_The Art of Flower Arrangement 
by Carl Starker 
- Flower arrangement is a creative art, just as painting 
or sculpture are, and the same principles that obtain in 
these arts are found in flower arrangement. We need 
balance, proportion, rhythm, proper scale, focal point, 
etc., to make a satisfying ensemble. 
If you are to practice the art of flower arrangement, 
the first thing to consider is the question of containers. 
You cannot expect to make interesting and beautiful 
arrangements unless you have containers which have 
good lines and pleasing shapes. This does not mean 
that you must spend a lot of money on them, for they 
often can be had quite reasonably, but they must be 
chosen carefully, and never purchased simply because 
they are a bargain. 
In buying containers, always keep in mind the place 
where you intend to use them. If your house is a 
modern one with low ceilings, you will want vases of 
a different type from those you would use in a large, 
old, high-ceilinged house. You should also think of 
your color scheme, and not buy containers which will 
strike a jarring note with your drapes or upholstery. 
It is much better to have a few really good contain- 
ers than many medicore ones. Keep an eye out for 
interesting shapes, textures and colors. 
Any container too conspicuous in form, color, or 
texture is not desirable. Ornateness of shape or dec- 
oration will detract from the flower and call undue 
attention to the container. Your container should. be 
like a piano accompaniment to a violin or vocal solo: 
an element which is necessary to its completeness, but 
one which you feel unconsciously. Tricky shapes and 
striking colors have a limited scope of usefulness. Pot- 
tery containers of simple shape and dull or warm, soft 
colors are easiest to use. Metal containers are a bit 
more difficult. Avoid a bright, highly polished vase. 
It will have too many highlights and reflections which - 
will make it difficult to produce a unified, satisfying 
picture. 
‘Beware of containers with too small openings. They 
will not hold enough flowers, and it is almost impos- 
sible to get a good arrangement when stems are too 
crowded. If your water surface is large enough so that 
considerable water is exposed to the air, the flowers 
will last longer. 
The important thing about holders is to select one in 
harmony with the vase: heavy enough to hold the 
flowers, but simple enough to be unnoticed in the ar- 
rangement. Needle holders are always good. They 
can be stuck down with plastacine, which will hold 
well if applied to a dry surface. In using small or 
wiry stemmed material the use of rubber bands is 
advised. Make a grouping of several stems, secure 
with the rubber band, and insert as one element. With 
deep glass containers crushed chicken wire makes a 
good holder, or narrow strips of sheet lead can be 
wound around several stems and hooked over the edge 
of a narrow necked container. Whatever sort of hold- 
er you use, be sure it is invisible in the finished ar- 
rangement. Rocks can be used to cover the holder in 
a flat bowl, or leaves and blossoms can be so arranged 
as to hide it. 
If you are to make good lasting arrangements you 
must know what and when to cut. The ideal time is 
early morning, but evening is also a good time. Allow 
the flowers to stand in deep water several hours to 
harden off before arranging. If the stems are well filled 
with water before final placement, they will hold up 
well even in shallow containers. Cut buds, half- 
opened, and fully matured blooms for diversity in size 
and shape. 
The essentials of good composition are— 
1—Balance. Both sides of the arrangement should 
appear to be of equal weight. They need not be alike 
but must appear to balance each other. Darker colored 
flowers seem to be heavier than light colored ones. 
Flowers at a distance from the center of the arrange- 
ment appear heavier than those closer to the center. 
2—Proportion. There should be a proper relation 
between the plant material and the container, and be- 
tween the different types of materials used. Thus, in 
the case of glads, baby’s breath is out of proportion. 
If using figurines, be particularly careful to have them 
in scale. 
3—Unity. The arrangement should constitute a 
unified whole, with each part contributing to the fin- 
one arrangement, but not being too prominent in 
itself, 
4—Focus. There must be some dominant note, focal 
point, or center of interest which will hold the eye of 
the beholder. Usually it should be low down, near the 
rim of the container. 
5—Good Line. The arrangements should have good 
lines which contribute to the interest of the composi- 
tion as a whole. 
6—Texture. Textures should be pleasing to the eye 
and blend well. Avoid too harsh contrasts. 
7—Rhythm. Ascending movement and rhythm can 
often be acquired by the proper placement of the ele- 
ments in a grouping. Repetition in spacing and in 
form and size will promote a feeling of movement or 
aspiration. 
8—Distinction. Study leaf form. A dramatic leaf 
or spray of foliage will often add distinction to an 
otherwise very ordinary arrangement. (Note use of 
foliage on page 28.) Pep up your grouping by the addi- 
tion of yucca, gladiolus, castor bean, canna, hosta, or 
iris foliage. 
Leaves and stems may be: 1—radiating, as though 
from a central point. 2—Parallel, arranged vertically 
as though growing. 
Beautiful arrangements should have _ distinction. 
They may get it: 1—by the use of interesting or dra- 
matic line. 2—by original color combination. 3—by 
the use of color and line of such simplicity as to pro- 
duce quiet harmony. 4—by the combination of famil- 
iar material in new and striking ways. 5—by the use 
of new or unusual material. 
Steps in putting an arrangement together: 1—get a 
mental picture of what you propose to do. 2—select 
materials and container. Usually one or the other 
serve as your starting point. 3—build your frame work. 
Put in foundation lines first. Silhouette is of utmost 
importance here. Criticize your work, make any nec- 
essary changes. 4—fill in details. Use restraint. 5— 
make final evaluation. 6—place your finished arrange- 
ment where it is to stay. Leave it alone. If you feel 
the need to keep changing it here and there, it is prob- 
ably lacking in balance or proportion. 
Positive steps for beginners to do: 1—be sure your 
material is fresh and in good condition. 2—have your 
plant material well hardened off in advance. 3—select 
a container which will hold enough water to keep the 
plant material fresh. 4—use a conservative container 
unless you have a more striking one that is exactly 
right. 5—when using a brilliantly colored or conspic- 
uously shaped container, start with it and select flow- 
ers and foliage to harmonize. 6—see that your holders 
are adequate. 7—make yourself comfortable. Have 
good tools handy. 8—take plenty of time. Enjoy 
yourself. 9—when you are almost done, stand off and 
look for mistakes. 10—when result is satisfactory, 
leave it alone. Know when to stop. 
Things not to do: 1—think you must use all your 
material. 2—crowd your material. 3—leave an open 
space near the middle of the arrangement. 4—arrange 
your materials so loosely that they appear to be falling 
out of the container. 5—alternate your colors so as to 
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