifolia GRAPE IVY Crassula argentea JADE PLANT Family: Araceae 39 Family: Vitaceae 42 Family: Crassulaceae 45

Chamaedorea elegans PARLOR PALM Codiaeura varlegatum CROTON Cyperus alternifolius UMBRELLA PLANT Family: Palmae 40 Family: Euphorbiaceae 43 Family: Cyperaceae 46

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CORN PLANT Dracaena surcolosa GOLD-DUSTDRACAENA DUMBCANE Dracaena fragrans Dieffenbachia amoena 50 Family: Agavaceae 53 Family: Araceae 47 Family: Agavaceae

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Epipremnum aureum POTHOS Dracaena marginata MARGINATA Dizygotheca elegantissima FALSE ARALIA 51 Family: Araceae 54 Family: Araiiaceae 48 Family: Agavaceae

FATSIA Dracaena sanderana RIBBON PLANT Fatsia Japonica Dracaena deremensis 'Warneckei'WARNECKFI 52 Family: Araliaceae 55 Family: Agavaceae 49 Family: Agavaceae

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Ficus benfamina WEEPING FIG, BENJAMIN TREE Gynura aurantlaca VELVET PLANT Maranta leuconeura PRAYER PLANT Family: Moraceae 56 Family: Compositae 59 Family: Marantaceae 62

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Ficus elastics RUBBER PLANT Hedera helix ENGLISH IVY Monstera deliciosa SPLIT-LEAF PHILODENDRON Family: Moraceae 57 Family: Araliaceae 60 Family: Araceae 63

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Ficus lyrata FIDDLE-LEAF FIG Hoya carnosa WAX PLANT Nephrolepis exaltata BOSTON FERN Family: Moraceae 58 Family: Asclepiadaceae 61 Family: Polypodiaceae 64

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Plectranthus australls SWEDISH IVY Peperomla caperata Philodendron selloum TREE PHILODENDRON 71 EMERALD RIPPLE PEPEROMIA Family: Araceae 68 Family: Labiatae Family: Piperaceae 65 tft JAW_

BUDDHIST PINE Pilea cadierei ALUMINUM PLANT Podocarpus macrophyllus Peperomla obtusifolla VARIEGATED PEPEROMIA 69 Family: Podocarpaceae 72 Family: Piperaceae 66 Family: Urticaceae

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Philodendron xycardium STAGHORN FERN Sa n sev ler la trifasclata SNAKE PLANT Platycerlum bifurcatum 73 HEART LEAF PHILODENDRON Polypodiaceae 70 Fami'y: Agavaceae Family: Araceao 67 6 294

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Sazifraga sarmentosa STRAWBERRY BEGONIA Spathiphyllum patinli PEACE LILY Tradescantla alblflora INCH PLANT Family: Saxifragaceae 74 Family: Araceae 77 Family: Commelinaceae 80

Sedum morganlanum BURRO'S TAIL Syngonlum pJdophyllum NEPHTHYTIS Zebrina pendula WANDERING JEW Family: Crassulaceae 75 Family: Araceae 78 Family: Commelinaceae 81

Solelrolla soleirolll BABY'S TEARS Tolmlea menzlesil PIGGYBACK PLAN 1- Family: Urticaceae 76 Family: Saxifragaceae 79 Indoor Foliage Plants

Listed Alphabetically by Common Name and including Scientific Name

30 ALOE- Aloe barbadensis 51 MARGINATA- Dracaena marginata 69 ALUMINUM PLANT- Piles cadierel 78 NEPHTHYTIS- Syngonium podophyllum 76 BABY'S TEARS- Soleirolla soleirolli 32 NORFOLK ISLAND PINE- Araucariaheterophylla 56 BENJAMIN TREE- Ficus benfamina 40 PARLOR PALM- Chamaedorea elegans 34 BIRDSNEST FERN- Asplenium nidus 77 PEACE LILY- Spathiphyllum patInil 64 BOSTON FERN- Nephrolepis exaltata 79 PIGGYBACK PLANT- Tolmlea menziesil 37 BROMELIADS 54 POTHOS- Epipremnum aureum 72 BUDDHIST PINE- Podocarpus macrophyllus 62 PRAYER PLANT- Maranta leuconeura 30 BURN PLANT- Aloe barbadensis 52 RIBBON PLANT- Dracaena sanderana 75 BURRO'S TAIL- Sedum morganianum 57 RUBBER PLANT- Ficus elastica 38 CACTI AND SUCCULENTS 36 SCHEFFLERA- Brassala actinophylla 39 CALADIUM- Caladium hortiulanum 73 SNAKE PLANT- Sansevieria trifasciata 33 CAST IRON PLANT- Aspidistra elatior 41 SPIDER PLANT- Chlorophytum comosum Monstera deliclosa 29 CHINESE EVERGREEN- Aglaonema commutatum 63 SPLIT-LEAF PHILODENDRON- bifurcatum 50 CORN PLANT- Dracaena fragrans 70 STAGHORN FERN- Platycerium 43 CROTON- Codiaeum varlegatum 74 STRAWBERRY BEGONIA- Saxitraga sarmentosa 47 DUMBCANE- Dieffenbachla amoena 71 SWEDISH IVY- Plectranthus australls 65 EMERALD RIPPLE PEPEROMIA-Peperomia caperata 44 TI PLANT- Cordyline terminalls selloum 60 ENGLISH IVY- Hedera helix 68 TREE PHILODENDRON- Philodendron 48 FALSE ARALIA- Dizygotheca elegantissima 46 UMBRELLA PLANT- Cyperus alternifollus Peperomia obtusifolla 55 FATSIA- Fatsia japonica 66 VARIEGATED PEPEROMIA- 58 FIDDLE-LEAF FIG- Ficus lyrata 59 VELVET PLANT- Gynura aurantlaca 81 WANDERING JEW- Zebrina pendula 53 GOLD-DUST DRACAENA- Dracaena surcolosa 'Warnecke 42 GRAPE IVY- Cissus rhombilolla 49 WARNECKEI- Dracaena deremensis 67 HEART LEAF PHILODENDRON- Philodendronoxycardium 61 WAX PLANT- Hoya carnosa 80 INCH PLANT- Tradescantia albillora 56 WEEPING FIG- Ficus benjamina 35 IRON CROSS BEGONIA- Begoniamasonlana 31 ZEBRA PLANT- Aphelandra squarrosa 45 JADE PLANT- Crassula argentea

67' CHAPTER 18 1

.I , 298 Novelty arrangements can be created 40101%. using unusual containers or planters which suggest a special theme. Another way to display flowers in a novel way is to use them to create animals, clowns, birds, snowmen, etc. There is a market for both kinds of these theme-oriented floral creations and they are fun to do.

NOVELTY PLANTERS

Small ceramic containers are available in an abundance of shapes, such as baby bootees, Madonnas, cowboy hats, pipes, Bird and cat planters around a decorated turkeys, pumpkins, rabbits and geese, to rectangular planter name a few (Fig. 18- 1). These can be used as planters to hold living plants, but they also Figure 18-1 serve equally well for small arrangements Assortment of novelty planters that complement the container. The planter part easily holds floral foam for fresh arrangements or styrofoam for dry or silk designs.

Since the container is to be featured, the arrangement should not overpower it in size. A general rule of thumb is to make the arrangement less than one and a half times the height of the planter, The design will also be more effective if it allows the planter to ; show and does not cover up any prominent 1;4 w't parts. If the shape and lines of the arrange- (7f: ment echo the dominant shape or lines of the planter, a more harmonious design will be created.

)/112. Another possibility is to plant one or more living plants in the continuer arid then add an accent of fresh flowers in a water t and possiblya bow,Or silk flowers (70111(1 be II l'Ot used tbr a longer-lasting touch of color. Patriotic theme- red, white and blue A grouping of Raggedy Ann and Andy tied to- arrangement in stars and stripes hat gether by a connecting line-mass arrangement

VI A- 299 THEMES IN NOVELTY PLANTERS vt.tasztn-tilt) \Mtn? Novelty Planter Arrangement Have each student design an arrangement in i different novelty planter. Fill the planter with soaked floral foam. Study the color, shape and lines of the container in order to select a harmonious design shape and appropriate materials. Pompon mums, statice, huckleberry and leatherleaf fern are versatile for planter arrangements. ter

FUN FLOWERS Flowers can be assembled and decorated so that they resemble animals, birds Easter Theme arid clowns. Your imagination is the only limit to what you can try in creativity. Shapes most often seen are poodles made Thanksgiving Theme from standard mums (Fig. 18-2) and turkeys, pheasants or clowns made from various floral materials. Sincethese designs are frequently given to children, your inventive abilities could also be used on figures like teddy bears, kittens, caterpillars, toys or cartoon characters.

Juvenile Theme Figure 18-2 Religious Theme

6r) -*. bL, 300 The simplest kind of fun flower project to make is a funny head out of a single stan- OUTIMInti1i)10 dard mum in a bud vase (Fig. 18-3). Youcan * decorate it with eyes, nose, mouth, hat, tie, Fun Flowers etc. These items can be made from chenille twor. stems, ribbon and construction paper. Eyes Materials: with movable pupils can be purchased in bud vase different sizes. Spanish moss and yarncan standard mum also be useful. All these decorations can be leatherleaf fern attached to the flower with hot glue or floral chenille stems adhesive. ribbon plastic eyes Figure 18-3 More complex designs can be made by construction paper using a larger number of flowers. The body of hot glue gun or floral adhesive a dog, bear, or turkey can be created by inserting chrysanthemums in a block of 1.Place the mum in a bud vase with water floral foam. Special features are then glued so that it is about 3 inches above the rim of on with hot glue or floral adhesive, just as the vase. Back it with a piece of leatherleaf. with the single flower. Real feathers make realistic tails for bird figures (Fig. 18-4). If 2.Create a creature of your choice using the flowers are fresh and the foam is kept the materials available to you. Attach deco- moist, these creations can be expected to rative items with hot glue or floral adhesive. last as long as two weeks.

Fun flower creations like the ones just described are considered novelties rather than arrangements. They have special appeal to children and are appropriate when something very different and individualized is wanted.

Figure 18-4

A "soda" made with carnations A fun flower with personality

(.3 301

NOVELTY ARRANGEMENTS FEATURINGACCESSORIES

Easter Theme

'\1 Salute to Nature Rural Theme del

Mardi Gras Theme Garfield on the Prowl 6 u . 302

NOVELTY ARRANGEMENTS

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6 ' 304 Theme Christmas Arrangements CHRISTMAS DESIGNING Christmas is a long and important season for florists. Many start creating permanent arrangements in late summer so that a good selection is ready for early sales in late November. The month-long selling season often begins with an open house at t' the flower shop. This features an array of designs from which customers can select for their holiday decorating. -Or As December approaches there is a demand for door decorations, table centerpieces, and other designs which include fresh evergreens. Pine, spruce, boxwood, a juniper, fir, cedar and holly are favorite Christmas greens. Candles and bows are used abundantly along with traditional Religious Country Victorian Traditional accessories like pine cones, fruit, nuts, Madonna and child Doll in a sleigh Mr. and Mrs. Santa Santas,reindeer, shiny balls, wrapped packages, and glittered branches. Figurines of angels and the nativity, together with stars,bells and miniaturechurches, iaivilau. symbolizethereligioussignificanceof Christmas.

Theme Wreaths The Christmas season also brings a demand for decorated flowering plants, especially poinsettias. Another product that sells well is plain evergreen branches, sold in bunches or made into wreaths or roping. These can be offered by flower shops butare also easy to find for sale in other businesses related to the Christmas trade. Another need that can be supplied by florists oftensur- faces at Christmas. This is the demand for cemetery pieces including wreaths on easels,graveblankets,pillows,stone plaques and vases. The Arts Angelic Ballet slippers, musical scrolls, etc. Ceramic angels, gold balls, strands of pearls

RES 305

Christmas designing is merely a theme Appropriate Accessories variation of basic floral design. The prin- Christmas Theme ciples of design must be followed if a good Traditional Santas, reindeer, bells, candles product is to be achieved. Designers can also produce more original and distinctive work if Williamsburg fruit, nuts, cones they have interesting materials to work with. Many florists visit the wholesale houses lace, velvet and satin ornaments; china dolls; ribbons;pearls when Christmas items are first put out so Victorian they can get the best selection. Each year Country baskets, animals (such as wooden geese, sheep, etc.), brings new trends in Christmas decorations. dried materials The shops that take advantage of this can offer their customers an interesting selec- Religious angels, Mr donnas, creche sets, Advent w:'eaths tion of items that is different from the year before. International straw ornaments, cookie molds, wooden accessories There is a wealth of materials that can be Co ntemporary mirrored or pearlized ornaments, lights in plastic tubes, used to develop different Christmas themes. stylized trees or other stylized figures Some styles, like Williamsburg Christmas, have always been popular. Other themes Natural birds, branches, dried moss, berries such as Victorian Christmas or Christmas in Foreign Lands come and go in popularity. Often the decor of people's homes (which tends to follow cyclic national trends) will influence their choice of Christmas decorations.

Following is a list of some of the Christ- Williamsburg Christmas mas themes that have beenpopular over the years, along with the accessories that canbe used to develop each theme.

Candles in a fruit and nut centerpiece with leaves

Door swag with a A French horn and bow An arrangement of fruit and magnolia Long-lasting centerpiece with brass candelabra leaves to be hung above the doorway

BLS 306 A Williamsburg Style Centerpiece Color combinations are important in creating a pleasing arrangement in any style. Red and green is traditional, of course, and still is widely used. A touch of red ribbon, a red candle, or a red ornament adds a bright accent to an evergreen wreath or arrangement. Objects in shiny metallic colors such as gold, silver or brass are effective in reflecting light and producing a festive feeling. Blue, pink and white are also widely used at Christmas time. Purple is the litur- gical color for Advent, the church season preceding Christmas. Advent wreaths contain purple candles (Fig. 19-1), and altar

....21111110n cloths are changed to purple for the season.

Some examples of colors appropriate for different Christmas themes are in the following list: Wooden cone with spikes; Apples pushed onto spikes; magnolia leaves at base boxwood used as filler Christmas Possible Theme Color Schemes 4 ; 4 p. Traditional red and green Classical Christmas Styles Williamsburg red, yellow and orange againsta green background

Victorian pink, rose and AL_ burgundy

Country blue and rust

Religious purple and gold

Foreign beige and red

Contemporary silver and white

Topiary form accented with Natural beige and green Della Robia wreath with fruit Victorian two-tiered compote velvet tubing

GL (1) fi 1

0 307

ASSEMBLING and STORING SUPPLIES figurines and stuffed animals(Santas, religious figures, deer, teddy bears, Christmas supplies become available at birds) jibMIMIlkano the wholesalers in the summer. Florists glitter should make their selection of decorative glue sticks items early so that 0- ey have the bestchoices green florists' cord and are aware of current trends.Supplies metal picks like wooden and metal picks, gluesticks, moss (sheet moss andSpanish moss) wire, tape and styrofoam are commonitems paddle wire found year-round in the shop, but they are raffia used in abundance at Christmas. Contain- ribbon (velvet, plastic waterproof,metal- Christ- ers, ribbon, figurinesand ornaments with a lic, velvet tubing, ribbon with holiday motif, as well as glittered branches, mas designs) Figure 19-1 Advent wreath artificial greens, flowers and fruits are more spray glue seasonal. Dried flowers such as baby's styrofoam breath, German statice and starflowers are wicker (baskets, mats, sleighs) everyday items that can be combinedwith wooden picks Christmas theme. wreath forms (styrofoam, wire, straw, Buying tips will result in less wastematerial, evergreens to carry out a than the larger Flocked or glittered dried materials,how- grapevine, Advent) but they are more expensive ever, will probably beavailable only for boughs. Christmas designs. FRESH GREENS The smallest unit that evergreens are usually Following is a list of items that are useful available in is bunches. These are determined by weight and may be assmall for Christmas arranging. However,each Ideally fresh greens should be cut as what will be close as possible to the time they areneeded. as 2 pounds. Abale is a larger unit of person must decide individually should be that is tied needed for his or her own project. If they are cut in advance, they boughs, often around 20 pounds, stored in a cold place but not in acooler with together with twine or wire. A caseis a box, fresh flowers, as greens give offethylene gas either cardboard or wooden,which weighs which causes flowers to ageand die.If between 20 and 40 pounds. Thecontents SHOPPING LIST available, a separate cooler canbe used may be in bunches orloose. Boxwood some- FOR exclusively for evergreens; if not, an un- times comes in a burlap bagwith the con- CHIUSTMAS SUPPLIES heated room should be satisfactory. tents determined by weight.Holly comes in 10-pound cases which are waxedand lined artificial greens and flowers (poinsettias) Wholesale florists have evergreens in with plastic, since holly is verysensitive to candles (tapers of various lengths and stock starting in late November.These are drying out. diameters, votive lights, hurricane sold by the bunch, bale or case.They may globes) also be available already made intowreaths, Many greens can be cut locallyif a source chenille stems roping or grave blankets. is available. Wholesalersbuy greens from decorative branches and dried materials suppliers in the northern statesand the decorative picks and ornaments(fruit Cut branches of evergreensthat are Pacific Northwest. Some of the more com- clusters, holly berries, mistletoe, about 20 to 30 inches long arecalled monly used evergreens and theircharacter- strings of beads) boughs. Shorter end pieces arecalled tips. istics are as follows: 308 Selected Evergreens and Their Characteristics aLk

Boxwood 4 Holly small, shiny, dark green leaves green and variegated kinds available, both with e- spiny leaves dries out easily, but leaves do not drop stt . when dry Fir shiny leaves turn dull indoors without a water makes a good filler soft needles that hold well supply fragrant some branches fruited with attractive red berries species used - balsam, fraser, silver, noble and douglas; balsam and fraser have the shortest needles; silver's needles are white underneath choice Christmas green that is easy to work with

Cedar (Arborvitae) Juniper flat, scaly branches prickly to work with often yellowish green in color sometimes has attractive blue berries attached distinctive fragrance good line material for Christmas designs because of long pieces with interesting curves

Pine holds needles well: white pine has long soft needles and is often used for roping and wreaths; Scotch pine has medium-length needles and may be somewhat yellowish; red pine and Austrian pine have long needles production of pitch can make it unpleas- Spruce Hemlock short stiff needles soft, gracefully arching branches with ant to work with widely available and inexpensive may be quite prickly short needles needies hold reasonably well, but fall when dry does not hold needles well indoors blue spruce prized for its bluish color

BLS 6 309

WREATHS Wreath Forms and Methods of Attachment A circle of plant material is an age-old favorite for decorating doors, walls and Metal contour (Fig. 19-2) tables. The wreath as a design form dates Weave greens between wire mesh and from the Roman era or even earlier. Then secure by wrapping withpaddle wire, flo- wreaths were fashioned of leaves and flowers rists' cord or raffia. and given to special heroes. To keep materials fresh longer, fillform At Christmas, an evergreen wreath with with moist sphagnum moss; insertmateri- a big red bow is the mosttraditional inter- als in the moss as you wrap them withraffia. Figure 19-3 pretation of this ancient design form. There Straw wreath form are endless variations inthe construction of Metal with clamps a basic wreath and the way itis decorated. Bunch evergreens and push clamps down over them to hold. Wreaths have been made from many different materials, such as cones, straw, Straw (Fig.19-3) grapevines, corn husks, herbF.., dried flow- Pinon evergreenswithgreening pins (Fig. ers, bread dough andfabric. Some of these 19-4) or attach wooden or metal picks to materials must be attached to wreathforms, them and insert in straw. which are commercially available in wire, Styrofoam (Fig. 19-5) Figure 19-4 styrofoam or straw. If the wreath needs to be Greening pin kept fresh longer, a wire form can befilled Pin on evergreens with greening pins or attach wooden or metal picks to themarid Figure 19-5 with moist sphagnum moss. One couldalso Styrofoam wreath form use the 0-Ring bySmithers Oasis, a piece of insert in styrofoam. Styrofoam wreathforms wettable Oasts fused to a plastic ring and are not strong enoughfor large projects. designed to keep flowers fresh. Single hoop of wire or plastictubing The following summary lists several Bunch greens and secure with paddle types of wreath mechanics anddescribes wire. Coat hangers can be usedfor small enough how to attach the evergreens. wreaths. Large plastic tubing has Straw wreath with strength for larger wreaths. velvet ribbon, German statice, boxwood and a bear

Bows are common decorationsfor wreaths, They should be in good proportion to the overall size of the wreath.The larger the wreath, the wider the ribbon canbe to make an appropriate-size bow.Number 9 ribbon is a good choice formedium-sized wreaths ranging from 12 to 16 inches in Figure 19-2 Wi-e wreath form

CZ ; V Aft. 310

Bow Placement on Wreath diameter. Number 5 ribbon should becon- sidered for smaller wreaths and #40 for larger ones.

Ribbons may be chosen from the vast array of materials, colors and patterns that are available. Velvet ribbon is a Christmas favorite, and plastic waterproof ribbon hasa f0.1 special use on pieces that will be used outdoors. Other types of ribbon include satin, cotton, lace, metallic and b rlap. Special holiday patterns include plaid, dots and hundreds of prints.

At the bottom At the top At the upper left The bow can be placed in any position around the circle. There may even be twoor more bows, perhaps connected by several streamers of ribbon (Fig. 19-6). There may also be no bow; not every wreath requires one. If the design is effective without one, don't use a bow. Some suggestions for placement of bows are illustrated here.

