Definition

An orderly grouping of things or persons is considered as a unit. The result of arrangin

is "a flower arrangement" Flower arrangement consisting of a single branch or shoot
bearing flowers and foliage. Flower arrangement consisting of a circular band of foliag
or flowers for ornamental purposes. Floral Design or floral arts is the art of creating
flower arrangements in vases, bowls, baskets or other containers, or making bouquets
and compositions from cut flowers, foliages, herbs, ornamental grasses and other plant
materials.

Flowers and Occasions

Flowers are presented as gift in a bevy of occasions like weddings, festivals, funerals
and anniversaries. Every sentiment is expressed in one form or another by these fragile
blooms. While flowers gifted on specific occasions depend mostly on the season in whic
the occasion falls, ultimately it is the personality of the recipient that should be the
deciding factor in the choice of the flower gift.

• Flower plays an inherent part of human life. We use flower in our daily life for various ways in
temples, or all through festivals. Flower arrangement was considered a simple a normal task and was
all about arranging the flowers plucked from the garden. But later this practice gained attention and
was regarded as a profession. Rules and guidelines about various aspects of flower arrangement
came in light and new styles, equipments; arrangements were adopted by the experts.

Materials

• Cutting Flowers and Foliage

Cut flowers and foliage in the evening before the arrangement will be made to allow time for
proper conditioning. Handle plant material carefully, handling only the stems.

Most flowers will keep best if cut when nearly fully open. Many tight buds or young leaves wilt rapidly and
will not take up water. Some flowers will keep best if cut in the bud stage or when they are just beginning to
open.

• Cut flowers and foliage with a sharp knife or flower shears. Cut stems on a slant to enable flowers to
absorb more water. Cut stems longer than required for arrangement.

• Cut extra stems in case of damage.

• Stand flowers and foliage in a bucket of cool water as they are cut from the garden; place indoors in a
cool, dark place. Re-cut stems indoors at a 45-degree angle.
• Cut stems under water to prevent air from entering the stem and interfering with water uptake.

• Place only an inch or so of the stem under the water to cut it.

• Conditioning Plant Materials

purpose of conditioning is to allow the cut plant material to absorb as much water as possible. Plant
material that is not conditioned appears dried out or wilted. Proper conditioning will also prolong the life
of the arrangement.

• Stand cut plant materials in lukewarm water to a depth of half their length overnight in a cool, dark
place. This allows the stem, leaves, and blossoms to absorb water to enable them to retain optimum
beauty.

• The next morning, cut stems again under water at a 45-degree angle. Remove all foliage below the
water level of the container; submerged foliage decays, creating foul water. Leave the cut plant
materials in water until ready to use them. Wait until the plant materials feel stiff before arranging
them.

• Hollow-stemmed flowers should be filled with water before being placed in a container. Holding the
cut flower upside down, fill the stems with water, invert the flower holding a finger over the cut end
of the stem, place in water.

• Containers
1. Fill the container with water before beginning to arrange the plant material. The size of the
container should be in scale with the table or location where it will be used. Remember that the
larger the container, the more plant material will be needed.

2. Suit the shape of the container to the arrangement to be made.

3. Simple shapes are easiest to work with.

4. Avoid ornate containers as they may detract from the floral arrangement.

5. Neutral colors like tan, brown, gray or greens are easy colors to harmonize with plant materials and
with most backgrounds. White can be very stark and call attention to the container rather than to the
arrangement.

6. Containers come in many materials, such as glass, pottery clay, porcelain and metal. Clear glass
containers are generally undesirable as the stems are visible.
• Holders

should give the freedom to position stems where they are wanted and hold them in place securely.
Choose a holder suitable for the style of arrangement planned, the plant materials to be used and the
container to be used.

• Pinpoint Holders
• Pinpoint holders are most often used for line and line-mass arrangements in low bowls or shallow
containers.

• A heavy metal pinpoint holder is easiest to keep in place in the container. Stems are either stuck
directly onto the pins or are wedged between the pins. Thin stems may be placed on a pinpoint
holder by binding several stems together with a rubber band, string or floral tape.

