Balance, Dominance, Contrast, Rhythm, Proportion, Scale, Unity and Harmony
BASE
Staging on which a container (seen or unseen) or design/s can stand. It may be of any shape, material, size or color appropriate to the design. If seen, it becomes an integral part of the design and is considered as one with the container. A base can aid (or mar) visual balance, proportion and rhythm; unify accessory/ies and the design; strengthen the dominance of a color, line, texture or character. One or more bases may be used.
FORM (Element of Design)
Form is three-dimensional (length, breadth and depth ).
Geometric forms – the sphere, cube, pyramid, oval and variations and portions of these – are often used. ‘Shape ’ is two-dimensional (length and breadth but virtually no depth). A closed form is solid, compact, massed with few open spaces, making it appear heavier than an open form of the same size. Conversely, an open form has spaces between spreading parts and appears lighter. Most flowers have form whereas many leaves are only flat shapes which are visually restful. Plant material forms have varying degrees of impact, from low (e.g. forget-me-nots) to medium (daffodils) to high (strelitzia flower and leaf).
A visual sensation dependent on light, texture and distance, infinitely variable. It has strong emotional and symbolic associations. Color may be used to provide balance, dominance, rhythm, harmony and distinction. The principles that apply to making a good design of forms, apply to making a good design of colors. Texture is related to Color as an Element of Design. It modifies color; rough or coarse textures in plant material tend to reduce value and intensity whereas shiny, smooth textures can have the opposite effect. The color of plant material is also affected by the type of light in which it is seen – natural and artificial lighting have differing effects.
COLOR HARMONIES
Color harmonies fall into two groups, related and contrasting. Related harmonies use hues which are next to one another on the Color Wheel and are generally soothing to the emotions.
Complementary harmonies are more stimulating as contrasting hues are used.
PLEASE NOTE: In all Color Harmonies: -
- Tints, tones and shades of the chosen color/s may be used.
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- Whilst a container in a neutral color is technically correct, a much better effect will be achieved if the container is the same as one of the chosen color/s.
- The container alone cannot represent one of the chosen colors in the Harmony.
CONTRAST (Principle of Design)
Contrast is achieved by using variations in color, form, line, texture and space and by placing the Elements together in such a way as to emphasize the differences.
It gives dramatic impact to any design by showing the use of opposites e.g.
• Light and dark colors
• Smooth and rough surfaces
• Spike and round forms, etc.
Too many contrasts can cause confusion, conversely a design lacking in contrasts or variations is often monotonous and uninteresting. Equal amounts of contrasting textures, colors, etc may adversely affect dominance
CONTEMPORARY
Of the current period, popular and representative of leading trends worldwide. (Not to be confused with Modern Period Styles of the 20th Century).
BALANCE (Principle of Design)
Balance gives a visual sense of equilibrium and a well-balanced design gives a feeling of stability.
DOMINANCE (Principle of Design)
Dominance is the emphasis in a design of one or more of the Elements. It is governed by size, amount and density e.g.
• One line as compared to other lines should dominate
• One color should dominate
• One form or one shape should dominate
One texture should dominate over all others.
ABSTRACT
An Interest Equated style emphasizing the elements of line, form, space and texture. The designer takes the essence of the floral material used and communicates this to the observer. Color may be muted or strong, textures strongly contrasted. Balance is dynamic with no part of the design having so much weight or attraction that it over-balances any other. There may be more than one point of emergence from the container or within the design. Manipulated material, unexpected placements and interesting spaces are characteristic. Natural growth habits of plant material are ignored and elimination of unnecessary detail is essential. The container can play an important role in the design.
A dominating element should be evident (e.g. vertical lines) to ensure unity is achieved but strong contrasts add excitement. Whilst the emphasis is on plant material, manufactured or “found” objects may be used. The design may be “expressive” in which the organization of all elements expresses an idea or theme, or “non-objective”, creating an awareness of the essence (characteristics) of the material (e.g. form, line, texture, color, etc.).
EUROPEAN INFLUENCE DESIGNS
Styles and designs originating in Europe during the late 1980‘s and 1990’s.
Designs are either DECORATIVE or VEGETATIVE.
DECORATIVE
Plant material may be manipulated, cut or pruned according to the designer’s desire. Any embellishments may be used.
VEGETATIVE
The plant material is used in an entirely natural way. Natural embellishments only. Group placement of materials is essential. When there is more than one grouping of materials, space between the groupings is necessary.
SOME EUROPEAN INFLUENCE DESIGN TECHNIQUES
BASING
Decorative coverage of the foundation of a design such as clustering, layering, paving , stacking, terracing and tufting for the purpose of hiding mechanics. Good basing techniques are especially important in parallel designs because the distinct lines as well as the voids (space) call attention to the base.