Additional decorations, in the form of lights, ornaments, fruit, nuts, figurines, stuffed animals, birds, artificial flowers or dried materials, may be added to wreaths. Here are a few guidelines to consider when decorating a wreath,

GUIDELINES

1.Develop a focal point at the bow by clustering ornaments or plant materials in that area (Fig. 19-7). Work through the bow to develop depth and a feeling of unity. This is similar to working the bow intoacorsage. Figure 19-6 Figure 19-7 Satin ribbon-covered wreath with Large grouping of dried material at the bow 2. 11using a large figurine or stuffed ani- connecting streamers mal,positionitatthe focal area, most likely over the bow. Makesure thefigure is not

6 311 buried and that it appears stable and well the lights with foil to protect them from the Special Ribbon Treatment balanced. Some figures are more effective if paint. they appear to look toward the viewer. ibL...-11111a0 8. A wreath set on the table and used as a 3.If you are extending smaller items centerpiece isespecially effective when around the wreath, consider clustering candles are added. Advent wreaths have them rather than sc attering them randomly. four candles which mark the weeks before Christmas. (See Figure 19-1.)It is tradi- 4. Branches and twigs may be used to tional to light only one candle the first week create a mini-arrangement attached to the and then to light an additional candle each wreath. These arrangements should not be week until all are lighted. Some people in- so large that they overpower the wreath. clude a taller candle in the center to light on Christmas Eve. Advent wreaths can be used 5.If no bow is used and decorations are in homes. They are alsc. found in most placed all around the wreath, establish a churches, displayed on pedestals or tables, predictable pattern of repetition. Let some or suspended from the ceilingby cords. materials dominate others insize and Spiral amount used. Develop a full look by placing decorations to the inside and outside edges Eneeinvisio &cvawnruise of the wreath as well as in the middle. A. Christmas Wreath ""4 6.Interest and motion can be introduced Materials: by spiraling materials around the wreath. )11 Ribbon, strings of beads, grapevines or other 12" straw wreath form wrapped in ...1111111r-- flexible linear material can be used. Another green plastic variation is to spiral ribbon in both direc- greening pins tions, resulting in a cross pattern on the assorted evergreen boughs front of the wreath. artificial holly berries and flocked branches 7.Lights may be attached with greening #9 red velvet ribbon pins to a styrofoam or straw wmath form one teddy bear ornament3" to 4" long before greens are added. Distribute lights wooden picks evenly around the circle and from side to side. Use one greening pin for each light and 1.Place the wreath form on a table at a leave enough cord free so the lights will not height that is comfortable for you. Do not Criss-crossed be buried by the greens. unwrap the green plastic since ithelps hide the straw. When lights are used in a wreath covered with baby's breath or other dried materials, 2. Cut the evergreens into piecesabout 3 consider spray-painting the wreath form inches long. Group two to four piecesand and light cord the same color as the dried hold them together on the form while secur- materials in order to hide them. First cover ing them with a greening pin.(SeeFigure

6 (') BES 312 19-8). Continue with several more clusters in the same area. Place some to the inside edge and some to the outside edge so that the form is fully covered in that area.

3.Pin more clusters just below the first ones so that the second layer overlaps the first, hiding the greening pins. Remember to continue covering the inside and outside edges as well as the top. Continue around the wreath until it is full and round (Fig. 19-9). If any pieces stick out, pin them in or Figure 19-8 cut them off so the overall look is round and neat.

4. Make a bow with 3-inch loo.os from the velvet ribbon. (See Figure 19-10.) Make a pair of streamers about 12 inches long with sharply tapered points. Attach to wooden stakes and insert in the center at the bottom of the wreath. TA 5.Fasten the bear over the bow. If it is connected to a heavy wire, insert that into Christmas swag the straw wreath. If not, attach it to the bow Figure 19-9 with hot glue.

6.Develop a crescent of holly berries and flocked branches around the bow and bear (Fig. 19-11). Work some pieces through the bow and around the bear. Use greening pins or hot glue to attach the holly and branches.

B. Christmas Swag A Christmas swag usually consists of an elongated grouping of evergreen boughs designed to be hung on a wall or door. It can be decorated with a bow and accessories much as a wreath can. Several evergreen' rgure 19-11 FIgure 19-10 boughs tied or wired together make a simple 313 swag. In the following exercise a diamond- Placement 1 should extend about 5 inches shaped swag will be made on a piece of above the top of the styrofoam; placement 2 styrofoam to give more control in placement about 12 inches below the bottom of the of the materials. styrofoam; and placements 3 and 4 about 3 inches beyond the edges of the styrofoam. Materials: Place the branches toward the back of the 6" x 3" piece of 2"-thick styrofoam styrofoam so they will lie flat against the door 2 chenille stems or wall (Fig. 19-14). evergreens (spruce or fir andboxwood) white glittered branches 3.Continue developing the diamond shape one dove (3"-5") (Fig. 19-15). When you are finished, you #9 velvet ribbon should have a diamond of greens, one-third wooden picks of which is above the center of the styrofoam and two-thirds below. Taper your filler 1.Twist the chenille stems together; wrap branches in from the points of the diamond around the piece of styrofoam about two- to avoid a rounded or bulgy look. thirds up from the bottom and form a loop on the back (Fig. 19-12). The loop will be used 4. Make a bow and a pair of 12-inch Flgure 19-14 to hang the completed swag. streamers. Attach these to wooden picks and insert in the center of the styrofoam (Fig. 2.Lay the styrofoam on the table and use 19-16). spruce or fir to establish theoutline of an elongated diamond pattern (Fig.19-13). 5.Develop the center part of the swag (the focal area) with additional small pieces of spruce or fir so that the greatestfullness and depth are around the bow (Fig. 19-17). (continued)

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Figure 19-15

2 Figure 19-13 Figure 19-12 Figure 19-17 Figure 19-16

) 3 14 6.Repeat the design with boxwood. Its Christmas look. The floral designer should small shiny leaves are a good contrast to the be aware of new trends as well as old favor- evergreen needles. Check to see that the ites and should always be ready to make new styrofoam is covered on the sides and that and creative combinations of materials. the bow has been incorporated into the design by working some boxwood through it.

7.Repeat the design shape with the glittered branches. A. Christmas Centerpiece 8.Attach the dove to the how using a hot glue gun. (See Figure 19-18.) Materials: 6" rectangular plastic container floral foam CHRISTMAS ARRANGEMENTS one 12" red candle 6 wooden picks Christmas designs are merely theme waterproof tape variations of basic designs. Centerpieces, evergreens (fir and boxwood) Figure 19-18 basket arrangements, and mantel pieces #5 red velvet ribbon can be adapted to the Christmas holiday by 3-5 wrapped package ornaments on .._ using evergreens and adding the appropri- picks 7 ate candles, ribbon, ornaments, figurines or 2 glittered white branches a touch of glitter. Permanent arrangements made from silk, plastic or dried material are 1.Place soaked foam in the container and popular with some people because of their secure with waterproof tape. lasting quality. 2,Attach two wooden picks to the baseof Candles, as a source of color in the t he candle with waterprooftape (Fig. 19-19), design, add a festive touch to arrangenwnts and creat.e a special atmosphere When lighted. Candles conic in many lengths and dhimeters. Votive lights are glass cups whidi hold small candles, Since tlw flame is within the glass clip, votive lights provide safer source of candlelight. Centerpieces with candles are popular Chrtmas arrangements Ribbon.velvet tithing, gold cord and glittered branches arc important elements in creating a festive holiday feeling. Shiny Ntils, strings of beads, fruit clusters, holly berries, mid minimills decorative ornaments can insUmtly 1,.ive an arrangement it Figure 19-19 Figure 19-20 C 315 that is in 3.Insert picks and candle in mikidie of foam 1. Wedge foam in the plastic liner so the base of the candle rests onthe surface the basket, of the foam (Fig. 19-20). 2.Establish a crescent line with juniper and 4.Use the first four placements of fir to (Fig. 19-24), The crescent begins above create a diamond shape (Fig. 19-21). behind the handle, continues downunder the handle and diagonally acrossthe foam, 5. Add more small pieces of fir todevelop and ends in front of the handle onthe right the diamond shape, but be careful not to side, crowd or bury the candle (Fig. 19-22). Create the "in-out-edness" necessary for depth. 3. Make a bow and streamersfrom the ribbon. Attach these to wooden picksand Figure 19-21 where the handle 6.Repeat the shape with boxwood or a insert them on the left side second evergreen if available. joins the basket. Attach a wooden pick to each pine cone 7.Make two bows from velvet ribbon and 4. insert one on each side of the candle. by wrapping the wire aroundthe lower bracts of the pine cone. Insert cones sothat bow. 8.Repeat the diamond shape with piecesof they are grouped over the glittered branches. Let them extend beyond filler to the evergreens to give an airy look. 5, Use pieces of German statice as a develop the crescent shape. Thismaterial 9.Insert the package ornaments onpicks harmonizes well with the basket and provides a good contrast to the juniper.The so that there is at least one oneach of the Figure 19-22 four sides of the arrangement. (See Figure result is a simple but nicely designedChrist- 19-23.) The ones on the short sides should mas basket that has acountry feeling (Fig. come out through the bow. Do notsink them 19-25). in too deep.

13. Christmas Basket Arrangement

Materiafs: wicker basket with a handle and plastic liner floral foam Figure 19-23 piniper #9 cotton print or bitrlap ribbon 3 medium-sized rounded pitw. COTICS wooden picks with wires German statice Figure 19-24 Figure 19-25 316 C. Permanent Christmas Arrangement 3. Add pieces of evergreen with hot glue so that they radiate out from the bow and Materials: from between the cinnamon sticks. low round container about 4" across styrofoam 4.Secure bird on top of the bow with hot Figure 19-26 flocked branches glue. (See Figure 19-27.) Permanent silk evergreens Christmas small silk poinsettias 5. Add pieces of baby's breath to extend arrangement out from the bow and cinnamon sticks. 1.Fill the container with styrofoam.

2.Establish a vertical line using flocked branches toward the left side of the con- E. Grapevine Wreath Ornament tainer. Materials: 3. Use silk evergreens to cover the styro- one small wreath (4" diameter) from foam and extend up the vertical line. grapevine or another woody vine like Virginia creeper or honeysuckle AL_ 4. Add silk poinsettias to follow the line, #1 velvet or satin ribbon with closer spacing to develop a focal point at small dried flowers, artificial holly Al the base of the line. (See Figure 19-26.) berries, and/or silk flowers 11116.-.411br hot glue gun

D . Cinnamon Stick Cluster 1.Make a small bow with streamers and attach it to the wreath with hot glue. Materials: 6 cinnamon sticks, each 6" long 2.Develop a crescent-shaped cluster of Figure 19-27Cinnamon stick cluster 1 small bird dried or artificial flowers across the bow. Hot #3 ribbon that harmonizes with the bird glue each piece under the loops of the bow. evergreens (fresh or permanent) The overall design should be in good propor- glycerinized baby's breath tion to the size of the wreath. It should look hot glue gun somewhat like a designed crescent corsage it. mounted at the top of the wreath. (See Figure 14, 1.Criss-cross the cinnamon sticks and 19-28.) **Atte hot glue them together at the point of intersection.

2. Make a bow. Hot glue it to the cinnamon sticks at the point of intersection.

Figure 19-28 Grapevine wreath ornament

G- 317 stem to F. Boxwood Tree into the styrofoam and twisting the form a loop. Materials: low round plastic container 2. Cover the ball uniformly withboxwood floral foam pieces cut about 2 1/2 inches inlength. waterproof tape Cluster several pieces of boxwoodtogether and insert them as a unit. Afterthe ball is boxwood shine ornaments filled in, spray it thoroughly with plant to keep the boxwood fresh longer. 1.Place the block of soaked foam on end in 3. Make a bow from the velvettubing with the dish. Tape foam to the bowl securely with Figure 19-29 Foundation for a boxwood tree waterproof tape (Fig. 19-29). several streamersofdifferentlengths. Attach to a wooden pick and insert intothe 2.Establish a circle of boxwood at the base bottom of the ball. of the foam. The best way to insert the boxwood is to bunch several pieces together 4. Attach a cluster of plasticmistletoe to a in your hand and push them into the foam as pick and insert over the bow. Thekissing ball from a light a unit. can be hung in a doorway or fixture or other suitable location. (SeeFigure 3.Continue filling in, gradually tapering to 19-31.) a point so that anoverall conical shape is formed (Fig. 19-30).

4.Decorate the tree with ornaments of an appropriate small size. If water is kept inthe container, the boxwood will stay fresh for several weeks.

G. Kissing Ball

Materials: styrofoam ball 4" in diameter Figure 19-30 Conical shape of a boxwood tree boxwood chenille stem wooden picks velvet tubing plastic mistletoe plant shine spray

1. Make a hanger (in top of the Styrofoam ball by inserting the ends of a chenille stew Figure 19-31 Kksing ball 318 CHRISTMAS CEMETERY PIECES

Acustom frequently observed at Christ- mas is decorating the cemetery in remembrance of those who have passed away. Often the cemetery piece is a wreath on an easel or an arrangement ofgreens in a metal cylinder anchored by prongs pushed into the ground (Fig. 19-32). Pine cones, red ruscus and red plastic bows are common accessories that withstand the weather (Fig. 19-33).

Figure 19-32 One type of decoration is made in styrofoam and attached to a metal plaque for a headstone (Fig. 19-34). This will fit over the flat top of upright stones (Fig. 19-35). An- other piece is the grave pillow, a rectangular arrangement of greens that is supported by a wooden frame. It is placed on the ground but displayed at a 90° angle to the ground. Figure 19-33 Cemetery arrangement Another winter cemetery piece is the grave blanket (Fig. 19-38). It is larger than a Styrofoam is scored with a pillow and is intended to lie flat on the knife and then broken on the ground. The greens may be attached directly edge of a table to chicken wire that is stretched over a wooden frame. Or they may be inserted into styrofoam that has been attached to a plywood base. The blanket is usually decorated with a #40 plastic bow, pine cones and ru scus.

Some grave blankets areverylarge, measuring 8 feet by4feet.Becauseof the ipsump weight of the greens in such a largepiece, a strong framework is needal. A smaller, lighter versionearlbe made directly on poultry netting without a wooden frame. 4

Figure 19-34 Figure 19-35Headstone plaque

C , 319 Grave Blanket DESIGNS for OTHER HOLIDAYS 01/0111,1-teVINIO &0111.171117 There are a number of holidaysthrough- Grave Blanket out the year that florists arecalled upon to interpret with flowers. A feelingappropriate Materials: to the holiday can be attainedthrough the 2' x 3' piece of 2" poultry netting designer's choice of flowers in season, evergreens colors, containers, accessoriesand ribbon. #24 florist wire on a paddle #40 red plastic ribbon On the next page is alisting of these large pine cones annual holidays with suggestionsfor appro- red ruscus priate colors and accessories. Figure 19-36 1.Lay larger pieces of evergreen onthe poultry netting with tips pointingoutward along each edge (Fig. 19-36). Keep tipsfairly even. Make sure at leasthalf of each branch is lying on the poultry nettingfor support. 4dig.iiiktilslautaalkadiat Fasten each branch to thepoultry netting with short lengths of paddle wire. 2. Work inward by adding asecond overlapping layer of evergreens to concealthe the base of the outer layer. Continue until 4 p. wire is covered (Fig. 19-37). A 4 3. Make a large full bowfrom the #40 plastic ribbon. Make a set of streamers Figure *19-37 about 2 feet long. Wire the bow andstreamers to the middle ofthe blanket.

4.Wire the pine cones and insertthem around the bow. Wire them to theblanket. 5. Add the ruscus pieces aroundthe bow and wire them in (Fig. 19-38).

6.Wire in additional clusters of evergreens p. if1hey are needed to develop morefullness in the center. 3'

Figure 19-38 e 6 t 6) 320 A listing of many of the same holidays Holiday Color Schemes and Accessories fodows with a suggested arrangement for each.

goliday Color Scheme Accessories Holidays and Suggested Arrangements New Year's Eve black, white, silver, balloons, noise makers, streamers, multicolor top hats, clock, Father Time, baby NEW YEARS EVE A sophisticated party arrangement in a Valentine's Day red, white, pink hearts, cupids, lace black top hat sets the mood for a New Year's Eve party. Use white snowflake mums or Presidents' Day red, white, blue profiles of Washington & Lincoln, white roses and variegated pittosporum foli- cherry tree & ax, American flag age. Add interest and zest with long white tapers and curled dried material painted St. Patrick's Day green, white shamrocks, leprechauns, pipes white. Set the arrangement on a mirror and place three to five clear hobnail votive lights Easter yellow, purple, green, pinkEaster rabbits, chicks, ducks, containing white candles around the ar- baskets, colored eggs rangement. Reflection of candles in the mirror adds a festive note. Secretary's Day/ all colors office supplies and equipment Boss's Day

Mother's Day/ all colors items that suggest the individual Father's Day/ Grandparents' Day

Memorial Day/ red, white, blue American flag, fireworks, stars Fourth of July/ Labor Day

Sweetest Day pastel colors candy, ribbon, cards, hearts, balloons

Halloween orange, black black cats, witches, brooms, jack-olanterns, corn shucks

Thanksgiving yellow, brown, orange turkey, Pilgrims, cornucopia, Indian corn, pumpkins

New Year's Eve 321

VALEN'IlNE'S DAY Decorate a grapevine heart with two white doves and red satin ribbon that has a white lace edge. Make two bows of the ribbon and wire them to the wreath. Connect the bows with a swag of ribbon consisting of three strands. Hot glue the birds over the bows. Accent the bow areas with silk leaves and small silk flowers.

ST. PATRICK'S DAY Create an all-foliage arrangement in an L

pattern. Use assorted greens with different 1. values and textures. Consider using lycopodium for the line material. Use a green bow and a shamrock accessory if you wish.

EASTER Valentine'e Day St. Patrick's Day Design an arrangement of spring flowering bulbs like daffodils and tulips around a 6- to 10-inch-high rabbit. Use branches that have been forced into flower or leaf for the line material. Sheet moss can be used instead of filler to cover the foam for a natural, open look.

MOTHER'S DAY Design amass arrangement of mixed flowers m4,1 in a wicker basket for a sweet nostalgiclook. Use delicate flowers with pastel colors.Make a bow from narrow satinribbon of several pastel colors and attach it near the focal area.

MEMORIAL DAY Make a cemetery wreath using patriotic colors. Cover a straw or styrofoam wreath Mother's Day with salal leaves using greening pins. Attach t 0 soaked caged foam to the top of the wreath, Acid a blue satin bow and design a crescent of red carnattons, white statice and huckleberry thliage around the bow. Attach the Easter Memorihi Day wreath to a wire easel. 6 1_, 81- t) 67.1 (3 322

FATHeR'S DAY Make an arrangement in a container shaped like a duck. Use a mixture of fresh and dried materials to create a masculine look. Do not overpower the duck or cover its head.

FOURTH OF JULY Make an arrangement on a drum. Fill a plastic container with soaked foam and place it on the flat upper surface of the drum, off to one side. Use red, white and blue flowers to create an open L pattern arrangement.

AWN. GRANDPARENTS' DAY Make an oval mass dried arrangement that will fit under a glass clock dome. Do not let the arrangement crowd the glass. Father's Day Fourth of July Grandparents' Day SWEETEST DAY Arrange six roses in a crystal vase. Add huckleberry foliage and a lace bow.

HALLOWEEN Make an arrangement of fresh and dried material in a real pumpkin. First cut an opening in the top about the size of your container and hollow out the pumpkin. Wedge the plastic container in the opening and fill it with floral foam. Create a design that has a good size relationship with the pumpkin.

TIIANKSGIVING Make an arrangement of autumn-colored flowers in a cornucopia. Add fresh or artificial fruit and wheat as accessories. Create the feeling that the flowers and fruit are Halloween spilling from the cornucopia.

Sweetest Day Thanksgiving

r 1 323

DESIGNS for OTHER OCCASIONS PARTIES For a party with a Hawaiian theme, use a During the year there are other events in pineapple, birds-of-paradise, and assorted people's lives for which flowers canbe a tropical foliages. Accent the arrangement symbol of happiness,sharing,love or with votive lights. concern. As requests forthese kinds of arrangements come in, the styleand flower BUSINESS OPENING choices will, of course, depend on prefer- Send an arrangement containing an inter- ences of the customer andalso on what is esting piece of driftwood. Useanthurium available at that time of year. Flowersfor flowers and ti leaves for a bold distinctive parties and theofficeor hospital are look, examples. Here is a listing of someof the special occasions other than holidaysfor GET-WELL peach in which flowers may be requested. As youread Use cheerful colors like yellow and each suggested arrangement, tryalso to a vertical arrangementthat will not take up think of other possibilities for each event. much space in a 'crowded hospital room. Avoid flowers with a strong fragrance.Daffo- dils and tulips are cheerful in season.The Special Occasions and arrangement could be accented with abow Business Opening Suggested Arrangements in pastel colors.

ANNIVERSARY For a fiftieth wedding anniversary, useyel- A bow low roses in a gold-colored container. 1. could be made from gcld lameribbon. A picked accessory with the number 50could also be added with the bow.

BIRTHDAY For a child's birthday consider abrightly colored arrangement with helium-filledbal- 41) loons arising from the flowers. Favoritetoys could be added to the arrangemert orplaced at the base of the design.

NEW BABY Use one of the many baby noveltycontainers that are available for arrangements.Since ;4 the container is to be featured,make the arrangement only slightlyhigher than the flowers height of the container. Use delicate Birthday Parties in pastel colors. Anniversary 6 70 0 324

SPECIAL OCCASION ARRANGEMENTS

Ohio State Fair Professional Design Show

Summer Picnic Little Drummer Boy .4

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Birthday Magic

;"--) 1 I- Aer CHAPTER 20 326 Period flower arrangements are styles of floral design that were used during various periods in history by certain groups of people. (See Color Plate 111-7.) Some styles, such asOriental,Williamsburg and Victorian, have continued to be popular in interior decorating and design. Other styles are seldom seen except in pictures or paintings, or when the design styleis intentionally recreated. Two very different concepts of floral design developed independently of each other. The Oriental style is based mostly on carefully placed branches, flowers and small Williamsburg Oriental amounts of foliage. Each placement has meaning, as does the angle of placement. Usually materials are used very sparingly in Arrangements In Period Settings an Oriental arrangement and there are many voids within the design.

In contrast, the Occidental style began to develop in early Egyptian and Middle Eastern cultures. Pyramids, sheaves of grain, lotus pods, and other natural symbols of abundance were constructed. Later the Romans and Greeks used wreaths and festoons of floral materials as decorations. During the Renaissance, large vases of loosely placed flowers were used, as shown in illustrated manuscripts and paintings from that era. Also at that time in Italy, the Della Robbia family developed a distinctive style that incorporated fruit and nuts into wreaths (Fig. 20-1), festoons and other decorative pieces. Ideas from each of these periods are still used today. Victorian Starting with Dutch flower arrangements in the 1600's, definite period styles are recognized. More information is known Figure 20-1 Della Robbia fruit wreath about these later design styles because they

(1, l P 327 were painted by the artistsof the time. The ;NA styles changed over the years as they were developed in different countries duringdif- ferent periods in history. TI.e most dramatic change infloral line design was the combining of Oriental fet. concepts with Occidental mass concepts. The resulting line-mass design stylebegan to evolve in the 1920's and wasespecially popular in the United States for many years. Many contemporary design styles are no longer line-mass, but insteadexhibit con- ;.tar44 cepts that have their origins inOriental and Occidental period designs. Good design Festoons of Christmas garlandreflect a Roman ideas are continually being recycledand design style combined in exciting new ways by creative floral designers.