• Floral Foams
• This is also known as ‘oasis’. Floral foam is cellular plastic substance. There are mainly two types of
floral foams are used in flower arrangement- green foam which is extremely light until it is socked
into water, which make it 30 times heavier that before. These are mainly found in rounds and blocks
shapes. The other floral foam is known as Brown/grey foam which is used solitary for dry plant
material or artificial exhibit material. Stems can be held at any position in both shallow and deep
containers.

• Floral foams are available in wet or dry forms; wet foams are used for arranging fresh plant materials,
while dry floral foam is used for dried or silk floral arrangements.

• Floral foam is inexpensive and may be purchased from floral supply stores, arts & crafts stores or
florists.

• soak the foam in a pail of water until it barely floats.

• the container should be mostly filled with the foam

• Cut off a small piece of the corner of the foam so that water may be added to the arrangement later
as needed

• Floral tape may be used to secure the foam if needed. Fill the container with water

• heavy or large flowers that the stem be placed all the way to the bottom of the foam for added
support

• Chicken Wire
• It is also known as ‘wire mesh’ or ‘wire netting’ For tall or heavy stems a 2-inch mesh is used while 1-
inch mesh is used to cover up floral foam blocks in display.

• Folrist’s Cone

• This is also termed as ‘flower tube’ or ‘flower funnel ’with the length about 1 foot and is generally
used in large arrangements.

• Clays

• There are various types of clay used in flower arrangements for different purposes.

• Florist’s scissors

• Specially designed to cut and trim the stems and flowers that prevent the crushing of tissues. The
blades are short and one is jagged.

• Mister

• It is somewhat like a spray bottle to spray water on the flowers to make them look fresh and this task
is carried out daily.

• Floral tape

• Half inch wide stem binding tape made of plastic or waxed paper is used to cover artificial stems.

Thus flower arrangement demands the following points

to remember- BASIC RULES
• Remove all the dead leaves from the stems of the flowers and the shorten ones from all.

• Shape a leaf to resemble its original proportions when trimming away a brown spot along its
margin.

• Preserve woody stems by pounding the bottom 2 inches of the stems before plunging in
water.

• Strip the stems of all foliage and thorns that fall below the waterline to reduce underwater
decay.

• Flowers with hollow stems should have the stem end seared over a candle flame to
coagulate the sap at the ends.
 • The plants should be cut either early morning or after sunset with sharp knives or scissors.

• Carry out the cut flowers in a head –down position.

• The cut flowers should be wrapped in newspaper till the neck of the flowers. To condition the flowers
should be kept in water for 3-4 hours or overnight while the foliage should be kept for about two
hours.

• Use a good pruning knife or scissors to make clean, slanting cuts, causing minimum harm to the
flowers.

• Make slanting cuts in stems than straight one to avoid the introduction of air bubbles underwater.

• To revive wilting flowers, snip off the half inch of the stem underwater and plunge the stem in a deep
container filled with water. Dead flowers should be cut off.

GENERAL GUIDELINES FOR FLOWER ARRANGEMENT

• Flower arrangement should start with a proper planning taking into account the purpose, room area,
location, plant material, money and time available.

• Selection of flowers and foliage should be according to the needs, moo, color and season.

• Arrange the tallest stem first followed by others according to the arrangement.

• Avoid mixing of fresh flowers with artificial.

• Large flowers with bold and bright colors should be used in less numbers while the small flowers
should be arranged in groups.

• Use different size of flowers and leaves in decoration.

AFTERCARE

• The fresh flowers should be kept from window or fan to prevent from direct droughts. Likewise the
cut flowers should be kept away from direct sunlight as well as from fruits to prevent wilting of
flowers.

• Water should be changed every day and the cut stems should be kept in warm water of about 45
degree C.

• In order to lengthen the life of flowers its necessary to slow down the bacterial growth in water.
Charcoal, salt, sugar, Listerine, lemonade and camphor can be used.

• Clean vase, replace water, use clean containers and add preservatives time to time.
Success in flower arranging starts with your skill in selecting plant
materials that will be suitable for the particular arrangement you want
to make. Here are some of the things to think about—the design elements—when choosing flowers and
foliages:

Design

• A floral arrangement is made whenever selected flowers and foliages are placed into a container
according to a plan. Flowers casually placed in a container are attractive because of their beautiful
color and shape, but the same flowers are even more appealing when arranged in a stylish way.

