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Hello

August Flower Thoughts

Welcome to this month’s Flower Thoughts. August has me some clarifying some ambiguity over what a ‘hand tied’ is (or could be), sharing more design ingenuity from Bart Hassam and revealing more of what I’ve learnt from working with less variety.

Hand tied bouquet standing in shallow water on wire feet - by Mark Pampling

Hand Tied Ambiguity

When someone says they are making a “hand tied”, the exact nature of what they are creating might be ambiguous. They could be making a gift bouquet in a florist shop, a structural design for a competition entry, or even creating a table scape for a dinner table.
The term ‘hand tied’ gets applied to a variety of different design styles, and the phrase can be seen within a number of definitions in different manuals and handbooks. In the commercial floristry world, a ‘hand tied’ has become a shorthand version of the description ‘hand tied bouquet’, or even ‘hand tied natural stem, spiral bouquet’.
But when someone is making a ‘hand tied’ they might be making a:
  • Hand tied bouquet
  • Hand tied design
  • Freestanding hand tied structure
  • Hand tied standing bouquet
  • Bound composition
For me, the term ‘hand tied’ simply equals the technique of tying materials together with the hand ….. using some kind of binding material (jute, string, bind wire, raffia, etc.). The context in which the tying is being done then usually determines the description of the style being created.
The common element in all the terms listed above is that they are all tied using the hand - the final results are often very different depending on the application, style and other design choices. A hand tied can be made in (and tied with) the hand, or it can simply be tied with the hand during its construction on the workbench.

Some of my UK colleagues separate hand tied styles into two broad categories:
  • Hand tied bouquets
  • Hand tied designs
Their categories can be a useful way of selecting a suitable approach to making or evaluating a hand tied.
A hand tied bouquet and a hand tied design - by Mark Pampling
Hand tied bouquet with a high binding point (left) and a hand tied design (right).
Designs & photography - Mark Pampling​​
The common elements of hand tied bouquets are that:
  • They are made in the hand (but not always)
  • Have one main binding point
  • The technique (e.g. spiralling stems) holds the materials in place
  • The bouquet does not rely on the container for its structure or shape
  • The bouquet can be removed from the container (and it will retain its shape)
Hand tied bouquets can incorporate structures or mechanical supports (e.g. wire feet), but they will still have one main binding point and be removable from their container or water Source.
Hand tied designs, on the other hand, open up another world of possibilities, since they:
  • Don’t need to be made in the hand
  • Can have multiple and/or many binding points
  • Can be composed around a structure without a container
  • Can be physically connected to a container
  • Can rely on the container or structure for their form or shape
If you are being asked to make a ‘hand tied’, especially if it’s for the floral art bench or a floral design competition, look to the associated manuals and handbooks or the competition rules so you fully understand what you are being asked to to design - the context for the assignment: what are you being asked to tie together, how is it to be tied, and for what purpose?
Exploring the definition of what a hand tied might be can offer plentiful inspiration. What comes to mind when you consider the following:
  • Raising (or lowering) the binding point in a bouquet from its expected position?
  • Integrating the water source into the composition?
  • Having two core binding points?
  • Elevating the water source?
Here are two innovative approaches - in each case, an Interflora World Cup competition schedule asking for a ‘hand tied bouquet’:
Memhet Yilmaz and his hanging hand tied bouquet for the 2015 Fleurop-Interflora World Cup.
Memhet Yilmaz and his hanging hand tied bouquet at the 2015 Fleurop-Interflora World Cup in Berlin.
Photos -Facebook & Instagram​
Bart Hass and his downward directed hand tied bouquet for the 2019 FTD-Interflora World Cup. in Philadelphia
Bart Hassam and his hand tied bouquet with downward directed proportions at the 2019 FTD-Interflora World Cup in Philadelphia.
Photos - Facebook & Instagram​

Design of the Month - One From Two

Our August Design of the Month comes from our inspiring ‘Floral Numeracy’ workshop program with Bart Hassam in Brisbane a couple of months ago. The elegant composition was created on the ‘One From Two’ day - where the focus was on using two vessels while producing a singular, unified composition.
Twin Mango wood containers anchor a selection of grey, white and green materials which are composed so the final impression is of one arrangement. Most placements or groupings are made with ample negative space around them, ensuring the botanical stems can each be clearly appreciated while creating a rich sense of depth. While created together as one, each part was not physically joined together, so the two sections could be easily moved separately - a perfect solution for corporate designing.
August Design of the Month
Twin container design featuring King Protea, Macrocarpa Gum stems and Cymbidium Orchids.
Design - Bart Hassam Photography - Mark Pampling.​

Less Becomes the Pathway to More

Logo and collage of designs from Design solutions using Carnations and Kalanchoe
In just under a month's time another group of eager and creative participants will join me in embarking on the discovery of design solutions using just two botanical varieties. Why don’t you join us? It’s a fun way to learn and an even better way to hone your design skills to be more resourceful in selecting and using materials in every design.
Design Solutions - 2 Materials + 4 Tasks - The program involves choosing two botanical material varieties and making four designs of your choice with those same materials. It can be frustrating and challenging at times, but it pushes you to expand your thinking and find ways to make a design successful - an invaluable skill you can employ no matter how many material varieties you have at your disposal.
Jill Hoskin from South Africa chose Agapanthus and Eucalyptus bark, combining and transforming them into creative designs with impact, as seen below:
Floral designs by Jill Hoskin for Flower Thinking's Design Solutions program.
Agapanthus and Eucalyptus bark (left) and designs created from them (center & right).
Design & Photography - Jill Hoskin.​
In the last Design Solutions I chose to work with Red Roses and Red Leucadendrons across the four tasks - a colour palette that made the process simpler, but a material combination that had its challenges. It taught me to examine the individual materials even more closely to find characteristics that I could turn into useful design additions. I will never look at those materials the same way again - they helped me see new possibilities.
Floral designs by Mark Pampling for Flower Thinking's Design Solutions program.
Red Rose and Red Leucadendron (left) and designs created from them (center & right).
Design & Photography - Mark Pampling.​
As I mentioned in our July {Flower Thoughts} we are now offering our Design Solutions program in three time zone options - making it even easier to join the live, interactive elements - although, it’s not mandatory for participation, as the live sessions are recorded and the recordings are supported with detailed notes. Our US time zone option is almost sold out.
Check out class times in your part of the world
Design Solutions, in all time zone options, starts in mid-September. Find out more here:
Understand more by minimizing

I hope our August newsletter has provided more food for thought. I look forward to sharing more {Flower Thoughts} with you next month after I have returned from The World Cup in The Hague.
Mark
Bridal design with Cymbidium Orchids and Liriope foliage by Mark Pampling.
Bridal design of Mini Cymbidium Orchids and Liriope muscari leaves on a structure of dyed cane - created for Design Solutions.
Design & Photography - Mark Pampling.​​
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