Date
Time
Location
Sept. 15
1-3pm
MVSC
NGC Design
Refer to Design
Types
Panel Design Pg.
205 HB
Review & discuss
the requirements.
Oct. 20
1-3pm
MVSC
Creative Line
Design Pg. 199 HB
Review & discuss
the requirements
Creative Mass
Design Pg. 200 HB
Review & Discuss
Wreath –
Evergreen
Pg. 213 HB
Review & Discuss
Speaker – Floral
Designer
Nov. 17
1-3pm
MVSC
Dec. 15
1-3pm
MVSC
Jan. 19
1-3pm
MVSC
Feb. 16
1-3pm
MVSC
March 16
1-3pm
MVSC
April 20
1-3pm
MVSC
May 18
1-3pm
MVSC
June 15
1-3pm
MVSC
Create Design
with Partner
Panel Design
Bring: Tools,
Supplies,
Container, Panel,
Flowers & Foliage
Creative Line
Bring - Same
Design to
bring to
meeting
None since we
are just
beginning the
series of
programs.
Panel Design
Flower Report
(Member)
Tools/Supplies
Dahlia - Gerry
1. Description
2. Conditioning
3. Use
Tools/Supplies - GD
Chrysanthemum –
Cherie
Creative Mass
Bring - Same
Creative Line
Design
Each member
Bring - Same
Creative Mass
Design
Tools/Supplies - GD
Carnations Helen
Tools/Supplies - GD
Potluck
Luncheon Social
Rose Bud Vase
Bring - Same
None
Rose – Lynn
Transparency
Design Pg. 211 HB
Review & Discuss
Transparency
Bring - Same
Angular Design Pg.
196-197 HB
Review & Discuss
Duo Design
Pg. 200-201 HB
Angular Design
Bring - Same
Creative
Vertical Line
Design Pg. 199
HB
Transparency
Miniature Design
Pg. 203-204 HB
Duo Design
Bring - Same
Angular Design
Tools/Supplies - GD
Lily – Sylvia
Tools/Supplies GD
Narcissus Tools/Supplies - GD
Tulip Tools/Supplies - GD
Miniature Design
Duo Design
Iris Each member
Tools/Supplies - GD
create
End of the year potluck lunch
Everyone brings “designers choice” design
Installation of Officers (odd years )
Field Trips – Floral Design Shows/wholesale Outlet/Vancouver Flower Mkt.
Speakers - Designers
Service Projects – Create floral design for library on monthly basis.; help seniors to create a
floral design; help youths create a floral design.
Fund Raiser – Sell dried flowers/foliage, drift wood, containers, supplies etc.
NGC DESIGN TYPES
ABSTRACT CREATIVE DESIGN
ANGULAR DESIGN – Pg. 196 HB
1. A Creative Design in which there is a strong emphasis on angular components.
2. Angles are not limited to one type. A variety of angles (acute, obtuse and right angles)
add interest to a design.
3. Not all components should be angular as contrast is essential to pleasing design.
4. Spatial areas formed by the angles should be plastically organized to enhance depth.
ASSEMBLAGE
COLLAGE
CONSTRUCTION
CREATIVE LINE DESIGN – Pg. 199
1. A Creative Design in which line direction is dominant, characterized by open silhouette, a
minimum of plant material and other (optional) components.
2. Dominant feature is the thrusting movement in a single direction, either vertically,
horizontally, or diagonally.
3. Thrusting material usually differs from material/s providing dynamic balance and
contrast.
4. May have more than one focal area and more than one point of emergence.
5. Due to Minimal components, contrast of line, form, color and texture play only a very
minor role.
6. May or may not be confined to a container/s. If used, container/s should not be in strong
contrast to the directional thrust.
7. May have any degree of abstraction.
8. Directional types of Creative Line Design
a. Creative Horizontal characteristics
1) Dominant thrust is horizontally left to right or right to left, although horizontal placement
of all materials is not required.
2. Balance is created through the use of unlike forms, sizes, colors, etc., and is usually
asymmetrical as eye movement is in one direction.
b. Creative Vertical characteristics.
1) Dominant thrust is vertically upward or downward, and may have more than one
focal area.
2) Focal area/s must not destroy the vertical thrust.
c. Creative Diagonal characteristics are the same as for Creative Vertical, except
dominant direction is “diagonal”.
CREATIVE LINE-MASS DESIGN
CREATIVE MASS DESIGN - Pg. 200 HB
1. A Creative Mass Design emphasizing plant material and other (optional) components.
2. Tangible components, not space, must dominate the overall design.
3. The enclosed silhouette of the design may be enhanced by incorporating space to add
contrast and rhythm.
4. Like-material may be grouped and placed next to different like-groupings.
5. May include multiple points of emergence and may or may not be confined to a
container/s.
