Would you like to download a copy of this book/website to read offline? Click Here to download the printable PDF version

1.THE ABC OF DESIGN AND COLOR

What is design in flower arrangement ? - How does color ef­fect it? - How can we create good design ?

To attain pleasing composition, one must know certain fundamen­tals of design. The successful arrangement shows to the onlooker, a completion of these basic principles:

Movement –

This is the path which the eye takes from one part of the arrangement to the other. If an arrangement has good movement, the eye travels over it; absorbing the entire design in one glance.

Example: Figure 1 - The eye travels from the topmost spray of su­mac to the mass of dahlias.

Scale –

This is the relationship of the size and amount of plant material to the container. If the container is too large, the plant material is over­powered and lost.
Example: Figure 2 - This arrangement of asters is just right in size for the container used.

Balance –

This is the correct placing of accent to avoid a toppling look or a feeling of disconnection.

Example: Figure 3 - Note that the tall branch of azaleas is balanced nicely on either side by the two smaller branches. The branch on the left is a little more than half the size of the domineering spray. The right hand spray is half the size of the left hand one. There are two types of balance. Figure 4, Leaves and Buds, is an example of assymmetrical design. This is where the imaginary line down the center divides the arrangement into unequal, but well scaled parts. Figure 5, Carnations and Iris Foliage, is an example of symmetrical design. This is when the imaginary line divides the arrangement into equal parts.

Figure 1.   Sumac and Dahlias

Figure 4.   Leaves and Buds

Figure 5.   Carnations and Iris Foliage

Harmony –

By employing all the above principles of design with the following principles of color, you are bound to achieve an all around harmony which  is  nothing but the pleasant grouping of color, form and line.
Point of Interest –

Place the largest, most select blossoms where you want the point of interest to be. This is the focal point of your arrangement from which all other parts of the design should stem.

Rhythm –

The accent of movement within the design.

Accent –

This is achieved by sharp contrasts in color, size and form.

Learn to create arrangements which have a third dimension and can be viewed from all sides.

THERE'S MAGIC IN COLOR

It is not coincidental that many of the terms applying to music, such as harmony, tone and accent, also apply to color. Both have depth and meaning; sometimes dramatically warm, sometimes quietly cool, but always pleasing to the senses if properly composed. Com­position   in   either   case,   has   everything   to  do  with the outcome.

Color in flower arrangement, however, is one step ahead of melodic composition; for while man must create the sounds of which music is composed, Mother Nature has given us a head start by creating the hues, which we need only place together harmoniously. There is no doubt that Mother Nature's color eye is that of an expert, when we see rusty brown, snow capped mountains against a pale blue sky, or the rich red-orange shaft of flame which seems to cut deep into the blue green lake as the sun reluctantly still blazing sinks below the horizon.

An example of Nature's technical gift for color is the little yellow petaled pansy with its deep violet center. In this tiny flower she has created a complementary harmony.

After many years of study and experiment, scientific color enthu­siasts discovered many, since proven, facts about color. In arranging your flowers, try to keep to the following long established rules, which are elastic enough for you to experiment with color. They will help you not only to add more to beauty, but to avoid destroying it with discordant color combinations.

Color Mixing –

Since in flower arrangement, we have little to do with the actual mixing of colors, we will only briefly review the basic mixing proce­dure, just to acquire some knowledge of origin. The color wheel is the center of all color research. By referring to it we can find just what to use to accomplish the desired effect.

There are three PRIMARY colors, yellow, red and blue, from which all other color tones are mixed. The three SECONDARY colors orange, green and violet may be produced by combining any three of the primaries. Example: blue and yellow make green. We tend to associate all tints, shades and tones with the above six colors, hence they are considered the leading colors. The combination of a primary color with a secondary color will produce an INTERMEDIATE color of which there are six. Example: red and violet make red-violet. These may be modified by adding white, which is a tint; adding black which would make it a shade, adding gray until the desired hue between in­tensity and neutrality is produced. Intensity is determined by the amount of pigment. The more pigment, the brighter and more intense the color. We can see now that a single color may have many values.

Example: Red and white make a tint which is pink.

Red and black make a shade which is dusty rose.

Consult the color wheels in Figure 6A to acquaint yourself with the various positions and combinations.

Color Harmonies

Monochromatic:       Combining different values of the same color.

Complementary:      Combining  two   colors   which   are  found opposite each other on the color wheel.

Analogous:       Combining neighboring colors on the wheel.

Triadic: Combining three colors found at equal intervals on the color wheel.  Example:  red-violet, blue-green and yellow-orange.

Split-complementary:    Combining one color with that on each side of the one opposite.  Example: blue with red-orange and yellow-orange.