The major characteristics of someof the period styles are discussed in thefollowing Pyramids of flowers were constructed in sections. early Egyptian and Middle Easterncultures

ORIENTAL Japanese flower arranging,known in general as Ikebana, had its origin inChina where Buddhist monks placedfloral offerings on the altar. Over the years verystrict niles developed regarding theplacement and meaning of the flowers inarrangements. The different styles of Orientaldesign can be fully appreciated only by studyingthem in detail under a master teacher.The principles and guidelines taught for aparticular style are referred to as a "school."Ikenobo isthe school from which theothers stemmed. Some other schools of Japanese design are Nageire (informalarrangements). Moribana (gardenscenes), Kabebana (designs teach various schools Anthurium and quince arranged in (hanging designs), and Morimono Ikebana organizations continue to Oriental manner with fruit and vegetables). of Oriental design 328 Sho-ka is a classic design form which expresses the beauty of nature through three lines representing heaven (shin), man (soe) and earth(tat)(Fig. 20-2). These origi- nate from a common trunk (nemoto). Other flowers or leaves called helpers may also be used in the design.

centainer is an important part of an Oriental arrangement. The usabata, an urn-shaped container with a saucer-like top, is appropriate for Ikenobo arrangements (Fig. 20-3). Low flat containers with the water showing are used for certain other styles (Fig. 20-4). The container may be set on a base, often made of black lacquered wood or bamboo. Pebbles are sometimes used at the base of the flowers to hide the mechanics without adding visual weight to the design. Some characteristicsof Oriental arrangements are: Figure 20-3 Fuji mums in an usabata 1.Restraint in the use of plant material

Figure 20-2 2.Line designs with considerable voids, Main lines in classical Oriental style which may necessitate extensive pruning of some branches

3.Emphasis on the form of the plant material

4.Creation of a natural feeling, but one that is also carefully controlled

5. Good development of the third dimension (depth)

6.Neat,well supported placements and clean-cut lines Figure 20-4 Simple line arrangement in a low container 329

DUTCH Dutch Arrangements

The essence of Dutch and Flemish floral design was beautifully captured by the Dutch flower painters of the seventeenth century. They portrayed large lavish arrangements of mixed flowers in sturdymetal it or alabaster containers. Richcolors and large amounts of varied and exotic materials 44 were used in the designs. Examplesinclude 4 I colorful striped Rembrandt tulips(Fig.20-5) and the regal crown imperial (Friallaria), f. which are frequently seen in many of the WO paintings. Accessories like bird nests(Fig. 20-6), butterflies, fruit and shells were often used at the base of the arrangement. Rich velvet or sa1i cloth sometimes formed a background for the arrangement or was draped at the base of the design. .010 Figure 20-5 Figure 20-6 Mass arrangement inspired Painting by a Dutch artist Dutch arrangement by the Dutch masters of summer flowers FRENCH The French developed a mass arrange- French Arrangements ment which was much lighter and more airy than that of the Dutch. They used delicate flowers in pastel colors and often withlong, wispy sterns (Fig. 20-7). The flowers were never crowded and the gentlyarching stems were allowed to show. The containerswere delicate, either crystal (Fig. 20-8) orfine- paintedporcelain.Figurines with intricate detail often accompanied the designs(Fig. 20-9).

Figure 20-7 Figure 20-8 Figure 20-9 Open mass arrangement of pastelLilac, stock, carnations andMotion expressed by figurine and pink magnolia blossoms freesia in a crystal vase sweeping line of flowers

(3-5Li 7,1 r 330 WILLIAMSBURG special over-the-doorholiday welcoming piece in the Williamsburg style. This can be The decorative arts in colonial America used in any home, but is especially effective were heavily influenced by the English. in houses with an older style of archiLtcture. Arrangements containing boxwood, (See Chapter 19,) magnolia and ivy combined with garden flowers were made in the summer. (See VICTORIAN Figure 20-10.)At Christmastime native berries, pods, cones and greens were used This English style of the 1800's devel- with imported fruit to create a festive holiday oped a compact design form with a romantic mood. (See Figure 20-11.) Designs of dried feeling. Rich containers of silver and porce- flowers from gardens and fields added lain were filled abundantly with roses, charm and a warm feeling to homes during carnations and lilies. Lace, velvet and satin Figure 20-10 the rest of the year. often formed a base or background for the Fan shaped arrangement of summer flowers in arrangements. Williamsburg setting Design forms popular during this period were the fan, triangles, cones and more The Victorian design style is sometimes casual mass groupings of materials. Con- criticized as overdone and lacking in depth. tainers included ornate silver and porcelain Some regard it as a lavish style befitting only pieces as well as the more utilitarian pottery, the era that produced it,- an era of elaborate pewter and baskets. ornamentation in clothing, household furnishings and architecture. Dried flowers The five-fingered vase, a typical Wil- under glass domes, cornucopias brimming liamsburg container, was used to create a with fruit and flowers, decorated lace fans on fan-shaped arrangement by wedging mate- Christmas trees,and silver-trimmed rials in the fingers (Fig. 20-12). Imported mirrors used as bases for arrangements are Oriental porcelain and Dutch delftware in examples that echo the era. blue and white patterns were frequently used as containers to hold flowers. Wealthy homes sometimes had a beautiful silver epergne, a multi-branched composite container that could hold fruit or flowers and serve as the table centerpiece for elegant dinners.

Dried flower arrangements in the Wil- liamsburg style are always indemandfor homes that have a Williamsburg decorating 1 scheme. At Christmas cones of apples and Figure 20-11 boxwood are appropriate taole decorations Cone shaped table centerr iece lbr these homes. A fan featuring a pineapple, of apples and pineapple apples, magnolia and boxwood makes a Figure20-12 Five-fingered vase 331

AVIIIVIIIV111110 lizI 41p. 1.Investigate one of the period design t Oft li styles that particularly interests you. Learn i? 7 NI_ about the flowers that were used, the containers they were typically placed in,the , PeoLimppr. mechanics available to support flowers,and traditional accessories often used. If appropriate materials can be obtained,make an r arrangement that suggests the periodstyle 4- you have researched. Reportback to the class on your findings so that otherstudents 111111". can gain from your experience.

2.Invite to the class someone whohas studied Japanese flower arranging. Ask that person to demonstrate themaking of an Oriental arrangement and explainthe meaning behind the placements.

3.Visit a museum to study decorativeart Compact oval Victorian arrangement that is typicalofvarious periods in history. Discuss what kinds of flower arrangements with each you think would be harmonious Arrangement in Victorian setting style.

Dried Victorian arrangement

6S5 o 332

Period Arrangements

(Joe Smith, AIFD)

6 8 5

BEST COPY AVAILABLE CHAFFER 21 1 t'COSPIrriji'RtlijCO21-\?ilitnti

New Convention by Connie Lyons, A1FD 334 Contemporary Arrangements The array of new design styles that have by Michael Polychrones, AAF, A1FD, PFC-I recently appeared in trade magazines and at special design shows has drawn mixed reactions from florists and customers alike. Regardless of personal preferences, designers who consider themselves floral artists must keep an open mind, They need first to develop an understanding of each new style and to evaluate it on its own merit, then carefully decide how it can be most appropriately used.

A good foundation in design principles and a mastery of basic design skills should

3 be gained before attempting to construct or evaluate contemporary designs. There are good and bad contemporary arrangements, 1MA: Ol just as there are good and bad traditional arrangements. The principles of desit: must be considered when judging an arrangement, along with the perceived creativity, distinction and usage of the arrangement. (See Color Plates 11-2, 11-6 and IV-8.)

Some oi i .iew design styles have originated In Europe and are collectively referred to as European design styles. A number of "contemporary" ideas represent recycling of old design themes. An example is the Bieder- meir style, a cone consisting of concentric rings of different flowers tightly packed together. It was a popular old German style and, many cent uries earlier, one used by the Egvpt ians. Other "new" styles are a creat ive I. blending of Oriental line con(Tpts with tnuli- tio)IIill Western design. The results are unique, but the process is similar to what happened in the 1.1,8.A. in the 1920s iuid '30's. Then American line-mass designs, such as the crescent and I,-pattern, developed frmn a similar fusion of design ideas from two cultlires, 335 Some of the new styles suggest nature; Interesting Containers with Modern Arrangements others reflect European period designs. by Julia Smetzer Some reach into the world of bizarre abstraction, where flowers are regarded as Modernistic Arrangements solid and textural forms rather than accord- Using Few Flowers ing to their traditional values, and where non-floral items may also be used in design. The following discussion deals with some of the contemporary stylesthat can be seen today.

BIEDERMEIR b. 'ar This tight compact bouquet, usually 4: conical in shape, consists of concentric layers of different flowers and foliages. Its appearance is that of a styrofoamform with flowers glued onto it, because of the lack of depth and the rigidity of the placements.

In ancient times the Egyptians created a forerunner of this design using lotus pods and grain. The modern version, however, is a recreation of an oldGerman design. The old-fashioned colonial bouquet used for weddings in past decades reflected a similar feeling with its tightly packed rings of flowers. Some Biedermeir arrangements are modified into ovals. They are usually made in a piece of floral foam: however,hand-tied versions with the stems showing canbe made as wedding bouquets or for placing in a vase.

CONTINENTAL BOUQUET Biedermeir Bouquet The cont inental bouquet is a collectionof several flowers arranged at different levels. The design exhibits considerable depth, much as the early French arrangements did. Continental Bouquet

6 Br 336 The flowers in a continental bouquet radiate out from a central axis. The arching "Akaia,Ms.Vir lines of their stems and the flower shapes give an illusion of fullness. Each individual flower is surrounded by considerable space so it will show to advantage. 1 Contemporary Oriental The designer who masters this style will Arrangements find that it takes fewer flowers than a comparable size arrangement in a traditional * style. Therefore, more unusual flowers can

1 t; be used while remaining in the same price 00010.6%N. range for materials. ;

VEGETATIVE ARRANGEMENT

In a vegetative arrangement the flowers arc placed in groupings or patches represen- tative of the way they might grow naturally. Segments of color, sometimes in triangular VegetativeArrangement wedges, make up the design. These segments may cross at certain points, but there is no total integration of contrasting colors as found in most traditional designs. Flowers are featured in their natural growth forms. For example, tulips are allowed to stretch upward on their stems, and snapdragons may be shown as if bending toward the light. The vegetative bouquet is a good choice for casual settings and informal entertaining.

LANDSCAPE DESIGNS

st . A landscape design style arrangement has a natural "woodsy" feeling. Sometimes it is a small scene or collection of bi anches, Contemporary Wall Piece fungi, bark arid potted plants arranged as Hitomi AIFD A Landscape Design they might be found in nature. Moss may be 337 used to cover pots and mechanics, adding to ABSTRACT the natural look. This style of arrangement sometimes utilizes a simulated country The goal of abstract art is to express a fence as a base or background. The fence quality apart from any recognizable object. could be made from twigs bound together Abstract paintings and sculpture express with raffia or glue. various qualities but are dissociated from what is real and natural. As a result they are frequently subject to different interpreta- PARALLEL SYSTEMS tions, and most certainly they evokediffer- (See Color Plates IV-7 and 117-8) ent reactions in the viewers.

In a parallel system arrangement, Mnety In floral art, abstract design has evolved percent of the material is parallel with as a new approach in bothOriental and respect to each other. The dominant line Western floral design circles. In these de- may be either vertical or horizontal.There is signs plant materials are used strictly for a sharp delineation betweenthe parallel their structural qualities and in whatever bands of materials. Liatris, gladioli, Scotch way necessary to best express theabstract broom and other linear flowers and foliages quality being portrayed, without represent- are natural choices for parallel arrange- ing any real objects. As a result, the flowers ments, but some other forms can also be and foliages are used in an unconventional Parallel Systems lined up to create the desired effect. manner, frequently appearing upside down, hanging from strings, glued together as part Parallel arrangements are often de- of a larger construction, or dismembered signed in long low containers filled with into unrecognizable pieces. floral foam, This style is suitable for any modern setting and is also equally appropriate for offices or sympathy flowers. Vie

NEW CONVENTION

New convention is an extension of parallel design in which the vertical lines are combined with strong horizontal lines. The ft lines meet at a 90" angle, The horizontal lines often come forward off the base of the vertical lines. New convention arrangements have an architectural quality because of the strong lines and sharp angles. They are suitable for the hi-tech look in a contemporary setting. New Convention Abstract

6 (4 338 NEW WAVE L1EZtardliV1IV1110 New wave is a free-form style of design which enters into a creative and bizarre 1.Choose one contemporary design style world. Flowers and foliages may be painted, and investigate it in depth using back issues often with bright fluorescent colors. Items of trademagazines.Describeseveral like plastic and copper tubing, carved styro- arrangements that fall into the classification foam, and clear pieces of lucite often find you have chosen. List the characteristics their way into new wave designs. Lights may that you believe are typical of the specific be incorporated into the arrangements or style. Share your information with the class. used to shine onto them for special effects. 2. What is your reaction to each of the New wave designs exhibit a lot of depth contemporary design styles? Compare your and are attractive from various angles. They reaction with that of other members of the require a great deal of creativity in addition class. Do you think these design styles New Wave to a mastery of basic design principles. Just would be accepted in your community? being different is not enough to make an Have you seen any of th ese done by florists? arrangement a good new wave design. Have you seen any at a flower show? 3.Imagine different situations where these designs could be used. Consider weddings, hospitals, funerals and businesses.

4.Construct a new wave design. Be as creative as possible. Use spray paint and non-floral items if they are available. .0,E611 ted211f1 111'16'1.MVIVI2.1a ICSILUO 340 Wholesale Florist Business The selling of flowers, living plants and (United Floral, Canton) DISTRIBUTION of "11._ related products is the heart of any retail FLOWERS and FLORAL floriculture business. These are aesthetic commodities that people traditionally seek PRODUCTS to help them celebrate important events in their lives: to convey sympathy, anprecia- Consumers of floral products may buy tion or congratulations: and to add beauty to from either a typical retail florist, a garden their environment. In many cases custom- center, or a mass marketing outlet like a ers are willing to buy not only flower arrange- discount store or grocery store. Retail flo- ments and plants, but also the services that rists, garden centers and mass marketers go along with them. So, most retail florists are collectively called retailers because they offer consultation services, custom design- sell to the general public. ing, delivery of floral products, and charge 111111P'. accounts. (See Color Plate IV-1.) Retailers buy their flowers and supplies Using the telephone and computers tocommu- largely from wholesaleflorists(whole- nicate with suppliers and retail florists People buy flowers not only for them- salers). They may also buy directly from selves, but also to send to other people. In manufacturers of floral products and grow- the past, sympathy flowers accounted for up ers of plants and flowers. Foreign flowers to 80 percent of the retail florist trade. As enter the market through importers located other areas of the flower market expanded, in key entry points to the country like Miami, this figure declined to the current average of New York and Los Angeles. s14.1t about 30 percent. Here are some of the major 0 reasons why people buy flowers: See Figure 22-1 for a flow chart showing the chain of distribution of floral products. , * for funerals (sympathy flowers) * for weddings

4 0.04, * as gifts or to decorate for seasonal holidays (Christmas, Valentine's Day, Boxes of silk flowers on display Easter, Thanksgiving) * as gifts for special holidays (Secretary's Week, Sweetest Day, Mother-In-Law's Day) * as get-well floral gifts * as congratulatory gifts for new baby or other events * as birt hday and anniversary gifts * to decorate for Parties * as business gifts

lailitikc Glassware, plastic and baskets Wholesale storage coolers for cut flowers 341

THE WORLD FLOWERS] FLOWER MARKET FOREIGN MANUFACTURERS Flowers that are sold at flower shops come from many sources,including local IMPORTERS growers as well as floral production centers in Florida, California and Colorado.How- ever, about 40 percent of theflowers sold in WHOLESALE FLORISTS the U.S. are imported from other countries. 40 Some key exporters of flowers to the U.S.A. areColombia, Netherlands(Holland), Mexico, Thailand, Israel, Costa Rica, Guate- RETAIL FLORISTS mala, Peru, Kenya, Dominican Republic, or Ecuador, South Africa, Australia and New MASS MARKETERS Zealand. (See Figure 22-2.) The rapid transportation of a quality floral product to U.S. markets has resulted PUBLIC in an increasingly large assortmentof flow- ersavailableto American consumers. Aggressive marketing campaigns and Figure 22-1 The chain of distributionof floral products responsiveness to U.S. demand forflowers have resulted in threign flowers accounting for an increasingly larger share of the market. The price, quality, availability and novelty of the product are factors that have caused Americans to buy more foreign flowers. Consequently, floral customers in the U.S. have become more dependent upon world markets. Therefore, a weather dis- turbanceinAfrica,politicalunrestin Central Anwrica, or an economic trade war with Southeast Asia may affect the price or availability of flowers in a local flower shop. Floral products that are imported in large quantities include carnations, roses, chrysanthemums, statice, tulips,freesia, alstroemeria, gerbyra daisies, gypsophila, orchids, lilies and chamacdorea. A list of the flowers imported into the United States leading exporters of these flowers is included Figure 22-2Mapof major production sites of on page 343,

-r) 342

Pra. Floral Distribution Chain

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1 Flowers are cut and packaged at the location where they are grown

2 IEW `4, U.S. wholesalers buy domestically grown and imported flowers 3 Flowers are stored temporarily in coolers at wholesale houses

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4 Wholesalers duliver flowers to retailers in refrigerated trucks 5 Retailers arrange flowers 6 Retailers sell the arrangements to their customers

44' 7 0 J 343

Holland is estimated to have 70 percent Exporters of Floral Crops of the world market in flowers. Many flowers produced in the Netherlands and other parts Floral Crop Major Exporter of Europe pass through the large flower Colombia, Mexico, Netherlands, Peru auction at Aalsmeer, Holland before coming Standard Carnations to the U.S. Part of the profit at the flower Mini Carnations Colombia, Peru, Israel auction is used to market flowers worldwide. The Flower Council of Holland is effective in Roses Colombia, Netherlands, Guatemala promoting Dutch flowers in the U.S. through Colombia, Netherlands advertising. They distribute educational Standard Chrysanthemums material and give informative programs to Pompon ChrysanthemumsColombia, Costa Rica, Peru florists in this country. Statice Colombia, Mexico, Peru Another large floral production center is Ne therlands, France in Colombia, South America. Over 90 per- Tulips cent of U.S.-imported carnations and pom- Freesia Netherlands, Colombia pon chrysanthemums and over75 percent of the imported roses come from Colombia. Alstroemeria Colombia, Netherlands Large production ranges are near major Netherlands, Colombia, South Africa airport terminals for quick shipment. Low Gerbera Daisies labor costs and little or no need for green- Gypsophila Colombia, Peru house heat are advantages that South American growers have over most U.S. grow- Cyrnbidium Orchids Netherlands, New Zealand, Australia ers. In addition, Colombian growershave a Thailand, Singapore marketing organization that researches the Other Orchids preferences of customers in the U.S. The Lilies Netherlands, Colombia, South Africa growers' production schedules are responsive to these preferences. Chamaedorea Mexico, Guatemala, Costa Rica

On. CURRENT MARKETING TRENDS 111.41ter".0. 4 :01

I 1// .4

In a traditional flower shop a sigt- 'ficant , ' portion of the selling occurs over the tele- 4,41 *iit. phone. Telephone sales account for as high --'-:211VA.V44 as 75 percent of the sales,while in.store alaiN Oct customers make up a relatively small percentage. This percentage i% very different in the non-traditional mass raarketing cm it lets ,A Si ich as disconnt stores and grocerystores. selling In the latter 'businesses nnich of the Thousands of flowersaresolddaily at the Colombian worker packages cut flowersfor emphasis is on impulse sales generated by Aalsmeer Flower Auction in Holland air flight to U.S. markets

bL 344 COR.BITS the high customer traffic. In fact, much of TYPES of RETAIL FLORAL the recent growth of the retail flower market BUSINESSES has come from non-traditional sales like this; the product is located where many Though again broad generalizations are people can see it. Sales result from impulse difficult, there are different categories of buying simply because the product is attrac- retail floral businesses that can be identified tive and fills a psychological need. Also, and recognized. These categories differ from customers are attracted by the convenience one another not only in size and location, but factor - the opportunity to buy floral prod- also in their type of clientele, services avail- ucts at a store in which they frequently shop. able, merchandise offered for sale, and display techniques. 4.4 Because retail flower shops are so differ- A flower vending machine appeals to the ent in size, location, number of employees, impulse buyer - Corbits, Canton Following are brief sketches of the differ- and the way they are run, it is difficult to ent kinds of retail flower shops that are generalize about them. However, the statis- commonly found. tics which follow will help give you an over- view of today's retail floral industry. Average Retail Flower Shop .4.1 ay. There are over 36,000 retail flower shops in the United States (as of 1987). The average retail flower shop is located in a suburban shopping district. It has four The average gross yearly income for a full-time employees and a yearly gross in- flower shop is around $200,000 (as of come of $150,000 to $200,000. Manage- 1987). ment of these shops is about equally divided between men and women. The shops provide In a given area a population of at least a wide range of design prices and styles to 10,000 people is necessary to support meet the needs of the community. Services an average flower shop. typically include delivery, credit and consultation. An average retail flower shop provides both Only about 10% of retail flower shops product and service have a paid manager. High Style Flower Shop

Over 85% of the retail shops belong to at These flower shops are located in the least one wire service, like Fry, Teleflora suburbs of large urban areas. In general or AFS. they cater to higher-income customers who are willing to pay for exceptional and unique About 30% of the retail shops also do designs. Special attention is given to service some growing of plants. This number and to custom designing for special occa- has been declining. sions.

