Hello
July Flower Thoughts
Welcome to July Flower Thoughts. This month we explore line direction, floral competition and designing resourcefully - and impactfully - with a limited palette of materials.
|
|
Line Direction
What does ‘line direction' mean in a design?
It can mean various things, and is considered differently in various theories. Firstly, it can refer to the journey that a specific line or lines can take the eye on in a composition – this usually helps to draw the eye through the design and improve the rhythm. Line direction can also refer to the energy of the main axis or pathway of a design – not something that is physically visible, but a direction the eye is being led within the composition’s silhouette, such as vertically or horizontally. Sometimes line direction refers to how lines are organised in a design, such as radially, parallel or overlapping.
I tend to use line direction in the first two ways:
- As a tool to lead the eye from one area of a design to another, improving the rhythm and/or adding tension; and,
- Helping to make the external proportions (dimensions of a design) clear – upwards, downward, horizontally to the left or right or diagonally.
|
|
Sculpted arrangement with a horizontal axis, using a clear visible lines to draw the eye right to left.
Thinking about line direction as the way that lines are organised (radial, parallel, etc.) is not as helpful to me. I define this as more line organisation, similar to what Gregor Lersch refers to in the ‘Floral Line’ category on his Design Scheme.
|
|
There is no universal rule as to what line direction means. As always, I see it’s best to have your own clear understanding based on a theoretical foundation – an understanding that you can readily and clearly explain to others, or simply to yourself.
Being aware of how you are using line is perhaps the most important factor in helping you become a better designer, artist or florist.
|
|
Design of the Month - Layered Design
This month's design is a layered creation which I created with a reductionist aesthetic, even though it contains many stems. The reduced feeling comes from the sparsity in variety - two botanicals, wires, a cardboard panel and a wooden disc.
Each layer is elevated, offering a stronger impact (on top of the popping colour!), including the base which is raised on small feet - giving the appearance of floating. The spacing between the layers brings depth to a relatively shallow arrangement and the dominant yellow allows that one poppy to shine.
Most of the materials I found in my studio, assembled using the hammering, weaving and chicken wire techniques, ready for the placement of the one contrasting Papaver bloom.
Yes, they are a miniature variety of Craspedia (or Pycnosorus globosus), a generous gift from Floral Artist, Peter Grainger. (Thank you, Peter!)
|
|
Layered design with rows of miniature Craspedia
|
|
Are You Classically Inclined?
|
|
I created this design (above) for a Prima Ballerina’s dressing room. My thinking was to balance the need for impact, scale to fit the environment and purpose, and a confident, glamorous feeling befitting the Ballerina role. The rich, romantic colour scheme offers links to the classical setting and ballet production.
What would your thinking be for the same scenario? Do you see the theme ‘Classically Inclined’ in my example?
You could explore your own ideas through our Designing to Win program. The program is not just for competitors - the competition basis is a useful foundation from which to explore design principles and creative expression - two areas we face in all projects, competition entries or otherwise.
You can participate in Designing to Win as a Designer, creating and submitting works for discussion and evaluation, or as an Audience member, sharing in the learning through observation. The Audience option gives you access to the learning and insights if you are short on time or resources.
The program includes abundant ideas, learning and enjoyment - three eBooks to download, two companion videos and two online Design Forums to join or watch later. Participating Designers create a design to a schedule for the first Design Forum, then revise, remake or transform their design for the second Design Forum, based on the initial feedback and greater understanding of the schedule requirements.
Two attempts at the one design - a rare chance to test your interpretation and design skills in a competition-like format. Receive detailed, constructive feedback on how your design addresses the schedule and employs design principles, and then apply them to the second version for real, concrete design learning.
.
|
|
The program is inclusive of all levels of experience - it allows you to work at your own level, with skills you already have and with materials that are readily or easily available.
Find out more and register here.
|
|
Check out this online exhibition of some example designs from previous Designing to Win:
|
|
Designing Resourcefully
During the pandemic days I rediscovered the joys of working resourcefully. I had to - there was limited access to materials: sometimes only those leftover things in my studio or to gather from the grounds nearby ….. That’s how this wreath of Paper Bark (Melaleuca … from the tree beside my mailbox) and Everlasting Daisies (Helichrysum …. retrieved from a mixed box on my workbench) came about.
|
|
Wreath of paperbark and everlasting daisies.
The process taught me how I could make more out of less variety, and about relying on the principles of design to help guide and refine the creative process.
This approach developed into Design Solutions - our program about working with less material variety while growing an understanding of how we design.
The program starts again soon, and I'm offering classes in three different time zones. If you live in Canada, the US or South America, Europe, Africa, Australia or the UK, you can join the class at a time that is convenient for where you live - no more getting up in the middle of the night to join the class in your pyjamas!
.
|
|
So now, more than ever, it is convenient to join no matter if you are in Nairobi, Nashville, Nukumaru or Nunawading. And if you can’t participate in any of the live components, you can still catch up via the recordings and comprehensive notes.
|
|
I hope you've found inspiration in this edition of Flower Thoughts, and that you continue your own journey of creating with flowers. |
|
Two versions of a design submitted by David Berger showing the evolution of their design through the Designing to Win program.
|
|
|
|
|