• In order to arrange flowers in such a manner it is necessary to become acquainted with all the
elements of good design. The elements of design are color, light, space, line, form, pattern, texture,
and size. The principles of design are balance, dominance, contrast, rhythm, proportion, and scale.
These same elements and principles of design apply to every art form.

Color

• Colors have different effects on the viewer. Effective use of color is important in floral arrangement
design.

• Reds, oranges and yellows are generally bright and stimulating, and are considered warm colors.
Warm colors tend to be advancing colors (to the eye), and have more visual weight than cool colors.

• Blues, greens, and violets are usually tranquil, peaceful and restful and are considered cool colors.
Cool colors tend to be receding and have less visual weight than warm colors.

• Twelve-Hue Color Wheel

The twelve-hue color wheel is helpful in determining which colors

will work well together in a design. The twelve hues are categorized

as follows:

• Primary colors: Red, blue and yellow. These three primary colors

may be combined to create all other colors.

• Secondary Colors: Orange, green and violet. The result of

combining two primary colors in equal proportion.

• Intermediate Colors: Blue-green, blue-violet, red-violet, red orange,

yellow orange, and yellow green. The result of combining primary and secondary colors.
 • Color Harmonies

The following color harmonies, or color combinations are generally accepted as being pleasing to the eye.

• Related Color Harmonies

• Monochromatic

Consisting of one hue and its tones, tints and or shades.

Example: light orange through orange to brown

• Analgous

Colors near each other on the color wheel.

Examples:

yellow, yellow orange, and orange

green, yellow-green, and yellow

 • Color Harmonies

The following color harmonies, or color combinations are generally accepted as being pleasing to the eye.

• Related Color Harmonies

• Monochromatic

Consisting of one hue and its tones, tints and or shades.

Example: light orange through orange to brown

• Analgous

Colors near each other on the color wheel.

Examples:

yellow, yellow orange, and orange

green, yellow-green, and yellow

 • Contrasting Color Harmonies

• Direct complements

Colors lying opposite one another on the color wheel. Strong

contrast is achieved by using direct complements.

Examples: red and green

yellow and violet

• Split Complements

A key hue is combined with two hues on either side of its direct complement on the color wheel.
A pleasing, interesting and subtle combination. Best results are achieved by using one color

dominantly.

Examples:

yellow with red-violet and blue-violet

red with yellow-green and blue green

• Triad

Three hues equally spaced on the color wheel. A triad color harmony is eye-catching. Generally,

one color should dominate with the other colors used to a lesser

impact.

Examples:

red, yellow and blue

red-orange, yellow green and blue-violet.

• Select colors that work well together. Select different colors of flowers and foliage.
For your first arrangement select all warm hues or all cool hues. You

may want to use related hues—for example, yellow, yellow-orange,

and orange; or blue, blue-violet, and violet. In such a color scheme,

use most of one hue, least of another, and an in-between amount of

the third hue. Or you may choose a scheme with one kind of color,

such as all yellows or all greens. If you use only one hue, make sure to

select plan

Flower colors should harmonize with one another, with the container,

and with the background—such as a tablecloth—against which the

arrangement will be displayed.t materials of different shapes, sizes, or textures.

Mass or rounded shapes: These are best for line-mass or mass arrangements; as focusing shapes, they may
be used to develop the focal point in line-mass arrangements; or they may make up almost all of a mass
arrangement.

Spray or filler shapes: These are best for mass and line-mass arrangements; use them as background
materials and as space fillers in mass arrangements; prune and thin them before using in line-mass
arrangements.

• Space

As you select flowers and foliages, notice that they are not like solid apples,

but that there are spaces between the flowers of a spray of baby's breath,
for example, and between the petals of a daisy. You can look inside a tulip

or through an iris flower. A leafy branch has odd-shaped spaces of different

sizes. You may select certain flowers or leaves just because of their spaces.

As you place the flowers and leaves in the container, you create spaces of

various sizes and shapes. Spaces are often as important as the flowers or

leaves.

• Expressiveness

Through your selection of flowers and leaves you may express a mood, idea, or sentiment. For example:
daffodils

and pussy willows suggest spring; cattails make you think of a swamp; white roses are elegant and formal;
sunflowers are casual and suggest summer; red roses may say “Romance.“

• Texture

Texture varies not only with the feel of the plant surface, but also with the arrangement of the petals or
florets.

