The directly observable components, ingredients, and physical characteristics of a design.

 Line
 Form
 Space
 Texture
 Pattern
 Fragrance
 Size
 Color

Line
The visual pathway that directs eye movement through a composition
• Distance between two points

Line directions:
 Vertical lines —stress height and suggest power and strength
 Horizontal lines —stress width and are peaceful and calm, provide a sense of stability
 Diagonal line —dynamically energetic, causing more eye movement. Use sparingly
 Curved line —suggest motion, but are softer, more comforting. Eye moves quickly through design.

Vertical line-Power and strength

Horizontal line Peaceful and calm

Diagonal line Dynamically energetic, suggest motion

Curved line Softer suggestion of motion

Form
 the shape or configuration of an individual component of the composition. The overall, three-dimensional, geometric shape or configuration of a floral composition.

Space
 the area in, around, and between the components of the design, defined by the three-dimensional area occupied by the composition.
 Positive space
 Negative space

Texture
 The surface quality of a material, as perceived by sight or touch
 Smooth, coarse, waxy, rough, delicate, velvety

Texture

Texture

Texture

Pattern
 A repeated combination of line, form, color, texture, and/or space.
 Variegated markings, speckles
 Any element used more than once

Pattern

Pattern —what is repeated

Fragrance
 A sweet or pleasing odor, perceived by the sense of smell.
 heightens our awareness
 increases sensory enjoyment
 triggers memory

Using all 5 senses

Size
 The physical dimensions of line, form, or space
 First considerations
 Emotional aspect

Color
 The visual response of the eye to reflected rays of light
 most important design element
 Optical sensation, originating in the brain’s perception of light energy reflected to the eye from a pigmented surface.
 Emotional response

Color

Principles of design-fundamental guidelines to aesthetic design that govern the organization of the elements and materials in accordance with the laws of nature. Some primary principals of design are associated with related secondary principles of design.

 Balance
 Proportion
 Scale
 Dominance
 Emphasis
 Focal Area
 Accent
 Rhythm
 Depth
 Repetition
 Transition
 Contrast
 Opposition
 Tension
 Variation
 Harmony
 Unity

Balance gives a sense of equilibrium and repose, a feeling of three-dimensional stability.
.
 Physical also known as mechanical balance —sound
 Visual balance —sense of equilibrium

Easily falls over
Or looks like it will easily tip over

Visually balanced

Balance
 symmetrical balance —known as formal balance, flowers are repeated on opposite sides of the floral arrangement. Using an imaginary central axis, one side of the arrangement is the mirror image of the other.
 Asymmetrical balance —known as informal balance. Formed by placing unequal visual weight on each side of a central vertical axis.

Balance
 Radial balance —radiate from a central point like the spokes of a wheel or the rays of the sun.

Symmetrical-one side mirrors the other
Asymmetrical-two sides are dissimilar but have equal visual weight or equal eye attraction which creates visual balance

Symmetrical vs. Asymmetrical

Radial Balance
Radial balance--Not separate from symmetrical or asymmetrical, but merely a fine distinction of one or the other

Radial Balance

Symmetrical but too perfect —rendering a contrived and fake appearance

Near symmetrical
Not symmetrical in placement but arranged in a near-symmetrical pattern to form a balanced, formal shape

Proportion
 The comparative relationship in size, quantity, and degree of emphasis among components within the composition; the relationship of one portion to another, or of one portion to the whole.
 design should be 1 ½ to 2 times the height or width of the container

Greek golden section in which the ration of vase to flowers is
3 to 5 or roughly 5 to 8

Golden mean refers to the division of a line somewhere between ½ and 1/3 its length
Flower design slightly off center

Overall size of a floral arrangement or its parts compared with other objects or their parts.
Scale floral elements with each other

Scale
 The relative ratio of size, or the relationship of the size of a composition to the surrounding area or environment.

Arrangements should fit on the table physically and visually and be in proportion to the surrounding area

Small table small room small arrangement

Large to permit viewing from a distance

Dominance
 The visual organization within a design that emphasizes one or more aspects.
When one element is emphasized, others are subordinate.

Emphasis
 The special attention or importance given to one or more areas within a design.
 Directs eye to more important areas

Focal Area
 The area of greatest visual impact or weight; the center of interest to which the eye is most naturally drawn.
 Center of gravity or balance
 Where eye is drawn
 Where the eye rests
 One element different than others

Focal Point

Focal Point

Focal Point

Accent
 Detail added to a design to provide additional interest, affecting the total character of the composition.
 Enlivens
 Dash of something

Accessories

Accent

Accent

Rhythm
Flow or movement characterized by regular recurrence of elements or features
 Use repeated patterns and graceful spacing.
 The goal is to create a visual pathway that leads the viewer’s eye around and through the design, then back to the focal point.

Depth
 Three-dimensional arrangement
 overlap or angle flowers
 place bright, dark flowers on the bottom of the arrangement, lighter and smaller at the top

Repetition
 The recurrence of like elements within a composition

Repetition

Transition
 The ease of visual movement which results from gradual degrees of change among one or more of the elements

Contrast
 Emphasis by means of difference.

Contrast--color

Opposition
 Contrast between elements which are counterpoint in relation to each other.
 Call attention to each other by being opposite whereas contrast is simply different from each other

Opposition —black & white

Contrast in color simplest way to create strong focal point

Tension
 Implying or suggesting a sense of energy
 Polarity —drawn together or pushed apart
 Knot a leaf-energy has been exerted or applied
 New bulb forcing out of soil
 Ready to spring or snap

Tension —something is waiting to happen

Variation
 Dissimilarity among attributes or characteristics.
 Diversity among elements
 Vary stages of development
 All one color of flower, but different flowers

Proximity-combining flowers into one design
Repetition-repeating similar elements such as color
Transition-providing a gradual change from one part of a design to another

Harmony
Compatibility; a pleasing or congruent arrangement of parts.
 All parts should go together or
“harmonize” with each other.

Lack a sense of harmony

Harmony by added accessories which support football or homecoming theme

All component parts of a floral composition should harmonize with one another. It is vital that the flowers in a design are compatible with one another in order to support an overall design style.

Terra-cotta post and blush tones flowers create a casual garden ambiance for this celebration setting. Harmony of the parts displays unity in design

Unity
--the state of being one, united, or complete in itself.
 The arrangement is seen as a whole piece instead of only individual parts.
 Oneness of purpose, thought, style, and spirit.

Accessories
Candles
Plums, kiwi enhance an overall harmonious theme