Double

complementary:       Combining two neighboring            colors with their opposites.    Example: orange and red-orange with blue-green and blue.

Polychromatic: Combination of many colors, seldom used as an example of good design, but sometimes effective for home use.

Moods of Color

Colors have character. Thus bright yellows and joyous reds for gaiety; cool blues and shaded violets for quiet. Hence the sayings; "I've got the blues." and, "The sunshine of your smile."

Colors are divided into cool and warm groups. Those with blue and green predominating are cool. Those with yellow and red predomi­nating are warm. The reason for which is easily seen in the associa-of reds and yellows with warm sun and hot fire; in the association of blues and greens with cool sky and cold water. The color scheme of your flower arrangements should create a psychological balance. Ex­ample: Cool arranagements in the summer, warm for winter.

Some Color Tips

Your colors are affected by the hues near them. Therefore you must choose flattering backgrounds and avoid combining colors which re­flect each other discordantly. Remember that the foliage enters into the color scheme. Of course we must not forget the important role played by white, which reflects all colors. White flowers in an arrange­ment can enhance or destroy it. Use them with thought. An over abundance of white flowers in a colored arrangement will give a sepa­rated effect.

The focal point of the design in most cases would contain the warmest, darkest, richest colors. Heavy colors on the outer edges of the arrange­ment will give it a tendency to appear to topple over at the lightest touch of a breeze.

Let us remember that the first thing the eye catches in a flower ar­rangement is color. If the color is not balanced and interestingly planned, the eye will be reluctant to go further. No matter how grace­ful the form and how rhythmical the line, color is the eye-catcher of your design.

Figure 7 - Color Accent - Warm in the center, cool on the outer edges.

You are now equipped with a well rounded knowledge of design and color pertaining to flower arrangement. Keep these principles in mind as you read through the following chapters. If employed constantly, they will lead you to success in your endeavors. They are easily mastered and the little time used in perfection will be well worth while.

Figure 6A.   Color Wheels

THE CARREN DESIGNERS GUIDE

The Carren Designers Guide was invented by the author to enable both the amateur and professional flower designer to create a visual fundamental line design upon which the most simple and complex ar­rangements would be created with more ease. The use of this guide eliminates all but the fundamental lines and provides an excellent basis for the step-by-step construction of the design. Proportion and di­rection are controlled by the guide, and constant practice and experi­ment will soon develop a keen eye for the principles of line design in every type of arrangement.

The stems of the guide are designed to fall into three different sizes, following the Japanese theme of Heaven, man and earth. Turn to the chapter on IKEBANA in this volume to learn more about the Eastern influence in flower arrangement. The three sizes are merely used as approximate guides and it should definitely not be assumed that each flower stem or foliage spray must be the exact length of the guide stem. This would produce in most cases a very stiff and de­vitalized arrangement. It would also take the creative fun out of your project.

A.        - The guide is placed at eye level in back of the container in which you are going to create the flower design.   The guide  stems are then manipulated to form an approximate facsimile of the lines you have in mind.   Perhaps you wish to experiment and allow the guide to suggest a design scheme to you which you will later follow.

B.         - After setting the guide, proceed with your foliage and plant ma­terial to duplicate the direction and proportion of the guide.   If your guide is arranged in a well balanced line design, you   should achieve the same effect in the finished arrangement without any difficulty.

C.        - The arranger here has shown you an excellent example of the use of the Carren Designers Guide in creating a well balanced line design in this triangular L arrangement of desert spoons and cattails.

Constructing the Guide

D.        - The tallest guide stems are one foot in length. When collapsed to the second size they measure two thirds of a foot. The smallest measure a bit less than half a foot.

To provide the many different combinations in height and direction, there are seven short stems and seven tall ones which may be used as is or collapsed into the second size in the amount desired. This is accomplished by attaching the two strips of cardboard as illustrated, by an office pierce-type paper clip, firmly enough to allow the stem to stand independently at full length.

Figure 6B.   The Carren Designers Guide

The illustration shows how the top part may be folded out of sight behind the second size. Though there are fourteen stems, they need not all be used at once. Those not in use are easily pushed out of sight in back of those being used. A block of wood such as the one illustrated will provide a firm axis and base for the stems. Place the stems together, one atop the other, insert them into the space carved in the block and drill a hole through the wood and the entire group of stems. Next put a large enough screw through the opening to allow proper firm control of each stem and at­tach at the back with a nut. The author suggests that the stems be painted black. This will enable you to follow each line with ease while creating your flower arrangement.

Figure 7.   Color Accent

Are You Ready To Move Onto The Next Lesson? Click Here….