• SIZE

Select flowers and leaves of different sizes. Use the buds and small

flowers and leaves at the top and edges of the arrangement; place the

large leaves or fully opened flowers low in the arrangement.

• SHAPE

Study the many shapes of flowers, leaves, and stems. Plant materials

are put into three main groups according to their shape:

Spiky or linear shapes: These are best for line and line-mass arrangements;

they set directions and cause a feeling of movement; they are

often used to form the skeleton of the arrangement.

Art Principles
In the Selecting Your Plant Materials section, you found that you
should select plant materials because of their special colors, shapes, textures, and spaces. These are the
design elements of flowers and leaves.

The flower arranger uses these design elements, as well as flower size

and expressiveness, according to the following art principles.

Proportion
Proportion is the relationship in size and shape among things or parts

of things. After you select a container, how much of each kind of plant

material will you need to construct the size and shape of arrangement

you plan? Usually the plant material should be about three-fifths and

the container two-fifths of the finished arrangement. The dimensions of

height, width, and depth will depend on your imagination and skill.

Try making the arrangement taller than you think it should be. (You

can always shorten the stems.) If you select three kinds and colors of

material, have most of one kind, least of another, and an in-between

amount of the third.

 • Scale

Scale is the size relationship between flower and flower or between

flower and container. Generally flower sizes should be somewhat the

same, but you may wish to use larger leaves or flowers for variety or
contrast. No flower or leaf should be more than one-third the size of the container. Scale requires special
attention in miniature arrangements.

• Balance

Balance means that the finished arrangement does not fall over or look

as if it will fall over. Consider the balance from side to side, top to bottom,

and front to back. Symmetrical balance means that one side of the

arrangement is nearly a mirror image of the other. Such arrangements are

apt to appear formal, dignified, restful—but may be dull and lifeless. In

arrangements with asymmetrical balance the plant material and placement

are different on each side of the vertical axis which divides the

arrangement in half.

Asymmetrical arrangements are more informal, active, subtle, stimulating, and dynamic. The spaces are
important. As you handle each flower or leaf, you can judge its actual weight. More important is its visual
weight. A flower appears to be heavy if it is large; bright, dark, or warm in color; round in shape; dense in
texture; and solid without spaces. The farther a flower is from the vertical axis, the heavier it seems. Locate
the tip of the tallest flower or branch over its base or

where it is inserted in the holder. To judge balance, imagine the vertical

axis as passing through the center of interest or the point where the

stems come together; squint your eyes as you compare one side with

the other for visual balance.

• Rhythm

Rhythm means related movement. As you look at an arrangement with

strong movement, your eye seems to be led along visual paths. (See the

diagrams for Line Arrangements and Mass Arrangements.) Each kind

of plant grows according to its own built-in rhythm. The cattail is vertical,

weeping willow branches curve and droop, the ivy grows horizontally

along the ground or climbs up along a wall. As you select and

gather your plant materials, study the way they grow. Then you will

know better how to arrange them to produce natural rhythms.

Most plants grow so that the stems radiate from one place in the

ground. As they grow, they form branches that are related to one

another in a radiating way. In flower arrangements, the stems are held

together by the holder and radiate from the container. Radiation, then,

is used in most arrangements to develop basic rhythm.

If you repeat a line, a shape, a color, a texture, or a space, you will

achieve strong rhythm by repetition. Avoid overdoing repetition for it

may become boring.

The easy change from one thing to another is transition. To develop rhythm by transition, allow some plant
material to drape over the edge of the container to bring the two together. Place the buds and smallest
flowers at the edges of the arrangement, the largest flowers near the center, and the in-between sizes
between the two to gain rhythm by size progression. Arrange flower colors from light through intermediate
to dark for color gradation.
Dominance or Emphasis

Through the development of dominance you tell the viewer what is

most important in your arrangement. Daffodils, pussy willows, and

some moss and stones say, “It’s spring!” Graceful, curving leafless twigs

with a few stones tell the viewer that the curves of the twigs and the
open spaces are what this arrangement is all about. As you plan your

arrangement and select the materials, you decide just what story you

will want to tell or what kind of flower will be most important. You

may emphasize a dominant color, size, shape, line, or texture. For

example, in planning a red and white arrangement, select a larger number

or a larger size of red flowers if you want the red to dominate.