46. 345

Shopping Center Shop hospitals, hotels, department stores, college towns, apartment complexes, or evencruise Small retail shops, often branches of ships. Their offerings vary according to the larger area shops, are located in the high- needs of their specialized clientele. traffic areas of a mall or shopping center. Because of the greater number of walk-in sales, more attention is given to giftware and JOB RESPONSIBILITIES At a small decorative items. Most of the sales are cash-and-carry, and services may be lim- Since most flower shops are quite small ited. This type of shop is not increasing in and do not have a large number of employ- number at the present time. ees, each employee isoften called upon to perform many different duties. Therefore, Grocery Store Flower Shop the more versatile and knowledgeable a Kiosk flowershop in a shopping mall person is, the more valuable anemployee he Cowgill's, Canton Flower shops in grocery stores have the or she will make. Only in verylarge shops is advantage of a large number of walk- an employee allowed tobe highly special- through customers, The focus is on impulse ized; in smaller shops the employees usually buying and smalleasy-to-cartyitems. have to share duties. Some of theduties that Larger shops of this type may have afull go with the specializedpositions are as range of services. follows. (See Color Plates IV-2, IV-3 and IV-6.) Garden Center Manager The retail flower shop section of agarden organizes tasks and work schedules center often specializes in selling potted supervises other people plants, planters and cemetery pieces.Other does public relations work items that also may be featured arefloral develops advertising strategies Grocery store flowershop accessories, silk flowers, dried flowersand Buehler's, Wooster craft items. Services are usually limited. Discount Store - Flower Department The emphasis is on potted plants,silk flowers and pre-packaged floral items. Sales are cash-and-carry, withcompetitive lower prices depending on a higher volumeof sales to generate income arid offset thelack of 44k, services. Specialized Location Manager Hospitalflower shop Small flower shops may be locatedin Connells, Columbus Aultman Hospital, Canton

et 346 Salesperson Delivery Person answers telephone loads arid transports arrangements waits on customers interacts with public operates cash register maintains delivery vehicle packages and wraps purchases performs custodial duties stocks shelves stocks supplies prices merchandise creates displays JOB QUALIFICATIONS Office Worker does billing and bookkeeping The success of a retail flower shop em- operates computer ployee in getting, keeping and advancing in Salesperson keeps records of supplies, sales slips, The Flower Gazebo, Findlay a job depends on the individual's ability to do purchases and expenses the work well. Education and experience are does payroll the two best ways to broaden horizons, learn types letters and reports skills,experience personal growth, arid learn to accept more responsibility. Designer selects and handles flowers and Training may begin during high school supplies in a vocational program or in a part-time job makes arrangements, corsages, in a flower shop. However, if you lack the bouquets, etc. initial work experience, a good way to gain t prices designs entrance into the industry or to advance in may consult and service weddings and a job already held is to attend a technical parties school offering a two-year associate degree makes terrariums and dish gardens program in floriculture on the college level. cleans up work area Office Worker Not only will you receive specialized training Connells, Columbus in basic horticulture, floral design and retail marketing, but you will also develop necessary skills from general education courses in communications, math and business. Tech- nical education at this level has the advantages of targeting skills needed for entry into mirtAl 2-jj the business and teaching them in two I bs years. The internship requirement found in "ItPliiftata many technical programs will give you a

4 . chance to gain experience, find out what the ..1, . rI; job is really like, and meet people in the 0+. , b A indusuy. l 41, 4". Designer Delivery Person People who view thcir education as a life- faple Lee, Worthington Maple Lee, Worthington long process. not conipkIed with the first

tn 347

is able to communicate well with others. Alia& degree they receive, are those who have a elk real opportunity to improve their skills, professional growth, and job satisfaction. has good math skills and business sense. Some may find themselves on a path that leads to higher education and a bachelor's, is reliable and steady. mastei or even a doctor's degree.Their goal may be to teach floriculture in high has good work speed; is efficient. school or college or to become involved with research in one of the floral products indus- strives to do quality work. tries. Others may simply want to keep current and sharpen skills by attending one or cooperates and works well with other more design schools, short courses orwork- employees. shops. They can also keep current by regular reading of trade magazines and literature dresses neatly and appropriately for the The Ohio State University's Agricultural produced by various floral organizations. In activities being performed. Technical Institute (ATI) offers technical this industry many avenues lead toself- training in retail floriculture improvement, but the individual must take is creative, always looking for newideas the initiative in seeking them out. and better ways of doing things.

Some of the skills and attitudes impor- is friendly and courteous. tant to employers in the retail floriculture industry are listed next. As you read them, decide which ones you are already strong in. Working in a retail flower shop is an If you have some weak areas, think of ways interesting job that can bring a greatdeal of you might be able to improve. personal satisfaction. The work changes with the seasons and holidays andoffers A good employee: opportunities to be creative both infloral design and in helping decoratewindows or has a good knowledge of basic floriculture, arrange displays. Employeeshave the satis- including design, plant identification, care faction of working with a beautifulproduct and handling of floral materials, and that people are pleased to give and to receive. Experienced florists are looking for employees knowledge of plant culture. who work hard to improve their knowledgeand skills - Don Jonnson, Lima 1111111.

.011.

Sales Center, Maple Lee, Worthington

o' 7,A 350

fas The existence of a retail flower shop Percentage of Yearly Sales Expected , Odle -^1,Arm AM depends on making a profit by selling to ....4 Ka* Each Month AS SIM Z. t..4,4 customers. In order to attract and keep atm A.44faili :::1111467 19* customers the shop must: January 6% July 6% February 9% El :4;r t' :. ' 1111.1 1 August 6% 1,offer a quality product March 7% September 6% 2.provide services that customers want April 11% October 8% 3,promote their products through May 12% November 7% advertising June 8% December 14% 4,charge fair prices 5.be accessible and responsive to 4.43 customers Here are some additional thoughts about customers and trends in their buying Customers must be shown new styles in habits. attractive settings Each retail florist should try to under- Maple Lee, Worthington stand the buying habits of customers in that particular area. Products and design styles Over half of the people who buy flowersare etIlrz that are popular in one area or neighborhood women, .7t1. may be poorly received in another. Wedding traditions, funeral practices, and customs Customers are increasingly more valuefor decorating cemeteries vary from place to conscious. They are more willing to buy if place. Florists needl to understand these convinced they are getting their money's preferences and cater to them. worth. Product quality and keeping quality of the flowers are factors they seriously Even so, new and potentially profitable consider. "=.11116. items and styles should be periodically introduced to give the shop a new look and Flowers are often purchasedas gifts for combat the tiresome, old-fashioned look. sentimental reasonsto celebrate a spe- New introductions may attract some new cial occasion or to express love and caring. customers. They will also help project the Examples are wedding armiversaries and Good cooler displays are valuable salestools image of a shop that keeps current with birthdays, Valentine's Day, Mother's Day. Parkhurst's Flower Gallery, Medina modern trends. Flowers are an appropriateway to express The florist business is typically seasonal sorrow and concern for the bereaved at the because of the high volume of sales during time of a death. holidays like Christmas, Easter, Valentine's Day and Mother's Day. The chart which Flowers create a beautiful setting forspe- follows indicates the percentage of yearly cial occasions like weddings and parties. sales that might be expected each month in In many cases they are expected andeven a shop. What holidays occur in the months regarded as status symbols. with the higher sales volume? Flowers are appropriate business gifts which can beautify the work place and project a positive image.

P') r.Aft+ 351 People are increasingly buying flowers for alternatives there are and howthe shop themselves just for enjoyment, to enhance might meet their needs. Sometimesthey feel their living environment. Europeans have a bit uncomfortable inthe shop. The sales- always led Americans in this trend of person needs to workwith these customers, purchasing flowers for everyday use. making each one feel that there is apersonal interest in his or her situationand suggesting possible choices. Showingmade-up nterchandise, and 4. IN-STORE SALES arrangements, priced : pictures in selection guk cs willhelp guide v undecided customers toward a purchase. Atti Customers entering a flower shop will form an impression of the business during Browser )". their first moments inside. They will be This customer is "just lookingaround." A friendly greeting, with the assurancethat First impressions of a flower shop are created influenced by the appearance of the shop if needed, may by displays and the sales personnel and the displays as well as any sales person- the salesperson is available John Anderson Florist, Canton be all that is required. Welldisplayed and nel they encounter. Customers should be for itself. greeted in a friendly and courteous manner. priced merchandise will speak Many customers do not visit flower shops Even if the customer does notbuy anything, a positive image canbe created. Hopefully often. They may be somewhat unfamiliar in the with where things are and the proper proce- that will lead to a return visit and a sale dure for getting what they want. Their needs fu ture. should be handled in a way that will make them feel comfortable. There are several possible types of cus- QUALITIES OF A GOOD SALESPERSON tomers who may enter a flower shop. Here and The employee who deals with thepublic are some characteristics of each type image of the suggestions for how they may be most effec- as a salesperson creates an shop in the customer's mind. If it is a very tively served, negative image, sales can beadversely affected even if the merchandise isgood. Decided Customer posi- The customer has conic for a specific pur- Instead, a salesperson should project a business tive image - the personalityand sales tech- pose. Usually this person has done Some sales- with the shop before and is lamiliar with the riques for stimulating sales. persons have the ability tosteer a customer set-up and procedures. Deal with this cus- In any tomer as efficiently as possible, determining tactfully to a higher dollar value sale. case, a good salespersonis one who knows his or her needs, suggesting alternatives, if they necessary, and closing the sale, how to treat customers respectfully so will want to return often. A good salesperson shows a genuineinterest Undecided Customer goodsales- These customers have only a vague idea of In a retail flower shop, a in the customer's needs what they want, They are not sure what person: Parkhurst's Flower Gallery, Medina 352 ark, -41 is knowledgeable about the products 3) closing the sale with the customer buying I and services offered by the shop. the product.

believes in the products and services Some specific points that will help set being sold and projects a positive image the stage for a successful sale are as follows:

400..--way of what will result from the purchase. - 1.Have attractive displays showing made- knows prices of the products and is able up products. to close the sale efficiently according to policies of the shop. 2.Have prices on the made-up arrangements, flowers and supplies. Many shows a genuine interest in the cus- customers want to get an idea of the tomer's needs and helps the customer prices so they can think over their A salesperson should try to get the product decide what products and services are options privately without having to ask into the hands of the customer best for the particular circumstances. the price of each item that interests them. shows enthusiasm about the merchandise that may stimulate customer inter- 3.Create a good shop atmosphere. Avoid est and lead to more sales. all inappropriate behavior on the part of the employees, like lounging, rowdiness is friendly and courteous and addresses or misuse of the telephone. the customer by name if possible. 4. Use descriptive language to explain how dresses neatly and in good taste. a certain arrangement or flower choice will meet the customer's needs. Be communicates effectively with the cus- enthusiastic! Help build a positive pic- tomer in a confident manner and main- ture in the customer's mind about the tains eye contact when speaking. effect of the floral gift on the one who is to receive it, or the impact of the flowers on the situation in which they are going o be used.

SELLING IN THE FLOWER SHOP 5.Get the product into the hands of the customer. For example, let the customer There are three basic "C" steps to selling hold a rose rather than just look at a in a flower shop: bucketful through the glass in a cooler.

1) creating an interest and desire for the 6.If a customer likes a certain arrange- product on the part of the customer; ment but seems doubtffil aboutit, iggest alterations that you can make in 2) convincing (he customer that the product the design or materials that will better is just what he or she needs; and suit the person's needs or preferences.

A ) 353

7.Offer three prices on a given arrange- case it Is very important to writedown all ment to be made (such as $15, $20,and relevant information. There are different $25), explaining (enthusiastically) the styles of order forms which will help stan- added attractive features of the higher dardize the collection of information. Figure priced designs. If the customer chooses 23-1 is an example of an order form. the extras, you have made a larger sale. This is called upsetting. Payment for the purchase may be made by cash, credit card or THE FLOWER GAZEBO 1125 Tiffin Avenue 8.Sell related merchandise or extra serv- charge to the customer's account. FINDLAY, OHIO 45840 ices if the opportunity arises. For ex- Floral businesses differ in their (419) 424-0681 ample, a customer may be choosing a creditpolicies,ranging from strictly cash-and-carryto"30 flower arrangement for a party. If your dEfiv vEP Of AE shop also sells candles and napkins, ask days same as cash." Traditionally . the customer if he or she would like to florists have been quite liberal in AD7)REgfi SM TWT F S purchase either of these items at the extending credit to customers, billing them for later payment. same time. A M P Whatever the policy, it should be ASS("1 OOF ' YfIF. f7 AKEN frIv WIRE 9. Be efficient in your use of timewith a clearly communicated to custom- IN OUT customer. Don't ignore one customer ers to avoid misunderstanding. while working with another. If you are in Other charges such as delivery ..,O0f0:55 the middle of a sale, reassure the waiting fees or telephone calls should also customer, "I'll be with you in a minute." be made known to customers. r:ARRANGEMENT SPRAY CORSAGE CUT FLOWERS PLANT The time yor spend with one customer must be shortened when there are others waiting to be served. but 10. Handle objections as they arise, Ira TAX never argue with customers.Suggest other alternatives in products or prices TOTAL to suit the specific need.

11 Use common sense and goodjudgment in all dealings with customers.

Writing Up the Order

itcr the custonier!cides to make a "ollor Jur:.hase, ftsalesperson completes the transaction by packaging themerchandise 11282 CuAlif NI 'A,Ar.i -Ifart0 irir immediate sale or bywriting up an orderThesalesperson completes the trans- latter actionby writingup the order Figure 23-1 Sampleorder form fOr future delivery or pick-up. In the Don Johnson Florist & Gilts, Lima 354 FOR USE ON OR AFTER 11-25-81 Each Sala Tax Each Sale TaxEach Sole Tax Sales Tax OHIO'S BRACKETED TAX COLLECTION SCHEDULE 16 17 17 4 91 1; 41 to 29 61 . 61 41 55 lc, a/ 7/ 2 35

SALES & USE TAX FOR STATE,.COUNTY AND OR 16 55 6, it 7/ _ 92 19 t5 19 R) I6-1 42 73 10 41 90 2 16 TRANSIT TAX - TOTAL [5 1 2`q TAX LEVY 16 71 6, 17 90 . 93 29 8110 10 00 65 a; 91 6, 43.09 2 31 Floral purchases are subject to sales tax. 16 91 1, 11 09 94 30 01 7 910 I . 4:1 10 u:0 .13 27 2 38 SALES 15e AND UNDER- NO TAX 17 3 I2 21 . 9' .C.. 19 1,, 30 -13 28 4.1 46 2 39 This must be added to the total amount of _ 17,17 46 96 30 36, 33 J . 68 43 47 6, 41 (A 2 .10 Each Sale Toxl cn-', Sale Tax 17 4/ 6, 11 Q ' rt) Y, I, 30 7) 69 ti,15 44 frij,.11 the bill. Some areas have local sales tax in -t- 11 65 , 98 10 6; 30 90 '0 addition to state sales tax. Although the tax " 18 UI. 3r; 91 6, 21 09 71 4.1 01 6, 44 IR. .16to .18 01 8 19 to 8.36 .46 '8 61 4.1 19 8 '3/ 11 , 22 71 19 14 44 36 , can sometimes be calculated mentally, it is .19to .36 .02 8.37 . 2 to 8.54 .47 !"--; 19 '8 30 I "'I 31 /9 6, 11 46 13 44 37 6, 44 4 51 .37to .54 03 8.55 to8.72 48 0: 31 47 6. fl 64 I 74 44 55 1, 44 2/ 2 .16 easier and more accurate to consult a table 55 18 7. 41 65 1. . 75 44 14 6, 44 ,4 / .55to .72 .04 8 73 31 82 to 8 90 49 ; 18 . e." 8 6, 3) 00 76 41 9! 6, 45 09 .18 which gives the correct amount of tax for the .73to .90 .05 8.91to 9 09 50 ,0 45 4 27 2 41 0 ;', 45 98 6, 45 at .91to 1.09 .C6 9 10to 17 27 51 06 32 19 1, 22 0 7a 2 amount of the purchase (Fig. 23-2). This ,., 19 46 . "i" i2 . 45 .1/ to 4, , 1.27 1.10 to .07 9.28to 9.46 .52 19 Ji. '2 55 12 7: b' 45 65 ,o 45 R/ table should be kept near or taped to the 1.28to 1,46 08 9.47to 9.64 53 Lk; 07 '2'1 6, 32 90 . 41, 0i. cash register so that it will not be mislaid. '7 , ,;fir . IC 916, 31 . 47 .1 ! 1.47to 1.64 .09 9.65to 9.82 .54 c 9: , 11 16 6, 1. . 8 , 40. 19 atit 251, 1.65 .10 ¶0 10 00 The sales tax is a,'/.1xl to the amount of the to 1.82 9 83 I 9 :9 6, 13 46 . 54 56

64 1/ ,3 64 . 47 57 6., 46 /2 1 83to 1 00 11 10 01to10 18 56 purchase to determine the total amount that 55 20 .4 33 'F12 . 87 6, 4/ 2 01 4_ '2 18 .12 10.11to10 26 .57 ," °;," k 31I:0 87 the customer owes. 2.19to 2.36 13 10 1,7 10 10 54 5i3 , 7 17 I 1,I 17 rik ; 1.1 '39 2.37to 2.54 11 10 '.. to10 72 59 4 ./ ..154 9, 2.55to 2.72 15 10 731,, IC 90 ( ,C Cash Register

2.73to 2.90 .16 li 91to II 09 61 11 2.91to 3.09 .1,' H 10to11 27 c',1 2, The cash register not only holds money, 3.10 to 3.21 .18 11.28 tr., ;1 46 63 2.1 but often keeps a record of transactions as 2.28to 3.46 .19 11 41R. I 1 64 64 3.47to 3.64 20 11 65to11.1'2 (!. well.Allcashregistersadd upthe 3.65 3 82 '21 11i-l',,12 CO 18 customer's total of individual prices that 3 83to 4 00 22 12 01tt, 4 (1to 4 IR 23 12 19to1z .16 .68 were entered, but some machines have 4 1;to 4 36 24 I2 3 ..12 54 .6'1 ad,.:itional capabilities. They keep a record of I ' 4.37to .1 54 .25 12 Y to12.'2 ./C arrount of merchandise sold in various cate- 4 55 to 4 26 12 i.1t.1,49C 71 I ,.1 gories(such 4 1?to 4 9C 12 't1tt, as arrangements,potted 4 `)1 to 5 09 .28 !? IC plants, giftware, etc.), automatically calcu- 5.IC,to 5 21 3.2tI., late sales tax, and show the salesperson the ,c .:36 .1 '5 exact amount of change to give the cus- 5 4/,0 5 64 31 .. t.r.. 4. 1'2t,,' tomer. ! /5 Po 5 8",' J ti'' tr. :4 (4

5 R', 4 6 0(7. 4 CI ' :

.1 .1 1 .. ,.1 /. ! 6 01 10 , Making Change 6.19 44 6 lq. 1 .' 1_1 51 41 ' .17 , C c. .1 .: , *, 1 f . ( 4. y, Often a customer pays in cash with a bill f 0 (. 6 .: rI larger than the amount of purchase. That ( (71 / i) / 6 / .... IC 11 bill should be placed on the ledge above the 7 :In 1 ..1' cl ;.( I '14 cash drawer until the correct change has , 5.1 1 47 1,_, I o 5.11 . I been made. Then if there is any disagree- 17 Of ' 519, ment over the amount, the original bill given (q. .1: '4 01 o '71 ., 09 c : IIII, Iri .15: I / by the customer is still in view, When mak- 1' e. ing change, both the customer and the ( t,1 r ..1 .de T')!) salesperson can understand one another Figure 23-2 Ohio Sales Tax Tablp 355 immilm.1...111ma. taliblY==nin MINIM S. best if the salesperson counts up fromthe purchase amount to the payment amount given by the customer. For example, a cus- OS 1 tomer pays for a $3.56 purchase with a$20 bill. When returning the change, the salesperson should count in thefollowing order: Mama! Salesperson Salesperson gives: says:

"3.56" 4 pennies "3.60" 1 dime "3.70" 4I4, 1 nickel "3.75" Cash registers are used to totalindividual 1 quarter "4.00" orders and keep a record of sales 1 dollar "5.00" 1 five-dollar bill "10.00" 1 ten-dollar bill "20.00" Cheeks and Credit Cards Checks are usually accepted the same as cash from customers who are known inthe Symbols of credit cards and wire services shop. The manager will set a policyfor used are posted on the flower shop door approving checks. Often thisincludes asking for one or more pieces ofidentification

(such as driver's license or credit card), or DO NOT CIRCLE EXPIRATION DATE USE BOX BELOW listing the customer's telephone rr,mber PRESSFIRMLY USE BALLPOINTPEN AMOWIT EXPIRATIO! WAN CUM OESCAIPTIOR POKE and address. I DATE i I CHECKED I I Credit cards like Visa or Master Card are .....4...--.. I accepted by many businesses. The appro- ...... __L card. ""I" SUB I priate form, along with the customer's TOTAL I T 10CHECIL NO LK NO STAID REKIMPT CLARK is run through a machine thatmakes an TAX 1 SALES SLIP IA 511 The shop 0,-...r.r. sc1nowIs4.pleteMf01goods WARN I imprint of the number on the card. NIS FORM TOetUSEDVATH ogr$441la podono AN0/11 6 amount of IhoToIN Shown KARINA onO 1 OINIENions HI bonIn 11L1CINVIOMeell Mr*OfT4AI TAM ITN 4400f. manager establishes thepolicy regarding CUSTOMER SIGNATURE 5Cogyi TOTAL I what additional information should be re- X. 1 SAMPERF U S Pat 4,403,793 SPLIT CARBONS quested from the customer. Some will re- HELP PREVENT quire address or phone number onthe form, LMERCHANT CORI] FRAUD while others call in for clearance orcheck published lists of card numbers thathave been misused. Credit card form

1'1 Li, 356 The salesperson should become familiar name and address of the person or place with the procedures for completing the sale receiving the flowers with money, personal check or credit card, as well as the procedures for extending date and time the item should arrive at the credit. Each transaction should be handled destination as smoothly and efficiently as possible, name and address of the customer placing the order

