[Editor's Note: A condensed
version of this article appears in the Fall/Winter
2007 issue of Design Dimensions, CFAA's
member newsletter publication.]
When Addie Lou Harris founded CFAA, her intention
was to continue the teachings of Bob Thomas. Her floral
work appearing in Design Dimensions clearly
reflects Bob's teachings as he presented Creative Designs.
Webster's defines "creative" as:
(a)
Having the quality or power of creating
(b) Resulting
from originality of thought; imaginative
Bob taught us the following characteristics of Creative
Designs:
- Make designs which have a commanding appearance.
Therefore, their quality must be bold
and dramatic.
(a) The design must
hold the viewer's attention.
(b) Weak, apologetic
line materials do not have the strong visual weight
to hold the viewer's interest. Weak lines also
lack the bold form creative designs require. (If
weak lines must be used, cluster many pieces together
to form a heavier line.)
(c) If clear plastic
is used, paint it for greater dramatic quality.
(d)
The strength of the main line gives the dramatic
quality the designer needs to obtain. The main
line sets the needed dramatics.
- Creative designs ALWAYS contain asymmetrical
balance. Asymmetrical balance as it applies to
all creative designs, gives a dramatic effect which
is readily visible.
The visual weight of the
components is not the same as the visual impact
of the spaces. Nor are the spaces the same. The
space created is a strong element within these
designs. Consider also, the space created around
the outline of the design.
These designs are
based on Japanese concepts. Therefore, no European
influence is found. Instead, restraint must be
maintained.
- Great selectivity is necessary and visually
evident.
- More than one center of interest may be present.
- Multi-holed containers are used, which are
bold and dramatic in appearance and often have
textured surfaces.
- Some abstract qualities may be present.
(a)
Folding, tying or clustering plant materials may
be present.
(b) Components may be placed upside-down,
hung, etc.
- Plant materials are long-lasting and often
not placed in water.
- Dried plant materials may be treated.
- Fresh and dried plant materials are used together
to obtain great contrast.
- Extended line length is often visually present.
- No transitional materials are used. We do not
use the smallest flower at the top, then a larger
size and finally the largest one covering the lip
of the container. In our designs, the rim of the
container shows.
- More than one point of emergence is important.
- The design may take any form. This is controlled
by the selectivity of the designer.
- The design and container are one unit.
- Designs are eclectic because the components
come from many sources, due to the selectivity
of the designers.
- Unusual color combinations are often used to
create dramatic flair.
- Restraint is absolutely necessary.
(a)
To allow for structural clarity.
(b ) Make
certain the lines are bold enough. Restraint is
then easier to obtain.
- Wood sculptures and "found" items
are used to obtain dramaticism.
- These designs are of space, which is
included within the design. The spaces are of different
sizes which help to obtain three-dimensional depth.
I offer Emma Cypers' definition from her
book, Abstract Flower Arrangements. In 1964
she wrote:
"Plastic organization may
be defined as the art of organizing one's materials
to give the greatest effect of depth. In a broader
sense, it defines a work in which the parts, without
losing their own character, are related to the
other parts and to the whole design."
This
definition has been condensed since her writing.
Therefore, I consider some detail from this important
definition has not been available to newer designers.
- More than one container may be used to complete
a design.
- Use no more than four or five different components
or restraint will be affected.
- Do not constrain a creative designer to a specific
creative design. Please allow several choices.
- If small components are selected, they may
be grouped together and hand-tied to make a bolder
and more dramatic form.
- These designs are strictly from the mind of
the designer, using creativeness without influence
as to title or specific design types.
- These designs require boldness and dramatic
qualities, with selectivity, assembled with added
restraint, to hole the viewer's attention.
When constructing a creative design, ask yourself
the following questions:
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(a)
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Have you obtained the boldness to create
viewer impact?
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(b)
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Does the design have asymmetrical balance?
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(c)
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Has space been utilized to create depth?
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(d)
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Have you used selectivity - not too
many components?
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(e)
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Have you achieved restraint?
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Restraint is not well understood. Keep the number
of components to a minimum and use few of each component.
Creative designs are free of clutter. They are succinct
and to the point. Wham! There they are! These
designs are not apologetic. They make no excuses because
of the great selectivity the designer has used. This
is what we need to admire.
Once Bob asked me, "Jan, will less work?"
I removed a leaf. He then spoke, "Always ask yourself
if less will work. If you are in doubt, leave a component
out."
Always remember, we are searching for:
I.
Dramatization with boldness
II.
Selectivity
III. Asymmetrical balance
IV. Restraint
I have not mentioned the importance of proper proportion.
Asymmetrical balance always. The importance of contrast(differences
are necessary) and dominance, of course. Rhythm, which
is dynamic, and scale - which means all the parts are
in good relationship to one another.
When using large wood and sculptures, they must
be in relationship to the other parts. The plant material
needs to be well chosen and large enough to be in good
relationship.
Sculptural form designs are especially lovely when
the sculptured form is of plant material. However,
you as the designer may create your own form or may
use a man-made object such as a piece of sculpture.
When creating this design, remember:
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(a)
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It must be three-dimensional(have depth).
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(b)
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You may use more than one piece of something,
but fasten the parts together to form one
piece.
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(c)
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Whatever you use must be molded, chiseled,
welded, carved or be fashioned from fiber
to provide the sculptured effect.
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(d)
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Dowels on a base become part of the
sculptured form. This affects proportion.
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For CFAA members, our objective is to create a design
in which our fellow designers will delight in viewing.
If you garner their attention and a member remarks,
"That's nice" - wonderful! Bob wanted
us to appreciate each other's work.
Another note: When designing for fairs and shows,
remember, many judges do not design the way we do.
Because they cannot design in the true creative manner,
do not become disheartened. Design for yourself. This
art form comes from within yourself. Design for the
love and happiness of doing so. I cannot place enough
emphasis on your personal involvement - as Bob called,
"Being into what you are doing".
Really engage yourself - CFAA members, do your own
thing. Lead the way to new designs, new thoughts and
new Design Dimensions.
Designingly, Jan Meissner
About the Author
Jan began her career as a floral
artist in White Bear Lake, Minnesota. She became a
flower show judge and was active in the Federated Garden
Clubs of Minnesota for the next 30 years, serving in
many areas including District Director and President
of East Area Council of Garden Clubs. Jan has given
floral design programs literally from coast to coast,
and has been honored with the prestigious NGC award,
the Floral Arranger of the Year. She studied under
the famed Japanese designer, Sofu Teshigahara, founder
of the Sogetsu School.
Jan joined Bob thomas's AGFA shortly
after the group was formed. In 1985, health constraints
required a move to Las Cruces, New Mexico, and this
became home to Jan and husband, Louie. She soon found
there were marvelous line materials to be found in
the dead desert plants of her new state. Jan has served
as the Awards Chairman for New Mexico Garden Clubs.
As New Mexico's World Gardening Chairman, Jan's hidden
talents as an actress bloomed! Dressed as the inimitable
"Miss Piggy," she solicited donations for
world gardening with a pig-shaped basket, giving an
"oink" for each dollar given! Both Jan and
Louie are life members of both Minnesota and New Mexico
Garden Clubs. Though she suffers from chronic fatigue
syndrome, she has kept busy, having authored a romantic
novel, Oh Rachel, available through Vintage
Press. She is at work on a new novel. In her generous
sharing of her many talents, Jan is an inspiration
to us all!
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