A center of interest containing a focal point is often developed in mass

or line-mass arrangements.

The center of interest is usually slightly above the point where all the stems appear to meet. You
may concentrate flowers there; place the largest, most colorful, or showiest flower there; use round
focusing flowers; or place some large flat leaves nearby. But avoid overdoing-don't make the center
of interest too obvious. Figurines may be emphasized; if so, they should be large enough to
dominate the plant material. (However, it is best not to use figurines until you have mastered the
arrangement of plant materials.) Line arrangements are best without a center of interest since their
appeal is in the lines of the branches and the spaces.

Styles of Flower Arrangement

• Classical - Egyptian & Greco Roman

• European - Italian, Dutch, English (Early and Victorian), French

• American - Colonial, Victorian, Modern

• Oriental – Japanese

• Contemporary style- Line Arrangements, Line-Mass Arrangements, Mass Arrangements

Egyptian Floral Design(2800-28 B.C.)

• Ancient Egyptians used bowls of lotus blossoms at banquets and offered vases of flowers as
tributes during ceremonies. Flowers were also significant during Greek and Roman times.
They were woven into garlands and wreaths and then worn.

• The Egyptians valued repetition; flowers and/or fruit were carefully alternated in rows in
repeating patterns. A typical Egyptian floral design would be grouped in the orderly
sequence of water lily/leaf/bud/leaf/water lily/leaf/bud, etc., set around the rim of a wide-
 mouthed basin or bowl. Flowers in garlands and wreaths were arranged in orderly sequences
of colors and shapes.

• The plant materials used by Egyptians were the water-loving ones that flourished in the
fertile Nile Valley. The preferred colors were bright, strong, vivid colors of medium value,
such as midnight blue, green, red, burgundy red, yellow, gold, rose, purple, and black, as
opposed to tints or tones, such as blue turquoise. For containers, a simple wide-mouthed
basin or bowl was the favorite choice, although artifacts include vases, jars, and bowls.

Greek and Roman Era (600-146 B.C., 28-325 A.D)

• Flowers were valued for their fragrance and symbolism first, and color was second in
importance. Vibrant colors, such as violet, rose, pale blue, sky blue, terra-cotta, red, deep
maroon, ivory, and white were preferred. Muted and gray tones were not favored during the
Greco-Roman period.

• Appropriate flowers and plant materials for this period include acanthus anemone, apple
blossoms, crocus, cypress, daisies, grains, grapes, honeysuckle, hyacinth, iris, laurel or sweet
bay, lilies, myrtle, narcissus, poppies, quince, roses, violets, fragrant herbs, cones and acorns,
ivy, olive branches, oak leaves, and pomegranate.

• Loose flowers or flower garlands were often positioned in baskets, cornucopias, or on trays
for delivery as offerings or gifts. Greco-Roman period designs with props, such as columns;
stone garden benches; large, flat baskets for offerings; urns; and marble.
Italian Renaissance(1400-1600)

• The Italian Renaissance is regarded as the beginning of floral design as practiced in

contemporary society. Flowers were cut from flower gardens, taken into homes, and
arranged for everyday occasions.

• The Renaissance era produced large, overflowing arrangements, characterized by a

pyramidal shape, bilateral symmetry, and bright masses of colorful flowers. Smaller, casual
arrangements of short-stemmed flowers were arranged in tight clusters or as airy bouquets.
• Floral design during the Renaissance period was a study in nature. Taller flowers were placed
above lower-growing ones, and the flowers were arranged so that each flower could be fully
viewed with no stems showing. The most important flower was placed at the top of the
arrangement; garlands were positioned to cascade from the vase to the table top. Common
arrangement outlines included a circle, an oval or cone, or an equilateral triangle.
Arrangement height was approximately one to two times the container height.

• The plant materials used for Italian Renaissance designs were generally the smaller-sized
flowers familiar to contemporary florists, such as anemones, bellflowers, carnations,
columbines, daisies, forget-me-nots, iris, jasmine, lilies, lily-of-the-valley, lupines, marigolds,
monkshood, narcissus, pansies, periwinkle, poppies, primroses, roses, stock, and violets.
Other materials favored were wheat; foliage (laurel and boxwood); olive branches; and fruit,
including apples, figs, grapes, oranges, peaches, pomegranates, and strawberries.

