Design Study class November 2018
Federation Design Class January 2016
In order below- examples by teacher Candice Morganstern, work by Lynne Da Ros, Janice Giorgianni, Dorothy Backman, Annette Jarvis, and Deb Mack.
pictures by Janice Giorgianni
Federation Design study Class
Federation Design study Class,
We also found out that we needed to anchor the oasis to the container bottom with tabs. If you don't anchor the oasis, the whole piece could topple over.
RI Federation of Garden Club's Design
November 2014. Attendees included Madeline Beaucage, Janice Giorgianni, Annette Jarvis, Linda Kirkpatrick and Deb Mack.
RI Federation of Garden Club's Design Class for October 2014
"Pot-et-Fleur". Attendees included Madeline Beaucage, Janice Giorgianni, and Linda Kirkpatrick.
This beautiful arrangement was designed by Janice
Picture to follow
Federation January Design Class Arrangements by Janice Giorgianni.
Federation Thinking Out of the frame class
Federation Design Study
with de Feldman at Mr. Hope Farm, Bristol, RI. Portsmouth Garden Club members attending the class are Annette Jarvis, Deb Mack, Janice Giorgianni, Joan Paquette, Linda Kirkpatrick, Madeline Beaucage, Sofi Cofield, Sue Perry.
This design is one of the classical geometric designs, and is known as a Hogarth Curve or Lazy S. This is quite a difficult design to get right, and a number of factors have to be taken into consideration when making this type of arrangement. Firstly, the container used should be quite tall, to accommodate the lower downward-curving half of the design, and should have a narrow neck. If the container used has a very narrow neck, then you could use a small candle cup fixed into position to allow for a slightly larger piece of floral foam to be used. Only a small amount of foam should should be used for this design, as it is very easy to get the center of the design much too large when trying to cover a large piece of foam with plant material. The foam should be around 3" taller than the rim of the container, to allow for the downward-curving plant material. Next, the foliage used to define the shape should have a gentle curve. This is very important, as it is impossible to achieve the right shape with straight material. The curve of the design should be almost upright, and care should be taken not to make it too "lazy"! The shape can curve either way, as there is no right or wrong way - it's up to you to decide which way looks better for the situation in which it will be placed. Two of these arrangements as mirror images would look lovely.
Hogarth Curve Design
By Marie Harrison (can2grow)
February 11, 2011
The group follows the guidelines published in National Garden Club's Handbook for Flower Shows, 2007 Edition.
NGC Definition and Requirements for Reflective Designs as published in the Handbook are:
Before the designer can tackle this design type, some basic terminology must be understood. The casual reader will read, "creative design" and know that the design should be creative. However, according to National Garden Clubs, very specific guidelines define a creative design.
The NGC Creative Floral Design is an art form. In this art form, creativity, imagination, and originality are essential. The designer is basically freed from all the constraints of Traditional Design Style. Designs no longer have to follow a set pattern, and the designer can basically forget about gradation of sizes, forms and colors that traditional designs require.
NGC Creative Design Style, as in NGC Traditional Design Style, must adhere to the principles of design (balance, rhythm, contrast, dominance, proportion, scale). However traditional designs are designs IN space, while creative designs are designs OF space.
In creative designs, concepts are borrowed from different styles and periods to create new concepts and forms. Usually there is great restraint in the amount of plant material or the number of components used. Unlike traditional designs with one point of emergence and one focal area, creative designs may have multiple points of emergence, and interest or focal areas may be scattered throughout the design. The designer discards the notion that fillers and transitional materials must be used and works to achieve structural clarity. Designers learn to select fewer components but to use them boldly.
Designers create space within, around and about the physical components by using the organizational technique called interpenetration of space. They may penetrate space by placing components that thrust from foreground to rear ground of a design, or from the rear ground to the foreground.
Step by Step with Candace
from Deb Mack