“The outline of any flower group is influenced by the shape of the vase. The simplest way to get the outline clear is to place in position two or three flowers to indicate the general shape, putting in first the highest central flower and then the two sides; or, for a cornucopia or gravy boat, putting in the highest and lowest flowers; or, for a centerpiece on a table, to fix the total length; then, within this first framework, to build up the whole arrangement.
Proportion is all-important. If the flowers are too wide, too low or too high for the vase, the effect will never be good. Generally speaking, choose flowers that are one and a half times the height of your vase. But always be carful not to shorten the stems of the flowers. Wherever it is possible to achieve the desired variations in height by pushing the steam farther into the vase, do so rather than chop off a piece.
There are several reasons for this. First, the steam of natural length seems to take on a more flowing line. And third, you cannot put the steam on again if you should change your mind. Soft and mallable stems may be induced to take on the required curve by very gentle massage—arum lilies are a case in point.
In advocating the removal of the leaves from most flowers, I may risk criticism. But there is one very good argument for doing it, even apart from the fact that it helps to preserve certain flowers—the massed effect. Try picking a great deal of lilac and taking off the leaves. Fill your vase very full of its branches. Try the same experiment with crab apple and cherry blossoms. But flowers with dramatic whiteness, such as magnolias, camellias, gloxinias and gardenias, look best with their leaves.
The most generally useful hint in flower arrangement is to try to recapture something of the essential quality of the flower, or of the effect it gives when growing. For instance, white stock is a mass of clean, snowy flowers, and its vision in the garden is of massed white. If a dozen or two long stems are put in a tall vase, something of this effect is lost. So cut rather short stems and crowd them into low containers. In this way you keep that sense of massed whiteness.” Spry Constance, Reader’s Digest Guide to Flower Arrangement (Pleasantville, New York: The Reader’s Digest Association/Montral, Canada: The Reader’s Digest Association LTD., 1966), 3–6.
The graphic design class “Der Blumenstrauß” follows on divers conceptual approaches and methods of visual craftsmanship.
Students: Anne Pohlmann, Antonia Dieti, Catherine Millross, Elisa Breyer, Felix Plate, Iga Soszynska, Jakob Tress, Johanna Dembinski, Julius Muschalek, Laura Graf, Lauren Holden, Leon Lukas Plum, Leonie Lindl, Linyou Xie, Marcel Pohl, Marie Czeiler, Marie Gehrhardt, Marleen Bauer, Michael Fischer, Lucrezia Papilla, Philipp Niemeyer, Rosa Süß, Simone Robert, Xinyu Gao
Anna Teuber & Enno Pötschke SoSe 2016 Bauhaus-Universität Weimar