• The Renaissance floral artists chose flowers in bright, mixed colors and often arranged them
all together in one vase with no apparent color scheme.

• Urns made of bronze, marble, pottery, or Venetian glass were often featured. Fifteenth
century Venetian glass was commonly textured with gadrooning, a beading or fluting
process, and with raised dots to simulate appliqués of precious stones. Later, craftsmen
fashioned blown glass into tall vases with handles, small jugs, beakers, and tall-stemmed
goblets. Simple bowls, vases , and jars, made of stone, glass, pottery, and metal were
commonly used. Terra-cotta pottery was used widely by all classes, while silver trays and
vessels were often depicted as being used at feasts.
European Baroque and Dutch Flemish Styles (1600-1800)

• The European Baroque style was one of artistic expression, occurring primarily during the
seventeenth century, which was represented by extravagant forms and elaborate,
sometimes grotesque, ornamentation.

• introduction of many new plant materials, including chrysanthemums, cacti, nasturtiums,

and giant sunflowers.
• The tulip had already been discovered in Persia and was so popular that a craze known as
tulipmania swept Holland.

• The container was the most important element while the flowers appeared flat.

• glass containers with the flowers

• The floral designs were massive, lush, and abundant symmetrical or asymmetrical designs
with the largest most important flowers at the top and with voids or spaces along the
composition edge.

• Asymmetrical movement from right to left or left to right and a sweeping S curve, later in the
period, were characteristic of the Baroque/Dutch Flemish style.

• Flowers were placed at all angles, showing front, sides, and the back; each blossom was
featured and vital to the arrangement. The use of the striped, streaked, and fringed parrot
tulips was common in Dutch Flemish designs. The flamboyant style included accents and
accessories of fruit, nests, and additional flowers places at the base of the container.
Arrangement height varied from two to three times the container height.

• Color schemes for this period were not subtle, but were characterized as bold masses and
mixtures of colors with emphasis on medium to dark values with some lighter highlights.
Some favored colors were dark red, blue, and purple.

• The Dutch Flemish period was known for its variety of containers and vases. The most
popular container for the profuse bouquets of the day was the classic urn, available in stone,
metal, and glass, either highly decorated or plain.

• popular was the blue and white porcelain from China.

The French Period (1643-1774)

• Louis XIV was the first of the French to have fresh flowers and potted plants brought into the
palace. His reign set a precedence that the use of flowers was important.

• bouquets gave the effect of mass arrangements

• The new style of floral designing included both tall and willowy designs, up to two times the
container height, and small arrangements, which were often equal to and shorter than the
container height.
• Typical shapes of French rococo designs are a rounded shape, a relaxed fan shape, and a
playful C curve replacing the S curve and displaying lightly bending arcs and short double
curves of flowers and stems. Large flowers were chosen in smaller quantities and, along with
smaller flowers and foliage, were positioned with openness and space around them for
individual viewing. Flower stems were often visible in designs form the French period.
Because flowers were not massed and were used in smaller amounts, voids and spaces
occurred within designs and their outlines. During this period, fashionable ladies carried
bouquets or wore them tucked into bodices with tiny “bosom bottles” to keep them fresh.
Popular were designs in towering epergnes with candelabras or in low bowls or baskets
displayed with arrangements of fruit, especially the favored pineapple.

• The choice of French period plant material was large, such as acacia, anemone, amaryllis,
aster, bachelor’s button, balloon flower, buttercup, canterbury bells, carnation, crown
imperial, daisy, hellebores, hyacinth, jasmine, double larkspur, lilac, lily, lily-of-the-valley,
marigold, narcissus, nicotiana, pansy, poppy, primrose, rose, variegated tulip, and viola, as
well as flowering branches and ferns. The snapdragon and gladiolus were introduced during
this period. Rococo color schemes combined light, pastel colors in subtle, analogous color
harmonies, such as red, pink, and purple or yellow, soft green, and blue green. Accents of
the dark colors of red, blue, violet, and black were used for contrast only.
 • The choice of containers ranged from bowls, baskets, shell and leaf-shaped dishes, and low
shallow pedestal bowls (tazza), to epergnes, flasks, urns, Chinese cachepots or flower pots,
and vases. Containers were available in glass, porcelain, pottery, and metals. The rococo
ornamentation was very evident with fluted, curved vases displaying floral paintings and
shell-shaped borders.