TELEPHONE SELLING terms of the billing, including total cost and who will be responsible for the bill Much of the selling in a traditional retail (name and address) flower shop is done over the phone. The Selection guides are useful in showing customerssame principles of selling apply when deal- sample arrangements that can be wired ing with cukomers over the phone as when FLOWERS BY WIRE dealing with them in person. The major difference is that on the phone, one is limited Most full-service flower shops belong to to word descriptions of the product being one or more wire service organizations. offered. Customers can place an order with a member flower shop in one city that will be filled The people who answer the telephone and delivered in another city by another should be thoroughly knowledgeable about niXnber florist. The wire serviceorganiza- products, prices and services offered by the tionprovides members with selection shop. They should have a pleasant and guides which show pictures of arrange- confident telephone voice. They must be able ments that can be ordered. Florists use the to communicate verbally with the caller to selection guide in selling, sending and filling determine the customer's needs, explain orders. alternatives, and give assurance that the shop will be able to handle the order compe- The largestand best-known wire tently. If the salesperson has any doubt that services in the U.S. are: The AFS selection guide is used as a colorful the selection can be filled with the requested part of the store display style or materials, the customer should be Flowers by Davids Square, Columbus American Floral Services, Inc. asked to give a second choice. P.O. Box 12309 Oklahoma City, Oklahoma 73157-2309 Information from a telephone order must be complete and legibly recorded. It should include: first choice of item to be ordered; (and American Floral Services, Inc. second choice if necessary) Carik Services, Inc. P.O. Box 24286 message for the enclosure card Denver, Colorado 80224 357 AWE_ Florafax International, Inc. --ikAk 4175 South Memorial Drive Tulsa, Oklahoma 74145 INTERNATIONALFLORATFAK Florists' Transworld Delivery Association (FTD) 29200 Northwestern Highway =1140W4P1 P.O. Box 2227 041P- Southfield, Michigan 48037 11 Redbook Floral Services P.O. Box 258 Paragould, Arkansas 72451 flonst ser vices The Mercury console is used to send FTD orders Maple Lee, Worthington Teleflora 2400 Compton Boulevard Redondo Beach, California 90278 Mefloia Some non-florist organizations also provide customers an opportunity to wire efficient and easy-to-use system that canbe In addition to the potentialfor Increased flowers to other cities. Examples include operated at a cost comparable tothe sales, there are other advantagesof belong- Flowers by Wire - Sears, Roebuck & Co., telephone charges involvedincalling ing to a wire serviceorganization. One is Flowers-By-Western Union, and 1-800- member florists in the traditional way. their extensive advertising program,includ- FLOWERS. ing use of prime time television.The viewer Wire organizations publishmembenhip frequently sees attractive FI'D promotionsof Wire services act as clearinghousesfor directories which list memberflorists. They orders sent by wire. Regular statementsof look similar to big telephone books.If more incoming and outgoing orders areprovided than one florist is listed for a city, the names by their computer networks. Eachmember are rotated eachtime the list is printed so the is identified by a code number.The code same member is notalways at the top of the numbers of both sending and receivingflo- list, rists are listed on all records of anorder. Wire service organizations havecertain In the case of FM), the organizationhas standards members must meet andrules developed the Mercury Network which they must follow. When floristsapply for allows orders to be relayed efficientlyto membership in the, organization, they are receiving florists through a central com- riot automatically guaranteedacceptance. puter. Florists with a Mercuryconsole type Inspections of the shop are conductedand the informationintothe system.I3oth test orders sent to make sure thatquality sending and receiving florists get aprinted products of expected value are beingpro- Wire services promote specialtheme copy (hard copy) of theorder. This is an duced. arrangements which are widelyadvertised 358 their selection of everyday bouquets in addi- name and address of the person who tion to holiday and special occasion flowers. will be receiving the arrangement, Wire services also wholesale merchandise including city or town and state used for their special bouquets as well as supplies, clothing (such as work smocks), h- when the arrangement is to be signs and forms. They provide educational delivered materials and programs for members to improve their design skills and business what the enclosure card is to say operations. The florist then selects a receiving florist Magazines published by these organiza- from the directory, writes down the shop tions are yet another way to transfer infor- code number, and places the order by tele- mation and stimulate florists to try new and phone or enters it into the computer console The arrangement created from a wired-in better ways of doing things. Some of the (depending on the system being used). The order should closely resemble the customer's more familiar trade magazines are: choice at the local florist customer's bill includes price of the arrangement plus telephone or transmittal charge. Florist (FTD) Flowers & (Teleflora) The sending florist will receive between Design fot Profit (Florafax) 10 and 20 percent of the value of the order. 4 Professional Floral Designer (AFS) About 5 percent is retained by the wire service. The receiving florist must fill the order at its full value though receiving only Procedure for Handling Wire Orders about 75 percent of the value of the arrange- Aft, ment. A tally of incoming and outgoing A customer can either telephone or visit orders for each member shop is kept by the a member shop in order to have flowers wire service. At the end of the month the delivered in another city. A customer who service sends the member florist either a comes to the shop in person can choose an check or a bill, depending on the trans- arrangement from the selection guide. The actions involved. one who calls will need a salesperson to European wire service organizations are suggest a selection that will be appropriate linked to U.S. organizations so that flowers for the occasion and also will fall within the INTERNATIONAL FLOWERS BY WIRE canbe sent around the world by wire price range designated by the caller. Flowers can be sent by wire to many The salesperson should then take down parts of the world by the major wire service the following information: organizations.FTD'sinternational organization is known as Interflora, Inc. description and price of the arrange- Members from different countries use a ment common unit of value called a "fleurin" to avoid the confusion caused by the many name and address of the customer different kinds and values of currency. Members also recognize certain standard 359 terms and definitions as established by the B. Prepare a short sales presentation to organization;examples are arrangement, make to a customer who shows interest in a bouquet, and funeral sheaf. This reduces certain arrangement. misunderstanding over what is asked for and whatissent. Becauseof these 1. First make a list of descriptive words and internationalflowers-by-wireservices, phrases about the arrangement or customers can send flowers to other partsof flowers. the world almost as easily as within the United States. 2. Think of different circumstances in which the arrangement might cheer someone up, delight someone, or make a ovealloinIn Avcnrawrin= situation more beautiful. Create word pictures to communicate these positive Selling and Taking Orders results. A. Role-play situations in which one person 3. Give your presentation to the class. Ask Worldwide Delivery acts as the salesperson and another person for reactions of your classmates to find as the customer. The customerwill present out whether or not you have stimulated a certain need and thesalesperson should interest in buying the arrangement. react in an appropriate way. Teleflora advertises worldwide delivery

Here are some suggestions: C. Practice answering the telephone with another student acting as the caller. Try 1. A customer wants to wire flowers to an handling some of the following situations aunt's funeral in California. that you might encounter.

2. A teenager wants to buy flowers forhis 1. A customer is ordering a centerpiecefor girlfriend for the prom. He has never a S'It.urday evening dinnerhe is hosting. before been in the flower shop and does Hedoes not have a set price in mind. not know what he wants. 2. A customer is complaining about an 3. A middle-aged lady comes in tobrowse. arrangement that was sent from your She has a vague interest in some flowers shop the week before. The flowers lasted for her home. only three days before they died. 4. A garden club member comes intothe 3. A customer wants a dozen roses sent to store wanting supplies and some flowers his mother in New York City. for a club flower show. 4. A lady wants to know what thestore's 5. A man comesin and wants to send a credit policy is. plant to a new business that is opening in t own. (cont inued) 360 5.A man wants to have the FID valentine special bouquet sent to his wife. DATE P.M. CHARGE C. 0, D. PAID

D. Practice writing up an order on the form provided on this page, using the following Send to information. The order was called in by Mrs. Marjorie Harrington who lives at 310 North Rowe Phone Street, West Salem, Ohio 44287. Her phone Description number is 843-8993. She has ordered a $35 centerpiece arrangement of spring flowers to be sent tu her sister, Mrs. Dorothy Arnold of Route 1, Wapwallopen, Pennsylvania. The arrangement is for her birthday and should be delivered on April 4. She wants the card to read, "To a dear sister on her birthday." The arrangement is to be charged to Mrs. Harrington's account at your shop. You send the order to Teleflora shop 907 in Pennsylvania. The phone call is $1,80 and the tax on the order is $1.58. Card

E.Practice making change for various sales. Obtain or make paper money but use real coins. Count out the change as you give it to the customer.

Amount Amount Charge to of sale given

$1.62 $2.00 $5.37 $10.00 $12.15 $20.00 Phone $17.02 $20.02 WIRE Code No. $8.44 $20.00 $10.97 $21,00 IN OUT FTD TF FX AFS Other

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94' Itik ' s'lq.))21Q11 irt 4 . 11/4. 4 Ne. 4,k / 62 Arrangements, bud vases, bunches of Tools: flowers, corsages and potted plants should ribbon scissors Figure 24-1 all be wrapped neatly before they leave the floral shears Enclosure cards shop. The wrapping will allow customers or stapler delivery people to carry the purchases eas- knife ily. It will also protect the flowers from cold plant sleeving stand temperatures, drying winds, and mechanical injury.

An enclosure card may be included if the POTTED PLANTS purchase is a gift.(See Figures 24-1 and 24-2.) If it is to be delivered, the name and Prepare potted plants for sale by clean- address of the recipient should be listed on ing the pot and plant, wrapping the pot with the outside of the card. Care tags for decorative foil, adding a bow, and attaching arrangements, cut flowers or putted plants a care tag to the stern of the plant. Usually can be included with the packaging(Fig. this is done before the plants arc placed on 24-3). These tags will remind customers of display in the shop. things they can do to prolong flower life, thus lengthening the time they have to enjoy the Packaging foiled plants for removal from purchase or gift. the shop is most easily done by using a sleeve, a cone-shaped piece of wrapping Items commonly on hand in flower shops paper or plastic. An efficient and trouble- for wrapping and packaging are listed as free way to stip on the sleeves is to use a follows: sleeving stand, a vertical rod about 36 inches high with a small platform at the top (Fig. 24-4). Paper or plastic plant.sleeves are Packaging Materials: put in place over the sleeving stand. Slip one green waxed tissue paper Figure 24-2 Enclosure card with envelope sleeve on the stand at a time, or a large wrapping paper on a roll bunch if you will be doing a lot of sleeving. shredded waxed tissue paper Place the potted plant on the small platform rose boxes and pull a sleeve up around the plant, Then corsage boxes and/or corsage bags lift the sleeved plant off the stand by holding pkist ic bags in assorted sizes on to the sleeve. If the plant is not too heavy I'M plastic boxes or fragile, it can even be carried by the sleeve. THIRSTY plant sleeves Or play it safe and carry the plant with one OASIS Fl ORAL FOAM cardboard boxes and delivery bases hand under the pot and the other holding on ADD WATER NDW and DAILY to the sleeve. Fold the top of the sleeve over and staple it shut. Then, if it is going to be Other Supplies: delivered by the shop, tag the sleeved plant Figure 24-3 care tags Caro tag cellophane tape with gift tag and deliveiy instructions. staples ribbon enclosure cards florist foil

I i) , Afor 363 WRAPPING CUT FLOWERS

The following procedure is for packaging most kinds of cut flowers using panel-,How- ever, very special or expensiveflowers, like long-stem roses, should be packaged in a box. (They will be discussed next.) Figure 24-5

1.Tear a rather large piece of wrapping paper from the roll and lay it onthe counter. 2. Lay a piece of waxed green tissue paper on the wrapping paper.

3. Lay a few pieces of foliage (such asleath- erleaf or huckleberry) diagonally on the paper, pointed toward one corner. SOLD Figure 24-4 Sleeving stand 4.Lay the flowers on top of the foliage(Fig. Figure 24-6 TO with plastic sleeves 24-5). Spread them out a little, if necessary, so they don't lie on topof each other. Tag that indicates 5.Fold one corner of the paper overthe the plant is sold stern ends. Then roll or wrap the restof the paper around the flowers so they are rolled up inside (Fig. 24-6), The paper will be cone-shaped, tighter aroundthe stern end and flared out where theflowers are.

6.Fold the open end of the paper over the flowers, and staple (Fig. 24-7). Figure 24-7

Wrapping cut flowers at the sales counter

7 4c. BES 4e. 364 ROSES IN A BOX 5.Place a iew pieces of foliage on top of the lower part of the stems. Some baby's Rose boxes are long narrow boxes with breath may be placed on the foliage. lids that will hold a dozen roses. The boxes are sold flattened and must be bent into 6.Fold the tissue paper neatly over the shapt before use. flowers.

Rose thorns are usually removed with a 7.Place the lid on the box. metal stem stripper or by rubbing down the lower part of the stem with a soft cloth. 8. Wrap #9 satin ribbon around the box and attach a bow (Fig. 24-12). A few Machines are available that mechanically \p, remove the thorns without damaging the pieces of leatherleaf and baby's breath rose stem (Fig. 24-8). may be hot glued between the ribbon Figure 24-9 loops for a special look. Since roses are quite perishable, some florists choose to include a piece of soaked, 9.Place the enclosure card in an envelope. foiled floral foam in one end of the box: the Write on it the name and address of the stems can be inserted into this foam. Also person to whom the flowers are to be available are small water packs containing delivered and attach it to the rose box. soaked foam which can be stapled in the end of a box. Or, roses can be and frequently are packaged without soaked foam, as in the following example. Figure 24-10 1.Shape a rose box with its accompanying lid.(SeeFigure 24-9 for materials needed.)

2.Line the box with waxed green tissue paper, allowing ample paper to mtend beyond the edges of the box (F'ig. 24-10). This will later be folded over the flowers. regoluillx,:rw 3.Place a layer of foliage (leatherleaf or huckleberry) in the bottom of the box. Figure 24-11 4. Arrange the roses in neat rows with about three roses to a row (Fig. 24-11). Each row should be slightly below the previous one so that no Hower heads are hidden. Figure24-8 A mechanical rose stripper Figure 24-12 365

CORSAGES A egid plastic box may be used instead (Fig. 24 .14). Like a cellophane bag, itwill and BOUTONNIERES allc7 the corsage to be seen throughthe wroming. Place a layer of shreddedwaxed Corsages can be packaged in cardboard paper in the bottom to cushionthe flowers, or plastic boxes or placedin cellophane With either rigid plastic or cardboardboxes bags. Before they are inserted, theflowers there is less danger of the flowersbeing 4, should be misted lightly with a fine sprayof crushed, and the boxes can be stacked. water to help keep them fresh.

If a cardboard box is used, first open the ARRANGEMENTS box and place a layer of shredded waxed Figure 24-14 Rigid plastic corsage box tissue paper on the bottom. Lay the corsage A simple wrapping for arrangements and/or boutonniere with attached pins on them the shredded paper. If there is an enclosure that are in stable containers is to place in the center of a large pieceof tissue or card, it can be put inside the box. Close the wrapping paper. Bring the ends up,fold lid and tag the box for delivery. them over, and staple them (Fig.24-15). pleats of When using a cellophane bag, first insert Then fold and stanle the larger the end paper so the wrap looselyconforms to the your hand in the bag to open up sacks can folds, making the end of the bag somewhat shape of the arrangement. Plastic square. Place a layer ofshredded waxed be used instead, slipped over arrangements paper in the bag and lay themisted corsage and stapled (Fig. 24-16). on the paper. Fold overthe open end of the cellophane is When a pedestaled container needs tobe bag twice, but make sure the stapled not pressing on the flowers. Securefolds packaged, a cardboard base can be with two corsage pins, one at each sideof the around it to give stability to the arrangement (Fig. 24-17). This will help keep the arrange- bag. (See Figure 24-13.) ment from tipping over when it istrans- 4.- ported. Paper can then be wrappedaround Wrapping paper on a roll in a metalholder the arrangement as with any otherdesign.

A small arrangement can be madestable by loosely wrapping its base withwaxed tissue paper and placing it in abox that is slightly larger than the arrangement(Fig. 24-18).Extratissue paper carefully crumpled in the corners of the box will help keep the arrangement from shifting.If the box is tall enough, it can be closed overthe arrangement. If not, in cold weather atent of waxed tissue paper can be taped overthe be Figure 24-13 Cellophane corsage bag top.In warm weather no covering may required. s 4., Hi 366 Care tags, enclosure cards and delivery instructions should be attached to the arrangement. A plastic card pick is often used (Fig. 24-19), inserted into the foam. Often a small packet of floral preservative is included for use when watering the arrangement. )14,

DISH GARDENS

Li Living plant groupings should be sent out with clean containers and properly watered plants. As an extra touch, plant shine is sometimes applied to the leaves of foliage plants to make them glossy, However, if too heavily applied to both upper and lower 1;1 leaf surfaces, plant shine will reduce the food-making ability of the plant.

Figure 24-15 Figure 24-16 Figure 24-17 Enclosure cards can be placed in plastic Tissue paper around an Plastic sack stapled around anCardboard base stapled around card picks and inserted into the soil. Packag- arrangement arrangement a pedestaled container ing consists of wrapping the dish garden with waxed tissue paper and placing it in a cardboard box (Fig. 24-20).

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Figure 24-18 Arrangement cushioned in a box Flgure 24-20 Dish garden wrapped with with tissue paper tissue and placed in a box Figure 24-19 Plastic card picks , , a 15 11VIgli.1) Practice wrapping and preparing fordelivery ak as many of thefollowing products as are available to you. Include enclosure cards, care tags, and deliveryinstructions. Check for neatness and attractive presentationof the product.

1.6-inch potted chrysanthemum 2. bunch of mixed flowers andfoliage 3.one dozen roses andleatherleaf it 4.corsage and boutonniere

5.triangular arrangement in a pedestal container rr 6.small arrangement in a teacup r°41

7.dish garden Arrangement in a cardboard delivery box CHAPTER 25

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_ ar.1111111 The manager of a flower shop must RATIO MARKUP METHOD : determine a pricing system that will result in Illb..1111111M. a profit for the business. Because the cost of The easiest method of pricing is to figure running each business is different, and the total wholesale value of the material in a sales volume varies from one business to product and multiply it by a certain number. another, the same pricing policy will not Since some products require more labor work for all shops. Pricing also depends on than others and some items are more perish- the demand that exists for a certain item and able than others, it is logical to expect the what the competition is charging. The type of multiplying number to be different for differ- community in which a shop is located will ent items. also influence prices. Roses may sell for :1"111116.Aga:. $100 a dozen in New York City for When the value of the material is multi- Valentine's Day, but that does not mean that Each business must determine a pricing plied by two, the markup is said to be 2 to 1. system that will result in profit ior the a similar amount could be charged in When it is multiplied by three, it is 3 to 1, and business -ConnelPs, Columbus Wooster, Ohio. so on. Below are possible categories ofmark- ups. The wholesale cost of flowers and plants also changes with time. Flowers that are Markup Types of Items available at a reasonable cost during the season when they are most commonly pro- 2 to 1 gift items, supplies, hard- duced, can be very costly out of season. goods, cash-and-carry cut Heavy demand for flowers for a holiday like flowers and plants Valentine's Day will also increase their wholesale cost. If a florist keeps a fairly 3 to 1 basic arrangements, bud steady price on a given arrangement, the vases, boxed flowers, profit will be higher at some times and lower decorated plants at others. 4 to 1 creative designs, basic Some arrangements can be made up corsages quickly, while others are more time-consuming. Corsages and wedding flowers often 5 to 1 wedding flowers, party involve a great deal of labor. Arrangements flowers, designs requiring a with many placements usually require more great deal of time and time than arrangements with fewer flowers. special attention Gift items require only the time involved in handling them, but they may sit in the shop for a long time before being sold. Example:

The manager must weigh all these con- Cost of materials for a basic round center- siderations and then decide what system of piece may add up to $5.00. This would be the pricing will work in different situations. The wholesale cost for the flowers, foliage and following sections discuss several methods container. that are used. fl 7-1, , 371

1/2 bunch pompon mums $1.25 0.4 x $20 = $8 1/3 bunch leatherleaf .50 1/6 bunch statice .50 or 7 carnations 1.75 1/3 block floral foam .25 retail selling price of arrangement$20.00 container .75 40% 8.000 Total wholesale cost $5.00 or $8.00 of materials This formula can also be used in another Using a 3 to 1 markup, multiply$5.00 by 3 way - to determine theprice of an arrange- to get a retail selling price of$15.00. ment. If you have used $10 worthof materials in an arrangement, you will find that you Whoiesale pricesmarked on coolec door $5.00 wholesale cost of materials should charge $25 for the arrangement. Don Johnson Florist, Lima x 3 $15.00retail selling price 0.4 x retail selling price =wholesale cost of materials or retail selling price = wholesale cost WHOLESALE PRICING METHOD of materials (40% of Retail Selling Price) 4- 0.4 Another pricing method is based onthe retail selling retail selling price = $10 concept that 40 percent of the 0.4 price should be made up of thewholesale the re- value of the materials used, while price maining 60 percent should covercosts of 2.122 = $25 retail selling running the business and should generate a 0.4 )10.00 wont. This relationship is shown bythe following formula: NESTING PRICING METHOD 0.4 x retail selling price = wholesale cost of materials At times a person buys wholesalefor a single price a collection of items of various the This formula can be used as aguideline values. The price of each unit within material group must then bedetermined. Sometimes for a florist in planning how much these individual items are packed ornested can be put into an arrangementthat is to sell one inside the other.Therefore, this method for a set price. For example, anarrangement within that retails for $20 should have no more of determining the price of each unit materials, the nest is called the nestingpricing than $8 worth (wholesale cost) of method. as shown by thefollowing calculation:

7 kr) BEST CO 372 Problem: The markup is added on top of the whole- A nest of three baskets is purchased for a sale price to determfne the retail price wholesale cost of $6.50. Determine the charged to the customer. wholesale value of the small basket, the Sample problem courtesy of Karen Wellbaum, medium basket, and the large basket. Montgomery County Joint Vocational School Solution:

Number each basket starting with 2 and add the numbers together. RETAIL COST OF GOODS METHOD small basket 2 medium basket 3 A fourth method of pricing involves figur- large basket 4 ing the retail value of each part of an 9 total number arrangement using theratio markup method and then adding a percent of profit Divide the total number into the pur- that is wanted for the business. In the chase price and round off to the next following example this percent of profit is highest number. 10%. The ratio markup that will be used is 2 to 1 for the container, mechanics, greens .72 Round off to $ .73 and accessories, and 3 to 1 for the flowers. 9 ) 6.50 63 Example: 20 18 An arrangement includes the following 2 materials at the prices indicated:

Multiply the above value by the number 1 /2 bunch pompon mums ($2. 50 /bunch) assigned to the individual basket to get 10 carnations ($0.30 each) the wholesale value for that item. 1/3 bunch huckleberry ($2.55/bunch) $6.50 wholesale value for the collection 1/3 block floral foam ($0.75/block) 73 1 container ($9.00/dozen) x 2 $1.46 wholesale value for small basket First figure the wholesale cost for the exact amount of each material used. Then list the $1.46 $2.19 $2.92 .73 appropriate markup for the item (either 2 to x 3 1 or 3 to 1). Calculate the retail cost of each $2.19 wholesale value for medium basket item. Add the retail costs together to obtain small medium large the total retail cost of materials in the basket basket basket .73 arrangement. x 4 $2.92 wholesale valuefor large basket 373

Rental Items Wholesale Amount Materials Markup Retail Cost Ratio Cost x 3 $3.75 0 $1.25 1/2 bunch pompon mums - x 2 1.70 14. .85 1/3 bunch huckleberry *-44 3.00 10 carnations x 3 9.00 .25 1/3 block floral foam x 2 .50 1.50 .75 1 container x 2 Total retail cost of materials $16.45

to Next calculate the 10% profit. Multiplythe all floral decorations by serving as props event, Urn total retail cost of materials by 0.1. Thenadd hold or display flowers. For a one-time this figure (profit) to the total retail costof renting these items is less expensivefor the materials to get the retail selling price. The customer than buying them. Someflorists z following calculations show that the retail also offer for rent large living plants orpalm fill selling price of this arrangement should be holders (metal tree forms) which they $18.10. with fresh cut palm foliage. rental Total retail cost of materials $16.45 A price must be established for the x 0.1 of each item. This will depend onthe initial 10% and the Profit 1.645 cost of the item, its life expectancy, = $1.65 difficulty in storing the item. Livingplants must be priced higher thanother items them, 14 .AL Total retail cost of materials $16.45 because of the expense of maintaining the difficulty in moving them, andthe rather Profit + 1.65 Candelabra Retail selling price $18.10 high probability of damage or rapiddecline while they are being rented. One possibleguidelineforpricing , supply-type rentals is 10% of thevalue of the RENTALS item. In theory the initial costwould be recovered after ten rentals. However,in Florists often have for rent items that are practice this is not the case, since an used by customers on a one-time basis. investment has also been made inupkeep Ht,t t- Items such as candelabras,kneeling and take- benches, pedestals, aisle posts, fountains, and repair, transportation, set-up down time, as well as storageof the item 4; large urns, and canopies may be usedfor weddings or parties. They enhance the over- between rentals. Al *4 A A L

Kneeling bench

7 4.4) , r' 1.Use the ratio markup method to deter- Markup Retail mine the retail selling price of the items Ratio Selling listed to the left. Their wholesale value is Price included in parentheses. triangular airangement ($4.00) 2. Use the wholesale pricing method (40% Oriental vase ($7.50) of retail selling price) to determine the following information. single spray corsage ($1.75) A. If a customer orders a $15 arrange- wedding bouquet ($6.50) ment, what is the total wholesale value of the materials you can use in it? cash-and-carry foliage plant ($0.75) B. If you use $6.50 worth of materials in an arrangement, what should you sell the arrangement for?

