R-4: Principles of Design
In all the arts, composition is based upon a series of
guidelines. The beginning artist needs a
thorough understanding of them to start down an experience path leading to quality
and satisfaction in the design products.
With a full understanding and appreciation of these guidelines, the
artist may achieve a level of distinction in how they are utilized and
manipulated to fit the individual personality.
These are not rules; rules can be broken. Instead, these are the principles of design, the basic laws or truths or methods of
operation which can never be changed but can be handled differently by
different arts and artists. We apply the principles in all arranging, and achieving
them differentiates the artistic quality of a floral composition from just a
bunch of flowers displayed together in a vase.
When one takes a handful of flowers and drops them into a
container, the result is not an arrangement but only a haphazard floral
grouping, simply a "bunch" of flowers. We may then manipulate the flowers according
to size, shape, color, and other factors, changing the bunch of flowers into a
"bouquet." Many connotations
apply to this term, both in the home and the florist trade that are not
necessarily negative in relating the display quality. No one debates the emotional expression of a
bouquet -or vase arrangement -of roses, baby's breath, and asparagus fern. However, it is still a floral display based
on using the elements of design (building blocks) with little influence from
the principles of design. Only when the
principles have been applied do we have an "arrangement" -the planned
combination of flowers, foliages, other materials, and container into an
artistic unit. When we then place that
arrangement with any additional accessories into its display setting, we have
created the floral "composition."
This is the ultimate evaluation of our designing effort and
quality. A good arrangement may not
succeed as a quality composition if the principles of design that were properly
applied to the arrangement are not also applied to the whole composition.
The terminology is important in understanding the different
levels of floral arranging and in setting personal goals in the art. A floral bunch may be perfectly satisfactory
for some people, but for those who want something more expressive and
satisfying, the goal should be for design development and execution into a
quality composition.
It should be noted that some differences exist in the
terms arrangement and composition. As
floral arranging began gaining popularity in
may move on to future
competition as it will be critical to check the applicable definitions for any
classes to avoid disqualification. Under more popular usage, the two terms may
also be considered synonyms, although the differentiation of an arrangement
standing alone versus a composition of the arrangement in its setting offers a
more precise manner of viewing the two.
All creations begin with a plan. No tailor begins cutting cloth without a
preconceived idea of what the product will be.
There is a pattern -the plan - and an anticipation of the final product
before the first cut is made. The same
applies in floral arranging. There must
be a plan, a design, for the
arrangement before the first flower is cut.
Design, good or poor, is present in every arrangement. Floral arrangers may work with only the basic
designs, fitting their available materials to those plans and then selecting a
display setting for it. This is a design
process, at least in design modification, that should be extended as far as
possible as a personal expression - for the floral arranger to become a true
floral designer. At that level there is
a decision on the arrangement function, followed by creation of a design and
execution of the composition to fulfill that function. The stimulus for a design may evolve from an
analysis of the space and decor of the setting, the physical and visual
qualities of a container or accessory, the flowers and foliages available (or
to be featured), and the theme the designer wishes to express. This is no different than the design process
for tailoring a suit or dress. The
beginning floral designer may also find a sketch (pattern) helpful in
visualizing the product and keeping the execution plan on course. This may be as simple as a rough
stick-and-circle sketch. Whether or not
a drawing is used, the importance of a well-developed mental image of the
product cannot be over-emphasized. A
good design is not something that just happens; it is the result of much
thought and planning.
In both the designing and arranging processes, the
principles of design will help us achieve our goal in the composition function
and appearance. These principles are
common to all the arts, although they may be listed and applied differently for
each artistic medium. In floral design
all the principles will be present in every good arrangement, but their
relative importance will vary. Design
flaws will be recognizable when the principles are not applied or achieved, but
they also may be manipulated by the artist and retain quality in the
composition. Remember that the
principles are fundamentals, not rules. They are typically offered with
guidelines on how the elements of design can help us achieve the
principles. Variance in the guidelines
is where the individual artist is expressed.
The guidelines may be changed - rules may be broken - but the principles
remain constant.
The principles of design for floral arranging described
here - emphasis, balance, scale and
proportion, rhythm, harmony, and unity - are those most widely
accepted. They may be discussed in any
order as each stands alone while also relating to the others through the common
application of the design elements for more than one principle. Floral design students need to develop as
early as possible an understanding of how the design elements and principles
interrelate and to use the terminology whenever discussing and evaluating
arrangements they or others create.