6. May have any degree of abstraction.
DECORATED TREE
DUO DESIGN – Pg. 200 HB
1. A Creative Design organized in one container or in containers joined to appear as one, or
in a contrivance, or mechanic. It is organized as two designs , back to back and entered
in two separate classes in the Design Division. It must always be created by a single
exhibitor. Exception: Classes for Club Competition and Companion Designs.
a. Each side appears as a different design from the other, and each side is part of a separate
class to be judged. One side is a design in one class and the other side is a design in another
class. Schedule specifies both classes, each with a separate title. Titles frequently have a
relationship, e.g., day/night, hot/cold, Spring/Fall, etc.
b. “Duo effect” is obtained by each side of the Duo Design using different colors of the same
materials, or different materials in the concealed portions/s.
c. A concentration of components between the two designs prevents one side from showing
through to the other in their focal areas/s. This center might be a palm leaf/leaves, decorative
wood, man-made object, or whatever else will provide a visual concealment between focal areas
of each design, however, not a background panel. Both sides may share the dominant line and
enclosed spaces.
2. Staged as two separate classes to allow access for judging and viewing of both classes. A
single judging panel may judge both classes, but this is not mandatory.
a. Four Duo Designs will face one way, on tables, pedestals, or boxes, etc., comprising one class.
The back side of those same Duo Designs will face the opposite way, comprising the other class.
b. One side of the Duo Design may score higher in its class than the reverse side in the other
class. The appropriate ribbon, if any, is placed on each side of the Duo Design.
c. If both sides receive blue ribbons in their classes, they are both eligible for consideration
for a Sectional Design Top Exhibitor Award, if offered in the schedule. Both may be eligible
for the same Top Exhibitor Award, or conceivable each may be eligible for a different Top
Exhibitor Award, e.g., if one is in a section eligible for a Tricolor Award and the other in a
section eligible for a Designer's Choice Award.
FLOOR DESIGN
FRAMED SPATIAL DESIGN
HANGING DESIGN
ILLUMINARY DESIGN
MINIATURE
MOBILE
MONO-BOTANIC DESIGN
MULTI-RHYTHMIC DESIGN
OP ART
PANEL DESIGN – Pg. 205 Handbook
1. Overall Panel Design: A three-dimensional Creative Design, self supporting or suspended,
in which a panel/s, plant material, and other (optional) components are used.
a. “Self-supporting”. The overall design is placed independent of the background. It is not a
creative Plaque or Panel Assemblage.
b. Base, containers/s, or other devices may provide support for the panel, but are rarely
considered to be a panel.
2. Panel Components/s. Panel/s are structural and an integral part of the design. They may
be of any material, shape or form, natural or man made, solid or transparent, or any
combination.
a. “Structural” Panel must have a dominance of surface quality, not merely enclosed space.
b. “Shape or form”. A “panel” is primarily flat and two-dimensional(a shape), yet designer has
freedom to cut, bend, weave, depress, etc. the panel component. This tratment may result in it
eing three-dimensional (a form). Nevertheless, the form should not lose the basic
characteristic of a panel.
c. “Solid or transparent” Opaque or diaphanous, grid-like, translucent or transparent.
PARALLEL DESIGN
PLAQUE
POT-ET-FLEUR
REFLECTIVE DESIGN
SCULPTURAL FORM DESIGN
SMALL DESIGN
SPATIAL THRUST DESIGN
STABILE
STILL LIFE DESIGN
STRETCH DESIGN
SYNERGISTIC DESIGN
TABLES
TAPESTRY
TOPIARY
TRANSPARENCY DESIGN – Pg. 211 HB
1. A Creative Design including see-through elements/s that permit some components to be
viewed through others.
2. For flower show purposes, the term “transparency” is interpreted as “to be seen through
easily”; therefore, in addition to transparent materials, translucent, diaphanous, and gridlike materials are also acceptable.
a. Plant material. Examples are skeletonized foliage, branches, sea fans, open weave grasses,
Gypsophila, etc.
b. Man-made materials. Examples: acrylic, glass, mesh, screening, open-weave fabric, grillwork,
etc.
3. By positioning solid forms in front of and behind transparent ones an increased awareness
of depth is realized.
4. Special lighting, particularly back and/or under-lighting, may further enhance the effect
of a transparency.
TUBULAR DESIGN
UNDERWATER DESIGN
VIBRATILE DESIGN
VIGNETTE
WREATHS, SWAGS, GARLANDS – Pg. 213 HB
1. May be Traditional or Creative, as determined by schedule or exhibitor.
2. Schedule includes:
a. Occasion and location or space allotted.
b. Specific allowed or required plant material. Exception: if eligible for Designer's Choice
Award.
c. Staging provided or required by exhibitor.
d. Wreaths, swags and garlands may be exhibited in the Special Exhibits Division, rather than
the Design Division. Determined by schedule. If allocated to the Special Exhibits Division,
they are not eligible for any Design Top Exhibitor Awards.
3. Check federal and local fire codes before including wreaths, swags or garlands in the
schedule.