Japanese Influence
• Japanese ikebana style offers several ideas for the naturalistic use of plant materials and the
use of rhythm and space in floral design. The Japanese influence has greatly contributed to
the development of contemporary line and line mass arrangements. Ikebana, or Japanese
flower arranging, however, has been practiced as a studied art form since 1470.

• Basically, ikebana can be divided into three groups:

• Classical or formal style, including rikka and shoka

• Naturalistic or informal style, including nageire and moribana

• Abstract or free style

The rikka, or standing arrangement, was influenced strongly by Chinese art, especially tall Chinese
landscape paintings.

Rikka Arrangement

• nageire style, which means thrown-in flowers. The simple nageire style emphasized the
natural beauty of flowers arranged as in nature and was more suitable for the home. Nageire
designs were often arranged in tall containers as upright, slanting, or hanging forms.

Nageire Style of Ikebana

• An intermediate style between the formal rikka and the informal nageire styles appeared in
the seventeenth century; it was known as shoka or seika. The seika, or shoka, style is
recognized by the three distinct points of the triangle or crescent shape; it has remained
relatively unchanged since its origin.
 Shoka Arrangement

• By the late nineteenth century, a fourth major ikebana style emerged, due partly to the
Western influence in Japan. This style was called moribana, which means piled-up flowers.
The arrangements were designed in a kenzan, or needlepoint holder, in low, shallow bowls
or containers. Moribana arrangements often resembled miniature scenes from nature and
were designed as upright, slanting, or hanging forms.

• The placement of three main parts, either flowers or branches, is characteristic of the
ikebana styles of shoka, nageire, and moribana. The three main placements have traditional
and symbolic names: shin, representing heaven; soe, representing man; and hikae, or tai,
representing earth. Shin, which means heaven or spiritual truth, is the tallest and most
important placement. Its height is equal to or two or three times the width plus the depth of
the container, depending upon the overall arrangement size. Soe is traditionally considered
to symbolize man situated between heaven and earth and can also mean support, help,
human creativity, and harmonizer. Soe is second in importance and is approximately two-
thirds to three-quarters the length of shin. Hikae, or tai, meaning earth, body, or material
substance, is the shortest material in the design and is approximately one-third the length of
shin.

• A wide range of plant material is used in ikebana designs. Foliage, such as aspidistra, cedar,
hemlock, holly, juniper, and pine, are used. Cherry, plum, peach, and quince branches in
blossom and in leaf are favorites, along with willow, wisteria, bamboo, and hosta. The aster,
azalea, camellia, chrysanthemum, clematis, day lily, hydrangea, iris, lily, magnolia, narcissus,
orchid, peony, and rose are typical flower choices for Japanese floral design. More emphasis
is placed on the form and flowers used than on the colors. Muted, subtle characteristic
colors are green, blue, violet, and shell pink. Other preferences include delicate colors for
spring; stronger, more varied hues for summer; the warm red, orange, and yellow scheme
for fall; and green for winter.

• Juyubana
 • ‘Juyubana’ means free flowers, which can be arranged

• both in ‘Moribana’ or ‘Nageire’ styles of ‘Ikebana’.

• Wood, metal or any other material may be used in

• addition to flowers.

• Zeneika

• ‘Zeneika’ means abstract and this style does not

• simulate nature.

• Straight material with uneven height is used.

• Morimono

• In this style fruits, vegetables and flowers are arranged

• and this style looks like ‘English flower Arrangement’.

English Influence
• the English have always loved gardening and flowers

• Fragrance was an important prerequisite for flower selection,

• Everlastings, such as globe amaranth and strawflowers, were arranged in vases filled with
sand and sold for enjoyment during the winter. During this period, beautiful swags of fruit
and flowers were placed above fireplaces and doors and on staircase walls. The English also
designed large fan-shaped bouquets of bellflowers, monkshood, or leaves to adorn the
unused fireplace in summer and fall.

• floral arrangements pictured in their works were beautiful compositions of mixed flowers,

• during the Georgian period varied from small mixed bouquets in glass or brass bud vases to
large mixed flower displays in urns, baskets, and vases.