ELEMENTS OF DESIGN
The Elements of Design are: SPACE , LINE , FORM , PATTERN , TEXTURE and COLOR .
The Elements are the ingredients which a designer combines and organizes according to the Principles of Design to form a complete design.
BINDING
To fasten together several stems and/or pieces of other material for the purpose of strengthening (as in tying) or to decorate with a band (also called banding ).
BLOCKING
One type of plant material used closely together so that the shape and number of individual stems are unimportant but used as one unit creates a larger area of color and/or texture.
.LINE (Element of Design)
Line direction is the primary foundation of design. All lines have direction and can be horizontal, vertical or diagonal, straight or curved, thick or thin, active or passive. Line direction is used to obtain good rhythm and is attained by the dynamic use of materials to carry the eye in a definite direction. Lines can also be expressive. A restful, soothing line is expressed in a horizontal design; a vertical line has a dignified and/or dramatic effect. Curving lines have grace and gaiety. Lines that have movement (rhythm) generally have a greater appeal
PARALLELISM
(a) Lines that have the same direction or course, equidistant at all points.
(b) European Influence Parallel Style of Designs.
DECORATIVE PARALLEL
FORMAL PARALLEL
GRAPHIC PARALLEL
INFORMAL PARALLEL
INTERSECTING PARALLEL
VEGETATIVE PARALLEL
RHYTHM
Rhythm is the organization of design elements to create a visual path. This may be achieved by use of line or accent in such a way that the observer gets the effect of motion, though the materials are static. Rhythm is usually attained by the use of repetition, gradation and line direction.
REPETITION is the repeated use of a form or shape, hue, value, line, space etc in a linear direction. To avoid monotony the repeat should be modified, as in the use of a lighter value of color or a grouping of small, round forms for a repeat of a large round form etc.
GRADATION is a sequence in which the adjoining parts are similar or harmonious. It implies gradual change in size, color, texture or form and applies more in traditional work.
LINE DIRECTION is attained by the dynamic use of line material, to carry the eye in a definite direction.
A restful, soothing line is expressed in a horizontal design and a vertical line makes a dignified and/or dramatic effect.
Curving lines have gaiety and grace. Lines that have movement and rhythm generally have greater appeal.
Good traditional massed arrangements have an easy gradation from bud to open flower, from thinness or delicacy at the extremities of the design to solidity at the focal area. In modern arrangements rhythm is achieved through repetition of line, form, space, color, pattern and texture, but this may not necessarily apply to Contemporary designs.
SCALE
Scale refers to the relative sizes only, such as the size of the arrangement to its placement, the individual size relationship of the plant materials to each other, to the container and to accessories used. When variation in size it too great or too small, components are out of scale. Dominance and Unity and Harmony are adversely affected as the size variation is so noticeable
SPACE
Space is the three-dimensional expanse within which a design is organized – the open areas in and immediately around the design. This three-dimensional space may be within a niche or set by the position in which the design is to stand. A vertical space, that is a frame which has more height than width, will usually demand a vertical design.
'Positive' space is the area occupied by the flowers, foliage, container and added material. It is total occupancy within a defined area.
‘ 'Negative' space is space within a design that is left totally empty between the materials used in the design. This lack of material in any design allows you to ‘catch your breath’ and rest and then continue.
The allotted space should be stated in schedules for it will influence the size, proportion, shape and line direction of the design. A design should use approximately two-thirds of its allotted space.
SYMMETRICAL BALANCE
Symmetrical balance is equal balance of weight, actual or visual, on each side of the central axis, an imaginary perpendicular line through the center of the design. Symmetrical balance is generally used for formal settings. In traditional designs, when the design is symmetrical, it should have the focal area in the center of the arrangement near the base of the main axis.
TEXTURE
All surfaces – flowers, foliages, containers and any accessories - have textural quality. A texture can be appreciated visually and by touch. Shiny textures are more dominant than dull ones and rough textures hold the eye’s attention longer than smooth. Texture can be smooth, shiny, rough, dull, velvety, silky, fluffy and prickly, etc. Variety is needed to avoid monotony but too much can cause confusion.
.TRANSITION
The gradual change of size, form, color, space, texture; links various areas of the design to its focal area/s providing rhythm; the link between one extreme to another e.g. from largest to smallest. Relates to “Rhythm”, a Principle of Design.
TINT
A hue (color) made lighter by the addition of white.
TONE
A hue (color) made duller by the addition of grey.
VOIDS
Deliberately planned spaces between solid elements in a design. Should differ in size and shape to form a definite part of the design but not appear as a distracting gap. Voids often help produce strong and dramatic visual effects.