3. Use the retail cost of goods pricing method to calculate how much you should sell an arrangement for if it contains the following materials. Wholesale prices have been listed in parentheses. Use thesame markup ratios and profit percentage that were used in the example in this chapter.

12 snapdragons ($5.00 for a bunch of 10) 1/6 bunch baby's breath ($6.00/bunch) 7 carnations ($0.30) 1/2 bunch huckleberry ($2.50/bunch) 1/2 block floral foam ($0.50/block) 1 container ($1.25 each)

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7. 40, 376 gm. t Since a large part of the cost of operating a lower table. To be efficient the supplies a flower shop is in labor, everything possible should always be within reach of the should be done to maximize the efficiency designer even when sitting down. with which the work can be accomplished. While some of the efficiency can be brought Separate containers for trash and scraps about by the shop layout, more can be of floral foam will be needed near the work obtained by organized methods of doing area. Often foam and styrofoam scraps are things. Keeping good rei7ords, organizing saved to use as filler in certain kinds of large projects, and maintaining a neat work containers. Different styles of brooms and area canallcontributetoimproved dust pans for both floor and table tops are efficiency. used to keep the area neat and tidy. An area with a deep sink and water Figure 26-1Hanging orders on apegboard supply is needed for receiving and process- Connell's Flowers, Columbus WORK AREA ing cut flowers. Efficiency is improved if a Designers need a work table or bench supply of clean storage containers is kept that is conveniently located near the storage near this sink. Also, tools like counter- cooler, supplies and sink. It is helpful if there mounted stem cutters, machines to strip off are shelves or drawers near the work bench thorns, and floral preservative dispensers for storing tools and supplies that are fre- should be kept nearby. Screens to prevent quently used. An alternative is to use peg- clogging of the sink and a drain in the floor boards with hooks for hanging up tools, near the sink will help avoid time-consum- supplies and order forms (Fig. 26-1). Peg- ing unclogging operations or mopping up of boards also offer the advantage of locating a spills. particular item at a glance. A planned receiving and storage area for Design tables for making up arrange- non-perishable supplies and merchandise ments should be at a convenient height for should be set up. In large shops there may be working while standing up. This is usually less confusion if this area is separate from more efficient than sitting down, since the the flower-receiving area. It should be con- designer needs to walk around frequently to veniently located and well organized so that get supplies and also will be able to view the both designers and salespeople can find the 0 sdh arrangement at a better angle. The design items they need. table, therefore, should be higher than a

ANILA table one would sit at - usually about 40 to 42 inches high. SALES AREA

Corsage-making, however, involves a lot The sales area showroom is separate of wiring and taping that can be done just as from the work area, but they often are con- wellsitting down. A sepafate corsage- nected by a large open window or door to making center, where all the appropriate make communication and movement of Work area -Maple Lee, Worthington supplies are located, could be established at products easier between the two areas. The

, , .IS , ( , 377 sales area should be neat and appealing with A consultation area for weddings,funer- adequate floor space for customers to move als and special events will ideally be a sepa- about. Features usually found in the sales rate room if space permits. Ifthis is not area include: possible, a table and chairs for consulting can be placed in a moreout-of-the-way wrapping/sales counter with cash corner of the store. Useful itemsto have on register (Fig. 26-2) hand in this area are selectionguides, albums of pictures showing other work done by the shop, perhaps sample bouquetsmade 2.display refrigerator holding made-up ,olo arrangements and cut flowers for sale of silk flowers, and order forms. 1"1.17 3.display shelving, tables or racks holding II merchandise, arrangements and plants STORAGE and INVENTORY Flgure 26-2Wrapping/ salescounter for sale ATI, Wooster Containers, foam, accessories and sup- 4.consultation area with table and chairs plies of all types must be unpackedand stored until they are used in arrangements Two Sales Areas - Maple Lee, Worthington or put on display in thesales area. The items A.Arp The arrangement of the sales area will that are used frequently must be stored in a depend on the size and configuration of each convenient location. Supplies that areused individual shop. However, a key point less often or are seasonal maybe put in aless should be to provide a good traffic flow accessible place. pattern within the area. The display cooler should be prominent, perhaps opposite the front door because of its potential value as a sales tool. The wrapping and sales counter should be easy to access from any display area in the shop. It is usually near the back of the shop between display area and workroom. This will draw customers through the dis- 4 play area and give salespeople easy access to the design room and supplies. Located on or near the sales counter are itemslike cash register, telephone, sales tax and credit information, boxes, bags, wrapping paper, and all other tools and supplies needed to package up the merchandise. Selection guides from various wire organizations may also be placed here, Well organized storage area The Flower Gazebo, Findlay

BEST COPY AVAILABLE 378 All the supplies that are on hand ina more profit. Turnover rates in an average shop collectively make up its inventory. Thr, flower shop have been estimated as follows: faster these items can be sold or "turned over," the more profit the shop can make. cut flowers 175 Sometimes supplies are bought in advance plants 90 and stored for some time before being used gifts 3 because they are seasonal or unique. They other merchandise 6 may not be available year-round, so must be purchased when the opportunity arises. total average 23 Another reason for buying in advanceor buying in larger quantities As that often A total accounting of inventory may be items are offered at a special reduced price, taken monthly, at the end of each season, or or substantial savings are realized when at the end of the year. It is important to know buying in larger amounts. These opportuni- the total inventory for the year in figuring ties, plus the amount of storage space avail- profit and for tax and insurance purposes. able, will influence the amount of early Salable items are divided into categories, buying that is possible. In any case, the listed and counted. The unit price of each buyer should have a fairly clear idea of how item is multiplied by the number of those the items are going to be used. Bargain items in the inventory. These figures are merchandise that nobody wants to buy will then added together to give the total amount sit unused on the shelves and represents of money invested in the inventory. wasted money.

The method chosen for keeping track of Sales area - Maple Lee, Worthington inventory is a management decision. The PLANNING for larger shops use computers as a valuable HOLIDAYS and and time-saving way of knowing exactly IMPORTANT EVENTS what items are on hand and the price that was paid for them. In smaller operations Special holidays for which flowers are purchase records should be kept systemati- traditionally purchased, or weekends with cally in notebooks. Another way to help keep large wedding or party orders are busy times inventory organized is to tag each in-coming for florists. If the work is to be handled item with a price and also a code indicating efficiently, some thoughtful planning needs the supplier and the date received. to be done. Of course, florists are sometimes pressed for time if they get an unexpected Some items are in the shop only a few large funeral order or a rush of last-minute days before they are sold, while other items orders. Usually, however, florists can antici- sit on the shelf for several months. The pate busy times, based on past experience, number of times the same item could be sold and plan ahead for them. in a year is called its turnover rate. A higher Here are some suggestions for handling Orders organized by day on hooks near the turnover rate is desirable because it means telephone - Kiefer's Floral, Coshocton busy times in the flower shop.

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Have needed supplies on hand and organ- The consultation should takeplace ized in advance. wherever there is the least chance ofbeing interrupted. A separate consultation room, Atatea..1111111116111111 Place the flower order with wholesalers at if available, is ideal because it also allowsthe teNksikk least a week in advance, and earlier if florist to display pictures, books andsample special items are requested. bouquets. These items create apleasant atmosphere and help sell thewedding Prepare containers with soaked foam and flowers. green-in the basic shapes with foliage several days in advance of adding the A wedding order usuallyinvolves several flowers. (See Figure 2C-3.) bouquets, corsages and arrangements.If a wedding order form is used, its formatwill Begin wiring long-lasting foliage for cor- suggestall possible needs in a logical sages or bouquets a couple ofdays in sequence. The widely-usedJohn Henry Figure 26-3 Arrangements greened in and advance. Then wire the long-lasting flow- Wedding Order Form is one of these, withall stored in the cooler ers and leave only the verydelicate ones for the information assembled on one page.(See last. page 228.) Such formsmake sure that nothing is left out in the discussion. Even working alone, set up an assembly line procedure whenever you can. It is The florist now has an overviewof the usually more efficient to perform the same project which is useful infiguring flower step on all pieces before moving on tothe orders and costs. A total costshould be next operation. figured and agreed upon. The bride'sfamily is usually responsible for payingfor most of If several people are working on a project, the wedding flowers. Exceptions arethe assign certain steps to each onerather bride's bouquet and corsages for themoth- than having each person do all the steps. ers and grandmothers,which are typically People usually become more efficient paid for by the groom. Usuallythe total when repeating the same task rather than wedding is offered for a set price. Thebride switching from task to task. is often very firm about what shewants. But giving a skilled florist the opportunityto A comfortable wedding consultation area make substitutions and be morecreative The Bouquet Shop, Wooster TAKING A WEDDING ORDER can often bring her even moresatisfying and special results. Once a prospective bride has chosen a well under- color scheme, selected the dresses, and Terms of payment should be stood by the customer. Usually anadvance determined the size and location of the balance wedding, she is ready to visit a florist and down payment is required with the delivered. place her wedding order. It works best if the due when the flowers are bride makes an appointment with the florist for a time that is convenient for both parties.

BEST COPY AVAILABLE W0001IMUM) &CUI1711`ErIIEN 1. Make a drawing of a work area that will 20' include work table, storage cooler, sink and supply storage. First draw what you would consider an ideal situation. Then draw an actual situation where you have worked, either at school or on a job you had in a real flower shop. Compare the two drawings. Would it be possible to make any changes in the arrangement of the real work area to make it more efficient? 2. To the left is a sketch of a flower shop sales area that is 20 feet by 30 feet. Draw a possible layout which will include wrapping/sales counter, display refrigerator, display shelves or tables, and consultation area.

The counter, display units, refrigerator and table and chairs of the consultation area can be drawn to scale on a separate paper. Cut them out and move them around on the floor plan to visualize different possibilities.

3. Think of an important decorating event you have been involved in. Make a daily calendar for the week preceding the activity. List on it what you could do each day to get ready and how you could help eliminate the last minute rush. full glass display window door 4.Role-play taking a wedding order. One student will act the part of the prospective bride while another will be the florist. The florist should use a wedding order form and fill it out during the discussion. The florist may need to ask questions if the bride does not volunteer all the information.

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BEST COPY AVAILABLE. `' Hemmerly's, Marion t) 'On I BEST COPY AVAILABLE 382 Neat and Attractive Store Exteriors Customers j udge a floral business by the view into the store with decorations used attractiveness and quality of its displays. against a solid background. This usually is The front window is seen by many more fabric or other backing material whichen- people than will ever enter the shop. Some hances the display, helping carry out the viewers may be attracted into the store by an theme or color scheme. especially dynamic or appealing display. But most people form a quick impression based Effective window displaysrequire on what they see and go on their way. The thought, planning and a degree of creativity. florist hopes that when these people are ina They are set up from one side, but will mainly situation where they need or want to buy be viewed from the other side. Objects that flowers, they will remember the shop. If it are very pretty close-up may be "lost" at a made a favorable impression on them,a visit distance. Insufficient materialsmay make or telephone call to the establishment could the window look bare, while toomany can then result. Parkhurst's Flower Gallery, Medina result in a cluttered appearance. Ifyou are working on a window display, take time togo outdoors and look at it from the sidewalkor STORE EXTERIOR road so you can determine what the impact will be on potential customers. Hereare The exterior of a flower shop should be some additional suggestions for creating e well maintained and have easy access from window displays. the parking area. An easy-to-read and attractive sign should be located where it can Select a theme for the display. The overall be seen easily from the street or road. This message of the display should be obvious f. 4C4144%40 . will help bring in business. If the situation to the person driving or walking by. permits, a well landscaped entrance with " flower beds or containers of flowering plants Select an overall color scheme. Examples 4 during the growing season is desirable. are red and white (Valentine's Day), white Boulevard3ardens, Portsmouth Outdoor decorations can continue into the and silver (winter), or a triad of bright red, f...1 wintu, especially in December when roping, yellow and blue (summer). lighted trees, and door decorations createa "t f festive Christmas mood. /' WINDOW DISPLAYS I! The window is important whether or not it is complemented by a decorated exterior. Most windows are large and allow the cus- 4 tomer to see into the shop. Window decorations that encourage this make use of dis- irot plays t hat only part tally block the view into Maple Leo, Worthington the store. The other approach is to block the Valentine's Day window- Maple Lee, Worthington

b/)) BEST COPY AVAILABLE 383 Special themes for each month Seasonal Changes in Window Displays Select a focal area and develop the display The Bouquet Shop, Wooster around it. The focal area should be relatively large and well lighted. Using anima- January New Year's Day (1st) tion, simulated or real, is a way to draw Winter attention to this spot. February Valentine's Day (14th) Display items at various levels, using ped- Presidents' Day :7. estals or other props to raise plants and flowers to different heights. March St. Patrick's Day (17th) Spring Create a feeling of depth by placing items both to the front and to the back. Even if April Easter (between March 22 the window area is narrow, a feeling of and April 25) perspective can still be established by Passover tIArt:w using larger objects to appear close and Secretary's Week Spring smaller objects to appear farther away. May Mother's Day (second Use oversized items when necessary so Sunday) 11111"177r__17141E they show well from a distance. Generally, Memorial Day (last Monday) the use of fewer objects of a larger size is more distinctive and impressivethan the June Father's Day (third Sunday) use of many small items. Summer Group arrangements and objects, leaving July Independence Day (4th) )1 spaces or voids between the groupings. oh, August Summer Frame the display on at least two sides September Labor Day (first Monday) with items like curtains, tree branches, Summer corn shocks, etc. Autumn Use spot lights to feature key parts of the October Columbus Day display. A window must be well lighted if it .1.3osses' Day is to attract attention. Sweetest Day Mother-in-Law's Day Keep all cut flowers and plants watered Halloween (31st) and in good condition. November Veteran's Day (11th) Window displays should be changed Thanksgiving (last 416 often to be current with the season and Thursday) specialholidays. Seasonal a.idholiday themes 1 hat might be considered for window December Christmas (2tith) displays are: Hanukkah Autumn

4.0 BEST COPY AVAILABLE 384

Sales Area Displays Permanent items used to create displays are calledprops.Examples include pedestals, urns, arches, benches, topiary forms and grass mats. Many of these items can be purchased from wholesale houses. Florists also usually collect and make props which suit their individual situation and style. Fireplace mantels, Oriental screens and flower carts are among the favorite props used by individual florists to develop particular themes or moods. These items are & valuable, so they are usually stored in a 4 basement or attic between seasons of use. -1421ir k. The Bouquet Shop, Wooster Other props can be created by cutting shapes from cardboard, styrofoam or other foam core. Fabric may be draped over boxes or other supports. Small trees and branches can be anchored upright and then decorated with silk fl, ..wers and leaves. Silk materials work well in window displays oecause they are not perishable.

Props can also be rented or borrowed if there is a convenient source. A greater variety of materials and themes can then be

t, A 1. . developed. Extra variation and creativity put 4 40. into a display are more likely to attract Hemmerly's, Marion attention to it. Besides that, it is more fun! Ilaf SALES AREA DISPLAYS (See Color Plates IV-4 and IV-5)

Displays within the sales area should be as exciting arid dynamic as the window display. Featured merchandise, flowers,

A . ..,...... 4 plants and designs will sell better if they are .. , 7)* , changed to be in harmony with the changing seasons and holidays. New merchandise . should be prominently displayed in coordi- 5 41111111.i I il nat ed groupings with appropriate back- Boulevard Gardens, Portsmouth grounds and accessories.

' , , fp/BEST COPY AVAILABLE 385 Frequent change s. of the in-store dis- Sales Area Displays (continued) plays not only create i..efreshing new combi- Mr "sail4."k nations, but also result in clean, dusted 011 merchandis. Items that have not sold well can be removed, redone or placed in new groupings where they may appear more attractive. Living plants will receive more ;1! attention. They may benefit from grooming or perhaps rotation to another areawhere they will get more light.

4 A variety of display units is preferable to just one type. A combination of shelves, round tables, flower carts, and recessed niches in the wall will add interest to a shop. Table coverings can be changed to complement the merchandise, carry out a color scheme, or reflect a particular theme. If space is limited, some items can be sus- f' pended from the ceiling or hung on walls or doors. Tiered shelving is another efficient Parkhurst's Flower Gallery, Medina way to display plants and other merchandise. #' Information you want browsing customers to see should be placed on signs nearthe merchandise. These signs should be neat and easy to read. Larger signs look more professional if they are done with a lettering kit. #

Take time occasionally to evaluate the shop's displays and traffic flow pattern. Walk through the door of the shop and view it from the customer's perspective. Does youroverallimpression include such thoughts as "clean", "neat", "interesting", "good smelling", and "pleasantly lighted"?

Since flower shops market aesthetically t. pleasing products, the experience of visiting your shop should linger as a pleasantand positive memory in the minds of your customers. Hemmerly's, Marion Don Johnson Florist, Lima

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Sales Area Displays (continued) GINKKtell'111.0 &C`XlIWIIIITEQ 1. Make out a monthly schedule for changing the window display of a flower shop. List the theme for each month's display. Also list the basic color scheme and major props you would use.

2. Sketch out a window display for one of the months. Indicate focal area and placement of the props. Make a list of all materials I you would need to assemble before starting.

blib . 3. Describe the lighting of the window dis- Maple Lee, Worthington play you have created. What type of lights would you use?Where would they be placed, 0 and how would you conceal them? 4.Create a shop or window display in a designated place at your school. Locate any props that are available, then decide if you need to borrow or make more. Draw up a plan for the fresh-cut flowers and potted plants you wish to use. Then assemble the display and maintain it for one week. Check with others who see your display and find out what their reactions are. Are they able to determine what the theme is? Are they interested enough to stop and examine the dis- I play in more detail?

