The most repeated difficulty I have met during my constant travels to talk to the uninitiated, has been how to convey the meaning of such a vast subject as flower arranging, in the short space of one afternoon or evening.

I finally developed a theory to prove that if different forms of material were used in the correct placements according to three basic principles, anyone, and I really mean anyone, could make a flower arrangement.

I found that an audience was not helped very much by watching lovely and intricate arrangements made by an expert. They were entertained, yes, and full of admiration for all they saw, but they either had no similar material to use themselves, or they did not know why it had been used and so little advance was made.

I wanted to make my students feel. I wanted them to say ” Why, I could do that,” and I finally preferred working to some simple rules that would give them encouragement and evoke their own ideas rather than making elaborate designs, for it is the sense of personal achievement in creating a simple design that thrills a novice and urges her to attempt more ambitious arrangements later.

Flower Arranging Principles

Most teachers develop their own approach to students and I do not presume that all agree with me but in order to help those who are continuing the good work of helping others, I repeat that my simplified theory is to remember three moves:

(i) the outline or design
(ii) filling in
(iii) the focal interest ; and in order to translate these moves effectively, material of different sizes and forms should be employed.

For instance:

• Type A (Points): tall, fine, pointed material for the outline.
• Type B (Fillers): shorter, rounder and spray material for filling in.
• Type C (Dominants): larger and heavier textured blooms, deep or dominant colours, anything to give visual weight for focal interest.

Under the heading of Points (Type A) would come such flowers as Delphiniums, Lythrum, Antirrhinums, Gladioli, Golden Rod, Loosestrife. Pointed foliage such as the leaves of Flax, Privet, Gladiolus, Iris, Artichoke, Carnation, Grevillia would also be included in Type A material, just as would slim branches of Forsythia, Yew, Pussy Willow, and the like. Fine grasses, bare branches and buds all come in this category, and when you are accustomed to design you will appreciate that these points are so placed on the outside of the design, so as not to hold your eye interest. This pointed material should lead your eye to the centre of the arrangement, where it should be held by the more important material.

Type B or Filler material, as I call it, can include such flowers as Sweet Williams, Marguerites, spray Chrysanthemums, Scabiosa, Sweet Peas and many others. Certain leaves could be included here, in fact any material that is broader than Type A is suitable for these secondary placements.

Type C or Dominant material can include most of the larger round flowers, or those which are arresting because of their peculiar shape or variety. Roses, which are often termed the Queen of Flowers, are good Type C material, for they demand to be seen in a prominent place. Peonies, Rhododendron, large clusters of smaller flowers come under Type C heading; also any large leaves such as Magnolia, Laurel, Pasony, Kale, Rhododendron and others.

Clusters of berries and fruit also are Type C and do remember that material of white, pale pink and pale yellow can be as dominant in a design as the most carefully chosen deep coloured material. It is the size and their importance that count.

Materials, which are prominent, important or heavier in texture, are used as focal interest because they give visual weight at this point where all the other spreading stems should unite. In other words, all the material should appear to spring from this unifying weight, or, conversely, if you contemplate the outside of the design first, the points should lead your eye to it. Please do not think that just one large flower will give the best focal interest. Try to make this area arresting by subtle placements. Five flowers of varying sizes might be more interesting, three flowers surrounded by leaves might prove an excellent solution, a rosette of Rhododendron leaves, from the centre of which might spring some berries, would be quite effective.

In other words, try to avoid placing an obvious blob in the centre, aim at interest through subtlety. As you progress in your study and appreciation of the finer points, you will perhaps do without focal interest altogether, although by the fact that you have correctly placed your stems it will be there.

When you review this short reference to flower forms, you will realise how easy it is to make an effective flower arrangement, in fact, at the risk of being called assertive, I would urge those of you who are beginners to repeat quite often to yourself these words: Outline, fill in, focal point, using points, fillers, and dominants, in the order of tall, shorter, short. Easy isn’t it?

You can translate these moves with a mass of assorted material or in a shallow plate you could use a bare branch for tall line, some leaves for filling in, and a pinecone or a large flower for low interest.

I have repeatedly pointed out that it is only after these moves become automatic in thought and execution that your mind is left free for creation. It is then that the real joy of this expressive art commences, for with mental freedom you can then make an arrangement in a certain manner because you feel like it. You will express your personal desires without having to stop and ask yourself where to place the material.

It may be that you will make a striking design of red gladioli and yellow sunflowers for a gay cocktail party, or an exquisite arrangement of pink roses and blue ceonoth is for an intimate dinner by candlelight. You might even place three Funkia leaves to represent ship sails in a low dish of water, in which stands the figure of a Chinaman, and call this Slow Boat to China. Why not, if it expresses what you mean. The possibilities are endless, and I would suggest that you do not be afraid of criticism. There should be freedom of expression, so open your eyes and minds. Try anything and everything until you are confident of your own feelings.

There may be many occasions when you do not feel like making an arrangement or when other demands claim your time; it is then that you just place your flowers in water, but deep down it is very satisfying to know that you can create a picture if you wish.