• catkin, clover, cyclamen, daphne, datura, geranium, hibiscus, passion flower, penstemon,
phlox, plum and pomegranate blossoms, saxifrage, scabiosa, snowdrop, sorrel, spurge,
trumpet vine, and veronica. Early in English tradition, dark, rich colors were preferred, such
as purple, blue, scarlet, and gold with occasional accents of light colors.
• arrangement with light-colored flowers that were chosen with texture in mind, such as roses,
lilies, stock, and tuberose
The Victorian Era (1830-1890)

• The Victorians liked two kinds of compositions more than others: large compact
masses or light, open, and informal arrangements.

• Bronze or black vases, dark green, pure white, or silver, always produce a good
effect, and so does a straw basket, while clear glass, which shows the graceful
clasping of the stems
 • The colors of the rose determined its meaning. For example, red is love, white
is silence, and yellow is infidelity.

• A myriad of containers was used to create Victorian floral designs. Glass was
the favored material, and ceramics, metal, and porcelain were also available.
The urn and epergne were often used. The favorite Victorian epergne has a
bowl or basket-shaped base for low, cascading flowers or for fruit with a
trumpet rising out of the base for taller flowers. (Figure 15) Other containers
included tuzzy-muzzy holders, bottles, cornucopias, wall pockets, and all shapes
of vases.

• A distinct Victorian quality in floral designs was the use of weeping or trailing
plant materials, such as fuchsias and bleeding hearts, to lend a romantic or
wistful quality to the design.

• Victorians loved to include foliage for the symbolic meaning, texture, and
contrast.

• Masses and mixtures of colors delighted the Victorians. Although the Victorian
designers had definite rules about not mixing colors that clashed, they did
employ contrast in color use.

• Masses and mixtures of colors delighted the Victorians. Although the Victorian
designers had definite rules about not mixing colors that clashed, they did
employ contrast in color use

American Floral Design History (1620-1960s)

• designs of a casual naturalistic style

• Flower arrangements in the late Colonial period were fan-shaped or triangular

• Colonial ladies often arranged bowls of flowers of only one type, such as lilacs,
roses, hyacinths or snapdragons, and added a filler, such as pearly everlasting
or baby’s breath. The arrangement height was equal to the container height.

• Dried materials were arranged in combination with fresh flowers.

• Colonial designs were often colorful mixtures, although monochromatic
schemes were enjoyed in that day. Yellow, green, blue green, blue, and rose
were favorite colors in floral designs. The French influence inspired subtle
combinations of pale gold and white, as well as pale blue with accents of blue
or green.

• Eighteenth century Colonial vases varied from wide bowls of pottery, porcelain,
pewter, silver or Delft brick to a five-fingered vase, epergne, or stem cups with
two handles, also known as a loving cup.
Contemporary Styles Late Twentieth Century to 1950

• Line Arrangements

• Line arrangements are adaptations of Japanese styles. Linear pattern is

dominant. Line arrangements are

• characterized by restraint in the quantity of plant materials used, with an

emphasis on the beauty of
• individual blooms or foliage. Line arrangements are usually bold and dramatic,
with importance placed

• on the contrast of form and texture, with an open silhouette. Often line
arrangements will have three lines

• or placements. Most linear arrangements have asymmetrical balance. Typically,

they are viewed from

• the front only. Allowing some material to extend toward the front or back of
the arrangement develops

• depth.

Line-Mass Arrangements

• Line-mass arrangements combine the strong line of Japanese styles with the
massed effect of European

• designs. Line-mass arrangements have a clean, uncluttered look, with definite

line, a well-defined mass,

• and plenty of open spaces. The dominant line is combined with a mass of plant
material at the focal area;

• additional material is used to enhance and develop the linear shapes. A design
combining unusual

• components and using more plant material than a Line arrangement. Contrast
of texture, color and line are important features.

• Mass Arrangements

• Mass arrangements are adapted from European designs. They have a thick, full
look, with a closed

• silhouette. Mass design uses more plant material than Line or Line-Mass
designs; usually a large amount
• of plant material is used. The emphasis is on the whole colorful mass of flowers
and foliage, rather than

• on individual components. Color is important in mass arrangements. Round or

mass shapes usually

• dominate, but spiky or linear forms are good for triangular arrangements.