Connell's, Columbus

BEST COPY AVAILABLE Plate IV-1

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United Floral, Canton

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Maple Lee, Worthington

THE RETAIL FLORICULTURE INDUSTRY

Engel's Wholesale Florist, Columbus

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De Santis, Columbus Don Johnson Florist, Lima The Bouquet Shop, Wooster

BEST COPY AVAILABLE Plate IV-2

FLOWER SHOP EMPLOYEES

Manager

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BEST COPY AVAILABLE Plate IV-3

CUSTOMER SERVICE

Advice on keeping quality Taking a wedding order De Santis, Columbus De Santis, Columbus

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Wrapping plants Writing up an order Selecting tlowers to wire Hemmerly's, Marion Maple Lee, Worthington A950Pirs, Columbds

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SHOP DISPLAYS

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, SHOP DISPLAYS (continued)

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Maple Lee, Worthington Parkhurst's Flower Gallery, Medina Parkhurst's Flower Gallery, Medina

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Aultman Hospital, Canton The Flower Gazebo, Findlay Toledo Florist Exchange, Toledo

Li BEST COPY AVAILABLE Plate IV-7

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CONSTRUCTING A PARALLEL DESIGN

Noreen Drake De Santis, Columbus

BEST COPY AVAILABLE Plate lV-8

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DESIGNING A CONTEMPORARY ARRANGEMENT

Roger Houseman Gonne lls, Columbus

BEST COPY AVAILABLF - 1011,44 ,41044 IP 4444A44.44v 4\ + 444.4 CHAPTER 28 ?up*4 4/0\444 4.444: v. 041,* s CCCOVIO1MCOStlfSICO 04. Lwacd 'JITC())/ailltICO 0A4A (CM' PLCOIYIT_Ct\hcs3 4,1

Underwater stem cutter- ConnelPs, Columbus

UQ u BEST COPY AVAILABLE r 388 All cut flowers gradually wither and die, The flowers are allowed to dehydrate but their life can be extended with good during harvesting or shipping. handling and storage techniques. Florists have a responsibility to offer quality flowers The flowers are not unpacked promptly that customers can enjoy for a reasonable and put in water buckets when received length of time. Some flowers, like chrysan- by wholesaler or retailer. themums, carnations and statice, naturally last longer than others, like roses and iris. The designer lets the flowers dry out or However, all cut flowers can be enjoyed does not soak the floral foam completely. longer if proper attention is given to water supply, sanitation, refrigeration, and use of Customers fail to add water to bud vases floral preservatives during their handling or arrangements. and storage. Figure 28-1 Designers do not leave room in the con- To produce the highest quality cut flow- tainer where water can be added. ers, proper care must be observed at all levels of the market chain- growers, whole- 2. Air temperatures are too warm. salers, retailers and customers. The Chain %a- of Life program (Fig. 28-1) was developed by The flowers are harvested in a hot green- the Society of American Florists to make house or allowed to heat up in shipping information available to all who handle cut cartons while sitting too long on docks or flowers concerning lengthening the life of in terminals. floral products. Their publications give .14 accurate and extensive information on all Refrigerated transit facilities or storage aspects of care and handling. coolers are not used. y.1 , Li k The cooler breaks down and heats up. rpoirY FACTORS AFFECTING The design room is very warm. the LASTING QUALITY of The customer places the arrangement 114* CUT FLOWERS near a hot-air register. f! e What caus,s flowers to die prematurely? r. t'4;* 3.Stems become blocked and can not f Here is a list of some of the more common take up water. reasons why flowers fail to last. As you read them, try to decide what role the grower, No one recuts the flower stems, wholesaler, retailer and customer of cut 4.4,4 flowers should play in overcoming each Stems are cut with blunt scissors. **7 problem. Air IP The storage water is allowed to get slimy Flowers are brought to retail florists in 1. Thefiowers run out of water. ref rig erated trucks - Toledo Florist Exchange with bacteria, which clog the cut stems,

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"111 4. Theflowers use up their storedfood. the bunch, it should be removed or loosened. --.44.01049" Flowers usually continue to open and they Flowers are stored in the dark for a long will need the space to do so in a natural way. -*** time. _Elirryr Immediately after they are unpacked, No one adds a sugar-containing floral the flowers usually have their stems recut. preservative to the water. They are then placed in warm water to which floral preservative has been added. They are 5. Ethylene gas causes flowers todete- allowed to stand at room temperature an riorate rapidly. hour or more before being placed in thef . cooler. These steps, aimed at making thestet .7- flowers last longer, are called conditioning. * Damaged flowers and foliage are not 044 .*41.W removed. Gerberadaisies carefully packed in All damaged flowers and foliage should cardboard shipping boxes Lower leaves on sterns decay under be removed. The damaged material is not water. usable and will give off ethylene, a gas which causes healthy flowers to agefaster. The Fruit or cut evergreens are stored near lower foliage should be stripped off the stems . the flowers. so none will be submergedbelow the water level in storage buckets. Again, foliage that is Shipping cartons containing cut flowers below the water will decay and give off ethyl-ompora--- are subjected to exhaustfumes from ene. It will also promote thegrowth of bac- delivery trucks. teria which make the water slimy and block water uptake by the flower stems.

CONDITIONING Use a sharp knife or sturdy counter- mounted stem cutter to cut an inch or two off CUT FLOWERS the ends of the stems. Do not use dull Figure 28-2Flowers in plastic buckets equipment or blunt shears; they can do Proper handling and storage of plant more harm than good by pinchingshut the materials will keep them in good condition water-conducting tubes of the stem. There is for a maximum length of time. Since cut no Increase in water uptakethrough a flowers and foliages are perishable, they slanted-cut stem. Underwater cutters that should be processed soon after arriving at are now available seem tohelp extend flower the shop. Boxes left for periods of time on life by minimizing the development of stern- loading docks or even in the store are subject blocking air bubbles. (See page 387 for the to temperature extremes and exposureto illustration of an underwater cutter.) harmful exhaust fumes. Flowers should be placed directly into Flowers are usually shipped dry in card- plastic containers that have been filled a When board boxes lined with newspaper. quarter to a half full of water to which afloral A fresh sharp cut should be made they arrive they should beimmediately preservative has been added (Flg. 28-2). to maximize water uptake unpacked. If there is a plastic sleevearound 8 o BEST COPY AVAILABLE 390 Directions for the correct amounts of water Powders mix best with warm water. Liq- and preservative to use will be found on the uids can be dispensed with a hand pump preservative conLainer. Metal containers that fits on the jugs of concentrated pre- may react with acidic preservative solutions servative. Another mixing method is to use a and eventually rust. It is a good idea to have proportioner that attaches to the water fau- a selection of container sizes that can cet (Fig. 28-4). The proportioner siphons out accommodate different stem lengths and the proper amount of concentrate, mixing it different size bunches. Flowers that hang with the water coming from the tap. The over the sides of a container can be easily latter method is more efficient when many damaged or broken off. buckets are to be filled.

After the flowers have been in preserva- Preservatives are also available in small tive water at room temperature from thirty packets (Fig. 28-5) that can be included with Figure 28-3 Mixing floral preservatives minutes to an hour, the bucket with flowers arrangements or boxes of cut flowers. The should be transferred to the cooler. It will be customer can mix these with water accord- stored there until the flowers are needed. ing to the directions and use the solution to fill a bud vase or keep the foam moist in an arrangement. Making preservatives avail- FLORAL PRESERVATIVES able to customers and informing them of the importance of preservatives is part of the Preservatives consist of two basic ingre- general Chain of We concept. Floral pre- dients, a sugar and a bactericide. The sugar servatives are recommended for use by all prolongs the life of flowers by supplying food links in the market chain- grower, whole- that the living plant tissues need. The bacte- saler, retailer and customer. ricide kills microorganisms that clog the Floralifes vascular tubes of the stem and interfere with water uptake. Proper sanitation of the cooler II and flower containers will also help keep bacterial growth to a minimum. Buckets should be washed out frequently with a disinfectant like bleach. The cooler walls and floors should also be frequently cleaned Figure 28-4 Liquidpreservative used with a proportioner to eliminate sources of bacteria. Floral preservatives are available as powders or liquids. They must be mixed with water according to directions given by the f/ (" I Wirer manufacturer (Fig. 28-3). Too small a con- 40;0410.000- centration can be ineffective, while too much APO' can damage flowers. Floralife and Florever are two major brand names. A flower conditioner that helps extend the life Figure 28-5Floral preservative in packets of cut flowers

%." 391 STORAGE COOLERS DISPLAY COOLERS Largt walk-in coolers are most com- Display coolers have large glass doors monly used for storage. They are lighted and and shelves or pedestals for displaying some have humidity control. Cut flowers are arrangements and cut flowers. Some display still living plants which can be maintained in coolers are large enough to walk into. In better condition under lights and with moist some shops the windowdisplay has been air. The air is usually circulated by a fan, but made into a large display cooler for holding flowers should not be placed directly in front fresh flowers. of one in blowing air. Buckets of flowers can be placed on the floor or on large storage Display coolers are usually brightly shelves which are usually installed around lighted with fluorescent lights to attract the edge of the cooler for more efficient use of attention and show off the flowers. A well- Roses in a storage cooler space. earned nickname for a display cooler is "the silentsalesperson" because made-up Temperatures inside the cooler are usu- arrangements and well-priced merchandise ally maintained at between 359 and 409F. in the cooler often create impulse buying. Flowers can be stored even longer at tem- The designs are ready for immediate sale. peratures i pproaching 329F, but that can be They can also be shown as examples to ii omt dangerous. The temperature in the cooler customers who are uncertain as to what could fluctuate right down to freezing, ruin- they want. Also, a good salesperson, by ing the flowers. describing additimial materials that could be added to the arrangement, can "upsell" a Tropical flowers like birds-of-paradise, made-to-order arrangement that costs anthurium, ginger and orchid:, should be more. kept in a separate cooler set with wanner Well organized display cooler temperatures (459 to 50°F). Temperatures Keeping clean and organized is very Flowers by Davids Square, Columbus below 40°F often cause these flowers to important in display coolers. The glass doors become limp and show signs of browning. especially must be kept clean so customers This is called chilling injury. If a second can see the floral productsto their best e-' cooler is not available, these sensitive flow- advantage. As soon as arrangements are ers could be kept in a part of the shopthat is sold, others should be put in their place, or not too warm. the arrangements that are left should be rearranged. Coolers should be cleaned regularly. --21110041 Buckets should be emptied promptly after Cut flowers should be displayed in flowers have been removed and washed out attractive containers that are in proportion D. with a disinfectant, Decaying plant materi- to the size and stem length of theflowers. als should be removed from the cooler. Every Mixed buncheq of flowers, bud vases and week or two the cooler should be emptied so novelty arrangements are good impulse that the floor and shelves can be washed items to include in display coolers. Open display cooler for merchandising down with a detergent solution. cut flowers - Cowgill's, Canton

6 #, 5 BEST COPY AVAILABLF 392 More specific information on coolers can be obtained by writing to manufacturers and distributors of florist coolers. Their names and addresses can be found under "Refrig- erators" and "Display Fixtures" in the Flo- Tropical flowers that may be subject to rists' Review Retail Buyers' Guide. chilling Injury

FORCING FLOWERS INTO BLOOM

The longer flowers are exposed to room temperatures (after their initial conditioning treatment) the faster they age and the Bird-of-paradise shorter the time the customer has to enjoy them. Deliberate exposure to warm temperatures is sometimes used to hasten development of flowers that are in tight bud. These flowers need to show more color if they are to be used effectively in arrangements. Gladioli and lilies are often shipped in tight bud andthen forced open by keeping them at room temperature after placement in warm water containing floral preservative. In general, the warmer the temperature, the faster the opening. Flowers which open readily (like daffodils and tulips) may be put into arrangements in the partially opened stage. This will allow customers to enjoy watching them over several days. Phalaenopsis orchid

Heleconia

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BEST COPY AVAILABLE 394 Living plants are not usually kept long in Avoid placing plants near hot air registers retail florist shops. While they are there, where they will be exposed to currents of hot however, it is important to care for them dry air, or near doors where they might properly. Furthermore, employees in a receive blasts of cold air. flower shop should know enough about living plants so they can give useful and correct Adequate Light information. Customers may want to know what conditions will be best for the plant and Light in a retail store or home is often how long the plant can reasonably be ex- below the minimum levels required for good pected to live. flowering plant maintenance. In low light plants will not be able to make enough food

.1116.410.11.1( L and they will eventually decline in quality. Supplemental lighting from lamps will help 71t FLOWERING PLANT CARE ;. overcome this problem. If plants can be Flowering plants should be at their peak displayed near windows, they may get of bloom or approaching it when purchased enough natural light to sustain them. by a customer. If the plant is not far enough along in its development, the shopper may not find it attractive enough to buy. If the plant has been in flower for some time and is starting to decline, the customer will not be able to get many days of enjoyment out of the plant.

AM. Before being put on display, plants Foliage plants in a retail display Parkhurst's Flower Gallery, Medina should be cleaned up (groomed) by wiping off the leaves with a damp cloth. Also, any dead (spent) blooms or damaged foliage should be removed. The best flowering plants will be symmetrically shaped and full of flowers.

The following environmental conditions will prolong the life of most flowering plants.

Cool Temperatures

Ver.: warm temperatures cause the flow- crs to age more quickly. Cooler temperatures make them last longer. However, care must Grooming flowering plants be taken not to chill sensitive plants like Connell's, Columbus African violets, gloxinias and poinsettias. Supplemental light helps sustain plant quality

, Cs I BEST COPY AVAILABLE 395

Adequate Water water then, Small pots dry outfaster than large pots, especially if they are madeof clay Both overwatering and underwatering or if they contain afairly large, leafy plant. can be a problem inkeeping plants looking Tropical plants offered for sale to usein good. Plants se: 7decorative containers are terrariums or dish gardens areoften in small and often overwate_ ,,z1 because drainage water pots. They will require careful attention :\**.** collects inside the container. The leaves then frequent watering while they are in the shop. turn yellow and drop off. Plants that receive too little water may becomelight green or Plants that are too large for a light cart pale yellow and also lose leaves.If not should be set on large plant saucers or Att. watered, they will wilt and eventually die. inside waterproof containers to catchthe drainage water. Watering should bethor- ough, so that some water comes outof the FOLIAGE PLANT CARE drainage holes. Then the plant is allowed to roliageplanters ondisplay dry out for a week or a little longerbefore its Maple Lee, Worthington next thorough watering. Frequentwatering Foliage plants can be expected to last reach indefinitely ii provided with favorable condi- with small quantities of water will not the entire root system. However,be careful tions. Although their care requirements may amounts of vary, most foliage plants canadapt well to not to let plants sit in laige drainage water. This can be aproblem when home conditions and remain popular with If the buying public. the pot is set inside a decorative container. you hear water sloshinginside the container when you shake it, you should takethe plant Unlike flowering plants, foliage plants Overwate:. 'ng may be kept by retailflc.- 3ts in the shop for out and empty the container. bJore they are sold. will waterlog the soil, causing roots to at least several weeks dropping -A When available, an attached greenhouse or and result in wilting, yellowing and conservatory is an excellent place todisplay of leaves. shops with- and maintain foliage plants. For deco- out such ideal facilities, the plants canbe Potted plants that are wrapped in rative foil are difficult to waterproperly. The maintained best on a lighted cart, table or to shelves, Plants that are set onwaterproof plants should be given enough water moisten all the soil, but not somuch that the trays filled with gravel will be easierto water soil becomes waterlogged. Thefoil will pre- properly. The plants also need adequate out of the light, or they will gradually decline inqual- vent the draining of excess water ity. Fluorescent light is economicaland also drainage holes. effective for maintaining foliage plants in a retail store. HANGING BASKETS Watering requirements vary depending on the type of plant,size of pot, and air Hanging baskets are mosteffectively temperature. Plants generally dry outfaster displayed at eye level so that one can seethe Watering large foliage plants Connell's, Columbus in warm temperatures andwill need more plants rather than the bottomof the

6 8 r) BEST COPY AVAILABLF 396 container.Hanging baskets canbe surprisinglyheavy,requiring sturdy suspension mechanics. If a hanging basket has an attached saucer to catch drainage , water, it may be carefully watered in place.

ANY.* The saucers often are quite small and can ,111.1 easily overflow if the basket is watered too heavily. Baskets without saucers should be taken down, watered thoroughly where they can drain, and returned to their suspended position. The baskets may need to be turned if exposed to light coming from one direction, as through a window.

Hanging baskets in a retail display Buehler's, Wooster CAUSES of PLANT PROBLEMS Similar symptoms can be caused by entirely different factors. When you are trying to analyze and correct problems, consider environmentalconditions and watering practices in addition to looking at the symptoms.

Problem Possible Causes

yellow leaves overwatering, underwatering, chilling, low soil fertility

Hanging baskets in front of a retail establishment brown leaf tips low humidity, fluorine in water Seattle leaf drop low light, overwatering, underwatering, chilling

leaf wilt underwatering, overwatering, chilling

weak growth low light, overwatering

Cj BEST COPY AVAILABLE '+'1411103

BEST COPY AVAILABLE 398 Delivery is a service of convenience to groomed and appropriately dressed for the customersthathas traditionally been work they are doing. offered by most retail flower shops. It is especially helpful when orders are going to hospitals or funeral homes where there are THE DELIVERY VEHICLE special entrances and policies for flower deliveries. Also, on other occasions the cus- The delivery vehicle needs to be kept tomer sending a floral gift to someone may clean and in good operating condition. There appreciate theopportunitytohaveit should be an attractive and easy-to-read 4 delivered by the florist. logo on the vehicle indicating the name of the shop. Since this vehicle circulates widely 9.{ Many mass market floral operations throughout the community and is seen by establish a business policy of cash-and- many people, it helps create an image for the carry. Those operations that do not have the shop. it is a valuable advertising tool that Figure 30-1Plotting the delivery route expense of hiring a delivery person or main- cannot be ignored. Connell's, Columbus taining a delivery vehicle can offer the product for less money. There is a place in the market for both types of operations. Full- service flower shops are not likely to go out PLOTTING THE ROUTE of business because people want service and are willing to pay for it. However, florists The delivery person should be familiar must recover the cost of delivery either in the OPP with the area being traveled. It is helpful to price charged for flowers or by adding a post a map to locate delivery sites (Fig. 30-1). delivery fee. More and more flokists aro es- If the map is mounted on a cork board, pins tablishing delivery fees. can be inserted into the locations to be visited so the most direct route can be visualized. Another technique is to put a piece of THE DELIVERY PERSON plexiglass over the map so that a non-permanent marker can be used to plot the The people hired to deliver flowers are route. important representativos of the shop. They travel about the community and are likely to Orders should be sorted into morning interact dir:ectly with more people than do and afternoon deliveries. Those that have those who work only at the shop. spectaldelivery times must be clearly marked and must have the delivery time Delivery vehicle -Maple Lee, Worthington It is important. for delivery persons to be posted. Once the route is determined, a list competent inthe,handling offlowers, of stops in proper sequence can be made out capable of driving vehicles safely, and effec- and placed on a clipboard near the driver's tive in communicating with people. They seat. should be able to work efficiently without direct supervision. They should be well

BEST COPY AVAILABLE. 399

LOADING THE VEHICLE presents the flowers to the recipient.The delivery person should offer a friendly personal greeting and identify the nameof the The vehicle is loaded in reverse of the I'm delivered. shop. For example: "Good afternoon, Figure 30-2 order that the flowers will be special Those that go to the last stop are put infirst, Dan from the Bouquet Shop. I have a Bud vase in a delivery of flowers for you today." cardboard although the order may have to be altered delivery box of items somewhat for more efficient loading If no one is home, the driver has three of differentsizes. The vehicle may be equipped with rack and braces to holdbas- choices: kets and sprays upright. A pole or bar may 1.Leave the flowers with a neighbor. A note be used to suspend hanging baskets. should be left telling the recipient where Cardboard delivery bases can be stapled the delivery was made. Sometimes a around arrangements to give them more small token floral gift like a single rose is S )1 given to the neighbor for his or her Mrisi & Glfts stability (Fig. 30-2). Arrangements canalso \01' cooperation. It may spark some new '31,4-71 I Wow Market St., Limo. Ohio 45801 be placed in open boxes with tissue paper Phwe 2241480 wedged around their base to makethem business for the shop. more stable and easier tohandle. (For more 2.Leave the recipient a card saying you are To discussion of wrapping and packaging, see returning the flowers to the shop and Chapter 24.) Sand bags, pillows and rugs and boxes to asking the person to call or stop by to are used around arrangements pick them up. (See Figure 30-4.) keep them from shifting during transport. Figure 30-3 Delivery tag be laid 3.Leave the flowers on a porch or in a Easel and candelabra sprays can protected area. Follow up with a phone flat on their backs on the floor of thevehicle, since the back is not designed toshow and call to make sure they were received has no flowers. Ribbon streamers areoften satisfactorily. rolled up and pinned with a corsage pin so The delivery person shouldhandle they do not become wrinkled or soiled. arrangements gently, keeping them upright The delivery address for each piece to avoid damagingthem. Good packing techniques and careful driving willreduce should be clearly stated on an attachedtag. injuries during transport. Sometimes, even (See Figure 30-3.) The delivery personwill Figure 30-4 need to have the tags attached in aspot when good handling techniques are prac- Card to leave for ticed, flowers become disarranged.The the recipient who where they are easy to see. delivery person should carry a basicflorist is not at home tool kit and supplies for makingminor repairs. Ideally, the delivery personshould KINDLY PHONE US MAKING THE DELIVERY know enough about flower arrangingto PLEASE STOP I3Y AND PICK UP make any repairs blend in with the restof the yowl DEUVERY HAS BEEN LEFT AT: front The delivery should be made to the design. door unless otherwise instructed.The deliv- - ery person ringsthe doorbell or knocks and 4

k 400 SPECIALIZED DELIVERIES Cooperative Deliveries

Funeral Home Deliveries The florists within a given locality sometimes go together to support a joint delivery The delivery person should know the service. This arrangement can save money location and delivery policies of each funeral and, under some circumstances, be more home. The delivery entrance must be lo- effident. However, the implementation and cated. A record should be made of the times success of this venture will depend on the of day that each funeral home prefers to have degree of cooperation that can be achieved flowers delivered. The name of the deceased among the florists involved. must be on the delivery tag.

Hospital Deliveries

Loading the delivery vehicle Itis important toknow the delivery poli- etcreoltotIg6 aycnrawanAo Maple Lee, Worthington cies of the hospital(s). Often hospital volunteers receive the flowers and deliver them to I.Obtain a county, town or city map of patients' rooms. The patient's full name your local area. Pick six locations in various should be clearly marked on the delivery tag. parts of the area and map out an efficient delivery route. Avoid backtracking when Wedding Deliveries possible, but also consider driving time and condition of the roads. The flower shop should have a clear understanding with the bride as to when and 2.Practice loading a delivery vehicle with where the flowers are to be delivered. If the several arrangements. Label with delivery wedding is not going to be serviced by the tags. Staple cardboard bases around pedes- shop, the bouquets, corsages and bouton- tal containers and use sand bags or rugs to nieres may be left in the back of the church keep the items from shifting around. or in dressing rooms, or placed in refrig- erators, according toinstructionsgiven in 3.Role-playmakinga delivery to the door of advance by the bride. Also, as prearranged, a person receiving flowers. The person play- Volunteers (candy stripers) distribute flowers church and reception flowers may be put in ing the recipient should be behind the closed to patients in the hospital place or left for others to take care of. door. That person may choose to cheerfully Au &Tian Hospital Flower Shop, Canton receive the flowers, complain about some C.O.D. Deliveries damage in transport, or simply be "not at home." The delivery person should respond "C.O.D." meanscash on deliveny.The in an appropriate way. driver is to collect payment at the time of delivery. A receipt should be made out by the driver and given when the money isreceived. The shop managermust decide which orders can be shipped on this basis.

BEST COPY AVAILABLE "Remember someone WE, an FTD Bouquet"

0 I

, f thf.)1 Lo' 4

BEST COPY AVAILABLE 402 If a business isto grow and prosper, its products and services must be made known to potential customers. A favorable reputation can be built over time as a result of quality products and good service. New 116 etAliort shops have a special challenge to win cus- 1.*WO. ditiTHDAI tomers and gain a share of the potential -Oft os market. , , v4,

ADVERTISING OPTIONS

Flgure 31-1 Shop window and sign Promotional materials from FTD It Ims been recommended that florists spend about 3 to 5 percent of their gross sales on advertising. For businesses just getting started, this percentage may need to be even higher. Each florist must consider FINDLAY the different types of advertising available and decide how much and what kinds will be done. Developing ahead of time a well con- PAGES sidered advertising plan is far better than Ohio Bell randomly acting as various opportunities Yellow Pages arise.

Some of the ways that florists advertise are as follows: Flgure 31-2 Exterior advertising 1. newspaper ads (Fig. 31-5) 2. radio ads 3. window displays (Fig. 31-1) 4.shop sign and store exterior (Fig. 31-2) 5. delivery vehicle (Fig. 31-3) 6. direct mailings ',4, 7. yellow pages ads (Fig. 31-4) PAH 'elI 1311,46 Uutlii. AVA.l Alit f 8. billboards QUA( : OWI .,; All DIA wrIlOING cPf CAL 9. community involvement FOR CONt1rAPONA144 )14,l)01 OWIM Pi tt1f .:it.A!.('44 TWAFO FRPT hASNF T5 11A, 1125 TIFFIN AVE Sometimes larger organizations provide WebE'LivER general advertising of floral products that Figure 31-3 Delivery vehicle advertising may benefit individual florists. Such larger the shop Figure 31-4Yellowpages ad groups include local allied florists, wire

BEST COPY AVAILABLE 403 serviceorganizations,and national organizations such as the Society of Amer- ican Florists (SAF) and American Floral ANIL 111.14.;3 ,2)ay -93 May 1011, Marketing Council (AFMC). . .4 OUR SPECIALS INCLUDE: TEA CUP ARRANGEMENT 515 00' GERANIUM BASKET 11? $O The easiest and least expensive adver- FTC) SCENTED CANDLE BOUQUET 530 00' an,. up FTO SPRING GARDEN BOUQUET 523 50' and up tising is the image projected by the store TELE FLORA'S PICYURE FRAME BOUQUET 525 00' and up exterior, window display and delivery .0ELIVERT EXTRA WE ALSO HAVE: vehicle. All these may initially help attract BLOOMING PLANTS, HANGING FUCHSIA. GERANIUMS ai ASSORTED FOLIAGE PLANTS a SILK FLORAL ARRANGEMENTS customers. However, as business grows, it is MIN EARLY! the word-of-mouth reputation that is more 4S4op likely to result in a valuable network that ghe goultiet 1151 CLEVELAND RD 01 HOWARD ET. WOOSTER ORRV1LLE reaches more potential customers. 3454114 1414111 et 'ORM MON..SAT 1.31 An open house shows customers what theshop affl) TS has to offer Riennia OPEN HOUSE Mother's Day Another way to attract customers into the shop is to hold an open house. This is especially effective at the beginning of the VaLostiess Specials Christmas season. By late November it is Figure 31-5 time to bring out new merchandise and Newspaper Ads "LOVE NA MUG" RED ROSES and MICRO SALLOON redecorate the showroom in a Christmas IN A HEART AM 9750' motif. Customers are preparing to decorate 6 ROSES and 6 CARNA rim for the holidays and are likely to be in a IN CELLOPHANE PACK shopping mood. ,== T*14I1ora BEAR BOUOUET 625.00 mm up. E44 ie4 Sfreatt4 Spring and fall are also possible times forTAKE NOTE! SECRETARY'S WEEK FTO SWEETHEART BOUQUET CARNATION ...sr an open house. With theseasonal change in 123.00 Ina ad' APRIL 20-25 CORSAGES: ORCHID $450 decor, there is a reason to invite customers 010S DORTWT SPECIALS... $1730 in to inspect the "latest look" for the season. Riga -=:Cifilimor: WICKER RABBIT SPRING BOUQUET ROSE BUD VASE Faster 1iI14s, Pollad Tulips, $500 54. Routed SLo Hyacinths IL Bulb Garde00 AvallAble

WOOSTER ORIVILLI TEA CUP BOUQUET 011C1401and 3d. 31110.00 It With MiI C4101140 Anil A 141410 1114414 0.014414 PTO & TELEFLORA SPECIALS NEWSPAPER ADS CoupN Sweelhead 30,44 Both Sh o 1:10.5:10 Mon.-Sat ORDER EARLY! $12" Newspaper ads reach large numbers of Valentine's Day 34. people. For most florists, ads are the most 5ou cp cost-effective form of advertising 1'lueiSh Pouted Shy WOOSTER ORRYILLE III 004,114 WOOSTER 033011 5 1551 clinomi Rd 851 C14811A4 Rd III Ncmcd 345.6164 11L-944 or 3154111 1414111 DI 662-01.I Ads that are run regularly keep the name 14141111 111.10, of t he shop before the public, so thatpeople Easter are more likely to rementherlb ti name when Secretary's Week

S'?( BEST COPY AVAILABLE 404 they are ready to buy flowers. Holiday spe- Choose illustrations or pictures to help cials are logical subjects for a newspaper ad. attract interest to the ad. Also, reminding the public of less common holidays like Secretary's Day, Grandpar- Vary the size of the print for interest. Put ents' Day and Sweetest Day may create sales main thoughts in bold print. that would not otherwise hay e been made.

00011 Since flowers are especially appropriate for these and other holidays, the well-placed ad PUBLIC RELATIONS might convince customers to select flowers over other gifts like candy or perfume. An- Good public relations are essential if a other advertising strateOr is to suggest flow- business is to thrive. Public relations are ers as a good gift for the hard-to-please important in creating an image, making person who is thought to "have everything." people aware of your shop, and eventually drawing and keeping customers. Ads should also promote everyday use of flowers. Wire service organizations offer The relationship of the shop to the cus- good suggestions for both holiday specials tomers is one form of public relations. Guar- and everyday bouquets. They help promote anteeing flowers,educating customers sales by preparing colorful posters for use in about proper flower care, and employing the shop and presenting attractive ads on Weekly specials can attract customers pleasant salespeople who can effectively television and in magazines. deal with people, along with every other service you provide, are all important forms Newspaper ads should be simple and to of public relations. It can also be very valu- the point. Their wording, layout and artwork able to reach out to the public through can help build the image you have chosen for participation in local events, speaking en- your shop. Here are some additional sugges- gagements, and gifts of flowers, if such prac- tions for newspaper ads. tices do not become too expensive or time- consuming, Keep ads simple and easy to read. Stress one or two specials or ideas. Don't clutter the ad with too many thoughts.

Use your logo with the shop's name clearly visible. This will establish an easy-to-identify format.

In-store display advertises wire sGrvice Use good design principles just as you specials would in a window display. Remember that open spaces around the writing or illustrations are important in emphasizing or drawing attention to those features of the ad.

BEST COPY AVAILABLE OUGGISCVL.C.0 4,virlannram3

1.Select a week of the year. Design a 4- by 8-inch advertisement to be placed in the newspaper on Wednesday ofthat week to advertise your shop. Select whatever theme or specials you wish to promote. IA1 __...4Emor 2.Prepare a one-minute radio advertisement that might be read over the air to promote your shop. Write out the message arzd read it to the class as if you were a radio announcer. e ._diefor 3. Prepare an advertising strategy for a

school project (such as Valentine flowers _ 17/64111111111b- or flowers for a football game orprom). Advertising buttons worn by shop employees Decide what you will do and make a timetable for all the tasks that need to be done. Divide up responsibility among class members and carry out the project. 4. Have each person make a poster to advertise an event that is happening at school. Use felt-tip markers and lettering sets if these are available. Discuss where the posters could be most effectively displayed.

BEST COPY AVAILABLF ZEggP2Ina CC= IlInte \Ming Talg1.1RDVOTE37

The Flower Gazebo, Findlay

BEST COPY AVAILABLE 408 111._ A person embarking on a career in retail floriculture should be prepared to continue learning throughout life and be able to adjust to change. New design styles and bus- AIFD South Central Sym, oslum iness practices are constantly developing. Floriculture students who are aware of changes should be able to evaluate their merits. As they incorporate the best of the new ideas into their own situations, they are more likely to be rewarded with success.

A good education will lay a sound foundation for future learning. In high school and college a student will learn basic science, math and communications skills which can be applied in various aspects of everyday life. If enrolled in a horticulture program, the student will be introduced to the basics of plant growth, plant care, floral design, and business management, along with the related practical experience and skill development.

A student wishing to further his or her education by going on to college may begin with either a two- or a four-year program. In Ohio, The Ohio State University offers the two-year Associate of Applied Science De- gree in Floral Design and Marketing at the Agricultural Technical Institute in Wooster. Also, there are the four-year Bachelor of Science Degree and graduate degrees offered by Ohio State University in Columbus.

For people who want to take a concentrated course in floral design, there are design schools that offer courses lasting a iew weeks. Two well-known design schools are Hixon's in Lakewood, Ohio and the American Floral Art School in Chicago. Many others are advertised in florist magazines.

BEST COPY AVAILABLE 409

Keeping current while on the job can be Newsletter. National Junior Horticulture accomplished by reading books and maga- Association (NJHA) has an organization in zines and attending short coursesand each state and a national conventioa with special programs sponsored by various opportunities for displaying skills in identi- organizations. In Ohio, the Ohio Florists' fication,design and marketing. Future Association and The Ohio State University Farmers of America (FFA) also has a floricul- sponsor The Ohio Florist ShortCourse each ture judging contest along with programs July in Columbus. (See Color Plates II-5 and that encourage skill and leadership develop- II-7.) This educational event offers special ment.PiAlpha Xi is a college-level organiza- programs by outstanding people infloricul- tion which has flower judging competitions ture. It also includes a large trade show based on standards set by the organization. where vendors present their latest products. This is an excellent opportunity to meet and The lists of periodicals and organizations exchange ideas with other people in the on the next two pages areintended to be a industry from Ohio and many other states guide to more information in the area of and Canada. floral design and marketing. New sources continue to become available to those who t Throughout the year local florist organi- keep current with the industry. Those in- zations (often called allieds) sponsor pro- volved in floriculture must evaluate for grams. Wire service organizationsoffer pro- themselves which publications and activi- grams and workshops in addition totheir ties best serve their needs and interests. regular publications. The prestigious Ameri- can Institute of Floral Design(AIFD) has a The Forists'Association of Greater Cleveland selective membership of top designers who advertises at the Cleveland have gone through the stringent entry re- Home and Garden Show quirements. Their quality programs may be attended by non-members. The Cooperative Extension Service of state land-grant institutions producespub- lications on a variety of topics and also hosts specialized programs. Garden clubs and horticulture centers often bring in guest designers or hold flower shows. By frequently viewing the work of other designers at these special events and shows,students can pick up new ideas andbecome mot- 41"ti yaird to try new approaches in their own work.

I'M)has a st udent membership category and publishes the Pip Future Florists' The Ohio Florist Short Course in Columbus

BEST COPY AVAILABLE 410 Organizations Offering Information and Programson Floral Design and Marketing

American Academy of Floriculture (AAF) Garden Clubs Ohio Florists' Association (OFA) (same address as Society of American The Garden Clubs of Ohio 700 Ackerman Road, Suite 230 Florists) Men's Garden Clubs of America Columbus, Ohio 43202 The National Council of State Garden American Floral Marketing Council Clubs Professional Floral Commentators (AFMC) The Ohio Association of Garden International (PFCI) (same address as Society of American Clubs (same address as Society of American Florists) The Women's National Farm and Florists) Garden American Institute of Floral Designers Society of American Florists (SAF) (AIFD) Local/Regional Florists' Organizations The Center for Commercial Floriculture 113 W. Franklin Street and Cooperatives 1601 Duke Street Baltimore, MD 21201 (examples in Ohio besides those associ- Alexandria, VA 22314 ated with wire service organizations) Associated Landscape Contractors Allied Florists' Association of Toledo, Wholesale Florists and Florist Suppliers of America Toledo of America (WF & FSA) Interior Plantscape Division Allied Florists of Trumbull County, P.O. Box 7308 405 N. Washington St., Suite 104 Warren Arlington, VA 22207 Falls Church, VA 22046 Central Ohio Allied Florists' Association, Columbus Wire Service Organizations Cooperative Extension Service Everyday Flowers, Inc., Dayton American Floral Services, Inc. (AFS) at Land Grant Universities Florists' Association of Greater Carik Services, Inc. (e. g., The Ohio State University) Cleveland, Inc., Cleveland Florafax International, Inc. Florists' Courtesy Service, Cleveland Florists' Transworld Delivery Flower Council of Holland Lorain County Florists' Association, Association (FTD) 250 West 57th Street Elyria Redbook New York, NY 10019 Metro Delivery Service, Cincinnati Teleflora, Inc. Southern Ohio Florists' Association, Portsmouth 411 Periodicals in the Area of Floral Design andMarketing

Design for Profit (quarterly) Flowers & (monthly) U.S. Government Publications Florafax International, Inc. Teleflora Inc. U.S. Government Printing Office 2400 Compton Blvd. Superintendent of Documents 4175 South Memorial Drive Washington, DC 20402 Tulsa, OK 74145 Redondo Beach, CA 90278 U.S. Department of Agriculture Floral Finance (monthly) FTD Future Florists' Newsletter Financial Control Publishing, Inc. (3 times/year) (USDA Market News) 1820 South Boulder Place Florists"fransworld Delivery Association Tulsa, OK 74119 29200 Northwestern Highway Department of the Treasury Southfield, MI 48037 Internal Revenue Service Floral & Nursery Times (semimonthly) (tax information) 328 Linden Avenue MarketLetter (meekly) U.S. Department of Commerce Wilmette, IL 60091 Florists' Publishing Company 111 North Canal Street, Suite 545 The Bureau of the Census Floriculture Directions (monthly) Chicago, IL 60606 Small Business Administration Herb Mitchell Associates, Inc. 234 East 17th Street. Suite 202 Ohio Florists' Association Bulletin World Flower Trade Magazine Costa Mesa, CA 92627 (monthly) Ohio Florists' Association (bimonthly) Global Marketing Associates, Inc. Florist (monthly) 700 Ackerman Road, Suite 230 Florists"ftansworld Delivery Association Columbus, OH 43202 P.O. Box 30185 6803 AD Arnhem 29200 Northwestern Highway Southfield, MI 48037 The Professional Floral Designer The Netherlands (bimonthly) Florists' Review (weekly) American Floral Services, Inc. Florists' Publishing Company P.O. Box 12309 310 South Michigan Avenue Oklahoma City, OK 73157 Chicago, IL 60604 SAF - Business News for the Floral Flower News (weekly) Industry (monthly) Central Flowu News, Inc. Society of American Florists 549 West Randolph Street The Center for Commercial Floriculture Chicago, IL 60606 1601 Duke Street Alexandria, VA 22314

8.5 412 REFERENCES

Aaronson, Marian, Flowers in the Modern Manner, Grower Books, Graf, Alfred, Exotica Series 4, Volumes I and 2, Roehrs Company, 1981 P.O. Box 125, East Rutherford, NJ 07073, 1985

The American Horticultural Society, Houseplants, The Franklin Guild, Tricia, Designing with Flowers, Mitchell Beazley Library/Ortho Books for The American Horticultural Society, Publishers, London, 1986 Mount Vernon, VA, 1980 Hamel, Esther, The Encyclopedia of Judging and Exhibiting Ascher, Amalie, The Complete Flower Arranger, Simon and Floriculture and Flora-Artistry, Ponderosa Publishers, Schuster, New York, 1974 St. Ignatius, MT 59865, 1976

Benz, Morris, Flowers: Abstract Form, San Jacinto Publishing Healey, Deryck, The New Art of Flower Design, Villard Books, Co., Houston, TX, 1976 New York, 1986

Benz, Morris, and Johnson, James, Flowers: Geometric Form, Hillier, Malcolm, and Hilton, Cohn, The Complete Book of Dried San Jacinto Publishing Co., Houston, TX, 1986 Flowers, Dorling Kindersley, Simon and Schuster, New York, 1986 Berra 11, Julia, A History of Flower Arrangement, The Viking Press, New York, 1968 Hixon, Bill, Bouquets, Toppan Printing Company, Ltd., Tokyo, Japan, 1979 Briggs, George, and Calvin, Clyde, Indoor Plants, John Wiley & Sons, New York, 1987 Hixon, Bill, A Guide to Professional Floral Arrangements, Printed in Japan for Hixon's Floral Design School, 14125 Detroit Ave., Cavin, Bram, How to Run a Successful Florist and Plant Store, Lakewood, OH 44107, 1979 David McKay Company, Inc., New York, 1977 Hixon, Bill, A Treasury of Bridal Bouquets, Kersen Engei Center, Coe, Stella, Ikebana, The Overlook Press, New York, 1984 Tokyo, Japan,1972

Cook, Hal, Arranging, The Basics of Contemporary Floral Design., Hunter, Margaret, and Hunter, Edgar, The Indoor Garden: William Morrow & Company, New York, 1985 Design, Construction and Furnishing, Wiley & Sons, New York, 1978 Flesher, Irene, Pressed Flower Art, New Century Publishers, Inc., Piscataway, NJ, 1984 Ingham, Stewart, and Martin, Sylvia, Elegance in Flowers, Classic Arrangements for All Seasons, Oxrnoor House, Birmingham, Gaines, Richard, Interior Plantscaping, Architectural Record AL, 1985 Books, New York, 1977 Interior Plantscape Association, Source Book. Interior Plantscape Goodrich, Dana, Floral Marketing, Lebhar-Friedman, New York, Association, 1980 1980 413 The John Henry Company, 5800 W. Grand River, P.O. Box17099, Manaker, George, Interior Plantscapes: Installation,Maintenance Lansing, MI 48901 and Management, Second Edition, Prentice-Hall, Inc., Christmas Around the World Englewood Cliffs, NJ, 1987 The Christmas Idea Book Corsages for All Occasions Mann, Pauline, Flowers That Last, Arranging Dried andPreserved Favorites Forever Plants and Flowers, Batsford, Ltd., London, 1984 Flower & Foliage Plant Book Holland Flower Design Book McDaniel, Gary, Floral Design and Arrangement, Reston Prom and Party Floral Fashions Publishing Company, Reston, VA, 1981 Reflections of Wedding nadition Remembrance Miller, Marie, New Dimensions in Floral Design, Wegferd Publi- The Silk and Dried Arrangement Book, Vol. II cations, North Bend, OR, 1981 Tips 'n Techniques for Wedding Designs Wedding Flowers Oliver, Libbey; Babb, Betty; Booth, Elizabeth; Kent, Betsy;and Your Wedding Planner Marquardt, Martha, Colonial Williamsburg Decorates for Christmas, The Colonial Williamsburg Foundation, Johnson, Marion, Small and Beautiful Flower Arrangements, Williamsburg, VA, 1981 Clarkson N. Potter, Inc., New York, 1983 Ortho, Complete Guide to Successful Houseplants, Chevron Kong, Im Wha, Oriental Flower Arrangement,ShufunotomoCo., Chemical Company, San Francisco, CA, 1984 Ltd., Japan, 1982 Otis, Maia, and Beadle, Ernst, Decorating With Flowers, HarryN. Kong, Im Wha, Oriental Flower Arrangement II,Shufunotomo Co., Abrams, Inc., New York, 1978 Ltd., Japan, 1984 Pfahl, Peter, and Kalin, Elwood, American Style flower Arranging, Lamle, Walter, Flower Arranging, Basics toAdvanced Design, Prentice-Hall, Inc., Englewood Cliffs, NJ, 1982 Prentice-Hall, Inc., Englewood Cliffs, NJ,1980 Pfahl, Peter, and Pfahl, P. Blair, The Retail Florist Business, Lewis, Taylor and Young, Joanne, Christmas inWilliamsburg, Fourth Edition, Interstate Printers and Publishers,Danville, Williamsburg Foundation, Williamsburg, VA, 1976 IL, 1983

MacFarlane, Ruth, Collecting and Preserving Plants forScience Pi Alpha Xi, A Manualfor Flower Judging, PiAlpha Xi National, and Pleasure, Arco Publishing, Inc., New York,1985 University of Wisconsin, River Falls, WI 54022,Revised 1983

Macqueen, Sheila, Complete Flower Arranging, TimesBooks, Poole, Hugh, and Pittenger, Dennis, Care of Foliage andFlowering Ohio 1980 Plants for Retail Outlets, Cooperative Extension Service, State University, Columbus, OH, 1978 Madderlake (Authors Pritchard, Tom; Jarecki, Billy; and Boehnier, Alan), Flowers Rediscovered, New Ideasfor Using Reader's Digest, Success with House Plants, Reader's Digest, and Enjoying Flowers, Stewart, Tabori andChang Publishers, Pleasantville, NY, 1979 New York, 1985 414 Rittner, Stephen, Window Display for the Retail Florist, Rittners Tay'ior, J. Lee, Growing Plants Indoors, Burgess Publishing Publishers, Boston, ivIA, 1981 House, Minneapolis, MN, 1977

Rahman, Dale, A Time for Flowers, Patrice Press, St. Louis, MO, Taylor, Jean, Plants and Flowers for Lasting Decoration, Larousse 1982 and Co., Inc., New York, 1981

Shinno, Tat, Flower Arranging by Tat, Lane Books, Menlo Park, Teshigahara, Wafu, Ikebana, A New Illustrated Guide to Mastery, CA, 1971 Kodansha International, Ltd., Japan, 1980

Smithers Oasis, The Smithers Company, Box 118, Kent, OH Tharp, Leonard, and Ruffin, Lisa, An American Style of Flower 44240 Arrangement, Taylor Publishing Co., Bellingham, WA, 1986 European Designer Collection Holiday Ideas European Designer Collection Spring Ideas Time-Life Books, Alexandria, VA Smithers-Oasis Floral Products: Information and Decorating With Plants, 1978 Demonstrations Flowering House Plants, 1972 Foliage House Plants, 1972 Society of American Florists, Care and Handling of Flowers and Plants, Society of American Florists, Alexandria, VA, 1987 Tolle. Leon, Floral Art for Religious Events, Hearthside Press, New York, 1969 Sparnon, Norman, Creative Japanese Flower Arrangement, Shufunotomo Co., Ltd., Japan, 1984 Ullenbruch, Mrs. William, Flower Arranging, Cooperative Exten- sion Service, Michigan State Unhersity, East Lansing, MI Staby, George; Robertson, Jerry; Kiplinger, D.C.; and Conover, Charles, Chain of Life, Ohio Florist Association, 1978 Vagg, Daphne, Flowers for the Table, The Anchor Press, Ltd., 3atsford, England, 1983 Stewart, Martha, Weddings, Clarkson N. Potter, Inc., New York, 1987 Webb, Iris, The Complete Guide to Flower and Foliage Arrange- ment, Doubleday and Company, Garden City, NY, 1979 Sullivan, Glenn; Robertson, Jerry; and Staby, George, Management for Retail Florists, W.H. Freeman and Co., Wright, Michael, The Complete Indoor Gardener, Random House, San Francisco, CA, 1980 New York, 1974